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Return this book on or before the
Latest Date stamped below.
Theft, mutilation, and underlining of books
are reasons for disciplinary action and may
result in dismissal from the University.
University of Illinois Library

* **
RUli n'NG|ISE ONLY
|| || || 1975
JUL 3|0 1975

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JANUARY, 1890.
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| Something New for Piano Students.


-

| E R|| S | E M [
WILLIAM MASON 0.

UPON

By HUGH A, CLARKE, Mus, Doc.


We have just published a second edition of this new - -

work by Dr. W' MAsoN, the acknowledged head of Price $2.00, Bound in Boards.
the Musical Profession in America. It is called -

TOUGH AND TECHNIC, The libretto of this Oratorio is taken from the Bible,
- --- BY MEANS OF THE worners EXERCISE, aud gives,byinDavid-The
of Zion an epitomized form, theofstory
prosperity of the taking
JerusalemThe
l defection of Israel-The consequent destruction of the
WiLLIAM MASON, Mus. Doc. - ---" - -

- - - - - - - city and the king's captivity.


Mason's Two-finger Exercise had its origin in the old | The theme now takes up the promise of restoration
s RN
daysofat aWeimarmore
out than thirty
suggestion of Liszt's Dr.years ago.tookItitgrew
Mason up,
under
der the reign
rei off the
th promise
ised king-
ki als comingHis
Hi - -

":
Musical Items. Mrs. H. D. Trethar employed it with the happiest results in his own practicerejection-The final desolation of the cityConcluding
The and teaching,and in the course of thirty years' experi with the promise of the Heavenly City and the descent
-
-
The Misuse of Music................: .22 |
The '' Pianoforte Playing. " *. 3.
ence as a teacher
directions, until ithe
is has
nowgreatly developed it in various of the New Jerusalem.
Concert Programmes ..................................." The Oratorio is to be produced in April by the Phila
Gustav Lange.................................................... 203
How shall we Increase the Respect of Educated Men
:
for Music and Musicians? John Fillmore....204 'lif|| || || || ||'''lit '.
has already excited widespread interest among musical
people as the first work of such magnitude written and
KNOWN TO
e Tottering Arin. Carl E. Cramer.....................205 - -

| '' ":
*"monials .......................................................
#: *
PIANO FORTE PEDACOGICS. produced in America.
erve Control. Arthur M. Straub......................... 206 - |

Artistic Development. Dr. Adolph B. Marr.........200 p. MASON'S TOUCH AND TECHNIC


Concerts and Lessons by Phonograph. Edward - - - (r. THEODORE PRESSER
The s:
w Standard of Artists .... ... # .......:
is in sheet music form, Sixteen pages. Nine pages are >
Objective snd subjective interpretation. Annetta J. devoted to
Halliday.....................................................20s PUBLISHER,
Quotations........................................................208 EXPLANATIONS OF TOUCH,
New Publications............................................. 209 THE TWO-FINGER EXERCISES, 1704 CHESTNUTST, PHILADELPHIA, PA.
Rules for Major Keys.........................................200 k
Questions and Answers....... ...210 THE MODE OF PRACTICE,
- MUSIC. * P0SITIONS AND METHODS OF USING THE
#: %." : ' FINGERS AND HANDS, Etc., UTU VENTIT.E.
Mountain
La Zingara,Chapel. Goib'.............
Op. 102. Bohm.................................. .75
.4
- - * in thle Exercises
contain
and five pages - -
I'',Xe
themselves. The - *.
-
- -
-
-
-

| Little Swiss Melody, Op.


wiss Melody, or 503, No. 20. Behr is
xplanations are singularly
the greatest clear;to Dr.
possible pains guard
Mason
against the H'.X3.10.10%|
having * 100. U6 *\!.100.$
misapprehensions to which students are liable in taking IN -

up exercises so novel and so diversified in their method PIAN OFORTE STUDY


| of ' opinion
ctice of many of the best pianists and teachers
as these. BY - *

Mason's Two finger Exercises are the most valuable L. R. C H U R C H.


- ''') contribution to Pianoforte Pedagogics made
- A during the past half-century. IETE ICE - - 1O CENTTS.

* - EEICE S1-OO- -

#
|

|
[[[T]].''
- 17- Dill:
}
Address Publisher, THEO. PRESSMER, THEoDoRE
1704 Chestnut St., Philadelphia, Pa. 1704 CHESTNUT ST.,
T- P
PREsser,
PHILADELPHIA.
T EITE TE T U D E.

G. SCHIRMER,
M're SACRED AND SECULAR, m] m i her & Importer,
|[VH1] HVH & [. NEW YORK AND LONDON,
IN
35 UNION SQUARE,

Sh:#E004 || ||ADFIS MEW YORK. M|| || || || ||#.


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-

PHILADELPHIA, PA, JANUARY, 1890. NO. 1.

THE ETUDE. THE New York German Opera has produced Rossini's
William Tell, Verdi's Il Trovatore and Un added.
allo in Maschera; Halevy's The Jewess, Gold
which Martha" and Othello have since been

PHILADELPHIA, PA., JANUARY, 1890. mark's The Queen of Sheba, Wagner's The Flying ductor, THE Boston Symphony Orchestra, with its new con
Dutchman. and Don Giovanni. Mr. Nikisch, began its first tour on December
16th. The cities visited were New Haven, New York,
A Monthly Publication for the Teachers and Students of EUGEN D'ALBERT will give three pianoforte recitals in where the programme included Brahm's violin concerto
Music. Steinway Hall. They will take place at 3 o'clock, on (Mr. Franz Kneisel) and Prelude to Tristan and
SUBscanprion RATEs, $1.50 PER YEAR (payable in advance).
Single Copy, 15 cents. the afternoons of January 3d, 7th and 13th. After the Isolde and Schumann's D minor Symphony; Philadel
The courts have decided that all subscribers to newspapers are held completion of his American tour, D'Albert will reside phia, where Mme. Bloomfield-Zeisler performed a con
responsible until arrearages are paid and their papers are ordered to be in his castle at Meran, in Tyrol. certo by Litolff, No. 3, in E flat; Baltimore, where
discontinued.
THEODORE PRESSER, TEREsa CARRENO has pleased mightily German critics. Carl Faelten played Rubinstein's G minor concerto, and
1704 Chestnut Street. PHILADELPHIA, PA.
Otto Lessman, of Berlin, said: Mrs. Carreno com Washington, where the soloists were Mr. Joseffy and
EDITORS
with pianists of ordinary calibre just as a Brunn Miss Margulies, who together played Saint-Saen's
W. S.B. MATHEWS, JOHN S. VAN CLEVE, ilde would with a well brought up bread and butter Variations in a Theme by Beethoven, Mlle. Decca, Mons.
JOHN C. FILLMORE, E. E. AYRES, miss of our time. -

Manoury and Mr. Lichtenberg.


Mrs. HELEN. D. TRETBAR.
The first annual meeting of the Music Teachers' ON December 15th a concert of Beethoven's music
Managing Editor, THEODORE PRESSER.
(Entered at Philadelphia Post Office as Second-class Matter.) State Association of Pennsylvania was held in Philadel was given in Steinway Hall, for the purpose of raising
phia during the holidays. The meetings were of funds for the preservation of the Borm Beethoven House.
unusual interest, both literary and musical. The next Theo. Thomas, an orchestra of one hundred and
MUSICAL ITEMS,
meeting will be held in the same city. twenty men, Mme. Lehmann-Kalisch, Mr. Paul Ka
THE Boston Musical Record writes: It is within the lisch, Mr. Victor Herbert and the chorus of the New
bounds of truth to state that no child-pianist has ever York Liederkranz participated. Among the works
[All matter intended for this Department should be addressed to appeared in Boston who has possessed such genuine chosen were the Aria Abschenlicker and Prisoner's
Mrs. HELEN D. TRETBAR, Box 2920, New York City.] Chorus, from Fidelio, Egmont overture and the
musical instincts, such touch and such regard to ex
HoME. pression as little Otto Hegner. Fifth Symphony. The performance resulted in the sum
of $1000 for the benefit of the Beethoven Museum, as
ALONzo E. StopDARD, the well-known baritone, died the house in which the master was born is to be called.
MR, AND MRs. Richard BURMEISTER, the pianists, have in Boston on December 19th. His last public anpear
been playing at Baltimore, ance, was in Boston, on December 9th, with the Emma FoREIGN.
MR. JoseFFY will play with the Boston Symphony at Juch Opera Company. He was born in North Brook STAVENHAGEN, the pianist, has been winning new
Worcester, Mass., some time in February. field, Mass., in 1842. His repertory in sluded about forty laurels in Berlin.
MR. CoNSTANTIN STERNBERG, of Atlanta, Ga.; has parts. MME, GERSTER sang in a recent Berlin Philharmonic
concluded his remarkably successful tour through the MR. EMILLIEBLING, of Chicago, has been most actively Concert.
Western States. engaged in the affairs of music this season. From the FREDERICK CHAY, the popular English song writer,
MR. AND MRs. FRANCIs KoRBAY gave two of their circulars sent us we find that he is an honorary member of died recently, aged 49 years.
(four) chronologically arranged historical pianoforte and the Liebling Amateur Club. The former society gave
vocal recitals in December. twenty-seven recitals last season. , Mr. Liebling has als SALo's Opera Le Roi d'Ys crowds the Opera
Comique, Paris, nightly.
DALBERT gave three recitals in Boston in December. participated in a number of recitals this winter. THAT artist pair, Mr. and Mrs. George Henschel, are
His programmes ranged from the classics to modern THE Bridgeport Choral Society, numbering two hun
dred voices, Mr. S. S. Sanford conductor, gave A. R. taking a recital tour through Italy.
music and included his own suite No. 1.
D'Albert Sarasate Concert in New York, on Gaul's cantanta, Joan of Arc on December 17th Caux,
At the THE death is announced in Paris of the Marquis de
Miss Hortense Pierse, and Misses W. H. Rieger and P. once the husband of Mme. Patti,
be: 12th, the pianist conducted his overture
Esther and played his own concerto in B minor, Robinson, all of New York, were the soloists. THE Berlin Wagner Verein gave its first concert of the
HERR HEINRICH Wool, the famous tenor, once the season, under Karl Klindworth's leadership, on Jan, 4th.
At the last Cincinnati Symphony Concert Chadwick's singer of King Louis of Bavaria, arrived in New FRL. BRANDT, the famous contralto, is now engaged
new, American Symphony was performed, and Mme. favoriteYork ill with an abscess behind his right ear. Upon his in teaching dramatic singing in Vienna.
Riv-King was the pianist, playing Rubinstein's D recovery he will appear at the German Opera in the KARI, KLINDworth has been engaged by the Imperial
minor Concerto.
rle of Lohengrin, Tristan, Loge (Rheingold), Musical Society to direct two concerts in Moscow in
MR, HENRY NAST, formerly professor at the Cincin. Siegfried, Walther (Die Meistersinger), Tann. January.
nati Conservatory of Music, has located in Denver huser and Florestan (Fidelis).
(Room 63, Barth Block), and is meeting with much EDwARD BAxTER PERRY returned to Boston the 16th MME. NEVADA has been delighting the music lovers of
Success. the Netherlands, in Lakme, Mignon and Il
of December, after a tour of twelve weeks, in which he
Miss Aus per OHE will be the soloist of the Nikisch has given fifty-seven lecture recitals, going as far north Barbiere.
'' Concerts, January 2d, 3d, and 4th. Miss as Duluth, Minn., and as far west as Yankton, Dak , At the second Berlin Philharmonic Concert Dr. von
Aus der Ohe will give a number of recitals in New York and playing in the leading cities and colleges in all the. Blow produced Dvorak's Symphony in D minor, and
during the month of January. Brahms' violin concerto in D minor.
intervening States. He is at present filling engagements
**, FoRMEs, the renowned basso, died in San in the vicinity of Boston, and will start the 1st of Febru MR. WM, CANDIDUs, the tenor, has been engaged to
e-Main, Mlle. Patti
ti
rancisco, on December 15th, having sung for the last ary on a trip through Maryland, Virginia, the Carolinas, sing at the opera at Franfort-on-thappeared
me in the Barber of Seville, on the previous Friday. Georgia and Alabama, and ending in Tennessee. and Gtze, the tenor, have recently in opera in
7th, 1815.born
e was rn iin Mlheim, on the Rhine, on August
- - -- - that city.
THE Chicago Auditorium was inaugurated on Decem: A RECENT Lamoureux concert in Paris included in
ber 9th by a concert, at which the Festival Ode, by its programme Schumanns E flat Symphony, four
F' BurmeistER played the Mozart pianoforte Mr. F. G. Gleason, was heard. Mme. Patti sang Home,
antasia in C minor and the C major Fantasia by Sweet Home and Eckert's Swiss Song. Mr. excerpts from Die Meistersinger, air from Gluck's
Schumann, atthe ninth Peabody recital, in Baltimore, on Clarence Eddy presided at the organ. The opera season Orpheus, overture to Tannhuser, and Waldbeben,
from Siegfried.
December 6th. on
the 10th, with Gounod's Romeo
WaS
ti The Iowa Music Teachers held their annual conven and Juliet. Mme. Patti and Ravelli filled the chief
At the Mozart Concert given at the Leipsic Gewand
on December 5th, the anniversary of the master's
in Des Moines, from December 31st to January 2d. rles. Tamagno, the great tenor, made his dbut on haus, death in 1791, Dr. Reinecke played the pianoforte con
". . It offered the usual variety of interesting and the 11th, in Rossini's William Tell. Mme. Albani certo in D. The symphony in D, that had its first per
important papers for discussion, as well as musical appeared the next night in Faust. Il Trovatore." formance, in Leipsic, on May 12th, 1789, under the
features. and Lucia completed the week's performances, to composer's direction, was also given.
T EI E E T U D E.

THE LIBERATION OF THE RING FINGER, fourth finger better and higher. You would bestow a That the flexibility and independent motion of the
great favor on me if you would publish in your valuable fingers of different hands is very different is a fact well
BY EMIL BRESLAUR. paper, the Klavierlehrer, the chronologic history of known to everybody. Mark the coarse and awkward
Translated for THE ETUDE, from The Klavierlehrer. that question as far as it has reached the press. motion of a working man, and compare it with the
- Here in America much has been written in favor of dexterous finger-movements of a pianist, and you will
In the year 1882, an attempt was made to perform the it and but little against it. imagine the difference in the condition of those tendons.
operation on a pupil of Mr. Zeckwer, director of a well The friends of the question call it a great advantage As similar as it is in childhood, so different in manhood,
patronized music school in Philadelphia. According to for pupils, especially in passages of thirds and double according to the degree to which the fingers are prac
the statement of Dr. Forbes, Professor of Anatomy of trills, where the third and fifth finger are held down the ticed. The index is used more than any other finger,
Jefferson College, the result was supposed to be a suc | moment the fourth and second have to strike. The op wherefore the tendon connecting it with the third is so
cess. Previous to the operation, the ring finger could be ponents, however, claim that the result in many cases is insignificant in proportion. The tendons of the other
raised but a quarter of an inch, while after it a whole unimportant, if not negative, and that the cutting of that fingers offer the less resistance the more they are used
inch. Even its strength was increased. Several years tendon must necessarily impair the side motion and independently in diligent practice. The independence
later, articles on that subject were published in various strength of the little finger. they can obtain is truly marvelous. But natural talent
-

American papers, more especially in the musical-peda | Therefore we may ask: and indefatigable zeal are required, these two will and
gogic paper THE ETUDE (Editor Th. Presser). They | 1. Have authorities in surgery given their opinion, or must cumulate in the highest degree of flexibility.
stated new successes of the operation, and emanated only amateurs or persons without sufficient experience 2 You will say that I might have dispensed with these
from persons who had it performed on their own hands. 2. Was their judgment favorable or unfavorable? remarks, which have nothing to do with the Froebel
They were all highly delighted with the ease with which The tendon in question varies in regard to largeness, operation, and are facts which you all know to be such.
they could handle the ring finger. Despite these appa position and formation in different persons. It may be You are right; but yet they are not superfluous. They
rent successes, I could not suppress the doubts I had, and presumed that, in the course of musically gifted genera. show what fruits constant practice can produce. The
warned persons who, dazzled by those statements, were |tions, the tendon is gradually lengthened so as to offer results of constant practice are the same with all the
tempted to try the experiment, to wait until medical|less or no resistance to the effort of raising the fourth members of the human body. Strong tendons cease to
authorities had pronounced it perfectly harmless and finger. offer obstacles to the highest development under those
satisfactory as to the results. I promised to induce | A lady teacher who visited me proved to me that she circumstances.
German surgeons ef repute to give their opinion on the could raise the fourth finger as easy and as high as the The operation in question would be of little use in
question. My request was cheerfully granted, and I third, and said that she had never experienced any dif. hands possessing strong and broad tendons; it would be
received reports from four such authorities, which I |ficulty in that way. of more use in a hand with highly-developed flexibility;
hereby submit to the reader. Yet with the great majority the difficulty of raising but even then it could not be recommended, for while
Dr. Israel, leading physician in the Jewish Hospital, that finger is still a great obstacle to a speedy technic de practice will furnish the same result, the treatment of
thinks that, although the operation is perfectly practical, velopment of it; even Dr. Adolph Kullak, in his AEs. the hand of a virtuoso by surgery would be objectionable,
he would never encourage it to be performed on a person|thetik des Klavierspiels, calls the fourth finger unfrei, for the slightest damage would become a vital question.
whose hands are in a healthy condition, because the schwach undsteif, requiring three times as much prac But where an innocent, although more laborious, treat
most innocent operations might lead to very unpleasant|tice as any of the other fingers. In San Francisco alone, ment has the same effect, I would never advise an opera
results, such as suppurations, results which might en at least 200 persons, if not many more, have undergone tion, however harmless it may be. Under peculiar cir.
danger the free and perfect use of the hand of an artist. that operation. As the operation has resulted already cumstances, an operation might exceptionally be per
For that reason he does not favor the recommendation in much mischief, as many persons were induced to be formed; then the tendons between the third and fourth
of the Dr. Forbes Operation. operated upon merely in the hope to save years of prac. and fourth and fifth might be cut and the cure of the
Dr. Kuester, Professor of Surgery at the University of tice and become brilliant players in a short time, it wound by proper treatment effected, but the operation
Berlin, considers the operation also perfectly practical, would do a great deal of good to obtain the judgment should never be performed by hands which are not per
and if performed carefully, certainly without any danger. of a good, sound German authority on which reliance fectly schooled and practical.
Yet he did not think himself competent to give an could be placed by persons engaged in the discussion of Herewith, dear Sir, I have given you my views on a
opinion as to the result in regard to technics, unless he that subject on this continent. subject in the treatment of which we lack practical
had performed it himself first. Hoping your kind fulfilling of my request, I remain experience in Germany, most probably also in Europe.
Med. Counc. Dr. Hahn, leading physician in the most respectfully yours, E. voN ADELUNG. A more detailed communication of results as observed
hospital at Friedrichshain, thinks that the operation may | Dear Sir:-It is impossible for me to answer briefly in America would be of interest, but such statements
be performed safely, but that possibly the greatest pre your question in respect to the liberation of the ring finger would have to be divested of all enthusiastic impulses
caution must be taken. Whether the operation would | by an operation. The idea to remove the obstacle of free which might have dictated them.
lead to a freer and stronger use of the fourth finger would motion of the fourth finger by an operation, is very nat. With great esteem, your devoted
be seen when, as he hopes, he will have an opportunity | ural, and undoubtedly was discussed by many before Dr. DR. HELFERICH.
to experiment to that effect on corpses and on the living. | Forbes, in Philadelphia, proposed to carry it out. Greifswald, Aug. 5th, 1889.
However, under all circumstances, he would not choose | It, furthermore, is beyond doubt that Dr. Forbes was ---

virtuosos for his first experiments, but beginners; as a the first to perform the operative liberation of the ring THE MISUSE OF MUSIC,
possibility is still there that, under circumstances, the finger, and recommend it enthusiastically to pianists. I
operation might result in a deterioration instead of amelio shall attempt to show the position that modern German I DISPIs E all superficial, frivolous music, and never oc
ration. surgery takes to that question. cupy myself with it. The object of music is to strengthen
Privy Sanitary Counsellor Dr. Langenbuch, leading | The peculiar difficulty of a free motion of the fourth and ennoble the soul. If it does else save honor God
physician at the Lazarus Hospital, warns against the finger may be perceived on every living hand. The and illustrate the thoughts and feelings of great men, it
operation performed by a bungler, as, although otherwise pianist is most aware of it, but the conditions may be entirely misses its aim. But what shall I say of those
men who, gifted with the divine power of creating music,
harmless, it might endanger the hand, the arm, even the traced easily if, when forming a fist, you try to stretch misuse their power in a contemptible manner? There
life of the person operated upon. and lift each finger by itself. The success is the smallest are such men, however, on whose ingratitude it is im
The publication of these opinions had been delayed with the fourth finger, but the ability to stretch is im: possible to look without indignation. And their works
for various reasons, until I was reminded of it by a letter | proved if only one of the neighboring fingers is lifted alone are those that deserve the epithets, enervating, de;
moralizing. But, should any one pretend to say that all
which I received from Mr. E. von Adelung, from East also, and still more if both of them are stretched simul. music is a frivolous luxury, he may rest assured that the
Oakland, Cal. taneously. An anatomic expression of that difficulty, so frivolity, and other defects besides, are to be looked for
in his own breast and not in the nature of music.-Mo
In order to obtain also the judgment of a foreign au- to say, is the connection of the tendons between the third, rales.
thority in the field of surgery, I applied to Professor fourth and fifth fingers, which may be easily felt and even
Helferich, Dean of the University of Greifswalde and seen on the back of each hand, near the third joint on Musical student, ploddin gat your work eight and
Leader of the Chirurgical University Clinique, and re. the base of each finger, whenever a finger is alternately ten hours a day, you are both gaining and defeating an
quested him to give me his opinion on the question, bent or stretched. object in your career. Technique is a great deal; in
communicating to him, at the same time, the above | Dissection shows these tendons regularly at the place these days of specialism, technique is the most important
to acquire, but it is not all. When you have acquired all
mentioned statements, together with Mr. von Adelung's mentioned, and each anatomic chart gives you an illus. possible technique, you will see that it is a means and not
letter. He readily complied with my request, and thus |tration of it. But in its details the illustration shows a an end; you must have something to say with it. Back
I publish herewith Mr. von Adelung's letter and Prof. marked difference. Sometimes the tendons are broad of the technique there must be a mind, a heart, a soul,
Helferich's kind answer:- and stiff, other times, long and thin. Even between the and if you are developing the fingers and wrists only, you
will possess merely the bucket, without any well wherein
Dear Sir If I am not much mistaken, a subject second and third fingers you find traces of such a tendon, to use it. You must broaden your nature as well as
was discussed in the columns of the Klavierlehrer but always weaker than those between the last three develop your muscles. You must read, you must think,
several years ago, which for a couple of years has been |fingers. Consider, also, the fact that on the hands of new you must study history, you must form an acquaintance
much agitated in cities such as San Francisco, Phila | born children these tendons are nearly equal, and you nique with the arts outside of music, and then when your tech:
is developed, with a well-rounded
physique, you mind, a sympa.
delphia, Boston, and probably many others, viz.: the will be able to approach the conclusion which I am going thetic nature, and a healthy will step in the
operation on the accessory tendon in order to raise the to draw. arena fully armed and equipped, an ideal musician.
-
-
2O3
f the THE PRINCIPLES OF PIANOFORTE PLAYING, be '' by the various degrees of force he applies ing from various impressions on the emotional nature,
twell to the different keys, by the manner in which he com. which is the very soul of music.
Iward BY CHAS. F. BLANDNER. bines or isolates the different sounds. No peculiar V. Use of the pedals. * -

h the mechanical motion will give him this control over the VI. Memory, concluding with the last principles.
u will Extracts from an essay read at the Pennsylvania State Music keys, but only the artistic development of his musical VII. Truth and honesty, without which nothing can be
InlinC1.
Teachers Association, December 27th, 1889. accomplished in art.
don, . The second mechanical principle to claim our atten.
hood, WHEN we compare the present advanced state of the tion is the acquisition of touch by practice. The old
prac. pianoforte with that of the spinet, virginal, harpsichord, maxim, practice makes perfect, needs no further CONCERT PROGRAMMES,
or clavichord of the past, it becomes evident that the assertion. We would express ourselves better, however,
inger, mechanical principles now applied are far different from if we would say, correct practice makes perfect;
is *. those that were used for those antiquated instruments that practice which considers the joints, sinews and Drew Ladies' Seminary, Lyman F. Brown Musical.
Other out of which the pianoforte has been developed. muscles under training as belonging to an intelligent Director, Carmel, N. Y.
use: We have no time to follow this development from 1500 being, whose every motion is caused and directed by the Brief Essay, Beethoven and his Works; Sonata, Op.
dents
to 1750, but take the year 1753 as our starting-point, the brain, and that looks to the mind as the first factor; such 2, No. 1; Vocal Solo, Adelaide; Sonata, Op. 2, No.
year in which Emanuel Bach, published his True Art practice alone can be called correct practice from which 2, Allegro Vivace; Vocal Solo, Song of Penitence;
talent How to Play the Clavichord, for that was the in good results may be expected.
strument most in use on the Continent, and continued so Sonata, Op. 2, No. 3; Second Symphony, II, Larghetto,
land To ignore mental activity is to consider the hand in two pianos, eight hands.
till the end of the century. Haendel, Sebastian Bach, training as that of an automaton. It is nervous force
Haydn and Mozart used and wrote for the Clavichord. that directs the mechanical force. Where this is ignored, By Pupils of Emil Liebling, Chicago.
their Marburg, in 1755, and Tuerk, in 1789, still wrote no amount of mechanical practice can add one particle Spanish Dances, Op. 12, for 4 hands, Moszkowski;
roebe clavierschools. It was Dussek who, at the beginning of of strength to the fingers. Scherzo, from Sonata, Op. 31, No. 3, Beethoven;
! such, this century, wrote the first Pianoforte School ever . Such a course of practice is false, and a mere waste of Gavotte and Variations, Rameau; Rigoletto Fantasie,
published. time.
They Liszt; Arabesque, Schumann; Elegy and Canzonetta,
Concerning the first mechanical principle, that of This leads us to some remarks concerning five-finger Op. 31, Emil Hartmann; Hungarian Fantasie (with
The touch in general, Dussek gives us little information, nor exercises and scale practice. They are most essential, second piano), Liszt; Rondo, Op. 138, for two hands,
All the did Mueller, in his Pianoforte School, published in only however in so far as the mind is engaged in their Schubert; March and Hunioreske, Op. 83, for four
3888 to 1804. It was Muzio Clementi who, in the first decade of execution. Let a beginner play the simple five-finger hands, Spinlied and Tarantelle, Op. 33, for four hands,
those this century, developed the art of pianoforte playing to a exercise, C, D, E, F, G, F, #
D, C, and continue to German Rounds, Op. 25, Nos. 3, 4 and 5, for four hands,
high degree of perfection, so much sothat his great work, this; up to the tenth or twelfth repetition, the Moszkowski.
"Gradus ad Parnassum, published already in 1817, eys will be struck down by direct command of the mind. Emil
use in still holds rank as one of the first text-books of the art. Soon, however, the mind will become wearied and be Missouri Musical Academy, Springfield, Mo.
uld be Kalkbrenner and Hummel contributed their share, as numbed by the monotony of the repetition, and by the Gastel, Director.
ibility; also did Herz and Moscheles, and the mechanical prin. twentieth repetition will refuse to take part altogether. R. Shumann, Quartette for Piano, Violin, Viola and
while
ciples were considered fully developed when Czerny Then and there this practice should cease or be changed Violoncello, Op. 47; Mendelssohn, Aria from St. Paul,
came out with his Grand Pianoforte School, Op. 700. to some other motion; to persist in it up to a fiftieth O God, Have Mercy; Beethoven, Trio for Piano, Violin
lent of In 1852, Plaidy followed with his Technical Stud. repetition is a waste of time, in fact, a cruelty to the pupil. and Violoncello, Op. 1, No. 3; C. Pinsuti, King's Min
inable. ies, a valuable method for the formation of a firm 'he same in regard to scale practice. The ceaseless strel; Osborne and DeBeriot, Duo Brilliant for Piano
stion. touch, but overloaded with five-finger exercises, that running up and down the scales, after the mind has re. and Violin; Mozart, Quartette for String Instruments;
bear no reference to the higher style of execution, such fused to take part, is another waste of time, especially if Moncrieff, a Creole love Song; Mendelssohn, Capric
, treak as the compositions of Chopin and Liszt demand. we consider how much has to be imparted into and de cio Brilliant, Op. 22.
Opera. To meet this want, Theodore Kullak wrote his Octave veloped out of the mind,the feeling of rhythm, grasping Clarion, Pa. A. L. Manchester,
ial tit. School and his Op. 61. The most exhaustive treatise, power as to pitch and quality of tone, as to combinations State Normal School,
Mus. Director.
however, covering all modern demands in regard to of tones, harmony, ideas as to musical form, not forget
be pet. technic, was published at Leipzig, in 1857, Koehler's ting that important mental power, memory. {{Jadassohn, Piano, Kindertanz; Diabelli, Sonatine, in
|fourt: Systematic Methode. In this valuable work all per In presenting these views, we are not forgetful of an C; Bachmann, Piano, Village Fete; Hofer, Tarantelle
of the taining to touch is fully investigated and illustrated. Vocal, The Star; Manchester, Cradle
other view of this subject, which seems to be in contra Burlesque; Faure,
leratim hey are summed up in these divisions: Second fin diction to those presented, namely, that by continued Song; Dupont, Piano, Gavotte; Brachmann, Piano,
ger joint touch, knuckle-joint touch, wrist touch, elbow practice the mind is not called on for constant direct ap Walse; Shubert, Piano, Menuetto; Mendelssohn, Lieder
10tp: touch, combined second-finger and knuckle-joint touch, plication. That so-called nerve centres located some. Ohne Worte, No. 1; Torry, Vocal, May Flowers (Waltz
combined knuckle and wrist touch, and combined wrist where in the nerves of the fingers, arms, or spinal column Song); Hoelzel, Piano, Song without Words; Jullien,
w8 004 Duchesse; Jadassohn, Piano, Improvisation;
and elbow touch. Passing the fingers over the thumb, or are soon formed, which will take hold of the work, re Pavane Sonata,
the thumb under the fingers, extension and contraction lieving the mind of direct, application. That, like in Haydn, in D; Godard, Vocal, Florian's Song;
racia
of the hand, muscular motion of the arm and wrist in walking, or many other motions, we get so accustomed Kortheurer, Piano Duett, Marche Arabesque (from Ori
Suro'. change of position, fingers while sustaining to them, that we seem to do them almost involuntarily. ental Scenes for Orchestra).
bserve the same key, changing the fingers in rapid repetition of This is very true, and we read these viewsTouch
clearly set New York College of Music. A. Lambert, Director.
ement: the same key, the legato ' the staccato touch. In forth in Dr. Mason's excellent work on and
Germany, most of the Profession considered them as Technic. Nevertheless, we would still object to the Kjerulf, Beethoven, Sonata, F Major, for Piano and Violin;
apu's conclusive; yet how many instruction books have since over-use of five-finger and scale exercises as set forth by Himan', (a) Mein Herz and meine Leier; F. Ries, (b)
then appeared, how much has been said and written on Aloys Schmidt, some opuses of Czerny, Plaidy and Gounod, Aria (from); R. Joseffy, Poika Noble,
"this subject. others. Haendel, Auf Haer des Herrn; DeKoven, (a) Winter
IICH. We hear about the singing touch, the clinging touch, Lullaby; Meyer-Hellmune, (b) Flirting; Liszt, L'Afri
We object to them on account of their poverty of Calne.
the Deppe falling touch, the Wieck touch, the Leipzig musical forms and ideas. How much superior in these
and the Stuttgart Conservatory touch, the Boston Con respects are the easy Etudes, the Sonatina and Rondo. Conservatory of Music, Spokane College, Washington.
servatory touch, the Mason touch, and so forth; in fact, Here we find mechanical motion and musical form com Jecko, Song, Margery. Daw; Bial, Baby Polka;
there are so many claims set forth for various touches bined. In the practice of these, the nerve centres not Denza, Song, Come to Me; Mueller, Piano Duo,
that the inquiring teacher is at a loss where to look for only acquire command of motion, but are also stocked, so Glittering Spray; Mulder, Song, Staccato Polka,
the true principles, for, like the various systems of the to say, with musical ideas, such as will always be de Cowen, Song, A Summer Love Dream; Paul,
re:0: "#. they all contain some truth. - manded from a pianist in his future progress. Piano Duo, Caprice Characteristic; Liszt, Piano,
n: e would like to speak, however, of an error which We can only briefly allude to the second part of the Rhapsodie Hongroise, No. 2; Weckerlin, Song,
more or less pervades most of them. essay, the Artistic Principles. * Flowers of the Alps;. Molloy, Song, O How
len, A'early as 1811, Adams, in his "Pianoforte School for Mr. Blandner sums them up under the headings: Delightful; Mozart, Song, Who Treads the Path of
th: the Paris Conservatory, was the first to suggest that the I. A correct knowledge of our tonal system.
must
Duty; Kunkel, Piano, German Grand Triumphal
tone of the pianofort was subject to a great variety of II. Time and tune. March; Levy, Song." Esmeralda, the Gypsy Queen;
This 'P'ssion, color or nuances, and that all depends III. Musical form. Mattei, Piano, Grand Walse de Concert.
is it # the manner in which the keys are pressed or struck In connection with this principle Mr. Blandner writes:
work While there is some truth in this assertion, it
as led to many errors that have crept into many of our
The fact that musical form is entirely distinct from any
# other form, makes it exceedingly difficult to define it. GUSTAW LANGE.
13 * P'ent mechanical systems. In all other arts, the form to be applied is suggested from
. . We think that we have powers over the tones of our some material basis, be it the tree to the landscape THIS popular writer is dead. His Pure as Snow,
d: which in reality we do not possess. The painter, the human figure to the sculptor, the piled-up Heather Rose, Flower Song, are among the most
-' isbetween
often forgotten, or not duly considered, namely, rocks and vaulted grotto to the architect, or the actions popular light parlor music of the day. He has written
lat the performer and the tonal source of the of man to the dramatist. -
much more than is generally known. Only a few of his
'' the strings, a dead medium intervenes, namely, Even the poet, in depicting the passions of man, has to pieces have become popular in this country. His better
* key, with its various levers, springs, jerkers, and use the written word, oftentimes inadequate, to express grade of pieces are not heard at all. This, however, is
that the sounds of the piano are not like those his full meaning. How different in music, Where lan. true ofhundred most composers of salon music. Not one piece
inst * human voice, or like those of the violin and other guage ceases, music begins. in a
-
of Burgmller, Faust, Krug, Hermann,
which are under the immediate contact and Schopenhauer has clearly demonstrated that musical Merkel, Lw, etc., become generally known. Lange
im rol, of the performer. We forget that it is almost ideas, as expressed by musical form, are a distinct revela. has done much to crowd out a class of inferior writers,
t possible for us to impart any aesthetic qualification to
tion from the spiritual world. They cannot be mere who were far beneath him in originality and musicianship.
'. that in these respects we are dependent on idle fancies, for such ideas, revealed to and expressed by The young school miss who formerly played Grobe, now
' er of the instrument. Some ima ine that this one musician, are more or less felt and understood by ' Lange, and let us hope the future one will play
: obstacle can be overcome by a peculiar system of other musicians. The highest conception of musical form einecke, Jadassohn, etc. Lange's music is character
elt. and we hear about the round-tone touch, the does not need to associate this form with any other form, ized by a grace and spontaneity that is sometimes re
touch, the sympathetic touch, the sonorous seen or heard. - -
markable. He always has in sight a player of limited
-

ideas. the soft, velvety touch, and other such mistaken It is not necessary to say, these light triplets floating technic, and at times he shows where he could expand,
on th The fact is simply this: Let a child strike a ke over this melody are like the trees bordering the stream. but withdraws, as much as to say, I will that to others.
the : Piano, and let a master strike the same key with If such illustrations are used, we must remember that His Sonatinas and arrangements from Wagner's operas
alike me degree of force, and both tones are exactly they do not answer even as a comparison, but only as an are among his best pieces. He was born in 1830, and
some *.is, only in a series of sounds combined to analo died last July. He studied under Schumann and Loesch
*"usical form, that the master's touch will at once #xpression, depending on an innate feeling, result: horn.

---
2O4.
THE ET UD E.
HOW SHALL WE INCREASE THE RESPECT colleges in the country. But consider for a moment the better of him in worse ways, so as to make him an object
OF EDUCATED MEN FOR MUSIC AND average college curriculum. Mathematics, Latin, Greek, of suspicion to prudent parents. Who is to blame if the
MUSICIANS 7 a smattering of Natural Science, often twenty years college-bred clergyman and lawyer, looking on, despise
behind the times, perhaps a little French or German, him for a frivolous, untaught, nearly worthless, if not
BY JOHN C. FILLMoR.E. Logic, Rhetoric, Political Economy, Mental and Moral positively dangerous, fellow? Are they wrong? To be
Philosophy-these make up the course of study. If sure, they are unjust in supposing him to be a represent
Art in any, form is represented at all, it is by a few ative musician; but how are they to know that? What
THE future of music in this country depends largely weeks' study of Esthetics, with no application of prin data have they to enable them to judge that he is no ex
on the estimate placed upon it and upon its professors ciples, and perhaps by a limited amount of study of ponent of art in any way, and that he stands for nothing
by the educated men of the country. Before the tribu. English Literature. , this last is commonly ap but his own foolish vanity and ignorant pretension ? To
nal of the mature judgment of the most intellectual proached from the philological and not from the artistic them he is a musician; and they generalize (how many
minds and most thoroughly trained thinkers of the side, when any proper amount of time is given to it, times have we heard it?), Musicians don't amount to
nation, the art of music, and those who represent it, and is regarded as a scientific problem rather than an much, anyway. They may be pleasant enough fellows
must come; and on their final decision will depend the artistic product. It is but a very short time since some to men outside their own profession, but they are gener
place which music shall take in the intellectual life of of the most prominent Western Colleges gave their ally fast, and, at best, they are of no account.
the nation and the rank of musicians among those who students no o: knowledge of English literature than The other Professor in A- is a middle-aged Ger
labor for culture. Musicians must conquer, for them. could be obtained in six weeks' class-room work in man, Herr Tastenschlaeger. He is a man of large frame,
selves and their art, an honored place in the respect of Shaw's Manual 1. The pupils were not even introduced with an aldermanic front, protuberant cheeks, a rubicund
the best minds of the country, if music is to be one of to the literature itself, but only to somebody's brief talk visage, approaching to purple in the nose, an incessant
the really potent beneficent forces in the intellectual life about the literature. It is still possible for a young man smoker and a guzzler of enormous quantities of beer.
of the future. to graduate from many an American college, so In his own country he was unable to take any rank as a
It is not too much to say that the place now occupied called, without really knowing anything of the works of musician; he heard a great deal of music (one cannot
by music and musicians in the esteem of a large major the great artists who have used his own mother-tongue help it in Germany), and by virtue of having heard and
ity of American educated men is not one of honor. I as the means of expressing their inspired conceptions. seen things of which his neighbors are ignorant, he looks
think the average college-bred man would almost as Still less does he know of Art in general, or of the dif down upon them with most hearty contempt. His touch
soon see his son become a professional athlete as a pro ferent arts into which it divides. As to Music, or Paint upon a keyboard is very much as if a goat were to jump
fessional musician. He looks on concerts and operas ing, or Sculpture, his college has done absolutely noth on it suddenly. He pounds intolerably. It is twenty
as more or less pleasing entertainments, and on musi ing to make him any more intelligent in regard to them years since he came here, and during that time he has
cians as purveyors of amusements of which men who than is the veriest clod-hopper. When we consider, been as completely cut off from the musical world as if
occupy themselves with more serious work may well further, the sort of material which makes up the average he had been Robinson Crusoe. His favorite composers
enough avail themselves for occasional relaxation, but college class, we shall cease to wonder at the density of are Herz and Kalkbrenner. He puts all his pupils
which are beneath the earnest, thoughtful attention of the ignorance of any form of Art which prevails among through Bertini's instruction book, and is supposed by
men who have solid work to do. They look upon those whom we find ourselves obliged to call educated his neighbors to be extremely thorough. It is true,
music-teachers as men who are needed to give their men, and who, for some purposes, really are such. I nine-tenths of his pupils have no interest whatever in
daughters an accomplishment desirable for display in know not how it may be in the East, but in the West, their music. To them, as to him, lessons are an intol
company, but who are of no other possible value to the larger portion of the country, few undergraduates erable bore, accompanied by loss of patience and temper,
society, and are dangerous enough to bear close watch come from families where they could have obtained any and followed by no results of any importance. But,
ing. They would consider it worse than a waste of time experience in matters of Art, to supplement the defi. what of that? He has his routine, to which he sticks with
for their sons to study any musical instruments. They ciencies of their college training. Their parents, whether the persistency of one who is in a rut from which he has
have never thought of such a thing as putting an intel. poor or rich, are generally uncultured, and would con neither the desire nor the ability to escape. This is his
ligent musician on a par, intellectually, with an intel sider any form of Art as a frivolous pursuit for a young notion of thoroughness, and most of his neighbors give
ligent clergyman, lawyer or editor. Of course, I do not man. It is not to be expected, therefore, that these him credit for what he claims. But there are a few, in
mean that there are not some, even many educated men, men can look upon music as a high calling, or upon cluding the educated men before mentioned, who have
who have obtained, either by special study or special musicians as the equals of lawyers, doctors, clergymen learned to believe that the first problem in teaching is to
opportunities for hearing good music, a more or less or tutors, much less college professors. And as all interest the pupil, and that success in this particular is at
adequate notion of the true place of music among the these classes have to be recruited from the ranks of least as important as all the rest. They think, also, that
arts, and of its relation to other departments of intel these same graduates, the evil perpetuates itself. Each systems of teaching ought to exist for the sake of the
lectual activity; nor is it to be thought that there are generation of students is taught by an ignorant genera pupils, and not pupils for the sake of the sys:
not musicians who thoroughly command the respect of tion of former students, and so, as far as Art is con tems. They, consequently, find themselves unable to
all with whom they have to do; but it is true that the cerned, the blind lead the blind, and both fall into the feel any profound respect for Herr Tastenschlaeger or his
average college-bred man has no appreciation whatever ditch. work, or to believe that it can result in anything valuable.
of music in its higher sense, and no data for forming an But there is another and a still more deplorable cause In this same town of A-there are several choirs. . In
intelligent estimate of it. He naturally, therefore, for the inferior position occupied by music and musi one of these, Miss B., the principal alto, has just left,
looks upon it with indifference, if not with contempt, cians in the esteem of educated men, viz.: the unworthy because Miss C, another alto, persistedin going to church
and regards average musicians as inferior men, un character of an immense proportion of current compo. early and taking possession of Miss B.'s seat. In another
worthy of the respect which he accords to representa sitions, and of many musicians. Look at the Sunday choir, Mrs. D., the leading soprano, is angry because
tives of the so-called learned professions. School books, and the countless collections of meaning. Prof. X., the leader, desires her to sing the solo in the
The causes of this lamentable condition of things are less trash which find their way into all the choirs of the anthem which opens the next service in a faster :
not far to seek. Of course they are not to be found in country, and at the piles of sheet rubbish which load than she likes it. She intends to leave next week.
the nature of music itself. We know, in common with the shelves of every music dealer, and are to be found Similar incidents occur in the other choirs. The college.
all thoroughly trained musicians, and all competent on every piano. How can this stuff command anybody's bred pastor of the church where Mrs. D. sings looks on
critics, that the compositions of the great Masters respect? It is true, the average educated man has not |impatient and contemptuous, and says to his wife:
belong in the very highest rank of intellectual, produc the training to enable him to judge of it properly, but if | Musicians are the most jealous, envious, irritable peo:
tions. We know what intellectual grasp, and power, he does not see its positive faults, he at least sees its |ple on the face of the earth. I'm glad my girl can't
negative
it, gives ones;
him noif inspiration,
it does not grossly offend him
him, nothing
at least sing;
rather and as toshovel
my boy becoming all hisI would
a musician,
and insight; what long-continued, severe mental dis.
cipline; what life long experience, and, above all, what and shows see him gravel on a railroad life.
transcendent genius went into the production of the which he must admire, and which he can come to love. How should this clergyman know that three-fourths of
Messiah and the Ninth Symphony. We believe, as and delight in. He cannot be otherwise than indifferent the trouble, withh .Miss B., Miss C., Mrs. L.
D. an
and -

firmly as we can believe anything, that Handel and to such music, and to those who compose it, as well as Professor. X, arises from the ignorance
Beethoven and their compeers, are worthy to stand to those who profess to enjoy it, even if he does not vents their being musicians in any proper sense?
''
beside Shakespeare, and Dante, and Homer and Goethe. know enough to despise it and them. Then, too, he have just that little knowledge which is a dangerous
We believe that the creative genius of the artist is the finds himself unable to feel any great respect for most thing, and which, in their cases, is a bad thing, and
highest manifestation of intellectual energy; and that, of the singers, players and teac whom he meets, does them harm. They do not know enough to know
- -

if anything in this world is worthy of attention, Art is so. and who are, to him, the only representatives of the that they are ignorant. But how is the pastor to know
We believe that, among the arts, that one to which our musical art. The whole country is dotted with towns of that the difficulty is not that they are musicians, but that
lives are devoted is not the least worthy of the energies which A- is a specimen. In A-there are two prom. they are not musicians?

of the best men. We believe that any young man who inent male music teachers, who call themselves, and Having thus clearly seen the causes of the prevalent dis.
- - - - - - - -

devotes himself seriously and thoughtfully to the study who are called by their friends, Professors, besides a respect of music and musicians, it is easy to point out the
of music, and the earnest and sincere purpose of mak host of young women teachers of all grades of attain remedy, though the application of it must necessarily be
ing the best that has been done in musical Art his own, ment. Professor X, is a young man of decided a slow and difficult process. * *

is pursuing as worthy and noble a course as he who music musical gifts, who might have known something of If sensible men despise ignorance, vanity, and jealousy,
- - -

devotes himself to the ancient or modern classics, or to if he had put himself under competent instruc. let those who have to do with music show a conspicuous
natural science. We believe, too, that the process of tion and applied himself to diligent study for a sufficient absence of these contemptible qualities.
mastering the science and art of music involves, as length of time. What he did was to become a clerk in Jealousy comes largely of wounded vanity, and there
much mental discipline as can be acquired in any other a music store, practice piano and cabinet organ at odd is no so great breeder of vanity as ignorance. I have yet
branch of study. The truth is, that wherever there is spells as suited his fancy, become a fluent player of to see any thoroughly intelligent musicians who show any
-

mental exertion, systematic, prolonged and severe, men ordinary cheap music and accompaniments and set up more vanity or jealousy than do clergymen, or lawyers,
tal discipline results. . If any, man supposes he can as a teacher: , Perhaps before he became a full-fledged or doctors. The temptation to these faults beset poor
become a thorough musician without fulfilling these con: Professor, he spent three or six months at a city human nature in every profession. The musician has
ditions, he has only to make the trial to be convinced of "Conservatory, where he learned that the proper thing the additional danger of a sensitive, excitable tempera.
the contrary. Witness Handel, who wrote and studied to do with pupils was to put them through the five-finger ment; but, in spite of this, I, for one, have never known
incessantly from the age of seven years, but who never exercises of Aloys Schmitt, the Etudes of Duvernoy and more admirable instances of generosity and magnanimity
wrote one of his immortal oratorios until after he was Czerny, and perhaps of Stephen Heller. He has heard that than I have seen shown by musicians to men in their own
fifty! It took forty-three years of practice to enable there were such men as Beethoven, and Schumann, and profession. If we look at the great representative men
him to write The Messiah and Israel in Egypt. Chopin, but he never played a measure of the works of in musical history, we shall find as little to blush for in
But these truths, so familiar and so inspiring to us, either of them. His playing and teaching aim atthe fluent our own profession as can be found in any other.
are utterly foreign to the knowledge and experience of and showy delivery of taking parlor pieces, of no espe: | But it is not enough for us musicians, in order to com:
the average college bred man lll America. This must be cial significance. He has had no intellectual training, and mand such respect as we desire from educated men, t?
so so long as our higher education remains in its pres:
no desire for any. He likes to be surrounded by silly|confine our self-training and knowledge to purely musical
ent condition. We must, for our present purpose, in young school # and to win their admiration by his subjects. Thorough musical and efficiency is
clude among educated men all the graduates of all the vivacity and gallantry. Perhaps his susceptibility gets the much, and is absolutely indispensable; but no musician
2O5
~ ~
THE ET UD E.
in and ave the highest intelligence, even in his own and foster a love of the best music in the communities pleasures of perfection in one piece, you will be sure to
blamei: : without a deal of knowledge, of other where we live. We can use our influence to prevent aim at it in all your work. -

0n, things. A really intelligent musician ought to be able to traveling artists who come to us, from playing claptrap, 26. Have confidence in yourself, but keep vanity out
less, if: make a critical estimate of the comparative merits of and can refrain from playing it ourselves. of the heart. - - -

Jng: l'. compositions. This involves a master of Esthetics; but In short, if we could increase the respect of educated 27. Carelessness informing habits, negligence in doing
a repress #sthetics is a branch of Metaphysics: men for music and musicians, we must present to them your work, indulgence in vanity or in envy while engaged
One can really do nothing in criticism unless he has at
music which is thoroughly worthy of respect, and must in your musical studies, is sure to affect your whole
hat? W.
he is Mt. command a sound doctrine of Mental Philosophy. But use all wise means of exciting their interest in it; we character.
for Mik in order to study this intelligently, he must go through a must ourselves deserve their respect; and we must see 28. Keep your music and piano in good order. The
insion! .
long course of preparation, such as our colleges furnish in to it that, so far as our influence can accomplish it, the piano-lid reveals character. Have your piano tuned
(how me the linguistic studies of the curriculum. It is extremely future college graduate shall become as intelligent in Art, whenever it is needed.
tam, desirable that every professional musician should have: and especially in music, as he now is in science, and that 29. Be punctual in coming for your lesson.
Pugh'." in addition to his special musical training, a really liberal the future musician become a liberally educated man, of 30. Never be afraid to ask questions.
education. the broadest and deepest culture. 31. Be cheerful while being corrected.
; :#
This need is felt and met in at the present day.
All the prominent musicians of the new school, since
32. Begrateful to all your teachers, for they are good
eage. te friends of yours.
Mendelssohn, and including him, are University bred USEFUL HINTS, 33. Study harmony and musical history. Without the
larges men; and such now felt to be indispensable.
hania: mastery of these studies you will always be a one-sided
animta, We can no longer work in the naive, childlike, semi BY KARL MERz. musician.
les of k: instinctive way of the earlier musicians; we must have 34. Read good books on music and musical journals.
ly ranks, a powerful intellectual grasp of principles to which we CHoose from the following hints, or, if you wish to do Read also good books on other subjects.
One tails consciously refer. It is not that we are to throw away so, they may be lengthened out considerably. These, 35. Hear good players and singers whenever you can.
ghearia freedom and spontaneity, but these must come, now.a. however, are regarded as sufficient for such a circular as 36. Mingle among musicians, converse with them
ni, heli days, through a different and a broader school of train. you mention: about your art. Seek the instruction of more than one
His: ing than was possible a hundred years ago. How can 1. To master an art requires much time and close appli teacher, for every good teacher has his or her points of
eretoja educated men respect as equals men who can give no in cation. Be diligent. superiority. Never belittle another teacher or his work.
it is tre: telligent account or estimate of the subjects which occupy 2. Do not constantly look at the end of your studies; 37. Be more than a mere player or singer. Be an
time heir their attention; who can tell them nothing of the relation look more to the daily steps you take. Do your daily intelligent, many-sided musician; a thinking and fine
| worlds: of their own art to other intellectual pursuits? Musicians duty as well as you can, for then will you at the end of feeling musician.
!com:
must be the instructors of other men in these matters; the year have cause to feel satisfied with your progress. 38. View your art as a precious gift. See to it that
his Ph. how can they be so if they themselves are uneducated. 3. To attempt to do in one day what ought to be done you use it properly, nor be guilty of neglecting to thank
''': Further, the technic of composition has been placed, in two, crowds your work and overtaxes your strength. the Giver.Musical World.
lt is "a by the researches of Helmholtz and others, in the most This is sure to lead to bad results. Neglect, therefore,
whateve intimate relation with the science of Acoustics, which is none of your daily duties. [For THE ETUDE.]
fe anim: only a branch of General Physics. No musician can 4. There is no short cut in mastering an art; there THE TOTTERING ARM.
nile: afford to neglect this side of his training; every one are no jumps |
ince. 5: ought gradually to make himself familiar with the rela 5. ' matter how gifted your teacher may be, re. BY CARI, E. CRAMER.
sticism: tions of music to this science also. Our collateral stud member that you yourself must labor hard in order to
hich held must range from Physics to Metaphysics; there is knowl attain success. LITTLE observation will show that all persons who are
This sis edge in these fields which we ought to regard as indis. 6. You have no right to expect your teacher to take
ghbors: pensable. a deep interest in your progress, if you yourself are not afflicted with the so-called staccato habit have a stiff
eader: These requirements are high ; but he who would de interested in your studies. wrist and tottering arm. Therefore this disease should
l, whol: serve high rank among educated men must demand no 7. Remember your parents spend their money, while be called tottering-arm habit rather than staccato
aching: less of himself. your teacher spends his time, in order to advance you. habit, as the tone produced by it is not staccato tone.
ticulari: This we can do; we can daily increase our musical Use these means conscientiously.
knowledge and our intelligence in related subjects; we 8. If you do not mean to be a good student, do not A real staccato tone requires a legato foundation. Wrist
can daily grow in character, in experience, in skill in the begin to take lessons. - staccato cannot be discussed here, as it requires a loose
special work we have to do; we can make ourselves 9. Have regular practice hours, and never deviate from wrist, and persons having a loose wrist have necessarily
thoroughly worthy of respect; and when we do, we are your plan of work, unless there is a good cause for it. a firm arm, and cannot execute the tottering arm move.
absolutely certain to be respected by all those whose re. 10. Never practice listlessly; always have your whole ment. Consequently, by training the wrist and arm the
spect is of any value. That there will be a constantly in mind and heart in your work. Know what you do, and
creasing number of musicians who aim at the highest why you do it. Always hear yourself while practicing. tottering arm becomes an impossibility. Besides, pupils
character and standing, I do not doubt, and wherever Watch the tones you produce. 'an, without danger of spoiling their touch, take a great
such an one works it will constantly become more and 11. Practice slowly, for thus alone will you secure a
more difficult for ignorance and quackery to succeed. correct impression of a composition. many pieces much earlier, as all chords and repeated
Further, on our views of the needs and duties of our 12. When practicing by yourself, count loud and evenly. tones, etc., can be struck from the wrist, thus having no
profession depends largely the character of the next gen 13. He who uses bad tools is almost sure to do poor influence whatever on the finger touch. The habit of
eration of musicians. must see to it that our influence work. The pianist who fails to play technical studies, tottering arm can only be corrected by wrist and arm ex
tends powerfully to secure in those who are to be the will play with a stiff hand; he will do poor work, Play. ercises. It generally requires time to learn even to move
teachers and composers of the future the necessary ing technical studies is for the pianist what the sharpen.
'' for the broadest and most thorough culture. ing of the tools is for the mechanic. the wrist at all, but the tottering arm will disappear at
hat we lack in these respects can be improved upon by 14. Do not play a piece over ten or twenty times-try the same rate as the wrist and arm movements are de
those who are to follow us, and it is for us to see to it to master the difficult places. veloped. There is no necessity to discontinue the musical
that they do not come short through our negligence. 15. When tired or nervous, cease practicing. Take progress of the pupils by taking all music from them until
There is one other method by which we can indirectly care of your health.
do making music respected by edu 16, Watch your fingering. Good fingering is for the the touch has been corrected. Such a course tends rather
eated men. They must learn, not only to infer its value pianist what a good road is for the traveler: it facilitates to dishearten than to awaken the interest that should be
from the high character of the men who occupy them motion. constantly kept alive in their work. In most of the cases
selves with it, but to feel the power and beauty of it in 17. Always try to phrase correctly. it is unnecessary to speak of their bad touch, as it can be
their own experience. Now, this can be accomplished 18. Remember it is easy to acquire bad habits, but it overcome by proper exercises without their being con
either by getting them to make a study of music, or to is difficult to correct them. The correction of bad habits
put themselves in the way of hearing it. Constant hear. in playing or singing consumes much precious time. scious of it. If they ever know it at all, there is time
0k: ing of great compositions, properly rendered, will give Always do your work so that you may not have to undo it. enough after it has been corrected. All that is required
it's most intelligent men sufficient appreciation of the value 19. Strive to enter into the spirit of the composition is regular practice of the daily exercises on the part of
9f such compositions to make them respect and love them you study. By playing the notes merely, your playing is the pupil, and patience on the part of the teacher. Wait
at: heartily. It is a great defect in the college curriculum not artistic. Let music awaken in you sympathy and
ju!" that no provision is made for preparing students to be in: love. Unless it produces these results your studies are until the exercises act, and do not worry the pupils con.
telligent in matters of Art. It is beginning to be thought in vain. It is the object of your musical education both stantly by requiring them to do what is a physical im.
necessary to introduce college to the master to awaken and refine sentiment. possibility at their present state. It may be urged that
pieces of English Literature, and to study them from the 20. Study your lesson until you have mastered it.
*tistic standpoint in connection with the study of Esthe Then review the past work. He who neglects the pieces by continuing to allow them pieces the influence of
"c: ; why should not each college have a well-chosen learned is like the laborer who, after earning the money
collection of paintings and statues, and a series of con by hard toil, places it into pockets with holes in them.
the exercises is pacified to some extent and their pro
gress retarded, but by choosing pieces that require more
rts by artists, with lectures by a competent professor? After reviewing you may also try your skill on new things wrist and less finger execution, this influence can be re.
The students would thus be enabled to lay hold of the and practice sight reading. -

principles of Art, would know how to apply 21. Measure not your progress by the number of pieces duced to almost nothing, and whatever it is will be fully
in the various arts, and would have the beginnings you play, but '. the manner in which you play them, as counterbalanced by keeping them in good spirits, and
'"ture progress and attainments. Is not such a prepara. well as by the character of the music that you study. making their work a pleasure instead of a bore. The
tion in Art quite as important a part of liberal culture as a 22. Do not imagine that you are making '' by tottering arm is the only arm movement that hazards
Similar preparation in Natural Science? Can our culture attempting to play a difficult piece. Only what you can
*ally call itself liberal" while such a lack is so con. play well and what you know, that is your own; not what the legato tone, and produces a hard, metallic sound
'' What can we do about it? We can, at least, you choose merely to put in your portfolio. even when the digitals are mechanically corrected. The
'' to bring these ideas into currency, and some time 23. The playing of a concerto, or the singing of a great
they may become valid.
other arm-movements-lateral, rotary, and to and from
aria, represents as much brain labor, and surely as much the clavier-are a necessity, and have no influence on the
": '' thing we can do: we can see to it that when: patient toil, as does the mastery of a language or a science;
have
educated occasion to bring
or uneducated music
men, in to the
public or attention of 24. In your intercourse with fellow-students, as well finger-tone after their execution has become light and
private, we as musicians in general, indulge neither in jealousy nor graceful by practice. The difficulties experienced in
$'
'' good music. The best music always makes its in envy. Always put art before yourself; never put your using the first and fifth fingers on black digitals, nearly all
when properly presented. Pupils who would make self before art. The jealous and envious musician has the fourth finger troubles, and the execution of extended
one *hoven sonata
of them for tedious,but
anybody; we not
need can be set to playing
judiciously plant not true music in his heart, for music is love.
25. Strive to reach perfection. After tasting the chords, arise from the inability to use the arm and the wrist.
2O6
THE ETUD E.
PUBLISHER'S NOTES. every music teacher in this country. In my dealings ently, promptly and exactly, as they have been in my
with Mr. Theo Presser, extending over a period of four
with your house.
We have now a stock of metronomes which will be or five years, I have found him to be strictly correct in I shall do my best to recommend to every teacher of
disposed of at two dollars and ninety cents ($2.90) each. all his representations, accurate in his accounts, and my acquaintance your manner of placing music on sale,
They are of the genuine French of Maelzel, with most prompt and obliging in filling orders for all kinds as not only convenient, but, outside of the larger cities,
clockwork. Every teacher should possess a metronome. of musical merchandise, even such as would be difficult as the only possibility of working up to and maintaining
It is used by some teachers constantly, but its principal to procure. I can therefore cheerfully recommend him a high standard of both technic and art.
use is to determine the tempo of composition. If a as one deserving confidence and patronage. F. HERBST.
piece is marked J = 104, it is quite a satisfaction to OTTo SPAHR, Music Teacher.
know just exactly how fast or slow that is. The metro Have received pianoforte instructor, by J. H. Howe.
Copies of Masons Touch and Technic received. I like it very much. It is most excellent.
nome is also used for the practicing of the technic and
also pieces. . In five-finger exercises it is particularly I have for a long time used Mason's Technics with
the most satisfactory results.
With kind wishes, I remain yours sincerely,
Rive-KING,
valuable. It is to practice what keeping step is to mili. I find in Touch and Technic many new and valu
tary drill. On this subject we will shortly have an article able
setting forth the value of metronomes in connection heartyideas, and I am certain that it will meet with the NERWE CONTROL,
with piano practice. endorsement of all teachers who are interested
in securing for their pupils an artistic touch. In my BY ARTHUR M. STRAUB.
To those who have not yet adopted the two-finger ex opinion it should be the morning walk of every
ercises of Wm. Mason we would most earnestly advise a pianist, teacher and student. GILMoRE W. BRYANT. To become a successful performer on any instrument
careful study of a new work, which we will shortly issue, Your new work of Touch and Technic, by Wm. we must use such exercises as will strengthen our nervous
by W. S. B. Mathews. It is called the Twenty Les: Mason, came to my desk last week. I have carefully system. ...For instance, notice the average pianist or vio.
sons for the Piano, by W. S. B. Mathews. Over half examined it, and find in both the text and illustrative
the work has gone to the printer. The whole will be figures a decided
linist. He may have a much finer
finished and on the market about March. This work is improvement over the same exercises than his more successful brother who may be a virtuoso
in Mason's Technics. I have relied upon these of the first rank, but yet his nervous condition will not
quite a departure from the line of elementary work for ' of him becoming such a wonderful performer,
piano. A full description will be given in next issue.two-finger exercises to establish the principles of piano
The retail price of the work cannot now be determined,touch and technic more than any others, for the past ten e may strive to equal his brother in technic. And yet
but we will make the usual inducement to our patrons years, and I think that their importance will justify this the greater his efforts the further away he finds himself
who order the work in advance of publication. e will separate and improved issue. A careful and continued
from the '' innacle of his aspirations; and the con
sciousness o # musical superiority over his brother
send the book, postpaid, to those who send cash with use of them will satisfy any one of the correctness of the
principles set forth. J. W. RUGGLEs. harasses him at every turn, and he gives up in despair, to
order for only fifty cents (50 c.). Postage stamps of any become a worn-out, nervous teacher, while his brother
denomination will be acceptable. Order before you for. The five copies of Touch and Technic have been continues to steadily climb the dizzy heights of virtuosity
get it.
received, and I am truly glad to have these indispensable until his musical accomplishments far exceed those of the
Owing to the press of work, our engraver will not be two finger exercises in such a convenient form for placing former.
able to finish ' first book of School of Four-hand
in the hands of pupils. The illustrative cuts are very Now just look for a moment over the immense field of
Playing until February. Our offer to send the work for comprehensive and of great help in understanding the pianists and see for yourself if you wont find hundreds
25 cents to those who order in advance will therefore be
manner of practicing, the various touches. The print of teachers who have studied the same studies fully as
extended to February 1st. Almost every teacher can use and type are clear and the whole work attractive. many hours and certainly as conscientiously as either
a half-dozen copies of the work. This book will contain A. F. NEwlAND. Madame Rive-King or Carreno, and yet are
some of the best music written on five notes in the right
hand. You will not be disappointed in this work. The The publication of Mason's finger exercises with the fairly nothing but nervous wrecks, who, when asked to play,
"most careful work possible has been bestowed on it. It theoretical explanation of touch and technic is a mas. stumble through a piece and increase the tempo
until the mind fails to keep up with the fingers which, in
will also be presented in the best style of typography. terly work, and ought to be considered by every progres consequence,
Send cash with order. sive piano teacher as a great help in that difficult task of much confusion get beyond control, and finally end in as
forming artistic touch. as a child's block-house. In other words,
Those of our patrons who have selections of music they have taken their allotted nerve power and utterly
Your idea of such publication has, therefore, filled the ruined
from us on sale can have additional lots sent and the vacant space for our younger generation of teachers. it by practicing faster than the mindwhich is the
whole returned at end of the year. State what is needed No pupil, no matter-how well advanced, can afford to be base of all operations, whether musical or mechanical
most, and about how much. At the same time orders without a copy of Touch and Technic, and to the be. could travel, and consequently, a failure is the unavoid
for those pieces and studies can be given and the whole ginner it will prove a great saving of time and work. able result. While, on the other hand, there are such
sent by express, thus saving postage, and receiving the performers as Teresa Carremo or Camillo Urso, who are
EDWARD MAYERHoFER. steadily improving and astonishing the world with their
music in better condition than through the mail.
wonderful performances, everywhere arousing unbounded
Have just received your beautifully published Touch enthusiasm.
We have the blanks ready for Course of Instruction and Technic, by Mr. Wm. Mason, and have commenced Their success lies in the fact that they prac
for the Pianoforte. These blanks are for those teach tice slowly and have every piece or study under
a thorough and careful study of the same. It is just what
ers who desire to aid us in formulating a course of study
I have
for the piano. We desire lists of pieces and studies from an wanted a long time. Thanks for your persever. control of the mind, and thereby steadily improve their
musical conception, and at the same time build the
Ce. M. T. Wols EY.
experienced teachers. The blanks are to be filled out nervous constitution so as to have at all times great
according to the different grades. When writing for I have received a copy of your new edition of reserve power, which is largely the key to their great suc
them state how many grades in scale of ten is desired. Masons Touch and Technic ; it is decidedly the best, CeS8. word to the wise is sufficient, hence I will close
There is a blank for each of the grades. cheapest and most practical edition I have seen. I this article, written in the interest of the ardent but
A new oratorio, entitled Jerusalem, by Hugh A. regard, this work as the best for developing, finger sometimes imprudent student of virtuosity.The Song
Clarke, Mus. Doc., will be issued by us during this strength, sensibility of touch, and equality of finger Friend.
power, of any work I know of F. D. BAARs.
month. The work will be given in a short time by the
Philadelphia Choral Society. It is, perhaps, one of the I have used Mason's system of technics for the last ARTISTIC DEVELOPMENT,
most important works ever composed by an American. eight years with the most satisfactory results, and con
Choral societies all over the land should be interested in sider his the best, most practical and thorough work of DR. ADOLPH. B. MARX.
this new work, with a view of presenting something new the kind in existence. '' other works on the sub
and original. There are twenty-nine numbers in all, ject have their peculiar value, there are none which, like FROM the excellent work, The Universal School of
and the whole work consists of 240 pages. A full de Mason's, grapples so successfully with the mechanical Music, the following striking quotation is taken :
scription of it will be given in next tissue. The price of difficulties of the pianoforte, which yield even in the It is our duty especially to warn against that prurient
the work is $2.00. most obstinate cases to his system. It seems to me that vanity which in displaying difficulties overcome,
no other work can teach a pianist to acquire the posi and technical dexterities # solely with a view to
TESTIMONIALS. tion of arm, wrist, hand # fingers most conducive of astonish others. Nothing is more foreign to genuine art,
the required results in so short a time, and with equal which was given to raise us from the narrow sphere of
MR. THEoDoRE PRESSER:- thoroughness. T. L. KREBs.
---
personal existence and personal feeling to the region of
Having long used and valued Mr. William, Mason's Touch and Technic, by Wm. Mason, duly received, universal joy, love '' enthusiasm; nothing is more
Two-finger Exercises in my teaching, I am much pleased tested, and not found wantingjust what I have been inimical and destructive to all true love for and enjoy
to have them in a form which I can put in the hands of wanting. If we are ever to have The American ment of the musical art than this poisonous mildew
every pupil when the right time comes. Touch and School, why not use this method as one of the chief which spreads itself over the practice as well as the pro;
Technic leaves nothing to be desired in its make-up, corner stones? And Dr. Mason as the chief architect. ductions of that art; nothing is surer to drag the mind
the print and illustrations bein unusually. good. from the purifying atmosphere of artistic activity down
H. H. Johnson.
I shall expect to make use of many copies in future. to a close and painfully oppressive region of envy,
Very truly, AMY C. LEAVITT. I have received the copy of the Musical Mosaics jealousy and selfishness, than such an ill-concealed desire
It gives me pleasure to acknowledge the benefit I have edited by Mr. W. F. Gates, and am more than pleased to shine; nothing, finally, reveals more clearly to the
derived from my business intercourse with you. Your with it. I have seen similar books in other languages, intelligent observer the wide gulf that separates vanity
mode of dealing has been of the greatest convenience to but none compare to Mr. Gates' collection, nor with thefrom true perception of art, than this mistaking of an
me, living in a small town where there is no large music elegance of the edition as gotten up by you. Every in external means for a legitimate purpose. And yet, how
store, such as every teacher needs to draw from. I have #"
book.
person ought to have a copy of this excellent common are such vain desires and efforts in our concert,
KARL MERz.
taken THE ETUDE from almost its first coming out, and rooms and private circles! . How seldom is it the real
intention of our virtuosi and amateurs to delight their
have always received great enjoyment and benefit from I am much pleased with Touch and Technic, by hearers; how much more anxious are they to create
its pages. know of no musical paper equal to it, and Mr. Mason, as published by you. I have for several
cannot say enough in its praise. ... Yours truly, astonishment among the less-practiced or unartistic
years used the system with great advantage to myself crowds, by newly-invented sleights of hand, the legerde.
EMILY T. GILLILAND. and my pupils, and am glad to have it for pupils use, in
its present convenient form. mains of a Dehler, Henselt, Thalberg, or whatever may
W. B. Colson, JR, be the name of the latest twelve-fingered composer.
Young music teachers, like all other people just enter.
ing on a new business, often pay dearly for their experi After trying for several years to select suitable music, And how often do we find teachers encouraging such
ence. In our desire for something new, we frequently studies, etc., from catalogues, it is a relief to the con doings, in order to gain new pupils by applause obtained
buy that for which we find no use afterward, by believing scientious teacher to find a way which enables him to do in this manner. The lowest, most unconscious, and
in the representations of those who have the knack of so from actual knowledge. Allow me to express my merely sensual enjoyment of music, the most superficia
advertising their wares in the most conspicuous manner. appreciation of your endeavors in that direction, and to delight in a tripping dance tune is more artistic, noble,
This has been my experience, and I presume that of say that never before have my orders been filled so intelli and fruitful than this widespread abomination; a chaste
T EL E ET "U D E. 2O7
-
Jeen ins
and feeling performance of the most insignificant ballad, clock, warned me that the experiment had begun. I concerts and recitals come to an end. But the artists,
or the lightest waltz, is to a man of real musical knowl, played several selections, embracing the widest possible instead of moving in a body to the poorhouse, will give
teacher: edge, a better roof of the abilities both of pupil and variety of musical styles and moods, merely waiting be their concerts, O happy thought ! at home, under the
he Qia. tween them long enough for a new cylinder to be ad most favorable conditions, in their happiest moods, un
"gett's master, than those prematurely forced, and, after all,
exceedingly justed to receive the impressions when the old one be. fatigued by travel, undisturbed by rustling programmes,
|ainli, A proper cheap
artisticartifices of vanity.
education, - -

like genuine art itself, came filled. The sensitive glass diaphragm quivered, late arrivals, the conservatory students whispering on
does not aim at mere mechanical proficiency, which con sympathetic to every faintest vibration of tone. The the front seats, and the boys eating peanuts in the gal
Hims, recording needle traversed swiftly but noiselessly the lery. Prepared cylinders, bearing the signature of the
stitutes the merit of an artisan-nor does it, lay great
H. H. value upon mere external contemplation, which leads smooth surface of the revolving wax cylinder, registering artist, to stamp them as genuine, will be sent out from
away from the living fountain of art to dead abstraction; with absolute precision, not only all the music which I in every music room in the country, to all parts of the
but is directed toward the soul and essence of the thing, tended for it, but with delicate accuracy, subtler than the world, and the best renditions of the best music can be
"RKD", The task, which it proposes to itself, is to impart to finest sting of conscience on the most hyper-sensitive heard at any time, in any home, at no trouble and com
every individual, or at least to as many individuals in a human spirit, several little slips and blurs, and an occa. paratively little expense, - - -

nation as possible, a proper idea of the real nature and sional indecision of phrasing or slight inequality of touch, Turning from personal and pecuniary considerations,
object of art, and to ripen this perception into active life.
so infinitesimal that neither myself nor my most critical which form but a narrow basis on which to ground our
This task divides itself into two distinct operations. friends had been able to detect them before. opinion of a new and great invention, we shall find the
The first is to discover in the student the germs of artis When a number of records had been successfully taken, chief advantage for which musicians have to thank the
tic susceptibility and talent; to awaken and animate I changed my seat for an easy chair beside the machine, phonograph in the inestimable service done to all inter
them, to remove the obstacles tending to obstruct their and placed in my ears the double receiving tubes, which pretative art, by placing it on a par with creative art in
growth, and to train and foster them, so that they may a spring holds in place like a pair of spectacles, so that universality and longevity. There are two grand divi
become living powers. The second is to take from the the hands are free. One turn of the lever transformed sions, or, I may say, two hemispheres of music, the
highest artistic point of view, a survey of all that art is the machine from a recorder to a reproducer, and I be creative and interpretative; and between them flows a
intended to effect, or is capable of effecting, and has came the recipient of a revelation of the marvels of mighty sea, though many of the great musicians of all
already achieved. All this, or as much as each indi. modern science well nigh supernatural. Who has not es have been natives of both and had free right of pas
vidual is capable of receiving, is now to be imparted to often sighed with Burns, O wad some power the giftie sge from one to the other, and held equal honor and
the student. It is not the hand or ear only which it gie us, to see oursels as ithers see us! I had then the prominence in each. Others have been strictly confined
purposes to teach and train; but it aims at penetrating first opportunity of a lifetime to realize this wish, at least by nature to but one, and have found it impossible to
through the medium of the senses to the soul, and, by so far as my musical personality was concerned. flourish or to labor in the other. Now, these two hemi
exciting his feelings, awaken his artistic consciousness, The first thing I heard above the low hum of the ma spheres are equally fair, equally seductive, equally glo
Such is the task of a proper artistic education, sketched chine was the question, in my own voice, distinctly rec. rious; but that called interpretation has always suffered
in fugitive outlines; the training of the natural abilities, ognizable, Are you ready?'' I had forgotten asking it severely from one mighty disadvantage, from which the
of feeling and understanding, to the highest attainable just before beginning to play. Then came the music, other is wholly exempt. It has ever been subject to
point of perfection. This is the only means and indis clear and full, in a tone about as strong as that of a good periodical overflows from the great tidal wave of ob
ise field pensable condition of a really pure and complete enjoy. piano heard across a fair-sized concert hall, and in quality livion, which submerge every inch of its surface and
humi" ment of all the blessings which art can bestow; this is a nearly perfect reproduction of my own on the grand 1 obliterate every vestige of the labors of its inhabitants.
is filji, also, more or less, the clearly perceived aim of all those had been using. Every phrase was rendered exactly at Men of brilliant talents have toiled from childhood to
as the who devote their lives and energies wholly or partially the pitch and tempo of the original, with each minutest old age, and when the completed edifice shone resplen
yet in to artistic pursuits; this is especially, whether it be or be detail of accent, inflection, retard and crescendo, pho dent and dazzled even eyes that beheld it from the other
to phy not acknowledged, the undeniable and indispensable tographically correct, faultless in its nicety. These mu shore, and when fame came to dwell in it, suddenly it fell,
he tem: duty of every teacher. sical records once properly taken can be audibly reiter and the waters washed over it, and where it stood there was
which," ated an indefinite number of times, till the cylinder is no trace forever. No man could build him a temple so
2nd in # THE ETUDE.] destroyed; just as a letter can be re-read till the paper on strong, or could write his name upon a pinnacle so high,
terwork which it is written is worn out by handling; and such but with his death all record of his life and labors passed
ld me: CONCERTS AND LESSONS BY PHONOGRAPH, cylinders can be mailed to any and their rec. away and his works were lost utterly to the world,
lichis: ords made audible on any other machine at the other Meanwhile the works of his brothers on the opposite
bania BY EDWARD BAXTER PERRY. side of the world, and after a lapse of twenty years, as shore, though no loftier and no stronger built, towered
unaw: well as when the impression is fresh. A moment's re majestic, and but gathered glory with the passing years.
are : My Dear Etude:I feel convinced that many of your flection will show any reader what limitless possibilities Life in this land was sweet, but immortality was not
, who & readers share my own late ignorance concerning the vast are thus opened to the music of the future. there, and in search of it many migrated beyond the
with th: practical value and potential resources of this most won It has been my habit, and I think that of most musi. sea, there to labor in a climate less congenial and with
abounds derful of modern inventions, as applied or applicable to cians, when the possibilities of the phonograph have tools less effective.
hey pr: our own art of music, and will be interested in a brief been referred to, in conversation or in reading, during The phonograph is the ingenious little weapon by
abs' account of some experimental tests which I have recently the last few years, to feel a certain animosity to the little means of which the interpretative artist shall conquer
ove the made in this connection. machine, which, on acquiring full powers and coming death and win his way to immortality equally with the
uild ti During my last professional visit to Topeka, I was a into general use and repute, would seriously threaten the composer and the author.
es # guest in the house of the Western agent for the phono. career of the concert performer, and perhaps put an end What would the musical world now give for a few
Teat & graph, and was thus afforded the amplest opportunity to his vocation altogether; and it has been only our con cylinders bearing faithful record of the piano playing of
filto: for investigating in a leisurely and thorough manner the fident assurance that nothing of the kind was really Beethoven or Chopin, or of an aria by Malibran 7
lent #: capabilities of the phonograph in recording and repeat likely to happen that has given us peace of mind in this treasure-houses, which gathered and preserved for pos
#& ing pianoforte music; and I at once became convinced matter. But the most supreme skeptics must acknowl terity the precious tones as they fell from lips or fingers
that this machine, when fully developed and in general edge, on investigation, that the development and univer long since dust in their coffins. Had our recently de
use, which is sure to be only a matter of a few years, sal adoption of the phonograph are not only certain, but ceased great master of the pianoforte, Franz Liszt, lived
will cause a stupendous and hitherto undreamed of revo. imminent, and whatever view the musician may take of just a few years later, or had Edison lived but a few
lution in the methods and manner of the musician's the matter cuts no figure. The phonograph is bound to years earlier, we might all enjoy at will, in our own
professional work. be, though the whole musical profession should go to studios, that divine interpretative power, which, by those
I need not describe the machine itself. The leading destruction under its influence. We may as well begin who knew him well in both, is held to far outrank his
106 & newspapers all over the land have made all readers who by recognizing this fact, and having done so, we shall creative power, and which perished with himwasted,
Pretend to keep abreast of the times familiar with its see that a more profound examination of the state of lost forever, the only species of total annihilation known
form; its fundamental principles and its almost incredi. affairs, under the new conditions, shows a far more in the universe. *

"met ble claims, by means of more complete and more scien promising outlook for the concert performer than the
time,
From an educational standpoint, the phonograph will
jew'
tific descriptions than I have either space or technical first cursory glance. Indeed, it is my opinion that the prove itself of the greatest practical value. The pupil,
183!,
knowledge to attempt. I will confine myself, therefore, advantages resulting from the invention and establish at any distance, places himself in communication with a
* :
to an account of its practical workings and results in ap ment of the phonograph will far outweigh the disadvan leading instructor in Boston or New York, and is ad
*
plication to our specialty. tages, and that the musical profession will return the vised what to study. When the lesson is prepared, he
m0!?
: The machine was placed upon an ordinary light-stand heartiest vote of thanks to the little ally, which, when plays it into the machine precisely as he would to the
in my friend's music room, about ten feet from the seen approaching from a distance, was regarded as a foe. teacher, asking what questions he wishes, and sends the
nor piano; the small end of a mammoth tin funnel was at: Time was, when the Greek and Roman civilizations record to his chosen master. He in turn reproduces the
lder tached to the recorder by a rubber tube, the large end were at their height, that the man of ideas, with the pupil's performance, note for note, with the accompany
* *ing on the top of a high-backed chair, perhaps a power to express them in graphic language, was exclu ing questions, once or several times if necessary, and
mm.
*
yard from the open lid of the grand piano. Thus the sively restricted in influence to the few auditors whom then answers on another cylinder, playing passages here
III.
ne from the instrument was caught and focused upon he could gather at his lectures, within sound of his own and there as illustration, and interspersing comment,
The diaphragm, as the rays of light are gathered by a voice, and the fewer who had access to the laboriously criticism and advice as needed; at the end giving a
burning glass. I took my seat at the instrument, I must written manuscript copies of his works. To-day an au model interpretation of the work for the pupil to keep
confess, With more embarrassment and trepidation in
front of this mercilessly accurate reporter than I have thor's books are read wherever his tongue is spoken.
His public is the civilized world; not only in his own
and copy. He mails the cylinder to pupil, who repro.
duces the record as often as requisite, to gain from it all
'Yer felt in facing the most critical of audiences; for I day, but through all subsequent generations. The musi possible information and inspiration. Lessons by mail
felt that here one false note, or the least flaw in technique cian of the present is dependent upon his concert audi
would thus become entirely practicable, and in some
*rendition, would live, not, as in my concert work, ences, subject to the influences of the weather, distance, respects better than upon the present plan, as the pupil
only in the memory of some unfriendly listener, or the other engagements, etc., but the phonograph promises would at any time have immediate access to the advice
"spaper columns of some fastidious critic, but would to do for him in the future what printing has done for and example of his teacher upon any given portion of
*Peat itself indefinitely throughout countless perform. the literary artist, expanding immeasurably the domain the lesson or any composition which he had ever studied.
* bearing perpetual witness to a single mistake of his power and influence. It is true that at the present stage of development
whose discordant echoes could be hushed henceforward It is true, the day will come-nor is it far distant reached by the phonograph, the slight buzzing, scratch
... "Vermore! I had, in addition, the still more uncom when a person living in New Mexico or Washington ing noise made by the machine is a defect, but the ma
fortable and uncanny sensation which a man might feel Territory, by possessing a phonograph and purchasing a chine is being constantly and rapidly improved, so that we
"...resignedly seating himself before some demoniac few prepared cylinders, can lie at ease on his own sofa can look ultimately for the entire obliteration of this fault.
P'ent invention, which was to duplicate himself indefi. beside the cheerful fire in his own drawing room, and The writer confidently anticipates the day, unless rail
":ly, and thus reduce him to a cipher. listen to the finest music rendered by the best artists of road accident or Missouri hotel cooking should bring his
My friend touched the lever starting a little electric the great musical centres. And when that day comes, career to an untimely end, when he shall give concerts
*or a mere toyscarce larger than a ladys workbox, doubtless the traveling concert company, like the travel. and lessons from his Boston music room to the dwellers
and a slight buzzing sound, like the running down of a ing bard, will go out of date, and possibly all public in the Sandwich Islands by phonograph.

|
THE ETUDE.
existence of this precious personality, without which he comes necessary with a pupil, I would never encourage
FROM THE Discourse of M. THE PRINCE OF CHIMAY, PRESIDENT will not be able to succeed, and thanks to which, on the objective playing to the utter exclusion of all the subtle
shades of intensity which may exist in his bosom, for
contrary, he can aspire to success in the artistic branch every
oF THE BoARD OF OvKRskERs of THE ROYAL CossERVA composition worthy ofthe name possesses certain
ToRY OF MUSIC. DELIVERED AT THE COMMENCE he shall choose. elastic qualities which allow the player's own individ.
MENT of 1888. TRANSLATED FOR THE ETUDE I know that this is what our professors strive to do, uality free scope. I would place feeling foremost in a
BY MRs. FLORA. E. MATHEWS.
but one cannot too often call their attention and their musical organism-feeling, enthusiasm, sympathy, imagi.
nation, with a liberal amount of intellect and earnest.
In addressing myself to the teachers as well as to their care to this point. They ought to strive to train the neS8.
pupils, I wish to speak of a visible change which becomes personalities presenting themselves before the public; if A student should be urged to merge his whole iden.
more evident every day in the public taste, and should in the domain of composition, with a music drama where tity into the piece he is playing, for then and there only
have its reflection in the quality and direction of study. the music no longer figures as a sort of accessory accom. will he find out what that music will say to him, and he
At a certain period it sufficed to attract and interest the paniment, but becomes an active part and reveals must believe strongly also in the power which it may
a exert.
public by producing before it either an accurate work, poetic conception and a musical conviction; if it is in What voices first chanted to Pergolesi his glorious
or a mechanical execution, where the difficulty overcome the domain of execution, with a personal interpretation, Salve Regina, and where did Mozart hear the awful
showed real virtuosity. If I may so express myself, which shows the artist or producer himself, or, better, cries of the risen dead come to judgment?
musical acrobatism was in vogue, and any artist sure identifies him with the author of the work which he exe To convert others, one must first convert himself;
Cromwell, Napoleon, Zoroaster, Mohammed believed
of a certain daring of execution, any composer endowed cutesreproducing this work, not alone with the voice intensely in their own missions, and owed their influence
with some melodic faculty, would be able, with a slight or with the fingers, but especially in the thought, recom on the people to that belief.
complement of classical knowledge, to please a numer posing it, as it were, before his audience, and making it It is a good plan for scholars to learn and hear as
ous public and catch their applause. much music as they can, as they thus become bet
his, in order to place those who hear it in communica. ter acquainted with all that has been written. It is
-

But to-day all is different in this perilous career, tion with the spirit of the composer, and with his own almost better to risk being bitten by the snake of
crowded like all others, where excessive competition spirit, which ought not to confine itself to watching satiety than to become opinionated on the strength of
surrounds the success of all with uncertainty. The time the correctness of the execution, but must here play the four or five pieces, and show, like Miss Prigsby, in
Punch, a contemptuous tolerance for Rossini, a dis
of pure virtuos of composition or of execution is past. principal rle. like for Mendelssohn and a sardonic smile for anything
It is no longer sufficient to be able to produce a melodic It is to this point that artistic education ought to lead; that is not Bach or Brahms. .
phrase adequately accompanied, or a mechanical skill it is to form artists who may be themselves, and who Blow is an almost perfect conception of the objective
equally brilliant. It is demanded of composers, and, bring to the public before whom they present themselves artist, so was Tausig, but these gentlemen never im
also, of the executants, to be skillful and at the same the interest of their individuality. This is a task worthy parted a degree of novelty to their numbers. If the
| time poets. It is necessary that thought address itself to of our learned professors, worthy of our establishment, same piece chanced to be upon two programmes, the
same effect was producednever a change in the
thought, and that which was formerly the principal thing, which has in its annals many imperishable names, and it slightest degree.
the mechanical skill, shall be only the accessory, the is our duty to maintain the list unbroken. Genius, meaning creative power allied with a taste for
s modest vehicle which puts spirits in communication, the the beautiful, represents the climax of intellectual
* language by which they understand each other. In order strength, and the subjective player will always tower,
Mont Blanc-like, over the objective, simply because he
that the public, to-day, listen and be interested, it is [For THE ETUDE.] has more genius.
necessary that the one who addresses himself to it should The finest executive musician, be he artist or pupil,
OBJECTIVE AND SUBJECTIVE INTERPRE is the one who, after having carefully studied the com
not content himself with reciting. It is necessary
that he speak, and that he have something to say. poser, expresses himself.
s Without this interest is diverted and dissipated, and the ANNETTA. J. HALLIDAY.
halls empty. They can no more be filled except by the
prestige of some renowned name well-known for afford. SHE never plays a piece exactly as it is written l QUOTATIONS.
. exclaimed a teacher, in speaking of a pupil to a group of
ing this intellectual exchange of which I speak. friends one day. Pianissimos are as apt as anything to Nothing is denied to well-directed labor.Sir Joshua
but what an arduous and uncertain task for those who be fortissimos with her. It always seems to me that she Reynolds.
embrace the artistic career! What I say is true in all dictates to the composer, instead of listening to him. Every one has a fair turn to be as great as he pleases.
branches of art. Who can expect to succeed? Who One would think it a new composition each time he Jeremy Collier.
can be sure of having in himself at the end of his she hears her play it. She infuses passion into the music, No school is more necessary to children than patience,
doesn't let it infuse passion into her. because either the will must be broken in childhood, or
studies this incomparable faculty, which alone can con | That tendency should be subdued, remarked the heart in old age.Richter.
duct to the goal? Yet there are very few persons who another musician, sotto voce; I never encourage a pupil
are not endowed in some degree with an artistic individ- to overdo anything. Adhere rigidly to expression Success is a fruit slow to ripen.
uality capable of being developed. The point is, of marks, and make the performer analyze all he plays. Even power itself hath not one-half the might of
When pupil plays Chopin, I want Chopin, not the gentleness.-Leigh Hunt.
arousing the consciousness of this individuality, of bring p'a Contact with "w' of others, calls forth new
ing it out, of improving it; in a word, of manifesting it. . .The slight conversation, awakening several stray ones in ourselves.Webster.
To be sure, a beautiful voice, certain natural disposi- channels of thought, suggested the title of this sketch ; Let all that is called life be sacrificed to noble aims
tions which lean toward such and such an instrument, are should our pupils be individual or subordinate, should and to a sanctuary of art.Beethove
they reawaken or recreate, should they be exact at the n.
precious elements and favorable indications. But one | risk of being monotonous, or emotional with the result The most important thing for a musician is to refine
cannot hope to succeed with work only. It is necessary of being incorrect? In a. word, should their interpreta his inner ear.Schumann.
that the result of this labor, of which the severity cannot tion be from within or without? Take fast hold of instructionfor she is thy life.
be diminished (rather on the contrary) be so controlled suddenThe triumph of genius in musical expression is by a The doorstep to the temple of wisdom is a knowledge
stroke of emotion, a flash of personal magnet of our own ignorance.Spurgeon.
as to place it at the disposition of a person who knows |ism to captivate and hold enchained the feelings of an The heart has reasons that reason does not under
how to serve himself with it, as the fingers avail them. |audience. . - - - -
stand.Bossuet.
of an instrument. It is necessary that the execu. fully
ft'in''m preh'sib 'i'ity, has most
tion be certain enough not to occupy him; that it demonstrated this, so also le
has Rubinstein, The beginnings of all things are small.-Cicero.
respond to the necessities of the transmission of thought theOutward forms express the idea of the beautiful in Knowledge is proud that he has learned so much
plastic arts, and the ideal is conveyed through the eye wisdom is humble that he knows no more.
but it must not step beyond this rle, nor pretend to the instead of the ear, but music, that strangest of gifts to It is more difficult to stop in a downward than in an
first place, which does not belong to it. It is necessary man, creates from a spirit-world of its own, and where upward path. -

that it be perfect and humble. positive expressions fail us, the magic art-form of music One of the sublimest things in this world is plain
steps in. truth.Bulwer.
One cannot, then, escape from beginning by acquiring | Painting produces only by imitation; Raffaelli's Ma.
mechanical skill with no less care of work and of study donnas were but the faces of the women he loved the Learn to say No," it will be of more use to yo"
than formerly, since he ought not to be less finished. best; Jupiter or Christ is never represented as more than to be able to read Latin.--Spurgeon.
But it is necessary to add something else, and this than a man, either fiercely beautiful or sorrowfully beau To know how to be silent is more difficult, and more
something else is all. It is this which makes one an tiful; but in the superb swell of a Magnificat or the soft profitable, than to know how to speak.Fe.
sigh of a Miserere, in the grand crash of an Overture, We often do more good by our sympathy than by 0"
artist if he does it. It is the culture and development or the passionate pathos of a single tenor note, how the labors.Canon Farrar. - * *

of the thought, of the individuality, of the student, frivolity and hurry of the world sink into nothingness, The greatest triumph of a teacher does, not consist in
in order that he may be able by means of them to evoke and the human heart wakes up to the unspoken dreams, transforming his pupil into a likeness of himself, but '
the nobler motives, the gracious charity, which have showing him the path to become his own individua
the spirit of his public, interest it, captivate it, charm slumbered under much that was sordid, tedious and self.Ehlert.
it, and compel its attention to that which he has to say. ointless in the routine of life. Man remembers all that
There is, then, a time in the studies where students, e is and might have been, and mournsas the dwellers
in Arcadia mourned over their exilefor his better
and it is to them that I address myself, ought to reveal nature Musical theorists without too lively an imaginatio"
lost.
their personality to their professor, try to bring it out, To the really great artist we must look as the expo. the best instructors; but as critics they are
cynical and unjust. The most gifted is rarely

and mark their work with the seal of his approval; and nent of the dualism of music; he not only reveals the a logical instructor of the principles o his art; :
it is to these moments of artistic education that the pro emotions felt by the composer while creating his work, more-it is said that no eminently successful compose
ever wrote a well digested treatise on the theory of
fessors, I address myself to them also, ought to be ut, he uses the composition also as an irresistible
medium of self-revelation. sic. Cherubini, perhaps, may be considered the Only
attentive to seize in the pupil the first indication of the However, if choice between the two renditions be exception.-Ella.
2O9
~ THE ETUD E.
* ena NEW PUBLICATIONS. Church, he at once took her criticisms into careful and rate. Confusion and uncertainty exist in our musical

boson,
his thorough consideration. The result was that the changes terminology, which Dr. Palmer has, to a certain extent,
1. Love song for PIANo. HENRY SchoNFELD, Op. 1. suggested were cheerfully made, to the entire satisfaction cleared away.
Cert: both of critic and author. In view of these revisions, in This little book contains about all the terms used by
own ini: Clayton F. Sumney, Chicago. accordance with the suggestions of so eminent an author musicians. There are 2500 terms and abbreviations
forem: This is a simple, quiet melody, moderately passionate. ity, the publisher takes especial satisfaction in recom in all, which is sufficiently ample for all ordinary pur
"pathy, we The accompaniment is in triplets throughout and there mending this book to the attention of all teachers in poses.
and ean: is a melody and an accompaniment for each hand. It is Catholic schools and colleges, in full confidence that it
whole #: good and well written and will be found not only a will meet their unqualified approval. RULES FOR MAJOR KEYS.
nd thers # pleasing parlor piece but a good and useful teaching SCRATCH CLUB. Poet-Lore Co., Philadelphia, Penna.
"him, all piece for pupils moderately advanced. Price 75 cents. SHARPS.
which is 2. THREE PIECES FoR PIANO. BY AUGUST SPANUTH. One of the most delightful books on musical topics
Wm. Rohlfing & Co., Milwaukee. No sharps or flats belong to C,
which we have seen lately is The Scratch Club, by
his (a) Study (Butterfly Chase). Dr. Hugh A. Clarke, of the University of Pennsylvania. One sharp will show the key of G,
at the #: b) Nocturne. The title is somewhat puzzling, perhaps, to the unin D has two and A has three ;
fert him:
# Impromptu, itiated who do not know that scratching is the term
hese pieces all have decided merit, both as regards applied by musicians to their own amateurish attempts
In E are four and five in B,
ned he's style and contents. The first is an exceedingly difficult The F sharp scale must then have six,
on string instruments, and is associated in their minds
leirini's study in double fourths. It will be found productive and with much that is most delightful in their art. And for C sharp all seven prefix.
valuable by pianists who are far enough advanced to use This particular scratch club consists of a quar
and has it. The Nocturne is a palpable (and avowed) imitation tette of musicians who hold very diverse opinions on FLATS.

}ecome # of Chopin, but has merit of its own and is worth playing. the subjects which they discuss, and many a warm argu F natural one flat must take,
tem, ki The Impromptu is extremely difficult, partly on account ment, which Dr. Clarke has handled with dramatic skill,
le snake & of the speed '' and partly because there are many Two flats the key of B flat make,
is the result. After reading two or three of the discus E flat has three and A flat four,
strengid passages which are difficult to play well, even allegretto. sions one begins to feel that the satiric Crabbe, the
Prig': They are all evidently the work of an accomplished and sober-minded Hazel and the rest are men that one has And with D flat count still one more ;
isini, a # talented musician and pianist. known, while not the least interesting character is Dr. For six, the G flat scale is known,
for annig 3. Six PIECES FoR PIANo. By Gustave HILLE, Op. Goodman, a liberal-minded clergyman, a kindly gentle And C flat makes all seven its own.
55. Wm. Rohlfing & Co., Milwaukee. man and with a passionate fondness for music, who is UNKNOWN.
he object No. 1. Walse Caprice. continually pouring oil on the troubled waters of discus
1 never in
No. 2. Peasant Dance. sion. He it is who brings them up with a round turn
3rs. If ''
'ammes: No. 3. Waltz. when they evince that inevitable human tendency to [For THE ETUDE.]
No. 4. Waltz. wander from the point and descend to personalities, and
"ge in # upon his suggestion many interesting problems which FREQUENCY OF LESSONS.
No. 5. Ballet Music.
No. 6. Waltz. could only occur to the layman in musical art are
atas' brought up. Some of these points are the relative BY F. H. LEWIS.
intellata These pieces are ingenious and bear evidence of being merits of vocal and instrumental music, the relations of
ways!or: the work of a trained musician, but they are not con
because: vincing or satisfying. They are not melodious nor are acoustics to music, the power of music for expression,
they sufficiently characteristic or significant to make up etc., but so cleverly has Dr. Clarke presented all points FREQUENCY and regularity of music lessons are impor
in melody and harmony. of view through the medium of his characters that the tant features of a thorough course of study. The same
story. for the lack of pleasing qualities
the tr. They are not very difficult technically; but the unusual, problems are left to the reader himself to solve. We fundamental principles should be applied in study of
not to say strained harmonies will make them hard and should leave out half the charm o the book if we only music as in any other department of self-culture.
mentioned the conversations, entertaining as they are,
ungrateful to pupils. . It is very doubtful whether they are for the gifted members of this particular Scratch both The public school system requires the attendance of
worth the trouble of learning them. tell and write stories, and in these the versatility of the scholars at least five days each week and at regularly
4. CANzoNETTE. BY ALExANDER LAMBERT. G. author becomes still more manifest, for they are written prescribed hours.
Schirmer, New York. in several distinct literary styles. One of the best is the The apprentice is required to be on hand daily at cer
Sir Joshu This piece is reasonably melodious, well written, not sermon read at one of the meetings by Dr. Goodman,
specially significant and not very difficult. purporting to be by a non-conformist divine of the last tain appointed times. So with the clerks, salesmen,
century. In this not only the bigoted spirit of the mechanics and, in fact, nearly every one who has an
pleases 5. BERCEUSE FoR PIANo. By HoMER. N. BARTLETT. G. unco guid of the last century is caught, but the style object in life.
Schirmer, New York. is in strict conformity with what was considered elegant
patie: This is smooth, melodious, well written and charac. in those days, a marked characteristic of which were the Music study is looked upon by many as a study to be
ihood." teristic, but not deeply expressive. It is of moderate almost cumbrously alliterative sentences. Another considered apart from other studies: to be pursued
difficulty. clever bit of imitation in style is the dry-as-dust intro according to fluctuating whims in many cases, to be
THREE Pieces. By BERNHARD BoEKELMANN. Edward duction to the Egyptian papyrus, which itself also takes taken just to learn a few easy pieces, to pass away
mights Schuberth & Co., New York. one back to the mysterious days of the ancient goddess the time, etc.
Phthah.
1. Ballabile, Op. 3, for Piano. One or two others we must mention: the satirical The old proverb-What is worth learning at all is
rth I-1 2. Polonaise de Concert, for Piano. poem of Parks, which is as heroic" in its construction worth learning wellis just as applicable to music
#: Romance for Violin or Violoncello and Piano. Homer ever wrote; instance this passage: study as it is to any other.
le in .No.1 is a melodious and well written, but somewhat as anything
But list ! how second fiddle bears his part
difficult piece. It will be found a valuable addition to In this attempt to storm the temple of art; If anything is lacking in America to make the results
orig
the repertoire of advanced pianists. With dainty steps he foots his dubious way, of music study equal to those of Germany it is persistent
No. 2 is a brilliant and effective concert piece; dif. Unhindered by these erring sons of clay.
application among our music students. Irregularity and
ficult, but not too difficult for advanced players. His modest merit counts not sounding praise,
But like the violet, hides from public gaze;
No.3 is an admirable and excellent piece for the pur. His be the meedaltho' 'tis all unsought, infrequency of lessons is, perhaps, the chief cause. The
poses for which it is intended. It is in a fine lyric style, That in the Scratch he is the one bright spot.
wie' dont feel like practicing spirit is not discouraged
and the piano part is not a mere accompaniment, but an The other is Hazel's Allegory, which we advise all enough too much sympathy for the pupil's whims and
m: independent part, flowing and melodic in style, and dis. art anthusiasts to read and ponder over, for it contains mistaken ideas promotes, rather than eradicates, obsta
playing everywhere the work of athorough musician. It much wisdom which they would do well to imbibe, and
is a valuable, addition to the repertory of violin or it expresses, we suspect, more nearly the views of Dr. cles to success; too great a desire to realize ambitions,
Violoncello and piano pieces. It is well adapted either Clarke himself on the subject of art than any other causing, thereby, a hurrying progress, which, at best,
for concert or private performance. J. C. F. chapter in the book. results in superficiality.
Klavikaschule. By EMIL BREsLAUER. Carl Grn he literary and critical ability shown in this little What, then, should we advise? First, engage for
inger, Stuttgart, Germany. volume are rare among musicians, having been possessed
by those who have been accountedFRANK
only art. BABB. in
the greatest your teacher one who is known to be regular and punc
A book for beginners on the pianoforte. The work their tual, so that you, at least, will have the example always
brings with it the highest authority. The author is MUSICIANs' CALENDAR. Silver, Burdett & Co., Boston, before you; second, if the purse affords, engage daily
lirector of the Berlin Conservatory and editor of the Mass.
lavierlehrer, a periodical similar to THE Etude. It
-

lessons of that teacher, or, if expense is too great, then


as already the highest encomiums from men like von This is a handsome and useful publication which we are lessons on alternate days or once in three daystwice a
low, Henselt, lindworth, Moszkowski and Schar glad to make known to our readers. It is intended to orna. week-and make up your mind to work regularly, if only
Venka, It is a work intended to meet the popular ment the musicians' studio. For every week of the year
demand, and is filled with pleasing melodies, which, for there is a leaf, which is torn off as the year progresses. an hour a day, and learn something well for each lesson.
Each leaf filled with sayings about music and musicians, A page well learned is far better than a dozen super
the most part, are of special interest to the German youth. which are strikingly valuable to the student of music. ficially gone over. Third, take as much care to attend to
Exercises are introduced with greatest care. There is The calendar is adorned with a rich lithographic design
nothing tedious about the book. The aim seems to be your practice as you would to do anything else.
#8 interest the pupil with short pieces and studies and which contains the portrait of John K. Paine, of Boston.
leave the severer work of education to a future time. The credit of compilation is due to Frank Morse, who The best instruction cannot, as a general thing, be
The work will, no doubt, soon be issued in English, as has gathered many of the gems about music and placed procured for less than four dollars per hour, and it is in
them where they will be seen and read by more than
'' Il.
be adapted to our wants with very little altera between the covers of a book. The calendar can be pro large cities the best teachers are found, usually.
Two
cured through THE ETUDE. half-hour lessons are much better than a one-hour lesson
REVISED EDITION. Lessons IN Musical. History. PALMER's NEw PRONoUNCING DictionARY OF MUSICAL a week. A short lesson daily is better than a long one
By John Comfort Fillmore. TERMs. Published by the Author. Price 25 cents. less frequently. In this brief article many suggestive
The attention of the author having been called by the This little work is the outcome of various imperfect details are necessarily omitted, but a good teacher can
Directors of the Music Department of Notre Dame, of editions of pocket dictionaries. At a glance one can easily supply such, and if this short contribution is pro
Maryland Institute for Young Ladies, to some expres readily see that great care has been taken by the com: ductive of good results in this direction, then the author
sions in his work which seemed to do injustice to the piler to make the definitions and pronunciations accu. will feel as if his efforts are not in vain.
21 O E[ E T TJ T) E.
easier it is to hold the interest. To load a child at the first order to do this so it strikes the eye clearly, three staffs
Questians and Answens. lesson with a bulky volume is disheartening, unnatural, are necessary. This is the same reason that Liszt's Ave
and I was going to say, cruel. A child craves new Maria is written that way. It seems a little difficult to
QUES.What is the difference between Canon and things. It sees new things everywhere. Its entire life read, but it would be confusing to write it of two staffs.
Fugue? A. B. changes in a few months. Its habits, its thoughts, its Try it and see for yourself.
ANs.A Canon is an imitative piece in which each desires, and everything about its life is shifted, altered 2. Color marks are used to divide the different epochs
following voice repeats the melody of the leader, upon by the natural course of events. The course of study on chronological charts.
whatever interval above or below the composer may should conform to its nature. Give a child a change 3. Mason's two-finger exercises can be used with pupils
happen to have chosen. A Fugue is a Canon in which above all things. Your manner of treating beginners is at any stage of advancement. As soon as two fingers are
each answering voice enters according to certain restric commendable. Dr. Clarke's Art of Piano Playing is to be used his principles can be applied. The new work
tions of key, the answer coming upon the dominant, or excellent as a basis. It is a small work to begin with, of Mr. Mathews, Twenty Lessons to a Beginner, place
passing from dominant to tonic. A Fugue is a sort of inexpensive and full of variety, besides being not old. the two-finger exercises in somewhat better form for a
Canon, but a Canon is not strictly a Fugue. fashioned; but weave in your instruction as much out beginner.
QUES. 1.Will you please answer this question for side matter as you can find adaptable to a child. Here 4. The Zeckwer metronome has no clock work, hence
me: Is American and Foreign fingering essential for are a few things in which a child can be interested: no click or sound.
teaching young pupils? If so, which should be taught writing exercises, such as you find in writing-books for QUES.-1. In measure 42 of Golden Slumbers (Walter
first?
music students, and give them from memory an occa MacFarren), in ETUDE for Jan., '89, should not last E in
ANs. 1.I use the so-called Foreign "fingering ex bass be E4 instead of EP, making the chord a diminished
sional exercise, or little piece without any notes; seventh on C#? If so, will you tell me the rule for its
clusively; not because it is better than the other, but
written questions to be answered at next lesson; progression to the triad on G.; and if not, what is the
because I have to use it or forego the advantage of using chord as it stands?
periodical examination before parents and rest of class.
the best and cheapest German editions of the standard 2. If a perfect fifth is also a major fifth, why is not a
Inspire a child by playing for it at times. Nearly all
works. It is very confusing to use both.
the material in Wieck's Piano Book can be taught fourth also a major fourth, instead of minor, as
oward gives it?
QUES. 2.What is the right pronunciation for Jos. without notes. Read also his first chapter on elementary
Haydn, Chopin, Raphael Joseffy, and oblige 3. If the interval CE is changed to C#E, is it
A SUBSCRIBER, playing in his book Piano and Song. Moore's minor or diminished? . As the inversion is an augmented
ANs. 2.Ysef Hidn; Shpang (French nasal, without Kindergarten System, The Child Pianist, has quite a interval, I should think this ought to be dim., yet it is
the g), Rfl Ysffy. I. C. F. number of things which every teacher of beginners evidently minor. Is not the minor always formed by
changing the upper tone of a major interval?
QUES.On page 6 of Dr. Hans von Blow's arrange. should know about. To go into detail would require 4. What is the price of Ludwig Klee's Ornaments of
ment of Beethoven's Sonata, Opus 53, under A2 is the a treatise, which is here out of place. Music, published by Breitkoff & Hartel ?
following: Decrescendo means forte, crescendo means 2. Not just the first time. Learn to walk before 5. What is the meaning of PsF in last measure but
piano. This rule, etc. . you dance. Scale practice is positively exhilarating with four, Chopin's Nocturne, Op. 55, No. 12
Will you kindly explain through THE ETUDE some whys 6. In Rondeletto Burgmller (Sonatina Album), why
and wherefores which will show me more clearly exactly Krause's Studies in Measure and Rhythm which are the does the close of Principal Subject second time lead up
hat is meant byy the section,* and oblige Miss
What 1 Yours
E. truly,
H. T. scales in every variety of Rhythm. We all are aware to Episode in C minor better than it would if written as
first time? SUBSCRIBER.
how tedious scale practice is to the average pupil. Why
ANs.Won Blow explains in a subsequent paragraph is this? The answer is this: In all routine work the ANs.-1. The EP is correct. It is the Chord of the
the meaning of the passage. He says: One of the mind cannot be kept active unless the work is varied. Sharp Sixth, which you can find explained fully in any
most common and unendurable of the humdrum styles of If in our arithmetics addition were taught by only one Harmony book.
reading is to confound the indications of a dynamic example, and every pupil would be obliged to go over 2. Howard does not use minor fourths at all. He calls
change for those of a dynamic state. In this particular that one sum until adding could be done with facility, the fourths perfect, augmented and diminished. Have
passage the notes increase in a given time, which would what monotonous work it would be. We find that addi you not Weitzmann in your mind?
be a change to crescendo, but the effect desired is that of tion is taught by a variety of examples having the same 3. C#-E is a minor third. You must consider this
piano. It is quite easy for an orchestra to produce the figures covering pages in our text-book. Reading is also interval as in the key of C sharp, with seven sharps. The
effort of piano with every instrument playing and then taught by having the same words appear in a new form E is sharped in the scale, and when you write a minor
change to forte, while half the instruments drop out, and with every lesson. Why not vary the scale? Surely in third from C# you can write it C#E:, but the natural
vice vers. In other words, volume and intensity are here actual practice they appear in endless variety of Rhythm. is implied. Consider all intervals as belonging to scales,
contrasted. Rapidly-recurring notes does not always Take two pupils who have never played scales; let one and all will be clear to you. Minor intervals are formed
mean more power or intensity, but can have a vanishing play in the old-fashioned way from one lesson to another by changing the upper note. In this interval it is the E
effect. until they are gone through with; then take another which has been altered. When you change CE to
QUES.1. Will you please give me the pronunciation through Krause's Rhythm and Scales and the difference C#E, you shift the key to C#.
of the names of the following modern composers: Hans will be apparent in a few lessons. The one will have to 4. Three dollars and fifty cents retail.
Seeling, Karganoff, Von Wilme, Lynes, L. Thom, be forced to practice, the other will go to it with a relish. 5. We have searched every edition of Chopin and find
Thoma ?
in the Augener edition this mark, p.sf. The engraver
2. Does a staccato mark under or over two notes In the end the Krause pupil will not only be a thorough
which are struck together, affect both notes, or only the master of the scales, but have developed a charming sense should have separated the piano mark from that of
one which is nearest the staccato mark? of rhythm. We unhesitatingly recommend the scale sforzando.
3. If in 4 measure there is a half note in one part practice in rhythmical form as soon as the pupil has 6. Because it is in G, which is the dominant of C minor.
and two quarters in another, the quartered connected learned the tones belonging to each. Play both ways and you will find which is preferable. It
by a slur which shortens the last quarter note, I wish to 3. Yes! There could be a better work for this pur is more natural to change to the dominant of key, than to
know does it also shorten the half-note?
ANs.1. Hauns Seeling. Kar-ga-nouf. Von Wilm. pose made than Jackson's. The exercises as given in go to the minor of the same key, hence he uses the domi.
Lines. Tho-ma. Tho-ma. December ETUDE are an improvement on Jackson. To nant as a modulating chord.
2. It affects both notes. If only one is to be affected, our mind a gum band is the very thing for free gymnastic QUES.Will you not be kind enough to give a little
the stems of the notes must be turned, one up, the other exercises. You can go through almost every form given biographical sketch of Francois Behr in THE ETUDE.
F. Behr was born 1837, at Lebtheen, Mecklenburg,
by Jackson and others with a resistance which is the very
down, then only the one having the staccato mark will
be affected. -
Principle that makes the Practice-Clavier, Technicon, Germany. He is still active and spends his time in
Budapest, Vienna, Milan and Paris. The details of his
3. Generally it does. In chord playing and all free etc., so valuable. A simple gum band may yet revolution. life we have not at our command at present.
style of playing the correct phrasing would be to raise ize the whole mechanical practice and all the apparatuses What is the '' number after a certain opus?
the half-note with the last quarter; but in contrapuntal that have been invented for this purpose. More of this For instance, Op. 2, No. 3? What is the meaning of a
in some future issue of THE ETUDE.
writing the half-note may often be held its full length. dot with a line under it (), over a note? A READER.
QUES.-1. Why is the trio in the Gavotte von
QUES.1. I am a young teacher desirous of using the Gluck, by Brahms, written on three staves? Also in ANs.-1. The numbers after the opus serve no par
best methods, and should like a little advice in deciding some other compositions in the Manual of Music, for in ticular purpose. A composer often makesa set of pieces
upon an instruction book. I give written directions at
every lesson, as to manner of practice, etc. Following it stance, ''Ave Maria, by Liszt? It seems to me it makes that come appropriately under one opus number, for ex:
more inconvenient to read. ample, Schumann, Op. 15, Scenes from Childhood, and
this plan, and giving outside technical work (two-finger % Can you explain the use of the colors in the chrono his opus 68, Children's Album, contains many little num
exercises, etc.) in connection with the work, it seems to logical charts in the Manual of Music?
me that Clarke's Art of Pianoforte Playing ". contains 3.When is the proper time to begin training the bers, some scarcely a page in length. It is not the cus'
about all the material desirable in an instruction book. pupil with Mason's two-finger exercises? tom to dignify every little piece in this way with an opus
I should like the opinion of THE ETUDE. 4: Does the Zeckwer metronome make a sound number, but is designated by separate number under the
2. Would you teach scales rhythmically at first? a clicking-like the Maelzel instrument? F. B. opus number. It is a natural subdivision of a work (for
3. Do you recommend Ward Jackson's Hand Gym ANS.-1. You have evidently a copy without footnote. this is the meaning of the word opus), which in a literary
nastics? - A. I. S. The music is placed on three staffs for convenience in de work are often chapters, sections, parts, etc. A composer
ANs.1. The teacher's work, especially with begin. termining which hand plays certain notes. The note ex sometimes sells to a publisher a number of pieces which
ners, is many-sided. The material used for instruction plains this. It reads, Notes on this staff with stems the publisher issues under one opus, for convenience.
is, of course, important, but the manner of presenting it going up are played with the right hand, those having 2. It is a note that is slightly emphasized and slightly
is still more. The more variety a child has in study the stems turned down are played with the left hand. In staccatoed.
T EI E TE T U D E. 211
~
Barly, there
hatLists'
1 little dific',
A Supplement to Every Instruction
Book. Lessons in Musical History, A PIANOFORTE
BY
INSTRUCTOR.
BY JAMES HAMILTON HOWE.
it on two # THE STUDY JOHN COME'ORT FILL MORE. Op. 15.
This Instructor includes for its theoretical portion:
Notation; Rhythm; Chromatic Signs; Accent; Marks
used with #
OF THE PIANO. Price $1.50 postpaid. of Touch, Power and Tempo; Syncopation; Abbrevia:
tion; Marks of Power and Tempo, and Theory of Tech
Stwo in the
nique. A full page is devoted to Diagrams for Position
A comprehensive outline of musical history from the at the Pianoforte. -

EY beginning of the Christian era to the present time; espe The Practical part contains a thorough set of Technical
Themes"
leginner". IEC. E_A_ERIENTI". cially designed for the use of schools and literary insti Exercises, progressively arranged; scales, major and
tutions. two minor, in all keys, supplemented by attractive Les:
eter form #, sons and Illustrative Compositions.
Address Publisher,
Throughout the work are introduced Duets for Teacher
ck work, is Translated by M. A. Bierstadt. THEODORE PRESSER, and Pupil, illustrating certain exercises in an entertain
ing manner. * -

1704 Chestnut Street,


mbers' PRICE SI.O.O. PHILADELPHIA, PA.
# last four pages are devoted to the Major Scales in
ld not is:
-

all keys, with Grand Arpeggios; the Harmonic, Melodic


rd admini: and Mixed Minor Scales in all keys, and an original Grand
the rule: T# work is designed to accompany the instruction Arpeggio and Octave Exercise, which is both interesting
book with beginner, and will serve as a supple and instructive. -

ot, what is The Instructor has been endorsed by the following


ment to any method.
l, whyism,
d of mind,"
The information is imparted in the form of questions
and answers, which will make the work useful as a primer,
-

Young Folks' Songs, Artists and Teachers: Wm. H. Sherwood, S.A. Emery,
Fannie Bloomfield, Neally Stevens, Constantin Stern
but it is vastly more direct and comprehensive than any berg, J. S. Van Cleve, J. C. Fillmore, Arthur Foote,
primer published. 0.0MPILED AND ARRANGED BY P. J. LAMMERS,
Louis Mass, Alex. Lambert, Calixa Lavellee, W. S. B.
) C3E, it Mathews, Carlisle Petersilia, Joshua Phippen, Jr., G.
an augm: The following are a few of the subjects, out of the 175
pages, which we give at random : H. Howard, W. H. Dana, J. Wolfram, S. N. Penfield,
dia, yet; PRICE 50 CENTS.
C. H. Morse, W. G. Smith, Max Leckner, Willard
tys formed: General Advice on the Method of Practice. Burr, H. A. Kelso, Thomas Tapper, Jr., Norman
al? -

Necessity of Counting. A Collection of Easy and Melodious Songs for Kroeger, McLeod, Flora M. Hunter, Ad. M. Foerster, 'E. R.
'0" Some Special Difficulties. F. W. Root, W. L. Blumerschein, Wm. Mac.
t measure: Musical Memory. Young People. donald, F. R. Webb, H. M. Wild, Mrs. L. Heerwagen.
This work, which is meeting with great favor and a
On Reading Music. (FRoM THR AUTHOR's PREFACE.) likewise extensive sale, retails for the small sum of
Album," The Pedal.
time kid: In preparing the little collection of songs, great care $1.5O, with liberal discount to the profession and trade.
iif writte's Overcoming of Bad Habits. has been taken to select simple and interesting melodies,
StBSCRIBB. The book will be bound in cloth, and will be a pleasing somewhat above the ordinary nursery songs, but not ..I Us T Iss UED.
Chord # contrast to the ordinary pasteboard cover primers that are quite so advanced as the ballad. They are designed to
d fullyin :
placed in the hands of a beginner.
Address the Publisher,
occupy a place between these two. Address
FOUNDATION EXERCISES
all. Heti,
THEO. PRESSER, IN PIANOFORTE PLAYING.
lished, H:
THEODORE PRESSER, No. 17O4 CHESTNUT ST., PHILADELPHIA. By A. K. VIRCIL.
1704 Chestnut St., Philadelphia, Pa. To be used on the PRACTICE: CLAVIER or PIANO.

consider's The object of this work isfirst, to establish the doctrine that Piano
sharps. 1.
write am:
HISTORY OF PIANO.FORTE MUSIC NEW, EASY AND PROGRESSIVE
forte Technic is or should be an Elementary Study; and, second,
to supply teachers and pupils with exercises and facilities by which
By J. C. FILL MORE. -

this all-important subject may be taught, and true pianoforte


it thensin "Mr. Fillmore deserves the thanks of the musical he for h avin technic may be clearly comprehended and practiced by the youngest
very readable '' on an interesting :
ingto:
ls are:
igence rare amon li - ics."
g English writers on such topics."The
* *

Na Meth00 for the Pianoforte, beginner from the first lesson, as heretofore has been impossible.
The plan of -the work, and the exercises given, are new and
"""t cordially recommend this little volume as being thorougll original.
al it is: interesting and most useful to all who desire to study #: '' In the two volumes more than thirty picture iIIus
which it treatsThe Athenaeum, London, England. . BY JULIUS E. MULLER.
ge C-E" Endorsed by all the leading pianists and teachers of America. trations are given, by which not only proper positions,
A we Present a Few Communications out of Many Received: but correct movements are easily learned.
"..." reads it the wonder grows how so small a book could be PRICE $1.00. BOUND IN BOARDS.
m: to contain so much good information.W. S. B. Mathews. BOOKS I AND II, EACH $1.5O.
pin an is of very ' commendation.DR. W.M. Maso'. "
y express my
he engi" it."-DR. Louis MAAs. yself in the highest terms of praise concerning
- - - -

This is an entirely new work. The author is an active EDWARD SCHUBERTH & C0, Publishers,
ym # "I wish every one of my pupils to read and study this work.WM.
H. Sherwood. 23 Union Square, New York,
teacher, who is well known as the composer of that once
":#.:ands
**ine of valuable information for the student, and should be '' parlor piece Falling Leaves. In this work
of Cmi' - of everyone interested in music." H. CIA'Nce Eppy." e has aimed at the popular taste. The names of JUVENILE
'ent'. ' ##.
extremely
in my well-written and instructive work, and should,
be in the hands of every earnest piano student. and Spindler appear the oftenest. The book
has very few exercises. Address
sey,thus "...'"derit a very valuable work, and one that o
* ught to be in the-

EXAMINATION QUESTIONS.
the #: ": tedthetopiano.MM. JULIA
Itto my pupils.EMil
is we teaching, and I shall
8, shall gladly introduce
-

THEO, PRESSER, By L. R. CHURCH.


*# excellent work.AMY FAY. No. 17O4 Chestnut Street, Philadelphia.
ive si: ... '" pupil ought to read it.Richard ZEckwer PRICE - - LC) CENTS.
'TUDs, ...' * great aid to all earnest students."-H. A. C.ARKE.
#lem:
* is evidently master of his subject.JoNS, twigar.
Address Publisher,
times
THEODORE PRESSER,
Price, $1.50.
is is 1704 Chestnut St., Philadelphia, Pa.

in:
ning:
The Philadelphia Musical Journal SRe The TWusicIRN.
68ject of file @Work is to fiefs
NOW READY.

only sloo a YEAR.


RF10B
no!"
of: AMERICA'S LEADING MUSICAL PUBLICATION,
to 6etter unberfanding ano
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.# In six grades, each, 75 Cts.
*
le:
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Doc, University of Pennsylvania.
Every *ue contains 16 pages of new music, and from 16 to 20 pages
# musical literature, interesting and valuable to Music Teachers,
The work contains analyses of many of the best MUSIC AND MUSICANS
compositions by Classical writers. ... Starting with the The only Complete Encyclopaedia of Music in
th:3 'unils, and all lovers of the Art Divine. It is the official organ of the very easiest pieces for beginners, it leads on, in pro
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in '" gressive order, through six grades, to the most difficult
works written for the Piano-forte.
de: A Folio of Music Free to Every Subscriber.
k": SPECIAL TERM8 AND Discounts To Music TEACHERs. It presupposes no knowledge of harmony, but, IN FOUR VOLUMES.
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" Yearly Subscription, $1.00. Sample Copy, 10 cts. sents itself in the different works under consideration,
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stood by mentally less-leveloped schoiars. The work has
*. GOULD & W0OLLEY, Publishers, met with the unqualified endorsement of all those who 1704 Chestnut Street,
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PHILADELPHIA, PA.
212 T EI

Two NEW Books.


TIEEE
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MISTA MF's
- N-Q)
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The following form a graded list of choice pieces of music, each of
|Will & HMS MLS' [...], ------------
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which is attractive and suitable for purposes of recreation or study.
THE PIANO.
PUBLISHERS, IMPORTERS AND DEALERS, Choice Classics, Grade I. Easiest. Recreative.
My First Piece-in C........................ G. Benedetti. $.20
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171 WEST FOURTH ST., or First Piano Technics.
Grade I to II. Recreative.
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CINCINNATI, 0. Hop o' my Thumb Polkain C ...Benedetti. .25
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A judicious selection from the works of foreign authors Come on Galop-in C.......................... Benedetti. .25
Finest Editions at Lowest Prices.
Special attention to Teachers' Orders. of the highest rank. A glance at the contents will be Grade II. Recreative
sufficient for players of musical discrimination. Printed Barcarole-in G....... - .25
Reveryin F...... .25
from new engraved plates on finest quality music paper. Morning Prayer-in F (Improved Ed ). .40
A BLANK EXERCISE BOOK Classical-Same Grade.
C O NT E NTS : Sonatina-in G.................................. Beethoven. .20
AIR DE BALLET. ................................ ... JADASSOHN Allegro assai-in F............................ - .25
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ALBUM LEAF .................................. BARGIEL *-
The Bat-in E flat.............................. F. Stamati. .30
For Students of Piano, Harmony, AM MEER.......................... ...SCHUBERT Sweet Violetin E flat (Improved Ed.)..........Spindler. .40
.
AT EVENING......................................... SCHYTTE Grade III. Classical.
Musical Form, etc. BARCAROLE... ...TSCHAIKOWSKY Allegretto-in A.................................... Haydn. .30
...
BONNENUIT....................................... NIEMA Knecht Ruprecht-in A minor................ Schumann. .30
R. CHURCH, CANZONETTA. Grade IV. Recreative.
By L. -

Olivette-in A flat...................... ... Audran. .40


CANZONETTA.
CANZONETTA ......... Merry Warin F ......... ..Strauss. .40
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CONSOLATION Has made a great impression in New York.
CRADLE SONG Classical-Same Grade.
A POPULAR WORK. FIRST MEETIN
File:ETING TIME... ABERBIER Notturmo-in E (Midsummer Night's Dream)..Mendelssohn. 40
FLOWER OF SPRIN( HABERBIER Grade IV to V.
FROLICS................ VoN WILM
HAPPINESS ENOUGH SCHUMANN Nocturne-A flat.................................... Tausig. 40
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LEICHTES SPIEL........
LIED OHNE WORTE.........................
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La Somnambula................................ Favarger.
Der Freisch tz...... ........ ........ ........ .... -
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.75
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LOVE SONG......................................... Grade V.
MARGARET B. HARVEY. MELODIE......................................... MOSZKOWSKI
. Sylvia (Pizzicati) Concert piece.................... Goldbeck. .80
MELODIE. . . . . . . . . . . . . . . . . . ......................... voN HOLTEN L'Arpa-A flat.......... - Joachi .50
MENUETTO ... . . . . . . . . . . . . . . . . ...................SCHARWENKA Scherzo Presto-E minor .50
Neatly Bound in Cloth. Pripe $1.25. MOMENT MUSICAL.............................. SCHARWENKA Nocturne-A flat................................. Thalberg. .80
sui TABLE FOR PRESENT MURMURING ZEPHYRS... ...(JENSEN) NIEMANN Grade VI to VIII. Difficult.
NOCTURNE .............. ... ....MEYER-HELMUND Rhapsody No. 13in A... .80
NORWEGIAN SONG.................................. HOFMANN - No. 8-in F sh .80
ON THE RIWULET. .... .HOFMANN Rondeau BrilliantE flat. .75
These Studies are intended for those remote from cen .MERKEL Le Tourbillon. Celebrated W 1.00

tres of musical advantages, those whose early education NICODE


- - - - - - - - - Grade II.Don Giovanniin C.................. Mozart. .30
..., RUBINSTEIN - Home, Sweet Homein F........St. Croix. .25
in music has been neglected, those who have become dis ......SCHUMANN Grade III-Espanola-in F...................... Goldbeck. .50
couraged by wrong methods of teaching, and those whose - HABERBIER
- -- - - -
Grade IV.-On the Bayin E flat......... - - - .40
time and means for self-improvement are limited. HELLER
- - - - - - - - - -

....SCHUMANN
Grade V-Fluttering Dove-in. A flat........ - 1.00
- Mountain Chapel-in G............ - .50
...... Vox WILM 44 Ockerthal-in E........................ Litolff. .40
THEO. PRESSER, Publisher, ZUR LAUTE...................... ... .....HOFMANN - In the Garden of the Emperorin E flat
1704 CHESTNUT STREET, PHILADELPHIA, PA. Goldbeck. .50
Price, in Boards, - - - $1.00 Grade IV-Berceusein D flat.................... Chopin. .50
Price, in Cloth, - - - - 1.50 PIANO METHODS AND EXERCISES.
IEEE PRIMARY PIANO INSTRUCTOR.............. Goldbeck. $2.00
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FIRST TECHNICS-1st and 2d Grades........R. Goldbeck.
THIRTY-SIX EXERCISES-in Three Parts3d and 4th
HENRY F. MILLER Grades. Part I
Part II. ...
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Part 1. .80

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FOR PIANO AND VIOLIN. Musical Art. Bound (Vol. II)............ - - - --- - ..... 2.75

HENRY F. VIII & SONS (With extra Violin part in separate binding.)
Contains compositions by the best authors, and of
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absolutely unequaled merit. They will be found equally music text of the Piano, Voice and # from the first begin
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BOSTON. FHILADELPHIA. pastime. The separate violin part relieves both per. VOCAL MUSIC.
The FalconerB flat, "c*f.................. ... ...Pinsuti. $.25
formers of the discomfort of playing from one book. Parting-in F, "c-*f....................... ...Voss. -.30
Issued in the same careful and costly style as Choice Qh Fragrant Grove 1 Waltz Song ('dg)........ Earle. .40
Adieu, Our Dream of Love"c-*b flat......Goldbeck. .40
Manufactory, Wakefield, Mass. Classics. Those Evening BellsF. Celebrated Alto Song.
C O NTENTs .60 Goldbeck.
ANDANTE AND MARCH............... ...BEETHOVEN As a Solo, or with Violin, Flute or Cello accompaniment.
-Es-r-a->~Ts-E-E-D is 7s ANGEL'S SERENADE.......
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AVE MARIA.......... . GOUNOD
CONFIDENCE ELSSOHN W0CAL INSTRUCTOR. By R. GoLDBECK.................. 2.50
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AND EXERCISES. in two Parts.
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A Practical Guide for the Restoring, the Culti NIGHTSONG. Collection of 7 Quartettes. Each a gem. Of moderate
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SPRING'S AWAKENING............................... ...... BACH ADDITIONAL PIECES AND SONGS.


TRAUMERIE.............. ---.............SCHUMANN
PIANO....
Mention THE Erude, and Send for Full Prospectus and Sample Copy Price, in Boards, including separate Violin part, $1.00 Grade IV.-The Serenade........ . . . . . . . . . . . .Schubert. 8 #
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** Waltzin F minor............. Ch #
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No. 148 UNIVERSITY PLACE, NEW YORK.


213
THE E TU DE.
EXERCISES.
General Piano. Technics, Scales... . . . . . . . . * - - - - - * * ***** $1.50
926. Kullak. Op. 81. No. 3, Grand
mother Tells a Shuddering Tale.
Grade II.................... ............ 25
PUPL's LE33CN B00K.
Kullak has written two sets of little pieces called Price 10 Cents, $1.00 per Dozen.
SONCS. Scenes are all
:* (I'noli 5 compare well with those
unmann has written. is The object of this work is to systemize practice and stimulate the
Ave Maria ''' Latin words)............:Fran, 8 # piece is almost descriptive. The theme is measured and student to better study. It contains a record of the pupil's work
ach' ## O p g... . . . . . . . . . . . . 35 very much minor. One can easily imagine a group of and assigns a place for Technic, Etudes and Pieces, with the
Hill. My Sai #. : - - - - "... Mattei. 40 children listening to grandmother relating some fright. degrees of merit of their preparation. The date of each lesson is
Tarantella- . . . .* * * .. . . * * ** * ** ** * * * * * * * * - * * - - ful story. ofInthe
repetition a few places
phrase, theisstory
which quiteislifelike.
impressed by :
Toward also given, and in the back of the little book are four blank forms
QUARTETTEs. the close the theme : ' only for quarterly reports, which will be found very useful.
- detachments of it, until finally Grandmother goes to
# M': ... - - ..Goldbeck. $ # Sleep, but soon wakens to vigorously close the story.
'' p, 5:5p, slow Tears; Male Voices.
# #e'a. Male Voices. . . . . ...
ii.

.25
#|927. Lichner, H. Op. 149. No. 6, Gipsey
-
Address the Publisher,

Dance. Grade III .............. --- - 35 THEO. PRESSER,


$ This is the last movement of one of the author's son*:
Address
tinas, a rollicking dance, that will please and instruct 1704 Chestnut Street, Philadelphia, Pa.
the average pupil. The piece is one of the most popular
THEO. PRESSER, in our catalogue.
Five VALUABLE PAMPHLETS:
1704 Chestnut Street, - - Philadelphia, Pa. 928. Smith,
ValseWilsonMinuet.G.O.P.,4 No. "
Grade IV................ 50
The Practical Value of Certain Modern Theories respecting
Science of Harmony. By J. C. Fillmore, Author of His
This opus comprises the author's latest published tory Shall
What of Music,"............::''''''''
we'Play, or Musical Education in the Home....25
work, and is destined to become among the most popular Letters to a Lady end. By Carl Reinecke. Translated
of his compositions. As indicated in the title, this com
LATEST PUBLICATIONS. position possesses the characteristics of both the valse
and minnet. In a technical way it affords excellent
by John Rehmann,----------------''': p."
Elementary Piano Instruction for Teacher or Pupil. 25

practice in delicate grace-note embellishments in the Hennes,............--------------.: "...","...'...".


right hand. The second theme, more characteristic of
Advice to Young Students of Pianoforte." A collection of
a valse movement, presents a graceful theme in the right rules
Method for beginners.
of Study." By Albert W.ByBorst
(For Amateurs.) C. A. 3:
Macirore...
: THE0DORE PRESSER, hand, accompanied by the left in imitation passages,
thus giving excellent practice in acquiring a perfect
independence, both in execution and phrasing, in either The Five sent by Mail for 50 ets.
1704 CHESTNUT STREET, PHILADELPHIA, PA. hand. Musically, the piece is poetic and melodious.
| 929. Lichner, H. Op. 149. No. 6, Sona
Address Publisher,

oRDER BY tina. Grade III....................... --- 60 THEO. PREsseh, 1704 Chestnut st-,
Grade 1 to 10. PRICE
NUMBER ONLY.
This is one of the most delightful sonatinas issued. PHILADELPHIA, PA.
918. Goldner, W. Op. 36. Air Moldave Full of melody,
ginning to end.which flows with
A Gypsy Danceease andthe
forms grace from be
last move
Mazurka. Grade V......................... 50 ment, which has grown very popu lar as a separate piece,
but is nowhere more welcome than where it originally A WORK FOR EVERY TEACHER.
Showy, full of character, moderately difficult. While
: the composition admits of fine shading, it possesses no
belongs.
technically difficult passages. The charm of the piece
lies in passages.
finger the spirit Itofisthe composition,
finely edited andrather, than free
remarkably the 930. Heller. Serenade of Schubert.
Grade III.............. - - - -- - - - - - -
- -- - - - - - 35
PIANO TEACHING
from typographical errors. This is an elegant arrangement of this exquisite
melody. The edition is finely edited by J. C. Fillmore,
919. Goerner, P. Op. 2. In the Forest.
FELIX LE COUPPEY,
Grade II............................................ 30 Translated by ME- --- air-E-Es.T.A.--DT
We have just published
A little musical composition that will encour:
|:
age
the close of Grade #.
the despairing pupil. The grade is, perhaps,
p8, toward

PRACTICAL HARMONY; Price 75 Cents, Postpaid.


920. Mendelssohn. Op. 72. No. 8, Kin DESIGNED FOR THE USE OF PIANO STUDENTS.
derstcke. Grade III...................... 25 BY CONTENTS.
DR. F. L. RITTER.
Mendelssohn wrote six pieces called Kinderstcke, I. IntroductionObject of this Book.
children pieces, of which this one, No. 3, is, perhaps, the PRICE 75 CENTS in PAPER: stoo in BoARDS. II. The age at which the Study of Piano may begin.
most pleasing. It is written after the style of a song III. Should a Musical Education be begun by Study of Solfeggio"
without words. It is one of those pure and soulful A work of the greatest importance to students of har IV. is Classical to be preferred to Brilliant Music?
simple pieces, that every teacher should teach whenever V. The Study of Technic.
opportunity permits, which is with almost every pupil. mony and the pianoforte. There is no other work of VI. The Utility of Collections of Etudes-Various Counsels.
it is by playing such lovely gems as this that the begin this kind in our language, andinweouraresystem
sure that it will VII. The inPrecautions to be taken when many faults are met with
Pupils who have studied the Piano for some time.
ners see beauty in music outside the dance forms. occupy a distinguished place, of musical
VIII. Emulation.
921. Smith, Wilson G. Op. 43. No. 2, 50 education. It takes
harmony. All the pupil
the rules over the
are covered in whole ground
exercises of
of the
IX. Musical Memory.
X. Can a Teacher himself prudently give up the Study of the Piano
Mill-Wheel Song. Grade W............ XI. Accessory qualities of the Teacher.
And what can be said to adequately present the char
most varied kind, to be played at the pianoforte. It is a XII. To Pupils.
acteristic grace and beauty of this little tone-picture-a
good preparation for the art of composition and improvi XIII. The Method of Practice.
perfect gem of its kind? The triplet figuration in the sation, calculated to incite the student to musical pro XIV. The influence of Musical Studies, and the kind of instruction
necessary to a Teacher.
ieft hand presents a groundwork of monotonous hum duction. The work will help greatly to facilitate the XV. General Remarkslast Counsel.
ming accompaniment to the bright and sparkling theme
of the song. As a bit of tone-painting, we know of
young musician's difficult '. regarding the thorough
nothing better in recent piano literature. It has already study of harmony. Published by THEO. PRESSER,
been played in concert by several concert artists, and THEO. PRESSER, 1704 Chestnut Street, Philadelphia, Pa.
won an invariable ncore.
There the old mill-wheel remains, PUBLISHER,
And lets the mill-stream run; 1704 Chestnut Street.
And if it shines or if it rains, NEAT AND SUBSTANTIAL
It sings at set of sun.
The sentiment of this motion is most charmingly and
practically reproduced in the unceasing flow of the .# MUSIC & E'OLIOS.:*
stream, and its accompaniment alternating in either
hand.
DACTYLION. OUR OWN MAKE.
FOR PIANO STUDENTS.
922. Schubert, Fr. From Op. 78. Minuet 30 A new invention of great practical value and real benefit to the Piano Price 75 Cents, $6.00 per dozen, by Express.
in B Minor. Grade VI..................... Player.
This folio is without spring back or ornamental work. It is a simple
One of Schubert's most popular pieces, made known
by the playing of it by Rubinstein when in this country. folio in cloth, with three strings to tie the open ends.
The pieces require the same style of technical playing
as Chopin's Military Polonaise, Op. 40. No. 2, with the Address THEO. PRESSER, Phila., Pa.
addition of finer shading. One should be well devoloped
-
- musically to do justice to the beauties of this piece, unless
it is executed with the proper taste it will degenerate AN IMPORTANT WORK.
into mere empty hammering the keys of the piano.

923. Schumann, R. Op. 12. No. 3.


Warum? (Why?). Grade IV.........
This is a good study in Cantabile playing, besides being
25
Fium fu (Huberstant (Dusir VOL. 11.
one of Schumann's gems. The piece is finely edited by
W. S. B. Mathews.
BY W. S. B. MATHEWS.
924. Kuhlau, F. Op. 55. No. 1, Sona PRICE $1.50.
tina. Grade III...... - - - - - - - 30

Kuhlau has written many pleasing and instructive


Musical Miscellanies, Historical, Critical,
little works for piano, but none more beautiful than the |'' Philosophical and Pedagogic.
one before us. It is in the key of C, bright, flowing and To strengthen the fingers.
melodic. It has one peculiarity in not having a slow To improve the touch.
movement; after the first movement, which is in strict To ensure flexibility and of
rapidity. Among the subjects treated, are Self Culture in Music,
form, the Vivace movements enter and make a pleasing To give correct position the hand.
Bird's-eye View of Musical History, Wagner (30hapters)
effect. To save time and a vast amount of labor. Theory of Piano Teaching, Psychological relations o
PRICE $3.50, NET.
925. Macfarren, Walter. Golden Slum 50 Unqualified endorsement of leading artists and teachers, among whom music, etc., etc.
bers. Grade IV............................... - are S. B. Mills, DR. Louis MAAs, MADAMs Rive-King, Robert Gold
Address Publisher,
A very pleasing cradle songdelightful to play. Easy Beck, CARLYLE PETERSILEA, etc., etc.,
of execution and is sure to awaken the finer sense of Send for circular giving detailed information, THEO. PRESSER, Philadelphia.
Address THEODORE PRESSER.
musical feeling. It is finely edited by Bern. Boekelman.
THE ETUDE.
COURSE IN HARMONY. ld
Browns Interludes..............................Cloth, $2.00
Browns 633 Modulations to and from all
major and minor keys....................Cloth, $2.00 | Easily Understood.
ARE, all UPRIGHT
Interesting. Thorough. Adapted for a short course
Every page of these works is replete with the richest harmonies, most
brilliant progressions, and novel effects in chord combination. or for an extended period of study. A great saving of
time to teachers. A real help to students.
Browns Woluntaries. Wol. I...... .........Cloth, $2.00
A collection of rare pieces of unusual beauty. This work is being received with great favor, and is already intro
duced in several of the best conservatories in this country. In pamphlet These Instruments have been before the Public for over
form it has had a large sale, and now that it is completed, it seems sure
to take a leading place among works on Harmony. fifty years, and upon their excellence alone
THREE BRILLIANT CONCERT PIECES, Simple explanations, short sentences and plain language throughout
are features which will commend themselves to teachers and students.
have attained an
FOR TWO MANUALS AND PEDAL.
It will lead students not only to a theoretical acquaintance with Har UN PURCH ASED PRE-EMIN ENCE,
Meditations in D. THoMK....... ...........# .40 mony, but also to become able to distinguish intervals, chords, progres Which establishes them as
sions and treatments by ear as readily as with the eye.
Andante Grazioso. LYSBERG........................... .40 By means of an agreeable variety of exercises the interest of the
Offertoire on a Theme by Heller. BRowN....... .40
course is well sustained. It will not be found dry by any careful stu
dent. Many of the exercises are decidedly novel in a text-book of this UNEQUALED
kind, never having appeared before. -IN
The book will be found interesting and helpful in every way to the
Send us a ": card giving your address, and we teacher and the pupil. It is also rich in suggestions for general im
will mail full deecriptive specimen pages and special
prices on direct orders.
provement and in reviews. In advanced study it will be found invalu
able.
The conviction of its excellence will strengthen as it is
'I', ''. WTIIM). All I'lly
BROWN BROS, Trenton, New Jersey. used, and it is safe to predict that this will prove the most Wvery Piano fully Warranted for 5 Years.
popular work on Harmony yet published.
Address
THEO. PRESSER, Publisher, WM. KNABE & co.,
New Hicssons in Harmony. 1704 CHESTNUT ST., PHILADELPHIA, PA.

+ SPENGLER's +
22 & 24 E. Baltimore Street, BALTIMORE,
148 Fifth Ave., near 20th St.,
817 Pennsylvania Ave., WASHINGTON, D.C.
NEW YORK.

JOHN C. FILLMORE.
We know no other work in which a musical student can learn so
much about harmony in fifty pages of text and examples for exer
cise.-The Nation, New York.
System of Technic, FOR THE PIAA/0-FORTE.
TWO WORKS-FOR PIANO PLAYERS.
This work is based on the ideas of DR. Hugo RieMANN, and has as
PRICE, $1.50. - Limp Cloth, $2.00
an appendix his lecture on The Nature of Harmony. -

A careful perusal (of this) will enable students to see clearly the
drift of modern speculation in music.-The Nation.
Dr. Riemann, The greatest living musical theorist.The Nation.
An Original and Highly Interesting Work for
Professional and Hmateur.
THE ARTISTS REPERTORE
JUST PUBLISHED. PRICE $1.00 IN BoARDs.

MITUSIC TEA CEHEE'S We offer in this System of Technic a work that is


calculated to arouse new interest and enthusiasm, and CONTENTS.
HAVE DECIDED THAT
point out the road to higher and nobler possibilities. Rondo Capriccioso. Op. 14.....
While the aim has been to set before the player Impromptu, Op. 142, No. 2. (b).
W H IT IN E Y'S new and interesting matter, yet the more important Polonaise. Op. 40, No. 1. (A maj.)
March Heroique................
facts are constantly kept in the foreground, to wit: Polish Dance. Op. No. 1..
to develope the weaker fingers, and .to equalize the Une Perle. (Bluette). ..........Behr.
The Hunter's Horn . Von Kornatzki.
touch, to create an independence of execution, to ac The
RAPID METHOD custom fingers and hands alike to every possible posi
tion in all major and minor keys, and to cultivate the
Mill............... ....... Jensen.
("couch". Caprice.................................................................. Raff.
Priests' March, from Athalia. endelssohn.
mind as well as the fingers. -
Students of Sorrento ........................................................... Celega.
FOR THE PIANOFORTE Pavan.............
Turkish March -
..Sharpe.
Mozart.
Pomponette. (Style Louis XV) Durand.
Advice to Young Students of the Pianoforte, Intermezzo et Valse Lente....
is the most desirable method published, and BY ALBERT W. BORST. Melodie in F........................
both recommend and adopt it. Gypsy Rondo. From Trio No. 5.
PRICE, 10 ces. Walse. Op. 33
Two Mexican Dances.
Some good advice for every one studying the piano. The Brook.... ..Pape.
As-SEND FOR A FULL DESCRIPTIVE CIRCULAR. Springtime ..Carreno.
Nel Cor Piu..... Beethoven.

Address
WHAT SHALL WE PLAY. Theme Allemand ...Leybach.
Pixis Valse ............................................................................ Pixis.
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ALLEGRAND O. cLass-Book
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A SPLENID GAME FOR EVERY H0ME. MUSIC TEACHERS. A Collection of Interesting 4-Hand Pieces.
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Bella, or La Tonkinoise March.
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Address publisher, British Patrol.....
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The different kinds of time. THEO. PRESSER, Bucephele Galop
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A new departureentirely unlike any other game: -

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. Mendelssohn, First Song without Words.
Please mention the Etude. 132 North Fifth Street, PHILADELPHIA, PA. Bach, Loure in G.
Chopin, Nocturne in E flat.
. Mendelssohn's Hunting Song.
E.A.T. IIMEEER,S Schumann, Warum.
Mendelssohn, Spring Song.
[MORE Schumann, Nachtstuecke in F, Op. 23, No. 4
YORK,
|N, D.C. PIANO PRIMER. Measure and Rhythm,
I5th EDITION.
FOR THE PIANOFORTE.
1
Bach, Invention in E minor, 3 voice, No. 7.
Schumann, Grillen.
Rubinstein, Melody in F.
11 . Schumann, Polonaise in D, out of Opus 2.
By E. W. KRAUSE. Mendelssohn (Duetto), No. 18.
RS. Notes and Remarks by such Musicians as Dr.
FOR PRIVATE, CLAss of: SELF INSTRUCTION.
|: .. Schumann, Homewards.
Wm. Mason, Mr. Wm. H. Sherwood, 14. Chopin, Prelude in D flat.
Mr. Albert R. Parsons, etc. A Systematic and Practical Treatment of Measure 15. Bach, Saraband in E minor.
(Time) and Metrical Notation, in the form of scales and 16.
| It is concISE; it is ExHAUSTIVE; it is endorsed by most other exercises.
of the great American Pianists and teachers. Letters of The work affords material for acquiring the ability to
Schubert, Minuet in B minor. Op. 79.

commendation of it have been received from the most Address Publisher,


prominent musicians in more than twenty different read and play correctly in a comparatively short time.
States. It is adopted as a STANDARD work in most of THE O. PRESSER,
the Colleges in America. Its sales have been phenome Price siso, in Boards.
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Schcher.
covers, 60 cents. Address "THEO. PRESSER, Publisher,
...th: THEODORE PRESSER, 17O4 Chestnut Street, Philadelphia, Pa.
n Biki.
irst it
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1704 CHESTNUT ST., PHILAD'A, PA.
|

|| || ||MSHM #| ||
int-Li E*ALMIEEs MUSIC PUPL's TIME CARD
An accurate record of lessons taken and music received. Space
*
(**
New Pronouncing Pocket Dictionary given to arrange a daily practice schedule; also, for hints and cau 1. Wake not, but hear me, Love! - - - 30 cents.
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Most
of Musical Terms. lesson, and blank receipts to be out at the close of the term. II. The Song of the Nile, I Sigh as I Sing, - - - 50 cents.
Convenient in form and an incentive to the pupil. Ill. Kapila, Warrior-Priest, Heroic Song, - - - 60 cents.
June. 26OO TEEMCs DEENINED.
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ins: A new and greatly enlarged edition of the Pocket Chicago, Jan. 11, '89.
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*
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songs are intelligently sung by one who understands their musical con
required by musical students and teachers. ..It should ception an Eastern impression may be produced upon the hearer.
be in the possession of every person who studies music. II. Thus in The Song of the Nile, Iras is at first musing, and
The Root & Sons Music Co., formulates her wishes in a simple strain taken from the movement to
E*RICE 25 CENTs. CHICAGO, IL.L., and fro of palm trees; which leads her to break out in a prayer to the
god Nilus. Just as this outburst is developed she hears the god's
Address THEODORE PRESSER, answer, by the same strain in the dominant key, and is carried on by
And THEO. PRESSER, 1704 CHESTNUT ST., the words until she awakens to find it but a dream, and closes with her
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PHILADELPHIA, PA.
III. As to Kapila. The melody here again is Anglo-Saxon, but
the fire with which it should be sung is that of a Hindoo enthusiast.

M Systm Of Pin() TChmit. Portraits of Great Musicians. If the singer can bring out the sentiment of the words, the strains will,
it is hoped, be found a suitable vehicle for their expression.
..II. In the little Song of Tirzah, the strings of the nebel have sug
gested the treatment and controlled the movement. There are endless
JAMES HAMILTON HOWE. piano movements, embracing arpeggios, for example, which might be
exquisitely rendered to the words of this poem, but in this case, the
SIZE, 22 x 28 INCHES. simple chords have been used, as seemed suggested by the context ***
CLOTH, $1.5O. Tirzah no doubt possessed much sentiment and power of expression,
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Price $1.00. Postage and Tube, 10 Cents. the modern virtuoso.
Includes a complete set of Scales, Arpeggios, Double These three songs, if sung consecutively, in their order, reach a cer
Thirds, Double Sixths, etc., in various motions, together $5.00, with Frame, Antique Oak. tain climax in-themselves as a whole, and so considered may prove an
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with fingered exercises for special developments, and The following are now ready: Address Publisher,
School of Embellishments. It follows nicely the popular THEo. PREssert, PHILADELPHIA.
Pianoforte Instructor, of late issue (by the same Author), BEETHOVEN, MENDELSSOHN,
in connection with appropriately graded studies and in
structive compositions. This work has been introduced MOZART, WAGNER.
in some of our leading schools of music. A newly OTHERS TO FOLLOW.
4-3
revised and corrected edition is in process of publication,
necessitated by the advanced sales of the work. The The elegant portraits have given the greatest satisfac. STUDIES FOR THE PIANOFORT.
''Technic in the future will be bound in limp cloth, so tion whenever introduced. The former price for these
desirable for carrying the same in music rolls. A new was $4.50 each, without frame. By G. W. BRYANT.
and original Arpeggio Exercise will be introduced in the
next edition.
Addre" THEO. PRESSER, PR. I C E # 1. As O.
THEO. PRESSER, |

No. 17O4 Chestnut Street, Philadelphia. 1704 CHESTNUT ST., PHILADELPHIA.


-

These studies are composed for the purpose of over


SUITABLE FOR CHORAL SOCIETIES. coming special faults and defects in piano playing.
Q Q. -
FIFTY EXAMINATION QUESTIONS They are to be used only with pupils who have contracted
FOR PIANOFORTE STUDENTS, certain bad habits. They are a medicine rather than a
Mrs. SPEAKER, tonic. The author has, in these studies, happily com
AN OPERETTA.
BY ALBERT W. BORST. bined instruction with pleasure.
By ALBERT W. BORST. Price 5 cents. 50 Cents Per Dozen. Address publisher,
LonnonNovello, Ewer & Co., or from the composer, 3602 Hamilton
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_{
216 THE ETUDE.

The inadequate results from technical exercises at the piano is too well known to piano players, and forms the great
barrier to a proper advancement in piano playing. -

Science, having investigated this subject, has discovered and can explain the reasons of such uneconomical results, and can
now supply at a cheap cost a better and more direct process for developing and enlarging the technical dexterity of the hand.
It is now used by eminent pianists in their teaching and for their own personal use, and hundreds of teachers testify
that it is invaluable to both themselves and their pupils.
As this new method marks a most important reform in technical teaching, all piano players should make themselves
acquainted with its principles, by reading a

TREATISE UPON TECHNIC, AND THE NEw scIENTIFIC METHOD FOR QUICKER ATTAINMENT
OF ARTISTIC EXPRESSION IN PIANO PLAYING."
Sent free on application to J. B E. O TEIEEEI O OTD 9

No. 6 West 14th Street, New York.

-= TIEEE =_

VIRGIL PRACTICE clAVIER.


From Moritz Rosenthal. A. SILE-NIT" PIANO. From Rafael Joseffy.

- - FOR TEACHING AND

ALL PRACTICE.
Used and Recommended by the GREATEST ARTISTS and
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To Mr. VIRGIL.
Dear Sir-I recently had occasion to see and examine one MR. A. K. VIRGIL.
of your Practice Claviers at the residence of Mr. Alexander
Lambert, and I desire to express to you my full appreciation Pear Sir-Allow me to congratulate you on your useful
of the excellence of your invention. Notwithstanding the | and much needed invention, the Practice Clavier. I am
well known aphorism of Robt. Schumann, that "One cannot
learn to speak from the dumb, I am convinced that many | using it and like it very much. The principles of touch
technical difficulties may be conquered upon your instru involved are entirely correct and meet my full approbation.
ment more.Guickly and accurately than in the ordinary
way; and with the utmost regard for the ears of sensitive For acquiring perfect finger control, for gaining strength
neighbors. "d endurance, and as a means for silent practice, it is
b' '" of the silent key | Fos EveRY TEACHER, PUPIL, *AYER, HoME AND scHool. ": you great success, I am cordially yours,
INEXPENSIVE, PORTABLE, DURABLE. A.
*
NEw York, January 13th, 1889. , B Virgil .
Irg. Practica claw 2%
IRVINGTON, N. Y., April 5th, 1889.
~ THE ETU DE =
- rofessional Cards. --~~~~~~ Schools of alusic. schools of #lusic.
Mr. T. J. DAVIES
Gives Iessons personally, or b
y correspondence, in Harmony,
GERMANY, BERLIN.
Counterpoint, Canon and Fugue. Students
musical examinations.

Address
prepared for
Most thorough and systematic course.
Compositions revised and corrected. Terms moderate,
18 LIBRARY BUILDINc,
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A MUSIC SOH"
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KII) "I Mii.
Harmony Lessons by Correspondence BRANCHEs TAUGHT:Piano, Violin. Violoncello, Singing
ALSO

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[74 RACE sTREET, CINCINNATI, O. other renowned masters.

MADAME ANNA STEINIGER, |Prospectus to be obtained gratis through the Director,


CONCERT PIAN ISTE AND TEACHER RARL KLINIDWORTH,
* +=os Toi-ST, Mr-a-ss
*
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lell Madameand
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March,will make
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in Janua
January -
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Certs,
ing her four Beethoven Con
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sts: will work for this series of concerts, in their cities or towns.
DMNM'S MUSICAL INSTITUTE WARREN, OH
" **AU ANNA sterniger, Boston, Mass.
An institution devoted exclusively to the study of |
W. S. B. MATHEWS, Music. Gives instructions in all departments of Music,
msel: TEACHER OF PIANOFORTE, with a thorough and Systematic Course of |

Lecturer and Writer upon Musical Topics, Study, and a Faculty of the highest excellence and
No. 236 STATEST., CHICAGO, ILL. efficiency. Founded in 1869. Ba Send for Catalogue.
Room18. -

MENT MME. RIVE-KING. A STANDARD TEXT-BOOK,


Time rapidly filling for Season of 1890. Par
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CHICKERING HALL, N.Y. a splendid building for its exclusive use, the Oberlin
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Mr E. M. B O W M A N, .
(Editor of Weitzman Musical Theory,)
Music. 544 students last year. Total expense for one American Conservatory of Music.
WEBER Music HALL. CHICAGO.
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(0% PIANOFORTE AND ORGAN instruction by the methodson which Terms begin Sept. 17, Jan. 7, and April 8. EveryThorough
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Depart- t
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Weitzman Method, which, by its lucid explanations and interesting branches, send for catalogue to ment for the Training of Teachers.
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422 BROADWAY,
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MRS. W. H. SHERWOOD,
THE ART OF PIANOFORTE PLAYING.
BY HUGH A. CLARKE, MUs. Doc. Price $1.50, post
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IEDVVA-RID E-A-XCTEE FIEEE. Y., The design of the work is to furnish a thoroughly
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Mr. Perry makes an Annual Western and Southern Tour, from Sept. way that the difficulties that beset beginners are almost Augener, Cotta, Breitkopf & Hartel,
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_ route desiring recitals at that time. -
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HUGH22%23
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elementary school for the pianoforte. We wish to call the attention of Directors of
PHILADELPHIA.
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In Harmony, Counterpoint
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__schools at alusic. namely
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It Interests the Pupil, it Cultivates the Taste.
60 H00L OF MUSIC,
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selections of different grades for inspection.

Instruction given in all Departments of Music. for success, and it is well to have a text-book at the
Pupil, classical, Artist, Choral and Orchestral Concerts, beginning that lays particular stress upon important
Solo, Duet, Trio, Quartette, Ensemble and SPECIAL ATTENTION PAID TO MAIL ORDERS.
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Five COURSES OF STUDY. There are numerous duetts for teacher and pupil, all
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For Circulars of other University Departments, apply to arpeggios, five-finger exercises, etc. on application, and |
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T EI E E T U D E.

INSTRUCTIVE, INTERESTING and MUSICAL. SECONTID EDITIONT.


A GOOD PLACE
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TWENTY STUDEs SONATINA ALBUM MUSIC TEACHER


COMPILED BY THEO, PRESSER.
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is alongside of the counter of a DITSON COMPANY'S


Price . $1.00, Bound in Board Cover. MUSIC STORE. A few hours of a summer tour may be
THE PIANOFORTE, TABLE OF CONTENTS.
profitably spent in examining our exceptionally good new
publications, and selecting for the fall campaign.
OF MODERATE DIFFICULTY, Introduction.........
Op. 81. No.
- -

'' tells From our 64-page list of books (which please ask for)
Mendelssohn. Op. 72 No. 3, Kinderstcke
- we name a few books out of many:
For Development of Style, Expression and ': Op. 14. No. 1, Sonatina.........
Technique. Jadassohn. Op. 17. No.3, Children's Danc Eacamine for Singing and Chorus Classes:
Diabelli. Op. 168. No. 3...................
Burgmuller. Op. 76. No. 1, Rondiletto.. Song Harmony. (60 cts., $6 doz.) Emerson.
INSCRIBED TO THE MUSIC TEACHERS OF AMERICA. Spindler, Op. 136. No. 1, Sonat a in 4
ummel. Op. 52. Rondoletto Royal Singer. (60 cts., $6 doz.) Emerson.
PY Kuhlau. The
Reyloff. Op. 20. No. 2, Sonatin
Fuchsia.........
American Male Choir. ($1 or $9 doz.) Tenney.
Steibelt. Turkish Rondo............ Jehovahs Praise. ($1 or $9 doz.) Emerson.
ANTON STRELEzKI, Clementi, Op. 36. No. 1, Sonatina
In Op. 100.--Wolume II. Kjerulf. Scherzino. Concert Selections. ($1 or $9 doz.) Emerson.
Greig. Op. 12. No. 7,
Smith. Babbling Brook OR OUR EXCELLENT CANTATAs:
THEODORE PRESSER, Lichner. Op. 149 No. 6, Sonatin
Dussek. Plough Boy............ Dairy Maid's Supper. (20 cts., $1.80 doz.) Lewis.
zos Chestnut
*
-
St., Philadelphia, Pa. i. 6'
Dussek. I Matin A. 66 Rainbow Festival. (20 cts., $1.80 doz.) Lewis,
Haydn. Sonatina in
Schumann. Slumber Song
WE EJ0K 0N A MFW 1, 4// Schumann. Nocturne.. Eacamine our superior School Music Books:
, 9 Mendelssohn's Song Without Words. No. 1
#&# Bach. Little Prelude. No. 6 Song Manual, Book 1. (30 cts., $3 doz.) Emerson.
-
==~~&Pag- > Bach. Little Prelude. No. -

__- - - Schubert. Op. 78. Menuett Song Manual, Book 2. (40 cts., $4.20 doz.) Emerson.
Reinecke. ''
p Song Manual, Book 3. (50cts., $4.80 doz.) Emerson.
-

M|S|| M|S| [S Chopin. Op. 9. No. 2, Nocturne.


Address Publisher,
THEO. PRESSER,
- -
United Woices. (50 cts., $4.80 doz.) Emerson.
Kindergarten and Primary Songs. (30 cts., $3 doz.)
I 1704 Chestnut Street, Philadelphia, Pa.
In our new P|| S|[ ['ll fill ($1) are found
By W. F. GATES. TEACHIER s such songs as Happy Birds, Hunting 4-leaved
Clover, An Old Garden, At My Window,
and 82 others.
Price One Dollar and Fifty Cents. P0CKET METRONOME.
M' MOSAICS is a unique book. It is the first book in
the English language that presents the very best sayings on
In our new [lit: SATE S|| ($1) are found
musical topics, chosen from the highest rank of authors. Beulah Land, Good Shepherd, When the
The selections are principally in the line of esthetics and criticisms,
| and range from one line to three pages. Much time and labor has
Mists, Home so Blest, and 30 other songs of
been spent on the work, and the book-maker has shown much skill
great beauty.
in its general make-up. The idea, in its preparation, was to present
to the music-loving public just as much of the cream of musical
writings as could be condensed into 300 pages. All useless or value In " " 'I'll Pill Cltilism."
less matter has been omitted, and as a result we have a volume con Price, Nickel-plated, 50 Cents, Net, Postpaid. pieces that sound well among the trees, as "Dent
taining the best sayings and writings of the writers on musical de Leon, Alpine Shepherd, Forget-me-not,
topics, in all ages and countries.
Giving the correct Metronomic Marks after the Fairy Echo, Chapel in the Mountains, and
Maelzel Standard, together with the 20 other pleasing pieces.
170 AUTHORS. True Tempos of all the Dances.
In our new Pll I'll: ['ll{ill ($1) there are
600 QUOTATIONS. These instruments have been especially manufactured many new and sparkling Waltzes, Polkas, etc.
We give below a few of the names of writers from whose works for THE ETUDE, and will be sent as a premium to any one
selection has been made, and the number of quotations from them: sending two subscribers. Spend a V in providing such books as the above, and
Address also the genial College Songs (50 cts.), College
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Liszt, 12. Mendelssohn, 10. PHILADELPHIA, PA.
tions. (See Catalogues.)
Schumann, 60. Wagner, 16.
Weber, 8.
Thibaut, 6.
Pauer, 5.
Wan Cleve, 7.
Space will allow us to mention but sixteen of the one hundred
NEW HESSONS IN HARMONY,
BY JOHN C. FILLMORE.
GUITARS, BANJOS, MANDOLINS,
of the best quality, for sale at reasonable prices.
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This is a book for musician and non-musician, for professional We know no other work in which a musical student
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# teacher-every studentshould own MUSICAL
SAICS.
MO. Harmony. containing the best Anthems, Glees, Choruses, Quartets
As a presentation volume it cannot be excelled. A careful perusal (of this) will enable students to see and Sacred Selections. More expensive to publish than
Address all orders to clearly the drift of modern speculation in music.The sheet music; we still sell them for the low price of 5 to
Nation.
Dr. Riemann, The greatest living musical theorist. 10 cts. each.
THEODORE PRESSER, The Nation.
1704 Chestnut St., Philadelphia, Pa. BOOKS FOR SOCIAL SING INC.
have many effective Songs and Choruses, as College
EDWARD BAXTER PERRY'S ON TEACHING AND TEACHING REFORM.
| Songs (50 cts.), War Songs (50 cts.), Jubilee
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TWO LECTURES BY
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Based UPON THE RHINE LEGEND, Albert R. Parsons and Constantin Sternberg. Memorial Day Songs and Hymns (25 cts.).
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"'s and descriptive; excellent study for the left hand. IBOSTON.
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and Mr. W. H. Sherwood, since its publication, March 1st, 1888. Address Publisher, THEO. PREsser,
| C. H. Ditson & Co., J. E. Drtson & Co.,
Address THE0. PRESSER, 1704 Chestnut St., Philadelphia, Pa. 1704 Chestnut Street, Philadelphia, Pa. 1228 Chestnut St. Phil"
867 Broadway, New York.
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We have just published a second edition of this new
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the Musical Profession in America. It is called
PIANO. TECHNI[.
DESIGNED FOR

SCH00LS, TEACHERS and STUDENTS,


not
-at: TOUCH AND TECHNIC, By VVM. B. VVAIT,
By MEANS OF THE Two-FINGER EXERCISE. Autho, of Harmonic Notation, (THEO, PRESSER,
BY Phila.), System of Tangible Music for Use of the
* WILLIAM MASON, Mus. Doc. Blind, Measure, Rhythm, and Form.
M. .. / Mason's Two-finger Exercise had its origin in the old
fe."
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days at Weimar-more than thirty years ago. It grew The Norm AL COURSE is based upon the fundamental
|| ||
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out of a suggestion of Liszt's. Dr. Mason took it up, idea that, for the purpose of the development, discipline
- | - ". # -
employed it with the happiest results in his own practice and information of the mind, and for teaching the learner
*
*
'%
# % -
-

PAGE. and teaching, and in the course of thirty years' experi how to think and to do, Technical studies in Music are as
# ence as a teacher he has greatly developed it in various useful as any other branch.
#% ' ' ' '.' .. # directions, until it is now
* # The Elect: Clavier. W. F. Gate:, ........g.: 33
#
W| #.
Teachers' Help and students' Guide. E. M. Sr
ton...... ...................... . . . . . . . . . . . 34.
FEATURES OF THE B00K.
| .''
WW | *
Publisher's Notes.................................
Editorial Notes................................ 35
34
#if|titl'ill'I'll Clear, concise statements of facts and principles.
# |. incompetency, M. A. Brunetti....... 85 -- ---
It deals only with essentials.
KNOWN TO
** * It arranges the materials in grades, by Divisions,
* #|
# 'W',
* . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .---
Suggestions for the American College of Musi- PIANOFORTE PEDAGOGICS. Courses and Steps. -

''. cians. E. B. Story ... .......| - ... #3 & It exhibits a distinct mode and order of development.
'%'. Letters to Teachers. W. S. B. Mathews ......... 37 &\! MASON'S TOUCH AND TECHNIC The course is as clearly laid out as in any other branch
'%'. How to treat backward pupils. T. M. Austin.... ?" S.W. of study.
- '%'
% ' '. is in sheet music form, Sixteen pages. Nine pages are '"
based upon understanding of means as applied
*
* | ".
# Put your heart into your music. E. E. Ayres... 40
'*'. of Daily Exer
The devoted to to ends,
* W %
- - *cises, C. E. Ortmer. . . . . . . . . . . . . . . . . . . . .
Questions and Answers ........................ 45 EXPLANATIONS OF TOUCH,
It permits the attention to be given to the hands in
practice, and not to the pages.
* 2. Chats with Students. Thos. Tapper....... - 46
THE TWO-FINGER EXERCISES,
Z. . -

.
In schools, it will secure uniformity in the instruction
-
2. THE MODE OF PRACTICE, given.
*
#
#
W. Post horn's tone...Behr
MUSiC.
Price in sheet form, so POSITIONS AND METHODS OF USING THE
It furnishes the bases for oral recitations and examina
W % in Twilight. '. Mazan. 35 tions, as in other subjects.
'% L'Amazone. h gointeok.
-
|
-
- 35 FINGERS AND HANDS, Etc., It is logical, systematic, thorough.
# * Third valse Poetique. Streeski. -

and five pages contain the Exercises themselves. The It is a book for use by schools, teachers and students.
s /'W'

2.4 |
-
explanations are singularly clear: Dr. Mason, having PRICE $2.OO, BOUND.
-

" '% taken the greatest possible pains to guard against the
% #: *c.
- - -
# misapprehensions to which students are liable in taking We will make a deduction, as usual, to those ordering
up exercises so novel and so diversified in their method the work in advance of publication. We will send the
# ractice as these. work, post-paid, for only 60 cents to those sending cash
" The work will not be ready for several
the opinion ofmany of the best pianists and teachers months.
up to
#150 ft. YEAR
Mason's Exercises are the most valuable
contribution to Pianoforte Pedagogics made Address the Publisher,
during the past half-century. - ||

PRICE 81-oo THEO. PRESSER,


Address Publisher, THEO. PRESSER,
1704. Chestnut St., Philadelphia, Pa.
1704 Chestnut St., Phila, Pa.
T H E E TU D. E.

OMETHINC
TO REMEMBER,
Publisher & Importer,
mil lin i
G. SCHIRMER,
NEW YORE AND LONDON,
MANNS NEW #5 UNION SCOUARE,
ELEMENTARY SCHOOL FOR THE PIANO.
By JEAN MANNs.
Presenting the fundamental principles of music and piano play
NEW YORK,
M'l','l',
ing practically exemplified in a strictly systematic
series of pieces and preparatory mechanical exerc
by a -

All knowl
edge of, and proficiency in, the art is based upon a proper under G. SCHIRMER'S EDITION Write for Catalogues of Novello's original octavo
standing of the elementary principles: to present such elementary
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Price, in Boards, 82.50. ALBUM OF SACRED soNGs. 20 Songs, e. and Songs, Anthems, Church Ser
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THE MODERN SCH00L OF PIANOTECHNICS, ARNOUD. J. - and
Songs for Young People: from the French. e. f....net, 1.00
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-

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The same. Mezzo-soprano or Baritone......-net, 1.50 | ELEGANTLY BOUND BOOKS SUITABLE FOR MUSICAL PRESENTS
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to the instrument. The elementary part is particularly free
Biondina. A Collection of 12 Songs. e. f.i.................net, 1.00
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ieces have been judiciously selected and progressively arranged and Vocal Album. e. g. 4 Vols., each......................
ngered, while the songs, with accompaniment, will be found -net, 1.00
specially well adapted. -
The same. Vols. I and II together, bound in cloth.........net, 2.00
Price, in Boards, 81.50. The same. Vols. III and IV together, bound in cloth......net, 2.00
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The same. Alto or Baritone.......................................net,


LACOME, PAUL.
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1 PR:::\]

WOL. VIII. NO. 3.


PHILADELPHIA, PA, MARCH, 1890.
HoME. [For THE ETUDE.]
T H E E TU D.E. WASHINGTON, D. C., has a Wilhelmj Club of lady
l' PHILADELPHIA, PA., MARCH, 1890. violinists, directed by Jose E. Kaspar.
THE ELECTR0-0LAVIER,
The latest and most valuable invention for piano player".
Miss ADELE AUS DER OHE has started on an extended
A Monthly Publication for the Teachers and Students of Western tour. She will play in a dozen or more Western
Music. cities, including St. Louis and Chicago. BY W. F. GATES.
SUBSCRIPTION
Single Copy, 15 RAT
:* PER Y
$1.50 PER YEAR (payable in advance).
|RDS MR. FRANz RUMMEL, with his family, will spend the
The courts have decided that all subscribers to newspapers are held next season in America. He intends to reside in New
It was my good fortune to see and have described to
responsible until arrearages are paid and their papers are ordered to be York, where he will arrive in October.
discontinued. me a few days ago a piano which can be used for silent
THEODORE PRESSER, THE von Blow concerts will begin in New York on practice. I will in a few words attempt to describe the
1704 Chestnut Street. PHILADELPHIA, PA. the afternoon of April 1st. The concert
first the of
present season will take place in Boston on March 24th. invention. Carry it in mind that the improvements may
EDITORS. be added to any upright piano at slight expense.
W. S.B. MATHEws, JOHN S. VAN CLEVE, MME. CAMILLAURso will soon return to the East from
JOHN C. FILLMORE, E. E. AYRES,
her sojourn in San Francisco. She intends to make The first and most valuable invention is in the form
MRs. HELEN D, TRETBAR.
New York her future permanent home and will establish of a small lever under the upper part of the keyboard of
Managing Editor, THEODORE PRESSER. a violin school in that city. -
the piano, by means of which the action may be discon
(Entered at Philadelphia Post Office as Second-class Matter.)
VLADIMIR DE PACHMANN, the Russian pianist, will pay nected from the strings, giving one in a second of time
America a visit in April. His wife, also a pianist, will a mute piano. Here is the advantage of the invention.
accompany him. He will give three recitals and an The original piano touch is retained, and not only that,
MUSICAL ITEMS, orchestral concert early in April.
another valuable idea is at hand. By gradually depress
MRs. CLARA. E. THOM's played the Weber-Liszt Polo ing a similar lever at the same place on the piano, any
[All matter intended for this Department should be addressed to naise and the Scherzo of the Scharwenka B flat minor
Mrs. HELEN. D. TRETBAR, Box 2920, New York City.] necessary degree of resistance may be instantly added to
concerto, at a Franko-Sunday concert, in New York.
FoREIGN. Jules Perotti, the tenor, sang Salve Dimora, from the keys, and you may at once have a dumb piano with
Faust. an action requiring a finger pressure of anywhere from
Dvor,AK is writing a Requiem destined for England.
THE Patti-Tamagno-Albain Opera Combination began zero to six ounces, as you may please. And then, if you
PAULINE LUCCA will soon undertake a tour through its season in San Francisco, on Feb. 10th, with William prefer, you may throw on the sound with any degree of
Germany. Tell. It will open at the Metropolitan Opera House, key resistance you may require.
KJERULF has written an opera founded on one of Hans New York, on March 24th, and sixteen performances These inventions alone would have served to give the
Andersen's fairy tales. will be given.
inventor a place at the head of the benefactors of a long
MME. SoPHIA MENTER has been playing at a Lamou. A serIEs of Lectures on Musical Subjects was given in
reux concert in Paris. New York and Brooklyn during February by Messrs. H. suffering public; but more than this, he has called to his
E. Krehbiel, W. J. Henderson, Walter Damrosch and aid electricity in operating a tell-tale bell stroke when
BEETHoveNs Mount of Olives will be performed Dr. F. L. Ritter. Anton Seidl gave the musical illustra the pupil plays in too detached a way, or if histones over
at a Crystal Palace concert in London on March 26th. tions at the Krehbiel lectures, Steinway Hall. lap (used, of course, in technical work only). A slight
44 STAVENHAGEN, Liszt's pupil, played that master's MRs. ANNA STEINIGER CLARK, of Boston, the pianist, movement of an almost invisible switch under the left
Todtentanz at a London Crystal Palace concert. performed the Schumann concerto at a Boston Sym end of the keyboard, makes an electric connection, which
phony concert. She also gave four Beethoven concerts causes a small bell to strike whenever there is a break
AN autograph letter of Mozart's, written to his sister in Boston during Jan., Feb. and March, and with her
when he was but fourteen years of age, was recently sold husband, Frederick Clark, a concert on Feb. 9th, under between consecutive tones, and the connection is so
in Paris for 580 francs. the auspices of the New England Woman's Club. arranged that the legato must be absolutely perfect. A
THE last concert of the Russian Musical Society, on AN American Composers' Concert was given at Chicago slight movement of another switch makes another
Jan. 13th, devoted to Wagner's works exclusively, was under the auspices of the American Conservatory of similar connection, and now the bell rings whenever the
given under Karl Klindworth's direction. Music in that city. Messrs. J. J. Hattstaedt, F. Hess, tones are overlapped-a fault, by the way, quite as
: and Harrison Wild were among the performers, and the common, but not so often detected as non-legato playing.
THE tenor, Nicolini-Patti, Mme. Patti's stepson, composers represented were: Arthur Foote, J.B. Camp.
# This switch also reports a non-simultaneous use of the
will make his dbut at the Paris Grand Opera, as Man. bell, Wilson G. Smith, William Mason, B. O. Klein,
rico, in Il Trovatore. Templeton Strong, A. Whitney, and others. hands in two-hand chords. These connections may be
MLLE, SIGRID ARNoLDson, a Swedish singer, has been LITTLE OTTo HEGNER has been playing at the Thomas used separately or together, and with either speaking
engaged by M. Strakosch for a concert tour in the United concerts, given in the Lenox Lyceum, for a whole month piano or dumb piano. There is not a continuous click
States. She will sing in sixty concerts and receive
$50,000. g y of successive Sundays. He performed Beethoven's C click or bell tone; the fault alone sounds the bell. The
minor concerto, Chopin's E minor, Mendelssohn's D value of this arrangement is patent to every one
AT a Paris concert on Feb. 10th, Mme. Marie Jael] minor, and Weber's Concertstueck, and won golden acquainted with elementary piano work. The pupil
opinions. He will go West for a while, and play in three must not acquire a staccato habit, nor, equally, must he
played Saint-Sens' four piano concertos in the order of concerts
their composition. This artist has also given a series in Chicago toward the end of March.
of six weekly concerts in Paris, at which brought to have the overlapping habit. Both of these, while common,
ring all of Schumann's compositions for pianoforte THE Boston Symphony Orchestra performed the fol. are destructive of good playing; indeed it might be said
0. lowing programme at its Boston concert on Feb.,10t of the former, The love of staccato is the root of all
* *
Tscharkowski, Overture Fantaisie, Romeo and Juliet;
B: the occasion of his sixtieth Hans von Lalo, Sinfonie Espagnole, for violin and orchestra evil in pianoforte playing. I will say but little of the
low conducted symphony concert
a at Necod, Symphonic Variations, value of the latter inventions, but will bring up one point
amburg, the (Mr. C. M.
Programme including Beethoven's Eroria symphony | Op. 21 and Mossenet, Overture, Phdre. At the of Electro-Clavier. Suppose you tell a pupil to play
and Brahms' Tragic overture.
-
From
Brahms he concert on Feb. 22d, Mr. Rafael Joseffy played Liszts
'ceived the MS. score of the third symphony in F, and Second Concerto, the orchestra rendering Weber's legato. The pupil hardly knows a legato when he hears
", his Hamburg concert subscribers a purse of 500. Oberon overture, and Irish symphony, Williers it, but, with the fear of the bell in his mind, he quickly
The latter he handed over to a charity. Stanford. learns to ward off its strokes, and the bell may, if
34. T EI E E T U D E.
necessary, be placed in a distant room, that the parents evolution, the life principle of which is nourished by for by many, as it is very complete and systematic. The
may know if their young hopeful is practicing correctly. searching thought. author has for many years tested the practicability of the
3d. A careful application of all knowledge, . work in his own teaching. We most earnestly advise our
The cells which furnish the needed electricity occupy
He knew his duty but did it not, might be given as readers to acquaint themselves with the contents of the
but one-fourth of a cubic foot, and are placed in the base the secret of many a failure. The sin of indifference work, as it contains everything valuable on this all-im.
of the piano to the right of the pedals. The levers and courts no sympathy and needs no forgiveness; its penal. portant subject, embodying as it does the best of the
switches are small and almost hidden, so that a casual ties are self inflicted. There is but little hope of one old and new. The book will contain about 175 pages of
observer would notice no change from the usual upright who knows what to do and how to do it, but will not. sheet music size, and will be bound in boards or limp
Careless work is worse than useless. cloth. . We will send the work when completed to any
piano. The mechanism is not liable to get out of order, 4th. Review ! Review !! Review !!! one who will now in advance of publication send us 60
and the battery needs but little attention. This is the clinching process, without which the tests cents. This will pay for the book and postage. It will
Surely this combination should be named The that we must daily meet will prove disastrous. not be ready for several months to come.
Pianist's Multum in Parvo, for such it surely is. As THE TEACHER's DUTY. The first book of the promised School of Four-Hand
already stated, the cost of a piano with these auxiliaries Playing is out and sent to those who ordered it in advance.
1st. Give the work to be done.
There are in all 17 pieces in this first book. They are quite
will be but little-say ten dollarsabove the usual price. Judgment must decide as to nature and quantity, the short, most of them occupying only half a page. All
In conclusion, let us recapitulate and see what pianistic quality should be the best.
2d. How to do it.
of the pieces in this book have the upper hand written
resources are by this combination given the patient, There is but one best way, and this, remember, is the on only five notes. The teacher's part in the left hand
persistent, plodding and plucky piano pounder (a la Van shortest and cheapest at any price. To misdirect is more elaborate. We aimed to put in this book the
best of the music written on five notes. Those who have
Cleve). energy and squander time that is not your own is worse not ordered a copy of the work will do well to send for
1. A mute piano at will, but not an additional encum than robbery. The possibilities of a human mind and one for examination. We feel positive that the work will
brance. soul is the weight of your responsibility. Teacher! are make teaching and studying more pleasurable.
you awake to this fact? -

2. A mute piano with piano touchnot organ touch.


THE PUPIL's DUTY.
8. Any quality of touch we wish, on either speaking TESTIMONIALS.
or mute piano. 1st. To diligently and conscientiously do the work in
the manner prescribed. MR. WILLIAM MAsoN:
4. The staccato bell, correcting disconnected playing, Remorse and regret always follow wasted time and
with or without tone; either heavy or light action. Dear Friend and Teacher:I most heartily congratu
|| 5. The legato bell, correcting overlapped playing,
with or without tone; heavy or light action.
6. Numbers 4 and 5 combined.
strength. . Advice is cheap but often valuable. Ex
dear but often useless. Find a teacher who late you on having given in Touch and Technic such
nows the way in which you should go, then trust your a complete and lucid description of your epoch-making
guide, and show this trust by your fidelity. system of teaching the pianoforte. And I also congratu
late the thousands of teachers who can now have your
The thoughtful teacher will discern the times and THE POWERS EMPLOYED IN STUDYING AND INTERPRETING method in its fully-developed and completed form.
|
places for the use of these various attachments, and so MUSIC. After a teaching experience of twenty-five years, I am
# pleased to say that from no other method have I been
: require them to be used, that the greatest amount of 1st. Mental. 2d. Nervous. 8d. Physical. able to get the thorough and rapid results that I secure
benefit may accrue to the pupil. HOW DEVELOPED. from the use of your system, for it gives the pupil every
Note:-This invention, if it proves to be everything The mental is developed by a study of Philosophy, highest point of technic and variety of touch called for by the
Literature, Science, Poetry and Art. The more thorough artistic demands, and fits him for the fullest
as here indicated, will be of incalculable benefit to piano requirements of our modern concert music.
students. The readers of THE ETUDE will no doubt be one's education the easier it is to grasp a truth and the
more beauty truth, possesses. The greatest curse to consider the perfection of technic to be, the absence
curious to know more of the invention, and will write to musical art is the hand musician, the one who has no of muscle, tendon and nerve tension in arm, wrist, hand
this office for particulars. We will say that W. F. head education in the great fundamental principles of and knuckles, with an artistically developed, vivacious
the art. A musician is one who is alive and disciplined life, nerve, suppleness and springy resistance in the nail
Hale, of Boston, the inventor, will soon have his inven in the head, hand and heart. and second joints, and it is this that your system so
tion placed on the market. In the meantime, we will quickly and thoroughly unfolds; it goes directly to the
The nervous is preserved and developed by proper
make a careful investigation of the merit of Mr. Hale's and well digested food. Exercise in ' sun and open root of the matter, giving the pupil a full and conscious
control of these fundamental and practical points of
Electro Clavier, and give our readers the result in the air, plenty of good sleep and proper habits. An educa. technic.
next issue. EDITOR. tion without health may prove a curse, for it opens u Cordially your friend,
CHAs. W. LANDON.
tempting fields of labor that must be unpossessed; it
makes one more susceptible to suffering without per. Claverack College Conservatory.
TEACHERS HELP AND STUDENTS GUIDE. mitting them to enjoy the fruit that comes from the labor
that their education makes possible for them to perform. GENERAL LEw WALLACE, the author of Ben-Hur,"
BY E. M. SEFTON.
The physical used in piano playing is developed by after critically hearing the new musical settings which we
thoughtful, regular, vigorous exercise. Thoughtful, for have recently published of the three poems in that novel,
ThINK. the muscles used are voluntary; regular, for the reason has addressed the following complimentary note to the
THE world needs more thinkers. Men and women that yesterday's meals won't answer for to-day; vigorous, composer:
who generate ideas. because increased resistance brings increased power.
Brainless frogs move when acted upon by a magnetic THE OBJECT OF STUDY. CRAwFoRDsville, INDIANA, November 15th, 1889.
current, but how unintelligent and meaningless their ac MR. HENRY PETTIT, PHILADELPHIA, PA.:
tions. When a fair state of mental activity is reached by 1st. To reach some degree of musicianship. Dear Sir:It is long since the receipt of your note
the masses, teaching will be less laborious and merit . Primarily to reproduce accurately the tone, poems or
more easily recognized and rewarded. pictures that become our inheritance. accompanying the musical setting of the three songs from
The work best done is the work best planned. Ben Hur. I desired, before acknowledging your
THINGS ONE MUST POSSESS IN oRDER TO BE A MUSICIAN. favor, to hear the songs by a really accomplished singer.
We live in an age of method and system. At last the pleasure has been mine, and a real pleasure
Economy is the watchword. Success depends largely 1st. A knowledge of all characters of notation.
on a judicious use of time and energies. The old adage, Without this music is as much of a puzzle as were the it proved. *

With system one can harvest as much with twelve F' hieroglyphic without the symbol key. One of my pet theories has been that poetry and music
are mutual assistants. Both areTobeautiful of themselves:
men as sixteen can without, is applicable in musical 2d. A knowledge of the laws of composition.
study as well as in husbandry, We may speak well by imitation, but the beauties and now morethey
together, are perfection.
absolutely joined than
this conclusion
ever. You
I am
have made
Every one should work with a clearly defined plan in strength of a language appear only when we study its
mind, and should clearly define this plan to those under grammar and rhetoric. -
theory a fact. The spirit I tried to put into the :
them. 3d. A knowledge of the nature of music and musical you have infused into the music. I congratulate myself;
ESSENTIALS TO A GOOD TEACHER. thought. more particularly, I congratulate you upon the excellent
We must know the th9ught and emotion that possessed result of your study.
1st. A knowledge of the truth to be taught. .. the author and prompted the creation before us, before Very
ery trul
truly, and alway 'i'
d always, yourWALLACE.
friend,
No person can succeed without preparation, and
thorough preparation can only be secured by years of weIscanit interpret it, judge of its merit or enjoy it.
Descriptive, Suggestive, Physical, ilectual, MY DEAR MR. MASON: * --h **
application. The truth must be a part of the teacher's Emotional, Poetical? There are ways to tell. Many thanks for sending me your studies, Touc
life and habit, a thing impossible to the two-term teacher. 4th. A musician must possess the power to execute all and Technic. I am quite familiar with them. :
2d. A proper medium in which to convey the truth to grades of music. affords me the opportunity to repeat what I have o!"
e student.
5th. He must be familiar with piano literature, that is, said, that I consider your exercises extraordinary. '
*: teacher's words must be simple, the fund of illus
trations varied, and familiar to the pupil in question. possess a comprehensive knowledge of representative piano explainTheorists
satisfactorilyattempt
in a few to pages, books.so '
do in what A :
The unknown must be given through the known. works of the most prominent musicians of all epochs.
3d. Tact in arousing and guiding the powers of the believe much can be saved when the energies are rightly vinced that I will recommend this excellent, work
Time now is precious; we know much is wasted; we making the above statement, I am sure you will be
directed. We often see those who must unlearn more pianists, whenever an opportunity presents itself.
le', the gift of God, and while it may be developed than they have rightly learned. Will it not pay you to With great esteem, -

it cannot be acquired. * *
find the best ways and walk therein, for they alone will Yours very
y trul "Rarar. JoseFFY.
A teacher must be ingenious, original and ready. lead to success.
ESSENTIALS TO A GOOD PUPIL.

1st. Attention to the truth to be learned. PUBLISHER'S N0TES, Without having thoroughly mastered the
Scattered thoughts are not conducive to good memory.
Concentration of the mental energies will have for its re
of the art it is impossible to achieve anything of : 8.
value. An assiduous and persevering cultivation 9 r
ward an indelible imprint of some fact. -

WE have in press an important work on piano talentis as necessary as the talent itself. It has
2d. A rethinking and digesting of the facts given. technics by W. B. Wait, of New York city. It is en ally cost a musical composer long and continued." im
The mind is so constituted that it can grasp only titled The Normal Course of Piano Technic. The ad to produce a valuable work of art. He attained his :
articles at a time...We are finite, God alone is infinite. vertisement on the front page of the cover will give some by knowing what was requisite for its achievement *
whole truthif ever possessed-is the result of an idea of the extent of the work. This book will be sought by laboring perseveringly to attain it.-Engel.
T EU E E T U T) E. 35
EDITORIAL NOTES. number of elderly ladies and gentlemen came together the magical pictures which Chopin knew so well how to
at a private residence on a special occasion. ost of draw on the lines and spaces. You have no time to
A TEACHER is a critic. But it is as much his duty to them, thirty years ago, were possessed of wealth and influ play, but you must take down the volume and bestow
perceive the good points as to discover the bad. It is ence. They were then the aristocracy of their country. upon it a few loving glances. . . .
not all of criticism to mark one's faults. This is admi But in the war they lost almost everything, for everything The bell rings, it is time for tea, the hours have gone,
rably set forth in Mr. W. W. Storey's new book, Con was staked. Their lands were sold, their homes were gone, and you find yourself very weary of standing in
versations in a Studio, just published. The following burned, their sons were killed, and their spirits were such an uncomfortable position by the book shelves in
paragraph is full of truth: Critics generally think it broken. A musician chanced to be present at this social the music room. Ah! who can ever tell what Chopin has
shows knowledge and ability to find fault; but they are gathering, and of course was asked to play. It occurred done with those golden hours? How many does he steal
mistaken in this. It shows much more real knowledge to him that these elderly people would like to hear some from one who is familiar with his handwriting!
to be able to praise justly. Of course, any one can of the popular melodies of the long ago. His
affect to praise another; but that final word "justly was not artistic, and no attempt was made at display, Don't talk very much about Brahms and his wonder
contains the entire secret of wholesome criticism. The but the effect of Auld Lang Syne, and Ben Bolt ful revolutionary music unless you know more about
teacher must look for improvement in his pupil. Often and Annie Laurie was wonderful indeed. These him than the average musician seems to know. It is
there is constant, slow progress, yet none the less real, people lived over again the fairer days, the sweeter days, wonderful what sweeping assertions are sometimes made
and it is only the teacher of brains, and experience, and and many were the tears that were shed that evening. by would-be critics before they have any data upon which
skill who can detect it. Any one can see the pupil's to base even an opinion. The order of education, in
tint's shortcoming. His faults are as plain as day. But who Some one in a charming litttle poem, represents Time criticism, seems to be about this: First, one arrives at
in this: can detect the silent steps by which he is coming upward? as a streama beautiful river-that runs through the that state of mind in which there can be no possible
Thesn's It is not enough to see that an advance is being made. realm of tears. Far away, up the river of each life is a doubt as to the correctness of his own assertions. . This
0 well's The pupil should be informed of his progress. Day by magical isle, the name of which is the Long Ago. state is one in which many find a permanent abiding
that: day it is the teacher's duty to discover, if possible, just Where the softest of airs are playing, place. It is not difficult for a critic in this first stage to
surable. where the advance has been made, and to keep the pupil There's a cloudless sky and a tropical clime, decide on the absolute merits of any composer or com
And a song as sweet as a vesper chime,
informed as to his whereabouts in the pursuit of the goal. And the Junes with the roses are staying. position. He speaks off-hand. The first page of Brahms
is sufficient for himhe is either outrageously bad or
There is no educational process equal to that of keep There are hands that are waved when the fairy shore divinely good. His opinion once stated has the com
ing one familiar with the relation he sustains to the sub # the mirage is lifted in air,
And we sometimes hear through the turbulent roar, fortable advantage of never undergoing a
ject in hand. This principle is recognized in our modern Sweet voices we heard in the days gone before, long as the critic remains in this first stage. e may
When the wind down the river is fair.
differentiation of studies. One might go to a vast ency call this the dogmatic period. -

leatly: clopaedia and, in order to acquire general culture, read Sometimes it is Beethoven, sometimes Chopin, and The second stage is more inconvenient. It is some
d Tech: E the volumes through in order. In all this he would be sometimes a very insignificant composer who leads us times positively painfulthe doubting period. One has
ur epoct:
acquiring useful information and adding to his store of down close to the water's edge, and bids us listen to learned to distrust all his opinions, and it is with hesita
! I als, wis knowledge. But it would be, as an educational process, the voices of the Long Ago. And we place our tion that he expresses himself, especially concerning the
n now him." vastly inferior to the systematic methods which now hands in the master's own, and bid him lead us where relative merits of composers. ' new composer finds
:0mple:: obtain. It has been found that it is of first importance he will-in flowery gardens or in thorny paths, among neither friend nor foe in him until he has been able to
"five ratic for a student to know exactly what branch of study he is hopes that ripened with glad fruition, or joys that make a very careful investigation of at least a hundred
had hamla pursuing, and what division of that branch, and what perished in the darkness of the night; but now they are pages or more of the composer's work. Even then he
ills th:IE special feature of that division, so that he may know just all so enchanting. Who would live always in the present has simply an opinion, and would not like to be quoted
sthet's what is his relation to the great field of investigation into -forgetful of past experiences, past loving, past living. as having spoken very positively concerning the com
alled: which he has entered. Why not carry the same principle Music may tell us of the mysterious Future, where all poser's place in the art world. He may be very enthu
for k is into our daily studies? Is it not equally helpful for the the jangling discords of this life shall be resolved; but it siastic when he discovers beauties, but he remembers
810,
student to know, if possible, just how each day's achieve is no less the language of the Pastin which the emo that other composers have written beautiful passages.
be, th: : ment is related to the work of all the other days, past tions, the joys and of other days are mirrored so He is not so interesting as the young man of the dog
arm, writ: and future? To say the least, it is wonderfully cheering clearly and beautifully. matic school, but is doubtless a little safer. He has
loped." to be told that we are a little further away from the more judgment but less courage.
tance it's beginning, or to discover that we are a little nearer to No teacher can succeed without books. He must have The third period is like unto the first in some respects.
your #8 the goal. And it is no small thing to add to the cheer his own copies of the best piano works of Beethoven, It is that state into which one comes in his second
s dire: Schumann, Chopin, Mendelssohn and many other com
in the life of one whose energies are bent in the direction childhood after having passed safely through the first
|anisa of achievement. Truth is so far away. The end is so posers. If he can afford them, he ought to have the best and second, having long held the confidence of the pub
ctical #: remote, Shall I ever reach any degree of perfection in editions. Some editions, no teacher rich or poor, can lic and having deported himself in such a manner that
art? And how far away is the reward for which I strive? afford to use; others he can hardly afford to dispense public confidence was attracted. But the people have
, W. Lly: He is a friend who fills my heart with hopea just hope, with. Where it is not a matter of necessity that he so long trusted him, knowing his judgment to be sound
a reasonable hope. He makes the labor lighter; he should get the very cheapest, he ought to have smaller and wise that he is in the weakness of old age (or early
makes the task much easier. Who can measure the volumes in preference to larger. For exampleit is decay of character resulting from the growth of self-con
f Belf: privilege of the conscientious teacher? better to have Beethoven's sonatas in four or five volumes ceit), brought to trust himself absolutely, scoring those
than in one or two. Heavy books are not convenient whose opinions do not coincide with his own, and now
##!" Don't make a business of the study of music. Never for any practical use. Then these volumes should be -demanding the confidence which, in his better days, was
sint:" think of your piano as the merchant does of his stock in well-bound. After all, it does not pay to invest in cheap cheerfully accorded him. This is the autocratic period.
ity 10: #: trade. Let the instrument itself be dear to you. Rather bindings. How much valuable music every teacher has, The end of this period is very near to the beginning of
caress than abuse it. It is not a common thing that which, after very little handling has become almost en it. It may begin early in the physical life, but always
voices the sweetest dreams of your heart. It is with you tirely useless. Good composers, good editions, con near the close of the intellectual or critical life. After
:15,1% as a friend, and the dear old piano has been your confi venient volumes, and first-class bindingthese are all this they either die or pass out of the realm of the critic
ant when you could hardly trust yourself to speak to important matters to the professional man. The young into that of the goose, thus reversing the Darwinian theory.
other friends. In the twilight hours, between joy and teacher is very likely to make many mistakes. He will
to "" grief, when '' phrase was too glad and any word purchase many books which he will never needa waste
ee song? INCOMPETENCY,
9f sorrow too sad, when there was not a phrase in all the which he will regret; he will find himself burdened with
ledg: languages of earth in which to utter the wonderful fancies editions which he will learn to despise; and he will
lished: of your soul, the piano alone could respond to your silent often wish he had been wiser about the form in which his EDIToR of THE ETUDE:
real!" appeal. Because it has the sympathy of a lover, and volumes were bound. The writer often wishes he had If not taking up too much of your time and space, I
try and :
Reads in your soul the '' secrets of your life. been wise enough to confine his purchases to one-fourth would like to open a correspondence in your ErDE, on
Thus it is a friend indeed; never complaining because the composers that are represented on his shelves, and a subject very interesting to teachers and students, and
thems? of ill treatment; always willing to be interrogated. One invested in better editions and better bound volumes all one over which I have thought for some time.
:lusion. imay be superstitious about a pianosome people are along. He has three-editions of Beethoven's Sonatas. It might be headed, # Competency of Music
that? ut as, an excellent writer has said: The most exag If he had been wise enough at the first, the last purchase Teachers. Why should there not be some compulsory
9 the # gerated and foolish enthusiasm is better than indiffer. in that line might have been the first and only one. As examinations for musical students, which they must pass
iltem: ence.' So it is better to be superstitious than not to it is he has two editions of Beethoven which he does not before coming out as teachers?
he eig' care for your piano. Enthusiasm means life, even if care to use. A judicious volume on the Bibliology of It seems to me there could be three examinations, as
there is a superabundance of it. But indifference and Music might be exceedingly useful to the profession. follows (first one for beginners to a certain standard;
# commonplace views of your art means death. Be spirit second, from that point till they are ready for the finish
Wallad ually alive, and treasure any instrument that contributes It is a good thing to possess books and a better thing ing master; third, the finishing lessons).
to that spiritual life. to know something of what is in them. The possession of n this way, parents who have not had any musical
* If books does not by any means # an acquaintance education or advantages, will not be gulled by incom
# * What a power there is in music to lead us into the with them; for if we should judge of the scholarship of petent persons, who have studied may be two or three
realm of the past! Who that is musical has not lived
*: our acquaintances by the number of valuable books they years only, and who charge such ridiculously low prices,
nary. * Qver his life again under the spell of a familiar strain? possess, we might conclude that some of them are very that they live on this class of students.
Into many a marble hall the strain has found its way, learned. Some have a dozen or more, and if they really I shall be glad to receive comments, criticisms and
: 1% leading the millionaire back to his humble origin, and know what is in a dozen good books, they are unusually answers to this letter, for I think it a matter which should
ill be: Vividly portraying before him the miserable scenes of his intelligent. But others have their hundreds and thou be agitated. It is, of course, proper for me to say, though
! won' childhood, miserable then, but so precious now. It is sandswhat marvelous people they must be I have testimonials as to my musical talent and capabili.
el. only a little melody, that is not a little melody. The But not so fastour conclusion is reached too hastily. ties, I have not passed an examination for teaching,
"gian considers it insignificant, while the man of the Nine-tenths of the books in our private libraries are ab though I have now taught for six years; but should cer.
world is trembling under its spell. It suggests father solutely dumb, as far as their owners are concerned. tainly go up for one were it the rule, or a necessity.
and mother to him, bare walls, rude furniture, plain
They tell them nothing; they do not help; on the con Hoping this will be received with interest, allow me
9mpanions; or sweet words and holy pledges; or the trary, they are really a burden; they point out no new to thank you for kindly giving it space.
forests of the North or the prairies of the West; or the paths, bring no counsel, yield no comfort. They merely Yours respectfully, M. A. BRUNETTI,
"oaning of the wind or the breath of spring, or a thou stare at him with a vacant stare, meaningless, fruitless. Leavenworth, Kansas.
sand other memories of childhood days. And this is not But the book that is used what a blessing it becomes.
Our correspondent seems to be unaware that the
'll Not only are these circumstances so vividly recalled, Is it a volume of the Ncturnes of Chopin? It charms
American College of Musicians was organized on pur
but they are made fragrant and dear in their musical you into a reverie every time it meets your glance. It
*ting. They were days of poverty, but how sweet they seems to be whispering sweet thoughts at you every time pose to meet the evils complained of. The A. C. M.
Ye''. And the millionaire sighs for the old days again. you enter the room where it lies. . It draws you '' prospectus may be obtained of the Secretary, Robert
And often it is just the reverse. Not long ago quite a from many a disagreeable task, and beguiles you wit Bonner, 60 William Street, Providence, R. I. EDIroR.
-
36 T EI E E T U D E.
[For THE ETUDE.] would not have daredor found it worse than useless impartiality of tests and decisions, there remain certain
RESPECT DUE TO THE MUSICAL PROFESSION, justhang to out the bait. Indeed, every teacher ought, with minor details wherein (in the opinion of several candi.
pride, to scorn to accept what at the best is but a dates) decided improvement may be made.
bribe or a donation I
In last month's issue of THE ETUDE, Mr. Fillmore has In the case of music sellers, I really do believe they I. The papers on harmony, several in number, gave the
very ably pointed out several reasons why music and could not help themselves; the teachers so long and severest test to candidates; for, beginning at halfpast
musicians in America do not receive that complete persistently demanded these terms from them that at last nine in the morning of the first day, June 28th, 1889, no
respect, on the part of educated men which might be they individually had to yield, for fear the trade would
reasonably expected. While I would endorse all he go from them to those that would. We music teachers one was able to complete the papers before three in the
said, it seems to me that he passed over with silence one are not agents; agents are entitled to a commission, afternoon. A fair criticism, therefore, would be that the
grave reason, and, perhaps, the gravest of all, why not because they devote all their time and energy to the sale papers were too long, or that too many were given at
only educated men, but the public at large hold music of pianos, and often have to go to considerable expense. once. It was proper for the Secretary (since he had
teachers in contempt, to a certain extent. "This is, their We are worse than travelling book agents; they may be given out the papers and thus allowed inspection of
inordinate and-I cannot spare the wordunscrupulous a nuisance, but they try by hard work to turn over an them) to keep the candidates in until their task was
love of gain! honest penny. But the professor, in sublime and serene
Not content with high fees which range from $1 to laziness, without sometimes moving a finger for it, and finished; but all of them were unfitted for clear, sustained
$5 per lesson (sometimes niggardly half-hour lessons), in the sale of sheet music only making out his lists and thinking, by the loss of the customary noonday meal,
the music teachers must needs have their percentage on orders, reaps rich profits, where he never sowed nor Hence, a fair suggestion would be, don't give out at
every single musical purchase the public makes, from toiled, taking a large share away from those who did,
the grand piano down to every sheet of printed music; profits for which he never risked or invested a single once three or four papers on any one subject; give one
never less than 20 per cent, on every piano sold to their dollar! The piano manufacturer exerts all his ingenuity, at a time and thus allow the candidate the more frequent
patrons, and 50 per cent on sheet music furnished to exercises his utmost skill, invests large capital, incurs possibility of leaving the room.
their pupils. This is the prevailing practice among the immense expenses and great mercantile risks, in order II. Several questions have been decidedly ambiguous,
music teachers, very few of whom are to my knowledge seller to put a superior instrument into the market; the music
exempt from it: they all do it. As individuals, our does likewise in his branch. From their final causing doubt in the minds of candidates and much
fraternity in many instances are envious and jealous of profits they are compelled to hand over a large share to trouble to the Secretary, who had no authority to clear
each other and little agreed, but as a body they unite in the musical profession. No wonder then that the prices away the doubt. Candidates have very justly felt that
exacting these percentages from the manufacturers of of pianos, etc., and sheet music are exorbitant in
pianos, from their agents and from the music sellers, for America; it is the natural result of an abuse! For the enigmas should have no place in the papers.
which, of course, along-suffering musical public, already manufacturers and especially the music sellers, after III. One request in 1889 papers, viz, Give the names
in lemon-squeezed condition, has eventually to pay. Thus agents and music teachers have had their share, must of your instructors was objectionable, since a full
the music teachers form a formidable ring which reserve a margin of profit to themselves; this they put answer might have revealed the identity of candidates,
encircles the whole of this vast Continent, taxing the on the price of each article, and the long suffering
sale of everything pertaining to music, wherever a piano musical public has to pay for it all. On account of such a thing forbidden by the prospectus.
jingles, a fiddle squeaks, or a professor flourishes. . If exorbitant prices many a talented boy or girl is excluded IV. Candidates very generally objected to the paper
there is no wrong in it, why is this business invariably from the study of music; many parents have to pinch on acoustics last year. I quote a criticism: It hardly
transacted in secrecy? W shuns the light of themselves to afford the expensive musical education for
gives a candidate a fair chance to ask only five questions,
day, excites suspicion and rarely is right. Vain is our their children; many a poor music student has to prac.
endeavor to hide this thing from the eye of the public, tice away on an old, worn-out, tinkling, broken-keyed and expect him to get a very high rating when the ques
nay from each other, or to deceive our own selves about piano, from cheap editions with small type, crowded tions are, like those given, very special ones, and not
it. In spite of all delicacy, and private and confiden print, full of errors and misprints on miserable paper! mentioning some subjects which it is necessary to know.
tial correspondence transactions, and however quietly In Germany it is a rare exception if people do not buy
and secretly the cheque or cash may be slipped into our their pianos directly from the makers, at very reasonable W. Another quotation: The papers of one year should
hands (like a tip to a porter), the practice is as vain and as prices, from 200 to 300 thaler for an excellent upright not be harder than those of another, as it gives to those
foolish as that of the ostrich hiding its head under its wing piano. Pupils and amateurs buy directly from the music taking the easier questions a great advantage.
so as not to be seen. If this is a secret I am now divulging, stores, at a cheap rate, the best editions of sheet music. VI. While candidates place themselves unreservedly
it is a very public and open one. People are fully aware Musical families have a running account and pay quar
of this thing going on in the music business, and com terly, half yearly or yearly, when large reductions are in the power of the examiners and must take, without
ment upon it and condemn it sometimes in very strong allowed them in proportion to the amount total. Besides debate, their decisions, it has seemed to some that the
terms. When this established custom can no longer be there are in every larger city, perambulating libraries sting of defeat might be largely mitigated, if they were
denied by us, we may give it a fine, fair name and call (Leih-Bibliotheken) where all standard music is lent out
it: the emoluments accruing from our profession. in portfolios, for a small annual consideration. But allowed to see their papers once more and find wherein
The public call the child by the right name, and music teachers there attend to teaching and the cultiva they had failed. Under present arrangements the papers
stigmatize it as swindle, as levying blackmail from tion of their art, having nothing whatsoever to do with are soon destroyed and there is no redress, no possi.
manufacturers and music sellers, as an imposition on either the piano or the sheet music business. bility of discovering errors, if any have been made by
the public, as sordid greed and rapacity; and not It is ridiculous to mount the high horse of braggadocio, the officials in reckoning up the ratings. If the exami
unfrequently the epithet disreputable is flung at our wondering at the lack of awe and respect for the musical
guilty heads!, This, of course, in contumaciam, in champions of mind (Ritter vom Geist), as long as we ners so chose, a system of marking could be devised that
our absence; but notice the ironical smile immediately stoop to such malpractice. If we have the cause of music would work well for themselves as well as for the can:
dawning upon, our patron's face (which ought to drive dearly at heart, if we are jealous of our reputation didates, and the criticised papers returned to the candi.
the blush of shame into our cheeks) when we warmly and profession, if we are sensitive of honor, if we are dates would be of great value to the defeated ones, while
recommend a certain piano, or when you present your 'gentlemen, letus desist, one and all, from accepting or all occasion for distrust of the ratings would be removed,
bill with studies and concert pieces, of from $2 to $4 a demanding anything but the well-merited rewards for our Such distrust very naturally exists now in the minds of
piece, in formidable array, amounting sometimes to more time, toil and skill ! some unsuccessful ones, and a plea comes that the
than the lesson fees. Some people then openly grumble Let the A. M. T. N.A., all the State Associations, and papers, even if not returnable, may be kept at least one
and even are rude, but the professor is either very brazen the American College of Musicians pass a law to that ef. year. -

and does not mind, or will fly into a passion, highly fect, binding on all their members, expelling from their
offended. But the public do not exactly admire the midst and ignoring as black sheep every one in the ingVII.
the The delayof(ofthe
results several weeks last year)
examinations, in announc.
was annoying to
smartness with which the professor, besides his high profession, who does otherwise, and see if the general the examiners and distressing to the candidates...Given
fees, knows how to catch those # windfalls of new respect for music teachers will not rise at once to an sevensubject
each or eightforsubjects,
each ofand from five candidates,
twenty-eight to ten questions on
and the
unprecedented height, even if some of them teach Ber
ianos purchased in the homes where he is teaching, and result was an enormous amount of material for each 0
tini's Etudes, or give their pupils Yankee
to eke out his income by selling to his pupils sheet Haberbier as a piece, and have not the leastDoodle by
smattering the three theoretic examiners to care for. Under the
circumstances the delay was certainly excusable, but for
music for whole price, which he got at halfprice. The time of metaphysics and of other aesthetics, than their own
has passed in America, when he, who, after having musical taste and the soul's deep feeling! A German the sake of candidates held in suspense so distressing:
settled all his property on his wife, declared himself proverb says: Mit den Wlfen muss man heulen such delays should not be henceforth allowed. The
insolvent, was rather admired as smart, than other (among the wolves you must howl with them or you will examiners also should be relieved of a large part of their
wise; when the bank cashier who speculated with the be torn to pieces); well I will run that risk; I, for one, burden. It seems hardly necessary to compel them '
bank's funds and grew very wealthy, or worse still, the will not be silent, and countenance a custom that casts a look through the papers on terminology, acoustics '
trustee who absconded with funds to Canada, were con slur on every one in the musical profession. At the same history. These less important papers could be
sidered by some as rather smart people; but all these time I would not have presumed to speak, if I was not to some other competent musicians (members of the
slippery eels are now generally called rogues.' Surely fully convinced of my voice finding an echo in the hearts College) of their selection, and thus many hours of Vexing
the public do not deserve illiberal treatment from our and minds of thousands of my colleagues of THE ETUDE. toil and wearisome delay could be avoided. -

hands; we are not underpaid; on the contrary generously H HAAs.


VIII. In the demonstrative examination, two
remunerated; the mediocre teacher in a large city pockets tions have come from pianoforte candidates. First."
his $2 per lesson, the eminent ones from $3 to $5.
For very shame we ought to have the good grace to the College provide standard editions of the vario'
SUGGESTIONS FOR THE AMERICAN COLLEGE numbers called for in the obligatory programmes: :
offer at least our advice on gratis, instead of that candidates may be relieved of the necessity of bring
trafficking with our position and reputation; we ought to OF MUSICIANS,
let those have the benefit of our experience in such ing such a large bundle of music; and second,
EDITOR of THE ETUDE: pianoforte with medium or easy action' be t
matters, from whom, unless we are public virtuosos and very likely the majority of the candidates may :
composers, we derive our whole income. What mean, Nine months have elapsed since the last examination since
practiced upon square or upright pianos, with actions"
sordid spirit is this among the devotees of so noble an
art as music, and whence does it originate?. Do not put of the American College of Musicians, and plans are now different from that of the ordinary grand. n
being matured for the next sessions in June of this year. The increasing number of inquirers and of actual : e
all the blame on the piano makers and music sellers; in didates,
such and similar cases both are at fault, the giver and Two experiences with the examinations, together with College, year by year, reveals a deepening interes' of
and is a striking testimonial to the wisdom ch
the recipient, but the latter far more deeply. o doubtconversations and correspondence with former successful its founders and to the value of its standards. with '
in the zeal of hot competition, piano manufacturers have
and unsuccessful candidates, have given me occasion to a board of eminent musicians acting so. con'
offered these percentages to the teaching profession; the
writer himself has often been approached by different as examiners,
formulate various criticisms on the method of conducting all the College
friends of true cannot
musicians fail in its
will rejoice in its p::y
mission.
makers and agents. But bless your heart and innocence, the examinations. While acknowledging gratefully the and labor for its success. E. B. Story, a.c."
they knew what loose fish the musicians were, or they scopeandthoroughness ofthe papers given, and the strict
=
THE ET U D E. 37
*** LETTERS TO TEACHERS, that the work has been properly ended. A flexible and it will make comparatively little difference what
of * * wrist is one of the main conditions of a good musical instruction book you use. One more point: As soon
ide. BY W. S. B. MATHEWS.
tone. My own experience is, that pupils who do not as the execution is a little advancedthat is to say,
numea, make this rebound of the hand at the end of the elastic within the first eight weeks or sobe sure to give the
mng it h's WILL you be so kind as to give me some advice as to touch retain a rigidity of the wrist which tends to become pupil some kind of a little piece that pleases him. The
ne'. how a child, about six years old, should be 'started on
the piano? Living in a small town, where I haven't more and more confined, and ultimately will prevent pupil who would as soon play exercises as melodies is
*** the advantage of a good instructor for my child, and their ever having a soft, melodious or full tone. too virtuous ever to be an interesting player; he is like
would's knowing that it is very important to start right, what In the light two-finger exercises the wrist is held very the good little boy who would rather read the multipli
by were: ever information you will kindly give me will be highly
7 stak, appreciated. No doubt the question covers too much of loose. The first note of...every part is made by the hand cation table or the ten commandments than any kind of
ed it: *
a scope to be answered in full without incurring too much falling upon the keys from a less and less distance, as a story. Such a boy might just as well go one time as
time and trouble, but a suggestion would be valuable. 1 the pupil becomes more expert. In very fast playing another; there is too little stuff in him for this world.
l their # T. have been anxiously watching THE ETUDE for some such the fall of the hand in this exercise will not exceed a
information, but have not noticed any. An answer In Schubert's Serenade, transcribed by Liszt, should
release
through your valuable ETUDE, or personal, will place quarter of an inch; perhaps an eighth of an inch will the low octaves in the bass be held by the sustaining
pedal throughout each measure, or by the common
# n00's me under obligations to you. I play the piano some be nearer the truth. The second touch is made by a pedal, which gives a decidedly blurred
0n't ,
myself, but have no experience as teacher, and in the movement of the finger. If you teach a child to play effect?
STUDENT.
subject, #" absence of a good teacher, would prefer to attempt to these with the movement here described, and with the
he more: teach the child myself rather than place her under the By the sustaining pedal, if there is one. If there is
kind we have here; hence my inquiry.C. E. P. force and with the degree of rapidity indicated in the none, then by the damper pedal. This is only one of
book of technics, you will have laid the foundation for a many cases in modern music where the increased singing
As this question will probably be of interest to every perfect legato and a very light staccato; in fact, for power of the best American pianos renders the pedal
dates is reader of THE ETUDE, I will attempt to answer it as well every variety of phrasing and expressive playing, in
marking of most editions unsafe to follow without con
inthony's as I can within reasonable limits. There are many cluding fluent octave playing.
ways of teaching a beginner, but most of them fall into stant correction by the ear.
7 jusly:
I have spent so long a time on this exercise because Will Mr. Mathews kindly enlighten me, through THE
pers. one of two classes. In the first class the pupil is taught it is peculiar to the Mason system, and one that I have ETUDE,
"Givet: to read notes, and is immediately put to playing exer. often said before is the only school of touch-technics Io me, on a question which has long been a vexed one
viz., Is the last note of a melodic phrase or
ile, sing: cises from some easy instruction book. A very good phraselet always to be shortened to one-half its value?
ty of takia book for this purpose is Howe's Pianoforte Instructor, that I know of. It can be used in connection with any I have How to Understand Music and Christiani's
issued by the publisher of THE ETUDE. This book con. instruction book or book of studies. While it is per. Principles of Expression, and still I do not feel sat
sists essentially of easy duets for teacher and pupil (the fectly easy for a beginner, rarely have I seen an advanced isfied on that score. Christiani seems to state the rule
ted to #: positively, yet in my practice I sometimes find the last
ism: "It: pupil's part employing five finger positions mostly), and pupil who does not need this discipline of the wrist. It note of a phrase or phraselet marked staccato, while
ily fiveliss free amusements embodying the principles of phrasing you compare what I have said with what Wieck says others in the same composition are not, e.g., Mathews'
# whent's and expression, and sometimes of five finger exercises about a limber wrist, you will see that there is nothing Studies in Phrasing, Part II, Spring Song (Mendels:
ones, it's and scales. This is perhaps as good as any book of the new in holding this as the strategic point of the lesson.
I do not believe in finger corsets for piano babies.
sohn), 2d-6th measures, etc. Again, in foot-note (a)
on Mendelssohn's Duet of same collection.
kind.
essary: If you will tell me why this distinction is made, and
If you will read Wieck's Piano and Song, you will The second ingredient in the early lessons of the how I can decide such points when I have not such an
foneja's edition to consult, I shall feel very grateful.
it grati, get an idea of a wholly different method f teaching a pupil is that of stock passages, namely, arpeggios and A Subscriber.
beginnerthe idea being to cultivate the fingers and the scales with rhythmic treatment. The arpeggios should
ntage." There is no rule which can be given not subject to
ear first, the eye, for reading music, afterward. I have come first, because they separate the fingers more than
ves un:
myself made use of a course of lessons, the technical the scales. The diminished chords have the merit of exception. Only one rule can be given, which is, that a
1st lake,"
part of them founded on Mason's system, the duets using the fourth finger as often as any of the others. If melody must be delivered in such a way as to make
0 somet'''
selected from such convenient material as I could find you go into these you cannot do better than to follow sense. Sometimes the entire phrase, or even a section
ted, if:
and find:
at the time. What I wish to do first is to form a musi Mason's book. The third ingredient of these lessons is or period, is delivered with scarcely a break; at other
cal touch and a habit of listening to the effect of the the training of the eye to read the notes, and the finger times the need of breaks is very decided. In the Men
ments: playing. I begin the first lesson with Mason's Two. to follow the eye. Here come whatever duets, amuse delssohn Spring Song the marking is probably defective,
dress, I's
Finger Exercises, for the clinging touch. This con ments, or studies you choose to give; there are many ele erly the staccato points having been omitted where they prop
been mig" ought to have been given. Nevertheless, in this
tinues for every lesson as a part of the daily practice. mentary books containing valuable pieces for this use.
if the
At the succeeding lessons I add the exercises for elastic If you use the arpeggios already spoken of through four piece the main thing is not so much a shortening of
be der's touch, which continues as a part of the daily practice octaves, and the two finger exercises equally, the young the last tone of a phrase as the light effect of a staccato
as for 5 from that time on. At the third lesson I add the exer. pupil will acquire a flexibility of wrist, lightness ol quality of touch at that particular point. In many of
d to:
ted ones' cises for the light touch, or the fast two-finger exercises, touch, and a freedom on the key-board which pupils these places the interruption of tone continuity is only
ld be: and continue all of them as a part of the daily practice. taught by the usual five finger exercises and restricted momentary, scarcely reaching the twentieth of a second.
it is The melodic form of these should be varied from time arm movements will scarcely attain in four times as The sixteenth notes in the Spring Song occupy about an
mes this to time, asshown in Mason's Technics, those in the much practice. Perhaps I ought to have said farther, in eighth of a second each when played up to a good tempo.
it at #:
diatonic scale occupying a greater part of the time. regard to the arpeggios, that with a small beginner, one
If one of these is shortened half its duration, the break
Next these in importance I place those in the chromatic
final: arpeggio at a lesson, with two or three different modes of of tone-continuity will amount to only a sixteenth of a
an: scale, then those in the diminished chord. These exer accenting it, will be sufficient. It is very easy, however, second, and a part of this will be concealed by the vibra
li's " Cl8es will do no good unless the teacher revises them
to make a mistake in giving too little. It is necessary to tion of the piano, which will not instantly cease. But
igns: from time to time until the finger-motions, and espe diversify practice. There are some very nice exercises for all this, it is by no means the same thing whether one
#* cially the wrist motions, are correct. for beginners in Wieck's Piano Studies, in the Peters delivers these notes with legato or staccato quality. The
| fired
Up: In the exercise for elastic touch the hand falls upon edition. They are to be transposed in the different keys difference is instantly felt, the latter imparting an effect
sable #: and exercises, which you will find extremely instructive of lightness to this beautiful melody.
dising: the first key, which is held vigorously, but without stif. as well as useful for small pupils. I made the discovery
lowed. y fening the muscles at the wrist. The finger proposing In the Chopin Nocturne in E flat, for example, the
6: to perform the elastic touch is then extended perfectly by my own experience sixteen years ago, that beginners second piece in my second book of Studies in Phras
pelt's straight, and suddenly contracted, shutting until the practicing the Mason's arpeggios acquire execution and ing, the breaks in the legato are very slight, many of
coust's" freedom upon the keyboard with a rapidity wholly new the phrase endings being scarcely at all noticeable other.
been:
point of it touches the palm of the hand. It touches the
to me. It has only lately occurred to me that the expla wise than by accentuation and emphasis, or, rather, by
hers d' key "Passing, but without pausing for a single moment nation of this is to be found in the freedom which these
soft." ** Passage toward the palm of the hand. The force the vanishing effect with which so many of them close.
of the impulse is so great that the tone sounds out vigor exercises give to the arm motions, which Sherwood Schumann, in his Nachtstucke in F, writes eighth
wns: ously with equal breadth and volume as in the first touch speaks of in the letter printed in a former ETUDE. To notes and eighth rests in a quarter-note movement, in
Firs: made from the wrist. As the point of the finger com. sum it all up, whatever you do for your little boy will be tending to conceal the breaks, for the most part, by
he we pletes the work expected of it at the moment of passing in the direction of his ultimate success as a pianist, pro pedal. The melody, when properly played, does not
:
It's "key-the proof of which is heard in the vigorous vided the following points are made : sound detached, but almost legato, yet the tone, in con
r:
* Produced-it is desirable that the contraction of the 1st. Free wrist and independent fingers. sequence of the "elastic touch with which nearly all
: muscles cease instantly, in proof of which the hand will 2d. The legato scale and arpeggios, and the ability to the tones are delivered, will have a light and elastic
* rebound upward from the keys to a height of perhaps count time. quality impossible to have obtained from any other
four inches, from mere reaction against the powerful 3d. A musical style of playing whatever he plays, mode of playing. One has to read between the lines.
force expended in making the elastic touch. I under
** however simple; nothing is to be played unmusically. But if I give such directions as these to a pupil, the
* stand Dr. Mason not to require so great a rebound of All the exercises must be varied in form, and be played chances are that at the next lesson she will bring a piece
#: the hand after making the elastic touch; on the contrary, with a due regard for rhythm. Every melody must be like the Pizzicati of Delibes, with the pedal used in such
* he allows the hand to remain level, taking the chances made to sing with expression, and the accompaniment a way as to entirely spoil the pizzicati effect intended,
*
of the wrist becoming loosened. I, however, regard the must properly support it. If you observe
** these points, which was precisely that of picking the strings of a vio
*
1:1.
reboundinges the handiest way of assuring the teacher you can be sure that your instruction will be beneficial, lin. The pedal is not to be used at all in these cases.
38 T EI E E T U D E.

It is not possible to make an all-embracing rule. The they should, especially in a piece like Chopin's Nocturne, different, the little phrases being delivered with two
nearest that can be done is to say that all depends upon Op. 37, No. 1. I have looked the matter up in a book, touches, exactly like the two finger exercise for elastic
called How to play Chopin, by Jean Kleczynski, and
the character of the piece or passage. In slow, sustained he says: Chopin differed in his manner of using ara, touch in Mason's system. This differentiation of
melodies the breaks between the phrases are not to be besques and parenthetical ornamentations from the usual quality in the touch intensifies the phrasing, but an
made prominent, the general sustained quality of the manner of his time, which was to dwell upon such pas oratorical accent never takes the place of a rhythmic
melody being presumed to be fundamental, saving in sages and to endue them with importance, as in the accent, saving possibly in a tie, where a syncopation ties
cadenzas attached to the airs of the Italian school.
those places where the composer has demonstrated that Chopin was perfectly right. In spoken language we do across the strong accent of the measure.
he intended to require a break. On the other hand, in not use the same tone of voice for the principal thought In this same nocturne there are two kinds of accessory
scherzo passages, where a playful and capricious spirit and the incidental phrases; we leave the latter in the tones in the melody. In measure five the melody tones
is represented, breaks are more likely than not, and, in shade, and properly so. All the theory of the style are amplified in repeating the substance of measure one.
which Chopin taught to his pupils rested on this analogy
fact, are necessary for representing the playful effect. between music and language, on the necessity for sepa Here the shorter tones of the amplification are delivered
Even in pieces of this kind there are occasionally pas rating the different phrases, on the necessity for pointing, more intensely than the primitive tones in the earlier
sages requiring to be delivered strictly legato, the breaks and for modifying power of the voice and its rapidity measure, in order thereby to signify the greater intensity
between phrases being reduced to the smallest practica of articulation. We are not putting forth any new doc of feeling intended by the composer, for it is evident to
trine, since Blow has so well indicated the musical
ble dimensions or omitted entirely. punctuation in his editions, and since M. Lussy, in his the inner sense that Chopin did not mean here mere
Traite de l'expression musicals, a work crowned at the ornamentations, but greater fullness and richness of the
1. How can I best acquire a good touch on the piano, exhibition of Vienna, has thrown a brilliant light on this melody itself. Hence these tones have to be delivered
especially that which is called a pearly touch? subject. This seems to me a little ambiguous, and I with full melodic quality, not at all like ordinary passage
. 2. If I correctly understand the method of employ. don't perfectly understand it. I have M. Lussy's book,
ing the fingers in Mason's Touch and Technic, it is but it does not throw any light on this subject to me; quality of touch. Further on there are ornaments, in
that the first note struck is to be held until the next one perhaps I have not read it carefully. . E. C. the form of fiorature or embellishments-light runs
is struck, and then not relaxing the pressure of the delivered in passing from one of the primary melody
finger first used on that key, it (the finger) shall be slid ANs.Ornamental notes in melody should not be tones to another. For instance, in measure twenty-seven
on to the next key which was struck by the second played louder than the principal notes. This is the short
finger. If this is done it produces the two notes sound there are some. These are played delicately, and not
together, which is not at all agreeable. Are both notes way of answering the correspondent's question. The at all with the primary melodic quality of tone. The
intended to sound at once? laws of musical expression need formulation upon melody is held in reserve until these little flowers have
3. If not, how is it to be prevented? rational principles. The attempts that have thus far blossomed their momentary day. The hand is carried
AN APPRECIATIVE READER. been made are all more or less unsatisfactory. The lightly over them, and the rhythm is but little retarded
1. A pearly touch will come of itself when it is called accentuation of the individual tones in melody depends while they are being put in. Nevertheless they are not
for by strong, yet sensitive, fingers, a light wrist, and upon a variety of considerations. If one were to take to be hurried around, in order to bring the melody tone
plenty of delicate musical feeling. Whichever ones of the second nocturne of Chopin's Op. 9, the favorite one around exactly upon time. Take all the lee-way that is
these are wanting in your present outfit, by all means cul in E flat, and assign the reason for all the different necessary for grace, but as to power, let them be delicate
tivate them. degrees of loud and soft in the first period, it would be and gentle, like parentheses. The exam ples here alluded
2. Mason directs this overlapping effect only until tantamount to writing quite a treatise upon melodic to cover the principal kinds of cases in Chopin, and
the clinging pressure is assured. Afterward he means delivery, and, after all, would probably only imperfectly illustrate the difficulty of formulating a general rule
you to play the clinging touch simply legato, not over represent the fine modulations which every player of real adapted to all kinds of melodic accessories.
lapping the other tone. I make little use of the super musical feeling would make of his own accord. For Therefore, the answer remains as originally stated, and
legato, preferring to accomplish the same thing by using example, the second tone is G upon the space above the as attempted to be stated in the quotation given at the
the two finger exercise in broken thirds, as given in staff. It is a dotted quarter, with an eighth tied, occu outset. Melodic accessories are delivered lighter when
Mason's Technics. I think it more musical. pying the whole of one and part of another of the primary they really are accessories or flowers. But when shorter
The overlapping method is liable to form slovenly divisions of the compound common time in which the tones, put in by way of amplification, they may be deliv:
habits of fingers. It was intended only for the first steps piece is written. Pupils almost invariably deliver this ered with greater force than the primary tones which
with such pupils as never had learned a clinging touch, tone with less force than the B flat which precedes it, they displace. In the Beethoven adagios there are many
and if you read Touch and Technic again, you will mainly for the reason that the second tone has to be examples of this latter kind of amplification of melody.
find it so stated. delivered with the little finger, and a corresponding
Will you please answer this question for me? I have
amount of exertion will not produce the same result from
Will you inform me in ETUDE or by letter (if you will this finger as from one of the strong ones. Again, the taken instrumental lessons of good teachers, and, an
kindly take the trouble) if the rendering of chords with G has to have an extra allowance of force, because it is advanced in musichave taken scales, exercises. I'
Hope, Beethoven's Moonlight Sonato and others as dif.
dots and slurs, as given in notes of Moscheles op. 70, is
the correct one? I was so taught, and at meeting of one of the longest tones in the piece, standing in con ficult, but have not taken lessons for several ye'
teachers this question was asked. The majority had nection with many that are shorter. Now, the piano has not the opportunity to take of good teachers, now."
never even heard of it, and yet two have studied in a short tone, and in order to conceal this circumstance want to advance more in my musichave no difficulty"
prominent conservatories and two are pupils graduated and delude the hearer into the notion that he is hearing fingeringlove music so well that I want to learn "
from abroad. about it. What would you advise me to study or "
It seems a little strange, that in playing this study their a melody properly sustained, the long tones have to be tice? I would like to practice something, so as to keep
attention has not been called to the note, even if there is produced with more force of will, in order that they may my practice up, and not get rusty.
another way. linger longer upon the ear. Second, this tone has to Is Dr. Lebert and Stark's book good for advan"
pupils, or do you know of any book that is better?
If it means, also, portamento, I have blundered many have the principal accent of the measure, the strong
times. SUBSCRIBER.
pulse. The F, falling upon the third primary beat of the
What I say upon this subject is said of myself, as St. first measure, is a good example of a kind of tone which For cultivating a lyric style there is no collection of
Paul says in his uninspired moments, when he is not is commonly slighted. It stands upon the rhythmic place pieces known to me so good as those I have embodied
quite clear as to the mind of the Spirit; but in my of the second principal accent, having almost as much in the second book of my Studies in Phrasing. They
opinion, the truth is that the dots and slurs combined accent as the tone upon the first beat itself. This par. have the advantage of containing in the annotations p"
mean a certain shortening of the tone lengths, amount ticular F, again, is a dissonance, afterward resolved into cisely those things which I commonly have to teach pupils
ing generally to about one-fourth of the proper time of E flat, the next tone, at the next primary division of the concerning them. They are therefore likely to be of use
the notes so distinguished. In addition to this modifi. measure. Nine pupils out of ten accent the E flat, the to you. If you will take those up in the order given
cation of the effect, or perhaps in farther expression of tone of resolution, more than the F. On the contrary, originally, as shown in the advertisement in THE Erv'.
the inner meaning of the marks, each tone is slightly the F has to have the main accent of the whole measure, your touch will continually improve. Along with this
emphasized, put by itself individualized. The rhythm so great is the influence of the dissonant quality. These branch of practice play Mason's two-finger exerc"
is interrupted, not by playing faster or slower, but by two tones, F and E flat, constitute a word of two sylla daily and his system of arpeggios, at first for the hands
giving each of several tones in succession an individu bles, the first much the more intensethat is to say, separately, afterward with both hands together. Take
ality which obscures the fact that they are at the same accented. Further on, a few measures, in the sixth up some good finger pieces, one after another, and prac"
time filling their relative places in a rhythm. Do I make measure, there are certain short phrases of two notes, tice each one until it goes easily. For example, Raff's
my meaning clear? Play such a passage and try if you beginning with B natural slurred to C, D slurred to E La Fileuse, Moszkowski's Waltz in A flat, Nicode's
can realize it. This quality of emphasis is also what flat, etc. The first of each pair is marked with an Tarantelle in G sharp minor,
Rubinstein's Waltz Ca
appears to me to be meant by the short line and dot accent. Many teachers require this accent, and properly price in E flat; later, Liszt's Rigoletto, which is the
which are often written over one or two or even three do so, but they appear to think that it takes the place of easiest of Liszt's difficult pieces. It is one of the be"
melody notes in succession. The tones so distinguished the accent of the second tone of the little phrase, which finger exercises ever devised. This line of work 18
are emphasized and slightly detached. They are put by its rhythmic position is always entitled to the greater much better than practicing in an instruction book.
back into their primitive rank of units again, and their stress of the two. I teach that both tones of the little You want to keep up the sensation of musical delight 1n
ordering and numbering in rhythm is temporarily lost phrases are accented. The first oratorically, because it your playing. If you practice mainly upon exercis'
sight of be played is so marked, and is so required by the sense; the
second you will merely work at music, Lebert and Stark's
s.Should ornamental notes in music be playe rhythmically, because they stand upon rhythmic positions books I do not like at all, because they seem to me *
le: the melody notes? I have been told that which are relatively strong. The touches are entirely mechanical and pedantic. {
T EI E E TU D E. 39
~
wered **
[For THE ETUDE.] tivated ear, or, if needs be, let down the bars a little for piano-talented ones, toobecame hopelessly discour
** the sake of interesting him, and then work upward. aged, and either abandoned their high purposes or else,
ide's, HOW TO TREAT BACKWARD PUPILS,
We must remember that a great amount of music that # for themselves, got entangled in the meshes
hrist k W
of bad habits and found it impossible to ever escape from
BY T. M. AUSTIN.
is beautiful to a cultivated musician is simply Choctaw them. Gradually the evolution of the Practice Clavier
of an is to a pupil, being beyond his comprehension. was accomplished, and of its value to master and puplis
$nt's A person that has never read anything but the lightest alike we '' know. -

THIs is a subject that is creating a great amount of literature cannot be expected to understand Shakespeare a The Practice Clavier simply reduces piano teaching to
inistics. thought among progressive teachers in all branches of or Milton without much study, neither can a pupil that fixed science. I mean, ''
its technical side,
for while it keeps music ever in view, it nevertheless
he "is learning, and one that is worthy of careful consideration. has never played anything but light music comprehend opens the way for the development of the purely educa
of mas's Pupils may be backward from many causes, but we the classics at once. tional side of the pianoforte, to which the keyboard
on are: classify them under three general heads-those pre alone could never even faintly approximate.
will music
Always let the be such that the pupil can com Mr. Virgil has recently published the first volume of
* in 'a' senting unusual physical difficulties, those taking little
prehend it, and always explain to him the construction, Foundation Exercises to be used either on the Practice
greater: interest in their work, and those being slow of compre intent and content of the piece. Clavier or the pianoforte, and to these we particularly
to call the attention of all students and teachers
rift, hension. Often it is judicious to take the parents into confidence, desire
One should never think slightingly of a pupil until as they can sometimes explain traits of character that of music. The work, unpretentious as it is, is emi
mean let's nently adapted for elementary instruction, and teachers,
drichts: thoroughly acquainted with him, as often the brightest are a downright puzzle to you; at least get them inter aye, and artists, too, would be astonished to find such
etohed: stone is among the roughest until polished. ested in the work, and have them do all they can to exhaustive analyzations of every variety of touch, and a
The first thing in all of these cases is to gain the con: assist with practice, etc., at home. Perhaps the practice plain exposition of the speediest, surest and most com
irdinary's: plete manner of bringing the fingers under mental con
re Orname: fidence of the pupil and get him to feel that you are truly is interrupted by others coming in, so that the mind trol, or, rather, not to put the cart before the horse, of
ents##" interested in him, that you have a personal desire for his cannot work well, or if in the case of a boy, his com training the mind so as to enable it to direct absolutely
primary: advancement, and that you are not simply putting in panions make fun of him for being a sissy, as boys all finger, hand and wrist movements. Mr. Virgil, who
are twen: the time for the pecuniary benefit to yourself. Without
who play the piano are often called. The parent is may be well called an expert, deserves the gratitude of
sympathy and the fullest respect of a pupil of this kind, the piano-playing world for his lucid statement of the
licately, als essential in all such cases to give the pupil to understand problem and his very valuable studies to effect desired
y of tom: '. it is almost impossible to do good work. that they are in full sympathy with him and desire that results, not to mention the fact of the boon he confers
tle flows: Among pupils of the first class there may be many he shall progress. Occasionally, a prize offered by either on the long-abused public who have been victims of
hand is: grades and varieties, and often cases that are utterly teacher or parent will stimulate to better work. piano practice.
foundation exercises may, with perfect propriety,
It littlem: hopeless; when these last are met with, it is but a kind The class system is sometimes a wonderful help to beThese used on the piano; in fact, they ARE PIANO exercises,
less they" ness to inform parent and pupil of the case as it stands, such a pupil, as the placing of several together creates and here I would like to emphasize the point, that unlike
the mel: and advise that further study be discontinued. But there a rivalry, and the lesson is learned simply to keep up with some technical contrivances, Mr. Virgil never departs
elee-way:
are many defects that by patient work and careful guid some one else, and this grows until it is learned for itself. from the keyboard idea or the various technical forms
used in playing the instrument. The Practice Clavier is
them be: ance may be overcome. Among these are such as weak Place music and music matters incidentally in the way similar to the microscope in the science of optics, it
plesher: and stiff hands, an inflexible wrist, poor time, etc. In of such ones, but never seem to thrust it upon them. divides and subdivides touch into its various component
in Choping all such cases patience must be the watchword of the And after one of these uninterested ones begins to parts, and surely a teacher, one who aims at an exhaust
teacher, and its full sister, kindness, must ever be kept develop, and the talent that was hidden by such a ive mastery of his subject, should not neglect its min
a genenim utest details. One of the greatest teachers and pianists
ies. in sight. Explain fully and carefully to the pupil the seeming small thing begins to broaden and expand, of all times, Carl Tausig, dug and delved into the mys
nally sale's defect, and then give your remedy. Let the pupil be his bringing forth ripe fruit, you will feel amply repaid for teries of technic, and the result was his legacy to the
own teacher; instill into him so thoroughly your plan for the extra thought and care expended. artistic world of his magnificent volume of daily studies.
on given at cure that it becomes his own, and unconsciously, day by Rafael Joseffy, one of Tausig's favorite pupils and a
The last class is, perhaps, more exasperating than
'ed light;" great pianist himself, was particularly struck with the
lat when: day, the end aimed at will be reached. Don't be in a either of the others, as one may explain in his simplest fact that study on the Practice Clavier tended toward
y mark: hurry in such cases; a stiff wrist was not made so in and most lucid manner, and find an utter non-compre perfection on the piano keyboard. That on it could be
a day, neither will it be cured except through time. hension of the subject. The only thing to be done is to learned all the delicacies of touch as well as the most
r; tons" Remember that you are dealing with flesh and blood, and go over it again. Be patient. Perhaps you think I difficult finger gymnastics. No piano method so care
therease: fully presents the whys and wherefores of touch and
not inanimate substance. Above all, don't be forever have used this word a great many times, but if any one technic as do these exercises, and a glance at the clever
ionofu'.
finding fault, but give all encouragement that may be word covers this whole subject, patience does it more cuts will show even a novice something they would be
r me? Is iust. fully than any other. a long time in acquiring by old means.
whers, and is The timid pupil may By the ingenious use of the up and down clicks a most
well be classified here, for what Be very systematic with such a pupil. Try to gain perfect
2xercises legato or staccato may be soon established and a
other:#:
is timidity but a physical defect. Almost all that has only one point at a time, and separate that one well from solid hand position is secured if Mr. Virgil's directions
al Jan-" been said before will apply also to this case. Try to everything else. Advise thorough work at school and are followed. These various touches are most sensi.
hers now." become thoroughly acquainted with such a pupil, both the reading of good books, stimulating the mind to tively formed, and the brain being used continually, a
no dia: in and out of the class; encourage, to a certain extent, quicker action.
beginner not only becomes rapidly interested, but also
to learn? gains a mental control and repose that all the useless
a freedom between you; make such a pupil feel that you Let the pupil read easy music at sight, not stopping banging by the hour of Czerney, Khler & Co. can never
tudy or " are truly his friend and would by no means allow your
soast." for blunders. Try to make the mind work rapidly, for give. -

self to laugh at or make fun of his weakness. After the only as the mind grows can advancement be made. The exercise for the non legato or portamento touch
pupil begins to play somewhat freely before you, intro. is most ingenious and satisfactory. ' hand stroke,
** Comparison with other pupils is rarely good for such now such an important factor in modern piano playing,
beller' duce other pupils to the class, but permit no jesting, a one, especially if with brighter ones, as it is apt to is also exhaustively treated, and by the many gradings
'BSCR'it': even if a failure to perform be the result at first. Such discourage. of touch weights on the Practice Clavier, all danger of
pupils generally pay for the extra trouble, as this very In regard to all of these classes, a teacher must not cramping or over-fatiguing the hand is avoided. One
&# may have from 2 to 20 ounces of weight in touch on the
timidity is often an indication of a refined and delicate be expected to develop genius where there is none, but
e em: nature. Clavier, and as a test for pianists, Mr. Virgil has written
ing" !" honest work and proper methods will sometimes reveal some endurance studies which are capital. The sections
The second class is one that I have no doubt causes a latent talent where it has been least expected. in the volume devoted to ear-training, time exercises
*
leath?" the teacher more thought and worry than either of the and sight reading are all valuable and all bear testimony
others, as we have supposed that both of them took an MR, VIRGIL'S FOUNDATION EXERCISES, to Mr. Virgil's extraordinary ability in placing before the
obe's student the clearest idea of the subjects and the speediest
rder f"
interest in themselves, for very often the best talent is methods for vanquishing their respective difficulties.
found here. PROBABLY no man has more thoroughly studied the These Foundation Exercises should be studied to be
# Eml
The thing to be done in this case is to try to awaken technical problems of the piano keyboard than Mr. A. appreciated. They are, indeed, multum in parvo.
: with # K. Virgil. What Delsarte, the great French student of G. HUNEKER.
an interest. Study the pupil carefully for the cause of
extre expression, has done for us in analyzing the subtle and
the lack of interest; try to learn his habits and dispo. ever-varying
the #: shades of human emotion, Mr. Virgil is
sition. Perhaps your pupil does not like what he calls doing with his deep researches in the philosophy of Character is the internal life of a piece, engendered by
* "
classical music; if that is so, yield a point, find out touch. the composer; sentiment is the external impression, given
The Practice Clavier as it stands to-day is a triumph to the work by the interpreter. Character is an intrinsic,
what he does like, give him that, and, taking that for over that most puzzling and ever-difficult question that
your starting-point, make your growth ever upward, confronts the earnest student of music at the outset of personal positive, part of a composition; sentiment an extrinsic,
matter only.
trying your best to give what the pupil wants as near as his careeri.e., technic. - - Character is innate, steady, precise; and inasmuch as
you can consistent with good teaching, Fifteen years of experience in a conservatory of music it is wholly expressed by the rhythm, more particularly
* ,Perhaps the pupil lays the lack of interest to those brought Mr. Virgil face to face with this stumbling-block by the time and tempo, the rendering of a piece can only
everlasting studies, and wants a tune. Studies are studyto all piano students, and he found, after a profound be true to the character, if the time and tempo are
of the question, that the technical systems in use, generally upheld. Sentiment, on the other hand, is ex
*ential, but for the sake of gaining him give them up instead of being an aid, are in reality a hindrance to traneous, unsteady, varied; and, though it may be appro
#" for *While, and after a true interest is aroused the pupil rapid progress. But a few years since it dawned on our priate and true, yet it is frequently inappropriate and false.
"often go back to them of his own accord. And, first pedagogues that it was by no means necessary to wade that
It is, therefore, necessary to keep the sentiment under
* through volume after volume of technical studies; control, and to always maintain the character. In fact,
**", to pupils of this class give tuneful music. One numerous tiresome repetitions therein contained sentiment should never be allowed to assume prominence
Sa'i'
does not need to give trash to do this. There is plenty thewere wearisome to a degree and brutalizing to one's over, or be detrimental to, the character of a composition.
** of good music that is beautiful, even tuneful to an uncul finer musical sensibilities; that numerous students of the Christiani.
-

4.O T EITE ET U D E.
PUT YOUR HEART IN YOUR MUSIC, claiming too much, and there are sometimes others who the major scales, and transpose his five finger exercises
lose by claiming too little. This is true of the great into a different key every day, he will get through all the
BY E. E. AYRES. question concerning the value of music and the study of keys in two weeks. By keeping up this practice, and
music. Too much is claimed for music on the intel adding gradually the minor scales and the formation of
IT is the scientific spirit that spoils almost every lectual side and too little on the spiritual side. Indeed, triads, which can be done in four to eight weeks more,
attempt at musical performance. It is the spirit of the many seem to be afraid to stand up for the dignity of we give him the means of becoming familiar with the
age; it is in the air, and few can escape its deadly spirituality in these days. If an art does not conform to clavier and all the keys, to learn to understand the sig.
influence. We are accustomed to call this the scientific the inflexible laws of science, we are too timid to say natures and relations. Thus we can carry the pupil
age. We say it is the century of progress. But one anything in its defence. We truckle to those who are gradually through all the different forms of arpeggio and
thing we do not always rememberthat progress in one nothing if not intellectual, and who exalt one faculty broken-chord practice, with all metrical and rythmical
direction may mean retrogression in another. If we of the mind while they abuse every other. Imagination combinations ordinarily needed. As he has to form
grow more scientific, we are in danger of becoming is below par. An imaginative speaker would be called everything himself at the clavier, and has constantly to
less spiritual. If we permit our minds to become com effeminate to day. People would ridicule a Patrick go back to familiar forms in order to build new ones, the
pletely absorbed with material things and their relations Henry or a Henry Clay to-day. These names are revered rudiments are so thoroughly impressed upon his mind,
to each other, spiritual things can no longer hold their because of the reputation they had in their own day; but that they are not easily forgotten. The influence which
own in our minds. Science and art are not inconsistent it is safe to say that another Henry Clay is not possible such practice has upon the development of the ear and
with one another; there is no lack of harmony, and the to-day. His flights of imagination would be the object memory cannot be overestimated. The study of theory
relation is not a fanciful one. And there are many pro of ridicule everywhere, and his power over the human without a thorough practical knowledge of the material
found scientists who are not lacking in spiritual power, heart would be small indeed. Poor is the orator of to used for it, is of no avail, as the ground is constantly
and some distinguished artists who are somewhat scien day who is not able to be uninteresting. No sympathy slipping from under the pupil's feet, producing only con
tific in their tastes. But it is only because of the limitawill his hearers accord him unless his statements are as fusion and embarrassment. CARL E. CRAMER.
tion of each individual man's horizon that the cultivation bare and dull and dry as the absence of all rhetoric and
of one side of his nature appears, in most cases, to be the atrophy of all sentiment and the heathenish insensi
EDITOR of The ETUDE:
fraught with fatal results to the other side. So, in most bility to all emotion can render them. No wonder the
In THE ETUDE of March, 1889, under the heading
cases, the scientific specialist must be abandoned to the days of oratory have passed away. For this intolerable Questions and Answers, number 4, is the following
contemplation of material things, and no one should look conceit, this desire to appear in sympathy with the question: How should the sextuplet be played? Is
to him for wisdom outside of his sphere. On the other age (ye nineteenth century, ha! ha!), will utterly the accent the same as in triplets? If so, is the sextuplet
hand, the artist must speak with authority in matters of destroy all spirituality, and carry with it all art and every false? The answer may be seen in the number
referred to.
art, and outside of his domain too much should not be expression of the beautiful, unless a healthful reaction My experience about this question is, all measures can
expected of him. - shall soon be upon us. be reduced to two classes; one whose counts are divided
This principle is forcibly illustrated in a certain story If we only had a few more such writers, such appre into two parts, the #, 4, #, # measure, and the other
(whether true or not) often told concerning one of the ciative souls, as John Ruskin, there might be some class whose counts are divided into three parts. like $, $,
#, ''; the former I call double combination, and the latter
old masters (some say it was Haydn). He had a distin. encouragement. The only tenable position is thisthat triple combination. We must note that the # partakes
guished pupil in harmony, some nobleman of rare scien. the imagination and the sensibilities are as worthy of of the two classes; it belongs to the first in slow move
tific cult, who, of course, was greatly superior to the cultivation and as noble in their uses as the intellect ments. since it has three counts with an eighth note as a
musician in intellectual acumen and mental training itself. Indeed, that man is not worthy of art who is not unit of count (I call unit of count that figure which is
worth one count) or two sixteenths, the count being
This scholarly gentleman undertook to dispute with the willing to endure the insults of all scientists rather than divided into two parts, and it belongs to the second, in
master one day concerning the propriety of a certain yield to the prevailing intellectual craze. The true artist quick movements, in which each note is considered as
musical progression, and, reducing the whole matter to must stand up for the dignity of emotion. For when the one count, and can be divided into three parts.
These are about all the measures used in modern
scientific investigation, the nobleman had the decided sensibilities are universally despised, when all emotion
music, but this classification may be applied to those
advantage. But the old musician could not yield his is relegated to the sphere of ignorance and imbecility, measures that are found in ancient music.
point, even if the arbitrary rules of science were against farewell to all poetry and sculpture and painting, and Doubt arises only in measures of the first class or
him, and so he burst forth with the bold assertion that music will be, of all absurd things, the most absurd. double combination; in those measures that have one
the passage in dispute was right because it was beauti The writer observes the length of this article with quarter, as the unit of count, such as # and # measure. .
The difficulty is reduced to the following: If this
ful. pain. There is so much to say, and he has such burning measure is divided into three parts, then the sextuplet
This, after all, is the ultimatum of art criticism. No one desire to say it. He is determined, however, to place stands instead of two triplets; it must be accented every
would hesitate to choose the musical composition, which himself among those who take the unpopular view of art other note, but if the contrary happen, that is, if two:
by the artist is pronounced beautiful, in preference to matters. He cares not to hear the orator, be he poli eighths prevail in each count, then the sextuplet must
be accented as a double triplet. *
the one which the most scientific scholar has pronounced tician or preacher, in whose soul there is not some fire, For instance, the S. Thalberg's Somnambula, Op. 46.
correct. The world is going to take Beethoven every in whose heart there is not some love, in whose voice B. Schatt's of Mayence edition, page 3, measures. 13
time before Albrechtsberger, all the rules of art (?) there is not some tenderness, in whose language there is until the 27; there are sextuplets in the left hand that
to the contrary notwithstanding. not some whisper of spirituality. The faintest whisper must be accented on the first of each three notes, because
the measure is 4 and belongs to the first class, and triplets
But the important question is: Will it long continue to of beautiful emotion belittles the grandest achievement do not prevail. In page 5, measures 9 and 10 are also
take either? Since Albrechtsberger is more correct than of unaided intellect. Wretched is the musician who sextuplets; that must be accented as double triplets for
Beethoven, the inquiry will be: Why choose Beethoven cannot listen to music without thinking of muscles and the same reason.
on sentimental grounds? And since Albrechtsberger, physiological laws, or the rules of harmony and counter. areThe following is an example in which the sextuplets
found in a measure of double combination, and must
with all his correctness, is not beautiful, why choose any point and the canons of composition. Ah! music was be played as a true sextuplet, that is, putting the accent
body? It is all resolved into a matter of sentiment, after not born to magnify the theories of men. If it brings on every note. The fourth Nocturne of Chopin is written
all. And no one can endure the thought of being gov. not a message of infinitely greater value than any poor in measure that belongs to the first class, and in all of
erned by sentiment in this progressive age. We have practical demonstration of the triumph of reason, there the first movements the triplets of eighth notes prevails
without exception, and in the second movement or Con
discovered that we are rational beings, and everything are some of us who are greatly deceived. Thus the fuoco, are sextuplets of sixteenth notes that must be
must hereafter be submitted to the tribunal of reason, to question in every case for the musical critic to ask is not played as true sextuplets, because in the preceding an
stand or fall as reason shall dictate. Thus men are whether or not a given work is reasonable, but, invari. succeeding movements the triplets of eighth notes prevails
inclined to argue, and there is but one answer to that ably, Is it beautiful? If it is beautiful, it is right, without exception. -

I never met a case in which this rule did not apply:


argument. It is not the answer that some musicians try and desirable, and music. I believe it is better to give the pupil a rule that wil
to makei.e., that music itself appeals to the intellect, hold in most cases, than to tell him, as most of teachers
that it is the most rational of all exercises, and that it do, the character of music and experience will teach
calls into play the highest faculties of the soul in a [For THE ETUDE.] you how to distinguish the sextuplets from the double
triplets. EDw. GARIEL, .
manner unsurpassed by any object of contemplation; THE USEFULNESS OF TRANSPOSITION OF Saltillo, Mexico.
that it renders men more trustworthy in matters of DAILY EXERCISES,
judgment; that it strengthens the intellectual and moral
nature. Some musicians make bold to claim all these
Schubert was like a gardener bewildered with the
If exercises were only needed for mechanical pur. luxuriant growth springing up around him. As fast as
things for music, and the scientist laughs them to scorn. poses, we might abolish them and employ hand gymnas his ideas arose they were poured forth on paper. He was
Of course, he will admit that music makes some appeal tics or a technicon, for through these means the hand too rich for himselfhis fancy outgrew his powers of
to the intellect; so does everything. The game of chess can be developed, if not in a shorter space of time, cer. arrangement.
and by force ofBeethoven will often kindle
mere concentration take one dry subject;
it into life and
makes an appeal to the judgment, but this does not tainly with less loss of time daily, than by keyboard beauty. Schubert will shower a dozen upon you '
render it one of the highest intellectual pursuits of men. practice. We need, however, some method to make a hardly stop to elaborate one. His music is more the ""
It is equally absurd to claim that the study of music is pupil practically familiar with the keyboard keys and of a gifted dreamer, of one carried along irresistibly by
the current of his thoughts, than of one who, like Beet.
to be compared to the study of Greek, for example, or harmony, and this can be accomplished best by transpo hoven, worked at his idea until its expression was with:
philosophy or mathematics, as an intellectual exercise. sition of daily exercises. If we progress a pupil in four out a flaw. His thought possesses Schubert-Beethoven
In every great question there are those who lose by weeks' work so far that he can form the chromatic and all labors till he has possessed his thought-Haweis.
T EI E E T U D E. 4-1
|
-
Examination of American College of Musicians.
Examination for Associateship. 11
it: Examination for Associateship. 9
M: MUSICAL FORM.
". 11. Work out the following Bass in four parts, and add
\|\ || || ||\|\.
1. Designate by name, each of the following forms or
!' Roman numerals.
| G. & fragments thereof:
# 5 4 5 -
# EXAMINATION FOR ASS00IATESHIP.
and
* * * * * * * *_2_ ** 2:
nia
m
1889,
#############
''
s'
mini,
->%.<

GENERAL MUSICAL THEORY.


DEMONSTRATIVE EXAMINATION.
I

6
'6.6
5 4 5
3 4 : 6
#64.
2
6
6 5
6 87
9 8 5 #
b. =1. H. H.
-

rid
rail
The Demonstrative Examination for Candidates
entering for musical theory alone, consisted in the :#######| e.
-

2- -->
|-t-i-i- i f. |=
---

#7 2. Define Rondo and describe a Rondo of the first form.


kill presentation of an original composition.
Nore.In future, Candidates who enter for "sical theory alone, 3. Carry out the following motive, either rhythmically
'it': will be obliged to proceed at once to the Fellowship Examination, as COUNTERPOINT. or as a melody, at your option, so that it shall form
the Associate Examination in the Special Theory Department has
7:
been abolished. (See Prospectus pages 8 and 9.) According to whose treatise on Counterpoint do you a period: mark subdivisions with brackets and
THEORETIC EXAMINATION. wish your work judged? designations.
The Theoretic Examination consisted in a written 1. (a) What melodic intervals may be employed in Coun
#:
";
!? 'i
examination in the following branches:
ELARMONY.
terpoint? (i. e. What may be the leading of
the individual voice parts?)
(b) What intervals are not suitable formelodic purposes,
3-2-4----|--|--|--|--|--|
t!: According to what method or methods do you wish and why are they so regarded? 4. Give the time signature and two measures of the
Ek:
your work judged? 2. How does the order, two against one, differ from syn following rhythms.
1 (a) Write intervals of every kind below B flat. a. Polka, b. Mazurka, c. March.
Tests:
jir'
(b) Write all consonant intervals above and below F copation?
3. Define Cantus Firmus, Tritonus, Counter 5. Describe the two-part (binary) form; three-part
wit:
sharp.
### 2. (a) What forms of the Minor Scale are in use? Write (ternary) form.
ei:
point, Interval.
examples of each. 4. Name some composers who are known as fine Contra 6. What is an Andante, a Scherzo, a Sonatina?
ins:
Tt:
(b) Write and resolve several diminished Triads. 7. What purpose is served by an Organ-point on the
(c) What other forms of the Triad do you know? puntists.
**
5. How are the second, fourth, seventh, and ninth ein Dominant? (i.e. what is the emotional effect?)
hit . Write examples of each.
le: 7 ployed in two-part Counterpoint?
and 1
#du

molen
)#

last
re 6:
sta,
12 American College of Musicians.
{{# 10 American College of Musicians.
8 American College of Musicians. 8. Analyze the accompanying Sonata movement, indicat
#
itty
3. (a) Construct a seventh chord on each degree of the E 6. Point out the faults in the following, ing, by means of terms, brackets, figures,(metrical
fts:
m: cipher,) etc,3
flat major scale and resolve. (a) Principal and subordinate themes, both in
(b) Construct a seventh chord on seventh degree of the exposi
.#
A flat minor scale, and resolve it in two ways. tion and development.
. !! 4. Construct a Dominant ninth chord on D, and resolve. (b) Connective or transitional passages.
| #!
88 5. Write upon E flat a chord of the augmented sixth; (c) Organ point.
th of the third, fourth and augmented sixth, and (d) Keys passed through in the development.
s' of the third, fifth, and augmented sixth. Re (e) Subdivisions of theme, motival structure, and such
s: other minor points as would indicate a thorough
solve each.
6. (a) What is the difference between Syncopation and understanding of the example submitted.
p's
must Suspension? Illustrate youranswer by examples. ACOUSTICS.
*: (b) Explain and illustrate Preparation. Why is it
#: 1. Describe the mechanical phenomena of a musical tone;
'' desirable?
rift 7. Give general rules regarding the construction of an (i.e. how produced and how perceived.)
!'
;:
Organ Point (Pedal point.) 2. In a string sounding E. as the fundamen
*:
* When you see any of the following figures over a bass
1: note, wht others do you know to be implied? tal, what would be the exact pitch (expressed on
(In other words, write the full figuring of which the staff) of the harmonics produced by the divi
: each of the following is an abbreviation.) 7. To the following Cantus Firmus add: sions of the string indicated by the following
n
* 2: 3: A. G. 7. o. 4. 5. 4. 5. 6. (a) An Alto in two notes, example?
i: * 3: 4, 6, 7, 9; 3: #: #: #: ' 7. 9.
' '. (b) A Tenor in equal notes. L l
T
l
"
# Transpose to Alto and add:
9. Write a modulation from C minor to A major, and
back; employing as a bridge chord, if you can, (c) A florid Soprano, 3. Say what you know about French Pitch.
*), a.
diminished seventh chord in the outgoing modula
tion, and an augmented sixth chord in the return.
(d) A Bass in Syncopation.
4. If this pitch GE results from 64 vibrations

10. Harmonize the following Choral melody for four *

: VOlces.
###########| per second, how many vibrations will yield this

#
###########| 8. Write a short Cantus Firmus, and to it add:
(a) A part above in Syncopation,
pitch?
5. What is to be understood by Resonance? Give an

#H#H#H (b) A part below in four notes. illustration.

--------
"-----------------------
42 T EI E E T U D E.

Examination for Associateship. 13 Examination for Associateship. 15 Examination for Associateship. 17

HISTORY. -.

1. What is the most ancient music of which we have


PIANO-FORTE.
any knowledge?
2. What are the Gregorian tones, and what was their DEMONSTRATIVE EXAMINATION.
origin? The Demonstrative Examination consisted of testexer
3. Who was Palestrina, and what some of his greatest cises in touch, technique, reading at sight, transposition,
achievements?
and the performance of selections, at the discretion of the
4. Name some of the greatest early English composers. examiners, from the list of works given in the Prospectus
5. About when did the German School of Music originate for Associateship Examination (see Prospectus Page 12),
and with what movement?
supplemented by original lists handed in by the candi
6. What do you know of the origin of the Opera; of the dates. -

Oratorio?
7. Who was the greatest German composer between 1675 SPECIAL THEORETIC EXAMINATION.
and 1770? Mention some of his predecessors.
8. Name some of the greatest who followed him. 1. Describe or diagram the proper position (ready to
9. Enumerate some of the composers of the Romantic play) for a beginner at the piano-forte with regard
School, and some of their works. to the following particulars:
10. Name some of the most celebrated Italian composers (a) General position of the body, including relation to
of modern times: mention some of their works. the key-bord and height of stool.
(b) Position of the fingers (2, 3, 4, 5). 9. Specify any differences in touch which you would
TERMINOLOGY. (c) Position of the thumb (1). employ in the following examples.
(d) Position from the second joints of the fingers to In writing your answers carefully consider the
Items 1 to 15 in this paper, while demanding some dynamics, and tempi.
the wrist. -
*
knowledge for their correct solution, are intended pri
marily to call out the ability of the candidate to give (e) Position from the metacarpal (knuckle) joints to (a) Allegro con spirito
the elbow.
definitions from the standpoint of a teacher. Therefore, let
the answers be correct, concise, and comprehensive. (f) Position from the elbow to the shoulder.
. Define Melody, 2. Define the plain Legato Touch, and give a general idea
p
Canon, of the position, action, and condition which each
Plagal Cadence, of the above members, from the finger tips to the
(b) Andante con moto. (c) Adagio.

| Deceptive Cadence,
. Phrasing,
. Modulation, -
shoulder, should assume in this touch.
3. Define and describe the Clinging Touch, and mention
to what class of passages it is best adapted.

14 American College of Musicians. 16 American College of Musicians. 18 American College of Musicians.

7. Tempo, 4. Minutely describe the performance in the 10. Give your ideas as to the best general method of lay.
8. Interval, (a) Finger Staccato. - ing the foundations of artistic piano forte playing:
9. Inversion of intervals. (b) Wrist Staccato. Make special reference to the kind of exercises,
10. Key, (c) Wrist Pressure. studies, and pieces, and the methods of studying
11. Scale, (d) Elastic Touch. and practice which, on general principles, willcon.
12. Measure, (e) Simple Arm Action. tribute most speedily to such a result.
13. Signature, (f) Combined Wrist and Arm Action. 11. Give a list of the compositions by Bach, Clementi,
14. Clef, 5. Suggest some exercises suitable to the correction of the Beethoven, Schubert, Chopin, Schumann, Liszt, and
15. Note. -
prevalent Staccato habit.
any other composer of ability, past or present, which
16. Indicate the metrical accents in the following kinds you have studied. Mention the Opus number and
6. (a) Describe or diagram the proper position and use of
of measure:- . Key of six important Beethoven Sonatas.
the hand for octave playing.
| | | F 12. Briefly describe the Spinet, and say what you kno"
# . . . # . . . .] : ". *
# "...... (b) Mention a common fault in the position of the hand
in playing octaves. of its history.
17. Show how and why the augmented triad is an ambig 13. Supply the Fingering, Phrasing, Dynamic signs, and
(c) Suggest suitable exercises for the correction of the
use of Pedals in the accompanying selection.
uous chord-formation. #E. habitually stiff wrist while playing octaves.
7. Briefly describe the Pedals and how they should be ORGAN,
used to secure the best effects.
18. Mention the Italian words (with approximate pro -

DEMONSTRATIVE EXAMINATION.
nunciation and metronome speed,) indicating three 8. State what discrimination, if any, you would make in
the legato touch to be employed for the artistic ex The Demonstrative Examination consisted in the p"
Tempi slower than Moderato. formance of selections in Sonata Form, PolyphonicStyle,
19. Indicate the appoggiatura and acciaccatura it this pression of the following examples, and the reasons
for your conclusions. Supply pedal signs.
and Free Style, from the list of works given in the
=#EE Prospectus for Associateship Examination (See *
D. example Andante. CHOPIN. pectus) supplemented by original lists handed in by "
* candidates; in addition toVocal-Score
in reading Organ-Score, which there(with
wereF,various"
G, and C
20. Above the staff in the following example, indicate all
the metric accents: below the staff indicate all the clefs;) the playing of Hymns and Chants, Transpo"
rhythmic accents.
of the same, and playing in Four-part Harmony, ""
Figured Bass.
I. Metric.
SPECIAL THEOREITIC ExAMINATION
1. What is understood by the terms Foundation" and
*-
-

II. Rhythmic. Mutation as applied to Organ stops?


2. What is a Harmonic stop?
-

T EITE TETTU D E. 4-3

~ 26 American College of Musicians. 28 American College of Musicians. 30 American College of Musicians.

3. Describe the tone, shape of pipe &c., of the following SPECIAL THEORETIC EXAMINATIONT. (a) As a String Quartette.
stops:- Dulciana, Double Flute, Hautbois and Give a written analysis of the Musical form of the (b) Add to the melody a Pianoforte accompaniment,
Clarinette.
accompanying composition, and supply all marks of ex (c) Add three other parts, making the whole Florid
4. What is the difference between a striking and a pression, and execution (Dynamics, Phrasing, Fingering, Harmony in four parts.
free reed? and Bowing,) which would be necessary to indicate an
5. Name the stops necessary to cover the Twelfth and
Fifteenth?
artistic and correct technical performance of it.

EXAMINATION FOR FELLOWSHIP,


#########
6. What is a Quint stop?
GENERAL MUSICAL THEORY.
7. How many different pitches- foot tone- are to
be found in large organs? Name them. This Examination consisted in the presentation of a

*
8. Write in notes the actual pitches heard, if a Flute
(8 ft.) a Quint, and a Fifteenth were drawn and
written Thesis on some topic relating to the theory or
practice of Music, and of a composition requiring not less
than eight minutes for its performance (see Prospectus,
#########
page 37,) in addition to a written Examination in the
these two notes struck ##
E. following branches, L- -: *- -- a".
**
HARMONY.
9. Would the above be a desirable stop combination, By what work or works on Harmony do you wish your
and give reasons? exercises judged ?
10. How many different tone classes or qualities are to 1. Give an example of good, and one of bad covered
be found in a large Organ? Give names in each Octaves 2
class.
10. Harmonize the following Choral Melody for four
voices.
2. (a) How do the intervals of the ninth and second
11. What is the length of the lowest pipe, Manual C of
differ? (as employed in chords.)
the Twelfth; of the Stopped Diapason? (b) Why are consecutive unisons, fourths, fifths, and
12. Give approximate date of the earliest account
Organ.
of the octaves generally prohibited? Can you state how
they may be properly used?
###########
13. (a) Is piano practice advantageous and advisable for
the Organist, and in what regard?
3. (a) In what two ways may the entrance of the Domi
nant seventh chord be prepared?
#########
: (b) Why is the Pedal piano to be preferred to the , (b) Define and illustrate Sequence, False (cross)
organ for the acquirement of technique? relation.

Examination for Associateship. 27 Examination for Fellowship. 29


Examination for Fellowship. 31
-

&#:
14. Define legato and staccato touch. Are they identi 4. What is the Aesthetic value of Suspension? 11. Write a short Bass and harmonize it, illustrating use
cal on Organ and Piano? of:
*::: 15. State your impressions as to the characteristics of the 5. (a) Write a ninth chord that will resolve to the tonic
of it:
(a)
(b)
Triads of the Minor
*
Major Scale and their inversions,
** ** 44 44
modern German, French, and English schools of triad of E flat major. ii **

&# (b) How are ninth, eleventh, and thirteenth chords


ar."
Organ music. (c) Dominant seventh chord, and its inversions,
16. Name several eminent German and English co" abbreviated for purposes of four-part writing? (d) Secondary (collateral) seventh chords and their
posers of Church music of the last century. (i. e. what intervals may be omitted?) -
1n Versions.
1 (2 17. Name several writers for the Organ of the present 6. (a) what is Anticipation? Write a short example. (e) Chromatically altered chords,
List
century, eminent also as Organists. (b) Illustrate Preparation, Suspension, and Resolution (f)Suspensions. "
*
18. Name several Italian and Netherland composers of by employing each of the following over a Bass This question requires that the Candidate writes
:* six short Basses.
the 16th century. note of your own choosing.
3.
:g 19. What pieces of Bach and Hndel have you played? 7 9 9 5 5 COUNTERPOINT.
5
20. In general, how should you suggest registrating 4 : 4 7 : 4 : 2 : 4 .
fugal movements of the older masters? 4 2 By what works on Counterpoint do you wish your
21. (a) What is an Anthem? work judged?
(b) What is an Introit? 7. To what Key may each of the following chords be 1. Write an example of Five-part Counterpoint, note
22. Give rhythmical form in bars: Of a long metre long? (Supply Key-letters, Arabic, and Roman against note, not more than eight measures long.
tune; of a short metre tune; of a common metre numerals.) Invent your Cantus Firmus.
tune; of an 8's and 7's metre tune. 2. To the followiug Cantus Firmus write in four parts,
23. Give rhythmical form of an Anglican Chant. a b c d e f g h i adding a Florid Soprano, a Bass in two notes, a
24. Write out the following tune (Sullivan's Onward, Tenor in equal notes.
Christian soldiers,) as you would play it on the
2r-2
Organ, with Pedal-three staves.

WIOLIN,
##########| [EHz:#######2..
* - -

8. What chords are especially valuable as a means to 3. Construct the following Subject to the length of eight
The Demonstrative Examination consisted of the
Modulation? - measures, and add to the whole a convertible
performance of a series of Test Exercises based on the
Major and Minor Scales, to be played through three (a) Modulate from C minor to A major and return (double) Counterpoint in the Octave.
octaves, Arpeggios derived from Major and Minor Triads, to C minor. -

"be played through three octaves, of a selection from (b) Modulate from C minor to F sharp major.
the studies of Kreutzer and Fiorillo, and of a selection (c) Modulate from E flat major to B minor.
from the list of works given in the Prospectus, page 32,
9. The candidate shall arrange the following melody in 4. (a) Enumerate some of the devices of Imitation.
'meated by original lists handed in by the candi (b) Define Imitation, Canon.
D major, in one of the ways here indicated.
(Not more than one need be selected.) (c) How is Triple Counterpoint constructed?
T EI E E T U D E.
4.4

34 American College of Musicians. 36 American College of Musicians.


32 American College of Musicians.

3. With the following subject write the Exposition of a # f- E_ PIANO-FORTE.


four-voiced Fuge.
-*-*-*-*=
FG EFE:#E=2 -|-------
T * T-
EE
-
###### DEMONSTRATIVE EXAMINATION.
The Demonstrative Examination consisted of testexer.
MUSICAL FORM. l * l l l
cises in touch, technique, reading at sight, transposition,
"-L- V - -- and the performance of selections, at the discretion of the
1. Explain what is meant by the following sketch: | * r
examiners, from the list of works given in the Prospectus
8. Analyze the accompanying movement from a Sonata, for Fellowship Examination (see Prospectus Page 13),
--~ --~~~~. --->|->
| | | | ! i | ~|~|~|~|~ indicating by means of terms, brackets, and metri supplemented by original lists handed in by the candi
+++++. * t | l | H+. cal cipher, (a) Principal theme: (b) Episodes (sec dates.
ondary themes); (c) Connective or transitional pass
2. Extend these introductory notes into a period composed ages; (d) Motival structure, keys passed through, and SPECIAL THEORETIC EXAMINATION.
of tetrameters.
any other particulars which you consider would
contribute to a thorough understanding of the ex ! Outline a classical course of piano-forte study (Exer.
cises, Studies, and Pieces), that would lead, on
#######
3. What form of Rondo is illustrated by the following
ample submitted.
ACOUSTICS.
. Mention some of the media for the transmission of
general principles, by graded steps from say the
Sonata in D major, Haydn to the Appassionata,
Sound, in order of excellence. Op. 57, Beethoven.
sketch? Mention, if possible, an illustration of 2. Mention ten to twenty Salon compositions by American
this form. . What is to be understood by Equal Temperament, and
composers and others, which might be interspersed
Principal Theme: how does a tuner generally proceed in the operation
throughout the course.
Second Theme (Episode): known as setting the temperament?
3. Give a brief, succinct account of your own course of
Principal Theme: study during the period of development, mention
Write out the Harmonics of this pitch GE 818
Third Theme (Episode): ing whatever advantages you have enjoyed.
Principal Theme: :=64 4. Give a brief description of the extensor muscles and
Second Theme (Episode): far as C in alt and give the vibrational number of tendons of the hand and arm, and state their sever
Coda. each.
al functions as applied to Piano-forte playing.
4. What is the aesthetic value of a Stretto? . In holding a vibrating tuning-fork to the ear and turn
5. Give a like description of the flexor muscles and ten
5. Outline the usual form, Key-relationship, and character ing it round, why does the sound at intervals, lapse - dons, and state their functions.
of a Scherzo. into silence?
6. How many bones are there to each finger between the
6. Briefly describe a Choral Fuge, a Piano Quartette, a . Give a brief, but as comprehensive as possible, descrip
tion of the human voice.
wrist and finger tips?
Concerto.

Examination for Fellowship. 33 Examination for Fellowship. 35 Examination for Fellowship. 37

7. Bracket and number each motive in the following HISTORY. 7. To which bone is that tendon attached which does"
excerpt, numbering duplicate motives the same as major part of the work when the fingers strike "
. From whom is it supposed that the Greeks derived the the metacarpal (knuckle) joints? In other words
those from which they are derived. rudiments of their musical knowledge? Name one what set of muscles flex the fingers from the met
or more celebrated Greek musicians and give ap
acarpal
8. What joints?
particu lar tendons are called into greatest activ -

proximate date of their era.


, What were the Plagal modes and in what relation did ity by the elastic touch?
they stand to the Authentic? Who originated 9. In develop ing the hand for the Piano, is it advisable,
#N them 2 in your opinion to confine the training " the
. Who rescued Church music from the threatened lapse Knuckle action to the extent that has prevailedin
f Ee f *
into barbarism after the Gregorian era passed :
the past? Comments on this point, in extenS0,
when did he live and what were the circumstances are invited. -

of his great achievement?


10. Which muscles move the fingers sidewise in spreading
. Name some of the greatest workers in the German the hand to play a chord or arpeggio?
11. What should be the condition of the wrist usually,
# 8,
a -atlal E - R. T -
school down to the time of Beethoven, giving
t i----N
*
dates. atearm
during
12. Enumer some of the advantages offered w the
action?
": == E: *::::= # 5, Has there been any attempt to resuscitate Italian position and action of the hand and arm which are
ev * * * * * music? If so, who have been its greatest cham
pions, and what their characteristics? Mention now ngeneral
13. Mentio ly approv
the essentia ed? ces between the spinet,
l differen -

some of their works. harpsichord, clavichord, and Piano-forte.


|*
(# ::::=
::EHE
::===":---------------
+=
-

:EH . Who first employed the chord of the Dominant seventh,


and what was the opinion of his contemporaries
14, which of these was Sebastian Bach's favori" instru
-

about it?
ment,
15, Mentio and why?
n Some ''. particulars in which the tech
. What can you say of the works and influence of nique of Mozart differs from that of Chopin.

Richard Wagner?
. Name some of the greatest modern orchestral writers,
with approximate date of birth, and mention titles
of some of their works.
9. Name some of the greatest of modern English compo
sers. In what department do they excel?
10. State what you know of the growth, present condition
and prospects of American music.
T H E E T U D E. 4-5
~

accustomed to sing as low as she liked, even to the G tion, and the immediate impact of his artistic personality
Questinns and Answers. or F in the contralto register. It may be said, in on your mind, imagination and emotional being. If you
QUEs, 1.Have you ever heard of oiling piano strings general, that one semi-tone of extra elevation produces wish a graded course of pieces, let us hear from you
to keep them from rusting, and would you recommend as much strain upon the voice as three or four semi again. If you wish technical literature, it is enormously
it? Also, what with? tones below. I am of the opinion, however, that any abundant and varied, and we refer you to the advertising
2. Is it necessary or advisable to keep camphor-gum forcing of the voice downward is injurious, though pro columns of THE ETUDE. J. S. W. C.
All in a? piano case to keep insects from destroying the felt. bably not in so great a degree as forcing it upward. Ques. 1.What studies and reference books do you
# Should a piano be kept closed when not in use? J. S. W. C. think are the best used in the leading conservatories and
el'ss 4. What would be useful in aiding a pupil to keep QUES.What is the best vocal method to be used colleges of music, from lowest to highest grade necessary
t": correct time? During the lesson they are careful, but without a teacher? SUBSCRIBER. to make the finished pianist, teacher and composer?
when alone very careless. 2. What should the finished pianist, teacher and com
.
5. What shall I do with a pupil who dont care ANs.My answer is concise; there is no such thing poser's library consist of? INQUIsITIVE.
thth" and is very thoughtless? Her parents are very anxious as a good vocal method to be used without a teacher. ANs. 1.-In the first place, this question is simply unan
tis'. she shall learn, but she takes no interest whatever in it, Indeed, it would be utterly impossible to learn singing swerable. It is like the question propounded to Verdant
's and every means I know of has failed. A. C.
without constant, personal intercourse between teacher Green in Cuthbert Bede's famous book: Which would
ANs. 1.Yes, I have heard of oiling piano strings, and and student. The singing-teacher resembles the physi you rather do, or go a fishing? There is no school
it is recommended by the most judicious tuners. Rust. cian more closely than any other professional man, and which does not have some special theory of its own, we
NATO: ing does not destroy the pitch of a string, but, of course, about as well might one hope to diagnosticate an intricate will not say hobby, but we will suppose they honestly
weakens it and increases its liability to break, and though disease without minute personal observation and tests as think their own a little better than all the others, and, con
es: is it is not a very serious expense, it nevertheless costs to train a peculiar voice or even an ordinary voice in the sequently, no two of them coincide with any definiteness.
ml. 4:
ifus'
something to have the strings renewed. The greatest high art of singing without personal acquaintance with 2. This is three questions in one, because these three l
difficulty about oiling strings is that of getting sufficiently it. The whole subject of method is involved in a great individuals are separate and distinct entities. If I extract
A: little oil and getting it spread uniformly. The best fatty deal of confusion of terms. At one time it means the rightly the kernel of your question, it does, however,
substance is suet or mutton tallow, but it must be put on peculiar set of ideas in dealing with the voice in bring. imply an intelligent and earnest query which I should be
Whil" with extreme delicacy, evenness and care, and, of course, ing it to its artistic or even to its artificial state; at an only too happy to meet, that I may assist you in widening
bei's has to be done by an experienced piano workman. other time the term is used to mean a set of pieces of your mind. I will make the answer in this formrather
2. Yes, it is an excellent thing to put camphor-gum music specially written for vocal gymnastics, in other let us say that what a finished pianist needs in his library
07m (i.e.: in the piano, especially in the immediate vicinity of the words, a set of etudes for the voice, and some books is practically infinite, but let him begin in this way:
men': cloth portions. Let the bits of gum be placed near to there are which attempt to combine the two distinct Every month lay aside a little, even fifty cents, or, better
third the hammers inside the piano, then the odor will not be ideas. Methods of dealing with the voice differ not still, a dollar or two, and when a sufficient amount has
I mus's disagreeably prominent, and the purpose of defending only with nations, for example, the Italian, the been accumulated, look carefully into a well-graded,
Atetse the soft, woolly tissues from the inroads of gnawing German, the French method, but they differ in reliable catalogue and select the best works. If you
* M: insects will be perfectly met. each nation with every individual teacher. There are desire some direct instruction and advice as to what to
isks: 3. Yes; that is, the part which contains the wires separate schools, and there are many of them, and were, buy with your first hundred dollars, write us again and
should be always kept closed, to prevent unnecessary even in the golden days of Italian singing, schools in we will answer it. No musician, who calls himself such
erates moisture intruding and also unnecessary changes of heat. every city that were distinctly marked from all others; and is one, should be without a library of a value of from
But the keys, as Mr. Jonas Chickering has said, should the Neapolitan, the Venetian, the Roman singers dif one hundred to five hundred dollars, and if he be pos.
not only not be kept covered up, for fear of making them fered from each other. The art of singing in our day is sessed of two thousand dollars worth of books and music,
yellow and old in appearance, but should actually, from particularly chaotic, owing to the great prominence which he would still be none too rich. Let us hear from you
time to time, be exposed for an hour or two to the has been given to the declamatory manner, so called the again. - J. S. W. C.
bleaching influences of the sunbeams. dramatic" style of singing, by the works of Wagner QUES.-1. In teaching a tenor voice, are three regis
4. A pupil to keep perfect time at all times should and their wide acceptance. Richard Wagner was one ters better than two? I mean by introducing the mixed
make a systematic, faithful, but not slavish use of the of the greatest instrumental geniuses in certain direc "' . *- e
metronome. To not use the metronome at all is certain tions, especially in orchestral coloring, the world has perhaps, the high G, which he
to leave one chaotic in rhythm; to use it constantly ever seen, but it may be very fairly questioned whether it proper to permit a falsetto tone? What is the best to
produces, however, effects almost, if not quite, as bad, he has not done as much mischief to the art of singing do in a case of this kind?
because it makes one incapable of walking without this as he has done good to the art of orchestration. If you 3. Is there such a thing as a cultivated falsetto ?
4. If so, how can a man produce it so that it sounds
rhythmical crutch. Every student at first complains that wish to learn to sing, better save every dime till you agreeable
the metronome confuses him and puts him out of have money enough to spend a month with some accred.
to the ear? A SUBSCRIBER.
sh:* ANS.-1. No tenor voice can be even throughout,
time; this is a most ludicrous blunder; it puts him ited teacher in some musical centre than to attempt self.
iss: out of time by telling him how wretchedly out of time instruction or even striving for any artistic development without change or break, unless the so-called mixed
id:" he is all the while. Krause's Measure and Rhythm" by mail. Certain things about the treatment of the voice voice is used between the chest and the medium (head)
# #:
will work wonders with pupils of this kind. Try them. can no doubt be expressed verbally and by a letter, but register. The divisions of the tenor voice arelower
On this subject of the practical uses and also the dangers any actual, systematic and satisfactory development of it chest voice, upper chest or mixed voice, and the medium
of the metronome, I purpose having something to say must be made experimentally from step to step. Some (head) register. The upper chest or mixed voice extends
editorially in THE ETUDE at some future time. teachers do not even allow their pupils to practice except from C sharp, third space, tenor clef, to F, fifth line.
5. In the first place, scolding is of very little value, at their lessons, that is, in their early stages. This I The mixed voice or upper chest register gradually
coercion of not much more, and coaxing only can be believe is the custom of the greatest European teachers, changes to the form of the medium or head tones in
regarded as of any great assistance. Music is a growth, as I have been told by prominent opera singers. If the ascending, the action, however, being chest, chest action,
a beautiful plant, which may flower late, but must grow pupil cannot, therefore, be trusted even to practice head form-hence the term mixed voice. Unless this
from an inward impulse; sometimes the germ lies long safely by himself, how much more absurd it is to expect mixed voice is understood, an even compass is impossi.
latent, but is at last discovered. ble. Without it, a correct transition from chest to head
What would probably to learn singing or to impart its subtle delicacies by a
be the most practical thing for your student is to plunge dead, cold, printed page. All that can be expressed in voice is impossible. The mixed voice varies with the
her in good music by causing her to hear a great deal words about singing might be put in ten pages, but to different vowel sounds; but few tenors understand it,
that is well performed, at any expense whatsoever. In learn the art takes from five to ten years of almost daily which accounts for many hard, unmusical sounds heard
in tenor voices from D to F.
this way the style of some of it may, perhaps, catch her study with a great teacher. J. S. W. C.
fancy, and she will suddenly find that the love of music QUES.I have studied Czerny's and Clementi's exer 2. It is not good form under any circumstances for a
is enkindled and begins to glow within her. If this can. cises, Mendelssohn's Rondo Capriccioso, etc., I, have tenor to use a falsetto tone. By falsetto is here meant
not be done, there is only one other thing to be done not the opportunity to take lessons, and would like to a real falsetto, and not a relaxed medium (head) tone so
give the student up. J. S. W. C. have you instruct me what course to study and practice. often called falsetto. Falsetto tones are used to eke out
A SUBSCRIBER.
. QUES.-Does it injure a soprano or mezzo-soprano to a too limited compass, and are never satisfactory to the
sing alto ? JENNY Fish. ANs.From the account you give of yourself I should ear, especially when used in connection with true vocal
ANs.-Yes and no. Yes, if the extreme notes in the judge that your studies had been carried on in a sys. tone. If all other tones are well located, surely a tenor
low voice are forced out; no, if the range of such alto tematic way and in a good direction. If it is quite voice should not strain in producing high G. Either the
or second soprano part be limited, in fact, it is especi impossible for you to go to the personal instruction of other tones are not well located or the voice is not a tenor.
allybeneficial to sing in the middle tones. Madame some celebrated metropolitan teacher from time to time, 3. The falsetto voice is sometimes cultivated and used
Adelina Patti once said to me personally that she now then I would advise that you take instruction of some as counter-tenor or male alto, but is not popular in this
seldom, if ever, practiced above the la, that is, A. kind by mail. There are many ideas relative to piano country.
On the first line above the staff, and yet I that very
playing that can be made sufficiently definite to be valu. 4. Question 4, like the latter part of Question 2, would
*ning heard her sing in the course of a run the C able in a written form, though here, as in the case of require a volume to answer. The best way is to find a
"harp above the staff. She said, furthermore, in regard singing, in order to realize all that a teacher can be and competent, conscientious teacher and take a course of
to the tones in the lower part of the scale, that she was do for you, there must necessarily be personal observa instruction.
4-6 T EU E E T U D E.
QUEs. 1.How far advanced should a pupil be before be noble, that it will make us able to recognize the good own. The path of the young musician is not a flowery
studying Beethoven's Sonatinas? and the pure in all things. Think, as we are come One.

2. How many pages in Mathews' Dictionary of Music? together for the first time, that our common theme is one Do not be cast down by discouragement. Discourage.
3. What is the price of Edward Baxter Perry's Fan that should ennoble, that should bring forth the best ment is an angel in disguise that really does not want to
tasia for the Piano, Die Lorelei? O. H.
there is within us, make us better to ourselves and nobler thrust you back. To-day she comes to test you; to:
ANs. 1. From the technical side, he should be able to to our God. Music humanizes; makes us greater in morrow, when you have quite forgotten her presence,
play Czerny's Velocity Etudes well; but something more thought, grander in conception. May we never lose its she will lead you onward at a bound. That you be thus
than technic is demanded. The musical talent of the influence. May it ever make us tend, not downward favored, she only requires that you be diligent and faith
pupil must be so far advanced, that he can understand and backward, but upward and onward. When you ful. Do you remember what Bach once said to a dis
and enjoy music of a high order. Right here let it be teach see that you point out, not the path of music alone, couraged pupil? The fingers of thy hand are as good
said, that much harm is done in giving pupils music that but the path of nobility as well, which runs on just beside as mine; and again, I was obliged to be industrious;
they cannot understand. Pupils must be led up to the it. See to it that you produce, not fine artists alone, but whosoever is equally industrious will succeed as well.
appreciation of good music, led by stages and not attempt bring forth noble men and noble women. This is what Never cease to strive, but never hurry. Haste brings
it at a bound. He should first be able to play well such you really agree to do when you accept a pupil. naught but ruin. Especially while you are in your stu
music as Heller's Op. 125, and Mathews'Phrasing, and dent days, work carefully, with system, cheerfully, and,
You are all ambitious. For what are you striving?
the sonatinas of modern writers, and parlor pieces of the above all, with patience. Spend some time in learning
What is the end and aim of all the hours of daily prac
better class. We hope to give all teachers, both young about the student days of great men, not of musicians
tice to which you give yourselves? of all the days and
and those of more experience, a helping hand on this alone, but of men in other callings as well. Study them
years devoted to books and to music? of all the heart and see how true it is that at last their real worth is
point at no distant day. aches, the tears, the discouragements, the new and brave
2. About 90, but the pages are large and the book has what they fairly earned by their own endeavor. So it
resolves that come now and again? Why do you conquer
many valuable features. It gives short biographical your faint-heartedness, and, although you were weak will be with you. Perhaps you have genius. Genius
sketches, the correct pronunciations of foreign words of has been defined as the art of taking pains, and, indeed,
yesterday, why have you determined to be brave and
expression, and of the names of composers. it is wonderful what earnestness and determination will
strong to-day? Do you see in music a field for plunder
3. One dollar. Perhaps this is the finest piece of piano do. It was determination that made Haendel run after
music by an American composer. C. W. L. or a way leading to happiness and contentment? A
his father's coach, and thus become a musician; determi
thousand questions spring to my lips, I fain would hear
QUEs.What studies would you recommend for a you answer all of them; yet, I need no assurance that nation that made Schumann a transcendent composer,
pupil who has taken three books of Loeschhorn's, one you are striving ever onward, that you are willing to do and not an unknown lawyer; determination that made
each of Czerny's, Burgmller's and Clementi's. C. E. Elihu Burritt a scholar and benefactor, not an obscure
as much for music as you would have music do for you.
blacksmith. Learn of these, and see how carefully,
ANs.He would get sufficient technical work from a This shall suffice me.
patiently, hopefully they labored. Now a day of sun
daily practice of Mason's two-finger exercises, the scales Giorgio Vasari very quaintly tells us that when he first shine (such as you have at times), then days of gloom
and arpeggios. His Etudes should be Mathews' Phras. saw the Leaning Tower of Pisa he spent much time in and discouragement (such, too, as you have), but finally
ing, and Heller's Op. 45 and 16, and selections from the discovering the cause of its position; finally he learned success (such as you will have) as the reward of well
classics, with a fair portion of the compositions of Schu that, at the beginning of its construction, he who was
directed, patient labor that was never prostituted to
mann, Schubert and Mendelssohn. It might be added entrusted with the placing of the piles for its foundation graceless ends. To you there may not come as great or
for
that Chopin's Mazurkas are too much neglected, they did his work in such haste and so badly that the tower, as far-reaching success as came to these, but that matters
have great developing qualities, both in technic and for when it had attained its height, pressing equally on all not. Advance art and the common good as far as you
unfolding musical talent. Leading teachers are using sides, caused the foundation to yield at its weakest place, can ; that is all that they did. -

less and less of the dry technical school of Etudes. thus giving the structure the position it still retains.
C. W. L. Perhaps you dream of success, of the fame that shall
And so it stands, an everlasting tribute to one man's one day be your own. Be warned in time; never think
Ques.Will you give the correct pronunciation of carelessness, a model of hasty work. I cite this because, of fame. If you give your thoughts to success, that
Wagner's name in THE ETUDE? C. N. H.
just before we begin to talk on music, I want to say a proves you are not planning beyond success. Success
ANs.Wagner, with the Italian sound to the a, is word or two about a few other matters that have much is
about as near as we can come to it. This question brings to do with all of us, though I will leave until later a only an attendant circumstance, not a final result.
up another, which is, how far shall we carry this idea of Say with the wanderer, Paul Fleming, these words
more complete exploiting of these same themes. they have a fitness for you: It is better that men should
pronouncing? Shall we speak of Mozart, as Mot tsart; What Vasari tells us of the Leaning Tower is precisely soon make up their minds to be forgotten, and look
of Hayden, as High dn; of Czerny, as Tsair-ny, and what scores of men and women are telling the world about them, or within them, for some higher motive in
of Clementi, as Cle-main-tee? I should say, yes, when daily about themselves; but alas, with them the blame what they do, than the approbation of men, which is
speaking to pupils and musical people, but to the not so much on another as on the self, for each is
falls Famenamely, their duty; that they should be con:
laity, I would not. However, there are many names architect of his own fortune. Take to yourself the les. stantly and quietly at work, each in his sphere, regard.
that can only be correctly pronounced as in the language son that comes best to your own case, but pay heed that less of effects, and leaving their fame to take care of
to which they belong. Mathews' Dictionary of Music you do not begin life or art, or aught else, with a flaw; itself. Do not concern yourself about your own great"
gives needed help here. C. W. L.
let your foundation be so strong that you may raise your ness or dwell too much on your immediate importance
self above it to any height, and still be as firm and as in this busy world. Do but think for a moment, and I
[For THE ETUDE.] upright as on the day when you made your first step. am certain you will agree with me, and say, I am very
It is not merely of your musical life that I now speak, unimportant. It is quite true you are unimporta".
CHATS WITH MUSIC STUDENTS," 0R TALKS but of your moral life as well; for what you are morally and unless you are very careful some one will be co"
ABOUT MUSIC AND MUSIC LIFE, you will be artistically; so much good and evil here, so tinually reminding you of it. Learn then for the sake
BY THOMAS TAPPER.
much good and evil there; the duality is always perfect, of learning and for the good you may do with it. Cul
you can never escape it. Life is but a sheet of paper on tivate that spirit of liberality that will allow you "
MoTIVE of STUDY. which we trace our story; let us not begin by blotting admire and be well instructed by all good and beauty.
The laws of morality are also those of art.-Robert Schumann. its snowy whiteness ere we write a single worthy word. Strive to know other worlds than your own. People
How did it happen that you all became music students Love God and Nature. Let your heart beat in sympathy live beyond the mountains. There are those who are
and musicians? Was it your love for music that de with the great heart throb of humanity. The world was taught by paintings and poems, by statues and flowers.
termined it, or did you turn to the art of tone, thinking made good and beautiful, hence goodness and beauty Be one of them; you will be a better musician thereby.
to find a field wherein you might fight out the battle for lurk everywhere; you will find them and make them Determine that the art of music shall receive all your
your own. Let your ambition lead you to leave the art endeavor toward its uplifting and perfection; be solici
existence; now stepping carefully, then treading heed. tous for its welfare by tilling your acre as you should.
lessly; here, in a sandy way; there, on a delicate flower; of music better and richer for your having entered it.
Put generously all the nobility of your nature into your Plant kindness, forethought and endeavor all about and
no matter where, so long as you get a living? I wonder
about this as I sit down with you all for our first talk. active professional work, and never lose sight of doing a forest of good will spring up from it. -

But my nature leads me to hope everything for the best what good you can. No matter how feeble your effort, Have you not read that the poet Norseman, Henrik
for you. Within you all who come to join this circle, or how tiny your sphere of action, you are wanted; work Wergeland, during one time of his life, went about with
where we sit and chat of many phases of music and for the best and to your utmost, and if, after a life of his pockets filled with tree-seed, and he scattered a
music life, I know there dwells a reverence for your work and struggle, you add but a single useful drop to handful here and a handful there as he wandered a'
chosen work; I know you welcome each new day be: the sea of art, you have lived and worked not in vain, he wished his companions would do the same; For,
cause it means to you a new life, a further wandering in but well; for that drop will be your representative and said he, no one knows what good may spring up from
the wondrous world you are making for yourselves. will exist forever. Be as great a musician as you can ; it.
Think, then, as I do, that all of us are of one common the higher you rise the greater field you will find to im
faith in our work, that we love it because it teaches us to prove. But, great or small, be worthy. There is not True virtuosity gives us something more his mere
than
rror own
y g -

Under this title will appear selected chapters from my forth only room, but a place waiting for you. Yet remember flexibility and execution; a man may mi

coming volume. that we often have to labor severely to retain what is our nature in his playing.-Schumann.
T EU E E T U D E. 4-7
~
#"
A Supplement to Every Instruction
*
Book. Lessons in Musical History, APIANOFORTEINSTRUCTUR.
*** BY BY JAMES HAMILTON HOWE.
100; ty THE STUDY JOHN COMFORT FILLIMORE. Op. 15.
*::::: This Instructor includes for its theoretical portion:
l's Notation; Rhythm; Chromatic Signs; Accent; Marks
ni'; OF THE PIANO. Price $1.50 postpaid. of Touch, Power and Tempo; Syncopation; Abbrevia:
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81: nique. A full page is devoted to Diagrams for Position
'*'. EY
A comprehensive outline of musical history from the at the Pianoforte. -

* beginning of the Christian era to the present time; espe The Practical part contains a thorough set of Technical
T-I- E_A_LERTENTT. cially designed for the use of schools and literary insti Exercises, progressively arranged; scales, major and
is re. tutions. two minor, in all keys, supplemented by attractive Les:
8 this Address Publisher, sons and Illustrative Compositions.
70's,
Throughout the work are introduced Duets for Teacher
Translated by M. A. Bierstadt. THEODORE PRESSER, and Pupil, illustrating certain exercises in an entertain
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1704 Chestnut Street,
king PRICE $1.O.O.
last four pages are devoted to the Major Scales in
PHILADELPHIA, PA. all keys, with Grand Arpeggios; the Harmonic, Melodic
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! &# ment to any method.
6:
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The information is imparted in the form of questions
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but it is vastly more direct and comprehensive than any berg, J. S. Van Cleve, J. C. Fillmore, Arthur Foote,
#11. 0.0MPILED AND ARRANGED BY P. J. LAMMERS, Louis Mass, Alex. Lambert, Calixa Lavellee, W. S. B.
primer published. Mathews, Carlisle Petersilia, Joshua Phippen, Jr., G.
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In preparing the little collection of songs, great care $150, with liberal discount to the profession and trade.
tful Overcoming of Bad Habits. has been taken to select simple and interesting melodies, J U S T I SS UED.
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le: occupy a place between these two. Address
great
placed in the hands of a beginner. FOUNDATION EXERCISES
ma:
Address the Publisher, THEO, PRESSEH, IN PIANOFORTE PLAYING.
as: THEoDoRE PRESSER, No. 1704 CHESTNUT ST., PHILADELPHIA. By A. K. VIRCIL.
1704 Chestnut St., Philadelphia, Pa. To be used on the PRACTICE CLAVIER or PIANO.
at:
r: The object of this work isfirst, to establish the doctrine that Piano
s, is HISTORY OF PIMNOFORTH MUSIC NEW, EASY AND PROGRESSIVE
forte Technic is or should be an Elementary Study; and, second,
to supply teachers and pupils with exercises and facilities by which
es By J. C. FILL MORE. this all-important subject may be taught, and true pianoforte
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tes:
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Mr. Fillmore deserves the thanks of the musical people for having
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twon, New York.
We most cordially recommend this little volume as being thoroughly
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wi interesting and most useful to all who desire to study the subject of In the two volumes more than thirty picture inius.
which it treatsThe Athenaeum, London, England. BY JULIUS E. MULLER.
ite, Endorsed by all the leading pianists and teachers of America. trations are given, by which not only proper positions,
but correct movements are easily learned.
# we Present a Few Communications out of Many Received:
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ret I can only express myself in the highest terms of praise concerning
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It is an extremely well-written and instructive work, and should, Streabbog and Spindler appear the oftenest. The book
JUVENILE
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The Philadelphia Musical Journal Se THe -TW usicIRN.


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it. Chopin, Prelude in D flat.

PIANO PRIMER.
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15. Bach, Saraband in E minor.
". Schubert, Minuet in B minor.
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Op. 79.
|
FoR THE PIANOFORTE. Address Publisher,
I5th EDITION.
By E. W. KRAUSE. THE O. PRESS ER,
Notes and Remarks by such Musicians as Dr. FOR PRIVATE, CLASS OR SELF INSTRUCTION. -

Wm. Mason, Mr. Wm. H. Sherwood, A Systematic and Practical Treatment of Measure 17'O4 CHIESTN UT STIREET,
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It is concis E.; it is ExHAUSTIVE; it is endorsed by most other exercises.
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|
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THEODORE PRESSER, 17O4. Chestnut Street, Philadelphia, Pa. A fine collection of Church Tunes, Anthems, Choruses,
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Contains 116 Church Tunes, 80 Pages Class
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of Musical Terms. lesson, and blank receipts to be filled out at the close of the term. -

Convenient in form and an incentive to the pupil. 75 Cents per Copy; $7.50 per Dozen by Mail.
26OO TERMIS DEFINIED. I like the card; think it is entirely practical.-Emil Liebling, -

Chicago, Jan. 11, '89. | The great question before vocal music teachers is: How can we im
A new and greatly enlarged edition of the Pocket | prove the masses in reading music? This book contains no new
Dictionary has recently been issued, which contains up Price, 50 cents for a Package of 25 Cards. method, for character notes have been successfully used for years.
ward of 2600 definitions, covering about all that is sPECIAL or FER.We will mail one copy to any reader of
FOR SALE BY
required by musical students and teachers. It should THE ETUDE for only 30 $'.to cover cost. If you are not satisfied
be in the possession of every person who studies music. The Root & Sons Music Co., after an examination, we will refund the money. Address
FRICE 25 CIENTS. CHICAGO, IL.L.,
R U E B U S H, K L E FF E R & CO.,
Address THEODORE PRESSER,
1704 Chestnut St., Philad'a, Pa.
And THEO. PRESSER, 1704 CHESTNUT ST., DAYTON, VA.
PHILADELPHIA, PA. | -

| We beg to announce that we have now in course of publication a


| new work for Organists, entitled
A System Of Pian) TEElimit. Portraits of Great Musicians.
JAMES HAMILTON HOWE. The Organists Journal. SIZE, 22 x 28 INCHES.
CLOTH, $1.5O. This work will be sold by subscription, and will be #
Price $1.00. Postage and Tube, 10 Cents. parts. Each
contain part
at least will
four be enclosed
excellent pieces in an attractive
suitable '''
for church service.
W. t

Includes a complete set of Scales, Arpeggios, Double $5.00, with Frame, Antique Oak. shall also present a number of novelties appropriate c:
Thirds, Double Sixths, etc., in various motions, together itals and other occasions. The Price of Sbscription for
entire work is $300. This will be the finest and most complete ''
with fingered exercises for special developments, and The following are now ready : for the organ in the market; it will contain the most practical
School of Embellishments. It follows nicely the popular latest compositions of the best German, French, American *
Pianoforte Instructor, of late issue (by the same Author), BEETHO V E.N, M EN I )El hSSO EIN * will be of high class. '' ": ''
English writers.

in connection with appropriately graded studies and in T t k will be within the a yo


structive compositions. This work has been introduced
in some of our leading schools of music. A newly MOZART,
OTHERS TO FOLLOW.
wAGNER,'e would like to impress upon you the "...:
1st. The music will ' edited in the most careful manner-
-

revised and corrected edition is in process of publication, The el t its h isf attention will be given to the Phrasing, Pedal Mark"9. Reg
-

necessitated by the advanced sales of the work. The e elegant portraits have given the greatest satisfac- to...t. f b d E. d plates (not type)
- - 2d. ic will - inted from Engrate ******
Technic in the future will be bound in limp cloth, so tion whenever introduced. The former price for these # #: #: #: littie money; each
desirable for carrying the same in music rolls. A new was $4.50 each, without frame. part, costing 25 cents, will contain $1.50 worth of music. the student,
and original Arpeggio Exercise will be introduced in the 4th. None of the pieces are too difficult for the Amate"?"
next edition.
and the #. organist will find a large number of composition" ---

THEO. PRESSER,
* THEO. PRESSER, which are only to be found at present in expensive editio'.
5th. The work will also commend itself to Teachers **
d Organ
| pupils, on account of the large number of pieces available fort
17O4 CHESTNUT ST., PHILADELPHIA. tion.
No. 1704 Chestnut Street, Philadelphia. |
I'
|
onarts 1,2,3,4,5,6
receipt and 7 are now
of the subscription. ready, and
Succeeding will!'
parts will be

SUITABLE FOR CHORAL SOCIETIES. forwarded,


Circulars one
and each month,
sample pages,until the full
giving 14 numbers are 'sent
informatio",
FIFTY EXAMINATION QUESTIONS wil *

free, on receipt of name and address.


FOR PIANOFORTE STUDENTS, For further information, address
Mrs. SBEA REE,
AN OPERETTA. BY ALBERT W. BORST. THE0. PRESSER, WM.E. MSHMAll 80
By-ALBERT W. BORST. 50 Cents Per Dozen. 1704 Chestnut Stroet, 231 East 80th Street,
LoxnonNovello, Ewer & Co., or from the composer:#602
st: philadelphia special terms for quantities.
Hamilton
THEO. press: Philad'a, Pa. PHILADELPHIA, PA. | NEW YORK, N. Y.
THE E T U D E. 4-9
---
__#rofessional Cards. ~~~~~~~~~~
$rhools of #lusic. $chools of #ingir. ---------
*------------~~~~~~
Mr. T. J. DAVIES
Gives lessons personally, or by correspondence, in Harmony,
Counterpoint, Canon and Fugue. Students prepared for GERMANY, BERLIN.
musical examinations. Most thorough and systematic course.
Compositions revised and corrected. Terms moderate.
Address 18 LIBRARY Buil-DINc,
20 POTSDAMER STRAssE.
A MUSIC SOHO 0.
Harmony Lessons by CorrespondenceALSO
Scranton, Pa.
Klll (MN (Mill.
BRANCHESTAUGHT:-Piano, Violin, Violoncello, Singing
Lessons by Mail in Counterpoint and Orchestration. and Theory of Music; Also Literature Classes in
For terms and particulars, address German, French, Italian and English Languages.
allon.
G. T. BULLING, PROFEssoRs:-Messrs. K. Klindworth, Dr. Langhans,
Rfer, Dr. Yedliczka, Dr. Reimann, Tul. Hey and
174 RACE streET, cinciNNArt, o. other renowned masters. -

MADAME ANNA STEINIGER, Prospectus to be obtained gratis through the Director,


CONCERT PIANISTE AND TEACHER, KARI, KLINDWORTH,
>os-To-N", M.A.-ss Berlin, 20 Potsdamer Strasse
Beethoven Concerts at Conservatories a specialty.
Madame Steiniger will make a tour, West and South, in January,
February and March, 1890, introducing her four Beethoven Con
certs. Special terms and unequaled inducements to teachers who
will w': this series of concerts, in their cities or towns. *
Address FRAU ANNA STEINIGER, Boston, Mass. MS MUSICAL INSTITUTE WARREN, RI.
W. S. B. MATHEWS, An institution devoted exclusively to the study of
TEACHER OF PIANOFORTE, MUSIC. Gives instructions in all departments of Music,
Lecturer and Writer upon Musical Topics, with a thorough and Systematic Course of
No. 236 STATEST., CHICAGO, ILL. Study, and a Faculty of the highest excellence and
Room 18. efficiency. Founded in 1869. Bay-Send for Catalogue.
MME. RIVE-KING. A STANDARD TEXT-BOOK,
XET
Time rapidly filling for Season of 1890. Par
ties wishing to arrange for Recitals or Concerts,
please address,
DANAS PRACTICAL HARMONY,
MME. RIVE-KING, With a Large Faculty of Superior Instructors, and PRICE $2.O.O.
CHICKERING HALL, N. Y. a splendid building for its exclusive use, the Oberlin
Conservatory offers unusual advantages for the Study of
Mr E. M. B O VV M A N,
(Editor of Weitzman Musical Theory,)
Music. 544 students last year. Total expense for one American Conservatory
Music HALL.
WEBER
of Music. CHICAGO.
STEIN WAY HALL, NEW YORE. year's study (38 weeks) need not exceed $300.
PIANOFoRTE AND ORGAN instruction by the methods on which Terms begin Sept. 17, Jan. 7, and April 8.
modern artistic performance is based. Every Branch of Music and Elocution. Course of Study
MUSICAL THEORY lessons, orally or by correspondence, by the If you are intending to study Music in any of its Thorough and Comprehensive. Special Depart
Weitzman Method, which, by its lucid explanations and interesting branches, send for catalogue to ment for the Training of Teachers.
course of study, commends itself to the attention of all who desire
to become thorough musicians. -
F. B. RICE, Director, J. J. HATTSTAEDT, Director.
OBERLIN, OHIO.
Milwaukee School of Music,
422 anoadway. milwaukee, wis.
A NEW B00K FOR BEGINNERS,
H. B. STEVENS & C0,
HARMONY LESSONS BY CORRESPONDENCE,
GIVEN BY

J. C. EILLMIORE, Director.

MRS. W. H. SHERWOOD,
Concerts, Piano Recitals and Piano Instruction.
THE ART OF PIANOFORTE PLAYING.
By Hugh A. CLARKE, MUs. Doc. Price $1.50, post
paid.
MSE's 8 mm',
SUMMER PIANO LESSONS Giv'EN.
169 TREMONT st.,
Address at her residence, This is a new work embodying the results of thirty
28S Newbury Street, years' experience of a practical teacher, who has held
BosTON, MASS.
the responsible position of Professor of Music in the B O STON, MA.S.S.
Pennsylvania University for the last fifteen years.
EDWARD E-A-DRTEE. PEE.E. "Sz".
The design of the work is to furnish a thoroughly
CONCERT PIANIST AND LECTURER artistic school for beginners, embodying all the latest
Lecture Recitals at Colleges and Conservatories a Specialty. results of the best criticism. The exercises have been
Address, 550 Tremont St., Boston, Mass.
... constructed with great care, and are graded in such a Agents for the Standard Cheap EditionsPeters,
Mr. Perry makes an Annual Western and Southern Tour, from Sept. way that the difficulties that beset beginners are almost
10th to the holidays. Special Terms to parties on his direct insensibly overcome. Not a has been admitted for Augener, Cotta, Breitkopf & Hartel,
| route desiring recitals at that time. the purpose of making a book; no other work has been
borrowed from ; but every piece in the work is the Schlesinger, Etc.
HUGH A. CLARKE, Mus.Doc, elementary
result of careful study of the requirements of a complete
223 South 38th Street,
school for the pianoforte.
PHILADELPHIA.
We wish to call the attention of Directors of
Practical and Pleasing.
Music in Schools and Seminaries, also of Music
ISSUNSEY MAIL!"":" It is of the utmost importance that a proper beginning
be made. There are two features in this book that make
Teachers in general, to our stock of Foreign and
it one of the best works for beginners ever issued, American Music. We make a specialty of good
__Schools of alusic.
--- - -
namely
fingered editions, and when desired will send
6CH00L of MUSIC,
DE PAUW UNIVERSITY, GREENCASTLE, IND.
It Interests the Pupil, it Cultivates the Taste.
On these two points every teacher must look
selections of different grades for inspection.
"astruction given in all Departments of Music.
upil, Classical, Artist, Choral and rchestral Concerts, for success, and it is well to have a text-book at the
Pupi

Solo, Duet, Trio, Quartette, Ensemble and beginning that lays particular stress upon important
Oratorio Work. principles.
FIVE COURSES or study. There are numerous duetts for teacher and pupil, all
SPECIALATTENTION PAID TO MAILORDER8.
Room, Board, Practice and sheet Music at reasonable rates.
For Circulars, apply to
having a specific object in view. There are a goodly
JAMES H. HOWE, DEAN, GREENCASTLE, IND. number of pleasing pieces of a didactic nature,
*:'' of other University Departments, apply to
cises for strict and mechanical fingering, such as scales, TERMs LIBERAL. Catalogue sent free
arpeggios, five-finger exercises, etc.
**:Alexander Martin, D.D., LL.D., College of Liberal Arts.
Rev. S. L. Bowman, A.M., s.r.b., Dean of School # Theology.
Hon. Alexander be:'A'"
G. Downey, LL.D.. D
On application, and
iii., of School of Law. Address publisher, THEO, PRESSER, also Bulletin of New Music sent regularly
uel S. Parr, Normal School.
1704 Chestnut Street, Philadelphia, Pa to those sending their address.

-
5O - T EI E E T U T) E.

Portraits of Famous Composers COURSE IN HARMONY.


JUST PUBLISHED IN PHOTO-GRAWURE. By GEO. H. HOWARD, A.M.
BEETHOVEN, MOZART, CHOPIN and WAGNER. PRICE $1.50.

Size 1-12x16 in. (life size), on 22x28 paper, @..................... $1.00


(RAND, SQUARE, all UPRIGHT
2-6x8 in. (% life size), on 14x17 paper, @... .50 Easily Understood. Interesting. Thorough. Adapted for a short course
3-3%x4% in. (cabinet size), @.....................
(Printed on Japanese paper, mounted on beveled card board.)
..... .35 or for an extended period of study. A great saving of
time to teachers. A real help to students. NO)
E" ER. A. M. E. D.
Size 1-Framed, 20x24, in 2-inch oak, with 34-inch silver This work is being received with great favor, and is already intro These Instruments have been before the Public for over
duced in several of the best conservatories in this country. In pamphlet fifty years, and upon their excellence alone
inside, @......................................... ....s3.00 form it has had a large sale, and now that it is completed, it seems sure
Size 2-Framed, 12x14, in 1%-inch oak, @..... to take a leading place among works on Harmony.
have attained an
Simple explanations, short sentences and plain language throughout UN PURCH ASE D PRE-EM IN ENCE,
are features which will commend themselves to teachers and students.
The following are in preparation and will be issued in the order It will lead students not only to a theoretical acquaintance with Har Which establishes them as
named:BACH, HAENDEL, HAYDN, Liszt, MENDELSSOHN, MEYER mony, but also to become able to distinguish intervals, chords, progres
BEER, SCHUBERT, SCHUMANN, WEBER and others.
Subscriptions should be placed now.
sions and treatments by ear as readily as with the eye. -
By means of an agreeable variety of exercises the interest of the
course is well sustained. It will not be found dry by any careful stu- |
UNEQUALED
-IN
dent. Many of the exercises are decidedly novel in a text-book of this
Rind, never having appeared before.
JELLINEK & JACOBSON, Publishers,
For Sale by
The book will be found interesting and helpful in every way to the
13 East 17th Street, New York, teacher and the pupil. It is also rich in suggestions for general im
provement and in reviews. In advanced study it will be found invalu
able.
T.I., TIE, Winni li lllllility!
THE0. PRESSER, 1704 Chestnut St., Philada, Pa. Wvery Piano fully Warranted for 5 Years.
The conviction of its excellence will strengthen as it is
used, and it is safe to predict that this will prove the most
popular work on Harmony yet published. WM. KNABE & co.,
New+LC880m3+in Harmony. Address
THEO. PRESSER, Publisher,
22 & 24 E. Baltimore Street, BALTIMORE,
1481Fifth Ave., near 20th St., H. NEW YORK,
1704 CHESTNUT ST., PHILADELPHIA, PA
JOHN C. FILLMORE. 817 Pennsylvania Ave., WASHINGTON, D.C.
We know no other work in which a musical student can learn so
much about harmony in fifty pages of text and examples for exer
cise."The Nation, New York.
+ SPENGLER's 4 TWO WORKS FOR PIANO PLAYERS.
This work is based on the ideas of DB. HUGo RIEMANN, and has as
an appendix his lecture on The Nature of Harmony.
A careful perusal (of this) will enable students to see clearly the
drift of modern speculation in music.-The Nation.
System of Technic, FOR THE PIAMO-FORTE. THE ARTISTS REPERTOIRE
Dr. Riemann, The greatest living musical theorist.The Nation. PRICE, $1.50. Limp C1oth, 92.00
PRICE sloo IN BOARDS.
An original and Highly Interesting Work $or |
IMTUSIC TEACEHEES Professional and Hmateur.
hAVE DECIDED THAT JUST PUBLISHED. CONTENTS.
Rondo Capriccioso. Op. 14............. - Mendelssohn.
W H IT IN E Y'S We offer in this System of Technic a work that is Impromptu, Op. 142, No. 2. (Ab)
calculated to arouse new interest and enthusiasm, and Polonaise. Op. 40, No. 1. (A maj.). ..F. Chopin
March Heroique H. Von Blow.
point out the road to higher and nobler possibilities. Polish Dance, Op. No. 1..............................................Scharwenka.
While the aim has been to set before the player Une Perle. (Bluette)............................................................... hr.
The Hunter's Horn.... ....F. Von Kornatzki.
RAPID METHOD new and interesting matter, yet the more important
facts are constantly kept in the foreground, to wit:
The Mill -

Cacoucha. Caprice................
Jensen,

to develope the weaker fingers, and .to equalize the Priests' March, from Athalia ..Mendelssohn.
Students of Sorrento ..
FOR THE PIANOFORTE touch, to create an independence of execution, to ac
custom fingers and hands alike to every possible posi
Pavan..............
Turkish March
-

tion in all major and minor keys, and to cultivate the Pomponette. (Style Lou
Intermezzo et Valse Lente
is the most desirable method published, and mind as well as the fingers. Melodie in F.....
both recommend and adopt it. Gypsy Rondo.
Valse. Op. 33...
Farewell to the

4G-SEND FOR A FULL DESCRIPTIVE CIRCULAR.


Advice to Young Students of the Pianoforte, Two Mexican Dances
BY ALBERT W. BORST.
Address PRICE, 10 ces. Theme Allemand..
Pixis Valse....
THE W. W. WHITNEY CO., Some good advice for every one studying the piano. Tarantelle..............
Die Jagd. (The Chase).
TOLEDO, O. Puritani.............................
Loure, from 3d Suite. J. S. Bach
Harmonious Blacksmith.................
MUSICAL GAME. CLASS-BOOK

ALLEGRANDO. MUSIC TEAC HERS. STANDARD DUETTES.


Instruction and Pleasure Combined.
BY E. M. SEFTON. A Collection of Interesting 4-Hand Pieces.
A SPLENID GAME FOR EVERY HOME.
R. E. V. IS E D E DIT I O N.
This game consists of cards, on which the different notes and rests
are printed, one on every card. After a number are distributed among Price, 60 Cents. PRICE $1.00 IN BOARDS.
the players, the cards are played in succession and added together as
they are played until the value of a whole note is reached, when it
counts one for the person who played the last card and completed the
whole note. This gives a general idea, only; Full directions, with The book contains everything for keeping Accounts
rules for a number of different games, tables showing the notes, rests, of Music Teachers; Index; Daily Programme, a page
keys, &c., accompany the game. - Behr.
#: learning to play the Piano, Organ, Violin, or any other instru for each pupil; Cash Account, Bills, Receipts, etc., etc. Alerte, Fanfare Militaire..................................
Basket of Roses, Quadrille.....
ment; those who sing; those who wish to read music faster; in fact, all
who are interested in music, need this charming game. Address publisher, Bella, or La Tonkinoise March.
Best Shot March .....................
It teaches the value of notes and rests.
The names of the notes. THEO. PRESSER, Blue Alsatian Mountains Waltzes.
British Patrol.......
The various keys in which music is written. 1704 Chestnut St. Philadelphia, Pa.
The different kinds of time. Bucephele Galop...
Practice in musical fractions. Flower Song, Op. 39.....
L'Alerte, Fanfare Militaire.
The easiest way to learn to read music.
You learn, while playing an interesting game. Marche-des Pompiers......
It is readily learned, even by children. Martha, Op. 112 ...............
Time devoted to playing this game is not wasted, as in most games.
A splendid game for evening parties.
#: Pearl of Love, Valse Elegante
Quadrille, Op. 117........................
A new departureentirely unlike any other game. S S ST'R''
- leading and bestCelebrated
s make. In use Banjos,
by more profes
Qui Vive, Grand Galop de Concert, Op. 1
the Secret Love, Gavotte.
Parents can teach their children the rudiments of music, even if not
musicians themselves. sional players than any other. Also Banjo Music and Instruction See-Saw Waltzes....... erman
Interesting to old and young, beginners and advanced alike. Books in great variety, Banjo music for one banjo, for two banjos, Swedish Wedding March. -

Those intending to study music will find it to their advantage to play for banjo and piano, etc. Tanz-Jubal Polka........
Tonkinoise (La) March.
*'.
...Wenze
this game a while before beginning lessens s rgmuller
PRICE, 50 CENTS.
THE BANJo AND GUITAR Journal, Wandering Jew, Grand

Address Publisher,
.
the Price 10for
great stand-by cents per copy.
banjo-players. The only
y paper
pape of the kind
l Address

THEo. PREsser, Large illustrated catalogue and price list, giving detailed informa THEO. PRESSER,
tion about the Banjo and its music, mailed on receipt of 5 cents in
17O4 Chestnut Street, Philadelphia, Pa. stamps. Address S. S. STEWART, 221 & 223 Church St., Phila., Pa. 1704 Chestnut Street, Philadelphia, Pa.
THE ET U D E. 51.

| JERUSALEM. PUPL's LESSON Book Price 10 Cents, $1.00 per Dozen.


|Will & HMS MR. D., A GRAND ORATORIO.
The object of this work is to systemize practice and stimulate the
student to better study. It contains a record of the pupil's work
PUBLISHERS, IMPORTERS AND DEALERS, and assigns a place for Technic, Etudes and Pieces, with the
degrees of merit of their Preparation. The date of each lesson is
also given, and in the back of the little book are four blank forms
171 WEST FOURTH ST., By HUGH A, CLARKE, Mus, Doc. for quarterly reports, which will be found very useful.
Address the Publisher,
CINCINNATI, 0.
Price $2.00, Bound in Boards. THEO. PRESSER,
Finest Editions at Lowest Prices.
Special attention to Teachers' Orders. 17O4 Chestnut Street, Philadelphia, Pa.
The libretto of this Oratorio is taken from the Bible,
A BLANK EXERCISE BOOK and gives, in an epitomized form, the story of the taking FIVE VALUABLE PAMPHLETS:
of Zion by DavidThe prosperity of JerusalemThe The Practical Value of Certain Modern Theories respecting
defection of IsraelThe consequent destruction of the Science of Harmony. By J. C. Fillmore, Author of His:
For the Analytical Study of Musical Compositions, tory of Music," "...": "..." "::" : ........................25 cts.
What Shall we Play, or Musical Education in Home.
city and the king's captivity. Letters to a Lady Friend. By Carl Reinecke. Translated
For Students of Piano, Harmony, The theme now takes up the by John Rehmann,..
promise of restoration Elementary Piano In
Musical Form, etc. under the reign of the promised king-His comingHis Hennes,.......... on or reach'''A'.
Advice to Youn of Pianoforte. A collection of about
rejection-The final desolation of the city-Concluding 60 rules for beginners. By Albert W. Borst, .............. ...1
By L. R. CHURCH, Method of Study. (For Amateurs.) By C. A. Macirore
ORE with the promise of the Heavenly City and the descent
(Ri 1208 ANN STREET, PARKERSBURG, WEST VIRGINIA. of the New Jerusalem. The Five sent by Mail for 50 cts.

D.C. The Oratorio is to be produced in April by the Phila Address Publisher,


A POPULAR WORK.
delphia Chorus, with a large chorus and orchestra, and
has already excited widespread interest among musical THEo, PREssen, 1704 chestnut st.,
people as the first work of such magnitude written and
MUSICAL STUDIs AT HOME produced in America.
PHILADELPHIA, PA

A WORK FOR EVERY TEACHER.


MARGARET B. HARVEY. THEODORE PRESSER,
Neatly Bound in Cloth. Price $1.25. PUBLISHER, PIANO TEACHING
SUITABLE FOR PRESENT. 1704 CHESTNUT ST, PHILADELPHIA, PA
FELIX LE COUPPEY,
We have just published
Translated by Mr. A. *::=>s'T.A.--DT.

: PRACTICAL HARMONY;
in music has been neglected, those who have become dis.
couraged by wrong methods of teaching, and those whose
DESIGNED FOR THE USE OF PIANO STUDENTS,
Price 75 Cents, Postpaid.
time and means for self-improvement are limited. Y
DR. F. "arrren. CONTENTs.
THEo. PREssBR, Publisher,
PRICE 75 CENTs IN PAPER: sl.oo in BoARDs I. IntroductionObject of this Book.
1704 CHESTNUT STREET, PHILADELPHIA, PA. II. The at which the Study of Piano may begin.
A work of the greatest importance to students of har III. Should a Musical Education be begun by Study of Solfeggio?
IV. Is Classical to be preferred to Brilliant Music?
mony and the pianoforte. There is no other work of V. The Study of Technic.
EIIEH this kind in our language, and we are sure that it will VI. The Utility of Collections of Etudes-Various Counsels.
VII. The Precautions to be taken When many faults are met with
occupy a distinguished place in our system of musical in Pupils who have studied the Piano for some time.
education. It takes the pupil over the whole ground of VIII. Emulation.
HENRY M I LLER harmony. All the rules are-covered in exercises of the
most varied kind, to be played at the pianoforte. It is a
IX. Musical Memory.
X. Can a Teacher himself prudently give up the Study of the Piano?
XI. Accessory qualities of the Teacher.
good preparation for the art of composition and improvi XII. To Pupils.
sation, calculated to incite the student to musical pro XIII. The Method of Practice.
XIV. The influence of Musical Studies, and the kind of instruction
duction. The work will help greatly to facilitate the * necessary to a Teacher.
o young musician's difficult task regarding the thorough XV. General Remarkslast Counsel.
study of harmony.
THEO. PRESSER, Published by THEO. PREssER,
PUBLISHER, 1704 Chestnut Street, Philadelphia, Pa.
HENRY F. WIFE & SONS 1704 Chestnut Street.
NEAT AND SUBSTANTIAL

PIANO COMPANY., DACTYLION. *# MUSIC < EOILIOs.4.


BOSTON. PHILADELPHIA. FOR PIANO STUDENTS. OUR OWN MAKE.
A new invention of great practical value and real benefit to the Piano
Player. Price 75 Cents, $6.00 per dozen, by Express.
This folio is without spring back or ornamental work. It is a simple
Manufactory, Wakefield, Mass. folio in cloth, with three strings to tie the open ends.

Addre" THEO. PREssert, Phila., Pa.


JUST OUT.
AN IMPORTANT WORK.
THE SCRATCH CLUB,
** *UGII A. CLARKE, Mus. Doc.
PROFESSOR OF MUSIC IN THE UNIVERSITY OF PENNSYLVANIA,
Author of The Art of Pianoforte Playing, Harmony on the Inductive
finil fu (Hilbersian Qusir. VOL. II.
AMethod, Music to Zhe A charnians, Jerusalem.
(a new Oratorio), etc., cle.
BY W. S. B. MATHEWS.
"It is a little book which will interest and please musicians and PRICE $1.5O.
*ursby its chatty common sense and suggestiveness. Evidently,
it is the work of a man who knows his art well enough to handle it
without 'Weening solemnity.Boston Literary World. Musical Miscellanies, Historical, Critical,
"One of the cleverest bits of writing concerning music that has To strengthen the fingers. Philosophical and Pedagogic.
ppeared in America. . . . The book is full of
which will xpand the ideas of young readers and gratify those o To improve, the touch. - - -

older ones.Philadelphia Evening Bulletin. To ensure flexibility and rapidity. Among the subjects treated, are Self Culture in Music,
To give correct position of the hand. Bird's-eye View of Musical History, Wagner (3 Chapters),
Price, in Paper Covers, 75 cents. To save time and a vast amount of labor.
*For sale by booksellers, or sent, postpaid, on receipt of price, PRICE $3.50, NET. Theory of Piano Teaching, Psychological relations of
by the publishers, Unqualified endorsement of leading artists and teachers, among whom music, etc., etc.
are S. B. Mills, DR. Louis MAAs, MADAME Rivk-KING, Robert GoLD
BECK, CARLYLE PETERSILEA, etc., etc. Address Publisher,
THE POET-LoRE co., Send for circular giving'
ing detailed
1 information.
THEODORE PRESSER.
223 SOUTH 38th ST., PHILADELPHIA. THEO. PRESSER, Philadelphia.

_*.
52 T EL E E T U D E.
sIECONTID EDITIOINT.
INSTRUCTIVE, INTERESTING and MUSICAL.

Twenty stuples SONATINA ALBUM 1890.


choice saCRED SOLOS, 34 fine songs................
COMPILED BY THE0, PRESSER. cHolcE SACRED SOLOS, for Low Voice, 40 song
FOR
SONG CLASSICS, Soprano and Tenor, 50 songs......
Price . $1.00, Bound in Board Cover. SONG CLASSICS, Low Voice, 47 songs..................

THE PIANOFORTE, TABLE OF CONTENTS.


CLAss1C BARITONE AND BASS SONGS...
CLASS1C TENOR SONGS, 36 songs.....................
CLASSIC VOCAL DUETS, the very best..............
OF MODERATE DIFFICULTY, Introduction............ -------------------------- **************
Kullak. Op. 81. No.3, Grandmother tells a Shuddering Tale
-
EveREST'S ALBUM OF SONGS, good selection
MAUD V. WHITE'S ALBUM, tasteful songs...
Mendelssohn. Op. 72 No. 3, Kinderstcke.... ... 8
For Development of Style, Expression and Schmidt. Op. 14. No. 1, Sonatina.............. .. 10 SULLIVAN'S VOCAL ALBUM, a master's work
Jadassohn. Op. 17. No.3, Children's Dance . 12 POPULAR SONG COLLECTION, 37 good songs.
Technique. Diabelli. Op. 168. No. 3........................ . 15 Good OLD SONGS we used to sing, 115 songs...
Burgmuller. Op. 76. No. 1, Rondiletto... - . 20
INSCRIBED To THE MUSIC TEACHERs of AMERICA. Spindler. Op. 136. No. 1, Sonatina in 4 Hands 24 COLLEGE SONGS, 115,000 sold.........................
ummel. Op. 52. Rondoletto . 34 coLLEGE son GS FOR BANJO; FOR GUITAR, each.........81
- IBY Reyloff. The Fuchsia....................... . 38 RHYMES AND TU NES. Osgood.
Kuhlau. Op. 20. No. 2, Sonatina.. Sweet home music...........$1.
. 42
Steibelt. Turkish Rondo............ . 47
ANTON STRELEZKI, Clementi. Op. 36. No. 1, Sonatina.. . 51 INSTRUMENTAL.
In Op. 100.Volume II. Kjerulf. Scherzi . 54
Greig. Op. 12. No. 7, Album Leaf... . 75 P1ANO CLASSICS, Vol. 1, 44 pieces.........................-

Smith. Babbling Brook.............. . 59 PIANO CLASS1CS, Vol. 2, 31 pieces..........................


THEODORE PRESSER, Lichner. Op. 149 No. 6, Sonatina . 66 CLASSICAL P1ANIST, 42 pieces...........................
Dussek. Plough *#: 72
1704 Chestnut St., Philadelphia, Pa. Lange. Op. 114.
ussek. La Matinee
78
84
POPULAR PIANO COLLECTION, 27 pieces.
POPULAR DANCE MUSIC COLLECTION.
Haydn. Sonatina in 85
YOUNG PEOPLE'S CLASS1CS, 52 easy pieces.
A MEWA BOOK OM A NEW PLAN. Schumann. Nocturne.. . 91
The above are all superior books.
Mendelssohn's Song Wi . 94
Bach. Little Prelude. "No. 6 . 96
Bach. Little Prelude. No. 3 , 98
Schubert. Op. 78. Menuette . 99
(60 cts, $6
Reinecke. Op. 47. No. 2, So
Chopin. Op. 9. No. 2, Nocturne....
.101
..111
EMERSON'S NEW RESPONSES. #:
Quartet and Church Choirs; 74 short pieces of sacred music of the
Address Publisher, best character, such as your choir needs.

M|S| M|S|[S. THEO. PRESSER,


1704 Chestnut Street, Philadelphia, Pa. TEMPERANCE CRUSADE. :
THEEmerson
L. O. and Edwin Moore.
(35 cts, $3.60
elevated poetry
Earnest, refined,
and music, which will be most welcome to the best classes of
temperance workers.
=::= TEACHIEES.
By W. F. GATES. SONG HARMONY. '######:
ou for this winter's Singing Classes. Also an appropriate and good
Price One Dollar and Fifty Cents. P0CKET METRONOME. k for High Schools. -

Adopt, without fear, for Graded Schools, our


USICAL MOSAICS is a unique book. It is the first book in $|NF|| |||||||I, III || ||[IFENSIVE.
SONG MANUAL, cts.,
the English language that presents the very best sayings on $4.20 doz.; or Book 3, 50cts., $4.80
musical topics, chosen from the highest rank of authors. doz.). Admirably adapted to the different ages of school life, with
The selections are principally in the line of aesthetics and criticisms, plain instructions and best of music.
and range from one line to three pages. Much time and labor has
been spent on the work, and the book-maker has shown much skill Select for practice in your Singing Society one of our noble and
in its general make-up. The idea, in its preparation, was to present beautiful CANTATAS (send for list), or the easy Oratorio,
EMMANUEL ($1), by Trowbridge; or for Fairs and Festivals, the
to the music-loving public just as much of the cream of musical
culiarly nice, pretty and easy DAIRY MAIDS" SUPPER (20 cts,
writings as could be condensed into 300 pages. All useless or value 1.80 doz.), by Lewis: or for the children, Macy's new STRANGE
less matter has been omitted, and as a result we have a volume con
Price, Nickel-plated, 50 Cents, Net, Postpaid. VISITORs, or A MEETING OF THE NAT1ons (30 cts, $3
taining the best sayings and writings of the writers on musical doz.); or the KING Dom of MoTHER Goose (25 cts., $2.28
doz.), by Mrs. Boardman.
topics, in all ages and countries. Giving the correct Metronomic Marks after the
Maelzel Standard, together with the
17O AUTHORS. True Tempos of all the Dances. RICHARDSON'S
600 QUOTATIONS. These instruments have been especially manufactured NEW METHOD
We give below a few of the names of writers from whose works for THE ETUDE, and will be sent as a premium to any one
selection has been made, and the number of quotations from them: sending two subscribers.
Beethoven, 18. Christiani, 15.
ddress FOR THE PIANOFORTE.
Fillmore, 21. Goethe, 11. THEO. PRESSER, From the very day of its publication, it has been a decided success,
Hauptmann, 7. Haweis, 12. selling steadily from year to year, and giving the printer no rest
17O4 Chestnut Street, with its frequent editions. Its total sales to the present time aggre
Hiller, 11. Kullak, 12. gate nearly
Liszt, 12. Mendelssohn, 10. PHILADELPHIA, PA.
Schumann, 60. Wagner, 16. 45O,OOO COPIES :
Weber, 8. Pauer, 5. Recreation and Study are in it admirably combined. The book
Thibaut, 6. Wan Cleve, 7.
Space will allow us to mention but sixteen of the one hundred
NEW HESSONS IN HARMONY,
BY JOHN C. FILLMORE.
has been many times revised, and is the most perfect of instruction
books... It has also had additions. Price, with American fingering,
$3; with foreign fingering, $3.
a: is'''::
is a or musician
ici d non-musicians for pro
and
We know no other work in which a musical student
-

and amateur, for teacher and pupil, for all who or


know anything of music in its highest sphere. It has been warmly can learn so much about harmony in fifty pages of text
indorsed by teachers and artists in this country and England and
will fill a place in our libraries and on our tables that has hereto
fore been vacant.
and examples for exercise.The Nation, New York.
This work is based on the ideas of DR. Hugo RIEMANN,
-

|WEMIM|| ||NSERVNUR ME||


s#& teacher-every studentshould own MUSICAL MO. and has an appendix of his lecture on The Nature of
ICS. Harmony. FOR THE PIANOFORTE,
As a presentation volume it cannot be excelled. A careful perusal (of this) will enable students to see In Three Parts, with American and foreign fingering, each $1.50;
Address all orders to
clearly the drift of modern speculation in music.The complete, $3.
Nation. This fine book secured at once the powerful aid and approval of
the professors and pupils of the great Conservatory for which it was
THEODORE PRESSER, Dr. Riemann, The greatest living musical theorist..--
The Nation.
compiled, and in which it has always been used. Very widely
known and used.
17O4 Chestnut St., Philadelphia, Pa. "T

The best Companion for an Instruction Book is MASON'S


EDWARD BAXTER PERRY'S ON TEACHING AND TEACHING P1AN OFoRTE TEchnics, containing every exercise needed
REFORM. for the full development of technical ability on the pianoforte. By
FANTASY FoR PLANo, William Mason, with explanations by W. S. B. Mathews. Price
TWO LECTURES BY
- DIE, LOERET ET =
BASED UPON THE RHINE LEGEND. Albert R. Parsons and Constantin Sternberg. Amy Book Mailed for Retail Price.
Universally pronounced the best Loreleiyet written, in the old or
":
Melodious ama"
Played in 100 concerts
ll
and descriptive; excellent
study for the 1
the 1.
-

,
and Mr. W. H. Sherwood, since its publication, March 1st, 1888.
Price 25 cents, in Paper Cover.

Address Publisher, THE0. PRESSER,


OLIVER DITSON COMPANY JEOSTOINT
Address THE0. PRESSER,1704 Chestnutst, Philadelphia, Pa.
1704 Chestnut Street, Philadelphia, Pa. C. H. DITSON & Co., LYON & HEALY, J. E. DITS0N & C0.,
867 Broadway, New York. Chicago. 1228 Chestnut St., Phila.
- -

THE ET U D E.
*::=THE:=#.

"---

---
VIRGIL's PRACTICE: CLAVIER
Establishes a
-
-
NEw and SUPERIOR SystEM in the study of the PIANo. -

---
*-i-
-

From Dr. Hans von Bow. * AN ARTIsTic


secured more quickly
TECHNic
by its use than by any other
From Albert Ross Parsons

-: means. Indorsed and in daily use by the greatest


* R TISTS airw/ TEzi GHER S.
---

*-
*- : & ||

V \ |
^
^ |
"T- '' 4.'' ||
|
*I "ounce you a benefactor of humanity, For all purposes of silent practice in point |
# as your instrument would disinfect the atmos- | - of true piano-forte touch and unerring tests of
: phere of unnecessary piano thumping plague. . A SILENT FIANO. technique, the Practice clavier commands my
A.pproved and highly recommended hy -
A means of GREAT EconoMy to learners and -
players. exclusive preference.
-

: HANS VON BULOW. | Saves one-half in time and money. Brings relief Very truly yours,
New York, April 9, 1889. | to over-taxed nerves. For every |
# ARTIST, TEACHER PUP/1. SCH001 and HOME * -2&_2-x, 62.
# The Virgil Eractice Clea, vier Co->
12 EAST SEVENTEENTH ST., NEW YORK.

THE NEW METHOD


- for gaining the necessary technical ability for
*

MODERN+PIANO+PLAYING.
The inadequate results from technical
exercises at the piano is well known to
piano players, and forms the great barrier
#1ng.a proper advancement in piano play
; |. Science, having investigated this sub
ject, has discovered and can explain the
reasons of such uneconomical results, and
m -
can now
and moresupply
directatprocess
a cheapfor
cost, a better
developing
# *THE- '' enlarging the technical dexterity of
the hand.
STUDENTS TECHNICON. It is now used by eminent pianists in
FIR-ICE siz. their teaching
use, and and of
hundreds forteachers
their own personal
testify that
it is invaluable to both themselves and
1.
their
As this new method marks a most important
- - pupils.
reform in technical teaching, all piano
Players should make themselves acquainted with its principles, by reading a
Treatise "pon Technic, and the New Scientific Method for quicker Attain
ment of Artistic Expression in Piano Playing.
SBMT FREE ON APPLICATION T0 |- "N - - "

THE TEACHER'S TECHNICON.


J. BROTHERHOOD, EE ICE S22.5o
No. 6 West 14th St, New York. "**
-
--
T H E E TU D. E.
TWO GREAT MUSICAL WORKS TWO NEW BOOKS.
AT REDUCED PRICEs.

<-- 2.
-
- - MATHEWS' TWENTY LESSONS TO A BEGINNER

""" Choice Classics,


We have in press and shall shortly have ready

Twenty Lessons to a Beginner


CLASSICAL MUS FOR PIANO.
---
-
#
--~
upon the Pianoforte. |

|
No MORE APPROPRIATE PRESENT FOR A Musical A judicious selection from the works of foreign authors By Mr. W. S. B. MATHEws. |
FRIEND CAN BE FOUND. of the highest rank. A glance at the contents will be
sufficient for players of musical discrimination. Printed This work is perhaps the most novel of any of the
Price reduced from $5.50 to $2.50 per vol., from new engraved plates on finest quality music paper. of this very successful writer. The general
POSTPAID, C O N T EN TS: ine of it was foreshadowed in his article upon Ele.
mentary Instruction Books, in the December issue of
AIR DE BALLET............... - .....JADASSOHN
ALBUM LEAF.................................. GRUTZMACHER THE Erube. It combines the following peculiarities:
ALBUM LEAF ................................ BARGIEL
AM MEER...................... -SCHUBERT
- - - - - -
1. EAR TRAINING-From the very first lesson there
instrumental AT EVENING..... -SCHYTTE
BARCAROLE....................................TSCHAIKOWSKY
BONNENUIT........... - NIEMANN
are exercises calculated to awaken ''
educate the per
ceptions of pitch and time relations, of which music as
A collection of Classical Pianoforte Music, by the best CANzon ETTA............................................JENSEN to its form, is composed. The relation of tones to key,
authors. This volume contains 512 pages, sheet Music CANZONETTA..... -- - --- ...................HOLLAENDER chord relations and time are taken up in their simples
CANZONETTA ...... - -- - - - - - - - - - - - - - - -MERREI,
forms, and gradually developed to the complexity suit.
size, printed on fine music paper from engraved plates, HILDHOOD'S FROLIC............................... ...MEYER
NSOLATION.................. - LISZT able to pleasing pieces of the easiest kind, such alone as
elegantly bound in cloth, embossed in gilt. List of con. CRADLE SONG........................................ KJERULF the first quarter can contain. It is believed that the
tents mailed to any address. FIRST MEETING......................................... NICODE
FLEETING TIME.................................... HABERBIER
method o:doing this part of the work will be found not
FLOWER OF SPRING..............................HABERBIER only practicable if carried out according to the directions,
FROLICS, -- - ........-WON WILM but also explained with such clearness and particularity
HAPPINESS ENOUGH.............................. SCHUMANN as to enable the young teacher to apply the system with
HEnzensultedchen.............. HAUSE
- - --

LEICHTES SPIEL.........................................WOLFF out other help than the book itself.


LIED OHNE WORTE............ - HOLZEL,
This volume is the same size and style as the Instru. LOVE SONG............................................ HENSELT
2. TECHNIC AND TOUCH.-The foundation of
mental collection, but contains Vocal Music only. List MELODIE -- - - - -- ................. MOSZkowski ianoforte technic is laid according to the ideas of Dr.
MELODIE.......................... HOLTEN
- - - - - - -voN
ason's system, which not only develops the finger
of contents mailed to any address. No such collection MENUETTO...................... - ....SOHARWENKA
MOMENT MUSICAL............. - - - -SCHARWENKA
ability more rapidly, by far, than any other system, but
of vocal music has ever before been published. MURMURING ZEPHYRS.................... JENSEN) NEMANN also assists in educating certain parts of what might be
NOCTURNE...................... - ...MEYER-HELMUND called the Mental Technic of thinking music, upon
NORWEGIAN SONG............... - .....HOF MANN
ON THE RIVULET................... .....HOF MANN
- - -
which so much depends through the later course of must
Polo NAISE................................. - MERKEL cal study. The Mason exercises in arpeggios and scales
REPENTANCE........................ .. - NICODE are so valuable in this direction that it would be wise
Popular 500. Music Books. ROMANCE.....- ...,RUBINSTEIN
ROMANCE.................. ..........................S.Chunfax. N.
SERENADE,.................................. ......HABERBIER
to use them for practice if they had no value at all as
mechanical developers of finger power and facility, for
One of the best collections of English and
SLUMBER SONG................................. - ...HELLER there is no other method in which this work can be done
Song Bouquet. American ballads and songs with TRAUMEREI.................., -SCHUMANN
WILLAGE MUSICLANS........- voN WILM-
so easily. -

Cheapestfolio of music published. 224 pages, full sheetmusic size. ZUR LAUTE........................................ ...HOF MANN The Lessons to a Beginner show the manner in which

| Parlor Bouquet. instrumental music of different grades of


difficulty, Great favorite, 224 pages, full sheet music size.
Price, in Boards,
Price, in Cloth, -
-

-
-

-
-

-
$1.00
1.50
these exercises should be applied in the beginning of the
course. and in this respect cover new ground.
8. DICTATION AND MEMORIZING-All the
| Song Diamonds. Vocal music of every description, Sure to
pleaseeverybody. Contains selectionsfrom
such authors as Gounod, Molloy, Aide, Claribel, Dolores, etc.
amusements in the first ten lessons are to be dictated to
the pupil and written down from ear, and in no single
instance learned from the notes. This method of "
Prima Donna Album. New and elegant songs by the best cedure takes rather more time, but it results in develop
composers of modern times. Should
grace the library of every singer in the land. ing a manner of playing which is purely musical in its
Album of Sacred Music. choir
* * use in the church
or home circle. Finest
Classic Duos,
-------------------------------
essence, and as such closely related to all the late
growth of the pupil's musical powers. In this respect
the present work marks a wide departure from the mus
collection of music published for young organists and choir leaders,
cular concepts and mechanical concepts which too often
Musical Chatterbox. Nos.1 and 2. These beautiful books constitute the entire mental basis of elementary playing,
are, without doubt, the most popular FOR PIANO AND VIOLIN. and, in fact, often vitiate the work of those who arrogate
collections of medium and easy grade songs and pieces. Each book
contains eight beautiful illustrations, which will delight the young (With extra Violin part in separate binding.) -
to themselves the name of artists. -

follts. Another curious feature


Contains compositions by the best authors, and of value of which very likely of the work, concerning the
Golden Hours. and A collection of instrumental
attractive, and within themusic, brilliant
capacity of there will be differences
pianists of moderate ability. It issure to please you. absolutely unequaled merit. They will be found equally opinion, is the gradual introduction of the staff
acceptable for concert performances or drawing-room rather the method of preceding it with various simple
Classic Bouquet. We cannot too earnestly recommend it, pastime. The separate violin part relieves both per notations, of a tonic soifa pattern, the full staff coming
en lly to young pianists
No such collection has ever,
and students.
re been offered at such a low price. formers of the discomfort of playing from one book. only at the twelfth or thirteenth lesson, and then * *
| gradual evolution from the simpler forms preceding: k
Reed Organ Folio. eat care has been taken to use only Issued in the same careful and costly style as Choice What Mr. Mathews has undertaken to do in this."
such pieces as come within the compass
of a five-octavo organ. Should be on every parlor organ in the land.
Classics. is, first, to give the pupil a start toward musical play.
C O N T ENT st ing; second, to introduce the notation in the true '.
Parlor Dance Folio. Will behalled with delight by private AND ANTE AND MARCH.......................... BEETHOVEN
ANGELS SERENADE...................................... Braga
namely, as the means of expressing concepts ".
dance parties. Contains a choice col
lection of the latest dances, also the German, quadrille calls, etc AVE MARIA.............................. - GOUNOD the pupil already has within himself; and third."
CONFIDENCE..................................... MENDELSSOHN develop a musical touch, and lay a foundation"'
GIPSEY DANCE............................................ ERNST
- One of the finest collections of instru
Piano Treasures. INTERMEZZO............- ..., MENDELSSOHN
which the highest grades of artistic playing *
MEDITATION,........................................ FAUCONIER afterwards be founded without undoing anything
Europe and America, that has ever been issued in this country. MENUETT ..................... --- ..BOCCHERINI The work is distinctly original and American but
b
MENUETTO......................................... ......Gounod there is no single element in it not tested and pro"
Song Treasures, Such authors as Abt, Sullivan, Pinsuli, MENUETTO....... ---MOZART
Burnay, Hatton, Tours, etc., are repre NIGHTSONG............. --- WOGT experience.
sented in its pages, and the best and most popular songs only have NOCTURNE.............................. -MENDELSSOHN
been used. PAVANE, LA..........................................EICH BERG gas-special of FER.
Grand Army War. Songs, assung byisour
to which "Boys
added . in Blue,
selection PIZZICATI (Sylvia)................................. .....DELIBES
PRIERE, LA............................................... ERNST we will send this work to any subscriber ofThe ":
ration Day and other special occasions. The choruses have REVERLE............................................ FAUCONIER who will send us 50 cents in advance of .
#. ' male voices, by Wilson G. Smith. ROMANCE............................................SCHUMANN
ROMANCE.......................................... .....HALEW Y orders recognized unless cash accompanies the *
Any of the above books mailed. postpaid, on receipt of price. ROMANZA................................................ KRAUSE Address Publisher,
SERENADE....... - - - - TITTL
SERENADE......................................... ....SCHUBERT
MUSIC AND B00K CATAL06UES MAILED FREE. SERENA.D.E............. - - - - - - -- - - - HAYDEN
THEoport B. PRESSER.
SERENATA......................... - - - - - - - - - -MOSZROWSKI
1704 chestnut St. Phila, Pa.
SPRINGS AWAKENING......................... BACH
- - -- - - - -

TRAUMERIE,........................... - .SCHUMANN

Price, in Boards, including separate Violin part, $1.00


||| 9 ||NA|'' ''). - - Cloth, - - - - 1.50

145 and 147 Wabash Avenue, Chicago. FOR SALE AT ALL MUSIC STOR.E.S.
|
P/

F9
) #PRIL, 1890.
Cf(O-(Q. S.
- =%
-

-
*== = DE v.

| IN FEESS.
Something New for Piano Students. THE

WILLIAM MASON
UPON
NORMAL COURSE ->O F><---.

|||||||||}|. PIANO TECHNIC. |

We have just published a second edition of this new


work by Dr. WILLIAM MAson, the acknowledged head of
the Musical Profession in America. It is called SCH00LS, TEACHERS and STUDENTS,
l TOUCH AND TECHNIC, By VVM. B. VVAIT,
BY MEANS OF THE TWO-FINGER EXERCISE. Author of Harmonic Notation, (THEO. PREssER,
-
-
~~~ ' BY Phila.), System of 7angible Music for Use of the
==# Will-1AM MASON, Mius. Doc. Blind, Measure, Rhythm, and Form.
Mason's Two-finger Exercise had its origin in the old
days at Weimar-more than thirty years ago. It grew The NorMAL Course is based upon the fundamental
out of a suggestion of Liszt's. Dr. Mason took it up, idea that, for the purpose of the development, discipline
employed it with the happiest results in his own practice and information of the mind, and for teaching the learner
Publisher's Notes............................... and teaching, and in the course of thirty years' experi how to think and to do, Technical studies in Music are as
An Appeal to the Musical Public, C. W. Landon. 5 ence as a teacher he has greatly developed it in various useful as any other branch.
Editorial Notes. .................... *......... 5-1 directions, until it is now
Respect due to the Musical Professon. Constantin FEATURES OF THE BOOK.
7,
*rg------------------------------------
Letters to Teachers. W. S. B. Mathews.. . . . . . . .
New Publications........- - - - - - - - - - - - - - - - - - - 57
5. T#if|t||||S|['It'llit Clear, concise statements of facts and principles.
It deals only with essentials.
KNOWN TO It arranges the materials in grades, by Divisions,
.| Questions & Answers ............................ - 5s
Why should Children Study Music. C. W. Landon ... . PIANOFORTE PEDAGOC 1CS. Courses and Steps. -

* *
It exhibits a distinct mode and order of development.
Purity & Impurity. L. Kohler ................. - -
The course is as clearly laid out as in any other branch
For Pupils.....................................
1.) MASON'S TOUCH AND TECHNIC
A Thought or Two............................
of study. -

A Practical Lesson in Time to Beginners. E. S.


-

is in sheet music form. Sixteen pages. Nine pages are Practice based upon understanding of means as applied
devoted to to ends. -
*........................................
Class organization. C. F. Thompson............ EXPLANATIONS OF TOUCH,
It permits the attention to be given to the hands in
Unbalanced ithythms. W. B. Wait.............
practice, and not to the pages. -

The Two-FINGER EXERCISES, . In schools, it will secure uniformity in the instruction


Concert Program......... *......... ... - - - - - - -
THE MODE 0F PRACTICE, given.
MUSIC. It furnishes the bases for oral recitations and examina
-

POSITIONS AND METHODS OF USING THE


Paradise March. M.J.Messer. Price in sheet form : tions, as in other subjects.
FINGERS AND HANDS, Etc., It is logical, systematic, thorough.
Carmeneita. H. Houseley. -- -

It is a book for use by schools, teachers and students.


Gipsy March, Behr. - - - and five pages contain the Exercises themselves. The
Six Octave Studies. C. A. Preyer. " - explanations are singularly clear; Dr. Mason having PRICE $2.OO, BOUND.
taken the greatest possible pains to guard against the
Z misapprehensions to which students are liable in taking We will make a deduction, as usual, to those ordering
(voc, up exercises so novel and so diversified in their method the work in advance of publication. We will send the
of practice as these. work, post-paid, for only 60 cents to those sending cash
U.S.) curric, n the opinion of many of the best pianists and teachers with order. The work will not be ready for several
Mason's Two-finger Exercises are the most valuable months.
contribution to Pianoforte Pedagogics made
Address the Publisher,
50 per YEAR during the past half-century.
ERICE S1-OO
!* -
THEO. PRESSER,
II Address Publisher, THEO. PRESSER,
1704 Chestnut St., Philadelphia, Pa. 1704:Chestnut St., Phila, Pa,
-

* ...

-T"
11
THE ETUD E.
OMETHINC G. scHIRMER.
TO REMEMBER,
Publisher & Importer, MMH I WHQ || NEW YORK AND LONDON,
MANNS NEW 35 UNION SGRUARE,
ELEMENTARY SCHOOL FOR THE PIANO.
By JEAN MANNs.
Presenting the fundamental principles of music and pi no play
ing practically exemplified in a # systematic
NEW YORK. M|| || || || ||
series of pieces and preparatory mechanical exercises." All knowl
edge of, and proficiency in, the art is based upon a proper under G. SCHIRMER'S EDITION
*: the comprehensive
ples: to present such elementary
strictl Write for Catalogues of Novello's original octavo
materials, in a and , --, -
object of this #" y progressive form, is the OF SONC ALBUM.S.: Edition of Operas, Oratorios, Cantatas, Masses,
|

Price, in Boards, 82.50. Glees, Madrigals, Part Songs, Trios, Duos


ALBUM OF SACRED soNGs. 20 Songs, e. and Songs, Anthems, Church Ser
Soprano or Tenor, and for Mezzo-Soprano or Baritone. Boards,
each, net, $1.50 vices, Chant Books, Hymn
THE MODERN SCHOOL OF PIANOTECHNICs, ARNOUD, J. Books and Psalters.
By A. F. LEJEAL, Songs for Young People; from the French. e. f....net, 1.00
is a practical, systematic and exhaustive work, comprising all the BIZET, GEORGES.
means necessary to acquire a perfect mastery of the instrument. Song Album. e. f. Soprano or Tenor. 2 Wols., each...net, 1.50 THEORETICAL AND PRACTICAL
The same. Mezzo-Soprano or Baritone. 2 Vols., each et, 1.50
Price, in Cloth: Part 1, 82.00; Part 2, 81.50; Part DELIBEs. LEo. INSTRUCTION BOOKS.
|

3, 81.50. Complete, in Boards, 84.00. Song Album. e. f. Soprano or Tenor. 1.50


The same. Mezzo-Soprano or Baritone... 1.50
|ELEGANTLY BOUND B00Ks suiTABLE FOR MUSICAL PRESENTS
GoDARD, BENJAMIN.
RAYMOND'S CABINET ORGAN INSTRUCTOR, Song Album. 20 Songs. e. f 1.50 AND SCH00L PRIZES.
By Louis RAYMOND, The same. Bound in cloth.... et, 250
is a and sensible method for the study of music and how Six Villanelles (Spring Songs). e ..net, 75 Full Scores and Orchestral Parts.
to playthe instrument.andThe elementary part is particularly free GQMINon, CHARLEs.
from hence readily understood. The organ Biondina. A Collection of 12 Songs. e. f.i..................net, 1.00
pieces have been judiciously selected and progressively arranged and GRIEG, EDWARD.
fingered, while, the songs, with accompaniment, will be found Vocal Album. e. g., 4 Vols., each.................. 1.00
specially well adapted. The same. Wols. I and II together, bound in cloth. 2.00
PIANUFURTE AND OTHER INSTRUMENTALMUSI:
Price, in Boards, 81.50. The same. Wols. III and IV together, bound in cloth. 2.00
JENSEN, ADoLF.
Song Album. e. g. Soprano or Tenor. 7 Wols., each, net, 1.00 ORGAN AND REED ORGAN MUSIC.
TIEPKE'S MUSICAL WRITING B00K. The same. Mezzo-Soprano or Alto. 7 Wols., eac 1.00
The same. Bound in cloth. 7 Wols., each......... 1.75
For acquiring a thorough familiarity with musical notations; and KJERULF. HALFDAN.
containing a series of musical examples to be expressed musically Album of Songs. e.g. 2 Wols. each........................net, 1.50 SACRED MUSIC WITH LATIN WORDS,
and written by the student. The success of the first number has RLEIN. BRUNo osCAR.
induced us to issue a continuation of the exercises, which will be Song Album. e. g. Soprano or Tenor. Wol 1.00 ALSO A FULL LINE OF
found in Volume II.
The same. Alto or Bariton 1.00
Price 25 cents each. The same. Soprano or Ten 1.50
The same. Alto or Baritone. 1.50

WM. A. POND & C0.'S MUSICAL SLATE,


LACOME. PAUL. Plli[Atills.'... Elglish, G'FII318|| FEMEl Hill'.
Song Album. e. f. Soprano or Tenor. 2 Wols., each, net, 1.50
Teachers and students will find this Slate an invaluable aid in The same. Mezzo-Soprano or Baritone. 2 Vols, each.....net, 1.50
demonstrating musical examples. Each Slate has a series of staves LASSEN, EDUARD.
ruled with indelible lines, and being made of Silicate is both light Song Album.". gBaritone.
Soprano or Tenor. Vols. I, II, each, net, 1.00
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and convenient. The same. Alto or ...net, 1.00
Price 35 ccnts. The same. Bound in cloth, each..... --- 1.75
The same Vol. iii. Soprano or Alto." EDITED BY DR. STAINER.
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EMERSON'S NEW B00K OF BANJO DUETS. From an old Garden. 6 Songs......................................net, .75 1. The Pianoforte.................. E. Pauer.............# 75
MASSENET. J. 2. The Rudiments of Music ... W. H. Cummings. .40
Being a collection of original compositions, correctly and effect
Song Album. e. f. 2 Vols., each......... 3. The Organ........... . Dr. Stainer .75
ively arranged, and within the capacity of all ordinary players;
Pome dOctobre. A Cycle of Songs. 4. The Harmonium . King Hall.. .75
while another important feature is that the whole of them MEYER-HEL
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Price 50 cents. The same. Mezzo-Soprano or Baritone. 2 Wols., each.....net, 1.00 6. Speech in Song .75
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WEITZMAN's MUSICAL THEORY. The same. Bound in cloth, each..
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Fit:0

WOL. VIII. PHILADELPHIA, PA, APRIL. 1890. No. 4.


THE lectures of the late Karl Merz, will be published THE new work by E. M. Sefton, The Teacher's Help
T H E E TU D E. in book form, by his son, Dr. Merz. The work will beand Students' Guide, which we added to our catalogue,
of great importance. None of his lectures have yet been | will prove of untold benefit to the young teacher. See
PHILADELPHIA, PA., APRIL, 1890. published. We will receive subscriptions. Price, $1.50. advertisement for particulars.
THE metronomes, which we offered for $2.90, are ex
A. Monthly Publication for the Teachers and Students of hausted and cannot, for the present, be furnished. We TESTIMONIALS.
Music.
are, however, expecting to import a lot ourselves in June,
SUBscRIPTION RATEs, $1.50 PER YEAR (payable in advance). which will not be delivered until August. All orders Editor of THE ETUDE: KIEL, GERMANY, Feb. 10th, 1890.
Single Copy, 15 cents. received up to June 1st will be filled at $2.80, provided
The courts have decided that all subscribers to newspapers are held I am a subscriber to your ETUDE, in which I take great
responsible until arrearages are paid and their papers are ordered to be money is inclosed with the order. No order will be
discontinued. recognized unless settled for in advance. This offer is interest.
THEODORE PRESSER, 10 cts. better than previous one. The metronome will Having read an article in it on the liberation of the
1704 Chestnut Street. PHILADELPHIA, PA. be the Maelzel, with clockwork. If bell-attachment is ring finger, and knowing what special pains you have
desired the price will be $1.25 more, viz., $4.05. taken to consult medical opinion on the subject, I knew
JOHN S. WAN CLEVE,
W. S. B. MATHEWS, EDITOR8.
Every teacher should possess a metronome. It should you would appreciate still another, and no less than the
O

JOHN C. FILLMORE, E. E. AYRES


form a part of the teacher's equipment. Most of the eminent surgeon Prof. von Esmarch's, of whom I asked
Mrs. HELEN. D. TRETBAR.
good editions of classical works have metronomic marks, a written opinion, for the benefit of those who read THE
Managing Editor, THEODORE PRESSER. which are valuable hints regarding the Tempos (Tempi) ETUDE. I cheerfully enclose you his testimony on the
(Entered at Philadelphia Post office as Second-class Matter.) of the different movements. The metronome can be subject.
used for daily practice also. We expect soon to offer I am a pianiste and pupil of Mons. Delaborde, Paris.
some hints on how to use the metronome in technical I am, at present, under the treatment of Prof. von
MUSICAL ITEMS, practice. Esmarch, and may sooner or later undergo the operation
Send in your order as soon as possible, as the offer on the ring finger of the right hand. , Still, in my case,
will be withdrawn after June 1st. The usual price of the he is reluctant to perform it. Should it take place, I
will let you know the result.
[All matter intended for this Department should be addressed to metronome is $4.50, and with attachment $6.50. The
Mrs. HELEN D. TRETBAR, Box 2920, New York City.] advantage of this offer is apparent to all. Wishing THE ETUDE all the possible success it deserves,
as being a most valuable paper and bona fide,
UNFORTUNATELY, the manuscript of the Musical THE Twenty Lessons to a Beginner, by W. S. B.

: Items was lost in the mail. We will print in next issue


a larger number than usual, which will keep our readers
informed of the important current Musical Events,
Mathews, will not be on the market for several months
to come, owing to very important alterations in the ori
ginal manuscript. The work will be one of the most
advanced methods for the piano yet published. Most of
I remain, Yours truly,
NINA WUERTA.
According to the observations of Prof. Forbes, I do
not doubt that a careful severing of the accessory tendons
during March and April. the work is in reading matter, and will be of very great of the ring finger can be of benefit to piano players,
service to every teacher. It starts with the idea of an provided that this simple operation is done by a skillful
artistic education, and deals directly with the pupils of surgeon, after all antiseptic precaution has been taken.
PUBLISHER'S NOTES, musical nature. The offer to send the work for 50 cts. FRIEDRICH voN EsMARCH, M.D.,
# is still open. Many have availed themselves of this offer, Professor of Surgery at the University of Kiel.
: IN this issue, will be found a specimen or two of the which will remain open until next issue. MR. T. PRESSER:
Six-Octave Studies, by Preyer, which will be acceptable THE School of Four-hand Playing, that we have I am in receipt of the first book of the School of Four.
. to a great many teachers. They are somewhat easier recently published, has met with decided success with hand Playing.'... I consider it a great improvement on
than Kullak's studies, and quite effective. the profession. It is a work that will replace many Czerny's Op. 824, which I have used so far, inasmuch as
the present editions of four-hand music, such as Dia the secondo part can be taken by more advanced students.
We have just published a volume of easy four-hand of etc. Book I contains the best that I await the publication of the remaining grades with
music, by Drobegg. They will form a supplement to the belli, Loeschhorn, much interest; I hope they will appear soon.
first book of Four-Hand Playing. The pieces are melo all authors have written for four hands with the upper
I have sold more music since I commenced etting it
dic, quite easy and very pleasing. There are six in all. part on five notes. Books II and III will be more from you than in three or four times the length of time
If you do not deal directly with us, ask your dealer to send advanced, with the difficulties distributed equally in both
to us for a copy. You will be delighted with them. hands. They will not be ready until In the before, for the simple reason that you have sent me
meantime we would urge all our readers to examine music that I could conscientiously give to my students.
BeroRE the end of the season, we hope that the Book I. MR. T. PREsser: . L. RocKABY.
teachers will make one more effort to gain subscribers WE have just published a little work called Harmony
.| from among their pupils. As the season passes, addi Notation, by W. B. Wait (see advertisement elsewhere Please send me six more copies Touch and Technic.
tional inspiration must be sought, and this can be sup. in THE ETUDE). It is intended to be studied along with A duplicate order for any work is prima facie" evi
plied in no case better than with THE ETUDE. It goes piano lessons, and give such information about harmony dence of approval and endorsement. Although I have
without saying, that those pupils who read THE Erude as every piano student should know. Its aim is to for several years used two-finger exercises as a basis of
study better than those who have not this advantage. teach the pupil to think in music. The price is only 50 technical study and cultivation of touch, I feel grateful
We make liberal deductions to all those who will interest cts., with the usual discount to teachers.
to the eminent author for giving to the musical profession
themselves in getting up clubs. Send to us for clubbing these results of his long experience, in such a compact
*tes. A number of sample copies sent free, on appli THE Normal Course of Piano Technic is fairly on form, so convenient and serviceable for students, with
cation, for this purpose. the way with the printer, and we are booking a great explanations so clear that he that runneth may read."
60 cts. (see advertisement on . It will take rank among musical text-books as an
WE must caution our patrons once more about giving many advanced orders atconsider
the State address. Orders are delayed, or sent to wrong the front cover). We this work one of the indispensable work. The typographical neatness and
States constantly. To write simply Oxford, Dover or most important ever published on piano technic. You accuracy are worthy of # commendation.
Mansfield, will not do. Almost every State has a Mans have an opportunity of getting one for price of binding Musical Department, ery truly, -

eld, etc. Please, in ordering, never omit the State and paper. H. L. AINsworth.
address. WE expect to go abroad in the summer, and while Hiawatha Academy.
there will order considerable of musical merchandise for MR. T. PREssex:
b 9"Mr. Mathews will sail for Europe this month, to the coming year. We will make an offer to our patrons I never expect to be without THE Erude while I am
* 9me several months. We may expect an editorial that will be interesting to them in the way of the cheap
espondence from him on musical Europe. While editions of classical work, sheet music, and other musical teaching music, The and would still enjoy reading it if I ever
abroad, he will finish a new work, which will be an merchandise published in Europe. We have issued a stop teaching. knowledge derived from it is inval.
introduction to his
Reinecke, Gurlitt, phrasin
Gade, etc. g studies, selected
edi f
trom able to me. My orders are promptly filled; in fact, I
- *
special circular, which can be had on application, setting would rather deal with your h th
forth all information, price, etc. # One. dealt with, ":
54.
THEEETUD E.
EDITORIAL NOTES, thing whatever, save the exercises and pieces he proposed AN APPEAL TO THE MUSICAL PEOPLE OF
-
to give her. And what do you suppose he gave her the AMERICA IN BEHALF OF THE MUSIC
STEP by step one climbs the heights. Some are born first day? It was Chopin's Ballade No. 2 (beginning in TEACHERS' NATIONAL ASS00IATION OR
F major)! Was there ever anything more absurd 2. He CHESTRAL AND CHORAL 00NCERT FUND,
with more musical talent than others, with higher de
velopment of taste; but the educational processes all gave it simply because he thought it was beautiful and BY CHAS. W. LANDON.

must undergo, who would reach any very high standard. worth learning. How important it is that a teacher
An excellent teacher remarked the other day that there should know exactly how to meet a pupil's needs, and THAT we have in this country many young composers
are three stages in musical education: First, the rhyth make his course of study fit these requirements, whatever of music of great promise is now generally conceded,
and that we have some whose works rank with the best
mic stage. The beginner in music enjoys the dance they may be. of living European composers is maintained by not a few.
forms, the simpler the better, and to him the perfect IT is not enough to hope that the pupil may eventually But we, as a people, have few works in the larger
musical composition is that in which one can easily enjoy his musical studies. It is the inefficient teacher forms of composition, such as Symphonies, Oratorios
follow the accents, with as little diversion as possible by who is forever trying to hold his pupil by saying, after and Concertos, for, unfortunately, composers have not
the necessary means to bring out the works that require
melodic and harmonic changes. Rhythm is the first a while you will find pleasure in your music. This is the expense of an Orchestra or Chorus.
element in music to be seized upon by the mind of the the interminable wail of the fourth-rate teacher, who is But to enable the musical public to enjoy these advan.
beginner. The second stage is the melodic. The student trying to do first-rate work. He is sincerely trying to tages, financial aid must be given, and this desirable end
looks for something in addition to the simple rhythm. elevate his pupils; his purposes are admirable; but he hasInbeen undertaken by the Music Teachers' Association.
Europe, either the city or national governments
In connection with rhythm he desires a simple melody. deserves pity. He is hoping against hope. He is look annually bestow numerous scholarships to talented and
If this melody is harmonized it must be kept simple, ing for a sort of musical millenium, when we shall all industrious students, and they give prizes for composi
The harmony must change as little as possible; other. suddenly become artistic in our tastes. He hopes that tions in larger forms, and also liberally subsidize Theatres
wise the melody will be obscured. The harmony must his discouraged pupils may wake up some fine morning, and Opera Houses. By thus fostering Musical Art,
Europe has given to the world compositions that move
serve to bring out the rhythmical character of the melody. inspired with the love of Schumann and Gade, never the hearts of millions to better impulses and to nobler
The third stage is the harmonic. One begins to observe more to long for the flesh-pots of Egypt. But why not endeavors.
the beauty of certain harmonic relations and progressions. exercise more common sense? Why not leave off sigh Through this stimulus, music has risen to a place
Here is a new world which gradually unfolds wonderful ing and realize something of success all along the way? second to that of no other art, in its refining influence
beauties.
upon our civilization.
Why not have his pupils enthusiastic all along as they The Republican form of government that we have
FROM the above we may obtain a hint as to methods tread the tedious way to perfection in art? A simple in this country does not subsidize art in any of its forms,
waltz well done is better than a Beethoven sonata under therefore we have not developed a National Style or
in teaching. Education is not the process of storing School of Music.
facts, so much as that of growth. Therefore it is silly in the hands of one whose musical intelligence cannot rise But the Music Teachers' National Association, at a few
a teacher to begin with a pupil who has had no musical higher than the waltz. Why not lead him from the of its recent annual meetings, has given a few concerts
advantages, by dragging him through easy selections commonplace waltz to the waltzes of Schubert, pointing of music by American composers. -

That the Association may be able to continue this noble


from Bach and other classical writers, thereby dis out the superior beauties, one by one, until they are com work, it is establishing an Orchestral and Choral Concert
couraging him and driving him away from a study that prehended ? Then lead to other dance forms, classical Fund, from the income of which works in the larger
might be made exceedingly profitable. A pupil comes or otherwise, constantly looking forward to the very best forms of composition by our composers may be given.
to a teacher, having heard nothing better than the works in these forms, but always keeping within reach Although the Music Teachers' National Association
has done much in elevating the standard of our musical
Fisher's Hornpipe. His fingers have been drilled in of the pupil's intelligence. Be sure of one thing, if the life, yet its greatest work has been in bringing to public
that style of music until they have some cunning, and so pupil cannot be interested in his musical studies within notice the music of our national composers.
the unwise teacher thinks that he might as well begin at a few months, at most, either the teacher is at fault, or This is to be one of its special missions in the future,
once with the easier movements of Beethoven; the result the pupil is defective in his musical capabilities. Such and lovers of music owe it to our patriotism and the
good cause of musical art that we heartily sustain the
is failure. Why not teach music as other branches of a pupil should find a better teacher, or abandon his Association in this work.

learning are taught? Why not begin with simple rhyth musical studies at once. The student must be patient, By thus encouraging its orchestral concerts of Ameri:
mical studies and dances, and lead up by very gradual of course, but he must also be interested in his work. can compositions, we shall rapidly develop the most
essential element of our musical life, but without the
and slow degrees to the higher forms? Why not make A FEw words about Faith Education. About nine
aid the Association can give through this fund the cause
use of the sense of rhythm, which so easily develops from out of ten of those who pretend to be very musical, are of American music, especially in its higher forms, must
the first, and build on that. Here is a field for endless worthy of mention by way of illustrating the value of be set back at least a generation. -

study on the part of the teacher. Here is an opportunity faith. They rave about Bach and Beethovenon faith. When we thus help our composers to produce their
for the exhibition of consummate tact. How to make a They adore the Moonlight sonataon faith. Wag. work in a worthy manner, we help the cause of music
more, and ourselves most, in that we shall reap the
course of study progressive; how to reach the true goal ner is the most sublime dramatist of any age they say rewards of their labor. If, in helping the composers, we
help the greater cause of music, let us freely do so; and
without requiring too much faith on the part of the by faith. They are saved by faith. If it were not for
student; how to proceed in such a manner as to insure this credulous spirit, of course, they would be banished subsidy be the first
to artgreat
as a nation thatoffering
free-will has given
froma the
professional
hearts of
intelligence all along on the student's part-these are from exclusive art circles. It is quite a desirable circle its people.
the all-important questions. -
to be in, and so they learn the names of a few composers, he O. and C. C. Fund trustees are S. N. Penfield,
such names as it is worth while to adore, and a few of Chickering Hall, New York, Calixa Lavallee, 156 Tre
IN teaching English literature the wise teacher never their representative works, and they make a sensation in mont street, Boston, and Max Leckner, Indianapolis,
begins with Shakespeare. The primary pupil is given society. This kind of faith has its decided advantages, Ind. All Fund money should be sent to W. H. Dana,
not only the simplest sentences, but the simplest thoughts, both to the believer and to the art world. It gives the Treasurer, Warren, Ohio, who will return a personal
receipt, and one from the above trustees.
even if they are silly. It was no disadvantage to any of believer the air of the dilletante, which is no undesirable There is no uncertain sound in this circular of Mr.
us, that we began our studies in literature with just such air, and it gives the appearance of support to art in gen Chas. W. Landon, the enthusiastic and able Vice-Pres"
classics as Jack and Jill went up the hill, and Old eral. We could not afford to dispense with these art
Mother Goose, etc. For these were, in fact, our early worshippers. They are useful. But on the other hand dent of the M. T. N.A. for the great State of New
York, also President of the New York State Associatio"
lessons in English literature. It is true, there are some they do bring contempt on real, genuine enthusiasm. Their circular should be read carefully and thoughtfully
who still revere the good old days, when we had only What musician has not often been chilled into indiffer by every member of the M. T. N.A., and by every mus"
two books in the home, Shakespeare, and the Bible.
ence by the affected enthusiasm of the superficial pre loving citizen of our Republic. To the artist, compo"
Nevertheless, there are many most excellent literary men tender. Real enthusiasm, growing out of profound and teacher it speaks a sentiment that should encour*
who were actually brought up on the Mother Goose diet; acquaintance with the art-work under consideration, and them to put forth their highest and greatest effort*"
and those men love Shakespeare none the less for having based on genuine susceptibility to all that is truly beauti. the listener an enjoyment that can only be reached
heard nothing about him in their infancy. So it ought ful, is always charming. Real, intelligent enthusiasm is through the influence of the most artistic efforts.
-*
to be in musical education. Begin with Yankee Doodle, itself beautiful. But the affected enthusiasm of the
if necessary, only be sure of beginning somewhere in would-be dilletante is monstrous. There is no other WANTE!' a lady who has studied for years :
reach of the pupil's capabilities, mental as well as word for itmonstrous. It is like an east wind in New Dr. William Mason, and has a thorough *:
edge of his system, a position in Summer School. *
physical. England; it not only lowers the temperature; it posi experience in teaching. Address
MUSICIAN, k
A cerTAIN teacher, well known now in the musical tively spoils the temper. One feels like snatching the Care of Schirmer & Co., 35 Union Square, New York:
world, recently related to the writer an experience of his volume of Beethoven and dashing out of the room,
early life. He had high ideals, and he determined to never, nevermore to return. ANTED.A position, any time between no"
next Fall, as teacher of Piano, Singing or H
:
have his pupils grasp them at a single leap. He had a -

pupil of eleven years who had acquired considerable mony and Counterpoint. Have studied many #'
The physician who heals diseases, and alleviates the the following great masters: Miss Cecelia o
skill, by dint of perseverance in the practice of the most anguish of the body certainly merits a more conspicuous Baetens, Prof. Rudolphson, of the Cincinnati College P.
commonplace dance tunes. This little girl had talent, and and honorable place; but the musician who eminently Music; Wm. H. Sherwood, Dr. Louis M'o ood
soothes our sorrows and innocently diverts the mind in Chelius, S. A. Emory,c:
J. K.e
Paine, Geo. L. ''
it was a shame, he said, to allow her to continue a moment health, renders his memory deservedly dear to the grate and others, of Boston. address Wm.
longer in the company of such barbarous composers. ful and refined part of mankind in every civilized nation. Sherwood, 63 18th St. 1cago, 111. ..
So when she came to him, he forbade her playing any Dr. Bergh, 3 orvis E. Woodstock, Ohio.
T EI E E T U T) E. 55
~
RESPECT DUE TO THE MUSICAL time; not to speak of the fact that a physician's charges in all classesthere is a black sheep in most every flock.
PROFESSION. It would be utterly unreasonable, however, to require all
#I: are not uniformif he exerts himself (in an operation,
etc.) he charges more, whereas our very best efforts are the many honest men to renounce a legitimate perquisite,
JCIAT', BY CONSTANTIN STERNBERG. generally the least appreciatedat best no more appre on account of a few abuses; where the line of legitimacy
M}}!: ciated than if we confine ourselves to our mere legal is to be drawn, is a difficult question, which everybody
MR. J. C. FILLMoRE's excellent article in the January duties. It won't do to say, that this selecting work must answer to himself, before his own honor and con
ETUDE has surely found an echo in the heart of every forms a part of those duties for the discharge of which science, but a rule cannot be laid down for it, no matter
young & true gentleman, in the profession as well as outside of it; we are generously remunerated(happy Mr. H. H. how well meaning it may be. There will always be some
what he said was wise, timely and well-measured in its Haas ! I'm sure I do not suffer with being overpaid, al matters which must be decided by every one for himself,
* wis terms. This latter quality especially characterized the though anch io son pittore)that wont do at all! I and this truth gives me the opportunity for a final remark.
ined by:
rks in '' re paper, as expressive of the feelings of a veritable gentle. know, there are plenty of books facilitating the selection Having shown that sheet-music and piano commissions,
homia, he man and, as with all he writes, it has, no doubt, met of a good course of studies and pieces, but then-every if justified by circumstances (as in the majority of cases),
mposers her with the unexceptional endorsement of all who read it. experienced teacher will admit that these books are one have nothing to do with the social status of our profes
wristia:
8,
The February issue, however, brought a supplement, sided, either favoring a particular publisher or composer sion, I am naturally led to look for another motive
as it were, from the pen of Mr. H. H. Haas, which not or ring. There is no more to be derived from such prompting such an absurd idea, and it occurs to me
*jo, hair
this kings only missed its mark, but may also endanger the good books, than-at bestsuggestions, which require, after (though I may be mistaken) that some among our fra
she's Assis results to be expected from Mr. Fillmore's paper, inas all, a pretty close examination; no, there is no course as ternity may be aching for admission among the 4OO!
onal ms much as it, too unrestrained in its terminology, over good as the one especially selected for each pupil anew; Yearning for recognition as society-men, eh? Well,
ps total:As . shoots its aim and clearly evinces a hyper-idealistic state if there was, what would become of all the novelties?
rites : chacun son gout! As for myself-(and should I really
subsidi's of mind on the part of its author. Hyper-idealism may What would become of the best among them, if the be alone in this view?)I am content with the respect
ring Musik be easier forgiven in a musician than any other ism, but teacher would not spend hours and hours examining people pay me for my own sake, as a good citizen and
*tions twin it is nevertheless a fault, and perhaps the very one which them. He does not do this for his own musical advance
ses anium:
reliable character, not because I am a musician; indeed,
gave rise to the only too popular adage: Musicians are ment; he knows his old masters, his classics, his roman I prize those among my acquaintances highest who asso
nsen to 1: cranks! To this supplementary paper I beg to offer ticists, and the desserts for his musical table are amply ciate with me without an eye to the customary free
refining the my humble objections, most politely and most em. provided by the programs of travelling artists. He does music, and if every musician would command the
phatically | it for his pupils and in order to stimulate his own interest respect of his surroundings (as most of them do) by an
lent that its I may say that Mr. H. H. Haas deserves credit for the in his pupils' work by an occasional novelty; toujours upright life, domestic happiness, honest teaching, broad
in any's sentiments he expresses; no doubt, the rules he laid perdrix does not agree with the best amongst us!! or education, polished manners and a kindly disposition
Nations :
down are very good in his case, but other teachers are does it? toward his fellow-menwhen every musician will be res.
sociations: situated differently, and it is, to say the least, inconsider. And in the evening, when the minister, the lawyer. pected individually and as a citizen, then our profession
iven a ate to use strong and offensive terms in denouncing a the merchant, the artist, even the humblest laborer, can claim to be respected as such, not before !
continue: system which is in the majority of cases justified by cir enjoys a quiet walk in open air or a pleasant chat on the At any rate, it is a queer fancy to require the public
and Ch's cumstances. I am satisfied that Mr. H. H. Haas, when porch, resting after a day's good workthe music teacher to respect a profession for its own sake; no other
orks in #: acquainted with some of the various situations of teachers, rushes down to the music store or shuts himself up in profession demands it. A clergyman is perhaps the only
ers may be: will refrain in future from condemning the business his studio, to wade through stacks of new music, good one, who is respected, as it were, on creditand he
stional last
methods of a large body of estimable men, by imploring and bad, finding here and there something that will be has to live up to his preaching or else there is consider
lard of was
bringing?". them to be gentlemen. suitable to this, that, or the other pupil; and thenwhen able trouble in Jerusalem.
Ts. To begin with the niggardly half-hour lesson, I beg the pupil gets the piece, he lets the teacher wait eight A musician cannot claim more regard from the general
: in: to say that the half-hour system has nothing to do with months for his outlay, or he skips (and such things public than anybody else, unless he has a great reputa
atriotism **
: #2 niggardliness; it is simply one of the established systems, have happened and happen still!) or he forgets it (its tion and the man in him equals his artistic worth; the
and productive of just as good results as any other. such a trifle, you know"), or the teacher forgets to put simplest music teacher, however, can compel his sur
conceri's People who engage a half hour and pay for a half hour, it downat the end of a season the teacher is out of roundings to respect him individually, and if there
develop te: expect no more than a half-hour, and I prefer this about sixty to eighty hours of tedious work and $15 to should be some silly society-belle or boarding house
', but 't system, for very good reasons. It is better to see a pupil $20 cash, but he isaccording to Mr. H. H. Haasa dude sneering at that music teacherdear me, can
is " twice a week for a half-hour than only once for a whole
higher" gentleman! No, no, he is simply a fool, of the species that disturb anybody? Do we not respect ourselves
hour; it is less difficult to keep a pupils (especially a Don Quixote! That is indeed a sickly gentility, which higher than those things? To think, how some of
5 to p:* young pupil's) undivided attention for a half than for a must renounce every legitimate business principle in ordel them live-it is a perfect wonderwithout learning,
he tas: whole hour, and as to two whole hours per week, it is without character, without brains, without blood,
we shal ** to be recognized.
not everybody who can afford the expense. I come to the porter's tip, or the secrecy of the sometimes even without money; shall men of a lofty
Now to the sheet music question. calling, of a noble profession like ours, crave their con
proceeding.
The ten or twelve large cities in this country where As far as I am personally concerned, I make no secret descendent familiarity? No, indeed; these mostly ill
any piece of music can be obtained at a moment's notice,
of my discounts, and my pupils willingly grant me the bred people with their loud dresses, these supes in the
contain but a small minority of the music teachers of the
trifling profit, most of which is consumed by postage drama of life who serve only as a frame for the think
country, and just by way of a casual remark I may axi
soiled or torn copies, losses, etc.-nor have I ever ex ing few-ah, I would net miss them for anything, but
omize that the size of a city is not always a correct cri
terion for the ability of the teacher that dwelleth there perienced a lack of personal regard as a gentleman ol I love them from a-self-imposed-distance, and shall
in ; Karl Klauser and after him Boekelman teaches in their part. A pupil coming here, say from New York. never allow myself to forego any legitimate financial
informs me: I have always bought my music at hall benefit for the sake of their recognition of equality.
Farmington Conn., J. H. Howe in Greencastle, Merz Well-bred people, whether in society or not, always
(alas! that I have to say: the late Merz) in Wooster and price.
so forth-and I too was born in Arcadia. Very wellI lend you this copy; get me a new one. acknowledge the superior endowments of a musician and
After three weeks (and more) the pupil brings the new never fail to be lenient with his little shortcomings.
The music dealer in a smaller town cannot very well -

copy, in a poor edition, plus mark-fingering, etc., and


consider that small minority who buy good music, and if
says: I see now, that I should have lost six lessons THE RING-FINGER,
he can, he will not (for some unaccountable reason), and
while waiting for the copy, besides I did not get what I
even if he should be willing, he would not exactly know We have received the following communication, which
wantedI understand now that you have to charge full
how; so the teacher is obliged to keep a small stock,
worth from three to five hundred dollars, on hand. This price and I pay it cheerfully-glad of the accommodation will explain itself. *
Having several engagements in New York to operate
is money, not sentiment; and with all due consideration you provide. on the accessory slips of tendons of the ring. nger,
for the ideal side of a music teacher's callingthis is The overwhelming majority of music teachers are thereby giving perfect freedom, higher lift, increased
strength, and greater stretch of hand, I shali leave San
money which must bring interest, and it would be foolish similarly situated, but what in the world has this to do Francisco about June 1st. The operation is perfectly
to think that teacher less gentlemanly, because he is sin. with their social standing ? painless and scarless. The hand can be used the day
cere enough to invest this money in his own business, The piano commission question admits of a very simi following: as usual. Price of operation on both hands
instead of going into real-estate, or oil (both of lar reply. If a person requests me to aid in the selection $25.00. I have most successfully operated on 312; in no
case has there been even the slightest dissatisfaction.
which I do, by the way, through the kindness of my good of a piano, if I give this person the benefit of my know For testimonials from the late Dr. Louis Maas, Madam
friends, who nevertheless profess to take me for a gentle ledge on the subject, of my experience, of my time, if I Camilla Urso, Signor Martinez, pianist to Camiila Urso.
man). It is however not money alone the teacher in take upon my conscience a moral responsibilityI must and Miss M. Schoots of the New England Conservatory,
vests in his stock, he also devotes a vast amount of time, be remunerated; he who lives for the altar, must live Boston, see THE ETUDE, a Musical of Philadel:
phia, October, 1888, December, 1888 and January, 1886.
judgment, deliberationin short, a great deal of work to from the altar. Of course, there is a great deal of abuse Should you desire to have the operation performed
its selection. It won't do to compare this with a physi carried on in this field; there are so-called teachers who, during my visit East, please communicate with me, as
cian's prescription, for if the physician would have to go hearing of a nearly completed sale, threaten the dealer my time will be limited to two weeks. *

to the pharmacy every time he needs a medicine, he with talking the party out of it, and so forthwell Respectfully,
would most assuredly charge the patient with the loss of this is simply blackmail, outrage, robbery! as it occurs ... S. Bon ELLI,
1358 Market St., San Francisco, Cal.
# (,
56 T EI E E T U D E.
LETTERS TO TEACHERS, in this system, the training in rhythm, and the general 5. I should play it the tones successively from the low
preparation it lays for musical taste by educating the F upwards, counting with the last tone, but making the
BY W. S. B. MATHEWS. habits of observing music (i.e., the habit of listening to entire chord within an almost imperceptibly small inter.
it with care) are of very great value, and much better val of time, so that the low notes would have as little as
THE questions which have reached me this month are than anything we have here not directly derived from the possible the character of anticipation. To permit a pupil
mostly short, but they are perhaps not the less important. tonic Sol-Fa teachers. The notation, moreover, is of to count with the first tone of such a chord is generally to
1. Will you please tell me what the Tonic Sol-Fa very great value in the earlier stages, on account of its postpone the melody tone too long, and especially to
system is? extreme simplicity, and its consequently small demands divert attention from it. When the pupil has delivered
2. What is its advantage over others? upon the untrained attention. It is also useful directly,
3. What is the best book for beginners in that system? the count in his mind, he considers himself practically
L. A. H. as a means of expressing tonic effects in a general way, to have finished the duty of the beat; in this case, how
1. The Tonic Sol-Fa is explained at considerable
i.e., not restricted to a single key. The Chord of Do ever, the most important note of all, the melody, is still
is a certain distinct thing in music, as also is the Chord to come. In order to avoid this forgetfulness, I require
length, and I think with reasonable clearness, in the
second volume of How to Understand Music. In
of Sol, Chord of Fa, etc. The terms Chord of C, counting with the melody. I do not say it is the only right
A, G, or any other absolute pitch, do not corres way.
short, the system consists mainly of a method of intro As to the general question whether the hands should
pond.
ducing pupils to the fundamental musical percepts and commence together or successively in arpeggio chords,
2. Hence, the advantage of the system over others is
concepts; and second, a simple notation adapted for it does not so much matter, as it does at what point the
in its simplicity and truth.
use during the early stages, when it is not desirable to 3. Probably the Standard Course is best. Send to count is made. -

encumber the mind with too many new things. The In general, the main thing of a chord and melody com.
Mr. Theo. Presser for price list.
name Tonic Sol-Fa means that the sol-fa is applied bined is the melody tone. The accompaniment needs to
with reference to the tonic. This is to distinguish it Will you kindly explain in your column of Questions
and Answers the mental process by which transposing is go with it in proper subjection. If the arpeggio were
from the fixed do" system, calling C always do, even done? A SUBSCRIBER. played very rapidly, it would be difficult to tell by ear
in the key of D, A, D flat, etc. This fixed do system whether the two hands began precisely together or suc
In am not quite sure whether any of us exactly under
was in use in England and on the continent for many cessively, so rapidly must the tones follow each other in
stand the process of transposition in its higher forms.
years, and still is. That brilliant genius, Jean Jacques For example, Mr. W. C. E. Seeboeck, of this city, a pupil these chords. But to permit the left hand to go on and
Rousseau, was one of the first to suggest an easier way of Brahms, accompanist of the Apollo Club, will trans complete its chord after the melody tone has been heard,
of leading students to a perception of tonality, and pro pose such accompaniments as those in Rubinstein's as one often hears badly taught players do, is atrocious.
posed a new notation to the French Academy about Tower of Babel into any key requested by the direc It does make a difference whether the count begins with
1755. His proposition was killed in the academy mainly tor, apparently without the slightest difficulty. They run the first tone or takes place with the last. In the former
by Rameau. His notation consisted of figures upon a along just as easily, apparently, as when played as written. melody comes as a retardation of effect; in the latter the
line, the figures denoting place in key. The notation of One process of transposition, by which I mean playing chord sounds like a preliminary to the melody. Both
the tonic sol-fa consists of the initials of the sol-fa names, are legitimate effects, and both are wanted at times; it
music in a different key to that from which one is reading
d for do, r for re, m for me. They are placed upon the the notes, consists in translating the notes into Sol-Fa is rather difficult to determine exactly which the com
same level. Notes belonging to a higher octave have a names. poser may have intended in any particular instance. My
A musician can play the chord of Do, chord of
little stroke at the top, r'; those belonging to a lower Fa, etc., in one key just as easily as another; teaching in regard to the hands successively corresponds
but to look
octave have a stroke below, t. Units of time are repre at the chord of C and play the chord of D flat is not with Blow's notes to the first Cramer study, where he
so
sented by equal spaces. Thus, a few measures in triple easy; it requires thought, and when modulations inter requires the simultaneous beginning as an exception.
time might appear thus: vene, and accidentals multiply, one is apt to drop some 6. There is no such thing as a loud pedal. It is a
Key of C. of his smaller stitches. One might play in a different damper pedal. The soft pedal diminishes the volume of
Q 3 s : : m d: ; m s : ; m |d : - . m . key by imagining himself to be reading from a different tone; the damper pedal permits tones to prolong them.
s: f | r : r m: ; |d : - ; clef. The tenor clef, for instance, has C on the third selves after the fingers are taken off the keys. It also
Here the bars indicate the place of the strong pulse; line. This is one degree lower than the G clef, and one promotes blending by permitting the harmonics to sound.
the colons divide the time spaces. The time space oc. might imagine himself to be reading from it, in order to Both pedals are often used together.
cupied only by a dash, indicates that the preceding tone transpose a note lower.
Mr. Wm. L. Tomlins tells me Will you please answer the following questions through
is prolonged through it. If it were a rest, the space that he can play only so fast as he thinks his music, your interesting Monthly? -

would be entirely empty. To put this in some other which he always does tonically, no matter how compli 1. Are Franz Kullak and Deppe alive?
2. How
key it is only necessary to play it higher or lower; the cated it may be; he can play it in one key just as easily as is studying many
both
hours in all do you think a person who
the violin and piano, ought to practice
direction above shows the intended key. ' This notation another, from the same notation. He was a tonic Sol-Fa
a day? - -

is singularly well adapted for mental results in elemen. pupil before studying at the Royal Academy. 3. What grade of music (calling seven the highest) do
tary musical instruction. It does not assist the eye in
you think a person who has studied three on the
1. Where could I obtain old examination papers of piano, and is about 17 years old, ought to play?
the slightest, but if the pupil has an inner sense of ton Amer. College of Musicians (for associateship). 4. Do you think a year abroad in Germany is enough
ality, he can sing from it with absolute certainty. 2. What is the difference between mp, mf, and pf;after studying under the best teachers in the United
The greatest merit of the Tonic Sol-Fa system, or 3. In playing a portamento, or "mild staccato" States?
passage, is it not
correct to use a wrist movement to
movement (for it is an educational movement in Eng. assist the finger in giving the caressing touch 7 1. Franz Kullak and Deppe are still alive.
land) is in the advance they have made towards defining 4. Is not the finger sometimes bent inwards at the 2. Probably four or five. But surely not to the total
the elementary unities of music, and thereby laying a first joint in playing the sliding or caressing omission of other intellectual work. One should "
foundation upon which the higher musical taste can be touch? -

and study other things.


placed; for a taste for Beethoven or Bach, or any other 5. How should the first chord of meas. 48, Chopin's 3. Fourth or fifth.
Nocturne, Op,55, No. 1; be played? As I under.
great master, or all of them, is simply the testimony of stand,
-

from Mr. Mathews' directions, on p. 132, Sept. 4. In regard to study in Europe see a later letter"
the inner musical sense that their works satisfy the ETUDE, all chords with : before them should be played this series.
musical feelings. Wherever there are musical feelings continuously from left to right, even when marked, as Will you please answer these few questions in the
to satisfy, a taste for these works exists as soon as the in this case. I have been taught to play lowest tones in
ETUDE and oblige a subscriber. t
works themselves become known. It is the teacher's chords together, when each is marked with 3. 1. In Bach's "Loure, 11th measure, should the #
work first to awaken these elementary ingredients of 6, Are not the loud and soft pedals frequently beat be accented, owing to the slur. And at period!":
musical intelligence, and to strengthen them, and de used together? SUBSCRIBER. should the first note be accented and the following :
all played soft to the end of the slur, and accent again a
velop them; having done this, he is to induct the pupil 1. Write to Robert Bonner, 60 Williams St., Provi the2. beginning of the
to the works which satisfy the demand for musical en dence, R. I. Inclose stamps. these cres,next slur, and so on?.
marked, should. the '
< are -

joyment thus created. Inasmuch as the newly developed 2. To play with one's natural force of touch, neither be loud after the continuation of the sign, until annull"
intelligence will still be weak, he must go slowly, and be holding-in nor exerting additional force, is to play by another sign? e
sure that each important new work is retained before the 3. Also is it considered an a'om'n' :
-

mezzo. With the utmost force is fortissimo. With can play Silvery Waves, #. Wyman; Mai ''
mind long enough for its beauties to become realized by the least possible force is pianissimo. mp means Prayer, by Bardarzewska: Home Sweet H', y
Thalberg; If I were a Bird, by Henselt, etc. Oll
the pupil. Memorizing is a process well adapted for mezzo-piano, or middling soft; mf, mezzo-forte, or mid
securing this prolonged and detailed study of a master dling loud; pf means piano, then suddenly loud; fp, forte, will favor me very much by answering. ".
work. The result is, if the work has been well chosen, then suddenly soft. The five main degrees of force are 1. The slur does not annul or remove the rhyth"
that the pupil likes and enjoys the music, by the time accent. That takes place exactly the same as if the slur
pp p m f ff. did not run across from one measure to another T:
he has fully learned it.
In this country the fixed do system has never pre 3. There is no harm in using the wrist in the way slur makes a difference with the surrounding tone: per
vailed, and hence many of our elementary teachers think mentioned, if it does not look badly. haps. The first note under a slur is not invariably ac"
that the tonic Sol-Fa system will never be needed in Ame 4. Fingers are often bent inwards in the manner you cented. In fact, it is only in short phrases of two :
rica. Such an opinion, however, is wide of the truth. The describe, but most piano teachers regard it as uncomely, that the slur carries this implication of accent up" :
method of presenting the fundamental percepts of tonality and indicative of weakness. first tone. Even then it does not remove or annul"
T H E E T U D E. 57
~
ite', rhythmic accent; this goes on all the same. Read what and carefully leaves them in true adjustment, the piano will The music of this song, if not specially characae, suc
le, "m: of the sentiment of the words, is at least melodious,
I have written upon that subject in previous ETUDEs, I be satisfied. But its remaining in tune will depend upon
Pithius think within the past few months. Let the playing al the weather, rather than upon its psychic moods. The well written and effective as regards climaxes. It will
liness, doubtless be grateful to the majority of church singers
T0 Pemu, ways define the rhythm. This is fundamental in music. true answer to your question is It all depends. and congregations. Mr. Campbell seems to have a
Expression goes on after the rhythm has been taken 2. It is better to pound the keys rather heavily, the decided gift for pleasing and effective melody, and he is
"dig", care of. It never supersedes rhythm in a rhythmically design being to distribute the new tension evenly through also a musician. His talent lies in the direcs
and , tion of the pleasing rather than of the inspiring, and
regulated piece; recitative is different. the entire length of the strings. Pianos tuned softly would be better employed, from the standpoint of art
"pilisk: 2. The sign cres, generally but not invariably signifies frequently get out of tune as soon as heavily played upon, "criticism, in the treatment of lighter themes than those
imself mis, a prolonged and gradual increase of power. That de through the new tension not having been evenly dis of religious faith and worship. But perhaps these very
**** pends upon the character of the passage. Remember tributed. As soon as the string is made to vibrate vig limitations will make his work more successful in the
hem: popular and commercial sense.
that when a composer has marked expression in his orously, the tension is distributed over the bridges and ' tone, of the above, comments, applies to four
timesis piece, until he is tired and ashamed, he has indicated through the agraffes, around the sharp curves, etc.,
ritis * sacred quartets, one original with Mr. Campbell, Softly
but a small part of the delicate nuances which make up whereby after soft tuning the part between the bridges now the Light of Day," and then arranged by him as
musical expression. These you must add to his indica becomes a little too slack. follows: Mozart-Campbell, Love Divine, all Love
the tukia Excelling; Schubert Campbell, Jesus, Lover of my
tions by your own inner light. His are merely general 3. Probably Berlin, at present. No place in Europe Soul; Jensen-Campbell, Jerusalem, my Happy
arpeg' indications of the direction of his thoughts; you are is better than America, as to quality of education to be Hour. The first selection is the theme of the Mozart
it wing: supposed to be able to complete the circle when he has had there. Sonata, in A; the second, that of one of Schubert's Im
given the radius and a segment of it. 4. It is perhaps a little cheaper, but not much. It promptus, Op. 142. All of them are good music,
landmil: 3. It might be an accomplishment to play the pieces now costs an economical young man about $700 a year adapted to good words, and they will doubtless meet
with popular success. Whether they really express the
panime', you mention; probably would in some places. In New to study piano in Berlin, under a good teacher. deepest sentiment of the words is a much more doubtful
the meg" York, for instance, it would be a very slight claim to As to prestige it is difficult to say. You will find that point. Certainly, they are not at once convincing. The
cult to #3 distinction. Upon this point you can learn more when while you are still young, the question among strangers are published by Clayton F. Summey, Chicago. J. C. F.
-
ly togethern you have the graded list of the American Music Teachers' will be: Where has he been? But as soon as you
lowed: Association, now in preparation by a committee com show that you can do something, it will be What can he NEW MUSIC.
hand to put posed of Dr. Mason, Mr. Arthur Foote, and the writer. do? The prestige, thereafter, depends entirely upon
nehashteis President Parsons is ex officio member of the same. the quality of the doing. THEo. PRESSER, PHILADELPHIA, PA.
sdo, is: Please tell me why some pianos have three pedals. Is 5. I do not know about D'Albert's opinion, but it
there any use for the third 7 L. M. GRADE IV.
countbegan sounds like him. He is a genius who does in an hour
is, Int: The third pedal is called a tone-sustaining pedal. what it takes others days to do. Dr. Mason has often No. 976. La Melancolie, by N. A. Barb, Op.
25..................... * - - - - - - - - - - - - - - - - - - - - - - - -

t; in theires Its office is to sustain the tone sounding at the moment said that if a young man cannot play the piano with four
when it is taken. The common damper-pedal raises all hours a day practice, he could not with forty. But the An excellent composition, of medium difficulty, begin
he m's ning in C minor with an octave melody for the right
anted t; the dampers at once, and affects all tones sounded after latter amount is plainly impossible; it would kill the hand, while the left hand plays a counter melody spring
y with: it is pressed until it is let off. The tone-sustaining pedal landlord. ing across the right. It then passes into E flat major,
ilarinsi" | affects only the tone or chord which is actually sounding 6. Try Wait's Harmonic Notation. and a graceful theme is given with occasional leaps of
the right hand across the left. It is ornamented with a
site, was at the moment of taking it. This, or these, go on while 7. D'Albert is pronounced Dal-bair; Sarasate, Sar variety of scales and arpeggios.
erstnii," new chords are played without being in the slightest de a-sa/-teh, broad a, accent upon third syllable; Ta.
GRADE IV.
same: gree affected by the tone-sustaining pedal. This pedal magno, Tamahn-yo, Carreno, Car-ray"-no, accent upon
is made necessary by the increased singing and sustain the second syllable. No. 957. Stude, by Ad M. Foerster. Op. 27,
idpel' in No. 2 ...................................................... .25
shes them: ing power of modern instruments, which is so great that This study, in G minor, is a treatment of that valuable
stop"'" such pedal uses as were common thirty years ago produce but difficult form of technique known as double-thirds.
NEW PUBLICATIONS,
the keys # unbearable confusion. Its technic, however, has not yet Thirds and sixths, as matters of daily study, are indis
made much headway in the text-books. pensable for every pianist, and the frequency with which
mist" Pianoforte pieces from H. B. Stevens & Co., Boston. they are employed in works of the higher order, makes
Please answer, through The ETUDE, the following REMINIscENCEs of AusABLE CHASM, by Ferdinand their study obligatory. There is also in this tude some
questions. Dewey. effective treatment of staccato.
questig's 1. What is the Embellished Adagio? 1. In the Grove.
2. What is the correct definition of Phrasing? GRADE. W.
3. Romance.
'e? t A SUBSCRIBER. No. 958, "Tarantelle, by Ad. M. Foerster, Op.
4. Blind Mans Buff, Humoresque. 27, No. 3................... .58
ink ap" 1. An Embellished Adagio, probably an adagio with As regards the emotional content of the above remi. ********** * * * * * * * * * * * * * * * * * * * * * *

ought?" more or less ornamentation of melodic embellishments. niscences, in Nos. 1 and 3 the author must have beenThe Tarantelle has a melodious character, is largely
The term is not what druggists call officinali.e. it in a deplorably spoony' state of mind, out of which constructed of triplets and has a number of figures in the
": no satisfaction appears to have come. No. 4 is at least accompaniment, in that form which, to borrow the lan
ree "" isnot sanctioned by authority. It is one of those approxi cheerful and frisky, if not humorous. For the guage of prosody, would be called Iambic, and there is
* - also a beautiful trio in A flat.
mate forms which a writer uses at his own peril (and rest, these pieces are well written and may interest some
man'." that of his readers.) players. As exercises in composition ' are every way GRADE II.
's in # *
2. Phrasing means the Expression of the indi. commendable. But judged from the standpoint of music,
it does not yet appear that the composer had anything No. and951. Scales and Exercises, by Scharfenburg
vidual ideas of a piece. Interpretation goes further to say of permanent or universal interest. Luis................................................... .50
alive,
not "
and places these individual ideas in their proper rank as TRois MoRCEAUx Four PIANO, par Louis Schehlmann, This practice leaf is valuable for its convenience, and
to relative importance, and produces them all in the rate by the exclusive attention which it calls to the melodic
Jn #" Op. 25. minor scale.
of movement indicated or intended. Phrasing implies 1. Barcarolle. GRADE III.
clear perception of the individual ideas of a piece, and 2. Impromptu in B minor. No. 971. On the Heights, by Heinrich Steihl.
sufficient musical feeling to express each one of them as 3. Melody, pathetic.
These three pieces, in harmony, form and thematic Qp. 86, No. 1. Revised and fingered by Albert
it comes. It reaches the bass and the accompanying Benter...................................................... .85
treatment, show the hand of a well-trained musician.
parts just as truly as the melody, for there are ideas all Besides this they are fairly characteristic, as their titles This composition is of very moderate difficulty and
through a piecejust as there is soul all through a suggest, and, without being profound in feeling, are egato : '' : ' a series of chords both
person. Even a little hand gives an impression of soul interesting. They are not difficult to play. and staccato, and a dialogue of melodic f
1c fragments
at times; is it not so? AQUARELLEN. Four little tone pictures, by Gustav Mer.
GRADE W.
kel, Op. 61. Revised and fingered by Junius W.
answer the following questions in the next Hill. No. 968: Nocturne, by Robert Tempest. Op.
1. Will a which is tuned by one tuner, stay in 1. Mariner's Song. A 2,dainty,
No. 2dreamy
..................................................
composition, of a cheerful ch . .85

2. Postillion's Morning Song.


tune longer than another?
ing? Is it necessary to pound the keys heavily while tun
3. Spring Song. constructed for the most part of a
fingers of the # hand with accompan ing sixteenths

4. In the Flower Garden.
ing
Merkel's name is a sufficient guarantee that these
8. Which is the best place to study music (Piano) in, pieces are well written and musician-like. They are all arpeggios. in the same hand, while the left han extended
Germany or Europe? GRADE IV.
4. Is it cheaper and does it give one more prestige bright
than studying at home?
and cheerful in spirit, musical and interesting and
not difficultabout third grade. They will prove valu No. 988. Second Nocturne, by F
5. Is it true that D'Albert recommends two hours per able for teaching purposes. Adams. Op. 24 ............. 50
day as sufficient practice? F. Schubert: IMPROMPTUs, Op. 142, Nos. 2 and 3. A highly interesting composition, which w -

6. Name a good little text book on Theory and rudi.


ments of harmony.
Field: FIFTH- NoctuKNE, in B Flat. Wagner: well up the grade in mechanical difficulty. o:
ALBUM LEAF. with a series of brilliant arpeggios; then comes a broad
:
ive pronunciations of the following: D'Albert, This is an excellent, well-printed edition of these noble melody in the right hand, sustained by chords in
Sarasate, Tamagno and Carreno. G. W.
ianoforte classics. The Impromptus are revised and the left hand in shifting positions. An agitated passage
- 1. It is very doubtful whether a piano knows whether by Liszt, and the other two by Karl Klauser. in the parallel minor key occurs as a digression, then #
first the
it is being tuned by the tuner for whom it once conceived J. B. Campbell: Sacred Song, THE LoRD MY PAs'TURE into theme returns tonic
enharmonic metamorphosed from A flat majo
minor, G sharp, Jor
SHALL PREPARE. with chromatic embellishments. and decorated
an attachment. If a tuner turns the pins to the right point
58
THE E TU D E.
QUES.1. Will you please tell me whose is the best vocal method? ANs.The following rule applies to all the Common Arleggios; it is
Questions and Answers. I studied Garcia's, but have had Bassini's New Method recommended
as better. There may not be much difference. These things are
short and right to the point, and should be taught to every advanced
often governed by the teacher's own peculiar ideas; what suits one pupil. Place the fifth and second fingers on their keys. Now see if
does not suit another. I have never seen Bassini's method, so do the middle key, that you must play, is as near or nearer the fifth
Will you please ahswer in THE ETUDE the following not know his style. I should like to know whose is considered the finger than to the second, if so, it is to be played with the fourth, but
question: best by teachers of experience, and used by them, either of these or
others. I wish to use the best, best in every respect. if nearer the second, it is to be played with the third finger.
Would you advise a pupil of the second grade (scale 2. Will you please give, through THE ETUDE or by letter, a list of C. W. L.
1-10), to practice the scales, or would studies be suffi. suitable pieces for ladies who are taking lessons for their pleasure,
cient? M. i.). not for the sake of becoming experts? I want something that is not QUES.-1. What is the meaning and pronunciation of Kamennoi.
too easy, but easy enough to be readily learned. What course would Ostrow, by Rubinstein
ANs.-I should certainly advise the practice of scales.. you advise me to take with ladies of this class? How much techni 2. I have a pupil that plays well, having taken lessons five years,
cal work would you give them? Would you use an instruction book but knows nothing about the Theory of Music. Can you suggest
If either were to be neglected, I should prefer to neglect or exercises? Are there any suitable exercises for this purpose; or anything better than Lobes Catechism of Music?
A SUBSCRIBER.
the tudes. Indeed, I use very few of the current tech. would it be well simply to drill them on pieces suitable to their
nical tudes in my own teaching. J. C. F. ability, and give them a few technical exercises verbally? How ANs.1. This is a set of 24 pieces published as Op. 10. They are a
much time would you have them devote to the technical work, more
than one hour a day? M. A. P. set of portraits of people that he saw at a Russian watering place
QUES.I was once quite a performer, but had no piano ANs.-1. In regard to vocal methods, I do not care to give an where he spent a summer. He gives a musical description of the
for several years; now I have one. I find that my fingers opinion. Bassini's method I suppose is out of date, not because the impression the faces made on himsombre, gay, matter-of-fact,
are so weak that I can play a scale not more than two or method of using the voice has changed, but because no book can coquettish, etc. Give the Italian sound to all of the letters, except
three times over before my hands are tired out and must give anything more than a very imperfect idea of the method of the w, which is as near the English f as we can get it.
rest. What exercises shall I use? A. E. W. C. 2. Palmer's Primer is far and away ahead of the work that you
using the voice for expressive singing. All the good teachers use
name. See advertising columns. C. W. L.
ANS.Before giving an answer, I will say that people their own exercises, mostly very simple, and add solfeggios by Mar
will be years in making up their mind what is the best chesi or other good teachers, and songs when the pupil is ready for
them. Bassini's method is twenty years old; Garcia's is older, but
QUES.I have never, seen any account of the life of Concone, the
composer of the Vocal Etudes used so universally. M. H. G.

piano, and will worry over it and make it almost an then Garcia was a great vocal scientist. ANs.Giuseppe Concone was born at Turin in 1810. He was a pro
epoch in their lives. Having a piano of superior tone 2. Ladies studying for the purpose you mention have to practice fessor of singing and the pianoforte. He lived about ten years in
and workmanship, they will let it go to ruin in a few more or less according to the other demands upon their time. The Paris, where he gave lessons in both branches of music. After the

short years by neglect and want of good tuning. They method of applying the time has to be varied accordingly. Gener French Revolution of 1846, Concone returned to his native city,
where he died in 1861. Besides the vocal tudes he composed a
ally about half or two-thirds of the time may well enough be spent
like music dearly, but will pinch the silver quarters so upon pieces which will be interesting when they get them learned. valuable series of tudes for the pianoforte, which are melodious
hard that ...the eagles will scream, rather than let one I think that most teachers teach entirely too little at a time. The and well composed. C. W. L.

go for a piece of new music. In answering this question, pupil has not enough variety to practice. A variety of demands QUES.Twenty years # Ascher's Fanfare Militaire, Spindler's
I will suppose that you are in active life, and that time upon the hands keeps the touch more flexible, and freshens up the
musical sense, by giving the pupil new things to think of. I would
Trot du Cavalier; Raff's Polka de La Reine, Gottschalk's Banjo, and
Spanish Music; Bendel's Polkas, and Pauer's La Cascade, were quite
is money, and that if you could bring back your former use Mason's technics for this class of pupils, because these exercises the thing for bright parlor music of the Amateur grade of difficulty,
Are these now all to be shelved? If so, what takes their place of
skill in a short time it would be a boon to you. There accomplish more in a given time, and are generally more interesting an equally bright character? An answer would help out an old
fore, having spent so much money for a piano, now add to practice. Then there should be some little piece of a lyric kind fashioned pianist who would like to play bright parlor music for
friends as occasion requires.
a little to it and get the Student Technicon, and using thelike those in the last part of the first book of Phrasing studies, and
second book; and along with these, also, a good finger-piece to ANs.I should not discard the music of Raff, Gottschalk, or Ben
it will soon bring about your old-time skill; meantime, I improve the execution. Any good parlor piece will answer this del; but if I were to teach a pupil a set of new pieces I would go
would suggest that you practice the music and read the purpose. Such numbers as Wollenhaupt's Whispering Winds, outside of these. For bright music, try De Kontskis La Sultana
letter press of Mathews Phrasing, Vol. I. Many Moszkowski's Waltz in Ab, MacDowell's Witches' Dance, any Walse, and his The Star. Bubbling Spring, by Rive King.
of the selections in this are from Heller, and he wrote good Tarantelle, etc., are the sort of pieces I mean. There are March Fantastic, Op. 31, No. 3, by W. Bargiel. Scherzo froiu
several good pieces by Godard, such as the Gavotte in B major, the Second Symphony, by De Kontski. Novelette, Op. 99, No. 9, by
music, as he said, that had worth without undue techni second Mazurka, etc., which are not at all difficult. I have lately Schumann. Norwegian Bridal Procession, by E. Grieg. Ballet
cal difficulties, or, a fine piece of music need not neces been using several things by Arthur Foote with good effect. Any. Music, Op. 44, No. 4, by G. Hille, Chopin's Valse in G flat, Op.
sarily be technically difficult. See above, answer to thing which takes their fancy. Only have it played well after its Postu. 70, No. 1. Chanson Hongroise, Op. 27, by A. Dupont.
kind. Satellite, by J. Alden, Jr. Valse Arabesque, by Wilson G.
Question 4, of J. T. Heller's Op. 125 and 138 are
Finger exercises, purely, about forty minutes or thirty minutes Smith. La Gazelle," by Theo. Kullak; and Florence Grand Valse
beautiful music, and do not require much technic. The a day. -
Brilliant, Op. 12, by E. Liebling. The above are of about the same
reason your hand becomes fatigued so soon is from hold. QUES.-1. How is a small pocket metronome used in timing music? difficulty as those mentioned in your list, and are fully as bright and
ing it in a strained way. Let it loose, and leave it in W#.hatDodoyou youknow
thinkofofaBrown.
good work on the
Behnke's, training
The Child of boy's voices?
voice? brilliant and in the modern style. C. W. L.

repose; do not hold it tightened up as if you were hold play without a mistake when alone, but are not able to doPupils
3. Can you tell me how to overcome nervousness? can
so before QUES.1. Is there a book that treats of the structure of the hand
ing something that was in danger of getting away. company.
as related to pianoforte playing?
4. Can you give a good plan for daily practice for one who has to2.eleven
is it possible to do satisfactory work with pupils aged from nine
-

C. W. L. years by giving but one or two lessons a week?


studied about four years, and can read well, calculating on an hour 3. I have a new pupil, aged eleven, who has taken lessons most."
and a halfs practice a day ? T. H. M.
QUES.Would playing silently on an organ take the place of prac the time for three years, but is barely able to play Kohler's Op. 157.
tice on the Clavier? M J. C.
Ass.-1. Draw out to the required figure, and let it swing, holding What can I do for a nervous uncertainty in her playing? S.M. P.
ANS.No; except in a very limited degree. It is, of course, pos it by the small ring in end of tape. That is for the mechanical part ANs.1. Yes, and a fine one. Address, J. Brotherhood, inclosing
sible to use the silent organ, just as every organist does, more or of the operation, but the intellectual and rhythmical demands that 30 cts, in stamps, No. 6 West 14th street, New York City.
less, in reading a composition over mentally, at the same time the performer shall count a few measures in time with the swing of 2. With two lessons a week, yes. If with the two lessons a week,
feeling out the keys. But if you mean to ask whether playing the metronome, and apply this rate of tempo to the piece he wishes you could have some advanced pupil, who is studying to make *
silently on an organ will take the place of practice on the Clavier to perform. teacher, be with the pupil and play four hands with him, and super:
for the purpose of learning to play the piano, we answer, by no 2. I know of none better than the one you have named. The intend his practice, seeing that no bad habits were formed, "
means, and for several reasons. voice of a boy needs much the same training as that of the adult giving help where and when needed it would be a most excellent
First, The use to any considerable extent of a dumb key-board, female. But the boy has a liking to noise, and his superabundant plan.
even by artists, is questionable. It must be understood that the Clavier life makes it necessary to put his practice under strong restriction, 3. Evidently a case of poor teaching before you took the pupil. "
is not a dumb key-board. If the auditory sense does not assist in the that he may not injure his voice. think that you will find that this pupil does not read concisely, but
control of the finger movements, a multitude of sins, unawares, is 8. Yes, but it is another thing to do it. However, THE ETUDE sees only a part, half guesses at that, and wholly guesses the
almost sure to steal in. The Clavier should be used almost invari will soon publish an article that treats this important subject in full. remainder. With this there is a hurried and over-fast tempo, "
ably with either the down- or the up-clicks, and at times with both, Meantime, teach the pupil to fully occupy his mind with his piece scrambling rather than playing through the piece. Take pieces that
as they are invaluable in the study of rhythm, time and clearness, and while practicing it, by counting, noticing the Questions and Answers, have a melody in the left hand and that have content in their acco"
above all, for securing true legato and staccato effects. No silent organ Phrasing, and bringing out a climax to each. Fill his mind with the paniment, whose inner parts are of musical significance. Require
nor dummy can give these things, and they are what every one who piece and leave no time for him to think of his audience. slow and exact work on them, on no account passing a mistake. "
would play the piano is striving for. 4. Give one half of an hour to Mason's Two-finger Exercises, the the pupil to feel that a mistake is something serious. Sonatinas and
Second, The touch of the organ is not a piano touch. The touch of D flat and E natural major scales, sometimes one and then the other the easier pieces of the classical writers are the best for this
C.W.
:
the Clavier (particularly those of latest construction) at 2, 3 and 4 and every few days work some of the other major scales, and also
ounces is a piano touch, possessing with mathematical certainty the to the various accents on the chord of the Diminished Seventh-C, QUEswill you give me, through THE ETUDE, a list of pieces that
proper combination of weight, spring and friction that is found in E flat, F sharp, A, and C. I should be learning a new piece and are good for pupils who have studied music about six months: s
pianos of the best makes. The average weight of piano touch of keep up a review on the best of the older pieces. A few minutes a
best makes is from three to four ounces." Granting the fact that in day should be given to reading from Mozart's or Beethoven's Sonatas, ANs.I have been looking for this list for more than twenty ye"
the Clavier, from five to twenty ounces weight of touch, the spring or from Chopin's Mazurkas, or the compositions of Schubert and I have played over cartloads of music to find them. The"
force gradually overbalances more and more the weight force, still, Mendelssohn. C. W. L. that I have seen are some that Mr. Presser has been publishing the
the construction of the instrument is such that to produce the result last year or two. Notice to Publishers:Wanted, a set of pieces"
QUES.-1. How has mathematical temperament in piano tuning book form and not too high in price; pieces that are musical and
demanded, namely, to bring the down-clicks with unerring precision been attempted, and if so, why does it faii?
.2. What is the pronunciation of the following names? Joachim, melodious, that have no reiterated notes, no octaves, no chords in
and evenness, the fingers are forced to act at all weights of touch, Vieuxtemps,
from two to twenty ounces, precisely as at the piano. This gives the Berlioz, Guido, and De Beriot. either hand, and that have pleasing names and that are not too long;
& Besides the "Well Tempered Clavichord how, or under what | pieces that appeal to the fancy and imagination of a child, and *
player absolute finger control, which is the object of all technical title are the works of Bach published? O. D. R.
practice. Great good in the acquisition of strength, endurance, deli. musically good enough to cultivate the taste in the right direction.
cacy, clearness, velocity and accuracy, come from the proper use of ANs.-1. It is impossible to draw wire so perfect that it will not The content of these pieces must be neither too obscure nor "
stretch more in one place than another, and to draw it of exactly plain. C. W. L.
the Clavier. the same temper; hence the impossibility of making a practical use
QUES.Can you tell me some way to make the second joint of the of a mathematical temperament. QUES.1. In giving scales to a beginner is it best to explain at

thumb stay out where it belongs and not curve in as though it were 2. Yo-k-em. Vee-oo-tong (French nasal sound to the g"). once the different forms,-viz, diatonic major, chromatic min'
(harmonic, melodic and mixed)? I have heretofore given only the
double jointed? Ward-Jackson's Gymnastics, with corks, do not
fully overcome the defect. PERPLExITY. Bair-lee-o. Gweed. De Ber-ree-o. harmonic minor. *

3. In the Peters Catalogue, Bach's works for the pianoforte 2. I wish to know what is meant by the end of the school year.
AssThe mail joint of the thumb should curve in so that it is number thirty-one volumes, and for the organ, thirteen books. They which is the time referred to for return of the on sale music"
parallel with the keys and not, as is too common, be so straightened A. M. W.

out that it is in line with the keyboard. This curving in of the end are named Short Preludes, Inventions, Overtures, Fantasias, Varia ANs.1. I think you are wise in not overloading young beginners
joint will cause the second joint to expand outwards, and at the same tions, Sonatas, Concertos, Minuets, Fugues, Arias, and others. with too many things. My own practice is to get the major scale
time give a better position for octave playing: There is a great gain
-
Ques.which do you consider the best method of fingering the familiarized first and then the relative minors in the harmo"
in clearness of octave playing if the end joint is curved in, provided Common Chord and its inversions in Arpeggio movements? Instruc form. The rest can follow as the pupil is able to receive them.
tion books differ on this point, and I would like your opinion.
the hand has span enough for this position. C. W. L. M. C. 2. School year closes usually in June. J. C. F.
- THE ETUDE. 59
~

#1-, QUES.1. How is the Trill to be pla red in different kinds of time? teacher (mother) with an unpleasant voice who should
2. When should a pupil take up Bass"? [For THE ETUDE.]
** 3. How is it possible to get good music when living seventy-five WHY SHOULD CHILDREN STUDY MUSIC 7 teach them all the moral maxims in the world. Mental
Mr. miles from a good music store?
4. When should a pupil begin the study of the Sonata? culture comes chiefly through the eye; moral cult
"
5. I have played for fifteen years but cannot play a rapid scale,
*

BY C. W. LANDON.
through the ear and voice. The culture of the voice and
*** what is the trouble with me? And how can I get over it?
6. What is the correct position of the hand. A. G. 8. the ear, then, is of primary importance.
| 7
ANs.1. Very rapid and perfectly even as to length and strength
EDUCATION brings all the faculties of body and mind If a young man, on leaving home and going into a
of tones. The different kinds of time, as, 2-4, 3-4, or 6-8, have but up to their fullest capabilities and usefulness, and gives strange community, can sing or play well, he at once
tes very little to do with the number of notes to the count. It is a their direction into the keeping of a trained will and gains an entrance into the higher grades of society, and
matter of taste, and is often controlled by the circumstances in which intellect for the efficient accomplishment of either may thus be saved from degrading influences.
it is written. The subject is too great to be fully explained in this
column.
mechanical, intellectual, or artistic work. Music is A song, heard in the street, so touched a good woman's
2. Never, if you use the word in its old and common meaning, God's best gift to man, the only art of heaven given to heart that she made a home for the boy singer in her
where it stands for a system of playing church music by chords. earth, the only art of earth that we take to heaven. But house, and thus saved to the world Luther, whose life's
But the pupil should study Harmony as soon as he has a mind music, like all our gifts, is given us in the germ. It is work was so great that it has been said, no person
mature enough to study advanced arithmetic, provided he under
stands enough ab - music to comprehend the musical terms of the
for us to unfold, develop and cultivate. But what bene lives in Christendom whose life is not different because
book. He should be able to play Heller's Op. 47, or Czernys Velo fit is there in its study? Is it as important as the Luther lived and worked four hundred years ago. The
city, or even the easier pieces of Schumann's Album for the Young branches that are taught in our public schools? We musical accomplishments of a lad attracted and retained
3. Have a package sent on approval. See advertiser's columns and teach children to read, write and cipher, that they may
Publisher's Department.
the powerful friendship of the von Breunings, who took
4. See Feb. number of THE ETUDE, page 46. possess the arts necessary for their several stations in him into their home, and whose refining and elevating
5. Practice on the Technicon to get the stiffness and extra nerv life. influence saved to the world Beethoven, whose life and
ousness out of your hand, and when playing, make the hand remain But why should we teach children music? Whatever works have done as much in the realms of music as
loose and free of nerve tension, letting the fingers be flexible and increases happiness tends to moral elevation; and herein those of Luther in the religious world. A person may
not rigid. Hold the wrist loosely outward, curve the fourth finger,
so the outside of the hand will be high, and make the thumb move we have a strong reason why music should be one of the be well educated, he may have sterling virtues, he may
to its place well in advance of the fingers that are playing. Let the studies pursued by all children. It is well known that be honest and truthful, patriotic, brave, energetic and
arms hang loosely and at rest, and not be stuck out from the body. music in a family is an almost unfailing sign of moral industrious without knowing music; but if he is also well
This subject will receive full treatment in a subsequent number of
and refined tastes. The public schools teach the usual trained in this art he will be a better citizen and a more
The ETUDE.
6. See Mason's Technics, where you will find the hand positions rudiments of an education for the improvement of the valuable member of society because of his refining and
fully illustrated. C. W. L. mind, and parents should have their children taught elevating influences, and his refinements will have a supe
music for the culture of the heart. The emotion aroused rior quality and flavor not possessed otherwise. But there
QUES-1. What notes would you strike together in the 74th meas
ure of List Z's 2d Rhapsodie Hongroise, Royal Edition, and about by inactive listening to music is faint compared with are other than moral reasons why music should be a part
how much time should one consume in executing the entire piece,
ng the three page cadenza given
above?
in the edition referred to that caused by an active participation in producing the of an education. Music has its own disciplinary advan
beautiful result. Immoral character and criminal con tages; it promotes quickness and precision in mental
2. When notes for both hands are put in the same staff, with 8va
mark above, should all be played an octave higher, or the upper duct necessitate the maintenance of courts and jails, the activity, and the study of its principles (often profound,
notes only ?
3. Whenever tr. appears above a note, does it signify merely a most disagreeable and expensive part of civil govern often subtile, and always stimulating the judgment) has
shake. that is, begin on the note above, and end with a turn? ment, and bring on parents those living troubles that are commanded the attention of many men eminent in
4. When a double bar occurs to show that a particular strain is
ended, is one licensed, in vocal music, to take breath over the regu worse than death. Prevention here, as elsewhere, is less science. Moreover, it is an acknowledged fact that the
lar time? L. R. P.
costly than cure. It is well to remember what Luther mind makes its best effort when delighted and enthu
ANs.1. Are you sure you have counted the measure correctly? said about music: The youth must always be accus. siastic in its work. This is the fundamental idea of the
The chord in the 74th measure comes with the C# in the bass. If tomed to this art, for it makes good and virtuous citizens.
you mean the 74th measure of the andante (Lassan), the Royal Edi
kindergarten method. All musicians know that the
tion makes the small notes come in the preceding measure, not in Music is a discipline, a mistress of order and good man. delight of performing a piece often spurs one to the
the 74th. ners. She makes the people milder and gentler, more keenest and acutest perception and thinking.
2. Strictly, both should play an octave higher. But sometimes moral, and more reasonable. The education of the It is too often thought that the time of childhood and
composers are careless in such matters.
3. Not always. Sometimes the trill begins with the principal note,
people is not complete when only the mind has been youth is of but little worth, when, in truth, no period of
especially if it is led up to diatonically. Sometimes tr. indicates trained. Man is a social, not a solitary being; and to life is more valuable; for in childhood are laid the foun
nothing more than a mordent. fit him for healthy association with his kind it is needful dations of whatever we attain in the mental and moral
4. That depends mainly on whether the expression is improved to educate his sympathies and his tastes. The lack of culture of the matured man or woman. Youth is the
by a slight delay or not. Sometimes expression requires an im this social training is often as marked in the scholar as
mediate attack of what follows. J. C. F. sowing and planting time of life, and from it we reap
in the artisan, though, from the greater number of our life's harvest; and, As we sow, so shall we reap."
QUES-1, is the harmonic minor scale ever used in melody? If artisans, the deficiency in them is more commonly Music is the vehicle for, and incentive to, religious
so please cite some compositions in which it may be found.
2. Any information as to the origin of the two minor scales, and observed. For all, the practice of music will be found feeling. -

how they became distinguished as harmonic and melodic, would be


acceptable. -
the most potent agent for the promotion of social pleas As a summary, the study of music especially developes
ANs.-1. In Mendelssohn, I waited for the Lord, you will find a ure and the cultivation of the humane spirit. Music the mathematical faculties, memory, invention, celerity
passage in the harmonic (F) minor. wields a power for good over the heart. The song learned
of thought, accuracy, concise observation, concentration
2. The minor scale was originally without the upward leading note in childhood has a restraining and ennobling influenceof mind, broad mental grasp, the ability to compare and
(Ex: from A up to A with G natural instead of G sharp). The G: over one for life, making him better and happier. Music
analyze, the firmness of will necessary to overcome diffi.
was afterwards inserted to satisfy the feeling for a leading tone on
the seventh of the scale, the upper tone being regarded as the main is a universal art. Nature has given us the human voice,
culties, to surmount a crisis on the instant, and to rise to
point of repose. The melodic" form of the minor scale grew out which is the standard of perfection for all makers of the demands of an occasion. To the above mental may
of the desire to avoid the awkward interval between the sixth and musical instruments. Good music is for most people be added the following emotional qualities: patience,
seventh of the harmonic scales. The whole confused and con
self-control and restraint, well-regulated emotions, refined
fusing treatment of the minor scale grew out of a misunderstanding the highest form of art. Join to your music words
of the Greek musical notation by those who first tried to introduce pleasing and elevating in sentiment, and you are placing feelings, cultured taste, a poetical imagination, acute
the Greek scales into our modern music. The true relation," or performer and listener under the best of influences. No sensibilities, and sensitive moral perceptions.
rather, reciprocal of the C major scale in E under-scale; i.e., one denies the necessity of a good moral training, and While the above truths are undeniable, yet they apply
the scale from E down to E, which gives the same order of steps and
half steps going down that the C major scales does going up. This the world is fast waking up to the fact that music, wedded to the education of boys with double force. Boys espe
was the favorite Greek scale, the Doric, and the Greeks always to good and pure words, is a powerful means to this end. cially need the refining and social influences that come
thought it downward. A minor is simply a perverted modification The words of songs should be good poetry, and should alone from the study of music. From many years of
of it. J. C. F.
be on such subjects as Love of Country, Home-loving. careful observation and experience, I unhesitatingly say,
Qurs-In Beethoven's Sonata: Op. 10. No. 1., are the 28th and
30th measure in the second movement to be played in strict time,
the Golden Rule, etc. Songs containing moral precepts. that it is the boys rather than the girls, if but one can
(can they be?) or ad libitum 2 J. C. F. and songs of the affections generally, will surely develop have it, that should be educated in music. The practice
A*s-These measures certainly ought not to be scrambled or like sentiments in the children who sing them. In no of music necessitates that they be at home during the
played so as to make them sound hurried. Rather than spoil the better way can a code of morals be taught, or the sensi. evenings, to learn the lesson, where all the influenees
Passage in that way, it would be much better to retard considerably bilities and emotions be trained and developed into their are pure, while if on the street, they are in The Devil's
Whether they can be played in strict time depends on how much better and higher uses, than through the instrumentality School. But if musical, they will, when they go out
:* the player has. D'Albert could do it, but might not choose
of song. A sweet, smooth and well-modulated voice im to spend an evening, be found with musical companions
0. J. C. F.
parts to the possessor's conversation in society, at home. and among refining influences. To say nothing of ruined
or in a sick room, a rare and most desirable charm. We lives and broken-hearted parents, more than once have
the
The stimulationare
imagination, andintimately
development of that magic
connected power,
with the ad. all can feel its soothing and persuasive power, and we I seen fathers pay far more money to keep the wayward
know its value in the business and social relations of life: son from the grasp of the Law than a good musical edu
Vincing maturity of the mind and the growing culture
of the disposition. The enthusiasm for everything noble but it is of a still greater worth to the teacher. It has cation would have cost, an outlay that would have saved
and beautiful rests on this basisthat flame which sus. been said that a teacher (mother) with a pleasant voice, the boy to a life of usefulness and to be the joy of his
tains the spiritual as well as the physical life, which expressing high moral quality, will cultivate the moral father's old age. Music is something more than an
raises beyond hundreds of cliffs against which cold cal
culation is dashed to pieces, and fills with a warmth which character of her children by the mere tones of her voice, amusement, or an accomplishment, or a part of a well.
develops mighty forces undreamed ofNina d'Aubigny. without saying a word about morals, more than would a rounded education; it is, many times, A Saving Grace.
6O THE ETU D E.
WORTH REPEATING, and the case could occur that the pupil would be unable the beginning of the study of music. All commence.
to play his or her piece of music without having previ ment is difficult, and this is true not only of the study of
this Department will appear articles that have been in ously played the scales and chords, which certainly are music, but all intellectual effort.
print, but are worthy of a repetition. We will be pleased to receive best played in that key in which the piece and exercise || When we turn our view for the first time upon any
contributions from our readers, from resources outside of the back are written. given object, a hundred other things still retain posses.
numbers of THE ETUDE.] sion of our thoughts. Our imagination and our memory,
As the defective links of a chain, even if singly repaired, to which we must resort for material with which to illus.
PURITY AND IMPURITY. do not repair the chain completely, so any single bar of trate and enliven our new study, accord us their aid un
BY LOUIS KOHLER.
a piece, though slowly and carefully practiced ' thus willinglyindeed, only by compulsion. But if we are
mastered) does not make the '' ay the whole piece vigorous enough ' our course in spite of obstacles,
To practice well, is always conscientiously to play cor properly, unless the bars before an after are joined to every step as we advance will be found easier, the mind
rectly and in a good manner. it, so as not to leave the slightest inequality. So we shall becomes more animated and energetic, the distractions
The bane of playing is impurity, and the word is very find the usual mode of playing a piece a hundred times gradually diminish, the attention is more exclusivel
significant. It designates, musically speaking, audible and more over is only a waste of time. Take that bar concentrated upon its object, the kindred ideas flow wit
uncleanliness. Who would purposely muddy a spring or or bars out which do not go smoothly, practice them care greater freedom and abundance, and afford an easier
soil a picture? Why, then, trouble the intellectual spring fully, and, after having done so, bestow the greatest selection of what is suitable for illustration.
of harmony? As transparent crystal is kept spotless, and pains to join them to the adjacent bars. The difference between a bright pupil and a slow,
as we take pains to secure pure air, so let it be in respect heavy one resolves into mere matter of attention. The
to harmony, the purity of which depends upon correct Pupils often come to their lesson badly prepared, and inattentive do not, necessarily, lack mind. It is more
playing. et seemingly expecting to receive a good and thorough the inability to force the powers of the mind on the sub
Bear in mind, always, the divine origin of harmony, and esson from their teacher. They should remember that ject before it. This power of attention, which is so
honor it by continually preserving its purity, through very little can be done for them if the previous lesson valuable to every student of music, is greatly a matter of

robed.
it to appear, in its sounding reality, cleanly has not been practiced and well acquired. Habitual habit and training. And so the difference between an
neglect becomes a source of embarrassment and torture ordinary mind and the mind of Newton consists princi
At two stages in the study of a piece, it is especially to the teacher. When pupils take lessons they should pally in this: that the one is more continuous attention
important to heed to the maintenance of purity, viz., at show their appreciation of their teacher's worth by than the otherthat a Newton is able, without fatigue,
the beginning of practice, say during the first ten, or industry, application and conscientious study.-Goldbeck. to connect inferences in one long series toward a deter
twenty times that one plays it, and then when the period Some terrible man of figures is guilty of the following minate end; while the man of inferior eapacity is soon
of freedom first begins, and the player gives course statistical revelations in England: obliged to break or let fall the thread which he has be:
to feeling and fiery inspiration. Then, above all times, Recent inquiries into the education of girls have gun to spin. This is, in fact, what Sir Isaac, with equal
must the secretly active conscience perform in stillness, established the following facts with regard to music: modesty and shrewdness, himself admitted. To one
but with severity, the duties of a critical office. The acquirement of music on the part of a young lady who complimented him on his genius, he replied that if
Be as careful to play cleanly as if every mistake left a seems to be the one absorbing responsibility of her school
he had made any discoveries it was 'i' more to
black mark upon the face. If this really was the case, existence. Its study occupies one entire fourth part of patient attention than to any other talent. Like New.
oh how diligently would we wash away every false note the educational year. Upon an average, every school ton, Descartes also arrogated nothing to his intellect;
by repeatedly playing it purely. girl spends 5330 hours on music during her sojourn at what he had accomplished more than other men, he at:
But, are we to be cleanly in corporeal respects only, the seminary, and allowing two hours a day, and forty tributed to the superiority of his method. . Nay, genius
and not in intellectual?
Let pupils who play over their tasks with indifference, six weeks for the school year, the parent has to pay for aitself has been analyzed by the shrewdest observers into
higher capacity of attention. Genius," says Hel
or hurry through them in a trifling manner, reflect upon ten years' instruction in music, and to expend on this
branch of tuition alone a sum not much short of two vetius, is nothing but a continued attention. Ge:
this matter, and let the results be perceptible in their music hundred pounds ($1000). While the young lady receives nius, says Buffon, is only a protracted patience."
lessons.
5520 hours' teaching in music, she devotes 640 to In the exact sciences, at least. says Cuvier, it is
- , - -

By means of so-called accidental impurities in play arithmetic, and about the same time to the other branches the patience of sound intellect, when invincible, which
ing, the chaste sense of hearing first becomes sullied, then of education. In fact music, as to the time engaged truly constitutes genius. And Chesterfield has also
confused, and finally ": such accidents perceptibly upon it, is as thirteen to one with regard to history, observed that the power of applying an attention,
increase in frequency) accustomed to impurity so as geography, astronomy, and arithmetic. steady and undissipated, to a single object, is the sure
perhaps to it to be pure. Further on, the sense mark of superior genius.
becomes steadily more corrupt, and finally obdurate Nothing can be a more silly waste of time than for
toward truthfulness in the sphere of harmony. amateurs to attempt those showy difficulties which are
A mistake proceeding from a want of skill, is only a the best stock-in-trade of too many professional pianists. A THOUGHT OR TWO.
disagreeable accident; but, where mistakes, become They can rarely be successful, and if they do succeed, A child pupil generally likes the music that his teacher
essential and customary, there art is caricatured. the game is not worth the candle, for the end is attained likes. Thus it is most important that the teacher like
The conscious, yet uncorrected mistake is always only at the expense of valuable time which might have the best. It is not always certain, however, that the
wrong; for a mistake remains a mistake, whether others been much better employed. If half the time spent by teacher likes best what he praises most. A teacher may
perceive it or not. A wrong grasp always destroys the young ladies at school in excursions up and down the sing aloud the praises of Bach and Handel, and yet not
'animate existence of a spiritual harmonic tone-and keyboard were occupied in learning something about personally sympathize with them. He knows that he
even when the act is perceived by no one, having taken music as an art, some of us might less reason to should #. them, and so endeavors to instil into his
place, it may be, in the quiet solitude of the player, truth dread the sight of the piano in the house. pupil's head
still lives in the music, and law in the harmony; the
What we want in our homes and social gatherings is teacher, apartafrom
likingconsiderations
for them as of
well. Butcaste
musical unlessand:
rinted page is the bill of indictment and the proof lies not to have the piano kept going like a an theory, really sympathizes with and loves these master"
in the condemning conscience of the player. Let him opposing torrent of conversation, but to have music that he cannot hope by example to inspire love for them;
atone for the wrong on the very spot, at the instant when is worth listening to well played, if people wish for it Forloved.
these masters, to bemake
thoroughly understood,
it occurs, and he will then live in harmony with himself and will listen to it, and not otherwise. be Many would the reply that to beshould
loved
In respect to playing with purity, the chief thing is to In a word, let us have music that springs from the they should first be understood, and to be understood
hear whether one has played wrong at all, and, if so, heart and not from the fingers. Let not expression be they need long and careful study. It is true, however,
where and what the mistake has been. The whether and sacrificed for mere show. that an old master does sometimes appeal first to a pupil'
where may not be difficult to determine; but the what is heart and afterward to his intellect. I know of at le"
often difficult to ascertain; because that which is false and In a judicious practice of playing at sight, one can one such instance. A child who had never heard. Bach,
incorrect is in most instances contrary to reason, and best acquire a faculty of reading well, soonest become nor much old music of any kind, for the first time lis'
as such more or less easily escapes not merely the under skilled in playing, and most surely become possessed of to that glorious old masterpiece for violin, the Cha
standing, but sensuous perception as well, according as a musical character. The main thing is, to strive quickly conne."
the false notes may be few or many in number. It is to get a clear conception of the piece. But, as quickness ness and She wasofoverwhelmed
pathos the piece; itbyseemed
the grandeur.
to her **
like a
advisable, therefore, instead of looking for wrong notes, of apprehension is seldom a natural talent, it being in wonderful poem. She learned then and there to love
to fix the attention exclusively upon the right ones, and most persons only the product of a facility acquired by old Father Bach, and has ever since been faithful to her
to familiarize oneself with the effect which they produce; long practice, the following observations may not be 'first love "if a teacher hopes to instilinto the mind
with a sense of the correct, the conception of the con: superfluous: In order to obtain a quickness of appre of a music-loving child enthusiasm, admiration and love
trary or the incorrect will logically develop of itself; hension, one must not at first endeavor to apprehend the for certain great composers, I believe he will not :
e the hearing should never be suffered to slumber whole at once, but go through the thing gradually: 1. with real success unless those feelings are first fully
while one is playing. Take care that the right is pro As quickly as possible apprehend and analyze the time. realized in his own soul.M. Osgood, in Musical Record.
tected in its rights. Cultivate a love of the right, if only 2. As far guess out the harmony, which can
for the sake of self satisfaction. be done by directing the attention more to the left than
to the right hand. 3. Avoid all precipitation, when Intelligence, not feeling, is the chief requireme" "
the passages are somewhat intricate, and play them, so expression.Christiani.
FOR PUPILS. to speak, according to convenience. 4. Never be afraid however,
It may be
thataccepted
a strongasand
a really
rule, not witho'
creative genius will e 4
Pythagoras says, in order to know anything thoroughly, of doing anything in too imperfect a manner, while you
an unjust critic. And this is natural. To be what he is
y: learn and forget it eight times. endeavor to play on in due succession, but rather fear
not to do it, which happens when one hesitates or stops he must concentrate his powers, look straight before
It is better to practice often than to tire yourself by during the performance. If one only avoids being him.Niecks.
long sitting. A long practice.' ' much to be avoided frightened from his purpose by apparently serious diffi. Experience has proven that the composer is not usually
as a long lesson. Thoroughness is gained by repeated culties in the first commencement, he will always over the finest and most interesting performer of his,"
and persistent application : not by long and exhausting come some of them with every repeated performance, works, especially of his newest, last created, which :
and indeed there is often in that case no further exercise
efforts. d t b highl cannot yet be expected to master from an objective '
system in study cannot be too highly necessary, or, at most, very little. of view. It is more difficult for a man to discover,"
*: : who is unsteady and unsystematic THE PoweR of ATTENTion.In proportion to a pupil's own ideal within his own heart, than in that of
volves round a very limited circle, without progressing power of attention will be the success with which his And should the composer, who needs rest at the col'
. The pupil who is continually missing lessons, labors are rewarded. Inattention has blighted more sion of a work, strive at once to concentrate his
and procrastinating his hours of practice, will soon lose musical educations than the want of talent. Nothing is on its performance, his over fatigue
all grasp on his studies, if he ever had any. so disastrous to a pupil's progress and discouraging to a sight that tries to fix itself on one pointwould #
-

It is also sometimes good to vary the order of practice, teacher as a vague, listless stare that is often found on clouded, if not blind. We have seen examples of this
when composers have wholly misinterpreted their own
and begin with the practice of the piece first, and the pupils when the teacher is endeavoring to instill in their works by such a forced manner of procedure.Schuman"
er parts afterward, lest it should get too mechanical, minds some valuable truth. This inattention is usual at
S - THE E TU D E. 61.
": -

s: [For THE ETUDE.] pupil : '' '. ''


to 1 and for every quarter|28. Teacher. What of a : note do you see on each of
note, and has learned from the circles, or otherwise, that the quarter circles?
'r A PRACTICAL LESSON IN TIME TO two-eighth notes make a quarter note, he will naturally say A quarter note. P:" - - - -

l's BEGINNERS. one for the first eighth note, and and for the second, thus |29. Teacher. How many quarter circles did it take to
s ving each note its full value and playing in strict time. make a half circle? -

*: BY E. S. BONELLI. t seems to me to require more judgment and care than Pupil. Two.
#. ' average # giving to play in time 30. Teacher. Then how man ' :* do you
**
* - It is always advisable in giving first lessons in time to thing
- - - - -
to 2,
when countin to,3,as4. it i
- - -
: ': ote
take to equal a half note -

p'" #" - - -- -

tes: illustrate by objects. Many teachers use fruit. In place gained is particularly noticeable in playing with other |31. Teacher. What do you count to the half note?
*: of fruit I have substituted a set of highly colored paste- instruments. The piano part will often f: several Pupil. One and, two and.
e board cards, consisting of a circle and its fractional |''''''''' of whole notes or rests. By using|32. Teacher. What do you count to the first quarter
irr, hal - - and the pupil is obliged to give each measure its full note?
Inter partshalves, quarters, eighths and sixteenths. time, and so come in at the right moment with the other Pupil. One and.
These cards are more convenient than the fruit, being instruments. 33. Teacher. What do you count to the second quarter
"
#| ||
.
always ready, cleaner to handle, and easier to keep in 1.
place. Furthermore, they accomplish the object better.
- What have you?

pil. I have a circle.


r.
A't
p?t.
- d
Iwo and.
- -

: The bright colors attract the eye and hold the attention 2. What kind of a note do you see on the 84. *#, :* how many quarter *: #
1. of the child. They also distinguish the parts, showing Pupil. A whole note. pil. Two quarter notes equal a half note.
"
*: their relation to each other and to the whole circle, and
thus, unconsciously, a mental picture is formed of the
3. Teacher. What do you count to a whole note?
4 # o:
#. two '', '' and, I # Form half
ln
circles from:
the eighths
h: '' and sixteenths,
and
*:: - - - . I eacher. ake a circle o e two half circles. Circle pursue the 8ame plan. O IlkeWuSe W1 e
#: various circles,the corresponding notes upon them, and Compare these circles. What do you find? eighths. It is absolutely essential that the children do
#:
*
their relative value. If you put the two halves of an
apple together, the whole strikes the eye, but the halves,
Pupil. One is a whole circle. The other is a circle this work themselves. They must handle the parts of
made of two half circles. the circle, putting them together and moving them out
;
*** being of the same color, are not sufficiently prominent. 5. Tea'r: What kind of a note do you see on each from the center of the circle, that they may more readily
is: If you put two half circles togeth bright red, th of these half circles? see the fractional part and value of the same. -

* you pu together, one bright red, the Pupil. A half note. It is needless to say that I do not prescribe all of this
** other bright yellow, the vivid contrast seems to make 6. Teacher. How many half circles did it take to make for one lesson. It should be taken homoeopathically
it. an indelible impression on the mind, and for some time a whole circle 7 small doses, repeated frequently.
":
#*
*
after the child associates the half notes with the bright
half circles upon which he saw them, and remembering
- - -
7

#. T:
Teacher". e
n hohalf notes d
it would take to equal ''. w many half notes
note? do y
you thin
think ----

CLASS ORGANIZATION,
5,?: that these two half circles made one whole circle, recalls Pupil. Two. -

#: the associated idea that two half notes equal a whole | 8. Teacher. What do you count to the first half note? EDITOR of THE ETUDE:
*: note. I have experimented with various things, but Pupil. One and, two and. I have read the communication in the ETUDE for De
#:
.
have found these cards to work better than anything I
have heretofore used. As children l by doing, th
9. #"T' do you count to the second half note? |cember,
Pupil. Three and, four and.
upon Class Organization, and desire to give
it my hearty endorsement. By such means students
lies - ea. As children learn by oing, they | 10. Teacher. Now tell me again how many half notes take a deeper interest in their work than is possible to
; : and not the teacher, must form the circles from the equal a whole note? arouse in them by other methods. I too have something
* halves, quarters, eighths and sixteenths. After which 11 #, T' equal a '' te? to in this line that may be of interest. My
":
if
they must take the half circle, and
-
form the other half
-
Pupil. - you count the whole note
One and, two and, three and, four and.
Students are n - *

#r. circles from the quarters, eighths and sixteenths, and 12. Teacher. How would you count the half notes? of one of our literary societies, and by its ' an
do the same with the quarter circle and the eighth. Pupil. One and, two and, to the first half note; encouraged to hope for many more occasions of similar
The thirty-second and sixty-fourth divisions I omit three and, four and, to the second half note. nature in the future. Let me briefly describe it:
because they are so small, and then again they are 13. Teacher. Make a circle of the four quarter circles. When consulted by the ladies of above society con
- unnecessary, for by the time the children reach those Compare with the whole circle, What do you find?|cerning the feasibility of giving a musicale, I suggested
Pupil. One is a whole circle. The other is a circle my pet scheme, a worthy and scholarly celebration of
*
#:
is .
:*
#:
notes the principle is so thoroughly understood, they can
take them without objects. Children should go through
able to write rapidly the correct counting under each
note, and divide into measures a staff which the teacher
made of four quarter circles.

Pupil. A quarter note.


the life of one of the masters. The ladies were delighted
some part of this drill at every lesson, until they are |*. Teacher. What kind of a note do you see on each with the idea and at once requested me to proceed as I
of these quarter circles? deemed proper. We chose Mendelssohn as our
theme, and then I sketched his life and compositions in
- - - -
|
** fills with the different kind of note: |15. Teacher. How many Quarter circles did it take to systematical groups, assigning to some members subjects
1." be able to write original measures, no two notes being make a whole circle? for essays, to others compositions to be learned and per
* of the same kind. This is a good test of their knowledge Pupil. Four. formed. I aimed to briefly cover all the phases of his -

** of time, and examples should always be given at each 16. Teacher. Then how many quarter notes do you writings that would admit of illustration with the limited
# lesson, increasing in difficulty as the child rogresses. think it would take to equal a whole note? means at hand, one piano and female voices. Thus we
it Upon the introduction of #: dot the '' again refers Pupil. Four. had first a short biographical sketch; then essays upon
#: to the circles, each dot being treated as a silent note of 17. Teacher. What do you count to the first quarter note? Mendelssohn's solo, oratorio, cantata, symphony and
a half the value of the note it follows. Pupil. One and. overture compositions; and each section was illustrated
. he recapitulation at the of the treatment of each | 18. Teacher, What do you count to the second quarter|by instrumenial or vocal selections.
# note given in the illustrative lesson below, may seem note? The auspicious evening arrived., The charming, cozy
: "necessary to some, but it is only through constant Pupil. Two and. - society hall was tastefully decorated, and in front, in view
* Tepetition, objectively illustrated, that these facts can be | *. Teacher. What do you count to the third quarter of the assembly, was the word, Willkommen, fash.
#: intelligently fixed on the minds of children. note? ioned from evergreens. We had purchased one of Mr.
s: Regarding the use of and in counting, I find that it upil. Three and, Presser's beautiful portraits of our beloved Mendelssohn,
th acts as a check upon children, forcing them to give each 20. Teacher. What do you count to the fourth quarter which, with its wreath of evergreens, graced a conspicu
* '* its full value. A young pupil when counting one note? ous position over the piano. The spiritual face of the
#! two, three, four, is very apt to play a whole note at the Pupil. Four and, master appeared in sympathy with the occasion and
-

; : conclusion of an exercise in the time of four eighths; or 21. Teacher. Now tell me again how many quarter notes |never once scowled or looked annoyed. Our programmes,
: 'arter note, especially when preceded by two eighth equal a whole note? from Tiffany, had a phrase from the celebrated violin
: "otes, as though it were an eighth note, etc., etc. If a Pupil. Four quarter notes equal a whole note. concerto engraved upon them. The audience, number
;: * * **** **** 22. Teacher. How would you count the whole note? ing over a hundred, being seated, the evening began.
* Pupil. One and, two and, three and, four and. impression received by the attentive listeners,
* 23. Teacher. How would you count the quarter notes? when the poetic life of this wonderful genius was un
* Pupil. One and to the first quarter note, two and folded to them, and then individual selections, performed,
to the second quarter note, three and to the third after a careful description and history of conception,
re quarter note, four and to the fourth quarter note. composition and production, is indescribable:
*" Form circles of the eighths and sixteenths, and treat . The trio, Lift thine Eyes, was beautifully sung at a
in the same manner, being careful to have the pupil | distance, the singers having retired to another room ;
* count one on the first eighth, and on the second eighth; when the introduction had been read by the essayist, the
'' and in the sixteenths, one on the first sixteenth, and on voices blended in sweet harmony, truly a celestial
# the third, and so on. If you have pupils move out the trio.
#: sixteenths in pairs from the center of the circle, they will | . The following is the programme we gave, which may
readily see that and will come on the third sixteenth, interest the readers of THE ETUDE:=
3. two will come on the fifth, and on the seventh, and so on. Priests' March, from Athalie, Biographical Sketch
r Now take the half circles and treat in the same manner. Essay, Instrumental Compositions (Solo), Song with:
; 24. Teacher. What have you? out words, No. 19, Op. 53; Song without swords.'
d
* 25. Pupil.
Teacher. Half kind of a note do you see on the Duetto."
a circle:
What No. Vocal
Op. 14: Essay, 18, Op. 38; "Rondo
Compositions; Cappriccioso,
Yogal Tri. Lift
| half circle? Thine Eyes, from Elijah, Vocal Trio, : Hear:
t Pupil. A half note. Feel that Love Thee, from Cantata Athalie i. 'Now
* 26. Teacher. What do you count to a half note? May Again,' from First Walpurgis Nighti Essay;
# Pupil. One and, two and, Orchestral Compositions, Symphonies; -

Piano (four ''


to il.'s
27. Teacher.
circles. Make a half circle
halfofcircles.
the twoWhat
quarter
do |from
Essay,Symphony,
f in .COverture
minor, Op.
# Compare these Overtures; ight :
s you find? Dream, Piano (six hands); Overture to an

Pupil. One is a half circle. The other is a half Stranger, Piano (four hands). You'.
circle made of two quarter circles.
62 T T ETUD E.
[For THE ETUDE.] If the group represents less than the regular time, some Mr. Charles V. Barker's Pupils, Lowell, Mass.
of the notes may be increased in value. Thus, eleven Ye Banks and Braes o' Bonnie Doon, Op. 30, Pape;
UNBALANCED RHYTHMS, 32ds against six 16ths. Polonaise Brilliant, Op. 80, Oesten; The Raft (descrip.
--- tive song), Pinsuti; Andante Variazioni, Op. 26, Beet.
BY W.M. B. WAIT. hoven; Martha (Fantasie), Flotow; Dying Poet, Gott.
schalk; Tarantelle Burlesque, Op. 12, Hofer; Oberon
In the course of a piece, measures sometimes occur, (Fantasie), Weber; Tarantelle, Moelling; Dreams, Stre.
the contents of which, in whole or in part, do not agree lezki; Meeting and Parting, La Villa; Willanella, Op.
with the meter. 89, Raff; Souvenir of Trovatore, Hoffman; Romance,
. Thus in two part meter, a measure is regularly divided Op. 28, Schumann; Rhapsodie Hongroise, No. 2, Liszt;
into two, four or eight parts, and if, in such a meter, Overture to Euryanthe hands), Weber.
three notes appear to be played in the time of two of
the same value, it may be said to be unsymmetrical or Judson Institute, Marion, Ala. A. A. Hadley Mus. Dir.
unbalanced, because it does not agree with the ruling Here the first 32d is changed to a 16th. Mozart, Minuet, from E flat Symphony; Kafka,
meter. The second method of reconstructing a group consists Polish Serenade; Kuelling, Ah! Twinkling Star;
These peculiar rhythms, filling either the whole or in dividing it into smaller ones. For example, a group Behr, La Fileuse; Desprey, Lasca (Recitation);
part of a measure, may appear as follows: of five 16ths may be arranged in two groups, one of two Rubinstein, When I See Thee Draw Nigh; Spindler,
Three, five, six, seven notes, etc., against two. 16ths and the other a triplet. Thus:- -
Polka Brillante, Op. 53; Anon, First Steamboat on
Four, five, six, seven, eight, etc., against three. the Mississippi. (Recitation); Kalkbrenner, Polonaise,
Five, six, seven, nine, etc., against four, Op. 55; Trotere, In Old Madrid; Raff, March,
Eight, eleven, etc., against six. EZ'-s-s-s-s-s-
P--Hi---- -

R=== T from Leonore Symphony (four hands).


Seven, nine, ten, etc., against eight. -s- +
The problem presented is to determine the exact point t\}-s-s-s N F- -

Waco Female College, Texas.


of time at which each note of the conflicting rhythms */ ** === Beethoven, Sonata, Op. 13, Grave Allegro; Schubert,
shall enter. This having been done, the player can then Serenade (Vocal); Weber, Polacca Brilliante; Verdi,
execute such passages with intelligence, according to a A group of eleven notes may be divided into a quin. Selections from Traviata (Vocal); Chopin, Walse, Op.
correct standard, and produce the rhythmical contrast tuplet and sextuplet. 34, No. 1; Gounod, Faust, Waltz (Vocal); Liszt, Danse
intended. _
de Gnomes; Rossini, 'Tis Sweet Music that Whispers
There are two methods of treating these cases, the first --"
> (Quartette).
of which is mathematical and strict.
Take for example, three notes against two. In one Mt. Carroll, Ill., Conservatory. Beethoven Recital.
case, each note takes one-half the given time; in the
other, each note takes one-third of the given time. Essay, Beethoven; Op. 28, Andante; Op. 14,
To find the point at which each note enters, the time played. No. 2, Allegro; Op. 2, No. 3, Allegro; Op. 26, An.
must be divided by a common unit of measure, which dante and Rondo; Op. 31, Rondo; Op. 53, Waldstein
neither of the fractions, one-half and one-third, will fur Sonata, Adagio and Rondo.
mish, as they are of different denominations. But the Pupils of Mr. Anthony Stankowitch, Philadelphia.
common denominator of these fractions, viz., six, will
furnish a measure with which the time may be divided The same example may be arranged as a quintuplet Duet, Silhouette, Op. 62, Jensen; Album-Blatt,
and allotted to each note. Dividing the given time into and two triplets. -
Hofmann; Humoreske, Klling; Rondo, Op. 14, E flat,
six equal parts, each note of the duplet has three sixths, Hummel ; Vocal Solo, Die Lorelei, Liszt; Polonaise,"
the first one entering with the first, and the second note Op. 26, Chopin; Concerto, C major, Beethoven; Wa:
with the fourth part of time. Each note of the triplet has rum, Op. 12, Coquette, Op. 9, Schumann; Concerto, D
two sixths, the first one entering with the first sixth, the
second one with the third, and the last note with the fifth
part of time: -
(
#:++
#}= minor, Mozart; '' s'. Song, Cowen, Rosebud,"
Bartlett; Fernsicht, Op. 17. Jensen; Loreley, Seeling:
". F major, Bach; Concerto, G minor, Mendels
This is illustrated by representing the whole time by *-f. - Sohn.

a line divided into six equal parts, representing the time


of each note, and the point at which each one enters. ( ===##= Ballad. Lecture Recitals, Ed. J. Meyer, New York City.
Lecture, Tone Color (Part first); Margarita, Lohr:
It may be asked why the notes of the two triplets Yearnings, Rubinstein; In Springtime, Becker; Creole
2:- --|--|-- Love Song, Buck; Lecture, Tone Color (Part second,
should not be played as 32ds as they originally appear. illustrated vocally): (a)A Leaf, Neidlinger; '' Live
; : They cannot be so played, for the reason that they would
not fill out the time of the four regular 16ths, against the King, Giorza: In Old Madrid, Troiere; The Three
: * . which they stand. In rearranging an irregular rhythm, Singers, Tours; The Breadth of Balmy. Evening Breezes,
either the larger or the smaller group may come first, Siebold; It was a Dream, Cowen; Night, Rubinstein.
If five notes are played against two, the time is divided depending upon the effect produced.
These methods of simplifying irregular rhythms, Centenary Female College, Cleveland, Tenn.
into ten parts; the notes of the duplet entering with the by good authority, are at least ques. Chorus, From Bright Lands I Come," Donizetti;
first and sixth part, and the notes of the quintuplet with although recognized
inasmuch as they result in a perversion of the Two Pianos, Lutspeil Overture, Bela Kela: Two Pianos,
the first, third, fifth, seventh and ninth parts. Thus: tionable,
text. Tarantelle, Op. 43, Thome; Piano Solo, Venetian Gon.
# * : ? The strong effect of contrast, which the composer dolier, Liszt; Vocal Solo, Canson de la Source,
| !---- intends to produce by the intimate association of suchMeininger; Piano Duo, Rigoletto, Verdi; Piano Solo
opposing elements, ought not to be sacrificed to the with Violin Obligato, Berceuse Slumber Song. Henselli
: N
N N
\
d
N
N

} } incapacity of the player. Pupils should be taught to Two Pianos, Sonata, No. 2, Diabelli; Two Pianos, I:
overcome difficulties, and not avoid them. The problems Chasse, Rheinberger; Vocal Trio, Roses and Violets.
which these structures present are mental rather than Blake; Two Pianos, Danses Espagnoles, Moszkowski;
technical. They are regarded as being more difficult Piano Solo, Spinning Song from Flying Dutchma":
The second note of the duplet enters just midway than they really are, because many teachers do not know Liszt; Vocal Solo, Ye Who Know Love's Power,
between the third and fourth notes of the quintuplet. . how to solve them, either according to the exact or the Figaro, Mozart; Two Pianos, Invitation to the Danse,
from this, the following method may be deduced. free method of construction. Weber.
Let any line represent the time of the regular group -

Pupils of Miss Clara L. Hill, Crestline, Ohio.


or metrical part, and divide it into the number of parts
indicated by the least common denominator of the frac. CONCERT PROGRAMMEs. Menuett (for six hands), Mozart; Schmetter'
tions, which represent the note value in each rhythm. Op. 66, Spindler; Reading, Unprofitable Study, from
Number the parts from one, upwards, and indicate the Pupils of Miss S. E. McKibben, New Brighton. THE Erung; Sonatine, Op. 95, Handrock; Song, *
entrance of each note in order, by the proper number. a Little Wandrer, Catlin; Idylle, Lichner;
The analysis and diagram will enable the pupil to Schubert, Polonaise for 4 hands, No. 1; Seymour Wandern" (for four hands), Schubert: Valse, Op. *
comprehend what is required of him. Each group should Smith, Dorothy, Old English Dance; Leybach, 2d Durand Melody
; Der inFreischutz, Weber six hands).
(for The
be practiced slowly and separately, until its rhythm is Grande Valse Brilliante; Hunting Song from Gurlitt, Krug; F, Rubinstein; Song, Clock
clearly fixed, after which they can readily be played Op. 101; Cradle Song #hands), from Reinecke, Op. Upon the Wail, Belesco; Bubbling Spring, Madame

to ''" groups, the difficulties are, of course,


54; Haydn, Rondo; Theo. Moelling, Cheerful. Rive-King; Reading, Some Parents," Our Profes.
ness, Mazurka; Mendelssohn, Spring Song; Moszkow sion, from Tire Erupe; Sonata in D (for four hands),
greater than with small ones, but they seem greater than ski, Spanish Dance (4 hands), No. 1, Op. 12; Schumann, Diabelli.
they really are, and can all be mastered by intelligent Happy Peasant; L'Avalanche, from Heller's Op. 47; --

rk.. Heinrich Lichner, Heliotrope; L. Khler, Styrienne


"'hod --

of consists in recon Melody from 9:


218; C. Bohm, Edelweiss, Op. 279, Eccentricity will always be a sublime and enviable
- up in either of two ways, viz.: No. 1; Gustav Lange, Thine Own, Op. 54; Schubert, fault in every musical genius, but genius and, inv''
"'. the rhythm conform to the meter, by in B minor; N. Kramer, Piano Trio, Im Fgell. are one: invention and innovation are beyond ordin"
diminishing or increasing the time of some of the notes. elOle. comprehension, and that is why to many they app"
If the represents
p more than inthe
be diminished regular time,
value. Frederick Female Seminary, Md. eccentric.Liszt.
some of the notes may Overture, Rosamunde;" Song, Lay of the Impris Do you not think that the taste for a beautiful
oned Huntsman; Piano Solo (a), Elegy, Op. 90, pretation may be early awakened, without using
==== No. 3, (b) Impromptu, Op. 90, No. 4; Song, Ave with the pupil? and even
that in the feeling
exciteyears,
to early for "
======E may be played.
e-a-s-s-
##
---

$2:*=
~~~
Maria; Song, Impatience; Piano Solo, Minuet and
Allegretto, Op. 78; Songs, (a) Slumber Song, (b) Sere
nade; Piano Solo, Die Forelle; Song, Barcarolle,
to a certain degree, is; in fact,
tial? The neglect of this verything is the reason
we are obliged to listen to so many players who re:
:
To be Sung on the Waters;" Piano Solo, Theme and have mechanically practiced themselves to death, at e
Here the first two notes of the quintuplet are changed Variations, Op. 142, No. 3; Song, The Erl King; have reduced musical art to mere machinery-to "'
Piano Duet, Marche Characteristique. trick of the fingers.-Wieck.
from 16ths to 32ds.
63

ANOFORTE INSTRUCT0R.
Book. BY JAMES HAMILTON HOWE.
Op. 15.
THE STUDY J OEIN COMFORT FILLMORE.
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The Practical
beginning of the Christian era to the present time; espe Exercises, part contains
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tutions. two minor, in all keys, supplemented by attractive Les:
Address Publisher, sons and Illustrative Compositions.
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with fingered exercises for special developments, and entire work is $3.00. This will be the finest and most complete "'
School of Embellishments. It follows nicely the popular The following are now ready: for the Organ in the market; it will contain the most practical
latest compositions of the best German, French, American an
Pianoforte Instructor, of late issue (by the same Author), BEETHOVEN, MENDELSSOHN, English ' fill u
in connection with appropriately graded, studies and in: ach # will be of high class. Nothing will be put in to p

structive compositions. This work has been introduced MOZART, WAGNER, space he entire work will be within the ability of any church
in some of our leading schools of music. A newly OTHERS TO FOLLow.
"W's
e wou met.
e to impress upon you the fac
fact that at

revised and corrected edition is in process of publication, 1st. The music will ' edited in the most careful manner.
The elegant portraits have given the greatest satisfac attention will be given to the Phrasing, Pedal Marking, Reg
#ecessitated
Technic inbythe
thefuture
advanced
will besales of inthe#
bound work.
s'Thego tion, etc.

rrying the same in music rolls.


tion whenever introduced. The former price for these
A new was $4.50 each, without frame.
2d. The Music will be printed from Engraved plates (not type).
3d. No other work gives so much music for so little money; each
-

Exercise will be introduced in the part, costing 25 cents, will contain $1.50 worth of music.
4th: None of the pieces are too di
Student
t for the Amateur or the # tion:
next edition. and the Professional organist will find a large number of compo"
THEO. PRESSER, "THEo. PREsseR, which are only to be found at present in expensive editions.
5th. The work will also commend itself to Teachers and, :
d Organ
17O4 CHESTNUT ST., PHILADELPHIA. pupils, on account of the large number of pieces available for *
No. 1704 chestnut Street, Philadelphia. tion
id
onParts 1,2,3,4,5,6 and 7 are now ready, and willwill
be sent,
- -

postpaid,
receipt of the subscription." succeeding parts be : and
suit ABLE FoR CHORAL sociFTIES. FIFTY EXAMINATION QUESTIONS forwarded, one each month, until the 14 numbers are com "
Circulars and sample pages, giving full information, wi *

free, on receipt of name and address.


Mrs. AN
SPEARER, FOR PIANOFORTE STUDENTs, For further information, address
OPERETTA. BY ALBERT W. BORST.
By ALBERT W. BORST. Price 6 Cents. 50 Cents Per Dozen.
THEO, PRESSER, WM.E. MSHMAIL:00, |
1704 Chestnut Stroet, 231 East 80th Street,
NDonNovello, Ewer & Co., terms
special or from the
forcomposer,3602
quantities. Hamilton
s: Philadelphia. THEO. PRESSER, Publisher, Philad'a, Pa. PHILADELPHIA, PA. NEW YORK, N.Y.
I
65
-
-
THE E TUD E.
rofessional (Cards.
~~~~~--~~~~~~~~~~~~~~~~~~~~~~~~~~~ $chools of #litsir. chools of #115 r.
__-_-_-_------~~~~~~~~~~~~~~~
--~~~~~~

s Mr. T. J. D.A.V IIES


Gives lessons personally, or by correspondence, in Harmony,
Counterpoint, Canon and Fugue. Students prepared for
musical examinations. Most thorough and systematic course.
Compositions revised and corrected. Terms moderate.
Address 18 LIBRARY BUILDING,
--~~~~~

GERMANY, BERLIN.
20 POTSDAMER STRASSE.
A MUSIC.
***
s

|| Harmony Lessons by Correspondence


Scranton, Pa.
KIII 'III || Mill.
BRANCHEs TAUGHT:Piano, Violin, Violoncello, Singing
*:
and '' of Music; Also Literature Classes in
ALSO

Lessons by Mail in Counterpoint and Orchestration. German, French, Italian and English Languages.
For terms and particulars, address
PROFEssoRs:Messrs. K. Klindworth, Dr. Langhans;
G. T. BULLING, Rfer, Dr. Yedliczka, Dr. Reimann, Tul. Hey and ||
174 RACE sTREET, cINcINNAT1, O. other renowned masters.

MADAME ANNA STEINIGER, Prospectus to be obtained gratis through the Director,


CONCERT PIANISTE AND TEACHER, KARI, KLINoworTH,
JECOSTOINT, NAL.A.SS Berlin, 20 Potsdamer Strasse.
Beethovem Concerts at Conservatories a specialty. -

Madame Steiniger will make a tour, West and South, in January, || * - -


- -
February and March, 1890, introducing her four Beethoven Con
certs. Special terms and unequaled inducements to teachers who
will work for this series of concerts, in their cities or towns.
*# -
-

Address FRAU ANNA STEINIGER, Boston, Mass. ** | DANAS MUSICAL INSTITUTE WARREN, CHI),
An institution devoted exclusively to the study of
W. S. B. MATHEWS, Music. Gives instructions in all departments of Music,
TEACHER OF PIANOFORTE,
with a thorough and Systematic Course of
Lecturer and Writer upon Musical Topics, | Study, and a Faculty of the highest excellence and
No. 236 STATEST., CHICAGO, ILL. efficiency. Founded in 1869. Ray" Send for Catalogue.
Room 18.
Mr E. M. B O W M A N,
(Editor of Weitzman Musical Theory,)
- - - - | A STANDARD TEXT-BOOK,
EE. *- 7
STEIN WAY HALL, IN HEW YORIA. EYATRIZER-FIALLE-
PlaNoFoRTE AND ORGAN instruction by the methods on which
modern artistic performance is based.
ERLIR,GrisBRVATORyof ITISIG DANA S PRACTICAL HARMONY,
9

MUSICAL THEORY lessons, orally or by correspondence, by the


Weitzman Method, which, by its lucid explanations and interesting With a Large Faculty of Superior Instructors, and PRICE $2.O.O.
course of study, commends itself to the attention of all who desire
to become thorough musicians. a splendid building for its exclusive use, the Oberlin |-

Conservatory offers unusual advantages for the Study of American COn servatory Of Music,
Milwaukee School of Music,
422 BROADWAY, MILWAUKEE, WIS.
Music. study
year's 544 (38
students
weeks)last
needyear. Total expense
not exceed $300. for one WEBER Music HALL. CHICAGO.

Terms begin Sept. 17, Jan. 7, and April 8. Every Branch of Music and Elocution. Course of Study |
HARMONY LESSONS BY CORRESPONDENCE,
GIVEN BY

J. C. FILLMIORE, Director.
If you are intending to study Music in any of its
branches, send for catalogue to
Thorough and Comprehensive. Special Depart
ment for the Training of Teachers.
J. J. HATTSTAEDT, Director.
|
F. B. RICE, Director,
MRs w. H. SHERwooD, OBERLIN, OHIO.
-

Concerts, Piano Recitals and Piano Instruction.


SUMMER P1ANO LESSONS Given.
Address at her residence,
- H. B. STEVENS & C0,
288 Newbury Street,
BosToN, MAss.
**
#* *
al

**
EDwARD BAXIER PERRY__
CONCERT PIANIST AND LECTURER.
Lecture Recitals at Colleges and Conservatories a Specialty.
THE ART OF PIANOFORTE
BY BUGH A. CLARKE, MUs. Doc.
PLAYING.
Price $1.50, post
MSt Pll's 8 mill', -

Address, 550 Tremont St., Boston, Mass.


paid. 169 TREMONT ST.,
Mr. Perry makes an Annual Western and Southern Tour, from Sept. This is a new work embodying the results of thirty \
10th to the holidays. Special Terms to parties on his direct
route desiring recitals at that time. years' experience of a practical teacher, who has held B O STO N 5 NM. A. SS

the responsible position of Professor of Music in the


Pennsylvania University for the last fifteen years.
HUGH3+2+A.South
CLARKE, Mus.Doc,
+Sth Street, The design of the work is to furnish a thoroughly ~~

PHILADELPHIA. artistic school for beginners, embodying all the latest


results of thewith
constructed bestgreat
criticism. Theare
care, and exercises
graded have beena Agents for the Standard Cheap EditionsPeters,
in such

I'NSW MMI":" way that the


insensibly
the
difficultiesNot
overcome.
purposefrom
borrowed of making
thata
a book;
; but every
besethas
no other
piece
beginners
in the
been

work
are almost
hasisbeen
work the
for Augener, Cotta, Breitkopf & Hartel,
Schlesinger, Etc.
- -

RICHARD GOERDELER, -

Director of Music at Pennington Seminary, result of careful study of the requirements of a complete
elementary school for the pianoforte. We wish to call the attention of Directors of
PENNINGTON, NEW JERSEY,
W *# new, brilliant and original Piano Music, for two and four Practical and Pleasing. Music in Schools and Seminaries, also of Music
published # short notice. Refers to his popular compositions,
& Co Theo. y The Oliver Ditson Co., Win. A. Pond & Co., F.A. North It is of the utmost importance that a proper beginning Teachers in general, to our stock of Foreign and
terms,... s' *: and reproduced in Leipzig, Germany. For
- - - *

be made. There are two features in this book that make -

it one of the best works for beginners ever issued, American Music. We make a specialty of good
schools of alusic. namely- fingered editions, and when desired will send
It Interests the Pupil, it Cultivates the Taste.
SCHOOL
1. :
of MUSIC, UNIVERSITY, GREENCASTLE, IND. On these two points every teacher must look
selections of different grades for inspection.

Pupil, " in all Departments of Music. for success, and it is well to have a text-book at the
tist, Choral and Orchestral
* beginning that lays particular stress upon important
olo, Duet, Trio, Quartette, *:::::$oncerts, SpECIAL ATTENTION PAD TO MAll ORDERS.
Oratorio Work. principles.
Board FIVE COURSEs of STUDY. There are numerous duetts for teacher and pupil, all
oard, ": and Sheet Music at reasonable rates. having a specific object in view; There are a goodly
JAM or Circulars,, apply
apply to number of pleasing pieces of a didactic nature, and exer TERMs LIBERAL. Catalogue sent free
#. DEAN, GREEN CASTLE, IND. cises for strict and mechanical fingering, such as scales,
on application, and
, Alexander
of other University De
ity Departments, apply to arpeggios, five-finger exercises, etc.
Martin, D.D., LL.D., College of Liberal Arts Address publisher THEO. PRESSER also Bulletin of New Music sent regularly
Hon. #. A.M.'s Tib., Dean of School of Theology.
der C. D -

Henry A.
# #:
arr,
owney, LL.D., Dean of School of Law.
Dean of Normal
School of Art.
School.
170 chestnut street, Philadelphia, Pa \to * * their
t - - * - - dress.
addre
T EI E ET UD E.
Portraits of Famous Composers
JUST PUBLISHED IN PHOTO-GRAWURE.
COURSE IN HARMONY.
By GEO. H. HOWARD, A.M.
BEETHOVEN, MOZART, CHOPIN and WAGNER.
PRICE $1.50.
Size 112x16 in. (life size), on 22x28 paper, @........ ...si.00
26x8 in. (% life size), on 14x17 paper, @.. .50 Easily Understood. Interesting. Thorough. Adapted for a short course
33%x4% in. (cabinet size), @.................... ... .35 or for an extended period of study. A great saving of
(Printed on Japanese paper, mounted on beveled card board.) time to teachers. A real help to students.

E" E. A. M. E. D. This work is being received with great favor, and is already intro:
Size 1Framed, 20x24, in 2-inch oak, with %-inch silver duced in several of the best conservatories in this country. In pamphlet
inside, @.......................................
form it has had a large sale, and now that it is completed, it seems sure These Instruments have been before the Public for over
to take a leading place among works on Harmony.
-

fifty years, and upon their excellence alone


Size 2-Framed, 12x14, in 1%-inch oak, @ Simple explanations, short sentences and plain language throughout
are features which will commend themselves to teachers and students. have attained an
The following are in preparation and will be issued in the order It will lead students not only to a theoretical acquaintance with Har UN PURCH ASED PRE-EMIN ENCE,
mony, but also to become able to distinguish intervals, chords, progres
named:BACH, HAENDEL, HAYDN, Liszt, MENDELSSOHN, MEYER sions and treatments by ear as readily as with the eye. Which establishes them as
BEER, ScHUBERT, SCHUMANN, WEBER and others. By means of an agreeable variety of exercises the interest of the
course is well sustained. It will not be found dry by any careful stu
Subscriptions should be placed now.
dent. Many of the exercises are decidedly novel in a text-book of this UNEQUALED
kind, never having appeared before.
JELLINEK & JACOBSON, Publishers, The book will be found interesting and helpful in every way to the
teacher and the pupil. It is also rich in suggestions for general im
For Sale by
13 East 17th Street, New York. provement and in reviews. In advanced study it will be found invalu
THE0. PRESSER, 1704 Chestnut St., Philada, Pa.
able.

The conviction of its excellence will strengthen as it is


T.I., T.I., Winn, Hill lllllll)
used, and it is safe to predict that this will prove the most
popular work on Harmony yet published. Wvery Piano fully Warranted for 5 Years.

NeWi LC880m3 +Int Harmony. Address

THEO. PRESSER, Publisher, WM. KNABE & Co.,


BY
1704 CHESTNUT ST., PHILADELPHIA, PA. 22 & 24 E. Baltimore Street, BALTIMORE.
JOHN C. FILLMORE. 148 Fifth Ave., near 20th St., NEW YORK,

We know no other work in which a musical student can learn so + SPENGLER's + 817 Pennsylvania Ave., WASHINGTON, D.C.
much about harmony in fifty pages of text and examples for exer
cise."The Nation, New York.
This work is based on the ideas of DR. Hugo RIEMANN, and has as
an appendix his lecture on The Nature of Harmony.
System of Technic,
FOR THE PIAMO-FORTE.
TWO WORKS FOR PIANO PLAYERS.

A careful perusal (of this) will enable students to see clearly the PRICE, $1.50. Limp C1oth, 82 00
drift of modern speculation in music."The Nation.
Dr. Riemann, The greatest living musical theorist.The Nation.
THE ARTISTS REPERTOIRE
An original and Highly Interesting Work for
MTUSIC TEACHIEES Professional and Hmateur. PRICE $1.00 IN BOARDS.
JUST IPUBLISHED.
HAVE DECIDED THAT
We offer in this System of Technic a work that is
calculated to arouse new interest and enthusiasm, and CONTENTS.
W H ITN E Y'S point out the road to higher and nobler possibilities. Rondo Capriccioso. Op. 14........................... Mendelssohn
Impromptu, Op. 142, No. 2. (Ab) ....Schubert
While the aim has been to set before the player Polonaise. Op. 40, No. 1. (A maj.). ...F. Chopin.
new and interesting matter, yet the more important March Heroique.................. I. Won Blow

RAPID METHOD facts are constantly kept in the foreground, to wit:


to develope the weaker fingers, and .to equalize the
touch, to create an of execution, to ac
Polish Dance. Op. No. 1.
Une Perle. (Bluette)....
The Hunter's Horn....
The Mill................
.............Behr
. Won Kornatzki.
......... Jensen.
custom fingers and hands alike to every possible posi Cacoucha. Caprice................................................................. Raff.
FOR THE PIANOFORTE tion in all major and minor keys, and to cultivate the Priests' March, from Athalia
Students of Sorrento........
..Mendelssohn.
... Celega.
mind as well as the fingers. Pavan................. Sharpe.
is the most desirable method published, and Turkish March.
Pomponette. (Style Louis XV)
Mozart.
...Durand
both recommend and adopt it. Advice to Young Students of the Pianoforte, Intermezzo et Valse Lente...
Melodie in F.......................
Arr. by Tracy.
. Rubinstein.
BY ALBERT W. BORST. -
Gypsy Rondo. From Trio No. 5 ... Haydn.
Valse. Op. 33.................. ...Durand.
* SEND FOR A FULL DESCRIPTIVE CIRCULAR. PRICE, 10 cts. Farewell to the Piano. ..Beethoven.
Two Mexican Dance .Aviles.
...Pape
Address Some good advice for every one studying the piano. The Brook........
Springtime. Carreno
Nel Cor Piu......
THE w.w.. whITNEY Co., Theme Allemand.
CLASS-BOOK Pixis Valse ......
Tarantelle..................................................
......................."
... Pixis
Heller.
Die Jagd. (The Chase). heinberger

*: MUSIC TEACHERS.
Puritani................................................................
Loure, from 3d Suite. J. S. Bach..
Harmonious Blacksmith..................................................
.......
...Arr.
...."
Leybach
by Heinze.
Hndel.

ALLEGRAND O. BY E. M. SEFTON.
Instruction and Pleasure Combined. R. E. V. Is E D E D I T to IN .
A SPLENID GAME FOR EVERY HOME. Price, - - 50 Cents. STANDARD DUETTES.
This game consists of cards, on which the different notes -

are printed, one on every card. After a number are The book contains everything for keeping Accounts A Collection of Interesting 4-Hand Pieces.
the players, the cards are played in succession and added together : of Music Teachers; Index; Daily Programme, a page
they are played until the value of a whole note is reached when it
counts one for the person who played the last card and completed th for each pupil; Cash Rece tS,
Account, Bilis,, t{eceipt
whole note. This gives a general idea only. Full directions w'. Address publisher, * etc. etc.
etc.,
s,
PRICE $1.00 IN BOARDs.
number of different games, tables showing the note. r '.
rules for a accompan
keys, &c., y the game. , rests,
learning to play the Piano, Organ, Violin, or any ot THEO. PRESSER,
ment; those who sing; those who wish to read music ' CONTENTS.
who are interested in music, need this charming game
It teaches the value of notes and rests. -
*
f704 Chestnut St. Philadelphia, Pa. Alerte, Fanfare Militaire.....
The names of the notes. Basket of Roses, Quadrille...
The various keys in which music is written. Bella, or La Tonkinoise March
The different kinds of time.
Practice in musical fractions.
THE ELEMENTS Best Shot March.......................
Blue Alsatian Mountains Waltzes
The easiest way to learn to read music. -OF British Patrol.........
You learn, while playing an interesting game. Bucephele Galop.

It is even by children. Flower Song, Op. 39......
Time devoted to playing this game is not was
A splendid game for evening parties.
# new ted, as in most games.
other game. -
HARMONIC NOTATION.
For Classes or Individuals.
L'Alerte, Fanfare Militaire.
Marche des Pompiers....
Martha, Op. 112 ....
arents can teac eir c ren the rudiments -

Pearl of Love, Valse


musicians themselves. of music, even if not Quadrille, Op. 117.
Interesting to old and young, beginners and advanced alike
Those intending to study music will find it to their advanta to
this game a while before beginning lessons ge to play
w ILLIAM B. VV A IT. Qui Vive, Grand Gal
Secret Love, Gavotte
See-Saw Waltzes.
PRICE 5o cENTS. Swedish Wedding
PRICE, 50 CENTS, Tanz-Jubal Polka
Address Publisher, 4 Preparation for the Study of Harmony. Tonkinoise (La) Ma
Address Publisher, Wandering Jew, Grand Valse Brillante
THEo. PREsse R,
17O4 Chestnut Street, Philadelphia, Pa. THEO. PREssER.
PHILADELPHIA, PA.
"THEo. PRESSER,
1704 Chestnut Street, Philadelphia, Pa.
THE ETU D E.
Bern. BoEKELMAN's 67
COMPOSITIONS.
Inauguration March. For four hands................. $1.00
For eight hands. ... 1.75
JERUSALEM.FUFL's LE&ON BOOK Price 10 Cents, $1.00 per Dozen.
- -

Romanza. For Violin or Violoncello. Op. 2. The object of this work is to systemize practice and stimulate the
Ballabile. For Orchestra. Orchestra parts A GRAND ORATORIO. student to better study. It contains a record of the pupil's work
Score.. and assigns a place for Technic, Etudes and Pieces, with the
- For Piano. Op. 3......
Polonaise tle concert. For Piano Solo. degrees of merit of their preparation. The date of each lesson is
#Piki, Op. 4.. also given, and in the back of the little book are four blank forms
For eight hands................ 2.0%)
len: * -
Valse de la Reine. Op. 5. For Piano...................
* Cheval. Morceau Caracteristic. Op. 6...................
.90
.60 By HUGH A, CLARKE, Mus, Doc. for quarterly reports, which will be found very useful.
For String
In der Einsamkeit. Single Orchestra. Op. 7. Score,
set parts.............
.25
.25 Address the Publisher,
- i- * .......
MIME: Sehnsucht. For Piano Solo. Op. 8........................ .50
Price $1.50, Bound in Boards,
Address THEODORE PRESSER, THEO. PRESSER,
SD 1704 Chestnut street, Philadelphia, Pa. 17O4 Chestnut Street, Philadelphia, Pa.
The libretto of this Oratorio is taken from the Bible,
A BLANK EXERCISE BOOK and gives, in an epitomized form, the story of the taking FIVE WALUABLE PAMPHLETS:
of Zion by DavidThe prosperity of JerusalemThe
|. For the Analytical Study of Musical Compositions, defection of IsraelThe consequent destruction of the
On Teaching and Teaching Reform. By A. R. Parsons and
Constantin Sternberg...................................................
What Shall we Play, or Musical Education in the Home. 25 cts.
.....
city and the king's captivity. Letters to a Lady Friend. By Carl Reinecke. Translated
5'1" For Students of Piano, Harmony, by John Rehmann,............................................................
The theme now takes up the promise of restoration Elementary Piano Instructi on for Teacher or Pupil. By Aloys
Musical Form, etc. Hennes,....................................................................... 15 ct
), under the reign of the promised kingHis comingHis Advice to Young Students of Pianoforte. A collection ....
of about
rejectionThe final desolation of the cityConcluding 60 rules for beginners. By Albert W. Borst, ..................
1LTIME By L. R. CHURCH, Method of Study." (For Amateurs.) By C. A. Macirore,...
IEWII
with the promise of the Heavenly City and the descent
The Five sent by Mail for 50 cts.
1208 ANN STREET, PARKERSBURG, WEST VIRGINIA. of the New Jerusalem.
GTOWN
The Oratorio is to be produced in April by the Phila. Address Publisher,

A POPULAR WOR.E. delphia Chorus, with a large chorus and orchestra, and THEO. PRESSER, 1704 Chestnut st.,
|YER has already excited widespread interest among musical
people as the first work of such magnitude written and PHILADELPHIA, PA.

MUSICAL STUDIES AT HOME produced in America.


A WORK FOR, EVERY TEACHER...

MARGARET B. HARVEY. THEODORE PRESSER, PIANO TEACHING


Neatly Bound in Cloth. Price $1.25. PUBLISHER,
8UITABLE FOR PRESENT.
1704 CHESTNUTST, PHILADELPHIA, PA FELIX LE COUPPEY,
We have just published Translated by ME- A - ETERsT-A-Tor
These Studies are intended for those remote from cen
tres of musical advantages, those whose early education
in music has been neglected, those who have become dis
couraged by wrong methods of teaching, and those whose
PRACTICAL HARMONY; Price 75 cents, Postpaid.
DESIGNED FOR THE USE OF PIANO STUDENTS.
time and means for self-improvement are limited.
BY
DR. F. L. RITTER. CONTIENTs.
THEO. PRESSER. Publisher,
I. Introduction-Object of this Book.
1704 CHESTNUT STREET, PHILADELPHIA, PA. PRice 75 cents in PAPER: sloo in BoARDs II. The age at which the Study of Piano may begin.
III. Should a Musical Education be begun by Study of Solfeggio?
A work of the greatest importance to students of har IV. Is Classical to be preferred to Brilliant Music?
W. The Study of Technic.
IEL mony and the pianoforte. There is no other work of WI. The Utility of Collections of EtudesVarious Counsels.
this kind in our language, and we are sure that it will VII. The Precautions to be taken when many faults are met with
occupy a distinguished place in our system of musical
HENRY MIRR education. It takes the pupil over the whole ground of
harmony. All the rules are covered in exercises of the
most varied kind, to be played at the pianoforte. It is a
good preparation for the art of composition and improvi.
XI.
XII.
XIII.
in Pupils who have studied the Piano for some time.
VIII. Emulation.
IX. Musical Memory.
X. Can a Teacher himself prudently give up the Study of the Piano?
Accessory qualities of the Teacher.
To Pupils.
The Method of Practice.
sation, calculated to incite the student to musical pro The influence of Musical Studies, and the kind of instruction
PIAN O S . duction. The work will help greatly to facilitate the
young musician's difficult task regarding the thorough
tudy of harmony.
XIV.
necessary to a Teacher.
XV. General Remarkslast Counsel.

Published by THEO. PRESSER,


" " " THEO. PREssFR, 1704 Chestnut Street, Philadelphia, Pa.
HENRY F. MIFR & SONS PUBLISHER,
1704 Chestnut Street.
NEAT AND SUBSTANTIAL
PIANO COMPANY., DACTYLION. *# MIUSIC : ETOLIO.S. 31.
BOSTON. PHILADELPHIA. FOR PIANO STUDENTS. OUR OWN MAKE.
A new invention of great practical value and real benefit to the Piano
Player. Price 75 Cents. $6.00 per dozen, by Express.
This folio is without spring back or ornamental work. It is a simple
folio in cloth, with three strings to tie the open ends.

Address THEO. PRESSER, Phila., Pa.

THE SCRATCH CLUB,


By MMUGH A. CLARKE, Mus. Doc..
AN IMPORTANT WORK.

PROFESSOR OF MUSIC IN THE UNIVERSITY OF PENNSYLVANIA,

Author of The Art of Pianoforte Playing, Harmony on the Inductive


Method, Music to The Acharnians, Jerusalem."
finin fu (Hilbergiant (Dusir.
VOL. II.
(a new Oratorio), etc., cte.
BY W. S. B. MATHEWS.
"It is a little book which will interest and please musicians and
amateurs by its chatty common sense and suggestiveness. Evidently, PRICE s 1.5o.
it is the work of a man who knows his art well enough to handle it
without overweening solemnity.Boston Literary World. Musical Miscellanies, Historical, Critical,
One of the cleverest bits of writing concerning music that has ill
ever appeared in America. . . . The book is full of entertainment To # ers. Philosophical and Pedagogic.
which will expand the ideas of young readers and gratify those o? improve the touch. -

older ones.Philadelphia Evening Bulletin. # flexibil


ity and rapidity.
To give correct of the hand.
Among the subjects treated, are Self Culture in Music,
Price, in Paper Covers, 75 cents. To save time and a vast amount of labor. Bird's-eye View of Musical History, Wagner (3 Chapters),
**For sale by booksellers, or sent, postpaid, on receipt of price, PRICE $4.50, N: h h Theory of Piano Teaching, Psychological relations of
by the publishers, ment of leading artists and teachers, among whom music, etc., etc.
...:d MAAs, MADAME Rive-KING, Robkar Gold
THE POET-LORE CO., Beck, CARLYLE PETERSILEA. etc., etc. Address Publisher,
ing detailed information.
223 SOUTH 38th ST., PHILADELPHIA. *****'''oRE PREssex. THEO. PRESSER, Philadelphia.
|

G8 T.EI E. ET TO DE .
SECONTID EDITIOINT
INSTRUCTIVE, INTERESTING and MUSICAL.

Twenty stuples SONATINA ALBUM CHOICE SACRED SOLOS, 34 fine songs...............


COMPILED BY THEO, PRESSER. CHOICE SACRED SOLOS, for Low Voice, 40 songs.
FOR
SONG CLASSICS, Soprano and Tenor, 50 songs.
Price . $1.00, Bound in Board Cover. SONG CLASS1CS, Low Voice, 47 songs.....
| CLASSIC BARITONE AND BASS SONGS.
THE PIANOFORTE, TABLE OF CONTENTS.
| CLASS1C TENOR SONGS, 36 songs........
CLASSIC VOCAL DUETS, the very best....
Introduction........... ..........................:.....::...: '........::''' 8 EVEREST'S ALBUM OF SONGS, good selections
OF MODERATE DIFFICULTY, Kullak. Op. 81. No. 3, Grandmother tells a Shuddering Tale 7 MAUD V. WHITE'S ALBUM, tasteful songs..............
Mendelssohn. Op. 72 No. 3, Kinderstcke 8
SULLIVAN'S VOCAL ALBUM, a master's work...........
For Development of Style, Expression and Schmidt. Op. 14. No. 1, Sonatina.............
Jadassohn. Op. 17. No. 3, Children's Dance..
19
12 PoPULAR SoNG COLLECTION, 37 good songs.
Technique. Diabelli. Op. 168. No. 3................. - 15 GOOD OLD SONGS we used to sing, 115 songs...........
Burgmuller. Op. 76. No. 1, Rondiletto.. ... 20
INSCRIBED TO THE MUSIC TEACHERS OF AMERICA. Spindler. Op. 136. No. 1, Sonatina in 4 Hands ... 24 COLLEGE SONGS, 115,000 sold............ ........................
ummel. Op. 52. Rondoletto.. coLLEGE SoNGS FOR BANJo; FoR GUITAR, each
EY Reyloff. The Fuchsia........ RHYMES AND TU NES. Osgood. Sweet home music...........$1.
Kuhlau. Op. 20. No. 2, Sonatina.
Steibelt. Turkish Rondo...........
ANTON STRELEZKI, Clementi. Op. 36. No. 1, Sonatina. INSTRUMENTAL.
Kjerulf. Scherzino......................
- In Op. 100.Volume II. Greig. Op. 12. No. 7, Album Leaf.. Pla NO CLASSICS, Vol. 1, 44 pieces...................
. Babbling Brook................ PIANO CLASSICs, Vol. 2, 31 pieces.
THEODORE PRESSER, Lichner. Op. 149 No. 6, Sonatina.
Dussek. Plough Boy....................
CLASSICAL PIAN IST, 42 pieces..............
Lange. Op. 114. o. 1, Sonatina. PoPULAR PIANO coll-EcTIon, 27 pieces
1704 Chestnut St., Philadelphia, Pa. Dussek. La Matinee..... POPULAR DANCE MUSIC COLLECTIon...
Haydn. Sonatina in D. You NG PEOPLE's CLASSI.cs, 52 easy pieces...
Schumann. Slumber Song
Schumann. Nocturne.........
A NEW B00/( OM A WEW PLA/M. Mendelssohn's Song Without Words.
The above are all superior books.
Bach. Little Prelude. No. 6.....
$6%)}: Bach. Little Prelude. No. 3.
Schubert. Op. 78. Menuette.....
Reinecke. Op. 47. No. 2, Sonatina..
Chopin. Op. 9. No. 2, Nocturne......
EMERSON'S NEW RESPONSES. #:
Quartet and Church Choirs; 74 short pieces of sacred music of the
Address Publisher, best character, such as your choir needs.

M|S| M|S|[S. THEO. PRESSER,


17O4 Chestnut Street, Philadelphia, Pa. THE TEMPERANCE CRusADE, F:
L. Q. Emerson and Edwin Moore. Earnest, refined, elevated poetry
and music, which will be most welcome to the best classes of
35 cts, $8.60

temperance workers.
TEACHEERS*
By W. F. GATES. SONG HARMONY. '#:
ou for this winter's Singing Classes. Also an appropriate and good
Price One Dollar and Fifty Cents. P0CKET METRONOME. k for High Schools. -

Adopt, without fear, for Graded Schools, our


USICAL MOSAICS is a unique book. It is the first book in $|||}|, |||||||I, III || || || ||5||[. SONG MANUAL (Book 1, 30 cts, $3 doz.; or Book 2,40
the English language that presents the very best sayings on * cts., $4.20 doz.; or Book 3, 50 cts., $4.80
musical topics, chosen from the highest rank of authors. doz.). Admirably adapted to the different ages of school life, with
plain instructions and best of music.
The selections are principally in the line of aesthetics and criticisms,
and range from one line to three pages. Much time and labor has
been spent on the work, and the book-maker has shown much skill Select for practice in your Singing Society one of our noble and
beautiful CANTATAS (send for list), or the easy Oratorio,
in its general make-up. The idea, in its preparation, was to present EM MANUEL ($1), by Trowbridge; or for Fairs and Festivals, the
to the music-loving public just as much of the cream of musical nice, pretty and easy DAIRY MAIDS" SUPPER (20cts.,
writings as could be condensed into 300 pages. All useless or value 1.80 doz.), by Lewis; or for the children, Macy's new STRANGE
Price, Nickel-plated, 50 Cents, Net, Postpaid. VISITORS, or A MEETING of THE NATIONS (30 cts, $3
less matter has been omitted, and as a result we have a volume con
taining the best sayings and writings of the writers on musical
# or the KINGDOM OF MOTHER Goos E (25 cts., $2.28
doz.), by Mrs. Boardman. -

topics, in all ages and countries. Giving the correct Metronomic Marks after the
Maelzel Standard, together with the
17O AUTHORS. True Tempos of all the Dances. RICHARDSON'S
600 QUOTATIONS. These instruments have been especially manufactured
NEW METHOD
We give below a few of the names of writers from whose works for THE ETUDE, and will be sent as a premium to any one
selection has been made, and the number of quotations from them: sending two subscribers.
Address FOR THE PIANOFORTE.
Beethoven, 18. Christiani, 15.
Fillmore, 21. Goethe, 11. THEO. PRESSER, From the very day of its publication, it has been a decided success,
selling steadily from year to year, and giving the printer no rest
Hauptmann, 7. Haweis, 12. 17O4 Chestnut Street, with its frequent editions. Its total sales to the present time aggre
Hiller, 11. Kullak, 12. PHILADELPHIA, PA.
gate nearly
Liszt, 12. Mendelssohn, 10. 45O,OOO COPIES I
Schumann, 60. Wagner, 16.
Weber, 8.
Thibaut, 6.
Pauer, 5.
Wan Cleve, 7.
Space will allow us to mention but sixteen of the one hundred
NEW I'NHARMONY. Recreation and Study are in it admirably combined. The book
has been many times revised, and is the most perfect of instruction
books... It has also had additions. Price, with American fingering,
$3; with foreign fingering, $3.
and seventry authors.
This is a book for musician and non-musician, for professional We know no othr work in which a musical student
and amateur, for teacher and pupil, for all who know or who wish to can learn so much about harmony in fifty pages of text
know anything of music in its highest sphere. It has been warmly
indorsed by teachers and artists in this country and England and
will fill a place in our libraries and on our tables that has hereto.
fore been vacant.
and examples for exercise.The Nation, New York.
This work is based on the ideas of DR. Hugo RIEMANN,
|WEMRIM|| ||\SH'IU#|M||||
skis:
Every teacher-every studentshould own MUSIC AL MO -
and has an appendix of his lecture on The Nature of FOR THE PIANOFORTE,
Harmony.
. As a presentation volume it cannot be excelled. A careful perusal (of this) will enable students to See In Three Parts, with American and foreign fingering, each $1.50;
Address all orders to complete, $3.
clearly the drift of modern speculation in music.The This fine book secured at once the powerful aid and approval of
Nation.
the professors and pupils of the great Conservatory for which it was
Dr. Riemann, The greatest living musical theorist. compiled, and in which it has always been used. Very widely
THEODORE PRESSER, The Nation. known and used.
17O4 Chestnut St., Philadelphia, Pa. T-__
The best Companion for an Instruction Book is MASON'S
PIAN OF ORTE TECHN1cs, containing every exercise needed
EDWARD BAXTER PERRY'S ON TEACHING AND TEACHING REFORM. for the full development of technical ability on the pianoforte. By
Dr.William Mason, with explanations by W. S. B. Mathews. Price
FANTASY FoR PIANo,
TWO LECTURES BY
- IDLH LCIEET MET = Amy Book Mailed for Retail Price.
BASED UPON THE RHINE LEGEND. Albert R. Parsons and Constantin Sternberg.
Universally pronounced the best Lorelei yet written, in the old or
new world.
Melodious and descriptive; excellent study for the left hand
Played in 100 concerts throughout the country, by the composer
1st, 1888.
and Mr. W. H. Sherwood, since its publication,
Price 25 cents, in Paper Cover.
OLIVER DITSON COMPANY EOSTOINT.
Address Publisher, THE0. PRESSER,
Address THE0. PREsse", 1704 chestnutst, Philadelphia, Pa. 1704 Chestnut Street, Philadelphia, Pa. C. H. DITSON & Co., LYON & HEALY, J. E. DITSON & C0.,
867 Broadway, New York. Chicago. 1228 Chestnut St., Phila.
T H E E T U D E.
*#=#TELE:=#

VIRGIL + PRACTICE:
Establishes"a NEw and SUPERIOR SystEM in the
CLAVIER study of the PIANo.
From Dr. Hans von Blow. $ AN ARTISTIC TECHNIC $

l
secured
means.more quickly
Indorsed andby its useusethan
in daily by
by any other

* R TISTS AND TE-1 GILE Rs.

From Albert Ross Parsons

For all purposes of silent practice in point


of true piano-forte touch and unerring tests of
technique, the Practice Clavier commands my

exclusive preference.

Very truiy yours,

I announce you a benefactor of humanity,


as your instrument would disinfect the atmos
phere of unnecessary piano thumping plague. -

Approved and highly recommended by A. sILENT IFIANT O.


5 < --~~~2-2.
-
* | A means of GREAT EconoMY to learners and players.
Saves one-half in time and money. Brings relief
to over-taxed nerves. For every
New York, April 9, 1889. $ ARTIST, TEACHER, PUPIL, SOH001 and H0ME. $

"T"he Virgil Fractice Clavier Co.,


l

THE NEw METHOD


for gaining the necessary technical ability for

MODERN+PIANO+PLAYING,
The inadequate results from technical
exercises at the piano is well known to
piano players, and forms the great barrier .
to a proper advancement in piano play- t &
1ng. -

Science, having investigated this sub


ject, has discovered and can explain the
reasons of such uneconomical results, and
can now supply at a cheap cost, a better
and more direct process for developing
Y-THE-r- and enlarging the technical dexterity of
3. the hand. - -

STUDENT S TECHNICON, It is now used by eminent pianists '


their teaching and for their own personal.
ERICE S12- use, and of teachers testify that
it is invaluable to both themselves and
As thi - - their pupils. - - -

la is new method marks a most important reform in technical teaching, all piano
Players should make themselves acquainted with its principles, by reading a
**t -

Treatise upon Technic, and the New Scientific Method for Quicker Attain
ment of Artistic Expression in Piano Playing.

SENT FREE ON APPLICATION TO


THE TEACHER'S TECHNICON.
J. BROTHERHOOD, EIEICE, S22-5O
DISCOUNT TO TEACHERS.
No. 6 West 14th St, New York,
T EI E E T U D. E.

TWO GREAT MUSICAL WORKS TWO NEW BOOKS.


AT REDUCED PRICES.

MATHEWS' TWENTY LESSONS TO A BEGINNER

"IT" Choice Classics,


We have in press and shall shortly have ready

Twenty Lessons to a Beginner


2

CLASSICAL MUSIC. FOR PIANO. #


Ajudicious selection from the works of foreign authors
wport the Pianoforte.
By Mr. W. S. B. MATHEWs.
N0 MORE APPROPRIATE PRESENT FOR A MUSICAL
FRIEND CAN BE FOUND.
of the highest rank. A glance at the contents will be
sufficient for players of musical discrimination. Printed This work is perhaps the most novel of any of the
Price reduced from $5.50 to $2.50 per Vol., from new engraved plates on finest quality music paper. of this very successful writer. The general
C O N T ENTS:
ine of it was foreshadowed in his article upon Ele.
POSTPAID. mentary Instruction Books, in the December issue of
AIR DE BALLET THE Erupe. It combines the following peculiarities:
ALBUM LEAF.
ALBUM LEAF BARGIEL 1. EAR TRAINING.-From the very first lesson there
AM MEER..
AT EVENING.
SCHUBERT
.SCHYTTE are exercises calculated to awaken '' educate the per
InstruMENTAL BARCAROLE..
BONNENUIT..
TSCHALKOWSKY
...NIEMANN
CANZONETTA............................................ JENSEN
ceptions of pitch and time relations, of which music as
to its form, is composed. The relation of tones to key,
A collection of Classical Pianoforte Music, by the best chord relations and time are taken up in their simples:
CANZONETTA
authors. This volume contains 512 pages, Sheet Music CANZONETTA
CHILDHOOD's MEYER
forms, and gradually developed to the complexity suit.
size, printed on fine music paper from engraved plates; CONSOLATION - LISZT able to pleasing pieces of the easiest kind, such alone as
elegantly bound in cloth, embossed in gilt. List of con CRADLE SONG ULF the first can contain. It is believed that the
FIRST MEETING NICODE method of doing this part of the work will be found not
FLEETING TIME.. HABERBIER,
tents mailed to any address. only practicable if carried out according to the directions,
but also explained with such clearness and particularity
as to enable the young teacher to apply the system with
out other help than the book itself.
W00AL. 2. TECHNIC AND TOUCH.-The foundation of
This volume is the same size and style as the Instru ianoforte technic is laid according to the ideas of Dr.
mental collection, but contains Vocal Music only. List ason's system, which not only develops the finger
of contents mailed to any address. No such collection
UET
MOMENT MUSICAL..
ability more rapidly, by far, than any other system, but
MURMURING ZEPHYR8 also assists in educating certain parts of what might be
of vocal music has ever before been published. NOCTURNE..........., called the Mental Technic of thinking music, upon
NORWEGIAN SONG.
ON THE RIWULET. which so much depends through the later course of musi
cal study. The exercises in arpeggios and scales
Popular 500. Music Books. are so valuable in this direction that it would be wise
to use them for practice if they had no value at all as
mechanical developers of finger power and facility, for
there is no other method in which this work can be done
One of the best collections of English and TRAUMEREI...... SCHUMANN so easily. - -

Song Bouquet. American ballads and songs with WILLAGE MUSICLANS. voN WILM
Cheapestfolio of music published. 224 pages, full sheetmusic size. ZUB, LAUTE........... ..HOF MANN The on. to a Beginner show the manner in which
Price, in Boards, $1.00
these exercises should be applied in the beginning of the
Companion to Song Bouquet. Contains - - -

course, and in this respect cover new ground.


Parlor Bouquet. instrumental music of different grades of Price, in Cloth, - - - - 1.50
3. DICTATION AND MEMORIZING--All the
difficulty, Great favorite, 224 pages, full sheet music size.
Vocal music of every description. Sure to amusements in the first ten lessons are to be dictated to
Song Diamonds. lease everybody. Contains selectionsfrom
---- the pupil and written down from ear, and in no single
such authors as Gounod, olloy, Aide, Claribel, Dolores, etc. instance learned from the notes. This method of pro
New elegant songs
and by the best cedure takes rather more time, but it results in develop.
Prima Donna Album.
-
Com

grace the library of every singer in the land.


times. Should
Q & C1 - D *> ing a manner of playing which is purely musical in its
essence, and as such closely related to all the later
Album of Sacred Music. - Adapted for use in the church
choir or home circle, Finest
a SS1C DuOS, growth of the pupil's musical powers. In this respect
the present work marks a wide departure from the mus
collection of music published for young organists and choir leaders. cular concepts and mechanical concepts which too often
Nos.1 and 2. These beautiful books
----'-- constitute the entire mental basis of elementary playing
Musical Chatterbox. without doubt, the most popular
-

and, in fact, often vitiate the work of those who arrogate


FOR PIANO AND WIOLIN.
collections of medium and easy grade songs and pieces. Each book to themselves the name of artists. -

contains eight beautiful illustrations, which will delight the young (With extra Violin part in separate binding.)
folks.
Another curious feature of the work, concerning the
Contains compositions by the best authors, and of value of which very likely there will be difference: ".
A collection of instrumental music, brilliant
Golden Hours. and attractive, and within the capacity of absolutely unequaled merit. They will be found equally opinion, is the gradual introduction of the staff of
pianists of moderate ability. It issure to please you. rather the method of preceding it with various simple
acceptable for concert performances or drawing-room notations, of atomic solfa pattern, the full staff coming
Classic -
Bouquet. We cannottotoo
especially earnestly
young recommend
pianists
it,
and students. pastime. The separate violin part relieves both per only at the twelfth or thirteenth lesson, and then as *
No such collection has ever before been offered at such a low price. formers of the discomfort of playing from one book. gradual evolution from the simpler forms preceding k
Issued in the same careful and costly style as Choice What Mr. Mathews has undertaken to do in this won
Reed Organ Folio. - Great care as
such pieces to use
taken the
beenwithin
hascome comonly
is, first, to give the pupil a start toward musical pla:
Classics. true way,
of a five-octavo organ, Should be on every parlor organ in the land. C O NT E N TS : ing; second, to introduce the notation in the hich
Will behalled
Parlor Dance Folio. dance with delight by private
ANDANTE AND MARCH... namely, as the means of expressing '' '.
parties. Contains a choice col
ANGELS SERENADE. the pupil already has within himself; and," on
lection of the latest dances, also the German, quadrille calls, etc. develop a musical touch, and lay a foundation ":
One of the finest collections of instru artistic playing "
which the highest grades of undoing
-
Piano Treasures. mental music by the best writers of afterwards be founded without anything. but
Europe and America, that has ever been issued in this country. The work is distinctly original and America".
there is no single element in it not tested and proven by
Song Treasures. Such authors
Burnay, Hatton, Abt, Sullivan,
as Tours, etc., arePinsuti,
repre: experience.
sented in its pages, and the best and most popular songs only have pay-SPECIAL OFFER.
bsen used. -

Grand Army War Songs, to assungbyour." Boysin


which is added Blue,
a selection we win send this work to any subscriber of Taft
who will send us 50 cents in advance of .
of Decoration Day and other special occasions. The choruses have orders recognized unless cash accompanies the sa
all been arranged for male voices, by Wilson G. Smith.
Any of the above books mailed, postpaid, on receipt of price. Address Publisher,
MUSIC AND B00K CATALOGUES MAILED FREE.
THEobor E PRESSER,
/* chestnut st., Phila. "
Price, in Boards, including separate Violin part, $1.00
|####|NA''' (), - ** Cloth, i. - - - 1.50

145 and 147 Wabash Avenue, Chicago. FOR SALE AT ALL MUSIC STORES.
-
-

2->

go. I
|D. -
* -

*:
- TE-F-Rs or os

IN TERESS.
Something New for Piano Students.
WILLIAM MASON
UPON
NORMAL COURS: -->OF

||||||}|
We have just published a second edition of this new
work by Dr. WILLIAM MAson, the acknowledged head of
PIANO. TECHNIC, DESIGNED FOR

the Musical Profession in America. It is called SCH00LS, TEACHERS and STUDENTS,


TOUCH AND TECHNIC, By VVM. B. VVAIT,

BY MEANS OF THE " EXERCISE, |Author
Phila.),ofSystem
Harmonic Wotation,
of Tangible Music(THEO, PREssRR,
for Use of the

= CON wiLLIAM MASON, Mius. Doc.


Mason's Two-finger Exercise had its origin in the old
Blind, Measure, Rhythm, and Form.

. & E::::::: -N
- -

days at Weimar-more than thirty years ago. It grew . The Normal Course is based upon the fundamental
out of a suggestion of Liszt's. Dr. Mason took it up, idea that, for the of the development, discipline
PAGE employed it with the happiest results in his own practice and information of the mind, and for teaching the learner
Musical Items. h.p. trenian. ................. 69 teaching, and in the course of thirty years' experi- | how to think and to do, Technical studies in Music are as
Jerusalem.... ............... .
ce as a teacher he has greatly developed it in various useful as any other branch.
-... 6.0 -
-

Who Can Study Music with th


cess. C. W. Landon .... ...... directions, until it is now FEATURES OF THE B00K.
Movements of Nerves and Muscles.
On Thorough Study. T. Presser ... ....
Clear, concise statements of facts and principles.
on Piano Playing. F. Wieck
| One Side Specialism in forte Playing.
J. S. Van Cleve ......... ......... ... ......
-

72
T if Mill','l','l'hit ... #:
KNOWN TOIt arranges the materials in grades, by Divisions,
Commission to Teachers once More, J. C. Fillmore
Manual of Music W. M. berthrick............. 2 PIANOFORTE PEDACOGICS. Courses and Steps.
A Few Questions Answered. J. S. Van Cleve... It exhibits a '' '' order of development.
Chatson Technical St
Publisher's Notes....
-
MASON'S TOUCH AND TECHNIC, of '" is as clearly laid out as in any other branch
mestions and Answe
ow Can Individuality of the Musical Profession
Be Raised to a Higher Level. E. A. Smith....
-

is in sheet music form, Sixteen pages. Nine pages are " based upon understanding of means as applied
New Publications ........................ devoted to
EXPLANATIONS OF TOUCH, to
p.'ends. . -

It permits the attention to be given


g
-

to the hands
ands iin
The Raifclub of New York.
- The Electro-Clavier. F. W. Hale practice, and not to the pages.
Sixth Program from Rubinstein THE TWO-FINGER EXERCISES, In schools, it will secure uniformity in the instruction
Cyclus-Chopin............. ...
To the Earnest Student and Player of the Piano
forte y Mason ....... ....................
-

THE MODE 0F PRACTICE,


Positions AND METHODS OF USING THE *:urnishes
|tions, as inishes the bases f
other subjects.
the
1
bases ior Oral
recitati
recitations an
d -

examina -

Things Worth Teaching, No. 2. F. A. Lyman.


MUSIC. FINGERS AND HANDS, Etc., || It is logical, systematic, thorough.
by the sea. Prentice.... ...
and five pages contain the Exercises themselves. The It is a book for use by schools, teachers and students.
Isabella Gavotte Drieppe explanations are singularly clear: Dr. Mason having PRICE $2.00, BOUND.
Emogene Waltzes. Messer...
taken the greatest possible pains to guard against the
misapprehensions to which students are liable in . We will make a deduction, as usual, to those ordering
- - -

# z'). o novel and so diversified in their method the work in advance of publication. We will send the
**t, -

of practice as these. work, ". for only 60 cents to those sending cash
opinion ofmany of the best pianists and teachers ' order. The work will not be ready for several

-Z.

#150 PERYEAR
Mason's two finger Exercises are the most valuable months.
contribution to Pianoforte Pedagogics made Address the Publisher,
during the past half-century.
PIRICE S1-OO
|
Address Publisher, THEO. PRESSER,
| THEO. PRESSER.
1704 Chestnut St., Phila, Pa,
I. l | . -
})
#. 1704 Chestnut St., Philadelphia, Pa.

|
-

T EL E. E. 'D' U. D. E.
-
OMETHINC
TO REMEMBER.
a scalames || || ||"|| || ||
|

Publisher & Importer,


35 UNION SQUARE, - NEW AND LONDON,

MANNS NEW
ELEMENTARY SCHOOL FOR THE PIANO.
By JEAN MANNs.
NEW YORK. || || || || ||
Presenting the fundamental ''. of music and piano play
ing practically exemplified in a strictly systematic progression by a
series of pieces and preparatory mechanical exercises. All knowl. G. SCHIRMER'S EDITION Write for Catalogues of Novelio's original octavo
edge of, and proficiency in, the art is based upon a proper under
standing of the elementary principles: to present such elementary Edition of Operas, Oratorios, Cantatas, Masses,
materials, in a comprehensive and strictly progressive form, is the OF SONG ALBUM.S.: | Glees, Madrigals, Part Songs, Trios, Duos
object of this work. and Songs, Anthems, Church Ser
ALBUM OF SACRED SONGS. 20 Songs, e.
Price, in Boards, 82.50. Soprano or Tenor, and for Mezzo-soprano or Baritone. Boards, vices, Chant Books, Hymn
each, net, $1.50 Books and Psalters.
ARNoud, J.
THE MODERN SCH00L OF PIANOTECHNICS, Songs for Young People; from the French. e. f....net, 1.00 - -

By A. F. Lere. AL, Song AGEORGES,


BIZET. " e.f. Soprano or Tenor. 2 Vols., each...net, 1.50 THEORETICAL AND PRACTICAL
is a practical systematic and exhaustive work, comprising all the
means necessary to acquire a perfect mastery of the instrument. The same. Mezzo-Soprano or Baritone, 2 vols., each.....net, 1.50
DELIBEs. LEo. INSTRUCTION BOOKS.
Price, in cloth: Part 1, 82.00; Part 2, siso, Part Song Album. e. f. Soprano or Tenor........................ met, 1.50
3, 81.50. Complete, in Boards, 84.00. GO-DARD.
The same. BENJAMIN.
Mezzo-soprano or Baritone........................... net, 1.50 ELEGANTLY BOUND B00KS SUITABLE FOR MUSICAL
US P. RESENTS
s: : , e.f...................................net, 1.50 AND SCHOOL PRI2Es.
RAYMOND'S CABINETORGAN INSTRUCTOR, und(Spring
Six eVillanelles
Rame. in cloth...... .......-net
Songs). e. f...................... , 2.50
... net, 75 Full Scores and Orchestral Parts.
By Louis RAYMOND,
is a '" and sensible method for the study of music and how GoD Non, Cry.arties.
to play the instrument. The elementary part is particularly free Biondina. A Collection of 12 Songs. e. f.i................net, 1.00
from '. and hence readily understood. The organ
Ieces have been judiciously selected and progressively arranged and
ngered, while the songs, with accompaniment, will be found
OCA *:::...'"
um. e. g. 4 Vols, each...................-net, 100
The same. Vols.
Vols. IIII
andandIIIV
together, bound
together, bound
in in cloth...... net. 2.00
cloth.........net,
PIAN[. FORTH AND OTHER |NSTRUMENTAL MUSIC.
specially well adapted.
Price, in Boards, 81.50. Song Album.
JENSEN, ADOLF. e.g. Soprano or Tenor. 7 Vols., each, net, 1.00 ORGAN AND REED ORGAN MUSIC. -

The same. Mezzo-Soprano or Alto. 7 Wols., each.......... net, 1.00


TIEPKE'S MUSICAL WRITING B00K. The same. Bound in cloth. 7 Wols., each..................... net, 175
For acquiring a thorough familiarity with musical notations: and KJERULF. HALFDAN. SACRED MUSIC WITH LATIN WORDS.
Album of Songs, e.g. 2 Vols, each......................net, 1.50
containing a series of musical examples to be expressed musically
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WOL. W.III. NO. 5.
PHILADELPHIA, PA, MAY, 1890.
HOME. t VLADIMIR DE PACHMANN gave three Chopin recitals on
T H E E TU D.E. April 7th, 8th and 9th, an orchestral
concert on the
MR. THEopoRE THOMAs will be married to Miss Rose 11th, at which he played the Chopin F minor concerto,
PHILADELPHIA, PA., MAY, 1890. Fay, of Chicago, on May 7th. and Mme. de Pachmann made her New York dbut in
THE Strauss orchestra will give its first American Liszt's E flat concerto; also three supplementary con
A Monthly Publication for the Teachers and Students of
concerts at Boston on May 14th to 18th. certs, at the last of which he performed compositions by
Music. THE National Conservatory Trio Club, of New York, Bach, Beethoven, Schumann and Henselt.
SUBSCRIPTION BATEs, $1.50 PER YEAR (payable in advance). gave a musicale at Washington, on April 16th. STEINwAY Hall, since its erection in 1866 the most
Single Copy, 15 cents. HERVE D. WILKINs is giving a series of organ recitals popular of concert rooms in New York City, is to be
The courts have decided that all subscribers to newspapers are held at Rochester. The fifth took place on April 19th. transformed during the coming summer into rooms de
responsible until arrearages are paid and their papers are ordered to be
discontinued. A SEASON of ten nights of German Opera was given at voted to warehouse purposes. The smaller hall only
THEODORE PRESSER, Boston, beginning with Tannhuser, on April 7th. will be retained for piano recitals and chamber music
1704 Chestnut Street. PHILADELPHIA, PA. concerts. All the great artists, singers and instru
Miss AGNES HUNTINGTON has signed a contract for a mentalists have been heard in Steinway Hall, and its
EDiTOR8 tour in America next autumn. She will appear in Paul acoustic properties were perfect.
W. S.B. MATHEWS, JOHN S. VAN CLEVE, Jones.
JOHN C. FILLMORE, E. E. AYRES,
Mrs. HELEN. D. TRETBAR. Miss ADRLE AUS DER OHE sailed for Europe on Satur
Managing Editor, THEODORE PRESSER. day, April 26th, after a most busy and successful Ameri JERUSALEM.
Can SeaSOD1,
(Entered at Philadelphia Post office as Second-class Matter.)
MRs. Louis MAss has been invited to play her late THE FIRST PERFORMANCE.
husband's piano concerto before the M. T. N. A.'s con
MUSICAL ITEMs. vention to be held in Detroit. IT is pleasant to be able to record so notable a perform
THE Hndel and Haydn Society of Boston celebrated ance in every respect as that of the first production of
its seventy-fifth anniversary by a festival held in that city Dr. H. A. Clarke's new oratorio, Jerusalem, by the
[All matter intended for this Department should be addressed to during the week beginning April 6th.
Mrs. HELEN. D. TRETBAR, Box 2920, New York City.] | Philadelphia chorus, at the Academy of Music, April
THE Bridgeport (Conn.) Choral Society, Mr. S. S. 24th. Once more it has fallen to the lot of Philadel
FOREIGN. Sanford conductor, performed Rossini's Stabat Mater
and Gounod's Gallia, at its recent concert. phia to be the home of a musician who has proved him
Joachim has written a third concerto for violin.
AFTER a successful tourne through the Western cities, self in the foremost rank of American composers. Nay,
GoDARD has completed his new opera Dante. young Otto Hegner gave a farewell concert in New York, it is our opinion that Dr. Clarke has won for himself an
REMENJI, the violinist, recently gave his fiftieth con on April 23d. He sailed for his Swiss home on the 24th. honorable place among the greatest oratorio composers
cert at Cape Town, South Africa. MR. GUSTAv HINRICHs intends giving a season of Eng. of all time. With fine literary discrimination he has
WAGNER's Tannhuser met with great success at lish opera in Philadelphia during the summer. Weber's chosen the most appropriate words from the Bible for
its recent first production in Moscow. Oberon and Balfes Satanella will be added to the development of his theme, which is full of dramatic
Moszkowski has finished his second orchestral suite. his former repertory. possibilities, not, it is true, of that kind in which indi
It was produced with success at Warsaw. THREE Von Blow recitals were given in New York,
during the first week in April. After his tour through viduals are the dramatis personae, -for, like the Messiah,
As a recent concert in Berlin, Mme. Amalie Joachim the principal cities he will conclude his New York series there are no characters in this oratorio.
sang the whole of Schubert's Winterreise. of recitals with another, on May 1st. The dramatic force is owing to the wonderful power
MME, SoPHIE MENTER, the great pianist, played at the A sRAsoN of opera in English will be given at New with which the poets of the Bible personified their ideas:
Crystal Palace concert, London, on April 19th. York, beginning on May 26th. Miss Sophie Traubmann thus, the dramatic play is between ideas clothed in meta
and Signor Tagliapietra will be among the singers, and |phoric,
. MME TERESA CARRENo has been giving three recitals the company is to number over one hundred persons. intensely picturesque language, instead of between
in Dresden, and winning golden opinions in Vienna. | individuals. And this, we thoroughly believe, is the
MR. CoNRAD ANsoRGE, the pianist, assisted by Theo
A: KREISIER, the young violinist who visited dore Thomas and his orchestra, and Mr. Rafael Joseffy, only sort of dramatic form in words which is capable of
merica with Rosenthal, the pianist, made a brilliant gave an orchestral concert at Steinway Hall, on April the highest musical setting. Unhampered by the finite.
reappearance in Vienna, not long ago. 15th. The occasion served to introduce his new sym |ness which always attaches itself to the individual, the
At the last St. Petersburg symphony, Anton Dvorak phony Orpheus. Mr. Ansorge also performed Brahms' music can soar to the divine height toward which the
conducted his first symphony in D minor, winning an first piano concerto.
MR. G. H. WILsoN, the musical editor of the Boston idea aspires. To say that Dr. Clarke has, in this case,
-

*ation. Rubinstein gave a banquet in his honor.


Traveller, will have the seventh volume of his Musical composed music which not only corresponds to the
h MMs. HELEN Horekirk appeared at a Vienna Phil. Year-Book ready about May 20th. In its 150 pages, it atmosphere of the words, but is an ideal interpretation
Concert, under Hans Richter's direction, in a ives the musical occurrences of the larger cities of the of them, is not to say too much. The effect is every
ach concerto for flute, violin and piano with orchestra. States and Canada, besides the new compositions where enhanced by the orchestration, which in its skillful
Dvorak has accepted a commission to compose andCINCINNATI
#" conduct a setting of the Requiem mass of the
a table of first performances.
will have its ninth biennial musical festival
management shows the touch of genius.
Catholic church for the Birmingham Triennial Festival, from May 20th to 24th. . Mr. Theodore Thomas is to | Although the oratorio is divided into only two parts,
next year. conduct. Among the soloists are Messrs. Edward Lloyd, the first part naturally redivides itself into two contrasted
HANs HuBER: the Swiss composer, has just finished a the English tenor, and Emil Fischer., Saint-Saens Le halves, treating of the material prosperity of Jerusalem,
Deluge, Bach's Saint Matthew's Passion, and and then of the Captivity.
"...symphony in A major. His Tell symphony was Verdi's Requiem Mass are among the works to be It opens quietly and impres
in New York, ago, by the Phil sively, with a few chords for full orchestra, followed by
:* Society. Little Otto Hegner is Hans Huber's given.
MR. RAPHAEL Jose FFY will give a piano recital before a short bass recitative, when the violins come in with a
the Music Teachers' National Association's convention, rushing accompaniment, in the midst of which the full
b DuRING July and August of 1891, Mme. Wagner will held in Detroit next July. An extra concert will also chorus bursts forth in long sustained notes, with the
# out Tannhuser, Meistersinger" and Par be arranged in Detroit at that time, in which Theodore words, Great is the Lord. In the whole of this
# al." In 1892, Lohengrin" will be produced for the Thomas and his orchestra and Mr. Joseffy will parti.
' time in, Bayreuth, and in 1893, Der Ring des cipate, the latter to be heard in Brahm's second piano. chorus the voice parts are comparatively simple, while
ibelungen is to be revived. forte concerto. | the orchestration is very full and effective. After this
7O THE ET UD E.
chorus comes another recitative for bass, followed by a music's most simple means can give adequate expression Where music has not been common in the family, the
lovely aria descriptive of the beauty of the situation of to the grandeur of the idea. pupil learns more slowly at first; such pupils need all of
Zion: quiet and melodious all through, it works up into A word should be said about the performance, which, the teacher's patience and skill in keeping them inter
a climax at the end, which is capped by the exultant though somewhat lacking in finish, was, on the whole,
march chorus, Walk about Zion. There is almost a wonderfully good, especially in view of the fact that it
ested and advancing, and for his reward, many times, in
the end they will be his most brilliant pupils.
i
barbaric grandeur about this chorus, with its trumpet was a new work and a difficult one to sing. The balance Some pupils, who have taken lessons of other teachers,
blasts and its steady march rhythm; its very exultation between the parts was not as perfect as one could wish; will claim to hate music; these need to be questioned
seems a forecast of the desolation which is shortly to the brass was at times too loud, while the chorus might and tested closely to find if their dislike of music is a
follow. In the next number, a sextelle, Dr. Clarke has easily have been larger, to advantage: but it is almost lack of taste, or from an uninteresting course of study
shown the enviable capability of being profoundly contra hypercritical to mention defects so small when there was
puntal at the same time that he is interesting. It is, so much to be praised.
perhaps, a trifle too long, for the degree of intellectual Mr. Hopkinson, the bass, was hardly up to his solos,
coupled with poor teaching, or, if it is from the necessary
drudgery of the first few months of practice, while brain
and hand are gaining necessary skill for playing interest
:
*-

*:
attention necessary to follow, for any length of time, the which require a voice of heavier calibre; the soprano, ing music. Here is where the good teacher can make the
continuous motion of six voices is something not possessed Mrs. Ford, was fairly good, while Mr. Auty, tenor, and
rugged path smooth and inspire the pupil with ambition.
by many. This would, however, not be noticed so much.if Mrs. Osbourne, alto, sang with much taste and feeling.Many times, the pupil's dislike of music is unqualified .
it were not followed by another chorus, which, although FRANK BABB.laziness, a simple hating of work and study; this class
in itself a fine composition, produces just here the effect is hard to deal with ; they must be interested as much
of too much solidity. The turning point is reached at LECTURE-RECITALS, as possible. Sometimes irony and sarcasm will start
the conclusion of this chorus; the alto in a mournful
AMoNG the notices which have been crowded out is them into better work. Lazy people are never sensitive,
recitative announces, But Israel forgot God their
Saviour. Then after an agitated introduction on the
that of the Lecture-Recital, given in March, by Mrs. so make the sarcasm cutting and keen.
Mary Gregory Murray, before the New Century Club of The natural endowments of him who would make
orchestra the soprano sings a wonderfully dramatic solo
this city. Mrs. Murray, who is a pupil of William music teaching a life work, must be of a higher order
to the words beginning, Hear, O Heavens, which than those of the amateur. He must appreciate the best
Mason, and well-known as one of our leading pianists,
leads directly into a furious chorus in fugue form, Be belongs to that happily increasing class of musicians who music; his ear must be true in intonation and sensitive
hold, I bring Evil upon Jerusalem. The way in which as to quality of tone; he should have an innate feeling for
recognize that piano-playing relates to the art of music,
the theme is managed in this chorus shows what a won time, rhythm or the measured flow of music. Other
and not to the practice of gymnastics. This is worthy
derful facility in contrapuntal writing Dr. Clarke has. necessary qualities of mind and heart are, a dramatic
of mention, because there have been periods in contem
After it has gone through all possible variations in talent, a deep emotional nature, sensitively strung nerve,
porary history when muscle has had much the better of
imitation and inversion, toward the end it is heard in a strong imagination, unbounded enthusiasm for music,
augmentation in one voice at a time, while the other
music, and the piano has been a parade ground for
a gift for technic and touch, brains, patience, and an am
voices are rushing on with the theme in its original form. fingers. Possessing great talent as a reader and player, bition to excel, a love of hard work, and, not least of all,
The effect of the whole chorus is of relentless power
with a brilliant and musical touch, Mrs. Murray is one
a Christian character. To these rare qualities of heart
unmixed with pity. The dramatic interest increases of the artists who are never satisfied unless they truly and brain, he must have an unconquerable desire to follow
from here to the end of the part. The fierce anger of
interpret. To this temperament skill is merely a means,
music as his life's work, not from its imagined ease or of its
the Lord is shown in a bass solo with a peculiarly effective and the highest ambition is to render perfectly and with being a pleasurable occupation, or for the money made *:
accompaniment, the most striking point of which is, clear understanding the intention of the composer. The by it, but because he feels that he cannot help himself,
that nearly all through it is heard a low roll on the brain dominates technique, the ear compels the open for the very love of the art which impels him onward. .
kettle drum, breaking into crescendo passages, in which sesame to the secrets of melody and harmony. The
wood instruments play ascending chromatic scales. The
lecture was illustrated by compositions chosen both
because of fitness and familiarity, and was a broad claim MOVEMENTS OF NERVES AND MUSCLES IN
chorus, By the Waters of Babylon, following this solo, PLAYING A PIECE OF MUSIC.
is perhaps the most beautiful one in the first part. The for the superiority of melody over harmonic conundrums,
melancholy theme which is given to the voices is made and charlatan combinations. Mrs. Murray has an ani
mated, easy delivery. The lecture has since been re man SCIENCE, says Sir James Paget, will supply the natural
more so by the sobbing of the orchestra. But the very with wonders The author had once
depths of woe are reached in a soprano solo with male peated to a large audience in Allentown, Pennsylvania, heard #Mlle. Janotha play a presto by Mendelssohn. She
5595 notes in four minutes and three seconds.
and will be given in this city again this month.
chorus, in which the words We are brought very low very one of these notes involved certain movements of
are joined to a musical phrase as simple and as expres a finger, at least two, and many of them involved an
[For THE ETUDE.] additional movement laterally as well as those up and
sive as the words. This is another turning point. The
tenor announces in a recitative the mercifulness of God, WHO CAN STUDY MUSIC WITH A HOPE down. They also involved repeated movements of the
OF SUCCESS7 wrists, elbows and arms, altogether probably not less
and follows it with an exquisite solo to the words Who than one movement for each time.
is a God like unto thee. Therefore, there were three distinct movements for
BY CHARLES. W. LANDON.
The character of the music in the second part is quite each note. As there were 24 notes per second, and each
different to most of that in the first part; a God of power How can we know that a person has enough taste or of these notes involved three distinct musical movements,
that amounted to 72 movements in each second. More
has given place to a God of love, material grandeur to talent to study music with a hope of success? This is a over, each of these notes was determined by the will to
spiritual grandeur, a change which the music subtilely but question which the teacher has often asked of him, and a chosen place, with a certain force at a certain time
distinctly emphasizes. We have not space here to men he must give an honest answer, remembering that it is and with a certain duration. Therefore, there were four
distinct qualities in each of the 72 movements in each
tion all the beauties which struck us; it is, in fact, im better to tell the exact truth at first than to face a failure second. Such were the transmissions outward. And all
possible, in one hearing, to form an opinion of the later on, which failure would imply falsehood on the those were conditional on consciousness of the position
comparative merits of the different numbers. All we teacher's part. of each hand and each finger before it was moved, and
know is that beautiful and varied melodies and rich Marx says: He that feels pleasure in music, may by moving it of the sound and the force of each touch.
Therefore, there were three conscious sensations to
harmonies follow each other in such quick succession with confidence devote as much time and labor to it as every note. -

that we are positively bewildered with the feast of sound. circumstances will allow. So long as it is a labor of love There were 72 transmissions per second, 144 to and
One point, however, which we especially observed, was with him, it will be a labor of profit also, and every one fro, and those with constant change of quality. And
that there is not in a single one of the choruses or the will be led so far as his sincere but unalloyed pleasure in then, added to that, all the time the memory was remem.
bering each note in its due time and place, and was
solos an anti-climax; the interest always increases from music calls him. The taste of the individual is worth exercised in the comparison of it with others that came
the beginning to the end; and what is true of the parts is cultivating in proportion to the pleasure felt by the in before. So that it would be fair to say that there were
true of the whole. The interest increases from the dividual in the art itself. But Bacon says: Choose not less than 200 transmissions of nerve force to and
beginning until what seems to us the perfection of the life that is most useful, and habit will make it the from the brain outward and inward every second, and
during the whole of that time judgment was being exer
spiritual beauty in music is reached in the unaccom most agreeable. cised as to whether the music was being played better or
panied quartette, Eye hath not seen, ear hath not But to give a more practical answer, any one who can worse than before, and the mind was conscious of some
heard. This is followed by the final chorus and tenor sing, even a little, can learn to play sucessfully; but the of the motions which the music was intended to inspire.
---

solo, The New Jerusalem descends, which is a ability to sing is not necessary, for he who enjoys music,
fitting and dignified close, with no trace of the almost and can perceive difference enough in tunes to enable THE editor desires to call special attention to a circu
barbaric splendor of the choruses near the beginning; him to say, if the piece was fast or slow, sad or gay, lar printed in this number of the ETUDE, calling atten.
growing gradually more quiet toward the end, it finally pleasing or unpleasing, can learn to play. tion to the publication of the famous lectures of the late
dies away pianissimo ; the chorus, unaccompanied, sing Fashion has much to do with the desire to learn music, Karl Merz, of Wooster, O. They contain a gold mine of
the words, Even so, come Lord Jesus, to the simplest but the teacher can test the candidate's amount and instruction and information. No musician can afford to
major chords, and softly the full orchestra plays the quality of taste by playing (not singing, for the words be without them. We shall publish one of the lectures
closing chords. The effect of this quiet ending, so might influence him instead of the music) two or more (Genius) in the ETUDE. We predict that everybody
different to the time-honored fugue with which the pieces, in as many different styles, and questioning as to who reads this lecture will EAGERLY subscribe. The
oratorio of the past has usually ended, is marvelous. which piece he likes best, the faster or slower, which widow will receive all the profits that accrue. Certainly
The God of Love has been made manifest, and only was brilliant and gay, and which sombre and slow. musicians will take pride, therefore, in subscribing.
7
- THE ET UD E.
WORTH REPEATING, of mortals, because his art has completely absorbed all his tapped out with unendurable rigidity by the aid of the
vital force; he has had to bury himself in his art and shut arm and forearm. A superior technique, can with few
Under this Department will appear articles that have been in out all else, in order to reach his high artistic standard. exceptions be more quickly and acquired in
print, but are worthy of a repetition. We will be pleased to receive Music is a growth, and a very slow one at that, and the this way than when the elbows are required to contribute
contributions from our readers, from resources outside of the back
numbers of THE ETUDE.] cramming process will surely result in future musical their power. I do not, however, censure the performance
bankruptcy, when all must be begun over. The desire of many virtuosos, who execute rapid octave passages
ON THOROUGH STUDY. to shine in public destroys all real natural growth. A with a stiff wrist; they often do it with great precision,
student not appear in public until he has accumu
in the most rapid tempo, forcibly and effectively.... It
TALENT alone does not make a musician. A musical lated considerable technicuntil he can be tolerated, must, after all, depend upon individual peculiarities
organization does not necessarily bring with it a desire be listened.to, until habits are formed, or until some whether the pupil can learn better and more quickly to
for work or knowledge. Precocity does not give all the degree of individuality has shown itself. Preachers do play such passages thus or with a loose wrist. The
strength to ascend Parnassus' Heights; nor can the not go out to preach until they can, at least, read readily present style of bravoura playing for virtuosos cannot
sacrifices you may be willing to make for music be and not stammer. Lawyers do not appear in public and dispense with facility in octave passages; it is a necessary
measured by your love for it. Thoroughness in your try cases when they ought to be silent listeners to others. part of it.
study is the great conquering weapon in the pursuit of The ill-concealed desire to shine in public is ruinous to I will now consider the use of loose and independent
music. It implies all the requisites for the high attain thorough work; besides, that ought to be an aim, the fingers, in playing generally; i.e., in that of more ad
ment, ambition, energy, perseverance, enthusiasm, love, anticipation of which should inspire thorough work. vanced pupils who have already acquired the necessary
etc. Without these, talent will only be a fruitless aggra The manner in which music is taught and studied is elementary knowledge. The fingers must be set upon
vation; without it nothing real will ever be accom all-important. If the teacher drives and is over anxious; the keys with a certain decision, firmness, quickness,
plished; for the lack of it, music is willingly laid aside works for temporary effects, or builds upon aught else and vigor, and must obtain a command over the key
as a good riddance when the teacher's influence is with. than a solid technical basis; if the principles used in board; otherwise, the result is only a tame, colorless,
drawn. playing are not attacked boldly; if the pupil is fed on uncertain, immature style of playing, in which no fine
Why is it that the study of music is often begun when namby-pamby, la da dah kind of music; if there is no portamento, no poignant staccato, or sprightly accentua
the lisp still lingers on the lip, and is continued steadily system, no exaction, no aim, no end; and, then, if the tion can be produced. Every thoughtful teacher, striv
on till full maturity has set in, and yet no satisfactory scholar carries on a feeble, sickly mode of study; if ing for the best result, must, however, take care that this
results are , no real pleasure for performer or music is pursued for aught else than the love of the art; shall only be acquired gradually, and must teach it with
listener? Superficial study could answer for an untold if false notions prompt its study; if it is only carried on a constant regard to individual peculiarities, and not at
amount of useless wooing of the Muses. because it is begun and no fit opportunity is offered to the expense of beauty of performance, and of a tender,
What can be more saddening to a parent than to feel get out of it honorablythen music is a failure, a rob agreeable touch.
that her child's course is drifting toward negligence, ber of life, a murderer of time, a destroyer of the beau Expression cannot be taught, it must come of itself.
frivolity and mediocrity? What ought to fill the pupil's tiful, and a dangerous occupation, and, above all, a But when are we to look for it? . When the stiff fingers
heart more with shame than for him to be conscious he useless waste of money. are fifty or sixty years old, and the expression is impris
is doing wrong to himself as a student by the superficial When we see how music is taught and studied, there oned in them, so that nothing is ever to be heard of it?
skimming, smattering manner of doing his duty. cannot be else than dissatisfaction at the end. No This is a widespread delusion. Let us look at a few of
What can be more destructive to the building up of a wonder the Muses are neglected after the school days those to whom expression has come of itself. X. plays
good character than to trifle with one's self? # Can are over; no wonder that graduation comes to the relief skillfully and correctly, but his expression continues
a person feel that self-respect he should, when he allows of the weary struggler; no wonder that matrimony crude, cold, monotonous; he shows too pedantic a solici
indolence and indifference to hold sway, where industry strikes dumb the once noisy piano; no wonder that the tude about mechanical execution and strict time; he never
and earnestness should rule. mother intimates humbly, with considerable sadness in ventures on a pp., uses too little shading in piano, and
To be anything but thorough means a waste of exist. her tone, that she once studied music. No one would plays the forte too heavily, and without regard to the
the conclu instrument; crescendi and diminuendi are inappropriate,
ence, of life, of all. Thoroughness is synonymous with ever have known it had she not said so. So
greatness, nobleness, respect, esteem, usefulness and sion of the whole thing is let us prosecute our often coarse and brought in at unsuitable places; and
renown, while superficiality is crushing, belittling, nar work thoroughly. Let us attain a height that will re his ritardandi ! they are tedious indeed! But Miss
rowing, ignoble and contemptible. Who ever became flect pride on us. Let us obtain a possession that we Z. plays differently and more finely. Truly, she plays
will always hold dear. Let us strive to surpass our differently; but is it more finely? Do you like this
great by forming habits of carelessness and indolence, previous
and where is there any worthy person who is not thorough your guide.effort. Above all, let the love of true art be entle violet blue, this sickly paleness, these rouged
in what he undertakes? The trifler, like the lame and Search for the truth; then you will have at the expense of all integrity of character?
laggard, is pushed to one side in this age of progress. an accomplishment that you will carry beyond the four this sweet, languishing style, this rubato
The easy-goer and the good-natured fool are driven from walls of a college; that will not cease with matri and dismembering of the musical phrases, this want of
the field of action, down to the lower haunts and posi T. mony, nor be discontinued with the teacher's visits, time, and this sentimental trash? They both have
PRESSER.
tions in life, by the energetic, driving and determined talent, but their expression was allowed to be developed
men of the day. For persons to undertake and
-

of itself. They both would have been very good players;


prosecute; year in, and year out, any occupation they THOUGHTS ON PIANO PLAYING. but now they have lost all taste for the ideal, which
know in their hearts they care nothing for, is worse than manifests itself in the domain of truth, beauty and sim
treason, false love and hypocrisy. It is a sin against BY FRED. WIECK. plicity. If pupils are left to themselves, they imitate
one's self to neglect doing everything we have to do with THE age of progress announces, in '' also, the improper and erroneous easily and skillfully; the
all our might. If what we do is devoid of love, earnest. a higher beauty than has hitherto existed. Now, I right and suitablelittle with difficulty, and certainly unskill
ness, enthusiasm and spirit, we are lowering ourselves demand of all the defenders of this new style, wherein fully. Even the fellow who can hardly speak learns
into mere machines, mere automatic apparatuses.
ook about on nature.
is this superior beauty supposed to consist?. It is useless to use naughty, abusive words more quickly and easily
What earnestness, and faith to talk, in a vague way, about a beauty which no one can than fine, noble expressions. What schoolmaster has
fulness, and thoroughness do we find? Man only does explain. , I have listened to the playing-no, the thrum. not been surprised at this facility, and what good old
his work halfway. "Man only degrades his gifts. Man ming and stamping-of many of these champions of the aunt has not laughed at it? But, you say, It is not
only misuses his power. He is the only trifler in all right to
modern style of beauty; and I have come to the conclu necessary; force the feelings of others! That is quite un
nature. but it is possible to arouse the feelings of
sion, according to my way of reasoning, that it ought to
others, to guide and educate them, without prejudicing
# the bee; with what deadly earnestness he flies be called a higher,-quite different, inverted beauty,
swiftly by you? The deer-hound pursues his prey till he their individuality of feeling, and without restraining or
a deformed beauty, repugnant to the sensibilities of all
# down dead. The birds warble their joyous songs mankind. But our gifted age of the future protests disturbing them, unless they are on the wrong path.
""le morning, when a drowsy stupor still possesses all against such cold conservatism. The period of piano were Who has not listened to performers and singers who
mankind. What a lesson in faithfulness and industry is fury which I have lived to see, and which I have just ridiculous otherwise musical, but whose sentiment was either
the noble horse and lusty steer? or lamentable?
described, was the introduction to this new essay, only a -

Our prayer and daily cry should be not for more talent, feeble attempt, and a preliminary to this piano future.
or greater nor for more time, but for a de Should this senseless raging and storming upon '' MOR SALE.-The following piano works, finely bound
'mined purpose, for a oneness of aim, for a soul lit up where not one idea can be intelligently expressed in a in half morocco, will be sold at a great sacrifice.
with fiery earnestness, for undying zeal, for the courage half-hour, this abhorrent and rude treatment of a grand The copies are almost new, and will be sold for about
#" and battle till the foe lies crushed beneath our concert piano, combined with frightful misuse of both what it cost to bind. The works are all in the celebrated
into agonies of horror and Cotta edition, and every one complete. The price here
What a lesson can be gathered from the germination pedals, which puts the hearer for the unbound. We will sell the
spasms of terror, ever be regarded as anything but a re. given isforthe retail
of a seed; how uniformly the germs obey their destiny? turn to barbarism, devoid of feeling and reason? This bound one half of the prices here given, namely:
"ever carelessly a seed may be set in the ground the is to be called music! music of the future! the beauty Clementi Sonatas, and Other Pieces for Piano.
#" which form the root, and that which is the archi. of the future style! Truly, for this style of music, the Edited by Dr. S. Lebert. In two vols. Each $3.00.
* of the stem, will seek their way-the one to light, must be differently constructed, the feelings must Dussek Sonatas and Other Pieces for Piano. In
the other to darknessto fulfill their duty. The obstruc. ears
be differently constituted, and a different nervous system two vols. Vol. I, $1.75; vol. II, $1.50.
"on of granite rocks cannot force the rootlet upward nor must be created ! For this again we shall need surgeons, Schubert Sonatas and Other Pieces for Piano. Three
drive the leaflet downward. They may kill the germs by who lie in wait in the background with the throat im vols. Each $3.00. -

exhausting their vital powers in an endeavor to find


. What a new and grand field of operations lies vols. Weber Sonatas and Other Pieces for Piano. Two
* Proper element, but no but obstruction can make a provers.
open to them! Our age produces monsters, who are in Vol. I, $3.00; vol. II, $1.50.
single blade of grass do aught strive to fulfill the end Address THILLE, care of Etude Office.
sensible to the plainest truths, and who fill humanity
for which it was created. Would that man were equally with horror. Political excesses have hardly ceased, when
true to the of his existence, and would suffer
neither !he rocks of selfishness nor the false lights of still greater ones must be repeated in the world of music, WE beg to state that the estate of the late Karl Merz
But comfort yourselves, my readers: , these isolated consists principally in a very valuable library, which is
"'ptation to force or allure him from duty to his God. instances of madness, these last convulsions of musical
'*turn to our subject, and with a more direct appli
cation to piano playing: . There are numerous tempta insanity, with however much arrogance they may be for sale; everything touching upon music can be found;
proclaimed,
tions for Wrongdoing in the study of the pianoforte that will come when will not take the world by storm. The time many works are nearly three hundred years old. If you
make it very difficult to escape contamination. Here of complimentarynotickets, audience, not even eager possessors desire a complete catalogue of said library, address
but only a few needy hirelings,
".9f the things that breed carelessness and bad
habits. The enormity of the work to be done is appall will venture to endure such concert performances of Johannes Wolfram, Canton, O., who has charge of the
future. library, and who will cheerfully give all information on
# and bars the idea of ever accomplishing the the -

The tones which are produced with a loose wrist are the subject.
'ghly, if a thoroughly artistic pianist is not con. always more tender and more attractive, have, a fuller
with Horace's Odes, nor is not given to quota
ions from the Koran, he can, at least, have the sympathy sound, and permit more delicate shading than the sharp A truly inspired artist always plunges into his work
tones, without body, which are thrown or fired off or with enthusiastic abandon.Wagner.
'72 T EL E E T U D E.
ONE-SIDED SPECIALISM IN PIANOFORTE NEW PUBLICATIONS, ing circumstance, which no liberal-minded person will
PLAYING, begrudge him, that the Manual is in a fair way to make
MANUAL OF MUSIC. Manual Publishing Co., its author and part proprietor, if not a rich man, at least
above pecuniary anxiety.
UPoN close investigation we discover that the art of Chicago. The work is published by the Manual Publishing Co.,
- - -

piano playing, like every known science, is susceptible ONE of the most interesting and important musical 415 Dearborn St., Chicago, and is sold only by subscrip
of a vast number of subdivisions. Hence there will works issued from the American press is Mr. W. M. tion.
easily arise specialties of talent, and consequent special Derthicks Manual of Music, an imposing volume of
ties of practice. The slipping into a rut becomes there over 600 pages, sheet music size, elegantly bound, and
embellished with full-page photogravure portraits of COMMISSIONS TO TEACHERS ONCE MORE,
fore very easy, indeed, and, like all other faults, painfully about fifty leading musicians and composers of all times
BY J. C. FILLMORE.
easy. The famous aphorism, Eternal vigilance is the and schools. The author of the work, recognizing that
price of liberty might easily be transferred to the art only a few of the many who are interested in music
could afford to possess or find time to utilize an extensive THERE is one point related to this subject, lately dis
of music and cast in this form, Symmetrical artistic musical library, conceived the idea of a work containing
cussed in the columns of THE ETUDE, which needs to be
power is reached by labor, and preserved only by con the most practical and necessary information hitherto
stant watchfulness. -
scattered through many expensive volumes, thus afford. brought out much more fully and clearly. That is the
fact that thousands of hard-worked and conscientious
The prominent features of piano specialism may per ing to many at a remarkable low price the advantages of
higher musical instruction otherwise not available except
haps be grouped in three forms, namely, runs, melodies, to the favored few. He devoted about three years to the music teachers are plying their profession in small towns
and what, for lack of a better name, we may call the preparation of the work and then formed a fortunate where there is no music store whatever. They cannot,
colossal. Now we hear a pianist who has extraordinary business connection with a prominent publishing house, if they would, send pupils anywhere to get the music
evenness, dexterity and lightness in the finger hammers. which having large capital and excellent facilities enabled they need. They are really obliged to furnish it them *:
him to bring it out in the splendid style which the plan
The consequence is that his runs are pearly, his arpeggios called-for. The plan grew as he thought it over and selves. Now, is it required in good morals that the
rippling, and while he does nothing else particularly became more thoroughly acquainted with the needs of teacher should sell music to pupils at a lower price than L'
well, those are so conspicuously excellent that we applaud the musical public, and various practical elements were they would have to pay at the music store if there were *:
rapturously, and all his pupils run to the pearly and the added one after another. one? If so why? I know no reason, nor do I believe
rippling. Every performance from their hands is a foun and In its present form the Manual consists of a concise there is any. On the contrary, I think I see excellent
well written history of music, extending over the :*
tain or a brooklet, a cascade or a summer shower; the entire course of the history and equal in contents to a reasons why the teacher should give no discount, no
watery affinities of the piano are exhausted, and after a volume of considerable size. This '. with the general matter how large a reduction he gets from the publisher.
while become tiresome. The next time we hear a player narrative. Connected with the historical parts of the To begin with : in order to meet the needs of his
who has caught the idea that the piano, despite its natural work, and in fact preceding them in order of conception, pupils he must always keep on hand a large and varied
are six magnificent historical charts, double page in size,
defects, can be made to sing, and with him everything is rinted in colors, each one containing a vast amount of selection. Thus only can he be prepared for emergen
tune, tune, song, song, melody, all the time melody, information, presented with singular lucidity and com cies; for the needs of new pupils; for unforeseen
nothing but melody. It is true, his cantabile is full of pleteness. The charts are the most original feature of changes in his plans for old pupils, due to various cir
feeling, always distinct, and of the most graceful contour, the work, also the most valuable. The intelligent con cumstances. He is always sure to have a certain amount
ception is extremely creditable to Mr. Derthick, as also
and yet, the instant you take him out of Mendelssohn's is the amplitude of information shown in the execution of dead stock" on hand, which he has to pay for.
Songs without Words, or the adagios of Beethoven, of them. Further: not only in such cases as the above, but in
and music of the like species, he is clumsy or inadequate. There are fifty individual biographies, occupying about that of the city teacher, it is a decided advantage to the
In the third place we find, what is unfortunately much cians twice as much space, comprehending the principal musi pupil that the teacher should have music on hand at the
from Bach and Handel down to the leading musi
more common in our stormy and stressful days, what I cians of the present time, which with the accompanying time of the lesson. When a new piece is given, the
have termed above the colossal player, that is the man portraits are presented in strictly chronological order, teacher can show the pupil just what the points are that
whose technique lies chiefly in octaves, chords, and thus preserving the succession and sequence of musical are to be worked out, and make such preliminary observa.
skips. With these he astonishes the eyes as well as the characters and events, and showing what each composer tions as the case requires. If the pupil went to a music
contributed in his time to the development of music.
mind, and sometimes makes the ear and heart of the Following the life of each composer are carefully store and got the piece, he might spend a week's work
listener grieve. But whatever else is done he is sure to written analyses of his most characteristic works, which in practicing some passages wrong. Then it would cost
give you all the sledge-hammer effects of the instrument, have for their object to show the gradual evolution of six times as much work to unlearn it as it would to have
and make a piano concert room a kind of idealized the various forms from incipient conditions (for instance got it right to begin with. Is it nothing that the teacher
blacksmith shop. If the pearly player may be called the the Sonatas of D. Scarlatti and C. P. Bach) to the works has saved the pupil this? What kind of a pupil is he
of Beethoven and contemporaneous composers. These who grudges a teacher a commission under such circum
Naiad of music, the tuneful player the Apollo of music, analyses, of which there are about 150, further aim to
we will give this man the title of the Vulcan of music. treat the structural characteristics, technical requirements stances; especially when he paid no more than the
He forges noise and thunderbolts without limit. But let and the imaginative or emotional elements of the different dealer's price for the music? The teacher often saves
us be cautious; never should we speak of either of these works analyzed. They are the work, we understand, of the pupil money, also, by his selection of better and
special talents with scorn or contempt. True art exhausts several prominent musicians, and while all are competent
the style naturally differs. Quite a number were pre cheaper editions than the pupil would have got unaided.
the whole round of emotional expression, and the great pared by Mr. W. S. B. Mathews, who also wrote an intro Suppose the pupil had to pay a little more (as he does
artist should not only be able to pearl and ripple, not duction signed by his name. Among his analyses may not) for the benefit of his teacher's judgment, where
be mentioned those of Dussek's works, Emanuel Bach's, would the injustice come in ?
only able to sing and chant, not only able to thunder and several pieces of Gottschalk, Thalberg, and a few others. It has been asserted that publishers charge more for
crash, but to do each and all in their appropriate place, It is also understood that Mr. Mathews prepared a few
for art is the exact analogue of life, and as the soul is of the forms of summarization in the later charts, show their music because they have to give commissions to
full of varied mood, and changeable as the sky or the ing the present tendency in the various departments of teachers. I, for one, doubt this. I never heard any
weather, so must the pianist have the power of varying musical effort, including the opera, oratorio, piano and such explanation given for high prices by any publisher.
organ music, the orchestra and violin. These small
his expression to every imaginable kind of tone and additions, however, in no way detract from the originality What publishers say is that the great majority of pub
technical combination. If one has a very special gift in of Mr. Derthick's conception, since they had for their lished prices do not pay. They cannot tell what will
sole task that of carrying out minor details of his original sell and what will not, and so they have to make those
any one of these directions, it may be best that he should conception.
establish himself upon that specialty as a centre, and Following the analyses are characteristic specimens of that do sell pay the expense of the rest. If they did put
on something extra for commissions to teachers, I should
yet it would be very foolish for any artist to play nothing musicians' works, introduced for the purpose of artistic
except one little narrow round of compositions. But and historical illustration. The examples were photo not think it unjust to pupils, for the reasons given above.
should the student attempt all these things? Most graphically reproduced from the best foreign editions. But the truth is, that they can afford to give and ought
That the terms of commendation here awarded this
emphatically, yes. The study of pianoforte art is exactly singularly comprehensive work are not too liberal, the to give a large discount to teachers, simply because
like a collegiate course. It may be that in future life the astonishing array of testimonials lately received from the they are wholesale customers. Business is business."
student will become a mathematician, a linguist, or a most distinguished names of the musical profession, What is true in every other business is true in sheet
philosopher, but during the years when his faculties are those of New York and Boston, amply cor music; the larger the trade the larger the discount.
being elicited or drawn out of him, that is literally edu. roborates. Among those who have given the work their My conclusion is that teachers ought to have a dis.
unqualified commendation are such names as those of count and that they ought not to share this discount with
cated (e-ducated), he must apply his mind to every Dr. Wm. Mason, Dudley Buck, A. R. Parsons, Samuel
known subject, that its real qualities may be ascertained P. Warren, S. B. Mills, H. W. Green, Alexander Lam their pupils. This is in the interest of the pupil as well
with certainty. He may be a poor Latin scholar and a bert, E. M. Bowman, S. N. Penfield, Clement Tetedoux, as of the teacher. No pupil ought to be willing to profit
by his teacher's knowledge without paying for it; still
brilliant orator, he may be a quick and keen mathema Boston. and many others, including the leading musicians of
tician but a weak philosopher, he may have an acute The appearance of this elaborate work and its already less ought he to demand such benefit gratis.-

and subtile mind for abstract thought, and have a con ' circulation forms a most encouraging fact to musical
temptuous indifference to physical science, but whatever authors and lovers of musical progress, for it shows Even in his most intricate compositions, and partie"
musical works can be sold extensively, if sufficiently larly in those which express his most mysterious feeling",
his peculiarities may be he must test his mind on all that meritorious; and it throws a most decidedly favorable the artist should employ simple form in order to rend"
sides with the entire circle of sciences. light upon the essential nature of the public appetite for his ideas clear and intelligible.Stephen Heller. .
JoHN S. WAN CLEVE. musical information of a solid and reliable character. From the bottom of my heart do I detest that onesided:
The influence of the Manual cannot be otherwise than
ness of the uneducated many who think that their ow"
Send for our special offer on seven new works now in promotive of a wider scholarship and a broader concep small vocation is the best, and that every other is hu"
press. tion of the art and practice of music. It is also a pleas bug.-Schubert.
TEE E T U D E. '73
A FEW QUESTIONS ANSWERED, eight-cent fare, etc., given in one of his essays to the contrast between the appearance and the sentiment, and
Atlantic, a few years ago? That is the key to the diffi. especially at those little foxes that spoil the vines, those
BY JOHN S. VAN CLEVE.
culty. In memorizing music there are two things chiefly petty defects that grow up like tares among the wheat.
to master, namely, the rhythm, and this is the way first Every great artist in the world has practiced for hours in
A Subscriber, St. Paul, Minn.You ask if three or to learn it: secure distinct, well-marked rhythms and front of a mirror, and has been passed in review again
four hours would be sufficient practice for a young man analyze them carefully; second, the pitch of the tones, and again by some severe master of stage deportment and
who works eight hours in an office. Yes, indeed; and and for that purpose I recommend a long course of care physiognomy. A very trifling accident will sometimes
more than enough. Few things are more detrimental to ful training of the ear. The child, from the very first ruin a beautiful effect, as a touch explodes the most majes:
the progress of our vast army of toiling music-ants than moment that he is allowed to touch the piano, should tic and rainbow-tinted bubble; for instance, you may be
the carrying of these enormous loads of weary, technical not only be required to hear the quality of tone produced, saying My heart is broken l and accidentally lay your
practice. I am myself a sincere believer in some of the and insist upon its being pure, liquid, and free from hand three inches too low, and suggestedyspepsia by a
modern mechanical inventions for technique, though I harsh clanging or from woody dullness, but should also most emphatic gesture.
trust I am not a crank on the subject, and do not expect be required to observe the inter-relations of tones, and You ask if you can sing with your mouth closed. Yes;
to extract moonlight from cucumbers, like that crazy be able to tell very soon a second, major or minor, a or rather, I do not know whether you can or not, but I
philosopher in Dean Swift's Gulliver's Travels, but third, major or minor, a fifth, a fourth, an Octave, etc., certainly know that a vast number of singers whom I
the sin of almost every piano student is over-practice the instant it is heard. From this first training of the have had the misfortune to hear would sound far better
rather than under practice; we strive too much for quan ear proceed, by a thorough study of musical science, to if they kept both their mouths closed and their throats
tity and too little for qualtity. I am fully convinced, by a perfect analysis of the composition. silent. But to answer you scientifically, I will say this:
twenty-five years as a practical player, during the whole Second, nervousness. That undoubtedly is one of the there are three general timbres of the voice, though very
of which time I have narrowly observed and acutely most serious evils which besets the pianist or the practical few of the hundreds in the United States who profess to
analyzed all my own sensations, physical and mental, musician generally. teach the voice seem really to comprehend them. These
besides which, for seventeen years, I have made observa. It may be fed by several roots, and, indeed, is always three are: first, the bright voice, made with the teeth
tions upon students of all manners of ages, tempera aggravated by a variety of secondary causes, but its tap wide apart and the fauces (that is, the passage way formed
ments and conditions, nationalities, etc., that not once root is, beyond any question, an excessive self-conscious. by the root of the tongue, the tonsils and the soft palate,)
in a hundred times is an hour really spent as it should be ness, or, as the phrenologists call it, approbativeness. small; second, mixed voice, made with the teeth
in practice. The effort of a student should be like that The reason why you forget is that you forget the music moderately wide apart and the fauces somewhat rigid;
of a burning glass, which concentrates the fire of the sun. in thinking whether the people like you, or don't like third, the sombre, or mellow voice, in which the teeth
You ought to practice so intensely that two hours at the you. Steel yourself with indifference, or, rather, go to are close together and the fauces very widely extended.
piano would be an absolute exhaustion. It is true we the opposite extremeinstead of chilling yourself with The bright voice is the trumpet, the mixed
read that Blow used to practice three hours at a sitting, indifference, heat yourself to a perfect white-heat with voice the clarionet, the sombre voice the flute.
Without fatigue, but that was after an enormous amount emotional and imaginative enthusiasm for the beauty of These relative adjustments of the organs which form the
of gymnastic exercise. the music. Lose yourself, and the music will then come vocal tube, that is, the upper section of the vocal appa
I should say, for a man fully occupied during the day to you. The muse always has been capricious, and de ratus, are extremely delicate and varied, and it is teeto
with brain and hand, that a steady average through the mands a teetotal absorption of our whole being. You tally impossible to give even a rough idea of them in
year of two hours, ranging say from one hour to three should always wake up when the applause comes at the print or by letter. The teacher must hear and must
hours per day, according to conditions and the relative end of your public performance, dazzled, dazed, judge, by actual, audible tests, each tone as it is produced,
freshness of mind and body, would be about right. For bewildered, as from a day dream, having utterly forgotten and the pupil must practice, again and again, in the very
* *nsitive girl, even if she devotes herself to music that there was any public there, and wonder what they presence of the teacher. My advice to you is not to be
chiefly, three hours average through the year is ample, are clapping their hands for. miffed or seriously hurt by the ridicule of a few vulgari.
and four should never be exceeded, even on the most ans, nor even by the occasional laughter of people who
favorable days. It is very doubtful whether any one, To C. R. H., Montgomery, Ala.Your question about ought to know better, but first to study these three timbres
however robust, should average above four hours a day, singing, and in all its details, must be resolved, like the with somebody who can explain it to you. If you are
occasionally running to six. Secondly, you ask whether former question, into two distinct answers; yet the mi. a teacher, then during the vacation. And secondly,
the backache, like pains in the hands, can be benefited nuteness with which you specify your symptoms interests put yourself through a very severe training, to weed out
by practice. me greatly, and inclines me to make my answer rather any facial distortions or peculiar mannerisms in pose,
Yes, and no. All physical exercise, when it produces more full and explicit than usual. First, then, the con action, dress or general appearance, which you may have
aching, should be discontinued: the throat studies of the sensus of various teachers forms, I may say, a reasonably unconsciously contracted. Of course, people, ought to
singer, the digital studies of the pianist and violinist. good criterion by which to estimate whether you have a be absorbed in the singing, and have no right to require
The strain between the shoulders and the small of the good singing voice or not. of us to be handsome when we sing; but the fact remains
back, coming from piano playing and organ playing, are The fact of the matter is, however, that as to the raw that the public does require us to look well, and especially
P*ly of the same nature as the weariness from walk. silk of the voice, that is, the natural gift, any one, from to look harmonious with the sentiment we are uttering,
ing, horseback riding, fighting, rowing, or any other the child in arms to the most gray-headed critic, is a good and just in proportion as the public is unmusical will it
physical exercise; it is only a question as to which set of judge. That is the reason so many people who sing be exacting in these minor morals of the art. I once
"scles is being employed. Dr. Hans von Blow once wretchedly are accepted and liked, especially in non heard an excellent tenor in this city of Cincinnati give a
told me, personally, that one should practice till the hands artistic communities, by their personal friends, because feeling and graceful interpretation of Beethoven's im.
began to be hot and ache a little, but should stop as soon the voice is beautiful though the art is inexpressibly bad. mortal and heavenly love song, Adelaide, but the
as the aching began to be at all disagreeable, and by no On the other hand, I have heard singers, Chevalier total effect was spoiled to those in the audience who were
"sever continue till the aching turned into a numb Scovel, the tenor, for instance, who are not extraordi more sensitive than others to the humorous, by his
indifference. narily gifted with voice, but who sing with such consum ridiculous, fat, beer-bloated figure and the gigantic elon
mate art that to any real connoisseur in the art of singing gated O' of his mouth.
"S. H. C.-You ask how to memorize and how to their performances are exceedingly enjoyable. Now as
"come nervousness. Your question, though cast in to your opening your mouth very wide, that is both good
the form of one, is really two very distinct and separate and bad. For certain kinds of tone it is indispensable, PoRTLAND, ME., March 14th, 1890.
questions. In order to memorize, the first thing neces and if you will look at any great artists on the stage you EDITOR of THE ETUDE:
sary is clear comprehension; the second, close atten will see them at times spread their teeth widely, yet peo We are glad to see that musical societies are be.
tion; the third, keen analysis; the fourth, intense con ple do not laugh, because they avoid carefully all acces ginning to devote themselves more strictly to musical as
well as social advancement.
"tration of mind; the fifth, sufficient reflection; the sory grimaces, such as wrinkling the nose, squinting the The Young Ladies' Social and Musical Society re
sixth, daily exercise. eyes, distorting the corners of the mouth, etc., etc. Ask cently organized in this city (Portland, Me.) is quite
- No mind is so dull that the inestimable power of play some honest friend to tell you whether you have not similar to the society described in the ETUDE of Novem
ber. The object of the Society is the investigation of
"g music from memory cannot be imparted to it, if a acquired some of these habits, which it is almost impos subjects of a musical character. Our evening's pro
sufficient number of mesmeric passages are put upon it. sible to prevent becoming automatic, for the intense
Begin with two notes, or with a single measure; better gramme consists of a study of the life, style and list of
physical and mental effort of practicing singing brings works of some eminent composer ; several selections from
"ill, with some short, decided phrase, which has a dis. about a vast number of unconscious motions, just as the composer; questions from our query box on musical
"t physiognomy that fastens itself, as it were, by its many persons who are engaged in writing thrust the subjects, answered by each member, and some articles
" Volition, upon your memory. You have undoubtedly tongue between the lips without knowing it. of interest read by the committee appointed for that pur
heard those little tunes, have you not? especially in the pose. One half hour is usually spent in social inter
No person who seriously loves music, or who has any
comic operas, which absolutely haunt you; you hear high breeding, will allow himself to laugh openly 1n the "We'll
e shall
objects, be did to
to her
be through
either glad hearETUDE
the from or
any iety of
#society
. of simi
imilar
"in your dreams, you walk to them next day; you presence of a singer who is doing his best-he will sim
get so that you positively hate them. ply absent himself from the concert. Nevertheless, the M. S. BERRY, Secretary,
MRS. E. E. WYMAN, Pres., 802 Cumberland St.
Poyou remember Mark Twain's humorous account of half-barbarous public is sometimes excusable for a little
: his experience in reference to the blue-trip slip for an mirthfulness, not so much at the singing as at the absurd * 33 Portland St.
'74. T EI E E T U D E.
CHATS ON TECHNICAL SUBJECTS, inherited talent, the results brought about by means work will go to his widow. The work in itself will be
of this artificially-formed habit indeed often rivaling, one of the most valuable to musical literature. The
TOBIAS A. MATTHAY. and even surpassing, those obtained from the natural one ; price placed for the book is exceedingly low, as it will.
for those who so easily can succeed in doing something, contain between three and four hundred large pages.
THE practice of the : techniques is unfortunately not nevertheless labor under the really enormous disadvan. There will be no deduction made on this work, on ac.
always synonymous with the practice of Technique. To tage of not being at the very outset compelled to train count of the object for which it is published. We are now
be more lucid: Exercise practice is not invariably found their powers of deliberate and persistent attention. For ready to book orders to any of our readers for $1.50.
to lead to the desired and expected result-executive without the all-powerful and all-vanquishing habit of
power. perseverance, certainly nothing worth the doing can be
Perhaps it would not prove uninteresting to inquire into accomplished; without it even the most splendid endow -THE editor and publisher hope that the advance sub
this matter. - ments must run to waste.The Overture. scribers to Mathews Twenty Lessons to a Beginner.
The practice of technical exercises has, as it appears will exercise the grace of patience as far as possible.
at first sight, two ends in view, the attainment of facility The preparation of the work has been delayed in conse.
in execution in general, and facility in the exe. PUBLISHER'S N0TES, ' of the introduction of several novel ideas, which
id not at first assume a satisfactory form. The work is
cution in particular of some passage form often occur. THIS month we have several announcements to make now almost entirely ready, and the advance copies will
ring in music, such as the scale, arpeggio, etc. These
only apparently separable aims, however, ultimately which are of unusual interest to teachers of pianoforte probably be mailed before the next issue of the ETUDE.
merge into one, and this aim is the acquirement of playing. It has been the aim of the publisher of THE However, up to June 1st, we will send the work to all
technique. Now the student (and artist) does ETUDE, from the beginning of his career, to put forth sending in advance 50 cents in cash. This includes
certainly, in the first place, require executive facility, for works of enduring value in the educational line, and the postage.
without this how can he even attempt the interpretation growth of the business has been in this direction.
We have first of all to announce that the selection of TESTIMONIALS,
of any musical work? But quite outside Technique lies
the vast domain of artistic taste. This is only to be the studies of Stephen Heller is now in the process
conquered by the intimate study of music itself, and by of preparation. For quite a number of years we have Masons Touch and Technic is highly appreciated.
hearing the interpretation of its great works by musi had this object in view, and have at last seen our way to
the consummation of the work. The studies will be Nothing in this line has pleased me better.
cians, who at least are experienced, if not great artists. taken from Op. 45, 46 and 47, there will be about thirty IDA. L. McWHortoR,
Artistic taste we must, however, not confound with Ithaca, N. Y.
that inborn predilection toward music which this term five in all, and will be published in one book; they will
occasionally signifies. Inherited predilection (leading be arranged in progressive order. The work of editing Esteemed Sir :We have carefully examined Touch
to effortless concentration of mind) renders its possessor will be done by quite a number of the most prominent and Technic, and give it our hearty approval. While
quick in arriving at that discrimination between good pianoforte teachers of the country, among them such men recognizing its many admirable features, we cheerfully
as A. R. Parsons, Edward Baxter Perry, Arthur Foote, recommend it to all musicians. is .
and bad effects from which results good judgment with John S. Van Cleve, C. B. Cady, etc.: each one will do a SISTERs of ST. Joseph.
regard to musical expression. distinct work on the selection: thus, Arthur Foote will - 1
Technique, besides that side of it previously alluded THE ETUDE has become a necessity
do the pedaling, A. R. Parsons the phrasing, another with growing interest that I have noticed with me, and it is a
tothe correct production of tone and the correct pro one will do the fingering and the metronome marks; the provement. its steady im
duction of the notes, which involves perfect control over Yours in the work,
the muscles of the mindhas another side, which seems
rest will do the annotating. Each of the tudes will have F. D. BAARs.
a name, and a description will be given in connection
more immediately a mental than a muscular problem, with every study. We aim to make this work a model I find Lessons in Musical History, by J. C. Fill
and this is the mechanism of expression, which compre
hends knowledge of the various means employed, such
of editing. The engraving, paper, printing, will be of more, just what I was wanting for my pupils. I think,
the highest order. Teachers can look for something ex as a text-book, it is admirable, and supplies a long-felt
as variations of tone, of rhythm, of legato, etc., and their centional in this work. need among students and teachers of music. I shall
correct application, which together make up musical 'e will offer the work as we usually do, to those endeavor to encourage its use as far as I am able.
elocution. Yours respectfully, MRS. B. F. D. HAzzEN,
Ultimately, however, all that which lies outside the sending cash in advance, at about the cost of printing
and paper. We are now ready to receive orders from Mt. Carroll (1 ll.) College.
department of "taste resolves itself into mental control teachers, which will be filled as soon as the work is pub.
over the muscular apparatusmental individualization lished. MILwAUKEE, WIs., March 8th, 1890.
of each set of muscles. This, constantly borne in mind, J. H. Howe, Esq. :
Our special offer is this. We will send the work post. Dear Sir:You ask my opinion of your Pianoforte
will induce the practice of techniques to lead with aid to any one sending us cash in advance, for 40 cents.
certainty to the end in view.
*
teacher can use at least half a dozen copies of
-
Instructor, a copy of which you have kindly forwarded
And if it applies to the practice of exercises, it applies this work during the season. Send along your orders. to me. I have no hesitation in stating that I consider
it one of the best works of its kind I have ever seen. It
equally to all practice whatsoever, In fact, it forms the
difference between practice and non practice. :
We have had in the course of preparation a new work contains an enormous amount of valuable information,
which is so clearly expressed that it must be intelligible
practice is that which tends toward increasing the power y W. S. B. Mathews, and we are pleased to announce to all. In the course of progressive instruction provided,
of the brain over the fingers-tends to strengthen the that the manuscript of the work is completed and in the
memory of those mental impressions which accompany hands of the engraver. The work will serve as an intro it is in all respects admirable. Wishing you all the suc
each separate muscular motion: *
duction to the Study of Phrasing by the same author.
-
cess you have earned by your well-directed effort,
It will be a collection of choice pieces that are selected I am yours truly, FREDERIC ARCHER.
By merely playing through. music the musical taste
may be improved, and a desire may be. awakened to for their unusual merit; there are thirty-four pieces in
- BALTIMORE, MD., Feb. 2d, 1890.
carry its dictates out, but not at all necessarily will muscle. all, and not any of them will occupy over two pages in
length. Here are some of the names of the pieces
MR. Howe:
command always follow. - The technique can only be
Dear Sir :Having examined your Pianoforte In
improved by the amount of mind concentration bestowed selected: Romance, Reinecke; Pleasant Ride, Lichner;
upon it. Soldier's March, Schumann; Jolly Huntsman, Merkel; structor, I take pleasure in praising and recommending
Sunday, by Gurlitt, and quite a number of pieces by it very warmly. I find your work comprehensive, clear,
*

The whole secret of successful muscle-training may


then be said to lie in the memorizing of those mental Rheinhold, Gaurhos, Spindler, Baumfelder, Kullak, etc., useful and very valuable to teachers and students.
Yours truly, RICHARD BURMEISTER.
efforts from which the desired movements originate, and There will be an introduction on the object and the
also in remembering the sensations accompanying each manner of using the work; Rudiments of Musical Form, [. CHICAGo, ILL., April 12th, 1890.
particular movement. - - -
Phrasing, What Is it to Play with Expression, etc. The
- Dear Mr. Howe:Not only have I recommended
Hence the necessity of practicing techniques, which, work is called First Lessons in Phrasing. From the your Instructor to my students and at Chautauqua, but
possessing no musical interest, are less likely to distract reputation of the author and with this description, we I am now using it with my little daughter.
the attention from the points that are to be mastered. can readily see that the work is one of unusual value. WILLIAM H. SHERWooD.
Hence also the absolute necessity of slow practice. . A The advertisement in another part of the journal will
passage, to be played or remembered, must be thought. give additional information regarding the work. I am delighted with THE ETUDE, and think one can
A succession of muscular movements having to take We will make the same offer on this work, as we have keep abreast of the musical times better by its help than
place, the problem is how to store in the memory that done with all the rest, to those sending cash in advance. that of one any musical journal I have seen. I never im:
train of mental efforts which shall cause it to occur cor We will send the work to any one who will send us 40 agined investment.
could get as much good out of so small an
E. L. CoLE.
rectly. And in this connection it will be well to remem. cents in advance of publication.
ber that though thought, is proverbially rapid in its We hold the privilege of closing this offer at any time. I have used in school fifty-four of Mason's Touch
sequences, yet it nevertheless takes up time; nerve made mention in our last issue of a proposed trip and Technic, and they have produced the best possible
force indeed traveling but at a snail's pace when com: to We Europe. We have issued a circular, offering teachers effect. H. E. CoRBIN.
pared to the rate of progression of other more direct
modes of energy in a state of motion. a special discount on all music purchased in Europe, in New York City.
cluding metronomes at $2.80. The music will not be
A word remains to be said on the phenomenon of so delivered until about September first, in time for the fall Mr. Presser:The two-finger exercises, by Mason, at
called natural execution. Endowment of this sort teaching, it is an evident advantage to place a consider hand. Had used them for a number of years and was
is unfortunately not at all invariably found to be con able order now. delighted that they should appear in print. I consider
comitant with a natural determination toward music, these exercises alike indispensable to teachers and all
without which latter inheritance certainly none should Send to us for a circular and other information, which students of music, and am satisfied that they never can
will be sent on application. have a rival, or become obsolete. Am glad to furnish
apply at the portals of St. Cecilia's edifice. Those gifted
with this natural execution are able to give the requisite By the advertisement in another part of this journal, you with this statement, and shall want you to keep me
concentration without much conscious effort, and as the readers of THE ETUDE are informed that the unpub: supplied from time to time. NETTIE L. PRATT.
every application of will power' means so much lished works of the late Dr. Carl Merz will soon be It is indeed a pleasure to deal with you. I can order
expenditure of vital energy, these favored ones mani. placed upon the market. He, as many are aware, de
festly here begin with a great advantage on their side. voted his best energies to the lecture field; he has written anything and be sure it will come to hand. It is almost
But those less fortunate in this particular respect must in all forty-four lectures which have never appeared in a mystery to me how you manage to get correct sense
therefore try to make up for this deficiency in natural print. We will publish as a serial a few of these; we out of some of my orders, made up and written in three
determination by endeavoring to induce it artificially; will begin with the one called Genius. The titles of minutes. I certainly appreciate your keeping such smart
by deliberately forcing their attention, by applying their some of these lectures may be of interest to the readers clerks, and their kindness in deciphering my wants.
S. A. WOLFF. *
will power to its utmost extent, until they at last succeed of THE ETUDE-Head and Heart, Woman and Music,
in thinking the fingers; this intimate connection between The Beautiful Music of Nature, Sanctity of Music, Ad. Gaston College, N. C. *

brain and fingers, becoming more and more easy the vice to Students, Imagination and Expressionwith Please send me twelve more copies of Masons Touch ".
longer it is persevered in, at last resolves into a habit, ' a number of great composers, such as Mozart, and Technic. I find my pupils much interested in its
becomes almost as unconscious as in the case of the aydn, Beethoven, Chopin, etc. The profits of the novel methods. RIDLEY PRENTICE.
- -

-
::
-
T EE E T UED E. 75
Vinced, and thus deliver your pupils from an inevitable QUEs.Will you please give me the titles of a few good
Questions and Answers. failure. concert pieces for pupils who already play, among others,
2. I would not give much time to scale playing in that the following: i.iszt's Rigoletto; Raff's Polka de
QUES.I have three copies of part of Mozart's Reine, La Fileuse, and Cachuca; Beethoven's Sonata
Sonatas: 1, A4 hd., of Peters' Edition; 1, A2 hd., of way, but a little of it is good. Count six, two counts to Pathetique and Moonlight Sonata; Chopin's Walizes
Collection Litolff"; 1. An edition of Lebert. In each each triplet note, which will give three counts to each and Nocturnes; Liszt's Faust Valse, etc., etc. Lotti E.
number the first is marked Sonata 1st, but no two son
atas are the same. The Thematic Index of Collection eighth note. The other form is much the same, count ANs.3ma. Scherzo; La Steluzza (The Star;) Scherzo
Litolff" gives as Sonata 15, the same as Lebert gives as twelve, four counts to each triplet note, and three to each from 2me. symphony, by Chevalier A. De Kontski;
No. 1. The sonata in each book is in C major, but there sixteenth note. But this comes after a time without Satellite, by J. Alden, Jr.; La Papillion, C. Lavallee;
the resemblance ends. Can you explain? F. H.
such minute counting. The innate feeling for rhythm March de Concert, Op. 91. No. 4. by Raff; Invitation
ANs.There is no correspondence between the editions will control and divide them correctly. to the Dance, Weber-Tausig; Elfenspiel, Op. 7. Hey
of any of the earlier masters before Beethoven. What 3. See answer to T, next column. C. W. L. man; Florence Grand Concert Valse Brilliante, Emil
makes it more confusing is that in those times they did QUES. 1.-In Mason's Touch and Technic, Nos. 28 to Leibling; La Gazelle, Kullak; March Militaire, Schu
not have opus numbers. Andre, the publisher, has 83, I find long slurs covering one or two measures. Are bert Tausig; Royal Gaelic March, E. S. Kelly. W. H.
affixed opus numbers to Mozart's works, but they are these slurs intended to represent perfect Legato, or are Sherwood; Polonaise in E major, Liszt; Dei Lorelei,
they to be broken into short passages, as in Nos. 8 or 13?
not adhered to by other publishers. Each publisher 2. In Mason's Pianoforte Technics, page 9, I find 6 E. B. Perry; Wedding March, Mendelssohn-Liszt;
arranges his selection to suit his convenience. Perhaps time called Sextuple Measure, and in his Touch and Chanson Hongroise, A. Dupont; Danse Des Sorcieres,
as they are finished by the person who has charge of the Technic'. I find # time called Compound Triple Paganini-De Kontski; Novellette, Op. 99. No. 9, Schu
editing, the engraver may find it more convenient to Measure, and in another work, by a different author, I mann; Bubbling Spring, Rive King; Walse Caprice in
find the same time called as in Touch and Technic; I
have a certain order, so that each comes on the top of find myself thinking Mason's Pianoforte Technics right. E flat; Rubinstein; 2me. Valse De Concert, J. Weini
he page. One thing, in ordering Mozart separate Why need we have so many contrary directions for doing awski; Ballet Music, No. 4. Op. 44, G, Hille; Alceste,
sonatas, always give the edition you mean. To order one simple thing? F. H.
de Gluck, Saint Saens-Mason; Polonaise in D major,
Mozart sonata in F will not do. There are several in ANs. 1.Yes.
Op. 2, Schumann; Allegretto Scherzando, E. Haber
F. But to mention the same as No. 1, in Peters' Edi 2. There are two kinds of simple or primary time. bier. These are all fine pieces, and are such as will
tion, then all is clear to the order clerk. All others are compounded from these two (confounded please the cultivated audience or those who love music
QUES.Will you please tell me what work on Harmony more often). These are, two pulse and three pulse but could not enjoy a fugue. C. W. L.
is the most comprehensive for beginners? In my own measure. ? time is made by putting two of the two
pulse measures into one, and # time, by making two as QUES.Will you tell me if a good method of elocution,
studies I use Richter's Manual of Harmony, and Dr. Rush's, will injure in any way the singing voice?
"Marx's Musical Composition. Do you advise me to three pulse measures into one. ? time, by putting three G. L. H.
recommend these to my pupils, or are any recent publi of the three pulse measures into one, etc. All kinds of ANs.No, not if you use the voice easily and correctly
cations better?
2. Can you tell me who is the author of an instru time have an accent on the first count, and when com It is not altogether in the method, but, in how you use
mental piece entitled, The Brook The right hand pounded, the accent remains as it was before being put your voice. One of the great essentials in voice culture
plays runs of the seventh, I think, in imitation of the into the combined measure, except, that it is lessened is, to sing easy, and heartily, not loud, but in an easy
brook, while the left hand plays a sad, sweet melody. It when it falls on the middle or any other part of the go-itself way. Use your voice as if it was a pleasure and
is written in the keys of A flat major and its relative
: mill nor". measure, than on the first count. The longer the measures, not a task Avoid three things. Too loud, too long at
3. When the notes which are tied have each the sepa that is, the more compounded, the more marked and a time, and the extremes of pitch. C. W. L.
rate syllable of a word, should the first note only be sweeping the accents on the first counts. Sure enough,
played? M. S. J. QUES. 1.-Is there a regular course in the Theory of
why need we have so many names for the same thing.
ANs.-1. Both the books you mention are excellent and moreover, why should the same name mean so many Music that one can study to prepare for the examinations
of the American College of Musicians?
textbooks, but not very well adapted to American stu different things? One of the strongest Committees of QUES. 2.-Are the names given to Mendelssohn's Songs
dents. There are a few American works that I am con
the M. T. N. A., are trying to solve this riddle for the Without Words, authentic? T.
fident you will find more satisfactory: Howard's ANs. 1.-The Examiners allow the students to use any
young and rising generation of music pupils. Mean
Course in Harmony, Emery's Elements of Har. time, let the teachers follow the best usage in these dis. of the Standard Text-books. Write Mr. Robert Bon
mony, Clark's Manual of Harmony and Wis. puted and muddled things. C. W. L. ner, 60 Williams Street, Providence, R.I., for full in
mann's Harmony as adapted by E. M. Bowman.
QUES. 1.What is the difference between these two formation, inclosing stamp.
2. I think you have reference to the piece called measures? ANs. 2.-The names to Mendelssohn's Songs Without
Brook, by Pape. Words, were given by some publisher. Mendelssohn did
3. Taste must decide, depending on length of notes, not name them himself, except a few. C. W. L.
also the height, whether played on piano or organ.
Generally it makes little difference how they are played. QUES.-Can you tell me of a book that will give me the
I find them in 2me. Rhapsodie Hongroise, by Liszt; the information to answer the questions of the recent exami.
It often betrays the novice to find the piano following 51st and 52d measures. In the 51st measure they are nation of the American College of Musicians? I have
rigidly the voice parts. a tremolo of half notes, but in the 52d measure they studied music under an eminent teacher.
A SUBSCRIBER.
QUES.-Will you suggest a work to follow Kuhlau's are quarter notes, in two groups. -
-

Sonatinas, music that will be enjoyable as well as im QEs. 2.I wish help in understanding metronome ANs.-There is no one book that will do it. For the
proving? I wish it for a pupil who has never shown a marks? In Chopin's Walse (Peter's Edition), No. 11,
Op. Posthume, 70, No. 1, the time is marked, Molto questions in harmony, A Course in Harmony, by
liking for music, yet seems to have ability. G. S. R.
vivace, and the metronome (4=88.). In the second Howard, or, Weitzmann's Theory, edited by E. M. Bow
ANs.-All teachers have more or less pupils of this
movement of the same piece, it is marked, Meno moso, man. For the historical questions, Lessons in Musical
class. First, in all technical work give such exercises (J96.). R. M. B.
History, by J. C. Fillmore, and History of Piano.
as demand close thinking, such as, Mason's Touch and ANs 1.Many good teachers do not know that the rule forte Music, by the same author. Questions on analy
Technic, and his System of Accent Scales and Arpeg, for writing is, to let no bar of continuation go beyond sis, How to Understand Music, by W. S. B. Mathews,
gios. I would not give such a pupil the tudes of Czerny the desired accent, that is, the groups of notes are sepa. and The Musician in six small volumes, by R. Pren
and his school of Dry-as-bones-writers. I would give this rated at the point of desired accent, thus indicating that tice. For questions on counterpoint, Counterpoint
pupil Heller's Op. 125 (Boosey edition, No. 128, price the first note of the next group must receive an accent. and Canon, by E. E. Ayres. Some of the questions
"cents). These are delightfully musical, and are easier It will be seen that this rule applies to the above example. should be looked up from Grove's Dictionary of Music
than his Op. 47. This beautiful set of pieces are too ANs. 2.-The first time words mean, very lively. There and Musicians. C. W. L.
much neglected. First give her, No. 13, followed by,
fore, you are to play a measure at the indicated tempo, QUES. 1.-Will you give me information concerning the
Nos. 12, 1,2,3,5,6,7,9, 10, 15, 18, 21 and 23. Then try
which is, 88 measures to a minute, or 264 quarter notes rendering of Liszt's Rhapsodie, die Hongroise, No. 22
Mathews Phrasing; meantime, give her pleasing pieces to a minute. But the next time words mean, less Is there an edition with notes, and where can it be ob.
of Lange, etc. C. W. L. tained ?
motion, slower, and the metronome mark indicates 96
Q's 1When teaching a pupil to play from the quarter notes to the measure. This is a very much QUES. 2.-Do you know of a first-class teacher who
knuckle joints, are the knuckle joints to
be kept down? slower time than the first movement. C. W. L. could give me lessons in piano and harmony by mail?
** some pupils who try to keep them down, but they A. F. W. S.
have a hard and stiff touch. QUES.In Howard's Course in Harmony, I learned ANs. 1.-To answer the first part of this question fully,
that the C clef placed on the lower line is the soprano would take a page or more of the ETUDE, therefore, we
* How do you count the scales, playing two notes to clef;
three, and three notes to four? on the third line; the alto clef; and on the fourth
8. What are the best books on Counterpoint, Form, on line, the tenor clef. What does it indicate when placed cannot give it the necessary space. We hope to get out
Acoustics and Terminology? M. S the third space? E. G. N.
an edition of this piece with full notes, by one of our
- Ass. 1.-Don't teach them to play from the knuckle ANs.There will be no confusion about the C clef if it leading concert pianists, at no distant day.
'" Stiffness, slowness, and wholesale bungling is is always remembered that it indicates Middle C, ANs. 2.-When the phonograph is perfected and in
the sure result of this method, except in rare cases. I wherever it is placed. Its modern and American use is general use, then you can take lessons on the piano by
have run the whole gauntlet of systems, and now feel to indicate the tenor staff, and it is placed on the third mail. See article on this subject, in recent number of
devoutly thankful every day, that Music, Heavenly space. This makes the notes of this staff read as if it the ETUDE, by E. B. Perry. But Harmony can be, and
Muse, sent her Prophet, Wm. Mason, to teach the best were the G clef, except that they are an octave lower. is successfully taught by mail. See advertising columns
" Try Mason's Touch and Technic and be con C. W. L. of the ETUDE. C. W. L.
'76 T EI E E T U T. E.
GRADE III.
QUES.What edition of Beethoven's Sonatas is the all, be entitled to it, and can blame no one but ourselves.
best ? A SUBSCRIBER. Here is an apt illustration, that came to my notice not No. Miller
956. Mazurka Impromptu, by Russell
...................................................... .50
ANs.Dr. Hugo Riemann, has given the world the best many weeks since, and which was the principal thing
A lovely composition, containing both noble harmo
edition of Beethoven, but a superior one to most editions that prompted the writing of this article. nies and graceful melodies. Also an excellent study of
that can be had, with the notes translated into English, One of the leading bands gave a series of concerts that double voices in the right hand.
is the celebrated one of Won Blow. Peter's editions I had the pleasure of attending. The music was excel GRADE III.
are good, but they have no notes of explanation and lent, but what of the men who composed the organiza No. 954. La Petite Etoile-Gavotte, by F. Nor
direction. C. W. L. tion? Take my word for it, their appearance was very man Adams. Op. 21 ................................. .30
much below par, and their conduct, manners and con A noble composition, standing in D and G major, pre
AMERICAN COLLEGE OF MUSIOIANS, versation were in perfect harmony with their appearance. senting a series of interesting harmonies and bits of clear
I endeavored to learn of their habits by personal ac counterpoint.
THE fifth Annual Examination will be held at the
quaintance and observation; the reports of their debauch GRADE IV.
University of the City of New York, University Place,
on Tuesday, June 24th, commencing with the Theoretic ery and the low moral tone of their conversation were No. 964. Reverie at the Piano, by Wilson G.
Examination. There will be two sessions daily, and the fully confirmed by this acquaintance. I know of others Smith. Op. 48, No. 8 ................................ .50
papers will be given out as follows: who also met them and received similar impressions. A beautiful composition, in the free style, with con
Tuesday, 9 to 12 A. M.Harmony. 3 to 6 P.M. Indeed, one of my pupils, a bright, intelligent girl, in tinuous melody and rhythmical flow in the accompani
Counterpoint. ment, of moderate difficulty.
Wednesday, 9 to 12 A.M.Special Theoretic paper in quired of me the next day, how it was, that music
connection with the Instrumental and Vocal Examina having a refining influence could be so divinely played GRADE WI.
tion. 3 to 6 P.M.Terminology and Acoustics. by such a bad set of men. The only answer I could
Thursday 9 to 12 A.M.Musical Form. 3 to 6 P.M. make was, that if they had never known the influence
No. 942. Prelude, in D flat, by Chopin. ":
28, No. 15. Edited and annotated by W. S. B.
History. Mathews................................................... .3
The Demonstrative Examinations in the different of good music, they would no doubt have been tramps.
This celebrated Prelude, about which the romantic
branches will commence on Friday morning at 9 o'clock, In my heart I was ashamed of such representatives of so story is told and which is so picturesque and suggestive
and will continue until all the Candidates are examined.
high an art? to the imagination, has been fingered and annotated by
The Officers of the College for the year are:
E. M. Bowman, Pres, S. B. Whitney and J. C. Fill I venture the suggestion that the opinion of this pupil W. S. B. Mathews, and anything more lucid and help.
more Vice-Prests. Robt. Bonner, Sec. and Treas. was only one out of many, and that it was formed fully suggestive, especially toward the technical and
The Board of Examiners are:-PianoDr. Wm. largely by the appearance alone of the players. Do you strictly
sired.
musical side of the interpretation, cannot be de
Mason, Wm. H. Sherwood, A. R. Parsons. Organ now say there is but little in appearance or individuality?
S. P. Warren, S. B. Whitney, G. E. Whiting. Voice GRADE IV.
Madame Luisa Cappiani, J. H. Wheeler, F. W. Root. Well, stick to it, and be convinced only when you are so No. 934. Schubert's Erl King, transcribed by
Violin-J. H. Beck, S. E. Jacobsohn, G. Dannreuther. totally depraved that reform is well nigh impossible. Heller. Revised and fingered by Karl Klauser, .60
Public SchoolsW. F. Heath, N. Coe Stewart, Wm. Only one musical organization has been mentioned, Schubert's immortal song, the most powerful dramatic | <
H. Dana. TheoryE. M. Bowman, W. W. Gilchrist, but suppose you take a look at other musical organiza ballad in existence, is, by the judicious editing of Mr.
Dudley Buck.
Intending candidates are requested to bear in mind tions in the country, where the members have only Klauser, put within the reach of players of medium ad
vancement. The melody and simultaneous short arpeg
music for a business. Are they to be compared with gios of the right hand, whenever they exceed an octave,
| ... 1

that their applications and fees for examination must


be sent to the Secretary before June 15th. Copies of the men in the high professions? Yes, but only as a candle admit of the pedal, and a feature of great value, is the
Prospectus and Examination Papers for 1887, '88, and to a star. Certain teachers and soloists may object to marking of the different characters, father, child, Erl **
'89 can be obtained from the Secretary, Robt. Bonner,
60 Williams St., Providence, R. I. being classed with these I have mentioned, but they are king, when they enter. * |
GRADE I.
classed with them as a profession, and all their asser :* -
tions to the contrary are not convincing. No. 935. Primary Piano Instructor, by R. Gold
- .
beck......................................................... 1.00
HOW CAN THE INDIVIDUALITY OF THE What is the remedy? It lies, in a large measure, in a
One of the best works to start a pupil. It is in sheet *
MUSICAL PROFESSION BE RAISED liberal education, and conservatories are recognizing this form with only 24 pages.
TO A HIGHER LEWEL 7 fact; many of them will not issue diplomas until a speci. -: *

E. A. SMITH,
fied course in other studies has been completed, and this
is eminently a wise step in the right direction. There is THE RAIF CLUB IN NEW YORK,
EveRY person has an individuality in everything he no use talking and poohing; before the musical profes. ---

does. Unconscious it may be, but existing still. Every sion can attain a higher level, they must be able to speak IF the emiennt Professor, Herr Oscar Raif, of the . *
profession has its individuality and stamps itself, not of topics and things outside the realm of music. To do Kniglichen Hoch Schule, in Berlin, can be moved by -:
alone upon one member of it, but, as a necessity, upon this well what is more essential than a good education? the enthusiasm of his pupils, and especially of this zeal
ous club of them in New York City, he may, indeed,
the whole. It may be in mind, manner or dress, but Artists who lack it are always taken at a disadvantage in
there it is. You need not to be told that a conference fields outside their own special work; without it one
be reckoned as the happiest of modern pianoforte
teachers. For some years his fame has been growing,
of ministers is being held in yonder building; you know narrows down to a groove so fine that self balance is im especially with the serious students who propose to teach;
they are ministers by their appearance and general bear possible; without it, one must be endowed with great But, as Raif insists that all good musicians should
ing. It is not a difficult matter to recognize the medical natural gifts, if they ever rise above the common place. teach, the result is, that by sheer inspiration, the Raif
students become instructors.
fraternity, for their business has left its impress. Lawyers It is not alone a few bright intellects that stomp the The Raif Club, of New York City, is composed of
and business men also share in the marking of profes whole, but it is the masses. The nation is strong only twenty-five or thirty members, nearly all engaged in
sional individuality. Characteristics are indelible, and so far as it has strength in its weakest part, and that active and successful teaching, either in the metropolis
affect the individuality of all, with only an occasional part is ofttimes the predominating element, the masses. or suburbs. It was formed at the beginning of the
One man cannot alone work out the result. The forward present year, and has met monthly, at the homes of the
exception, chiefly noted in the line of peculiarity. members. The last meeting took place at the residence
Now, if every profession has its distinguishing mark, move must be along the whole line musically, intellect of Miss Klamroth, 133 East Forty-sixth street, New
what shall be said of the musical profession ? ually and morally. Will you be one to make it? York City, Thursday evening, April 3d. The Club as:
I once heard an intelligent physician speak of attend.
sembled more especially to meet, and hear the playing
of the Misses Schaefer and Miller, of Ohio. They have
ing a convention in which were assembled the leading NEW PUBLICATIONS. just returned from Berlin, after some years of study with
musicians from all parts of the country. His impression Raif, and bring the same enthusiasm so marked in all
of them was that they were a nervous, high strung, THEo. PRESSER, PHILADELPHIA, PA. the Raif pupils. -

The novel feature of the evening was the playing of


sensitive and emotional people. A leading lawyer told Schumann's Toccata, arranged by Raif, for two
me that he considered musicians, as a whole, to be men GRADE IV.
pianos, and as the Toccata (written as it is for one
of one idea, who know but little outside their own pro No. 955. 20 Studies for the Pianoforte, Book I, piano) is rarely played except by a Tausig, the occasion
fession, thereby narrowing greatly their ideas and by Anton Streletzki. Op. 100 .................... 1.25 was a memorable one for the club, The process, 9
mental powers. A banker says, they are unbusiness A series of meritorious exercises, adapted to youn dividing equally the execution of the Toccata' is
students, and utilizing a variety of keys, major an certainly unique and interesting. The first piano takes
like, they fail to meet engagements promptly, and finan minor, but no further removes from the normal than the treble with two hands, and the second piano the bass;
cially rate very low. Now whether these opinions are three sharps. There are also a good many forms of with the same division, though it must be understood
that the left and right hands, in both cases, are eac
rhythmical structure, and the student is familiarized
wholly correct, not all will agree; that they are the truth
in part, and a general bird's-eye view of the profession with many of the modern dance forms, such as the engaged on component parts, and are not duplicating
each other. The treble, as well as the bass, is ingeni,
waltz, saltarello, etc., the little pieces being cast in a
as a whole, by those outside of it, few will deny. I am variety of moulds. ously divided between the two hands. The effect is most
finding fault with no one in particular, but lament that GRADE IV. successful; intensifying Schumann's original thought,
the condition of things brings us to no higher a level. No. 931. Album Leaf, by Grieg. Edited by J. and giving scope for the broadest development of the
If we do not compare favorably with men in other pro
Toccata. The etudes of Chopin, Op. 2, No. 10 ;
C. Fillmore. Op. 12, No. 7........................ 5 Op. 10, No. 10, together with numbers from other com"
fessions and deliberative bodies, and have not the bear A quaint little piece with a strong Scandinavian color, posers were given with the same brilliant effects.
ing of an educated people with broad and commanding and illustrating the modern taste #. the wild flowers of Among the Raif pupils present may be mentioned Mrs.
ideas, and if, as a whole, the representatives of the music, which grow in the remote nooks of national life.
It is judiciously edited and annotated by J. C. Fillmore,
Bishop Whitman, Miss Lucie Mawson, the Misses Fuller,
the Misses Ellinwood, Miss Smith, Miss Chamberlain,
art (not the art itself) are looked down upon by a musician who gives the stamp of scholarship to all Miss Webb, Miss Fowler, Miss Waterman, Mr. Peet, Mr.
men who have no special interest in it, we may after that he touches. Bagby, Miss Stolbrand, Miss Ferguson.
T EITE ET U D E. 77
T0 THE EARNEST STUDENT AND PLAYER OF accuracy of the mechanical and rhythmic work. In Thousands of pupils are receiving lessons daily, and
THE PIANOFORTE, these particulars, the Practice Clavier is so dis to many not a word is being said regarding the way in
tressingly truthfulas a lady pupil of mine expressed which the lessons shall be studied. To some this may
KLAVIERMAssIG is a German word, which has no it-that some passages, the execution of which might be not be necessary, but I fear many have not the inclina.
exact English equivalent. Its meaning is of comprehen allowed to pass muster on the pianoforte, would not tion or determination, even if they possess the necessary
sive scope, and includes all things, emotional as well as stand the inexorable test of the Clavier for a moment. ability, to think out a plan of study that shall be adapted
mechanical, which are intimately connected with the It may be remarked here that the absence of musical tones to their own especial needs.
nature of the pianoforte, and which grow out of its does not increase the drudgery of practice, as might at Very few pupils who play the pianoforte can perform
peculiar manner of construction and its capacity for first be supposed. On the contrary, the conviction on the all parts of their lessons equally well. Many have the
musical effect. A composition for the instrument is part of the student that the work he is for the moment en habit of playing the easy parts most, and at times almost
klaviermssig, and thus effective in just the degree in gaged in is being thoroughly well done, and thus certain entirely ignoring the harder difficulties. Some may failin
which its construction and manner of writing conforms to produce beneficial results, is sufficient compensation sight reading, some in playing clear-cut scale passages;
to these foundation principles. for the necessary labor, and even imparts to it a degree to some arpeggios may be a source of distraction; again,
The pianoforte, by its very nature, depends, in a large of fascination; at least this is the writer's experience. others may find a formidable enemy in the person of
-
measure, for its legitimate effects, on passage playing. As, however, before stated, the mechanical should not each littl chord that presents itself.
The reason for this is that it lacks the power of tone pro be long divorced from the emotional; therefore a practice If the teacher be conscientious, he will show his pupils
longation, which is a property of the human voice, as of from fifteen to twenty minutes duration on the Clavier how to utilize their time and energy to advantage during
well as of the violin and other stringed or wind instru. should be immediately followed by about the same practice hours, for upon this, to a large extent, depends
ments. The passages which, in the form of scales, amount of practice on the pianoforte, in which, while the success or failure of a pupil as a performer.
arpeggios and sequences, follow each other in rapid suc not abating in the least from the mechanical precision of It is not the lessons taken that count so much in the
cession, must lie, not awkwardly, but easily under the time and rhythm, the main thought should be given to long run, but it is the work done at home that fashions
fingers, and must be so managed as to admit of the appli the production of a good quality of tone and impressive him into a player; all the more reason why he should
cation of the many peculiar shades and varieties of touch ness and sympathy of touch, as also to the adaptation of have a plan of systematic study. Many pupils take les
which are best adapted to produce tones of a beautifully touch to the musical and poetic phrasing, of which the sons, and yet, unfortunately, they never study them to
musical quality, combined with earnest and deeply sym previous practice on the Clavier has been the pioneer in advantage. Sometimes the fault is with the pupil; often
pathetic feeling. The finger training, and practice lead a mechanical way. times, I fancy, it is with the teacher.
ing to this perfected result must be regarded from both The Practice Clavier is especially well adapted to Pupils should be taught that constant repetition of
the mechanical and the emotional sides, and the two the rapid development of the most desirable results in anything without thought back of it, avails nothing.
must receive equal and concurrent attention, and never the use of the Two-finger exercise, and here again How many there are who have a habit of laboriously
be separated or divorced from each other, excepting for the Clavier and pianoforte will be best used in close playing some tude over and over again, from beginning
very short periods of time, otherwise the omission and companionship, so that the mind is at one moment to end, constantly making mistakes at certain points of
neglect of either will almost surely lead to bad results. focused on the mechanical and muscular process and the piece. If the mind were concentrated directly upon
It is nevertheless, desirable at times, and especially so accuracy of rhythm, and immediately thereafter, in close the difficult portion or portions before the error is com
for musical organizations, to emphasize and give undi. alternation, upon the musical quality of tone and the mitted, many times the work would be done correctly in
vided attention to the merely mechanical side, even to peculiar effects of varied manners of phrasing, thus com one-third of the usual time. I think there is just as much
the temporary exclusion of the emotional. The musical bining the intellectual and the emotional in intimate and danger in playing some passages too many times, as
temperament is so easily enticed and led away by the happy union. there is in playing others too few.
enlivening pleasure of producing musical effects, that the The two-finger exercise has been aptly likened to the Possibly it might be well to make a formula of prac
desire to play almost unconsciously overcomes the reso. acorn, which potentially contains the oak, or forest of tice for some or all of your pupils. Of course, you will
lution to practice. Consequently, if a just account and oaks, because, through the application of various kinds readily see that it must, in a sense, be adapted to the
balance is taken at the end of the practice hour, it of touch, and the manifold and exhaustive action of the needs of each particular pupil, still, in the main, it may
will too often be found that most of the time has been whole muscular system of hand, wrist and arm, brought be uniform. I am sure that most pupils will do more
spent in playing throughout the piece in a comparatively into use thereby, it exercises an influence which is all and better work if it is classified for them under distinct
imperfect manner, instead of practicing short sections in searching and comprehensive. The Practice Clavier heads. Possibly a teacher may see fit to use these dif
an earnest and careful way, and trying to perfect each of is an unerring monitor and guide in the best application ferent heads, viz.: technics, scales and arpeggios, tudes,
these, first separately and by itself, and afterwards in of this exercise, and the ingenious device, especially pieces, sight reading, to which may be added analysis,
unbroken and uninterrupted succession. Such a course designed by Mr. Virgil, for the more advantageous prac history, biography, and if the pupil be very studious,
of practice as the former, or speaking precisely, such tice of all exercises of a rhythmic character, including practical harmony may be studied in small quantities.
loose, inaccurate and imperfect pianoforte strumming, their treatment by means of special accents, is of great Suppose the pupil practice and study two hours per
"never lead to perfected and artistic finish in playing. practical value. day. Possibly a good arrangement of time would be
i. Mr. A. K. Virgil's invention, the Practice Clavier, I have always regarded mute keyboards with disfavor, twenty minutes for each of the first five classes, reserving
seems to me to be peculiarly klaviermssig in its since they never respond to the attack, nor afford the remaining twenty minutes for the study of one of the
"roughly successful adaptation to the mechanical part accurate means of determining the quality of the work. other departments.
of the work, inasmuch as, for the time being, it removes The Clavier, however, enables one to temporarily banish If, after a week's study, you find the pupil can do one
the thought from the exhilarating musical effect and con the stimulating influence of the pianoforte tones without part of the work much more satisfactorily than any of
Centrates it on the mechanical and rhythmical effects. suspending the means of defining the rhythm and verify. the others, possibly it would be better to make a different
Of the two elements of which music, in its last analysis, ing the touch. While personally regretting that the distribution of time. At any rate it will show the
onsists, viz.: tune and timefundamental principles invention did not appear long enough ago to have served teacher more clearly of what the pupil is capable.
equally indispensablethe latter receives altogether too me throughout my musical career, it has, nevertheless, Some teachers may say, I do not wish my pupils to
little attention at the hands of pianoforte students. In placed me under obligation to its gifted inventor, and I practice by the clock.
deed, it is notorious that professional pianists, even of desire to thank him for so valuable a contribution to the Many of them do, however, and those are just the ones
the highest rank and reputation, are rarely found who pedagogics of an art to which I have devoted so many that should be restricted in their practice to certain fixed
invariably give full justice to rhythmic effects. This years of a busy life, and to heartily recommend his principles. Some pupils will study the clock dial more
offen unconscious violation of one of the foundation invention to the intelligent use of every earnest student carefully than their lessons any way, so, if they are thus
Principles of music, leads to hurrying and skurrying, and and player of the pianoforte. WILLIAM MASON. inclined, why not have them do it systematically.
*ctually destroys, so far as their playing is concerned, Orange, N.J., April 5th, 1890. I believe if every teacher of the pianoforte would, so
the highest and grandest quality in art, viz., repose in far as is possible, make their work practical by attending
". In a vast number of cases, the matter of strict [For THE ETUDE.] to small details instead of theorizing too much, more and
time-keeping and attention to rhythmic accuracy has THINGS WORTH TEACHING, better work would be done by their pupils. Further
been neglected from the very outset, and whatever there No. 2. more, I am strongly convinced if every teacher shows a
was of embryonic feeling for rhythmic effects in the pupil how to practice, they are doing that person a vital
beginning, instead of receiving the most careful attention How many students of music make the best possible good.
"'ining, has become blunted almost beyond the use of their time during practice hours? In closing, allow me to quote what a great musician
!"lity of redemption, by reason of the constant and I once asked a lady teacher how many of her pupils and teacher, lately gone from us, has said regarding
"ant violation of the laws of rhythm. had the habit of systematizing their practice. After due practice. Mr. Merz says: The road to perfection, to
From the experience of a few months' personal trial deliberation she answered, not without much hesitancy, mastership, lies in the direction of constant application.
of theVirgil Practice Clavier, it certainly seems to I do not know that a single one has that habit. As continual rubbing will make the hardest steel smooth,
me that the invention is bound to exercise a most salu
Probably among the great number of music students so will faithfulness in practice overcome any technical
tary influence in guarding against and remedying this throughout the U.S., not twenty-five per cent do system difficulty.
evil. The attention being temporarily diverted from the atic work during the time in which they pretend or im To all practice should be added deep thought!
"usical effect, is directed to, and concentrated on, the agine they are studying or practicing their lessons. FREDERIC A. LYMAN, A.C.M.
-

T EU E E T U T) E.
-

THE ELECTR0CLAVIER, thoughtless or ignorant pupils. By means of electric SIXTH PROGRAMME FROM ANTON RUBIN.
circuits, the manner of playing a scale or arpeggio, for STEIN'S "CYCLUS OF SEVEN PIANO RECI
A NEW IDEA IN PRACTICING PLANO.
example, is absolutely determined. Let us assume the TAIS." WITH BIOGRAPHICAL AND CRITI
pupil has been instructed by his teacher to finger the CAL SKETCH,
THE following communication is in reply to a letter passage in a perfectly connected (i.e., legato) manner. Translated from the German of WILHELM TAPPER.
sent the inventor of the new instrument of practice called The question immediately arises how is the pupil to
FRKDKRIC CHoPIN.
the Electro-Clavier, which was introduced by an article know, during his hours of practice, whether his legato,
(Born
Paris, March17th,
October 1st, isis.)
1810, in Gelazowa Wola, at W arschen; died in
- -

in the March issue of THE ETUDE, by W. F. Gates. We or at least, what he thinks is legato, is or is not what it
fully expected to go to Boston, and make a thorough ought to be. If it is correct, the more he does of it the
Fantasie, F minor.
examination of the invention, but pressing duties at home better; but if it is incorrect, every moment's practice is
would not permit. We offer to our readers, instead, this worse than wasted. At all events, he must wait until the
Preludes, E minor, A, A flat, B flat minor, D flat, D
flat minor.
admirable communication from the inventor, W. F. Hale, next lesson before a week's work can be tested. Indeed, Barcarolle.
f
who can be addressed at the New England Conservatory this simple matter of knowing and performing a perfect Waltzes, A flat (the short). A minor, A flat (the long).
of Music, Boston: legato is one that often requires years to accomplish. Impromptus, F sharp, G flat.
Scherzo, B minor.
MR. THEo. PREsser: With the Electro-Clavier, the pupil sits down at his Nocturnes, D flat, G, C minor.
Dear SirYours of recent date came duly to hand. own piano, turns the switch, and the least error will be Mazurkas, B minor, F sharp minor, C, B flat minor.
I shall certainly be much pleased to have you come indicated instantaneously, by a strike from the electric Ballades, G minor, F. A flat, F minor.
and give my late invention a critical examination, and bell; while if he plays a true legato, the bell is absolutely
Sonata, B flat minor.
Berceuse.
|
will arrange to meet you at any time which may be con silent. Assuming, now, that he is using the bell circuit Polonaises, F sharp minor, C minor, A flat.
venient to yourself. with the tones of the piano, what is the result? First, it In the year 1829 Chopin appeared in Vienna. He f :
I have for many years been deeply interested in the requires his closest attention to keep the bell silent, since '' recognized and applauded as a meteor. That was
all.
problem of technical work, especially as applied to the he must place each finger in a perfect way; second, the Then he turned his steps to Paris, the El Dorado of
pianoforte, and it has been my good fortune to be in a sounds which the piano is giving forth are those of a per all progressive artists, fifty years ago the asylum for the
position where I could study the methods and habits of fect legato, and which the ear soon learns to recognize. persecuted and outcast. The confusion of the times
forced him to avoid his fatherland. -

large numbers of musical students in all grades of pro We thus have, at the start, accomplished three very
He went to Paris in 1831. His totally new style won
ficiency. important things, i. e., placed the student in a position for him the music-loving world of the salon. The mel
I long ago came to the conclusion that it was not so to both do and hear correctly, and to appreciate the fact ancholy songs of an exile, the passionate story of an
much the method which made one student's progress that in order to accomplish this result he must have his oppressed people, formed the themes of his dreams at
more rapid and satisfactory than another's, but rather the attention wholly upon his work. the piano. He became the fashion. The path to brav
our and brilliancy a la Herz and Kalkbrenner was
intelligence with which the pupil carried on his daily How many intelligent students are there who would deserted; all followed the shining footsteps of the genial
work. We certainly find the highest grade of excellence practice several hours daily in preparing a lesson, and in visionary.
produced by almost every acknowledged method, such a manner that the bell was continually sounding, Germany was astonished, also somewhat confounded;
while at the same time the most dismal failures are and they with full understanding that every stroke meant she felt the fascinating power, the compelling force of
the new tones and trembled for the existence of the old,
shown on every hand; all of which goes to prove that it error. I do not believe there is one in a thousand who with reason; for through Chopin much fell into ruin.
is not the methods which are at fault, but rather the fail would have the courage (cheek) to go to a teacher The unspeakable beauty that took its place was not dis
with a lesson thus practiced. covered until later.
ure to carry out the ideas they contain. Louis Knorr and Clara Weick first introduced the
Another thing which has come daily under my obser As a matter of fact, I am of the opinion that the stranger into Leipzig. The former played in 1831 the
vation is the vast amount of time wasted by thoughtless greater part of the purely technical work can and ought variations on La ci darem la mano, and two years
practice, and to ascertain more perfectly regarding the to be accomplished without the special aid of the teacher. later Clara played the finale to the E minor Concerto.
power of the average student to concentrate his mind I have a much higher mission for a thorough teacher than Very difficult, Fink wrote of the latter in the Allge.
upon the work in hand, I have made special effort to drilling mechanics into the minds of pupils. If a pupil, meine was
Musikalischen Zeitung. An eloquent advocate
Robert Schumann, a zealous opponent Ludwig Rell.
question large numbers upon this subject. The result of by means of this invention, can have every error of a stab, who during this time affirmed that, were a pupil to
this investigation has been to show that the average purely technical character indicated at his own home, he bring to his teacher a piece from Chopin, the conscien
student loses far more time than he uses to advantage. will go to his teacher for information upon music itself, tious teacher would tear the music in pieces! -

The not uncommon expression: It took me years to rather than for a solution of the mechanical problem Chopin; If any one ever deserved the name of tone-poet it was
he struck chords which before him, and after
learn how to practice, carries with it a burning criticism which surrounds it. him, no other has touched. He cared little for rules :
::
upon our present methods of teaching (I ought to say I will briefly mention a few of the conditions the and forms; the studied was of small importance in his
our present lack of method in teaching). I am, indeed, device controls, and bring this lengthy letter to a close. compositions. From an innate and rich source he drew
strongly of the opinion that one hour of intelligent, First. Both hands must strike the key at the same his enchanting melodies and harmonious combinations,
Brought up in no school, he dealt freely with his natural
thoughtful practice will advance a pupil further in the instant, or the bell will sound. talents. :
*: -

right direction than a whole week does in the way the Second. When the following key is struck, both fingers Chopin must be regarded as the greatest and most
most of it is carried on. And I further believe the fault must not only strike at the same instant, but both must f' genius as concerns the piano, its technic and
is fully as much with teacher as with pupil. be lifted from the preceding key together, or the bell everything that is connected with the two. Even the .
smallest of his beautiful arabesques is a tendril of the
The fact of a pupil's practicing four or five, or more will ring. -
parent-vine of poetry; he never designed empty effect;
hours daily, signifies nothing, unless they are thoroughly Third. In chord-playing, in one or both hands, all to astonish and please was not the goal of his ambition.
in earnest, and are willing to do all in their power to fingers must strike simultaneously. The once
home. homeless
Exiled stranger he
and sorrowing, hasbore
found everywhere
in life a
a crown of
succeed. It is a question of how, not how much, Fourth. In double thirds and sixths, in any kind of thorns. Grateful posterity wove for him a laurel
that is to determine progress in this, as well as in all other motion, the fingers must strike and leave the keys simul wreath. He passed, yet young, to the land of Eternal
things. There is one thing which is manifestly evident, taneously. Harmony.
viz.: if pupils have ambition enough to devote themselves Fifth. In arpeggio practice, the thumb, in passing He came, enchanted anddied.
to many hours of irksome practice daily, they would, if under, or the second and third fingers, in passing over, Translated by Louis E KRUTzscH and ANToINETTE GoLAY.
the means were at hand, use that time in such a way as often cause a break in the legato. This will be indicated,
to produce the most favorable results. No one can for if incorrectly done, by a stroke of the bell. The fact If youyour
music, wishheart
to touch
mustthe feelings
first have of others
been by means
touched of
by itS
a moment think that earnest pupils purposely waste that the piano can be made dumb, and any resistance
their time, and we are bound to acknowledge that by far given to the keys by the simple depressing of a lever, gentle power. If you wish to express consolation or
sympathy, you must have suffered. If you wish to start
the majority of all musical students are thoroughly in was explained to you by Mr. Gates, so I will not attempt a tear, you yourself must have wept. If you wish by
earnest. Where, then, lies the difficulty? In the simple to enlarge upon that point. your music to raise others to heaven, you must yourself
fact that the majority of pupils do not know how to I do not wish to be understood that by means of this have been there by faith. Herein lies the secret, an
practice. machine the duties of a teacher are, in any way, to be great power of many musicians and composers. Wit
words you may deceive; with their aid you may cover
The above, together with many other somewhat simi dispensed with, for such is not the case. But what I do the barrenness of your heart; but on entering the do:
lar conditions, are the necessities which demanded an say is that the irksome task to both teacher and pupil, of main of music you cannot betray or deceive. You can"
invention which should aid both teacher and pupil to a continually correcting careless and faulty habits of a not impart what you yourself do not possess.-Merz.
more perfect use of valuable time. technical nature, may be almost wholly done away, and
That the Electro-Clavier fills a place never beforethe time now spent thus may be devoted to an intelligent W ANTED.By a lady who has studied with one of
filled, and in a most remarkable degree corrects bad and helpful study of musical interpretation, and all its the great teachers of America, a position for next
habits, by demanding absolute accuracy and thoughtful attendant conditions. fall, as teacher of piano, in a college or seminary. Best
of reference. Address M. E. P., care of Etude Office.
ness in practice, seems to be the unanimous verdict of Hoping I have not wearied you by this rather lengthy
all who have tested its workings. I must not attempt to explanation, and hoping to meet you personally at no W ANTEDA position to teach piano or voice,
enter into anything like a detailed description of its plan distant day, I am by a lady, an A. C. M., who studied under some
of work, lest I weary you; but I will mention one or two Yours, very truly, of the best masters in England, and has had an exper"
of the bad habits it first attacks in the practice of ence in teaching for twelve years.
F. W. HALE. Address B. L., care of THE ETUDE.
T EI E E T U D E. 79
A Supplement to Every Instruction
Book. Lessons in Musical History, A PIANOFORTE INSTRUCT0R.
BY
BY JAMES HAMILTON HOWE.
THE STUDY JOHN COMFORT FILL MORE.
Op. 15.
This Instructor includes for its theoretical portion:
Notation; Rhythm; Chromatic Signs; Accent; Marks
of THE PIANO. Price $1.50 postpaid. of Touch, Power and Tempo; Syncopation; Abbrevia:
tion; Marks of Power and Tempo, and Theory of Tech
EY
A comprehensive outline of musical history from the at nique. A full page is devoted to Diagrams for Position
the Pianoforte. -

EI. T_A_EROTEINTT. beginning of the Christian era to the present time; espe
cially designed for the use of schools and literary insti The Practical part contains a thorough set of Technical
tutions. Exercises, progressively arranged; scales, major and
Translated by M. A. Bierstadt. Address Publisher,
two minor, in all keys, supplemented by attractive Les:
sons and Illustrative Compositions.
THEODORE PRESSER, Throughout the work are introduced Duets for Teacher
PRICE $1.O.O. and Pupil, illustrating certain exercises in an entertain
1704 Chestnut Street, ing manner. - -

PHILADELPHIA, PA. # last four pages are devoted to the Major Scales in
HIS work is designed to accompany the instruction all keys, with Grand Arpeggios; the Harmonic, Melodic
book with beginner, and will serve as a supple and Mixed Minor Scales in all keys, and an original Grand
ment to any method. Arpeggio and Octave Exercise, which is both interesting
The information is imparted in the form of questions
and answers, which will make the work useful as a primer,
but it is vastly more direct and comprehensive than any
MMHIM|| instructive.
The Instructor has been endorsed by the following
Artists and Teachers; Wm. H. Sherwood, S.A. Emery,
-

primer published.
FOR Music TEACHERS AND STUDENIS Fannie Bloomfield, Neally Stevens, Constantin Stern
BY
The following are a few of the subjects, out of the 175 berg, J. S. Van Cleve, J. C. Fillmore, Arthur Foote,
pages, which we give at random: E. M. SEFTON. Louis Mass, Alex. Lambert, Calixa Lavellee, W. S. B.
General Advice on the Method of Practice. Mathews, Carlisle Petersilia, Joshua Phippen, Jr., G.
E* E. I. C. E. - - - - S 1 - O O. H. Howard, W. H. Dana, J. Wolfram, S. N. Penfield,
Necessity of Counting. C. H. Morse, W. G. Smith, Max Leckner, Willard
Some Special Difficulties. This book makes work easy
for THE
TEACHERthe young Burr, H. A. Kelso, Thomas Tapper, Jr., Norman
Musical Memory.
#.'" the study of music clear and attractive for THE McLeod, Flora M. Hunter, Ad. M. Foerster, E. R.
*UPIL. It is a new departure and is a step in advance of any Kroeger, F. W. Root, W. L. Blumerschein, Wm. Mac.
On Reading Music. thing published as a means of interesting the pupil and aiding
the teacher. It tells Winen. Where and How much should donald, F. R. Webb, H. M. Wild, Mrs. L. Heerwagen.
The Pedal. be studied or given in Theory, Technic and The Piece, and This work, which is meeting with great favor and a
their various subdivisions. No steps need be taken # by likewise extensive sale, retails for the small sum of
Overcoming of Bad Habits. teacher. Read what Dr. William Mason, the head of the
profession, has to say of the work: $150, with liberal discount to the profession and trade.
The book will be bound in cloth, and will be a pleasing MR. E. M. SEEToN,
contrast to the ordinary pasteboard cover primers that are Dear Sir:-I have received the copy of Teacher's Help and J UST I SS U E D.
placed in the hands of a beginner. Student's Guide, and thank you for sending it. I have examined it
with interest and regard it as a very useful work. It keeps con
Address the Publisher,
THEODORE PRESSER,
stantly before the pupil the true and fundamental principles upon
which effective practice is based. The various exercises are arranged
in a systematic way, tending toward orderly and rapid development.
FOUNDATION EXERCISES
The directions, which constantly remind the pupil of the absolute IN PIANOFORTE PLAYING.
necessity of deliberate and conscientious work, may at first glance
1704 Chestnut St., Philadelphia, Pa. seem almost superfluous, but the experienced teacher will at once
By A. K. VIRGIL.
recognize their importance and the urgency of their constant repeti
tion. It is the kind and quality of practice which tells. One might To be used on the PRACTICE: CLAVIER or PIANO.
as reasonably expect, by sowing poor and imperfect seed, to harvest
PIANO PROTECTOR good fruit, as through imperfect practice to gain good and desirable
results in pianoforte *''' The object of this work isfirst, to establish the doctrine that Piano
AND Yours sincerely, forte Technic is or should be an Elementary Study; and, second,
WILLIAM MASON. to supply teachers and pupils with exercises and facilities by which
Address
FOOT-REST COMBINATION. this all-important subject may be taught, and true pianoforte
THEO. PRESSER, PHILADELPHIA, PA. technic may be clearly comprehended and practiced by the youngest
beginner from the first lesson as heretofore has been impossible.
This Invention provides a Protection for The plan of the work, and the exercises given, are new and
: the Piano, also, an NEW, EASY AND PROGRESSIVE original.
In the two volumes more than thirty picture illus
trations are given, by which not only proper positions,
EXTENsion Foot-REst,
Connected with the PedalsEspecially de
Meth00 for the Pianoforte, but correct movements are easily learned.

signed to enable Persons of Small Stature BOOKS I AND II, EACH $1.5O.
to Rest their Feet, and also to work the BY JULIUS E. MULLER.
Pedals of the Piano.
EDWARD sCHUBERTH & C0, Publishers,
PRICE sloo. sound IN BOARDS. 23 Union Square, New York.

PRICE LIST. This is an entirely new work. The author is an active


teacher, who is well known as the composer of that once
JUVENILE
No. 1. Foot-REst, - - "...' opular parlor piece Falling Leaves. In this work
No 2. **
nickel plate 2.50 has aimed at the popular taste. The names of
No. 3. Foot REST AND PEDALs,
- -

cke p 0. 4.00
Streabbog and Spindler appear the oftenest. The book EXAMINATION QUESTIONS.
: 4. . ** (nickel plated), 6.00 has very exercises. Address By L. R. CHURCH.
0. 5. * ** (polished brass), 8.00
Address
THEO, PRESSER, PRICE - - 10 CENTS.
No. 17O4 Chestnut Street, Philadelphia.
THEO, PRESSER, PHILA, PA. Address Publisher, THEODORE PRESSER,
1704 Chestnut St., Philadelphia, Pa.

The Philadelphia Musical Journal The TWusicIRN.


: only sloo a YEAR. SR2 08.ject of file QWork is to fiefs
AMERICAS LEADING MUSICAL PUBLICATION,
to the 6etter unberefanding ab GROVES DICTIONARY
enjoyment of eautifuf Music.
Educational Department. Edited by Hugh A. Clarke, Mus. In six grades, each, 75 Cts.
University of Pennsylvania.
of
Ey.

"ylvania State rs
16 pages of new music, and from 16 to 20 pages
Pupils, and alle interesting and valuable to Music Teachers,
of the
Music
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Art Divine.
Teacher's
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It is the official
Association. l organ
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ga of the
The work contains analyses of many of the best MUSIC AND MUSICANS
compositions by Classical writers. ... Starting with the The only Complete Encyclopaedia of Music in
very easiest pieces for beginners, it leads on, in pro
A Folio of Music Free to Every Subscriber. gressive order, through six grades, to the most difficult the English Language.
works written for the Piano-forte.
SPECIAL TERMS AND DISCOUNTS TO Music TEACHERS. It presupposes no knowledge of harmony, but,
starting with the simplest forms of composition, ex IN FOUR VOLUMEs.
Yearly *iption, sic. Sample Copy, 10 cts. plains the most essential points, just as occasion pre $6.00 per Volume. $18.00 for Complete work, by Express,
sents itself in the different works under consideration, Address,
asing such concise and lucid language as will be under
G0ULD & W00LLEY, Publishers, stood by mentally less-leveloped scholars. The work has THEO. PRESSER,
*16 and 1418 Chestnut St., Philadelphia. met with the unqualified endorsement of all those whe 1704 Chestnut Street,
have examined it.
PHILADELPH1A, PA.
SO
THE ET UD E.
SECON D VOLU M E.
THE MILLER ORCAN. SPECIAL INDUCEMENTS
TO TEACHERS.
co-o-o-o-o-o-o-o-o- *: oc o o o o o o o o
1870 CSTABLISHED 1670 Studies in Phrasing *
re-l

Best, + SUPERIOR **

TONE,
WEAVE: By W. S. B. MATHEWS.
Price S1.5O Net
**

Cheapest,
ACTION,
* * DREAN AWUrk that{\Ty Still:lt [f th: PlMSMllisilly #!
JM0ST AND |

DURABLE. ['IllSill[ill, C O N T E N T S :
Introduction. Method
Principles of Interpretation.
of Study. p on

5H- ".
FOUR (4) ELEGANT NEW STYLES. :- - ".
#!"
wars ~51%
I L. L Us TIR. A. T.I.C. N. ss
. Mendelssohn, First Song without Words.
. Bach, Loure in G.
Agents wanted where we are not represented.
Circulars, etc., free.
# Gueranid Chopin, Nocturne in E flat.
Mendelssohn's Hunting Song.

MILLER ORCAN CO., WEMRORGANAPIANOG,


WoRK5,YoRK. Pat
| Schumann, Warum.
. Mendelssohn Song.
. Schumann, Nachtstecke in F, Op. 23, No. 4
. Bach, Invention in E minor, 3 voice, No. 7.
T-JEE.A.TSTOINT, F-A-. Lock Box A. Schumann, Grillen.
. Rubinstein, Melody in F.
1 l. Schumann, Polonaise in D, out of Opus 2.
E.A.T. IIMEEER,S studies in . Mendelssohn (Duetto), No. 18.
Schumann, Homewards.

PIANO PRIMER. Measure and Rhythm, ||


14. Chopin, Prelude in D flat.
. Bach, Saraband in E minor.
. Schubert, Minuet in B minor. Op. 79.
FoR THE PIANOFORTE. Address Publisher,
15th EDITION.
By E. W. KRAUSE. THE O. PRESS ER,
Notes and Remarks by such Musicians as Dr. FoR PRIvATE, CLASS OR SELF INSTRUCTION.
Wm. Mason, Mr. Wm. H. Sherwood, 1~O4 CHIESTN UT STREET,
Mr. Albert R. Parsons, etc. A Systematic and Practical Treatment of Measure
(Time) and Metrical Notation, in the form of scales and PHILADELPHIA, PA.
It is concis E.; it is ExHAUSTIVE; it is endorsed by most other exercises.
of the great American Pianists and teachers. Letters of The work affords material for acquiring the ability to
commendation of it have been received from the most
rominent musicians in more than twenty different
States. It is adopted as a STANDARD work in most of
read and play correctly in a comparatively short time. THE STAR of BETHEREM.
Price $1.50, in Boards.
the Colleges in America. Its sales have been phenome J. H. HALL AND J. H. RUEBUSH,
nal. Its price is very reasonable, viz.: In Cloth, em. ASSISTED BY

bossed, $1.00; in Board covers, 75 cents, and in paper THEO. PRESSER, Publisher, ALDINE S. KIEFFER.
covers, 60 cents. Address 17O4 Chestnut Street, Philadelphia, Pa.
THEODORE PRESSER, A fine collection of Church Tunes, Anthems, Choruses,
1704 CHESTNUT ST., PHILAD'A, PA. and Glees. Just from the press.

PALMIEEs
A GRADED COURSE OF STUDY. Contains 116 Church Tunes, 80 Pages Class
songs, 7O Sunday-school songs,
32 Pages Anthems.
New Pronouncing Pocket Dictionary
of Musical Terms. cABINEToRGAN Just the Book Teachers have wished for. 192 pp.

75 Cents per Copy ; $7.50 per Dozen by Mail.


26oo TERMS DEFINED. By M. S. MORRIS.
A new and greatly enlarged edition of the Pocket PRICE - - - - - 10 Cts. The great question before vocal music teachers is: How can Weiln
prove the masses in reading music? This book contains no new
Dictionary has recently been issued, which contains up Containing the best lists of pieces and studies, vol. method, for character notes have been successfully used for years.
ward of 2600 definitions, covering about all that is sPECIAL or FER.We will mail one copy to any reader of
umes of voluntaries, arranged in systematic order for The Erung for only 30 cents, to cover cost. If you are not satisfied
required by musical students and teachers. It should reference.
be in the possession of every person who studies music. Address Publisher, after an examination, we will refund the money. Address
PRICE 25 CIENTS.
R U E B Us H, K I EFF E R & CO.,
Address THEODoRE PRESSER, THEO. PRESSER, IDAYTON, VA.
1704 Chestnut St., Philad'a, Pa.
1704 Chestnut Street, - - Philadelphia, Pa. We beg to announce that we have now in course of publication*
new for Organists, entitled
A System Of Pian) Tethnit. Portraits of Great Musician8.
JAMES HAMILTON HOWE. The Organists Journal. SIZE, 22 x 28 INCHES. -

CLOTH, $1.5O. This work will be sold by subscription, and will be complete in 14
Price $1.00. Postage and Tube, 10 Cents. parts. Each
ontain part
at least fourwill
excellent pieces in
be enclosed an attractive
suitable cover
for church and will
service: We
Includes a complete set of Scales, Arpeggios, Double shall also present a number of novelties ''' for Concerts,
Thirds, Double Sixths, etc., in various motions, together $5.00, with Frame, Antique Oak. andisother
Recitalswork
entire This will beThe
$300. occasions. the Price
finest of
andSubscription forwork
most complete the
with fingered exercises for special developments, and The following are now ready: for the organ in the market; it will contain the most, prac' ical and
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Pianoforte Instructor, of late issue (by the same Author), BEETHOVEN, MENDELSSOHN, English will be of high class. Nothing will be put in to fill ''
writers:
Each piece -

in connection with appropriately graded studies and in:


structive compositions. This work has been introduced MOZART, WAGNER. organist.
space The entire work will be within the ability of any churc |
in some of our leading schools of music. A. newly We would like to impress upon you the fact that- -

OTHERS TO FOLLOW. 1st. The music will be edited in the most careful manner. special
revised and corrected edition is in process of publication, attention will be given to the Phrasing, Pedal Marking, Registra
necessitated by the advanced sales of the work. The The elegant portraits have given the greatest satisfac. tion, etc.
s
: Technic in the future will be bound in limp cloth, so tion whenever introduced. The former price for these 2d. Theother
3d. No Musicwork
will be printed
gives from Engraved
so much music forplates (not money;
so little type). each
desirable for carrying the same in music rolls. A new was $4.50 each, without frame. part, costing 25 cents, will contain $1.50 worth of music.
and original Arpeggio Exercise will be introduced in the 4th. None of the pieces are too difficult forlarge
the Amateur or the St".
next edition. of compositions
and the Professional Organist will find a number
THEO. PRESSER, * THEO. PRESSER, 5th. The work will also commend
which are only to be found at present in expensive editions.
to Teachers and Organ itself
1704 CHESTNUT ST., PHILADELPHIA. pupils, on account of the large number of pieces available for instruc
No. 1704 Chestnut Street, Philadelphia. tort. ti
Parts 1,2,3,4,5,6 and 7 are now ready, and will be sent, postpaid,
on receipt of the subscription. Succeeding parts will be issued and
SuiTABLE FOR CHORAL SOCIETIES.
FIFTY EXAMINATIONQUESTIONS forwarded, one each month, until the 14 numbers are complete.
Circulars and sample pages, giving full information, will be sent,
free, on receipt of name and address.
FOR PIANOFORTE STUDENTS,
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AN OPERETTA.
BY ALBERT W. BORST. THEO, PRESSER, WM.E. MSHMAIL&!,
By AIBERT W. BORST. Price 5 Cents, 50 Cents Per Dozen. 1704 Chestnut Stroet, 231 East 80th Street,
LonnonNovello, Ewer & Co., or from the composer:#602 Hamilton
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T EI E E T U D E. S1.
rofessional Cards.
--~~~~~~~~~~~~~~~~~ -- $chools of #lugir.
---
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Compositions revised and corrected. Terms moderate.
Address 18 L1BRARY BUILDING,
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174 RACE streET, cincINNAT1, o. other renowned masters.
Prospectus to be obtained gratis through the Director,
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CONCERT PIANISTE AND TEACHER, KARL KLINDWORTH,
>OSTO-N", M.A.S.S. Berlin, 20 Potsdamer Strasse.
Beethoven Concerts at Conservatories a specialty.
Madame Steiniger will make a tour, West and South, in January, -
-

-
February and March, 1890, introducing her four Beethoven Con
certs. Special terms and unequaled inducements to teachers who
will work for this series of concerts, in their cities or towns.
A* FRAU ANNA stEINIGER, Boston, Mass.
IANAS MUSICAL INSTITUTE WARREN, DH1
W. S. B. MATHEWS, '. An institution devoted exclusively to the study of
TEACHER OF PIANOFORTE, MUSIC. Gives instructions in all departments of Music,
Lecturer and Writer upon Musical Topics, with a thorough and Systematic Course of |

No. 236 STATEST., CHICAGO, ILL. Study, and a Faculty of the highest excellence and
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Mr E. M. B. Ow MAN,
(Editor of Weitzman Musical Theory,) A STANDARD TEXT-BOOK,
STEIN WAY HALL, NEW YORK. -: - s: -
PIANOFORTE AND ORGAN instruction by the methods on which
modern artistic performance is based.
MUSICAL THEORY lessons, orally or by correspondence, by the QBERLIT.GrisBRVATORyof ITusIG DNAS FRACTICAL HARMONY,
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to become thorough musicians.
a splendid building for its exclusive use, the Oberlin
Conservatory offers unusual advantages for the Study of
Milwaukee School of Music,
422 BROADway,
Music. 544 students last year. Total expense for one
MILWAUKEE, WIS. year's study (38 weeks) need not exceed $300.
W. R.S. MARY CRECORY MURRAY
(PUPIL OF WILLIAM MASON)
Instructs Teachers and Students in the

HARMONY LESSONS BY CORRESPONDENCE, Terms begin Sept. 17, Jan. 7, and April 8. MASON METHOD OF TOUCH AND TECHNIC.
GIVEN BY If you are intending to study Music in any of its Will also make engagements for Concerts or Piano Lectures with
- J. C. EMLLMORE, Director. branches, send for catalogue to Illustrative Recitals, adapted to general audiences or Musical Asso
ciations and Classes of Students.

MRS. W. H. SHERWOOD, F. B. RICE, Director, Address, Care of The Etude.


Concerts, Piano Recitals and Piano Instruction. OBERLIN, OHIO.
SUMMER PIANO LESSONS GIVEN.
Address at her residence,
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A NEW B00K FOR BEGINNERS.
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EDWARD E-A-XTEE FEE.E.Y -
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THE ART OF PIANOFORTE PLAYING.
BY HUGH A. CLARKE, MUs. Doc. Price $1.50, post
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MSE' & 'm',
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10th to the holidays. Special Terms to parties on his direct This is a new work embodying the results of thirty
route desiring recitals at that time years' experience of a practical teacher, who has held
the responsible position of Professor of Music in the B OST ON, MA.S.S.
HUGH A. CLARKE, Mus.Doc,
223 South 38th Street,
Pennsylvania University for the last fifteen years.
The design of the work is to furnish a thoroughly
PHILADELPHIA. artistic school for beginners, embodying all the latest
results of the best criticism. The exercises have been
constructed with great care, and are graded in such a Agents for the Standard Cheap EditionsPeters,
way that the difficulties that beset beginners are almost
insensibly overcome. Not a page has been admitted for Augener, Cotta, Breitkopf & Hartel,
RICHARD GOERDELER, the purpose of making a book; no other work has been
borrowed from ; but every piece in the work is the
Director of Music at Pennington Seminary, result of careful study of the requirements of a complete Schlesinger, Etc.
PENNINGTON, NEW JERSEY, elementary school for the pianoforte.
Wh *TES new, brilliant and original Piano Music, for two and four We wish to call the attention of Directors of
hands, on short notice. Refers to his popular compositions, Practical and Pleasing.
'' by # Oliver Ditson Co., Wm. A. & Co., F. A. North Music in Schools and Seminaries, also of Music
* * 0 , Ineo. Presse
terms, apply : and reproduced in Leipzig, Germany. For - -

It is of the utmost importance that a proper beginning


be made. There are two features in this book that make Teachers in general, to our stock of Foreign and
it one of the best works for beginners ever issued,
schools of alusic.
---
namely American Music. We make a specialty of good
fingered editions, and when desired will send
6CH00L of MUSIC,
DE PAUW UNIVERSITY, GREENCASTLE, IND.
It Interests the Pupil, it Cultivates the Taste.
On these two points every teacher must look selections of different grades for inspection.
Puni lastruction given
upil, *''', all Departments
rtist, inChoral of Music.
and Orchestral Concerts, for success, and it is well to have a text-book at the
olo, Duet, Trio, Quartette, Ensemble and beginning that lays particular stress upon important
Oratorio Work. principles.
R FIVE COURSES OF STUDY. There are numerous duetts for teacher and pupil, all SPECIAL ATTENTION PAID TO MAll ORDERS.
", Board, Practice and Sheet Music at reasonable rates. having a specific object in view, There are a goodly
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P For Circulars of other University Departments, apply to arpeggios, five-finger exercises, etc. *TERMS LIBERAL. Catalogue sent free
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A.*ander
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of Art. Oolo Address publisher, THEO. PRESSER, also Bulletin of New Music sent regularly
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1704 Chestnut Street, Philadelphia, Pa..' to those sending their address.
JUST PUBLISHED IN PHOTO-GRAWURE. By GEO. H. HOWARD, A. M.
BEETHOVEN, MOZART, CHOPIN and WAGNER. PRICE $1.50.

Size 112x16 in. (life size), on 22x28 paper, @..............


26x8 in. (% life size), on 14x17 paper, @. Easily Understood. Interesting. Thorough. Adapted for a short course
. GRAND, $QUARE, all UPRIGHT
33%x4% in. (cabinet size), @...................... or for an extended period of study. A great saving of
time to teachers. A real help to students.
(Printed on Japanese paper, mounted on beveled card board.)
E"R. A. M. E. D. This work is being received with great favor, and is already intro
duced in several of the best conservatories in this country. In pamphlet
(DaRORRES)
1(he
Size 1Framed, 20x24, in 2-inch oak, with %-inch silver form it has had a large sale, and now that it is completed, it seems sure These Instruments have been before the Public for over lilt
Inside, @........................................ ---
to take a leading place among works on Harmony. fifty years, and upon their excellence alone
Size 2-Framed, 12x14, in 1%-inch oak, @..
Simple explanations, short sentences and plain language throughout have attained an
are features which will commend themselves to teachers and students.
It will lead students not only to a theoretical acquaintance with Har 1:
UN PURCH ASE
Which D PREthem
establishes -EM
as | N ENCE,
The following are in preparation and will be issued in the order mony, but also to become able to distinguish intervals, chords, progres
named:BACH, HAENDEL, HAY DN, Liszt, MENDELSSOHN, MEYER sions and treatments by ear as readily as with the eye.
By means of an agreeable variety of exercises the interest of the
BEER, SCHUBERT, SCHUMANN, WEBER and others. course is well sustained. It will not be found dry by any careful stu
Subscriptions should be placed now. dent. Many of the exercises are decidedly novel in a text-book of this
kind, never having appeared before.
UNEQUALED
The book will be found interesting and helpful in every way to the
JELLINEK & JACOBSON, Publishers, teacher and the pupil. It is also rich in suggestions for general im |* :

For Sale by
13 East 17th Street, New York.

THE0. PRESSER, 1704 Chestnut St., Philada., Pa.


provement and in reviews. In advanced study it will be found invalu
able.

The conviction of its excellence will strengthen as it is


TI', 'I'll Winn, Hill lllllllly!
used, and it is safe to predict that this will prove the most Wvery Piano fully Warranted for 5 Years.
popular work on Harmony yet published.
Address
THEO. PRESSER, Publisher, WM. KNABE & co.,
New+Le380m3+int Harmony. 1704 CHESTNUT ST., Philadelphia, Pa. 22 & 24 E. Baltimore Street, BALTIMORE,
148 Fifth Ave., near 20th St., NEW YORK.
JOHN C. FILLMORE. 817 Pennsylvania Ave., WASHINGTON, D.C.
+ SPENGLER'S +
We know no other work in which a musical student can learn so
much about harmony in fifty pages of text and examples for exer
cise."The Nation, New York.
This work is based on the ideas of DR. HUGo RIEMANN, and has as System of Technic, FOR THE PIAM0-F0RTE.
an appendix his lecture on The Nature of Harmony.
A careful perusal (of this) will enable students to see clearly the PRICE, $1.50.
drift of modern speculation in music.The Nation.
Limp Cloth, $200 A CIRCULAR
Dr. Riemann, The greatest living musical theorist.-The Nation. An original and Highly Interesting Work or Mea

Professional and Hmateur.


JUST PUBLISHED.
TO THE MUSICAL PROFESSION.
FOR BEG IN N EFS USE.
We offer in this System of Technic a work that is
calculated to arouse new interest and enthusiasm, and
W H ITN E Y'S point out the road to higher and nobler ibilities. *
While the aim has been to set before the player Profound, instructive and beautiful are
new and interesting matter, yet the more important the attributes generally accorded the lectures of
RAPID METHOD facts are constantly kept in the foreground, to wit:
to develope the weaker fingers, and .to equalize the the late Karl Merz. With singular skill he
touch, to create an independence of execution, to ac
FOR THE PIANOFORTE. custom fingers and hands alike to every possible posi wrestled with musical philosophy, musical history
tion in all major and minor keys, and to cultivate the and musical aestheticism, and he understood it to
PART I. mind as well as the fingers.
Containing 184 pages, large size. Its system of in deeply move the musician and to enchant the
struction is easy, yet progressive, and music teachers Advice to Young Students of the Pianoforte, amateur. Wherever he lectured he inspired a
are rapidly adopting this NEW WORK. BY ALBERT W. BORST.
Price only $2.OO, postpaid. greater estimate for the musical art and higher
PRICE, Io cis.
respect for the musical profession.
As-SEND FOR A FULL DESCRIPTIVE CIRCULAR. Some good advice for every one studying the piano.
He was often urged to issue his lectures in book
Address
cLass-Book form, but he would invariably reply:
THE W. W. WHITNEY CO.,
TOLEDO, O. It is time enough when I am dead.
MUSICAL GAME. MUSIC TEAC HERS. They may be published them to bene
BY E. M. SEFTON.
fit my wife, if she survives me.
ALLEGRAND O. R E VIS EID
Price, -
E D IT I C INT -
- 50 Cents. This beautiful wish is to be carried out. Con
Instruction and Pleasure Combined. stantin Sternberg, the distinguished pianist, and
A SPLENID GAME FOR EVERY HOME.
This game consists of cards, on which the different notes and rests The book contains everything for keeping Accounts Johannes Wolfram, the noted musician, will edit
are printed, one on every card. After a number are distributed among
the players, the cards are played in succession and added together as
of Music Teachers; Index; Daily Programme, a page
they are played until the value of a whole note is reached, when it for each pupil; Cash Account, Bills, Receipts, etc., etc. the lectures gratuitously, and Dr. Charles H.
counts one for the person who played the last card and completed the
whole note. This gives a general idea, only, Full directions, with Address publisher, Merz, of Sandusky, O., the worthy son of the
rules for a number of different games, tables showing the notes, rests, THEO. PRESSER,
keys, &c., accompany the game. -

1704 Chestnut St. Philadelphia, Pa.


late Karl Merz, has associated himself with his
ose learning to play the Piano, Organ, Violin, or any other instru:
ment; those who sing; those who wish to read music faster; in fact, all father's special friend, Theodore Presser, in pub
who are interested in music, need this charming game.
It teaches the value of notes and rests.
The names of the notes. THE ELEMENTS lishing said lectures.
The various keys in which music is written.
the different kinds of time.
practice in musical fractions.
The easiest way to learn to read music, Send your orders to
You learn, while playing an interesting game.
It is readily learned, even by children.
Time devoted to playing this game is not wasted, as in most games.
HARMONIC NOTATION.
For Classes or Individuals.
A splendid game for evening parties. THE0DORE PRESSER,
A new departure-entirely unlike any other game. BY
Parents can teach their children the rudiments of music, even if not
W I L L I A M B. W. A IT. PHILADELPHIA, PA.,
musicians themselves.
Interesting to old and young, beginners and advanced alike.
Those intending to study music will find it to their advantage to play PRICE 50 CENTS.
this game a while before beginning lessons or Dr. CHARLES H. MERZ,
PRICE, 50 CENT8. A Preparation for the Study of Harmony.
SANDUSKY, 0.
Address Publisher, Address Publisher,
THEO. PRESSER, Price of Book, Mailed,
THEO. PRESSER.
1704 Chestnut Street, Philadelphia, Pa. PEIILADELPHIA, PA. $1.5O.
-* -

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THE ETUDE. S3
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For eight hands. . .
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A GRAND ORATORIO.
Price 10 Cents, $1.00 per Dozen.
The object of this work is to systemize Practice and stimulate the
For Piano. Op. Score.....'....................
3................... . . . . . . . . student to better study. It contains
# 44
st

Polonaise de Concert." For


is
Piano hands.
For eight**
Solo, Op. 4. ....
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2.0i)
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Sehnsucht. For Piano Sol. Op. 8........................ .50

CE. Address THEODORE PRESSER, Price $1.50, Bound in Boards. THEO. PRESSER,
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1704 Chestnut Street, Philadelphia, Pa.
The libretto of this Oratorio is taken from the Bible,
A BLANK EXERCISE BOOK and gives, in an epitomized form, the story of the taking
of Zion by DavidThe Prosperity of JerusalemThe
FIVE VALUABLE PAMPHLETS:
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For the Analytical defection of 'l-The consequent destruction of the On Teaching and Teaching Reform. By A. R. Parsons and
Constantin Sternberg. M'":::::::::::::::::::::::.........25 cts
| For Students of Piano, Harmony, city and the king's captivity.
What Shall we Play, or Musical Educ on in the Home.
Letters to a Lady Friend. By Carl Reinecke. Translated
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under the reign of the promised kingHis comingHis Hennes,............
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A POPULAR WORK. delphia Chorus, with a large chorus and orchestra, and
h THEO. PREssen, 1704 Chestnut St.,
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MUSICAL STUDIS AT HOME produced in America.


A wortR FoR EVERY TEACHER.
MARGARET B. HARVEY. THEODORE PRESSER,
N
Neatly Bound in Cloth. Price $1.25.
PUBLISHER,
PIANO TEACHING
SUITABLE FOR PRESENT.
1704 CHESTNUT ST, PHILADELPHIA, PA.
FELIX LE COUPPEy,
These Studies are intended for those remote from Cen We have just published Translated. "EY" Mr. A.- -Er:EsT.A.-DT.

: PRACTICAL HARMONY,
couraged by wrong methods of teaching, and those whose
time and means for self-impro vement are limited.
DESIGNED FOR THE USE OF PIANO STUDENTS.
Price 75 Cents, Postpaid.
BY

**o. PREsser, Publisher, DR. F. L. RITTER. CONTENTs.


1704 CHESTNUT STREET, PHILADELPHIA, PA. I. IntroductionObject of this Book.
tr; PRICE 75 CENTs in PAPER. $1.00 IN BoARDs II. The age at which the Study of Piano may begin.
III. Should a Musical Education be begun by Study of Solfeggio?
| || " - - - A work of the greatest importance to students of har. IV. Is Classical to be preferred to Brilliant Music;
TIEEE
EI mony and the pianoforte. There is no other work of VI. V. The Study of Technic
The Utinty of Collections of Etudes-Various Counsels.
this kind in our language, and we are sure that it will VII. The Precautions to be taken when many faults are met with
occupy a distinguished place in our system of musical VIII. Emulation.
in Pupils who have studied the Piano for Some time.
education. It takes the pupil over the whole ground of
HENRY F. MILLER harmony. All the rules are covered in exercises of the
most varied kind, to be played at the pianoforte. It is a XII. To
good preparation for the art of composition and improvi-|xiii. ThePupils.
IX. Musical Memory.
X. Can a Teacher himself prudently give
XI. Accessory qualities of the Teacher
od of Practic.
up the Study of the Piano?

sation, calculated to incite the student to musical pro XIV. The influence of Musical Studies,
PIANO S. duction. The work will hel greatly to facilitate the
young musician's difficult tas
study of harmony.
regarding the thorough
necessary to a Teacher.
XV. General Remarkslast Counsel.

Published by THEO. PREssER,


and the kind of instruction

THEO. PRESSER, 1704 Chestnut Street, Philadelphia, Pa.


HENRY F. VIIER & SONS PUBLISHER,
1704 Chestnut Street.
NEAT AND SUBSTANTIAL
PIANO COMPANY.,
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DACTYLION.
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Price 75 Cents. $6.00 per dozen, by Express.
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JUST OUT. Addre" THEo. PREssert, Phila., Pa.

THE SCRATCH CLUB, AN IMPORTANT WORK.

Author of The ;#3f Pianoforte *Wing, Harmony on he Inductive


Method, # to The le:#ans'
(a new Oratorio), etc., cte.
finil to timbersian: Qusir. VOL II.
"It is a littl **.*
imateurs b e book which
it is the '. its chatty common sense and suggestiveness. Evidently
BY W. S. B. MATHEWS.
without PRICE $1.5O.
itv.
"One OverW
of t eening solemnity.Boston Literary World.
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| | |W
: cleverest bits of writing Concerning music that has y Musical Miscellanies, Historical, Critical,
which will & '"lerica. . . . The book is full of entertainment To strengthen the fingers. Philosophical and Pedagogic.
*I and the ideas
older ones. -Philadelphia of youn
Evening readers and ggratify those of
** To improve, the touch. - --

*7t. To ensure flexibility and rapidity. Among the subjects treated, are Self Culture in Music,
Price, in Paper Covers, 75 cents. To give correct of the hand.
'''For sale b
by the #"ler,
To save time and a vast amount of labor. B'. View of Musical History, Wagner (3 Chapters),
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ic, etc., etc.
Unqualified endorsement of leading artists and teachers, among whom music,-

are S. B. MILLs, DR. Louis MAAs, MADAME RIVE-KING, RoRERT Gold


THE POET-Lo RE co.,
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Send for circular giving detailed information.
PHILADELPHIA. Address THEODORE PRESSER.
THEO. PRESSER, Philadelphia.
S4. T E[ E E T U D E.

INSTRUCTIVE, INTERESTING and MUSICAL.


sIECOINTID EDITICOINT
1890.
Twenty stuples SONATINA ALBUM CHOICE SACRED SOLOS, 34 fine songs.......................
COMPILED BY THE0, PRESSER, CHOICE SACRED SOLOS, for Low Voice, 40 songs.
son G classics, Soprano and Tenor, 50 songs.
FOR son G CLASSICS, Low Voice, 47 songs..........
Price . $1.00, Bound in Board Cover. CLAss!C BARITONE AND BASS SONGS

THE PIANOFORTE, TABLE OF CONTENTS.


cLAss1C TENOR SONGS, 36 songs.
CHOICE VOCAL DUETS, the very best
EveREST'S ALBUM OF SONGS, good selections...............
Introduction...... MAUD v. WHITE'S ALBUM, tasteful songs.......
OF MODERATE DIFFICULTY, - - - --

Kullak. Op. 81. No. 3. Grandmother tells a Shuddering Tale.


SULLIVAN'S VOCAL ALBUM, a master's work
Mendelssohn. Op. 72 No. 3, Kinderstcke....
For Development of Style, Expression and Schmidt. Op. 14. No. 1, Sonatina..............
Jadassohn. Op. 17. No. 3, Children's Dance...
PoPULAR SONG COLLECTION, 37 good songs...
GOOD OLD SONGS we used to sing, 115 songs...
Technique. Diabelli. Op. 168. No. 3 -

Burgmuller. Op. 76. No. 1, Rondiletto;........;... - COLLEGE SONGS, 115,000 sold.........................


INSCRIBED TO THE MUSIC TEACHERS OF AMERICA.
Spindler. Op. 136. No. 1, Sonatina in 4 Hands. college so NGS FOR BANJO; FOR GUITAR, each.
ummel. Op. 52. Rondoletto RHYMES AND TU NES. Osgood. Sweet home music...........$1.
Reyloff. The Fuchsia.............
BY Kuhlau. Op. 20. No. 2, Sonatina.
Steibelt. Turkish Rondo............ INSTRUMENTAL.
ANTON STRELEZKI, Clementi. Op. 36. No. 1, Sonatina.
Kjerulf. Scherzino.......................
P1ANO CLASS1CS, Vol. 1, 44 pieces...
In Op. 100.Volume II. Greig. Op. 12. No. 7, Album Leaf PIANO CLASSICS, Wol. 2, 31 pieces.
Smith. Babbling Brook.............. CLASSICAL PIANIST, 42 pieces
THEODORE PRESSER, Lichner. Op. 149 No. 6, Sonatina..
Dussek. Plough Boy.................. POPULAR PIANO COLLECTION, 27 pieces.
Lange. Op. 114. No. 1, Sonatina.. POPULAR DANCE MUSIC COLLECTION.
1704 Chestnut St., Philadelphia, Pa. Dussek. La Matinee...... -
YOUNG PEOPLE'S CLASSICS, 52 easy pieces.
Haydn. Sonatina in D...
Schumann. Slumber Song. The above are all superior books.
Schumann. Nocturne..........
A NEW B00X ON A MEW PLAM. Mendelssohn's Song Without Words. No. 1
Bach. Little Prelude. No. 6
Bach. Little Prelude. No. :
#& Schubert. Op. 78. Menuette.
Reinecke. Op. 47. No. 2, Sonatina
EMERSON'S NEW RESPONSES. #:
Quartet and Church Choirs; 74 short pieces of sacred music of the
Chopin. Op. 9. No. 2, Nocturne...... best character, such as your choir needs.
Address Publisher,

M|S| M.S. S. THEO. PRESSER,


17O4 Chestnut Street, Philadelphia, Pa.
THE TEMPERANCE CRUSADE #: (35 cts., $3.60
L. O. Emerson and Edwin Moore. Earnest, refined, elevated poetry
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temperance workers.

TEACHIEERS* SONG ;:"sing.Classes.


'' 'HARMONY '### ##:
Also an appropriate and good
By W. F. GATES. or Hilg 00

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SONG MANUAL (Book 1, 30 cts, $3 doz.; or Book 2,40
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musical topics, chosen from the highest rank of authors.
The selections are principally in the line of aesthetics and criticisms, Select for practice in your Singing Society one of our noble and
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Giving the correct Metronomic Marks after the CLASSIC FOUR-HAND COLLECTION ($1). Nine
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17O AUTHORS. True Tempos of all the Dances.
YOUNG PLAYERS' $1.00). 51 of the very best and
600 QUOTATIONS. Po'R's
These instruments have been especially manufactured ners, 55t''ion''
filling 143 pages. Heartily commended to Piano Teachers as
We give below a few of the names of writers from whose works for THE ETUDE, and will be sent as a premium to any one the first book of pieces (or recreations) to use.
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ddress WHITNEY'S ($2). 33 good pieces for Manual and Pedal,
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Thibaut, 6. Wan Cleve, 7. NEW LESSONS IN HARMONY, CHOICESACRED SOLOS. For soprano, Mezzo-soprano
or, Tenor, ($1.) 35 of the most lovely sacred songs, suitable for
Space will allow us to mention but sixteen of the one hundred BY JOHN C. FILLMORE. solos in church, or for enjoyment at home.
":for musician
S 18 a. and non-musician, for -
We know no other work in which a musical student
and amateur, for teacher and pupil, for all who know or can learn so much about harmony in fifty pages of text
know anything of music in its highest sphere. It has been warmly and examples for exercise.The Nation, New York.
indorsed by teachers and artists in this country and England and
will fill a place in our libraries and on our tables that has heret.
fore been vacant.
This work is based on the ideas of DR. Hugo RIEMANN,
and has an appendix of his lecture on The Nature of
|E|E|| || ||S}}||||M||
S er-ever, student-should own MUSICAL MO. Harmony. FOR THE PIANOFORTE,
As a presentation volume it cannot be excelled. A careful perusal (of this) will enable students to see In Three Parts, with American and foreign fingering, each $1.50;
Address all orders to clearly the drift of modern speculation in music.The complete, $3.
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the professors and pupils of the great Conservatory for which it was
Dr. Riemann, The greatest living musical theorist. compiled, and in which it has always been used. Very widely
THEODORE PRESSER, The Nation. known and used.
17O4 Chestnut St., Philadelphia, Pa The best Companion for an Instruction Book is MASON'S
PIA NoFoRTE TECHNics, containing every exercise needed
EDWARD BAXTER PERRY'S ON TEACHING AND TEACHING REFORM. for the full development of technical ability on the pianoforte, By
William Mason, with explanations by W. S. B. Mathews. Price
FANTASY FoR PIANo,
TWO LECTURES BY
- DIH LOEQET ET = Albert R. Parsons and Constantin Sternberg. Amy Book Mailed for Retail Price.
BASED UPON THE RHINE LEGEND.
...'", pronounced the best Lorelei yet written, in the old or
Melodious and descriptive; excellent study for the l
Played in H. concerts throughout
100Sherwood, the ,b
Price 25 cents, in Paper Cover.
se
OLIVER DITson comPANY. IBOSTON
and Mr. W. since its publication, Marc 1st, 1888 poser
Address Publisher, THE0. PREsser,
Address THE0. PRESSER, 1704 chestnutst, Philadelphia, Pa. C. H. DITSON & Co., LYON & HEALY, J. E. DITSON & C0.,
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Chicago.
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T H E E T U D E.
*::=''THE:=#| || --

VIRGIL "PRACTICE::clavi ER
Establishes a NEw and SUPERIOR System in
from dr. mans won binow. y
the st
udy of the PANo.
|
AN ARTISTIc TECHNIC y
secured more quickly by its use than b all
means. Indorsed and in daily use by #. "
* R TISTS AWD TE:1 GHER S.

* -tubert Ross Parsons

"For all purposes of silent practice in point


of true piano-forte touch and unerring tests of
V technique, the Practice Clavier commands my
exclusive preference.

| Very truiy yours,


|
I announce you a benefactor of humanity, 222.2, 62... (2.
as your instrument would disinfect the atmos.
phere of unnecessary piano thumping plague.
Approved and highly recommended by

| 223. -

|
A means of GREAT ECONOMY to learners and players:
Saves one-half in time and money. Brings relief
| to over-taxed nerves. For every
New York, April 9, 1889. # ARTIST, TEACHER, PUP/l. SCH001 and H0ME #

*L*The Virgil Fractice Clavier Co.,


12 EAST SEVENTEENTH ST., NEW YORK.

for gaining the necessary technical ability for

* MODERN+PIANO+PLAYING
The inadegrate results from technical
exercises at the piano is well known to
piano players and forms the great barrier
to a proper advancement in piano play
1119.
"science. having investigated this sub
ject, has discovered and can explain the
| reasons of such uneconomical results, and
can now supply at a cheap cost, a better
and more direct process for developing
--THE-
-

# enlarging the technical dexterity of


the hand.
STUDENTS TECHNICON, It is now used by eminent pianists in
Fire DC-E. s.12.
their teaching
| use, and and of
hundreds forteachers
their own personal
testify that .
|
it is invaluable to both themselves and
- - - their pupils.
As this new method marks a most important reform in technical teaching, all piano
players should make themselves acquainted with its principles, by reading a

"Treatise upon Technic, and the New Scientific Method for quicker Attain
ment of Artistic Expression in Piano Playing.
-

SENT FREE ON APPLICATION T0 IIIllii


= ,

J. BROTHERHOOD . . ". F.E.I.C.E Sz2.5o


No. 6 West 14th St, New York. DISCOUNT TO TEACHERs.
-

T H E E TU D. E.
Two GREAT MUSICAL WORKS TWO NEW BOOKS.
AT REDUCED PRICEs. MATHEWS' TWENTY LESSONS TO A BEGINNER
| - -

| We have in press and shall shortly have ready

"" Ch
Twenty Lessons to a Beginner
-
wport the Pianoforte.
CLASSICAL MUSIC. FOR PIANO.

A judicious selection from the works of foreign authors


By Mr. W. S. B. MATHEws.

No MoRE APPROPRIATE PRESENT FOR A MUSICAL


of the highest rank. A glance at the contents will be This work is perhaps the most novel of any of the
FRIEND CAN BE FOUND.
sufficient for players of musical discrimination. Printed
of this very successful writer. The general
ine of it was foreshadowed in his article upon Ele
Price reduced from $5.50 to $2.50 per Vol., from new engraved plates on finest quality music paper. THE
mentary Instruction Books, in the December issue of
POSTPAID.
AIR DE BALLET
C O N T E N T S :
....JADASSOHN 1.
Erube. It combines the following peculiarities:
EAR TRAINING:-From the very first lesson there
|
ALBUM LEAF. GRUTZMACHER are exercises calculated to awaken and educate the per
ALBUM LEAF ...BARGIEL
ceptions of pitch and time relations, of which music as
AM MBER... SCHUBERT to its form, is The relation of tones to key,
AT EVENING. C
INSTRUMENTAL. BARCAROLE.
BONNENUIT..
chord relations and time are taken up in their simplest
forms, and gradually developed to the complexity suit.
A collection of Classical Pianoforte Music, by the best
authors. This volume contains 512 pages, Sheet Music
size, printed on fine music paper from engraved plates:
CANZONETTA.
CANZONETTA
CANZONETTA
CHILDHOOD'S
CONSOLATION
able to pleasing pieces of the easiest kind, such alone as
the first quarter can contain. It is believed that the
method of doing this part of the work will be found not
|
elegantly bound in cloth, embossed in gilt. List of con: CRADLE SONG... only practicable if carried out according to the directions,
but also explained with such clearness and particularity |
tents mailed to any address. FLEETIN
as to enable the young teacher to apply the system with |
out other help than the book itself
2. TECHNIC AND TOUCH.The foundation of
W00AL. '" technic is laid according to the ideas of Dr.
ason's system, which not only develops the finger
This volume is the same size and style as the Instru ability more rapidly, by far, than any other system, but
mental collection, but contains Vocal Music only. List also assists in educating certain parts of what might be
of contents mailed to any address. No such collection MOMENT MUSICAL.
called the Mental Technic of thinking music, upon
MURMURING ZEPHYRS. which so much depends through the later course of musi
of vocal music has ever before been published. NO RNE....... cal study. The exercises in arpeggios and scales
are so valuable in this direction that it would be wise
ON THE RIVUL OFMANN
POLONAISE MERKEL to use them for practice if they had no value at all as
REPENTANC - NICODE mechanical developers of finger power and facility, for
ROMANCE RUBINSTEIN
Popular 500. Music Books. ROMANCE
SERENADE.
SLUMBER SONG
A.
HABERBIER
..HELLER
there is no other method in which this work can be done
SO -

The Lessons to a Beginner show the manner in which


Song Bouquet. American One of the best collections of English and
ballads and songs with choruses,
TraumEREI......
VILLAGE MUSICIANS.
these exercises should applied in the beginning of the
Cheapest folio of music published, 224 pages, full sheet music size. ZUR LAUTE course, and in this respect cover new ground.
Price, in Boards, $1.00 8, DICTATION AND MEMORIZING--All the
Parlor Bouquet.Companion
instrumentaltomusic
SongofBouquet. Contains
different grades of
- - -

Price, in Cloth, - - - - 1.50 amusements in the first ten lessons are to be dictated to
difficulty. Great favorite. 224 pages, full sheet music size. the pupil and written down from ear, and in no single
Vocal
instance learned from the notes. This method of pro
Song Diamonds. pleasemusic of every
everybody. description.
Contains Sure
selections to
from
cedure takes rather more time, but it results in develop
such authors as Gounod, Molloy, Aide, Claribel, Dolores, etc. ing a manner of playing which is purely musical in its
Prima Donna Album. New and elegant
composers songs
of modern by the
times. best
Should
essence, and as such closely related to all the later
growth of the pupil's musical powers. In this respect
grace the library of every singer in the land. the present work marks a wide departure from the mus
Adapted cular concepts and mechanical concepts which too often
Album of Sacred Music. -
choir or for
homeusecircle.
in the church
Finest constitute the entire mental basis of elementary playing.
collection of music published for young organists and choir leaders. and, in fact, often vitiate the work of those who arrogate
Nos.1 and 2. These beautiful books to themselves the name of artists. -
-
Musical Chatterbox. are, without doubt, the most popular Another curious feature of the work, concerning the
collections of medium and easy grade songs and pieces. Each book FOR PIANO AND VIOLIN. value of which very likely there will be differences of
contains eight beautiful illustrations, which will delight the young (With extra Violin part in separate binding.) opinion, is the gradual introduction of the staff, or
folks, -

Contains compositions by the best authors, and of rather the method of preceding it with various simple
Golden Hours. and attractive, and within the capacity of absolutely unequaled merit. They will be found equally notations, of a tonic pattern, the full staff coming
A collection of instrumental music, brilliant

pianists of moderate ability. It issure to please you. only at the twelfth or thirteenth lesson, and then as *
acceptable for concert performances or drawing-room gradual evolution from the simpler forms preceding:
We cannot too earnestly recommend it What Mr. Mathews has undertaken to do in this work
Classic Bouquet. young and students. pastime. The separate violin part relieves both per
-

No such collection has ever before been offered at such allow price. formers of the discomfort of playing from one book. is, first, to give the pupil a start toward musical play
Issued in the same careful and costly style as Choice ing; second, to introduce the notation in the true '.
Reed Organ Folio. Great - care as
such pieces hascome
beenwithin
taken the
to use only
compass Classics. namely, as the means of
the pupil already has within
himself; ''to
an third,
of a five-octavo organ. Should be on every parlor organ in the land.
ANDANTE
CO NT ENTS: a musical touch, and lay a foundation upon
Parlor Dance Folio. Will be hailed with delight by private which the highest grades of artistic playing ca"
dance parties. Contains a choice col afterwards be founded without undoing anything. but
lection of the latest dances, also the German, quadrille calls, etc.
One of the finest collections of instru
The work is distinctly original and American. .
-

Piano Treasures. mental music by the best writers of there is no single element in it not tested and prove""
Europe and America, that has ever been issued in this country. experience.
Such authors as Abt, Sullivan, Pinsuti gas-special of FER.
Song Treasures. Burnay, Hatton, Tours, etc., are repre:
we will send this work to any subscriber of The
sented in its pages, and the best and most popular songs only have
usen used. who will send us 50 cents in advance of .
orders recognized unless cash accompanies the same
by our "Boys in Blue,
Grand Army War Songs, Address Publisher,
of Decoration Day and other special occasions. The choruses have
'. been male voices, by Wilson G. Smith. THEobor E PRESSER.
Any of the above books mailed, postpaid, on receipt of price. 1704 chestnut St., Phila, Pa.
MUSIC AND B00K CATAL06UES MAILED FREE. _
SERENATA
'S AWAKENING..... --------------------------.......: BACH oRoxN of sers. Irscs, &"
: SCHUMANN
M= A + EEET v. BoE **
Price, in Boards, including separate Violin part, $1.00 Teacher of the

| M. N. - * Cloth, -

FOR SALE AT ALL MUSIC STORES.


- - - 1.50 @RIN 21NIP
3602 #*
vorore TP
Philadelphia, a
145 and 147 Wabash Avenue, Chicago.

-
==
a *. 1890. Core
S-

30 selected studies STUDIES


FROM OPUS 45, 46 and 47.

STEPHEN HELLER MELODY PLAYING REVISED BY


|
| FOR eff&AWHOR POPLS.
BY

ALBERT R. PARSONS, CALVIN B. CADY, | HAMILTON C. MACDOUGALI


ARTHUR F00TF,
E. BAXTER PERRY, J0HN S. WAN CLEWF, IEEIC E SL.25
CHAS. W. LANDON and THE0. " ARE YOU 100K/MG FOR SOMETH/MG // Wy
Something out of the beaten track? Are you tired of
FIRICE: 5I-5 O. | using the same
lisher takes etudes,
pleasure year after
in calling youryear? If so,
attention to the pub
Studies
- in Melody Playing. They fill a gap that has not been
It is the aim of the editors and the publisher to make occupied before. Every teacher has felt the need of more
this work everything that can be desired for educational interesting work for his younger pupil. We are indebted
purposes Each editor has been assigned a special work," Heller, Burgmuller, Reinecke, Lw, Lange, Tschaik
- ken th ision of owsky, Scharwenka and others for much that is interest
thus: Mr. Arthur "" " " " "ing and useful in this di', '' only trouble has
the pedal marks, which, by the way, received in the *been the lack of that gradation, fingering and editing
Musical Items. H. D. Trethar................... - nal studies very little attention. The following sign has which is necessary to fit them for the use of the teacher
"' - #1-102 ||
ImportanceofSummer Reading for Music-
been adopted for the pedals,
- - l dal
which indicates To meet this want Studies in Melody Playing has been
compiled. It contains studies, from the best authors
ians. During Vacation. John S. van Cleve... 102 the time the foot is placed on the pedal. d d ia h f -

Audiences from the Standpoint of the Pianist. hich has!" apted especially to the wants of teachers. Pupils who
- -

| sh':broad's v. Pnicia # | N. V. Penfict. Mr. A. R. Parsons has revised the Phrasing, which has 'd , six months lessons may use these
- - - -


A. Music . s, Landon.. #
been in many cases altered in accordance with the more studies.
: I05
- - - -

- recent ideas of interpretation.


Is Half an '. Sufficient for a
C. B. Cady will attend to the fingering, metronome
Do you find Difficulty in Interesting
marks, details of shading, cte. The rest of the editors
your Young Pupils?
The publisher recommendsyou to try Studies inMelody
Method of Study. Thomas Tapper
Mental Means to Mechanical En
-

*N
Plaving, for the reason that they have compiled by
have done the work of annotating, which will include a de-
a teacher toThemeet precisely melodious
that difficulty in his ow.
forte Playing, C. P. Hoffman.
N N.
-

| Pianoforte Tne Production. 7. A


...
-
109
-
scription of the character and the assignment of a name teaching. studi'i ' will interest
Worth Repeating.............................. 110 to each study. 'our pupils
' soormuch ch that
that th
the name study, will have no - ** -
The whole set will be closely graded, and will be made morere terrors for
-
them than for
f you -

MUSIC. - theThe collection


compiler, comprises
and fourteen four reparatory#:studies by
moreb
By the Sea. Pr. "' * N
lical typography.
a model of musical typography
mpiler, Gurlitt,
*teen etc.,more
etc.,by
carefully '.
Reinecke, Lw, Lange
| By the entice.......................... - & and annotated.
| Wai B'n' 50 * -

Little Spanish Melody. Behr.................. . 15

z: ). ...t S'A "R. - -

To those sending cash in advance of publi- "TE"TT": "'.


ros-Special Offer. '':
- will mail the work when ready for *gnized
- - us 40 cents cash
in advance
unless of pub .teacher No
who orders
will send
re -

''so on | cents,
ADDRESS PUBLISHER,
Address publisher,
the same.

|
|
THEO. PRESSER. T#EODORE PRESSEE
*Chestnut St., Philadelphia F."
I
THE E TU D. E.
G. SCHIRMER,
OMETHINC
TO REMEMBER.
Publisher & Importer,
|| || || || NEW YORE AND LONDON.
MANNS NEW #5 UNION SQUARE,
|
ELEMENTARY SCH00L FOR THE PIANO.
By JEAN MANNs.
NEw York. || || || || ||
presenting the fundamental principles of music and it. play | 1111111111111111111111 -
ing practically exemplified in a strictly systematic progression by a
series of pieces and preparatory mechanical exercises. All knowl
edge of, and proficiency in the art is based upon a proper under RECENT PUBLICATIONS. Write for Catalogues of Novello's original Octavo
standing of the elementary principles: to present such elementary Edition of operas, oratorios, Cantatas, Masses,
materials, in a comprehensive and strictly progressive form, is the
object of this work. Glees, Madrigals, Part Songs, Trios, Duos
Price, in Boards, 82.50. and Songs, Anthems, Church Ser
BENOIT, CAMILLE, vices, Chant Books, Hymn
Books and Psalters.
THE MODERN SCH00L OF PIANOTECHNICS, The typical Motives of The Master-singers
By A. F. LEJEAL, of a Musical Comedy by
THEORETICAL AND PRACTICAL
is a practical, systematic and exhaustive work, comprising all the Rich. Wagner. A study for serving as a
means necessary to acquire a perfect mastery of the instrument. Guide through the Score. English version
Price, in Cloth: Part1, 82.00; Part 2, 81.50; Part by J. H. Cornell. INSTRUCTION Books.
3, 81.5o. Complete, in Boards, 84.00. Cloth, Net, 50 cents. ELEGANTLY BOUND B00ks SultaBLE FOR Musical PRESENTs
AND SCH00L PRIZES.
RAYMOND'S CABINETORGAN INSTRUCTOR, HEINTZ, ALBERT, Full Scores and Orchestral Parts.
By Louis RAYMOND,
is a practical and ble method for the study of music and how The Master-singers of Nuremberg, by Rich.
to play the instrument. The elementary part is particularly free Wagner. Attempt at a Musical Explana
from ambiguousness, and hence readily understood. The organ tion; with 84 examples in notes, accompany
pieces judiciously selected and progressively arranged and
fingered, while the songs, with accompaniment, will be found ing the text. Translated from the 2d German
specially well adapted.
Price, in Boards, 81.50.
edition, by J. H. Cornell.
Flex. Cloth, Net, $1.00.
FIMFURTEMIUTHER INSTRUMENTALMI.
ORGAN AND REED ORGAN MUSIC.
TIEPKE's MUSICAL WRITING B00K. |
For acquiring a thorough familiarity with musical notations; and KLAUwell, Dr. Otto, SACRED MUSIC WITH LATIN WORDS,
containing a series of musical examples to be expressed musically On Musical Execution. An Attempt at a Sys
and written by the student. The success of the first number has tematic Exposition of the same, primarily
induced us to issue a continuation of the exercises, which will be - ALSO A FULL LINE OF
found in Volume II. with Reference to Piano-playing. Transla
Price 25 cents each. ted by Dr. Th. Baker. - of - -

Fleac. Cloth, Net, 75 cents. Pllitli): '. Elglish, Grillli Filth Hill:
WM. A. POND & C0.'S MUSICAL SLATE. -

Teachers and students will find this Slate an invaluable aid in


demonstrating musical examples. Each Slate has a series of staves
K0BBE, GUSTAV, *
ruled with indelible lines, and being made of Silicate is both light Richard Wagners Ring of the Nibelung": NOVELLOS MUSIC PRIMERS.
and convenient. Price 35 cents. The Rhinegold, The Valkyr, Siegfried, EDITED BY DR. STAINER,
The Dusk of the Gods. A descriptive
Analysis of Wagner's Tetralogy, containing 1. The Pianoforte.......... - E. pauer....... ......: .75
EMERSON's NEw Book of BANNO DUETs
Being a collection of original compositions, correctly and effect
all the Leading Motives, free from Techni
calities and addressed to the Lay Reader.
2. The Rudiments of Music... W. H. Cummings.
3. The Organ....................... Dr. Stainer..........
.40
.75
ively arranged, and within the capacity of all ordinary players; 5th edition. 4. The Harmonium.............. ..King Hall............ .75
while another important feature is that the whole of them Cloth, Net, $1.00. 5. Singing............................A. Randegger....... 1.50
will be found very attractive when played as solos. -

Price 50 cents.
6. Speech in Song.................A. J. Ellis........... .75
7. Musical Forms.................E. Pauer............. .75
|
Riemann, Dr. Hugho and Fuchs, Dr. Carl, 8. Harmony......................... Dr. Stainer.......... .75
WEITZMAN'S MUSICAL THEORY. Practical Guide to the Art of Phrasing. 9. Counterpoint....................Dr. Bridge........... .75
Edited by E. M. BowMAN (pupil of Weitzman). | Fleac. Cloth. Net, 75 cents. 10, Fugue.............................. James Higgs......... .75
Every one applying himself to the study of instrumental or vocal 11. Scientific Basis of Music.....Dr. Stone............ .40
music, should acquire a certain amount of theoretical knowledge.
This work embodies all the theoretical education that the student. DUET-ALBUM. 12. Double Counterpoint......... Dr. Bridge........... .75
of music may require to enable him to correctly express his own 13. Church Choir Training....... Rev. Troitbeck...... .4%
musical ideas, to guide others in like attempts, and to discriminate Containing 16 Selected Duets for Soprano and 14. Plain Song....................... Rev. T. Helmore... .75
between good and bad compositions. Tenor, by Joh. Brahms, J. Faure, Ad Jensen, 15. Instrumentation................. E. Prout.............. ."
weitzman's Manual is the most concise, comprehensive and prac: C. Pinsuti, Aug. Rotoli, Alice Mary Smith, 16. The Elements of Beautiful
tical text-book ever published, and is used and recommended by the A. Goring, Thomas, F. P. Tosti, Max
principal teachers. ded
Music......... E. Pauer.............
- - .40
200 pages, *" red edges. Vogrich and others. 17. The Violin........................ Berthold Tours...... .75
- Price 82.75. In Paper, Net, $1.50. 18. Tonic Sol-Fa....................J. Curwen............ .40
(G. Schirmer's Edition, No. 179.) 19. Lancashire Tonic Sol-Fa....James. Greenwood- 40
THE VOICE FROM A PRACTICAL 20. Composition..................... Dr.Stainer......: '.
21. Musical Terms.................. Stainer & Barrett. 40
STANDPOINT, W0GRICH, MAX. 22. The Violoncello................ Jules de Swert...... .75
With exercises for the study of Artistic Respiration, the Vowel Two Duet Albums: 23. Two-part Exercises...........James Greenwood. 40
Forms of the English language, and an Outline of the Method of
reaching. By E. J. MYER.
a. Six Duets for Soprano and Tenor. 24. Double Scales........ Franklin Taylor. - #
Price, cloth, 81.25. - In Paper, Net, $1.00. 25. Musical Expression............ Mathis Lus: 1.
-

(G. Shirmer's Edition, No. 228) 26. Seventy Solfeggi for Class. Singing by Flore 60
| Also, BY THE SAME AUTHOR, 0 A. Marshall, $1.50, or " 8 parts, each........ -

b. Six Duets for Soprano & Mezzo-soprano, 27. Organ. Accompaniment o ..


TRUTHS of IMPORTANCE T0 v0CALISTs.
Price, Cloth, 50 cents.
or Tenor and Baritone.
Choral Service......... #.'' Bridge. #
In Paper, Net, $1.00. 28. The Cornet....................... - "et.------* -

This work is worthy of perusal by all interested in vocal music. (G. Schirmer's Edition, No. 229.) 29. Musical Dictation.............. Dr. F. L. Ritter... .50.
Any book mailed for retail price. J-US: triest,Ish H:P
SHELLEY, HARRY ROWE, ...tion. Eart fi
t" - pr. F. L. Ritter... :
catalocues on Application. Anthems and Motets for Mixed Voices,
taining Arrangements, Selections and Orig
Con -

|
- - - -

Double Bass, in preparation...:


Extemporization.
James Higgs... . . .
'. . . . .
'. Sawyer.
. . . . . . . . . F. J. ---
75

-
75
inal Compositions, all hitherto unpublished,
comprising 160 pages of Music tastefully Any of the above may be had, strongly bound in boards, price 25
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Net, $2.00.
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CEIC.A.G.C. M. USIC CO-> WAGNER, RICHARD,


- 148-150 wahash Ave., Chicago, Ill.
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Authorized Edition with English and Ger
NOVELL0, EWER & Co
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EVERYTHING IN THE MUSICAL LINE
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Js

PREstill
woL. VIII.
1890.
THE ET New York is to have another new music hall for
chamber music and recitals on Fifth Avenue. Manager in WAGNER's
John Lavine hopes to give the inaugural concert on
Tannhauser was given for the first time
Spain at a recent Madrid performance.
PHILADELPHIA, PA., JULY, 1890. Oct. 20. MoRzkowski has become the conductor of the Orches.
tral :* concerts in Breslau, in the place of Max
THE New York series of Thomas's midsummer night| B ruCn,
A Monthly Publication for the Teachers and Students of concerts closed on Sunday, June 15th. Mlle. De Were
Music.
and Theodore Reichman sang. Among the selections At a recent musical soire, given by Mme. Cosima
SUBsCRIPTION RATEs, $1.50 PER YEAR (payable in advance).
Single Copy, 15 cents.
were the overture and duo from The Flying Dutch Wagner, Siegfried Wagner made his first appearance as
phan. a pianist.
The courts have decided that all subscribers to newspapers are held
responsible until arrearages are paid and their papers are ordered to be THE New Madison Square Garden was inaugurated on VICTOR E. NEssLER, the composer of The Trum
discontinued.
June 16th by the Strauss orchestra. Society turned peter of Sakkingen and The Ratcatcher of Hamelin,
-

THEODORE PRESSER,
1704 Chestnut Street. PHILADELPHIA, PA. out in numbers and were delighted by the sparkling died at Strasburg, aged 49 years.
strains. The hall contains 200 boxes and 8000 seats. SAINT-SAENs' father has just died at the age of ninety
W. S. B. MATHEWS, ED1 ToR8.JOHN S. VAN CLEVE, The season is to last ten weeks. seven years. He was the organist of the church of St.
JOHN C. FILLMORE, E. E. AYRES,
MRs. HELEN. D. TRETBAR.
THE Juch Grand Opera Company will open its next Nicholas, at Boulogne-sur-mer, for fifty years.
season in Denver, next August. Mr. Chas. E. Locke THE celebrated French tenor, Naudin, died in May,
Managing Editor, THEODORE PRESSER. is its director. On Oct. 20th the winter season will aged sixty-seven years. He was chosen by Meyerbeer
(Entered at Philadelphia Post Office as Second-class Matter.) be begun in Philadelphia. This will inaugurate a tour to create the part of Vasco di Gama in L'Africaine,
through the West, extending to San Francisco, and in Paris.
returning to New York in May, 1891.
MME. TERESA CARRENo created a highly favorable im
THE management of the journal during the absence PROF. GEYER, of Cincinnati, the inventor of an im pression at her first recital in London, England. She
of Mr. Presser on his European trip, will be placed in roved double-bass, has gone to Europe to concertize. played Schumanns Etudes Symphoniques, Rubin
the hands of Charles W. Landon. He has been a regu #. instrument is 143 feet in height and 83 feet broad. stein's Walse Caprice, her own Intermezzo in A,
lar contributor to THE ETUDE for a number of years. To play it Prof. Geyer is compelled to mount a step among other selections.
ladder and to hop up and down the rounds during the THE directors of the Brussel's Popular Concerts have
He will have exclusive control of the journal for the performance. So says the Zeitschrift fr Musik, Leipsic.
to have each concert of next year's series, as
months of July, August and September. The regular INDIANApolls has been holding its second music decided they did at last season's, conducted by a different con
editors will continue their work in the same manner. festival. Mr. Chas. Holman Black, the baritone, was ductor. For next winter Messrs. Colonne, Lamoureux,
The contributors and correspondents will, we hope, con brought over from Paris expressly for the event, and v. Blow and Richter have been chosen.
tinue to send in during the summer months matter for will not sing again in America until 1892., Verdi's MME. GERSTER, whose voice, it is said, has entirely
the journal. Manzoni, Requiem and the Elijah" were recovered its former powers, has been engaged for a
iven. Mlle. Clementine De Vere, Mme. Herbert Opera in Lon
Mr. Landon's work will be that which has heretofore er and Mr. Victor Herbert were also among the limited series of performances of Italian
don, England. me. Fursch-Madi, and the tenor, J. de
been done personally by Mr. Presser, viz., the revising soloists. The conductor was Mr. Carl Barus. Reszke, are of the company. Her debut in Somnam
and accepting of manuscripts for the journal. THE second annual meeeting of the New York State bula was a great success.
M. T. A. was held from June 24th to 26th inclusive.
MUSICAL ITEMS, Among the readers of essays were Mme. Luisa Cappiani,
Miss Kate S. Chitttenden, and Messrs. E. E. Scovill RANDOM NOTES OF THE MEETING OF THE
and Herve D. Wilkins. Mmes. Anna Lankow, Fannie M. T. N. A.
[All matter intended for this Department should be addressed to Bloomfield-Zeisler, Misses. Jennie Dutton, May Lyle
rs. HELEN. D. TRETBAR, Box 2926, New York City.] AN AMERICAN SOCIETY FOR THE PROMOTION OF
Smith, Louise Gerard, Bertha Bronsil, Terzah P. Hamlin MUSICAL ART.
HOME. and Neally Stevens were among the artists who partici.
pated. -

., THE New York Philharmonic Society will celebrate


its fiftieth anniversary in 1892. MR. STANTON promises next winter's New York opera. MR. Josef FEY, after getting a great amount of free ad
goers such novelties as LeRoi d'Yo,' Lals; 'L'Esclar: vertising, disappointed his audience by not appearing.
MLLE FLAVIE VANDER HENDE, a Belgian violoncellist, monde" and Le Mage, Massanet; Arzael, Franchi two years; he
made her American dbut at the Thomas concert, Lenox and Diana of Sonlange, Duke of Saxe-Coburg. Herr J. H. Hahn, is president for the coming
Lyceum, on June 4th. Gudehus, the celebrated Dresden tenor, will join the has shown great executive ability in the management of
company, Mmes. Mielke, and Schoeller will be the the Detroit meeting.
MR. EDMUND STANToN has engaged Mme. Minnie
Hauk for a portion of the season. will appear in principal prima donnas; Mme. Ritter-Goetze, the lead. The next meeting is to be in Minneapolis, 1892, the
'Carmen and other operas. ing contralto. Messrs. Reichman, Fischer, and Behrens meeting of '91 being omitted.
will remain.
Heiskich ZLLNER, the Cologne conductor, is to FOREIGN.
There is a prospect of many new State Associations
succeed Mr. Reinhold Herman, as the conductor of the being formed for the year '91; there being no national
New York Liederkranz Society. SARASATE played in London on June 7th. meeting, the State Associations will make unusual effort
Sisor DEL PUENTE has been singing opera in English TALAZAC, the tenor, is the favorite of Paris at present. to have valuable meetings.
with the Hinrich's Opera Company, now giving a sum TschAIkowski's new opera is entitled Pique-Dame. Do the members of the Associations, State and
mer season of opera in Philadelphia. (Queen of Spades). National, have an idea of the great amount of work done
MRs. CELESTE B. Givens and Miss L. Belle Little
have charge of the Musical Department of Drake Uni MME. SEMBRICH is singing at Kroll's Theatre, Berlin, by their efficient committees?
with enormous succeS8.
versity, Des Moines, Iowa, for # coming year. The orchestral and choral concerts were held at the
DAILY concerts are now given on the first platform of Detroit riuk, the audience numbering from three to four
THE students of the Mozart Conservatory of Music, the Eiffel Tower, Paris. thousand.
ichita, Kansas, gave four recitals in May and June.
he selections ranged from Bach to Meyer-Helmund. XAviRR SCHARweNKA is engaged in the composition of Theodore Thomas and his orchestra did some of their
CAMPANINI ": before a New York audience an opera, Mataswintha. best work in the interpretation of the music of our
on June 12th. e was assisted in this concert by Mlle.
De Vere, and Messrs. Bologna, Sabbatelli, and others.
LADY CHARLEs HALL6 (Mme. Norman-Nruda) will
visit America next season, it is said.

compositions. The compositions presented
y American composers were of unusual merit.
1 O2 T EI E E T U D E.
Mr. Waller, of Louisville, Ky., is a pianist of attain CONNECTICUT MUSIC TEACHERS' THE IMPORTANCE OF SUMMER READING
ASS00IATION, FOR MUSIGIANS DURING WACATION.
ments and great promise; he did good work and gave one
of the most enjoyable recitals of the Association.
There was some very fine singing by the choral JUNE 3d witnessed the organization of the State Music Now that vacation is at hand and Summer with her
society, which numbers about three hundred voices.
Teachers' Association of Connecticut. The meetings alluring smile invites us to her banquet of delightsnow
Great interest was manifested in the Orchestral and were held in Hartford. Several good concerts were that the surly frown of Winter is a thing of memory
Chorus Concert Fund of the M. T. N. A. Special effort given, including an interesting performance of Elijah. only, and the hours when it was delightful to be walled
will be made all over our country to bring this fund up It is evident that the musical interests of the State are in with the narrow confines of the study are long behind
to the desired limit of one hundred thousand dollars. All largely in the line of choral work. This is due, how us-now that overtaxed brain and nerve and muscle
teachers and musical societies are requested to give ever, to the persistent and high-purposed efforts of the cry aloud for rest and relaxation, a word of caution and
entertainments for the benefit of this fund. Hosmer Hall Choral Union, which was organized by advice will be timely to our thousands of readers in their
The Detroit meeting was the largest attended in the the Hartford Theological Seminary in 1880. This is a mad exodus to the sea-shore, or the lake-side, or the
history of any association. Although restricted by the remarkable factthat the musical progress of a State is mountain-top. Rest is not quitting the business
limitation indicated in the invitations of the programme, largely due to the influence of a great Theological Semi career; rest is the fitting of self to one's sphere.
which reads: The essays given throughout the meeting nary. This Choral Union is made up of about two hun It is a vulgar blunder to associate the idea of absolute
are intended to give a comprehensive review of the dred voices, representing some of the very best society vacuity and utter stagnation with that of repose, which
progress made in the various departments considered, of Hartford. The purpose of the Union is to familiarize consists chiefly in an agreeable and contrasted change of
together with the probable developments of the future, the students of the Seminary and the people of Hart employment. The vast armies of piano students, during
some valuable essays were given. ford with the noblest sacred music that has ever been all the nine or ten months of the season, have been
The leading discussion of the members, as they stood written. Many other societies all over Connecticut pouring out in loving libations their worship, before the
in crowds about the hotels, was the great meeting of '93, are imitating this example. Therefore, it may be said great technical idol who is the same in all lands, whether
at Chicago. This meeting is being planned on a com that Connecticut is preeminently a State of Choral you call him Juggernaut or Moloch or Baal, and with the
prehensive plan and the Association is taking steps to Societies. same cold smile does he demand of his victims the utter
make it an epoch in the musical growth of our country. Several papers were presented and pleasantly received sacrifice of time and strength, and even life itself some.
It will be international in scope and character. The by the audience. The time is coming when musicians times. During the period of study, learners upon the
August number of THE ETUDE will give full descrip must be able to discuss musical subjects intelligently in piano are too apt to make the excuse that they have no
tion.
order to maintain a high standing in the public esteem. time to cultivate their minds in any general way, because
Much time was given to essays on school vocal music. It has not fully arrived, it is true. Nevertheless, a their fingers are so stubborn. Now that vacation is
These papers were valuable and practicable, the dis. better day is dawning. here do not fail to employ some of your leisure hours
cussion was the liveliest of the session. The Association elected Mr. N. H. Allen, of Hart in furnishing your mind. Time was that the German
In the history of the Association, no city has given ford, President, and F. A. Fowler, of New Haven, language alone was rich in literature bearing upon
such a royal welcome as Detroit. A special token of Secretary. music, but the last ten years have gradually removed the
honor was given by the city council, in illuminating and From the educational point of view, by far the most stigma of barrenness from our beloved English tongue.
decorating their beautiful city hall. important feature of the meeting was the paper on The Germans for an hundred years have become increas.
Mr. Chas. H. Jarvis, of Philadelphia, gave a valuable Terminology, by Prof. Waldo S. Pratt. Of course ingly rich in beautiful, stimulating, instructive books
paper on teaching piano music. much was expected of Prof. Pratt by those who knew
Mr. Theo. F. Seward gave one of the most valuable his eminent ability to handle such subjects.
papers ever read before the Association, on Tonic The following is the general idea of this significant
upon the art of music, in every department, from
its driest technical dust, to its most living and growing
philosophy. One who understood German could at will
wander into an orchard heavy with fruitful thoughts, then
:
&

Sol-Fa, an expression of the Psychology of Music. paper: Definition involves classification, and classifica
pass into a bower festooned with the most fragrant
Great interest was taken in the playing of Mr. Mac. tion is based upon a comprehensive and systematic sur fancies, and from that out into a green, sunny meadow
Dowell and Constantine Sternberg. -
vey of the whole subject; therefore, terminology is the
of fresh feeling, through which wanders the crystal
Mrs. Fannie Bloomfield-Zeisler gave a bright paper on science of systematic, classified, and precise verbal brook of inspiration, whose fountain was at the top of
Women and Music. statement. The essayist claims that the time is
some remote and sky-piercing mountain. But of all this
President A. R. Parsons was a good presiding officer, coming when every literary or pedagogic treatment of beautiful domain the English speaking student knew
putting the different measures before the association with music will have to base itself upon broad scientific foun
exceptional clearness. - dations, or be laughed to scorn. He calls attention to nothing except by meagre translations, unless he encoun
the fact that music has not yet been treated as other tered the toil of learning the German language. Now,
however, thanks to the enterprise of our publishers, and
N0TES OF THE NEW YORK STATE TEACHERS' sciences; that our musical terms are heterogeneous, un among them the ETUDE occupies a front rank, those who
MUSIC ASSOCIATION, meaning, and therefore unintelligible. He quotes some
accepted dictionary definitions to show that there is a can read English only are richly supplied with the best
materials. There are three or four excellent dictionaries
THE second annual meeting of this Association was striking difference of intellectuality between the defini
in the English language; the lives of fifty or more of our
held at Saratoga June 24th, 25th and 26th; this was the tion of things nautical, or military, or commercial, or famous composers have been cast into readable form,
greatest meeting in the history of State Associations, political, and those of things musical. He asks: Is
then the alleged dignity of music a sham? By way of either historic or as the pith of a romance; books on
the membership being about 1700. every department of technology are abundant, and
The essays were practical and helpful and given by practical suggestions he urges: sketches of all kinds, from the light and amusing concert
leading minds in the profession. 1. The demand for a comprehensive text-book, an notice to the profound philosophizing of Hegel and
The recitals and concerts by the New York Phil introduction to music, arranged upon a really philo Schopenhauer, are accessible to all who will but read:
harmonic Club, Mrs. Fannie Bloomfield-Zeisler, Miss sophical plan, containing most of the matter of a good As you go to your summer enjoyment do not turn rest
Neally Stevens, Mr. Edward B. Perry, Dr. Carl Martin, dictionary, but arranged in classified order, all the itself into a toilsome and injurious labor, by its mere
Mr. Albert G. Thies, Miss Louise Gerard, Mme Annie matters of the same sort together, with such explanations excess, for your brain will not stop working-the busy
Lankow, Mlle. Bertha Bronsil, Miss May Lyle Smith, as will bring the several groups into connection with mind will be at work; if you give it nothing to weave, it
Mrs. F. L. Curtis, Mr. J. de Zielinski, Mr. Conrad each other, and with a first-class index. will weave cobwebs of injurious reverie, in which the
Ansorge, Mrs. Mathilda Gallavan, C. W. Slocum, F. W. 2. The need of one or two schools of music in dead flies of vicious thought will hang and make yo"
Wodell, Mark C. Baker, Mr. F. J. MacDonough, Miss which the course of study shall be framed, not upon soul hideous. Set to work on the warp and woof of
Terzah P. Hamlin, Mme. Luisa Cappiani. principles of expediency merely, nor upon tradition some intelligent plan of reading. It need not be heavy
The organ was especially represented, the recitals merely, but upon the same kind of scientific method but it should be consistent, and let your mind, if it must
being given by John Hyatt Brewer, A. L. Barnes, Miss that controls schools of technology and the schools of wander, wander like the bee, whose zigzag and devious
Lillian E. Yates, Herve D. Wilkins, R. Huntingdon the three so-called professions. course provides the sweet food for the winter.
Woodman and others. It is safe to say that within twenty-five years there JoHN S. WAN CLEVE.
Dr. Ephraim Cutter M.D., LL.D. gave a valuable paper is reason to hope that the entire science of music will be
upon the voice in Singing Speech and Whisper. revolutionized. If it is not, college-bred men are going Rest is not quitting the busy career,
Rest is the fitting of self to its sphere;
Miss Terzah P. Hamlin has a wonderful contralto voice; to repudiate the study as being unworthy of the twentieth 'Tis the brook's motion, clear without strife,
great things may be expected of her. - century. E. E. A.
Fleeing to ocean after its life.
'Tis loving and serving, the highest and best,
The meeting for next year will be at Utica.
The financial affairs of the association are in good The library of the late Dr. Merz is for sale. It is *
'Tis onward and upward, and that is true
condition, a large balance being left in the treasury. one of the largest collections of musical works in exist
President for the coming year is S. M. Penfield, New ence, covering as it does every conceivable subject It is unworthy of a musician to make conces81ion itto
- -

York City; J. William Suffern, Secretary and Treasurer. related to music. Full information and catalogues can the age in which he lives, for his works pass
The affairs of the association could not be in better be had by addressing J. Wolfram, Canton, Ohio, or Dr. it. On the other hand, he cannot afford to ignore it,
it drops him if he neglects it.-Robert Franz.
hands. C. H. Merz, Sandusky, Ohio.
T EI E E T U T) E. 1O3
s AUDIENCES FROM THE STANDP0INT OF SHALL WE STUDY AT HOME OR ABR0AD? stands American wants and conditions. Even our adopted
W. Americans are, as a rule, handicapped by early habits
THE PIANIST.
I want the best musical advantages for my child. and home traditions. The best teachers, also, at home
i
CHICAGo, June 10th, 1890. Shall I send him to Europe or keep him here? A says and abroad, are apt to gravitate to the larger cities,
Dear Mr. Presser I have not forgotten my promise Europe, B says here. Which is right and which is where, if they can get anything to do, their services are
Benn to write something about my concert experience for THE wrong? The question is often asked of me, and doubt better paid.
ETUDE, nor do I flatter myself that its readers are burn. less of other teachers. An answer of one word is gener Here, then, are the factors of the problem. More
kit. ing with impatience over my delay, for which I can offer ally expected. Even if that one word is here, there highly cultured composers and dilettanti abroad. As
no other apology than the much-abused aphorism, too is an askance look which seems to say: Aha, you are fine pianists, organists and singers here as there, perhaps
ift better. Better and more successful teachers here. More
busy. looking after your own interests. I shall now make an
in:
My past season of eighty-nine (89) engagements affords allowance for everything you say. stimulus abroad to a high and liberal culture, and espe
Q: #
subject-matter varied and exciting enough to satisfy the In truth here, as in most mooted questions, both sides cially to an acquaintance with and love for the classics.
Miles
* most blas of newspaper men, but to the limited vocabu are right and both partly wrong. Let us look at both In the domain of church music, better and quicker prepa
lary of the tyroits narration presents many difficulties, and sides with impartial eye, and divested entirely of what is ration at home.
#
I must beg the subscribers of THE ETUDE (many of whom sometimes called the patriotic standpoint. In music As coda to this article I may be pardoned for the fol
, whiti
are friends of this season) to give me some idea of the there is but one country and one language, albeit with lowing anecdote: An American friend and myself were
4: kind of experience about which they most desire to know. many brogues. Certain European centres have at pres studying the organ at the Leipzig Conservatorium, and
int Shall I tell them of my audiences? Of the stiff audi ent some undoubted advantages, which they will probably under the same instructor. After a lapse of several
it as
ence that gradually thaws, and at the close of the pro ever retain. I appeal to the experience of all earnest months my friend, who was not far advanced in organ
**
gramme may even demand an encore; of the chilling musical students who went to Leipzig, Munich, Stuttgart, music, came to me one day in despair, saying he was
sh:
audience that is not decided enough to freeze or or Dresden with a reasonable knowledge of the German hardly learning anything practical, and should have to
ri'
good-natured enough to approve, but continues to the last language. I am sure they found, as did I, that they were return to this country with nothing fit to play for an
lette
as depressing as a London fog; of the flexible, sensitive, plunged at once into an atmosphere of music that was ordinary church voluntary or exhibition piece. I told
f:
warm-hearted audience, sympathizing with every mood, classic, refined, enthusiastic and infectious. Not only him I would fix him out in this regard if he chose to
Mint' and enthusiastic from pure affection and good will ; of was there no call or demand for a low order of composi
}* :)
study with me. He consented, and on leaving a few
the conscientious, discriminating audience, which quickly tion, but there was no patience nor tolerance for medioc weeks later told me he had learned more of organ play
detects merit and gives to the artist's conscious faults rity in either composition or performance (except that ing and organ resources from me than in his whole year
limi
the criticism of polite silence; of audiences undecided the vocal standard was not always the highest), and this from the German Professor. S. N, PENFIELD.
e him
at the first hearing, but willing to be courted, or of those in the people's homes as well as concerts and conserva [Mr. Penfield was already a good church organist before going
Jemi. abroad. C. W. L.]
indulging in wild enthusiasm as fresh acquaintances, but tory exhibitions. Reverence for the classic authors was
; :
who remain apathetic on the return engagement; of the universal. It was not necessary to explain and analyze
wed:
audience which is musically irresponsible, but applauds Beethoven and Schumann, or to urge the importance and WHERE TO STUDY MUSIC,
tong:
everything, or of that which, though most highly beauties of their works upon unwilling or indifferent pa
cultured, applauds nothing; of the audience whose silent trons. They had drunk in these masterpieces with their ORANGE, N.J., April 24th, 1890.
attentionisa compliment to the artist, and whose applause mother's milk. It was in the very air of the place. The Dear Mr. Landon.-Notwithstanding the best inten
is spontaneous, if brief, or of that whose silence is dubi. tone and character thus given at the start to the musical tion and desire on my part to help you in the elucidation
ous, and whose thin applause is long drawn out; of education is invaluable. Given a foundation upon a rock, of the matter of going to Germany to study the piano
the audience which is too large for the house or of and the rains of trash and trickery may descend, and the forte, it is simply impossible, in my present state of
the house which is too large for the audience? floods of charlatanry may come and the structure falls health, to write the article you request. I have to give
Oh, what a help is a big, warm, sympathetic audience not. The character and taste are formed and the judg up engagements already made and am discouragingly in
Perhaps you would most like to know of the good, ment receives its balance wheel. I have instanced the arrears as to matters of correspondence. The whole
thorough work everywhere carried on by men and women, cities above, and there are other such as essentially edu subject may be discussed, however, under the general
practical musicians of solid worth, who are working with cational centres, where a healthy musical taste asserts text, A prophet is not without honor save in his own
a will, teaching too often with little encouragement and itself and dominates its surroundings. The same is true, country. The musical atmosphere is a factor to a
in obscurity. although in a less degree, of certain larger European certain degree, but only because there is a certain pres
Sometimes, too, I meet the fussy old pedagogue, who cities, Milan, Berlin, Vienna, Paris and London. In tige in studying in the country of Bach, Hndel, Haydn,
does nothing so commonplace as to teach, but who in these the general conditions are much like each other, Mozart, Beethoven, Schumann, Chopin, Wagner, etc.,
structs, and who is apt to notify the musical world if and similar to New York City. They all have their etc., etc. When one goes so many miles away from
he attends a funeral, or consults his medical adviser, musical circles of artists and amateurs, where the very home into a strange country with a foreign language, and
etc. Do you recognize him? highest order of music is rendered with the utmost finish. meets many others who have gone abroad under like
I am entertained in many beautiful homes, where These, if public concerts, are very costly; if private con circumstances and with a common object in view, there
every comfort and luxury dictated by refined taste is certs, are only for the select few. In large American is a certain spirit of emulation aroused and a desire to
lavished on the guest with true American hospitality. cities, and especially New York, the cost and the exclu show the natives what we can do when we get home."
i (#

ill
God bless the American home and the hard-working siveness amount almost to a prohibition. However, the But after the most of us get home we settle down into a
music teacher! initiated manage these things at a small cost. Thus, uniform humdrum of daily routine, and those who have
*:
Hereto-day and there to-morrow, meeting many whose these musical advantages impress themselves but slightly not been abroad succeed about as well as those who
friendship one should value, but of whom I retain as upon the general public or the average musical student. have. Nevertheless, it must be conceded that the
#
Vague a memory as do they, no doubt, of the pianist. The garden and watering-place concerts, with their experience of foreign travel, or travel in our native
I am always glad to reach my destination, and often as Strauss waltzes, and the opera comique with its musical country, broadens our view of things in general, and adds
Pleased to push on to the next engagement. Sometimes monstrosities, are ever on hand with open doors, and substantially to our experience. I am inclined to think,
: * reception, now and then a lunch party, and often there is everything to distract. Yet, in music, as in while not disparaging the eminent ability of the teachers
beautiful roses fall to my lot. morals, the tone and strength come largely by opposing one meets abroad, that, nevertheless, we have just as
An occasional pianistic prodigy crosses my path. One evils, not shunning them; by breasting the tide, not good teachers at home, who moreover better under.
in particular I remembera sweet little miss of five floating upon it. So, in cities like New York or Phila stand, and are, therefore, better adapted to develop and
who seemed overpowered with a sense of her identity. delphia, Paris or London, the student who is determined guide, the American temperament and organization.
The child, after failing in repeated efforts to improvise to find the best will find it, and in profusion. As said before, I should be glad to help you in the
(*) a familiar operatic air, was addressed by her dis Now when we come to the work of the teacher him impartial investigation of this subject. As you are pro
comfited mamma as follows: Now, darling, play for self, we find the conditions greatly changed, and to a con bably aware, I expect to sail for Europe on May 7th,
: Seven what the angels whispered to you the other siderable extent reversed. The teacher who does the with the intention of returning in October next. Excuse
y. best work for art, and who succeeds best with the Ameri this hurried letter. I am so over-occupied that there is
"The angels not being propitious, darling can pupil, is himself a performer, clear-headed, with no time for more. Sincerely your friend,
slipped from the piano stoola clear case of stage fright powers of analysis, an enthusiast in his profession and WILLIAM MAsoN.
Tand rushed sobbing to her misguided mamma. an imparter of his own enthusiasm to others, with a thor
To be sure, I don't forget those awful trains leaving at ough knowledge of human nature, and familiar with the advancement
TALENT will of
be of
thegreat
art value The #.t'':
in ppromoting
student.
* A. M., and still fresh in my memory are the long delays conditions, the demands and drawbacks inseparable from develo ' is to bring them in contact
in
at forlorn cross roads. Perhaps my trunk goes a-roving American life, and withal, a man or woman of high moral
wi ented persons. No master can supply t
unchecked. character, more fond of the art than of the dollar. Such #
is to be effected daily association
the sacred spirit of the muses hovers about such children !
-

Twice have the legs and pedals of my piano arrived teachers are to be found mostly here and not in Europe,
Without their key-board. for two reasons: Americans, more than Europeans, are one cannot tell whether it comes out of them from within
or whether they absorb it from without; and herein lies
- But I will close with the bright side out, remaining taught to think for themselves, and not take things for doubtless, the great benefit which educated and cultured
till next season very cordially NEALLY STEVENS. granted; second, an American necessarily better under parents confer upon their children.
-
T EI E E T U ID E.
[For THE ETUDE]. vancement with a good teacher and learning the subtle musician implies an extended, concise and
AMATEUR AND PROFESSIONAL MUSIC and deeper truths of musical art. Furthermore, the comprehensive knowledge of the theory and history of
TEACHERS, better teacher would have been cultivating taste and de music, of the biography of the great composers, of works
veloping the childs musical talent to the utmost, and on the various specialties in teaching, as well as being
leading him on to a thorough musicianship. an artistic performer.
BY CHAS. W. LANDON. Having selected a teacher, he should be trusted com The progressive teacher not only reads, but he studies
The child should be given fully into his hands and thinks. He investigates new theories of instruction,
MAL-INFORMATION is worse than Non-information. or musical education. (Consult, advise, and request, but and uses the most approved ideas and methods in his
Habit, that subtle power that lifts the child up to heaven do not dictate. When you have employed a physician, teaching. He is alert and active in thinking out what is
or drags him down to the bottomless abyss, and character, you unhesitatingly take his remedies. Why not give your best for the advancement of each individual pupil, and
that attribute of the soul which is eternal, is in the hands music teacher the same full confidence? prompt in its application.
of the teacher to be moulded at his will. Like can only If the child has been poorly taught, but has now a new He makes self improvement a part of every day's work,
produce like. No one can lift us to a higher plane than and better teacher, give this teacher time to produce and because of his increasing knowledge he is a leader
where he himself is standing. No teacher can impart results. If there are many bad habits to overcome, he in his profession. He is never satisfied with the results
what he does not know. Example is stronger than pre will have slow and discouraging work for himself, his of his work, or with the amount and quality of his attain
cept. The actual in character and attainment has a pupil, and the pupil's parents. The parent who consults ments, for he knows that the self-complacency of know
greater influence than the assumed and asserted. the best interest of his child will allow the teacher who ing it all is to stop advancing, to retrograde, and that
When we select a family physician we are careful to is laying accurate groundworkwhich is always slow in if he retains what knowledge he has he must keep on
select one we can trust; we look for a man who has char. its manifestationto continue until he makes a good advancing. To accomplish this, he attends the annual
acter as well as skill. When we employ a lawyer we still performer of his pupil, rather than call in some less meetings and associations of music teachers, and studies
exercise caution in getting one who has a reputation for capable teacher, who will put on a superficial finish, and during his vacations, that he may be well up and in
knowledge and shrewdness, and at least professional in this way seem to produce wonderful results in a very advance of the times in the newest and best things of his
honor. But in too many cases when we select a music short time. Remember that thorough work and superior rofession. He puts brains into his teaching and leads
teacher, how is it? Do we use a reasonable amount of results are necessarily of slow growth. Do not judge is pupils to use their brains in studying. Compare this
caution and a well-informed judgment? Knowing that teachers by the number of pretty pieces their pupils play, teacher with the amateur teacher, and see if he is not
the teacher will be instrumental in moulding the child's but consider the quality of musicianship displayed in worth more than the difference that he charges for tuition.
character and in implanting in him germ ideas and touch, accuracy, and expression, and especially note the There is a prevalent idea that the so-called natural
thoughts, and directing an important series of habits, all style of pieces that he uses. musician is especially superior; he is therefore in
of which shall lead to certain failure or success, is A good teacher upholds and improves the taste for demand as a teacher, but, although he may be a superior
it not worth while to exercise more than ordinary dis music in his community, hence, it is policy and economy, performer, especially in bringing out clearly the music
crimination in selecting the music teacher? Remember in the long run, for parents to employ the professional of a piece, he is necessarily a poor teacher. To him
that the stronger the magnetism or fascination of the teacher only, and give no encouragement to the young much of music was intuitive; he has never been over the
teacher's personality the greater is his influence. Cer Misses who live at home, at no expense to themselves, hard and rugged road of the average pupil; what others
tainly no parent can be justified in being too thoughtless and are teaching at almost any price, and that a dear one, have to attain by long and well-directed efforts came to
and hasty in so important a matter. for the sake of a little pin money till they find their him of itself. He has never learned as they learn, and
While in common school studies a teacher who has not destiny. The professional teacher has prepared him. does not and cannot know the processes of mental and
had a collegiate education may do good work, for he will self to compete with other teachers of all grades of profi technical advancement; hence, as a teacher he is infe
not teach the child that A is B, nor say that three and three ciency, and has been educated for a life-work by long rior to the one who has made himself a good musician
are seven, yet there is so wide a difference between litera years of hard study with eminent masters at great cost, by a careful course of study in each and every step of
progression. it.
ture and art that the analogy does not hold true in teach and he gives large value for the money he charges for -

ing music, because art, admits of nothing short of tuition, while, on the other hand, the amateur teacher It is as difficult to closely imitate a copy done in a
perfection, and anything less than this is just that much has no true conception of her self-imposed task, and has jagged, illegible penmanship, as it would be to as nearly le.
of a caricature. But no educational mistake is so often no idea or intention of making music teaching a life-work, copy a beautifully engraved sentence, and so it is as easy *::
made as in placing children for their first terms of instruc and has in no way fitted herself for it, therefore parents to work up to an artistic ideal as to closely follow a lower *
tion with teachers who are not properly qualified. make a serious mistake in encouraging this class of One. -

Every pupil is constantly coming to difficulties that he so-called teachers. The poor teacher imperfectly shows how a given pas. |
does not '' how to overcome; here the good teacher sage is to be
Well informed musicians of the widest reputation
can make clear to the puzzled pupil just how to solve the maintain that this class of amateur teachers do the principle andplayed,
giving,instead of explaining
the whys the underlying
and wherefores, w ich s:

difficulty; and it is right at this point that the common cause of music more harm than all other influences would make the pupil independent, and thus give him a s:
and cheap teacher fails, for he can only explain the self combined, from the fact that they lead people to take a ractical knowledge of how to play all like passages.
evident, and the very points that confuse the pupil con low estimate of the value of music as a factor in devel ' poor teacher gives the pupil a pitcher of water to
quench his momentary thirst for knowledge, while the
found this kind of a teacher. If the pupil is eventually oping the finer qualities of character and mind. They
to compete with fine musicians as a teacher, he must learn prevent the people from realizing that music is some. good teacher gives his pupil a fountain of living waters
of musicians and not of novices. thing more than an amusement or an agreeable accom. where he can drink in truths while life lasts.
No mercantile house can sustain itself by selling goods plishment, that it is a science, an art, and on many it Many good teachers are women, and it is one of the
at half cost, and no teacher who has spent thousands of has such a powerful influence that it is almost a religion brighter signs of the times that so many are thoroughly 1. "
#
dollars and the best years of his life in and prepara to them, Music is a great factor in educating the young reparing themselves for superior work in this profession; *:
tion can give lessons at low prices. The best is the to a noble manhood and womanhood. t is a field where there is no lack of room at the top.
cheapest, and, we catch, the big fish in deep water. If the pupil is studying with a competent teacher, he ---

The young teacher who is known to be a brilliant and and his parents can take pride and pleasure in speaking
favorite pupil of a famous teacher starts in his profession of it, and do not have to acknowledge, with excuses, that CLOSED EYES,
at a very great advantage, and soon succeeds in getting a they '' some one who is known not to be a capable
class of the best pupils. teacher. , The good teacher sees the end from the begin DEAR MR. EDITOR: *

The musical models and examples that the pupil hears ning, and can direct his pupil's steps at every point to a Mr. Brotherhood recommends Technicon" practice
should always be ideal and perfect, and the deep and successful issue, while the poor teacher can but poorly with closed eyes. Might it not be well to F'
lasting impressions that are universally true of first les start the pupil, and how poorly none but the good teacher parts of phrases, phrases and passages with close
SonS '' be such as will guide the pupil to a superior can tell.
eyes? that I can concentrate my attention more
musical attainment; but can this be possible with a poor The good teacher can direct the pupil at points where closely on the movement offingers, etc.; and the expression
teacher? , *
he most needs it. He can help him over difficulties in of phrases, etc., with closed eyes than o:
It needs but little looking about and investigation to the easiest and best manner, and in this important matter Is not this idea of importance in memorizing? Why #
learn that the pupils of superior teachers do superior poor teachers completely fail, for their work is of a tread we, at times, study (especially in memorizing) wit
work and are leaders in music of their own social circles. mill order: their pupils constantly come out where they closed eyes when we were at school? If th: is a
While, perhaps, not every child that studies music could began, and make ' or no real advancement. A good kernel in this idea, let us get it. Pianists like William
become a fine performer, yet how many pupils of poor musical education costs much money, and so it is wise to H. Sherwood and Vladimir de Pachmann look
teachers ever rise above mediocrity? As the twig is pay it out where there will be sure returns; hence, study from the keyboard in most difficult passages, and '' y
bent the tree is inclined, is as true in the study of music music with a musician, one who is a teacher for art's think out the performance. Why do not more ?' "
as in formation of character. W. H. Sherwood says: sake, and has skill, and knowledge, and an enthusiasm think our musical (what we wish to be musical) perform
Bad methods of piano teaching cause or aggravate for his work.
ances,
n as do these g
great artists? Yours truly,STAYNER.
FRED.
weakness in hands, cramps, stiff joints, etc., and conse Every step of advancement in performing rests on
quent inability to realize one's desires, musical thoughts, habit and a foundation of automatism. Habit is a cable
and inspirations. The situation is grave and serious. in which we are weaving a thread every day, thus strength. In response to many inquiries from teachers desirious
It is serious because so many are learning to play upon ening its hold on us for either good or evil, just as we of prosecuting their studies in the theory of music, .
the piano with a view to becoming teachers in their weave. If each thing taught, method of touch and every A. Clarke, Musical Doctor, will receive students for ".
turn, who waste time and money only to arrive at unmu, idea, is correct, the pupil will grow to a success, but if struction during the summer months in Harmony, Com
sical results. I have hard work with a large majority of his foundational : is weak and false, there can be no
my pupils to undo or unravel all the bad habits that lasting superstructure. There must be a thorough cor position
Apply and
by letter or person to Dr. H. A. Clarke, 223
Counterpoint.
have been
begin anew,built up. to
in order I have
buildoften found itsubstantial
up anything necessary 1n
to rectness in the early work, or advancement is as impos.
sible as to build a great temple on a foundation of sand. S. 38th St., Philadelphia, Pa.
place of the expensive and inartistic habits. -
The truth of this sweeping statement becomes evident
It takes about three times as long to unlearn a thing as when we realize that each succeeding step as we pro
to learn it, and where is the economy of having a child This principle is to be understood throughout the
ceed depends on the previous ones having become practice:
take his first lessons of a poor teacher, with the idea of automatic, and this is possible only when the pupil has All little difficulties are surest, : nt
at some future time paying a good teacher for having practiced uniformly accurate in every particular, and most permanently overcome if their fundamental element
the child unlearn these very same things? - good teacher can bring about this indispensable isKullak.
result.
at once made a thorough study in all its bearing"
hich
is not the time of youth too valuable for such experi

ments, to sayofnothing
couragement failure,about
wherethethere
loss might
of timehave The progressive teacher can be known by the follow Chopin had that reverential worship, for art . :
andbeen
the dis
the
ing points of excellence. He is well read on all subjects characterized the first masters of the Middle ''
stimulation of success? Again, during the terms : pertaining to his art; he is a musician as well as a expression and bearing he was more simply mo # Bill
the pupil was with the poor learning a few teacher; he can analyze to the minutest the processes less ecstatic. As for them, so art was for him, a # ction
evident things and forming many ba habits that but ho of the mind in learning, and this enables him to guide holy avocation. Like them, he was proud of his ele
back in music, he might have been making true ad the pupil at every stage of his advancement. for it, and honored it with devout piety.Franz L*
THE ET UD E. 1O5
telle is much the faster. There is no need of confusion IS HALF AN HOUR SUFFICIENT FOR A
Questimms and Answers. if the teacher will simply explain that the metronome PRIVATE LESSON ?
numbers mean the given number to a minute. For in
Will you recommend a good set of exer-
s'UES.1.
I have thoroughly and carefully trained in stance, the dotted half-note is
-
marked 96, which is in
- - - -

BY LEWIS LOEWY.

technic and fingering, my teacher being a pupil of this case 96 measures to a minute, but the Rondo goes
Moscheles, but she gave me most of my finger studies at the rate of 56 measures in a minute. The time rate PLEASE allow me a space in the columns of your valu
verbally. I have no exercises but Khler's Op. 50, of the Tarantelle is given in measures, while that of the able ETUDE in regard to a matter of great importance to
which I am tired of. music teachers and music teaching. In THE ETUDE's
2. Would Plaidy's exercises be sufficient? I have Rondo is indicated by the half measure. Furthermore,
learned mostly by pieces such as La bella Capriccioso, if the Rondo had indicated an eighth-note at 112, there April issue of 1890, I find in an article, headed Respect
by Himmel, sonatas, and other carefully selected music, would have been but about 19 measures in a minute. due to the Musical Profession, by Mr. C. Sternberg,
from the classics. the opinion expressed, that half an hour is quite suffi
ical th ld like t
- d Again, if it had been written as the Tarantelle, with a
-

: : # dotted half note to a measure, it would have to go at the cient for a music lesson; but the several arguments in
favor of this assertion do not seem to me at all convinc
chords, etc., without going so far as counterpoint. Is rate of 112 measures to the minute, and this would be
44
anything better than eitzman's Manual of Musical faster than the Tarantelle. In other words, the note in ing. People who pay for half an hour cannot and will
Theory?
March for four hands dicates how what shall be the beat or pulse value, and the not expect more than thirty minutes; but as to this one
4. In the Lohengrin Wedding bass - -

half hour system being productive of just as good


there's a three against two movement is the to be figure, many of them to the minute of time.
: played in perfect triplet ' or would it 3. This is answered in the above. results as any other, a very great number of our pro
be allowable to make the third and sixth notes in each - - - t -
fession, I sincerely believe, will be of the contrary
measure longer, counting four, which renders the treble 4. Five wise but blind men went to see the elephant;
opinion. While for very young beginners a whole hour
even, and is more pleasant to the ear? J. B. one felt his trunk and said he was very like a great snake; may be too long a time, a lesson of forty-five minutes
another felt his legs and thought he was very like a tree;
ANs.1. Try No. 973 of our Catalogue. Send for a will undoubtedly be suitable to any young pupil of aver
another felt his tusk and thought him very like the mast age talent and physical development; but with older
description of this fine set of studies. They are entitled:
of a sail boat; another felt his ear and said he was very and more advanced pupils, practicing daily two hours or
Twenty Studies of Moderate Difficulty, for Developing
like a fan, and the last knew they were all wrong, for he more, a lesson of even three-quarters of an hour will
Style, Expression and Technic, by Anton Strelezki. felt the elephant's body and said he was very like a barn.
You will be pleased with them. barely prove sufficient. Such pupils will have to prac
It will be seen that all were right, as far as they went, but
2. Plaidy is out of date. For technical practice, tice, from twenty to thirty minutes daily, finger exercises,
neither of the five blind men had anything like a correct
accent scales and arpeggios, and Mason's two-finger ex including, of course, scales, arpeggios, etc., and, while
idea of the elephant as a whole. The self-taught in there ought to be a shortening of these in the lesson, at
ercises (Touch and Technic) are interesting, and the music, are correctly described above, for they have had
best; while for musical development the above studies of least ten minutes will have passed before they are
no one to point out all that goes to make a player,
Strelezki's, which may be followed by W. S. B. Mathew's finished, and the teacher must consider himself very
Think a moment, without a teacher, how would you
Phrasing, Vol. I, are infinitely above Khler, Plaidy know when your hands were in correct position, or when lucky, and pay the strictest regard to fast flying time, if
& Co. he will have completed the lesson at the expiration of
you used your fingers right, or when your tone was cor the half hour. But he must confine himself to correct
3. Why not be thorough? Weitzman's book is good, rect? When we can give the blind a true impression of
it; and so is Howard's. With either book the pupil should colors, and the deaf of tones, then we can teach our ing hurriedly the tonal or rhythmical mistakes, for he
#!
study, and he will find it a genuine pleasure, Guide to selves. will lack the time in explaining particularly the latter
Musical Composition, to Acquire the Ability to Invent class of errors, and in causing the pupil, by deductive
Melodies, by H. Wohlfahrt. This is one of the most 5. Yes. -- -

reasoning, to recognize and correct the mistake. This


r: useful books in our language to the student of composi- 6. Living composers can, and do, write in the classical method of teaching the pupil to think for himself is the
Et:
** tion, but it should be used with other works on harmony, form, but it takes time, a generation or more, to prove only one that will lead to good results, and cannot be
as this treats of melody. if music is of such lasting worth as to be called classical. successfully applied to half-hour lessons. But the pupil's
f!. 4. Whenever there are one or more measures, it is to 7. No. Not if you want waltzes. But they will not musical hearing needs development, and he ought to be
be played in the time written. Sometimes when there is pass for andantes or adagios. Such music has its place, instructed in at least the rudiments of theory, harmony
but now and then one count of such note divisions, it is and in the development of taste in many pupils, we and form. There ought also to be an occasional playing
to be played exactly the reverse of what you say; that | could not do well without it. at sight and reviewing of old pieces and studies; it is, of
# is, it should be played as if written an eighth note fol. course, impossible and unnecessary to take up all of
8. Being a born Yankee, we will answer this by asking
,
lowed by two sixteenth notes, or, the second and third another question. Why do children like fairy stories these subjects in one lesson, but at least one of them
notes of the triplet go with the second of the two eighth but find no interest in Milton and Shakespeare? We ought to be picked out, and how can this be satisfactorily
notes in the other part. But, you may ask, why was it have inherited more or less of a taste for music. This done when the whole lesson will only occupy thirty
not written so then? Because whatever else a triplet taste has been more or less cultivated. Thousands and minutes? It is true, that by far the greatest number of
may mean it surely and emphatically means a marked millions of people get unalloyed enjoyment out of the female colleges are practicing the half-hour system, but
accent on its first note. If triplets in any form are played common kinds of music, and it is as much of a delight in those of a higher rank special classes are arranged, in
without this marked and decided accent, it is as wrong to them as the symphonies of Beethoven are to you. which pupils are instructed in the different branches of
as if incorrect notes were played. C. W. L. musical theory. It is also true that teachers of the
When we banish Mother Goose and Fairy stories, then
higher grades of piano playing will give half-hour les
Please answer the following questions through the we will all listen delightedly to classical music. There
columns of the ETUDE, and greatly oblige a subscriber. is much music that is unmitigated trash, a twin brother sons for the benefit of those who are pecuniarily unable
Ques-1. In X. Scharwenka's novellette in F minor, to flash novels, but there is also much music that lies to pay for a full hour, and, as I believe, even productive
measure 32, which has the greater value, that is, which between trash and the classics that has a valuable and of good results, in case such pupils, having passed the
should be sustained the longer, the high C marked stac place in the world of music. middle grades, will combine with increased execution
cato, or the A flat immediately under it which is tied to worthy
C. W. L.
the previous A flat? also a thorough theoretical knowledge and the ability to
QUES.1. How may we best improve the acoustics of
2. Chopin's tarantelle in A flat is marked a dotted a room with these dimensions, -length, 80 feet; width, think musically. Players not possessing these indis.
half note at -96; Mendelssohn's Rondo Capriccioso is 50 feet; height of ceiling, 24 feet; stage, 3 feet high? pensable requisites, may, in the course of time, acquire
marked a dotted quarter-note to 112; both are Presto 2. In using wires as a remedy, how should they be a certain degree of more or less brilliant execution, and
movements, and both in 4 time. Which is the quicker arranged? G. A. S. in the opinion of affectionate relatives and friends be
of the two? and please explain the difference in the
metronome marks. ANs.1. I should try putting a curtain of heavy mate excellent performers, who will play at sight anything
8. Should the Rondo Capriccioso be played as fast as rial, such as you see in most opera houses; this as an that is placed before them, while in fact they know but
a tarantelle?
4. Will you please explain why technique cannot be experiment, however. Try various positionsyou on and near superficially the letter, and have no idea at allof of the
ton.
44
will find spirit. Being in most cases totally ignorant
learned from books." I have had instructions for the stage for testing the amount of echo; ality, they cannot, intelligently, play any composition
*ral years under the best teachers, but feel that, except that some places produce less echo than others. The with more or less intricate modulation, and they are still
* far as discipline is concerned, I could have attained idea of the curtain is to change the dimensions of the less able to commit such pieces to memory. In conclu
"y present degree of proficiency, from text-books alone. r00m. sion, I must add that no reference whatever is made to
5. Are the Novellette and Moment Musical any of the class systems, but only to half-hour, semi
"cognized forms of composition, and if not, how would 2. I have seen wires tried in many ways, but never weekly, private lessons, which system I deem unsatis
you classify them? saw any benefit from them. C. W. L. factory, and, therefore, unproductive of good results,
** 6. Is Gustave Merkel a classical author? I much ad except, the pupil has attained to a certain degree of
mire his works and would like a short sketch of his life. Will you please answer through your valuable paper musical maturity. But to err is human, and those of
: 7, Are the two Valses Brilliante by Jules Schulhoff, the following question? Which of the books on Har the more favored gentlemen of the profession who claim
trashy music?
8. Why do people worship music which is neither the best?
mony that are advertised in THE ETUDE do you consider to possess the invaluable secret of obtaining by half.
O. H.
hour lessons results just as satisfactory as other teachers
grand, beautiful, inspiring, pathetic, or even interesting? ANs.Try Howard's for beginners. by lessons of forty-five and sixty minutes, would, by
C. S.
communicating their modus operandi, confer a last.
*-1. Both staccato and of equal duration. Will the person asking about the study of music after ing benefit upon their well-meaning but wofully benighted
| * The Tarantelle. As 112 notes to the minute in the the age of 26 and signing the initials K. S., please write brethren,
Rondoand 192 in the Tarantelletherefore the Taran to the editor for a personal answer. inadequate.
who not accepting a pupil, rather than
teaching him by a system which they consider wholly
1O6 T EI E E T U D E.
G ENIUS.CHAPTER II.BY KARL MERZ.

calm. The mind of Genius, however, is as the majestic steamer, which, well The masses, however, do not like to be disturbed in their accustomed mode of
equipped with compass and instruments, steers out upon the open sea. doing things, and he who attempts to introduce new ways is denounced as a
Genius lives in a world of his own, a world into which the average man never meddler. Hence the antagonism between men of genius and the masses.
can enter. There are millions that have no idea of its existence, while millions As capital and labor are needlessly antagonistic, so are the principles of beauti
more have but a faint glimmer of it, like that from a far distant luminary. He fying and utilizing the earth. Both ought to coperate, both are necessary for
Wanders in gardens full of roses; he sleeps in bowers strewn with the richest the world's economy. Business men usually have very little regard for men of
flowers; he rests on banks covered with the softest moss; he drinks of the coolest genius, because of their apparent uselessness in the affairs of this world. They
fountains; the birds sing sweetest to him; the atmosphere which he breathesis rich are often denounced because they produce no material wealth and because they
and balmy, and he is surrounded by creatures of his own fancy, too lovely to are poor managers at home. But these (dollar and cent) critics overlook the fact,
describe. This is the dream-land of Genius, wherein the muses and graces wait that the works of genius are the wealth of the mind. And surely the mind must
upon him and carry him on their hands. Is it, then, a wonder that he loves to also be fed in order that it may grow. If men of genius do not build railroads,
roam there? Alas! how great is his bewilderment and suffering when he is they build those roads which lead to refinement and culture, in a word, to mental
forced to attend to the affairs of the world? How great his agony when he feels progress.
the rough stones and the stings of the thistles which our hardened feet have long It is not the bread we eat, nor the clothes we wear, that makes us better-nay
since ceased to regard? How helpless is Genius when he has to deal with the next to the word of God, it is the truth as revealed in art, in the sciences, in
cunning men of the business world; how sad to see himenslaved by designing men, literature, that penetrates men's souls. Hence next to the word of God literature
who rob him of his honest toil? Schopenhauer compares genius, under such cir and art are the best civilizers and refiners of men. Genius and art in their purest
cumstances, to a vase which is being used for culinary purposes. - essence are humanity, and humanity is a large part of religion. How sad, how
When the troubles of life pursue him, Genius seeks his dream-land, and there ever, when Genius leaves the paths of truth, and produces works that are antago
he bemoans the realities of his existence, and with his utterances he touches our nistic to pure morality, or when perchance he denies his God. It is, though,
hearts until the tears begin to flow. On the other hand, when in his dream-land, more generally the would-be genius that errs in this direction. Bacon said that,
Genius often forgets the everyday world, with its worriments, and he often bursts a little philosophy inclineth man's mind to atheism, but depth of philosophy
out in strains of joy, which shed sunshine into the darkest of lives and the bringeth men's mind about religion. Alas, how often young men attempt to
gloomiest of hearts. There is another class of dreamers; those who build castles pass themselves off as profound thinkers, by denying their God, or by scoffing at
in the air, or those who see forms in the clouds above; but such dreamers never religion. When Genius leaves the paths of truth, his words become a shower of
realize the pictures of their fancies. Geniuses are dreamers, but not all dreamers fire, which consumes men's peace and happiness. A certain writer has said that
are men of genius. every genius is a child, and every child, in a measure, is a genius. Study the life
The man of genius generally concentrates his entire self upon one subject, of Mozart, who was a child until his death, but who was a giant in his art. Most
hence the intensity of his woes or joys. In changing his attention from one sub of our art geniuses were children in many things.
ject to another, his hilarity may therefore suddenly be changed into deep sorrow, Genius searches after the truththe truth is a portion of the Eternal. Genius
and vice vers. This explains the changeableness of the moods of men of genius. embodies the beautifulthe beautiful also is the Eternal, for God is the embodi
One moment they are driven to despair, and the next they act like children. ment of the beautiful. Again the Eternal is lovetruth therefore is love-the
Cardinal Richelieu would play leap-frog with the little ones. But, then, read beautiful is loveart is lovereligion is lovechildren are love; genius, truth,
the biographies of our great men, and you will no doubt find many illustrations art, religion, children, all are akin, all draw breath from the same source, that
of this statement. divine atmosphere, where love reigns supreme. Art and religion, therefore, are
It is a well known fact that men of genius are full of eccentricities. Aristotle akin, and the true artist should love and revere the source of all that is
has said, that no distinguished genius is free from madness. Pope says: beautiful.
The common man views life from a personal standpoint; it begins and ends with
Great wits to madness
Sure are near allied,
him, except it be in his love for his children, and even herein men are often
And thin partitions extremely selfish. It is the aim of the average man to live in comfort and ease.
Do their bounds divide. Genius however, so to speak, forgets life's pleasures. Seeing the human family
in ignorance, he feels the impulse to bring about reform. Loving his art, he
How often men of genius are denounced as cranks, while the cranks knows no higher delight than to serve it. In turning over history's page we
are regarded as wise men. Columbus was called a fool, while Joan D'Arc was learn that those who have carried forward the work of reform were carried on
considered inspired. ward on the wave of conviction, which bids defiance to prisons, scaffolds and fag
Men of genius are instruments used by God wherewith to improve mankind. gots. It is the divine spark which takes away the fear of man. But what if
They are always revolutionizers in some departments of the human household. Genius dies bearing testimony to the truth, let us remember, that though his

PUBLISHER'S NOTES. pecially for beginners. More full description of the Pupils as well as teachers will find practical help in
work will be given in the August number of THE ETUDE. Mr. Tapper's article Method of Study.
Now that the vacation is upon us it will be well to do Extraordinary Offer. $10.00 worTH of VALUABLE
some special musical reading and study. These vacations NEw works FoR $3.00.The publisher, knowing the im Mr. T. A. Matthay's article Pianoforte and, Tone
should be used to place the teacher and student on a portance of introducing a new work among active music Productions turns fight on a dark and foggy subject:
higher plane of musical art. It is a waste, rather than teachers, offers the following new works at about the it may be truthfully remarked, that the practice Clavier
a rest, to pass more than a week in idleness. While it is cost of printing, paper and : Normal Course and Technicon give exactly the practice needed to ove"
not best to cease reading or study, it is not desirable to of Piano Technic " ($2.00), by W. B. Wait. Twenty come such difficulties.
work over hard. study should be done each day Lessons to a Beginner ($1.50), by W. S. B. Mathews.
to just come short of fatigue. See presented below a list Thirty Selected Studies from Stephen Heller ($1.50). Mr. Fillmore expresses himself on the value of
of most of the best musical works in our language:-. "Studies in Melody. Playing ($1.25), by H. C. Mac. Summer Music Schools. Mr. Van Cleve gives so"
Counterpoint and Canon, E. E. Ayers, $1.00; Advice dougall... Chats with Music Students ($1.50), by sound suggestions about the right use of vacation time.
to Young Students of the Pianoforte, A. W. Borst, 10 Thomas Tapper. First Lessons in Phrasing ($1.50),
cts.; Fifty Examination Questions, A. W. Borst, 5 cts.; by W. S. B. Mathews. 'Supplement to 6. e I of
Piano Teaching, F. LeCouppey, 75 cts.; Pianoforte School of Four-Hand Playing (75 cts.), by William The subject of Half Hour Lessons,' as treated by
Music, J. C. Fillmore, $1.50; New Lessons in Harmony, Drobegge. Mr. Loewy, we shall take up again in future numbers.
J. C. Fillmore, $1.00; Lessons in Musical History, J. The publisher retains the privilege of withdrawing this If the half hour seems so insufficient, how about class
Fillmore, $1.50; Musical Mosaics, W. F. Gates, $1.50; offer at any time. lessons, where the pupil receives one-third, one-sixth or
Music Study at Home, Harvey Margaret, $1.25; Ele
mentary Piano Playing, A. Hennes, 25 cts.; Course in forMathews'Twenty Lessons to a Beginner is now ready
delivery; the advance orders being uncommonly
one-seventh of an hour?
Harmony, Geo. H. Howard, $1.50; Method of Study, large for this unique method, you had better send for The short reports of the National and State Associa
C. A. Macirone, 10 cts.; How to Understand Music, a copy so that you can study up its ideas during your
W. S. B. Mathews (2 Wols.) each, $1.50; Dictionary of Vacation. tions will be read
Connecticut with interest.
has organized It mayassociation
the largest be remarkedof'
ail,
Music, W. S. B. Mathews, $1.00; The Study of the taking the population of the State into consideration.
Piano, H. Parent, $1.00; Teaching and Teaching Re EDITORIAL NOTES,
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cts. The Musician (6 Vols.), Ridley Prentice, each, 75 Teachers and pupils who think for themselves will The Question and Answer column gives a great deal of
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Nature of Harmony, Dr. Hugo Riemann, 25 cts. Prac enjoy the article Mental Means to Mechanical Ends in give a special study to this department: The editors are
tical Harmony, Dr. F. L. Ritter, $1.00; Studies in Pianoforte Playing, To be able to apply its truths in giving some of their best thought to this work.
Phrasing, Vol. II, W. S. B. Mathews, $1.50; Whys and thandaily work, it will be necessary to read this work more
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Wherefores of Music, H. S. Vinings, 50 cts.; Bound
Volume of THE ETUDE, $2.50. Some plain speaking will be found in ** Amateur and
Our readers will find two articles on Shall we Study Professional
- - -

We expect to issue a new method for Reed Organ in Music at Home or Abroad;" these were written by re. Music Teaching. If the better :
time for the fall trade. This method will be a great ad. uest. . This '' will receive still further attention in music journals were more widely read, there wou
vance on anything yet published; it is being written es uture issues of THE ETUDE. call for such outspoken statements.
T EU E E T U D E. 1O'7

body moulders in the grave his soul marches on. Men of genius are as beacon from his heavenward flight, and now sits upon a low tree, surrounded by small
lights in the storms of life, they help the cause of human freedom and progress, birds. Though they cannot harm him, their incessant twitter annoys him.
and when looking around upon the misery of the human family, let us thank Many men of genius were but poor conversationalists. Thus Cicero says that
God, that he gave us these lights to help us on our way. There is a constant Scipio was never more alone than when alone. Tasso's conversation was neither
mental and social evolution taking place. Generation after generation becomes gay nor brilliant. Dante was either taciturn or satirical. Milton was unsociable.
better and wiser. Governments become more liberal, sciences shed more light, Chaucer's silence was more agreeable than his conversation. Ben Jonson used
the press as well as the pulpit are becoming more powerful, and all this we owe to sit silent in company. Of Goldsmith it is said, that he wrote like an angel,
to the influences of great minds that lead us on. but talked like a poor Poll. Longfellow says that Genius is often dullandinert
Genius is never servile. He is the true nobleman of the human family. He in society, as a blazing meteor when it descends to the earth is only a stone.
is always conscious, more or less, of his powers as well as of his high mission. Schopenhauer remarks, that a genius among common people is like one who
Hence he demands recognition. This self-consciousness of superiority even enters the ball-room for the purpose of dancing but finds only lame people there."
manifested itself in one of those unfortunates who had lost his reasoning It has been asserted that silence and constant seriousness are unmistakable char
powers. An insane genius having been asked by a visitor what brought him to acteristics of genius, in short, that a laughing person cannot be a genius. This I
the asylum, gravely pointed to his head and said: What never will bring you consider false. Human life presents much that is comic and ludicrous, and, as
here, sir: too much brain, too much brain. There never lived a genius, but felt Genius is a close observer, it is not reasonable to expect him to be serious under
that the opinions of the coming generations must conform to his own. While all circumstances. And no one dare say that men of genius do not laugh; the
the man of talent sees the faults of his times, he generally utilizes them; Genius, fact is merely that in promiscuous company they are unsocial. Among their
however, sees what the world will be fifty years hence, and this is the goal toward equals they are generally found to be good laughers and talkers. God gave
which he labors. This is the difference between statesmen and politiciansthe the power of laughing to man alone, says a writer. The animal that lacks
one advances humanity, he lives and dies for his country, he foresees its future; sensibility never laughs. The gravest creature to look at, says Kellgreene,
the other lives only for the present, he aims to advance himself . Genius is is an ox, yet no one would claim that the gravity of an ox indicates learning.
always in the advance of his times. He is the lofty mountain peak which first Silence is often used as a mask to cover stupidity, yet such owls are often credited
receives the rays of the rising sun, while there is yet darkness in the valley below, with much learning.
where the common people dwell. As the eagle soars high toward the source of In his habits, Genius is generally disorderly, for he is too much occupied with
light, while the little birds make their nests in hedges near the ground, so genius the operations of his mind to pay attention to the condition of things around him.
in the flight of his imagination is above the common people. And as little as The older Dumas used to tell his son that he would never become a great man,
our bare eye can count the strokes of the eagle's wings, when it appears only as and assigned as his reason the son's orderly habits. Said he, derisively, he has
a mere spot before the clouds, so little can the average man count and compre twelve pairs of boots, and they stand side by side in his bed-room, as straight as
hend the beatings of the wild-throbbing heart of the genius. The man of talent if they were being drilled. I would, however, not have you understand me to
usually is appreciated by his contemporaries, because they understand him; the say that a lack of the sense of order is an infallible sign of genius. While there
man of genius, however, will not be generally appreciated until mother earth has is an apparent disorder in the dress and household affairs of men of genius, there
received him into her bosom. Inasmuch as he lives for the coming generations, is strict order in their mental activity.
his own has but little sympathy with him, hence men of genius are often allowed I will whisper in your ears, ladies, that men of genius do not always prove to
to die in neglect and want, while coming generations erect monuments in their be good husbandsthey are often neglectful of those gallant little attentions to
honor. Colton says, the drafts which Genius draws upon posterity, although their wives which distinguish good husbands. Being poor managers, their wives
they may not always be honored as soon as they are due, are sure to be paid with are generally forced to assume the reins, and for this reason they are often called
compound interest in the end. Posterity honors them, travelers visit their shrews. While many men of genius have written sensible articles about women
graves, towns dispute over the honor of calling them their own. Men of genius and married life; while they have laid down good sensible rules for selecting a
make cities famous, and guides point out the places where they lived, toiled and wife, they have not infrequently missed the mark, and married regular viragos.
died. Henry Giles was correct when he said that the great battle of Lepanto Many instances of unfortunate marriages might be cited, from Socrates down to
was famous, merely because Cervantes fought in it as a private soldier. Yes, Shakespeare, Milton, Byron, Haydn, Dickens and others, but this subject had
the very chastisement which Genius inflicts upon enemies makes them immortal, better be dropped. -

unenviable immortality though this be Yes, immortality in a sense seems to be Men of genius usually are very absent-minded, and it is natural that they should
inscribed upon everything Genius touches. be, for they are more or less always absorbed in thought. Many amusing stories
As a social being, Genius is a peculiar mortal. He is generally his own best may be told to prove this.
company. He is never alone, except when surrounded by much fashionable It is true, as has been said, that there never was a philosopher who could
company. He may then, again, be compared with the eagle, who has descended endure the toothache patiently. Men of genius are bundles of nerves, and for
(To be Continued.)
~
CONCERT PROGRAMMES, Pierce College, California. piano part by Grieg, Mozart; Impromptu, Op. 29, A flat
- - -

Over Hill, over Dale (Double Quartette), J. L. major, Chopin; Minuette, Op. 14, No. 1, Paderewski; "
Claverack College Conservatory Annual Concert. Hatton; Poet and Peasant (Piano Quartette), Ar; by Danse Macabre, eight hands, Saint Saens; Arabesque,
Chas. W. Landon, Director. T. Brunner; Der Freischutz (Duett), Mozart; O! Op. 18, Schumann; Polonaise, Op. 40, A major, eight
Melodie Polonaise, Liszt; Polnisch, Op. 23, Mosz. That We Two Were Maying (Vocal. Duet), Mr. W. hands, Chopin.
kowski; (a) Minuetto, Op. 31, No. 3,' Beethoven; (b) Smith; Solo-Rigoletto, F. Liszt; God is Our Refuge, Drew Ladies' Seminary, Musical Department.
Mr. W. Smith, Miss L. Storer, and Chorus Class; Lyman F. Brown, Director.
Etude in G flat, No. 9, Chpin; (c) Polonaise in D major, Merry Wives of Windsor (Piano Quartette).
Schumann; Rhapsodie . Hongroise,CarnavalNo. 14, Liszt; Prelude and Fugue in D major, J. S. Bach; Largo from
Kuyawiak ty' Wieniawski; Le de Pesth, Piano Recital, by J. A. Carson, Carrollton, Ill. first Concerto in # Beethoven; Perpetual Motion, Carl
four hands, Liszt. Rondo in C major, Beethoven; Idylle, Mazurka, Maria von Weber; Tell her I love her so, de Faye;
Goldbeck; Hope, Song without Words, Hoelzel; Nor Butterflies, Grieg; First Ballade, Op. 12, Wm. Mason;
Piano Recitals, by Pupils of C. V. Lachmund. wegian Dance Caprice, Grieg: In Dreamland, Carson; In tempo di minuetto, Op. 32, '. 1, Moszkowski;
ude and Fugue, C minor, Bach; Capriccio, Scar. Morning Wanderer, Important Event, Schumann; Moun Scherzo in B flat minor, 8 . 31, Chopin; Afterward,
latti-Tausig; Impromptu, Schubert; Novellette, No. tain Flower, Loeschhorn; Valse in G flat, Chopin; The John Mullen; Nocturne in G major, Op. 37, No. 2.
10, Schumann; Concerto, Mendelssohn (Orchestra on Adieu, Nocturne, Horro; Valse Elegante, Mattei. Spokane College Conservatory. F. Mueller, Director.
second piano); Serenata, Moszkowski; Murmuring Piano Recital, given by the Pupils of Max Leckner,
#phyrs, Jensen-Niemann; Tarantelle, Op. 43, A flat, Indianapolis, Indiana.
William Tell, overture, '' hands, Rossini; Terpsi
Ni opin; Menuetto, from Sonata in F minor, Op. 19, chore, piano, Bachmann; Caprice-Minuet, piano duo,
A Faust Overture, Wagner (arranged for four players Wilbac; March Grotesque, piano duo, Kunkel; Im
icodei Trot de Cavalerie, Rubinstein; Sonata, Op. 31, at two pianos); Ballade, Op. 24, Variations on a Nor A flat, piano, Schubert; Spanish Dance, eight
W' 3, Beethoven; Gigue in G, Mozart; First Sonata, wegian Melody, Grieg; Variations, for two pianos, Op. ands, Moszkowski; Mazurka-Caprice, piano, Mueller,
S eber; Polonaise, Op. 71, No. 2, Chopin; Loreley, 64, N. von Wilm; Impromptus, Op. 90, Nos.1 and 2,
# Ballade, A flat, Op. 24, Reinecke; Moment Jr.; Fanfare Militaire, piano, Ascher; Pasquinade, piano,
Concert Aria, Op. 94, Mendelssohn; Polonais Gottschalk; Il Trovatore, piano duo, Verdi-Kunkel.
Qp. 10, Moszkowski; Valse de Concert, Jos, Schubert; et Polonaise, Op. 103, No. 9, Rubinstein (arranged for
Gavotte, G minor, Bach; Etude Melodique, four Piano Recitals, by Pupils of Mr. T. L. Krebs.
at two pianos); Non piu Andrai, from Sonata, Op. 27, No. 1 (Moonlight), Beethoven; Can
# 180, Raff; Barcarolle, Schubert Liszt; Concerto, Figaro,playersMozart; Sonata, Op. 57, last two parts, Beet
(Orchestra on second piano); Gavotte, hoven; (a) Lotus Flower, Schumann; (b). Humility, tabile, Schulhoff, Prelude and Fugue in B flat, Bach;
: 9, Popper; Nocturne, A major, Leschetisky, En. Schumann;The (a) Mazurka, Op. 83, No._4, Chopin; (b) Polonaise Brilliant, Merkel; Nocturne, Op. 32, No. 1,
: lls, Qp. 58, Haberbier; Loreley, Op. 2, Impromptu, Op. 66, Chopin; Jubel Ouverture, Chopin; Whirlwind, Golde; Polka di Concert, Schul
: ing; Souvenir d'Amerique, Walse, Joseffy; 'Noc. Fantasie
Weber (arranged for four players at two pianos). hoff: Sonata, Op. 14, No. 2, Beethoven; Nocturne, Op.
Op.28, Meyer-Helmund; Tarantelle, 8 . 329, Pupils of Mrs. A. F. Newland, St. Louis. 15, No. 2, Chopin; Valse Impromptu, Raff; Rhapsodie
ontski; Walzer, two Pianos, V. Wilm; first Sonata, Hongroise, No. 7, Liszt; Galop di Bravoura, Schulhoff:
# #2, Schubert; second Sonata, Op. 89, A flat, Weber; Hussarenritt, eight hands, Spindler; Joyous Farmer, Prelude and Fugue in G major, Bach; Airs Bohemians,
ival, Op. 9, Schumann; Etude, Op. 2, No. 1, Hen Schumann; Joyfulness, Moelling; Scherzo, Op. 101,
selt; Hungarian Dance, No. 7, Brahms; Concertstck, No. 16, Gurlitt; Les Sylphs, piano duet, Bachman, Schulhoff; Scherzo, Allard;
Grand Sonata in C, Op. 24,
Weber; Galop di Bravoura, Golde; Andante from Con.
' 79, F. minor, Weber (Orchestra part on second Sonata No. 1, B flat, duo for two pianos, Clementi; certo in G, Goltermann; Rondo Brilliant, Op. 62,
Minuetto, Op. 14, No. 1, Paderewski; Rhapso. Minuette, Op. 78, No. 3, eight hands, Schubert; Capric: Weber; Concerto in C, Beethoven (Orchestral part on
ie Hongroise, No. 2, Liszt. second second piano).
cietto, P. Scharwenka; Sonata No. 1, F major,
1OS T EI E E T U D E.

METHOD OF STUDY. The ideal thing is to have the mind ever keen and ready dition that will persist in offering its services in the
for the labor in store for it, but this is perhaps as im affairs of life.
Always sit down to your work with the mind free from all irrele possible as was the quest of Ponce de Leon for perpetual Do not allow any one and every one to invade your
vant thoughts. Have good tools always in order.Thomas Couture. youth. Yet, on the other hand, it is within the power of study time. You have set it aside for one purpose; see
Dr. Nelaton, an English surgeon, was once performing an operation all to guard against undermining health through care that you employ it for that purpose.
at which a young student was present. An artery was cut, and the Learn to love out-of-door life. Get close to the heart
young man became cxcited. # Doctor rebuked him by saying lessness and lack of thought for physical welfare. No
"You are going too fast, my young friend; we have no time practice and no study, should be the rule when the mind of kind Mother Nature. Study her phases: and while
is weary and begs for rest. Remember that Nature first sweet air and sunshine bring good to mind and body, be
LEARN how to work and you have conquered a great warns, then implores, then demands. intent upon some wonder at hand. Any congenial side
difficulty. Ability to concentrate attention upon the If you can command all your day it will be to your ad study, as Botany, Geology, Astronomy, Zoology, and
most important task at the proper time and to take up vantage to set aside a certain number of hours for music the like, are of untold value to those of so sedentary
secondary matters in the order of their importance is not study and to consider them available for nothing else. habits as the music student. All you learn outside of
acquired in a moment. Young students often wonder Samuel Johnson has said that any one who would read music will help you in it.
how people of mature age can accomplish so much; a subject five hours daily, for five years, would become The student who commands all his time has immense
sometimes assigning as the reason the fact that age gives learned. Let us do better than this and set aside for ossibilities within his hours. Not every one, however,
endurance and makes one more able to bear aheavy mental study six hours per day, and put no hope in becoming this great advantage. You can look to names I have
burden. This is true. But there is another reason. Into learned even after twice five years of study. Let us mentioned elsewhere in this chapter for confirmation of
years of study a system creeps; every hour is made to devote four of these six hours to instrumental practice the fact. Yet it remains as true for him who devotes
govern its own work; one plans for to-morrow important and the two, remaining, to theoretic study. Let this be but one hour in twenty-four to study, as for another who
tasks and labors of duty; what time remains is put to the a general division. It may frequently happen that one labors twelve, that method is valuable. It guards the
most advantageous use, but it is never wasted. A highly study or the other will be given a trifle more time; you will minutes and, so doing, cares for the years. There may
developed system for doing work is the key to prodigious readily adapt both yourself and your needs to any such be method in everything; in learning your lessons, caring *
achievements in the intellectual field. By order and change. Besides the six hours now set aside there is for your books and music, in the way you do your work
method one economizes both time and strength. Method sufficient time left for general reading, concert going, and or look after your monetary interest.
when made to do your bidding is one of the strongest fac. physical exercise. But, before continuing, let me explain Having good tools always in order means books and !"
tors that can be enlisted in your service. I earnestly advise that I am by no means laying down a plan for work which music where you can find them, pencils and t

you all to learn how some great men have worked. To you must follow exactly. No two students work in like just where you need them, magazines in order and well ::
contemplate what others have done will make you ponder manner. This difference individualizes us. It is as use kept; in fact, it means a keen, watchful eye to the
on what you are doing. The names of William Herschel, less to expect all learners to follow the same method as thousand and one matters of music student life, however
Robert Dick, Thomas Edward, Hugh Miller, Burritt, the it is to imagine they will receive the same impressions humble it may be You are master of the situation only
linguist, William Barnes, the poet and philologist, James in the progress of their study. My plan is simply an when you have so well methodized everything that you
Hogg, the Ettrick shepherd, Faraday, the scientist, are example from which I hope you may draw suggestions. need spend no minutes every now and then looking for *
: #" knowing, and are chosen at random from hun Nothing more. On this condition it will do no harm to a lost thought, a lost book, or worse still, a lost day ! **
-->
reds, divide the six hours into practical portions. First of all There are those who spend as much time in searching s:
Then turn to the life of Bach, of Beethoven, of Robert let me impress it upon you to consider study time sacred; for what they need as would make many full hours that
Schumann, of any true man of genius, and you will see and, as far as it is possible, make others do so. To effect might be employed to better ends. What your teachers
what fruit industry bears. You will learn that each of this you need not become an enemy either to customs or judge you by at once is the manner in which you do the
these men had, besides genius, a fixed determination to to society. Yet do not allow either customs or society to tasks they assign; thereby they learn if you are careful *
bring out the best there was within himself. And keep you from your duty, do not let them step in between or careless; wasteful of the minutes, or provident in *
you will learn also that to make the most of your oppor you and your developing self. Laws of custom are not your use of them; whether you learn systematically or
tunities you must be continually studying yourself. Know always compatible with what is best for individual cases. spasmodically. Method is a touchstone, applied early
your needs and your moods. Discover what are the hours Morning hours give the best return to the majority of and late. -

of the day when you can work to best advantage, and how workers. Be ready to begin your day's employment by Remember that what you are as a student you give
long you may continue your labor without becoming so nine o'clock at the latest-one or two hours earlier would promise to be as a teacher. Thomas TAPPER.
fatigued as to be unfit for any further endeavor. be better-and if you have previously taken some out-of
cannot do your work as others have done theirs. Although door exercise you will be the gainer. Give the first two CONCERNING SUMMER SCHOOLS,
it is safe and best to copy at first, you must come to origi hours to instrumental work, arranged as your own and
nate your own methods. From the plans of others you your teachers requirements may demand. At the end THE Summer Music School is a Yankee institution
may draw valuable suggestions. Adopt what you can, of this time prepare to begin an hour of theoretic study,
but modify them to your needs. There are many stu allowing a short time between for cessation. Not a great which is apt to excite the indignant contempt of a Ger:
dents who surround themselves with all the latest aids deal 'i be necessary, and the change of subject of itself man musician. What! Make musicians in five weeks?
for accomplishing work. They possess every new inven will be a rest. At the end of this hour you will have con Humbug! These Yankees are shallow, superficial, dis.
tion designed to help a student. It is not long before sumed your morning and completed half your daily task. honest! Just this sort of comment have I often heard,
they have ten times as many aids as they employ. Frank Give yourself some little time before dinner and at least
Hamilton, one of the most ingenious and practical of one hour after, before undertaking the afternoon work. and that quite lately.
American surgeons, has said that he could perform an You have still the same amount of work to do as you But the truth is, that such criticism is as shallow as any
amputation with neatness and despatch with no other have already accomplished. I would not, however, thing can be. It wholly fails to take into account the con
instruments than a common table-knife. Physicians in repeat the morning's work in the afternoon, unless you "..."
ditions which have made the summer school a necessity.
general, who have had a practice of long standing, smile are unsusceptible to the impression that you are again
at the multitudinous instruments of the young practi beginning the day. One of the best and most encouraging The truth is, that there are hundreds and thousands of
tioner. Keep a watchful eye to the present and the future feelings about employment is that it progresses. Hence concientious young music teachers working in small in: *
shall fare well.
decide for yourself whether or not you shall follow the
Try to be inventive in ways for doing things; but be in morning plan in the afternoon.
land towns, doing yeoman's service in the cause of
ventive on the practical side. To be successful you must By this arrangement one consumes about eight hours music, whose only chance of coming in direct contact
be practical. Good habits of work grow and multiply; they in doing six hours' study, and the amount of fatigue en with first-class musicians is the five or six weeks of
* will always be at hand to aid you; and you will soon find endered should not be excessive. The benefits to be summer school. They are remote from concerts, they
them as orderly as books in a library, each having a from any fixed plan of study are economy of are surrounded by people whose musical abilities are
lace, where you may find it in the dark if need be. time and of strength. Every one is unlike another in
and method are fine things. Habit, rightly culti the one particular of doing work, but it will be found undeveloped and whose musical interest is almost
vated, brings us to an easy way of doing. Method is the that where the best system obtains, there the best results nil. They have to spend their very life's blood to de
interest we draw on our capital-Time. come forth. Spasmodic attacks of anything are not velop the musical perceptions of their pupils. And
The first year or two of all student life is a tentative desirable. A strong inclination to work to-day is a dear when the year's toil is done and the summer vacation
time. Mistakes and short-comings are busy at work teach luxury if one has to pay for it with a week of listlessness.
ing one how not to do this or that. I earnestly counsel The consuming fever of close application that led Wil comes, what a blessed relief to receive instead of im:
you to become thoroughly well aware of what constitutes liam Beckford to write his romance, Wathek, at a parting! How delightful to be surrounded by people
a day's work, and know how much time need be con single sitting, is too intense to be long continued or fre whose interest in music equals one's own, with whom
sumed in the doing of it. Make it a daily study to sim quently allowed. Only one who is physically able to one can exchange ideas on terms of equality. A su"
plify your means of action, Never become so enamored sustain the strain should enter upon it. mer school creates a musical atmosphere. Recitals are
with your own unserviceable ideas that you cannot drop It is by no means my wish to have you learn to work given by artists. There is music and talk of music all
them. Make it a point to talk with other students and in my way, or in that of any one, but I advise you, for
with people older than yourself. You will learn their your own welfare, that you introduce order and regular the time. The influences are a constant stimulus and
way of work and will gain many a hint well worth trans ity in your study; not to the extent that you shall be. inspiration. Is this humbug? Does it mean increas:
ferring to your own field of labor. The more scholarly come a slave to it, but in so far that you may be master
of superficial knowledge and of incompetent teaching?
people you know the more scholarly you will become. of all it has of good. Pick up hints wherever you can
usic is an art so exciting, so quick to act upon the find them. Here are a few to choose from : Those who think so simply do not know. They apply
nervous system, that often, through, mere physical ina
bility to continue, one must frequently cease music-work day. If this is impossible, avoid working to the hour of the ideas they have acquired under one set of conditions
Do your work rather in the morning than later in the
to another set wholly different. And this they call
for a time and seek either quietude or a change of occu going to bed. It is torturing to have an abnormally thoroughness, and affect to despise those who are at
pation. It is a wrong to the physical self to work too active brain fighting with a tired body. Immanuel Kant
many hours per day. Too intense application to study used to allow fifteen minutes before retiring to free his least, doing their very best to improve to the utmost all
simply means that the candle of life burns at both ends, mind of all thoughts of the day's work. "Not every. the opportunities within their reach.
Those who study instrumental music and theory should body can do this, but it is worth trying. The truth is, that those of us who can appreciate both
find six hours per day sufficient as a general average. Rest and change of occupation are desirable. Con. points of view, who have had the European training, and
Students who study ardently are apt to be intense work: sider the variety of Schumann's days, when he was a
ers, that is, they concentrate all power of thought and student of law: I get up early, work from four to who also know from experience the needs of Americ"
action while employed, and thirty-five or forty hours per seven, go to the piano from seven to nine, then I am off pupils under American conditions, believe in the summer
week of attentive, careful study should be enough. Sixty to Thibaut, In, the afternoon lectures alternate with schools. The more of them the better, and the more
hours of inattentive work is a poor investment. - English and Italian lessons, and the evenings I spend in artists and first-class musicians engage in them, the
To study more than one branch of music at one time society and with nature.
is an advantage, because the. mind, weary with the So arrange your ": that one-half of the day shall greater the hope for musical progress in this our me"
monotony of one task, finds satisfactory rest in another. not repeat the other. You thus avoid monotony, a con country. J. C. FILLM0RE.
T EI E E T U D E. 1 O9
MENTAL MEANS TO MECHANICAL ENDS IN suggestion growing out of the foregoing may be summed The subject of this paper precludes a detailed analy
PIANOFORTE PLAYING, up, in a general way, in the following propositions: sis of mental imagery in connection with the purely
1. Since the mental image associated with any mus musical side of artistic reproductionmusical percep
BY C. P. HoFFMAN. cular act always precedes and precisely determines it, it tion. We have only entered upon it far enough to em
is absolutely essential to a correct performance of the phasize the importance and even necessity of intelligent,
movement that the mental image corresponding to it be exact, logical and persevering study and practice of
IN any simple effort, as, for example, the lifting of a precisely conceived and memorized by careful repetitions simple and combined movements until they and their
book, an act is performed, which, insignificant as it may before a memory image can be obtained that may safely corresponding mental pictures become completely mem
seem as such, is wonderful enough when considered in be applied in new combinations and efforts. orized and instantly ready for automatic and effortless
connection with the mental and physical phenomena in 2. Nearly all pianistic effort being, at first, the result combination in all needed ways.
volved. In direct connection with the act is the con of untried and unusual combinations of memory images, The manifest tendency in this country is now, as it has
tractile power of muscle, a power not inherent in the it is evident that the combining image-units, as we may been in Germany for years past, to connect mentality
muscle itself, but which is due to energy communicated call the images entering into any completed movement, with mechanism, to use mental control of nerve, im
to it through the medium of sensitized motor nerves should be kept in clear outline while being combined in pulses as a supervisory help toward attaining a technic
which, dividing and subdividing into microscopically and memorized as associated efforts. capable of expressing, in an adequate way, the best
minute fibres, penetrate to every part of the muscle or 8. In the exact analysis and vivid impressing of image thoughts of the best composersthe tone-poets of the
muscles involved. This energy is derived from the units lies the only secure way for obtaining a flexible and musical world. That teaching will be most successful
brain, the chief centre of nervous force, under the con well-controlled performance of any complex pianistic in results and lasting in its benefits which takes into
trol of the will. But precisely how the will, through the effort, or for overcoming undue awkwardness and conse account the mental consciousness of the pupil in the
consciousness, connects itself with the nerve beginnings quent waste of nervous energy. struggle to obtain mastery of mechanism, and through
in the various centres of energy and impresses itself upon The point of special emphasis is this: to resolve the conceptions
this of requisite
of musical effects by
the motions, clearly formed
rhythms, mental
tonalities and
muscle, by contraction of its molecules, is as yet un mental concept of any completed action into its separate
known. factors or image units, and, by due repetitions of these, emotional contents which enter into an artistic repro
Much more wonderful does this miracle of motion each by itself, and afterward in combination, strive to duction of any worthy musical work.
appear as manifested in the delicate and brilliant execu gain in the movement a complete realization of the
tion of a master performer on the pianoforte. Physiol concept.
ogists often make use of the Klavierspiel to illustrate the To illustrate: in the legato touch with normal finger NEW PUBLICATIONS,
delicately adjusted correspondence between nervous movement, we have to consider and fix in the mind the
energy and muscular contraction as exhibited in its vari. image units of (1) hand and arm position, (2) finger lift 1. PIANo ToUCH AND SCALEs. F. H. Shepard.
ous touches, velocities and dynamic shadings, as well as ing, (3) finger stroke (which is, practically, a finger drop 2. CHURCH MUSIC AND CHOIR TRAINING. F.
in the control of isolated muscles within a group of supplemented by a hand-closing impulse concentrated Shepard. Published by the author, Bethel, Conn.
muscles as shown in the independent action of the upon the finger employed in the stroke), and (4) pressure 1. The first ofthese books deals with that very important
fingers, wrist, lower and upper arm, singly or in various of the finger upon the key, through the medium of upper matter Touch, as applied to the production of tone in
combinations, not only as respects these members in arm muscles (triceps), transferred without variation or piano playing. It premises that touch can be taught;
either right or left arm, taken alone or combined in break, from key to key. Now, if these various image that it is not so much a natural gift as a faculty to be de
homogeneous motions, but also when their motions are units be clearly fixed upon the memory, each by itself, veloped by appropriate means, and that it is of much
diverse; a point presenting especial difficulty owing to and successively in patient repetition practice, the com greater importance than what is called execution.
the tendency of right and left muscles and nerves to pleted legato effort resulting from intelligent and discreet All of which is sound. - -

work together in associated movement, combination of these image-units can no doubt be pre Mr. Shepard calls attention, as a preliminary, to the
Says Johann Mller in his Handbook of Physiology, cisely acquired. So, too, with the various applications of necessity of care in the selection of an instrument with
speaking of the control of special muscles with a arm stroke, vertical and lateral play of fingers a good action, and one which is not too heavy. This
#roup: We see this power of isolated muscular action and thumb, the transfer of hand position in scales and point is well taken and cannot be too much emphasized.
brought to the highest degree of perfection in certain arpeggios, and from one to any part of the keyboard He then treats the subject of touch under five heads:
*# notably in piano playing. And again: An un (through the medium of shoulder muscles), and all these (a) Application of mind and muscle; (b) Strength of
skillful person makes many associated movements with in infinitely varied combinations must the individual tone; (c) Equality of touch; (d) Staccato and porta.
"intentional voluntary one. The piano player, on the mind-units be clearly fixed to secure correct movement mento touch, including octave playing; (e) The relation
other hand, shows us the other extreme where the isola and mechanism. of touch to different styles of music.
tion of nervous energy in producing special phases of Diversity of movements occurring simultaneously in Under the first head he lays down the sound ''
motion has reached the highest level of precision. the right and left fingers, hands and arms, with respect that the groundwork of all piano teaching should be such
The prime factor of any conscious muscular effort is, to touch, power, speed or muscles employed, often occa a use of the fingers as shall produce the maximum of re
of course, the will which predetermines it, while the sions much difficulty to the pianoforte student. Only sult with the minimum of effort, and insists on a complete
mental consciousness gives energy to the nerves or nerve guarded, well-directed efforts to associate correctly es relaxation of the muscles at all times when not in use.
connections through which the purpose of the will is tablished memory units into combined forms correspond This implies, of course, the complete repose of all
communicated to the muscles involved. This energy, or ing to the purposed diverse movements will overcome muscles not required for any given motion, and the point.
"ore precisely, the nerve disturbance which is its equiv this difficulty, and the real cause for failure here, as in cannot be too strongly insisted on.
alent, is always the same for any specified muscular other phases of pianistic work when traced to its origin, He further insists on making the weight of the finger
effort, and is therefore, naturally, associated with it, by will be found in the imperfectly or incompletely formed assist in the production of tone, through the momentum
the Consciousness, in its production. From this we have mental factors entering into the completed whole.
gained by a rapid stroke. This principle he calls Im
the so-called mental image of the movement. This Moreover, outlining and memorizing essential mental ulse. He then proceeds to elaborate his fundamental
term, therefore, applies to the energizing of certain images tend to prevent the waste and distribution of nerv ideas, Resting, Impulse and Relaxation, in
Special nerve fibres connecting the various functional ous energy usual in new combinations of muscles, minute details, showing how they are to be taught and
areas of the brain, in conformity to which, a special which are due to an aimlessly diffused application of how the learner may test himself. All that is said here
form of energy communicated through motor nerves, nerve power, or to the customary association, in daily
is good and sound and worthy of attention. So is his
and acting upon certain muscles, produces the required habitual actions, of certain nerves and muscles which, insisting on making the ear the final test and requiring
*0\ement. , The fact of this movement is telegraphed from this cause, become so sensitive to nearly related the to listen carefully to his own playing.
back to the brain and mind through nerves of sensation. mental impulses as to intrude themselves into most mus The doctrines here promulgated and the exercises
In accordance with the frequent repetition of any cular efforts. recommended are those of Herr Bruno Zwintscher.
"ent and, par consequence, of its associated mental In piano playing we see a most bewildering complex '. are good and valuable. But neither Mr. Shepard
image, the latter becomes more vivid, more clear in out ity of combination in almost infinite variety and number nor his European teachers seem to appreciate the fact
line, and the resulting muscular act more easily pro of memory images and their corresponding reflex mo that an American, Dr. William Mason, has elaborated a
duced, requiring less and less mental effort as the nerves tions, all of which are the outcome of long and patient method of developing Touch Power and Tone-quality
*ociated with it become more sensitive to mental im. repetition practice. And, although in a very few in which greatly surpasses theirs in simplicity, directness
n. After a sufficient number of repetitions this stances of exceptional talent, akin to genius and effectiveness. But every teacher, whatever his
"ental image becomes so established and memorized as for complex combinations reveals itself with but little method, will be benefited by reading Mr. Shepard's
to become, what may be termed, a memory image, preparatory exercise, yet, the rule is universal that, how thoughtful and well-considered work. And the sugges
which the mind calls up and utilizes in producing various ever keen and active the musical sense may be, the stor tions of means for securing relaxation are new and par
'" and complex movements by combining it with ing up of the necessary memorized motive experiences ticularly valuable.
others in suitable ways. connected with piano playing depends upon long-con 2. The second book is an extremely clear and sensible
fi For example, the grasping of a ball is, to the child, at tinued exercise in foundational work with the muscles, treatise on the proper methods of training choirs, espe
** matter of some difficulty and effort which, often under the active control of consciousness acting upon cially boy choirs. '. directions for training the voices
peated, becomes an unconsciously performed act with brain and nerves. Moreover, the vast majority of move seem to be extraordinarily full of common-sense ideas.
its corresponding memory image, developed from the ments entering into a pianistic performance must neces The book is eminently practical, and ought to be in the
dimly outlined mental image, and this, combined sarily be those resulting from memory images so vivid as hands of every young choir-master. J. C. F.
* "lous other memory images, produced in a similar to have become practically automatic or self-acting, so
*ists in producing the complicated movement of that the consciousness may be left free to occupy itself
all throwing. So also with the pianoforte pupil, the with the musical concepts or ideas entering into and The third edition of Edward Baxter Perry's fantasia
'*ys at producing and combining tones at the key. constituting the completed musical and emotional effect, for '' Die Lorelei, is now in print. A few errors
oard, say in scale or chord passages, are difficult and for the realization of which the will depends upon the in the two previous editions have been corrected, and the
but after a sufficient number of careful repeti before-mentioned self-acting motor images. whole. carefully revised and fingered by the composer
: the muscular efforts required become perfectly easy Again, these musical concepts are themselves com: and W. H. Sherwood. . Few American compositions of
'*e, for the most part, unconsciously performed. binations of memory images or previously acquired high grade have proved as popular, or are so frequently
heard in concert.
gain, the vague mental pictures of the necessary mental experiences of tone-and time-relationships of
*ons, have enlarged and intensified into the vivid quantitative and qualitative accents and dynamic shad.
"yimages which produce these motions without the ings. From these arise perceptions of melody (tone The person who is unacquainted with the best things
"tervention of consciousness. It is in this way that the pitch), rhythm (tone-length) and emotional content among modern literary productions is looked upon as
mind is continually adding to the number of its mental (dynamic contrasts) which enter, in simultaneous com uncultivated. . We should be at least as advanced as this
nces
and movements.
and stimulating the muscles to new powers bination, into the complete thought or concept of the in music.-Schumann.
musical phrase, and so through all the phrases or concept Genius does nothing without a reason. Every artist
* the pianoforte student and teacher the practical units, shall we say, of the composition, all of which find : ''g work an unexpressed idea
"--
expression through motor-mental and harmony images, fined.-Liszt.
which speaks to our feelings even before it can be de -

*See Pop. Science Monthly for October, 1889. as already explained.


11 O =
T H E ET UD E.
the book, or to the whole subject. Then
one this take
with the think
each, next

-
accomplished (and its importance." be overrated),
- ted) * ,

nd-

when you have


then # will have become also easy to * each # ' : of # first part of the book as to
PIANOFORTE TONE-PRODUCTION.
muscles, they having now become independent: * and order thereof, the chief illustrations and
The first difficulty in every one's path is " stiffness. giving the resistance employed during the practice" pursue the same cour* with each and '. part: len
the book is finished, begin and go backward,
To overcome this, must then be the first step. Yet many e finger, hand (so-called wrist action ), : ":
xercise. - -

indeed are they who, although showin themselves in yourself what is the last point the author made, an
other respects good players and excellent musicians, arm (elbow-action) should be exercised sep: y. then what led him to that point, and so on until you
will be found easiest to commence with wrist-action. ing of the work. If you cannot answer
nevertheless faif here'. Good quality of tone is, how
reach the beginniimportance
ever, quite incompatible with a stiff action, or with a The fingers, unaided: to do by far the largest any about the book when this is- -

stiffly-held limb. If, however, it be clearly understood amount of work at the ke oard, the further consid: done, '' will never be able to do so. An excellent
whence the stiffness dates, then perhaps it may become eration of the means to be a opted to render them both method in addition to this is to mark in each chapter
comparatively easy to conquer it; for, but rarely does it loose and powerful needs no apology, even though it what you find to be the strongest statement of the main
happen that its cause lies in an actual stiffness of the may render the following remarks lia le to be charac. oint of the chapter, or the most valuable fact, or best
joints. Generally it is found to be brought about merely terized as Instruction book" talk. They are, however, illustration, and re-read these marked passages several
by faulty production *-incorrectly directed muscular called for, because, as a matter of fact, details of this
"We have pursued this method, for many years,
effort. Hence, the habit of stiffening ought to be reme" nature are, as a rule, found but in great paucity in and applied it to every book read for logic or informa.
diable, if it be not of too long standing. theFirst
ordinary
of all,Primer.
then, as to the position of the hand.
- - -
tion, and have found it useful. But even then the fre:
A
The sensation of stiffness arises then in this way: For quent reading of the most important books is essential - 1:
every set of muscles (with but few exceptions) there is blow having to be given by the finger, the preliminary
found to exist another set with exactly opposite duties. condition must therefore be, that the finger-tip be well to the permanent possession of acquisitions. One may
Now, without previous training, it seems to be, for the raised from the key. And this cannot be done unless by say, A person will not have time to read many books
most part, a matter of considerable difficulty to send an the hand itself, to begin with, be held well away from the this plan. Yes he will; Until he has formed the
impulse from the nerve-centre to one set, without at the surface of the keyboard. The fingers, when fully de habit he must slowly, but afterward he is hardly
same time allowing some of the energy to travel by the pressed, should be very considerably curved, the curve conscious he is doing these things.
wrong path to the opposite set of muscles. It is, how. beginning at the ." knuckle jointthe ' where *"
ever, obvious that any impulse thus received by the fingers and hand join. The longer finger eing some MODERN PAINTERS.
opposing muscles must necessarily tend to counteract what more curved than the shorter ones; care being BY RUSKiN.
!--
the groups act taken to notice that in the ordinary position of the hand,
withdesired
quite movement; indeed,
then ifnoboth muscle *
equal energy, motion whatever can the middle finger touches the white just outside the Distinctness.The best drawing involves a wonderful
possibly appear;rigid
the in
limb-finger, perception and expression of indistinctness; and yet all
then becoming direct ratiohand,
with or
thearm-merely black keys. The height of the wrist joint relatively to the
intensity of -hand is determined by the actual size of the latter. With noble drawing is separated from the ignoble by its indis.
the two-sided muscular tension. If, however, one group a particularly large hand it is well to hold the knuckles' tinctness, by its fine expression firm assertion of
receive greater impulse than the other, then the tension rather higher than the wrist joint, but with a smaller hand Something; whereas the bad drawing, without either
of the latter is overcome, and some motion does take the most serviceable position appears to be that in which firmness or fineness, expresses and asserts Nothing. The
place in spite of the impediment. Manifestly, however, wrist and knuckles are on the same level. Hence, with first thing, therefore, to be looked for as a noble sign of
the desired movement is here
ariseproduced underofconsider. art, is a clear consciousness of what is drawn and what is
able difficulty, and hence the sensations extreme larger hands the curvature of the fingers is greater than
with smaller hands. not; the bold statement and frank confession, This I
stiffness and of friction. And it is just this rigidity which The wrist must, however, never be held higher than know, That I know not, and, generally speaking,
is to be avoided at any price in tone-production. Quan, the knuckles, for then it becomes impossible sufficiently all haste, slurring, obscurity, indecision, are signs of low
tity of the sound entirely depending on the quantity of to raise the finger-tips away from the keys without art, and all calmness, distinctness, luminousness and
the motion deliveredon the swiftness of the descending stretching the fingers completely back to the upper limit positiveness, of high art.
limb-as previously explained, clearly, if this motion has of their motion. And however useful it may be to do
to take place against the resistance of the player's own this for the sake of practiceas a gymnastic-neverthe
muscles, then this must detract from the speed-must WHAT WAS THE MUSICAL ACCENT.
create a distinct obstacle tending to annihilate the desired less, we must not forget that a limb moving at the ex;
treme limits of its compass is necessarily awkward and AT a trial in the Court of King's Bench as to an alleged
effect; and effort taking the place of freedom of move weak, and that the motion at the limits always remains piracy of the Old English Gentleman, one of the
ment, the result can, at best, be but clumsy and inar restricted, though the compass may be increased by witnesses put into the box was Cooke. Now, sir,
tistic. practice. said Sir. ames Scarlett, in his cross-examination of
(sof
farthe
as first importance then isimpulse;
the complete isolation The hand, at the knuckle, must then in any case be Cooke, you say, that the two melodies are identical
possible) of the nerve the individual
held at a sufficient distance from the key-level to enable but different. ..What am I to understand by that, sir?
ization of the musclesthat intimate connection between the fingers easily to swing back.
brain and fingers which may be termed thinking the l space '' and key-level must also at What I said, replied Cooke, was that the notes
fingers. In other words, the separation (segregation) ": in the two arrangements are the same but with a different
east behan#
as great at the as at the second finger side -

of those particular sensations which the isolated action accent-the one being in common while the other is in
of each of the two sets of muscles call forth. However, his is indeed of paramount importance, for if triple time ; consequently the position of the accented
we are not able directly, consciously, to set in motion a hand be not held level, but toward the note: is different in the two copies.
single muscle, for we are unable deliberately to concen: and fifth fingers (the orthodox school-girl manner), then . What is a musical accent? Sir James flippantly
trate thought inquired.
we doonrealize
a singlethebundle of muscular fibre. Cer
tainly, possession of musele on a these already muscularly weak limbs are in addition My terms for teaching music are a guinea a lesson,
contact from outside taking place, and by perceiving its placed at a very considerable disadvantage relatively to said Cooke, much to the merriment of the court.
motion, but the reverse nervous action we are unable the others. With this result, that when a note has to be "I do not want to know your terms for teaching,
sounded by their instrumentality, then their evident said the counsel; I want you to explain to his
immediately to determine. But what we can do is to
organize the sensations resulting from muscular move helplessness causes surreptitious help to be unconsciously and the jury what is musical accent. Sir James waxed
ments and the consciousness of the nerve-impulses given from the arm or hand, naturally to the great detri. wroth. Can you see it? he continued.
required to bring them about. We can experiment with ment of evenness of touch, and obviously to the utter
destruction of the finger technique.
No, was the answer.
. Can you feel it? #
our fingers, etc., until we succeed in obtaining the correct ToBIA's A. MATTHAY. Well, Cooke drawled out, a musician can.
-

impulse-correct movement-in one muscle without the


slightest opposition on the part of the particular muscle After an appeal to the Judge, the examining counsel (
endowed with the reverse function. We can then WORTH REPEATING, again put the question :
memorize the sensation this successfully isolated impulse [Under this Department will appear articles that h Will you explain to his lordship and the jurywho
was accompanied by, and then by recalling this sensation of a We will be are supposed to know nothing about musicthe meaning
we shall again be able to recall the correct production.' numbers of THE our ers, from resources outside of the back of what you call accent?
This at last becomes a formed habit, and then it will Musical accent, rejoined Cooke, is emphasis laid
seem as difficult badly to produce tone as at first to pro on a certain note just in the same manner as you would
duce it correctly. The real cause of the change may be THE following
- from the New York Christian Advocate lay stress on any word when speaking, in order to make
sulated from each other.
"'
that the nerve-actions have actually become more in is so valuable that
of our we give it a place
place iin THE ETUDE for ourself better understood. I will give you an illustration,
ir James. If I were to say you are a donkey, the
The practice of the following gymnastic exercise will ich is the best way to master a book; that i accent rests on donkey; but if instead I said you are a
-

be found most effective in conducing toward the acquire.


ns R'
it so as to respond to any : donkey, it rests on you, Sir James, and I have no doubt
ment of this looseness of movement-quiescence of least that maytime?
be asked concerning i
ning its contents, in the that,the entlemen of the jury will corroborate me in
-

the opposing muscles. Tendons, with attached muscles, this. T e story is more personal than polite, neverthe
-

lie both above and under the finger, hand, and forearm; A. We suspect that this is an attem pt to learn from us less it is well worth telling as an instance of forcible
-

these have the function respectively to raise and to de the art of cramming, an art which is to good, honest illustration. It is useful, too, since it may serve to im
press the limb to which they belong: . The finger, hand, work what # is to lawful coinage, or to the actual press upon the minds of that very large circle of people
or forearm (whichever is to be used) is then to be delib production of valuable goods. Cramming for a single who plume, themselves on being musical, some faint
erately raised against the resistance of the lower muscles recitation or for an examination, is a kind of intellec notion of what accent in music really is. It is the out
__i.e., the limb is pulled back slowly and very stiffly. tual which adds nothing to the permanent come of that wonderful invention, the division of music
But now, when the movement has nearly reached its stock of knowledge. But assuming that you wish to into bars, but for which music might still be only the
upper limit, then the upward pull is suddenly to cease. ascertain how to master the contents of a book with the magical accomplishment of a few.--From the Gentle
As the lower tendons are already active and continue so, least expenditure of force and time, we give these hints: men's Magazine.
the result is that the limb is drawn down with consider First, read the title of the book; second, the introduc
able force at this moment. Important it is to remember tion or preface; third, the headings of the chapters; Pestalozzi never uttered a truer sentiment than when
that the downward pull is to be continuous and unvarying fourth, if the book is divided into parts, master the
ail through, the ascent and subsequent descent being principles on which the division is made. This in any he said: I would go so far as to lay it down as a rule,
that whenever are inattentive, or apparently
; the upper muscles at first overpowering the good book should take half a day of attention. As you
the of the chapters, turn to take no interest in a lesson, the teacher should always
ower ones, and then suddenly being let go. look first to himself for a reason.
The reverse action should, of course, also be practiced w'ereheadin an ere, and read
means. suffici
ad sufficient to show just -
*

on the same plan. A man should hear a little music, read a little poetry
-

The practice of this gymnastic simply helps toward the -en this is done you are prepared to begin the read and see a fine picture every day of his life, in order that
acquirement of the knack of letting go only one set ing of the book. Read the first chapter . then worldly cares may not obliterate the sense of the beau
of muscles at a time. But then one thing only can be think over the substance of it; do this, not in words, but tiful which God has implanted in the human soul."
learned at one time. When, however, this single point is in thoughts; and ask what relation it has to that part of Goethe.
T EU E E T U D E. 111.
s
EXPECT BETTER PLAYING. A Supplement to Every Instruction IHE

Book.
PROF. E. S. BoNELLI, has become famous in the musi
cal world by overcoming the natural weakness of the
fourth or ring finger. By a simple operation he com
pletely liberates the finger, giving a freedom and facility
of execution heretofore unattainable without pain or
scar, increasing the stretch of the hand and the lift of
THE STUDY NORMAL COURS: -->OF-se--"

the finger. -

In musical circles the operation is attracting much at


tention. Herr Eugene d'Albert, the world-famed pian
of THE PIANo. PIMN0 TECHNI[.. EY
ist, has expressed great surprise at the result. Madam
Camilla Urso and the late Dr. Louis Maas also pro E. EP_A_LEENTT. PESIGNED FOR
nounced favorably upon the work of pupils having under
gone the operation. SCHOOLS, TEACHERS and STUDENTS,
Prof. Bonelli, severed the accessory tendons of about Translated by M. A. Bierstadt.
thirty members of the M. T. N. A. at Detroit. He has
tried it on over 500 musicians. Cocaine is used, which By VVM. B. VVAIT,
makes the operation perfectly painless. Very little blood PRICE $1.O.O. Author of Harmonic Notation, (THEO. PRESSER,
flows and the wounds are scarely larger than pin points. Phila.), System of Tangible Music for Use of the
We invite correspondence from the above subjects HIS work is designed to accompany the instruction
after they have proved its utility. Blind, Measure, Rhythm, and Form.
book with every beginner, and will serve as a supple
ment to any method.
WANTER: teacher on the piano and in singing The information is imparted in the form of questions The NorMAL Course is based upon the fundamental
(pupil of Kufferath and Dr. F. Hiller), who has and answers, which will make the work useful as a primer, idea that, for the purpose of the development, discipline
had twelve years' experience, and who taught for the last but it is vastly more direct and comprehensive than any and information of the mind, and for teaching the learner
seven sessions the most advanced class and the graduates primer published. how to think and to do, Technical studies in Music are as
in music at a leading Female College in the South, is open The following are a few of the subjects, out of the 175 useful as any other branch.
to an engagement for similar position. Address Music pages, which we give at random:
Teacher, Salem, Virginia. General Advice on the Method of Practice. FEATURES OF THE B00K.
Necessity of Counting. Clear, concise statements of facts and principles.
ANTED.Miss Mary Alice Evans desires an en It deals only with essentials. - - -

... gagement as teacher of voice in a college, and Some Special Difficulties. It arranges the materials in grades, by Divisions,
position as alto soloist in church choir. Best of refer Musical Memory. Courses and Steps.
''
ences. training; experience in teaching.
On Reading Music. It exhibits a distinct mode and order of development.
". enny Maier, College of
nati, Uhio.
Music, Cincin The Pedal. The course is as clearly laid out as in any other branch
of study.

Overcoming of Bad Habits. Practice based upon understanding of means as applied


The book will be bound in cloth, and will be a pleasing to ends. - -

contrast to the ordinary pasteboard cover primers that are It permits the attention to be given to the hands in
placed in the hands of a beginner. practice, and not to the pages. - - - - -

In schools, it will secure uniformity in the instruction


Address the Publisher, It furnishes
g 1Wen. the bases for oral recitations and examina
THEODORE PRESSER, tions, as in other subjects.
17O4 Chestnut St., Philadelphia, Pa. It is logical, systematic, thorough.
It is a book for use by schools, teachers and students.
PRICE $2.OO, BOUND.
PIANO PROTECTOR We will make a deduction, as usual, to those ordering
AND the work in advance of publication. We will send the
work, post-paid, for only 60 cents to those sending cash
FOOT-REST COMBINATION. with order. The work will not be ready for several
months.
Address the Publisher,
This Invention provides a Protection for
the Piano, also, an
EXTENSION FOOT-REST,
THEO. PRESSER,
Connected with the PedalsEspecially de
1704 Chestnut St., Phila., Pa.

'Stlill ill Hilar fill Imli.


signed to enable Persons of Small Stature
to Rest their Feet, and also to Work the
Pedals Of the Piano.
A PIANOFORTE INSTRUCTOR.
MANUFACTURED IN ALL STYLES OF
BY JAMES HAMILTON HOWE.
GRANDS and UPRIGHTs, PRICE LIST. Op. 15.
No. 1. Foot-REST, - - - -
This Instructor includes for its theoretical portion:
- - $1.50
CHASE BROS. PIANO CO., No. 2. 4+ (nickel plated), 2.50 Notation; Rhythm; Chromatic Signs; Accent; Marks
- -

of Touch, Power and Tempo; Syncopation; Abbrevia


Factories: Grand Rapids and Muskegon, Michigan. No. 3. Foot REST AND PEDALs, - - - 4.00
Send for Illustrated Catalogue.
No. 4. &4 ** (nickel plated), 6.00 tion; Marks of Power and Tempo, and Theory of Tech
No. 5 *& nique. A full page is devoted to Diagrams for Position
(polished brass), 8.00 at the Pianoforte.
Address The Practical part contains a thorough set of Technical
A Sislim Of Pin() T60hili. THE0. PRESSER, PHILA., PA.
Exercises, progressively arranged; scales, major and
two minor, in all keys, supplemented by attractive Les
sons and Illustrative Compositions.
Throughout the work are introduced Duets for Teacher
JAMES HAMILTON HOWE.

CLOTH, $1.5o.
The Piaa Mial Imal "# and Pupil, illustrating certain exercises in an entertain
he last four pages are devoted to the Major Scales in
-

ONLY $1.00 A YEAR. all keys, with Grand Arpeggios; the Harmonic, Melodic
Includes a complete set of Scales, Arpeggios, Double and Mixed Minor Scales in all keys, and an original Grand
-

hirds, Double , etc., in various # together


* - 7

AMERICA'S LEADING MUSICAL PUBLICATION, and Octave Exercise, which is both interesting
fingered exercises for special developments, and ":
e Instructor has b
has been d d by the followin
endorsed
of Embellishments. It follows nicely the popular Educational Department. Edited by Hugh A. Clarke, Mus.
Doc., University of Pennsylvania. Artists and Teachers: Wm. H. , S.A. #
- ianoforte Instructor, of late issue (by the same Author), Every issue contains 16 pages of new music, and from 16 to 20 pages Fannie Bloomfield, Neally Stevens, Constantin Stern:
in connection with appropriately graded studies and in. of musical literature, interesting and valuable to Music Teachers,
berg, J. S. Van Cleve, J. C. Fillmore, Arthur Foote,
*ructive compositions. This work has been introduced Pupils, and all lovers of the Art Divine. It is the official organ of the
Louis Mass, Alex, Lambert, Calixa Lavellee, W. S. B.
Pennsylvania State Music Teacher's Association.
'one of our leading schools of music. A newly Mathews, Carlisle Petersilia, Joshua PhiP' Jr., G.
"ised and corrected edition is in process of publication, A Folio of Music Free to Every Subscriber. H. Howard, W. H. Dana, J. Wolfram, S. Penfield,
by the advanced sales of the work. The
d echnic in the future will be bound in limp cloth, so SPEcial TERMS AND DISCOUNTS TO MUSIC TEACHERS. C. H. Morse, W. G. Smith, Max Leckner, Willard
esirable for carrying the same in music rolls. A new Burr, H. A. Kelso. Thomas Tapper, Jr., Norman
and original Arpeggio Exercise will be introduced in the McLeod, Flora M. Hunter, Ad. M. Foerster, E. R.
next edition.
Yearly Subscription, $1.00. Sample Copy, 10cts. Kroeger, F. W. Root, W. L. Blumerschein, Wm. Mac.
donald, F. R. Webb, H. M. Wild, Mrs. L. Heerwagen.
THEO. PRESSER, GOULD & W0OLLEY, Publishers, ..This work, which is meeting with great favor d *
likewise extensive sale, retails for the small Sum of
No. 1704 Chestnut street, Philadelphia. 1416 and 1418 Chestnut St., Philadelphia. $1.50, with liberal discount to the profession and trade.
112 sEcon D volumE.
- A NEW B00K FOR BEGINNERS.

THE ART OF PIANOFORTE PLAYING


-

PIANO PRIMER. Studies in Phrasing


BY HUGH A. CLARKE, MUs. Doc. Price $1.50, post By w.s. B. MATHEWS.
15th EDITION
paid. Price $1.50 Net
This is a new work embodying the results of thirty
- - -
d Remarks by such Musicians as Dr.
ye: experience of a practical teacher, who has *: so": Mason, Mr. Wm. H. Sherwood,
the responsible position of Professor of Music in the Mr. Albert R. Parson*, etc. AWrttitt II/SHElt filt Pillilull $[ll]
University for the last fifteen years. l Iss; it is ExHAUSTIVE: it is endorsed by most
-

e design of the work is to furnish a thoroughly


- - -

C O NT ENTS:
a'. for beginners, embodying all the ': of American Pianists and teachers. 1: '
commendation of it have been received from ## ' Introduction Principles of Interpretation.
results of the best criticism. The exercises have : rominent musicians in more than twenty di ' Method of Study.
constructed with great care, and are graded in 3. It is adopted as a sta'na" work in most 0
way that the that beset are a '' the Colleges in America. Its sales have been henome
difficultiesNot I L L Us T R AT I O N s :
insensibly overcome. a page has been admitte b or Mendelssohn, First Song without Words.
the purpose of making a book; no other work has nal. Its price is very reasonable, viz.: In Cloth, em.
borrowed from ; but every piece in the work is ' e bossed, $1.00; in Board covers, 75 cents, and in paper Bach, Loure in G.
Chopin, Nocturne in E flat.
result of careful study of the requirements of a complete covers, 60 cents. Address Mendelssohn's Hunting Song.
elementary school for the pianoforte. THEODORE PRESSER, ''
Mendelssohn, Spring So
Song.
Schumann, n F. Op. 23, No. 4
1704 CHESTNUT ST., PHILAD'A, PA. Bach, Invention in E minor, 3 voice, No. 7.
Practical and Pleasing. . Schumann, Grillen.
. Rubinstein, Melody in F.
It is of the utmost importance that a proper beginning STUDIES IN Schumann, Polonaise in D, out of Opus 2.
. Mendelssohn (Duetto), No. 18.
be made. There are two features,in this book that make . Schumann, Homewards.
it one of the best works for beginners ever issued, . Chopin, Prelude in D flat.
namely
It Interests the Pupil, it Cultivates the Taste.
Measure and Rhythm, F0R THE PIANOFORTE.
. Bach, Saraband in E minor.
- Schubert, Minuet in B minor. Op. 79.

Address Publisher,
these two points every teacher must look By E. W. KRAUSE.
for ' and it # well to have a text-book at the FoR PRIvATE, CLAss of: SELF INSTRUCTION. THE O. PRESSER,
beginning that lays particular stress upon important (Time) A Systematic and Practical Treatment of Measure
and Metrical Notation, in the form of scales and 1:/O-4, C HIESTN UT STREET,
principles. -
other exercises. PHILADELPHIA, PA.
There are numerous duetts for teacher and pupil, all - -

having a specific object in vie"; There are a oodly The work affords material for acquiring the ability to
read and play correctly in a comparatively short time.
number of pieces of a didactic nature, and eter:
cises for strict and mechanical fingering, such as scales,
arpeggios, five-finger exercises, etc.
Address publisher, THEO. PRESSER,
Price $1.50, in Boards.
THE STAR of BETHLEHEM.
J. H. HALL AND J. H. RUEBUSH,
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1704 Chestnut Street, Philadelphia, Pa. 17O4 Chestnut Street, Philadelphia, Pa. ALDINE S. KIEFFER.

A fine collection of Church Tunes, Anthems, Choruses,


PALMER'S A GRADED COURSE OF STUDY and Glees. Just from the press.
New Pronouncing Pocket Dictionary Contains 116 Church Tunes, SO Pages Class
Songs, ZO Sunday-School Songs,
of Musical Terms.
2GOO TERMS IDEETINIED. cABINEToRGAN 32 Pages Anthemas.
Just the Book Teachers have wished for. 192 pp.
A new and greatly enlarged edition of the Pocket By M. S. MORRIS.
Dictionary has recently been issued, which contains up. PRICE - - - - - 1O Cts.
75 Cents per Copy; $7.50 per Dozen by Mail.
ward of 2600 definitions, covering about all that is
The great question before vocal music teachers is: How can we im
required by musical students and teachers. It should
be in the possession of every person who studies music. umes the best lists of pieces and studies, vol.
of voluntaries, arranged in systematic order for
prove the masses in reading music? This book contains no new
method, for character notes have been successfully used for years.
PRICE 25 CIENTS. reference. SPECIAL OFFER.We will mail one copy to any reader of
Address Publisher, THE ETUDE for only 30 cents, to cover cost. If you are not satisfied
Address THEopoRE PREssert, after an examination, we will refund the money. Address
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THEO. PRESSER, R U E B U S H, K I EFF E R & co.,
DAYTOIN, VA.
J U sT I SS UED. 1704 Chestnut Street, - - Philadelphia, Pa.
We beg to announce that we have now in course of publication a
FOUNDATION EXERCISES '''H'll|| || i. new work for Organists, entitled

IN PLANOFORTE PLAYING.
By A. K. VIRGIL.
The Organists Journal. FOR MUS/0 TEACHERS AND STUDENTS.
To be used on the PRACTICE CLAVIER or PIANO. BY This work will be sold by subscription, and will be complete in 14
parts. Each part will be enclosed in an attractive cover and will
E. M. SEFTON. contain at least four excellent pieces suitable for church service. We
The object of this work is-first, to establish the doctrine that Piano shall also present a number of novelties appropriate for Concerts,
forte Technic is or should be an Elementary Study; and, second, Recitals and other occasions. The Price # Subscription for the
P E. I. C. E. $ 1 - O O. entire work is $3.00. This will be the finest and most complete work
to supply teachers and pupils with exercises and facilities by which for the Organ in the market; it will contain the most practical and
this all-important subject may be taught, and true pianoforte iatest compositions of the best German, French, American and
This book makes work easy for THE TEACHERthe Qing
technic may be clearly comprehended and practiced by the youngest |es ially-and the study of music clear and attractive for THE English writers.
ach piece will be of high class. Nothing will be put in to fill u
beginner from the first lesson, as heretofore has been impossible. PUPIL. It is a new departure and is a step in advance of any space. The entire work will be within the ability of any churc
The plan of the work, and the exercises given, are new and the thing published as a means of interesting the pupil and aidin Organ 18t.
teacher. It tells When, where # How much shoul e would like to impress upon you the fact that
original. be studied or given in Theory, Technic and The Piece, and 1st. The music will be edited in the most careful manner. Special
In the two volumes more than thirty picture ilius their various subdivisions. No steps need be taken hesitating by attention will be given to the Phrasing, Pedal Marking, Registra
trations are given, by which not only proper positions, the young teacher. Read what Dr. William Mason, the head ''. tion, etc.
profession, has to say of the work:
but correct movements are easily learned. 2d. The Music will be printed from Engraved plates (not type). each
MR. E. M. SEFTON, 3d. No other work gives so much music for so little money;
Pear Sir:-I have, received the copy of Teacher's Help and part, costing 25 cents, will contain $1.50 worth of music.
4th. None of the pieces are too di t for the Amateur or the Student,
BOOKS I AND I1, EACH $1.5O. Student's Guide, and thank you for sending it. I have examined it
with interest and regard, it as a very useful work. It keeps con which areProfessional
and the Organist will find a large number of compositio"
only to be found at present in nsive editions.
EDWARD scHUBERTH & C0, Publishers, stantly before the pupil the true and fundamental principles upon 5th. The work will also commend itself to Teachers and Organ
which effective practice is based. The various exercises are arranged
23 Union Square, New York. in a systematic way, tending toward orderly and rapid development. ". on account of the large number of pieces available for inst"
The directions, which constantly remind the pupil of the absolute I'
necessity of deliberate and conscientious work, may at first glance onParts 1,2,3,4,5,6 and 7 are now ready, and willwill
be sen
receipt of the subscription. Succeeding parts be issued an
SUITABLE FOR CHORAL SOCIETIES. seem almost superfluous, but the experienced teacher will at once forwarded, one each month, until the 14 numbers are com lete.
recognize their importance and the urgency of their constant repeti Circulars and sample ving full information, will be sent,
tion. It is the kind and quality of practice which tells. One might
as reasonably expect, by sowing poor and imperfect seed, to harvest free, on receipt of name and address.
Mrs. SPEARER, AN OPERETTA.
good fruit, as through imperfect practice to gain good and desirable
results in pianoforte Play:
For further information, address

By ALBERT W. BORST. Address


Yours sincerely,
WiLLIAM MASON. THEO, PRESSER, WM.E. MSHMAll 400,
1704 Chestnut Stroet, 231 East 80th Street,
LondonNovello, Ewer & Co., or from the composer, 3602 Hamilton
street, Philadelphia. special terms for quantities. THEO. PRESSER, PHILADELPHIA, PA. PHILADELPHIA, PA. NEW YORK, N.Y.
T EI E E T U T) E. 113

rofessional (aris. Professional Cards. $rhools of #luir.


~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
--~~~~~

ORGANI QPGNINGS, &c.,


Mr. T. J. D.A.VIIES
Gives lessons personally, or by correspondence, in Harmony,
Counterpoint, Canon and Fugue. Students prepared for ||
musical examinations. Most thorough and systematic course.
Compositions revised and corrected. Terms moderate.
IMCIR,- A_T, EIHEIRT

or GAN AND PiNorore re


36O2
VVT.
Teacher of the

HAMILTON STREET.
EOR ST,
MUSIC SCHOOL
Address 18 LIBRARY BUILDINC, Philadelphia, Pa.
-------
Scranton, Pa. -

Harmony Lessons by Correspondence


ALSO
schools of alusic. -------

Lessons by Mail in Counterpoint and Orchestration. |


For terms and particulars, address GERMANY, BERLIN.
G. T. BULLING, 20 POTSDAMER STRASSE.

174 Race street, cincinnari, o.


MADAME ANNA STEINIGER,
CONCERT PIAN ISTE AND TEACHER,
JeosTONT, M.A.ss.
Beethoven Concerts at Conservatories a specialty.
Kltml Mill
BRANCHEs TAUGHT:-Piano, Violin, Violoncello, Singing
-
Madame Steiniger will make a tour, West and South, in January, and Theory of Music; Also Literature Classes in
February and March, 1890, introducing her four Beethoven Con German, French, Italian and English Languages.
certs. Special terms and unequaled inducements to teachers who
will work for this series of concerts, in their cities or towns. PROFEssoRs:Messrs. K. Klindworth, Dr. Langhams,
Rfer, Dr. Yedliczka, Dr. Reimann, Tul. Hey and
DANM'S MUSICAL INSTITUTE WARREN, CHI)
Address FRAU ANNA stEINIGER, Boston, Mass. other renowned masters. An institution devoted exclusively to the study of
W. S. B. MATHEWS, Prospectus to be obtained gratis through the Director, Music. Gives instructions in all departments of Music,
TEACHER OF PIANOFORTE, KARL KLINIDWORTH, with a thorough and Systematic Course of
Lecturer and Writer upon Musical Topics,
Berlin, 20 Potsdamer Strasse. Study, and a Faculty of the highest excellence and
No. 236 STATEST., CHICAGO, ILL.
efficiency. Founded in 1869. Ray Send for Catalogue.
Room 18. -

A STANDARD TEXT-BOOK,
Mr E. M. B O W M A N,
(Editor of Weitzman Musical Theory,)
STEIN WAY HALL, NEW YORE.
PIANOFORTE AND ORGAN instruction by the methods on which
DANAS PRACTICAL HARMONY,
modern artistic performance is based.
MUSICAL THEORY lessons, orally or by correspondence, by the PRICE $2.O.O.
Weitzman Method, which, by its lucid explanations and interesting
course of study, commends f to the attention of all who desire
to become thorough musicians. Mr. F. LYNES,
159 A, Tremont Street, BOSTON, MASS.
Milwaukee School of Music, (Leipsic 1883-85.)
*22 anoadway, milwaukee, wis. Teacher of Piano, Organ and Harmony, will receive
HARMONY LESSONS BY CORRESPONDENCE, #:
QBERLIr, GriseVATORyof ITISIG pupils during the Summer. Harmony by mail.
J. C. more, Director. With a Large Faculty of Superior Instructors, and
a splendid building for its exclusive use, the Oberlin
MRS. W. H. SHERWOOD, Conservatory offers unusual advantages for the Study of
Concerts, Piano Recitals and Piano Instruction. Music. 544 students last year. Total expense for one
SUMMER PIANO LESSONS GIVEN.
Claverack College
Address at her residence, year's study (38 weeks) need not exceed $300. CONSERVATORY OF MUSIC AND ART,
28S Newbury Street, Terms begin Sept. 17, Jan. 6, and April 7.
BosToN, MASS. If you are intending to study Music in any of its Claverack, Columbia County, N.Y.
IEDVVAIRID E-A-XTEE. FIEEETY - branches, send for catalogue to
CHAS. W. LANDON, - Musical Director.
CONCERT PIANIST AND LECTURER. F. B. RICE, Director,
OBERLIN, OHIO.
Lecture Recitals at Colleges and Conservatories a Specialty. Courses in Piano and Voice Culture, Organ, Violin, Cornet, Har
Address, 178 Tremont St., Boston, Mass. mony and Counterpoint.
Mr. Perry makes an Annual Western and Southern Tour, from Sept. Normal Course for Music Teachers. Weekly Lectures and Musicales.
10th to the holidays. Special Terms to parties on his direct
route desiring recitals at that time.
6CHOOL Of MUSIC, NEW DEPARTURE.
DE PAUW UNIVERSITY, GREENCASTLE, IND.
Instruction given in all Departments of Music. A Special and Original Course for Learning the Art of Teach
HUGH3+2+3;A.South
CLARKE, Mus.Doc,
+Sth Street,
Pupil, classical, Artist, Choral and Orchestral Concerts,
Solo, Duet, Trio, Quartette, Ensemble and
Oratorio Work.
img Music.
Recitals by distinguished artists during the year.
Individual lessons only. Daily use of the Technicon and Techni
PHILADELPHIA. FIVE courSES OF STUDY. phone. All practice under supervision.
Room, Board, Practice and Sheet Music at reasonable rates. Classes in Chorus Drill, Vocal Sight Reading, and
ISSUNS BY MAll | In Harmony, counterpoint For Circulars, apply to Tonic Sol-fa.
JAMES H. HOWE, DEAN, GREEN CASTLE, IND. Portrait and Figure Painting in Oil or Water Colors. Landscape,
and composition. fruit and flowers from nature. Modeling in Clay, Crayoning
--- -
For Circulars of other University Departments, apply to Pastelle and Charcoal Sketching, Architectural, Mechanical and
President, Alexander Martin, D.D., LL.P., College of Liberal Arts. Free-Hand Drawing, and Drawing in India Ink, are thoroughly
RICHARD GOERDELER, Rev. S. L. Bowman, A.M., s.T.D., Dean of School of Theology.
Hon. Alexander C. Downey, LL.D., Dean of School of Law.
developed by the most modern theories of teaching.
Director of Music at Pennington Seminary, Diplomas and Degrees Conferred.
Henry A. Mills, Dean of School of Art.
Samuel S. Parr, Normal School.
PENNINGTON, NEW JERSEY,
W*# new, brilliant and original Piano Music, for two and four
Thirty-Seventh Year Opens September 15th.
hands, on short notice. Refers to his compositions,
#' by The Oliver Ditson Co., Wm. A. Pond & Co., F. A. North
Co., Theo. Presser, and reproduced in
terms, apply as above.
Leipzig, Germany. For CHICAGO CONSERVATORY,
SAMUEL KAYZER, DIRECTOR.
SEND FOR ILLUSTRATED CATALOGUE.

A. H. FLACK, A.M., President,


MRS. MARY CRECORY MURRAY AUDITORIUM BUILDING, CHICAGO.
(PUPIL of willLAM MASON)
Instructs Teachers and Students in the MUSIC HOLUTION, DEISARIE, ETC. MTNNIVMI HRT
"MASON METHOD OF TOUCH AND TECHNIC,
Will also make engagements for Concerts or Piano Lectures with A special Summer Course for Pianoforte teachers Chickering Hall Building, Chicago.
'trative Recitals, adapted to general audiences or Musical Asso will be conducted by Messrs. CALVIN B. CADY and
ciations and Classes of Students.
Address, Care of THE ETUDE. FREDERIC GRANT GLEAsoN, July 7th to August 6th. All branches of Music, School of Lyric and Dramatic
Art; Normal Department for the training of
Courses by Mr. Cady: Teachers; Languages. Course of instruc
C. P. HOFFMANN, I. Practical Course of 20 Lessons to Children.
tion thorough and progressive.
II. 12 Lectures on Teaching.
DIRECTOR CONSERVATORY OF MUSIC, III. 10 Lectures on Material for Teaching. suMMER SEssioM, JULY 7th to AUGUST 8th.
OXFORD COLLECE, oxFORD, OHIO. IV. 10 Lessons in Analysis. FALL TERM BEGINs sepTEMBER 8th. -

M: lessons by Correspondence in Harmony, Counterpoint and Course by Mr. Gleason: Catalogue mailed free on application.
usical Form. Standard text-books. Plan pursued leads from es
tablished foundational principles to latest practice in composition. 20 Lessons in Harmony. J. J. HATTSTAEDT, Director.
~

T H E ETU D E.
Musical GAME
Portraits of Famous Composers
JUST PUBLISHED IN PH010-GRAWURE.
ALLEGRAN DO. Wm Knabe &R
BEETHovEN, MozART, CHOPIN and WA"*
Instruction and Pleasure Combined.
A SPLENID GAME FOR EVERY H0ME.
GRMNI, SUMER, all UPRIGHT
$1.00 ists of cards, on which the different notes and rests full
Size 112x16 in. (life size), on 22x28 paper, @........"
33%x4% in. (cabinet size), @........"-----
.35 ...' : After a number are distributed among Wall
the players, the cards are played in succession and added together *
(Printed on Japanese paper, mounted on beveled cardboard.) they are played until the value of a whole note is reached, when it it!
Int
R" R. A.M. E. D. whole note. This gives." general idea only. These Instruments have been before the Public for over
size 1Framed, 20x24, in 2-inch oak, with %-inch silver rules for a number of games, fifty years, and upon their excellence alone

keys, &c.,
accompany the the
an'Piano, Organ, Violin, or any other instru
- --

inside, @........................... $3 ment; those who sing; those who wish to read music faster; in fact, all have attained an
Size 2-Framed, 12x14, in 1%-inch oak, @ who are interested in music, need this charming game. UN PURCH ASED PRE - E M N EN CE,
BOXING CHARGED EXTRA. It teaches the value of notes and rests. Which establishes them as
The
The names
variousofkeys
the in
notes. - - -
which music is written.
The following are in preparation and will be issued in the order
named:BACH, HAENDFI, HAYDN, Liszt, MENDELssohn, MEYER
The different kinds of time.
Practice
The in musical
easiest fractions.
way to learn to read music.
UNEQUALED
BEER, SCHUBERT, SCHUMANN, WEBER and others.
You learn, while playing an interesting game.
It is readily learned, even by
children.
Subscriptions should be placed now. -

Time devoted to playing this game is not wasted, as in most games.


JELLINEK & JAGOBSOM, Publishers, Asplendid game for eveningunlike
A new departureentirely parties.
any other game.
13 East 17th Street, New York. parents can teach their children the rudiments of music, even if not
T.I., T.I., WWIII.ii), li lllllllll
For Sale by musicians themselves.
Interesting to old and young, beginners and advanced alike. Wvery Piano fully Warranted for 5 Years.
THE0. PRESSER, 1704 Chestnut St., Philada. Pa. Those intending to study music will find it to their advantage to play
this game a while before beginning lessons WM. KNABE & CO.,
PRIoE, 50 CENTS.
FOR BEGINNERS USE. Address Publisher,
22 & 24 E. Baltimore Street, BALTIMORE.
148 Fifth Ave., near 20th St., NEW YORK.
THEO. PRESSER,
W H ITN E Y'S 1704 Chestnut Street, Philadelphia, Pa. 817 Pennsylvania Ave., WASHINGTON, D.C.

RAPID METHOD THE ELEMENTS


FOR THE PIANOFORTE.
HARMONIC NOTATION. A CIRCULAR
PART I.
Containing 184 pages, large size. Its system of in
struction is easy, yet progressive, and music teachers
For Classes or Individuals.
BY
:
are rapidly adopting this NEW WORK. W I L L I A M B. VV A IT.
TO THE MUSICAL PROFESSION.
-

Price only $2.OO, postpaid. PRICE 50 CENTS.

as-SEND FOR A FULL DESCRIPTIVE CIRCULAR. A Preparation for the Study of Harmony.
Address Publisher, Profound, instructive and beautiful are
Address |
THEO. PRESSER, the attributes generally accorded the lectures of
THE W. W. WHITNEY CO., PHILADELPHIA, PA.
TOLEIDO, O. the late Karl Merz. With singular skill he
NEW, EASY AND PROGRESSIVE wrestled with musical philosophy, musical history
and musical aestheticism, and he understood it to
H. B. STEVENS & C0, |Meth0d for the Pianoforte, deeply move the musician and to enchant the
BY JULIUS E. MULLER. amateur. Wherever he lectured he inspired a
greater estimate for the musical art and higher
MSt Pll's 8 || || PRICE $1.00. sound IN BOARDS.
This is an entirely new work. The author i 8
-
respect for the musical profession.

He was often urged to issue his lectures in book


-

169 TREMONT ST., teacher, who is well known as the composer of


parlor piece Falling Leaves. In this work form, but he would invariably reply:
# :og and
s: : popular taste. The names of
Spindler appear
H OST ON, MA.S.S. has very few
r exercises. Addressthe oftenest.
nest. The book It is time enough when I am dead.
They may be published them to bene
THEO, PRESSER,
Agents for the Standard Cheap EditionsPeters, No. 17O4 Chestnut Street, Philadelphia. fit my wife, if she survives me.
This beautiful wish is to be carried out. Con
Augener, Cotta, Breitkopf & Hartel, Advice to Young Students of the Pianoforte,
BY ALBERT W. BORST. stantin Sternberg, the distinguished pianist, and B
Schlesinger, Etc.
PRICE, Io cts. Johannes Wolfram, the noted musician, will edit
We wish to call the attention of Directors of Some good advice for every one studying the piano. the lectures gratuitously, and Dr. Charles H.
Music in Schools and Seminaries, also of Music Merz, of Sandusky, O., the worthy son of the
Teachers in general, to our stock of Foreign and SOLICITORS WANTED late Karl Merz, has associated himself with his
father's special friend, Theodore Presser, in pub
American Music. We make a specialty of good To secure subscriptions for the Manual of Music. b -

: M. DERTHICK. This book, which is enjo', : lishing said lectures.


fingered editions, and when desired will send sale than any musical work of the price ever
offered to the public, is introduced exclusively by sub
selections of different grades for inspection. scription. Music teachers and musical people gladly Send your orders to
secure the largest possible
ereby rendering thei
an g their employment most pleasant
THEODORE PRESSER,
SpECIALATTENTION PAID TO MAIL ORDERS. We employ only those who possess the necessary in
address and general attainments to PHILADELPHIA, PA.,
them to fully maintain the high artistic and literary
ons :
at a ' toorsuch
liberal salary
correspondence. 7
we offer permanent
commission.
mission. We invite
*
or Dr. CHARLES H. MERZ,
TERMS LIBERAL. Catalogue sent free SANDUSKY, 0.
also Bulletin of New Music sent regularly MANUAL PUBLISHING COMPANY, Price of Book, Mailed,
to those sending their address. 415 Dearborn Street, CHICAGO, ILL. $1.5O.
THE ET U D E. 11.5
BERN. BOE KELMAN'S .
COMPOSITIONS.
Inauguration March. For four hands.........
** 44. For eight hands.
Romanza. For Violin or Violonceilo. Op. 2..
Ballabile. For Orchestra. Orchestra parts......
Score................
.75
1.50
1.00
JERUSALEM. A GRAND ORATORIO. -
TWO NEW BOOKS.

__ <)
_* --- - - -
For Piano. Op. 3....................
- . .75 ~~~~~------------------->s
Polonaise de Concert." For eight
i- * Piano hands................
Solo. Op. 4
44 ... 2.00
.90

Valse de la Reine, Op. 5. For Piano ...: .90


* Cheval. Morceau Caracteristic. 9p. 6...................
In der Einsamkeit. For String Orchestr
44 44 Single set parts....
**

Sehnsucht. For Piano Solo. Op. 3........


-

, .25
.25
.50
By HUGH A, CLARKE, Mus.Doc. Choice Classics,
-

2-
------------->
- - -

Address THEODORE PRESSER, Price $1.50, Bound in Boards. FOR PIANo. #


1704 Chestnut street, Philadelphia, Pa.
A judicious selection from the works of foreign authors
TEACHIEEs The libretto of this Oratorio is taken from the Bible, of the highest rank. A glance at the contents will be
and gives, in an epitomized form, the story of the taking sufficient for players of musical discrimination. Printed
of Zion by DavidThe prosperity of JerusalemThe from new engraved plates on finest quality music paper.
P0CKET METRONOME. defection of IsraelThe consequent destruction of the
city and the king's captivity. C O NTE NTS:
The theme now takes up the promise of restoration AIR DE BALLET............. *** * * * * * * * * * * * * * * * ... . . JADASSOHN
ALBUM LEAF....... ... GRUTZMACHER
under the reign of the promised king-His comingHis - BARGIEL
.SCHUBERT
rejection-The final desolation of the city-Concluding - - - - --- - SCHYTTE
with the promise of the Heavenly City and the descent .TSCHAIKOWSKY
....NIEMANN
of the New Jerusalem.
RK.
The Oratorio is to be produced in April by the Phila.
),0. Price, Nickel-plated, 50 Cents, Net, Postpaid. delphia Chorus, with a large chorus and orchestra, and
Giving the correct Metronomic Marks after the
has already excited widespread interest among musical ... Nf655:
people as the first work of such magnitude written and ....HABERBIER
Maelzel Standard, together with the produced in America. ..HABERBIER
True Tempos of all the Dances. HAPPINESS ENOUG
HERZENSLIEDCHEN.
LEICHTES SPIEL.........
These instruments have been especially manufactured THEODORE PRESSER, LIED OHNE WORTE... -

forTHE ETUDE, and will be sent as a premium to any one IQWE.SONG............................................ HENSELT
MELODIE... * * * * * * * * * * * * * * * * * * * * * * * * * * . . . . . . . MOSZKOWSKI
sending two subscribers. Address PUBLISHER, MELODIE.. .....VON HOLTEN
MENUETTO ......... SCHARWENKA
THE0, PRESSER, 1704 Chestnut St., Philad'a, Pa. 1704 CHESTNUT ST, PHILADELPHIA, PA. MOMENT MUSICAL.
MURMURING ZEPHYRS
...SCHARWENKA
NOCTURNE.............
We have just published NORWEGIAN SONG..
0N TEACHING AND TEACHING REFORM. ON THE RIVULET. ...
POLONAISE...........
TWO LECTURES BY

Albert R. Parsons and Constantin Sternberg.


PRACTICAL HARMONY,
DESIGNED FOR THE USE OF PIANO STUDENTS.
REPENTANCE..
ROMANCE......
ROMANCE......
BY
SERENADE...
SLUMBER SON
DR. F. L. RITTER. TRAUMEREI.
Price 25 cents, in Paper Cover. - -

VILLAGE MU NS
PRIOE 75 CENTs In PAPER. $1.00 IN BOARDs ZUR LAUTE...........
Address Publisher, THE0. PRESSER,
1704 Chestnut Street, Philadelphia, Pa. A work of the greatest importance to students of har. Price, in Boards, - - - $1.00
mony and the pianoforte. There is no other work of Price, in Cloth, - - - * I.50
IEEE this kind in our language, and we are sure that it will
occupy a distinguished place in our system of musical
education. It takes the pupil over the whole ground of

HENRY MIRR harmony. All the rules are covered in exercises of the
most varied kind, to be played at the pianoforte. It is a
good preparation for the art of composition and improvi.
sation, calculated to incite the student to musical pro Classic Duos,'
9

duction. The work will help greatly to facilitate the


PIANO S. """ THEO, PREssFR, young musician's difficult task regarding the thorough
tudy of harmony.

FOR PIANO AND VIOLIN.


PUBLISHER,
1704 Chestnut Street. (With extra Violin part in separate binding.)
HENRY F. WIFE & SONS Contains compositions by the best authors, and of
absolutely unequaled merit. They will be found equally
PIANO COMPANY., DACTYLION. acceptable for concert performances or drawing room
FOR PIANO STUDENTS. pastime. The separate violin part relieves both per
BOSTON. PHILADELPHIA. A new invention of great practical value and real benefit to the Piano formers of the discomfort of playing from one book.
Player.
Issued in the same careful and costly style as Choice
Classics.
CO NTE NTS :
Manufactory, Wakefield, Mass. ANDANTE AND MARCH...................... ....BEETHOVEN
ANGELS SERENADE...................................... BRAGA
AWE MARIA. GOUNOD
JUST OUT. CONFIDENCE ELSSOHN
GIPSEY DANCE ... ...ERNST
INTERMEZZO.. NDELSSOHN
THE SCRATCH CLUB,
*y HUGII A. CLARKE, Mus. Doe.,
MEDITATION..
MENUETT...
..FAUCONIER
.BOCCHERINI
MENUETT9...............................................GOUNOD
PROFESSOR OF MUSIC IN THE UNIVERSITY OF PENNSYLVANIA, MENUETTO.. MOZART
Author of The Art of Pianoforte Playing, Harmony on the Inductive
* * -
NIGHTSONG................................................. V
NOCTURNE MENDELSSOHN
Method, Music to "The 2 charians, "Jerusalem. PAVANE, L ...EICHBERG
(a new Oratorio), etc., cic. PIZZICATI (Sylv -

-
PRIERE, LA......
"It is a little book which will interest and please musicians and REVERIE.......
by its chatty common sense and suggestiveness. Evidently, ROMANCE.....

*# the work of a man who knows his art well enough to handle it
without 'Weening solemnity.Boston Literary World. ROMANZA...... -

"One of the clevrest' of writing concerning music that has || SERENADE................................................. TITT
To strengthen the fingers. SERENADE... ..SCHUBERT
''PP'red in America. . . . The book is fulf't entertainmen To improve, the touch. SERENADE............................................... HAYDEN
' Will expand the ideas of young readers and gratify those o
"er ones.Philadelphi. Evening Bulletin. To ensure flexibility and rapidity.
-

SERENATA... .MOSZKOWSKI
To give correct position of the hand. SPRING'S AWAKENING..................................... BACH
Price, in Paper Covers, 75 cents. To save time and a vast amount of labor. TRAUMERIE.. - - -- .SCHUMANN
**For sal PRICE $4.50, NET. h h
by the pub', #".
or sent, postpaid, on receipt of price, tof leading artists and teachers, among whom
Price,
44
in Cloth,
Boards, including
44
separate
is
Violin
44
part, $1.00
1.50
":: RIVE-KING, Roara. GoLD is *4

T BECK, CARLYLE PETERSILEA, etc., etc.


HE POET-LoRE co., Send for circular giving detailed information.
se

228 souTH 38th sr. PHILADELPHIA. Address THEODORE PRESSER. FOR SALE AT ALL MUSIC STORES.
116 T H E E TU D E.
INSTRUCTIVE, INTERESTING and MUSICAL.

Twenty STUDIES
Introduction to Studies in Phrasing.

FIRST LESSONS
NEMIN.
or the pure Mountain Breezes will soon invite your
presence. Make your leisure twice the pleasure,
FOR I-N" by taking along our entertaining Music.
(If you have no Guitar, Mandolin, Banjo, Flute or
THE PIANOFORTE, - -Ea-i Violin, call or send for lists of fine instruments at our branch
store. J. C. HAYNES & Co., 33 Court Street, Boston.)
---

OF MODERATE DIFFICULTY,
For Development of Style, Expression and
|| || || || || || SABBATH-DAY MUSIC. For Piano. 38 beautiful Melo
dies, finely arranged. Price $1.

2 of Miss Eleanor W. Everest's ALBUM OF SONCS.


Technique. yol.
first-class Songs by the best authors. Price $1.
INSCRIBED TO THE MUSIC TEACHERS OF AMERICA.
COL LECE SONCS. New, enlarged edition. 82 jolly Songs.
EY
W. S. B. MATHEWS. 200,000 sold. Price 50 cents.

O LD FAMILIAR BANSES: cents.


For the Piano. 100 of them.
ANTON STRELEZKI, PRICE $1.5O. Easy, and as merry as they can be.
In Op. 100.Volume II. FOR MUSIC FESTIVALS.
THE ATLAS. By Carl Zerrahn. 29 splendid Choruses, Sacred
The author has brought together a valuable and Secular. Most of them quite new. $1.
THEODORE PRESSER, -

collection of little pieces, musical and poetic in CHOICE SACRED SOLOS, 34 fine songs.....................
1704 Chestnut St., Philadelphia, Pa.
quality, within the ability of children's fingers CHOICE SACRED SOLOS, for Low Voice, 40 songs.
SONG CLASSICS, Soprano and Tenor, 50 songs...
A MEW BOOK OM A NEW PLA/M. and within the range of the childrens minds. SONG CLASSICS, Low Voice, 47 songs.............

-
They are taken from the most successful col CLASSIC BARITONE AND BASS SONGS
CLASS1C TENOR SONGS, 36 songs.........................
=*@@as--- -0.
lections of this class of tone poems for children CHOICE VOCAL DUETS, the very best...................
the world can show. EVEREST'S ALBUM OF SONGS, good selections..
MAUD V. WHITE'S ALBUM, tasteful songs................
There are, in all, 34 distinct pieces: among SULLIVAN'S VOCAL ALBUM, a master's work..........

M|S| M|S|S. them will be found

Melodie............................... Schumann.
POPULAR SONG COLLECTION, 37 good songs
GOOD OLD SONGS we used to sing, 115 songs....
COLLEGE SONGS, 115,000 sold...................................
COLLEGE SONGS FOR BANJO; FOR GUITAR, each.
Slumber Song........................... Gurlitt. RHYMES AND TU NES. Osgood. Sweet home music..........
3' Three Angles......................... Reinecke. INSTRUMENTAL.
By W. F. GATES. Happy Farmer..................... Schumann. PlaNO CLASSICS, Vol. 1, 44 pieces..............
PIANO CLASSICs, Vol. 2, 31 pieces.
Price One Dollar and Fifty Cents. Holiday Eve.......................Baumfelder. CLASSICAL P1ANIST, 42 pieces.............
Ghost Story........................... Reinhold. PoPULAR PIA No coll-EcTION, 27 pieces.
USICAL MOSAICS is a unique book. It is the first book in POPULAR DANCE MUSIC COLLECTION.
Jovial Huntsman....................... Merkel.
the English language that presents the very best sayings on YOUNG PEOPLE's CLASSICs, 52 easy pieces.
musical topics, chosen from the highest rank of authors. Study-Game of Tag.................... Heller. The above are all superior books.
The selections are principally in the line of aesthetics and criticisms, -

and range from one line to three pages. Much time and labor has Good Night........................ Loeschhorn. - -

been spent on the work, and the book-maker has shown much skill A Little Story.............. - Kullak. EMERSON'S NEW RESPONSES.
in its general make-up. The idea, in its preparation, was to present Quartet and Church Choirs; 74 short pieces of sacred music of the
to the music-loving public just as much of the cream of musical WITH PIECES BY best character, such as your choir needs.
writings as could be condensed into 300 pages. All useless or value
less matter has been omitted, and as a result we have a volume con
taining the best sayings and writings of the writers on musical
MENDELSSOHN,
BEETHoveN,
SPINDLER,
LICH NER,
THE TEMPERANCE CRUSADE. :
L. O. Emerson and Edwin Moore. Earnest, refined, elevated poetry
35 cts, $3.60

topics, in all ages and countries. which will be most welcome to the best classes of
FOERSTER, GAYRHOS, and music, workers.
temperance
ETC.
17O AUTHORS. SONG HARMONY. 60 cts., $6 doz.), by L. O. Emerson.
ust exactly the book that will suit
The pieces are all closely annotated, fingered, ou for this winter's Singing Classes. Also an appropriate and good
600 QUOTATIONS. etc. There is also, at the beginning of the work,
k for High Schools.
We give below a few of the names of writers from whose works Adopt, without fear, for Graded Schools, our
selection has been made, and the number of quotations from them: a few chapters on the object and manner of SONG MANUAL.
cts, $4.20 doz.; or Book 3, 50 cts., $4.80
Beethoven, 18. Christiani, 15. using the work; Rudiments of Musical Form; doz.) . Admirably adapted to the different ages of school life, with
plain instructions and best of music. -

Fillmore, 21. Goethe, 11. Phrasing; What it is to Play with Expression;


Hauptmann, 7. Haweis, 12.
iller, 11. Kullak, 12. Subjective and Objective in playing, etc. CLASSIC FOUR-HAND Col. L'EcTION ($1), Nine
teen superior Duets for Piano, by Godard, Bohm, Hofmann, Brahms,
Liszt, 12. Mendelssohn, 10. and other first-class composers.
Schumann, 60. Wagner, 16. The work is intended to precede the two vol
Weber, 8. Pauer, 5. umes of Studies in Phrasing, which are among YOUNC PLAYERS'
POPULAR COLLECTION
$1.00). 51 of the very best and
# pieces begin
Thibaut, 6. Wan Cleve, 7. the most popular musical text-books now used ners, filling 143 pages. Heartily commended to Piano Teachers as
Space will allow us to mention but sixteen of the one hundred the first book of pieces (or recreations) to use.
and seventy authors.
This is a book for musician and non-musician, for professional
in the country. As a work of genuine useful
and amateur, for teacher and pupil, for all who know or who wish to nes in teaching, the volume cannot be excelled. WHLTNE Y's
A BUM by 20 i
ORCAN AL
($2). 33 good pieces for Manual and Pedal,
composers.
know anything of music in its highest sphere. It has been warml
indorsed by teachers and artists in this country and England
will fill a place in our libraries and on our tables that has hereto.
We will, for a limited time, offer the work at OPERATIC - s . 19 of the best operas are rep
fore been vacant. reduced rates. PIANO COLLECTION and their form
skis
Every teacher-every studentshould own MUSICAL MO -

the themes for as many pieces, by the best modern composers, fur
As a presentation volume it cannot be excelled. nishing the very best entertainment for the lovers of favorite
Address all orders to t operatic airs.

CHOICESACRED solos. For soprano, Mezzo-soprano


THEODORE PRESSER, our sPEcIAL of FER. or, Tenor: ($1.) 35 of the most lovely sacred songs, suitable for
solos in church, or for enjoyment at home.
50 cents will procure a co
y,
17O4 Chestnut St., Philadelphia, Pa. when d' if cash :
Panies the order. The best Companion for an Instruction Book is MAsoN'S
4 PIANoFoRTE'TEcHNics, containing every exercise needed
EDWARD BAXTER PERRY'S -

for the full development of technical ability on the pianoforte. By


FANTASY FoR PIANo, | William Mason, with explanations by W. S. B. Mathews. Price
- DIE, LOEET ET Address publisher, Amy Book Mailed for Retail Price.
BASED UPON THE RHINE LEGEND.

Universally pronounced the best Lorelei yet written, in the old or


new world.
Melodious and descriptive; excellent study for the left hand.
THEODORE PRESSER, 0LIVER DITSON COMPANY,
Played in 100 concerts the country, by the composer
and Mr. W. H. Sherwood, since its publication, 1st, 1888. 17 O4 Chestnut Street, EOSTOINT.
Address THE0. PRESSER, 1704 Chestnut St., Philadelphia, Pa. C. H. DITSON & Co., LY0N & HEALY, J. E. DITSON & C0.,
PHILADELPHIA, Pa. 867 Broadway, New York. Chicago. 1228 Chestnut St., Phila.
T H E ET U D E. - -

*::=THE:=#

VIRGIL "PRACTICE: CLAVIER


Establishes a New and SUPERIOR System.
From Dr. Hans von Bitlow. # AN ARTISTIC TECHNIC
in the study of the PANo.
. From inter. Ross Parsons

secured more quickly by its use than by any other


means. Indorsed and in daily use by the greatest
MC. ** "Is T's 11 wo TE: GA Ents.
*
|
|
[the

* W -
|
-: . y
#|
* * ^
-#.
-:
''
| %
|
|
# I announce you a benefactor of humanity, - For all purposes of silent practice in point
-*. * your instrument would disinfect the atmos - of true piano-forte touch and unerring tests of
.# phere of unnecessary piano thumping plague. ==::= * technique, the Practice clavier commands tny
. Approved and highly recommended by - A SILEN'T PIANO. exclusive preference.

*: C-7
... 23. - .
|
A Saves
meansone-half
of GREATin EconoMy to learners
time and money. and
Brings players:
-
relief Very truly yours, -

New York, April 9, 1889.


2-23. # to over-taxed nerves. For every
ARTIST TEACHER, PUP/l, SH001 and #0ME #
-2&_x. 62. & ...

The Virgil Eractice Clavier Co.,


- 12 EAST SEVENTEENTH ST., NEW YORK.

|
THE NEW METHOD
for gaining the necessary technical ability for

MODERN+PIANO+PLAYING.
The inadequate results from technical
ercises at the piano is well known to
piano players, and forms the great barrier
to a proper advancement in piano play
1ng.
Science, having investigated this sub
ject, has discovered and can explain the
reasons of such uneconomical results, and
can now supply at a cheap cost, a better
*-THE-
and enlarging
and more direct
theprocess fordexterity
technical developing
of
S * the hand. -

TUDENT S TECHNICON,
-

It is now used by eminent pianists in


| FEECE sie. their teaching
ise, and and of
hundreds forteachers
their own personal
testify that
it is invaluable to both themselves and
A. '. Hew method-
play: - their pupils.
marks a most "Portant reform in technical teaching, all piano
- -

ould make themselves acquainted with its principles, by reading a


Treatise "pon Technic, and the New Scientific Method for 0uicker Attain

ment of Artistic Expression in Piano Playing.

$ENT FREE ON APPLICATION To - E: ==%


J. BROTHERHOOD, THE TEACHER'S TECHNICON.
ERICE S22.5o- |

No. 6 West 14th St, New York. DISCOUNT TO TEACHERS,


-

. -

T
-- E E TU D E. - - -

Es:-A->~~s==> -eve.
Two GREAT MUSICAL works
AT REDUCED PRICEs.
|SWII MRI. SIHR, W E R NER'S VOICE.
A Monthly Magazine Devoted to the Human voice in all its phases.

||||||| TALKS ABOUT MUS/0 A Practical Guide for the Restoring, the culti

" A/D MUS/0 L/FE.


vating and the Preserving of the voice.
** singes and swear reacher of singing about: Eave ir
Werner's Voice for 1890 will be Better and Brighter
more Complete and more Practical, Larger in Size and

CLASSICAL MUSIC
N0 MORE APPROPRIATE PRESENT FOR A MUSICAL
THOMAS TAPPER.
B Larger in Circulation, with increased Capital and
Enlarged
sis scope, and
and Criticism. with Greater Attention to Anai.

$1.50 A YEAR: 20 CTS, A NUMBER,


-

FRIEND CAN BE FOUND.


PRICE, BOUND IN CLOTH, $1.5O.
Mention. The Erupe, and send for Full Prospectus and Sample copy
Address the Editor and Proprietor,
Price reduced from $5.50 to $2.50 per Vol., This volume appeals to every student of music, how
POSTPAID. ever elementary or advanced. It is designed to bring to EDGAR S. WERNER.
the attention of those who make music a life-work, the No. 28 W. 23D STREET, NEW YORK.
very many contingent topics that should be considered in
connection with music. To this end the subjects selected Twenty Lessons to a Beginner
INSTRUMENTAL. for the chats have a practical value, cover considerable
A collection of Classical Pianoforte Music, by the best ground, and are treated from the point of view that best *pon the Pianoforte.
authors. This volume contains 512 pages, Sheet Music aids the student. The reader is taken into confidence
By Mr. W. S. B. MATHEWS.
size, printed on fine music paper from engraved plates; and finds in the chapters of this work many hints and
elegantly bound in cloth, embossed in gilt. List of con benefits that pertain to his own daily life as a musician.
tents mailed to any address. A giance at the divisions of the work as to Parts and This work is perhaps the most novel of any of the
- Chapters will give one an idea of its scope and prac. of this very successful writer. The general
ine of it was foreshadowed in his article upon Ele.
vocal
ticability.
study.
PART I. mentary Instruction Books, in the December issue of
THE ETUDE. It combines the following peculiarities:
|
Chapter 1.-Motive of Study. 1. EAR TRAINING:-From the very first lesson there
This volume is the same size and style as the Instru | 2Where shall I Study?
mental collection, but contains Vocal Music only. List * 3What shall I Study? are exercises calculated to awaken and educate the per
4-Method of Study. ceptions of pitch and time relations, of which music as
of contents mailed to any address. No such collection
of vocal music has ever before been published.
5What shall be mySide Study?
PART II.
Ethics of Musical Education.
to its form, is composed. The relation of tones to key,
chord relations and time are taken up in their simple:
forms, and gradually developed to the complexity suit.
|
Chapter 6Work and Culture.
*

7Sketching.
8,-Taste.
able to pleasing pieces of the easiest kind, such alone as
the first quarter can contain, it is believed that the
||
method of doing this part of the work will be found not -

Popular 500. Music Books.


*
9.-Expression.
10.-Criticism. only practicable if carried out according to the directions,
but also explained with such clearness and particularity
PART III. - -

One of the best collections of English and Time and Its Use. as to enable the young teacher to apply the system with:
Song Bouquet. American ballads and songs with choruses.
Chapter 11-Time and its Power.
-
out other help than the book itself
-
Cheapestfolio of music published. 224 pages, full sheet music size.
| 12-Disposition of Time for Study and Practice.
13.-Corner Moments.
2. TECHNIC AND TOUCH.-The foundation of
Parlor Companion tomusic
Bouquet. instrumental "SongofBouquet. Contains
different grades of
|-

- 14-Striving. '' technic is laid according to the ideas of Dr.


difficulty. Great favorite. 224 pages, full sheet music size. PART IV.
ason's system, which not only develops the finger
ability more rapidly, by far, than any other system, but
Song Diamonds. Vocal music of every
pleaseeverybody. description. Sure
Containsselections to
from Teaching. also assists in educating certain parts of what might be
-- such authors as Gounod, Molloy, Aide, Claribal, Dolores, etc. Chapter 15.-Preparation for Teaching. called the Mental Technic of thinking music, upon
- 16-What Teaching Means.
17-Taking Lessons, which so much depends through the later course of musi
Prima Donna Album.
- New and elegant
composers songs
of modern by the
times. best
Should - 18-Giving Lessons. cal study. The exercises in arpeggios and scales
grace the library of every singer in the land. PART V.
are so valuable in this direction that it would be wise
Adapted Surroundings.
to use them for practice if they had no value at all as
Album of Sacred Music. choir or for
homeusecircle.
in the church
Finest Chapter 19.-Society and Solitude. mechanical developers of finger power and facility, for
collection of music published for young organists and choir leaders. \ 20.Friends and Friendship. there is no other method in which this work can be done
21.-Home Studies, so easily. -

-
Musical Chatterbox.
Nos.1 and 2. These beautiful books
are, without '' the ": ' -


22.-Music in the Home.
23-High Culture from Low Surroundings.
The to a Beginner show the manner in which
collections of medium and easy grade songs and pieces. Each boo these exercises should be applied in the beginning of the
-
eight beautiful illustrations, which will delight the young PART VI. course, and in this respect cover new ground.
folks,
Books and Reading. 3. DICTATION AND MEMORIZING--All the
A collection of instrumental music, brilliant Chapter 24,-Use of Books and Books worth owning.
Golden Hours.
| |
Classic Bouquet.
-
and attractive, and within the capacity of
pianists of moderate ability. It issure to please you.
We cannottotoo
earnestly
young recommend
pianists it
and students.
-

-
25.Note-Book and Journal.
26.-General Musical Literature,
27.Periodicals and How to Read Them.
PART VII.
amusements in the first ten lessons are to be dictated to
the pupil and written down from ear, and in no single
instance learned from the notes. This method of pro
cedure takes rather more time, but it results in develop.
No such collection has ever before been offered at such a low price. Short Tallis on Morals. ing a manner of playing which is purely musical in its
Reed Organ Folio. - Great care as
such pieces hascome
beenwithin
taken the
to use only
compass Chapter 28Character and Character Building. essence, and as such closely related to all the later
* 29.Little Things, growth of the pupil's musical powers. In this respect
ofa five-octavo organ. Should be on every parlor organ in the land. * 30,-Life and Life-work.
31.Thought, Davy and Example. the present work marks a wide departure from the mus.
Parlor Dance Folio. Will be hailed with delight byprivate cular concepts and mechanical concepts which too often
dance parties. Contains a choice col PART VIII. constitute the entire mental basis of elementary playing,
lection of the latest dances, also the German, quadrille calls, etc. Health and Earning. and, in fact, often vitiate the work of those who arrogate
Chapter32.How many Hours make a Day? to themselves the name of artists. -

One of the finest collections of instru


Piano Treasure8.
-
mental music by the best writers of * 33.-Overwork and Rest.
Another curious feature of the work, concerning the
34Earning.
Europe and America, that has ever been issued in this country. - 35Thrift. value of which very likely there will be differences 0
Such authors as Tours,
Abt, Sullivan, 36-Poverty, and what has come from it. opinion, is the gradual introduction of the staff, or
Song Treasures. Burnay, Hatton, etc., arePinsuti
repre: rather the method of preceding it with various simp"
PART IX.
sented in its pages, and the best and most popular songs only have Driftwood. notations, of atomic solfa patterm, the full staff coming
bsen used. only at the twelfth or thirteenth lesson, and then * *
Chapter37.-Concert-going, in many lights.
Grand Army War Lo :
assung by our "Boys in Blue;" - 38-Golden Mediocrity.
33-Classical and Popular Music.
gradual evolution from the simpler forms
What Mr. Mathews has undertaken to do in this
k
oration Day and other special occasions. e choruses have
* 40-Going Abroad.
# ' male voices, by Wilson G. Smith. 41-Thoughts. is, first, to give the pupil a start toward musical pl":
Anyof the above books mailed, postpaid, on receipt of price. to introduce the notation in the true #
ing;
namely, as the means of expressing concepts. "" to
MUSIC AND B00K CATAL06 UES MAILED FREE. SPECIAL OF FER. the pupil already has within himself; and third. I.
develop a musical touch, and lay a foundation "'
The work when published will be mailed to all those which the highest grades of artistic playing "
who now send cash in advance, for 50 cents. afterwards be founded without undoing anything. but
The work is distinctly original and . y
||| 9 ||NA|'' (), Address publisher,
THE0, PRESSER,
there is no single element in it not tested and prove
":HEOIDOR.E. PRESS.E.R.
145 and 147 Wabash Avenue, Chicago. 1704 Chestnut Street, Philadelphia. |Zoa chestnut St. Phila, Pa.
-

&
-

-->
in
-
_r
- -
-
~~~
-
).

3O SGLECTED STUDI6:S STTU IDIES


FROM OPUS 45, 46 and 47.

STEPHEN HELLER.
REVISED BY
MELODY PLAYING.
FOR JUNIOR PUPIM.S.
BY

ALBERT R. PARSONS, CALVIN B. CADY, HAMILTON C. MACDOUGALI


ARTHUR FOOTE,
E. BAXTER PERRY., JOHN S. WAN CLEWF, EEICE, SL-25
Ch.A.S. W. LAN 00N and THEO. PRESSER.
Aff fou looking for somfihing WW2
- * 's \ % Something out of the beaten track? Are you tired of
FIRICE SI-5 C. using the same tudes, year after year? If so, the pub
|-
-
#. &= # # *
- ~~ 2:4 lisher takes pleasure in calling your attention to Studies
Melody Playing, They fill a gap that has not been
in
It is the aim of the editors and the publisher to make occupied before. Every teacher has felt the need of more
CONTENTS = This work everything that can be desired for educational interesting work for his younger pupils. We are indebted
purposes. Each editor has been assigned a special work, to Heller, Burgmuller, Reinecke, Lw, Lange, Tschaik
: : E.
Z/Z-.
%. ,
%
#%:
-
\%
-
\
~ thus Mr. Arthur Foote has undertaken the revision of
owsky, Scharwenka and others for much that is interest
ing and useful in this direction. The only trouble has
PAGE the pedal'narks, which, by the way, received in the origi been the lack of that gradation, fingering and editing
Musical Items. Mrs. Helen D. Trebar.......... 117
Random Notes. E. E. *... . . . . . . . . . . . . . . . . 118
mal studies very little attention. The following sign has which is necessary to fit them for the use of the teacher
Notes to Pupils.............................. ! 18 been adopted for the pedals, which indicates To meet this want Studies in Melody Playing has been
What Shall We Play. Etern Barter Perry... its the time the foot is placed on the pedal. compiled. It contains studies, from the best authors
Worth Repeating.............................. 11"
Letters to Teachers. W. S. B. Mathers........ 120 Mr. A. R. Parsons has revised the Phrasing, which has adapted especially to the wants of teachers. Pupils who
Musical Thinking and Doing irree p. vii. have had from three to six months lessons may use these
" ............ ......................... 120
been in many cases altered in accordance with the more studies.

Questions and Answers ....................... 121 recent ideas of interpretation.


Genius (Concluded). Karl Mars........... ... 122
C. B. Cady will attend to the fingering, metronome Do you find Difficulty in Interesting
Editorial Notes................................. 122
marks, details of shading, cle. The rest of the editors
your Young Pupils?
Publisher's Notes.............................. 12:
The publisher recommends you to try Studies in Melod
A Lesson on La Scintiliata, composed by have done the work of annotating, which will include a de Plaving, for the reason that they have been compiled by
Louis A. Gaertner. C. s. IV. Landon..... 121
Music Teaching its John Croin.......... 125 scription of the character and the assignment of a name ateaching.
teacher to, meet precisely that difficulty in his own
The studies are all melodious and will interest
What Pupils Ought Not to Do, Karl Mars ... 5
to each study. your pupils so much that the name study," will have no
MUSIC. The whole set will be closely graded, and will be made more terrors for them than for you.
The collection comprises four preparatory studies by
a model of musical typography. the compiler, and fourteen more by Reinecke, Lw, Lange,
Tschaikowsky, Gurlitt, etc., etc., carefully graded, fingered
* Scintiilata, Gaertner...................... .75
and annotated.
Electric Flash Galop. Gordeter............ 35

SPECIAL OFFER.
I'-Special Offer. '
To those sending cash in advance of publi :TTTTT any Teachertowhoany sub
will send
cation, will mail the work when ready for us 40 cents in advance of publication. No
cognized unless cash accompanies the same.
orders re
40 cents, Address publisher,
ADDRESS PUBLISHER,
THEODORE PRESSER,
THEO. PRESSER. 1704 Chestnut St., Philadelphia, Pa.
TMMT: --~
THE ETUDE.
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:
*:::A;
WOL. VIII. NO. 8.
PHILADELPHIA, PA, AUGUST, 1890.
THE ETUDE. NEw York CITY will be in the possession of many MME. MALTEN sang the part of Venus in Tann
choral societies next winter, among which will be the hauser for the first time, at Dresden, and created a sen
New York Chorus Society, formed under Theodore SallOn.
PHILADELPHIA, PA., AUGUST, 1890. Thomas' direction, now conducted by Mr. Mortimer
Wiske. THE Sngerbund Festival to be held at Vienna in
A Monthly Publication for the Teachers and Students of MADison Square Garden, New York, the scene of the August, will gather together 900 singing societies, num
Music. Strauss concerts until about the middle of September, bering 12,000 singers.
SUBscRIPTIon RAres, $1.50 PER YEAR (payable in advance).
Single Copy, 15 cents.
has obtained its license as a garden caf and restaurant. LRoNCE MESNARD, a French musical critic and the
IS A first-class American orchestra and vocalists will suc author of an interesting essay on Robert Schumann, died
The courts have decided that all subscribers to newspapers are held ceed the Strauss orchcstra. recently at Grenoble, aged sixty-four.
responsible until arrearages are paid and their papers are ordered to be
discontinued. THE annual concert of the Milton College, Milton, ERNEST REYER, the composer of Salarombo, has
THEODORE PRESSER, Wis., was given on June 25th. Rev. J. H. Wallfisch written a new musico-dramatic work, entitled Om
1704 Chestnut Street. PHILADELPHIA, PA.
a composer and pianist, who has been made a Doctor phela, and Edward Lalo's new opera is called The
O JOHN S. VAN CLEVE,
W. S. B. MATHEWS, EDITOR8 of Music by the College, took part in the concert, ren Sorceress.

JOHN C. FILLMORE, E. E. AYRES


dering several of his own compositions. LEoPolo GoDowsky, who appeared in New York a
MBs. HELEN. D. TRETBAR.
MR. HERBERT Johnson, tenor, is engaged to sing in few years ago, has now become Saint Saen's pupil, and
Managing Editor, THEODORE PRESSER. Elijah, Israel in Egypt, and one afternoon con gave a successful recital at Steinway Hall, London, Eng.,
(Entered at Philadelphia Post Office as Second-class Matter.) cert, at the Worcester, Mass., Musical Festival, to be held not long ago.
September 23d to 27th. Mr. Johnson will make his first MARSCHNER's opera, The Vampyre, and Mme.
} appearance in New York city next winter. Ingeborg von Bronsart's opera, Hiarne, are to be
The management of the journal during the absence CARL Wolfsohn, of Chicago, the pianist, is devoting the repertory of the Berlin opera next fall.
of Mr. Presser on his European trip, will be placed in his energies to the formation of a permanent orchestra Also the Ring des Nibelungen.
the hands of Charles W. Landon. He has been a regu in that city. He has opened a subscription list for this It is said that Mme. Materna contemplates retiring
purpose with the sum of $1000, and is visiting Europe
lar contributor to THE ETUDE for a number of years. with the intention of collecting the orchestral members from the operatic stage at the end of this year, with only
an occasional appearance in such Wagnerian rles that
He will have exclusive control of the journal for the as well as of finding a thorough conductor. others are unable or unwilling to fill.
months of July, August and September. The regular THE State Normal School, Clarion, Pa., held its third
editors will continue their work in the same manner. annual commencement, at which the musical selections Two recently discovered sacred compositions by Franz
Schubert have been performed at the Eisenach general
The contributors and correspondents will, we hope, con were performed by Prof. A. L. Manchester, musical artists' convention. They are a Tantum Ergo and
tinue to send during the summer months matter for director, Miss Alice Manchester, the Normal choir an Offertory, for chorus and orchestra.
in and Normal orchestra. At the second annual concert
-

the journal. the School was also assisted by Mr. R. H. Zundel, WEBER's statue, in his native city, Eutin, was solemnly
Mr. Landon's work will be that which has heretofore organist. The choir numbers 250 voices. unveiled on July 1st. His mass in E flat performed in
been done personally by Mr. Presser, viz., the revising MR. GEO. H. WILsoN, the musical critic of the Boston to the morning, and a festival concert, devoted exclusively
: and accepting of manuscripts for the journal. Traveler, has just issued his Musical Year Book of the
his works in the evening, marked the day.
--~ ~~
United States. It offers a summary of all the more
~~~
MME. ALBANI, with Mme. Patey and the tenor Lloyd,
important performances and new compositions in this sang in Mendelssohns St. Paul, at the Crystal
MUSICAL ITEMS, country and Canada. Also, the more important Ameri: Palace, London. There was a chorus and orchestra of
can works brought out in Europe during the year, thus 300, and a special chorus of 500 boys, all under Mr.
commending itself to all persons interested in the pro Mann's direction.
(All matter intended for this Department should be addressed to gress of musical affairs. BACH's St. Matthew" Passion Music, and Handel's
* HELEN. D. TRETBAR, Box 2926, New York City.]
ONTI-ORA, Gustav Hinrichs' new opera, was given Maccabeus are comparative novelties to a Paris
HOME. in Philadelphia, for the first time, on July 28th. The audience, and will both be given by the newly-founded
MR, AND MRs. WALTER DAMRosch will sail from music proved extremely attractive throughout, the society, Grandes Auditions de France, in Paris, at
England for America August 1st. orchestral work being excellent, and the concerted their next performances.
numbers very effective. Mr. Gustav Hinrichs will con
Ms. CossTANTINE STERNBERG will settle in Philadel duct opera, in English, at Hammerstem's Opera House, At the last Henschel concert in London, on July 14th,
phia and open a new conservatory. in Harlem, next winter, the season opening the second Mr. Edward Lloyd sang Lohengrin's Farewell to the
week of October. Weber's Silvana, Bizet's The Swan"; Mr. Max Henrich took part in the selection
M' Victor HERBERT is the assistant conductor with
* Seidl, at Brighton Beach, this season.
Pearl Fishers, and Thomas Caide, are in the re from the Meistersinger, and the Beethoven Ninth
pertory. Symphony closed the season.
The annual examination of the National Conservatory, FoREIGN.
THE Emperor of Germany has presented to the Bee
ew York, will take place September 25th. MME. LEHMANN will sing at the Berlin opera next thoven House, at Bonn, the four ear trumpets made by
winter.
D: CARL FAELTEN, the pianist, has been appointed Maelzel for the master in 1814. They still bear the
*ctor of the New England Conservatory of Music. LITTLE Otto HEGNER will make his first appearance silk ribbon used by Beethoven to fasten them with. The
AGNES HUNTINGros, with her English company, will at Berlin in October. Emperor has also donated to the Dresden Conservatory
of Music a copy of the compositions of Frederick the
"P" an American season of Paul Jones, at the Tre VERDIs Ottello has been performed in a Swedish Great. '' one hundred copies of these works have
"nt Theatre, Boston, on September 20th. version at Stockholm. been printed.
**. Thomas inaugurated his tenth annual MME. HELEN. HoPEKIRK has been playing at a Richter HERR PAUL GoFPFERT, a well known German com
'*on of midsummernigh
xpositi Buildi
ts concerts, at the Chicago concert, London, England. poser, and one of Liszt's pupils, has just completed an
weeks. on Building, on July 7th. It will last five -

RUBINstEIN is engaged in the composition of a new opera entitled Sarastro, to be produced at Mozart's
T MME. CAP:IAN's essay on Bad Pronunciation and grand opera: The
t centenary commemoration next year. This work is a
continuation of the subject of Magic Flute Goethe
of the Voice, read before the N. Y. S. M. T. MME, MALLINGER has accepted the post of chief vocal once wrote a libretto to a second part of Die Zauber
*ation Saratoga, is a most interesting one, be teacher at the Prague Conservatory. flte, and it was set to music by Peter von Winter, but
:* ofat great practical value. It should be read Robeat FRANz, the song composer, celebrated his
seventy-fifth birthday anniversary not long ago.
did not achieve a success. It remains to be seen whether
the Lisztian school will accomplish a better result.
118 T EI E E T U D E.
RANDOM NOTES. wife? But fortunately for the editor the conversation WHAT SHALL WE PLAY 7
occurred in New England. In the midst of the ensuing PART I.
WACATION TIME! But the journalist never sees it. merriment a lady friend, who was about to purchase a
From month to month, from year to year, he goes on new piano asked: What piano manufacturer does he BY EDWARD BAXTER PERRY.
forever. Whether he is in a musical mood or not he represent? Others proposed such trivial subjects as
must say something about music if he is fortunate enough self-conceit, jealousy, and Lager Beer, none ALLow me to establish, as my first seemingly self.
to be a correspondent of a journal of music. The music of which had any bearing on the main proposition. evident proposition, that we shall play what we can.
teacher has gone to the seashore (or the summer school), CoNCLUsion.The conclusion of the whole matter is In the consideration of most important questions, the
and the concert halls have been closed all these summer this: College people, church people, and other aristo element of possibility is necessarily assumed to be an
weeks. Piano students are playing overtures to Poet and crats are not capable of appreciating a musician when indispensable condition, upon which to base a decision.
Peasant, and organists have moved down stairs, where they see him. They judge everything by the purely in. Who would be irrational enough to suggest, as the solu
they can more appropriately play the Gospel Hymns. tellectual or moral side, and do not comprehend the un tion of any practical problem, a plan which all could see
Drowsily linger the summer days, while everybody is told dignity of the nicest training of the digital muscles at a glance to be utterly impracticable. What mother,
having a rest, save the poor literary hack, who alone and artistic excellence. Let them go. We have suc however brainless and incompetent, however harassed
in the world must have his beef steak in August as well ceeded in getting on without them-we can continue to and distracted by fretful children, with the old, never.
as October. Since he must write, he must also think, thrive in spite of them. Only let us have their patron answered question of childhood, what shall we play?
and here are some of his summer meditations: age, and we care little for their opinions. would think of proposing jumping to the moon as a
THE OMNIscient MUsiCIAN.Whenever one gets into There are people who have confidence in the profes. feasible pastime? Yet in musical study this leap to the
a cynical mood, if he is slightly acquainted with the sion, or, if that is putting the matter strongly, they have lunar orb is being calmly advised every day, on all sides
affairs of this world, he is likely to turn his thoughts to implicit confidence in certain members of the profession. of us, not merely by incompetent country bunglers in
the musical profession. No equal number of human There are many such. They believe everything their the profession of musical pedagogy, but by many pre
beings offer such an enticing subject for the considera favorite prof-ssor says, every anecdote he relates, sumably well-trained teachers, of good standing in our
tion of the evil-minded. It makes conscientious people and every statement he makes about music and musi large centres, who should, but apparently do not, know
a little uncomfortable to find themselves very unchari. cians. Their professors have performed wonderful better; and hundreds of ignorant but aspiring novices
table toward the members of any other profession; but feats and achieved remarkable success. They have are constantly attempting it, complacently or desperately,
they feel as if it were impossible to be too severe in genius of a high order and are in every way inter. according to temperament; only saved from despair at
judging musicians. If there is any real ground for such esting. These real friends of the profession are a great their ignominious failure, by their inability to realize its
severity of judgment the profession is in a bad way, not credit to musicians, for they are mostly ladies. And completeness. Like the Irishman's turtle, that ought
to say contemptible; if the critics are unjust, then it ladies, of course, have the true artistic instinct. to be dead intirely, sure, but wasnt sensible of it.
behooves us to set the self constituted judges right. E. E. AYREs. I maintain that three-fourths of all the piano music
One thing is certain; these critics are making them. played, or rather attempted, in this country to-day, by *

selves exceedingly disagreeable. Either the musical [For THE ETUDE.] amateurs, and by many professionals as well, is far too
profession is very contemptible, or there is a great and NOTES TO PUPILS, difficult. I do not mean intrinsically so, of course, but
growing disposition among cultured people to lie about us. MUSIC AS AN EMOTIONAL EXPRESSION.
too difficult for those attempting it. Players who might
One favorite phrase in polite circles is the omnis. give a musical and enjoyable interpretation of selections
IN London a short time ago Archdeacon Sinclair gave
cient musician; with a sneer and a smile men say, many interesting ideas regarding Music as an Ex mechanically within their scope, when asked to play for
now if we only had the opinion of the omniscient pression of the Emotions. We give the following others, seem irresistibly impelled to choose some work
musician, we might consider this mystery solved. It is extracts from his lecture: which, while in itself a masterpiece, it may be, is far
cruel, abominably cruel, to twit us on our proverbial Music lent itself naturally to the expression of terror. beyond their powers. The invariable, inevitable result
The emotion of terror originated in the apprehension of
ignorance after such a fashion. What if we are inno coming evil; its characteristics were a peculiar form of must be to bring composition and player to grief, and to
cent of Latin, and afraid of Greek, and perfectly in pain and misery closely related to agitation and excite distress or disgust the audience. I honestly believe that
different to science, surely we do know something about ment, the production of the more active and manly ener this mania for difficulty in music, especially piano music,
the use of the fingers. And we can read music, which gies, and the exercise of a certain predominant idea on among players themselves has done more to render the
the mind. , Schubert's setting of the Erl King and
is quite an accomplishment; and some of us understand some of the choruses in Spohrs Last Judgment piano an unpopular concert instrument than all other
harmony and counterpoint. What if we are miserable were fine examples of the power possessed by music to causes combined. The much-abused, long-suffering
public speakers; we know how to be eccentric at the portray varying phases of terror. Music, however, had general public may not always be able nicely to dis
proper time (which requires more of genius). What if its widest sphere in the tender emotions, but it was here criminate between the relative merits of composition
that it ran its greatest danger. So strongly was this felt
our essays are puerile and our conversation childish; we by Plato that he forbade the teaching of all music that and performer, so as to tell precisely where and what
know how to play Chopin in such a pathetic fashion as was not of a martial character or stimulating to courage the defects are; but it intuitively feels a deficiency, an
to make the school-girls cryand it is doubtful if Secre. and vigor; and there was undoubtedly a great moral inadequacy somewhere. It fails to be impressed, to be
tary Blaine himself could do that. Don't calls us igno. responsibility on composers on account of their wonder interested; is bored instead, and usually has the frank
ful powers of rousing our passions, stimulating our
rant. Don't be sarcastic. We really have a wisdom desires, or filling us with ravishing feelings of delicious ness as well as the perfect right, to say so.
that is all our own. but languid sentiment. One whole school of music, the What earnest teacher has not shared with the writer
THE PIANIST.The writer was recently praising a cer Italian, had degenerated into exactly the condition Plato experiences like the following? A young lady of good
had dreaded. It was not to be supposed, therefore, that
tain pianist, and suddenly discovered that he was in the the healthy common sense of the English character had family, good intelligence, and fine natural ability, applies
midst of just such an unearthly mob of cynics. The gradually ceased to feel interest in this mass of artificial for lessons. She has studied for years with various more
writer said, I have great admiration for Mr. B., he is sentimentalism, and that the taste for the more robust or less well-known professors, has been through all the
the ideal pianist. There was a moment's quiet, as if and intellectual music of Germany had taken its place. tudes extant, from Czerny to Chopin; has taken all the
each one was interested in the statement and only re the In the wide and romantic field of courtship, the love of best Beethoven sonatas, all the chefs-d'aeuvre of the
youth for the maid, the devotion of the man to the
frained, out of delicacy, from asking numerous questions. woman, music became expressive in an infinite degree. modern romantic school; in brief, she has been literally
Finally some of the questions came. A lawyer gently The lecturer said he did not merely refer to the almost stuffed with the solid cream of piano literature, surfeited
asked: Is he like all the rest, in his general wisdom endless number of love songsstill less to those products with notes, till her musical digestion is ruined, her taste
about the management of business affairs? The writer of second and third-rate composers whose productions
seemed alike devoid of meaning, force, and moral fibre well-nigh destroyed, her executive capacity undermined
had never heard of his qualities as a business manager, -but to the fact that no series of exquisite paintings or and crumbling to pieces. For her life she cannot playeight
and could hardly see what relation that had to his merit productions of other arts could approach the delicious measures consecutively of any single simple composition
as a pianist. A university professor asked: May I in dreamland of the symphony and the sonata in power of creditably. Her tone is dry, feeble, characterless; her
quire what college he graduated from ; you probably expressing the pure, unearthly, idyllic devotional feeling technique indistinct, slipshod, unreliable; her style a
of him or her who was possessed by a noble and genuine
know that most musicians are men of culture? This admiration. All phases of this passion found a ready mixture of about equal parts of sentimental drawl, spa"
convulsed the house, as it was not spoken rudely, but in utterance in music, from the highest joy to the deepest modic frenzy and general incoherency. She knows the
a very gentlemanly tone. The writer replied with much desolation. Among emotions of tenderness were the names, but not the meaning, of such terms as phrasing:
benevolent affections, such as sympathy and the like,
indignation that it was a decided mistake to suppose that but this class of feelings bordered more on the intel. of
toneourcoloring, interpretation;
Boston critics and succeeds
aptly expresses only, aswith
it, in striking one
all culture was monopolized by college men. Be it lectual. They represented emotion already passing into
said to their credit, they were readily convinced by the thought, and therefore were not capable of being so fully admirable distinctness the first and last note of every
writer's pungent arguments, and answered in a chorus, expressed by music, which in such instances required the difficult passage. Of course she has no idea how at"
why, of course, you are exactly right. Even John help of words. When words and music were happily ciously she butchers the beautiful creations of the great
combined there was absolutely no feeling or state of
Sullivan is a man of culture; and the pianist is con mind, which could not be reproduced by them with tone-poets which fall that
intosomeway
her hands;
her yet
vague, uneasy sense she ishasnot*
playing
fessedly in advance of him. It requires no little skill probably greater vitality and completeness than the
and application to acquire such control of the fingers. original idea itself. It was only necessary, for instance. what it should be, which destroys her confidence, keep
And some players are very emotionalwhich argues a to mention, such exquisite settings as Grief for Sin her nervous and self conscious. Vainly the teacher
and Break and Die, Thou Dearest Heart, in Bach's
kind of culture. Then an Episcopal minister in a Passion Music, to prove the capability of music to express suggests one thing after another as advisable for study.
halting voice inquired: Does this pianist live with his sorrow. All are too familiar, or too easy, in spite of the fact that all
T EU E E T U T) E. 119

are equally and utterly beyond her power to render in an skill enough to paint daisies on a tea-set, which were It may well befit smaller men to cultivate and display
intelligent manner. Week after week he labors to secure recognizable without a label, who should undertake to in their public efforts that always ornamental, and not
something like steady, satisfactory progress for this cover a thirty-two foot canvas with a grand historic seldom useful virtue, modesty. The honest recognition
feeble flutterer, who cannot fly, yet will not walk; till or battle piece of tintorettorian magnitude? You would of one's own limitations is the first, and to many the
finally he welcomes with a sigh of relief the matro not need to witness the effort, or even to be a judge at hardest step toward overcoming them.
# monial quietus, which puts an end to her music alto all, to know that it must be an utter farce, without even It was not by playing everything which has been
gether, and to his futile efforts in behalf of a pupil who the doubtful merit of being funny. written, but by doing a few things faultlessly, that Edwin
is personally most agreeable, and musically most talented, In like manner, when you are told that a girl of eleven, Booth, Joe Jefferson, and Modjeska attained their histri
and who under proper conditions, might have made a who has studied the piano for two years, is playing onic celebrity, and that all the great musical reputations
fine performer. Chopin's Ballade in A flat, the same good common have been gained. Kullak used to say, It is infinitely
What was the difficulty? Simply that she has been sense should inform you that one of two things must be better, from every standpoint, to play with one piece,
wrestling all her life with giants, with no judicious in true: either that she is an extremely precocious, phe than to play at a score.
structor or trusted friend to tell her that she ought to momenally endowed genius, a second Mozart, with decided
begin with antagonists of her own size; till the habit of modern improvements, or that her teacher is a fool.
discouragement, of inevitable and utter defeat, has be And in most instances you are pretty safe in assuming WORTH REPEATING,
come chronic, and she has ceased to be self-critical, from that the latter is most probably the case, as fools are [Under this Department will appear articles that have been in
print, but are worthy of a repetition. We will be pleased to receive
sheer uselessness and hopelessness. Like a rider who more plentiful than phenomena in the musical world. contributions from our readers, from resources outside of the back
numbers of THE ETUDE.]
has been repeatedly thrown, she has learned to fear As regards your own study, any piece is too difficult
rather than to command. which you cannot play straight through without breaks THE value of good musical literature cannot be over
This may be thought an exaggerated example, or only or stumbling, with not more than one false note to the estimated; every teacher should endeavor to have a good
to be found among pupils of some egregious charlatan, page at a fair tempo, and with some little attention to fund of knowledge as to the best writers and their works,
but I assure the reader that it is not three months tone-quality and phrasing, after three to four weeks of and seek to stimulate in the minds of pupils a thirst for
knowledge of the history of music and musicians. When
since an advanced and really talented pupil of a promi careful practice. You have then, of course, in reality ever they are studying the works of any worthy composer
nent professor came to the writer for advice. She only made a beginning. Between that standard and a (and they should study no other); everything relating to
had been studying all winter the A minor concerto, by fine artistic interpretation there is a great gulf fixed. his life and works, so far as published, should be read.
The better a man's character is understood the more
Schumann, and the Wagner-Liszt Tannhaser March; Still it is a safe idea to start with. Every one can tell for
interesting and the more easily understood will his music
t is could not by any miracle have played either of them himself, if he will, whether or not he hits the right notes, be. Some teachers have been known to keep a large
*::: passably, should not have been allowed to think of them and, with the aid of a metronome, whether or not he library expressly for the purpose of circulating among
for three years to come, yet had absolutely nothing else, keeps the time approximately; and these two elements their pupils. This is highly commendable, and it is
hardly necessary to say that such teachers exert a wide
no matter how simple, that she could play well, though must be presupposed, before interpretation can be even influence; although every teacher cannot do as much as
it, a school position, which she was anxious to secure, de attempted. this, all may do somethingat least read enough them
!!}} pended upon her making a creditable public appearance Be content to set yourself a moderate, possible task. selves to be able to recommend proper books for others
at Once. It is wiser, in playing for others, to select something in to read. However, every student should own, at least, a
few books of referencessuch as dictionaries of music
Another recent case in point, is that of a flourishing which the technical requirements are easily met, leavingand musicians, of which there are several, and especially
it." suburban teacher, who boasted that a pupil of his, nine a surplus of attention and vitality free for the more a good dictionary of musical terms. More than half the
teen years of age, who had two hours daily for practice, important and exacting portion of the work. It is better terms used to indicate tempos and the various expressions
and that in the evening after a day's work, had just to bring up one little pearl in safety from moderate might as well, not be used, so far as many pupils are
finished and dropped Schumann's tudes symphoniques, depths, than to try the deep-sea plunge at the outset, for concerned, and even some teachers have a very limited
knowledge of them. There are nice little handbooks
after only two weeks of study. the lost Spanish treasure, and be crushed beneath the published for just such persons, and every one should
The manifold pernicious effects of such a course are weight of waters. possess one. One of the greatest uses in the world is
scarcely to be computed. The player is forced into There is another error as frequently made, and almost performed by those who write good books. What is
the good of struggling along for years trying to discover
habits of carelessness, inaccuracy and general unintelli as fatal, as the selection of too difficult works. It is the what has already been discovered and placed upon record
gibility, which, once acquired, it is well-nigh impossible attempt to carry too large a repertoire. The rage for for you? Get a catalogue and select a list, and buy one
to eradicate. Intellectual grasp and technical control quantity is in some measure taking the place of that for each month, or as often as convenient, and in a few years
are alike unattainable. The performance is of necessity mere speed and brilliancy, and it is a form of virtuosity aLeader.
good stock of knowledge will be the result.-The
blurred, unmusical, meaningless; and the average list scarcely, if any, better. The one makes its chief demand
ener, finding nothing comprehensible, still less enjoy upon the fingers, the other upon the memory. The ever TESTIMONIALS,
able, in such renditions, is quick to conclude that the new programmes and interminable series of recitals,
piano is a cold, dry, uninteresting instrument, fit only to announced by the leaders in the profession, are a constant
mark the rhythm of a dance. The poor piano, from the spur to the ambition of younger and weaker men, to Your book, entitled Musical Mosaics, is rightly
named. It is what it claims to be, a well classified col
most capable and versatile of solo instruments, is de reach out more and more in this wrong direction, that is lection of the best thoughts of mature musical minds.
graded into a mere puppet-board for the exhibition, in after quantity, rather than quality, and the effect on the I never miss an opportunity of calling the attention of
tragic farces, of the mutilated caricatures of great public is precisely the reverse of that desired or intended. musical people, and especially our students, to Musical
Mosaics, believing they will nowhere else find so
thoughts and emotions. The writer was discussing Chopin's compositions, not much food in such compact and inexpensive form. The
But the student naturally asks, how shall I know long ago, with a lady of fine intelligence and musical book should be in the hands of every music student.
Delaware, Ohio. S. #. BLAKESLEE,
what works are beyond me, living far from any musical ability, but who had enjoyed limited advantages, and
centre, with no great artists as models, and no fixed who said she did not enjoy or understand the works of Director O. W. Conservatory.
standards to judge from? If my teacher gives me Liszt's this composer, When asked if she had heard many of I consider the recent works published by Mr. Theo.
dore Presser pedagogical master pieces, and all good
Rhapsodies, and declares that I play well, what other them well given, she replied, O yes, nearly all of them. music teachers, and those who desire to become such,
guide have I? None, the more is the pity, except Professor gave sixteen Chopin recitals last winter, ought to be truly grateful to him for such books as
that same good common sense which you apply to other which I attended. Her failure to derive pleasure or Krause's Measure and Rhythm (in which syncopation,
"atters, but which so many people allow to remain profit was, of course, explained. The pianist does not that stumbling-block for young teachers, is treated in a
utterly dormant the moment any form of music is in live, never did live, who could give sixteen consecutive wonderfully systematic and, exhaustive, and yet very
simple manner), The School of Four:Hand Playing, a
question. recitals, and present any considerable number of the truly fine selection, and above all, Mathews Twenty
You can at least notice in The Erude, the programmes compositions in any but a mutilated and unintelligible Lessons to a Beginner. This must be recommended to
being given throughout the country by leading artists; manner. And the mere fact that any man would attempt all young piano teachers as the method of methods. It
declares war against the old go as you please ways
and if you find that you are allowed to study and play it, is in itself evidence sufficient that he is incapable of of teaching by applying the natural method" to piano
the same great compositions which form the tours de appreciating the real beauty and meaning, and the real teaching. But before applying it, one must make him
Jorce of their repertoires, be sure that you are on the demands upon the player, inherent in the works he self thoroughly familiar with it. And the result will
Y"g track. You are perfectly safe in assuming that your undertakes. The greatest, even approximately successful then be unconditional success. Of course, I have intro
duced this work in my musical department, and I shall
few terms, or even years, of desultory study have not fitted feat in this line which the world ever witnessed, was the recommend it to all my former graduates who are teach
* to grapple successfully with the Titans which tax series of seven recitals, all long, heavy programmes, ing, as the best piano instructor. E. M. Goldberg,
to the uttermost the disciplined powers, and experience embracing well-nigh the whole range of piano literature, Director of the Musical Department
in attack, of veteran professionals, who have been all of Stephens Female College.
recently given by Rubinstein in the leading European Columbia, Mo.
their lives in the field. Not even if you are the pupil of cities. And that was the supreme effort and achievement
Professor Prestissimo, who agrees to teach the piano in of mature life, the crowning success of the greatest living Were parents more enlightened as to the needs of
twelve lessons. pianist, of a consummate genius, supplemented by the ex thorough musical practice, the instruction of children
* What would you think of a primary school scholar, perience and training of forty years of professional work. would be begun at an early age, and instead of selecting
a bungling ignoramus as a teacher, they would select a
Just able to get creditably through with a lesson in the And it has been well authenticated, from many reliable conscientious,
First Reader, who should be set to interpret Shakespeare sources, that even his matchless powers were not quite experienced leader, capable of directin
the important first steps of young music students towar
** company of adults? or of a young Miss, with just equal to the complete fulfilment of so gigantic a task. sure and rational art progress.The Muse.
12O T EU E E T U D E. ~

LETTERS TO TEACHERS, I cannot tell how much pleasure I take in the ETUDE. Within the last five years we have made much research
and what a help it has been to me in teaching, I think it in this field. Some valuable works on tonality have been
a boon to the music teacher. published, and last, but not by any means least, the Tonic
Will you please answer the following questions, through 1. In Rubinstein, op. 22, No. 10, the piece is called sol-fa-ists have been untiring in their efforts to promote
the ETUDE or by letter. Kamennoir Ostrow. Now please tell me how this is a system of musical thinking.
pronounced, and what it means? n this essay I wish to present as well as I can the case
QUES.-1. Is it necessary to teach a pupil to lift the
fingers from the knuckle joint in learning to play the 2. In Boieldieu Kalif Von Bagdad, what is the mean of the movable do-ists.
ing of the name and how is it pronounced ? In order to learn to think music, it is necessary to have
organ? As organ music should be decidedly legato, I
should think the fingers ought to remain on the keys. 3. In Beethoven Op. 13 is there any story represented a foundation for our system, a starting point from which
by it. I mean how is it played understandingly? we can make surveys into the realm of tones, a key by
2. What piano studies do you consider the best
to use for pupils in the 3d or 4th grade? Is Czerny 4. What is the proper way of pronouncing Pader which we can solve any page of music which may be
ewski ? C. W. B. brought before us... That starting point is the major
out of date? Will you kindly give a list of piano pieces scale, and we find that the order of the tones seems, like
suitable for pupils somewhat advancedperhaps in the 1. Kam-en-noi s'-trw is a watering place near St. an axiom or a rule of logic, to be a law of the mind. In
4th grade. J. T.
Petersburg, where Rubinstein is in the habit of spending order to teach this scale, we do not find it necessary to
ANs.-1. It helps to individualize the action of the
fingers to raise them preparatory to striking the keys, in
his summers. give any artificial attributes to the various tones, as do
2. K-lif of Bag-dad is the name of an opera; the the tonic sol-fa-ists. We need not designate one tone as
the calm tone, the restless tone, the tone, etc.
|
*
the organ as well as in the piano. Strictly speaking, the Khleef is a Mohammedan ruler, or Prince. *
Any person of musical aptitude can sing the scale readily,
fingers ought not to be raised in playing the organ, only 3. Beethoven's Sonata Pathetique has no formal those the least endowed musically can learn it by
sufficiently to permit the key to repeat the tone. An story that I know of Any fanciful writer could make precept and example.
organ touch is a pressure touch, and not a striking. one up at a few moments' notice, and invest it with a A study of the contents of the major scale is most
2. One of the best sets of piano studies for pupils great deal of ready-made probability. It is played interesting. Here we have the major and minor seconds,
the major and minor thirds, the perfect and sharp fourths,
in the third or fourth grades is Loeschhorn's Opus understandingly whenever the music is correctly given the perfect and imperfect fifths, the major and minor
66. The first book may be used in the third grade, by as to its tones, movement, and the expression indicated sixths and sevenths, precisely as used in musical com
giving the studies in smaller portions, but the second and implied in it. position. Any one who has mastered the major scale
book is decidedly fourth grade. Czerny is rather out of 4. Pad-er-ew'-ski is a fine pianist. M. enough to think or to sing all the skips in it, can sing any
of these intervals, and can do so the more intelligently
date, because he has regard to a system of finger practice As a subscriber to your very valuable monthly, the from his consciousness of the tonality to which they
which has gone out of use, and has too little regard to ETUDE, I take the liberty to address you desiring infor belong. For example, take the minor sixth c, A flat.
phrasing and differential touch. mation. I have been a teacher of music for twenty In the key of A flat, or its relative minor, these tones
years, but have as yet failed to find satisfactory instruc would be 3, 8, or mi, do. In the key of D flat, or in
The list of pieces will presently appear in connection tion for children the ages of seven and upward.
with the course of studies advertised some months ago
B flat minor, they would be 7, 5, or si, sol. In the key
I noticed Mathew's book but think it too of E flat, or in C minor, they would be la, fa, and in each
in this periodical. The dactylion has been discussed in severe a course for my use, as my little pupils will not of these cases these tones would have a different effect,
another department of the ETUDE. I make very little submit to a technical course or much application. The be harmonized differently and have a different leading,
gift of memorizing is, I think, attained only by a few, so that to learn to sing or think such an interval by itself,
use myself of the mechanical appliances for improving and I have never required this. I notice this is a special aside from the tonality, gives but a partial, or meagre,
the touch; perhaps not enough use. In general I think feature in Mathews'. R. H. D.
or even a mistaken idea of its meaning, although its
that the musical sense is so much neglected that it is I hope you will give my little Twenty Lessons a fair identity as a minor sixth remains the same in all these
better to address oneself to that mainly. Finger work trial, and then tell me your conclusion regarding it. Cases.

as such, is easily gained, but tuneful and expressive play Your are entirely mistaken in regard to the memorizing The movable do system, as heretofore taught by a few
ing depends upon other considerations. W. S. B. M. teachers, has been largely misunderstood, and has been
adding to the burden of learning to play. It lightens it. overloaded and handicapped by an effort to give a different
QUES.Will you please help me, through the ETUDE? Ask yourself for a minute what would be the condition name to every note of the chromatic scale. How it has t
I am often puzzled to know the difference between slurs of a school where nothing was memorized, and where been misunderstood is illustrated by the unchallenged
and phrase marks. , Can you give some rule that will help all intellectual effort was carefully avoided. It is a assertion of an essayist at one of the meetings of the *
me to distinguish them? -
National Association, in which it was maintained that
In No. 12 of Duvernoy's 15 Studies for the Piano, common but great error to suppose that intellectual rt
the movable do system involves 14 transpositions of the f
Op. 120, are the lines over the groups of four notes to in effort is a burden. On the contrary, nothing makes life scale. In reality it requires but six, or at most seven, if
dicate that the hand is to be raised after each group? so enjoyable, and nothing leaves a better farewell im the scale starting on c be regarded as a transposition.
In the Chopin Walse, Op. 34, No. 2, in the part very One who learns to read in the key of E learns at the
near the close which is marked Piuviro, are the pression upon the whole system than an honest effort to same time to read in E flat. One reads in A or in A flat
chords in the right hand tied or slurred? J. H. think. Thinkers live longer and preserve their faculties with the equal consciousness that the do lies in that
ANs.Strictly speaking, all slurs are phrase marks, or longer in old age than those who avoid using the brains letter, although one finds by experience that the tenden.
would be if they were correctly applied. But as a mat. for fear of exhausting them prematurely. The claim cies of each of those two keys are different.
ter of fact, all our piano music is full of slurs which mean I make for the system is distinctly this: That not only Regarding the overloading of the movable do system
by accessory syllables, I think they should all be
nothing, but have been added by the printer or engraver, are better results secured by it than by the usual discarded, for this reason: It is impractiable to call an
or perhaps put on by the composer in a negligent method, but that the study is more pleasurable to the
moment, simply because he happened to think at the pupil. Moreover, the art of memorizing music is aaltered
changeinterval
of the by a new name
tonality. when it may
For example, merely
if in mean
the key of

last minute that they would improve the appearance of attained by all who learn to think music. Any one C I meet with the notes c, b flat, a flat, e flat, they are
not chromatic at all, and may be read as mi, re: do, Sol;
the page. I have several times attempted to formulate who can memorize two stanzas of Mary Had a Little in the key of A flat, or la, sol, fa, do, in the key of E
a rule on this subject in these pages. Namely, that slurs Lamb can memorize an easy music-piece. M. flat, or assi, la, sol, re, in the key of D flat, and similarly
which correspond with the rhythmic division of groups of for practicable succession of flat or sharp notes. . .
MUSICAL THINKING AND DOING, The number of chromatic notes used in any music is
equal notes, are commonly conventional merely, and much smaller than we are apt to imagine, and we can
have no value as marks of expression. When a slur BY HERVE D. WILKINS. think or sing do sharp, re flat or sharp, mi flat, fasharp
covers a rhythmic group, beginning on an accented tone sol sharp, la flat, in all, seven chromatic notes without
and ending on an unaccented tone, it is almost invariably An essay read at the N. Y. State Music Teachers' Association, at any alteration of the syllables whatever, sol flat and la
Saratoga, June 24th, 1890. sharp being most rarely used. Another fault of the
to be entirely disregarded in playing. Even carefully
ONE of the most important and interesting matters movable do ists is their failure to follow out the system
written studies, like those of Loeschhorn, are disfigured connected with the te' and practice of music as an and their attempt to solve a passage without referring to
by marks of this kind. In the third study of Opus 66, art, is the question. How shall we train the mind to the proper tonality. - - -

there are groups of four with slurs over them. The runs think music? The mind of a musician ought to be To sum up this portion of our subject, we maintain
are to be played legato entirely, and not divided into trained to carry on a train of musical thought as logically that any passage of any composer, not excepting Wagne:
and as completely as one thinks out a literary composi or his like, can be solved and thoroughly comprehended
groups. When the slur passes across from one group to tion. In order to do this we have to deal with tones by the movable do system. It is no short cut to."
the next, as from the second tone of a group of four to the which in all their relations must be carried in the mind thorough knowledge, but its continued study enables the *

first tone of the next following group it is generally a real while, according to circumstances and the need of the mind to solve melodies, comprehend harmonies, to tra',
moment, we may either sing or play or compose them. pose at sight upon an instrument, and to enjoy the mental
-

mark of punctuation, and the tones should be separated


In order to acquire this faculty and perfect the power of study of music in a thousand ways which are closed to
accordingly. No rule can be given which fully meets thinking music, Mr. Mathews, in the ETUDE, advises a that singer who depends upon his piano for learning."
the case. If I were to cite hundreds of examples, it correspondent to learn to sing the different intervals by tune, that instrumentalist who cannot read music me"
might well enough happen that the next question would ear. Mr. Mees at the Cleveland meeting of the National tally at all, but must always try it in order to see h"
present a case where exactly such groups were intended Association expounded, by the aid of a blackboard, his it goes," and to the tonic sol-feist, who is yet in the #
method of instructing a class to sing at sight by means leading strings (and very good of an artificial nota.
to be separated. One must judge from the nature of the of a system of intervals, thus learning to recognize a tion, one which helps him learn melodic successions. but
passage. Where there is a settled rhythmic figure of the major or minor third, a perfect fourth, or any given does not give him a comprehensive idea of the int':
phrase, it will help the reader to be sure. Where con interval, and so going on step by step through the com. relations of tonalities. But the door of music sta"
osition to be read. Mr. Holt, then Superintendent of wide
tinuous runs are intended, then the player must dis. open to the tonic sol-facist. He has only yet ''
usical Instruction in the public schools of Boston, some learn to cordinate his knowledge of music with its
regard these conventional marks. The elements of years since wrote several articles on this subject in the expression in ordinary musical notation. -

judgment must not be omitted. Century Magazine, then published by the Scribners, in t is quite the fashion to speak of modern tonality as
I have not the pieces at hand which you mention, but which he advocated the transposing system, and Mr.
something quite different from that of half a century
ago, and to assume therefrom that new. methods are
from my recollection should say that the slurs you men Theo. Thomas wrote an article in opposition to Mr. necessary in the study of modern music. Yet by a
Holt's method, in which he advocated what may be
tion must not be regarded. I am very sorry not to be called the instrumental system, a code of intervals bor. critical inspection of the scores of modern comp'.
able to give you a better explanation. W. S. B. M. rowed from the piano keyboard. we soon learn that what is apparently new, unpreceden
TH E E T U D E. 121.
and intricate, is but the natural outcome of the new rela that the thing puts them out of time, that is to say it
Questians and Answers.
:
is:
tions of different tonalities which the restless human
mind is continually seeking. Where the ancient com
poser confined the expression of his thought to one key
and its nearest relatives the Dominant, Sub-dominant and
simply reveals to them that they are out of time. Do
To F. A. K.-You ask if in singing hymns one should not, however,
their relative minors, the modern composer roams at will be guided by the varying impulses of the words or should
allow them habitually to practice with it,
but after playing, at the furthest, ten minutes, then
through the whole realm of tones, seeking a wider and sing in strict time. I should say neither. When one require them to do the same thing with equal regularity,
more varied exnression for musical thought, the logical to be guided by words he at once opens a keeping the beat imaginary and absolutely in the mind.
undertakes J. S. W. C.
connection of ideas being oftener maintained by the use -

of rhythmic figures and characteristic motifs and melo. mighty sluice-gate for irregularity, whim and contention,
. Please answer through the ETUDE the following ques
dies, than by the traditional relations of chords and for what one will consider a correct expression of the tions :
8. words, another will consider sheer nonsense. A hymn 1. Why does a piece written in a minor key end with
"'. examination papers which we all have seen, is a very simple composition as to its form, melodic out a major chord ?
emanating from the American College of theMusic, begin line, and usually as to its harmonization; indeed, the
2, Should chords be played from the wrist, forearm,
the subject of modulation by referring to chord of
or shoulder? A. D.
the diminished seventh. There are, certainly one and hymn as we know it, is only a degenerate form of the
perhaps more works on Harmony which enlarge upon German chorale, which is the most perfect expression of 1. Only ancient pieces, of the time of Bach or before,
this sort of modulation, but if we examine master works, the simply sublime known to musical art. In the chorale if written in a minor key, ended in the major. This was
we shall find that no device for modulation, is used so because the minor chord was recognized as expressive
little as the chord of the diminished seventh, and it is the whole mass of the congregation, men and women,
the most unsatisfactory device possible for modulation, sing the melody, thus making it in broad, heavy tones at of incompleteness, want of repose, appealing quality.
for the reason that it leaves the '' for a moment in the distance of an octave; and against this mighty wave, Only the major chord represents repose.
doubt, or effaces the sense of tonality altogether, whereas this immense Gulfstream of human feeling, setting 2. Yes. That is to say, any one of these methods,
the right and satisfactory way to modulate is to go step straight toward the throne of God, the organ places the according to circumstances, and several varieties of
by step from one key to another until the goal is reached, involved and noble harmonies. Such church music is finger touch besides, are used in playing chords.
and such is the close relation of tonalities that any modu:
lation may be made in four moves, counting the starting the most perfect expression of the earthly ideal of the Light repeated chords are played from the hand
key as one. -
heavenly choir that I know anything about, but our (wrist). Heavy chords with a melodic upper voice, or
: n order to solve the problems presented in modern
music, it is very useful to analyze the scale with reference Protestant hymns, though many of them excellent, at a melodic voice anywhere in them, are played with more
to the various keys contained in it. The chords on the least the old time hymns were excellent (our modern ones or less arm touch, in connection with the fingers. Soft
first, fifth and fourth degrees of the major scale are major, are the quintessence of the namby-pamby, sugar-water singing chords with an arm touch, very gentle, the wrist
and those on the sixth, third and second are minor;
digressions into any of the keys indicated by these chords
sickening); our Protestant hymns are something like relaxed, and so on. No formulated rule can be given
may be made at will, so that not only these keys, but all that. They are supposed to be sung by a large number (in the present state of my knowledge at least). It all
the chords which pertain to each of them are related to of persons not highly cultivated in music, hence the depends upon the kind and amount of effect desired.
the central key. It takes but a little of this sort of rhythm must be simple and steady, but it is a mistake to Obtain the effect by whatever means you can do so most
analysis to perceive that keys considered formerly as make them mechanical. Usually at the end of each line, easily. It will then be right. But be sure that you
remote from each other are quite closely related and that really have the best possible effect, or the effect intended
diatonically, and modern music shows us that, as in all as in Old Hundred, it is marked that we should pause,
# other departments of human research, such as chemistry and very few congregations do the Old Hundred correctly, by the music. The player is supposed to possess inner
for instance, new relations are continually ' dis because they do not, at the end of the line, make a long illumination of a musical kind, enabling him to discern
covered and new combinations are being made and thus pause, then take a leisurely breath and resume. In play musical good from evil. M.
new forms are being produced. So in music, out of the
same old tone-material new and richer forms are fashioned ing the organ, in one of our Cincinnati churches, I did 1. Can you recommend a work upon musical com.
posers suitable for children?
by the restless and inventive mind of genius. And as this, and was accused of hesitating and forgetting the
at any moment of a composition there can prevail but music, simply because the blockheads knew nothing and 2. Are the embellishments of Bach music very impor.
one tonality at a time, however much we may wander were unwilling to be taught. I do not approve of much tant with our modern improvements in pianos? Are
from the central or starting tonality, the movable-do they not more of an aggravation than anything else?
system furnishes a complete guide to the comprehension sentimental shading in hymns, though, occasionally when 3. Are there any magazines published especially for
of all music, vocal and instrumental, as far as the tone the sentiment very obviously calls for it, it is well to sing organists. Would not the ETUDE do well to write some.
is concerned.
[CoNTINUED IN SEPTEMBER Issue.] one stanza softly and another loudly, as, for instance, in thing for that class of musicians? Will you suggest
the familiar hymn, My faith looks up to Thee, the some pieces, for the organ which contain flowing sus
tained chords. I am very tired of music in which the
latter part may be thus contrasted. composer constantly strains to imitate Bach. L. D. R.
NEW PUBLICATIONS, Ques. 2.-In counting eighth notes is it advisable to 1. See above.
make pupils count one, and, two, and, and in a dotted
eighth and sixteenth to count one, and, the two? 2. Many of the embellishments in the Bach music are
SACRED SoNGs. By J. B. Campbell. merely the mannerisms of his day, and are not essential
1. Blessed is He. ANs.No, indeed, I would never employ nor tolerate
2. Show Us Thy Mercy. any such ridiculous, mechanical, corn-husking method to the music, in fact are detrimental to it. This is espe
3. Come Unto Me. of getting out the notes. A pupil must begin to learn cially true of the pianoforte music. But a student will
The first test of a good song is that the music shall from the first to divide time into two, three, four equal omit these embellishments at his peril. If he does it
intensify the feeling expressed in the words. Measured parts, and unless this instinct can be developed, a person with taste, it will be well; if without good reason, he
by this standard, it cannot be said that Mr. Campbell's
work is preeminently successful. Rightly understood, can never become a musician. All rhythmical ideas will merely make his composer ridiculous. W. S. B. M.
the sacred words of these songs have much more depth develop from two roots, namely, the idea of two and the I have been a reader of THE ETUDE for two years now,
of feeling and more emotional force than I have been idea of three, but we generally speak of the three num and it has been a wonderful help to me. I now come to
able to discover in the music. Mr. Campbell's work is, bers, two, three and four, as being radical; six, eight, you for some advice, for the first time; not that I have
however, well done from the technical side; it is smooth, not needed it before, but I find my questions answered
flowing and melodious, and will commend itself to the nine, twelve and higher numbers are mere combinations before I write; other teachers having the same trouble,
#reat majority of church singers, who are not over. of these, and the pupil's mind must be taught very early write you before I do. I want some musical literature
burdened with profound religious feeling and gladly the fundamental arithmetic of music, to think quickly for some of my younger pupils to read and do not know
Welcome whatever is sweetly tuneful and singable. all possible combinations and lengths of tones. Teach what to select that would interest them as well as instruct
them the most.
whether it is deeply expressive or not. And most con
#"egations sympathize with the singers in this, so that them to count one, two," or one, two, three, or Perhaps some other teachers can help me, by telling
these pieces will doubtless prove widely acceptable. one, two, three, four; higher than this I never go me what they use. X. Z
[Orders filled at The Erupe Office.] J. C. F.
If a measure is very slow, and there are many notes, I The desire for well-written works on music suitable
require them to count either not the quarters in four four for the young, is one of the most pleasing features of the
Music should strike fire from a man's soul; mere senti. time, but the eighths, making thus eight counts, or, what present state of musical cultivation, since it indicates
"ent will only do for women.Beethoven. is still better, to count each number twice, one, one; two, that teachers are endeavoring to start their young pupils
two; three, three; four, four; but, as soon as possible, upon the road toward an intelligent musicianship. There
WANTEDA position as Teacher of Piano and get rid even of this mechanical crutch, and learn to feel are three little books published by Lee & Shepard, I
Class Vocal Sight Reading. Graduate of leading exactly whether they are in time. I do not allow very think, called Tone Masters, which in part answer
Conservatory. Tonic Solfa a specialty. Several years much counting aloud, either in the pupil or the teacher your purpose. Then there is one called Youthful Days
' 'xperience in teaching. Expert in Calisthenics. just enough to make them know what measures are and of Mozart, and Mrs. Lilly has lately been preparing
Graduate of college. Best of references,
ress Miss A. IANTHA SLAUGHTER, how the beats are called. But better than any such certain works of this kind.You might do much by
Care Brook Office, 170; chestnut St., Philadelphia, Pa. counting is the use for a short period each day of the having a club of your younger pupils to meet regularly,
-
metronome. I do not allow the metronome to be used devoting several meetings to one composer. You could
WANTEDA Music Clerk to take charge of the long enough to produce any deadening in the ear, or any read, or have them read, short and interesting extracts
wholesale department of a large music house.
None but the most experienced need apply. Address, stultification of the rhythmical sense, which very soon from the existing biographiesepisodes or stories of
'ting experience, with reference, J. G. & S. Co., comes about when the click becomes incessant, especially the composer, then have a few pupils prepared to play
Care of ETUDE Office, 1704 Chestnut St., Philadelphia, Pa.
if it is hard, loud, and disagreeable. It is a merciful extracts from the composer's works.
law of nature that we soon become insensible to pain. The suggestion that other teachers who have measur
A COMPETENT Teacher of the Pianoforte, and Or
ganist, 15 years' experience, desires position. Ref. Require your students to play a few measures against ably solved this problem in their own work, report their
erence A No. 1.
Address GEO. F. EDLER, care of ETUDE. the metronome exactly: at first they will be embarrassed method here, is a good one, and the question is hereby
declared to be open for general discussion. M.
by it, just as people are by crutches-they will complain
"-m

122 T EI E E T U D E.
G EN IU S.-CHAPTER II.BY KARL MERZ.Concluded.

this reason they shrink from pain. When suffering awaits them, they seem to to have been. Let me say most emphatically that if drunkards rise to emi
be unable to reason themselves into a brave endurance of the same. Thus Peele nence, they do so in spite of their habits, not because of them. It is an error to
is believed to have died because he was unable to bear an operation which a less teach that the moral law is not as binding upon great men, as it is upon lesser
sensitive man might readily have endured. Yet, while we must record a mortals.
Demosthenes who deserted his colors, and excused himself by saying that He As heavenly bodies have their satellites, so men of genius have theirs. These
who turns and runs away may live to fight another day, we might also give hang on the outskirts of intellectual circles, and being unable to enter their
many instances of heroic bravery exhibited by men of genius. magic bounds, they imitate those within, and as a rule they imitate their vices
The sensitiveness of men of genius, especially of musicians, is proverbial. first. Let us cover the frailties of our great men with the mantle of charity,
Artists, actors, orators, painters, poets, are almost morbidly sensitive to public remembering, that the greater the power of perception of wrong, the greater
criticism. Approbation is of more value to them than money, for if they fail in also is its sting.
their mental efforts they fail in everything; hence, they are often troubled with Those whom we admire we also imagine as perfect in form. Men of genius,
fear when stepping before the public. Thus, it is said of Cicero that he had a however, often were insignificant in their appearance, yes, many were deformed,
bad night before his great speech at Murena. Plutarch says that Cicero not only or suffered from maladies. Milton, Homer, Bach and Hndel were blind, Beet
lacked courage in arms, but also in his efforts at speaking. He began timidly, in hoven was deaf, Weber and Byron both suffered from physical deformities.
many cases never ceasing to tremble, even when he came thoroughly into the These sufferers were often extremely sensitive about their ailings, yet when
current of his speeches. But then there are many guilty of the same weakness, touched by the warmth of humor they sometimes made fun of each other's :
whom no one would suspect of genius. It may well be said that many artists and weaknesses. Talleyrand was lame, Madame de Stael was cross-eyed. Said the
authors suffered death, almost, because of unjust criticism. Schiller said that no latter, on one occasion, Monsieur, how is that poor leg of yours, to which the
genius comes to a good end, by which he means that men of great mental gifts statesman sarcastically replied: Crooked as you see it. Who can imagine a
usually suffer much. Was not Homer a beggar, and Torrence a slave? Was not Hannibal, an Alexander, an Achilles or a Hector as small, yet many geniuses
Tasso poor, and did not Cervantes die of hunger? Bacon led a life of distress; were very frail in form. Voltaire was puny, Pope was small, Tom Moore was
Spencer died in want, and Mozart had not enough to prevent his being buried in likewise, Milton was only of moderate size, Napoleon was not commanding in
a pauper's grave. Yes, often the grim messenger of death takes away our great person, Wagner did not reach much over five feet. .
men early, for it is said that he loves a shining mark. While the mind of Genius is quick to work, it often needs peculiar surround
It is a common belief that Genuis works best in youth. A distinguished ings, in order that it may become active. Spontini the composer preferred to
physician says that the period from thirty to forty is the golden period for brain work in a dark room; Cimoraso preferred noise around him, when he wrote;
labor, while that from forty to sixty he calls the silver period. There are, how Haydn always put on the ring Frederick the Great gave him, before he went to
ever, many instances on record, where great works were accomplished by men of his desk, and when his ideas ceased to flow, he resorted to his rosary. Mozart
advanced years. While Mozart, Raphael, Schubert and others produced their wrote down many ideas while playing billiards. Beethoven communed much
great works in youth, while some of the world's great generals had built up and with nature; he moved frequently, believing at one time that he could write best
destroyed empires before they were much advanced in years, we must not lose on the north side of the street, and then preferring the south side. Mendelssohn,
sight of the fact that Homer produced his best works in old age; Xenophon the refined, stimulated his mind by walking in gardens, as if he gathered his
wrote when ninety-two years old; AEschylus wrote his greatest works three years ideas from flowers. It is said of Halevy that he was partial to the sound of
before his death, when he was sixty-six years of age; Sophocles wrote his boiling water. Werdi reads Ossian's poems and then writes, while Wagner
OEdipus in his ninety-sixth year; Phidias produced great works in his dressed himself in the costumes of the characters of which he was writing. But
seventy-sixth year; Michael Angelo painted his celebrated Judgment be enough.
tween his sixtieth and sixty-seventh years; Gluck wrote his Iphegenia in Kant, the great German philosopher, said that just as the powers of genius
his sixty-fifth year; Haydn wrote the Creation in his sixty-third, and display themselves differently in individuals, so they differ among nations. Thus
Goethe produced his Faust in the fifty-seventh year of his life. But these the Germans strike the root, Italians, the crown of the tree, the Frenchman the
are illustrations enough. blossom and the Englishman the fruit. The greater the degree of culture of a
Artists must picture and express passions, and in order to do this effectively people, the greater also is the number of geniuses which that people produces;
they must have felt those passions. Thus it happens often that their nervous the greater however the love for financial and mercantile speculation, the smaller
systems suffer, and in order to build up the wasting powers, they will resort to will be the number of geniuses.
stimulating drink. I do not believe, however, in the theory advanced by some, Some men of genius have been great in more than one art or science. Thus,
that men work best under the influence of strong drink. There may be those Michael Angelo was a painter, an architect, and a musician. It was he who
who are so accustomed to the use of wine, that their minds cannot work made those beautiful bronze doors, of which it is said, that they are grand enough
without the aid of stimulants, a condition in which our celebrated Webster is said to be the gates of Heaven. By the side of him stands Leonardi Da Vinci, the

EDITORIAL NOTES. If there are places where one performer is directed to most inconclusive and illogical description. For the .
rest two, six, or more measures, count the measures in sake of uniformity I would willingly sacrifice my prefer.
When musical people more read the better place of the first count: for three time, as one, two, ence for the system to which I have all my life been ac,
two, two, three; three, two, three; four, two, customed, providing, of course, something as good were
class of educational journals of music, they will be too three;
three, etc. offered as a substitute. But that is not the case; and,
well informed to become the dupes of poor teaching.
until we drop the use of the word thumb, our present
method of fingering is more reasonable, rational, and
In Music Teaching, by Mrs. Curwin, will be found ToThere is an important truth in the quotation below. correct
delicate and sensitively cultivated ears these forced than which it is sought to force upon us.
some food for thought. #: ideas of ear training and
tones are as unpleasant as false notes, and there is less During an experience of upward of twenty-five years'
time development will, if followed, lead our teachers into excuse for them. Pupils as well as artists constantly teacher of music I have not used a single piece with the
better work. We have some conservatories in this foreign fingering, nor do I intend to do so., Let those
err in quality of tone. A loose arm, wrist and hand is
country that make it a specialty to teach the art of teach the remedy. who think with me on the subject act in a similar manner,
ing music. See school advertisements in another column. His fault is that in the fortissimo passages he hits too and the attempt will speedily fall to the ground. Piano.
hard. It is impossible to get more than a certain amount ~
Mr. Herve D. Wilkins is a clear writer, and in his of musical sound out of the piano; it only emits harsh The Philadelphia Tonic Sol-fa Summer Institute
paper before the New York State Music Teachers' Asso, and agonized shrieks if smitten with violence. established in 1887, for the training of students in
ciation he gives a lucid exposition of a much neglected teachers in the tonic solfa method, by Mr. D. Batchellor,
truth. Musical thinking is a leading idea with the most It has been prospered beyond the hopes of its
progressive teachers. #. Wilkins has succeeded in Our English cousins in the profession are highly large and earnest classes being present each year. :
putting his ideas in an eminently practical form. Both wrought up by the fingering question. Certain of their corps of teachers are of the best. "As students reach th:
pupils and teachers will find this paper helpful. leading music publishers have adopted the continental established standard they pass the examinations
fingering. This raises a protest from one conservative receive the various certificates and diplomas...' #
Mr. Edward Baxter Perry, in his article, What Shall teacher, as follows: institute is admirably conducted, '' a staff of eig *
We Play, points out a most common and fatal mistake; It is a fact that those members of the musical pro teachers. It gives eight half hours a day, so arra"8%
but like a model critic, he shows the remedy. Mr. Perry fession who desire to adopt the so-called continental that the students are changed from one teacher."
is a teacher of broad experience, and knows what he system of fingering are in a very great minority. The another, thus learning all that is best from the "7
movement '' has its origin among the music pub
says to be a lamentable truth. Young teachers are not lishers; teachers. -

the only ones who make the mistake that Mr. Perry and I have now before me a plain avowal of
strikes at so fearlessly, a mistake that is well nigh as two well-known firms that they are adopting the con Better, in digging for a spring, strike a living spring
universal as fatal. tinental' system of fingering because foreign countries than to pour water in a hollow place.
will not have the English system, and that they (the pub.
When playing four-hand pieces, do not criticise the lishers) suffer considerable loss thereby. But this is not Let the child of affliction take comfort in finding.'
other performer, but if a mistake has been made, pleas.
antly try the passage over again. If the piece is difficult
a sufficient reason why the majority of the English musi like himself who, in spite of all the im
cal profession should have thrust upon themnolens nature, yet did all that lay in his power to obtain *'.
for you, number every five or ten measures, so you can volens-a system which they dislike; and which, more. tance into the ranks of worthy artists and men.T.
begin again at any desired place. over, it has been sought to advance by arguments of the thoven.
TH E JET U D E. 123

architect, the sculptor, the painter, the musician, the poet, the scientist, and the Swift says: When a genius appears, you may know him by this sign, that
mathematician. Such geniuses, however, are, among the world's gifted men, generally the dunces are in a confederacy against him. If you have the
what the Kohinoor is among diamonds. power of genius, says Jean Jacques Rousseau, you will know genius; if you
It has been asserted that the powers of genius are the product of circumstances; have it not, you will never know it. Does a grand piece of music cause the tears
others claim that they are the product of education. There would not be a to flow? Does it cause your nerves to vibrate? If so, you have a spark of
Napoleon in history if the French Revolution had not broken out. What would genius; but, adds the philosopher, if you remain cold, do not even inquire
our Grant, and Sherman, and Lincoln have been without the civil war? Let about the workings of genius. Be careful, however, that you are not deceived
us, however, bear in mind, that men are made for occasions, not occasions for by the false article. There were false prophets, and there are false geniuses.
men. When great works are to be done, God also provides the men to do Such men, of course, must assume and imitate the eccentricities of genius in
them. Yet there are many instances on record, where men assumed their God order to appear like it; for the power of thought and the flight of imagination
appointed duties with hesitating steps and fainting hearts. Schopenhauer says of men of genius no one can assume or imitate. The donkey may put on the
that Genius comes at irregular times, and follows his own course, like a comet, lion's skin, yet when he opens his mouth we all will know him to be a donkey.
yet he always comes when needed, and he always finds the path of his career A great Grecian philosopher, who was remarkable for the negligence of his dress,
unobstructed. Henry Giles says that Genius is always born in the right age of met a young seeker of fame with a robe full of holes. The philosopher stepped
history, the proper spot on earth waits for him and receives him. For all, it is up to him and reprovingly said: Friend, out of the holes of your cloak looks
at least reasonable to believe, that throughout history many great minds failed your vanity. Be not deceived by the holes in men's clothes; do not judge by
to shine, just as there are many diamonds which have not yet been found, and outward signs. As iron is drawn toward the magnet, so will you feel the power
never will come to light. of Genius when you come in contact with it, be it through his works or through
But is genius the product of education? Geniuses are as rare as are the high personal intercourse. Says Bulwer: Fine natures are like fine poems; a glance
peaks in mountainous countries; there are few of them. It is the secret desire of at the first two lines suffices for a guess into the beauty that waits for you, if you
all men, more or less, to have their names inscribed on history's page. If genius, read on.
then, is attainable by education, why have so few secured the coveted prize? If An old legend says, that while the gods were distributing the possessions of
genius can be produced by education, then education has indeed failed most this earth, giving to the king the throne, to the merchant the seas, to the soldier
effectually. Good will and earnest determination are of great aid in matters of the weapons, to the priests the temple, to the hunter the woods, to the farmer
morals, and in study, says a philosopher, but in art pursuits, the will itself is the soil, etc., Genius was out wandering, dreaming, and feasting his eyes on the
helpless. When speaking of the lives of our intellectual princes, they are beauties of nature. When at last he came in, everything had been given away,
described to us as having been thoughtless, lazy boys, who regarded but little and there was nothing left for him. But the gods took pity on him, and in order
their teachers' instructions. They had, however, a capacity for work, and if they to compensate him for his losses, they bade him welcome upon Parnassus Hill,
failed to apply themselves, the fault usually lay with the teacher and his system, whenever he desired to come, and gave him the freedom to go in and out among
and not with the boy and his powers. The fact that these boys became men of the gods.
fame has produced the impression that Genius does not work, that he need not The light of genius is given to but few, so that it may shine all the brighter on
labor like other men. This is a false notion. Men of genius always were hard the road of human progress. According to physicians, talent is often inherited,
workers; they are not only profound thinkers, but quite frequently they are but genius is rarely ever transmitted to posterity. It is a gift, not an inheritance.
excellent scholars; they are, as a rule, hard studentsbut after their own methods Men may be their fathers' sons, or their sons' fathers, but seldom are father and
and with their own purposes. When old enough, they defy the yoke of tutelage son alike famous. If genius is a gift, has not the giver the right to bestow it
and walk out boldly into paths of their own. Who would assert that a Shake upon whomsoever he chooses? And thus we find that the poor lad Burns has
speare, a Milton, a Raphael, a Michael Angelo, a Dante, a Goethe, a Schiller, a the gift bestowed upon him, by the side of the sons of kings and lords. Genius
Beethoven, a Mozart, a Luther, a Napoleon, a Bismarck, a Franklin, a Webster, is, by birth, the true nobleman of the human family. Neither cross nor stars can
a Clay, and many others, were made in the school-room what they finally proved increase his dignity. Putting a ribbon or an order on his breast is as ridiculous
to be. From whom did these men obtain their superior powers? Where did as it would be to daub colors on the face of a statue, or to hang a cloak on a finely
they light the torches which have burned throughout centuries? They were cut piece of marble. Being thus highy favored, his powers for good or evil are
illuminated by the spark divine which comes only from the fire divine. Genius so much the greater, and so likewise is his responsibility.
is a gift which is laid by the side of the little babe, and whosoever has not re Though we may not be geniuses we are nevertheless the fellow-beings of these
ceived it at his birth, need never expect to receive it in later years, no matter great men, and this thought should inspire us. Let us study their lives and
how superior his educational advantages may be. Genius is a gift, education their works, for by communing with them, we become more and more like unto
and learning are acquirements, and it will be easily proven that the inborn them. Who can sum up all the good that has been done throughout the world
qualities are stronger than those that are acquired. and throughout all ages, by the works of men of genius, by art and literature?
When viewing the highest mountains of the earth travels quicker, and that is human thought. How | shall be near the great geniuses that ever lived on
or when diving down into the lowest mines, when sad it is that while men climb the highest moun-earth, when we shall comprehend the mysterious
exploring the ice-bound regions of the North Pole, tains, while they dive into seas and rivers, while connection between mind and matter, when we
or when wandering through the woods and along they spend years in the ice-bound regions of the shall forever be near the source of love and light,
the immense rivers of the hot zones with their North, or waste away under the tropic sun of the and all that is good and beautiful, when we shall
Variety of scenery and wild animals, when meas. South, and all this for the sake of scientific be near the great Genius above, whose works here
uring the Falls of Niagara, or when viewing investigation, they do so little to fathom their own seem so grand and beautiful. Are there any who
Vesuvius in convulsive action, one may well cry|hearts or to study their own minds. Truly did seek an additional evidence of the existence of a
out in the Bible language, Great and marvelous Pope say: Know Thyself; the proper study for God? Let Genius, let the mind of man be this
are Thy works, oh Lord God Almighty. But mankind is man. Though the mountains and the evidence, for God did not manifest himself half so
there is something far greater than these wonders seas are great, the one shall tumble in, and the well in the greatest mountains or the mightiest
of nature, and that is the mind of man, Though other shall dry up, but your souls and mine shall seas of the globe, as he manifested himself in the
electricity
--~-
travels quickly, there is something that live forever. Oh blessed immortality, in which we creation of the genius of man.
~
-
[THE END.]

: PUBLISHER's NoTEs. 4th. With this issue every subscriber whose help of all is the new music in each number of THE
* ETUDE:...We hope our teachers look this over carefully
. TO SUBSCRiBERS. which will show exactly how the subscription stands. to see if it is adapted to the needs of their work.
There are a few business matters which the publisher Send this blank to us with $1.50, and the whole matter
'The Erupe wishes to have clearly understood by the is settled for another year. The egotist is seldom capable of giving efficient in
:
": There has been such a demand for Mr. A. W. Borst's struction: that lies in the nature of the case. Even a
*...*inis expected that the subscription
be paid p to the pap
paper sparkling operetta, Mrs. Speaker, that the supply child will soon perceive whether the teacher has a sole
2d. A notice is sent to each subscriber, when the paid temporarily ran out. We have now copies from Novello
to its interest, or has other and personal aims in view.
up subscription ends, to the effect that the next year's & Co. One of the attractions of the work is that it lies
he former bears good fruits, the latter very doubtful
within the compass of amateurs, and can be given ones. ... I will say nothing about the standpoint of those
'ription is due, but that an explicit notice must be without any stage-setting. egotistical teachers whose first aim is to bring themselves
''' the publisher if the paper is to be stopped, other. Our stock of desirable music is larger than ever. Mr. into prominence and who, at the same time, are perhaps
it will be sent right along for a stated time and col
Presser, while in Europe, personally selected large travelling public performers and composers. They are,
*ion''made, like any ordinary bill. uantities especially to meet the wants of his customers. it may be, chiefly occupied with double and triple fugues
* This course is sustained by the courts, and all Send in your orders early, before the stock is reduced. (the more inverted, the more learned), and they consider
ages to THE ETUDE
of collection go through the regular pro
adopted by all commercial houses.
this knowledge the only correct musical foundation... . .
One of the annoying difficulties in a teacher's work is While pursuing their fruitless piano lessons, which are
* *noyance both to the subscriber and the collector selecting music. It is anything but easy to find exactly quite foreign to their customary train of thought, they
'*'arages creates ill feeling at times. We most the right pieces for the needs of the individual pupil. regard their occupation only as a means to obtain the
estly urge every one to renew in advance, or as soon The programmes that, we publish, are a help that our money of sanguine parents. You may try such agree
' * possible, or advise the publisher at once to stop readers appreciate, and so is the descriptive catalogue able personages for yourself: I could wish you no greater
e Journal. sent out upon application from this office; but the best punishment.
*
124 T EI E E T U D E.
00NOERT PROGRAMMES, Knox Conservatory of Music. Graduating Recital. When the trend of a passage is upward, as from
Romanza from Concerto in d minor, Mozart: (a) Gon measures 27 to 31, it must be Crescendoed.
dellied, Richter; (b) Rondo Capriccio, Leybach; (c) In measure 31 and 32 the L. H. chords must be well
Recital by pupils of S. N. Thatcher. Mazourka Caprice, Perry: Serenade, for string quartet, emphasized. -

Harvest, Lange; Jessamine, Lichner; Mignonette, Haydn ; Sonata No. 5. Piano and violin, first move
ment, Beethoven; Rondo, for two pianos, Duvernoy. In measure 39 the bass is to Crescendo to the A flat
Lichner; Camp of the Gypsies, Behr; An Alexis,
Beyer; Little Wanderer, Lange; Martha, Beyer; Ger of the next measure, and also, retard a very little on the
mania Waltzes, 8 Hands, Fowler; Danse Ecossias, Baylor College, Musical Department, Geo. H. Rowe, two or three last notes.
Director.
Baker; Tendresse, Pacher; Semiramide, 4 Hands, At measure 40 a new melody begins.
Rossini; Maienliebe, Oesten; 5th Nocturne, Leybach; Valse Impromptu (8 hands), Raff. Herbert; Fugue in
Home Sweet Home, 2 Pianos. Kinkel; Ye Merry Birds, EP Major, Bach; Slumber Song, Op. 124, Schumann; Measures 50 and 58 have notes of a longer duration, ,
Kuhe; Oberon, 8 Hands, Schmidt; Grand Valse Bril. Polonaise in EP Major, Op. 22, io in ; Rhapsodie and for this reason they are to be brought out with the
liant, Chopin; Lucretia Borgia, Beyer; Moonlight Hongroise, No. 9, Liszt; Sonate (Moonlight), Fantasia, more power.
Sonata, Beethoven. Beethoven; Fastasia et Sonata in C Minor, Mozart; Another rule is illustrated at measures 55 and 57
Einzug der Gaste (two pianos), Wagner.
Recital given by the pupils of the College of Music, which is; reiterations are to be Crescendoed, unless
Kansas City, Mo., W. W. Jones, Director. Pupils' Recital, Miss L. R. Church, Parkersburg, West otherwise directed. This applies to Motives or Figures
Virginia.
Sonatine, F major, allegro assai, Rondo, Beethoven; as well as to a repetition of the same tones.
Valse, L. Streabbog; Canon, K. M. Kunz; Study
Nocturn, Op. 9, No. 2, E flat major, Chopin; Fugue, No. 11, Child's Piano School, H. Wohlfahrt; Study, R. From measures 82 to 89, the player is to listen to the
C minor, No. 2, J. Sebastian Bach; Polacca, Brilliante, Wohlfahrt; Premiere Leons, 9:
117, No. 11, C. effect of the L. H.
Op. 72, E major, Weber; Weber's Rondo, perpetual Gurlitt; First Violet, F. Behr; In Spring, J. Low;
movement, arranged for left hand, Brahms; M'. a la Canon, K. M. Kunz; Study, Child's Piano School, H. The trill at measure 90 needs to be graded evenly,
Turque (Beethoven), Rubinstein; Sonata (Moonlight), Wohlfahrt; A Merry German Tune, Carl Engel; In especially the Diminuendo part of it, for this is where
C Minor, Op. 27, No. 2, Beethoven; Wedding March, Spring all Birds are Nice, H. Wohlfahrt; Materials pupils usually fail in trilling.
Op. 19, Grieg: Rigoletto, Liszt; Sonata, violin and for Elementary Instruction, T. Kullak; Canon, K. M.
piano, Op. 24, No. 5, Beethoven. Measures 92 to 123 need careful analysis in order to
Kunz; Study No. 16, First Exercises, L. Kohler;
Canon, K. # Kunz; Galop, Album for Beginners, F. play them with the correct effect.
Blue Mountain Female College Graduating Recital. Baumfelder; Duet, Foundation Studies, S. A. Emery; The tenor of measures 9293 gives out a motive or
Medley, arranged by F. D. Baars; Rhapsodie Hon. Canon, K. M. Kunz; Galop, Album for Beginners, F. asks a question that is answered by measures 9394 and
oise, No. 6, Liszt; Tannhauser (Potpourri), Wagner Baumfelder; Sonatina in F. Opus 150. No. 1, H. so on throughout this part of the piece. And here is an
aul; Sonata, Op. 27, No. 2 (Moonlight). Beethoven: # Canon, K. M. Kunz; Study, The Alphabet application of the rule about reiterations. But in this
Polonaise (A flat), Chopin; Protestations, Norris: Walse, F, LeCouppey; Barcarolle, F. Behr; Shepherd's
Op. 42, Chopin; Overture (Midsummer Night's Dream). Song, F. Behr; Canon, No. 200, K. M. Kunz; Study particular instance the L. H. has the principal melody.
Mendelssohn; Barber de Seville (Potpourri), Rossini Opus 46, No. 1, Stephen Heller; Study Opus 47. No. 3, Measures 116 to 121 illustrate another principle in ex
Smith : Sonata, Op. 13 (Pathetique), Beethoven: Con. Stephen Heller; Soldier's March, Studies No. 16, pression; which is, chromatic harmonies must be es:
certo (B flat), Rondo, 2 Pianos, Beethoven; Martha Butterfly Waltz, Study No. 21, The Brook and the Boat,
(Potpourri), Flotow. Study No. 24, (three notes to two); H. Wohlfahrt; pecially emphasized.
School Feast, R. Wohlfahrt; Shepherd's Song, F. Behr; Measures 124 and 126 are alike in form and therefore
Bloomington Conservatory of Music, Mr. O. R. Skinner, La Scintilla, L. M. Gottschalk; Study, The Alphabet to be Crescendoed, and the same in measures 128 and
Director. G, LeCouppey; Study, School of Embellishments, 129. This is another instance of reiteration.
Second Wol., Lebert and Stark; Little Swiss Scene, F.
Mendelssohn, Wedding March; Meyer-Helmund, Mar Burgmueller; Study No. 4, F. Wieck: New Note Book, Measure 138 is a cadenza, and of course not to be played
areta; Weber. Polacca Brilliante; (a). Lang, Violin, Op. 107, Nos. 1, 10, Carl Reinecke; Study F. Minor, J. in strict time. Here the general principle of Cres
'lower Song; (b) Weiss, Carnival de Venice; Smith. B. Cramer: Sonatina, Op. 150, No. 3, H. Maylath;
O. that we two were Maying; Chopin, Ballade in G Sonatina, Op. 36, No. 1, Muzio Clementi; Rondo La cendo on an ascending run and Diminuendo on one that
minor; DeBeriot, Seventh Air with Variations; Watson, Matinee, L. L. Dussek; Duets, Foundation Studies, S descends, is to be observed. The touch employed here
Thy Sentinel am I; (a) Mendelssohn, Violin, Frueh A. Emery; Rondo, H. Lichner; Sonatina in F. No. 2, needs to be clean, clear and brilliant, yet not hard or
lingslied; (b) Weiss, Fantaisie No. 4, Op. 43; Weber, L. von Beethoven; Sonatina, Op. 150, No. 3, H. May. stiff.
Concertstueck, Op. 79. lath; "Grateful Tasks, Op. 102, C. Gurlitt; Sonatina From measures 139 to 171, we have the same R. H.
Recitals by Pupils of W. W. Abell, Stonewall Jackson Opus 127, No. 3, Carl Reinecke; Sonatina Opus 66, melody as from measures 92 to 123 already described,
No. 3, H. Lichner; Rondo in D, Wolfgang A. Mozart:
Institute, Abingdon, Va. Galop, L. Streabbog; Variations, Beethoven; Chil. but here the L. H. motive is dropped out. An impor
Six Variations, Beethoven; Gavotte, F sharp minor, dren's Symphony, H. Schulz. Beuten; (a) Allegro, (b) tant principle in phrasing is illustrated in this part of
John Orth; Air and Variations (Harmonious Black March, (c) Allegro Scherzando. the piece, which is, each two measures makes a section
smith), Haendel: Songs Nos. 16 and 27 (Funeral March), and two sections a phrase. There are exceptions to this
Mendelssohn ; Valse No 2, Godard; Invitation to the
Dance, Weber; Serenade, Moszkowski; Cachoucha, rule. Sometimes a single measure, and at other times
* II.
A LESSON ON LA SCINTILLATA, there are three or more measures to a section. To do
Schumann: Faschingsschwank aus Wien, Op. 26 (Al (Grand Walse Brilliante)
this with expression the player must have the effect of
legro, Romanze and Scherzino), Traumerei und Ro COMPOSED BY LOUIS A. GAERTNER. the section, each two measures, in his mind in advance
manze, Abegg.
Chopin: Nocturne, Op. No. 2, Fantaisie-Impromptu, of its performance. He must tell with his fingers,
Op. 65, Ballade, Op. 47. It will be observed that the following lesson and analy what he feels in his heart.
Liszt: Soirees de Vienne, No. 6. Consolation, No. 2, sis deals with permanent principles rather than just how From measures 172 to 203 there is an inner melody,
Wedding March and Dance of the Elfs. and it is developed out of the L. H. motive shown at
Menuetto, Schubert; Fantaisie, Ravina; Bolero, Ra this particular piece is to be played. Therefore, what is
vina; Menuett, Paderewski; Calvary. Rodney; Hexen. given here can be applied to all other music. This is measure 92. This gives a sense of unity to the piece.
tanz, McDowell; Die Lorelei, Perry; Valse Caprice, the true way of teaching. This piece, La Scintillata, The R. H. chords are to be softly felt down, that is,
Wienawski.
is a good one for concerts and public use, as well as a the fingers are to feel down the keys by first lying on
Music Department Kansas Wesleyan University, brilliant piece for the parlor. the keys to be played and gently drawn toward the palm.
Salina, Kan. The introduction, of 15 measures, is to be played with This gives a clear, yet very soft tone. The melody is to
Polonaise Brilliant (four hands), Low; Nabucodono the indicated expression; bring out a climax at the end be struck with force from the loose wrist, with the thumb
sor, Verdi-Beyer : The Clang of the Wooden Shoon. of each ascending run. In the chords in measures 3, 4, or finger that comes in contact with the key to be espe"
Molloy; Eolian Whispers, Auchester; Fantasia Bril. 7, 8 and 9, the alto and tenor are to be brought out cially loose and non-resisting; this will give a beautiful
liante, DeFaust. Alard; Study, Op. 46, No. 28, Heller; clearly, while the upper and lower E flat are to be sub vocal-like tone, round, full and sonorous, of great carry"
Angels Serenade. Braga; Sonata Pathetique, Op. 13, dued. The chords in the 14th and 15th measures are to ing power and of the most perfect purity.
Beethoven; Air Waire, Rode.
be struck with a closing hand touch; the fingers are At measures 204 to 235, we have again the melody that
Drew Ladies' Seminary, Musical Department, loosely shut up into a fist, striking the keys as they close we had at measure 92, but this time it has a Figurated
Lyman F. Brown, Director. in toward the palm, with some help from the wrist and L. H. accompaniment which is to be clearly heard, yet
Prelude and Fugue in C minor, well tempered clavi. arm however. The high F of the run, in measure 17, it must not be too distinct.
chord, No. 2, Bach; Sonata Appassionata, Op. 57. I. needs to be well accented, and so does the E flat at the
Allegro assai. II. Andante con moto. III. Allegro
* From measure 235 to the end the piece is made up of
ma non troppo, Beethoven; Inpromptu in A, flat, Op. end of the run, because the listener must know where material already used and explained. Apply the follo".
29, Chopin; Romance, Op. 28, No. 2, Schumann; a run begins and ends, or else it will be nothing but a ing to every piece you learn. The Introduction and
(a) Anitra's Dance; (b) In the halls of the mountain meaningless noise.
first page of a piece, and the last page must be part"
king, Op. 46, Nos. 3 and 4, Grieg; Berceuse, Op. 57, The Syncopation of measure 21 must be especially ac larly well learned, because, if you know that you know
Chopin.
Macon Conservatory of Music. cented, for Syncopations are a rhythmical dissonance, the Introduction and first part thoroughly well, you. can
play with confidence, and bid defiance to stage-fright,
Overture, Tannhuser, Wagner; Q Mio Fernando and like a harmonic dissonance, they must receive a
(Favorita), Donizetti; Reconciliation, Lucantoni; Polo. marked accent. and by the time you have played a few measures, *
naise Militaire, Chopini Staccato. Polka, Mulder; The chords of this Period need to be played with a ousness has all passed away. If you can play the last
Beauty's Eyes (violin obligato), Tostii,Concert Etude, loose wrist, and the climax chords may have the help page perfectly and brilliantly, you are sure to leave a
*If I were a Bird I'd Fly to Thee,' Hensell, Nor of the arm, but surely keep both arm and wrist loose and good impression on your audience. N. B.Learn the
wegian Wedding Marche, Greig: Three Wishes, Pinsuti,
La Sera (Evening), Lucantoni; The River and the Rose, non-resisting. These climax chords are in measures 19, remainder of the piece as well as the first and last P*9*
CHAs. W. LANDoN.
Roeckel. 21, 25 and 31.
LA SCINTILLATA
GRAND E VAL SE BRILLANTE.
LOUIS A. G.4 ERTNER.
Allegro brillante. - 6
** =

copyright, 1890, by Theo. Presser.


|
(/ tempo

Ap e tranquillo
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"The notesmarked in brackets() can be omitted.


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accellerando
:
ELECTRIC FLASH GALOP.
----------|-><-----

By Richard Goerdeler.

Copyright, 1890, by THEO, PRESSER,

|
Electric Flash Galop.
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Electric Flash Galop.


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126 T EU E E T U T) E. ~

MUSIC TEACHING. of music, we must cultivate all sides of the subject. It pitch or duration. Therefore cubes and wooden minims
has been truly said that a musician must hear with the and crotchets do not teach music at all, nor do they teach
BY MRS. JOHN CURWIN. eye and see with the ear. . The child who is practicing any fact in connection with music which cannot be ex
sight-singing is learning to hear with his eye, for what he plained quite as clearly with blackboard and chalk.
We are agreed, I suppose, that up to a certain age all sees on the printed page must be heard with his mental 5. We should teach one fact at a time, and the most
|
children-boys and girls alikeshould learn music; and ear before he can sing it; and we must so cultivate his ear necessary fact first. It is a grand thing to know what to
also that this musical training should begin at a very that the musical sounds which he receives shall take the leave out. Key signatures can be dispensed with for a
early age with singing, the 'i, of an instrument being form of notation before his mental vision. The musical considerable time. If they are introduced before the
added later. The first instrument which a child studies profession is just beginning to wake up to the necessity pupil understands the formation of the major scale, he
is generally the pianoforte; and, as it is decidedly the of ear training, and an ear-test of a simple kind is added finds them puzzling and hard to remember, not knowing
most useful as a medium of general musical education, to some of the practical examinations. Such ear-tests why one key should have four sharps and another
let us give it, our chief attention, and see what provision are necessarily haphazard and tentative at present, for four flats, etc., etc. Time signatures are even less
is made for the effectual teaching of so common a subject. the musical profession (outside our Tonic Sol-fa king necessary in the early stages. e can do better work
In the higher grades we have made great strides. In the dom) has not got any system of ear-training, but it is at without them; for, of all the facts which we have to teach 'st
music schools of London (and outside of them too) we least a move in the right direction. Ear-training, to be in relation to time, the signatures come last in educa ###
have most excellent professors; and our senior students effectual, must begin with the child's first music #: tional order.
will, I think, compare favorably with those of any city in and grow with his growth. Having said so much about method, I beg to assure
the world; while in small provincial towns we can gen. Another necessity to the intelligent appreciation of everybody (and Dr. G. Stanley Hall in particular) that I
erally find one master who can give a thoroughly good music is familiarity with musical form, a subject totally do not consider method a substitute for knowledge. I **)
lesson to an advanced pupil. neglected in elementary teaching. Yet a e child suppose none of us who have the characteristics of a > it.

But this imposing edifice is built upon a sorry founda can be taught from the very beginning to observe imita sound intellect would suggest anything of the sort.
tion; for the elementary teaching throughout the country tions of rhythm and melodic sequence, and he will take Four things, at least, are necessary to make a teacher. #.
is exceedingly poor, and the testimony of professors of a far greater interest in a little piece when he knows Knowledge of his subject first and foremost. Secondly,
the higher grades is that when they get a new pupil the something about its construction, just as he delights in knowledge of educational principles. Thirdly, skill in
first term is commonly spent in trying to cure bad habits, icking a flower to pieces and learning about its parts. applying those principles. Fourthly, enthusiasm.
and to undo much of what the pupil has been doing. he elements of musical form are far more valuable to t is not knowledge which is lacking, nor are they
Why have we these extremes of good and bad teaching the amateur than the elements of harmony, and easier to lacking in enthusiasm; for, as far as my experience goes,
acquire; therefore, form should come first. When the young music teachers are full of zeal and of the honest
in the same subject? ... If the elementary teaching of all
other subjects is steadily improving, why is the elemen.pupil enters on more serious study, form gives life to the desire to do their work in the best manner possible. But
tary teaching of the to-day very much what it was dry bones of harmony, and it is a mistake to postpone it I hold that institutions which undertake to supply the
thirty years ago? If the first lessons in geography and until the student begins to study composition. teaching power of the country in a special subject are
arithmetic are now made so delightful, why are the first Few books have been written for the pianoforte bound to give their students not only a sound knowledge
pianoforte lessons still talked about as drudgery? teacher, as teacher, and one of the most useful that I of educational principles, but a course of training in
Partly because parents still believe that any one who know of is Mr. Prentice's book, The Musician, which practical teaching (beginning at the very beginning),
can play a tune can teach a beginner, so that there has treats this subject in a manner at once simple and inter under the supervision of skilled teachers, and on some
not been a demand for better teaching. Even heads of esting. logical system, so that they shall not be obliged to learn THE
The most common faults and difficulties of young their businessas we of an older generation had to do
schools are apt to forget that it is in the very first stages
of a subject that the teacher is required. pupils are due to the lack of educational faculty in their by experimenting upon their pupils. Ladies and gentle
But it is chiefly, I think, because what the French and first teachers. A little consideration of a few broad men, the time is coming when headmasters and mis.
Germans call Pedagogy is entirely omitted from the educational principles proves this.
curriculum of our colleges of music, and it is from these 1. For instance, we know that each lesson should arise
tresses will no more accept an untrained music teacher
than an untrained teacher of any other subject, But the '
that we draw our young teachers. A large proportion of out of the last, and lead up to the one which follows, but supply will only be in answer to a demand, and it is for
the students who enter these music schools do so with the is there any subject under the sun taught in more hap. you, the headmasters and mistresses of En lish schools,
full intention of becoming teachers, but they leave them hazard fashion than music? Mere arrangement is not to create the demand, and to reject certificates which,
like dark lanterns, full of light, but unable to impart it. method, and in the ordinary pianoforte tutor the material while giving authority to teach, are no guarantee what.
Anxious, eagerly anxious, as they may be to do their is only arranged, and that solely with regard to difficulty ever of teaching power.From Journal of Education,
work well, they must tread the old path of experiment of performance, without any consideration of the intel. London.
and rule of thumb; till, after years of experience and lectual grading necessary to the clear understanding of
many mistakes, they acquire .# raise their fees, and musical facts.
WHAT PUPILS OUGHT NOT TO D0.
-leave off teaching beginners. Look for a moment at 2. We should teach the elemental before the compound,
the training undergone by teachers of general subjects when treating a complex subject like music, which has
their study of educational principles, their practice in the its as well as its intellectual side. The reading THE following editorial by Dr. Karl Merz was written
art of teachingand you will see how deplorably at sight of the simplest tune is a complicated matter for a and forwarded to the World a few days before his death,
behind we have been in the preparation of teachers of little child. He has to think of the name of the note, to and contains much valuable advice and useful sugges:
instrumental music. There has been no educational find its place on the keyboard, to consider what amount tions for teacher and pupil.
literature on the subject, and the art of teaching is of time it is to occupy, and to make up his mind which 1. To be lazy and then blame the teacher for not learn.
supposed to come of itself. It may be true that the Jinger to use. When all these difficulties confront him ing anything. -

teacher, like the poet, is born; but he can also be simultaneously, is it any wonder that the poor child is 2. To be impatient under correction.
developed out of average material, and surely he ought discouraged? But if he be systematically drilled by 3. To be irregular in attendance at his lessons.
to be developed out of the very excellent material which graded exercises in the separate topics of time, name and 4. To waste his time in playing other music than that
we have in students of our Royal Academy and other interval, he will quickly learn to combine them. A good assigned for the lesson.
music schools. method, therefore, must provide separate exercises for 5. To treat teachers disrespectfully. -

But how can teachers be trained except they have a each element of the thing taught. 6. To dictate to the teacher as to what music he is to
trainer? and how can he train except he have a method? 3. We should teach the thing before the sign. Let the U18e.
And so we come back to the point from which as good child realize pulse, accent '' measure before showing 7. To soil his music.

educationists we should start, and set ourselves to inquire him the signs by which these facts are represented. 8. To expect good instruction for unreasonably low
what a method should be. Time, or rather the notation of time, is to many players. prices.9. To deduct payment for lessons which were missed - -

Method, writes Charlotte Mason, implies two old and young, a great difficulty, and I am more and
thingsa way to an end, and stepwise in that more convinced that the difficulty is mainly owing to the by his own neglect. -

way. Further, the following of a method implies an practice of teaching time arithmetically and not rhyth 10. To be conceited, or jealous of other pupils. . .
idea, a mental picture, of the end or object to be arrived mically. There may be no difficulty in teaching a child 11. To ask a teacher to use an old and worthless"
at. of average intelligence, who knows something of arith. struction book. - -

Now what is the end which we have in view when we metic, that one semibreve is equal to two minims or four 12. To expect progress without putting forth all his
begin a child's musical training? Is itought it to be crotchets, and so on up to thirty-two demisemiquavers; energies.
rimarily to make him a fine performer? Surely not; but the same child, confronted with a mixture of
-

13. To study music for mere display.


or, if it were, we should not teach every child, but only these notes in a simple melody, will fail to grasp the 14. To refuse to ' to good ind
those in whom the musical gift declared itself unmis time, though he may be able to tell the value of every 15. To practice when weary in body or mind.
takably. note and dot. This is a common experience of all 16. To to play in public before he has learned
Take a kindred subject-drawing. We do not expect teachers. And yet such children will march in time, something that is worth hearing... ifficulties *

that all those who learn it will become eminent artists, or and the little feet will dance in time to any sprightly tune, 17. To say, I can't, when meeting with key.
even first-rate amateurs, though both may be possible. they possess what is called an ear for 18. To get angry at
ow is this? Simply because time in music is board when mistakes are made. the piano, and bang at the */
We train the hand to draw mainly for the purpose of time. hange
- - -

training the eye to see; to observe beauty of form, color, rhythm and not arithmetic, and the usual approach to 19. To take liberties with compositions and to ch"8
light and shade; to know why certain forms are good, the subject is all wrong. We begin by showing the child them to suit his own taste. - -

and others the reverse. We aim, in fact, at creating an the notes, the sign, before the thing is apprehended; we 20. To expect as much progress, if but little gifted, as
intelligent public, for whom the artistthe One attach to them names which to the child are meaningless is made by those who have great gifts.
can work. So in music. A few only may become fine (and therefore, educationally, a stumbling-block), and 21. To be ungrateful to teachers. ical history
performers; all, or nearly all, can learn to be good we make no appeal to the faculty which is there, waiting 22. To neglect studying harmony and music' " i
listeners. while we train the fingers to perform, let us to be developed-the child's innate sense of rhythm. 23. To neglect reading musical journals and mus
train the ear to hear; to observe beauty of musical form, Now, the French time-names (familiar to teachers of books. -

color, light and shade; and then even those who from the Tonic Sol-fa method) are an invaluable aid in instru 24. To be satisfied with his attainments.
one cause or another abandon the practice of an instru mental as well as vocal music, for they appeal to that 25. To be contented with halfway work.
ment will never lose their interest in music as an art, innate sense of
and establish the necessary con 26. To
27. To be
be careless
unmindfulandofacquire
correctbad habits.and a correct
fingering
and when they go to a concert they will be able to form nection between the time-sign and its sound, a connection
a more or less intelligent opinion of the merits of a com which cannot be established by mere arithmetic. p' of '. ithout sentiment
position, without waiting for the verdict of the daily 4. We should teach the concrete before the abstract. 28. To play or sing without Sen - -

ng defined our aim, let us consider the method by


paner8. -
This maxim, so very true in itself, has nevertheless been 29. To 'asty work and play new
a snare to some music-teachers; and mechanical contri 30. To expect success without having regular p
which to approach it, and in what respects existing vances have been introduced for teaching staff, time, and hours.
31. To attempt to play without count"8. *** -
From
modes fail to attain to it. - - - -- everything else. Now, music in the concrete is sound,
It is evident that, to secure this intelligent appreciation and cannot be anything but sound, whether we refer to Brainard's Musical World.
THE ET U D E. T27
kini E-A-T-IMEEER,S A Supplement to Every Instruction THE
the as Book.
not best
th:
THE STUDY
dl as
w rial #
with #:
*:
PIANO PRIMER. I5th EDITION.
NORMAL COURSE -->OF-sess.

'*'.
t *: of THE PIANo.
dimir
erem is
Notes and Remarks by such Musicians as Dr.
Wm. Mason, Mr. Wm. H. Sherwood,
Mr. Albert R. Parsons, etc. EC.
EY

E.A.E.E.N.T.
PIANO. TECHNI[.
tler "t
DESIGNED FOR
fload It is concISE; it is ExHAUSTIVE; it is endorsed by most
l *
of the great American Pianists and teachers. Letters of Translated bw M. A. Bierstadt. SCH00LS, TEACHERS and STUDENTS,
commendation of it have been received from the most
rominent musicians in more than twenty different By VVM. B. VVAIT,
tates. It is adopted as a STANDARD work in most of PRICE SI.O.O.
the Colleges in America. Its sales have been phenome Author of Harmonic Notation, (THEo. PREssER,
nal. Its price is very reasonable, viz.: In Cloth, em. Phila.), System of Tangible Music for Use of the
bossed, $1.00; in Board covers, 75 cents, and in paper T: work is designed to accompany the instruction
book with beginner, and will serve as a supple Blind, Measure, Rhythm, and Form.
covers, 60 cents. Address
ment to any method.
THEODORE PRESSER, The information is imparted in the form of questions The NorMAL Course is based upon the fundamental
and answers, which will make the work useful as a primer, idea that, for the of the development, discipline
1704 CHESTNUT ST., PHILAD'A, PA. but it is vastly more direct and comprehensive than any and information of the mind, and for teaching the learner
primer published. how to think and to do, Technical studies in Music are as
The following are a few of the subjects, out of the 175 useful as any other branch.
FIFTY EXAMINATION QUESTIONS pages, which we give at random:
## General Advice on the Method of Practice. FEATURES OF THE BOOK.
FOR PIANOFORTE STUDENTS,
Necessity of Counting. Clear, concise statements of facts and principles.
i: , BY ALBERT W. BORST. Some Special Difficulties. It deals only with essentials.
in: It arranges the materials in grades, by Divisions,
Price 5 Cents. 50 Cents Per Dozen. Musical Memory. Courses and Steps.
| 80:
lam On Reading Music. It exhibits a distinct mode and order of development.
li THEO. PRESSER, Publisher, Philad'a, Pa. The Pedal. The course is as clearly laid out as in any other branch
* Overcoming of Bad Habits. of study.
m' Practice based upon understanding of means as applied
The book will be bound in cloth, and will be a pleasing to ends.

#
s'
CHASE BR0s. PIAN0s. contrast to the ordinary pasteboard cover primers that are
placed in the hands of a beginner.
It permits the attention to be given to the hands in
practice, and not to the pages.
. In schools, it will secure uniformity in the instruction
Wi. Address the Publisher,
it. given.
It furnishes the bases for oral recitations and examina
thik THEODORE PRESSER, tions, as in other subjects.
1704 Chestnut St., Philadelphia, Pa. It is logical, systematic, thorough.
It is a book for use by schools, teachers and students.
PRICE $2.OO, BOUND.
PIANO PROTECTOR We will make a deduction, as usual, to those ordering
AND the work in advance of publication. We will send the
work, post-paid, for only 60 cents to those sending cash
: FOOT-REST COMBINATION. with order.
months.
The work will not be ready for several

This Invention provides a Protection for


Address the Publisher,
the Piano, also, an
THEO. PRESSER,
ExTENSION FOOT-REST,
1704 Chestnut St., Phila., Pa.
Connected with the PedalsEspecially de
signed to enable Persons of Small Stature
' 'I'll T FI'll II: Il Mility. to Rest their Feet, and also to Work the A PIANOFORTE INSTRUCTOR.
Pedals of the Piano.
BY JAMES HAMILTON HOWE.
GRANDS and UPRIGHTS,
PRICE LIST. Op. 15.
- - , ,- This Instructor includes for its theoretical portion:
CHASE BROS. PIANO CO., No. 1. Foot-REST, -
No. 2. 4- - -
- $1.50
-

Signs; Accent; Marks


(nickel plated), 2.50 Notation; Rhythm; ChromaticSyncopation; Abbrevia
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No. 5. 44 (polished brass), 8.60 nique. A full page is devoted to Diagrams for Position
at the Pianoforte.
Address The Practical part contains a thorough set of Technical

A Silm I Him Whit.


JAMES HAMILTON HOWE.
THE0. PRESSER, PHILA., PA.
Exercises, progressively arranged; scales, major and
two minor, in all keys, supplemented by attractive Les
sons and Illustrative Compositions.
Throughout the work are introduced Duets for Teacher

CLOTH, $1.5O.
The Philia Mial Imal and Pupil, illustrating certain exercises in an entertain
ing manner.
last four pages are devoted to the Major Scales in
oMLY $1.00 A YEAR. all keys, with Grand Arpeggios; the Harmonic, Melodic
Includes a complete set of Scales, Arpeggios, Double original
and Mixed Minor Scales in all keys, and an Grand
Thirds, Double Sixths, etc., in
various together Arpeggio and Octave Exercise, which is both interesting
fingered exercises for special developments, and AMERICA'S LEADING MUSICAL PUBLICATION. and instructive.
The Instructor has been endorsed by the following
# ool of Embellishments. It follows nicely the popular Educational Department. Edited by Hugh A. Clarke, Mus. Artists and Teachers: Wm. H. Sherwood, S.A. Emery,
*noforte Instructor, of late issue (by the same Author), University of Pennsylvania.
Doc.,
issue contains 16 pages of new music, and from 16 to 20 pages Fannie Bloomfield, Neally Stevens, Constantin Stern
"connection with appropriately graded studies and in: of Every
musical literature, interesting and valuable to Music Teachers,
structive compositions. |' work has been introduced Pupils, and all lovers of the Art Divine. It is the official organ of the berg, J. S. Van Cleve, J. C. Fillmore, Arthur Foote,
"...some of our leading schools of music. A newly Pennsylvania state Music Teacher's Association. Louis Mass, Alex. Lambert, Calixa Lavellee, W. S. B.
Mathews, Carlisle Petersilia, Joshua Jr., G.
*ised and corrected edition is in process of publication, H. Howard, W. H. Dana, J. Wolfram, S. N. Penfield,
necessitated by the advanced sales of the work. The A Folio of Music Free to Every Subscriber.
Technic" in the future will be bound in limp cloth, so SPECIAL TERMS AND DISCOUNTS TO MUSIC TEACHERS. C. H. Morse, W. G. Smith, Max Leckner, Willard
esirable for carrying the same in music rolls. A new Burr, H. A. Kelso, Thomas Tapper, Jr., Norman
and original Arpeggio Exercise will be introduced in the McLeod, Flora M. Hunter, Ad. M. Foerster, E. R.
next edition. Kroeger. F. W. Root, W. L. Blumerschein, Wm. Mac
Yearly Subscription, $1.00. Sample Copy, 10cts.
donaid, F. R. Webb, H. M. Wild, Mrs. L. Heerwagen.
This work, which is meeting with great favor and a
THEO. PRESSER, GOULD & W0OLLEY, Publishers, likewise extensive sale, retails for the small sum of
No. 1704 Chestnut Street, Philadelphia. 1416 and 1418 Chestnut St., Philadelphia. $1.50, with liberal discount to the profession and trade.
128 T EI E E T U D E.
~

A NEW B00K FOR BEGINNERS, sEcon D volu ME. -

THE ART OF PIANOFORTE


BY HUGH A. CLARKE, MUs. Doc. Price $1.50, post
PLAYING. #MSTAMAT) Studies in Phrasing
1617 SPRUCE STREET,
*
(ruler
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and 5073 Main Street, Cermantown, By W. S. B.. MATH EVVS.
PEIILADELPHIA.
This is a new work embodying the results of thirty Price $1.5O Net
years' experience of a practical teacher, who has held
the responsible position of Professor of Music in the
Pennsylvania University for the last fifteen years. 22d season. AWOII that 7try Shill [f th: PiMS Illilij
The design of the work is to furnish a thoroughly Private and Class Lessons in all Branches of Music.
artistic school for beginners, embodying all the latest C O N T E N TS :
results of the best criticism. The exercises have been INSTRUCTORS:
constructed with great care, and are graded in such a Piano.RICH. ZECKwER, R. HENNIG, MAURITs LEEFsoN, Introduction. Primeiples of Interpretation.
Method of Study.
way that the difficulties that beset beginners are almost LELAND Howe, HERMANN MoHR, GUSTAV HILLE,
insensibly overcome. Not a page has been admitted for MARTINUs vaN GELDER, F. E. CREsson, MissEs S. I L I, Us T R A TI O N s :
the purpose of making a book; no other work has been
borrowed from ; but every piece in the work is the Sow ER, M. RUTHRAUFF, A. SMITH, A. SUToR, L. . Mendelssohn, First Song without Words. -

TIERs, B. DAvis, L. WILLIAMs, MRs. W. O. J. TIERs. Bach, Loure in G.


result of careful study of the requirements of a complete Chopin, Nocturne in E flat.
elementary school for the pianoforte. Organ.DAVID D. WooD, LELAND Howe, F. CREsson. Mendelssohn's Hunting Song.
Schumann, Warum.
Wiolin.GUSTAv HILLE, MARTINUs wAN GELDER, RICH. Mendelssohn, Spring
Schumann, Nachtstuecke in F. Op. 23, No. 4
Practical and Pleasing. SCHMIDT. Bach, Invention in E minor, 3 voice, No. 7.
. Schumann, Grillen.
Wioloncello.RUDOLPH HENNIG. 10. Rubinstein, Melody in F.
It is of the utmost importance that a proper beginning 11. Schumann, Polonaise in D, out of Opus 2.
be made. There are two features in this book that make Vocal.PAsquALE RoNDINELLA, MRs. Bolck-HUNSICKER, 12. Mendelssohn (Duetto), No. 18.
it one of the best works for beginners ever issued, Miss L. LAw. 18. Schumann, Homewards.
namely 14. Chopin, Prelude in D flat.
Theory.R. ZECKwKR, F. E. CREsson. 15. Bach, Saraband in E minor.
16. Schubert, Minuet in B minor. Op. 79.
It Interests the Pupil, it Cultivates the Taste, Acoustics.-R. ZECKWER.

On these two points every teacher must look Orchestra Instruments.H. L. ALBRECHT, ED. Koch, Address Publisher,
for success, and it is well to have a text-book at the G. MUELLER, C. PLAGEMANN, R. HoPPE. THE O. PRESSER,
beginning that lays particular stress upon important
principles. 1~O4 CHESTN UT STREET,
FREE ADVANTAGES.
There are numerous duetts for teacher and pupil, all Harmony, Symphony, Instrumental and Wocal Ensemble, Orchestra PHILADELPHIA, PA.
having a specific object in view. There are a goodly Classes, lectures on Acoustics and other Musical Topics.
number of pleasing pieces of a didactic nature, and exer Concerts by Teachers and Pupils in our own Hall.
cises for strict and mechanical fingering, such as scales,
arpeggios, five-finger exercises, etc.
Address publisher, THEO, PRESSER,
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ALDINE S. KIEFFER.
RICH, ZECKWER, DIRECTOR.
PALMER's A fine collection of Church Tunes, Anthems, Choruses,
A GRADED COURSE OF STUDY | and Glees. Just from the press.
New Pronouncing Pocket Dictionary Contains 116 Church Tunes, 8O. Pages Class
songs, Zo sunday-school songs,
of Musical Terms. 32 Pages Anthems
26OO TERMS DEFINED.
A new and greatly enlarged edition of the Pocket
cABINEToRGAN Just the Book Teachers have wished for. 192 pp.
By M. S. MORRIS. 75 Cents per Copy; $7.50 per Dozen by Mail.
Dictionary has recently been issued, which contains up. PRICE - - - - - 1O Cts. The great question before vocal music teachers is: How can we
ward of 2600 definitions, covering about all that is - - - - - - - -
im
o new
required by musical students and teachers. It should Containing the best lists of pieces and studies, vol. prove the masses in reading music? This book contain"."
method, for character notes have been successfully used for years.
be in the possession of every person who studies music. umes of voluntaries, arranged in systematic order for - der of
E*RICE 25 CENTS.
SPECIAL
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onlyFER.We
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covermail
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Address THEODORE PRESSER, Address Publisher,
1704 Chestnut St., Philad'a, Pa. R U E B Us H, K L E FF E R & Co.,
THEO. PRESSER, IDAYTON, VA.
JUST I SS U EID.
1704 Chestnut Street, - - Philadelphia, Pa.
We be to announce that we have now in course of publication a
FOUNDATION EXERCISES new work for Organists, entitled -

IN PLANOFORTE PLAYING. MMT H|| *H The Organists Journal.


By A. K. VIRGIL. FOR MUSIC TEACHERS AAWD STUDENTS.
sold by subscription, and will be complete in 14
To be used on the PRACTICE CLAVIER or PIANO. BY p: # : be #' ' an attractive cover and *:
ontain at least four excellent pieces suitable for church ,
E. M. SEFTON. shall also present a number of novelties ap ropriate # for the
The object of this work isfirst, to establish the doctrine that Piano | Recitals and other occasions. . The Price.9 Subscript e: work
forte Technic is or should be an Elementary Study; and, second, P E. I. C. E. - - - - S 1 - O O. entire work is $300. This will be the finest and most *''' and
to supply teachers and pupils with exercises and facilities by which for the Organ in the market; it will contain the most an
latest compositions of the best German, French, Amer
this all-important subject may be taught, and true pianoforte This book makes work easy for THE TEACHERthe young English writers. in to fill u -

technic may be clearly comprehended and practiced by the youngest " the study of music clear and attractive for THE '' *:"
of high
class. Nothing
be within thewill be put
ability " churc
of any
beginner from the first lesson, as heretofore has been impossible. PUPIL. It is a new departure and is a step in advance of any
The plan of the work, and the exercises given, are new and thing published as a means of interesting the pupil and aidin organist.
the teacher. It tells When, Where # How much shoul like to impress upon you the fact that:
original. be studied or given in Theory, Technic and The Piece, and attention : will bewill ' ,
given
*

the mostPedal
to the Phrasing, carefulMarking, isru ::
In the two volumes more than thirty picture illus their various subdivisions. No steps need be taken hesitatingly by
the young teacher. Read what Dr. William Mason, the head of the tion, ete. ype).
trations are given, by which not only proper positions, profession, has to say of the work:
but correct movements are easily learned.
# :ted#
ill be from Engraved
music forplate"
-

(notmoney;
so little type each -

MR. E. M. SEFTON, part, costing 25 cents, will contain $1.50 worth of music. the student,
Dear Sir:-I have received the copy of Teacher's Help and 4th. None of the pieces are too di 1 for the Amateur
BOOKS I AND II, EACH $1.5O. Student's Guide, and thank you for sending it. I have examined it and the Professional Organist wil find a large ::/
with interest and regard it as a very useful work. It keeps con which are only to be found at present in five editio hers and Organ
stantly before the pupil the true and fundamental principles upon pupils,
5th. on
Theaccount
work will
of the
also
large numberitself
commend to ,
of pieces a"
EDWARD sCHUBERTH & C0, Publishers, which effective practice is based. The various exercises are arranged
nstruc -

23 Union Square, New York. in a systematic way, tending toward orderly and rapid development. aid
The directions, which constantly remind the pupil of the absolute "rt. 1,2,3,4,5,6 and 7 are now ready: and will #. ''':d
-

necessity of deliberate and conscientious work, may at first glance on receipt of the subscription. Succeeding parts : complete.
seem almost superfluous, but the experienced teacher will at once forwarded, one each month, until the 14 numbers # n, will be sent,
SUITABLE FOR CHORAL SOCIETIES. recognize their importance and the urgency of their constant repeti Circulars and sample pages, giving full information,
tion. It is the kind and quality of practice which tells. One might free, on receipt of name and address.
as reasonably expect, by sowing poor and imperfect seed, to harvest For further information, address
Mrs. SPEAKER, good fruit, as through imperfect practice to gain good and desirable
*'''
AN OPERETTA.
results in pianoforte
Yours sincerely,
WILLIAM MASON.
THE0. PREssFR, WME, ASHMAll." [...].
231 East 80th
1704 Chestnut Stroet, street,
By ALBERT W. BORST. Address
PHILADELPHIA, PA. NEW YORK, N- Y.
Novello, Ewer & Co., or from the composer, 3602 Hamilton
*:::::::: special' terms for quantitles. THEO. PRESSER, PHILADELPHIA, PA.
T HE E T U D E. 129
rofessional (Carig. rofessional (ards.
--~~~~~~~ $rhools of #lugir.
Mr. T. J. DAVIES, Mus. Bac., oRGRN GPer-IIrics, &c.,
Gives lessons personally, or by correspondence, in Harmony,
MIR. ALBER T w. BoIRsr.
Counterpoint, Canon and Fugue, Musical Form and
orchestration. Students prepared for musical examinations
Most thorough and systematic course. Compositions revised and
corrected. Terms moderate.
Address 18 LIBRARY BUILDINc,
Teacher of the

OR Gr N 11ND PIrNOFORTE
36O2 HAMILTON STREET.
Philadelphia, Pa.
A MUSIC SCHOOL
-
-

------ -

* * *
---
*
-
Scranton, Pa.

Harmony Lessons by Correspondence $rhools of #lugir. -

Lessons by Mail in Counterpoint and Orchestration. GERMANY, BERLIN.


For terms and particulars, address
20 POTSDAMER STRAssE.
G. T. BULLING,
174 RAcE streET, cincINNAT1, o.
MADAME ANNA STEINIGER,
CONCERT PIANISTE AND TEACHER,
IEcosTOINT, M.A.ss.
KlIll'I Mill.
BRANCHESTAUGHT:-Piano, Violin; Violoncello, Singing .
Beethoven Concerts at Conservatories a speeialty. and Theory of Music; Also Literature Classes in - -

Madame Steiniger will make a tour, West and South, in January, German, French, Italian and English Languages.
February and March, 1890, introducing her four Beethoven Con
certs. Special terms and unequaled inducements to teachers who PROFEssoRs:-Messrs. K. Klindworth, Dr. Langhans,
will work for this series of concerts, in their cities or towns. Rfer, Dr. Yedliczka, Dr. Reimann, Tul. Hey and
other renowned masters.
DANM'S MUSICAL INSTITUTE WARREN, DH1
Address FRAU ANNA STEINIGER, Boston, Mass. An institution devoted exclusively to the study of
Prospectus to be obtained gratis through the Director, MUSIC. Gives instructions in all departments of Music,
W. S. B. MATHEWS, KARL KLINDWORTH, with a thorough and Systematic Course of
TEACHER OF PIANOFORTE, Berlin, 20 Potsdamer Strasse.
Study, and a Faculty of the highest excellence and
Lecturer and Writer upon Musical Topics, efficiency. Founded in 1869. S&" Send for Catalogue.
No. 236 STATEST., CHICAGO, ILL.
Room18. - -
A STANDARD TEXT-BOOK,
Mr E. M. B O W M A N,
(Editor of Weitzman Musical Theory,)
STEIN WAY HALL, NEW YORK. DANAS PRACTICAL HARMONY,
PIANOFoRTE AND ORGAN instruction by the methods on which
modern artistic performance is based. PRICE $2.O.O.
MUSICAL THEORY lessons, orally or by correspondence, by the
Weitzman Method, which, by its lucid and interesting
course of study, commends itself to the attention of all who desire
to become thorough musicians.

Milwaukee School of Music, Claverack College


*22 anoanway, milwaukee, wis.
is, CONSERVATORY OF MUSIC AND ART,
HARMONY LESSONS BY CORRESPONDENCE,
With a Large Faculty of Superior Instructors, and
Claverack, Columbia County, N.Y.
- J. C. more, Director. a splendid building for its exclusive use, the Oberlin
Conservatory offers unusual advantages for the Study of
MRS. W. H. SHERWOOD, Music. 544 students last year. Total expense for one CHAS. W. LANDON, Musical Director.
-

Concerts, Piano Recitals and Piano Instruction.


SUMMER PIANO LESSONS GIVEN.
year's study (38 weeks) need not exceed $300.
Address at her residence, Terms begin Sept. 17, Jan. 6, and April 7. Courses in Piano and Voice Culture, Organ, Violin, Cornet, Har
28S Newbury Street, If you are intending to study Music in any of its mony and Counterpoint.
: - - BostoN, MASS. branches, send for catalogue to Normal Course for Music Teachers. Weekly Lectures and Musicales.

JEDVVT.A.R.D E-A-X-TEE, IEEE.E.Y - F. B. RICE, Director, NEW DEPARTURE.


: CONCERT PIANIST AND LEcTuRER OBERLIN, OHIO.
A Special and Original Course for Learning the Art of Teach
Lecture Recitals at Colleges and Conservatories a Specialty. ing Music.
Recitals by distinguished artists during the year.
Address, 178 Tremont St., Boston, Mass.
Mr. Perry makes an Annual Western and Southern Tour, from Sept.
6CHOOL OF MUSIC, Individual lessons only. Daily use of the Technicon and Techni
phone. All practice under supervision.
10th to the holidays. Special Terms to parties on his direct DE PAUW UNIVERSITY, GREENCASTLE, IND.
route desiring recitals at that time - Instruction given in all Departments of Music. Classes in Chorus Drill, Vocal Sight Reading, and
Pupil, classical, Artist, Choral and Orchestral Concerts, Tonic Sol-fa.

HUGH A. CLARKE, Mus.Doc,


*3223 south &#stha Street,
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FIVE courses OF STUDY.
Portrait and Figure Painting in Oil or Water Colors. Landscape,
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PEIILADELPHIA. Room, Board, Practice and Sheet Music at reasonable rates. developed by the most modern theories of teaching.
For Circulars, apply to
Diplomas and Degrees Conferred.
JAMEs H. How E, DEAN, GREEN CASTLE, IND.
ISNS BY MAIL!" ":" For Circulars of other University Departments, apply to
dent, Alexander Martin, D.D., LL.D., College of Liberal Arta.
: L'Bowman, A.M., s.t. D., Dean of School of Theology. Thirty-Seventh Year Opens September 15th.
RICHARD GOERDELER, Hon. Alexander C. Downey, LL.D., Dean of School of Law.
Henry A. Mills, Dean of School of Art:
Director of Music at Pennington Seminary, Samuel S. Parr, Normal School.
SEND FOR ILLUSTRATED CATALOGUE.
PENNINGTON, NEW JERSEY,
RITES new, brilliant and original Piano Music, for two and four
hands, on short notice. Refers to his popular compositions, A. H. FLACK, A.M., President.
Published by The Oliver Ditson Co., win. A. Pond & Co., F.A. North
Co., Theo. Presser, and reproduced in Leipzig, Germany. For
terms, apply as above.

MRS. MARY CRECORY MURRAY


CHICAGO CONSERVATORI, MTN [INSERVATORY OF MUSIC.
(PUPIL of william MAsoN)
Instructs Teachers and Students in the MUSIC HOCUTION, DEISARIE EIC. Chickering Hall Building, Chicago.
"MASON METHOD OF TOUCH AND TECHNIC.
A special Summer Course for Pianoforte teachers
m' also make engagements for Concerts or Piano Lectures with will be conducted by Messrs. CALVIN B. CADY and All branches of Music, School of Lyric and Dramatic
*tive, Recitals, adapted to general audiences or Musical Asso
elations and Classes of Students. Art; Normal Department for the training of
Address, Care of THE ETUDE. FREDERIC GRANT GLEAson, July 7th to August 6th.
Teachers; Languages. Course of instruc
Courses by Mr. Cady : tion thorough and progressive.
C. P. HOFFMANN, I. Practical Course of 20 Lessons to Children.
DIRECTOR CONSERVATORY OF MUSIC, II. 12 Lectures on Teaching. suMMER SESSION, JULY 7th to AUGUST 8th.
III. 10 Lectures on Material for Teaching. FALL TERM BEGINS SEPTEMBER 8th.
OXFORD collecE, oxFoRD, ohio. IV. 10 Lessons in Analysis.
Catalogue mailed free on application.
M: lessons by Correspondence in Harmony, Counterpoint and Course by Mr. Gleason:
cal Form. Standard text-books. Plan pursued leads from es
J. J. HATTSTAEDT, Director.
ished foundational principles to iatest practice in composition. 20 Lessons in Harmony.
13O T EI E E T U D E.
MUSICAL GAME.
Portraits of Famous Composers
JUST PUBLISHED IN PH0T0-GRAWURE.
BEETHOVEN, MOZART, CHOPIN and WAGNER.
ALLEGRAND O.
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Wm. Knabe &R
Size 1-12x16 in. (life size), on 22x28 paper, @.....................S1.00 A SPLENID GAME FOR EVERY HOME. GRAND SQUARE, all UPRIGHT
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(Printed on Japanese paper, mounted on beveled card board.)
IET FR. A. M. E. D.
the players, the cards are played in succession and added together as
they are played until the value of a whole note is reached, when it
counts one for the person who played the last card and completed the
whole note. This gives a general idea only. Full directions, with
RIANDaRORTES)
Size 1-Framed, 20x24, in 2-inch oak, with 34-Inch silver rules for a number of different games, tables showing the notes, rests,
inside, @......... *: &c., accompany the game. These Instruments have been before the Public for over
Size 2-Framed, 12x14, i hose learning to play the Piano, Organ, Violin, or any other instru fifty years, and upon their excellence alone
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It teaches the value of notes and rests. UN PURCH ASED PRE-EM IN ENCE,
The names of the notes.
Which establishes them as
The following are in preparation and will be issued in the order The various keys in which music is written.
The different kinds of time.
named:BACH, HAENDEL, HAYDN, Liszt, MENDELssoHN, MEYER Practice in musical fractions.
BEER, SCHUBERT, SCHUMANN, WEBER and others. The easiest way to learn to read music.
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It is readily learned, even by children.
Time devoted to playing this game is not wasted, as in most games.
JELLINEK & JACOBSON, Publishers,
For Sale by
13 East 17th Street, New York.

THE0. PRESSER, 1704 Chestnut St., Philada, Pa.


A splendid game for evening parties.
A new departure-entirely unlike any other game.
Parents can teach their children the rudiments of music, even if not
musicians themselves.
Interesting to old and young, beginners and advanced alike.
M. M. Win", a mill
Wvery Piano fully Warranted for 5 Years.
Those intending to study music will find it to their advantage to play
this game a while before beginning lessons
FOR BEG IN N EFS USE. WM. KNABE & CO.,
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Address Publisher, 22 & 24 E. Baltimore Street, BALTIMORE,
148 Fifth Ave., near 20th St., N.E.W YORK.
W H IT N E Y'S THEO. PRESSER,
17O4 Chestnut Street, Philadelphia, Pa. 817 Pennsylvania Ave., WASHINGTON, D.C.

RAPID METHOD THE ELEMENTs


FOR THE PIANOFORTE.
PART I. HARMONIC NOTATION. A CIRCULAR
Containing 184 pages, large size. Its system of in For Classes or Individuals.
struction is easy, yet progressive, and music teachers
are rapidly adopting this NEW WORK. VV I L L I A M
BY

B. VV A IT.
TO THE MUSICAL PROFESSION.
Price only $2.OO, postpaid. PRICE 50 CENTS.

-SEND FOR A FULL DESCRIPTIVE CIRCULAR. A Preparation for the Study of Harmony.
Address -
Address Publisher, Profound, instructive and beautiful are
THE W. W. WHITNEY CO., THEO. PRESSER, the attributes generally accorded the lectures of
PHILADELPHIA, PA.
TOLEDO, O. the late Karl Merz. With singular skill he
wrestled with musical philosophy, musical history
NEW, EASY AND PROGRESSIVE
and musical aestheticism, and he understood it to
H. B. STEVENS & C0, Meth00 for the Pianoforte, deeply move the musician and to enchant the
amateur. Wherever he lectured he inspired a
BY JULIUS E. MULLER. greater estimate for the musical art and higher
MSE's 6 mill', PRICE $1.00. Bound IN BOARDS.

This is an entirely new work. The author is an active


respect for the musical profession.
He was often urged to issue his lectures in book
169 TREMonT sT., teacher, who is well known as the composer of that once form, but he would invariably reply:
parlor piece Falling Leaves.. In this work
e has aimed at the popular taste. The names It is time enough when I am dead.
of
B OST ON, MASS. Streabbog and Spindler appear the oftenest. The book
has very few exercises. Address They may be published then to bene
THEO, PRESSER, fit my wife, if she survives ame.
No. 17O4 Chestnut Street, Philadelphia.
Agents for the Standard Cheap Editions-Peters, This beautiful wish is to be carried out. "
Augener, Cotta, Breitkopf & Hartel, Advice to Young Students of the Pianoforte. stantin Sternberg, the distinguished pianist, and
BY ALBERT W. BORST. Johannes Wolfram, the noted musician, will edit
Schlesinger, Etc.
PRICE, Io cts. the lectures gratuitously, and Dr. Charles H.
We wish to call the attention of Directors of Some good advice for every one studying the piano. Merz, of Sandusky, O., the worthy son of the
Music in Schools and Seminaries, also of Music late Karl Merz, has associated himself with his
Teachers in general, to our stock of Foreign and
SOLICITORS WANTED father's special friend, Theodore Presser, in pub
American Music. We make a specialty of good To secure subscriptions for the Manual of Music, by lishing said lectures.
W. M. DERTHICK. This book, which is enjoying a
fingered editions, and when desired will send larger sale than any musical work of the price ever
offered to the public, is introduced exclusively by sub
selections of different grades for inspection. scription. Music teachers and musical people gladly Send your orders to
assist our representatives to secure the largest possible
sale, thereby rendering their employment most pleasant
and remunerative. THE0DORE PRESSER,
We employ only those who possess the necessary in PHILADELPHIA, PA.,
SpECIALATTENTION PAID TO MAILORDERS. telligence, address and general attainments to enable
them to fully maintain the high artistic and literary
character of the work, and to such we offer permanent or Dr. CHARLES H. MERZ,
Catalogue sent free
situations at a liberal salary or commission. We invite
TERMS LIBERAL. correspondence.
-
Address SANDUSKY, 0.
= on application, and
Price of Book, Mailed,
also Bulletin of New Music sent regularly MANUAL PUBLISHING COMPANY,
to those sending their address. 415 Dearborn Street, CHICAGO, ILL. $1.5O.
T HE E T U D E. 131.
BERN. BOE KELMAN'S
TWO NEW BOOKS.
-
COMPOSITIONs.
Inauguration March.
-
For four hands.
For eight hand
Romanza. For Violin or Violoncello. Op.2
JERUSALEM.
Ballabile. For Orchestra. Orchestra parts..
4-
Score..... ...
For Piano. Op. 3......................
Polonaise de Concert. For Piano Solo. Op. 4..
.75
.90
# A GRAND ORATORIO. #=. -

44 - - For eight hands........ 2.0)


Valse de la Reine. Op. 5. For Piano.. ... .90
- - --

* Cheval. Morceau Caracteristic. Op. 6................... 60


In der Einsamkeit. For String orchestra
Single set parts.
op. 7. Score, #5
By HUGH A, CLARKE, Mus, Doc. Choice Classics,
- - - - ... .25
Sehnsucht. For Piano Solo. Op. 8..... .50
Address THEODORE PRESSER, Price $1.50, Bound in Boards. ...+:=
1704 Chestnut street, Philadelphia, Pa.
A judicious selection from the works of foreign authors
TEACHIEES. The libretto of this Oratorio is taken from the Bible, of the highest rank. A glance at the contents will be
and gives, in an epitomized form, the story of the taking sufficient for players of musical discrimination. Printed
of Zion by DavidThe prosperity of JerusalemThe from new engraved plates on finest quality music paper.
P0CKET METRONOME. defection of IsraelThe consequent destruction of the C O NT ENTS:
$|||}|, ||||||II, III || ||[IPEISIII. city and the king's captivity. AIR DE BALLET................. ... ... JADASSOHN
-

GRUTZMACHER
The theme now takes up the promise of restoration ALBUM LEAF....
- BARGIEL
under the reign of the promised kingHis comingHis
rejection-The final desolation of the cityConcluding
with the promise of the Heavenly City and the descent
[0RR of the New Jerusalem.
CANZONETTA . .
Ukh. The Oratorio is to be produced in April by the Phila. CHILDHOOD'S FROLICS.
, D.C. Price, Nickel-plated, 50 Cents, Net, Postpaid. delphia Chorus, with a large chorus and orchestra, and '
has already excited widespread interest among musical
Giving the correct Metronomic Marks after the people as the first work of such magnitude written and
Maelzel Standard, together with the produced in America. FROLICS...............
HAPPINESS ENOUGH
True Tempos of all the Dances. HERZENSLIEDCHEN..
LEICHTES SPIEL...
LIED OHNE WORTE..
These instruments have been especially manufactured THEODORE PRESSER, LOVE SONG...........
MELODIE...
for The ETUDE, and will be sent as a premium to any one PUBLISHER,
sending two subscribers. Address
(). THEO, PRESSER, 1704 Chestnut St., Philad'a, Pa. 1704 CHESTNUTST, PHILADELPHIA, PA.
We have just published
ON TEACHING AND TEACHING REFORM.
POLONAISE.....

LECTURES BY
TWO PRACTICAL HARMONY; REPENTANCE..
ROMANCE.....
ROMANCE.. ........SCHUMANN
-

DESIGNED FOR THE USE OF PIANO STUDENTS. -

SERENADE................................... ...... HABERBIER


Albert R. Parsons and Constantin Sternberg. Y SLUMBER SONG... ...HELLER
DR. F. 1." RITTER. TRAUMEREI........ SCHUMANN
Price 25 cents, in Paper Cover. VILLAGE MUS N VoN WILM
PRIoe 75 CENTs in PAPER: $1.00 in BOARDs ZUR LAUTE.... - OF MANN

Address Publisher, THE0. PRESSER, Price, in Boards, - - - $1.00.


1704 Chestnut Street, Philadelphia, Pa. A work of the greatest importance to students of har: Price, in Cloth, - - - - 1.50
mony and the pianoforte. There is no other work of
this kind in our language, and we are sure that it will
IEEE occupy a distinguished place in our system of musical
education. It takes the pupil over the whole ground of

HENRY MIRR harmony. All the rules are covered in exercises of the
most varied kind, to be played at the pianoforte. It is a
good preparation for the art of composition and improvi.
sation, calculated to incite the student to musical pro
duction. The work will help greatly to facilitate the
young musician's difficult task regarding the
PIAN O S . "*" f harmony.
THEo. PREssBR,
PUBLISHER,
thorough

FOR PIANO AND VIOLIN.


(With extra Violin part in separate binding.)
1704 Chestnut Street.

HENRY F. WIFE & SONS Contains compositions by the best authors, and of
absolutely unequaled merit. They will be found equally
acceptable for concert performances or drawing-room
PIANO COMPANY.,
DACTYLION. pastime. The separate violin part relieves both per
FOR PIANO STUDENTS.
book.
A new invention of great practical value and real benefit to the Piano formers of the discomfort of playing from one
BOSTON. PHILADELPHIA.
Player. Issued in the same careful and costly style as Choice
Classics.
C O N T TE N T S :
ANDANTE AND MARCH.
Manufactory, Wakefield, Mass. ANGEL'S 'A'
JUST OUT.
INTERMEZZO.

THE SCRATCH CLUB, MEDITATION...


MENUETT ......
MENUETTO..
By HUGH A. CLARKE, Mus. Doe., NU
PROFESSOR OF MUSIC IN The UNIVERSITY OF PENNSYLVANIA, NIGHTSONG
NOCTURNE.....
Author of The Art of Pianoforte Playing, Harmony on he Inductive
AMethod, Music to The Acharnians, Jerusalem PIZZICA
e (a new Oratorio), etc., cte. PRIERE, LA ERNST
REVERIE... .FAUCONIER
ROMANCE ...SCHUMANN
"It is a little book which will interest and please musicians and ROMANCE ....HALEVX
amateurs by its chatty common sense and suggestiveness. Evidently, ROMANZA.. KRAUSE
' the work of a man who knows his art well enough to handle it SERENADE......... ---------------------------------------- TiTTL
without overweening solemnity.Boston Literary World. #. SERENADE... SCHUBERT
tle of the cleverest bits of writing concerning music that has To strength h # er". SERENADE.... HAYPEN
*Ppeared
'' in America. . . . The book is full of entertainment, improve the touch. - --
oko'
will expand the ideas of young readers and gratify those of
older ones.' -Philadelphia Evening Bulletin.
# flexibility
To give correct
and rapidity.
position of the hand.
SERENATA...
NG'S AWA - - - - -

To save time and a vast amount of labor. - - -- - .SCHUMANN


Price, in Paper Covers, 75 cents. N:
Boards, including separate Violin part, $1.00
h hom Price, in Cloth,
PRICE $4.50,
". or sent, postpaid, on receipt of price, ...':
the sale b
by**For - - -
nt of
MAAs, MADAME RivK-Kind, Roseat GOLD
leading artists and teachers, among " 44 1.50
it. - is - **

THE POET-LORE CO., Beck, CARLYLE PETERSILEA, etc."f tion. - -

*23 SOUTH 38th ST., PHILADELPHIA. Send for "*:#oRE PREssex. FOR SALE AT ALL MUSIC STORES.
132 T EI E ET U D TE.

INSTRUCTIVE, INTERESTING and MUSICAL.


Introduction to Studies in Phrasing.
C00L MUSIC B00KS!
Twenty STUDEs FIRST LESSONS No, not Cool, but filled with that Restful, Harmonious,
Soothing Music, which helps one wonderfully
FOR to Endure Extremes of Weather,
it:ST
Hot or Cold.

THE PIANOFORTE, --Ea-i (If you have no Guitar, Mandolin. Branjo, Flute or
Violin, call or send for lists of fine instruments at our branch
store. J. C. HAYNEs & Co., 33 Court Street, Boston.)
OF MODERATE DIFFICULTY,
For Development of Style, Expression and
MMI'll SABBATH-DAY MUSIC. For Piano. 38 beautiful Melo
dies, finely arranged. Price $1.

Technique. ---E---- V Ql.


l2
2, of Miss Eleanor W. Everest's ALBUM OF SONCS.
first-class Songs by the best authors. Price #1.
INSCRIBED TO THE MUSIC TEACHERS OF AMERICA.

EY
W. S. B. MATHEWS. QL:LECEPrice
SONGS. New, enlarged edition. 82 jolly Songs.
200,000 sold. 50 cents.

ANTON STRELEZKI, PRICE - - - - - $1.5O. 9:y,DandFAMILIAR DANCES. For the Piano.


as merry as they can be. 50 cents.
100 of them.
In Op. 100.Volume II.
FOR MUSIC FESTIVALS,
T L.A.S. By Carl Zerrahn. 29 splendid Choruses, Sacred
THEODORE PRESSER, The author has brought together a valuable and Secular. Most of them quite new, $1.
---

1704 Chestnut St., Philadelphia, Pa. collection of little pieces, musical and poetic in
CHOICE SACRED SOLOs, 34 fine songs...................
quality, within the ability of children's fingers cHoic E SACRED solos, for Low voice, 40 songs
A WEW B00/( 0/W A NEW PLAM. and within the range of the children's minds. SoNG CLASSICs, Soprano and Tenor, 50 songs...
SONG CLASSICS, Low Voice, 47 songs...........
They are taken from the most successful col cLAssic BARI To NE AND BAss SONGS...

lections of this class of tone poems for children CLASSIC TENOR SoNGs, 36 songs..............
CHOICE VOCAL DUETs, the very best..............
the world can show. EVEREST's ALBUM OF SONGs, good selections.
MAUD V. WHITE's ALBUM, tasteful Songs.........
There are, in all, 34 distinct pieces: among
SULLIVAN's VOCAL ALBUM, a master's work

M|S|| MSMS them will be found


Melodie....................... ........ Schumann.
Slumber Song........................... Gurlitt.
Po PULAR so NG collection, 37 good songs.
Good ol-D so NGs we used to sing, 115 songs...
COLLEGE SONGS, 115,000 sold............................
coll-EGE songs FoR BANJo; FoR GUITAR, each.
RHYMES AND TU NES. Osgood. Sweet home music....
Three Angles........... ---- -- Reinecke.
GATEs.
By W. F.
Happy Farmer....... ..............Schumann.
INSTRUMENTAL.
PIANO CLASSICS, Vol. 1, 44 pieces....
Price One Dollar and Fifty Cents. Holiday Eve......... ... Baumfelder. PIANO CLASSI.cs, Vol. 2, 31 pieces.
CLASSICAL PIAN 1st, 42 pieces..............
Ghost Story........................... Reinhold. PoPULAR PIA No collection, 27 pieces
USICAL MOSAICS is a unique book. It is the first book in
the English language that presents the very best sayings on Jovial Huntsman....................... Merkel. POPULAR DANCE Music collection.
musical topics, chosen from the highest rank of authors. Study-Game of Tag.......... - - - - - Heller.
You NG PEOPLE's classics, 52 easy pieces....
The selections are principally in the line of aesthetics and criticisms, The above are all superior books.
and range from one line to three pages. Much time and labor has Good Night........................ Loeschhorn.
been spent on the work, and the book-maker has shown much skill A Little Story........ Kullak.
**** *** * * * * * * * * * * * *
in its general make-up. The idea, in its preparation, was to present EMERSON'S NEW RESPONSES. #:
Quartet and Church Choirs; 74 short pieces of sacred music of the
to the music-loving public just as much of the cream of musical WITH PIECES BY best character, such as your choir needs.
writings as could be condensed into 300 pages. All useless or value
less matter has been omitted, and as a result we have a volume con MENDELSSOHN, SPINDLER,
taining the best sayings and writings of the writers on musical BEETHOVEN, LICH NER, THE TEMPERANCE CRUSADE. :
topics, in all ages and countries. L. Q. Emerson and Edwin Moore. Earnest, refined, elevated poetry
FOERSTER, GAYRHOS, and music, which will be most welcome to the best classes of
temperance workers.
17O AUTHORS. ETo.
SONG HARMONY 60 cts, $6 doz.), by L. O. Emerson.
The pieces are all closely annotated, fingered, * Just exactly the book that will suit
600 QUOTATIONS. etc. There is also, at the beginning of the work,
ou for this winter's Singing Classes. Also an appropriate and good
k for High Schools.
We give below a few of the names of writers from whose works
selection has been made, and the number of quotations from them: a few chapters on the object and manner of Adopt, without fear, for Graded Schools, our
SONG MANUAL (Book 1, 30 cts, $3 doz.; or Book 2,40
Beethoven, 18. Christiani, 15. using the work; Rudiments of Musical Form; * cts., $4.20 doz.; or Book 3, 50cts., $4.80
doz.). Admirably adapted to the different ages of school life, with
Fillmore, 21. Goethe, 11. Phrasing; What it is to Play with Expression; plain instructions and best of music.
Hauptmann, 7. Haweis, 12.
Hiller, 11. Kullak, 12. Subjective and Objective in playing, etc. CLASSIC FOUR-HAND Co ION ($1). Nine
Liszt, 12. Mendelssohn, 10.
The work is intended to precede the two vol teen superior Duets for Piano, by Goda
and other first-class composers.
####" Hofmann, Brahms,
Schumann, 60. Wagner, 16.
Weber, 8. Pauer, 5. umes of Studies in Phrasing, which are among
Thibaut, 6. Wan Cleve, 7. YQUNC PLAYERS' $1.00). 51 of the very best and
PositA's
the most popular musical text-books now used hers, 55t'ion '':
filling 143 pages. Hearthly commended to Piano Teachers as
Space will allow us to mention but sixteen of the one hundred
and seventy authors.
This is a k for musician and non-musician, for professional in the country. As a work of genuine useful the first book of pieces (or recreations) to use.
and amateur, for teacher and pupil, for all who know or who wish to
know anything of music in its highest sphere. It has been warmly
nes in teaching, the volume cannot be excelled. WHITNEY'S__ ($2). 33 good pieces for Manual and Pedal,
indorsed by teachers and artists in this country and England and We will, for a limited time, offer the work at ORCAN ALBUM by 20 good composers.
will fill a place in our libraries and on our tables that hereto
fore been vacant. reduced rates. - OPERATIC 1). 19 of the best operas are rep
er-ver, student-should own
SAICS. MUSICAL MO. RIANdYi'rion
the themes for as many pieces, by the best modern composers, fur
As a presentation volume it cannot be excelled. nishing the very best entertainment for the lovers of favorite
Address all orders to
+4
OUR sPEcIAL OF FER.
operatic airs.

CHOICESACRED solos. For soprano, Mezzo-soprano


THEODORE PRESSER, 50 cents will rocure a co
or, Tenor ($1.) 35 of the most lovely sacred songs, suitable for
solos in church, or for enjoyment at home.
17O4 Chestnut St., Philadelphia, Pa. when publish , if cash :
Pamies the order. *
The best Companion for an Instruction Book is MAsoN's
EDWARD BAXTER PERRY's -* PIAN OF ORTE TECHNICS, containing every exercise needed
for the full development of technical ability on the pianoforte. By
FANTASY FoR PIANo, William Mason, with explanations by W. S. B. Mathews. Price
- DIH LCIEET ET = Address publisher,
BASED UPoN THE RHINE LEGEND. Any Book Mailed for Retail Price.
Universally pronounced the best Lorelei yet written, in the old or
new world. THEODORE PRESSER,
Melodious and descriptive; excellent study for the left hand.
Played in 100 concerts throughout the country, by the composer
and Mr. W. H. Sherwood, since its publication, March 1st, 1888. 17 O4 Chestnut Street,
0LIVER DITSON COMPANY,
JBOSTOINT.
Address THE0. PRESSER, 1704 Chestnut St., Philadelphia, Pa.
G. H. DITSON & Co., LYON & HEALY, J. E. DITSON & C0.,
PHILADELPHIA, PA. 867 Broadway, New York. Chicago. 1228 Chestnut St., Phila.
- T H E ET U D E.
*#=#TELE:=#

GILhes4a NewPR
VIR*tablis AC TI CE
and Superior system in
: CL AV IE R the study of the PIANo.
From Dr. Hans von Bulow. AN ARTISTIC TECHNIC $ From Albert Ross Parsons

secured more quickly by its use than by anyother


means. Indorsed and in daily use by the
* R TISTS 11ND TE 11 G H E R S.

I announce you a benefactor of humanity, For all purposes of silent practice in point
as your instrument would disinfect the atmos
*
== off ttrue piano-forte
iano. touch and unerring tests of
-

phere of unnecessary piano thumping plague. '- - - technique, the Practice Clavier commands my
Approved and highly recommended by - exclusive preference.
* || A sILENT PIANO. .
A means of GREAT EconoMY to learners and players'
Very truiy yours
*

24- i -
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"The Virgil Fractice Clavier Co.,
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for gaining the necessary technical ability for

MODERN+PIANO+PLAYING,
The inadequate results from technical ---

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| Science, having investigated this sub
|ject, has discovered and can explain the
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| STUDENT'S TECHNICON, It is now used by eminent pianists in
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FIEICE, Si2- | use, and hundreds of teachers testify that
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1 As this new method marks a most important reform in technical teaching, all piano
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T EI E E T U D E.
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||||ISWIHMS SINIS W E R NER'S VOIC E.
A Monthly Magazine Devoted to the Human Voice in all its Phases.
*

A Practical Guide for the Restoring, the culti


TALKS ABOUT MUS/0 vating and the Preserving of the Voice.
"I'm AND MUS/0 L/FE.
FVERY SINGER AND EVERY TEACHER OF SINGING SECULD HAVE IT
Werners Voice for 1890 will be Better and Brighter
more Complete and more Practical, Larger in Size and
BY Larger in Circulation, with Increased Capital and
# Scope, and with Greater Attention to Analy:
CLASSICAL MUSIC.
N0 M0RE APPROPRIATE PRESENT FOR A MUSICAL
THOMAS TAPPER. sis and Criticism.

$1.50 A YEAR ; 20 CTS. A NUMBER.


FRIEND CAN BE FOUND.
PRICE, BOUND IN CLOTH, $1.5O.
Mention THE Erube, and Send for Full Prospectus and Sample copy
Address the Editor and Proprietor,
Price reduced from $5.50 to $2.50 per Vol., This volume appeals to every student of music, how
POSTPAID. ever elementary or advanced. It is designed to bring to EDGAR S. WERNER,
the attention of those who make music a life-work, the No. 28 w. 230 STREET, NEw York.
very many contingent topics that should be considered in
connection with music. To this end the subjects selected Twenty Lessons to a Beginner -

INSTRUMENTAL. for the chats have a practical value, cover considerable


A collection of Classical Pianoforte Music, by the best ground, and are treated from the point of view that best upon the Pianoforte.
authors. This volume contains 512 pages, Sheet Music aids the student. The reader is taken into confidence By Mr. W. S. B. MATHEWS.
size, printed on fine music paper from engraved plates; and finds in the chapters of this work many hints and
elegantly bound in cloth, embossed in gilt. List of con. benefits that pertain to his own daily life as a musician.
tents mailed to any address. A glance at the divisions of the work as to Parts and This work is perhaps the most novel of any of the
Chapters will give one an idea of its scope and prac. of this very successful writer. The general
ticability. ine of it was foreshadowed in his article upon Ele.
PART I.
-
mentary Instruction Books, in the December issue of
W00AL. Study. THE ETUDE. It combines the following peculiarities:
This volume is the same size and style as the Instru Chapter -\otive of Study. 1. EAR TRAINING.From the very first lesson there
mental collection, but contains Vocal Music only. List
4.


2Where shall I Study?
3.What shall I Study ? are exercises calculated to awaken ''
educate the per
4.Method of Study. ceptions of pitch and time relations, of which music as
of contents mailed to any address. No such collection 5.What shall be my Side Study? to its form, is composed. The relation of tones to key,
of vocal music has ever before been published. PART II. chord relations '' time are taken up in their simplest
Ethics of Musical Education. forms, and gradually developed to the complexity suit.
Chapter 6.Work and Culture. able to pleasing pieces of the easiest kind, such alone as
7.Sketching. the first quarter can contain. It is believed that the
* 8.Taste. method o' this part of the work will be found not
Popular 50c. Music Books. * 9.-Expression.
10.Criticism. only practicable if carried out according to the directions,
but also explained with such clearness and particularity
PART III.
One of the best collections of English and Time and Its Use.
as to enable the young teacher to apply the system with:
Song Bouquet. American ballads and songs with choruses. out other help than the book itself. *

Cheapest folio of music published. 224 pages, full sheet music size. Chapter 11.Time and its Power.
12.-Disposition of Time for Study and Practice. 2. TECHNIC AND TOUCH.The foundation of
Parlor Bouquet. Companion to Song Contains 13.Corner Moments. ianoforte technic is laid according to the ideas of Dr.
instrumental music of different grades of 14.Striving.
difficulty. Great favorite. 224 pages, full sheet music size.
4.
system, which not only develops the finger
PART IV. ability more rapidly, by far, than any other system, but
Song Diamonds. Vocal
-
please music of every
everybody. description. Sure
Containsselections to
from Teaching. |also assists in educating certain parts of what might be
such authors as Gounod, Molloy, Aide, Claribel, Dolores, etc. Preparation for Teaching. called the Mental Technic of thinking music, upon
What Teaching Means. which so much depends through the later course of musi.
aking Lessons.
Prima D0nna Album. New and elegant songs by the best
composers of modern times. Should 1S.Giving Lessons. cal study. The exercises in arpeggios and scales
are so valuable in this direction that it would be wise
grace the library of every singer in the land. PART V.
to use them for practice if they had no value at all as
Album 0f Sacred Music. Adapted for use in the church
or home circle. Finest
Surroundings. mechanical developers of finger power and facility; for
chapter 19.-Society and Solitude, there is no other method in which this work can be done
collection of music published for young organists and choir leaders. * 20.Friends and Friendship.
ome Studies. so easily. - - -

Musical Chatterbox. Nos.1 and 2. These beautiful books The om to a Beginner show the manner in which
are, without doubt, the most popular these exercises should be applied in the beginning of the
collections of medium and easy grade songs and pieces, . Each book
contains eight beautiful illustrations, which will delight the young
folks.
PART VI. course, and in this respect cover new ground.
Books and Reading. 3. DICTATION AND MEMORIZING-All the
Golden Hours. A collection of instrumental music, brilliant ise of Books and Books worth Owning.
and attractive, and within the capacity of
vote-Book and Journal. amusements in the first ten lessons are to be dictated to
pianists of moderate ability. It is sure to please you. General Musical Literature. the pupil and written down from ear, and in no single
Classic Bouquet We cannot too earnestly recommend it,
27-Periodicals and How to Read Them. instance learned from the notes. This method of "r"
* especially to young pianists and students. PART VII. cedure takes rather more time, but it results in develop.
No such collection has ever before been offered at such a low price. Short Tallis on Morals.
ing a manner of playing which is purely musical in its
Re8d Organ Folio. Great care has been taken to use only Chapter 28.Character and Character Building. essence, and as such closely related to all the late:
growth of the pupil's musical powers. In this respect
such pieces as come within the compass * 29.Little Things,
of a five-octavo organ. Should be on every parlor organ in the land. 30.Life and Life-Work. the present work marks a wide departure from the mus.
31.Thought, Duty and Example. cular concepts and mechanical concepts which to?"
Parlor Dance Folio. Will be hailed with delight by private PART VIII. constitute the entire mental basis of elementary playing:
dance parties. Contains a choice col
lection of the latest dances, also the German, quadrille calls, etc. Health and Earning.
and, in fact, often vitiate the work of those who arrogate
Chapter 32.How many Hours make a Day? to themselves the name of artists. ing th
Piano Treasures. One of the finest collections of instru 33.Overwork and Rest. * Another curious
veryfeature
likely of
mental music by the best writers of the will
work,beconcerning."
Europe and America, that has ever been issued in this country. il
34.Earning.
35.Thrift. * value of which there differences 0
36.-Poverty, and what has come from it. opinion, is the gradual introduction of the staff, :
Song Treasures. Such authors as Abt, Sullivan, Pinsuti,
rather the ofmethod
a tonicof
Burnay, Hatton, Tours, etc., are repre: preceding it the
withfullvarious "'
sented in its pages, and the best and most popular songs only have
PART IX. notations, sol-fa pattern, staff coming
Driftwood.
bsen used. -
only at the twelfth or thirteenth lesson, and then as a
Grand Army War Songs, as sung by our Boys in Blue; Chapter 37-Concert-going, in many lights. gradual evolution from the simpler forms receding:
: 38-Golden Mediocrity.
to which is added a selection
39.-Classical and Popular Music. What Mr. Mathews has undertaken to do in this #:
of Decoration Day and other special occasions. The choruses have 40,-Going Abroad. is, first, to give the pupil a start toward musical p :
all been arranged for male voices, by Wilson G. Smith. *4 41.Thoughts. ing; to introduce the notation in the true #
Any of the above books mailed, postpaid, on receipt of price. namely, as the means of expressing conce t: to
MUSIC AND B00K CATAL06UES MAILED FREE. SPECIAL OF FER. the pupil already has within himself; an' ":
develop a musical touch, and lay a '
The work when published will be mailed to all those which the highest grades of artistic play":
afterwards be founded without undoing anythin: but
who now send cash in advance, for 50 cents. The work is distinctly original and A'. y
HRMI\!. Address publisher,
THE0, PRESSER,
there is no single element in it not tested and prov
experience.
THEODORE PRESSER,
145 and 147 Wabash Avenue, Chicago. 17O4. Chestnut Street, Philadelphia. 1704 chestnut St., Phil Pa.
2- .

volti || SEPTEMBER 1890,


S-> --~~ C. TE * > R, son DE
VC

3O SeLECTED STUDIGS STUDITES


FROM OPUS 45, 46 and 47.

STEPHEN HELLER. MELODY PLAYING. FOR sy"NIOR PUPLS.


REVISED BY B

ALBERT R. PARSONS, CALVIN B. CADY, HAMILTON C. MACDOUGALL ||


ARTHUR F00TE,
E, BAXTER PERRY, J0HN S. WAN CLEVE, EEICE, S.L.25
CHAS. W. LANDON and THE0. PRESSER. ARE YOU 100KING FOR SOMETHING MEW/2
Something out of the beaten track? Are you tired of
PRICE: $1.5 O. using the same tudes, year after year? If so, the pub
lisher takes pleasure in calling your attention to Studies
in Melody Playing. They fill a gap that has not been
It is the aim of the editors and the publisher to make occupied before. Every teacher has felt the need of more
this work everything that can be desired for educational interesting work for his younger pupils. We are indebted
purposes. Each editor has been assigned a special work, to Heller, Burgmuller, Reinecke, Lw, Lange, Tschaik
owsky, Scharwenka and others for much that is interest
thus Mr. Arthur Foote has undertaken the revision of ing and useful in this direction. The only trouble has
the pedal marks, which, by the way, received in the origi been the lack of that gradation, fingering and editing
Musical Items, Mrs. H. D. Trethar........ ---- 1.
mal studies very little attention. The following sign has
| Advantage and disadvantage of Musical Study
abroad. W. S. B. Mathews
Music Study in America vs. Germany, H. A.
Kelso Jr......................... -----------
been adopted for the pedals, |which indicates
which is necessary to fit them for the use of the teacher
To meet this want Studies in Melody Playing has been
compiled. It contains studies, from the best authors
What shall we play. Second article. Edward 1. the time the foot is placed on the pedal.
adapted especially to the wants of teachers. Pupils who
|M - Baxter Perry.................------------- 35
Musical Thinking and Doing. Second article.
Herne D. Wilkins...................... ---- 136
Mr. A. R. Parsons has revised the Phrasing, which has have had from three to six months lessons may use these
/WM. Influence of School Music on Piano Pupils. J. been in many cases altered in accordance with the more studies.
| E. Crane............................------- 136
". Music for the Masses. Mrs. W. J. Hamlett..... 137
Value of Pupils Musicales in Cultivating Con
fidence. C. A. C. ........................-- 137
recent ideas of interpretation.
C. B. Cady will attend to the fingering, metronome
Do you find ''. in Interesting
'. '. *''' Wooleuer...... # marks, details of shading, cic. The rest of the editors your Young Pupils?
Musicales. Onna N. Morrison.
Notes...........................-----
-

189
The publisher recommends you to try Studies in Melod
A Letter from a Progressive Teacher.......... 139 , have done the work of annotating, which willinclude a de Plaving, for the reason that they have been com
Lesson to "L'Arpa" Chas W. Landon. Music
by J. Raff..............................--- 140 scription of the character and the assignment of a name ateaching.
teacher to meet precisely that difficulty in his own
The studies are all melodious and will interest
Cost ofStudy Abroad. ... 141
Questions and answers ... 141 E. to each study. your pupils so much that the name study, will have no
| Concert Programmes. ... 141 more terrors for them than for you.
- to Musicians
Inerican ege of Musicians............. --
# The whole set will be closely graded, and will be made The collection comprises four '. studies by
| #'''''''''::::::::: 142
PRICE
a model of musical typography. the compiler, and fourteen more by Reinecke, w,
-
#. By Ra Mus' ------------ # * Tschaikowsky, Gurlitt, etc., etc., carefully graded, finge
and annotated. -

| Cecilia Galop. M. J. Messer................... 60


#!/#| Nocturno from Midsummer Nights Dream. .
//#. Mendlessohn............................... .30 &
% Come on, Galop. Ren letti.................... .20
SPECIAL OFFER. mis-Special Offer. '':
'.
: z')\\
Wift
-
* [.
-

-
To those sending cash in advance of publi ": ETUTE or to any Teacher who win send
us 40 cents in advance of publication.
to any sub
No orders re
cation, will mail the work when ready for cognized unless cash accompanies the same.

on
#150. PERYEAR
40 cents,
ADDRESS PUBLISHER,
Address publisher,
THEODORE PRESSER,
THEO. PRESSER. |Z04 Chestnut St., Philadelphia, Pa.
"I:
T EU E E T U D E.

OMETHINC G. SCHIRMER,
TO REMEMBER. ||NF|| RWE ( [ ],
Publisher & Importer,
35 UNION SQUARE,
NEW YORK AND LONDON,
MANNS NEW
ELEMENTARY SCHOOL FOR THE PIANO.
By JEAN MANNS.
NEW YORK. M|| || || ||
Presenting the fundamental principles of music and piano play iiililillilililililill o
ing practically exemplified in a strictly systematic progression by a
series of pieces and preparatory mechanical exercises. All knowl
edge of, and proficiency in, the art is based upon a proper under
standing of the elementary principles: to present such elementary
RECENT PUBLICATIONS. Write for Catalogues of Novello's Original Octavo
materials, in a comprehensive and strictly progressive form, is the Edition of Operas, Oratorios, Cantatas, Masses,
object of this work. Glees, Madrigals, Part Songs, Trios, Duos
Price, in Boards, 82.50. and Songs, Anthems, Church Ser
BENOIT, CAMILLE, vices, Chant Books, Hymn
Books and Psalters.
THE MODERN SCHOOL OF PIANOTECHNICS, The typical Motives of The Master-singers
By A. F. LEJEAL, of Nuremberg, a Musical Comedy by
is a practical, systematic and exhaustive work, comprising all the Rich. Wagner. A study for serving as a THEORETICAL AND PRACTICAL
means necessary to acquire a perfect mastery of the instrument. Guide through the Score. English version
Price, in Cloth: Part 1, $2.00; Part 2, 81.50; Part INSTRUCTION BOOKS.
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3, $1.50. Complete, in Boards, 84.00. Cloth, Net, 50 cents. | ELEGANTLY BOUND B00KS SUITABLE FOR MUSICAL PRESENTS
AND SCH00L PRIZES.
RAYMOND'S CABINET ORGAN INSTRUCTOR,
By Louis RAYMOND, HEINTZ, ALBERT, t
Full Scores and Orchestral Parts.
is a"' and sensible method for the study of music and how The Master-singers of Nuremberg, by Rich. t

to play the instrument. The elementary part is particularly free l


| Wagner. Attempt at a Musical Explana |
from ambiguousness, and hence readily understood. The organ | tion; with 84 examples in notes, accompany |
ieces have been judiciously selected and progressively arranged and
ngered, while, the songs, with accompaniment, will be found
specially well adapted.
ing the text. Translated from the 2d German
edition, by J. H. Cornell.
PINFRIENDURINSTRUMENTALII.
Price, in Boards, $1.50.
Flex. Cloth, Net, $1.00. ORGAN AND REED ORGAN MUSIC.
|
TIEPKE'S MUSICAL WRITING B00K.
For acquiring a thorough familiarity with musical notations; and
KLAUWELL, DR OTTO,
containing a series of musical examples to be expressed musically | On Musical Execution. An Attempt at a Sys SACRED MUSIC wiTH LATIN worDs.
and written by the student. The success of the first number has tematic Exposition of the same, primarily
induced us to issue a continuation of the exercises, which will be ALSO A FULL LINE OF
found in Volume II. with Reference to Piano-playing. Transla
Price 25 cents each, ted by Dr. Th. Baker. - ... -

, cloth, wet, 75 cents. Plli'i'. Ellisi,G#Tlll FRIEl Hill'.


WM. A. POND & C0.S MUSICAL SLATE.
Teachers and students will find this Slate an invaluable aid in
demonstrating musical examples. Each Slate has a series of staves
|KOBBE, GUSTAW,
ruled with indelible lines, and being made of Silicate is both light Richard Wagners Ring of the Nibelung: NOVELLOS MUSIC PRIMERS.
and convenient.
Price 35 ccnts.
The Rhinegold, The Valkyr, Siegfried, EDITED BY DR. STAINER.
| The Dusk of the Gods. A descriptive
Analysis of Wagner's Tetralogy, containing 1. The Pianoforte..................E. Pauer.............$.75
EMERSON'S NEW B00K OF BANJO DUETS. all the Leading free from Techni 2. The Rudiments of Music ... W. H. Cummings.. .40
calities and addressed to the Lay Reader.
Being a collection of original compositions, correctly and effect
ively arranged, and within the capacity of all ordinary players;
while another important feature is that the whole of them
will be found very attractive when played as solos,
5th edition.
Cloth, Net, $1.00.
3. The Organ.......................
4. The Harmonium
5. Singing.............
6. Speech in Song..... * -
75
.
Price 50 cents.

WEITZMAN'S MUSICAL THEORY.


Riemann, Dr. Hugho and Fuchs, Dr. Carl,
Practical Guide to the Art of Phrasing.
7. Musical Forms.................. E. Pauer..............
8. Harmony......................... Dr. Stainer..........
''. Counterpoint....................Dr. Bridge....... ...
.75
.75
.75
:
Edited by E. M. BowMAN (pupil of Weitzman). |
Fleac. Cloth, Net, 75 cents. 10. Fugue..............................James Higgs......... .75
11. Scientific Basis of Music.....Dr. Stone...... ... .40
Every one applying himself to the study of instrumental or vocal
music, should a uire a certain amount of theoretical knowledge.
- -
DUET-ALBUM. 12. Double Counterpoint.........Dr. Bridge........... ."
this work embodies all the theoretical education that the student 13. Church Choir Training....... Rev. Troutbeck...... .40
of music may require to enable him to correctly express his own Containing 16 Selected Duets for Soprano and 14. Plain Song....................... Rev. T. Helmore... .75
musical ideas, to guide others in like attempts, and to discriminate Tenor, by Joh. Brahms, J. Faure, Ad. Jensen, i
15. Instrumentation.................E. Prout........ .75
between good and bad compositions. -
-

Weitzman's Manual is the most concise, comprehensive and prac C. Pinsuti, Aug. Rotoli, Alice Mary Smith, 16. The Elements of Beautiful
tical text-book ever published, and is used and recommended by the A. Goring, Thomas, F. P. Tosti, Max

rincipal
p 290 teachers.
cloth, beveled red edges. Music........................... .40
Vogrich and others. 17. The Violin...... - . .75
Price 82.75. In Paper, Net, $1.50. 18. Tonic Sol-Fa.................... J. Curwen............ .40
(G. Schirmer's Edition, No. I79.) 19. Lancashire Tonic Sol-Fa....James Greenwo 40 ~

THE VOICE FR0M A PRACTICAL 20. Composition..................... Dr. Stainer.......... .75


21. Musical Terms.................. Stainer & Barrett... .40
STANDP0INT. W0GRICH, MAX, 22. The Violoncello................ Jules de Swert...... .75
With exercises for the study of Artistic Respiration, the Vowel Two Duet Albums: 23. Two-Part Exercises............ James Greenwood. 40
Forms of the #YER. language, and an Outline of the Method of a. Six Duets for Soprano and Tenor. 24. Double Scales............ .... Franklin Taylor... .40
Teaching. By E.
Price, Cloth, $1.25. In Paper, Net, $1.00. 25.
: Musical Expression............ Mathis # 1.25
(G. Shirmer's Edition, No. 228) 26. Seventy Solfeggi for Class Singing, by Florence
ALso, BY THE SAME AUTHOR,
|
A. $1.50, or in 3 parts, each........ .60
b. Six Duets for Soprano & Mezzo-Soprano, 27. Organ Accompaniment of *
TRUTHS OF IMPORTANCE TO V0CALISTs. or Tenor and Baritone.
# Choral Service......... Dr. G. F. Bridge.
-

75
Price, Cloth, 56 cents. | In Paper, Net, $1.00. 28. The Cornet.......... . H. Brett....... :::... .75
This work is worthy of perusal by all interested in vocal music. (G. Schirmer's Edition, No. 229.) 29. Musical Dictation ... Dr. F. L. Ritter... .50
|
Any book mailed for retail price. |
SHELLEY, HARRY ROWE, J-Ug:#"########D. .
Musical Dictation, Part II.. Dr. F. L. Ritter... ?
CATALOGUES ON APPLICATION. Anthems and Motets for Mixed Voices. Con Modulation. . . . . . . . . . . . . . . James Higgs...... .75
taining Arrangements, Selections and Orig Double Bass, in preparation...H. C. Sawyer.
White, .. .. .. .. 75
| inal Compositions, all hitherto unpublished, |
Extemporization. . . . . . . . . . F. J. ...i

comprising 160 pages of Music tastefully Any of the above may be had, strongly bound in boards, price 25
WM. A. POND & C0, | bound in cloth.
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li

WOL. VIII.
PHILADELPHIA, PA., SEPTEMBER, 1890. NO. 9.
MME, ALMA ALHAIZA, prima donna of French and
THE ET UD E. Italian opera, will head a company that intends making
FOREIGN.

REMENYI will soon return to London after an absence


an extended tour of the United States and Canada next of twelve years.
PHILADELPHIA, PA, SEPTEMBER, 1890, Winter.
SAINT SAENs is engaged in revising Gluck's Orpheus
A Monthly Publication for the Teachers and Students of THE season of English opera at the Harlem Opera from the original.
uS1C. House will open on October 15th, under Gustav Hin. DR. voN BLow may take the Berlin Philharmonic
Subscription RATEs, $1.50 PER YEAR (payable in advance). richs, director. Mr. Hinrichs promises Weber's Syl Orchestra to London next season.
Single Copy, 15 cents. vana for the inaugural. BERNARD STAVENHAGEN has been appointed Court
The courts have decided that all subscribers to newspapers are held
responsible until arrearages are paid and their papers are ordered to be MR. FRANK WAN DER STUCKEN, the New York con pianist to the Emperor of Germany.
discontinued.
ductor and composer, enjoyed quite a triumph at a recent MR. HENSCHEL's next London season of symphony
* THEODORE PRESSER, Gurzerisch concert in Cologne, where several of his concerts will begin on November 20th.
1704 Chestnut Street. PHILADELPHIA, PA. compositions were given. WoGL, the tenor, will celebrate the 25th anniversary
EDITOR8. MR. H. E. KREHBIEL's Review of the New York
of his dbut as singer on November 5th.
W. S.B. MATHEWS, JOHN S. VAN CLEVE,
JOHN C. FILLMORE, E. E. AYRES, Musical Season of 1889-90 has been published. It A NEw opera by Johann Strauss, Knight Pazman,
M Mas. HELEN. D. TRETBAR. includes this year a large number of critical and histori will be performed at the Vienna opera next winter.
, Managing Editor, THEODORE PRESSER. cal essays on works presented. MME. TERESA, CARRENO is engaged to play at one of
(Entered at Philadelphia Post Office as Second-class Matter.) w: : '' night of : s' : the first Berlin Philharmonic concerts next winter.
- adison Square Uarden occurred on Augus -
The tenor Ravelli will sing at the Berlin opera during
t; new ballet, The Birth of the '
September. In October he is engaged for Holland.
. THE management of the journal during
-
the absence the
the
-
P :--> and choruses by one hundred
programme, th anamme,y
..";
. of Mr. Presser on his European trip, will be placed in voices contributed the spice of variety to the e
-

*"
MR. THOMAS GoDDARD, the father of Mme. Arabella
-

Goddard, the pianist, died in London at the age of 98


# - the hands of Charles W. Landon. He has been a regu- h : :' # of : years.
'i
." lar contributor to The Erude for a number
- of years. ofisthe Tonal
book System.
entitled The Septonate scientific,
Although and the work is
the Centralization
MME. PATTI recently organized a benefit concert in
5 Wales in aid of local charities, and realized the sum of
He will have exclusive control of the journal for they popular enough to adapt itself to the general public as $5000.
." months of July, August and September. The regular well.
' editors will continue their work in the same manner. d Gounod is writing a new Mass. . He intends setting
Chasse
CHARLEs KoELLING, the composer of spending to music a libretto founded on one of Alfred De Musset's
.#
'i The contributors and correspondents will, we hope, con. I'
- -

and La Chasse du Lion, is La the poetical works.


# tinue to send in during the summer months matter for summer in Germany. He returns in the fall to his home LoNDoN is to have a season of Italian opera at popular
.# the journal. in America. He expects to produce his new opera while prices... It will open at Covent Garden on October 18th,
' Mr. Landon's work will be that which has heretofore abroad. and will last six weeks.
.# been done personally by Mr. Presser, viz., the revising THE fourth season of the New York concerts of the THE anniversary of Liszt's death was commemorated
": and accepting of manuscripts for the journal. Boston Symphony Orchestra, Arthur Nikisch, conductor, at the Vienna Opera House by a performance of the
.# will begin at Chickering On '', : master's '
St. Elizabeth.
.# remaining dates are December 9th, January an
SAINT SAENs has presented his art-collection to the
'i \ MUSICAL ITEMS, February 24th.
city of Dieppe. It has been preserved in a house that
:'i MR. JoHN ToweRs, who was one of the delegates from will bear the composer's name.
- - -

f [All matter intended for this Department should be addressed to England to the Philadelphia meeting of the M. T. N. A. DELIBEs, the composer of Sylvia, has just com
f Mrs. HELEN. D. TRETBAR, Box 2926, New York City.] in 1889, has located in Indianapolis as a of vocal pleted a new opera, Katia, to be performed at the
'.
1: HOME. culture and
..., | booking lecturer
lecture on musical
engagements for his fall tour.He is now Opra Comique, Paris, next winter.
subjects.
# THE season of Seidl concerts at Brighton Beach will THE Grnfield. Brothers, pianist and violoncellist,
MR. OvIDE MUSIN is playing Success intend visiting this country
- - * -

- end on September 7th. and making a tour of the


United States in the winter of 189192.
nized an excellent company for
#;
-
, WALTER PETZET has just been engaged to teach piano his
- ium.
Belgium. He -

next season
: and will open the same at
THE Berlin Royal Opera will be opened this season
' -

in the Chicago Musical College. Tarrytown-on-the-Hudson, under the pauspices of the with *

Lohengrin, to be followed by Tristan and


NEW HAMPSHIRE held its first M. T. A., in conjunction Washington Irving Club, on October 18th. Miss Annie Isolde, with Therese Mallen as Isolde.
with the music festival, at Wiers recently. Louise Tanner is again the Company's soprano.
MME., NoKMAN-NERUDA, the celebrated violinist, and
.. Ms. AVRERT G. Thies, the tenor, is connected with the SYMPHoNY ORCHESTRA, of about sixty players, has her husband, Sir Charles Hall, the Beethoven player,
Summer School of Music at Avon-by-the-Sea. .#
been organized in Providence, R. F. with Mr. are concertizing in Australia at present.
.." The Emma Juch Grand English Opera Company will Robert Bonner as conductor. Three concerts will be CoNDucroR LAMoNREux, of Paris, contemplates making
"Pen its season at Denver, Col., on August 18th. given during the season, with eminent solo talent assist. a tour of Belgium and Holland with his orchestra. He
.# Pennsylvania State Music Teachers' Association ing. Providence has a reputation for the appreciation will give preference to Wagner compositions.
l
second
old its meeting in next December.
annual of what is best in music, and how well these concerts are
*
sustained will go to prove the justice of this estimate. THE tenor Tamagno intends to retire from the operatic
MR, SEIDL will give a series of orchestral concerts at stage and devote himself to his garden and butterfly col
"dison Square Garden as soon as the Brighton Beach HUGH A. CLARKE, Mus. Dr., Professor of Music in the lection, which is said to be one of the finest known.
Season is over. University of Pennsylvania, and organist hasof the Second RUBINSTEIN, who is in excellent health and spirits,
Presbyterian of Philadelphia, also been
Xavier ScHARweNKA, the and pianist, has engaged Professor of Theory and Lecturer on Musical has been visiting Oberammergau to hear the Passion
Paying America a visit. e will return in the Subjects as for the Broad Street Conservatory of Music in Play. He has just completed a number of new works.
"er and make an extended tour of the counrry.
Philadelphia; and, besides this, it is likely that he will THE German composer Robert von Hornstein died at
t
T' H. H. HaAs, who is a well-known contributor to accept the position of Professor of Composition in the Munich. He was known best from his having set the
th '. will succeed Dr. Carl Merz as Director of new Musical College to be opened this fall in Philadel. verses of Shakespeare, Goethe, Beranger, Byron, and
**ical Department of Wooster University, Ohio. phia. others, to music. He was born in 1833.
-
134 T EI E E T U D E.

THE ADVANTAGES AND DISADVANTAGES OF cities. The various quartets and symphony orchestras those giants, Tausig, Rubinstein, D'Albert, became pian
MUSICAL STUDY ABROAD, sell many tickets at merely nominal prices. It is for ists mainly through their early training with teachers
tunately true that the demand for these tickets far ex comparatively unknown, by the sheer momentum of their
BY W. S. B. MATHEWS: ceeds the supply. But this will right itself in time. In own original insight and genius for the art.
choral music, Chicago offers better advantages than any There was a musical atmosphere in Berlin, I suppose,
I HAVE been asked over and over again to express my other place in America, our Apollo Club, under Mr. when Kullak's class had such members as Liebling,
mind upon the general question of the advisability of Tomlins' baton, singing better than any other large so Sherwood, Orth and many other Americans, whose
American students pursuing a part of their studies abroad ciety (they have five hundred voices this year), and also
-meaning thereby in Europe. I do this just now with at lower prices of admission, a benefit for which our
right good will, because it is a question not wholly upon great Auditorium is partly to be thanked.
names do not at this moment occur to me. But the pre
eminent quality of it appears only when it is looked at
later, in the light of the subsequent revelations of the
.
:

one side, having both advantages and disadvantages so The so-called musical atmosphere of Europe is prac originality of these young men.
evenly balanced as to make it a difficult matter to say tically inaccessible to American students. That is to There are two objections to the value of music study
which side should have the verdict. say, German artists live among themselves. American abroad. The first is the rigid character of it, and the
As an American teacher, I have no sympathy with the students have no part in their life until they have already inevitable hampering of the young teacher with the obli
disposition of many to send pupils to Europe for com become artists, or have given practical evidences of be gation to do with his pupils exactly as his German mas
pleting their studyin the sense of our keeping here ing in the way to do so. We look at this thing from a ters did by him. I have never known a young musician
preparatory schools. I do not keep a preparatory school, mistaken standpoint. We remember Wm. Mason's life home from Germany who did not have to outgrow this
nor do I like to see any other reputable American do so. at Weimar, many of us having heard from him the inter influence before reaching real usefulness in America. :

Nor would I value the verdict of a foreign conservatory esting incidents relating to it. Others think of Miss The same difficulty exists with young masters educated
that such and such pupils had been sent there well Fay's charming accident, Music Study Abroad. I in America, as any of us having sons in college can tes
prepared. I am not preparing pupils; I seek to call this fascinating little work an accident, because it tify, but in the case of study at a celebrated foreign
finish them. In other words, I prepare them to take was not expected to become a book. Miss Fay wrote musical centre, there is the added halo of distance and
care of themselves. Why not? unsconsciously for the home folks, wrote with a sincere indistinctness. The second objection is the length of
Nor do I recognize superiority in European teachers and childlike enthusiasm, such as few musical writings time occupied. I think the same attainments occupy
of pianoforte over those of this country. On the con can show; the larger public looked over her shoulder half as long again to reach in Europe as in America.
trary, we have here all sorts of teachers. Among them. and learned to see with her eyes. But this musical There are two other considerations, however, strongly
are some who represent everything that Europe has to atmosphere, which Miss Fay breathed in Berlin and in favor of foreign study. The first is the probability of
give a musician; men of ability and real solidity. In Weimar, she in part created herself, and in part entered continuance. All who have undertaken to deal with
short, artists of a high character. Teachers like Sher into by reason of her own social preparation therefor, to students in this country know how extremely difficult it
wood, Liebling, Faelten, Baermann, Lang, Perry, Orth, a degree wholly exceptional. Educated by her father is to keep them at study without their losing much time
Mason, Parsons, Buck, Eddy, Bowman, Foote, Mc at Cambridge, along with the children of the poet, Long in an ill-judged effort to earn money. When a student
Dowell, do not need European indorsement. They are fellow, she belonged of right to a highly cultivated circle goes to Germany, the point is conceded. The parental
first-class artists, independent and intelligent. What of literary and artistic people. coffer is opened for one, two or three years upon a
teaching can do for students, they know as surely and as Then this musical life was that immediately surround rational estimate of the amount needed, including ex
masterly as any one in Europe. These men are above ing Liszt. Liszt was a phenomenon in music. He had penditures for concerts and all the rest. Here it is not
the usual level of the celebrated teachers into whose enormous enthusiasm, magnetism and originality. He so. An advanced student has an opportunity to earn
classes American teachers can come in Europe. Only drew to himself the best of every country, and such was something by giving lessons, and immediately he cuts of
Moszkowski, Leschetitzky and Scharwenka are to be the inspiring quality of his personality that he excited half his time of practicing, reduces the lessons to one a
mentioned as belonging in the same high class. each one to give out his best. This musical life at Wei week, and hampers his progress to such a degree that it r:

I go further, and claim that American teaching is often mar was sui generis and without parallel in the history is little less than a miracle if he accomplishes anything.
better than the best foreign. It is more independent, of music. Something like it might be had here if, for So also in attending concerts. A parent measures up
less hampered by tradition and more progressive. In example, Theodore Thomas were a brilliant talker and
fact Mason's technics is one of the few real advances in a lover of young musicians. With his knowledge of the
piano teaching of the past half quarter century. best music much might be learned from his conversa
to your price for lessons without hesitation, but when he
is asked to add to this sum a certain allowance for con:
certs, his soul rebels. Upon this ground, solely, I have
.
It is self-evident that American teaching fits the pupil's tion. Those who had the good fortune to know Dr. often advised pupils to go abroad. :
state better than foreign. Consider for a moment the Mason twenty years ago, and were intimate with him, Another reason for going abroad is the reduction of
conditions under which foreign teaching has to be done. will understand what I mean. A student taken in hand self-conceit. The cure is not permanent, but while a
The American student in Germany is shut up to the by McDowell or Sherwood and admitted to his confi. student is upon European soil self-conceit is very ma"
alternative of taking his lessons in the German language, dence would have a musical atmosphere such as few terially mitigated, and in some cases cured forever.
and through his imperfect knowledge of it, losing half centres in Europe can boast. But no one of our teachers I remember that I asked Dr. Mason his opinion of
the fine distinctions which the teacher attempts to point keeps a salon. Those who might do so, have too much this question some years ago. In 1860 he told me a
out to him; or of taking the lessons in English from a to do. It is so in Europe. There is indeed a musical good deal of his experiences at Weimar. After I had
teacher who himself but imperfectly understands it, and atmosphere in Europe made up of American students, heard it all in the reverential spirit due to the names of
who in addition to imperfect mastery of English is also who, having come far from home, are dependent upon Liszt and Mason (especially as I had always been a
limited in time, having a class of four or six pupils, so each other for society and inspiration. They talk overdisciple of Dr. Lowell Mason), I asked: Well, did it
that each has only from ten to fifteen minutes for indi musical works and performances, compare notes, read pay? His answer was conclusive. No! he said,
vidual attention. the criticisms, etc., and in many ways improve each it did not. Liszt, although full of inspiration, was
If this be true of the German teachers of the first class, other. But this in turn might just as well be had in the most unsystematic of men. He was no teacher *
what shall we say of those of the second and third rank, America. In music it is, as in religion, that wherever all. One could learn much there, but nothing system"
such as occupy chairs in most of the conservatories? two or three are gathered in the name of art there is an ically or in convenient form for after use. Some years
They are good musicians, to be sure, but men without art atmosphere. Many a lady teacher of my acquaint later, when speaking of young students going abroad, he
originality, tact or inspiring quality. Eminently respect. ance has an art atmosphere in her town, more sincere, said that the main use of it was for them to discover
able and praiseworthy, but, oh, how dull! These men more religious and more formative to the pupils under that it was of very little use. He also recommends it
are in ruts, and never for an instant do they make allow her care than much of a more pretentious kind in cele for taking conceit out of them.
ances for individuality or progress. They kill talent, brated places. In music, also, the kingdom of Heaven In the case of virtuosi, it is different. I suppose that
except in a few cases where it is of such pre-eminent cometh not with observation. if Clarence Eddy had studied with Dudley Buck five
quality as to rise in spite of them. Have you ever thought how it happened that all the years as he did with Haupt, very likely he would have

The musical atmosphere of Germany is in part a myth. great players were educated by comparatively unknown
become about as good an organist as he is now. But he
In certain centres, such as Leipsic, Berlin, Vienna and provincial teachers? It is for the reason that genius learned from Haupt all that an old virtuoso could"
Munich, there is a vast amount of classic music played comes where the conditions are ripe for it, and sunlight a young one, together with whatever added years had
in the course of a year, and students can obtain access and personal care are the main necessities for its devel taught the older man as likely to increase the possibili
thereto at a minimum of expense. Some of the advan opment. All these fine players have taken from their ties of a talented student. Virtuosi must eventually find
tages in this line are of the best possible character; but unknown teachers an amplitude of personal care and the company and assistance of the great masters in their
also many of the programmes are thoroughly conven affection which no celebrated teacher could have been own line. This is in the necessities of the affair.
tional, and the readings merely respectable. Nowhere in paid to give them. The marriages which have taken And in conclusion, I would recommend to every y
Germany, for instance, excepting perhaps under Blow's place feebly express this. Think of Marcella Sembrich American going abroad the reflection that, howe" "
baton, can such performances be heard as now in Boston and her amiable but frowzy-headed husband, who taught teresting it may be to him and however profitable, he is
under Nickische's baton, or at Brighton under Seidl, her piano; Essipoff and Leschetitzky; Chopin was a not going to learn anything there which he could not
The readings of these great artists are strong, fresh and master pianist from the hand of an obscure teacher in learn just as surely and exactly, and generally more
inspiring. Nor can high-class music be heard in Ger. Warsaw. When he went to Vienna at the age of nine. quickly, in America; provided only that he would enter
many at less expense than in some of our own larger teen he was as good a player as he ever became. Even and continue his studies here with the same aba"
T EI E E T U D E. 135

Europe can do nothing in musical pedagogy which I wish to emphasize, however, that my remarks refer to second nature, a new but thoroughly assimilated element
America cannot do just as well. The star of art shines what we play; by no means to what we study. In our in our spiritual life, an added resource in our art-work.
no more brightly there than here. The majority of peo own practice, we cannot cover too wide a range of This is, in fact, the only direct method of extending our
ple in all lands care but little for art. Only a few are moods, schools and composers. It is the only way to emotional gamut, so to speak; but just as there will
chosen in any country. America is crude and new, but grow, to become broad, comprehensive, universal, in always be some good, legitimate musical tones too low
our progress is wonderful. And in the art of teaching, our taste and treatment. But a genuine devotion to a for the soprano, and others too high for the contralto, no
in readiness to adopt new ideas, we have an advantage. composition must precede any public presentation of it matter how well trained, so there must always remain,
But after all, the great point is the language and the if we look for success. for all but the few phenomenally versatile natures, certain
psychic compatibility of compatriots. These two ele There is an old saying, A live yeoman is better than heights or depths in art-perception, certain emotional
ments are strong upon the side of home study. a dead hero; and it applies here. The most cheap points of view on the extreme opposite side of the circle
and flippant waltz, if given with spirit and hearty enjoy from their normal positions, which they can never reach,
MUSIC STUDY IN AMERICA WS, GERMANY., ment, bringing the rhythmic element, if nothing more, and which, therefore, they should never attempt to elu
into strong prominence, has more real artistic character, cidate for others.
THE day is long since past when it was necessary for is more tolerable, than an indifferent, unintelligible, The intelligent tenor, though studying for high C,
the American piano student to go abroad to study. sleepy presentation of the mutilated corpse of a noble and even when able sometimes to take it fairly well in
America is progressive, inventive, and quick to utilize classic. private, with all conditions favorable, avoids in public
discoveries. Germany is conservative, and before making If you do not enjoy a composition, one of two things songs which demand it, and confines himself to the regis
practical use of a discovery insists upon analyzing it in must necessarily be true. Either there is nothing in it ter within which he can count upon his voice. So the
minutest detail. Electricity affords an apt illustration of to enjoyin that case it should never be played by any player, though striving in his self-culture for breadth and
this idiosyncrasy. American energy was reaping sub oneor you do not understand it, in which event be universality, should restrict himself rigidly in public to
stantial benefits from the employment of this subtle ele very sure that your audience will not. Others will al compositions which he can thoroughly feel, as well as
ment, while Germans were still pondering over the ques ways feel and share your indifference and generally mul comprehend and execute.
tion, What is electricity? * tiply it tenfold. By understanding a composition I do I am well aware that I have here sounded the signal
The principles of teaching established at Stuttgart, not mean merely the intellectual grasp of its form and for the old controversy between the objective and sub
Leipzig, and by other conservatories of Germany, forty or general character, but the ability to sympathize with and jective schools of interpretation, but an exhaustive dis
fifty years ago, are still being taught by those who yearly fully enter into its spirit, so as to impress it upon the cussion of their respective merits seems to me about as
graduated from these institutions. listener. useful and about as rational as that engaged in by the
While it is true that Germany can boast of more good An eminent master, who was authority in both, once two knights in the fable, concerning the metal of which
musicians than America, it is due, not to the superior said carelessly to a group of students, including the a certain shield was composed, which was in reality
quality of instruction to be obtained there, but to the law writer: My dear young friends, never kiss a woman gold upon one side and silver on the other. They ap
of heredity, which causes a talent to be transmitted from or play a composer whom you do not love. Believe me, proached it from opposite directions, of course could not
generation to generation, evolving, at last, a person pos. there will be no more warmth in the one than in the agree as to its material, and proceeded, man-like, to
sessing superior gifts. Another reason is that the Ger other, and you will wrong them both. settle the dispute and find out the truth by splitting each
man music student studies longer and goes further and Nearly all, even among the great artists those possess other's heads. In the present case neither side is worth
deeper into our art, than does the American pupil. ing most breadth and versatility, are subject to certain fighting about, for neither the one nor the other alone
All America'needs is time, to equal Germany in this definite limitations of this kind, which it is never wise is of any great value for art purposes; but a fusion of
regard, as she already does in many others, and indeed, for them to transgress. There will always be one or about equal parts of both is the true requisite, the price
it is in numbers only that we are now excelled, as we can more of the recognized masters of composition in whose less compound. Subjectivity alone is erratic, capricious,
with pride point to a group of American musicians not works they do not glory; one or more of the legitimate unreliable, often unartistic, a will-o'-the-wisp, that leads
to be surpassed in any other country of the globe. phases of musical thought and mood in which they can as often wrong as right. Objectivity alone is cold, stiff,
- As a proof of the superiority of American methods of not subjectively participate. It is generally admitted, for formal. It is to real art what a perfect wax figure, auto
instruction, the large number of pupils known to the instance, even among the most devoted admirers of that matically worked by springs and levers, is to a warm,
writer who have returned from studies abroad to con veteran lady-pianist, Madame Schumann, that she can breathing, sentient human form; wonderful, faultless, it
tinue with American teachers, find that they obtain more not play Chopin, and when works by that master are may be, but not lovable. The two qualities must be
artistic results under home instruction than under any announced for her performance, it is mildly whispered in equally united, and the result will be always true and
received elsewhere. They discover that this is not only Frankfort that she has made an unfortunate choice. beautiful.
true as regards analysis and tone-coloring, but that our Thus von Blow cannot play a pure lyric, even tolerably, When a great actor studies a new part it is first ob
methods of teaching the mechanics of the art are far in though he excels in most lines of work and commands, in jectively, to find out exactly what the character is that
advance of the hackneyed systems used abroad. An in addition, one which is wholly beyond the reach of most he is to impersonate; but when he steps upon the stage,
*tance of this is found in the fact that the most advanced players, and, some claim, even beyond the range of inhe does not merely imitate mechanically the probable
American musicians realize the necessity of individually strumental rendition altogether: I refer to the arch, the
actions and gestures of his character in given situations;
developing the muscles of the hand and arm, not alone whimsical, what may be denominated the humorous in nor, on the other hand, does he make the part mirror
y the flexors, which the Germans persist in over-develop music. D'Albert, in spite of his tremendous power, his own chance mood of the evening; but throws him
ing, but also the interossei, supinators, pronators, and breadth and speed, is, strange to say, so unsatisfactory as
self subjectively into it, lives for the time the emotions
especially the extensors, that the heaviness of the natur to be almost impotent in climatic effects; and De Pachhe is portraying, is for the time Hamlet, or Lear, or
ally strong flexors may be counteracted. mann, though he has the most exquisite appreciation and
Richard Third, according to his definite objective concep
While the musical atmosphere of Germany may be control of the lyrics of Chopin, of the daintier, more tion of their respective characters. The musician, like
conducive to broadening the student's ideas, this will not tender and graceful of his compositions, fails of thethe actor, must be able to put on a mood at will, like a
serve in lieu of comprehensive analytic instruction, such passion and dramatic power for the larger works, and cloak; not merely to hold it out on a stick for inspec
:rS.
being given at present by our most advanced teach thus is falsely designated the greatest Chopin player of tion, but actually to wear it for the time, as if it were
the age. his own preferred and chosen garment, and warm it
The time has certainly come when the American stu The writer never heard but two pianists, Liszt and from within by his own life-glow. The trying on and
dent "y rest content with the opportunities afforded by Rubinstein, who did not show very distinctly such fitting, however, should be done in private. He must
his "We land, secure in the knowledge that the best restrictions in some direction. Many excellent concert accustom himself to the new apparel, so as to feel easy
"truction that the world affords is his. performers are confined to two or three styles which and natural in it before subjecting it and himself to ob
H. A. KELso, JR. they play exceptionally well, while they are painfully servation and criticism. The first appearance of a Nine.
weak in all others. A large proportion of amateurs teenth century gentleman in a Roman toga, if public,
WHAT SHALL WE PLAY 7 have only one vein of composition which they are will would be likely to make both gentleman and toga ridi.
PART II. ing to recognize as music at all, most frequently the me culous, besides being very uncomfortable. And if, after
lodious and lyric; though some reserve their approba long practice and strenuous effort, a man finds a Roman
BY EDWARD BAXTER PERRY. tion exclusively for the brilliant, and others again like toga or a coat of mail positively unsuited to his form
only the mournful and pathetic. and carriage, let him spare the public the spectacle of
In answer to this query, I would advance, as my sec It is of course advisable in study to cover as broad a beholding him in them, and confine himself to such ap
ond Proposition, that we should play what we like.
field of composition as possible, striving so far as may parel as he can wear with grace and dignity.
Cer in stating this as an axiom, I presuppose a
be to cultivate appreciation of, and taste for, even those In justice, then, to our audience and our composer, we
those : t to an opinion or preference, on the part of forms of musical sentiment and expression most foreign should play only what we thoroughly know and like, but
amou : ' the choice, based upon at least an average to one's natural temperament. The careful and repeated practice and strive to like as many good things as pos.
degree . natural aesthetic taste, supplemented by a fair objective rendition of a given class of compositions, sible. EDwARD BAxTER PERRY.
even w. and culture in this special line. But which seemed at first totally at variance with our nature
education
defend ere these
conditions are lacking, I should still and habits of mood, will often, though gradually, develop WACANCY for Office.
THE ETUDE a Vocal and 8. Piano
iano Teacher. Address-

*y maxim, and advocate strict adherence to it. a real fondness and sympathy for it, till at last it becomes
136 T EL E ET U D E.
makes but a feeble sound by itself, but when attached to THE INFLUENCE OF SCH00L MUSIC 0N
MUSICAL THINKING AND DOING, the sounding board, as in the piano or violin, melodious PIANO PUPILS,
BY HERVE D. WILKINS. and
artscarrying qualities aresuch
of wind instruments, developed. The and
as the clarionet vibrating
oboe,
upon resonant tubes or pipes for the adequate It is often a matter of surprise to me that teachers of
(Continued from August issue.) reinforcement of their vibrations, and the action o the the piano take so little interest in vocal music, and I
Music is not made simply of tones only, they must be human voice is quite similar to these instruments, since have wondered sometimes whether we musicians are not
measured; and we must learn to think rhythms as well it has both vibrating and resonant parts. Generally just a little inclined to be wrapped up each in his own
as melodies. The system of beating time in singing and speaking, both in singing and playing, vibrations may be little world, forgetting that there is anything deserving of
of counting in piano playing is well known and has borne said to be produced by muscular strength and resonance attention beyond the limits which bound our individual
the test of time, but there are many other things about by mental skill. To say that a performer has strength
rhythm besides beating time and counting; many pupils or force is not always praise, for force is often exercised work.
are
reatlacking in the
skill and sense on
patience of time, and ofit the
the part oftenteacher
requires
to
unduly and directed wrongly, and we all know that when I am willing to acknowledge that the followers of vocal
force is unduly exercised, either in singing or playing,
evelop the powers of the pupil in this regard. The resonance is weakened. But to say that a performer has art are quite as narrow in this particular as are instru:
accent studies of Mason and others are admirably calcu ower means, mentalists. In a general way we all acknowledge that
by in
themost cases,that
thatstrength
the muscular action is
lated to teach equality and accurate subdivisions. mental, is economized the ideal life is an unselfish one, but when it comes to
The features of rhythm which seem to demand more on the one hand and power developed on the other, by business it seems the way of the world to think that the
thorough attention on the part of educators are con right thinking and right doing. The secret of endurance
nected with what may be termed expressive rhythms. and of successful effort lies in the direction of learning ways and means which bring success to self are those
Pieces which demand a resolute delivery are often lack how to produce the maximum of effect with the mini which are most desirable for us to adopt.
ing in that quality, and few persons are able to maintain mum of effort through a correct comprehension of the So in considering the subject before us I shall ask
in such passages a rhythm which shall impress by its nature of resonance, and a study of the correct method you to look at the matter from a purely selfish stand
power and perfection, without undue rudeness and with of developing it in tone production. - -

out hurrying. The cultivation of an energetic rhythm is Another interesting study in connection with musical point, and I shall try to show that the piano teachers of
of great
are importance
many piecesinwhich
developing
requirebreadth of style, and performance is the study of concentration, The highest the country should use every means in their power to
there that varied shadin
musical effects are produced only when all the faculties
must also be introduced without changing the pace, an of mind, body and spirit are enlisted. The Italians secure the introduction of good music into the public
teachers all know how difficult it often is for a pupil to have a fine word to express this exalted manner of schools, not only for the benefit of the children who
learn to play diminuendo without dragging and cres; musical effort. When a performer has a spontaneous, attend these schools, but because by this means they
cendo without hurrying. The vocal an instrumental free and soulful delivery they say that he has anima. may more easily secure the results for which they aim,
pieces of Mendelssohn are among the most important And such is the emotional nature of musical effect, that and thus add to their own reputations, and establish a
examples of music where varying shades of power must often the technical faults and natural defects of utterance
be continually employed without disturbing the rhythm are overlooked, and an audience will be carried away nursery from which their classes will draw new material
of the most desirable kind.
of the piece. - by a performer who may have limitations from a scien,
Then there is the grazioso, how to keep time without
-
tific point of view, but who has nevertheless musical Music, of all the arts, is the most evanescent. It is a
making any show of doing 89 to bring the melody, to genius and magnetic power.
the fore so that tone predominates over rhythm., hat Musical performers suffer universally from what they thing impossible to perpetuate, except through living
is also a question of moment, demanding continual inge. call nervousness. This is nothing more or less than un: artists. The works of the great masters of painting speak
nuity and study on the part of the thinking musician. due self-consciousness, and can in no way be cured so for themselves; no living artist-hand is necessary to
Then there is the ritenuto; few musicians compara. well as by objective study. The musical performer interpret their beauties; even the most ignorant in art
tively keep time when they encounter this direction. should study so thoroughly to concentrate his thoughts may stand in their presence and be touched with the
The time, as all know, ought to be kept strictly, but at a upon his work that when the critical moment arrives he heavenly flame which inspired their creation.
slower pace; but I think all musicians will agree with can forget himself and his audience and fix his mind
me, that the ritenuto is more. often made into a ritar
solely upon the music he is to make. I will go so far as So too with poetry and architecture. So long as the
do or an ad libitum, than into the sudden change of to say that he should even forget how he does it, and printing press exists and magnificent columns stand,
tempo indicated by ritenuto, Composers, too, are often that his performance should in so far resemble pure the soul of the artist who beautified the divine words,
lax in marking their music, using the abbreviation rit, musical that it shall be perfectly spontaneous
which may mean either ritardando or ritenuto, thus and devoid of effort. To do this requires every day and of him who conceived the grand cathedral may
leaving the performer in doubt which is meant. This study; one should read much music without performing speak directly to all who come under the charmed influ
abbreviation ought, for this reason, to be discarded it, traversing mentally all the operations involved. Mr. ence.
entirely. - - - - C. B. Cady, of Chicago, once told me of a pupil who Not so with the mighty master of music; the language
Probably there is no point connected with keeping learned her, pieces entirely and committed them to which he spoke is hidden under hieroglyphics which
time in which there is more error in theory and more memory in this way, and who would produce them on
laxity in practice than in rendering the final notes of the piano for the first time at her lessons. . All artists reveal nothing of the emotions which stirred his soul
hrases
sayist at and pieces. . It
the National was even maintained by an es:
meeting at Indianapolis that the know the value of this sort of study and are in the habit and found voice in strains of wondrous beauty. Hidden
of thinking over their pieces either in memory or from
breviation ten over a note had no meaning any', the printed page without uttering the tones aloud. One deeper than priceless gems, bound up in a silence more
as each note must be held for its full value in every case, also learns in this way to think ahead, to anticipate profound than death, the voice of the master's soul must
It used to be taught in the old instruction books, and it coming the next moment while doing the work remain until another soul is developed who can interpret
may be taught in the new ones, that the tone must cease Of this.
to the world this message, this strain of melody divine.
at a rest. # it ought to be maintained and enforced
by all teachers, that all final notes of phrases, all isolated . I would like to say a word in conclusion about the The poet, the sculptor, the painter may die, but their
motes and chords, and also all notes before a breath singing, mind. We are accustomed to regard and speak
mark, do not cease on the rest which follows, but on of vocal and instrumental music as different; at the same works live to speak to all, in a language clear and strong,
their final pulse, and this leads us to remark that the time we notice that certain performers and certain com the thoughts which gave them birth; but when the mu
time signature does not always indicate the real rhythm. osers have the art of making everything melodious. It sician is dead his song dies with him, until some other
is an acknowledged merit of the music of Beethoven, for
The adagios of Beethoven's sonatas in C minor op. 10 example, that all the passages are developed out of the artist brings it to life again through the magic of voice
and op. f6, are marked 4, but the real rhythm is t, and themes; there is no padding, there is nothing lacking or touch.
the adagio of the sonata in C, op. 2, is marked #, while and there is nothing superfluous in the expression of his So the youth of our land may read for themselves the
the actual rhythm is 'g. Again many rapid movements thoughts. We notice in the utterances of some singers words of the great writers of all times, they may study
are marked # when the actual rhythm is $; Scherzos and players, that all the scales and passages as well as
are marked # when the real rhythm is 3. It is for the the slower melodies have a singing effect, and on the the works of the great masters of painting and architec
teacher to perceive these facts and to instruct his pupil other hand we find singers and players whose utterances, ture in the very form which fell from the master's hand,
in regard to the proper delivery of the final tones on the through the lack of this quality, fail to interest us. The but before they can feel the emotion which gave birth to
basis of the real rhythm of the piece, A great abuse in sounds are there but there is no melody in them, or at a great musical composition they must hear the master
musical performance is connected with the final chords
of pieces. So great an artist as De Pachmann often least not as much as there ought to be.
strikes a lot of chords at random, and extempore for a All musical utterances, whether vocal or instrumental, piece as interpreted by one who has the technical train.
conclusion. Sometimes there are two or three staccato ought to be the expression of tuneful feeling. The mind ing and skill necessary to its performance, and whose
chords at the end of a piece, such as the three final ought to sing as well as the voice or fingers, and every soul also is in sympathy with its composer.
chords to Schumann's Novelette in F, the two at the florid passage ought not only to be first practiced slowly,
end of the polkas and mazurkas by Wollenhaupt and, as is prescribed in all methods, but it ought to be prac Music is the youngest of the arts, she is still in an
enerally, most endings are a study by themselves, af. ticed as a slow melody, the mind as well as the voice or early stage of development. Doubtless the time may
brding endless variety, but the final staccato chord is fingers singing every note. This practice develops that come, when one who can play or sing a composition of
too often held, and the final chord, with a hold over it, intensity of expression so much admired in the per a master will be able to interpret definitely the emotions
which ought to be held from three to , dozen or more formances of artists; it cultivates that strength which is which brought forth the music, but now, although music
pulses is recklessly shortened. I have found it a good not merely muscular, but something more and higher, speaks more directly to the heart than any other art, its
lan in my teaching, in the case of a long final chord to the proper cordination of the right thought with the
by reflection how long it to be and then to right feeling and the right effort; it the per language is indefinite and liable to a new perversion from
mark it with a Roman numeral, eaving the pupil to former to forget himself and to get a deeper insight into every individual who speaks it. That it is a language
count it exactly, and leave it on the final beat. the meaning of a composition, and it makes him better
One of the most important fields of study for the per able to estimate and appreciate the work of others. He capable of bringing joy to the sorrowing, peace, comfort
forming musician is that which deals with the origin, will learn to sing mentally what he is hearing sung or and gladness to all, none deny, and we who have chosen
the nature and the effects of resonance. It ls only by a by another, which is the true way to enjoy the the high calling of interpreters of this divine language
rough knowledge of this branch of music that one loves earing of music. The true musician loves music, he should leave no means untried for the education of all
to hear it as well as to make it.
can learn how to produce the best effect without undue
effort; how to produce a forte or a fortissimo which toward a more perfect understanding of its meaning.
shall not be noisy, and a piano or pianissimo which shall All the arts flow from the same source; it is the idea | Every great work for a race of people must begin with
not be weak. It is therefore instructive to consider how embodied in a work of art, and not the mode of enuncia. the children, and nowhere can the children be reached so
essential the resonant parts of instruments are in the ting it, that determines its rank in the scale of beauty. generally as in the public schools. In the public schoolsto"
mechanical production of tone. The vibrating wire-Franz Liszt.
day may be found all the great artists of to-morrow, in the
"f H E E T U D E. 13?
public schools of to-day are the audiences of to-morrow, schools may be taught music, and that his instruction be THE WALUE OF PUPILS MUSICALES IN
and the development of the art of music depends upon the best which can possibly be secured. CULTIVATING CONFIDENCE.
what we to-day do for our artists and audiences of to I promise you a return of one hundredfold from all
morrow. the good seed you sow in this field.
The teacher of the piano may say, If the spirit of J. E. CRANE. SoME time ago, I noticed an article in THE ETUDE on
the artist exists in an individual it will find a means Diffidence in Playing before Others. I would say,
of cultivation, no matter how adverse are the cir MUSIC FOR THE MASSES. from observation and experience, that in no other way
cumstances, and music as taught in the public schools will diffident pupils so quickly gain confidence to play
The great desideratum is, that the vast human family should
can be only a superficial kind, which can be of no value become before others with any satisfaction to themselves or their
more musical. Whatever means will do this, or aid in doing
in a thoroughly musical education. Even if the first it, should be utilized.WM. BesserER. listeners, as to play often at musicales. I often give pu
objection were true, there can be only good results from pils' recitals, where only my music students are present,
making the earlier attainments of the youthful artist THAT is the only reasonable standpoint. Do we wish thus leading the way for them to play at musicales
easier to acquire, and I am personally of the opinion that the vast human family to become more musical? Or, without feeling so great a degree of embarrassment. As
a knowledge of music could be gained in childhood in are we content that it shall remain the privilege of the they become more accustomed to playing before an audi
connection with the regular work of the school. We favored few? Whether it shall be a matter of inclina. ence they cease to feel the presence of the people as at
should have broader musicians than we average to-day tion, or a question not merely of dollars and cents, but first, and, consequently, are better enabled to concen
as a class, and that would mean a larger number of great of hundreds of dollars? Whether music shall be con. trate their minds on their music. I think it a good way
artists. sidered a necessary training, or merely an accomplish. to have the more diffident pupils play at first in four-or
As to the superficial character of the music taught in ment, attained by those less favored by nature than by six-hand pieces with those that are less diffident. Thus
the public schools, this fault is certainly not a necessary circumstances, while those to whom it is denied are they will gradually gain confidence without their nervous
one, and if it is a general one, who is to blame if not the often its most ardent worshipers. ness being quite so apparent.
musicians themselves. Of the long procession of children who will march Many pupils are anxious to play before an audience so
Piano teachers are more numerous than any other into the public schools at their next opening, to the that people may see what they can do. By giving them
class of music teachers. Every small town has its piano strains of inspiring music, it will not be the child of an opportunity, and so furnishing an occasion for the ex
teacher, and in large towns they outnumber the vocal wealth, the pampered pride of the household, the dainty ercise of their powers, they are stimulated to work with
teachers ten to one. Now if all piano teachers would darling of the doting parent, who will be impressed, greater zeal and energy to prepare themselves, and are
interest themselves in the music in the public schools, so much as the common lot, the neglected waifs inspired to try to play more artistically; for I notice they
what would be the result? brought in from obscure city streets and country lanes, are much more careful to pay attention to all points of
First, no town would be without music in its schools. who will gaze with awe and wonder, and tread with expression if they know that the piece is for public use.
If the music were properly taught, an interest would be hushed and reverent mien before the unseen spirit that To be sure, it makes more work for the teacher, but,
created which would soon arouse every parent to give stirs their souls. through the pupils becoming so much more interested,
his children all the musical advantages the town afforded. It is these waifs that song should reach. It is from parents are led to give more thought to music, and as the
The objection may be raised that if children were taught these, who are nearest to nature, in their awe and sim audiences are made up of parents and musical friends,
music in school free of expense, they would not be so plicity, of whom the priests and apostles of music are to the parents naturally feel a pride in seeing their children
anxious for private lessons for which they must pay tui. be elected and sent forth. Whatever means will do do well before the public.
tion. But all who have seen the results of a few years this, or aid in doing it, should be utilized. The teacher by giving musicales, often with pro
of good music in school will be able to show the fallacy Our educators and school boards honestly think they grammes of real merit, can do much toward elevating the
of such a narrow objection. The greater the enthusiasm are using the best means for the symmetrical growth and taste in the community, and an elevated taste means
over school music the greater the number of pupils who highest development of the children placed under their more and better pupils, and those who study longer and
wish to continue the study of the art they learn to love care. Parent, trustee and teacher unite in their efforts become good performers, instead of mere dabblers. Peo
: so well. Then think of the time saved the piano teacher to mould them into refined, good and intelligent citizens; ple who have never heard much good music, only waltzes,
in the elementary lessons; no weary plodding over the yet they are continually pained by failure. marches, Sweet Bye-and-Bye, Annie Laurie, and
letters on the staff, no mechanical drudgery to teach the Says Edward Baxter Perry, The faithful protracted what they call a tune with variations, which, perhaps,
notes and rests, no laborious counting to give the rhyth study of music, or other branch of art, even though it are well enough in their places, can never like or appre
mical feeling, no devices to teach the signs and symbols, never results in financial profit or professional success, ciate the better class of music, except by hearing it
and best of all no teasing from the pupils for the Annie will develop faculties and tendencies of more advantage often. A lady said, only a short time ago, That the
Rooney style of music, for by proper teaching in to the student, and to all who may come in contact with first few times I heard a programme of classical music, I
school the natural taste of the child is developed, and he him in private life, than any amount of algebra or any thought it extremely dry, and kept wishing they would
knows good music when he hears it, and cannot be number of Greek roots. play something with more melody. After a little I began
induced to waste his time with trash. This protracted study of art is the privilege of the few; to notice the difference between those pieces and the
The cultivating of a child's taste is a matter of great but an elementary musical training in our public schools "tinkly' ones I had been more accustomed to hear, and
importance; far greater than many of us realize. Bad would often lead on to its higher pursuit, besides arous finally, learned to prefer classical music. In cities the
taste is not a natural endowment; it is the result of ing those finer faculties which tend more directly to people have frequent opportunities to hear the highest
wrong education. The child who hears frivolous, trashy develop character in its incipient stage. The educators class of music. Consequently, ear and taste are culti
music constantly applauded by his elders, naturally con of youth have a twofold task to perform. They train vated to enjoy such. I would heartily urge teachers to
cludes that what his superiors call good must be good, the mind and form the character. The germ of character do all they can to let the people hear more often the bet
and thus poor taste is cultivated in him; but in the lies enfolded in the emotional nature and the will. It is ter class of music.
*me way, exactly opposite results are obtained. Let a influenced, bent, moulded in its earliest years; later, Teachers who are progressive enough to give consider
child hear good music, and when poor music reaches his the reasoning faculty becomes active; and when the able attention to this subject succeed in getting better
ear, let him hear it condemned as it deserves and he ac. judgment slowly mounts her throne, we have the well pupils, for they win the confidence of the people as being
quires good taste without any effort on his part. rounded, evenly developed, symmetrical man or woman. thorough, conscientious teachers. Parents have come to
Can any piano teacher inform me of a greater good to It seems strange to have to urge the claims of music me saying, they had been besieged by other teachers, but
his profession than to find his pupils already possessed of as an educational factor, when our most advanced edu they wished their children to take lessons of me, for they
good musical taste? cators fall into line in all other studies save that of had heard my pupils play in public, and knew that only
I see I have not confined myself entirely to the selfish sight-singing, and having it taught as an essential element a good teacher could train them
to play as they did.
side of the question, as I promised to do when I began, of education. We would send music to every home in I only speak of this as an illustration.
but I think that it will not be difficult for any piano the land, as a messenger of love, peace, and good will Some of my pupils have been called to play at other
*cher to deduce the conclusions which I promised to to man, through the agency of the little child. Some entertainments, and at the closing exercises of schools,
make for him from what I have already said. brightness will linger in the gloomiest home where a the same pieces I had spent so much time in training for
And if any one is inclined to doubt that good music in child carols its innocent song. these musicales. It might be some time after they had
the public schools means money in the pocket of the Teach the child to sing in its earliest years, in the played them for me, but they were known as my pupils;
piano teacher, I can bring him positive proof of the fact, public school, in the home, and in church, and as we thus the people could see how I had trained them. So,
from Personal experience of my own, and I have many become a more musical people, we will certainly become for teacher, pupil and patrons, I claim that musicales are
friends among piano teachers who have made the same
better and happier, for music is the of great benefit. C. A. C.
*periment with similar results. Art Divine !
So let me plead with you, piano teachers of our coun Heaven's own appointed messenger!
"y, whose influence is so far reaching, because you are so Soother of sorrows, sweetener, Deviation from the ideal is deformity. When we
Inspirer, sharer of our bliss! learn the ideal, and seek it, we become more noble or
"y, do all you can for music in the schools about you ; artistic. The masters, if thoroughly studied, beget an
Companion of our loneliness!
See to it that competent teachers are secured, make your
What were the world, of thee bereft? which is delicate and strong. Poetry will warm
work in the matter vigorous and thorough, and follow it Or what its loss, if thou art left? one's heart, science will enlarge his mind, and contem
MRS. W. J. HAMLETT.
plation.will develop his imagination. Such a student
with personal attention, that every child in the public will thrive.-M. L. Quinn.
138 T E[ E E T U ID E.
WALUE OF PUPILS RECITALS. deed, be obliged to expend an extra amount of time and and self-consciousness as to be unable to perform in the
labor, but the teacher who is more interested in watch
presence of others that which, but for this, they are
THERE is, perhaps, no difficulty more commonly met ing the progress of the time as it advances toward the capable of doing well ? The discipline which the semi
with by teachers of music than the lack in their pupils of termination of the lesson hour, than he is in the real public musicale affords is well calculated to overcome
real ambition and a determined purpose to excel in their progress which his pupil is making, is certainly not the this serious difficulty.
work. While it is true that there are many exceptions, one who succeeds best, either educationally or finan What is the effect of such gatherings upon the com
still, how great a number of those who are taking music cially. It is the whole-souled teacher, who strives in munity? It cannot be otherwise than beneficial. But
lessons to-day are doing so merely because an education every way for the real advancement of his pupils in what I have to say applies rather to the smaller com
is not considered quite complete without a little knowl knowledge and appreciation of our beloved art, whose munities-where there is great need of some refining in
edge of music-sufficient at least to enable them to work will tell, both to the advantage of others as well as fluence-than to the larger towns and cities where centre
perform a few pieces for the amusement of themselves of himself. MAY WoolEVER. all the advantages of culture.
and friends. -

In the smaller communities the opportunities for hear.


To the zealous and enthusiastic teacher, with a devoted PUPILS MUSICALES. ing good music are limited, and the music teachers are
love for his art, this question of arousing in his pupils a largely responsible for the status of musical sentiment.
desire for something more than a mere smattering THEIR ADVANTAGES To THE PUPIL, To THE COMMUNITY AND They have it in their power, to a great extent, to mould
TO THE TEAChER. the public taste and lead it to an appreciation of better
of music is of the first importance. To impart zeal, to
music.
awaken ambition and to stimulate to stronger efforts Although I cannot boast of a long experience in the
toward higher attainments, is as important a part of the department of musical work which forms the subject of Is not such a power God-given, and should it not be
true teacher's work as the teaching of a correct method this article, it has been of sufficient length to convince used conscientiously? Most people like to be amused
of playing or singing. The means employed in accom. me of its importance as a factor in musical education and entertained, therefore bring them together in this
plishing this desired result may be many. One which and culture. In fact the custom of giving musicales is capacity-the teacher, the pupils, parents, friends. Pre
will be found most effective in arousing ambition and of comparatively recent date, and is only one of many pare for their entertainment a pleasing programme of
enthusiasm among pupils, and in giving a fresh impetus evidences of the rapid advancement made by the Amer good music. Thus linked together by a bond of com
to their work, is the giving of pupils' recitals. Even if ican people during the past few years in the art of music. mon interest, you have a strong hold upon their atten.
there is not at first a genuine lwe of study for its own In using the term musicale I do not refer to the non tion, which, by judicious management, you can deepen
sake, in being brought out before others their pride is descript social gathering to which this title, for want of and confirm.
thus appealed to and an incentive given for better work. a better, is frequently applied-an entertainment having I do not think it wise to attempt at first to force upon
In these recitals pupils obtain broader ideas of music no higher aim than the enjoyment of a pleasant evening an audience of this kind music entirely beyond their
than their own individual study alone could possibly give -but to the musicale, properly so called, planned and understanding. There is a happy medium between
them. They become critics as well as performers. They directed by the teacher with a definite purpose, viz., the worthless trash and the strictly classical style, which I
will quickly recognize faults in others which same faults advancement of the pupils under his or her care, and believe can be employed to advantage here. Needed
have perhaps often been passed by unheeded in them the cultivation of a more refined musical sentiment in reforms can only be brought about gradually. So in
selves; and in like manner the excellences in another's the community. Viewed in this light, the musicale music; we cannot revolutionize public taste in a day.
performance will be marked, and will stimulate to re stands in the same relation to the community in which Would it not be well for teachers everywhere to adopt
newed and increased effort. it exists as does the State or National Music Teachers' the plan already pursued by many, of systematizing this
These recitals should not partake too much of the Association to our country in general, and teachers who work-arranging a definite plan, not only for public
nature of exhibitions, in which the pupil is obliged to are so conservative as to ignore the necessity for and musicales, but for a series of musical evenings with their
strain every nerve in the attempt to learn some showy advantages of such means fail not only to appreciate, pupils, according as varying circumstances and resources
piece that is far beyond his powers of execution. We but to grasp the valuable opportunities for improvement may suggest?
have heard pupils struggle through long and difficult and usefulness offered by them. I was indebted to the first President of the New York
pieces (when they were fortunate enough to reach the Are musicales an advantage to the pupil, and in what State Music Teachers' Association for hints which first led
end without utterly breaking down) which none but an way? - me to apply anything like system to this work. Acting upon
artist could have truly interpreted. This is discouraging First, I think they are of value in awakening en his suggestions, I formed my pupils, and a few musical
to the pupil, and is far from being enjoyable or satisfac. thusiasm. Time and again the question comes to our friends, into a class, meeting fortnightly at the homes of
tory to those who listen. So, first of all, the pupils minds, How can we arouse the enthusiasm of pupils? different members. We took as a basis for our study
should only be given such pieces to play as, with a Ay, there's the rub How often do teachers rack Mathews How to Understand Music, and following
reasonable amount of good, earnest study, they will be their brains in vain for the solution of this vexing prob that course our evenings naturally took on the form
able to play well. lem? The bright, attentive, industrious pupil is an in. of a Lecture Recital, in a modest way. Occasionally
Teachers may hold the recitals in their own music spiration to the teacher, but the listless, apathetic one we varied this by introducing musical literature; often
rooms, or in the parlors of some patron, inviting the baffles us, tries our very souls. interesting matter from THE ETUDE, or a biographical
parents and friends whom they wish to attend, and this It is not within the province of this article to discuss sketch of some celebrated musician. -

will be found much pleasanter than giving the recital in a the extent to which this lack of interest on the part of As an accessory, or outcome, of this class work, I and
more public place, at least in the beginning, when pupils the pupil may be the fault of the teacheror the many my pupils gave, during last winter, two musicales, to
are naturally somewhat timid, and the very thought of possible remedies for the evil. which we invited our friends. To illustrate the point
playing on the stage would strike terror to the hearts But experience and observation have taught me that that such efforts are beneficial, and are appreciated, let
of those who, by these semi-public recitals, would gradu the musicale is one great incntive to enthusiasm, sup me quote, from a local paper, a criticism upon one of
ally gain the confidence and ability which would enable plying often a much needed motive power. To children these musicales. After mentioning the musicale of the
them to play with ease before a larger audience. -and to children of a larger growththere is a cer. evening, the writer speaks, at some length, of the pri
Parents are always pleased to have their children tain pleasing fascination in the thought of appearing vate work of the class, into which he had inquired, and
brought forward when they feel that they have ability before their friends in this public manner. It appeals then says:- -

in any given direction; and to thoroughly awaken the to the pride innate in every human being, and the An immediate result of this method is, the semi
parents' interest in the child's musical studies is to natural desire to do the very best of which they are public gathering. To this the parents and friends of the
insure an important factor in the achievement of suc capable creates new interest and zeal. scholars are invited, and if an evening can be spent
cess and in the probability of the child studying longer. I have found that with some object of this kind before more profitably and pleasantly, I have yet to learn of it.
It is always pleasant to have at these recitals either them, pupils will practice with diligence and attention The indications of interest (and improvement which I
printed or written programmes to distribute among those what they would otherwise pass over in a careless, have pointed out (incipient they may be) are, undoubt. :
invited, as they will be found to add much to the general slovenly manner. Some may say that this is too low edly, a direct result of the New York State Music
interest. If it can be arranged to have two or three a motive. I do not advocate the use of such means Teachers' Association held in Hudson in June, 1889.
vocal selections, or pieces on the violin or flute, to inter alone; but, if, in this way, we can stimulate interest, can. as particular emphasis was placed upon points along this
sperse among the piano numbers, this will give a pleasing not the interest thus awakened be fostered and strength line at that meeting. And in making a practical appli.
variety to what might otherwise prove to be a little ened by higher means? cation of the theories there advanced, this teacher is
monotonou. If this incentive can be made the thin end of the fulfilling the object of the Association. All praise to the
It will be found a very good idea to have, aside from wedge by which to separate the thick walls of indiffer. musical instructors who can look above and beyond the
these recitals to which parents and friends are invited, ence, may there not be hope that through the aper. pecuniary advantages of the position, and for very love
an occasional meeting together of the pupils for a re ture thus made the great light of musical truth may of the art, seek for themselves, and for those who look
hearsal, to play merely before themselves and teacher. stream in? Another advantage to pupils is, that by this to them for instruction, the higher degrees of attainme"
On these occasions, let the teacher also play some means natural timidity may be overcome, and they will which it offers.
sonata or other classical work, preceded by words of gradually acquire that ease and self possession, not self. This leads to a consideration of the advantages resul" >
analysis or explanation, which will add to the interest assurance, without which they cannot sing or play in ing to the teacher:-

and appreciation of its performance. public with satisfaction to themselves or others. How First, the satisfaction of knowing that we have aided,
In the giving of pupils' recitals the teacher may, in many good musicians are so hampered by nervousness ever so little, in advancing our Art.
*
T EI E E T U T. E. 139
Then, too, the true teacher, in seeking to direct the Another objection which has been offered to the con music. This is an important step, and has in it a power to
minds of others, will also be led into deeper channels of servatory system is, that as the institution is governed elevate musical art in our country at a faster rate than ever
thought. In aiming to develop the tastes of others, self by one head, all the teachers are selected according to before. Few students of music realize that a thorough
one man's idea, and it takes a man of phenomenal edu
development must follow as a natural consequence. cation to know just what is best in the way of teachers knowledge of music is not all that is requisite for making
Nor can we ignore the pecuniary benefits that must for every department of music. There is, doubtless, a good teacher. Not only must there be a comprehensive
accrue. The teachers who keep pace with the progress some weight due this objection also; but when the whole working knowledge of the art, but a complete acquaint
of the times, who investigate and study the best methods, matter is summed up, and a glance is taken at the really ance with the processes of its acquirement, and of how
enormous amount of work done by the conservatories,
who employ every available means for self-improvement, and the great number of teachers and professional musi to successfully guide a pupil in each and every step of
and to promote the interests of their pupils, must win cians at work in the country who have received their his progress. Hence, the importance of learning the art
the confidence of the intelligent public. sole instruction from the faculties at the conservatories, of teaching music.
As a result, the better class of pupils will be intrusted it seems that, on the whole, the conservatory is account
able for the greater amount of good work. ALL progressive and thinking teachers have little ways
to their care. Such teachers will not be under the
necessity of soliciting patronage. WE are careful to educate our children so that they of presenting truths to their pupils; ideas, methods of
In this idea of pupil's musicales, I think, exists the germ may enjoy reading, and be improved by the master-pieces teaching certain things; hobbies that they ride success
of possibilities which might be unfolded and elaborated of literature. Why not be as desirous to have them able fully, and methods of procedure that they prize. We
with good results. ONNA N. MoRRIsoN. to read and interpret the deeper and more refining ask these teachers to take the time to write these good
thoughts of the classical composers? A strong plea is ideas up for THE ETUDE, taking time to write, re-write,
made for this in the article, The Influence of School and condense them, so that their thoughts are clearly
EDITORIAI, NOTES,
Music on Piano Pupils, by Miss J. E. Crane. We have expressed. The desire is to bring out truths, much as
the debates of the Musical Associations are so suc
IT is not generally understood what beautiful effects requested writers to present this subject of Music in the
result from combining the piano and reed-organ in en Public Schools, and bespeak the active interest of our cessfully doing. It sometimes comes to pass that the
semble playing. It is not a difficult matter to tune the readers. Mrs. W. J. Hamlett approaches the subject debates bring out truths of more practical worth than
two instruments together. French and German publish from another standpoint, and makes a strong plea for the those considered in the original essay, and so here
ers furnish a great amount of the finest music arranged children of the crowded streets of our cities and the we expect many valuable -
hints of practical help.
for these two instruments, also in combination with other neglected lanes of the country.
instruments, as the piano and organ with the violin, cor
THE banjo has has had its day. Every musician will
IN the articles on Pupils' Musicales and Recitals, be glad, for sensitive ears find but little pleasure in the
net, clarionet, etc. .The American people are given too which were written at our request, will be found much
much to the piano. Where there is more than one in of value to the ambitious and progressive teacher. twang of this instrument. There is no doubt but the
study of pianoforte music is too universal, and that
the family to learn music, it is desirable that one should From a personal experience of about twenty-five years,
learn violin, flute or violoncello. With the piano, in which many hundreds of such musicales have been our young people neglect, too generally, the violin, vio
loncello, and flute.
violin, and violoncello, it is entirely feasible to play given, we wish to add a word of recommendation, yes,
much of the concerted music of the great masters, to urge all teachers to give their patrons and the public BELIEVING that teachers secure more and better pupils
as they wrote quantities of trios for these three instru. the advantages growing out of these public efforts of in a musical community, we have this month given a
ments, and these pieces include some of their best their pupils. good deal of space to School Music and Pupils' Musi
compositions. The Boehm flute is becoming a very cales. In the October issue we intend to present some
popular instrument, and it is especially adapted to young MR. PERRY gives us more of his vigorous thoughts on articles on Musical Clubs, or Musical Societies for Mu
What shall we Play? He makes clear the limitations tual Improvement. But although the selfish element
ladies; as much so as the violin. Many young women
to which all pupils are subjected. Right here many may be as strong in us music teachers as it is in other
are learning the violoncello, although it is not for them
teachers fail, lamentably fail in their selection of music people, yet we have a better side to us, and tho
so graceful an instrument. It is a common thing in the
towns of Germany, to find families practicing trios and for the particular needs and possibilities of their pupils. roughly believe in the mission of music, and in its power
Mr. Perry gives an admirable paragraph on Objective and to elevate and make better and happier our people.
quartettes, as above suggested, thus spending an evening
in a profitable and interesting manner. Where there Subjective Playing. He promises us another article on When we are working to make our own community more
What Shall We Play? considered from the pupils' musical we are making it more moral, and truly refined,
are not members enough in the family, friends will meet
together for frequent practice. We call the attention of standpoint, in which he will make many practical sug as well.
parents to the fact that nothing makes home more attrac
gestions, and name particular pieces for special purposes.
AGAIN we present the views of two of the best writers IF, when sending questions to our Question and
tive than such music, and it thus becomes a saving grace.
and teachers on Music Study Abroad. The well Answer department, our correspondents will append
IN the following quotation from The Leader, where their full name and address, as well as a fictitious name
known conservatism of the German mind, is a factor to
the writer speaks of the success of teachers educated at be considered. There is no doubt that American teach or initials, we will always answer their questions. If
conservatories, he misses some important facts, which ers of the first class use better, surer, and much quicker vour questions have not been answered, you may see the
are, that those pupils who have a little mother-wit about methods than the teachers abroad. Our best teachers reason why in the above. We answer through THE
them soon see that class lessons are worth but little to
are not troubled with the complacent feeling of know. ETUDE only such questions as will convey general infor.
them, and so take private or individual lessons of the
ing it all, but are actively alert in seeking out and ap mation, and will be of worth to a large number of our
best conservatory teachers. Another fatal objection is sel. plying every improvement in methods. Besides the readers. We aim to make this department of practical
dom mentioned, and this condemns the entire class sys. worth. We invite our readers to forward such questions
tem: It is, if at the beginning of the term a class could many points brought out by these writers, any careful as they are interested in, and we will have leading musi
parent will consider the matter seriously before sending
be evenly graded, they would in a few weeks work away his child abroad, where he can have none of the helps, cians answer them. Please ask your questions on
from each other. The talented pupil is held back for refinements and restraints of home-life. Talent, genius, a separate sheet of paper, writing on one side only.
the dullard, and the latter is hurried along at too fast a and great mental and musical acquirements are de
pace for him to do thorough work; and again, no two pu. sirable, but all worthless if not coupled with a sterling THE subscribers asking for information about the
pils need exactly the same course; but the class system integrity of character. American College of Musicians, will find full and com
holds an unbending course for each student within its plete answers in another column. These questions were
walls; or, if each pupil of the class has a different set of AN encouraging sign of the times is the growing popu
referred to one high in authority, and can be taken
pieces and individual courses, why not take private les. larity of Music Festivals. They not only furnish instruc as an official manifesto on this subject.
sons of ten to twenty minutes, and so have the teacher tion and valuable practice to the members of the chorus.
under the best of circumstances? Why keep up the but bring the people into a closer acquaintance with LETTER FROM A PROGRESSIVE TEACHER.
farce of class lessons? some of the grandest creations of the greatest musicians.
'It has come to be quite a question, now, which is the When vocal music in the Public Schools becomes uni A TEACHER, in ordering some books, says: I wish
better system of study. the private or the conservatory versal such societies will flourish, and Tonic Sol-fa is to use them in my class musicales. I have organized my
'stem? Many educators hold that the class is the more class into the Amateur Musical Union, which meets
desirable form of instruction, chiefly on account of the making this more and more a near possibility. every two weeks. The programme consists of a roll-call,
advantage gained by seeing the principles involved in the THose of our readers who are interested in vocal answered by a musical quotation, readings on musical
'* applied to varying minds of an equal degree of music, will find The Voice Quarterly, Frank H. subjects, questions and answers, discussions, solo, four
evelopment. But another and quite as strong an argu. and six-hand playing; biographical and historical read
ment in favor of this form is, that by this means people Tubbs publisher, 3 East 14th Street, N. Y. City, a good
ings, and general readings from musical works. The
# moderate income are enabled to receive instruction of journal; only fifty cents a year. Mr. Tubbs gives the class is interested, and gain much valuable instruction.
the very best teachers; and fifteen minutes with a first most of his space to the art of teaching voice culture.
C nstructoris better than an hour with an inferior one
The musical game, Allegrando. charades and other
AMERICAN Conservatories of Music for Americans, is
games are sometimes introduced, for the sake of variety.
te On the other hand, some very good professional Each pupil who practices two hours a day and attends
*chers, even some of those who are engaged in the an idea that is fast gaining force and strength. From an all of the musicales for six months, receives a neat silver
class system, say it does not amount to anything, because extended correspondence with these conservatories, we badge with the monogram of the Society engraved on one
80 little time can be allotted to any individual that it is
side. Pupils work with unusual enthusiasm, and their
possible to become sufficiently acquainted with learn of increased Faculties and new departments added.
:#
ividual needs.
narents are interested, and together we succeed in
This may be true to some extent, pos Of chief importance in these additions are, the Normal doing very much more work than before we organized,
* "ore so in some departments than in others. Courses, where pupils are taught the art of teaching and our work is of a better quality. F. E. W.
14-O T E[ E E T U T. E.
L'ARPA, often omit the lower bass note unconsciously, and all of the stance, in measure 72 strike each note of the chord,
MELoDY FoR. THE PIANoFoRTE, CoMPosed BY JoACHIM notes are played unevenly. To do them rightly, let the E-flat, B-flat, C and E flat (reading upwards), with equai
hand be in repose, perfectly loose and not with fingers force, listening to the effect. Now, then, let the weight
RAFF, OP. 17. extended in the least. Let the wrist be quite a good of the arm be received by the finger that plays the
deal higher than usual. Now carry the whole hand up melody note, B-flat, and you will hear it clearly above
wards towards the treble, but make the arm go faster
:
LESSON BY CHAS. W. LANDON. the rest of the chord. Again, not only letting this finger
than the fingers, thus bending the wrist inwards the that plays the melody note receive the weight of the arm,
but also snap it inwards towards the palm, and this note
IN measures 1, 3, 5, 7, 9, 11, 13 and 15 the tenor notes same as if your L. H. was playing the upper part of the
keyboard; feel down the desired keys as your fingers will be still more clear. , Caution: surely strike every
are the melody, and therefore must be brought out dis pass them and let your loose thumb slide off of the last note of these chords exactly together and allow no stiff. f

tinctly, by a pulling touch, with the fingers close to the or upper key. This gives out each tone clearly but ness in the fingers that play the other keys of the chord.
keys. Listen for these tones, criticising their quality softly, and your fingers are at no time extended. Note The L. H. lowest bass notes are to be heard more dis
rather than power; also, that they are closely connected that when you extend the fingers widely your wrist is tinctly than the next few notes. Remember that the begin.
surely stiffened, and good playing is impossible with a ning, turning and ending notes of all runs are always to
to the measures following; that is, measures 2, 4, 6, 8, taut or stiff and unyielding wrist. receive something of an accent unless otherwise marked,
10, 12, 14 and 16, where the Introduction ends. In In measure 24 let the run be clear, yet so light that or else a run is but a meaningless noise. By turning
these evenly numbered measures the chord on the first you hear the chord and its melody tone through to the note is meant, where the direction of the run reverses,
end of the measure. Make the point of each finger as at the C of the L. H. in middle of the second group
count of each is to be played with a loosely yielding move towards the palm slightly but quickly. This gives of notes in measure 68.
wrist, and with a bearing down of the arms, meantime the clear flute-like tone without overmuch power, yet In measures 73, 75 and 76, snap the finger lightly that
closing the fist quickly. This will give a brilliant tone somewhat brilliant and bright. By the way, this is the plays the upper note of each chord, for the sake of a
that is not crashy nor hard. The chords on the second correct way for all rapid, soft and clear runs. In fact, clear and flute-like tone. In all arpeggioed chords let
and third counts of each of these even numbered meas good runs require that the two end joints of the fingers, the notes follow one another evenly and not bunchy or at
the nail and middle joints, shall do most of the work an irregular distance apart. This is of great importance
ures must be felt down softly, with both hands exactly and nearly all of the motion. and almost always a fault of amateur playing; and some
together. By feeling down the keys is meant, that the Measures 19 and 20 are a repetition of 17 and 18, and artists fail in this also. There is a fine opportunity for
fingers, being close to the keys, are to be gently drawn are to be somewhat louder, because reiterations must be
Crescendoed unless otherwise marked.
the practice of this beautiful effect from measures 17 to
32 of this piece. The essentials are loose wrists and
n

towards the palm ; this produces a clear and yet a very Bear in mind throughout this piece that you are sup hands; arms in easy repose, each finger to slightly move
soft tone. While playing these two counts the chord on posed to imitate the harp. The chords of measures 32, its point or nail joint inwards towards the palm, critically
the first count is to be held with the pedal and to be dis 33, etc., the second part of the piece, are written pur listening for evenness of power and an equidistant or
even distribution of the tones of the chord.
tinctly heard throughout the measure. Observe that the posely thin, or of few notes, to help in this desired harp
quality of tone. The half notes of these measures are a
first count of each evenly numbered measure contains syncopation, and are therefore to receive an accent.
The chord of measure 80 is to be full and sonorous,
organ-like, but not a bang. . To do this, place the fingers
the melody for the whole measure, and that the chords The runs in these measures are to have the touch and on the keys to be played, with the wrists absolutely non
on the second and third counts of these measures are an quality of tone described for measure 24. resisting, then let the forearms drop or pull down, drag
In measures 40 to 48 notice that the first half of the ging the keys with them, the wrists being so loose as to
accompaniment, hence the reason for th9-difference in
power and manner of touch; a double result counts have chords, but that the last half of the counts
are octaves only. In the chords put something of a
collapse and hang down below the keyboard, with the
fingers clinging to the keys, and as they, the fingers,
ing, one of power and the other of quality of tone. springy resistance in the thumb and the fifth finger, so begin to descend snap them inwards into closed fists.
From measures 17 to 32 is the next part of the piece, that these tones, and especially the upper one, shall be The tone will roll out like that of a great organ, yet not
or rather the first part or Theme (pronounced ty-may). fuller and more distinct than its inner notes. But surely
keep a loose wrist in doing this. A large hand can close
harsh or over-loud; and, singularly, it will be the great
est power of tone that the instrument is capable of; yet
In the measures with odd numbers, as 17, 19, etc., the in the thumb and fifth finger towards the palm and make do not make it so very loud in this particular instance.
first count gives the melody to the R. H., while in the these tones better than by the method of touch first de In the run that follows let it diminuendo in the same
second and third counts the melody is in the L. H., ex scribed. The runs of the L. H. are to Cres. in ascend ratio as the dying away of the chord.
cept that the last sixteenth of the R. H. is a melody ing and Dim. in descending, but only moderately so The chords in the last two measures must be very ''
when in an accompaniment. This is a general rule. and the two hands and the notes of each be exactly
note. Of course, the melody is to be clearly heard, but From measures 49 to 64 there is a variation on the simultaneously struck. A very common and bad fault
it must not be forced in the least. For the right con Theme. Listen for the melody notes, those with a is in allowing one hand, generally the left, to strike *

trast, both in quality and power in these first counts of double stem, and bring them out with the loose thumb ahead of the other. See to it that you are not faulty in
the R. H. in each measure from 17 to 32, snap the finger touch described above. If you do this rightly, there this.
will be a vocal quality in the tone. When the thumb From the beginning to measure 32 the Phrases are of
that takes the melody; that is, close this finger into the comes in contact with the key it is to be so non-resisting two measures each; from 33 to 48, of one measure; yet
palm of the hand spitefully. In passing it brings the that it stops and waits for the loose wrist and arm to in pairs of two, a part of the time, you can tell by listen
key down with it, thus giving a clear, bell-like tone. drag the key down for it, during which it slips off the ing. One measure seems to ask a question, which is
while the other tones of the same chord are soft and keyboard towards the palm; quickly, bringing out the answered by the next. This question and answer is very
tone as it leaves the key. This calls for some life and plain in some pieces. From measures 49 to 64 the phrases
correctly fulfill their office of an accompaniment. The vivacity of movement in the nail joint of the thumb, but are of two measures again, but of one measure from
L. H. in the second and third counts of these measures extreme looseness at the joint where it is joined to the measures 65 to 80.
has the melody, which is to be taken with the thumb. wrist or hand. The object is to let the first movement Remember that every phrase has a climax, and that
which must be entirely loose and without tension or of the key be very slow with an increase of velocity this climax is the note or chord that seems to contain
down to its lowest depth. And this is the secret of a the most intensity of meaning of any in the phrases, and
resistance, making its tones with the help of the loose good touch of any kind. Poor touch is caused by the that the phrase is to be Crescendoed up to its climax,
arm, which will give a full tone without harshness, mel reverse; the key starts at its greatest velocity from the after which it Diminuendoes to its close. In the first
low and flute-like. Mr. Goldbeck has fingered this for the highly raised finger with a and hard stroke, or 32 measures of this piece, and from measures 40 to 64,
with a stiff hand, wrist and arm. When these latter are the climax of each phrase is the longer note (which is
thumb on each three of these keys, but a better usage
loose enough there is a collapse or giving out, so to generally true), and the Diminuendo comes from the
would be to place the second finger on the second of speak, that allows the key to start slowly and continue natural dying away of the chord tones.
these three tones, and the thumb on the first and last its descent with an increased velocity. Various modifi. Phrases should be separated by a pause, much as
of the three. If the second finger is used, pull the key cations of the above give all of the qualities of tone we separate the parts of a sentence with a comma. See
down with a heavy pull and non-resisting and loose known to the pianoforte. Touch and tone quality is all the comma in the above sentence. Furthermore, the
in an artistic blending of looseness or non-resistance first note of a phrase should be somewhat accented;
wrist and arm. with its opposite. But the work and difficulty is all in regardless of what part of a measure it begins on, and
In the second and third counts of each measure from acquiring the looseness. The Practice Clavier and Tech its last tone is to be especially soft, and shorter than
17 to 32except measures 23, 24 and 31the R. H. nicon are invaluable for the acquirement of the artistic written, as if half of its length, when a short note, was |
touch. One supplements the other, and neither one can a rest. But not every emphasis, accent and climax is to
plays softly with arpeggioed chords. I will say here that well be neglected by the ambitious student. be of equal power. They must be graded according to
the correct name is arpeggio chords, and not harp, The accompaniment chords immediately following the the sentiment of the piece, and the trained, cultivated
wavey or spreading chords. Right here is a melody notes need careful attention. Feel them down and refined taste and judgment and feelings of the per
chance for one of the fine effects that artists produce, rather than strike them. Let each finger give an equal former. Here is one of the marked differences between :
but where most amateurs fail. I would suggest that the and uniform pressure and draw the fingers off the keys good and common performers. -

Finally, you have often heard it said, and as often


with the bend or motion mostly in their two end joints,
pupil place the fingers over these keys and, beginning the nail, and middle joints. #, this you gain surety read in THE ETUDE, that a piece is only just begun when
with the thumb, draw each finger gently towards the with delicacy, a necessary accomplishment. But surely it can be played through in time and without breaks or
palm, letting each key speak softly, evenly and clearly, make every key sound exactly simultaneously. You will mistakes, and that when a piece is brought up to that
and each of even power and an equal distance apart. The see that the L. H. needs careful reading to separate those point, the pupil is ready to begin to learn something
whole arm, wrist, hand and each finger to be loose and notes that have melody from those that are accompani. from the piece. Now, I ask you how is it possible for a
nerveless. Arpeggioed chords, when the upper note ment only. The melody notes have two stems. The pupil to use the kinds of touch and produce the effects
contains the melody, as in measures 18, 20, etc., should half notes need more emphasis than the shorter notes. above described until his mind is no further occupied
Cres., as the tones run upwards, so that the melody may This is a general rule, worth remembering. with the difficulties of reading and the mere playing
be heard last and the stronger. This is why composers From measures 65 to 80 there is a modification of the of the notes? If the above directions are carried out,
write chords with the wavey lines, but in the above in music found from measures 33 to 48. The L. H. runs will he not have mind, heart and hands full, even after
stances, on the second and third counts, these chords are to be as before described. The Italian expression he has trying
the piece learned.
contain no melody, therefore each tone is of equal mark, 'armonioso, means concordant, harmoniously, before whatever may beTherefore,
new to youlearn theway
in the piec'
of
wer. thus calling for a fine quality of touch. The E-flat of touch or effects, and learn the piece and new touch and
P't has been said about the R. H. second and third the last R. H. group of measure 67 is a melody note. effects by practicing over and over, in short passage" of
counts applies equally to the L. H. in measures 1820, In measures 72, 74 and 76 the melody is in the eighth two to four measures. By this passage work' you
etc., but the first counts of these measures have extended notes, and the first of each two is struck with the chord will learn it quicker and better. It is the '
chords, which are a great bug-a-boo to many pupils; and not after, as the notation would seem to indicate. playing that makes this or any other piece charming."
They bring out the thumb note with a harsh bang and The manner of doing this calls for remark. For in beautiful. CHAs. W. LANDON. #.
T EL E E T U T) E. 14-1

WORTH REPEATING, 2. Nothing is better to lead people to enjoy the classics LETTERS TO TEACHERS,
-

Under this Department will appear articles that have been in than to play the classics to them. I would suggest that,
print, but are worthy of a repetition. We will be pleased to receive BY W. S. B. MATHEWS.
as the C. L. S. C. is an educational society, nothing
ontributions from our readers, from resources outside of the back
numbers of THE ETUDE.] could be more proper and useful than for you to give Ques. 1. I have one little pupil whose hand will turn
from three to five evenings in W. S. B. Mathews' How over on the little finger side, and I cannot break,"p the
COST OF STUDYING ABROAD. to Understand Music, Vol. I. I have done this, and fault. I have drilled her in finger exercises faithfully, but
BECAUSE of the continual interest in the question of know, from much experience, of its great value; the pro when she is not thinking, over it goes again. Can you
grammes there given are interesting, and yourself and suggest a remedy?
2. What do you think of five finger exercises, such as
going to Germany to study music, we republish the fol.
lowing:- -
pupils can study nothing of more value or interest than Czernys or Schmitt's?
Blakesly Hall writes an interesting article to the New it will be to work up these musicales. But, as a help to ANs. 1. I cannot offer advice upon this point farther
York Sun concerning the cost of living in Berlin. He you in giving classical programmes that will be pleasing than to say that the two-finger exercise for elastic touch, if
says: The average annual expenses of an American to the average audience, try the following, in the order persisted in for a length of time, and supplemented with
student here, if he lives according to the standard set by the same exercise in double notes, i.e., in sixths, with
his fellows, are about $800. A very large proportion of named: Schubert's Menuetto in B minor, from Op. 78;
the students of both sexes spend considerably less than Tema of Op. 142, No. 3 and No. 2. Mozart's Sonatas, the hand being held correctly, will strengthen the little
$800. Students who wish to enonomize can hire rooms Peter's Edition: Andante, with the variations I and finger to such an extent that the hand will assume a
at from $5 to $9 a month, and bring their board in good position habitually. The will and attention of the
unison with their pocket-books. Pianists have more IV of Sonata No. 12; the Adagio of Sonata II, and the
expenses than other musicians, because they generally Rondo of No. 17. Of Beethoven's Sonatas: Op. 2, pupil, however must cooperate. Nothing can be done
require larger rooms for their instruments, besides hav No. 1, first sixteen measures of the Adagio; Op. 14, without the effort on the pupil's part, but as a habit
ng to # $2 to $7 a month for the hire of a piano.
r. Hall advises American students to have a distinct No. 2, the Andante and variations; Op. 26,
Andante takes some time to form, the teacher will require patience.
understanding with their landlords with reference to the in A flat with variations; Op. 10, No. 2, Allegretto Moreover, it is quite possible to overdo the attention to
cost of fire and light, or the monthly bills will leap up and the Presto; Op. 13, Adagio Cantabile; Op. 81,
purely mechanical points. After a proper amount of
ward at an extraordinary pace. He says, further, that No. 3, the Menuette in E flat; Op. 27, No. 2, Alle time on the manner of holding the hand, completing the
it is better to hire than purchase a piano; for if you
gretto; and Op. 14, No. 1, Allegretto; Op. 2, No. 8, touch, etc., the pupil must be allowed to play pieces of a
have your own you are at the mercy of the landlady. poetic character, not being held to attend primarily to the
She rightly conjectures that, rather than damage his Scherzo; Op. 7, Allegro; Op. 31, No. 2, 33 measures of
piano by constantly moving, the owner will submit to the Allegretto. Schubert, Op. 94, Nos. 2, 3 and 6, and technic, but thinking mainly and assiduously of the music.
all sorts of extortion and frequent increase in room
some of the dances of Op. 9. Try a good arrangement Otherwise the playing becomes reduced to a mechanical
rent.
of his Hark the Lark. Also, these from Mozart: concept, and takes on that character of small old-maid
He advises Americans who contemplate studying in ishness so recognizable in what is called conserva.
Berlin to write and secure rooms in advance. The land Allegro of Sonata No. 3 (Peter's Edition); Assai Alle
tory playing which is a result of class-work.
: look upon American students as legitimate objects gro of No. 6; Allegro con Spirito and the Andante
2. A very small amount of practice upon five-finger
of prey. quasi un Poco Adagio of No. 8; Allegro of No. 10 and
he best and cheapest of the institutions in Berlin is Assai of the Fantasia Sonata. Also, the F minor exercises may be useful, and probably is. But only a
the Royal Academy. The pupils pay $40 a year each, Andante and variations by Haydn. very small amount. Playing much with the hand in a
but this may often be considerably diminished by the If you desire some of Schumann, try Nocturne stationary position upon the keyboard and in a passage
scholarships for competent students of small means.
There is one scholarship of $300 a year. (Nachtstcke), Op. 24, No. 4; Polonaise in D, Op. 2, touch, as touch must be in finger exercises played
Private lessons range from $1.25 to $4 a lesson. No. 11. These two can be had in our annotated edi. rapidly with a quiet hand, tends to establish the habit of
Mr. Blakesly Hall thinks that, in view of the ex tions, Nos. 936 and 938, and also his cradle song and playing all the time with a passage quality of touch, and
tortionate practices of the landlords, the brusqueness, Traumerei. Of Mendelssohn, try Rondo Capriccio, and not with melody touch. This is the fault of all the piano
roughness and crustiness of the German professors Nos. 4, 9, 16, 28 and 30, of Songs Without Words. Of pupils formed forty years ago, when five-finger exercises
who are neither suave nor polishedand the absence of
all congenial surroundings, American girls, particularly Chopin, try Valses (Peters' Edition), Op. 70, No. 1 and constituted the staple of mechanical training.
those of a sensitive nature, will not find their paths No. 14; Polonaise Militaire, Op. 40, No. 1; Mazurkas,
strewn with roses.
Op. 6, No. 1; Op. 7, No. 1; Op. 24, No. 8: Op. 33,
The necessary expenses of the piano student, inde AMERICAN COLLEGE 0F MUSICIANS,
pendent of the expense of clothing, is summed up as No. 2; Op. 67, No. 1; Op. 67, No. 3; Op. 68, No. 2;
follows: Op. 68, No. 3. Of Chopin's Nocturnes, try Op. 32, THE Fifth Annual Examination of the above College
Board and room, No. 1, and Op. 17, No. 2. If a person likes music at took place at New York on June 24th and following
Tuition, 50 days. The increased percentage of successful candidates,
Piano rent, .
- -

-
-

-
-

-
-

-
-

- 60
all, any of the above pieces will please if they are well in spite of a gradual rise in the standard, proves that the
Concert, Operas, etc., . - - 30 played. This list will be found to be of value to teach. thorough work required by the College is being better
Music and extras, - - - 20 ers, and should be saved for reference. C. W. L. understood by s' generally; and they know that,
in order to pass, they must be well acquainted, both
Total, . - - - . 410 practically and theoretically, with the subjects for which
CONCERT PROGRAMMES. they enter, in addition to a knowledge of the theory of
Berlin he considers the most musical city in the world;
but there is, outside of music, not much to interest music, a branch hitherto neglected by
Mr. Wm. H. Sherwood in his ten Recitals at the and vocalists. -

American girls. They all complain continually of Summer Music School, at Chautauqua Assembly, 1890, The successful candidates this year are:
the dullness and stolidity of their surroundings, the ex has played from the following composers: Chopin, 19 For the Fellowship. Degree, Richard M. Welton,
treme heat of the Summer, and the lack of geniality
pieces; Schumann, 14 pieces; Liszt, 7 pieces; Beeth Dechard, Tenn. Special. Theory, Harriette B., Judd,
and life among the people. Most of these are
oven, 5 pieces; Wagner, 4 pieces; Schubert, Wm. H. New York; Wm. C. Macfarlane, New York; and Fred
no more famili
the '' iar with the German language than with Sherwood, Rubinstein and Mendelssohn, 3 pieces each;
it -

erick Maxson, Philadelphia, organ.


Bach, Hndel, and Tausig. 2 pieces each; For the Associate Degree, Harriette B. Judd, New
and one each of the following: Wm. Mason, Edgar H. York; B. B. Gillette, Boston; Geo. H. Lomas, Paw
Sherwood, Carl Heymann, Mozart, Tschaikowski, Hen tucket, R. I. ; Edwin Barnes, Battle Creek, Mich.,
Questians and Answers. selt. Dupont, Haberbier-Guilmant, Domenico Scarlatti. organ; Mary E. Wade. Alton, Ill. ; Mary J. Hazelwood,
Raff, C. M. von Weber, Constantine Sternberg, W. H. Providence, R.I.; and Ed. V. McIntire, Newark, N.J.,
Dayas, Grieg, Bargiel, Moszkowski, Wieniawski, and piano.
Q'ss-1. What course of studies would you advise a Sgambati. The Annual Meeting was held on June 27th, and the
'' to take who can play Chopin's Etudes, Scherzo in following officers were elected for the ensuing year:
b minor, and such pieces as Norma and Oberon,
y J. Leybach. Would Liszt's Etudes" be too severe? TESTIMONIALS. President, E. M. Bowman, Newark, N. J. Vice-Presi
dents, S. B. Whitney, Boston, and Miss Amy Fay, Chi
* '' a C. L. S. C., and as I am one of GREENCASTLE, IND., Aug. 1, 1890. cago, Ill. Secretary and Treasurer, Robert Bonner,
music, what introducing
to such Composers as S : ": : : untro MR. T. PRESSER.
Providence, R. I.
The Board of Examiners for 1891 consists of Mme.
other words I wish to i: ert, # in Dear Sir:I am very glad to receive your School Fanny Bloomfield Zeisler, Wm. Mason and A. R. Par.
than.we have been accust : # ' e Class O
of Four-Hand Playing. I am strongly in favor of this sons, piano; S. P. Warren, S., B. Whiteley, Geo. E.
",
small doses 2 "Y'"
C. E. C. Department, and shall place the work before my Assist Whitney, organ; S. E. Jacobsohn, J. H. Beck, Gustav
ants. JAMEs HAMILTON Howk. Dannreuther, violin; Mme. Luisa Cappiani, J. H.
A*-l. See April number of The ETUDE, page 58, Wheeler, F. W. Root, voice; W. F. Heath, N. Coe
*d column, for a list of such pieces, as will be suited to WHITE HALL, ILL., July 30, 1890. Stewart, Wm. H. Dana, public schools; Dudley Buck,
"needs. As to tudes, some of Chopin's need months THEO. PRESSER. W. W. Gilchrist, Thos. Tapper, Jr., musical theory and
composition.
of work to give them anything like an artistic finish. On Dear Sir:-Having carefully examined Mathews' Steps have been taken by which examinations will be
the face of it, this question indicates that your pupil Twenty Lessons to a Beginner, I want to say I am very held each year, alternating in the East and West, New
18 not thorough enough, does not bring the studies up to
much pleased with the new ideas set forth, and realize York and Chicago. This, we are sure, will meet the
ap : of music students generally.
:
th
finish. It is hard to make pupils realize that
'' useful practice is on a piece or study after
better and more satisfactory results with the pupils I
le, examination, questions for 1890 will sh
r
have been teaching in the manner suggested. published, and will be sent on application b
L. GERTRUDE CARSoN. tary, Robert Bonner, 60. Williams street,
:
"."have it learned. Never can a smooth finish R. I., who will also furnish copies of the prospectus and
* *h, or an easy and unhesitating style be acquired
wi * * **

ithout this indispensable often and continued after


-
examination papers for former years, and to him all
for information
practice.
A composition in which the character changes abruptly, questions
be addressed. concerning the College should
-

as in a potpourri; has no artistic value-Weitzmann.


142
THE ETUDE.
PUBLISHER'S N0TES. 991. Schmid, J. C. La Favorita Schot ESTALISHED 1885.
tische de Militaire. Grade III........ $0 35
WE would again call attention to The Sonatina Popular in style, well calculated to please. Good for
a school march; will do for use in a class of Gymnastics.
Album. It is a valuable set of fine pieces for forming BROAD STREET
992. Presser, Theodore. A School of
and improving taste. Also, for lessons in reading. Four-Hand Playing. Book I......... 100
Nearly all of the pieces in this book require melodic Within the compass of Five Notes. A collection of
the easiest pieces. Formative in character, calculated
work by the left hand.
Where the pupil has a member of the family who can
play with him or her, or has some child friend who plays,
to develop the taste of the pupil. Nearly all the pieces
are written for each hand to play alikein Unison-and
most of the Secondo parts are within the capabilities of
the pupil, thus making good studies in playing from the
F clef, and in accompanying. This is a valuable collection
||NF||M|| || || *

The School of Four-Hand Playing, will be of par and just what every teacher wants for the use of begin REMOVED TO
ners, for keeping them interested and advancing. Below,
ticular value. But where the pupil is the only musical will be found a description of each piece, showing for
one in the house the teacher can take the other part of what it is especially calculated; each piece has a definite
purpose as well as being good and beautiful music.
(33l South Broad Street, Phila.
the piece. These pieces are very easy, and all are pleas
1. Thomas, G. Ad. Op. 18. No.
ing. The book is fast becoming popular with the better 993. 1. Contentment.............. .......
class of teachers. Price one dollar. 2. Wohlfahrt, H. Cradle Song. ENLARCED AND IMPROVED
The highest authorities agree that musical notation is Contentment is a pretty little melody and as easy IN EVERY DEPARTMENT.
as a five-finger exercise. The harmony of the Secondo
too imperfect to allow the composer to put down his adds largely to the effectiveness of this piece A Study
in phrasing and touch. Both hands play alike. The
thoughts exactly as he felt them; therefore, the per Cradle Song is developed from a Motive or Germ. It
former must expound, or so play as to explain or inter is and a good study in phrasing and expression.
Both hands play alike. The only Conservatory in the Country employing
pret the compositions, as well as merely to perform them.
Hence, the office of annotated, analyzed and explana. 994.
!. Enckhausen, H. Op. 58.
3. At Evening........................
#} 20
Male Teachers exclusively.
The only Conservatory in the State having a com
tory editions is a necessity, as a help toward their lucid, 4. Vogel, Moritz. Reaper's Song.
plete Orchestral and Band Department.
At Evening is a quiet little melody, very simple
expressive and correct presentation. and easy, yet pleasing, clear cut phrasing, and therefore
The publisher of THE ETUDE will largely extend his a good study for expression. Both hands play alike.
The Reaper's Song. A bright little piece on a
list of such pieces, employing the best talent available, Motive of three notes; easy and pretty. A good study Instruction in all Branches of Music by a Faculty of
and so make them of exceptional value. for expressive accenting and clear phrasing. Both 26 Professors.
hands play alike.
Perhaps it is not known by our readers that we have
one of the largest and most complete stocks of music in 5. Wohlfahrt, H. Op. 87. No. 33.
995 Polka ..... 20
the country. We fill orders for any music or music *- - - - - - - - - - - - - - - - - - -
FREE ADVANIAGES.-->.
book published. Besides a large catalogue of our own 6. Grenzebach, E. Song of the
publications, we keep an immense stock of music from Little Maiden............... - - -- -- - - - ...-->= FREE SCHOLARSHIPS.
The Polka, bright and gay. Easy, and a good study
Europe, as well as from the various publishers of this for independent use of the hands. Yet quite easy.
country. Write us for terms, and we can make it for Song of the Little Maiden. Is a sweet little piece;
in a word, expressive and plaintive. A good study for
Special Training Course for Teachers.
your interest to buy of us.

a discriminating touch as to power and for Legato and


The special offers on some of our forthcoming Staccato effects,
publications will be soon withdrawn; therefore...if you Bay" Reasonable Board in neighborhood. For Cata
intend to avail yourself of these low prices, send in your 7. Enckhausen, H. Op. 58. No. 7
order early. 996 March: - - - - - - - - - - - - -- - -- - -- - - - 20 logues, address
8. Diabelli, A. Op. 149. No. 5.
Extraordinary Offer. $10.00 worth of vaLUABLE Happy Day..............................
NEw works FoR $3.00.The publisher, knowing the im Both of these pieces are very easy, and the pupil's GILBERT R. COMBS, Director,
portance of introducing a new work among active music part within a compass of five notes. In all but four meas
ures of this march, both hands play alike. A good study 1331 S. Broad St., Phila.
teachers, offers the following new works at about the in phrasing and wrist accenting. Mention The Etude.
cost of printing, paper and binding: Normal Course In the other piece, both hands are alike throughout.
of Piano Technic ($2.00), by W. B. Wait. Twenty The Secondo is but a little more difficult than the Primo.
Lessons to a Beginner ($1.50), by W. S. B. Mathews. It is thus good practice for the pupil to learn both the
Primo and Secondo. A good study for touch and slurs. Incorporated 1878.
Thirty Selected Studies from Stephen Heller" ($1.50). Both pieces have a pleasing melody and rich harmonies.
Studies in Melody Playing ($1.25), by H. C. Mac 9. Berens, H. Op. 62. No. 10. NEW YORK COLLEGE OF MUSIC,
dougall. Chats with Music Students. ($1.50), by Melody...................................... 20
Thomas Tapper. First Lessons in Phrasing ($1.50). 997. 163 East 70th St., New York City.
10, Berens, H. Op. 62. No. 21.
by W. S. B. Mathews. Supplement to Grade I of Mazurka............. ...... - - - - - --* ALEXANDER LAMBERT, Director.
School of Four-Hand Playing (75 cts.), by William In both pieces the pupil's part is in unison, on five
Drobegge. - * - - notes. The Melody is short and pleasing; very easy. All Branches of Music taught, from the beginning to the highest
The publisher retains the privilege of withdrawing this Well chosen harmonies. To a student who has practiced artistic attainment. New York's largest and most complete music
Mason's Touch and Technic, Two Finger exercises, it school, occupying an entire building, with a concert hall of its ".
offer at any time. will be especially interesting, because he will find a students have Free Instruction in Harmony, Counter
practical application for his knowledge in producing fine point, Composition, Vocal Sight Reading, and Free Admission
musical effects. to Lecture', Concerts, Ensemble Playing, etc. Students received
Day after day the publishing houses are putting forth The Mazurka is the harder of the two. It is a good daily from 9 A.M. to 5 P.M. Send for new catalogue.
to the public books and pamphlets that will aid us in study in time. The Melody is within five notes.
accompaniment will make it easy for the pupil to
teaching; we read them all, we read the best magazines conquer the time difficulties. The piece is bright and
published in the interests of our special work: we are gay and will please young pupils.
constantly looking for a magical text-book that will make [11. RAPHE An o |
it easy for the learner. And after all this we sit
down and wring our hands, declaring that the poor re.
998. | 12. Wohlfahrt, H. Laughing
Waters........ - - - - - - - - - - - - -- - -- - - - - -

Kleinmichel, R. Op.43. No. 1. 20


sANson street

sults of our teaching must come from poor text-books Gallopade................................. |


and poor pupils, dodging thereby the very one reason Laughing Waters is an Allegretto, bright and
that is the real cause. Poor teachers are the root of all joyous. An excellent study in the musical effect of
evil. We lament that there are music students who
learn nothing but trash. They learn trash because they
know some teacher or other who will instruct them in
slurs. Pleasing if accented and slurred correctly, other
wise quite meaningless. This is about Grade 2.
"Gallopade, a study in ties and syncopations, short
and pleasing when well learned. In both pieces the
NEWIESONS INHARMONY.
BY JOHN C. FILLMORE.
trash for a certain consideration in the shape of green pupil's part is on five notes and both hands are alike.
backs. Bad teaching is due only to bad teachers. 999. 13. Tours, Berthold. Little Johnnie. 20 canWe
learnknow no other
so much aboutwork in which
harmony a musical
in fifty. Pag's student
of text
THOMAS TAPPER. A beautiful melody effectively harmonized. Pupil's and examples for exercise.The Nation, New York.
part on five notes and in unison. This is a most beautiful
piece. Any player can do the Secondo. A good exhibi This work is based on the ideas of DR, H:o
and has an appendix of his lecture on The Nature o
R
tion piece for little players. It gives good practice in

LATEST PUBLICATIONS. expressive accenting.

1000. 14. Diabelli, A.


Jubilee March ........
Op. 149.
- - - - - - - - -
No. 7.
- - - - 20
Harmony.
A careful perusal (of this) will enable student: toF.
-

clearly the drift of modern speculation in music." e

THE000RE PRESSER, In C major and minor. The rhythm is strongly marked,


which will be a help to the pupil in playing the variety
of notes to a count contained in this piece. An excellent
Nation. -

Dr. Riemann, The greatest living musical theorist. - ist "--

1704 CHESTNUT STREET, PHILADELPHIA, PA. ' '' time, and as pleasing as valuable. Nearer grade
an 1.
The Nation.
-
oRDER BY 1001. 15. Enke, H. Op. 6. No. 2. Hon
oNLY. -
PRICE
groise................ * *** ***- -------- --- ---- 20 ANTED.A position as Teacher of Piano and
'yant, Gilmore w. Fingerflight,
Mazurka for the Pianoforte. Grade $ 7
In A minor. Allegro, Vivace. Full of fire and snap. Class Vocal Reading. Graduate of leading
Wild and weird, but decidedly pleasing. A valuable Conservatory. Tonic Sol-fa a specialty. Several ye"
W .................................... - - - - - - - - - - * 5 study. Good exhibition piece for young players. About
A beautiful piece and as unique, as beautiful, for i grade 2. A good study in time. of experience in teaching. Expert in Calisthenics.
gives a practical use of the Mason's Two-Finger Exer Graduate of college. Best of references.
cises, except on the last two and a half pages. Every 1002. 16, Erenzebach, A. E. At Play....... 20 Address Miss A. IANTHA SIAUGHTER,.
pupil who has studied Mason's Touch and Technic "
This piece is in F minor and A flat major. Allegro, Care ETUDE Office, 1704 Chestnut St., Philadelphia, Pa.
should have this piece. Vivace. Grade 1. No special difficulties in it. A good
study in phrasing. Expressives well written. Pleasing.
990. Morris, M. S. Writing Exercises for WANTED EAdepartment
Music Clerkof toa large
take charge of the
Students on Music .......................
Every teacher has pupils who fail to learn the time
30 1003. ". Theo. Gypsy Life. Grade wholesale music house.
20
value of notes. Here is just what is needed to thoroughly In A minor, Allegro scherzando. Each hand indepen None but the most experienced need apply. Address,
teach such pupils time. Good for the first term of lessons dent, Well written. Good study in the finger staccato stating experience, with reference, J.G. & S. 90:
with all beginners. Try them. touch. Expressive and pleasing. Care of ETUDE Office, 1704 Chestnut St., Philadelphia, Pa.
TH E E T U D E. 143
THE
E_A_T IN/EEE).S A Supplement to Every Instruction
Book.

| PIANO PRIMER.
I5th EDITION.
THE STUDY NORMAL: COURSE ...->>OF->"

Notes and Remarks by such Musicians as Dr.


Wm. Mason, Mr. Wm. H. Sherwood,
of THE PIANo. 2EY PIMN0 TECHNIC.
Mr. Albert R. Parsons, etc. TEC. E_A EQUENTT. DESIGNED FOR

It is concISE; it is ExHAUSTIVE; it is endorsed by most SCHOOLS, TEACHERS and STUDENTS,


of the great American Pianists and teachers. Letters of Translated by M. A. Bierstadt.
commendation of it have been received from the most
prominent musicians in more than twenty different By VVM. B. VVAIT,
States. It is adopted as a STANDARD work in most of PRICE $1.O.O. Autho, of Harmonic Notation, (THEo. PRESSRR,
the Colleges in America. Its sales have been phenome Phila.), System of Tangible Musicfor Use of the
nal. Its price is very reasonable, viz.: In Cloth, em T' work is designed to accompany the instruction Blind, Measure, Rhythm, and Rorm.
bossed, $1.00; in Board covers, 75 cents, and in paper book with every beginner, and will serve as a supple
covers, 60 cents. Address ment to any method.
The information is imparted in the form of questions The NorMAL Course is based upon the fundamental
THEODORE PRESSER, and answers, which will make the work useful as a primer, idea information
that, for theofpurpose of and
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development, discipline
and the mind, teaching the learner
1704 CHESTNUT ST., PHILAD'A, PA. but it is vastly more direct and comprehensive than any
primer published. how to think and to do, Technical studies in Music are as
The following are a few of the subjects, out of the 175 useful as any other branch.
FIFTY EXAMINATION QUESTIONS pages, which we give at random :
General Advice on the Method of Practice.
FEATURES OF THE B00K.
FOR PIANOFORTE STUDENTS, Clear, concise statements of facts and principles.
Necessity of Counting. It deals only with essentials. * -

BY ALBERT W. BORST. Some Special Difficulties. It arranges the materials in grades, by Divisions,
Price 5 Cents. 50 Cents Per Dozen. Musical Memory. Courses and Steps.
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THEO. PRESSER, Publisher, Philad'a, Pa. The Pedal. The course is as clearly laid out as in any other branch
of study. *

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The book will be bound in cloth, and will be a pleasing to ends.

CHASE BR0s. PIAN0s. contrast to the ordinary pasteboard cover primers that are
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It permits the attention to be given to the hands in
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In schools, it will secure uniformity in the instruction


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Address the Publisher, It furnishes the bases for oral recitations and examina
g 1Wen.

THEODORE PRESSER, tions, as in other subjects.


17O4 Chestnut St., Philadelphia, Pa. It is logical, systematic, thorough.
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Address the Publisher,
This Invention provides a Protection for
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THEO. PRESSER,
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Connected with the PedalsEspecially de
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A PIANOFORTE INSTRUCTOR.
BY JAMES HAMILTON HOWE.
GRANDS and UPRICHTs, BY PRICE LIST. Op. 15.
This Instructor includes for its theoretical portion:
CHASE BROS. PIANO CO., No. 1.
No. 2.
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Address The Practical part contains a thorough set of Technical
A System Of Him Whit. THE0. PRESSER, PHILA., PA. Exercises, progressively arranged; scales, major and
two minor; in all keys, supplemented by attractive Les
sons and Illustrative Compositions.
JAMES HAMILTON HOWE.
The Philadelphia Musical Imal andThroughout the work are introduced Duets for Teacher
Pupil, illustrating certain exercises in an entertain
CLOTH, $1.5O. "'
he last four pages are devoted to the Major Scales in
Includes a complete set of Scales, A
ONLY $1.00 A YEAR. all keys, with Grand Arpeggios; the Harmonic, Melodic
, Arpeggios, Double and Mixed Minor Scales in all keys, and an original Grand
'' Double Sixths, etc., in various
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s' exercises for special developments, and AMERICA'S LEADING MUSICAL PUBLICATION,
mbellishments. It follows nicely the popular Educational Department. Edited by Hugh A. Clarke, Mus.
":
he Instructor has b
has been d
endorsed by the followi
orte Instructor, of late issue (by the same Author),
in co Doc., University of Pennsylvania. Artists and Teachers; Wm. H. , S.A.
with appropriately graded studies and in: Every issue contains 16 pages of new music, and from 16 to 20 pages
of musical literature, interesting and valuable to Music Teachers, Fannie Bloomfield, Neally Stevens, Constantin Ster:
in "mpositions. This work has been introduced Pupils, and all lovers of the Art Divine. It is the official organ of the berg, J. S. Wan Cleve, J. C. Fillmore, Arthur Foote
: our leading schools of music. A newly Pennsylvania State Music Teacher's Association. Louis Mass, Alex. Lambert, Calixa Lavellee, W. S. B.
' d edition is in process of publication, Mathews, Carlisle Petersilia, Joshua Phippen, Jr., G.
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and or carrying the same in music rolls. A new Burr, H. A. Kelso, Thomas Tapper, Jr., Norman
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likewise extensive sale, retails for t e ll
**04 Chestnut street, Philadelphia. 1416 and 1418 Chestnut St., Philadelphia. $1.50, with liberal discount to the
- - -

:
144 *T H E E T U D E.
A NEW B00K FOR BEGINNERS, SECON D VOLU M E.

THE ART OF PIANOFORTE


BY HUGH A. CLARKE, MUs. Doc.
PLAYING.
Price $1.50, post
Pli:''MSEAMET) Studies in Phrasing
1617 SPRUCE STREET,
paid. and 5O73 Main Street, Germantown, By W. S. B. MATHEWS.
This is a new work embodying the results of thirty PHILADELPHIA.
Price $1.5O Net
years' experience of a practical teacher, who has held
the responsible position of Professor of Music in the 22d season.
Pennsylvania University for the last fifteen years.
The design of the work is to furnish a thoroughly
AWTI littltr. Militfit Filmillisii,
Private and Class Lessons in all Branches of Music. C O N TE NTS:
artistic school for beginners, embodying all the latest
results of the best criticism. The exercises have been INSTRUCTORS: Primeiples
Introduction. Method of Interpretation.
of study. p orn
constructed with great care, and are graded in such a Piano.RICH. ZECKweR, R. HENNIG, MAURITs LEEFsoN,
way that the difficulties that beset beginners are almost LELAND Howe, HERMANN MoHR, GUSTAV HILLE, I L L U S T R A TI O N s :
insensibly overcome. Not a page has been admitted for MARTINUs vaN GELDER, F. E. CREsso N, MissEs S.
the purpose of making a ; no other work has been Sow ER, M. RUTHRAUFF, A. SMITH, A. SUTOR, L.
. Mendelssohn, First Song without Words.
Bach, Loure in G.
borrowed from ; but every piece in the work is the Chopin, Nocturne in E flat.
result of careful study of the requirements of a complete TIERs, B. DAvis, L. WILLIAMs, MRs. W. O. J. TIERs. Mendelssohn's Hunting Song.
elementary school for the pianoforte.

Practical and Pleasing.

It is of the utmost importance that a proper beginning


Organ.DAVID D. WooD, LELAND Howe, F. CREsson.
Wiolin.GUSTAV HILLE, MARTINUs VAN GELDER, RICH.
SCHMIDT.

Wioloncello.RUDoLPH HENNIG.
be made. There are two features in this book that make Wocal.PAsquALE RoNDINELLA, MRs. BoICE HUNSICKER,
| Schumann, Warum.
Mendelssohn, Spring
Schumann, Nachtstuecke in F, Op. 23, No. 4
Bach, Invention in E minor, 3 voice, No. 7.
Schumann, Grillen.
. Rubinstein, Melody in F.
. Schumann, Polonaise in D, out of Opus 2.
. Mendelssohn (Duetto), No. 18.
. Schumann, Homewards.
it one of the best works for beginners ever issued, Miss L. LAw. . Chopin, Prelude in D flat.
namely . Bach, Saraband in E minor.
Theory.R. ZECKwKR, F. E. CREsson. . Schubert, Minuet in B minor. Op. 79.
It Interests the Pupil, it Cultivates the Taste. Acoustics.R. ZECKw ER.
Address Publisher,

On these two points every teacher must look Orchestra Instruments.H. L. ALBRECHT, ED. Koch,
G. MUELLER, C. PLAGEMANN, R. HoPPE.
for success, and it is well to have a text-book at the
beginning that lays particular stress upon important
THE PRESSER, IIM ['ll St, Phill
principles. *
FREE ADVANTACES.
There are numerous duetts for teacher and pupil, all Harmony, Symphony, Instrumental and Vocal Ensemble, Orchestra THE STAR OF BETHLEHEM.
having a specific object in view, There are a goodly Classes, Lectures on Acoustics and other Musical Topics.
number of pleasing pieces of a didactic nature, and exer Concerts by Teachers and Pupils in our own Hall.
cises for strict and mechanical fingering, such as scales, J. H. HALL AND J. H. RUEBUSH,
Piano and Organ Recitals. Assist ED BY
arpeggios, five-finger exercises, etc. ALDINE. S. KIEFFER.
TUITION, $7.50 to $30.
Address publisher, THEO. PRESSER,
For illustrated circulars apply to A fine collection of Church Tunes, Anthems, Choruses,
1704 Chestnut Street, Philadelphia, Pa. and Glees. Just from the press.
RICH, ZECKWER, DIRECTOR. Contains 116 Church Tunes, SO Pages Class
Songs, 7 O Sunday-School Songs,
PALMIEE*S 32 Pages Anthems.
A GRADED COURSE OF STUDY Just the Book Teachers have wished for. 192 pp.
New Pronouncing Pocket Dictionary
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By M. S. MORRIS. method, for character notes have been successfully used for years.
Dictionary has recently been issued, which contains up. E*RICE * - - - -
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Containing the best lists of pieces and studies, vol.
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IN PLANOFORTE PLAYING.
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To be used on the PRACTICE CLAVIER or PIANO. BY 1st. The music will be edited in the most careful manner...Special
attention will be given to the Phrasing, Pedal Marking, Reg"
E. M. SEFTON. tion, ete.
The object of this work isfirst, to establish the doctrine that Piano 2d. The Music will be printed from Engraved plates (not type).
forte Technic is or should be an Elementary Study; and, second, IF E I C E - - - - S 1 - O O. 3d. No other work gives so much music for so little money.
to supply teachers and pupils with exercises and facilities by which 4th. None of the pieces are too difficult for the Amateur or the Stude",
and the Professional Organist will find a large number of composit"
this all-important subject may be taught, and true pianoforte which are only to be found at present in expensive editions.
This book makes work easy for THE TEACHERthe young
technic may be clearly comprehended and practiced by the youngest especially-and 5th. The work will also commend itself to Teachers and Organ
the study of music clear and attractive for TEE
beginner from the first lesson, as heretofore has been impossible. *UPIL:). It is a new departure and is a step in advance of any pupils, on account of the large number of pieces available for in"
tion
The plan of the work, and the exercises given, are new and thing published as a means of interesting the pupil and aidin in addition there will be eight pages of reading matter consisting
the teacher. It tells When, where and How much shoul of articles 'i
original. be studied or given in Theory, Technic and The Piece, and mony, etc., on
alsoOrgan Playing,
descriptions of Registration,
new Organs, Choir Training,
Biographies not
In the two volumes more than thirty picture illus their various subdivisions. No steps need be taken hesitatingly by
trations are given, by which not only proper positions, the young teacher. Read what Dr. William Mason, the head ''
o: and Organ Composers.
very topic - h
will be discussed that will stimulate and aid in the
profession, has to say of the work:
but correct movements are easily learned. development of the Art of Organ Playing. - f
Everything new in Organ matters in regard to Concerts, itemso
"#.
"Dear # ser:
Sir:-I have received the copy of Teacher's Help and Personal interest, etc., will be noted. -
BOOKS I AND II, EACH $1.5O. Student's Guide, and thank you for it. I have it "THE ko ANIsrs Jour'NAL will contAIN TwkNTY PA's :
with interest and regard, it as a very useful work. It keeps con EACH PART. There will be from 75 to 80 (and possibly more) *
stantly before the pupil, the true and fundamental principles upon lent Organ Pieces in this volume.
EDWARD SCHUBERTH & C0, Publishers, which effective practice is based. The various exercises are arranged suBSCRIPTION, $3.00 PER YEAR.
23 Union Square, New York. in a systematic way, tending toward orderly and rapid development. The first volume is now complete. The second volume,is in co'
The directions which constantly remind the pupil of the absolute
necessity of deliberate and conscientious work, may at first glance of publication, and will be sent, postpaid, on receipt of the subscrip
seem almost superfluous, but the experienced teacher will at once tion. Succeeding parts will 'be issued and forwarded, one *
SUITABLE FOR CHORAL SOCIETIES.
recognize their importance and the urgency of their constant repeti. month, until the 14 numbers are complete. nt -

tion. It is the kind and quality of practice which tells. One m ght Circulars and sample pages, full information, will be sent,
-

as reasonably expect, by sowing poor and imperfect seed, to harvest free, on receipt of name ress.
Mrs. SPEAREE, good fruit, as through imperfect practice to gain good and desirable For further information, address
results in pianoforte *''.
AN OPERETTA.
By ALBERT W. BORST. Address
Yours sincerely, *
WILLIAM MASON. * THE0. PRESSER, WM.E. MSHMML 400.
1704 Chestnut Stroet, 231 East 80th Street,
sponNovello, Ewer & Co., or from the composer, #602 Hamilton
street, Philadelphia special terms for quantities. THEO. PRESSER, PHILADELPHIA, PA. PHILADELPHIA, PA. NEW YORK, N.Y.
14-6 T E[ E E T U D E.
MUSICAL GAME.
Portraits of Famous Composers
JUST PUBLISHED IN PHOTO-GRAWURE.
BEETHOVEN, MOZART, CHOPIN and WAGNER.
ALLEGRANDO.
Instruction and Pleasure Combined.
\m Knabe &R list

A SPLENID GAME FOR EVERY HOME. GRAND SQUARE, all UPRIGHT fall
Size 112x16 in. (life size), on 22x28 paper, @..................... $1.00 This game consists of cards, on which the different notes and rests
33%x4% in. (cabinet size), @............... .35 are printed, one on every card. After a number are distributed among
(Printed on Japanese paper, mounted on beveled card board.)
E" E. A. M. E. D.
the players, the cards are played in succession and added together as
they are played until the value of a whole note is reached, when it
counts one for the person who played the last card and completed the
RIANDaRORTES)
whole note. This gives a general idea only. Full directions, with
Size 1Framed, 20x24, in 2-inch oak, with %-inch silver rules for a number of different games, tables showing the notes, rests, These Instruments have been before the Public for over
inside, @....................-------------------------------------------.$3.00 keys, &c., accompany the game. fifty years, and upon their excellence alone
learning to play the Piano, Organ, Violin, or any other instru;
Size 2-Framed, 12x14, in 1%-inch oak, @............................. 1.75 ment; those who sing; those who wish to read music faster; in fact, all have attained an
who are interested in music, need this charming game.
BOXING CHARGED EXTRA. It teaches the value of notes and rests. UN PURCH ASED PRE - E M IN ENCE,
The names of the notes. Which establishes them as
The following are in preparation and will be issued in the order The various keys in which music is written.
The different kinds of time.
named:BACH, HAENDEL, HAYDN, LiszT, MENDELssoHN, MEYER
BEER, SCHUBERT, SCHUMANN, WEBER and others.
Practice in musical fractions.
The easiest way to learn to read music.
UNEQUALED
Subscriptions should be placed now. You learn, while playing an interesting game.
It is readily learned, even by children.
JELLINEK & JACOBSON, Publishers,
For Sale by
13 East 17th Street, New York.
Time devoted to playing this game is not wasted, as in most games.
A splendid game for evening parties.
A new departureentirely unlike any other game.
Parents can teach their children the rudiments of music, even if not
musicians themselves.
TI', 'I'll Winn, li lllllly!
THE0. PRESSER, 1704 Chestnut St., Philada., Pa. Interesting to old and young, beginners and advanced alike. Wvery Piano fully Warranted for 5 Years.
Those intending to study music will find it to their advantage to play
this game a while before beginning lessons
FOF BEGINN EFS USE. W.M. KNABE & CO.,
PRICE, 50 CENTS.
Address Publisher, 22 & 24 E. Baltimore Street, BALTIMORE,
THEO. PRESSER, 148 Fifth Ave., near 20th St., NEW YORK.
W. EI IT IN E Y'S
17O4 Chestnut Street, Philadelphia, Pa. 817 Pennsylvania Ave., WASHINGTON, D.C.

RAPID METHOD THE ELEMENTS


FOR THE PIANOFORTE.
PART I. HARMONIC NOTATION. A CIRCULAR
Containing 184 pages, large size. Its system of in For Classes or Individuals.
struction is easy, yet progressive, and music teachers
are rapidly adopting this NEW WORK. VV I L L I A M B. VV A IT.
TO THE MUSICAL PROFESSION.
Price only $2.OO, postpaid. PRICE 50 CENTS.

4G-SEND FOR A FULL DESCRIPTIVE CIRCULAR. A Preparation for the Study of Harmony.
Address Address Publisher, Profound, instructive and beautiful are
THE W. W. WHITNEY CO., THEO. PRESSER, the attributes generally accorded the lectures of
TOLEDO, O.
PHILADELPHIA, PA.
the late Karl Merz. With singular skill he
NEW, EASY AND PROGRESSIVE wrestled with musical philosophy, musical history
and musical aestheticism, and he understood it to
H. B. STEVENS & C0, Meth08 for the Pianoforte. deeply move the musician and to enchant the
amateur. Wherever he lectured he inspired a
BY JULIUS E. MULLER.
greater estimate for the musical art and higher
MSt Pl's 8 mill: PRIGE $1.00. BOUND IN BOARDS.

This is an entirely new work. The author is an active


respect for the musical profession.
He was often urged to issue his lectures in book
169 TREMONT ST., teacher, who is well known as the composer of that once
parlor piece Falling Leaves. In this work form, but he would invariably reply:
e has aimed at the popular taste. The names of
B O STON, MASS. Streabbog and Spindler appear the oftenest. The book It is time enough when I am dead.
has very few exercises. Address
They may be published them to bene
THEO, PRESSER,
fit my wife, if she survives me.
Agents for the Standard Cheap EditionsPeters, No. 1704 Chestnut street, Philadelphia.
Augener, Cotta, Breitkopf & Hartel, This beautiful wish is to be carried out. Con
Advice to Young Students of the Pianoforte,
Schlesinger, Etc. BY ALBERT W. BORST. stantin Sternberg, the distinguished pianist, and
PRICE, Io ots. Johannes Wolfram, the noted musician, will edit
We wish to call the attention of Directors of Some good advice for everyone studying the piano. the lectures gratuitously, and Dr. Charles H.
Music in Schools and Seminaries, also of Music Merz, of Sandusky, O., the worthy son of the
Teachers in general, to our stock of Foreign and S0LICITORS WANTED late Karl Merz, has associated himself with his
American Music. We make a specialty of good T9 secure subscriptions for the Manual of Music. b father's special friend, Theodore Presser, in pub
: M. DERTHICK. This book, which is enjoying : -

fingered editions, and when desired will send arger sale than any musical work of the price ever lishing said lectures.
offered to the public, is introduced exclusively by sub
selections of different grades for inspection. scription. Music teachers and musical people gladly Send your orders to

ande,remunerative.
thereby rendering
secure the largest possible
g their empl
ployment most pleasant

SPECIAL ATTENTION PAID TO MAIL ORDERS. We employ only those who possess the necessary in
THE0DORE PRESSER,
address and general attainments to PHILADELPHIA, PA.,
them to fully, maintain the high artistic and literary
character of the work, and to such we offer permanent
TERMS LIBERAL. situations at a liberal
Catalogue sent free correspondence. salary or commission. We invite
Address - - - - or Dr. CHARLES H. MERZ,
On application, and SANDUSKY, 0.
also Bulletin of New Music sent regularly MANUAL PUBLISHING COMPANY, Price of Book, Mailed,
to those sending their address.
415 Dearborn Street, CHICAGO, ILL. $1.5O.
-

T H E. ET U D E. 14-7
BERN. BOE KELMAN'S
COMPOSITIONS.
Inauguration March. For four hands..
- 4- For eight hands
JERUSALEM. TWO NEW BOOKS.

Romanza. For Violin or Violoncello. Op.


Bailabile.

-
For Orchestra.

For Piano. Op. 3.........


Orchestra par
Score......
A GRAND ORATORIO. - *=.
Polonaise de Concert. For Piano Solo.
44 4- * For eight hands.
Valse de la Reine. Op. 5. For Piano....
a Cheval. Morceau Caracteristic. Op. 6............. :
in der Einsamkeit. For String Orchestra. Op. 7. Score, .25
: By HUGH A, CLARKE, Mus, Doc. Choice Classics,
- - Single set parts.................... .25
-
Sehnsucht. For Piano Solo. Op. 8........................ .50 s -

Address THEODORE PRESSER, Price $1.50, Bound in Boards. FOR PIANO. #


1704 Chestnut street, Philadelphia, Pa.
A judicious selection from the works of foreign authors
TEACHIEERS* The libretto of this Oratorio is taken from the Bible, of the highest rank. A glance at the contents will be
and gives, in an epitomized form, the story of the taking sufficient for players of musical discrimination. Printed
P0CKET METRONOME. of Zion by DavidThe prosperity of JerusalemThe from new engraved plates on finest quality music paper.
defection of IsraelThe consequent destruction of the
C O NT E NTS :
$|||}|, ||||||II, III || ||[IPEIS|[. city and the king's captivity.
The theme now takes up the promise of restoration
under the reign of the promised kingHis comingHis
rejectionThe final desolation of the cityConcluding
with the promise of the Heavenly City and the descent |

of the New Jerusalem.


The Oratorio is to be produced in April by the Phila.
Price, Nickel-plated, 50 Cents, Net, Postpaid.
delphia Chorus, with a large chorus and orchestra, and
has already excited widespread interest among musical
Giving the correct Metronomic Marks after the
people as the first work of such magnitude written and
Maelzel Standard, together with the produced in America.
True Tempos of all the Dances.

These instruments have been especially manufactured THEODORE PRESSER,


for The ETUDE, and will be sent as a premium to any one
PUBLISHER,
sending two subscribers. Address
MENUETTO..
THEO, PRESSER, 1704 Chestnut St., Philad'a, Pa. 1704 CHESTNUTST, PHILADELPHIA, PA. MOMENT MUSICAL.........
MURMURING ZEPHYRS....
NOCTURNE...............
We have just published
--- HOF MANN
The Sleigh Ride. ....HOFMANN
BY W. M.TRELoAR.
Greatest Musical Movelty of the Times.
PRACTICAL HARMONY; ....MERKEL
NICOD
solo 7.5c. DUET, 81.00. DESIGNED FOR THE USE OF PIANO STUDENTS.
This great piece is played with BY
bells and whips, (chorus ad lib.) DR. F. L. RITTER.
Swiss bells used in you want.
- J'.
asm wherever playe
50,000 already sold.
ust Wind
PRICE 75 CENTs in PAPER $1.00 IN BOARDS
this piece 40c._Send?5c for the solo, or $1 for the
duet, mention this paper and we will send a pair...of
belis FREE. TRE10AR MUSIC Op., Mexico, Mo, A work of the greatest importance to students of har: Price, in Boards,
mony and the pianoforte. There is no other work of Price, in Cloth, -
this kind in our language, and we are sure that it will
EI occupy a distinguished place in our system of musical
education. It takes the pupil over the whole ground of
HENRY MIRR harmony. All the rules are covered in exercises of the
most varied kind, to be played at the pianoforte. It is a
good preparation for the art of '' and improvi.
sation, calculated to incite the student to musical pro:
duction. The work will help greatly to facilitate the
young musician's difficult tas regarding the thorough
PIANO.S. tudy of harmony.
" *" THEo. PREssER,
PUBLISHER,
1704 Chestnut Street.
FOR PIANO AND VIOLIN.
(With extra Violin part in separate binding.)
HENRY F. MILLER & SONS Contains compositions by the best authors, and of
absolutely unequaled merit. They will be found equally
PIANO COMPANY., DACTYLION. acceptable for concert performances or drawing-room
FOR PIANO STUDENTS. pastime. The separate violin part relieves both per
BOSTON. PHILADELPHIA. A new invention of great practical value and real benefit to the Piano formers of the discomfort of playing from one book.
Player. Issued in the same careful and costly style as Choice
Classics.
Co N T ENT st
Manufactory, Wakefield, Mass. ANDANTE AND MARCH......... -....BEETHOVEN
ANGEL'S SERENADE.--------------------------------- ....BRAGA
AVE MARLA..... -

Just out. CONFIDENCE.

THE SCRATCH CLUB,


By HUGH A. CLARKE, Mus. Doe.,
PROFESSOR OF MUSIC IN THE UNIVERSITY OF PENNSYLVANIA,
Author of The Art o Pianofort *1 is *..
Playing, Harmony on the Inductive NOCTURNE....
Method, #: to Thee Acharian s," Jerusalem. PAVANE, LA.......
(a new Oratorio), etc., cle. PIZZICATI (Sylvia).
- ...F.AUCONIER
"It is a little book which will i
nterest and please musicians and -
.SCHUMANN
by its chatty common sense and suggestiveness. Evidently,
witho *Work of a man who knows his art well enough to handle it
'toyerweening solemnity.Boston Literary World.
ever : of the cleverest bits of writing concerning music that has
'' in America. .
To strengthen the fingers. SERENADE...
. . The book is full of entertainmen To improve the touch. - - SERENADE...
h e ideas of young readers and gratify those 9 To ensure flexibility and rapidity. SERENATA-.
*"-Philadelphi a Evening Bulletin. To give correct position of the hand. SPRING SAW
To save time and a vast amount of labor. TRAUMERIE........... -
Price, in Paper Covers, 75 cents. PRice $4.50, NET. h h
**For sale b
by the :*. or sent, postpaid, on receipt of price, ified endorsement of leading artists and teachers, among whom Price, in Boards, including separate Violin part, $1.00
...' DR. Louis Maas, MADAMs Rive-Kind, Rosea gold - - Cloth, - - - - 1.50
Beck, CARLYLE PETERsri" etc., etc.
2 THE POET-LORE CO., Send for circular giving detailed information. -

28 SouTH 38th sp., PHILADELPHIA. Address Theo, PRESSER, 1704 Chestnut St., Philada., Pa. FOR SALE AT ALL MUSIC STORES.
148 THE ETUDE. ~
|

INSTRUCTIVE, INTERESTING and MUSICAL. Introduction to Studies in Phrasing. C00L MUSIC B00KS! |

Twenty STUDIES FIRST LESSONS


No, not Cool, but filled with that Restful, Harmonious,
Soothing Music, which helps one wonderfully
FOR to Endure Extremes of Weather,
I-N" Hot or Cold.

THE PIANOFORTE, (If you have no Guitar, Mandolin, Banjo, Flute or


Violina, call or send for lists of fine instruments at our branch
store. J. C. HAYNEs & Co., 33 Court Street, Boston.)
OF MODERATE DIFFICULTY,
For Development of Style, Expression and
hmin Millman |#####". H-DAY MUSIC.
| dies, finely arranged. Price $1.
-

For Piano. 38'beautiful Melo

Technique. | Vol. 2 of Miss


12 first-class by the W.
SongsEleanor authors. ALBUM
bestEverest's Price $1. of So NCS -

INSCRIBED TO THE MUSIC TEACHERS OF AMERICA.


W. S. B. MATHEWS. COLLECE SONCS. New, enlarged edition. 82 jolly Songs.
e BY 200,000 sold. Price 50 cents.

ANTON STRELEZKI, PRICE - - - - - $1.5O. OLD FAMILIAR DANCES. For the Piano. 100 of them.
Easy, and as merry as they can be. 50 cents. .
In Op. 100.Volume II. FOR MUSIC FESTIVALS.
THE ATLAS. By Carl Zerrahn. 29 splendid Choruses, Sacred
THEODORE PRESSER, The author has brought together a valuable and Secular. Most of them quite new. $1.
-

1704 Chestnut St., Philadelphia, Pa.. collection of little pieces,


musical and poetic in
CHOICE SACRED SOLOS, 34 fine songs.... $1.
quality, within the ability of children's fingers | CHOICE SACRED Solos, for Low Voice, 40 songs. . $1.
SoNG CLASSICs, Soprano and Tenor, 50 songs.....
and within the range of the children's minds. || SONG ...81
A NEW B00K ON A WEW PLAM. CLASSICS, Low Voice, 47 songs.............
They are taken from the most successful col | classic BAR1Ton E AND BAss songs
2N CLASSIC TENOR SONGS, 36 songs.........
lections of this class of tone poems for children ||cHoice vocal. Du ETs, the very best.
the world can show. EVEREST's ALBUM OF SONGs, good selections
MAUD V. WHITE'S ALBUM, tasteful songs....
There are, in all, 34 distinct pieces: among SULLIVAN'S VOCAL ALBUM, a master's work.

M|S| MSM'). them will be found

Melodie............................... Schumann.
POPULAR SONG COLLECTION, 37 good songs...
GooDOLD SONGS we used to sing, 115 songs.
COLLEGE SONGS, 115,000 sold................
COLLEGE son GS FOR BANJo; FoR GUITAR, eac
s:
:
*

Slumber Song........................... Gurlitt. RHYMES AND TUNES. Osgood. Sweet home music...........$1.
Three Angles.. ...Reinecke.
| INSTRUMENTAL.
By W. F. GATES. *.
Happy Farmer.......... - Schumann. PIANO CLASSICS, Vol. 1, 44 pieces. $1.
PIANO CLAssics, Vol.2, 31 pieces.
Price One Dollar and Fifty Cents. Holiday Eve...................... Baumfelder.
CLASSICAL P1ANIST, 42 pieces.........
*

Ghost Story...................... .....Reinhold. POPULAR PIA No collecTion, 27 pieces.


USICAL MOSAICS is a unique book. It is the first book in POPULAR DANCE MUSIC COLLECTION.
the English language that presents the very best sayings on
Jovial Huntsman....................... Merkel.
| YOUNG PEOPLE'S CLASSICS, 52 easy pieces...
musical topics, chosen from the highest rank of authors. Study-Game of Tag.................... Heller.
The selections are principally in the line of aesthetics and criticisms, The above are all superior books.
and range from one line to three pages. Much time and labor has Good Night........................ Loeschhorn.
been spent on the work, and the book-maker has shown much skill
in its general make-up. The idea, in its preparation, was to present
A Little Story........ - Kullak. EMERSON's New Responses. 60 cts, $6
ozen) for
to the music-loving public just as much of the cream of musical
Quartet and Church Choirs; 74 short pieces of sacred music of the
WITH PIECES BY best character, such as your choir needs.
writings as could be condensed into 300 pages. All useless or value
less matter has been omitted, and as a result we have a volume con MENDELSSOHN, SPINDLER,
taining the best sayings and writings of the writers on musical
topics, in all ages and countries.
BEETHOVEN, LICH NER, THE TEMPERANCE CRUSADE. :
L. O. Emerson and Edwin Moore. Earnest, refined, elevated poetry
FOERSTER, GAYRHOS, and music, which will be most welcome to the best classes of
temperance workers.
17O AUTHORS. ETC.
SONG HARMONY 60 cts., $6 doz.), by L. O. Emerson:
ust exactly the book that will suit
600 QUOTATIONS. The pieces are all closely annotated, fingered, for this winter's Singing Classes. Also an appropriate and good
k for High Schools.
We give below a few of the names of writers from whose works etc. There is also, at the beginning of the work, Adopt, without fear, for Graded Schools, our
selection has been made, and the number of quotations from them: a few chapters on the object and manner of SONG" MANUAL (Book 1, 30cts, $3 doz.; or Book 2, 40
using the work; Rudiments of Musical Form ; cts., $4.20 doz.; or Book 3, 50cts., $4.80
Beethoven, 18. Christiani, 15. doz.). Admirably adapted to the different ages of school life, with
Fillmore, 21. Goethe, 11. plain instructions and best of music.
Hauptmann, 7. Haweis, 12. Phrasing; What it is to Play with Expression;
Liszt, 12.
Hiller, 11.
Mendelssohn, 10.
Kullak, 12. Subjective and Objective in playing, etc. CLASSIC FOUR-HAND C
teen superior Duets for Piano, by G
1. ECTION ($1). Nine
ard, Bohm, Hofmann, Brahms,
Schumann, 60. Wagner, 16. The work is intended to precede the two vol and other first-class composers.
Weber, 8. Pauer, 5. umes of Studies in Phrasing, which are among YOUNC 5'58 w
.00). 5 h best and
Thibaut, 6. Wan Cleve, 7. Po's
the most popular musical text-books now used ners, 55fl'&#ion '':
filling 143 pages. Heartily commended to Piano Teachers as
Space will allow us to mention but sixteen of the one hundred the first book of pieces (or recreations) to use.
and seventy authors. in the country. As a work of genuine useful
This is a book for musician and non-musician, for professional
and amateur, for teacher and pupil, for all who know or who wish to
know anything of music in its highest sphere. It has been warml
nes in teaching, the volume cannot be excelled. WHIT NEY'S ($2). 33 good pieces for Manual and Pedal,
ORCAn ALBUM by 20 good composers.
indorsed by teachers and artists in this country and England an We will, for a limited time, offer the work at
will fill a place in our libraries and on our tables that has hereto OPERATIC rep
reduced rates.
fore been vacant.
Every teacher-every studentshould own MUSICAL MO.
s#s
As a presentation volume it cannot be excelled.
PIAN'dYi'tion
-

the themes for as many pieces, by the best modern composers, fur
nishing the very best entertainment for the lovers of favorite
s
Address all orders to +- -
operatic airs.

CHOICE SACRED SOLOS. For soprano, Mezzo-soprano


THEODORE PRESSER, our sPEcIAL of FER. or, Tenor, ($1.) 35 of the most lovely sacred songs, suitable for
solos in church, or for enjoyment at home.
1704 Chestnut St., Philadelphia, Pa. 50 cents will procure a co
when published" if cash :
panies the order.
The best Companion, for an Instruction Book is MASON's
EDWARD BAXTER PERRY'S " P1ANoFoRTE'TEcHNics, containing every exercise needed
for the full development of technical ability on the pianoforte. By
FANTASY FoR PIANo, |- - William Mason, with explanations by W. S. B. Mathews. Price
- DTE. LOEET ET-- Address publisher, Any Book Mailed for Retail Price.
BASED UPON THE RHINE LEGEND.

Universally pronounced the best Loreleiyet written, in the old or


new world.
Melodious and descriptive; excellent study for the left hand.
THEODORE PRESSER, 0LIVER DITSON COMPANY,
Played in 100 concerts throughout the country, by the composer
and Mr. W. H. Sherwood, since its publication, March 1st, 1888. 17 O4 Chestnut Street, IBOSTOINT.
Address THE0. PRESSER,1704 Chestnut St., Philadelphia, Pa.
C. H. DITSON & Co., LYON & HEALY, J. E. DITSON & C0.,
PHILADELPHIA, PA. 867 Broadway, New York. Chicago. 1228 Chestnut St., Phila.
-

S. T H E. E. T. U. D. E.

| *::=TELE:=#

| WIRCIL i PRACTICE: CLAVIER


'. Establishes a New and SUPERIOR System in the study of the PIANo.
From Dr. Hans von Birtow. . AN ARTISTIC TECHNIC
From Albert Ross Parsons

secured more quickly by its use than by any other


means. Indorsed and in daily use by the greatest
*RTISTS 11ND TE: GAMERs.

|
I announce you a benefactor of humanity,
| -

"For all purposes of silent practice in point


as your instrument would disinfect the atmos | " of true piano-forte touch and unerring tests of
phere of unnecessary piano thumping plague. || .#. - technique, the Practice Clavier commands my
Approved and highly recommended by || A SILEINT* EIANTO. exclusive *
- - -23-2. a Very truly yours,

| | to over-taxed nerves. " -2&_z. 62. ...


| New York, April 9, 1889. #. ARTIST TEACHER, PUPIL, SOHO01 and HOME. *
| "T"he Virgil Fractice Clavier Co.,
| 12 EAST SEVENTEENTH ST., NEW YORK. -

-
-

__ THE NEw METHopfor gaining the necessary technical ability for

: MODERN +PIANO+PLAYING.
The inadequate results from technical
exercises at the piano is well known to
piano players, and forms the great barrier
| to a proper advancement in piano play
ing.
Science, having investigated this sub
ject, has discovered and can explain the
reasons of such uneconomical results, and
can now supply at a cheap cost, a better
- and more direct process for developing P
-THE- and "g the technical dexterity of -

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"NTS TECHNICON. ':


FRICE siz. their teaching
and of
forteachers
their own persona
testify
use, and that | 6
|

- #. is invaluable to both themselves and


- - their pupils.
'.ould
method marks a most important in technical teaching, all piano
make themselves acquainted with its principles, by reading a -

.. T - -

* upon Technic, and the new scientific Method for quicker attain
ment of Artistic Expression in Piano Playing.
|
SENT FREE 0N APPLICATION T0
J. BROTHERHOOD . TE: ". EE-ICE S22.5C).
DISCOUNT TO TEACHERS.
No. 6 West 14th St, New York.
T H E E T-U D. E.
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TWO GREAT MUSICAL WORKS
AT REDUCED PRICEs.
|RM MRISIII: -
WER NER'S VOICE.
A Monthly Magazine Devoted to the Human voice in all as *...
A Practical Guide for the Restoring, the culti
TALKS ABOUT MUS/0
"T" AND MUSIC LIFE.
vating and the Preserving of the Voice.
****A*DEvrar reacEER or snang gamin Bay. i.
Werner's Voice for 1890 will be Better and Brighter
more Complete and more Practical, Larger in size and
B Larger in Circulation, with Increased Capital and
CLASSICAL MUSIC. THOMAS TAPPER.
Scope, and with Greater attention to Analy
sis and Criticism,

ND MORE APPROPRIATE PRESENT FOR A MUSICAL 81.50. A YEAR, 20 CTS. A. NUMBER,


FRIEND CAN BE FOUND.
PRICE, BOUND IN CLOTH, $1.5O.
Mention. TheEditor
Address the Erupe, and
and Send for Full Prospectus and sample
Proprietor, Ple Copy
Price reduced from $5.50 to $2.50 per Vol., This volume appeals to every student of music, how
POSTPAID. ever elementary or advanced. It is designed to bring to EDGAR S. WERNER.
the attention of those who make music a life-work, the No. 28 W. 23D STREET, NEW YORK,
very many contingent topics that should be considered in
connection with music. To this end the subjects selected Twenty tessons to . Beginner
INSTRUMENTAL. for the chats have a practical value, cover considerable |
A collection of Classical Pianoforte Music, by the best ground, and are treated from the point of view that best *on the Pianoforte.
authors. This volume contains 512 pages, Sheet Music aids the student. The reader is taken into confidence
size, printed on fine music paper from engraved plates; and finds in the chapters of this work many hints and By Mr. W. S. B. MATHEws.
elegantly bound in cloth, embossed in gilt. List of con benefits that pertain to his own daily life as a musician.
tents mailed to any address. A glance at the divisions of the work as to Parts and This work is perhaps the most novel of any of the
Chapters will give one an idea of its scope and prac. of this very successful writer. The general
ticability. ine of it was foreshadowed in his article upon Ele.
PART I. mentary Instruction Books, in the December issue of
W00AL. Study. The ETUDE. It combines the following peculiarities:
This volume is the same size and style as the Instru Chapter ay *
-
1. EAR TRAINING.-From the very first lesson there
mental collection, but contains Vocal Music only. List * 3-What shall I Study? are exercises calculated to awaken and educate the per
* 4-Method of Study. ceptions of pitch and time relations, of which music as
of contents mailed to any address. No such collection * 5-What shall be my Side Study? to its form, is composed. The relation of tones to key,
of vocal music has ever before been published. PART II. chord relations and time are taken up in their simplest
Ethics of Musical Education. forms, and gradually developed to the complexity suit.
Chapter 6.-Work and Culture. able to pleasing pieces of the easiest kind, such alone as
- 7.Sketching. the first quarter can contain. It is believed that the
- 8.-Taste.
method of doing this part of the work will be found not
Popular 500. Music Books. *
*
9-Expression.
10,-Criticism, only practicable if carried out according to the directions.
but also explained with such clearness and particularity
PART III.
One of the best collections of English and as to enable the young teacher to apply the system with:
Song Bouquet. American ballads and songs with choruses. Time and Its Use.
out other help than the book itself. |
Cheapestfolio of music published. 224 pages, full sheetmusic size. Chapter 11.-Time and its Power.

Parlor Bouquet Companion to "Song Bouquet. Contains


*
*
12-Disposition of Time for Study and Practice.
13.-Corner Moments.
2. TECHNIC AND TOUCH-The foundation of
* instrumental music of different grades of * 14-Striving. ianoforte technic is laid according to the ideas of Dr.
difficulty. Great favorite. 224 pages, full sheet music size.
PART IV.
'. system, which not only develops the ":
ability more rapidly, by far, than any other system, but
Song Diamonds. Vocal music
of every
everybody. description.
Contains Sure
selections to
from Teaching. also assists in educating certain parts of what might he
such authors as Gounod, Molloy, Aide, Claribel, Dolores, etc. Chapter 15.-Preparation for Teaching. called the Mental Technic of thinking music, upon
16-What Teaching Means.
17-Taking Lessons. which so much depends through the later course of".
Prima Donna Album. New and elegant songs by the best
composers of modern times. Should " 18-Giving Lessons. cal study. The exercises in arpeggios and scales
grace the library of every singer in the land. are so valuable in this direction that it would be wise
PART V.
Album of Sacred Music. Adapted for use in the church Surroundings.
to use them developers
mechanical for practiceofiffinger
they had no and
power valuefacility.
at all."
for
choir or home circle. Finest Chapter 19.-Society and Solitude. there is no other method in which this work can be done
collection of music published for young organists and choir leaders. - 20-Friends and Friendship.
* 21.-Home Studies. so easily. in which
Musical Chatterbox.
Nos.1 and 2. These beautiful book * 22-Music in the Home. The on. to a Beginner show the manner in "
* 23-High Culture from Low Surroundings. these exercises should be applied in the beginning of the
collections of medium and easy grade songs and pieces. Eac
contains eight beautiful illustrations, which will delight the young
folks,
PART VI. course, and in this respect cover new ground.
Golden Hours. A collection of instrumental music, brilliant
Books and Reading. 3. DICTATION AND MEMORIZ'.
.
and attractive, and within the capacity of Chapter 24-Use of Books and Books worth Owning. amusements in the first ten lessons are to be dictate
* 25.-Note-Book and Journal.
pianists of moderate ability. It is sure to please you. * 26.-General Musical Literature,
the pupil and written down from ear. and in no

We cannot too
Bouquet. earnestly
recommend it,
* 27-Periodicals and how to read them. instance learned from the notes. This method of
Classic young and students.
PART VII. cedure takes rather more time, but it results in '. '.
No such collection has ever before been offered at such a low price. Short Talks on Morals. ing a manner of playing which is purely '. | .
Reed Organ Folio. Great care has been taken to use only Chapter 28-Character and Character Building. essence,
growth ofand
the as such musical
pupil's closely powers.
related toInall."
'.
such pieces as come within the compass 29.-Little Things.
of a five-octavo organ. Should be on every parlor organ in the land. *
*
30,-Life and Life-Work.
31-Thought, Duty and Example.
the present
cular work
concepts andmarks a wide concepts
mechanical from '.
departurewhich in
Parlor Dance Folio* dance
Will behalled with delight by private
parties. Contains a choice col PART VIII. constitute the entire mental basis of elementary P.
lection of the latest dances, also the German, quadrille calls, etc. Health and Earning.
and, in fact, often vitiate '.
work of those who arrog
Chapter 32-How many Hours make a Day? to themselves the name of artists. -

One of music
the finest
by collections of instru
Piano TrBaSures.
-
mental the best writers
Europe and America, that has ever been issued in this country.
of -

*
33.-Overwork and Rest.
34Earning.
* Another
value curious
of which veryfeature
likely of the will
there
work.be di 0.
- 35.-Thrift.
* 36-Poverty, and what has come from it. opinion, is the gradual introduction of the "."ple
Song Treasures. . rather the method of it with
'. its pages, and theBurnay,
sented best andHatton, Tours, songs
most popular etc., are
onlyrepre
have PART IX. notations, of a tonic sol-fa pattern, the full as a
bsen used. Driftwood. only at the twelfth or thirteenth lesson, an did
Grand Army War. Songs, assung
to
byisour Boys in
which Blue,
selection
Chapter
* 38-Golden
37-Concert-going, in many lights.
g gradual evolution from the simpler forms .
of Decoration Day and other special occasions. The choruses have * 39-Classical and Popular Music. What Mr. Mathews has undertaken to do '' play
all been arranged for male voices, by Wilson G. Smith. * 40-Going Abroad. is, first, to give the pupil a start toward ". true way.
41.Thoughts. Ing; to introduce the notation in the s which
Any of the above books mailed, postpaid, on receipt of price. namely, ". third, to
the pupilasalready
the means
has of expressing
within himself: '. tion "
MUSIC AND B00K CATALOGUES MAILED FREE. SPECIAL OFFER. develop a musical touch, and lay a foun ing can
The work when published will be mailed to all those which the highest grades of artistic ''
afterwards be founded without undoing r'. but
who now send cash in advance, for 50 cents. Theiswork is distinctly '' D
element inoriginal
| M. M.
145 and 147 Wabash Avenue, Chicago.
Address publisher,
THE0, PRESSER,
there no single
experience.
it not teste"
THEODORE PRESS.E.R.
1704. Chestnut Street, Philadelphia. Exoa chestnut st. " P.-
WS->
S.

ER, S -

E
".
Tim

M 3O SGLECTED STUDIGS

2, OCTOBER,=:
1800. '3) -

C J E = F = R son SEC
-

STUDIES
p.
O. O. |

STEPHEN HELLER ME!00 PLAYING. REVISED EY


FOR JUNIOR PACPI/S.
BY

HAMILTON C. MACDOUGALL
%\\\ ALBERT R. PARSONS, CALVIN B. CADY, -

%. ARTHUR F00TF, - l FRICE SIL-25


().
2><
%
E. BAXTER PERRY., JOHN S. WAN CLEVF, -

# CHAs. W. LANnox and THE0. PREssi R. ARE 100 100KING FOR SOMETh/g WAV/9
Something out of the beaten track? Are you tired on
using the same etudes, year after year? If so, the pub
- s:= *:- = --> \ PRICE SI-5 O. in Melody
lisher takesPlaying,
pleasure inThey fill your
calling a gapattention
that hastonot been
Studies

CONTENTS )
==
E: | -

==
- occupied before. Every teacher has felt the need of more
interesting work for his Younger pupils. We are indebted
It is the aim of the editors and the publisher to make to Heller, Burgmuller, Reinecke,
his work everything that can be desired for educational oysky, Lw, Lange, Tschalk
Scharwenka and others for much that is interest
% ". . . PAGE.
purposes.
" Each editor has beendertaken
Footeh
-
assigned the
a special work,
revision of"ing and
theuseful
lack in
of this
that direction.
gradation, The only and
fingering trouble has
editing
% Musical Items .................... ............. 14, # thus Mr. Arthur Foote has undert: ived in the origi which is necessary to fit them for the use of the teacher
% Let' . 150 #. the pedal marks, which, by the way, receive m t . ". To meet this want Studies in Melody Playing has been
Publishers Notes.............................. - mal studies very little attention. The following sign has compiled. It contains studies, from the best authors
Answers... . . . . . . . . . . . . . . . . . . . . . : been adopted for the pedals, which indicates adapted especially to the wants of teachers. Pupils who
torial Notes. . . . . . . . . . . . . . . . . . . . . . . . . . . - - - *

Developing
ping Musical Imagination.
g f "... 152
" the time the foot is p
- placed on the p
pedal. have had
studies from three to six months lessons may use these
Expression vs. Technic. E. Moore.......... o: -- e Phrasing, which has - -

Musical Clubs. Wm. Besserer ................ 17.2 Mr. A. R. Parsons has * ised th * D0 you find Difficulty in Interesting
| # Musical Societies. IV. T. II", tely... ... 15% been in many cases altered in accordance with the more your Young Pupils?
# The Musical society. In c. s. 5, 15.1 - - -

| 'N Special Pieces for Special Purposes. E. B. Per- recent ideas of interpretation.

:
%. The * . . . . . Reading of Music. H. D. Wilkens. 15,
Mental 150
*** ** * * * * * * * * * * * * * * * * * * * * * - -- - - - - - C. B. Cady will attend to the fingering, metronome
- -
P'.
The publisher
for the recommends *19try
reason that they have Studies in Melodby
been c. mpiled
1 *

.".
'%* Musical Clubs: Their Importance. T. J. Avir. -
shadi
marks, details of shading,
- -
e. The rest inof include
cte. the editors
*
a teacher to
a de-"hing. Themeet precisely
studies are all that difficulty
melodious in his
and will own
interest
#
'%@ An ".........................................
#%
International Episode. Mathews...... . . . . . 15
Worthy of Comment...................... . . . .
'.
. ."
have done the work of annotating,
- - -

scription of the character an


which will include a de- Your pupils so much that the name
d the assignment of a name more terrors for them than for you.
g
study, will ', no
The collection comprises four Preparatory studies by
#
| #% MUSIC. PRIC1. to each study. - the compiler, and
raded, and will be made Tschaikowsky, fourteen
Gurlitt, etc.,more
etc., by Reinecke,
carefully Lw,fingered
graded, Lange,
# % R. Wo'kmann, op. 83 Walzer................... -40 The whole set will be closely g * and annotated.
#%. G. Holze, song without word..... . a model of musical typography.
# '. * Merkel, op. 181 No. 1 Poonaise............... .50 |
#% #
|. #zzi:
/
*.
#, V*.
Ready for Delivery, November 1st.
Ready for Delivery, November 15th.
s & $)CRIPTION
5 Address publisher,

''} SO re"EAR * ADDRESS PUBLISHER,


THEO, PRESSER. | THEODOFE PRESSER
704 Chestnutst, Philadelphia F."
tt TET:
T EI E E T U T) E.

OMETHINC
MMHI WHT. a schirmer,
To REMEMBER. Publisher & Importer, #5 UNION SQUAEE,
NEW YORK AND LONDON,
MANNS NEW
ELEMENTARY SCHOOL FOR THE PIANO.
By JEAN MANNs.
NEW YORK. M|| Pl' || ||#.
Presenting the fundamental principles of music and piano play Ijuinnilililililili,
ing practically exemplified in a strictly systematic progression by a | |
series of pieces and preparatory mechanical exercises. All knowl
edge of, and proficiency in, the art is based upon a proper under RECENT PUBLICATIONS. | Write for Catalogues of Novello's Original octavo
standing of the elementary principles: to present such elementary Edition of Operas, Oratorios, Cantatas, Masses,
materials, in a comprehensive and strictly progressive form, is the
object of this work. Glees, Madrigals, Part Songs, Trios, Duos
Price, in Boards, 82.5O. | and Songs, Anthems, Church Ser
BENDIT, CAMILLE,
The typical Motives of The Master-singers
vices, Chant Books, Hymn
Books and Psalters.
THE MODERN SCHOOL OF PIANOTECHNICS,
By A. F. LEJEAL, of Nuremberg, a Musical Comedy by
is a practical, systematic and exhaustive work, comprising all the Rich. Wagner. A study for serving as a THEORETICAL AND PRACTICAL
means necessary to acquire a perfect mastery of the instrument. Guide through the Score. English version
Priee, in Cloth: Part 1, 82.00; Part 2, 81.50; Part INSTRUCTION BOOKS.
by J. H. Cornell.
*...* *
3, $1.50. Complete, in Boards, 84.00. Cloth, Net, 70 cents. ELEGANILY Bound Books suitABLE FOR Musical PRESENTs
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AND School. PRIZES.
RAYMOND'S CABINET ORGAN INSTRUCT0R, HEINTZ, ALBERT, Full Scores and Orchestral Parts.
-
By Louis RAYMOND, |
-

is a practical and sensible method for the study of music and how The Master-singers of Nuremberg, by Rich. |
to # the instrument. The elementary part is particularly free
from ambiguousness, and hence readily understood. The organ
Wagner. Attempt at a Musical Explana- - -

judiciously selected and progressively arrangedfound


and tion; with 84 examples in notes, accompany- -

pieces
fingered, while, the songs, with accompaniment, will be ing the text. Translated from the 2d German PIANOFORTH AND OTHER INSTRUMENTALMUSIC,
specially well adapted. edition, by J. H. Cornell.
Price, in Boards, 81.50. Flex. Cloth, Net, $1.00. ORGAN AND REED ORGAN MUSIC,
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TIEPKE'S MUSICAL WRITING B00K. KLAUWELL, DR. 0TT0,


For acquiring a thorough familiarity with musical notations; and | SACRED MUSIC WITH LATIN WORDS.
containing a series of musical examples to be expressed musically On Musical Execution. An Attempt at a Sys
and written by the student. The success of the first number,has tematic Exposition of the same, primarily ALSO A FULL LINE OF
induced us to issue a continuation of the exercises, which will be with Reference to Piano-playing. Transla
found in Volume II.
Price 25 cents each. . ted by Dr. Th. Baker.
'..com, No. 7s...". Fl"...Bitlil, GTIIIlfill Hilt
WM. A. POND & C0.'S MUSICAL SLATE,
Teachers and students will find this Slate an invaluable.aid in
demonstrating musical examples. Each Slate has a series of staves
KOBBE, GUSTAW,
ruled with indelible lines, and being made of Silicate is both light Richard Wagners Ring of the Nibelung": NOVELLOS MUSIC PRIMERS.
u convenient.
and Price 35 cents. | The Rhinegold, The Valkyr, Siegfried, EDITED BY DR. STAINER.
The Dusk of the Gods. A descriptive s
| Analysis of Tetralogy, containing 1. The Pianoforte.................. E. Pauer....... ......# .75
EMERSON'S NEW B00K OF BANJ0 DUETS. all the Leading Motives, free from Techni- 2. The Rudiments of Music ... W. H. Cummings.. .40
Being a collection of original compositions, correctly and effect- calitie: and addressed to the Lay Reader. 3. The Organ.............. -- Dr. Stainer.......... .75
ively'rranged, and within the capacity of all o' 5th edition." 4. The Harmonium... .... King Hall............ .75
portant feature is that the whole of them Cloth, Net, $1.00. 5. Singing....... - A. Randegger....... 1.50
will be found very attractive when played as solos. 6. Speech in Song A. J. Ellis 75
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F -
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Counterpoint ....Dr. Bridge..... .#
WEITZMAN'S MUSICAL THEORY.
Edited by E. M. BowMAN (pupil of Weitzman). Flex. Cloth. Net, 75 cents. 109. Fugue::::::::::....:::::::... James Higgs...
Practical Guide to the Art of Phrasing. *

Every one applying himself to the study of instrumental or vocal 11. Scientific Basis of Music.....Dr. Stone - - 40
music, should acquire a certain amount of theoretical knowledge. DUET-ALBUM. 12. Double Counterpoint......... Dr. Bridge.......... . .75
embodies all the theoretical education that the student - - 13. Church Choir Training...... Rev. Troutbeck...... .40
of
almusicideas, enablein him
to guidetoothers
may require andexpress
to correctly
like attempts, his o'
to discriminate Tenor, by 16
Containing Selected
Joh. Brahms,Duets for Soprano
J. Faure, and
Ad Jensen PlainsSong..........
14. Plain .......Rev.
ev. T. Hel
T. Hetmore...
*-* * * *- ."75
between good and bad compositions, - enor, by Jon. S.J. Faure. Ad Jensen, 15 instrumentation.................E. Prout.............. ."
we'nan's Manual is the most concise, comprehensive and prac: C. Pinsuti, Aug. Rotoli, Alice Mary Smith, | 16. The Elements of Beautiful
published, and is used and recommended by the
tical - ers. A. Goring, Thomas,
* - - - - Tosti,
F.- P. - - Max , , "Music
..., "usic.................. --------. E. Pauer 40
". - -

"'beveled red edges. Vogrich and others. _, 17. The Violin:....


- ... Berthold Tours...... ."
Price 82.75. In Paper, Net, $1.50. 18. Tonic Sol-Fa.................... J. Curwen............ .40
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-
|

|
(G. Schirmer's Edition, No. 179.) | 19. Lancashire Tonic
20.
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Composition..................... r. Stainer........
40
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THE VOICE FROM A PRACTICAL W0GRICH, M AX 21. Musical Terms.................. Stainer & Barrett.
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With exercises for the study of Artistic Respiration, the Vowel Two Duet Albums: 23. Two-Part Exercises.. ...James Greenwood. 40
forms of the English language, and an Outline of the Method of a. Six Duets for Soprano and Tencr. 24. Double Scales................... # Taylor... .40
Teaching. By E. J. MYER. In Paper. Net, $1.00. 25. Musical Expression...........: Mathis -

Price, Cloth, 81.25. (G. Shirmer's Edition g , ,$ 26. se' Solfeggi for Class. Singing, by Florence
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|

Soprano & Mezzo-Soprano,


. Six Duets forBaritone. | 27. O A t of
-

or Tenor and | 27. Organ Accompanimen Brid .75


TRUTHS OF IMPORTANCE TO V00ALISTS. | - the Choral Service......... Dr. G. F. Bridge.
Price. Cloth, 50 cents. In Paper, Net, $1.00. 28. The Cornet....................... H. Brett............. .75
This work is worthy of perusal by all interested in vocal music. (G. Schirmer's Edition, No. 229.) 29. Musical Dictation.............. Dr. F. L. Ritter... .50
,, ... * * * * * * * * * * * **************
Any book mailed for retail price. J-US: #5 Uri=I,IsIEED- --
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taining Arrangements, Selections and Orig fouble #ss, in preparation.' ' . '. '.. ..
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ice 25
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WoL VIII. PHILADELPHIA, PA, OCTOBER 1890. NO. 10.

THE ETUDE. Miss Aus DER OHE, the pianist, and Ovide Musin, Miss Louise GERARD and Mr. Albert G. Thies have
with his concert company, are soon to arrive from abroad been having a successful summer concert season. Dur
to resume their usual tours of our principal cities.
PHILADELPHIA, PA., 00TOBER, 1890. ing August they appeared in Saratoga, Washington,
The Church Choir, a new music journal, issued Richmond, Lake Mahopac, Lakeville and Washington,
A Monthly Publication for the Teachers and Students of
from 830 Warren Ave., Chicago, is a good paper for Watkins Glen, N. Y., and Great Barrington,
Music. those interested in church music. Send for a sample 888,
copy. THE New York Chorus Society, Mr. C. Mortimer
SUBSCRIPTION RATEs, $1.50 PER YEAR (payable in advance).
Single Copy, 15 cents. AT the June examinations of the American College of nextWiske, announces three concerts at the Lenox Lyceum
winter. Theodore Thomas and his orchestra will
The courts have decided that all subscribers to newspapers are held Musicians, a larger percentage of candidates passed than
responsible until arrearages are paid and their papers are ordered to be
discontinued. usual, and their work showed better preparation than coperate with the chorus of five hundred voices. Mas
ever before. senet's Eve, and Max Vogrich's new oratorio, The
THEODORE PRESSER, Captivity will be among the works produced.
:# 1704 Chestnut Street. PHILADELPHIA, PA. MR. FRANz RUMMEL has arrived in New York, and
MR. ALEXANDER LAMBERT, the Director of the New
will spend the winter in America, giving a series of seven
historical recitals in the chief cities. His programmes York College of Music, awarded the free scholarships of
MUSICAL ITEMS,
are remarkable. this year to Misses Jessie D. Shay, Marita O'Leary,
Mercedes O'Leary, Emma Pilat, S. Johnson, F. Jelliffe,
: AGNES HUNTINGTON, with her mother and sister, ar C. Fallon, G. Greene, K. Smith, and Masters Henry
[All matter intended for this Department should be addressed to rived in New York on Sept. 10th. She will begin her Lery, Harry Brother, F. W. Lawler, Henio Lvy, Alex.
Mrs. HELEN. D. TRETBAR, Box 2920, New York City.] season of Paul Jones, at the Broadway Theatre, New Lvy and M. Mller.
York, on Oct. 6th. -
HOME, FOREIGN.
MR. CHARLEs HolMAN-BLACK gave a vocal recital at
THE violinist Adamowski has been playing at Lenox.Greenwich, Conn., on Sept. 10.h, introducing his mas GADE has just published a new quartet for strings in D,
VLADIMIR DE PACHMANN will be heard on the Pacific ter Faure's new song, Ave Stella. Mr. Holman-Black Opus 63.
sailed for Paris on Sept. 23d.
Coast the coming season. KULLAK, the pianist, has permanently closed his
THE Seidl concerts at Madison Square Garden will be THE season of German opera at the Metropolitan school of music at Berlin.
inaugurated on Sept. 20th. Opera House, New York, will open on November 26th.
Asvael, by Fromchetti, and Esclarmonde, by . SYLVA, the tenor, has been engaged to sing at the Ber
WILLIAM MAsoN, the pianist, who is now in Europe, Massenet, will be the first novelties performed. lin Royal Opera next winter.
will sail for home on Oct. 16th.
Miss ADELE AUS DER OHE will begin a concert tour THE receipts at each of the Oberammergau perform.
THE Chicago Oratorio Society will give three concerts of the Southern and Western States about the first of ances reached the sum of about $5000.
at the Auditorium next season. October. She will also be one of the soloists of the MME, MELBA, the Australian singer, has been as suc
THE Pauline L'Allemand Grand English Opera Com Symphony and Brooklyn Philharmonic Societies. cessful in opera in London as she was in Paris.
pany will open its season on Oct. 25th. CLARA E. THoMs, the New York piano virtuoso, gave THE tax levied on pianofortes
a concert at the Manomet House, South Plymouth, last yields in Zrich, Switzerland,
F. WoN DER GLUCKEN conducts the Pupils' Orchestra Saturday, for the benefit of the Congregational on an average the sum of $6000 annually.
in the National Conservatory of New York. Church. WAGNER's music dramas are produced at the National
which was attended by half the population and the sum
WELLs' College, Aurora, N. Y., has secured the ser mer residents. Opera House, Buda-Pesth, in the Hungarian language.
vices of Caryl Florio for its Department of Music. THE Entrance Examinations of the National Con At a recent competition in Paris, the first prize for
* CLARENCE EDDY, the Chicago organist, gives a series servatory of Music of America will begin on Sept. 25th. organ extemporization was carried off by a ladyMdlle.
Prestat.
of organ recitals on the Pacific Coast in September. with those of the voice, and end with orchestral exami
nations on Oct. 4th. Piano and organ examinations to
STRAUss and his orchestra left New York, take place on Sept. 30th. OTTo HEGNER will appear at Berlin, in conjunction
with the Philharmonic orchestra, on Oct. 17th. " He will
Sept. 14th, on their tour through Canada and the West.
A series of orchestral concerts will be given by Anton play a Beethoven concerto.
J. W. RUGGLEs has closed a very successful Summer Seidl, under the auspices of the Seidl Society, at the
Normal Training School for young music teachers at Brooklyn Academy of Music. The initial performance to MME, TREBELLI, the distinguished contralto, is about
undertake a farewell tour in Scandinavia. An interest
Fayette, Iowa. will be a Wagner matine on Oct. 30th, to be followed ing sketch of her brilliant career has just been issued in
MR. NATHAN FRANKs announces six Tuesday night or. with nine evening concerts at popular prices. . London.
chestral concerts during the winter. The first is to be The Canadian Music Herald is now incorporated with THE German Singing Societies' Festival was held at
given in October.
the Music Journal, under the editorship of Mr. W Vienna on August 15th. There were about 8000 singers
MR. CLARENCE EDDY, the eminent concert organist of Elliott, and published by Zimms & Co., of Toronto. present. A new hall has been built in the Prater for this
Chicago, has been giving recitals in San Francisco on We are glad to know occasion.
Sept. 4th and 5th. the Music Herald is such in good
AUGUSTE SAURET, pianist, and a brother of Emile
hands, and wish it the success it so well deserves. MME. Sophie MENTER, the distinguished pianist, will
Sauret, the distinguished violinist, died in New York, LEoPoLD Gobowsky, the young Polish pianist, whom reappear in concerts in Germany this fall, after a retire
aged forty-one years. all New Yorkers will remember to have heard some years ment of a number of years.
*opose THOMAs will give a series of orchestral con ago,
of four just returned
hasyears country after an absence THE French Government appropriates $160,000 to the
to thispartly
spent abroad, in study under Saint
* at the Lenox Lyceum, New York, during the au Saens and partly in a tour of the principal European Grand Opera and $-000 apiece to the Lamoureux Co
tumn and winter seasons.
cities. For his performances during the latter he has lonne and Popular concerts.
Gustavus JoHNson, of Minneapolis, has been ap received great praise. MRs. GERRIT SMITH, the American soprano, gave a
P'ed a member of the Executive Committee in place EDwARD BAxTER PERRY gave his first lecture recital concert at Steinway Hall, London, Eng., recently, assisted
of Walter Pitzet, resigned, by Miss Marie Groebl and Arthur Friedheim, the pianist,
t MR. SCHNEIDER, Philadelphia's well-known piano of the season at the New England Conservatory on Sept. a pupil of Liszt.
25th, where he repeated, by special request, the pro
'cher, died at Bedford Springs, Pa., on August 20th. ramme given at the M. T. N. A. meeting at Detroit. A conceRT orchestra has been organized by the resi
* was in his fifty-ninth year. e left Boston the '' day on a five months dent musicians of Constantinople consisting mostly of
*
De Kostski, the eminent pianist and com
has returned to Buffalo from Silver Lake, where
recital tour in the West and South, after which he will Germans and Italians. It numbers fifty-two members,
make a trip through New York, Pennsylvania and New and will devote its attention to regular symphony and
*been spending several weeks. England in March and April. popular concerts.
15O f

T EI E E T U D E.

WALDEMARAUS DER OHE, the pianist's brother, has cles, immediately when the touch is made, so thoroughly Second, transitional matter and passages may intervene.
received the first prize at the Royal Academy of Arts, that the hand will rebound upward at least two inches, In the larger forms there is also a third subject, in the
Berlin, for his painting, Pieta. moving loosely upon the wrist. What is desired is a subdominant, or something of the sort. The plan then
ALFRED REISENAUR, the Liszt pupil, who has been strong contraction of the flexors in completing this touch, is Principal, transition, Second, transition, Principal,
making a tour through European and Asiatic Russia, but at the same time to cause the motion to cease the Third, transition, Principal, and a Coda is usually added
will concertize in Berlin during November. very moment that the work desired has been done. In to complete the affair handsomely. The Sonata-piece
DuRING his summer sojourn in the Black Forest, An order to be sure that this relaxation has been accom. is similar to the Rondo in the names of its parts, but
ton Rubinstein composed a new concert overture, An. plished, I take the evidence of this upward rebound of with certain modifications. The Sonata-piece (Sonata.
tony and Cleopatra. The work has been published, the hand. When the hand remains stationary at this satz) is divided into two great parts by the double
MME. CARRENo has been engaged to play at two extra moment, the wrist is almost invariably constricted. A bar. Before the double bar the plan is the following:
concerts of the Berlin Philharmonic Orchestra, at Sche. loose wrist is one of the most indispensable conditions of Principal, Transition, Second, Partial Conclusion. All
veningen, in September, and will then concertize in Rus. satisfactory progress in piano playing, and one has to this is repeated. Then follows immediately after the
sia and Germany. obtain it at all hazards. The value of the elastic-touch double bar the Elaboration, or, as the Germans call it,
A MENDELssoHN Festival will be held at Crystal Pal. exercise lies in its power of strengthening the fingers, in the Durchfhrungssatz, or the Carrying out-piece.
ace, London, in June, 1892. It is hoped that a chorus
of four thousand will assist in the performance of St. which respect it is the most important technical exercise It is a free fantasia upon motives of the earlier part of
Paul, Elijah, Christus, etc. I know of. But it is limited to slow movements, the will the work. Mozart often has here a new melody without
MME. PATTI will make a tour of England and Scot being concentrated in the touch to the utmost degree. The any elaboration. It is called in this case a Mittelsatz, or
tone is always to be very large and fluid. It might be Middle-piece. After the Elaboration, the entire first
| land from Oct. 10th to Nov. 21st, and afterward give a
series of concerts at Nice. It is said that Mme. Patti advisable, occasionally, to perform this touch slowly but part is recapitulated, but with more or less modifications.
will revisit this country in about two years. softly, for the sake of looseness of wrist and freedom of The Principal is often shortened, and the Second comes
MME. PAULINE LUCCA will give a few final perform motion; but the great application of the exercise is in in the principal key. The German names for these parts
ances in Germany this winter, and then devote herself slow and strong practice, the movement being not faster are Hauptsatz for the Principal, Seitensatz for the Second,
to teaching. She has a repertory of about sixty operas, than from one to two seconds upon each tone, and it is Uebergang for the Transition, Schlusssatz (closing piece),
varying from such parts as Zerlina, in Fra Diavolo, to
Donna Anna and Elsa. very important to secure the sustained, holding out effect for the partial and complete conclusion. Abbreviations
THE Musical Standard, of London, England, gives upon the first tone, and upon the second tone a volume of these terms occur in all the Cotta copies. -

quite a good account of the meeting of the M. T. N. A., and solidity quite equal to the first. In my treatiss upon Musical Form (now in press) I
an American Society for the Promotion of Musical Art. This exercise has the tendency to promote stiffness, have analyzed a number of sonatas with keys, numbers
: Old country musicians are beginning to awaken to the or angularity of motions, unless it is finished with of measures, etc. But the student can do it for himself,
good work Americans are doing in music. the loose wrist, as already described; and unless coun by attending to what I have here written and the abbre
THE Festival of the General Association of German teracted with a good deal of practice upon its opposite, viations in good editions.
Musicians, recently held at Eisenach, Germany, pro the light two-finger exercise, played rapidly, softly, -

duced a large number of new works, among which were and without the slightest constriction of the hand or
a Prelude, by Draeseke, part of a Serenade, by PUBLISHER'S N0TES,
Tschaikowski, and a Burlesque for piano and or wrist in any part of it. All the joints are to be in a
chestra, by Richard Strauss. loose and floppy condition. This kind of ability to
WE have laid in a very large supply of the Andre cheap
VERDI is reported from Geneva to be in excellent control the nervous state of the hands and arm is edition. This edition is not very well known in this
health; and, although his white hair and flowing beard extremely important, because it is the secret of sus
give him a venerable appearance, his eyes are full of tained execution in different passages, the fatigue in country, and we believe that it has quite a number of
fire. He will not admit that Othello is his last advantages over the Peters and Litolff; in fact, it
work, and says there is no telling what he may do yet, public playing, for instance, being more generally due is somewhat cheaper, and the works are more closely
if the inspiration comes to him. to the use of nervous force and intensity of will, mentally,
fingered and annotated. The printing and binding is of
THE centenaries of three eminent musicians will occur ands to improper resistance of muscle due to nervous the very best. We shall be pleased to send circulars to
in the course of next year, viz., of Meyerbeer, on Sep. constriction, than to any work of the muscles properly any of our patrons on application.
tember 5th; Carl Czerny, on February 21st, and of so called, or necessarily belonging to the playing in hand.
Hrold, the composer of Zampa, on January 28th. Hence I say that the elastic touch is applicable to slow THE special offer made during the summer for the
On December 5th, 1891, one hundred years will have passages only, and to those only when strongly marked forthcoming new works is withdrawn. The works can
elapsed since the death of Mozart. effects are desired. For lighter and less emphatic only be had at the regular list prices.
A collecTION of ancient musical instruments lately There has been some delay in the preparation of the
exhibited at Berlin, includes Frederick the Great's staccato effects, the motion falls off proportionately. selected Heller Studies, and from the present outlook
traveling spinet, to be folded up during transportation; 2. The Scherzo in Mendelssohn's Op. 16 should be we cannot promise the complete work for several months.
Carl Maria von Weber's grand piano, used by the com: played from the hand, with a very slight motion of the
poser of Der Freischtz' for twenty years; Mozart's finger and only a minute motion of the hand. The wrist The other works are about ready for delivery.
traveling, pianoforte, and Mendelssohn's grand piano, is to be held loosely. THE time of the year has arrived for teachers to select
presented by the composer's family to the Hochschule in their dealer for the year, and we most respectfully solicit
Berlin. An easy set of studies, about equal to those of Loesch
horn, Op. 65 should be Behrens' velocity, Op. 61. the patronage of our subscribers, feeling confident that
we can satisfactorily provide for all their wants in mu
LETTERS TO TEACHERS, 5. Studies for four hands, published by Presser. sical merchandise. We have greatly increased our force
6. I do not know what to say about the staccato upon and stock, and have ample facilities for providing insti.
QUES.1. I have lately been reading Mason's Touch the reed organ. I think arm, or hand. In general,
and Technic, but do not quite understand it. Is the tutions of learning and private teachers with the very
elastic staccato touch designed for slow staccato music however, the staccato upon the organ has this difference best editions at the most reasonable rates. Send for our
only? I don't understand how it could be used in quick from the staccato upon the pianoforte. Upon the piano catalogues.
passages. you make the opening between the tones larger than it No better stimulant to work can be found than Th"
2. How should the Scherzo of Mendelssohn's, Op. should be; upon the organ you make it as small as
16, Three Fantasies or Caprices, be played! My natural Erupe. In receiving new pupils, we would earnestly
way is to let the hand rebound lightly, I can hardly tell possible. The reason is that upon the piano there is a urge, on teachers who would expect the best results, that
whether the wrist bends or whether the arm moves, but certain amount of vibration after you take the finger from a subscription to THE ETUDE be taken with every pro"
such music seems very easy to me. .. the key; upon the organ there is none. mising pupil. It has been stated over and over that
Can you tell me of any book of studies full as easy and In Dussek's La Matinee Rondo, what is the meaning
as good as Loeschhorn's, Qp. 65, Book 1st? I have a of the letters H. S. at the first measure after the prelude; those pupils who read The ETUDE study better than those
few little pupils; have used Loeschhorn's, but would like also letters S. S. at the beginning of the part or who do not. We are constantly making THE FT"
a change. sixty-ninth measure, and R. G. at measure 122?
more and more a journal for students as well as teachers.
5. Can you recommend to me some book of duets for . I believe these letters are in all of the editions of this We have withdrawn with this issue the names of "
teacher and pupil suitable for beginners? piece of music. A SUBSCRIBER.
6. To return to the subject of touch, what staccato corps of editors from the inside title page; this "
should be used upon the reed organ? If you will kindly The letters you ask about indicate the large formal ever, does not mean that they have discontinued "
answer these questions I will be greatly obliged. divisions of the work: H.S. is for Haupt satz, or Head work; they will be just as active as heretofore. Mr.
A NEW SUBSCRIBER.
piece, i.e., Principal Subject; S. S. is for Seiten satz, Charles W. Landon, who conducted THE Erups during
ANs.1. The elastic touch in Mason's system is the Side Piece, i.e., Second Subject; R. G. Rck gang, Mr. Presser's absence in Europe this summer, will ".
most difficult thing of all to get quite right without the going back, i.e., the return toward the principal tinue his work. All matter relating to the Editorial
DepartmentN.canY.be He
correction of the living teacher. I have rarely seen it subject. These letters occur in all the Stuttgart editions Claverack, senthasto undertaken
him direct; tohisexami"
add" all'
done. I am in the habit of teaching this touch differ. edited by Lebert and Stark. In some of the American
ently from the way directed in the book, particularly in reprints they are translated. The rondo form in its matter intended for The Erude, and then send it "'
the movement of the hand upward on the wrist joint at smallest application consists of a Principal subject of
the managing editor, who will finally decide what shall
the completing of the touch. Mason allows the hand to any length, 8 or 16 measures or more, followed by a go into the journal. It is the aim of the publisher and
remain nearly or quite horizontal, the finger shutting Second subject in a related key, generally the dominant, editors to still greatly increase the worth of the journal.
It is the aim of the management to employ " bes
almost or entirely in completing the touch, but the hand 8 or 16 measures; and a recapitulation of the Principal,
remaining stationary. I teach to relax the flexor mus followed by the Coda. Between the Principal and the writers on musical topics in the country.
T EI E E T U D E. 151.

phrasing, etc. It is not simply to practice, but to be MANY of our leading teachers are advocating lower
Questians and Answers. seats for the piano pupil. There is no doubt but with
shown exactly the effect intended, the teacher playing it;
then the mechanical means by which the effect may be a low seat, the pupil uses his fingers more freely, and
My studies at school are rather severeconsuming six obtained, the pupil alternating with the teacher over and that his arms and stiffened wrists have less tendency to
hours daily. I am very desirous of becoming a good over again, until the right method is clearly understood, make a poor tone. The points of the elbows should be
nothing but
pianist, so dull am I in music that I can accomplish
with less than three hours of hard practice so clearly that practice will finish it. Then comes the from one to two inches lower than the keyboard. A
daily. In the morning, before school-time, I practice (1) review at the next lesson. chair makes a better seat than a stool. The comfort is
*Mason's Two Finger Exercise through Velocity 4. The practice you speak of is vulgar to a degree. to be considered, for if the pupil is perched upon a high
Forms; (2) the thirds, sixths, and arpeggios (different It is part of the many habitual misuses of music.
positions), of some scale; (3) a few exercises for and unsteady stool, the tendency is to sit stiffly, and thus
strengthening the wrists. . This practice consumes one 5. To wash the case of a piano once in two or three unconsciously the touch is made hard. A lower seat
hour at least. After school, I spend one hour over years is a good idea, but surely allow no water to get into tends to the health of the pupil as well as his comfort,
Loeschhorn and Czerny. In the evening I study the instrument. Use a damp cloth, and not a sopping and to better playing. It is next to impossible to play
my new piece, and review old exercises and pieces. This wet one. Dry with a soft cloth ; do not go over but a well while sitting on a tottering or unstable seat.
evening practice takes an hour also. -

QUES.1. Is my programme good? Am I spending part of the piano before drying it, then the rest.
too much time? Where can I improve the plan? The great bulk of time during lessons, after certain IN Expression and Technic, Mr. Edwin Moore
2. I fear I memorize too much. By reading but a few elementary points are established, must be taken up with
bars of an exercise, I am able to play to the end. Is gives our readers some practical suggestions. The value
piece in study, or
this right? I am a very, very poor readerI cannot drilling in style and expression; the of singing to the piano pupil is well explained, and he
read, at sight, even the simplest selections. What shall the study itself, furnishes the material. M.
shows clearly the relation of technic to expression.
o?
3. My teacher has a good method, but I fear he, like 1. Should the movable Do method be absolutely con Leading teachers of our country are now working on the
many others, does more telling than teaching. He tells demned both in instrumental and in vocal teaching? lines laid down in Mr. Moore's article. While, perhaps,
me practice Mason daily; but he has never yet Has the fixed Do method any
pedagogical value in in.
there is no less attention given to technic, there is far
told me how to make the most of the exercises; never strumental teaching?
makes any comment on my practice, in fact has never 2. Where is your A Hundred Years of Music in more study devoted to the intellectual, emotional and
asked me to play any of the Two Finger Exercises for America published, and what is the price of the book? expressive phases of the art.
him. I must find that out. Should he not enlighten 3. Is there no work on History of Music, which treats
me? Should our teachers not teach (telling and drill, of Music and Musicians in America as an integral part WE, as American teachers, are taking more pride in
of the same? E. M. G.
etc.) instead of tell ? Please name some men who would using the best compositions of American composers.
teach me music, also charges. I have taken lessons but 1. This question, addressed to me personally, I answer
a year, yet my teacher was surprised when I refused to most emphatically No! The fixed Do has no pedagogic The demand for higher-class music is rapidly increasing,
torture an audience by performing one of Lange's pieces. and we can help it on by giving more of these works,
Was I right in refusing to play? value whatever, that I have ever heard of.
using them as far as they meet the needs of our pupils.
4. Even among what are termed polite people, we 2. Copies of A Hundred Years of Music in Ameri
often see a performer trying to please, but he cannot be ca can be had through me, upon terms made known
heard for the talking going on. If treated thus, would privately. The retail prices range from $5.50 to $7.50, MR. WARDNER WILLIAMs, in his article on Develop
you not immediately cease playing? ing a Musical Imagination, brings to our view a means
5. Is it better to wash a piano with a soft, wet sponge, according to binding, but liberal reductions are made
of leading the pupil to listen to and analyze what he is
then pat it with a soft cloth, than to rub with a dry cloth ? agents willing to canvass certain territory. pupil has
If either way is not good, please suggest another. 3. There is no general History of music containing an playing. This is important, for, when the
IDYL.
account of American music, because as yet American learned to keep his mind on his work, he can play
Your account of yourself is so imperfect that I cannot music has had nothing to do with the general develop without being unduly nervous, and has learned the
answer your question satisfactorily. I need to know ment of the art. There is a very important work in secret of keeping himself interested. A well developed
your age, the names of the pieces which you can now preparation devoted to American music. It will be and an active imagination is necessary to enable the
play in a manner capable of pleasing a hearer. A few ready early next year. M. performer to play with an effective expression.
of your questions I can answer: QUES.Does Dr. Mason expect a child, or any one
1. You have too much exercise, and too little music. who is beginning music, to the fast forms of THE article Musical Thinking and Doing, by Herve
Omit half the time on Loeschhorn and Czerny; or omit the two-finger exercises, before he is able to play the D. Wilkins, has brought us letters asking for further
slow form with quiet hand and flexible wrist? Though
the latter entirely, so long as you are doing so much on I have practiced for a long time, I cannot play the fast information. At our request, Mr. Wilkins has given a
the Mason exercises. You do not memorize too much, form but once or twice through with the fourth and fifth supplementary article,The Mental Reading of Music,
but you may do other things too little. The only valid fingers without restingmuch less should I expect one where he deals with this subject more from its practical
evidence that you are memorizing too much will be your of my pupils to do it, without a good deal of slow prac standpoint.
tice first. SUBSCRIBER.
music running in your head, and keeping you awake at
nights. When this happens, you are using your brain ANs.No ; but the pupil should be able to do the MR. PERRY gives our readers the supplementary arti
subject
too much in this direction, and for a time you must desist velocity forms as far as No. 21, but Nos. 12 to 16 need cle on What Shall we Play? He treats the
in a practical and most thorough manner, making it an
and take more out-of-door exercise. You are using too but a little practice.
of unusual worth to both pupils and teachers.
In your own case the entire trouble is in holding your article three
many hours a day in study. School all day and three These articles are of the kind that will bear read
hours practice besides are too many. I should probably hands too rigid, stiff, taut, nerved up, too much nerve
ing more than once.
direct you to reduce the practice to not more than two and muscular tension. Let your hand-practice with
hours. one at a timebe perfectly loose, passive and almost
go slowly and without effort, till you can IN the entertaining article by Mr. Mathews, An In
2. In order to improve your reading, the best thing to lifeless, and
the desired looseness. Then try the velocity, ternational Episode, our readers can discern between
tempo by metronome, or in four. control
do is to read at a slow looseness. Try this a the lines that Sunny Italy, the Land of Song, is
hand arrangement, easy pieces, to the amount of a half surely maintaining themecomplete
how you succeed with it. musical in name rather than in fact; that this people do
while, and then write
hour a day. In three months you will find that this will
C. W. L. not take kindly to the severe styles of music. We also
improve your reading a great deal. But you must read see confirmation of another fact, which is, that England
in strict time, although it may and should be a slow time and the United States have the finest organs in the
at first. EDITORIAL NOTES, world; at least, we learn that Italy does not possess the
* You may be a geniusand then again you may not. best. These things being so, some may ask: If Italy
In twenty years' use of Mason's exercises I have never Composers' Choral Association,
THE American is so far behind in classical, church, organ and piano
*n a pupil or heard of one who did not need to be formed in New York city last May, produces only the music (there is practically no piano music there), why
drilled upon exercises at least once a week. Pupils fall compositions of American musicians. Several hundred should we go to Italy to study music? The answer gen
into careless ways and incomplete motions, even after musicians have already joined. Choral and vocal soci erally given is, that she still leads the world in vocal
having been thoroughly trained. Securing the right eties can secure original American works by correspond music. But this is no longer true to the extent it was
"otions and touches at the start is something which ing with De Lancey Nicholl, President, care of Steinway twenty-five years ago. We have as good teachers of the
"es only by much drilling. I find it necessary to use Hall, New York City. voice in this country as can be found anywhere; and
* much as an hour a week with new pupils for a month there are superior teachers of the voice in London, Paris
or two. or even three months, before we get easy uses of
THE teachers among our readers should use their and the cities of Germany.
the "rist, arm, and correct uses of the fingers, and the influence with the churches in having them sustain vocal
P"per correlation of musical effects with the mechanical classes and singing schools. For the more activity in
*ns of getting them. This is in the case of pupils music the better for all interested-general society, the The older I become, so much the more clearly do I
already advanced, teachers. With children, mechanism church and Sunday-school, the home and its children, perceive how important it is, first to learn, and then to
form opinionsnot the latter before the former; also, not
" * part of every lesson, and must be for one or two as well as the music teacher. No matter how dead, both at once.Mendelssohn.
* or more. It may be a small part, at times; but musically, your town may be, any active music teacher The road to perfection, to mastership, lies in the di
sternal vigilance is the price of liberty. It is not a can, by systematic and unremitting efforts, make it a rection of constant application. As continual rubbing
"on of practicing Mason's exercises so much a day, musical and great will be the reward of such
place, will make the hardest steel smooth, so will faithfulness
but of how 3/ou play them. The same holds in regard to efforts. in practice overcome any technical difficulty.Merz.
152 T EI E E T U D E.
DEVELOPING MUSICAL IMAGINATION, One will often be surprised to see how readily the exercises with their instrumental studies. One who
student learns to discriminate real art thoughts in music. sings is less likely to play mechanically than one who
BY WARDNER WILLIAMS. This kind of discipline not only awakens a greater inter does not, for the ability to sing requires a musical ear,
est in intelligent piano study, but it is also an important a qualification, by the way, not possessed by all who
IN teaching art we should endeavor, as early as pos. step in the preparation of the student for successful com play-consequently the playing of a pianist who is able #
sible, to bring the student to an art basis. position, in that it helps to develop a quick, analytical to sing will naturally be characterized by a sympathetic,
The pupil should early be taught to discriminate be and imaginative mind. It is my experience that with singing tone, and an appreciation of the legato touch, so
tween what is artistic and what is not artistic. Teach this kind of study the pupil learns to appreciate more
the pupil that an artistic composition embodies an idea readily the true beauty of a composition by attempting
essential in the playing of cantabile passages. The con
ception of sentiment, and the desire to give it expres
:
more or less distinct and that we need to understand this to discover, if possible, the author's thoughts. In these sion, are likewise more apt to claim the attention of one
idea as clearly as possible, in order to give the composi days we need to teach the mind to clothe every effort who sings than of one who does not. To get thoroughly
tion the artistic significance the author intended. with intelligence, and how can this be done more effec infused with the spirit of the piece, and to convey that
To accomplish this it is necessary to get the music tively than to set the mind at work as the dominant
student to appreciate the essential elements of art, first, agency in every form of discipline?
as expressed in the compositions of others, and second,
to develop them later in his own expressions in the
form of composition; show that the idea in the music is
frequently indicated by the title of the piece, as a kind of
EXPRESSION VS, TECHNIC,
impression to others, is the controlling purpose of the
vocal artist. The words of the song represent his own
thoughts and desires; for the time being he feels that
he is the embodiment of all that the song suggests, and
while due regard is paid to the requirements of technic,
still the dominating feeling is to so impress the song
|
*
BY EDWIN MOORE.
exponent of its character. itself upon the audience as to make it forget the singer
To make this practical let the student present a list of in its enjoyment of the song.
original titles which are suggestive of artistic thought. THE lengths to which piano technique, in both Such absorption, such self-sacrifice, such magnetic
This first list will doubtless contain some artistic titles theory and practice, is being carried, would lead one to power may be possible in a piano player who does not
and many which are not. suppose that technique is the sum total of good sing, nevertheless it must be conceded that the advan
With this list in hand the instructor should teach the piano playing. Music Teachers' Associations and the tage is largely on the other side.
pupil to discriminate between artistic titles and those musical journals make it a prominent subject for discus.
which are not artistic, that is those which lie within the sion, while publishers are frequently bringing out new
realm of art and those which are outside of it. works and methods devoted exclusively to its acquire MUSICAL CLUBS,
ment. Science and mechanical skill have likewise con
With such a list the teacher can not only teach the
tributed to its advancement, and when at last it was BY WM. BESSERER.
pupil to discriminate art subjects, but can often give
thought that the limit of execution had been reached,
some general idea at the piano of the form each might
take if written out. Here allow me to give a short list a modern Alexander, seeing where Nature could be THE great desideratum is that the vast human family
improved, with his knife cut the Gordian knot' that should become more musical. Whatever means will do
presented by a student of comparatively little experience
in music." had so tightly bound the hands of aspiring pianists, and this, or aid in doing it, should be utilized. When public
Peace, The Brook, The Wanderer, Forsaken, Expec rendered possible still greater achievements than had sentiment is to be made, or popular feeling aroused, the
tation.
ever been attempted in the acrobatic line. people are addressed en masse. What is needed is the
Among others I have received such titles as the fol Are we then to consider that he who can play the fast education of the people, and to this end we must rely
lowing: Night, Springtime, The Evening Star, Upon est or pound the hardest is entitled to the palm, and to mainly upon the esprit de corpsthe animating spirit
the Desert, The Poet's Dream, A Storm on the Lake. be accepted as the true exponent of legitimate piano of masses of people. It is a fact that the people are
The Wind over the Chimney, Wandering Winds, The playing? As well might the same qualification be made more readily and generally influenced in groups; hence
Awakening. Song of Builders, Flight and Pursuit. Re the standard for all who aspire to fame and renown in
the histrionic art.
the advantages that accrue to the class method of teach
flections, Whither, The Peasant's Fair, Song of the ing vocal music. This is being done in the form of the
Gondolier, etc. Imagine the candidate for elocutionary honors to be choral society, singing school, musical convention, musi
required to recite
The teacher can go through such a list with the pupil. cal institute, music normal, orchestra, band, etc. There
discussing the sentiment of each title, whether it is artis. Peter Piper picked a peck of pickled peppers, is here, certainly, no lack of material on which to exer
tic or not, and suggest something of the form it might the merit of the performance to depend upon the speed cise the musical sense and the rudimental musical facul
take. Let us take, for example. The Brook; show that at which the words are uttered, and yet there are many ties. The principal value of choral music as an ener
there should be a subdued part, a kind of undertone. persons who judge all piano playing by this low standard. gizing force lies in its engrossing the conjoint activity of
which represents the ripple of the stream, over which Such persons have no true musical feeling, and can many, and the most impressive emotional aspect of the
floats a melody, as a maiden who sits and hums a appreciate only that which can be seen with the eye or chorus is its outbursts of power and joy, by which, more
melody by a brookside, whose music becomes her punctuated with the heel. A sky-rocket performance of than by any other tone combinations, the sublime is
accompaniment. arpeggios and octaves, bringing into play all the ten embodied.
Then in this connection turn to Mendelssohn's Song fingers at once, drives them into an ecstasy of exhilara The nucleus of interest in musical art is, in almost all
Without Words, Op. 30, No. 11. or for similar forms to tion, while if the performer will only do the same thing American communities, the choral society, or, in small
Schubert's Impromptu, Op. 90, No. 3, or to Raff's over again while standing on his head, they would be towns, the church choir. The most important step of
Spinning Maiden, Op. 157, No. 2, etc. elevated to the seventh heaven. the musical club or choral society is to establish the first
So go through the list, first drawing from the students Technic, for the sake of showing off," may be art, broad foundations of good taste, and to awaken the rudi.
their thought on what they suppose to be original titles, but it is not musical art. A composition may be per mentary tonal sense. The amount of influence requisite
and last of all show them the works of the masters upon fectly played, so far as technic is concerned, and yet fail to a full awakening of the perception of tones and their
these very subjects or similar ones. The list presented to arouse any feeling other than that of wonder at the inter-relations cannot be easily estimated, but the ease
will at once call to mind Schubert's Wanderer, Mendels manual dexterity displayed. It cannot be commended with which children educated in musical families appre
sohn's Spring Song, Wagner's Evening Star. The poet as a musical performance, for there is no sentiment hend the best music, and the stubborn imperviousness
speaks of Schumann (Kinderscenen. No. 11), The Lake, expressed nor emotion kindled. It is but a cold, glitter of those who have been brought up on the inanities of
by W. Sterndale Bennett; The Ghost in the Chimney, ing thing, without form or expression. There is no so-called popular music, is a gauge of some value. -

by Theo. Kullak; Warum? (Why?), by Schumann and desire on the part of the writer to discredit the value of The unconscious education of membership in a musi
many others. In this connection the instructor should technical training; its necessity is acknowledged and its cal society is better than its direct instruction, for half

not only call attention to the character and sentiment of importance in the curriculum of study conceded, but it our culture in music descends upon us like the dew of
each individual piece, but show that classes of composi must not be assumed that technic is the first and only heaven, silently, slowly, by increments of refreshing joy,
tions, i.e., nocturnes, barcarolles, slumber songs, etc., qualification needed by a pianist. Back of that there too small to be noted at the time, yet potent and precious
differ in their very nature, and show wherein the distinc. must be musical feeling, and not only the possession of as the shining, silent sporules which bead the morning
tion lies. musical feeling, but the ability to exert its influence landscape.
After one list has been thoroughly discussed let the upon others, exciting emotions beyond the power of
pupil present another, etc. This often proves a source words to express, and thrilling an audience as the storm Look not mournfully into the past; it comes not back
of great inspiration to students when they find the sways the forest trees and compels them to do homage again. Wisely improve the present; it is thine, Go forth
to meet the shadowy future without fear, with a manly
subjects they have selected have been used by the great to its mighty power.
masters; not only that, but they find in their choice of This latter quality, so common to the dramatic reader heart.-Longfellow.
subjects they are upon an art basis and drawing from the or singer, is equally valuable to the pianist, although the Three trifles are essential for a good piano or singing"
teacher
same fountain from which drew the world's acknowl. latter, being obliged to use an instrument as a medium The finest taste,
edged masters.
for expression, must be more or less handicapped as The deepest feeling,
The practical benefit of such study is to enable the compared with one who uses that most perfect organ of The most delicate ear,
pupil to discern readily artistic music as it comes to him expression, the human voice. It would undoubtedly be and in addition, the requisite knowledge, energy, and
from the hand of the composer. an advantage to all piano students to combine singing some practice.Friedrich Wieck.
T EITE TE T U D E. 153
-E

MUSICAL SOCIETIES, ters of imitation, as seems to me to be the case, then I injuring his voice. The vocalist or director who is not
maintain that it is advantageous for the student and the able to distinguish shouting from singing is not properly
BY W. T. Wop ELL. public to hear and see artists of eminence perform. It trained or competent. I urge the formation and support
is for the judicious and informed critic and teacher to of choral societies. They may be successfully organized
TRUE musicians, believing that good music has a point out defects in the performance, if such there be, in small places as well as in cities. The good influence
powerful influence in refining, elevating and making which the student or public might overlook, or accept as of the choral society is felt in the improvement in the
happier the individual and the community, desire the excellencies to be praised and imitated. musical standard in the homes of the members, in the
rapid and general spread of musical culture in our As an illustration I wish to make some reference to church choirs and the concert rooms. Having tasted the
country. They are earnest preachers of the gospel of facts which have come within my own observation con delights of singing the compositions of the best writers
true music, and determined foes of the unworthy and cerning the origin, progress and influence of a little in the choral society, the singers will no longer be satis
degrading in the work of composer or performer. It is musical society which existed in a comparatively small fied with poor music in the choir or the concert hall.
with the hope that I may be able to offer encouragement city. A wealthy and enthusiastic amateur musician Some very useful musical societies partake of the
and help, in some measure, to the many musicians en secured instruction for his children upon stringed instru nature of the literary club, and these can be organized
gaged in the work of educating the people in music, that ments, and soon had a family quartet. The-first public ap and sustained in very small towns. Stated meetings can
I have accepted the invitation of the editor of THE pearance of the quartet, father, mother and two children, be arranged for at some central point, and members
ETUDE to write an article on Musical Societies, as an at a city school entertainment, resulted in many parents appointed in advance to prepare a programme for each
aid to musical culture. sending their children, boys and girls, to teachers of the meeting. Every one should have something to do; play,
The musical society is a powerful factor in the musical violin and other orchestral instruments, and ere long a sing, prepare an essay on a musical topic, or make a
education of the community, because it interests a large juvenile orchestra, which eventually grew to number 28 selection for a reading from a musical book or magazine,
number of people in the performance and hearing of pieces, was formed, carefully fostered by the aforesaid or take part in the management of the affairs of the society.
music. Much of the best music known to the world was enthusiastic amateur, who afforded the young society A wise discretion should be exercised in the preparation
written for performance by musical societies, that is, the benefit of his ripe experience in the conduct of their of the programmes, which should exhibit that variety
bodies of players or singers, and the musical knowledge rehearsals and public appearances, and his beautiful which is the spice of life, and present nothing musically
of those who have not taken part in the performance of home as a place of meeting. The work of this little Jubal unworthy. The dominant thought should be to make each
this class of music, or at least heard it performed, is not Club has largely helped to render possible in the city of meeting educationally helpful. By and by the interest
as broad as could be wished. its birth the performance, chiefly by local players, of will spread from the membership to the public, and
The interest of individual musicians, and of the com orchestral accompaniments to oratorios given by the eventually it will be found practicable to arrange for a
munity in music, is stimulated by the well conducted local Philharmonic Society, such as Messiah, Creation, public meeting at which the best of local talent may
musical society. The active members, animated by a Samson, Lay of the Bell, Eli, etc., while the organiza perform, or some prominent artist give a recital, ex
common love for their art, act and react upon each other tion has now grown to the rank of an Orchestral penses being met by receipts. Individual effort would
in their meetings in a way to arouse and sustain enthu Club," under professional leadership, giving two full be unequal to this task. Associated effort makes it pos
siasm. The weaker member is helped and encouraged, orchestral concerts each season. So much for what this sible. Such a society may be made a real power in a
and the stronger is incited to prosecute his studies and society has done and is doing for the cultivation of the small community for the elevation of the musical taste
his labors with increased interest and energy. And, musical taste of the community. The direct benefits to of the people. The music teacher located in a small
further, the musical society makes possible the per the members have also been marked, as may be judged town, who is endeavoring to carry on such an organiza
formance of much good music, which, in the absence of from the fact that of those who began orchestral playing tion, may find much help in the way of valuable sug
such an organization, could not be given and heard. with the club, the boy pianist is now organist and choir gestions of new and good music for performance, and
:
The friends of the members of the society may be master in a neighboring city, and has passed two exami literature to be read, in the columns of the musical
depended upon to take an interest in its work, and if nations for the degree of Bachelor of Music ; two others magazines. A careful reading of The ETUDE, not omit
properly managed, the organization is reasonably certain are good solo clarionet players, one of them a band ting the advertising columns, wherein the products of
to become an object of local pride, attracting the atten master; another member, a young lady, has been two the brains of some of the best and most progressive
tion of those who, while at first feeling little interest in years a violin student with Hermann and Sitt at the musicians of the country are described, will bring a
it, from an art standpoint, may eventually be brought Leipzig Conservatory, and is now able to take her place return in useful hints. It is a good plan to read an
into intelligent and active sympathy with the society in an efficient orchestra at the first violin desk; two English and, if possible, a German musical magazine;
and the cause it represents. others have passed a first examination for Mus. Bac.; to peruse carefully the announcements, in all the maga
The direct benefit to teacher and pupil proceeding another is a good player upon the contra-bass, another zines, of new works, great and small, by leading com
. from active membership of the latter in a musical society an excellent orchestral flutist, and others are playing posers, and to read the programmes of musical societies,
is so considerable as to merit the especial attention of wood wind and brass with the local band. and of concerts or musicales given by leading teachers.
teachers. Who is there that has not known some. The growth of a love for good music in the community From these it is possible to gather a general idea as to
thing of the keen delight of the youth who has found brought about by the work of a well managed choral what is going on in the musical world, and sometimes
himself able to apply knowledge or skill gained by society is often quite remarkable. Such a society exerts to make an intelligent choice of music or literature for
technical study to the actual production of something, one of the strongest influences for good that can be use by the particular society in which the reader is
whether a roughly built miniature implement, made by brought to bear upon a community. I am aware that interested. The leading music houses of this country
|
#
a young mechanic, or the piece performed by the there is a prejudice in this country, or, perhaps, I should issue frequent editions of excellent catalogues of music,
young student of music, poorly played, it may be, yet still say, in some districts of this country, against singing in new and old, for all desirable combinations of instru
*"piece, and recognized as real music as compared chorus. This prejudice, I fear, has in some cases, ments and voices, and these can be obtained upon appli
with scales and exercises? The student who has mas. nothing but ignorance and conceit for its foundation. cation to almost any reputable music dealer. Then, too,
tered voice or instrument sufficiently to be able to per No sooner do some individuals obtain a term of instruc we fortunately live in an age when not alone music pub
form his part with othersa part all his own, for tion in singing than they declare, by word or act, that lishers, but general publishers, are putting forth interest
which he is solely responsibleand is given a part in they deem singing in chorus beneath them. Absurd. ing and helpful books on musical subjects. There are now
the playing or singing of a musical society, will, in the Some of the greatest vocal artists the world has known published good books on the standard oratorios, operas,
Performance of it, experience a joy which will send hina have sung in chorus, when already good singers, for the cantatas; series of music primers, one of which on
back to his studies with renewed interest and energy, to sake of the training and experience thus acquired. The The Beautiful in Music is an excellent essay for
* delight of his teacher and friends. Concerted work singer who has had no experience in choral work is not reading before a class, choral or musical society; musi
by students, under proper direction, should be encour thoroughly equipped for a position as soloist with chorus cal histories adapted to the needs of the student and the
aged. It brings to the performer an enlargement of and orchestra. There be conductors who could, in this general reader; volumes of letters of great musicians;
knowledge of musical compositions, increased facility in connection, a tale of misery unfold, if they chose to biographical works relating to the masters in music;
reading, improvement in style, and elevation of taste. make public the history of the rehearsal room. I want works on theory and how to understand music; and
For these reasons, the musical society which gives to emphasize the fact that the study, under a good con should any particular difficulty arise in connection with
frequent opportunity for concerted work, should have ductor, of the immortal choral works of Bach, Hndel, the work of a musical society, a brief note, stating
the sympathy and active support of the music teacher. Haydn, and Mendelssohn, and the beautiful productions exactly what is wanted, to the editor of The Erude, or
.* musical society can often do a work for the eleva of such writers as Gounod, Dvorak, Mackenzie, Stainer, other reputable musical magazine, or to some prominent
tion of the musical taste of its members and the com.
and Dudley Buck, J. C. D. Parker and others of the musical worker, accompanied by return postage, will
| munity, which it would be practically impossible for the rising school of American composers who might be men generally bring a courteous and satisfactory reply,
individual musician to undertake, namely, in bringing tioned, is in itself a musical education not to be despised, although it should be borne in mind that the fact that a
before the people, as performers, artists of high rank. I and a source of great pleasure to the real lover of music. gentleman is a leading musical editor or musician gives
'" "are that some doubt the advantage of merely I know, too, that there are vocal teachers who urge their others no right to ask him to devote much time or
listening to great artists play or sing, but if there is a pupils not to take part in chorus work, fearing injury to special effort to their affairs without compensation.
refining, uplifting power in good music well performed, their voices. What I have to say in this regard is Music teachers should give their pupils and their
: **lieve there is, and if expression and musical simply that the properly instructed vocalist, singing in audiences good music, and only good music. They will
"" generally are to no inconsiderable extent mat. chorus under competent direction, is in little danger of thus oppose the clamor for musical trash in the most
154. T EI E E T U D E.
~~

JANUARY 9TH, 1889.


effective way, by giving the public good music of varied season the literary and musical programmes are printed
styles, well performed; music with tunes in it; music separately. Paper, Protestant Church Music; Illustrations, Two Chorals, Mag
nificat, hant. Chorus from ratorio Eli, Angels ever bright and
which, though it may be comparatively simple, yet has fair, Hndel. Paper, J. S. Bach; Invention (three ' J. S.
In our experience the first way has proved rather Bach; Prelude and Fugue, J. S. Bach; Italian Concerto, J. S. Bach
in it that which at once expresses and excites emotion, better. We have also begun a collection of books upon (first movement).
SECOND CLASSICAL PERIOD.
while at the same time gratifying the desire for gram musical subjects, and subscribe for two periodicals, THE
JANUARY 23D.
matical accuracy and beauty of form. And because the ETUDE and The Voice.
Paper, C. P. E. Bach as Originator of the Sonata (1714-1788); Jo- .
musical society gives large opportunities for making The Board of Managers consists of the officers and seph Haydn (17321809); Illustrations, C. P. E. Bach, La Xenophone,
the people acquainted with the best of music, for directors, of whom there are six. They have power to Allegretto I, Allegretto II (La Sybille), Allegretto Grazioso (La Com
plaisante), Poco Allegro (Les Langueurs Lendres); Haydn, La Roxo
developing local solo talent, for increasing the interest transact all business. lane (Air vari); Sonata, C major; Allegro, Adagio. Presto; An
dante conversazioni. Paper, Oratorio; Illustrations, from the Mes
of students and the public in musical subjects, for bring Much to their surprise and gratification, they have siah, Hndel (1685-1759): Recitation (Tenor), Comfort ye my peo
le; Recitation (Contralto); Air (Contralto), He shall feed "His
ing to bear the influence of good music in refining, up been able to bring before the Society and its friends four ock; Air (Soprano), Come unto Him; Air (Contralto), He was
artists, Mr. William H. Sherwood, Dr. Maas, Mr. Gus despised; Air (Soprano), I know that my eemer liveth.
lifting and cheering the individual and the community,
it should have the earnest, active support of musicians. tav Dannreuther and Mr. E. B. Perry. INVITATION MUSICALE, FEBRUARY 6TH, 1889.
Hndel (16851759), The Smiling Dawn; Air and Variations
The trouble and expense such a society costs is as noth Enough has been done to show that we are really (Harmonious Blacksmith.) Bach, Two-voiced Invention; Mendels
ing compared with the good which it accomplishes. creating, or at least stimulating, an interest in music in sohn (18091847), Songs without Words, No. 6; Song: Moszkowski
(1853), Barcarolle; Kjerulf, Last Night; Schumann (18101856), An
a community with the reputation of being thoroughly dante and Variations for two pianos.
THE MUSICAL SOCIETY, lacking in that respect, besides doing ourselves a great FEBRUARY 20th, 1889.
Paper,The Sonata Developed by Mozart, Clementi, and Beethoven:
deal of good in a delightful way. -

Illustrations, Mozart (17561791), Sonata-Allegro, Andante, Allegro de


BY MRS. CORA STANTON BROWN. Below will be found representative programmes of the Molto; Clementi (17521832), Sonata, Op. 2, No. 1, C major, Presto
Rondo; Beethov n (17701827), Sonata Pathetique, Op. 13, C minor,
season, afternoon and miscellaneous meetings. Allegro-Rondo; Paper, The Opera: Illustrations, Come e Bello,
WHEN five Americans get together they immediately Everything played and most things sung at the after from Lucrezia Borgia, Donizetti; Giovin betta su questariva," from
The Huguenots, Meyerbeer.
organize themselves into a society. That is what five noon meetings were explained as to form and character. MARCH 6TH, 1889.
ladies did something more than two years ago. Only four When one considers that this work has been done in a Paper, W. A. Mozart (17561791), Song, Schon klopfet mein lie
bender Busen; Sonata in A major, Andante and Variations; Menuet,
of us were elected to offices, however, namely, presi place not large, without general musical culture, without from Symphony: Adagio Farori, from. String Quartette; Song,
dent, vice-president, secretary and treasurer. When concerts, good, bad, or indifferent, till now, and for the Lord! We Pray Thee! from First Mass; nata in C minor,
Molto Allegro; Rondo from Concerto, for two pianos.
the musical people of our town found that we had really most part by people who have only the love for the work MARCH 20th, 1889.
organized, they came in and helped to christen us, make and are learning as they go, it is certainly encouraging. Paper, Beethoven: Illustrations, all taken from Beethoven (1770
by-laws and a programme for a year's work. This was I have been told that there is now much more interest in 1827); Duett, Trio in E flat major; Know'st Thou the Land
(Mignon); Rondo in C major; 'L' rayer, Love of my Neigh
in the spring. In the autumn we began work with music than before we began our work. bor, Death, Nature's Adoration, God's Love and Providence; Baga
telle, in D major; Chorus, Contrition; Concerto, in B flat major,
twenty-four active members and six associate, thirty So far, of course, it is an outside interest, people are Allegro-Adagio-Rondo, for two pianos.
being as large a number of persons as the average parlor entertained; but we hope, by demanding a certain stand INVITATION MUSICALE, APRIL 3D, 1889.
will comfortably seat, and twenty-four people enough ard of ability in our members, to produce a deeper im Mozart, Rondo from Concerto, E flat, for two Pianofortes; Wat
son, Only the Sound of a Voice;" Clementi, Sonate, Op. 2, No. 1,
with which to begin work. But the whole thing was pression, and believe that by patient work we will do it. C major, Presto, Rondo; Campana, See the Pale Moon: Mendels
looked upon as a doubtful experiment, on account of the The programme for next year's work includes living sohn, Song Without Words, C. minor; Rubinstein, Barcarolle, F
minor; Bassini, Ave Maria; Beethoven, Concerto, B flat major,
few musical people in the town. composers of all nations, one paper on violinists, two Allegro con brio, Rondo (Orchestral parts on second Piano).
We have no constitution, thinking the by-laws a suffi organ days, which we hope to have in a church and TRANSITION PERIOD,
cient form of that kind. We called ourselves the Mati. have the illustrations given properly, Mendelssohn's ora APRIL 17TH, 1889.
Paper, Schubert. Paper, German Lied; Illustrations, Mendels.
ne Musicale, which name has been dropped and the torio of Elijah, one at least of the Wagner operas, sohn, Duett, O Wert Thou in the Cauld Blast;" Lassen, Ah!
'Tis a Dream, Thine Eyes so Blue and Tender; Schubert, Duett,
Ladies' Musical Society adopted as an improvement. and one of the operas of the Italian school are to be ex Deutsche Tuze, Op. 33; Schubert, Impromptu, Op. 90, No. 4, The
Our object is advancement in knowledge about music plained, and illustrated by voice and instrument. Wanderer, Impromptu, Op. 142, No. 2, Adieu, Scherzo, B flat
(composed 1817); Mendelssohn, Duett, 95th Psalm.
and musicians, and creating a more general interest in One thing the president was always very particular MAY 1st, 1889.
music in the community. about, was to have short programmes at the Miscellane Paper, Ancient and Modern Ballad; Illustrations, Xarifa" (Qld
To the latter end we gave once in eight weeks what we ous meetings and concerts. We preferred to send our Spanish Ballad); There's no Room for Twa; Somebody (old
Scotch Ballad); Du bist die Ruh, Schubert; An Old Garden,
termed a Miscellaneous meeting, generally held in guests away before they were tired of us, and we remem. Hope Temple. Paper, Von Weber. Field, Moscheles, Von Weber
the evening (see sample programme below), to which bered the fault of most amateur programmes, i.e., too 17861826), Momento Capriccioso, Op. 12; John Field
o Nocturnes, Nos. 5 and 15; Ignaz Moscheles (17941870), Gran
each member was entitled to a limited number of invita. great length. Duo.
MAY 15TH, 1889.
tions for friends, and at which a programme of music ' writer kindly offers to answer all questions and give further
- Paper, Cantata: Illustrations, I Waited for the Lord, from The
information about the work of this society, if those interested will
was given, without papers or discussions. These pro address
N. Mrs. Cora Stanton Brown, College
Y.ED.] T
ge Terrace, Schenectady, Hymn of Praise, Mendelssohn; Paper, The Philistines. Herz,
-

Kalkbrenner, Czerney, Thalberg: Illustrations, Henry Herz, LA


grammes were always partly made up of the composi Bawardes, Op. 215, No. 6; F. Kalkbrenner, Le Femme Dei Mareii,
tions which had been given in the three previous after Pense Fugitive; C. Czerny, Tarantella; Thalberg, Home Sweet
Home; A. Rubinstein, Balletmusik.
noons or working meetings, which gave the members PROGRAM FOR THE FIRST YEAR OF THE
MAY 29TH, 1889.
an opportunity to hear the best things over again, and MUSICAL SOCIETY, OF SCHE. Lecture recital, by Wm H. Sherwood.
our friends a chance to judge of the character of the NECTADY, N. Y. NotE.From the fact of it being easier to arrange good pro
work we were doing. The second season we gave two FIRST CLASSICAL PERIOD. grammes for the following periods in musical history we give only
an outline of the work for the second year, with the programmes of
invitation concerts to more people than a private house OCTOBER 24TH, 1888. two of the public or invitation musicales.ED.
would accommodate. They were very pleasantly received Paper, The Scale. Paper, Italian Church Music: Illustrations MUSICAL PROGRAMME.
Alla Trinita Beata, c Fifteenth Century, All Glory be to The Romantic Period. November 20th, 1889, Vocal, Ancient and
by our friends. God on High, Gregorian H mn; Palestrina (15241594), Stabat
Mater, 1555, Anthem; Alessandro Stradella (16451678), Sacred Aria. Modern Ballad; Instrumental, Rondo, Fantasie, Impromptu, Caprice.
Our programme, as you see, takes up the study of the Paper, Early Instrumental Music: Illustrations, J. S. Bach (1685 December 4th, vocal, National Songs; Instrumental, Ballade. Not
1750), little Preludes, II, III; Chopin, Prelude; G. F. Hndel #: turne, Variation, Song Without Words. December 18th,V'
Folk Songs; Instrumental, Etude, Dance Music. January 8th, 1890,
History of Music. It was not original with us, but, #9),Allemande, XIV, Suite, Sarabande, x1, Suite, Aria from "Rin
unless I am mistaken, was first used in Chicago. We aldo, Courante, xiv, Suite; Bach, Bourre, II, Suite; J. P. Rameau Vocal, Scotch and English Songs; Instrumental, Barcarolle, Taran
telle Polonaise, Scherzo, January 22d, Mendelssohn, February 5th,
1683-1764), Rigandon; Raff, (18221888), Rigandon. Chopin. Miscellaneous, February 19th. March 5th, Schumann.
had it directly from the Indianapolis Society. However,
NovKMBER 7TH. March 19th, Contemporaries of Mendelssohn, Chopin and Schumann.
I know of its being used in several other places. There
Paper, Folk Songs; Illustrations, Black-eyed Susan (En lish
PApril 2d, Composers of the Present # p' April 16th.
is matter enough in the subject to spend two seasons A I ussian Melody, Battle Prayer ," #. Lecture Recital, January 16th. Mr. E. erry. Invitation Concerts,
Thursday, January 30th, Thursday, March 13th.
OWer. Greek AEolian Mode, John Anderson, my Jo; Ionian Mode,
Bonny Doon, Coming thro' the Rye," "Greek Dorian Mode: LITERARY PROGRAMME. -

Phrygian Mode, Mixo Lydian, The ay Breeze, My Pleasures


The Society is organized into three divisions, the talent all Subjects for the Year's Study. History of Song. The
Forsake Me (Italian), Der Hist (Schwedisches Lied). , Paper,
distributed as equally as possible, so many pianists, so Early Instrumental Music; Illustrations, Gavotte (Old French, Com! School of Music. November, 20th, 1889, The Troubadours an
Minstrels.
and Portugal;December 4th, TheSchool
The Romantic Development
of Music.of Song in ''
December 13th:
pranos, altos and writers or essayists to each one. Gayotte, Arcangelo Correlli (16531713). Gavotte, The
e Tambourin, J. P. Rameau (16851764), Minuet, Gigue, J. S. Bach Song1890,
in France;
The first season we had one director, but the second Fugue, J. S. Bach. 8th, EnglishThe Development
Songs of the Sonata
and Song Writers; Form:
The Place of the Etude
NovEMBER 21st. in Music. January 22d, The Artistic and the Popular Men.
season two for each division, one for the pianists, one Paper, The Suite; Illustrations, Haydn (17321809 Sui
xiv, delssohn. March
February 5th, Songs of Poland, Hungary and Scandina";
for the vocalists. It is the business of the directors to Allemande Allegro Cou'. Air" igue; Chopin. 5th, Modern German Song The
J. P. Rameau (1683-1764), La Poule; D. Scarlatti (16831757), March 19th, LisztThe Contemporaries of Mendelssohn, Chopin '
see that the papers and the illustrations for these papers in A Major; J. Kuhnau (16671722), Sonata. Paper, Catholic Churc
#'h'
# Schumann; The Development of Pianoforte Technic. . April 2d,
American Song Writers; The Outlook for Music in America.
are prepared and programmes for the afternoon furnished. Mass in Stabat
at, Benedictns;
ui Cross
Tollis;Beside.
Mass in
B flat, Kyrie, Mass in G
the ctims; Stabat Mater, Mary stood
p
- -

The president has charge of the Miscellaneous and INVITATION CONCERT, MARCH 11TH, 1890.
Moscheles, Homage to Hndel; Hering, Moorland Ride; '''
concert programmes; but a committee might be better. INVITATION MUSICALE. FEBRUARY 6TH, 1889. An Old Garden;
Schumann,
and violin, Op. 121;Third Movement
Coombs, from Sonata,
The Journey or
is Long;
The programmes for the year are made out at the Wait,Millard, Kyrie from Mass in B flat: Ca en, Gavotte; Chopin
#Minor stratelia, sa'ed'A' ', Nocturne, '. raga, Angel's Serenade, Violin Obligato; Schumann, Roman'."
end of the preceding season, thus giving the members No. 1; Schubert, Horch! Horch; Moszkowski, Gondoliera; Tosti, sharp major, Op. 28; Smart, Down in the Dewy Dell; Raff, Cavatin";
Hauptmann, Allegro from Sonata, Op. 23.
Good-bye.
a chance to make some of their summer reading bear DECEMBER 19TH, 1888. INVITATION CoNCERT, MAY 8TH, 1890, *
upon the next year's work. - Paper, G. F. Hndel (1685-1759); Illustrations, Capriccio, Here
Rubinstein, Etude, op. 23; Kucken, Heaven hath shed a #
y Tears Flow, Aria from "Rinaldo; Air ' Variations
In the programme for the first season the subjects of etHarmonious with Violin bligato; Neidlinger, Serenadej. Ernst, Elegie: '' #
Blacksmith.); 'The Smiling Dawn, Chorus from ing:
the papers are printed, the illustrations being chosen by , Pa er, al, Gl:e # '' Illustrations, Mad Slumber, with Violin bligato; Reinecke, Spring Flowers,
the writers and the directors of sections. The second Again, Sweet Love.Ountain Home: onn owland (1588), Come violin bligato; s' tu, Op. 90, No.4; Haydn-Waud,
t **

Spring Song; Chopin, Scherzo, B minor.


TED E ET UT E. 155
NoTE.This Society has admirable By-laws, which we give as a
help to our readers interested in forming such an organization.ED. gence and coherency in the performance of his pupils. compositions, and those of a martial and dramatic char
BY-1Aws:1. The Officers of this Society shall consist of President, For, as the true knight of old was expected to wield at acter, in which octave and chord work is the most im
Vice-President, Secretary and Treasurer, who, with one Director, will, and with equal success, the light slender rapier, the portant constituent, which demand power and sonority
shall constitute the Executive Committee. -

2. Members shall consist of three classes, Active, Associate and long glittering lance, and the weighty battle-axe, so it is of tone, breadth of conception, and a strong, supple
Sustaining. The number of Active members shall be limited to
demanded of the accomplished pianist that he shall con wrist. -

"'tive members shall take part in the Musical and Literary ex


trol and use at will all the manifold kinds and degrees of Of course, not every composition will be found to
ises.
": Associate members, on the payment of five dollars annually, tone quality, technical skill, and emotional coloring. belong in its entirety to one of the above mentioned
shall have the privilege of all the meetings.
5. Sustaining members, on payment of five dollars annually, shall This can only be attained by wide, varied, and judicious divisions. Many of the more difficult and elaborate
have two tickets for each evening meeting.
6. Persons proposed for active membership must be vouched for by study. One of the most difficult and important duties piano works, especially those designed for concert use
two active members and the names sent by letter to the Secretary, of the teacher is carefully to diagnose the pupil's musical by artists, contain many varieties of musical mood, and
when they must be unanimously elected by the Executive Com
mittee. : status at the outset, and to prescribe for his study such demand facility in almost the entire field of piano tech
7. Active members shall pay fee of one dollar annually.
8. Any Active member absent from any # meeting of the So tudes and pieces as will tend not only to supplement nique; but the component parts, even of these, may be
ciety shall be fined ten cents, unless excu by the Committee. If those qualities in which he is strong, and thus make the assigned each to its proper place in one of the classes
absent four consecutive times without excuse, may be suspended.
9. Any member unable to perform the duty assigned on any pro best show in the shortest time, but to arouse and develop named ; and the bulk of compositions for pupils' study
gramme shall supply a substitute.
those in which he is weak; to economize and equalize and performance either consist exclusively of one move
The following programme is from another Society in his forces along the whole line, and to lead him by wisely ment, or have a general trend in one of the directions
New York State : graduated steps to a higher plane of broad symmetrical indicated, with brief intermissions only of another mood,
Concert given under the auspices of The Adelphic Society, culture. This demands judgment and experience, and so as to be arranged by the teacher under one of the
Monticello, N.Y.
PART I. is one of the chief respects in which a thoroughly first heads referred to.
A Talk on History of Music; Piano Solo, Ballade, Reinecke; His class teacher is better, and in the end cheaper, than his In the first division, for instance, the lyric, we have
tory of Flute; Flute Solo, Russian Air, Heinemeyer; Piano Solos,
Love's Dreams, Liszt; Saltarella, Haberbier; History of Harp; Harp inferior though low-priced competitor. nearly all nocturnes, reveries, cradle songs, etc., with the
Solo, Ye Banks and Braes, Davies; Piano Solos, Im Dreigespann, The task is greatly complicated by the fact that most adagios and andantes of sonatas. In the second, or
Tschaikowsky; Etude d'arpeggio, Chopin.
pupils seem to be constituted in harmony with the law brilliant class of compositions, waltzes, mazurkas, and
PART II.
Flute Solo, La Traviata, Galli; Piano Solo, Polka de la Reine, Raff;
that ordains, To him that hath shall be given, and from the rest of the lighter dance movements, with the numer
Harp Solo, Il Trovatore, Oberthur; Piano Solos, Dance of the Fai him that hath not shall be taken away even that which ous brooks, fountains, rills, and other music and water
ries, Wan Laer; Ricordati, Gottschalk; Tarantelle Fantastique,
Gilder; Duo, Flute and Harp, Il Pifferaro, Ciardi. he hath. It is worthy of note that the average student productions, and nearly all presto movements. In the
is fanatically bent on the further development of the third, or noble, we find the best gavottes, marches, and
particular line in which he already excels. Where one polonaises, with the many now popular staccato and
SPECIAL PIECES FOR SPECIAL PURPOSES. possesses a considerable degree of technical proficiency octave tudes.
and nothing else, he is apt to seek the teachers and con As before stated, most pupils will be found by nature,
BY EDWARD BAXTER PERRY. fine himself to the methods of study which will give him habit, or conformity of hand, specially apt in learning
the most aid in that special direction, complacently ignor and performing the music in one of these departments,
MY DEAR ETUDE:I have been requested to supple ing those elements in which he is most wofully deficient. and proportionately weak in all that appertains to the
ment my two recent paperson What Shall we Play? by On the other hand, one endowed by nature with musical other two. The first duty of the teacher is to supple
a third on the topic suggested by the above title. I fully perception and aptitude for tasteful expression, but with ment these deficiencies and equalize the power, and this
realize the need and possible value of such an article, if small mechanical facility, inclines to regard technical can only be done by devoting special attention, and far
it could be made complete and exhaustive. I regret that study as dry, uninteresting, not to say unworthy. For, more than its proportionate time, to developing the
I have not at present, in the crowded rush of preparation as a rule, each refuses, not only his efforts, but his admi weaker sides. If the pupil's deficiencies are in the line
for my approaching tour, the requisite time and undivided ration to other than his own line of work. Thus the of lyric playing, the systematic study of a series of lyric
attention to do the subject justice; but perhaps I may be teacher has constantly to work up hill, against the natural compositions should be undertaken at once and pursued
able to call attention to a few of the more obvious ideas tendencies and preferences of the pupil. with energy and perseverance. It should be supple
lying upon the immediate surface of the topic, a grasp Mr. J. C. Fillmore, in an able paper recently printed mented by much reading of the best lyric poets, to stimu
: of which is undoubtedly essential to the effective and in THE ETUDE, very justly calls attention to the useless late the imagination and the emotions, and, if possible,
successful work of any teacher. I trust that some one ness of practicing Czerny's and Bertini's exercises as a by much hearing of good singing and violin playing, to
of my professional colleagues may carry out and amplify preparation for such composers as Mendelssohn and cultivate a feeling for smooth flowing, finely-shaded
the train of thought which I will but attempt to start. Chopin, who demand a totally different treatment. Much melodies. The easiest compositions of the kind should
All know that in pianism there are many widely differ more might be said in this direction to elucidate the point be selected at first, even for what are called advanced
ing yet nearly equally important elements, each of which which I wish to emphasize, that each individual style of pupils, so that no slightest technical difficulty, or musical
has its special purpose, but all of which must be pos composition requires, and inevitably develops, a similar complication, shall in the least distract the attention from
sessed in approximately equal degree and development, style of technique, and that the student's progress in any the one paramount objectthat of properly producing
and be harmoniously combined in the really superior given direction depends in large measure upon the exer and enunciating a given series of tones, which should
pianist. All teachers are familiar, for instance, with that cise of due discrimination in the selection of the works constitute a complete, continuous, melodic period or
definess of finger which so frequently enables a he is to study.
pre sentence. There is notthe smallest danger that the pieces
cocious miss of fifteen to ripple lightly over the silver All piano music may be roughly divided into three chosen may be too easy. The highest art often consists
tintinabulations of a Valse Styrienne, by Wollenhaupt, general classes, which I will designate, for convenience, in rendering beautifully the simplest passage of single .
or a "Last Hope, by Gottschalk; but is as hopelessly as the lyric, the brilliant and the noble. notes; and it is by no means uncommon to find pupils
inadequate to a grand or stirring strain, in which nobility Under the term lyric, which originated in the idea of who are able to get through a Liszt rhapsody, or even a
and power are demanded, as a greyhound for the bear. a voice singing to the accompaniment of a lyre, I include Beethoven sonata to their own complete satisfaction, if
ing of heavy burdens. All occasionally meet with that all compositions and parts of compositions, of a strictly not to that of the teacher, but who are utterly incapable
dashing impetuosity and bravado, that physical and melodic character, consisting of a sustained, song-like of playing the simplest of the Mendelssohn Songs
"ous energy, which enables a clumsy-fingered youth melody, and a subordinate accompaniment. They may and Without Words even passably.
to plunge, as with lowered head and set teeth, into the do express nearly every shade of human emotion. They On the other hand, if a bright, fluent finger technique
bristling difficulties of a formidable octave cadenza, and may be sweet or sad, tender or pathetic, graceful or ma seems the one thing lacking, then concentrate for a time
to come through them, by sheer force of momentum, jestic, playful or impassioned; but they are all constructed on its acquisition. Use Czerny and Clementi freely, in
with a certain swing and spirit, which, however, resem on some one of the manifold song models, and all demand conjunction with the lighter order of parlor pieces, such
bles an artistic performance as little as the brute force a firm but flexible-pressure touch for the melody, which as Wely's Titania, and Mills Tarantelle and
and rude war club of an Ethiopian savage resembles the must be kept distinctly prominent, while the accompani Fairy Fingers, affording no temptation to become
"ple strength, consummate address, and practiced ment, though following every inflection, every rise and emotional or declamatory, and in which a perfectly flex
* of a trained Roman swordsman. fall of the melodic movement, is always several degrees ible hand, and light even touch may be uninterruptedly
There is the feeble, flaccid touch, which can only bom softer and strictly subservient. maintained, while the simplicity, both of the figures and
bard * gigantic antagonist with rose leaves; the lumber. By the term brilliant, I mean all music of a rapid, the harmonies, renders a high degree of speed easily
"8, ponderous touch, which caresses violets with a sledge sparkling order, in which movement, vivacity and display attainable.
hammer; the bright, shallow, flippant touch, that trifles are the chief elements, and for which what is called Once more, if, as is oftenest the case with our young
With the grandeur of great battles and the gloom of finger technique is the chief requisite. It demands lady pupils, especially if trained in the older school,
solemn funerals, plays with the passion or pathos of a crisp, percussive tone, produced by an independent, everything is puny and feeble, and power and breadth
strong emotion, glides over the surface of deep thoughts hammer-like stroke of the finger; great flexibility, ve the most urgent needs, then for a vigorous course of the
* a careless skater over thin ice, wholly heedless of locity, and freedom of finger action, and, as a rule, but hammer-and-tongs order of study. Take Kullak,
the depths below. little emotion or intellectual power. It might perhaps or some other good set of octave studies, as a steady
"", and more, the earnest teacher has to deal not be inaptly characterized as the music of the meta diet, and such pieces, for instance, as Morey's Gavotte
with ; must correct, control, combine, modify, or de carpal joint. in A minor, the popular Silas Gavotte in E minor, Cho
"lop, as the case requires, to secure anything like intelli By the term noble I would designate all broad, serious pin's Military Polonaise, and the like. It would be
1.56 T EI E E T U D E.
wise to supplement this line of study, particularly, by THE MENTAL READING OF MUSIC, MUSICAL CLUBS; THEIR IMPORTANCE,
judicious use of the technicon, to gain strength and
endurance; but care should be exercised in this line of BY HERVE D. WILKINS. BY T. J. AVIRETT.

practice not to overdo at any one time, as serious injuries


to hand and wrist are more common from octave practice A subscribeR writes: How may one acquire the THE old adage, In union there is strength, is most
than from any other kind of piano work. In connection ability to read music mentally, so as to conceive the
with this special drill, I would recommend the student effect of it from the printed page without uttering the
to read with care and enthusiasm the dramatic poets, and notes aloud
emphatically true. Yet what seems paradoxical, though
equally true, is, that competition stimulates persons
engaged in the same pursuits, to do nobler and better
work?
:
1:
i."
to attend every possible performance of grand opera and The ability to read music mentally, to one's self as s ''
orchestral music. A sojourn amidst rugged mountain we say in speaking of reading a book or a paper, is far Scholars tell us that there is positively only one evi.
scenery, and familiarity with nature in her stronger and more general than we are apt to suppose. First there dence of life, and that is growth. This is a true state
sterner moods, will also be of powerful aid. In a word, are the composersthey must have the ability to do it, ment. So soon as we cease to grow we begin to fade
contemplate frequently, and learn to sympathize with, the although there are many of these who compose only at and die. Then the main question is how are we to
vigorous, the heroic, the impassioned, and the sublime the piano. Orchestral conductors have it, and some of grow? The answer is: by heeding the laws relating to
in life, in art, and in humanity. Not only your special them even commit the music to memory and direct the science of physiological and of intellectual develop.
musical studies, but the whole general character, will be without notes; Mr. Nickisch, Won Blow, Rubinstein ment. Then it necessarily follows that intellectual
the better therefor. and others do this. growth requires an atmosphere, so to speak, conducive
It will rarely if ever be found possible entirely to eradi Among music students and amateurs this ability pro to its development. Where do we find the necessary
cate the natural peculiarities referred to, indeed it would bably results, according to the prevalent methods of requirements for musical development more certainly
not be altogether desirable. Even after the student has teaching, from the possession of a fine aptitude for music than in societies where musicians meet for the purpose
developed into a full-fledged artist, he may well retain a on the part of a faithful and eager student; he learns to of combining their efforts for the good of each and all?
more or less distinctly noticeable leaning toward some be a good reader at the piano, and after a time learns But then this view considered alone presupposes a spirit
particular style of work, and this is not objectionable, also to read simpler music, melody and harmony, and to of unselfishness and generosity scarcely to be expected.
provided it does not render him oblivious to and imagine the effect of it, away from the keyboard. Hence, it is well to consider the subject from a stand
markedly deficient in the other elements essential to his The right way to acquire the ability to read music point peculiar to individuals. What will each one gain?
art. While cultivating a specialty in which to excel, one mentally is to learn to sing without the aid of an instru
should be ashamed to rest content with less than medi ment, according to the movable do system, which is the
ocrity in other departments of his profession. Such a same as Tonic Sol-fa, only set to notes. You will begin by
Something surely, be his or her acquirements and natural
endowments never so great. There is no other place
where one can so well display ability and thus impress
:
mistake is the more fatal because of the multitude of practicing the scale at first without notes until you can others and be appreciated according to true worth, as in
concert pieces referred to, which make demands upon at sing correctly any progression whatever, including all the meetings of such societies. On the other hand, if
least two radically contrasting modes of treatment. For sorts of skips. Later you will learn to transpose the one is not so gifted, by listening to others he will have
example, the familiar Aufschung of Schumann, whose scale into all keys, and then you will learn to modulate, the opportunity of learning much that is instructive. It
opening subject is broad and energetic in the extreme, using selected solfeggios for illustration and practice in is true, there will be times, when the various points of a
and the second delicately, tenderly lyric. Beethoven's sight reading, transposition and modulation. You will subject are under discussion, that one's self-conceit and
sonata, Pathetique includes all three of these dis in this way learn to read a melody without the assistance hobbies will be set in their true light; for it is rare to
similar elements, each in several degrees and varieties, of an instrument, and if you can thus read it and sing it find one individual a perfect master of all the specialties
so that a command of them all is requisite to a proper you can surely as well read it without singing, for the embraced in the general term, musician. But having
interpretation. mental operation of reading is the same whether one learned that there are more things in heaven and
Supposing a pupil to be starting with no abnormal, reads aloud or silently. All the above applies only to
one-sided development to correct, or to have obtained a the understanding of melodies, and the relation which
fair equipose by dint of judicious study, then these three each one holds to the preceding and following tones.
earth than are dreamed of in his philosophy, it is to be
hoped that his ideas will be enlarged and he will become
:|
a wiser, if not a better man. :
departments of work should be carried on simultaneously To understand and conceive harmonies you will need There are various ways of organizing such local clubs
and about equally. He should always have on hand for further practice, such as singing in chorus, playing or societies. By the teachers of a town uniting and
practice one lyric, one brilliant, and one noble composi. transposed exercises on the organ or piano, writing taking a personal part in the exercises, and having their i.*

tion, so as to insure even and healthful development, music from dictation, that is, writing down what is sung advanced pupils perform at the musicales. Or, any *
and at the same time to save him all the fatigue possible, or played, harmonizing melodies, filling out figured teacher who has a good class can conduct such a club
by giving variety, and therefore added interest, to his bases. Analyzing musical works with reference to har with the help of personal friends and his or her pupils.
work. Just as many of our best-regulated schools and monic structure, rhythmic figures and thematic develop In either case, well known solo talent, instrumental and
academies adopt the very excellent plan of allowing ment, and in short, filling out a varied musical experi vocal, professional or amateur, should occasionally take
pupils to take up but three branches of study at a time ence. While it is comparatively easy to acquire the part in the public musicales or recitals. Narrowness
throughout the entire course, and of these always one in ability to read a melody or a single voice, in part-music must be avoided. Such by-laws should be enacted as
the department of mathematics, one in science, and one the comprehension of harmonies requires much more will tend to make the affairs of the club go smoothly and
in languages; that no portion of the intellect may at extensive research and study, and to read the greatest restrain any over-ambitious member. In some towns
any time be neglected or overworked, and so as to insure works, such as a symphony or an operatic score, requires I know of clubs being sustained by amateurs, where
the maximum of progress with the minimum of fatigue. that one shall know all about music, be, in fact, a learned vocal choral music is the principal work. These employ ".
St.
Applying this theory practically to a first grade" musician. professional artists in their annual or semi-annual con
piano pupil. I should say he ought to find himself study Notwithstanding this, one who has but begun the study certs, and have a noted conductor to instruct them in
ing simultaneously some such selected trio of pieces as of music can, while able to read perhaps but one voice the weekly rehearsals. In the monthly musicales the
Spindler's Study for the Wrist," op. 160, No. 1; The at a time, derive pleasure from the mental study of chorus gives a few numbers. Solo talent from the mem.
Fountain, by Bohm, for finger work; and the nocturne, higher compositions, there is always a principal melody, bership of the club, both vocal and instrumental, do
op. 65, by Egghard. for lyric development. Some terms and one can follow that to advantage, trusting to time their part, and if there happens to be a good musician
later he should be able to grapple, with equal success, to learn how the same tone or motif will have a different visiting friends in town, he is invited. Such socie:
with the Diabolique, by Leybach; Waltz Etude, by effect according as it is harmonized differently. The ties are the natural channels through which artists'
Wollenhaupt, and one of the easier Mendelssohn Songs reason that in a chorus the altos are always the best recitals are conducted, all of which are a great and
Without Words. Still later, with the Toccatta, in readers is, that they learn in the practice of their part most valuable factor in the elevation of taste in the
D flat, by Mayer; the Mrchen, by Raff, and some one to appreciate the harmony better, they must not only community, and advancing the cause of our divine art.
of the Chopin nocturmes. sing their part, but they must sing within the chord.
In closing, let me emphasize that these suggestions The highest and lowest voices being more prominent I myself do not believe in misfortune. What men
are made from the standpoint and for the benefit of the and easy to catch, and the inner voices requiring to be call such is only the shadow side of good-George
pupil. In our self development we should strive for the thought out with discrimination. McDonald.
broadest possible eclecticism. As public performers, a If you have already some practical knowledge of
Any great achievement in acting or music grows :
different code compels us, and while endeavoring to give, music, you should be sure and make a beginning at growth. Whenever an artist has been able to say.
within certain limits, the greatest practicable variety in reading music mentally. Every practical musician came, I saw, I conquered, it has been at the end o
our programmes, we should still confine ourselves to should study to be more reflective. The trouble with all patient practice.
those things which we can do best, and which afford us music makers, from the beginner up to the artist, is that Genius at first is little more than a great, capacity for
-

receiving discipline. # and acting, like the fine


the greatest personal satisfaction, certain that by so doing they do not think enough proportionately to what they do. dexterity of the juggler with his cups and balls, requi"
we shall give to our audiences the highest degree of The right way is to study the ideal more, that the practice the shaping of the organs toward a finer and finer
pleasure and profit possible to us. and assured that the of music may be lifted to a higher plane of excellence. tainty ofeffect. Your muscles, your whole frame, must #
purest and loftiest ambition in the ar is that which like a watch truetruetrue to a hair. That is the Wor
strives for quality rather than quantity, in its ultimate Every one must educate himself. His book and teacher of spring time, before habits have been determined G.
# success must be won by the utmost patience."
finished product. are but helps; the work is his.-Webster. liot.

-1
~
TEE E T U T. E. 157
AN INTERNATIONAL EPISODE, public taste. For the last hundred years the Roman cal and satisfactory. Then they sang pieces in unison,
Catholic music has been almost entirely secular and service extracts; later, pieces in parts. As yet the choir
BY W. S. B. MATHEWS. popular in character. The composers of the Italian is rough, but it is working hard, and in six months
Opera School have had it all their own way. No doubt Tebaldini expects to be able to give a good service of a
# WHILE recently in Europe I had several episodes of a St. Mark's is in considerable part responsible, several of pure ecclesiastical music. To sing Palestrina, he says,
musical character, which from their associations or the her own directors having been much more composers of will take two years, and he is not at all sure that he can
Wi.
persons concerned in them might possess a certain inter opera than ecclesiastical musicians. hold on that long, so great is the local opposition to the
est for readers of THE ETUDE. One of these was in The extent of Italian forgetfulness of the strict writers proposed restoration of a style of music so different to
#: Venice, St. Mark's Church, as all readers of history of the olden time came out very well in a little incident that which is heard to day.
know, is one of the landmarks of Christendom. Built which happened to me at St. Peter's, While we were Before we left St. Mark's he showed me the organs, of
in the Middle Ages (begun before 1000 A.D.), its Byzan. being shown around, we came to somewhere near the which there are two, standing upon screens on each side
tine architecture, its semi barbaric coloring, and its pro spot where the great Palestrina lies buried. I asked the the chancel. They are the very worst kind of old rattle
''',
fusion of images appealing to the eye and to the religious custodian, or valet de place, Where is the grave of traps, about a hundred and fifty years old. They have
# association, give it a character wholly its own among the Palestrina? Palestrina? Palestrina?" he answered: two manuals each, about twenty-five stops, and only an
great churches of Christendom. But upon this point I I have never heard of that name before. I told this octave and a half of short pedals, upon which only funda
#!
need not enlarge, since those living near to large libra incident to Mr. Tebaldini at St. Mark's, and his com. mentals or slow notes can be played. It would be totally
ries can easily look up the building in all its details. Inment was, Ich glaube wohl (I can well believe it). impossible to play a fugue of Bach's upon either of these
the monumental work lately published by the Italian I asked him what they sung in St. Mark's, and he an: instruments. This, it will be remembered, was the very
Government, devoted entirely to this church, the plates, swered, God knows. Ask the Herr Director. I place where pedals were first applied to the organ, by
some of which are very large, exhibit all the details of asked him, for my conversation with Tebaldini being in Bernhard the Dutch, in 1486. They are renovating
ornamentation. The entire eight large folio volumes are German had been of the nature of an aside, and he St. Mark's now, and I suppose a new organ will presently
occupied with this one venerable temple. answered with the names of the popular Italian com. be in order. -

Ever since about 1850, St. Mark's Church has been a posers of the last hundred years.
prominent musical picket, and there is a history of its But in spite of the comparative novelty of the music I A School for Church Musicians, under the care of
musical career in Italian, one large octavo volume being saw at St. Mark's, when compared with the venerable Hartford Theological Seminary, has been organized with
devoted to a record of the names and a few facts con: antiquity of the place, there was much that was inter.
cerning the various musical directors of nearly five cen esting. , Many books and services, two hundred years the following strong faculty:
turies. old and more, hand illustrated missals, and the like, E. N. Anderson (Director of Gounod Club, Wor.
The great time of St. Mark's was during the flourishing such as would enrich almost any American museum. cester, and Composer), Instructor in Singing and Con
time of Venice, its musical preeminence dating from Everything was now in perfect order, and Mr. Tebaldini ducting. Eugene, E. Ayres (Author of : Counterpoint
the appearance of Adrian Willaert as director, in 1527. knew exactly where to turn to answer any question that and Canon, and Associate Editor of THE ETUDE),
Among the masters following him were such men as I might ask him. The hour was most enjoyable. Instructor in Piano, Musical Form, AEsthetics, and Criti.
Cyprian de Rore, Monteverde, Zarlino, etc., and perhaps When we came out, Mr. Tebaldini walked along with cism. John S. Camp (Organist and Choir Master Park
a dozen other names almost equally important in musical me, after I had thanked the Caviliere Coccon, and then Church), Instructor in Organ, Piano, and Choir Manage
iii.
history. Accordingly, it occurred to me that I would he desired to know how I happened to meet him, and ment. Edward D. Hale, A. M. (Supervisor of Exami
like to see the musical archives of St. Mark's when I whether we had been personal friends before. I narrated nations in N. E. Conservatory of Music, Boston, and
ni : was so handy by, the church being scarcely two blocks the history of our acquaintance, whereupon he proceeded Pianist). Instructor in Piano, Musical Literature, and
h" from our hotel, where we stayed a week. So, the day to tell me an interesting bit. It seems that little love Organ Tuning. Mrs. Virginia P. Marwick (Oratorio
; : after I arrived at Venice, I sent a card around to the is lost between these two men. Signor Tebaldini was Soloist and Teacher), Instructor in Voice Culture and
it's musical director of St. Mark's, presenting my request. graduated at the Conservatory of Milan, and for a year Church Singing. Frank E. Morse (Instructor in Voice
The next day the gentleman, of about sixty-five, came or more served as director of Italian opera. Then he Culture in Wellesley College and the N. E. Conservatory
|al around, the Cav. Nicolo Coccon, a nice, quiet, not par went to Regensburgh, in Bavaria, to study ecclesiastical of Music), Instructor in Voice Building and Vocal Tech.
ife!" ticularly forcible man. He spoke only Italian and French. music, particularly that of Palestrina, for there is a strong nic. Homer A. Norris (Pupil of Guilmant and DuBois,
alia As I had no Italian our communication was not easy, movement in progress in the Roman Church to restore Organist and Composer), Instructor in Organ, Counter.
but we presently arranged it on the plane of writing in the purity of ecclesiastical song. Liszt and Wagner were point and Instrumentation. Albert R. Parsons (Presi.
in: French. I could write a French which he could make strong incentives to this movement, Wagner particularly dent Music Teachers' National Association and Author
in out, Many of its peculiarities of accentuation might and accounting Palestrina's music as akin to certain qualities of "Richard Wagner, the Theologian "), Piano Technic
probably would have knocked out a Parisian, but in of his own, and believing, very justly, that the more one and, Expression. Waldo S. Pratt, A.M. (Professor of
e
Venice we were neither of us to the French manner born. knew of all music that was really devotional, ideal and Ecclesiastical Music and Hymnology, Hartford Theolog
So we got on nicely. I had a great deal of trouble to high, the better one would appreciate similar qualities ical Seminary, Musical Editor of Century Dictionary,
bring him to the point of consenting to show me any. in his own work. Hence, among the acquaintances of and Director of Choral Union), Instructor of Encyclo
d's # but finally he made an appointment in the sacristy Tebaldini were both these great men, and he established paedia, History, Systematics and Practice. H. D.
for the next day at eleven. At the hour I found my way himself, so strongly in the good esteem of the Wagner Sleeper (Organist, and Editor of Songs of Harvard),
* there. You go in through the church, along by a side opera directors that he has been invited to take charge Instructor in Semiotics and Sight Reading.
altar where mass was being said, to a Gothic room in of the chorus training and the minor solos for the Bay. There is a constant and increasing demand from all
ity the rear, wainscoated with oaken presses, and frescoed reuth Festival next season. This is a great honor for parts of the country, and from churches of every denom.
th in an arabesque design of Titian's. It is a most inter. Germany to confer upon an Italian, and indicated suffi. ination, for musical leaders who can and will undertake
''. esting old place, perhaps sixty or eighty feet long and ciently well the estimation in which this excellent young the management of church music in all its departments
about twenty feet high, or possibly a little more, and man is held. "as a branch of parish life and work. The demand is for
about forty feet wide. The Signor . Coccon met me, About six months ago, Mr. Tebaldini was engaged at those who not only are well trained in music as an art,
but there seemed to be some hitch, and we had to wait. St. Mark's as Master of the Singers, for the purpose but are specially trained in church music as a distinct
the reason not appearing very plainly in the corres. of training a choir capable of singing ecclesiastical music branch of that art. , The number of highly educated
pondence we carried on. Presently, however, the door of this pure kind, and presently to sing Palestrina's great musicians is fortunately increasing throughout the coun.
opened, and a young man came in, about middle height, works. So he asked me to go with him that evening to try; but relatively few have been able really to fit
a little "stocky in build, as so many of the Italians his singing class, where he was at work. Accordingly, themselves by special study for the peculiar duties and
are, with black hair, eyes and moustache, and a right after supper, we went to the venerable church of St. responsibilities of the musical life of the churches.
good face, of a man capable, enterprising, energetic and, Giacomo, near the Rialto, upon the other side of it from
p'
Withal, good-natured." He was introduced. It was a our hotel (Hotel Danielli). We went on foot, along WORTHY OF COMMENT,
Signor Tebaldini. Then we went out through the church those narrow lanes in the rear of the houses, the real
*gain to the front entrance, and through a side door in the streets of Venice, where the inhabitants carry on their A SENSIBLE AND UNIQUE EXAMPLE OF
Vestibule up a staircase of stone, the steps very high, at daily communications, have their little retail shops of BENEVOLENCE.
least ten or eleven inches each, perhaps a foot, evidently all sorts; these are the working streets of Venice,
*
*: * Very old staircase. At the top we went through a pas. although the ordinary visitor, and still more the distant THE following may suggest to some wealthy lover of
*ge way into a room over the front vestibule. Here reader, is usually ignorant of their existence. There are
We found cases for books, etc., all entirely new and no wheeled vehicles here or anywhere in Venice proper. music to go and do likewise. Mrs. John Curtis, of New
York, is founder of the most remarkable orchestra in
: '"painted mostly, and all locked, the Signor Tebaldini All transportation goes by the canals or upon the heads
having the key. Upon conversing with him, we discov of porters; but all ordinary domestic business is carried
ed to our mutual satisfaction that, in addition to his on in these little back streets, upon which every house
Italian and French, he had also German, and in that has its back-front, to use a Hibernianism. The
existence. From the poor families of the city, she has
gathered men, women and children of musical talent;
"gue we got on verbally extremely well." As soon as church of St. Giacomo was built A.D. 565, it is said, she requires of them a very small fee for the in
e discovered that I knew somet ing of the ancient and is the oldest church in Venice. I '' it belongs struction that she has provided for them, employing a
music, he got out one thing after another of the old to St. Mark's parish, and, being unused, it was taken superior conductor. This orchestra has been at work
#"als he had put in orderthe old service books, from for the present purpose. The class turned out to consist for three years and has given entertainments for charity
three hundred years back; great folios, in which the of men, about thirty in number. A few were old and before some of the most refined audiences of the city.
the left handwere
'ts pageplaced separately
the bass and alto,upon
upon the
the page, upon semi- or entirely clerical in *# being probably
right hand lay ecclesiastics or attaches. The most of the members, Several of the pupils have secured engagements in pro
P*&# the treble and tenor, each voice written # itself,
having its own quarter of the half of the page, the upper
however, were evidently common people, such, as car. fessional orchestras, and others are turning their musical
penters, gondoliers and the like, intelligent and quick, skill to account in other ways. Mrs. Curtis has used her
or lower as the case might be, written in notes very large, sincere, but not educated, and only a few removes above
80 that a dozen boys and men could sing out of one own drawing room for the rehearsals, and also furnished
the peasant class. The class evidently has an excellent a hall in East Thirty-fifth street.
* looking over each other's shoulder: at a distance opinion of the teacher, as was shown by the greeting,
'six feet away, just as appears in some of the carvings which was cordial. There was a large American pedal
"singing boys on the alt'screen by Lucca Della Robi organ
#: an in Florence. began (reed organ) and
with exercises fora individual
grand piano.
voices,The exercises
and he told
THE FOLLY OF IT.
b * 18 no old music at St. Mark's now, the oldest me he would show me first a fine voice-it was a bari. ONE of the unaccountable things to many people is,
'ks having been lost." Not a line remains of MSS. by tone of noble qualitythen a very bad voice, which he that a young person should spend hundreds or thousands
illert, Monteverde, Zarlino or any of the other great did. But six months before, he said, this fellow could of dollars for an education in music and then no longer
and many of their works no longer exist here not make a single tolerable tone, yet such was his ambi: practice, but give it up. Where shall we look for the
of"Yen,
so long did Italian ignorance permit these
her former eminence to pass unnoticed. The
tion and perseverance that in six months moreTebaldini
reason-unreason-of this? No matter how busy we
expects him to be among the best. He says all his faults
orgetfulness of this old music was due to a change in the of method can be overcome and his voice rendered musi become in active life, we still find time to read, and why
158 T EI E E T U D E.
999. 13. Tours, Berthold. Little Johnnie. $0 20
not as well keep up our music? Is the fault in some
point of our musical education? Has our zeal for music
LATEST PUBLICATIONS A beautiful melody effectively harmonized. Pupil's
part on five notes and in unison. This is a most beautiful
piece. . Any player can do the Secondo. A good exhibi
been a shallow pretense? Can the common plea of the tion piece for little players. It gives good practice in
expressive accenting.
want of time be allowed as a legitimate excuse, when THEODORE PRESSER,
the best of us squander precious hours every week, more 1000. 14. Diabelli, A. Op. 149. No. 7.
Jubilee March................................ 20
than enough to keep one in practice? 1704 CHESTNUT STREET, PHILADELPHIA, PA. In C major and minor. The rhythm is strongly marked,
I sometimes think that if every pupil was made a which will be a help to the pupil in playing the variety
of notes to a count contained in this piece. An excellent
good sight reader, they would be more likely to keep up oftDER BY
NUMBER ONLY. PRICE
study in time, and as pleasing as valuable. Nearer grade
2 than 1.
their music in after-life. At any rate, this seems reason 989. Bryant, Gilmore W. Fingerflight,
able. Then, too, I believe in memorizing as a remedy Mazurka for the Pianoforte. Grade 1001. 15. Enke, H. Op. 6. No. 2. Hon
IV......... grOlse... ............................... - 20
for this evil; for, if one memorizes easy and reads well, it - - - -

A beautiful piece and as unique as beautiful, for it In A minor. Allegro, Vivace. Full of fire and snap.
Wild and weird, but decidedly pleasing. A valuable
does not take long to learn a new piece that would be gives a practical use of the Mason's Two-Finger Exer
study. Good exhibition piece for young players. About
cises, except on the last two and a half pages. Every
sufficiently pleasing to a musically-cultivated man or pupil who has studied Mason's Touch and Technic grade 2. A good study in time.
Woman. should have this piece. 1002. 16. Erenzebach, A. E. At Play...... - 20
This piece is in F minor and A flat major. Allegro,
I know a woman, well on in life and the mother of six Morris, M. S. Writing Exercises for Vivace. Grade 1. No special difficulties in it. A good
Students On Music ....... - -
30 study in phrasing. Expressives well written. Pleasing.
children, who now has many grandchildren, and still Every teacher has pupils who fail to learn the time
practices some, more or less, every day. I know another value of notes. Here is just what is needed to thoroughly 1003. 17. Kullak, Theo. Gypsy Life. Grade
teach such pupils time. Good for the first term of lessons II.... 20
woman, the mother of seven boys and one girl, and the with all beginners. Try them.
-

In A minor, Allegro scherzando. Each hand indepen


widow of a miserable drunkard who died from alcohol dent. Well written. Good study in the finger staccato
991. Schmid, J. C. La Favorita Schot touch. Expressive and pleasing.
ism, who plays well, plays four hand duets with her tische de Militaire. Grade III........ 0 35
children, and sings well. We all know of business-men Popular in style, well calculated to please. Good for
a school march; will do for use in a class of Gymnastics. Incorporated 1878.
who keep up their music by singing in some club, choir or
society. Presser, Theodore. A School of
And the above are not the only women who
have kept their music in practice, that I know. These
992.
Four-Hand Playing. Book I......... 1 00 NEW YORK COLLEGE OF MUSIC,
Within the compass of Five Notes. A collection of 163 East 70th St., New York City."
cases are given as being extreme, or where music was the easiest pieces. Formative in character, calculated
to develop the taste of the pupil. Nearly all the pieces ALEXANDER LAMBERT, Director.
kept up under extraordinary circumstances. The Chris. are written for each hand to play alikein Unisonand
tian Union, under the caption of Fifteen Minutes a most of the Secondo parts are within the capabilities of
the pupil, thus making good studies in playing from the
All Branches of Music taught, from the to the highest
artistic attainment. New York's largest and most complete music
Day; 'Tis but Little Time, but Much Can be Accom F clef, and in accompanying. This is a valuable collection school, occupying an entire building, with a concert hall of its own.
and just what every teacher wants for the use of begin Students have Free Instruction in Harmony, Counter
plished, gives the following: ners, for keeping them interested and advancing. Below, point, Composition, vocal sight. Reading, and Free Admission
will be found a description of each piece, showing for to Lectures, Concerts, Ensemble Playing, etc. Students received
An excellent amateur pianiste was asked how she what it is especially calculated; each piece has a definite daily from 9 A.M. to 5 P.M. Send for new catalogue.
had managed to keep up her music. She was over forty, purpose as well as being good and beautiful music.
and had reared a large family. She had never been rich,
and she had more social burdens to carry than fall to the
lot of most women.
993.
{ 1. Thomas, G. Ad.
1.
Op. 18.
Contentment.............. -
#} A WORK FOR EVERY TEACHER.

How have you ever done it? reiterated her friend, 2. Wohlfahrt, H. Cradle Song.
who had long ago lost the musical skill which she had
Contentment is a pretty little melody and as easy
as a five-finger exercise. The harmony of the Secondo
PIANO TEACHING
gained at an expense of years of study and thousands of adds largely to the effectiveness of this piece A Study
in phrasing and touch. Both hands play alike. The
dollars. Cradle Song is developed from a Motive or Germ. It
I have done it, replied the other, by practicing is pleasing and a good study in phrasing and expression. FELIX LE COUPPEY,
fifteen minutes a day whenever I could not get more. Both play alike.
Sometimes, for several months together, I have been
able to practice two or three hours each day. Now and
then I have taken a term of lessons so as to keep up with 994.
!. Enckhausen, H. Op. 58.
3. At Evening.............. -
#} 20
Traxaslated by ME- -A-- Erie-Esr-A-DT

the times, but, however busy and burdened I have been, 4. Vogel, Moritz. Reaper's Song.
At Evening is a quiet little melody, very simple
Price 75 Cents,Postpaid.
unless actually ill in bed, I have practiced at least fifteen and easy, yet pleasing, clear cut phrasing, and therefore
minutes every day. That has tided me over from a good study for expression. Both hands play alike. CONTENTs.
The Reaper's Song. A bright little piece on a
one period of leisure to another, until now I have still Motive of three notes; easy and pretty. A good study
my one talent, at least as well improved as it ever was, for expressive accenting and clear phrasing. Both I. IntroductionObject of this Book. -

hands play alike. II. The age at which the Study of Piano may begin.
with which to entertain my friends and amuse myself. III. Should a Musical Education be begun by Study of Solfeggio"
It is amazing to those who have tried it, to see what 5. Wohlfahrt, H. Op. 87. No. 33. IV. Is Classical to be preferred to Brilliant Music?
can be accomplished by laying aside even a small portion V. The Study of Technic.
Polka ....... VI. The Utility of Collections of
VII. The Precautions to be takenEtudesVarious Counsels.
--- -

of time daily for a set purpose. 995. 20 when many faults are met with
6. Grenzebach, E. Song of the in Pupils who have studied the Piano for some time.
Little Maiden........................... VIII. Emulation.
The Polka, bright and gay. Easy, and a good study IX. Musical Memory.
THE old proverb, Where there is a will, there is a for independent use of the hands. Yet quite easy. X. Cana Teacher himself prudently give up the Study of the Piano?
Song of the Little Maiden. Is a sweet little piece;
way, is beautifully illustrated in the following: in a word, expressive and plaintive. A good study for
XI. Accessory qualities of the Teacher.
a discriminating touch as to power and for Legato and XII. To Pupils.
XIII. The Method of Practice.
The German sculptor, Dannecker, worked for eight Staccato effects. XIV. The influence of Musical Studies, and the kind of instruction
ears upon a statue of Christ. At the end of two years 7. Enckhausen, H. Op. 58. No. 7 necessary to a Teacher.
called a little girl into his studio, and pointing
to the
March.......................................
XV. General Remarkslast Counsel.
statue, asked, , is that? She replied, A great 996. 20
man. The artist turned away disheartened; he had 8. Diabelli, A. Op. 149. No. 5. Published by THEO. PRESSER,
failed. He began anew. After another year of patient Happy Day........ - - 1704 Chestnut Street, Philadelphia, Pa.
work, he the child again before the statue. Who Both of these pieces are very easy, and the pupil's
part within a compass of five notes. In all but four meas
is that? After a long, silent look, with tears in her ures of this march, both hands play alike. A good study
eyes, she said, Suffer little children to come unto Me. in phrasing and wrist accenting.
n the other piece, both hands are alike throughout. the J. M. ARMSTRONG COMPANY
And he knew that his work was a success.-Austin The Secondo is but a little more difficult than the Primo. MUSIC TYPOGRAPHERs Ano PRINTERS
Phelps. It is thus good practice for the pupil to learn both the 7xo sANsom stre EET
Primo and Secondo. A good study for touch and slurs. rerII.ADr. LPHIA. PENNA.
Some of the greatest pianists have followed a similar Both pieces have a pleasing melody and rich harmonies.
course, by practicing their pieces from one to three or 9. Berens, H. Op. 62. No. 10.
more years, before playing them in public, with results 997 Melody...................................... 20
similar to that above recorded of the sculptor, Dannecker.
If these great artists and musicians who had the divine
10. Berens, H. Op. 62. No. 21.
Mazurka..................................
NEW LESSONS IN HARMONY,
In both pieces the pupil's part is in unison, on five BY JOHN C. FILLMORE.
gift of genius, had the patience to work so long for the notes., The "Melody is short and pleasing; very easy.
Well chosen harmonies. To a student who has practiced We know no other work in which * musical :
sake of perfection, shall we, poor, common mortals, Mason's Touch and Technic, Two Finger exercises, it
ean learn so much about harmony in fifty ' e

allow ourselves to rest satisfied when we have studied on


will be especially interesting, because he will find a and examples for exercise.The Natio", New ass
practical application for his knowledge in producing fine
a piece only long enough to wade and wiggle through to musical effects.
andThis
haswork is based on the ideas of DR, H' ture o:
The Mazurka" is the harder of the two. It is a good an appendix of his lecture on The Natu
its end without breaking down. study in time. The Melody is within five notes. "The
accompaniment will make it easy for the pupil to Harmony.
conquer the time difficulties. The piece is bright and 44 ful perusal (of this) will enable studentts*-The
to See
gay and will please young pupils. clearly the drift of modern speculation in "
Three elements may be distinguished in music,-the Mation. :et "
emotional, the imaginative, and the fanciful. *
[11. Wohlfahrt, H. Laughing - -

Dr. Riemann, The greatest living musical theorist. -

Waters......................................
The first is preeminently human, expressive of our
relations to God and men; the second is descriptive,
yet not of things, -i.e., objects of nature and art, -but
998
t". Kleinmichel, R. Op.43. No. 1.
Gallopade................... --
20 The Nation.

Of the impression we receive from them ; the last of the


Laughing Waters is an Allegretto, bright and
Joyous. An excellent study in the musical effect of
ANTED.A Music Clerk to take charge of."
three is best characterized by the definition which Leigh slurs. Pleasing if accented and slurred correctly, other retail department of a large music house. ...'
Hunt gives of fancy: it is the younger sister of imagi wise quite meaningless. This is about Grade 2.
Gallopade, a study in ties and syncopations, short
but the mostwith
experience, experienced
reference,need apply. A:
G : , vv. *
nation, without the other's weight of thought and feel and pleasing when well learned. In both pieces the Care of ETUDE Office, 1704 Chestnut St., Philadelphia, Pa.
ing.Friedrich Niecks. pupil's part is on five notes and both hands are alike.
T EL E E T U D E. 1.59
~

PALMER's A Supplement to Every Instruction THE


Book.

PIANO PRIMER.
I5th EDITION.
THE STUDY
NORMAL COURSE $ Y&
/

--->>.OF-se-os

of THE PIANO.
Notes and Remarks by such Musicians as Dr.
Wm. Mason, Mr. Wm. H. Sherwood,
Mr. Albert R. Parsons, etc.
EY PIMN0 TECHNI[..
E. E.A.R.ENTT.
DESIGNED FOR,
It is concis E.; it is ExHAUSTIVE; it is endorsed by most
of the great American Pianists and teachers. Letters of
commendation of it have been received from the most
Translated bw M. A. Bierstadt.
SCHOOLS, TEACHERS and STUDENTS,
rominent musicians in more than twenty different
It is adopted as a STANDARD work in most of PRICE SI.O.O. By VVM. B. VVAIT,
the Colleges in America. Its sales have been phenome Author of Harmonic Notation, (THEo. PRESSER,
nal. Its price is very reasonable, viz.: In Cloth, em HIS work is designed to accompany the instruction
bossed, $1.00; in Board covers, 75 cents, and in paper Phila.), System of Tangible Music for Use of the
Address
book with every beginner, and will serve as a supple Plind, Measure, Rhythm, and Form.
covers, 60 cents. ment to any
The information is imparted in the form of questions
THEODORE PRESSER, and answers, which will make the work useful as a primer, The NorMAL Course is based upon the fundamental
1704 CHESTNUT ST., PHILAD'A, PA. but it is vastly more direct and comprehensive than any idea that, for the purpose of the development, discipline
primer published. and information ..' mind, and for teaching the learner
The following are a few of the subjects, out of the 175 how to think and to do, Technical studies in Music are as
FIFTY EXAMINATION QUESTIONS pages, which we give at random: useful as any other branch.
St. FOR PIANOFORTE STUDENTS, General Advice on the Method of Practice.
FEATURES OF THE B00K.
Necessity of Counting.
BY ALBERT W. BORST. Clear, concise statements of facts and principles.
Some Special Difficulties. It deals only with essentials.
Price 5 Cents. 50 Cents Per Dozen. Musical Memory. It arranges the materials in grades, by Divisions,
*
*~ * On Reading Music. Courses and Steps.
|--
THEO. PRESSER, Publisher, Philad'a, Pa. The Pedal. - It exhibits a distinct mode and order of development.
*
liaism Overcoming of Bad Habits. " is as clearly laid out as in any other branch
new of study.
The book will be bound in cloth, and will be a pleasing e based upon understanding of means as applied
CHASE BR0s. PIAN0s. contrast to the ordinary pasteboard cover primers that are
placed in the hands of a beginner.
Address the Publisher,
to ends.
It permits the attention to be given to the hands in
practice, and not to the pages.
. In schools, it will secure uniformity in the instruction
given.
THEODORE PRESSER, It furnishes the bases for oral recitations and examina
1704 Chestnut St., Philadelphia, Pa. tions, as in other subjects.
It is logical, systematic, thorough,
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Easily Understood. Interesting. Thorough. Adapted for a short course THEO. PRESSER,
or for an extended period of study. A great saving of
time to teachers. A real help to students. 1704 Chestnut St., Phila., Pa.
This work is being received with great favor, and is already intro
duced in several of the best conservatories in this country. In pamphlet
--> --> form it has had a large sale, and now that it is completed, it seems sure
to take a leading place among works on Harmony. A PIANOFORTE INSTRUCTOR.
Simple explanations, short sentences and plain language throughout
are features which will commend themselves to teachers and students.
It will lead students not only to a theoretical acquaintance with Har
BY JAMES HAMILTON HOWE.
mony, but also to become able to distinguish intervals, chords, progres
MANUFACTURED IN ALL STYLES OF sions and treatments by ear as readily as with the eye. Op. 15.
By means of an agreeable variety of exercises the interest of the
course is well sustained. It will not be found dry by any careful stu
GRANDS and UPRIGHTS, dent. Many of the exercises are decidedly novel in a text-book of this
This Instructor includes for its theoretical portion:
Notation; Rhythm; Chromatic Signs; Accent; Marks'
BY
kind, never having appeared before.
the book will be found interesting and helpful in every way to the of Touch, Power and Tempo; Syncopation; Abbrevia
CHASE BROS. PIANO CO., teacher and the pupil. It is also rich in suggestions for general im tion; Marks of Power and Tempo, and Theory of Tech
provement and in reviews. In advanced study it will be found invalu nique. A full page is devoted to Diagrams for Position
Factories: Grand Rapids and Muskegon, Michigan. able.
at the Pianoforte.
Send for Illustrated Catalogue. The conviction of its excellence will strengthen as it is
used, and it is safe to predict that this will prove the most The Practical part contains a thorough set of Technical
popular work on Harmony yet published. Exercises, progressively arranged; scales, major and
Address two minor, in all keys, supplemented by attractive Les
THEO. PRESSER, Publisher, sons and Illustrative Compositions.
A Systm 0f Pin() TChmit. 1704 CHESTNUT ST., PHILADELPHIA, PA. Throughout the work are introduced Duets for Teacher
and Pupil, illustrating certain exercises in an entertain
JAMES HAMILTON HOWE. 1ng manner.

CLOTH, $1.5O.
The Philadelphia Musical Journal allThe last four pages are devoted to the Major Scales in
keys, with Grand Arpeggios; the Harmonic, Melodic
ONLY $1.00 A YEAR. and Mixed Minor Scales in all keys, and an original Grand
Includes a complete set of Scales, Arpeggios, Double
and Octave Exercise, which is both interesting
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With fingered exercises for special developments, and AMERICA'S LEADING MUSICAL PUBLICATION.
The Instructor has been endorsed by the following
School of Embellishments. It follows nicely the popular Educational Department. Edited by Hugh A. Clarke, Mus. Artists
Pianoforte Instructor, of late issue (by the same Author), Doc. University of Pennsylvania. and Teachers; Wm. H. Sherwood, S.A. Emery,
Fannie Bloomfield, Neally Stevens, Constantin Stern
Every issue contains 16 pages of new music, and from 16 to 20 pages
* Connection with appropriately graded studies and in: of musical literature, , and valuable to Music Teachers, berg, J. S. Van Cleve, J. C. Fillmore, Arthur Foote,
*ructive compositions. This work has been introduced Pupils, and all lovers of the Art Divine. It is the official organ of the Louis Mass, Alex. Lambert, Calixa Lavellee, W. S. B.
"...some of our leading schools of music. A newly Pennsylvania State Music Teacher's Association. Mathews, Carlisle Petersilia, Joshua Phippen, Jr., G.
revised and corrected edition is in process of publication, H. Howard, W. H. Dana, J. Wolfram, S. ' Penfield,
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' in the future will be bound in limp cloth, so SPECIAL TERMS AND DISCOUNTS TO MU8lo TEACHERS. Burr, H. A. Kelso, Thomas Tapper, Jr., Norman
for carrying the same in music rolls. A new
ori inal A McLeod, Flora M. Hunter, Ad. M. Foerster, E. R.
Dext - - -

rpeggio Exercise will be introduced in the


- -

Yearly Subscription, $1.00. Sample Copy, 10cts. Kroeger, F. W. Root, W. L. Blumerschein, Wm. Mac.
donald, F. R. Webb, H. M. Wild, Mrs. L. Heerwagen.
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1GO T EI E E T U D E.

A NEW B00K FOR BEGINNERS, SECON D VOLU M E.

THE ART OF PIANOFORTE


BY HUGH A. CLARKE, MUs. Doc. Price $1.50, post
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L. WILLIAMS, MRs. W. and J. TIERs. 3. Chopin, Nocturne in E flat.
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elementary school for the pianoforte. 5. Schumann, Warum.
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it one of the best works for beginners ever issued, 14. Chopin, Prelude in D flat.
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162 T EL E E T U D E.
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Measure and Rhythm, ALLEGRAND O. Wm Knabe &R


Instruction and Pleasure Combined.
FOR THE PIANOFORTE. A SPLENID GAME FOR EVERY H0ME.
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* A Systematic and Practical Treatment of Measure counts one for This
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last cardFull
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He was often urged to issue his lectures in book
169 TREMONT ST.,
teacher, who is well known as the composer of that once form, but he would invariably reply:
'' parlor piece Falling Leaves. In this work
B OST ON, MA.S.S. e has aimed at the popular taste. The names of
and Spindler appear the oftenest. The book It is time enough when I am dead.
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They may be published them to bene
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T EI E ETUDE.
BERN. BOE KELMAN'S
COMPOSITIONs.
Inauguration March. For four hands...
- - For eight hands
JERUSALEM. TWO NEW BOOKS.
Romanza. For Violin or Violoncello. Op. 2
Bailabile. For Orchestra. Orchestra parts..
-
Score..... .................... 1.00
For Piano. Op. 3.............................. .75
-*
Polonaise de Concert. For Piano Solo. Op. 4.......... .90
44 - - For eight hands................ 2.01
Valse de la Reine. Op. 5. For Piano..... - .90
a Cheval. Morceau Caracteristic. Op. 6...................
in der Einsamkeit. For String Orchestra. Op. 7. Score, .25
.60 BW HUGH A, CLARKE, Mus, Doc. Choice Classics,
- 4- - Single set parts.................... .25 --~~~
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Sehnsucht. For Piano Solo. Op. 8........................ .50


Address THEODORE PRESSER, Price $1.50, Bound in Boards.
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judicious selection from the works of foreign authors
TEACHIEES. The libretto of this Oratorio is taken from the Bible, of Athe highest
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and gives, in an epitomized form, the story of the taking sufficient for players of musical discrimination. Printed
P0CKET METRONOME. of Zion by DavidThe prosperity of JerusalemThe from new engrave plates on finest quality music
d paper.
defection of IsraelThe consequent destruction of the
city and the king's captivity. C O NTE NTS :
$|||}|, || || || || || ||[IPENSIVE. AIR DE BALLET............................... .....JADASSOHN
The theme now takes up the promise of restoration ALBUM LEAF....... ... GRUTZMACHER
-

under the reign of the promise ALBUM LEAF ..................................


d kingHis comingHis AM MEER... BARGIEL -

.... .SCHUBERT
rejection-The final desolation of the cityConcluding AT EVENING.
with the promise of the Heavenly City and the descent BARCAROLE..
MMORE of the New Jerusalem.
"YORK, The Oratorio is to be produced in April by the Phila
Price, Nickel-plated, 50 Cents, Net, Postpaid.
delphia Chorus, with a large chorus and orchestra, and CONSOLATION ..
ON, D.C.
CRADLE SONG....
has already excited widespread interest among musical FIRST MEETING.............................
Giving the correct Metronomic Marks after the people ............ NICODE
as the first work of such magnitude written and FLEETING TIME......... .HABERBIER
Maelzel Standard, together with the produced in America.
FLOWER OF SPRING..... ..HABERBIER
FROLICS...................................... VON WILM
.........
True Tempos of all the Dances. HAPPINESS ENOUGH SCHUMANN
HERZENSLIEDCHEN.... HAUSE
-- -- -- - - -- - - - -- ---- -

LEICHTES SPIEL....................... ..WOLFF


These instruments have been especially manufactured THEODORE PRESSER, LIED OHNE WORTE. . .HOLZEL
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CHARWENKA
SEN) NIEMANN
We have just published CTURNE YER-HELMUND
NORWEGIAN SONG................................ HOFMA NN
Grand Success! The Sleigh Ride. ON THE RIVULET.............................
..
....... HOF MANN
BY W. M. TRELOAR.
Greatest Musical Movelty of theTimes.
PRACTICAL HARMONY; POLONAISE....................................
REPENTANCE. -
..........
---
MERKEL
NICODE
#!": DESIGNED FOR THE USE OF PIANO STUDENTS. ROMANCE....... RUBINSTEIN
Solo 7.5c. DUET, 81.00. ROMANCE..... ....SCHUMANN
This great piece is played with BY SERENADE...... HABERBIER
"s' -
bells and whips, (chorus ad lib.)
Creates unbounded enthusi DR. F. L. RITTER. SLUMBER SONG................. . . . . . . . . . . . . . . . . . ....... HELLER
asm wherever played Just what TRAUMEREI............. SCHUMANN
#| || Swiss bells used in you want. 50,000 already sold. PRice 75 CENTs in PAPER stoo in BoARDs
WILLAGE MUSICIANS... VON WILM
this piece 40c._|Sendisc #' ZUR LAUTE.................. HOFMANN
duet, mention this paper and, we will send a pair.0
#: belis ##EE. TRE10AR Music Or., Mexico, Mo A work of the greatest importance to students of har. Price, in Boards, - - - $1.00
wit: mony and the pianoforte. There is no other work of
this kind in our language, and we are sure that it will Price, in Cloth, - - - - 1.50

in '. IEEE occupy a distinguished place in our system of musical


education. It takes the pupil over the whole ground of
is i
# HENRYFWIIHR harmony. All the rules are covered in exercises of the
most varied kind, to be played at the pianoforte. It is a
good preparation for the art of composition and improvi.
sation, calculated to incite the student to musical pro
duction. The work will help greatly to facilitate the
ibi
PIAN O S . young musician's difficult task regarding the thorough
study of harmony.
THEO. PRESSER,
PUBLISHER, FoR PIANO AND VIOLIN.
del 1704 Chestnut Street. (With extra Violin part in separate binding.)
belt. HENRY F. WIFE & SONS Contains compositions by the best authors, and of
absolutely unequaled merit. They will be found equally
PIANO COMPANY., DACTYLION. acceptable for concert performances or drawing-room
FOR PIANO STUDENTS. pastime. The separate violin part relieves both per
BOSTON. PHILADELPHIA. A new invention cf great practical value and real benefit to the Piano formers of the discomfort of playing from one book.
s: Player. Issued in the same careful and costly style as Choice
Classics.
|*|| C ONTE NTS :
Manufactory, Wakefield, Mass. ANDANTE AND MARCH................ -------- ..BEETH
is: ANGEL'S SERENADE......
AVE MARIA............
# JUST OUT. CONFIDENCE........
GIPSEY DANCE........
|| || THE SCRATCH CLUB, INTERMEZZO..........
MEDITATION..
T # By HUGH A. CLARKE, Mus. Doc.,
ETT

PROFESSOR OF MUSIC IN THE UNIVERSITY OF PENNSYLVANIA,


Author of "The Art of Pianoforte Playing, Harmony on the Inductive
Method, Music to The Acharmians, Jerusalem. PAVANE, LA
(a new Oratorio), etc., cle. PIZZICATI (Sylvia)

"It is a little book which will interest and please musicians and
*ateurs by its chatty common sense and suggestiveness. Evidently,
it is the work of a man who knows his art well enough to handle it
without overweening solemnity.Boston Literary World.
One of the cleverest bits of writing concerning music that has o strengthen the fingers. SERENADE....
*Yer appeared in America. . . . The book is full of entertainment, #
To
improve, the touch: -

ensure flexibility and rapidity.


- -
SERENADE....
'' will expand
older ones.-Ph the ideas
iladelphi of young
a Evening readers and gratify those of
Bulletin. To give correct osition of the hand.
SERENATA......
o save time and a vast amount of labor. SPRING'S AWAKE
TRAUMERIE............. -
Price, in Paper Covers, 75 cents.
by the #".
***For sal
PRice $4.50,
ipt of price,
-
or sent, postpaid, on receip
h h N: Price, in Boards, including separate Wi
ent of leading artists and teachers, among Who"
p
(1.0 "::
MAAs, MADAME RIVE-KiNa, Robert GoLD 44 44 Cloth, - 4
44 *- 1.50
THE POET-LORE CO., *ck, CARLYLE PETERSILEA, etc., etc.
Send for circular giving detailed information.
- -

223 SOUTH 38th ST., PHILADELPHIA. Address THE0. PRESSER, 1704 Chestnut St., Philada., Pa. FOR SALE AT ALL MUSIC STORES.
-

-
164 T EI E ETUDE.
INSTRUCTIVE, INTERESTING and MUSICAL. Introduction to Studies in Phrasing. EVERYBOny's Music.
Among the abundant treasures of our immense stock every one is
sure to be suited. Please select in time your
TwPNTY STUDIES autumnal music books.

Temperance People will like


FOR FIRST LESSONS TEMPERANCE CRUSADE (35 cts, $3.60 dz.). Emerson &
Moore.
+:N" TEMPERANCE RALLYING SONGS (35 cts, $3.60 dz.).
A. Hull.
THE PIANOFORTE, ++
Male Voice Clubs will like
EMERSON'S MALE VOICE GEMS ($1, $9 dz.).
EMERSON'S MALE VOICE CHOIR (50 cts, $5 dz.).
OF MODERATE DIFFICULTY,
The Grand Army will like
For Development of Style, Expression and
Technique.
|| || || || || WAR SONGS (50 cts., $4.50 dz.).
Boys, old and young, will like
COLLEGE SONGS, 82 songs (50cts.). Near 200,000 sold.
INSCRIBED TO THE MUSIC TEACHERS OF AMERICA. ---E--- School Teachers cannot help liking the three books of
soNG MANUAL, cts., } Emerson.
EY
W. S. B. MATHEWS. Piano Teachers will like, very much, as the best companion to any
ANTON STRELEZKI, Instruction Book,
MAsoN's sysTEM OF TECHNICAL EXERCISES
In Op. 100.Volume II. PRICE - - - - - $1.50. ($2.50).
Gospel Singers will like
PRAISE IN SONG (40 cts., $4.20 dz.). Emerson.
THEODORE PRESSER,
1704 Chestnut St., Philadelphia, Pa. The author has brought together a valuable
CHOICE SACRED SOLOS, 34 fine songs....................
collection of little pieces, musical and poetic in CHOICE SACRED SOLOS, for Low Voice, 40 songs.
SONG CLASSICS, Soprano and Tenor, 50 songs.
A MEW BOOK O/W A NEW PLA/V. quality, within the ability of children's fingers SONG CLASS1CS, Low Voice, 47 songs......
-
* cLAsslC BARITONE AND BASS SONGS
#& and within the range of the childrens minds. cLASSIC TENOR SONGS, 36 songs.........
CHOICE VOCAL DUETS, the very best
They are taken from the most successful col EVEREST'S ALBUM OF SONGS, good selections..
lections of this class of tone poems for children MAUD V. WHITE'S ALBUM, tasteful songs.......
SULLIVAN'S VOCAL ALBUM, a master's work..........

M|S| MSM'). the world can show.

There are, in all, 34 distinct pieces: among


them will be found
POPULAR SONG COLLECTION, 37 good songs.........
GOOD OLD SONGS we used to sing, 115 songs.
COLLEGE SONGS, 115,000 sold.........................
coLLEGE so NGS FOR BANJo; FoR GUITAR, each.
RHYMES AND TU NES. Osgood. Sweet home music....

Melodie........................ Schumann. INSTRUMENTAL.


By W. F. GATES. -

P1ANO CLASS1CS, Vol. 1, 44 pieces.........................................$1.


Slumber Song........................... Gurlitt.
Price One Dollar and Fifty Cents. Three Angles......................... Reinecke.
PIANO CLASSICS, Vol. 2, 31 pieces.
CLASSICAL PIAN IST, 42 pieces......
Happy Farmer.............. Schumann. PoPULAR PIA No coll-EcTION, 27 pieces.
USICAL MOSAICS is a unique book. It is the first book in
the English language that presents the very best sayings on
-

POPULAR DANCE MUSIC COLLECTION.... .81. :


Holiday Eve...................... Baumfelder. YOUNG PEOPLE'S CLASSICS, 52 easy pieces.......................$1.
musical topics, chosen from the highest rank of authors.
The selections are principally in the line of aesthetics and criticisms, Ghost Story...................... .....Reinhold. The above are all superior books.
---
and range from one line to three pages. Much time and labor has
Jovial Huntsman....................... Merkel.
been spent on the work, and the book-maker has shown much skill
in its general make-up. The idea, in its preparation, was to present Study-Game of Tag.................... Heller. EMERSON'S NEW RESPONSES.
to the music-loving public just as much of the cream of musical Quartet and Church Choirs; 74 short pieces of sacred music of the
writings as could be condensed into 300 pages. All useless or value
Good Night............. ..Loeschhorn. best character, such as your choir needs.

less matter has been omitted, and as a result we have a volume con A Little Story........................... Kullak.
taining the best sayings and writings of the writers on musical
topics, in all ages and countries.
THE TEMPERANCE CRUSADE. #
L. O. Emerson and Edwin Moore. Earnest, refined, elevated poetry
WITH PIECES BY and music, which will be most welcome to the best classes of
temperance workers.
17O AUTHORS. MENDELSSOHN, SPINDLER, SONG HARMONY ' cts, $6 doz.), by L. O. Emerson.
Just exactly the book that will suit
BEETHOVEN, LICH NER,
600 QUOTATIONS. FOERSTER, GAYRHOS,
you for this winter's Singing Classes. Also an appropriate and good
book for High Schools.
We give below a few of the names of writers from whose works Adopt, without fear, for Graded Schools, our
selection has been made, and the number of quotations from them: ETC.
SONG MANUAL (Book 1, 30 cts, $3 doz.; or Book 2,40
cts., $4.20 doz.; or Book 3, 50 cts., $4.80
Beethoven, 18. Christiani, 15. doz.). Admirably adapted to the different ages of school life, with
Fillmore, 21. Goethe, 11. The pieces are all closely annotated, fingered, plain instructions and best of music.
Hauptmann, 7. Haweis, 12.
ller, 11. Kullak, 12. etc. There is also, at the beginning of the work, CLASSIC FOUR-HAND Col. LECTION ($1), Nine
Liszt, 12. Mendelssohn, 10. teen superior Duets for Piano, by Godard, Bohm, Hofmann, Brahms,
Schumann, 60. Wagner, 16.
a few chapters on the object and manner of and other first-class composers.
Weber Pauer, 5. using the work; Rudiments of Musical Form; YOUNC PLAYERS' $1.00). 51 of the very best and
ihibaut, 6. Wan Cleve, 7. PodA's 55t'#ion ''
Space will allow us to mention but siacteen of the one hundred Phrasing; What it is to Play with Expression; ners, filling 143 pages. Heartily commended to Piano Teachers as
the first book of pieces (or recreations) to use.
and seventy authors.
This is a book for musician and non-musician, for professional
and amateur, for teacher and pupil, for all who know or who wish to
Subjective and Objective in playing, etc. ORCAn :
ALBUM ($2). g33 good
WHITNEY'S #.
pieces for Manual
anual and
all Pedal

know anything of music in its highest sphere. It has been warmly


indorsed by teachers and artists in this country and England and
The work is intended to precede the two vol
will fill a place in our libraries and on our tables that has hereto
umes of Studies in Phrasing, which are among PIA N8# \'3rRATI
l- ION ($1). 19 of the best operas are rep
:
ski's
very teacher-every tudentshould own MUSICAL MO.
student-should O resented, and their melodies form
the themes for as many pieces, by the best modern composers, fur
As a presentation volume it cannot be excelled.
the most popular musical text-books now used nishing the very best entertainment for the lovers of favorite
operatic airs. - \ ,
Address all orders to
in the country. As a work of genuine useful
CHOICE SACRED SOLOS. For Soprano, Mezzo-Soprano
THEODORE PRESSER, ness in teaching, the volume cannot be excelled. or, Tenor: ($1.) 35 of the most lovely sacred songs, suitable for
solos in church, or for enjoyment at home.
17O4 Chestnut St., Philadelphia, Pa. We will, for a limited time, offer the work at
The best Companion for an Instruction Book is MAsoN's
reduced rates. PIAN OF ORTE TECHN1cs, containing every exercise needed
EDWARD BAXTER PERRY'S for the full development of technical ability on the pianoforte. By
FANTASY FoR PLANo, William Mason, with explanations by W. S. B. Mathews. Price
Address publisher,
- DIE, LOIEET ET = Amy Book Mailed for Retail Price.
BASED UPON THE RHINE LEGEND.

Universally pronounced the best Lorelei yet written, in the old or


new world.
THEODORE PRESSER,

ay
# : for thebyleftthehand. poser
Concerts throughout the count
n
17 O4 Chestnut Street, 0LIVER DITSON COMPANY,
and Mr. W. H. Sherwood, publication, 1st, # JEOSTOINT.
Address THE0. PRESSER, 1704 Chestnut St., Philadelphia, Pa. C. H. DITSON & Co., LYON & HEALY, J. E. DITSON & Co.,
PHILADELPHIA, PA. 867 Broadway, New York. Chicago. 1228 Chestnut St., Phila.
T EU E E T U D E.

+=#TELE NEW =#

VIRGIL i PRACTICE: CLAVIER IIMIFROVE-XO.


A Perfect Piano Touch, Increased Stability, #):
Durability. Convenience. &
* IMARIK5 A NEW ERA. IN
-
FIANO STUTIOY

X*

X
4.

W.M. MASON.

I have always regarded mute keyboards with dis


favor, since they neither respond to the attack nor afford
accurate means of determining the quality of the work.
! In daily use and strongly endorsed by many of the greatest
arti-ts and teachers in this country and Europe. No Teacher, Pupil or
Artist can afford to be without it, as its use doubles the progress, and that
of the right kind.
H. P. CHELIN.
The "Clavier" however, enables one to temporarily ban"
-
A. p'
is given (or ought to be), an idea at each
ish the stimulating influence of the Pianoforte tones
Collated statistics show that 95 per cent of pupils coming to artist lesson. To have it retained and inculcated, is the object
teaehers for advanced lessons (?) are obliged to relay their foundations in to be looked for. With the PRACTICE CLAvier the
without suspending the means of defining the rhythm, touch. No more of this! No more chronic staccato! No more slovenly teacher's suggestions can be before leaving
and vertifying the touch. While personally regretting the class room. Without it, and with piano only, the
that the invention did not appear long enough ago to legato! Every teacher enabled to impart and every pupil to acquire every idea is, either vaguely comprehended, or imperfectly
variety of artistic touch without wasting time, money or effort. grasped by mind and fingers. The silent, mechanical
have served me throughout my musical career, it has, work enlightens mind, helps memorizing, compels think
Speeial terms and prices to teachers on instrumenis for personal use,
nevertheless, placed me under obligation to its gifted in also on instruments for use in schools. ing, and eventually ensures success. The graduated
ventor, and I desire to thank him for so valuable a con resistance develops that smooth, and even playing so
For Catalogues and all Information addres: satisfying in finished artists. Three years' experience
tribution to the pedagogics of an art to which I have with the Clavier gives me the knowledge to say that it
devoted so many years of a busy life, and to heartily is beneficial in overcoming every obstacle, and I couldn't
recommend his invention to the intelligent use of every $ THE VIRGIL PRACTICE CLAVIER CO., $ and would t teach again without it, as the excellent re
sults obtained are infinitely superior to the former way
earnest student snd player of the Pianofore. 12 East 17th St., New York. besides a wonderful saving of time.

THEO. PRESSER, THE LEVASSOR PIANO CO., C. F. SUMNY,


17 O4 Chestnut St. Phila., Pa. Cincinnati, O. Chicago, Ill.

for gaining the necessary technical ability for

MODERN+PIANO+PLAYING,
The inadequate results from technical
exercises at the piano is well known to
| piano players, and forms the great barrier
#1ng.
a proper advancement in piano play
Science, having investigated this sub
|ject, has discovered and can explain the
|reasons of such uneconomical results, and
can now supply at a cheap cost, a better
and more direct process for developing
--THE-r and enlarging the technical dexterity of
the hand.
STUDENT'S TECHNICON. . It is now used by eminent pianists in
their teaching and for their own personal
RIEICE S12. | use, and reds of teachers testify that
it is invaluable to both themselves and
- - their pupils.
1 As this new method marks a most important reform in technical teaching, all piano
P*yers should make themselves acquainted with its principles, by reading a
Treatise upon Technic, and the New Scientific Method for Quicker Attain
ment of Artistic Expression in Piano Playing.
SENT FREE ON APPLICATION TO
THE TEACHER'S TECHNICON,
J. BROTHERHOOD, FIEICE S22.5o-
DISCOUNT TO TEACHERS.
-

No. 6 West 14th St, New York. |


)
i
--~~~~~~~~---------

T EI E E T U D E.
>ST.A.-E.-Is:-E-D is 7s.
TWO GREAT MUSICAL WORKS
AT REDUCED PRICES.
|RWTHMS SIRIS w ER NER's voic E.
A Monthly Magazine Devoted to the Human Voice in all its Phases.

A Practical Guide for the Restoring, the Culti


TALKS ABOUT MUS/0
"Immim AND MUSIC LIFE.
vating and the Preserving of the Voice.
7ERY SINGER AND EVERY TEACHER OF SINGING SECULD HAVE IT
Werners Voice for 1890 will be Better and Brighter
more Complete and more Practical, Larger in Size and
BY Larger in Circulation, with Increased . Capital and
CLASSICAL MUSIC. THOMAS TAPPER.
# Scope, and with Greater Attention to Analy.
sis and Criticism.

$1.50 A YEAR ; 20 CTS. A NUMBER.


s
N0 MORE APPROPRIATE PRESENT FOR A MUSICAL
FRIEND CAN BE FOUND. PRICE, BOUND IN CLOTH, $1.5O.
Mention THE ETUDE, and Send for Full Prospectus and Sample Copy
Address the Editor and Proprietor,
Price reduced from $5.50 to $2.50 per Vol., This volume appeals to every student of music, how
POSTPAID. ever elementary or advanced. It is designed to bring to EDGAR S. WERNER,
the attention of those who make music a life-work, the No. 28 W. 23D STREET, NEW YORK.
very many contingent topics that should be considered in
connection with music. To this end the subjects selected Twenty Lessons to a Beginner
INSTRUMENTAL. for the chats have a practical value, cover considerable
A collection of Classical Pianoforte Music, by the best ground, and are treated from the point of view that best upon the Pianoforte.
authors. This volume contains 512 pages, Sheet Music aids the student. The reader is taken into confidence
By Mr. W. S. B. MATHEWS.
size, printed on fine music paper from engraved plates; and finds in the chapters of this work many hints and
elegantly bound in cloth, embossed in gilt. List of con benefits that pertain to his own daily life as a musician.
tents mailed to any address. - A glance at the divisions of the work as to Parts and This work is perhaps the most novel of any of the
Chapters will give one an idea of its scope and prac of this very successful writer. The general
ticability. ine of it was foreshadowed in his article upon Ele.
PART I. mentary Instruction Books, in the December issue of
W00AL. Study. THE ETUDE. It combines the following peculiarities:
Chapter 1.Motive of Study. 1. EAR TRAINING.From the very first lesson there
This volume is the same size and style as the Instru * 2.Where shall I Study?
mental collection, but contains Vocal Music only. List 3.What shall I Study ? are exercises calculated to awaken and educate the per
of contents mailed to any address. No such collection
4.Method of Study. ceptions of pitch and time relations, of which music as
5.What shall be my Side Study? to its form, is composed. The relation of tones to key,
of vocal music has ever before been published. PART II. chord relations and time are taken up in their simplest
Ethics of Musical Education. forms, and gradually developed to the complexity suit
Chapter 6.Work and Culture. able to pleasing pieces of the easiest kind, such alone as
7.Sketching.
8.Taste.
the first quarter can contain. It is believed that the !
*
method of doing this part of the work will be found not
Popular 50c. Music Books.
9.-Expression.
10.Criticism. only if carried out according to the directions,
but also explained with such clearness and particularity
PART III.
One of theballads
best collections as to enable the young teacher to apply the system with |

Song Bouquet. American and songsofwith


English and
choruses, Time and Its Use.
out other help than the book itself. |
l

Cheapest folio of music published. 224 pages, full sheet music size. Chapter 11.-Time and its Power. |

*
i.
12.I) isposition of Time for Study and Practice. 2. TECHNIC AND TOUCH.The foundation of *
|
i

Parlor Bouquet. Companion to Song Bouquet. Contains it.


13.Corner Moments.
14.Striving.
ianoforte technic is laid according to the ideas of Dr.
instrumental music of different grades of Mason's system, which not only develops the finger
difficulty. Great favorite. 224 pages, full sheet music size.
PART IV. ability more rapidly, by far, than any other system, but
Song Diamonds.
* - Vocal music
please of every
everybody. description.
Contains Sure
selections to
from Teaching. also assists in educating certain parts of what might be

such authors as Gounod, Molloy, Aide, Claribel, Dolores, etc. Chapter 15.Preparation for Teaching. called the Mental Technic of thinking music, upon
16.What Teaching Means. which so much depends through the later course of musi
** 17.Taking Lessons,
Prima DOnna Album. New and elegant songs by the best
Conn rs of modern times. Should ** 18-Giving Lessons. cal study. The Mason exercises in arpeggios and scales
are so valuable in this direction that it would be wise
grace the library of every singer in the land. PART V.
to use them for practice if they had no value at all as
Album of Sacred Music. Adapted for use in the church Surroundings. mechanical developers of finger power and facility, for
choir or home circle. Finest Chapter 19.-Society and Solitude. there is no other method in which this work can be done
collection of music published for young organists and choir leaders. * 20.Friends and Friendship.
** 21.-Home Studies. so easily.
Musical Chatterbox.
- Nos.1
a', and 2. doubt,
without Thesethe
beautiful
most ''books ** 22.Music in the Home, The Lessons to a Beginner show the manner in which
23.High Culture from Low Surroundings. these exercises should be applied in the beginning of the
collections of medium and easy grade songs and pieces. Each
c book
" eight beautiful illustrations, which will delight the young
folks. -
PART VI. course, and in this respect cover new ground.
Books and Reading. 3. DICTATION AND MEMORIZING--All the
Golden Hours. A collection
and of instrumental
attractive, and within themusic, brilliant
capacity of Chapter 24.Use of Books and Books worth Owning.
* 25.Note-Book and Journal. amusements in the first ten lessons are to be dictated to
pianists of moderate ability. It is sure to please you. 26.General Musical Literature. the pupil and written down from ear, and in no single
We cannot too earnestly recommend it 27.Periodicals and How to Read Them. instance learned from the notes. This method of pro
Classic Bouquet. young and students. PART VII.
cedure takes rather more time, but it results in develop.
No such collection has ever before been offered at such a low price. Short Talks on Morals. ing a manner of playing which is purely musical in its
essence, and as such closely related to all the later
Reed Organ Folio. Great care as
such pieces hascome
beenwithin
taken the
to use only
compass Chapter 28.Character and Character Building.
*

29.Little Things. growth of the pupil's musical powers. In this respect


of a five-octavo organ. Should be on every parlor organ in the land. 4- 30.Life and Life-Work. the present work marks a wide departure from the mus:
31.Thought, Duty and Example. cular concepts and mechanical concepts which too often
Parlor Dance Folio Will be hailed with delight by private PART VIII. constitute the entire mental basis of elementary playing,
" dance parties. Contains a choice col
lection of the latest dances, also the German, quadrille calls, etc. Health and Earning. and, in fact, often vitiate the work of those who arrogate
Chapter 32.How many Hours make a Day ? to themselves the name of artists. -

Piano Treasures. One of the finest collections of instru 44 33.Overwork and Rest. * Another curious feature of the work, concerning the
mental music by the best writers of 34Earning.
Europe and America, that has ever been issued in this country. 4. 35,-Thrift.
value of which very likely there will be differences of
36.Poverty, and what has come from it. opinion, is the gradual introduction of the staff, or
Song Treasures. Such authors as Abt, Sullivan, Pinsuti, rather the method of preceding it with various simple
Burnay, Hatton, Tours, etc., are repre PART IX.
sented in its pages, and the best and most popular songs only have notations, of a tonic sol-fa pattern, the full staff coming
Driftwood.
bsen used. only at the twelfth or thirteenth lesson, and then as a
Chapter 37.Concert-going, in many lights. gradual evolution from the simpler forms preceding:
assung by our Boys in Blue;
Grand Army War Songs,

38.Golden Mediocrity.
39.Classical and Popular Music. What Mr. Mathews has undertaken to do in this work
of Decoration Day and other special occasions. The choruses have 40.Going Abroad. is, first, to give the pupil a start toward musical play."
all been arranged for male voices, by Wilson G. Smith. 41.Thoughts. ing; second, to introduce the notation in the true #
Any of the above books mailed, postpaid, on receipt of price. namely, as the means of expressing #
the pupil already has within himself; an third,
MUSIC AND B00K CATALOGUES MAILED FREE. develop a musical touch, and lay a foundation up."
THEO. PRESSER, which the highest grades of artistic playing can
afterwards be founded without undoing anything.
The work is distinctly original and American, '
HRMNNU, 1704 Chestnut St., Phila. there is no single element in it not tested and proven by
experience.
THEODORE PRESSER,
145 and 147 Wabash Avenue, Chicago. 1704 chestnut st., Phila. P*
-
-
- -- g ** -
- -----

N: -

|
2=< . *- /
-
~~~
~~~ -
- -

v. T.#
-

S-2
IBOVEME R,
a TEFFE = son of .

STUDIES
30 selecTED STUDies
FROM OPUS 45,46 and 47.

STEPHEN HELLER.
MELODY PLAYING.
ANOR ey&DNIOR PUPILS.
REVISED BY BY

ALBERT R. PARS ONS, CALVIN B. CADY, HAMILTON C. MACDOUGALL.


ARTHUR FOOTE,
E. BAXTER PERRY., JOHN S. WAN CLEWP, =RICE +1.2s.
CHAS. W. LANDON and THE0. PRESSER.
ARE YOU 100K/MG FOR SOMETHING NEW2
Something out of the beaten track? Are you tired or
PRICE: $1.5 O. using the same etudes, year after year? If so, the pub
lisher takes pleasure in calling your attention to Studies
in Melody Playing, They fill a gap that has not been
It is the aim of the editors and the publisher to make
occupied before. Every teacher has felt the need of more
this work everything that can be desired for educational interesting work for his younger pupils. We are indebted
purposes. Each editor has been assigned a special work, to Heller, Burgmuller, Reinecke, Lw, Lange, Tschaik
thus Mr. Arthur Foote has undertaken the revision of owsky, Scharwenka and others for much that is interest
Musical Items ................. . . . . . . . . . . . . . . ing and useful in this direction. The only trouble has
first Lessons the pedal marks, which, by the way, received in the origi been the lack of that gradation, fingering and editing
Liberation of for
the Children. Aft:
Ring Finger. .J. Brotherhood. '.
"
Book Review ... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 167 nal studies very little attention. The following sign has which is necessary to fit them for the use of the teacher
Janko Keyboard............ . . . . . . . . . . . . . . . . . . 167
been adopted for the pedals, which indicates' To meet this want Studies in Melody Playing has been
Questions and Answers . . . . . . . . . . . . . . . . . . . . . . . 168
Letters to Teachers. IV. S. B. Matthews. . . . . . . . 10.)
W# The Field of Music. S. T............. . . . . . . . . 100
the time the foot is placed on the pedal. compiled. It contains studies, frcm the best authors
# '
'' W
[.
# Common Question Answered
}n theDesirability of Bach study. J. Liebling 110
. ... . . . . . .. . . . 10.)
Mr. A. R. Parsons has revised the Phrasing: which has adapted especially to the wants of teachers. Pupils who
#
W W.
T W
Three Requisites for Teaching. E. E. Aures... ."
Dr. Holmes on Music........ ..... --....... 170 been in many cases altered in accordance with the more
have had from three to six months lessons may use these
#\
| -

roblems of Music Teaching. J. C. Fillmore... 13'


Testimonials.... ..................... . . . . . . . .
-

171
studies.

Concert Programmes............. . . . . . . . 171


recent ideas of interpretation.
C. B. Cady will attend to the fingering, metronome Do you find Difficulty in Interesting
| -- - - - -

%| Worthy
-
of Comment... . . . . . . . . . . . . . . . . . . . . . .
Exhortation to students of Music. ............
17.
"
A Letter to the Erudis. Curielia Donoherty ... 17. marks, details of shading, etc. The rest of the editors your Young Pupils?
Publishers Notes........... 17,
First Lessons to Children. E. von Adel"..... 17.3 have done the work of annotating, which will include a de The publisher recommends you to try Studies in Melody
Editorial Notes. . . . . . . . . . . . . . ...... . . . . . . . . 17 |
American College of Musicians ............... 17."
How Much Time is Needed for a Pianoforte
scription of the character and the assignment of a name Plaving, for the reason that they have been compiled by
Lesson H. A. Clarke. . . . . . . . . . . . . . . . . . . . . 17 |
a teacher to meet precisely that difficulty in his own
to each study. teaching. The studies are all melodious and will interest
- MUSIC. PRICE The whole set will be closely graded, and will be made your pupils so much that the name study, will have no
Village Fete. Heller................ . . . . . . . . . . ...'", more terrors for them than for you.
Album Leaf.
At Twilight.
Geibel ........... . . . . . . . . . . . . . .
Bentley . . . . . . . . . . . . . . . * * * * * * * *
.35
.#5
a model of musical typography. The collection comprises four preparatory studies by
Thoughts of Home. Moching............... . . . .35 the compiler, and fourteen more by Reinecke, Lw, Lange
-

Tschaikowsky, Gurlitt, etc., etc., carefully graded, fingered


and annotated. -

G. &c.
Ready for Delivery, December .
's' " o, ADDRESS PUBLISHER,
Address publisher,
THEODORE PRESSER,
- 2150 per YEAR THEO. PRESSER. 1704 Chestnut St., Philadelphia, Pa.
#
TI(Tl)):
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WH I # 4 t . NEW YORK AND LONDON,
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NEW YORK. M|| || || || ||#.
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NEW YORH.
WOL. VIII. PHILADELPHIA, PA, NOVEMBER 1890. NO. II.
THE New York Philharmonic Society's forty-ninth LUDwig DEPPE, the German conductor, died at Pyr
THE E TU D E. | season will offer six concerts with the usual afternoon mont, aged sixty-four years. He was a prolific com
rehearsals. At the first Mr. Franz Rummel will play poser of pianoforte music, and at one time the conductor
PHILADELPHIA, PA., NOWEMBER, 1890. | Beethoven's fifth concerto; at the second, Miss Clemen of the Berlin opera. Herr Deppe is best known to
|tine DeVere will sing two arias, and at the third Mme. Americans by Miss Amy Fay's
| - -

Camilla Urso will play a new concerto by Joachin.


- Music Study in ,
A Monthly Publication for the Teachers and Students of Germany.
Music.
THE MANUSCRIPT SocIETY.No musical organization RoBERT FRANz.Nearly all the German papers have
SUBscRIPTION RATEs, $1.50 PER YEAR (payable in advance). has ever been established in this country, if, indeed, any of late given a portrait and biography of Robert Franz
Single Copy, 15 cents. where, on a more solid foundation and with nobler aims on the occasion of his 75th birthday. Franz is well
The courts have decided that all subscribers to newspapers are held
responsible until arrearages are paid and their papers are ordered to be than the Manuscript Society of New York. Its objects known throughout the musical world, not only as the
discontinued. | are the advancement of musical composition in America writer of a great many lieder, but as having taken a
THEODORE PRESSER, and the development of a spirit of honest musical criti. leading part in popularizing the works of John Sebastian
1704 Chestnut Street. PHILADELPHIA, PA. cism; and its members are all recognized American Bach, to some of which he has added new orchestral
composers. parts to meet the improvements in orchestration since
Bach's time. He has also done the same service for
| THE American Composers' Choral Association has some of Hndel's oratorios.
MUSICAL ITEMS. | been formed for the purpose of interpreting and ren:
| dering, in a thoroughly finished manner, the works and
[All matter intended for this Department should be addressed to compositions of our native and resident American com
Mrs. HELEN. D. TRETBAR, Box 2920, New York City.] posers, and to encourage and stimulate our native FIRST LESSONS FOR YOUNG CHILDREN.
HoME. talent to higher and loftier efforts in the future. The
first concert, on 24th, November will offer a miscella BY AMY FAY.
g". ALFREDA BARILI will spend the winter in Atlanta, |neous
8.
programme; at the second, on February 12th,
Dudley Bucks The Light of Asia will be performed. IN a recent number of The ETUDE I have observed
At the third, on April 30th, King Ruig's Drapa, Burial
CARL ZERRAHN's orchestra is to make a Canadian tour and
this winter. Apotheosis, written for the Association by Mr. inquiries as to what is best for a child of seven to learn.
MacDowell, will be given. I have found by long experience that the most practical
Miss AUS DER OHE's tour this winter will extend to
San Francisco. Mr. Henry Wolfsohn is her manager. FOREIGN. music for children from six to nine years of age is
Czerny's little Kludes for Children, Op. 139. These
J. De ZIELINski, the Buffalo pianist, announces a ALBoN1, the great contralto, is still living at Paris. Ktudes are in four numbers, and are pretty and instruc
series of five piano recitals this winter. DE PACHMANN's farewell Chopin recitals will occur
tive pieces, generally of two or three braces each in
BUFFALo, N.Y., is making efforts to have a festival late in January or early in February. Every note is fingered, which saves an immense
next spring, and Massenet's Eve is being studied by CHARLEs STANLEY, the celebrated English baritone length.
the Vocal Society under Mr. John Lund. singer, will tour this country next spring. amount of trouble. I usually begin at once with the
THE musical library of the late Karl Merz has been SCHARw ENKATHE PIANIST and composer will begin his second number of the series, the first being too element
secured for Pittsburgh, Mr. Andrew Carnegie guarantee| American tour in New York in January. ary. A child can be kept busy for a year with the
ing the balance required to make up the sum of $2000. | INVITATIONs for designs for the projected Mozart monu second number or book of these Ktudes, and will, at the
GERMAN OPERA, at the Metropolitan Opera House, ment at Vienna are being issued.
| end of that time, have acquired a good start both in
New York, will be inaugurated for the season on Novem. | MAsseNET is living in retirement at Wayay, Switzer technic and expression.
ber 26th. ... The opening work will probably be either land, finishing the last act of his opera, Le Mege. I think a child should be taught to closely observe the
Franchetti's Asrael, or Smareglia's Vassal of IT is said that Rubinstein is about to resign the post
Szigeth. # director of the Imperial Conservatory of St. Peters fingering from the very first lesson. It should use the
burg. finger mark with the note. To effect this requires
MR. J. S. WAN CLEve has accepted the appointment of attention on the part of the teacher, but he
head professor of the piano at the Ohio Wesleyan Uni. | SIGNOR LAGo has organized his company for the unwearied
versity at Delaware, O. Mr. Van Cleve will not entirely autumn season of Italian opera, at Covent Garden, Lon. will be rewarded for it later on. The matter is much
abandon his Cincinnati work, but will make two trips a don. It includes Miss Ella Russell and Signor Galassi. simplified by making the child read each hand sepa
week to Delaware.
ANToN RUBINstEIN is said to be writing a work, that rately, and notice every slur or tie as he goes along, lift
THE Boston Symphony Orchestra's tenth season in | will contain his thoughts on music, musicians and the ing the hand from the keyboard before and after each
Boston began on October 10th with a public rehearsal. cultivation of this art. most difficult thing of all to im
The first of the twenty-four concerts occurred on Octo ANoTHER phenomenal soprano has been discovered in slur. Phrasing is the They simply will not notice the
ber,17th and the last will be given on April 25th. Mr. Paris. The young lady is. Miss Sedohr Rhodes, the press upon pupils.
Arthur Nikisch is the conductor. marks unless they are forced upon their attention every
daughter of a formerNew York journalist. -
time. The teacher should, of course, be musician
MR, FRANz RUMMEL made his reappearance in New It was just one hundred years, on September 14th,
York in a grand concert at the Lenox Lyceum. on Oc enough to show the child the meaning of them by play
'ber 30th. Mr. Rummel was assisted by Theodore since Mozart's Marriage of Figaro was first performed
at the National Theatre, Berlin. ing himself. But, alas! so many teachers have not
homas and his orchestra, and played Beethovan's G been taught the value of phrasing marks! How, then,
major Concerto among other works. THE Leipsic Gewandhaus concerts began on October
of the winter's soloists are Otto Hegner, shall they give it to their pupils? The whole significance
The first American performance of Planquette's opera Mme. Some
2d.
Carreno and Joachim. of a composition can only be brought out by proper
Comique Paul Jones, by the Huntington Eng
lish Opera Company, and with Miss Huntington in the MARIE ANToINETTE's organ, upon which Glck and phrasing; hence, good phrasing is as essential to a
title rle, took place at the Broadway Theatre, N.Y., on | Mozart have played, still exists in a Parisian chapel. It player as good style is to a writer.
Qctober 6th. Miss Huntington received an ovation, and has just been restored and consecrated with a perform. Together with these Czerny Ktudes, I give to a child
the work was accorded a warm welcome. |ance of works by those two masters. the Deppe five-finger exercises, which, by the way, I have
MR. WILLIAM T. Best, the English concert organist, | M.M.E. PATTI will appear twelve times in Moscow and recently published. For a long time I was unwilling to
will make a tour of the chief cities of the United States |S, Petersburg next January and February. She will
and try all the American pipe-organs in these take part in three operas and three concerts in each of print these finger exercises, but I have been besieged for
cities. r. Clarence Eddy will accompany his friend, these cities, and receive $60,000, besides traveling ex them so urgently, that I finally concluded to do it. The
and Mr. Marcus M. Henry is to manage the tour. penses for herself and her troupe. reason I objected to printing them is that I found it
166 THE ET UD E.
very hard to explain in Whiting how they should be prac My investigations have been of a thoroughly practical higher and equalizing its leverage more in correspond
ticed, as I did not wish Deppe to be misunderstood. and surgical nature, under the guidance of an experi ence with that of the other fingers.
I
If properly studied, these exercises cannot fail to pro enced surgeon who operated on my right hand, and as I This is not, however, the sole advantage gained by the
duce an artistic touch and perfect equality of fingering. operated myself upon my own left hand with great suc operation, in that it allows a wider span of the hand,
In my own teaching I find them invaluable. A child
should at once begin the practice of the scale. It should
cess, I can testify both as surgeon and subject.
The surgeon's knife has been shorn of its terrors by
enabling hands unable to strike an octave, except with
difficulty, to do so with ease, and to larger hands it gives
.
not begin with both hands at once, however. Let the the scientific discoveries in anaesthesia, which enables a proportional wider span. This feature alone makes
small child play two octaves of the scale and back, with surgical operations of the greatest magnitude to be per it a God-send to many.
each hand alone, three times, beginning in the middle of formed without the slightest pain, and the operation It is over fifteen years ago that, in my early investiga
the keyboard. It should play the major scales with their under our consideration is of a most trivial character tions into the anatomy of the hand in its relation to
relative minors. Let it begin with C major and A minor; from a surgical standpoint, as exemplified by my operat piano-playing, I first discovered the obstructive nature
then take G major and E minor, and so on through the ing upon my own hand. The functions of the nerves of of these tendinous-slips, and I laid the question of their
twenty-four scales. The major scale should never be sensation in the immediate locality of the operation are severance before the surgeon above mentioned, with
divorced from its relative minor; a child should get that temporarily suspended by cocaine, so that this operation whom I was studying the subject. He then assured me
into its head as a musical principle. They are husband can be witnessed by the individual undergoing it, or he that these slips had no specific utility in the mechanical
and wife, and therefore not to be separated. can turn his head away and be unconscious as to when action of the hand, and that they could be cut without
I usually teach the scales at first without notes, in order the severance of the tendinous slip is made. difficulty. But I neglected having them severed, think
that the child may give its undivided attention to the There is no disfigurement of the hand, as within a few ing that the obstructive nature of these slips might be
fingers while playing. Later on I take them up with the days it is difficult to trace any signs of the incisions, and reduced by strengthening, with specific means, the
notes; for this I am glad to recommend the scales of my the loss of blood is so slight as to be hardly worth allud extensor muscle of the ring-finger.
friend, Emil Liebling. He has written them out in an ing to. Whilst by this latter means I was enabled to lessen the <!
excellent and practical manner. Having stripped the operation of its pain terrors, obstruction, yet it did not totally eradicate it, in that,
After a child has spent a year over the Czerny Etudes, let us analyze the necessities which render it desirable, since the operation, I am enabled to raise the ring-finger
Op. 139, it is ready to take up Koehler's collection of and the results accruing from it.
easy classic pieces for children. This Piano Method,
of each hand three-quarters of an inch higher than
For this purpose, I refer you to the accompanying dia. before, and the sensation of their freedom and independ
|
as it is called, is in eight numbers or volumes; nothing gram of the back of the hand, showing the extensor (or ent action for piano-playing is something to be felt in
can be better than these selections from the great masters. raising tendons) of the fingers (Extensor communis). It order to be realized.
I begin with the third or fourth volume of the above will be seen that the tendon of the ring finger (the fourth Certainly I had the advantage of having strengthened
Koehler, and great delight do my child-pupils take in finger) is joined near the knuckle joint to the adjacent the extensor muscles by means of the Technicon, so |
many of the little gems to be found therein. The easier fingers, by small, oblique, tendinous slips; these tendi that when the slips were cut the full contractile action of
sonatinas of Clementi, Haydn, Mozart and Beethoven, nous slips are powerless to produce motion, either verti. these extensors was prepared for it. The extra span of :
are varied with taking little pieces of modern structure cally or horizontally, the motive power being in the main my hands is five-eighths of an inch in the right hand
in between, so that the child has always something with tendons (the contractile muscular fibres of which are in and three-quarters of an inch in the left.
which it can show off," as well as cultivate its taste. the middle arm.) Here, then, we have focused the all-im. What eminent pianist is there but can tell of the extra
For teaching expression, nothing is so good for a child portant question, what function do these tendinous slips labor expended in bringing the action of the ring-finger
as the adagios of the Mozart Sonatas; as, for instance, fill? -

to an approximal basis with that of the other fingers;


that of the little one in C major, or the one in G major. From a physiological standpoint I say nil; and and even after all this extra attention devoted to it, they I
Most exquisite sentiment can be instilled, as it were, by surely the question carries with it its own answer as can testify to the fact that it is frequently an element of
these and similar adagios. These Sonatas may prepare regards the piano-playerthe function of obstruction to distraction in their playing, absorbing mental energies
the way for the Beethoven one in G, Op. 49, which is the independent action of the three fingers to whose which should be focused upon the purely musical and
much more difficult, and can only be mastered by a child motive tendons they are attached, and as the ring-finger not technical.
of very great talent. I have had one who mastered it at has two attachments, it is consequently the one most It is now several years past since I met some of those
eight years of age, but she is a genius. In general, it is severely handicapped, in fact, the action of its extensor on whom the operation had been performed by Dr.
a hard piece for a girl of sixteen to play properly, as tendon is limited to where these slips happen to confine Forbes, of Philadelphia, one of the first, if not the
pupils go. it, -in some individuals they are more obstructive than actual first, surgeons to carry out the operation. I have
A child may spend two years on Koehler with pleasure in others. also seen the operation performed on a number of ladies
and profit, alternating with Schumann's Album, for the and gentlemen by Mr. Bonelli, of San Francisco (whose
sake of change and variety. It is then sufficiently ad pertinacity in forcing this subject before the musicians
vanced to take up the modern composers. The easier of this country deserves the highest praise, for to his
waltzes and mazurkas of Chopin may be learned. Six exertions is due the present interest in the matter), and
little pieces for children by Mendelssohn, the Bach Al I have performed the operation myself, and in no case
bum, which is a selection of short pieces from Bach's under my notice has it resulted in any way but as highly
English Suites, Schumanns Cradle Song, and satisfactory.
such light music as Spindler's Frisches Leben, Schul It was not to be wondered at that the musicians of the
hoffs Souvenirs de Varsovie, Wollenhaupt's Mor past, who dwelt so much in an art that surrounded them
ceau au formed '#tude, Gounod's Funeral March of with an atmosphere of the ideal, should have been
a Marionette, etc., are delightful things for a child to averse to descending into the underlying atmosphere of
study after it has got a good degree of execution. To the utilitarian, but since their day such rich prizes
teachers in the country, who have not the music stores at have been snatched from this lower (?) atmosphere (the
hand to select from, and who need an instruction book, lower is always the foundation of the upper, unless we
I would recommend that of Dr. William Mason, which build in the air) that its treasures as exhumed are now
I have used and found excellent. As a close to this quickly turned to practical account.
article I append the programme of a little pupil of mine, This liberation of the ring-finger is undoubtedly
aged nine years, which she played in illustration of alecture a legitimate advancement from the realms of Science,
given by me on the Deppe method last winter in Chicago. for practical utility in the realms of Art. I venture to
1. Finger Exercises. 2: Scales. 3. Two Etudes from predict that it will not be long in receiving universal
Czernys School of Velocity. 4 a. Menuet, B flat endorsement and adoption, the disparaging prejudice of
major ; b. GigueBach. 5. Sonata, G minor, Op. 49, ignorance notwithstanding. It will doubtless act as
No. 1Beethoven, Andante, Rondo. 6. Gavotte Hu
moresque-Schuett. 7. Columbine-Delahaye. another stimulus in causing piano teachers to take
more interest in that important foundational feature in
the technical side of their art, viz.: Physiology and
LIBERATION OF THE RING-FINGER. Anatomy as involved in piano-playing, for this latest
BY J. BROTHERHOOD. surgical aid is but another significant sign to show
that from this foundational feature must emanate the
MY name having been so closely allied, the past few necessary ways and means to provide the hand of the
years, with anatomy and physiology as involved in pianist with those additional technical possibilities
piano-playing, the results of my investigations into Liberate this clogging influence by cutting them at the which the limitations of piano studies render them pow
this subject may be apropos at the present time, when points A and B (as shown on the diagram); you then erless to produce.
such a widespread interest has been awakened among free the ring-finger tendon from its imposed limitations,
piano-players upon this most recent contribution from enabling the contractile action of its muscular fibres to
The unsurpassable Bach knew a million times more
the laboratory of science for their benefit. exert their maximum powers, thereby raising the finger than all the rest of us put together.-Schumann.
T EI E ET U D E. 167
B00K REVIEWS. Thus within the key are nearly all tones that occur in to accomplish this. It may be quite true, but it would
the tonal system, and therefore a truly Wagnerian possi have been better to permit others to make this discovery,
bility of modulation. Strange as it may seem at first which, eventually, they would have done.
MUSIC OF THE INDIANS. thought, the Klauser enrichment of the tonal system In this enumeration I have passed over many points
Mr. John C. Fillmore has for some time been engaged through including all these accessories, commonly re equally well worthy attention with those here given.
upon a work in which every American ought to be inter
garded as foreign tones, does not appear to make it any But my present object is simply to call the attention of
ested. Some years ago Miss Fletcher had the idea of more complex, so well has the principle of classification students to the work. It is thoughtful and cannot be
collecting the original melodies of the North American
Indians." Contrary to the ordinary impression, the been applied, while an enormous advantage is afforded read without exciting thought. It is the kind of book
when the subject of modulation comes up. This we may which prevents things from getting stale. It is American
Indians are a musical race, but their melodies they hold see in a moment when we remember that Mr. Klauser in its willingness to weigh everything, however venerable.
sacred, and never perform them in the presence...of regards almost any chord as possible within the key of C, W. S. B. M.
whites. In order to get them it was necessary for Miss for instance, the question of its appropriateness turning
Fletcher to go among them, live among them exactly as upon whether the composer has introduced it in such a We can commend to our readers a recent book, The
they live, and gain their confidence completely. Accord, way as suggests its relation in key. Not the least im Art of Pianoforte Teaching, by T. C. Jeffers. Paper,
ingly she went among the Indians and, after several portant of his proposed reforms is the exercise of thinking
30 cts. ; cloth, 45 cts. It is full of choice and pungent
years of hardship and sacrifice, traces of which she will all these chords in their different relations, according to maxims and wholesome advice to both teachers and
carry to her grave, she succeeded in collecting and tables prepared in the book. A student coming to mod pupils.
noting more than one hundred and fifty melodies. ulation with a preparation like this, able to identify
When she had secured the material, it was desired to melodic intervals even to the augmented and double We would call the attention of teachers and advanced
arrange them musically and put them in form for perma: diminished, by ear, assigning to each its natural place in upils to a work recently issued by G. Schirmer, of New
nent preservation. Several musicians were consulted, key, would already possess the material of modulation ork, Practical Guide to the Art of Phrasing, by Dr.
and one or two tried their hands upon the singular beyond the mastery of most musicians. I should very Hugo Riemann and Dr. Charles Fuchs; translated by
material, but with little interest. Moreover, the melo, much like to see the off-hand work of pupils taught on Theodore Baker, Ph.D. This is the most recent work
dies when arranged by these harmonists appeared spoiled this plan. on this subject, and it gives needed light on an obscure
to the Indians. Prof. Fillmore's articles upon under He repudiates the doctrine of inversion as commonly subject, obscure to too many musicians.
scales, and the like, attracted the attention of many taught, inasmuch as every chord and chord-position is The writer has just finished reading Chats with
musicians in the east, and particularly of certain amateurs. an independent harmonic entity. Here he is partly
One of these called Miss Fletcher's attention to him, and right and partly wrong. Different inversions are from Music Students, by Thomas Tapper, published at THE
accordingly she visited him in Milwaukee for consultation. their fundamentals, but there is a principle of the sub andETUDE office. Price, $1.50. This is a most helpful book,
Mr. Fillmore became greatly interested in the work, and stitution of octaves that needs to be explained, the shortasand valuable to the teacher as the pupil. It is full of
concise sentences that demand the reader's
after several preliminary attempts, judged successful, has principle, namely, that octaves are equivalent, to such attention and stick to his memory. Every progressive
undertaken the labor of harmonizing the entire list. He extent that the octave above or below any tone may be
finds them to be composed upon pentatonic and other substituted for it in any harmonic combination, without teacher should see that his ambitious pupils read this
book, for it will inspire them to better work and greater
primitive scales, susceptible of harmonization easily and radically changing the essential character of the com achievements.
accurately according to Riemann's theories. Curiously bination. Of course, when it comes to practice, Mr.
enough, although the Indians never use harmony, they Klauser holds that the inversion of the chord of C is still
like their melodies as harmonized by Fillmore. This a form of the original chord of C. Inversion of intervals WE are in receipt of two charmingly melodious and
appears to him to indicate an unconscious perception of as commonly explained is absurd, as this author well usable second-grade teaching pieces for piano, Around
undertone and underchord series on their part. says. If an interval is a difference in pitch, in other the Maypole and Hieland Laddie, by Fred L.
Prof. Fillmore has arranged several of these primi. words, a hole between pitches, to say that inverting it Morey, edited and annotated by Edward Baxter Perry.
tive melodies for orchestra, in the general form of the makes, for instance, a third into a sixth, is like saying that They are unique in their way, and destined, we feel sure,
Liszt rhapsodies. Prof. Jacobsohn played one of them a gimlet hole inverted becomes an auger hole. The to become universally popular. The first is a rustic
last year and was much pleased with it. It is expected proper explanation is that out of the principle of octave dance, bright and spirited, with piquant rhythms and
that the entire collection, when completed, will be pub equivalence arises the doctrine of complementary inter pleasing melodic and harmonic effects. The second is
lished by the Smithsonian Institute. W. S. B. M.
vals, the complement of any interval being that which a thoroughly original and characteristic lyric melody, in
THE SEPTENNATE. BY JULIUS KLAUSER. Wm. added to it completes the octave. To invert a harmonic
the Scotch style. They contain no bad stretches, or dis
relation is to substitute octaves in one of the voices in proportionately difficult passages, and are well adapted
Rohlfing & Co., Milwaukee, Wis. such way that the original voice lower becomes upper; for use with younger pupils, whom they cannot fail to
Prof. Julius Klauser, son of the well-known Karl in this process the original intervals are changed into interest. Their value as teaching pieces is enhanced by
Klauser, has just published one of the most original works their respective complements. Thus stated, I see no ob Mr. Perry's descriptive analyses, printed on the first
on musical theory that has appeared anywhere, since jection to the doctrine of inversion. But to teach it in page, as a guide in their proper interpretation. They
perhaps the publication of Hauptmanns Harmonic the usual terms is something I have not been guilty of meet the universal demand for easy and attractive, yet
and Metric, in which form the first time, if I remember, for a long time. well written, music for pupils, and should find a place in
the derivation of the scale from three centres (the tonic, Space lacks me to go on through this remarkable book. every teaching repertoire. We are informed # they
dominant, and subdominant) was taught. Klauser calls It with earnest thought throughout, and with sound have been published experimentally, and if they meet
his work, The Septennate; or, The Centralization of musicianship. The clearness and sureness of the musical with sufficient encouragement, will be followed by others,
the Tonal System. intuitions is one of the most noteworthy traits of itthe similarly annotated, and carefully selected from the new
. By Septennate Klauser means a tonal system consist more especially when so many works on music are pub. productions of native American composers.
ing of two precisely similar scale-halves, tetrachords, lished in all languages without the slightest traces of real For copies of Around the Maypole and Hieland
in fact, dependent upon the central tone as tonic. For musicianship. i think that in some cases Mr. Klauser Laddie," address Theo. Presser, 1704 Chestnut St.,
instance, g, a, b, c, is a scale-half leading upwards to over-estimates the revolutionary character of his system. Philadelphia.
middle C. The other scale-half of this septennate is the He does not mean, I fancy, all he seems to say. In
descending series, f, e, d, c, the C again being middle C. some cases, like that of Riemann, whose ideas upon the JANKO KEYBOARD,
This is the tonic, the central tonic of the central key, the minor scale he does not like, I am with him. But he
key of C being central to the entire tonal system, in Mr. goes too far when he says that a pure minor scale is in ONE of the most important and interesting musical in
Klauser's teaching. Objection will be taken to this, but conceivable, or something equivalent to this. Experi ventions ever made is the new keyboard for the piano,
not with good reason, for it is nothing more than regard ence shows that the minor scale precedes the major in invented by Paul de Janko. We had occasion to examine
ing the key of C as normal, as is done by all German the order of development, all nations having minor music this new invention a day or two ago, and do not hesitate
theorists, the notation bearing them out in the assump before they have music in the major mode. He uses the to say that we share the enthusiastic belief of its inventor,
tion. The scale-half ascending leads upwards to a tonic. term major and minor mode of the key, which I and of Mr. R. Hausmann (who has already published a
The series c, d, e, f, leads plainly to f as a tonic. The think is not a bad suggestion. Prof. Fillmore showed method for learning to play with the new keyboard), that
answering scale-half is b flat, a, g, f. The melodic ap me some very interesting Indian melodies collected bya new era of pianoforte composition and practice will
proach of these two scale-halves towards each other as Miss Fletcher, which he himself had harmonized accord begin as soon as this wonderful keyboard (which can be
already given, marks the natural key-track, in other ing to a method which pleased me very much. They adjusted to any piano) is placed on the market. It is
Words, the natural movement of voices within the key. seemed to be in something like the old ecclesiastical nothing less than a stroke of genius that led Mr. Janko
It is the effort of Prof. Klauser to awaken in the pupil's modes, which themselves were only imperfectly developed to make a new arrangement of the keys, which so greatly
ear recognition of the natural leading of tones in key. modes, the true inner significance of the harmonic im: shortens the keyboard that a child can play octaves on
He teaches, unmistakably, that there is no musical think plications of tones whenever they come into musical it, and the largest hand can grasp two octaves. Chro
ing which does not afford the pupil an inner realization relation not then having been fully perceived. Or, per matic glissandos, and glissandos in thirds and other in
of the tonal effects and relations involved, of such clear haps, it might better be said that musical faculties as yet tervals can be played on it, and one player can strike
ness as to make it a simple matter to write what one undisciplined, chose the less perfect harmonic implica extended chords of orchestral grandeur which on the old
hears. Accordingly the pupil goes no faster in this tions of the tones, and planned the melodies accordingly. keyboard, require two performers. . The arpeggiated
system than he can keep up with the various tonal enti When Elisha Gray filed his famous first caveat for a chords, which are a sorry makeshift in so much modern
ties which the teacher introduces. patent upon a speaking telephone, he said: The obvious music, are done away with, and the effect produced by
Intervals Mr. Klauser teaches as Klangs, i. e., use of this invention is to enable persons at a distance striking certain widely-extended chords is thrilling. The
melodies, leaving their analysis into half steps for later to carry on a conversation through an electrical circuit, hands can be easily crossed as on the several keyboards
work. Each one of these has its relation in pitch and just as if they were close together. This statement of of an organ, whereby much awkwardness is done away
key, producing a different effect according to its place in the end proposed has never been surpassed in clearness, with. The keys are rounded so that it rarely happens
ey. A key consists not only of the seven tones of the nor has the great electrician been accused of egotism in that an adjacent note is struck by mistake. Runs be
Septennate, together with their higher and lower octaves, making it. In like manner, Mr. Klauser might have come as dainty and rippling as if played on a harp, and
ut also of the intermediate tones, the up-mediates, added to his introduction a caveat something like this: legato effects can be produced which are impossible on
r sharps which naturally resolve upwards, and the The obvious advantage of my system will be to so in the old keyboard. . It will require a pianist to practice
down-mediates, flats which naturally resolve down doctrinate pupils in the key-track, and in all possible several months before he can master the new keyboard.
Wards. Hence in the key of C are all the sharp tones relations of tones in key, that they will of their own ac but when that is done artistic effects and trieks of virtu
and flat tones and primary mediates. Besides these there cord, simply and without conscious restraint, conduct osity can be produced which will astonish the public.
# the secondary mediates, also classed as up and voices in a musical manner, employing the contents ofLiszt was wondered at because he could, at nine, play
down, according to their natural leading. Here we the key according to the modern sense; and whenever Bach's fugues in any key; but with the Janko keyboard
have the so-called double sharps and flats. The second.
they desire to modulate, out of the key, this system any good performer can do the same, as there is only one
*ry mediates resolve into the primary mediates, or into furnishes the training for doing it in the most simple and -key practically, and one fingering for all the scales. In
secondary mediates. Primary mediates resolve into other comprehensive manner. . But he need not have added, a word, piano practice will lose half its difficulties.
Primary mediates, or into the primary tones themselves. as he substantially does, that No other system is able New York Evening Post.
1GS T EI E ET "U T. E.

accidental is regarded as affecting all the same letters have been using the arm instead of the fingers, and so
that follow in that measure, whether in the same or a far cannot be taught to play with ease?
*:
- Questians m nswers. different octave. E. Y. ANs.1. Nothing brings up the left hand to technical
perfection like Mason's Two Finger Exercises. This, in
QUES.1. Should one study Musical Form and Theory QUES.1. Is there any published system of training connection with his treatment of the dominant seventh
of Music before Harmony? I know nothing of either, for the improvement of the musical ear? If there is not,
but wish to study and do not know what to begin with. would you kindly suggest some exercises which might chord with accent, is a complete system of technic.
2. Should a pupil in the first grade be given scales of be beneficial. Do you think this of decided importance However, there are quite a number of good pieces for
more than one octave? And how soon should the grand as you know, some pupils lack the power of quick per
ception of musical tone. left-hand solo. Consult the catalogues of music pub - *
arpeggios be given ? -

Can you recommend a good method for the reed 2. How could your hands be used in connection with lishers. It might be further stated, that a pupil who has *
organ? I have used one but do not find it satisfactory, the Ward-Jackson exercises? been studying the better grades of music, sonatinas and
it has so few exercises and studies. 3. What is the proper pronunciation of Freischuetz, sonatas, such tudes as those of Strelezki and Heller,
4. Where does an accidental continue for more than Die Walkre, Lorelei?
one measure ? A SUBSCRIBER. will find the left hand as fully developed as the right.
ANs.1. Fred. Wieck, the father and teacher of Krause has an excellent set of left-hand studies.
ANs.1. Harmony should be taken before the other Madame Schumann, in his little book entitled The Piano
branches you name, especially before Musical Form. and Song, gives some very useful and practical sugges 2. Again, correct use of Mason's Touch and Technic,
The last named study requires ability to analyze music tions on just this subject. We would recommend, also, or Two-Finger Exercises, will remedy the difficulty, and
by separating it into its component parts and studying that when you find a pupil's ear defective in its percep furthermore, everything given such a pupil should be
the construction of each of these, and their relations to tion of pitch, let your pupil stand with the back toward seemingly too simple and easy, well within the capabili
one another. Such analysis demands more or less the pianoforte while you play slowly and softly, first a ties of the pupil, that the undivided attention may be
knowledge of modulation and of the several varieties of very low tone, then one very high, asking the pupil to given to a loose arm, wrist, hand and fingers, especially
cadences that are usually employed to terminate the listen and to tell you which is the low tone, the first or having the mind upon the sensation of looseness and
themes, and other important subdivisions of larger com second. By degrees you can play two tones nearer each ease in the several joints; or, in other words, there must
be no constriction or effort. C. W. L.
positions. other, letting them steadily approach, till the pupil be
The term Musical Theory has either of two mean gins to find it difficult to distinguish between them. QUES.1. What is a good Violin Method, one suitable
ings. In most foreign music schools it refers to Har for young beginners who know little or nothing about
Repeated exercises of this kind will soon sharpen the music? Also, what simple exercises, for execution, could
mony, Counterpoint, Composition and, sometimes, perceptions to a surprising degree. I get for the same instrument?
Orchestration. But in many of our American schools it 2. Ward-Jackson's little book gives specific directions 2. Please name a few bright pieces, not too strictly
consists of instruction in all the fundamental laws and
for the use of these hand-gymnastics, if we mistake not. classical, which will develop the left hand for a pupil
principles of music, including the elements of acoustics, who plays music
3. Fry'-shuets (giving the so-called French u in the Capriccioso ? of the grade of MendelssohnsS.Rondo D. C.
accent, rhythm, a brief outline of the principles of musi latter syllable), Dee Wahlkure (another French u),
cal composition (defining the various subdivisions of a Lo'-re-ly. ANs.1. One of the best is The Violin, by Ber
E. Y.
theme and explaining thematic treatment). The distin thold Tours, price 75 cents. Another one is Wichtl's
QUES.Will you be kind enough to inform me, through
guishing characteristics of the more prominent compo THE ETUDE, if there is any set age after which the musi Young Violinist, price $1.00. These furnish all
sitions, the peculiarities and effects of the various cian has the privilege of taking an examination for the necessary exercises.
orchestral instruments, the general rules for the inter American College of Musicians? If so, what is the age? 2. I would suggest the pieces of the second volume of
How far advanced are students expected to be in their Mathews Phrasing, and if easier music is desired,
pretation of instrumental music, etc. It is evident that musical studies? Yours truly, G. N. C.
all this is indispensable to any musician who wishes to the second volume of Strelezki's Studies Op. 100, pub
ANs.No age is specified. The Constitution and By
be recognized as properly equipped for professional laws simply say that any respectable person of either lished at this office.
work. I would also suggest Heller's Op. 47, 46, 45 and 16.
sex is eligible to examination. Manifestly, there are
2. Whenever scales are given (on the pianoforte) not no other qualifications required than musical preparation These studies of Heller are named in the order of their
difficulty, the easiest first. C. W. L.
less than two octaves should be used, as otherwise many and respectability. In the preparation of the papers to
scales would give no exercise in crossing the thumb and be used in the examination, questions are asked, to an QUES.1. Is it necessary for pupils on the reed organ,
fourth finger. But special exercises for just this move swer which will require the judgment of a more or less take who are taking lessons from an instruction book, to also
tudes?
ment are needed before entering upon regular scale mature mind, and it is not at all likely that a youthful 2. Should such pupils take pieces outside of those the
practice. It will, perhaps, be of aid to some of our person would pass a successful examination. instruction book contains?
younger teachers to be reminded that crossing the fingers 3. What exercises for flexibility, freedom of fingers,
For an answer to the second question, G. N. C. should
over the thumb is very much easier than crossing the send a stamp to Robert Bonner, 60 Williams street, and expansion of hand should be used? ..
4. When a pupil has finished the instruction book, but
thumb under the fingers. Consequently, the first exer Providence, R.I., Secretary of the A. C. M., for a pros. wishes to continue lessons, what should he study? That
cises preparatory to scales should be ascending in the pectus and copies of the examination papers used at for. is, what pieces or books?
left hand and descending in the right, each hand, of mer examinations. 5. Are there duets (four-hand pieces) for the reed
course, practising its part alone. A similar principle organ?
QUES.-Will you be kind enough to let me know, 6. What is the meaning of the word tude?
prevails in playing grand arpeggios; but as these are through THE ETUDE, the meaning of Kammenoi Ostrow, A. G. S.
more difficult, and necessitate greater watchfulness as to and the signification of Rubinstein's piece by that name. ANs.1. Probably not. See answer to next question.
B. W.
the proper fingering, they need not be given till the stu 2. Yes, and specially lively pieces, such as polkas,
dent can play all the major scales fairly well. The har ANS.-THEETUDE for April 1890, page 58, says: galops, marches, and waltzes. As a general thing, reed
monic and melodic minor scales may be given immediately This is a set of 24 pieces published as Op. 10. They
organ pupils lack vivacity, life and vim; more quick
after the grand arpeggios formed on Triads (three-note are a set of portraits of people that he saw at a Russian music is needed than most instruction books furnish.
chords), though many teachers give them immediately watering place where he spent a summer. He gives a
after the major scales. musical description of the impression the faces made on Special attention should be given to overcoming the
universal sluggishness of style so prominent in their
3. Although there are many reed-organ books, most him-sombre, gay, matter-of-fact, coquettish, etc. Give playing.
of them fail in the very point you mention. Probably the Italian sound to all of the letters except w, which 3. Exercises for flexibility and freedom of fingers, use
Clarke's New Method for Reed Organ is as satisfactory is as near the English f as we can get it. C. W. L. Mason's Two Finger Exercises, played without wind or
as any. We learn with pleasure that Mr. Presser, the QUES.-Can you give me title of the best handbook in silence. Also, extension and contraction exercises,
enterprising publisher of THE ETUDE, is soon to issue a on Musical Form? L. R.
scales and arpeggios, both with and without wind. For
book that promises to be exactly what you are searching ANs.-One of the best in the English language is, expansion of hand, full chords and arpeggios slowly
for, one on an improved plan, containing a superior How to Understand Music, by W. S. B. Mathews, played, and holding down as many keys as possible,
collection of music and special studies. Vol. I. This is both thorough and eminently practical. never letting go a key until absolutely obliged to.
4. Musicians are not wholly agreed as to how far the Every point is illustrated from the writings of the great I am glad you bring up this subject of life and flexi
influence of an accidental extends. If the last note in masters. Besides covering the subject above mentioned,
bility in reed organ playing, because it is the greatest
a measure is sharped, and this is tied to a similar note this book gives much valuable information on kindred lack in this class of players.
in the next measure, the sharp affects both these notes. subjects. Bussler's Musical Form is a most reliable and 4. There are a great many good, bad and indifferent
To this rule all agree, and most musicians would regard exhaustive work on this subject. C. W. L. books. We publish a small pamphlet, by Morris, giving a
the second of such notes sharped, even if they were not QUES.-If the last note of a measure is accidental, course upon the reed organ, and a long list of such books
tied; certainly, when this is not intended, a cancel or does it affect the first note of the next measure if it is and pieces as you desire.
natural always stands before the second note. But were on the same degree? C. J. R.
5. Yes. Several different publishers issue such pieces;
the second note in the second measure on the same ANs.-The old rule is, if the last note of a measure is
we have no catalogue at hand.
accidentaled and the first note of the next measure is on
I would suggest, how
degree, it would not be affected by the accidental in the ever, that good pieces written for the pipe organ upon
previous measure. In music for voices, pianoforte, or that same degree (space or line) it is accidentaled also. three staves, the pedal base being written on the third
organ, each different octave, even within any one Recent writers, however, place the accidentals wherever or lower staff, will make good pieces for two players.
they are needed.
measure, requires its own separate accidental; but this C. W. L.
6. Webster knowed a heap about spellin, an had
Ques.1. What are the best left-hand studies for an idee of the meanin' of most of the words; so Es.
rule is not generally observed in writing for other instru: | '' technique for advanced students?
ments, such as the violin, flute, etc., where the single 2. What studies are best for pupils that for a year quire Hawkins remarked. Webster says: Etude, a
TEL E E T U D E. 169
composition in music, or the fine arts, which is intended, LETTERS TO TEACHERS,
or may serve, for a study. It may be further said that A COMMON QUESTION ANSWERED,
an tude has musical worth as well as technical utility. Will you please tell me what you think of the Bonell
- - --
- -

EDITOR OF THE ETUDE:


C. W. L.
operation for dividing the accessory tendons of '
fourth finger? Would it be likely to improve my playing? In your March number, M. A. Brunetti's article on
QUES.At what stage of the average pupil's advance E. M. Incompetency of Teachers was of great interest to
ment should scale practice be taken up? I have always My first impression of this operation was unfavorable, me.
held that pupils should attain somewhat of equal strength
and a fair flexibility of the fingers before good work but when Prof. Bonelli was in Chicago and Detroit, a You reply that the American College of Musicians
from scales may be expected; and then that the even few weeks ago, I took the opportunity to see several was organized on purpose to meet the evils complained
passage of the thumb is the first point to be gained. operations, and to converse with as many as I could who of.
L. G. W. But does the existence of the Institution have the
had tried it. The result was entirely favorable. Prof.
ANs.In the main, you are correct. After an experi Bonelli has mastered the details of this operation in the effect desired by the correspondent referred to above?
ence of twenty-five years in teaching, I do not allow finest possible way, so that the most supersensitive need And does the fact that one is a member of the College
scales until there is a fair control of the hand. I have feel no hesitation in submitting to it. There is no pain lessen the evil in his community?
found that, if they are begun too soon, the difficulty of cor at the time, local anaesthesia being attained by means of The practice of imposing upon the public in this way
rect fingeringand a scale is not a scale unless fingered cocaine. Later, there is, I suppose, a little smart, but is carried on to a very great extent in our city, and I,
correctlyleads to stiffness and a poor touch. There no pain, nor is the hand disabled from use for more for one, will welcome the time when examinations for
fore, never give scales until they are required in the than a day or two. Indeed, it is necessary to use it in music teachers will be as compulsory as for school
pieces that the pupil is learning. And, as you say, there order to prevent the severed tendons from growing teachers. Truly has Dickens said: We hear, some
needs to be a great deal of preliminary work of thumb together again. The operation lasts about thirty min times, of an action for damages against the unqualified
and finger-passing practice or preparatory scale exer utes, preparing and removing the cocaine afterwards. medical practitioner who has deformed a broken limb
cises before the scale is attempted. C. W. L. The operation itself lasts about three minutes. He per in pretending to heal it. But what about the hundreds
forms it with an extremely fine knife, about as large as of thousands of minds that have been deformed forever
QUES.-1. When a passage is marked p. or f, does it
hold good through the entire piece if not annulled by a darning needle. There are no more than a few drops by the incapable pettifoggers who have pretended to
form them. Very truly, A SUBSCRIBER.
another sign? of blood lost.
2. What is the proper touch for chords marked stac He has a book full of drawings of hands before and It is hoped and confidently expected that ultimately
cato, legato, and those without any marks? after the operation. The stretch of the hand is com: the benefits accruing from the work of the College of
3. I would like to know what is the proper time for monly increased by it from one-half inch to an inch and Musicians will be felt everywhere that music is studied
Waltzes, Quadrilles, Schottisches, Polkas, Galops, a quarter. The fourth finger before the operation is with earnestness.
Marches, etc., by the metronome.
rarely capable of being raised a quarter of an inch from It is probable, however, that the history of the physi
Ass?1. Yes, but with modification. All music is the table when held curved. After the operation it cian, dentist, lawyer, etc., will be repeated in the case
divided into phrases; each phrase has a climax; from commonly rises from a half to three-quarters of an inch of the musician. Not so very long ago neither law nor
the beginning of the phrase to the climax should be farther than immediately before. public opinion required the medical, legal, or any other
crescendoed, and the climax more or less emphasized Every one with whom I talked agrees that the opera. practitioner to give evidence of competence prior to
according to its intensity, and from this climax to the tion benefited their hands. It will not make one a better entrance on his professional duties. But now all this is
end of the phrase, diminuendoed. Phrases should be musician than formerly; but it will shorten the time changed, and any one who does not enter upon those
separated from one another by a very slight pause, which needed to obtain control of the weak fingers, and places duties in the (now) regular way, is recognized and treated
is made by shortening the last note of the phrase, and them permanently upon approximately the same level as a quack or shyster.
not by breaking the time. The lessons to the pieces in as the others. I therefore think that it can do no harm, Whensoever the public shall demand credentials
the August and September numbers of THE ETUDE illus. and in at least nine cases out of ten would benefit stu from their music teacher, as they do from their doctor
trate this. dents materially. W. S. B. M.
and their public-school teacher, the purpose for which
2. Different kinds of touch, the staccato and legato, the American College of Musicians was founded will be
are clearly explained in the lessons above mentioned. THE FIELD OF MUSIC on the point of being realized. Honest, capable musi
3. There is no standard or uniform time for dance cians should do everything that they can to hasten this
music, the character of the piece having much to do
BY S. T. growth of public opinion. Their pupils preparing for
with its tempo; but the approximate tempo is indicated the vocation of a teacher should be brought up with the
IT is pleasing, it is hopeful to look over the field and idea that prior to entering on their work they should
in the pocket metronome; sold at this office for 50 cents.
C. W. L. take in a conception of the progress made during the come up for examination before this recognized body.
QUES.1. In hymn playing, should every note be
last half-century in the art of music. In this newly Its status is now pretty generally known throughout the
developed country, where everything has grown up as if
# as written, or should the inner and lower note be by magic, from the most crude and uncultivated begin
country, and is fast becoming more and more so. It is
not necessary nor expected that a teacher who has
2. In scale and arpeggio playing, should the fingers nings, this noble luxury is assuming proportions which already achieved success, has won a substantial position
remain in a true parallel line with the keys when at are worthy of National and State patronage; and the in a community, shall himself or herself come forward
either end of the key-board 7 most encouraging feature of this work is the high moral for examination in order to show that he is in sympathy
- ANs.1. No. The highest authorities insist on hav. standard which it is assuming. It is not to be in the with the work of the A. C. M. Neither was the organi.
ing every melody note struck, even if it is the same note future the lazy man's profession, and the knave will find zation founded on the idea that only it smembers were
several times over. At least two of the parts should be no encouragement in the curriculum of the divine art. to be regarded as the competent teachers, and all others
tied and played as smoothly as possible. As a general There is nothing that can reach ultimate success that is
incompetentthough much abuse has been heaped on
thing it is well to strike each note of the tenor, thus you not based upon the highest standard of morality. The
the heads of these members on account of this fallacy
give the rhythmic effect in connection with smoothness. musical profession deals with one of the most exalted but it was founded for the purpose of defining a stand
2. There is hardly room to give a full answer to this and refining influences which a Divine mind has placed ard of attainment,-which has been generally accepted
question, but we will say that the wrist should be held at the service of this erratic human race. The music as proper and dignified,and, by conducting examina:
well outward, but not so far out as to make the hand or teacher of the future should be imbued with the highest tions, to encourage the rising generation to attain to that
wrist stiff; this makes it easy for the thumb and fourth conceptions of purity and stern morality. He is dealing standard. It was not necessary that every good musi.
fingers to play their keys, and is the position taught by with one of Nature's most potent and refining influences, cian in the country should have been asked to assist in
leading teachers. The next time you hear an artist you and he or she should be made to feel bound to honor formulating the standards. It is desired, however, that
will notice that his hands remain steadily, without move. the profession, more than to be honored by it. There every good musician shall act in sympathy with the
ment or twisting of the hand at the wrist, but the whole is a great work before it, a work which demands labor movement and, as above remarked, do all in his power
hand moves in the direction of the run without any and perseverance. It demands all the activities of the
to promote a public and professional demand for an
"isting or turning in the wrist joint every time that the mind. It requires culture in every branch which goes accredited worker.
thumb or third and fourth fingers take their keys. to make the scholar. Musical instruction as a mere When this advanced state of affairs shall take the
C. W. L. amusement, a plaything, may often be the highest ambi.
place of the present musical chaos, the incompetent
"''' ' the last four notes (f, e, d, c) in tion of the pupil; but the teacher should be prepared to teacher will have time to devote himself to something
, ": from end of movement (1st
movement enrich the mind of the learner with a nobler conception less harmful than warping minds.
layed ? 'gro, Beethoven Sonata, Op. 2, No. 3) be of the task. The teacher should be prepared to instruct
It may safely be predicted, therefore, that when a com
ed? Continue broken octaves throughout passage? the pupil in the necessary physical culture in order to
'' because of limitations in old instru better develop the vocal organs, and also to the develop. munity shall have in its midst an active corps of A. C. M.
ply in THE ETUDE, and greatly oblige, graduates, a sufficient number to make its influence felt,
V. E. B. ment of grace of form and action. It may take years the evils referred to will be lessened in that community.
l ANs.-The lowest key of Beethoven's piano was the to undeceive the pupil who has the false conception that
ow F, so he. stopped on the accent and took single perfection can be reached without long, patient, self For a man to comprehend a work of genius, he must
In the Cotta Edition, those notes are written in denying application. Such are my conceptions of the certainly possess some power correlative to that power
who created it.Apthorp.
* footnote as broken octaves. C. W. L. profession of music.
17O T EI E E T U D E. 2

0N THE DESIRABILITY OF BACH STUDY. is apt to have his own mode of progressive work. I con he cannot hope to hold or do them good. Surely the
BY EM1L LIEBLING.
fine myself almost entirely to the first volume, using the teacher ought to be a good object lesson to his pupils,
2d, 3d, 5th, 15th, 16th Preludes and Fugues, the 6th, for from the moment he aspired to be a musician he has
IF Bach's name and works are not quite as much of a 20th, and 21st Preludes, and the 10th Fugue. had to stick to daily practice, and to sacrifice even vaca
bugbear as formerly, it is due to the fact that a number These selections will suffice to give a thorough idea tion days to his art.
rt
of artists have played and first-class teachers have per of the scope of the work. What shall we say of the teacher's need of enthusi
s:
sistently taught selections from his works which pos Afterwards the following works can be successively asm, of git ! We all have met these dry as dust
sessed more than a mere historical interest. This selec. taken up : Fantasia C minor, Fugue in A minor, Toc teachers who inspired us, not to do our best, but to make
tion of the fittest will apply equally to many of Mozart cata in D minor, First and last movements of the Italian a bonfire of our music and kindling wood of the piano.
and Haydn's works, while Beethoven is still exempt. Concerto, and the Chromatic Fantasie and Fugue; the May we be forgiven the rage they threw us into. They
Hndel and Scarlatti by all means need careful selec. latter two works in Buelow's edition. This would leave repress all musical feeling and certainly awaken none.
tion, so as to avoid a wasting of time. Hummel, in only the transcriptions of his Organ Works by Liszt, Their work is mechanical,and its results something worse.
whose Concertos the Chopin technique is decidedly fore. Tausig, Saint Saens, Raff, and other modern masters. We need all the enthusiasm possible in anything so de
shadowed, is also gradually falling into disuse, although This important question of selection applies equally to pendent on the emotions for interpretation as music.
teaching material of a highly valuable order may be the works of Hndel and Scarlatti. Of the former com Let us have it by all means. Our pupils will be inspired
found in the first and last movements of his E flat and poser I would recommend the Chaconne in F, Gigue in to earnest work, will be more content to do the drudgery
F# minor sonatas, the Rondo, op. 11, and La Belle Ca. G minor, Passacaille in G minor, Prelude, Variations of hand and wrist development, will see more clearly
pricciosa. The AP Sonata for four hands by the same and Gigue from the D minor Suite, and E minor Fugue. the meaning of the tone poets, and get closer to the
An excellent collection of Scarlatti's pieces can be found 1:.
composer is a veritable gem, and gives both players an height from which the Master voices sound through the
equal opportunity for display. Moscheles' beautiful in the Peters' edition, finely edited by von Buelow. The ages. Nothing can be more sublime than to draw
Sonata, op. 47, in E flat for four hands, may also be foregoing task seems more laborious than it in reality is, nearer to the Godhead than to other men, and to diffuse
highly recommended as an example of a happy ming. as the achievement of one set of Bach's works will make here on earth the godlike rays among mortals.
ling of the classic and romantic styles. the next a perfectly natural sequence. The thorough That old unlettered countryman, whose common sense
Bach's works were practically unknown until Men study of Bach is indispensable to modern pianism, made him a sage, said another suggestive thing: No
delssohn and the Bach Society of Leipzig began to use and while reacting in the most favorable manner on the man can git a little bit of larnin and then stop right
his works and publish them in corrected editions. For technique, it also encourages a more musicianly appreci still ; he'd ought to read the papers, any way. It re
teaching purposes, the Peters' Edition, which has been ation and treatment of all intricate work. Additional minded me of what I once heard a great musician say.
revised by such masters and Bach experts as Czerny, assistance may be derived from a clever treatise by Ja He scorned music from music journals, never read them,
Roitzsch and Griepenkerl, stands at the head, and is de dassohn on the Well-tempered Clavichord, in which he and said contributors didnt know what they were writ
cidedly preferable to the Koehler editions. The Stein thoroughly analyzes the most important fugues. ing about, any way. On being questioned in regard to his
graeber edition, fingered by the late Dr. Bischoff, of method, it was found that he could not express him
Berlin, is excellent. Mendelssohn showed the effect of self intelligently, his ideas being in utter confusion;
THREE REQUISITES FOR TEACHING.
his Bach study in his own works very quickly, and that he made only arbitrary statements, and on being
Robert Franz, the great song writer, has often acknowl BY E. E. AYRES. asked his reason for such and such, continued to give
edged his debt to the sturdy pillar of German music. dogmas for reasons. The truth was, he couldn't tell
There is a great deal in Bach's music that insures to it SoME time ago I was talking to a countryman who had why he believed and taught as he did. It was amusing,
greater longevity than usually falls to the lot of any his share of the rugged wisdom characteristic of his and at the same time pathetic.
one's musical compositions, exposed as they are to ever class. He was much wrought up over the general unfit That we need more than the performances of a few
changing taste and a certain natural evolution, which ness for his work of their district schoolmaster, and his scattered virtuosi to keep up high ideals in our art is a
causes people to discard the old and readily accept the homely way of putting some old truths was more forci truth too patent to need discussion. But may not some
new. The very absence of the emotional element in ble than elegant, but I was impressed. My feelin' of the odium that is cast on the mental acumen of musi
most of Bach's works rather operates in their favor, and about the matter, he says, is that a man's got to have cians in general be due in part to just such pitiful asser
fits them especially for the use of students. Most horse-sense grit, and besides, a good deal of git, in order tions on the part of some of our leading musicians?
chance listeners will be apt to apply to Bach's pieces to succeed in anything; and here's our teacher with a There is food for thought here, and THE ETUDE has a
Bill Nye's definition of classical music, that it is much fair show o' larnin' but no git to him, and still less sound field for a noble work. When a man tells you that he
better than it sounds, and in performing one of Bach's horse-sense I should call it. His scholars don't study, never reads a music journal, you need not be afraid of
compositions the student must observe a well-known old and he don't know how to make 'em, etc. But what I him, if he be ever so great a pianist. You will have no
precept most religiously, and not let his left hand know want to speak of is the three things he made requisite to difficulty in holding your own against him in any discus
what his right hand is doing. success in teaching. I shall use his order; it seems to me sion of musical topics. Especially is this true concern
This very difficulty of ambidexterity presents itself in a wise one, for neither perseverance nor enthusiasm will be ing pedagogics. Distrust a teacher who simply plays; **

the most elementary of Bach's Pianoforte Works, the two of much value to the man who lacks good common sense. who never reads journals; who thinks he has in himself
part Inventions; it is best to commence with No. 8, in F A union of the artistic and practical sense has been, all that is needful for success. Rest assured he is not
major, and pupils will do well to follow the little theme and always will be, rare. But we agree that the best likely to put two ideas together in their logical relation;
which occupies two bars throughout the composition in musician is the one with the keenest emotional nature he has no system, and doesn't care for one. In other
separate hands. After finishing this Nos. 18 and 14 fol and artistic sense. Shall we exclude him from the words, he teaches only by imitation, scornful of any
low,and afterwards No. 6, which presents quite an interest teacher's list? Certainly not. We only entreat him to scientific presentations of principles.
ing problem in syncopation and phrasing. Nos. 1, 10 and come down from the clouds and use the best nature has
12 can then be studied successively, introducing the Mor given him while teaching. DR, HOLMES ON MUSIC,
dent. Then Nos. 3 and 4, examples of trills, and finally There are the teachers who fly off at a tangent at
No. 2, in which all trills should be commenced from the every mistake of a pupil, whose nerves are constantly I HAvE had glimpses, the Professor said, of the
upper note, excepting the last. Of the three part Inven racked by the wholesale slaughter of their most cher conditions into which music is capable of bringing a
tions, it is desirable to only use Nos. 1, 2, 7, 10 and 12. ished sonatas, who have no patience with their less bril sensitive nature. Glimpses, I say, because I cannot pre
No. 7 is quite in the spirit and style of Mendelssohn. The liant pupils, and hence never lead them to even a little tend that I am capable of sounding all the depths or
reaching all the heights to which music may transport
attentive student will also find much to remind him of glimmer of light, and so on through the list. Then our mortal consciousness. Let me remind you of a
and suggest the Cramer & Clementi's studies. there are the teachers who ride their hobbies right over curious fact with reference to the seat of musical sense.
After a reasonable mastery of the Instructions it is all reason and reasonable suggestions; who, because Far down below the great masses of thinking marrow and
hardly necessary to study the six French Suites; a three they adore. Chopin, allow pupils to go straight from intoits secondary agents, just as the brain is about to merge
the spinal cord, the roots of the nerve of hearing
part Gigue in G major deserves mention. However, the rudiments to drawing out, in long agony, his most spread their white filaments out into the sentient matter,
no one can afford to omit selections from the six English exquisite nocturnes; who, in short, have no sense of the where they report what the external organs of hearing
Suites. I would recommend the following movements as fitness of things. Others use the same order of treat. tell them. This sentient matter is in remote connection
they are eminently ment for all, which is about as reasonable as for a physi only with
especially desirable, particularly as the mental organs, far more remote than the
centres of the sense of vision and that of smell. In a
useful for public performance: cian to prescribe the same drugs for all diseases; and I word, the musical faculty might be said to have a little
I. Suite in A major. Sarabande and the two Bour might go on and multiply the types ad infinitum. brain of its own. It has a special world, and a private
res. II. Suite in A minor. Prelude, two Bourres and We come to the second requisiteperseverance. And language all to itself. How can one explain its signifi.
cance to those whose musical faculties are in a rudi:
Gigue. III. Suite in G minor. Prelude, Gavotte and if that virtue ever had good soil for cultivation, it has in mentary state of development, or who have never had
the musical world.
Gigue. IV. Suite in F major. Prelude and Gigue. V. them trained? Can you describe in intelligible language
Suite in E minor. Prelude and Passepied. VI. Suite We all have patience with musical pupils, but the ma the smell of a rose as compared with that of a violet?
in D minor. Two Gavottes. jority are not musical; they simply have moderate ability Nomusic can be translated only by music. Just so far
The six Partitas are of about the same grade of dif: and talent, work faithfully perhaps, if encouraged, and as it suggests worded thought, it falls short of its highest
ficulty, but can well be omitted, proceeding at once to the under proper training develop into fair players. They office. Pure
ture; that emotional
is what I askmovements
of music, ofMusic
the spiritual na"
will be the
Well-tempered Clavichord. In this work every teacher are the test of the teacher. Without the most faithful work, universal languagethe Volapuk of spiritual being.
THE ET U D E. 171
I-PROBLEMS OF MUSIC TEACHING, TESTIMONIALS, DREw LAD1Es SEMINARY.
Chats with Music Students, by Thomas Tapper, is
BY J. C. FILLMORE. delightful; it is full of inspiring truths admirably pre
I find your last publication, Chats with Music Stu. sented. No thoughtful teacher or student of music can
dents, far beyond my expectations. Surely every music read it without being benefited. LYMAN F. BROWN.
THE great majority of music teachers in this country student will give it a hearty welcome. While speaking of
are doing their work in country places, in small towns, this work, I wish to again express to you my increased myI word
feel it a pleasure, although unsolicited by you, to add
of commendation regarding the valuable work
appreciation of your monthly publication, THE ETUDE.
or in cities remote from the great metropolitan centres M. B. ARNOTT. by Mr. W. F. Gates. The teacher as well as the student
and devoid of any such musical life as is to be found in will find in Musical Mosaics abundant food for reflection,
those centres. The most important problem they have MT. ST. Joseph. and its influence must be most salutary for the musician.
We have examined Chats with Music Students, and It surpasses anything of its kind that I have seen either
to solve is how to awaken, develop and foster musical think it an excellent work. It contains valuable hints in this country or in Europe. I bespeak for it a large
life in their pupils, and through them in the community for teachers and students. SISTERs of ST. Joseph. sale. LYMAN WHEELER.
at large. Of course, there may be some devices resorted
SAN FRANCIsco, CAL.
to outside of the regular teaching; but the first and most I would thank you for the assistance THE ETUDE has
important question is, how to shape the teaching so as to given me in the last two years, not merely with its musical CONCERT PROGRAMMES,
secure this result as rapidly as possible. pages, but its valuable articles on music and teaching.
AGNES M. NICKERSoN. Hiawatha Academy, Kansas. H. L. Ainsworth, Dir.
It is plain to see that the problem takes on a very dif:
ferent aspect under such conditions from that which it NEW YORK CITY. Concerto, D minor, Mozart, orchestral parts on
wears under the conditions of a large city in the East or . Your publication of Twenty Lessons to a Beginner second piano; Polacca Brillante, Op. 72, Weber;
is a most deserving work for pedagogical students. It AriaAh s'estinto, Mercadante ; Polka de la
in Europe. It is not the same thing to teach in Penn
deserves great credit for THE ETUDE, which encourages Reine, Raff; Marche Heroique, Saint-Saens,
Yan or Oshkosh as to teach in Boston or Leipzig. When the publication of such instructive works, and reflects orchestral parts on second piano; Fantaisie Polonaise,
one's pupils hear the Boston Symphony Orchestra every very highly on Mr. Mathews' abilities as a master of the Raff; My Heart at Thy Sweet Voice, Saint Saens;
week, they can be depended on to learn a vast deal by art of teaching. The reason why so many piano students Capriccio Brillante, Op. 22, B minor, Mendelssohn,
turn out to be a failure is, that their primary instruc orchestral parts on second piano.
hearing which they could not learn in any other way.
tion was not received on the principles of Mr. Mathews.
When they have no opportunities of hearing except such I have always instructed little children on these prin Harrington's School of Music.
as the teacher and his pupils can furnish, a tenfold ciples, compelling them to think every note before play Webster, Buds of Promise; Sodermann, Swedish
greater weight of responsibility falls on the teacher. Heing, and to learn to write all their scales, different chords, Wedding. March; Torry, La Farfalletta; Strelezki,
must do, alone and unaided, what the Boston teacher, intervals, and a few choice tunes during the first year Reverie Nocturne; Rossini, Barbier de Sevilla (Over
before they play from books. There is no satisfactory ture); Wilson, Dance of the Haymakers; Osborne,
plus the symphony orchestra, plus the other manifold instruction book for little children, and there never will
Who's at my Window?; Kullak, Scherzo ; Smart,
musical influences of Boston, do for the pupil there. be, in the sense of the general demands of a good in Stars of the Summer Night; Mayer, Etude in F Sharp,
If he cannot do this, it will not be done at all. If his struction book for young students. The teacher has Op.61, No. 3: Labitzky, The Rhine Imperial Waltzes;
pupils do not come to know, love and enjoy the best to to form a new instruction book for every pupil according Planquette, The Lee Shore; Gilder, Ocean Surf; Keler
age, character, etc. But what great help the teacher Bela, Lustspiel Overture.
music through his efforts, they will never reach any gets in forming so many new books from such a work as
such results. Mr. Mathews' is very superior, and I for one thank him Vincennes University.
It is a clear case that he cannot, as many European for helping me in the great task.
EDWARD MAYERHOFER. Mendelssohn, Capriccio in B Minor, Orchestral ac
and Eastern teachers do, devote his main work to the companiment on second piano; Saint-Saens, My
acquirement of technic. Pupils who devote half or two The eminent critic, Mr. Charles Capen, says of How Heart at Thy Sweet Voice; Henselt. (a) If I Were a
thirds of their practice-time to technical studies and ard's Harmony, The author's success is simply sur. Bird; Brahms, (b) Three Hungarian Dances; Gounod,
tudes, with no opportunities to hear good music, are passing. He is manifestly superior to Richter as regards In the Springtime; Rubinstein, Kamennoi Ostrow ;
clearness of statement, and in this respect, at least, we Brahms, #
Love Song; Bruch, (b) Question; Bargiel,
not in the way of learning to understand, enjoy and in cannot name any work that is so thoroughly admirable. Suite Op. 31; Abt, I See Thee, Love, in Every Flower;
terpret the works of the masters in any short period ofIn his treatment of Modulation, Mr. Howard is notably Moszkowski, Polonaise.
time. Nothing but great music awakens the love for felicitous. This reviewer also calls it a perfect ency
clopedia of harmonic law. Piano Recital by Pupils of Mrs. Avirett, Dallas, Texas.
great music. Nothing but constant daily experience of Mr. J. W. Tufts, of Boston, the eminent theorist and
great music enables any pupil to appreciate and enjoy it. Essay, Beethoven; Overture, Egmont, 4 hands Beeth
teacher, says of Howard's Harmony, I consider it a oven; Faust, Op. 114, D. Krug; Break of Morn, Dorn;
The problem for most teachers therefore must be, how valuable work, and I trust it will meet the wide (a) The Fair, Gurlitt; (b) The Little Carnival, Straebbog;
to reduce the necessary technical study and practice torecognition, it deserves. Miss McCarroll, teacher of On the Meadow, Lichner; Fest Polonaise 4 hands;
Harmony in the Conservatory of Music, Toronto, Carrie Gavotte, Liberatti; La Rose, Hunter; Poet and
its lowest terms in order to gain the utmost time pos. Canada, says, It contains a great deal of valuable in Peasant, Suppe; Mozart, Miss Stella Lewis; Martha,
sible for experience of real music. formation, and is evidently the work of a conscientious The Oesten; Fur Elise, Beethoven; Falling Leaves,
Further, neither teacher nor pupil can afford to waste musician. Mr. Alfred Arthur, Principal of the Cleve Mueller; Through Forest and Meadow, Lichner; Nearer
time on unproductive pieces, however good. There is land School of Music, makes constant use of it, and com My God to Thee, Sudds; Essay, Liszt; Nocturne in E
a large amount of excellent music which every accom. the mends it with unstinted praise. Mr. Henry M. Dunham, flat, Chopin; Les Rameaux, Leybach; Old Black Joe,
eminent organist of the New England Conservatory, Gimbel.
plished musician ought to know, which still ought not to Boston, endorses its merits as a thoroughly musi
be commonly used in teaching, because other pieces are cian-like, exhaustive and practical text-book. Musical Department Christian College, Columbia, Mo.,
much more productive of the results at which every in. O. H. Tiede, Director.
I beg to acknowledge the receipt of Mr. Tapper's
telligent music teacher should aim. He must select his Chats with Music Students, and it is to say Meeresstille und Glckliche Fahrt, 8 hands, Mendels
teaching pieces with reference to their high musical that I have enjoyed reading it myself, and shall recom sohn; Sonata, Op. 27, No. 2, Beethoven; Rondo Bril
quality, but also with reference to their fitness for de mend it to my pupils as a stimulating and suggestive book, liante, Weber; Polonaise, No. 2, E Major, Liszt; Dance
veloping the most important points of modern pianoforte
Faithfully yours, of #. Ascher; Freuhling Erwachen, 8 hands, Em.
To MR. THEo. PRESSER. ARTHUR Foote. Bach.
technic. In this way, he will generally get not only the
best musical results, but also the best technical results. Chats with Music Students, by Thos. Tapper, I
For the finest qualities of technic are only to be obtained have examined with ever increasing interest and surprise doIN TEACHING, it is not enough to tell a pupil what to
and how to do it. Were all very intelligent, persistent
that so much excellent advice and information can be
in the effort to realize a musical ideal.
expressed with such clearness and force in a volume of and thoughtful it would be enough. Unfortunately for
the teacher the minds of all pupils are not bright nor are
This is a most important point. I know that some its size.
distinguished teachers look on technic as pure mechan It ought to be carefully read by every student of music, sary all pupils faithful in practice. It is therefore, very neces
to whom it cannot but prove of great and everlasting
ics. But a musical technic is by no means anything of benefit. that the teacher should instruct the pupil what to do
H. E. CRouch. and how to do it, and then watch him until he sees the
the sort. If a pianist who takes this view is not himself work is actually accomplished. Certain things about
a mechanic rather than an artist, he has something else MR. W. F. GATES :- - - physical drill are absolutely essential to voice culture.
to thank besides his own artisan-like view of the matter. I have carefully examined your Musical Mosaics, A teacher may show the pupil what they are and then go
and I am happy to say that it is the most valuable com: on with lessons for years and the pupil may make no
The technical problem is not merely nor even primarily pilation of great men's advice and thoughts that I have whatever. If the teacher sees no progress it is
* mechanical one. It means not merely the develop. yet seen. # will help both pupil and teacher as well as est for him not to call the pupil stupid, or to think that
ment and control of the muscular apparatus to produce anybody who is studiously inclined, Every musician of with more practice and more time the progress will come,
at will certain mechanical results, but first and fore this country should know of your book and possess it. but to look to his foundations. The fault will be that
most the correlation of the musical perception and the The price is so low that it is within reach of the poor as some duty has been unperformed by the pupil, not from
well as the rich. I recommend it to my pupils. stupidity, but from lack of appreciation of the useful.
"sical imagination with the nervous and muscular ap CALIXA LAVALLEE.
ness of the instruction. Watch that one point until the
paratus which is th tool of the mind. The natural, pupil does just right. Progress will follow.Voice
Chats with Music Students came duly to hand. Quarterly.
logical, rational order is musical perception first, technic I never read a book on this subject with more '''
second. First the ideal, then the means by which this every chapter is practical and helpful, and I heartily
ideal is to be realized. So that we come back to our commend it to every music student. F. D. BAARs. While ten men watch for a chance, one makes
starting-point: the first problem of the teacher is to Chats with Music Students received the other chances; and while ten wait for something to turn up,
one turns something up; so, while ten fail, one succeeds,
awaken the desire of the pupil to accomplish certain day, and after looking it over, I find it just what I have and is called a man of luck, or favorite of fortune,
musical results. Then the way is clear to show how been looking for, and think that no student of music can There is no luck like pluck, and fortune favors those who
these results are to be accomplished. afford to be without it. J. C. JRGENSEN. are most indifferent to fortune.
172 T EI E E T U D E.
WORTHY OF COMMENT. honor. Before her return to Boston, Madame Blank temperament constitute him a safe guide through the
visited the young girl's parents and offered to take Eliza labyrinthian paths leading to the summit of musical
CoPERATION IN MUSIC LEssoNs. beth with her to enter the Conservatory, and she was to knowledge. R
book may assist, as may also the example
accompany her whenever she appeared upon the stage. of a performer whose technic is of the brilliant order, but,
Both pupils and parents sometimes forget that the Now it was just here that the demur was made. Eliza unless the result of our experience be at fault, neither
study of music is a coperative undertaking. The teacher beth's parents had a religious prejudice to the stage and will impart those qualities of refinement and finish so
can only do his part. The pupil has a part and so do could not be prevailed upon to allow their daughter to ac likely to be acquired by association with the teacher who
the parents. The teacher gives the lesson, which is cept the brilliant offer. Elizabeth begged and pleaded, first is a musician in the true sense, and next a man of edu .|
nothing more or less than showing the pupil how to but in vain. Her few weeks' intercourse with Madame cation and attainments otherwise. What then is neces
practice, and the better the teacher, the better the grade Blank had given her an insight into what she could at sary for the aspiring musician, is to place himself under
of practice is it that is required. This practice can be tain, and just whetted her thirst for more. But all efforts the instruction of a teacher capable of cultivating in him
done by no one but the pupil, and in no way can a teacher made in her behalf by influential friends were unavailing. the graces and refinements of musical performance as
be made responsible for the pupil's practice. The parents Her parents were inexorable, and she did not go. For distinct from the capability of mere rapidity of execution.
can see to it that there is nothing to hinder the pupil, no years she still followed the same little path, went around Education in music must be of the head and heart. To
calls made on him at his time for practice; and, by the in the same rut. Still played in the church and for con exalt digital facility or powers of mere endurance to a
way, there is never any good practice unless there are certs. She had variety, but made very little progress. At place of importance above the cultivation of the intellect
and the finer sensibilities of our nature is pernicious, but
regular and fixed hours for it. The parent should allow last other things in life crowded this all out, for her music
no interruptions of practice, and not allow playfellows was not an important part of her education. She still hasunfortunately practiced by myriads of music teachers
to break in on this devoted hour. All of the c lay an earnest love for the art, but that intense enthusiasm throughout the world. The effort at all times should be
mates should understand these hours of practice, and that is all gone. It was a great mistake, as all her friends toward refinement, and anything tending to retard the *
at this time they are not to come to ask him to play acknowledged, for her love and talent for music was not advance in that direction should be mercilessly dealt
with them. An experience of about twenty-five years of any common order. with and removed from the path. If, then, teachers are
has taught the writer to especially appreciate a sensible There comes a crisis in every life, and fortunate is he found who do not rise to the requirements of their pro
mother, one who takes an interest in ' child's progress who can rise to the occasion and decide wisely. Indeci fession, those seeking musical instruction should hesitate
and works in harmony with his endeavors, and does what sion is fatal. To float, is to go down stream. before placing themselves under guidance that, in the
she can to carry out his suggestions. Mr. Louis Lom. Once to every man and nation comes the moment to decide, nature of things, is likely to misdirect the student and
In the strife of Truth and Falsehood, for the good or evil side. cultivate a crop of bad habits, that will take longer to
bard says to the pupil: Lowell.
The teacher gives an exposition of the general prin There is a tide in the affairs of men, unlearn at a later period, than would be required to learn
ciples of technique; he also demonstrates philosophically Which, taken at the flood, leads on to fortune; the art properly, if from beginning, the student selected
Omitted, all the voyage of their life an efficient instructor who could train him in the refine
the way to do a thing, but he cannot make you play or is bound in shallows and misery.
sing without your own diligent coperation, however Shakespeare. ments of musical performance. A. A. C.The Metro
Of all sad words of tongue or pen, 720716. -

apt you may be. - -


The saddest are these, It might have been.
During the lesson, the pupil should let no point pass Whittier.
until all is clearly understood. Nothing pleases a good A LETTER TO THE ETUDE.
teacher more than to have his pupil ask for further in: EXHORTATION TO STUDENTS OF MUSIC.
formation on points of the lesson, and to see his pupil As I had the ring-finger operation performed under
anxious to have a clear conception of every thing in the DR. P. H. BRYCE has given students a very instructive particularly trying circumstances, others may like to
lesson. Good practice is, when the pupil holds himself
up to exact work, allowing no mistakes, and when he first lecture of the relation borne by nervous force to the de hear how successful it was, not only as a very neat
velopment of genius. He very sensibly exhorted them piece of surgery, but better still as a permanent benefit
learns perfectly all of the hard passages first. to a mode of living, to a method of purely physical cul in piano playing.
MUSIC IN AMERICA. ture, which would keep their systems in the best possi
ble condition to bear the nervous strain. * My tendons were cut June the 6th, and as I did not
AMERICANs are a patriotic people in all things except His words were very wise and much to the point. It wish any one to know of the operation, my hands were
in music; in this we are too much inclined to look to the is a lamentable fact that too many enthusiastic students, not bandaged for a few hours, as is usually the case. The
old country. Dr. A. R. Palmer spoke truly when he no matter what the course that their application may
said: It is safe to look to this country for things take, utterly neglect their physical health ' the sake of next morning I sailed for Europe, and in the bustle was
in music. We already excel Europe in all matters of their mental advancement. It is not work which obliged to use my hand as if nothing was the matter,
invention, and it is only a question of time when our kills, say the physicians, it is worry. Likewise, it is carrying satchels, etc. Two days afterward I tried my
inventiveness will be employed along artistic lines. neglect. It is not over-study which kills, because a man hand on the piano, to see if there was really any benefit.
Even in Germany there is nothing like our popular dis or woman can only absorb a certain amount in a given
semination of musical culture. In this country there is time. Given proper food, exercise and sleep, the whole I could stretch easily one key farther and grasp chords
no considerable town that cannot produce a mixed of the remainder of the time, might be devoted to study which I had been only able to arpeggio. I could also
chorus of three or four hundred of both sexes who can without injury to the physical man. raise my fourth finger over an inch, although it is seldom
read music at sight. Theodore Kullak, the great Berlin Under a system of slow starvation of the body, through desirable to do so. I still kept my secret, preferring to
teacher, once said to one of William Mason's pupils that lack of both food and sleep, the mind becomes preter
Americans leave no deficiencies for foreign masters to naturally active, and the sensibilities abnormally alert, wait and give my hand a test by practicing a few weeks,
upply. and a tremendous amount of acquisition may be crowded when, by that time, if the benefit was not permanent, I
8 # there is much work to be done. And music into a very small space of time. But eventually the stu should know it. I find, however, the same improve
teachers are the ones to do it. THE ETUDE has faith: dent goes to the wall. Over-study is the verdict, ment, and my only regret is that I did not have it
fully pointed out ways and means to best accomplish when really the cause is a starvation against which the severed before. If practicing could accomplish what
this task. Our pupils must be enthused with their work overtaxed body could not battle. , Blood that is kept
and study, and as the stream can flow no higher than constantly feeding the brain, must be well fed itself, and this cutting has, it certainly would have been done in
the fountain, teachers must gird up for better work. should be of good quality. I have a roaring in my my case.
Musical societies need to be organized and well sus ears, complains one overtaxed student. Your blood I studied several years with Mr. S. B. Mills, then came
tained. Teachers should give musicales with the help is not of proper quality. It is not your ears, it is the
of pupils and friends. Singing schools should be taught. brain which roars. Your blood is thin. A tonic and to Leipzig and spent some time at the conservatory, and
Music in the public schools should be well looked after. proper exercise, with proper food, reduces the blood to also at Weimar with Liszt. On my return I studied
Churches should give as good music as the choir is its proper condition and the trouble is over. with Wm. H. Sherwood, and yet all those years of study
capable of, and they can do better than most choristers Now, then, on no student is there a greater drain than did not accomplish what the severing did in few seconds.
are willing to require of them. Lastly, it all depends upon the student of music, more especially the student ... I
on the individual teacher, for he or she can make his or of vocal music. Let them take lessons from Patti, who Of course, after the operation, care must be taken to
her community truly musical by persistent and well eats and rests, going to bed, she says, with the chickens follow the directions, otherwise the benefit might not be
directed efforts. so marked. I most cheerfully endorse the claims for
But much of this means hard work without an imme onAthe
- -
nights when she does not appear.
noted business woman, in Paris, has laid it down as this operation, and advise others not to allow prejudice
diate money equivalent, yet, in the long run, nothing a law of her life to lie in bed one whole day during each
will pay better, for all that tends to increase the interest week. To few of us engaged in a business life, is it to stand in the way of permanent benefit.
in music in the teacher's community is a decided gain given to be able to devote one entire day each week to CoRDELIA Doug HERTY.
and a large gain. lying in bed (perhaps she takes Sunday for it, she does Leipzig, August 25th, 1890.
TALENT AND ITS RESPONSIBILITY. not say), but she has undoubtedly by this means retained
a vigor of mind and body that has been money in her
If one has a special talent for music, art, scientific
studies, mathematics or languages, if he has inventive tal pocket. Moral-Rest all you can, you who are struggling There are two things about what we should never
ent or mercantile ability, it is as much a call as was for a future which means to you not only money but fame. worry: Things we can help and things we cannot help.
the voice out of the burning bush to Moses: But, alas! how As a general thing, an individual who is clean in his
few parents there are that seem to feel the weight of this TEACHERS AND TEACHING, person is neat in his morals.-H. W. Shaw.
responsibility resting upon them. The following from Truthfulness is an indispensable requisite in every
The Orpheus, is a case in point:-. SUPros NG a youth, possessing what is commonly artistic mind, as in every upright disposition.-ft.
In a small western town noted for its educational ad termed a taste for music, is desirous of learning, or Wagner.
vantages,
musician. there
Her lived a young
parents, girl who
however, were was by naturecira does play some instrument, asks to be directed how to REMEMBER that, no matter what you intend to be:
in moderate acquire the habit of playing with intelligence and refine come, you cannot avoid apprenticeship.-Elizabeth
cumstances, and could not afford to give her the benefit ment, what shall we answer him?
Stuart Phelps. >
of the most advanced training. She studied by herself, . That he be advised to purchase some one of the many Smile at the world and the world will smile with
and never missed her regular hours for practice. With a instruction books for his special instrument and study
true love of the art she grasped every opportunity for im: that? or shall he be directed to take lessons from Mr. you is an old adage but a true one.
provement. She played in her church, was accompanist So and So, whose musical reputation is based upon a A few books well studied and thoroughly digested,
for the Glee Club and Musical Society in her own little power of technical skill that is disproportionate with his nourish the understanding more than hundreds but gar:
town. Madame Blank, of Boston, made a trip to this knowledge of the art in other directions? Both may help, gled in the mouth.
little town to visit relatives. Her attention was directed but neither alone nor combined will lead to the achieve. A certain amount of opposition is a great help to a
to this young girl, whom we will call Elizabeth, and after ment of the student's purpose. What he requires man. Kites rise against and not with the wind. Even a
a few trials adame Blank invited. her t? be her ac is living precepts and examples, expounded and exhib head wind is better than none. No man ever worked
companist at a series of Musicales to be given in her ited by a teacher whose intellectual grasp and artistic his passage anywhere in a dead calm.Montreal Star.
T EIF ET U D E.

Examination of American College of Musicians.


Examination for Associateship. 9

Officiary for the Year 1890-1891. 6. Harmonize the following cantus firmus in four parts,
President. and write in piano score.
E. M. Bowman.
\\|||||\\ |||||}|| || ||\|\\\. f
Vice-Presidents.
S. B. Whitney. Miss Amy Fay.

Secretary and Treasurer.


EXAMINATION *
Robert Bonner, 60 Williams St. Providence, R.I. 1890,

############
BOARD OF EXAMINERS. GENERAL MUSICAL THEORY. COUNTERPOINT.

PIANO. VOICE,
The Theoretic Examination consisted in a writtek. 1. To a short original Cantus Firmus in Tenor, add:
Mme. Fannie B. Zeisler, Mme. Luisa Cappiani, examination in the following branches: (a) An Alto in equal notes,
Wm. Mason, J. Harry Wheeler. (b) A Soprano in Florid Counterpoint,
(c) A Bass in Florid Counterpoint,
A. R. Parsons, F. W. Root. HARMONY.
(d) A Bass in Syncopation.
ORGAN, PUBLIC SCHOOLs. . 1. Work out the following figured bass in four parts, and )
write in piano score. *
. To the following Cantus add a part below in half notes.
S. P. Warren, W. F. Heath,
S. B. Whitney, N. Coe Stewart,
# ^-ss-,

Geo. E. Whiting, Wm. H. Dana.

"MUSICAL THEORY, WIOLIN,

Dudley Buck, S. E. Jacobsohn,


W. W. Gilchrist, J. H. Beck, 6 (6.5 - 5 - - - -

Thos. Tapper, Jr., G. Dannreuther.


56 #6 3 4 "-- 3432 3
2===E====E=EHF E EH
#######EEH -z -z

8 American College of Musicians. 10 American College of Musicians.

2. Write the following Cadence in Vocal score (with 3. To the following Cantus add a Florid Bass.
Soprano, Alto, Tenor and Bass clefs.) :# 1 I I H
B0ARD OF EXAMINERS, |ze H2. #H#
1890

MUSICAL FORM.
PIANO-FORTE,
Mme. Fannie B. Zeisler,
VOICE,

Mme. Luisa Cappiani,


b. *H . What can you say of the Minuet?
(Acting for Wm. Mason.) J. Harry Wheeler, Briefly outline the form of a Concerto.
Wm. H. Sherwood,
A. R. Parsons,
ORGAN,
F. W. Root.

PUBLIC SCHOOLS,
3. (a) Write a modulation from F major, to F sharp
major, closing with a complete cadence.
(b) Write a modulation from F sharp major to F major,
closing with a complete cadence.
|. From what is the Sonata, in its larger sense, derived?
. Construct a Period (as a melody, if possible), in the
following Rhythm.
Construct the two modulations, if possible, in the
S. P. Warren, W. F. Heath,
S. B. Whitney. N. Coe Stewart,
form of a period (the modulation from F to F
sharp forming the Thesis, and that from F sharp
e ...|2E!----|--|--|--|--|
to F, the Antithesis.
Geo. E. Whiting, Wm. H. Dana.
5. What is meant by A piano trio, A piano quartette?
Employ various kinds of chords, according to your
MUSICAL THEORY, WIOLIN skill, but avoid enharmonic changes. 6. Sketch a two-part Primary form. Bracket and name
subdivisions.
E. M. Bowman, G. Dannreuther, 4. Figure the following harmonies, and name the funda
mental or root of each. 7. Analyze the accompanying Sonata movement, indica
W. W. Gilchrist, S. E. Jacobsohn, ing, by means of terms, brackets, figures, (metri
Thos. Tapper, JT., J. H. Beck. cal cipher) etc, :
(Acting for Dudley Buck.) Principal and subordinate themes, both in exposi
tion and development.
ar.
-4-2 Connective or transitional passages.

-** -* *-*

5. Write a short original organ-point on the Dominant,


closing the illustration with another on the Tonic.
| Organ point.
. Keys passed through in the development.
. Subdivisions of theme, motival structure, and such
other minor points as would indicate a thorough
understanding of the example submitted.
-
e
-

174: TED E ETTU D E.


- -
-- 2

Examination for Associateship. 11 Examination for Associateship. 13 Examination for Associateship.


-
5
-

-
ACOUSTICS. - SPECIAL THEORETIC EXAMINATIO17 r.
7. Bar ; its use. -

1. Of what physical phenomena is sound, as we hear it, - 1. Describe or diagram the proper position (ready to
the result? 8. Group the following into two measures, and mark play) for a beginner at the piano-forte with re-
And how perceived? time-signatures: gard to the following particulars:
2. What is the cause of Echo? What some of the means (a) General position of the body, including relation to
for neutralizing it in Halls? And how do they E-G- +E" *-Z.
the key-board and height of chair (or stool).
operate?
H6+ s: (b) Position of the fingers (2, 3, 4, 5,) from the tips to
3. What are some of the laws governing reflection of the metacarpal joints.
*
Sound? 9. Explain your proceeding, and define Measure.
4. What are overtones? (give illustration of a fundamen (c) Position of the thumb (1).
tal with overtones). 10. What is the office of the sharp -L-- ? (d) Position from the second joints of the fingers to
5. What are the vibrations per second of the wrist.

(e) Position from the metacarpal (knuckle) joints to


- PE'EE ->
French pitch? 11. Of the double-sharp #EE,
-xw
the elbow.

(f) Position from the elbow to the shoulder.


2. Define the plain Legato Touch, and give a general idea
In ascending do they increase regularly or propor
tionately? State anything you may know of the principles
involved in this point.
12. Of the Natural #=HEE ?
of the position, action, and condition which each
of the above members, from the finger tips to the
shoulder, should assume in this touch.
f
HISTORY.
13. In changing epitch of a staff degree from Double
sharp to sharp, is it logical to employ both Natural
3. Define and describe the Clinging Touch, and mention #
L".
to what class of passages it is best adapted.
and Sharp?
1. Name, in historical order, the grand divisions in mu
4. Describe minutely all the modes of staccato execution
sical development from earliest times, as you ####-- known to you, comprising,
understand them.
2. (a) Name some of the greatest of Italian masters, be
ginning with the oldest, and coming down to
###### (a) Finger action.
(b) Write action and
modern, giving dates, and some of their works. 14. What is Compound Measure?
(c) Arm action, alike singly, or in combination.
(b) The same with respect to German, 15. Write time-signature and two measures of every kind
(c) The same with respect to French, you know. Mark the metrical accents, and say 5. Suggest some exercises suitable to the correction of the
prevalent Staccato habit.
:
(d) The same with respect to English. whether simple or compound measure.

12 American College of Musicians. 14 American College of Musicians. 16 American College of Musicians.

3. To what influence does music owe its greatest de 16. Define Meter. 6. Describe or diagram the proper position and ese of the
velopment? 17. Define Rhythm. hand for octave playing.
4. From what is the #:
German Lied,
Canzone.
English Ballad.
} derived ? 18. Above the staff in the following example, indicate all
metric accents, below the staff indicate all the
7. (a) Describe the movement of the wrist in playing the
following, and also the position to be assumed by
rhythmic accents. the fifth-finger side of the hand.
Name some of the greatest composers in these depart
---
ments, with dates. I. Metric.
5. Whose Passion is most celebrated? _ - * >

Name some others.


6. With what group of writers may the modern Romantic
school be said to have originated? Name some of
##: P', 2 1 2 3
*D
5

(b) Describe the position and movements of wrists,


its brightest lights, since then. II. Rhythmic.
German 19. Write auxiliary tones and appoggiaturas to arms, and figers in the following passage,
7. In what departments do modern | | musi M.D. M.G.

cians excel?
English
#
20. Mention the Italian words (with approximate pro >

TERMINOLOGY. nunciation and metronome speed), indicating seven (c) Describe the movements of the wrist to connect,
degrees of Tempo, three slower than Moderato, and approximately, notes beyond the reach of the
The items in this paper, while demanding some three faster.
hand, without using the damper pedal, for ex
knowledge for their correct solution, are intended pri ample:
marily to call out the ability of the candidate to give
definitions from the standpoint of a teacher. Therefore, PIANO-FORTE,
let the answers be correct, concise, and comprehensive.

DEFINE. DEMONSTRATIVE EXAMINATION.


1. Scale. The Demonstrative Examination consisted of test ex
2. Melody.
(d) Describe the requisite movements in playing the
ercises in touch, technique, reading at sight, transposition, following:
3. Harmony. and the performance of selections, at the discretion of the A A - -

4. Key, or Mode. examiners, from the list of works given in the Prospectus
5. Staff: how many degrees without leger lines? for Associateship Examination (see Prospectus Page 12),
supplemented by original lists handed in by the cendi, **
-

6. Fundamental of a chord. dates.


s.
THE ET U D E. 175

Examination for Associateship. 17 Examination for Associatesnap. - 19 Examination for Fellowship. 21


-

(e) What should be the position of the 5th finger, and SPECIAL TELEORETIC EXAMINATION. 31. Give form in measure of a Long metre tune, a Short
the function of the wrist in delivering with a full metre tune, a Common metre tune, an 8s and 7s
round tone, the first note in each measure, in the 1. Give a list of sounding stops, classifying them as to
quality and pitch. tune, an Anglican Chant.
following?- . . In addition to the above see page 7 for general
2. What are respectively, flue, and reed stops, and how
=# =##= in each case is the sound generated?
musical theory.

B. : : # 3. Describe the structure (I) of a stopped Diapason Pipe:


(II) of a reed pipe, and how are they tuned? EXAMINATION FOR FELLOWSHIP,
(f) suggest some exercise suitable for cultivating free 4. How many varieties of tone are prduced by the flue
GENERAL MUSICAL THEORY.
dom of wrist, while imparting energy to the fin stops? Name them.
gers; in other words, of concentrating the muscu 5. What is a Salicional? a Violino? a Bassoon? a This Examination consisted in the presentation of a
5: . lar effort in the fingers and maintaining, at the Bourdon? written Thesis on some topic relating to the theory or
same time, a pliant wrist. practice of Music, and of a composition requiring not less
6. What is understood by 8 ft tone?
#!.
8. (a) Indicate (by means of brackets TT), the exact than eight minutes for its performance (see Prospectus,
useof the damper Pedal in the following excerpts: 7. How many different foot tones are to be found in page 37,) in addition to a written Examinatian in the
dolce. _ Organs? Name them. following branches,
Largo. 8. What to meet all requirements should be the compass
of Manuals and Pedals? HARMONY.
9. What is the actual compass or range of a large organ? 1. Write modulations between the following keys: write
10. (a) What are mutation stops? Give names. in free style (Florid) and make the voice-parts as
(b) What are mixture stops? Give names. melodic as possible:
(a) From B minor to E flat major.
11. Give another name for Principal 8 ft.
(b) From F sharp minor to G major, thgnce to B flat
-- 12. What is the difference between an open and a stopped major.
-*

: * pipe of the same length? Give the theoretic


Teason.
2. To the following Choral melody add below three parts
(b) For what purposes is the damper pedal to be used? in free style:
(c) What notes are parts of the harmony in the follow 13. What would you suggest as an appropriate accompani _n l l u

ing passage, and how should the damper pedal be ment (a) for a Flute (8 ft.) solo? (b) for a Clari D-ur-TEC-IT-EC

employed? What expression do you suggest? onet solo?

14. What registration would you suggest in accompany


###########
ing (a) Mendelssohn's Orest in the Lord? (Elijah) ar". *

(b) Handel's Hallelujah Chorus?


15. What is an octave couple, ? ###########
a/*E===E=E=EEE=2=E2=2H
TW t

18
T- " - ".
American College of Musicians.
. . 20 American College of Musicians. 22 American College of Musicians.
* What are the movements of the thumb, fourth finger, 16. Define legato and organ staccato.
and wrist in the following passage? ar

17. What was the earliest known attempt at producing


8va. . . . . * *

sound from pipes? -

18. When was the Organ first used in Church?


###########||
19. Give the names of two great ecclesiastics of early 3. Compose to the following verses a choral melody and
times, who did much for Church music. and harmonize for four voices:
10. Give your ideas as to the best general method of lay
ing the foundations of artistic piano forte playing. 20. Give the names of three or four renowned Italian
The year is gone, beyond recall,
Make special reference to the kind of exercises, Church composers of the 17th Century. With all its hopes and fears,
studies, and pieces, and the methods of studying 21. Who was considered the greatest early Italian organ With all its bright and gladdening smiles,
and practice which, on general principles, will con ist and composer for the organ, and where did he With all its mourners' tears.
live?
11.
tribute most speedily to such a result.
Give * list of the compositions by Bach, Clementi,
22. Give the names of six eminent German organists and Thy thankful people praise Thee, Lord,
Beethoven,Schubert, Chopin, Schumann, Liszt, and composers prior to 1800. Thy countless gifts received;
any other composer ofability, pastor present, which And pray for grace to keep the faith
23. Give the names of six eminent German organists and Which saints of old believed.
you have studied.
12. composers of the present Century.
Supply the |Fingering, Phrasing, Dynamic signs, and A musical setting of one stanza will be sufficient.
use of Pedals in accompanying selection. 24. Give the names of several noted English Church
In "dition to the above, see page 7 for general musicians prior to 1820.
COUNTERPOINT.
musical theory. 25. What are the characteristics of the so-called French
organ school as compared with the German? 1. Write an example of Five-part Counterpoint, note
ORGAN. 26. Giye names of the organ works of J. S. Bach you against note, not more than eight measures long.
*MONSTRATIVE EXAMINATION. have studied and played. Invent your Cantus Firmus.
":' Examination consisted in the per
* selections in Sonata Form, Polyphonic Style,
and F
37. In playing from vocal score, what general rule should 2. Enumerate some of the devices of Imitation.
Pee style, from the list of works given in the the organist follow?i.e. as regards binding, 3. Write an original two-voiced Canon in the lower
transposition of notes.
pectus : Associateship Examination (See Pros twelfth, with a free cadenza.
28. Make an organ transcript of the following tune
: 2.) supplemented by original lists handed (Aurelia by Wesley), on three staves.
4. To the following Tenor add a Florid Soprano, an Alto
various ' in addition to which there were 29. Of what value to an organist is a knowledge of Har in equal notes, and a Bass in two against one.
G, and C : reading organ score Vocal-Score (with F, mony and Counterpoint?
transnosi clefs;) the playing of Hymns and Chants, 30. What are the French and German names for Open
*position of the same, and playing in Four-part
"y, from a Figured Bass.
Diapason, Stopped Diapason, Fifteenth, Swell
Organ, Choir Organ, Great Organ, Coupler?
##########
176 T EI E E TU D E. ~

Eramination for Fellowship. 23 Examination for Fellowship. :25 Eramination for Fellowship. 27

5. Extend this passage ad libitum and add a double 7. From whom did the early German and Northern na 14. Write out a scheme for an organ having twenty
Counterpoint in the octave. Write out the in tions derive their musical inspiration, and through sounding stops, with two Manuals and Pedal,
version also. what medium ? giving proper compass of each, (Manual and Pedal)
8. Name some of the earliest instruments of which we and with suitable accessories.
have knowledge: when used, and any other char 15. Write out a scheme for an organ of fifty sounding
acteristics you may know of. stops, with three Manuals and Pedal (stating
9. Give a chronological list as far as possible, of the com compass), and suitable accessories.
6. Write an exposition in four voices of the following posers of the following schools:
Fugue subject: 16. How on the organ can the Orchestral string, wood
2--> --> -
(a) Italian, (b) German. (c) French. (d) Nether wind, metal-wind (brass), and full Orchestra-tone,
E9: li

I ~! TTC Tr". |-> * * * f lands. (e) English. (f) General modern. Also be most effectualy imitated?
| Z. -e=== r L l Aw
state some of the characteristics of these several
L_ t + H- i f L. r =l
17. State characteristics of the
schools.
MUSICAL FORM. (a) German
10. (a) To what influence would you ascribe those quali
1. Give time-signature, usual tempo, form, character, and ties in which the music of different schools (b) French ) school of organ music.
and an original theme for a Scherzo. differs. (b) Are those qualities being perpetua (c) English )
2. What is the difference between a Fantasia and the ted by civilization and intercourse. (c) Have (d) Italian :
First movement of a Sonata? those influences existed in America? 18. Name several composers of eminence of the last 200
(b) Outline the difference, both in character and form, years who have gained distinction as organists.
between the Prelude and the Fugue, in a ORGAN. 19. Give a list of the organ works of J. S. Bach you have
Prelude and Fugue for the Organ. studied and consider yourself familiar with, also
4. What are the Leit-motiven or typical themes em DEMONSTRATIVE EXAMINATION. of the more important of the modern works.
ployed by Richard Wagner and his contemporaries? The Demonstrative Examination consisted in the per 20. What great organist influenced Bach in his style, and
Give an example. formance of selections in Sonata Form, Polyphonic Style, where did he live?
5. Sketch a Irge Three-part Period. Bracket and name
and Free Style, f-om the list of works given in the 21. (a) When, where, and by whom were Pedals said
sub-divisions.
Prospectus for Associateship Examination (see Pros first to have been used ?
6. Analyze the accompanying movements from a Sonata, pectus, page 28.) supplemented by original lists handed (b) Where was the Swell first employed?
indicating by means of terms, brackets, and metri in by the candidates; in addition to which there were 22. What is a Gregorian tone?
cal cipher, (a) Principal theme: (b) Episodes (sec various tests in reading Organ score, Vocal-score (with F,
ondary themes); (c) Connective or transitional pass 23. How many Tones were there in all?
G, and C clefs;) the playing of Hymns and Gregorian
ages; (d) Motivalstructure, keyspassed through,and 24. What is the difference between the so called Gregorian
Chants, transposition of the same, playing in Four-part
any other particulars which you consider would Harmony, from a Figured Bass, with Treble, Alto, Tenor, and Anglican Chants?
contribute to a thorough uuderstanding of the ex and Bass clefs, and an extemporaneous performance on 25. Name six great composers of Church music prior to
ample submitted. a given theme. 1750.

24 American College of Musicians. 26 American College of Musicians. 28 American College of Musicians.


ACOUSTICS. 26. Name six eminent English Church music composers
SPECIAL THEORETIC EXAMINATION.
since 1750.
1. What other physical manifestations are produced by 1. Describe the ordinary organ wind-chest with slides.
the same causes, as those that produce sound, and 27. What are your views with regards to extemporaneous
in what relative position would you place sound 2. What is the cause (or causes) of heavy touch in large playing on the organ, and as to how a talent for
organs?
in the matter of intensity of these causes? improving should be cultivated?
2. What is the physical difference between musical and 3. What was the first device used for lightening the 29. Say what you consider a proper foundation and
unmusical sounds? touch of organs? By whom and when was it course of study to qualify one for the position of Church
introduced ?
3. What is the physical difference between Consonances Organist.
and Dissonances? 4. Along with its many advantages what vitiating ten 29. (a) To whose genius is the application and adaptation
4. What is the physical difference between the tone of dency has the light organ touch brought? of the modern Sonata form to the organ due?
stringed and wind instruments? 5. What are some other features of the modern organ? (b) How long since was this?
(c) Name several composers who have gained distinc
5. What are some of the best reflectors of tone? Some 6. What is meant by wind pressure? How is it es tion in the same field.
of the best absorbers? Why are they so?
6. What do you know of the analogies between tone and
timated: What do you understand by the expres 30. Wherein do the Sonatas of J. S. Bach as compared
sion three inches of wind? with the modern ones have their own distinctive
other physical manifestations. 7. Explain the tone production of a Bourdon pipe. characteristics?

HISTORY. 8. Describe a reed (say Oboe) pipe. What is accomplished In addition to the above, see page 21 for General
by the reed and what by the pipe? Musical Theory.
1. What influence had the Crusaders on the development 9. Explain the process of tuning a metal flue pipeof
of music in Europe?
tuning reed-of tuning a stopped Diapason.
2. Which of the Greek scales do our modern scales 10. What are Mixture stops, and what suggested their
(major and minor) most nearly resemble?
employment?
3. Where did the early Christian Church derive its mu
sical inspiration?-In whom did it culminate? 11. Write out the pitches sounded by the first F and A
and what were his characteristics?
above middle C on the organ, with the following
stops drawn: Viol di Gamba, Oboe, Bourdon
4. What were some of the earliest characteristics of part (16 ft.) Twelfth, and Piccolo.
music, as distinguished from modern ?
5. When and by whom was the tempered scale introduced ? 12. Give a combination of stops in which the Quint and
Twelfth would be used. -

6, who were the Troubadours? Minnesingers and 13. write out a scheme for an organ of six sounding stops,
Master-singers? What influence did they have with one Manual and Pedal, and with suitable
upon musical development? accessories.
El

T EI E E T U T) E. 173

PUBLISHER'S NOTES. First test the ear; give chords and then discords;
s GIFT BOOKS.

AMoNG our many books there will be no difficulty in then high sounds and low sounds.
Can the child hum
IT has become generally understood that Plaidy's selecting suitable gift books for holiday presents and or sing an appropriate sound you give out from the
Exercises " do not answer the requirements of mod collections of music to meet the needs of your friends. piano? Bear in mind that the moment your pupil be:
ern pianoforte playing; a new mode of treatment has Musical Mosaics, by W. F. Gates; Music and Cul trays the least signs of weariness, among which are
arisen, which requires new methods; perhaps the defi. ture, by Carl Merz, is beautifully bound ; Music inattention, a vacant look, forgetfulness or impatience,
ciency can be answered in a word; it is the artistic that Study at Home, by Margaret Harvey; Piano Teach or asking what time it is, you must change the subject;
is lacking in Plaidy's Technic; all over the country ing, by F. Le Couppey; History of Pianoforte Music let the pupil do something different, or amuse him a
teachers are dropping Plaidy and are taking up with Ma and Lessons in Musical History, by J. C. Fillmore; couple of minutes by playing a lively tuneanything, in
sons Two-Finger Exercises as presented in Touch and Dictionary of Music and How to Understand fact, to relieve the mental pressure. Whatever has ap
Technic. It is earnestly advised that all teachers who Music, Vol. I and II, by W. S. B. Mathews; Study of parently been forgotten must be replaced by explaining
are not acquainted with his method order a copy of the Piano, by H. Parent; The Musician, six volumes, it over and over again; never scold your pupil, but show
Touch and Technic and study it carefully, and after by Ridley Prentice; Whys and Wherefores of Music, yourself astonished that he could have forgotten. Teach
wards apply some of the principles to pupils and notice by H. S. Vinings; Chats with Music Students, by the first finger exercises on black keys only, to be read
the beautiful results gained therefrom. Thomas Tapper; Sonatina Album, Groves Dic by numbers, for every child can surely count from one
tionary of Music and Musicians, in four large volumes, to five. In connection with the above exercises I teach

CHATs with Music Students, by Thomas Tapper, are all tastefully bound, and most desirable books for the pupilsalso without the assistance of names for keys
has appeared during the last month, and it is an instan presentation. or notesan accompaniment comprising the Tonic,
We have just issued a descriptive catalogue of our Dominant and Subdominant, called the 1st, 2d and 3d
taneous success, as the testimonials we print in this issue
abundantly testify. A great many of our patrons have music books, which will give detailed information about chord, serving as a secondo, to which I improvised a
all of these works. Primo, announcing the necessary changes by calling out
sent in their money to procure copies at reduced rates in ---

first, second, or third. The rudiments of


advance of publication. We were obliged to return to
FIRST LESSONS TO CHILDREN. counting, of legato and staccato are thus playfully im
a great many their money, as we never allow a deduction
from the usual rates on works after they have been partedfor all pupils, even more advanced players, were
published. The special deduction is made only to
BY E. WON A1) ELUNG. always glad to play accompaniments. Accompani
those who send cash before the work is issued. We ments for the latter were of course progressive, including
never make a special offer for any work unless it is of LovE for music, although indispensable, is not the only all major and minor keys and the most important modu
unusual merit, and use this means of introducing it, quality required to secure success; an ear for music is lations. The first tunesfor each hand aloneare also
looking to the future sales for our profits. To those who also necessary; without it they may derive pleasure given, and played on black keys with the sole assistance
have not yet had an opportunity of examining this work, from music, but will give no pleasure to those who of the five fingers. Next the names of the keys may be
listen to them. taught, not in the order they follow, but by their location
we would strongly recommend their doing so at once.
It makes an excellent work for Christmas presents, it is I always had my doubts whether children were actually between the black keys. Thus, d, g and a are taught or
handsomely bound and on fine paper. The first edition benefited by commencing so early as the age of six or rather remembered first, then the c and f, last of all e
Seven. and b.
! E:
is already exhausted and the second is now in the pro
cess of printing. Who is the proper judge whether their constitution will The scale of C major may be taught simultaneously, to
bear the inevitable burden of practising? be played with one finger; also successions of thirds and
I Do not think that it is generally understood by But if parents, after due reflection, deem it proper to sixes may be struck, and finally the triad chords and ar
teachers that they can procure THE ETUDE free of charge have a child taught at that early age, and engage a peggios may be explained. All this, I repeat, is mere
by sending in four subscribers at full price. There is teacher. Suppose, then, that the first" teacher is not amusement! Then a tune is invented (improvised rather),
scarcely a teacher that cannot procure four subscribers all through first-class, but still a fairly good and con consisting of only three successive keys, and the pupil
from among their pupils and friends. A great many of scientious teacher, who will, in most cases, teach the asked to reproduce it. Then we sit down at a table,
our teachers use THE ETUDE among their pupils regu pupil the rudiments out of an instruction book, let draw the line on a piece of paper, on which we place the
larly; they order a copy for each pupil, the same as it be any method you please; the pupil will be middle note of the three, the one below and one above
they would an instruction book, and charge it regularly crammed, first, with the names of the keys, then that line. Thus the pupil cannot fail to learn how to
on the bills. The parents and teachers are equally de those of the notes, with five-finger exercises and a scale read music. For the present no clef is required. We
lighted with this arrangement. We are striving to or two, when, behold, the first tune is performed ! The improvise another tune with only three notes, and the
make THE ETUDE more and more a journal of music for child is made to practice an hour every day, or it will pupil discerns between stops, long and short notes,
teachers and pupils. encounter the high displeasure of the mother and teacher. How to count we have taught when playing tunes to the
But the pupil sometimes sheds tears over the difficulties pupil's accompaniments. The pupil, after reproducing
Music and Culture, by Carl Merz, appears during of the lesson. Does it not strike you that something isthe improvised tune played by his teacher, is then di
the month of November. We will make a special offer wrong somewhere? Must an art, the aim of which is to rected to write it down. By and by more sounds are
on this work to our subscribers, which will hold good give refined pleasure, be bought with tears, anxiety, added and more lines; more scales and more chords;
until the 25th of the month. We will send the work dread, and nervousness? Let a young lady or a young three lines will prove plenty for the pupil, for he is now
PostPAID TO ANY on E seNDING us 75 cents. The price man voluntarily make up her or his mind to learn to play
able to comprehend and learn our system of ten lines
of the book at retail is $1.75. There are over two hun. the piano, will they shed tears and dread the lesson-time
with added lines, without any trouble.
to come? Not at all ! Here I can close my remarks, for henceforth the road
dred pages in the work, and the table of contents will be -

found in an advertisement in another column of this As long as music has attractions and gives pleasure, to pursue is similar to that illustrated by good and modern
issue. The work is one of the most interesting and pro why should a child refuse to practice, or get tired of instruction books, the choice of which is, of course, left
found works in musical literature, and none of these taking lessons? Does it get tired of ball playing, of to the teacher, unless he prefers to teach by a method
of his own.
*ays have ever appeared in print. As a Christmas croquet, and other games, all of which have to be
present it cannot be excelled. There is more and more learned ? But learning them never was a task, but a con
He who praises stands equal to the thing praised.
a taste being cultivated for musical literature, and this stant source of pleasure! And I think, nay, I know, Goethe.
work is one of the first works that should be in a that piano playing need not be a task, but can be made Trifles make perfection, and perfection is no trifle.
music teacher's library. We hope to send out many an ever-flowing source of pleasure and recreation. Let Angelo.
hundred copies of the work before the 25th of this me, therefore, give you some hints on the subject. Many a piece of music looks attractive, but does not
month. Cash must invariably accompany the order, even hasFirst of all, never compel a child to take lessons that sound well. If its details are not pervaded by a vigorous,
if we have accounts on our books. never expressed a wish to learn to play. life-giving spirit, perfection of form is liable to produce
disappointment rather than pleasure.Franz.
Second, do not impose on the infantile brain-that
tender brain, just beginning to develop by slow degrees
A lasting reputation is seldom acquired quickly. It is
by a slower process, by the prevailing commendation of
* December number of The Erupe will be unusu. more than it can easily bear. Have rather the teacher a few real judges, that true worth is finally discovered
and rewarded.Crotch.
ally interesting. It will be larger and contain a very call every day, and the indispensable drudgery of finger
"resting supplement, which alone will be worth four exercises be done in his presence-for it is supposed and Just as a writer who speaks to the heart is sure to
or five times the price of the journal. To any of our absolutely required that the teacher is liked by the pupil please, so is a composer who gives the player something
which he can not only play and enjoy himself, but make
subscribers who wish extra copies with a view of gain. than force the child to watch the hand of the clock others enjoy, too.Zelter.
"g new subscribers, we will cheerfully send a limited until the weary hour or half hour is gone. In the varieties of touch more depends, no doubt, upon
"mber. About the time this issue is delivered, we will Thirdly, do not chide the pupil for inattention or the delicacy of feeling than on the study of passage diffi.
send to all who have sent us advance order for Study laziness, but, as everything is the consequence of some culties, and the feeling is more closely allied to the
in Melody Playing by H. C. Macdougal, and First cause, try rather to find out that cause, and try to remove musical reality than the intellectual insight.Kullak.
Lessons in Phrasing by W. S. B. Mathews. The it or prevent its appearance. No man can, give that which he has not. No epoch
works were unavoidably delayed. All special offers Now a few remarks about the method to be pursued can produce that which it does not contain. Art is,
always and everywhere, the
secret confession, and, at the
close with the appearance of the works on the market. with children of tender ages. same time, the immortal movement of its time.Marx.
174: T EI E E T U D E.
EDITORIAL NOTES, DR. CLARKE discusses the question, How much Time Teachers' National Association, which is performing val
is Needed for a Pianoforte Lesson ? It is the practice uable functions in the development of music, it proved
that the setting and maintaining of a high standard could
THE December number will contain, among other of some teachers to spend a stated amount of time at be best attained by a fraternity established for that pur
valuable articles, the following: A Word on Scale every lesson, and when the lesson work is over to give pose alone. Hence the college, which was organized in
Playing, by C. Hoffman; The Musical Taste of the the remaining time to hearing and helping the pupil 1884. Its object, stated briefly, is to establish a proper
General Public, by Edward Baxter Perry; Experi practice the hard parts of the lesson, or to perfecting standard of attainment for those who purpose to follow
the art of music as a profession. A with definite
ence and Criticism, by Edwin Moore; The Slur and some technical movement, or in talks on music, the life courses of study would have been necessarily narrow, and
Its Uses, by Gilmore W. Bryant; Method in Piano and works of the composer studied, etc. could not have commanded the widest support. There
forte Practice, by Perlee W. Jervis; and Phrasing as are factions in music as well as elsewhere, and the school
an Aid to Fingering, by Emil Schultz. A new depart must have been more or less the exponent of one faction
As our readers well know, THE ETUDE makes a spe or the other. The college has avoided this difficulty ab
ment will be added with the December number.
cialty of practical articles, not only showing that a cer solutely by endeavoring to recognize all music work from
tain thing should be done, but pointing out the best way a broad point of view, and the aim is carefully conserved
WE have several unusually valuable and practical to accomplish it. In the article by Mr. Emil Liebling, in the methods employed. Anybody, man or woman,
native or foreign, may become a member of the institu.
articles under preparation for the readers of THE ETUDE. on the study of Bach's music, we find the above points tion by passing the required examination, and the con
We are making a special effort to have THE ETUDE as well followed. There are many pupils who have a preju ditions of the test are so hedged about with preventives
helpful to both pupils and teachers as possible. It is dice against the music of Bach. To overcome this, and against undue influence or bias, that no one can accept
our aim to make this magazine so helpful and valuable as it were to inveigle them into the beauties of Bach, the the results as other than wholly disinterested, while the
character and attainments of the examiners command
that no teacher can afford to do without it. following works are suggested: For a tuneful piece that universal respect.
TEACHERs should have all of their advanced and am is easy, the Musette in G major, which is a part of the The membership of the college consists of pianists, or
bitious pupils take THE ETUDE, for it is the universal Gavotte in G minor. See Peters' Edition, No. 384, in ganists, violinists, theorists and vocalists, includin
the Bach and Handel Album, found on pages four and tests teachers of music in the public schools, for whom specia
experience that those pupils who read THE ETUDE are are There are three grades of member
five. A more difficult piece, yet not beyond most fairly ship, each with its own set of examinations. Associate
greatly benefited and are influenced to go on with their
music till they become more than ordinary. They become good players, is Gavotte in D minor, from sixth sonata Members, Fellows and Masters, the last carrying with it
ambitious to excel, and thus study longer and do better for Violoncello, transcribed by William Mason and pub the degree of M. M. A., Master of Musical Art. It is
lished by G. Schirmer, New York. This piece has a necessary to pass each of these grades in rotation, and in
work, making themselves an honor to their teachers and spection of the examination papers shows that the con
to the profession. strong and well-marked melody, and will appeal to the ditions are very severe. Besides the members in these
taste of any one who likes music. It is a most excellent classes are the charter members, among whom are
MR. E. E. AYREs emphasizes a truth when he writes piece. Another piece, perhaps a little more difficult but Charles R. Adams, H. A. Bartlett, Fanny Bloomfield
of the teacher who gives classics to young and unpre with a marked melody, is Aria, from Cantata, by Zeisler, Robert Bonner, E. M. Bowman, Dudley Buck,
Mme. Cappiani, William Courtney, Leopold Damrosch,
pared pupils. Besides the inevitable failure from the Bach, arranged for the pianoforte by Albert Lavignac, Gustav Dannreuther, Julius Eichberg, Otto Floersheim,
technical standpoint, there is an equal failure from that and published by Wm. Pond & Co., New York, in the W. W. Gilchrist, H. Kotcshmar, B. J. Lang, Calixa
of musical appreciation, or lack of development of taste. American Elite Edition. Joseffy plays this in his con Lavallee, Louis Maas, William Mason, George W. Mor
When the pupil's home is a musical one, where the best certs. An easier piece, and one that is pleasing at the an, J. Mosenthal, William H. Sherwood, S. P. Warren,
things in music are daily heard, then there is nothing for first hearing, and grows in interest with further acquaint turt.
E. Whiting and many others of similar rank.
the teacher to do in cultivation of taste, but with the ance, is the First Prelude in Vol. I of the Well-tempered
greater part of one's pupils there is much to do in rais. Klavier. No. 3 of the same book, in C sharp major, is HOW MUCH TIME IS NEEDED FOR A
ing the appreciation for the best style of music, and this beautiful, and not technically difficult, but is written in PIANOFORTE LESSON ?
is often to be done for the pupil's family as well as for seven sharps, and is therefore hard to read. This gem
the pupil. Mr. Ayres also raises a warning note against should be published in a transposed key. Another BY H. A. CLARKE.

the common fault of giving music that is too difficult. pleasing and good piece is the Con Moto, No. 2, of
IT is hardly possible to give a precise answer to this
Bach's Lighter Compositions, published by Theodore question, there being several important points to be taken
MR. J. BROTHERHood turns some needed light on the Presser. This volume contains the best of his lighter into consideration; first, in the case of young children,
question of severing the tendons of the ring finger. There compositions. It is extensively used in teaching. After the music lesson is, like all other studies, a tiresome
is no doubt but there are many pupils that this operation these, the Bach selections in W. S. B. Mathew's Phras thing that must be endured; even supposing the child to
possess the musical instinct, the natural lack of concen
would materially benefit, yet the fact that the finger can ing, Vol. II, will prove interesting. With some of the tration that characterizes the childish mind makes it ad
be lifted higher is not of so much worth as some pupils above, and following them, the works suggested by Mr. visable to make all lessons short, but frequent. The
and teachers seem to think, for recent development in Liebling, will be entered upon with real zest and a grow. interest of the pupil is thus kept from flagging; the short
technic makes more use of the pull touch and less of ing interest. lesson ends without weariness on the part of either
teacher or pupil; we should say, therefore, that, for the
mere striking. It is the writer's belief that the value of average young pupil, half-hour lessons are every way the
the liberation is for a pupil with a closely knit hand, thus
IN the article, First Lessons for Young Children, best, # ' important provision) that the parents
Miss Fay emphasizes the necessity of cultivating taste of the pupil do their part '' the duty in insisting on
giving an increased span, more than for the extra height and requiring expressive playing from the first lesson. regular hours for practice. If this is not done, the only
that the finger can be lifted. hope of making any progress depends on the teacher; in
The child must be taught from the very beginning of mu
sic reading, that the slurs, staccato points and dots, ac this case three quarters of an hour or a full hour should
IN Muscular Training for the Pianist, Mr. F. E. cent marks, and all expression marks, are a part of the be givenone-half to teaching the other to practicing.
With older pupils, to whom the music lesson has ceased
Regal points out the fault of giving the pupil too much piece as much so as are the notes, and on no account are to be a task, or at the most, a task to be faithfuly and thor.
to do at once. He would separate the different parts of they to be overlooked. To omit one is as much of a oughly performed, forty-five minutes or an hour is not
piano playing more. There is food for thought in this idea. mistake as it would be to leave out a note. The world too long, if the teacher has the teaching faculty, that is,
can stimulate the pupil to earnest exertion and arouse
of music owes a great debt to Deppe for teaching so the desire to acquire. There is, though, unfortunately,
WE have added a new department, Worthy of Com persistently the harm of a taut hand, wrist and arm. a large class of pupilsthe despair of every earnest
ment, in which we hope to give our readers choice And that touch is only to be acquired by training the teacherwho learn, music or anything else, simply
paragraphs that point a moral to pupils and teachers, hand and arm to a complete looseness and entire absence because their parents and guardians require it. For
but in each one something that is first of all practical. such pupils half-hour lessons are decidedly the best; the
of over-effort. Dr. G. Stanley Hall, in the Essay that he patience of neither party is so likely to suffer, and tact
gave before the M. T. N.A., at Boston, in 1885, strongly on the teacher's part may succeed in eliciting some sparks
THE whole secret of a good touch is contained in the recommended that teachers should use gems from the of interest that, if well tended, will in time increase to
a steady flame.
following: When the key begins its descent, it should great masters on physiological grounds as well as the There is yet another class of pupilsthe earnest,
start slowly, like a moving train, and increase in motion ground of experience. oneswho have passed triumphantly through the
until it reaches its lowest depth. This can only be done rudgeryearly lessonsand are more advanced on the
when every joint is perfectly loose, with no constraint or MR. J. C. FiLLMoRE gives the first of a series of articles path to proficiency; the length of the lesson for this class
overstraining whatever, and the keys must be felt, or on Problems of Music Teaching. Teachers and ought to be regulated by very different considerations;
occasionally, a single remark of a real instructor; ten
pulled down rather than struckfrom a height. Poortouch parents will find these a great help. minutes spent in some analysis or exposition will fur
comes from the reverse, the keys being struck with so mish matter enough for several days' work, at other times
much force and stiffness that the moment the keys move AMERICAN 00LLEGE OF MUSICIANS, an hour, or even two hours, may be profitably and
they start instantly at their highest speed, like a bullet pleasantly spent inlet us say, for examplea finishing
THE college was an outgrowth of the Music Teachers' lesson on a Sonata of Beethoven, or a Scherzo or Ballade
leaving a rifle. Of course, there are some modifications National Association, which originated in 1876. The aim of Chopin: so, to the present writer, the answer to the
of this, but the above is the underlying principle. Artists of the Teachers' Association was to raise the standard of above question isit depends.
nowadays (and the better teachers use them as models) professional, qualification, and, to quote from the pros
pull and feel or caress the keys down rather than strike pectus, help to draw the line between those teachers WANTED-A Music Clerk to take charge of the
them from a height. This is especially noticeable in using a smattering of musical knowledge as a means of retail department of a large music house. None
earning a little pocket money, or a scanty livelihood, and but the most experienced need apply. Address, stating
such artists as Wm. H. Sherwood and de Pachmann, in the higher Class who love art and practice it understand. experience, with reference, J. G. & S. Co.,
fact, in all of the best pianists. ingly. Without any discredit whatever to the Music Care of Erude office, iro, Chestnutst, Philadelphia, Pa.
m =

T EI E E T U D E. 175
WALUABLE MUSICAL WORKS PUBLISHED BY THEODORE PRESSER, Philadelphia, PA.
Hou to Understand (l)usic, Wols.1 and 2
BY
SONAWNM MWWWW.
PUPILS LESSIN Bll' Compile
W. S. B. MATHEWS. d by Theodore Presser.
Price, 10 cents; $1.00 per doz.
Systematizes the pupils' study; has a record of lesson Price, in Board Cover, $1.00.
Price, $1.50 each. Choice formative pieces as pleasing as valuable. A favorite
This work shows how to perform intelligently, and with ex days, hours of practice, and other practical helps. collection with the progressive teachers and pupils. Indispensa
pression. It unfolds the beauties of the better grades of music, ble for the formation and cultivation of taste. Valuable as Read
so that the musically-uneducated listener can enjoy them.
It furnishes the most desirable materialBiographical, His
SPENGLER'S SYSTEM OF TECHNIC ing Lessons.
torical, Theoretical and Descriptive, for PUPILS' SICALES. FOR THE PIANOFORTE. FIFTY EXAMINATION QUESTIONS.
INDISPENSABLE to the PROGRESSIVE TEACHER and EARN
EST PUPIL. By A. SPEN GLER. FOR PIANO for TE STUDENTS.
Price, half cloth, $1.50. By ALBERT W. BORST.
PRACTICALHARMONY FOR STUDENTS Technics. Rhythmics and Equalizations, kept hand in hand. Price, 5 cents; 50 cents per doz.
Interesting, New and Progressive. AND
BY
lis' dres for full description, or for sample copy, to the Pub
sher.
Juvenile Examination Questions for Young
I.Dr. E. L. E.I.T.T.E.E. Pianoforte Pupils.
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Especially calculated to teach the Art of Composition and 12y JOHN C. FILL MORE. Every student of music should try to answer these questions. To
Improvisation. -
Price, $1.O.O. the successful they will give the self-confidence arising from diffi
culties overcome, and to those who fail they will plainly indicate
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vanced theories of Dr. Hugo Riemann. Send for descriptive cir much useful information. It requires thorough and comprehen
COURSENHARMONY. cular or sample copy to the Publisher.
A Standard Work.
sive knowledge of a subject to enable one to write out concise
and accurate answers to a series of questions.

GEORGE H. HOWARD, A. M. LESSONS IN MUSICAL HISTORY, J E JE TU S A. L. E.H TVI -


Price, $1.5O. A CRAND ORATORIO,
Easily. Understood, interesting, thorough. Simple explana By HUGH A. CLARK. Mus. Doc.
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ils' work clearly indicated. A LEADING TEXT B00K 0N
By JOHN C. FILLMORE. Price, $1.50, Bound in Boards.
HIS SUBJECT. Price, $1.5o. The libretto of this Oratorio is taken from the Bible, and
INDISPENSABLE TO MUSIC PUPILs. For Schools, ves, in an epitomized form, the story of the taking of Zion by
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Whysand Wherefores of Music. taining. Send for full description or sample copy to Publisher. The consequent destruction of the city, and the kings captivity.
Elementary.
-E57 E. s. "V"ITNTING
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pianoForTE MUSIC. STUDIES IN MEASURE AND RHYTHM. BY E. W. KRAUSE.
For PRIVATE, CLASS or SELF-1Ns rRucrloN
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of music. This book covers the ground of a primer on music, Price, $1.50. A Systematic and Practical Treatment of Measure (Time) and
and gives an introduction to the Science of Harmony. Metrical Notation, in the form of scales and other exercises.
The only book of this kind in English. Eudorsed and used affords material for acquiring the ability to read
Contains a school of embellishments, and answers most of the by the Leading Teachers and Conservatories. , Comprehensive, and play work
The
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questions constantly coming to the inquiring pupil. Interesting, Useful. Abook study or general reading.
for
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MUSICAL STUDIES AT HOME. WHAT SHALL WE PLAY, or,
A Graded COurSt 0f Study for Cabinet Organ.
MUSIC IN THE HOME. EY M. S. MORRIs.
MARGARET B. HARVEY. By CARL REINECKE Price, 10 cents.
Price, $1.25.
Price, 25 cents. Containing the best lists of and studies, volumes of
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Neatly bound. Suitable for presentation.
Home Study of Music for Parents and Pupils.
A Help in tae calculated to lead to better work and a fuller appre
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Written for pupils of all grades. Invaluable to young teachers,
and it especially appeals to the progressive teacher of experience.
PIANO TEACHING.
THE STUDY OF THE PIANO. SYSTEM The pieces named in the book can be had from the publisher. BY

FELIX LE COUPPEY.
BY H. PA ReNT. OF PIANO TECHNIC, Traxas lated by M. A.- Erie-Esr Aitor
By JAMES HAMILTON HOWE. Price, 75 cents, postpald.
A work
of the for teachers
greatest every teacher. Full of valuable hints from
of the piano.
Translated by JM. A. Bierstadt. Ruthor of Pianoforte Instruetors. one

Half Cloth, $1.5o.


Price, $1.oo. New
Edition. New Exercises. School of Embellishment PRINCESS SNOWFLAKE
One hundred and twenty-seven pages. One hundred and Complete Technical Material. Interesting and Thorough.
sixty two questions, with elaborate and clearly-expressed an OR BEYOND THE ICEBERCS.
8Wers. MANY WALUABLE TABLES AND RULES.
FLAYS AND SONGS. =y Eernjarnin cross, Jr.
PIANOFORTE INSTRUCTOR Price, 50 cents.
For Kindergarten, Private Primary Schools
Price, $1.25.
A New Comic Qpera, in Three Acts, with Original words and
Music. Complete Libretto can be furnished on application.
JAMES HAMILTON EOWE. and for Families.
Price, $1.5o. A collection of translated Kindergarten So:gs and Plays from
Complete theoretical explanations. System of Touch and the German; Words essentially child-like, chaste and beautiful,
COUNTERPOINT AND CANON.
Rhythm. Easily graded interesting and pleasing Used and pleasing and good music. By E. E. AYRES,
#y endorsed by the best musicians, teachers and
es.
conserva INTA-"T"U"IRIE CPIF* IEC.A.E.R.TYLCPINT*. Priee, * - $1.OQ, Postpaid,
By DR. HUGO RIEMANN. . It clearly marks out the student's work for him, and assigns
Class and Account Book for Translated by J. C. FILLMoR.E. him his definite writing exercises in each chapter. These tasks
Price, 25 cents. being indicated
doubt in their
as to his work proper place, the student
for ent may nott be in
Music Teachers. An exposition of some modern ideas of Harmony. A pamphlet
of about 30 pages for teachers and advanced students, showing the
By E. NAI. SEFTON. new things and # principles of this subject. All pro
PROMOUNCINE DICTIONARY OF MUSIC.
gressive teachers will feel the necessity of having a workin
Revised Edition, Price, 50 cents. knowledge of these new ideas, and no ambitious il fee
contented until he has mastered the contents of this k.
The book contains everything for keeping accounts of music W. S. B. MATHEWS.
teachers:_Index; A Daily Schedule of Lessons for each ADVICE TO YOUNG STUDENTS OF THE PIANOFORTE. Price, $1.O.O.
Hour; Pupils Sheet Music Account; Account With
Music Publishers; Daily Earnings; Summary; Memor By ALFRED W. BORST. Besides giving definitions of terms a short sketch of
andum, etc. Devised and revised to meet every want of a Price, 10 cents each; $1.00 per doz. all modern musicians is included.
music teacher in keeping accurate and systematic accounts. Some Good Advice for Everyone Studying the Piano.
Carefully kept accounts prevent disputed bills as end of terms.

"T"JELEH MITUSIC.I.A.N.T.
A little pamphlet containing valuable and practical thoughts,
concentrated into forty-eight pithy and pungent maxims. Should
TEACHING AND TEACHING REFORM,
be frequently read by young pupils, and be on their pianos within
In Six Crades. Each 75 cents. reach, as a silent monitor to keep them from forming bad habits.
Teachers should furnish them to pupils, for it is admirably calcu A. R. Parsons and Constantin Sternberg.
lated to inspire the pupil to enthusiastic and superior work.
By RIDLEY PRENTICE. Price, 25 cents.
This work helps to a better understanding and performance
# music. , Leads to efficient study by getting
of the best things ELEMENTARY PLANO INSTRUCTOR, Two Lectures of unusual merit.

the pupil interested and teaching him to enjoy Beautiful Music. OR


t gives a list of the most desirable and useful Classical and THOUGHTS FOR TEACHERS AND PUPILS. METHOD OF STUDY.
Standard Music for Teaching and Study. By ALOYS HENNES. By J. C. A. MacIrone.
Analyses, Explains and Annotates the Pieces. It is
full of valuable '' ful suggestions and information. Con Translated from the German by F. J. THOMPSON. Price, xo cents.
tains many interesting incidents in the lives of the great com Price, 15 cents. Among the many_topics treated in this little pamphlet are
p0sers.
A pamphlet of 20 pages. #" Good Touch, Repose in Playing, Magnetism in Play

For Full Description of Above Works Send for Complete Descriptive Catalogue.
176 T EU E E T U D E.

- ATTENTION, PIANISTS!

#WE||PM|| || ||-##|
#Mltikm) T +: E

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capable of, and with any desired resistance or rapidity of action. Private and Class Lessons in all Branches of Music.
t prepares the hand for keyboard work effectively aad pleasantly, and
wi ll save three-quarters of the time usually spent in acquiring a good 1NSTRUCTORS:
technique. It weighs but Two ou NCEs. Piano.RICH. ZEcKweR, R. HENNIG, MAURITs LEEFsoN,
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Dear Sir:-Your Pocket Hand-Exerciser proves very satisfactory MARTINUs vaNGELDER, F. E. CREsson, MissEs S.
o careful trial, and deserves popular favor as a pocket Technicon.
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ALBERT Ross PARSONs, New York, L. WILLIAMS, MRs. W. and J. TIERs.
Ex-President Music Teachers' National Association
Send for circular giving full information, and containing testimonials Organ.DAvID D. WooD, LELAND Howe, F. CREsson.
from prominent pianists and teachers all over the United States. Wiolin.GUSTAV HILLE, MARTINUS VAN GELDER, RICH.
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FOUNDATION EXERCISES |

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The object of this work isfirst, to establish the doctrine that Piano
THE SCRATCH CLUB,
By HUGH A. CLARKE, Mus. Doe.,
Harmony, Symphony, Instrumental and Vocal Ensemble, Orchestra
Classes, Lectures on Acoustics and other Musical Topics.
PROFESSOR of MUSIC IN THE UNIVERSITY OF PENNSYLVANIA,
forte Technic is or should be an Elementary Study; and, second, Concerts by Teachers and Pupils in our own Hall.
| Author of The Art of Pianoforte Playing, Harmony on the Inductive Piano and Organ Recitals.
to supply teachers and pupils with exercises and facilities by which | Method, Music to The Acharnians, Jerusalem.
this all-important subject may be taught, and true pianoforte | (a new Oratorvo), etc., cte. TUITION, $7.50 to $30."
technic may be clearly comprehended and practiced by the youngest
beginner from the first lesson, as heretofore has been impossible. It is a little book which will interest and please musicians and For illustrated circulars apply to
The plan of the work, and the exercises given, are new and amateurs by its chatty common sense and suggestiveness. Evidently,
it is the work of a man who knows his art well enough to handle it
original. without overweening solemnity.Boston Literary World. RICH, ZECKWER, DIRECTOR
In the two volumes more than thirty picture illus One of the cleverest bits of writing concerning music that has
trations are given, by which not only proper positions, ever appeared in America. . . . The book is full of entertainment
which will expand the ideas of young readers and gratify those of
but correct movements are easily learned.
older ones.Philadelphia Evening Bulletin.
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DACTYLION.
FOR PIANO STUDENTS.
Books I AND II, EACH $1.5O.
**For sale by booksellers, or sent, postpaid, on receipt of price, r: new invention of great practical value and real benefit to the Piano
by the publishers,
EDWARD SCHUBERTH & C0, Publishers, ayer.
23 Union Square, New York. THE POET-LORE CO.,
223 SOUTH 38th ST., PEIILADELPEIIA.

The Philadelphia Musical Journal FoR BEGINNERs. Use.


only sloo a YEAR.
W H ITN E Y'S
AMERICAS LEADING MUSICAL PUBLICATION,
Educational Department. Edited by Hugh A. Clarke, Mus.
Doc., University of Pennsylvania.
RAPID METHOD
Every issue contains 16 pages of new music, and from 16 to 20 pages
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PART I.
A Folio of Music Free to Every Subscriber. Containing 184 pages, large size. Its system of in
SPECIAL TERMS AND DISCOUNTS To MUSIC TEACHERS. struction is easy, yet progressive, and music teachers To strengthen the fingers.
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To ensure flexibility and rapidity.


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4G-SEND FOR A FULL DESCRIPTIVE CIRCULAR. are S. B. Mills, DR. Louis MAAs, MADAME Rive-KING, Robeat Goup
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o:red to the public, is introduced exclusively by sub y pronounced the best Lorelei yet written, in the old or
scription. Music teachers and musical people gladly Oldest Piano in the United States! new World.
assist our representatives to secure the largest possible -

Melodious and descriptive; excellent study for the left hand.


sale, thereby rendering their employment most pleasant Played in 100 concerts throughout the country, by the poser
| WITH A DESCRIPTIVE ARTICLE. and Mr. W. H. Sherwood, since its publication, March 1st, 1888.
and remunerative. -
ALSO Address THE0. PRESSER, 1704 Chestnut St., Philadelphia, Pa.
We employ only those who possess the necessary in A Picture, reproduced from a Photograph, of the
telligence, address and general attainments to enable suit ABLE For choral societies.
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Bound in Pamphlet Form. An Interesting and Valuable Paper.
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T EI E E T U D E. TZ/7
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The Organists Journal. POCKET METRONOME.
Introduction to Studies in Phrasing.

This work will be sold by subscription, and will be complete in 12


parts. Each part will be enclosed in an attractive cover and will
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We shall also present a number of novelties appropriate for Con FIRST LESSONS
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This will be the finest and most complete work for the Organ in the INT
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We would like to impress upon you the fact that
1st. The music will be edited in the most careful manner. Special
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* M:I'll
which are only to be found at present in expensive editions. True Tempos of all the Dances.
5th. The work will also commend itself to Teachers and Organ
pupils, on account of the large number of pieces available for instruc
tion. These instruments have been especially manufactured W. S. B. MATHEWS.
In addition there will be eight pages of reading matter consisting for THE ETUDE, and will be sent as a premium to any one
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The author has brought together a valuable
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lent Organ Pieces in this volume.
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The Art OfPlanootle Playing collection of little pieces, musical and poetic in
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The first volume is now complete. The second volume is in course By HUGH A. CLARKE, Mus. Doc. and within the range of the children's minds.
of publication, and will be sent, postpaid, on receipt of the subscrip
tion. Succeeding parts will be issued and forwarded, one each
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Circulars and sample pages, giving full information, will be sent,
free, on receipt of name and address. lections of this class of tone poems for children
For further information, address The design of the work is to furnish a thoroughly the world can show.
artistic school for beginners, embodying all the latest
The exercises have been
results of the best criticism.
THE0. PRESSER, WM.E. MSHMAIL: [0, constructed with great care, and are graded in such a There are, in all, 34 distinct pieces: among
1704 Chestnut Street, 231 East 80th Street, way that the difficulties that beset beginners are almost thm will be found
PHILADELPHIA, PA. NEW YORK, N. Y. insensibly overcome. Not a has been admitted for
the purpose of making a book; no other work has been
borrowed from ; but every piece in the work is the Melodie........................ - Schumann.
THE result of careful study of the requirements of a complete Slumber Song........................... Gurlitt.
elementary school for the pianoforte.
Address Publisher,
Three Angles.........................Reinecke.
Happy Farmer.....................Schumann.
NORMAL: COURSE $

->><OF---ee
THEODORE PRESSER, PHILADELPHIA.

A GRADED COURSE OF STUDY


Holiday Eve..................... Baumfelder.
Ghost Story........................... Reinhold.
Jovial Huntsman....................... Merkel.

PIANO TECHNIC. CABINEToRGAN


DESIGNED FOR By M. S. MORRIS.
Study-Game of Tag............... .....Heller.
Good Night........................Loeschhorn.
A Little Story...........................Kullak.
PRICE 1O Cts.
SCH00LS, TEACHERS and STUDENTS, wiTH PIECES BY
Containing the best lists of pieces and studies, vol.
By VVNA. B. VVAIT, umes of voluntaries, arranged in systematic order for MENDELSSOHN, SPINDLER,
reference. -

Author of Harmonic Notation, (THEo. PREssER, Address Publisher, BEETHOVEN, LICH NER,
Phila.), System of Tangible Music for Use of the FOERSTER, CAYRHOS
Blind, Measure, Ahythm, and Form. THEO. PRESSER, ETC, -

1704 Chestnut Street, - - Philadelphia, Pa,


...The NorMAL Course is based upon the fundamental The pieces are all closely annotated, fingered,
idea that, for the of the development, discipline
and information of the mind, and for teaching the learner
how to think and to do, Technical studies in Music are as
useful as any other branch.
T'Hill' aetc.fewThere is also, at the beginning of the work,
chapters on the object and manner of
FOR MUSIC TEACHERS AND STUDENTS.
FEATURES OF THE BOOK. BY using the work; Rudiments of Musical Form;
Clear, concise statements of facts and principles. E. M. SEFTON. Phrasing; What it is to Play with Expression;
It deals only with essentials. *E* E. I. C. E.
It arranges the materials in grades, by Divisions, S 1. O O. Subjective and Objective in playing, etc.
urses and Steps. This book makes work easy for THE TEACHERthe youn
It exhibits a distinct mode and order of development. especially-and the study of music clear and attractive # The work is intended to precede the two vol
for
The course is as clearly laid out as in any other branch PUPHL. It is a new departure and is a step in advance of any
of study. thing published as a means of interesting the pupil and aidin umes of Studies in Phrasing, which are among
the teacher. It tells When, Where and How much shoul
to based upon understanding of means as applied be studied or given in Theory, Technie and The Piece, and the most popular musical text-books now used
their various subdivisions. No steps need be taken hesitating by
It permits the attention to be given to the hands in the young teacher. Read what Dr. William Mason, the head ''
Practice, and not to the pages. rofession, has to say of the work: in the country. As a work of genuine useful
MR. E. M. SEFTON,
s:en.schools, it will secure uniformity in the instruction Student's
Dear Sir:-I have received the copy of Teacher's Help and ness in teaching, the volume cannot be excelled.
Guide, and thank you for sending it. I have examined it
with interest and regard, it as a very useful work. It keeps con
. It furnishes the bases for oral recitations and examina stantly before the pupil the true and fundamental principles upon
We will, for a limited time, offer the work at
tions, as in other subjects. which effective practice is based. The various exercises are arranged reduced rates.
# i" logical, systematic, thorough. in a systematic way, tending toward orderly and rapid development.
The which constantly remind the pupil of the absolute
*** book for use by schools, teachers and students. necessity of deliberate and conscientious work, may at first glance
PRICE $2.OO. BOUND. seem almost superfluous, but the experienced teacher will at once Address publisher,
recognize their importance and the urgency of their constant repeti
tion. It is the kind and quality of practice which tells. One might
Address the Publisher, as reasonably expect, by sowing poor and imperfect seed, to harvest
good fruit, as through imperfect practice to gain good and desirable
results in pianoforte Play!'
Yours sincerely,
THEODORE PRESSER,
THEO. PRESSER, Address
WILLIAM Mason.
17 O4 Chestnut Street,
1704 Chestnut St., Phila, Pa THEO. PRESSER, PHILADELPHIA, PA.
PHILADELPHIA, PA.
1.78 T EI E E T U D E.

FIVE WALUABLE PAMPHLETS: PALM LEERs MUSICAL GAME.


On Teaching and Teaching Reform. By A. R. Parsons and
Constantin Sternberg........................................................25 cts. New Pronouncing Pocket Dictionary
What Shall we Play, or Musical Education in the Home.
Letters to a Lady Eriend. By Carl Reinecke. Translated
by John Rehmann,..................................... -
Of Musical Terms. ALLE GRAND O.
Elementary Piano Instruction for Teacher or 26OO TEEMs DEETINIED. Instruction and Pleasure Combined.
Hennes,.....................................
Advice to Young Students of Pianoforte. A collec A new and greatly enlarged edition of the Pocket
t A SPLENID GAME FOR EVERY Home.
60 rules for beginners. By Albert W. Borst, ............ .10 cts Dictionary has recently been issued, which contains up
Method of Study. (For Amateurs.) By C. A. Macirore,.........10cts. ward of 2600 definitions, covering about all that is This game consists of cards, on which the different notes and rests
are printed, one on every card. After a number are distributed among
The Five sent by Mail for 50 ets. required by musical students and teachers. It should the players, the cards are played in succession and added together as
be in the possession of every person who studies music. they are played until the value of a whole note is reached, when it
Address Publisher, counts one for the person who played the last card and completed the
E*RICE 25 CIENTS.
whole note. This gives a general idea only. Full directions, with
THEO, PRESSER, 1704 chestnut st., Address THEoboFE PREssert, rules for a number of different games, tables showing the notes, rests,
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PHILADELPHIA, PA 1704 Chestnut St., Philad'a, Pa. Those learning to play the Piano, Organ, Violin, or any other instru
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Portraits
NEAT AND SUBSTANTIAL

MIUSIC & E'OLIO.S. 34.


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*# Practice in musical fractions.
LIFE SIZE, 22 x 28 INCHES. The easiest way to learn to read music. [0
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Price 75 Cents, $6.00 per dozen, by Express. $5.00, with Frame, Antique Oak. A splendid game for evening parties.
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This folio is without spring back or ornamental work. It is a simple Packed to go by Express at purchaser's charge.
folio in cloth, with three strings to tie the open ends.

Address THEO. PREssert, Phila., Pa.


The following are now ready:
BEETHOWEN, MENDELSSOHN, MOZART,
Parents can teach their children the rudiments of music, even if not
musicians themselves.
Interesting to old and young, beginners and advanced alike.
Those intending to study music will find it to their advantage to play
this game a while before beginning lessons
|
PRIoE, 50 CENTs.
NOW READY. WAGNER, HANDEL, CHOPIN, Address Publisher,
OTHERS TO FOLLOW.
THEO. PRESSER,
GROVES DICTIONARY The elegant portraits have given the greatest satisfac. 17O4 Chestnut Street, Philadelphia, Pa.
tion wherever introduced. The former price for these
was $4.50 each, without frame. Suitable for the most
elegant Studio, Music Room or Parlor. THE ELEMENTs
MUSIC AND MUSICANS Address THEO. PRESSER, PHILADELPHIA.
The only Complete Encyclopaedia of Music in HARMONIC NOTATION.
the English Language.
MUSICAL MOSAICS. Individuals,
For Classes or

VV I L L I A M B. VV A IT.
IN FOUR VOLUMEs.
$6.00 per Volume. $18.00 for Complete Work, by Express. By W. F. GATES. PRICE 50 CENTS.
- Address,
JEEICE, - - S1-5C) A Preparation for the Study of Harmony.
THEO. PRESSER,
Address Publisher,
17O4 Chestnut Street, THEO. FRESSEE,
The very best sayings on musical topics, chosen
PHILADELPHIA, PA. from the highest rank of PHILADELPHIA, PA

BEAUTIFUL AND INSTRUCTIVE. I70 AUTHORS, NEW, EASY AND PROGRESSIVE


-IN

Hlusic and Guffure. 600 000TATIONS. Meth00 for the Pianoforte,


By CARL MERZ, MUS, DR. Every teacher-every studentshould own Musical
Mosaics. Instructive, practical, interesting and fasci BY JULIUS E. MULLER.
PRICE, $1.75. nating.
As a presentation volume it cannot be excelled. PRICE $1.00. Bound IN BOARDS.
C O N T E TNT T S - SECCINTID EDITION.
This is an entirely new work. The author is an active
Genius, Success in Professional Life, Schopenhauer's teacher, who is well known as the composer of that once
Musical Philosophy, Music of Nature, Head and
Heart, Sanctity of Music, Church Music, Hints
to Pupils, Philosophy of the Beautiful,
SONATINA ALBUM opular parlor piece Falling Leaves. In this work
has aimed at the popular taste. The names of
00MPILED BY THE0, PRESSER, Streabbog and Spindler appear the oftenest. The book
Plea for Music, Value of Musical has very few exercises. Address
Education, Memory, Woman in
Music, Harmony, Imagina Price . $1.00, Bound in Board Cover.
tion, Expression, Maxims.
THEO, PRESSER,
The work is alike indispensable to the teacher and To TABLE OF CONTENTs. *
No. 17O4 Chestnut Street, Philadelphia.
both it offers valuable advice and encouragement. It contains over Introduction...........................................
200 pages and is printed in most excellent style. Kullak. Op. 81. No. 3. Grandmother tells
Mendelssohn. Op. 72 No. 3, Kinderstcke... E.A.T. IIMEEER,S
Schmidt. Op. 14. No. 1, Sonatina...............
Jadassohn. Op. 17. No.3, Children's Dance.
Diabelli. Op. 168. No. 3

Basilluming. TheEtude
Postpaid. -- $1.50,
Burgmuller. Op. 76. No. 1, Rondiletto
Spindier. Op. 136. No. 1, Sonatina in 4
ummel. Op. 52. Rondoletto.......... PIANO PRIMER.
for
Unbound Volumes 1886,
Reyloff. The Fuchsia -

is 1887, 1.50, Kuhlau. Op. 20. No. 2, Sonatina. 15th EDITION.


Steibelt. Turkish Rondo..............
|| 1888, - 1.50, Clementi. Op. 36. No. 1, Sohatina.
1889, - 1.50, Kjerulf. Scherzino..................
44
Op. 12. No. 7, Album Leaf... Notes and Remarks by such Musicians as Dr.
Smith. Babbling Brook................ Wm. Mason, Mr. Wm. H. Sherwood,
Bound 1886, - 2.50, Lichner. Op. 149 No. 6, Sonatina. Mr. Albert R. Parsons, etc.
** 1887, - 2.50. #: Plough Boy.............
nge. Op. 114. 0.1
If 1888, - 2.50, Dussek. '. Matinee.. It is concis E.; it is ExHAUSTIVE; it is endorsed by most
44 1889, - 2.50, Haydn. Sonatina in D... of the great American Pianists and teachers. Letters of
Schumann. Slumber Song. commendation of it have been received from the most
Nocturne........
0dd Back Numbers, Unbound, 75 cents per dozen, Schumann.
Mendelssohn's Song Withou rominent musicians in more than twenty different :
Bach. Little Prelude. No. 6.
These volumes contain from 18 to 20 dollars worth of music in Bach. Little Prelude. No. 3 tates. It is adopted as a staNDARD work in most of
each year. The various articles give a great amount of information Schubert. . 78. Menuette. the Colleges in America. Its sales have been phenome
of permanent value. It is a peculiarity of The Etude that its Reinecke., Op. 47. No. 2, Sonatina.............. nal. Its price is very reasonable, viz.: In Cloth, em.
Chopin. Op. 9. No. 2, Nocturne bossed, $1.00; in Board covers, 75 cents, and in paper
articles are of substantial and lasting worth. Address the Publisher,
Address Publisher, covers, 60 cents. Address
THE0D0RE PRESSER, THEO. PRESSER, THEODORE PRESSIER,
1704 Chestnut Street, Philadelphia, Pa. 1704 Chestnut Street, Philadelphia, Pa. 1704 CHESTNUT ST., PHILAD'A, PA.
s
T HE E T U D E. 179
rofessional (ards. $rhools of #lusic.
~~~~~~~~~~~~~~~~~~~~~
$rhools of #lugir.
*-*-*-*-*~~~~~~~~~~~~~~~~~~~~~~~~~
Mr. T. J. DAVIES, Mus. Bac., OFGFXN C Fer-IINGs, &c.,
Gives lessons personally, or by correspondence, in Harmony,
IMIR. A. LEERT w. BoEs.T.
Counterpoint, Canon and Fugue, Musical Form and
Orchestration. Students prepared for musical examinations
Most thorough and systematic course. Compositions revised and
corrected. Terms moderate.
Teacher of the

OR Gr N 21ND PIMNOFORTE
3602 HAMILTON STREET,
A MUSIC
Address 18 LIBRARY BUILDING, Philadelphia, Pa. -

| Scranton, Pa.

: Harmony Lessons by Correspondence GERMANY, BERLIN.


ALSO 20 POTSDAMER STRAssE.

: Lessons by Mail in Counterpoint and Orchestration.


For terms and particulars, address

[74
G. T. BULLING,
RAcE STREET, cINcINNATI, O.
K|Mill 'III || Mill.
MADAME ANNA STEINIGER, BRANCHESTAUGHT:-Piano, Violin, Violoncello, Singing
and Theory of Music; Also Literature Classes in
CONCERT PIANISTE AND TEACHER, German, French, Italian and English Languages.
IEcosTOINT, M.A.-ss
Beethoven Concerts at Conservatories a specialty.
PROFEssoRs:-Messrs. K. Klindworth, Dr. Langhans,
Madame Steiniger will make a tour, West and South, in January,
Rfer, Dr. Yedliczka, Dr. Reimann, Tul. Hey and
other renowned masters.
February and March, 1890, introducing her four Beethoven Con
certs. terms and unequaled inducements to teachers who Prospectus to be obtained gratis through the Director,
will work for this series of concerts, in their cities or towns.
Address FRAU ANNA STEINIGER, Boston, Mass. KARL KLINDWORTH,
DAMA'S MUSICAL INSTITUTE WARREN, OHIM,
Berlin, 20 Potsdamer Strasse. An institution devoted exclusively to the study of
MUSIC. Gives instructions in all departments of Music,
W. S." B. MATHEWS, with a thorough and Systematic Course of
TEACHER OF PIANOFORTE,
Study, and a Faculty of the highest excellence and
Lecturer and Writer upon Musical Topics, efficiency. Founded in 1869. Ma Send for Catalogue.
No. 236 STATEST., CHICAGO, ILL.
Room 18. - A STANDARD TEXT-BOOK,
Mr. E. M. B O W M A N,
(Editor of Weitzman Musical Theory,)
STEIN WAY HALL, NEW YORPG.
PIANOFORTE AND ORGAN instruction by the methods on which
DANAS PRACTICAL HARMONY,
modern artistic performance is based. PRICE $52.O.O.
MUSICAL THEORY lessons, orally or by correspondence, by the
Weitzman od, which, by its lucid explanations and interesting - -

course of study, commends itself to the attention of all who desire


to become thorough musicians. Incorporated 1878.
:=
QBERLIII.Grise RVATORyof ITISIG NEW YORK COLLEGE OF MUSIC,
Milwaukee School of Music, With a Large Faculty of Superior Instructors, and 163 East 70th St., New York City.
422 BROADWAY, milwaukee, wis.
a splendid building for its exclusive use, the Oberlin ALEXANDER LAMBERT, Director.
HARMONY LESSONS BY CORRESPONDENCE, Conservatory offers unusual advantages for the Study of All Branches of Music taught, from the beginning to the highest
Given BY
Music. 544 students last year. Total expense for one artistic attainment. New York's largest and most complete music
J. C. FILLMORE, Director. school, occupying an entire building, with a concert hall of its own.
year's study (38 weeks) need not exceed $300. Students have Free Instruction in Harmony, Counter
Terms begin Sept. 17, Jan. 6, and April 7. point, Composition, Vocal Sight Reading, and Free Admission
to Lectures, Concerts, Ensemble Playing, etc. Students received
MRS. W. H. SHERWOOD, If you are intending to study Music in any of its daily from 9 A.M. to 5 P.M. Send for new catalogue.
Concerts, Piano Recitals and Piano Instruction. branches, send for catalogue to
SUMMER PIANO LESSONS GIVEN.
Address at her residence, F. B. RICE, Director,
288 Newbury Street, OBERLIN, OHIO. AMERICAN CONSERVATURY OF MUSIC.
BosToN, MAss.
Chickering Hall Building, Chicago.
EDVV"-a-E.I.D E-a->CTIEE, IEEE.E.Y -
CONCERT PIANIST AND LECTURER
6CHOOL OF MU5|C,
DE PAUW UNIVERSITY, GREENCASTLE, IND.
Instruction given in all Departments of Music. All branches of Music, School of Lyric and Dramatic
Lecture Recitals at Colleges and Conservatories a Specialty. Pupil, classical, Artist, Choral and Orchestral Concerts, Art; Normal Department for the training of
Address, 178 Tremont St., Boston, Mass. Solo, Duet, Trio, Quartette, Ensemble and
Oratorio Work. Teachers; Languages. Course of instruc
Mr. Perry makes an Annual Western and Southern Tour, from Sept
10th to the holidays. Special Terms to parties on his direct FIVE courses OF STUDY. tion thorough and progressive.
route desiring recitals at that time Room, Board, Practice and Sheet Music at reasonable rates.
For Circulars, apply to SUMMER SESSION, JULY 7th to AUGUST 8th.
HUGH A. CLARKE, Mus.Doc,
$223 South 38th Street,
JAMES H. HOWE, DEAN, GREENCASTLE, IND.
For Circulars of other University Departments, apply to
FALL TERMI BEGINS SEPTEMBER 8th.

President, Alexander Martin, D.D., LL.P., College of Liberal Arts. Catalogue mailed free on application.
PHILADELPHIA.
Rev. S. L. Bowman, A.M., s.T.D., Dean of School of Theology.
Hon. Alexander C. Downey, LL.D., Dean of School of Law. J. J. HATTSTAEDT, Director.
Henry A. Mills, Dean of School
Samuel S. Parr,
of Art.
Normal School.
I'NSHIMAIL!" ":"
RICHARD GOERDELER,
Director of Music at Pennington Seminary,
PENNINGTON, NEW JERSEY,
Claverack College Lessons in Musical History,
BY

WR: new, brilliant and original Piano Music, for two and four CONSERVATORY OF MUSIC AND ART, JOHN COMFORT FILLMORE.
hands, on short notice. Refers to his popular compositions,
published by The Oliver Ditson Co., Wm. A. Pond & Co., F.A. North Claverack, Columbia County, N.Y.
& Co., Theo. Presser, and reproduced in Leipzig, Germany. For
terms, apply as above.
CHAS. W. LANDON, - Musical Director. Price $1.50 postpaid.
[MRS. MARY CRECORY MURRAY
(PUPIL of william MASON)
Courses in Piano and Voice Culture, Organ, Violin, Cornet, Har
Instructs Teachers and Students in the
mony and Counterpoint.
"MASON METHOD OF TOUCH AND TECHNIC. Normal Course for Music Teachers. Weekly Lectures and Musicales.
-
A comprehensive outline of musical history from the
Will also make engagements for Concerts or Piano Lectures with
beginning of the Christian era to the present time; espe
Illustrative Recitals, adapted to general audiences or Musical Asso NEW DEPARTURE. cially designed for the use of schools and literary insti
ciations and Classes of Students. A Special and Original Course for Learning the Art of Teach tutions.
Address, Care of THE ETUDE. ing Music.
Recitals by distinguished artists during the year. Address Publisher,
C. P. HOFFMANN, Individual lessons only. Daily use of the Technicon and Practice
Clavier. All practice under supervision.
DIRECTOR CONSERVATORY OF MUSIC, Classes in Chorus Drill, Vocal Sight Reading, and THEODORE PRESSER,
OXFORD coll-EcE, OXFORD, OHIO. Tomic Sol-fa.
1704 Chestnut Street,
SEND FOR ILLUSTRATED CATALOGUE.
Gives lessons by Correspondence in Harmony, Counterpoint and PHILADELPHIA, PA.
musical Form. Standard text-books. Plan pursued leads from es A, H, FLACK, A. M., President.
tablished foundational principles to iatest practice in composition.
18O T EI E E T U D E.

IEEEI.
EVERYBODY'S MUSIC.
HENRYFWIIER Among the abundant treasures of our immense stock every one is
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Temperance People will like
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TEMPERANCE CRUSADE (35 cts, $3.60 dz.). Emerson & -*-4, c.

PIAN O S . re"##Nc
Moore.

A. Hull.
e RALLYING SONGS (35 cts, $3.60 dz.).
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5-
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BOSTON. PHILADELPHIA. School Teachers cannot help liking the three books of of the highest rank. A glance at the contents will be
song MANUAL, " } Emerson.
- - (30 cts., 40 cts., 50cts. sufficient for players of musical discrimination. Printed
Piano Teachers will like, very much, as the best companion to any from new engraved plates on finest quality music paper.
Instruction Book,
Manufactory, Wakefield, Mass. MASON'S SYSTEM OF TECHNICAL EXERCISES CO NTE NTS:
($2. ). AIRDE BALLET....................................JAD ASSOHN
GRUTZMACHER
|
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CHASE BR0s. PIAN0s. PRAISE IN SONG (40 cts., $4.20 dz.). Emerson.
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AM MEER.. SC *
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cHolcE SACRED Solos, for Low Voice, 40 songs
SoNG CLASSICs, Soprano and Tenor, 50 songs... CANZONETTA ...........
SONG CLASSICS, Low Voice, 47 songs............... CHILDHOOD'S FROLICS. -
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| PopULAR song collection, 37 good songs
| Good ol-D so NGs we used to sing, 115 songs.
COLLEGE SONGS, 115,000 sold...................
col-LEGE so NGS FoR BANJo; For GuiTAR, each.........31.
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| PIANO CLASSICS, Vol. 1, 44 pieces...
| PIANO CLASSICs, Vol. 2, 31 pieces...
CLASSICAL P1ANIST, 42 pieces.......... -

| POPULAR PIANO coll-ECTION, 27 pieces........


Th: #| || || BI|| All Illii). POPULAR DANCE Music collecTion..
You NG PEOPLE's classics, 52 easy pieces
ROMANCE..
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GRANDS and UPRICHTs, BY
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CHASE BROS. PIANO CO., EMERSON's NEW RESPONSEs. #: 60 cts., $6


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Price, in Boards,
Price, in Cloth, -
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$1.00
1.50
best character, such as your choir needs.
Factories: Grand Rapids and Muskegon, Michigan.
Send for Illustrated Catalogue.
THE TEMPERANCE CRUSADE #:
L. 9. Emerson and Edwin Moore. Earnest, refined, elevated poetry
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temperance workers.

SONG. HARMONY. '#####:


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| UPRIGHT k for High Schools. -

Adopt, without fear, for Graded Schools, our


SONG MANUAL (Book 1, 30cts, $3 doz.; or Book 2, 40
PIANDaRORT * cts, $4.20 doz.; or Book 3, 50 cts., $4.80
doz.). Admirably adapted to the different ages of school life, with
-

plain instructions and best of music.


FOR PIANO AND VIOLIN.
(With extra Violin part in separate binding.)
Contains compositions by the best authors, and of
These Instruments have been before the Public for over | Cl:ASSIC, FOUR-HAND COLLECTION ($1). Nine absolutely unequaled merit. They will be found equally
fifty years, and upon their excellence alone teen superior. Duets for Piano, by Godard, Bohm, Hofmann, Brahms, acceptable for concert performances or drawing-room
have attained an and other first-class composers.
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UN PURCH AS ED PRE-EM IN ENCE, YOUNG PLAYERS' ($1.00). 51 of the very best and formers of the discomfort of playing from one book.
Which establishes them as PoPul-AR COLLECTION very easiest pieces for begin
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the first book of pieces (or recreations) to use. Classics.
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orcas album by : * * *
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148 Fifth Ave., near 20th St., NEW YORK.
The best Companion for an Instruction Book is Mason's
817 Pennsylvania Ave., WASHINGTON, D.C. | PIANoFoRTE TEchnics, containing every exercise needed
for the full development of technical ability on the pianoforte. By
Dr. William Mason, with explanations by W. S. B. Mathews. Price
The Sleigh Ride.
BY W. M.TRELOAR.
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SERENATA.
SOLO 75c. DUET, 41.00. SPRING'S A C
This great piece is played with TRAUMERIE............ SCHUMANN
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bells and whips, (chorus ad lib.)
Creates unbounded enthusi
* |asm wherever played Just what
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Send $5c #: the ##:
OLIVER DITSON COMPANY, JBOSTOINT.
Price, in Boards, including separate Violin part, $1.00
64 sa Cloth, 46 64 - 1.50 st *4

duet, mention this paper and we will send a pair.o


######"########'u'. C. H. Drison & Co., Lyon & HEALY, J. E. DITSON & Co.,
768 Broadway, New York. Chicago. 1228 Chestnut St., Phila. FOR SALE AT ALL MUSIC STORES.
WI"- *r-Erwre-rrer.
If the reader is not a subscriber, will -
- please look through this number and #
a glance at the table of Contents, thus learn
ing what we offer to Q subscribers. For a
Summing up of the policy of this mag.
please see the Annual Announcement azine
or.

| S.

ORN
s

- - - M
~~~

Col. UI D.C.: 1890


- C-EFFEREGN. Sr.

50 SeLECTED STUDIeS STUDIES


FROM OPUS 45, 46 and 47. |

STEPHEN HELLER MELOD) playing


REVISED BY * "More PvPyzs.
- e
ALPERT R. PARSONS, CALVIN B. CADy,
ARTHUR F00TE, HAMILTON C. MACDoUGALL.
E. BAXTER PERRY: JOHN S. WAN CLEVE, | -

CHAs, w. LANDON and THE0. PRESSER FE-ICE SI-25.


|

Aff Pou look/M6 FOR 80ME/g/6 MEW/2.


|
PRICE: $1.50. Something out of the beaten track? Are you tired or
using the same Etudes, year after year? If so, the pub
| lisher takes pleasure in calling your attention to Studies
It is the aim of the editors and the publisher to make." Melody Playing ing. They
ey fill a gap that hehas not been
occupied before. Every teacher has felt
this work everything that can be desired for educational interesting work for his younger pupils. We need
- - the of more
are indebted
Musical Items........................... purposes. Each editor has been assigned a special work, to Heller, Burgmuller, Reinecke, Lw, Lange, Tschaik
Revised Editions of Standard Work thus Mr. Arthur Foote has undertaken the revision of owsky, Scharvenka and others for much that is interest
4: Emery.............. -

The Metronome, A. R. Parsons e pe


*** -
which'". - been the lack of that gradation, fingering and editing
by the way, received in the origi's
mal studies very little attention. The ": "
- -

". direction. The * "ble has


which is necessary to fit them for the use of the teache.
... wood Vining.......... * ----------..........
Fourteen Practical Hints for Piano Pupils,
All,uttle: Familar to Many,
E. B. S. * but #elpful to been adopted for the pedals, which * To meet this want Studies in Melody Playing has been
185 | the time the foot is placed on the pedal.
*#################.
Study A Piece, P. i. Jervis............
compiled. It contains studies, from the best authors
186
The Pupils in Taking a Lesson, as if a. Mr. A. R. Parsons has revised the Phrasing, which has adapted especially to the wants of teachers. Pupils who
been in many cases altered in accordance with the more have had from three to six months. lessons may use these
studies.
recent ideas of interpretation.
C. B. Cady will attend to the fingering, metronome Do VOT! find Difficulty in Interesting
onials.............
marks, details of shading, cte. The rest of the editors V0III. Young Pupils?
# * Note: . have done the work of annotating, which will include a de
ration of the Ring Finger. The publisher recommends you Melody
A Mutual in#. rovement
Ryth Mad C.
Societ
ety
scription a. ,for
o the character and the assignment of a name Playing,
iption of to the
meet precisely
reason thatto
that they try
have Studies
difficulty
been ininhis
compiled own
by
% to each study. teaching. The studies are all melodious and will interest
| A.
#/ % | Notes The whole set will be closely graded, and will be made your pupils so much that the name "study, with
vertisements
*ble of Contents. a mode of musical typography. more terrors for them than for you.
The collection comprises four studies by
the compiler, and fourteenmore by einecke, Lw, Lange,
Tschaikowsky, Gurlitt, etc., etc. carefully graded, fingered
Ready for Delivery, Decemberist. **
Address publisher,
ADDRESS PUBLISHER, THEODORE PRESSER,
THEO. PRESSER. 704 Chestnut St., Philadelphia, Pa.
- -

T H E . ET U D E.

G. SCHIRMER
Ltest NewMusic, Publisher & Importer, || || || || || || || NEW YORE AND LONDON,
W00AL AND INSTRUMENTAL, #5 UNION sou.A.R.E.

|N SHEET AND BOOK FORM. NEW YORK, || ||###| ||


IIllililllllllllllllll -

*~~~
RECENT PUBLICATIONS. Write for Catalogues of Novello's original octave
Edition of Operas, Oratorios, Cantatas, Masses,
Babyland, Charming Soprano Song Gerrit Smith 40 Glees, Madrigals, Part Songs, Trios, Duos
*How many miles to Baby Land: |
and songs, Anthems, Church Ser
''Anyone can tell,
oneflight to your right vices, Chant Books, Hymn
Darling, it Was Not To B ease to ring the bell."
*Sad Regret '. BENOIT, CAMILLE,
The typical Motives of '. '. | Books and Psalters,

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arling as Not To Be, orTenor
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WOL. VIII. PHILADELPHIA, PA., DECEMBER, 1890. NO. 12.


GERMAN OPERA at the Metropolitan Opera House, New THE HUNGARIAN National Conservatory of Music at
THE ETUDE. York, was inaugurated on Nov. 26th, with a perform Pesth, will celebrate its fiftieth anniversary soon.
ance of Franchetti's Asrael. On Nov. 28th, Tann
PHILADELPHIA, PA., DECEMBER, 1890. MME, BURwgistER PETERses, of Baltimore, played her
huser was produced. husband's pianoforte concerto at the Sing-Akademie,
OvIDE MUSIN, who has departed on his tour of the Berlin.
A Monthly Publication for the Teachers and Students of |United States, was the star at the Third Star Entertain:
Music. BEETHoven's ballet Prometheus," with a new ballet
ment, Boston, and with his excellent company rendered text by Emil Taubert, is in preparation at the Berlin
SUBscRIPrion Rarks, $1.50 PER Yr An (payable in advance). |an interesting programme.
Single Copy, 15 cents. Royal Opera House.
The courts have decided that all subscribers to newspapers are held
responsible until arrearages are paid and their papers are ordered to be
MME. CAMILLE URso, the distinguished violinist, and TEResa CARRENo, Lili Lehmann, Stavenhagen and
discontinued Mr. Gustav Hinrichs have joined the faculty of the Paderewski are among the soloists to appear at the Ber
THEODORE PRESSER, National Conservatory; the latter as a professor of en lin Philharmonic Concerts.
semble and operatic chorus.
1704 Chestnut Street. PHILADELPHIA, PA. The origiNAL Beethoven manuscript of his four-hand
THE New York Chorus Society performed Sullivan's transcription of a string quartette fugue, was sold at an
Golden Legend at its concert on Dec. 4th. Miss de auction in Berlin for $330 00.
MUSICAL ITEMS, Vere, Mrs. Hattie Clapper Morris and Messrs. Lavin,
| Carl Duffe and Reed were the soloists.
PRosper SAINton, the great violinist, died in London,
aged 77 years. In 1860 he married Miss Dolby, the cele
[All matter intended for this Department should be addressed to The New York Composers' Choral Association gave brated contralto, who died in 1885.
Mrs. HELEN D. TRETBAR, Box 2920, New York City.]
its first concert on Nov. 24th, producing works by Chad.
SARAsArk is engaged in making a tour through the
| wick, Foerster, Hawley, E. C. Phelps, E. A. MacDowell, Provincial cities
HOME.
| Carl Waller, Arthur Foote and C. |: Rutenber. : England, and will undertake a simi
REMENYI will be
- -
* - -
lar tour through Spain next spring.
States in Sept., 1891.
gin a six months' tour in the United
| PACHMANN's DE tour, concert atwas inaugurated AT THE FIRsr Joachim Quartette-Soiree in Berlin, the
|'bu', on Nov. 11th. It will extend to San Fran programme was: Haydn, op. 76 : Mozart No. 4, in E
MME. Bloom FIELD-ZEISLER will play at the New York cisco. There will be three Chopin recitals in New York
Symphony Society's concert, on Jan. 3. and Boston, respectively, some time in January and Feb. flat, and Beethoven, op. 59, in E minor.
THE great organ in the Chicago Auditorium was dedi ruary. The Russian Musical Society of Moscow, will, give
cated not long ago. Mr. Clarence Eddy played. CARL BAERMAN, the pianist, assisted by Messrs. Loeff twelve symphony concerts this winter, at which works by
the great Russian composers may be heard.
MAx VogRICH's Captivity will be sung by the |ler, violinist, and Giese, Cellist, will give six chamber
Metropolitan Musical Society at its April concert.
concerts at Boston. The first occurred on Nov. 3d. Gounon's Faust was recently performed for the
Mr. Baerman will be one of the soloists at each of these 300th time at Vienna. Beethoven's Ninth Symphony
THE CANTATA John Gilpin, by Mr. Albert W. concertS. was produced for the first time at Warsaw a few weeks
Borst, was performed in Philadelphia for the first time MR. Gustav HINRICHs, the conductor, will take charge ago.
on Nov. 17th.
of an opera school in New York this winter and reor. Orro stNGER has been appointed the conductor of the
PAUL DE JANko gave his first concert and lecture on ganize his opera company, to which he intends to devote Cologne Mnnergesangverein, in place of Herr Zoell.
his new key-board, as well as a matinee, at Chickering several months of each season. Harlem opera was closed ner, the present conductor of the New York " Lieder
Hall, New York. with Il Trovatore on Nov. 1st. kranz.
MR. EMIL LIER ING gave a piano concert at Chicago It is more than probable that Mr. Theo. Thomas will MME. LERMANN sang at a recent Berlin concert, con:
-

on Nov. 18th. Miss Grace Hiltz assisted, singing a leave New York next season to make Chicago his future ducted by v. Blow, and now the Emperor expresses a
number of songs. home, and to give weekly orchestral concerts in that desire to hear her in Wagner Opera as Isolde" and
during the winter season. Fifty Chicagoans have Sieglinde.
M.M.E. CAMILLAURso has been playing the Mendels: city
sohn violin concerts in Boston. Her choice for the guaranteed $1000 apiece for three years to further this THERE will be ten performances of Parsifal at
third New York Philharmonic concert is Joachim's plan. Bayreuth next year, in the month from July 19th to Aug.
second concerto. MR. FRANz RUMMEL made his New York reappearance 19th. Seven of Tannhuser, and three only of Tris.
THoMAs TAPPER has taken Philip Hale's position as washis
at concert in the Lenox Lyceum on Oct. 30th. He tan and Isolde.
music critic on the Boston Home Journal, the latter assisted by Mr. Theodore Thomas and his orchestra, LITTLE Otto HEGNER performed the Chopin E minor
gentleman being now connected with the Post. and played Beethoven's fourth and Liszt's first concerto, concerto, and the Spinning Song, Wagner-Liszt at the
He will perform the Emperor concerto at the first second Leipsic Gewandhaus concert. e has also been
MME, DE ZAREMBsKA, a pupil of Liszt, gave her first New York Philharmonic concert.
playing at Berlin.
concert at Chickering Hall on Nov. 12th. This pianist FOREIGN.
is a professor in the Brussels Conservatory of Music.
EDUAap STRAUss and his orchestra gave another con WERDI has entered upon his seventy-eighth year.
IN this issue we send a subscription blank to all sub
W:estatandNewprior
York, Nov. 23d, on their return from the BRUssels is said to possess seventy-one musical so scribers who are in arrears with their subscription; the
to their sailing for Europe on Dec. 6th.
cieties. blank will show exactly when the paid-up subscription
S Miss ADELE AU's DER OHE began her-winter season at
MME. Essipoff has been playing at Steinway Hall, expires. All those receiving such blanks, will favor us
an Francisco, on November 18th, after having given a very much by filling out the blank with name and address,
'' of recitals in the West on her way to the Pacific London, recently.

Miss NEALLY STEVENs, the pianiste, has been filling a Richard Wagner.
and enclosing $1.50.
LEIPSIC is to be the first town to erect a monument to -

I HAVE great reverence for a book if it has been forged


|
number of engagements on the Pacific coast, and will MME. ALBANI will visit Holland, Belgium, and Russia at the soul of a true man. It is a part of him.Thomas
# in New York and New England in January and
ebruary. in February and March. Tapper.
e': SAM FRANKs. announces three chamber music THE NEw season of Mr. Henschel's London Symphony LET not the rule of your life he so deep and narrow
ncerts to be given in the new Steinway Hall; the first,
Concerts began on Nov. 20th. that you cannot now and then look up from it. Outside
at which Miss Al there may be some one you can help-give that assistance:
place on " Tr;
Friend will be the pianist, takes
- - -
MME. PAULINA LUCCA made her farewell appearance it.Thomas may be somethingg you
outside there Tapper. yo wantbe
t worthy of
at Frankfort, Germany, in L'Africaini.

**
184 -
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*
T EI E E T U D E.
[For THE ETUDE.] - "J lower notes an entire octave lower than some other edi point thus one notch in advance of the original start.
REVISED EDITIONS OF STANDARD WORKS, tions-give them, thus greatly increasing the difficulty Continue this zigzag process of advancing four notches
O f playing the passage with arms crossed. and then turning back three until the highest speed
BY STEPHEN A. EMERY. We must all agree that it is best to print notes as the with accuracy at present attainable is reached. If this
c omposer intensed them to sound, if possible, and hence does not meet the needs of the music, then determine
EveRY teacher of established reputation has frequently the modern rejection of the long appoggiatura printed as how far back to go in metronome tempo for a fresh
to answer the question regarding certain studies or a small note is an improvement, since so many imper start. This is not carrying things by storm, but achiev
sonatas: Which edition do you recommend? It is fectly taught pianists would otherwise play these same ing them by regular process of sapping and mining; not
indeed a difficult question to answer. There probably is small notes like the acciaccaturaa serious error. Like reaching a given point by bursts of speed, but getting
no one edition of Mozart's Sonatas, for example, that wise in the matter of phrasing, the separating of single there as certainly and as comfortably as if by horse-car.
our best teachers would agree upon as really better than phrases into semi-detached fragments, by means of several The same procedure is singularly efficacious in learn
any other. The original manuscripts of some of these slurs, has been, in some modern editions, decidedly bet ing pieces like the Toccata of Schumann, Liszt's
sonatas have mysteriously disappeared, thus rendering it tered by the use of but one long slur, or legato-mark, over Erlking, etc., whose conquest involves both the
impossible to decide, in doubtful cases, what is authentic such a phrase. But the extension of high or low passages mastering of particular clavier combinations and a
and what is spurious. We have, unfortunately, some in works from such a genius as Beethoven, merely because great increase in and over all one's previous powers of
self eonstituted editors who do not hesitate to re-write his pianoforte had a much morelimited keyboard than that execution. Here the metronome process is like, not
many passages, not in accordance with well grounded of our modern instrument, is at best a dangerous experi making one's fortune by forced or excited speculations,
traditions as to the composer's habits of musical thought, ment, and one to be tried only by men of greater musical but, instead, going West and prospercusly growing up
but in a way to suit their own taste, which is generally authority and taste than that possessed by many of our with the country.
based upon exclusively modern methods. recent revisers. The most one should do, in such cases, Again, take the case of amateurs under sentence to
conscientiousness in such matters is notorious, and the is to subjoin a foot-note suggesting such an alteration as play something in public, and who, as the hour for the
consequent bewilderment among, especially our younger one of the composers would probably make, were he execution of their piece draws nigh, sit and shiver in
teachers, is very serious and often very discouraging. now living. clammy terror, as if their own execution were impend
They ask: In the absence of authentic evidence of In view, then, of the many and obviously questionable ing ! Who shall describe the damage done even to
what was the original, how are we to decide between changes introduced into standard works, by over-ambi well-learned pieces in the last hours, when such tem
right and wrong? Doubtless this decision is sometimes tious editors and revisers, we usually incline to use the peraments sit wildly fidgeting at the instrument, as ir
an impossibility; but obviously that edition must be best of the older editions, printed more in accordance fearing their mortal senses would forsake them at the
most nearly correct that is the result of a comparison of with the original manuscripts, at least, presumably so, supreme moment if ever they ceased for so much as an
the oldest editions, together with some marginal notes trusting to an educated musical taste and judgment on instant their nervous fussing over their selections!
showing the varied readings of dissimilar copies. Per the part of our best teachers to rightly interpret doubtful Now, with such a full head of steam on in advance,
sonally, we have entertained great respect for the sonatas passages. We hope in a future article to touch upon one there need be no fear of insufficient speed when the time
edited (happily we need not say revised) by Moscheles, or two other points which would make the present sug comes. Here a carefully moderated metronome tempo
whose fidelity to the composer was no less than his gestions too long. in all further practice will regulate the operation of the
ability as a highly educated musician. Likewise, the machinery and ballast the ship for steady sailing when
Breitkopf and Haertel (Leipzig) edition of Bach's works the time for setting out arrives.
THE METRONOME,
commends itself to every thorough musician, because of A word as to metronomic designations of tempo in
the great care bestowed upon its preparation, in com pieces. The increased capabilities of the pianoforte in
BY A. R. PARSONS.
paring many excellent editions (no two of which, how point of sonority and variety of tone-color, says Kullak,
ever, were in all respects alike), and because of the justify increased breadth of style and a judicious moder
recognized ability of one of the principal editors, Carl IF the metronome suggests only a glance at a certain ating of the speed once thought indispensable to the
Reinecke. In this edition, many ornaments (turns, conventional sign at the beginning of a piece, and then brilliant style; for which moderation of speed, in view
mordents, etc.) of questionable authenticity have been a mad race through the notes, heedless of everything of the present weight of the action, the pianist's fingers
retained, but enclosed in parentheses, thus leaving it to save the inexorable tick-tack of the conscienceless ma cannot but be very grateful. Hence the musician, if he
the discretion of the player whether they should be chine, then, confessedly, it is no aid to practice. consults absolute metronomic signs at all, does so chiefly
observed or ignored. But started at a judiciously moderate tempo, and with a view to comparing them with his own impressions
It is a matter of regret that modern editors are not then set faster and faster by regular degrees as practice on the subject.
wholly agreed as to the proper rendering of certain signs, progresses, it enables one to apply himself systematic Does any one still hold the use of the metronome to
since this disagreement is a prolific source of varied ally to the working out of a given problem, for days or be dangerous to musical sensibility? If so, it may be
notations in different editions. In one, we find a turn weeks, independent of varying moods. Without its aid briefly replied that without trained precision of rhythm
directly over a note, where, in another, it stands just at the tempo of practice varies incredibly from day to day, as a habit in playing, all ritardations and accelerations be
the right, between two notes. This, perhaps, is caused nay, even hour to hour, according to the state of the come deflections not from a straight line, but from a
by the fact that one person regards a turn as a melodic weather, of one's nerves, etc. Yesterday, perhaps, wavering one; the result being more or less suggestive
figure of five notes, beginning on the note on which it everything moved on quietly. To-day cloudy skies and of the crooked peregrinations of the famous crooked
stands, while another teaches that it is a figure of but a heavy air cause everything to drag stupidly. To little man with a crooked little staff down the crooked
four notes, beginning above the printed note. Another morrow one's spirits are above par, and everything little lane.
of the much disputed points is as to the effect of a dot fairly spins. But the day after, nervous restlessness It was doubtless a recognition of this which led that
over only the second of two slurred notes that otherwise induces injurious hurrying, and an indigestion in the artist who, both as composer and as pianist, made the
would be tied; one contending that it merely shortens fingers follows, unfitting the hand for smooth playing greatest and most systematic use of the tempo rubato yet
the second note, while another insists that the dot thus for a day or two. known in the history of musicI refer, of course, to
placed causes the second note to be struck again. This In contrast to this, judicious practice with the metro Chopinto make a more constant use of the metronome,
particular difference of notation occurs repeatedly be nome means steadiness and repose of mind and muscles both in teaching and in practicing, than probably any
tween the Peters (Leipzig) edition of Bach's Two-Voiced in work. In relieving the mind of responsibility for other artist of equal rank.
Inventions, and that from Breitkoff and Haertel. In the steadiness of tempo, and supplying a graded scale for In all but the first stages, in practicing a piece of
latter occur numerous examples of tied notes, as safely increasing the speed, the mental strain of pro music with the metronome, the student should follow
commonly written, the same notes in the Peters edition longed practice is "surprisingly lightened. Meanwhile, Chopin's instruction to play in accordance with the
having a dot at the end of the tie. Now, does the dot during even the longest journey down the index of the special designation wherever a casual accelerando or a
annul the effect of the tie, causing the second note to be metronome, interest is sustained by the record of dis ritenuto occurs, and thenceforth to proceed indepen
|
W.

struck, or does it merely shorten the note? Abundant tance travelled and the possession of a schedule of dently of the metronome stroke until the recurrence of
evidence seems to exist to prove the former to be the successive points yet to be overtaken. Such a record, the tempo-primo.
rule, and if this be true, the dot should not be there. day by day, and week by week, of natural and steady But, after all, to such objections Beethoven's answer
Only in recent editions of this well-known work has the growth in execution often affords solid encouragement, is sufficient. It is, namely, the Allegretto to the 8th
dot been so used, showing it to have been inserted by where without it both student and teacher might be Symphony, whose motive was inspired by, and composed
some modern reviser. Bach is difficult enough, at the discouragingly unconscious of progress actually made. to be sung to, the tick tack of the then newly-invented
best; but with so contradictory marks of phrasing as the For the removal of obstructions encountered at par metronome. Here, again, we see genius understanding
foregoing, the young teacher, in turning from one edition ticular points in pieces, set the metronome at a deci the use of tools. In this immortal poem of tenderness,
to the other, as presented by various pupils, is wholly at dedly slow tempo at the start. Execute the difficult beauty, grace, and symmetry, all revealed in most ex:
a loss as to the proper rendering-at least we must so passages with decision two or three times. Then take quisite combination, the metronome received formal
infer, from the many questions that come to us regarding the tempo one notch faster; repeat for the same number canonization.
this very matter. of times, and advance still another notch. Renew this Thenceforth it has only remained for the faithful to
In a certain movement of one of the Mozart Sonatas in process until four successive notches have been passed. regard it to the end of edification.From The Science
F major, where the hands cross, one edition carries the Then turn back three at once, and resume work from a of Pianoforte Practice.

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T EU E E T U D E. 185
[For THE ETUDE J '' ' 4: From the Tone World, Schumann's easily come; you have only to try. Let the interest
and Musicians, and Hueffer's Musical be aroused, the love for the art of music awakened, the
EDUCATIONAL NEEDS OF THE PIANO PUPIL,
Studies are interesting and exceedingly useful. For opportunities and the rich materials at hand to meet the
h. ShieftWOOD WINING. entertaining reading, Raus Life of Mozart and pupil's every need will not be found wanting. With
Life of Beethoven, Weber's Life, written by his son, opportunities for progression, with enthusiasm, a worthy
A BROAD, comprehensive education in music has a Berger's Chas. Auchester, Haweis' My Musical and successful career, usefulness and business will surely
powerful and refining influence which is of inestimable Memories, and Music and Morals, can be highly be secured. Truly, to him who seeks, enlightenment
value both to the individual and the community wherein recommended. These are a few out of a long list of shall be given in full measure, pressed down and run
he resides. As an intellectual pursuit it develops and desirable musical works, obtainable at music stores and ning over, for he who seeks shall find.
broadens the intellect, strengthens the memory and circulating libraries. -
-

quickens the faculties. As an art, it develops a love for The foundation of a musical education is a thorough [For THE ETUDE.]
the beautiful and a power of self-expression and self. knowledge of harmony and musical form. A practical FOURTEEN PRACTICAL HINTS FOR PIANO
control; it disciplines the emotional nature, strengthens study of harmony should begin with the first lessons; PUPILS, DOUBTLESS FAMILIAR T0
the moral nature and quickens all the perceptions. the ear should be trained to listen and judge of tones, MANY, BUT HELPFUL TO ALL.
The study of music includes several separate branches, heard singly, successively-musical intervals, and in com
and at least the fundamental principles in every branch bination, as in chords. The major and minor scale I. Notice the letters in the spaces of the treble staff
should be thoroughly mastered, while the interest may should be analyzed and all the intervals formed with the F, A, C, E (Face).
be concentrated upon some special branch. key-tone thoroughly learned, followed by their modifi II. Also the letters B, E, A, D (Bead), for the first
Every piano pupil should study music, not merely the cations. Useful text-books are: Cornell's Primer of four flats used in signatures. -

rudiments of piano playing, if a musical perception and Modern Tonality, Emery's Elements of Harmony III. Also the initial letters of the words First Class
a musical interpretation of compositions are ever gained. and Howard's Harmony. On musical form, Lobe's Girls Do Admirably (F, C, G, D, A), for the first five
The embryo pianist must first be in earnest, giving his Musical Composition, and Pauer's On Musical sharps used in signatures.
entire self to his pursuit, for the muse will not counten Form, are most useful. The student of musical com IV. In scales and arpeggios place the thumb (right in
ance trifling, will not accept any compromise; an entire position would find most useful aids in Wohlfahrt's ascending, left in descending) on the first white key after
sacrifice to her shrine must be made if anything worthy Guide to Composition, Richter's Counterpoint, Che a black. In major scales the right hand makes no
the striving for is to be gained. rubini's Counterpoint and Fugue, Albrechtsberger's exception to this rule; the left hand makes but four,
The pianist needs to understand his instrument, its Harmony and Composition, Bussler-Cornell on namely, the scales of G, D, A, F, more easily remem.
construction, its complicated action, through which the Musical Form, and Berlioz Orchestration. bered by grouping them into a quasi word Fag'd.
impulse of the finger on the key is transmitted to the In order to play intelligently we must first learn to V. In scale-playing in sixths (similar motion) the
vibrating strings, and the laws of vibrating strings; he listen intelligently. It is very important for the pupil to fourth fingers (German fingering) strike simultaneously
needs to gain a knowledge of the fullest capacity and have from the very beginning the very best models; the in the keys of C, G, D, A, E, AP, and the harmonic
the natural limitations of the instrument, which should teacher, who should be a musician and a true artist, minor scales of a, e, c, g, c, g, d, and also in tenths
be the best that can be procured, and kept in tune and playing for the pupil at every lesson. The pupil needs in the keys of B, F#, D2, F.
in perfect order. Rimbault has written exhaustively on to live in a musical atmosphere, frequently attending VI. In scale-playing in tenths when the third or fourth
the history and construction of the piano. Encyclo orchestral concerts and piano recitals, as he must be finger of one hand passes over the thumb (therefore as
paedias give a concise account, and musical journals give filled with enthusiasm in order to accomplish anything. cending in left hand and descending in right) the thumb
information on this subject as well as all others of in An analytical knowledge of musical composition tends of the opposite hand passes under; this obtains in the
terest to the progressive student. A practical knowledge greatly toward intelligent listening. Every piece studied keys of C, G, D, A, E, AP, and in the harmonic minor
of the piano action and the laws of acoustics can be ob should be analyzed as to the subjects, the accompanying scales of a, e, ci, g, c, g, d.
tained by an attendance during the tuning and regula parts, the rhythmical figures, the phrases, the harmonies VII. In chord work (broken, full or arpeggio) the
ting, which should always be done by a skillful and and the counterpoint, which is the melodies in the ac second finger is very seldom omitted. A choice is to be
experienced tuner. The motions of the vibrating piano companying parts; and lastly the contents, or musical made between the third and fourth fingers, so that the
strings seen in the sunlight afford interesting illustration meaning of the composition. In this connection Ma: fingering is 1, 2, 3, 5 or 1, 2, 4, 5; the former when the
of principles clearly explained in Sedley Taylor's thews How to Understand Music, and Christiani's interval from the little finger to the next note is a fourth,
Science of Music, and if this simple and interesting On Musical Expression, are very helpful. For but the latter when it is a third.
treatise is followed by Tyndall On Sound, the student phrasing and expressive playing, Mathews' Studies VIII. A diminished seventh chord very seldom changes
will gain a satisfactory knowledge of acoustics. Those in Phrasing and Heller's Art of Phrasing, op. 45 into a dominant seventh in the same measure. Notice
who wish to make a more exhaustive study of this and op. 16, are important to practice. the accidentals that make the diminished seventh, and
fascinating subject will be interested to continue with As an important help in developing a sense of rhythm remember them.
Helmholtz. and a conception of the laws of accent and emphasis, or IX. Any accidental is good for its own line or space,
The first efforts in piano playing must be directed of rhythmical accent and expressive accent, Mason's and no other.
toward execution in its broadest sense. The fingers Accent Exercises, and Krause's Studies in Measure X. The notes of a triplet should be all equal in value.
must be trained, a musical touch must be obtained, the and Rhythm cannot be too highly recommended; a XI. From line to line, or space to space on the staff
musical faculties developed, and the musical taste judicious use of the metronome with these exercises is is always an interval of odd number (third, fifth, seventh,
formed. Technical exercises should be practiced daily advisable; Heller's op. 47 is useful, and finally the etc.); hence, an octave is always from line to space.
and without notes, that the hands may be watched and practice of ensemble playing and sight-reading. For This fact will frequently show (among leger lines above
bad habits avoided; the mind must be directed to the the reading of solos at first sight, sonatinas and or below) what a note is not, and make more easy the
Correct muscular motions and sensations, and perfect sonatas of Haydn, etc., are excellent; the tempo estimate of what it is.
freedom and conscious control acquired. Preparatory should be slow and the metronome sometimes used. XII. The second of two tied notes is the tied one; the
The broadest experience for the pianist is the practice first is struck. When two notes of the same name seem
technical exercises may be directly followed by Plaidy,
Tausig, Gradus ad Parnassum, Clementi-Tausig and of four- and eight-hand music, or concerted music, with to be tied, and yet are separated by an intervening note,
ullak's. Method of Octaves, together with the other instruments. It develops a sense for rhythm, in: carefully notice if the first has sufficient value to reach
Etudes of Cramer, Heller and Bach's Inventions. telligent phrasing and an intuitive conception of musical
quite to the second; if it has not, the two notes cannot
For pieces, Mendelssohn's Songs Without Words, form; it develops critical listening, quickens and deepens be tied, they are slurred.
and Mozart's Sonatas may be reached by as direct a all the musical faculties, and together with the practice XIII. In chords like the following g, bb, d, et,
Course as possible, supplemented by the sonatas of of playing from memory, engenders musical thinking. which, in nine cases out of ten at first glance, look
Weber, Beethoven, Schubert and finally those of Chopin Musical literature is very rich in original duets and wrong, notice particularly whether the accidental is on
and Schumann. In connection with the classical, which quartettes and orchestral arrangements for four and the line or in the space. When reading the passage
includes fugues, suites and sonatas, standard musical eight hands. It will be found more satisfactory to avoid, hastily, reject your faulty first impression and play the
literature should be studied, pieces of single form, such as a rule, piano solos arranged for four hands, and all
aS the Berceuse, Barcarolle, Romance, Impromptu,
opposite. For example, if it seems to be d; and e,
arrangements for piano solos. The practice of playing play e: and d; if b and c, play cit and b.
Fantasia, etc.; pieces by Weber, Jensen, Bargiel, overtures and symphonies in ensemble, previous to XIV. Against the name of the composer on the title
Moszkowski, Scharwenka, Raff, Rubinstein, Chopin, hearing them rendered by a full orchestra, is of the page place the date of his birth and death. Chrono
Schumann, Liszt, etc. An extended course should in greatest advantage. logical facts will thereby come easily into the mind.
clude the best piano music of all periods. In connection The National and State Musical Conventions, held
with original piano music, history and biography should
E. B. STORY.
annually, present much practical information and much
be studied. Hunt's history is very concise, Ritter's of interest, giving new and higher incentives and fresh
LINNAEus, the Swedish botanist, so loved the flowers
and Fillmore's will be found very interesting and in that his devotion became a form of worship. The first
inspiration to both teacher and pupil. All interested in
"ctive. There are obtainable interesting biographies music are well repaid for attendance upon these meetings. time he saw the gorse in bloom was in London; he fell
on his knees and thanked God for having created a
of all the great masters, and collections of their letters A teacher once said to his pupil, who expressed the blossom so beautiful. Art, too, is "' be you
*translated by Lady Wallace. Ehlert's Letters on wish that he could play as well as he did, That will thankful for it.-Thomas Tapper.

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186 T EI E E T U D E.
[For THE ETUDE.] arm; the tone should be always pure and musical, and self to never let anything the teacher says pass until you
CORRECT PRACTICE MAKES PERFECT, the muscles of the hand and arm kept as completely re clearly understand it, and to never leave a passage of
OR HOW TO STUDY A PIECE, laxed as possible. After this accent work, velocity music until you know how to perform it correctly, al
practice will impart dash and fluency to the passage. though perhaps slowly.
BY PERLEE V. JERVIS. In his own study the writer has found practicing with
Inattention is the pupil's worst foe. Give your
teacher a keen attention and you will understand clearly
a heavy touch very conducive to delicacy, though, unless
THE writer's experience leads him to believe that fully it can be done with completely relaxed muscles, he and easily. The interest you exhibit will spur your
one-half of the time spent by the majority of pupils at would not recommend it to students indiscriminately, as teacher to his best work; your attention and interest is
the piano is absolutely wasted; the results accomplished there is always great danger of producing a hard, un a gauge of the good he is doing you, so at once shut out
are so meagre in proportion to the expenditure of labor, sympathetic tone. everything from your mind but the matter in hand. Sir
that it not infrequently happens that the pupil who does The pedal should never be used till the piece is Isaac Newton said : If he had made any discoveries it
not understand the secret of successful practice, becomes thoroughly learned, when it should be made a separate was owing more to patient attention than to any other
discouraged and gives up his study in despair. study. The writer prefers to study the shading also talent. Genius, the wisest men have said, is but a
What is the cause of this state of affairs, and how can after the mechanical difficulties have been overcome, superior capacity to concentrate and hold a fixed atten
it be cured? Perhaps these questions can best be an though many excellent teachers advise to the contrary. tion. Helvetius wrote: Genius is nothing but a con
swered by stating as concisely as possible the conditious It goes without saying that from the beginning the tinued attention. Cuvier said: It is the patience of
of correct practice, from which the reader can draw his greatest care should be taken to produce the most sound intellect, when invincible, which truly constitutes
own conclusions. beautiful tone possible. After a piece has been learned genius. Chesterfield has said: The power of apply.
The ultimate object of all practice is the establishing in phrases, the mechanical difficulties overcome, the ing one's attention, steady and undivided, to a single sub
of what physiologists term mental automatism. Any light and shade filled in and a study made of the pedals, ject, is the sure work of superior genius. It would
action of the muscles that is made at first with difficulty it should be played every day from beginning to end, ten seem that anybody could train himself to show this
and only by concentration of the mind, by a series of or twenty times in succession, with as much finish as mark of superior genius if he will.
careful repetitions becomes eventually automatic, and possible; this kind of practice gives sweep, endurance Ask questions about your lessons from its beginning
entirely independent of any conscious action of the will. and ease. to its end, and see what you need to have further ex
Walking is a good example of mental automatism; from The best results will be obtained by dividing the plained; such as the passages of hard time, or fingering,
long practice it is done so easily and unconsciously that practice hour systematically. Thus, suppose the prac. and be sure you know which are the hard passages and
we rarely think of the really complicated system of mus tice time to be two hours; half an hour may be devoted for what special point you are to practice them. How
cular movements that we are constantly employing, or to exercise work, one hour to new study, and half an fast, or rather how slow, to play your tudes and pieces,
the extreme difficulty with which we obtained control of hour to reviewing what has already been learned. and what effect you are to produce. If you clearly un
the muscles in infancy. With only two hours for practice, the time is so short derstand the Phrasing and Content, especially of the
It is well known that the completeness and rapidity that the study had better be concentrated upon one obscure passages. To learn how the piece is composed,
with which a muscle can be developed is in direct pro piece; there is more danger in trying to do too much finding out its motives and phrases and the climax of
portion to the intensity of mental concentration brought than the reverse, and after all it is the concentration each; the points of repose, cadences and periods. If
to bear upon it. Hence, in order to establish a mental that tells. thematic or lyrical, find its principal and secondary
antomatism, it is necessary for the mind to act in ad From the beginning the pupil should form the habit subjects, episodes, coda, and of what motives it is con
vance of the muscles, and the first perfect performance of listening to his own playing; a true artist should have structed. The kind of touch to use in each passage.
of the act, to be followed by manifold repetitions, also no more relentless critic than himself. As an agent in Goethe has well said: To understand one thing well is
perfect, of the copy set at a gradually increasing rate of obtaining complete mental control of the muscles, the better than to know many things by halves.
speed, till perfection is arrived at. This is Nature's intelligent use of the Brotherhood Technicon will be Make yourself a regular interrogation point, but ask
method, which we instinctively adopt in learning to walk, followed by the most surprising results; by its aid the only sensible questions. Many exercises, tudes and
read, write, or what not ; but when we come to the study most delicate control of the hand can be acquired with a pieces are given for a special purpose, and you are to be
of pianoforte playing, most of us, reversing this order, rapidity that is astonishing; it should be as indispensable sure you know and have a clear conception of what this
act first, think last, and play too fast. Here lies the to the student as the piano itself. special purpose is and how it is best accomplished. If
root of the difficulty, and until the pupil can form the This paper may be fitly concluded by a summary of a new kind of touch or movement is taught, be careful
habit of ordering the muscles from the mind, much of the factors of correct practice. They are: Mental in that you know it perfectly and can do it correctly: get
his practice will go for naught. advance of muscular action, slow practice, manifold your teacher to give you several explanations of it
In order to do this, divide the piece in hand into perfect repetitions, concentration, careful self-criticism, until you have a clearly defined, sharply impressed ideal
sections of a phrase each, writing the proper fingering system, attention to detail, and indomitable perseverance. in your mind, and not a confused muddle of what and
over each note. Now, taking the right hand alone, play how to do, but an artistic ideal; and when you practice,
through the first phrase, say ten times, very carefully and [For THE ETUDE.] work fully up to it, allowing no carelessness or mistake.
slowly, and without the slightest mistake. This can THE PUPIL'S PART IN TAKING A LESSON, There is much self-satisfaction in knowing that you
only be done by thinking out each note with the proper are doing good work, and this feeling is well worth cul
fingering and touch that belong to it, before striking the BY CHAS. W. LANDON. tivating. To recite a good lesson and to realize one is
key. Follow these ten repetitions by ten more at a learning fast and well, is far pleasanter than a blunder
faster tempo, and keep increasing the speed with each ten BE punctual and do not miss lessons. If possible, play ing lesson and the chagrin of knowing that you are
repetitions till the phrase can be played through easily them over just before the recitation hour. In reciting, making slow progress.
and perfectly in the proper time. If the slightest mistake play neither faster, slower, nor in any way different from The more perfectly you understand your lesson, the
should appear, return to the slow practice. After treat your usual style of practice. Remember that the teacher more interest you will take in your music, and, therefore,
ing the left hand in the same manner, the two hands will expect all difficult passages to have been thoroughly the more pleasure, all of which will make you a rapid
may be played together, at first very slowly, then by learned from practicing them over and over slowly and learner. There are too many poor musicians, and you
degrees faster, till the proper tempo is reached. correctly, and that fingering will be criticised as much should make up your mind whether you are simply going
Take up the second phrase in the same manner, and as notes or time; that is, counting out aloud; and, too, to be one of the ordinary performers, or one far above
when it is learned, play through the two phrases a the teacher will never lose sight of a good position of them. The charms and perfection of your ideal, while
number of times, and as each succeeding phrase is hand, and a good touch; for it is not possible to play with your teacher, and how every moment's practice is
joined to those previously learned, repeat the whole well without a good technique. governed by this ideal, will be the answer to which class
passage from the beginning in order to remove any ten There is but one way to meet all of this, and that is you belong. The first step in attaining it is to, as soon
dency to stop or stumble between the phrases. Con to be self-critical of your own work and to never prac as possible after the lesson is taken, play it over, bring:
tinue in this way to the end of the piece. When a pas tice carelessly, but to do artistic work on every note ing to mind every word of instruction your teacher gave
sage presenting peculiar difficulties is encountered, played. Your ears and brain, heart and conscience you. You will have learned much when you know how
practicing with accents will be found very helpful. must be active. It is wrong to play carelessly, and it to take a lesson, and that not all the work of the lesson
Take, for example, the first arpeggio in Mason's Silver surely is a matter to be conscientious over; careless hour belongs to the teacher.
Spring, and dividing it into groups of six notes each, practice is a waste of time, money and talent, and this ---

play the entire arpeggio through ten or twenty times, is no small thing. THE spirit of beauty is infinite, but our standard of
giving a marked accent to the first note of each group. You must learn the difficult art of being severe with # is finite, and ever capable of being elevated.
Then go through the same number of repetitions with yourself. Spencer says: In the supremacy of self.
the accent upon the second note of the group, and so on control consists one of the perfections of the ideal man. TEACHING.If we work upon marble it will perish; if
till the accent has been placed upon each note in turn. No habit is of more value than to at once be absorbed we work upon brass, time will efface it; if we rear tem
As this calls for an accent from each finger in succession, with the work before you; to make your will-power ples, they
mortal will crumble
minds, into dust;
if we imbue thembut if weprinciples,
with work uponwith
im:
the value of the practice in equalizing the fingers will be control thoughts, nerves and the members of the body,
readily appreciated. Care should be taken to deliver and to do this at once. While with the teacher it is of the just fear of God and love to our fellow men, we en:
grave on those tablets something which will brighten to
the accent entirely from the finger, not from the wrist or the utmost importance that you make it a rule for your all eternity.
T EI E E T U D E. 187
WISDOM OF MANY. parents. Just when all else which ought to interest the through the storm, that the architecture of a climax may
mind appears repugnant and empty and insipid, the be duly perceived and enjoyed. In a word, the alert
No talent will be pure and correct if from the first les smallest real service to art lays hold of your inmost and trained intelligence stands with calm fingers on the
sons the teacher has not sought to inspire the taste for thoughts, leading you far away from town and country, riotous pulses of emotion, which, though unconsciously,
perfection; for without this taste, the pupil who attempts and from earth itself; then it is indeed a blessing sent by though involuntarily, are stilled perforce by the pressure.
too difficult music is contented with a moderate degree God.Mendelssohn. I have in mind a friend, a lawyer in the West, so
of perfection, which is a fatal thing in the study of art. *
It is not his genius, old Zelter once said of Men wholly devoid of what is termed ear for music, that
F. Le Couppey. delssohn, which surprises me and compels my admira he could not whistle the familiar melody of Home,
The pedal is the breath of the piano. You can make tion, for that was from God, and many others have the Sweet Home and keep within a thousand miles of the
a spiritual form of it so perfectly visible to your inward same (thus spoke his attached teacher). No ; it is his pitch; and if he undertook to sing the scale, he would
eye, that it seems as if you could almost hear it breathe. incessant toil, his bee-like industry, his stern conscien take the notes helter-skelter throughout his entire range
Deppe, unless he wishes the chord to be very brilliant, tiousness, his inflexibility toward himself, and his actual of voice, or perhaps sing the eight consecutively upon a
takes the pedal after the chord instead of simultaneously adoration of art. He will gain a name in everything he single tone, and be none the wiser. He never took a
with it. This gives it a very ideal sound.-Deppe-Fay. undertakes. music lesson in his life, does not know a fugue from a
Cultivate the spirit of liberality, that will allow you to sonata, is sublimely indifferent on all matters of theme,
admire and be instructed by all good and beauty. Strive [For THE ETUDE.] development and coda; yet I would match his instinct
to know other worlds than your own. People live THE MUSICAL TASTE OF THE GENERAL to catch and assimilate the spiritual beauties of a com
beyond mountains. There are those who are taught by PUBLIC, position against that of any interpretative and most
paintings and poems, by statues and flowers. Be one of creative artists. He is simply endowed with a rare
BY EDWARD BAXTER PERRY. artistic temperament, finely trained by a devotion which
them; you will be a better musician thereby.-Thomas
Tapper. circumstances have allowed to the other arts, particu
It is not often that the general public receives a com
Say that only which you know is necessary, and which pliment from the professional musician; the too preva larly poetry and sculpture; he is keenly sensitive to
can be remembered at the time, and keep silent about beauty in every form, and wherever it appears the
lent attitude being that of supercilious disdain on the electric spark of sympathy flashes in his soul, and his
those things which you know, for the time being, are un
one hand, and cold indifference, if not arrant ridicule, whole emotional and aesthetic nature is astir with life
necessary. This is the method of a true teacher.A. on the other. I therefore take this opportunity to pay
Hennes. and aglow with vivid pleasure. And why not? Not
one which is honest and justly earned. all who feel the best in poetry know the difference
Music is a shower-bath of the soul, washing away all I have had a large experience in concert work, from between a dactyl and an anapest, or could even parse
that is impure.Schopenhauer. the New England coast to Dakota and Texas, and I correctly a single verse.
It is of the greatest importance that music students shall have faced, I am sure, not seldom, as unmusical an au I have cited an extreme instance, but I know there are
acquire a just and accurate understanding of the merits dience as ever came together on American soil; un manyand I am convinced there are more, persons of
of the great composers and their different styles. The musical in the mouth of sneering critics and by their feeling and imagination but calling themselves un
basis of this information must necessarily be acquired own admission. But I have rarely met an individual,
musical, from lack of special knowledge or study of that
through reading, after which the student may continue and never an assembly, of superior intelligence and art, who, given a composition instinct with life, and a
his onward progress, and form his own opinions.A. F. culture, however devoid of strictly musical knowledge performer who emphasizes that element, keeping form
Goodrich. or talent, that failed to catch the spirit of a composition, and technique subordinate, would astonish themselves
An eminent master once said carelessly to a group of if properly enunciated. And this brings us upon the first and their friends by their keenness of insight and warmth
students: My dear young friends, never kiss a woman article in the creed of the idealists in music, concerning of sympathy with the rarest essence of true music. And
or play a composer whom you do not love. Believe me, the dual nature of art, the body and the soul of music. if these numerous and valuable recruits could be all
there will be no more warmth in the one than in the The first, its manifest form, though subtle and com added to the already avowed lowers and connoisseurs of
other, and you will wrong them both.E. B. Perry. plex, is a material and tangible thing, appreciated by music, what an army we should have mustered, and how
have trained their perceptions in this direc
Practicing a piece as a whole is like trying to level those who nearly universal we should have made our art!
mountains by digging on their tops and in their valleys tion, who have some knowledge of music and familiarity Let the interpretative artist look for appreciation of
alike; so, while the mountain tops lower, the valleys sink, with its laws; dependent therefore upon previous studies his technique, and the creative artist for admiration of
and at the end of a hundred years of this kind of work, of the listener to be comprehended and enjoyed. It is his formal beauties among the students and professors
a wholly artificial faculty, and one which can be ac of music, and if received, let each be assured that he is
their relative heights will be the same.Jeffers.
It was determination that made Hndel run after his
quired by any person with sufficient time and effort. a fine mechanic. But let each look for the real test of
The soul of music, on the other hand-after all its
father's coach, and thus became a musician; determina the divinity of his gift, in his power to touch the emo
better half-speaks instantly to every kindred soul in tions of his kind, not only in those with whom there is
tion that made Schumann a transcendent composer, not human tenement; and these are found quite as often
an unknown lawyer; determination that made Elihu a beaten path from ear to heart, but among his peers in
among the masses unlearned in the art as among musical the ranks of all professions.
Burritt a scholar and benefactor, not an obscure black devotees.
Smith. Learn of these and see how carefully, patiently, It is said, there is more joy in heaven over one
I maintain, and my experience has proved, that no
hopefully they labored.Thomas Tapper. sinner that repenteth, than over ninety and nine just men
previous knowledge of music, no familiarity with its that need no repentance. And there is, to my thinking,
I would define classical music as such music as is uni laws, no comprehension of its forms, is necessary for the
versally recognized by cultured judges to be the best keenest, fullest, most profound enjoyment of its inner more honor to the artist, and should be more satisfac
music displaying a high order of talent and originality, mood and meaning. Given the artistic temperament,tion, if he is earnestly devoted to his cause, in winning
rich in ideas, logically treated, and developed with and a sensitive soul, and the rapport is instant and one recruit from the great masses of the non-musical
masterly skill.T. V. Flagler. public, in waking one soul to life and delight in the art,
complete; and this is an inborn faculty, and, in its than in the finest analysis of his work from the most
Music is almost all we have of heaven on earth. higher degrees, more rare and far more precious than
Addison. critical and commendatory of pens.
the other.
There are of course personsit would be idle to deny
Apply yourself studiously, and you will be as skillful I think if any artist were asked to point out the dozen itwho can never be won or awakened. But I think
as I am.Bach. persons among all his acquaintances and auditors, who
these will be almost always found to be alike insensible
True skill consists not in correcting, but in avoiding were moved to the profoundest emotion and enthusiasm to poetry and to the other arts, to Nature's beauty, to
faults. But such an avoidance can be acquired only by by his work, who owed him the most of delight, he would love, to heroism, and to all the finer and nobler attri
a very slow and frequent practice. select the twelve, if he were honest, not from among
butes of life and of humanity. Their brains are too
his brother musicians, sated with musical excesses, fre
Every key of Hndel's harpsichord, by incessant prac quently wearied by long and hard application to the dry dull, their emotions too feeble, their fancy too impotent
tice, was hollowed like the bowl of a spoon. technicalities of the art, perhaps by habit too analytic ever to be impressed by any form of beauty. Let us
You listen to an admired pianist, whose touch seems hope they are few. Let us strive to make them fewer.
of mood in this particular to be whole-souled in enjoy.
miraculous, and, as his fingers glide rapidly over the It is only to such that music must be, in reality and
ment; but he would find them among the so-called non forever,
keys, you almost imagine that they are instinct with musical people of artistic temperament. a lost art.
thought and feeling oozing from their tips, as if the soul
Alas, the professional musician too rarely has tears The earning of money should not be the only end and
had left its inner seat to descend into his hand. But on
for a note of pathos, smiles for a witching grace of aim of life, and I, sincerely hope that all of you will
inquiry you learn that from the age of six or eight to melody, bated breath in a dramatic climax, shivers and learn very soon to draw the keenest pleasure from joys
of living that are in no manner connected with wealth.
manhood he sat on the piano stool from morning till tinglings of the nerves for a passionate cadenza, bound. Thomas Tapper.
night, practicing almost without interruption, except for ing blood for the swinging rhythm of martial cadences.
meals and elementary instruction, and that incessant toil The tear as it rises is choked, that the keen eye may be HE that loveth a book will never want a faithful friend,
a wholesome counsellor, a cheerful companion, an effec
was the price of the skill which affects us like magic. clear to observe with professional discrimination the tual comforter. By study, by reading, by thinking, one
"I now feel more vividly than ever what a heavenly peculiar manipulation of the keys by stroke or pressure, may immensely direct and pleasantly entertain himself,
calling art is, and for this also I have to thank my to produce the desired effect. The nerves are steady. as in all weathers, so in all fortunes.Isaac Barrow.
188 T EI E E T U D E.
QUES.1. Will THE ETUDE please tell me whether the In the biography of the world's greatest musicians
Questinns and Answers. tremolo should be played from the wrist, or with the we learn that sound artistic principles and correct
forearm rotating? technical habits were imparted during childhood.
2. Can you tell me of some wrist exercises or tudes
QUES.-Will you please answer these few questions in for young pupilsnot octave studies? Just
SUBSCRIBER. how it can be economy to employ a poor teacher
THE ETUDE, and oblige a subscriber? . ANS.-1. The wrist and hand must be loose, and the to establish a series of bad habits of study and teach a
1. How should I play to obtain a flowing style? and forearm set of false rules, and establish in the child wrong ideas
what is the meaning of dolce? in repose, or without nerve tension. A rapid
2. Accent. Is it right in three-four time to accent movement is best, so fast as to give the impression of a and ways of work that stick to him with a terrible per
the first note in each measure, and to play the two re. continuous tone, rather than successive tones. The sistency, and then to pay a high price to a good teacher to
maining notes soft - - -
easiest and best way is by a very slight rotation of the help the child to unlearn these things, is what the present
3. In Mason's Touch and Technic, is the first note in writer could never make out.
a group of two and four notes, with a slur above them, forearm and wrist, combined with a slight independent
accented; and how should they be played without the vertical movement of the first and fifth fingers, these
slurs ? fingers to help out, as it were. As a general thing, a PUNCTUALITY.
4. In the accompanying example, is the first note ac tremolo should be begun softly and crescendoed to half
cented, and should the note marked 3 be accented; and its duration and diminuendoed to its finish. THE following is of such practical worth that we give
when a phrase extends two, three or four meas.
it a place in this column, and would here add, that
ures, is the first note accented the same as if there were 2. In Goldbeck's wrist studies eight of the twelve are pupils and teachers should have regular hours for prac.
no slur indicating a phrase? F. without octaves. They are in sixths and ":W.'" tice, and attend to them as regularly as they do to their
ANs.-1. A flowing style means a perfect legato, notes.
hours for meals.
WV - I./.

phrased in long phrases. Practice Mozart and the slow DEARETUDE:-Having taken your valuable Magazine It is astonishing how many people there are who
Mendelssohn Songs without Words, and think of a violin two years, I wish to express my deep appreciation of the neglect punctuality. Thousands have failed in life from
work you are accomplishing through its pages. I have this cause alone. It is not only a serious
playing the melody. A flowing style is opposed to jerky received much information as regards the studies, etc., vice in itself,
style, interrupted by misleading accents, etc. Dolce of the piano, but very little about the cabinet organ. I but it is the fruitful parent of numerous other vices, so
means sweetly. have taught music now some years, and have made a that he who becomes the victim of it gets involved in
toils from which it is almost impossible to escape. It
course of studies as I was able, from limited
2. It is right to accent the first tone in the measure; as to where I could get studies suitable knowledge makes the merchant wasteful of time, it saps the business
for a five-octave
but whether these or any of the remaining tones are to organ, and suitable for a child's fingers and mind. If reputation of the lawyer, and it injures '" of
the mechanic, who might otherwise
risea to O
fortune.
be produced softly depends upon the style of the piece. - -
you can, please send me through THE ETUDE columns a a word, there is not a profession nor station In
in life,
You have a wrong conception of accent, which is not a list of studies, and oblige a music teacher. . . . which is not liable to the canker of the destructive
quantitative distinction between tones, but a difference ANs.-Send for a graded course of study for the cabinet Be punctual, if you would succeed.Indiana
in quality and intensitynot mere quantity. organ by M. S. Morris; price ten cents, Theodore Presser, Baptist.
3. There are no slurs of groups of four tones in Ma Publisher. This little pamphlet contains a graded list of The teacher's time being fully employed, makes it
son's Touch and Technic. There are in the old book, pieces and studies, with descriptions of the same. Prices necessary for him to meet engagements; therefore, if the
but they were merely conventional, and were accord and publishers indicated. From the many pieces de- | pupil is late at the lesson, it is hurried through at a loss
ingly omitted from this new work. All the slurs in this scribed you will be able to select such as will meet your to the pupil and with vexation to the teacher. Pupils
edition are to be observed. The phrases of two tones WantS. " " " should endeavor to be as prompt to begin their practice
are begun with a light touch from the hand, and finishedEditor of THE ETUDE:Please answer the following on time as they are to stop it at the tick of the clock.
with a finger touch. questions: T.
1. How can a pupil
4. I regret to say that the example which, it would play the piece well withobtain independence of hands? I
each hand, but when I put both MOTHERS AND MUSIC. #:
seem, originally accompanied this letter has been lost, hands together it makes a difference, and I have to stop
As a man thinketh in his heart, so is he. Home #
for which reason I cannot say. The obligation to accent occasionally. *
the first tone of a phrase is exactly the same as that of 2. Is it detrimental to have several books on harmony? influences on the child are the strongest of all, and to
emphasizing the first word of a sentencewhich is to Does it confuse a person to study more than one book?
3. Should the left hand receive more practice than the make these influences a power for good is the desire of
say, none at all. Accent where the rhythm and the in right? Suggest some good studies for the left hand. every mother. A helpful hint will be found in the fol
tensity of the thought requires it, and nowhere else. T. H. M. lowing:
This is the whole story, and if you answer that you cannot ANs.-1. Evidently you are studying pieces that are A certain lady of refinement makes it a practice to
tell where the thought is intended to be the most intense, too hard for you. The difficult passages in any piece purchase the works of the classical composers, in one of
I reply that this is exactly the same case as that of a should be well learned separately, and not very much at the many inexpensive editions: not that she may play
them, for she does not play sufficiently well to interpret
reader who cannot tell which word of the sentence is single-hand practice. I require my pupils to find the them, but that the young members of her household may
the one where the idea culminates. Your education is difficult passages, and go over them many times slowly become familiar with the names and works of the great
defective, but all you have to do is to change your stand and accurately until they cease to be at all difficult. In musicians. She teaches them to use these volumes of
point of study. Study for what there is in the music, that way the piece can be quickly learned, and the pupil sonatas, songs and symphonies, and shows them how to
and not for what the composer or the careless proof. will be able to play it through without stumbling or stop afollow the music when they hear one or more of them at
concert. She does not take this care because she has
reader may have wrapped around it in the way of slurs ping. in mind to make musicians of her little flock, but because
and things. A phrase of two tones begins with an ac 2. It is my custom to use more than one book. There they acquire in this way a fund of familiarity, interest
cent under certain conditions, which I have formulated is some difference in nomenclature, but with a little study and knowledge of and about the best music and musi
to the best of my ability in the first book of Phrasing: one can soon comprehend the author's idea. There is cians. There is also to be found in her home the books
of famed authors, reproductions of classical paintings,
but this does not preclude another accent upon the very a distinct advantage in looking at a subject from different photographs of cathedrals, statues, and famous buildings.
next tone. W. S. B. M. standpoints. Authors naturally look at a subject differ. All of these subjects, music, literature, painting, sculp.
ently, and between them you will find something that ture and architecture are made themes of everyday con
QUES.-If a grace note is written before an octave and versation. Children living in such an atmosphere acquire
tied to it, is the lower note struck a second time, or is will make the rules especially clear to you. a bent of mind and a character formation, the value of
this lower note held while striking the upper note? 8. As a usual thing, No! A pupil who studies music which cannot be expressed in words."Thomas Tapper,
ANS.-The lower note is struck but once. The ear of a good class has about as much melody work with the in Chats with Music Students.
hears first the lower and then the upper tone. C. W. L. left hand as with the right, consequently the hands will The mind is ever active. It will think, therefore, give
QUES.-1. What is the meaning of the figures in circles be about evenly developed. I would suggest for a leftit some good thing, something pure and elevating, with
1. 4.0. and 0.4.1., the first being placed before the treble hand work, Mason's Touch and Technic, or Two which it can be occupied. A farmer in one of the Middle
staff, the second before the bass; also the letter G, half finger Exercises, and his treatment of the diminished States had three sons that went to sea. He and the good
way through the piece, with line passed through, between seventh Arpeggio with accents. C. W. L. mother could in no way see why it should have been so.
the two clefs? Above will be found in No. 1170, Col.
lection Litolff, Harmonium Album for Cabinet Organ. A friend visiting them asked how long that picture of
As I use this in teaching I would like to know, for I can WORTHY OF COMMENT, A Shipwreck at Sea had been on the walls of his
find nothing to explain, nor can I see any reason for it, sitting room. Since we were first married, was the
unless they apply to stops and to great or swell organs.
A SUBSCRIBER. IS IT ECONOMICAL 2 reply. That spirited and boldly-drawn picture made
ANs.-In the European harmonium the stops are num. The old adage, Whatever is worth doing at all is your three sons seamen, said his friend.
bered and not named, as in the American Reed Organ. worth doing well, never finds a more true application
The G means Grand Organ, a knob which draws all of than in giving music lessons to a beginner. Mr. Louis
Lombard says in an article recently published: No educational enthusiast has ever yet exaggerated
the stops. American organs use a knee stop or swell, the impressionability of the child, his capacity for the
and the European an ordinary stop. The G with a mark goes for naught without artistic emotions which lie at the basis of all our moral life:
or cancel through it, means take off Grand Organ. In
guidance. Place a gifted child with an incompetent Love, tenderness, sympathy, the desire of the approba,
music teacher and you destroy much that nature has tion of others, veneration, nay, the # of sacrifice an
some books, taking off a stop is indicated by the cancel done. No amount of genius and diligent study can even a certain dim presentiment of the harmonious play
mark through the figure inclosed in a circle, and in other obliterate bad precepts from the impressionable mind of the nobler feelings of human nature, are all ready,
works, by placing the figures in a square, while to draw of youth. . If you cannot give your child the best mu nay, longing, to be evoked into activity. Response is
the stop is indicated by inclosing the figure in a circle. sical training give him none. Let his time and your eager. It almost anticipates appeals. You have in these
C. W. L.
money be devoted to a better purpose than the develop primary feelings the source of all spiritual life. Do not
ment of a musical nuisance. disturb them. Believe in them.Thomas Tapper.

-* *
THE ETUDE. 189
PATENT JANK0 KEYBOARD, quently all the works of ancient and modern writers are so-called glissando-chromatic. This effect is produced
brought within reach of piano students, who hitherto in single tones, thirds, sixths, octaves. Chords of the
found it extremely difficult to execute those works with- tenth and twelfth by gliding obliquely from one key to
The new keyboard consists of six rows of keys, placed
one above the other. The most essential peculiarity of
this arrangement is that each key can be struck on three
different rows or banks, which are situated, as before re
marked, one above the other, as on the organ. These
keys are joined to a single piece of wood as shown in
Fig. 1, and resemble a staircase or terrace.
figure represents two octaves. Some of the keys
have a black stripe through their centre. The corre.
spond to the black keys of the ordinary keyboard. The
striped keys F sharp, G sharp, A. sharp, on the Fig. 3.
first bank (Fig. i.), and the two striped keys C sharp out, great labor, and the loss of considerable patience.
and D sharp on the second, are easily distinguishable.
The keys are arranged so as to form whole tones; thus As before remarked, the fingers are never in a wedged
on the first row (Fig. 1), starting from the first key to or cramped position, as is often the case on the ordi
rear
the left, we have the tones C, D, E, F sharp, G sharp, nary keyboard when a white key is struck on its
A sharp, C, D, E, etc.; these tones follow each succes
sively in the above order, on the first, third and fifth
row throughout the keyboard. Starting from the first | Fig. 9.
key to the left of Fig.1 on the second row, we obtain the other. This circumstance renders the binding of
the tones C sharp, D sharp, F, G, A, B ; these tones also
follow the same order of succession in the second, fourth half tones possible; and this in polyphonic playing is
- of considerable
the new keyboard value. special system
is notArequired. of notation
In learning for
the new
and sixth rows. ce.

keyboard it is merely necessary for the pupil to acquaint


9| g| F. G |A| B | | # FIG.4
IG, 4. with
himselfIn
|rows. order keys,
the to and in
signify the position
their on of
adaptation various
thefingering

part between two black keys. Owing to the altered suc of a composition, which row shall be the
G|D|E | #| ||#|G | D E cession of longer and shorter keys, the space of one following simple system has been adopted:
key in the octave is economized. The octave thereby is The figures 1, 2, 3, 4, 5 designate the five fingers.
QI g|F |G |A| B |9||9 reduced in extent to six and one-half centimeters. It Dots placed below or above them indicate that the low
measures twelve centimeters on the ordinary keyboard. |est or highest row is to be employed.
The spanning of extensive chords is so much facilitated - - - - -

thereby that many chords that could heretofore only be 1 2 3 4 51 2 3 4 5


played as arpeggios can now
Harp"
taneously sounded, thus the tude of
very easily beChopin, -

In indicating the middle row, these dots are dispensed


QI FI F |G |A| B | \| # ited inthus,
op. 10, No. 11, can be executed as easily as if it were with, - 1 2 3 4 5.of The
his selection
- -
fingering to however,
player, not lim
the aboveisnotation.
written within the octave. The lateral rounding of the - - - - - -

keys obviates to a great extent the above-mentioned He is at liberty, and will involuntarily select fingering
G | D | E | #| || BI|| C | D | E wedging between black keys, and greater surety in strik. that is the most natural. It is at the same time possible
keyboard employ the same fingering indi
FIG, 1. #: #'' | oncatedthefornewthe ordinarytokeyboard; and without necessi
- - - - > -

The chromatic scale is contained in any two rows.


The advantages of the keyboard are many.
# ::
By reason ticed, ' nique on the ordinary keyboard would I' this to be
of the many rows the hand maintains a more natural greater on the ordinary flat keys than on the improve - -

position. ' fingers are never in a wedged or cramped ''


position, and one can select that fingering which is most keyboard is the equality offingering scales, thirds, sixths, e in teaching advanced players of the ordinary
natural. arpeggios, or other technical figures... They are played keyboard proves quite the contrary
in all keys with the same fingering. It is, therefore, ne- : of of ability are now giving concerts
cessary to learn, but one scale, and one has at the same with the Janko '. board y giving

1. This # '
good for any technical figure that can be imagined. Fig.
manufactories are busy adapting
A number of
- - - -

2 shows the position of the hand in striking # chord C, :'.''"


# G, C. Fig. 8 represents the same chord by means of Edwin J. DECEVE in the ''' -

gures. - - - - - -

It will be seen after examining Fig. 8, that by :


the thumb on the first tone upward to the right of C, we
have the foundation tone of the chord C sharp, E sharp, GIFT B00KS FOR THE HOLIDAYS,
G sharp, C sharp, or, inharmonically, D flat, F flat, A
flat, D flat. This transposition is clearly shown in Fig. 9 AMONG our many books there will be no difficulty in
selecting suitable gift books for holiday presents and

FIG. 2.
g -

Q g collections of music to meet the needs of your friends.


Musical Mosaics, by W. F. Gates; Music and Cul
Fig. 2 represents the natural position of the hand and ture, by Carl Merz, is beautifully bound; Music
Fig. 5. Fig. 6. FIG. 7. Study at Home, by Margaret Harvey; Piano Teach
wrist in striking the chord C, E, G, C. Since the thumb
is much shorter than the other fingers, it takes its posi It will be noticed in the above example of transposition [ing, by F. Le Couppey; History of Pianoforte Music
tion below them. Those who have studied the ordinary that theThis and fingering
handrelationship, in the new key remain the and Lessons in Musical History, by J. C. Fillmore;
keyboard will remember that it is often difficult, and at same. as before remarked, holds good Dictionary of Music" and How to Understand
times quite impossible, to execute certain passages in every case of transposition, and those who are some- -

strictly legato; especially is this the case with arpeggios, to transpose a composition will readily per- Music, Vol. I and II, by W. S. B. Mathews; Study of
extended chords, and passages of thirds, etc., etc. The the Piano, by H.Parent; The Musician, six volumes,
passing under of the thumb in scales and arpeggios be by Ridley Prentice; Whys and Wherefores of Music,
comes on the new keyboard at once simple and easily
accomplished. The keys of the improved keyboard do by H. S. Vinings; Chats with Music Students, by
not lie perfectly horizontal, but are inclined somewhat Thomas Tapper; Sonatina Album, Groves Dic
toward the player. This could not be well shown in
1, it is more clearly represented in Fig. 2. The
| | |ID tionary of Music and Musicians, in four large volumes,
are all tastefully bound, and most desirable books for
object of this arrangement is easily explained from a
physical standpoint. Since the motion of the arm is
never exactly vertical, but directed slightly from the
| | * AsT. T. R. 1.
presentation.
We have just issued a descriptive catalogue of our
Player, it follows that great economy of power is ob.
tained thereby. The slightly inclined position of the
ys takes place precisely in the direction of the motion
[.Z| | [[]
|
| | - .*

-
music books, which will give detailed information about
all of these works.
of the arm. This inclined tendency of the keys is an
advantage; it enables the layer to obtain that position % A FRIEND is a person with whom I may be sincere.
of the wrist by Liszt, without, however,
*cessitating any effort on the part of the player. The
".
| | |

Before him I may think aloud.


the presence of a man so real and equal that I may drop
I am arrived at last in
keyboard is in reality bent toward the wrist. Figs. 3 Fig. 8. even : of dissimulation, cour
and 4 illustrate this position. The latter showing the never put and
Position of the keys of the improved keyboard. ceive the value of this system. A vast number of effects may
- |-
deal second
tesy and thought,
with the which
simplicity andmen
wholeness withoff,which
One of the most important advantages of the improved
heretofore impossible can now be introduced into mu : chemical
keyboard is, that the can cross each other without sical
atom'o'."'
compositions.
interference. This is easily accomplished, since one A great many works originally written for four hands we begin this life with a time account. Time is the
hand may take an upper manual while the other hand are now played with two. capital. We draw upon it continually, lessening the
manipulates the lower row. A great number of Bach's most beautiful fugues|quantity with every passing moment. ith this capital
nother evident advantage consists in the increase of are easily rendered on the new keyboard, including pedal we pay for all we get, in minutes and hours. To think.
"P". It is now possible for the smallest hand to grasp art, as Janko's programmes attest. One out of the many to look, to speak, must be paid for in this precious coin,
With facility chords of the tenth and twelfth, conse effects only possible on the new keyboard is the |-Thomas Tapper.

- *-
19C) T EI E E T U D E.
mere tyro. But some may say, Suppose a child has TESTIMONIALS,
FOR TEACHERS ANDs PUPILS.
acquired some false methods of playing at the outset,
can't they be easily eradicated when the scholar has
Teachers are human; quite so, at times. Pupils who advanced so far as to require a more learned, and par.
desire to get all the benefit from a teacher should resort consequence a more expensive teacher? Economy, of The copy of Dr. Karl Merz's Music and Culture has
to policy at times. . The teacher must be studied by the course, is at the foundation of all such reasoning, but a been examined; it is truly a most excellent work. From
pupil, his characteristics, his temperament, his weakness, little the terse maxims to his lectures on AEsthetic Philosophy
reflection will prove that it is false economy. . one is benefited and instructed. S. A. Wol.FF.
should be studied by the pupil. The pupil that ap A habit is that which we do from long custom without
proaches the teacher very timidly, and says, I have a thinking of what we are doing, hence it is easy to see Received Mathews Phrasing Introductory, and am
poor lesson to-day; I have not studied any, will take how difficult it must be to correct evil habits, and how so delighted with it. I will say that, although a young
the wind out of the teacher's sails at the very start, and long must be the process.-D. C. A. musician, I have thrice up trying to teach begin.
an unprofitable lesson is generally the result. | ners at all, because of t e great difficulty of filling in
A maiden lady, of the strong-minded order, engaged first-class and interesting, work between Emery's
a term of lessons from Mr. , of Boston. He has the What is your secret of success? asked a lady of Foundation Studies and third work.
habit of walking during the lesson, sometimes perambu Turner, the distinguished painter. He replied: I It seems, to-day, as though this great difficulty was
lating into the adjoining room. At the very first lesson have no secret, madam, but hard work. entirely removed by the appearance of this very fine and
the lady obliged Mr. to sit down by her side. He
Says Dr. Arnold: The difference between one boy pleasing work of Mathews', with other new works and
said he heard every note as well as if he were by the and another is not so much in talent as in
instrument; his protests were of no avail, so he took his
|
valuable literature recently published, making music
Nothing, says Reynolds, is denied well-directed teaching comparatively easy. MRs. GEO. E. GATEs.
seat, as What an unwise proceeding ! ac labor, and nothing is to be attained without it. |
tions of that kind will chill any interest a teacher might Excellence in any department, says Johnson, I cannot express the feelin I have about THE
put forth. There are many ways in which a teacher's * * can be obtained only in the labor of a lifetime; and it ETUDE. I have been benefite fifty times more than
interest can be enlisted, and just as many by which it is not to be purchased at a lesser price. the small sum I paid for the year, and any single number
can be destroyed. The duties of to teacher are There is but one method, says Sydney Smith, and is worth the price of the whole year. T. J. RICKABY.
bound to be studied and enforced, if good results are that is hard labor; and a man that will not pay that price
expected. An invitation to tea is not exactly a duty, for distinction had better at once dedicate himself to the in Let me thank you for receipt of the works, Studies
but it will increase the interest at the next lesson hour. Melody Playing, by Hamilton Macdougall, and Stud
pursuit of the fox. ies in Phrasing, by W. S. B. Mathews. I think they are
The pupils will be flooded with information, if only a Step by step, reads the French proverb, one goes both works of great value, and no words will express my
daisy is laid on the professor's table. A slight remem very far. appreciation of them. MRS. A. J. WEST.
brance at holidays will gladden his heart the year round. Nothing, says Mirabeau, is impossible to the
Avoiding his peculiarities, yielding to his caprices, over man who can will. Is that necessary? That Studies in Melody Playing, by Hamilton C. Macdou
looking his shortcomings, and admiring his vanities, if shall be. This is the only law of success. gall, received. I can see it will save a deal of work for
done wisely and in good taste, play no little part in the | teachers, as the phrasing, expression and pedal marking
| are simply perfect.
pupil's advancement. Hence, while the teacher is em EMMA HolMEs.
ploying every means to get the best work out of you, do MUSIC AND MoNEY.Music teachers, who are worthy Chats with Music Students contains advice worth
you likewise with the teacher. of the name, make as much money by teaching as the more than money to the earnest student.
|

workers in any other profession can. HENRY A. RoRHNER.


How CAN ADULL PUPIL BE BRIGHTENED UP!In Many a man in business for himself does not clear as
the first place find out why he is dull. If it is because much money in a year as plenty of hard-working compe History, geography, mythology, literature, have all
he dislikes the instrument which he is learning to play, tent music teachers do. called games to their aid in making themselves familiar
your first step should be to try to make him like it. # It is only the lazy, shiftless, incompetent, so-called to young people; and now music follows in their wake.
carrying out your purpose, give him a brief history of its teachers of music who try to live on the air alone, who Theo. Presser, 1704 Chestnut Street, Philadelphia, is the
origin, naming one or two of the most famous makers, ring public odium on a comparatively lucrative pro sole agent in the United States for Hofer's musical game,
also some who have risen to greatness as performers, fession. ALLEGRANDo, a game which we have examined with no
relating little anecdotes concerning them, etc. The possession of talent is nothing unless it is accom little interest. It consists of fifty cards, each printed
A pupil may be dull only in one particular branch of panied by that energy and industry which gives it a place with a musical staff and a single note. The notes are of
music which he is learning. He may, for instance, im in the busy world. It stands to reason, that to secure the various values, prefaced by the different signatures
prove but slowly on the violin because he hates it, but success in life, the musician, whether teacher or artist, and time-marks. Ten games can be played with the
give him a piano instead and note the change in his must be a man and cultivate money-earning talent like cards, games which will interest persons of all ages, and
other men.
rogress, or vice versa. If a pupil be really dullI mean egrees of musical proficiency. Here one can learn the
y that unmusical, having only an ordinary ear for time Musicians must learn to take practical views of art names of notes, the value of notes and rests, varieties of
and tune, and you are obliged to be his teacher, on life. Whether they are willing or not, the world will time, and the key in which the piece is written. Full
the violinI pity you. In this case of dullness, the force them to learn the hard lesson of life. instructions accompany the game, which sells for fifty
brightening up process will probably be slow, if sure. There are musicians, who make plenty of money, but cents. We recommend it to a place in the lists of Christ.
mas presents for the children. ExcHANGE.
. There can be no unvarying recipe given, I think, as do not know how to take care of it. This is their fault,
each case of dullness has its own, peculiarity; but still, yet ignorant people blame the profession for it. -

Says the Boston Musical Herald of Musical Mosaics,


on general principles, I would advise you in your les. Whenever you hear of a music teacher being poor edited by W. F. Gates:
sons to talk cheerfully, brightly, encourage where pos through his profession, you may rest assured that there The average student of music, to whom a large
sible; praise frequently; dull pupils need this stimulus are a number of good reasons why he ought to be rich library is inaccessible, will appreciate the value of this
often where bright ones would be harried by its too y it. -

well-indexed collection of thought-crystals. Their com:


-

frequent use. Encourage questions; compel a clearly There is honest money to be got out of any business pilation must have been a no less delightful than merit
ut question, that the pupil may understand his own or profession, if you only learn how to get it out. orious task. We can heartily commend the work. #
idea, then answer as clearly and in as few words as put into circulation the wisdom of the wise is to enric
possible. the intellectual life and to augment the efficiency of
If he becomes sleepy over his lesson let him rest a When the student has gone through the more elemen every teacher and pupil and materially lessen the profit.
moment while you relate some laughable anecdote-- tary studies, there still lies before him an immense tract less expenditure of effort.
of undiscovered country. He may be likened to a
something pertaining to the lesson, if possiblethen let
him begin again. Don't give him too long lessons to traveler who, after a long and weary journey spent in The Studies in Melody Playing, by Macdougall, I
learn; make them interesting and varied; introduce overcoming difficult obstacles, suddenly comes to a place find to be just what I need. #F: O'p.'
from whence he sees fresh mountains rise before his
some pieces for violin and piano as soon as he can play view. True, he has mastered the works of Bertini and MR. W. F. GATES. - - -

them, insisting upon the regular, practice of his more Cramer, and Moscheles; but of what avail does it seem Allow me to express to you my appreciative thanks
technical studies as well. Teach him that as much de
when the giant forms of Liszt and Chopin are seen
ends on quality as quantity in practice. Strive to looming for the genuine interest and pleasure afforded me by yo:
interest him in his work, and in his teacher. If he likes through the mist? excellent compilation, entitled Musical Mosaics." It
contains the cream of the century's best, thought on
and respects his teacher he will improve very much musical topics. Like cream, it is pure, undiluted nutri,
faster than if he does not. Shun the wretched habit of
I remember one child, about fifteen or sixteen, who tion, best taken at odd moments of leisure, and should
self-correction. Illustration is valuable, that is, if nicely came to me and developed what I thought was wonder be kept conveniently at hand for this purpose. Ever
presented. I will close with a quotation from a lecture ful precocity, and upon whom I spent much labor; I am # e is replete with suggestions, fancies, truths, wi
on the Art of Teaching, given by one of our most almost ashamed to say how much, for had I made out elpful and inspiring ideas, tersely and forcibly ei
eminent teachers:
Dont make complex a thing that is Be in
my bill for the extra time given outside of lessons and pressed. I shall take delight in recommending the book
uncharged for, it would, I fear, have amounted to more in the strongest terms to musical acquaintances wherever
earnest; faithful to students; study their dispositions. than the bill proper. I went to her house frequently to occasion serves. EDwARD BAxTER PERRY.
Be a good model. Be a performer as well as a teacher; superintend her practice, and gave her frequent extra
if not, you may be able to point out the way, but cannot lessons at my own rooms. I never dreamed of charging Am in receipt of the book entitled, Chats with Music
lead.M. G. O. Students, by Tapper, and must say that I am more than
for this earnest, faithful work. I cannot help laughing pleased. The book is thoroughly helpful in every way,
now, as I recall the effusive greetings of the girl's and full of good things, which will inspire every student
FALSE EconoMY.-There is an idea prevalent that it mother as she came to the door to see me out with:
matters very little whether a teacher for the piano is a Any time, Professor; any time just come over. We of music with renewed hope and determination.
It is more than a chat; it is an inspiration.
thorough musician or not, if only beginners are in the will all be so glad to have you with us. Ella can always We e b k for
bespeak for the book A'Rowans.
great popularity.
ook gr
class. Many persons cannot understand why a music be spared for you to show her about the music. Just
teacher should be thorough in his art, any more than a come whenever you can.
teacher of the alphabet should be an educated person. | Well, I can laugh at it now, for I was just fool enough
At first glance there is some appearance of plausibility to be tickled with the professor, and to accept t .
I have just finished reading Chats with Music St"
dents, by Thos. Tapper. t
:
in the idea ; but when we take into account that music lady's version of it, as indicated in her tone and manner, According to my custom, I began marking what mo"
is an art as well as a science, and habits are impercep i.e., she was doing me a great favor and kindness by impressed me; it soon became a question with me "
tibly formed in the art skill, while the scientific part is allowing me to devote extra time to her daughter. Oh, not to mark. * ld
being acquired, it is plain to see that a thorough teacher yes; Ella could be spared any time! The work is a gem; helpful and encouraging, it ''
is as much required for a beginner as atomore
pupil. It takes a person who is '' advanced Let me warn all young teachers to beware of like
perceive and superfluous enthusiasm, %: it is wrong in principle,
find a place in every one's library; for it is as good ''
those to read who are not '' those who
* Iy to all branches of study.
detect the first tendency of an evil habit, and this only and will generally end in vanity and vexation of are; its rules apply S. A. H. #anisms.
can be done, we claim, by a good musical scholar, not a spirit.
THE E T U T. E. 191
PUBLISHER'S N0TES, The Wrist Touch is especially taught and practically ap We have just received another shipment of Metro
plied, and its almost constant use in reed organ music nomes from Europe. The special offer we made for Me"
Save money by sending to this office for the Papers and pointed out and put in daily practice. In the early les. tronomes during the summerexhausted the first shipment.
Magazines that you wish to take this year. See list and sons the pupil has writing lessons, in writing notes for We have now a new supply for our patrons. The article
prices in another column. learning their time values, and in constructing scales in this issue by A. R. Parsons, will throw light on the
etc., etc. The staccato touch for accompaniments is part value of the Metronome in piano practice. There are
The editor of THE ETUDE is a practical music teacher icularly and fully employed in daily practice, but not to three uses for the Metronome in music; the first and
of wide and successful experience, and can thus meet the neglect of a true legato in melody playing. The most important is to indicate the tempo of the compo
the needs of our readers from knowing their daily Italian words of expression are defined and phonetically sition; the next is to steady the playing, the simple five
wants. In the Editorial Notes, and the Worthy of pronounced. In the selection of pieces, the refinement finger exercises can be practiced with considerable more
Comment Department, he gives valuable hints for of taste was a first consideration, and all kinds of taste steadiness and exhilaration with the Metronome, and
teachers and students. He, also, through an extensive are provided for, yet every piece is decidedly interesting lastly the acquiring of velocity, which is fully explained
correspondence, is having special, practical articles writ and beautiful, thus not only tending to a refined taste, but in Mr. Parson's article.
ten for THE ETUDE,-articles to give needed help and in also to an ever-increasing skill, both in technic and style. The McKinley bill has somewhat increased the import
spiration to pupils, as well as teachers. In fact, THE There is a thorough system of daily reviews, and this is duties of these instruments and we cannot now furnish
ETUDE is fully alive to all that can in the best way be a made one of the most effective points of the method, for them quite so low as formerly. We will, however, send
help to its readers. Get your friends to subscribe. Send the pieces are all musical, even the easiest being ar to our patrons a Metronome without bell at $3.50, and
us a list of addresses of those who would be likely to take ranged to make them interesting to a good player; and with bell $5.00, express not paid. This offer is made
THE ETUDE, and we will send sample copies. by this system of reviews, the pupil gains that facility of | with the understanding that should the present ship
style only attainable by long familiarity with the best ment be exhausted, our patrons will have to wait until a
music. The selections of music are such as the pupil new lot is imported from Europe. We can only make
Important improvements are contemplated in THE
will not soon become tired of, and he is pointed to the these prices by importing them in large quantities from
ETUDE whenever its list of subscribers is large enough to bringing out of those beauties of a piece that can be done Europe. The Metronome makes a splendid Christmas
warrant it. Our readers can help make THE ETUDE still only in extended work on a piece, after it is learned, present for a teacher, pupil or music lover.
more valuable and helpful to themselves if they will in so to speak; in other words, he is taught to play into -

duce their friends to become subscribers. Or, you can a piece rather than over it. Every page is full of help. | We have under preparation a volume of Mendelssohn's
send us the addresses of those who would be likely to ful hints and suggestions, that inspire the pupil to supe-Songs Without Words. This edition will surpass any
take it, and we will send them sample copies. rior work and to be something more than an ordinary edition in existence. The work of preparation will be
performer. Last, but not least, the book is by a teacher | done by Mr. C. B. Cady; a complete analysis of each
THE ETUDE is a magazine for progressive teachers, am of wide and extended experience, who has made aspecial number will be given; the most undesirable ones will
bitious students, and earnest amateurs. Teachers should study of the reed organ and its capabilities for the last be eliminated. There is scarcely any one who plays all
have every promising pupil read THE ETUDE, for it is the fifteen years with the idea of issuing a method that should the Songs Without Words. This edition will be graded
universal testimony that pupils who read this magazine be equal to the capacities of this popular instrument; and copiously annotated. The selection has been made
soon become enthusiastic in their work and far excel all therefore, it is an eminently practical method. by Messrs. Wm. H. Sherwood and W. S. B. Mathews.
previous acquirements. THE ETUDE leads them to become We will, as usual with works of particular merit, offer Everything will be done to make this edition acceptable
musicians, not dabblers, and to continue their studies till to those who send us cash in advance of publication the to the profession. It will be sold to those who will send
they are proficient. work At 50 CENTs, PosTPAID. It will retail at $1.50 to orders in advance for only 40 cents postpaid, if cash is
$2.00 when published. We withhold the privilege of | sent with the order. It would be well for teachers to
| order quite a number of this volume, as it can always be
It may interest those who are not regular subscribers withdrawing this offer at any time,
of this magazine to see what it has given to its readers | used for teaching purposes. Of course as soon as the
the past year; therefore we will call attention to the table The works of Mendelssohn have never been more work appears this offer will be withdrawn and the work
of contents, found on another page. We hope to ad popular than at the present time. Every teacher should can then only be had at the regular market price. We
vance the coming year, and to have you for one of our possess at least his complete piano works. While abroad think that in no case has any one been disappointed
regular subscribers. In fact, we mean to make THE we found a very acceptable edition which we will furnish | with our special offers. We make it a point not to offer
ETUDE so valuable and helpful that you cannot afford to at an extremely low price to those who send cash with anything but what is good and at an exceedingly low
do without it. the order. They are in four volumes, which we will
price. In this way we mean to maintain the confidence
send in octavo form, postpaid, for $1.00, and sheet music of the profession. Teachers can be assured that every
We have in the hands of the printer, a new Reed size for $1.50. The concertos come in an extra volume thing offered in this column is of unusual merit, and it is
Organ Method by Chas. W. Landon; a method that is which we will furnish for 40 cents. This edition is called well for our subscribers to read over, every month, the
Publisher's Notes.
superior in many practical points to those generally in Edition De Luxe, it is very accurately engraved and
ue. The selection of Heller's Studies will be issued some
finely fingered. We will send our order abroad the 15th
It is carefully graded, no difficulties appearing until of January, and this offer will close at that time, as we time in December. This will complete the special offer
they are prepared for by the preceding pieces. Every will import only as many as we have advanced orders made during the summer, with the exception of The
new idea or thing is fully, clearly and concisely explained for by that time. The orders must be in at no later date Normal Course of Piano Technic, which will not be
and illustrated. Not only how to do a thing is shown, than the 14th of January. Cash must accompany order finished until some time in the early part of the year,
but the whys and wherefores are given. The book has to be of avail. owing to the pressure of work at the printer's. The work
no dry and uninteresting pieces. Every piece is espe has been in unfinished state for many months. We ask
cially arranged for the REED ORGAN; they are not Piano Groves Dictionary has been issued in a new style, and the indulgence of our patrons for a short time.
music, nor are they Pipe organ pieces. Furthermore, a fifth volume has been added, in the form of an index
the pieces are arranged to bring out the best effects that to the four volumes; this index can be had separately for There has been a demand for the selection from Won
the reed organ is capable of so finely giving. In short, $2.50. The work has been republished in a much more Blow's edition of Cramer's Pianoforte Studies. The
this book treats the reed organ as a REED ORGAN, the attractive style. It is bound in handsome brown cloth present complete edition sells for $2.50 and $3.00, retail.
music all being arranged on that basis. Many new and with gilt tops, which are especially suitable for holiday Much of the material in the complete edition could be
charming effects are thus shown. Every piece is fully presents. The whole five volumes are put up in a box eliminated without injury to its technical value. We
and completely annotated, fingered intelligently, effect and are sold only in sets. We will send the complete have, therefore, under preparation a selection of the best
ively phrased, and the expression indicated. The theory set for $19.00, as per advertisement in another part of of Won Blow's edition, which will be bound in one
of phrasing and expression is thus taught. The Reed the journal. This price is exceedingly low ; it is the volume in very neat style, and will be ready for delivery
Organ Touch is taught, a hitherto neglected feature price to dealers; and these discounts are for cash only. by the first of January. Those who will send us an
in the study of this favorite instrument. Touch, as here Not a more handsome present of Musical Works can be order with cash in advance can procure copies at 50 cents
taught, makes the player far superior to the ordinary per made than these five volumes of Groves' Dictionary. each, postpaid. This is an exceptional offer, and all
former on this instrument. He will have none of the teachers should avail themselves of it. The offer will be
lifeless and dragging style, or lack of style, that is so The reception of Dr. Karl Merz's work, Music and posttively withdrawn by the first of January. Cash must
common, but, on the contrary, his playing will be full of Culture, has been most cordial with the musical pro accompany order. -

vivacity, snap and life, and withal, effectively expres fession; the volume is an entirely new and valuable one
sive. The left hand is especially developed. Every to musical literature. It contains the best thoughts of BE but faithful, that is all.CLoUGH.
feature of technic is unfolded by beautiful pieces, thus this musical thinker. The press and profession every IT is more noble to make yourself great than to be
doing away with a long series of dry and taste-destroying where have been sending in most glowing accounts of born so.
exercises. Scales and arpeggios are presented interest this work. It makes a very handsome Christmas present | OUR grand business is, not to see what lies dimly at a
ingly, and for a practical purpose, thus appealing to the either to a teacher or pupil. The Table of Contents will distance, but to do what lies clearly at hand.CARLYLE.
Pupil's ambition. Mason's Touch and Technic is be found in the advertisement in another part of the He who pretends to know everything proves that he
applied to the development of a fine reed organ touch. journal. knows nothing.-LE BAILLY.

*
192 T EH. E. ET "U D E.
THE LIBERATION OF THE RING FINGER. down their keys, or one inch and a half with the others and refinement, as showing them how they ought to be
free; and this may be attained through judicious prac played. There is more fine technic to be learned in the
BY S. N. PENFIELD.
|tice by any ring finger where the hand is otherwise effort to play the G major Nocturne than from all the
flexible enough to succeed in piano playing. Etudes in Germany and France combined.
THE operation which passes by this name is, of late, A surgical operation upon a hand that must be severely In the lower grades of attainment similar results are
attracting a good deal of attention in THE ETUDE and taxed in playing is always and in each case an experi- to be obtained by judicious selections from the so-called
teaching circles, and has many advocates. It is, more-ment. In some cases it succeeds, and these are the cases Etudes of Stephen Heller, who is simply a Chopin
over, advised and recommended by some pianists, more that are paraded and quoted to us, while the failures are in miniature, and from the easier pieces of Schumann as
or less prominent, who have undergone the operation. kept in the background; for no one likes to acknowledge well as from portions of the Mozart Sonatas. The true
Of late, a number of newspaper articles have appeared, himself fooled. ideal is: Real Music first; then the technic necessary to
warmly advocating it, and, indeed, we may almost call it The hand that is strongly built and naturally flexible perform it properly; not years of technical grind more
a fashion or a fad, according to the standpoint from does not need the operation; and if it is undergone, it or less indifferently done, with music coming in later or
which we view it. The undersigned does not agree with quickly recovers its strength and elasticity. The hand not at all.
these worthy people as to the importance or usefulness that is stiff and weak, and perhaps slightly malformed, Technic is for music; not music for technic.
of the process. There is no new idea, invention, dis does not recover readily from the shock, and is not there
covery, short method, or royal road, so-called, which after as free and confident in its touch. This is most
does not find its enthusiastic adherents, who are sure noteworthy in hands where the octave reach is difficult. A NEW MUTUAL IMPROVEMENT S00IETY.
they have the panacea to cure all human ills, and who The stretch may be slightly increased, but the strength
look with pity and impatience upon all others who do and confidence of touch are apt to be diminished. When REcoGNIZING the value of listening to fine artists, and
not directly fall in with the new order of things. Enthu playing before an audience, a pianist can never spare or of reading educational magazines, Mr. Emil Steinegger,
siasm is, indeed, admirable, and improvements are favor himself. Therefore, he should always, or his of San Francisco, has organized the Steinegger Mu
always in order; but when we come to apply St. Paul's teacher for him, select pieces entirely within his capa sical Society. It aims, among other things, to bring
maxim in two movements, Prove all things, hold fast bility and his reach. out the best local talent, and to make an assured audi
that which is good, we shall find life too short to get Strong octaves and full chords should only be at ence for the best recitals and concerts. We quote from
to the finale of the first movement. Fortunately, in this tempted by hands with good span and strength; other the Prospectus.
case, the proving has been done by others sufficiently for wise, the hand may be lamed for life. 1. The membership tickets will admit the holder to
us to formulate results. If, then, this surgical operation is not necessary for any and all of the society's concerts and recitals, and
The term liberation sounds attractive, and doubt. some hands, and is risky for others, we had certainly are transferable.
less helps to make converts to the process under con better treat it as did the Priest and Levite the unfortu 2. Each member is entitled to two extra compli
sideration; and, in one sense, the term is properly applied. nate traveler from Jerusalem to Jericho, viz., pass by on mentary concert tickets (valued at one dollar each).
The ligament confining the ring finger and contracting the other side. 3. Members, if qualified, will be given opportunities
its freedom of movement certainly exists, as any one to take part in the concerts and be paid for their
may discover by placing the extremities of the fingers II,-PROBLEMS OF MUSIC TEACHING, services.
on a keyboard or table and attempting to lift the fourth 4. Each member is entitled to one copy of the best
or ring finger while holding the others down. One would BY J. C. FILLMORE. musical journal, which will be sent monthly, postpaid.
suppose it an easy thing, but the attempt proves it to be 5. A membership fee of one dollar will be charged,
surprisingly difficult. This ligament can be readily cut, THE problem which the music-teacher, remote from and a monthly payment of fifty cents. This is to defray
after which operation the finger is frequently lifted great musical centres, has to solve is rendered still more the expenses of concerts.
higher than before. Also, in some cases, the distance difficult by the fact that the great majority of his young 6. Tickets to the friends of members or to the gen
spanned by the thumb and little finger is increased. pupils already have their time and strength fully oc eral public, for a single concert, one dollar each.
Why, not, then, advise and urge every one to undergo | cupied by the demands of their common-school edu 7. None but the best available talent will appear
this piece of surgery ? cation. The public schools are planned (at least, in in these concerts.
In the first place, then, this ligament was placed in Wisconsin) to take up the whole available strength of Ten concerts a year are thus arranged for. There are
the hand by an all-wise Creator for a useful purpose, the children and youths who attend them, with little or some valuable advantages in this plan. It makes a
namely, to support and strengthen the outer or weak no remainder for any outside work, such as the study of financial foundation for first-class concerts. It utilizes
side of the hand for manual labor and the general battle music. And school principals are loath to make any the best local talent. It gives an appreciative musical
of life. Now, although manual labor as such is abjured concessions whatever for the purpose of musical educa audience to the artists. It gives each member a musical
by the pianist, he encounters plenty of modern music tion. magazine (this society all take THE ETUDE). And there
which taxes all the strength and resources of the hand. The necessity for economizing time and strength and is the good that comes from organized effort, all resulting
In the second place, the operation is not necessary for of disposing of both to the best possible advantage, there. in a musical atmosphere for the members who are stu
fine piano playing. The world has gotten on without it fore, becomes imperative and overwhelming. What, dents, and a great amount of cultivation of taste in all of
for all these centuries, and has not lacked for pianists, then, shall the music-teacher do? Given a pupil who its members, and an increasing knowledge of the best
and very fine ones. The best pianists of to-day, and can practice not more than an hour a day (I have one things in the world of music.
possessed of the most even and liquid technique, know gifted child in my school who can only get half an hour),
nothing personally of it. shall he require her to put that in on scales, five-finger
They have met and conquered a variety of difficulties, exercises, tudes, such as those of Bertini, Huenten, et PUBLISHER'S N0TE,
and among them this of the ring finger. idomne genus, Sonatinas by Clementi, Kuhlau, etc., and
Recognizing certain things as essential to be accom other dry bones of music; or is there a better way? The WE want every progressive music teacher and ambi.
plished, they have simply accomplished them. former used to be the plan in Leipzig, twenty-five years totious student of music in the United States and Canada
see a copy of THE ETUDE. We feel sure that it is a
Free and elastic movement of all the fingers is attained ago, to my personal knowledge. But it is entirely safe magazine that will give needful help, valuable sugges
only by closest attention and unremitting practice. to say, that any teacher who pursues that course in Mil tions and inspiration to its readers. Therefore we as
Indeed, the fourth finger is frequently brought by waukee to-day, not to say in Oshkosh or Kalamazoo, will that you help on the cause of music by sending us a list
of of music teachers, and we will send a copy
patient exercise to rise as high above the hand level as fail of accomplishing any results worth speaking of. for them to examine. *

the second, and this even in unpromising hands. What doth it profit a pupil to be able to play all the Have you realized the very low price at which THE
This, as all other finger training, is specially facilitated scales correctly, and a dozen books of Bertini, Czerny, Etude is offered to subscribers who will send us a club?
by apparatus such as the technicon. Cramer, Clementi and Kuhlau, after five or ten years' Any energetic teacher or p' can get up a club and
And, after all, we must not lose sight of the fact that work, if she has no real musical life, knows little or secure the cash deductions. It will pay you well.
Can we not depend on your help to extend the useful.
the piano is played by striking the fingers downward nothing of the best music, and cares for no music except ness of THE ETUDE? The larger our subscription #
with the flexor muscles, unless we prefer the method lively dance tunes and showy parlor pieces? the better we can make the magazine, and thus you wil
with which Moscheles used occasionally to astonish his Besides this, very few pupils do even this technical help benefit every reader.
pupils, viz., inverting the hands and playing with the grind as it ought to be done, unless they can see what it
finger joints. Evidently, the lifting of the finger upward is for. The conscientious plodders may do it, perhaps, John Wesley, the founder of Methodism, was a con:
is 3hly that we may the better strike it downward. To but the really musical ones seldom do. Get a talented stant worker. Ever busy among his people, he Yet
this end, it is really not essential that any finger should pupil interested in really great and inspiring music; let found time for the use of his pen. Writing once to his
lift very high. No better or stronger stroke is secured mother, he said, Leisure and I have taken leave of one
her play it crudely and coarsely, if it must be so, and another. When one reads these words and thinks
by doing so. A gymnast may run some twelve feet to then show her that, in order to do it justice, she must whence they came, one fancies the speaker had con
acquire the force and spring for jumping over a rope four accomplish certain technical results and the battle is stantly before him a time-glass, in which he saw the sands
feet high. won, nineteen times out of twenty. Take, for example, of life falling at a never-ceasing, never-increasing speed,
He will run no farther to jump one five feet or even to a Chopin Nocturne. Pupils who are not musically dull, but ever falling;
irreclaimable, accumulating
growing below,above,
less in quantity wherewhere
they the
*
jump over a house. One inch from the key is ordinarily always fall in love with these exquisite pieces. And price set upon them should be fabulous.-Thomas Tap
enough for lifting any finger-tip, while the others press nothing so develops their sense of lyric quality, finish |per.
T EL E E T U D E. 193
[For THE ETUDE.] Elaborate metronome marking, either by composers pupil is disposed to slight the finger movements, this is a
RHYTHM. or by editors, is highly to be commended, for by that good # to encourage more ample But '
all,
definite
efinite iideas can be imparted both to artist and
- - it, is aboutshould
Christian as important
wear hisa hair
pointshort.
to decide, as whether
It depends upona
BY JOHN S. WAN CLEVE.
8Ludent. his wife's state of grace. 3. Should the chords in the
Emerson says, a man of the world hugs his facts; second measure of the first study, Book 1 of Loeschhorn's
AN opinion has been expressed by some theorists, that so I say to the music student, hug your metronome. It opus 65, be played with the grasping, pushing move
the only thing left for us to do nowadays is to invent new is your living,
- f
rhythmical conscience; and when the be- ment? I suppose this question refers to the chords in
* * - the bass, as there are none in the first measure of the
rhythms. #"er often says to me, Why that thing, constantly treble. They are played with a finger staccato, according
Rubinstein is credited with having said, The evolu ticking, makes me nervous and puts me out of time, to Mason's directions in Touch and Technic; or with a
tion of art in future must be in the direction of ctaco my reply is, no it does not put you out of time; you hand staccato. I prefer the finger staccato, the hand
phany; that is, dissonance. Theodore Thomas thinks were out of time before and
* - ar the *
cortex *
of *
my brain
* *| was also
couldrising,
also beasplayed
the #9"ch is completed,
from the ,These,
arm, but I do 'hot's
not like the
that the future development of music must be in the quivering with the rhythmical torment you were adminis- effect in this place. There is no pushing movement
direction of vocal art. tering. Now let this ticking metronome arouse you into proper to playing chords, so far as I If anything
The examples and principles of Wagner would seem a sense of your delinquency. You were out of time but that I have said in this place, or in any other has given
to carry out this view, and many of the present tenden
did not know it. The rhythmic sensitiveness of your rise to any such impression, I hereby apologize and take
- - it back.
cies of music point toward a return to the starting point musical conscience was dulled and careless.
of musical art, which was with the human voice. Correct rhythm, that is, the symmetry,orinter-measure. A TExAs correspondent asks the following: What is
The word rhythm is of Greek origin, and signifies in ment of tone according to duration, is the aesthetic the meaning of the straight slanting line from F in the
its technical sense the whole collection of timal and morality of music. The mind must be trained to take treble to D in the bass in the nocturne by Karl Tausig,
- -
**
- -

accentual ideas which unite in effecting order among constant notice of numerical relations and count them in
- - -
THRETUDR some time ago?' It is to assist, the eye
in following the melody. 2. The next question I cannot
tones. Hence, we appropriately adopt the term from against each other, with the greatest possible accuracy. answer of e. It a whole
sculpture and speak of form in music. When we, there. The larger rhythmical forms are nearly always found in note and a whole rest can be in one measure on the same
fore, speak of the form of music, it is, of course, an illus pairs; antecedent and consequent, question and answer, degree. They can, perhaps, if they represent two dif.
tration of that borrowing among the arts, by which they theme and imitation; but the three aspects under which ferent voices. 3. She also wants to know of a complete
rhythmical ideas constantly approach the mind are, first, musical dictionary.
aid each other in a most sisterly manner. Thus the
painter speaks of the symphony of color, and the musi the beats, each with its little family of tones; second,
[For THE ETUDE.] .
cian speaks about the shading of tone, and that the the measure and its family of beats; the phrase with its
orchestral coloring of Wagner's score is gorgeous in the family of measure, and the period with its family of A RHAPSODIE ON QUACKS,
extreme. phrases. BY KARL G. BERGSTROM.

Rhythm among musical tones is very closely parallel One of the finest instances of highly complex rhythm
with the same quality in spoken language, that is, the in the world is the famous Arietta, with variations, in PROF. S. Wen you haf learned this catechismis of
music and the princibles, then you have learned all there
metre, accent and quantity of poetry. Poetry and Beethoven's last great sonata in C minor, op. 111.
The rhythm of Bach has always a certain angularity, a is in musicthen you can learn any instrument in twelve
music have never been for long divided, have never hours. I can learn any instrument in twelve hours. Next
been and cannot, in their very nature, be hostile. four-squared geometrical character. One of his favorite lesson I'll bring my violin along, and show you how nice
He, therefore, who would look deeply into rhythm must figures is that of an eighth and two sixteenths. I can play.'
|
This would-be professor lived in a furnished room in
look deeply into the art of prosody in language. A Haydn's rhythm is always dainty and striking, like the the upper part of New York, and had his office in his hat,
musician ought to be profoundly sympathetic with the playful tricks of a child. like most quacks.
poet, and sensitive to impression from poetic influences. Mozart abounds in florid figures, in which notes of After these remarkable assertions he went home, and
as he crossed the threshold he fell, broke his neck and
Whether the new discoveries in music are chiefly to be many different lengths are grouped in a graceful tone died, fortunate for the scholar, who therefore never
sought, according to the one view, in the invention of flower. heard his great virtuosity on the violin. I can, there
new and still more and more complicated rhythm, or in Beethoven's rhythms are strong, severely plain; out fore, relate nothing of it.
the direction of still more and more intricate dissonance, line always masculine and frequently marked by displaced Pupil comes to the door and knocks. Lady Quack,
or syncopated accents. who is in bed, calls out: Is that you, Mattie? Come
or by returning to the simple and sensuous rhythmical Schubert's rhythms, though clear, are often chargeable
gyrations of the human voice, need not be here discussed. with monotony, and even his ravishing sweetness at in. Go right on, I'll hear you. That's right, go ahead.
Pupil: What do these B's mean at the beginning
Rhythm is the first thing which appeals to a savage. times cloys, by lack of logical unfoldment. of each line?
Witness the Abyssinian tom-tom, the war dance of the Chopin is the prince of the indefinite in rhythm. Quack: Oh I don't bother your head about those
Liszt and Wagner, though in different ways, are equally things. It's only concert players that use them.
Aztec, the rattling castanet of the African and the hollow great masters of rhythmical metamorphosis.
log drum of the American Indian. Rhythm is also one Pupil: And what do those P's and F's and curved
Mendelssohn is the prince of grateful distinctness, and lines mean?
of the finest results of the keenest intellect when be. Schumann, with all his rugged intellectuality, like an in Quack: Oh! that's only to ornament the page. The
sane man, grows at times tedious with monotonous iter
stowed upon musicwitness, for example, the fugues of ation, dearer the piece the more figures there are. Go to
Bach-and is often one of the most marked character. but one of his greatest beauties is the temporary Hitchcock's and get a new piece, and ask one of the
obliteration of the ictus or down beat, a kind of overlap salesmen to play it for you, so that you will know how
istics of a new and original genius. Witness the con ping which gives a sort of breathless, eager character to o play it.
stant and rhythmical peculiarities of Robert Schumann. music. Witness, as a most excellent example, the first Pupil: I think that there must be more to learn than
two measures of the well-known Traumerie.
The word symmetry means measuring together, and Brahms is one of the most original men, in the inven. simply banging the piano. Won't you teach me har
-

thus casts at once a flash of electric light upon the tion of compound rhythms that the history of music has mony?
Prof. : Och! Harmony is a very uninteresting study.
essential nature of rhythm; it is the measuring of things produced. I know you would not like it. I could teach it to you, but
together. When we speak of a tone as being rhythmical it make your head ache.
we do not mean that it is of any given length, as related LETTERS TO TEACHERS, Countess Espanosa steps in the parlor, sits behind
to a minute, but that it is of a certain proportionate pupil, with gloves on, umbrella in one hand and news
paper in the other, constantly reading. She can criticize
length as related to other tones immediately before or BY W. S. B. M.
nothing but a wrong note.
after, or simultaneous. Pupil strikes a wrong note. Countess points to the
Just here arises a great confusion in the minds of all AN Iowa correspondent wants to know: 1. How I note with her umbrella, and says that must be B flat.
would explain to a pupil the meaning of a note having
students; confusion which the metronome helps to clear two Pupil: What does 5 and 1 over this note mean?
stems? This is an : one. Tell them the truth Countess-all out of breath-standing erecttaking
away.
that there are supposed to be two notes upon the same the first opportunity to show her knowledge in music.
The names of tones, whole notes, half notes, quarter degree, one of them standing exactly behind the other, 'That means after you play the note with your fifth
"otes, etc., are names based upon relative length. They the double stem being proof. In other words, two voices finger, play it again with your first finger.
to not, in any degree whatsoever indicate the absolute occupy the same tone at the moment. As a rule, one of Pupil: What does this curved line between these
voices leaves the tone before the other, the finger, two notes mean?" (evidently a tie.)
length of a tone. It may often happen that in one com the meanwhile, holding the sustained tone, while the fingers Prof. A. : That means to strike the first note and
position a half note is shorter than a quarter in another, not otherwise occupied go on with the moving voice. leave the other one out, or you can strike the other;
*nd there are not wanting extreme cases in which the Play the two voices separately, until the pupil realizes thatPupil:
doesn't matter.
whole note in one work is not longer than an eighth in the effect intended. When notes in the middle of the Isn't a sonata an exercise?
another. pitch register, or, in the higher pitches, have two stems, Prof. A. : Its a heavy piece; or you might say it's
one of the voices implied is usually the prominent a kind of an exercise..
There is a good deal of arbitrary usage of noting tones voice, as Klauser calls it, or the melody. These things Prospective Tenant: Where are the rooms?
Landlord: Up stairs.
* to the question of length, which, among other abuses, are easily explained, but no explanation is worth much
unless it extends to the point where the pupil is able to Pros.
Land. Ten. : Is there a p
: Yes. piano in the house? **
"ght to be wholly done away with and abolished. It realize the two voices. When he does thus mentally
*nds to confusion in a pupil's mind. Absolute length recognize the movement of the two voices, the playing Pros. Ten: That settles it. I don't want to live
of tones must always be determined by comparison, as must be held to strict account, that it represent clearly here. Are there any other rooms on the block?
the metronome makes it, with the minute. the melody of both. 2., Is it well. to teach a pupil to Land. : Yes; but there is a piano in every house
When you see a metronome marked 72 it means that keep the finger not used about an inch or more above andProspective a brass band around the corner.
Tenant rushes away on the double quick
the keys? It has the advantage of affording the finger
that there are 72 beats in a minute, or the mark 120, that about to touch a key a decided movement in reaching the (evidently he has heard lots of pianoforte thumping and
**0 beats in a minute, or a beat each half second. next tone; but it does not particularly matter. If the wishes to be a victim no more.)

-*
194. THE ET UD E.
EDITORIAL NOTES, strummed on, not realizing that the music that her child lacks climax points, a fault of the composer. In fact,
studies must needs be new and fresh, that it may be in- that quality that makes the playing of one set us on fire
MR. EMERY gives our readers help in his article, teresting. It is well to remember that no child learns, with enthusiasm, is largely rhythm, and the smooth and
Revised Editions of Standard Works. As all teach except in the exact ratio of his interest, and there can | cold playing of another, that falls on passive ears, has a
ers and advanced students use the classics, this article is be no interest when the music is not of the right kind. lack of rhythm, that is, accent and climax, with a due
timely. It is well known that the predecessors of the What is called good music to-day is far different in quality proportion of light and shade. Rhythm is the body,
pianoforte were limited in expressive powers; therefore, from that which was considered good music but ten or bone and muscle, yes, the very breath of life of music,
modernized editions are at least desirable editions, fifteen years ago. Of course, this remark does not apply without which expression and all that makes music enjoy
calling out the superior expressive capabilities of the to the Classics. Furthermore, the pupil must have able, is impossible. -

present pianoforte-editions that have the appropriate music enough to meet the various wants of his course. MR. J. Reawass gives our readers an article on
- -

It is the experience of good teachers throughout the


expression fully indicated.
land that, after the first term, from three to ten dollars' Teachers Playing the Pupils' Pieces for Them. The
CoRRECT Practice makes Perfect, is an article of worth of music is needed for each term; the better the present writer has made a practice of never playing apiece
player, for he
to show what it was, especially to a young
more than usual practical value; one that needs to be player, the more music is necessary. would but imitate; but when a piece is learned, so far as
read more than once. The plan suggested in this article the notes and time are concernedbut he fails to under
for learning a piece, will not take the great amount of THE words that indicate the expression of a piece stand the musical contentthen it is well to play it for
time that it would seem, for in every piece there is much should always be understood and heeded. These words him and to tell him of the phrasing, touch, degrees of
that is very like every other piece; but some passages that are hints from no less an authority than the composer,
power, show where the climax of each phrase is, etc.,
are especially difficult and new to the pupil. It is on on how to play the piece with the correct effect, and are etc. If a pupil is taught the principles of phrasing and
these newer and harder passages that this repeated therefore not to be lightly passed over. If you do not
expression, he will seldom fail to bring out the emotional
practice is required. Mr. Jervis gives a true caution know the meaning of a word, turn to your dictionary, if content of a piece, but when he does so fail, to either
when he says, that no one should attempt to play loud you have one, and get one if you have none. They cost point out the expression or play for him if he still fails,
unless he can do so with a relaxed wrist and hand. The |from twenty-five cents up to four dollars. Make it a
is the better way. To sum up: Never play to show what
present writer's experience would suggest that, to put the practice, to let no word in your piece pass till you know
- - - - - a piece is, especially for a young player, if he has a quick
piece aside for a week now and then, is a good idea. It its meaning and correct pronunciation. or musical ear, but play to show the content when ob
will ripen, so to speak, and after the rest given it, the scure. To an advanced pupil, it is sometimes desirable
- -

pupil takes it up with a fresh interest, and from an ad to give a piece now and then, especially for its expres
WB would suggest to the teachers among our readers,
vanced ideal. And, too, the piece being thus laid aside, that you take steps to have musical works well repre-sion. In such a case it should be played for him, if at
can be learned with less hours of practice than if keeping sented in your local public libraries. The free reading all obscure of content.
constantly at it till learned. rooms should contain good music journals and maga
zines. Then keep your pupils reading these books in a THE second meeting of the Pennsylvania State
H. SHERwooD WINING, in Educational Needs of the well arranged course, meeting the individual wants of
| Music Teachers' Association will be held in Philadel
Piano Pupil, gives, in a practical way, many useful hints. each pupil, by selecting such books as he most needs.
phia, Monday, Tuesday and Wednesday, De .. 29th31st.
The day has passed when a teacher can gain and retain
A superior programme of essays and recita's is arranged,
the confidence of a community without a broad and com.
THINKING teachers among our readers will find sug- their educational value being kept prominent. Every
prehensive knowledge of the theory and practice of his gestive articles this coming year, prepared especially for music teacher in the State should prove his or her pro
profession, and that in a high degree. them, at our request. Carl Hoffman is writing an article gressiveness by attending. In these days of improved
on the Power of Habit in Pianoforte Playing. We have methods and advanced ideas no teacher can afford
ONE of the difficult things in learning the piano is scale an article on the Underlying Principles of Rhythm" in not to attend and get the advantage afforded by the
playing. Therefore, it is not best to have the pupil attempt course of preparation. These and several other papers Association.
them too early in his course. The pupil should have on advanced subjects which will appear in THE Etude,
considerable skill before learning them. As pupils differ will be of great value to those of our readers who
enjoy PAUL voN JANKo, the inventor of the Janko Key.
so much, no definite time can be given for commencing
going into, rather than over, the underlying principles board, has recently given several concerts in this country
of pianoforte teaching. on a piano with his improved keyboard. The profession
them; but the average pupil can undertake scale playing - and the music journals give the verdict for his invention.
-

at about the beginning of his third term of lessons.


SoME of the best teachers of our country are preparing A leading critic of New York says that the keyboard
series of special articles for our readers. These articles will be in universal use within five years. There is no
liberal THE Etude
offer to ourofreaders
THE publisher makes an
for clubbing rates with other are on practical and helpful subjects. They not only doubt but it does away with a large amount of the tech
uncommonly
papers and magazines. See the list in another column, point out what is desirable, but show the best way to bring nical difficulties that have heretofore stood in the :
and make your selections, and send to THE ETUDE office, it about. Each writer is instructed, to show how to of the ambitious as well as the ordinary pianist. In
accomplish whatever is mentioned as being a good or fact, the keyboard fits the hand rather than the hand fit
thus saving largely in the cost and in the risk of sending better method. Every subject will be made as prac- |ting the keyboard, and this latter process, as we all
to each publisher through the mails.
tical as possible, so that students and teachers can apply know, is only attained by long years of assiduous prac
-

it to their work. tice, if ever fully attained. We shall endeavor to keep


MUSIC teachers have some unpleasant experiences. our readers fully informed of the progress and use of
Not the least of their trials come from pupils who are HoME influence is all powerful in directing and en- this great invention; therefore we have given a full and
never satisfied with the pieces that the teacher gives couraging the child. If the first attempts at singing of a complete description of the arrangement of the keys,
them. Some pupils think that they should have a more
very young child are not entirely successful, he should and an outline of its possibilities.
difficult piece, and perhaps show impatience at the pros
never be laughed at for his failure. Many have been -

pect of having to take a piece that is so easy; yet no


mistake is more often made than in attempting music driven from music in this thoughtless way.
The tunes MR. W. S. B. MATHEws has written four lectures,
that are first tried should be of but limited compass, and which he is ready to deliver in a course for seminaries.
entirely beyond the pupil's ability to learn. It is not the the D on the fourth line of the The subjects are: I. A General View of Musical His
piece so much as the manner of its performance that never go higher than
treble staff Child-like words and words of a pure sen- #: II. The Rise of Harmony; III. Opera, and the
makes the pleasing effect. Those essential qualities, timent, or at least words that are not objectionable or Representative and Descriptive Element in Music; IV.
freedom and certainty, can be secured only by studying |
nonsensical, should be used. As a general rule, any
music easily within the pupil's grade. If the pupil : child that can sing, can make a good performer on an
The Pianoforte and its Principal Composers. He re
cently delivered them at Bloomington, Ill., where the
ambitious, let him learn easier pieces thoroughly well, as instrument. And children that sing make the superior conservatory has about 600 pupils, and the press spoke
a stepping stone to the more difficult. Deppe says: performers. of them as being remarkably interesting to non-musi.
When you wish to spring over a mountain, first cians as well as musicians. The illustrations are easily
over little mounds.
In another column will be found something about prepared wherever there is a musical faculty.
rhythm, written by Mr. Van Cleve. We all know that
It is generally supposed that parents have their chil there is no music without time, yet teachers are not fully WE are indebted to the Manual of Music Co., of Chi.
dren take music lessons for the purpose of learning to awake to the importance of rhythm, taking the word in
its broader meaning. There is a certain swing of rhythm cago, for the electros used in the supplement of this
perform music. Yet they often seriously object to the issue. They are from the new edition of the Manual of
teacher giving a sufficient amount of music to make the that, if we can get it into our heads, carries us on and
lessons a success. Not stopping to think that the tuition Music shortly to be issued. We understand that the
beyond our ordinary self in surmounting difficulties, and volume will contain 50 or 60 of such portraits.
money is lost if the pupil does not have something to the effect of a piece on a listener depends largely on the -

play and practice upon. In many other instances, the swing of the rhythm. When a passage seems obscure, Know what books you need and get them one by one.
7

mother will bring on a lot of old music that she used to n1ne times out of ten it is a matter of rhythm, either The finest special libraries are formed in this way:
play, or that some older member of the family has unsteady playing or an absence of accents, or the passage | Thomas Tapper.
T H E ET U D E. 195
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forte Technic is or should be an Elementary Study; and, second, :---- * -
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to supply teachers and pupils with exercises and facilities by which Author of###. #. # inductive
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beginner from the first lesson as heretofore has been impossible. | It is a little book which will interest and please musicians anu MANUAL PUBLISHING COMPANY.,
The plan of the work, and the exercises given, are new and amateurs by its chatty common sense and suggestiveness. Evidently,
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By ALBERT W. BORST.
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THEO. PRESSER,
The elegant portraits have given the greatest satisfac 17O4 Chestnut Street, Philadelphia, Pa.
tion wherever introduced. The former price for these
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the English Language.
HARMONIC NOTATION.
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BY

Price for 5 Volumes, (including Index,) $19.00. VV I L L I A M B. VV A IT.


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Address,
IEE.ICE - - S1-5O
A Preparation for the Study of Harmony.
THEO. PRESSER, Address Publisher,
17O4. Chestnut Street, THEO. PREssER,
The very best sayings on musical topics, chosen
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Education, Memory, Woman in Price . $1.00, Bound in Board Cover.
Music, Harmony, Imagina THEO. PRESSER,
tion, Expression, Maxims.
The work is alike indispensable to the teacher and pupil. To TABLE OF CONTENTS. No. 17O4 Chestnut Street, Philadelphia.
-*
inn
Page
both it offers valuable advice and encouragement. It contains over Intr - - -

200 pages and is printed in most excellent style. Qp. 81; No. 3,Grandmother tells a Shuddering Tale......... 7
1. Op. 72 No. 3, Kinderstcke 8 E_A_T INADEER,S
Schmidt. Op. 14. No. 1, Sonatina........ . . 10
Jadassohn Op. 17. No. 3, Children's 12
Diabelli. Op. 168. No. 3.................. 15
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Spindler, Op. 136. No. 1, Sonatina in 4 Hands....................
20
24
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44 1888, - 1,50, Clementi. Op. 36. No. 1, Sonatina. -

** 44 1889, - 1,50, Kjerulf. Scherzino 54


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Bound di si 1886, - 2.50, ** Smith. Babbling Brook................................'" Wm. Mason, Mr. Wm. H. Sherwood,
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4 " " 1887, - 2.50. " Dussek. Plough Boy.......... Mr. Albert R. Parsons, etc.
is 1888, - 2.50, Lange. Op. 114. #.
1, Sona -

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Schumann. Slumber
#. Nocturne
Song......................................'. 86
commendation of it have been received from the most
Odd Back Numbers, Unbound, 75 cents per dozen. encie
Bach.
n's Song Without
No. 6.Words. No. 1 rominent musicians in more than twenty different
These volumes contain from 18 to 20 dollars worth of music in Bach. Little Prelude, No. tates. It is adopted as a standard work in most of
each year. The various articles give a great amount of information Schubert. Op. 78. Menuette. the Colleges in America. Its sales have been phenome"
of permanent value. It is a peculiarity of The Etude that its Reinecke. Op. 47. No. 2, Sonatina... | |nal. Its price is very reasonable, viz.: In Cloth, em.
articles are of substantial and lasting worth. Address the Publisher, Chopin. Op. 9. No. 2, Nocturne................... bossed, $1.00; in Board covers, 75 cents, and in paper
Address Publisher, covers, 60 cents. Address -

THE0D0RE PRESSER, THEO. PRESSER, THEODORE PRESSER,


1704 Chestnut Street, Philadelphia, Pa. 1704 Chestnut Street, Philadelphia, Pa. 1704 CHESTNuT ST., PHILAD'A, PA
T
| TH E E T U D E. T 97

rofessional Cards. $chools of #lugir.


~~~~------------
$rhools of #lugir. ----------->

mr. T. J. Davies, Mus. Bac., ORCAIN GOPer-NIT ICs, 34c.,


Gives lessons personally, or by correspondence, in Harmony, MIR- ALEEET VV - EOEST.
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Orchestration. Students prepared for musical examinations
Most thorough and systematic course. Compositions revised and ORG21 N 11NI PI31NOFORTE
corrected. Terms moderate. 3602 HAMILTON STRE. ET.
Address 18 LuBRARY BUILDING, Philadelphia, Pa.
Scranton, Pa.

Harmony Lessons by Correspondence


GERMANY, BERLIN.
ALSO |
20 POTSDAMER STRAssE. |

Lessons by Mail in Counterpoint and Orchestration.


For terms and particulars, address
G. T. BULLING,
174 RACE STREET, CINCINNAT1, O.
MADAME ANNA STEINIGER,
Killin'" || Mil.
BRANCHEs TAUGHT:Piano, Violin. Violoncello. Singing
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>osTOINT, IME-A-ss PROFEssoRs:Messrs. K. Klindworth, Dr. Langhans,
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Madame Steiniger will make a tour, West and South, in January, other renowned masters.
February and March, 1890, introducing her four Beethoven Con
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Prospectus to be obtained gratis through the Director, DANM'S MUSICAL INSTITUTE WARREN, Hill
Address FRAU ANNA STEINIGER, Boston, Mass. KARI, KLINIDWORTH,
Berlin, 20 Potsdamer Strasse An institution devoted exclusively to the study of
* "| MUSIC. Gives instructions in all departments of Music,
W. S. B. MATHEWS, with a thorough and Systematic Course of
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Lecturer and Writer upon Musical Topics, efficiency. Founded in 1869. Say" Send for Catalogue.
No. 236 STATEST., CHICAGO, ILL. |
Room 18. A STANDARD TEXT-BOOK,
A PLACE FOR NORTHERN GIRLS TO SPEND THE WINTER.
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and able Teachers. Use of five-finger exercises discarded. Techni
con and Practice Clavier used. Send for circulars.
A. L. MANCHESTER, Musical Director. Incorporated 1878.
Rev. S. N. BARKER, President.
:Yrmer:
QBERLIR,GnsERVATORyof IT ISIG NEW YORK COLLEGE OF MUSIC.
Milwaukee School of Music, With a Large Faculty of Superior Instructors, and 163 East 70th St., New York City.
*22 anoanway, milwaukee, wis. a splendid building for its exclusive use, the Oberlin ALEXANDER LAMBERT, Director.
HARMON LESSONS BY CORRESPONDENCE, Conservatory offers unusual advantages for the Study of All Branches of Music taught, from the beginning to the highest
Given by artistic attainment. New York's largest and most complete music
Music. 544 students last year. Total expense for one school, occupying an entire building, with a concert hall of its own.
J. C. FILLMORE, Director. year's study (38 weeks) need not exceed $300. FreeSight,
| point,
students have Vocal
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Admission
Terms begin Sept. 17, Jan. 6, and April 7. to Lectures, Concerts, Ensemble Playing, etc. Students received
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Chickering Hall Building, Chicago.
IEDVV"-a-Eti-D E-a->CTEE. E.E.E.E.Y. 6CHOOL OF MU5|C,
CONCERT PIANIST AND LECTURER DE PAUw UNIVERSITY, GREENCASTLE, IND.
Instruction given in all Departments of Music. All branches of Music, School of Lyric and Dramatic
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Address, 178 Tremont St., Boston, Mass. Solo, Duet, Trio, Quartette, Ensemble and Art; Normal Department for the training of
Oratorio Work.
Mr. Perry makes an Annual Western and Southern Tour, from Sept Teachers; Languages. Course of instruc
10th to the holidays. Special Terms to parties on his direct Five Courses OF STUDY.
tion thorough and progressive.
route desiring recitals at that time Room, Board, Practice and Sheet Music at reasonable rates.
For Circulars, apply to | Su MMER SESSION, JULY 7th to AUGUST 8th.
HUGH A. CLARKE, Mus.Doc,
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JAMES H. How E, DEAN, GREENCASTLE, IND.
For Circulars of other University Departments, apply to
FALL TERM BEGINS SEPTEMBER 8th.

PEIILADELPHIA.
President, Alexander Martin, D.D., LL.P., College of Liberal Arts. Catalogue mailed free on application.
Rev. S. L. Bowman, A.M., s.T.D., Dean of School of Theology.
Hon. Alexander C. Downey, LL.D., Dean of School of Law.
Henry A. Mills, Deanof School of Art. J. J. HATTSTAEDT, Director.
Samuel S. Parr, Normal School.
ISDNS BY MAIL!" ":"
RICHARD GOERDELER,
Director of Music at Pennington Seminary,
PENNINGTON, NEW JERSEY,
Claverack College Lessons in Musical History,
BY
WR: new, brilliant and original Piano Music, for two and four CONSERVATORY OF MUSIC AND ART,
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by The Oliver Ditson Co., Wm. A. Pond & Co., F.A. North Claverack, Columbia County, N.Y.
Co., Theo. Presser, and reproduced in Leipzig, Germany. For
terms, apply as above.

W. R.S. MARY CRECORY MURRAY


CMAS. W. Landon, - Musical Director. Price $1.50 postpaid.
(PUPIL or willIAM MASON)
Instructs Teachers and Students in the Courses in Piano and Voice Culture, Organ, Violin, Cornet, Har
mony and Counterpoint.
"MASON METHOD OF TOUCH AND TECHNIC. Normal Course for Music Teachers. Weekly Lectures and Musicales. A comprehensive outline of musical history from the
I Will also make engagements for Concerts or Piano Lectures with beginning of the Christian era to the present time; espe
Ilustrative Recitals, adapted to general audiences or Musical Asso NEW DEPARTURE.
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Address, Care of THE ETUDE. tutions.
ing Music.
Recitals by distinguished artists during the year.
C. P. HOFFMANN, Individual lessons only. Daily use of the Technicon and Practice Address Publisher,
Clavier. All practice under supervision.
DIRECTOR CONSERVATORY OF MUSIC, Classes in Chorus Dril 1, Voeal Sight Reading, and THEODoRE PRESSER,
OXFORD collece, oxFoRD, ohio. Tonic Sol-fa.

Gives lessons by Correspondence in Harmony, Counterpoint and


SEND FOR ILLUSTRATED CATALOGUE. 17O4 Chestnut Street,
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tablished foundational principles to latest practice in composition. PHILADELPHIA, PA.
198 T EI E E T U D E.

- T-EE. EVERYBODY'S MUSIC. TEACHIERS*

HENRY F. MILLER Among the abundant treasures of our immense stock every one i
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The Art OfPianofore Playing
CLASSI C B A RITON E AND BASS SO NGS. .....51. By HUGH A. CLARKE, Mus. Doc.
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| Po PULAR so NG collection, 37 good songs. .#1 artistic school for beginners, embodying all the latest
GOOD OLD SONGS we used to sing, 115 songs........ $1. results of the best criticism. The exercises have been
COLLEGE SONGS, 115,000 sold................................. 50c. constructed with great care, and are graded in such a
COLLEGE SONGS FOR BANJo; FOR GUITAR, each.........81. way that the difficulties that beset beginners are almost
| RHYMES AND TUNEs. Osgood. Sweet home music............#1. | insensibly overcome. Not a page has been admitted for *"
INSTRUMENTAL. | borrowed
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PIANO CLASSICS, Wol. 1, 44 pieces....
PIANO classics, Vol. 2, 31 pieces.
result of careful study of the requirements of a complete te:

elementary school for the pianoforte.


CLASSICAL PAN IST, 42 pieces.
PoPULAR PIANO col_LECTION, 27 pieces. ...81. Address Publisher,
|
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- -
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A New Comic Opera, in Three Acts, with Original Words and
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A collection of translated COUNTERPOINT AND CANON.
Price, $1.5o. the German. Words essentially child-like, Chaste and beautiful,
Rh Complete theoretical explanations. System of Touch and pleasing and good music. -
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#y endorsed by the best musicians, teachers and conserva. INT.A.T.T.TIFR.E. CPIF* IEC.A.E.IMLCPINTY". It clearly marks out the student's work for him, and assigns
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new things aid underlying principles o' this, subject. All pro
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*" etc. . Devised and revised to meet every want of a Price, 10 cents each; $1.00 per doz.
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concentrated into forty-eight pithy and pungent maxims. Should
TELE IMIT's TcT.A.N. be frequently read by young pupils, and be on their pianos within
reach. as a silent monitor to keep them from forming bad habits.
*
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lated to inspire the pupil to enthusiast c and superior work. Price, 25 cents.
By RIDLEY PRENTICE. Two Lectures of unusual merit.

# getting ELEMENTARY PIANO INSTRUCTOR,


This work helps to a better understanding and performance
# the best things #and
music. Leads to efficient study OF: METHOD OF STUDY.
*Pupil interested teaching him to enjoy Beautiful Music.
sia: gives a list of the most desirable and useful Classical and THOUGHTS FOR TEACHERS AND PUPILS.
*. : Music for Teaching and Study. By ALoys HENNES.
By J. C. A. MacIrone.
Price, Io cents.
full Explains and Annotates the Pieces. It is Translated from the German by F. J. THOMPSON.
ta # valuable and '' suggestions and information. Con Among the many topics treated in this little pamphlet are
Price, 15 cents. On a Good Touch, Repose in Playing, Magnetism in Play
:"y interesting incidents in the lives of the great com ing.
A pamphlet of 20 pages.

For Full Description of Above Works Send for Complete Descriptive Catalogue.

*
2OO
THE ETU D E.

THE ETUDE INDEX.


VOLUME VIII, 1890.
Artistic Devel D B. M. A. PAGE PAGE PAGE
rtistic Development. Dr. A. B. Marx.............. 6 I.: - - - The Usefulness of Transposition of Daily Exer.
A Valuable Exercise on Virgil Practice Clavier...
A Few Thoughts for Piano Teachers. Presser..... 18
19
# # '. # # : # g ringer. S. N. -
cises. C. E.
Thoughts on Piano Playing.
C.'-F. Weick... - -:'.

....
45
71
A # '# - W. i.indon 22 M The # Club of New York........ ------ ---*** 75
n Appeal to the Musical Public. C. W. Landon 54 - The Electro Clavier. F. W. Hale......... - - - 76
A Thought or Two ................ - - - --- - -- | Musical Items. , Mrs. 're bar::::::::::::::::::::::: To the E t Student and Pl f iann
A Practical Lesson in Time, to Beginners. E. S. \r...":;"#####, is: "' 77
Bonelli......................... - - - - - Me', 'Dead:..... - --- - - #|Thayer, br. Eugene a Reminiscence........'. 8:
A Few Questions Answered. J. S. Van Cleve.....73, 86 Movements of Nerves and Muscles..................... . 70. To Prospective A. C. M. Candidates. E. B. Story 90
A": #: the Standpoint of the Pianist. # '' ## 1: - -- The Personality of Musicians............................-- 90
eatly Stevens........;..;;.......::....:... ............ ...;..."... ... is,..... - - Thoughts for Music Teachers............................ . 93
Am: and Professional Music Teachers. Lan- *''' 109 The importance of Summer Reading for Musicians
: # t

''' is,'A''': #####' #


d Di - - aching. Mrs. J. Curwen..................... 2. - - --- -

A Letter from a Progressive


Teacher......... #| Music for the Masses. Mrs. N. J. Hamlett.......... !37. Three Requisites for Teaching. E. E. Ayres.
-
170
Colle ' Musicians....................... 141,174 . W: # # The Metronome. A. R. Parsons........................ ---
184
A cti dt
# Musical ClubsTheir Importance. T. J. Avirett 156 The s Part in Taking a Lesson. C. W. Lan
n - **-**-** - - *- - ... - - - O e ------- - - - -
186
A Letter to THE ETUDE. C. Dougher 172 N The Musical Taste of the General Public. Edward
A Rhapsodie
A Mutual Improvement
on Quacks. Society........
Bergstrom -
... 192|N
198
C I. A.. M.
M. Straub.....................
S ..... 6 | Baxter
*a*** *Perry
***........------------------------------------ 187
- -- - ations...............................9, 24, 57, 75, 94 U
B Notes to Pupils................................................ 118 Useful Hints. K. Merz.................................... 5
Book Review.................................................. 167 O Unbalanced Rhythms. W. B. Wait.................... 62
Objective and Subjective Interpretation. A - - - V
Concert Programmes.........c- 3, 21, 62, 88, 141, 171 # #: 'A'. Virgil's Foundation Exercises.
V. Huneker:...: 39
Concerts and Lessons by Phonograph. E. B. Perry 7|Observation on the Study of the Piano................. 1, Value of Pupils Musicales in Cultivating Confi.
Confidence in Playing Before Others. E. A. Smit 21. C. ,A;Recitals.
Chats With Music Students................. ... 46. On Touch.
On the E. von
Conscious Adelung..............................
Control of the Muscles ............ 22
25 | Valuedence,
of Pupils' C. May Wohner............ ... #
--------- -
138

'. # #*:
Class Organization., C. F. Thompson::::::........... ''
Study. ..T. Presser...:......
J. S.
61 W
Why Should Children Study Music. C. W. Landon. 59
. 71

Cyclus-Chopin................................................. #ont's:#"E.T.: 1: W*''': i.


Cost of Study. Abroad...:...........:.................: 14) P Where to Study Music. W. Mason....................... 103
Correct Practice Makes Perfect. Perlee W. Jervis 186 Publisher's Notes ............................................. Worth Repeating
"." "H"I'5------ *****, *.*.*.*.************** 110,* 119,f 157
D . ...6, 23, 84, 58, 74, 88, 106, 123, 142, 150, 173, 191 What Shall be Played. E. B. Perry............... 118, #
D'Albert Talks................................................ 21 | Principles of Expression. A. R. Parsons............ 23| What Pupils Ought Not to Do. Merz..............: 125
Do State Teachers' Assoc. Weaken the M.T. N. A.; 24 | Put Your Heart Into Your Music. E. E. Ayres. 40 | Worthy of Comment........ 172,188
152 and '.
-
Developing Musical Imagination. Williams......... L. Kohler........................ 60 Wisdom of Many......................... .................... 187
E
xpression vs. Technic.
E
Ed. Moore..................
fogramme.' Making.'............:
Production. T. .......................
A. Matthay.......
152 | Pupils' Musicales. O. N. Morrison....................
I 89
10
188
At Twilight. M MUSIC.
wilight. Maxson..................... --
Mar
B.
: ' 106, # #. #l, 174 Problems of Music Teaching. J. C. Fillmore...... 18] # ... ... ***** ... ------------ ************ #
xhortation to tudentS O uslC T. - - unn Leaf. elDel............. ----------------- **** ******
Bryce.......................................................
182 Q Q - Bohemian Melod Feb
Blue' -

of the tiano Pupil. H. Sher- - uotations............ ..........................................


-

Questions
-

and Answers...................................... s | Buoyancy.


Bohemian Melody....................... ................
Adams........................... ... May
WOO lming.....--------.F- 185| "...: 10, 45, 58, 75, 91, 105, 121, 141, 151,168, 188 By the Sea. Prentice........................... . July
- R | Carmencita. H. Housely........................ ... Apr
For Pupils....:...:::::::................:................... 60 Rules for Major Keys....................................... Cecilia Galop. Messer...... ... Sept
First Lessons for Children. Amy Fay................ 165 | Respect Due to the Musical Profession. H. H. | Come On Galop. Benedetti...................... ....... Sept
First Lessons to Children. E., von Adelung.:..:. 178 *........................ ................................ 36 Evening on the Alps. Otto Feb

For Teachers and Pupils.................................... ":


190 Random Notes of M. T. N. A. Meeting...........ii, '':
Electric Flash Galop. Goerdeler........................ #
102. ug
G |Random Notes. E. E. Ayres.............................. 118 Gipsy March. Behr....................................... Apr
Genius. Karl Merz.....................88, 99, 106, 107, 122 Revised Editions of Standard Works. Stephen | Idleness. Clark.......................... ... Jan
H Rhythm "'V' - ...... - 184 Isabella Gavotte. Drippe........... ... May
* ** *-** * *** **** * v- - - - - - - - - - - - - - - - - - . . . . . . . . . . . . . . . in G. Bach--------........................ . Jan
How Shall We Increase the Respect of Educated
Men for Music and Musicians. Fillmore....... 4|Social Standing of Artists. E. B. Perry..............
S :# "###"... :
20 Little Swiss Melody.
Jan
Behr..................... ... Jan
How to Start Beginners. C. E. Cramer.............. 18| Successful Teachers. Ed. Moore............ ...... 21 Little Trumpeter's Melody. Behr ... Feb
Hints...........................::::::::::::::::::::... ........... 20 Stray Leaves. R. Goldbeck.............................. 22 L'Amazone. Goldbeck................. ... Mar
How to TreatBackward Pupils. T. M. Austin.... 89 |Serious Thoughts for Students. Lovejoy............. 26 Little Spanish Melody. Behr............... July -

How Can Individuality of the Musical, Profession Suggestions for the Am. Coll. of Musicians. E. B. La Scintillata. . Aug
Gaertner..........................
be Raised to '' her Level. Smith........... 76 Story................. .............................. 36|L'Arpa, Raff........................................ Sept
Have a Purpose. , K. Merz................................ 93. Sixth Programme from Rubinstein..... : 6 -

Holmes, Dr. on Music.;..:......:......: '...........


How . N: for a Pianoforte Les-
170 | Some Things for Piano
174 s". ' Study at Home or Abroad. S. N. Pen-
- - - - # g':
ajestic March. Goerdeler.................. * i: -

80n. , A. Vlarke------------------------------------ I *:::::::::::::::::::::... ..... .......................... 103 | Nocturne from Midsummer Night's Dream. Men.
I Special Pieces for Special Purposes. E. B. Perry 155 delssohn.......................................... Sept
t . M. A. Brusietti......................... 35 | - T. - Posthorn's Tones. Behr......... ........................ Mar
# K. Mer. 8: The Liberation of the Ring-Finger. E. Breslauer 2|Paradise March. Messer................................" Apr
Is Half an Hour Sufficient for a Private Lesson. 'e Misuse of Music...................................... 2 | Petite Berceuse. Mitcheson...... .... June
L. Loewy................. * * * * * * * * *-* * * * * ***** 105 The of Pianoforte Playing. Chas. P. Polonaise. Merkel.................................... Oct
Influence of School-music on Piano Pupils. J. E. *her...........::::::::::.............................
The Tott Arm. C. *|six o Studies. Preyer...................------- .... Apr P
Crane....... - . . . . . . ... * * * * * * * * * * * * * *********************** :136
ix. Octave
1,10: Song Without Words. Holzel.................. 0ct
-

#!
J The New Standard of Artists. ........ '...'...'...." "s' Third Valse Poetique. Strelezki .................... Mar
Jerusalem................... * * * * * * * * * * * *-* * * * * * * * * * * * * # F. A. Lyman.............. 18, 77 | Thoughts of Home. Moelling....................... Nov
69
- - - - - - - tl
Janko Keyboard............. 1", is # '. : : # Valse Arabesque. Smith.............................. # *- - - - - -

L The Metronome. F. L. Heink........................ 23 W: Impromptu, Hoffmann.............. ' -

Lange, Gustav.;.............: : --- 8|The Cultivation


of Musical Memory.....................
Letters to Teachers.........87.56, 120, 141, 150, 169, 193|Teachers' Help and Students' Guide. Sefton.......
23 W: Brilliante. Drippe...................... Nov
24 illage Fete. Heller...................................."
Lesson to L'Arpa. Chas. W. Landon................ 140|The Electro-Clavier. W. F. Gates..................... 33 Waltzes. R. Volkmann.................................. Oct
T EL E. E. T. U. D. E.

+=TELE NEW =#

VIRGIL i PRACTICE: CLAVE


-XO.
G.R.E.A." - IIMTEPROVE INTE-W ST-I - Es. -

A Perfect Piano Touch, increased Stability,


. Durability. Convenience. | -
MAREs A NEw ERA. IN Exarro srcrow
- |
-

W.M. MASON.
In daily use and strongly endorsed by many of the greatest
*t
accurate
-

I have always regarded mute keyboards with dis-


he
means of determining attacknor
the quality afford
of the work.
*| Artist can afford to be without it, as its use doubles the progress, and that
artists and teachers in this country and Europe. No Teacher, Pupil or
of the right kind.
H. P. CHELIUS,
PRIN. PIANO DEPT OF BOSTON CONSERVATOR-O-L
The "Clavier" however, enables one to temporarily ban" Collated statistics show that 95 per cent of pupils coming to artist is given (or ought to be, an idea at each
- - - - - - lesson, To have it retained and inculcated, is the object
* * * of the Pianoforte tone teachers for advanced lessons () are obliged to relay their foundations in *:
without suspending the means of defining the rhythm
-
touch. No more of this! No more chronic staccato! No more slovenly
- - -

t ''. thout ".it ''
- | t
** while personally regretting legator Every teacher enabled to impart and every pupil to acquire every
that the invention did not appear long enough ago to variety of artistic touch without wasting time, money or effort. grasped by mind and fingers. The silent, mechanica
have served me throughout my musical career, it has
nevertheless, placed
Speeial terms and prices to teachers on instrumen's for personal use,
* ''. helps
ng and eventually ensures success. The ul
ventor, and I in - - -

also on instruments for use in schools.


resistance develops that smooth and even 50
- o thank him for so valuable a con- For Catalogues and all information addres: satisfying in finished artists. Three years experience -

tribution to the pedagogics of an art to which I have g with the Clavier gives me the knowledge to say that it
*oted so many years of a busy life, and to heartily THE VIRGIL PRACTICE CLAVIER CO., 4. : || || |
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THEO, PRESSER, THE LEVASSOR PIANO CO., C. F. SUMMY,


Chestnut St., Phila.,
1704 Pa. Cincinnati, 0. Chicago. III,

| | SGNSITIVE |
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Ways and Mans is Alli'It'll
A Lecture delivered before the Music Teachers and Students. Chautauqua, N. Y.,
- By J. BROTHERHOOD.

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This volume appeals to everyItstudent of music, how musical System of control
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only care has
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taken

everto elementary or advanced. is designed to bring to - - - - ,,
according to Mason's Technici.
|-
readin -

*...*
in the land. a five octave organ. Should beon every parlor organ the attention of those who make music a life-work, the music by thinking and conceiving its effect in advance
Music and Book Catalogues
Eules Mailed
e Free,
- very many contingent
connection
- with music.topics thatend
To this ,should be Considered
the subjects
, , in
selected
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hearing
earling 1 from feature
it of this method is teat it
the instrument. - - -keeps - he

for the chats have a practical value, cover considerable -


pupils interested, and does away with the drudgery - hat

| | | #AM|'' | |
| *.
ground, and are treated from the point of view that best has always seemed to be a necessary part of the '.
aids the student. The reader is taken into confidence' or two in music. This comes from the fact that
and finds in the chapters of this work many hints and always producing pleasing musical, and not dry mechani
145 and 147 Wabash Avenue. Chicago. benefits that pertain to his own daily life as a musician |cal effects.
LOURE IN G. j

BOURREE.
From the 3rd Violoncello Suite.
BACH.
Arr; by SARA HEINZE.

In the following bright piece, the observance of the staccato is of the utmost importance. Melody tones staccato,
(a) when unaccompanied in the same hand, as in the first two tones of the piece, are to be played with a finger
staccato, made by picking the keys with the point of the finger, as one would pick the strings of a guitar. In
this touch, the hand moves little or none at the wrist, but the wrist must be held loosely. In accompanied staccato
tones of the melody, like those in the second beat of the first measure, (b) a hand staccato is used, the hand ris
ing from the wrist. Heavy accents, like those of the first beat of the first, third, and seventh measures,(C) are play
ed with a touch, in part at least, produced by allowing the weight of the arm to fall upon the chord. This, when
properly done, elicits a powerful tone with very little exertion. Care must be taken to balance the hand in such a
manner that the melody-tone preponderates. All legato marks must be carefully observed such as those in the
first beat of the fourth measure, (d) first three notes of the fifth measure, etc. Long tones in the middle voice,
like the E in the eleventh measure, (e) are intended to sound throughout their entire length. They must be sounded
a little more forcibly than if they were of shorter duration, in order that the tone may linger upon the ear. Very
sharp dissonances, like those in the fourth and fifth measures of period V, have to be accented with great force,
otherwise they sound like mistakes. The long legato phrase in period WI must be observed. In short, carefully con
form to all the directions of phrasing and expression, and continue to do this until you realize the many other
variations of intesity which these marks imply. It is very important that this piece be memorized. It is of such a
manly character, that it benefits the musical mind to master it. -

Allegro moderato.
3
35
: - . I 3 t tr-, - 3

2. A f")

achiri
al

|c.
#*:
#

***
in "

| -Mathews Phrasing 17. Copyright 1889 by Theo. Presser,


*
Mathews Phrasing 17. ... Bourree 3-2.
5 4

D.C. al Fine
senza repetizione.
Bourree 3-3
NQ 2. Mssiggang (Idleness.)
HELENA. CLARKE.
Andante sostenuto.
*
*
4

Copyright 1888 by Theo. Presser.


;:;; ;;

Idleness-2.
...:...MOUNTAIN CHAPEL.
For the Piano, by ROBERT GOLDBEKOK.

<GNO+

2
A / 2 zed zed.
Z%. * #%d. - - - zed zed. " " " " ' "
- 2
5 2 5 2 5 2

LISTESSO Tempo (Same Tempo): d. == 104 like: J== 104"


-*
X R

f E

sempre f : poco diminuendo.

3 4 4

The tied grace notes at A serve to indicate a special manner of breaking chords, throwing them together towards the center notes. This
should be done lightly and evenly, combined with fullness of tone, within the piano shading. At B the added ordinary arpe gio sign suggests
precedence of the left hand in the throwing together of the toncs. The left hand concor *, at C, sounds best played strictly together; simall
hands will arpeggio it. The melody, entoned at D, resides in the upper part of the chords, and should receive prominent force and weight of
finger....The triplets at E and similar places, should be executed with single hand-throw. The Pedal may be taken, not so much for general
Pedal effect as to join the chords of longer value, where the fingers cannot accomplish continuous sound (chord legato).
NoTE.-It is often preferable in cases of that kind to take the Pedal after striking the chord, leaving it at the moment of playing the next chord.
*For two notes that harmonize, we may use the term concord"; for more than two: chord!
Golph Eck's MUSICAL ART.-(87) -Copyright by Robert Goldbeck.
t

--- _

= 2 ... == 112. Poco animato.


* * : --e. A * : : 2 ~1 -: * ~: " -
- -- 2-4- -

At F observe change of hands to play the triplets.The tone 2d, at G. sounds well (upon good Pianos) as a shadow tone, detached from
Pedal, producing the tone by singling out damper, rather than a positive finger stroke.At H sufficient clearness of melody amid harmonious
play of triplets, recalling mountain sounds of bell, horn and flute. Careful use of Pedal is essential, with a view of general Pedal effect.
Goldbeck's Musical Art.-(88)
-
8 -- - - - - - - - - - - - - - - - -

* - - - - --

~ ++ 2*. -. -. |
# =#.-
EE-EHEE---|->": *=#.-::=#.-:#
s. E=E=
] .
----|-> E! E ===s*===H-
- 1-
-

- - - -

* - I l I- 5 4 2 in is

/) /)
_- _
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9::=#.|-1.--|--
==E=-|==E|~~ **=|=e^*=|
e +
* =|=1 . "+ ...":
|- *-------------

=> 2-2
- ra//en/ando.
a 7empo.
*

fa. - - -- - - # 4 :

5
A."
3
mo/to diminuendo. I
|
_- _-
". -|2:
-e-H--- -

". * *
*-

The
2.
religious theme may be given with breadth an d some force, while the periodically recurring triplet eighths

and more distant of effect.


should be kept subdued
At I greater force and much larger sound.
Goldneck's MusicAL ART.-(89)
mf
K agitato. | - cresc. molto.

**-*
.
6

-
- **
s 3
~

a 7 empo. * -6."
# 2. ' % *2. :
****

rit. Tremo/o ad / 5
Ziesa watc. If
-*

z.:- *.

>

At K the Tempo may be a little accelerated.At L effect similar to that at G.


Qolloiseck's MUSiCAL Aer.-(90)
8 ---------------- ----- --- ------ ------ -- - -- --
2
E:.

-
-D


*E
"
R

|
ttIT
*
-

==#
|
]|
--

ral/#
-

--
L-I

--|-}
L

-
-*

~~ -

- - -
-
* - -
-
*
- -
-
11
LA ZINGANA.
Danse Hongroise.
Fingered by FRAGMENT DE SALON .
A. HAEVERAVICA .
C.BOHM, Op. 1O2.
Allegro.
A 4 4
2 n ?

copyright 18s9 by Theo Presser.


-
-
-
15

accelerando
I6

LITTLE swiss MELODY.


Revised and Fingered by (SCHIVEIZER LIEBCHEN.)
A. HAEYERNICK. F. BEHR, Op. 503, No. 20.
Alleg ettO. 3 4

rifen.

a tempo.
p
5 o 4
#
- 5

40 scherzando

gioviale

Copyright 1889 by Theo. Presser.


POSTHORNS TONES.
POSTHORNKLANGE.

FRANZ BEHR, Op.575, No. 22.

Allegro con moto.

Piano. f(Posthorn.)

T=
riten unpoco

a tempo
o

l p leggiero
riten...un poco

Posthorn's Tones - 3.
a tempo

Posthorn's Tones - 3.
LAMAZONE.
Mazurka.
Fingered and Revised by *

ALBERT BEUTER. R. GOLDBECK,0p. 12.

risiata /
#|%0.

_-
-5

t
#: . . . . .
-

1 3 2 > 3 2
*
-
5 *>
f
-

111 Tempo.
- 3-N
2 1

* |%a. * dim. rit. pp tranquillo


#
* *.

Copyright 1890 by Theo. Presser.


*

*>
l

rapidamente

L Amazone M - *.
risoluto
6%). * |%N.

3 -

risoluto
%0.

L Amazone M - 4.
al tempo.
i
1

dim. ritard pp tranquillo


*
%). # |%).

L Amazone M - 4.
TO MY SISTER.

AT TWILIGHT.
Nocturne.

FREDERICK MAXSON, Qp. 6.

Andante. M.M.e. =52.


-, -

p :
PIANO.
%N.

Pyright 18 by Theo. Presser.


animato

mf

%).

\ .0 tempo primo
%N. **R.

At Twilight-4.
10

Ap cantabile

* T.
-

f marcato e riten.
&Q. %.

At Twilight-4.
11

p tempo primo

mf a tempo p poco accele crest.fmarcato


_ Ra, a

At Tuwilight - 4.
12

To FREDERICK M.A.A.S.O.V.

THIRD WALSE POETIQUE.

ANTON STRELEZKI.

Poco languido.

mp

Copyright 1890 by Theo. Presser.


eSC.
cresc.
>

leggiero.

Brillante.

Con grazia.

--

mp Tran m illo.

my" eSp?"SS.

3rd Valse Poetique - 5.


14

-
-245

espress. 4
# #
3
2 4. 4
# 3.

mf .

ten. C78 - SCen do T. fen.


5 - b2:

3rd Walce Potique - 5.


15

3rd Valse Poetiq we - 5.


3rd Valse Poetique - 5.
a tempo
*

%).

to agitato

tranqui
- * --i-i
il 1
1 -1-1 L1-1-1-1
---- _LLL
Ll
" FITT
-

|
-|

;
GYPSY MARCH.
ZIGEUNER MARSCH.
FRANZ BEHR,Op.575, No.27.
Tempo di Marcia.
5
> -

f marcato
>
Gypsy March - 3.
Gypsy March - 3.

f
CARMENCITA.
Air de Ballet.

HENRY HOUSELEY.

Allegretto scherzoso. #

mf

copyright 1890 by Theo. Presser.


ten.

f arcat
i

:->

Carmencita - 6
Psemprecresc.
. . .3

| i. | 2 |

Carmencta - 6.
9 - eviouou Iwo
l
FEH #EE
F= #=
+
EE TI == |-|--
"Z- *T*T*TZ
*24024uasa.
t
-
d
--
+.
OI
#

Carmencita - 6.
w

Carmencita - 8.
PARADISEis:MARCH.
----- w
'F=
*/*
< ,
--~~~~ -----------, -
15

M. J. M. ESSER, 0p, 3-.


|

copyright. 1890 by 1. "RF-> ER.", "la. Pa.


TRIO.

il Basso staccato.

* * * *
PARAnise warch-4.
:-----s
--
--
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:--:
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7"

8va.---------
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PA R ADISE MARCH-4.
de .
16

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| PARADISE MARCH-4.

!
BUOYANCY.
JOHN Q. ADAMs.
ALlegretto.

3 2 3 4 5 4 3 2 1

BUOYANCY-4. Copyright, 1890 by T. PRESSER. Phila, Pa.


5
# * * * * 1 2 13 5 1 + 5 3 5

5-T
4 (a DTI
(34) 2

Ru"OYANCW- 4.
**

BUOYANCW - 4.
8va --------------------------------- 2 * 5
To Mrs.May Emogene Messer.

EMOGENE WALTZES.
Introduction. J. MESSER. op.40
BY M.. J. * * *** -- we

Andantino.

./

Tempo di Waltz.

WALTZ.

NQ 1.

EMOGENE. W. 7.
copyright, 1890 by T. PRESSER Phila P".
8va - - - - - - - - - - - - - - - - - - - - - - - -- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -

EMOGENE. W. 7.
NQ 2.

#:

**

EMOGENE. W. 7.
\
|
Evior, exe-w. ...

|
&4 - - -

Love like mine." - 9


5

NQ4 \ P dolce. R *

(*# 5 -

* ~~

EM00:ENE. W. 7.

''
,
EMOGENE. W. 7
*
, 34.

EM06ENE w.7
12 ISABELLA GAWOTTE.
PAUL A.DRIPPE. Op.19.
Moderato.

N:/
/N

| -

ISABELLA GAVOTTE.5. -

copyright, 1890 by T. PREssex. Phila, P.


Melodia ben marcato.

ISABELLA GAV0TTE.5.
ISABELLA GAV0TTE. 5.
she rzando.

sempre legato. Ped.

sempre legato.
*: Ped. : Ped. #

ru

ISABELLA GAV0TTE. 5.
16

# cresc.

ISABELLA GAVOTTE. 5.
6% - " |

By the Sea.
- - R E W E R L. E .
Revised and fingered by
H. C. Macdougall .
Andant C con mot O. =76 | RIDLEY PRENTICE.
-5 %
4
3 * *
# 35 5* 2
! ! # 3-

PIANO.K - - .# *

( tt
# # :

cantabile.

p dolce.

# # # */

'''N. :
"Per the convenience of small hands the lower notes in the right hand may be omitted in the octave passages,

Copyrighted 1590 by Theo Presse, .


Il canto marcato. * :
5 >

4: -

5 *
: : "/*/7777/7
a temp * :#
%
1
a
-l : !

*
poco rit.
| --

dim e rall.
Poco pi moto.

eS.

:
2 # ten. a tempo.

ocol rif.

dim e ra//. Tempo I.

#e"f

(b) This and the three succeeding measures have been added by the Editior to secure a better proportion of parts.
poco cresc

poco rit. a tempo.

%N. . #"

3.
dim e rall.
Dedicated to Mr. & Mrs. D. D. Kemp. New-York.

WALSE BRILLANTE.
Paul. A DRIPPE. op-16.
Introduction
8va -----------------

>

poco rall.

>

All . 8va----------------------- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
- - - - - - - - - - - - - - - - - - - - - - -
-

e.g.TO.s-184. P. 2->
**, *, *:. . .. . , s: , s: 52

Brillante.
WALSE. P

8va -------------------------------------------------------------------------------------------------

VALSE BRILLANT E.6


Copyright,1890 by T. PRESSER. Phila, Pa.
loco > -- 2-37"

mf cre So. .

Ol mpo. brillante,

VAL SE BRILLANTE.6
8va ------------------------------------------------------------------------- - - - - - - - - - - - - - - - - - - - - - - - -

WALs F. BRILLANTE.6
-
brillante.
poco rall.

VALSE BRILLANTE.6
-

vals E BRILLANTE.6
* II

* ar

8va -------------------------------------------------------------------------------
3 3 loco.
~ A 1

-62
2-5
:* - J. :3 #\
be 1 N3
"" - *"*- B+ T The 2

she rzando.

F.

v.Alse RRILLAvTE 6
|

12 LITTLE SPANISH MELODY.


Revised and Fingered by F.B.EHR, Op. 503, No. 2.
A.HAEPER.V.I.C.K.
3 4 3 1 3
Allegretto scherzando.

..f p leggiero pp

lento.3f # 5
3 a tempo
p
:
>
rit molto
D > f

Copyright 1889 by Theo. Presser. *

!
L' ARPA 1

MELoDIE pour Piano


mis pour usage de Concert
par R.Goldbeck.
Moderato: - o. JOACHIM RAFF, Op. 17.
fermo
poco forte poco.f
7

1
ben ma
- 1

68A 6,A SA 68,A SA

Gs M.A.3d Y. 2o7. Copyright,1ss6, by Robert Goldbeck.


G's M.A.3d Y. 208.
a tempo
slargamdo

G's M.A.3d Y. 209.


4. armonioso
*>

'98. A

G's M.A.3d Y. 210.


T0
Miss Virginia Cecilia Davis.
B0ST0N.

CECILIA GALOP.
BY M. J. MESSER. 0p, 39.
2 1 1 tr

>
..~ 4
#~

#:

2.

| CECILIA GAL0P.7.
copyright, 1890 by T. PRESSER. Phila, Pa.
M

T.
CECILIA GALOP-7.
--->

| J

|
|
|
| ~

| UECILIA GALOP-7.
ppleggiero.
CECILIA GALOP. -7.
CECILEAGALOP-7. ~
*

>

accelerando.

CECILIA GALOP-7
--->

12

COME ON CALOP.

FOR PIANO.

GIACOMO BENEDETTI.

Allegro.

G's M.A. 3d Y. 194. Copyright, 188s, by Robert Goldbeck.

|
-

diminuendo

G's M.A.3d Y. 195.


14
NOTTURNO.
FROM MIDSUMMERNIGHT'S DREAM

By MENDELSSOHN.
Andante: * =s+. 8.-----------.

A- >~~, -, 3 4 5 ... T's

poco a.
1 2
S.

* *|* : marcatoil cant

4. 4. o
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Gs M A 3d. Y. 130. copyright 1886 by Robt. Gold beek.
- 2 = f 1 1 1 * :

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Gs M.A.3d.Y. 131.
88, "A *W*IN B0
opua"I dar
J

'983.lo on/ou
W*S., W*$5, W*$ W. & W. S.
W*55,
-> I
"a)."! woodla onvulum aad uas
S CING W X OC. EXOU OC WoRIOs.

(LIED OHNE worre.)


GTSTA v Hlz & L.

A nd ante.
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con espress.
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Apoco piu tranquillo.


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W.A. L. Z. E. R.

AUS DER SERENADE N 0.2.0P.63.


ROB ERT VOLKMA M M .
Fingered by F. Dietz .

WA. L. Z E R .

Allegretto moder a to .
A/040 cres.

Walzer .
Walzer .
deer'e S.

Walzer
4
Io 1. I 8 I ar) 'T & Y. H & IA 5) * Z. L. S. 1 CI & A q 1 - J - Nu 1 &
GIS X \7 NIC)"I O GC
-624 * *P*d * ***
Pad :

w duo, O : ~~~~
f

f o.o.o.d 22.4
c/ J. J. <

, *

s
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Pad : + Pad :

Bad :

vuoroet as
--

Bed:

UPed: * Perl:

Polonaise .
11

P 0 1 0 nais (' ,
Ped:

**empe
h

Pea, P
1 * 1 :: * A is t .
VILLAGE FETE. I

The double organ point with which the study begins suggests by its half comic character a dance
on the Village Green to the music of the droning bag pipe.
The theme at measure 19 is so purely like a Folk-song" in its character that the imagination is
not greatly taxed to hear the voices of the merry dancers in full chorus accompaning their tripping
feet. The arabesque figures allotted the right hand preceding and succeeding the introduction of the
peasants song are to be played lightly and distinctly accompanied by the left with a clear staccato
touch, almost monotonous in its uniformity. But it is not all fun for shadows and varieties of gloom
intervene nature and man flit before us in a panorama, and at the last in the buzzing roll and
iteration of the figures we may discover some quiet rustic mill with its restless mill-wheel whirled
eternally by the rushing mountain stream. Sadness may come but it abides only like the floating
shadow of a cloud.
S. HELLER, Op. 45, N 20.
Allegro. . 132. s
3
t

here indicated, for example, may facilitate the light drum


a ) For some a change of fingers, as - -

he hand must feel this light bounding tone. The temptation to drop into
staccato, not pizzicato. T
a dead repetition when the octaves are reached, especially in the 19 meas. must be overcome by
melodic idea in the bass must be
clear conception of this quality in all the bass tones. The

clearly conceived.
* copyright 1890 by Theo. /')'sser.
Pillage Fete. He/ter. *.
-

--->

poco riten.

b) A special study of fifth finger glide under the fourth, third, and second fingers is requisite
for such a passage. Study the trill, s ay c, d flat, first with 5, 4:5, 3: 5, 2 : then the turn, sav f
e flat d e flat, with same fingers, and finally the chromatic scale.

Pillage Fete. Heller, 7.


#7//age /.../z. He//, / 7.
i i
#

sempre p

leggiero

17/lage Fete. He//er, 7.

f
-
fALBUM LEAF. 5
SWEET THOUGHTS.
AIDAM GEIEI,.
Andante con moto. co. ------------ -
9- 4
2EN-E==
E
II =N
5 -5
I |
5 4 5i

-- 3- =====
PA=== = == HE EE E
------------------------------------- Ed===== =

i | | |
=== ========

4 5 4 3

i E' poco. | rall.

5 41 2- 5
A LR MI IE A 1. copyright 1890, by T. pR ESSER. Phila, Pa.-
ALBUM LEAF-4.

|
a tempo.
poco rall.

AI, BUMI I. EA F - 1 ,
#Tb-H Pei- - L

*=###= :===E Es EF-E


- - 1

A-1, BUM LEAF - 4.

|
THOUGHTS OF}{oME.
THE0D0RE MOELLING.
Andante con Espress

marcato il Basso.
1
2

copyright 1890, by T. PRESSER. Phila. Pa.


Thoughts of Home - 4.
*
Thouglrts of Home 4.
~, > * | --> H->

shunou.I. go euroH - E -
-->

# #

Thoughts of Home - 4.
To my wife, fulia webster Bentley"
*

AT TWILIGHT.
SONG WITHOUT WORDS "... TM
13

WM. F. BENT LEY.


Andarate COIn moto.

A 1 t \\ 1 1. l (; HT. 1. copyright 1890, by T. PRESSER. Phila. PA.


---

a \ 1 W 1 \, , , , , ,
sempre cresc.
*

MT 1 \\ 1 1.1 : . . . .
6 5N

sempre pp.

Pd.
AT Tvv IIIHT. 4.
-
-
-
*
*
******** * * *

May Queen.
Mai-Knigin.

Gavotte.
RICHARD GOERDELER.
A - - - -

PIANO.

* :*

copyright 1890 by Theodore Presser.


May Queen.

*
2

May Queen.
r?

May Queen.
- *= H# b: # :

===HE ==EH =
i

|-i

tle en .
May
Dance Impromptu.
A. H. RICE.
Animato. >
5-5
2T >

PIANO. P ben marca/o

^:

Copyright 1890 by Theodore Presser.


Dance Impromptu.
Vivace.

Dance Impromptu.
Risoluto.
D

a tempo >

Dance Impromptu.
a tempo 4
--s _ 1 a

poco rit.

ben marcato
,

poco rit.

poco rit.

Dance Impromptu.
9

On the Meadow.
Auf der Wiese.
*...*
...).
- A' -

Moderatoa. 80) Revised and fingered by H. C. MACDOUGALL.


8- 1 3 . 8 - , 3-1

PIANO. Ap Z7 basso leggiero

). #

'p

On the Meadow. Copyrig y Theodore Presser.


wright 1890 by

| -\-
***** -- *s: - -----------

/p subito

*N. # *A.

).

On the Meadow.

=
Cantabil

-==s 4s a a

3? -=
espressivo

, -

p Il basso leggiero =

S.

On the Meadow.

--


12

%). #

/
fe/2.44% o
Con brio.

%N.

On the Meadow.
To C. F. Thomsen. 13

Idylle.
F.W. KLUPPELBERG.
Moderato animato.
I 5\ /
12

PIANO. Ap do/ce marcanao

decresc.
??/a/a".

r?

Copyright 1890 by Theodore Presser.


Idylle.
:
*
14

7
"//
(/
'o
7
//

WO
S
(/
./rmezza
AT

/eggerezza

Idylle.
15

giocoso" e / ero

ma/27/co/zo

r;

Idylle.
'all ApH
0PM2.40% a puppy."
ow'ss/opop d.
--------
rt
-

:
--
university of ILLINOIS-URBANA

3 0112 101011010

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