Page 2 APRIL 1920 TIIE ETUDE PUPILS RECITALS AN D PLEASED AUDIENCES These two necessities are always important and require serious thought on the part of the teacher. * Program making is not always an easy task, for reason that the musical appreciation of audiences is so varied, and it is I desired that the program will at least have something to please everyone. !In visualizing the different audiences, it would at first seem that a program could not be made to meet the musical appre-ciation of all sections without sacrificing the high musical standard desired to be obtained. • As the result of fifty years of effort to develop the best in American piano literature, and attributing much of our success to the serious study of audiences, we take the liberty of suggesting material which combines pleasing qualities with artistic merit. IMAGINATIVE, TENDER, QUIET PIECES Clayton Johns—A Revery at Twilight Arthur Peters—Rosemary Paul Bliss—Lilies Richard Ferher—Affection W. Caven Barron—Cosmos (A morning salutation) 3 POETIC TONE PICTURES Charles Wakefield Cadman—To a Vanishing Race Ethelbert Nevin—The Gleam of an Unknown Gem Emil Liehling—Spring Song Walter Rolfe—Pictures in the Firelight Grade Price 3 Ms $0.50 4 .60 3 .50 3i/2 .50 3 .40 4 4 41/2 3i/2 DESCRIPTIVE—BRIGHT PIECES W. C. E. Seeboeck—Butterfly 4 E. A. Parsons—Goldfish 4V2 W. Caven Barron—Scottish Love Song 4 William Worthington—Chimes of St. Cecelia 4 W. C. E. Seeboeck—Minut a l'Antico 4 CHARACTERISTIC BRILLIANT PIECES Harold Morris—A D.oll's Ballet 4 Reginald DeKoven—Elves and Gnomes 3 Clayton Johns—Gyroscope SV2 THE BRAVURA—SCINTILLATING TYPE Charles Gilbert Spross—Polonaise Brilliant 5 Harriet Ware—Song of the Sea 5 FULL CHORD—BIG SOUNDING PIECES H, L. Brainard—The Mountain 4 Albert Gehring—Mazurka Pomposa 4 Reginald DeKoven—Prelude in C Minor 4 ^ DANCE RHYTHM S Mentor Crosse—Vale Caprice 4 V2 Ralph Clifford Jackson—Caprice Romantique 4 Alexander MacFadyen—Country Dance 4 Ed. Poldini—Valse Lyrique No. 2 3 % .40 .60 .60 Net .75 .50 .75 .50 .60 .60 .75 .60 .50 .75 .75 .40 .60 .50 .75 .75 .60 .60 PRETTY MELODIC PIECES For First and Second Year Students Grade Price Blanche Dingley Mathews—The Sandman 2 .40 Edward A. Mueller—Mermaid Song 2 .50 Clayton Johns—The Flatterer 2 % .50 James H. Rogers—Ariette 3 .40 J. L. Frank—Pannier and Peruke 2 % .50 BRILLIANT PIECES WHIC H SOUND MORE DIFFICULT THAN THEY ARE Ed Poldini—Valse Lyrique No. 1 3 .60 F. W. Root—Fly Away 2 .50 Mentor Crosse—Polka des Gammes 2V2 .40 Max Liehling—The Merry Bathers 2 V2 .40 Karl Merz—The Young Bugler 3 .50 JUST OFF THE PRESS SONATA IN B FLAT MINOR, OPUS 2 By HAROLD MORRIS This is really a masterful work, and has been declared to equal in artistic merit many of the favorite sonatas of the o;ld masters. Not difficult—very melo-dious—it is worthy of any program. We are proud of this Sonata on account of its real musical value, and proud that it was written by one of our own American Composers. Grade 5. Price, $2.50. ORIGINAL COMPOSITIONS AND SPECIAL ARRANGEMENTS FOR FOUR HANDS—ONE PIANO Jean Faber—Dance of the Gnomes Fordyce Hunter—Divertisement (Polka) Fordyce Hunter—The Coquette (Gavotte) C. Merz—Young Bugler C. S. Morrison—Meditation Benjamin F. Rungee—The Return .of the Birds Hannah Smith—Plantation Dance No. 1 F. R. Webb—Polonaise Charles Gilbert Spross—Polonaise. Charles Gilbert Spross—Barcarolle Owen Cameron—The Magic of Mel< Frederic Mullen—A Madrid Festival. . . G. B. Coronara—Dance Fantastic Ethelbert Nevin—March of the Pilgrims. Grade Price 2 .50 2 % .50 3 .60 .60 3 .75 2 .40 2V2 .50 21/2 .60 4 .75 5 1.25 41/2 1.25 31/2 .75 4 .75 4 1,00 5 1.50 31/2 .75 THE JOHN CHURCH COMPANY Cincinnati: 109-111 Wes t Fourth St. Ne w York: 39 Wes t 32nd St. THE HOUSE DEVOTED TO THE PROGRESS OF AMERICAN MUSIC London: 4 5 Wigmor e St., W . HUGHE S DENNE E GAN Z UKe VNWE if ELSO N CHITTENDE N D E VOR E Text material as an educational requisite, enabling the student to prepare the lesson in advance of the recitation period, is accepted in connection with every branch other than music study. It is equally necessary to the best prog-ress in music. The use of such study material is no reflection upon the qual-ifications of the teacher, and the foremost teachers of the profession have been among the first to recognize the efficiency of such aids. The University Course of Music Study makes it possible for the music teacher to utilize this principle without in any degree cramping his individuality or sacrificing his accustomed principles of pedagogy. A Standardized Text Work for the Use of Private Teachers, Colleges and Conservatories CONTAINING ALL THE NECESSARY TEX T AND MUSIC FOR A COMPLETE COURSE OF INSTRUCTION IN THE TECHNIC OF PIANO PLAYING AND THE INTERPRETATION OF MUSIC INCLUDING HISTORY4, THEORY, EAR TRAINING AND KINDRED SUBJECTS FROM THE RUDIMENTS TO THE ARTIST REPERTORY The University Course is a comprehensive outline cf the essentials of music; it is not a method—it is a compendium of all methods. It is offered to all teachers, without restriction. Teachers desiring to use the work are not compelled to take an examination to demonstrate their ability to teach it. The work is comprehensive, also comprehensible, and will prove its practicability in the hands of any teacher, of whatever degree of attainment. A BASIS FOR SCHOOL CREDIT FOR MUSIC STUDY Every music student of every music teacher will make greater progress with a work of this kind than without it. A copy in the hands of each pupil becomes an economy to the pupil, a boon to the teacher, and a stimulus to serious effort during years to follow. t j _ The six grand divisions, or Grades, contain more than 141 Chapters; more than 3000 pages of music and text; 600 compositions; 200 etudes; 300 illustrations; 600 exercises, by 150 composers, representing every school and epoch. The actual music contained is of itself a stupendous rep-ertoire for either student or artist. I lie UlllVCiatlJ VJUUIOC VlllUUUll-O UH, VI1U1 to " "f t ui ItOl/IIWO TTtlJ been striving for the standardization of music teaching—but who are satisfied to leave the stand-ardization of music teachers to be done either by the State or by each other. The University Course was made by practical teachers to meet every-day conditions. Thz Board of Editors: Edwin Hughes, Thomas Tapper, Charles Dennee, Louis C. Elson, Kate S. Chittenden, Mortimer Wilson, Nicholas deVore and more than thirty others of the foremost American teachers and musical authorities. Literature explaining in detail some of the many points which make The University Course indispensable to every progressive teacher may now be had for the asking. Address: ^atkma^ Gavneqw The University Course was prepared by the Editorial Board of the National Academy of Music, which is an educational foundation—not a music school. Under its Extension Department it also maintains Bureaus of Service and Inquiry, through which to render to teachers every possible variety of assistance in connection with their professional work, or their use of Ths University Course. Rudolph Ganz, W . J. Baltzell, Scissors here and send the coupon NOW! \ )
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