Books › Musical Courier 1927-11-17: Vol 95 Iss 20, 1927 › scan 38
Scan 38
Musical Courier 1927-11-17: Vol 95 Iss 20, 1927
106 lines. Read by computer on 29 September 2026. Printed page 39. See the scan on archive.org.
1November 17, 1927
3QUESTIONS ABOUT VIOLIN STUDY ANSWERED
4By Leon Sametini
6Leon Sametini, distinguished violinist, pedagog and teacher at the Chicago Musical College, has been secured by the MUSICAL COURIER to conduct this department and will answer questions pertaining to violin study. Teachers and students may address Mr. Sametini at 830 Orchestra Building, Chicago. Mr. Sametini's time is so well occupied at the Chicago Musical College that he will only be able to answer a certain number of questions—naturally the most important—each week.
8Q.—Of the many books of scales I have seen, it seems to me that they all give different fingerings, especially in the case of scales of three or more octaves. It is very confusing and I should like to know which fingerings are preferable.—M. C.
10A.—The primitive books of scales are based on the use of the odd-numbered positions for the simple reason that the student starts by learning his first scale in the key of C in the first position. Once having started this way it seems natural to go from there gradually to the third, fifth and seventh positions, neglecting the second, fourth, sixth and eight positions. The better way, therefore, seems to be to start by using the same finger for each scale (see Alard Scale Book, published by Carl Fischer). After the student has a thorough knowledge of all scales (the fingerings for the arpeggios are based on the same principle) it is equally important to begin learning various fingerings. Scales which occur in concertos and shorter solo numbers do not always, in fact very seldom, start and finish on the tonic, contrary to scale books. The rhythm and phrasing of the scales are of such great importance that the fingerings become entirely subordinate to the former.
12Q.—When there are points over the notes, how is one to know whether they mean sharp or bouncing bowing?—J. P. K.
14A.—There are three signs which are generally used for bowing—the dot or point, the dash and the three-cornered sign. I think the latter is entirely superfluous and, in fact, out of date. The points over the notes are used for staccato, saltando and martellato; i.e., any detached bowing. Students are easily confused by the actual meaning of these various Italian and French terms and I think, therefore, an explanation of their meaning is useful. Staccato means detached. Saltando derives its meaning from the verb saltare or to jump. Martellato means hammered. Yet in each case there are stops between each note and therefore the notes are detached. On the other hand, French violinists speak of detached bowing as "détaché" as the opposite of legato bowing. The word staccato is used by the French violinists and not translated into French, whereas saltando or spiccato (the latter is only a violinistic term and not a true Italian word) is called "sautille." Martellato is called "martelet" in French.
16Now then, dashes above the notes mean détaché stroke without stopping between the notes. When the dots are employed, meaning either bouncing or hammered bowing, it is well to know that the bouncing bow is hardly used when playing very loud and that the hammered bowing is never used real fast. For instance, in the case of a Handel sonata, the dots over the eight notes in an allegro movement are usually "martelet" whereas the dots over the sixteenth notes are bounced and hardly employed when playing "forte" since we use the "détaché" stroke for that purpose. If my answer does not explain everything you want to know, kindly write again and quote some examples.
18MUSIC IN MILAN
19(Continued from page 18)
21this great event enjoyed immensely this unusual program of old but ever interesting melodies. Toscanini, members of the orchestra, chorus and assisting artists, were each presented with a commemoration medal engraved specially for this occasion.
23Recently visiting in Milano was Howard E. Wurlitzer, president of the Wurlitzer Company, Mrs. Henriette Billino, and Clara Besuden, all of Cincinnati. They attended a performance of Rigoletto at the Dal Verme and praised the admirable performance, waxing enthusiastic over the young Spanish soprano, Margherita Salvi, who sang the role of Gilda. She was presented with a huge mass of flowers by the visitors. Recently arrived in Milan from Paris is Regina Senz, a young American coloratura soprano, daughter of the well known theatrical wig-maker, Adolph Senz, who is now with the Chicago Civic Opera Company. Miss Senz is here to study new roles for several important winter engagements, including one with the Monte Carlo season.
25Pietro Marchi, of Chicago, the giant dramatic tenor, who, it is said, weighs 250 pounds, is studying in Milan. We are informed he is a protégé of Mr. Eckstein, well known impresario of Ravinia Park, Chicago.
27Armando Januzzi, Italian-American tenor, who has been heard with many American touring opera companies, and, before his recent departure for Europe, at the Academy of Music of Brooklyn, in a highly successful performance of Aida (in the role of Rhadames), expects to study and specialize in the difficult roles of Otello throughout Europe, and already has many offers of engagements here.
29Benvenuto Franci, La Scala's leading baritone, has arrived from Buenos Aires and the Argentines, where he was received with great enthusiasm, singing at the Colon with the Ottavio Scotto forces. He was heard there in many different roles. A real surprise awaited his many friends here, as Mr. Franci left Milan with Mrs. Franci last April and returned with an additional member of the family—the future baritone—born August 18. The child bears the name of Carlo Argentino; its god mother and father are Maestro and Mrs. Gino Marinuzzi. Perhaps we are mistaken that the newcomer will be a baritone; he may develop into a celebrated musical director.
30ANTONIO BASSI.
32RICHARDSON MOLTER
33DRAMATIC SOPRANO
34EXCLUSIVE MANAGEMENT S. E. MacMILLEN, Steinway Hall, New York City
36HACKETT
37MOST PROFICIENT NEGRO CHOIR IN AMERICA
38Available for Recitals, Concerts or Special Programs of Negro Spirituals
39WILSON LAMB, Organizer and Manager
40METROPOLITAN BUILDING, ORANGE, N. J.
42VAN YORX THEO.—TENOR
43Studio: 4 West 40th Street, New York
44Opposite Public Library. Tel. 4792 Penn.
46VICTOR RECORDS
47KNABE PIANO
48Rosa Ponselle
49METROPOLITAN MUSICAL BUREAU
5033 W. 42nd St., New York City
52VITO CARNEVALI
53VOCAL INSTRUCTION AND REPERTOIRE
54OPERA AND SONGS
55314 West 107th Street, New York. Phone Academy 3174
56Appointments by mail only
58Dr. WILLIAM C. CARL
59TEACHER OF ORGANISTS
60RETURNED FROM PARIS
61RESUMED OCTOBER 4th
62Students aided in securing positions.
63Write for prospectus
6417 East 11th St., New York
66DUNNING SYSTEM
67of Improved Music Study for Beginners
68THE DEMAND FOR DUNNING TEACHERS CANNOT BE SUPPLIED—WHY?
69Normal Classes as follows:—
70MRS. GARRE LOUISE DUNNING, Originator, 8 WEST 40th Street, New York City
71KATHARINE M. ARNOLD, Arnold School of Music, 93 Madison St., Tiffin, Ohio. New York address: 16 East 11th St.
72ALLIE E. BARCUS, 1006 College Ave., Ft. Worth, Texas.
73ELIZETTE REED BARLOW, corner of 1st and First St., Winter Haven, Fla. 1928 classes: Jan. 2—St. Petersburg, Fla. Feb. 20—Jacksonville, Fla. April 2—Miami, Fla.
74CATHERINE GERTRUDE BIRD, 658 Collingwood Ave., Detroit, Mich.
75GRACE A. BRYANT, 201-10th Ave. N., Twin Falls, Idaho.
76MRS. JEAN WARREN CARRICK, 104 East 6th St., Portland, Ore.
77DORA A. CHASE, Carnegie Hall, New York City; Pouch Gallery, 346 Clinton Ave., Brooklyn, N. Y.
78ADDA C. EDDY, 136 W. Sandusky Ave., Bellefontaine, Ohio. Dec. St. Louis, Mo. Summer Normal, 1928, Cincinnati Cons. of Music.
79BEATRICE S. EIKEL, Kidd-Key College, Sherman, Tex.
80IDA GARDNER, 11 East 6th Street, Tulsa, Okla. Normale, Season Tulsa. Summer, Paris, France.
81GLADYS MARSALIS GLENN, 1217 Bowie Street, Vivins Place, Amarillo, Texas.
82FLORENCE ELIZABETH GRASLE, Lansing Conservatory of Music, Lansing, Mich.
83HARRIET BACON MACDONALD, 13434 Detroit Avenue, Cleveland, Ohio. Belmont Ave., Dallas, Tex. Little Rock, Ark. Dec.
84MRS. KATE DELL MARDEN, 61 North 16th Street, Portland, Ore.
85MRS. WESLEY PORTER MASON, Dallas, Tex., College of Music and Arts, 4409 Gaston Ave.
86ROBIN OGDEN, Box 544, Waterbury, Conn.
87MRS. LAUD GERMAN PHIPPEN, 1536 Holly St., Dallas, Tex. Classes held Dallas and Ada, Oklahoma.
88ELLIE IRVING PRINCE, 4106 Forest Hill Ave., Richmond, Va., Jan., June, Nov. of each year.
89VIRGINIA RYAN, 1070 Madison Avenue, New York City.
90STELLA H. SEYMOUR, 1219 Garden St., San Antonio, Tex.
91ISOBEY M. TONE, 626 S. Catalina St., Los Angeles.
92MRS. H. R. WATKINS, 124 East 11th St., Oklahoma City, Okla.
94INFORMATION AND BOOKLET ON REQUEST
96FOREMOST VOCAL AND OPERATIC MASTER
97TEACHER AND COACH
98OF MANY DISTINGUISHED ARTISTS
100PAPALARDO
101Conductor of opera in Italy, Russia, South America, and twice on tour in the United States. Maestro Papalardo is one of the few masters who can see a pupil all the way through from fundamental tone production to the peak of an outstanding artistic career.
103New York Studios, Steinway Hall, 109 West 57th Street
104Telephone: Marble 1573
105Steinway Piano Used Exclusively
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