Music Trade Review
Issue: 1911 Vol. 53 N. 8 - Page 9
Music Trade Review -- © mbsi.org, arcade-museum.com -- digitized with support from namm.org
THE
A HEART TO HEART TALK
MUSIC
9
TRADE: REIVIEIW
beautiful melody for violin and 'cello with piano
accompany iny.
Some More Good Things.
If one has mastered the trio in D minor, the
work in C minor by the same composer may be
Ensemble Playing.
Very few player-pianists seem to have grasped taken up. This is a little more complex, but ex-
the fact that their instrument permits them to ceedingly interesting and beautiful. Those who de-
sire to go still further might try the Beethoven
range at will through the whole immense field of
chamber music, to say nothing of the solo or ac- Trio in B fiat major and the trios by Arenzky and
companiment in concerto for piano and orchestra. Tschaikowsky. Even more interesting is the Schu-
Jn the latter case, of course, either the solo or the mann Quintet for piano and strings. The piano
part of this is so very difficult that very few
orchestra part can be taken by the player-piano
and the other part by either another player-piano pianists play it well, and here the player-piano,
well played, has the bulge on everybody. In fact,
or an ordinary one. Without considering, however,
when this quintet was once given at Aeolian Hall
these somewhat complex works, there is an im-
with the Pianola,, during one of the winter Pianola
mense volume of sonatas and duets for violin and
piano. Of these, music roll manufacturers have concerts some years ago, the first violinist of the
distinguished quartet which assisted remarked that
arranged a great many piano parts. Thus the
player-pianist who has a violin-playing friend, or this was the first time that he had ever heard every
note of the piano part. And he was thoroughly
in whose home there is an amateur or professional
delighted with the result.
violinist, is able to provide not only an immense
A Word i n Season.
amount of valuable assistance to a student or
No
one
should
suppose from what has been said
player of a violin, but at the same time to acquire
that this son of work which we have been suggest-
a first-hand knowledge of much very beautiful
ing here can be done properly at the first triai, or
chamber music. The immense untility of such
that it is particularly easy. A point to be consid-
work will be apparent to all. It opens up great
ered, however, is that the amount of care, study
fields of musical literature, and also provides the
violinist with an unfailing accompanist, who is and attention required is so very small compared
with the pleasure to be had in return that it is
never tired, never nervous, and never makes bad
almost negligible. And, after all, there is not much
breaks. Of course, accompaniment work requires
fun in doing anything unless one has to put some-
some study, care and attention. It is well to be
thing of one's self into it. There is a sort of
able to read music, anyhow, for in this way the
pleasure in conquering a little difficulty, which is
study of a work which has to be played with some
other person or persons is rendered a good deal like no other pleasure on earth. And the amazing
easier. Moreover, the player-pianist must acquire part of it is that the things which one can do with
a perfect control over the phrasing and dynamic the player-piano in this kind of work soon become
devices of his instrument, to the end that he may so far beyond what one had expected that one's
satisfaction becomes ever greater. These things
do justice to-both the requirements of the other
are worth while. And in saying this we speak
instruments and to the often complex piano parts.
from long personal experience. To all player-
Accompaniments to the Voice.
pianists we must then most heartily recommend
What is true of work with one solo instrument
the study and performance of ensemble music.
is even more to the point when we undertake to
give accompaniments to the novice. Singers are
GERMAN PATENTS TONE=MODULATOR
erratic creatures at the best. Very few of them
have any knowledge of music outside of their own
Succeeds in Regulating Tone Through New
department, and nearly all of them are perfectly
Means—Description of the Invention.
sure that they themselves could have greatly im-
proved the songs which they sing if they could
Robt. Fromsdorf, of Leipzig, Eutritzsch, Ger-
have only been present to assist the composer. In
many, has been granted a patent in this country
fact, a good many of them try to do this very thing.
(No. 1,000,594), for an improved tone modu-
At least they want to change the phrasing and the lator for pneumatically operated instruments. He
mood of a song according to their own sweet will. has assigned the patent to Ludwig Hupfeld, Ltd..
All of which at times is very trying to the accom- of Leipzig. In describing his invention, Mr.
panist. But since it is a waste of time to argue
Fromsdorf says :
with singers, one must be content to follow them
"In pneumatically operated musical instruments
in their wanderings and make the best of a bad controlled by a perforated note sheet, the tone
job. Hence, again, the absolute necessity for a
generating device is connected to the wind chest,
perfect control of the tempo and expression de- and is actuated by varying air tension or pressure
vices. Nevertheless, song accompaniments make therein by throttling the connection or opening for
very interesting work and open up a new field of
the air in a suitable manner. In mechanisms now
usefulness for the player-pianist. A very large constructed, it is a difficult matter to modulate a
number of operatic and art songs, as well as sacred
single tone, as in doing so all the tones of a row
and popular compositions, have had their piano or several adjacent rows controlled by the note
parts arranged on music rolls.
sheet will be suddenly altered in strength. The
throttling mechanisms used for controlling the
Trios and Quartets.
strength of tone are mostly controlled by the
Playing the piano part in trios for violin, '"cello
hand of the operator, are difficult to operate prop-
and piano, or in quartets or quintets for piano and
strings, is not the easiest thing in the world even erly in connection with single tone, and the adjust-
ment of such mechanism by the note sheet has
with a player-piano. Still it is very enjoyable work
heretofore
been a difficult problem.
and immensely valuable to whomsoever would ac-
"The present invention relates in general to throt-
quire a really deep knowledge of musical art. For
anybody who cares to try this most interesting tling mechanisms for controlling the strength of
and delightful work, and who can dig up two tone by means of a single or double valve, but not
friends that play the violin and 'cello, the Mendels- by the throttling mechanism used for other pur-
poses. I do this by a suitable by-pass past the
sohn Trio in D minor may be heartily recom-
mended. The first movement of this is not par- usual throttling mechanism, whereby communica-
ticularly complex. In' fact, it is very straightfor- tion between the wind chest and reservoir is di-
ward. The opening measures, where the piano ac- rectly made so that the full air pressure can be
directly used. Between the wind chest and reser-
companies the solo 'cello, are a little bit mixed in
their rythm, but become clear enough if one listens voir or blower I therefore provide a by-pass which
can be opened at the desired moment, either au-
carefully to the bass of the chords. The second
movement is very song-like and musical, present- tomatically or by hand. This by-pass is advan-
ing no great difficulties except some rather unusual tageously and preferably controlled from the note
alterations of the three instruments towards the sheet, a hole in which admits atmospheric air to
end. The third movement, or scherzo, presents a hole or passage through the tracker or note board
some difficulties for the violin and 'cello, if it is to a bellows or other inflatable device which, by
its inflation, actuates the by-pass valve. How-
played at the usual tempo, but it can be taken as
slowly as required while practicing. The last move- ever, the by-pass can be operated by hand actuated
mechanism if desired."
ment is a good deal like the first, -and has a r ery
"The
Wherefore
of the
Thusness"
Practical knowledge of
all departments of Piano
Construction.
^ A factory force headed by
the investors of the Seeburg
player mechanism.
^ Knowledge of the best
methods of conducting a
retail or operating business,
born of actual experience,
and placed at the service of
our dealers.
A reputation for origi-
nality and creativeness.
^ These are some of the
factors which have made
possible the wonderful suc-
cess of
Seeburg
Coin-Operated
Pianos
Take the first step in
joining the "LiveWire class
by writing to-day for cata-
logues showing the entire
line, including the famous
Seeburg art styles.
J. P. Seeburg Piano Co.
OFFICES:
902-904 Republic Building
State and Adams Street*
FACTORY:
421 South Sangamon Street
CHICAGO
THE
A HEART TO HEART TALK
MUSIC
9
TRADE: REIVIEIW
beautiful melody for violin and 'cello with piano
accompany iny.
Some More Good Things.
If one has mastered the trio in D minor, the
work in C minor by the same composer may be
Ensemble Playing.
Very few player-pianists seem to have grasped taken up. This is a little more complex, but ex-
the fact that their instrument permits them to ceedingly interesting and beautiful. Those who de-
sire to go still further might try the Beethoven
range at will through the whole immense field of
chamber music, to say nothing of the solo or ac- Trio in B fiat major and the trios by Arenzky and
companiment in concerto for piano and orchestra. Tschaikowsky. Even more interesting is the Schu-
Jn the latter case, of course, either the solo or the mann Quintet for piano and strings. The piano
part of this is so very difficult that very few
orchestra part can be taken by the player-piano
and the other part by either another player-piano pianists play it well, and here the player-piano,
well played, has the bulge on everybody. In fact,
or an ordinary one. Without considering, however,
when this quintet was once given at Aeolian Hall
these somewhat complex works, there is an im-
with the Pianola,, during one of the winter Pianola
mense volume of sonatas and duets for violin and
piano. Of these, music roll manufacturers have concerts some years ago, the first violinist of the
distinguished quartet which assisted remarked that
arranged a great many piano parts. Thus the
player-pianist who has a violin-playing friend, or this was the first time that he had ever heard every
note of the piano part. And he was thoroughly
in whose home there is an amateur or professional
delighted with the result.
violinist, is able to provide not only an immense
A Word i n Season.
amount of valuable assistance to a student or
No
one
should
suppose from what has been said
player of a violin, but at the same time to acquire
that this son of work which we have been suggest-
a first-hand knowledge of much very beautiful
ing here can be done properly at the first triai, or
chamber music. The immense untility of such
that it is particularly easy. A point to be consid-
work will be apparent to all. It opens up great
ered, however, is that the amount of care, study
fields of musical literature, and also provides the
violinist with an unfailing accompanist, who is and attention required is so very small compared
with the pleasure to be had in return that it is
never tired, never nervous, and never makes bad
almost negligible. And, after all, there is not much
breaks. Of course, accompaniment work requires
fun in doing anything unless one has to put some-
some study, care and attention. It is well to be
thing of one's self into it. There is a sort of
able to read music, anyhow, for in this way the
pleasure in conquering a little difficulty, which is
study of a work which has to be played with some
other person or persons is rendered a good deal like no other pleasure on earth. And the amazing
easier. Moreover, the player-pianist must acquire part of it is that the things which one can do with
a perfect control over the phrasing and dynamic the player-piano in this kind of work soon become
devices of his instrument, to the end that he may so far beyond what one had expected that one's
satisfaction becomes ever greater. These things
do justice to-both the requirements of the other
are worth while. And in saying this we speak
instruments and to the often complex piano parts.
from long personal experience. To all player-
Accompaniments to the Voice.
pianists we must then most heartily recommend
What is true of work with one solo instrument
the study and performance of ensemble music.
is even more to the point when we undertake to
give accompaniments to the novice. Singers are
GERMAN PATENTS TONE=MODULATOR
erratic creatures at the best. Very few of them
have any knowledge of music outside of their own
Succeeds in Regulating Tone Through New
department, and nearly all of them are perfectly
Means—Description of the Invention.
sure that they themselves could have greatly im-
proved the songs which they sing if they could
Robt. Fromsdorf, of Leipzig, Eutritzsch, Ger-
have only been present to assist the composer. In
many, has been granted a patent in this country
fact, a good many of them try to do this very thing.
(No. 1,000,594), for an improved tone modu-
At least they want to change the phrasing and the lator for pneumatically operated instruments. He
mood of a song according to their own sweet will. has assigned the patent to Ludwig Hupfeld, Ltd..
All of which at times is very trying to the accom- of Leipzig. In describing his invention, Mr.
panist. But since it is a waste of time to argue
Fromsdorf says :
with singers, one must be content to follow them
"In pneumatically operated musical instruments
in their wanderings and make the best of a bad controlled by a perforated note sheet, the tone
job. Hence, again, the absolute necessity for a
generating device is connected to the wind chest,
perfect control of the tempo and expression de- and is actuated by varying air tension or pressure
vices. Nevertheless, song accompaniments make therein by throttling the connection or opening for
very interesting work and open up a new field of
the air in a suitable manner. In mechanisms now
usefulness for the player-pianist. A very large constructed, it is a difficult matter to modulate a
number of operatic and art songs, as well as sacred
single tone, as in doing so all the tones of a row
and popular compositions, have had their piano or several adjacent rows controlled by the note
parts arranged on music rolls.
sheet will be suddenly altered in strength. The
throttling mechanisms used for controlling the
Trios and Quartets.
strength of tone are mostly controlled by the
Playing the piano part in trios for violin, '"cello
hand of the operator, are difficult to operate prop-
and piano, or in quartets or quintets for piano and
strings, is not the easiest thing in the world even erly in connection with single tone, and the adjust-
ment of such mechanism by the note sheet has
with a player-piano. Still it is very enjoyable work
heretofore
been a difficult problem.
and immensely valuable to whomsoever would ac-
"The present invention relates in general to throt-
quire a really deep knowledge of musical art. For
anybody who cares to try this most interesting tling mechanisms for controlling the strength of
and delightful work, and who can dig up two tone by means of a single or double valve, but not
friends that play the violin and 'cello, the Mendels- by the throttling mechanism used for other pur-
poses. I do this by a suitable by-pass past the
sohn Trio in D minor may be heartily recom-
mended. The first movement of this is not par- usual throttling mechanism, whereby communica-
ticularly complex. In' fact, it is very straightfor- tion between the wind chest and reservoir is di-
ward. The opening measures, where the piano ac- rectly made so that the full air pressure can be
directly used. Between the wind chest and reser-
companies the solo 'cello, are a little bit mixed in
their rythm, but become clear enough if one listens voir or blower I therefore provide a by-pass which
can be opened at the desired moment, either au-
carefully to the bass of the chords. The second
movement is very song-like and musical, present- tomatically or by hand. This by-pass is advan-
ing no great difficulties except some rather unusual tageously and preferably controlled from the note
alterations of the three instruments towards the sheet, a hole in which admits atmospheric air to
end. The third movement, or scherzo, presents a hole or passage through the tracker or note board
some difficulties for the violin and 'cello, if it is to a bellows or other inflatable device which, by
its inflation, actuates the by-pass valve. How-
played at the usual tempo, but it can be taken as
slowly as required while practicing. The last move- ever, the by-pass can be operated by hand actuated
mechanism if desired."
ment is a good deal like the first, -and has a r ery
"The
Wherefore
of the
Thusness"
Practical knowledge of
all departments of Piano
Construction.
^ A factory force headed by
the investors of the Seeburg
player mechanism.
^ Knowledge of the best
methods of conducting a
retail or operating business,
born of actual experience,
and placed at the service of
our dealers.
A reputation for origi-
nality and creativeness.
^ These are some of the
factors which have made
possible the wonderful suc-
cess of
Seeburg
Coin-Operated
Pianos
Take the first step in
joining the "LiveWire class
by writing to-day for cata-
logues showing the entire
line, including the famous
Seeburg art styles.
J. P. Seeburg Piano Co.
OFFICES:
902-904 Republic Building
State and Adams Street*
FACTORY:
421 South Sangamon Street
CHICAGO
Future scanning projects are planned by the International Arcade Museum Library (IAML).