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A COMPOSITE ANALYTICAL INDEX OF ARTICLES APPEARING

IN SELECTED PERIODICALS, ISSUED BETWEEN JULY 1937

AND JTE 1947, CONCERNING PLAYING PROBLEMS

OF WIND AND STRING INSTRU CENTS

THESIS

Presented to the Graduate Council of the North

Texas State Teachers College in Partial

Fulfillment of the Requirements

For the Degree of

MASTER OF MUSIC

By

Byron E. Gray

Denton, Texas

August, 1947

149311

149311

TABLE OF CONTENTS

Page

1I. INTRODUCTION. . . . . . . . . . . . . . .

A List and Discussion of the Contents ofthe Periodicals Surveyed

How to Use This IndexLimitations of This Index

II. IIDEXES

Index A: Index of General Articles. . . . 12

Breath ControlInterpretationMemoryPracticeRhythmWind Instrument

Problems

(Numbers 1-4)(Number 5)(Numbers 6-7)(Number 8)(Numbers 9-11)

(Numbers 12-16)

Index B: Index of String Problems. . . . . . 15

BowingDouble BassFingering and

ShiftingGeneral Interest

(Teaching)PositionSight ReadingTone ProductionViolaViolinVioloncello

(Numbers 17-18)(Numbers 19-31)

(Number 33)

(Number 34)(Number 35-36)(Number 37)(Number 38)(Numbers 39-57)(Numbers 58-375)(Numbers 376-446)

Index C: Index of Reed and Woodwind Instru-ment Problems . . .** . . . . . . 78

Bass and AltoClarinet

BassoonClarinetFingering

(Numbers 447-471)(Numbers 472-511)(Numbers 512-606)(Number 607)

iii

Part

Part

FluteOboeSaxophoneVibrato

(Numbers(Numbers(Numbers(Numbers

608-748)749-785)788-830)831-832)

Index D: Index of Brass Instrument Problems...127

BaritoneCornetFrench HornGeneral ProblemsTromboneTuba

Index E: Materials.

BaritoneBass and Alto

ClarinetBassoonClarinetCornetDouble BassFluteFrench HornOboeSaxophoneTromboneTubaViolaViolinVioloncello

(Numbers(Numbers(Numbers(Numbers(Numbers(Numbers

833-835)836-931)932-1014)1015-1021)1022-1069)1070-1076)

(Number 1077)

(Numbers 1078-1081)(Numbers 1082-1085)(Numbers 1086-1096)(Numbers 1097-1103)(Numbers 1104-1107)(Numbers 1108-1129)(Numbers 1130-1143)(Numbers 1144-1146)(Numbers 1147-1155)(Number 1156)(Number 1157)(Numbern 1158-1165)(Numbers 1166-1196)(Numbers 1197-1208)

. . .163

iv

Page

INTRODUCTION

For several decades since the rise of extensive instru-

mental music instruction, various music periodicals have de-

voted a certain amount of space to printing comments, sug-

gestions, and other pedagogical material to aid the student

in playing a particular instrument. These articles have not

been written to replace method books or the services of a

teacher. For students they have had the effect of stimu-

lating interest in various instruments, and undoubtedly

served as a valuable supplement to material contained in

professional method books. For teachers, especially in

isolated communities, they have been a source of information

valuable to their teaching techniques.

The writer, in his belief in the value of this material,

has chosen to make a survey of various periodicals and to

catalogue certain items as a reference guide to the location

of significant articles. In order to avoid excessive repe-

tition of ideas expressed in these articles, it was decided

to limit the survey to those articles appearing in publi-

cations during the past decade, specifically, July 1937 to

June 1947. The following is a list of the periodicals

surveyed:

1

2

The Etude Music Magazine

The Instrumentalist

Violins and Violinists

Texas Music Educator

Music Teachers Review (Music Teachers Quarterly)

The School Musician

The Strad.

The Music Educators Journal was not surveyed because

most of the articles on instrumental music concerned problems

of class teaching procedure, the value of the instrumental

program, and other such topics with only an indirect value

to this index.

In organizing this material, the writer has had to

classify and arrange the material as individual problems

concerning the playing of various instruments. This index

makes available to those who are interested, a classified

list of problems and a summary of the solutions suggested

for them as they have appeared in the above periodicals.

This index also makes a general evaluation of significant

articles. It will serve as a guide to the important ideas

expressed on these problems. It contains a number of

references for the reader to use as additional material

to sustain or reject previous solutions to playing problems.

The information contained in this index is of value

since there is no existing catalogue of the articles surveyed.

3

The professional periodical guides do not make a distinction

between individual problems and ensemble problems, nor do they

distinguish between information about instruments and peda-

gogical information. These guides, while covering a great

amount of musical material, fail to include the journals

which contain the most vital information on this subject. It

is true that some of the periodicals contained in this survey

maintain an index of the material they have published over a

period of several issues. These volume indexes are not suf-

ficient, however, when a solution of a particular problem

on a particular instrument is required. They indicate only

the author and the title of the article; no attempt is made

to summarize the material which the article contains, nor to

classify the material as a reference to a special problem.

All journals have tables of contents with titles and authors.

Often a searcher may be able to find the information he wishes

by referring to the table of contents of each individual issue.

This procedure, however, is long and much too cumbersome. It

represents precisely one of the problems which this index

attempts to overcome.

This index should be useful to teachers and instructors

who are specialists in either a wind or string instrument.

It is possible that they are seeking more information in

their own field to acquaint themselves with more valuable

material on teaching techniques, or to refresh their knowledge.

They may wish to use a certain amount of periodical information

as reference material for their students. Periodical articles

4

may bolster the teaching of a particular teacher; they may add

weight or emphasis to his conception of playing. In this age

of mass production of instrumental players, a teacher may have

to teach an instrument of which he has only general knowledge.

This index should be of value, in such a case, to aid the

teacher in locating more specific information about an un-

familiar field. Finally, this index will be valuable to

either student or teacher who may need a general evaluation

of what has been written on instrumental problems as reference

material for their general knowledge.

The user of this index must necessarily rely upon the

writer's judgment in the evaluation of the items in this

catalogue. There are no objective criteria for evaluating

these articles. The evaluation is based entirely on the

subjective judgment of the writer which in turn is based on

his musical and educational experiences. The writer has

selected certain articles of significance from among those

published in the aforementioned periodicals. The writer

has evaluated and placed them according to his best judgment

in their most essential categories.

A List and Discussion of the Contentsof the Periodicals Surveyed

The Etude Music Magazine, Philadelphia: Theodore Presser

Company. This periodical is issued monthly and the writer has

surveyed all issues published between Volume LV (July, 1937)

and Volume LXV (June, 1947). This periodical was first

5

published in 1883. The articles contained in this periodical

are cf particular value because the magazine has an unusually

large distribution and is therefore readily accessible.

Copies of this magazine are filed in nearly all of the

libraries of the country. The Etude has maintained regular

columns on violin problems as well as significant articles

on the problems of other instruments. Its regular contribu-

tors include Robert Braine, an authority on violin playing;

Harold Berkley, a noted violin teacher associated with the

Julliard School of Music; and William Revelli, an authority

on wind instruments at the University of Michigan.

The Instrumentalist, Glen Ellyn, Illinois: Traugott

Rohner, under the sponsorship of the Association for the

Advancement of Instrumental Music. This periodical has just

completed its first year of publication. It is issued bi-

monthly through the school term, and the survey of the

articles of this journal extend from Volume I, Number 1,

(September-October, 1946) to Volume I, Number 5 (May-June,

1947). It is a periodical published exclusively in the

interest of instrumental music. Its regular contributors

include Bernard Fitzgerald of the Editorial Staff of Carl

Fischer, Inc., a brass instrument specialist; and George Waln,

an authority on woodwind instruments at Oberlin Conservatory.

Violins and Violinists, Evanston, Illinois.: Ernest N.

Doring. This periodical, though it is not widely distributed,

contains mahy articles of interest to string players. The

6

title of the first six issues of this periodical was Violins;

for practical purposes the later and fuller title, Violins and

Violinists, will be used in this index. Its publication is

somewhat irregular and the survey of the issues include those

from Volume I (April, 1938) to Volume VIII (May, 1947) with

the exception of two issues, Volume IV, Number 1, and Volume

VI, Number 1, copies of which could not be located. Its

columns contain important material, reprinted from other

sources, on string techniques and string problems. There

are numerous interviews with famous string artists which

offer valuable solutions to string problems.

Music Educator, Bryan, Texas: Texas Music Educator.

This periodical is not widely distributed. It contains arti-

cles on playing problems by leading authorities in the instru-

mental field in the State of Texas. The survey includes the

issues published between Volume IV (September, 1939) and

Volume V (May, 1941).

Music Teachers Review, New York: The survey includes

issues from Volume VII (September, 1937) to Volume XI

(March-April, 1942). This magazine was succeeded by the

Music Teachers Quarterly, New York: Music Teachers Quarterly.

The survey was continued through the issues of the Music

Teachers _Quarterly from Volume XII (Winter, 1943-44) to

Volume XIV (Winter, 1946-47). The publication dates of these

periodicals have been irregular, but they have contained

significant articles on violin problems by Kaare Bolgen and

Hugo Norden.

7

The School Musician, Chicago: The School Musician

Publishing Company. This magazine is issued monthly through

the school year, and it was first published in October, 1929.

The survey was made of issues published from Vol. IX

(September, 1937) to Vol. X (June, 1939) and Vol. XII

(September, 1940) to Vol. XVIII (June, 1947). The contents

of this magazine are addressed primarily to public school

instrumental students. Its value lies in the material

presented as well as the manner of presenting the material.

It has consistently maintained columns devoted to playing

problems of various instruments including question and

answer procedures to aid the serious instrumental student.

Its contributors include Rex Elton Fair, a well known flute

instructor; Philip W. L. Cox, an authority on French horn;

George Waln, a clarinet authority on the faculty of Oberlin

Conservatory; William Raymond, an authority on trombone;

Clarence Warmelin, a woodwind specialist; Leonard Meretta,

an authority on cornet at the University of Michigan; and

Elizabeth A. H. Green, a member of the string instrument

department at the University of Michigan.

The Strad, London, England: Harry Lavender. The first

issue of this periodical was published in May, 1890. The

survey was made of issues from Volume XLVIII (July, 1937)

to Volume LI (April, 1941) and Volume LIV (May, 1943) to

Volume LVII (April, 1947). Other issues were not available

for this survey. This periodical is a British publication

designed to interest professional and amateur string players.

8

It contains authoritative articles on string techniques by

regular correspondents.

How to Use This Index

Part II is comprised of five indexes. Index A is an

index of articles of a general nature. These articles do

not concern specific instruments, nor are they limited to

any family of instruments. They chiefly concern articles

of taste and interpretation. Index B is the index of string

instrument articles. Problems applicable to all stringed

instrumenta are listed alphabetically with the listing of

the individual stringed instruments. Problems concerning

specific instruments are listed alphabetically below the

instruments with which they are concerned. Each problem

contains a number of references that will shed some light

upon the solution of that particular instrumental problem.

Some of these references contain more or less detailed

annotations of the subjects discussed. These annotations

are not digests of the articles to be used in substitution

of the article itself. Their purpose is to indicate what

information is contained in the article so that the reader

may locate the article that contains the information he is

seeking. Other references merely indicate the location of

material that is not of enough significance to warrant an

annotation. They are included for completeness and possible

additional aid. Index C, the index of articles on woodwind

instrument problems, and Index D, the index of articles on

brass instrument problems, are arranged similarly to Index B.

9

Index E is a list of references that recommend certain

published instrumental methods and materials. The writer

believes that this information should not be overlooked.

No attempt has been made to make a complete index of methods

and materials, but only references to the location of arti-

cles which give approval to certain professional method books,

collections of etudes, and solos. It is often nearly as

large a task for the teacher or student to decide what to play

as it is to solve a particular playing problem. Each instru-

ment is listed alphabetically in this section, and the refer-

ences to material for each instrument are listed alphabeti-

cally by authors below the instrument.

The writer has followed the policy of including an

asterisk following the number of certain selected items.

This indicates that the writer recommends this item as one

of particular significance in solving the problem involved.

Limitations of This Index

As the title states, this index concerns only problems

of the wind and string instruments as separate instruments.

The writer has eliminated any references to articles that

consider the instrument as part of the band, orchestra, or

any other ensemble.

The instruments which are included in this survey are

those considered as standard band and orchestral instruments.

They are:

Alto clarinet

10

Baritone

Bass clarinet

Bassoon

Clarinet

Cornet

Double bass

Flute

French horn

Oboe

Saxophone

Trombone

Tuba

Viola

Violin

Violoncello

References to the piccolo and to percussion instruments have

been omitted. Only bowed stringed instruments were considered.

References to the clarinet refer to the B flat soprano clarinet.

The various sizes (pitches) of saxophones are all considered

under the heading of cornet.

The writer has attempted to cross index the references

in this index; it is suggested, however, that the reader

examine more than one subject heading in his efforts to

solve an instrumental difficulty. The following suggestions

may be of assistance:

Bowing strokes are listed below the bowing category of

a particular instrument.

11

Trills are catalogued as fingering problems.

Shifting on string instruments (positions) is catalogued

as a fingering problem.

Position refers to the manner the instrument should be

held.

Articles on fingering for wind instruments to improve

the intonation or tone quality of a certain pitch

(not fingering problems) will be catalogued as

problems of intonation or tone quality.

Articles concerning the care and repair of instruments

have been generally omitted from this index.

INDEX A

GENERAL ARTICLES

Breath Control

1. Barto, Alfred, "Breath Control," The School Musician,XVIII (April, 1947), 14.

The various parts of the breathing apparatus are dis-

cussed in this article. Suggestions for the develop-

ment of the diaphragm are included.

2. Barto, Alfred, "Your Breath," The School Musician,XVIII (May, 1947), 37.

This article classifies and discusses three incorrect

breathing practices used by instrumentalists.

3. Barto, Alfred, "Your Breath," The School Musician, XVIII(January, 1947), 7.

4. Barto, Alfred, "Breath Control," The School Musician,XVIII (March, 1947), 14.

Interpretation

5. Revelli, William D., "Interpretation of Musical Figures,"The Etude Music Iagazine, LVI (October., 1938)., 647,-689.

This article discusses various rhythmic figures. It

describes how figures are often played incorrectly, and

suggests ways for string and wind players to improve

their playing of these figures.

*Articles of- a general nature that cannot be classifiedin smaller catagories.

12

13

Memory

6. Stanfield, M. B., "'Cellistic Difficulties," Violinsand Violinists, VI (March-April, 1945), 330-333;, andr- Strad, LI (April, 1941), 294-295.

7. Waln, George, "How Not to Forget," The School Musician,XV (December, 1943), 9-10.

Practice

8. Cheyette, Irving, "Practice Makes Perfect," The SchoolMusician, XVII (January, 1946), 8-9.

Eleven rules and reasons for practicing are listed in

this article.

Rhythm

9. Karch, Hank, "Music and the Seven Senses.," The SchoolMusician, XVII (March, 1946), 18-20.

10. Saeter, Otis H., "Expression," The School Musician,XIII (January, 1942), 16-18.

Rules for executing certain rhythmic patterns with the

correct emphasis are listed in this article. Good

examples are included to illustrate the rules.

11. *Vagner, Robert, "Solving Problems of Rhythm and Timingin Teaching Wind Instruments," The School Musician,XVII (September, 1945), 15-17, 42

Timing and emphasis are the two guiding factors for

playing with rhythmical correctness. Dotted figures

and triplets are discussed. Common errors are listed

with suggestions for correcting them. Coordination is

necessary for correct execution of rhythmic figures.

See also article number 5 of this index.

14

Wind Instrument Problems

12. Coons, C. W., "The Band Director's Correspondence Clinic,"The School Musician, XVI (June, 1945), 23-24.

This article offers suggestions for introducing trans-

position to wind instrument students.

13. Hindsley, Mark H. "Common Points in the Playing of WindInstruments," The Etude Music Magazine, LV (October,1937) , 645, 683T

Problems common to wind instruments are discussed in

this article. The attack and release of tones, breath

control and breathing, and style of playing are discussed.

Good posture and position of holding the instrument are

important to wind instrument playing.

14. *Revelli, William D., "Vibratitus," The Etude MusicMagazine, LIX (May, 1941), 311-312, 1t . ~

The use of the vibrato on wind instruments, which instru-

ments should use the vibrato, and when certain instruments

should use the vibrato are discussed in this article.

An explanation of the various types of vibrato for

different wind instruments is included. The vibrato

for woodwind instruments is discussed.

15. Seagondollar, Owen, "How to Cultivate a Glib Tongue,"The School Musician, X (November, 1938), 18-19.

Suggestions for tonguing and attacking tones on brass

and woodwind instruments are included in this article.

16. Wensel, Vilas E., "How Incorrect Breathing Will Spoil

Your Playing," The School Musician, IX (March, 1938), 15.

This article discusses breath control for all wind

instruments.

INDEX B

STRINGS

Bowing

17. Green, Elizabeth A. H., "Strings," The School Musician,XVII (Anril, 1946), 29-30.

A description of holding the bow for all four stringed

instruments is included in this article.

18. *Revelli, William D., "Bowing: Its Importance to theString Player," The Etude Music Ma zine, LIX (January,1941), 25-26, 59,-65.

This article discusses, first, the physical motions

required to execute the mechanics of bowing string

instruments. Three difficulties are listed and dis-

cussed in bowing. They comprise muscular training,

synchronization of the bow arm with the left hand,

and the importance of working with bowing problems

before stressing left hand technique. Other remarks

concern the relation of the tempo and volume of a

passage of music to the amount of bow and bow pressure

used. Relaxation is important. Difficulties and errors

caused by the fingers of the right hand in bowing are

discussed with suggestions for correcting them.

15

16

Double Bass

Bowing

19. Carpenter, Allan, "The Double Bassist," The Etude MusicMagazine, LXIII (July, 1945), 379, 420.

This article discusses the bowing of the double bass.

It includes a description of holding the German bow.

20. Ecklin, F. A., "Diversiform Double Bass Bows andTechnique," The Strad, XLIX (December, 1938), 359-360,362.

Different types of bows are discussed, including the

German and French, with a description of how they are

held and used.

21. *Green, Elizabeth A. H., "Strings," The School Musician,XVII (April, 1946), 29-30.

This article includes various suggestions for improving

the bowing technique of a double bass player who uses

the German bow.

Fingering and Shifting

22. Carpenter, Allan, "The Double Bassist," The Etude MusieMagazine, LXIII (July, 1945), 379, 420.

This article stresses the importance of the position

of the left hand in making shifts.

23. Ecklin, F. A., "Diversiform Double Bass Bows andTechnique," The Strad, XLIX (December, 1938), 359-360,362.

The different types of fingering technique are described

in this article.

24. *Halfpenny, Eric, "The Foundations of Finger-Techniqueon the Double Bass," The Strad, LVI (November, 1945)153, 154.

17

An approach to the study of the double bass including a

full description of the position of the left hand and

arm. A good discussion of placing the fingers, finger-

ing the notes in half-span, whole-span, and third po-

sition occupies most of this article. The article

makes important emphasis on learning to play on stopped

strings.

25. *Halfpenny, Eric, "The Foundation of Finger-Techniqueon the Double Bass," The Strad, LVI (January, 1946),201-202, 204.

The fingering and positions for the intervals of the

perfect fifth and octave are included in this article.

The use of the second finger in intervals is discussed.

The fingering for all the chromatic intervals is shown

with a complete. set of examples.

26. White, Alvin C., "The Double Bass," The Etude MusicMagazine,, LVIII (August, 1940)t, 51-532.


Position

27. Waller, Gilbert R., "String Clinic," The Instrumentalist,I (September-October, 1946), 28-29.

28. White, Alvin C., "The Double Bass," The Etude MusicMagazine, (August, 1940), 531-532.

Practice

29. Ecklin, F. A., "Double Bass Practice," The Strad, XLIX(March, 1939), 506,508, 510.

18

Tone Quality

30. Ecklin, F. A., "Double Bass Tone," The Strad, XLIX,(February, 1939), 449-451.

This article discusses various factors which contribute

to a good quality of tone on the double bass.

Tuning

31. White, Alvin C., "The Double Bass," The Etude MusicMagazine, LVIII (August, 1940), 531-M,

Endurance

32. Norden, Hugo, "The Violinist Corner," Music TeachersQuarterly, XII (Fall, 1944), 124, 130.

This article discusses endurance in string playing.

Steadiness in execution must be observed. Endurance

is needed especially in the left hand and in the

bowing arm.


33. Waller, Gilbert R., "Orchestra Department," Texas MusicEducator, V (May, 1941), 12-13.

This article explains the principles of shifting and

fingering for the double bass, viola, violin, and the

violoncello.

General Interest (Teaching)

34. *Revelli, William D., "Let's Improve the Technic of OurHigh School String Sections," The Etude Music Magazine,LX (September, 1942), 597, 63579z39.

This article includes a discussion of a mental approach

toward string technic. Coordination between mental and

19

physical processes should be sought. It is important

to play and practice slowly. Bowing difficulties should

receive the most emphasis. Some common faults of string

players are listed. Bowing consists of coordination of

the five units of the right arm.

Position

35. Green, Elizabeth A.. H., "Strings," The School MusicianXVII (April, 1946), 29-30.____

The left hand position for all four stringed instruments

is described. Included are common faults that inexperi-

enced stringed players acquire.

36. Waller, Gilbert R., "Orchestra Department," Texas MusicEducator, IV (April, 1940), 15-17.

A description of holding the violin, viola, 'cello,' and

double bass is included in this article.

Sight Reading

37. *Green, Elizabeth A. H., "Strings," The School MusicianXVII (January, 1946), 28-29.

The important problems of a string player in sight

reading are those of range, fingering, and bowing. The

basic necessities for sight reading are to determine

what note to play and when to start a particular note.

This article includes suggestions for helping a student

to count.

20

Tone Production

38. Berkley, Harold, "Violin Questions," The Etude MusicMagazine, LXII (January, 1944), 57.

This article includes suggestions for increased

intensity of tone for string players.

Viola

Bowing

39. Primrose, William, "The Field of the Viola," The EtudeMagazine, LXIV (March, 1946), 140.

Bow pressure and the direction of bow pressure are

discussed in this article. Other suggestions for

drawing the bow are included.

40. Primrose, William, and Applebaum, Samuel, "With theArtists," Violins and Violinists, VII (September, 1946),295-300.

Suggestions for bow changes, drawing the bow, and the

position of the bow are included in this article.

41. Primrose, William and Applebaum, Samuel, "With theArtists," Violins and Violinists, VII (September, 1946),332-335.

Bowings for the viola differ from those for the violin.

This article includes suggestions for the 2piRcaato and

sautille bow strokes.

Elementary

42. *Forbes, Watson, "For Viola Players," The Strad, LVII(November, 1946), 203-204,206,208.

This article treats of the first steps in viola playing

for a beginning student who has had no previous experience

with a stringed instrument.

21

43. Primrose, William and Applebaum, Samuel, "With theArtists,," Violins and Violinists, VII (May-June, 1946),250-251, 23=7

This article includes a list of qualifications for a

viola player and offers suggestions for the size of

viola a beginning student should use. A number of

suggestions to aid the beginning violist are included.

44. Revelli, William D., "The Viola," The Etude MusicMagazine, LXV (February, 1947), 7977

The physical requirements for a viola player are

discussed. It is important that the interest of a

viola student be kept at a high level.


45. Primrose, William and Applebaum, Samuel, "With theArtists," Violins and Violinists, VII (July-August, 1946),295-300.

A discussion of fingering scales with half-step shifts

is included in this article. Examples are given.

46. Primrose, William and Applebaum, Samuel, "With theArtists," Violins and Violinists, VII (September, 1946),332-335.

This article offers suggestions for improving the finger

action. The importance of double-stops and of fingered

octaves are discussed.

47. *Primrose, William, "The Viola Claims Its Rights," TheEtude Music Magazine, LIX (April, 1941), 241, 272.

Viola technic differs from the violin technic. The

half-shift is used extensively on the viola. The

function of the left thumb is discussed.

22

48. Primrose, William, "The Field of the Viola," The EtudeMusic Mag~a zIne, LXIV (March, 1946), 140.

The violist needs a knowledge of small shifts and of

the second and fourth positions for an adequate left hand

technique. A fingering exercise is included in this

article.

49. Revelli, William D., "The Viola," The Etude MusicMagazine, LXV (February, 1947), 79

This article states the importance of the use of the

half-position in viola technique.


Position

50. Primrose, William, "The Field of the Viola," The EtudeMusic Magazine, LXIV (March, 1946), 140.

This discussion includes a description of the position

of the viola; how it should be held. The size of the

viola player's hand is an important factor.

51. Primrose, William and Applebaum, Samuel, "With theArtists.," Violins and Violinists., VII (July-August.,1946), 295-300.

See also articles number 35 and number 36 in this index.

52. Revelli, William D., "The Viola," The Etude MusicMagazine, LXV (February, 1947), 79.

A description of the playing position of the viola is

included in this article.

Practice

53. Berkley, Harold, "Violin Questions," The Etude MusicMagazine, LXII (August, 1944), 483.

Practice suggestions for viola players are included in

this article.P

23

Tone Quality

54. Primrose, William, "The Viola Claims Its Rights," TheEtude Music. Magazine, LIX (April, 1941), 241, 272.

This article offers suggestions to aid a thin tone.

See article number 38 in this index.

Vibrato

55. Primrose, William and ApplebauxmSamuel, "With theArtists," Violins and Violinists, VII (May-June, 1946),250-251, 253-25.

56. Primrose, William and Applebaum, Samuel, "With theArtists," Violins and Violinists, VII (July-August, 1946),295-300.

57. Revelli, William D.,, "The Viola," The Etude, LXV(February, 1947), 79..

The vibrato for the viola is included in this discussion.

Violin

Approach (Teaching Techniques)

58. Berkley, Harold, "The Violinist'ts Forumt" The Etude MusicMagazine, LXV (February, 1947), 81, 110.

This article discusses nervousness in performance and

includes suggestions for overcoming extreme nervousness

that often affects the bowing technique.

59. Berkley, Harold, "The Violinist's Forum," The Etude MusicMagazine, LXV (June, 1947), 321, 350.

Suggestions for using various works by Mozart at different

stages of the violin student's development.

60. *Bolgen, Kaare, "Can You Concentrate When Playing theViolin?" _The Etude MusicMgazine, LVI (May, 1938), 336-337.

24

The importance of concentration while actually playing

is discussed. Pupils should understand that concen-

tration involves pushing back every thought unrelated

to the subject. Rests and other diversions may be an.

aid to better concentration. Physical and mental re-

laxation are discussed.

61. Bolgen, Kaare, "Short Cuts to Violin Mastery," The EtudeMusic Magazine, LX (November, 1942), 745, 776.

Concentration is important in violin playing. An open

mind and the proper approach solves many difficulties.

62. Bolgen, Kaare, "The Violinist Corner," Music Teachers_qarterly, (Fall, 1945), 203-204, 213.

This article discusses the use of master works of violin

literature in teaching. Familiarization of the student

with excerpts of famous violin literature is valuable

for the study of sonatas and concertos and for creating

interest and background for the student.

63. Briselli, Iso, "The Basis of Violin Playing Today," TheEtude Music Magazine, LVIII (October, 1940), 659, 70=T

Violin players should look to tradition and avoid too

much individuality in playing. An explanation of the

problem of maintaining a balance between strong and

weak notes is included.

64. Cramer, Edward, "Erratum," Violins and Violinists, II(May-June, 1939), 63-65.

This article is a general discussion for developing

proper tendencies in bowing and finger techniques with

violin students.

25

65. Elman, Mischa, "Making Practice Profitable," The EtudeMusic magazine, LIX (June, 1941), 371-414.

A good teacher should take time to plan a system of

instruction for each individual student. There are

two types of teaching--one with the emphasis on funda-

mentals and the other with the emphasis on interpretation.

The mental approach is important in the study of tone

quality.

66. Ferne, "Old Violins and Old Methods," The Etude MusicMagazine, LIX (Noveziber, 1941), 751, 7=8

This article reviews Gluseppi Tartini's views on

bowing, fingering, and trills.

67. Gardner, Samuel, "The New Approach to Violin MusicianshipThrough Harmonic Thinking," Music Teachers _Quarterly, IX(May-June , 1940) , 197-198. "

A series of steps to be used in acquiring ability to

play in all keys.

68. *Green, Elizabeth A. H., "The Teaching of Strings,"The Etude Music Magazine, LXI (October, 1943), 647-648.

Adult encouragement is important to very young violin

students. The teacher should correct a students errors

when the student can be shown the advantage of a better

method. Tiportant suggestions for correcting left hand

finger technique, bowing, bow fingers, pressure of the

bow, and pizzLcato.

69. Green, Elizabeth A. H., "Tots and Strings," The EtudeMusic Magazine, LXIII (April, 1945), 198, 23 " "mr""

This article discusses achievements for young violin

students from the standpoint of the teacher and the

26

pupil. Problems in teaching vary with the age level.

The language and the approach the teacher uses are

important.

70. Mazzullo, John, "Putting Lure Into Violin Teaching,"The Etude Music Magazine, LVIII (September, 1940), 601.

Short lessons selected from several books and melodious

studies are valuable for maintaining interest. Bowing

exercises should be stressed first.

71. *Norden, Hugo, "The Violinist Corner," Music TeachersReview, IX (September-October, 1939), 2

This article discusses the mental approach to technique.

Stopped notes by the left hand can be divided into three

operations. It is important to analyze embellishments

into "canti firmi." Suggestions are offered for pre-

paring technical passages and for selecting music for

a pupil within his technical scope.

72. Norden, Hugo, "The Violinist Corner," Music TeachersReview, IX (March-April, 1940), 162-167

The advantage of etudes and suggested approaches for

their use are discussed in this article.

73. Norden, Hugo, "The Violinist Corner," Music TeachersReview, XI (September-October, 1941), 24"25.

This article lists five steps for teaching a student

to play in a key.

74. Norden, Hugo, "The Violinist Corner," Music Teachersquarterly, XII (Summer, 1944), 72-73.

Suggestions for the teacher to encourage the development

of a pupil's personality.

27

75. Spaulding, Albert, "Real Art in Violin Playing," TheEtude Music Magazine, LVIII (January, 1940), 25, S7

The student should understand the difference between

perfecting technique and genuine artistic study. The

student should search for what others say on violin

playing. The inability to listen is a common fault

among violinists.

76. Spaulding, Albert and Applebaum, Samuel, "With theArtists," Violins and Violinists, VII (January, 1946),100-105.

It is important to think and analyze a composition.

77. Waller, Gilbert R., "Orchestra Department," TexasMusic Educator, V (April, 1941), 13-14.

This article includes suggestions for introducing flat

keys to violin students.

The following articles are recommended for additional

information:

78. Berkley, Harold, "The Violinist's Forum," The EtudeMusicMagazine, LXIII (June, 1945), 321.

79. Cramer, Edward, "Cramer 's Forum," Violins and Violinists$,I (Janary, 1939), 378-379.

80. Norden, Hugo, "The Violinist Corner," Music TeachersReview, IX (May-June, 1940), 221-222.

81. Norden, Hugo, "The Violinist Corner," Music TeachersReview, X (September-October, 1940), 2 Zt

82. Norden, Hugo, "The Violinist Corner," Music TeachersReview, X (November-December, 1940), 87-7"

Bowing

83. Aaron, Nathan, "How I Teach Beginners to Play the Violin,"The School Musician, XIII (October, 1941), 18.

2P

This article discusses nine bowing patterns that should

be taught to young violin students.

84. Applebaum, Samuel, "Fundamentals of Violin Teaching,"The Etude Music Magazine, LVI (December, 1938), 831.

The old and new methods of holding the bow, bowing, and

wrist and arm movement are discussed in this article.

85. Applebaum, Samuel, "Violin Bowings--How and When toTeach Them," The Etude Music Magazine, LX (April, 1942),241, 270.

Rules are included for playing the detached bow stroke.

Suggestions are offered for executing the martele',

grand martel4 , and the shorter detach6 bow strokes.

86. *Applebaum, Samuel, "The Light Violin Bowings--How andWhen to Teach Them," The Etude Music Magazine, LXII(May, 1944), 273, 3027n -

This article treats of the development of the spiccato

and sautille bow strokes. Suggestions for using the

different types of spiccato bowing are included. The

sautille bow stroke is described and suggestions are

offered for acquiring it. The difference in spiccato

and sautill6 bowing is explained.

87. Basserman, Hans, "About Convenient Bowings," The EtudeMusic Magazine, LX (October, 1942), 673.

This article treats of the principles of simplifying

bowings when the passage indicates a change of string.

Changing the fingering may ease the difficulty of

bowing a particular passage..

88. Berkley, Harold, "The Violinist's Forum," The EtudeMusic Magazine, LXI (December, 1943), 793.

29

This article offers suggestions for eliminating a

"tremor" in the bowing and the bow arm.

89. Berkley, Harold, "The Violinist's Forum," The Etude

Music Magazine, LXTT (June, 1944), 333, 37T7

The wrist position of the bow arm is discussed in

this article.

90. *Berkley, Harold, "The Violinist's Forium." The EtudeMusic Magazine, LXTT (October, 1944), 573.

The importance of arm, wrist, and finger motion in

playing the detached bow stroke is discussed in this

artiele. Snugestions are included for holding the bow.

91. *Berkley, Harold, "The Violinist's Porum," The FtudeMusic Magazine, LXTT (December, 1944), 690, .d "

This article discusses wrist and finger motion at the

frog of the bow. Suggestions are offered for coordi-

nating wrist and finger motion with the long bow stroke.

Exercises are included for developing control of wrist

and finger motion.

92. *Berkley, Harold, "Concerning the Staccato," The EtudeMusic Magazine, XTII (March, 1945), 141.

This is an important article for the study of the

staccato bowing. The up-bow staccato, down-bow

staccato, and the flying staccato are discussed.

Suggestions for studies and materials for the study

of these bow strokes are included.

93. *Berkley, Harold, "The Violinist's Forum," The EtudeMusic Magazine, LXITI (August, 1945), 441.

Suggested exercises for acquiring the spiccato bowing

is included in a discussion of the preparation necessary

30

for beginning the study of the spiccato is included in

this article. Evenness is important. The study of this

bow stroke should begin at the middle of the bow and

progress closer to frog for a controlled spiccato.

Rapid spiccato and the effects of various types of

spiccato are discussed.


Music Magazine, LXIII (October, 1945), 561.

This article discusses the different schools of holding

the bow. Suggestions are included for the amount of

hair to use in different types of playing.

95. *Berkley, Harold, "The Basic Motions of Bowing," The

Etude Music Magazine, LXITT (November, 1945), 621s50.

This article is a discussion of the six basic motions

of the arm, wrist, and fingers in bowing. A description

of each motion, what they accomplish, and a discussion

of the combination of these motions are included in this

article.

96. *Berkley, Harold, "The Violinist's Forum," The EtudeMusic Magazine, LXIV (April, 1946), 201, 237

This article discusses the direction of bowing and

string crossing.

97. Berkley, Harold, "The Violinist's Forum," The EtudeMusic Magazine,, LXIV (October, 1946), 561.-

The whole bow martele is discussed.


Music Magazine, LXIV (December, 1946), 68577f6=

The use of the upper arm in bowing is discussed and the

difference between the old and new school of bowing is

31

explained. "Round bowing" as applied to string crossing

is included in the discussion of this article. The little

finger of the bow hand does not necessarily need to stay

on the bow stick. It is permissible to lift the little

finger from the bow in certain types of bowing.

99. Berkley, Harold, "The Violinistis Forum," The Etude.McMagazine, LXV (April, 1947), 201, 23 =""

The difference between detach6 and martel6 bowing is

explained. The bowing motions and the amount of bow

used for these bowings are described.

100. Braine, Robert, "Violin Questions Answered," The EtudeMusic Magazine, LVTT (October, 1939), 676.

Suggestions on the spiccato bow strokeare included.,

101. Braine. Robert, "Violin Questions Answered," The EtudeMusic Magazine, LXI (Au"ust, 1943), 541.

The position of the thumb on the bow stick is described.

The "grandtache" bow stroke is discussed.

102. Bryant, Leo Cullen, "That Troublesome Staccato Bowing,"The Etude Music Magazine, LX (May , 1941), 315.

The basis of the slurred staccato is the martel1

stroke.- The muscles of the bow arm are stiffened.

The little finger may be lifted when bowing this stroke

with the upper half of the bow.

103. Crounse, Alsen V., "Improving Your Bowing," The EtudeMusic Magazine, LVII (November, 1939)', 746-747"4""

Some common faults in bowing are listed with suggestions

for correcting them. Progressive steps to improve bowing

are listed.

32

104. Francescatti, Zino and Applebaum, Samuel, "With theArtists," Violins and Violinists, VIT (November, 1946),431-436.

This article includes suggestions for staccato bowing

and the flying staccato.

105. Glenn, Carroll, "Hints for the Young Violinists," TheEtude Music Magazine, TLXI (December, 1943), 773, 824.

Bowing schools are discussed. Bowing exercises are

suggested. The middle finger of the right hand guides

the bow across the strings.

106. Green, Elizabeth A. H., "The Teaching of Strings,"The Etude Music Magazine, LXI (October, 1943), 647-648.

The position of the bow fingers is described. The

importance of bowing parallel with the bridge is dis-

cussed. Suggestions on bow pressure are included.

107. Green, Elizabeth A. H., "Strings," The School Musician,XVIII (December, 1946), 32-33.

A list with discussion of bowing fundamentals for

different rhythmic patterns is included.

108. Hodgson, Percival, "Common Sense Applied to ViolinBowing," The Strad, XLVIII (July, 1937), 116-118.

Suggestions on introducing the spiccato and sautill'

bow strokes to violin students.

109. Hodgson, Percival, "Common Sense Applied to ViolinBowing,," The Strad, XLVIII (August, 1937), 164-166.

Tllustrations showing the motion of the bow and the

hand for the sautilll bow stroke. The flying staccato

and ricochet bowings are explained. The middle part of

the bow should be used for the sautille bowing.

110. Hodgson, Percival, "Common Sense Applied to ViolinBowing," The Strad, XLVIII (September, 1937), 212-214.

33

Staccato is discussed. Some difficulties in teaching

the staccato bowing are discussed. The fore arm should

have a rotary movement.

111. Hodgson, Percival, "Common Sense Applied to ViolinBowing," The Strad, XLVIII (February, 1938), 448-449.

Cross string bowing is discussed in this article.

112. Hodgson, Percival, "Common Sense Applied to ViolinBowing," The Strad, XLIX (June, 1938), 69-70.

This article includes a description with illustrations

for holding the bow.

113. Hodgson, Percival, "Clockwise or Anti-Clockwise," TheStrad, LI (June, 1940), 50-52.

This article discusses arm and wrist movement when

crossing strings.

114. Hodgson, Percival, "Clockwise or Anti-Clockwise,"

The Strad, LI (August, 1940), 99-100, 102.

A discussion of arm movement when the bow direction

is changed.

115. Kurtz, George, "Means of Correct Bowing," The Etude

Music Magazine, LVIII (April, 1940), 241, 2717

This article discusses holding the bow, placing the

bow on the strings, and guiding the bow across the

strings. A flexible and free wrist is important.

116. *Masson, Kelvin, "A Violinistic Problem Solved--Holding the Bow," The Etude Music Magazine, LVI(November, 1938), 75.~'0

A description of the Russian school of holding the bow,

how the bow should be drawn, and the position of the

bow on the strings are included in this article. This

article includes a list and classification of bow

34

strokes. Suggestions for using certain parts of the

bow for certain bow strokes are included.

117. Menuhin, Yehudi, and Applebaum, Samuel, "A NotedViolinist's Road to Musical Victory," The Etude MusicMagazine, LXI (March, 1943), 241.

Description of the position of the fingers on the bow

and the position of the bow arm.

118. Meyer, Otto, "Basic Principles of Tone Productin,"Violins and Violinists, V (May, 1943), 70-72.

Four factors in bowing directly affect the tone quality

of the violin. They are speed of the bow, the place of

contact on the string, pressure of the bow on the string,

and the angle of the bow hair.

119. *Revelli, William D., "Bowing Technics," The EtudeMusic Magazine, LVI (November, 1938), 719,~761.

The first bowing motions leading to full bow strokes

are discussed. Evenness of stroke and evenness of

pressure of the bow are important. Relaxation in

the muscles of the arm, wrist, and fingers is dis-

cussed. Bow strokes are classified into three basic

types with subdivisions of each type. A discussion

of the use of various bow strokes is included.

120. Steer, Burrell, "The Essential Elements of Bowing,"

The Etude Music Magazine, LVII (June, 1939), 412-413.

Three important bowing motions are the long dtach6,

string crossing, and the short detached. Suggestions

for developing these movements are included.

35

121. Taylor, Tom, "Everybody's Guide to the Violin," Violinsand Violinists, TV (February, 1943), 516-517.

This article includes treatment of staccato bowing.

The importance of the wrist and fingers for this bow

stroke and the amount of bow that should be used are

discussed. Practice material is suggested.

122. Taylor, Tom, "Everybody's Guide to the Violin," Violinsand Violinists, V (October, 1943), 247-249.

This article includes a discussion of the distribution

of the bow.

123. Walker, Alfred, "Bow Troubles of Violin Students," TheEtude Music Magazine, LXI (October, 1943), 632.

Suggestions for correcting poor bowing habits and for

developing better bow control are included.

124. Waller, Gilbert, "Orchestra Department," Texas MusicEducator, V (October, 1940), 5-6.

DIsaussion of the introduction of the slur to violin

students is included in this article.

125. Yost, Gaylord, "The Problem of Bow Mastery," Violinsand Violinists, T (September, 1938), 239-240.

This article discusses the Barjansky method of bowing.

126. Yost, Gaylord, "Spivakovsky's Way of Bowing," Violinsand Violinists, VII (September, 1946), 362-363.

A description of Spivakovsky's manner of holding and

drawing the bow in offered in this article.


information.

127. Berkley, Harold, "Violin Questions," The Etude MusicMagazine, LXIT (May, 1944), 303.

128. Berkley, Harold, "Violin Questions," The Etude MusicMagazine, LXIII (April, 1945), 231. "" "N ****"-----"'

36

129. Berkley, Harold, "The Violinist's Forum," The EtudeMusic Magazine, LXIV (June, 1946) , 321, 350.

130. Berkley, Harold, "The Violinist's Forum," The EtudeMusicMagazine, LXIV (August, 1946), 441, 4=.

131. Berkley, Harold, "The Violinist's Forum," The EtudeMusic Magazine, LXV (February, 1947), 81, 1T7O

132. Berkley, Harold, "Violin Questions," The Etude MusicMagaz ine , LXV (Aprt1, 1947) , 231.

133. Berger, Isadore., The Violin," The School Musician,X (November, 1938), 44."" """

134. Bolgen, Kaare A., "Short Cuts to Violin Mastery," TheEtude Msr L9Eazine, LX (November, 1942), 745, 7767

135. Braine, Robert, "Violin Questions Answered," The E+;d-Aus 1. f LVI ( June , 1938), 54.

136. Braine, Robert, "Violin Question,;Answered," The EtudeMusic Magazine, LVI (March, l93P), 192.

137. Braine, Robert, "Violin Questions Answered," The EtudeMusicMagazine, LVT (April, 1938), 262-263.

138. Braine, Robert. "Violin Questions Answered," The EtudeMusic Magazine, LVI ( December, 1938), 832.

139. Braine, Robert, "Violin Questions Answered," The EtudeMusic Magazine, LV (October, 1937)., 682.

140. Braine, Robert, "Violin Questions Answered," The EtudeMusic Magazine, LVII (May, 1939), 344.

141. Braine, Robert, "Violin Questions Answered," The EtudeMusic Magazine, LVITI (October, 1940), 703.

142. Braine, Robert, "Violin Questions Answered," The EtudeMusic Magazine, LIX (February, 1941), 127.

143. Braine, Robert, "Violin Questions Answered," The EtudeMusic Mapazine, LIX (Augrust., 1941)., 565.

144. Braine, Robert, "Violin Questions Answered," The EtudeMusic Magazine, LX (June, 1942), 415.

145. Cramer, Edward, "Cramer's Forum," Violins and Violinists,I (December, 1938), 336, 348.

37

146. Hill, Frank W., "Modern Violin Technic," The EtudeMusic Magazine, LVII (November, 1939), 747w

147. Hodgson, Percival, "Common Sense Applied to ViolinBowing," The Strad, XLVITT (September, 1937), 212-214.

148. Hodgson, Percival, "Common Sense Applied to ViolinBowing," _The Strad, XLIX (May, 1938), 16-17.

149. Horne, Dorothy, "On Starting the Phrase Correctly,"The Etude Music Magazine, LV (September, 1937), 608.

150. Hulff, J. W., "The Imnortance of Right Arm Training,"The Etude Music Magazine, LVIT (July, 1939),, 475.

151. Morini, Erica and Aoplebaum, Samuel, "With the Artists,"Violins and Violinists, VIII (January, 1947), 518-523.

152' Morini, Erica and Applebaum, Samuel, "With the Artists ,"Violins and Violinists, VII (December, 1946), 484-458.

153. Ouren, J. Arnold, "The Bowing Optimum," The Etude MusicMagazine, LVII (December, 1939), 818.

154. Pavek, William J., "The Fancy Bow," Violins and Violinists:ITT (September, 1940), 67,ITT (November-December, 1940), 109-111,TTI (January-February, 1941)1, 149-151,ITT (March-April, 1941), 148-186,III (Summer, 1941) , 215-218,TV (January, 1942), 66-69,IV (February, 1942), 99-101,IV (April, 1942), 137-139,TV (May-June., 1942), 192-194,IV (July, 1942), 244-247,IV (September, 1942), 279-281,TV (October, 1942) 339-341,TV (November, 19425, 384-386, andTV (December, 1942), 426-429.


156. Spaulding, Albert and Applebaum, Samuel, "With theArtists," Vlolins and Violinists, VIII (February-March,1946) , 152="1-58* -"-- '"""

157. Taylor, Tom, "Everybody's Guide to the Violin," Violinsand Violinists, Vol. IV (January, 1943), pp. 460- =

38

158. Taylor, Tom, "Everybody's Guide to the Violin," Violinsand Violinists, V (March-April, 1943), 36-38.

159. Walk, Henry, "How Do You Hold Your Bow?" The EtudeMusic Magazine, LVI (April, 1938) , 262-2637

160. Waller, Gilbert, "Orchestra Department," Texas MusicEducators, V (November, 1940), 11.

161. Yost, Gaylord, "The Vital Elements of Virtuosity,"The Etude Music Magazine, LVIT (October, 1939)., 674.

Double Stoos

162. Berkley, Harold, "The Violinist's Forum," The EtudeMusi agazine , LXIII (April, 1945), 201, =,

The intonation of double stops is discussed in this

article.

163. Cramer, Edward, "Cramer's Forum," Violins and Violinists,I (November, 1938), 311."""---

164. Norden, Hugo, "The Violinist Corner," Music TeachersQuarterly, XIT (Winter, 1943-44), 28-297in

165. Saunders, Archibald, "Oheckina First Position DoubleStoos," The Etude Music Magazine, LVT (April, 1938), 262.

Suggestions for checking the intonation of each tone of

double stops are included in this discussion.

Elementary

166. Applebaum, Samuel, "Violin Bowings--How and When toTeach Them," The Etude Music Magazine, LX ((January, 1942)241, 270. """ 00 """"""0"" """N""" I

The order of teaching bow strokes to beginning violin

students is discussed in thIs article.

167. Armstrong, Eric L., "Teaching the Baby Violin Student,"The Etude Music Magazine, LVIII (May, 1940), 313.

This article includes suggestions for the order of teach-

Inf scales to beginning violinist. Suggestions for teach-

ing bowing and for note finding are included.

39

168. *Berkley, Harold, "The First Year," The Etude MusicMagazine, LXI (November, 1943), 719-77-

Teachers of young beginning violin students may use

the keyboard to begin the study of musical essentials.

The beginning violinist should begin his study with

the third position. Each musical term should be

explained as it comes into use. The teacher should

stress tone quality and may need to devise exercises

for effective teaching.

169. *Bornoff, George, "Let There Be Music for Everybody,"The Instrumentalist, I (September-October, 1946), 4-5.

The higher positions should be taught soon after the

violin student begins his study of the violin. The

use of rote teaching and finger patterns is important.

170. *Green, Elizabeth A. H., "Strings," The School Musician,XVIII (June, 1947), 30-31.

Three factors are listed to aid in teaching beginning

violin students the proper use of the bow. The use of

the full bow should be stressed with emphasis on the

amount of bow hair to use and on parallel bowing with

the bridge. Important general rules for the direction

the bow should travel are included. The up-bow should

be emphasized.

171. Hodgson, Percival, "Violin Classes," The Strad, LV(May, 1944), 10-12.

Important suggestions for teaching the beginning violin-

ist to hold the violin. A list of necessary equipment

for the beginning violinist is included.

40


information:

172. Cramer,, Edward, "Cramer's Forum," Violins and Violinists.,

I (October, 1938), 273-274.

173. Green, EliZabeth A. H., "Creating Interest in Strings,"'The School Musician, XVI (December, 1944), 12-13.

174. Taylor, Tom, "Everybody's Guide to the Violin," Violinsand Violinists, IV (December, 1942), 431-432.

175. Taylor, Tom, "Everybody's Guide to the Violin," Violinsand Violinists , IV (January,, 1943),, 460-461.

176. Taylor, Tom, "Everybody's Guide to the Violin," Violins

and Violinists, V (November, 1943), 292-293.


177. Aaron, Nathan, "New Guidepost to Violin Mastery," TheSchool Musician, XVTII (December, 1946), 29.

Finger-strengthening exercises are discussed in this

article.

178. Aldrich, Dorothy, "The 'Forgotten' Position is Revived,"The Etude Music Magazine, LXI (May, 1943), 313.

This article suggests that the second position be

introduced to the violin student before the third.

Exercises are included to develop familiarity with

the second position.

179. Allred, Nellie G., "The Art of Shifting," The Etude

Music Magazine, LVT (October, 1938), 687.

The importance of familiarity with the positions in

strin; playing is discussed. Rules for shifting from

one position to another are listed. The open string

tonp hold be avoided.

41

180. Berger, Isador, "The Violin," The School Musician, TX(March, 1938), 44.

This article includes suggestions for beginning work

in shifting for the violin student.


Msc Magazine, LXT (December, 1943), 793.

Practice routine for playing thirds on the violin is

included. Exercises are riven in the article.

182. Berkley, Harold, "The Violinist's Forum," The EtudeMusic Magazine, LXII (April, 1944), 213, 257 ~

This article includes a description of the left hand,

position for the high positions as well as the lower

positions.

183. Berkley, Harold, "Violin Questions," The Etude MusicMagazIne, LXII (July, 1944), 423.

Surestions for developing more flexible left hand

fingers are included in this article.

184. Berkley, Harold, "Violin Questions," The Etude MusicMagazine, LXII (December, 1944), 723.

"Nervous intensity" in the left hand fingers is

discussed.

185. Berkley, Harold, "The Violinist's Forum," The EtudeMusic Magazine, LXIII (April, 1945), 201, 2=3.

The position of the left hand is discussed. The

importance of students practicing with their fingers

over the strings is discussed.

186. Berkley, Harold, "Violin Questions," The Etude MusicMagazine , LXIII (July, 1945),, 411.

This article discusses the second position.

42

187. Berkley, Harold, "The Violinist's Forum," The EtudeMusic Magazine, LXITT (December, 1945), 685727

This article discusses fingering and "extension

shifting." Suggestions for exeoutinp' the trill are

included.

188. Berkley, Harold, "The Violinist's Forum," The EtudeMusic Magazine, LXIV (February, 1946), 81, TT'.

The place of the thumb when playing in higher positions

or the violin is discussed in thls article.

189. Berkley, Harold, "The Violinist's Forum," The EtudeMusic gazine, LXTV (October, 1946), 561.

Sugestions for developing strength in the fingers are

offered in this article.

190. Berkley, Harold, "The Violinist's Forum," The EtudeMusic Magazine, LXV (April, 1947), 201, 230.

Suggestions for studying positions. Progressive

studies are listed with suggestions for introducing

them.

191. Berkley, Harold, "The Violinist's Forum," The EtudeMusic Magazine, LXV (June, 1947), 321, 350. -

A discussion on lifting the fingers is included in this

article. The trill is discussed.

192. Bolqen, Kaare A., "Short Cuts to Violin Mastery," TheEtude Music Magazine, LX (November, 1942), 745, 776.

Silent and bowed left hand finger exercises are

suggested for the development of strength in the left

hand.

193. *Bolgen, Kaare A., "The Violinist's Narrow Road to Speed,"The Stt-ad, XLIX (June, 1938), 61-65.

43

Evenness is the foundation for speed. Slow rhythmic

placing of fingers and accurate shifting of positions

are important for the development of speed. This article

offers suggestions for developing a fast passage of music.

194. Brain, Robert, "Violin Questions Answered," The EtudeMusic Magazine, LVTI (November, 1939), 748.

Suggestions for the third position on the violin are


195. Braine, Robert, "Violin Questions Answered," The EtudeMusic Magazine, LX (November, 1942), 777.

This article includes suggestions on the order of

studying positions.

196. Dolejsi, Robert, "To Be or Not To Be (A Fiddler),"Violins and Violinists, TV (July, 1942), 248-250.

A discussion of semi-tone combinations of finger

patterns is included. The position of the left hand

is discussed. Mechanical finger strengthening devices

are discussed.

197. Hodgson, Percival, "Common Troubles," The Strad, L(August, 1939), 165-167.

The function of the thumb of the left hand is discussed

and explained. Left hand finger technique is discussed.

198. Hodgson, Percival, "Learning the Positions," The Strad,LTV (February, 1944), 230, 232, 234.

This article discusses the order of introducing the

positions to violin students. The third position

should be introduced at the beginning.

199. *Koch, Howard Lee, "Visualized Violin Technic," TheEtude Music Magazine,, LXV (September, 1945), 501, 530.

44

Teaching violin students finger patterns for left hand

technic is discussed in this article. The students are

taught four finger patterns and they learn to. recognize

which pattern applies to various segments of major and

minor scales. Elementary music theory is acquired

through this system.

200. Masson, Kelvin, "Three of the Violinist's ProblemsSolved," The Etude Music Magazine, LVT (September, 1938)614.

Rules for shifting from one position to another are

included in this article. Suggested exercises are

included.

201. McCoy, Guy, "That Tmportant 'Little'Finger," The EtudeMusic Jagazine, LVII (November, 1939), 746.

This article includes a discussion of the difficulties

violinists have with the flexibility of the fourth

finger of the left hand. This article suggests

exercises for strengthening the fourth finger.

202. Moses, Abram, "The Advantages of the Even Positions,"The Etude Music Magazine, LIX (December., 1941),, 823, 852.

This article suggests that the second, fourth, and sixth

positions be used more by violinist. They are valuable

in playing sequential patterns.

203. Norden, Hugo, "The Violinist Corner," Music TeachersReview, XT (November-December, 1941)9, 74

A description of the four basic fingering patterns for

left hand tehrique is included in this article.

204. *Taylor, Tom, "Everybody's Guide to the Violin." Violinsand Violinists, V (June, 1943)., 93-94.

45

Tt is important to keep ll fingers down until it is

necessary to use them for some other purpose. The

importance of stretching the fourth finger is discussed.

205. Taylor, Tom, "Fverybody's Guide to the Violin," Violinsand Violinists, V (September, 1943), 186-187.

The trill is discussed.

206. Waller, Gilbert, "Orchestra Department," Texas MusicEducator, V (December, 1940), 12.

Suggestions for introducing the use of the fourth

finger to violin students are included.

207. Yost. Gylord, "Strength, the Secret of the Left Hand,"Violins and Violinists, TT (May-June, 1939), 54.

There must be a margin of reserve strenp'th developed

so that there is never any conscious effort made in

the execution of technical difficulties. The percussive

finer stroke is the secret of left hand strengrth.


information:

208, Aaron, Nathan, "New Guideposts to Violin Mastery,"The School Musician, XVIII (November, 1946), 40.

209. Aaron, Nathan, "New Guideposts to Violin Masterv,"The School Musician, XVITT (January, 1947), 40.

210. Berkley, Harold, "Violin Quiestions," The Ptide MusicMagazine, LXII (April, 1944), 243.

211. Berkley. Harold, "The Violinist's Forum," The EtudeMusic MavazIne, LXTT (June., 1944),, 333, 372

212. Berkley, Harold, "The Violinist's Forum," The EtudeMusic Magazine, LXTV (Anuqust, 1946), 441, 470.

213. Berkley, Harold, "Violin Questions," The Etude MusicMagazine, LXTV (November, 1946), 651.

214. Braine, Robert, "Violin Questions Answered," The EtudeMusic Mapazine, LVIT (February, 1939), 132.

46

215. Braine, Robert, "Violin Questions Answered," The EtudeMagazine, LTX (November, 1941), 783.

216. Francescatti, Zino and Applebaum, Samuel, "With theArtists," Violins and Violinists, VTT (November, 1946),431-436.

217. Green, Elizabeth A. H., "Strings," The School Musician,XVTTT (June, 1947), 30-31.

218. Green, Elizabeth A. H., "The TeachIng of Strings," TheEtude Music Magazine, LXT (October, 1943), 647-648.

219. Hill, Frank W., "Modern Violin Technique," The EtudeMusic Magazine, LVTT (November,1939), 747.

220. Levesque, A., "The Higher Positions," The Etude MusicMagazine, LVITT (April, 1940), 240.

221. Morini, Ericaand Applebauri, Samuel, "With the Artists,"Violins and Violinists, VTT (December, 1946), 484-488.

222. Szigeti, Joseph, "A String Approach to Mozart," hEtude Music MAg azine, LXT (July, 1943), 447, 480, 482.

223. Taylor, Tom, "Everybody's Guide to the Violin," Violinsand Violinists, V (Jiily,-Augrst, 1943), 15S6.

Harmonics

224. Berkley, Harold, "The Violinist's Forum," The Etude MusicMagazine, LXTTT (December, 1945), 685, 723.

This article offers suggestions for playing harmonics.

Tt suggests reasons for poor response of harmonics.

The bow pressure is important.

225. Berkley, Harold, "The Violinist's Forum," The WtudeMusic Magazine, LXV (April, 1947), 201, 230,

This article includes suggestions for bowing harmonics.

226. Braine, Robert, "Violin Questions Answered," The EtudeMuSic MarazIne, LVT (September, 1938), 616.

227. Braine, Robert, "Violin Questions Answered," The EtudeMusic Magazine, LTX (December, 1941), 853.

228. Cramer, Edward, "Crameres Forum," Violins and Violinists,T (November, 1938), 311.~~

47

A description of the bow and finger technique for

playing harmonics is included in this article.

229. Hodgson, Percival, "Common Sense Applied to ViolinBowing," The Strad, XLVIII (March, 1938), 497-499.

230. Taylor, Tom, "Everybody's Guide to the Violin,"Violins and Violinists, V (November, 1943), 293-294.

Interpretation

231. Berkley, Harold, "Some Studies of Kruetzer," The EtudeMusic Magazine, LXII (January, 1944), 25.

This article offers suggestions for practicing selected

studies from Kreutzerts "Forty-two Studies." The studies

discussed are No. 2 in C major, No. 7 in D major, No. 9

in F major, No. 27 in D minor, and No. 33 in F major.

232. Berkley, Harold, "The Violinist's Forum," The EtudeMusic Magazine, LXII (February, 1944), 93.

This article includes suggestions for fingering a

passage from the second movement of the Franck Violin

Sonata. A tempo suggestion for the first movement is

included.

233. Berkley, Harold, "Some More Kreutzer Studies," TheEtude Music Magazine, LXII (March, 1944), 153, 1821.

This article offers suggestions for practicing selected

studies from Kreutzer's"Forty-two Studies." The studies

discussed are No. 8 in E major, No. 13 in A major, No. 19

in D major, No. 25 in G major, No. 29 in D major, No.37

in F major, and No. 42 in D minor.

234. Berkley, Harold, "Violin questions," The Etude MusicMagazine, LXII (September, 1944), 543.

48

This article includes metronome markings for various

movements of the Accolay, "Concerto in A minor,"

Mendelssohn, "Concerto in E minor," and Franck,

"Sonata." Suggestions for bowing a passage from the

Drdla "Serenade" are included.

235. Berkley, Harold, "The Violinist's Forum," The EtudeMusic Magazine, LXII (October, 1944), 573.

Suggestions for bowing a series of sixteenth notes

in the finale of the Mendelssohn "Concerto in E

minor."

236. Berkley, Harold, "Violin Questions," The Etude Music

Magazine, LXIII (April, 1945), 231.

This article offers suggestions on preparing a grace

note.

237. Berkley, Harold, "Violin Questions.," The Etude MusicMagazine,, LXIII (July, 1945)., 411.

Suggestion for tempo of Schubert's "Rondo Brilliant

op. 70" is included in this article.

238. Berkley, Harold, "The Violinist's Forum," The EtudeMusic Magazine, LXIV (February, 1946), 81, Ti06.

This article offers suggestions for the tempo, finger-

ing, and bowing of various passages of Beethoven's

"Romance in F major."

239. Berkley, Harold, "The Violinist's Forum," The EtudeMusic Magazine., LXIV (June., 1946)., 321, 350.

This article discusses the musical application of

technique. Shading is important in solo playing.

240. Berkley, Harold, "Violin Questions," The Etude MusicMagazine, LXIV (August, 1946), 471.

This article suggests metronome markings for Kreisler's

49

"Recitative and Scherzo" and Bach's "A minor Fugue."

241. Berkley, Harold, "The Violinist's Forum," The EtudeMusic magazine ,LXV (February, 1947), 81, 170,'

This article lists the suggested tempo marks for Dancla's

"Brilliant Studies."

242. Berkley, Harold., "A Master Lesson on Raff's Cavatina,"The Etude Music Magazine, LXV (May, 1947), 261, 290.

This article is concerned with the interpretation of

of Raff's "Cavatina." The music is included in this

periodical.

243. Berkley, Harold, "The Violinist's Forum," The EtudeMusic Magazine, LXIV (December, 1946), 685,~716.

244. Hodgson, Percival, "Bach's Violin Music," The Strad,LVI (January, 1946), 204, 206, 208, 210.

This article offers suggestions for bowing passages

in keeping with the style of Bach. References are

made to the gigue and chaconne from the fourth

unaccompanied Sonata.

245. Hodgson, Percival, "Bach's Violin Music," The Strad,LVI (March, 1946), 249.

This article discusses expression and interpretation

in the violin music of Bach.

246. Hodgson, Percival, "Bach's Violin Music," The Strad,LVII (May, 1946), 16, 18, 20.

Bowing and other suggestions are offered for various

sections' of Bachts unaccompanied violin sonatas.

247. Hodgson, Percival, "Bach's Violin Music," The Strad,LVII (September, 1946), 138-142.

Problems of tempo, bowing, and ornaments from various

Bach works for the violin are discussed in this article.

50

248. Szigeti, Joseph, "A String Approach to Mozart," The

Etude Music Magazine, LXI (July, 1943), 447, 480, 482.

This article offers suggestions for interpreting the

Mozart sonatas.

249. Szigeti, Joseph, and Applebaum, Samuel, "With the

Artists," Violint and Violinists, VIII (April, 1947),98-104.

This article discusses the execution and interpretation

of the Brahms concerto.

250. Spaulding, Albert, and Applebaum, Samuel, "With the

Artists," Violins and Violinists, VII (April, 1946),199-203.

Editing and playing suggestions for the Spohr

"Concerto No. 8", are included in this discussion.


and Violinists, V (November, 1943), 292-293.

Intonation

252. Amey, Ellen, "Why Not Study the Violin," The Etude

Music Magazine, LIX (October, 1941), 677, 758.

253. Braine, Robert, "Violin questions Answered," The

Etude Music Magazine, LVI (July, 1938), 478.

254. Braine, Robert, "Violin Questions Answered," TheEtude Music Magazine, LVI (May, 1938), 338.

255. *Dunkin, Leslie, "Raising My Flat Tones," The Etude

Music Magazine, LVIII (September, 1940), 601.

This article suggests that violinists analyze their

playing habits to correct poor intonation. Sugges-

tions are made for holding the violin, improving the

left hand position, improving listening habits, and

improving individual tones.

51

256. Cramer, Edward, "Cramer's Forum," Violins and Violinists,I (October, 1938), 273-274.

257. Norden, Hugo, "The Violinist Corner," Music TeachersReview, XI (Spring, 1942), 138.

258. Norden, Hugo, "The Violinist Corner," Music TeachersReview, XI (September-October, 1941), 24-25.

This article lists reasons violin students play with

poor intonation. The scale is important in teaching

tonality. Five steps for teaching students to play

in a key are listed.


and Violinists, V (June, 1943), 93-94.

Intonation depends on systematic scale practice and a

quick ear.

Memory

260. Bolgen, aare A., "Short Cuts to Violin Mastery," TheEtude Music Magazine, LX (November, 1942), 745-776.

261. Cramer, Edward, "Cramer's Forum," Violins and Violinists,I (November, 1938), 311.

262. Spaulding, Albert, and Applebaum, Samuel, "With theArtists," Violins and Violinists, VII (February-March,1946), 152-158.

See also articles numbers 6 and 7 in this index.

Performance

263. Berkley, Harold, "Violin Questions," The Etude MusicMagazine, LXIV (December, 1946), 717.

264. Berkley, Harold, "The Violinist's Forum," The EtudeMusic Magazine, LXV (February, 1947), 81, 110.

265. Braine, Robert, "Violin Questions Answered," The EtudeMusic Magazine, ]LVIII (August, 1940), 561.

52

266. Green, Elizabeth A. H., "Strings," The School Musician,XVII (February, 1946), 28-29.

267. Meyer, Roland E., "The Violinist Corner," Music TeachersReview, VII (January-February, 1938), 174-175, l83.

This article offers suggestions for a successful recital.

Physical Problems

268. Berkley, Harold, "The Violinist's Forum," The EtudeMusic Magazine, LXIV (June, 1946), 321, 350.

269. Bolgen, Kaare, "The Care of the Hands," The Etude MusicMagazine, LVIII (July, 1940), 459, 488.

This article offers suggestions for relaxation of stiff

hands. It discusses nervous perspiration and callouses

on the tips of the fingers.

270. Braine, Robert, "Violin Questions Answered," The EtudeMusic Magazine, LVIII (February, 1940), 126.

This article offers suggestions for the relief of a sore,

irritated chin. It lists several reasons that may cause

this condition.

271. Braine, Robert, "Violin Questions Answered," The EtudeMusic Magazine, LVIII (July, 1940), 489.

Suggestions for teaching left-handed violinists are


272. Braine, Robert, "Violin Questions Answered,"t The EtudeMusic Magazine, LIX (April, 1941), 273.

Suggestions for using the three-quarter and full size

violins.

273. Braine, Robert, "Violin Questions Answered," The EtudeMusic Magazine, LXIV (September, 1942), 633.

274. Dolejsi, Robert, "To Be Or Not To Be (A Fiddler),"Violins and Violinists, IV (May-June, 1942), 202-205.

53

This article discusses the types and shapes of hands

which are not likely to be adaptable to violin playing.

Pizzicato

275. Berkley, Harold, "Violin Questions," The Etude MusicMagazine, LXII (May, 1944), 303.

276. Green, Elizabeth A. H., "Strings," The School Musician,XVIII (November, 1946), 34-35.

The types of pizzicato are listed and discussed in this

article. Common faults in execution of the pizzicato are

discussed.

277. Taylor, Tom, "Everybody's Guide to the Violin," Violinsand Violinists, V (November, 1943), 292-293.

The different means of producing the pizzicato are

discussed in this article.

Position

278. Amey, Ellen, "Why Not Study the Violin," The Etude MusicMagazine, LIX (October, 1941), 677, 708.

The position in which the violin should be held is

described. Exercises to aid the student to acquire

this position are suggested.

279. Anderson, Kenneth, "How to Hold the Violin Comfortably,"The Strad, LVII (July, 1946), 82.

Suggestions for holding the violin are included in this

article. Common faults in holding the violin are listed.

280. Anderson, Kenneth, "How to Hold the Violin Comfortably,"The Strad, LVII (August, 1946), 114, 116.

The purpose and use of the chin rest pad is discussed.

281. Berkley, Harold, "The Violinist's Forum," The EtudeMusic magazine, LXII (August, 1944), 453, 482.

54

The use of the shoulder pad is discussed. Suggestions

for the type of shoulder pad that should be used are

included.


Magazine , LXIII (January, 1945)., 51.

283. Cook, J. Clarence, "The Right Beginning," The EtudeMusic Magazine, LXIII (July, 1945), 381.

This article offers suggestions on the procedure for

students to attain the best position.

284. Dolejsi, Robert, "To Be or Not to Be (A Fiddlex),"Violins and Violinists, IV (January, 1942), 248-250.

285. Goldstein, Hyman, "Painless Violin Playing forBeginners," The Etude Music Magazine, LIX (January, 1941),27-28.

The importance of the position of holding the violin

is discussed. Factors necessary for a good position

are listed. Common faults in position are discussed.

286. Green, Elizabeth A. H., "Developing String Players,"The School Musician, XVI (February, 1945), 8-9, 34.

Suggestions for determining the correct size of violin

for a violin student are included. Suggestions to aid

students to stop "clutching" the bow are given.

287. Hodgson, Percival, "Common Troubles," The Strad, L(July, 1939), 111-113.

This article discusses holding the violin.

288. Jackson, Paul C., "Left Hand Aid for BeginningViolinists," The School Musician, XII (November, 1940),14-15, 38.

289. Masson, Kelvin, "Three of the Violinist's ProblemsSolved," The Etude Music Magazine, LVI (September, 1938),614.

55

Suggestions for holding the violin are included with

the proper position of the left hand fingers and thumb.

290. Norden, Hugo, "On Holding the Violin," The Etude MusicMagazine, LV (November, 1937), 753.

Three reasons are listed on the importance of holding

the violin properly.

291. Norden, Hugo, "The Violinist Corner," Music TeachersReview, Ix (January-February, 1940), 11T-=1.

Suggestions for correcting faulty violin positions are

listed.

292. Taylor, Tom, "Everybody's Guide to the Violin," Violinsand Violinists, IV (December, 1942), 431, 432.

This article includes suggestions for the angle of the

violin. The position of the left elbow, wrist, thumb,

and fingers is described.

293. Waller, Gilbert, "String Clinic," The Instrumentalist,I (September-October, 1946), 28.

294. Yost, Gaylord, "Streamlining Violin Technique," Violinsand Violinists, I (June, 1938), 89.

The basis of mechanical equipment is the posture of the

violinist. Avoid violating physical laws in developing

technique.

Practice

295. Berger, Isadore, "The Violin," The School Musician, IX(June, 1938), 42.

This article includes a suggested practice sehedule.

296. Berkley, Harold, "The Violinist's Forum," The EtudeMusic MaGazine, LXII (August, 1944), 453, 4M77.

Practice suggestions for violinists to regain technical

fluency after a vacation are included.

56

297. *Berkley, Harold, "Mute Practice," The Etude MusicMagazine, LXIII (May, 1945), 261, 290.

This article describes a method of working out technical

difficulties by silent practice. Awkward chords, shift-

ing, and running passages can be worked out without the

use of the bow. Mental hearing of pitches is important.

This type of practice may be very valuable.

298. Berkley, Harold, "The Violinist's Forum," The EtudeMusic Magazine, LXIV (February, 1946),, 81, T1~.

This article discusses the value of playing scales.

299. *Berkley, Harold, "Some Studies of Mazas," The EtudeMusic Magazine, LXIV (November, 1946), 621, WO.

This article discusses the value of various studies

in Book I of Mazas Studies. Study No. 1 is good for

developing tone and expressive playing. Study No. 5

is valuable for intonation and for developing an

expressive detach6 bow stroke. Study No. 11 is an

effective bowing study.

300. *Berkley, Harold, "More About Mazas," The Etude MusicMagazine, LXV (March, 1947), 141, 170.~-~'

This article discusses the second book of Mazas Studies.

Study No* 31 is valuable for developing a flowing tone

quality. Study No. 45 is a study in spiccato bowing.

Study No. 40 develops the use of the higher positions.

301. Bolgen, Kaare E. , "The Violinistts Narrow Road toSpeed," The Strad, XLIX (June, 1938), 61-65.

This article describes means of developing a rapid

passage of music.

57

302. Elman, Mischa, "Making Practice Profitable," The EtudeMusic Mapazine, LIX (June, 1941), 371, 414.

now a student practices is important, not what he

practices. Practice hours are made profitable by

s elf -critic ism.

303. Francis, Robert, "Silent Practice," The Etude MusicMagazine, LVI (January, 1938), 53.

This article offers suggestions for silent practice

for the violin without using the violin or bow. Left

hand technic, shifting, bowing, and the vibrato may be

practiced in this manner.

304. Green, Elizabeth A. H., "Strings," The School Musician,XVIII (September, 1946), 46-47.

The importance of slow practice is discussed. How to

practice slowly and what to listen for when practicing

slowly are included.

305. Kortschaak, Hugo, "Elements of Effective Practicing,"Violins and Violinists, I (October, 1938), 254, 255.

Satisfactory effects result from practicing and under-

standing the elements of artistic playing. A student

should be able to appraise his own work.

306. Taylor, Tom, "Everybody's Guide to the Violin," Violinsand Violinists, V (May, 1943), 78-80.

Suggestions on how to practice are included in this

article. The value of practicing and the importance of

practicing scales are discussed.

307. Taylor, Tom, "Everybody's Guide to the -Violin," Violinsand Violinists, V (September, 1943), 186-187.

Suggested division of practice time for violin students

of various stages of advancement is included in this article.

58

308. Wells, Kate Merrell, "Repertoire Maintenance," The EtudeMusic Magazine, LXIII (January, 1945), 21, 52.

A violinist should allow time during the practice routine

for keeping the repertoire in readiness for performance.

Suggestions for staggering practice schedule to allow

for repertoire maintenance are included.


information:

309. Berkley, Harold, "Violin Ouestions," The Etude MusicMagazine, LXV (April, 1947), 231.

310. Berkley, Harold, "The Violinist's Forum," The EtudeMusic Magazine, LXIII (October, 1945), 561.

311. Berkley, Harold, "The Violinist's Forum," The EtudeMusic Magazine, LXIII (December, 1945), 685, 723.

312. Berkley, Harold, "The Violinist 's -Forum," The EtudeMusic Magazine, LXIV (October, 1946), 561.

313. Braine, Robert, "Violin Questions Answered," The EtudeMusic Magazine, LXVI (September, 1938), 616.

314. Cramer, Edward, "Cramer s Forum," Violins and Violinists,I (October, 1938), 273-274.

315. Menuhin, Yehudi, and Applebaum, Samuel, "A NotedViolinist's Road to Musical Victory," The Etude MusicMagazine, LXI (April, 1943), 241.

316. Meyer, Roland E., "The Violinist Corner," Music TeachersReview, VII (January-February, 1938), 174-175.

317. Meyer, Roland E., "The Violinist Corner," Music TeachersReview, VII (March-April, 1938), 222-223.

318. Morini, Erica and Applebaum, Samuel, "With the Artists,"Violins and Violinists, VIII (January, 1947), 518-523.

319. Osgood, Marion, "The Recovery of a Weakened ViolinTechnique," The Etude Music Magazine, LX (August, 1942),527.

59

320. Pittenger, Mabel W., "How to Make Practice Efficient,"The Etude Music Magazine, LVI (October, 1938), 686-687.

321. Szigeti, Joseph and Applebaum, Samuel, "With the Artists,"Violins and Violinists, VIII (February-March, 1947), 70-73.


Sight Reading

322. Brain, Robert, "Violin questions Answered," The EtudeMusic Magazine, LVII (December, 1939), 820.

323. Foederl, Leopold, "Some Suggestions on Sight Reading,"Violins and Violinists, II (July-August, 1939), 82-83.

324. Meyer, Roland, "The Violinist Corner," Music TeachersReview, VII (May-June, 1938), 272-273.

Tone

325. Baxter, Charles, "Violin Tone Production," The Strad,LVII (February, 1947), 298-299.

Good tone quality on the violin demands firm and

accurate stopping, correct speed and pressure of the bow,

and, bowing in the same spot on the string.

326. *Berkley, Harold, "The Violinist's Forum," The EtudeMusic Magazine, LXII (February, 1944), 93.

Producing a big tone on the violin is discussed in this

article. The violin, left hand fingers, and the bowing

technique of the violinist are factors which affect the

tone of the violin. The tone can be improved by better

use of the bow.

327. Brain, Robert, "Violin Questions Answered," The EtudeMusic Magazine, LIX (September, 1941), 709.

The causes of "squeaking" in the violin tone are


60

328. Bryant, Leo Cullen, "Violin Tone," The Etude MusicMagazine, LX (May, 1942), 313, 342.

This article discusses factors which contribute to a

good violin tone. The point of contact between the

bow and string is important.

329. Caldwell, Raleigh, "Rattles, Buzzes and Knocks," TheEtude Music Magazine, LVII (April, 1939), 276-277.

This article discusses the causes of unmusical sounds

from the violin, and gives suggestions for testing and

correcting these sounds.

330. Glenn, Carroll, "Hints for the Young Violinists," TheEtude Music Magazine, LXI (December, 1943), 773, 82TT.~

The importance of "controlled weight" for a big tone is

discussed in this article. Suggestions for practice

for developing a good tone are included.

331. *Meyer, Otto, "Basic Principles of Tone Production,"Violins and Violinists, V (May, 1943), 70-72.

A good violin in good condition is essential for good

tone quality. The pressure of the left hand fingers

and bowing factors are important. Practice suggestions

for acquiring good tonal characteristics are discussed.

332. Norden, Hugo., "The Violinist Corner," Music TeachersReview, VIII (May-June, 1939), 220-221.

A discussion of factors for quality and volume of tone

is included in this article.


information:

333. Applebaum, Samuel, "Violin Bowings--How and When To TeachThem," The Etude Music Magazine, LX (April, 1942), 241, 270.

61


335. Brain, Robert, "Violin Questions Answered," The EtudeMusic Magazine, LIX (December, 1941), 853.

336. Briselli, Iso, "The Basis of Violin Playing Today,"The Etude Music Magazine, LVIII (October, 1940), 659, 702.

337. Horne, Dorothy, "This Matter of Tone," The Etude MusicMagazine, LVIII (December, 1940), 819, 8.8

338. McCorkle, Gordon, "The Surface Tone," The Etude MusicMagazine, LVII (March, 1939), 203.

339. Reider, Kathryn, "The Violinist Draws a Tone," The EtudeMusic Magazine, LXIV (March, 1946), 141.

340. Taylor, Tom, "Everybody's Guide to the Violin," Violinsand Violinists, V (May, 1943), 78.

Tuning

341. Braine, Robert, "Violin Questions Answered," The EtudeMusic Magazine, LXI (March, 1943), 201.

342. Golpin, Benjamin E., "How to Teach a Beginner to TuneHis Violin by His Own Ear," The Etude Music Magazine,LVII (May, 1939), 342-343.

This article offers suggestions for devices to help

a young violin student to tune his own violin.

343. Berkley, Harold, "The Violinist's Forum," The EtudeMusic Magazine, LXII (April, 1944), 213-252.

This article lists factors that cause difficulties in

tuning the violin.

Vibrato

344. Berkley, Harold, "A Well-Developed Vibrato," The EtudeMusic Magazine, LXII (July, 1944), 393-422.

This article suggests the proper time in the violin

student's development that the vibrato should be introduced

62

and taught. Procedure for teaching the vibrato is

discussed. Close observation is necessary to avoid

acquiring bad habits.

345. Berkley, Harold, "The Violinist's Forum, The EtudeMusic Magazine, LXIII (April, 1945), 201, 230.

Relaxation is important in acquiring a good vibrato.

346. Berkley, Harold, "The Violinist's Forum," The EtudeMusic Magazine, LXV (February, 1937), 81, 170o

This article offers suggestions for overcoming a

"false" vibrato.

347. Braine, Robert, "Violin Questions Answered," The EtudeMusic Magazine, LVI (July, 1938), 478.

Suggestions for playing the vibrato in first position

are included in this article.

348. Braine, Robert, "Violin Questions Answered," The EtudeMusic Magazine, LVIII (May, 1940), 343.

This article discusses the effectiveness of the vibrato

at different pitches.

349. Braine , Robert, "Violin Questions Answered," The EtudeMusic Magazine, LXI (September, 1943), 609.

Suggestions for teaching the vibrato are discussed in

this article.

350. Cramer, Edward, "Cramer's Forum, " Violins and Violinists,I (August, 1938), 201.

The violin player must develop three separate skills in

acquiring the vibrato. The wrist movement in playing the

vibrato is discussed.

351. Cramer, Edward, "Cramer's Forum," Violins and Violinists,I (September, 1938), 233.

63

Suggestions for correcting a faulty, "bleating" vibrato

are included. The left hand position is important. The

vibrato should always be practiced rhythmically.

352. Horne, Dorothy, "This Matter of Tone," The Etude MusicMagazine, LVIII (December, 1940), 819, 848~

Suggestions on introducing the vibrato are included.

353. Menuhin, Yehudi, and Applebaum, Samuel, "A NotedViolinist's Road to Musical Victory," The Etude MusicMagazine, XI (April, 1943).

Advice for developing and practicing the vibrato is


354. Morrocco, W. Thomas, "Helpful Hints on the Vibrato,"Violin and Violinists, VIII (January, 1947), 538-539.

The mechanics of the vibrato can be taught. The movement

of the wrist and the finger in producing the vibrato is

described. Exercises and illustrations are included in

this article.

355. Norden, Hugo, "The Violinist Corner," Music TeachersReview, IX (November-December, 1939), 63-64.

Suggestions for teaching the vibrato are included, along

with a discussion of when it should be used.

356. *Radmall, P., "Vibrato," The Strad, LVII,(April, 1947),366-368.

This article discusses two old methods of teaching the

vibrato. It offers suggestions for beginning the study

of the vibrato. The positions of the arm, wrist, and

fingers are described. The proper movement is discussed.

Teaching suggestions are included.

64

357. Rosnes, Franz, "On the Vibrato," Violins and Violinists,VIII (May, 1947), 157-159.

This article discusses the different methods of executing

the vibrato. The thumb and finger position is important.

358. Simonson, Saks, "The Art of the Vibrato," The EtudeMusic Magazine, LVII (January, 1939), 58.

It is important that the left hand be free from holding

the violin. The speed of the vibrato is discussed.

Suggestions for teaching the vibrato are included.


The vibrato in high positions is discussed. The vibrato

in playing octaves is discussed.


information:

360. Bassofsky, Herman, "Shadow Practicing the Vibrato," TheEtude Music Magazine, LVII (April, 1939), 277.


362. Berkley, Harold, "Violin Questions," The Etude MusicMagazine, LXII (December, 1944), 723.

363. Braine, Robert, "Violin Questions Answered," The EtudeMusic Magazine, LVII (January, 1939), 60..

364. Braine, Robert, "Violin Questions Answered," The EtudeMusic Magazine, LVII (May, 1939), 344.

365. Braine, Robert, "Violin questions Answered," The EtudeMusic Magazine, LVII (August, 1939), 540.

366. Braine, Robert, "Violin Questions Answered," The EtudeMusic Magazine, LVI (February, 1938), 122.

367. Braine, Robert, "Violin Questions Answered," The EtudeMusic Magazine, LVI (September, 1938), 616.

65

368. Briselli, Iso, "The Basis of Violin Playing Today,"The Etude Music Magazine, LVIII (October, 1940), 659, 702.

369. Cramer, Edward, "Cramer's Forum," Violins and Violinists,I (November, 1938), 311.

370. Glenn, Carroll, "Hints for the Young Violinists," TheEtude Music Magazine, LXI (December, 1943), 773, 82T4

371. Masson, Kelvin, "Three of the Violinist's ProblemsSolved," The Etude Music Magazine, LVI (September, 1938),614.

372. Meyer, Otto, "Basic Principles of Tone Production,"Violins and Violinists, V (May, 1943), 70-72.

373. Rieder, Kathryn, "The Violinist Draws -a Tone," TheEtude Music Magazine, CCIV (March, 1946), 141.

374. Szieti, Joseph and Applebaum, Samuel, "With theArtists," Violins and Violinists, VIII (April, 1947),98-104.

375. Taylor, Tom, "Everybody's Guide to the Violin," Violinsand Violinists, V (May, 1943), 78-80.

Violoncello

376. *Stanfield, M. B., "Some Problems of 'Cello Playing,"Violins and Violinists, II (January, 1940), 186-187;and The Strad, XLVIII (January, 1938), 405-406.

Suggestions for the development of a free bow arm are

included in this article. The speed and the pressure

of the bow are discussed. Suggestions for the amount

of bow hair to use are included.

377. Stanfield, M. B., "'Cellistic Difficulties," Violinsand Violinists, VI (August, 1944), 63-65, 78; andThe Strad, L (March, 1940), 415-416.

This article discusses bowing difficulties when the arm

seems too short for a full bow stroke. A description of

how the bow should travel across the strings is included.

66

378. Stanfield, M. B., "'Cellistic Difficulties," Violinsand Violinists, VI (October, 1944), 161-164; and TheStrad, LI (July, 1940)., 75-76.

This article discusses bad bowing habits that are

easily acquired. The bow should be drawn a certain

distance from the bridge. Bowing and fingering must

be independent.

379. Stanfield, M. B., "Some Problems of tCello Playing,"The Strad, XLIX (June, 1938), 69-70.

A description with illustrations for holding the bow

is included.

380. *Stanfield, M. B., "Some Problems of 'Cello Playing,"

T1hw Strad, XLIX (October, 1938), 257-258.

The right hand fingers control the tone of the 'cello

through the bow. Emphasis in certain passages may be

obtained by tightening the bow grip and by quickening

and retarding the speed of the bow. The bowing for

groups, of legato and staccato notes is explained.

381. Stanfield, M. B., "Some 'Cellistic Landmarks," TheStrad, LV (June, 1944), 36, 38.

A description of the technic of "rolling the bow" is


382. Stanfield, M. B., "Some 'Cellistic Landmarks," TheStrad, LVI (May, 1945), 14-16.

This article incldes two reasons for the necessity

of acquiring dexterity in bowing. Two factors are

listed on which the 'cello student should concentrate

in bowing.

67

383. Stanfield, M. B., "Some 'Cellistic Landmarks," TheStrad, LV (August, 1944), 81-82.


384. *Long, Leland R., "The Hand Position of VioloncelloTechnic," The Etude Music Magazine, LVII (February,1939), 130.

It is important that the student keep his fingers over

the strings. The cellist should learn to "measure"

the intervals he is to play. This article explains

the closed or chromatic position and the open or

extended left hand position. Suggestions are included

for teaching the closed position, the position of the

fingers on the fingerboard, and the use of the thumb.

385. Long, Leland R., "The Hand Position of VioloncelloTechnic," The Etude Music Magazine, LVII (Marbh, 1939),202.

This article explains the "stretch" position for the

left hand. Stretching the hand is important for good

intonation.

386. Potter, Louis A., "The Violoncello," The Instrumentalist,I (May-June, 1947), 14-15.

This article offers suggestions for teaching students

the correct left hand position for the 'cello. The

left hand thumb changes with each position and string

change.

387. Stanfield, M. B., "Some 'Cellistic Landmarks," LV(March, 1945), 254, 256.

This article discusses the thumb position (a high

position in 'cello shifting).

68

388. Stanfield, M. B., "Some 'Cellistic Landmarks," TheStrad, LV (December, 1944), 180, 182, 184.

This article includes suggestions for playing scales.

The fingering and positions for the F melodic minor

scale are included.

389. Stanfield, M. B., "'Cellistic Difficulties," Violinsand Violinists, VI (October, 1944), 161,164; and TheStrad, LI (August, 1940), 94-95.

This article discusses various problems concerning

the left hand in cello playing. Suggestions for the

position of the fingers on the strings and for putting

the fingers down are included. The left hand is im-

portant for tone continuity. Single string scale

practice is very valuable.

390. Stanfield, M. B., "'Cellistic Difficulties," Violinsand Violinists, VI (November, 1944), 196-199; and ThSErad, LI (October, 1940), 148, 150, 152.

The thumb position (8th position) is discussed. A

suggestion for using the pizzicato previous to playing

notes in the thumb position is included.

391. *Stanfield, M. B., "Some Problems of 'Cello Playing,"Violins and Violinists, III (April, 1941), 180-183.

This article discusses the causes of smears and smudges

in the tone when moving the fingers from one note to

another. Suggestions are included to improve the

technique of changing positions. Finger extensions are

discussed. Stretching fingers improves the technical

equipment of the 'cellist. Suggestions for developing

finger extensions are included.

69

392. Stanfield, M. B., "Some Problems of 'Cello Playing,"Violins and Violinists, IV (January, 1942), 54, 64;and The LIX November, 1938), 314, 316.

This article is a good discussion of the thumb position

(8th position).

393. Stanfield, M. B., "Some Problems of 'Cello Playing,"Violins and Violinists, III (June, 1940), 11-12, 32;and The Strad, XLVIII (March, 1938), 501-502.

This article discusses the development of a percussive

finger control for strength and flexibility in the

fingers. Finger patterns are discussed. The C

melodic minor scale establishes four different finger

patterns.

394. Stanfield, M. B., "'Cellistic Difficulties," The Strad,L (January, 1940), 349-350.

395. Stanfield, M. B., "tCellistic Difficulties," The Strad,L (February, 1940), 382-383.

396. Stanfield, M. B., "'Cello Practice and Program Building,"Violins and Violinists, IV (October, 1942), 318-319, 3361and eTh Strad, XLIX (February, 1939), 447-448.

397. Stanfield, M. B., "'Cellistic Difficulties," Violinsand Violinists, VI (January, 1945), 229-233;and The Strad,LI (December, 1940), 194, 196-197.

398. Stanfield, M. B., "Some 'Cellistic Landmarks," The Strad,LV (October, 1944), 129-130.

399. Suter, Joseph, "Major Scales on the Violoncello," TheEtude Music Magazine, LV (July, 1937), 476.

This article discusses fingering the E flat, F, G, A, and

B flat major scales by applying finger patterns. Rules

are included with instructions for using them at the

correct time.

400. Waller, Gilbert, "Orchestra Department," Texas MusicEducator, V (January, 1941), 10-11.

70

Interpretation

401. Stanfield, M. B., "Some 'Cellistic Landmarks.," The Strad,

LV (June, 1944), 36, 38.

Technical problems in the first movement of the Brahms

Sonata in E Minor for Violoncello are discussed.

402. Stanfield, M. B., "Some 'Cellistic Landmarks," TheStrad, LV (August, 1944), 81-82.

Technical problems in the second movement of the

Brahms Sonata in E minor for Violoncello are discussed.

403. Stanfield, M. B., "Some 'Cellistic Landmarks," The Strad,

LV (September, 1944), 105-106.

The trio section of the second movement of the Brahms

Sonata in E minor is reviewed in this article.

404. Stanfield, M. B., "Some 'Cellistic Landmarks," The Strad,LV (October, 1944), 129-130.

The third movement of the Brahms sonata in E minor is

discussed. Suggestions are offered for preparing it

for performance.

405. Stanfield, M. B., "Some 'Cellistic Landmarks," The Strad,LVII (May, 1946), 12-14.

This article includes suggestions for fingering and

shifting in Kol Nidrei by Max Bruch.

406. Stanfield, M. B., "Some 'Cellistic Landmarks," TheStrad, LVII (June, 1946), .43-44.

Bowing suggestions for Kol Nidrei by Max Bruch are


407. Stanfield, M. B., "Some 'Cellistic Landmarks," The StradLVII (July, 1946), 75-76.

Suggestions are included for bowing and tone color in

Kol Nidrei by Max Bruch.

71

408. Stanfield, M. B., "Some 'Cellistic Landmarks," TheStrad, LVII (August, 1946), 116, 118, 120.

Suggestions for bowing, phrasing and fingering the

first movement of the Sonata in A minor for 'cello

and piano by Edward Grieg.

409. Stanfield, M. B., "Some 'Cellistic Landmarks," The Strad,LVII (September, 1946), 137-138.

This article includes suggestions for performing the

second and third movements of the Grieg Sonata in A

minor.

410. Stanfield, M. B., "Some 'Cellistic Landmarks," The Strad,LV (May, 1944), 9-10.

Some technical problems in the first movement of the

Brahms Sonata in E minor are discussed in this article.

411. Stanfield, M. B., "tCello Practice and Program Building,"Violins and Violinists, IV (August-September, 1942),282-284; and-The Strad, XLIX (January, 1939), 408-409,410.

Suggestions for playing a figure that begins on the up-

beat of a measure. An excerpt of Pergolese's Tre Giorni

is included with suggestions for practicing beginning on

the up-beat. Suggestions are included for the second and

third sections of this composition.

412. Stanfield, M. B., "'Cello Practice and Program Building,"Violins and Violinists, IV (October, 1942), 318-319, 336;andThE trad, XLIX (February, 1939), 447-448.

An excerpt of Corellits Grave in G minor is included in

this article. Suggestions for beginning the composition

with certainty, stretching the fingers and shifting,

phasing, and using the vibrato for this composition are

included.

72

413. Stanfield, M. B., "' Cello Practice and Program Building,"Violins and Violinists., IV (November, 1942), 370-371, 396;The Strad, XLIX (March, 1939), 499-500.

Suggestions for playing the two-tone up-bow dtach6 stroke

in Gavotte in Olden ty by Noel Johnson are included in

this article. A discussion of the leato style, bowing

and accents is included. The up-bow d6tach6 for the

Minuet by Valensin is discussed.

414. Stanfield, M. B., "'Cello Practice and Program Building,"Violins and Violinists, IV (December, 1942), 422, 423;and THeI SWtad, XL 7April, 1939), 545-546.

Discussion ofl Wiegenlied by Schubert, Chanson a Berces

by Schmitt, and Air by Hure is included in this article.

415. Stanfield, M. B., "'Cello Practice and Program Building,"Violins and Violinists, IV (January, 1943),462-463; andThe StradL7 ay, 1939), 19-20.

Suggestions for the tempo, accents, bowing, phrasing,

and fingering of the Sonata No. 2 in C or by Cervatto


416. Stanfield, M. B., "'Cello Practice and Program Building,"Violins and Violinists, IV (February, 1943), 507-509;andTe Strad, L (June, 1939), 70-71.

Suggestions for shifting, intonation, interpretation,

and tone quality for the Handel Sonata in G minor are


417. Stanfield, 14. B., "'Cello Practice and Program Building,"Violins and Violinists, V (March-April, 1943), 24-25; 41;and The Ntad, L (July, 1939), 120-122.

The Vivaldi Concerto in D and the Couperin Pieces en

Concert are discussed in this article.

73

418. Stanfield, M. B., "tCello Practice and Program Building,"Violins and Violinists, V (May, 1943), 74-75; andT Fe St r! d~,~~L(August2,1939) ,158-159.

The interpretation, phrasing, and technical difficulties

of the Romanze ohne Worte by Mendelssohn are discussed

in this article.

419. Stanfield, M. B., "'Cello Practice and Program Building t'Violins and Violinists, V (June, 1943), 93-94; and TheStrad, L~Tseptember, 1939), 200-201.

Abendlied by Schubert and Waldesruhe by Dvorak are dis-

cussed in this article.

420. Stanfield, M. B., "'Cello Practice and Program Building,"Violins and Violinists, V (September, 1943), 208-209;and The Strad, L (November, 1939), 287-288.

421. Stanfield, M. B., "tCello Practice and Program Building,"Violins and Violinists, V (October, 1943), 258-259; andThe StraT7~L7TDecember,, 1939), 318-319.

422. Stanfield, M. B., "'Cellistic Difficulties," Violinsand Violinists, VI (August-September, 1945), 523-526.

Intonation

423. Stanfield, M. B., "Some Problems of 'Cello Playing,"Violins and Violinists, III (January-February, 1941),147-148; and The StradXLIX (June, 1938), 80, 82, 84.

Intonation difficulties on the 'cello are compared

with those on the violin. Training the fingers is

important. Difficulties in finding positions and

placing the fingers are discussed. Intonation is

governed by the desire to play in tune and the keenness

of aural perception of the individual.

74

Memory

424. Stanfield, M. B., "'Cellistid Difficulties," Violinsand Violinists., VI (March-April, 1945), 330-333; and

ie Strad, LI (April, 1941), 294-295.


Performance

425. Stanfield, M. B., "'Cellistic Difficulties," Violinsand Violinists, VI (February, 1945), 280-283; and TheStrad, LI (February, 1941)., 238k 240.

This article discusses the preparation that must be

made by the cellistt before appearing in a recital.

Tuning, selecting a chair, warming fingers, and

allowing sufficient time for preparation are included

in this discussion.

426. Stanfield, M. B., "Practicing for Performance," TheStrad, LVII (March, 1947), 331-332.

Pizzicato

427. Potter, Louis A., "The Violoncello," The Instrumentalist,I (May-June, 1947), 14-15.

428. Stanfield, M. B., "Some 'Cellistic Landmarks," The Strad,LVI (September, 1945), 108, 110, 112.

The various types of pizzicato for the violoncello are

discussed in this article. The quick change from

pizzicato to arco is discussed.

Position

429. Potter, Louis A., "The Violoncello," The Instrumentalist,I (May-June), 14-15.

The position of the player and the instrument is discussed

in this article.

75

430. Stanfield, M. B., "'Cellistic Difficulties," The Strad, L(April, 1940), 447-448.

This article discusses the relation of the seating position

with the bowing of a tcello. The special physical charac-

teristics of an individual require adjustment of the posi-

tion of holding the 'cello.

431. Stanfield, M. B., "Some Problems of 'Cello Playing,"The Strad, XLVIII (January, 1938), 405-408; and Violinsan d Violinists, II (January, 1940), 186-187.

The 'cellist should learn to make the instrument balance.

This article includes a description of the playing posi-

tion of the 'cellist. Suggestions for the correct length

of the peg are included in this article.

432. Stanfield, M. B., "Some Problems of' Cellos Playing,"The Strad, XLVIII (February, 1938), 468, 470; and Violinsand Violinists, II (March, 1940), 218-219, 233.

433. Waller, Gilbert, "String Clinic," The Instrumentalist,1 (September-October, 1946), 28-29.

See articles numbers 35 and 36 of this index.

Practice

434. *Stanfield, M. B., "Some Problems of 'Cello Playing,"Violins and Violinists, III (September, 1940), 53-54;The Strad, XLVIII (April, 1938), 551-552.

Training the independence of the hands is discussed in

this article. Studies or scale and arpeggio practice

are both valuable for developing independence of hands.

Scales and arpeggios should be studied with different

bowing and rhythmic patterns.

435. Stanfield, M. B., "Cellistic Difficulties," Violins

and Violinists, VI (July, 1945), 479-482.

This article offers suggestions for practice procedure

76

after an extended vacation by the 'cellist.

436. Stanfield, M. B3., "Some Problems of 'Cello Playing,"Violins and Violinists, IV (February, 1942), 107-108;and The Strad, XLIX (December, 1938), 344-345.

Teaching

437. Feuermann, Emanuel, "The Contralto of the String Family,"The Etude Music Magazine, LVIII (September, 1940), 584, 630.

Violoncello teaching should be divided into two phases.

In the first phase teach the instrument, how it is

played, and how it is constructed. The second phase

should comprise interpretation based on technical

achievement. Other pedagogical ideas are discussed in

this article.

438. Stanfield, M. B., "Cellistic Difficulties," Violinsand Violinists, VI (September, 1944), 124-127; The Strad,I(May, 1940), 14-15; and The Strad, LI (June,T4U T747-48.

This article discusses devices to aid in the training

of the 'cello student. The full length mirror has

certain advantages during the practice period.

439. Stanfield, M. B.,"'Cellistic Difficulties," Violins andViolinists, VI (May, 1945), 388-391.

Tone

440. Stanfield, M. B., "Some Cellistic Landmarks," The Strad,LV (January, 1945), 204, 206.

This article discusses tone quality and tone color on the

violoncello.

441. Stanfield, M. B., "'Cellistic Difficulties," Violins andViolinists, VI (November, 1944), 196-199; and The Strad~7LI (SeTtember, 1940), 124, 126, 128.

77

442. Stanfield, M. B., "'Cellistic Difficulties," Violinsand Violinists, VI (June, 1945), 434-437.

Vibrato

443. Berkley, Harold, "Violin Questions," The Etude MusicMagazine, LXIV (April, 1946), 231.

This article includes suggestions for the vibrato on

the violoncello. It suggests the proper stage of

development of the 'cellist that the vibrato should be

introduced.

444. Stanfield, M. B., "Some Problems of 'Cello Playing,"Violins and Violinists, III (November-December, 1940),107-P108;~OOidThe Strad, XLIX (May, 1938), 28-29.

This article discusses the different types of vibrato

used for different effects in 'cello playing.

445. Stanffield,,M. B., "'Cellistic Diffficulties," Violinsand Violinists, VI (January, 1945), 229-233; and TheStrad, LI (November, 1940), 173-174.

The relation of the vibrato to phrasing is discussed.

Suggestions for developing the vibrato are included.

446. Stanfield, M. B., "'Cello Practice and Program Building,"Violins and Violinists, IV (October, 1942), 318, 319, 336;and The Strad, XLIX (February, 1939), 447-448.

INDEX C

WOODWINDS

Alto Clarinet

(See Bass and Alto Clarinet).

Bass and Alto Clarinet

Embouchure

447. Revelli, William D., "Band Questions and Answers,"

The Etude Music Magazine, LXI (December, 1943), 833.

The correct embouchure for the alto clarinet is

described in this article.

Fingering

448. Stang, Thomas, "The Alto and Bass Clarinets," TheSchool Musician, XIV (November, 1942), 20-21.

Difficult fingering combinations on the bass and alto

clarinets are discussed in this article.

449. Stang, Thomas, "The Alto and Bass Clarinets," TheSchool Musician, XV (October, 1943), 28.

The size and the mechanism of the bass and alto clari-

nets cause difficulties in using regular and alternate

fingerings.

450. Stang, Thomas, "The Alto and Bass Clarinets," The SchoolMusician, XVI (October, 1944), 35.

A discussion of the advantages and disadvantages of the

low E flat key on the bass clarinet.

78

79

451. Warmelin, Clarence, "Clarinet 'Qis' and 'A's'," TheSchool Musician, IX (January, 1938), 43-45.

The octave key on the alto clarinet is discussed in

this article.

452. Warmelin, Clarence., "Warmelin School of Woodwinds ,f"The School Musician, X (November, 1938), 39-40.

Intonation

453. Stang, Thomas, "The Alto and Bass Clarinets," TheSchool Musician, XIV (October, 1942), 27.

The intonation of the "throat" tones may be aided

by following the suggestions in this article.

454. Stang, Thomas, "The Alto -and Bass Clarinets," TheSchool Musician, XIV (March, 1943), 30.

Trill keys may be of use in correcting the intonation

of "throat" tones.

455. Stang, Thomas, "The Alto and Bass Clarinets," TheSchool Musician, XVI (January, 1945), 22.

Suggestions for correcting instrument that plays flat,

for tuning the ins trument, and for repairing out of

tune instrument are all included in this article.

Mechanics

456. Stang, Thomas, "The Alto and Bass Clarinets," TheSchool Musician, XIII (February, 1942), 33.

The octave key mechanism and pads may cause difficulties

in playing the alto and bass clarinets.

457. Stang, Thomas, "The Alto and Bass Clarinets," The SchoolMusician, XV (January, 1944), 20.

Poor fitting of joints of the bass and alto clarinets

may cause lack of response of tones from the instrument.

80

458. Stang, Thomas, "The Alto and Bass Clarinets," The

School Musician, XVI (September, 1944), 21.

The advantages and disadvantages of key rings and

covered key holes are discussed.

Position (Holding the Instrument)

459. Stang, Thomas, "The Alto and Bass Clarinets," The

School Musician, XIII (December, 1941), 36.

The proper position of holding the alto and bass

clarinets is included with an illustration of the

correct position.

Practice

460. Stang, Thomas, "The Alto and Bass Clarinets," _The

School Musician, XVI (January, 1945), 22.

Suggestions on "warming-up" the instrument are included

in this article.

461. Stang, Thomas, "The Alto and Bass Carinets," The

School Musician, XVI (May, 1945), 27.

The literature for the B flat clarinet is valuable

practice material for alto and bass clarinet.

462. Warmelin, Clarence, "Warmelin School of Woodwinds,"

The School Musician, X (April, 1939), 34-35.

A suggested practice routine for alto clarinet is


Reed Problems

463. Stang, Thomas, "The Alto and Bass Clarinets," The School

Musician, XVII (April, 1946), 26-27.

Suggestions for selecting and testing reeds are included

in this article, as well as a discussion of the high

register requirements of reeds.

81

Register

464. Stang, Thomas, "The Alto and Bass Clarinets," The SchoolMusician, XVIII (September, 1946), 48.

This article offers suggestions for playing high notes

and for developing the high register of the alto and

bass clarinets.

465. Stang, Thomas, "The Alto and Bass Clarinets," TheSchool Musician, XIII (February, 1942), 33.

466. Warmelin, Clarence, "Warmelin School of Woodwinds,"The School Musician, IX (February, 1938), 41-43.

A discussion of the high register of the bass clarinet

is given in this article.

Tone Production

467. Stang, Thomas, "The Alto and Bass Clarinets,," TheSchool Musician, XIII (February, 1942), 33.

Reasons for poor response in the upper register of the

alto and bass clarinets are cited.

468. Stang, Thomas, "The Alto and Bass Clarinets," The SchoolMusician, XIII (May, 1942), 27.

Reasons for poor response of tones above the middle

register G on the bass clarinet are given.

469. Stang, Thomas, "The Alto and Bass Clarinets," The SchoolMusician, XV (April, 1944), 30.

This article discusses the volume requirements for alto

and bass clarinets. Good embouchure and good mechanical

condition of the instrument are important.

82

Tone Quality

470. Stang, Thomas, "The Alto and Bass Clarinets," The School

4u Ician, XIV (June, 1943), 27.

Suggestions for improving a "stuffy" tone on B natural

on the alto and bass clarinets are listed in this

article.

471. Stang, Thomas, "The Alto and Bass Clarinets," The SchoolMusician, XV (June., 1944), 11, 29.

The tone color possibilities of the bass clarinet are

discussed.

Bassoon

Breath Control and Breathing

472. *Spratt, Jack, "The Double Reed Classroom," The SchoolMusician, XVIII (May, 1947), 36.

This article explains the proper way for reed players to

take breaths. Breath control is important in "carrying"

the tone. The open throat and the physical aspects of

breath control are discussed in this article.

Elementary

473. Spratt, Jack, "The Double Reed Classroom," The SchoolMusician, XVIII (January, 1947), 33.

This article includes suggestions for a beginning bassoon

student. It suggests the order that the various tones

should be introduced.

Embouchure

474. Spratt, Jack, "The Double Reed Classroom," The SchoolMusician, XVI (April, 1945), 22-23.

83

The amount of reed to be placed between the lips is

explained and discussed in this article.


The bassoon embouchure is discussed in this article.

476. Waln, George E., "Woodwind Clinic," The Instrumentalist,I (May-June, 1947), 11-13.

A discussion and description of the bassoon embouchure

is included.

477. Warmelin, Clarence, "Warmelin School of Woodwinds,"The School Musician, XII (December, 1940), 29.

Fingering

478. *Spratt, Jack, "The Double Reed Classroom," The SchoolMusician, XVIII (December, 1946), 36.

The use of the left thumb keys and buttons with illus-

trations are included.


480. Warmelin, Clarence, "Warmelin School of Woodwinds," TheSchool Musician, IX (May, 1938), 41.

Fingerings are suggested for high F sharp and high A.

481. Warmelin, Clarence, "Warmelin School of Woodwinds," TheSchool Musician, IX (June, 1938), 39*440.

Fingering for thD trill, F sharp and G sharp, is included

in this article, with suggestions for executing trills.

482. Warmelin, Clarence, "Warmelin School of Woodwinds," TheSchool Musician, X (September, 1938), 41.

Fingering for the trill, A flat and B flat, is included

in this article.

84

483. Warmelin, Clarence, "Warmelin School of Woodwinds," TheSchool Musician, X (October, 1938), 41.

484. Warmelin, Clarence, "Warmelin School of Woodwinds," TheSchool Musician, X (December, 1938), 31.

485. Warmelin, Clarence, "Warmelin School of Woodwinds," TheSchool Musician, X (May, 1939), 34.

Intonation

486. Spratt, Jack, "The Double Reed Classroom," The SchoolMusician, XVII (May, 1945), 36.

Playing slightly sharp in the middle register is often

caused by the bassoon playeTzs using too tight an

embouchure.

487. Spratt, Jack, "The Double Reed Classroom," The SchoolMusician, XVIII (February, 1947)., 33.

Suggestions for correcting the intonation of middle F

sharp and G on the bassoon are included in this article.


489. Warmelin, Clarence, "Warmelin School of Woodwinds," TheSchool Musician, IX (April, 1938), 41-42.

A fingering is suggested to correct theiintonation of

high F sharp.

Position

490. Russell, Myron E., "Problems of the Bassoon Player andBassoon Reed Making," The Etude Music Magazine, LXIII(November, 1945), 618,652.

The position of the bassoon and the bassoon player is



Suggestions on the use of the crutch and the neck strap

85


Reed Problems

492. *Russell, Myron E., "Problems of the Bassoon Player:and Bassoon Reed Making," The Etude Music Magazine,LXIII (November, 1945), 687652.

This article describes the care and adjustment of

bassoon reeds. A description of the process of making

bassoon reeds is included in this discussion.

493. Spratt, Jack, "The Double Reed Classroom," The SchoolMusician, XVI (March, 1945), 32-33.

Choice of the bassoon reed is discussed in this article.

Suggestions for testing and repairing a reed for best

results are included.

494. *Spratt, Jack, "The Double Reed Classroom," The SchoolMusician, XVII (March, 1946), 36-37.

This article explains how a reed may be opened or closed

and how it may be softened for better use of the bassoon

player. Suggestions are included for choosing and test-

ing the double reed. A discussion of the response of

the reed is included.

495. Spratt, Jack, "The Double Reed Classroom," The SchoolMusician, XVII (April, 1946), 16.

A list of tools needed for making bassoon reeds is

included with a discussion of the advantages of the

bassoon player making his own reeds.

496. Spratt, Jack, "The Double Reed Classroom," The SblhoolMusician, XVII (December, 1945), 31.


86


499. Warmelin, Clarence, "Warmelin School of Woodwinds," TheSchool Musician, X (December, 1938), 31-32.

Reed problems for the bassoon are discussed in this

article.

Tone Production

500. Warmelin, Clarence, "Warmelin School of Woodwinds," TheSchool Musician, IX (March, 1938), 41-42.

This article offers suggestions to obtain better response

of certain notes on the bassoon.

501. Warmelin, Clarence, "Warmelin School of Woodwinds,"The School Musician, X (November, 1938), 39-40.

A discussion of the difficult response of the low tones

on the bassoon is included in this article.

502. Warmelin, Clarence, "Warmelin School of Woodwinds,"The School Musician, X (June, 1939), 40.

503. Warmelin, Clarence, "Warmelin School of Woodwinds,"The School Musician, XII (November, 1940), 36.

This article includes suggestions for producing the low

tones on the bassoon.

Tone Quality

504. Spratt, Jack, "The Double Reed Classroom," The SchoolMusician, XVI (April, 1945), 22-23.

The bocal vent key should be used for soft attacks and

in extremely soft passages.

505. Spratt, Jack, "The Double Reed Classroom," The SchoolMusician, XVII (December, 1945), 31-32.

87

The use of the vibrato is discussed. The flowing sing-

ing tone is included in this article's discussion.

506. Spratt, Jack, "The Double Reed Classroom," The SchoolMusician, XVII (May, 1946), 36.

Tone quality and tone control are discussed in this

article. Exercises are recommended for developing

tone control.

507. Spratt, Jack, "The Double Reed Classroom," The SchoolMusician, XVIII (January, 1947)., 33.


Tone quality for the bassoon is discussed in this article.

509. Warmelin, Clarence, "Warmelin School of Woodwinds," TheSchool Musician, X (January, 1939), 35.

The causes of a "buzzy" sound from the bassoon are

explained in this article.

510. Warmelin, Clarence, "Warmelin School of Woodwinds,"The School Musician, IX (March, 1938), 41.

511. Warmelin, Clarence, "Warmelin School of Woodwinds,"The School Musician, X (April, 1939), 34-35.

Clarinet

Articulation

(See Tonguing and Articulation)


512. Waln, George, "The Clarinetists Column," The SchoolMusician, XVI (December, 1944), 25.

Suggestions to aid in the control of the soft palate when

air escapes without control are included in this article.

88

513. Warmelin, Clarence, "Warmelin School of Woodwinds.," TheSchool Musician, I (March, 1938), 41-42.

Proper breathing is necessary for good phrasing.

514. Warmelin, Clarence, "Warmelin School of Woodwinds," TheSchool Musician, X (May, 1939), 34-35.

A list of reasons for the clarinet requiring too much

wind is included.

Doubling

515. Warmelin, Clarence, "Clarinet IQts1 and 'A's', " TheSchool Musician, IX (October, 1937), 39.

Doubling on saxophone and clarinet is discussed in this

article.

516. Warmelin, Clarence, "Warmelin School of Woodwinds,"The School Musician, IX (May, 1938), 41.

Doubling on B flat soprano clarinet and bass clarinet.

517. Warmelin, Clarence, "Warmelin School of Woodwinds," TheSchool Musician, X (February, 1939), 39-40.

This article includes a discussion of clarinet and saxo-

phone embouchures. The effect of one type of embouchure

on the other is discussed.

Embouchure

518. Coons, C. W., "The Band Directorts Correspondence Clinic,"The School Musician, XVI (September, 1944), 25, 29.

This article includes a description of a device to

encourage clarinet students to hold corners of mouth back.

519. Coons, C. W., "The Band Director's Correspondence Clinic,"The School Musician, XIV (March, 1943), 28.

89

520. Emerson, H. H., "Clarinet," Texas Music Educator, IV(April, 1940), 20-21.

This article discusses the different types of clarinet

embouchures.

521. Emerson, H. H., "Clarinet," Texas Music Educator, IV(May, 1940), 14.

A description of the correct clarinet embouchure is

included in this article with suggestions for correct-

ing a faulty embouchure.

522. Revelli, William D., "Band and Orchestra QuestionsAnswered," The Etude Music Magazine, LXII (August, 1944),485, 487.

The clarinet embouchure is described in this article.

523. *Russell, Myron E., "The Clarinet, the Mouthpiece andits Facings," The Etude Music Magazine, LXIII (December,1945), 682, 716,718, 72T5.

This article includes important rules for forming the

clarinet embouchure. Illustrations are included for

demonstration of the correct embouchure.

524. Vagner, Robert, "Helpful Hints for the Backward ClarinetPlayer," The School Musician, XVI (October, 1944), 16-17,42.

This article includes a description of the clarinet

embouchure and offers suggestions for correcting a

faulty embouchure.

525. Waln, George E., "The Clarinetists Column," The SchoolMusician, XVI (November, 1944), 22-23.

The clarinet embouchure is described.

526. Waln, George E., "The Clarinetists Column," The SchoolMusician, XVI (May, 1945), 30.

Common faults in the clarinet embouchure are discussed

in this article.

90

527. Waln, George E., "The Clarinetists Column," The SchoolMusician, XVII (November, 1945), 18-19.

This article describes a device to stop teeth from

cutting the lower lip.

528. *Waln, George E., "The Clarinetists Column," The SchoolMusician, XVII (May, 1946), 37.

An even pressure around the embouchure grip results in

a big tone. Pinched and small tones result from a biting

grip with the pressure on the top and the bottom.

529. *Waln, George E., "The Clarinetists Column," The SchoolMusician, XV (May, 1944), 30.

The facing of a mouthpiece directly affects the amount

of the mouthpiece that should be placed in the mouth.

530. Warmelin, Clarence, "Warmelin School-of Woodwinds,"The School Musician, IX (March, 1938), 41-42.

This article discusses the embouchure and the teeth

in playing the clarinet.

531. Warmelin, Clarence, "Warmelin School of Woodwinds," TheSchool Musician, XII (September, 1940), 39.

Suggestions for overcoming jaw movement when playing a

series of staccato notes are included in this article.

Several reasons for lips becoming tired while playing

the clarinet are listed.

532. Warmelin, Clarence, "Warmelin School of Woodwinds," TheSchool Musician, XII (March, 1941), 32.

The amount of pressure that should be used by the embou-

chure on the mouthpiece is discussed in this article.

533. Warmelin, Clarence, "Warmelin School of Woodwinds," TheSchool Musician, XIII (December, 1941), 28.

91

Suggestions for correcting escaping air through the

corners of the mouth are listed in this article.

534. Warmelin, Clarence, "Warmelin School of Woodwinds,"The School Musician, IX (October, 1937), 39.

535. Warmelin, Clarence, "Warmelin School of Woodwinds,"The School Musician, X (March, 1938), 35-36.

536. Warmelin, Clarence, "Warmelin School of Woodwinds,"The School Musician, XIII (October, 1941), 36.

Fingering

537. Emerson, H. H., "Clarinet," Texas Music Educator, V(November, 1940), 169.

538. *Stubbins, William H., "Some Vital Problems of theClarinet," The Etude Music Magazine, LVIII (March,1940), 169, 20d-201.

The position of the fingers is important, especially

the forefinger and the little finger. "Snapping"

fingers down on keys is valuable training. A reserve

supply of speed is necessary for good balance in playing.

539. Vagner, Robert, "Helpful Hints for the Backward ClarinetPlayer," The School Musician, XVI (October, 1944), 16-17,42.

540. iWaln, George E., "The Clarinetists Column," The SchoolMusician, XVII (April, 1946), 25.

This article explains the use of the added keys on the

Boehm system clarinet.

541. Warmelin, Clarence, "Warmelin School of Woodwinds,"The School Musician, X (February, 1939), 39.

542. Warmelin, Clarence, "Warmelin School of Woodwinds,"The School Musician, XIII (September, 1941), 34.

543. Warmelin, Clarence, "Warmelin. School of Woodwinds,"The School Musician, XIII (November, 1941), 34.

544. Warmelin, Clarence, "Warmelin School of Woodwinds,"The School Musician, X (October, 1938), 41.

92

General Interest (Teaching the Clarinet)

545. Waln, George, "What I Heard at the 1938 ClarinetContests," The School Musician, X (September, 1938),13, 15, 35.

Common faults in tone, attack, breath control, into-

nation, rhythm, phrasing, and technique are discussed

in this article with suggestions for their correction.

546. *Waln, George, "The Clarinetists Column," The 'SchoolMusician, XV (April, 1944), 19.

This article includes an important discussion concern-

ing beginning clarinet students. Suggestions on

embouchure, tone, covering holes are included.

547. *Vialn, George, "The Clarinetists Column," The SchoolMusician, XVII (September, 1945), 32-33.

This article includes a list of accomplishments that a

beginning clarinet student should attain. It includes

tone, fingering, embouchure, breath control, and rhythm

problems.

548. Waln, George, "Woodwind Clinic," The Instrumentalist,I (November-December, 1946), 8-10.

This article offers suggestions for the procedure and

teaching of beginning clarinet students. A check list

for clarinet players is included.

549. Warmelin, Clarence, "Warmelin School of Woodwinds,"The School Musician, XIII (March, 1942), 26.

The importance of relaxation in clarinet playing is


Intonation

550. *Emerson, H. H., "Clarinet," Texas Music Educator,V (April, 1941), 12-13.

93

Mechanical faults of the instrument may cause poor

intonation. The use of alternate fingerings,

correction of the embouchure, and relaxation will aid

intonation problems.

351. Waln, George, "The Clarinetists Column," The SchoolMusician, XV (May, 1944), 30.

This article includes suggestions for alternate finger-

ings to improve the pitch of high F and F sharp.

552. Waln, George, "The Clarinetists Column," The SchoolMusician, XVI (November, 1944), 22-23.

Suggestions for correcting the intonation of a clarinet

that plays flat on high C are included in this article.

553. Waln, George, "The Clarinetists Column," The SchoolMusician, XVII (December, 1945), 33.

Suggestions for tuning and for better intonation are


554. *Waln, George, "The Clarinetists Column," The SchoolMusician, XVII (January, 1946), 30-31.

Three categories of faulty intonation on the clarinet

are included in this article. The player, as a cause

of poor intonation, includes the use of the throat to

alter pitches, the embouchure, and the reed. Pitch

imperfections of the instrument requires adjusting and

favoring certain notes by the player. Playing in tune

with other instruments requires a knowledge of pitch

changes at different dynamic levels.

555. Warmelin, Clarence, "Warmelin School of Woodwinds," TheSchool Musician, IX (June, 198), 39-40.

This article includes suggestions for improving the into-nation of the high tones of the clarinet.

94

556. Warmelin, Clarence, "Clarinet 1151? and 'Ast," TheSchool Musician, IX (November, 1937), 39.


558. Warmelin, Clarence, "Warmelin School of Woodwinds,"The School Musician, X (April, 1939), 34.


Memorizing

560. Waln, George, "How Not to Forget," The School Musician,XV (December, 1943), 9-10.

This article discusses the essentials and importance of

memorizing. Four ways to memorize are listed.

Mouthpiece

561. Bone, Allan H., "The Clarinetist's Column," The SchoolMusician, XVIII (December, 1946), 20-22.

562. Waln, George, "The Clarinetist's Column," The SchoolMusician, X (October, 1944), 30.

563. Warmelin, Clarence, "Clarinet tQs? and 'Afst," TheSchool Musician, IX (September, 1937), 39.

564. Warmelin, Clarence, "Warmelin School of Woodwinds,"The School Musician, IX (March, 1938), 41-42.

Mouthpiece problems are included in this article.

565. Warmelin, Clarence, "Warmelin School of Woodwinds,"The School Musician, X (March, 1939), 35.

Performance

566. Bone, Allan H., "The Clarinetist's Column," The SchoolMusician, XVIII (April, 1947), 37-38.

567. Emerson, H. H., "Clarinet," Texas Music Educator, IV(January, 1940), 12.

95


Position

569. Emerson, H. H., "Clarinet," Texas Music Educator, IV(March, 1940), 16.

The correct position of the fingers on the clarinet is


570. Warmelin, Clarence, "Warmelin School of Woodwinds," TheSchool Musician, X (September, 1938), 41.

The position of the fingers of the left hand when play-

ing "throat" tones is described.


The School Musician, IX (May, 1938), 41.

Practice

572. *Bone, Allan H., "The Clarinetist's Column," The SchoolMusician, XVIII (November, 1946), 28-29.

This article discusses the practice period and the sug-

gested length of the practice period. Dividing the

practice period into definite times for practicing

definite problems is suggested and discussed in this

article.

573. Bone, Allan H., "The Clarinetist's Column," The SchoolMusician, XVIII (December, 1946), 20-22.

574. Emerson, H. H., "Clarinet," Texas Music Educator, V(October, 1940), 7.

The "warm-up" for the clarinet player is discussed. A

"warm-up" procedure is described in this article.

575. *Waln, George, "The Clarinetist's Column," The SchoolMusician, XVI (March, 1945), 30-31.

96

Suggestions of how to practice, what to practice, and

how long the practice period should be, are all dis-


576. ifNaln, George, "The Clarinetist's Column," The SchoolMusician, XVII (March, 1946), 34-35.

This article discusses the practice and preparation

necessary for a solo appearance. It includes suggestions

on interpretation and memorizing.

Rhythm

577. Warmelin, Clarence., "Clarinet IQs' and 'A st " TheSchool Musician, IX (January, 1938), 43, 45.

Suggestions to aid rhythmic playing are included in

this article.

Register

578. Revelli, William D., "Band Questions and Answers," TheEtude Music Magazine, LXI (December, 1943), 833.

This article includes suggestions for beginning the

change from the low register to the high register on

the clarinet. A series of illustrations of exercises

accompany this article.

579. Robb, Willard, "Register Bridge," The School Musician,XVII (March, 1946), 20.

This article includes examples of exercises to help

clarinet students overcome the difficulty of the gap

between middle A and B.

580. Waln, George, "The Clarinetist's Column," The SchoolMusician, XVI (November, 1944), 22-23.

97

Suggestions for playing in the high register of the

clarinet are included.

581. Warmelin, Clarence, "Clarinet 'Q'st and 'Ast,"f TheSchool Musician, IX (October, 1937), 39.

Aids to difficulty of playing in the high register are


Tone Production

582. *Lew, Floyd E., "Strive for Tone and Flexibility onthe Clarinet," The School Musician,'XV (September, 1943),14-16.

This article lists the factors for good tone production

on the clarinet. Posture and breathing, the embouchure,

the throat, and the tongue and fingers are important

for good tone production. Exercises are given.

583. Warmelin, Clarence, "Warmelin School of Woodwinds,"The Shool Mu&sician, XIII (December, 1941), 28.

The "open" throat is important for tone production on

the clarinet.

Tone Quality

584. Revelli, William D., "Band Questions Answered," TheEtude Music Magazine, LXII (July, 1944), 392.

585. *Stubbins, William H., "Some Vital Problems of theClarinet," The Etude Music Magazine, LVI (December,1938), 791,j833.

The clarinet tone quality is discussed in this article.

The importance of the embouchure and its description are

included. The mental concept of the tone is important

to the ability to produce a good tone. The character-

istics of the clarinet tone are described in this article.

98

Exercises are included for developing the tone.

586. Vagner, Robert, "Helpful Hints for the Backward ClarinetPlayer," The School Musidian, XVI (October, 1944), 16, 17,42.

587. Waln, George, "The Clarinetist's Column,"The SchoolMusician, XVI (December, 1944), 25.

The causes of a stuffy and muffled tone are listed in

this article.

588. Waln, George, "The Clarinetist's Column," The SchoolMusician, XVI (April, 1945), 24.

Suggestions are included in this article to improve the

tone quality of the "throat" tones.

589. Waln, George, "The Clarinetist's Column," The SchoolMusician, XV (May, 1944), 30.

590. Warmelin, Clarence, "Clarinet IQrsI and 'A's't ," TheSchool Musician, IX (November, 1957), 39.

The development of the full tone is discussed.

591. Warmelin, Clarence., "Warmelin School of Woodwinds,"The School Musician, X (December, 1938), 31-32.

Suggestions for maintaining the full tone through the

entire range of the clarinet are given.

592. Warmelin, Clarence, "Warmelin School of Woodwinds," TheSchool Musician, XII (December, 1940), 29.

This article includes suggestions for improvement of the

clarinet tone.

593. Warmelin, Clarence, "Warmelin School of Woodwinds," TheSchool Musician, X (May, 1939), 34-35.

Tonguing and Articulation

594. Emerson, H. H., "Clarinet," Texas Music Educator, V(March, 1941), 7.

99

This article includes suggestions for tonguing and for

correlating the tongue and the fingers.

595. Emerson, H. H., "Clarinet," Texas Music Educators, V(February, 1941), 12.

596. Revelli, William D., "Band Questions Answered," TheEtude Music VMagazine, LXII (July, 1944), 392.

597. *Russell, Myron E., "The Clarinet, the Mouthpiece andIts Facings," The Etude Music Magazine, LXIII (December,1945), 682, 716,~718, 725.

This article includes important illustrations of the

correct method of tonguing the clarinet. Suggestions

for tonguing are included.

598. Waln, George, "The Clarinetist's Column," The SchoolMusician, XVI (March, 1945), 30-31.

The development of the staccato attack is discussed.

599. Waln, George, "The Clarinetist's Column," The SchoolMusician, XVI (April, 1945), 24.

A discussion of light tonguing is included.

600. Waln, George, "The Clarinetist's Column," The SchoolMusician, XVI (June, 1945), 24-25.

Explanations and examples of different types of attacks


601. Waln, George, "The Clarinetist's Column," The SchoolMusician, XV (June, 1944), 21-22.


Staccato tonguing suggestions are included in this

article.

603. Warmelin, Clarence,, "Warmelin School of Woodwinds.,"The School Musician, X (June, 1939), 40.

100

The release of a tone is discussed in this article.

The staccato attack is discussed.

604. Warmelin, Clarence, "Warmelin School of Woodwinds ,"The School Musician, XII (January, 1941), 34.

Suggestions for placing the tongue in tonguing the

clarinet are given.

605. Warmelin, Clarence, "Warmelin School of Woodwinds.,"The School Musician, IX (April, 1938), 41.

Transposition


The School Musician, X (May, 1939), 34.

Fingering

607. Howland, Russell S., I"Mental and Physical Images in

Woodwind Playing," The Etude Music Magazine, LXV

(April, 1947), 199-200.

The position of the fingers on various woodwind instru-

ments is important. Using fingers correctly results in

better articulation.

Flute

Articulation

(See Tonguing and Articulation).

Approach

608. LeRoy, Rene, "It's All in the Mind," The Etude MusicMagazine, LXI (July, 1943), 445-446.

The mental approach to playing the flute is discussed.

The individual's personality is important in developing

flute tone quality.

101


609. Fair, Rex Elton, "Let Me Answer Your Flute Questions,"The School Musician, X (May, 1939), 36-37.

610. Fair, Rex Elton, "Let Me Answer Your Flute Questions,"The School Musician, XIII (November, 1941), 35.

611. Lewis, Louis Wilson, "That Dizzy Feeling," The SchoolMusician, XVII (February, 1946), 12-13, 34.

An explanation of the causes of dizziness in inexperi-

enced flute players is included in this article, with

suggestions for overcoming this difficulty.

612. Warmelin, Clarence, "Warmelin School of Woodwinds,"The School Musician, IX (April, 1938), 41-42.

This article discusses breath control and phrasing.

613. Warmelin, Clarence, "Warmelin School of Woodwinds"The School Musician, XII (September, 1940), 39.

Doubling

614. Fair, Rex Elton, "Let Me Answer Your Flute Questions,"The School Musician, XII (September, 1940), 43.

Doubling on flute and piccolo should not affect the

playing of either instrument.

615. Fair, Rex Elton, "Let Me Answer Your Flute Questions,"

The School Musician, XIV (February, 1943), 22-23.

This article offers suggestions on doubling on the flute

and piccolo. Some fingering differences exist between

the two instruments.

616. Fair, Rex Elton, "Let Me Answer Your Flute Questions,"The School Musician, XIII (October, 1941), 31.

102

Elementary

617. tair, Rex Elton, "Let Me Answer Your Flute Questions,"The School Musician, XV (April, 1944), 28.

This article offers suggestions for starting the be-

ginning flute student. It discusses placing the flute

to the lips, playing the first tone, and tonguing.

618. Fair, Rex Elton, "Let Me Answer Your Flute Questions,"The School Musician, XVII (March, 1946), 32-33, 48.

This article discusses physical characteristics that

would prevent an individual from becoming a good flutiat.

619. Waln, George, "Woodwind Clinic," The Instrumentalist,

I (January-February, 1947), 7-9.

This article discusses the physical characteristics a

prospective flute beginner should possess. Suggestions

on teaching the correct embouchure to a beginning flute

student are included with illustrations of lip formations.

Embouchure

620. Fair, Rex Elton, "Let Me Answer Your Flute Questions,"tThe School Musician, X (February, 1939), 35.

This article offers corrections for the embouchure

which allows air to escape.

621. Fair, Rex Elton, "Let Me Answer Your Flute Questions,"The School Musician, X (March, 1939), 33-34.

It is important that the flute embouchure should remain

steady.

622. Fair, Rex Elton, "Let Me Answer Your Flute Questions,"The School Musician, X (May, 1939), 36-37.

This article offers suggestions for rebuilding the

embouchure after a vacation period or a lengthy period

of not playing the flute.

103


The School Musician, XII (June, 1941), 32-33.

The "flat embouchure" on the flute is explained and

discussed.


The direction of the air from the embouchure is explained.

625. Fair, Rex Elton, "Let Me Answer Your Flute Questions,"The School Musician, X (April, 1939), 36.

626. Fair, Rex Elton, "Let Me Answer Your Flute Questions,The School Musician, XIV (April, 1943), 23, 25.

627. Fair, Rex Elton, "Let Me Answer Your Flute Questions,"The School Musician, XVII (September, 1945), 34.

628. Russell, Myron, "Flute Playing--Good and Bad," The

Etude Music Magazine, LXIV (February, 1946), 79, 100, 120.

Fingering

629. *Fair, Rex Elton, "The Flute," The School Musician, IX(October, 1937), 16, 33, 34.

Flute fingering technique is discussed in this article.

The first finger of the right hand should be left up

on certain tones. The fourth finger of the right hand

should be left down for most of the fingerings. F sharp

should be played with the third finger of the right hand.

The B flat thumb key is not often used.

630. *Fair, Rex Elton, "Flute Harmonics," The School Musician,X (December, 1938), 10-11.

Alternate fingerings for the flute are explained in this

article. Suggestions are offered for producing the tone

when using an alternate fingering. A fingering chart

with a series of exercises to develop the alternate

fingerings is included in this article.

104

631. *Fair, Rex Elton, "Flute Harmonics," The School Musician,

X (January, 1939), 18.

Alternate fingerings for high tones are illustrated in

this article.

632. *Fair., Rex Elton, "Flute Harmonics," The School Musician,

X (February, 1939), 18-19, 40.

Alternate fingering illustrations are included in this

article.

633. Fair, Rex Elton, "Let Me Answer Your Questions on the

Flute," The School Musician, X (February, 1939), 35.

The uses of the B flat thumb key are discussed. Trill

fingerings are included in this article.


The School Musician, XII (December, 1940), 30-31.

The fingerings for high B flat, C, C sharp, and D are



The School Musician, XII (January, 1941), 37-38.

The C sharp triller key is discussed in this article

with other fingering problems.


The School Musician, XII (April, 1941), 37-38.

Fingering and trill suggestions are included in this

article.

637. *Fair, Rex Elton, "Let Me Answer Your Flute Questions,"The School Musician, XIII (October, 1941), 31-32.

The fingerings for trills, slurs, and tremolos are listed.

The uses of the trill keys are discussed. High note

fingerings are included.

105


The School Musician, XIV (October, 1942), 24-25.

The fingering for the second high D above the staff is

listed. Some trill fingerings are listed in this

article.

639. Fair, Rex Elton, "Let Me Answer Your Flute Questions,"The School Musician, XIV (January, 1942), 28, 29.

Tremolo fingerings are listed in this article.

640. Fair, Rex Elton, "Let Me Answer Your Flute Questions,"The School Musician, XIV (February, 1942), 22-23.

Difficult trill fingerings are listed in this article.

641. Fair, Rex Elton, "Let Me Answer Your Flute questions,"

The School Musician, XIV (May, 1942), 21-22.

Alternate fingerings are discussed in this article.

642. Fair, Rex Elton, "Let Me Answer Your Flute Questions,"The School Musician, XVI (October, 1944), 36-37.

A discussion of trills and fingerings for trills is

included.

643. Fair, Rex Elton, "Let Me Answer Your Flute questions,"The School Musician, XVI (March, 1945), 28-29.

Auxiliary fingerings should be used in rapid passages.

644. Fair, Rex Elton, "Let Me Answer Your Flute Questions,"The School Musician, XVII (January, 1946), 34-36.

A list of trills made with the C sharp triller key.

645. Fair, Rex Elton, "Let Me Answer Your Flute Q0uestions,"

The School Musician, XVII (June, 1946), 32.

Auxiliary fingerings are explained with suggestions for

practicing and playing these fingerings.

646. *Fair, Rex Elton, "Let Me Answer Your Flute Questions,"

The School Musician, XVIII (March, 1947), 30-31.

106

A chart of auxiliary fingerings is included in this

article. Suggestions for using auxiliary fingerings

are discussed. A chart of trill fingerings is also

included.

647. Fair, Rex Elton, "Let Me Answer Your Flute Questions,"The School Musician, IX (December, 1937), 45.

648. Fair, Rex Elton, "Let Me Answer Your Flute Questions,"The School Musician, IX (March, 1938), 41.

649. Fair, Rex Elton, "Let Me Answer Your Flute Questions,"The School Musician, X (January, 1939), 34.

650. Fair, Rex Elton, "Let Me Answer Your Flute Questions,"The School Musician, X (March, 1939), 33.

651. Fair, Rex Elton, "Let Me Answer Your Flute Questions,"The School Musician, X (May, 1939), 36.

652. Fair, Rex Elton, "Let Me Answer Your Flute Questions,"The School Musician, X (April, 1939), 36.

653. Fair, Rex Elton, "Let Me Answer Your Flute Questions,"The School Musician, XII (February, 1941), 36.

654. Fair, Rex Elton, "Let Me Answer Your Flute Questions,"The School Musician, XII (March, 1941), 40.

655. Fair, Rex Elton, "Let Me Answer Your Flute Questions,"The School Musician, XIII (November, 1941), 35.

656. Fair, Rex Elton, "Let Me Answer Your Flute Questions,"The School Musician, XIII (February, 1942), 27.

657. Fair, Rex Elton, "Let Me Answer Your Flute Questions,"The School Musician, XII (June, 1941), 32.

658. Fair, Rex Elton, "Let Me Answer Your Flute Questions,"The School Musician, XIV (December, 1942), 19.

659. Fair, Rex Elton, "Let Me Answer Your Flute Questions,"The School Musician, XVI (December, 1944), 21.

660. Fair, Rex Elton, "Let Me Answer Your Flute Questions,"The School Musician, XVIII (December, 1946), 26.

661. Fair, Rex Elton, "Let Me Answer Your Flute Questions,"The School Musician, XV (October, 1943), 30.

107

662. Fair, Rex Elton, "Let Me Answer Your Flute Questions,"The School Musician, XV (December, 1943), 21.

663. Fair, Rex Elton, "Let Me Answer Your Flute Questions,"The School Musician, XV (February, 1944), 19.

664. Fair, Rex Elton, "Let Me Answer Your Flute Questions,"The School Musician, XV (June, 1944), 19.

665. Fair, Rex Elton, "Let Me Answer Your Flute Questions,"The School Musician, XIV (November, 1942), 23-24.

666. *Jackman, S. S., "Flute Fingerings," The Instrumentalist,I (September-October, 1946), 24-25.

This article discusses and explains fingerings which are

often fingered incorrectly.

667. Warmelin, Clarence, "Warmelin School of Woodwinds,"The School Musician, XII (January, 1941), 34.

This article offers suggestions for developing finger-

ings for the third octave on the flute.

667. Warmelin, Clarence, "Warmelin School of Woodwinds,"The School Musician, XII (January, 1941), 34.

This article offers suggestions for developing finger-

ings for the third octave on the flute.


669. Warmelin, Clarence, "Warmelin School of Woodwinds,"The School Musician, XII (September, 1940), 39.

Interpretation

670. Fair, Rex Elton, "The Flute," The School Musician,IX (October, 1937), 16, 33-34.

This article includes suggestions for playing

appoggiaturas in Mozart compositions.

671. Fair, Rex Elton, "Let Me Answer Your Flute Question,"The School Musician, XII (September, 1940), 43.

108

Rapid slurred passages from the up-beat to the down-

beat are discussed.

672. Fair, Rex Elton, "Let Me Answer Your Flute Questions,"The School Musician, XII (October, 1940), 43.

Quintuplets and septuplets are discussed in this article

with suggestions for playing.

673. Fair, Rex Elton, "Let Me Answer Your Flute Questions,"The School Musician, XIII (April, 1942), 21-22.

Some suggestions for playing Sioux Flute Serenade by

Shilton are included in this article.

674. Fair, Rex Elton, "Let Me Answer Your Flute Questions,"The School Musician, XIII (May, 1942), 19-20.

The execution of the mordent is explained.

675. Fair, Rex Elton, "Let Me Answer Your Flute Questions,"The School Musician, XIV (April, 1943), 23-25.

Various musical ornaments are explained in this article.

676. Fair, Rex Elton, "Let Me Answer Your Flute Questions,"The School Musician, XVII (January, 1946), 34-36.

This article includes a master lesson on the Concertino

by Chaminade.

677. Fair, Rex Elton, "Let Me Answer Your Flute Questions,"The School Musician, XVII (February, 1946), 30-31.

An interpretation and study of Fantasia Pastoral

Hongroise 2p._26 by Francois Doppler is included in

this article.


This article includes a continuation of the inter-

pretation of Fantasia Pastoral Hongroise by Doppler.

109

679. Fair, Rex Elton, "Let Me Answer Your Flute questions ,"

The School Musician, XVII (May, 1946), 38-39.

A tempo suggestion for Nocturne, op. 15 by Chopin is

included.

Intonation

680. Fair, Rex Elton, "The Flute,"' The School Musician,IX (October, 1937), 16, 33-34.

The intonation of high B flat can be improved with the

fingering described in this article.

681. Fair, Rex Elton, "Let Me Answer Your Questions on the

Flute," The School Musician, IX (December, 1937), 45-46.

This article lists several reasons for poor intonation

on the flute.

682. Fair, Rex Elton, "The Care of the Flute," The School

Musician, IX (May, 1938), 43.

This article includes suggestions for tuning the flute

and for adjusting the head joint cork.


The School Musician, XIII (February, 1942), 27-28.

Suggestions for correcting intonation on the flute


684. Fair, Rex Elton,"Let Me Answer Your Flute Questions,"The School Musician, XIV (February, 1943), 22-23.

Suggestions for correcting intonation of the flute in

the high register are included in this article.

685. Fair, Rex Elton, "Let Me Answer Your Flute Questions,I"

The School Musician, XVI (March, 1945), 28-29.

The intonation of high F sharp may be improved with

the fingering suggested in this article.

110

686. Fair, Rex Elton, "Let Me Answer Your Flute Questions,"The School Musician, XVII (September, 1945), 34-35.

Incorrect fingering is the most common cause of poor

intonation on the flute. The head joint cork out of

adjustment causes poor intonation. This article

includes suggestions for adjusting the head joint

cork.

687. Fair, Rex Elton, "Let Me Answer Your Questions on theFlute," The School Musician, X (April, 1939), 36.

688. Fair, Rex Elton, "Let Me Answer Your Flute Questions.,"The School Musician, XII (February, 1941), 36.

689. Fair, Rex Elton, "Let Me Answer Your Flute Questions,"The School Musician, XIII (April, 1942), 21.

690. Fair, Rex Elton, "Let Me Answer Your Flute Questions,"The School Musician, XIII (May, 1942), 19.

691. Fair, Rex Elton, "Let Me Answer Your Flute Questions,"The School Musician, XV (October, 1943), 26.

692. Fair, Rex Elton, "Let Me Answer Your Flute Questions,"The School Musician, XVI (November, 1944), 28.

693. Fair, Rex Elton, "Let Me Answer Your Flute questions,"The School Musician, XVI (May, 1945), 22.

694. Fair, Rex Elton, "Let Me Answer Your Flute Questions,"The School Musician, XVIII (February, 1947), 34.

695. Waln, George, "Woodwind Clinic," The Instrumentalist, I(January-February, 1947), 7.

696. Warmelin, Clarence, "Warmelin School of Woodwinds,"The School Musician, Vol. IX (March, 1938), p. 35.

A change in dynamics often causes changes in pitch and

intonation on the flute.

Position

697. Fair, Rex Elton, "Let Me Answer Your Plute Questions,"

The School Musician, XIV (November, 1942), 23-24.

111

The position of the hand and fingers son the flute is



The School Musician, XIV (April, 1943), 23-25.

Flute players with small hands may alter their manner

of holding the flute from the conventional manner.


The School Musician, XVIII (September, 1946), 42-43.

This article discusses the flute playing position.


The School Musician, XII (December, 1940), 30.


The School Musician, XIII (September, 1941), 41.


The School Musician, XIV (April, 1942), 22.


The School Musician, XVI (June, 1945), 30-31, 34.

704. Russell, Myron E., "Flute Playing -- Good and Bad,"The Etude Music Magazine, LXIV (February, 1946), 79,106, 120.

The position of the flute and flute player is discussed

in this article.

Practice

705. Fair, Rex Elton, "Let Me Answer Your Flute Questions,"The School Musician, XV (September, 1943), 20-21.

Practice procedure is discussed in this article.

Exercises for tone and technique are given in this

article.

706. Fair, Rex Elton, "Let Me Answer Your Flute Questions,"The School Musician, XV (December, 1943), 21-22.

A major key arpeggio study is included in this article.

112

707. Fair, Rex Elton, "Let Me Answer Your Flute Questions,"The School Musician, XV (January, 1944), 28-30.

A minor key arpeggio study is illustrated in this

article.

708. Fair, Rex Elton, "Let Me Answer Your Flute Questions,"The School Musician, XV (February, 1944), 19, 22.

An arpeggio study on the minor chord is included in this

article.

709. Fair, Rex Elton, "Let Me Answer Your Flute Questions,"The School Musician, XV (March, 1944), 27-28.

An arpeggio study on the dominant seventh is included

in this article.

710. Fair, Rex Elton, "Let Me Answer Your Flute Questions,"The School Musician, XV (April, 1944), 28.

Studies on the diminished seventh chord are illustrated

in this article.

712. Fair, Rex Elton, "Let Me Answer Your Flute Questions,"The School Musician, XV (June, 1944), 19-21.

This article includes studies on the diminished seventh

chord.


The School Musician, XVI (June, 1945), 30-31, 34.

This article suggests the order that major and minor

scales and arpeggios should be studie. and includes

an illustration of a flute study.

714. Fair, Rex Elton, "Let Me Answer Your Flute Questions,"The School Musician, XVIII (April, 1947), 30-31.

This article offers suggestions for mastering difficult

technical passages. An example of a study is included.

715. Fair, Rex Elton, "Let Me Answer Your Questions on theFlute," The School Musician, X (May, 1939), 36-37.

113

Range

716. Fair, Rex Elton, "Let Me Answer Your Flute Questions,"The School Musician, XII (November, 1940), 43-44.

This article includes exercises for developing the high

and the low register of the flute.

717. Fair, Rex Elton, "Let Me Answer Your Flute Questions,"The School Musician, XVIII (June, 1947), 28-29.

This article includes an exercise for developing

familiarity with the high register of the flute.

718. Fair, Rex Elton, "Let Me Answer Your Flute Questions,"The School Musician, XVIII (May, 1947), 28.


Suggestions for developing the third octave on the flute


720. Warmelin, Clarence, "Warmelin School of Woodwinds,"The School Musician, XII (February, 1941), 42-43.

Improving the quality of the high register is discussed.

721. Warmelin, Clarence, "Warmelin School of Woodwinds,"The School Musician, XII (February, 1941), 42.

Tone Production

722. Fair, Rex Elton, "Let Me Answer Your Flute Questions,"The School Musician, XIII (June, 1942), 21-22.

This article includes a discussion of tone production

on the flute.

Tone Quality

723. Fair, Rex Elton, "Let Me Answer Your Flute Questions,"The School Musician, XII (February, 1941), 36-37.

A discussion on developing a good tone on the flute.

114

724. Fair, Rex Elton, "Let Me Answer Your Flute Question,"The School Musician, XVIII (February, 1947), 34.

725. *Kitti, Arthur, "Strive for Fine Tone Production on theFlute," The School Musician, XIII (January, 1942), 12-13.

This article discusses tone production and tone control.

Breath control and the embouchure are important for

developing a good tone. Exercises are included for

developing tone quality. Certain notes and registers

need to be favored to produce the best quality.

726. LeRoy, Rene, "It's All in the Mind," The School Musician,LXI (July, 1943), 445-446.

727. Waln, George, "Woodwind Clinic," The Instrumentalist,I (January-February, 1947), 7.


The School Musician, X (November, 1938), 39-40.

Tone improvement in the upper register of the flute

is discussed.

729. Warmelin, Clarence, "Warmelin School of Woodwinds,"The School Musician, C (January, 1939), 35.

Improvement of a "windy" tone on the flute is discussed.


The School Musician, X (December, 1938), 31.


731. Fair, Rex Elton, "Let Me Answer Your Flute Questions,"The School Musician, X (March, 1939), 33-34.

A discussion of aids to tonguing on the flute is

included.

732. *Fair, Rex Elton, "Let Me Answer Your Flute Questions,"The School Musician, XIV (September, 1943), 27.

Different syllables are used for different types of

tonguing and for difference in range. Placing the

115

tongue is essential to good tonguing. Syllables for

double and triple tonguing are included in this article.

733. Fair, Rex Elton, "Let Me Answer Your Flute Questions,"The School Musician, XVIII (September, 1946), 43-44.

This article includes a discussion on tonguing.

734. Fair, Rex Elton, "Let Me Answer Your Flute questions,"The School Musician, X (February, 1939), 35.

735. Fair, Rex Elton, "Let Me Answer Your Flute Questions,"The School Musician, XVI (April, 1945), 26.


The School Musician, XVI (May, 1945), 22.

737. Warmelin, Clarence, "Warmelin School of Woodwinds,"The School Musician, X (November, 1938), 39.


Transposition

739. Fair, Rex Elton, "Let Me Answer Your Flute Questions,"The School Musician, XIV (May, 1943), 21.

This article discusses common transpositions used by

flute players.

740. Fair, Rex Elton,"Let Me Answer Your Flute Questilons,"t

The School Musician, XIII (May, 1942), 19.

741. Fair, Rex Elton, "Let Me Answer Your Flute Questions,"The School Musician, XIV (December, 1942), 19.

742. Fair, Rex Elton, "Let Me Answer Your Flute Questions,"The School Musician, XV (February, 1944), 19.

Vibrato

743. Fair, Rex Elton, "Let Me Answer Your Flute Questions,"The School Musician, X (June, 1939), 41-42.

This article discusses the flute vibrato and offers

suggestions for its development.

116

744. *Fair, Rex Elton, "Let Me Answer Your Flute Questions,"

The School Musician, XIII (June, 1942), 21-22.

The production of the flute vibrato is explained in this

article. Suggestions for teaching the flute vibrato

are included with illustrations demonstrating it.

745. Fair, Rex Elton, "Let Me Answer Your Flute Questions ,"

The School Musician, XIII (November, 1941), 35.


The School Musician, XII (December, 1940), 29.

Wing the vibrato in flute playing is discussed in this

article. The type of flute vibrato that is preferred

is suggested.

747. Russell, Myron E., "Flute Playing--Good and Bad," The

Etude Music Magazine, LZIV (February, 1946), 79, 10~~~120.

748. Warmelin, Clarence, "Warmelin School of Woodwinds," The

School Musician, X (October, 1938), 41.

Oboe

Articulation




The School Musician, IX (March, 1938), 41-42.

The breath control' problems for oboe players are dis-


750. Warmelin) Clarence, "Warmelin School of Woodwinds,"

The School Musician, X (February, 1939), 39-40.

The importance of breath control to oboe playing is

explained.

117

751. Wilson, Clayton, "Woodwind Clinic," The Instrumentalist,

I (March-April, 1947), 33-35.

Breath control and breathing for the oboe player are

discussed.

Fingering

757. *Wilson, Clayton, "Ill Wind," The School Musician, XV(November, 1943), 6-7.

The fingerings for the notes above high C are explained

in this article. Trill fingerings are suggested for

certain trills.

General Information (Teaching)

758. McKiski, Russell, "Russell McKiski Solves Some OboeProblems," The School Musician, IX (September, 1937),38, 40, 42, 44.

This article answers general questions on the oboe,

oboe students, oboe reeds, practice, embouchure,

intonation, and other problems.

Intonation

759. Spratt, Jack, "The Double Reed Classroom," The School

Musician, XVI (April, 1945), 22-23.

This article offers suggestions for better intonation

of certain tones on the oboe.

760. Spratt, Jack, "The Double Reed Classroom," The School

Musician, XVIII (June, 1947), 36.

Improving intonation in oboe playing is discussed in

this article.

761. Warmelin, Clarence, "Warmelin School of Woodwinds," TheSchool Musician, X (March, 1939), 35-36.

This article explains the causes of tones above G to sound

sharp.

118

762. Warmelin, Clarence,"Warmelin School of Woodwinds," TheSchool Musician, XII (March, 1941), 32.

The length of the oboe reed is an important factor in

good intonation.


764. Warmelin, Clarence, "Warmelin School of Woodwinds,"The School Musician, X (May, 1939), 34-35.



768. Warmelin, Clarence, "Warmelin School of Woodwinds,"The School Musician, XII (December, 1940), 29.

769. *Wilson, Clayton, "Ill Wind," The School Musician, XV

(November, 1943), 6-7.

Various means of adjusting and favoring pitches on the

oboe with suggestions for adjusting pitch screws on

the oboe are included in this article. Causes of

flat or sharp oboes are discussed. The cause of

intonation problems on notes around high C is explained.

Position

769. Gilbert, Charles, "The Voice of the Oboe," The EtudeMusic Magazine, LVII (November, 1939), 709, 745.

This article discusses the oboe position. The oboe

is held somewhat differently from other woodwind instru-

ments.

770. Wilson, Clayton, "Woodwind Clinic," The Instrumentalist,I (March-April, 1947), 33-35.

The playing position of the oboe is described in this

article.

119

Practice

771. Warmelin, Clarence, "Warmelin School of Woodwinds,"The School Musician, X (December, 1938), 31-32.

This article offers suggestions for practicing scales

on the oboe.

772. Gilbert, Charles, "The Voice of the Oboe," The EtudeMusic Magazine, LVII (November, 1939), 709, 745.

773. Revelli, William D., "Band Questions Answered," TheEtude Music Magazine, LXIII (April, 1945), 226.

774. Russell, Myron E., "On Playing the Oboe," The EtudeMusic Magazine, LXIII (September, 1945), 531.

The care of the oboe reed is discussed. Suggestions

for adjusting the reed are given.

775. Spratt, Jack, "The Double Reed Classroom," The SchoolMusician, XVI (March, 1945), 32-33.

Fitting and sanding oboe reeds are explained in this

article.

776. Spratt, Jack, "The Double Reed Classroom," The SchoolMusician, XVIII (November, 1946), 40.

This article discusses flat and sharp oboe reeds.


Oboe reed problems are discussed in this article. The

care of the reed and some causes of "squeaking" are

included in this discussion.

778. Warmelin, Clarence, "Warmelin School of Woodwinds,"The School Musician, X (April, 1939), 34.

779. Warmelin, Clarence, "Warmelin School of Woodwinds,,"The School Musician, IX (March, 1945), 41.

120

780. Wilson, Clayton, "Woodwind Clinic," The Instrumentalist,I (March-April, 1947), 33-35.

This article includes suggestions for choosing an oboe

reed.

Tone Quality

781. Warmelin, Clarence, "Warmelin School of Woodwinds,"The School Musician, X (April,1939), 34-35.

This article discusses the use of the vibrato on the

oboe.


Suggestions are offered for correcting a quiver in the

oboe tone.

783. Warmelin, Clarence, "Warmelin School of Woodwinds,"The School Musician, XII (March, 1941), 32.

Suggestions for acquiring a larger tone on the oboe are

included.


784. Warmelin, Clarence, "Warmelin School of Woodwinds,"The School Musician, X (October, 1938), 41-42.

Tonguing the oboe is discussed.

785. Warmelin,, Clarence , "Warmelin School of Woodwinds.,"

The School Musician, IX (June, 1938), 39.

Saxophone

Articulation


121


786. Arnold, Jay, "Saxophone Queries Answered," The SchoolMusician, XII (June, 1941), 31.

This article discusses breathing and breath control for

the saxophone player.

787. Teal, Larry, "Take Your Saxophone Seriously," The SchoolMusician, IX (April, 1938), 14-15.

Doubling

788. Butterworth, H., "See if I Can Answer Your Saxophone

Questions," The School Musician, IX (March, 1938), 35.

This article discusses the playing of another instru-

ment, such as the clarinet and flute, in addition to

playing the saxophone.

789. Butterworth, H., "See if I Can Answer Your SaxophoneQuestions," The School Musician, IX (November, 1937), 39.

790. Butterworth, H., "See if I Can Answer Your SaxophoneQuestions," The School Musician, IX (January, 1938), 41.

Embouchure

791. Arnold, Jay, "Saxophone Queries Answered," The SchoolMusician, XII (February, 1941), 45.

792. Arnold, Jay, "Saxophone Queries Answered," The SchoolMusician, XIII (October, 1941), 29.

793. Butterworth, H., "See if I Can Answer Your SaxophoneQuestion," IX (January, 1938), 41.

794. Butterworth, H., "See if I Can Answer Your SaxophoneQuestion," The School Musician, IX (September, 1937),41.

Suggestions for developing the saxophone embouchure are

discussed.

795. Revelli, William D., "Band and Orchestra Questions

Answered," The Etude Music Magazine, LXII (August, 1944)485, 487.

122

This article includes a description of the saxophone

embouchure.

796. Revelli, William D., "The Saxophone--Its Uses and Abuses,"The Etude Music Magazine, LVII (March, 1939), 163, 205.


Fingering

798. Arnold, Jay, Saxophone Queries Answered," The SchoolMusician, XII (April, 1941), 31-32.

799. Butterworth, H., "See if I Can Answer Your SaxophoneQuestion," The School Musician, IX (September, 1937), 43.

Alternate fingerings are important in playing the saxo-

phone. This article includes a discussion of saxophone

fingerings.


Question," The School Musician, IX (March, 1938), 35.

The fingering for high G on the saxophone is included

in this article.


Question," The School Musician, IX (April, 1938), 35.

This article includes suggestions for improving the

finger technique on the saxophone and suggests a trill

fingering for C and D.


Question," The School Musician, IX (November, 1937), 43.


Question," The School Musician, IX (January, 1938),, 41.

804. Leeson, Cecil, "Know Your Saxophone," The SchoolMusician, X (January, 1939), 41.

The high register fingerings are listed in this article.

123

805. Leeson, Cecil, "Know Your Saxophone,1 " The SchoolMusician, X (October, 1938), 37.

The position of the fingers on the keys of the saxo-

phone is described.

Intonation

806. Arnold, Jay, "Saxophone Queries Answered," The SchoolMusician, XII (May, 1941), 40-41.

Suggestions for playing in the high register with

better intonation are included in this article.

807. Butterworth, H., "See if I Can Answer Your SaxophoneQuestion," The School Musician, IX (December, 1937),45-46.

This article includes suggestions for playing in the

high register of the saxophone with better intonation.

Improvising

808. Butterworth, H., "See if I Can Answer Your SaxophoneQuestion," The School Musician, IX (October, 1937), 43.

This article discusses the means of developing the

ability to improvise on the saxophone.

Mouthpieces

809. Arnold, Jay, "Saxophone Queries Answered," The SchoolMusician, XIII (September, 1941), 39.

This article discusses the effects of different sizes

and shapes of saxophone mouthpieces.

810. Arnold, Jay, "Saxophone Queries Answered," The SchoolMusician, XII (April, 1941), 37.

811. Butterworth, H. , "See if I Can Answer Your SaxophoneQuestion," The School Musician, IX (October, 1937), 43.

812. Butterworth, H., "See if I Can Answer Your SaxophoneQuestion, IX (January, 1938)., 41.

124

813. Leeson, Cecil, "Know Your Saxophone," The School Musician,X (May, 1939), 44.

Practice


Question," The School Musician, IX (June, 1938), 35.

This article includes a chart of metronome speeds for

daily practice material.

Range

815. Arnold, Jay, "Saxophone Queries Answered," The School

Musician, XII (May, 1941), 40-41.

This article suggests studies and exercises for develop-

ing the high register of the saxophone.

Tone Production

816. Leeson, Cecil, "Know Your Saxophone," _The School Musician,

X (January, 1949)., 41.

Suggestions for producing the low tones on the saxophone


817. Warmelin, Clarence, "Warmelin School of Woodwinds," The

School Musician, X (April, 1939), 34-35.

This article lists reasons for poor response of tone in

the extremely high or extremely low register of the

saxophone.

Tone Quality

818. Butterworth, H., "See If I Can Answer Your Saxophone

Questions," The School Musician, IX (September, 1937), 43.

The causes of "squeaks" and "bubbling" in the saxophone

are discussed.

125

819. Leeson, Cecil, "Know Your Saxophone," The School Musician,X (October, 1938), 37.

820. Revelli, William, "The Saxophone--Its Uses and Abuses,"The Etude Music Magazine, LVII (March, 1939), 163, 205.


821. Arnold, Jay, "Saxophone Queries Answered," The SchoolMusician, XIII (October, 1941), 29.

822. Butterworth, H., "See If I Can Answer Your SaxophoneQuestion," The School Musician, IX (December, 1937), 41.

A discussion of tonguing is included in this article.

823. Revelli, William D., "The Saxophone--Its Uses andAbuses," The Etude Music Magazines, LVII (March, 1939),163, 205.

Articulation and the attack are discussed.

Vibrato

824. Arnold, Jay, "Saxophone Queries Answered," The SchoolMusician, XII (February, 1941), 45.

This article offers suggestions for developing the

vibrato.

825. Arnold, Jay, "saxophone Queries Answered," The SchoolMusician, XII (May, 1941), 40-41.

Suggestions for studying the vibrato are included in

this article.

826. Arnold, Jay, "Saxophone Queries Answered," The SchoolMusician, XII (April, 1941), 36.


Question," The School Musician, IX (November, 1937), 43.

828. *Leeson, Cecil, "Know Your Saxophone," The SchoolMusician, X (March, 1939), 39, 46.

This article discusses the saxophone vibrato. A series

of questions and answers on the vibrato are included.

126

829. Revelli, William D., "The Saxophone--Its Uses and Abuses,"

The Etude Music Magazine, LVII (March, 1939), 163.


Vibrato

831. Spratt, Jack, "The Double Reed Classroom," The SchoolMusician, XVII (December, 1945), 31-32.

The use of vibrato on woodwind instruments is discussed

in this article. Suggestions on how the vibrato is

produced and when it should be used are included.

INDEX D

BRASS

Baritone

Fingering

833. *Meretta, Leonard V., "Advice to the Cornetist," Theschool Musician, XVI (October, 1944), 38.

This article includes a discussion of the uses of the

fourth valve on the euphonium. A list of fingerings

which includes the fourth valve is given in the article.

Flexibility

834. Meretta, Leonard V., "Advice to the Cornetist," TheSchool Musician, XVI (November, 1944), 26-27.

This article includes a discussion, with exercises and

suggestions, for developing lip flexibility on the

baritone.

Tone Quality

835. Summerhill, Robert, "Baritone and Euphonium," TheSchool Musician, X (January, 1939), 12-13.

This article discusses the tone quality of the baritnne,

and includes suggestions for the vibrato and for tonguing

while playing the baritone.

Cornet

Articulation

(See Tonguing).

127

128


836. Meretta, Leonard V., "Advice to the Cornetist," The

School Musician, XIV (March, 1943), 31.

This article makes certain suggestions for increasing

the breath endurance of the cornet player.


School Musician, XIV (May, 1943), 29.

This article offers suggestions to help the cornet

player improve his breathing. There are further

suggestions for increasing the endurance of the cornet

player while he is playing long phrases.


School Musician, XV (April, 1944), 20-21.

839. Smith, Leona Mae, "Help You With Your Cornet," The

School Musician, XII (November, 1940), 39.

This article includes instructions for the cornetist

on the method of taking a breath.

840. Smith, Leona May, "Help You With Your Gornet," _The

School Musician, XII (January, 1941), 43.

This article includes a discussion of the use of the

diaphragm in playing the cornet.

841. Smith, Leona May, "Help You With Your Cornet," The

School Musician, XII (April, 1941), 31-32.

This article offers remedies and suggestions for

controlling the uvula to prevent air from escaping

while playing the cornet.

Elementary

842. Kidd, Paul R., "'Five Finger' Playing for the Trumpet,"

The School Musician, X (February, 1939), 12, 32.

This article is a discussion on beginning trumpet players.

129

843. Meretta, Leonard V., "Advice to the Cornetist," TheSchool Musician, XVII (November, 1945), 36.

This article includes suggestions for the minimum

age for the beginning cornet player. It also suggests

the amount of playing a beginning cornet student should

do during the lesson period, and the amount of practice

a beginner should attempt.

844. Meretta, Leonard V., "Advice to the Cornetist," _TheSchool Musician, XV (February, 1944), 22-23.

845. Meretta, Leonard V., "Advice to the Cornetist," TheSchool Musician, XV (April, 1944), 20-21.

This article includes a discussion of the range a

beginning cornet student should expect after a certain

amount of study.

846. Smith, Leona Mae, "Help You With Your Cornet," TheSchool Musician, X (February, 1939), 33.

Included in this article are suggestions for the proper

age to start a beginning cornet student.

Embouchure

847. *Gustat, Joseph, "Embouchure," The School Musician,X (January, 1939), 22.

This article gives a discussion of the lip and jaw

position that the cornet player should have while

playing his instrument. The article explains the

means that the cornetist should use in tensing his lips

to change pitches. The article also includes a short

discussion on breath control and on tenseness in

playing.

130

848. Irons, Earl D., "Cornet and Trumpet," Texas Music

Educator, IV (September, 1939), 14.

This article offers a discussion of the uses of the

lips and teeth in playing the cornet.


School Musician, XIII (May, 1942), 24.

This article includes a discus-sion of embouchure and

mouthpiece difficulties which the cornet player may

experience.


School Musician, XIV (November, 1942), 22.

This article discusses cornet players who play with

the mouthpiece in an off-center position on the lips.


School Musician, XIV (December, 1942), 17-18.

This article includes suggestions for placing the

mouthpiece on the lips of the cornetist.


School Musician, XIV (December, 1942), 29.

This article includes a suggestion to remedy a cornet

player's habit of puffing his cheeks while he is

playing.


School Musician, XIV (March, 1943), 31.

This article makes a suggestion for aiding the cornet

player to place the mouthpiece in the same place on his

lips each time he plays.

854. Meretta, Leonard V., "Advice to the Cornetist," TheSchool Musician, XIV (May, 1943), 29.

131

This article includes suggestions for the brass player

who needs to gain strength in his embouchure after a

period of time during which he has not played his

instrument.

855. *Meretta, Leonard V., "Advice to the Cornetist," The

School Musician, XVI (October, 1944), 38.

This is an important discussion of the difference in

jaw positions in playing in different registers of the

various brass instruments.

856. Nretta, Leonard V., "Advice to the Cornetist," The

School Musician, XVI (October, 1944), 26-27.

A discussion of playing the cornet with wet or dry

lips is included in this article.

857. *Meretta, Leonard V., "Advice to the Cornetist,"The School Musician, XVI (June, 1945), 29.

This article offers suggestions for building endurance

and strength in the cornet embouchure.


School Musician, XVII (September, 1945), 36.

This article offers suggestions for keeping the

embouchure flexible after the player has played a

difficult outdoor performance. Slurred diatonic and

chromatic scales as well as various flexibility studies

are advocated as an aid to the cornet player. It is

suggested that the cornet player use a thin coat of

vaseline on his lips when he is exposed to cold or

windy weather.

132

859. *Ieretta, Leonard V., "Advice to the Cornetist," TheSchool Musician, XVII (January, 1946), 26.

The "pinched" and the "open" embouchures are described

in this article. The embouchure is an important factor

in playing the cornet with good tone quality. The im-

portance of warm up is discussed. Suggestions for

building a stronger embouchure are included in this arti-

cle.

860. *Meretta, Leonard V., "Advice to the Cornetist," TheSchool Musician, XVII (February, 1946), 14, 32.

This is a discussion of means of eliminating "air

pockets" around the lips and face while the cornet

is played.

861. Meretta, Leonard V., "Advice to the Cornetist," TheSchool Musician, XV (November, 1943), 27.

Suggestions are included in this article for increasing

the endurance and volume of cornet players.

862. MerettA, Leonard V., "Advice to the Cornetist," TheSchool Musician, XV (November, 1943), 24.

This article offers suggestions for changing mouth-

pieces or the embouchure.

863. Meretta, Leonard V., "Advice to the Cornetist," TheSchool Musician, XIV (April, 1943), 29.

864. Meretta, Leonard V., "Advice to the Cornetist," TheSchool Musician, XV (February, 1943), 29.

865. Meretta, Leonard V., "Advice to the Cornetist," TheSchool Musician, XV (February, 1944), 22-23.

866. Meretta, Leonard V., "Advice to the Cornetist," TheSchool Musician, XV (May, 1944), 26.

867. *Smith, Leona May, "Help You With Your Cornet," TheSchool Musician, X.(May, 1939), 28, 39.

133

This article includes a discussion of embouchure problems.

The position of the lips and mouthpiece is described.

Included is a discussion of errors that can be made in

the cornet embouchure. A treatment of the importance

of the shape of the lips is given.

868. *Smith, Leona May, "Help You With Your Cornet," The

School Musician, XII (January, 1941), 43.

This article stresses the importance of pushing the lower

jaw forward so that the teeth will be even as an aid to

cornet players with a deep "overbite" jaw formation.

869. Smith, Leona May, "Help You With Your Cornet," The School

Musician, XII (February, 1941), 35.

This article offers suggestions to strengthen a weak

embouchure.

870. Smith, teona May, "Help You With Your Cornet," The

School Musician, X (January, 1939), 43.

Fingering Problems

871. Irons, Earl D., "Cornet," Texas Music Educator, V

(February, 1941), 12-13.

Mechanism and finger agility suggestions are listed in

this article. Included also is an illustration of a

suggested exercise to develop finger agility.

Flexibility


(October, 1940), 7, 16.

Suggestions for executing the lip trill on the cornet


134

Intonation

874. Irons, Earl D., "Cornet and Trumpet," Texas Music

Educator, IV (November, 1939), 18.

A discussion of intonation problems on the trumpet

with suggestions for correcting them.

875. *Meretta, Leonard V., "Advice to the Cornetist,"

The School Musician, XIV (April, 1943), 39.

Included in this article are suggestions for aiding

the intonation for the low C sharp and D on the cornet.

876. Meretta, Leonard V., "Advice to the Cornetist," TheSchool Musician, XV (April, 1944), 20-21.

Suggestions for aiding students to play with better

intonation on the cornet.

877. *Meretta, Leonard V., "Advice to the Cornetist," TheSchool Musician, XVII (March, 1946), 38-39.

A chart is included in this article that indicated

the notes and fingerings which tend to play flat or

sharp on brass ins trument s.

878. *Meretta, Leonard V., "Advice to the Cornetist," TheSchool Musician, XVII (June, 1946), 36.

Poor intonation is caused by inadequate breath support

of tones on the cornet.

879. Meretta, Leonard V., "Advice to the Cornetist," TheSchool Musician, XIV (January, 1942), 29.


School Musician, XV (April, 1944), 20.

Mouthpiece

881. Meretta, Leonard V., "Advice to the Cornetist," TheSchool Musician, XVII (November., 1945), 36.

The use of bent shaped mouthpieces on brass instruments

is included.

135


School Musician, XV (November, 1943), 27.

Performance

883. Clarke, Herbert L., "The Responsibilities If the Cornet

Soloist," The Etude Music Magazine, LVII (June, 1939),375-376, 415.

884. *Meretta, Leonard V., "Advice to the Cornetist,"The

School Musician, XVII (March, 1946), 38-39.

An important list of suggestions for the cornet soloist

to improve his solo playing.


School Musician, X (November, 1938), 35.

A number of suggestions to aid the cornet soloist in

overcoming nervousness are included.

886. Smith, Leona May, "Help You With Your Cornet," The School

Musician, X (January, 1939), 43.

Position (Holding the Cornet)

887. Coons, C. W., "The Band Director's Correspondence Clinic,"

The School Musician, XVI (September, 1944), 25, 29.

A suggestion for a device to correct cornet players right

hand position.


School Musician, XIV (September, 1942), 26.

A list of suggestions for holding the cornet properly.


School Musician, XVI (January, 1945),, 22.


School Musician, XVII (November, 1945), 36.

136

Practice and Preparation

891. *Clarke, Herbert L., "The Responsibilities of a Cornet

Soloist," The Etude Music Magazine, LVII (June, 1959),

375-376, 415.

This article discusses the preparation that a cornet

player must make to become a soloist. Good health is

important. Suggestions are included for memorizing,

tonguing, and breathing.

892. *Fitzgerald, Bernard, "Brass Clinic," The Instrumentalist,

I (May-June, 1947), 20-21.

This article presents suggestions for planning the practice

period of the cornet student, and gives a chart for ana-

lyzing and checking deficiencies to be corrected during

the practice period.

893. Meretta, Leonard V., "Advice to the Cornetist," The.

School Musician, XIII (June, 1942), 27.

Suggestions for the "Warm-up" routine are included.

894. Meretta, Leonard V.,."Advice to the Cornetist," The

School Musician, XV (December, 1943), 24.

A suggested length of practice time is included.


School Musician, XVII (December, 1945), 29.

A discussion on silent practice on brass instruments.


School Musician, XVI (January, 1945), 22.


School Musician, XVI (May, 1945), 26.


School Musician, XIII (April, 1942), 27.

137

Range

899. *Meretta, Leonard V., "Advice to the Cornetist," TheSchool Musician, XIV (December, 1942), 17-18.

The importance of adequate preparation in developing

the high register is discussed. Selected practice

routines for the high register are included.

900. Meretta, Leonard V., "Advice to the Cornetist," TheSchool Musician, XVI (February, 1945), 27.

The development of the high and low ranges of the

cornet is discussed in this article. A study is

given.

901. Meretta, Leonard V., "Advice to -the Cornetist," TheSchool Musician, XVII (June, 1946), 36.

902. Smith, Leona May, "Help You With Your Cornet," TheSchool Musician, X (February, 1939), 33.

Tone Production

903..*Meretta, Leonard V., "Advice to the Cornetist," TheSchool Musician, XIII (June, 1942),27.

The importance of breath control in producing a tone,

on the cornet is given, with a general discussion of

starting and releasing a tone.

Tone Quality

904,1 Chenette, Clate W., "Cornet Technique," The SchoolMusician, X (November, 1938), 16-17.

905. Fitzgerald, Bernard, "Brass Clinic," The Instrumentalist,I (September-October, 1946), 14-15.

The beauty of the tone of the cornet (trumpet) is described

in this article.

138



A discussion of the tone quality of the cornet in the

high register..

907. *Meretta, Leonard V., "Advice to the Cornetist," TheSchool Musician, XVII (January, 1946), 26.

Tone quality depends on two factors, embouchure and

mental concept of a good tone quality.

908. *Meretta, Leonard V., "Advice to the Cornetist," TheSchool Musician, XV (November, 1943), 27.

A discussion of tone quality is included in this arti-

cle. It is important that the cornet player have the

proper mental conception of tone quality.

909. Meretta, Leonard V., "Advice to the Cornetist," TheSchool Musician, XIII (April, 1942), 27.


910. Chenette, Clate W., "Cornet Technique," The SchoolMusician, X (November, 1938), 16-17.

The importance of coordinating tonguing with finger

control is discussed. Statements on technique are

included.

911. *Fitzgerald, Bernard, "Brass Clinic," The Instrumentalist,I (November-December, 1946), 34-35.

Faulty articulation is a handicap to brass players. A

list of reasons for poor attacks and the essential

elements of good articulation are given in this article.

A discussion of syllables used by brass players in

different registers of their instruments is included.

139

912. Irons, Earl D., "Cornet and Trumpet," Texas MusicEducator, IV (February, 1940), 16.

Various means of attacking tones on the cornet with an

exercise for developing clear attacks are included in

this article.

913. McHenry, Craig, "The Mechanics of Cornet Playing," TheSchool Musician, X (December, 1938), 12-13.

914. Meretta, Leonard V., "Advice to the Cornetist," TheSchool Musician, XIV (September, 1942), 26.

Suggestions for starting the instruction of double

and triple tonguing on the cornet are included.

915. Meretta, Leonard V., "Advice to the Cornetist," TheSchool Musician, XIV (February, 1943), 21.

Staccato tonguing is discussed in this article.

916. Meretta, Leonard V., "Advice to the Cornetist," TheSchool Ivusician, XIV (March, 1943), 31.

A description of the legato and semi-legato attack on

the cornet is included.

917. Meretta, Leonard V., "Advice to the Cornetist," TheSchool Musician, XIV (April, 1943), 29.

This article includes a suggestion for changing the

place of tonguing from between the teeth to behind

the teeth.

918. *Meretta, Leonard V., "Advice to the Cornetist," TheSchool Musician, XVII (November, 1945), 36.

Double and triple tonguing are discussed in detail in

this article. It includes suggestions for employing

this type of tonguing as well as suggestions for

teaching it.

140


School Musician, XVII '(May, 1946), 28.

This article includes advice for using the legato

tongue and the flutter tongue.


School Musician, XIV (January, 1943), 29.

921. Meretta, Leonard V., "Advice to the Cornetist," _The

School Musician, XV (April, 1944), 20.


School Musician, XV (May, 1944), 26.


School Musician, XII (March, 1941), 38-39.

Transposition


(October, 1940), 7, 16.


School Musician, XIV (June, 1943), 32.

926. O'Brien, Cyril E., "Symphonic Routine and Transposition

for the Young Trumpeter," The School Musician, XII

(April, 1941), 20-22.

A list of the common transpositions a cornet or trumpet

player should know is included. Knowledge of scales is

important when learning to transpose.

Vibrato

927. Chenette, Clate W., "Cornet Technique," The School

Musician, X (November, 1938), 16.


School Musician, XIV (October, 1942), 27.

This is an article on beginning and practicing the

Vibrato.

141

929. *Meretta, Leonard V., "Advice to the Cornetist," TheSchool Musician, XV (May, 1944), 26.

Some good suggestions for teaching and using the vibrato

are included.

930. Meretta, Leonard V., "Advice to the Cornetist," TheSchool Musician, XVI (February, 1945), 27.

This article lists the kinds of vibrato a cornet

player may use, and makes suggestions for the proper

occasion for using the vibrato.

931. Meretta, Leonard V., "Advice to the Cornetist," TheSchool Musician, XVI (November, 1944), 26.

French Horn

Articulation


Breathing and Breath Control

932. Cox, Philip W. L., "Intricacies of the French HornSimplified," The School Musician, XV (April, 1944), 24-26.

Suggestions on breathing and diaphragm pressure for play-

ing the French horn are included in this article.

933. Pottag, Max, "Playing the French Horn," The Instrumentalist,I (May-June, 1947), 36-37.

This article includes a discussion of breath control.

Embouchure

934. Cox, Philip W. L., "Intricacies of the French HornSimplified," The School Musician, XII (February, 1941),33-34.

A discussion of the "set-in" position of mouthpiece

placement is included in this article.

142

935. Cox, Philip W. L., "Intricacies of the French Horn

Simplified," The School Musician, XII (May, 1941),

15, 46. ,

This article discusses lip vibrations and embouchure.

936. *Cox, Philip W. L., "Intricacies of the French Horn

Simplified," The School Musician, XIII (February, 1942),

29-30.

Illustrations with suggestions to demonstrate the

relative positions of the lips and teeth in playing

in different registers of the French horn are included.


Simplified," The School Musician, XIV (April, 1943), 26.

This article discusses lip trills for the French horn

and makes suggestions for helping the French horn

player to play high tones with more assurance.


Simplified," The School Musician, XIII (September, 1942),

45.


Simplified," The School Musician, XIII (March, 1942),28.


Simplified," The School Musician, XIII (May, 1942), 21.

942. Pottag, Max, "Playing the French Horn,'t The

Instrumentalist, I (May-June, 1947), 36-37.

Fingering


Simplified," The School Musician, XII (April, 1941), 39.

This article includes the fingering for low tones of

the five-valved B flat French horn.


Simplified," The School Musician, XII (December, 1940), 32.

143

Flexibility and Tone Placing


This article includes suggestions to aid French horn

players to find pitches.

946. *Cox, Philip W. L., "Intricacies of the French hornSimplified," The School Musician, XVI (September, 1944),30-31.

A series of exercises are included for aiding the French

horn player to employ the movable "do" in placing tones.


Simplified," The School Musician, XVI (October, 1944), 34.

Suggestions on the movable "do" system of placing tones

on the French horn are included.

948. *Cox, Philip W. L., "Intricacies of the French HornSimplified," The School Musician, XVI (November, 1944),30-32.

Suggestions on the movable "do" system of placing tones

on the French horn are included.

949. *Cox, Philip W. L., "Intricacies of the French hornSimplified," The School Musician.

Suggestions for using previous articles on the movable

"do" system of placing tones are included.


Simplified," The School Musician, XVI (February, 1945), 30.

The final list of a series of suggestions for using the

movable "do" system in placing tones is included in this

article.

951. Cox, Philip W. L., "Intricacies of the French HornSimplified," The School Musician, XII (January, 1941), 33.

144

952. Revelli, William D.., "Band Questions Answered," The

Etude Music Magazine, LXII (January, 1944), 66.

General Articles (Teaching)


Simplified," The School Musician, XVII (April, 1946),

34, 35.

A list of aids to learning to play the French horn is

included.


Simplified," The School Musician, XVIII (January, 1947),

37.

A check list for horn students to use in their playing

is included in this article.


Simplified," The School Musician, XVIII (March, 1947),

34-35.

This article includes a plan for teaching French horn

players who have been playing the cornet or baritone.

956. Jacobs, Marion L., "Technic of the Hand Horn," The

School Musician, XVII (April, 1946), 7, 38.

This article discusses open and closed horn playing

and when it should be used.

957. *Pottag, Max, "The Beginning French Horn Player," The

Ins trumentalist, I (January-February, 1947), 10.

A discussion of choosing the correct person to play

the French horn is included in this article. Important

suggestions for placing the mouthpiece on the lips, the

left hand position, and the right hand position are

included.

145

Interpretation

958. Cox, Philip V- L, h"Intricacies of the French Horn

Simplified," The ScholM~usician, XII (Februarys 1941),

33-34.

This article includes suggestions for interpreting

Horniste by Philip W. L. Cox; a French horn solo.

959. Cox, Philip W. L., "Intricacies of the French Horn YSimplified," The School Musician,

XVI (January, 1945,

30.

A discussion of the approach to interpretation and

feeling is included in this article.


Simplified," The School Musician, XVII (June, 1946),

This article includes a discussion of the solo style

for the French horn. It includes suggestions for

approaching the interpretation of a melody, suggestion

for expression, and explains the importance of rhythm

and shape of a particular composition.

961. Cox. Philip V. L., "Intricacies of the French Horn

Simplified," The School Musician, XVIII (May, 1947),

34-35.

Suggestions for studying the French horn part of

Wagner's Magic Fire Music are given in this article.

An excerpt of the music is included. Tone quality,

cleanness of attack, breathing, pitch accuracy, and

range are all problems discussed in connection with

this music.

Mouthpiece


Simplified," The School Musician, XII (November, 1940), 32.

146

This article includes an illustration of a mouthpiece

design with complete measurements.


Simplified," The School Musician, XIV (September, 1942),

25.

A size of French horn mouthpiece is suggested.


Simplified," The School Musician, XIV (May, 1943),

28.

An illustration of the design and measurements for a

French horn mouthpiece is included in this article.


Simplified," The School Musician, XII (October, 1940),

33-34.


Simplified," The School Musician, XV (October, 1943),

11.

967. Cox. Philip W. L., "Intricacies of the French Horn

Simplified," The School Musician, XVII (December, 1946),

9-10 .


Simplified," The School Musician, XVII (March, 1946)

42.

Position (Holding the Horn)



Better tone quality can be obtained by the French horn

player by holding his horn correctly.


Simplified," The School Musician, XIII (February, 1942).,

29-30.

A good tone quality is acquired partly by holding the

right hand in the bell as it is illustrated in this

article.

147

971. Haigh, Bertram N., "French Horn," The School Musician,

X (December, 1938), 14-16.

The position of the right hand in the bell is illustrated

in this article.

972. Haigh, Bertram, N., "The.French Horn Has Its Problems,tt

The School Musician, XIII (.October, 1941), 36.

Practice


Simplified," The School Musician, XIII (October, 1941),

34.

Long tones are valuable for the lwarm-upl on the French

horn.


Simplified," The School Musician, XIII (June, 1942), 27.

A list of suggestions to interest French horn students

in practicing is included in this article. A -list of

games and contests for this purpose is given.


Simplified," The School Musician, XIV (June, 1943),30-31.

Practice suggestions for developing good attacks.

Suggestions are made to aid in playing after-beat

rhythm. Importance of listening while playing is

discussed.


Simplified," The School Musician, XIII (November, 1941),10-11.

An illustration of a suggested "warm-up" drill is in-

cluded in this article.


Simplified," The School Musician, XII (December, 1940), 32.

148




Simplified," The School Musician, XV (April, 1944), 24.

980. Haigh, Bertram N., "French Horn," The School Musician,

X (December, 1938), 14-16.

981. Jaenicke, Bruno, "Problems of the French Horn," The

Etude Music Magazine, LIX (May, 1941), 313, 346.

This article suggests that the practice period be

divided into definite times for definite problems.

The practice period should include tonality and attack,

intervals., and training of embouchure.

Range


Simplified," The School Musician, XV (June, 1944), 22.

This article includes a series of progressive exercises

to develop the low register of the French horn.


Simplified," The School Musician, XII (November, 1940),

32.




Simplified," The School Musician, XIII (November, 1941),

29.



Rhythm and Sight Reading


Simplified," The School Musician, XIII (September,

1941), 45.

This article includes suggestions for teaching rhythm

to French horn students.

149

Tone Placing

(See Flexibility and Tone Placing).

Tone Production

988. Jaenicke, Bruno, "Problems of the French Horn," The

Etude Music Magazine, LIX (May, 1941), 313, 346.

A discussion of the method of producing a tone on the

French horn is included in this article. The important

delicate adjustment of the lips is explained.

Tone Quality


Simplified," The School Musician, XII (October, 1940),

33-34.

Tone quality can be improved by following a series of

suggestions listed in this article.


Simplified," The School Musician, XII (November, 1940),

32.

This article suggests certain improvements that may be

made in the French horn tone quality of a student. A

discussion of the "velvet" tone is included.


Simplified," The School Musician, XII (January, 1941), 33.

This article discusses the non-transposing mute for the

French horn.

992. Cox, Philip V. L., "Intricacies of the French Horn

Simplified," The School Musician, XII (May, 1941), 45-46.

A refined tone depends upon the position of the hand in

the bell. Illustrations are included to show the best

position of the hand in the bell. A short discussion

150

on various types of mutes is included.



29.


Simplified," The School Musician, XIII (February, 1942),29.


Simplified," The School Musician, XII (June, 1941), 36.


Simplified," The School Musician, XIV (September, 1942),25.

998. Pottag, Max, "Playing the French Horn," The




Simplified," The School Musician, XIII (January, 1942),34.

Tonguing syllables for low or high tones are listed in

this article.


Simplified," The School Musician, XIV (September, 1942),

25.

A discussion of the various attacks used on the French

horn is included in this article.

1001. Cox, Philip 19. L., "Intricacies of the French Horn

Simplified, The School Musician, XVI (June, 1945), 26-27.

Tonguing problems are discussed in this article.

1002. Pottag, Max, "Playing the French Horn," The


Transposition


Simplified," The School Musician, XII (October, 1940), 33.

151

The B flat valve on the double horn is discussed.

Suggestions for reading from a part written in the

key of C are included.

1004. Cox, Philip I. L., "Intricacies of the French Horn

Simplified," The School Musician, XII (December, 1940),

32.

The Eastman system of clef playing is discussed in

this article.


Simplified," The School Musician, XII (February, 1941),

33-34.

This article includes a chart of French horn trans-

positions with instructions for using it.


Simplified," The School Musician, XIII (September, 1941),

45, 46.

Transposition problems for the B flat French horn are

listed and discussed.


Simplified," The School Musician, XIII (February, 1942),

29-30.

This article includes suggestions for transposing the

piano part and the French horn part in the key of F for

B flat French horn.


Simplified," The School Musician, XIV (February, 1943),

28-29.

Transposing by means of clefs is discussed in this

article.


Simplified," The School Musician, XVI (February, 1946),

30.

152

1010. Hoss, Wendell, "The French Horn," The School Musician,

X (March, 1939), 16-17.

This article treats of general problems on the French

horn. Suggestions for transposing and muting are

included.

Types of Horns


Simplified," The School Musician, XVI (March, 1945),

31.

The B flat and F single French horns are discussed.



10-11.

The single F French horn and the double F-B flat French

horn are discussed.

1013. Martin, Phil H., "Mr. Martin Explains," The School

Musician, XIII (December, 1941), 3-4.

This article treats of the advantages of the different

types (keys) of French horns.

1014. Mueble, William, "Solving the Mysteries of the French

Horn," The School Musician, X (January, 1939), 10-11.

Single and double French horns are discussed in this

article.

General Problems

1015. Coons, C. W., "The Band Director's Correspondence

Clinic," The School Musician, XV (April, 1944), 22-23.

This article discusses the use of lips slurs on brass

instruments as an aid to developing embouchures.

Exercises and procedures are suggested.

153

1016. *Fitzgerald, Bernard, "Brass Clinic," The Instrumentalist.,

I (March-April, 1947), 6-7.

This article discusses the daily practice routine which

brass players should use. It stresses the importance

of the correct type of warm-up for brass players. It

explains the folly of certain mistaken ideas of warm-

up and lists what the warm-up procedure should contain.

This article includes examples of a warm-up routine for

all brass instrument players.

1017. *Fitzgerald, Bernard, "Brass Clinic," The Instrumentalist,I (January-February, 1947), 34-35.

This article is a discussion of a criteria for select-

ing students who are adapted to brass instruments. The

article discusses tooth and jaw formation of prospective

brass instrumentalists, and lists three types of con-

tour of tooth formation. It discusses the importance

of the texture and muscular flexibility of the lips.

1018. *Revelli, William D., "The Teaching of Brass Instruments,"The Etude Music Magazine, LVIII (June, 1940), 383.

This article discusses a number of important problems

concerning the playing of brass instruments. The sub-

ject of the physical adaptability of students to the

brass instruments is discussed first. This concerns

the shape and size of the lips and teeth. The subjects

of placing the mouthpiece, lip vibrations, and tone pro-

duction are treated briefly. The relation of measured

breath to breath control is discussed. Suggestions are

included for brass players to avoid the overuse of the

154

diaphragm, with a warning of the danger of inadequate

breath support. The article discusses the difference

in attacks that must be used when brass players are

performing in different ranges of the instruments. The

article includes suggestions on tone quality, breath

technic, lip technic, and finger technic.

1019. Ray, Paul S. and Vesely, Stanley, "Technique of the

Brass Winds," The School Musician, X (March, 1939).,

20-23.

This article discusses problems which are common to all

brass instruments. Included are breath control, tonguing,

embouchure, and the lip trill. The article also includes

examples of exercises recommended for improving the tech-

niques mentioned above.

1020. Raymond, William F., "Your Trombone Questions An-

swered," The School Musician, IX (February, 1938), 37.

This article includes the results of an extensive re-

search on fever blisters which form on brass players'

lips.

1021. Sollman, Henry, "Teaching and Playing Brass Instru-

ments," The School Musician, XII (April, 1941), 14-16, 47.

This article lists important fundamentals that should be

observed by the beginning brass student. The article

suggests a practice routine for brass students. It

discusses the brass embouchure and makes suggestions

for articulation, triple tonguing, and breathing.

155

Trombone

Articulation



1022. Raymond, William F., "Your Trombone Questions

Answered," The School Musician, IX (December, 1937),39-40.

Breathing and playing with the use of the diaphragm

are treated in this article.


Answered," The School Musician, XIII (November, 1941),33.

Breathing and breath control are discussed. Illustra-

tions are given.


Answered," The School Musician, IX (October, 1937),41.


Answered," The School Musician, X (November, 1938),37.

Embouchure

1026. Meretta, Leonard V., "Advice to the Cornetist,"

The School Musician, XVII (February, 1946), 14, 32.

This article includes a discussion of "setting" the

mouthpiece of the trombone on the lips and changing

the "setting" of the mouthpiece.


School Musician, XVI (December, 1944), 24.

156


Answered," The School Musician, X (November, 1938), 37.

Placing the mouthpiece to the lips is discussed in

this article.


swered,'t The School Musician, X (June, 1939), 36-37.

Embouchure and mouthpiece changes are treated in this

article.


swered," The School Musician, XII (December, 1940), 35.

This article includes a discussion of the Trombone

embouchure.


swered," The School Musician, XIII (December, 1941),35.

Embouchure and placing the mouthpiece are discussed

in this article.


swered," The School Musician, XIII (January, 1942), 27.

The pressure of the mouthpiece on the lips is discussed

in this article.


swered," The School Musician, X (September, 1938),39-40.

Flexibility

1034. Raymond, William F., "Your Trombone Questions An-swered," The School Musician, IX (October, 1937), 41.

Exercises for developing strength and flexibility in

the lips are listed and illustrated in this article.

157

General Interest (Teaching Problems)

1035. Horn, John, "A Manual of Trombone Practice," TheSchool Musician, X (November, 1938), 13.

A general treatment of common faults and their remedies

in trombone playing comprises this article.

1036. Raymond, William F., "Your Trombone Questions An-swered," The School Musician, IX (March, 1938), 37.

This article includes a discussion of the length of

the individual trombone lesson.

1037. Raymond, William F., "Your Trombone Questions An-swered," The School Musician, IX (May, 1938), 38-39.

Interpretation

1038. Raymond, William F., "Your Trombone Questions An-swered," The School Musician, XII (November, 1940), 37.

This article discusses the rhythmic playing of notes.

Mouthpiece

1039. Meretta, Leonard V., "Advice to the Cornetist," TheSchool Musician, XVII (February, 1946), 14, 32.

Suggestions for the size and shape of mouthpiece that

should be used in trombone playing are included.

1040. Raymond, William F., "Your Trombone Questions An-swered," The School Musician, IX (May, 1938), 37-38.

This article includes suggestions for the bore of the

trombone and the size of mouthpiece that should be used.

Position (Holding the Trombone)

1041. Meretta, Leonard V., "Advice to the Cornetist," TheSchool Musician, XVI (December, 1944), 24.

158

Range


swered," The School Musician, IX (February, 1938), 37.

Suggestions for improving the trombone player's ability

to use the high register of his instrument are included.

Sight Reading

1043. Raymond, William F.., "Your Trombone Questions An-

swered," The School Musician, IX (October, 1937), 39.

Slide Positions

1044. Harryman, Herman W., "Auxiliary-Positions in Trombone

Playing," The School Musician, XVIII (September, 1946),19.

The use of auxiliary positions in trombone playing is

discussed. The difference between auxiliary and false

positions is explained. A table of auxiliary and

false positions is included.


swered," The School Musician, IX (March, 1938), 37.

This article includes a discussion of the raised and

lowered positions as they are used in trombone playing.


swered," The School Musician, X (January, 1939), 37.

The slide and arm movements in playing the trombone

are discussed in this article.

1047. Sharman, Grant, "Trombone Technique, The School

Musician, XII (February, 1941), 15-16.

False positions and the direction of the slide are

discussed in this article. Examples are included.

159

Slurring

1048. Meretta, Leonard V., "Advice to the Cornetist," TheSchool Musician, XVI (May, 1945), 26-27.

Trombone slurs are explained in this article.

1049. Raymond, William F., "Your Trombone Questions An-swered," The School Musician, IX (April, 1938), 37.

1050. Revelli, William D., "Band Questions Answered," TheEtude Music Magazine, LXIII (April, 1945), 226.

This article includes suggestions for playing slurs

on the trombone.

Tone Production

1051. Raymond, William F., "Your Trombone Questions An-swered," The School Musician, XII (February, 1941), 43.

Attacking tones with the lips is discussed in this

article.

1052. Raymond, William F., "Your Trombone Questions An-swered," The School Musician, XII (April, 1941), 39.

This article is an important discussion of "lipping"

(tone production). Two methods are discussed and

exercise examples are included for practice.

1053. Raymond, William F., "Your Trombone Questions An-swered," The School Musician, XIII (December, 1941), 28.

Tone Quality

1054. Raymond, William F., "Your Trombone Questions An-swered," The School Musician, IX (February, 1938), 37.

Suggestions for tone quality on the trombone are in-

cluded in this article.

1055. Raymond, William F., "Your Trombone Questions An-swered," The School Musician, IK (April, 1938), 37.

160

1056. Raymond, William F., "Your Trombone Questions An-swered," The School Musician, IX (June, 1938), 37-38.


1057. Raymond, William F., "Your Trombone Questions An-swered," The School Musician, IX (June, 1938), 37.

This article includes a discussion of tonguing the

trombone.

1058. Raymond, William F., "Your Trombone Questions An-swered," The School Musician, X (April, 1939), 43.

Double and triple tonguing are discussed in this

article.

1059. Raymond, William F., "Your Trombone Questions An-swered," The School Musician, XII (October, 1940), 41.

This article discusses the staccato attack.

1060. Raymond, William F., "Your Trombone Questions An-swered," The School Musician, X (September, 1938),39-40.

Tonguing and articulation on the trombone are dis-


1061. *Raymond, William F., "Your Trombone Questions An-swered," The School Musician, XIII (January, 1942), 27.

Coordination of tongue and lip movements is discussed.

A list of the different styles of tonguing is in-

cluded.

1062. Raymond, William F., "Your Trombone Questions An-swered," The School Musician, IX (November, 1937), 41.

1063. Swartley, Lloyd F., "Attack for Trombone Players,"The School Musician, X (January, 1939), 17, 44.

161

Transposition

1064. Raymond, William F., "Your Trombone Questions An-swered," The School Musician, IX (March, 1938), 37.

Vibrato

1065. *Gehrkens, Karl W., "Questions and Answers," The

Etude Music Magazine, LIX (April, 1941), 242.

Included in this article is an explanation of two

types of trombone vibrato.


School Musician, XVII (February, 1946), 14, 32.

The slide vibrato and the jaw vibrato for the trombone

are discussed in this article.

1067. *Raymond, William F., "Your Trombone Questions An-swered," The School Musician, IX (September, 1937), 41.

The vibrato is discussed with suggestions for when it

should be used. Two types of vibrato for the trombone

are explained.

1068. Raymond, William F., "Your Trombone Questions An-swered," The School Musician, XII (Decanber, 1940), 35.

The use of the vibrato on the trombone is discussed.


swered," The School Musician, X (May, 1939), 43.

Tuba

Embouchure

1070. Loop, Clinton, "The Lowdown on the Bass Section,"The School Musician, XII (June, 1941), 30.

This article includes suggestions to remedy the tuba

player's fault of puffing his cheeks when he is play-

ing.

162

1071. Loop, Clinton, "The Lowdown on the Bass Section," TheSchool Musician, XII (April, 1941), 45.

The fingerings for the fourth valve on the E flat tuba


1072. Meretta, Leonard V., "Advice to the Cornetist," TheSchool Musician, XVI (October, 1944), 38.

General Interest -(Teaching)

1073. Loop, Clinton, "The Lowdown on the Bass Section,"The School Musician, XII (May, 1941), 41-42.

This article lists the accomplishments the average bass

student should attain after one year, as well as the

physical requirements for a tuba player. The article

compares the different types (keys) of tubas and lists

their value in different kinds of organizations.

Tone Production

1074. Revelli, William D., "Band Questions Answered," TheEtude Music Magazine, LXII (January, 1944), 66.

Suggestions are offered to correct poor and uncertain

attacks on the tuba.

Types of Tubas

1075. Loop, Clinton, "The Lowdown on the Bass Section," TheSchool Musician, XII (March, 1941), 42.

The use of the tuba in the key of F is discussed.

1076. Loop, Clinton, "The Lowdown on the Bass Section," TheSchool Musician, XII (May, 1941), 41-42,

The various types (keys) of tubas are compared in this

article.

INDEX E

1VATERIALS*

Baritone

1077. Fitzgerald, Bernard, "Brass Clinic," The Instrumen-talist, I (May-June, 1947), 20-21.

Bass and Alto Clarinet

1078. Warmelin, Clarence, "Clarinet 'Q's' and 'A'st," TheSchool Musician, IX (January, 1938), 43, 45.

1079. Warmelin, Clarence, "Warmelin School of Woodwinds,"The School Musician, IX (April, 1938), 37.


1081. Warmelin, Clarence, "Warmelin School of Woodwinds,"The School Musician, XII (October, 1940), 38.

Bassoon

1082. Revelli, William D., "Band Questions Answered," TheEtude Music Magazine, LXII (January, 1944), 66.

1083. Spratt, Jack, "The Double Reed Classroom," The SchoolMusician, XVI (May, 1945), 17-18.

1084. Spratt, Jack, "The Double Reed Classroom," The SchoolMusician, XVIII (November, 1946), 40.

1085. Waln, George, "Woodwind Clinic," The Instrumentalist,I (May-June, 1947), 11-13.

Clarinet

1086. Bone, Allan Hadley, "The Clarinetists Column," TheSchool Musician, XVIII (February, 1946), 16-17.

*A list of references that recommend certain publishedmethods, studies, and solos.

164

1087. *Bone, Allan Hadley, "The Clarinetist's Column," The

School Musician, XVIII (March, 1947), 26.

1088* Vagner, Robert, "Helpful Hints for the Backward

Clarinet Player," The School Musician, XVI (October,1944),16-17, 42.

1089. Waln, George, "The Clarinetists Column," The School

Musician, XVI (March, 1945), 30-31.

1090. Waln, George, "The Clarinetists Column," The School

Musician, XVII (November, 1945), 18-19.

1091. Waln, George, "Woodwind Clinic ," The Instrumentalist,I (November-December, 1946), 8-10.

1092. Warmelin, Clarence, "Clarinet tQ's and 'A's'," The

School Musician, IX (January, 1938), 43, 45.


1094. -Warmelin, Clarence, "Warmelin School of Woodwinds,"

The School Musician, X (January, 1939), 35.


The School Musician, X (January, 1939), 40.


The School Musician, XII (October, 1940), 38.

Cornet

1097. *Fitzgerald, Bernard, "Brass Clinic ," The Instrumentalist,I (May-June, 1947), 20.

1098. Meretta, Leonard, "Advice to the Cornetist," The

School Musician, XIV (November, 1942), 22.


School Musician, XIV (February, 1943), 21.



1101. *Meretta, Leonard, "Advice to the Cornetist," The

School Musician, XV (June, 1944), 26.

1102. Smith, Leona May, "Help You with Your Cornet," The

School Musician, X (February, 1939), 33.

165

1103. Smith, Leona May, "Help You with Your Cornet," TheSchool Musician, X (June, 1939), 38.

Double Bass

1104. Berkley, Harold, "Violin Questions," The Etude MusicMagazine, LXII (February, 1944), 123.

1105. Berkley, Harold, "Violin Questions," The Etude MusicMagazine, LXIV (January, 1946), 31.

1106. *Green, Elizabeth A. H., "Strings," The School Musician,XVII (June, 1946), 29.

1107. Green, Elizabeth A. H., "Strings," The School Musician,XVIII (February, 1947), 28-29, 40.

Flute

1108. Fair, Rex Elton, "Let Me Answer Your Questions on theFlute," The School Musician, X (April, 1939), 36-37.

1109. Fair, Rex Elton, "Let Me Answer Your Questions on theFlute," The School Musician, X (November, 1938), 42.

1110. Fair, Rex Elton, "Let Me Answer Your Questions on theFlute," The School Musician, X (December, 1938), 34.

1111. Fair, Rex Elton, "Let Me Answer Your Questions on theFlute," The School Musician, X (June, 1939), 41-42.

1112. Fair, Rex Elton, "Let Me Answer Your Flute Questions,"The School Musician, XII (January, 1941), 37-38.

1113. Fair, Rex Elton, "Let Me Answer Your Flute Questions,"The School Musician, XIII (September, 1941), 41-42.

1114. Fair, Rex Elton, "Let Me Answer Your Flute Questions,"The School Musician, XIII (December, 1941), 31-32.

1115. Fair, Rex Elton, "Let Me Answer Your Flute Questions,"The School Musician, XIII (January, 1942), 34.

1116. Fair, Rex Elton, "Let Me Answer Your Flute Questions,"The School Musician, XIII (March, 1942), 31-32.

1117. Fair, Rex Elton, "Let Me Answer Your Flute Questions,"The School Musician, XIII (April, 1942), 21-22.

166

1118. Fair, Rex Elton, "Let Me Answer Your Flute Questions,"The School Musician, XIV (October, 1942), 24-25.

1119. Fair, Rex Elton, "Let Me Answer Your Flute Questions,"The School Musician, XIV (December, 1942), 19-20.

1120. Fair, Rex Elton, "Let Me Answer Your Flute Questions,"The School Musician, XIV (February, 1943), 22-23.

1121. Fair, Rex Elton, "Let Me Answer Your Flute Questions ,"The School Musician, XIV (March, 1943), 23.

1122. Fair, Rex Elton, "Let Me Answer Your Flute Questions,"The School Musician, XIV (June, 1943), 27.

1123. Fair, Rex Elton, "Let Me Answer Your Flute Questions,"The School Musician, XV (December, 1943), 21-22.

1124. Fair, Rex Elton, "Let Me Answer Your Flute Questions,"The School Musician, XV (June, 1944), 19-21.

1125. Fair, Rex Elton, "Let Me Answer Your Flute Questions,"The School Musician, XVII (November, 1945), 15.

1126. Fair, Rex Elton, "Let Me Answer Your Flute Quaestions,"The School Musician, XVII (May, 1946), 38-39.

1127. Revelli, William D., "Band and Orchestra Questions

Answered," The Etude Music Magazine, 2XIII (April, 1945),226.

1128. Revelli, William D., "Band Questions Answered," TheEtude Music Magazine, IXIV (August, 1946), 436.

1129. Waln, George, "Woodwind Clinic," The Instrumentalist,I (January-February, 1947), 7.

French Horn


Simplified," The School Musician, XII (January, 1941),33.



Simplified," The School Musician, XII (May, 1941), 45-46.

167

1133. Cox, Philip W. L., "Intricacies of the French HornSimplified," The School Musician, XIII (January, 1942).,34.

1134. Cox, Philip W. L., "Intricacies of the French HornSimplified," The School Musician, XIII (March, 1942),28.

1135. Cox, Philip W. L., "Intricacies of the French HornSimplified," The School Musician, XV (December, 1943),23.

1136. Cox, Philip W. L., "Intricacies of the French HornSimplified," The School Musician, XV (June, 1944), 22-24.

1137. Cox, Philip W. L., "Intricacies of the French HornSimplified," The School Musician, XVT(Apri2, 1945), 28-29.

1138. Cox, Philip W. L., "Intricacies of the French HornSimplified," The School Musician, XVI (May, 1945), 31-32.

1139. *Cox, Philip W. L., "Intricacies of the French HornSimplified," The School Musician, XVII (December, 1945),34-36.

1140. Cox, Philip W. L., "Intricacies of the French HornSimplified," The School Musician, XVII (April, 1946),34-35.

1141. Fitzgerald, Bernard, "Brass Clinic," The Instru-mentalist," I (May-June, 1947), 20-21.

1142. Haigh, Bertram .J, "The French Horn Has Its Problems,"The School Musician, XIII (November, 1941), 10-11.

1143. Revelli, William D., "Band Questions and Answers,"The Etude Music Magazine, LXI (December, 1943), 833.

Oboe

1144. Fair, Rex Elton, "Let Me Answer Your Questions on theFlute," The School Musician, X (December, 1938), 34.

1145. *Russell, Myron E., "On Playing the Oboe," The EtudeLXIII (September, 19451, 531.

1146. *Wilson, Clayton, "Woodwind Clinic," The Instru"mentalist, I (March-April, 1947), 33-357~

168

Saxophone

1147. Arnold, Jay, "Saxophone Queries Answered," The School

Musician, XII (February, 1941), 45.


Question," The School Musician, IX (September, 1937),43.


Question" The School Musician, IX (February, 1938), 33.

1150. Butterworth, H., "See If I Can Answer Your SaxophoneQuestion," The School Musician, IX (May, 1938), 35.

1151. Leeson, Cecil, "Know Your Saxophone," The School

Musician, X (April, 1939), 44.

1152. Leeson, Cecil, "Know Your Saxophone," The SchoolMusician, X (May, 1939), 44.

1153. Leeson, Cecil, "Know Your Saxophone," The School

Musician, X (June, 1939), 39.

1154. Revelli, William, "Band Questions Answered," The

Etude Music Magazine, LXIV (December, 1946), 724.


The School Musician, X (November, 1938), 39-40.

Trombone

1156. Fitzgerald, Bernard, "Brass Clinic," The Instru-mentalist, I (May-June, 1947), 20-21.

Tuba


School Musician, XVI (January, 1945), 22-23.

Viola

1158. Berkley, Harold, "Violin Questions," The Etude MusicMagazine, LXII (August, 1944), 453, 482.

1159. *Berkley, Harold, "Violin Questions," The Etude IlTusicMagazine, LXIV (October, 1946), 591.

169

1160. Braine, Robert, "Violin Questions Answered," The Etude

Music Magazine, LX (August, 1942), 561.

1161. Forbes, Watson, "The Viola and Its Repertoire," TheStrad, L (November, 1939), 290, 292, 294.

1162. Forbes, Watson, "The Viola and Its Repertoire," TheStrad, LI (March, 1941), 253-255.

1163. Forbes, Watson, "For Viola Players," The Strad, LVII(November, 1946), 203-204, -206, 208.

1164. Green, Elizabeth A. H., "Strings," The School Musician,XVII (June, 1946), 29.

1165. Green, Elizabeth A. H., "Strings," The School Musician,

XVIII (February, 1947), 28-29, 40.

Violin

1166. Berger, Isador, "The Violin," The School Musician, IX(April, 1938), 45.

1167. Berger, Isador, "The Violin," The School Musician, X(October, 1938), 44.

1168. Berkley, Harold, "The First Year," The Etude Music

Magazine, LXI (November, 1943), 719-720.

1169. Berkley, Harold, "Violin Questions," The Etude MusicMagazine, LXI (December, 1943), 825.

1170. Berkley, Harold, "Violin Questions," The Etude MusicMagazine, LXII (April, 1944), 243.


Magazine, LXII (June, 1944), 363.


Magazine, LXII (November, 1944), 663.


Magazine, LXII (December, 1944), 723.


Magazine, LXIII (January, 1945), 51.

1175. *Berkley, Harold, "The Violinist's Forum," The Etude

Music Yagazine, LXIII (February, 1945), 80.

1176. Berkley, Harold, "Violin Questions," The Etude MusicMagazine, LXIII (July, 1945), 411.

170


Magazine, LXIII (September, 1945), 531.


Magazine, LXIV (October, 1946), 591.

1179. Braine, Robert, "Violin Questions Answered,f"Mus ic Magazine, LVI (March, 1938) , 192.

1180. Braine, Robert, "Violin Questions Answered,"Music azine, LVI (July, 1938), 478.

1181. Braine, Robert, "Violin Questions Answered,"Music Mgine, LVI (September, 1938), 616.

1182. Braine, Robert, "Violin Questions Answered,"Music Magazine, LVI (October, 1938), 688.

1183. Braine, Robert, "Violin Questions Answered,"Music Magazine, LVI (May, 1938), 338.

1184. Braine, Robert, "Violin Questions Answered,"Mus ic Magazine, LVII (August., 1939)., 540.

1185. *Braine, Robert,"Violin Questions Answered,"Music Magazine, LVIII (December, 1940), 849.

The Etude

The Etude

The Etude

The Etude

The Etude

The Etude

The Etude

1186. Braine, Robert, "Violin Questions Answered," The EtudeMusic Magazine, LX (October, 1942), 705.

1187. Braine, Robert, "Violin Questions Answered," The EtudeMusic Magazine, LX (November, 1942), 777.

1188. Braine, Robert, "Violin Questions Answered," The EtudeMusic Magazine, LXI (February, 1943), 129.

1189. Cook, J. Clarence, "The Right Beginning," The EtudeMusic Magazine, LXIII (July, 1945), 381.

1190. Dolejsi, Robert, "To Be Or Not To Be (A Fiddler),"Violins and Violinis ts, IV (July, 1942)., 248-250,

1191. Green, Elizabeth A. H., "Strings," The School Musician,

XVII (December, 1945), 24-26.

1192. *Green, Elizabeth A. H., "Strings," The School Musician,

XVII (May, 1946), 32-33.

1193. *Green, Elizabeth A,, H., "Strings, " The School Musician,XVIII (January, 1947), 36-37.

1194. Meyer, Roland E., "The Violinist Corner," Music TeachersReview, VII (May-June, 1938), 272-273.

171

1195. Norden, Hugo, "The Violinist Corner," Music Teachers

Review, VIII (May-June, 1939), 220-221.

1196. Norden, Hugo, "The Violinist Corner," Music Teachers

Review, IX (November-December, 1939), 63-64.

Violoncello


Magazine., LXII (January, 1944), 57.


Magazine$,LXII (February, 1944), 123.

1199. Berkley, Harold, "Violin questions," The Etude Music

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1204. *Green, Elizabeth, "Strings," The School Musician,

XVII (June, 1946), 29.

1205. Stanfield, M. B., "Some Problems of 'Cello Playing,"

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1206. Stanfield, M. B., "Some Problems of 'Cello Playing,"

The Strad, XLIX (September, 1938), 215-216.

1207. Stanfield, M. B., "'Cello Practice and Program Build-

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