The Birmingham age-herald., 1911-10-24

 l asked.
 'I consider that without the study of
 harmony one is as much handicapped in
 music as a person who IS able to speak 0 language, but is unable to write a word
 cf 1t. Therefore, how can one be a com petent musician or teacher without some
 knowledge of the musical construction in l an analytical way?" MT Chalifoux an- swered.
 talent?'' I asked.
 We have considerable talent in Bir-
 n'inghafn, much of it is lying dormant on account of the lack of necessary musical education. To achieve success this -pres- ent day musician must possess not only
 musical education, but must have a good degree of education in various I branches-literary and otherwise" was the reply T have known a remarkably talented young musician in our midst whose genius as a composer was lying dormant, He, however, did write some
 music, which displayed unusual talent, but ! his compositions were not grammatical ] The phrases, while musical, were shape
 less in the general ensemble. Being very I ambitious he discovered the necessity of deeper study, and concluded he would
 master the system of chords and the art
 of composition. In other words, he real 1 ized that his talents were 6 shapeless f mass, and that a serious study of the
 musical art was necessary in order to shape up his really beautiful emotional
 ideas.'
 And theory?" l asked.
 "The study of theory is what shapes up
 ones temperament, whether one be a per- former or composer said MT. Chalifoux. | From the very earliest age beginners should be taught chord structures, and
 especially the principal triads of a mode, l just as they are learning the different
 scales. Scales are very necessary. and I
 am sorry to say that only a small per centage of students know one scale and l it's signature from another; this, to me, | is most deplorable. All students should at least memorize the different, scales know them by name and also shonld be Lperfectiy familiar with the principal
 chofds of any key
 | -Ailu as TOT leacnerS!t l suggested.
 s-It is very essential that all music teachers should study tone progressions
 and chord constructions. It facilitates
 the reading, the appreciation and the bet 1 ter understanding of musical compost ton. It unquestionably equips them to 1 be better teachers was the rejoinder.
 'T believe It should be compulsory in I btc pfrxr fao t,af
 8 board of examiners in order to qualify
 as teachers. So much money is wasted at
 present by turning young students over | to incompetent teachers. The younger the
 pupil is the more harm is done, for early
 habits when very bad are almost insur- mountable. l heard most prominent l orchestral conductor say that 90 per cent of the music teachers were incompetent.
 Another prominent musician told me of an | advanced piano player who was asked if
 a certain composition was in A. to which l he said, in all seriousness, that he did not know, but that it was in three sharps Another instance was told to me by a
 well known teacher in this city who had l enrolled new pupil, coming from an- other teacher after over a years instruc- ton. She played for him a composition
 in "A Hat. played the scale of IA flat upon being asked, but could not play the scale of e major.
 ..The study of harmony and musical | composition is more or less easy Those who have a mathematical turn of mind 1 take to it easily and thoroughly enjoy | it. Others find it more difficult. It rests 1 Largely with the teacher who is more oi I less ,eauipped to impsrt the knowledge | To be able to impart one's knowledge is not talent possessed by also many 1 excellent musicians are worthless as
 teachers" continued MT. ChaHfoux.
 Those who do study harmony and l theory all wish they had done so earlier | for it clarifies so many thugs which | they have mechanically learned to play oi
 sing. Singers find the study a great as- sistance in reading and grasping inter- | vals. Instrumentaists grasp the combin- 1 stion of chords so much easier. knowing | their nature, 1t is invaluable for sight read ing. If had my way about it. I would | make every music student, whether piano | or vocal, take up violin study, for the 1 violin certainly develops the musical tenn perament to greater degree than any 1 other instrument. The phrasns, accent lua ting. expression and rhythm acquired 1through the various studies of bowings and other techniques, can hardly be at l teined on any other instrument. The l violin doubtless is called the King of h. l struments,p owing to these facts. A prominent pedagogue rightfully said that all vocalsts should study violin" l Commenting upon the fact that it was very charming to see two musicians so
 happily mated, congeniai, and with a unity of interest as are MT. and Mrs. 1 Chalifoux, l found that touched very tender spot in Mir. Chalifoux heart, and
 he said with the happiest of smiles:
 ''Yes. Mrs. Chalifoux and I are right
 musical and our household is full of it. We have In our-iusic Room four violins | al. Orchestrelle. Harp, a Baby Grand Piano and four Grand Babies almost a
 full orchestra.'