Vol. XXI OCTOBER,1928 No. 4
:\. S. B \ Ri...1, , · ( Dirwtur) l .\1111, .\ ! " · 1101 1, (ha · 111,;;TR, Sau Pnlro . l "ali 10111::1 Wanted-A Slogaf ~ ( Sl'c p:IJ.:l"•J) /
20 Centa Per Copy PUILUH!O IT ff . P. ODELL COMPANY ! 2.00 Per Yea r COPYf.lCHT 19:zl- ALL RICUTS IU!Sf.11.\'EO INTE UD Al IECOND Cl.AU MATTH JUNE 9, 1909, AT nt .l POST OFF1C! AT BOITOS. •u suc 11u11rr n. c suu AC1 nF . , ,u c 11 }, 1 87 0 Th, CRESCF.NDO
TH E 1:-.GF.XUF.s, for mcrl)' with Zie gfe ld Folli es, Mu sic Renn .· (Co urt rsy <1{ r1 •9fl Co,}
SOUTI-IERXM ELODYB o \ 'S (Co urlrs,, of Gihso11 Co.) L A:-.DF.:-.'IIERGERS RA:""J n BAxn, 1\·rl.:asic, Pa.
J OH N AASON , Nonvc gian Giant JERR Y RI CHARDS L EON W ARREN fe:itur ed with Harold Lloyd National Broadcastin g-Co. Popular banjoist at Yale U niversity (Co urltS}' Sou th tr11 Calif. A1usir C o.) (Co urt uy of U 'urli tr.rr Co.)
PL!A S! MllN T ION Tl, , CRESCENDO WHEW WRITIN G TO AOVEIITISl!lS October , 1928 Th, CRESCENDO ( 1 J
The tunes you have been waiting for "FEIST" Popular Hits No. 8 for FRETTED INSTRUMENTS .,)
MANDOLIN HAWAilAN GUITAR TENOR-BANJO SOLO Solo and arcomflani,ru nt So1;,,a::,~!~f°'o with r19ular 9uilar acc. in ont bool PRICE $1.00 PRICE $1.00 PRICE $ 1.00
[> Playable as Solos, Duets or any combination of the abov e part s
CONTENTS My Ohio Home Ramona Chiquita A II parts art in the You 're a Real Sweetheart Th u e books art for same ity, so they can Baby Your Mother sale only i n U . S. A. Coquette be ftlaytd togd her. Lonesome In the Moonlight and Canada - - - - Last Night I Dreamed You Kissed Mc 1f I Can't Have You I'm Wingin' Home She's Got 0 11'" There Must Be a Silver Lining That's My Mammy Too Busy When You're With Sombody Else
214-16-18 East l◄ tq Str u t Wm.J. Smith Music Company, Inc.NEW YORK CITY
PL&AH wurn o N Tiu CRESCEND O- WHUf wamw o TO ADVH. TI 5U I ( 2] The-CRESCENDO October, 1928
Jacobs' Collections .for Banjoists C ~~~;~~L~~l~~~~
VOLUlilE 1 VOLUME 2 J ust. Salli• , ••• , , • , . , . , . • Sons Fo:11-Trot Sunny Smile .. , • , • , • , • , , Sons Fo:,;-Trot FSylns Cloud •... , •••• · •••, March On Dut7 •.••...•• . ••.•••• ... ,. Marc h J un,8- ...... , . •... . .• Walta When You R.ttum . . , , , • , • Son• Fox-Trot ~1sii~~~~::·.::"So~~ti~::] Dre am• ot ToJ,land . • . • • . D&J1oe Capri ce Vera ..• . • .. •• . • . •.• ,, • .. • . •• , Walta
JACOBS' ENSEMBLE for TENOR and PLECTRID,J BANJOS AD LIB »arta for A.LL band uid 1rcbnlra ln ■ b"amuita. Fourteen of the moat l)Opu\a r Jata American cop7r lahta In th e .Tacobll eataloa. ThrN booQ : T enor Ban jo Solo, Plectrum Banjo 1 r::::.~.!!i1~0~::i:::l:;~ ~~~:ti-:FiE=~ ·::/i!:ni.Je:i UipaC:~~1:1'; CONTENTS
~~1:!~~~\i,~~:. ·.·. ·.: ·.·. •. 1: t Weldt V. M. AC. R.S n ee- arch ... , • A. J . lfarchNonl ty Cl nlah Serenade , R. -Calop ., . . .••. . . PRICES- .£11.CH BOOK
Tenor BanJo Solo ...... ti0cnc t An,-Or chewtra or Band P lectru m Banjo Solo l utrumen t . ,.li0cnet With Tenor DanJo Chord.I . •.. \ t.ocn cl Pla no Part . •• . ..• $1.00 net
WE ID T ' S _ JA CO BS ' Tenor Banjo Collection Five-String Banjo Collection 5 VOLUMES 10 VOLUMES Thouu.nU of teachen In C notatJoa-wlth cultar an d J)lano aceoml)an lmu1L ual nc thla tamou. Weldt
PU:AH MlNTION Tiu CRESCENDO WHlN WUTINC TO ADVUTIHU Th, CRESCENDO ( 3 J
© c1s so2The CRESCENDO
The oldest and foremost fr etted in strum ent monthly devoted to the interest of the The DRElscH JO- MANDOLIN - GU ITAR ~nd kind«d BAN 1n1t rumc n t1 Combined Founded / T enor-Guit ar 1'l'ith FRETS
ADOLPH F. ]OII NSON, Mana ging Editor in Publi shed M onth ly by H. F. ODELL COMPANY Genuine ICa\~~ ,.. - d cl&N l!lltlff, JIIIMIt, 1009. •l Ille l'o,t O!!k9 11 llooton. 11, .... • 11111ttt1heAclofJr, lu-i:h3, 1111 Ma hogany SUBSCRIPTION l United Stain $o.20 $2.oo PRICES C:rn~da .20 2.2s Foreign .25 2.50 Ad.itrli1in9 Ratt s will be un i on .:ipplic:uion. FGrms close on tht 111of c:ich month _for ,thc snccttd ing mo111h'1issue . Rtm itla'!cts shouhl be made by Post Office or E:irpreu Money 1 1 accepted ~;,~.'~n ~':i'~t~'::t,h·:~•:ha~~;10"~!;~~\~rN~,:.a~~rk:h«k1 <;orrt 1Jond ~nrt is_ so1ici1cd from C\'crybody inlcrcstcd in the BanJo, Mand olin, Gmtar, Harp, t ic. \Ve will be pleased to rcceh•e program1 and reports o( concer ts, club an d orchestra news, per wna l note, and music recemly issued. , Wt art ,iot rn po,isiblr for tlit opinions of con t rib✓ors. Add rtss Commu,iicatio,is to tht Edi tor, All Rtmi ttancrs should be m:ule payable to
H . P. ODELL COMPANY 157 Co lumbut Avtnue, Bosto n, M.au. BANJOISTS! Vol.X XI October. 1928 No. 4 - a N ew Effect IN Tf/1S ISSUE BEre~~~.!!~st 4h!0T:n!~~Gui\~rca;:1~"1h:!~~1f~ el~~ PAC! today . I t equips th e banjo play er with a brand new \\/h at Gui1ari~1,: ar..-Duing thc \\lnrld Around (\la htl:ih Hiclfnrtl ) 5 T alk Abom Pt~ ( Wahtr Grnnr) . ~~~:' t'!h~\q~~s::pi:i ~, in~lis.}sC1~:.1i~E\~iclN Tenor Guitars (str ung, tuned and _played like :i Tenor- FRETJT ORIAI. S hy 1hc editor . 2;; ~;c~t:~ ~~e. You play \\lamed-a Sln,itan! ::J/;)n~r~:~:~~fi~off~~~~o,:h~ Noic Chan,1tc 4 ~Lit~~~ln~l~tc,\tl; Th is Com;nn s Ynu Arti ~t-qu:ality at decidedly less-t hnn-usua l prices. Bu ilt PROG RAMS OF CONCERTS AND RE't::rr AT.S . of real mahogany. in clear naturnl color; hand rubbe1I THE ROUND TABLE sa ti n finish. Scie ntifi cally blocked nnd br:u_•('(\ for maximum st r ength and ton e. Scale!'! are faultle ss lr a<· BAh'Jo 1m'-Frank C. Br:adbury, Cond uctor . cu rate and full 23-inch, profe ssiona l length (JS-fret s). MANDOLINlm'-\Villiam Pl:acc, Jr ., Conduclo r ...... 23 FOUR-STR ING STYLES EIGHT -STRI NG MODF.:I.S GUITAIIISTS'-Va hd:ah Ok on-Hickfor d, Conductor ...... 2s No.J-220-Jl•nd rubbNI ptln Oouh le,.1trun,:11nddoubl~toncd finb h. llOM:"'ood 18- fr.t fln,:er- No , J -325-- 1'111ln m11hoi::11n, .. 2 , ••.••.•••••••.••••• $'25.00 MUSIC IN THIS ISSUE ~ti»,'.."ii;u'b'I~. bo,;~l!'t~ No. J -336--Doubl e bound boJJ'; bla ck-a nd•l\'or,eellul old:1 >1!arl pearl Inl aid he1ul-1,lcNr; delu~e Th e T oa~una!>ler, Mar ch- II. F. Och•ll inl1hl hHd•1 1lcc1: l'Hr'W J>eKI nnl ■ h. . .131:',.00 •. $30.00 Fir~I Mand olin . Thc.e new Tl'.nOr-Gult are, H well a ■ a completa ■elerl l on o f Pian o ll I ] .iandHd aht-1trln1r Gult 11r1, S1111ni,h or lhw ali11n tunlna. ue m11nufac:tured and 11:u11rant e-ed by - Second Mand olin . . .. 14 lhnjo Obliga 10 ,, 1 Gui tar . ,, fororAtl'aey~ Further Jnfonnat■O..c!~~nlon. ·• I• , (O dell Publ ication) FR~~ rP.~ !!klr!~ ~~~~O. I 1 , , • C Susanna-:arr. S. P:1pH T ell me mor11 about GRETSCH Guitar ■ Hawa iian Guitar Sulo . ,, (Co lumbia ~·11nic Co. Publication)
t11rg1-G . F. I-lane.Id. arr. II. F. Odd i Mandola Solo . ,, (O d,11 Publi calion)
,uun ~f!NTION Tiu CRESCENDO WUEN WIIITINCTO ADVl!IIT1!1!115 [4 ] Th, CRESCENDO Oct ober, 1928 Famous Methods for Plectrum Instruments Such arc the World Renowned Stahl Meth od •, wri tt en, compoacd an d co mpil ed by a man of 40 years pro fessio nal ex perie nce as T cac her, Soloist, Composer, Performer and P ubl ishe r-a man, whose rep ut ation is inte rnational. On e who haa m ade the p lect rum ins trum ents hia life atud y an d who knows ' exac tly w·hat he is ta ll:cing ab out. One wh ose me thods arc in accor d wit h the leadin g mu sical auth orities of th cqirl d , and whose instructio ns arc correc t. T ry th em no w. You can't go mu sica lly wro ng. TAHL 'S TENOR BANJO METHOD Parts l" and 2 AHL 'S PLECTRUM BANJO METHOD Comp lete in. one book STAHL'S INTERNATIONAL &-STRING BANJO METHOD Complete in one book STAHL 'S GUITAR METHOD Complete in one boo k STAHL'S HAWAilAN GUITAR METHOD Parts I and 2 STAHL'S MANDOLIN METHOD Parts I, 2 and 3 P rice $1.2 5 per boo k, except tkc H awaiia n Guitar Meth od which is $ 1.00 per p art . Stahl's Very Latest Publications STAHL'S BRUNOVER 'S STAHL 'S FASCINATING MELODIES EASY DUETS IN EASY KEYS STAR COLLECTION FOR FOR HAWAIIAN GUITAR FOR TENOR BANJO THE REGULAR GUITAR wclvc bea utiful solos with reg A bra nd new co llect ion of the The grea test collection of easy ular Guitar accompt. , auitable eaaiest and prettiest pieces pub an d me lodio us f i r s t position for b roadcasting , conce rt or liahed . Pupila can play this · pieces publi ihcd. Ju st what th e teac hing. gra de of music in eii ht or ten teacher nee d s, and up to d ate, Easy and Med ium 'grades. · lessons. has been unab le to secure. P rice Tenor Ban jo $ 1.00 Price $ 1.00 Pia no accomp t. $ 1.00 Price $ 1.00 WM.C. STAHL, 133 SecondStreet, Milwaukee, Wis. Send for our comp lete catalog of music, books and instrument.a.
SANTO'S MandolinOrchestra Numbers All Over the Count ry Mandolin Or Bpnjo Band Winners chestras Are Proving the Worth of They're New They're So.appy the Santos List They Win the Applause Try -two of the se numbers and we'll guar antee you'll order the balance of the list-thi?y win out in wonderful harmony . • Ani eric.n Marine Mardi , • JiloITlt On th• Lane , • . • • . . •. , • Santo. Barc,i,lena, Span lah 1"01: Trot Morr! • Hoo Alon•• 1"01: Trot , . •. . lfoITI ■ A1a1rlan Marin• Hanh .• . • , .• , . , ...... , .•. Mor rla Bbon Citl", Hardi . .• . , , , , Morrll Jast. Ye• , WaJta • , , , , , • MoITlt Barttlona. 8panlah Fei: T ... t •.•. , , , , .. . , , ..• , Morrill Centennial Onrt1u 1 ... , , . Morrlt Laufl , lh. rch • ...... • Sant01 BINn Cl11 Marcia ••.• . . ... , ..••.• Morrill C•P Win ner , , . ••.• , .. . , , )lorrit Marcll MWtaln , . • ...... Colby Cap Wlnnt.r •••••••••••••••·• · •··••···••• · · Mor rlt Colambia Walllll ...... , •• , PaDM Mutertono , • •• , • , ... . , • Morr !• Fame an d Fo rtane, 60c ··•••·••••·••••·•••••• Morrl t Enntl da (Bertnade) • .. . . • , Pal)&I Mario n, Valaa . • , . , . • , Morrl • Flewn CltJ' Ma rch . . •··•••••••·· · •·• Morrlt Pama and For t•••• 60c •. , Morrl.11 •Ro1aJ P■ rp l e Mardi .• .. • Mor r ill Gloria .••••.•.. ,.,...... •.. PlanQue Flowu City, lh.rdl •• , ••• Morrit Sena tor , Ilardi , , .• . ••.•• Morri• Geld•n G'9w, WaJllll . , , • , , Morrl 1 Gloria . • ...... , , • , ••• , Pl11.11qua Spiri t Danee, 40b •. , . , • . , • Baco n Hon.10...,WaJllll . •• . •. , ...... • . Morri ll Gai.■ t D11.1101,40 0 .• , , • , •• , Bacon Swan .. Bchon, 6<1c. S.ntoa-Morrla Hop Ale116, Poa T ... t .• , , . . Morr lt GeW.n Glow, WaJb , , • , •• MorT"la W.B. A. L., Mardi • . •• . .. Gebell en Ja•plnl' Jo...... •. Morrlt Bcaaq Daw • , • , , • .. •• , , • Morrlt Winnie, WaJllll . •. , , , •• . • , MorT"I• J pt T.., WaJt■ •••••• • • • • •• , •• , Morda J amplna Jo •• , , , , • , •• , • , Morri• r..u 1:l,H artll •... . • . . • . .. S.ntoa .Hardi IIWt.ain • . .• , , ...... Colb1' Instrumentation and Price- lat Tenor Banjo Solo, 30c; Mutertono Ilardi,...... Morria 2d Tenor Banjo Obligato, 20e; Sd Tenor Banjo Obligato, 20c; On llM LaTee, Foa Trot ...• Morria-5.antoa 4th Tenor Banjo Chords, 20c; Banjo Guitar, 20c; Mando-Bass, Ro1aJ P•rp l11, March ...... • Morr lt SwaaM ~ . 60c •• ••. ••.••••.••••• S. nio.-Morrh 20c; Piano, 80c; Banjo Mandolin, 80c. W.B.A,.L., Harell . . . • ...... , • . • , Gebell11n. Whuaie, WaJt■ ••••• ·, • • •• Morrlt Pift,, Nnt 11aa1Nn 1 ht Ban jo , ht Mandolin, Plano aceomoantmmt , 60c; all oth er parta, 40c. Porty cent ri••llenu ht Banjo, l at Mandolin, Plano acco mtanlnmit , 40c: Price-1st Mandoli11.,30c.; 2nd Mandolin or aJI othu part,, IOc. Guitar , 20c; Uku lele and Tenor Guitar, 20c; Piano Accompaniment , 30c; Tenor Banjo Ac oompaniment, Srd Mandolin, Tenor Mandola, DON C. SANTOS Mando-cello, Mando-basa, 20c each. • Plft1 c.nt 110111Nn: lilt M.r16oll n, Plario a«e1ml)lnlment , 55 Orl eans Str~et Rocheste r, N ew York li0c; all ot her part,, 40c.
f L!.UI WINTION Tltt CRESCENDO WHEN WJ.fttNO TOADVHTIIHI
/ 02i -J !]28 . DfrsG Found ed 1908 by H. 1. Odell Combined with Frets Published Monthly by the H.F . Odell Co., 157 Columbus Ave., Boston
Vo1.XXI OCTOBER, 1928 No. 4 What Guitarists are Doing the World Around By VAHDAH 0Lcorr - Il1cKFORD T is the aim of this brief article to show some of the prin • occ: irr cd at ann iversary concerts honoij 1}g th e 100 th anni vcrs• cipa l activities of guit ni sts in the various countries at the ary of Beetho ven in two differ ent cities of California , both Ipresent time, and also to set forth in as brief a mannu as times with the Bickford String Quartet, the last time on the possible and new s of inter est to gllita rists concerning their progr am of the Burbank Symphony Orchestra' s llccthovcn instrument . ; concert. THE GUITAR IN AMERICA The present season the writer has given two Lectu re-Re citals on the old masters for The Ameri can Guitar Society, Perhaps th e most int eresti ng thing t hat has happened to one on De Ca ll and his works, with assisting artist s for the the guitar in America in the past few months has been the all various Chamber Mu sic Work s, and one on Car cassi, the too brief tour to this country of the great Spanish master, great Italian master , with Zarh M yron Bickford assistin g in Segovia. It certai nl y awa kened a great dea l of interest in the two piano and guitar duct s on the program. Anoth er the instrumt'nt and cheered guitarists thems elves. T he only Slll'h Lecture-Recital will be gi,•cn in Ma y, on the great mas• unhappy par.t of it w;\s that his tour did not take him out of ter , Carulli, closing the season of Th e Amer ican Guit ; r So the few larger Eastern cities such as New York and Boston , ciety. In add ition to these an claboiate recital dernted en for no doubt all cities of the country to the Pacific Coast tirely to the compositions of U:onari l De Ca ll, was gi\'en in wou ld have apprec iated hearin g him, hut we who were un Novembe r at Reaux Art s i11L os /\11gclcs, b)' the writer, wi1h able to hear him on his Ameri can debut , are still looking for• as~isting artists in the ,•ariou s rn 1-c111blework s, an(I the Aml'r · ward to that plcamre whcn he returns to Amer ica next De• ican Guitar Society Ensemble ,,:aying an intere sting work i11 ~mber, at which time we hope his tour will be cxtcndccl five movements. to the Pacific Coast. In the meantime we must content our selves with hear ing his fascinating phonograph re("Ords. THE GUIT AR IN GERMANY Mr. Sophocles Papa s, guitari st of \i'/ashington , D. C., has At the prt-sent time the guitar is perhap s more popula r in recentl y given the first American performance of the Schu Gt·rman y than in any oth er 1..·ountr y in the world , unll·~~ it bert Quartet for Aute, guitar, viola and 'cello with the Elcrrn may be in Austria. Th e G erman publishers spr:cialize nn de Sayn String Qua rt et of \1/ashington, D. C. It is very putting out works for the lute, as well as the guitar a11d encourag ing to the writer to sec Chamber Mu sic advance so. many songs for the guitar wit h lute accompan iment . H ein Speak ing of Chamber Mu sic, th e writer , with The Ilick• rich Albert, the great est of the Germa n guita rists, has put out ford String Quartet, gave the first Ameri can performan ce last some splendid new works this past )'Car for guitar solo in the season of the beautiful Schnabel Quintet for regu lar string form of ctudcs or st udies, and also has added an inter esting quartet and guitar, and later gave it other performances with quartet for four guitars to his series of works of that instru· the same Quartet apd also a performa nce with the famouc; mcntation. The works of Albert possess a striking originalit y Zoellner Strin g Quartet, so that it had thre e different pcr and arc of musical intere st. He is doing a wonderful ,\·ork form:mccs.. in thr ee different cities of Ca lifornia during the for the guitar in his country and in fact for the who le world. season of its first American performance. The writer also O ne of the German publi shers has put out some of Se gave the first Am erican perfo rmance of the Beethoven Trio , govia's new arrangement s, which arc of course of great in· Op. 8, with the lovely guitar part which has never been pub· ter est to all guitarist s. It is intere sting to note that \\'hik lishcd, and which was arranged under the dire ct ion of Ilee· Segovia is a Spanish guitari st , he docs a grea.tcr amount of tho, 1cn himself by the great Viennese guita rist, Maticga. She touring in German y and Aus1ria than in his own countr y also gave anoth er perfo rm ance of this work, both of which (Con tirrutd or, Pngt 6)
PL!AU: l.tENTION T/11 CRESCENDO WIIP.N WIIITl$C TO AOVP.IITISP.lll [ 6] Th e CRESCENDO October, 1928 What Guitari sts Are Doing- f,om•••• s recognizes the guitar in its curricu la. Dr. Zuth, also of Vienna, has gotten out a book in several and his works are gotten out in fine editions in Germany, volumes, all ill German, a sort of dictionary of the guitar and w~ich has always heel\ a country which ~pprcciatcd the lut e. It contains no music, but only a brief outline of various guitar . names connected with the guitar and lute. There arc sevcrnl guitar festivals held annually in various THE GUITAJl IN SPAIN part s of Germa ny, some of them lasting for three days and The Spanish guita rists, have had a great deal of publicity in which th5-Y1rious famous · guitar ists appear as soloists and of late due to the Europea n suc:ccssesof Segovia, more recent on which p'r.e.grams they also have Chamber Music works with the guitar and feature songs with guitar and lute accom• ly, and of many years of Llobet and Pujo l of the Tarrega school, who have brought the fame and name of T arrcga int o panimcnt. the foregrou nd in nil countr ies. Tarrega, however, was THE GUITAll IN AUSTllIA known as much as a teacher as a player, if not more so, and 171c guitar in Austria is almost as popular as in Germa ny, also ns a writer for the instrument, esi>cdnlly in the form of -per haps quite so. This is another countr y that has alwa)'S arra ngements of the classics, w hile most of the Spanish gui· apprec iated the guirnr from the time of the old masters. In tarists above mentio ned arc more widely known for their fact, Vienna was the musical capitol of the wor ld at the pe concert to11r-s and do very little if any teaching. Segovia is riod of the heyday of the guitar and m:lny of the great gui giving the most · music of them all in the way of arra nge tarists, such ns Giuliani, l'vlaticga, and others lived in this ments for the instnunent , alt hough nil of them have given u, city. At the present time this one city boasts two musical some. Fortea is anoth er Spanish guitarist, who has done a ~ m.'S devoted to the guitar and there arc many guitar - great deal of arrangi ng for the instrum ent hm has not become / 1s1s or repute living there. Alfred Rondorf, who has writ - so well known because he has not done the touring in othe r ~ ten two fine books of st udies for the guitar, contai ning most countri es that the other ment ioned artists haVe done. ly works of the old masters, nnd a few very interesti ng origi nal works by himself and another Vie nnese guitaris t, Hein THE GUlT All IN FI\A NCE rich Bohr , has made many appearan ces over the radio from \ 1/"c do not hear so much of the guitar in Fran ce today Vienna and appears frequentl y in Chamb er Mu sic concert~ as in the other Eu ropean ·countrie s mentioned and yet gui employing the guitar. Luise \ •Valker, a .promi nent young Indy tarists there arc not asleep by any means. Th e chief repr c· guitarist, also lives in Vienna. There is n very fine guitar sentntivcs of the guitar in Frnncc at the present time arc quartet or tri o in Vienna of which Friedl Henk! is the lead Lucian Gclas, and Ja cques T cssarech, the latter who has re er. Thi s combination uses the terz. guitars as well n~ the reg• centl y issued n new book with rather revolutionnrY matters ular guita rs in their instrum entation . of techn ique, called wliie Evolution of the Guitar. " Gelas Ja cob Ortner, the teacher of Luise Walker, is prc.minent is known both for his originnl compositions and for the fine in 1his city as a teacher and editor of an very high class mag• instrument s which he makes. Other fine Fren ch guitarists azinc for the guita r. H e has also edit ed n few works for arc Augu ste ZurAu h and Alfr ed Cottin , the latt er passed the instrument published in Germany . I-le leaches at the away a short time ago. (Continutd on Pagt 8)
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PLl!ASII ..(l!NTION Tht CRESCENDO WIi t.- wamNC TQ ADVEI\TISl!U October, 1928 T h, CRESCENDO [ 7 J TALK ABOUT PEGS! By WALTliR GROVER
[ \ V people realize t h:tt the banjo is the only musical 111.'l.~ary before with the frictio n J>egs, but a certain amount instrum ent that has been originated and developed in of attention was IIC\'erthcle ,.s 11<.-ccssary. J\ bout five years ago, Fthis countr y. Ever since J oe Sweeney introdu ced his therf was placed on the market the first internal gear peg first crude instrm ocnt, manufa ctur ers :md players have been rn11/ ai11i11ga dri \'iug pinion and a larger interna l gear ; that trying to overcome inher ent defects of the instrument. Th e is, a gc:1r having its teeth on the inside rather than 0 11 the first b:mjos made were not expected to stay in shape .for QulSide surface. Th is peg also contain ed a spring which kept more than a few mo nths; the finger-boards were not frette1I, the retai11i11g screw from rnming loose, thus climi11ating the the on ly str ings that could be obtai ned were far from satis necessity of 1ightt·11i111; the peg at frc11uc11t interval s. I luw factory , the constru ction of the ri m was such that it was evcr, the satida ciury :tt:tiun of this peg depemlcd to some i1111>0Ssible to (ighten the head to a satisfactory point, and , to extent upon the m,11111cr in which it was attac hed tO the add still furt her to the player' s troubl es, the on ly pegs avail i11:,trum e11t :1ml also on the amount of f riction obtained uble were wood en taper JICb'Ss imilar to t he regu lar vi olin peg betwee11oue moving :md 011e stationar y surface. D uring the type. As these were seldom proper ly fitted to th e peghcad · past /i\'c years, about ten different mudeh, of gc:ir l>t!g:,h:i viug of th e banjo, they {verc :t constant soun.:e of annoyan ce to gear ratios of from two to one to eight 1om1e have been placed the player who usually congratu lated himself whenever he on the market by \·arimb 111a11ufacturer:,,but the pla)'ers still was able to get through one selection withouth stopping to caneJ for :t 11011•:,lipping j>t!g. After )j~d iug :1hout l\\O yc:lfi re-tu ne his instrum em . The first step taken towa rd im 0 11 thi:, problem, there ha:, been 1lcvf:,ed a gear cunsiructiu n proving banjo tuning pegs wa.'>in the form of a comhin:1tio11 which i:, .:.elf-locking. Th e i.:u11:,1ructio11ca ll.:. fur l\\O 1m11011' metal and celluoid friction peg w4ic h was a distinct imprn ve• aml two imern.tl gears whid 1 :ire :,taggcred in relation to one ment over the old wooden tapcr peg. By means of,,An adju st· another. Thi s IX"gi s now on du· m:trkct rnhler the name 01 ing screw, it was possible to tight en the 1>eg to a point where the De Luxe ( ie:tr Peg and is IH:i11g: used by SC\"Cr:t l 111:11111- sufficient fricrion wm; obtain ed to main1ain the strin gs at !)itch focturen, of hig:h grade i11:,trume11h. T u tlemor1:.tratc th:11 for at least a few hours with oul rc•tuning. Durin g a pt·rirnl the J)(!g is t.'lllirrl y proof agai11:,t ;,,lipping: lei me ~ui,:i,:e.:.t the of about twt'nt y-five }'t·ars sevaa l pc~ were made that \\'ere following te,t: J\11;1d1 011c of 1h1•M: pegs to a 1t•11or Uar1jo very similar to this first so-called "pa tent peg," but having :111d tun e the s1ri111,.t11p to pi1d1 or aho\'c pitd1. "J'he11remO\e no d istinct advantag e ova the first on e, being m erely modi thi: rel•ai11i111,.ts1.:rcw, 1hc lehduit! button and 1hc metal cup fications. Several diffcrc ut model, of these "patl"llt peg,." fr um 1hc lml·k of the peg, :u1d yuu wi ll li11d that the pq.~ were plalcd on the market, and practically every manufa c 11ill hold the :-trin g i11a11y pu,it ion in whid1 )OU may. set 11. tur er described his product as being non-slipping. Pr:Ktically I l. 111trurh f11II) ;,,,i ) ,hat I have lle\cr MT11: m ac.:t•:,:,oq :rny player c:111.testify to 1hc fact that thi s daim was a rather tl1at ha:, rel·t·i\n l :,,1 11111th,·1 1th11sia,.1i1.:a 1111rula l 011 t/1c p.ttl extra \•ag:1111o ne, as it was usually ncccssry to tighten the of the prult•:..,iooal pla)n a:- 11:L'i this new IK'I:\· :\.~ I looL. l)Cb'Sup ever)' few hours. bai.:k mer tlie \'ariuus lunn ... ol rnning JK·g:,.wnh \1 hil h h:mju:, A few )'tars ago several different models of so-called "gear have l)(!t'II c11uip1>c1I 1l11ri11g the p:L'>I tlH"/1 1)' fiH: )t·,1r,, ir 1,.t1H·, J>Cb'S"w ere pla ced on the market, giving a reduced ra1io of me L"tlnsi,ln:ibl i: -'>:tti:.l:tdio 11 to re:dizc 1h:tt :it kbt ll11·re h.1, motion between the thumb picrc ;ind st ring po st, thus cna bn· n 1·li111i11:tll'd um: ul the grc:lte:,I llrlt·ll:, 01 the h.mju a11,I hling the player 10 obtain :t more ;u.."Curatc tunin g adju ,tmmt. J ho1)(! th,11 it ha:, dune It:, bit tu1\.irJ dc\;1ting 1!te llhtrn Th ese gear 1>eg:swere Ji stincl impro ve1;1e11ts over the ol,I I) pt·s 111c111 lu JI:, 111upt·r pmiti,111.11110 111,.t. \111eri1a11made 11111:,11.,I of fri ction pegs, but evt-n these were not non-slipping. ' 11,e i1h tru111e111s. mere u se of gears in a tuning peg cannot prevent th e prg \V ith the imrn ,luc1im1or the re,ur1:11u1 h.11L.,the !1111~...... 1lr·, from being h1rnctl backward by tension that is applied 10 greatly impro\'i:J tailpin ·,·,, the 111.·1\ 1,.tr:1rp1.•1,,r:, and u1hr1 the s tr ing, and, as 110 gear locking edvice was prm,idetl in general i111prO\emerllS in :tppc:ir:mi.:e:111J \Olh ll' Ulliu 11, i-.,1.. ~ any of these gear l)(!h'Splayers soon found that tlwy were of banjo s in 1his rnu 111ry ha1e inne:c.1:d l011:>idcrahly fru111 confront ed by the same old prob lem. To b e sure, it was 1101 )'Car tu )'t·ar. 1\ fl·w )1•; 1r:, :i~u, ge;ir Jll'~S \1 l're h1.·i11J.::1N·d necessary to tighten t he pegs as frequently as had bern as factor)' c11uip111rn1011 onl y 1he hi~lwst prireJ h:111ju~,n· tai ling frou1 one hurnlf'c•d Jullars up. ~ l:111ufal't11n·rs 11,·11· 0 Tenor Banjo Arrangements 1101parti cul:trly an-.ious to eljuip d1eapi:r modd:, with i,::c·ar . SOLOS or DUETS pegs, as the gear ()(!gs were 11111d1 more.-npt·11si\·e than the old style friction pcf,.rsth at had ba· 11us1·.I for so many )'ears. D H owever, whe11d ealcn fuu11d that pru:,pt·l·tile purd1asers uf new instrum ents were \ 'Cf )' anxious to h:t\'e gt':ir 1wgs im.:l111h•,I E as c11uipmcnt on th e ins1rumcnt-s that ther were consi11t..rini,::, they began to wri 1e to 1he m:muf:u:tun· r.:, t1rgi11i,:1h c111to L e1111ir,the cheaper models with gear pegs. f\huy dealn, ban! found that their customer,; in\'a riably pidc d an inslru• L (Co ntinutd on l'agt Jo)
PLIAII! lttltnlON Tht CRESCENDO WII I N W~ITIN G TO AD\IU.nu:u [8] TkCRESCENOO October, i928
What Guitarists Are Doing-/rnm page 6 Mme. Giulia Pelzer, sister of Mme. Pratt en, who is still teaching thC gtlitar though she has passed her ninetieth year! THE GUITAR IN cz,ECHO-SLOVAKIA Segovia and Pujol have given concerts there which were much Thi s littl e republic is not at all behind th;times when it appreciated but they still do not seem to awaken inter est to comes to interest in the guitar. The-Writer of this article the point that it has been awakened in the cities on the con· has received many fine programs from concerts given therr tinent, or even to the point of interest the guitar holds in by various ~uitarists of this country and some of the other America. European gt)itarists, as well, who have included Brunn in THE GUITAR IN SOUTH AMERICA their concert tours. Fritz Czernuscha is sa•id to be the finest guitarist in this country, although there are many excellent The guitar in this COuntry will doubtless always be loved, guitarists there. being the national instrument of Spain, the "Mother Coun· try." It is a country that has had tours of Llobet and Se· THE GUITAR IN J APAN govia and other Spanish guitarists, although it has not yet pro The guitar in "tht rlowcry kingdom" is much appreciated duced a guitarist of its own that holds world•wide fame, yet in recent years and there are a number of guitar soloists there, it has serious students of the instrument and many good who give concerts and play the fine worh in guitar literature , players. as soloists at the many fine mandolin orchestra concerts which THE GUITAR IN ITALY arc given there. This country has become quite a large buyer f gu · ar music of the better class. Most of the students It aly has always had an interest in the guitar, although spea and writ e Eng lish well and study largely from Amer· the mandolin may be said to be her first choice among thr ican methods. Many of them arc also University students. fretted instrum ents. Luigi Mozzani, Signor Tcrzi and Mme. All of the programs the writer has seen 3:re of a high clas.s Rita· Brondi are perhaps the thr ee best k.no,~n exponents of the guitar from that country today in a solo capacity. It al}' and contain only the best class of music. today, however, is not up to the point in guitar matters that THE GUITAR IN ENGLAND sht was in past generationS and there arc fewer publications Jt is a pity to have to report that at the present time thr. of merit for the instrumen t coming from this country toda " guitar in England is somewhat of a lost art, for at one time than in the past. Perhaps the three above-mentioned artists London was one of the most popular cities in the world for will eventually awaken more interest so that we will ulti guitarists to "conquer." Sor and Giuliani both went thcrr. mately receive the fine publications from this country that and lived for some years. Carcassi spent a great dcill of time arc now being given by Germa ny and Austria to the guitar there. Rcgondi went there and lived for years. Leonard world, and by America as well. Schulz, Ferdina nd Pelze r and many others lived there in the Wouldn't it be wonderful if we could eventually have an halcyon days of the guitar. Later, Mme. Sidney Pratt en, "INTERNATIONAL GUITAR SOCIETY," to wh;,h daughter of Ferdinand Pelzer becamf very ()Opular there anc! all of the nat ional Guita r Societies would belong and be af numbcred , royalty among her many devoted pupils. Ernest filiated with ? Then a still greater work: for the guitar could Shand has been known as the leading British guitarists of re• be done than could possibly be done by those of any one na· cent years, but he died a year or two ago and now the guitar tion. from a solo standpoint, has no outstandi ng represent:l.tivc ir Birmingham, England-A loc::aldrnti st has di,covrrrd that music that "country. There are still a number of teachers, pupils of hrlp1 quiet thr ntr vra of patirnts. Phon ograp h rrcords of Brrth hov• Shand, Mme. Pratten and that veteran of all Iivillg guitarists, rn'1 works :i.rc plaYrd during ut ractions. ANNOUNCEMENTEXTRAORDINARY TENOR BANJO GUITAR HAWAIIAN GUITAR The sensation of the year All the numbers p~ayed by Every day 1ince the publication of_the American Fantasy Andres Segovia Favorite Hawaiian Tenor banjo 10l0 unaccompanied arc included in our co11qJletc li1t of Guitar Solos By SOPHOCLES T . PAP AS foreign guitar music by the old and with 2nd and 3rd parll ad. Jib. we arc It bu a brill iant intro ductiOn. &even modern mu len carclu Uy aclected by receiving new orden and congralulatory favorite melodica 1yncopated and other- SOPHOCLES T. PAPAS letten. One writes H follows: .. • . . I wile, link ed to,;cthcr with intere1ting 1 tried the solo pull immediately on re- modu1ation1 and cadenu1 and a most ~=~~: !";.ji~: ~~i;apa~d will ~i:e"~:: ceipt o( your book and thought they briUiant finale. Moreover, it covers 12 his 1•enona l a111i1tancc in malting your rcpre1entcd the acme o( perfection H different 1tyle1 of duo 11laying - AN 1election1. regard& etc.el 11uitar music. but it wu ENCYCLOPEDIA OF Ti,;NOR BANJO after playing the numbe.n u trios that TECHN IQU E-AND NOT TOO DIF- Send for our new calalog. I fully realized jwt how uablim e the ' FICULT. . Thia month'& specia l book of U solos arrangemenll arc." NUFF SAIO. Order your COJJY now. by NAPOLEON COSTE Send your order now. Pric e in U. S. A. 75 ccnll. 75 cents. Three paru complete $1.00, Canada $1.20 1221 CONNECTICUT AVENUE COLUMBIAMUSIC CO., Publishers, Imp orters, Jobbers. WASHINGTON, D. C.
PLIAII _.,.lt.'TION T/,1 CRESCENDO WHH WUT1NG TO ADYHTIRU October , 1928 Th, CRESCENDO [ 9]
' , llmits the same words, then the symbo l or distinctive type Wanted,-A Slogan!' of lettering emp loyed, if any , will be taken into considerat ion $1000 for a Thought in making th e award. 6.' M usic orga nizations may submit a joint entry in th is HE $ 1000 Pr ize S logan Cont est of the Musi c Ind ustries Contest. T C hambc; of Comme rce, seeking a sufrable design or 7. Th e Co ntest wi ll dose on December 1, 1928. expression th at stresses the fact that evtryont should play somt musical insJrumtnt is now under way. Three prominent • men will act as the board of judg es in Note Change this contest. These men of outs tanding n ationa l reputation A nol11er Thousht for the Novem ber Issue have been specially se lected to make their choice of the best 4 slogan out of the tho usands and thousands that will un EG INN ING with th is issue therC will be a number of doubtedly be received. Th ese men arc S. L. " Roxy" Rothafcl, B changes in the genera l appea rance of The Cr escendo. prominent theatre an d r adio persona lity i Dr . Frank Cra ne, W atch for this i ssue a nd, if you like it, let me know. renowned author and journal ist~ and Frank B. Prcsbrey , authority on adverti sing. /' There will be but one pri ze in this contest, namely one This Concerns You! th ousand do lla rs in cash for the best slogan. In event of a tie Will You Do Me a Frwor? th e auth ors of the winning slogans will receive one thousand OMEONE out in Oshkosh, Nebraska, want s to know dollars each. S what your club is doing and what program }"OU use. H erc is a chance to win a big pr izc-qu icldy and easily. Every .subscriber should feel at liberty to cont ribute news to Use your ingenuity and your ability to put into words, pictu re The C rescendo column s and I ask you : \,Viii you? or symbol, ~he reason why everybody should pl ay some musical T he more news the better, so be the local reporte r for Th e instr ument . Herc arc three suggestions: " Pla y fo r Ple asur e Cresce ndo. and Profit," "_Play Your W ay to Popul arity" a nd " Mu sic T hen there is the Round T able for each instrum ent, head· Means Self Expressio n." Si t down now and write out a cd by people o f authori1 y. \\ "hcthcr you arc a tead1er or :i few of your ow n. A few minutes of you r time may net you pupil, there is a question that wi ll arise concerning your big money. instrument every day. No question i s too simple fo r :rn Keep your slogan short and snappy. Put pep and vigor answer . If you want to · 1..nuw the phrasing of a certain int o it . Make it appea l t o everybody. Convey the idea that number-som ething concerning the rudiments of music; help every one can and s hou ld play a mus~cal instrument and all on music history; or a qu estion as to a method of playing, that it means in the way of popu larity, recreatio n, pleasure tcchni<1ucor style-send your question in to the R ound Tabl e and culture. it may concern . Tell your friend s about the contest i get th em to tr y, too. Mrs . Bickford, Mr. B radbury, ;Ir. Place and oth ers o n Step in to your nearest musical instrument dealer for addi Th e Crescendo staff of writers want to help YOU personall y. tion al ideas and booklets, or write The C rescendo. Send your In the No\'emb cr issue l\Ir. Frank L. Buckingham 's second slogans in to th e M usic Ind ustries Chamber of Commerce, article i n his series of di scussion wi ll be on the subject of Slogan Committ ee, 45 W est 45th Stra:t, New York City . "Teac hing Prob lems." \.Yatch for it! Th e rules of the cont est are few and simple : 1. Any person is eligible. HER E has been a slight misund erstandin g on Od ell's 2. There is no l imit on th e number of entri es from any T Musi c Servi ce Poli cy. - ALL ODELL PU BLICA one contestant TIONS ; folios, methods , orch estrati ons and indi vidual pa rts WILL CONTINUE TO BE ON SALE . Discon:inuini,::: 3. There is no l imit on th e length of a s logan, but re th e sup plyin g o f individual parts concerns th e SHEET member th at a true slogan "packs a punch" in one ·sentence MUSIC OF OTHER PUBLICATIO NS when boug ht in more powerful th an a whole volume of words. SMALL QUANTITIES ONLY. 4. Entries may consist either of words alone, or of words In th e past we ha ve been g lad t o offer th e serv ice of in combination with a symbol, o r words arr anged in a dis securing a single part or two of sheet m~ic from oth er publishers for you, but at the pr esent it involve s too mu ch tinctive type of letter ing. expense to con tinu e, unl ess in l arger o rders. 5. Th e jud ges will decide primarily upon the merit of Your ord ers of ODELL MUSIC is welcomed and the words in a slogan , but in case more than one contestant promptly filled. PLIAU WIHTION Tht CRESCENDO WHIM WUTINC TO ADVI.II.TI.SIU [IO] Th, ~RESCENDO The Hawaiian Guitar By JACOB VOLLMAR EVER ha\'ing seen an article on.stringing the Hawai For recordi ng, radio and stage playing, where more volume ian guitar in your valuable magazine The Crescendo of tone is required, use number five, six and seven gauge wire. N has prompted the writer to throw a little light on The writer has no comment to make on the bass strings, this subject. (:' except that they shou ld be work ed or ground down and 1n looking o\'cr instr uction books we find nearly all high ly poli~hcd to give them a smoo th surface . It , of course, recommend B, regular guitar second, for first and second must be born in mind that when the heavier strings are used Hawaiian guitar. ·Thi s, in the writer 's opinion, is all but in st ringing a regu lar guitar for the Hawaiain Style of play· right. Let us for n moment examine other kindred instru · ing , a ta ilpiece must be added or the ~igh tension will soon mcnts-thc banjo, 1m111dolinand regular guitar. What do pull off the bridg e. we find ? \Ve find that the tension is as evenly distribut ed as is possible i in other words, each str ing, or pair of stri ub>s, Talk About Pegs- /,ono"''' 7 is of a finer gauge than the other. llut' thi s is not the case in the Hawaiian guitar. Her c we have C#, second st ring, men t that was equipped wit h gear pegs when choosing one and E, first of the same gauge wire. Co 11set1uent ly, the from their stocks. Th e old style friction pegs ha ve always t~n the first string is greater than that of th e second , been a source of ~ much troub le and annoyance to the player \. which makes it impossible to produce that desirable round that gear pegs ha,,\•eco me to him as a distinct relief, and he J tone on the second string when using the same force as in will not con.~ider pu rchasing an inst rum ent that is t."1.!Uipped picking the first. I-laving 11'1ade the Ha\ ra iian guitar my with friction pt!gs when he can obtain at a re;1sonabl e 11rice specialt y, serious considerati on has been given to this matter an i11strumem that is equipped with gear pegs. and , after man y experiments, 1 ha\ 'C found that the beginner wi ll make better progress _on strin b'S th :a correspond to The American Guild of numb er four, five and seven gauge spool wire for first, second BANJOISTS, MANDOLINISTS, GUITARISTS and thi rd st rin gs, respectively . This :i'6o applies tu the office of Secretary-T reasurer, 157 Colu mbus A ve., Bosto n amateur who docs not go bcyom l so-called par lor playing, Details of Memb ers hip sent on requ est. · rou wi ll find the tension equnlly dist ribute~ for easy nction. Ludwig "DIXIE" Tenor Banjo Outfit A genuine profes -- - ONLY - sional model Ludwig $5o Indudc .s Tenor Banjo-at $5'0, th e Case c?l"mplete with case. Ab solutely accu rate in scale, powerful, sweet and ringing tone, a marvel for this low price. Th e Dixie Banjo will score praise from the most critical professional players . Built to exactly the same standard s as any of the finest modch in the Ludwig prof essional banjo line. T ested professional scale; 23 inch - 19 frets, two -piece walnut neck, Planet 4•to• l gear pegs, inlaid fingerboard, sta ndard Ludwi g walnut resonato r or 7•ply laminated construction, nashy nickel plated F1aredge, counter hoop, tensioning screws and ;i.rmrcst. It is a TOP-TENSION banjo (tii;:htcns from lop ) . Includ u a pwfe " iona\ model, Aanncl lined case. Send For Catalog, 1/,11//11/1 tlclails LUDWIG & LUDWIG Pr of esfional Banj os 1611- 27 North Lincoln Street Ch icago, Illin ois THE CRESCENDO 11 March. THE TOASTMASTER . 1st MANDOLIN . 2 0 Nol or VIOLIN. H. F. ODELL,Op. 33. · 12 . .THE ORESOENDO March. THE TOASTMASTER. . PIANO. ' · H. F ODELL. . i,~::·:~:::1::::1:;11:n;:1::1:1s1~:1 ~rf;:;:llili;;;1:-:;1;;z1:r:rl&;:1;:;~ e::::1::1:1;:~~l:·111::1~::1:~::~;::1::~ : . . > JJ . ~ .Q:7
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0 4TZJfr r r_g§ • , II iP r J*rqJ , J@ e_JJ , i •=II H.F. Odell&Co.,Boston. . 15 THE CRESCENDO March BANJO C notatio n THE TOASTMASTER .30 H.F.ODELL ~~~ . J *l•JIJU-Ji•UfJ1.pJ ID ~Jf¥dir~_ ~~,IJ. I fi p - - - 2 Pos . 7'--t,otfrI J rU I FJJJI J ~HI J r rr I Fr dF1 tjl-1Jiff!Mffr p . --== ==- p ~ == ''!/° 16 .THE ·oRES0END0 . . · March . THE TOASTMASTER. GUITAR. · THE CRESCENDO . 17 Susanna Haw~iian Guitar Solo To George Arr. Sophocles T. Papa s . 18 THB CRESCENDO LARGO
CopyrJ g ht 1912 11y H. P. Odell&. Co. October, i928 Th, CRESCENDO ( 19 J
"T he rap idity with which a stud ent becomes profi "Bill" Cane cient with Gibson frett ed instruments is an important item for th e person to remember who is debati ng of.Spokane upon w~at instrument to choose for his or her musical expr ession. And the necessity for having a re.illy Speaking<-, good rri'strum ent is second in importance, on Jy to th e necessity (or having a good teacher."
Banjos - Guitar s ->Man dolins and Ukuleles are / Built to the Hi g h es t Standards of P erfection Wm. (Bill) Cane Wm . (/Jill) Ct1nr is tJ formrr studrnt of Ju dson ll' aldo M utltrr, tht grrnt org11ni11. In the Music World - - T lint lu practiu s wlta t /1r pnad,n is r'Cli• drncrd by tl1t fa rt tl,at Th e new Gibson models make it possible for the ambitious student to cover mon: grounJ within a minimum of time. Th ey are except ionally playahlc and possess many cxclusi\'c beauties of tone and finish. In short , they arc: the most modern and desirable of all fret ted instrum ents. (JI You will find th e best and most sincere teachers recommending them every where. For to teach a student equipped with a Gibson not only makes the teacher's work lighter, but enhances many-fold the studcnt'i: chances of outstanding success. (]I If you ari! not playing one of the latest model Gibsons now, it will pay you to investigate at once. You'll be surprised. Gibson, Inc. Mail The C o upon T o d a y H 1• Parson.s St, Kalama: oo, Mich. For N e w · Fre e Gib so n B oo k s 1 You may 5end me the late~t G1b.. ,n l'r.-.· Book j of Banj o Mandolin , ..• Ukulele I am a . .Teacher -·--·· Player ·-· Student. GIBSON , Inc. Name Add rus Kalamazoo Michigan Ci1y~-·--·--- PLEAU • t l!NTION The CRESCENDO Wll l!N WPJTIN C TO AOVU TISl!I.I [ :io] Th, CRESCENDO October, 1928 Barkey's Orchestra Has Successful Summer Krick's Foreign Guitar Catalog (See front cover) Sold to Columbia Barkey 'a Ladies Mandolin Orchestra of San · Pedro, Cali fornia, has filled a riumber of successfu] radio and concert Mr. George C. Krick of Philadelphia, Pa., has just com• engagements thJa past summer season. This organization is pleted arrangements with the Columbia Music Company of wider the direct.ion of A. S. Barkey, a prominent teacher in Washington, D. C., to take over hie entire catalog of foreign guitar music. This, no doubt, is the most compk!te collection :::a~::.as£:!r::t~=o;;;u;f ~:v::!!:~~/":!,r;:1~! of classic ~d modern literature · for the guitar, containing mandolins, two second mandolins, one tenor bandola, one solos, duet s, trio s and etudes by such writers as Albert Mouni, mandolone, one mandocello and Ont! mandobass-an ensemble Mertz, Legani, Coste, Sor, Guiliani, and all the nufi!bers fea• of lady mandolini.sta ·who are so enthused over their palying tured by Andrb Segovia and other well•known composers and hold a certain amount of p"ride in their organization that for the guitar. they would never think of missing a rehearsal which occurs Mr. Krick is a prominent .figure in th'e guitar world, both each week. in this country and abroad. He has acquired the friendship The following progrnm is typical of their renditions: of many of the lending composers. Mr. Krick will represent "Gibson Beauty," March ...... arr. by Bickford the American Guild of Banjoists, Mandolinists and Guitari sts "The Lost Chord" ...... · . . ... arr . by Odell at the music festival to be held in Berlin this fall, and throug h "Allee, Where Art Thou?" ...... arr. by Haroy this connection will be able to furthe r the inter ests ol the A tenor mandola solo with accompaniment of orchestra. guitar. "Funicu li•Funicula" ...... arr. by Dilleba.r The Columbia Music Company is headed by Mr. Sophocles ~ the Volga Boatmen" ...... arr. by Odell T. Papas, a versat ile guitarist and teacher from Waahington, / ··t<1ov.-ers of Love," Waltz ...... by Stahl D. C., and with his.guidanc e a new catalog is being assembled '-., AT THE PRICE includipg the Krick collection and others, graded according to Tuchtr (in practical housekieping clan): '.'Can you tdl their degree of difficulty. what four pounds of steak would be at fifteen cents a pound? " Betty (very practical) : "Rather tough!" Bradbury Opens. Tenth Teachin g Season · Three New Tenor Banjo Bridges! Frank C. Br.adbury, conductor of the Banjoi sts' Round Table, opened his Ha'"rtford studio for the tenth teaching season on September 6. He has gained considerable popu• l.arity with his clubs and pup ils, and has been in cOnstant demand for rn Develop Belter ~No.18 "PATRICIAN " Tenor Banjo Students de!~:c~ io?\;~~!:i!d~!nien::drh:3•:!!: Loar's Orchestral Tenor Banjo Method, and ban"d finished. We believe thia to be the a complete 1eriu of eight volumu of an up•to•date muaical finest tenor banjo bridge ever made. 0 0 1/2•,% " and ¾" high. b~u~n~hJ~dr~~e,;ad~~; B.;:!~~:~jo be~~f !!bi~d:li~ Aho made for Five Strin g Banjo, No. 19 day, after it.t publication. ½• and %• high. Retaih at 50c Price (each volume) 11.00 A. D. GROVER & SON, Inc. Proof andliten.tu rc &ent upon uquut . LONG ISLAND CITY NEW YORK NICOMEDE MUSIC CO.• Altoona, Pa. p U IL 15 HI a S l'UAK MINTION T /11 CRESCENDO WHIM wunMO TOADVHTUtU Th, CRESCENDO (21 J A. C. W. - Providcncc, Rhode Is land The J/lh al is the btsl way of counting a pitu in two four time, ANJOISTS ' w hich conJains many sixt eenth no/tsr A lso pleau 9ivt Jht CtJrret t sJroking on Jhe measure copitd below, from a ttno r BROUND TABLE banjo solo. Th e piece is marled to he played lively. [ ANSWH) C.du,btl •1 FRANK C. BRADBURY i/ 1-::~u~:e~i~:irii;;\hacn:::;~~:. 7h'::°!;:in u; ,! : ::; ~:~n~:1:~ .. lolttad C.•"- ~~: unit. Thi s will t>nablc: you t o cou nt the sixtccn 1h notes by using the T~All..=~ ~~:: ,..word "and" for 1he last half of the bea t. ln rcali ly thi s woul d be pUtalllln,totlMB&nJo,or--tribultlm .... four eight time:. As the piece is ma stc:rt>d tht> count ing may then be ciu-u- or -'3- wt11 ,_1,..due C'OCllldtnil.l011- changed to the rcgu l::ir 'mt>thod for tw o four tim e, coun ting tw o to ~,..--A~ " BanJalltllou.ndTab l1", c1.n c:.ich mcasu rt-. Th e <1uartc:r note then being made a beat unit . The: corr ect stroking of the exam ple in qut>~tion hat bt>cn ma rked ::ind is being forwa rded by mail. HE Roun d T::iblc is in receipt of a letter from th e well known H. C. M.-Lcom instcr1 Massachusetts ll'hat mt /hod, if any, is co11sidtrtd as tht standard o,;c T banjoi st, Mr . H. Sheldon G rc:t>n, and while we may not all agrt>e a, to some of the sta tt>mt>nts in thi s Jt>u er, it i~ surel y fitting for tht rtgttl ar ba~jo, fingtr styltf th at all t ides be hnrd and the: Round Ta ble rcp roducH tht> lcllt>r [ANSW U, ] herewith. As the old l ndi.an said: " We c::in't all think al ike or 1ht>)' 1 As to the banjo hav ing a rra l standard method bttausc 0£ long ,~o~~;!h:l~k: ·~:; ;:b;;!~~~~ ",~;' ~:·11~/~:i!t>~;:)~~~l:~: ~f Tht> Cre· usage and acceptance, it h :111none . The in strument ha s btcn thr ough Kt>ndo. There a rc man ,- 1hing5 on which I ha, ·c formed ,·t>ry decided too man y rather rap id changes in its devclopmcm lo allow this. op inion, as a result of 1wcn cy-t>ight ynn study, and thoug h I do not For instan ce, 1hc no tation change an~, before th at, th e many differ ent expect all 'o)d hands ' to accept my ,·icws if they do 1101 appeal IO 11ylu of playing th:u we re uud. \ Vhat we acup t ,.. pra cticaJly them, I do at the: same time n:pcc l that rt ::ult>n of 1hc ,·arious , tandard, however, i1 1he lead ing and authorit:iti, ·c method, and journa ls, w hich a rc publisht>d in the inl ercsu of our inurumcn H1, , 1udic1 of ou r day, in 1hc finger pl ayi ng 5tylc, of the principl u of should he allowed to rt>::id wh:it I wrilC, and accept or reject my banjo tcchnic :u origina lly laid dow n by Alfr ed A. Farl ::md. How ,·it>\\'S H 5t>t>msb"()()(! t o them. Let me repeat th:il I apprec iate your c,·tr, thi s, of counc, was in the A notation. ln th e main part the ha,•ing publish ed my letter, and th at you r t>,·idem policy of a fair pr inci pln ad vocated by thi s sterling pi:lyc:r ha, ·c been adopt t>d by all deal 10 .all comers is the 0111~· correc t ont>. the leading authoritin and the better known an d most used methods " If n•cry thi ng nc:w is lo hr rcjrctc d simpl y l>ccaun ii is ouu idc and a1udi cs or ou r day :arc: considerabl y ::alike in thi s fact. H ::any· the good old rut, why we'll nC\'t'f gc:t any 'foera dt>r' ::it aJI. thing could be: consid ered u sta nda rd, it began to take: sh::ipc: from "The world has been broug ht 10 its prese nt 51:igc: by th o~c poor that 1ime on. T hen the chan ge fr om A 10 C nota1ion camt> ::along dCl·ils who al one time: wuc 'w rong by u i~ ing sta nd ards.' T hc:y and there :art> some ;nino r diffcr t>ncu in tht> method s used tod::iy \\'('re lhc: only onrs wh o 1hough1 and wurked 1lilf crcr11ly-c\'Crybo dy ''"hich m::ike for th e fac t th ::it we: h::a\'c nothing abso lutel y 11andard . ehc was 'tlnin' it' in 1hc good old -fas hioned way. and yr t (as And ag::iin 1hi1.h::is ::ill happened in 50 cornp::ir::itinl y few yc:an that sub!,C11uc111ly pro\ ·t>d) t'\'trybod y had been wrong. I :im one of it would not allow a Manda rd to be: set in 1he 1ensc: of th e full lhnt> poor dnib !oO far as my lbt -wri ~t mc:1hod is conccrnt>d. I meaning of the word. llow oc r, it is pleas ing to note th::it those ;Hh-oca ted thi ~ as far back as 19 1s-yc:1 nobody rouk an y notice and methods and studi es which art> mostly in use tod ay arc the ones t'l'Cn toda ) 1ho•c who suppo rl me 111::iybe coun ted on the fingru of "that in the main •• agrc:c and, as I ha, ·e prn· iou1ly st::ited in the one ham!. \\ 1hy condemn a mt>thod . . simply b«:aun it differs Round Table, the modern teache r of thi1 instrument must g radu:uc from your 0,111 ~ • • I simpl y a~k 1hat a prejudi ced arc h-wri~1cd a nd pro,· ide a systematic cou rse of inst ructi on, ut ili zing many of tht> playt>r be rci1ucs1ed lo play (i n tht> prncncc of ::i few compt>ttllt lcading works of tht> day a, they all conttin good points and , in the banjoists who um.lnst::ind tht> pln:trum mc1hod ) the ::uraagemnl of wh olt>, if rightl y , tudit>d and diguud and one's own idea s of ' Yankc:c l)ooJlt>,' which appc:au iu my Tutor, :ind the ,·ar ious pic:cn acceptance: of th e minor pr incip lu " ·hich di sag ree be we ll thought in the: Duo Stttion; al)() a fc:w ~hort paMagc s of not more than fou r out and put int o play, will pro\'idt> one w ith ::i pr actica lly standa rd ban each ,,l1ich I diall write. If he: can do i1, hi s method ii as and complete cou r.r. Some: method s contain tr eat iKs on subjects th at good as mine; if he can't, it'• 1101, and thert>'s no more 10 be nicl arc entirely void in ano th er. Another reason for thi s "pu llin g to about it. gctht>r of part s" to make a comp lc:1e and comp rt>hensivc: w hole:. The " I do not know cxaccly w hat wris t action you you rulf u~e, but I wo rks ( method s a nd studio) of Gr im~h:iw, Rict>, Bacon, Lan si11g, \\'ould dct>m i1 a fa, ,or if you would kindly publi ih thi s lwcr .. Bradbur y, Row d en, Eno, \ \lt>idt, St::ihl ::ind other s, which agrt>c in an d if you ha, ·c nc,•c:r gi\'cn th e lla1-w ri s1 meth o1I mort> than a the main, should be IOught out and studi ed 10 ga in thi s e nd . Mon supt>rlicial trial, I earne stly ask you to do so now, for I can anurc of the se au1horitics named ag rc:c: almo5t to a one on I.he main you i1'1 'all •righ t'." p rinciples of banjo technique:. T he 100111 nott>d diff crcn cu arc in the matter of righ t h and t cchni c. T hus we: h:a\'c to " put 1og eiher" and EARNEST WORK. ER make as nn rly 11anda rd and compl elt> a mcchod as is pou ihlc for " Docs you r new typis t use th e touch sys our instrument, tem r· " \\'ell , she cc:rt:iinl y didn't buy th:it fu r co::il ou1 of her wagn.'· - Jud gr. WEIDT'S CHORD SYSTEM'Z:'enor - BANJOS - P lectrum [Simplified H armony) J-IOT Al,'D NOVl!LTI' P l.Al'ISC • 5oU>OR EN!U t aLI! .' SocK C11011.1;su r,u I s - Bu,u:s - BL UES • ESDISCS • CoUECT Ult OF TIii FOR FRETTED I NSTRUMENTS BASS Sn 1NC • R l!AOISC Of O11.CHUTII.ATIOSS • Sum FOR BdoKLl!T Send for FRBE Oemonstntion. Mention instrument you p lay. DEPT . 317 • BELFORD, N. J. Schwab's Chord & ffam1onyS yst~m u•~~~Pt1!~ :!.rttt PLUII Ml!WTIOH T/11 CRESCEND O WHUf WUTUlC TO ADVHTll!U Th, CRESCENDO October, 1928 "Silver Bell" Banjo Hour Over Station WTIC Bacon's "Silv·er Bell" Banjo Hour is being broadcast each Tuesday evening for eight consecutive weeks through Station WTIC. The many friends of the Bacon Banjo Company , Grot.on, Conn., who so generou sly have offered their services, mak e it possible for this hour of fretted insrument programs of unu sual meril . The first broadca st on September 4, introduced Fred Bacon wit h his man y five.string banjo selections along with oth er numbers by his Silver Bell Factory Boys. Others who appear on this broadcasting program are as follows: September 11-Keppel Silver Bell Plectrum Banjo Sextette of New Haven , Conn.; H. C. Keppel, director. · Septembe r 18-Pi zzit-ola's Strummer S of Holyoke, Mass. ; The Plectro Quartet of New York Jo s. F. Pizzito la, director . The Plectro Quartet , a unique ensemble, is one o( the out-, September 25-Amenta's Silver Bell Club of Hartford , sta nding attractions in the field of fretted inst rument music. Conn.; R. J. Amenta, director . By virtue of its fine artistry thi s ensemble has played its way October 2-Th ~ Stephen St.John Silver Bell Banjo Or• into the heart s of thousands of those who appreciate the best chestra of Schenectady, N. Y.; Stephen St. John, director. in fretted instrument music. Their extensive repertoire includes October 9-Joseph Consentino of Lawrenc e, Mass., tenor a wide variety of music that is specia lly adapted to these banjo soloist; E. F. Griffin at the piano. _,,..--i lt8trJu.pents, much of which has been composed expres sly for October 16---Frank and Ann Bradbury of Hartford, in banjo and piano items, assisted by the Silver Bell Serenadeu '\.....,/ lbi;~i:s~::~t is comprised of the fo1lowing arti sts : 1ifr, C. (mand olin octetteJ. . DeF ilippi s, first mandolini st, .who was heanl at the recent Oct'ober 28-Frecl F. Gatche ll and his "Silver Dell Boys" Guild conventio n's annual concert; Mr. V. Rippa, second man from Springfie ld, l\la ss. dolin; Mr. -P. Pignoloni, handola; and Mr. V. Pizzitola, rnan docello. The fact that this versatile gro up is constan tly sought after for radio, recording, coricerts and recita ls, and the many appraising testimonials received, atte st their popularity . GONE! "I' m sorry to slate that you arc suffering from a far id, ·anccd case of alcoholism," announced a ph)'1ician. "Great Scott!" cried the patient. "Dot s that mean that I'll have I to quit drinking?" "Not cxacdy . I 1hink that you arc going to quit automatically," HAVE YOU SEEN , FOR QUICK SALE! the Glbeon F4 Mandolin in cue . •. . . . • , . , . • , $60.00 Glbaon H4 Mandola In. cue .. . .• , • . • . . • • . • . . , . , ... t:6.00 Impr oved Hamilton 0 0 ~~n. T~~:.':n~ ~1~f nl'. • i;.;~j~· iii,; 'be",.~i)j~ ',:"a~ ~.;~-~ ~UltJ::ii Fr e., !lat or bar ga in.a In banjo. and band lnatru mcn.11. Hamil tim , Combinalio1' WoahlpaubJecttouamlnatlona.ndtrla l. 01 0 CHARLESA. TEMPLEMAN CAPIT~~ouT:~1J:.t ,,o':;'f " Lone Star FOLIOS OF SOLOS OF POPULAR SONG HITS FOR TENOR BANJO DE SYLVA. BROWN 6 HENDERSON (Solo and Chord Acc.) •. $ .60 MUSICSTANDS FEIST POPULAR HITS {Solo and Chord Aceompanltr1ent) . , . . 1.00 .{~~7»~/:t3 J~i•it~i'c's:,!=dri!':WA~pa·.;1~e"n ·t; 1::g bras; tubing JAS. H. JOHNSTONE.~N:t; ..~~~ wide shelves patent ed lockin g device Guitars,Mandolins, Uknleles, Etc. ALL GRADES, PbR THE T.RADE AND PROFESSION &,.,,Rqairi•I 1Yri1, f or pricts and fold,r to ask WM. F. BUl>LAP,3731 Concord Place, Chicago Your Dealer The FITRITE PICK For QUIT.ill { .. 81-1' 0 or ftlWlf IIJk ) llDd. far B.I.N'JO. J"IM tor dou.bla trwmolo, Ind for prOdgdq tQ tone n.lWH and eaftJ'lQf- . Tftata..la,_.Uldamall.. KRAUTH & BENNINGHOFEN 1dl\lslabla10J1t11ld IZl.d4a.,en. Prtot40a,w,a.Jr HAMILTON, omo Ullll111111le.Jmdle.du ... 1nd~w HAROLD ORTH, MJ,.• 1870 Beacon Street, 80110n, Mau. PI.IAII MENTION Tl11 CRESCENDO WHIM WUTING TO A~YUTUIU Th, -CRESCENDO [ •J) singers wi th :iccompanirnent. A 'prett y novchy, but cxcccc.lingl y tire some lo lra inec.l mu sica l uu. Jun w ho in\"C11tetl the octa\"C The mandoJa no one seem, to know , but it ,us introduced into tht MANDO LINISTS' mandolin club to lend ano ther ,·oicc. Tuncc.l an octa, ·e below th e manc.lolin, ic', ,·oice wa s rc:illy nothing on the mu sical bill of fa re, ROUND TABLE but it w:is used for se,•cral years . At a Gu ilt! corwcntion ( I bel ieve it wa s 19 10) !he playcn we re Conducltd ~, :11\ :igog with the introdu ction of :i new in~trumirnt ca lled Che tenor \Vil .LIAM PLACE, JH. Vlrh11,o, c . .... OHr u d Aulh ll' mandol:i. Tuned a fihh below 1he mand <1lin, :u per 1hc ,·iol:i of thir t i:~.ar Pll!AII! MBNTI ON Tht CRESCfNDO WJll!N WRITING TO ADVEllTISUJ [24) Th t CRESCEN DO October, 1928 Banjo Broadcasts from Plane Banjoist Radio Message First to Tell In looking for ultra•modem musical effects, the stunt which of Flyers Safety was staged by the People's Outfitting Co. of Detroit, proved to be an "interest gette'r." It was a program of music The first radio message received by the outside world an "served" through the radio microphone of WJR, Detroit, while nouncing the safety and rescue of the lost Haasel and Kramel', soaring at an average heig ht of 2700 feei over the tops of the flying from Rockland, Illinois, to Stockholm, Sweden, was sent city's skyscrapers in a monoplane. The music was broad by Francis M. Baer of Washington, D. C., rad io man with the caated by the - Dornberger Orchestra. with Perry Dring aa University of Miclugan Greenland Expedition. The news of banjo;,t. · \.. · the rescue was trnnsmitted direct to the New York Times, Every number came through with clarity, except for a few this information being received in New York two minutes instances when the plane passed through "dead air pockets" after the discoverers of l{asse ll and Kramer .had signalled the observatory at Mt. Evans, Greenland, that the flyers were safe. where sound waves can hardly be heard, if at all. The in teresting part of the program was t~ fact that the orchestra Last spring, when Mr. Baer made final preparations and could not use a piano, this gave the banjo the chance of arrangements for direct radio communication with the New demonstrating its usefulness even in replacing a piano when York Times, he called upon William Lange, manufacturer of necessary . the banjo which he carrie s with him on his many adventure 11 to entertai n himself and the members of the expedition . Nicomede Issues New Revised Morris Method Joseph W. Nicomede, one of the popular fretted instrument Eddie Peabody In New York October 20 music publishers from Altoona, Pa., is issuing a new revised f Morris' Tenor Banjo Method. This publication is Eddie Peabody, ihe nationally known banjo artist , has been oketl forward to by many teachers and will be up-io- contracted to come east and will appear as guest conductor of the Paramount Theatre, New York, for six or more weeks ~ ~ date m every respect. beginQing Oetober 20. Mr. Peabody has recorded many favorites with Victor and DeHarport Publi she~ Many New Methods other recording companies and gained considerab le popularity T. J. DeHarport, director of the music school under his through his vitaphone appearances. He is originally from the name, has issued a notice of several new methods on sale. East, but has served one Ot the largest theatre contracts These methods have been assembled after years of experience signed by an individua l, "with Publix Theatre throughout the in the various phases of music and they are arranged for West. beginner or advanced students, on the plectrum or tenor His appearance in the East will undoubtedly be a feature banjo, steel guitar and ukulele. attraction with the theatre-gofog public as w~II as banjo enthusiasts. · ROACH-FRANKLAND Sheet Music - Methods - Supplies LOOK HERE S.nd for For the Hawaiian Guitar , Ukulele and other fretted in1trument1. MONA Send for catalogue . VISTA & ROAC~-F RANKLAND ... . ~:.:-;~; ~ , ... AUBADE Mr,D,et..no'• ftnea:L Prlceth• ■am••nd com11let1 Jun outl lnon1volum1 . Sl,00 Publl ■hed for 4 Part.. T!~tP::.~:;u~:;a B:~; C. S. DELANO ':.!.t:1:.~:.Uliit~ carefully selected, · ready stretched head, correctly processed and dried, ready to adjust to his instrument in 20 minutes. MIL TON G. WOLF Rtad, "Quality Suprtmt" Rtady t, t FOR ALL STANDARD MAKES OF BANJOS- F..ch hu.d bean DIRECT FROM PARIS th• )l(IJ{on G, Wolf Quality Su• come■ th• cream of Euror- n M•ndolln 11nd Guitar m.to--tl'l1 wrltlnp of ■uch brllllant mlnda u KnuC11flO, Bua. Pa.ntau1d. ~~m::::J"r.;f:u~~n7"'Pued Munier, Karuotl11-n11mu th ■ t 11rahou ■ehold worde wh•rtnr th1 DUPONT CB1,0P ll.4NB M11ndolln aad Guitar .,. 1•l117ed-mu1 lc tha t la played b7 .,.. 11nd1,.ckedlnconnnlente11rton,. :!':',';;il.~ r, ..-tiaL A i-t&l wlll put Into 7our ha.Ilda .:iu, Price $6.00 P .. lpald DIRECT FROM PARIS STANDARDMUSICAL . Wr it, toda1 Jo SPECIALTIES THE MAXIMUM PUB LISHING COMPANY 1111 Cli•tn ■ I StrNt., PWla4dphla. Pa. U ST JU•Nll aw... DoL C u C1tSc:q-,.m 1n,1, l mlor ftn •/ Bat1j,, Mo•tloli• ,,,,JG1,1itor Ah1it PLl!AH Ml!NTION TIit CRESCENDO WHl!N wamHC TO AOVHTUl!U Octobcr 1 1928 Th, CRESCENDO [ 25} of his gu itar. T he ma.ny studen ts of the latte r instrument s keep the p ia.nist a.nd \•iolini st busy if he ca.rn to tea ch, and there arc a.lwa.ys The engagcmc11ts for good \'iolinis ts and piani sts unl ess the compc1i1ion in !iOme citi es be a. liul e too gr(!at for the dcrna.nd. As the puhli c i, "GUITARISTS' 50 unaccu stom ed to h,ar ing the gu itu in conce rts, i1 docs not ask for ROUND TABLE or dcm:and it and , of cour se, demand is wh:u cr eat es bus inc,s. There can be littl e or no acti\'ity where there i~ littl e or no d,rnand for c.n,11c1••11, · th e lypc of st r,\'iccs th e guit:ar is C(IUippcd to rcndrr. VAHDAH OLCOM -DICKF0RD VlrtHN , C.M"9ff /. \Ve are hoping that the pendulum is ab:>Ut to sw ing the other \\ ':IY and bring the guitar b:ack aga.in into th e popularity that it once ~)1ad in Eur ope, and is now, to quite an cxtc m, reg ain ing ther e. But it w ill undoubtedly 1ake some 1ime for the d,rnand for it to be generally felt. It is said by some authorities and in Hst iga tou on thi subjccl, that ja:u is bn:om ing tirci;omc to 50mc of those " ·ho ha\ 'C hithert o been i1s' dcvotces and 1his i~ somewha.t chee ring to the lo\"cn of the gu it:ar for, when j:azz b'OCS om, the MJftcr tones of 1hc gui1ar 0 N. R. L ...:.Pa lmyra, Pennsylvania and the 1ypc of mu~ic in wh ich i1 nctl s, will aga.in be more in In Th e Crncendo you slate that Segovia has played lh t dem:and. /Jach "Gooo ltt " 011a pho,iograph record. Ca,l you tell me All thi s, howC\'Cr, i, somew hat spccu lati\ 'C al the prestnl tim e u•htrt I can proctlrt this recordf :rnd the guitarist in your position will have 10 take~ thing s as th, y [AWIWH] are at present and not wait for th e dim :ind di stam future lo bring The rrcord referred to is a. Victor ph onograph r«ord and you :about the changes we :all so much tl"ir <.; can undoubtedly procure i1 from or through the Victor dealer in • l-la.\'C you tri ed !he ra.dio st:itions_jJ your town? The guiiar your city. HConb uccptionally well over th e r:idio a.nd gui tar solos arc not common and arc well liked anti enjoye d by the publi c. Therefore , G. D. P.-St amford, Connecticut to the soloist who enjoys r:idi o wo rk there is a. possible outlet for r. I havt played the guila# for years and after my day's your abiti1ics. Th e guita.r not b,ing used in the orchestras of today tuork I still play it two and thru hours each Nli ni11g. I had also ca.uses less demand for the instrum ent. It is uscnt i:i)ly :a !10lo, a very good teacher for tigh l years and I p/ay by memory :in accompanying , and :i ch:imbtr mu sic instrument. You might somt very di/firu/J 1111mbtr s, rnrh ns "S0 11ata in C" by Sor, alxi combine wich some 01hcr musicia.n, sa~· a ~ini;,r, \"iolinist or 'ce lli st, or a maml olinis1, a.nd gel !IOmc r:id io , nga1,:;cmen1s in th at "Rigoletto Fa11tasit" by Romero, "Romanza and Fanlasi r. way. 1t ste ms 10 me th at a s thin gs in th, guitar lin, arc al pr,scm, Ho11groiu" by Jl1l trlz, and some other great rompositiom b_v th e radio off,rs you the c hief oppo rtunit y. I wi sh you all possible famous compou rs, but I am discouraged btcauu after tht succc~ :ind would, of cour s,, ad\ ·isc you 1101t o gi\'c up the bcau1iful long sacrifice I made to mablt mJ'stlf Jo play so well I cannot in~lrum t nl to which you ha\ •c dC\·ottd so much tim e am! a.ttention, malt my living with tht guilar. I feel it may be nrrtssary cnn if it should become nn:css.1ry for ,'Oil to add another more lucrati\ ·c ins1ru111,11tto you r accompli~hmenh. Aftcr you had mas 1rrc1I for mt Jo"gitJt up ihis beautiful instrum ent. Will you p/rns,· some othr r on: ht~tra.1 in~trumtnt, whid1 would giH .'"OU an ou tk t give mt your opinion or somt adviuf for you r mmic in a fina.ncial 1\·a.-·, you could thtn ofctn work the 2 . I haw some good guitar solos, my own rrrrm1grme11ts, g-ui1ar i11, in placr s where it would oth r rwis, br irnpo~~ihlt. I hop, tlo you think by hllVing them /mb/islud 1 coultl make rnmr I h:i\'e bccn ahlc to gi\·c you some a1h·icc which will be "or1h while monty'! if so, w here anti how coultl I have the 11111sirp11/, to you :md ~hal l be gla d lo ha\"c you make u•c of thi~ deparlmtnt :11 an y tim e th.it it can be of ~ n ·icc 10 p,u. lished'! !!. Th ere being littlt drm :ind for the g11it:1r in ri 1hcr the conrrrt [ANSWU] 1. I can sympathiic with you full y, for the guitar :,s :i !IOlo in ur tc:u.·hing line, thcr , is, of coursr, liult ,lrmand for gui1ar mu~it- of strument in America. toda y is a. very di scouraging pr oposition. In the any kind, so tliat, unfortun:iltly, :it thr prr sc,u timr , woul,I hr 110 first place th ere arc not enough peop le si udying ii ~crinus ly to make Miu rec of incomr. "J'hc cornpo~itirn1s \\ hid, h:i, r been puhli ~hr,I in the teaching of it profitable unlcu 1he tea cher also ha s oth t r insrru the l:ist frw rear s arc so few 1ht~ can he coume,I on rhc lin~ers, mcnt! to rely upon, :md for 1he same rt:uon-b«ausc th,r , arc so an d tht sc :ire nut finan cialJ,'· protit:ihl,, ~n it is douhtful if you cuuld few students of 1h, instrum,nt - thtrc arc also few conctr ls and th e indu ce any mu sic publi ~hcr ;H 1hc prt~ ·m tim e, undtr the ptr• t nt ones th at are given arc not well patronil:cd :as a rule. There is ,·,mllitions, lo um.lertal r the publira1i o11uf any gui tar rnmic un i,·-- i1 prac tically no demand for gu ita.r 90loists in thi s countr y, at the came from lhc narnt of on , whose \\ork s fnr the ~ui tar ha,\ alrr:illy prncnt time , no ma.lier how great the abilit y. A guita.r conccrt doc~ ( Contin11rtl on l'a gr ;,; ) not make a ripple on the mu sica l sta unle s.,, perchance, it be somr foreign player with a YUi amoun 1 of publicit y and financial backing and a high-power,d pre u agent and metrop olitan manager. Then , GUITAR it is poss ible to get out an a.udicncc to hear the guit:ar. \\ 1hcn ii i, MUSIC heard, pla.ycd by a real a.rtist, it nncr fails to pl,ase and cYt n enrapture a. truly musical au di ence, but only a few such conc,ru fAl'l:elll>ellCIIUOryof 0111!1r lJ us!c In U.S. A. ca.n be given in a yea r, compara.tively spea king, and that docs not Me11ina Mu1 ic Co. take ca re of the resident !iOloist, who wishe s 10 make his . li\·ing out 24.Sll-ltbll •.Btlrn . N.Y. FREE GUITAR MUSIC! .;Join TH.E AMERICAN GUITAR SOCIETY MIii" •nd -Ive free copy 10 ~rHG~~~;s~fo~~~~?~~• eio~~~fin~~:: of the mualc publbhcd tor the comlna year. which la the flnnt itulllor fo r mutlctobehad. Dueaon l,H,OOayear. Send torappllutlon bh1nk. I dozen assorted picks. Net value $2.25, all S1.00 Llata of our publlcallona alao aent upon r«tuesl. Oriltr toda1! - Gt / acquaintrd! Schubert. Album $1.~G- Modun AlbWD 12.00-Beet hovcn Album 11.00 GEORGE STANNARD 10 i.:_:~1 AMERICAN GUITA .R 80CJ .ETY u~l~liJi:t::w JIii WHt Urd Bltfft. Lo. Anacin, c.uromla 121 South Warren Street TRENTON, N. J. PUAS2 MENTION Tht CRESCENDO WHEN W~TINC TO AOVH:rtSEU [ z6) Th, CRESCENDO October; J 92ij ~ Allegro Mandolin Orchestra, New Haven, Ct. PROGRAMS OF CONCERTS AND Mrs. J. L Grindle, director; Mr s. A. C. Hall, accompani st "CrcscenJo Mar ch" .. Odell RECITALS "Pat riotic Medley" ...... Arnoltl Allegro Mand olin Orch estra Harp Solo,-" The Min strel's Adieu" . • ...... Thoma s Bacon "Silver Bell' ' Banjo Hour, WTIC ",1\.11Through the Night" ...... Th omas Min Edi th M. Gr ind le ~ artford, Connecticut Mando lin Solo--" l n a Mon astery Ga rden" ...... Ketclb cy Keppel Silver Bell" Pl ectrum Banjo Sex lelt e • • Mr. E. l-1. Shove New Haven, Conn,, Septemb er 11, 1928 "Un-e Chat". Acktr T, M. Gallaghrr, Michar l Bu rz, Cha~. J. Mallin son, Rich::ml M. All egro Mandolin Orchestra Decker; Fm l H. Brill at tht piano; II. C. Keppel, Jir « tor. T rio- Harmonica, Banjo Mandolin , and Piano ...... Sclcctc1I a-Marc h, "Ea gle: Nest" ...... Uordwrll Mr . \Vm . l·leimhuri; c, Mr . E. J-1.-Sho,•e; b-Overturt, "Fairy Go ld" ...... Merz Mi ss Dorothy Heimburi;::e <:--"The Tantalizrr," Ch:m1ctrri1tic ...... Goggin "Gems or Scollaml" ...... arr. by J . John~ uuc d-Slow Orng , "Alabama \ Valk 'Around'' ...... Fodr n Allegro Mandolin Orcl1otra c--Srlrct ion, "Southrrn Fa, ·oritcs" Mand ola Solo- "Bttau 1e" (from "Jocelyn") ...... 8. Godarc l Pizzitol u Strumm cre of Holyokc,'l\fa88uchu ectt s • Mrs. J. L. G rimll e Sept emb er 18, 1928 Sutettc-"A Perfect Day" , ...... Bond First mi1ndolin banj 05: Efo:abtth Haurrl,, Lwn:ud Robbin!. Sttmul Mr . E. H. Shove, Mi st Myra M:1cKc112ic, Mn. J . 1- Grin dle, tenor b:rnjns: Estelle C:iv agnero , Viola V:rntrain. Rhythm banj os: M r. J. L Grin dle, ~fr. Fm! T yrrc,11,~fr. Eth, ·. Hooghkirk , Sr. ~h--d"t ley, Arrnan, I TruJrau. Cdl o H:rnjo: Frnnk \\lag cnlmechl. llarp Solos-"T he Cossack Dance'' ...... llritu in \__, a- " llalian McJlc y" Dirttt or: Jos. F. Piz zitola. ••Fin·light and Shadows" ...... Edith G rindle Mist Ed ith M, Grim llc b-- "Onc More Nig ht," Fox Trot · "The Toa stma~ter,'' Ma rch ...... Odell c-"My Blue RiJgc Mountain Home," Fox Tr ot · "The Wind Up'' ...... Odell ti-Piano Solo, Scltttcd A11rgro M_:rndolin Orchestra e-"Bcside a I.azy Stream," Fox Trot £-"Fairy Gold," O,•crrnre g-"E I Dorado," Tango Concert by the h-' 'Gct Out anti C.ct limier the Moon,'· Fux Trot Nordica Mandolin and Guitar Orchestra Pro gram Over Station WLOE, Bos.ton Nordica Hawaiian Guitar and Ukulele Club John Rcn\'iMulo and G us DrMaria and the Nordica Banjo Club Mandolin and G uitar Dutt "N;ui onal Emblem," M:n ch ...... Bagley 1·m1cr the tlircction or \ \lahcr T . Hoh. "Poet an PLUS! MtNTION ThL CRESCENDO Wlll!N WIUTUIC TO ADVUTI Sl!U . October, 1928 Th, CRESCENDO Guitari sts Round Table--J ,om•••• 2s double•str ingcd instrument s. If we a rc to make the gu it:ar popula r :and recogni zed in the music:al ,, orld '" must do all we ca n to keep gained fame or prominen ce, so that it would :it lu st ha\·c ihc it legitimat e and 1101 allow freaks of any kind 10 gain :a place, for al! auur:ancc of being sold to gui tarist, (fe w as they arc), through the these thin gs cau!ICth e general public to thin k ther e is no stam l:ml tQ name of the composer or ornngcr . The ,\m crican G uitar Society is the instrument. work ing in ever y way 10 help to further populori u t.hc gui tar and A. E. R.-St . Louis, M issouri 5 1 ~:: ;: I, :~,;\:k~~: s ';o':~~ rr:,fo:u~~!t:; :~;~cgt: 0'::t~=:~0 !:;g::nci~;cnat;~ Is flu : Ha waiian Slt:t:I gu itar a 11t:rJJ difficult instr/1• much of a demand for mu sic for the instrument, WC have to ha ve llrlll/ 0 learn ·,oplaJJ 'f /-low long t4.!0U/d Q rt:monablt ltng th the playcn ! An d the latter, of counc , lake, time. Ther e is much o tim t bt: to mmlt:r this ir1slrumtn / bJJ ont w ho is fair /JI more that could be written on the abo, ·e subject, but sp:acc forbid• 1Jltntcd in music'! · th :at c prr,cnt. / 2 . Can th e H awa iian stet! guitar be learned through n R. L.-Ncw York City cc,rrespor,dwu co11rsef j. /J/ 1,o i11ttt:rited this meth od of plaJ}irig and u ·he11'! All Do you thin k a doubl e string gllitar , reg11/ar size , u.1011/d informati on w ill be np/)reciated. bt a good irfstrum tn l f [AN SWU] [ANSWH] ,. The Haw:aiian instrument is gene rally considered the eai.iest Of course, the regular legitimate gu itar ha s six single stri ngs and, and quickest of all instr uments to lc:arn. J\s to the lengt h of lime as all regular :and legitimate guita r music i, writt en for thi s instru• it would t:ake, no one can tcJI, since so much depends on the time mcnt, a doubJc.11:rin gcd instrument is not the prope r thing upon ginn to it; hm, with rhe slightest talent for music :ind knowledge which to play regular guita r mu1ic. T he M exicans, however, do use of it, it will certainly not take you loni::. 1uch an instrument :as you describe, but most of those who use it play by car and lhc instrument is, of course, stri ctly speaki ng. under • ;: ~~;I~!~~~::: t:~bl; ;aying is s:a.idJo \: wc been innnted by a the ca1egory of freak instrum ents. The mando lin i, a doub lc•strin gcd Hawa iian (ahhoug h some say a Spaniard ) who found an old iMtru• instrument because it is played " 'ith the plectrum , but the gu itar i, mcnt tun ed in 1hi1 manner ( in wha t is known :as the Fand.:mgo properly played with the finger, anJ hence a doublc•stri gcd instru• tuning) and not knowi ng how to play it any other way, c:cpcrimcnteJ mcnt is a detriment to legitimate play ing, rather than an advantage. wi th his pocket knife. Thi s wa5 twent) '•five or more year, ago. II My advice is alw:ays to get the bcu regul ar six•SCringcd gui 1:i.r rou came from the Hawai ian Island s. It did not become popu lar in the can buy and the results will be accord ingly good, prov ing you perfect United State,, however, until the tour of the play, "The Bird of yourself on the instrument. ln a, much as the guitar has been very Paradise, " th roui;hout the coumr y, :after which this method of play• much stondardizcd .as a six for many , many yt:irs, I do not sec any ing became a fail. Th e u:ic t date of the "di scovnf" or '' in,·ention·• reason for :adding to it and making i1 a doublc•stringcd inscrumcnt of thi s method of playing i, not definitely known. any more th :an to add 1tring9 10 the ,·ioli11 or 'cello, m.aking them ( Co11tin utl l Dn l'119r2S) Banjo Broadcasting "LISTEN IN" TO THE BACON "S ILVER BELL " BANJO HOUR WTIC TRAVELERS INSURANCE CO., STATION 535 METERS I HAHTFOHD , CONN. Ev e r y Tu es day Ev e nin g, 9 to 9:30. Comm encing Sept emb er -h .h for e igl1t co1115Pr ttti\ ·c n'c" k s. I Note the Powerful, yet Musical Tone of the B & D Silver Bell Banjos Dealers.can make these concerts a distinct benefit by invitin g those interested tu "Listen In." Better still- make it a Banjo Musicale at your Store or Studio. Let Your Broadcasti11g Audience Increase YOUR SALES New Illu strated Catalogue and Literature on Request. THE BACON BANJO CO., Inc., Groton , Connecticut , U. S. A. JLUH M INTION Tiu CRESCENDO WHl!Ji WlllTIJiC TO ADVl!ITIS UI [ 28 l Thi CRESCENDO ~ Guitarists Round Table--f• om•••• 21 WANTEDand FOR SA.LE H. E. T .-Am.s terdam, New York Ad11er1Uemenu ituerud here for Sc per uiord each insertion. Cah It there an arrangement for guitar solo of H andel's Largo with order. Minimum char1e SOc. at1d, if so, by w hom and where may it be obtained, ~ [ ANSWl!I. ] Larirut C.tal~Clt Ha .. aUan Steel Guita r KUIJc In th• U. 8. A. More than ~~Id=~~:•~!:: Send for CataloS', Paul Goeriu:r, 3Q'Z Yale This number is very effective for guitnr, with its rich, dignified h11rmonit1· nnd hns been arranged by Vahdah Olcott Bickfo rd and Gib.on Mando Bau-lUi0.00 mode l t or SS0,00~lncludlnll' cue. Write is published by Geo. Stac nnrd, Trentonr N, J., or may be obtained Meda S. Kennehan, Wlnthrop, Naw York. through the Crncendo . ' Glblon ~ Gult.r In t ilultl eM cue, like new . Con $1111.150,will eell for 174.00, Wrlta Cad A. Ruhnow, 1216 North Dro.dwu, Roche.Ur, MlnnetOta. N. \¥.-Bronx, New York Bruno &..trlrur Guitar In irood eondltlon. Baraaln at 112.00. Write, care of Cracendo. 1. I hmJe gone througl, the firsi bOok of lf/m. Fodtn Vln acd Guitar, new , made In JtalJ'. Orlalnal prl,:,e 1,40, will aell for 120. Jl/ etl,od for Guitar. Should I practice any other work or Wri te now, CIIT11of Crneendo. material beside that in tht Method f I think I am proficient Vlnacc! Mandolin, new, ..,.de In Italy •. Orhrlna l pr ice 120, aood buy at 112, Wri te to tha Crnemdo. enough to tackle anything in the first or seco,id positions. Profculonlll Veaaphone Tenor Banjo and cue In ,rood condition. Will aell 2 . H {Ne anj, of the waltzes of Johann Strams bun ar at 1100, A, J ., Creaeendo. ranged for the guitarf if so, where may tl,ey be obJaintdf (ANSWH) Yes, it would be ad\'isablc for you 10 ha,·e some piecn and other studies in your grade to use oulsidc the method you arc ,.,.orking in, In selecting these, ,,.ithout lhe aid or advice of n teache r, however, "Easy Melody Method" ~~i ~~! !~ ~~rt!i you must use care not to get mi11erial for which you have oot yet mon)' that can be uaed for rttlta l or at&a11-rk, - Jl.00 per Book, bad adequate prcparntion, H that would be defeating your objecL T here i, a grent dea l of good material to be hnd in the first and "SURGRIP" second position,, both 11.ucl,its' and pieces. Top r,art hu • au.._ 111:rlorim . Made 2. The most famou t of the Strauu ,-va,kzcs, "On the Bcau1iful of 111:olden bro11u. p09ltlnb handaome Your deale r or dlreet '1 ,00 Blue Danube," was made into a tran scription for guitar by the W111.endto~onapproval . writer of this department and hnt just been publishd in the new "Vahda h Olcott Bickford Guita r Solo A lbum" obtainable through Chas. Olson Music. Co. the H. F. Odell Co. There arc twenty-one solot, all m;stc rpiecct, 1700 Clint.• An. S., Mlnneapell1, Minn, most of wh ich h:we never been arrnngcd for the guilar othenvisc, to be had in this coll«tion, but the waltz } 'OU wish of Strauu i, too difficult for one ,.,.ho is not thoroughly conversa nt ,-,,jth the various position,. You might find other numbera which you could handle, ho,nver, and it is ahuys good to begin collecting a libr ary of guitar music and it help1 the 1tudent to work all the hnrder to be able to play iL In my opinion there is no in,trument that can compare with the Delightfully guitar as ao accompnniment to the voice. The thicg to do, it seems Simple to me, is to interest singers in that fact and thereby 1timulate inte rest and bring back !he-guitar. Another thing, - if publi shers of popular Simply mu,ic could be induced lo print guitar chords in place of the com Delightful! monplace ukulele accomp11nimcnt1 now in vogue, it would help mightily, too . I have studied the guita r acriously for many years but in this fast age precious few pupil, have patience and stick-10-it The joy of playing the h-encn to bcoomc lin t clan perfonne n. Harp lon ged for by Youn very 1incerely, many ia now within the AL81!1.T \V ol!LLHAJ' reach of all The Clark Harp, sweet and resonant of tone and easy to learn. COSts only s150.oo CLARK MUSIC CO . Ml!LV1l.LI CU.u:, Pr11idnd U'INY PUB L l $HER. O UR. REFERENCE 416 South Salina Stre et Syracus e, N. Y. ~"'-'WRITE FOR PR.IC ES...._, ,_ - I. ti•S-11' 'il·134il ◄ :l(i · !?i11144 .I ... ·•- . . - ~;gt PLl!AH M BNTION The CRESCENDO WHl!N WUTINO- TO AOVH1U!U Th, C RESCEN DO FOUR N-EW BOOKS That will b e of the utmo st int erest to pla yers of Guitar , Tenor-Banjo and !Plectru .111-Banjo ;.------FAVORITE HYM NS BOWE N'S ~I ETH OD FUH A rran gcd as Solos for \I -\ STEH PLECTIW .\1-ll.-\i\J< l Hawaiian Guitar By \\ 'M. ). SMI T H \\ ,,. IJ. llo\\ 1-:'< son~s anJ A choi,:,: o, llccuon of we ll know n sacrcJ A m11'-t o,m pkll ' .111J rc.1J1ly unJa,t• M~ nh ·1l11~ ed as Ha,..·:iiian G ui1ar solos. hymm cff.:ctivclr arrang showm g how w pl,1r th .: 13,,nJ" wuh a Plc .:trum A 'Clea r anJ pr :1..:t1c;il guaJ .: f,,r th 1.e rl ,,ya who h ,1:.- nn tc-,11.::hcr . :i .; wdl ,1_,;., ..:on ..·1,,: m~tt1 rt':t1nn book for th.: Abi de With !',Ip 1,nd. Kindl,- Li • ht pl.t}'Cr wh,i .:nJoy, tin , ,tJ\',tlll,11.!'-' lll u t li e Th e Ti e Th at lll ndA M 1· •• ■ i lh l..ooh Up To Th t<' Comp y,. l>b conao la te St'atH My f :od To Th .-• In dm• llltll ' l }''S IX p,1).!,' honk. Mr U 11\\'l' l l, !11r th•_· ll ornJo.,,. ti! Cum,. A ll Yr •• ■ llh f ul ~•m m (; r.,r n l ■ nd' ■ Icy Mounh,ln ~,, Uldllu ndrrd fir ~t lll lll', ..·.-. pl.11t h 111 ,I f., .....:m ,Ltlll l! \\ ',I)' t hc ...,·,:r ,·1, "' AlU Gctd Br With \' 011 T ill Wo Mo•t•I 11<,rk or g11nJ hanJ o 1.. ·,· hm ,p 1,·, th, · pr<>p ..· r \\ ' ,I }' t11 h11kl th ,· Aa ai n 1'ha ll W r (;athPr ,\ 1 Th P Uhn: H ark Th • llr ra ld An.,rl• Slnir S h ■ IIW rMr<' t ll r,· ondThf' lth.-r : (p1,·k ) plc .::trum, ..·o rrc..:t kit h,mJ lin!,!,' rlll !.'.. ,! 11lt1111.! ll ulr. 11011·. Lord GOO Ahn hth ly ~un 0 1 M, · SoiJ 11011 f.:ho~I. W it h l. hthl Uh in r ~ ... ,..,, ll 011r or l'ra ,·rr pn,111011,.. mJ ,I hunJr, ·J .mJ 1111..· nth a ,· ...... ,·n t1,d pl.t} ll olf Nhtht. SilPnl Nlr ht ThHr b A ll a1>1>J"Land Ill!.! po111t,•r.; founJ m no n 1h,·r l---nnk I l,ovp To Tr ll Th P S lorr \\ ' h"I A ·•rir1ul W C' II RH I n J•••11• J o u, Lo.- .. r or My Sou l Wu,~ l'u r Th r :-irr:ht J. r11min1: A CO~ ll' l. •:T •: l'l .• :CT II C\ 1 ~11:T II Oll -(C",., ·,,,ino: a ll ,h •1•1l, 1 J oy To Th .. Wor ld •:1,E~n ::-;T~o• · Mt: SIC - 11,lf,•rrnl kin d, ur ""' " onlu111r l, n1, la in .. ,I f' llllltUS A:.. 11 T ll~:111 I S \ Ell~ IO S~- 1/u,o '" f111111 \ J,.1or, " '"' "· th1.e H ;iw. 111;-inGu1t.1r ...,. 1,. p.,n .... ,·,1,,:h Au11nwn1 rd, ll im,ni, h rd. " '" •· Ch,.,d, I n additio n to SOI.II S A :..11 Ill •:·r s FUi i 11•:1;1:-s t:11S- Ea,, . ,,,t T1111,•lu l numh.:r .:.. nt;im " th ,· worJ , and mu,1 ..· f,1r \',11,·l· ~-•,~~(!~(11t:-i:1~.1,1~~~-..~\ t ·~'.~!~:1:::.t•·~•d~:~:,·:•:",', j~~•:.,1h , ~I,. llo.,, ,,. iu r11nrr 1 I ~mt "'', th, • 111dia. PRIC E ~1.00 PRI CE ~ 1.'iil F ift ee n Ea~y Solos for A Boo k of \1n ..It ) :-io)o ... fur tlw T enor-Banjo .\lmlf•n1 c;uit .:1ri:--t. U~A CCU .\I P A'.\"I ED BLLIES Arrm, gc,I by :\1.rHE1> S. CuFroim f,'(JJ< A ,o ll l'.:l 1u n o ( fa,111111· ~" n c• 111 ~-r,tnJ:w an.mi:,·\! ,1, T, ·11"1 U;m111s1, los 111"Et\SY I\IODERN DANCE RIIYTIIM .. :-,.,, l'l e<"l/'1/m-Guitar trcmolD 1s rl'4m rcJ. T h,· ,·11,·.t ,,f n1~1a111.:J m.-l11d\" I• m.,J,· h)' lilfo km i.: full chord•. ur p.,11, uf dwrd s with tl,c m.-J,.J, Hy Ho, :-,;\f ECh . ( \\ iza rd uf tht · ~trill !,.!.. ) nutc at top. Th e ohJcd u t tl11, hook 1, to keep up the 1111,·1,·,1 of pupi l~ 111 the earl )' p,ut of th r 1r , t uJ 1c~ T he p1ccl'~ ,.m I>,· A ..:,,lk·.:11,111n t' t ,,ur mnJ,rn .. ,J,,~ t,1r (; u11.1r ,,11!1 f.llldwic hcd in betw cl'n l'll'rl l--: ~ .ilnnc \\llh ;my T cnur ·lhn111 1ncd 10J. anJ will be fuunJ a \\fkon"' a1d 10 h,, tl1 1,:,ad1.-r ,11,J l'im,,, .l,,rimra11,111,11rTh ,·,.. · ...,,I,,, .,1,· th ,· h\..'. hn pupil. n, 1w h,·m1! pl.1n·J b, th,· ,nuh ,,r 111,.111J,·, ilk ,111,I,,11 1h,· r,· ..·,.r J ... AI .O II A ...... •ox nior ANN H; 1.AUIIH; , , . , , FOX THIil' IIAIU ,ING N• '.LL 1•: t: l!A l •·ox TllOT OI XH : ...... IT \' III X(; 1-'IX( ;t.;it ~ (;0011 NIGHT I. A l>l• :s . . : : .: rnx TltflT 1.0\\' 110\\'~ HI.I'! •:~ i, i 1~w sw•:ET HOME , . . . . . •·ox T ln rr ...... •·ox TUOT l. ,\l'f : III NG (; 1·1T,\ H . ·coi.'1),' i::o'1j, ' GIIOUN U •·ox l'noT ){.\ (; l'l l"h'.EH~ Hl.l ' E~ ... WAI.T i'. 8 1 . . •·ox T ROT ~lo~iA NiiNJtU~C~~-:!!~~ :~:::...... •·ox TkOT E.1.:h p1l·.:..:Ill thl " ..:11ll,stu1 11 1, .1 f,·,Hur,· numh.:r :ind S WAN• :•: lll l ' ER .... . , , , , , , H)X T llOT fit th..: m strum ..:nt sn wdl 1h.11 thq· ,tr..: nnt l,..:y,m 2 14- 16-18 E:m 34~h Srtl'l't Wm. J. Smith Music Company, Inc. NEW YORK CIT Y rUH! M INTIO N Tiu CRESCENDO WIIIN u -..1nHC TO AO\' FlTI 5US Th e CRESCENDO VEGA lllustrfl trJ- Renow ned The LATE ST Gui tars VEGA 540 to SI 1; Arched Top and and the Back Guirnr Special Mad. Concert Si:c SI 00 Guitars Grand Conc..:rt S 115 'J'lu: F,wun1s Vegaphone Banjo Sl 50 to s:;7, and the Special , Del uxe Models l llustm11·d Srlois t Vc)!aph1,nc $200 OU R INSTR UMENT is 90% of the performance. A Vega will assure you of the best that is possible. In either Y the Vega Banjo or Guitar the tone has a quality of splendor and richness, deep and resonant ; the style is the latest, beautiful wo rkmanship and artistic designs, and the construction is most durable, withstanding all weather conditions and endless abuse. See your local dealer, or write direct today for the latest catalog. You need to learn more about these instruments of the .. A rtists' Choice" before you take another step. To see them and to hear them will make you fully realize the amazing and excelling qualities of VEGA IN STR UMENT S, th, "Arti sts' Choice." CE T r:.-11:,n ocs NO /f/ 1 Th e VE G A Co.• 165 Co lumbu s Aven ue• Bosto n, Mas s. '1- r:AS! M £NTI0"1 Tl, 1 CRESCENDO WHI.N WJ.ITIN G TO AOYU TI U U