AN -2 /9/8

VoL X January, 1918 No.7

to cen .. per copy Co..,.LlOltT Itl l .,. C ••CIIMDO ru •. Co. $1.00 per rear AU rt.hyl'eMl"Nd "~TQM" "" 811tOOWII C ...... M"''M''Ka J UN .. I. lICIt, ,toT Til" "on' O",ICt! AT no.Tolf, ...... UNOO Acr 0 ,. M ....c ll I. 1819. Th_ CRESCENDO 1I=1=lu BRILLIANT ORCHESTRA MUSIC

SINGLE PARTS CO .. BINATIONS Eaeh numbe:rl.aLtoetf«th'et,. ~ ~ _rratl..-d 'w aa,..mal.. eclat- blnaOoa. ~ In both i .a H t 1 1 AaadCNoutioa < i~ ~ < I" ~ iI ; U i~ ~o DISCOUNT ON&.IIALF OPF ! ! a ~~ i~ 00 S .. ~ ~1 :: J ! l 0 i ~ il ~ EACIf ~

Gay Chauffeur. The. March .80 .20 .20 .20 .20 .20 .20 .20 .60 .60 .40 .60 G. L. Lansing and H. F. Odell la l,",ooolaDd. Intermezzo .80 .20 .20 .20 .20 .20 .20 .20 .60 .60 .40 .60 H. A. Peck Arr. B. F. Odell La T:r.I ••ue. Muurka Hongroile .40 .80 .80 .80 .20 .80 .20 .60 .80 1.00 .60 .80 0 L. GanDe Arr. H. F. Odell Love'. Golden &Jemoriea .80 .20 .20 .20 .20 .20 .20 .20 .60 .60 .40 .60 0 ~ H. F. Odell MandoU"e . .SO .20 .20 .20 .20 .20 .20 .40 .60 .60 .40 .60 Fr. Thome Arr. B. F. Odell 11 ••qu er.der•• Tltl!. . .80 .20 .20 .20 .20 .20 .20 .40 .60 .60 .'0 .60 Dorothy Wbite Pri!?i.~ · ~ ~:~~~~.nc. .80 .20 .20 .20 .20 .20 .20 .40 .60 .60 .40 .60 J . T. Clark Arr. H. F. Odell Our Co".",.'- Catalot/ of Man.dolu.. . BGlfjo Mu.ic, Elc., Sellt Free to A nlto,.. WHITE· SMITH MUSIC PUBLISHING CO. bBOSTON. 82 St...... 8.. NBW YOBK. IS B ••• 17'h S.. CHICAGO. 318 S •• W.b•• h A"~ "C. ~==I(g)[§u nCOl

F2 New Ones by ~~dell for'::::lin Orchestra 2§~ READY JA.N. 1 to 16 SOLDIERS OF FREEDOM-March " A snappy, catchy, vigorous march, full of "pep" and martial in character. A real foot-mover. Immense trio in the song atyle. Great pacta for all inltrumenu. You need this march ; you'll like it, your playere will like it, Rnd your audiences will like it. BEAUTIFUL RAINBOW - Waltz A short., pr~~8'h,~~!:pre~~;IT.I~~, ~~j~~~L::~~~8~0?a~~&i~dg~! w~~t; :::~::~ii~:~:d;~r~he:y~hey hear it : PBRO!OT~EBS {~~~ ~*~·i~~;~ H :ji Dj.~~.,g~~~~ ~;~ :/· it tWJ.~TI:~·'.:· :ii N.. • _ ...... 25N., B •• io Ob"l. I.• bot. A .n. C ••• H •••ol •••• M .....C.U.I .• Tr_• ..-••••• N •••Tr.n ...... DISCOUNT " OFF Mandolin Duo ...... )UtnoneUe ...... Od,ll...... 50 Very pretty ALS Guitar Solo ...... Dream of SpaIn...... Burke. .<10 Charming O Ukulele Solo ...... Cheel' Up ...... Burke .. .40 Very easy NEW Steel Guitar Solo ...... Dri.ftinfl on IIUo ntl)'. .. • . •••• BKrlu... . Solo .40 S. G. acc . • 20 Banjo Solo ...... J ..per·. Golden Weddiot ..... Bedford. , . .40 A dandy SOMEWHERE IN DIXIE ~~S~~'S :tlJ8 ~ca~ :::40e. ea. ~ off ~ck~he~-:!fcr:n~~~ :~gli~~:d ~~ ARLING SHAEFFER ~~~~d~:ek~li;:!n~;:~~h~e~:~ew~:::~ SEND FOR NEW CATALOG. and Your Ord.ra to U,. D1.eountl •• U,Ual Libonati,et.c. Washburn.nd EliteMethodl 300 8am:~:r~::OaDp~;!.an::ai':!:~:rIl~C!!t!i-:;a.~dDl:e~ :~O~~f I~~~~· :n;b~~~~~~e~:lDl FREE H. F. ODELL & CO. ... 165 Tremont Street, Boston, Mass. ~~~c~RI::~~::;;::~~~~I~~U;;;;;;;;~q~I~=~~~~~~~~~~~~~~~UW pu.ua ID:NTION' Hr.aJC8C&NDO" WHBN WJlITINQ TO ADVBaTUER8 - Th. CRESCENDO U@h

Mr. Theodore Schwab is an artist of the first rank. His work on the lenor banjo and mandolin banjo has met with great Bueeeu iD leading the8tres throughout the United Statcs and Canada. For the past year he hal been located in Detroit and has appeared 8a soloist at many of the leading clUbs and 80cia1 events. We are pleased to present the pholo of this splendid artiat who Mr. Percy Guest of Grinnell Bros. nys is one of the best players at the tenor banjo he has ever hurd. The Vega is the instrument which meets Mr. Schwab'. cri tical demands. Mr. Wm. L. Russe ll of Tacoma. Washington, i8 making a great hit with his Tu-be-phone Tenor Banjo in orchestra work. In a late letter he saYI: "We are making a g reat hit with our dance orches­ tra here this .ea.on. I would have had a good many more engage- [§] menta if I had not been 110 .Iow in taking up the tenor banjo. We ~~ have a Commercial Club, Country Club and Elks' Club dance. and are 10 much in demand that. we are engaged mont.hs ahend. Our live-piece combination consist. of Tenor Banjo, , Saxophone, ~~ THEODORE SCHWA8, Detroit, Mich. Pinno and Drums." ~ At the right we ahowthe Banjo Quintette of the celebratt d ~ Pettine Dance Orchestra oC twenty. two mU IJiciamt. The ~ . t t" nor·banjo playeu ,hown double on other ins truments, l!:!J When th;, nanjo B."..e ;, ;n nel;on the,. ;, ,ometh;n. ~ doing and your feet have to move whether you can dance or not.

§~~ @ Perhaps you have often thought of a "Vega." Many players already are satis fi ed owners. The trade mark "Vega" guarantees quality. IF IT I" A DANJO. MANDOLIN OR GU ITAR YOU WISH, WE CAN SUIT YO U

VrR(' In.trunumt. Vega In. tJ'Knt.nt. For Sale at .sPECIAL OFFER For Safe at JOHN WANAMAKER, N T Ban' Itt' Bo k 68 E. F . DROOP &: SONS CO .. J6~; ~~kN~~AKER , Jg~~ar r!!~f". JO .n~:la~Co!~~.q o~ .r C v:~~~n:::n ·B~·~ .. Philadelphia, Pa. 1' !lubur.. . l'a. D~~~=';:,;rIERot.DANIELS. LET US MAIL YOU CATALOGS FREE lI Ci~(I!~a:~~~':. SON CO.. LYON" HEA I. Y, Banjoa, Mandolin •• Tenor. Guitar and 'Cello , COLDSMITIl'S MUSIC STORE, ChLuJrO, III . Vega M.ndolina and Ve~a Guitart, a lao Columbua, Ohio SOUTHERN CALI FOIlNIA . "Vol« of the Ve...... CRi-::SSEY II ALLEN. MUSIC CO., t.o. An~les. Cal. PortJ ...d , .... GRJNNELL unoll.. KOfll.ER It CHASE. DoITOlt. Mich. THE VEGA CO. San FTanciaco. Cal. McDOUGALL WUS IC CO.. LEVIS MUSIC STORE. C;:~~a:D~';;'ON CO. (Lute.) 155ColumbusAve.,BostoD,Mas8.,U.S.A. C~:;~U:'CYCo . New York ell,. SyracUte, N. Y. ~~~Uh~~~~~~~Mill~I~'~~~~I~~CJ~iI~~~,llil~~iI~~~~~'I§~!I~~~~~~~I!~~ PL&£BB IISNTION " cauCSNDO" WIl&N WaiTING TO ADV£JlTI8BRB 2 The CRESCENDO Arrived With a Bang!=TheJazz Band!

When America makes a move­ menta I And wliat • great bl, pUlh .JAZZ! musical or military - that move, like He pland, I think, a clarinet, ,for the Plectralln.trumenta I the firat ahot .t the BatUe of BWlker Or eomethinc t!'" that J foreet ; BANJO.M.ANDOIJNS, too, and .. Hill, is heard 'round the world. But anyway leaulrhthlaeyt!, Guitara and Harp-GuJtars. and the Uncle Sam sent the Ukulele 1 aaked him wouJd he teU me why whole Mandolin family, from Tenor Hta band w .. Jau. and how It eame round the world recenUy - and the To ha,.e ao curioua a nama 1 Mandolin down to Mando-Baa­ Banjo.Mandolin. And now, in the He looked a Uttle hurt and pained. they'll .U ao in the I.teat world· ..teat American mUllical furore­ And eo I haaUly uplalned ace - the Juz Band . the J aa Band-the Banjo cornea Thlt 1. of cou ..... couJd underetand TEACHERS - DEALBRS - WhyonewouldcllIabandaband ; into it a ownl "But what," 1 ..ld. "a Jau may ba. The cabaret, cafe. dance and Thet la the point thatpualN mel ~~~~;hl~~=:-:I:t::! concert·hall public demand the Jazz And furthermore, I want to aay. and dauical publication.; Sample Band. The musical publishers are You'd baUer tell mericht away !" Copie. of Methods. Join the I pulled hll hllr, and jerked hll nOM. Stahl live·wire organization ofthe B. liLG. puttina out special orchestrations. I .IM ,tepped upon hta toe.. And the BanjOil head the bUll And then. to huten hll repb'. fratemity - the Stahl oraanization. STAHL WOOD-RIM BANJOS­ I poked my fineer In hla en. Cuh in on JauBand popularity they pia,. the role of real music in Said he, "I he,.. en lunt.ofat-" -and on the buaineu from our boy. "Come. com.... I aaid. " WI'U ,kip ,II th.t, the Jazz Band, while the trombones in khaki. Join the ''Bie PuahH and Jut tell m. why your band '- Jau. and bruaes lenerally, and even the Wh,t•• er feuon that it h ...... end American Plectral Jrwtrumenta ,8upply the comedy. What a HI cocked hil h ..d end ,milked at me. round the world. fall for the "recognized" if\ltru- "Why. J,n1 Oh, Jus beeauae," ,aid he. Write right now. W.M. C. STAHL,

Send Full PtirHeultlr8 Reeardinl1 Your Monthly Mandolin New I •• ue JUST SAY .'ropo"itioll. with Com),lete Cntnlol! anti Sample Part. Free of CharQ;e TIIUi MONTU'S NEW ISSCES W·I-8,S·I·S·8·I·P·P·I, Fo. Trot MANDOLIN CLUB PUBLICATIONS TIlH'oey·Toc:abcn .... A All Pari. Wrlll." ,,, Bo,1I NotoU.". A Little 811 0' Honly PRICE SCHEDULE 01" fIIAND. CLUB MUSIC-L.lter.nertlUe\odk:atNprke: ABC l.tM.ndolln ...... 310 .40 -'

380 80,,11108 81...... 1 BOSTON CARL FISCHER ~~~~~~ NEW YORK 33.~~:'''.~~.~A ... PLBABB KBNTION ''CRUCBNDO'' WlIBN WRITING TO ADV&IlT181t1Ul

L JAN- 2 1918 QJct~ 411114tll DfrsG DEVOTED TO TilE INTERESTS OF

The MANDOLIN ORCHESTRA The Harp, Mandolin, Guitar, Banjo

AND KINDRED INSTRUMENTS

VOL. X BOSTON, JANUARY, 191 8 NO. 7 ======~-=~-===~ . ~~------~~~==== •

S INFONIA MANDOLIN oncnHSTRA (Tolelo_ .hpan)

Th ...... of , M. orehau.. a ...... U •• Ire. I.ft I. 1'1""1, ...... SIIII ••• K . t .... U...... ( •••ul u l.l. "toS. Yd•• 1 (:tad ...... 11.1. T . T ...... I,U ...... o ...... I., ...... 11.1. N . Sa'o l::." ...... Ii . I. ) t . O ...... a .. o 1...... _ ...11 (>), S t a .. ,I1 ••• S . Ii...... (2 .....a.4 .. 1I .. ) , T . I ...... ( 1.' ...... 11 .. 1. )Ir• • 3' . S . T .... I 1.. la .. al. )I, S . T . ... I I .. ,...I ... n. and h .... '"lr... I. S . T ...... ( Ie' mando l in). U . s... , •• \•• 11 ... , we ...... , wh ... . 101 ....ol .....h ..... I ...... II ... __ . 1.,. 4 ••.,1'1.'1 ...... • l iiYl • T A. CRESCENDO The Twentieth Century Harpist W CONSIDERED UNDER TWENTY SALIENT SUBDIVISIONS B1 A. FRANCIS PINTO ~ ma~iY"~~~~~:J;-.:s_~X!l.... m~1:!ail"",..g ~NOTE.-ltfr . Pinto. who head. thll d"purtment on harp 17U1truchon at the N'1/1 York Coll~ge of Mwric. half recnvtd such a ~;:~8 ~h:t;:'r11~:3:t:8::(I~ry ii!~;::.~!~t h~~di~;~ftg th harp t hat he hfU been induoed to prepare thtl following article, which ... (Continued from December "Cre.c.ndo. ") 18. No ol'chestra is complete without a harp and I have also written the score of a comic opera, In New York alone a large number of harpists are which is at present in the hands of a Broadway every year engaged to tour the country with musical manager for consideration. organizations of various ki nds. At least ten New In concluding my twenty topics, I wish to say that York theatres regularly engage harpists for the en- my remarks are based upon personal experience, ex­ tire season. tending over many years, and the suggestions when- A short while ago I was called upon by a New ever applied have brou.ght favorable results. York theatrical syndicate to fu rnish twelve harpists . I have played h a~ In large and s~al1 orch.estr.8s, at one time, and each year in this city alone thirty In ~hurches and WIth qhamber: MusIC combination to forty harpists are engaged to go on tour with (triOS, qu~rtets and qUl~tets) In solos and also 8;s various theatrical companies. accomP:'lDlst to vocal artists, and ha~e to my ~red.lt It is also worthy of remark that a harpist has been as puptls a dozen or more profeSS IOnal pupils In included in each of the orchestras which have been America who are successful. sent to tour with large photoplay productions, and I int.roduced in December two artist-pupil-soloists that six prominent New York churches engage who Will tour the country. . harpists on a yearly contract basis, just as their or- TilE END. ganists are maintained. 19. At mention of the harp in church music, THE SINFONIA MANDOLI N ORCHESTRA there comes to mind a paragraph which BerHoz TOKIO, JAPAN wrote touching upon this connection. The mandolin was first introduced into Japan about ten "- - the notes, the chords, the arpeggios which years ago and it soon became n favorite with college students they throw out in t he midst of the orchestra or the generally. The Keio Unh'ersity was the first college to form choir are of extreme splendor. Nothing can be more n mandolin orchestra. in keeping with the spirit of worship, the idea of There are at present many amateur mandolinists in nearly poetic festivities or religious rites than the sweep every city in Japan, but they are not. yet advanced and play and whisper of the harp ingeniously blended with the on¥h!hSi~i~~::stl\fd~iin Orchestra was organized by Mr. voice or the organ." Tanaka, the director, and .Mr. M. S. Takei, the president, in Four of t he most prominent phonograph com­ Tokio, in October, 1915, and now includes cleven members. panies engage harpists in their orchestras for ac­ It is considered one of the best orchestras of the kind in Jap'an. No one is included in its membership whose musical companiment to vocal artists on a yearl1 contract, abIlity and technic is not up to a ce rtain standard. The in­ maintaining that they cannot be dispensed with. strumentation includes , mandolas, mandtH:ell0, I cite all this to illustrate what a desirable fiel d guitar, harp-guitar'and piano, and recently a chitarronc was exists for the harpist, even aside from the concert ordered and will be added to the instrumentation. The organi:r.ntion meets once a week and practises for three platform and the symphony orchestra. hours. Public rehearsals are given twice a year and only 20. Nellie Melba, Geraldine Farrar, Marie Stod­ those who nre interested ill-the plectral instruments are in­ dard, Mary Jordon, Anna Case, Reinald Werren­ vited to attend. roth, Maud Powell , Kathleen Parlow, Yvette Guil­ The orchestra publishes, once a mont.h, a small pamphlet called "Mandolin and Guitar" for the benefit of those who are bert, Thomas Eagen are only a few of t he artists interested in these instruments and distributes the same free who, recognizing the peculiar beauty and attractive­ of charge. It is the only paper of its kind published in Japan. ness of the harp tone, have made its inclusion in There are very cew teachers of the mandolin in J apan and their programs a r ule whenever practicable. there is absolutely no chance of hearing fine -¥Iayers. The It is most gratifying to note the increase in the dr~~~;,a a~~~8 i;e!~e f~r~~ai!s~n m":;j~fin~[~ ina3:;:n~ s ~: amou nt of music published within the past five years has studied the mandolin for nearly ten years and was the for harp solos, duo for harp and organ, harp and violi n. harp and 'cello, trio for harp, organ and violin ~~:~a~o~:tdi~ee~c~,di~lhr8 tc~~~f:~~nal music by Munier, La (or 'cello), harp and string quartet or quintet and There is no guitar soloist at present in Japan. There are harp and orchestra. several who do accompaniment work in an amateur way but I myself have added to the literature for the harp ve ~~ ~riti':::Oth:~.C~~~~~o,~,uM~r:;. S. Takei says : "I am a number of works ranging in breadth of scope from very desirous, being a guitarist, of hearing your great solo­ an leaf to a concerto with orchestra ac­ ists, such as William Foden, Geo. Krick, Mrs. Olcott..BickCord, etc. Also, being u lover or the mandolin and one of the chief companiment. Op. 67 and Op. 68 were released last promoters of the Sinfonia Mandolin Orchestra, 1 am anxious month, the former a twenty·ftve page rhapsody for to hear Samuel Siegel, Stella rio Cambria , G. Pettine, Wm. harp solo with orchestra accompaniment, and the 1atter a collection of ten gems cuBed from Italian ;~::d!lV~!C~~I~d~~~ s~:e~~~y!t r~e~l':!s~.f~btrSre~~h:~~ music of the fifteenth. sixteenth and seventeenth Place, also guitar solos by others. At present we have no centuries, and arranged for harp solo. :se~~vo:. h~a~!~~e~~~r h~p~ i~:r::m~xcoef~!~~o~:;~i::~l~ Two of my Symphonic Poems and an orchestral make II tour of J apan some time. suite were played from mss. in 1903 and 1904 by st;~cti ~:a::dfii~'!e~~tin~~,~r, the 'Crescendo,' to be very in­ Symphony Orchestra at the Willow Grove Park, The "Crescendo" wishes the Sin!onia Mandolin Orchestra Philadelphia. the utmost success in ita work. Til. CRESCENDO strengthened, in the arms, the back, and the limbs; HARPISTS the chest is thrown out in the erect position, and deep breathing becomes a necessary result. As the ROUND TABLE pupil advances, I believe in breathing in rhythm with the phrasing just as a singer is taught to do; eo.dacted by GERTRUDE IN" ROBINSON II for even in instrumental music, this gives t he player !~~~t.S:;:III:: ~~·:!::y~t~~~~~r~~ I a sense of the meaning of the thought ex pressed by New York Clly the phrase. With this method pupils may practice many hou rs TIr,', d~lf"l ... t .. 1 ;1 rspNifJlly /O .. /fIH/>.IiJ, without fatigue, and no unfortunate results ensue, Iud ""JI .,fI,. IU,t qNNI ;olf'l'n -l,u"i"X but rather a gradual strengthening of the whole ril.l',.tollrtll/H"(II ' {~".If(J"" (I''''Uo", Dr slIrg"l,o",,,,,I/ '-HI'<,,,,d.u,,u.,,d,n,"'o,, , body; whereas, in the old English method, with the Addrtn "1I(J'lills R"."d TaNt," fa,t of elbows low, t he muscles of the back must be tense, !ht C'f'lcn.d", and the fingers only partially grasping the strings ; t hu s t he blood circulation is arrested, and serious PLA YING THE HARP AS A MEANS OF physical conditions are frequently brought about. PHYSICAL DEVELOPMENT FOR Add to thi s physical cu lture development the beaut): and a~tractive picture of the player, t he YOUNG WOMEN charrnmg quali ty of tone, and unusual beauty of its By permission of uMusical Observer" musical compositions, to say nothing of the possi­ bilities as a means of livelihood, which are far EW who Iistel! to the graceful young woman. greater than many other lines of mu sic, and I be­ as she produces from this artistic instru­ lieve that when these facts are understood many will ment its mellow, liquid tones, realize that choose the harp in place of the piano or other instru­ fIl from a physical culture standpoint it affords ments; in fact, many are doing so already. an important means of development. But this is a I cannot close without an added word as to the fact. Consider with me the great, sensible method mental development required by the study of the of the late Alphonse Hasselm ans, at the Conserva­ harp. No instrument, except the pipe organ, re­ tory of Paris, France, as it has developed in the Jight quires so great a degree of concentration. All the of my experience as a teacher of the method. faculties are brought into use simultaneously. The The player must sit erect (and this has been a use of the feet and hands at t he same time, with fre­ difficult point to gain, in many cases, in these days quent placing of pedals fo r harmonies which shall of the popular dance craze with its Cl)nstant dips, follow lhe one being played at lhe instant,-all t hi s twists, turns, etc.) i the feet should be placed firmly contributes towards the making of a complicated on the fl oor, except when using the pedals ; to manip­ thought. Not onl y the reading or retaining of the ulate the latter properly, the heel should be kept score, but the production of the tone Quality and firm ly on the fl oor, while only the toe is used to ad­ «uanUty must be given consideration. In fact, the just the pedals. Proper use and position of the arms successful player must become. for the time "being. demand that same are dropped straight dow n f rom "a part of his or her instru ment," and reali ze a com­ the shoulders (as at 1. in the accompanying figure) plete at-one-ness with this great sou rce of musical and that all the muscles are relaxed; the arm is to expression. be raised parallel with the shoulders (to 2). without Especially suited for playing on the Clark Irish raisin g the shoulders (at 4), or becom in g tense in Harp are the two fo ll owing selections composed by European musicians as a result of the war: liThe Hymn of Free Russia" (Gretchanioff). which is a new Ru ssian anthem dedicated to republican Ru ssia. and "Keep The Home Fires Burning" (Novelle). Harry L. Hunt of New York, N. Y .. is conducting a series of experiments with harp strings. Mr. Hunt hopes that by the summer of 1918 he will have a string sui ted for ordinary purposes that will not be subject to atmospheric changes. Every harpist joins in the wish that Mr. Hunt's efforts will be crowned with success. During his experiments, Mr. Hunt has used many materials including fibre, silk and different preservatives on the ordinary gut strings as wel l. CORRECT P OSIT ION OF TilE ARM AND H AND FOR HARP PLAYING HOW TO ORDER HARP STRINGS Harp ow ners are frequently bothered when pur­ any muscles. The arms are to be brought in a chasing strings, by the dealer mi sunderstanding the straight line around to the middle of the strings order. A plan that eliminates much of this difficulty (at 3). and the fingers are placed, each on a string, is for the harpist to mention the number of his harp and pointing in a downward direction. To produce as well as the make and style. Then count from the the tone, the string is pulled and the fingers are highest treble strin g down t he sound board and order closed into the hand, as one would naturally do. the strings by numbers. In this event, the shortest Thus, it will be seen, there is no unnatural raising string will be number one and the on e next to i,t, of the fingers as on the piano j t here is no tensity two, and Ao on. Of course the customer should give of the muscles; on the contrary, every motion is the letter as well and by following this procedure he natural and free, and as the tone must be produced will lessen the possibility of annoyance in securing by physical strength, the muscles gradually become the wrong strings. 6 Tk _ CRESCENDO

ManuJllcl urera, Publi.hen. ~cach cra and Playen SECRETARIES A.RE REqUU TKO eqw. ~. ' .d .ti.. TO S£ND IN' NOTICES .·OR THIS .,. .. 'o .... i' ..... 'o lllia d apel ..t ",,_, cabo", COftMrla, D£PARTME!'n'. ...ci'Gt. fWOu....""w.ftcG.l_U.,.. III tcll(cA toiU i .. hnn Cr..c..,.do /f6:3EEElIE3E3E313E3E3E3E3E3E3E3E3E3E3E3E3IB J'aCId.,... PROVIDENCE Walter Burb, Secentre.. , 911 Westminster St.

PORTLAND, ME. Clifford E. Leighton, Sec.Dtreu. 5.t8J Congress St. Serenade November 14. The C. S., W. D. Leighton, Mi ss Rr°:~!~{y ~~:~d!~:~S c\~bR P~ ;;~IO~c!;f:g: g~~~.,fb;C~Vm: ~~ TliE THREE GRACES ~~~ninv~~1h:O~: T~:e~:I:r~:n nb~ X'1SOs Sl~~~s bN2.to~~k:~: A snap·shot of three very able members of the fraternity. companied by Miss MnT)' E. Curran. Violin solos were ren­ ~::k 6~t.:,ronJe:~i~~e f~~~-li egi~nri~h f:>th~U~~~~fe~~nN:;: dered by Mi ss Mulligan, accompanied by her s ister. Refresh- Alfred Hippman,.of t he Di tson Co. ; Tom Sawyier, the noted mandoli ni st, and F. Landry Berthoud , founder of the ~:~ ~ aWr!Le 8h~~e:.· .fh: C{~!v: ~:~ 8M~~d~li~cCI~br~u~~1~h~~ Serenaders. Mr. Hippman wus Il recent caller nt the "Cres­ the music tor dancing. cendo" ofilces. --- Frunk C. Bradbury, with his conce rt company, ~h o last SERENADERS' FESTIVAL summer played the Chautauqua Circuit in the west, covered (Cont1'nutdjrom December " Crt'.etndo") t he states of Minnesota. North and South Dakota, Montana, Iowa and l\1 iS80uri, and gave in nil one hundred and sixty BUSI NESS MEETING, OCTOBER 14 concerts. Wm. Foden, Chairman. Mrs. F. L. Berthoud, Secretar y. One of the rece nt rehearsals of the Kalamazoo Y. M. C. A. Miss E. Lillian While, secnntrens oC the Ntlw London Mandolin Orchest.ra was in the nature of a farewell party to Serenadera, read a paper, "Our Serenaders," which was ~~~~it~ ' t ~~e~~d~~~lsi~~~~'e ~~~~il:si~ nh ~~ 'V~~~~~~ n~sk f!~de~eo:e:~~;~: :~ ~~di~~eh~i:e~ufe:!~t~~fit~: !!~ i';; watch charm, sui tably cngr.\Vcd, wus presented to Mr. Pl eus wi th t he best wishes of the orchestra. ;.~~~er;o~~:r: a::d do;~ce~ota~~ ~~ir~e. a r~h~fo ::;f f!~e~~~ coming season. Mr. Kni pfer offered hearty co-operntion in behall of the Hartford Serenaders for the next festival. C. A. Templeman of Sioux City, Iowa, recently issued an The Chairman called on Mr. Thos. Gnllegher, of New interesting CI rcular, calling attention to the various instru­ Haven. Mr. GaUegher spoke very earnestly about his im­ ments which he teaches. It carefull y explains various in­ pression of the Serenaders' movement as evi nced at this struments and is n most interesting form of circular. gathering, and he offered to lend his aid toward the Seren­ aden' movement in New Haven. It was unanimously voted Mrs. Myrtle St.umpf of the "Crescendo" staff, spent last that Mr. Gallegher have the sanction of those present to start summer at Honolulu. Wh ile there, Manuel Nunes, the in­ the New Haven Serennders. ventor of the ukulele. made Mrs. Stumpf what he considers Percy White of the New York Screnuders spoke of t.he re­ the finest ukulele he has ever turned out. It is made out of lation of the different organiUltions who share the name a piece of wood which he hus had for twenty-five years and " Scr'enaders," using the same membership card, stationery, he did every bit of the work himself, allowing no one else to r.i :~,' ~~~;y~~~adte!h!te%e J~ly:~r~~nv~ ~~at~;e 8:omj~l~n:: touch it. r,ethcr in general ensemble, where soloists have the experi­ Sh~~!~ge:::Ci~~~ ' i~1~~·\. ~~~P~y";'h ~ 'ir~~~i11~ns~~n'uii:li~ once of playing before audiences, composers have their music tried out, strangers hear the instruments to advantage. HnO~:I~iuw~~ t~iu~u~~e~~ ~~~orpl~;:d I~ ~~ h ~~ g~:~n~rti~~~ Motion was made by Clilford Spaulding that each Secan­ "Volcano Inspirations." treas be made an honorary member of the other Sercnaders The Geo. C. Krick Music Studios have been moved to new ~ ~d;\~:lti~:;6e ~rec~~~~~l. rog ram s , etc., be sent the same quarters on Germantown Avenue, Philadelphia. This season Mr. Lange endorsed the remarks of t he two previous Mr. Krick will give his undivided attention to t.he mandoli n, :;:>eakers. ~i::!c~i~~do~!".:ill eT~fa ~~~~ne:t'pa r t. m e n t remains under the (Continued on page 7) - .... 1-'" III CRESCENDO PROMINENT TEACHERS and PLAYERS I rA -'tort biogr"phv cuui photo oj ,om, well-klt01Uft teach.,. I iIo:m8~1¥EF~[~ i\. : ___: :: :: or pmJl'T._ app.ar... __ Mr. monthlJl• ____ :: :: :: J I E3E3E'E3R!3E'SE3F3E3E'SE3F3ElE3~m Mandollae. Fra ncis Th ome.Odeli Mandolin and Guitar Plar at a very bright tempo with expresaion a8 indicated. This 18 a ve ry celebr ated standard number with a diatinct Spanish fla vor and effective in any combination o( the parts i:~h:s~~ii~~!S~ Jdfli~~l1(~aa~to~~nr t!~chestra. Published Waltz Albania, Van. Veacllto,t ROllen Harp Solo Two pages oC this piece are given, the other two are similar in character with variations. Play introduction at a ~~ft~t r~~h:ro ~~~/~~hr el:~:~ssi~~a~st~~drc~tteJ.t ra~~i~! !~~ the melody distinctly. The next strain is played medium loud. In the next strain bring out the melody notes very dislinclly, the obbligato notes a little lighter. Published by the Clark Music Co. Unique Gavotte, C. V. Hayden Guitar Solo This piece should be played at a bright snappy gavotte tempo, the first. strain medium loud, the next atrain loud ~~r~h~~:~; :~i:hba;~.irdTh~a~;x~::r:fnfir~tri°~~~;~~lyl~~~ first eight bars and loud the second eight bars and the lalt ttrain pIa)' loud. Published in the Chenet Edition. CARLOS SALZEDO Juper'. Golden Wedding, JV. K. Bedford Mr. Salz.cdo waa born in Arcachon (Gironde) near Bo~­ Banjo Solo, C Notation deaux, France. April 6th, 1885. He began the study of musIc Play at a bright march tempo. Follow expression as in· ~r;h~t'f,~~i~ (:tU~h~e~r~ Donrd n~~~~ r et!h:t~i!~Oh~lr~~~crav;d dicated. CareCully observe the alt~rnate finge r ing in runa. Figures within circle denote string. Also published in A no­ piano in the class oC C~atlc8 de Beriot. At twelve years or age, he began the study of the harp with Alphonse Hassel­ tation. Odell Edition. mans. Mr. Sah:edo achieved not onc, but two first awards at the SERENADERS' FESTIVA l. Paris Conservator y, one (or piano and one for harp,-this at (Continued/rom 1X1!le G) the age of sixteen. . Samuel Siegel spoke abou~ the value o( the cO r\\'entions Soon after leavi ng the Paria Conservalory, he started hiS a nd festivuls nnd the particular pleasure he had hnl! at this caree r &I n harpist and pianist but abandoned the piano and festival. He ~ Jloke of the sineerity o( th ~ Screnaders and the is now devoting his entire time to the ha r p. spirit exi8ting which he had never before witnessed, although Mr. Salzedo fittt came to thit country as a member o( the he had attended si milnr annunl ~Iltherings o( other and older orgllniwlions from whi ch he had dropped his membership be_ ~;~~fi~lda pO:o~~:C:f !~~~r;I::~~ 9~rhimeo.~~ah:'re~~~n~~e f~~~ cause o( their politics and personal differences. lie spoke the MetroJ?Olitan Orchestra and (or several yean has been highly of the hospitality o( the New London Serenaders and tour inK thiS country as a harpist. the mRnagers o( the lIotel Mohican, saying that he had never The ICOpe o( Mr. Salze

'~II tz:r Iltr lEe r CIt I'be r r r PF I J OJ OJ OJ OJ 5 I J OJ 5J ; 5 I I- fi fi r... ,~ Jl,; I~ · ; I;, PI r lEu Its Ire r r F I~r F r r rtf I • •C • .t 2nd..p .," r.... ~~ r... rapido m ,~ J J h 53 IJ JJ J JJ I AJ ItzJ It 'I I Ij JJ1 j jJ ] h U· 41 Ben Ritmato ----- 8 ,~ I~WU Ir r r r U 1m n iJ JI] Jj J1m R In] n I . IIhtd 1;.. 6" 8 8

COPPi&h,1911,b7 WhUe-8m1th MUlio PubUlh1.ng Co. 10 WMANDOLIN

C,.6'C. Meno mosso ,~ '~' 181 I J,l J 11'9 1" 1~()1" lij(lr' u-u r'lF' IEEPI .f PJI I { I I(r- I r@r 16i7Ff' I r~' l~rDF' 1_,. Ip 4JA. ill

,,. fl Jl ,., IfJ J J n IE (Ii r 1;4 lip In J PI . cr6lC. if I' f 'I PjipajlD 1(3 J j n IfJ j J n IE n Tempo I ,.----n j ijJj I Jl , , I-~ aD I Jl , #1 1-; , , lij~' , I J' ,I : . II . 41 of --== of 41 41 if

1 ,'8~"-/f c 12

. WALTZ ALBANIA

V~ VEACHTON ROGERS .. " ~ JJJ~~JJ .J~ .. iii~ Ie! LIJ,.JJ I'l.J .~ i=J ~ii I ~ ~ t:\

I f ~ r '------r

i~"H I~H I;H I; ~ rI :~!i If:!!i:·i i Ir~'~'1 ~~~JI;~al~,II;ul;HI~,ti6I d I'

II! ~Hlf,UI~~~:lf i I;;:I;.HI; HI;?!;I:I

W. A. i Copyright, 1910, by C1ark Maai<: Co. r 13

1 ~ . . --=- ____ .-JQ! D~ ~ . 11~::1:;:1:1: :1:11:1~~ \t I;:: I·

1 ' '

W. A. i 14 GUITAR SOLO. \)~lQlJE GAVOTTE.

16 JASPER'S GOLDEN WEDDING . 40. W. K. BEDFORD

Copyright.1917. by H.F. Oden& fo .• Bootro.Mou. T I.. CRESCENDO 17 E3 E3SE3SS:~~~~E STUD Y .lId C. 8 . DeLANO MANDOLIN TI"I~~I:"'~:~~;;:~"I9' m WITII f,,":f"i!:;;::r.."Q~~;',~::':; III Samuel Siegel III '-----:-':= 7 ::!f.1:::7:,~,",.«tllJt dIU m 1m A dd~~SI, IIQWQ;;I1IN R(I ,... d Tgblt, t'Q~~ m World', 1BE3E3E3E3E3E3E3E3E3E3E3E3E3E3E3E3Ei1E3E3E3lii Greatell THE STEEL GUITAR By Myrtle Stumpf L. M., Oakland, Cal. Mandolinist Am . tuciyi1lU guitar , and . hould like very 1Ilvch to fi nd out where I can gtt phoiofJf'(J,'pha ofdiffer~nt compoS81'8, GUITAR, UNDER Wm. Foden An.wer. Photographs of most of the guitar composers could =--= --=-- --= formerly be obtained In Germany, but that is impf'8sible now of course. Any photographs that are on sale in this country eRn be BANJO, VIOLIN, HARMONY, obtained from Oliver Diuon Co.,178Tremont St., Boston, Man., UNDER or Car) Fiscber. Cooper Square, New York. GREAT MASTER MUSICIANS, ~ THE QUIET OF YOUR OWN HOME M~ 'y~~lIt:lt:!~ ~h~~' I In do to improve th. vibrato? I've been . tudying ,ud guilar for .om. time and the vibrato donn't HAWAIIAN STEEL GUITAR AND UK ULELE 8atill/u 1Jtll; inJact it Be8PM to be getting war.e. Thu is es pecially trlUl when 1 turn the flteel to a slant upon the strings. The move· . LESSONS ALSO GIVEN i:~nt'~!~:d1~eS~~gft~;efK; :t~~, ik:::':~:tii:; :' J:n:i~i:~ An OUNCE of proof i, worth a POUND of rectillg th1s trouble? promise, We h a~ a solid wall of proof from graduate . 'udent.. Belter .till- U!ewill.ubmU Anlwer. If your steel is too light in weight, it is liable to .ample le.son. lor inspedion .eithou.' f!o.t. affect t he vibrato as in that case you would have to put a eel" }:~~ ~vithU~~eOf~i!~r:f ut~n \\~~i~t~tr ~nc!~:~:f:C 1 r:~ft~~d!e:i s teels and have come to the conclusion one weighing three and University Extension Conservatory one-hair ounces is best fitted. Its own weight is nlmost 8uf· Proptlflor Sittytll... 911yttr.l ScA"ol ,,1 W/u3ic ~~r ~a~~cern nrl:~~de ~(\~h n~~~h~t~t"tt~, pi':ci:g ~~:i~g~S:nd CLA RENce EDDY, DEAN on the treble side. This seems to me to overbalance things, ns it throws the light end or the steel upon the bass str ings 2976 SIEGE["~IYERS BLDG . CH ICAGO, ILL. which. being heavier, nre ha rder to hold down. We un- ~~ ntt~'h~s~~ I~!S lig~r!~ea~~h~~r e~~ ~h~ ~t ~inS;s s!~~ fi:b~ai~ 1lIE33St3SS83E33E3E3E3EJE3E3E3E3E3E:3m rnttle. The sleel I fi nd most satisractory weighs three nnd one-half ounces, is rour inches long, one inch high and one­ quarter or an inch thick. There is never any need or a steel mF OR MANDOLI N AND BANJO CLUB Sm being longer t hull this either, as when placed upon U slant it would inter rere with the fourth string. J ust so it covers the strings with a little to spare when plnced on the straight bar. . ~ ~be jf(Ogt l}opular ~ It is amazing to look over the number and ,'ar iety or stccls that are sent me ror approval. Each indi\'idunl thinks he has mMANDOLIN DANCE FOLIO m d ieeovcred II kind or steel thllL will indeed revolutioni7.e steel­ guitar plnying. One confident man scnt a sleel made of glllss. His argument was that it is noiseless, absolutely cannot be m B:;'j~ ' s:;:~.ill~~~/~~:'{d~~~~~i1t';:{:; III ill Mall/lola. Piccolo Mllneto. Mando· [lJ r::;dro~hi~n ,,~~sisJi~~a~~~i~~~O trr~~\r~~;~~i~;~c'!:ft~t:ir~~thcar~ [lJ Cello ..Uando-/~alJlJ. H arp AccolII - [lJ No weight there. A cylindrical steel was sent me also. It was very satisfactor y until used on a slant; then it sure did [I] !J{::t~le~~col~;~~~i~II~,~f.° llC:::~!~le~td [I] balk. I've tried dozens of different ones and always fall back ill Lib. Cello All Lib. Fi,ii. Ad Ub. [lJ u pon the very first one I ever played with. The vibrato trouble is something that can be very annoy­ III CONTENTS INCLUDE ill ing when it wanta to. I find an occasional pupil who has Arti.t Life - Bllrcarolle - Clribiribin- ~ a " natural vibrato" thc same as some violin students. Men ill usually have less t rouble along t his line than women. The Love'. Dr-..mllln d - Over the Wave.- AW.lu: Dream -' A Frangen - The Melry Widow- Return of ;~~r:eg~:i~;~h~ ,:~~t ~i~:c;!sc~:~ ~nh~ch~~~:ds~~k~ rhc:~~~: the Troop. With the Crowd- L a Fsvorita- College Oay.- rn jerky a nd uneven. Suppose you try it very slowly, keeping ~ Ballroom Strain.-[o·auuUp_to_Oate _ Oancing In the Barn- m ~~:Oth~t~t:i~~~ ror(~~~i~tg!~te~~~d~h: ss~i'> ~~~~t~~u~u!~~ Under the Double Eattle-L'Esprlt Francal.- One Hearl. One m tention isn't called elsewhere you'll find this works finely. Mind Plantalion Chrl.tenlng- Under the Che.tnut Tree- m It's 8S even as can be, but just as soon as the right-hand fin- =:~~~~:~~~~:~ter';b::b,:~~~a;~~::.a Habanera- In Old m f:.~s li~rih~ f~~~ I .~Ya~~~~t~7i ~~b~ i ~~e l~~~ hs~~!~~~ui:::;~ ~ patting your hend. Sometimes it takes all the strength and will power one has, but of coursc we know it can be done. m (jst pri,. 01 .lOb book. m.pt Uarp and Piano, 40 ..n ls ~ For instance, I had a pupil who reall y suffered with this same m Harp and Piano Books, .lOh 50 ,.nls III malady. She W8S a denr sweet girl and 1 didn't want to seem l'dStcl~~h~~i~ a~l tl Ir::s'ib l ~x~~~lde; ~t~n8~~::y ~r~~ ~e ~:~~ ill FOR SA LE AT ALL MUSIC STORES ID to the studio she'd ha"e the same tale of woe. She "just couldn't get tha t vibratoi' couldn't keep the movement con- ID HINDS, HAYDEN & ELDREDGE, Inc., Publishers m ~ Forll'lerl,. nlndl. Nobl•• £ Idr,.,dp III i~~uo;:~t ~s!~81!rm~ ~~e h:uJ':~~S8c!~~ ~~ e~d ~~.ber~h: 11·15 Union Sq., We.t, NEW YORK III Sha~iml. s~~s~~~~e!~dto.:ee~g ~ y~~80d!~cedo af~~ ;::r~ ,f;t it. LE3E3E3E3E3E1E3E3SSf3F'E3 EEIE3E31S 1'11. CRIEBCENDO nail. Finally we learned -that he used it to play an instrument with. MANDOLINISTS Oh Joy! With a vision of great economizing in mandolin plectra we sought and gained tbis further ROUND TABLE valuable information : The tailor, Mr. Miller, was born on the Island of Cond,.uded bll F. Landry Berthoud Madiera, and he called himself a Portuguese. He was an expert player on a small instrument he called the Thi, dtJ)(lI""um' I, "J)tcioll,,/orJI(,ndo­ "treble guitar." ,;He preferred .Jan accompaniment of Unut. altd tAt" IIU,,, ,,.1: Ollu'ioll, ".1'. either guitar or piano but could do some great work ' Oillill. to ", ~ ,"andoli» 01' C:O llt"'bll'~ ftt~. QuuHolt' or ...... io... mil unaccompanied. recci~ dllll tOn.lduolicm. .Add,,", Fantasies on various operas, dainty Httle gavottes "Mandolin/," Round Tobit." NlI'!! 0/ and mazurkas, some dashing little polkas, a march or Tile Crt.undo. two and a great number of Spanish and other char­ acteristic songs were all in his repertory. ITH an eye always open to the numerous im- And he was well wortb listening to. His method

o provements various manufacturers have in­ of playing was to use his right-band thumb nail as a corporated in their instruments, also the fine plectrum. This nail was cultivated to accomplish the ~ finish and careful workmanship we think desired result. It projected nearly half an inch be­ we have discovered an enormous oversight. yond his thumb, full width, and then tapering to a The makers of extra fine mandolin banjos and very round end extended at right-angles nearly half tenor banjos turn out some beautif ul instruments. an ineh more. With this remarkable tool he was an They appear to be as well made as is possible and al­ adept. Many enjoyable evenings have we spent with most every detail is carefully attended tc>-all except Mr. Miller. He never used music; played entirely ONE! by ear but had a large number of pieces at his A fine tenor banjo costing in the neighborhood of command. He was an intimate friend of the well­ sixty dollars and a joy to look at is fitted with a known guitarist, Bini of Brooklyn. This was twenty twenty-five cent mandolin tailpiece having eight years ago and both these players are no more. hooks for the eight mandolin strings. Naturally as A word as to his instrument. It is the Portuguese the tenor banjo has only four strings there are on treble guitar or NACHETE. About the size of an this tailpiece four vacant, useless hooks. Often ukulele but simply a miniature gui , finer and more enough these mandolin tailpieces do not fit tjby delicate lines than the ukulele. The stringing is (as nature" and the simple process of hammering is re­ it was explained to us) D below the staff, G second sorted to in order to get them to take t he new shape. line, B third line and D fourth line. We possess a Sometimes a regular banjo tailpiece is used and fine specimen of this instrument, a present from Mr. then we only have one vacant peg. Doubtless an im­ Miller, which has been carefully put in repair by a provement, but when one pays sixty dollars for an violin maker and is now one of our cherished instrument it does seem a pity that one has to put possessions. up with such mi serable makeshifts. While we are on this subj ect it would be fitting to add that rarely is the string adjustment just as nicely attended to as it should be. Remember t hat we are ONLY speaking of high-class products; with It's Happened at La~t! such a high-class price attached that the purchaser has the right to expect ALL details be given the Really! No Fooling! most thorough and careful attention.

We have all read of many instances in history G. L. Lansing ~-:n c:o:: ::~~:.t~:~c:~~ where a woman has made a supreme sacrifice and cut off her beautiful long hair. haven't we? Any­ posed the beat banjo 1010 since Tlte Darki.', DNam. way, it's a,fairly common act in tbe "Movies." Well. whenever we get a new pupil who happens to be a very dainty little person, highly manicured and SOMEWHERE IN DIXIE powdered, etc., we always dread the ordeal of having to perauade her that those long fingernails with their IT'S A DANDY-8parkling and bubbling over with the polished and tapering tips must go! real lOutbern essence-you can't ju.t keep atill wben you You cannot play mandolin and keep t hose spear bear it-Ia-da-dj·da, la-da-di-da,-oh say I it' ••impl, bully points on your finger tips. All such elegance must and fits the banjo like a glove - it lie. rigbt under your give way to the drear monotony of a closely-clipped flnger., and we predict it will be a bigger8ucce.a than any· fingernail shaped about the same as the fleshy end thing the genial George haa written. At concerta you'll of the finger itself. Do whatever you please with .et 'em all going, and your pupils will play it for hours. your right hand but remember that consistency is a It "geta" you for fair, and we know every banjoi.t "jool." i. goiog to rave over it. IT'S SI:&IPLY GREAT. Speaking of fingernails reminds us of an oHi Portu~ PubU.hed i.n both A and C NotatIou guese tailor. Banjo Solo 40c. Piano Ace. 40c. We became acquainted during such trying periods Di.count 1 ~ 2 Off wherein we stood up resignedly and let him decide just how our new suit was to be made and take cer· How Many Shall We Send You? tain official measurements of our anatomy. Upon one such occasion we noticed that this man's right hand thumb-nail was abnormally grown and B. F. ODELL & CO. strangely bent. Curiosity at length overcame our 165 TRBMON~ STRBET. BOSTON. MASS. delicacy and we eventually remarked his curious 11u CRESCENDO 19

, c1os~. And thus, after more than twenty years of G U I TAR 1ST S G"~~~:'o~i~~::a~,~areer of the "Foden Mandolin and R 0 U N D TAB L E Another interesting and pleasing organization was the "Guitar Quintet," composed of the following CONDUCTED BY members: Miss Edna B. Kempin, George C. Krick, WILLIAM FODEN Percy H. Poston, Clarence Robbins and William Vllt ..... 0...... ,. ... BI.le,I• • Foden. Guitar-Quinte~ music is a very scarce article, and, therefore, all of It had to be specially written. But when well done and artistically performed it is very effective, especially, when all the different em­ bellishments and effects peculiar to the instrument are taken into consideration. In addition to the Quintet music rendered at each meeting, it was ob­ ,,,;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;,.======Jo !igator~ for every member to playa solo, each play­ mg a dlfferent number, but all from the same com­ LOOKl NG BACKWARD poser .. Thus there would be an evening of Carcassi, (Continued from Dec.mMr "Cre.undo") Carulh, Mertz, Sor, De JanoD, Arevalo, Bateman, HE Beethoven Mandolin and Guitar Orches­ Romero, Foden and others. Sometimes there would tra, previously mentioned, was established in be an evening devoted to compositions of a mis­ 1890, but its actual beginning was the latter cellaneous character, culled from the works of vari­ • . part of 1887, its forerunner being a Quartet ous writers, each member making his own selection' comprised of two mandolins, harp and guitar with and occasionally, as a diversion, there would be duo~ the following professionals as the members: 'B. F. for guit~r and piano, Miss Kempin doing the honors Sellers, guitar; H. Flottemesch, harp; C. C. Ber­ at the plano. The manner in which these rehearsals tholdt and Wm. Foden, mandolins. In 1888 it was was conducted was not only pleasurable but instruc­ made a Quintet, the new member being Mr. Henry tive as well , giving as they did oppo'rtunities for B. Mulrennan, mandolinist and guitarist. In 1890 everyone present to hear the compositions of the it \~as re-organized as an orchestra, and from that best writers of guitar music, and also to comment ~n Its personnel was constantly changing. In fact and express their opinions regarding the style and It gradually developed into a sort of school for ad­ merib of the different composers. vanced studel'!ts of the mandoHn and guitar, wherein It was previously stated t hat music for guitar they could gam knowledge and training in orchestra quintet (five ) is rare, and the same may be routine. said of music for Quartet (four guitars). It has al­ During this period it was suggested that the name ways appeared strange to me that non e of the old be changed to liThe Foden Mandolin and Guitar masters of the guitar ventured into thi s branch of Orche.stra," which was accordingly done. [t might composition, for during my many years of research . be of mterest to enumerate the various students who I have not found any indication of their hav ing done were members of the orchestra at one time or an­ so. But I have often thought what a splendid thing other, some of whom still continu e to teach and play It w.ould have been if Carulli and Giuliani, with their in public i!1 differ~nt parts of the country; and the gemus for composition, had written a series of trios others, usmg their talents for their own pleasure, quartets, Quintets and sextets for guitar. The only or for the entertainment of their friends. Their trios (three guitars) I have any knowledge of that names and the instruments they play are the fol­ were written by the early masters are no more than )owi!1g: Harry Grierson, mandolin and guitar, Ft. three: "Petite Fantasie, Op. 25 1," by F. Carulli' DaVIS, Texas; Charles Alexander, mandolin, Ft. "Trio Facile,Op.26." by L.de Call ;and "Trio, Op. 12;: Wayne, Ind.; Fred J. Kell. guitar, Huntertown, Ind.; by Ph. Gragnani. In the catalog published by the George C. Krick, mandolin amI guitar, Philadelphia International Guitarists' League (for the benefit of Pa.; J. Ward Myers, guitsr, Maywood, HI.; Frank E: their members), whose headquarters are in Munich Taylor, mandolin and guitar, Pueblo, Colo.; Edward I find five trios, six quartets, one Quintet and tw~ H. Bick.ley, guitar; ·Joseph Simpkins, mandolin; sextets, all of which appear to be of Harry. Decker,. guitar; Clarence Robbins, guitar; vari~)IIs pieces and songs by modern writers of guitar C. 5trmger, gUItar; Le Roy Baker, guitar; Edward mUSIC. The only reason I can assign for the lack Storman, guitar; Percy H. Poston, mandoHn and of concerted music for guitar is the absence of tonal guitar. Some of these deserve special mention for color, "very apparent when guitars of the same siz~ their perseverance and splendid talent, but this will are used." But this I beHeve can be overcome to be deferred for the present. some extent by the use of guitars of different sizes The orchestra continued to rehearse regularly and and tunings, such as the Terza, QuartlL, Quinta to accept engagements until 1904; t hen, owing to Basso, and ordinary guitar. I don't know whethe; other duties, I was unable to give it the proper at­ this combination has ever been tried, but I do be­ tention necessary to keep it on a firm basiS, and lieve that it offers an opportunity for discussion and gradually the rehearsals became fewer and fewer a test. and it was only on special occasions that the mem~ (To be COJItinv"d) bers got together. The final reunion and rehearsal occurred in August, 1910. Besides the resident members present, we had with us lttr. George C. Krick of Philadelphia, who was visiting in 5t. Louis at the time. This, the last meeting of the orchestra ....d.U • • &.j• • G.lt.r. U ... lek .... Ft... Aft.• tk po, 8Mk was a most pleasant affair: and much regretted by KtlI.ftr'. Plwln. Ftul•• C N.t.tI.. , ., a..Je.1k. all when the lateness of tn. hour brought it to a Pub. by W . C. KNIPFER, Hartford, Conn. ·St. Louis, Mo. Th, CRESCENDO

BANJOISTS ROUND TABLE Conduded bJi GEORGE L. LANSING and THOMAS J. ARMSTRONG Eminent A uthorities on Mailers Banjo/slic

> Thi# J~pflrfm.nt i8 up«ially for Ra"jouu but (1"9011' may

MAIN STRENGTH OR ART? colu mn, to be signed by those who will agree to pur­ And Other Topics chase copies of certain standard banjo solos if pub- . Iished in C notation. The publishers of the "Cres_ By G. L. Lansing cendo" doubt the practicability of the sc heme and TENOR-BANJO player complained to me therefore do not care to undertake it. Personal let­ that the bridges were not made strong ters sent to the publishers of these standard solos, (I enough to stand the strain of a dance job. if numerous enough, might induce them to issue the He suggested that I write Mr. Grover, of pieces in C notation. It is really up to the players bridge fame, asking him to insert a wi re or piece using C notation to create a demand for the solos of bone through the bridge under the slots. One can they desire. imagine the tone effect of a string resting on metal D. M .• Troy, N. Y. or bone. This gentleman is a violinist and, like most Do banjo clubs still 'U8e the banjea1l,rinejor lead violinists who have taken up the tenor banjo, scorns f the idea of taking lessons of a mere banjo teacher. Answer. The banjeaurine is used by some of the Also, like many others, he pl ays from his elbow in­ college banjo clubs. At Harvard, Yale and at And­ stead of his wrist and grips the plectrum so tightly over Preparatory School it is used. that forceps could not extract it. I have known him W. H. R., Mt. Vernon, N . Y . to spend' much of his time on a job, filing the edges 18 it tuell Jor a lady to use a 87>Ulll·sized banjo ? of his pick which he chips on every piece he plays. Answer. The regular instrument is better on ac­ He also uses three and four first strings out in an count of the pitch. A smalI banjo needs to be tuned evening. above the regular C pitch to sound weU. Another fault very common with self-taught F. J. T., Lvnn, Mass. players is that no attent ion is paid to t he proper How much practice do teachers requ.ire from a pupil strokes. Some of them would doubtless play four on the ban;jo ? successive quarter notes down and up in a funeral Answer. . Most teachers demand an hour each march. day or more, if possible, but never less than an hour. A. J. K., CIwJt.er. Pa. At a party given in the balI room of the Copley­ How can one play full chord. on the banjo wh... read­ Plaza Hotel in this city, two orchestras were engaged ing piano music? to play. The lady in charge of the affair said, HThe Answer. The music must be arranged for the orchestras will alternate. The string orchestra will banjo the same as it had to be arranged for the play alI the waltzes and fancy dances where the bet­ piano. Every instrument is supposed to have music ter class of music is desired. The banjo orchestra especially arranged for it. . wil1 play the one-steps and fox-trots where IJazz' effects are required." What a lovely musical out­ look for the banjo! MANDOLIN M USI C TWO FAVORITES Uy U.rthol.d The more I hear of banjos in dance orchestras as E&eh OIl8 A Leader of Ittl Kind they are being played the more I like plugging for F n I VO L E Z Z A (Easy) FOR TEACHING AND CLUBS PriC": Y. aDd P. 5h • ». &nCl. P. Me » .• nd G. 4te 2M. . • nd O. Me the instrument in the finger style of playing. There AnT alh ... pIIrt. mM.lk "et are plectrum players who strive for artistic effects, SCBNES FROM THB ORIENT IUlattOIlPUitli Solo) but there are too few of them. P .. I ~ . 5Oc:- DI __ •• B.lt O. F.LANDRYURRTIJOUD. 004 W . 179 ... St •• N.wYork. N.Y • The returns from the display ads in the magazines ,,, ...... : ...... : ...... , on a recent composition for banjo have been sur­ prising in more ways than one. In the first place the ! ~!!..t;,~t.!!.~!.~~~~~.! ,~~k~~!~! I fact that the publisher was obliged to order a second i :::W..!:'· y~I!:a~c::r·.=~""' · V.r'J'lnupau.l ..... Fa... uptriot to J edition of the piece printed in less than four weeks 8 ••11.1 •• f.rlt .. 1 2 •••1 •• La .....1 •• f.r 11 . 14 •••1 ... I shows there are hundr eds of the banjo players still patClla la.I.,I•• V ••••••• O' H...... j I., If•• t 01 til. HI •• I •• I •• _ HI.... i using the finger style of playing. In the second ... 12 50 Ion place, it shows there are many who still use A nota­ *' 8 ••1l 40.. t .OO 1.75 tion as nearly half of the orders requested it-a ! Lar.. 3 0 .. 1.25 :'.1.10 . strong argument in favor of issuing banjo composi­ I 8 ••11 w····,· .. •.. lo· . _··I •• IBh~~15 2.no ; tions in both C and A notation. i ~~C IAL DI8COUtfT T O ~c:r~CHBB8 .1;.": D B AL:;:a5 : t ~ •••-. _ ... r ...... 1 •• 5 ••••• !! A letter was sent to this department recently sug­ I D. f. ODBLL 8 CO., 165 T...... t St., B.ot.D, M.... i gesting that a coupon be inserted at the foot of tbis ' ....-: ..... M ..,.~ .....,...... "IMi1J ...... t ...... iI:iI~rI The CRESCENDO 21

BANJUKE NEW YORK (Banio-Uknlele) MUSICIANS :;.EXACTLY the same tone and the KNOW same classy appearance of a fine That they can always find the instrument Banjo, but not nearly 80 difficult to they are looking for at our store and they learn. The BANJ UKE is strung. tuned know the price is right. and played the same 8S the Ukulele. It is just as eallY to play 8S the Uku lele. Thoroughly practical for both 8010 play­ Out 0' Town Teachers ing and club work. Are Getting Wise Three Grades: $8.50, $12.50, $20 and are sending in their orders.

Cl Jnatruction book and tran8~rtation We carry a full line of charges free. Also free bag With $12.60 MANDOLINS. GU ITARS. MANDOLIN. BANJOS. grade, Cree canvas cue with $20 grade. BANJOS. UKULELE·BANJOS. UKULELES. and HAWAIJAN GU1TARS, by the fonowing celebrated makera: TE"CBERS - We have a special I MARTIN ORPBEUM price proposition for teacher.. Ex­ 8RUNO NUNES STEWART KUMALAE cJu8~ve agents wanted in un allotted WEYMANN KAMIKI . terntory. Write for Catalogue LIBERAL DlSCOIINT TO TEACHERS Sherman)\ay &. CO. WM. J. SMITH & CO. 56 EAST 34th ST., NEW YORK. N. Y. SOLE II.ANUFACI'URERS 165 KEARNY STREET :: ~~~I~~ ======. === i 8 T l:!.r:-~~i ~~f::'J.~:~c:.l1i~t;:: fl~e ~ ~.;~,::~I~~~:lt ::.:,,~,~·i~ .Q;. UPERIOR to all other gultare, Has ~ enr.r pen.on',lIfe thatdet"rmlnn lucca, or r.nure .... OI' tulle knockt .£:)' six extra bu, 8.tdn.l, whi ch Ildd ~ ~ onee.~ e¥ ' ~ r, door.' Aft",r N!&dln& th l, elm ple ad. it il up to ,ou to greatly t.o the ease of playing and give . ~ ~t;rtm;~~i~:·.t ;:1I:e:~ h:;::~:~:sine, a ethics to succeE'd in ' new mU81~al etTectsofw?nderful beauty. ~ the Drt of musIc a8 in the most gigantic business venture- The tone IS of extraordinary power and' lli both require system, con9tfmcy of purpose and application. I sweetness. We send it on approval. !t:I CI. The Mandolin, Guitar and Banjo Methods, by Arling , Write for catalog. Also Harp Man· 1~ Shaeffer, have auisted more teachers toward succeu th~n dolins Mandolas Mando-cellos Uku- all. other methods put together. , Tht'y huve be~n used :n lele., Uk u lele.Ba~jos, etc. ' • !~~rdt~~~h~a~r~i :ro;~ef:~:fe~~t~':d :e~~uhs~~~ ~h:~~ S~l~~~ • did music. IlS a memorial t.o their name. Hundreds and I. ~ hundreds of letters and testimoniallo from all partl of the W• J • DYER & BRO • t1 world will bear testimony. Cl. Could you deSire a better ~ method than such artist. as Siegel, Stauffer, Stoddard, OS· DEPT. 91 ST, PAUL, MINN. M trander, Weeks and Sawyer hllVe Ullcdin teaching? Most of ~ them allo took their firlt inltt\.ction. (rom those methods. ~ ~r~~~h(:::.;f :tt:~'n~bl~ ::l~i! h~~ib:e~ p~~~:Ji~eJ:! Let Us Bring Hawaii to Your Horne l:! !:~~ :(~f~~ ~h~:~~:O~~A~i:nF:fa~h!~~O~~?e~Sd~~:~h'ods~ , We publish a complete method for s teel guitar by the which removes any annoyanee to teache" when ordering. veteran teacherl, Tht!O De Harport and David K anui of Honolulu, Price $1.00. Conservatory method, in two parla, ~p~t~~~t~aad~~~o~ o~~ CMOa~d;W!. ,prG:It~~ae!:rs J!~j~ each 50c Our ukulele method contains the big hi ts from MU IIC', in A and C notation; al90 a list of the most difficult ~'~~~:fw~~ha~~~~~I~~:~~~:~1~e:t~~8nf:~:~!d fg~;:r~ concertaalo. and club selection. by world-rt'nowned artish; boards, The best professional finger-picks. A new model ;'~l~Wn ~:~~:~I=!Ya~~~~~:rfi;satl~ :! i!:~ ah~~~r,:tti~~ in mandolin playing, The above catalog will be printed in (&~!~~~ns~~~ ~~~~~!~:~i:clr:m~e~ :::J~oi:~!~~r~:~ colon-all "11tematlc"-and can be had (or the asking, HAWAIIAN 8TflEL GUITAR LESSONS BY MAIL Only ODe mailed to each applicant. ROACH FRANKLAND SCHOOL OF MUSIC US Eut 4th St.. CIDcinnaU. Ohio

PL&.LI& IUNTION "caUCIlNOO" WHEN WaITING TO ADYBaTlSlUlB Tlu CRESCENDu

World's Largest Everything Known Music House In Music .. I! LYON & HEALY OWN-MAKE CONCERT MANDOLINS BKKNAMOO Dt: PACE Lyon & Healy Own-Make Concert Mandolins are used by leading soloists everywhere; they are unrivaled in tone and workmanship. Features: Compensating patented tail-piece, accurate scale, artistic design. tone of extreme responsiveness and beauty. Greater volume than any other make of mandolin. Endorsed by concert artists everywhere. Prices, $65.00 to $100.00. Easy monthly . payments. October I, 191 7 "The Style A, Lyon & Healy Own-Make Mandolin, I :lclIuired last March, I have used every day "ince in my vaudeville appearances, from New York to San Francisco. It grows better and better, and in power and beauty or tonc it is very much superior to any other make or mandolin I have ever played. J con~ratulate you as the builders of the World's Best Mandolin. " BERNARDO DE "ACE. ASK YOUR DEALER OR SEND FOR CATALOG

C. H. Dllson Co. Oll.. ~~nco. LYOrt 6 HEALY "flU YORK 59·63 Jackson Boulevard CHICAGO 7

Til_ CRESCENDO 28 Music Teachers, Learn the Harp FIVE WONDERFUL B •• r t o Pal. Play a.pd Carry Away Hawaiian Books These Books have become Standard - they are thorough, well printed and complete BAILEY UKULELE METHOD THE CLARK IRISH HARP We have aold over 160,OOOo tlhis Book. Thi.is the Method that haa made the Ukulele-playing Fad what it is today. Price75e. A REAL HARP OF THIRTY-ONE STRINGS SONGS FROM ALOHA LAND Collection ot aawaHaft Song. with Ukulele Accompaniment PRICE $135.00 COMPLETE This Book contain! every Hawaiian Song worth wh ile. Allthe leading Hawaiian Publi.hera are represented in ita contenta. ~:':~i:n'~~ i~ th~~n:..ek;~. mp:i~e ~~~J~e ~d Book o( BAILBY COLLECTION OF UKULELE SOLOS CLARK HARP MFG. CO., Syracuse, N. Y. A remarkable collection of Ukulele Soloa-the first ot ita kind "Your new Harp II a real musical in.trument, Ilnd I am on the market. Containa the very beat in Hawaiian MUlic lurpri.ed to find luch a be.hUful, brilliant tone. 1 see polSl· and many of our own (avorites, such as " I Love You Truly," "Juat A.wearyin' (or You" by Carrie Jacoba-Bond. Price St. bilitiel far beyond my expectatiooa, not alone as a 8010 inatru­ ment, but accompanying the voice. I heartily recommend it. It PET.ERSON STEEL GUITAR METHOD VAN VEACHTON ROGERS. Without doubt, the Best Steel Guitar Method pUblished- over 6O.000aold. Kalani Peterson, the Author. was with theorill'inal Concert Virtuoso. "Blrdo( Paradiae" Compan.y which had 110 much to do with the pre.ent popularity ot HawaiIAn MUllic in thil country. PriceS •. WRITE TODAY TO SECURE AN AGENCY Superior Collection of Steel Guitar Sol08 Ju.t what it says - SU PERIOR Collection o( Steel Guitar SoI08, arranged in the Peterson Systf'm by Keok i Awali, a CLARK HARP MFG. 00., 408 S. Salina St., Syracuse, N.Y. master player o( the Steel Guitar. Price II. THE" HARP Cl.HTIR 0,. AMERIC ... " TENOR BANJO METHOD - By A,thu, W. BI.. k A complete, comprehensive and concise method which will enable any violin, mandolin or banjo player to success(ully ~:~;niz~S:(~~~~(a~h~t'ezsz;~~rj~:;ra !dtht~~c~I::.k i~ the old as well as in the new "JU!!" style. Price S1. .

TheM Baok_ ma, bt had or .n, millie dealer. If your d .... ln hippen_ to bt 1I01d000t,plae.,ourorderwithhimanditwillbefilledpromptl,..

THE GRDVER VIHI~AT.[JR'; TIGHTEN. THE ~ Sc. ITm~ki~~ r ~h~~ ik;~d::e:n~ht~;~t :~ ~~d·eer i~~~~ii~~~~ Sherman,)\ay Co. condition.. Endorsed by principal el.yeu and the whole mU lic trade. Send me Sl. fI() Cor a Vi brator and it not per­ House of Hawaiian Hits SAN FRANCISCO fectly satisfied return it and your money will be reCunded. THE GRUVER WRENCH ++++++++++++++++++++++++++++++++++++++++++ ttVLL SIZE * EDDIE ROSS, Celebrated Banjoist I : with Neil O'Brien's minstrels, has played on a :t .. BACON NEW SPECIAL BANJO for the past + : four years, and highly recommends them to : every Banjoist he meets while en route. t Ask A. D. Grover. who has in vented so many :t Price 50 CIs. clever things for the banjo, what he thinks + ADVANTAGES of the .. Bacon. " : It will Ilt Ole bnoellet DUti uNd 011 all male .. of JknM. TIM bMd II pUlled dowJI ..._Iy by I~ u ... Let us send you a "Bacon" banjo or Mando- : The le,..... -ciriHr II uHod lor etlampJon HP Ind the Oro.u Vlb,..tor. Ilin banjo or Tenor banjo on 5 days' trial. It: ~ ·:r:.!'::~1 aft'i!I~·~i.:!!:n!.Jbillile~~~:~::~I~k" in a real won't cost you a penny if you do not want to + J.thu pouah. FILLS A LONG-FELT WANT. keep it, but we are SURE you will not part with: it, once you have given it a trial. t The unlver.ally u.ed "Non­ Catalog mailed and teathe.. ' discount given tip" Banjo Bridge, made ! tor an in.trumentt. 4,6, 6 on request. : and 8 slota. ,e. I· and , - h~h . Prb 25 cen/. + BACON BANJO MFG. CO. i A. D. GROVER, 96 Spring SL, York City Ii NEW LONDON, CONN. : . N." ...... +++++++++++++++++++++++++++++++++++++ PLa.Ua IiDNTJOH ooca.a<:BNOO" Wll&N WlUTINC TO ~VKaTIIBU 71.. UKESCENDO w ...... ·· .. ······TilE .... ··I r: New Improved Fit-Rite Pick I For Guitar, Sleel·Playing or Regular Style I a. well at for Banjo and Tenor-Banjo. UMd 6. ",ore ~."n. 'II 'All U. S. an" Callad. tAa,. ell .,11.,. "Id. aI""6f,,aI. &.1.. t. "a', h,t.I 0.,.,. I ' •• 000 _r,II .•r "".r. U,." 13,000 IM'n. I BANJO 6Oc.. per pair (inc.luding thumb pick), at I your dealer's or by mail (rom I Stephe. Shep~ I Aloha Oe LiUlloka.lanj...Arr. Dean, AI. IIACJ""" The DENVER MUSIC COMPANY U Pleetrum Banjo Solo 40c hi.. N&. DENVER. COLORADO •• An for plectrum banjo, similar to the duo ~...... == ••======•••e 8t~le on the mandolin, with full chord tremolo, also with baSIl ElElElElElElElElElElElEleol ~iv~ ;o~d t~faP::YI~h~rn:lr;i~~~g K~~o~lF\iment. Quite effec- HAWAIIAN m Carl Fiecher Maud S. Galop A. D. Grover-Handley, ltt. Banjo Solo (C Notation) SOc ~!!~ .~! m Key of G. One of Mr. Grover's most famous numbers. :=:'cw·... :l:::: m ~~~m~~b~i~~I~dhr: th~ ~~:e~!~ i3~?:,~~nA~ j~~!~8c:~I~fo Ie h.tW c.. .. 5,01) m number. Somewhere In Dixie G. L. LaMing, M. CA.TA LOGS or ANYTHING MUSICAL ON APPLICUION m Banjo and Piano SOc Lansing's latest hit for banjo ill indeed a IIUCCesS. It ill one T~~ f.!!~M~.~!t~~~!f~:,~J~,::~O~:~~:Z ~J of the catchiest banjo solos written, #ita the banjo like a BBSSSSBSSSSSSSssa !~O~r:f~~a:l:yner~r~~fi~~::eth~W~~~n:~:\!vOeU ~~ '~~:iJ~~ saying it is better than the famous "Darkie's Dream." ItIQULATI NQ VOICINO REPAIRINO Banjoistic and characteristic. EDWARD L. CU8HINC STEEL-GUITAR Of .o.ton lerenadere PIANO TUNER So. California MUlle Co. (Fonner', wiLlI John Wanamaker. New York. PhHadrlphlal Famoull Steel-Guitar Solol Myrtle Stumpf ...... CUrlutown12S4-. 19 RUTMEIIFORD AVE., CHlAlESTOW., .. Ass. Price $1.00 A collection of al'l'angementa of well-known pieces for steel- ~.u~:!:&iitP~n~i~" ·:.AJ~~~I~~'~O~' g~::"T\y~10'!~~f~~. ,~0~,'6'~ The Beach At Waikiki." and eighteen others. A very inter­ esting little tolio published on the finellt India tint paper as are all Southern California Music Co. bookll. V:;~l~·~f~~~£~~E~lUkuk l., hat jUit been pub- forthetftleher-beina-wrlttAonln MANDOLIN lI'bed. ZIIu,lu.l noutloD,notcharlfor m. Carl Filc.her Au Bord D'un RuiNeau R. D. BoiAdel/re-Arr. Odell. STUMPF'S UKULELE METHOD AND SOLO BOOK (At The Brook) Do No' Overlook Tlteftfl Book. Two Mandolins and Piano 60c KEALAKAI'S UKULELE METHOD n~~~~r~o~h~rn~~~Vi;Oa~r~i!ir;; o~';,~:~om:!~~;·anr:::!~~d!~ A self·instructor in chart (orm, containing all chords teaching and superb in full mandolin orchestra. The melody in the 0 and C tuning, also many 80108. that you heal' in phonographs and one which is heard through­ A very ea!ly method. out the famous motion picture," The Crisis." Key of A FAMOUS UKULELE SOLOS, by DAVE LANGLANDS throughout. 6-8 tempo. Cuntaining 22 popular Hawaiian Songa in c.hart form. The Robin'. Farewell ChM. Arthur-Arr. Odell, ftf. Tbe thre. books mentioned above <=an be used in Two Mandolins and Piano 60c the Itudy and playing of the Banjo-Ukulele: A very pretty number of a slow, sweet. naturc. Fine melo­ STUMPF STEEL GUITAR METHOD dies, good parta with contra melodies for mando-cello, 'cello The original method of plAying the Steel Guitar, com- and mandola. Splendid in Cull mandolin orchestra and effective in any similar combinations. Also a good teaching PII~~ pr~f~~:~fj~8~~:'i~~I~k~~u:r:{:~~:::.e:t PUPil piece. the Hawaiian atyle of the guitar. BawaUaa Selection A.fT. Lake-Odell, M. FAMOUS STEEL GUITAR SOLOS Two Mandolins and Piano $1.20 A collection containing 24 Hawaiian songe. arranged The only medley of Hawaiian number'll published. Splen­ by Myrtle Stumpf. m didly arranged for mandolin orchestra with solos lor man­ dola, mando-eello and quartets for strings. A superb medley. ~,~~:;~J.~::.~~~t~{?.!~~!2l?.1 lncludes fift.een of the best known Hawaiian melodies among !'.. the Paelftc Cout, wboM matbod and coileetloDI .r. now ~he~~h ~~n~;;~ki:!~~On;o~o~o.[i;~·.A~~~~ .. P:i~ ~~:'a~:: I nand."t AmOnII' Caaehul National Hymn and others. Published tor tull mandolin or­ chestra wit.h all regular orchestral parts in the same key. Anll 01 1M above boola! will beBenl postpaid upon the receipt of $1 lor each bOtlk. m CORRECTION '!.I...0uTHEnN--,~ ""AN".~JAn"- L./~nNIA m In mentioning lome of the new ukulele 10108 in the review of JJ~ tt,:t'1!~ _~~~~na;$ ~e:eaD~k~~~~~e!~ ~~:~d:.~~~~b~ ~(!~(r:;~~~ ~~~~ ~h~id ~IE3ElE3E3E3131i3E3IllE3li!IE3tEl31E3E3E3E3BE3~ have appeared as composer of "Abner at the County Fair. " p~ IUNTION ""CIlaC&NDO" W'BKN W1UTINO '1'0 .A.DVDTlID8 _------~~~~====cc-..;-'-'-=--'""-=------

T he CRESCENDO Get The LITTIG Methods Tenor O . ..J o &hthod. Book 1. SOc, Book 2., :SOc. Bot h 7 50. LINER AD. DEPARTMENT S tH I G uita r M e tbod. :SOc. Uk ule le )fethod. S On. S teel G uitar Folio. :SOc. .t~.m~~Ai=~d 'N;: t::. :::~i ,,~!~ii~:::"~; tM n B Ii,... Q.Cu"t.d. Send (or tree catalogue W. It. QUIMCli , CO., 401-42 .~ic n..tre Bld,.. ... AI"ltl, Cal...... m ...... ORIO.IIIAL HAWAII"" ••THOD I I I:ND " CI"I. for an Od.1I G.•• lna TOf'toI .. Shell Mando)h.. Ple.k. WH', ul •• Kia m=e~ChAR S1.00 I Kia ::O:ll'm°.fS1.00 i a::.!:~ Prod 1Ie._ • e.1., \One. Ii. F. ODELL 6; CO ~ 1"1'r.mOIIt Su-t, Ukule le .0101 a n d M a w a"an eon •• A fT, b, e , o. Kia SOC. net ! ------[ LIberal Di.eo\"'tl to T_IMn :J .. 'N. n 8 ,r.L'INGER. PWI,."., : LOS ANGELa. CALIFORNIA ADVERTISE HERE ...... D. Acker ..y.: -" M y Liner Ad In e rc.ceDdo ~Id O. K. T be e re. cendo arrived Tbur.day, and tbe order wltb '2 came Priday," I Have It! AI.I.... b... Ib;.v,..-=n· ~~ r;;:n--:Q,dlw hll . H . S pabr. jcrKy City, N . j . - " Am welilatlaflcd with Liner Ad dcpartment. Sold two Inltrumentl to two vcry plu H.d cu.tomcrs." Th' Tremolo. Cbord Tremolo. Duo. Two banjo Chal . j . Glaublt N YI:-"I tblnkadvcrtl. ln, In Tba Crc.cendo I. :~-::·I'l!~~~'i!~·::::rnl~~ 'i::~::-..:! ,,..t; 1 b,ve r.celved .0 many .n."e.... It travell .0 rar I.nd r.. V, 10 •• _lao Information al.lr before J)u bll.he4. II... you ,ood .alue for little money." "rJee. 750 Net. Dlleount to teachers and deale r •. C. A. Templcman ..,. :-"Recelnd tbree repllel to my ad ID S TEP.I BN S IIB P A RU, Itt It.. .. IIOa . t, .... P.ter.on , N. J . II.t Creacendo before J received tbe paper, .nd .old .U tb. Jnltro. ments 1 ~ffered for lII1e."

PICK BANJO r~------~ ....,...... · T ...... r • • • • 'CRE SC ENDO AG EN TS' Arm.tron lr. Plectrum School fo r U.njo WH.RR TH6 CRItSC&NDO CAN ALWAJ'S BE OBTAlN.DJ C Not.tlon PUBLISHED BY 50c Net w.. H. ALBRECHT. 1122 WagJIer A.... Logan. Phill .• Pl. L ------Ve,I4 Fllrbanb Co. 62 Sudbury St. Oliver Ditlon Co. 150 Tremont St. New Ene. New. Co. 93 ArebSt. WILLIAM FODEN G. L. Lan.lne 170A Tremont St. Brockton, M • • • • Brockton Mu • . Inl. Co. U3 MllnSt. CblC&io,lII. Lyon a Heal, Adlm. St. Gnitar i.t Claud C. Rowden 1022 M ••onlc Tem. Clevel.nd, Obio Courtncy R. Putt 2053 E . 9tb St. 502 W 8ST 173 D 8TRHBT D.yton, O blo Mcreditb'. MUllc Store 25 W . 'hb St. N.w Y ork Cit,. Hartford, Conn. FlrTla Muaic Store 173 AlylumS,. Lo. Ancelu, Cal. LindH:)' Mu •. Co. 4UIS. B'". y So. Cal. Mu.lc Co. 332 S. B' .... y N ...l, ...,...... £.1. ,.... W.rhl', Ani ... FAItJ.. New York, N. Y. C. H. Dltlon a Co. 1· 12 E . 34tb I t. FOR T " ' .TWO URAN U M AN J)O LlN S O LUS O.kl.nd, C.t. JOI. Wtl,bt 14' Alb.lny Bide. Pittabure. Fa. H . A. Beclr:er 501 E . Oblo St. FOI'ty.t_Onlnd Mandolin BoIooIb,th, EralntntVlrtu-. Aub"" Slauft'u . Will D. Mo,u. 01,l1 ..ppe rattln., J . RoMrt" eelleat y. rle" of Volneln BrOI . 516 Smltblleld 8t. CemPOlfltlo1H .nd AnullrftlMftt. b)' tba "orld' rfOmMR. 1luI)' AIlc.eKellat· Foll: 62 Bi ker St. !HI_ pl_ lidded tothl. __ E4ltlon. The onl, on tIM Sberman, CI.y a Co. Kearnya Sutta SII. ma,lr.et_ l_hn. V C ...... &e.ttle, Wllb. Paul Goerner 307 Ellcrs Blda. Watn. 8 10u. City, 10'" C. A. Templem.n 37U Orleanl A•• . 80IIII1, 8yr.cu.e, N . Y. Ro.e Frits. Ro,en 114 E. Flyatl St. Come r. 1Mluj... York, Fa. Warren N. Dean 752 E. Mllon St. alacfromP'. uat., London, Ont .. Can. Tbo • . G. Shuter 470 Dundla St. H"FuDen.IMare:h ..ouft(f. S .... 80ft&' FOREION from LcM ....tla. Petite .Its., P'ort.J ~ vad...... cover. duo. trioaadQuuleU. fOl'III.fullh.r_"M ·ace. p al'. E .... I7.o1oi.'.houldb. .... Cbrlstcburcb, N . Z. Loul. W . Bloy 23lnCln Bide. .. eIIICIJ'. Thla I.a book h,.. t ~ that apprMlata'- mueie. ....,.lIn. erTanI''' Gotb.nburc, Sweden O. Gerbard Obrn' a mllil. A 48-P'" book ot mOIM: • .beet mule _1M. wood pe,. ....-l print. Walle tan27 P RlCly.... REGULAR pa l CE ONb, J.pan SlIku.ke Mllli ,1.1. 15. O... lton St. (BAIT IUSIC PUlUSYlNCi CO., 219 SMt. Strtet, CHICAGO, ILL London, Enll.nd Clifford Ell" Co. m 0..,.. ... h .... Sur., D. Oulan. j . A. Hoytc 160 Pont_err 81 . Sydney, N. S. W .lu W.ttcr J . Stent 19 Hunter St. FREE TO BAN JOISTS! W.lIIneton, N. Z. J . O. Twner Il Kent Ter. y on ~!:~~~I~~~~·h~~~a:~o;. ye~ua~:~J~~3~1~~~ SOME D AND Y original. You want .010. rbat matter, that are effectin U kulele lind Steel G uitar Pieces and not too dlmcult to play. By Walter Burke. All New. Just Out- and Creat! UKU I . HM~ We C~~:~!::!~!~ ~~: !~:he~ ~~-; th~~ke~;~~:;r~~! Ub aee.!Oe.. 4Oe. 1"I .. tIOlW:e. 4Oe • . Ub-. 1Oe. 8 . G. ac:L2Oe. SoIo4Oc. 8. G . aec . ~ . ;::~~r~r.t!.l-i~:;;~~ ~~~~:::b=:~!l!i:~~ ScNo4Oe. Uh ac:e.lOc. "'orr with paRk."" oI_ar otba' ckUahtlull_• . LT'I.. UhMlo. «lor: STHHL GUI TAR w._ f ....1 eadourftnn. eonftd",\ that. wben.rou h ••• hied O't'n theM 1OloIo, JlOU .111 ,,11 __ ,. ....1 ...... """ .. , ... C _,,-_ pri_... _ ..... Io.d .t ... t .. e.". Write DOW to CLIFFORD ESSEX CO. 1111 ann•• 8L...... 8L LONDON. ENGLAND

P L&A8... HTI ON "caIt8C8NOO" WH.I:N walnNG TO ADVERTISKRB TI.. CRESCENDO ...... ~ HARP METHODS HARP SOLOS BOCBBA. c. Price Barp INltnarlioN • Net 8 60 1 00 "~~forthe IriehHarp ...... N.t 1.50 •. ,...... :: ~;i l:E i ROBERTS. &. 'iden: ...... ::8 i ...:. .;.::.'~" or 1not=tI•• rM . ~I~I~ . ~.~ ..... N.t 1.50 ...... y ...... ~!t :; I PraetkalKetlIod for the Harp lDoubl. Pedel Harp) ...... Net 1.60 ea AI...... •..•...... •...•...... " eo WOBLFAHRT. H. 8cotchAlr...... :75 £ ....-hvJ.",;:';.;;;;~;: .. n) . N.t 1.16 ~Z!~~E~~~~ ::t 1': £ BOCHBA. C. 1.00 I ~:rba~;!!;.~d~=) HB-:i:l~~~t~~.~~ch .75 : ~ The Key 01' EspIn.tory Appenuw- to the Balli PHIudlat, Net 1.60 ...... • .76 GO:-::::2:,,:r~I'. (F~~~~~p~~~;~~"~~I~*-,h t." 1:~ ££

II.. Eun:w...... Net 3.20 From " s.In80n end .... Nel 1.20

~tE~~: SEND FOR ~~~IPL:!;R~·:~~LOG · ::: .:: I ------.£ WOOING OF THE ROSE for Mandolin Orchestra £ By R. GRUENWALD. Arranged by H. F. Odell. A Beautiful Light Concert Number £ HEr PRICES Mandolin and Piano - .25 Two Mandolins and Piano .30 Mandolin and Guitar - .20 Two Mandolins and Guitar .25 £ Tenor Mandala .15 Manda-Celio .15 Banjo Obbligato .15 Other parts Each .10 I HA~!~~~,~~,~~:.:~.~ GUITARS I

1£ yoo~~~~~~to musical reproductio!lB of drE7.aIDY Hawaiian melodies by talkmg machmes. It pleased. You were interested. Learn ___~ro~p~l=ay~ .~T~h~e~y_a_re__ ve_r~y~po-rpu_l_u_. ______-. ______~~------Hawaiian Fine quality Itringl and lIuppli ea for DlTSON Hawaiian I Sty Ie theae !~il1fu";~~~u~airing Pro!l'e88 naJ G udors• CATALOGS MAILED FREE Gut'ta:•• I Adjusted with niekel· ~~~~~~~k%~eU-;ed~ plated nut. railing Oli Ditso Co ded d atrinls above finger· . ver n mpany !:~'l:;nb~ tbe ~~t botor·r " •• d·uP.t.i~ogttbt·bm. 178 Tn S Boot M prominent pro tel· tn mont t., on, 888. lional playen. Each alidinglteel bar. Oit· • eel bet I IOn quality. CHARLES H. DITSON & CO. ~~en~t ore Price. 8-10.U But atth Street PrIce. £...... """'t .... _r~_i ..... B • ...u...G.I\a' $7 to $20 N... York,N.Y. $25 to $60 PUAaI: IDNTION "caacaNDO" WHEN W1UTlNG TO .4.DVDTlBBR8