Vol. XXI JANUARY, 1929 No. 7
A fretted instrument month l)' for BANJO, MANDOLIN, GUITAR and kindred instmmenrs
19:,,9 , Januar~ 19:,,9
~ViV: J.fo N. 7if £ . Jv'ED. 7/i u. "TRI. iSAr. I 2 J 4 5 fJ r 8 .9 JO II 12 15 14 15 16 12' 18 1.9 20 21 22 23 2.f- 25 26 22' 28 29 JO JI
~app p jtleW !@ear
20 Cents Per Cop y PUBLI SH [O BY H. r . 0 D[LL COMPA NY $2.00 Per Y ear COP YRIGHT lt21-A LL IIIGHTSRU ERV[ O [NT[R[O AS SECON D CLASS MATT ER JUN £ •• 1901, .-.r TH[ POST Of rl C[ AT BOSTON . MASSAC HUS[TlS, UN O [ R 4CT or MARCl 1 l. 11:, Prl~ld 1ft U.S.A. I 100 BOOKS FOR PLAYERS AND TEACHERS OF I F~~!!~!?E!~~~~~ ~~~rs /.\I I NSTRUM ENT MUSIC IN THE WORLD TENOR BANJO BANJO _ __E _ Z. Tenor-Banjo Method ...... $ .35 (CNotation) _ Fotlen's Chord s for Tenor -Banjo . . . . .50 __ Paramount Tenor-Ba njo l\lethod . . . . .75 _ Smith' s Banjo Gems (Finger) ...... 1.00 _ _ 'fen Original Tenor-Banjo Duets . . . . .75 ___ Smith' s Song s for Banjo (Finger) . . l.00 _ Favor ite Tenor-Banjo Seleetions . . . . .75 _ ....Paramount Banjo Method (Fi nger) . .75 _ __P lea sing Tenor-Banjo Duets ...... 75 _ __ Bradbury' s Banjo I'llcthod (Finger) .. 1.25 _ _Moyer's Tenor-Banjo Method ...... 1.00 _____ Bradbut) ''s Plectrum Method • ...... 1.25 _ Smith's Songs for Tenor-Banjo . . . .. 1.00 - Fo
WM. J. SMITH MUSIC CO., INC. 254 -256 W. 3ht Str ee t NEW YORK, N. Y.
PU.AU MENTION Thi CRESCENDO WHEN WllmHC TO ADVUTIU.U January, '1929 T HE CRESCENDO
Radio numbers ( ODELL'SNEWEST ) ARRANGEMENTS. for BANJOand MANDOLINCLUBS Young America, March - H. F . Odell A Live Wire. March -J. H. John stone After Thoughts , Valse Le.nte- H. F. Odell The Priz e Winner, March -L. Tocaben Laughing Eyes, Waltz -H . F. OdeH Love's Old Sweet Song -J. L. Molloy Invincible U.S. A. -H.F. Odell Beautiful Night, Barcarolle-J, Offenbach Boston Commandery., March-T, M. Carter The Meteor , March - W. N. Rice $1.25 per foUo of ten; 30! single copy T enor and 5-string Banjo, l s( 2nd, 3rd Mandolin ; Guitar; ) Mandala, Mando-bass, Mando-cello, Piano; Flute; Drums NOTE :-T he Teno1· Banjo part s recently added to t he original arrangements may be used with piano accompmtiment, either as a solo or duet , yet they can be used as an unaccompanied solo or duet very effectively . The""solo part can also be used with the orchestra accompani ment. The chord or obligato patft on the same score of each arra ngement, is also suitable as the orchestration. H.F. ODELL, Puhl., 157 Columbus Avenue, Boston, Mass.
Ace Banjoist ef the South IRVINE TAYLOR, Banjoi s t wit h Joe Belle's Rit z Orc hd t~.i at the Rit z (Keit h ) Theatr e, writes :- "Th e Overtur e I play ed at the theatre last week went over big and th e new B&D Silver Bell Banjo stood out wonder ful. Quite a numb er of peopl e spoke to me about its tone qualit y and how splendid it looked under the spot light."
Williai11J M,ui c House , Birmi11gh nm Agents for Alabama for Ba con B a11jos
New 1929 (D e Luxe Edition ) SIL VER BELL NEWS - FREE IRVINE TAYLOR Birmingham , Al ■. The Bacon Banjo Compan y, Inc., <;;-roton,Conn. 2 T HE CRESCEN D O Jan uary, 1929
Stahl's Methods Are the Best Methods ! Bu•y teachen, ambitlo u• atudent ■, live-wiie me rchanb--all find Stah l me thod, grea t aid,. Stah l method, are the m o1t th oro ugh , comprehen1ive, prac t ica l an d comp lete publi,hed. All we aak i, a compariaon with the met hod. you are now u1ing. Stah l me thoi:11 do hot ni n around in circle; they ge:'t the pupil 1omep lace and they do it in th e 1hortc1t poHible time . Try them an d ju d ge fo r youne lf, whic h metho d turn, out the beat player ■ with the leaat effo rt and in th e 1hor te1t 'p0Hib le time, . STAHL 'S TENOR BANJO METHOD Part, I and 2 . } C;{STAH L'S PLECTRUM BANJO METHOD · Comp lete in one book STAH L'S INTERNATIONAL 5 -STRJNG BANJO METHOD Complete in on·e boo k STAHL 'S GUITAR METHOD Complete in one book · STAHL'S HAWAIIAN GUITAR METHOD Part ■ I and 2 • STAHL 'S MANDOLI N METHOD Part. 1, 2 and 3 Price $1.25 pe r boo k, es.cept the H awaiian Gu itar Method which i, $ 1.00 per part. ,
STAHL 'S NOVELTY FOLIO FOR STAHL 'S BRUNOVE R'S TENOR BANJO FASCINATING MELODI ES FO R EAS Y DUETS IN EA SY KE YS FO R Fourteen of the greate,t HAWAIIAN GUITAR TE NO R BANJO Teno r Banjo ,ol o, pub li1hed. Twe lve beautiful 10101 wit h re gular . A brand new co llect ion of the ea1ie1t Guitar accompt., 1uitable fo r broad an d prettie,t piece• publi,h ed. Pupil ■ Di::ult~~ ~~rYt ~\ile. ca,ting, conce rt or teaching . can play th i, grade of mu1i c in eight ContenU: Ea1y and Medium grod ea. or ten leuo n,. Ir ritating the St ring• Pr ice $ 1.00 Pri ce f../ Kromotic Kaper1 STAHL 'S Sunny Smilea Fire,ide Dream, T eno r Banjo S 1.00 ST AR COL LECTI ON FOR TH E Piano accompt. S 1.00 Cha u,o n d'Amo ur REG ULA R GUl T AR The greatelt co llection of eo.y and J;!~nir:loud1 r:nn~;~::ia c . me lodiou1 fint po1ition piece• pub WEare th e wor ld' s largest Fidgety Fingen Lone1om e Blue, li1hed. Ju1t what the teacher need, pu blishers of Ba njo an d HOT FRETS and, up to date, ha1 been unable to Man dolin band m usic. Free Price Banjo $ 1.00 • Pian o accomp t. $1.00 Pri ce $1.00 cataio·gue on req uest . Wm. C. STAHL, 133 Second Street, Milwaukee, Wis. Send for our complC!tecata lo1r of mu ■ i c, boo lu an d in ■ tr um enh
Free M~gazine for the Banjoist
Get your copy of th e NEW free magazine devote d to instru ction, general articles, photos of prominent banjoists and a complete reproduction of th e famous Ludwig line of prof essional models. Articl es and isntruction on th e modern art of banj o playing by Charles M cNeil, John Hamilton. Con tains many general "tips" and hints for the beginner and professional player . Featur es th e story of th e Banjo; and news about banj oists from all over th e W orld. A copy will be sent FREE upon request. LUDWIG&LUDWIG World's lar!ftsl txclus ifJt makt rs of jJro/tssio11albanj os New Ludwi g 1611-27 North Lincoln St. - Chicago Banjb Magazine 1929 issue · Ludwig f:i Ludwig, 1611·1'1 North Lincoln Street M.i.lr:cr1o f Profeu ional Banjo, • Plea5C,en d me your FREE magazine titled the "Ludwig Banjoi5t." Mail the } Nam<------{ Addre~ ------ Coupon City•----~-- -- Stat<------ I plaY------~~ -- 1:,,-~ 111111nime11u January, 1929 THE CRESCENDO 3
The "Enemy of Jazz" ma n~ a nti It alian s liste n for hour J;~ to inJ.:-the United States, playin g good RE~ ~~;h~!7~~~ :;;'~~!:;:~i=~ good mu sic, but lhe American-born is mu ;;ic and populari1,ing it by explain did some' rea l good missionary work in loo buliy making money to be inter ing to th e audiences why jazz is not getting th e public educated on the ested in art." music, th is statement would not hurt difference bet".-een "jazz" nm l "music." We have s11cnt our genius in the so in bein1-:-the truth. The ge ntl eman I ha ve reference to organizatio n of giant bu siness, our By no means do we und er-e stimate came a long w11y to tench our public energies in heaping money, and our th e vast amount o( work teachers and the effect that jazz ha s upon the tal ents in jazz mu sic. 'I11e rcsull is schoo ls arc doing in promoting an in Ameri ca n cultura l sta ndard s. It was that we have the largest bu siness en te rest in better mu sic, but in many in• Alfon so Zelaya , th e noted Nicaraguan terprises in the worl rt, we nrc wea lthi piani st , allvertised on his concert tours er than any other nation, a nd we pro ~~:~:c~ l=~~c~~r!~I t~:g; ,~:~\~:~~!a~( r~l;~ as lhe "En emy o( Jazz" and as such duce mor~ jazz thn n the rest o( the so nin1-:-.B y that I mea n, we do not suf is outspoken in his views. world put tog ether. l.f ja zz is the true ficiently aml emphatically show the Senor Zelaya says that "''jaz7, is express ion of the American people in student s the radica l defiance ja1,z worse than boot leg liquor. Youn g mu sic:' it is time we imported a few make s of harmony and th e fundament America ns all want speed and don't thob sand psychiatri sts and estab lished :1ls of mu;;i(·. We do, many of us, wa nt know anything about art. Silly non nation wide clinic s. Thi s is the view to igno re the su bject; to simply say it sense about 'Sweetheart, Kiss Me in point Zelaya ha s given our music is degraliing, nnd feel that is sufficient the Moonli ght' is loved by the flap public. in the mi;;sionar y work of promoting perino s who don't lik e to think. The lI we had a few more Zelayas tour- hl'tter mu sic. Jew s arc eager to learn and th e Ger- Thi s same prob lem of "bcltcr music" INDEX i;; not only in United States but in page other countries a s well. From the The CRESCENDO How to i\lak c a Sy mphonic Ar - 0 "l. i1·crpoo] Po st"' I ex tract ed a .stat e ""1udod IIHII-II. P". Ollell 1·11ngemcnt . llll'nt made 1,y J\Ir . Cleme 11t Spud ing The oldest and foremost fretted instrument Frank L. Buckin).:"ham l,eforc the J\lu;;i(•al A;;.~ot'iation of Lon• monthly f.levo1edto the interest of the l'r aclicality - Fr dlcd ln slru - don sayi 11g ··Tru st the miml aml taste 111ents- E1litor 1 BANJO- MANDOLIN- GUITAR of a boy . . " and then he went on to and kindr ed instrumrnu . Why Nol Stamhtrtlizc Banjo say: ··Th ere were people who a:o:scrted FRETS l\lu sic?- l\l. L. Hall ett . ·~h,1t boys should l,c kcpt in compl ete Music Review . 10 igno ra 11ccof si lly vul).:"ar tlanc e music. AooLrll F. Jom.ison, Mana ging Edito r Assoc iat e F:1litor;; But the only eflk ie11l way to teach Publi1hcd ~!,mthly by Guild Talk ;; ...... 27 I.mys to urnlNi-tan,I an d like good mu H. F. ODELL COMPANY Walter Kay e Bau er f:nttti,d u ...::011d clUI m.t.tt~r. J 1,1,,. I, IOOII, l t tbe :-ic wa s to let tlwrn, if they wishel!, I'm! Offll'II •t lloltOD. lh.a ., Ulldtr U,. The Rournl Tabl e ..... 21 111':ir al l kiwis of music a11d ]earn the A~ of ll&tcb S, ur,. Conductetl by As;;ociatc Editor s . differen ce bl't \\·ccn what was good and SUBSCRIPTI ON PRICES Bargain s for All wha t was worthle ss. When he did thi;;, United State, $o.20 $2.00 Canada .20 2.25 he found they eve ntually chose the Foreign ,as 2.50 MUSIC SUPPLEMENT righl music eve ry time." Thi s is cx l11lvtrtisin9 Ratti will be sent on appli War Eagle, ~larch - W. N. Dea n adly what shou ld be ,lone with the cation. Forms close on the ut of each students h1•1-c. Give th em the oppor Tenor Banjo Solo . I l month for the 1ucceeding month' s issue. tunit y to formulate th eir own opin Rtmittantts should be made by Post Of -- Don Santos Publication - ions; show them the difference , and fice or Exprest Money Order, Registered "Souvenir"-Drd la-Nicomed e let them st ud y it out. Utter or Bank Check or Draft. Checks Tenor Banjo Solo, unaccomp, 12 13 aa:eptcd only on banks with exchange in Th e audiem:e of Alfon so Zelaya -- Nioomecle Publication - Boston or New York. :,;;howed con;;idcrable interest in his Corrupandt11t1 i1 aolicited from en ry Sun shine ForeYer, Gavottc--Morr is discussion of jazz mu sic, and as a final body intere1ted in the Banjo, Mando lin, Guitar Solo . 14 Guitar, Harp , etc. \Ve will be plea,cd to te;;t of the l'ltrength of his arguments -- H F. Odell Pub lication - receive prcigr11m1 and report• of concerts, he asketl which of the two tyJ)CS of Maid Of Koloa, Walt1.- W. Burke club and on:hestra new1, personal notes music the audiell( .'C wishe,I to hear. and music recently issued. Stee l Guitar Solo . 15 Ho,,·e,,er, contra ry to the pict ure he Wt art not rtsjiomihlt far tlu opinions -- H P. Odell Pub lication - had n:ade of th e j:1zz-ridden A meri of contributors. The Cmlcnzn, i\la rch-Johnslonc tlddrtss Communications ta tlu Editor. cans they asked for classic i-. So you ;;cc Piano Accompaniment . 16 17 1111R tmittantts should be made pay.able it is evident that the Am erica n publ ic lo 1st Mand olin . 18 wants better mu sic but we ha,·c first H. F. ODELL COMPANY - Ja s. H. John sto ne Publication - 157 Columbu1 Ave ., Bo.ton, Mau. to pro\ ·e it, then be abl e to deliver it. l'LUSE lfK.'"'TION TIit: c,u:scumo WII.ES WlllTINO TO A..DVJ::nTJSEIUS .t. ► · ~ ..
4 THE CRESCENDO Janu ary, 1929 Bargains for All RATE~Ad't'ertisementa ' inaerted in this column at the rate The DRElscH of Sc per word each lneert ion, prepaid. ¥1,nfmUlDcharae 50c. m;:o:teh1!:~~zu::.i:~1~t~:~o:~!'!°ci,!:: ~ Tenor-Guitar Guitar now 'a@JaHOO ) . Wlll Mil C OD with Ii da)-1 t rial. Ju. U. • John ■ tou, IH O1bom1 St.net , Kalamuoo, Mich . in Arr■.naln...... Steel Gulw, Plano, Orche.■ tra- elodlu or Word■ ueat.-1. or nn-bed. Sonp Pll.b ll■hed. for 7011., Lucian J . Kremu. Tu11a. Okla. For Sale-Glb■on Mandola-St7le H I. Fau ltl eq cue, ftan111I lined. F1111 Genuine condltlon---l•0. M, M. Cos . I Hla-hl awn Ro. d. Dra ltlt bot1), Vt. Vea:a-S. Tuba M ■ ndolln • ban jo , nu rl7 new. euc an d rNOnato r. COit Mahogany · 1125, will 1111 for 160 or uchan•e equa l value for rqu lar Man dolin of L7on • H ealy. Glblon or V~a. WIii &11011 11 new Cello cue, co■ t ISO, fo r HO, Emil J obn1to n1, 200 Eut 62nd Strfft, N ,w York, N, Y, Vesra No . !OS Lu te lltn dolln. ftne condition. with -• HT .liO, Coat '87.60, Ea·cellen t tone. Ra lph W. Wllde1, 11 OerbJ' Sq ,. Salem. Kut. Glb■on Mando B.-$160.00 model for 150.00-ln dlXllq cue, Write Med.a S. Kuneh,,n, Winthro p, N ew York .
Glblon IA GuJW h1 fault leq cut. like new , COit 11'19.liO, will H il for do . Writ. Car l A. Rubnow, 1215 North DroadwQ' , Roch~. Minn.
Profn■lo nal Vqapho n, Tenor Banjo an d cue ln IJOOdcondition . Will 1111at '100 . A . J •• C re■ ce nd o.
Wh ,t. LQ"dl, Rcsular Htd n• Banjo with Perf tctlo11 cue, a 11 Inch h e.■ d , In IJOOdcondldon, on ly $90. W rl~ Crucendo.
WANTBD-M ando-b ... , fu ll l)lr tlcul,n to Waddln&'ton Stvdioa, Hamil- ton, Canada, - • 1 A No. I Vqa Tv.bap bone P leetrum Banjo with - • 11 Inch bead, Ill ver7 ~ condltl on. Mmt 1111, ,n.oo. G. T., Crucendo. Vlnaccl Gultal', niaw , rnada In Itab . Or(al na l prlc:1 , ,o, will 1111 for ,20 . Write 110w. can of C,-ndo. BANJOISTS! V~pbon e, Prof eulona l Model Tenor Banjo . Sold for $160 with pluab lined-• WIii N il for ,1 00. Wri t. No, 11-1, can of CrtAOt.ndo. - a New Effect Van Eppa Rucordln• Tenor Banjo, Iateet. m~ I -11ator: a1mul111 lta tlic.r CO'l'ued plu,b lined cue : like new; wu '186 . muat ae\l for '76, Write No. ll•:Z , c.ar-eo f Creace ndo, UW, Wonder Tenor BanJo, 21" scale and cue. Write A. J., cart of Crescendo . Mando lin. pa!ioirallJ'. bowl lhal)ed, for 112, Wr ite No. 114, cart of c-n do. Tubf.phon, Htrl n• Ba.nJo. 11~ " dm. Ptr f~OII - • In uce llent condi tion. Will Mil for HO, Writ. No. 11....,, CUI of Clffelllndo. A!l.derbera GuJtc, onb ,12 . Wri te B. F,, CUI of CrtM!endo. Wbyte LQ'dle Pl ectrum Ban jo In cood cond ition: muat aell, HO, Writ. No, 114, c.ar-eof Cracen do.
Bruno Hlrllt&' Guitar In 8'ood eondlllon. Dar nl n ,t 112:.ct0. Write, care of Cr-esc,c.ndo,
Real, Good Buys! TEACHERS-Th is "Bu gains for All" Col· umn is for you. Advantages for your pupil.I; a medium ·of exchange for your unused in· struments, and a place to sell- At Low Rates. 5c pei: word-minimum 50c Address-C rescendo
157 Columbu s Ave., Boston, Mass. lb Du.ler'• NADM ------©clB 12386 J~M' H 1929
FnETTEO INSTRUMENT .TOURNAL · How to Malle a aymphoni~ · A.rrangement By FRANK L. BUCKINGHAM l 'IKE the old English recipe for ure s as follows: First four meas so it will not be too loud ; give L rabbit pie, which began this ures are marked pp, so have the the melody to the B section with way; "First, get your rab 111play only the melbdy using the bit." We a1so begin by saying: G for a fun rich accompaniment ~~~~~l:~ ~istire am~~~~l ft~~~ "First, select your piece." for the entire phrase. Let the B coming from the four measures Not hearing any nominations enter on last four measu res, exte nsion of the preceeding for the honor, we will use our which begin on th e apex of a phrase. The M sectio n i s at that own judgment and select for thi s 11swelV1 i use a well marked ritard time playing high tones a nd the illustratio n Edward McDowell's on last two measur es endi ng very B and mandola low ones, so the "To a Wild Rose," because it softly. effect is very p leasing. lends its elf admirably to the Third phrase has twelve meas There remains but fifteen fretted instrum ents, is short, and ures (the added four measures measure s, and we will treat them well worth arranging, so that being an exte nded resolution), all together . G play s accompani those who try it will not be wast and require s careful treatment. ment only for first four meas ing time . Start soft ly, graduall y' working ures, with B and M in l eads. In Now a few DON'Ts to begin up to a dynamic climax on the fifth, sixt h, seventh and eighth with. D9 not cha nge n note of the ninth and tenth mea sures, with measures (starting at C# in ba ss melody, and adhere STRICTLY a well marked ritard startin g on sta ff) tran sfe,r the melody~ to to the harmo nic setting. Remem the eleventh measure and n long mandola, B section, and Hawai ber that ·McDowell wrote this pause "p" on the last note of the ian guitar (H G playing in oc music, and you as arrange r are twelfth. t ,,ves) . Let Spani sh guita r and trying to express his ideas wit h all accompa niment play chord s in a fretted instrument orchestra. To get the se effects, we use sa me rhythm as bass s taff melo The the G section as accompaniment verdict of a good or bad only throughout thi dy. Give t he trebl e s taff melody arrangement comes from two s phrase. to the M in fifth, sixt h, sevent h points: How well you can trans Start the phra se with both M and eighth mea sures. In Inst plant his ideas , and how practical and B in lead, at fifth measure seven m easur es M and B pin~· and playable the arrangement use the 1\t only for chord shown upper staff melody with G play can be made. in treble staff and transfer th e ing accompaniment to twelfth We will now consider the se "E C C" in the ba ss staff to the measure, at this point put the lect ion itself, that we can have a B so it will come out rather melody on the Ha waiian guitar plan before starti ng. There is no hea vy; sixth measure use M and also, with a slide from F# to A. introduction; if you want one, B together agai n; sevent h m eas Be sur e to susta in la st thr ee use the FIRST TWO measures, ure treat same as fifth, only ha ve measures FULL time and end ending with a LONG PAUSE the "E C C" on the B still heav very softly . ier; eighth measure M and B are over t he last note, mf . Where ver a half not e occ ur s This is best arranged as a together again; for ninth, tenth , in the melody, mark the ukul ele "tutti/' that is - all quartettes eleventh and twelfth measures chords TREMOLO . Also mark working concurrently . use M only for tr eble s taff and the ukul ele chord s tremolo while The first phrase of eight meas let the B sect ion with mandoln playing the four measures ex ur es can be arranged as follows: carry the bass staff melody, to tension of the third phrase . M and G sections carry the first long paQse "p". Trusting that thi s analysis will four meas ures, B silent. In th e Fourth phrase i s a repetition be helpful to tho se who enjoy last four measures the B enter of the first and to give variety arranging and have had little or with the others. Make a WELL we will treat it differently. Tran s no experience, we will close by MARKED ritard on the last TWO fer the accompaniment to the M using the time worn t ast words: measures of this phrase. (except mandola), put one voic e "We thank you for your kind Second phrn se of eight meas- of the chord on each instr ument, attention .'' l'LEABZ 11£.,"TIO:,i' TJI& CllE8CE.'l"DO WILES WRITINO TO .A.DYtltTl8&88 7 6 THE CRESCENDO January, 1929 I
And Now PriceincluduKeratol cov'ued ~ Om , lin,d me . H. A. w ey:;::t& Son, 'Inc. ll08 Chestnut Street Philadelphia, Pa. . ~ --- ANOTHER PUBLICATION BY-- DON SANT OS ~ T~eFirst Thougbt in TenorBanjo Chords for the Beginner By W. J. ECKHARD A carefully graded method with Melodies Necessary for, Enjoyment easy, tuneful melodies for If you want to enjoy a dance, there must be music. If pupils clasl teaching want to enjoy chprds, there must be a melody. Pupils like th e First Thou ght in Tenor Banjo Chords. Th ere is a reason. Eapecia lly adapted for indi YiduaJ and public achool in ,tructio n A Method That Wins Your 0. K. Easy etudes, melodious studies and duets, combined with Synop ■ i. of Book I favorite pieces especially written and carefully graded for the Starting with a de.acription of how beginner . Great for class teaching and ensemble playing. chord, are formed from the ,a. Ju the ATIENTION ! Pr~~il~:~t:~:~i ~~~~ili aict:r1::~d Banjo Teachers and Public School Instructors gradually one chord at a time is added. The book you have dreamed about . A Ten or Banjo Chord Practically all melodiu new and original. The Tonic. Sub•dominant Chords and Method by W . ]. Eckhard, suitable for CLASS TEACHING . Dominant Chords Key of C. Fingerboard Written in duet form. Two forms of chords. One for small hand s and one for normal hand s. With a few exceptions all ~~;,~gm~P~:;,·'l::t~mE~~d!n:~t~:z. new original melodies, Marches, W altzes, Pox Tr ots. Method Lion• using C and G7 Cho rd,, ael.ecbons was tried out in manuscript form for over a year before being for C. F and G7 chords. Key of G. Selec tions using G and D7 chords. Selections cqmpiled. Th e method is carefully graded, the pupil is taken in ~asy steps. Just plain chords are dull and monotonous but with c:ii 87~o~:nr1;hcl1"!id~e~~:s ~~:! this method of combining the chords and melodies two or more is followed thru out the book in ~ the pupils can meet at each other's home and practice ensemble. practical key,. The Augmented and. Di• mini1hed Seventh Chords fully uplaine d Thr oughout the book different strokes and runs are employed. and aclections containing these chord, . Price, $1.00 · DON C. SANTOS-55 ORLEANS STREET, ROCHESTER, N. Y. Jan uary, 1929 THE CRESCENDO 7 Practicality- Fretted Instruments By EDITOR T HIS article wa s specially prepared for the Music Magazine in its drive to bring to the attention of school music supervi sors th e fact that fretted instrument s are.equall y as important in musical education as any other. T~e illu stration of R. C. Bry:int and his Man:1uette Banjo Sax Club is one! instance of th e mat e rial with which the schools han? to Work. ) / RACTICAL-that is the at t itude of we American people. PWe fully rea lize the value of early training in pr eparing each generation to face the prob lems of a progre ssive nation. It is their education which is of vital games; the orch estrn at social sical developm ent in our school importance to us. Education de events; th e part they play in s.vstem. velops , the body, the mind and radio program s, and th e get-to Again referl'ing to th e sta te the spirit; it aids in the progr ess gether gro ups for rehearsa ls. Jn ment that we American s ar e a of busine ss ; it develops a wise ou1· µublic school sys tem we find prnctical people- is it not essen use of leisu re houl's, produ cing th e orchestra and band of im !ial that we consider every in an appreciation for better ent er portanc e. One reason may be strum ent in th e p1·esent day or tainment, and it makes for bet because of th e public intere st in chestra to famHiarize ourse lves ter citizenship and a life that is thi s style of music, yet another with wlrnt can be clone in for m ambitious. reaso n may be in the rul e that of variety? Yes. it is esse ntial. The pha se of education in natur e does not pl'oduce exact especially with tho se who ha ve which we are most inter ested is duplicat es, and thi s law of natur e th e miss ionary work of musical that part which is to education applies with eve n greater force instrum entation - the 1\fosic Su what the heart is to the individ to human individuals. There are pervi sor. Jt is for thi s reaso n ual-mu sic. Music in our educa no two of us exactly alike; our that I want to familiarize you tional institution s is of first im facultie s differ as widely as th e with one group of instrum ents portance . It is acknowledged as four point s of th e compass. Fancy whose popularity ,dth orches being .,one of the greate st mo a phy sician prescribing the same tra s, in radio and with th e in tivating forces in education. " remedy to all pati ents regardle ss dividual s, warrants mor e att en Never before in its history has of their individual ills. The re tion th en ever before. music been so genernlly app re sults would be anything but Th e group I ha ve refe rence to sati s factory. is the Frett ed Inst rum ent Group ciated; never before has it been 0 so widely advertised, and never If th e teacher is a musie - phy - the banjo, mandolin , guitar sician" having the responsibility and oth er voices of the fr ett ed before have . we enjoyed such of developing bett er music st u fingerboard. means of encouragement as th e dents , the vast numb er of differ Many are under the impre s beautifu l instruments and sp irit ently voiced instruments offer sion that fr ett ed inst rnm ent s of music which we find with th e the teach er at least one as a hav e no place with classical mu pre sent generation. "remedy" to maintain and de sic or compositions that hav e This era of musical apprecia velop a gr eater intere st in music. been written by great masters. tion has provided a diversion in If it is true that "variety is Such impre ss ions are .unfound ed. instrumental mu sic. In almost the spice of life'' and that varia Fol' exa mple, in th e original every community orchestras and tions of tonal color best plea se scores of Stanford 's "l\foch Ado bands are the high lights of in the ear, then the art of band and About Not hing," Claudi o's sere tere st; the band at the school orchestra music best afford mu- nade to Hero is support ed by a 8 THE CRESCENDO Januar y, 1929 You'II marvel at ·the tone of the JOHNNYMARVI~ I, F~EE/ Profeuional I U ftn~?~n~i~·:tE~~ tho~ b~. but not unW )"Ou atrl ke th• firs t few Gold-~lated cbonh do 7ou nalbe lU remarkab le power ~ . • . the amulnr rlcbneu of lu tone. Here Indeed LIi a ukulele that wlll do Banfo Pin JiaUce to 7(1Ur tale..nt ••• re,,ch out ae,-. the fooUia:hU with lrresl. • tlble appea l. New resonator type banjo pin, fully gold-plated U~ and named bT Johnny black and white enamel, all details clearly shown. Marvin ••• at.ana.nd Victor recordlnll' artht •• , thla Full size as illustrated. new Tenor Ukulele meet. the: moat uactlna ff(lulreinenu EVERY PLAYER SHOULD HAVE ONE of the prolnalonal • , , brlnn new clellatit to th a amateut. Tbe ont,, $.10 0 WllJ' to appniclate It. euper l at lv , _,,.-- 1-.__•..;o; /~ t..i.~=- ~t ERE'S HOW - with every new subscrip· attheftm oppo r tunlt;r. H tion Or with every renewal sent in THI S mpnth we wlll send you FREE this beautiful At geld-plated pin of the latest style banjo. .n rood i1utrament Lout ... Mail Your Subscription Now Addrcss,-CRJlSCENDO I 57 Columbus Avenue :~~teANr ' ,·.,, <.::J : Boston, Mass. 1711 N..U. LMn•ale AW&N , Chi-,., 1111Hh For BANJO BAND Tunefu l Melodies-the "Ba nj oists Best Seller for 1928" is now avai lable in a new edition-fo r Banjo Band-with parts for solo, 1st, 2nd, 3rd and 4th tenor and plcetrum banjos, and Qthcr instru ments as indicated in the panel below. Playable The INSTRUMENTAT ION in an:, Plectrum Combination ;::!~~:::::1: ~~~a)(b)· :::::::::: }."75 lnd11dln aman dolln1. ht Tenor and P leetru m Banjo. (c) ..• ) tol• ,teel a:•llar , nd bl Mando lin Banjo (c), l ■ l Mandolin (c) 75 Zd Tenor and Pl ectr um Banjo. (d) • • • • • a:•lt•r banjo a«- 2d Jhnd olln Banjo (d). 2d lhndolln (d) panhunt. Look our Id Tenor a nd Pl ectrum Banioe (e) •• • • 1 tht Jbtofparband ht Tenorllandola (e), htCTenor Su: (t) 75 ordntb e boob,-011 1 n eed tocoaapJ1te :ihT;':::M!:i.~ VOLtn,IE 1 VOLUIIE 2 P l(!! i~~:nf:;e~'.: : :::::: : :: : : : : J.75 J uet Smile • , •. . ••• Sona Foz-Trot Sunn,- Smile ..•.. , Sontr Fm:-Trol Fb-1.na Cloud · • • • ••••• • • •• Mar ch (al Flallb&rmoa.,. RbJthmlollrOb IDd.latal. Spu kllntr Spr"Q" , • . •••• . •• Walt. ~.!'n~·:·.·.·_t.:·.::·.::•.:~'3t!' (b) On .epua~ lt& lr . Chord& leUertd f•1811 for tlbJ. Lona-In• for You •• Sona Foz-Trot Whan You Return • • Sona Foll-Trot llamm,-•• Klnt,-Bead • . •• Lullah,- Dream• of To,-lend • D&nc. Capr ice fc)l lelodJ-onlt.(dlDl>ttPArt-f•)()bllpto. J o,-'OWIHours• • •• • •• • • •· • Walb Vera • •· · • • ·••••••••• • ••• Wa lU WALTER JACOBS,Inc., 120 Boylston Street, Boston, Mass. Publllhera of Jacobi ' Orchutra Monlh ly, J acobe' Band Monlhl,-, llelod:, ( for Planbte and Orir&nl.atl) PU...S S MDITION TU& CR~ WHEN WBITIHO TU ADVKllT18D8 January, 1929 THE CRESCENDO . instructions in mu sical in stru ment s that will give them pa ss Wh.>' Not atandardize time entertainment, as well as an opportunity of earning a spare Banjo Music! dollar. The banjo affords such an opportunity, but many have By M. L. HALLETT failed to grasp it. It is the same ms is a matter I have given banjo, but nothing for the five old story: "Sonny, I want you to considerable thought on a string banjo in thi country, ex take violin lessons. You ca n play T number of occasions, and I cept the splendid numb ers and in th e sc hool orche stra after a can see no reason why it cannot folios .by my goocl friend A. J . few lessons ." But, th e boy has be done. The big drawback, I Weidt, but they ,Jrnve been pub his amb ition s se t on pla ying the imag ine is putting in th e chords . lished for quite a long time. I banjo, like Reser, Peabody, Pin As a matt er of fact, every ban mean so far as new mu sic is con gato re and other ideal s of radio joist ought to be able to put in cerned. The Clifford 'Essex Com and recording fam e, yet his in his ow11,chords, and the music pany is publi shing wonderful spirations are destroyed for the could be written in single not e new numbers all the time-the lack of sufficient int erest given sty le. Just the other evening I works of such celebrated com to thi s instrum ent in hi s sc hool. was looking at one of Mike Pi.n posers and artists as Emile This, howe'ver, is not true in all gitotr's selections-w hich I play Grimshaw, Olly Oakley and Joe schools for my interest in fretted very frequently , "'The Dancing Morley, but us five string players instrum ents has brou ght to my Banjo." If this number wa s writ must send to London to get them . attent ion many in stan ces where ten for the five st ring banjo, it J!.~e ~it si~~i;:.: ~~!;e t~i~ ci; ~t~~ th e banjo, as well as th e mando could not be more b eautifully ar 0 1 lin and guitac \ play an imJ}Or ranged than thi s number, which carry them in stock. If these tant part in the musical educa he puts out in t enor arrange dealer s carried the se s plendid tion of th e student ; instances ment . Inasmuch as it is practi numbers and by advertising let whe re the student receiv es credit cally impossible to obtarn any the five string players k now th ey for the numb er of hour s of prac thing new in the way of music could"'get new se lection s, th ere tice, and insta nces w here there for the five string banjo in this would be plenty of demand. Per are fretted in strum ent orche s country , it has occurred to me hap s s ome day the publisher s tras a side from the r egular or that th e music could be so ar will wake up to th e fact that chestra and band group s. ranged t hat it would be equally th ere are thou sands of five string playable and readable for all player s in thi s country, w ho are As national secretary of a fret banjo in strum ent s. Wlien you discarding th eir inst rum ent s be ted instrnment organization, buy piano mu sic, th e s alesman cause th ey cmrnot get modern whose member ship consists of does not ask you if you wa nt it music that is playab le. Don't you pl'ofess ionals and teacher s of fo1· a Steinway or a I{ ranich and thi nk that the standardized ban th ese instrnment s, and a s editor Bach 'piano. Th en, why should jo mu sic id ea is a matt er which of a journal de,·oted e:xclusivelv not banjo music be banjo music, should h ave consideration by th e to the banjo; mandolin and gui and all 6anjo music so written publi shers? Let' s hear what our tal', I ha ve close contact wit h the that it can be played on all banjo fri ends have to say about the activities of th ese instrum ents. instrum ent s. To-da y plenty of idea, whether it i s practical or Throu gho ut the enti re countrr music i s available for the tenor not. will be found fr etted instrument teach er£ who hav e orga nized Practicality-Co nt . In keeping with prese nt day from their student s instrnme ntal conditions we find the banjo the gro ups. manr of th em are heard often thr ough th e rad io ; ther mandolin band. Thi s instrum'en most popular of the fretted in strum ent family. It has its pince hav e created symphony orche s tation i s also effectively used by tra s, street band s, e nsembles, Verdi in "Ote llo." Other exam in the harmony of a composition and popular trio s and du ets. The as we ll as the rhythm. Oft en int erests of the se s tudent s ar e ples are to be found amongst tim es it is classed as a "rhythmi operas of days pa st. Wagner, maintain ed thrnugh the efforts cal" in strum ent and for t his rea of th eir inst ructors who are de Mozart, Cluck, Paisiello, Rossini, son it i s more closely associated sirous of giving th e music stu Verdi, Thoma s, Beethoven, and with the dance orchestra. Years dent s what they want . many mor e are credited with ago it was the banjo strummer In our educational syste ms we compositions of n cla ss ical and who was t he center of attraction have ALL th e pupi operatic nature. AJthough these at any gathering, singi ng-to his ls to th ink of; composers wrote accompanime nt s own accompaniment. His popu no music stud ent should be neg which includ ed the fretted in larity continued until h e found a lected. Th e vast numb er of banjo, str uments, pre sent day rendi place in the orchestra. Not so mandolin and guitar student s arc tions hav e a section of the violins many years ago the type of or equally as ambitiou s to atta in play pizzicato to give the musical chestra in which the banjo was versatilit y and a place with oth quality of the original score, yet included was not endorsed by th e ers of the orche stra as a ny in the opera-star appears on the music supervisor of our musical st rumental play er. stage with the guitar with no educational sys tem. However, Therefor e. I urg e you to con attempt to play. Still, the tradi today the music supervisor fully sider mor e thoroughly the prac tion of fretted instr uments re realizes the importance of giving ticalit y of fretted instruments in mains with the op era . the students what th ey want-- the school orchest ra and band. t•LU.BK llK!n' ION TIIK CJu:HCl:..''DO WHEN WIUTL"'O TO .t.DVi!n'l'ISEBS 10 THE CRESCENDO January, 1929 The Music Review The BANJO Joe Donovan The GU ITAR . Associate Editors: Vahdah O lcott-Bickford The MANDOLlN Willintl\ Pince, Jr. Other Publishers Music Supplement Sam Fox Edition War Eag le The new Snm Fox Collection for the SoU\lenir lcct m banjo (with piano acc.) is an Tenor Banjo Solo-Warrm N. Dean Tenor Banjo Solo, un accomp.-Drd la. is that is hitting the high mark Don Santoe Publishers Arranged by Nioomede. with the plectrum palyers. It contains Nicosmede l\lus ic Publishe rs \., se.mi-clas sical and novelty numbers of The War Eagle is an Indian fox trot march of a professional nature but not Comments on this number are few the better grade and is one of the out as we all know and have played sta nding releases for thi s idstrument t~ difficult. It is a tenor banjo solo with plenty of four-chord harmony. Drdln 's beaut iful melody "Souvenir." of recent years . Such well know selec 0 tions as "Ole South "-"The Drum Ma The fire-works of th is number begin with the second strain with an effec• ~~~~~s ~~~~~lefi110~\~I r:;:n~;~1:1: jor' '- "Fair Dcbutanlc"-"Flirtation" closely, \\•hich is true artistic form. -"In A Canoe" and the Zouavc march tive bass solo and chord accompani• ment . The trio is n rich chord climax Th e ttiird an Copyright MCMXXVIl by Nic omede Music Co. IPRllmlD IN U.SA I THE CRESCENDO 13 Tenor Banjo (Unacco mpanied) Note: If too difficult, I to II may be omitted and m to IV Substituted. "Souvenir 112 14 THE CRES CENDO SUNSHINE FOREVER Copy ri ght MCMXIII by H.F. Odell& Co. . fl T he figu re 8 und O?ra note denot es the sub-bass string on Har p Guita r T H E C R ESC ENDO 15 MAI D OF KOLOA Wa ltz STEEL GUITAR SOLO .30 net WALTER BrRKE · A~~~~ . / Tempo di Valse I I l\foderato . ~ ~ ♦ ~ -'r~ ~ -&-Uxi·; 1 ¥ 1J.F~ 1 ~11:" Y: 1i· '"1 ·,, 1 = r -f.r r = JJJ r. · f •I • cresc. - ..f' f · r -=--- t · -r· ~..J.JJ t JJ JJJ ' JJ ~ JJ JJ ~ ~ ~~J f # . I I . I =' I=: IFf!======: I I r. I f f' f ''!/' • · . crm . f' " 5 B J # ; ' • J J ,._~ .J. ~ ~ J J ~.i .J~ ~ J .; ,-~ _:_n 1 f :1.f_!f l'•1 £f lt ~ rrI ~ I f · I I ~- ~ ® r· -. r· I f 1~/ r JrJ _J: J '; .J-, ~ .JJ ;1-.J.J ,1l"i _J. ~ Fine ~• 1··· 1iUiJ' f 1p ~1$~~; ft'l~_n I. p] # 12 Har.···················································-····· ··--, 7 Har ...... , f d t J r J IJ r J I J r J Izl .. I J r J I J r J I J r J I ,j .2J Copyri ght 192 1 by H .F.Odell 4.Co., Boston 16 THE . CRESCENDO THE CADENZA l\lARCH PIANO ACC. JAS . H . JOHNSTO NE F ine Pub. by Jas . H. John stonc 1 Kala mazoo, Mich. 1,t:1;r~:i:;:1;,~:1f:;:~J· 1Q:~:1~~:1:::1:~rt~ •r . CHdellu t D S. Tri o n! F'in P 18 THE CRESCENDO To lValtur Jac obs, Bust on ; Ma si;., Pub . o1 '· The Cudenza" Magazine Thi s Ma r ch rt1c1tived 1s_t Honorable Mention in the American Guild Mar ch Contest . "The Cadenza" l\lARCR 1s_t l\IANDOLIN ' JA S. H . JOHNS TONE Copyright MCMXVI by Ja11. H.Jobn stone 1 K ala~mzoo, Mi, h. January, 1929 THE CRESCENDO 19 Make 1929 Your Happiest a0d Most Suc,cessful Year The New ~ T one-.Master □ Th e new Gibson Tone al P·T DanJn Ma ster is a dcv_ice is different . Tu that must be seen and sa>• that it has sweet· tried to be fully apprcci · er voice anti greater \'Ol · atcd . No dcscripti ()n, no ma t• umc i s pullin g u midl y- 1t 1s ter how compl ete, wou ld tell the the kind of banjo you've drcamcJ story. At one stroke it double s of, but n~ played upon your ma stery of the banjo. Try it,.M yur local Gib • Sec it at your Gibso n 5 ~ n R·prcscntativcs Rcprcscntat i v c s Two or vritc us for o r w rit c d c t a i I s. d ir cc t. Amazing Development s th at will revise you r whole opinion of th e Banjo as A Music al In strum ent, every Teacher , Player and Stud ent should Investigate Cll3SON, INC. 5(1 Parsons St., Kabma:oo, Mich. Plco1scsen d me mforrnauon 0 11 thl' lll"V. G1bwn GIBSON, Inc . T one- Master the Roya l P-T- 1hc Free BanJO Book- rhc Free Gunar and Mandolin Book 5 11 Parsons Stre et Name I am a StrccL () Teacher Kalamazoo M ichigan ( ) Player State .._ l ) Studc,n PLK.UJ; ME-''TIOM THE CllKtiCENDO WHES WRITtNO TO 40VEltTIJiEHB 20 THE CRES CENDO January, 1929 ElectricAmplifier Developed for Fretted Instruments 50,000 Slogana Submitted Electrica l control nnd nmplification the tone of n bnnjo so that its volume in Conteat seems to be an important part in the could be increa sed according to the public's entertainmenfhtoday. We have siz~ of th e auditorium in which it was The slogan contest or the Music ] n heard the development of greater vol- to be played. Mills Self Instructor for the th e TENOR BANJO Imp roved Hamilt on WITJICUOllD8, BANJO DUETS . ETUDES, BCAL>:S, >~ n1 c. E. W mELllK Hamilton Comb ination All - &Pd pn,cUcal mel.boc1t.bat lucba70\l l0 pl&,J popu.lu mualo aDCt,llmln•«- much Lone Star lfdi-lU1d,Jl.ll4!lnrtlDL Pri ce 50 Cents Quick Chord Finder for the MUSICSTANDS BANJO bra s• tubin g wide shelves n, FRANK E. O'NEAL Thi cfflcltDt '-"Jo pl•,- of lOdu abolild ha 1blo pat ent ed lockin g device lOl'l•r•tsl&llt eltherpl&llOo r ballJoDUU.Wlth U,. tl4 ol th.I.I Chord '1Dller thl pl,,. ca n mu~ either pl111oarbanJo 111115IOQu.lcltlrand ICCII...... ,. hi I manner that wlll enabl1 him lO pl., them atsl1h1 . ask You r Dealer · Pri ce 50 Cents KRAUTH & BENNINGHOFEN PublU/ud b1 JACK MILLS, Inc. HAMIL T ON, OHI O 141 Wut HU. Street • New Tork, N. Y. l 'LEABI: IJX..'iTION TUI: en.a~ WJl lCN WRITING TO &Dn:RT181:BB Janu ary, 1929 THE CRESCEN DO 21 The Round Table The BANJO Joe Donovan The GUITAR Vahdah Olcott -Bick ror Men of Renown lrutrumental in Founding Johna Hopkin, , Univeraity Muaical Cluba The Johns Hopkins University Mu Of inter est to the fretted instrument SUCCESS sical Clubs of ~ryland, the oldest of player s is the fact that th ese in st ru the campus activities, w~ first or ments carry a prominen t part in the gan ized a~ lec club in 1883. Among music al program of the school. The se INMUSIC tho se instJ menta l in the founding of groups are personally conducted by this club , •ere the lat e President Conrad Gebelein of Baltimore, · Mary Success in musi c is easy -it is Woodrow Wilson, U~n a student of land. Mr. Gebelein is a ve rsa til e and merely the adding each week , political science ; Newton D. Baker, active teacher of fretted instrument s, eBch mont h, a littl e more know l Mr. Wilson's Secretary of War; Charles and the fact that he is the convention edge , a little more skill through H. Le\'ermore, winner of the Bok mana ge r of th e Am er ican Guild of prope rly directed st ud y and Peace Award; Arthur Yeage r, Ex Banjoist s, Mandolini sts and Guitarists training . Thou'sa~ds of good Governor of Porto Rico; nnd Albert for 1929 'to be held in Baltimore cer musicians a re standing still - Shaw, Editor of the Review of Re tifie s that his int eres ts lie na t ionally are "in a rut" - bec ause they views. as well as locally . have gone as far as their tr ain Such was th e beginning of a musical ing in music will permit. organization which ha s now expanded Is this you r case} If so, th en the until its membership embraces the F retied Enaemble Takes Part so luti on is a simp le and easy · Glee Club, the Banjo Club, Hawai ian in Radio Show one. Mo re money, greate r rec ~ pc, and the Blue Jay Orchestra. The Waddington Venet ian En se mble, ognition, high er positions are V \~it~n the pa st several years the mu- a popu lar organization from Hamilton ; ready an d _waiting for you , just sical season of the Unive rsity cove rs a as soon as you are t"eady for period of three month s, includin g ap Ontario, Cana l'LEASE WE?','TION TUE ~ WllEM' WDl'rlNQ TO ilVDTl.81CD8 Janu ary, 1929 THE CRESCENDO 28 figure that the tension required !or the The average player calls !or the string s to BANJO be a strong one-eighth inch above the Round last fret. This height depend s greatly upon the style o! the pla ye r; if he Table play s ea sily, without effort , the height woultl be the average or l ess, but not JOSEPH DONOVAN so low that the string will ra sp again st the top frets; but, if he is in the habit A11ociatt £ditor of forcing the string s, he wou ld ha,· e to ha,·e the height a trifle gr e~t er. want to take this oppor I tunity to say "hello" to Po sition of the Brid ge my ban j o fri ends through How is th e exact position of out the country. I sincerely th e bridge deter mined'! hope that I slmll be ab le to ANSWER serve you- as well as Mr. To find the exact flOSition for the Bradbury has done in the bridg e of any fretted in st rument the past. I'm willing to try rule is as follow s: my best, so, fr iend s, may Take the distanc e from th e nut to I hear from you ,ofte n. th e twelfth fr et , then mea sure off the same distan ce from th e twelfth fret to th e head or body · mark thi s position. Thi s d istanc e is t} e exact positi on of the bri dge and it !-hould be kept the re, oth ern·ise th e inst rum ent will play out numb ers and would like to ha ve of tune on every poi:;ition oth er than your opinion on th em. Could you th e open string s. nam some very effective a nd brilliant solos for stage or con Cleaning the Head cer t ? 2. I find th at in hot wea th er ANSWER a person's hands pers pire a nd The se solos mention ed by you a re cause a g rey s tain to the l eft on conside1·ed c1uite difficult number s to th~ h~ad. I have tri ed ar t-gum perform, arnl if you m e playing them hl-Jl ii does not give good result s. accurately , clean and up to· speed you ANS\VER are placing your 8clf amon l( the be ltc: t onstant rubbing on the head will, banjoi st.!I, and can feel ju ~tly proud of of ('0ur se. in tim e soil th e head. Art your accompli shment . Other bril liant g um is 1ct-ommen1led by the manufac and flashy solos for th e banjo are ture rs ir. d eanin g th e head, but if thi s "Nola, " publi shcil 1,y th e S:im Fox docs 110 1 help enoug h I might sugges t Music Publi s.heri,:; "P oet an ti Peas ant" u;,i •l'='an era ser of a hea\' ier natu re, To o,·er come thi s weakn ess of omit but do not use an y chemical s. U11ually ing the third finger and skipping o\·er o,"I hip of a 9ln, II Q'III .. eo11111,j.11111rlca'1 tanc,. 11 t. 1M mGll buuUtl&I 1Jo9kl 1. 1, , nd a. u .r.oncb. bot and allo hut 1ecblllc ~no,.,11 to 1•1• :, an:, and ud d9ctl" -panled ...ican media, thlt al110 loa. ha,i-bNDpgbll&Mdfor!MtellOf'baaJo Fun 1lumtnlal Prin cip/11 of Banj o Pfoyin g , 11 Ord er •I ODca and CLlll 111O D ""' l"olluor tlw _.._Ull: (l ■ ir.1!11ctl _,...... 1 ■ t11•C.t•C. I • Fh•~ • and J ' l eet nu■.. U bookl. &k uch. UJ>eTI i,rof-1oc>a b Ud IMch PL1!A.SE lil:!',"TIOS THE Clll :SC .."1, '1)(1, WIU:::f wnlTlNQ TO .u>Vl!BTISER 8 24 THE C ,RESCENDO J anuary, 1929 Banjo Round T able--Cont . ser's method ot using the nltemate Mandola Solo Through Station down-and -up stroke in changing from WHN , New York The Picks Shape one string to another is in my opin.iori 3. Some teach that a rounded the f?est system for acquiring speed Julia Greiner-Holdcroft , one of th e end pick should be used at the and smoothness in rnpid passages; but leading mandola soloists of the coun point of contact. I find that by - it will take long hours of practice to try, appeared in a radio program give n using a sharp pointed one I can perfect it. I ha ve had several pupils by the New York Y. W. C. A. of which produce f\O.t, only a better tone accustom themselves to this method she is director or fretted instrument but a s m6other tremolo. Please of stroke and piny all solos with the instnctions. give me yo't\, opinion. down-and-up stroke in rapid move- Mrs. Holderoft ha s been soloist at n ments whether crossing to a new number of Americun Guild convention s The shape of th e pick is mo re or st ring or not. T hen again 1 have fou nd and was the first to piny the Russian less a matt er of choice with players. it practica lly impossible to accomplish Balalaika at Carnegie min in 1911. Some prefer the sharp point and othe rs the sa me result with others. Jn that Her control in technique and expres the round end. J prefer one that i s case l have found it necessary to ad sion enables her to bring forth beauti slightly rounded but if, a.s you s.ny, here to th e rule "sta rt a new string ful renditions 011 an instrument which you are getting better resu lts from with the down strok e." In your case, is seldom heard in solos, the mandola. the pointed one, I would advise you if you feel that you have given the not to change . · Reser method plenty of time and 'prac- . tice and still lack speed, I should ad New Heads L. K.-Cambridge, Mass. vise you to follow the old rul e. 3. Is it advisable to have a The Stroke new head on the banjo after it . Is the rule "start a new ''Fill•ina" has been used a year or so? string with a down stroke " a 2. How can a stock of fill-ins . good o:1e to observe? Authorities be acquired? I pl ay tepor banjo It is advisable to change your banjo seem to differ on this point. Aft in a dance orchestra, and would head once a year so as to get the best er trying th e Harry Reser sys like to play more sing)e notes results from your banjo; especia lly if tem of picking for some time I than I do at present. it has been exposed to the differe nt am unab1e to deveJope much weather . conditions. A head thus ex speed, also when playi ng in mod The art of filling in can be acquired posed will gradually lose much of its vibration and become dull. erat e teinpo, Jack volume on the through 3 thorough knowletlge or the up stroke in changing from one intervals that go to make up chords strin g to another. \Vhich .is !·be most often used in tenor banjo pla y better method? ing. Then when you find the need to JAS. H. JOHNSTONE fill in, you could play arpeggio or llualol'ubllaber ' IU O1borne Slrttt • KalamallOO, Mlchll'&n In regard to your trouble ·~ith ihe broken chords on the int erva ls or not es PubliJhcr and Jobber of tlown-and-u p stroke and ,ncn IUld or the churds. '£hat woultl be the fir st where to use it, I must say tbat Re- step . Ho\.\--ever, Reser's Method of METHODS, FOLIOS AND Tenor Banjo 1'echnique and also Mc SHEET MUSIC ROACH -FRANKLAND ,~... Neil's Studies on Tenor Banjo Tech BANJO , MANDOLIN and GUITAR nique, Book Two, contain a lot or ud KINDHKD 1NSTUUJ.U'1 l'J.£A8r. llDi'TION THE CllEKCl:NDO Wit.EN WntTIXO TO .u>V101Tl8ED8 January, 1929 THE CRESCENDO 25 accompany othe r in struments, supply in larg e · part to the !act that it is The ing the desired and very necessa ry difficult to get piani sts who are ab le harmon y, but also may appear alone to adapt their playing to the more GUITAR without the aid or any other instru delicate guitar and who do not drown Round ment and st ill be comp lete . it out. Oft entimes a very fine pianist Table The guitar combine s beautifu lly with is guilty of ju st such errors, due to any or th e bowed in strument s, wit h lack of kTI.owledge or appreciat ion of VAHDAH any o.f the legitimate plectrnl instru the peculiar qualit ies of the guitar. OLCOlT ment s (and with some that arc not.!) Far heller never to use the two instru BICKFORD and yet needs no othe J instrum ent in ment s in combination unless the right A11ociaft order to sa tis factoril y{ pcrlorm some type or piani st can be secured-o ne Edito r of the finest cla ssics )in nil mu sical who under stand s an d appr eci:ites the lit erature . It is ju st.ifs comp lete in its delicate and more miniatur e quality of way as the piano, although not so th e g uitar, and who is able to make compreh Cnsive an instrument , but it is th e piano to a greater degr ee than is perfectly com11lete in th.at it can pla )" usually heard , sou nd more like a in any key and obtain foll and com st rin ged instrument and less like a plete harmony o[ all types, includ ing J>ercuss ion instrument. every chord kno wn, which comprises both treble and ba ss not es , and due to M. S.-Alariieda, California it s met hod of tuning and the way in Ove,tures fo, Guitar Solo which it is played with the finge rs, Will you kindl y give the names ma y pla y a melody, ns does the voice of a few overtures tha t are pub or violin, accompan)'i ng the sam e fully lished for guitar solo, if any, and richl y in itself . also th e arrang.ei-s and publi shers So it cannot in any se nse be saitl of same? that th e gu itar should have a piano accompanime nt, althou gh the two in Th ere are relat i,·cly few o,·crture s strume_pts c.ombine beautifully and arc arnilable for the guitar in their en most e ffecti ve when mu sic is properl y tirety. Overture s arc, of course, or ig i• writt en for the combination. Ther e m1lly written for an orche stra and arc a few ,·cry fine modent th ings for their. rendition on one solo instrument guitar solo with piano accompaniment. is 1~ suall y considered who lly s:it is Whi le th e old ma sters in a numb er of facl,ry b~ tho se who a,~ accu stom ed instan ces wrote some remarkably beau to l~arin'~~ th e different ,·oices nnd While the guitar is most effective tiful mu sic for guitar anc.l piano to tone ~tors of th e comp lete orchestrn wit h the piano, either when the piano ge ther, a large portion of it is out of for which they were origina lly scored. is playing nil accompaniment to a print and utt erly unobtainable, al Cont. page 28 properly .nr ranged ' guitar solo, or when though a few num hcr s :tre st ill to be the t wo instrument s ar c written for in had from Europe. The conductor of GU /T ,.I IUSTS ! A D( l!~t,.tru.1,Sun,rbe and Tru •uH •••It• 1·ou !n true iluct form, ns in Sonatas, etc., this depa rtme nt usually tries to in whe re cnc h instrument is able to show clude one solo or ,luct for pi:1110 and SPANISHAND MEXICAN off to its best advantage, yet, you are J.:'Uitar on most or her program s, be· ALBUMFOR GUITAR SOLO right in that the guitar is strictly a Tr • •~... ,lp ll on, or t.110 DH l<'llt fu orlt e. ncnr i,,,rore lievi ng the combinati on a most effcc u alla bk, rot su ltu, bf VAlll>AII OLCO'I"r III CA· solo instru ment and is complete in th'e one. One or the rea sons, no doubt, •-onn .• ,~1 orlit na\ 1,1...,.,,, br son. ACH' Al>U. ··•:mn :u . \' 1.'1., s. IJII QC,\ 1111101h~ .. . Jl '.~T Ol 'T I itselr, not requiri ng the accompani why th is combination is so seldom PI II C[ si.oo ment of nny other inst rument. heard, is not a lone due to the dearth Th e mandolin , violin, ,•iola, 'cello Alll.E~iCA'rtGi.iiT)tii"S"'O'C IETY o[ music for the comliina lion, but also 2280 Wot :!3rd St. • Loi An 1e lu . Calif . and the mamlola and mando-c ello, etc., ar c what is known as "mc lod)' instru Stnd for My J.i1J of ment s," an d require the accompani 200 i;:ompo1 iti on1 and arra n geme n la GUITARISTS!~."o.~ ",.,:~r~·: !~1i1:: ment of another insll'ument , such as Lbe bt,,t • orb v( t he 1ru1 ma•t tn which ,,. fo, HAWAIIANSTEEL GUITAR lncl11dffl In our ll>t or su.ltar .o !OI M.1ftlod br th e piano, the guitar or the harp, or !!oi1hocl• T. l°IPfl l, ' ""'"" ou ,ld tolo \11 ind ••II · UIC!d bf tetocllen e,rry 11her-. A COW'bl 1r1dtd fn,.., knolln rad io an1 11.-- ,h 1>t 11rJu • Mirr 10 Mr . at times even the organ, in order to eu1ftnt1TadepumbontodlmeultM U,,.,..d e•o•lt. 1'111111, lr ll him t bo tkl'f .. or d llllcullJ' 0/ thoo supp ly the necessar)' harmony. On the Tm l "1'otlte IGGP llhh lletl au!tar 1coom1oanhue111. pl- whl~h 1·ou • ·lah. Iii • muolchll>b l~ au.I 1•1ru for 1111111110 Orcbenn. con>LHlftll of .....,oo 1hll llJ' to i,lo.y all t bae •u r b h1b hl "' fullJ' other hand, the guitar is a complete nee.I .,.,Jln. ltlPdnd ru!tar. ulruldt-. mo DdOUP 1ml com1>ftr nt touol•t1011Lnm ald 11110urtel....Uona. S,nd for catolol, TIII S 110STll'S S l'EC JAJ,- instrument in itself, like the piano, the pl1o110.can be pro,;ured tot many ol lh fM numbo n . 1..d Soui,ln Valw. 60c : Le l>u 1M dte Naladte. ~ . llolh numben ,,. br l'u-ru ind .,. t•o 11>1 harp and the organ, and such instru J. D. SCHUR~IANN the ma.;1 ~•ut1ruL and cll'tcth • svtt u tolOI ot mffll11md1mcullJ'th1t-.rre,.e?U<1wrL11en. ment s are called "harmony instru I OlD 17th S t ree t • DenHr 0 Co lq, ment s," fol' the se in strument s may HAWAIIANGUITARISTS! !i'..:Z'::: publlNtl oo of 1'be J'uor!te Co15-lca ol ll a.,.11!an IIE~t1 NiEN Attention Hawaiian Guitarists I z SPANISHALBUMS Guitar SolOI wit.II bd 11>1!:!rd pan.I tod, llh. • • Vol 1-is oom111et,aoloa- ll0c 11111. an re,,cl11111n.ewotdetlandron.ratul1tor,JtUtrw . JUST OUT \'ol. II - ll oomi, I~ IGlol - 00,C, - One 11rlt• u folloln: •· ... I U'led I.hi tolo paru Contalol.blbellt•orbo fl.blll:lOllfl lllOUl81>1n.llb Uot oil' thl p,-: De'lt ll 1ow1o\11nOULUt Numben lmnu:dl11 ct,cu.,_IP1or,- 0urb0otaodlhou11>t t wrlt•re. S\IC:h aa, AOUADO. AIICAS, BIIOCA, SOIi. A. RODELL VIN AS. l:&cb IOIO If purd1&1ed oe111tatel, co,;u 11><1tti,rwe11ted tbeacmaol11trf«L1011un,1ardt B1 HN I 111!tar mllllC, bu ( Lt ... toftu pla:,lftll tlle JIONOLULU LA.ND •••••••••• 11..,, Quit. Aoi.i. .IO 110c,1on,,I~ WeanU,,rd o,.o llert111,011mo,. than ,.Orth mUIJc In each roluPII tot oA!r numbon aa lt LOI lhll I l\lll, rMllaed Jun bow ROYAL IL\WAIUN MA!leU ·• •• •• .JG p ot rubllm• the •rr • naemenu ,.,.., . su~· r SAlD. lklld 90t:.n...b0ob ... , 1ruo lrl.blpraauul abouh l HAJtCll MU.ITAIR1': ••• " •• .,0 ,-ourorde rnow. bf lo tb• Ubnl'J' o( c"'3' l\lltaNI. WIUT E U8 l' RISCILLA W.u.TZ • • • • • • • • •• •• .SO 0 AU.nctln nu.m~dtoa.l for llttoll, ICOIKl9ft a.ad. l"Olt CATA.LOO ,l l-181'8 Oto' 1.IUl:llC ll'i \ 0UII ThrM,put1c:om plete ll. OO.C..111.d.a $l .!O. bro&dea&IJDI, lnltnlct1nt0111tud..nta. l'A\'OIUTE COI.I.l'Ol:lEll. &endll01HFOnkratStam 111. !iESSINA MUSIC co. COLUMBIA MUSIC CO . RODELL MUSIC CO. l41'1Sl Dlf,Olltor, or 011!!arIIUll c lo u. s. A. 122 1 Connec tle~t Ann111 • W11llln1ton, 0. C. U S Pl eaaant St reet • New Be dford , Mue. JUI 114th StrNt • DrooklJ'n, N, Y. !'LEAS£ ).IJ:l\'TJON TU£ CIIF.SCt:N'OO WIIE.'f WlllTtNO TO ADTEIIT l8ERS I ,./ 26 THE CRESCENDO January , 1929 D. R.P. H. A. S.-Co lorado The Metronome Will Help. En.emble Suggestion Please an swer through The I am trying to organize a man Crescendo . I cannot seem to leam dolin club but cannot find mBlly time, wiU a metronome help? mandolin playe rs. So far I have Some tell me yes, others no. succeeded in int eres ting the fol Please let me have your an swer. lowing player s: three mandolin , U you will begin \'ery slowly and seven ltanjo (tenor) , one banjo practice very simple exercises with a (five string), two violins, one metr onome your time will improve per clarinet and piano and possibly ceptib ly. drum s. Can I do anything with Metronom es, however, were not built such a combination . to leach tim e, but ra th er to help stu dents to keep tim e nccurntely. Your que stion is so mewhat difficult Persona lly I believe that an hour of to answer. tr your pla}•ers are mere Continued clearly expluin ed study on time with n ly interested cuimally und play without good teac her o( fundam ental mu sic is seliou s purpo se !luch a combination ry wns re.nlly superb . Ir my memory might pa ss n plcasn nt even ing o nce a serves me correct ly, the picks Inst . wort h mor e th an a month or study with n dozen metronomes . week socially . As a musical organ i:rn manu!nctured were reinforced by n tion eit her for classic or popular small pie ce o[ tortoise shell glued to R. K- Illinois work it is rnther unhappily balanced. the center of the p ick o n each side. The poor littl e mando lin s, lor exam ~ served as n thumb grip and also The "Plectrio" Can you tell us anythin g about ple, might just as weU not be. With \-..// gave more sta bility . the original "Plectr io" who they . out the mandolins it ha s some poss i were, what th ey played, etc. bilities as a nucleus for a good snn pp y W. S.-New York The P lect rio as the name indicates banjo ba nd. Under the cin:umstances Abt Publications ,~·as a trio o( plectr nlists, active some my suggestio n would be to int erest I nm a steady reade .r of Th e fifteen years ago. The in strumenta your mandolin players in mnndolin Crescendo and especially the tion cons isted of mandolin, mando banjos .a nti go in for nn nil banjo Mandolinisls' Round Table. I find cello and piano ; or mnndolin, mnndola teamr it very -intere sti ng and instruc nnd mando-ce llo. The players were B. L. D.-Massac husetts tive. Could you please inform m e Zarh Myron Bickford , the lat e F. Lan dry Berthou d and William Edward Mandocellists ~~~~~!!d/~~er~ol¥m~ti:b2:~:Foste r. Mr. Bickfo rd, plays both the I ha ve been playing the man any of the Valentine Alt mu~';ic? mandolin · and piano. Ah the play ers do-cello for about a Year and a The Valenti ne Abt publit at ion~ can being of nationa l reputation the or half (played violin two years be J>rocured from Wa lter facobs, ·,J20 gani :r.ntion was exceeding ly success ful previou sly) and I hav e apparent Boylsto n Street, Boston, MSlss. aml of th e high est order. Th eir selec ly exhausted every solo published tion s were mainly tri oMof the musters. for the insh'ument. I enclose list MANDOLIN Mlii{H'.,_ Would that another orga ni:r.alion of and if you know of any so los I Build '!J? your music library ,·m•,. the like ca libre were with us today. have not u sed, will appreciate works of 1uch prominent composers as: their names in your Crescendo ARIENZO, CAMBRIA , CALACE, column. CHRISTOFARO , ACLIOUNI , LA UCll CA."'IZOS&T'l'A • I LA DY.LU: QIIF.QIJI: I wish all of our problem s were as SCALA , LEONARDI, MARUCEW, 'Ot.KA JU : LL>:."'IIC llAUC II MUNIER, ete., et c. u1u:ou1: JOIIASSA WALTZ easily so lved. Lcnm the bass clef, AOSou: TA.•iOO Oltl::QUY. Wrli.. for our ■ pedal 11.ttoflmperted mu.le i l\lr, D, and you' ll find n library that is , lh•d •lln D•et lS. MESSINA MUSIC CO. simp ly inexhaustib le, an d so worth Lar.- o.i,c.lU.,, Ill U&adoUn l l1111h1111 0. 8. A. PERI CLES VOULTSOS :Un Shb Strnt - Br90lcbn, N, Y. 57' Teudal• PL • Dnnu:, N. Y. whi le. N EW. SNAP PY , CII ARA.CTER IST lC READY --- Grta ltr T /,a,r Ec1tr.' TENOR BANJO SOLOS Morris Modem Method H br'Ol,dcuted br Sch .. b and 1111 DlnJo no,,. DIRECT from 1hrul!i.Uon W it' , l'hlladtlpb11, 1'1. for TENOR BANJO 8M1(l1t ,t Sl l•1 with Prl o.. IIJIIII ll tUlfl t AU FeatuN'. IICll 111d NonllJ' 1•1111nr. Dtua. Jiu , A,....1n11nomplet•nm.Nd.clJUoaol 1aUJ1 •18• llrHll!t . Etidlft&I, Dirlff Su l• - }~.,. l'haM of date methnd. l 'Olltlftl:, abon a IM'lf ldte In and· PARIS )l0 l'LEASE II E."'TION TH E CRJ:BCENOO WUY.N WIIITIJi'O TO il>VDT18EU January, 1929 · THE CRESCENDO 27 futur ist ic compil cmenl !I of strang e chord s and modulation s which depart ------"I fr om a ll good Corm and accep ted lines. The ob\'erse side of this record is u..O TALKS wort h the pric e of the two si1lc1<1 it being the beaut iful Tr emolo Stud) ' hr GUILD Ta rrcnga. In thi s Sego\'ia again dis plays his ,,irtuo s.ily, but at the same Itim es proves, contrary to Deems Tay- I WA~TER KAYE BAUER PtJDLlC!TY DIRE' R lor , that th ere arc Am erica n guitarists • who com par e ,·cry fa\'orab ly with him. 01 that a s· far !15thc y-<'"erc conce rned M:r. Ta ylor, in the J uly issue of P :r°:i~ ~~~ tfo~~~ s :ur:e~~~ e ,:~~:: ther e wa s no fee ling of pr ejudic e or McCa ll's i\1:1.gazine made a ra.~h stat e keep s an organizati on of any kind contempt for fretted instruments. They, ment to th e effect that no Amc ricnn down more than any ot her c ur se thnt like t he publishel's who have bcc11 g uitari sts li:i\·c yet been disco,·ered I know of. stun g re peatedly (and some of th e who could compare ra ,·ora bly with the Ethic s in all prof ess ions C. J . R. Vicksburg, Miss. Schumannand the Guitar I have heard somewhere that ~ = ..,..,...--Schumann wrote for th e gui tar but have never been able to find THE GUITAR any literature or reference to the matter and wonder if his name However, there are a few overtures may have been erroneou sly given that are available for the guita r and my informant in place of some of if not wholly satia!actory in their en the other great maste rs like tirety, due to the above fact, they are Schubert whom I have read so good technical studies nncl afford the much about in your wonderful guitarist an opportunity of becomin,g biography sketch in your ' 'Schu• acquainted with the literature in this bert Album fo r Guitar." I will 1ine so that they are more enjoyed appreciate an y i nformation you when heard by an entire orchestra. I may give me on this subject . would refer you to the answer to R.,J. ANSWE R McC., Humburg, Pa., in this issue, for Schumann, the great composer and one gOOO overture, beautifully a r pianist, wrote for guitar s in one of his ranged. symphonies, but when it came time for Other overtures for the guitar , and the performance there were not enough perhaps the outstanding ones, are the guitars available to give the desired "Semirnmlde'" overt ure of Rossini, aa effect so the parts were taken by other arranged by the great master, Mauro instruments and have been so done Giuliani, and the "Poet 8.nd Peasant'' since that time. NevertheJeas, we have · overture, which was arranged by An the satisfaction of knowing that the tonio Barber in his edition of the Car great master was aware of the beau cassi Method for Guitar, published by tiei; of the guitar and of its place in G. Schirmer. The Giuliani number , symphonic mu sic and that he desired however, is at the present time out of to u se these effects and this charming print, I believe. color in one of his great works and - ---- was only pre vented from having his c. F. J.-O neonta, N. Y. wish perpetuated in this regard ·by the Delightfully Simpl e ·: -; "When the Swallows scarcity of guitar players! \ Homeward Fly" A. T. B.--S an Diego, Calif. Simply Dc\i.ghtfiall Can you inform me if ther e is \ , an arra ngement fo r guita r solo Haydn and the Guitar Th e joy of playing the Ha',;, lo ~ged of th at beautiful old son g by Can you give me any informa for ~1' m any is now with ii,, the Fran z Abt, of "When the Swal• tion on Ha ydn and th e guitar? ruch of all Jows Homeward Fly," and if so, Did he pla y it? Did he ever use by whom arran ged and where it in hi s writings? Th e O ark H arp, ■ wed and r etionant published? .of tone and e .. y to learn , co ■ ltl ANSWER Haydn himself played the guitar only There is a superb transcription -of and wrot.e for it in his celebrated "Toy this •lov ely old song for guitar solo by Symphony." Thia work hu been given the old Hungarian guitar master, J . by most of the leading symphonic or s150 .oo K. Mertz. It wa s origina lly published ganizations Jn the world. The writ.er CLAIIK M USIC CO, abroad but may now be obtained in had the pleasure of playing it with the Los Angele s Symphony Orchestra some ~Ckn,Prm.S.,. this country, f,om the catalogue of years ago at one of their Christmas flt 8Ntla laU aa Stnee - 87n.nM , N. T. Oliver Ditson Company, Boston, Maas., I bel.ieve. It suits the guita r beauti concerts . A number of Haydn's works fully and should be in the library of are very suitable f or the guitar, even every guitarist. though not originally written in that -- --- form. On~ of his minuets wa s on the NOTICE!~-:-=c::.~': A. S. 0.--Sa n Franc isco, Calif. programs of Segovia at most all l;f his dNlln • OOPI• - _,14. BKU.INO ORZA.'l'- concerts in his first American tour. ~ Ma,- Brl.n.l Me TOii •• ••• ••• ••• ,40 ~ f/1 RIXIOluhl 8bon ,fO "Traumerie" by Schumann The style of music of that day in many .... n • ...uulhld ...... • I have been told that 1Mi.TOll8~lllne ...... fO you have instances ada pts itself very beautifu lly 0uradn.Mld8tet10a.ltarCOunet.-cbll,VU made an arran gement for guitar to the guitar. pOpUl.armualo.--oetcle&W.. solo of Schumann 's Traumerie " ALOHA LAND PUB L CO. but h ue no I ll S. B:-ten, Tu.I.a, Okla. t been able to find it. :-- The FffR1TE PICK- Will you kindl y tell me where it C'""-1 .. •~ • 9lar IU'loJ) Mid is published th at I may obtain ,_. JUJUO. ,,_ sa me? ,. .,... U-· AN SWER ....,.~ dudaa 1119 - The writer's nrrangemer\t for guitar "'-11.Ddar • solo of "Trau merie" by Schumann is d-.l&JTIUM1-n.--.....,.'>'!:':':;= II-. ,a ,c1 .... PII P AIII published by Carl Fischer, New York .&talla11doal__,..__UldJoblaa• c,,,tJNY pVB U $ H E R. OUR R EFER.ENCE r-..1 ...._. WRIT"£ FOR P R. I CES...... , -.. - City, It may also be obtained from BAIIOLD ORTH, Mfr . -t40..-Jl •'.ll ·U14-iitl:Bil•JCf•l141The Crescendo. ll H a.-ltntt • a.•-.---. Th, CRESCENDO JLibe J'!,appp Wires J}eltl !}ear Frank 1~ Buckin gham Joe Nicomede Tuzrl lt'r-A rrt1n9er .l/ 111111/arl 11rrr- P11blisl,tr 1116 So. 3 1, t St., O maha, Neb r. Altoona, P11. W illiam J. Smith Claude C. Rowden Pu hlishrr '/' e11rher- P11Mislu r 254 W. 3 1,t St., New Yo rk 1 S9 :-;_ Suue St .. C hicago, Ill. Stellario Cambria J . D. Schurmann Messina Al usic Company '/'1 'll1 lier- P11bli1hcr 245 I 84th St .. Brooklyn, N. Y. 10 10 11th St., Denver, Co lo. Th omas Nassi IIPROFESSIONAL CARDSII Wm. Ed. Foster ,011)1£1\ •:U ITOII OP' TII• : Cllt:SCE.'ffi0 11$1.00 Monthly - $10 .00 Yearly II T ent htr Ttt1(h tr of Frt tUd /nstr um t n/1 I ,I Harmony Dri ve, Larc hmont Kno lla 38 Glenwood St. , Broc kton, MnH. 1 Geor ge Stannard George C. Krick Frank C. Bradbury /Jublirhrr CONDUl.'TOlt o•· IIANJOI STS JIOtr.m TABU: Tr arhrr- Diru tr,r Banjoist 12 1 So. Warr en St .. Tr e nt on, N. J. 123 \V. Chchen Ave., Philad elphia. P,. 54 Chur ch St., H artford , Conn. 1 C. A. Templeman Va lent ine Abt William Place, J;_ T£l ll'Lt:llA!'/ SCIIOOL OF ltU SIC / D mfrr, T rat her- D tnftr cosoocron o•· IIA.NDOLIN ISTll ROUNI> TA.Ill.¥. 'xth Ave., Pittabu ri;c. Po. Man dolinis t-Compou r Capi tol Bldg., Sioux Ci ty. Iowa 120 Empi re St., P rovidence, R. I. Jacob Vo llmar ill D. Moyer ncher and Comparer Vahdah Olcott-Bickford P11bfo lu r Front St., Harri sb ur g, Pa. CO!IIDIJCTOII 01' OU ITAIU STS 1101,JND T/JILS Pine Grove Ave .. Roc hester , N. Y. Guita ri,t-Compour Per icles Vo ult sos iseppe Pettin e 2280 W. 23rd St., Los Angele1, Calif. .r-Compour-Dtafer T rruher , r:omf>our, H11hlisl,rr Bldg., P rovi den ce , R. I. Vio let Pear l Christman >70 T eas dal e Pl ., Br onx. J\'.. Y. Tea cher, Dir rr lor of S 11·i119Enumhlu lice C. Broughton 20 14 N. 19th St ., Phil ad~p hia, ~ A. J. We idt Guitar, Mar1 doli11, fla r'mony T uzrlur - Compour u l~ t:.:....Loa Angeles. Calif. Chas. H. O'Donne ll Belford, N. J. School for Banj o, M,m ,lolin and Guitar Carl Ts chopp New Haven, Co nn . ll. Wm. M. Rice n; m•u : l::-;1n :mn rr ~IUS IC SCIIOOL ~y _cmusn u s TO AU.. STIUNO TJCKLl:88' /)ir u tor. ll nrt,nrrl 11/ 11Si,nl Cl ubs Chit/ , F,·,-11.-d/ 111trumr11t /11sti1utr Fr ederick Ba con 12 70 Man . Ave ., Cambrid11:e, Mau . S 125 N. 10th St .• Phil addphia~ President, /Jacon B,mj o C ompany Wm. S. Coleman _ ___ Gr ~ , Conn. A. Rodell T rnr her- O enlrr Frrtt rd Instrum ent Tra rhrr 1 Albert Bellson 468 Pl ea11rnl St.. :\i,w Uedf~. i\la u .. 2 45 l Knapp Ave .• !\1idd\et own, N. Y. x T M chtr-Compour A. C. Brockmeyer J ess ie E. Sauers 328 Bremer Arcad e, St. Paul, Min'n. Crrs,, ·r,t .1/ usi,· (.'ompm,J Tr nrhr,· of Brmjo. ,1/ nndolin, Guitar Sophocles T. Papas ) 169 Delmar A ve., St. Louis, !\lo. ~ e rw oo d Ave. , Om11hu. Ne br. ll. Tta chu-Compos tr Wa lter T. Holt COl,UlllllA MUS IC COIU'A.NT Alma Nash 122 1 Conn. Ave. , Wa1hington, 0. C. T etu her- /)u, /er T ea, l,rr J 110 Brook lyn Ave., Kanaa s Ci ty, Mo. I BOI Co lum bia Rd .. Waahin ~ton, D. C. THIS SPACE William Foden Wm . 8. Griffith OP EN Tuuh er and Composer President of .·l mrr i,m, Griilrl Roc helle Park, N. J. 65 0 Bonn ,·enlu re ,-\,·e .. ,-\ tla nta , Ga . James J. Johnston e T Mchtr-Compour H a rdin g Music Studios TH IS SPACE 934 Oab ~ e St., Kalamaz oo, Mich. 11'1.Ad elaidr f-lardi11g, /) ir~rtnr OPEN S7 W. 75th St. , Ne w York, N. Y. x Don Santos-V eda Sant os Conrad Gebelein SANTOS H118 1C 8TUDl09 Juli a Greiner-Ho ldcroft A meriam Guild Cot1l't'11tion 11/ gr. Ttaclurs-Publisht r, Dirutor of Music, Nrw l' or.i Y. W. C.. 4. )50 Orleana St., Rochea ter. N. Y. 227 S. ~oahu lu P'way N .. New York C. 204 W. Franklin St., Baltimo re. Md. - - Ric hard A. Sc~ Stephen St. John Joe Consentino SrhuJ(lb's Studio T uzchtr-Dir ertor T eacher of Fr rt tetl l11stnuru11ts J ) 8,A Newbury St., Lawr ence, !\-Ian. 1503 N. >7th St,, Philadelphia, Pa . 638 Hamilton St., Sc henectady, N. Y. William C. Stahl Th os. J, Armstrong Mr. Jos. Pizzitola Publish t r 212 I Midd le City Station Pir:zi!oln il/ usir Studi os 133 2nd St. , Milwaukee, Wia. Philadelphia, Pa. Victo r Bldg., Holyoke, Mau. P!.IAJI Mll'fTION Tiu CRESCENDO WHIN WlllTIN C TO ADVH TUUS Th, CRESCENDO NC: E The Nelli, w PROFESSIONAL VEGAPHONE • ' s1so·oo complete with imitation alligator plush lined case HE l atest attraction in Banjos! A go lden simulated pearl resonator wa ll, trimmed in white, in contrast with ni ckel Ranges a nd ho ops , rich and flashy; fingerbo a rd nnd peg T head elaborately i nlaid with hand engraved pe a rl de sign s, in ,genuine ebony; re so nator back of beautifully shaded finish cu rly maple in an eigh t sectional design, made durabl e with five laminations-in every way it i s the banjo fe ature o f today . Flashy , sma rt , ar ti stic and everything th a t tend s to display your own versa tility on the banjo. g Y ct, looks hi only a part of the new Profe ssio nal Ve ga phone ' s attractiveness . \Vhat is inside the banjo tell s th e story of its a mazing durability a nd beautiful tone quality. The main body or rim has seve n laminati ons of selected woods to assure absolute rigidness Guitars<--. about which ia built this masterly banjo . The T ub ap hone T one Tube Todn y , w e n re r ca li:ting mo re is ft patented feature which support s the he a d, devel oping that than ever n new tr en d and • new popu lari ty of Guitar._ characteristic Vega tone qu ality that has made 'Veg a Banjos the Espec ia lly 10 wi th Ve ga Gui Artists' Choice. Cj Write today for catn log l- an d as k for further tanl Vega Guiton ha ve an undi,put ed 1up remn cy in Gui• details on this 11ew Professional Ve gap hone and what is inside or tar Cra ft1man 1hip and the how it is made . numerou, mode l, in whi ch they are a vailabl e make th em grea t ly in dema nd . tJ Fo r ezamp le, th e Vega A rch ed T op a nd Back Mod el- a Gu ita r bui lt a1 cz• acting a1 th e v iolin, o f th e O ld Mute r,. Th e tit le o f th e model d e1c r ibe ■ it, dc,ig n , nrc h ed top and back. Beautifully fini1h ed 165 Columbus Avenu ~ 8 Mass. and i n laid with dc1ign1. • 1 1, ~ Cet further detail,, now! PU Ast MU.'TI ON •Ti u CRESCENDO WH!N ~ITUJ C TO ADVH TistiU