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Vol. XX Ill SEPTEMBER, 19 30 T He FRET J ©c1e 8!, GSS Vol. XX Ill SEPTEMBER, 19 30 No. T he FRET J"ED ROB ERT I.. SII.\ RP I i\ TII IS IS:-il"!o ' ·T 11E S E\\' Ek .\ OF l '.\'STIH ' \ 11·'.'.\'T.\T IO'.\''' - T he Edit or PUBllaHtO BY WAlTUI KA.YI 8AUIEII , U2 ASYL U M 1n11:n. HA IITFOIIO , CONN, 20 Cent• Per Copy COPYII IGHT lt2~ ALL fllGH TI IIHUIVIE O $2 .00 Per Year u•TllllO ,U 91:CONO CLAN MATTI• JUNI . .... ,., THI P'OIT OHIC I: AT ■ DITON . II AUACHUIUTI , UNO [II .\CT or 111,U CH I. 1171 LI _ PTl•tM I• U ... A. Till ·CRESCENDO The TeachingSeason Is Here. Are You Prepared? How about yOur methods, Mr. Teacher? Do they give you the results so essent ial towards the development of a bigger business? Stahl methods give firm techni~ue and real founda­ tion. Interesting exercises, ~d tuneful examples all correctly graded ar,e some of the reasons why Stahl methods have been the choice of the best teachers for years. MANDOLIN METHOD Jin-three books) BANJO METHOD (YNOTATION (in one book) GUITAR METHOD (in one book) TENOR BANJO "METHOD (in two booka) PLECTRUM BANJO METHOD (in one book) HAWAIIAN GT,!ITAR METHOD (in two books) Price $1.25 per book except Hawaiian Guitar Method which is $1.00_per book. We lead the field with all enormous cata logue of sheet music and collections for mandolin orchestra and banjo band. Every Stahl publication is the ~vork of the world's foremost composers and arrangers. Send for thematic catalogue and write us concerning your needs. WM. C. STAHL, 133Seco St.;Milwaukee, Wis. SMITH 'S The New TWO HUNDRED OID FAVORITES FOR TENOR BANJO "Sul tan a" A Veritable (Rt l"-V-8.Pat.O lf .) Treasure Chest of Mdody ABACON&DAY Selected and Arranged by THOS. ]. ARMSTRONG MASTERPIECE Thi, c:ollection i1 a musical "gold mine" for tho&e who love the tunu which have stood the teat of time, ~ and po11KUthe rare power o( touching the heart. Almost every conceivable topic ia included, such a.a the melodiu of Home Songs. Love Ballads, C.Ollege New booklet in four colors. A ll Dittiu, Sacred Songs, Hymns. Patriotic .Airs, together with a choice &election of Standard Pieces, Jig,, Reel1 Banjo Players and Dealers will Hornpipes and National Anthem1. Several medleys are effectively arranged, for concert want information about this work, and a section devoted co "Old Fiddler's C.Omer" will appeal to tho&e who adore the old dance tunes. New Creation. Send for it now. A few minutes' inspection of this remarkable book always convince• the examiner that he want.a it. ALSO PUBUSHED FOR MANDOLIN, SECOND MA.NDOUN, GUITAR ACC . AND PIANO ACCOMPAN IAIENT. The PRICB JI.DO BA. Bacon Banjo Co., Inc. WILLIAM J. SMI1H MUSIC CO. , INC., GROTON, CONN. 254-256 West 31st Street , New York, N. Y. Sf:P22 193d I °lr:SGThe PR!:ITED INSTRUMENT JOURN Ai, The New Era of ln•trumentation By THE EDITOR VER since the informal concert find in it th e following in strumenta­ String Choir by th e Hartfonl Plectro phon ic tion. First and second mandolin s, mnn­ E Orchestrn, during the Guild con­ First and second mandolin s, man­ <lolas, mando-ce llos, mando-ba sSes. vention in Providence, th e Edit.or has dolas, mando • cellos, mando - basses, Accompaniment Choir been rect!iving requ ests from man)' guitars . Tenor guitars , regu lar guitars , harp- mand olin orchestra leade rs and fret­ Occasio nally , flute , banjo obbligato guita r and harp. • ted instrum ent teachers, for an article (finger or plectrum) , drums, 'cello ob­ The tenor guitars being used to on th e Plectrop honic idea of instr u­ bligat o, an d piano . emph asize rhyt hm and fill in skele­ mentation, as the writer conceived it . Th e only resemb lance to a sym­ tonized chord s that would occur in the Our many friend s ha ve also wondered phonic unit, is the string choir of regula r guitar part s in flat key s, and why we hav e never made more public mandolin s, mando las , mando - cellos for high inversions and susta ined this n'ew idea of instrumentation, nnd a nd ma ndo-basees, 3.Jl of which are chords not access ible on the sta ndard our answer to • this is, that we have counte r-pa rts of the violin family. The guitar . Harp- guita r to augment. the been stri ving to improve upon our guitars furni sh the accompaniment bass and harp for specia l arpeggio original ideas, before making more · a nd the flute augments the first man­ effeds and br illiant scint illa tion. Reg­ convert s to the Plectrophonic cause. dolins, with an occasional lacy filiirr ce, ular guitars for conventional sty le of Let us first ana lyze the ortho dox while the lone banjo hop s back and accommpaniment a nd· to ·be used occa­ symphon y orchestra, and ascertain it s fort h between the mando-c,ellos and tionally in desi rabl e solo passages. instr umentation. We find in it, thre e guita rs in a so-ca lled "obb ligato" and Percuss ion Choir choirs of definite pitch, a nd one or th e 'cello grinds out a part that in Same as that or the regu lar sym ­ indefinite pitch, as follow s : most cases, hob-nobs with the mando ~ phon y orche st rn, with the addition o! Wood -Wind Choir bas11 and mando-cel\o. The piano and the vibrapho ne and other valuab le Piccolo, flutes, oboes, clarinet!!, bas­ drums aid in augmenting the rhythm percu ssion instrument s t.hat are con­ soons. Occasiona lly we find instru­ and accompaniment, the former neve r l'!tnnlly being introduc ed. ments or the oboe and clarinet famil y a sym phoni c instrument spoiling the A careful analy sis of the above plan such as th e Eng lish horn, basse t horn , genera l nuance of the ensemble. will readily show the read er the great bass clarin et and contra-ba ssoon. In our early experiments wit h man­ possib ilitie s of th e mandolin orchestra Brass Choir tc, dolin orch estras, we soon ar rived at in the plectrophonic sty le of instru­ Frenc h horn s, trumpet s, tr bones the conclusion th at delightful tonal mentat ion. Work s that ha, ·e been im­ and tuba. effect s, as v.-ell as great clas sic work s possib le to perform in the past, nre Str ing Choir were imposs ible with the sta ndard in­ now an open book to th e intelligent First and second violins, violas, 'cel­ stru mentation, aml hit u11on the fol­ conductor, and the composer with Yi­ los, bas ses, harp . lowing plan of inst rumentation, which sion and foresight ha s now an orches­ Percu88ion Choir hns worked out to our entire sat isfac­ tra of four choir s of definite pitch and Snare drum, bass drum , cymbals, tion : one or indefini te pitch to expe riment tympani, xylophone, bells, chimes, jin­ PLECTROPHONIC with . New and brilli ant tone colors. gles and various trap s. lN STRUl\tEN TAT ION gre ater volume, timbral contrast and It is a repre hensib le fact , of cour se, Wood -Wind Choir many other feat ure s are the re sult of that the tympani, bells and xylophon e Flutes, oboe (two in extre mely larg e thi s experiment, and while the writer are in struments of definite pit ch, but orchestras) clarinet s, ba ssoon, (two in .cannot expect every one to agree with ~heir limit ed use warra nts their classi­ la rge orchestra s ). him in thi s radica lly new plan , he fication in the indefinit e pitc h class. Banjo Choir neverth eless belie\"es that it is at least It will be nqhce d that , in each of Giving th e forte effects of the sym­ th e sta rt toward s the symphonization the three princi pal choir s noted, th ere phon ic brass choir . of th e plectra ! orche stra. are instrum ents of vario us pitch , such First and second te nor banjos (as It ha s bee n the plan of moirt. large as sopran o, alto, te nor and bass. Th e first and second trumpet s) , regu lar publi shing houses in th e past, to issue quality or ton e in each instrument is ba njo (as a substitute for th e horns). a mandolin orche str ation of a certain also differl nt and , in a like manner, Thi s to be play ed by a player who has composition aft er the regular orches­ the general timbr e ef each . choir is both th e fin~ r and plectrum sty les of tration hns been made. When the ar­ vastly different from the others. technique upcler control. Cello-banjo ra nger began his task of making th e Let us now analy ze t he so-c1dle,I (M trombone) , bass banjo (in l11rge mandolin orche stra tion, t.he first ma11- 11 sta ndard" mandolin orchestra. We cQmblnation s) as tuba. 0on 1bumf on Pa~,~ 2 T HE QRoESCENDO September, 1980 Lute•: Ye•terda, and Today By ALFRED W. ALVER ORE than passing interest at­ are unlikely to slight or ignore in lished with superb carved traceries taches to the surprising formal stringed instrument s with necks the and gut frets wound about t.he com­ M designation of "lutes" applied simple ruling distinction between parativey stout neck.
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