Vol. VIII AugUst, 1915 NO •. 2
10 cents per copy CoPY'IIGlIT ltlli IIY CIlUCIICND(i l'UH. Co. $1.00 per year All ri.htt re ..",," ENTIUUtD .u SCCOHO C ...... "ATTKIl J UN': 9. 11109, AT TII& l 'Of!T O""CE AT Bono"'. MAJIII .. UNOIIIIL A CT or MAIICH 3, 187'
......
Th . CRESCENDO
I:!l mEE:::3l...... ;"",,=m::::=sm~_ a:::::;a ==s:::;a_~ II UNIVERSAL SERIES OF I ffl Celebrated Music Books ~ W PRICE. 50 CENTS EACH W Jlor maay ,."a... a the,. b."' 11 Ilfl llt u udilllllnltld a wa,. ill the lnu .. le,,1 life o f tbl. country. Nell .. l)' tI"ery furm ul ~ iUIIICruwtlulnl aud vOCla . Dlulllie J. repreMen.ed • ~ • WilEN ORDEIUNG. ALWAYS MENTION UNI VEllSAL SERIES atld NUMBER
Tile dem,.. . d for Ihea., hnok. i . fl llor ..tI" •• , aud i. undoub tedly due 10 Ihl!! c:u lllllrltlulII"ive 1II., ltwliou of loaeerial SHNU IIOIl CON T Hf'II T H C ATALtJG WHITE-SMITH MUSIC PUBLISHING CO. BO STON : 62 Stanhope St. NEW YORK: 13 East 17th 8t. COICAGO : 316 So. Wabash Ave .
l@1§[!:I' ::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::~" I§(g)h 'ug§[!:U::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::~"I§@\ [Q] GOOD TEACHING PIECES IQ] FOR MANDOLIN. arr. bll ODELL These are a few especially good teaching pieces to start the season. All ~ tandard. All easy or medium. All interesting, All properly arranged, BAHCAROLLE ('I'ales o r HolTman) A LOVE CHAT WALTZ MOD ESTIE E~vG~~~tt~EIfI~Wk~~ ~&Nt a U!~e r ) ~?~~~~O lAVVEM~.~~ STA R h~I~~i?~ UbT,Y I.A CINQUA NTA1NE PH1 SON SONG cTro\,atun') DA NCE OJ CU PID CHESCENDO MA RCil ME'I'EO H MAl(CH TOASTM ASTER MA HCIl ROMANCI A LO V~:'S L IK E A ST A I< GOOD BYE THE LOS'!' CI-I ORD LAnco CA VA T1 NA L1Vlo': WUH: MARCil CA N'I'A S1\NE W A l.TZ Pll i-:NO M ENON MAH(;II Published for all Mandolin Combinations up to full Mandolin Orr.hf'tl tra ~ TEACllf:IlS. IDrite for our SPECI AL FALL qUA N TtT)' OFFEIl ~ l1!l SUBSCRIBE to ou" AN )'BODY E I'EIlY/JOnY Send for our New hauc I'Ja n which tells you how ttl olJwin ou r l1!l TSSUES new piecc!J for Hnly a few ccnL'I a ClJpy, lIundred" take Illlr lIew hilmes, You ClIIl get our new rrr rrrl!:!J NEW ~J piel'(' ~ as fasl lHI issued a t I:W'X,IIIT. \Vritc WI now, We have sume fintl piectol' cllming-out iiI/Un, l1!l SEN D ']'0 ODELl . f"r all)' ltIu ~i, .. I, uol. ,~ . ~ lrill g5 II r ill,.lrultll! lI '" a lh l 'rli ~cd in Ille Crcllc" I11I" , \\ e " 11 11 Itilt, )'''u 11 11' .. ;IUl J' --- ____ ,ij,,""IIUIIi ), "11 ",,,u],1 )(1' 1 frum IIII' 1'"lolil' ll c r" tor d o,:tle"" a ll li )'U II \\'lOuhllHt\l' ,,"I), ONE OIlDEH ONE SIIIl'MENT ONE I'A ""lENT H. F. Odell's 90 Page Book--The Mandolin Orchestra Tell5 . htl ul CYt'r), lhiu jf ""m"'I'Io',1 wilh II nUlllllolin IO r.'IaCl' lm, IIOIW I" r" nll, 1'0, .. 11 ... , " r pi a) ill ""c, r.,'ery I' la),'r" r tl'a,'IH" r IIce.I,Ij II,ill lHluk, '1'1", olily "lie l'uloli .. IIl"1. pUle ..: 50 " III, I'OSTI'AID,
S.lIl1l'l,· I:,t AI:Ulflollll P.trts, C .lt a l u ~8 1) 1 , .lriUII 8 I'ubll sll crs. In,11HlllIg Bve r 2000 .M ·t; & B plecc,,". LI!~ I oj o \ e r 200 Ode ll l.IrrulIgcm c lIl <;, 300 Our New Issue Pl:lIt 8cnl 10 'IIIr OIH'. ,lI1 ywhc r(' in tile worl tl FREE IQ] H. F. ODELL & CO., 165 Tremont Street, Boston, Mass. IQ] ~!91 u "§§U 11(Q]§u lug§! I'I. EA. S E M~~ NTION TilE CRESCENDO Wil EN WltlTING AII\' ~; KT I S EI t8 The CRESCENDO
VEGA INSTRUMENTS···Choice of Artists
~ E are Illcuecd 10 1:t;f presel!l Il picture of one of the Ji ve IIIU sical clubs of I he c~ Mr. F. F. Gatchell is also director o f the lIigh School Ptfu8ical Clulls; Y. W. C. A. Mandnlin
C. A. Musical Club unci
bas also Ill ude II great success in his work
8S T eache r and Di rcf'tor. (Q] The Vegll Inlitrul11 c lIls help lhelle (·luh9i 10 their M usicil l S uc'c ·e8~. -- -
~ SI'IlI NGFJELO. MASS. p, F', GAT('Hb'U... I lin!t: /ur
j'[J1lISS VIOLA Bl LI .US uf Me 'ritl"II. COil II .• a/'~iI'I1Hll pI. In W. C. Knipfer Hf lI artfurd ,11111 Mid.rlCItH\1I Illi s math· IIIUII )' fas l frie nds HII 1U'e '0 1l1l1 of till' . ~ pl c lldid n~s 1l1t 8 !O hc has n!J llli.H·d ill li lt' If·'lI' h ill1! of Ih,· Tri" i ll s trullu' n r.." B. M. & ( :, T Ilt' \ c;.!lt 11I .. lnllll,'nl .. 111''1'1 tll f' dl' lIulIlIls of Mi ,,!O 1111 1111 8 ill IU" T WIIT '- . ------
e. Let us send /IOU the No.5 " 'Voice o/Ihe Vrgu'· It Il Free and conlaim intereJting mallt!( to lite B. M. 6- G fralu
nity. Don '[ forget 10 halJe our laleJl calalogl. Ld· U5 knOll) what irutrument 'yoU pia)). Vega calalogl Ofe a jure guide 10 Musical Prruperity.
MISS VIOLA BULL US IIEtUI)£N, COI'lN. THE VEGA CO., 62 Sudbury St., Boston, Mass., . U. S. A.
V~(J /".trument. Gil Sale at JOHN WANA~IAKER , New York Ci ty GIUNNELL DROS .• Detroit. Mich. DENTON. COTTIEn & DA N IEL ~, UufTu!u. j\. Y. t.0;'~';~~p B:~N~~OI:u~~; b~,~glO I~'b~~~M,~~g ~ ~ 1~~~~~hTc.~~I,um~:oi,~)h;'A~~ ~~~~:~.~ I~L: :3~ il~'i:~:,I,~,';~: ~: :; :
PLEASE MItNTlON CRUCra'l OO WilEN WRITING AOVI!RTISEtl8 .. 2 Th. CRESCENDO ARE YOU MR. RILEY THAT H EEP S T H B H O T B L '
F VOU AilE, you know you can't do you know the efficienciell of Stahl instru- keep 8 hotel nowadays without your ments? .. battery or Banjos or Banjellurinci Everything from big Mllndo-BRsllell, wi th • or Mandolin-Banjos (or the Dance tbe volume nnd lKI norityof Bas. Viols, plu. Orchestra and Cubllret. You know you can't LIFE: Mundo-Celloll and Mandolall WhOIlA run n "movies" without the self-same bat tone, with its a ll sufliciency, mold.!! the Oc t ery. You know that Young America can't cident and the Orient- recalls Old Madrid. ye t lungo to anything half 80 well a8 to the has a t inct of Cello tweetnefl.!! thut is clmrm· vibrant head tones of the Banjo family. ing; Tenor-Mandolas and Mandolins of CIBlllic There mlly be no connection betwee n the Neapolitan or Flat Briti!! h model-both stylel! t wo, but 88 the booze industry dwindles, one IJOlsessi ng the vim. III)lukle, volume and Sltt.tc after another going "dry" , depriving carrying power to move multitude!! in 11010 or folka or the artificial stimulus of intoxic.anta, ensemble per formance. the Plectrum Instruments get more and more And in Guitars, Harp-GuitarM, Hawiian populnr. Guit8rli, Ukulelel, and in all typel of Blinjo, There', no other instrument can put the we're ready to outfit your individ ual JlUpUli. lifc, vim, ginger nnd go into a person-or a the triol, quartettel, lextetlel, clubs of crowd of perKIns-like a Pleetrum InatrumenL orchestras you organize-and at a profit to The IIge of aLeel we nre now living in can't you. draw instrumentation or inspiration from cat For profi t, for holding your clll8SeK together, gut or IIhee,.·gut. for every lIrtilltic lind good bUllinetl renson, AND MR. or MISS TEACHER. - You you ought to get the Stahl proposition. DrOI) II line, enciolling clrd, and we'll ditculII things with you.
CARl. PISCIIER. d CooP" Sq •• N... York Cit, Killd l, M.d Na ... I"IIIH ewh •• nu. ••• 111 f.rlh.,notlft, at a dl_ •• I.r w;t.tr.i., alT.d,oe:k" Xa. f.llow., (All paru I. bolh N.tall•••• ...... MAND. CLUB. of ...... ht Mud ...... leI Mand...... U Mud ...... do.-C.1l0 ...... d • .• U...... O'.J • ...... C.I. Ace...... PI • • Ace...... 8 1reel, • ...... Stote.
WATC II Till S SrACE t:ACB MONTH PR.ICE SCIIEDUI.E or "AND. ORCII. MUSIC rlucu-t.,tt" a tar Iltlt.. kl..,,, A 8 C JULY NEW ISSUES OUR NEW ISSUE PLAN ht M."doll...... FOR ltIA'NDO LI N ORCHESTRA bel M.aol.li. C.ltar .ce. u eh ' . • 11 .,. .• '1'41 ....01.11 •• Octa.. ~ "and.t•• CRAND)CA (C"'I.aUIPrc:hlll-Dn-a •• of THer Xudol_, M.. oI •• C.d le V.llth.) La""~,..W~" ...... A IT 'S THE TALK a M.. oIo·o." ( ..Ill _tolJeu) ...rh ...... 11 .U .:as ONE WONDERPUL NIGUT. Wallaa• . · J>I.t ... CeIl •••• d Replar Orchp· JlNlu. Tl'CGhft ...... A OF THE MANDOLIN WORLD t,a Put...... II.h_ . . .15 .21 .11 !.Atler .h~r tltlolndlcalM price•• IN ec:hedule PI.n.Ift...... 15 ... hlIllCOUNT. I.' npp NE W JfA NDOL I N CLUB PUBLICA TIONS
IT 18 FOR YOUR OWN INTERaT TO MENTION CRESCENDO WHEN WlllTINC ADVERTlSl:Il8 JUl 29191b
©a.R3:l7 (i71
DEVOTED TO THE lNTERFSTS OF
The MANDOLI ORCHESTRA The Mandolin, Guitar and Banjo
AND KINDRED INSTRUMENTS
VOL. VIII. BOSTOH. A UGUST, 1916. No.2
THE ELITE MANDOLIN ORCIIESTRA (Whittier, <:'1.) Charles R. Chaney. Director
Till ••r ..... Ir • • ••••••• 1.... I. 1914. T ... . lfle-r •• '. au •• nil ... LI."'."e .. , P,•• , •••• • M ••• e ..... H. C ..... ,.. "· ,,,.. P .... ' •• n .. 'U,lrl.,. M ...... 840. ' •••.'7 1 M' •• v .... Pd•• II,., T ...... n B . If. U ••• rle .... Lilt ... , •••. Till. I ••'r .... n lall.al. 11 .... 11 •• ' .a .. ".II"., . Is •• _ ••••••• U •• , 1.. _ ...... 1 •• , •••••••••".11 •• , • • • _It. , •••••1 ••• • Till • • re...... Ia .. & •••I' ••••••••••• fa .. I ...... , ...... T . II. C. A .·• • ...... , ...... _1 ...... tl .• •••• ,.1••• • t ... A .....l "I...... 811 .... _ .... 1.•• ' ._.11...... I. " ...... 1 b ...... , ...... Mr. C ...... I...... '.r . Unl ...... 1 •• ,.'1 ...... 1• • lr • ••• ' • • • r •••1 • ••••• rol J. W ..JUI.r . N ...... 11 • • r •••• lr. "la,.. f.r "r.nl•• U,.. .u ••••"1. 1 f •• ell ••• •• 01 •• I.r'al ••••••• The CRESCENDO "=er----'~;~;~. .,a~ r::lE==:am~m=~~~~e:::a=m~_a::~~ lAR! a young man where it was a case of ignorance and a Quick and sharp came this short and ugly desire to get something for nothing. Last winter word, breaking the peacerul silt'nee of the while attending a church social I heard several young fi semi-darkened room, yt!t nIl answering voice people talking about taking up the study of the of protest was raised to meet the startling accusation Guitar and Mandolin. One of them said: " I think a3 might naturally have bp.en expected. Silence I shall learn to play t he " Mundo-leane!" Hi s friend reigned supreme, the early morning sun cast fitful then made this remark, "Yes, ( have been wanting rays through a stained glass window over the rich to take up the study of the "Catarrh" but I want furnishings of the apartment which was the smoking to be sure and get one with a 'Nickna'vity' neck." room of a trans-continental fiyer. 'Twas indeed an His companion corrected him and said "I guess anxious and thrill ing moment, the suspense being you mean with a "[;inktuntvity" neck, you know shared by the hal f dozen occupants of the compart that is a very hard wood that they make the necks ment. "Watchful waiting" seemed to permeate the of instruments out of as it don't warp." "Yes," atmosphere. replied the first, " ( knew it was either Nicknavity or One. two, yes three seconds passed and still the Llnktumvity but was not sure of the pronunciation." painful death-like silence prevailed, where stood Of cour3e they meant a guitar when they called it a handsome young Livingston Bellknap Rumsey. rigid Catarrh also Lignum vitae, but that such wood was and defiant with muscles tense and set, the heat of ever used to make guitar necks was news to me. anger depict.ed upon his Grecian features. as he Here was ignorance travelling hand in hand with awaited denial or admission to his rash term. hurled anxiety to meet the guil e of the first "Professor of so relentlessly at the mute object of his wrath. the Mando- Ieane and Catarrh" whose sign they might Sounds quite melodramatic, think you not? Quite see who would not only teach them the instruments so, in fact. it would almost make a thriller for any gratis but in the meantime sell them his whole studio good up to date movie, yet it is not half as serious or by installments jf they were not careful. More press as terrible as it sounds. The scene of this "Thriller" ing of the Hot water tap and getting Cold, ollly in a was in the smoking room of an ordinary sleeping car. different form. The " Liar" in question was the Tap supposed to give A rew nights after this the young man called at my warm water when pressed but like nearly all Hot place having been directed to me by a form er pupil. Water Taps that I have ever seen in Pullman cars, it He said he saw an "Ad" in the paper of a violin and gushed forth "Cold." No amount of coaxing. plead case for sale for twelve dollars, he also added that it ing. threatening or cursing could induce it to be good included book, bow, mute and a cake of ROSUM. And and do as it was supposed to do. Moreover, no would I go with him and look at the instrument and amount of turning up, down, forward, sidewise or see if it was a good proposition? I tried to di ssuade backwards could make it give up Hot Water. Not him but he was so insisteat that I finally agreed to even the desired results cou ld be achieved with a accompany him. We located the studio of the gentle generous tip to " George," the colored wizard, who man who had the bargain to offer and found Prof. I. can usually perform miracles by this token of induce J. Forbes Kingman at home. but as his attendant in ment. formed us .. Very Busy." We were however ushered Li vingston Rumsey was merely a young man who in and were only kept waiting a moment. The Pro was not acquainted with the vagaries of travel and fessor appeared, pale and careworn and plainly show got very much wrought up when he could not obtain ing the stress of the heavy mental responsibility he eno.ugh warm water to moisten his shaving brush, was carrying. Brushing his long hair back over hi s whIle the rest of us, like all veterans of travel had classical brow, he motioned us to seats with an E. H. long ago become resigned to the inevitable silver Sothern majestic wave of the arm. In reply to our p~eyaricator, the Hot Water Tap. Not so with inquiry the gentleman said, "Yes? I wi ll call my ser LIVingston, however, his looks spoke more forceful vant and have the instrument brought in," and he t~an words and even my description fails to shl"lw hi s accordingly stepped to the Piano and pressed dow n dIsgust when he fi nally gave it up and retired to hi s the high key of "C" on the instrument. J heard a berth. buzzer respond somewhere near. Turning to me he ~his little episode brought to my mind various said with a wan smile, "You know I have so many thmgs al~ng the same line of thought, for instance, pupils and am so very busy from eariy morn till late the p.ecu llar phenomena something like and yet unlike, at night, that in order to save time and steps, I had that IS the modern bath tub where one spigot is labeled the key of the Piano connected with an electric bell "Hot" and the other "Cold, " and if vou desire "Hot in the ante room. One ring signifies that I am at Water" you must perforce turn the ,''Cold'' spigot to liberty and prepared to ' hav~ the next waiting obtain it and vice versa. pupil shown in. while tw6 rings call my servant. It .These pleasing delusions 'serve to take a person's saves a tremendous amount'of time." "Aha," said I to m10d ~rom ~hemselve s at times, and yet they are no myself. "here truly is a marvel, not only a glutton for' !D0re 10 ~vldence than "Hot and Cold" propositions work, but his resourceful versatility is past the com In other hnes of beguiling conditions and individuals prehension of ordinary teachers and mortals in in this vale of tears, men and women ever on the general. " alert to trap the unwary into pressing the " Hot Water The violin, he said, was a valuable instrument, the Tap" and imagining that they will receive what the case would cost $10.00 and the violin $5.00 if taken label calls for. Let me tell you of the experience of The CRESCENDO & ~O~O~O~~~OM~O~~~~~~~OO~O~~~OO~~O~O~~OOOOOOOOOOOOOOOOOMOOOOOMOOOOMOOOMO~OOM~ ~--- P RA CTICAL PRIMARY HARMONY ~ '~OO~~OO~~OVQV~VV~~N~;;;;;V;;;;;;;;f~io~;~~~;;;~;~~~ ~~;;;;~~~~O~O~O~~~OO~~~~~O~~, by the Ist inverllion will appear as a INVEUSJONS The origi nal 5th .. .. 2nd ...... in the bUI ! •• " 3rd .• •• •• 81 G tC.,,""""" fro". J"III ('ruct""dol by the 1st inversion will appear in the bass E have now gone t hrough the t hree inversions The ori ginal 3rd " .. 2nd ...... a8 6 of the domi nant chord and the two inversions !•.• • Srd .: •• .. ., 4 (I of the common chord. One may however It will be seen at once that all this confusion in know something about a thing but not thor naming intervals will di sappear if we call all the inter oughly understand it. It is now absolutely nece s~ary vals not onl y by their original fundamental names. that the student put into practise what he has learned. but also with reference to their progression. . For '1'0 do this he should write various exerci ses. employ ing all the modulations and inversions, with frequent example in bars 2and 3. ask yourself these questions. fundamental basses and play these exercises, listening l. to the effects produced by the different Inversions mixed with fundamental chords and progressions. [ ~- That these inverted basses may not draw away the attention of the student from the fundamental har· many or lead him to think that new chords have been introduced, it is necessary to retiect on and review all that has been done and note that although new effects have been produced by the use of inverted basses. Wh ere i!l the 3 in bar 21 A wm..'cr . in the bass. How not the slightest addition has been made to the original mu st the 3rd proceed? I Do not say the bass). A nsl(:er. co mmon and dom inant chords with which these lessons it must ascend to the toni c. Where is the 7th ? (Do began. Let the stud ent remember that the harmony not say.the 5th). Au:m·cr. in the tenor. How l')1.ust arising out of the fundamental basses remai n the the 7th proceed 1 It must descend to the 3rd oC' tn e same as heretofore. Wh en an interval of a chord is loni c. Where is the 5thl (Do not say the 3rd). converted into a bass note, that ba ~s note mu st not be Answer. in the soprano. How mu st the 5th proceed? considered as the bass, but only as one interval of the It mu st descend to the 8th of the tonic. Wh ere is chord of which at that time. the inverted bass is the the ~ th ? (Do not say the 6th I. Ihvm·cr. in the alt o. lowest note. The real bass is always the fundamental How mu st the 8th proceed? It must remain where it bass. Th erefore. as all the intervals of the harmony is and become the 5th of the ton ic. By the abo\'e of the fundamental base are governed in their pro· method. the co nfusion is very much si mplifled aq the gression by the moti!>n of the ~un?am e nt al ~a~s ..50 attention is co nstantly directed to the intervals of one the in verted bass. being one of Its Intervals. I S In It s chord only. namely the chord of the ·fundamental 7th progression, as much subjected to the co ntrol of the or dominant chord. fundamental bass as if it has remained a simple inter val oC the chord. It is necessary. in figuring inverted basses. that the original in terval be kept constantly in mind. as ha s HOT VB. COLD been explained at each inverted bass for later, when we come to suspensions. it is absolutely necessary to have them in mind all the time. separately. but together they woul d .go at the r i~icu Wh en we are about to write the chord to an in lou sly low price of $12.00. then pausing and casting a verted bass, the intervals should not be named after furtive glance around the room. he bent over and the flgures by which they are represented in the in whispered to me. Soto VOC!? " I have e~ery reason. to verted chords but they still should be call ed by the believe that this very Instrument IS a genuine original names which they had in the fundamental Strad. II • • • • • I was in a st...'lte of Corn a during the chord. just as if no inversion had taken place. If interview. staggered beyond descriptio(l at the things thi s direction is.carefull y followed and it is particu larly I was seeing and hearing. I was unable t.o entirely important, it will si mplify the modulation by inverted grasp the situation. For the past few mm.u tes my basses. gaze had been ri veted upon the modest reading card We will take the chord of the Cundamental seventh of Prof. Kingman which stated that he gave' ·Accom· as an example. That chord contains three in tervals. pUshed Inslructio)18" on every in strument that ~ had (lr notes. besides its bass and admits of three in ver ever heard of and some that I never dreamed eX isted. sions nnd as each of these intervals i·n each of the At the bottom oC the card. I stopped. my eyes Cas three inversions. when figured. must appear under cinated. my senses numbed as I J;ead that among the three different names. it is evident that much con Cu · instruments taught was the "Double Brass... Words sion may arise unless prevented by the above process. would fail me were I to attempt to tell how I longed For instance to not only see but to buy and take lessons on one of ~ by the 1st. invenlion will apl)e&r u Ii these instruments so alluring. so little know n or e\'er The original th 1 :: :::: :: :: :: :: ~ heard of. I felt this c!eep yearning for various reasons. but first and foremost if fo r n o ~hing m o ~e The original 7th ~ b.~ l~~ ~~ in ve ~~ion w,i!1 ap~.r 8.~ ~ than to exhibit the Double Brass to the ed Itor oC thIS 1 .. .. 3rd .. •• .. in the blt 8l1 (COOOtiIlM .. doll ,.,..,,)
• 6 Th_ CRESCENDO ~sr~h~:~~:tl~!i~~~Il~:~ ~~~ h~ i~~~~~n~e;:;~r;;i:~e0b:: longed" as he pUL it. . We wish to expreHlIour sYnil}athy to Mrs. Sarmento. Her 1088 Iii OUri. We hope. by next Fall. to see Mrs. Sarmento back in her place, with the mandocello. in Ule Orchestra.
PROVIDENCE. Walte r Durke, Secanlreaa, 91 1 WestminRter St .• Proyidente, R. I. E.Se~f:;: Pt~~(u~~pi~Fn~sv~r~~' ~~:{a_S;:I~)~d~~C r ~:n~~ March' (Odell), "Charmin" Despot Polka." (Petline) "The NEW YOltK. t{,O~he~i~~~~~~::';;~~~~~e '~~~zB~~~~ew~:,:::'(i~~~~j F. Landry Berthoud, Sec:anlreas, 664 West 179th St., New an.d "D.ance Wllh Me" (Walters). Vocal solos were given by York City. MilS Mi ldred Wood, Mr. K. R. Ooyes nt the piano. Mrs. Robert McCallum played violin 8010 "Sixth Air Varle" (Danela.) nJs'c~~r1~I~d:i:~t ~:Yt~l!id:: ~;g:Ofl:82!~~)~~~ ~~~~ ~V:~ ~~rs :ia:.r~.'~V;~i~~c:~~:~~'~~~aSnUgS:;) ~~~~~~*:d~:!:~~::,~ could hnd left town. However u smull number hud s trolled in somewhere lloout9 o'clock and the Serenade WIUl carried through. ~~el::~~~ra;~v~I ':: I~~:~~h~ t:e~cr~ ~~lk .re~i~~sCaJ:ha~e:::a~~~ Mr. J. Eurl nnbbe was C. S. and he arrived almNL in time to accompanist fer the G. E. take pllrt. As it jus t happened, II number of strnngers dropped 36th Serenade. Helen Vivian HU8e. Chief Serenader. The G. in. All available talent. was cull tl d upon and the evening pn88Cd olf plcnsunt1y cnough. ~~tril)~y~i~~~~~~~~:r~~-oj~il~~~~~;;::V~~!~~~ (r:oc::;~d~~r;: "The Crescendo March" (Odell) and "The Serenaders March" W~l~ ~~nh~i':dc~~g?nW:~e r: ~I~~~;do~~ ~e i~:U~d·~n 8~nd~h: (K~ipre r ), u new number presented to the Serenaders by W. C. dny III Mrs. J . M. Stewart Jr. '. new home. Mrs. Stewart-oh KOipfe r, of Hartford, Conn. l8Rey LewiR played mando-cello bother tnke these new names! - we'll call her Ruth Kenne th "Ave Ma ria" (Gounodl with Mn. Lewis at tile piano. Walter ~~E~ELN~D~~~I~~ e~hfif;:· 8'On~ie:n r~k~8 ~~ ~~~~8: :~dk~e!a!~fr'ti~~jkSO~~ ~::n;1ee~i':;;~~~:'r:.voMi~I~~~~~t~: WE know that if she stnrLs it she will not allow it to die down Wftl~er sang a number of songs wiLh MiS8 Ruse at the pi ano and in a few months. Also. there is another Serennder whose bUlti- MilS HUHe played Andnnte and Finale from "Lucia dl Lammer moor" (Donizetti -Lcschelizky I for left band alone. Wm. Calla B:'tt~~~~n~v~~I~~~~~,; i~a~~:c~f , :~t ~~~~~cro :nt~~e c~~t~~J han, Jr. was accompanist for the G. E. numbers_ dr.ied Se re n~d.e ra to join hands (if lheir reslfctive husband and 87 th Serenude. final (or the season. P. A. Lefavbre Chief :~r:h:!:'Se~~~~/ir ~~;tell maybe we sha I hear of the Philu- ~W~d~~~o;I~~~ ~i~d!} IWVa~Lz','·~rrt!iI~:e.I'~::~drR~~i~n~~~~~!' Uur new meeting rooms accommodate 260 people with ease and March" l Reeves I , "The Palms" (Fa~re), "Oallet DeR Fleurs'; Ho me 200 with seats. At least. that is what they told us when I Morse), "Columbus March" (PetLme). Mrs. M. G La,sen we hired the place. On the 18th of June. Mrs. Be rthoud WU8 ~laYed guitar solo "The Baltic March" (Converse). M~ . W. S. ~~r~ i~~iec~~~~n:fn~~~'e~~e~~I~d~ m~h~er'::.'· ;~S'l h~'~; s!i!;~~v:l!~hC:~:ice9: l~:h~ ) air .t ~~ &il~~a~~'jr~andaAdM':~~ ways! The \Irogram was us (ollows : pluyed piano duct, "Witches Dance." The Neapolitan Trio P. "Pro PUttIU" (Grimshaw.) "Poli.h Dance." (Schurwenknl A. Lcfevbre, 1st mandolin . J . Scacco, 1stguilllr and E. Sali t~ no The " G. E." "Souvenir des Alp,e;s" (Boehm) Mr. B. L. Read, 2nd guitar. p'layed several selections. Walter Burke play;i ban~ solo • Musical Mose" (Burke) and also ,gave a few re- ~~~~'c~r:i', f.\~~ ~~~i~u~~a~~) ~~~~~s~;tn~:r~~~~~·r~MW~ zJu.cil~~ ~~de~~d ~~~n~~I~e!~O ~~~~;i.!?i (~~~i~or)~ IU':~~J.u~~~C~~ (~~~:~.) ~~:C}?8~lnjo"gt:;;~,ti(M~~~. (~nK~:~~t~:FD~r~~;:; gave an original monologue "The Horoscope." The Serenade. "Triumphal March" (AIda) (Verdi) "Brides and Butterflies" will be resumed in Ocl. it is expected with a conliderably in creased membcrahip. b~h:!lr"('~~~ ~~~~e~;;ec~:,)h J~JkH~n T~:i a~){~~p~:;nK (Liszt) Mr. W. f. Ehrich. Banjo, MiS8 Davi~r, Piano. "l-fu- T~;es~~~~~d~~~k)O~r;e?t~~~o n ~N~~~~:i!~' ~1~~'bfran~e:n:X NEW LONDON. (Gilder) "Live Wire Mluch" (Johnstonel The "G. E. " Fred J. naeon. Seeantre... Plant Bid.... New London. Conn. S.J U~~rG~ E,wpia v~y Em ~[r~na~~~~~ ~~h~s t~~:':l~ar~~d The New London SerenadHs now have about 30 members and Opera Strains tJolnstonel and Humoreske (DvorAk) . A trio composed of Mr. Read, flutis t., Mr. Pitt, Mandolinist, and Mrs. ~r~d ~~~~~~ !a~ rcilte (~~e~:d: rw:~lr j~~~ ~r~hneaJ:I~f ~r:~ Kenneth played an effective arrangement of Vanno 111 Mio Bene ~~~ TJ~eugiinE'B~I:,~~ ,~~tJfo~eo: ~~~~~~~~~i~~::m ~r~ ~~ ~~~a1,r~(~ry~~t a~dn~~. t~s \\~v;. a G~::e:: ~~ ~~~ e!fOn~~~':d Mrs. Fred Bacon r.layed "Keep Smiling Rag." arranged by hiBcleve r sisler. pi aniste, whooceasionally (avor UBat SerenadcB. Bncon, The Bulke eli Banjo and Mandolin Club of 17 members played two numbeMJ, Chanson Meditation
i A .lIort biQ{Jrul'lty Oll d 7, }/Olo of lIUm 6 well 1.-/iOWI! leU f' her i I :::: :: or player uI'J)tClrH her. 't,wPllhly :: :: :: I • '-____• __oo __• ____.J
The Guardsman March, A . Jli!J!JIt M 8ndolin and Pi8no A ve ry easy march puhliHhtl d for full mandolin orcheslr". Tht: p i l:l c~ should be played II.t B rtl.th er bright tempo, the introduc· tion loud throughout, the firs t struio medium loud ilL first with Ii crescendo in the Ittst four measures. T remolo IllJ Il Klf aod quar te r notes throughout the piece and alao tremolo the xth nMes wh f' n mnrked with II. Ilur. The e Xl1r e!ls ion io the !utcond s lr8io iii a.!! indicated. The trio i!l pht.yt!d 8u fL the lirsl time, loud tht: second time. A ve ry cf r ec ti v~ numlN: r cspecht.ll y in full orchestra .
Chanl du Gondolier, S"(,'ol o/'" (,'i'"'/lilll Mandolin.OO Guitar A charmingly efrecti ve easy concert walti':. The introd uction ~icf~; ~~~ 8~~~d: :~~t:~::d li~s~h : ~a~ t;~~ : r~~~s~er~!~O ;';;~lnl~~"e}~ the waltz It.t a moderate waltz tempo in the fi rst slffiin. Th .. He eond HtrRin (lIlly 11 little flls lcr Thl! nexL 8lrllin return to the originlll wal l1. teml)() and the f u IJ o w i ll ~ strain, whieh ill nwrcly a repcnitio ll an octave hif.:her, is "hto 8t the same tempo. Then r eturn to the sign tt l the wli ltz tempo alld (l hlY to the COli" sign ~h~l : n~I~li c'~' ~~!lI~Ne~: ~~ ~~bi l :h~S~~ ~ i;uW~~~~ !li~do'; ~~lc! ~:!l;:; ,.~~
Waverly March. J. C. [.',,(11" II (i uitar Solo I' lay this piectl at a brig ht tempo bill not too fnst. The intro· duction b e Krn ~ v~ ry loudly f ollo w ~ d by n dirninuendu /l. nd the fi r!;t " train i" abml t medium loud t hroug hout until the first end ing .ia r e ll c h ~d in which there i .. fI. slig ht crt!.'Icenlio, " nt l the second I tr"in in IJ ill p l Il Y ~ loud throuj,(h ou l . In tiL t! b" !UI solo hring out the me lody note!! tli !! t inc lly thrIJ ughuut, with tht! Ilt'COlll lllm iment sli ghtly lighter, and in th ~ I"s t str8in brin't out the !fah no tes /I. ' t li ~ tinctly RS possible. F rom the tl nd o f Ih e pien' J{u b8Ck to the very begin ni ng. rillY to tilt' li ne in tht' ilel'olltl e ndi ng. This piece is (roJ!( the fRm ous Folwell clltlilog recently Jl urch ll!'lt'd by Wm. C. Stahl. MRS. MYRTLE STUMPF Juanita, Sp8n iH h 1)8I1C.." (·Im ... JII ,If•• Mrs. My rtle Stumpf, the well known plAyer a nd tench"r of Banjo Sultl (C no tation) the mllndolin and guitar, WRR ho rn in Minne.10 11l , April G, IMXrl. The Crescendo intcnd ll to g iv e a vilri ety of ba'njo mUil ie. !lome At the age of fi ve yellr8. Ihe de\'eloped 8 remarkable talen t for times in A "nd sometimes in C, frequently in both 1I0ta tion .. . music and later t> ludied unde r the Ilule:i leucher And compolle r, This munth it Willi iml>os8ibl.· to print" piec(' in buth notlltions. Char lei De J anon. For 8t:vcrnl yenrR Mhe played mllny concert Lh crt'forc we include this exclle nt little number in c..:: 1I0 tl\lion, engagemen18 lind allW played II. vlludeville engltKc me nl Hvt'r tht· The number should be played at a molie rlt W tempo throll j.(' hout, Orpheum Circuit. Laler 8he held t he poa ilion of mtmdolin in the style o f the Splt nish t1nn ce. The shlttli ng II h,)Uld be played Holoillt. with the ChicKglJ Grand Operll Company. Mr• . SLUm pf ill II I prelwnt devoting her time to tcaching in ~~ :~ (: ~c ~h~dil f~~o~~~h~;e~~~J~~~~'su~ lo } hth :~)t ~: a~hd f~~~; :I~e Lo. AngeleR, Cal. She is the directrelllllf the Zy lpha Stringed measure Just be fore the fi rg l eml inK of this lint strain, jnm!> to OrcheRtra which has many e ngageml!n ts a t SOci KI function!!. tht! cod" at the bottom of the page. Her original compos itions are creatinj.(' an excelhmt impres, .ion. Her musical friends and Ilsl!oci llteK will he gllid tH lellrn she i. comple ting Iln inltructor fur the I-Illwaiian method of playing the sleel guitRr. PIANO TEA(;HERS will flntll he Oln :LL t :I)ITION ot t u chlnll /li~ ... ·• moo t ,1o·8traLh· T he'at.e-' I,ll!Cel. fli;T A CC"TU UANet<. h .. II ..... Cld ... , Special Extra Clubbing Offer 2nd G r . d ~. M ~lodiou., Intereatlblr .nd Inlttu.. ,iv .. ('arefun, "nlf" ...d . /·ri.. .. , 15 rt• . n, t po"pRid • 'l;HE CRESCENDO II. F. ODELL & CO .. 165 T remont S t. . Badon. Man. AND THE BANJOIST Both Papers for One Year for $1.50 Regular Pri~, $2.00 I.ET U8 QUOTE "IUCES ON YOUR MAGAZINES THE CRESCENDO, 165 TREMONT ST" BOSTON. MASS. SOME 0' THE LATE,ST Pro !'a trill Gl'llIIillllllt' Jumbo Hllg Nil .. ,.,,, I.f ,ou were to uk Mr. [.aulnl'. Mr. A~k er. Mr. Odell o r Mr. Daeon or a n, ona Carolina Cupers . 1'III'/If'Y nllddy Long leg!! (;,·j/lllhllw of a boIIt oC other " romlne nt PorltOnaUtiH In lhu "a"doll n World 10 rec'.omll1 end Chanson O'Ete HIIIl/wl l 1.IlII Ce r!! Parade 11'".,. -.eMIIe ....y lIule plftO: for mandolin., that ... at tbe ..mo tlmalnt .. re.llnl', l hey would .,01'7 Ilrobebl1'''1' " Wh,--r , •• ! The ra'. that II ttl. Polka " FIU VO The lIiberninns (i,"il/M/II/II' BUl hrangers March /1" ,.,.../1 LEZZA." 11'. a " Dll nd,." a " Cor...... "A Little: Oarlln." and a "~a ll" " K Banjo, 40e. Banjo and Piano. 7Uc. ~ olr cordlnll' to tha.. Ganlleman. Tak. th.'r . ord Cot' hand . end for It at oncel Price.: M. &. G .. 4Oe; 2 .... P .• r.oc:: II.. 4".• 501:: t M. II. P .• • . Ualf ofrto , oul H. F. ODELL & CO •• 165 Tremont St., Bo.ton, Mau. r . LANDRY In:RTU oun. 611 1 w.. t l'Nth S t" Nil . York. N. Y. .. Th e CRESCENDO There are approximately 600 Serenaders in various The CRESCENDO cities at the present time. A Maluino (or ,bo Plnyer. Studcnt and Teacher of ,be J\hndoliD. In Boston, probably in March, it is proposed to have Gui tar and Oanjo and Kindred IU8lrumenli. a convention of Serenaders from various cities at the time of the Boston Festival Mandolin Concert. The HERBERT FORREST ODELL convention will be purely social and a Gala Serenade will be arranged. • Editor and Manager Full particulars of how to form a Serenaders and what has already been done by other organizations Publiahed Monthly by the may be obtained from F. Landry Berthoud, 664 West CRESCEN DO PUBLISHING CO., Inc. 179th St. , New York, N.Y. or the Editor of the t.dle.,..! AI .""'ON ...... _ .. ~ •• J...... 9. 1909 •• t lbe P,* OfIlce ., HOoIIO •• M..... II ...... ,be AH 0' M•• cb '.1179 CRESCENDO. One thing is sure, the coming season will be a vig SUBSCRIPTI ON PRICES orous one for the American fraternity. Everything Single Copy 10 cents points to a banner year in the history of the mandolin, Yearly $1.00 Canada $1. 26 banjo and guitar. It is a fact that thouaands of stu Foreign . 6 Shillings dents who usually go abroad to study music will .this year, be compelled to remain at home and study music on t:edf:;~;;:.!'cI~~t:~thi:~~~hs: ~~~c~:Si~I!C~t~~~h's~:;~~ close in this country and the teachers of the small instru RemitlollceJJ should be made by Post Office or Exprell ments in this country will have thousands of these Money Order. Re~i9tered Letter or Bank Check or Draft. Checks students as pupils. This means better business, not Kcceg~~e~n,2nd~n !n~: :~~ i~dh;~~ i ~v~~s~~;r i~:e';e;~dk ' i n only for the teachers but for the publishers and manu the' Mandolin . Guitar or Banjo. We should ~e pleased to receive facturers as well. The entire music trade is very programs and reports of concerti, club and orchestra news, per Jlon al notes and music recently iSlued. optimistic about the fall season. It is estimated that We are not re.poruible for the opinion. of contribulorl. $100,000,000 that is usually spent by Americans in Addre•• Communication. to the Editor. Europe every summer has been spent this year in our All Remitlance. should be made payable to own country. Much of this money will be in circula CRESCEN DO PUBLISHING CO. tion this fall. Let us hope that our fraternity will receive a good ly share of it. 165 Tremon t Street BOlton, Masl. Already the music trade feels the effect of return ing confidence in bu sin ess conditions. We feel sure VOL. VIII AUGUST, 1916 No.2 that the teachers will feel this effect when they open their studios next month. Thousands will study the instruments this year, EDITORIALS but where? Will it be with the teacher who quietly EVERAL new Serenaders branches will be sits in his studio waiting for business to come or will . started in the fall. Wm. C. Stahl, one of the it be with the teachers who advertise and inform the veteran teachers, players, publishers and public in their respective localities where instruction • .. manufacturers of the country, has interested on the instruments may be obtained? We think there most of the teachers and players in Milwaukee and is no argument in the matter. It has always paid to expects to start the Milwaukee Serenaders with a advertise and it will pay b~tter than ever this coming membership of about 50 in the fall. Mr. Stahl is well season. known to the entire fraternity through hi s large The larger the business done by the teacher the catalog of music and his methods and there is much more instruments and music are sold and those manu enthusiasm in his vicinity over the starting of the facturers and publishers who advertise in the music Serenaders. Players or teachers in the vicinity of magazines are the ones who will obtain the largest Milwauk ee, who are interested in this movement, are results. requested to write or call and see Wm. C. Stahl, 211 Very few small instruments are being imported this Grand Ave., Milwaukee. summer and th e players and teachers mu st naturally Thi s month, for the first time, we have a notice of turn almost entirely to goods of American manufact the New London Serenaders which was started by ure or to those dealers who have stocked up with the Frederick J. Bacon, the eminent banjoist. There are foreign made instruments. already about 30 members in the New London Sere Naturally the teachers who buy large quantities of naders and they will be heard from again in the fall. music and instruments read the advertisements of the Another veteran teacher, John E. Russell of New publishers and manufacturers in the CRESCENDO and Bedford, Mass., is intending to start a Serenaders other magazines and with the prospects for a larger branch in hi s city in the fall. business, of all years, this is the one when it Will pay There are rumors of other branches to be started in all interested in these instrumenta to advertise to the Massachusetts, also in Penn sylvania. extreme extent of their financial possibilities. It costs nothing to start a Serenaders. The different We predict a big season, based on our voluminous branches are connected with each other in name only. cor:respondence from all sections of the country. This Each branch is governed by its own members. The is a good time to prepare for it by reading the ad Serenaders are not connected with any other organi vertisements in our columns where the very latest zation nor do they interfere with any other organiza· publications are announced. We suggest to CRES tion. They are simply different bodies of people CENDO readers that they patronize the advertisers in banded together in various cities for th e purpose of the CRESCENDO columns. These manufacturers and meeting together at regular intervals for sociability publishers, who are continually announcing their and music. goods, are progressive and enterpri sing and their The usual membership fee in all bodies of Serena announcements are of great assistance to the frater ~ ders is $1 which goes into the treasury to defray ex nity as one may keep posted on good teachin&' ma- penses of the meetings, music and refreshments. ( Cllftfi,._d.,.~tli The Guardsman 9 0 MARCH & ONE -STEP
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Cop yright MCMXV by WI!l C. Stahl, Mil .... aukee, Wi,. Intern,Uonal Copyright 10 Chant du Gondolier tst .MANDOLI N ( Concert Waltz ) Chant du Gondolier 11 (Concert 'Waltz ) By Saivator Giannini
- 12 . . The Guardsman ]\[ARCH & OXE - STEP Plano Ace. ARTE]\[AS HIGGS, Op. 11
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Copyright MCMXV by WE;' C. Stabl, Milwauke., Wi •. Intecn&iioDal CoPyrilht Piano acc. 13 f~; :: : I: :! I; :: ': I: ;: I: : 1 . l=! I; :: : I; :: :I; :: : I; :! I; ::J 1=:;!I;::I::I:g:::'u 1;::1 l~ :::1;: :': I; i;; 12 1;;zI:fi"1 l~ ; :I: J I: J ; i I:: :i I: :: I: :j 1 ' l~ :: : : I: i;: I; : : i i;: :~U ,I; : :1 ::> ,. WAVERLY MARC·H.
Gll1'fAR SOLO. By J . C. FO,LWELL . Allthur uf . Tht: 'l't: mpt:lit Mur(-h. WIIYf'tly M. 16. JAUNITA 1"& BANJO S panis h Dance C Notatiolt. Ba•• elevated CHAS. MILLER
Copyright MCMX1V by WJ!I C Stabl. Mi lw&u)u:e;Wis . International Copyri,ht. Th e CRESCENDO 17 ; p. n!Qjp llrograms ~~~once~~~I~nl:l l\ecitall~ n!QJp 'I ~ P n @]IfL~~~~~~~~'I§P 'I§I[!;'~~~~~~~~ni@]p 'uW
Program "INn 611 the Elite Mandotin Orche,'ra, Cha • . II. Program of recital 6V Vreeland'. Mandolin lJanjo and ChOMII. dlreelor. at Whittier, CaL. April S'h. 1916. Guitar Orche.tra, Walter P. Vr eeland, crmduclor, at /Jolllo" . 1. March, ·'TheChteftaia'· ...... ,... . .IAln. i"o Ma8•. • Mall 3rd, 1915. Orchel tra 1. Murch. " The Hikera"...... lVeillt 2. Muurka Rune, "La Curine" ...... GanllfJ-Od, ll 2. " Aubade Printanier e" ...... I..acombe Orcheatra :1_ Charncteristic, "Frolic o f the Frog." ...... Hildreth 3, M.ndo-Cello Solo. "Lo,.., Old Sweet Son," . .Molloy -Oc/ell Orchestra Mr. •Hor ace Smitb and Orrhe. l ra 4. Reading. "Untie Joth,n'. Spree" 4. "Enc:hantmeat Waltze." ...... Albu ti M isli Pallen Orehestra 5. " S.ttle Scene". ... Vreela nd 6. " Tlpperar," . . ... 'O ~ ~he~i ~~ ' ...... Judd ·Chaney Gu itar CI~b 6. Walt.z. " F a.acin.tlon" ...... • . •. • I1Q/I(' 6. "Mlnaet In "C" .... O ~ ~he~ t~a ' ..... Bedhol'e1t-Od,lI 7. Caprice. " U.nce of the Mot h." ...... Weidl H. " P .. de. Amphore8 " O'r~tlQs't~~;' .. .. (·IllImillade 7. Characteri. tic Two-Step (M. S. ) _.\ '"Turk!!:, Gobblu" ...... C. R. Chaney 9. "Coon Pa rade" ./arobx Orchestra B;njo Ci~b ' 8. War Song Medley, " Echoes o( '61" ..... Od.' 10. Reading. " Th e M.kinl' of Alderman Dro"an" Miss Patten 11. " Mazurka No. 7" ...... Su;/l/-.f)aenlt /leella' bJl the Lanlinl1 Mandolin Orche.tra.,. Geo. L . Lan. ing, 12. Dark ey Delicacy. " D.t Yam Ra l'. " lV~i(l t dirulo ,., at ONion, bla .. , June 3 rd, 1915. Orchc:ltm 1. (a) Ma rch, " O.Ulflihip Connecticut" .. . .. Fulton-Odell (b ) " A Summer Dream" ...... F la th Orehe.lra Concert recently (J iv ~n by the" V~ r8 atile Four" composed of Min e8 Gladl/8 and "ora Moo re, bleur8. A. C. S herman, Jr. 'J Mundolin Solo, " Introduction .nd Polon.l.e" . .AlIen Misa Vorn Moore atld Lewi. E. Stollie at Malden, btaHH. . . . K fl la -Bflla I. (el) March, " A Li" e Wire" ...... /Ollllllhme-Udell :1. )b ~ ::~:;~':!i~DOsi~~b:~' S~·~e ; ; ::. . (iilder-Odell 16) Cu price. " Lady Oain" ...... Odell Orehe.tm Versatile Four 4. Reading, " TommY Atkin'" ...... Kipli"g '.J Mandolin Solo. " Introd uction a nd Polonaille" . ... . Aile" Miss Grnce E. RuLJl e Mis! Yom I. M OO f (' rl. Bllnjo Solo, " Weat L.wn, Polk. d e Concert" . . 3. Heading' . Sete~led Miss Gludys E. Moore .. ·~l;l'o·. i ~el~~ ' j I " ;~' a'rci li. (OJ Va lse, "M. Helle Adoree" ...... /{oy-Oddl 4. " Colored Pronl t n. de" ...... , .. . . I.,,/dicoul (b ) Intermezzo, " (ndifl'erenee " ...... /{QIJ" Versatile Four Orchestra [,. SOIl~. " Three for Ja(' k" . .. 7. " A Colored Promen.de" ...... J.ieldi'·O(II ~ l r .•1. Milton Fn'nch The Yersatile Four Ii. "Shadow la nd' ' . . . Vl. ~ ~ : ;till' · ~:' ~~;f tt Readi ng, "Come Here" ...... Wanl Mi88 Grace K Ruble 7. Headin~ ...... "i,f.. · /.J 9. " Melodlu of the Oriti-h 1. lta" ... . . (Jllell . ·Mrs. i ~~,~~' lI uwar'tI Orchestra Sung. " Al oha Oe" l.tf'llUku{all, 10. Bnnjo Solos (a) " March L' ln(.nt." ...... (;regor!l ~. ' Ve'rs~;tii~ 'F~u~' \ " ) " ~",in .. 80n...... I ,alll~i" g !I. Bllnjo Solo. "WeBt J.llw n Polka " GII/IIII Mr. G. 1... Lunsi ng Miss GJadYIi E. Monl'e 11. March. " Slue J.c:ketll '· W . Ma rl'll. " Uattlu hip Co nnt'C t ic: ul" . F ,,[hm -fjJ .. 1I Orchelllfu Venmtile FOllr
Con« rl 611 Ih e Allegro Mandolin Sextet, PerclI V. /Achlen Co ncert given bl/ IIIe San Diego q uintet, Leroll E. lIa mmUlld, fe/• • diru/or, at Pircolr. Po. , April 2 71h . 1915. director. a t 8an lJiPf}o. Cal .. Mall 28th. nus. I. 1. " Ca price MlJitaire" . /{vll'lIIwlI -ud.l{ ~b: ~:;~~ie ' 6a~~ i ~! ~~ , f.~;:,~tf;iri;t ~·r· ii ~ ~~~ ; !J~nll~~:Oddl Quinll'ltl' ...... Wlfll, B ro,. alle[ Snlllh-{) was a trifle more or 435.45 at a temperature of 59° Fahrenheit. This scientifically co nstructed "Diapa MANDOLINISTS son" (Tuning Fork) was later, in 1887, formally adopted by a Congress of Musicians and Scientists in ROUND TABLE Vienna. Russia adopted it in 1860, Spain in 1879, Conducted bV F. Landry Berthoud Belgium in 1885, italy in 1885. The Royal Academy of England accepted it as standard in 1885. The English Society of Arts adopted it in 1886. At a TAl. "tpurlm .. n' ~ .. MJ)ff;'.. II11/o r jI"IlI/U- 1i"t.I. ",,,1 1/.""",,,1' fllJ:.I " ...tio"" ,,,,,,, meeting of the "Piano Manufacturers Association", ' 0.11'''11 to tI, .. ,,,,,,,dolin or r.m lrlb"',,, New York, 1891, it was resolved that: "the Standard It.-mil. Q"... /Io". or 1I1111".... lio". ,rill Musical Pitch adopted by the piano manufacturers of ~cdt~ til'l' ('(m.iolrN,ti"". A tldrt!u tbe U. S., giving that A which vibrates 435 double "J/mu/oU,,/. I. J.'"" ,,~ I Tn"',,:- rflr.. 0/ TI,,·Cr"f'VO'II,IQ. vibrations in a second of time at 68° Fahr., shall be known as the 'International Pitch'." In the year 1884 the German Society of Physicists, ADIES and Gentlemen and, very particularly, in Congress at Stuttgart. agreed upon a note. A hav Mr. C. C. Smith of Shelbyville, Indiana, (who ing a frequency of 444 vibrations per second. Thus has written this departmen't for information we see that all nations are not in unison on the subject. concerning pitch.) It really gratifies me to For purposes of scien'titlc calculation, physicists get a note such as Mr. Smith's! Mr. Smith writes, in employ a fork with a frequency rather lower than part: International Pitch. This theoretical pitch has been "I notice in a manufacturers' catalog that tuning selected by taking for the note C (middle space on the forks and pitch pipes are listed in the follow ing pitches: treble staff) the nearest power of 2 which gives 256 High pitch, Low pitch, Concert pitch, International vibrations, about, and for A (second space) 426.6. pitch and U. S. Standard pitch. This is confusing to By slightly raisi ng the pitch of an instrument a anyone not thoroughly versed on the subject." greater degree of brilliancy is obtained. This accounts As, in this short paper, elaborate detail may not be for the fact that large Concert Orchestras have, un entered into on account of the space it would occupy, consciously or otherwise, gradllally increased their I shall just give a few preliminary facts on the sub vibration numbers in spiteof all efforts to the contrary. ject before answering Mr. Smith's query. I have read that in England an attempt was made to There are three different ways in which musical keep the A (second space, or A3 as it is more exactly sounds differ from one another, namely: in loudness, designated, at 444 vibrations. Both orchestra and in quality and in pitch. We shall discuss pitch only. piano pitch have ri s. en until now it is in the vicinity Although "Pitch" was recognized from time im· of 449 to 454 . The German standard pitch has a memorial, its true cause was never 8uspicioned until frequency of 440. In different parts of the U. S., that famous man, the Italian GALILEO, noticed tbat particularly in New York, pitch has gone up as high a musical sound was produced by passing a knife over as 460.8. the edge of a milled coin. Furthermore, he observed A Chickering piano is tuned to ~5 1. 7, and a Stein that the sou nd was " higher" according as the num· way to 458. I assume, that sin ce the Piano Manu ber of serrations that were passed over in a given facturers Resolution previously referred to, the3e time, was greater. practices are discontinued as the rule. It remained, however, fo r the celebrated Pere Mer· So it would appear that there is no authoritative senne, mathematician, musician and Founder of the "Concert Pitch." It is a variable quantity depending French Academy of Sciences, to further investigate, upon the performer more or less. and by a series of painstaking experiments establish There is a most natural tendency noticeable among and put into the form still used to this day, many of mandolin players to tune their instruments sharper the laws governing sonorous vibrations. Roughly, and sharper all the time. So, as this can be noticed one of t hese laws is that the pitch of sound depends right in our own midst it is not remarkable to observe upon the number of vibrations made in a given time. that this same tendency pervades all ranks of The subject formed a basis for study fo r such men musicians. as Sauveur, Chladni, Helmholtz and Koenig and we are Music being such a subtle science to which all temp practically indebted to them for what we now know eraments respond in varying degrees it is not beyond concerning the Science of Acoustics. understanding or a subject of criticism that there is Briefly, by means of several ingenious devices the no universal acceptance of a standard. number ' of vibrations necessary to produce a given Perhaps some enterprising mandolin manufacturing note was ascertained. concern will supply this long felt want and further The Absolute Pitch of the sounds in the entire range more attempt to force its universal adoption. Who of all perceptable musical sounds is of course mathe knows? Stranger things have happened. . matically determined by a series of Cdlculations pro To make a brief resume: Tuning forks marked vided the number of vibrations corresponding to any " International Pitch", "Low Pitch" or "U. S. Stand· one note is known . . Obviously. before any attempt ard" are one and the same thinR'. at standardization, opinions differed as to the exact "High or Concert Pitch is, as its name implies high pi tch of any particular note. in fact it is recorded that er than International. It varies in different countries. in different localities a difference of as much as a fourth was nOI iced. . These few facts will I hope serve to clarify the sub It fell to the lot of an em inent French physicist, ject for many of us, to those who prefer to study the M. Lissajous to establish the "Diapason Normal" of matter much more seriously, I would advise adding to the French Conservatory of Music which was uni versally adopted in France in 1859. The pitch of this TH E ROUND TABLE BOOKRACK "Diapason" was intended to I{ive 435 vibrations per "SOUND and MUSIC" by The Rev. J. A. Zahm, second and sounds the note A (2nd space, treble clef) C,S.C. , Professor of Physics in the University ,of as we know it. Later, it was found that the number (C""t''' • .d 011 PG4" II) Th o CRESCENDO 19 start is our fi rst and greatest assurance of a perfect fi nish." This is a great truth. Nothing mu st be GUITARISTS neglected at the beginnin(J of the pupil 's studies. ROUND TABLE Some teachers let pupils skim over the time .. in the beginning, neglecting to count, and allowing them \ .U N IlU(:n ;u II\' to think solely of the notes and chords, - ' 'until they Mie& Vululll h (1::11 ..11 ..... ' .. '1.0) O lcoll learn them. " This is a great mistake. Teachers "TIt"II"i/,," I." 1Uillll,I", · ~ ."''-/,,,.1,... i 'l should insist on correct time bein g kept, by the be· i/Jld/,"-Il,·,-I/",,.,· ,,, gi nner-even if the tempo be as slow as a dirge. Pupils who are allowed to play without thinking of Thi• • /" /H.,., ...... 'i. ..., ..... j"lI"j",./{"il",.· ;" ,. ,/,,,/,,,,,,,,,,,, .. ,,'" "do ,/ .. r.Ho". )",,... the correct time will never be good at time- be 1",''';''111"/11'' 11",1" " ""''''', ' 0'1/",, .. ;, .. ,, ... (J"' JI ' ;''''. '''·.''fI!I'·d ; .. ,,~ ",illr.. ,.,.j, ... tI'l{l cause ten chances to one-they will not even thi"lIk of .... ,,,.,,/ ..... ,'/...... 1"""""'-""";''''';''' the time. Whatever in any way it is necessary for J.'t""'tf T/,M.. : ' ... ,,',. 'if Tht l'rrK f'>IdQ. the pupil to know. the good teacher must teach. ' Pupils who refuse to go through the necessary SYSTEM IN TEACHING exercises to become masters of the technic of thei r 0ME great person has said: "System is instrument in small things- will never be masters in . essential to all true education." This great a great \\'ay. We know perfectly we ll that we cannot fact is often ignored by many teachers of read till we are familiar with not onl y ou r alphabet. I1.. . mu sic, and es pecially does this seem to apply but also the various pronunciations of words- and toguitar teachers. While it is perfectly true that it is yet. otherwise intelli gent people will expect to' read""""" unwise and even actually 'Wrong to apply a "cut and and play music without mastering the first principles dried" so-called "method" to all pupils ali ke-with of scales, fi ngering, and exercises that are ubsolutelu out regard to the particular needs of each individual necessary to make even a mediocre performer. pupil - yet it is a common thing to meet people who Teachers need not be afraid of any intelligent have studied the guitar (with ill success as to results) pupil losing hi s interest because they do not indu lge in a manner entirely lacking in system. Teachers, the pupil's uncultivated, unmusical whims for a in order to produce successful pupils, must have a " tune" each lesson-for the average intelligent 8ystem of educating the pupil so that the fundamental pupil wi ll have a far greater in terest in his music if principles of both music in general and the guitar in his intelligence is appealed to by the right sort of particular, are gained. Too many go at teaching this foundation tvork upon which to build hi s mu sical instrument in a hap-hazard way. future. An adequate technic must be gained through The intellect ",ust have an ideal as to the quality of the proper preparation before a pupil can be any sort tone desired. and then as Czerny said: "The fin gers of a musical performer. must know as well as the head." The fingers must C. A. B .. ·Bosto>l. Ma-ss- . --- be able to do whatever the head di"oats them to do. I playa number of the 1I:orks lUI" th e flilitar uTitlen Another true declaration of Czerny is: "Only the by the old master~ . but I am of the opinion tI/CIt manu performer whose EO ul and fingers are one can be a of them are too leng th y to pel:fonn ill Jlubiic. at le(lf;t great interpreter." The fingers can never become one with the soul , however, till they have undergone for th e acerane audience. e/'en 0/ 111 w~ic iOl"ers. Do !JOll consider it CO/Tect or p e rmi.~,'$ ible If) "Cllt" th e~e :-;elec a systematic course of training guid ed by the intell ect. tiolls i n order to elhm'llate some of the mOrl' III/inter The intell ect mu st ever "be on the job" as it were, estiufI }Xl!"t. ... and thus shrn'len fhe composilion to (/ to distinguish the quality of tone and effects the fi ngers produce. We must have an adequate technic to per more "lea."Jing len{fth! form the works of the masters of the guitar, but Answer. Certainly, I co nsider it not only permi s technic alone. (as 1 have said man y times before in sible. but wise, and tactful to do th is thing of this department,) can neve?' make a true musician, "cutting" some of the lengthy works of the old mas nor interpret the thoughts of the composer- no mat ters. Some of these works have strains of remark ter how faultless that technic may be. We have all able beauty, whi ch are more or less marred by the heard brilliant performers,-technicians, on various exceeding length of the composition. causing the instruments- who were so dumb when it came to average li stener to lose in terest in the rendition, and actual intell ect that they cou ld scarcely converse in often in some of t he most beautiful works there are telligently on any topic. Such people may be mechan strains that are quite uninteresting. To "cut" is ics at the keyboard or the fi ngerboard - but can neve'/" wise. but you must use the best judgment as to whe re be interp'reters, fo r it takes intellect and 80 ul to be an to "cut." for there are places that if "cut" will not interpreter. Pupils who have both mind and soul join well to other strains of the piece. Sometimes and are trained in a systematic manner to cultivate one has to study some time to do this artistically. these quali ties, as well as to train the fingers- will Again, there are some works that are quite im possible never fail to become interpreters. But one cannot to "cut," ow ing to their form of construction. Other interpret the music of the masters with a shallow works adapt themselves to "cutting" so ni cely that mind. unless one was familiar with the composition it would Tone-such a very important t hing on any instru be impossible to tell that any part of it was missi ng. ment, is 80 often neglected on the guitar. Before one can produ ce a beautiful tone on any instrument an MANDOLINISTS ROUND TABLE ideal of the tone desired must be possessed in the (Conlin.ud/rom JItII "" / ') mind. Tone production must be studied constantly Notre Dame. Ind. Published by A. C. McC lurg & Co .. and from the very beginning of the pupil's musical Chicago. The chapters on "Loudness and Pitch". studies. Too many teachers make the grave mi stake (pp. 54 to 921 cover th is ground very much in detail of neglecting all study of tone production till the and the language is such as to make it interesting fo r student has progressed so far that it means a com· people who have not had a techni cal education. plete u"doing of all past methods, to begin to try for tonal beauty. Michael Angelo said: "A perfect (Tile Ml'I/doli"itl'·. Primer !;t/lln :,.,I "", ',,/x "h.utli l ... The CRESCENDO BANJOISTS ROUND Conducted by GEORGE L. LANSING and THO~IAS j. ARMSTRO Eminent Aulhorllies on Mailers BunJoIsllc 7'11;' d'JJllrlmfM f ;. up,,.i,,l/y fur Ilfflljuid. hut (Il/VIIII#, mUYIli.k 1/'11"/;/11'" prrlu;l/;uy 10 Iii, Ixllljll or "'m'ri'",t, it,,,.,,. (,JIIUtiU/I. or .ur/!J"/iuHlI .rili T",",ir" ,/", .. "" • • itl"""fjull . .A,III,.,II, ·'/J A FORTY·YEAR BANJO WAR after year, until he became convinced that they were . By Tho's. J. Armstrong necessary; finger playing was dubbed amateurish and effeminate by the old stroke artist: "e Notation" was HEN Joel Walker Sweeny tied a short extra laughed at by American banjoists 20 years ago; and thread to his four string gourd, and then plectrum playing has more admirers outsid e the banjo [l pounded out "Juba" with his thumb and first fraternity than inside. tinger, our lowly banjo came in to being. and Other features such as wire strings, gut strings, started on its career with every prospect of peace and silk strings, posi ti on marks. claE s ic music versus rag happiness. With no kickers or kn ockers in sight it time, thin, thick, waterproof. celluloid or steel heads, gathered up friends and recruits by the sheer force patent pegs, bridges and even methods of tuning. of its individuality; everywhere the quaint object have all been the means of creating constant fridion aroused enthusiasm, and people spoke kindly of the among those who adore the instrument and make it novelty even when its neck grew longer and its chest thei r companion. became flatter. More serious than any dispute, however, has been Afflictions. such as the advent of a new mpsical in the limitations, put upon those who followed the strument, always creates authors, so by and by there banjo, resulting from a false and superficial notation appeared on the scene " Briggs' Banjo Tutor," a very that reared an arm y of players knowing little of music interesting literary effusion, which declared that the beyond one or two keys. bass string was G. and the third string D. Then In addition to the above dissensions, our little friend Phil Rice came along with another self instructor has recei ved many wounds caused by hidden attacks that went Briggs one better, for it named the bass A from traitors at home. Some years ago, a mandolin. and the third E. but this difference was so slight that guitar, zither and banjo teacher, who did not like a nobody bothered themselves about it; they just played banjo, played " Traumerei" on the mandolin at a and were contented. concert, after one of his young pupils tried to execute Throughout this rosy period various classes were "William Tell" on the banjo. The contrast showing drawn toward the rustic instrument, and there is no a good performer rendering an easy piece. ~ga i nst a wonder that among them we find many quacks, nov ice attempting a difficult one, was, in thIS case, a charlatans and other musical humbugs. submarine attack on the banjo. There is no defense Some years later the musical profession, which had against assaults like that. previously given the artless intruder !to friendly or If those who want fight will come out in the open. neighborly support, took hold of the thing and began this "Full Moon Joe." as Fred Stuber used to call it. to study, improve and analyze it and raise it up from will hold up its end despite every attack which can be its plebian birth. The old cr~wd ,. however. resented devised. It asks no quarter from friend or foe, and this attempt to Infrmge on theIr rights, and they de is willi ng to reston its own merits when demonstrated clared war against the invaders; they did not want by capable hands. their idol raised up; they kicked over amendments. As for those high-brow violinists and pianists, who condemned reforms, dashed aside corrections and go up in the air and look down with scorn whenever sullenly returnetl to their old camping ground. " bl1n jo" is mentioned, they should know t hat it has In the meantime. through no fault of its own, but some aeroplane experts itself: men who rise pretty solely on account of those well-meaning pioneers who hi gh and perform beautiful evolutions quite difficult mothered its infancy, the banjo has fought both sid es to emulate. Any violinist who, after hearing Brent for almost forty years. in order to hold a place in the Hayes play, declares there is no music in »t banjo. sun. The result has been surprising. After a long must be so saturated with egotism that Gabriel's series of battles against unjust criticism from its trumpet will have no more effect on him than a tin enemies, and fault finding among its friends, this whistle. homely product from the simple life, can certainly Then comes the chronic adviser with his moth-eaten lay claim to a succession of remarkable victories over theories about thimble, finger, nail and plectrum prejudice and erroneous conceptions. playing. . Every once in a while some banjoist rises Beginning v ith the controversy over raised or up and mauls the bunch that don't follow his style. s mooth frets. and ending with the notation dispute, IC he were anxious for the banjo's prosperity and ad our national instrument has passed through a se vancement, it would help things along if he kept quence of ardent struggles that might well have quiet: especially when the other fellow is makillg vanquished any healthy instrument. And strange though it may seem, every new move g"A~'yway, the banjo responds very willingly. no ment that aimed for advancement, haft been first matter what method is employed, and considering the opposed and ri diculed by a lover of the banjo. The strenuous li fe it has led. it is doing fairly well. great S. S. Stewart fought against raised frets year (C •• ,itnu,d _ ~ II) The CRESCE N DO 21 partA or the world, originated among the Druids in WRies 3000 or 4000 years ago. The central Ceature ia the musical lind liter- :~ ii~Oa~)~~!i~r:c~d rh~z;::b~~l~g:t~~~:~~· th~ ~~~~e:~~~~~ 60,000. One of the concerta included a mussed choi r o ( 2,(1Of) voices. Mr. B. V. Kershner of St. Lou is, is stopping in Boston (or i\lIIIllIfu clllfcn. P Ll "l i ~ " cr8. the next year in connection with hi" bU!:linelK. He dropped in t" T Cll dll'r" und 1'111)'Cf:; sec UII t.he other day and told us o( a big !! urprise ahout which more will be told later. Mr. Kershner is already well known to or. rr".. utul. lONlld III if.",. lu bllnjoists through hi s useful inventions, the Kel"llhner Unique 0". dr-parI"."", abo", cO ll e.,-t •• rcritw.orollt,r ".,,';rul lftllftn-• Tllil Piece and the Ke rshner Banjo Shell . ...1",.: .. IMtl ;"' ....n.! C .. _."do nlld"' .... Francis Potter, the welt known teacher or Omaha, Nebr. who !:I ulTered It !! erious illness durinj,(' the winter. ill spend inf,t the summer in Idaho, He expects to open his studio again on th(' first o( Sept. Gltm illc Sninl.Slle~!>, univcrt;ully r eco~n i zed as olle of the two grentest. com(X»leni of orchestral music In lhe world. arrived in On J une 29 th, the Bing hamton. N . .Y. Conservllwry o( Mtlsic, tian Francisco from Pari!; on Muy 21st.. He clime as the first. C. C. Warren, director, gave its fi r!:!t annu BI musical fe stival. de legute of the French government 10 the Pnnumu'Pllcific Inter nalionnl Exp VANDERSLOOT'S r----·--.. --·---"'\ MANDOLIN FOLIOS Are Aeknowledged the Best- The Lasting Kind I CRES :N: I ALL INSTRUMENTAL HITS I SCRAP DOOK • I Nos. 1 to 9 Inelusive-No. 9 No .. Ready Sen d 25 c e nt. for hI itlondolitt. Putpoid Caul_ will be ~ned llpon reQ U"t PubU.hed (or let and 2nd Mandolin.. Cornet. Guitar Ace:. end PleDO Aee. '\1.0 pub~.bed for Melldol, or :l n! Mand.lneeparate .heet form I A.,..." m., ~.,rib ...... d.,..'m ••' "' ...... '''m. /d.w •• d I \.. .!::::'''::::':' =::'::''::. :::'::'=''':::~J Vandersloot Music Pub. Co., Williamsport, Pa. ------OR H. F. Odell & Co., 165 Tremont St., Boston, Ma8l. eTEI!L OUtTAtt AND UKULELE aoc. tor ..mole cop)' of either Method, contalnln&, !nOr. Information then .11 ol tomb/ned. UMd by INdln .. u!lI(.bft1l e.er'J_here. Line up. Sped S t"IGultar(COr1'Kt.u ...~' ••ch • . ' 0 . 10 Germ ndTbumb Plckl l Ua.allan makr) l ae :Z (or .2. Lln l. to tum: can't allp) •l' Unlit. .40 Steel Gulter Method. tborou.h and complete • • 1.00 Ukulele Method IbMt on market) • • . • • • • . I 00 FRill L. LITTIG. Publish" • 74& MaPLE lIE .. LOS IISHEI. caLiF. TWO NIEW NUMB.... II, .Ia •• H • .I ohn.Ione WILLIAM FODEN "IN TilE PINES" Walts "THE SEG. AN.TREAS" "arcb A Johnstone ,nap shot. This time we hnve Wm. Fodcn, the 1'rir:q/o"«Ir:ft: I( reat guitari8t. A particu larly good picture or Mr. Fodcn. The t'~! :' !~~O~~It. r IO::'J I~~:d.d.:d1,~~~a~ ao:~ 12M anJ~="na:; 10.60 T ..... M. C .• M. U. Flute and U.njoObl.: J::.eh 10.10 net (ManuKrlpt) ~nr~kJ~II~~~n~n!~~o';~~~:t~~~c~:[c~r~~ ~;~~u~~a:; ftVtej~s~~~ Send tor THEMATIC CATALOGUE 01 J ohnatooa'i HITS ri ght moment. Of coune one would expect thnt Mr. Foden wo uld have hia guitar, which, by the way. is one of the Foden JAB. H. JOHNSTONE, lOGO Madis on Ave., Alba"y, N. Y. Special guitars. Mr. Foden i8 very busy this summer preparing some good music which the fraternity wi ll hear about a little Inter on. A H! A H! ::~kpl\p~' a:: ~':;L:~~O E~::~~I~~Aj.ol~~:~ have h_nI In .. Ion... Jon .. while. An Inte .... tio&' THE HARMONY FAIRIES 2d Mand. addl unulllAl chlrm ~ th. plee.. Mon", back If I am lICIt tbe S. MARSH O KI O INAL and CIi ARACT£RlSTIC 1It111 num"'-r I claim to be. w. rrleal N.t. Itt "and. Ik. fd Mind. 10e. Guitar Ace. 160:. Piano Ate. !Oe. Read by the author atGala Serenade, Providence, n.l., May23.1916 Mind. and P\ano .. Two "1.00.. and Plano •• What! You never have heard of the Harmony Fairies? Mand. and Guitar Ik. Two Mand. and Guitar 3Oe. Why, they're everywhere music il made; The M e ••'"_ Music Co. , 2GB W . I 12th It., New York Elich carries a sack on hia atraight little back To hold every wrong note that's played. ;' ...... -.. ,...... ~,.'t"~ ...'t .... 't't ...... , When our brains slip a cog and we piny a falae no Le, Because, ,omehow, our fingers won't mind, ODELL KRAFT MUSIC COVERS; The Hbrmony Fairiel then gather around, ! Each eager the trouble to find. I: Th_ n.w AQI4.rlcan mad.ecnoen a,.. jUlt the thin.. to keep ,our . heet • Then they 8eize on the "blue" tonel that do not belong, :::\j~~ ' y':!I~:n~~!~l!t~-:! .lrGQ. Ver,lnUpCatlh'l. Far luperlor \0 i: i And pack them all snugly away i 8 •• 11 ...... ,.e . 12 ••• 1•• 1..,., ••1 •• ' "' 11.14 •••l e • • In the sacks that they carry. And then ofT they Oy • PBUir:~1 ~;e.I::;ti;i:~i::.. ~.~:i (:· ·· Ion! HJ'r~ t,!'r~rm:~~k~h:fe ~~i~!:;,~~lb!~y~t work With the tones that the others have brought; ; ~r~~ ~g: . ~: g~ .~:~g : : W••. o f n •• -loa',.' .. p' "J... ,. .2.no .. 0Th u~r:~! ~~~rl~~f~I"h~~!aor:!~e~h!~~~~i~ced, onc by one- : L...... 50: · ::l3 2.25 • That', the way in which Harmony Fairies compose .. 8P8CIAL DISCOUNT TO THACHHR8 AND DKALHH8 t HJ!~t"~~~i~~fa~l~ ihn~h~~n"~d sends thrills of delight- ! B. p. ODBLLHI;co::·i6:tTr:r,:::~5S~:~t 8 0. , o n . Mill. If you've heard it onoe, you'll understand. t At the end of each dBY there are always lome tones ~."""""""."·""."'1"""M't.""'*-I"""""""""""'J" That don ' t aeem to fi t anywhere. "THE BANJOIST" DA~de I~:~o:ld ~~::~1!n:no~r!w':~:? these, T hl ".w M ont"'l, _ ••• ,Ine dl,ote d 10 Ihl Inllrllt of Ih • Ohw~fI~ t~~?ct~~~~a~~h ~i:~~i~h,e::dh~ir~~nel, • '"10, M . ndolin and au lIar. Ibe" "u",be, h . .... O"'C'NAL 1010 for thl II. M, 0 , b, cellbra ,.a compol.r.. 11. "10 mu.lc Then they take them and throw them- where do you IUPPOIe? ~.:r;t."~a~,,~ " un. doll.r Pl r ,e.r. ellNO IDe . '0 .. Th~it":r~::yt~ear::~: ::et!~t ha~~~nillht. Addrell FRED J . DACON, Plant Bid, ., NeW" London, Conn. To take every harsh tone- and thought, too; So we true Serenadera of Providence give BAY,"I lAW YOUR AD IN 'CRESCENDO'" A welcome harmonious to you. The CRESCENDO 23 For though we mar atoutly assert white il white, And likewise inlllL pink is pink, We plainly ean lee, and are glad to admit That the other chap alao can think. Serenadef4, Guild member. and all o( our frit'n PLLUE M.£!I!'TION camc.:NOO WHEN YOU 0 • .0':& Th . CRESCENDO KNIPFER'S PLECTRUM PLAYING ~•••• = •••• a=.a.====c •••••• ~ For ~nio C Notation a new issue out May 1st, giv. eRECENT PUBLICATIONS I ing seales on Tuning to D, making it more easy to play violin music. 35c. neL U 1V1'thev.rypucecompo.u'nlameugivelt. alllOtlrroftyer'" III 6 The utterlltJ.!U,r nanu. i7Ulicale grath. E. e03JI. ,. I me- i W. C. KNIPFER, 315 Pearl St., Hartford, Conn. a._======:'aII dium. D, difficll.lt. .======C==."II HAWAIIAN STEEL CUITAR MANDOLIN Th. a,t of plA)'ln. the GuItar with" "I.ftll, e.reatln. " ..n. Me.. ln. MUlic: Co. ..tJoll ev"nwhere, and .".!")'one .a.a. to learn to pl..,.IL Ah! Ah! Polka S. Ca./nbJllia , E . "uaT OUT-A Method tl\l.t Mak" it f'... ,. to Und"ntand, nUd. PI",' 2 Mandl. Piano and Guitar $.60 net Learn. P rlu of book We., contalnln. lulllnnrue.Uonl and r.l(by 1I ••allan An ea.y polka in the keys of 0 and G. An interesting little ".Iodlell. Send lor ell_to« uf S iMI Guitar mUt;c In .heet l orm. piece (or recital work or (or teaching. Effective for young clu bfJ. M. MUNTZ, 94 South Seventh St., San Jose, Calif. 11 16 Dlcembre S. Cambria, M. 2 Mandl. Piano and Guitar S.60 net Yours (or convenience - The Trinity Music Stand A bright inlcrclting 6·8 march in the key. ot A and D. The T h ••volu tlon or th,Mulle: Stand. Pro. due:ed the Trlnlt,.. the But and only eo_plete MUlle: Stand In the World. :~~~i~~ :it~d~~~ K:;: ~~~~~1~~ ;:~y~n;e~tb\?~:~:8 ~rtee~nt~~ Ab ..l .tl" . The Trlnlt,y folder. beautifully might be well called a " busy" mareh. although eMY to play. Ulultraled. lbo.1 )IOU the dllf,rene:, Good for mandolin and pinno accompaniment or for club •. ::!:'":~'! Io~d A~t :::r ~~:I::-;~!; earl Fltcher youtb"TrillltJ'. Tenne.tee J_ff Godjr.u Tocab.n. E. A~"'" _"c.d. liblral eD",,,,iMioll. Mandolin and Piano '.60 TRINITY MUS IC BrAN!) cn .• Jku: U . Ell••• Station. ~.loI"H. R. I. A one step, two atep or trot .rrnnged on the melody of the ARE YOU A GUITARIST? !fe~~~r b~~1ft Lb~ut!k~,m:8 ~:ci:il>, ~~~ ~!r Cd:~~e G~~r~·.4 t~r:;b: lished for mandolin orchestra With the exceplion of flute and A'"" do J'~ epprec:llt. the biller d ... of mUlle: for 70ur Inllrumlot~ II ... cello. wetdllhll lpac:". for In I lbon time lh.. ,.. ..1II be 1WnI1hlna blr. Ihlt will Intlrtllt 70U. In the ml'lntl_ .. nd (or Cat8lop of GuItar and M. ndolin Mornln ... Noon and NI.ht Overture Sll.ppe-TocoNn. M . SoIoe. lnd th... ond erful P'oden S pftbd Gultaf'l. Mandolin and Piano $.90 Another arrangement ot this standard overture, alw.y. effec WILLIAM FODEN, 291 Elm St., Arlington, N. J. tive (or concert work. A ve ry desirable number tor full man- ~~l~ ~dtt::I~~ap!~~~h~~~t I;:rr:~!i:ha~t :~tt~~:n~.ce~~~n. ~~ o and C. Uumoroul·Humorelke Dvo1'ok.Rob.rt. -TocatJ.n. M. FREE TO BANJOISTS! Mandolin and Piano .$60 y OU ~~~~~~~i~~t~~Lb~ea~~~ YcOhua~:~J:i~n~I~~J A hesitation waltz built on the mel9d ies of Ovorak '.1 (amo~ original. You want .0101 that matter. that are effective ;;~!~':~d~~~~~: ' ll n~u:N ~~~I~o: :r~~::r".~o~:r~cr:~~ca ~~~~U~}"l and not too diffi cu lt lo play. and C. Effective in full orchestra or a8 a teaching number. BANJO We C~:~~:~~~!~:. ~~: ;~~Che!!e ~:~\h:~~~;'etshtep~f:: Carl FilCher Tennrll" Jeff God/r.y-Tocaben. !It . Will you ellow UI to II","". In e pl'&(:tkel ..IY. th. hlah quellty of ou r Banjo Solo '.30 ~~t~l~e~t"~~ K~uClln.. .r lo~G n:':~ Je:S8::tos"in·ni ~:;::l~:.·:!::'t!~ A one step. two .tep or trot, built on the melodies o( the well wit h pertkulaf'l of man7 other dellahtlul iliutt. known song. Keys of A and E. Euy to play. M08tly single nole• . W. 1... 1 eontldent that .. hen J'ou he"l tried over lhue 1011». J'ou ..III rec:ommend our firm. STEEL GUITAR All ,_ A _11_ .., ..... Io..... he C _ _.ko. prin ...... be be .." ,.( ...~. ""n. Frank 1.. LUtie Method rO.r Steel Guitar Prank L. Littill Write now to CLIFFORD ESSEX CO. Price '1.00 l.ol'ODON. ENGLAN D A concise method (or this popular way or playing. Include!! rudimenta or music. how to hold and tune the instrument .nd a careful explanation of how to handle the steel with euy pro gre.. ive exercise. showing how to pick and play. Includn .lulu and chords in various keYB and short pieen of .Landard GUITARISTS! and popular nature. Send for the Olcott arrangement of the famous Beethoven Minuet in G. Just out. The Harmony Company A faithful and effective arrangement of this beauti ful number. Manufacturers of Musical In8truments Sent post free on receipt of fifteen ce nts. LA-KOKST BXCl V SIVH "A-N VPA C T V HRM 8 OF Address: MANDOLINS AND GUITARS MISS VAHDAH E. L. OLCOTT IN THB WOKLD 16 West 10lst Street Apt. 32 NEW rORK CITY 1744·54 North Lawndale Avenue, Chicago, III. Eagle " MIKADO" Pencil u. No. 174 k uch 5Oc. per don a A ~uper~or pencil containing the finelt etlpecially prepared lead. which I. exceedingly.mooth and durable. Containl no grit. ' ke"'p'lt1 POint and Ou tlaata all othel'l. Hexagon Shape, High Polilhed in Yellow Finish with Gilt Tip and Red Ring, ftued wlt.h best Red Erulve Rubber. N • . I . &It /II'.. I. IIMI... It' .. n. lI«1i... H.n N .. 3 , H.nI N •• 4 . 6.x,,.. H.nl AN ESPECIAu.r (;QOD PENCIL FOR IIUSIC WRITBR3 AND TEACHERS HA.GLB PBNCIL CO. 3 77 BROA.DWA.Y NBW TOBit. N. Y. MENTION CRaoCKHDO WREN TOU;.waITE Th e C RESC EN DO ~E3E3E3E3E3E3E3E3E3E3E3E3E3E3E3E3E3E3:1 LINER AD. DEP ARTME T ArllJcrtiHe llum ls illHf!rted her. !(.r 25·dll. a 111/ «, earl! ,"xJ'r·· Ii!)" . ( 'fIIl h ,(·i/horder. Nol If'lIx lit'"1 III"fle iiI/ex "' ~ ", . " .~ m~ o~/~::L: / ~N~'~GA~)~~£:7~JE/ ~II: ~ fhan Ii l i ll.e" uI·cepud. m: : fOT( $2.00 I f.U ) f .. AIl I N AIJVIIN( f. . : m IIAIUIOSl' l.t:'o;;sO!'tS 11 " .\IAII.-A pra.: llcal ... ,ur...:- by It muai"'l n of mill, ~ E3E3E3E3E3E3E3E3E3E3E3E3E3E3E3E3E3E3~ yearl' Il l ••er l"n.,., and a mem ber lo r yea ... of GllmQre', lJ a nd. F n>m n art to tlni.h my Inl lruction I. o Rlly u nlieno lOCJd . \Vh .... YOU IC1!t Ihrllu llh you w ill Allen. Mrll, Louie 1\1. -345 N. 11th St. . Lincoln. Neb. Piano. &<:luall,. haw"lomethinll Qf valu",. I. II. O OEI , I ~ I/;,'". T .... mO nlll • r.... ton. M ..... Guitar, Mandolin and Banjo and Ukulele. S t:N n 10 CTS. fo r :an OJe li Gen uine To rt."." Hh .. 1\ :ll llo.toH n I" "k. \\ "n I <" hip. WOO ' l b~a k . I'rod ucesII d eJ" ton ... II . F. OIH:LI . t.: CO., I%Tr", m"nt ~tt"'· t. Lansing. G. L . ~- 1701t T remont 5 t . BostOIl, MUSil. Banjo. Man BOII ton. Mil l '" dolin lind Guitar. Odell. H. F. 165 Tremont S t.. Boston, Mass. MKodolin. GUitll f, Banjo and Piano. ADVERTISE HERE D. Acker says :- "My Liner Ad in Crescendo paid O . K. The S taebler. E. W. - Slop 6, Bert's Hoad. Wes t Park, Ohio. r-,IIm Crescendo arrIved Thurs day , and the order with $ 2 came F Tl day. dolin. Guitar , Cello. Chas. J . Claublt say8:- " 1 think advertising in The Crescendo II T8Chopp, Carl- 13tH Susquelutnlltt. Ave., I'hihulelphia, PII . Man· great, I have received so many anlwetll. It Ifavels !!o fa l and really dolin. Zi t her, Guita r and Banjo. g ive. you good value for lillie mo ney." C. A . Tem pleman • • y l:-"Recelved three replies to mya\l 10-'""\ Vreeland. Walter F.-17)t Tremont Sl., Room ·10. Boston, MIl!UI. last Crucendo before I lecel ved the paper. a nd s old all the Inslfu· GUitllf. Mandolin and U.mjo. 'feacht'r !tnd Soloist. lI1ents I o ffered for sale." H . Spahr, J ersey City, N . J .-"Arn well sall"lied w rth Liner Ad r------~ department . Sold twO instrument !! \ 0 two vcry pleased customers." I CRESCENDO AGENTS I I I I~ ______II'J/":Uf: 7'111: C U":SCl-:.\'IJU ('.. I. V A I. W. ll'," III: uUT.II\' J.: / 1J I Chellet Guitar Studies B Olllon, Mallll. Vega & Fairbanks Co, 62 5udbo11 Y 5 1. T ile EaRI",.t .,,,1 M" t l'fart'''111 (""uno" ro, 1I,'. In· Oliver Dillion Co. 150 Tremont St. ne n . Ul(~d "nd r ...·' ... "rne"d . ~1 I.~ thu""".,d. <, r 93 Arch SI. lellche r... Inrl"d... sr.r"• . ( ' hord ~ al,,1 t:.,"· New Eng . Newli Co. .-; ..... i"I·. 1). 1;. ,\ Eft",1 ~'. ShQrl , ... ,hllll( piw". G . L . Lanlling 170 A Tremont St. Tr' I I\I'~ 8 IU.lie . ,..,t h y""rlX' l( ;nn,·,"" B rockton. MIlII. Brockton MUll . Ins. Co. Il3 Main St. I·""r\l'...... :ar h ~ Sh.... I)1".'rlli ..o ,,'u Chieago. llI. Lyo n & Healy Adallls St. II . I,'. QUELL & CO. 16:i Tremont St. UOSTO:-':, MASS. Claud C. Rowden 1022 Masonre Tem. Cleveland, Ohio McMillan & Son Co. 2060 E. 9th S t. F ort Wayne. I nd. Central NewlI Depot 114 W. BellY SI. Hartfo rd. Conn. Farrll Music Store 173 Asylum 51. L os Angeles. Cal. Lindsey MUll. Co. 41 6 S . B'way ff=I=I==I=I=~ New Vork. N . V. C. H . Ditllon & CO. 8· IZ K l 41h 51 . Pbiladelphia , Pa. J. Melllini 1339 Ellswort h 51. Pittlburg. Pa. H . A . Becker 60 1 E. OhiO St. Volkwcln BrOil. 516 Smithfield 5 1 Successf~~ETeachers~ Ponland. Oregon H . A. Webber 489 ~ Wash. St. Providence. R . J. Goff &: Dlrling 276 Westmin. St. San Francillco. Cal. Alice Kellar·f'ox 62 Baker 51. Seattle, Wash. Paul Goerner 307 Eilers Bldg. Sioux City. Iowa C. A. Tcmpleman . 3713 Orleans Ave The Odt"11 Mandolin 1- Syracuse. N . V. Rose Fnl% Roger!! 114 E. Fayette 51 . Vallejo . Cal. R . E . WUlIon 31'1 Santa Clara St. Mt"thod FOREIGN 'I' ll,· 1II0 ... t I'rHc t ll'HI , t'ompl"te a nti I'rO ll r,·~ . iH~ method Christchurch. N. Z . L ou is W . Bloy 23 Ing les Hid.: IltI ul '''/h'tl. Il l't ,n t ll ln~ I"'I'ry 11O~~l b l\' l'Ulli t a ll I :ri;:: :L':: OLIVER DlTSON COMPANY I ~;;:~;~~0.: Ii Genuine Hawaiian 150 Tremont Street, Boston, Ma... Up _to _date Prices, $8. 00 to $15.00 CHAS. H. DI1'SON & co. Cases and Bags 8· 10·12 East 34th Street. New York. N. Y. ,------' ...... m" ...... SAY-"I SAW YOUR A.D IN CRESCENDO"