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Vol. IX Septemb.. , 1916 No.3

10 cenIB per copy $1.00 per year

Allri.Ia... ~ed 1£",",_.0 .u SacolilD Ct. ... W.n:u JUJII. t, 1Il0l. 4T T •• J'o.T O,.,.c.a AT BonoM, ...... U"Dca Acr 01' MAACK" 1m Tk. CRESCENDO

&l[§[[;"~~~~~~~~~Ul§l§I[[;"~~~~UIl§l§I= U[§~ 101 A Great Patriotic Selection WHITE-SMITH MUSIC PUB. CO. [Q] U. S. A. Patrol DE~I RE TO SEN D YOU THEIR ByHARRIEA.PECK M USIC Catalogs SYNOPSIS : Opening with Bugle effect, then patrol movement. finishing with .. Star Spangled Banner" and "Yankee Doodle." INSTRUMENTAL (Piano) The Trio introduces .. Old Black Joe," .. Maryland " and" Arkansas Traveler." INSTRUMENTAL (Violin) INSTRU MENTAL (Mandolin, Gu itar and PRICES ) l!JJ~ First Mandolin, 40c. Other parts, 30c each. INSTRUMENTAL (Orchestra and Band) Combinations : Mandolin and Guitar, 60c. Two Mandolins and Guitar, 80c. Mand olin and VOCAL (Quartets, Mixed, Men's ~ Piano, 80c. Two Mandolins and Piano, $1. and Women 's Voices) VOCAL (Anthems, Mixed, Men 's Banjo parts are in A and C notations. and Women's Voiees) DISCOUNT ONE·HAL I" OFF Please designate which catalog you wish, and state Send now fo r complete catalog of Guitar, Banjo and if you are a teacher, so that your name may be Mandolin muaic added correctly to OUT mailing list. WHITE - SMITH MUSIC PUBLISHING CO. IDl BOSTON, 02 St•• hop e S t. NBW YOHK, 13 Bn.' 17th St. C HICAGO. 316 So. Wab •• b A ..." IQ] ~[§I(!;I~~~~~~~~Ul§l§" Ii[gll§" U[§W

U[§~ M--U--S·-I--C [Q] NEW HEADY IN S ~: I'1'.; r.tlUm NEW For MANUULIN UnCIJHSTRA THE WIND UP Gulop By H. F. ODELL 'cell! pb:;f,~t,.;~:~~ro f:~~di~c!~~'~~ :d ~~~e J;~~~,. S~~I~~~ i~a}~~'~o n~::tn~' ~~k~ 8 fGr~ i~~t~~~~~i~. °p~bWShC8dn~~; Cull mandolin orche8tra, with tenor mandola Bnd mnndo-cello in both trunsposed nnd non. trans posed nOlation. Banjo obbligato in A nnd C notat ion. Pricea a8 usual .. Non-tranllpoled Mandala and Manda -cello paru can be hnd (or any of our pieces without discoU-;l fro;" lis t prices

]lUCK Y J)A.OJ)L KS Dy II. F. ODELL 40c. I;' off NEW HANJO SOLO A (",teh,. .'ox Trot. A or C notation. You' ll li ke It. Get your name on our new issue lisl ~~i;e ":ad n~O: ~~~r :~~ l~EWboISJ({Eo~r.~J~w cents a copy. Sit right down lind HARP or IRISH HARP

[QI .H. F. ODELL & CO. 165 Tremont Street, Boston, Mass. [Q] ~[§.n 1(§l§I(£h~~~~IIIl§l§h ulQlW PLEASE MBNTION TH& CRDCBNDO WH&H warrING ADVBRTlBBU The CRESCENDO

YeH, weare BUly- Thereh •• Notwithstanding the scarci­ been no Jet up In the demand ty Ind increase in the cost of (or the various Vega instru­ all labor, material, etc., there menta during the lumlner jUlt never hal been such a demand palled. Orders poured in from all parts of the country. 8S during the past season (or tbe Vega. There never WI8 One (rom the Southern Califomia MU licCo., Lo. Angelea, a brighter outlook (or those connected with the B. M. & G. Cal., called for about $1000 worth of Vega mandolin­ ioteruts than there is now, but nothing cornel without banjot, tenor , guitar-banjos, etc. Another from work, so let us all get the share that i. due us snd as a re­ Kobler & Chase, San Francisco, Cal., W&8 for an equal lult ol the efforta put (orth, and our standing, it cannot amount. help but work out (or the benefit o( all concerned. Goldsmith's Music House of Columbus, Ohio, sell Vega in.trumentll as fast as they can get them and usually I8Y, " It i. almost unnecellary to lay that, unles. immediate The Tenor banjo is rapidly coming to the front al an shipment is made, .ale. are lost.. which is of course a 1018 orchestra inltrument. One of them is equal to the tone to us both. We are all out of your goodl ... of three mandolin-bAnjos. It is much longer in .tring length, which brings it up nearer the regular banjo. AI it also ie si ngle Itrung, you get a real banjo tone. Quite II. The Hawaiian Ukulele iaa very Jlopular little instrument. number of banjo playe rs have taken up the tenor, al it is We have them st $8, $10, $12, $16 and $20. Any selection much easier forsightplayiog in orcheltra work. The regu· sent C. O. D., privilege of examinat ion. lar banjo is quite difficult, owing to its tuning for sigbt reading, but those who have worked it out obtain great results. The past summer haa been a levere one (or the break in, r;:::;'I of banjO heads, and It is qUIte a .urprlle to many to know ~ .., ," "" "",." ~, "" .., .•... ,.,.

@)~ ALEX. CRAWSII AW Alex. Crawshaw of Pawtucket, R. I. . does not get into the papen very much, but he is one of the mostluccessful teachers of Hie s18te.

When you tie up to the Vega you gain a prestige which OTIS MITCIlELL goes with being in good company. Many are they who Here il u picture of Otis Mit.chell, a clever banjo player, have found musicalsalilfaction and prosperity in a Vega. the bestexponent.of finger playing belore the public to-dAY. Let us hear from you, Some of you, al yet perhaps, we have During his Ealtern trip be took away another No.7 Whyte not become acquainted with. Not to do 10 meanl a loss to Laydie banjo with him while be was in BOltoo. us both. Send for Vega Banjo. Mandolin and Banjo Orchestra Catalogs and Literature--Free THE VEGA CO., 62 Sudbury St., Boston, Mass., U. S. A.

Y~G I".trulMntt on Sale al JOLIN WANAfttAKEIt. New York CitT GRINNELL BROS., Detroit. Mich. VOLKWEIN DROS.. Pittaburgh. P •. DENTON, COITIER & DANIELS, Duff.lo. N. Y. COLDSMITH'S MUSIC STOnE. Colurullue. Ohio· LYON & HEALY. Cbial~o.lWnoi.. E. 'F. DROOP & SONS CO .. W.. hill gtOIl. D. C. CRESSEY & ALLEN. Portland. Me. SOUTIlERN CALIFORN1A MUSIC C<:i. ~'lI~~i~~ '& SON CO .• C l evel.Ilt1~8"ILER & e llA E. s..n FrauciMo, Ca l. ~II "[QJII "[gil u[§l1 "[Ell! - "@I PL&A8B MENTION CRBSCK"DO WR-N .tlJTlNG ADVBaTlIBRII 2 The CRESCENDO

USE A NUT CRACKER! Nuts are out of season now-that is the kind of nuts that grow on trees. The mental nut is always in season. When a "nut" learns a very small fact he makes a great lot of noise about it. The nut that paints his first oicture thinks he has Raphael beat a mile. The nut that makes his first fiddle beats Stradivarius. Inexperience- that's the germ H nuts" grow up from-and what great oaks grow from this little acorn sized thingl . Some nuts that are self-taught mandolinists-who never had a lesson from a real teacher in all their born days-they write Mandolin Methods! And Guitar Methodsl And Banjo Methodsl F act! Because a nut is especially gifted with an acute ear and nimble fingers and makes a hit on the vaude­ ville stage as a brilliant performer, is no reason why his UMethod" should be of use to anyone. You wouldn't spend four years at a college conducted by J ack Johnson or Huerta, would you? Standing, knowledge, regard for acoustics and the fundamentals of technic, pedagogic experience - these are some of the things,which, added together, make a man fit to compile a Method. Stahl Methods are mixed from these ingredients- with 27 years' teaching experience, thorough acquain­ tance with the history of the instruments AND EVERY FAMOUS MASTER OF THEM, and a successful record as vaudevll1e star, soloist, teacher, writer of music, and manufacturer of Plectrum Instruments. Eighty per cent.-get that EIGHTY PER CENT.- of the fine perfonners before the public today got their tuition from good tutors using STAHL METHODS. Write us for a list of nation-famous teachers using these methods, and a list of their famous graduates. ' Stahl Mandolin Method. Three Books. $1 the book. This Method makes the best Tenor Mandola Method in print. Stahl Guitar Method. In one Book. $1. Stahl Banjo Method. Alike in all but notation. A or C notation. The "C" is a masterpiece of con­ densed knowledge. Each complete in one book. $1 for either. Sample book-any one- mailed teachers for 60 cents. WM. c. STAHL (::: U"UA."L~~= :~) 211 Crand Ave., Milwaukee, Wis. LARGEST DUO LlST IN THE WORLD- THEMATIC CATALOGS FREE.

JUST CARL FISCHER POPULAR HIT ISSUED FOLIO No.2

CONTENTS OON' T TELL THE FOLKS YOU SAW Mil: (W.lu)...... 0.1" a AI1~n CONTAINS TWENTY OOWN H OME RAG .... Swuunlll FOX·TROT ••.. ..PryOf BIG HITS FOR FULL OF PEP ( OIle-St~P) •.. , •...... •...•...... •...•...•...... 0.1" HUMOROUS HUMORESKE (P ...cl ll.tlll, Hnlullon)...... O",or.Ie·Robert. HUNDRED YEARS Jl'ROM NOW, A ...... JlclIlK · Bcllld FULL MANDOLIN rM A LONO WAY PROM TIPPERARY (Olle-Step, TWII-Step, Trll!)...... Eldm.n IN HONOLULU BY THE SEA (Two-Step!...... •...•.•... JI'.o.t ORCHESTRA I WILL ALWAYS LOVS YOU (Waltz) ...... ,kdm.n a O.nt.,ll I WONDER WHAT WILL WILLIAM TELL (Ollc-Stepl...... 0 .1" A AUcn JUST FOR TO·NIGHT (One-Step, Two-Stcp, Tn)!. T.n,lI) •.. . .. Cobb a B..-kI KISS THAT MADE YOU MINE; THiI: {W.ltd ...... 81". a Kliclemin MA POULETTE (o.nK C.buC1, Olll-Step, TWo-Slep, Tlot) .....•...... •...... •. Robert. Fox Trota- One Step.­ NOBODY HONE (Onc-Step. C._tlc-W.lle) .. ONE WONDER .. UL NIOHT (W.llzn) ...... , ..Jllna Two Stepa- Troto ­ SINO ME THE ROSARY ( W.lu)...... U:wlla Klldomlll STEP LIVELY (Oll.-Step) .... . : ...... RobeTtl Waltzes - Hesitatiollll TENNESSEB, I HEAR YOU CALLING ME (Olle-Step, T_St.,p. TrOll ... . •. God""y THAT LORD AND MASTER OJl' MINE (OIlC·Step, Trotl.. . . McC.ITOO , Duld, A Wnotbu. YOU POR ME IN THE SUMMERTIM.E (W.lt.) ...... llIc,. h.", a JI',ledm. 1I UNIVERSAL AND TRANSPOSED NOTATIONS lit MANDOLIN .. • •••.. IO.SO I T ENOR MANDOLA (UlIly. Not.l...... 10..50 MANOO· eUllly . • nd T,.n. Nllt .) .IO.)() 211d MANDOLIN ...... 50 TENOR MANDOLA {Ty.II. Not.)...... SO G UITAR ACC...... •. .so 3rd MANDOLIN ...... so MANDO-CELLO {UIII •. Nil!.)...... SO PIANO Ace. OCTAVE MANDOLA .•...... •. ..so MANDO-CELI..O (n.lI. Not.l .. ,...... SO BANJO SOLO (A NOU lion) .. DISCOUNT .w OF' CARL FISCHER COOPBR ~QUARB NEW YORK

IT 18 FOR YOUR OWN INTERUT TO .. r;NTlON CRESCKNDO waEN WRITING ADVERTlU88 f ©ci,B :lU5H27

AUG 28 1916

IlEVOTED TO TilE INTEIt ESTS or

The MANDOLIN ORCHESTRA The Harp, Mandolin, Guitar, Banjo

AND KINDUED INST HUMENTS

VOL I X. BOSTON, St: l'Tt: Mllt:It, 19 16. NO.3

TilE Od.ANO HAWAII AN STEEt GU ITAIl AND UK LEU!: SE.\:TET (c. IhlANU. m.MI.. ,

Tit' ••• 1... . w •••••1 ...... 1 • • 11 •• I • • •• • f 110 • •• 1,...... I •• II ••••f th ..... I. , ...... unlrlO'. It It • • • 1., •• I •••• .,1, .11 ., .10 ••,1 ••1".1 .,111 ...... PIII.I.&, •••• t fr •• S •• " ...... 1 ...... '10. A ...... ce• •• I.1 .. _ell.1 _ •• f;h •• _, .... 1" •••••• 1" . .. 11 1. M..... I. II...... Ite ...... ltI ...... 1.• ,'...... ' .....1 .10 ...... 1•• eO' , ...... t .111. 1II ..... I.lIItl •• 11 10 .... ,.11 ...... 1 "r •••••• ..

The CRESCENDO

THE MARCH OF PROGRESS T. H. ROLLINSON

Robert Browning wrote that Progress was" man's limited inBtrumentation. One of the best selling distinctive mark alone, not God's, and not the beasts." numbers is a standard overture and many programs I Some of the inhabitants of this sphere. however. dis· have noticed are certainly very ambitious. Many professional instrumentalists, who can neither ~I:%irc~~:!doe;i~~~~~~~~ ;i nth~oI!~~~i~~c~:~tr~al:rsi~~ see nor understand anything except from their own stance. . standpoint. look upon the plectra I players with pity Browning really intended to include the ladieB in and conBider that they are simply wasting their tal· his remark and conBidered that the term Bimply indio ents. They are Bomewhat like the sailor who reo cated the human race. As I look back to my boyhood marked: daYB it seems rather astonishing that the world was so .. A .trong nor 'weater's blowing Bill ! primitive compared with present conditions. Hark ! don't ye hear it ro.r now ? Railroads were very scarce, steamboats still more Lord help 'em, how I pities them Bcarce. and the telegraph. telephone. electric light. Un bappy Colk s on shore now ! It sewing machine, electric car, automobile ... canned (William Pilt) music" and many other things that are now consid­ Some professionals cannot seem to realize that the ered necessities were not yet dreamed of. What had amateurs gain far more pleasure from musical work the world been doing during the thousandB of previous than they who play merely for profit. The profeB· years that BO much progress should have been made sional seldom becomes wealthy while the amllteur haB in one man's lifetime 1 at least hourB of pleasure followed by happy memories I remember well the first minstrel show I attended. and occasionally a little profit is reaped that comes It was known as the" Metropolitan Opera Company." handy as .. pin money. " decidedly a high Bounding title for a rather primitive The great climax for this clasB of players is the or· affair. ,. Old Jim Crow," .. O! Susanna" and .. Lucy ganization of The SerenaderB, which has moulded Long" were some of the popular classics and to my them into a great family of earnest musicians who mind we have much popular music today that is far work for honest musical progress and a healthy form worse and more crude both in melody and lyrics. of amusement at the same time. It imbues all who When I first opened a music store the mandolin was are members with fraternal feelings toward each other unknown and I only carried a very cheap line of ban· and certainly discourages selfishness. JOB and guitars. The guitars were of foreign manu· The mandolin orchestra is the mother of the family facture and warranted to crack. but the Serenaders combination is a very lu sty child A musical organization playing that class of instru· and iB the cement that bindB the fractions into a solid ments was unknown and there was very little printed whole. It is a pity that the enti," fraternity could music for the banjo; consisting principally of , not have united with this pioneer organization and reelB and crude ditties. thus have made it the greatest musical organization in There was a fair amount of guitar mUBic publiBhed. America. some dating as far back as 1820. but not of a high The general musical progresB in this great land duro character. Neither of the instruments were taken ing the past thirty·five years has been exceedingly seriously; merely looked upon as means of amuse· gratifying and much of it is due to the mu sical in · ment for the player but not alwaYB to his neighbors. struction given in the public schools. When the mandolin orchestras were organized there The Bymphony orchestra and grand opera still reo began to be a demand for a higher clasB of music for quire subsidies which indicates that musical education ' mandolin and also for the guitar. I cannot yet Bee as well as an acquired taste is necessary for due that the banjo is upon the Bame plane but it iB cer· appreciation of their merits by the great mass of tainly more effective as a concert instrument when people. music is performed properly adapted to its peculiar The great increase in bands, orchestras, plectra I characteristics. It has power and when a good stir· organizations and choral societies during the past fifty ring piece is well .. plunked" it certainly "raises the years has developed much native talent of a high class house" unanimously. and we are much'less dependent upon foreign coun· The great ideal of these instruments in connection tries; in fact, we can pretty nearly dispense with with otherB of later date is the mandolin orchestra. them so far as instrumental efficiency is concerned. It has made great Btrides in efficiency and popularity j . Bury me on my face" said Diogenes . .. .. Be· and the family of plectral instruments. which was cause in a little while everything will be turned upBide once looked upon as a collection of mUBical toys has down." become one of the corner·stones of the musical world. It has, however. been Quite a Bource of heart trouble w~~ ~:kYto b::;o~~~so~fz: ~~~d~~~~nt~e!~dansbeh~t~:: to the publisher for in the course of the past fifteen those who believe in thorough and purely practical years there has been a l!Ieries of innovations. of more methods. to Bee that they do not succesBfu ll y introduce or less value. which has kept him continually gueBS· ideas which will lower our musical standards and lead ing, but with one exception the changes have been in the unwary into wrong paths or to adopt detrimental the line of improvement. theories. Keep everything upside up. The class of music shown in the programs of man. It is doubtful if a move to create a large mandolin dolin orchestras iB. on the average. fully equal to that orchestra with an abundance of wind instruments of regular concert orchestras when we can Bider the (Ct?",j"w.fti"" ",,_,,) l Th_ CRESCENDO possible to obtain them now. Several prominent American firms have been experimenting in string HARPISTS manufacture and Mr. H. L. Hunt of New York, ap­ pears to have made the most progress in perfecting a ROUND TABLE string that will replace the German strings. Care and proper usage will lengthen life of the harp strings Colldud~ 6" 61e.I"iIle A. Clark A.trKn HI", Virt_. " .. tenD aMI Ac_tku considerably; especially when there is great humid· ity, the application of the Brazil nut meat to the

TAil tb;.~, ..".t " n;«iQlJr f •• IfIH,,,t,, str'ings, as described in one of my previous articles, is .,,4 /luy .,.". .d II t1t,titnof ',..I• •· . '''r recommended. The wire string will last indefinitely ~ I~,," 10 tile IIQ~' II" 1n'1It 'IIII', .. ,. .... "t,,6 • if care is used in tuning. .. It 11, .. , . 0 "'11'0'" 0.- ,tlrrtll.o", .. ,, /I rta"w dt" ro .... id,.,'fI"II.. . Add"" " II'H~ Qllesl1"oPl. Please gi've me a list of 80108 (or th e Irish ilil R. "JUI rl1l bk ," t." IJ/ I., crt ~ r"tkJ . harp. o Harp Selection. THE LEGEND OF THE HARP N" .. be,..lIh (· j f""peoIol honon!)' With the exception or numbers' marked net, tbeHe prices are HERE are many interesting stories of the . ubject to a discount or m origin of the harp-the oldest, perhaps, is VAN VEACHTON ROGERS List Price that of the hunter who caught his bow string ~~ ...... ~ . Ilin the branches of a tree while wandering 1. Petite Currice (Mazurka) a. My Old Kentucky Home through the forest. That, perhaps was the first l) e~i~~~~'le ~ ..t~I .~ ~ .i ~~...... ~'. . ~ ~~ ~ :~ ~ . ~~~. ~.~~~ ~ ~~K ' .76 record of the plucking of strings. Legend tells us March of the Marionelte8 ...... 60 that this hunter was so pleased with the sound of the Minuet or Ve Olden Time ...... 60 plucked string that he experimented with his bow un­ Waltz Albania ...... 60 til it became the forerunner of the first stringed ~r~~~~~~~~~~ : I~ie~ I~:e ~r}~~I~rrn·~i~~ l i~ ~·.· ; ~ ~ .60 instrument. The lyre. which is well known as the PlaYInK the Harp :" ancestor of the. harp, is of Egyptian origin. Hermes, Gavotle .!II! the high priest of Osiris, was a mighty man in his America ...... 20 time; to him is credited the science of the olive cui· Lut n Ole or Summer .20 Die Lorelei...... 20 ture, he taught the Egyptians the science of hiero­ The Minstrel Boy . .20 glyphics, the measurement of land, but the crowning -D'nce o( the GnOnlel 1. 00 act of hi s career"at least that which is of value to the ·Fleurette ...... 60 people of the present day, was his discovery of the -Dutch Dance (The Wooden Shoe Dance ror pedlll harp) .60 exquisite tone produced from the plucking of a gut GERTR UDE INA ROBINSON , . string. Imagine the scene. Evening on the banks Excerp18 a nd SOI08 (or Iril h Harp or Conce rtlfarp of the beautiful river Nile. Strolling along the ..•...... _ RGO water's edge, breathing in the beauty of the lotus· I. March of the bC~~a~ ~~ (or te ac hi7~ r,~,f~j:tt scented moonlight, was the figure of the stately priest, 2. H apllY Fllrmcr 1<. Menuetto (Don Gio\ anni) Hermes. He may have been deeply engrossed jVith 3. Nearer My God to Thee !I. Medley or Irish Melodic. 4. Melody 10. In the Ti me of Rosea some knotty problem of the Egyptian law or religious 6. Drink to Me Only with Th ine 11. The Fairiell Dream ceremonies, of which he was the founder, when Bud· Eye. 12. Interlnez.zo Sinroni co denlya most unusual and intensely beautiful sound 6. Dutterfl y Wal u (Cuvallcria nustleana) arrested his attention. From whence did it come ? OUOll for Violin a nd Irish or Conce rt Harp...... Net $:!.OO All Nature seemed silent and at rest. The solitary 1. Ballade 6. cherz.o 2. HomKnce de Mi Knon 7. Largo priest was the only human being in view. At his feet 3. The Meeting o( the Waten K Fairyland Walu was this vibrant sound, seemingly unwilling to spend 4. The Old Folks at Home 9. Aur FlUgeln des Cesungt'll itaelf upon the starli!!,ht night. Hermes foot came in :t. A \'. Ma ria Stella 10. Au Pri ntem pI contact with an object which caused that strange }o""'int LeSIOn. ror the Harp...... Net 2.00 sound to vibrate again. He stooped and picked up a ·Advanced Lesi ons for the Il urp...... Ne t 2.60 -Twenty Melodic Etudes.. Net 2.60 J OliN THOMA S , :~:~I;~: :~~:~~:i ~~r~~"1~ra~d~~f:~:i:~e bia~~ : Famoul We lch Air (arr. by V. V. Uogcrs) ...... 0 of that weirdly beautiful sound, when accidentally HARRIETTE CADY, struck by Hermes' foot. .00 This is as near as we can come to the incident which C.S ~rfLrlbhA 9°F6x~ i.! a~:r Yno~~~i~~i,":~ I~i ~ i : f'~ i k .. led to the origin of the harp. I do not vouch for the Songa authenticity, but after searching innumerable vol­ SongB of the lrilh Harpen.. 8rr8nged with harp ne· umes of history and legend, it is the most satisfa ctory oo~~t~c~mSOhEiio':"" """""""""""" Ne t $1. 00 and reasonable account that I have been able to find. A:~~ m~jJ~6~ 18 cca ...... $ .76 The tale of the hunter is a vague and entirely hypo­ thetiesl one, the hunter himself being nameless, but JO~NaC~rEsH~R~ 'The Sweett'st Story Ever Told " .. $ .60 the high priest, Hermes, i. a hi storical character. It 'Annle Laurie. Transcription .. $ . GO is recorded that he taught the Egyptians the science - Mendelll80hn'l Spring Song . GO of hieroglyphics, consequently it would not be sur· -Joyoul Spring ...... r,o . GO prising if he wished to recompense them tor the al­ .60 most impossible task of the study of hieroglyphics by F~~g;5t~~ rf~:; :I ~~:;: : : : giving them the beautiful, satisfying and soul·stirring -Alice, Where Art Thou 1 Transcription . .GO means of study- the harp. - Fedora Cavot.te ...... GO D. ALBERTI , Question. How long Mould harp strings last ? -Tri umerei, Tra ntcriptlon rrom R. Sehumann .60 - Serenade. TranKription from F. Schubert . 1. 00 Answer. Some last longer than others. The Ger­ -The Bohemian Girl, (W. Balfe) ...... 1.00 man strings are the hardest and truest, but it is im· 'Martha, (F. V. F·!otow) .. .. 1. 26 ..

6 Th. CRESCENDO r----·--·--·--·--'"

Manuf.cturen., Publi.lu~n. 'I 'I Teachers and PlayeA :RE~sellAP CEN:BOOK ..... "q1Inj~j ...lUfi"il.'".,O !lIudfpar'Mftll.6000I_nr'" red',.,. 01" .tlt.,. • ...nn..l _Uff1I 1C"idl will i"I __ Or~do reM..... I A ..... M •• " "ri •• ~ ..... ;, ..... 'M • • ' ''''".. . I'''M. ld'U .~d I ,- ~..!:!.!:.~=~~:::::::"::"k:.:..::::!... J

Dt~ AR FItIEND ODELL: I alwaya read the CUESCENDO with the keenelt intereat and elpeciaUy Jettera from teachers Crom different. parLa of the ~i~h~~ea~;t!~!~~:r~a~~~e!,~,:.W~~d;!:o,i~h~aa~I;~n~~r~~~ thll in your" Icrap-book ;" iC not put It in your scrarobUket. 1\8 11~~ve.~~t:'!::!~ a~~c~~~iu:~~~! :o~nyde~r:na:Ji~:ve:~ll waya ~one all I could in my humble way to make them more po~~~; eaditori~r~nn~;~lie~~scENDO ia very lenl ibl e it leema to me. 1 waa n Guild member at one time and 1 believe the Guild haa done much for the B. G. & M. but I think there il much ~r~:~h!~::~dl p~:~er~~ t~h~:~~s~~~u!~ ~!'-;~ atth~ ~=~~'tro:~ ever has been rinlting through the agel and it seeml aa IC it never can be aettled. In poIitiCl we have our different partie. each one of course is right and the other side wrong. In religion our differentdenom­ inations and the " other Cellow " of course is on the wronr track. Then we have our different achools of medicine and 80 on. In mU lic though all the world il reading treble snd balS .0 ir I could have a vote on the lubject I should lay leL us stick to the well establiahed lines. It aeeml strange when our mail. come from BOlton to Loa Angeles in 4 days that conditions should be so different in the two places. The banjo has never been as popular here as there but I believe it ia growing more popular and especially the man­ dolin- banjo. This kind of a mandoli n- I do not call it a banjo­ I. loud and there Core people want i t. Who will make us aD In- r:~uro~~!~r~ ~S t~u:: ~v~~~ ~.u t with a more refined tone 1 There IN THE NEW LYON A. HEALY CONCERT HA LL. The question of extra bass strings on the banjo may be IOlved by the Individual in this way :-Tune the guitar like a banjo that AGNES LEE. ill put the 18t string down t a D; the 4th to C; the 6th to F or G

Huah ! May we not feel their presence ? They 3 f e here. ~rp~~ .. alli~:e:t[:;~:~rt ~lr ;:~ ~~~tiIo:J;f~ I~~~~:r~I~:~:~~ in the rerular way. ~i:~::~thering, Though loog 0rposed to C notation 1 have und itthe paat year IDvillble, potential, dosing near. and more and believe in pick playing on certain occ.. iool though finger playing will alway. be my {avorite metbod. Bear t, be a noble amphora. (or wine or golden lound : wi~: ;:::t::·!:~d:.rc!n~i~U~lt~v~):{v~r:; ar:! Wt~Jrt!o~~ Mind be a thought profound 9 and 10. yearl old both play mandolin very nicely and we have To meet their challenge with the counteraign. played many timel in Sunday·school io pu t two yean . they playing lit and 2nd mandolin on Goapel hymns in any key and I For UI their flashing pennon, ore unfurled playing guitar with pick reading bass-clef. On Art" high peak, The guitar Itring with compound atring for the 410westatringa BUlh,-they are going to apeak. can not be told from a mando-cell o and many have guitars who The everlasting great who move the world I have no mando-cello. I wonder how it would work to playa regular hanjeaur ine at Lyon &; Healy Concert Hall has been an important part of ablolute pitch treble cleC ? their InatitulloR for tbe past fifteen years. Thill hall has been or course the lowelt. s tring i8 F. but. with (elevated ball) the lowelt note i8 G. nnd many pieces are written for thi. tuning : D~:.i~ ~~~o~i.lh l~Ut~~ ~~~e~;:~e&e~:I;n b~iidy~~l~~af.~~~ the inltrument would be a real soprano banjo for tinger playing or pick at ablolut.e piLch treble clef. I .bould lik e to hear opin­ ~::::'~~1~ ~~~:P~i:~1 ~a~h~;:vce:n;ee;~ . pofh!a~'a ll Ta~ :O~lr b! ion. from other teachers. placed at. t~e dlapolSl of patrona of the institution for concert. The tone of a ll the .banjo faJ1lily may be soitened by placing a purposes. roll of cloth under brldlite between head and dowe l I tlck. I always keep a cloth moiltened with S in 1 oil in an oiled en- Geo. L. Lanaing and hia son Richard Lansing, with thei r wi ves, took quite an extensive auto trip in Maine in July. Mr. G. L. U~IO::rf~gr::y~~e ::t::t~~t~~d:r~~t~~:~i.~rfi::e~~:~ Lansing _pent. tbe montb oC Augus t at bis lummer home in Blue Hill. Me. ~~~'e::~e~e~~~gm fu:~~o~n~~Yf:O~ ti~~ht~e~~~ t:,~~~ playiog wipe t~ e tip ofmandolin pick on oiled cloth and the raap­ A quintet composed oC Mr. BiekCord. first mandolin, Ralph A. lng, diaagreeable tone disappear., and it i. easier on the wrist. Koontz. Second mandolin, Stenario Cambria. mandola, Rober t too. S{>indler of Wa.hington, D. C.• mando-cello and Vahdllh Olcott­ Thi. oil treatment ahould not neul... player Crom changing BiCkford, guit.ar. recently pI~ed a very luecesdul ei~ht days' strinl{1 in from one to two month. according to how much" man­ N:.;~:rtn:lt;,: the. Ch inese ea R()I) m at the Vanderbilt Hotel. dolin II used. Th . CRESCENDO r---·--.. --·----'" I PRO~UNENT TEACHERS and PLAYERS I ON THE MUSIC i A chort biography and photo of lome well known. teacher i In This Issue in the Order Printed I :::: :: or plug.,. ap/Har8h.remonthl,l :: :: :: I F3E3E3e=JPE3F3E3E3E3F3E3E3E3E3l3t3E3111 \.. ____.~ .. __. ____J Ole Virginny Day., T. H. HolliMon Mandolin and Piano Play ~hi~ at march t em~ but not too Cut. The firlt strain rll:!~.~ Th~lc:~~. s t~~is 8:r:;~~~~ro~0~~ ftt~: tJ~~ lo¥~:e~~~~ ~~:;d~ lI~rte~~r~:I~~~~b80~a~~~8~ittrao:;u~~erpj ~:: r~:~t'he~~ ~ Pubhlhed Cor mandolin orchestra in the Oitson edition. Petite Etudf', Van Veachlol1. /lollerll Harp Solo w:~~~~!~;h~~O~~::r~O~~d~:r~litY:~ol~:dd b~i~~la~.~e~f~ol~~e:.t, ~~~ reat ot the piece should be played rather deliclltely and lightly b~c~f:,~e 1~~Je~ t~~ifir;thi:~dl~h;~r::~ 8!h~~Ui~dic~~~ 8~~~~ :~;~~~~e~hbye~~I~I~;~i~::ph~~ and Iriah harp aolol and leach- Melody in F, HubulIl.in-F. J. BacOIf Banjo Solo (A Notation) ber~~: a~a~t~a;:bea p;~~1:J~Ya!~tre~' ~~: ~~ ~h~'b:~j!h~~~~!~ ~~~h ~ ; ~~ftr;~h~t fi~~~asnt~:~~r;;ediJ'~iio~~~:e a8h~~~d ~~r'a~~~yre: turning La 80tt again tor the lalt strain. Much ot the number ~~~.ljeb:I~r.~eJr~;~I~Il:S t~~d~~~boa~~e a~S~si 8sta~~e:lOa~~ poSSible. Credinl". F. Abt· W. L. /layde't Gui18r Solo . Play at a slow tempo. medium loud and loud throughout as in ­ dIcated. The melody an both the first and second guitar part s h~uld be brought out diatinctly. A very pretty number tor two gUItars.

DON 'T MISS TO E SEIIENA()ERS' CON VENTION WILLIS B. CONOLLY In New ~~ rk in Oc_~~r. Everyone's goin, . Willi. B. Conolly we. born in Rochester, N. Y.• twenty-three years ago and inherited his musical tendencies from hia grund· NO W READY-TltflKlltll.IAIIM.,..,It,. mother, who was n piano teacher. He moved from Rochester to Buffalo and the n to Lima, Ohio, nnd became acquainted with the mandolin, taking .. year's COline of JellloOI at the school Emblem of Peace thrbo~~~ a::: ra~~~: \~O~~:~:ri';: : ~~in~~~~h~·.tra and from By GEO. A. REEG. Jr. then on haa alwaYI been connected with oreheatral work. AfT . by H . P . ODELL He went to Saginaw, Mic.h ., and played in the High School A snappy 6--8 march tull ot li(e trom beginning to end. ~!dbb~~e:;"e a:'~~?n~ede~~~~np.{:.aC·h~~.a~:;ke~~t~~w~8~~Zd!~ SlHd~1 Prltw 10 .. Iltl. MOlltlt Ottl" of the High School Orcheatra there. and W.lter A. Boehm, nnd J'ULL MANDOLIN ORCHESTR A. 20 P ARTS ... 1100 '''.ndoUn •• Oull.r.nd P'-no ... .lI played With the latter in a 8extet, receiving much valuable in- J "bndolln.and Pi_no .. .lO J .....dolln.nd Oull.r stAg!~n~~d~a~;:g h~:ji~t S~~:I r;::~~~~~~I~. the University I M.ndolln .nd Gllilor ...." 101001" III ".ndolin .. of Miehil1an for two yeara, where he was a member of the Michl- ,OS VOLKWEIN BROTHERS, Publishers ~fR:~ca~ .Cbu.b:e~ n~~~o~:~~ tlf~c:~~ti:~~:di~el!~~e;d~~~ 516 Smithfield Street. Pittlburgh, Pa. Ci~r~;lje:~f::~::I~r;e~"h:iti~ki! h ~~~tFo~ ti:· Erie. Pa., and taug ht in the evening and took charge or the Erie High School NEW NO. 10 FOLIO Mandolin Orchestra. A yeara8: he waa appointed teacher of the VANOERSLOOT'S NOW READY ~~ ~~~t:;::~':h:t 8~~~:~:par~~e:;:~[);. ~~ ~L:~~;~dAnfi:~~; Band School. In addition, he haa a fi ne atudio of his ow n and at present devotes all of hil time lO teaching, having a large class (.!~~f~ t·~~~~li~~~i:~j~ ~r;~:8~~~ ~~~h ~!:a~izd~~I~ntoJ~! conliderabl. busineu in and about Erie. . SCRAP BOOK (C... t',Ultod /,..., JMtoCH . ) To old timers theae tblnp are an old alOry, but we a re apt to forget how (ast the younger genlration ill growing up and how many new recrulu are joining the ranks e'lery year, to whom eVihJa~h~n,~!~;:r;l~~~ :~,!d:: !h~rrd~~r more to the pupil than lO the teacher, and ir th ... suggeatlon8 Rre or nny U&e to V ••dllrwloot &I •• la Pub. Co.. WIIU .... port. P., anyone I ' hall feel glad. "-===='--"--- 0 R With thanka and beat wishel I remain B . P. Odell &: Co., 16S TremODt St .• Bo.tou. &I •••• YOUrt aincerely, F. W. TOWLE. l 8 Th. CRESCENDO ment until the person himself is thoroughly grounded The CRESCENDO in the rudiments of music, as well as technic. A ...... e (or the Player, Student aDd Teac.her o( the Harp We conclude that about 1/3 of the teachers explain Mandolin Guitar aDd Banjo Old Kindred IDltrument •. rudiment. to their pupilB and the other 2/3 explain nothing but technic and neglect the rudiments. That HERBERT FORREST ODELL may be one reason why the standard of musicianship Editor and Manager in our fraternity is generally not on a par with other fraternities whose rudimentary schooling seems to be Publi,bed Monthly by the more thorough. CRESCENDO PUBLISHING CO., 1= There i8 such a thing as commercializing music in a a.-...... -...... _t_, h_ t. t .... 0' .... P_

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Copyright lICMVI by Oli .... r DilloD Company. I niem.tiollal Copyright Secu.red. a0284-'- M.O. 10 PETITE ETUDE.

VAN VEACHTON ROGERS.

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Co pyrlgM MOMIX by Van Veacbtoll Rogen. 11

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12 OLE VIRGINNY DAYS PIANO. (CHARACTERISTIC TWO STEP.)

UlltJ ;11 Pu6lic Pt!nt4itted. Co pyr1cbt," DCCCXCI~by OliTer Diboll. Company. eUH'ilI-9- 0 Intern.Uoaal Copyri«ht SIot-u.re d, ~--~o~_.--11 14 MELODY. lS~ BANJO. RUBINSTEIN. 4rr. • , FREDERICK J. B.tCON.

Copyright MCMVI uy Alfred Chenet '" Co. 15

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~h U@lh Ugh ugh ulQ)h ulfu [ill llro!Jram~ of QConcert~ anb ~ecitalg ~ I@u u @lllfh~~~~~~~~u g h u(gJllfh ~~~~~~~~'I IQ) h q§7 RMltalllloen 6" tlte pupih of C. S. DeLano. at Lo. A " gf! l~•• Th irteenth Semi·,(nnual Concert given 611 the Gill School of

Cal.• MarcA 11tll. '16. JUu;'ic. II. F. Gill. director, a t Pa.. a ic, N. J . t Mall 5th, 1916. Ensemble-"La Vet. Sehottlsehe" . . DeLau% I , Ukuleles and Piano- \b~ ::=:h!~i:n t:I~~~~; ~ ~es" :.-: :: : : A·~,~ IL;~~ .~L '~~~~::i~ (a) " BI8uenG ...... DeLano H. F. Gill, Director Combined ClalllU 2. Piano Duell-liKing or The Forest" ...... S. G. Kiuling ~:~ : :~~i:p:~!~ n . de' · Miss Jennie Majewski Muster J ames Shuart Mn. C. S. DeLano, Missel Helen and Bessie DeLano and 3. Violin Solo- "Ylower Song" ...... G I/Illut' I.Amye C. S. DeLano Arr. b!J Cro. Barke,. Del.. ano ~bl ::~;tp.:,ae~ ~r~:~~ ii ~; '.'::...... Lililwka/ani ,.~::ts~ J~~G~t~~!~~~~~o~!::~~t Roy Lacy 4. Junior Mandolin Class-"Memories or Idlewild" Reading ...... SCluud !Valier lV. N ont,ood ..... M~;y' E'~~~' A"~~lt~~ Misses Mabel Di shun, Alice Zavada, Margery Rutherrord. l\lary (a) " Pilgrim. Chora." ...... ~e:~~eo~ ~h~~~ 3r:7~n\~r A~!:~~~ g .1~~;:~kn Gill. Lillian Sorbl~m (b) "EI Trompetero" ...... Byron Erkenbrecker Piano Accompanis t, Miss Laureua F rancia Stagg Steel Cuitlln and Piano- 6. Juvenile Violin Orchestra- "Swcet Renrie" U . .I. Pre,IOfi Maatf'r8 Edward Pyne. John Parioon, First Violin!! ~b/ : ~~dw~:~.n~ ~~: ~:~~:'", ...... DeLano MasLe rs Julius Neuenhaus. Mi lton L. Gill. Second Violin", Mr. and Mrs. DeLano; Mi SSel Ht:len and Beuie DeLano Mnster John Bell. Director. Avt'rage Age Seven Years (a) " Royal Guard Marth"...... DeLa7tO 6. "The Wandner 'lI I)re.m .. - He"erle ... . J. lVu ley Lalftl"III (b) "Southern Jubilee" ...... Albr~cht. "Afte r School Violin Class"- Lincoln School No. 9, Pateri'on,N.J . Mary Emma Moultre Mi ss Cina Campbell, Piflno Accompanist Steel Guiter-"The Roury" ...... Nevi" 7. Reading- " The lleauty Doctor" ...... , .... . G. I/. M~y('r8 C. S. DeLano Miss Rita Jenkins ...... Offenbach 8. Mandolin Solo - "Sc:enu That Are Bri,htest " fbI ::gudl~~~:'~d~i ~ ' w~ ii ~ : '- :"",:: ~: : : .- ...... DeLo1/o A ,.,.. by II'. n. M Q/I~ r • Murry Ward Miss Gertrude S ..... eeney . . Reading ...... Selected 9. Violin Class-"A Wayside RO lle· · .... . A ,.,.. ',y Otto F ilJch er AIIH-rt Fro".: Ensemble- ...... lVejdt Miss Natala Ki ng. Piano Accompanisl Wm. Grau. Director "Y an k~ ~,::ay~·~.~~. ~ ~~~~~~ 10. Children 's Chorus . Pupils Lincoln School. No. 9. Paterson, N. J. Mr. W. S. T ..... ichell . Principal 11. Trio -"Serenade" ...... C. M . lI'illDr Violin, Mr. Ch. Herbert! ·Cello. 1\11-. F. C. Mc Elhe ni e Piano. Mr. Theo. W. O. Bnrtke --'"i Cont:1r1 given 6" the Nem Sennaden, F. J . Bacon, 12. Piano Solo- "Nanon" Op. 327. No.5.. . . . Carl H.-J /IIII dlrulor, at Nem London, Co nn., Mall 16th, 19 16. Urilliante Mi ss Natala Kin~ (a) March-"Red Ronr"...... Weidt 13. Vi olin Solo- " Muurka de Concert" ...... u dde Mllsin (b) Walt%. -"Dreaml . .. of t hee Lon ...... R oBe Fritl Master Willie Farrell Grand Ensemble of 60 Playen 14. Violin Solo- "S4!ene de Ballet" ...... (·h. de 11, ,.iol Violin Solo - "Serenade" .... Schllbert So loi ~ t Mr. Wm. G. Grau Miss Marion Moon WIlliam Page, Accompanist Orche8tra Accompaniment under direction Mr.Theo. W.O. Hartke 15. Musical Gla!Jses- " Then You'lI Rem ember Me" ~b/ ~~!~,;~~:I~!::;a:;~, ;...... G~~~~~ Arranged From (BohemiKn Girl) Bulkeley Banjo and Mandolin Club Miu Jean Gill Miss Dorothy C. Gill Song- (a) " My J eanie" ...... · . SI.ricklaItli IG. Violin Solo - "Spanish Dance" Op.58. No.1 . F'a/I;(l JI It. II/t id Mr. Cha s He rbert (b~i'~!o~a~~ ,::o!~:i n "'~iiliam 'p~ ' e·. · Ac·~~,;,·pa~i~l Wan 17. Reading- "ne Piann1 Duett" ...... · ... 1. N. /J ,.n:1t Hawaiian Guitar Solo-- Medley. Popular lir• ...... Arr. Nevill Miss Hita J pnkins Mr. Don A. Neyin 18. (a) "Carr, Me Back to Old Virginny" . 11 1'''. "ll II. F'. Odell Mandola Solo-''Tr.UIllHI...... Schuman (b) ' ·Walt z. Syncopation ...... 11'. ,\. /lo.·hm Harold Gear Gitfton Mandolin Orcht'stra Gill 5(' hool of Musil- Banjo Solo-(a) "Unl"eratty Graad Waltz...... Glylt It Mr. ChaM. Herbert, Direc tor ~:1 :: ~tdP8l:cka;:;.~~~.i~~~.' : .... .'::: ::::: : V~'ried' iJ :iJadc~~ Fred J . Bacon "Beautiful Siren Waltz ...... ·· . P~ rry Mandolin So l o _~~~:!I::"J:r:~!t':.~~.d.~ Ii.~ ~ I.~~ ...... Moyer Concert given 6" the F. K. Briggll' llaNO, Mandolin ami Mrs. Don A. Nevin Guitar Club. at Utica. J\'. I'. Banjo, Mandolin and Guiter Trio Bs njo Club- (a) " Yankee Dandy" .. . . U'~jdl (b) "Poem Rustlque" . ... f:no ~:? ::JI~::rY';hu;~~:,e;:!:::rt~e~old " Mandolin Club- (cl) " Ultimatum" ...... A Il!/ 1I Me88rll. Gri.wold. Hull and Bacon .... ( vbb Song-(a) "Po' LIt' Lamb!" .•.. . . .Jacob.-Boltd (b) "Young April" (b) Readin~ - .. Scene from QIi..-er Twist" "Love'. Sprl . ... tlde ...... 1Iammond ..... Sui", & 141111 Mis. Mary Browne William Page, Accompanist Mandolin Club- "The Swan" ,...... Banjo Club (a) "Sambo's Wedding" ...... Stliller Banjo Duet- (b) " Plantation Symphony" ...... f:"o Mandolin Club-(a) " Mlnud in G" ...... Bt't'lhol'"'' ~:? : :~ ~~::htl~r;.ie ~~d~h: ~;::.~,r~:: ::::: : ~~/e~:; ...... lll'OraJ.: Mr. and Mrs. Bacon (b) " Humore8 ke" .. . Guitar Solo ...... S.If'('t~11 l:? !';fL!~~ ;; ~fdu S~~r:«s:~(· ::::::::::::: : : : : : : : : ::: :Mallory .... / II/ II Il1· William. Memorial Institute Banjo and Mandolin Club .• ~.: 1I 0 "EchOH of '61" ...... Arr. Odell .. I.u,ey Grand Ensemble Th, CRESCENDO sando" is aplenty, whereas the " Portamento " is in almost constant use. MANDOLINISTS For th~ mandolin .t~e ., Portamento " is particularly valuabl~ In emp.haslzmg legato passages, as an aid to ROUND TABLE expressIOn and 10 generally polishing up a perform­ ance. It is an absolute necessity to any attempt at Conduded by F. Landry Berthoud finished playing. Like everything else it may be abused but it may not be dispensed with. The "Glis­ Thi• •/ rptlrt m .. ,,' ;.t'~ / "" · i,, lI l1f(l r .1fIlIH/()o li"I""mu/ll,,.,,IH,. ,, ..aJ,,', / ur d it).u' JHlr­ sando~' should be very sparingly indulged in. It is Illinil'" I " I ltl' IIu""'olI" or , .. ,,,I dl,,,/l' effectIve when RIGHTLY USED and then-SPAR- itf'm• . O" ... tiOll. or '''IIf1",tiOll' ... iII INGLY. . n l'ei~ " 1f t roll/ll.tI'M" loII . ,1I1ri ...... In the two examples given above, I have only con­ "31l11u /ofi ., (III. N.. u II! I 7< , /.>11' ," rfl ~ (Ij sidered the case wherein the tempo called for a con­ Th .. (',....r .. "tI". stant tremolo and must call attention to the fact that both, particularly the "Portamento, " may be executed CORRESPONDENT has written an interest- by allowing the string to vibrate under the finger as ~ iog note to this Department speculating upon the partial slide is made. In fact rather a lengthy the various means of performing a good' 'Glis­ explanatIOn mIght be prepared of all the various sando" on the mandolin. Also, he mentions means of executing the "Glissando" and the "Porta­ 11 mento" but I think that understanding their simplest .. Portamento It and differentiates between I I Glis­ sando" and" Portamento" very emphatically. Now form will give a fair idea of all. Very generally the q~estion arises in my mind, based upon personal speaking, the" Glissando" is accomplished with one experience, how many mandolin players have given finger, whilst the "Portamento" requires two. A themselves the trouble to examine carefully these two .. Portamento " can be: made from one string to an­ ways of playing. ?the~ very eff~ctively ,. whils~ changing strings in a Probably every player has seen these two" foreign Ghssando" IS phYSIcally Impossible. (It would looking words" and has a vague idea that their effect then become a series of "Glissandi" or a "Glissando" is pretty much the same. In fact they paso very plus o~eor moreno~setc.) .A "Glissando" is simply easily as synonomous expressions. a fashIOn of prodUCIng a rapid chromatic scale in the It might not be irrelevant for me to define here just easiest manner. It is mostly seen in cadenza and what constitutes OJ Glissando" and what "Porta­ showy solos. By substituting a .. Glissando" for a mento." To start with, let us playa sample of each. .• Portamento" many errors in orthodox fingering Start your Metronome going at 120 and with a good result and then besides it is a great factor in the pro­ swift tremolo, steady and easy, play G on the 15th duction of whiney, maudlin, tasteless and colorless fret ~f th~ E string with the second finger. This playing. exercise will consist of four measures in 2/ 4 time­ On the~ontrary ': P~rtamento" is of prime import­ two Metronome ticks to a measure. Play the G for ance and IS B~ v.ery Intlm~u:ly connected with position two measures, in order to equalize and smoothe your work and shlftmg that It IS hard to decide which is tremolo, and at the third measure start sliding down the cause and which are resulta. the scale With a firm pressure-on the tips of your The suggestion of this topic lor discussion is from fingers - at first slowly but with ever increasing speed our correspondent Mr. E. K. Hood, Berkeley, Cali­ until at the first beat of the fourth measure you land fornia, and I trust these few remarks will assist him with the Metronome-on G, third fret. This is "Gli8- and others in discriminating between the two terms sando." and their appropriate use. After all, it is only one's own good sense and musicianship that one must be . It m~y seem. complica~ed on paper but it is very guided by. Simple 10 practice. Try It a few times until you can regulate you.r .. time" and tremolo to a nicety and Have you put your mandolin away " for the sum­ the effed WIll be t~at of a chromatic scale, which of mer?" Y.es .! ~ell . you cannot be very much in­ course, It .actua~ly IS. However, note well the effect teres~d In It If you have. For some it may be dis­ and. store It up In your miud for future use and com­ parison. ~ressIng to play or exert them'selves in any other way Let us now play the same high G but with the/om·th In warm weather, but, tell me, do you think for a mom~nt you can pick up the instrument again in the finger t~is tirr.e. Play the first two measures same as before, Just to get started, and (strictly in time with Fall (If you ever do) without having to practice trebly the Metronome) at the first beat of the third measure h~rd to getintosome kind of shape? No matter how draw your hand down into the first position allowin g vIcIou sly HOT It geta do not dispense with a small the fourth finger to drag along the string, and just amount.of daily practice or you will regret it later. qUickly enough to be able to arrive- on the second Teachers, when their lessons fall off in the warm beat of the third measure- on G, third fret with the weather, may elect to take a vacation but the REAL second finger. Tremolo this lower G until the first players knowing that- to paraphras~ a well known prove rb -E~ernal Practice is the Price of Excellence. beat of the f~urth measure. This is "Portamento." The effect IS thatof one note melting into the other. n.ever permit thems~ lves ·other than a slight relaxa­ Altho' you have played a continuous tremolo in both tIOn from the severity of their customary practice cases of the above examples it is patent that in case schedule, Of course I realize that I am writing of the of the "Glissando" you have actually sounded all the exceptJo~ally fine. player,- but this is exactly what IntermedIate notes whereas in the case of the "Porta­ makes hIm exceptional. menta" yot have Not. You have simply" helped" OVg~ 200 of. tbe leading playen. teac=h era, manufacturera one note into the other. and pubhsherl will attend the The "Portamento" has numerous advantages SERENADERS' CONVENTION over the "Gli ssando" on the mandolin and it will e,!"i1y become apparent that a little "Glis- ~~ x~Ca ~o;:N ~o.Oc=tobe r . Are you going? Read about it in The CRESCENDO 19 own ability and the abi lities of others. He can then compare the tone, the technic, the style of the differ­ G U ITAR I ST S ent players, and can thus be a more careful critic of RO UND T ABLE his ow n work. To receive the plaudits of those who are uneducated l;o:omucn:1J UY musically and who are thoroughly unacquain ted with V.hd:,h E. L. Olcoll -Ui ckronJ the guitar is praise that should have the effect on the "Th"lI"ilurl"" mlu/,,/ur.. 01.1,,,/,.,, in player that water has on a duck's back. It is only i'... U .'·-II .... ' ...... ,',;,.===== when you have received the praise of those who kn ow, those who are eilher themselves musicians, or those who have heard good music and who have had a chance to compare the playing of many artists, that you can begin to feel that you arc ascending the ladder toward perfection of performance. Hear all the players on your instrument that it is COMPARISON possible for you to hear, that you may learn there­ from, even if sometimes, it is to learn w~at not to d€? E all know that there are a vast number of In judgin g the tOf.le or merits of D:n Instrumen t It guitarists who have ne-.:er had t~e ,pri vilege of is the same, - experience and comparison that enables hearing a really fine artist on their tn s~ rlJment . • the person to judge correctly and with any degree of To a violinist, pianist or vocalist this would authority. How many have not had more or less the seem quite incredible, but when we realize how many same experience as the writer, who used to. think fine pianists. violinists and singers therea~e. and how when ahe was a small girl wilh her first guitar which very few fin e guitarists there aTe abroad In the, Jand, cost $25.00 that it was a most remarkable instrument. it is easy to be convinced that there are scores If not and would not think of any other ? But Inter when hundreds of students of the guitar who li ve in small she was aC

rung of the ladder, and if he happens to be of the A trio, co n ~ i ~ tinK of \!iolin. cello and pianu. of which Mr. K \\~ . type that has a preponderance of ego and whos~ head St:tebler of Wetlt P.rk. Ohio. iell me mber. forni l!l hl'd lilt' JIlUIII~ is easily turned, he will soon be fi rmly rooted In the recently for the Commencement EXl"rcisclI of tht· Wel t I'ark bl issful thought that he is about the acme of perfec­ (Ohio) High School. playing" number II f the h~ ~ t mantlohn orchestrn arrangemenlll. tion, as far as guitar playi ~g. is concern~. Even tho' the pupil had no opportunitIes of hearmg .good per­ formers on hi s instrument, it must be admitted. that cmL~~~ e~.I-~e~lfi::il~i!lllp~~~~n rlr~~~la~~~~I~}lhl~ fTh;~i::oc:: :~~ faclory were cl08ed at twclve 0 clock and K ~p~r I81 tralll look the a great deal really Mu depend on the student as to employeel to the pllork. E\'(;ry employee was gi.yen a badge lind whether he will be like the above mentioned "some­ • ran on boarding the train. Luncheon w". served at t :16. one" or not, for there are students, who might even be denied the advantage of studying with a rair r~!e~~t~~e a:::~ff:: ~~J::Cdm~~~i~il~i~~I~tl.~~~~('~h:f \e:~ beautiful woods. The Lyon & lI ealy Inxophont· _Iuartet ~ 8de teacher in the little home town. who have such hI gh up of employees furniehed musir. A fter lunch, the ~hl~ago and lofty ideals that all the praiseof the vi llagers and Symphony orchellt' a gave. roneert in the open air audItorIUm. of the neighboring villagers could not turn their heads At 4:00 • ball game WBtl played between th ~. \'i~ lrola and Ilhef'l or make them conceited about their abilities. These, mUlicdepartmenu, the viclrol adepnrtment wmmnll. Mr. Greg. ory. Mr. M. A . Helily. Mr. BowerH, Mr. Fuller. Mr. Columbu~ are, of course, the very Dupils who profit most . by Healy and all of the other ofliccrl lind depnrtlTll!nt ml!.nHKN .;I hearing the best artists. Themore well-known artIsts were present. It was a big family afTair in which everyone wos the player hears, the better he i. able to judge of his on an equal basis. .. Th, CRESCENDO

BANJOISTS ROUND TABLE Conducted 611 GEORGE L. LANSING and THOMAS J. ARMSTRONG Eminent Authoritln on MatteI'S &I1/oisl/c

71.... ,ll1pflrlltlfmt ... t6p,,,iully luI' Ililujoid6 bill ,'"YOH" maY luk qllulio,., JUrtnj"iHg (0 Iliff tx",jo or ('Im l ,il,,,,, it' III.. QHutiolf' or nt!lgUtiUH. tr:iII TV"i,., d". nm­ . iII' 1't,tioll. ...lIMn.. "II'IHjou,I. Hmo!!' 7i,b!•• •· a lrll tif 'I'll" Cruc.,,,lu.

VERY MUCH ALIVE come expert on the banjo, mandolin or guitar with By George L. Lansing very little practice. The majority of pupils think an hour each day is sufficient and many of them become MET an old friend notiong ago who I had not discouraged because in two or three months they do seen for several years. When I told him that I not playas well as their teacher. They will find how­ was still teaching banjo, he seemed surprised ever, upon inquiry, that the teacher did not measure and said, why I had an idea that the banjo 11 his practice but put in hours where they gave m inut ~s was dead, and buried, which shows how very little the to mastering the difficulties of the instrument. general public knows about things when once they get away from them. In many ways the banjo is About Quelitione and Anewers very much in evidence just now. The McGrath This department receives numerous questions that Brothers are out on the Chautauqua circuit. Frink are repetitions of those already replied to in this col­ and his Maryland si ngers an act written around the umn. Within two months several letters have been banjo are also out for the Chautauqua people. Alice recei ved referring to the use of the banjo in dance Allison has just closed twenty weeks on a circuit that orchestras, all of which has been gone over very takes her to the coast and back. Otis Mitchell of thoroughly in this department within the past year. Mitchell and Mitchell who have a fin e act in vaudeville Look up your back numbers. are well booked up - Mr. Mitchell is one of those who plays with his fingers in most of his work. Every A. B. Olean, N. Y. banjoist in and around Boston has been busy si nce WOl

THE MARCH OF PROGRESS ,,-,-,=.,-,='\\ OVER 1.000 T. H. Rollinson Successful Teachers would be a progression; in a practical direction. The USE mandoli n family cannot cope in power with the stringed instruments of the symphony orchestra, therefore. the brass instruments would have to besub· l \he Odell Mandolin dued to an inaffective quality of tone. . Method Such an instrumentation merely presents to the public an imitation Grand orchestra; weak in tone The m08t practical, com pl ete snd progrcKsive method and lacking the rich sonorous quality of the violins. ~~b~:~~1~g. It contains every possible point about mando, The large combination of plectral instruments wins Book l - Beginners; Book 2- Slightly Advanced : Book popularity and also because it cannot justly be placed S-Advanced; Book 4 - Duo, 1'rio find Quarto form II, in comparison with any other form of musical organ· ~:;[~~~r:t~gJ~'o R~~~: ~:~h~e~~~i~ ~d Harmonics, The ization for it belong. in a cIa ... of its own. A healthy II March of Progress" has established the mandolin Willis 8, Co nolly, E rie, Pu. : 3S orchestra a lejtitimate and standard musical organ· "}rUltT ttl(fnriu/in method i. wOllderjul. flcll'" trie(l ization of high character and it would be unwise to mallll other 1IIethQf.ilf out yuurR i. tile Jine.t I hUl'C "l'er follow methods that might lead to its being criticised seen. It put. thtJ 71lO.lIdolin 011 a high,,. plane (18 a fl'c llni· asa mongrel. col instrumel/t alld 11f jllllt We right tcaching IfYlflem' for Let us hope that we will still progress in merit and the interelfted (HId 1H'oyrtJlflfivtJ pllpU. " skill; also that all meretricious innovations and false methods be placed in the cIa •• where they properly Four Hoole., ., .. r. h 7 5Cl. Co:.. plete .8.UO . belong. Let u. also hope that there will be instilled LIBERAL DISCOUNT TO TEACHERS in every human ~oul a love for good music , for,

.. Th" man that hath no music in himllelf, t.h" ~:1n~o~~~hc:~:~'~h~n!'~~d~~~t~b~:t~~ ~ lind what It ill also a great Tenor Mandola method. Nor ill not moved with II. concord of IIweet lIou nds, The motion II o f hi ll IIpi rit are dull all night, H. F. ODELL & CO. And his affectionll dark all Erebul. Let no lIuch man be truated." 165 Trl'lUont St. Boston. Muss. (Shakespeare) , =,==-=,=0=.="

" The Crowning Instrument of the Mandolin Orchestra " The CLARK IRISH HARP

J I S. II. J OIINSTQNI-.:, 1)j,..'CI.,~ ..f )' . .tI . C, , I. ".,,,,doll .. ..rt"II~o(, ... Ko/,.,,,au.a, Mi("lt. N,.au-,. '11 ...... 11110 .. ' ,It .. fra/r, .. I,,, til ";~"'Ol •. t("fJrlo .. ,. ("omp{lH(" o .. d "ublfllou 10",:

"' I have recently had the opportunity of uaing a Clark Iriah Harp In my mandohn orcheaua and have been delighted at the new tone color it gives. In accompanying work it 11 paTl lcularly adapted to the modern mandolin orchUlra, I IHongly recommend itl ule by mlillldolin Olchestra dlf~tOfl :' (Signed) JAS. H . JOHNSTONE

A new era in plectral hiltory ia at hand. T o the teacher with foresight the CI .. ARh' I RISII IIARfJ comn U iii logical sequence in plectral evolution. He recognlzu the IUlcious rippling tone quality which thll hlrp offen the o lcheltra. LEARN TO PLAY THE HARP You can ule our inlttUction courle o f 2" lellonl and l urprlle yourseU at your progre... Furthermore for the benefll of Ilundo­ Iiniats and orcheltra directors we maintain a deplrtment under the lupervislon of WM, PLACE, JR . Mr. Place will help you perlonally in the organintion or mlintenance o f your orchelltra. You are entitled to hll coulilel abao­ lutely free. Sign the coupon now! CLAnK HARt) MFG. CO. CBNTLBIIBN: l 'lr." ...d "'., laro,,,,.II,,l conurllln_ Ih. CI.,k Irl.h lIarp. AI_ Y.'" ",op.ullio. "o • .,uai •• In.lrll,,!!O•• roO' pl.,I ... th.Jh, p. /"Ift. ,"dt.rof . 1 \ 1I0.~ liD ••' ) II".,.., II .." ..d oU,. orcA .." " I pIOIl I" l rJ., ,,, ..... ofl,,,tlrlllftt"''' I", "'0",11.11", .....A .. I',.. IIIAltA J. dl~,rlrd 611 At/rl.

408 S . SALINA ST . CLARK HARP MFG. CO. SYRACUSE. N. Y.

PLEASE MENTION CRESCENDO WilEN WR ITING ADVIiRTI8EK8 .. 22 Th _ CRESCENDO

FOR MANDOLIN AND BANJO CLUBS ~be JIlost ~opular ~ MANDOLIN PIECES B~r&: PSo~~:IJ~-:/°rf:!:t:::.i ni:n~ ; Mandola. Piccolo Mando, Mando­ Cello, Mando·Bau, Harp Aecom­ pan..,lIent, Outtar A ceompamment, Plano Accompa.ntmmt Cornet ad ltb, Cello ad lib, Flute ad 1it! CONTENTS INCLUDE III Anrel'a Serenade-Ave Maria- Bridal m I Chorua (Lohen,rrln)- Cavalleria Ruati· ~ cana (Inttttneuo)- Cavatina- Cinquan· HAWAIIAN STEEL GUITAR taine La - Collere Medley - Cradle Sonr - Enchanbnent Ita weird, appealing harmony captivatea ita hearers. Go to your neareal Victrola shop and ask to hear ~W~=!~':i: (t!:~~)~M~~;~~ F~~::n ~~t;~~~ m some of the many records of both these instru· Im p::hrtUlri.n~~ ~:S;~~: · (~~~wWal~~; '~~~t, ~etlfu-I ments, and you will quickly appreciate their mtenneuo) - Serenade- Serenade Bldine- Simple Aveu-Sinr. beauty and effeclivenesa. Smile. Slumber ISerenade)-Sorella, La (Spanlah March)­ Sprinr Sonr-Tnumerel-Valae Bleue- Woolnr (VaIR inter­ Price S!.DO "d upward (includinl SI ..I "d S,I.I mezzo.) Three Th imbl es for pIa,in& Ind Instruction Book) Ust price of each book, except Harp and Piano, 40 cellls. WRITE FOR CIRCULAR III~ Harp and Piano Books each, 50 cents. III m FOR SALE AT ALL MUSIC STORE!' ~

SO·53 JACKSON BLVD.• III HI NDS, HAYDEN & ELDREDGE, Inc., Publishers III CHICAGO m FO f"''''" lUnd., Noili. A Ehlm.. m III 11·15 Union Sq , West, NEW YORK m ~aaaaaaaassaaaaaaaa~ IMPORTANT ANNOUNCEMENT I intend to publish this coming l ealon lome carefully selected compositions by well known writers, for Mandolin. Banjo in r------, A and C notation. Pleclrum Banjo, Guitar solos, Mandolin Duos and Mandolin Orchestra. Now is the time to lIubllc ribe for my new illsues at 80% off. Send for sU bsc. ri ption blank. STEPHEN IHEPARD, &20 East 18th It., P a ter. on, N J . I I The Odell Mandolin Duo Method I, NOW : U:1Q = :rd :~m;ort oDe::t.~::: II Ellpiain. tully every point of DUO, Trio and Quar to p laying, Used e xclul lvely by thou. ands. 7 &cpntpald A Tindll i e Mu s i c H. F. ODEll &. CO., 165 Tremont Street ;; BaSion, Mass. Cabinet will keep your Ulu sic straight I and orderly, free from I confusion, protected I' from dumage. Find I any piece instantly. I Hundred s in use I among discriminating I IN HULA LAND mu s i c ian s and HAWAIIAN .ONO HIT I., FRANK LlTTIO teachers. VoIe •• ndPI.no, lei. Duett..30 SteeJ Duett. .80 I DI.eount Write for Catalog No. 29, 17 Styles. weJl , LITTIG UKULELE METHOD. 5Oe. STEEL GUITAR IlETHOD. 5Oe. made, distinctive in' appearance. Cash h d (or complete lilt o( U.w.llan Mu.lc FRill l. lIntB . • . m IIPlE lIE., lOS "GElES. Cillf. I or C88Y monthly payments. I Tindale Cabinet Co. rlt'a':I~I~t New York , Second Edition of FRIYOLEZZA Now Ready The Most Care· free, Happy, Merry little Tune you ever played. It just rolls off the Mandolin without any trouble, hie .. : ...... ' ., 25c.; ...... Ii .• 2Oc.:l.HiIII . ... ' ., 3Oc.: 2 ...... I .. 15f. '" L ______J h.1l11It4 ~ P. LANDRY .. aRTHOUD, M4 W , I 18th at,,'£I' lOll: U . I I BAY, " I eAW TOUR AD Uf caUCKNOO" Th. CRESCENDO 23

NEW YORK. F. Landry Derthoud. Secantreaa. 66' Welt 119th St.. New York Ci ty. Hot, boiling hot weather Serenades do not attract the largest audiences on record but always enough players are on hand to start up a good G. E. and there are always enough people who come seemingly to TALK all through the numbers to make things fairly interesting. On July 21st. Mr. Luther Nei man was C. S. The G. E. played a March and then Sunny South Medley (Arr. Lampe) also the Four Mexican Dances. (arr. Lansing!. Mr. Lange, looking well and ri~~P";'r!,~~~ eh~ ~I!~~.~~i ~~J~ra;~ il~t~r: ~~~il:'t~; played it on the mandolin accompanied by her Father on the guitar. The Serenaders' Orchestra play sev­ eral of Mr. Lange's compositions which Bre generall y very good. As an encore Miss and Mr. Lange played .. Rimembranze" on two mandolins accompanied by Mrs. Kenneth on the piano. As the C. S. was obli ged to leave early, the Serenade broke up after a few more numbers just aathe evening was beginning to get delightfully cool and refreshin g. On the 23 rd an outi nA'. attended by about 35 Sere­ naders, whi ch took up all the day was held at Sea ClifT, I L. l. Bathing. a good dinner, snapshotting and a Because ;1; : :~,. K ~~.. ,~·;I"\':~ .III,I: •• I~1I I ' ~\ ,t,~ I'~1 ' : : ; :~\~' :::;i~ u.r~, .:.~ ", general good time made the time pass quickly enough. ,",U:1(-', 1 In 1I11wnll for y t'a r'J-'wt 1. 1"~ firh:d. The run out and back was made in two sight-seeing autos and everyone came back ti red but happy. Because ; ~;'~·~ I :~r\,~ ~,~ i~ tI:~n.~a~ f,,· ";~~ ~ I ill 1/00t"'''/II, \\ II h.I\·'· IU·'·II 1:l lIl.:lIt Ih .. Il rt They all returned to the Serenaders' rooms and held a very informal Serenade. As a new player made his .. r mukhlJ; Ih,m I)' t lwlr f,lth~' r . Ill · 11I\"·'II"r. debut on this occasion I shall si mpl y mention him . Because :;'l' ~~I:I.~.~ !\~ \~'·~I~,. II '~"~~ : :: ."~I'::,~: Mr. Augusto Cortes played two very creditable lIut ,,11:111111)'. )';',dl huHrlllll.·"t I,. """"Irll. t. solos on the guitar. Mr. Cortes is a very new Sere­ I ,·,1 io)' han.1 IIlId lin 11,1 . ,.. II .. h.·" a"tI I.. '''nJ naderand we were Qu ite unaware of his skill and com- 10-:"'1111:" th,' tI •••• II1U"t 1"' 1i:o! th.· ", r·'''" ,,1 pliment him accordin_g_l_y_. ___ In",'('I'llOli "r )If. ) 1.'lIu.. 1 Xun, ... Thfl Ilb.. "e r ... 'uw'nfl " r .. _hy t he lL :.."', .... oTt ~" •• ',.. " rum... n l ...r ... t e l' HOSTON, MA~ S. >'11 ,,,·,I,,r t .. Illl .. II,,·, m .. k .... In '1. ":-'~:. Ilrtlule " 'orkmn nahlll nno..\ E. Pendleton. S~ ntn· • •• 20 Munroe St .• Roxbury n. I .1 ... ,.,,1.111). Th.. ) .... ~ " ...... r" II"," lin, n",,,,' ln' .. r l11r h .. l- First serenade occu rs Oct. 3. with Presidpnt Loui s II .. I ..,,~ 1"_' 11 on ..,,111 "11" Ihe c-ulne "'li b l h~ Stoy1e as chief. The membership thi~ season wiJI be ):,,) .• 1 1I ,... "IIIIn ,-,Ollt­ over 300. The new hall wi ll accommodate over 500. or."r",~ on h.' ,,1 1"""I,l. Everyone is enthusiastic over the plans for the winter. n. ,.I.u' .. l!lullnUed. I MailO,.derl

"'I'hll mU lle: or lhll 1f, •• Ii.nl. thll mon (ueln.nln .. In thll .6rld. i. It111 In m)' un .nd haunt" ma "l... pln .. a RC! .akln... I c. n IliII hur ~ the pulllnK' o{ th" I \lr( . t W.lk lkl. _ Iha plum), pal"", drtl•• ln. b), thll l hor .. ,the W. rl.nd'der.... , .ndthele.nlnlrc.. c.d ..• •.• ndlhlI For mu lc lUI. me . Ith tb• • plrh of Ita .oodland I6litudH,"-M.u .K TW AI'" I Catalog A new compl.t. m.thod for 1I.". lian .Uel &ultarb), the v,tuan ttac her Tlleo. 0. lI.rport and Ih. celeb, ated Ha • • Uan aultari,t David S. Kaonl. I' rie" $.,00. The conloe"ato17 mathad for Ha"ailan cultar- boob on•• nd 1.0- A nota· lion contain. all m.,Ior and minor _Ie. and chord.. 11 0. to 1)J.t.)' ractlm• . Ji'RANKJ~A'R7" Son.... l lh . onh. mu.le IIfId accompaniment,. Prtc. r.oc Beh. " OUTHERNr.s 'AL/F.'ORNIA Chord boolt fOl' lIa •• n.n .ultar . Price tk. I /(MUSIC c: MPAN'Y N • • mu.k. 16i00i and dueu. 10 e l~ l n .. the tamaUi Klllma Wall • • nd 11110 ~ 3J2 -JJ-f S Ot' TH 8HOAD\vAY. L OS AJ'IG£LE5. II M.~h . W.M:II.taet.. thlmbl.. . ndadjutt ..... s.,,,Ir... tClWlIO"Iof Ib ROACH FRANKL4ND SCHOOL OF MUSIC -----~ l Ui 11M BROAOWAY. CINC INNATI. 0810 24 Th . CRESCENDO ...... a • ••c •••••c···u I RECENT PUBLICATIONS U .. With..v.rypuc.compoau'lInam.ugiv.n, auoarronger' •. II i Thel.tt.Tai/lfflrnam •• indicat.grad• . E,j!MY· M , m •. n .. dium. D, ilficult. •• ...... a ...... cca GUITAR J ... B. Johnl tone Ka·zoo·za·lum Ra. Petrie & JohMtO"e, M. Guitar Solo 40c • A ragtime guitar 1010 in the keYI of D and G. Rather a ~~i~~~ ::r ~~~r:u~[!r~e~ored'lnfd~ft~1 ~frr,~ Ut~~gfir~ln::i~~~~~ MANDOLIN DUOS J ... H, Johnltone My Flower of Hawaii Queen Liliuokalani·Johnlltone, M. ~_ D in 1hee~:; ) ~~n~ ~h~~~~~~~~t °ln ~~!d~:;: :~~~:~I~~.~~~ ~nf a picked accompaniment.

~J~~~:r:i' Evu f Arr. John.toM. M. "FROLIC OF THE KAZOOS" ro:ROT Price 40c By JAS. H. JOHNSTONE Excellent arrangements of both of thelle popular numbers. BA.NJO SOLO- "'C"' NOTA. TION Introduce. easy chord tremolo and tremolo melody with picked A S napp, Nambol r TIIat Will Btill. A.. beor. E'I'U7 Time accompanimenL Aloha Oe is in the key of C througbout and tbe PRICE 1.'0- Ii OFF other number is in the key of G throughout. IXnd for C.talop•• or " J OHNSTONE'S HITS" (or ....dolla On""tr. JAi, H. JOHN.TONE UKULELE 42. ACADEMY .TIt.IIT KALAMAZOO, MICM. Frank Littig In Hula Land Frank LiWg, E. THE FODEN SPECIAL GUITARS Voice. Ukulele 11010 and accom. SOc This new number is arranged either 88 a ukulele 11010 or &8 a :n~I~~redm:i~muk~i~i:~~e~ku~~ei~c:~t~~i~fnl~~i~l~i~~~ Very eallY and interesting. STEEL GUITAR C. S .. DeLano Advanced Studie. C. S. DeLano A new addition to the well known DeLano Steel Guitar lnlltructor, to be includ lld hereafter with the Inlltructor. Four pages of excellent advanced IItudiell for handling the lteel, chro­ matic IIcales. turn I. directionll for writing tenor parts or 2nd guitar pnrtl. exercises to perfect intervals and triple fingering. A valuable addition to the DeLano instructor. Frank Littig [n Hula Land Frank Littig, M. Steel Guitar Solo :JOe fO~ 1I~:~r :u-r{'::;ithg::;:r~tl!~i:c~~:;:ni~~~~y FI,,:n:h~ i ~~~ of A. This a1110 may be used in connection with the ukulele ar­ FREE TO BANJOISTS! rangement of the ume piece. VOCAL y on ~~~~~~~i~~a~~~~Lb~e8~~~~I, YcOhua~:~J:i~n~I~~~ Frank Littig original. You want 80108 that matter, that are effective In Hula Land F. L. Littig, M . and not too difficult to play. Song 50c We C~~~~a:~~~!~:. ~~: !~iCvhe~e ~~~t th~~ke~;t!~~;r~~~ of~hi~'hrh~r!.~~~:r:~dt~~:i;~irC: :r~~t~~ab; ~~.ttilttj:~ M~~i~~ Will you .Uo", UI to prove, In • pr.ellal way. the hll'b Quality of ou' voice, eallY accompaniment. publlcallon.' J u,t , I':nd your naml! a"d addn!H. and we will mall ,ou by return ELEVEN CHARMI NG BANJO 80LOS In A "ot.-tlon. \o8'athar wllbp.rtleula,.ofma"yotberdeU.htrullltun. We 'eel eonlident tbat when 7011 h . .... tried over the.e .010.. YOU will rffOmm.nd our ftrm. WARNING TO BANJOISTS and DRUMMERS I All o"rA D\JIa"" ..., I... hn. ,h. C .. ",.,i ... pri.tedoa,hahooc.. af,""d, (op,. NU·WA Y means quality and latellt ideu. Are you aware of Write now to CLIFFORD ESSEX CO. the fact that IS. Grlflo" 5 1., Bond SL LONDON, NU·WAY INSTRUMENTS are mOlt used by Professional playen. Why? Becauss they have the most powerful tone and finelt conltructed. with the DO YOU PLAY THE BANJO WITH A ~~e:!t~~.o vementl. lold at prices to meet everyone's THEN USE ARMSTRONG'S Cello·Ba"jo.. Drum •• 7'IImpanie•• Drummen' TrQIM. P I PLECTRUM SCHOOL FOR HANJO BotUo-lflottdolitt•• attd Ukulele.BarUoa. C K CATALOG 'REB FOR THB ASKING l'UBLIIIIIRD BT WM. H. ALBRECHT, 6138 LudlDW St., Philadelphia. Pa. ALBERT HOUDLE.TI & SONS PRleB SOc. NET' .. MELROSE STREET BROOKLYN, N. Y. Th e CRESCENDO Chenet Guitar Studies LINER AD. DEPARTMENT I AdllerHaementa iMerted here fo r IS cu. a liM, each iMer­ Lion. Ca." lOitlaorder. Not leu than three linea nor mora than B liMa Qcc.p~ed. V.llru..h H. F. ODELL'" CO. FOR SALE -Ve.... F.lrt..n... Banjo Cello. In .-ood eondltion• • 11ob I(eftuln. leath"r ea.e for J.tO hhht)' doll ....). IIER8ERT DItUCKLlE8. 21 I'atk "lace. S •• York CII),. N . Y. lIAIUIOSY LE8IOSS IIY MAIL- A praclJcal COlI ... b)' a ..... Idan or ..an, FREE )'_... ..zrwrl.nc:e and a ,"e",bn (or " ..... of Cilmo ...·• Band. From .!art. \0 ftnlth 'm), Intt.ruetion I, _II)' undentood. When,,1HI pt throulr_,,011 .111 A copy (or Mandolin and Piano or 2 Mandl!. and Cuitar of ~1lA1I)' h ....!. ___ ~!~!.. !!..!.~Iue. I. U. ODELL. 166 Tremont.t... BeNton. II .... t he immensely popular march 8END 10 CTii. for an OJelJ G.OlulneTortoi.. ShelJ M_Oldalln Pkll. Won' t chip. "THE PRIZE WINNER" .on·\ b .... ll. I'roduc:,,_c:lee. tone. II. F. ODELL A CO .. 116 TrtQlOM Strut. &.lOfl,M... . to anyone who will .end us the names and addrellSell of r~v~h~ler::e~d!h:~t~;~~:::l ye~~ i :nd~~Cuh ;iflns~~:I:nk: ADVERTISE HERE ~~t~~mJ!t :;~ii ~:ti~~ ~~~ d~:ir-::~d8tte!iill b~~~~:di~ D. Acker .ays :-"My Liner Ad In Crescendo paid O. K . Tbe ately mailed to you poltpaid. The names muat be those Crelcendo arrived Thursday, and tbe order with $2 came Friday. of 8ct u81 players of the mandolin, mandola. mando-cello, guitar. banjo or piano. State alter each name the in­ H. Spahr. J er.ey City. N. J .-"Am well lati.fted with Liner Ad strument played. department. Sold two inltrumentl to two very ples.ed customerl." H. F. ODELL & CO., /65 'l'nmonl St .• BoalGn, Man. Cbal. J . Ol.ubit .aYII:-"1 tbink adverti,lng in The Crtlcendo I. Ireat. I bave received so many anlwerl. II travels 10 C.r and rcaU,. ,Ivea you good value for little money." • r------~ C. A . Templeman saYI:-"Received three replica to my ad 10 1.lt Crelcendo beCore I received the paper. and sold all the In"ru_ ICRE SCENDO AGENTSI mentl I offered for laic."

I~ ______WilER/; TilE CRl:SCENOO CAN "" . WA YS BE OBTAI,v£'O JI Save Money On Your Magazines 8 0lton, M •••. V qa II ..~.lrt.n k. Co. 62 Sudbury 51 . Oliver Dh.on Co. ISO Tremont St. Send for Our Catalog of New Eng. New. Co. 113 Arch 5,. O. L. Lanllng 170A Tremont 51. CRESCENDO CLUBBING RATES Brockton. M .... Brockton MUI. In • . Co. ll3 Main St. Chicago. III. ' Lyon II Healy Adams St. Claud C. Rowden 1022 Masonic Tern. Cleveland. Ohio McMillan a. Son Co. 2060 E. 11th St. Fort Wayne. Ind. Central New. Depot 1l4W. Berry 51. H artCord. Conn. Farrl. MUlic Store 173 Alylum St. L Ol Angelea, Cal. Lindley Mu •. Co. 416 S . B'way YOl. Need Som~.hing So. Cat. Music Co. 332 S. S'way New York. N. Y. C. H . Ditlon a. Co. 8.12 E. 34th St. TO KEEP Pittlburg. PI. H . A. Beeker 601 E. Ohio St. Volkwein Brol. SI6 Smltbfield SI . Sh~et Portland. Oreco n H. A , Webber 4B9t W'lh. 51. Your Musi(· In San Franci.co. Cal. Alice Kell.r.Fox 62 Baker St. Sea.t1le. W alh. Paul Goerner 307 Eilera Bldg. Sioux City. Jowa C. A. Templeman 3713 OIl«n. Ave. Syracule. N. y, ROle Friu Rogerl 114 E. Fayelte SI.

FOREIGN Chriltchurch. N. Z, Louil W. Bloy 23 Inglea Bldg. Dunedin. N . Z. N. Z. B . a. T. Soc. Princes St. Lec:bblulen. Aug ..Ger. F. Sprenzinger Gothenburg. Sweden G. Gerhard Obm Wallgatan 27 Kris,iania. Norway K. &rg 12 TheTe:legade BUY OUR London, England Clifford g ..u Co. ISa Grafton 51 . Para. Sur .. D. Guiana J . A . Hoyte 160 Pontewer( St. SHEET MlJSIC BOX i-OLIO Sydney, N. S . Walca Walter J . Stent 19 Hunter St. Mad e of heavy pasteboard co\'ered with finest v...elllnRton, N. Z . J. G. Turner B3 Kent Ter. {Iuality imported paper. Front cover lifts up . (see cut). music easily in serted or taken out without moving box. Holds over 100 copies of Back Numbers olthe CRESCENDO sheet music or 8 books, Size 14 ~ x 11 x 2! inches. U N Ll.' A flEW LKPT Label on front to put names on. Keeps music ,NUMUKRS CONTAI NING Vol. I. -­ I I' WORTU OF MUS IC 50c. clean and neat, free from dust, and is a decided • NUMBERS CONTAINING ornament on you r shelf, piano. table or cou nter . Vol. II. -- III WORTU OF MUSIC 4 0c. 1 NUM UIRS CONTAINING Will wear for years. Vol. III. -­ OVII:IUI4 WORTH or MUS IC 35c. II NUMBERS CONTAINING PRICES ~~~I~n ~!,:. h~hi ~!;Il~t·!I.. t!.,:~ ~;~~. De • • ».50 Itt WORTH OF MUSIC Vol. IV. -- 50c. SPHI.I DI_unl. 10 TNr hl!n or I)ul~,. In nOun IIr Iblr l)aun loOt. Vol. V... ~1.~U~~t~~1 cx:,~TA:,m:l~ 35c. SEND 65 cts. f~~I~rD WILl. St!!\U '01' OSK 1I0~ Vol. V I. .• :1:U~~~'¥11 CO~TA~J~g 25c. Vol. V II.. g.NU#~Wu ~TAlrJ:lg LIt88 TnAN 1$ 8~NfT~~I~Ht::& II~~~ VOLU .. E.60c. MAKE J IL______165 TREMONTH_._F_._O_D_E_L_L_& STREET :: __80 C_ O_.TON, ____ MASS~ . YUUR FILKS CO ....LET IC AND oaDS. BAa NUII8£RS DESIRED.

XENTIO!'l'CRaCBNDO WilEN yOU WRITE AN ADVERT ISER Th. CRESCEN DO -Ma~'d~li'~"'o;~~:"';;;li;:;;;;;;"''''l Including Parts for Brass and Reed Instruments. A Grand Combination for both i ri Dance and Concert Work. Send for Complete List i

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UKULELES OLIVER DlTSON COMPANY I Catl!-iogs Mailed Free 150 Tremont Street, Boston, Mass. Our i utMtnumU Car~fullv Teaf.d Genuine Hawaiian Up - to-date ~ :.:::.~ ~;:.:. :::=:~~:::.~;~:; ~.~:::. ~:::.~:~~ OO J , ...." .:...... =..: ...... U T_ Toua A..D IN ca&eeaNOO"