A Little Wonder! THE VEGA CO. - UR Research

The CRESCENDO

A Little Wonder!

"Little Wonder" everything its n a m e implies

A student outfit having attractiveness and particular appeal to the beginner. It comprises a "Little Wonder" model tenor banjo, equipped with a Magnatone Resonator, gear pegs, extension tailpiece, complete in case.

The quality of tone derived from the "Little Wonder" Banjo is an inspiration to its player. Its tone is clear, brilliant and resonant, characteristic of all Vega banjos.

To own a Vega "Little Wonder" Banjo Outfit creates a sense of pride in possessing an up-to-the-minute instrument.

Complete with case, $80.00

THE VEGA CO. 165-74 Columbus Ave. - - - Boston, Mass.

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2 The CRESCENDO

Banjo Brilliance True Banjo Tone

More Power

Ludwig Banjos are made for the artist performer w h o seeks brilliant snap, sparkle and true banjo tone. Built only in professional models ranging in price from $95.00 to $200.00 in standard models, and from $350.00 to $1000.00 in special exquisite art models.

Send for Literature

Ludwig & Ludwig 1161 No. Lincoln St. Chicago, 111.

Manufactured by

A. D. GROVER & SON, Inc. 180 Thirteenth St. - Long Island City, N.Y.

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©PELL S(_®@l<*C.(__il_air 3F®Ha®

By W A L T E R B U R K E Contains the late Walter Burke's finest original compositions for Hawaiian steel guitar. Fingering and positions carefully marked. Beautiful melodies and harmonies. Finest collection of easy and medium pieces published. Splendid for concert work, teaching, or to play for amusement. Edited by H. F. Odell.

C O N T E N T S Hawaiian Holiday, March Palm Grove. Waltz Estrella de Elperflnza, Reverie Southern Sea Echoes. Novelette Drifting on Hilo Bay, Caprice 'Neath Honolulu's Skies, Waltz Evening in Hawaii, Nocturne Royal Hawaiian Guards, March Pride ol Honolulu, Waltz O n Kailua Shore, Reverie Haleakala, March Iolani, Reverie Maid of Koloa, Waltz Haw aiian Ghost Dance Manilla Waltz Kanaka Kapers, Slow Dance

These 16 pieces bought separately would cost nearly $5.00. but in folio form cost only

Sl.OO N E T 2nd Steel-Guitar parts to all IP pieces in this folio in complete seta (unbound) $1.00 net.

H. F. ODELL & CO. 165 Tremont St. - Boston, Mass.

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Our Latest March FOR

MANDOLIN ORCHESTRA

Boston Commandery By T. M. CARTER

Arranged by H. F. Odell

One of the most famous American marches. You will hear it everywhere, especially in parades. The first two strains are in military style with fine contra-strains. The trio includes

Onward, Christian Soldiers Arranged most effectively! A great march for all occasions.

A sensation at last Guild concert

NET PRICES 1st Mandolin. Piano. 3rd Man-dolin. Mandola and Mandocello (both notations). Ranjo ( C & A ) , _!<<<• each: 2nd Mandolin, Flute,

Cello, Guitar, 20c each; Mandobass and Drums, 25c each.

H F. ODELL & CO. 165 TREMONT ST. BOSTON, MASS.

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"IT HAS BEEN DONE AT LAST" Shaeffer's Dependable Methods for Mandolin, Guitar, Banjo, Steel Guitar, Ukulele (largest method published), Harp, and now comes the

Elite Tenor Banjo Method (Just published, 72 pages) 2000 copies ordered by one large Music House as soon as published. This method is the acme of perfection as it treats of studies leading up to Solo playing as well as Harmony for Dance Orchestra.

Contents are as follows t B O S T O N I D E A L M A R C H , Sieael (Greatest March ever

written for the Mandolin, now for the Tenor) DIXIE S H U F F L E (Netro Delifht) R O L L CALL. March. Elwood. Concert S E X T E T T E . Donizetti. Full Harmony Solo L A P A L O M A . Solo R A I N B O W P O L K A . Shaeffer T H E C O N Q U E R O R ' S R E T U R N . March. Shaeffer. Con

cert. New S P A N I S H P A T R O L . March. Shaeffer. Solo S T R E E T P A R A D E , March, Stauffer. Concert C A TIPICA, Polka. C. Curti F A I R Y L A N D . Polka, Shaeffer H O M E . S W E E T H O M E . Dif. Var. Bass Solo. Sol I L O V E Y O U N O W A N D A L W A Y S WILL, SI,

I) u (ler

C O M I N G C E N T U R Y , March, Stoddard. Concert T O N E P O E M . Siegel. Banjo Duet, Concert H O W C A N I L E A V E T H E E ? Arr. by Shaeffer. Self Acc. Al'LD L A N G S Y N E , Var., Arr. by Shaeffer. Concert S W A N E E RIVER. Var.. Arr. by Shaeffer. Concert B L U E B E L L S O F S C O T L A N D . Var., Arr. by Sbaeffer.

Concert Chart to transpose music to any key desired without the knowledge of h a r m o n y . D i a g r a m of all Chords—Scales fingered, modulation of keys given. Price $1.50 Retail. Write for price to dealers.

ARLING SHAEFFER 1509 Cable Place Chicago, Illinois Publisher of the largest catalog of concerted Mandolin solos extant

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The Weymann Orchestra Banjo

Weymann Orchestra

Tenor Banjo

Style No. 3

Price, complete, $1.00. Extra String Parts, 15 cents each

for Two Violins (Violin Parts in 1st Position) with Piano Accompaniment

BY

JOSEPH F. WAGNER

"THIS collection is intended to provide Violin -*• teachers and conductors of young orchestras suitable material for ensemble work. There are few technical difficulties; therefore, close attention may be given to the music.

SARABANDE A slow, stately danc ailing for gooJ tone and

GAVOTTE A n old and dignified dance bowing and fingering, and 1

MENUET The chief <

Requires a

4. POLONAISE

s of this dance are grace and h legato, and good intonation. Eight D accompaniment.

rhythm. Full of spirit and life.

WHITE-SMITH MUSIC PUBLISHING CO.

Has won for itself the endorsement of banjoists the country over! Its fine tone qualities, its sturdiness, its beauty — have created an unparalleled demand for this instrument.

Weymann Banjos are sold by leading music houses throughout the United States and Canada. Write T O D A Y for handsome catalog describing the W e y mann line of Banjos, Mandolutes, Guitars and Ukuleles.

r_/lddress Dept. C

H. A, Weymann & Son INCORPORATED

1108 Chestnut St. - Philadelphia, Pa.

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4 The CRESCENDO

F R E S H F R O M T H E PRESS WmX-Stahl's New Mandolin Orchestra Collection We do not publish our Folios a_ an excuse for working off a lot of poor selling pieces. Most folios contain 3 or 4 gocd numbers and the balance junk. W e guarantee every number in our Folios to be G e m s of Melody. Every Player, Teacher or Director will enjoy our N e w Mandolin Orchestra Collection. The pieces are graded from easy to medium, and if the 1st M a n dolin part is easy, so will the Guitar and other parts be easy. Nothing like this collection has ever been published. Try a copy and be convinced.

CONTENTS EASTER BELLS (Waltz) Higgs WEEPING W I L L O W (Waltz) ., Brunover STEP A L O N G I One Step) Higgs FLOATING O N (Waltz' Higgs O N TIME OneStepI Morris SPARKLES (Fox Trot) Stahl S W E E T MARIE'Waltz) Morris SMILE O N (Fox Trot) Moyer M O O N D R E A M (Waltz) Stahl T H E NOMINEE One Step) Brunover SPANISH BELLE (Fox Trot) Stahl W E E BIT O' S C O T C H (March Higgs IN MEXICO Fox Trot) Moyer INDIANJO (War Dance) Bradbury In trum ntation: 1st Mandolin, 2nd Mandolin, Guitar, Piano Accompaniment, Tenor Mandola, Mandocello, Tenor Banjo Solo, Tenor Banjo Chord Accompaniment, Plectrum Banjo Obligato, Plectrum Banjo Chord Acc.

Price, $1.00 per book

CONCERT NUMBERS FOR THE TENOR BANJO Solo

Lustspiel Overture $1.00 Echo Chiquita Waltz Paderewski M e n u e t Spanish D a n c e No. 1 IMoszkowsl T h e Maestro Concert March... .

Sheet Musit

The above numbers are medi' cert or vaudeville.

2nd Ban $1.00

.50 !<> off

nd wonderful for

W m . C. Stahl's New Folio for the Tenor Banjo Orchestra This Folio contains the easiest and most pleasing Melodies published. All easy or medium grade. The Chord Accompaniment is especially easy for the beginner. CONTENTS O N TIME (One Step) Morris FLOATING O N (Waltz) Higgs STEP A L O N G lOne Step) Higgs WEEPING W I L L O W (Waltz) Brunover EASTER BELLS (Waltz) Higgs SPARKLES Fox Trot) Stahl S W E E T MARIE (Waltz) Morris SMILE O N Fox Trot) Moyer M O O N D R E A M .Waltz) Stahl T H E NOMINEE One Step) Brunover SPANISH BELLE Fox Trot) Stahl W E E BIT O' SCOTCH Higgs IN MEXICO • Fox Trot) Moyer INDIANJO (War Dancel Bradbury Instrumentation : Tenor Banjo Solo. Tenor Banjo Chord Accompaniment, Plectrum Banjo Obligato, Plectrum or Finger Banjo Chord Accompaniment, Guitar Accompaniment, Mandolin Solo. 2nd Mandolin, Tenot Mandola, Mandocello, Piano Accompaniment.

Price, $1.00 per book

MORRIS'S NEW PLECTRUM BANJO METHOD TEACHES 75 JAZZ STROKES How to Play All Chords. How to Transpose Chords. How to Play Full Harmony. How to Rag and Jazz. How to Play from Piano Parts. How to Play from 2nd Violin Parts. How to Play from Tenor Banjo Parts.

Price, $1.00 per book WM. C. STAHL, 133 SECOND STREET, MILWAUKEE, WIS. Publisher of Music and Methods for and Manufacturer of Perfected Models of All Plectral Instruments. Catalogs on request.

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INTERESTING DUOS MANDOLIN D U O S

Teachers! Players!

SEND TO ODELL A N B A N T E from Souvenir de Bade . Leonard-Frey A N D A N T E from Souvenir de Haydn . .Leonard-Windrath BELLS O F NIGHT. Nocturne Luigi Paparello DELIZIE D'AMOR, Fantasia deConceito Luigi Paparello F L O W E R S O N G Lange-Bickford HEARTS A N D F L O W E R S (Coeurs et FleurB)

Tobani-Bickford I D R E A M T I D W E L T IN M A R B L E HALLS (From Bohemian Girl) Balfe-Cambria

I L O V E Y O U T R U L Y Jacobs-Bond-Bickford LITTLE BIT O' HONEY, A Jacobs-Bond-Bickford

LONGING FOR THEE E. H. Frey M E N U E T A L A N T I Q U E Paderewski-Bickford O L D FOLKS A T H O M E Foster Bickford O SOLE MIO di Capua-Cambria PERFECT D A Y , A Jacobs-Bond-Bickford R O M A N Z A IN D MINOR Wm. Place, Jr. S L U M B E R S O N G Wm. Place. Jr. SOUVENIR O F VENICE (Souvenir de Venezia) Barcarolle Wm. Place. Jr.

T H E N YOU'LL R E M E M B E R M E (From Bohemian Girll Balfe-Cambria

RONDINELLA, Mazurka de Concert . Stellario Cambria TR AUMEREI Schumann-Paparello T R O V A T O R E , IL, Fantasia G. Verdi

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60 Sample 1st Mandolin parts, catalogs of over 2000 pieces for fretted instruments. list of over 400 Odell arrangements. Our N e w Issue Plan sent to anyone, anywhere. FREE

H. F. ODELL & CO., 165 Tremont St., Boston, Mass. toj__8__»».__^.__5)__S5__»_a;j_^^


^AR - X f92g^ ©C1B69424 9

^ESGEND© ^ ^ ^ M DEVOTED TO THE INTERESTS OF ^** -^. j ^ # % M

The MANDOLIN ORCHESTRA The Harp, Mandolin, Guitar, Banjo

AND KINDRED INSTRUMENTS VOL. XVIII y BOSTON, MARCH, 1926 S No.'f

6 The CRESCENDO

HELPFUL HINTS TO THE SOLO MANDOLINIST By Elmer K. Hood

! J | E A R L Y every mandolinist plays more or less popular music. In these days, when the tenor banjoist is "jazzing" everything in chords, playing single notes on one lone

mandolin has a tendency to sound light and thin. This can be overcome by adding here and there a little harmony to the melody, especially on the accented beats of the measure. Now, of course, any note that is haridily fingered will add tone color of a sort, and will also add volume, but if such notes are added that detract from the beauty of the melody, the sum total of the result is as big a failure as it would be to chop off a man's head to cure a boil on his nose.

In this article I will attempt to offer a few brief rules to help the player who has a good command of his instrument, reads music, and understands the primary simple rudiments of music, to add such noles from the piano score as will round out the melody, and make it satisfying lo player and listener. The player will find it of great advantage to learn the third position as well as he does the first, as many chords, especially in the flat keys, are much more easily fingered in the third than in the first.

Rule 1. Before adding any harmony, always master the piece single-note style; pay careful attention to the phrasing and tempo, adding such slurs and slides as bring out the melody in the most pleasing manner. When you are satisfied with your expression of the melody, then add such notes from the harmony as will round out and frame the melody without detracting from it. Remember the melody is always of the first consideration, and it is far better to cut some of the playable sounds of a chord out, or even play the melody unaccompanied, than lo bury il in a meaningless jumble of sound. It is a waste of time to study mandolin duo for the sole purpose of producing volume; you can gel that from a tin pan without study. In fact, you will find that at times single notes are more effective than harmony, even though full harmony could easily be played. You must use your musical taste to determine this point. Make your duo easy and practical of execution. Awkward grabs are never thoroughly mastered, so make your playing like what lhe conductor said about the train to lhe engineer: "What in double-well-well, were you trying to do to us in the "crummy"; even the cook stove skidded out lhe door, and we left it in the middle of the right of way for lhe next fellow to bring home." Engineer: "I thought I dropped the drag pretty steady." Conductor: "Yes, steady by jerks, like a frog walks." That kind of mandolin playing is no good.

Rule 2. D o not cross your parts. That is, do not let an accompanying part wander back and forth across the melody, now above and now below it. The accompaniment may lie written either side of the melody, but must be kept there through the entire phrase or strain, that is, until a complete musical thought has been uttered. Unless this rule is observed, the melody is completely lost, and your playing will be like that of the wag al the party. H e was never known to be musical, hut at a party he announced that there was no tune in the world he

could not play on the piano. When pressed to demonstrate, he brought out a board just the length of the keyboard wrapped around with various bright rags, and stepping on the damper pedal struck all the white keys, and then the black, in rapid succession, and turning to the crowd said, "There ya are; they are all there, pick out the ones you like the best."

Rule 3. Avoid false relation. If a note of a chord is altered by a sharp or flat chromatically, and then returns in the following chord to agree with the signature, keep the change in the same voice. For instance, say you have E in the alto, then E-flat in the alto, and then in the following chord the E is again made natural, you must give the E again to the alto, and not to some other part; it must be restored in the same voice it is altered in.

Rule 4. Keep connecting notes in the same voice when possible, and when not, let all the parts of your accompaniment move to the nearest possible note of the following chord. You will have noticed hy examining any piece that chords* in progression usually have at least one note in common. For instance, C, E, G, and G, B, D, have G in common. If this connecting note G occurs in any part, say the alto, it is best to let it occur in the alto again in the second chord, if the fingering permits: if not, let all the parts move to the nearest member of the following chord. In fact, it is usually best to have your accompaniment move the shortest possible distance, as wide skips make the accompaniment stand out too boldly and detract from the melody, instead of supporting and framing it. Never put a large gaudy frame around a modest picture.

Rule 5. Do not make your accompaniment too massive. I would advise the reader to stick to two-part harmony, with a sprinkling of three or four note chords, where these sound well to his ear, and are of easy execution. It is difficult to write a good duo in three or four part harmony throughout, which is both musical and playable. When you try a chord, and find il overbalances the melody, or in any way detracts from your original single-note interpretation, omit such notes as you find necessary from the accompaniment to properly bring out the melody.

Rule (>. The notes in the bass are named one-third lower than those in the treble. That is to say. that since the notes are placed one-third lower down in the bass than in the treble, to find out the name of a bass nole, if you are only acquainted with the treble stall, you merely have lo read the nole in the treble the next line above, if the nole occurs on a line, and the next space above, if it occurs on a space. Hence the middle line of the treble staff is B, while the name of the note on the middle line in the bass is D, because the name of the next line above the middle line in the treble is 1). Likewise, the space below H in the treble, which is A, becomes ('. in the bass. It must be remembered that this is no way to learn the bass clef lor practical playing, but for the mandolinist lo easily identify the piano chords, this method is good enough.

(To be continued next month)

Walter Stent, Sydney, Australia, says: "CRESCENDO is still the best."

The CRESCENDO 7

ill l in IIIIIIIIIHII

(HARP DEPARTMENT A. F. PINTO

| Member of Faculty of N. Y. College of H EDITOR

= This department ia conducted for th benefit and interest of all

U'arpiBts. Schools, $>_bagogu.s anb <Eoiiipo6rrB

Mil IIII!IIIIIIIIIH'_

Questions or suggestions will consideration. Address Harp Editor, care of the Crescendo.

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Copy of program planned for the National Association of Harpists, Inc., at Los Angeles, Calif., March 18 and 19

1. (a) "Star-Spangled Banner" (Conducted by Mr. A. Kastner, president of the Los Angeles Chapter)

(b) "Song of the Volga Boatman" (Conducted by Mr. C. Salzedo, National President)

2. "Festival Music" Holy Played by eight or ten harps of the Los Angeles Chapter

3. "Feerie" ...Tournier Mr. A. Kastner

4. Two Movements from Sonata for Flute,Viola and Harp Debussy

Mr. J. Plowe, Mr. Philip Kahgan, Mrs. May Hogan Cambern

5. Mr. Salzedo playing his own compositions

6. Songs with Harp

7. (a) "To a Waterlily" MacDowell (b) "Gavotte" Poenitz (c) "Menuet" (Symphony in E-flat) Mozart

The Harp Ensemble of the Los Angeles Chapter

It will be a great treat for harpists to attend this festival. Mr. Alfred Kastner, the president of the Los Angeles Chapter, has arranged for many entertainments; sightseeing trips, receptions, and visits to the Hollywood Studios are planned, so do not miss this pleasure trip. Arthur Brisbane, in his noted column '-'Today" of the New York American, writes, "Heaven in California. When the fortunate arrive in heaven, it probably takes some time for them to get used to it, their new power of flight, brilliant wings, tuneful harps, singing celestial music, in streets of gold, and all wonders must overwhelm a spirit newly arrived from earth. Just so, in California, the first few days it is hard to think of working, hard to interest yourself in what goes on in cold eastern and northern lands, to say nothing of distant unimportant Atlantic Ocean."

M I L D R E D DILLING'S N E W Y O R K RECITAL

A program of thirteen numbers, including the "Introduction and Allegro," by Ravel, and the first movement from "Concerto in C minor," by Renier, with the accompaniment of piano, was played by Mildred Dilling at her first New York recital in the small, but charming new Steinway Hall, New York. A fashionable audience of about three hundred filled the hall to its utmost capacity. Throughout the recital she displayed finesse, an understanding and a musical, imagination of high order, to which was added a magnetic personality. The audience manifestly displayed its intimate appreciation of her playing. She has a keen feeling for rhythm and dynamics, plus the cardinal colors of harp tones. It

was the harp transcription of Handel's "The Harmonious Blacksmith," in which the performer most distinguished herself. The outstanding original number on the program was penned by Marcel Tournier, professor of the National Conservatory of Music, Paris, "Vers la Source dans le Bois," which Miss Dilling played admirably. Mme. Renier's late composition, the "Concerto in C minor," failed to score. It is an interesting composition. Miss Dilling played the concerto with eloquent phrasing, and a wealth of tone color. She was assisted by Jaques Jolas, at the piano. One could go on at length in giving a detailed account of each number of the program, but space forbids. Needless to say, there was much applause and demands for extra encores.

INDIANA CHAPTER ENSEMBLE OF TWENTY-FIVE HARPISTS

At the Masonic Temple, Indianapolis, Ind., an interesting program will be presented by a harp ensemble of twenty-five talented harpists. The soloists listed are Nellie Zimmer, Louise Harris, Gladys Crockford, and T o m Williams, the popular Welsh baritone.

BRIEF N O T E S OF HARPISTS F R O M C O A S T T O C O A S T

Kajetan Attl played Pierne's "Concertstuck," with the accompaniment of the San Francisco Symphony Orchestra on January 3. Quoting the Call of San Francisco, "Pierne has many works to his credit, and the 'Concertstuck' displays all the craftsmanship of a master of orchestration in the modern style without any definite motif and it is rather noisy." De Sano Buck appeared at the concert given by

the Iris Club of Lancaster, Pa. Marion Marsh Bannerman, on New Year's Eve, was soloist at a Watch Night service at the First Presbyterian Church, Newark, N. J. The congregations of six other churches attended. Hazelle Black was enthusiastically received at the Valentine Theatre, Toledo, Ohio. Frances Marie Callow gave a joint recital with Anita Self, soprano, at Chickering Hall. Elford Caughey, second harpist of the Boston Symphony Orchestra, gave a joint recital with Marion L. Clapp of Brookline, at Steinert Hall, Boston, Mass. Dorofchy Flynn of Erie, Pa., quite recently gave a recital for Archbishop Curley. Esther Hadley Kirkpatrick has been engaged for

the season by the Palace Theatre at Dallas, Texas, for the new enlarged Palace Symphony Orchestra. Miss Kirkpatrick is a pupil of Gwendolyn Sainton of London, and has also played with the Crystal Palace Symphony Orchestra in London. Mignon Laird played for the Old-Timers' Night at the Newspaper Club, New York. Marie Therese Morgott was heard at an interesting concert given January 7 at the Recital Hall of Fine Arts Building, Chicago, 111. Miss Marguerite Mitchell was reengaged by the Baptist Redeemer Society of Yonkers, N. Y. Victoria Montani broadcasted a harp recital from station W F B M . Lotta Moyer and Anita Sharp gave a recital for

two harps at the Academy of Music, Brooklyn, X. Y., before an audience of fifteen hundred, under the auspices of the International Federation of Catholic Societies. M m e , Graziella Pampari was the soloist with the St. Louis Symphony Orchestra on January 5, playing the "Etude Impromptu," b\ her

(Continued on Page 21)

The CRESCENDO

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MANDOLIN {ORCHESTRA DEPARTMENT!

Conducted bv HERBERT FORREST ODELL §

i i as =

5 This department is especially for mandolin orchestra directors or players, a Anyone may ask questions pertaining to the mandolin orchestra. =

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MANDOLIN ORCHESTRA T seems very unfortunate to me that so many mandolin

orchestras are allowing instruments foreign to the usual mandolin orchestra instrumentation to creep into their ranks. Many teachers, or club leaders, feel that they are forced by necessity to admit all kinds of instruments

into their organizations, and that is where they are making a big mistake, to m y mind. In some localities, the introduction of foreign instruments has disrupted a number of mandolin orchestras.

The mandolin orchestra instrumentation, as published for and understood, includes first, second and third mandolins, tenor mandola, mandocello, mandobass, guitar, piano, if desired, flute, 'cello, banjo obbligato and drums. This is the old-fashioned mandolin orchestra instrumentation that has stood for years, and gives the best results. I speak from thirty-five years' experience. Other combinations have been tried and found wanting. Theorists have advised this and that, but the old standard instrumentation still remains the favored one. N o w in later days, after the publishers have spent thousands

of dollars issuing music for the above combination, there has come to be a slight demand for a different instrumentation, but almost entirely on the part of those who do not know, or have not experimented with the matter. Such an instrument as a saxophone, for instance, is entirely out of place. There is no part published for the instrument, and probably never will be, except those few pieces whk-ti have the regular orchestra parts, and in most eases, the part is not even published (hen. The saxophone is altogether too wailing an instrument, and of too penetrating a tone, to be used in connection with the mandolin orchestra successfully.

The steel guitar and ukulele have no place in the mandolin orchestra. These may be splendid instruments in combinations of their own, but they should not be included in the mandolin orchestra. The ukulele is almost entirely lost, and the steel guitar, when played with the mandolins, almost invariably sounds out of tune.

The one instrument, however, which leaders have to contend with most is the tenor banjo. W e have never yet heard one that did not sound too loud for the other instruments. A tenor banjo of high grade, fairly well played and muted, maj l>e used in place of lhe tenor mandola in the mandMin orchestra with splendid effect. W e much prefer the wooden tone of the tenor mandola, but if it cannot be obtained, the tenor banjo may be used effectively. W m . C. Stahl is the only publisher who is publishing tenor banjo chord parts for some of his mandolin orchestra pieces. I le has quite EI list of pieces for which a regular tenor banjo chord part may be obtained for those who desire it. When this part is used, it should be in a subdued manner, not as it is played in a dance orchestra, because if it is played too loud, the part will predominate over the whole orchestra. It sounds well muted Being in touch, as we are, with the leading publishers of tins

class of music, we have no reason to believe tney ever will add any more parts to the instrumentation already published, and it seems to us it would be much better lo stick to the present mandolin orchestra instrumentation of today rather than attempt to add all these new instruments, which are not effective,and not adaptable to the mandolin orchestra instrumentation, or music.

It is a remarkable fact how much mandolin orchestra music is published today. Only within a few months the following new catalogs have been issued for mandolin orchestra: Carl Fischer. Oliver Ditson Company, Nicomede Music Company, II. F. Odell & Co., and Walter Jacobs' catalog will soon be out. In addition to these, there are small catalogs of the smaller publishers, who have only a few pieces. Incidentally, we might add that the music for these catalogs are all listed at the net retail selling prices. In these catalogs, collectively, are thousands of mandolin orchestra pieces arranged for the instrumentation mentioned above. There are still hundreds of mandolin orchestras scattered throughout the world using the regular instrumentation, and my


Manufacturers, Publishers,

Teachers and Players

are requested to send in items to this department about concerts, recitals or other musical matters which will interest Crescendo readers.

GUILD CONVENTION

Kansas City, Mo., May 23 to 26, 1926. Manager, Miss Alma Nash, 3110 Brooklyn Ave., Kansas Cily, Mo. Official Hotel, The Baltimore. Rates $2.50 per day up. Soloists to appear: M . J. Scheidlmeier, tenor banjo; Will D.

Moyer, guitar; Shirley Spaulding, banjo; William Edward Foster, mandocello. Orchestras to appear: Festival Orchestra, directed by Claud Rowden; Fred Bacon's Silver Bell Orchestra; James H. Johnstone's Gibsonians; C. A. Templeman's orchestra of twelve pieces; Buckingham's Banjo Band, ten to thirty pieces; St. Louis R.R. Y. M . C. A. Orchestra, thirty to fifty pieces; K. C. Plectrum Orchestra, mandolin division; K. C. Plectrum Orchestra, banjo division, and possibly an Hawaiian guitar orchestra. Many educational and entertainment features.

About this time there will be a road fete celebrating the opening of the paved road between St. Louis and Kansas City. This will include parades, pageants, agricultural and industrial expositions.

Those who expect to play with the Festival Orchestra should notify Miss Nash, the manager, at once. The mandolin division will play "March Militaire" (Schubert), published by* Walter Jacobs, and "Majesty* of Dawn" (Cox), published by the Nicomede Music Company. J. Erwin Lyon, and his string orchestra, presented a program of music New Year's Day at the new Borgess Hospital. Kalamazoo, Mich., repeating a custom of main years. Among the numbers played by the orchestra were march, "The Optimist" (Weidt), overture, "Beautiful Galatea" (Suppe-Odell), "American Beauty Waltzes" (Bacon), "Believe M e If Ever," (Arr. Ilarvcv), "The Tantalizer" (Goggin), and "The Rosary" (Nevin-

Odell). During the month of February, Fred J. Bacon broadcasted

and demonstrated Silver Bell banjos for Sherman, Clay & Co., who have stores in nearly all the principal cities on the Pacific Coast. He played a new 5500.00 De Luxe Silver Bell banjo, which was shown for the lirst lime. It created quite a sensation among t he banjo tans. Joe Roberts, famous vaudeville artist, and Otis Mitchell, are both using the B& 1) No. 6 Ne Plus Ultra Silver Bell banjo in their work now.

Roy Killgore's mandolin orchestra broadcasted a program from station WBDC256, December 30. There were so many requests for more mandolin music from fans, after hearing this organization, that the announcer had to assure them that the orchestra would be on the air again soon.

The next publication to be issued by the American Guitar Society will be "Elves at Play," guitar solo with piano accompaniment, by Mr. Bickford. Among the new members at large are Samuel C Danforth, Cambridge, Mass.; Messrs. David B-Rutter, Edward Hauser and Joseph Coco of Wilmington, Del., and Messrs. William J. Kitchener and Marcandoms of New York City. Contributions to the programs of the weekly meetings have been Chopin's "Nocturne, Op. lb No. 2," and MoszkowskPs "Serenade" (Arr. De.lanon). Duets by Boy Poehler and Mrs. Bickford, "Valse Nobles" from the Schubert Album, and "Ga-votta Allcgra" (Munier); "Evening Song" (Foden), Edward Philbrook; "Home Memories" (Bray-Ferrer), Mrs. Anna De-Lucca; Schneider duel, "l.ockvogcrl," Amelia Hetrick and Mrs. Bickford, and solo by David del Castillo, "Murmure de Ruis-seau," dedicated lo Llobert, played by Miss Hetrick. The society gave its annual costume valentine party on February 12, together with the Bickford Mandolin Orchestra. In addition to a required solo each time, there is also a volunteer soloist. The purpose is to further encourage solo playing, and to give each a chance lo play more often.


Tke CRESCENDO

I PROMINENT PLAYERS and TEACHERS j ! A short biography and photo or some u-ell-hiwu-n teacher J

I :: .*: .*: or player appears here monthly :z :: zz I

J. B O O M S M V Paterson. N. J.

J. Boomsma was born in the northern part of Holland in 1881. At the age of sixteen, he took up the study of the violin. W h e n twenty-four years of age. he came to the United States, and took up the study of the mandolin. Later, he took up a serious study of the guitar with Mrs. Vahdah OIcott-Bickford.

About three years ago. he formed and became the leader of the Crescendo Mandolin Club, composed of Bist and second mandolins, mandolas. mandocellos and guitars. This organization has been very successful, and hotels rehearsals every Monday evening. He also has another club in preparation.

Mr. Boomsma is a fretted instrument enthusiast, and believe* thoroughly in the formation and conduct of mandolin clubs. He is most successful, both as a teacher and director.

Famous Tenor Banjo Solos By America's Greatest Banjoists and Compos*.a

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By Zez Confrey By Harry J en tea Bv Harry Reser By Zez Confrey By J. Russell Robinson By Harrv Reser By Edward B. Clavpool* Bv Henrv W. Ross Bv William Morns

Arranged as played by the composers, by Zarh Myron Bickford and other great arrangers. Each number published with Piano Acc.

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EVERV UKULELIST

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lover will want to possess as it contains more than oO songs with ukulele accompaniment and 20 violin or mandolin solos with ukulele accompaniment. It also contains complete diagrams of all ukulele chords and each piece has the proper chords marked. 128 pages. Price 75c.

FAVORITE SONGS Listen to the Mocking Bird

Hawthorne Lovelv Night (.Tales of Hoffman)

Ofienbach Love's Old Sweet Song Molloy Lullaby (.Erminie) Jakobovski Midi's in De Cold Ground ..Fester M y Bonnie College M y Country. Tis of Thee ...Carey M y Old Kentucky Home ....Foster O Du Lieber Augustin College Oh! Dem Golden Slippers Blond Old Black Joe Foster Old Folks at Home Foster Old Oaken Bucket, The ..Woodmorth 0 Sole Mio! Capm Over the Banister College Paloma, La Yrodier Po Hy-Wolly- Doodle Southern Quilting Party, The College Red. White and Blue, The . .Beekit Rock-a-Bye, Baby Cradle Song Santa Lucia Italian See-Saw Coote Scar Spangled Banner. The .. .Smith Swanee River Foster Sweet and Low Bornby Then You'll Remember Me (.Bohe

mian Girl) Balje Toreador Song l.Carmen) Bizet Tourelay Collegt t'pidee College \ ilia Song (limy Widow) ...Ukor Waltz Song (Many Widow) . .Lehor

.. I the Green. The ... .Irish We're Tenting To-Night . .Kittrtdge When Vou and 1 Were Young, Maggie Butterield

Woman is Fickle (Rigoletto). . Verdi Yankee Poodle Patriotic

INSTRUMENTAL PIECES

Ah! I Have Sighed (Trovatore) Verdi Ah! So Pure (Martha) Flotow Alice, Where Art Thou? Ascher Aloha Oe Hawaiian America Carey Annie Laurie Scott Auld Lang Syne Scotch Believe Me If All Those Endearing \ oung Charms Moore

Ben Bolt Ktieass Blue Bells ci Scotland Scotch Ciribiribin Pestalozza Come Back to Erin Claribel Comin' Thro' the Rye Scotch Dixie Land Emmett Ponna e Mobile Rigolettol . .Verdt Po They Think of Me at Home?

Glover Drink to Me Onlv with Thine Eyes

Old English Emmet's Lullaby Emmet Evening Star, The (.Tannhauser)

Wagner Forsaken Koschat Funiculi. Funicula Densa Future Mrs. Awkins Chevalier

... College Go to Sleep. Lena Darling . .Emmet Grandfather's Clock Work Hawaiian Farewell Song ..Hawaiian Home. Sweet Home Bukp

I Leave Thee? ...German I Cannot Sing the Old Songs Claribel In the Gloaming Harrison Jingle Bells College Juanita College killarney Balfe Last Ruse of Summer, The (Martha)

Balje

Arkansas Traveler Jtg Baby's Sweetheart Corri

(Tales of Hoffman)

Eonpipe Hornpipe - «fl Hanser - iu Lange

Fling Jig Hornpipe Polka, The Smith

skc Dvorak Intermezzo (QmDcrii Rusticana)

MmWmpd

Irish Washerwoman Jig Lullaby vjocelyn) Godmrd Melody in F Rubinstein Old Zip Coon Jig

Sylvia) Delibes St. Patrick's Pay Jig Serenade (Les Millions d'Arlequin)

Drigo Serenade d'Amour Vcn H M Sorella, La ;;

Standard Waltz Melody Locati STANDARD MANDOLIN PIECES

Every mandolin player will enjoy this collection ot more than 65 charming pieces and

• arranged for either mandolin solo with piano accompaniment or for two mandolins alone or with piano. The mandolin part is bound separately from the piano part but the price of both -

PARTIAL CONTENTS Alice, Wl-ere Art Thou?

Angel's Serenade Annie Laurie

If All Berceuse tlocelvn. Blue Belts ot Scotland Campbells Are Coming Ciribiribin Cradle Song Dixie Land Prink to Me Only Duet tl Evening Star

Gavotte Home. Sweet Home

~eske It Was .Not So To Be Killarnev Love's Old Sweet Song

. Lullaby tErminie) Through

in F Minuet in G

Old Folks at Home 0 Safe* '

The Paloma. La E

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fer salt al all modern •

THE MUMIL PUBLISHING CO. 1 U O B R O A O W A V • N E W VORK

PI_EASE MENTION "CRESCENDO" W H E N WRITING TO ADYEKITSEKS

10 Tht CRESCENDO

The CRESCENDO A Magazine for the Player, Student and Teacher of the Harp,

Mandolin, Guitar and Banjo and Kindred Instruments.

HERBERT FORREST ODELL Editor and Manager

Published Monthly by

H. F. ODELL & CO. Entered aa second-class matter. June 9, 1909, at the Post Office at Boston. Mass..

under the Act of March 3. 1879

SUBSCRIPTION PRICES SINGLE COPY ONE YEAR

United States $0.15 $1.50 Canada .15 1.75 Foreign 20 2.00

Advertising Rates will be sent on application. Forms close on the 1st of each month for the succeeding month's issue.

Remittances should be made by Post Office or Express Money Order, Registered Letter or Bank Check or Draft. Checks accepted only on banks with exchange in Boston or New York.

Correspondence is solicited from everybody interested in the Harp, Mandolin, Guitar or Banjo. W e should be pleased to receive programs and reports of concerts, club and orchestra news, personal notes and music recently issued.

We are not responsible for the opinions of contributors. Address Communications to the Editor. All Remittances should be made payable to

H. F. ODELL & CO. 165 Tremont Street Boston, Mass.

VOL. XVIII MARCH, 1926 No. 9

EDITORIAL N O T I C E recently appeared in a local newspaper stating that Andres Segovia had been delighting audiences of music lovers and critics in concerts in European music halls

by playing Bach and Chopin on the guitar, and the paper further states thai they (the people over there) have discovered that the guitar can be somewhat more than merely popular.

It seems to be the same old story. Newspaper writers usually know little of the subject when they write about fretted instruments. The guitar has never been an instrument on which popular music is effective. It has always been employed almost entirely for standard or classical music. Thousands of guitarists all over the world are today playing the very best music on this instrument, but mighty little popular music. Recitals of a fine class of guitar music are frequently given in foreign countries, as well as here.

Undoubtedly, these* newspaper critics are unaware that many of the old masters were interested in the guitar. Paganini, for instance, was almost as well known for his skill as a guitarist as a violinist, and one could hardly imagine a master of that kind playing popular music.

No, the regular guitar is not an instrument for popular music. It has never been used for such a purpose. It is not adapted to it. Certain styles of slow, sweet, we might say popular, ballads might be quite effective on the guitar, but, as a rule, a semi-classical style of music is the most gratifying.

Several weeks ago, Frederick J. Bacon took a rather strenuous concert and business trip. W e were especially interested in some of the concert work which he did while on this trip. He gave a number of recitals in high schools, with a half-hour program of banjo music, which brought the instru

ment to the ears and eyes of the younger generation in the cities he visited, in a way it has never been done before. In one high school in Chicago, sixteen hundred boys and girls heard him play. At the Cass High School in Detroit, said to be the largest in America, Mr. Bacon had an audience of over three thousand. At the Schenectady high school, he had over five thousand in his audiences of morning and afternoon recitals.

This is rather a new feature in Mr. Bacon's work, and is certainly to be strongly commended. The work is similar to that done by Johnson C. Bane, who has been playing for high school audiences for some years. Thousands of the young people have been able to hear Mr. Bane demonstrate the guitar, who would never have known what a guitar was like except for his recitals. N o w Mr. Bacon is doing the same thing with the banjo. The word '"banjo" is used for so many different instruments today that people are getting so that they really do not know just what it is, and Mr. Bacon's fine playing is showing them that the five-string banjo is a much finer musical instrument than many people give it credit for.

N o w these two famous exponents of the guitar and banjo are demonstrating these instruments to the various schools, but what about the mandolin? W h y would it not be an excellent idea for some one of our mandolin soloists to go into this kind of work, perhaps under the auspices of one of the big manufacturers, and give these school children a chance to hear what a mandolin sounds like?

The banjo, mandolin and guitar are capable of doing some wonderful things, but they must be heard to advantage in order that people m ay become acquainted with the fact, as many of the younger generation are beginning to think that there is nothing in the world except a jazz orchestra.

W e certainly hope that Mr. Bacon and Mr. Bane "and Mr. Mandolin Soloist will be able to give many more of these recitals in the high schools of the country, as there can be no better way to popularize the instruments than through the boys and girls of America. MARCH MUSIC Youili and Beauty ('/'. II. Rollinson). Mandolin and Guitar.

Published by Oliver Ditson Company. Sambo't Serenade (Folwell). Guitar Solo. Published bv

W m . C. Stahl. Farniereske (Bedford). Banjo Solo. Published bv II. F.

Odell & Co. In ibe Springtime (Kennedy). Tenor Banjo Solo. Published

by Nicomede Music Company. Oriental (Holy). Harp Solo. From suite, "In Toyland."

Published by International Music Publishing Company. THE ORCHESTRA TENOR BANJOIST

By BILL CROOKES Is the most simplified chord system on the market today

and it shows you How to vamp chords three different ways How to name chords at sight How to write chord and melody solos How to fake or play by ear Tips for the banjo player, etc.

PRICE. $2.00 POSTPAID It is written in diagram form and contains no scales or exercises. Something new.

Please send money with order. Teachers, write for discount

A. WM. CROOKES MUSIC STUDIOS 327 Trumbull Street - Hartford, Conn.


YOUTH AND BEAUTY. PROCESSIONAL POLONAISE.

.IE.IJI; 1st MANDOLIN.

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T.H. ROLLINSON. arr.byH.F. ODELL.

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The CRESCENDO 19

TEACHERl When you recommend an instrument to an interested person, your one thought is to suggest the best instrument made, — a Gibson.

STUDENT! When you start on your musical career, whether for enjoyment, or for a lifework, be sure to choose an instrument that will give you a fair chance to develop your talent, and one that will give you lifelong satisfaction, — a Gibson.

ARTIST: All successful artists today, whether they be Banjo, Mandolin, Guitar or Ukulele, use Gibson Master-tone string instruments. True tone, accurate scale, ease of action, beautiful workmanship, all help to make your work a success. Let us prove to you what our instruments can do for you, — Gibsons.

IF YOU WOULD CARE TO REPRESENT THE GIBSON COMPANY IN YOUR TERRITORY, PLEASE WRITE US.

Upon request we will gladly send you

copies of our catalogs, illus

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our instruments.

GIBSON, INC. 511 Parsons Street Kalamazoo, Michigan

20 The CRESCENDO

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HSTS 100MP TABLE

Co. iducted by WILLIAM PLACE.

Virtu ar

yso. Composer d Author

JR.

*T*H1S D E P A R T M E N T is < specially for O *- Mandolinists, and they may ask quee- = tions pertaining lo the mandolin or con- = tiibute items. Questions or suggestions E will receive due consideration. Address Q "Mandolinists Round Table," care of The § Crescendo.

OiiHiiiiiniiniiiiiiiiiiiiDiiiiiiiiiiiiDiiiiiiiiiiiiuiiiiiiiiiiiiaiiiiiiiiiiiiniiiiiiiiiiiiaiiiiiiiiiiiic.iiiiiiiiiiiiaiiiiiiMiMicS

QUESTIONS AND ANSWERS

A. S. R. Please give me a list of good mandolin duels of

medium and advanced grade. I prefer those with piano accompaniment.

Answer. All, or nearjy all, mandolin orchestrations are arranged to permit a pleasing rendition in almost any combination of instruments. It is needless to say that two mandolins and piano are far from a complete ensemble, yet arrangements by Odell, Hildreth, and the other well-known arrangers, are so cleverly handled that any combination is quite effective. A splendid number for two violins and piano is the "Petite Symphonic," by Moret. It is decidedly unusual, but exceedingly tuneful and interesting, and well worth while. I believe you will enjoy it. You will also find many standard numbers arranged for two violins and piano, but they are no more effective than our mandolin orchestrations. L. S. S.

Is it necessary to have long slim fingers to execute chord numbers on the mandolin and mandola? Mg fingers are so short I cannot reach many of the notes on the G siring in the standard duos, and I am wondering if it will ever be. possible for me. to do so.

Answer. Generally speaking, chords are not dependent upon any type of finger for clear execution. One of the most famous mandolin players I know has exceedingly short fingers. Your difficulty probably lies in the position of your left thumb on the neck. The tip of Lhe thumb should never be above the fingerboard. If the mandolin neck rests at the base of the thumb and forefinger, it is not only difficult to change positions quickly, but many chord stretches seem impossible. Violinists insist upon enough space between the under side of lhe neck and the base of the thumb and forefinger to allow a bow tip to pass through. This position may seem a bit difficult at first, but I am quite certain that it will overcome the chord difficulty for you. C. C.

Can I resiling mg mandolin as a tiple? If so, please stale strings to use.

Answer. Please keep your mandolin a mandolin. It can never be anything else successfully.

A W O K I) T O TEACHERS

This is the height of the musical season. At this time of year the public is interested in theatres, concerts and radio. If you are planning a music festival

you will secure far better attendance during the next two months than in M a y or June.

It seems to be a general mistake of teachers to wait until the end of the season before staging an annual event, and here in N e w England concerts in M a y or June are decidedly uninteresting, regardless of merit. The annual concert is the teacher's best advertisement, and he should present it when it will have the greatest publicity value. A warm spring evening when the great out-of-doors is calling is no night for a concert. A contemporary magazine recently featured a

splendid article on concerts and "showmanship," and it is safe to assert that its author would agree that summer evenings and indoor concerts are unreconcilable. A March or April concert is always better attended:

creates more enthusiasm, and in every way is better advertising.

YOU ARE THE JUDGE! Professional musicians for many years have taken our Extension Courses and benefited by them. T H E Y praise the lessons and tell of the financial gain as a result of the instruction.

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HAUE YOU STUDIED HARMONY? A student learning the strings, or a business player holding down a good job, and last of all a teacher — needs a knowledge of Harmony. The one w h o is best equipped receives the largest pay checks. It's up to you to make your services more valuable. You're the loser as long as you don't decide.

_/n ounce of proof is irorth <i pound of promise. (.'ft our catalog and four ( j) lessons from thi course which interests you most.

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C. M. COLLINS CO. 197 Fulton St.. Brooklyn. N. V. PLEASE MENTION "CRESCENDO" WHEN WRITING TO ADVERTISERS

The CRESCENDO 21

ATTENTION! TEACHERS & PLAYERS Send for full list of C. S. DeLano's Methods

and Solos for Steel Guitar and Ukulele

Ask about the Wonderful Kona Steel and Hand Guitars with agency. Also full line of accessories.

c. s. DELANO, 845 S. B R O A D W A Y LOS ANGELES, CALIF.

DeLano Methods

and Music for

Steel Guitar

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THE NEW PROCESS Pat. Applied for

KLEERTONE MUSICAL STRINGS ARE WOUND WITH

MORE DURABLE COVERING WIRE

TO WITHSTAND HARD WEAR

Tenor Banjo, Plectrum Banjo, Ukulele Plain Strings 10c each—2 for 15c Wound Strings 15c each—2 for 25c Compound Strings 20c each—2 for 36c

Special discounts to teachers and studios for dozen and gross lots

STANDARD MUSICAL STRING CO. 104 So. Fourth St. - Brooklyn, N.Y.

Direct from Paris comes the cream of European Mandolin and Guitar music —the writings of such brilliant minds as Mezzacapo, Bara, Fantauzzi, Munier, Marucelli—names that are household words wherever the Mandolin and Guitar are played— music that is played by beginner, amateur, artist. A postal will put into your hands our new folder —

DIRECT FROM PARIS Write today to

THE MAXIMUM PUBLISHING CO., 1716 Chestnut St., Phila., Pa. Importers of Banjo, Mandolin and Guitar Music

BRIEF NOTES OF HARPISTS FROM COAST TO COAST

(Continued from Page 7) teacher Tedeschi, the noted harpist and composer of

Milan, Italy. Joseph Vilo and his trio, members

of the Cincinnati S y m p h o n y Orchestra, broadcasted

from station W S A I . H e n r y J. Williams, solo

harpist of the Minneapolis S y m p h o n y Orchestra,

gave a joint recital, on January 26, with William C.

Keller, violinist.

TENOR BANJO PLAYERS! Play your own accompaniment

44 SOLOS IN DUO STYLE By GIUSEPPE PETTINE

Besides jazz pieces and choice folk-songs of all countries, it contains selections from the most popular operas.

TRAVIATA, FAUST, PAGLIACCI, TRAVATORE, LUCIA, ETC., ETC.

Very effective on the Tenor Mandola $50.00 worth'of self-accompanied pieces for

Only $1.50

DUO PRIMER FOR MANDOLIN

By GIUSEPPE PETTINE

A collection of folk-songs of all countries, especially arranged for beginners. Latest edition contains many additional pieces.

Price, $1.00

All the works of Pettine, Munier, Marucelli, and best Italian composers of mandolin music, always on hand.

Send for catalog

RHODE ISLAND MUSIC CO. 139 Mathewson St. - Providence, R. I.

BE ALIVE !! Keep in the game by being progressive. Hold your students by keeping them interested. No three note chords. No one finger graduates. Use KOTTY'S Methods and Chord Books for all fretted instruments.— Teacher's Discount • Compiled and Published by

KOTTY SCHOOL OF MUSIC 60 Miller Block MILWAUKEE, WISCONSIN

B O O K S htoWn th World over

r Black Tenor Banjo Method (Actual or Trans

posed Notation) $1.00

Black Plectrum Banjo Method (C Notation) 1.00

Black Chord Method Tenor Banjo 50

Bailey Ukulele Method (D or C Notation) .75

Bailey Ukulele Solos (D or C Notation) ... 1.00

Peterson Steel Guitar Method 1.00

Superior Steel Guitar Solos (Vol. I) 1.00

Superior Steel Guitar Solos (Vol. II) 1.00

Songs from Aloha Land (With Ukulele

Accompaniment) $1.25 ^

Popular Hit Folio for Steel Guitar 50 I

Bailey Orchestral Saxophonist 1.50

Sherman l<fiay& Co.


22 The CRESCENDO

GUITARISTS

CONDUCTED BY

WILLIAM FODEN IRTUOSO. COMPOSE AND HISTORIAN

T"HIS D E P A R T M E N T is especially for -*• Guitarist., but anyone may ask questions pertaining to the guitar or contribute items. Questions or suggestions will receive due consideration.

Address—"Guitarists Round Table," care of The Crescendo.

S ^ O M E people certainly have queer notions regarding the length of time required to learn the banjo, guitar and mandolin, and to judge from their talk, one might almost

imagine that these instruments are so simple that an infant in arms ought to be able to manipulate any one of them with perfect ease. It so happens that the writer is in a position to hear and note many peculiar expressions from those, seeking instruction, or the purchase of instruments. Almost without exception the first question asked, is, " H o w long will it take m e to learn?" followed immediately with, "Will I be able to play popular music in half a dozen lessons?" One inquirer will ask, "Which instrument do you think I ought to take up?" or "Which is the easiest?" generally ending with, "You know, I don't want to play it professionally, only for m y own amusement."

Another customer, after the usual preliminaries, breaks forth with: "I have a friend who never had a music lesson in his life, and can perform on any musical instrument; he plays like a 'streak'!" During our career we have listened lo many freak musicians, but up to the present time, we have not formed the acquaintance of the "streak" variety; therefore, we kindly ask our readers to be on the lookout for "streaks," and should any be definitely located, to inform the office of the C R E S C E N D O .

Another prospective customer approaches, and after gofng through the regular routine, imparts the startling information that while rummaging in the attic, he came across an old banjo, which has been in the family for forty years; his grandfather used lo play it. There aren't any strings on it now, but the tone is beautiful and mellow: do we think he could begin lessons on it? With the mellow part of the above banjo, we heartily concurred; in fact, we were so strong for it, that we came mighty near suggesting that it be taken down in the cellar, and pul in the furnace before it got any worse.

A young man wanders in, one of the jaunty type, and without losing any time, springs the old story: "I a m going to college in a couple of months, and as I have a banjo-mandolin, I want to learn some jazz on it, so I can get on the college club."

These, m y friends, arc a few instances of the peculiar ideas and ambitions emanating from lhe minds of those w h o m we naturally expect to be different, and it often requires careful tact lo direct them in the right channel.

However, there arc many cases where lhe ambition, and the selection of an instrument, has been carefully considered by the pupil before applying for instruction, and who also knows what is necessary without presuming to tell the teacher his business.

The following two examples illustrate the point in view. The first was a lady, not exactly young, but very serious and business-like, who, as soon as she was seated, said: "I a m a musician, a pipe-organist in one of the theatres, and I a m very anxious to learn the banjo, so as to do club and orchestra work with it; which do you believe is better for this purpose, a plectrum or a tenor?" This we considered a proper question, and it showed that some thought had been given the subject, and we answered, according to our knowledge and understanding, as a business proposition.

The second visitor was a gentleman who appeared to be about fifty-five years of age, but his actions were more like those of a much younger man. On inquiring what we could for him, he said: "I play the violin, mandolin, banjo, and accompany a little on the guitar, but I want to know more about the latter instrument, so as to be able to play it in all keys." W e explained, at length, what would be necessary in order to accomplish his desire; to which he responded, "All right, when do we start?"

None of the above cases are hypothetical, but all are actual occurrences, the last two occurring within the past month.

GUITARISTS! You can now secure the choicest numbers for Guitar

Classic Music by Sor, Mertz, Legnani, Giuliani, Coste

Modern Music by Albert, Ferrer, Mozzani, Tarrega

Concert Solos—Duels—Trios—Etudes Ask for new Catalogue; also for

"OUTLINE O F GUITAR STUDY." which tells you. in a concise and practical way, what books, studies and solos to use during a five-year course, to become a real Guitarist. Invaluable to teacher and student, and it's free.

GEORGE C. KRICK 123 W . Chelten Avenue Germantown, Philadelphia

THE HOME OF C NOTATION 5 Rattling good numbers for the Tenor lia)ijo

RAG ALONG, Fox Trot — MARGIE, Waltz — JAZZ QUEEN, Fox Trot ARISTOCRATIC CASEY — AMERICAN GENT M A R C H

30c each; Piano Acc. 20c The Famous Goldby & Shepard's Studies for the Banjo, 6 books, per book 50c Dean Pick Method for the Banjo, New and Revised Edition 75c net Smith's Scale, Technique and Tremolo Studies for the Banjo 75c net Choice Collection of Banjo Solos, 9 books, per book 50c net Goldby's Practical Studies for the Mandolin, 6 books, per book 50c

Write for Catalog oj Banjo Solos Jor Pick or Finger playing. Teachers and Dealers write, inclose card.

E.D. GOLDBY 4 SON s4u™hepard 615 MeBride Ave., Paterson, N. J.

'ELVES at PLAY Tin:

Guitar Solo with Plaro Accompaniment

Bv ZARH MYRON BICKFORD brilliant Caprice is known to many through the Zarvah record bv V. O. Bickford

Just Out - Price $1.00 Net | Members ,tt lur-ic receive copy autogrupltt ,1 by composer. Dues $Z,.oO per year [

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Most prominent composers for mandolin—Calace, Cambria, Leonardi, Marucelli. Munier, Silvcstri, etc.. (•tc.

MANDOLIN CATALOGUES FREE I! I

PLEASE M E N T I O N "CRESCENDO" W H E N WRITING TO ADVERTISERS

The CRESCENDO 23

Chas. Baraer with his $450.00

SILUER BELL BANJO

c5Mr. Chas. Barger, one of Chicago's leading banjoists, is one of the Silver Bell Orchestra players of that lively Western city, 8 0 % of w h o m use SILVER B E L L BANJOS.

Mr. Barger's choice of the Style No. 6 Ne Plus Ultra Silver Bell Banjo was made after a thorough test of standard makes. You make no mistake in following the leader's choice.

CHAS. BARGER, MARIGOLD GARDENS, CHICAGO, ILL.

New Supplementary Banjo Catalog ready zJWarch 1st

&

THE BACON BANJO CO., Inc. - GROTON. CONN.

t TH€ CHOIC6 OF

TH6 WORLD'S L€A0/N6X

ARTISTS AND ORCHCSTRAS

I^eLYOIY&HeALY HARP su

t WRITE FOR BROCHURE". LYON t HEALY, CHICAGO.

New Harmony Self-Instructors Contains C o m m o n Chords, progressions, a Sight method which, with little practice, gives anyone a Complete Knowledge of the Chords. strokes, and Harmony, as applied to Tenor Banjo. Ukulele, Banjo-Uke, Banjo C. Hawaiian Guitar. Price 50c each.

C. M. COLLINS CO. 19? Fulton St.. Brooklyn, N. V.

WILLIAM FODEN Guitarist

Rochelle Park. N. J.


24 The CRESCENDO

BANJOISTS ROUND TABLE 1

CONDUCTED BY T H O M A S J. A R M S T R O N G S

^p-HIS Department is especially m ^*/ for Banjoists, but anyone may % ask questions pertaining to the W Banjo, or contribute items. Ques- §§ tions or suggestions will receive S due consideration.

Address "Banjoists Round Table." = care of The Crescendo.

second violin part, a plan which is fully explained in nearly all banjo books now on the market.

FROM A READER WHO CARES Questions:

(1) I would like to know what is a diminished chord, and what notes are necessary for a diminished seventh chord. I am familiar with the notes required in any key, and also the dominant seventh, but cannot grasp what is meant by a diminished chord.

(2) Also I would like to know how a regular four-string banjo player can guess the proper chords to play in a jazz orchestra, if he has no printed banjo part. How can he tell what's coming to him when he has no idea of harmony?

C. P., Lewiston, Ale. .Answers:

(1) Chords derive their names from the character of the intervals. If a minor interval is made one half step smaller, the chord becomes diminished. The same thing happens when a perfect interval is made one half step smaller. The dominant seventh is a minor interval, and if the root is raised a semitone, the chord becomes a diminished seventh. The following shows the notes comprising such a chord, and how it is changed to a diminished seventh, by raising the root (C) a half step. C dominant seventh

B-flat G E C

C-sharp diminished seventh

B-flat G E C-sharp

For convenient reference a few dominant seventh chords are shown here, the root of each being tho lowest note. By raising the root a semitone, the chord becomes diminished.

C D E-flat F A B C D F-sharp G-sharp A B D E F G

G A-llat E F C-sharp D A B-flat

(2) Improvising a part without the printed or written music is playing by ear, pure and simple, N o discreet orchestra performer will do it unless the piece is familiar, or clearly reveals a construction which calls for ordinary harmonic changes. W h e n we realize that a melody can be correctly harmonized in several different ways, it becomes a case of musical pretense for a banjoist to claim that he can take a solo violin part and add the composer's harmony, offhand, when playing in an orchestra. If the orchestra I ion contains no banjo score, a perfectly safe method for the banjoist is lo read from piano or

AMERICAN GUILD SILVER JUBILEE The twenty-fifth annual convention of the Amer

ican Guild in Kansas City, Mo., next May, promises to be a record breaker for the number of orchestras assembled. There will be a banjo band, a large mandolin orchestra, and a big ensemble of Hawaiian instruments, all directed by Miss Alma M . Nash, the convention manager. In addition to these, there will be Fred Bacon's banjo club, James Johnstone's Gibsonians, and the R.R. Y. M . C. A. orchestra from St. Louis, thirty to fifty members, followed by a twelve-piece orchestra from Sioux City, directed by Mr. Templeman.

For advertising the convention the management has prepared little stickers to paste on letters and packages. These will be furnished, upon request, to all Guild members, so if you want any send a self-addressed stamped envelope to Miss Alma M . Nash, 3110 Brooklyn Avenue, Kansas City, M o .

CHOPOURIAN AFFLICTED Harry Chopourian, the famous banjoist, has been

confined to his bed for over two years, through an accident received in his youth. About twenty-five years ago, when he became interested in gymnastic training, he fell from a trapeze and injured his spine. Being a very strong m a n with remarkable vitality. Chopourian apparently recovered, and forgot all about the incident, but it seems the injury was a permanent one, and his friends will be sorry to learn that he may never play in public again. Chopourian was the banjo soloist at the American Guild convention in 1919.

"Learn to Play the Quickest Way I"

JACK SNYDER'S SELF-INSTRUCTOR AND

CHORDS FOR THE TENOR RANJO. JACK SNYDER'S SELf INSTRUCTOR 1

CHORDS?-

T

IN ADDITION TO

1. Complete and Simple Instructions.

2. Diagram and Music Charts of all Chords.

3. Scales in all Positions, Solos, Etc.

Contains Words and Music of

WORLD FAMOUS SONGS With Tenor Banjo Accompaniments.

(All simple chords with diagrams) A Marvelous Instructor for those with or without musical knowledge

"IT MAKES PLAYING A PLEASURE" Price 50 cents Postpaid At your Music Dealer's or Jobber's

JACK SNYDER PUBLISHING CO., Inc. 1658 Broadway N e w York City, N. Y.


The CRESCENDO 25

TEACHERS!! NEW PLAYERS!! JAZCORD DIAGRAM METHOD

FOR TENOR BANJO Chords simplified in Diagram formation. Easy to play. Quickly learned. I_e_s practice. All the chorda, modulations and full harmony now possible with lesB effort.

Y O U CAN LEARN TO PLAY FOR DANCES IN»3 M O N T H S This method not only Bhows you W H E R E to play the chords, but H O W to play them. Progressive exercises, including the chords for several popular songs. Practical exercises in playing dance music.

Chords by name only - PRICE $1.00

CHORD PARTS (BY NAME) FOR THE POPULAR SONGS Playable on all fretted instruments, IS cents each

Send For List J. H A R O L D W O L F - 3S42 Illinois Ave. - Fresno, Calif.

Send for my list of 100 C O M P O S I T I O N S and A K R A N d K M E N T S

F O R H A W A I I A N S T E E L G U I T A R Some good numbers, such as Teasing the Pup. Rag, Castles in Spain. La Paloma. Syncopated. Corrine. Spanish Dance. Watch Your Step. Fox Trot, Graduation March. A Darky Camp Meeting. Riverdale Mazurka. A Country Dance. Mission Bells, Summer Zephyrs. Waltz. Creole Love, Song, Heart Whispers, Dewdrop Polka. Blue Bells of Scotland with Two Variations. Rainbow Schottische. and many others. J. D. SCIiriCMANN llllll 17th Street. Denver. Colo.

PLEASE MENTION "CRESCENDO"

NEWS (Continued from Page 8)

The pupils of Mrs. Louie M . Allen of Lincoln, Neb., were entertained at her home, December 27. Piano solos were rendered by Pauline Herzenreber, Mutli Histine, Ester Snyder; ukulele solos by .lames Gooden; steel guitar and ukulele duets by Agnes Pospisil, Flo Oliver and Dollie Mason, and Irish harp solo by Margaret Olscn; tenor banjo and piano numbers by Mildred Wolferd and Ester Snyder; a Spanish guitar solo by Lilian Baker, and a mandolin and guitar number by Louise Blance and Lilian Baker. It was a most enjoyable affair.

Mrs. Vahdah OIcott-Bickford suffered rather a painful injury to her knee when she slipped and fell down a flight of cement steps. She is recovering slowly, but, owing to the accident, was unable to appear in concert January 1 with the Zoellner Quartet at Pomona College, Claremont, Calif., for which she was scheduled. She m a y appear later on in the season, however, with the

quartet.

The Allegro Mandolin Sextet and company played over station K D K A , Pittsburgh, Pa., December 30. The personnel of the ensemble is Percy V. Lichtenfels, director; Paul A. Wible, lirst mandolin; Charles Dunford, second mandolin; Edward P. Green, mandola; Adolph Fox, mandocello, and Alec J. Stright, guitar. Assisting artists were Lloyd E. Longacre, five-string banjo; Miss Iva C. Keefer, reader; Elsie Johns Wright, soprano; Mrs. P. V. Lichtenfels, accompanist. The program was mostly a request program, and included "Boston Ideal March" (Siegel). "Madri-gale" (Simonetti-Odell), overture, "Light Brigade" (Gruenwald-Odell), "Norwegian Slumber Song" (Gilder-Odcll). " W h e n Hearts arc Gay" (Odell). in addition to several numbers in which they accompanied the various soloists.

Mr. D. L. Day, general manager of the Bacon Banjo Company of Groton, Conn., took a two weeks' Western trip the latter par) of January, Mr. Day informs us that the business of the Bacon Company has increased 25 per cent over that of last year. Mr. Frederick J. Bacon, president of the company, appeared as banjo soloist at the manufacturers' meeting held in N e w York on January 13. W e also understand that the Bacon Company has recently placed on the market theB & D Silver Bell snare drum. The drum is equipped with a resonator, and it is claimed that it has great carrying power on account of the amplifying sound chamber.

Mrs. Edward Hoffman, together with two of her pupils, played "Minuet in G " (Beethoven), and "Bo-Peep," before a large audience composed of ladies of the First Congregational Church of Muskegon, Mich., recently. In the spring, Mrs. Hoffman will give her annual recital.

The new Oliver Ditson warehouse and printing plant, recently acquired, will house the (inn's complete printing plant, plate vault and reserve stock. It is a five-story building. In the basemen I is the heating plant, and the vaults For the metal plates. The first floor, and also a part of the second, is taken up with reserve stock. On the fifth floor are the storeroom and repair department for the Ditson musical instruments and Victrolas. The third door contains the bindery and offices of the John Worley Company, of which the genial William T. Small is manager, and the John Worley presses occupy the entire fourth door. The work of planning and supervising the remodelling of the building was handled by John 1 Iausw lit li. superintendent of print ing. and Edward W . Briggs, treasurer of I lie Ditson Company.

The Nicomede Music Company of Altoona, Pa., announces that shipments on the Armstrong Method and Star Folio have begun. They are meeting with much approval from teachers all over the country. This company is also putting on the market the new Saxo and Nico polishes, and a record sale is expected. These polishes have been tested and recommended bj the leading manufacturers for cleaning inns of banjos and drums, and saxophones, I rumpets, etc.

Carl Jansen. veteran guitarisl of Chicago, III has recenllj advised us that he has been in communication with Mine. Giulia Pelzei of England. I Ie stales that she is still teaching the guitar. and thai he Hunks she it.ust be the oldest teacher Ih ing, as she is eighty-nine years of age. She and her sister, the late Mine Sidney Pratten, have taught sonic of the English Royal family. Mr. Jan.sen thinks il woiiId be rather nice if some of the guitarists in (his countn should write to Mine. Pelzer. lier address is M m e . Giulia Pelzer. 2 Southampton St., Bloomsbury Square. 1 .ondon, England.


WHEN WRITING TO ADVERTISERS

http://an.se

26 The CRESCENDO

NEWS (Continued from. Page 25)

Ludwig & Ludwig, manufacturers of the famous Ludwig banjos, have recently announced a new banjo action regulator to be used on all Ludwig instruments. With this new device, the action on all their instruments can be readily adjusted by the performer. Charles McNeil, author of the McNeil Chord System for tenor banjo, has recently joined the forces of the Ludwig Company, as official tester and inspector. Every banjo made by this firm passes through the hands of Mr. McNeil before being allowed to leave the factory, thus assuring uniform excellence in all the instruments made by Ludwig & Ludwig.

Vegaphone banjos were pretty well represented on a recent week's program at the mammoth Metropolitan Theatre in Boston. The Hicks Brothers used several Vegaphone instruments in their act, and they could be heard distinctly in all parts of the vast auditorium.

The Orpheus Mandolin Quartet of Lynn, Mass., Hercules Zenopoulos, leader, gave an excellent concert from station W B Z , February 8. In addition to the quartet numbers, Mr. Zenopoulos played mandolin and tenor banjo solos, and a number of Hawaiian steel guitar trios were played by Mr. Zenopoulos, Mr. Pourier and Mrs. Ethel M. Adams.

The Gibson Plectral Orchestra of Galveston, Texas, held its annual meeting January 13, with President A. T. Blease presiding. Reports of the various officers and committees were received. The following officers were re-elected for the coming year: Musical director, W . S. Montague; president, A. T. Blease; vice-president Miss Laura Pierce; secretary-treasurer, Miss Stella Breedlove; librarian, R. B. McEachern. A vote of thanks was extended to the musical director, officers, and board of directors, for their work during the past year, and a short rehearsal was held after the business meeting. The orchestra welcomed as a visitor for the evening a former member who recently removed from the city, Mr. J. O. Satterwhite. He gave an interesting account of his recent tour of Texas, and mentioned a number of cities that he had visited, which spoke very highly of the Galveston Gibson Plectral Orchestra.

The Conn-Gibson String Orchestra gave a* very interesting broadcast over station W H T , Chicago, on February 5. This orchestra is a twenty-five-piece organization consisting entirely of fretted instruments, except for four violins and one saxophone, and is under the direction of G. E. Hubbard, one of Chicago's best authorities on fretted instrument matters. The orchestra was organized last April by Mr. Hubbard and J. M. Wolf, manager of the Conn-Chicago string instrument department.

It is with regret that we announce the death of Mr. E. L. Howes of Ogden, Utah, who passed away on January '2o, after an illness of only a few days. W e extend sympathy to his family and friends.

At a vaudeville show given by the Ladies' Auxiliary of the Church of the Good Shepherd, Reading, Mass., Maude Emerson Sprague's ensemble rendered the following selections: "Meteor March" (Rice-Odell), "Live Wire March (Johnstone), "La Cin-quantaine" (Gabriel-Marie-Odell), "Boston Commandery March" (Carter-Odell). The numbers played were much appreciated by a large and enthusiastic audience.

New Compositions and Arrangements FOR THE HAWAIIAN GUITAR

By Jacob Vollmar Called Away (A Memorial) Reg Guitar Acc. - - - $.20 Days of Yore Waltz. . . . .30 La Favorita Gavotte . . . .30 Pinewood Trail March . . . .30 Sunshine Uanoe . . . .25 Under the Palms Waltz . . . .30 Old Blaek Joe with Var. (Solo) - - - .20 Faith ol our Fathers Tenor " " . . . .20

Prices are net. postpaid $2.00 Money Order will bring the lot

JACOB UOLLMAR Pine Grove Ave. - Charlotte Sta. - Rochester. N. V.

Dealers' Discount to Teachers enclosing card

MANDOLIN ORCHESTRA

(Continued from Page 8)

earnest advice to teachers is to continue your mandolin orchestras if you desire to have a good teaching business. Those teachers who have been led astray from the path of the mandolin orchestra work during the past few years are now complaining that business is not good. On the other hand, those who have continued their orchestras, and added to them new players, report the finest season ever.

Chenet Guitar Studies The Easiest and Most Practical Course for Beginners. Used and recommended by thousands of teachers. Includes Scales. Chords and Exercises in C, D, G, A. E and F. Short teaching pieces

Try these studies with your beginners Fonr Books Each 35o Net

H. F. ODELL & CO., 165 Tremont St., BOSTON, MASS.

Do You Demand the Utmost From the Drum or Banjo? JOSEPH ROGERS, JR. & SON

have been manufacturing Drum and Banjo heads for 75 years. R O G E H S ' heads are standard equipment on practically every high grade Banjo of reputation both here and abroad. You, as a banjoist or drummer, if you demand snap and tone, must have our product. Used by more professionals 20 times over than all other makes combined.

Manufacturers of the following brands

SUPERIOR EXTRA BRAND DAISY BRAND 1st QUALITY BRAND THREE STAR BRAND 1st QUAUTY SLUNK BRAND UNION BRAND

SLUNK EXTRA THIN BRAND At your dealer's

Protect, yourself: buy heads stamped WARRANTED

Factories: HIGH VIEW. N. Y.—FARMINGDALE, N. J.

Joseph Rogers, Jr. & Son, Farmingdale,N.J.

^ ^ ^ _ _ m ONLY FITRCTE PCCK For GUITAR ("Steel" or regular style) and

^^T^ ^K -1 H K l f°r Banjo. Fine for double tremolo, and ^ ________________V - _• for producing big tone volume and carry [ ^ H BU_____#__V"T__I 'n* P° w e r- Two sizes, large and small. ^ J ^ * " ^ _ F .__• adjustable to fingers. ^ B J f ^ w - w S ^ ^ ^ ^ B Price 40c per pr.{Hand finished 75c per pr.)

At all musical inils<\ <lt alvrs and jobbers or

HAROLD OKTI1. Mfr.. 1104 Commonwealth Ave., Boston, Mass.

^ \ W E § ,

f"HI Gives Forth A Tone

Clear as a Bell. Gives Greater Volume

BANJOISTS!

THE BRIDGE OF QUALITY TONE AND SERVICE

Endorsed by the best banjoists of the country, J. J. Derwin, Frank Littig:, Carl W . Griesel. and many others. Made for all banjos and all sizes. Price, 26c in United States; 36c in Canada.

VY-BRO MANUFACTURING CO. 189 Sixth AVENUE DEPT. O BROOKLYN, N.


The CRESCENDO 27

I 0 ffrogramg of Concerts! ant EecttalS D HI HQ_____Q__a___3________3___3Q___3___3___3___3________3-__3_____E___________3G] Program given by the Bacon Players under the auspices of the Niantic Fire Department, Inc., assisted by Fred J. Bacon, banjoist, Cassie M . Bacon, ukulele soloist, and William Nordenhold. entertainer, on January 22. 1. (a) March, "The Guardsman"

(b) "Dancing in the Moonlight" Bacon Players

2. Banjo Solos: (a) March, "The Silver Bell" (6) "Minuet in G" (c) "Old Black Joe," Variations

Mr. Bacon

9. (a) Waltz, "Innocence" (h) March, "The Guardsman"

Mandolin Orchestra

Dean Higgs

3. Solo, "Come to M e " Mr. Mitchell

4. (a) "Theamona" <b) "The Chapel in the Mountains"

Bacon Players 5. Ukulele Solos:

(a) "Gypsy Love Song" (b) "Let M e Call You Sweetheart" (c) "Annie Laurie" (d) "Aloha," with Guitar Accompaniment

Cassie M. Bacon

6. Fifteen Minutes of Mirth Mr. Dexter Wicks

7. (a) "Love's Awakening" (b) March, "Flag of Liberty"

Bacon Players

8. Banjo Solos: (a) "Close '-our Eyes in Slumber" (b) Medley, "Familiar Southern Airs"

Mr. Bacon

9. Recitation and Mother Songs Mr. William Nordenhold

10. Banjo and Guitar Duets: (a) "A Study in Black," Rag (6) "The Chinese Picnic"

Messrs. Bacon and Berardi

.Denza

Concert given by Dean's Mandolin Orchestra, Warren N. Dean, conductor, at York. Pa.

fi) Overture, "Santanella" Higgs b) March, " T h e American Legion" Witter

Mandolin Orchestra Tocal Solos: a) "Butterflies" Thomas h; ••Sweetheart" Victor Herbert

Miss Isabelle Wiley

a) "Valse Lento" Charles Brunover b) "Honest and Truly," Popular Song Wood'd Rose

Mandolin Orchestra "Easy Pickin'," Tenor Banjo Solo Dean

Mr. Warren N. Dean

Recitation, "Mandy's Wedding" Miss Doris Frey

(a) "Beautiful Night," Barcarolle Offenbach-Odell (6) March, " T h e P r o m e n a d e " Morris

Mandolin Orchestra "Love Sends a Little Gift of Koses," Plectrum Banjo

Solo Openshaw Mr. Carl Hake

Waltz, "Relaxation." Mandolin Solo Dean Miss Mary Fedigan

PLEASE MENTION "CRESCENDO"

Concert given by Webber's Juvenile Orchestra, H. A. Webber, director, at Portland, Ore.

1. March, " T h e Stars and Stripes Forever," Sousa-Webber

2. Selection, "Robin H o o d " DeKoven-Webber

3. Mandolin Solo, "Mandolinati" Franz Chester Rosenfeld; Viola Bramble at the Piano

4. "Hasta Manana" Van Alstyne-Webber

5. Piano Solo, "Aragonaise" ("Le Cid") Massenet Miss Viola Bramble

6. "Gypsy Love Song" Herbert-Webber

7. Trumpet Solo, "Willow Echoes" Simon Leon L. Handzlik; Mrs. Leon L. Handzlik at the Piano

8. "Medley of Old Songs" Webber

9. Song, "Mother Machree" Olcott-Rebagliati Talbot Ridgway, with Orchestra Accompaniment

10. " T h e Mill in the Forest" Eilenberg-Webber

11. Guitar Solo, "II Trovatore" Verdi Emil Bonsilaw

12. " H e a p Big Injun" Sawyer-Webber

13. "America" Leon L. Handzlik

Concert by the Allegro Mandolin Sextet and C o m p a n y , Percy V. Lichtenfels, conductor, at Pittsburgh, Pa.

1. (a) "Polka" Berthoud (b) "Moonlight" Brunover

Allegro Mandolin Sextet

2. "Dixie Medley" Van Eps Lloyd E. Longacre; Mrs. Lichtenfels at the Piano

3. (a) "Song to the Evening Star" ("Tannhauser".) Wagncr-Odell

(b) "Hungarian Dance No. 5" Brahms-Odell Allegro Mandolin Sextet

4. Mandolin Solo, "Fifth Air Varie" Dancla Percy V. Lichtenfels

5. "Waves of the Danube" Ivanovici Allegro Mandolin Sextet

6. Banjo Solo (Five String), " T o p Notch Galop" Pepper Lloyd E. Longacre; Mrs. Lichtenfels at the Piano

7. "Collegisms" Odell Allegro Mandolin Sextet

8. (a) "Serenade" Sehubert-Odell (b) Banjo Solo (Five String), "Yankee D a n d y " Weidt Lloyd E. Longacre and the Allegro Mandolin Sextet

HAVE YOU HAD THESE

UKULELE SOLOS By WALTER BURKE

All good and just a little different E L P A L M A , Solo 30c. Uke acc. 16c. L O K A P O L A W A L T Z , Solo 30c. Uke acc. 15c. LA G L I S S A N D O . Solo 30c. Uke acc. 15c. E N C H A N T M E N T , Solo 30c. Uke acc. 16c. D A N C I N G O N T H E B E A C H , Solo 30c. Uke acc. 15c. A T A H O N O L U L U W E D D I N G . Solo 30c. Piano acc. 20c. U K U L E L E W A L T Z . Solo 30c. Uke acc. 15c. S. G. acc. 15c. M A U N A L O A M A R C H , Solo 30c. S. G. acc. 15c. S W A Y I N G P A L M S , Solo 30c. Uke acc. 16c. C H E E K U P W A L T Z , Uke Solo 30c.

All prices net

H. F. ODELL & CO. 165 Tremont St.

Boston, Masa.

W H E N WRITING TO ADVERTISERS

28 The CRESCENDO

„...;, .... .

| RECENT PUBLICATIONS | | With every piece composer'snameis given, also arranger'8. | = The letters after names indicate grade. E, easy. M, me- § | dium. D, difficult. j iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiim

PLECTRUM BANJO

NICOMEDE MUSIC COMPANY Armstrong's Modern Method for the Plectrum Banjo

Thomas J. Armstrong Price Sl.OO Canadian Price 1.25

Just now the finger style of playing has been superseded by the more or less modern style of plectrum playing. This new method of Mr. Armstrong's is one of the most complete plectrum banjo methods on the market. It gives the necessary rudiments of music, manner of holding the pick, tremolo and picking style, various chords in all the keys by notation and diagram form, major and minor scales, dozens of little short exercises introducing the various chords and keys, scales in the various positions, many short pieces for first and second tenor banjo,various etudes, and novelty breaks. Transposition is explained, in short. Then fifty jazz strokes are given in various kinds of time, all in the key of C. There are a number of chords in the higher positions, and thirty popular jazz endings in the various keys. Modulations are treated in various keys; playing from orchestral scores is mentioned; also playing from a tenor banjo part; and chords played with elevated bass are illustrated. In addition, twenty valuable hints for playing plectrum banjo are given. A most interesting book. TENOR BANJO CHART MUSIC PUBLISHING HOUSE Moyer's Superior Method for Tenor Banjo or Tenor Guitar

Will D. Moyer Price $1.25

Canadian Price 1.50 The book includes various exercises in the keys most used on the tenor banjo and tenor guitar. All kinds of time are illustrated, and easy pieces in the various keys, with chord accompaniment, are shown. The exercises and pieces are in Mr. Moyer's characteristic style, which is always interesting. He illustrates various dance strokes, and introduces a duo lesson on the tenor banjo. An excellent beginner's book.

A. C. BROOKMEYER'S FAMOUS SYSTEM OF GRADED TEACHING PIECES

For Mandolin, Guitar and Tenor Banjo TEACHERS, ATTENTION! T H I S T E A C H I N G M U S I C i, really elementary. The ProHre.-

sive Studiea for beginners are very clear and easy (orthe student to learn from. Easy for the teach

Teaching Pieces are graded for gradual purchased separately. You will like then Get them today.

NO COST TO YOU TO TRY THIS MUSIC Send your business card or letterhead to identify you as a teacher. W e will «end you twenty (20) seleflions for two Mandolins, and Guitar or Piano Acc. (state which you prefer. Guitar or Piano Acc), with the Progressive Studies. The sample order can be returned if you do not like the music. You Take No Risk. If you like the music. pay a special introductory price for it. This is a Free trial for you.

to follow. The Graded Ivancement and are all nd so will your students.

Progressive Studies are in 3 groups for each ine Graded Pieces are published for full orchestra be used for both Mandolin or Banjo orchestra.

lent.

Send for sample order today — You need it

THE CRESCENT MUSIC PUBLISHING CO. 5169 Delmar Avenue St. Louis, Mo.

SEVEN BEAUTIFUL TEACHING NUMBERS INNOCENCE. Waltz ADMIRATION. Waltz SILVER RIPPLES. Polka

Easy Very Easy Medium 1st Mandolin and Piano acc, 20c each; 2nd Mandolin. 3rd Mandolin, Tenor Mandola, Mandocello, Guitar acc, 10c each. Net. Net A LOVE STORY. Reverie. Mandolin Duo, Unacc, Medium SO cents BLUSHES. Waltz, Mandolin Duo. Easy 30 cents EASV PICKIN*. Fox Trot, Medium. A Hot Tenor Banjo Solo.... SO cents

Piano accompaniment 20 cents V O R K T O W N . Fox Trot, Tenor Banjo Duet. Easy 8<i cent. WARREN N. DEAN • 47 E. MARKET STREET • YORK. PA. PLEASE MENTION "CRESCENDO

3 Self-Instruction Books on the Art of

MODERN JAZZ PIANO PLAYING

By ART SHEFTE Si Now you can learn to play Popular Music with all the i Fill-in Tricks, Breaks, Blues, etc., as used by leading <x

RADIO ARTISTS FIRST B O O K Teaches 150 Jazz Breaks, 60 Snappy Novelty Endings, » Blues, Fill-in Embellishments, etc. Is worth hundreds of dollars to $ any pianist, amateur or professional. PRICE $1.50 ne, S E C O N D B O O K Jazz Bass. The backbone of Jazz piano playing. 8j This book teaches the various styles of Jazz Bass necessary in pro- w fessional work, in all keys and chords. PRICE $1.00 &; THIRD B O O K Keyboard Harmony Simplified. The simplest and $ most condensed method ever published on this subject. So simple (j) that a child can understand it. PRICE $1.50 Sj

From your dealer, or delivered C. O. D. by mail, if desired ra)

SHEFTE PUBLISHING CO. Not Inc.) 1 DEPT. F 825 LYON & HEALY BLDG.

64 E. Jackson Blvd. Chicago, 111. \

DISCOVERED—NEW FORMULAS! AMERICA'S STANDARD

SAXO POLISH- For Silver and Gold Saxophones, Trumpets, Banjos, Drums, etc. Price, large jar, 50c.

AMERICA'S BEST For Nickel and Brass Saxophones, Trumpets, Banjos, Drums, etc. Price, large can, 50c. NICO POLISH

Both polishes carry the highest recommendation. Require very little labor and are of

long endurance. Order now.

NICOMEDE MUSIC CO., Manufacturers ALTOONA, PA.

30=BIG SONG HITS 50C WITH U K U L E L E A R R A N G E M E N T S

Latest, Greatest Dance, Radio and Phonograph Record Hite, in regulation sheet music form, arranged as Foxtrots, One-Steps, Waltzes and Blues, only 60c postpaid.

15 Songs, Words and Music, complete, 50c For the Ukulele, Tiple, Taropatch. Banjo-Ukulele and Piano, by Wendall Hall, famous Radio and Victor Record artist, and composer of "It Ain't Gonna Rain No Mo'." Contents consists of Barbershop Blues, Beach Jingles, Corner Symphonies, Drags, Radio Rags, Jazz Ditties, etc.. for Glee Clubs, Hikers, Parties, Picnics, Amateur Shows, Porch. Bungalow and Hammock FeBts, etc. Price, compliM

C. M. COLLINS CO. 197 Fulton St., Brooklyn,N.Y.

G«t These 6 KNOCKOUT HITS for TENOR BANJO Every one a real hit. Full of the kind of pep and vim that keeps you busy. Just the numbers you have been looking for. Give them a trial. ROYAL PURPLE MARCH by Wm. Morris $ .30 Net

(easy duet, complete)

LAUREL MARCH (easy duet, complete) by Don Santos .30 " JUST Y0U,Waltz(easy duet,complete) by Wm. Morris .30 " GOLDEN GLOW (easy solo only) by Wm. Morris .30 " SWINGIN' SWANEE SWAY by Don Santos .30 "

(medium duet, complete) DIZZY DAZZLE (difficult solo) by Wm, Morris .30 "

Usual Discount to Teachers PUBLISHED BY

DON SANTOS, 55 Orleans St., Dept. C, Rochester, N. Y. SEND

l.00 For a Sample Set of Any 5 BOOKS $1.50

for Tenor Banjo

R O W D E N S PROGRESSIVE STUDIES Make music teaching easy because they make study and practice interesting for the pupil. Kor class or private lessons— any combination of instruments listed. Banjo studies both finger and plectrum style. Additional Chords for Tenor Banjo.

(Inula! course Z> books tor each of following : 1st & 2nd Ban. (C Not.) 1st & 2nd Man.-frl. or frl.-Ban. 1st & 2nd Ten. Ban. or Mandola 1st & 2nd Gui. or Guitar-Banjo 1st & 2nd Mand. or Mand.-Banjo Piano Accompaniment

Price 35c; Tenor Banjo, 50c per book net CLAUD C. ROWDEN, Suite 1022,159 N. State St..Chicago. III.

WHEN WRITING TO ADVERTISERS

A Little Wonder! THE VEGA CO. - UR Research

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