BOEHM'S

The Crescendo

IN UNIVERSAL NOTATION ABSOLUTE PITCH.

JUST FROM THE PRESS

METHOD FOR THE MANDO=BASS Genius lias Extended Its Domain.

Concise, definite, compact, comprehensive, modern, progressive and pr..ct cal.

The Only Mando-Bass Instructor Published.

SCALES—All keys, major and minor. EXERCISES—All keys, major and minor. FINGERING—All keys, major and minor. Where the fingering is optional, both methods are indicated. No echo is this book. No mumbles of double-bass methods.

It's a learned work, warm in the lore of a musician who has seen double-bass methods accepted so long that some goo 1 musicians have become immune to reason, progress, and self-evident truths of Mando-bass fingering and notation.

A manly furtherance to art. A manly resistance to musical effeminacy. He weaves cloth— not cobweb, makes practical—not theoret­

ical, and both teacher and student soon learn he's aimed and ful­filled a high and swift achievement for even him uneasy from doubts of Mando-bass mastery.

Thc followers of Mr. Precedent have been taking him up

with a sponge since Walter A. Progress put his foot on him, for Sanity and Common Sense have walked hand in hand with Pro­gress, with Reason leading the way. Rashness was side-stepped, Caprice not introduced, and the author—the scholar of mark— not edited out of recognition of his work.

PUBLISHED IN UNIVERSAL NOTATION

Price, net $1.00. (Discount to the Trade and Profession). Write for Free Catalog that gives the W H Y of the "GIB­

SON" construction; Free Thematic List; Free Booklet entitled, "How to Practice, When and Why, Psychologically considered." "Gibson instruments from 6c to 16 2-3c a day.

If a Teacher, do business on our capital. Stock furnished. We help sell. We pay the advertising. You pay for goods when sold. Return goods not sold. Try our "STILL HUNT."

GIBSON MANDOLIN.GUITAR CO., 505 Harrison Court, Kalamazoo, Mich., U.S.A.

NEW NEW NEW Not Arrangements of, Nor Adaptations To, But Compositions for String Trio String Quartet

PETIT QUATUOR By Wm. Place, Jr. HABANEPA—A Mexican Dance By Myron A. Bickford BALLAHLE CAPFRICCIOSO By Myron A. Bickford

Each Mardolin 2.5c. Tenor Mandola 25c. Mandocello ..25c. Complete 60c.

lst Mandolin . . . .40c. 2nd Mandolin. . . .20c. Tenor Mandola. .30c. Mando-c.llo ....30c.

Complete $1.00 ONE-HALF OFF. The first String Trios and Quartet composed for the Mandolin family of instruments and published in America.

Sample 1st Mandolin Parts, Catalogs of leading publishers including 2000 Mand. Orch., Banjo and Guitar pieces, List of over 200 Odell Arrangements, Our New Issue Plan will be

sent to anyone, anywhere in the world.

REAL MANDOLIN ORCHESTRA HITS Parts for lst, 2nd and 3rd Mand. Mandola, Mando-Cello, Mando-Bass, Flute, Cello, Banjo, Guitar, Piano or Drums

Arranged by H. F. Odell AU these pieces have been played by the Boston Festival Mandolin Orchestra of 300 players, the largest in America, which

proves they are genuine successes.

The Toastmaster, March The Meteor, March

Hippity Hop, Oddlette

AU good concert numbers or effective for teaching.

Lady Dainty, Caprice Love's Like A Star The Phenomeon, March Largo (Handel) Dance di Cupid, Oddment The Lost Chord and " Echoes of '61"

Good Bye (Tosti) The Filipino Shuffle The Gypsy Prince, March

Introducing "Soldiers Farewell", "Battle Cry of Freedom", "Glory Hallelujah", "Tramp, Tramp", "Girl I Left Behind Me", "Tenting on the Old Camp Ground", "Old Folks at Home", "When Johnny Comes Marching Home", "Marching Thro' Georgia" "Dixie", "Star Spangled Banner", "Yankee Doodle", and various bugle calls and fife and drum effects.

AU our mandola and manlo-cello pirts are arranged in the treble clef so that any mandolinist can play them at sight.

(~\l I O I A T P Q T ? " A L O V E CHAT" Walts, by D. Acker. Dainty, catchy, pretty for Mandolin Orchestra or V_r \J IV. __• §\ I C O I » teaching, a real encore winner. Mando'in 30c; Piano 40c; Other parts 20c each.

DUO. THE ODELL MANDOLIN DUO METHOD iust out expl ins how to play duos in the simplest manner. The exercises are progressive and interesting. Also contains tuning c'uos, trios and quartos, right and left hand harmonics, slurred arpeggio, all carefully explained. 58c postpaid.

W H E N YOU W A N T MANDOLIN, GUITAR or BANJO MUSIC of any kind, send to

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

PLEASE MENTION CRESCENDO W H E N WRITING ADVERT13EK»

The Crescendo

Concerning M a y Poles Traveling around in a circle and never getting anywhere is

a nice pastime for children in white dresses, but professional men and women, and also ambitious students, should "arrive."

When you invest in a Stahl Mandolin of either the Nea­politan or the English Model, you are not going a circle. W M . C. STAHL has been 25 years working out the rules of acoustics as applies to plectrum instruments—and you won't need to buy a new instrument every little while, on the May Pole plan, because of some new rule in acoustics he's happened to stumble on, or because he's located something in the anatomy of the violin and decided to graft it onto the mandolin.

No! His may-pole days are over—were over years ago. And yours will be too, if you buy a Stahl. Stahl Instruments of each type represent the difference between experiment and

experience; between the may-pole and the high road. Which will you take? Upon your choice depends the honor and glory and future of the plectrum instru­ments, as well as your own success.

FoUow the leader—Stahl—and you'll find the going good and profitable.

There's a genuinely solid instru­mentation shown in the Stahl catalog— Mandolins of the two standard types: Mando-cellos, Mandolas and Mando­basses—there's the ideal plectrum quar­tette! And then there's Stahl Guitars and Harp-guitars, Stahl Wood Rim Banios. Everything for student, teacher.

club or orchestra and all PROVEN TYPES—not may-pole varieties that will vanish from the earth in a few seasons.

FIFTEEN NEW DUOS ALL EASY and ALL BEAUTI­FUL. W e have the largest catalog of duos in the World and we add to it at a great rate. Here's fifteen now, catchy, classy "ser­ious" pieces that will please everyone. They axe by Stauffer, Moyer and Brunover, all masters of this style of composition. Teachers send cards for discounts and thematics, and also for instrumental catalogs and figures that make for solid success. *The Girl and The Gondolier, Venetian Serenade, gy Stauffer 30c Loves Old Sweet Song. Arr. by Stauffer 30c *0 Tender Moon, (from Gounod's Faust) Arr. by Stauffer 30c Forget M e Not Gavotte. Arr. by Stauffer 30c •Anita Waltz, by Mover 30c When You and I Were Young, Maggie. Arr. by Moyer 30c t Alice Ben Boldt. Royal Bunch March. Bru Big Tone March. Brunov Little Sweetheart Gavotte. Waverly Beach March.

by Moyer 30c inimitable Duo style 30c litable Duo style 30c er's inimitable Duo style 30c s inimitable Duo style 30c

Brook Polka De Concert 30c *Idlewild Mazurka 30c Waltz Impromptu, by Brunover 30c *Pond Lilies, Waltz. by Brunover 30c *Star beside the title means piano accompaniment is also ready. Piano accompaniments to all these "starred" are 30c.

These are the easy melodious and interesting kind of Duos that teachers like and find so hard to get. All are pretty, all are easy and just the grade EVERY TEACHER needs.

S T A H L Manufacturer and Publisher 211 Grand Avenue,

For Mandolin, Guitar and Banjo Clubs.

Silver Threads Among the Gold MY CREOLE SUE. LOVELAND IS CALLING.

1st Mandolin (Solo Guitar or Solo Banjo) . . . . each $ .16 2 Mandolins (2 Guitars or 2 Banjos) " .20 Mandolin and Guitar (or Banjo) '' .20 Mandolin (Guitar or Banjo) and Piano " .30 2 Mandolins and Guitar (or Banio) " .25 Piano Accompaniment " .16 Mandola, Mando-Cello and Flute " .16

CONSERVATORY nETHODS (or the Guitar. Price Jl.SO. Dear Sir:—I must compliment you for the very good method for Guitar you

have published and will say it is the best method for Guitar printed in America. I give you this testimony because there are hardly any good methods for guitar. Yours very respectfully,

CARL W. F. JANSEN.

HAHILTON S. GORDON, 141 W. 36th St., New York

W M . PLACE, Jr. Mandolinist

Concerts Recitals

E. STUART ROSS at the Piano

HARSHALL B. MARTIN, Hanager

29 WEYBOSSET STREET

PROVIDENCE, R. I.

A. J. SHAW'S PLECTRUM BANJO Is now on the market and like his Pioneer Pick Method it has

c o m e to stay

Dan Acker of Wilksbarre. Pa., writes to B. V. Kershner of Saint Louis, and says (in part)—When you are in Chicago run in and see Shaw and get or.< his Pick Banjo Books, they're O. K. And one fine day in comes Mr. Kershner. he says—I want one of your Pick Methods, and I want it in a hurry. Dan Acke says the book is great and he knows. Mr. Kershner grabed the book and away he went to the Automobile Show. About a month later I received the following letterfrom Mr. Kershner—Friend Shaw, Pick method is fine could not be better Kindly send me some of your pieces for Pick Playing.

B. V. KERSHNER, Maryland Hotel, Saint Louis, Mo Send for catalogue of Plectrum Banjos and Banjo music for Finger anc

Pick Playing.

A. J. SHAW'S MUSIC HOUSE 432 E. 43rd St., Chicago, III.

Yours for convenience—The Trinity Music Stand The evolution of the Music Stand, pro­

duced the Trinity, the Best and only Complete Music Stand in the World. Absolutely. The Trinity tolJer. beauti­fully illustrated shows you the difference between the old way and the N e w Way, sent on request.

TRINITY MUSIC STAND CO . Box S3, Elmwood Sts., Prov., R. I.

Frank B. Smith s Banjo Hits. All Cracker Jacks Ye Boston Boy. March Solo 40c The Flying Jockey. G.ilop 2 Banjos 50c Oh You Rastus, A Real Rag _ Banjos40c Ripples from Dixie Land. Polpourri Solo 50c Pride of Trenton, Concert March 2 Banjos SOc Koontown Krinkles, Patrol 2 Banjos 4llc

All of F. B Smith's compositions are guaranteed to suit or money refunded. J. off. Send for complete descriptive list.

S T E P H E N S H E P A R D . 526 East 18th St.. Paterson. N. J.

O D E L L SPKCTAL B A X J O STRUNOS ABSOLUTELY TRUE AT EVERY FRET.

Strong as Iron. Give a clear tone 10 cts. each. 50 cts. per set.

$1.00 assorted dozen. $1.80 assorted bdle. of 30. H. F. O D E L L & CO., 165 Tremont St., Boston, flass.

MENTION CRESCENDO

The Crescendo

nr° TAI wiUHGMiAiJiiniiJKJ®^ !*I U I IM A U K & S O N S May, 191 ;»<; tVitmark Bldg.. New . <>rk

NEW ^PhCIAL PRICES

t or - limited pp'lod. 1) ten % 19 cents p booh. 35 rrnll p FOLIOS

WITMARK

MANDOLIN AND GUITAR FOLIO NO. 23 i ..v I t •• I -

WITMARK

MANDOLIN AND FOLIO NO. 24

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WITMARK

BANJO FOLIO NO. 13

Song* wilh Banjo Acc.

M, Da.

Guilar Solo*

Banjo Soloa

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FULL MANDOLIN ORCHESTRA PUBLICATIONS

INSTRUMENTATION

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TENOR MANDOLA AND MANDO-CELLO M % I f BVAV".'!11^'0" UNIVERSAL NOTATION W e Allow 60 . Discount on Sheet Music. Music Sent on Approval Write for Particulars.

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yiNIION C R M C I N D O

The Crescendo

REMICK'S NEW NUMBERS FOR MANDOLIN ORCHESTRA BITS OF REMICK'S HITS

Medley Overture (No. 12)

ARRANGED BY H. F. ODELL

Containing Remick's most popular songs artistically grouped by J. Bodewalt Lampe.

Prices.—lst Mandolin 50c; Piano acc. 80c; 2nd Mandolin, 3rd Mandolin, Tenor Mandola, Mando-Cello, Mando-Bass, Banjo Guitar, Flute, Cello, each 40c; Mandolin & Guitar 80c; 2 Mandolins & Guitar $1.10; Mandolin and Piano $1.10; 2 Mandolins & Piano $1.40.

Parts may also be had for lst & 2nd Violins, Viola, Bass lst & 2nd Clarinets, Oboe, Bassoon, lst & 2nd Cornets, Horns and Trombone, Drums, each 20c.

LITTLE B O Y BLUE

Waltzes by Henri Bereny

From Henry W. Savage's most successful Operatic Production.

A R R A N G E D BY ALBERT A D A M

Prices.—lst M. 50c; P. acc. 80c; 2nd M, 3rd M, Tenor M, M. Cello, M. Bass, Guitar, Banjo, Flute, Cello, Drums, 40c each; M. & G. 80c; 2 M. & G. $1.10; M. & P. $1.10; 2 M. & P. $1.40.

ALMA, W H E R E D O Y O U LIVE? Waltzes by Jean Briquet

Another famous Broadway success compiled by J. Bodewalt Lampe

SPIRIT OF INDEPENDENCE Military March Two-step

By Abe Holzmann.

HYACINTH R A G By George Botsford

Composer of "Black & White" Rag.

A R R A N G E D BY H. F. ODELL .

Prices.—lst M. 30c; Piano acc. 40c; 2nd M, 3rd M, Tenor M, M. Cello, M. Bass, Banjo, Guitar, 20c each; M. & G. 40c each' M . & P., 2 M . & G . 50c each; 2 M. & P. 60c; Cello, Flute and Drums 20c each.

T H E CHOCOLATE SOLDIER Operatic Selection

By Oscar Straus, Arr. Odell Prices—lst M 50c; P. acc. 80c;

2nd M, 3rd M. Tenor M, M. Cello, M . Bass, Banjo, Guitar, Flute, Cello, 40c each; Drums 20c; M & G 80c; 2 M & G $1.10; M & P $1.10; 2 M & P $1.40.

W E D D I N G OF T H E W I N D S Famous Waltzes

By John T. Hall, arr. Odell Prices—lst M. 50c; P. acc. 80c;

2nd M, 3rd M, Tenor M, M. Cello, M. Bass, Guitar, Banjo, Flute, Cello, Drums 40c each; M & G 80c; 2 M & G $1.10; M & P $1.10; 2 M & P $1.40.

The following Standard Numbers arranged by H. F. Odell. Pearls—a novelette by Neil Moret M y Hero—Waltz Song from Chocolate Soldier The Enterpriser—Military March by J. Bodewalt Lampe After Vespers—A Twilight Meditation by Moret Scattering of the Roses—Danse Parisenne by Ring & Hager Daughters of the American Revolution—National March by Lampe Dixieland—March-Two Step (Intro. "Old Black Joe") by Chauncey Haines The following popular Songs arranged by Louis Tocaben You're M y Baby (Ayer) Moonlight Bay (Wenrich) Goodbye Everybody (Gilbert) M y Little Persian Rose (Friedland) That Old Girl of Mine (Van Alstyne) Be M y Little Bumble Bee (Marshall) He Will Take M e To His Heart (Eysler)

From the Pretty Little Widow (Woman Haters) A R R A N G E D BY ALBERT A D A M

Discount one-half off the above prices.

T H E SUNNY S O U T H Selection of Plantation Songs

By J. Bodewalt Lampe, Arr. Odell Prices—lst M. 40c; P. acc. 60c;

2M, 3rd M, Tenor M, M. Cello, M. Bass, Banjo, Guitar, Flute, Cello 30c each; Drums 20c; M & G 60c; 2M & G 80c; M & P 80c; 2 M & P $1.00.

lst Mandolin... , 30c ea. 2nd Mandolin . . 3rd Mandolin . . Tenor Mandola Mando-cello .... Mando-bass .... Banjo Guitar Piano Acc / .„ Mand. & Guitar . *uc

Mand. & Piano ) Kn

2 Mands. & Guitar ) 3 U C

2 Mands. & Piano 60c Cello, Flute, Drums, 15c

Sent postpaid to any part of the world.

IN PREPARATION

REMICK'S (WHITNEY-WARNER) MANDOLIN and GUITAR COLLECTION No. 13. Containing all the recent Vocal and Instrumental Hits.

PUBLISHED BY JEROME H. REMICK & CO.

lst Mandolin Book 25c Guitar Book 25c

2nd Mandolin Book 25c Piano SOc Banjo Book 25c

These books will be sent post paid to any part of the world on receipt of marked price. O R D E R N O W .

Address all orders to Mandolin Department.

JEROME H. REMICK & CO. Or order from your regular supply house i_21 W e s t 46th St., N e w Y o r k City

S U B S C R I B E F O R O U R N E '

PLEASE MENTION CRESCENDO W H E N WRITING ADVERTISERS

£CLB2S3l!iS

The MANDOLIN ORCHESTRA The Mandolin, Guitar and Banjo

and KINDRED INSTRUMENTS.

VOL. V. BOSTON, MAY, 1913. No. 11

111

THE BOSTON IDEALS Thl* orunli-llou Include* G. L. Lansing, director. R. L. Lansing. Fred E. Dorr and A. A. Babb. It has one of the oldest organ* Izatlona before the public and Is the only professional organization which has toured the country, playing In almost every state In th* Union. Mr. Lansing has been Its director since Its organization. Mr. A. A. Babb joined the organization about fifteen years ago. The other two members hay* joined In recent years. The club has appeared In Ihe principal Star. Y. M. C. A. and Lyceum courses throughout the U. S.

The Crescendo

A FEW THINGS BY SHAND Written especially for the Crescendo by Thos. C. B. Tyler

From the pen of Ernest Shand, an Englishman, the guitar playing public have some truly wonderful and beautiful music to be thankful for. In his few published pieces that I have seen are phrases as pure and priceless as diamonds of the first water; others brilliant, sparkling, hard; and again some have an appealing charm, a dainty alluring loveliness that only is exemplified in the violet. There is an underlying something, impossible of expla­nation, that increases the love for his best works with each repetition.

The striking feature of Shand's music is that he breaks away from traditional chords and progressions or hunts new ways of using old things that is original, en­trancing, dewy, fresh. Effects peculiar to the instrument he has used in many a novel and artful way that gives his music a character, an individuality that lifts it from the ruck of commonplaceness. In nearly every piece you happen on one or more passages that surprise and delight you with their harmonic beauty. In all his works is found some corroborative evidence of his great talent.

Don't ir-agine that because he is such a clever and pleasing harmonist that his music has no melody, that it is just a mass of harmony with no well defined theme. To the contrary, his melodies are very sweet and lyric while now and'again a bit dramatic. Melody is ever present; he seems to have an unlimited source from which to draw. The accompaniments to the melodies are exquisite, charm­ing and can hardly be called an accompaniment as they so seem to enter and be a part of the melody itself.

This music of his is not the sort that will please the ear only attuned to the popular fancies of the day but one who loves the best of the classic and contemporary works will find that these things of Shands help fill the desire for modern pieces that are worth while. His works follow the present harmon:c trend toward the usual more closely than any of the works by modern guitar music composers that I have seen.

D e Janon, the prolific arranger, has written one piece "A Serenade" that approaches the style of the English­m a n quite closely. It is a charming thing of rare worth, though but seldom played.

For a luscious, scintillating, brilliant composition I have seen nothing of Shand's that can compare with a thing or two of Foden's. The startling display of velocity demanded in the Foden "Valse Caprice" would cause the laymen to think it harder than the intricate chords of Shand's "Morceau Lyrique" or "Song d'amour," each composer requiring a different technical fluency.

Guitarists know that, although Shand is now an ardent disciple of the fascinating mandolin, at one time he was a lover of our instrument and a master of its many difficulties.

Melodie op. 51, is one of m y favorites from among his works, introducing one at once to some of his character­istic harmony. The melody is played almost entirely on the fourth and fifth strings and knowing their peculiar felicity for a full round tone you can well imagine what charm would accrue to a beautiful melody played upon them with a rich well-suited accompaniment of the other strings. A cadenza in sixths flashes forth for a second then a resumption of the quiet sweet lovely melody closes the composition. The beautiful theme justifies the subtitle of "Nocturne."

Opus 57, "Song d'amour" is slightly difficult on account of the complex chords involved. Dramatic in scope it has some surprises for those only used to the conventional.

"Andante Caprice" Op. 65, exquisite, haunting with a theme that is a true song without words, it has that subtle beauty that captures one ere he is aware.

"Gavotte" Op. 69 N o 1, is stately, at times majestic with all the charm and quaintness germane to the old court dance. It requires more ability than one at first glance may imagine.

"Meditation" No. 2 of this set is the most popular of all his productions having been rendered several times in concerts to m y knowledge. It is the simplest technically of the group and I think the least beautiful.

In "Morceau Lyrique" he again employes his most complicated style and one might think he wrote this as Sor is said to have done, the harmony first then a melody to fit. In the abundance of his harmonic treatment one is apt to forget the melody for a moment, but that is all, for it dominates and sings plaintively, longingly, wistfully. A change to the relative minor with arpeggiated chords; a short passage played in the neighborhood of the twelfth fret then repeated an octave lower forms a fitting inter­lude before the return of the main theme.

These things of Shands with only trifling exceptions are unhackneyed, with a charm and attractiveness about them that should appeal to the lovers of the best in guitar music. His melodies are not the sweetly cloying that soon surfeit the taste, the liking for them grows on one. Add to them his consummate skill as a harmonist, his masterful grasp of the intricacies of the fingerboard and why shouldn't something of intrinsic worth be produced?

His courage not to write down to the desire of the majority of guitarists but to try and lift them to a higher and better plane is to be greatly commended.

AN OLD GUITAR. By W. S. Marsh

Of all the cherished mementos Of the past that's beyond recall, An old guitar, worn and battered, To m e is the dearest of all.

Warped is its neck, and the varnish Has lost its sheen. Still it brings The memory of her who wakened The harmony from its strings.

And I seem to see, as a picture, The little house on the hill, And the "front room" so quaint and homelike. With the plants on the window-sill.

I well remember the corner Where rested the old guitar, In the shadow behind the organ, Concealed by the door ajar.

And oft in the gathering twilight, W h e n work for the day was o'er, I'd list while she played and sang m e The songs that I hear no more.

Sometimes 'twas "The Old Oaken Bucket" She'd sing in a voice fresh and clear, Or sweet, "Nellie Gray" so plaintive, Or "Love's Old Sweet Song" so dear.

But naught remains but a memory Of hours so graciously blest, For stilled is that sweet voice ever, The slender hands are at rest.

So of all the cherished mementos Of the past that's beyond recall, This old guitar, worn and battered, To mc is the dearest of all.

The Crescendo

THE BALALAIKA Written e'pecially for the Crescendo by W. W. Andreeff, "The Father of the Balalaika"

(Continued from April Cn

The Origin of the Name "The Great Russian Orchestra" and Why I was called "The flan of Great Audacity".

The "Great Russian Orchestra" bears its name because all the instruments which form the orchestra —balalaika, domra, goosly, etc.—originated in the central and northern parts of Russia, that is in the "Moscovite Empire" or "The Great Russia".

First I endeavored to find the gradually disappearing but still existing national ancient instruments and from their style and shape to rebuild new ones doing m y best to keep close to the original lines when constructing them and especially trying to give them the same peculiar and typical lines of the originals in order not to change their appearance and deprive them of their individuality. I only endeavored to broaden out the idea and not change the type itself to make the instruments to con­form to the musical technic of the present day.

Before I formed an orchestra of these instruments which I improved, I appeared as a balalaika soloist on the concert stage for five consecutive years.

From the drawings shown of the primitive instru­ments one may see how they appeared before their im­provement but even after considerable change, one can easily see to what extent I have retained the ancient style. The balalaika marked "a" in the picture above is the primitive instrument and the one marked "b" is the balalaika built with the improvements which I made. In the picture below "a" indicates the original domra and "b" the improved domra.

|

The strings which are shown here and which I copied directly from the ancient people have likewise remained unchanged, the tuning being the first string A on second space of staff and the second and third strings tuned in unison to E first line of staff.

One of m y critics, when looking at the poor primitive instruments and comparing them with the improved instrument named m e "The M a n of Great Audacity."

Some Opinions

Erastus Osgood, Quincy, Mass. "I have a complete file of the Crescendo from its initial number

In the past you have 'made good' in every respect, and as a member of the M. B. G. fraternity, I congratulate you on your success."

Cecil D. Jardine, Durban, So. Africa. "I consider the Crescendo a great paper and am looking for­

ward to its arrival every month with great eagerness. It is the finest in its line I have struck."

Miss Virginia Leslie, Mineral Wells, Texas. "I find the Crescendo immensely interesting and I have

gained much valuable information from perrusing it."

The Crescendo

Teachers and players

are requested to send in

items to this department

about concerts, recitals

or other musical matters

-which will interest Cres­

cendo readers.

Boston Festival Mandolin Concert By One of the Audience.

In spite of the heavy downpour which had all day deluged Boston, a vast assemblage attended the Seventh Festival Mando­lin Concert, under the direction of G. L. Lansing and H. F. Odell.

The grand orchestra of 300 players was never in better trim and played J. B. Lampe's stirring march "The Enterpriser" under M r . Odell's direction, as an opening number, in fine style. As a " b " number, Mr. Lansing directed Handel's "Largo". In this number the grand organ, one of the finest in the country, was introduced. The number was finely played, careful attention being given to shading and attack.

The Tufts College Glee Club next rendered two songs, in char­acteristic Glee Club style. The young m e n are finely trained and the club was a welcome addition to the program. Mr. H. B. Stryker had a very novel way of leading the club and he kept them under his control at all times. The audience seemed greatly pleased with the humorous numbers.

M r . H. F. Odell played two mando-cello solos, Bartlett's " A Dream" and " A Fantastic Fancy", his o w n composition. The tone M r . Odell produced was indeed splendid. H e had the instrument under control every moment and the lights and shades of the com­positions were brought out in his usual musicianly style. His second n imber, a light, airy piece, showed that it is possible to play other than slow pieces on the mando-cello. Mr. Odell's rapid execution on so large an instrument was especially well done. As an encore number he played "Silver Threads A m o n g The Gold" which highly delighted the audience. H e was presented with a beautiful bouquet of pinks at the conclusion of his solos.

The Lansing Mandolin Orchestra next appeared playing a selection from "The Chocolate Soldier". This orchestra is well known for its fine work and as usual it appeared to the best advantage under Mr. Lansing's able direction. The selection played is quite a difficult one. The orchestra handled it in admirable manner showing that it had been well drilled and bringing out the various numbers in the selection with careful attention to the m a n y different tempos.

Miss Roselth Knapp, entertainer, certainly did her share and lived up to her title "Entertainer". Her monologue "The Wetherell Wedding" was cleverly given and she held her audience interested to the end by the troubles and tribulations of a telephone marriage.

The grand orchestra next played an a and b number, the first being the "Dancing Girl" under Mr. Lansing's direction. This is a dainty little number with m a n y changes of tempo and gave the orchestra a chance to show its careful drilling and its remarkable execution in pieces of this sort. The attacks and pauses were noticeably well done. The b number was the now famous "Lost Chord" under M r . Odell's direction. This is the third season the orchestra has rendered this selection and each year it has been more enthusiastically received than before. Mr. Odell had the vast number of players well under control and the pianissimo effects were wonderfully brought out. The grand organ was again used and the work done by the orchestra in this number again proved that this organization is one of the most remarkable in America.

The Place Mandolin String Quartet made its Boston debut at this concert rendering Mr. Place's "Petite Quartet" in four movements. The quartet's execution of difficult passages, right and left hand harmonics, full chord tremolo effects, and various other styles of playing, showed the excellent command each player had of his re­spective instrument. The work of the quartet shows much careful practice. The balance of tone between the four instruments was especially good and undoubtedly this quartet has a brilliant future.

A selection from the always popular "Mikado" was made doubly so by the excellent playing of the Langham Mandolin Or­chestra, under M r . H. F. Odell's capable direction. Thc orchestra is famed for its fine rendition of difficult numbers and it lived up to its reputation. Attacks and shading were given careful attention and extremely difficult little places in thc selection were well done. The various voices in this orchestra could be distinctly heard and the instrumentation being as complete as it is, made an extremely good impression.

As a banjo soloist, Mr. G L Lansing in one of the most interest­ing players before the public. H e invariably shows good judgment in his choice of selections and plays the banjo in a way which always appeals to any audience. His first number, the "Golden Robin Fantasie" calls for considerable technical skill which Mr. Lansing rendered cleanly and effectively. His tremolo solo Hauser's "Cra­dle Song" showed that he is as much at home in this style of playing as the other. H e also played a medley of popular songs and an old style jig. All of his numbers showed a wide variety. H e was pre­sented with a large bouquet of red roses

The grand festival orchestra playing an a and b number, the first 'Hippity H o p " by Ode'l, directed by Mr. Odell and the second, Lansing's "Darkey's Dream" directed by Mr. Lansing which introduced various trap effects, all adding to the novelty of the piece. In these two numbers, as in all others, the orchestra did its usual fine work.

Miss Roselth Knapp's " N e w York Saleslady" is one not soon to be forgotten. Her presentation of the type of saleslady found in a York department store was decidedly funny and she "brought down the house" with her queer remarks

The closing number, a medley of war songs, "Echoes of '61" brought the audience to its feet when a great forty foot flag was lowered over the stage as the orchestra and the grand organ played the "Star Spangled Banner". The Tufts College Glee Club assisted in this number singing "Tenting on the Old C a m p Ground" and the various bug'e, fife and drum effects, greatly added to the effect. Everyone went home looking forward to the next year's concert when they m a y hear this fine orchestra play aga'n. Without doubt the seventh annual festival concert was the greatest success of all anil Mr. Lansing and Mr. Odell both deserve much credit for their untiring efforts in drilling and coaching a vast assemblage of players like this. It is no wonder that the Boston public appreci­ates these concerts on account of their magnitude and the always interesting lists of artists which are presented. One doesn't wonder that for seven years the tickets for the concerts have invariably been sold out weeks in advance. The Festival orchestra as an organ­ization is really wonderful because it is so different from what one would expect from a large body of amateurs. Its rendition of musical selections is of symphony standard.

M r . Lewis Spindler, the organizer of the St. Louis, Mo., Ba­lalaika Orchestra, was nominated as one of the American Committee which co-operated in the Andreeff 25th Anniversary Festival which took place the last of March and first of April in St. Peters­burg, Russia.

The Venetian Trio, composed of Frank B. Smith, guitar and the Misses Margaret Rundle and Catherine Smith, mandolins, recently appeared with much success at Poli's Theatre, Wallingford, Conn.

O n M a y 8th, at Recital Hall, in the N. E. Conservatory, Boston, Guiseppe Pettine will give a recital of mandolin music, the pieces to be played all being composed for the mandolin. H e will be assisted by A. Troccoli, guitarist, and G. Aieta, baritone. A m o n g the numbers to be played will be Mr. Pettine's original concerto composed for the mandolin "Concerto Patetico" which he will play in its entirety. H e will also play another num­ber composed especially for the mandolin, the "Prelude" to the third act of the opera "A Basso Porto" by N. Spinelli. This num­ber was written for the mandolin with grand orchestra accompan­iment and is said to be very beautiful and should attract much attention.

It is Mr. Pettine's intention to give a number of these recitals of original mandolin music in various cities next year. The prin­cipal object is to bring forth compositions for mandolin solos by various composers and Mr. Pettine cordially invites composers to send him Mss. of pieces they have written for mandolin solo for examination and if found worthy, they will be played at some of these concerts.

M r . Pettine especially urges that the composers name be omitted from the Mss. and that a motto or number be placed on the Mss. instead of the composer's name. It is intended to select all the solos to be played, entirely on the merits of the compositions, regardless of w h o m the composer m a y be. The pieces submitted should be for mandolin solo with piano or other accompaniment but they should have a piano part and it should be understood that they are not to be mandolin orchestra pieces, but intended purely for solo work.

The tickets for the Boston recital will be $1.00, 75c and 50c and m a y be purchased at the Crescendo offices.

The residence of Chas. Thiessen of Omaha, Nebr., was badly wrecked in the recent tornado but it has been repaired. M r . Thiessan, luckily, was not injured personally.

Continued on next page

The Crescendo

Prominent Teachers and Players. Notes on the Music in This Issue.

A R T E M A S H I G G S

Artemas Higgs, the subject of this sketch, is a well known teacher of the mandolin and guitar at Fort Wayne, Ind. He has an especially well appointed studio, where one upon entering im­mediately notices the artistic arrangement of the studio and the display of books and instruments. Mr. Higgs has appeared at various concerts and musicales in and around Fort Wayne as a soloist on mandolin and guitar.

He is also an excellent performer on the drums and tympani and is engaged in that capacity at the Majestic, the largest theatre in Fort Wayne and also is a member of the Fort Wayne Symphony Orchestra of sixty-five players. In 1909 he toured the southern states with Rogers celebrated Chautauqua band, where his xyl­ophone solos were the hit of the performance. Mr. Higgs says that for genuine pleasure he prefers no other music but that of the mandolin and guitar with perhaps a flute added. He has some knowledge of the piano and has also studied the flute.

He is well known in Masonic and Pythian circles in Fort Wayne.

NEWS At the time of the recent tornado in Nebraska, we were some­

what worried to know whether Francis Potter had escaped the disaster. W e were very pleased to receive the following from him stating he had escaped.

"Dear Mr. Odell; Fortunately we were not on the path of the tornado. My wife and

I were playing your arrangement of 'Poet and Peasant' Overture about 5:45 Wednesday, when all of a sudden it gol so dark we could not see. I walked over to the west window and saw the terrific sight. The air was full of debris. Buildings were going down like houses of paper. It seemed as if there were millions of shingles flying through the air. All the time the noise made by the wind was deafening. It sounded not unlike one hundred heavy swiftly moving trains. A house in Bemis Park which I was figuring on buying was completely demol­ished. Business is at a standstill but everyone seems determined to make the best of it. One of my pupils whose house was wrecked found his mandolin a block away. Mr. Wilmuth's harp-guitar was lean­ing against a piano. The piano was smashed but the guitar was undisturbed. Yours fraternally

Frances Potter."

In the Order Frinted

Sentimental Mazurka, C. Munier

This number should be played at moderate mazurka time through­out. The introduction begins softly with a slight crescendo in the third measure and a decided ritard in the last two measures. The next strain is played softly throughout with slight erescendos and with much expression. The next strain in A is played loud through­out and the tempo here may be effectively quickened a little. M u c h of the melody in this strain is played on the second string. The next strain begins loud but.should be played softly beginning at the fifth measure returning to loud at the ninth measure and soft four measures from the end. The coda is slower in tempo than any part of the piece and the very end should be played softly and slowly to the end. Tremolo the notes marked with the slur throughout the piece.

A Love Chat, D. Acker

The introduction is played at a moderate tempo ritard at the end of the last phrase. The waltz itself beginning at the second line should be played at a bright tempo faster than would be used for dancing although it may be played at a slow waltz tempo if de­sired but is more effective at the faster tempo. The first strain is played throughout with slight differences in shading. The second strain is played medium loud mostly, the third strain again loud and the fourth strain medium loud with the variations of power as in­dicated. If desired slightly faster or slower tempos may be employ­ed on each of the four strains to give more variety to the piece. Throughout the composition tremolo should be used only on those notes marked with the slur. All other notes are picked. M a n y of the grace notes are marked with a little line and slur. This means wherever it occurs to slide to the next note. The various counter strains in the other instruments are very effective for full mandolin orchestra.

May Breezes, Arr. Geo. Barker

The first strain should be played quite slowly and rather softly. The performer at his own discretion may effectively introduce ri­tards and soft and loud effects. There should be a decided ritard in the last two measures of the first strain. The variation may be played mf varying to f and should be played at a brighter tempo Again there should be a decided ritard in the last two measures but keeping the tone up loud to the finish.

Modestie, H. F. Odell

A solo number which may be played on either the mando-cello or mandola. It should be played slowly throughout carefully ob­serving the expression marks as indicated which are plainly marked every few measures. The last strain may, if desired, be played on the mando-cello only an octave higher. It has frequently befn played by the composer in this manner. Playing it this way will take the player to the very highest notes on the modern mando­cello. If it is not desired to play in the higher compass of the in­strument, beginning at the run of sixteenth notes, the lower notes should be played. When played as a mandola solo these lower notes should always be played and the last strain played as written, not an octave higher. This piece may be used with guitar or piano accompaniment or as a solo with full mandolin orchestra accom­paniment, all the parts being published. It is so written that any mandolinist can play the part on the mandola or mando-cello at sight.

Plunkety Plunk Schottische, Geo. Barker

This is one of the easier grades of teaching pieces, quite effective for beginners. It illustrates the schottische movement and easy triplets. The first strain should be played medium loud, the second strain still louder returning to the repetition of the first strain med­ium loud. The last strain is also effective played medium loud. The number is purely a teaching piece in the easiest form and does not allow of any special expression except to play it as far as possi­ble in a banjoey style.

Thank You.

James H. Johnstone, formerly of Chicago, now with head­quarters at Albany, N. Y., is playing in and around Boston for several weeks working his way toward New York. Mr. Johnstone has a decidedly novel act including solos on mandolin, mandola and manrlo-cello and he is usually busy the year around.

W . J. Kitchener, New York, N. Y.

"The magazine is worth $5 a year to any nc interes our work."

Dr. G. M. McDonald, Mt. Sterling, Ohio.

"I believe the Crescendo is the best pul

10

15he CRESCENDO. A Magazine for the Player, Student and Teacher ol

Mandolin, Qultar or Banjo.

the

HERBERT FORREST ODELL, Editor and Manager.

Published Monthly by the

CRESCENDO PUBLISHING CO.. INC.

Enteted as second class matter June 9, 1909. at the Post Office at Boston. M a under the Act of March j, 1879.

SUBSCRIPTION PRICES.

Single Copy, 10 cents Yearly, $1.00 Canada $1.25 Foreign 6 Shillings

T h e Crescendo

It is not considered good form to speak of matters discussed at private meetings of trade organizations.

The Crescendo and its Editor are quite willing to live and let live and if any firms choose to publish music in the so called universal notation that is their privilege and right and the Crescendo does not question same. W e have argued against changing musical notation to something we do not believe in but the Crescendo has purposely not brought in the names of any firms and fully believes that the matter of publication of parts should be settled by the publishers.

There is room for all in this world and some publish­ers will publish one way and some another. The fratern­ity have had arguments presented on both sides, con­tinually reiterated. W e candidly believe it is weary of clef discussion. Let those who prefer publish and use the so called universal notation. Let those who prefer to use or publish the transposed notation do so.

The Editor would say in answer to the insulting attack directed at him personally

ADVERTISING RATES will be sent on application. Forms close on the ist 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 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.

W e are not responsible for the opinions of Contributors

ADDRESS COMMUNICATIONS to the Editor. ALL RE­M I T T A N C E S should be made payable to

CRESCENDO PUBLISHING CO., 165 Tremont St., Boston, Mass.

VOL. V. MAY 1913. NO. 11

E D I T O R I A L S .

We were somewhat surprised at the tone of the recent Editorial in the April issue of a contemporary magazine which, being an Editorial, was supposedly written by the Editorial staff although the style of rhetoric might lead one to believe that some one else also had a hand in it. The Cadenza is evidently not fully informed as to what firms publish mandola or mando-cello parts in this country as it neglects to mention several firms who do publish these parts and have done so for several years, and also who have quite large catalogs. The Editorial refers to certain gentlemen in a decidedly questionable manner. W e should advise Editor Jacobs to look fully into the authenticity of certain matters before he quotes others.

It is immaterial to us whether or not Editor Jacobs thinks w e can speak with authority about matters referred to in the Editorial. W e will simply say we are not in the habit of stating facts unless we know them to be true.

U p to the time this Editorial appeared the arguments on both sides have been principally between Mr. L. A. Williams and the Editor of the Crescendo, therefore we are surprised at the insulting attack upon three well known Guild members by the Editor of the Cadenza. It is rather poor taste for the Secretary of the American Guild, who is also Editor of the Cadenza, to speak in a questionable manner of any Guild members and especially as the three referred to have done much toward building up the organization.

N e w York, March 25, 1913. The Crescendo :

Crescendo Pub. Co., Boston, Mass.

Gentlemen,—Will you kindly refrain from publishing statements supposed to have been made by m e to L. A. Williams or any one else on the subject of "Universal Notation" without m y permission as these statements are invariably untrue and unauthorized. I would advise you also to get permission from Jerome H. Remick & Co. before printing anything that m a y reflect on the house. Be so fair as to give this letter prominence in your next issue.

Yours very truly,

J. Bodewalt Lampe.

Editors Note—In the Editorials or articles written by the Editor in the Crescendo, the names of publishing houses have been purposely omitted as well as any remarks which would reflect on any publishing house and letters or statements of which the au­thenticity could be doubted have also been omitted. The rights and privilege, of all publishing houses will always be respected.

M a n y subscribers have written us from time to time asking about a binder in which they could bind up their back volumes of thc Crescendo. W e are pleased to call attention to an announcement on another page in in this issue of the Crescendo "BIG B E N " Binder which is the best and most practical binder on the market in as much as in a few moment's time, with simply a pen knife an entire volume can be bound together in book form. These binders are hard board, cloth covered and are practically indcstructablc. The name Crescendo is stamped on the front cover and also on the back in gold. The bound volume makes a very handsome ornament and preserves thc magazine in excellent shape. The price of these binders is exceedingly reasonable and they will wear indefinitely.

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Tbe Crescendo 19

Program of the 7th Festival Mandolin Concert at Boston.Mass., Mar. 27, 1913, under the direction of G. L. Lansing and H. F. Odell. 1. (a) March—"The Enterpriser" J.B. Lampe-Odell

H. F. Odell, Director (b) "Largo" (with organ) G. F. Handel-Odell

G. L. Lansing, Director Grand Festival Orchestra

2. (a) "The City Choir" Parks (b) "Victory Song" W.W. Rose

Tufts College Glee Club H. B. Stryker, Leader

3. Mando-Cello Solo, (a) "A Dream" /. C. Bartlett (b) "A Fantastic Fancy" H.F. Odell

H. F. Odell 4. Selection—"The Chocolate Soldier" Oscar Straus-Odell

Lansing's Mandolin Orchestra G. L. Lansing, Director

5. "The Wetherell Wedding" W. R. Smith Miss Roseleth Knapp

<S. (a) "The Dancing Girl" Hemy-Odell G. L. Lansing, Director

(b) "The Lost Chord" (with organ) (by request) Sir Arthur Sullivan-Odell

H. F. Odell, Director Grand Festival Orchestra

7. "Petit Quatuor" Wm. Place, Jr. Andante—Presto Scherzando—Allegro con brio—Andante

The Place Mandolin Quartet 8. Selection—"The Mikado" Sir Arthur Sullivan-Odell

Langham Mandolin Orchestra H. F. Odell, Director

9. Banjo Solo, (a) Polka Fantasie "Golden Robin" Bosquet-Lansing

(b) "Cradle Song" Hauser-Lansing G. L. Lansing

10. (a) Oddlette—"Hippity Hop" H. F. Odell H. F. Odell, Director

(b) Characteristic,—"The Darkey's Dream" (by request) G. L. Lansing

G. L. Lansing, Director Grand Festival Orchestra

11. Humorous Monologue Original Miss Roseleth Knapp

12. War Song Medley—"Echoes of '61" Arr. H. F. Odell A descriptive piece representing troops marching off to camp and

Teturning. The audience will hear the Soldier's Farewell" "Assem­bly" on a bugle, "Battle Cry of Freedom", "Glory Hallelujah", "Tramp, Tramp, Tramp," and the "Girl I Left Behind M e " played hy fife and drum corps. Next is heard Taps, the soldiers singing "Tenting On The Old Camp Ground", "Old Folks At Home", then the "Reveille", "When Johnny Comes Marching Home", by the fife and drum corps, "Marching Through Georgia," "Dixie", and as a grand climax, "The Star Spangled Banner" and "Yankee Doodle."

Grand Festival Orchestra Assisted by the Tufts College Glee Club

H. F. Odell, Director

"Andante Cantabile" for stringed orchestra Tschaikowsky "Farandole." from Second Orchestra! Suite L'arlesienne. . Bizet

The Serenaders Orchestra

Program of the 12th Annual Guild Concert given in Aeolian HaU, N e w York City, April 23rd, 1913. 1. "Andante" from First Symphony Beethoven

The Serenaders Orchestra 2. "Suite" in Alten Style Buys

The Place Quartet W m . Place, lst Mand., Clinton S. King, 2d Mand.,

Milburn M . Chapman, Mandola; Lawrence V. Calder, Mandocello 3. (a) Overture—"Impromptu" Bane

(b) "Indian Dance" .' -Jan-Johnson C. Bane

4. Selection by the Prize Winning Club Presentation of Prizes

5. (a) Overture—"The Grenadiers" Armstrong (b) March—"The Mascot" Kenneth

The Serenaders Banjo Orchestra <>. "When the Sunlight Dies" Serenade from "Natoma"

Victor Herbert "King Charles, Cavalier Song (Words by Browning)

Maude V. White Reinald Werrenrath, Baritone

Accompanied by The Serenaders Orchestra 7. (a) "The Conqueror" Bacon

(b) Medley Overture Arr. Bickford Messrs. F. J. Bacon, M . A. Bickford, J. J. Derwin, E. F.

Goggin, G. L. Lansing

Program of first musical by Pettine's Philoplectra, Guiseppe Pettine, Director, at Providence, R. I., Jan. 29, 1913. 1. March—"California Exposition" Mackie 2. Overture—"Lustspiel" Kela-Bela 3. Duets for two Mandolins—

(a) "La Malinconia" Chopin (b) "March" Rossin

Misses Geoghegan and Heaton Two Dances— (a ) "Norwegian Dance" Grieg (b) "Four Little Pipers" O'Connor Solo for Mandocello—"Berceuse from Joceleyn" Goddard

Mr. F. Mangone (a) Valse Lente—"Le Papillon" Andreff (b) "Pizzicato Polka" Strauss Solos for Mandolin— (a) "Bizzarria, Capriccio di Concerto" Munier

(Guitar accompaniment by Mr. D. Di Sandro) (b) "Fiori Appassiti" (unaccompanied) Pettine

Sig. Michele Di Iorio "That Banjo Rag" Weidt

4.

.L. Tocaben

Concert given by the Gibson String Quartet and the O-kley Mandolin Club and assisting artists at K a m a , City, Jan. 31, 1913. 1. "The Lost Phase" H. J. Lincoln

Oakley Mandolin Club 2. Reading

Ben Butler 3. Piano Duett

Misses Ethel & Nell Stafford 4. American Airs

Oakley Mandolin Club 5. Vocal Duett

Mrs. Liggett and Miss Story 6. "Lucia De Lammermoor" Donizetti

Gibson String Quartet 7. Vocal Solo

Miss Vera Story 8. Overture—"Venus" Tschopp

Gibson String Quartet 9. Reading

Miss Amelia Baker 10. March—"Militaire" Boehm

Gibson String Quaret Concert given by the Cookman Orchestra at Philadelphia, Pa., Jan. 30, 1913, under the direction of Howard D. Openshaw. 1. Selection—"The Bohemian Girl" Balfe-Odell

Orchestra 2. Soprano Solo—"I Hear You Calling M e " .... Harold Hartford

Miss Amelia S. Levers 3. Violin Solo—"Good Bye" Tosti-Odell

Miss Anna Hall 4. Recitation—"Keep a Seat at the Benefit" .... May Isabel Fisk

Miss Florence Kennington 5. Berceuse—"Wooing Winds" Geo. J. Trinkaus

String Quartette lst Violin—Mr. Francis Buggy. Viola—Mr. Howard D. Openshaw. 2nd Violin—Mr. Chester Harlow. 'Cello—Mr. Carl A. Bonawitz. 6. Piano Solo—"Overture Stradella" Flowto-ai

Mrs. Fred Hudson Waltzes—"The Pink Lady" Caryll-Odell

Orchestra Soprano & Baritone Duett—"Zweisgesang"

Miss Amelia S. Levers Mr. George MacKinnon

Mandolin Duo—"Reverie" Richard L. Weaver Mr. Howard D. Openshaw

Recitation—"Assisting Uncle Joe" Miss Florence Kennington

Violin Duett—"Largo" Handel-Odell Mr. Francis Buggy—Miss Ethel Gould

Medley Finale—"Home Sweet H o m e " R. E. Hildreth Orchestra

7.

10.

12.

The Crescendo -__k •^••^-^•^. .-*-.--.-_r»--- **• ••*•••*• i-fc. • .• ••• .••--. ' V V - X ' V *.^.^A~. .-

MANDOLINISTS I ROUND TABLE |

CONDUCTED BY WM. PLACE, Jr. %

m Virtuoso—Composer— %

Litterateur %

This department is especiaUy for Mandolinists and they may ask questions pertaining to the mandolin or contribute items. Questions or suggestions will receive due consideration. Address "Mandolinists Round Table," care of The Crescendo. 'GW that convention matters are settled for an­

other year while perhaps all the of questions have not been quite as amicably decided as everyone might wish, nevertheless let us all

make our new year resolutions now in this new man­dolin year that we will place the mandolin in our city on a higher plane than it has been placed before; that when we again meet at the next convention we can truthfully say "This year has seen an advance in plectral affairs in m y city". Advance need not necessarily be financial. This vear let's make it artistic, the financial will take care of itself!!

THE MANDOLIN IS WORTH WHILE ! ! KNOW IT—THINK IT—LIVE IT!

N

Next to the clicky tremolo perhaps there is no branch of plectral technique more abominably executed than chords especially broken chords and arpeggios where it it necessary to employ the glide or coule both downward and upward.

Every mandolinist knows that there are an endless variety of tone qualities which can be produced by attack­ing the strings from a point about an inch from the bridge saddles to a point an inch to an inch an a half above the sound hole. Every mandolin seems to be individual in this respect. Often the deep mezzo quality will be apparent when the strings are attacked directly over the sound hole yet on another instrument the same quality will be found much above the sound hole. I would say in consequence that the points of attack mentioned in this article cannot be taken as infallible inasmuch as no two instruments are exactly alike in any respect and especially so in regard to points of plectrum contact.

A mandolin player with but little experience knows then the nearer one approaches the bridge the thinner and more metallic the tone becomes yet mandolinists in playing "rolled" chords will almost invariably attack the G string at a point about even with the lower edge of the sound hole and finish with an attack upon the E string at a point an inch and a half nearer the bridge. To any­one who has given tone production even thc slightest study it is obvious that a chord executed as above is overbalanced. In the first place thc average mandolin is overpowerful on the two lower strings and in four string chord work executed with the arched wrist, (a position which obliges the player to describe an arc with each stroke of the plectrum) the effect is remindful of an orchestra in which the bass so completely predominates that one often wonders what the orchestra are playing.

The average mandolin requires much judicious coaxing and thc average mandolin player either doesn't know enough about tone production to get the required effects in a musical manner or doesn't care enough about the n andolin to trv.

When the plectrum is laid against the string for

a "prepared" chord the wrist when well arched carries-the plectrum about forty five degrees from parallel with the strings. This of course is in a downward direction making the point of contact of the plectn m on the E string fully an inch and a half nearer the bridge tha-ft its point of contact with the G string. The resulting chord contains a high tinkling treble which often has so little vibration that the audience never hears it while the bass booms forth like a cannon.

In the production of a rolled chord the flat wrist player is usually inclined to play exactly at right angle to the strings and while his tone is of course more clicky nevertheless in chords his work is far better balanced, but withal he has not solved the problem for when w e consider that nearly every mandolin is very heavy on the bass side it is obvious that even if the strings are attacked at an exact right angle by the plectrum the bass will even then be overpowerful.

Supposing that an unaccompanied number finishes. as is quite often the case, with a rolled chord the t nie of the key of course being in the treble; if the chord is marked pianissimo quite often nothing but the two lowest notes ever reach the audience and while the solo m a y have been performed excellently it is surely a most unsatisfactory conclusion for any performance and is often instrumental in making a "frost" of what otherwise might have been a hit. It is these small, small things which make the difference between the good player and the virtuoso.

In attacking the strings for a three or four note chord always prepare the tone, it is never artistic or in good taste to hold the plectrum away from the string and bang.

First lay the plectrum against the lowest string. At this point the wrist should be well arched. Let the plectrum drop from one string to the other until all have been crossed and in doing so move the plectrum upward, away from the bridge, as the higher strings are attacked. This movement will require the lowering of the wrist as each successive string is encountered and after attacking the E string the wrist will be nearly flat. By following the description closely it will be seen that the plectrum moves across the strings at an angle of about forty five degrees from a parallel with the strings, away from the bridge.

This is the important point. By moving away from the bridge when the E string is reached the point of contact produces a tone which is round and full and balances excellently with the lower strings.

It will be necessary for the discriminating student to try this effect but once and he will at once appreciate the remarkable difference in the effect from that produced in the haphazard way.

The foregoing, it must be understood, applies only to rolled chords executed with a single down stroke arpeggios required a somewhat different treatment as far as the wrist is concerned. This will be discussed in a later issue.

Back Numbers of the Crescendo ONLY A FEW LEFT

Vol. I.-Vol. II. Vol. Ill

11 Numbers containing $23 worth of music SOc. 12 Numbers containing$25 worth of music 50c. -10 Numbers containing over $20 worth of music . SOc.

-11 Numbers containing $25 worth of music SOc. Single numbers 10 cts.

Less than 50 sets still unsold in each volume. Make your files complete and order back numbers desired.

Vol.1 V.

The Crescendo

GUITARISTS ROUND TABLE

CONDUCTED BV ETHEL LUCRETIA OLCOTT

Soloist—Teacher—Composer

" The guitar is a miniature orchestra

n itself."—Beethoven.

This department is especially for Guitarists but anyone may ask

questions pertaining to the guitar or contribute items. Questions or

sug-estions will receive due consideration. Address "Guitarists Round

Table," care of The Crescendo.

MUSICAL MAGAZINES

It is more than surprising, more than amazing, for it is quite dumbfounding to note how few, considering the number, of the teachers and players of guitar are sub­scribers to the musical magazines devoted to that and the other two of the "trio instruments."

Perhaps you teachers who read this will think I a m mistaken when I include "teachers" in this list of those wh.i do not subscribe to a musical magazine devoted to the instruments they teach. Would that that word •"teachers" might be left out of this statement, but "alas", •"it is true". Many teachers of banjo, mandolin, and guitar, have never subscribed to any of the American magazines devoted to the interests of those instruments. Many more are apparently unaware of the publication of any such magazines.

I have talked to teachers myself, who did not know before that there was such a thing as "The Crescendo" or other contemporary magazine—or even "The Am?rican Guild". Th's sjems quite incredible, and of course it goes without saying that such teachers are sadly wanting, or this ignorance of the Guild and magazines would not he. Nevertheless they have "Teacher of Banjo. Mando­lin and Guitar" on their shingles and have pupils on those instruments. There are other teachers who apparently think these magazines with their many ideas, reading matter, programs, etc., are not worth the subscription price, but if they live in a town where one or more of the music stores carry the magazines, they will scan through the music suppliment, hurriedly, (overlook'ng all reading matter) and if there is a piece in the magazine "which they think worth a dime, they will invest that magnificent sum in buying a copy of said magazine.

As to players of all the instruments mentioned, there are hundreds, yes. thousands, in America, who are actively engaged in playing in the various clubs and orchestras, as well as the many who play for their own individual amusement, who are not subscribers to any musical magazine. This condition of affairs is beyond m y comprehension, for when publishers are enough interested in these instruments, which in many ways have been so much neglected, to publish a magazine entirely devoted to the interests of those instruments, it would b; only logical to suppose that every player and teachers of those instruments would have his name on the subscription list of one, at least, of those magazines.

People who are interested in music, who play but little, and even to those who have never studied music, have "The Etude", and "The Musician", in their homes; why then are the active players of the banjo, mandolin, and guitar so neglectful? If they who play and teach the instruments are so apathetic as this, how can they

expect outsiders to support the instruments, to study them, and to engage the clubs and orchestras for their entertainments' Then they complain of the unpop­ularity of the guitar with the public, etc.. blaming it all on those outside, never for a moment seeming to realize that those who have it in their power to assist the instrument, it's teachers and players, are many of them doing little or nothing to assist the instrument to its former position. Even if they begrudge a dollar a year for a magazine devoted to the instruments they play and teach, do they not look at the other side and see the personal advantage to themselves in reading the magazine each month? I should think it would be their own pleasure to have the magazine with its many firie articles by the best teachers and players, its notes and personals of the other teachers and players, its splendid programs, etc. I cannot understand why all teachers and players do not look forward with eagerness to the arrival of the magazine devoted to the instruments they are teaching or playing, as many do.

Someone has said in one of the magazines, that a pretty good sign to a prospective pupil to stay away from a teacher, was the absence of musical magazines in his studio. This was well said, for a thoroughly alert, capable and competent teacher would not be without a magazine devoted to the instruments he teaches, as long as there was such a one published. Do not all doctors consider a Medical Journal a necessity' Certainly; and all mechanics and inventors, etc.. await with impatience "Popular Mechanics." A farmer would not be without some farm or agricultural journal. A railroad man takes the magazine devoted to his work. A poultry raiser takes a poultry journal. A moving-picture man takes a magazine devoted to the interests of the "movies." An embroiderer, and even thousands of women who are only interested in embroidery and fancy work for their spare moments, take "The Modern Priscilla." A mill­iner takes a millinery magazine. A photographer takes a photographic magazine; a merchant takes the maga­zine devoted to the interests of his business; a printer or engraver takes a magazine which is printed for the benefit of his work.

All of these people in these many lines, professions and other walks of life, are benefitted by these magazines that are published in the interest of their business. It is a stimulus to them. It gives them an idea of what others in their line are doing, and enables them to be • more efficient in their work.

Everybody else takes the magazine that is published in the interest of their work. Why, oh why, do not all guitar, banjo, and mandolin players take "The Cres­cendo/"

Mr. Carl W. F. Jansen, the well known Chicago guitarist, has played at several affairs lately. At a lecture at Masonic HaU, Irving Park on Feb. iSth. he played op. 9. Ferranti, and a march of his own. On Feb. 23rd. he played "Longing for Home," arr. by Jansen, and "I Think of Thee",Grieg-Jansen, and "Home Sweet Home," tremolo style arr. by Jansen at a song service at Bethel Luthern Church. At a service in Ellish Luthern Church on March 2nd. he plaved Zani de Ferranti's Op. 8.

Miss Olcott will receive subscriptions for the

"Biographies of Famous Guitarists and Handolin-

ists". Cloth $4.00, DeLuxe $6 00.

By PHILIP J. BOXE.

3 ft

K

I -

The Crescendo

BANJOISTS ROUND TABLE CONDUCTED BY

GEORGE L. LANSING and THOMAS J. ARMSTRONG Eminent Authorities on Matters -Banjoistic

This department is especially for Banjoists but anyone may ask questions pertaining to the banjo or contribute items. Questions or suggestions will receive due consideration. Address "Banjoists Round zTable," care of The Crescendo.

UNTOLD TALES OF THE BOSTON IDEALS by Geo. L. Lansing.

LH. GALEUCIA, one of the guitar players form­erly connected with the Ideals, possessed a quaint vein of humor. I have a sister living in Pitts­

burg who has quite a large family and the first time we played there, I had not seen her for several years. She came to our concert and naturally waited to see m e after the close of the performance. Galeucia had left the dressing room ten minutes before I did and as I was about to step out, he returned, saying to m e "Len! there's a section of the audience outside waiting to be kissed."

W h e n we were playing at Bloomington, Indiana I went out one day for an afternoon stroll and passing a lot where a sale of horses was in progress, I stepped in to see how it was going. The auctioneer had sold off a number of good looking animals and finally put up one that looked good to me. I was interested to see what the horse would bring. W h e n the auctioneer got the ridiculous bid of $30, I bid $40 just to keep the thing going. I nearly had heart failure when it hung fire for fifteen minutes before some one bid $45 and took the horse. I have often wondered what I would have done had the animal been knocked down to m e for $40.

In the south, it used to be customary to attach a brass frame work to the beds in the hotels over which a mosquito netting could be placed when necessary. W h e n not in use, the spring could be fastened to the foot of the bed by tying it down. Upon retiring, two of the club boys hung their vests and trousers on the spring, neglecting to tie it. W hen they got up the next morning, Shattuck,—being the first to arise—lifted his trousers which suddenly released the spring. The air was full of watches, coins and other articles for a few minutes be­fore he realized that the clothing which had been hung on the spring was just enough to keep it from springing back

I once suggested to Shattuck that it would be a good idea, in playing the traps, to have them hidden from the audience by putting some sort of a fancy drapery over the backs of two chairs. The tambourine, castanets and other traps could be used then without being seen from the house. Shattuck is a natural artesan and we often had to call on him to repair in­struments, trunks and other things. H e said he would make a stand which would fold up like a music stand and when open he could throw a cloth over it thus doing away with thc chairs. He made the stand and the thing was to be tried out in Dayton, Ohio. H e had it all set up and when we went on to do a Spanish number which called for castanets and tambourine, and after locating in his place, Shattuck suddenly remembered that he had neglected to place the traps behind the screen so we

waited while he marched off the stage to get them,return­ing shortly with the necessary traps in full view of the audience. I don't recall that the thing was ever tried again.

It was customary for local agents connected with the large Lecture Bureaus to buy blocks of time. W e were engaged one season by an agent in western Pennsylvania for three weeks, around holiday time. The agent wrote us that he would be in Dunkirk, N. Y., on Dec. 24th where we were booked for that date, and that Mr. Slay-ton, our prime manager, was to stop off there on his-way to N e w York so that we could have a sort of reunion, not having seen Mr. Slayton for a number of years.

It began to snow about noon and by evening it had developed into a hard storm. Just before the concert, at dinner, we told Mr. M — , the local manager, that he would probably not see us afterwards as the train for Beaver Falls—our next date—left at 10:45, and as it was snowing so hard, we thought it best to go on the night train rather than to take chances on the morn­ing train next day. W e were having a delightful visit with both our managers and they, as well as ourselves, hated to forego the pleasure of meeting after the concert. W e had made up our minds to leave that night but Mr. M — , full of the spirit of the occasion, remarked "This storm isn't bad enough to delay trains; why on m y way up from Pittsburg it was plain sailing and w e don't get together this way very often." Mr. Slayton then remarked, "Better let these boys run their own schedule. They've never missed a date forme." "Well" said M — , "I hate to break up a plesant party like this and I'm willing to take the chances of their getting through tomorrow." So we remained in Dunkirk until the following morning.

The train from Buffalo was about on time but it was ten-thirty that night when we reached Beaver Falls. W e didn't stop but went on to Pittsburg. The date at Beaver Falls was played the following season, just a year from that Christmas night. J. A. L. / do not understand quite how to tremolo-the fourth measure first strain in the "Break of Dawn'* March by Bacon. The first quarter dotted tied note shoidd be tremoloed six times and the second once or six times. Which is right? To make it plain, should the last dotted and tied quarter note be struck once or six times?

Answer—Correctly speaking, the tremolo on the banjo, the same -as on the mandolin, should not be counted but the tremolo should be played as fast as possible and the time of the measure or notes counted instead. In the measure you refer to, the tremolo begins at the first note and is continued throughout the measure and the time of the measure in two beats counted, 1—2. You should not regard the actual finger movement of the tremolo as you play the measure. Simply play a steady tremolo and count two and your measure will be right. The same applies to all similar measures through­out the piece.

A

Thc Crescendo

In this department, photos

of a subscriber and some

point of interest in the

place where he lives will

be shown with a few notesy

and what the players are

doing in each vicinity.

Where the Crescendo Goes O n Its Journeys Around the World

Every month a city or town

will be visited in some

country in North America,

South America, Europe,

Asia, Africa, Australia or

on some island.

Speaking of the Crescendo, M . de Rome says: "One will find

the Crescendo a very accurately written and interesting paper. The

music and articles are a rzal and available school for all amateurs prac­

tising the mandolin, guitar and kindred instruments."

The above is a photograph of M. De Rome (pseudonym) of Mario Maciocchi, the director of L'Estudiantina, the Parisian mag­azine devoted to the interests of mandolinists. This magazine con­tains interesting accounts of the work of mandolinists in France as well as surrounding countries.

The above is a photograph of the Place de la Concorde, the large public square in the very heart of Paris, France. From this square various avenues and streets lead to all sections of the city. The famous Eiffel Tower is but a short distance from here. At the left of the picture may be seen the noted Madaleine Church,—the building with the four columns shown at the front. This photo was taken from a balloon. The firm of J. Rowies in the Rue Pigale, the well known publishers of mandolin music, are also subscribers to the Crescendo in addition to others outside of the city.

MANDO-CELLO and

MANDOLA SOLOS

M O D E S T I E , by H. F. Odell

L A R O O , by Handel

Arranged so that any mandolin player can read it at sight. The piano and guitar acc. is the same as used in mandolin orchestra. It can be played as a solo with piano or guitar acc. or as a solo for either instrument with mandolin orchestra accompaniment.

Solo 30c. Solo and Piano 50c. Solo and Guitar 40c. 1-2 off discount.

On the Wav—Love's Old Sweet Song ( Mollov) . Arr. by Odell. Subscribe for our New Issues. H. F. O D E L L & CO., 165 Tremont St., Boston.

EXTRAORDINARY ANNOUNCEMENT W e have made arrangements by which we can now supply at short notice the music of the Clifford E s s e x Co., for

BANJO BY Vess Ossman, Emile Grimshaw, Joe Morley, etc.

Among the pieces are Lancashire Clog—Dixie M e d l e y — H o t Stuff Patrol, etc. Real banjo music with lots of Zip and Go. Buy direct of us.

A L L P I E C E S are; Banjo Solo .40. Piano Acc. .40. Banjo and Piano 70. XA off. Special Discounts to Teachers

H. F. O D E L L & CO., 165 Tremont St., Boston, Mass.

M Tbe Crescendo

Anyone m a y contribute lo this department Stories, Poems. Ideas and Opinions. Send In anything

you wish only pleaae m a k e It short.

ANGLO-CHINESE SCHOOL UNION

This is a photograph of the Anglo-Chinese School Union Min­strels, of Penang, Straits Settlements. The members of this school Union, of which the Rev. J. F. Pykett is the life President and Mr. K h a w Joo Chie, Vice Presdient, gave their annual concert in Feb. in their club house in Penang Road which was tastefully decorated.

The concert began with selections by the Union String Band, which were followed by two humorous recitations given by Messrs. Y. C. Kok and G. H. Goh, who made the audience roar with laugh­ter at their personification of a comic Frenchman and Dutchman respectively. Mr. Khoo Thean Quan then played a solo on the violin, after which came Mr. Low Swee Kek's essay on "A Trip The Moon." Before the interval, a song was sung by Mr. Ang Ban Lee, which was loudly encored and he was kind enough to sing an­other one. Then Prof. Samy produced "through his magical power" plenty of cakes from an empty box.

After the interval there was some more music by the A. C. S. Band, after which six members of the Club enacted a scene from Shakespeare's "Henry V," Act 11, Scene 2. Mr. Teo Pin Chong then played a melodious mandolin solo accompanied by the guitar.

The concert ended with conjuring tricks by Prof. Samy, who, though an amateur, played his part with the skill of a professional. The concert was a huge success and was well attended. Many thanks are due to Mr. Ong Beng Hong, the Hon. Secretary, and the members who took part in the concert.

Boston Mass., Mar. 31, 1013. Dear Mr. Odell:—

I wish to correct some of the misrepresentations in the editor­ial of the April number of "The Cadenza," also some made by Mr. L. A. Williams.

lst. The editorial accuses m e of making "after dinner" assurances regarding the methods of the firm which I represent.

I never made such assurances as he suggests and a m always as sober "after dinner" as I a m before.

2nd. The editorial claims that I have admitted having no knowledge of Universal Notation.

I never made such an admission. I understand it as well as the man who invented it, but that is no reason why I should read his lengthy concoctions.

3rd. The editorial infers that I belong to an entirely different field of music, purposely ignoring the fact that I have been interest­ed in the publication of mandolin orchestra music for ten years.

4th. It asserts that at a certain dinner I gave the Universal Notation one year's lease of life. I did not. Being called upon for a story I mentioned the fact that a new clef had been invented

and jokingly stated that they would have to melt all of their plate5

and begin anew; then introducing the anecdote to fit it. I made no further remarks about it. It was a pleasantry that no one-should have found fault with even if it touched some pet theory of his own.

Mr. Williams asserts that I represent a firm which stands for transposed notation. That statement is distorted. It was forced1

upon us by him and although I do not believe in such a notation: I think it has come to stay.

Mr. Williams states that I insisted upon treble notation for the mando-bass. I did not. I stoodjfor the bass clef and he then suggested that both bass and treble might be used, placing the treble-a third above the bass notes. I suggested that placing the treble notes a sixth below the bass, as it is now published, would be much easier to read. At a meeting in Mr. Jacob's office, he and Mr^ Jacobs expressed themselves as being satisfied with that plan but evidently with not the least intention of following it.

For more than a year Mr. Williams has been insulting and reviling every musician who did not agree with him, and challen­ging replies.

The ninth paragraph in his reply to m y letter contains filth to a superlative degree and probably very few magazines in the United States could have been found that would allow it in their columns. The editor of The Cadenza had no excuse for pouring out such a torrent of abuse upon me, especially when he has prof-fessed to be upon friendly terms with me. I have not criticised him or his methods and I have, as a musician, a right to m y opin­ions.

He states that I am bitterly opposed to Universal Notation. I am. Not, as he states, for reasons best known to myself, but for reasons well known to every musician.

This controversy has reached the point of "mud slinginp." I cannot descend to such methods so I withdraw and leave the entire matter in the hands of the fraternity.

Yours trulv T. H. Rollinson.

N e w York, N. Y., Mar. 10, 1913. H. F. Odell;

Dear Mr. Odell:—Please add m y mite to your anti-universal notation list. It is an ingenious scheme, but not of practical value as instead of progressing (simplifying) it confuses or retrogrades and since when are we mandolinists such authorities on music as to dictate a complete upheaval of a very practical system as row used.

I don't believe in transposed parts either. Sincerely

Berthoud. Pipestone, Minn., March 31, '13. H. F. Odell,

Dear Sir:— I hope you will continue to write music for the mandola amd

mando-cello in the treble clef. If you do, you will get all m y trade which, of course, is a very small drop in the bucket, but every little helps.

With the music in the treble clef anyone of m y pupils can take up these instruments and play them and if they have to learn another clef they won't go to the bother.

All m y pupils want to play lst mandolin, although they will play second, mandola and mando-cello if they don't have to play it all the time so we change about and everything goes along smoothly.

Yours truly Caddie McCracken. •H"H-H-H-I->I"I-I-I-I-1^1-I-I''I-I-I'1-I-I'I-I-I"I-I-H-I-H"1-I-1-M-

I-I-I-I-I-I-I-I-I-I-l-I-1 W W

Mr., Mrs. and Miss Guitarist ? YOUR ATTENTION IS CALLED TO

OUR NEW LINE OF

Odell Special Guitar Strings GUT AND SILK WOUND.

A "really truly" good string. Perfectly true. Strong |* as iron. You can now obtain perfect guitar strings and find .. 12 good ones in a dozen or 30 good ones in a bundle. Try •• them. They are "it.'" Positively Guaranteed.

15 cts. Each. 75 cts. a Set. IC or lst Per Doz. B or 2nd " G or 3rd «' D or 4th " " A or 5th " '* E or 6th '"

Assorted Doi. II 1.50

• l.SO 1.50 1.50 .90

l.OO 1.10

Per Bdle S3.SO 3.50 3.76

Atserted Bdle.

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

-___*'-__

BANJO NEWS The Crescendo

THE VEGA MANDOLIN 2S

George Smedley, one of the best known Canadian Teachers formerly of Toronto, now touring the United States has four Fairbanks Banjos. Writing from Phila­delphia April 3rd he orders two more.

Richard J. Carpenter a leading teacher of the coast writes from Oakland, Calif, March 26th:—"Please send another No. 2 W H Y T E LAYDIE Banjo. It is with the greatest pleasure that I order the W H T Y E LAYDIE knowing as I do the satisfaction and benefit it will give to its new owner. Of the many I have received from you every one has given entire satisfaction and been perfect in every respect."

H. G. Brown in his travels around the country takes great delight in having his banjo with him. Writing from Madison, Wis., where he is at present located he says:— "I have four different makes of banjos but m y latest one, the T U - B A - P H O N E is T H E B A N J O S U P R E M E . "

Brent Hayes who commands the highest salary of any Banjoist is booked solid for the next year at the lead­ing houses. He has just ordered another De Luxe W H Y T E LAYDIE Banjo.

George M. Taylor a pupil of George Stannard writes from Trenton, N. J.:—"I always thought I had one of the best banjos in m y first one which was a then I tried a — and after that a — and then a — the last one being the best. I had the pleasure of hearing a W H Y T E LAYDIE Banjo played by De Alma & Mae and having tried them I lost no time in obtaining a W H Y T E LAYDIE from Mr. Stannard. It is the easiest playing and best toned banjo I ever saw.

The One With a Musical Tone.

Gregorio Scalzo, Mandolinist Soloist at the Guild Convention held at the Waldorf Astoria, N e w York City, is an Artist whose work stands in thc front rank among the players of Europe and America.

"The Vega Special Mandolin arrived and my ex­pectations are fully realized. This instrument is the most perfect I have ever been privileged to find in all m y ex­perience. The tone quality is most clear, easy respon­sive action and the details of neck and fingerboard (29 frets) perfect; in fact, the Vega is the height of Mandolin Construction."

Pittsburg, Pa. G R E G A R I O SCALZO.

THE BOWL SHAPED MANDOLIN-CHOICE OF EXPERTS.

-THE

"I always use the "Bowl Shape Mandolin". Chicago, 111. SAM'L SIEGEL.

Guiseppe Pettine, Mandolin Soloist at the special concert of the New York Plectrum Orchestra, Valentine Abt, Director, Thurs. evening, April 24th, at Aeolian Hall, plays a Vega Bowl Shape Mandolin.

J. J. Derwin, Ex. President of American Guild and undoubtedly the most successful exponent and teacher of today finds the Vega Mandolin Bowl Shape meets his critical demands.

At first one may not discover where the pitfalls lie with a flat back mandolin but after a while the player discovers here and there places in which he is badly handicapped in his work besides that he works harder and accomplishes less.

Demonstrate the full measure of your musical ability with a Fairbanks or a Vega Instrument.

Guild News—Free Exhibition of W H Y T E LAYDIE and TU-BA-PHONE Banjos, Vega Artists Mandolins—Guitars—Mandolas—Mandocellos, etc., at Hotel McAlpin, April 19th to 23d.

See the Beautiful Music Rooms of the John Wanamaker Co., 9th and Broadway, N. Y. A com­plete line of Fairbanks and Vega Instruments on exhibition.

THE VEGA COMPANY, 62 Sudbury Street, Boston, Mass.

Thematic Guide

For

Mandolin Club Directors

Containing 64 pages of complete Miniature (Readable Size) ist Mandolin Parts of our Publications, which are issued for full Mandolin Orchestra, including Mando-bass, Tenor Mando­la and Mando-cello parts.

Send for One, It's Free ! ! ! M. WITMARK & SONS, Dept. T, 96 Witmark Bldg., N. I

Ing

Mr

(he <>r j

Ion

THE With patent Tone tury wonder. The effect of the fan

Mr. J. G. Liddico

Thayer, Dear Sir:—Banjo

er in payment.

COMET Box Attachmer soft vibrating t 0 comhir.ed in o

arrived all O. K d it is certainly

Teachers and Professional Banjo g wished for. Investigate It. W r entor and manufacturer

GEO. L. THAYER.

t. A Banjo imes of the g

C

1 like vour veil made.

Players—thi te for desc

BANJO with a D uitar and

eveland.

Banjo v Encloses Yours t

J

s is the i iption a

MT. UPTON. N

juble Head. the powerful

A 20th carry-

Ohio, Jan. 20. 1913.

rv much, especially please find P. O.

uly, G Liddicoat.

nslrument yo nd catalogue

Y.

1 have to the

Standard Music for Mandolin Orchestra In conjunction with Regular Orchestra.

N r \ » / I S o n g s of Ireland Douglas-Odell

*-* ~ • Traumerei and Romance W e give a very liberal discount to subscribers to our new issues. Send

lor particulars, n e w cal alog and »aini>le lst M a n d o l i n part*.

Cundy = Bettoney Co., 66 Hanover St., Dept fl. Boston

MENTION CRESCENDO W H E N YOU WRITE

-

The Crescendo

J5he

"SYMPHONY" Harp Guitar Amazes »nJ delights everyone. The most wonderful tone ever produced by a guitar comes from the "Symphony. Greatest V o l u m e and S w e e t e s t Quality. It has five extra b a s s strings of powerful, deep, rich tone like a harp. They make playing easier. Flats are as easy as any other key. N e w and beautiful effects pro­duced after only a few minutes'prac­tice. Leading artists are playing it with great success. A n ordinary gui­tar has nothing like the p o w e r of a " S y m p h o n y . " Write for free illus­trated catalog and artists' testimonials.

We ship the "Symphony" on trial. W. J. DYER & BRO. Dept. 85, ST. PAUL, MINN

Recent Publications

3 0 Day offer for the GUITARIST 1 Doz^n assorted Guitar Strings "Neverfalse

Brand" and 1 each D., A. and E. wound for $1.75.

Teachers send your card and get our

SPECIAL T E A C H E R S PRICE LIST.

Write for our "Special Bargains" for Banjo and

Violin Players.

THE F. J. BACON CO 14 High St. Terryville, Conn.

C O N C E R T B A N J O S O L O S Which always get an encore

•A Soliloquy Plantation Symphony »Ragioso Rondo Shiney Eyes Gal >p Recherche March Impromptu

These are good snappy banjoey numbers which never fail to arouse enthusi­asm. Your repeiui.-e i> not complete without them. Order at once.

Banjo Solo f>K; Piano Acc. 40c, Banjo & Piano 75c. Discount one-half off. * A and C Notation. Catalog Free.

THE MAXIMUM PUBLISHING CO., 1009 Spring Garden St. Philadelphia, Pa.

Tenor Mandola and Mandocello Parts Now Ready

DIRECTOR'S CHOICE MARlH. By J. G. Liddicoat 1st Mandolin or Violin .30, 2nd Mand. .10. Guitar .10. Piano acc .20, 3rd

Mand .Octave Mandola, Tenor Mandola, Mandocello, Violin obi . Flule and Cello each 16, Solo Banjo .30, 2nd Banjo 10. USUAL DISCOUNTS, T H E E A S T M A N CO., P e r m a n e n t Bldg., Cleveland, Ohio.

[J A iy| I A I C T C T W e make any Thickness or -_-»Mll|iJ\_#IO I O . Color of Heads you may de­sire. Why not try "Rogers Special Grade All White." ROGERS FACTORY

Farmingdale. New Jersey

A NEW GUITAR SOLO GLADNESS

by Ethel Lucretia Olcott Medium grade. Very pretty. Showy. Not hard. Pretty melody

For teaching or concert

Price 40 cts. V, off.

H. F. Odell & Co. 165 Tremont St. Boston, Hass.

W i t h every piece composer's n a m e is given, also arrang­

er'*. T h e letters after n a m e s indicate g r a d e — E , easy—fl

H e d i u m - D , Difficult.

MANDOLIN Jerome H. Remick & Co.

Dixieland March Chauncey Haines-.Irr. II. F. Odell, Af_

Full Mandolin Orchestra $2.20 One of the popular slightly syncopated marches and twosteps

which makes a hit whenever played. Very catchy, good bright strains, built on the theme of "Dixie", good parts for all instru­ments. The main theme of the trio is "Old Black Joe" in march time interspersed with bits of "Dixie" all put together in clever fashion making good number for concert, dancing or a pleasing number with guitar or piano only. 2-4 time. Keys of D and G.

Bits of Remicks Hits /. B. Lampe-Arr. H. F. Odell, M.

T w o Mandolins and Piano SI.40 One of the first medleys of real popular songs published for

mandolin orchestra. Especially effective for full mandolin orches­tra for concert work and ven- excellent with one or two mandolins and piano. The medley includes " M y Little Lovin' Sugar Babe," "When 1 Waltz With You," Moonlight Bay" effectively arranged with fine effects for the mandola and mando-cello, "On A Beaut­iful Xight With a Beautiful Girl," "When You're Away," "Good Bye Even-body," "You' e M y Baby," "Be M y Littb Bumble Bee," "Wilen I was Twenty-one and You Were Sweet Sixteen," "Oh! Y o u Beautiful Doll." The times are 4-4, .-'-4 and 2-4. The keys are G, C and D. There are excellent parts for all instruments with various interesting counterstrains.

Cundy-Bettoney Co.

Songs of Ireland Douglas-Arr. H. F. Odell, Jl/,

Full Mandolin Orchestra S3.40 A n interesting medley of well known Irish airs put together

in interesting form. Good parts and solo effects for all instruments. The melodies includc"Believe M e If All," "St. Patrick's Day," "Teddy O'Rourke," "Irish Washerwoman," "Paddy Whack," "Come Back to Erin," "Rakcsof Mallow", "Wearing of the Green," "Last Rose Of Summer," "Garry Owen," "The Harp That Once Thro'Tara's Halls." A n excellent number for concert work for mandolin orchestra. Also interesting as a solo with piano or guitar accompaniment. Keys of D, E, G, C. 4-4, 6-8 and 2-4 times.

Slumber Song E. A. Warren-Arr. H. F. Odell,E.

Full Mandolin Orchestra _ $1.70 A charming little number, very sweet and prettv in mandolin

orchestra with excellent parts for all instruments and a very desir­able and easy teaching piece. The harmonies throughout are very effective. Key of A. 4-4 time.

M. Witmark & Sons

Tokio Rag Henry Lodge-Arr. Trinkaus, M.

T w o Mandolins, Guilar and Piano $1.05 A n interesting intermezzo style of ragtime movement, the

syncopation being quite easy to play. The melodies suggest a Chinese or Japanese theme. The piece is published for full mando­lin orchestra and makes an interesting program number for mando­lin orchestra. It is also pleasing to play with only guitar or piano accompaniment.

Just That You Are You J. Strauss-Art. Trinkaus, E.

T w o mandolins, Guitar and Pian i The popular waltz song from the well known Strauss opera

"The Merry Countess," perhaps batter known a» "The Bat." This charming waits number was sung in the opera in this country by Maurice Farkoa. It was rcdemanded main- times. Ii is a charming waltz number ill the best Style of the waltz king, made up of the melodies from the "Blue Danube." A very pretty teaching number or as a solo with piano or guitar accompaniment.

S( >XGS

H. F. Odell & Co.

Miss Minna Belle //. F. Odell, M.

Song with Piano Aee. $ 50 idium grade song in the southern lullaby style for medium

dinar and G throughout. The keys are Such that any mandolinist can play the song from the vocal part. The number has already been sung in public several times and invariably has received many encores. M u c h popularity is pre­dicted for it.

The Crescendo 37

PREMIUMS Cameras (By Express)

The

Given for Five subscripts

'rerao Junior No. 1.

nplest and lightest stand ) focusing or kn

which anyone m ay obtain by securing a few sub­scriptions to the C R E S C E N D O :

Calendar Watch

st load, point it at something, press the button and picture is made. Loading is easy. Open back, drop In Premo Film Pack. That's all. Load in daylight. Size of picture a 1-4x3 1-4. Capacity 13 exposures on one pack. Mensicus Achromatic Lens, Automatic Shutter, time or snapshot, two view finds, two tripod sockets. Seal grain covered, strong handle. Offer does not include Film Pack. This may be obtained at any supply store.

No. 3—Making pictures 3 given for N i n e Subscription Subs., (or One Two Year Sub.)

4x4 1-4

1 for Twelve Subscriptions or Two Subs. (0

PREnO FOLDING CAMERAS

r Twelve Subscriptions or Two Subs, (or One Two Year Sub.) and $_.75 extra.

Vest Pocket Expo Camera ALL L O A D E D F O R 26 P I C T U R E S

Given for Eight Subscriptions or Two Suhs. (or One Two Year Sub.) and $1.60 extra, or One Sub. and $1.75 extra.

Loads in daylight. Weight only 3 oz. Used by reporters of many lead­ing newspapers. Makes

Gold Filled Bracelets

Beautifully engraved nd polished, heart sig-»t top polished for onogram. A handsome

22. Norma Adjust. able Bracelet. Al­ternate links, plain pol­ished and finely engra­ved. Given for Three Subscriptions or One Sub. and 50c ex 41

2j. C a r m e n Brace­let, Highly polished and engraved with heart shaped locket top. Very

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Something Worth Reading Masterpieces of the World's Best Literature

Eight Volumes and Book-ack to Match. Given for Six Sursrrip-

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156o Pages. Binding Full Gold

Jennette L. Gilder is Editor-in-Chief of this fine work.

The volumes are placed in an exceedingly attractive B o o k - R a c k , Mission Style—especially adaptedin finish and color for this unique and elegant set and an ornament for any library table, however rich. This R a c k goes Free with every set.

R e m e m b e r that this W o r k is entirely n e w . The plates were made from Easy-to-Read New Type. Printed on excellent paper and Superbly Bound in Dark Red Buckram with full Genuine Gold Backs. Each volume is complete in itself. Strong and artistic finish, is Full Lined, wrapped separately in tissue and the full set of Eight Volumes, packed in a strong Box, ready for shipping. Sent by express.

Pocket Coin Carrier jr O n e Subscription. Holds dimes, nickels

Trump Penceil Holder (See cut)

Given for only O n e Subscription. Holds short penc can use your pencils way down to the end. 5 in long with hold pencils securely. Good long red rubber with ela extremely serviceable article and the only holder on the m will last for a lonK time. Cash price 35 cts.

28 The Crescendo y i . — - - > ! - . . A . » * • -•.->•-••-•• -..-..-..

PROMINENT TEACHERS • » • » • » » » • » • ' T ' f T ' »

A L L E N , Mrs. LOUIE M — 3 4 5 N. 11th St., Lincoln, Neb. Piano, Guitar, Mandolin

and Guitar.

AUSTIN, C. E.—P. O. Box 535, New Haven,

Conn. Banjo, Mandolin and Guitar.

G L A U B I T , MR. and MRS. CHAS. J — 392 Bleecker St., Brooklyn, N. Y. Mando­

lin, Banjo, Guitar, Zither, Violin and Piano.

K I T C H E N E R , W. J.—157 W. 84th St., New York City. Mandolin, Guitar, Banjo and

Composition.

ANSING, G. L.—170a Tremont St., Boston, * Mass. Banjo, Mandolin and Guitar.

I EVERT, J O H N J.—562 St. Catherine St., L-< West, Montreal, Canada. Banjo, Guitar and Mandolin.

O D E L L , H. F—165 Tremont St., Boston, Mass. Mandolin, Guitar, Banjo and

Piano.

O L C O T T , MISS E T H E L L—722 W. 11th St., Los Angeles, Cal. Guitar Soloist and

Teacher.

PETTINE, GIUSEPPE. —Studios in Boston, Mass., and Providence, R. I. Permanent

address, Lederer Bldg., Providence, R. I. Man-lin. Teacher and Soloist.

P L A C E JR., WILLIAM—522-523 Caesar Misch Bldg., Providence, R. I. Mandolin

Teacher and Soloist.

ROWDEN, MR. & MRS. CLAUD C-1022 Masonic Temple, State & Randolph

Sts. Chicago, 111. Banjo, MandtIin, Guitar and Piano.

T S C H O P P , CARL.—1319 Susquehanna Ave., Philadelphia, Pa. Mandolin, Zither, Gui

tar and Banjo.

W R E E L A N D , W A L T E R F.—178 Tremont ^ St., Room 40, Boston, Mass. Guitar, Mandolin and Banjo. Teacher and Soloist.

TEACHERS OF MANDOLIN,

BANJO OR GUITAR

VOUR professional card will be inserted in

this list for $2.00 for 12 months, payabU

in advance. Insertions must begin with the

January, April, July or October issue.

T5he CRESCENDO Always obtainable from anyone on this list.

UNireO STATES Bo.ton, Mass.

Vega & Fairbanks Co., 62 Sudbury Street. Oliver Ditson Co., 150 Tremont Street. New England News Co., 95 Arch Street. G. L. Lansing, 170A Tremont Street.

Baltimore, Md. H. R. Eisenbrandt Sons Co., 201 No. Charles Street.

Chicago, III. Claud C. Rowden. 1022 Masonic Temple,-State& Randolph

Cleveland, Ohio. Myron A. B;ckforJ, 604-5 The Arcade H. E. Mc/YiuiiiiSi bon Co., 2060 E 9th Street.

Hartford, Conn. Barker Piano Co. Asylum Street.

Los Angeles, Cal. The Lindsey Music Co., 416 S. Broadway.

Newark, N. J. A. J. Weidt, 439 Washington Street.

N e w York, N. Y. Valentine Abt, Carnegie Hall Bldg. C. H. Ditson & Co., 8-12 E. 34th Street. D. E. Hartnett, 71 W . 23rd Street.

Pittsburg, Pa. H. A. Becker, 601 East Ohio St. Volkwein Bros., 516 Smithfield Street.

Port Richmond, N.Y. Miss Cora L. Butler, 2074 Richmond Terrace.

Providence, R. I. Goff & Darling, 276 Westminster Street.

Sioux City. Iowa. C. A. Templeman, 3713 Orleans Ave.

Syracuse, N. Y. Rose Fritz Rogers, 114 E. Fayette St.

Calcutta, India. FOREIGN T. E. Bevan & Co., 13 Old Court House St.

Christchurch, N e w Zealand. Joseph Wright, 206 High Street-

Lechhausen—Augsberg, Germany. F. Sprenzinger.

Gothenburg, Sweden. G. Gerhard Ohrn, Wallgatan 27.

Krlstiania, Norway K. Berg, 12 Theresegade.

London, England. Clifford Essex Co., 15 A Grafton Street. Keynotes, 39 Oxford Street.

Sydney, New South Wales. Walter J. Stent, IQ Hunter Street.

Yokohama, Japan John Gorman, 116 Yamashita.

Sts.

LINER AD. DEPT.

Advertisements inserted here for 25 cts. a line,

each insertion. Cash with order. Not less than 3

lines nor more than 8 lines accepted.

-OR SALE—Gibson Harp-Guitar, ' Guitar and Case in fine condition.

R. C A M P B E L L

teen strings, with leather case. Both

8 Federal St., Butler, Pa.

A FINE Vega Mandolin, and new black sole leather case for sale. Good tone, a

real bargain. Cost $32. Sell for only $17, H. F. ODELL. 165 Tremont St.. Boston. Mass.

HARMONY LESSONS BY MAIL. A practical course by a musician of many years experience and a member for years of Gilmore's Band. From start to finish my instruction Is easily understood. When you get through you will

actually have something of value. I H. ODELL. 165 Tremont St.. Bottom.

—.CTS. per copy for discontinued or slightly soiled teaching mandolin > music. Good as gold. Send .5 cts. and we will send you 5 pieces off tha ' pile. No catalogs but all good Will you take a chance.

O D r L L & CO., 165 Tremont St.. Boston. M a n

ADVERTISE HERE. Chas. J. Glaubit says:—"1 think advertising in the

Crescendo is great, I have received so many answers.

It travels so far and really gives you good value for

little money."

Ethel Lucretia Olcott Guitarist

Available for guitar recitals, or guitar solos on club and orchestra programmes, during the month of May, in Ohio and Illinois.

For bookings address : Miss ETHEL LUCRETIA OLCOTT

1447 So. FlowerSt., Los Angeles, Calif.

YOUR BIST INTiUHTI WILL.BE a**v INT-OHING TH£ CUk-ClNLC WHfcJS V.H1IKC .DV-llltU.