The Crescendo

Ditson Empire Mandolins N E V E R in the history of Mandolin Making have

such perfect Instruments been offered to lovers of the Mandolin. The "Ditson Empire" are

constructed on well established lines, every detail is

worked out with a desire to produce perfect Violin Tones, and they are made with a mathematical precision the M A S T E R M A K E R uses in con­

structing the most noble of all Stringed Instru­ments, T H E VIOLIN. The "DITSON E M P I RE," respond easily, have perfect action,

are sold for T O N E qualities, and have everything

the most exacting experts require in a Solo Instru­

ment. Eight numbers are manufactured and the

prices with descriptions of a few, are given on this page.

No. 1500 Price $15.00

Solid Rosewood, iq ribs, white holly strip between each rib. Rosewood cap of new design. Selected spruce top, rosewood bound. Sound hole inlaid around edges with dark wood stripes. Tortoise celluloid guard plate. Carved ebony bridge, with white bone saddle. Ebonized neck, artistic head­piece rosewood veneered. Extension fingerboard of ebony, 20 German silver frets, scale running to high C, inlaid pearl position dots, white bone string nut. New style Nickel plated patent head, with white buttons. Fine Nickel plated tailpiece, with detachable cover. French polished, and strung with finest quality strings. No. 2000 with 19 ribs, Price $20.00 No. 2500 with 19 ribs, " 25.00 No. 3000 with 36 ribs, " 30.00 No. 3560 with 36 ribs, " 35.00 No. 5000 . . . " 50.00

Solid Rosewood (selected) 36 ribs, white holly be­tween each rib. Rosewood cap of new design, bound on top and bottom edge by a beautiful border of satinwood. Choice selected spruce top, with broad inlaid edge of fancy colored pearl and purfling. Sound hole bound with ivory and handsomely

inlaid with figured pearl around edges. Genuine tortoise shell guard plate with fancy inlaid pearl design. Carved ebony bridge, with white bone saddle. Ebonized neck, artistic headpiece rosewood veneered, with inlaid pearl ornaments, top edge neatly bound with ivory. Extension fingerboard of ebony, bound with ivory. 20 German silver frets, scale running to high C, positions inlaid with cut pearl designs, ivory string nut. New style patent head, mortised in and covered with a beautifully engraved silver plated name plate, with pearl but­tons. Engraved silver plated tailpiece with detach­able cover. Finely French polished and strung with finest quality Strings. No. 7500 with 36 ribs. Price $75.00 No. 15.000 with 36 fluted ribs, " 150.00 A complete CATALOG for the asking. The P R O F E S S I O N should become interested in the "DITSON EMPIRE" MANDOLINS and advocate their use, because they are manufac­tured on accepted lines, and are in no sense freak instruments.

CHAS. H. DITSON & CO. 8-10-12 East 34th Street,

New York, N. Y.

O L I V E R D I T S O N C O M P A N Y 150 Tremont Street,

BOSTON, MASS.

America's Musical String House

J. E. D I T S O N & CO. 1632 Chestnut Street,

Philadelphia. Pa.

SAY "I SAW YOUR AD IN CRESCENDO" W H E N WRITING ADVERTISERS

The Crescendo

COLL.EGISMS Medley of

Favorite College Songs This collocation has been perpetrated by HR. H. F. ODELL, while in an unusually merry mood. The old

favorites such as "Schneider's Band", "De Golden Wedding", "Darling Clementine", "Jingle Bells", "Good Night Ladies", "Quilting Party", "Solomon Levi", "My Bonnie", and other similar classics are introduced. The arrangement of course is perfection. Below we give prices of this and other Odell Arrangements.

Each number is effectively arranged for lst Mandolin and Piano or ist Man­dolin and Guitar.

lst Violin may be substituted for the lst Mandolin.

SINGLE P A R T S

j^Vo

.r ° 3 tj

o<

COMBINATIONS

Z-r?

Collegisms . . . . . H. F. Odell

Estudiantina Waltz . . . . E. Waldteufel

National and Patriotic Airs Airs of America, England, France, Germany, Russia,

Canada and Austria.

*Battleship Connecticut March Jas. M. Fulton- A great march in 6-8 time.

Over the Waves (Sobre las Olas) Waltz J. Rosas The last three have Octave Mandola parts.

50 40

50 30

40 30

30 20

40 30

40 40 70 1.10 1.40 80 1.10

40 20 20

30 30 40

20 15 20

30 15 20

60

70

40

50

80 8U 1.00

90 60 80

50 40 50

70 60 80

All marked * have Banjo Obbligato. Prices same as 2nd Mandolin.

C. H. DITSON & CO. New York

OLIVER DITSON COMPANY, 150 Tremont St., Boston J. E. DITSON & CO.

America's Musical String House Philadelphia

Give us a Better Proof of tlie quality of a March, than playing it four times in one

evening by request. Such is the report coming in from Mr. C. J. Lovell, of Fredericktown, Ohio. Speaking of the already famous D I A M O N D C I T Y M A R C H . Many unsolicited testimonials coming in daily, saying Tlie D i a m o n d City M a r c h excels everything. It puts life in everyone. Livens up rehearsals, hits the audience and arouses them. They want it played again. They call it the best number on the program. Clubs repeat it over and over again. Get it. Your children of younger years can play it. Has been proven. Polo for Mandolin or Violin ,30c ; 2nd or 3rd M. 20c; Tenor Mandola, Mando-Cello and Guitar parts, Flute and V. Cello parts, each .20c; Piano part .40c; Banjo acc. or obli­gato .20c. No Banjo Solo part in print as yet.

D. ACKER, Pub., 61 So. Main St., Wilkes-Barre, Pa. DISCOUNTS TO CLUBS AND TEACHERS

A N G E L O V I O L I N

S T R I N G S For Thirty D a y s Only

of the Crescendo an opportunity of : nple of W e offer to readers of the world-renowned

A N G E L O S T R I N G S guaranteed to be perfect in fifths (Quintenrein) of wonderful tonal quality, and yet unusually durable in every respect.

This is the finest solo string: made, and is used hy the world's greatest artisti.

S a m p l e (single length) E. A. or D, 15c each. Y o u m u s t enclose this advertisement if you w a n t o n e at this

special price.

CARL FISCHER I S New York (PLEASE MENTION THE "CRESCENDO''.)

COLE "ECLIPSE"

BANJO BOOSTERS Our sales-books for the past thirty years show the names

of practically all the famous banjoists who have played and taught in America. What's more, each and every one of them paid cash for his Cole "Eclipse" Banjo. Not one of them got an instrument or anything else of value for play­ing the Cole "Eclipse."

Some of the most famous banjoists have played Cole "Eclipse" Banjos for twenty years. And they wouldn't hold on to the "Eclipse" all those years if any other make were as good. Among the twenty-year users we find such names as these;—

Griff Williams Harry Brooks Kimball 6 Donovan Musical Seely Eva B. Macey Hunt «S Burton

Ella Carr Carpenter, now playing vaudeville from Chi­cago to'Frisco, has played an "Eclipse" for 18 years, and she says she can't find another m a k e as good.

You can have a "Cole" Banjo, Mandolin or Gui­tar sent for ten days' free trial. Ask about this. Send this coupon.

1

De me ant

Ins

E. Cole 786 Was

»r Sir:—Pie n and worn also expla

Add

hington St., Boston, Mass. ase send me names of prominent en who play "Cole" instruments. n your ten-day-trlal-free offer.

Eclipse Banjos have an A D J U S T A B L E N E C K Neck can be adjusted to suit any height bridge

PLEASE MENTION CRESCENDO W H E N WRITING ADVERTISERS

<gCI.B2<>9673

cendo DEVOTED TO THE INTERESTS OF THE

Mandolin, Guitar and Banjo OFFICIAL ORGAN

OF THE

AMERICAN GUILD

Banjoists, Mandolinists and Guitarists

VOL. II. B O S T O N , APRIL, 1910. No. 10.

This quartet is the

first one, we believe, to be formed for the purpose of playing a high-grade of chamber music, similar to our best known string quartets. The organiza­

tion has already in re­hearsal some of the best

quartets by Beethoven, Haydn, Mozart and others and will also play some of the lighter numbers by

such writers as Godard, Gillet, etc. The members are all artists and players

of experience. Mr. Abt, the director, has for years been known as a capable

director, soloist and teach­er. Mr. Bickford is the director of the National Institute of Music, N. Y. city and has had an ex­tended experience in string

quartet work having been associated with the Jans-er string quartet for five

years as viola player. Mr.

Berthoud studied the man­

dolin for four years in Italy

with Signor Antonio Barb-

erini-Licori and played

first mandolin in a branch

of the Royal Margherita Society. This is his sixth season as viola player in the German Liederanz Symphony Orchestra,

also the Volpe Symphony Orchestra. Mr. Foster

has been prominently con­nected with the music

profession for many years and as the director of the Superba Mandolin Orch­

estra. W e compliment the

members of this organiza­tion for their efforts to show that a mandolin quartet is perfectly cap­able in skillful hands of playing the quartet of the

old masters. THE ABT PLECTRUM QUARTETTE.

Valentine Abt Myron A. Bickford Wm. Edw. Foster F. Landry Berthoud

The Crescendo

THWARTING STAGE=FRIGHT By Lewis A. Williams Written expressly for the Crescendo.

"You played in the best

By W h a t Confidence form it has been m y privilege to

M a n H a y Possess, H e hear you," said the writer to a

Does Proceed. great artist after the N e w York

Guild Concert.

"Then you have never heard m e at m y best," was

the prompt reply, "for it takes 15 minutes before the pub­

lic for m e to be at ease."

Here was a veteran soloist with

It's Easier To Slide a reputation made; a consummate

Into Oblivion T h a n virtuoso of many years on the con-

Perpetuate F a m e cert platform; a perfect master of

the compositions in hand and yet,

"entangled with the yoke of bondage" — stage-fright.

While this was not appreciable to his audience, neverthe­

less many is the actor, orator or public performer who, for

the first minutes before his audience is nothing more nor

less than a mechanical animation.

But as sure as golf is a kind

T h e Cream Of Society of solitare shinny, the amateur,

Becomes Whipped the debutante—the young maid-

Cream en if you please, will do the

biggest high-jinks under stage

fright of any in the category. The writer remembers one

recital in particular where no one in the audience could tell

whether a Miss Ida Smith at the piano was practicing a

delsarte lesson, or had gotten a bug down her back. At

any rate she played enough wrong notes in a single spasm

of stage fright to make any ordinary player famous.

The universality of the complaint that so frequently

Tuins the artistic performance of any musical number, from

an exercise to a concerto, makes the the removal of stage

fright of vital significance. As nothing can possibly be

T h e Right Path Is In divorced from law, there must be

Each Han's Hind some fundamental law that gov­

erns this universal phenomenon.

Furthermore, as everything is included in the ceaseless

interaction of cause and effect, we may know that when

once the cause is found, there is the remedy and the

method that will remove the cause will likewise remove

the effect.

From a psychological standpoint, an

Forewarned eager, expectant, appreciative audience

Is should bring out the best there is in the

Forearmed performer, because like begets like in the

mental world the same as in the physical.

O n the other hand if the audience is cold, severe, and

critical, the soloist immediately feels it and it seems next

to impossible for him to hold his poise.

A step into the

H e Is Aided Or Retarded Accord- occult will prove both

ing To T h e States Of The Ruling interesting and prof-

Minds Of His Audience itable, and possibly

necessary if we de­

termine in an analytical way the immediate causes of stage

fright. Everyone in a given audience, whose attention is

directed upon the performer, is sending to him strong or

weak mentative currents, according to the intensity of the attention (concentration) given. These currents are of two

kinds, positive and negative. Positive, if from an eager,

expectant, appreciative mind; negative, if from a cold,

severe and critical mind. The kinds of mentative currents

that predominate in power (which may not necessarily be

in the majority, though usually this is the case) are the

kinds that will prevail and beget in the performer confidence

or fear, according to their kind unless he knows how to

ward them off.

The very fact that a

Private Flawless Rendition soloist is abundantly corn-

Should Precede Public petent to almost faultless-

Faultless Interpretation ly interpret the same musical number when

alone in his studio or before a few friends is conclusive

proof that "getting rattled" is not necessarily because of

lack of practice or incompetency. Unpreparedness may

be a cause with some, but it must be remembered w e are

now searching for the universal—the fundamental cause and

unless the basic principle involved be discovered—unless

the cause be determined that no exception will disprove,

w e after all have only played with the question and added

little or no new (?) light. Let it be noted here that if there be

One W a y To any anxiety on the part of the teacher for

Gain Poise any pupil at a recital, according to its de­

gree of intensity will it war disastrously against that very

pupil's successful performance. Therefore, if the teacher in­

still in the pupil faith, confidence and assurance, the law

will work with and for instead of against the pupil's per­

formance and if the confidence and assurance be intense

and coupled with a strong determination of both pupil and

teacher, the pupil (all else being equal) will ward off the

negative influence of the audience and acquit himself with

honors. The world is be-

Fear Begets Fear, Fear Attracts ginning to realize that

Fear, M u c h Accumulates Hore. fear is the most nega-

Confidence Begets Confidence, five emotion in the

Confidence Attracts Confidence, being of man, and

M u c h Accumulates More. sooner or later it will

realize that what man

fears he attracts just as though he desired it, for like not

only begets like, but like attracts like. Therefore, when

the above performer steps before his audience if he be filled

with fear, "the most negative emotion in the being of

man," he likewise attracts the negative mentative currents

of his audience and then according to the law, much ac­

cumulates more, he "balls up" in fear until he is fairly

paralyzed, for of all the mental vibrations those of fear

are the slowest, and this is w h y a frightened soloist cannot

do what he wants to do, but make the law of "much-

accumulates-more" work with and for you, and stage-fright

The Crescendo quickly vanishes, as is noted with great performers who

quickly get busy; then fear changes to attention on the

great work before them, and as two different mental states

cannot occupy the mind at the same, the weaker must give

w a y to the stronger in obeyance to the survival of the fitt­

est. Then the player's positive mental states draw upon

the positive mental states of the audience until much has

accumulated even more than is sufficient and the performer

becomes exuberant and does his very best work under the

increased inspiration and appreciation of his audience. This

is w h y a soloist can do much better in his second and fol­

lowing numbers than his first, for in the above way he has

gained more self-mastery.

That there is a world-

Fear Hangs Like Barnacles wide awakening to the

U p o n T h e Ship Of Progress negativeness of fear is evi­dent from the various

comments of the press, and the thousands of books on the

n e w psychology that treat this subject so specifically. "Fear is the Great Hobgoblin of the race." "Kill off this

Vampire, fear." "Fear has lost more battles than cour­

age ever won." "There is nothing to fear, but fear," and

so w e might continue.

Nevertheless, a certain Fear Like Poison M a y Be amount of fear is necessary Used In Small Doses to make one do his best work.

The conceited player thinks

he can do more than he can, and down he falls under stage-fright. Fear that you will not do your best, is an incent­ive to work—to prepare you to do your best, but fear that goes further than this unfits you to do your best, even

when perfectly capable. It might justly be asked if the great performer in getting busy is able to overcome stage-

fright, why cannot the amateur as well. He can, and usually does to a greater or less degree. Those who fail, generally speaking, are in their normal state abnormally fearful, or incompetent, or both.

But assuming no one will The R e m e d y Stated attempt to play in public without

first abundantly preparing himself

and believing the reader recognizes without further argu­ment, that perpetual unwavering confidence and poise are an absolute essential to thwart the malady;

it behooves us, therefore, to determine the method best adapted to make sure the essentiai mental state of confi­

dent and poise.

The writer would first em­

phasize the im­portance of cons­tantly holding the

right mental state, preceding the concert or recital, that is give no thought to fear or failure, but rather give much thought to assuring yourself of confidence, poise and cer­

tain success on the eventful night. If the soloist know of his engagement several nights before (which is usually the case) let him each night upon retiring fervently repeat to himself the following, or similiar statements.

"I shall play perfectly upon the night of the concert.

9 W h a t You Say You Are Doing, I shall sway m y That You Will Find Yourself Doing audience at will.

I shall receive all positive mentative currents, but I shall reject all negatives. I am equal to every emergency. I am immune to every

adverse condition The most difficult passages I can play

with ease. I have confidence and poise that no power

can thwart." But to make sure, good

A Step Into The Occult reader, that you realize what

the above will do for you, let us

step again a little way into the occult.We all have an aura

or halo that covers the body. It is particularly noticeable about the head and projects from one to three feet. Have

personally never seen but one (perhaps because I never look) which was in the writer's class of psychology. How­

ever, some who read this article m a y prove to be sensitives

and by looking steadfastly from three to five minutes about one-half inch above the head of any person be able

to recognize the light giving aura.

The above fervent affirma-

The Protective Aura tions, backed up with a strong

desire and stalwart determination

so incite the mental states that the aura which reflects the mental states likewise becomes incited and

clads you in an invulnerable armour according to your de­

sires and will. You make, therefore, your mind a receiv­ing station attuned to only certain mentative currents or

messages that are positive—that are helpful. (It must be remembered telepathy or telemental communications, like wireless telegraphy are received only by the stations simi-

liarly attuned.) From the above it is immediately ap­parent that a few minutes alone if possible, in making the

strong positive affirmations just before entering the concert platform will secure unruffled poise.

By the above The Mind Rebels Against

any Belief Or Practice

Not Based Upon Demonstrable Causes

To M o v e Forward Is To Enter The U n k n o w n - U n k n o w n To Experience But Not To Faith

sincere auto-suggest­ions (self - affirma­

tions) given in the state of revery when consciousness is about

to merge into sleep and sub-consciousness be dominant, you impress the sub-conscious—the mind that never sleeps and what the sub-conscious is impressed to do, that

it will invariably do. (The conscious mind is only about 5 % of "the great within.") And as the sub-con­scious is the mind that acts, it is vitally important you impress it with that which you want realized. If, there­fore, just at sleep when the sub-conscious is about to be dominant and the conscious, or directing mind, is to tempo­rarily suspend its operations, you lastly direct the sub­conscious to do your bidding similar to the above affirmations, it will bring forth in you the power to carry out exactly what you direct.

The above dis-Live In The Consciousness Of The covery is one of the Utter Powerlessness Of Outward greatest of any age Things To Effect The Magic and any reader of Potency Of A Self-governed Soul this article will at once recognize the laws herein stated are immediately applicable in a thousand and one ways that space forbids

(Continued on page 24)

IO The Crescendo

GUILD BULLETIN

Cut this program out and keep it for reference.

The Convention. Ninth Annual Convention and Concert. Place,

Newark, N. J., Dates, April 25th and 26th, 1910.

Manager, A. J. Weidt, 439 Washington St., Newark,

N. J.

Complete Official Program. Saturday-Sunday, April 24=25th. Members arrive

and register at official hotel, The Continental.

Monday, April 25th, 8.30 A. 1*1. All Guild exhibits

will be opened at this time. The exhibits will be open at

all hours except those especially devoted to business.

flonday, April 25th, 10 A. M . Business Convent­

ion opens at the convention hall, N e w Auditorium. Con­

tinues all day with the exception of a temporary adjourn­

ment for lunch.

Monday Evening, April 25th. Ninth Annual Ban­

quet at the Continental Hotel. Time about six or seven

o'clock. Will be announced at Convention. Tickets $i.oo.

Tuesday, April 25th, 10 A. M. Guild business

continues. Adjournment at noon for lunch continuing in

the afternoon until business is completed.

Tuesday Evening, April 26th. Ninth Annual Guild

Concert at the N e w Auditorium.

The Secretary-Treasurer will be at the official

hotel, the Continental, from Saturday, April 23rd to

Wednesday morning, April 28th. Consult him freely

at the Guild headquarters for any information

desired.

Information for Members. The following are important points which will be of

assistance to the members.

First: If you have not already done so, write at

once to A. J. Weidt and engage your tickets for the con­

cert. Also state if you will be present at the banquet and

engage your tickets.

Second: Write to the Continental Hotel, Louis E.

Cooke, Proprietor, Newark, N. J., at once and engage your

rooms for the time you will stay in that city. Rooms range

from $2.50 upwards including meals. Practically all visit­

ing members will take their meals in the hotel this year

as there are very few places outside where one may be

accommodated.

Third: Make your arrangements so that you can

arrive in Newark on Sunday, the 24th, or before, or at any

rate early Monday morning. There is a tremendous

amount of business this year and every member who is

to attend should be on hand at the opening of the meeting

at 10 o'clock sharp at the N e w Auditorium.

The Convention. The usual routine matters will be presented. The Sec­

retary-Treasurer's report will contain some very interesting

figures of a considerable increase in the Guild this year. The President's address will be read and under old business

which will be taken up first will come matters which were

laid on the table last year, one being that of making ar­

rangements so that members may have the use of the

Guild pin cut to use on their stationery. Under the head­

ing of new business, the election of officers will take place-

Among the questions which will arise for consideration are

the following: "Should the American Guild establish a

teachers' agency or concert bureau so that members of the

Guild may obtain positions or engagements? "Shall the

Guild establish a new class of members known as Club

Members,'' the idea of this being that a club may become a

Guild club by having all of its members, through i'ts Secre­tary, pay a very nominal fee varying from 10 cents to 25

cents a year and issue to each member a Guild card stat­

ing that such a person is a Guild club member and giving

the number of the club, a question that opens great possi­

bilities. Other questions are " W h y should instruments

be listed at net selling price ?" " W h y should instruments

not be listed at net selling price ?" " W h y should teachers

buy instruments and music direct ?" " W h y should teach­

ers buy instruments and music through the dealer?"

" W h y should music be listed at fictitious prices ?" " W h y

should music be listed at net retail?" " W h y should

English speaking arrangers and composers use foreign

marks of expression ? " " W h y should English speaking

speaking arrangers and composers use English marks of

expression ?" "Should teachers play in public gratis ?"

"Should music teachers charge for public services?"

"Should all four clefs in music have the same notation ?"

"Should the notation of the four clefs remain as they are ?"

It is hoped that all of these questions may be settled.

Another question will be settled which has been brought

up by Walter Stent of Australia. This will be read at

the time. It is also hoped that some further communication

may be received from those who are endeavoring to form

the proposed British Guild.

Undoubtedly some of our members have other ques­

tions and ideas which they will bring forward. At the time

of going to press, they have not notified the Secretary,

therefore the questions cannot be listed.

The officers earnestly urge those who are to attend

the convention to post themselves on the subjects

mentioned above so that they may be able to give their

opinions after a clear understanding of the matter.

The Concert. Tickets for the concert are 50c, 75c and $1.00. They

should be engaged immediately from the manager, A. J.

Weidt. Complete list of artists as follows: Valentine

Abt, mandolinist and harpist; Q. L. Lansing, banjoist;

George C. Krick, guitarist; Walter Boehm, mando-cel-

list; Miss Lorraine Davies, reader; M. A. Bickford,

piano accompanist; The Abt Plectrum String Quartette,

Hessrs. Valentine Abt, 1*1. A. Bickford, F. L. Bert-

oud, W . E. Foster; The Troubador Club, Roy Bur­

chard, director; Ideal Banjo Club. W h y t e Laydie

T h e Crescendo Banjo Club, A. J. Weidt, director; T h e N e w a r k

Mandolin Orchestra, ioo players, A. J. Weidt, direct­

or, one of the greatest lists of talent ever appearing at a Guild concert.

The Exhibition. Opens at the Continental Hotel officially Monday,

April 25th at 8.30- Unofficially some of the exhibitions

will open on Saturday, April 23rd. Only Guild Trade

Members will exhibit and the exhibition is open to the

general public. Exhibitors are the Oliver Ditson Co. full

line of Ditson Mandolins and Guitars, Cole Banjos, Ditson

Edition Mandolin Orchestra, Odell Mandolin Methods,

sheet music and books; the Gibson Handolin-Guitar Co.

full line of Gibson instruments; Vega & Fairbanks Co.

full line of W h y t e Laydie and Tubaphone banjos, Vega and Fairbanks mandolins, guitars and lutes; Rettberg & Lange, Orpheum banjos and Manhattan goods; H.A. W e y ­

m a n n & Son, full line of Keystone State mandolins, ban­

jo-mandolins, Keystone State folio for mandolin, banjo,

guitar and piano; White-Smith Co. music and books;

W m . C. Stahl, mandolins, banjos and guitars, sheet

music and books; Walter Jacobs, sheet music and books;

H. F. Odell & Co. Edition Odell and Edition Chenet, strings and sundries; Crescendo Pub. Co. complete files

of C R E S C E N D O and premiums.

flaulbetsch & Whittemore, the well-known instru­

ment case makers who have been trade members of the Guild for years, have cordially invited all the visiting

members to visit their factory while in Newark. This firm is well-known as makers of the finest cases in the U. S.

and this gives members a chance to see how these cases are made. The Maulbetsch & Whittemore factory is located at the corner of Cross and Spring streets. It is quite

probable that the members will visit the factory in a body of which announcement will be made at the convention.

Prominent Guild Members.

The Banquet

To be held at the Hotel, Monday evening, April 25th.

Immediately after the Banquet, President J. J. Derwin will call the gathering to order and introduce the Toast-master George L. Lansing who will introduce the various speakers. A m o n g those who will speak on various subjects will be the representatives of the trade members, the officers and prominent members. It will be an enjoy­

able affair generally and one long to be remembered.

All Members. It will assist the manager and officers if you will

kindly follow the suggestions referred to here and engage your tickets and room at the official hotel immediately. It

would oblige m e if you would drop m e a line immediately on a postal card and let m e know if you are to attend the

convention.

If possible w e would like to know in advance just how many will attend. Last year 20 or 30 members arrived at N e w York three days before the convention and stayed 3 days after. A number of our members will arrive at Newark on Friday, the 22nd, therefore w e hope that all

(Continued on page 21)

VALENTINE ABT

Valentine Abt, the eminent mandolin virtuoso, was born in Allegheny, Pa., June 13th, 1873. He began to study music first at the age of 13 and took lessons on the violin from a well-known teacher who was formerly connected with the Thomas Orchestra. He studied the violin for about 5 years and then he applied the knowledge he had gained to the mandolin. Mr. Abt studied harm­ony under noted teachers in Pittsburg and Utica, N. Y. He was first located as a teacher in Utica, N. Y., in the year 1894. Shortly after that he moved to Pittsburg. During his musical career at Pittsburg, he managed one of the largest concerts ever held in the country at which time he had an orchestra of 150 mandolins and guitars under his direction. During this time, Mr. Abt first took up the study of the harp and today he ranks as an excellent soloist on this instrument. A few years ago he moved to N. Y., and is located at Carnegie Hall. His entire time is devoted to teaching and concert work. In 1908 he organized the Plectrum Society, an organization of about 30 players which devotes its time to the rend­ering of the highest class of compositions and under Mr. \bt's direction, this society has already obtained a high reputation for skillful and careful rendition of the best in music. As a mandolin soloist, Mr. Abt ranks among the best in the U. S. His work is artistic and musicianly, in fact he is a thorough, all-around musician. His various concert tours have taken him from Canada to the Gulf. He has been a member of the American Guild for some time and last year was the manager of the 8th Annual Convention and Con­cert which affair was one of the greatest successes the Guild has ever held artistically and financially. Mr. Abt has just organized the Abt Plectrum Quartette, an account of which appears on anoth­er page and which makes it first appearance at the Guild convent­ion. He will appear as a soloist rendering both mandolin and harp solos in addition to his appearance in the quartette. Mr. Abt has made an excellent reputation as a composer of high class songs, beautiful mandolin duos, concert pieces and teaching pieces, several collections of studies and in addition a mandolin method. He is a genial man to meet and a musical genius with the highest ideals in music. Mr. Abt is married and has four sons.

12 The Crescendo

13he C R E S C E N D O . Think. A Magazine for the Player. Student and Teacher of the There seems to be s o m e fear in England that the trade

Mandolin, Guitar or Banjo. interests will predominate in the Guild. Gentlemen, the purpose of a Guild is to settle questions of importance

H E R B E R T F O R R E S T O D E L L , among professional members. Trade interests are second-Editor and Manager, axy.

p ..... M ,. , , Madam Fiammetta Waldahoff says in the March B. CRESCENDOPUBUSHING^O 6., INC. M- G- "[i would be a fme thir>g to have a society of pro-

fessional B. M. G musicians. W e ould then discuss and Entered as second Cass — * - » 1 T ^ " B0St0n• Sett,e S° ™nV ^ M ^ " ^ 8 t0 ° U r B" M" G" WOrld- "

She says this in connection with a discussion of what the SUBSCRIPTION PRICES. tenor mandola and mando-cello should be called. In England

Single Copy, io cents' they have several names for these instruments. In America Yearly, $1.00. we did have several, but the American Guild agreed Canada . . $1.25. upon one and everyone adopted the n a m e recom-Foreign 6 Shillings. . . . . . . . r- ... ., .0

fc mended by the American Guild. Very unimportant? ADVERTISING RATES will be sent on application. Forms but it is one of the things that the Guild settled and it

close on the 10th of each month for the succeeding month's issue. made it possible for every publisher in the U. S. to issue REMITTANCES should be made by Post Office or Express his music in a uniform fashion.

Money Order, Registered Letter or Bank Check or Draft. Checks Keep thinking . accepted only on banks with exchange in Boston or New York. N o w comes forward another English cousin, Dallas.

C O R R E S P O N D E N C E is solicited from everybody interested He admits that an institution of a co-operative kind might In the Mandolin, Guitar or Banjo. W e should be pleased to receive be serviceable. He also admits that the American Guild programs and reports of concerts, club and orchestra news, personal . , ,, , r •, • ,: .. , . , Botes and music recently issued. cannot be called a failure even if it has not been a pro-

... . ... , .. . . . _ . ,. . nounced success. He says the Guild has done little or W e are not responsible for the opinions of Contributors. ... , n ,. .. . , .

nothing of a progressive nature. O n the other hand he ADDRESS C O M M U N I C A T I O N S to the Editor. ALL RE- gives credit to the G u i i d for having prevented B. M.

MITTANCES should be made payable to & G. interests from becoming decadent and he further CRESCENDO PUBLISHING CO., says th a t it has proved to the world that the B. M. G.

165 Tremont St., fraternity is a cohesive force for the good of trade and hu-Boston, Mass. manity to be reckoned with. It has proved that when men

^ = ^ = = = of character and established reputation remain in its ranks VOL. 11. APRIL 1910. No. 10. when it is being assailed, it can assert a convincing reason

for its existance. Dallas also speaks of the pride of Englishmen E D I T O R I A L . which makes it impossible for them to accept an American

A complete account of the Ninth Annual Convention Guild even if it were eclectic and heaven blessed r Thank you Mr. Dallas tor the good you sav about the

will appear in the May Crescendo, as everyone is eager Guild W e respect your national pride also. In regard to hear the report. The May number will be a few days to the American Guild. W e don't ask you to accept it. late in order that w e may print a detailed account. W e W e merely urge you to form one like it and then shake ask for the patience of our readers as the May number will hands across the sea. be especially interesting. Think hard.

N o w comes Keynotes, a paper which is extremely popular in America. After much urging by various people in England, Keynotes had the bravery, knowing that it would be immediately assailed byother magazines, to come forward with an idea and present it to the fraternity, and ask them if they cared to form an organization. Out of 100 inquiries sent out, 87 desired to join. Our congratu­lations to Keynotes for starting the ball rolling. W e believe this is sufficient proof that the English fraternity do desire a Guild but many hesitate on account of the attacks made on the American Guild recently by other papers than Keynotes. The impression seems to prevail among some that the American Guild has done nothing and yet here w e are all stirred up over the coming convention, everyone watching and anxious to hear what occurs. Gentlemen of England, w e sincerely trust you will investigate matters more before you write about them and if the American Guild has done nothing else, it has certainly made our English cousins "sit up and take notice."

Clifford Essex' paper, B. M. G. recently had a state­ment by Emil Grimshaw which said that the American Guild had not done anything. The Banjo World edited by our good friend, Alfred Cammeyer has a statement in it that reads as follows: "Look at the American Guild which is an established thing. I say what has it done and they say they don't know. Neither do I. I wish I did. I have read with great interest about its being formed and meet­ings being held in different cities, but 1 am at present ig­norant of its accomplishment." N o w here's a man who acknowledges that he doesn't know what the American Guild is or what it has done. W e don't believe that Mr. Grimshaw knows any more than Mr. Cammeyer, yet Mr. Grimshaw is bold enough and Mr. Essex also, to say that the American Guild has accomplished nothing. Mr. Cam­meyer says he will be the first to lend his support to an organization which has a definite policy which he considers feasible. Gentlemen of England ! That is just the trouble. Most of you have the impression that what you do or say, is the coirect way to form a Guild. The strong feeling of one Englishman for another is known throughout the world, but unfortunately it does not seem to apply to those in the music trade or profession, with some exceptions. Mr. Cammeyer further says that it would be impossible to form a Guild and have examinations. It was not impos­sible in America and it would not be in Eugland.

Have you thought ?

Next Month. Complete account of the Ninth Annual Guild Con* vention. Continuation of George Durkee's article. More about the Mandolin Orchestra by H. F. Odell. Possibly ''Musical Freaks" by Edward R. Day. New music, New Questions, New News from Everywhere.

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The Crescendo

A Practical Treatise on the Guitar and Kindred Instruments By George B- Durkee

(Continued from March Crescendo.)

THE GRAND TERZ.

Some people seem to think that a short guitar scale

has more brilliancy than a long one. This is only true,

•when the short scale is tuned proportionately higher. W e

have a good example of this in the violin, it is shorter, and

more brilliant, because it is tuned an octave higher than

the guitar. If you take a standard guitar in tune, and place a capo d'astro at the third fret, you have a terz, with

the exception of the extreme upper register. The tension of the strings have not been changed, yet the instrument

lis more brilliant, because you have raised the pitch a minor third by making a shorter instrument of it.

In the opening article of this series, it was stated that "the guitar seems to be somewhat handicapped by the

strings being necessarily too small for their length." This

deficiency is overcome in the terz to a great extent by the proportions of the strings, as they approach in a measure

toward the violin string proportions. The genuine terz is still more brilliant than the improvised one, because the strings are slightly longer, thereby.giving them a greater

tension. The authority for the slight lengthening of these strings over that of the improvised one, is found in the law

that, "the shorter the string, the more tension it will stand." This is especially true with musical strings, sucn as guitar strings, which are thrown into vibration by plucking with the fingers. Any standard guitar in the hands of an artist is

more brilliant in the vicinity of the twelfth fret, than near the open strings.

The old standard terz guitar as constructed up to about twenty years ago was thought to be at its best, when its body was proportioned in accordance with the shortened scale, but such diminutive proportions failed to develop the basses properly.

It was while stringing and tuning an extra large guitar with capo d'astro on third fret for a customer, who wished to use it in that way in conjunction with Arling Schaefer's patent arppegio strings on either side of the bridge, (thirty eight strings in all) that the writers attention was attracted to the wonderful improvement in the bass strings, over that of the standard instrument. The entire scale was now more virile and brilliant, and why not make a terz scale with a large body. The idea was cornered and brought out in the form of the grand terz herewith illustrated. The body of this instrument is 14 inches wide at the bridge line, and the basses are very near perfection.

The decorations seen on the sound-board are hand painted in beautiful modulated colors with gilt edges, and are so sparingly applied that every grain of the wood is plainly visible through the colors. This instrument belongs to Mrs. Carleton T. Ostrander of Denver, Colorado, who uses it for solo work as well as for terz and standard guitar duets.

M r s . Ostrander and Mrs. Emily Miller

Button, now of Billings, Montana, haveachoice lot of classic music ar­

ranged for terz and standard guitar duets,

and whenever they

get a day together, there is music in the air for two hours at a

time. Besides their large list of classics

they have a variety of popular airs, in which

is included an old fav­orite song entitled, "Some day I'll wan­

der back again", with v a r i a t i o n s b y t h e

great guitar virtuoso, Mr. W m . Foden of St. Louis, Mo. To lovers

of guitar music it is worth a days' journey to spend an

evening with these great artists, who are undoubtedly among the greatest of sight readers living today.

A list of Terz Guitar Duetts can be obtained from G. Schirmer, N e w York; The Oliver Ditson Co., Boston,

Mass; or Lyon & Healy, Chicago, 111. (Continued in May CRESCENDO.)

Guild Bulletin. (Continued from page u)

of you who are to attend, will come early and stay late. The concert, banquet and exhibition are open to members and their friends. The business convention is open only to Guild members in good standing. Everything points to the best exhibition of goods, the best concert, the best convention and the largest attendance w e have ever had. Letters have been received from all over the world speak­ing of this convention. The interest is remarkable. I sincerely wish every member of the Guild could be pres­ent. It is worth a journey across the country to attend it. Mr. and Mrs. Francis Potter of Omaha, Neb., and Mr. and Mrs. C. C. Rowden of Chicago will take the journey, and others are coming from long distances. All of the officers . will be present as well as representatives from all the trade members and a large number of professional and associate members will attend. Make your arrangements immediate­ly. W e expect everyone who has previously attended a convention will be present and I urge those who have not attended to come this year and we guarantee if you come once you will be a regular attendant hereafter.

H. F. O D E L L , Secretary-Treasurer.

Recent N e w Members.

PROFESSIONAL Myron A. Patch _ 604 The Arcade, Cleveland, Ohio.

ASSOCIATE Charles E. Miller 384 Bleecker St., Brooklyn, N. Y.

The Crescendo

Crescendo Round Table. For Teachers, Players. Dealers. Manufacturers and Publish*

ers. Anyone may contribute to this department Stories, Poems Ideas and Opinions. Send in anything you wish only please make It short.

A great mogul engine represents the brains of IOO men, but it takes steam to move it. KI1K BUSINESS is the engine, YOUR ADVERTISING is the steam that moves It. K E E P T H E STEAM UP.

DER POETA LAUREATUS BOEHM Clothed in His Thinking Apparatus.

I'll fleet You at der Guild ! (Hooray) Well boys der time is earning fast ven ve together git

In Newark down py Capdain Weidt's Convention G U I L D ve sit.

I wonder if der res uf youse is itchin for to go, Undt chew der rag abouid der tings dot help us get der dough.

M y boss, I mean der man vot runs dis paper " C R E S C E N D O "

Commanded me to tell you fellers dot you all must go. Undt also I shouldt run a rhyme abouid dis G L O R I O U S G U I L D So now to "holdt m y schjob" I've got to do it or git killdt.

O n Monday, Abril twendy-fifth der Pizness Meeting Undt in der evening, boys ve eats a banquet till ve busts

Den Tuesday in der morning, ve got yet more biz to hum,

Undt in der evening, C O N C E R T in New Auditorium.

Derdickets costs you fifdy cents but ve will let you blow Dree quarders, or von dollar for a better seat you know.

Step oop undt get em quvick, deres goin to be a ter'ble crowdt Der Artists Al has hired, dey is peaches, so is sedt.

VAL ABT uf New York he vill blay both harp and mandoleen, Schgeorge Lansinger, (another Schoiman) panjo blays between

Schgeorge Krick vill make der harmonies coom ouid from his guidar Den last undt least cooms me, but den you know I is no star.

Lorraine Davies, dot pretty goil, you'll her elocute, Roy Buxhard undt his Troubadours vill blay vun dots a beaut

Den Captain Weidt's two panjo doobs, vill rip us off a few

Der Newark Mando Orchestra is booked for one or two.

Most any decent person vouldt say dot is quite enuf

But I aindt finished, listen, I aindt gifting you no bluff. ABT'S P L E C T R U M Q U A R T E T vill herederfoist timedemonstrate

A reg'lar string quartet, Tschai-kow-ski rit. It vill be greadt !

Fred Landry Berthoud undt Bill Foster blay in dis quartet

Der Tenor-dola undt der Mandoschell, now you can bet If "Gibson" had not killed der Octave Mandola, so neat,

I say, dot you couldt make a bet, ve vouldn't haf dis treat.

Tom Armstrong rit some years ago abouid some moosic yet, " W h o effer compositioned dot, a meat-ax better'd get ! "

You hit der nail rite on der foot, mit you Tom let me shake, I wonder how these decomposers haf der nerve to make

Der unsuspecting booplick tink dot is harmonie ! Kreutz Donner-wetter noch e' mal dot's going some py schgee l

Some uf dot (moosic ?) looks as tho de feller simbly took Der ink undt slung it on der staff mitoudt daking von look.

Last year our Secredary vas so foolish to git sick Dey tookdt avay his appendicutix, vot a real mean trick !

N o w if he'd only married been he couldt haf fooled dem yet By putting it in his vife's name, aindt I got von greadt headt!

Ven he lay in der hospital I sendt him funny cards Cheer oop H. F. you is alrighdt, der boys sendt B E S T regardts.

Dot vas a foolish dings to do, he might haf laffed undt burst Der stitches on his 'pendicutix, undt made him still worst.

I tink I know vy H. F. O. doandt let no girl ketch him Hefiggers on dem sleepless nights mit howling kids py Jim !

H o w couldt he mit his brain on fire, dem editorials rit N o w he turns over in his bedt undt doesn't haf no fit

Imagine him a racing on der carpet uf der floor Undt singing to his kidts dot song, "Shet oop doandt cry no more-

Tomorrow Unkle Lansinger is earning for to blay Some tunes upon der panjo, so doandt cry no more I say."

In Kal'mazoo dey haf a diffrent vay to stop der kidts Der father goes into von uf dose hypnotismus fits ;

He makes a pass, "Doandt vake," he sez, "I'll call you up at nine'" Oop dere dey make you notice take, dey vin ouid effery time.

Der Sooprintention uf destruction whose first name is Schgeorge He granulates der soundt-poards, any vages he can charge.

Side py each ve tookdt last year a sleeper to the G U I L D All night dot feller jabbed me in der ribs, 1 near vas killdt.

He made some funny noises like der hum of dose machines He kept a drilling into me until he reached m y spleens

"Say Schgeorge." I yelled, mit ter'ble pain, "You tink I'm made of voodt

Dot's not a vay to dreadt a stockholder, dot doandt feel goodt." Den for a coople minutes I did get a leedle peace But suddendtly der Sooper stardet in my wheels to grease

He dreamdt der fact'ry vas on fire, der hose he reached to get Anuther minute undt dot sleeping-car vas dripping vet.

Unless he quits dot dreaming habit 1 vill soon commence To gif him absendt-minded dreadtments mitouid greadt oxpense;

Undt if dot doandt help neither den I rite to Sylvo Reams Ve two is collidge choomps, I guess you know dot, so it seems.

N o w I must cut dis nonsense ouid undt bracdice Mando-shell So dot m y critickutioners not von of dem call tell

Vot I am blaying down py Weidt's. Say boys doandt trow no eggsf Dot is a nasty feeling ven dey run vay down m y necks.

If ef'ry G U I L D E R gits von more to join der merry G U I L D Schgee vis tink vot a crowdt ve'll make to ef'ry dings oopbuild !

Last veek I tookdt a applikation blank to E. R. Day "I vandt to schjoin der G U I L D , " sed he, "minedues, here is der

pay." N o w you go headt undt do der same, you say you luff derGUILD Ve doandt pelief it till der broof into our face is spilled

Dake m y advice, " C R E S C E N D O " read undt show it to your kidts I'll meet you at der April Guild. Hooray! Ve'll all shook mits !

Vatch der M a y noomper.

T H E BROOKLET The Abt Plectrum String

Quartette is playing a pe-culiarlv arranged piece as

will be noticed in the ac­

companying cut. T h e

mando-cello plays i note while the mandola plays

2 notes, the 2nd mandolin

4 notes and the ist mando­

lin 3 notes, a very difficult kind of a composition to

render but those who have

heard them, say that the members of the quartette, Messrs. Abt, Bickford, Berthoud and Foster, do this very smoothly and in perfect time.

The Crescendo 23

THE MANDOLIN. ORCHESTRA By Herbert Forrest Odell

(Continued from March Crescendo)

Many large amateur mandolin

By=Laws. orchestras are conducted without any

rules and regulations. Others have

certain rules. Of the two ways of managing an organiza­

tion, I believe it is better to have a certain set of rules or

regulations or by-laws and live up to them and enforce

them. I have tried both ways for many years. The suc­

cessful organization which lived the longest was the one

which had strict rules and carried them out. It is usual to

have a regular constitution and by-laws in clubs and the same may well be applied to the mandolin orchestra.

The constitution is in the usual form giving the name

of the organization aud its object and stating the usual cus­

tomary matters. The by-laws should apply almost entire­ly to the conduct of the members in the organization. It is a positive fact that an organization which is slack in its

business management will not have good attendance at re­

hearsals. There are always some enthusiastic members of an organization who attend every rehearsal but it is quite likely that if there are members continually absent, the en­

thusiastic ones soon begin to lose interest, therefore if an organization has rules in force which will bring about the fairly regular attendance of each member of the organiza­

tion, the organization will be successful.

The best way to settle the question of dues is to have them 25c, 30c or 40c, whichever is decided upon and have them paid each rehearsal. It is much easier to pay a small amount each rehearsal than to pay a large amount once a

month or a season. I will quote a number of by-laws

which have been in force in organizations I have directed, and I have found they are very successful in securing reg­ular attendance at rehearsals.

lf the members of an organization are to pay dues the}' should pay them regularly and supposing that the dues are payable each week the following rule is quite effective: " M e m b e r s in arrears of dues for three weeks shall be suspended and if not paid within one week after suspension m a y be dropped".

Attendance in an organization is quite necessary. A member who only comes twice out ot four rehearsals or once out of four rehearsals is of no value to the organization

and the quicker dropped from membership the better for the organization. To prevent the "every other week" at­

tendance of members in organizations, as is frequently the case with amateurs, I devolved the following rule which was adopted by the organizations and which prevents "every other week attendance": Should a m e m b e r ab= sent himself for more than two rehearsals in any

given four weeks without sufficient reason presen­ted in writing to the officers, he m a y be dropped. '

Lateness is not only an annoyance to the director of a musical organization but also to the members themselves and it is a very good plan to fine members who are late at rehearsals. The following rule covers this matter: "Any m e m b e r not in his place in the orchestra within 15 minutes past the time set for the rehearsal without

sufficient reason presented to the proper officer,

shall be fined 10c."

It is quite often the case that a certain member finds it necessary to be absent from a rehearsal, lf he or she is

'II and gives this as an excuse it should be accepted or if de­

tained by business where employed should be accepted but if a member decides to attend the theatre or go somewhere

else beside the rehearsal without good excuse, he or she

should certainly be willing to pay a fine, as per the follow­ing rule: "Members absent from any regular rehear­

sal without sufficient reason presented to the officers

in writing shall be fined 10c."

It sometimes happens that certain members are in the

habit of being absent just as much as the rule allows but if

the fine on the second absence be much larger these delin­quent members find it cheaper to attend rehearsals more

regularly and a rule which may be adopted in order to keep

the attendance good is this: "Any m e m b e r w h o shall

be absent twice in four weeks shall on the second absence be subject to a fine of 25c, providing said

m e m b e r has not presented a satisfactory written ex­

cuse to the officers.

It sometimes is difficult to get the members to pay fines without asking them several times. The following

rule will assist in this matter: "Fines must be paid at the first attendance of a m e m b e r after an absence

or said m e m b e r is immediately suspended and if not paid at the next rehearsal said m e m b e r m a y be dropped."

If the above rules or by-laws are adopted and thor­

oughly understood by the members it is quite safe to say that the members of this organization in living up to the

rules will be not only contented but will enjoy their mem­bership in an orchestra conducted in a business-like man­ner. There are many other rules and by-laws which may be adopted to cover various matters in different localities but the above mentioned usually cover all that is necessary to bring out the attendance of members fairly regularly. Have as few rules as possible for the proper conduct of the orchestra, but have them direct to the point and en =

force them. (Continued in May Crescendo)

We appreciate the following letter coming from so-

prominent a man as the Vice President of the American Guild. It helps us to bigger and better effort.

" N e w York City. Dear Mr. Odell;

I wish to tell you, m y dear Odell, how much I appre­

ciate your masterful article on the Mandolin Orchestra. This superb work with the splendid arrangements you are putting out has done more to incite a real lasting interest in our instruments than anything I know of.

You are reaping a just reward and count me as wish­

ing you continued success. Fraternally,

D. E. Hartnett."

Thwarting Stage Fright (Continued from page 9)

to even enumerate. The writer has put the above to

years of testing in many, many ways and can assure the

reader that stage-fright is one of the simplest things to

overcome. Furthermore, the above method (not the

above affirmations; the affirmations must fit the case) give

a w a y out from any adverse conditions. Depend upon it

evil habits may be easily overcome. Good habits easily

established. Dormant faculties may be aroused and de­

veloped and present faculties now in the ascendency

accelerated. In fact, to use so great a law, although ap­

plicable in removing stage-fright, for only this diminutive

purpose is indeed short sightedness of the first magnitude.

Know that you m a y become an unrivaled executant if you

will but obey psychic laws, as well as rules in technic; in

fact, it is a great question if the latter would not largely

follow the obeyance of the former. The writer, as sales

manager of the Gibson Company, is in touch with those of

the profession, both here and abroad, and can assure the

reader that all things being equal, the teachers who are

giving some thought to psychology in instructing their

pupils are the teachers who are doubling and trebling their

business.

Speak i ng

O u r Failures Originate In Ignorance, parenthetically

O u r Successes In Knowing H o w . the writer, will

be glad to pro­

vide the names of a few books to any desirous of securing

works that will help to great achievement, financially,

physically, mentally or spiritually. "Everyone according to his needs." The new psychology covers all. Enclosed

self-addressed stamped envelope stating preference to L.

A. Williams, 831 W . Walnut St., Kalamazoo, Mich.

For any

A Soloist's Mental States Demonstrate performer to

T h e Impotence Or The Potency do his best

Of His Interpretation work, h e

must be prac­

tically oblivious to all his surroundings; in fact, the great

virtuosi seems to play, as it were, entranced with self-consciousness lost to the interpretation in hand. This

subjective (sub-conscious) interpretation is, after all, the

only kind worth while. Once hearing a great artist thus

"entranced''' is conclusive proof of the above statement.

But think you, reader, such an interpretation can be realized

where the music is not memorized and where fright or

embarrassment play a constant racket of adverse, abstract­

ing suggestions ?

T h e question

Your Fate Is The Result Of W h a t may be asked w h y

You Create Or Select, Or Both make the affirmations

so far in advance of

the night of the concert. Because the more time you have

to thus treat yourself, the better you can do. Furthermore,

the sub-conscious measures time automatically. If you

wish to prove this repeat intently at least three or four

times to yourself upon retiring: "I shall awaken at two

A. M. sharply," and awaken you will. Nervous temper­

aments may awaken a little before, but a few nights trial

W h e n Scientifically Employed, The

Intuitive A n d Executive Powers Of

The Sub-conscious Save flany

W e a r y Hours Of Needless Labor

The Crescendo

will prove the above until you will hardly vary three min­

utes from the time you specify. You may, therefore,

charge your sub-conscious to do for you at any future time

anything you wish realized and if the impression is actually

made upon the sub-conscious, at the time specified you

will suddenly be aware of what you wish to do, and more­

over, you will be equal to the emergency, during the time

between the impression and the time for its realiza­

tion, the sub-conscious has made ready if objective preparation has been pursued.

The laws of growth in acquir­

ing knowledge

cannot be i g -

nored. This is ob­

vious for the con­

scious mind—the mind that directs—cannot intelligently

direct without first knowing, and the sub-conscious—the

mind that acts—will not act upon that desired without first

being directed. To further develop this subject would take

us into a realm space that forbids discussing, but remember

that the intuitive powers of the sub-conscious are marvel­

ous to supplement your every endeavor. Therefore, that

which is knotty or difficult to understand or perform will be easily solved or accomplished if you will but intently

impress the sub-conscious by directing through self-suggest­ions and affirmations.

i. Private flawless rendition must pre-

S u m m a r y cede public faultless interpretation.

2. Unruffled poise must be gained and

kept. The infallible way has been mapped out, but if

fallible man fail the first time or two, do not condemn the

method for he failed, if at all, because he failed to impress

the sub-conscious, and to learn how to impress it, keep

trying. You can make your aura impenetrable to adverse

mentative currents if you will but persistently and fervent­

ly practice auto-suggestion. Others than Columbus tried

to sail around the world, and failed but this did not prove

the world flat. O n the other hand, Columbus did sail

around the world and the world was soon proved round.

There are thousands of Columbuses in the metaphysical

world who have proven the above methods in infinitely

greater undertakings than thwarting stage-fright. Will

you then argue the world is flat ? In con­

cluding this

article, let

us rememb­er, fellow

reader, to

fume and chafe at the chains which bind us only

magnifies our difficulties. W e must know why and how

we are bound, then cease to be disobedient children in the

school of experience. Let us never seek to elevate our

ignorance to the dignity of skepticism, lest it be said of

you or me, "He is in prison, and his prison is empty."

NOTE. The next article is the natural sequence of

the above. " W h e n to Practice, H o w and W h y , Psycholo­

gically Considered." It blazes a new trail for the musician,

young and old.

The Fool Is Willing To Pay For A n y

Thing But Wisdom, No flan Buys That

Of W h i c h He Supposes Himself To Have

A n Abundance Already

PERSONAL N0TE5

The Crescendo 2 5

The following letter from our friend "Wallie" Vreeland is quite

interesting. The letter is dated Feb. 18th, and written from the state of N e w Hampshire. W e understood ''Wallie" that you were

drawn on the jury. HoWdid'you manage to escape the duty or possibly your imprisonment on the jury was terminated before you

left for N e w Hampshire. "Greenville, N. H.

H. F. Odell, Editor C R E S C E N D O ,

Dear Friend; I wish to congratulate you on securing so rare and interesting

an article as that of Mr. Durkee's. He is certainly giving us infor­mation not generally known and from which we may glean much

that is useful. Played for the "Masons" here tonight. Their enthusiasm pro­

longed our concert to two hours and twenty minutes and this with an excellent collation awaiting every one

Whether it is due to the return of general prosperity or to our n e w combination I cannot say but as the "Mexican Serenaders" of "three members and Miss Knapp, Monologist, we are playing eight

times as many dates in January and February, as we played during those months last year. M y teaching business is excellent and as most of our engagements are in and near Boston, I have not been obliged to postpone many lessons.

M y "Mexican" companions, Messrs. Foley and Carciotto join me in best wishes to the " C R E S C E N D O . 1 think you are increas­ing in force. Yours for health and music,

Walter F. Vreeland".

Percy M. Jaques, who has been closely identified with the pub­lishing business and as a teacher of the plectral instruments has re­tired from the music business and will settle down on a farm of 130 acres in Florida. W e hope Mr. Jaques will be as successful in agri­cultural pursuits as he has been in the music business.

At the recent concert given at Rogers, Neb., under the manage­ment of C. A. Templeman. Mrs. Francis Potter made her debut as piano accompanist to Mr. Potter, the well known mandolin virtuoso.

C. A. Templeman of Rogers, Neb., is having an extremely busy season. In addition to his private teaching he is a director of a mandolin orchestra of 8 players and a guitar club of 5 players. He gave a very successful concert on Feb. 21st. The "Pilot" of Blaid, JSeb., says: "He is a gentlemanly fellow and an excellent performer and teacher and deserves a good class of students. Interest in these instruments is growing and the ability to play them acceptably is an accomplishment that any one may well be proud of".

Mr. Templeman recently gave a recital at which Mr. Francis Potter was the star attraction. Mr. Potter says that Mr. Templeman |s a very business-like manager as he always gets the people out from surrounding towns and sells out his entire house in advance.

Miss Anna M. Tuttle, a very conscientious teacher ofBrooklyn, N. Y-, reports that she has a great many pupils this year. Besides her private pupils Miss Tuttle teaches at the Brooklyn academy of Musical Art. She believes in using only the best class of music with her pupils and much of her success is due to the fact that she leaves the cheaper grade severely alone.

The following clipping in reference to Mr. Adelstein taken from the Pacific Coast Music Review is quite interesting. "There is hardly a musician residing in San Fransisco who is better known at home or abroad than Mr. Adelstein. His artistic work has made him distinguished wherever mandolin music is cherised, and his playing reveals such intense emotional character that by listening attentively his mandolin and lute performances are so typical that they resemble the sustained tone produced by a violin or cello. Mr. Adelstein's mandolin recitals are among the genuine musical events of this city. W e can well imagine why Anton Seidl pronounced the mandolin, lute and guitar as musical instruments under such artistic auspices".

Francis Potter of Omaha, Neb., has recently organized a man­dolin orchestra of 30 members at the O m a h a High School. Mr. Potter will attend the American Guild convention at Newark, N. J.

April 25th. He will probably be the long distance member as it is quite a step from Omaha, Neb. to Newark, N. J.

A new concert trio organization has recently been formed at

Los Angeles, Cal., called the "La Cinquantaine" Trio, composed of J. Woodward Logan, ist Mandolin, Mrs. Mabel MillisSpeakman, 2nd Mandolin and Miss Ethel L. Olcott, Guitar.

G. L. Lansing's annual concert this year was given in Chick­ering Hall. Mr. Lansing had engaged Association Hall but the As­sociation building was completely gutted by fire and at short notice

Chickering Hall was engaged. The concert was of the usual excel­lence. There was a large audience present. Among the artists ap­pearing were the Boston Ideal Club, Lansing's Mandolin orchestra, the Old Powder House Mandolin Club, Miss Josephine Blackman,

Director, the Quincy Mandolin and Guitar Club, Harold Daven­port, Leader, W m , Place Jr., the well known mandolin soloist, the

Misses Cotton in banjo duets, Miss Gladys Moore and Miss Anna Appleton, banjoists, and Warren G. Richards, humorist. The opening number was played by the combined clubs directed by Mr.

Lansing. It was excellently rendered and received an encore. The mandolin solo work by Mr. Place was especially good. Mr. Place is a very artistic performer, and received an enthusiastic reception. He played with ease the difficult concerto for mandolin by Pettine. Miss Gladys E. Moore's banjo solo was one of the best things on the program. Miss Moore is a very young lady but is especially apt on the banjo. The banjo solo by Miss Appleton and the duet by the MissesCotton were both excellently well rendered. Lansing's Mandolin Orchestra received a very enthusiastic encore. The num­

bers of the Old Powder House Mandolin Club and the Quincy Mandolin Club were well received and both organizations received encores The Boston Ideal Club rendered two selections, one on the mandolins and one on the banjos with the usual success of this veteran organization. Naturally the interest of the concert was centered in Mr. Lansing's own solo and he received an ovation at the end of his numbers and was presented with a beautiful boquet of roses. The concert was one of the best Mr. Lansing has ever given.

Mr. C. S. DeLano, while on his recent trip was very success­ful and he has nad several offers to go over much of the same

ground next season. While in Chicago, Mr. DeLano met Claude Rowden, C. D. Smith, Arling Schaffer, Sig. Tomasso and Samuel Siegel. Mr. DeLano says he found 10 below zero rather colder than he was used to. He also states that he found the C R E S C E N D O wherever he went.

H. M. Warren will manage a concert at the Y. M. C. A. Eugene, Ore., at which A. A. Farland will be the star soloist. Later on, Mr. Warren proposes to introduce into that vicinity some of the leading mandolin soloists. He reports that business in that vicinity is excellent.

Mr. Leo H. Noftz of Chicago, III., who is much interested in the advancement of the mandolin, banjo and guitar has recently shown his appreciation of the C R E S C E N D O by sending in five subscriptions.

Mr.'Wm. L. Henion's Gibson mandolin and guitar club was the principal attraction at the concert given under the direction of the Ladies Aid Society of the Immanuel Church at Saginaw, Mich. The club made a very suscessful appearance and Mr. Henion's gui­tar solo was especially well received.

26 T h e Crescendo

PROGRAMS OF CONCERTS AND RECITALS

Program of 0.1.. Lansing's Annual Concert at Boston, Mass., February 34, 1910.

PART I.

i March. "Boys of the Militia" Boehmlein

Grand Orchestra (50 members) G. L. Lansing, Director.

2 The Humorous Side of Boston Life

Warren G. Richards 3 Banjo Duett, March, 'To Arms' Bacon

The Misses Cotton

4 'Drowsy Dempsey' (characteristic) Lansing Old Powder House Mandolin Club

Mies Josephine Blackman, Director

5 Banjo Solo, a "The Flying Yankee Lansing

b "Dixie Medley" Ossman

Miss Anna S. Appleton 6 "In Many Moods" Babb

Quincy Mandolin and Guitar Club Harold Davenport, Leader

PART II.

1 Banjo Solo, Fantasia, "West Lawn" Glynn

Miss Gladys E. Moore 2 "Gipsy Life" La Thiere S Y N O P S I S : Morning, in the W o o d s . Zingara Dance. Love Song,Tarantella & Finale

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

3 Concerto Patetico Pettine William Place, Jr.

4 a Mazurka de Concert, "Bella" Waldteufel

b "Sue" Haines Boston Ideal Club

5 a Caprice, "Oriella" Lansing b ''Alabama" (tremolo)

G. L. Lansing

6 Selection, "Three Twins" Hoschna

Lansing's Orchestra

6 Guitar Solo, Gems from "11 Trovatore" Verdi-Dorn

Miss Hazel Henderson 7 Guitar Trio, "Cupid's Wireless Telegram" • Ethel L. Olcott

La Bandurria Guitar Trio

(initar Recital by .Johnson Uaire, assisted by Edwin Beal's Mandolin Orchestra, Feb. 8, 1910, >onierset, I'a.

I a Overture i b Valse Caprice i Bane c Concerto )

2 a March, The Toastmaster Odell

b Waltz, Heart Murmurs Rolfe Mandolin Orchestra

3 a Cavalleria Rusticana Mascagni b Melody in F . . . Rubenstein

c Spanish Dance Moszkowski d Sextette from "Lucia" Donizetti

4 Banjo Solo, March Baily

5 Valse Ballet—Solaret Allen (Queen of Light)

Mandolin Orchestra 6 a Operatic Fantasia I b Nocturne No. 2 ( Bane c Southern Fancies '• Foster

7 a Caprice—Lady Dainty Odell b Patrol—U. S. A. Peck-Odell

8 a Mia Dalca Gavotte Bane

b Melodies c March Militaire Bane

Program of Concert given by the Morris Park Mandolin Orches­tra at Morris Park, L,. 1., Feb. 3, under the direction of E. 1. Rogers.

PART I. I a "Gay Chauffeur March" Odell-Lansing

b "Beautiful Night," Tales of Hoffman . . . . Offenbach-Odell

\ The Orchestra

2 Bass Solo, "Bedouin Love Song" • . • •- Hawley Dr. J. L. Bulkley, Jr.

3 "Simple Aveu" Thome-Hildreth

The Orchestra 4 Banjo Solo, "Martin March" Bitting:

Mr. O. F. Bitting

5 "Yankee Dandy" Weidt-Jacobs The Orchestra

6 Instrumental Trio, "Under the Leaves" Thome-Cello, F. W . Beall; violin, D. Kaufmann; piano, Miss L. Griffin

PART II" i Cornet Solo, "The Three Star Polka" Bagley

F. W . Beall Miss L. Griffin Accompanist

2 "Symposia Waltzes" Bendix-Odel! (Brass Orchestration Transposed)

The Orchestra

3 Baritone Solo, "Bid Me to Love" * • . Barnard William T. Karren

T. C. Libengood. Accompanist

4 Mandolin Duo, "My Old Kentucky Home • Arr. by Jennings-

E. 1. Rogers (Introducing duo, trio and quartette effects)

5 "A Dream" Bartlett-Odelf The Orchestra

6 Banjo Solo Selected. O.F. Bitting

7 "Kentucky Wedding Knot" Turner-Jacobs

The Orchestra

Recital by pupils of Miss Ethel L. Olcott,2' Guitarist, at her studio, l.os Angeles, Calt, February 4, 1910.

i Guitar Trio, "Crown of Diamonds" . . . . . Auber-Holland

L.i Bandurria Guitar Trio 2 Guitar Solo, "Raindrops" Lindsey

Miss Mary Phillips 3 Guitar Solo, "Angel's Serenade" Braga-Sacchi

Mrs. A. J. Kerr 4 Guitar Duet, "Bagatelle" Santisteban

Misses Olcott and Henderson 5 Guitar Solo, •'Agathe" Abt-Mertz

Miss Regina Bischoff

Concert trlven by the Arion Mandolin Club and l.ttmlnn Hanjo Trio, Feb. %%, 1910 at N e w Britain, Conn., under the direction or Judson P Landon

I Mandolin Orchestra— a "Yankee Dandy" Weidt b Waltz, "Heart Murmurs" Rolfe

2 Banjo Duet— a Match, Selected b Walt2, "Amaryllis" Bertholdt

J. P. and L. F. Landon 3 Mandolin Solo— a Mazurka, "Di Concerto" C. Munier b "The Bandmaster" A. Stauffer

J. D. Sullo 4 Landon Banjo Trio— a Familiar Airs : . . . Arr. by Landon b Selection from "111 Trovatore" Verdi

5 Arion Mandolin Club— a Barcarolle, "Beautiful Night" Offenbach Odell b Overture. "King Mydas" Eilenberg

6 Banjo Solo— a March, "L- A. W " Ossman b "My Old Kentucky Home" Varied by Farland

Judson P. Landon 7 Arion Mandolin Club— a March, 'Meteor" Rice b Reverie, "Modestie" Odell

8 Landon Banjo Trio— a National Airs Arr. by Bacon b Overture, "William Tell" (Last movement) Rossini

IJ Arion Mandolin Club— a Waltz, "Elysium" Gilder b March, "Phenomenon" Odell

The Crescendo 27

RECENT AND RELIABLE PUBLICATIONS

Recent Publications. With every piece composer's n a m e is given, also arrang­

er's. The letters after names indicate grade—E, e a s y — n , H e d i u m — D . Difficult.

MANDOLIN.

Cundy-Bettoney Co. Overture, "Beautiful Galatea" Suppe—Arr. H. F. Odell, M

Full Mandolin Orchestra $3.20

The only arrangement on the market of one of the most beau­tiful of Suppe's overtures. Opens with a bright 6-8 movement go­ing to a slow 12-8 movement with excellent effects for the mando­cello or cello. Next a bright 6-8 movement going to a charming waltz melody. A standard overture for years with bands and orchestras and will undoubtedly be played by hundreds of mandolin clubs. Keys of G , A and G minor. Artists Life Waltz Joh. Strauss—Arr. H- F. OdeU, M

Full Mandolin Orchestra $3.20 The only arrangement published for full mandolin orchestra of

one of the most charming Strauss waltzes. Very melodious through­out. Easy and effective parts for all instruments. Introduction, 5 waltzes and coda. Keys of C and F.

W. C. Knipfer. At the M'nstrels W. C. Knipfer, E

Mandolin Solo $ .30 A short medley introducing several well-known airs, all in the

first position, "Old Black Joe," "Old Folks at Home," etc. Especi­ally good for teaching. Key of G throughout- Also published for the usual parts. The Last Game March W C. Knipfer, E

Mandolin Solo $ .30 A very easy 2-4 number in the keys of G and D. A good

teaching piece for young pupils. Effective for clubs. Published for various parts. Juanlta March W. C. Knipfer, E

Mandolin SoLp # .30 6-8 and 2-4 times. Keys of G and C. Catchy melody. Pub­

lished for all club parts. An effective teaching piece. Cold Spring Scottische W. C. Knipfer, M

Mandolin Solo $ .30 All in the first position. Very catchy. An excellent teaching

number. Published for various parts.

GUITAR.

Maximum Pub. Co. El Crlllioto Paul Eno, M

Guitar Solo $ -So An excellent teaching number by this well-known writer who

writes as good guitar music as he does banjo. Andante and mod­erato movements. 2-4 time. Keys of A minor and A major. Span­ish dance effect. A very interesting number. BANJO

Maximum Pub. Co.. The Marksonlan Caprice Paul Eno, M

Banjo and Piano * .75 Another one of Eno's syncopated brilliancies. A real banjo

number with a very gingery swing. With piano it is a fine numb­er for concert, also for teaching. Keys of A and D. 2-4 time. Shiney Eyes, Plantation Intermezzo Paul Eno, M

Banjo and Piano $ .75 A new plantation intermezzo by this fine banjo writer. Some

rag-time, some straight march movement. Altogether a fine numb­er for concert or teaching. Decidedly banjoistic.

Hogue flusic Co, Amaryllis R. R. Hogue, M

Banjo Solo $ .30 A arrangement of this taking mazurka serenade, in the keys

of E, Band A. A good number for slightly advanced pupils for concerts and recitals. Introduces soms chord work, not difficult. Positions carefully marked.

PIANO

riaximum Pub. Co.

Golden Dreams Paul Eno, Op. 196-1,M

Piano Solo $ .25 A clever teaching piece by a clever writer. For slightly

advanced pupils Very melodious. Introduces easy rolling chords and charming grace notes. The Dolls Jubilee Paul Eno, Op. 126-2 M

Piano Solo $ .25 A charming number for slightly advanced pupils in the keys of

G and C. 2-4 time. Very catchy melody. Sure to please all piano pupils. Valsette Paul Eno, Op. 126-3, E

Piano Solo $ .25 A pretty waltz lente. For beginners on the piano.' Sweet

melody. Very interesting for pupils. Piano teachers had better look up the Eno compositions. They are certainly worth while.

Reliable Publications. Many pieces published within the last ten years are quite as desirable as n e w ones. These listed are proven successes.

GUITAR

H. F. Odell & Co.

The Last Rose of Summer W. L. Hayden , M

Guitar Solo $ .30

An excellent arrangement including the theme and three varia­tions of this standard number. Especially adapted for teaching by one of the greatest writers of guitar music of the century. Keys of A and D. 3-4, 4-4 and 3-8 times. Gay Paris W- L. Hayden, M

Guitar Duet $ 30 An excellent arrangement of this favorite air from Traviata. A

fine number for slightly advanced pupils. 3-4 time- Key of D. The Brook Dolores Arr, George Barker, M

Guitar Solo jt .30

An easy interesting and pleasing arrangement of this celebrated melody- An extremely effective teaching number. Pleasing to pupils. 2-4 time. Key of D. Loves Dictates Alfred Chenet,M

Guitar Duet $ .30

A melodious teaching number, introducing easy chords and easy runs. O n e of the best selling Chenet numbers. Is very popular with teachers. 2-4, 4-4 and 3-8 times- Key of A and D.

MANDOLIN

H. F. Odell & Co. Rhemba Waltz H. F. Odell, M

T w o Mandolins and Guitar $ .35 A very simple waltz written especially to be used as a first

piece with beginners on the mandolin. Pleasing melody- May be used in connection with any method. Thousands of copies have been sold. Keys of D and G. BANJO

H. F. Odell & Co. Zambra Waltz H. F. Odell. K

Banjo Duet % .30 First teaching piese. Very catchy. Easy melody- Thous­

ands of copies sold- One of the pieces that is really very easy. Keys of A and D. Life Guards March H. F. Odell, K

Banjo Duet $ 30

A very interesting number for slightly advanced pupils intro­ducing one of the famous styles of bass solos in the trio which helped the banjo to popularity- Keys of A and D. 6-8 time-

28 The Crescendo

The Place Mandolin A ™ Rest Easily Attached to any Mandolin. Price $1.00

M A D E IN T W O STYLES Style A 'as shown in cut) is adapted to players who hold their arm above

the tail piece. Style B is adapted to players who hold their arm directly over or just

below the tail piece. W h e n ordering signify which style is wanted.

Rhode Island Music Co., 49 Penn St., Providence, R. I. Have you ever used the H. M. Plectrum ? Sample 10c

Questions and Answers.

A Crescendo Advice Program. Mandolin Orchestra program numbers tried and found of real merit. Keep for reference.

Order the pieces from the publisher whose name is given under each selection. Tell them you saw it in Crescendo.

CRESCENDO PROQRAH NO. S.

i MARCH, "Second Connecticut" Reeves Cundy-Bettoney Co.

2 O V E R T U R E , "Beautiful Galatea" Suppe Cundy-Bettoney Co.

3 W A L T Z E S , "Stars of Gold" Autrey Oliver Ditson Co.

4 March from Suite Lackntn Oliver Ditson Co.

5 M A N D O L I N SOLO, Fantasia, "11 Trovatore" Pettine Piano accompaniment

Rhode Island Music Co.

6 SUITE, "Moon Moths" Kusstur L. C. Kussner

7 a Flower Song Lange b Freelance March Rollinson

Oliver Ditson Co.

8 a American Dance Bendix Oliver Ditson Co.

b Red Jacket March Boehm W. A. Boehm

9 S E R E N A D E Nicoise Volpatti Oliver Ditson Co.

IO G A L O P , "Chink of Gold" Rollinson Oliver Ditson Co.

This column open to all. Send in your questions.

QUESTION—Why are there not greater varieties of time; to wit; if there can be 3-8 time w h y can there not be 5-8 time?

W. E. S.

ANSWER—It is quite possible that the questioner has not had

the advantage of seeing a diversified list of music which in­

cludes various kinds of time. Answering the first part of the question will say that we think there is already quite a variety of

time and the following list will show the questioner a number of the times in use. 2-2, 2-4, 2-8, 3-2, 3-4, 3-8, 4-2, 4-4, 5-4, 4-8, 6-8, 9-8,

12-8. This gives as much variety as is needed to write almost any kind of a composition even including the fantastic compositions of Richard Strauss. In as much as we have 5-4 time, 5 quarter notes

in a measure, there is no reason in the world that w e can't have 5-8 time, 5 eighth notes in a measure and while we personally do not remember of having seen any compositions with 5-8 time w e

haven't any doubt that in the compositions of the old writers such measures would be found. Horatio Parker in his "Hora Novissima" uses a large variety of times. O n one page alone he changes the time 10 or 12 times having one measure in perhaps 3-4 time and the

next measure changing to 4-4 and then perhaps back to 3-4 and then perhaps 6-8. This is done by many composers as they be­lieve it is the best way to properly introduce the rythm they desire

into certain composition. Such a change of times is confusing and misleading, but the composers in the ultra-modern school seem at times to like to display their wonderful musical knowledge. That

their knowledge of music and notation is wonderful there is no doubt but we are inclined to believe that as a rule it is better to adhere to the times in most common use as by a skillful manipula­

tion of the time value of the ordinary notes the composer can pro­

duce almost any rythm in a composition he desires.

QUESTION—If every note" has a rest of corresponding value and it is wrong to put a whole note into'a measure of 3-4 time w h y

is it not wrong to put in a whole rest into a measure of 3-4 time?

G. R. W.

ANSWER—In answering this question, we will first ask a ques­

tion, lf the questioner were playing apiece of music in 4-4 time and he came to a measure which had nothing in it but a quarter rest

how many beats would he rest, one or four? Theoretically speak­ing in a measure of 3-4 time a half rest with a dot after it would be

perhaps correct, if it were desired to rest for the three beats of a

whole measure but it is a custom which has come down from the time of Scarlatti, Bach and Rameau that in a composition when a whole measure rest is desired the whole rest is used not considering the signature of the composition. W e will suppose that the

composer in a certain measure desires to have no notes plaved. W e

will say the composition is In J-8 time .md when he comes tr) the measure where he desires silence he puts in .1 whole rest. The

musician playing this piece at sight is not in doubt for a moment what is intended when he comes to this measure with a whole rest

In it. O n the other hand the same musician playing the same com­position if he came to the same measure which instead of the whole rest had a quarter and an eighth rest which would represent the

time value of the signature would undoubtedly be staggered for a

moment looking around for some other notes to play. Theoretically speaking some might consider that rests according to their time value can be used when a whole measure is to be silent. Practi­cally speaking musicians playing compositions with whole measures

silent in which the time value of the rest corresponds with the signature would be entirely at sea. and the real reason w hy the

whole rest is always used for silent measures without regard for the signature is that it is a common sense practical way of using modern notation and such rest used in a measute leaves no doubt in the mind of the player as to what is intended or in other words the

whole rest put into a measure of a composition with a signature of

any time whatever means rest the whole measure.

The Crescendo 29

Jl J* Ask for Odell arrangements when buying Mandolin Music Jt Jt

W e have so many requests for the superb arrangements for

Mandolin Orchestra by H. F. ODELL that w e present a selected list of the best of his arrangements, giving the name of the composer and

publisher. Most of the pieces are arranged from the original score. These arrangements are pronounced by leading teachers and players absolutely the finest issued,

and are the only ones which always include Harp-Guitar, Mandola and Mando-Cello parts, and indicate use of Mute or Tone Lever in the Banjo obbligato.

M A R C H E S H. F. Odell & Co.

The Toastniasler Odell The Phenomenon " The Filipino Shuffle " The Lobster Chasse " Hoch Habsburg Krai The Meteor Rice The Colonnade Odell

Oliver Ditson Co. Tannhauser Wagner March from Suite Lachner Gen. Hanks Rollinson Over the Fence Fulton Freelance Rollinson The Blue Jackets Bennet Battleship Connecticut Fulton Uncle Rufe's Jubilee Rollinson The Skirmish Line " La Sorella Borel-Clerc Old Virginny Days Rollinson Little Bit of Essence " Wedding March Mendelssohn

Gibson Co. Boccaccio Suppe

Whitesmith Co. The Gay Chauffeur Lansing-Odell Timbuctoo Geibel U. S. A. Patrol Peck Flag Lily Holt

D. Acker The Diamond City Acker

Cundy Bettoney Co. En Masse Reeves

L. A. Williams Gibson is King Williams

O V E R T U R E S Oliver Ditson Co.

Poet and Peasant Suppe Light Cavalry " Morning, Noon and Night " Stradella Flotow Jolly Troopers Rollinson The Cavalier " Crusaders " Zampa Herold

Cundy=Bettoney Co. William Tell Rossini Pique Dame Suppe Beautiful Galatea " Orpheus Offenbach Lustspiel Kela-Bela

Gibson Co. Raymond Thomas

S E L E C T I O N S Oliver Ditson Co.

Carmen Bizet Faust , Gounod Martha r. Flotow Bohemian Girl Balfe Chimes of Normandy Planquette Maritana Wallace Lohengrin Wagner

Cundy-Bettoney Co.

Norma Bellini II Trovatore Verdi

FANTASIAS-Medleys

Oliver Ditson Co.

Grand American Bendix Moore's Irish Melodies Odell Grand International Rollinson Old Oaken Bucket " Scenes from Spain Langey Collegisms Odell Scotch Medley '• Italian Suite Gruenwald National Airs Odell

WALTZES

H.F. Odell 6 Co.

Cantasane Odell

Oliver Ditson Co.

Blue Danube Strauss The Skaters Waldteufel Love's Missive Rollinson J^ydia " Ildica " Elysium Gilder Girls of Baden Komzak Stars of Gold Aubry Symposia Bendix Estudiantina Waldteufel Over the Waves Rosas

Whitesmith Co. Valse Ballet Tracy

Cundy=Bettoney Co. Artist's Life Strauss

Gibson Co.

Jolly Fellows Vollsdedt Carmencita Le Thiere

L.A.Williams Gibson Eminence Williams •"' Santiago Corbin

D. Acker The Lola Acker

SONGS Instrumental Ar ngen ay be used as accom-

H.F. Odell 6 Co. Love's Old Sweet Song Molloy Love's Like A Star Odell

From opera "Atlantis"

Whitesmith Co. Love's Golden Memories Odell

Oliver Ditson C o .

ADream Bartlett Somewhere Clark Sweetest Story Ever Told Stults

C O N C E R T P I E C E S

H. F. Odell & Co.

Lady Dainty Caprice Odell Dance di Cupid, Oddment " Romancia Idylle '* Modestie Reverie " LaCinquantaine Gabriel-Marie Mignon Gavotte Thomas Miserere, Prison Song Verdi Beautiful Night Offenbach

Bararolle from Tales of Hoffman.

Oliver Ditson Co. A Petit Pas Sudessi Intermezzo ...Bohm Mill in the Forest Eilenberg Whispers Dean Reve de Bonheur Papini Sorrentine Guirand Parade of the Dolls Gruenwald Whiz Galop Rollinson Serenade > icoise Volpatti The Wayside Chapel Wilson Czardas Gruenwald American Dance Bendix The Jolly Cadet Gilder Chink of Gold Galop Rollinson Capriciousness " Danse Africaine Gilder Baby Sweetheart Corri Clytie Pabst A Bunch of Violets Bennet A Love Story Pabst Youth and Beauty Rollinson Sobre La Plaza " Caprice Militaire " Forget M e Nots Engleman Just For The Fun Of It Sudds Fads and Fancies Gruenwald Abila Intermezzo " Colonial Cavaliers Rollinson Flower Song .„.Lange By Moonlight Rollinson Bridge of Sighs Cazaneuve La Spagnola V. di Chiara Evening Chimes Rollinson Ballet Naila Delibes Melodie in F Rubenstein

Whitesmith Co.

In Moonland Peck Sweet Visions Phelps La Tzigane Ganne Wooden Shoes Cooke

Gibson Co.

La Czarine Ganne Sextette from Lucia Donizetti Pizzicati from Sylvia Delibes Life's Lighter Hours Wells Smith F'irst Heart Throbs Eilenberg

Cundy-Bettoney Co. Idyl Sanford

All in the above list are published for full mandolin orchestra and may be obtained from your teacher or dealer, or direct from

H T T ' f\T\T?l ¥ J?3 4~*f\ 165 TREMONT STREET, T . SjDtLLsL, C3 L A J . = - BOSTON, MASS.

CATALOGS ON REQUEST.

3° The Crescendo

T5he

"SYMPHONY" Harp Guitar Amazes and delights everyone. The most wonderful tone ever produced by a guitar comes from the "Symphony." Greatest V o l u m e and Sweetest Quality. It has five extra bass 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. An 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 sbip the "Symphony" on approval.

W. J. DYER & BRO. Dept. 85, ST. PAUL, MINN.

W A \ I T P H your name and address on our Pro-*» /\l^l I C U fessional List for New Music.

Mandolin Club, Band, Orchestra. Slate which you want.

H. F. Neilsson, Pub. 9'26^Tm.Ave''

STANDARD The Original

Ask your dealer or send direct to us ^ for catalogue.

OF THE S. S. STEWART

THE BAUER CO. 726-730 Girard Avenue. Philadel

WORLD Banjo

•^B^SKIN&JJ

phia. Pa.

TUNEFUL TUNES for Mandolin Orchestra. Send for thematic catalogue, which also contains miniature

mandolin parts to progressive studies. A great filler for those vacant spots in teaching.

M. B. W A I T E , Publisher, Kacine, Wis.

N e w ! "The Waltzing Girl" 1 9 1 O A very attractive Waltz-Guitar Solo, just from press. Beautiful Tun. Intro

duction and Finale. Special prices: (jtritar Solo 10c; Mandolin or Banjo lOci Piano acc ,

10c; Guitar acc, 5c: zd Mandolin or 2d Banjo 5c| Mandola, Mute, Cell.. 4c each Full Mandolin or Banjo Orchestra 30c.

THE HOGUE MUSIC CO. - Washington, Georgia Mention Crescendo.

MEMORY SCHOOLS EXPOSED"

AND BOOKLET FREE.

"MOW TO READ MUSIC AT SIGHT" 50 cents. Send for circular.

" H O W TO M E M O R I Z E MUSIC", 10 cents. M E M O R Y LIBRARY, 14 Park Place, New York T h e "NA/ R l G U T " M A N D O L I N P I C K S

Genuine Ebonite. Beveled Edges. Never Chip or Break. Improve Tone. Four G r a d e s of ^^^^^^ Price postpaid. IOc each.

Flexibility _ ^ f l | r ^ ^ ^ 75c dozen No. KM Stiff. ^ r ^ K T r T J l e W ^ ^ . Mention"Crescendo''and No. U l Med. Stiff. -^mUlUVil^^^ „, ..,,, ,.,.r.j ,,-,,. order

No. wr, Flexible. ^ > ^ M ^ ^ F f o r 1 doz. Picks, 2 fine selec-No. 520 Very Flexible. ^^^^^ tions for Mandolin & Guilar.

S O L D BY ALL DEALERS A N D JOBBERS.

L O U I S F. W R I G H T . Wtnsted, Conn. TEACHERS AND DEALERS PLEASE ASK FOR WHOLESALE PRICES

English Jobbers please write us

Trade and Publishers Notes. For teaching or concert work, the Albert Kussner music stand?

almost alone in a class by itself. L. C. Kussner, is making ar­rangements to have the best numbers in his catalog arranged and published for full mandolin orchestra. "Moon Moths", Mr. Kuss-ner's dainty suite is already published for mandolin and guitar. The thematic catalog issued by this publisher is far better than the-usual music catalog and is so artistic that it is well worth keeping; as a table ornament. This catalog will be sent free to any one re­questing it. See ad.

The invention of the Hartnett Tone Lever and its application to the banjo makes it possible to use the banjo in all kinds of organ­izations. The pianissimo effects with the lever on are simply im­mense and the tremolo effect can be introduced to a much larger ex­tent in mandolin orchestra. The fact that the leading banjoists have immediately adopted the tone lever is proof enough that every banjoist should apply one to his banjo. Such a prominent man as A. J. Weidt, the manager of the coming Guild convention and con­cert says ''the tone lever is the best ever for the banjo. It is on m y instrument to stay." Mr. Weidt is not a novice at the banjo game and when he says anything about an article he means it. See D . E . Hartnett's ad.

On e of the best known violin strings in the world is the Angelo-string which is used by many of the world's greatest artists. Carl Fischer is making a special offer of 15c each. Violin players are-advised to send for a sample, also guitar players as this string is most desirable on the guitar. See ad.

The " N e w Era" march written and published by Walter B o e h m is one of the the good ones of the season. It has the right swing and it is well arranged for all instruments. See ad.

One dozen mandolin picks for 10c is what Marshall Ficklin will send you to use for beginners on the mandolin. He also can supply you with the famous F. Z. M. picks with the bev­elled edge in two styles and sizes. This pick is highly endorsed by hundreds of professional players. See ad.

''Dancing Daisies Schottische", "Moonlight Serenade Waltz."' "Bride Roses Mazurka" and "Yours Truly Waltz" are four of the-excellent numbers in M . B. Waite's fine catalog of teaching mu­sic for mandolin combinations. Better send for his thematic list. See ad.

The arrangement of the "Diamond City' March includes all sorts of funny little places for the mando-cello and tenor mandola not at all difficult but very effective. It is a good teaching number and simply great for orchestras. Published by D. Acker. See .id.

One dozen genuine ebonite bevelled edge Wright picks and two fine selections for mandolin and guitar will be sent to any one for 75c. The Wright pick wont chip and wont break. Investigate. See ad.

The best way to decide what you personally think of the Trin­ity Music Stand is to send for one. T h e H o p e Music Stand C o will send you one on approval. If you look it over you will be sure to keep it. It is one of the most useful stands for stringed in­strument players on the market. See ad.

Theoriginal Stewart banjo is now manufactured by the B a u e r Co. which also makes a fine line of mandolins and guitars. Players and teachers will do well to send for the Bauer catalog. The catalog is very interesting and the house is an excellent one to do business with.

The Washburn banjo has really a phenomenal carrying power, as also have the Washburn mandolins and guitars. Undoubtedly you have heard some of the phonograph records of Samuel Siegel and Valentine Abt and have noted the clear tone of the mandolin and the accuracy of pitch. The reason is that they were Wash-burns. The fine L y o n & Healy catalog will be sent for theasking. See ad.

MENTION CRESCENDO

The Crescendo

io cents to the 31

You can learn to memorize very readily. Send M e m o r y Library and get its book on the subject.

C. W. Wilcox will send you three trial lessons if you wish to

learn to compose and arrange music. Many composers and arrang­

ers make a large amount of money. Better consult Mr. Wilcox.

There is the "Motor Girl" and the "Gibson Girl" and lots of other girls, but for the banjo, mandolin and guitar player, the

"Waltzing Girl," a very catchy waltz which has just been publish­

ed by the Hogue Music Co. will prove the most interesting. See

ad.

W . C. Knipfer has just published a new number entitled

"At the Minstrels.'' For a mandolin teaching piece or for playing

it is sure winner. Sample copy only 10 cents for a short time. See ad.

The White=Smith Co. issues some especially fine teaching

editions of well-known standard methods such as the Branzoli and Christofaro methods and the Superb Mandolin Method by Geo. Barker. Recently the White-Smith Co. began the formation of a

standard catalog of music for full mandolin orchestra. Among the successes already published are: "In Moonland," "U. S. A.

Patrol," "Timbuctoo," "Selection from Tannhauser," "Love's Golden Memories," the "Cadets Dream," and "Yellow Jonquils." The two principal arrangers for this house are H. F. Odell and G.

L.Lansing. In addition to the mandolin orchestra catalog this company has a very large catalog of excellent easy teaching pieces for banjo, mandolin and guitar. A new catalog containing all of the pieces has recently been issued and will be sent free to anyone who will simply send their name and address. The White-Smith new issue proposition is worth looking into and when you write for a catalog, ask for a new issue blank. See ad on inside front cover.

T h e Cundy Bettoney Co. has just issued a Fantasia from the well-known opera "Norma" arranged by H. F. Odell which promises to be a very popular number with mandolin orchestras,

and the famous "Nahant March" arranged by G. L. Lansing. Prac­tically everything in this catalog is also published for string orches­tra so that any part desired may be obtained. Club leaders are espec" ially advised to send for the new catalog published by this house which contains a long list of standard numbers and teaching pieces. ad.

The Oliver Ditson Co. has published for mandolin orchestra, "Collegisms," a medley of the best known college airs, arranged by H. F. Odell, including all the parts, tenor mandola, mando-cello and banjo obbligato in both A and C notation. Many of the numbers included in the medley are copyrights owned by the Ditson house and appear in no other college medlev. This number will undoubtedly be used by every mandolin cluD in the country. Many leaders of clubs have been anxiously waiting for it as they desire to use it at their annual spring concerts. Another great number published by the Ditson house is "The Battleship Connecticut March." It has a real genuine swing and is fast becoming popular. See Ditson ad.

The Maximum Pub. Co. has adopted a catch line which is: "If it's our publication, it's good." W e agree with the company. Everything thatthey havepublished isexcellent. The Paul Eno banjo numbers rank among the finest published for that instrument for the last 10 vears. The real banjo kind. Two of the latest numbers by Eno are "Shiny Eyes" and "Marksonian Caprice," both very excellent numbers. See ad.

The well-known Eclipse banjo manufactured by Frank E. Cole is equipped with two bridges, one half way between the bridge in its usual position and the tail piece. This has been found to give firmness of tone that especially appeals to all banjo players. These instruments are also equipped with Elite tail pieces. Prices range from $28 to $65. and the Eclipse banjos are exceptionally de­sirable on account of their accurate scale and careful workmanship. The Boston guitars also manufactured by this firm, range in price from $16 upwards and are well made instruments having an excel­lent tone and carrving power. This firm will send any of their instruments on 10 days trial. Many celebrated players and teach­ers use the Cole instruments which have long held a reputation for their general excellence. See ad.

New Mandolin Music Bellini

Reeves

Fantasia—from N O R M A Arranged bv H. F. ODELL

March-NAHANT Arranged by G. L. Lansing

PRICES March Fantasia March .30 Tenor Mandola 30 .15 .15 Mando Cello .30 .15 • 15 Banjo 30 .15 .15 Piano .60 .20

DISCOUNT % OFF Also publrshea for string orchestra, any part of which can be used with the

Mandolin Orchestra arrangement. These two numbers were sent to subscribers on our new issue list on Mch. r =;, igro, at a special discount from above prices.

We will also send them to ne* subscribers whose applications reach us in April. If interested send for | articulars.

THE CUNDY-BETTONEY CO., 93 Court St., Boston Makers of the "Bettoney-Wurlttzer Flutes and Piccolos

F..ntJ7

lst Mandolin 50 2nd Mandolin 30 Urd Mandolin 30 Guitar .30

Sent on approval express prepaid. If not satisfactory return at

our expense.

The TRINITY MUSIC STAND One Problem Solved for Players of

Stringed. Brass and Reea Instruments by the Trinity Way. One Roll contains

the Music Stand, the Music Stand Case and Music Folio. The Trinity's con­venience, completeness and attractiveness appeals to all users of a Music Stand. Eventually you will have one. W h y not now?

Illustrated Folder showing you why. HOPE MUSIC S T A N D CO., Dept. A, Mashapaug St., Prov., R. I.

Learn to Compose and Arrange Music Taught by MAIL stamp for trial l< then convinced y must know the otherwise don't wi

WILCOX SCHOOL OF COMPOSITION, C. W. Wilcox, Dir. 'Dept. Z." 225 Fifth Ave., N e w York City

ccessfully. practically, rapidly. Send 2-cent "rn. Three Trial Lessons Free. If not II succeed, You O w e M e Nothing. You Sirnents of music and Mean Business.

OHIO FIELD MARCH FOR

Mandolin Orchestra and Piano Accom. Banjo Solo. H A R R Y S. SIX PUB. CO., N e w Rochelle, N. Y.

W h y not Publish that Husical Composition? Our expert will arrange music and revise Mss- when necessary. W e will make plates and title, print, send proof and copyright, and furnish complete ready for sale. Prices low. Full particulars on request.

JOHN WORLEY CO. 40-48 Stanhope St. : Boston, Mass.

THOMPSON REPORTING CO. PUBLISHERS 152 Purchase St. - Boston, Mass.

Book of Credit Ratings and Directory of the Music Trades for the United States and Canada.

W e collect Claims in the United States and Canada.

32 The Crescendo W m . C. Stahl's instruments are personally inspected by him I

before they leave the factory and with his 22 years experience back T H E of the instruments, they undoubtedly are perfect when they leave the factory. This house is ready to establish exclusive agencies in various cities. Players and teachers are advised to write for cata­logs of instruments and music. See ad. ,.

Many teachers have a lot of trouble keeping the music and lesson accounts of their pupils. The Card Index manufactured and sold bv the Music T e a c h e r s E x c h a n g e is certainly a great scheme for simplifying pupils accounts. It obviates any possible slip of the memory and saves time and trouble. It is a simple busi­ness-like, up-to-date method of bookkeeping used by hundreds of teachers and is practically the only thing of the kind on the market. It will be sent on 30 days trial. Money refunded if not satisfactory. See ad.

"Love's Sweet Dream," Waltz Intermezzo, published by H . F. Neilsson is an extremely melodious composition. Club and orchestra leaders should get their name on the professional list of H. F. Neilsson at once. See ad.

The neck of the Gibson instruments, manufactured by the Gibson Co. is m ide in three pieces. The middle peice is set in cross grained to the other two which is the greatest preventative of warping ever devised. At the coming Guild Concert at which the new Abt Plectrum Quartette first ap­pears, Mr. Berthoud will play a Gibson tenor mandola and Mr. W . E. Foster will play a mando-cello. W h e n such artists as these play the Gibson instruments there is a reason, which is that these instruments have extreme accuracy of fingerboad and carrying power so necessary in plaving the music of the old masters. Visit the Gibson rooms at the Guild Convention. See ad.

The Orpheum Banjo is particularly adapted for concert solo work. These instruments have a long vibration and sustained tone. The harmonics are especially clear and the carrying power is immense. The Orpheum instruments are carefully looked over from peg head to tail piece before being sent out. The workman­ship is of the best. The Orpheum catalog will be sent to anyone free.Guild members are cordially invited to visit the educational ex­hibit of Rettberg O L a n g e at the Guild Convention where they will have a banjo all apart for careful inspection. See ad. The Whyte Laydie and Tu-ba-phone Banjos are immensely popular with professionals. The following letter has just been received by the manufacturers. Gentlemen: Buffalo, N. Y., March 4,1910.

Send at once another Tu-ba-phone Banjo with Perfection Case, also another Whyte Laydie Banjo No. 2 with Perfection Case.

The last ones vou sent were sold as fast I showed them. They have also sold the t*vo I am ordering today. Send them quick so these four will now sell four more and then some more.

I am writing this on a postal card as I know you will not mind if the post-man and others read it and possibly investigate.

Yours musically, W A L T E R A. B O E H M .

The Vega Mandolins and Guitars vary in price from $15 to $150. The V e g a and Fairbanks Co. have some ex­cellent catalogs which they will be pleased to send to anyone free and in addition will send photographs of various players simply for the asking. Visit Vega exhibit at the Convention. See ad.

The Place Arm Rest manufactured by the R h o d e Island Music Co. is a device which is fastened to the mandolin over or just above the tail piece covered with a fine grade of cloth. It prevents the coat sleeve from wearing on the edge of the instru­ment. Is especially desirable for ladies in evening dress with short sleeves as it forms a soft rest for the arm. There is a piece of felt with each arm rest which is placed over the strings and prevents any buzzing or rattling from the tail piece. It is especially desir­able for all mandolin players. It is made in two styles to fit any make of instrument. See ad. Ohio Field March by Harry Six is an excellent number for mandolin orchestras and is well adapted for teaching. See Six Pub Co . ad.

W h e n you desire to place two copies of music on a stand side by side, the Mills Music Stand which has an adjustable desk is an ex­cellent one to buy. See Mills Music Stand Co. ad.

The Symphony Harp Guitar manufactured by W . J. Dyer 6 Bro. varies in price from $27 upwards. It has 5 extra strings in addition to the regular 6 strings. The extra strings are tuned to C, B, A and G. making it possible to plav guitar accompaniments in any key. The Dver catalog is free for the asking. This firm also manufactures the Stetson line of mandolins and guitars. Excellent instruments and well constructed. See ad.

CIRCULATION OF

KEYNOTES GOES ON INCREASING EVERY ISSUE

is published on the first of each month in the interest of players of

THE BANJO, MANDOLIN AND CUITAR and the reason of its success is that it has the m o s t n e w s , the best articles of any British paper and not less than 8 pages of m u s i c in each issue. Sl.OO for 13 months subscription. 61 cents for 6 months.

Send 10 cents for specimen copy.

JUniN ALVbY 1 UKl>fcr«v, LONDON, ENGLAND The publisher of the largest European Catalog of Music for the above in­

struments May we send you a list gratis and post free-SUBSCRIPTIONS RECEIVED AT "CRESCENDO" O F H C E

As an Experiment W e have just published in the U. S- notation, complete with piano accompaniment, 24 of our best selling Banjo Solos, including 14 of

Vess Ossman's Hits ! (Arranged by himself and fingered and positioned.) Others by

JOE MORLEY and EMILE GRIMSHAW The most Popular English Composers of the day

&£% CLIFFORD ESSEX CO. 15A Qraftun St., Bond St., London, England

AND MENTION "CRESCENDO"

T h e Crescendo is compiling a list of the Mandolin and

Banjo Orchestras of the world. Crescendo readers and leaders

of orchestras and clubs will confer a favor by sending us names

of organizations, which will be published in this list from time

to time. Use blanh.

t3he C R E S C E N D O . 165 Tremont St.. Boston. Mass., U. S. A.

Xante of Orchestra

Director

Street

City or Town State

How many members

Instruments

Names and addresses of members may be sent on separate paper, stating instruments played.

Detroit Conservatory Mandolin Orchestra, Alex. G Poli, Director, 400 Canton A\e., Detroit, Mich. 18 members. Mandolin, Mandola, Flute, Guitar, Piano,

Garfield B. M. and G. Club, C. D. Smith, Director, 5407 Halsted St.. Chicago, III. 15 members. Banjo, Mandolin, Guitar, Piano.

The "Ditson Empire" Mandolins although thev have only been on the market for about two years have met with tremendous suc­cess, over 1200 having been sold in the last year. Prices vary from J15 to $150 and the instruments are constructed by experts with the idea of producing a beautiful quality of tone. The new Ditson catalog is a work of art. Send for it. See ad on page 5.