Hany Things Are

The

Done Well

Crescend

That

0

Are Not Worth the Doing

The horizontal setting of machine head through slots sawed in head of instrument, as per the old style Guitar and some of foreign Mandolin, is done well—but it is not worth the doing.

Vertical setting of machine head, as on all "Gibson" instru­ments, permits stringing and restringing with by slipping string off top of strin • i I of the long turning of the cog or putting the string back and forth to wind or unwind.

Multiplicity of glue joints (a feature always to be avoided) by multiplicity of bent ribs, decorated or flul

inlaid.between, and such diddle as e;u to make up the empty treasure and faulty construction of the bowl, are well d o n e — but they are not worth the doing.

The "Gibson" back-board, one board, sometimes two, never of strips nor ribs, can have at most but one glue joint, which is per­manent, for the back is not benl nor under strain but is carved out of a solid block leaving the grain layers in their natural position, free a n d sensitive.

A guaranty for a year against faulty workmanship or material used is done well—but it is not worth the doing, for any instrument made of even dry-kiln lumber will seldom check or warp till the second or third year.

The principle upon which "Gibson" instruments are constructed and the scientific accuracy of adjustment of each part lessen rather than increase the number of parts of each instrument, thus secur­ing the greatest durability. Therefore, every ''Gibson" instru­ment is permanently warranted against faulty workmanship or material used and will be repaired at our factory free of charge at any time, or replaced with another instrument of like style; which, in the above way, gives insurance for the life of the instrument equivalent to its original purchase price. W h o wants to buy tin instrument its own manufacturer won't guarantee longer than a year, or at most five years' If it is "a-just-as-good-as-the Gibson," if it really has the quality value that endures, why won't its manu­facturer give it just as good a guaranty?

The guard-plate, highly ornamented and finished, inlaid across

the sounding-board beneath the strings or on the first string side only, is beautifully done—but it is not worth the doing.

The guard-plate patented as on all "Gibson" instruments is elevated over and free from the sounding-board, is attached like the Violin chin rest and gives a flat, gliding surface to the little finger of the right hand to gauge accurately the dip of the pick, facilitates right hand technique, avoids checking or cracking of sounding-board at edge of the plate, retains permanently the use of the same sounding-board and eliminates the superfluous load from the most important and sensitive part of the vibrating sounding-board so that its power to magnify tone is enhanced.

or inlaid, glued to the the lines for gut and wire

not worth the doing.

The Guitar bridge, sounding-board midway bet stringing, is done ^well-but

The elasticity of gut strings requires high nut and bridge, which make wire strings (always of greater rigidity) sharp. Wire string

adjustment, therefore, necessitates moving the bridge back approx-I an inch from the line of gut string adjustment

ire true tones in all positions on all strings. All glucd-on bridges i" u ommodate both kind of stringing are set splitting

ind are, therefore, not true for either string-in.;. The "Gibson" perpendicular bridge is two-footed, is not glued to the sounding-board, and is immediately movable forward or backward to accommodate either wire or gut stringing, and thus secures absolute accuracy of all the scale on all the strings.

You may look for a cheaper instrument than the "Gibson" i well—but it is not worth the doing.

You may do for a cheaper instrument than the "Gibson" do you well. Lots of people have been "done" before

you that were not (musically speaking) worth the doing. But if you have musical discernment sufficient to do for a great instru­ment, you must have greatness enough to recognize and use the matchless "Gibson".

You may hunt for a cut-price Gibson agent and do it well, but it is not worth the doing, for the "Gibson" is sold at estab­lished prices the country over, which prices are consistent with the merit of our product. If one wants inconsistency in this par­ticular, or a price secured through one's own personally conducted cunning and would run his chances at buying according to his smart­ness or ignorance to drive a good bargain, buy of the agent or man­ufacturer whose catalog prices are list and then negotiate on the sliding-scale-of-persuasion-basis for a discount.

One may go months or even years trying to accumulate enough money to pay cash for a high-grade instrument and sacrifice well, but it is not worth the doing when as a responsible party, one may purchase the high-grade "Gibson" at as low as $1.00 down and $1.60 per month (only 5 cents a day) at no advance in price, and thus become a player by the time he would be ready to pay cash. Therefore, if it is a "Gibson", why wait? If it is not a "Gibson" one probably must wait, for agents and manufacturers of the old construction instruments do not thus extend to cus­tomers such liberal courtesies, but Gibson agents are at liberty to do business on our capital and thus are always able to extend these courtesies. But then, you would expect progressive busi­ness methods from the agent or manufacturer of progressive in­struments as surely as you would expect unprogressive instruments (the old construction) from the unprogressive in business methods. The size of the success of any house with which you deal may best be measured by the liberality in merit and deal said house gives you. It is the old law of compensation advanced by the Galilean, "Give and it shall be given unto you". Giving more in merit through a superlative construction, on easy terms of pur­chase, has proven to us the Galilean was right.

You may sacrifice to pay cash—but it is not worth the doing

If a teacher, do business on our capital. Stock furnished W e help sell. W e pay the advertising. You pay for goods when sold. Return goods not sold. Try our "Still Hunt". Catalog and thematic list free.

GIBSON MANDOLIN GUITAR CO. 505 Harrison Court = Kalamazoo, Mich,

Hanufacturers of the Mandolin and Guitar Family of Instruments

Built on the Violin Construction.

British Distributing Agent, A. deVekey. 1 Stafford Road, Bournemouth. England.

Australian Distributing Agent, W. J. Stent, 19 Hunter St., Sydney. N. S. W .

F R E E ! $2.00 worth (list price) of music, full sheet music size, for Mandolins, Guitars and Mando-cello in solo and Mandolin Orchestra combinations, for the name and address of One Mandolin and Guitar teacher, or Five

Mandolin or Guitar players.

The Crescendo

YOU CAN NEVER BE CURED of producing that thin, weak tone, that squeaky tremolo, or that rasping irritating delivery until you get a S T A H L INSTRU­M E N T , but after that you will know the pleasures and delights of ACCOMPLISHING R E A L MUSICAL effects. One may have much talent for music—or even be a master of Technic— but unless one has an adequate medium of expression upon which to perform, all talent and skill are well nigh useless.

Now when you purchase a N E W A N D I M P R O V E D S T A H L M A N D O L I N , M A N D O L A , M A N D O C E L L O , HARP-GUITAR, O R BANJO you secure an instrument which is the result of 24 years of constant study, experiment and work upon the part of the maker ; an instrument into which science, skill, experience and mechanical excellence are all combined to produce the perfect whole. M y instruments are used and endorsed by hundreds of the World's greatest soloists, players and teachers. T H E Y K N O W W H A T T H E Y A R E TALKING ABOUT. They have tried T H E "STAHL" and tried it out thoroughly. Don't take my word for it. Listen to the experts—or try one of my instruments yourself. Then you will know. Mandolins made in both the Gourd Shape and Violin Models.

Teachers and dealers may secure an exclusive agency for both styles in cities where I am not already represented. Send a postal today on its way to \A/!VI. C- STAHL 211 Grand Avenue, - Milwaukee, Wis.

Meet me at room 117 Continental Hotel during the Guild Convention. Take a Stahl Instrument to your room and test it thoroughly with any other make there. Will take only a minute to discover who makes the instruments Artists use. No wind in the Stahl goods or prices.

INVESTIGATE!

" SYMPHONY " Harp Mandolin Better than other Mandolins

Has a remarkably rich, full powerful tone of extraordinar­ily sweet quality. Its super­iority is apparent the minute you try it. We send "Symphony"

Harp Guitars and Mandolins on trial. Catalog free.

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

|THE SLIP-NOT MANDOLIN PICK Attractive

T h e pick that never

Three Thicknesses: Flex., Med. and Stiff.

Beveled Playing; Edges Soft rubber inserts which positively prevent pick

For Tremolo movement & "Trio" & "Quartet"

| style it has no equal.

1'ropottition

- *fc_

lL]n!F ••^Mhni v Tff1'' rSB • JL .m^MLW ^^JPVAJH

V§Ly \jw/ ^£s

Pat. apPd fo

To N.l U - s i i i r n

Postpaid 10c each. 60c per doz.

Write for wholes,!. We guarantee that vou will sell every one you order or we will refund the money.

V. S. MFG. CO. Oflioen

Marine IS»iik Itldj; Baltimore, Md.

NOW READY! The new and revised method for the banjo—by the worlds famous banjoist, Frederick J. Bacon. Contains latest system of fingering for both right and left hands -a careful explanation of major and minor keys—several pages on tremolo style of playing—transposition, and also *'C Notation" care­fully illustrated. Beautiful waltzes, marches, polkas and n e w variations on old home songs such as—''Old Black Joe" "Kinloch of Kinloch" (Scotch Air) and others equally as pretty. This book also contains Mr. Bacon's new march "The Conqueror." Price $1.00. Teachers must send card if not known, to get discount.

THE BACON-GOGGIN CO. 225 Qreen Street,

SCHENECTADY, N. Y.

GUITAR ITUSIC 40 lithographed books of music of about 8 pages each.

containing only the best works of prominent old and modern composers, out of print or never printed before.

Copies post free 25 cts.

24 Guitar Studies by H. GIULIANI, Op. 48

Incontestably one of the most precious works for the soloist. Price 60 cts.

Special discount to teachers and dealers.

F. SPRENZINGER Lechhausen-Augsburg Germany

Professional Member and Secretary for Germany of American Guild

F. E. COLE Manufacturer of H I G H G R A D E

Banjos, Handolins, Guitars SEND FOR OUR C A T A L O G

APPLETON ST. BOSTON, HASS.

15 Easy Classic Mandolin Duets By

R. L. Weaver For

Your money back if you don't think

they are the best in your repertoire.

Sonntag Music Co., 1808 Germantown Ave., Phila. Pa. 25 C.

C C I I T C D C C The most interesting and complete Strin OLll 1 iriLL catalogue ever Issued by us.

DID YOU EVER WRITE TO US ? WHI it you did and have moved during the past two years

send latest address. Just a postal with your name and address will bring

valuable and Interesting Information that will mean the savi you. this Includes you Mr. Professional or Mr. Amateur. Addr

H E R M A N COHN. 56 EastH7lh St., N

g and Instrument

. write again and

to you some very ig of dollars to ess the string man, Y. City.

ATTENTION 1

1 ALPHA \f\RR0Vil HEAD J

This is for the benefit of those people and who are always ready to join in tr

No Mi

ho are "from Missouri,' chorus of "you'll have

souri" ourselves 1 and wt iend for a sample of the nd try it out. That's all I

i\ to our skeptical friends. A r r o w h e a d Mandolin PtcK One pick ioc. three for 25c 75c. d

ALPHA MUSICAL BUREAU, Dept. Z. 95 Westminster St., Providence, R. I

• 1 exhibit al the Guild Convention

N e w Standard Music For Mandolin Orchestra In conjunction with Regular String Orchestra

A w a k e n i n g of Spring Romance Bach-Hildreth Ripple* An Intermezzo (New) Hildreth

W e give a very liberal discount on new publications. Send for particulars complete catalog and miniature ist Mandolin r-11 ,s-

THE CUNDY-BETTONEY, CO. 93 Court St, Boston.

PLEASE MENTION CRESCENDO W H E N WRITING ADVERTISERS

THE WITMARK

The Crescendo

W Mi(MMfc M. W I T M A R K & SONS May, 1911 96 Witmark Bldg-., New York

Just issued, containing the sensational hit

NEW FOLIOS Every Little Movement and numerous other

successes

Witmark Mandolin and Guitar Folio, No. 19

Arranged by T. P. and G E O . J. T K I N K A U S Guitar Ace 25c Piano Ace 50c Girl of My Dreams from The Girl of of Dreams).

M y Land(frorr, Barry of Ballymore) Katie-Did (from Katie-Did).

(fr.

1st Mandolin 2nd Mandolin Every Little Movement

Madame Sherry). I Love the Name of Mary (from Barry of Ballymore).

For You, Bright Eyes (from Bright Eyes).

Cheer Up, M y Honey(from Bright Eyes).

Loving (Love Comes at Morning, Love Comes at Noon (from New York Hippodrome produc­tion (1910-1911).

T o the Strains of That Wedding March (from Jumping Jupiter). The above folio

of the Violin part is LT>C .

I'd Love to Be Loved by a Girl Like You.

Doctor Tinkle Tinker (from The Girl of M y Dreams).

Cheer-Up, Brothers (Glory,Glory, Hallelujah).

Homeland (from Katie-Did).' Mother Machree (from Barry of Ballymore).

Teach M e to Pray. nd Piano. The price

Witmark Mandolin and Guitar Folio, No. 20

Arranged by T 1st Mandolin 25c 2nd Mandolin 25c Every Little Movement, Barn Dance or Schottische (from Madame Sherry).

Just for a Girl, Waltz. Take Me Back to Babyland,Waltz Shaky Eyes,March and Two Step. My Heart Has Learned to Love . You, Now Do Not Say Good­bye, Waltz.

Honeymooning Honev in Bombay, Characteristic March and Two Step.

Love-Sick, Barn Dance or Schot­tische.

and GEO. J. T K I N K A U S jc Guitar Ace 25c ic Piano Ace 50c •n Daddy Was a Grand Old Man. m March and Two Step.

Tie Your Little Bull Outside, Barn Dance or Schottische.

Down Where the Big Bananas Grow. March and Two Step.

'Frisco Rag. Madame Sherry, March and Two Step.

That's Yiddisha Love, Marchand Two Step.

The Girl of My Dreams, March and Two Step.

School Comrades, March.

T h e above folio is also published for Violin and Piano. T h e pric e

of the Violin part is 25c and the Piano part 50c.

ll •eras TT-

KfKMBCS

foup

Witmark Banjo Folio, No. 11 Arranged by T. P. T R I N K A U S

(American Notation only) Price Fifty Cents

B A N J O SOLOS

Dutch Kiddies, Wooden Shoe Dance. Temptation Rag. Charme D'Amour (Love's Spell), Valse Lente

Every Little Movement (from Madame Sherry).

My Heart Has Learned to Love You. Now Do Not Say Good-bye, Waltz.

Futurity, March and Two Step. Take Me Back to Babyland. Waltz. Porcupine Rag, Two-Step. If I Could Gain the World by Wish­ing. I Would Only Wish For You, Waltz.

Come. Be My Sunshine, Dearie. Turkish Imperial Guards, March.

S O N G S W I T H K A N J O ACC.

In the Garden of My Heart.

Every Little Movement (from Madame Sherry).

Tie Your Little Bull Outside.

Meet Me Where the Lanterns Glow

(from A Trip to Japan).

My Heart Has Learned to Love You,

N o w Do Not Say Good-bye.

For You, Bright Eyes

Eyes).

Uright

Witmark Guitar Folio, No. 10 Lrranged by T. P. T K I N K A U S

Price Fifty Cents

SONGS WITH GUITAR ACC. Cuddle Up a Little Closer, Lovey Mine (from Three Twins)

To the End of the World With You. I'm Looking for a Sweetheart and I Think You'll Do (from Pied Piper and Sporting Days).

The Yama Yama Man (from Three Twins)

The Message of the Red, Red Rose (from Marcelle).

Good Night, Dear. Sweet Girl of My Dreams (from Ragged Robin).

Here's to the Girl. No O n e Knows. If You'll Remember M e (from Ragged Robin.)

C o m e Be M y Sunshine. Dearie.

SPECIAL PRICES ON T H E ABOVE FOLIOS FOR A S H O R T TIME ONLY.

25 cent books 18 cents—50 cent books 35 cents. POSTPAID

•E7D0S Td

'lezzznzzz

foUo

G U I T A R SOLOS

Ma

To the l-nd of the World With You just Some One. The Teddv Bears' Picnic. Charact, istic Novelty.

Sleep and Forget.

Cuddle Up a Little Closer, Lov Mine (from Three Twins).

Cordova. Spanish Dance.

Mean Thoughts, a Thoughts M

Red Fe;

The Mi (from Marcelle)

You.

d T w o Step.

Df the Red. Red Rose

E V E R Y L I T T L I M O V E M E N T from MADAME SHERRY Price: Mandolin Solo, 30c; 1

Mandolin, Guitar and Piano, 60c and Piano, 50c.

nd Guitar. 4oc; T u

NAUGHTY MARIETTA GIRL IN T H E TRAIN

(Die Geschiedene Frau) M A D A M E SHERRY BRIGHT EYES OLD DUTCH N E W L Y W E D S Mus it on appn

ch of l Hns and Piano, 90c; M, English Notation) mc;

nd English Not.

SELECTIONS FOR MANDOLIN ORCHESTRA M A R C E L L E TRIP TO JAPAN PRIMA D O N N A RAGGED ROBIN SOUL KISS GAY MUSICIAN FAIR CO-ED

responsible parti-idolin Solo, 40c-, Guitar and Pian

MOTOR GIRL THREE TWINS TOP O' TH' W O R L D ALASKAN Y A N K E E TOURIST O'NEIL OF DERRY MARY'S L A M B

those furnishing references or making n o Mandolins, fine; Mandolin and Guit

Mandolins, Guitar and Piano and English Notation) and Pi; , '.mc

P I E D P I P E R

RED MILL PARISIAN M O D E L M A N FROM N O W HIS H O N O R T H E MAYOR W O N D E R L A N D MLLE. MODISTE

remittance to cover half the cost of music desin r, UOc; T w o Mandolins and Guitar, 75c; Mandol 81.00; Mandola (Octave) or 3rd Mandolin, 30c

i Mandolins and Piano, 60c; can and English Notation)

G R A N D M O G U L SPRING CHICKEN MISS DOLLY DOLLARS T H E RULER—Medley

i and Piano, 75c; Two Ma Banjo Solo (American

SEND FOR THE THE

TRAV'LER, complete catalog of our publications for Mandolin, Guitar, Banjo, MANDOLIN, containing tid-bits of our latest successes for Mandolin.

Tenor Mandola and Mando=Cello Parts can n o w be had to our big successes. Send for list or see our advertisement on page 23 of this paper.

JOT DOWN THE WORD "CRESCENDO' WHEN WRITING TO ADVERTISERS

The Crescendo

New Mown Hay BARN DANCE

By T. H. Rollinson For Mandolins and Piano (or Guitar) and Full

Mandolin Orchestra

IT IS ALSO PUBLISHED For Piano Solo, Band, Orchestra and T h e Victor

Mention This Advertisement and send Ten Cents

for Regular First Mandolin Part.

PLEASING WALTZES For Mandolin and Mandolin Orchestra Blue Danube Strauss The Skaters Waldteufel Love's Missive Rollinson Nydia " lldica Elvsium Gilder Girls of Baden Komzak Stars of Gold Aubry Symposia Bendix Estudiantina Waldteufel Over the Waves Rosas Fleurice Atherton Danube Waltzes Ivanovic Weiner Burger Ziehrer Dolores Waldteufel

All arranged by Odell

Do You Take Our New Issues? It Is Like Finding Money.

Oliver Ditson Company, 150 Tremont Street, Boston. CHAS. H. DITSON & CO., N E W YORK.

America's Musical String House

Good News For The Profession ! To satisfy an increasing demand Mr. J. J. Derwin— one of the leading composers of the day—has decided to publish a few of his best compositions, starting with the following:—

Inspiration Caprice for 2 mandolins and guitar 50 Galop di Concert for mandolin (unaccompanied) .30 Out In a Canoe, banjo solo or duet .50 A Dream Of The Circus, Galop, banjo solo .40

These are very effective for either concert or teaching purposes ; not difficult. Discount 1-2 oft.

Teachers send for complete lists <& discounts.

H. F. ODELL & CO. Selling Agents, 165 TREHONT ST. = BOSTON, HASS

Progressive, mastery. M r , Mrs., or are content to plod along in ;

a grave Is the depth.

Enterprising—and therefore successful teachers and students are always eager to learn of new helps for teaching or

• --tied with limited attain

T h e difference between a rut and

"BIG W O N D E R " "Having just had the pleasure of thoroughly lectin,; your "Music Developer

I have one criticism to make. You call it the " Little Wonder." It is a "Big W o n d e r " — a n d m o r e — H is the biggest wonder of the Twentieth century in musical progress.

" T h e use and proper application of your device will mean much to the amateur, the student and the artist." C L. P A R T E E , f o r m e r Editor of

the Cadenza, Author, Composer and Editor of the Internation­

al Music Review. If you are among the Progressives, send Postal request for circular.

THE HUSIC DEVELOPER "The Little W o n J e r "

Price. Cash with order, to introduce. $1.00

D. E. Hartnett, 120 East 23rd St., New York City. tor or tlw Hartnett Tone-Bar KS.OOjand Tone-Lever

S2.00 fr III

For one month only w e offer this sensational song

success of two contents at less than wholesale rates

CASEY JONES March Newton

Mand. solo ioc ; 2 Mands 14c ; Mand. and Guitar 14c; 2 Mands. and Guitar 18c; Mand. and Piano 18c ; 2 Mands. and Piano 22c; 3rd Mandolin or Mandola ioc

Carl Fischer COOPER 5QUARE New York

(Boston. 380 Boylslon St.

This charming melody in a beautiful arrangement

for 30 days only is offered at special prices.

" O Belle Nuit" known as the

BARCAROLE ''Tales of Hoffmann" Offenbach

Mand. solo ioc ; 2nd Mand. 8c ; 3rd Mand. 8c ; Tenor Mandola 8c ; Mando-Cello 8c ; Banjo

obligato 8c; Guitar a 8 Pi c. 14c

€0.8243358

T h e Cirssigeinidl© DEVOTED TO THE INTERESTS OF THE

Mandolin, Guitar and Banjo OFFICIAL ORGAN

OF THE

AMERICAN GUILD

Banjoists, Mandolinists and Guitarists

VOL. ill. BOSTON, MAY, 191 I. No. 11]

BOSTON FESTIVAL MANDOLIN ORCHESTRA.

The above cut represents the Boston Festival Mandolin Orchestra of 250 members. The orchestra is directed by Messrs. H. F. Odell and G. L. Lansing. This is the fifth year that this immense organization has appeared at the Boston Festival Concerts. T h e above photograph was taken at the dress rehearsal at which about 200 of the members were present. W h e n all the members were present the organization filled every foot of space on the stage. The instrumentation is 1st mandolins, 2nd mandolins. 3rd mandolins. tenor mandolas, mandos-cellos. cellos, flutes, violins, guitars, banjos, piano, drums, bells, traps and the grand organ which is one of the finest in the country.

The Crescendo

THE HODERN PIANO. By Edward R. Oo-y

"Oh, yes, we have a piano but nobody in the house plays." How often m y friends have you heard this ex­pression, and alas! how true? Furthermore might I ask, why is such a condition not the exception but in nine cases out of ten, the rule? One invariably finds the piano of today, a parlor ornament and not a musical instrument, unless it is a self player.

"Try this on your piano."

'Tis a trite phrase and has served its purpose for no matter what it is that expression refers to, from an overture to an axe, one is not likely to pass it by without trying il on the piano, providing there happens to be anyone who can try it. The absolute and unqualified reason why the publisher said, "Try this on your piano" is because you can't get past it. There is a piano everywhere. You can't lose it.

Twenty years ago the children along the street came and stood around your doorstep whenever your younger sister was practicing her music lesson, enraptured as they would be were a hand-organ and a monkey to appear. It was unusual. The wheezing notes of the old cottage organ were common enough but a piano was enough to cause a riot in the street. W h y even ten years ago, "the old folks" were calling it "pyanno" or pyanny" and no­body ever said a word. Today if grand-father sitting over in his corner between the steam radiator and the gas range were to effervesce with the expression "peeanner," Mary Ann, who has since evoluted to "Marie Antoinette" would hoist the indignation signal and chirp "Father, I am sur­prised at you. Cawn't you ever remember how to pro­nounce that word ? It is 'pee-ah-no,' not 'peeanner' or 'pyanner.' 'peeahno.' Now do try and remember the correct pronounciation as well as that of another word which you continually mispronounce, which is not 'to-mate-o' but 'to-mat-to'." Grandpa, sits in pensive mood a moment and then inquires, "Then why not say 'po-tat-to' instead of 'po-tate-o.' He then triumphantly hurls the final harpoon, laden with the deadly and telling venom of •sarcasm, which acts as a temporary quietus. "Now, Maree Antwanette, if you could only play on thai 'pee-aw-no' after having it in the house for ten years, as well as I could pronounce it the first, time 1 laid eyes on it you'd Vic doin' almost as well as I expected when I put up the $437 and a brindle cow for the denied contraption."

The fact is that Marie Antionette can just about manage to procure from those worn, rusty and missing strings the pathetic strains oi the old familiar "Star of the Yeast" or "Fairy's Wedding Waltz" with its villainous "glissando" that a hod carrier could not play incorrectly

re he to blindfold himself and go after the thing with a base ball bat, whereas there was a time when "Pather" kept the house mortgaged to give her peeahno lessons hoping that she could learn to make it kick notes in the face of any of the young men in thi m parts, so fast and furious that they would be blown around in the "id sit­ting room like a straw scarecrow in a Kansas gale.

It's this way now. You can'1 vet away from the piano any more than you can break loose from the old platform rocker or put the kibosh on the family all It is always cropping up somewhere, principally ' it is fashionable to have one whether i1 is played or not. Perhaps we could stand for that by organizing the city corps of piano owners like a police force and turniri to the angry populace any inco: inefficient, or

ineffectual members of said corps, if it were not for the the fact that one can seldom get hold of anyone who can play one of the things. Of course that would seem to mit igate the evil to some extent in the eyes (or ears) of the uninitiated, but not so. True, few can play a piano, but that doesn't hinder a lot of people from trying.

And Oh! what success!

Of course Marie Antoinette is out of the race but just watch'Toinette "ma's own darling 18 year old wonder." Yes, I said "watch." What did you think I would say if I wanted to indicate anything worth while? Listen ! Nay, Nay, and once more a couple of times. You can look but don't you listen, for take it from me, b-u-m is the word. But the way she can stir up those glistening ivories. It is a caution. It is really an enjoyable per­formance (if you take m y advice and j ust watch her.) Listen to her and you will run to a boiler shop for peace and quiet.

There is one way to put the crusher on little 'Toinette though and while it is a little cruel, desperate means must sometimes be the resort in desperate cases. Just stick down before her any easy piece of music which she has never seen before, no matter how simple it may be, or slide out an accompaniment to a set of waltzes in the key of C, and note what happens. She may nail the first two measures of the accompaniment of monotonous — " U m , pah, pah, Um, pah, pah," until she sees before her C. sharp bass, treble, A sharp, C sharp, and E, then with painstaking and deliberate accuracy carefully plays instead—B natural bass, treble A natural, D and G, which sounds heavenly—perhaps. It is all off of course. 'Toinette gasps, turns pale, and crumples like a starched collar in a Turkish bath. If you are quick enough you may catch her before she hits the floor and if you have smelling salts and a piece of fudge handy, her life may be saved and not have to go snuffing along in the great beyond amid the ultraviolet vibrations of "lias Anybody Here Seen Kelly?" or "Rings on my Fingers."

Strange it may be, alas how true" that there are few real pianists any more since the piano became a household necessity and not a luxury. A true accompanist, avaunt ye sophistry, they do no longer be. List! A man once said when asked to play, thai lie had never performed on a piano but once and thai under most unusual circum-

nces. "Twas when our houseboat sunk," he said, "My wife floated .ashore on Ihe folding bed and 1 accom­panied her on the piano." (This joke is awful but I had to do it.)

That is the way of the modern accompanist. He might accompany one on the piano in some such i but that is all. Unless you pay well il is hard to get an accompanist who could follow Joshua Bradshaw pla "Peter, Peter, Pumpkin Eater," on a jewsharp.

*>li, prophel who will leach us to play the pianos wc arc cursed with, or give us full instructions as to I he must artistic way of turning them into incubators or refrigerators.

an ahnosi hear a number !•( voices propounding the question, "Wh 'ay know about a piano?" To which I promptly and proudlj reply without any hesitation,

1 reservation, or secret evasion of mind wha "ABSOLUTELY NOTHING." Consequents I fed

n of the modern piano and its owners riticismonl} lor those whom the cap fits.

^ 3 k

The Crescendo

SUBJECTS OF THE DAY. By Herbert Forrest Odell

Good Enough to Learn On.

A new pupil goes to a teacher for his first lesson. The teacher politely asks him to take his instrument out of the case. The pupil draws forth from a green bag a mandolin which at retail value would be worth about $4.69. It wrould not be polite to write what the teacher says.

Another pupil goes to another teacher, takes out of an old battered canvas case a banjo, that is, something

that looks like a banjo with a yellowish, dark head, a single hoop with all of the brackets cutting into the head and with a neck that looks almost like a question mark. Both pupils, when finally the teachers rccDver enough to ask them where they got the instruments, reply " W h y I thought it was good enough to learn on." Is it any won­der that a number of those who start in taking lessons on the mandolin, banjo and guitar never reach what might be called an ordinary degree of perfection?

I realize that many who first take up the study of these instruments don't care to go to a great expense until they ascertain whether or not they have requisite ability to learn to play the instruments but can anyone in this world explain to m c why a supposedly sensible minded person can expect to learn to play on an instrument which really isn't hardly good enough to start a fire with. I know positively that many who have started on these horrible instruments have after a time given up in dis­gust, one reason because they were unable to produce a real musical tone from their instruments. A person does not buy a dozen of bad eggs with the idea of trying them and then finding they really want some eggs buy a dozen good ones, and yet hundreds of people buy "bad eggs" (mandolins, banjos and guitars) to learn on. It is absolutely ridiculous for those about to begin to study one of the three instruments to start off with the worst handicap they could possibly have, a bad instrument.

It is no! an easy thing for the beginner when first .starting, to produce tone even on a good instrument but when he starts to try to produce tone from a poor instru­ment he is immediately discouraged and only those with the necessary amount of pluck stick to the instruments long enough to become players.

.Manx- teachers arc at fault in attempting to teach pupils who haven't at least a fairly good instrument, but, unfortunately there are unscrupulous teachers, who in order to get their money, would leach a pupil to play on a cigar box strung like a mandolin or banjo if the pupil were not wise enough to know better. Mandolins, banjos and guitars can be bought at all prices from $1 upwards but a high grade instalment of any make cannot be pur­chased at less than $15 and it would be even better for all pupils to pay at least $25 for an instrument at the start.

There are a number of firms who manufacture high grade instruments and whose lowest priced instruments are sold for $15. There are one or two instruments which are fair which may be purchased between $10 and $15 but I believe that if a person has made up his mind to learn to play the instruments, if he is not confident enough of his own ability to at least make some headway and invest the small sum of $15 in an instrument, he had better try something else for diversion. Today it is possible to purchase almost any of the leading makes of instruments on the easy payment plan by paying $1 down and$l or $2 a month. W h y then, with this easy way of obtaining a good instrument isn't it better for the prospective pupil to buv an instrument valued from $15 to $75 or S100,

when it can be paid for at only a few ecu Is a week. It is one of the greatest benefits to the mandolin, banjo and guitar fraternity that the various large manufac­turers have made arrangements whereby those who pos­itively cannot afford to pay a large sum all at once m a y purchase instruments by this plan. The result has been that today thousands of people own good instruments of standard makes, and not only are they able to play better but they find more enjoyment in studying and they carry their study further than a score of years ago when a years study was considered a very long time.

The cheap trade instruments which were manufac­tured for the Fake Schools at the rate of 97 cents to $1.25 each in hundred lots have somewhat disappeared but all teachers continually come across some of these old instruments which have been sold to pawn shops or which have been taken in exchange for new mandolins and it is a disgrace to the profession that some teachers will allow pupils to start taking lessons without a proper instrument, not expensive, but simply proper.

Most mandolins which sell at less than $10 to $15 are what are called "trade instruments." They are manufactured in large lots and are supplied to dealers at a very low wholesale price and are practically worth­less except for ornaments. On most of these instruments the fretting is very incorrect. The frets seemingly are inserted for artistic, criss cross effects rather than for accuracy. Almost invariably such frets extend over the fingerboard and the pupil's hand running up and down the fingerboard in playing gradually becomes scratched by these frets, sometimes so severely that blood poisoning results. The fingerboard of most of these instruments is always made with a rather grace­ful curve, the manufacturers probably thinking that the artistic curve would catch the eye of the buyer. The machine heads on these cheap instruments sometimes turn all right but more frequently when they are turned very slightly to raise the string, a bit, they take a sudden jump up, two or three tones. If one of these instruments is put in what is called fairly good tune, it is natural to try the octaves at the 12th fret. Generally the teacher finds the 12th fret an octave and one half tone above the pitch which it should be. The above is a description of hundreds of mandolins, which all competent teachers will agree with me, is not exaggerated. It is impossible for a pupil to play on such an instrument. M a n y try it but cases are very rare when a person starting on one of these inferior so called instruments of theirs ever be­comes proficient enough to play ordinarily well.

The cheap guitar of the same grade as the mandolin spoken of is generally made in large lots and strung with wire strings by the manufacturer who intends the in­strument to always be strung with wire strings, there­fore when the teacher tries to rcstring the instrument with gut strings, the strings immediately break and the poor pupil must either go ahead and learn on wire strings which on the guitar are an abomination or lose the money invested in the cheap guitar and buy a new one. It is the same with the cheap banjo. A cheap banjo generally has only one groove in the rim. This means it is impos­sible to tune the head only up to a certain point and as the entire life or tone of the banjo is in the head, it is nonsense to waste money on a banjo which has not a a double grooved rim.

Prospective players, of the three instruments, might well take this fact into consideration. Let us sup;

(Continued on page 20)

The Crescendo

GUILD BULLETIN

The date of publication of the Crescendo is about

the 25th of each month. As the convention this year

took place after the forms for the May issue were closed,

it was deemed advisable, rather than to hold the May

issue for a week or ten days to publish the May issue

at the usual date and have all the reports of the Guild

convention and concert appear in the June number,

therefore the next issue of the Crescendo will contain

full reports of the T E N T H ANNUAL CONVENTION

AND CONCERT.

The fact that in spite of scoffers, the AmericanGuild has just held its Tenth Annual Convention is a positive proof of the successfulness of the organization. Two or three years after the birth of the organization a number said that the Guild would not last long. During the last five or six years the organization has made tremen­dous strides forward, and as previously announced, it includes as members today almost every one of the vir­tuosi of the country. Hundreds of prominent teachers in the large cities in the east, in the west and on the Pac­ific coast and also the largest and most progressive manu­facturers of the plectral instruments and publishers of music. Ten years existance for any musical organiza­tion is somewhat remarkable. Many musical societies, clubs, etc, are organized and after three or four years frequently are disbanded, therefore the American Guild has proved that such an organization was needed and that it is a distinct success. Its usefulness as an assist­ance to the fraternity and trade is very evident when one stops to consider the general improvement in the manufacture of instruments, the addition of new instru­ments to the mandolin orchestra instrumentation, the publication of the standard music of the world for full mandolin orchestra, published in a uniform manner care­fully arranged and edited.

The American Guild was formed in Boston in 1902 at which time the first convention and concert was held. The other conventions were held as follows, second, 1903, Phila. Pa., third, 1904, New York City, fourth, 1905, Boston, Mass., fifth, 1906, Springfield, Mass., sixth, 1907, Phila. Pa., seventh, 1908, Washington, D. C, eighth, 1909, New York City, ninth, 1910, Newark, N. J., tenth, 1911, Phila. Pa. All expenses of a concert are paid from the sale of tickets from the annual concert, therefore after due deliberation the affairs have been given in the above cities which are principally in the eastern section of the country for the reason that a large majority of the members are in the east or middle west and in order to make the affairs financially successful it has been necessary to give them where a large attendance might be assured.

It has been the earnest wish of all officers who have served during the past ten years to have the conven­tions held farther west. New England, New York and Pennsylvania lead in the number of members but there are many members also scattered through the Northwest and the Pacific coast and the time is not far distant, possi­bly within two or three years when a successful conven­tion can be held considerably farther west than any of the previous ones. It is hoped that the time and place of the next convention can be announced in the June Crescen­do.

JOIN T H E GUILD.

Hundreds of teachers read the Guild Bulletin which appears in the Crescendo monthly. An invitation is extended to these teachers to join the organization. It is to the advantage of every teacher to become a member of the organization which is doing so much to promote the interest in the mandolin, banjo and guitar in this country and abroad. The cost of membership in the Guild is normal, the dues being only $1 a year and certain­ly it is worth $1 a year, an actual cost of less than 1-3 of a cent a day for a professional teacher of these instru­ments to have the Guild professional certificate stating that he is a qualified teacher hanging in his studio where his pupils may see it.

Among the soloists who are members of the Guild are W m . Foden, Samuel Siegel, W e n t ine Abt, Guiseppe Pettine W m . Place, Francis Potter, G. L. Lansing, Geo. Krick, Claud C. Rowden, J. J. Derwin, L. A. Loar, A. A. Farland, Frederick J. Bacon, and the list of teachers including such people as D. E. Hartnett, Paul Eno, C. E. Austin, W . M. Rice, C. S. De Lano, J. A. Handley, Walter Stent, D. Acker, Carl Tschopp, Mrs. C. A. Lang, Miss Cora Butler, Miss Claribel Jeffery and among the trade members will be found the largest publishing and manu­facturing houses in the country. These names include just a few of the many members of the organization. The membership includes people in almost every state in the Union and yet there are a number of cities where teachers are successfully working that have not considered joining the Guild. To them, especially, an invitation is extended to come in and be one of the many who are trying to assist the progress of the banjo, mandolin and guitar.

Full particulars in regard to joining may be obtained from the Secretary-Treasurer, H. F. Odell, 165 Tremont St., Boston, Mass. Don't stop to think it over. Act at once. Write now. It is worth your while.

Regular Guild Pin, 75 cents each. Sold only to Professional, Associate and Trade members. Made of red and white enamel and gold plate. May be obtained from Secre­tary. Cut of pin to use on stationary 25 cts.

The Guild Club Members Pin is now ready and mem­bers of Guild clubs may purchase the same from the Secre­tary. The price is 25 cents or 27 cents by mail. The pin is the same size as the regular Guild pin. The front is of a rich quality of dark blue enamel with the words "American Guild" of B. M. G. Club in gold letters. The pin has a gold rim around the edge and the back of the pin is a fine quality of gold plate. It is sold only to Guild Club Members. H. F. Odell, Sec'y-Treas.

RECENT NEW MEMBERS.

PROFESSIONAL.

Byron W . Way, 2420 So. Broad St., Phila. Pa. (reinstated)

Marguerite B. Lavery, 106 Broadway, Detroit, Mich.

Amy E. Greene, Eastern Arcade, Melbourne, Victoria, Australia.

TRADE. Alpha Musical Bureau, 95 Westminster St., Providence, R.L

The Crescendo

Questions and Answers. Prominent Guild Hembers. This column open to all. Send in your questions.

Question—Why have the best musicians both here and abroad ated the banjo from the mandolin orchestra? M a y not the

nan lor this instrument be treated still differently than at present and thus make the banjo a telling instrument in the mandolin orches­tra? R. 1). G .

Answer-We can hardly agree with the first part of your question-m d s of orchestras today use both ihe mandolin and banio

in the instrumentation, the banjo being used of course principally on obbligato parts, although of late years the banjo has become more and more separated from the mandolin orchestra. In regard to the second part of your question, the banjo certainly could be treated much differently than it is at present. The banjo obbligato in many mandolin orchestra arrangements today is nothing more or less than banjo second accompaniment part. There are, however m a n y reasons for the present system of arranging banjo obbligatos.' In many cases, the composition puts the banjo in a key which is not

.Hy desirable to play in, therefore it necessitates making the banjo obbligato a very easy part. In some pieces the banjo play­ing afterbeats is quite an assistance to any orchestra but we believe

ine will come when the banjo will be treated much different­ly, as an obbligato instrument, and counter runs or counter effects banjoistic in style, will be used instead of the present form. If you will carefully study some of the latest arrangements pubUshed by the leading houses, you will find that the banjo is being taken

- nd more away from the old style of accompainment and used on obbligato effects. The one great difficulty in trying to make the banjo a more telling instrument in the mandolin orchestra is the fact that a large majority of banjo players in the orchestra can play nothing but the most simple parts. W e have even heard our best

mplmg to play the ordinary obbligato parts a.s at present written and make sad work of it. W e know of

. lu ie banjo obbligatos have been published which we consider fairly easy but after being published, requests were received • the bai my attempt I ;,jo part more musically is necessarily frowned' upon by a majority of players as

• ||M" i abilit] to plaj anj thing more than the irj parts. When the time comes, which we believe will, that

proper literature, n tudies, etc.. believe with the more advan

"i ban decidedly more interesting obbligato pi lolin or, hestra numbers. The n

qua] i<> iny instrument, but ihe p(

I on a w n little literature for the instrument nardlj i- b i : noi being

banjo obbligato parts more difficult than those published.

Question An down md up troki different in mandolin playing or is there a rul< ' It R.

Answer W e don't exactly understand what vou mean by asking if down and up strokes are different but there are a num­ber oi ndes governing ihe ua i playing N»me methods teach that all strokes hould be down whi

gel them so. It is a rather antiquated idea although still used by many players and teachers. It would be jusl sible to say that all the bowings on the violin should be down where

them. A large number having learned to play lin from methods which have been in existance for many

ieve that there i- only one way to do a certain thing, where as later and mop ow that

Lre newer, morepn g of doing things.than shown in Id methods. The most progressive rule is to alternate the strokes

ssible. Players who play with this method are as (ting a good tone with the up stroke as with the down

stroke. Il is impossible in the limited space in this column to give the various rules. A general rule which is very good to re­member is that th. is usually employed on accented

nd the uj) stroke on unaccented notes. For the latest ideas and rules tor picking we refer vou to the Odell Mandolin Method in which the rules lor picking employed bv Munier, Pietrepertosa and also the older t , w n and explained.

Question -What would be the difference if notes marked ively down should be played down and up.J D. R.

Answer^It depends entirely bv what method vou play the

n your "• I' you pi >lete methods which unfortunately

who haven't the ne are other wavs of playing and

lid play your down strokes on two strings plaving only one string with the up stroke you had better stick to the sue-down s . as your up stroke is practically worth-

familiar with the more pn . t that

?• • f you speak of with the alternate stroke vou will obtain n each note or in other words your tonal

I»erior to the first method of playing.

Frank B Smith

il. B. Smith was born in Manchester, V II He organ udy of music at the age of ll, his first instrument being the

banjo. When 12 years of age, he tool and later thi' mandolin ami guitar. He lias laugh! the banjo,

im and guitar for a tmnil • (le ha i in many large

Mr. Smith studii d I ' llynn, the world's leading stu lied harmony

and theory with P. W . Batchelder. Mr. Smith is now a resident oi Wallin

a large class of pupils and he ii the instructoi oi the banjo, mandolin and guitar at the Phelps School, an exi I young ladii , Mr. Smith has gained considerable reputation as a composer and many of his numl popularity.

He has studios at 43-44 Insurance Building. X e w Haven, Ct., 12 Centre St., Wallingford, Ct. Mr. Smith is a member of

the X e w Haven Lodge Xo. _'."). B. I'. 0, Elk . Old Hiram Lodge, Xo. 1. A. P. and A. M.. the National Qualified Teachers League and has been a member of tia American Guild since 1(107. He is

ical director of several orchestras .and clubs among them being the Aeolian Mandolin Orchestra, the Wallingford Ladies Man­dolin Orchestra and the Smith Juvenile Mandolin Club eor. entirely of boys whose ages range from 10 to IS

Mr. Smith contemplates forming a 1 in X e w Haven in the near future for com 'al uork.

Thank You. Grant Mannis, Topeka, Kan.

"The Crescendo for April received and it is too good

comment. The article by T. H. Rollinson is to the point and will

prove effective to all who read and think, and all those h i. ing read

the 'Mandolin Orchestra' and those w h o are reading 'Subjects of

the Day' by Mr. Odell must greatly benefit even though they be

good players or teachers"

Miss Vernie Yates, Union Springs, N. > .

"The music and articles in the Crescendo are good

the recent articles about the banjo, its treatments an.

so forth. While the music is sweet and tuneful. hard

for the ordinary player."

io The

15he CRESENDO. A Magazine for the Player, Student and Teacher of the

Mandolin, Guitar or Banjo.

HERBERT FORREST ODELL, Editor and Manager.

Published Monthly by the

CRESCENDO PUBLISHING CO., INC.

Ente/ed as second class matter June 9, 1909, at the Post Office at Boston, Mass. under the Act of March 3,1879,

SUBSCRIPTION PRICES.

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

ADVERTISING R A T E S will be sent on application. Forms close on the ioth of each month for the succeeding month's issue.

R E M I T T A N C E S should be made by Post Office or Express Money Order, Registered Letter or Bank Check or Draft. Checks accepted only on banks with exchange in Boston or New York.

C O R R E S P O N D E N C E is solicited from everybody interested in the Mandolin, Guitar or Banjo. W e should be pleased to receive programs and reports of concerts, club and orchestra news, personal notes and music recently issued.

W e are not responsible for the opinions of Contributors.

ADDRESS COMMUNICATIONS to the Editor. ALL RE­MITTANCES should be made payable to

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

VOL. III. MAY ion. NO. il

E D I T O R I A L S .

Full particulars of the Tenth Annual Guild Con­vention and Concert will appear in the June Crescendo.

The following letter recently received causes us to write a few words in regard to the value of the Crescendo or^a similar magazine to members of the fraternity.

Chicago, 111.

Crescendo Pub. Co.

Dear Sirs:—I entertained myself yesterday by read­ing most of m y back numbers of the Crescendo. The

result? Interesting reading matter that was educational to a player of the three instruments. The article on the Mandolin orchestra by Odell is good. Always read the

advertisements and have secured m a n y good pieces of music that way. Another result profitable to the pub­lishers and myself; all the music in the Crescendo for mandolin and guitar is good and I a m going to send for

the extra parts to complete m y orchestration. Here's success to the Crescendo and the American Guild.

[Yours truly,

J. H. Johnstone.

All publishers of music, undoubtedly, receive weekly

a number of letters asking where the writers can obtain

suitable music for the mandolin, guitar or banjo as the case m a y be. The answer is an extremely simple one,

Crescendo

read the Crescendo or other similar papers. A publish­

ing firm only a few days ago called our attention to a letter which was received. The writer was forming a

mandolin orchestra and wanted to know where he could get music. W e hardly think he was a reader of the Crescendo or Cadenza. If he had been there would

have been no need of his writing to the publisher as he did, because all of the progressive firms carry continual advertising in these magazines. The latest pieces for

all of the instruments are advertised monthly and Mr. Johnstone's letter above is merely one illustration of a progressive m a n who not only reads the articles but also reads the advertisements and through the advertise­ments secures the music he wants for his organization.

The music in the Crescendo is interesting, it is good music, the articles are all of extreme value to players and teachers but in addition, a careful perusal of the advertising pages is of the greatest benefit to anyone w h o plays music on any of the three instruments or w h o

desires to buy any one of the three instruments as the Crescendo advertising columns include the advertise­ments of the most progressive manufacturers and pub­

lishers at all times.

It is acknowledged by almost everyone that the

correct instrumentation today includes in addition to to the mandolin, guitar or piano, the tenor mandola and mando-cello. Such firms as Oliver Ditson Co., White-Smith Co., Cundy-Bettoney Co., Walter Jacobs, Gibson Co., H. F. Odell & Co., and other smaller firms have already published m a n y of their own copyrights or standard non-copyright numbers for mandolin orchestra but there is today some excellent music published from the light operas or musical comedies which, while it has

had extreme popularity has been a sealed book to the mandolin orchestra mentioned above for the reason that the tenor mandola and mando-cello parts could be not ob­tained. The announcement in the April & M a y Crescendos that M.Witmark & Sons have published parts from these two instruments to almost all of their popular operatic successes was indeed good news for the profession. N o w

it will be possible, in addition to using standard over­tures, concert numbers and characteristic pieces pub­lished by the first mentioned houses to include in concert programs selections from the popular successes of the day. W e especially refer to the writings of Victor Herbert, Karl Hoschna, G. Luders and others of this class.

Again we call the attention to the advisibility of read­ing the advertising columns in the Crescendo a.s well as the text matter. W e haven't any doubt that many

club leaders who read the advertisement of M . Witmark

& Sons last month have added these excellent operatic numbers to their repertoires.

A mandolin orchestra to be successful must vary

its program. W e believe that the standard overtures or standard concert numbers are really necessary for a

program and we also believe thai when an opera becomes as popular as Mile. Modiste or M a d a m Sherry a selection or number from such opera should find a place in the programs.

W e arc quite positive thai the publication of the tenor mandola and mando-cello parts was first brought about by the action of the American Guild in recommend­

ing these parts. It is indeed gratifying to see the various

publishers fall in line, thus making mandolin publications m the U. S. practically uniform in the instrumentation issued. It means a larger field for the mandolin orchestra leader to select his music from and it means increased

\ and activity in the mandolin orchestras.

Rend the ads. Mr. Mandolin Orchestra Director Thev will tell you what you wan! Tor your orchestra.

•& MANDOLIN or VIOLIN.

SWEET ANEMONE WALTZ

30 FA. GOULART. arr. by H. F Odell.

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"Ye Boston Boy." MARCH.

Intro. FRANK B. SMITH.

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The Crescendo 19

PROGRAMS OF CONCERTS AND RECTIALS

v Odell-Lansing

Tschopp

Tenth Annual American Guild Concert at Philadelphia,Pa. April 25, 1911.

1 Festival Orchestra a. March "The Gay Chauffeur"

b. Overture "Venus" Carl Tschopp, conductor

2. Banjo a. The Enchantress Valse Brilliante Bacon b. Massa's in the cold cold Ground,varied by Bacon

Frederick Bacon

3. Mandolin Concerto Patetico (1st movement) Pettine

Guiseppe Pettine

•4. Guitar Grand Fantasie "FausJ" Gounod-Foden

William Foden

5. Plectrum Quartette Quartetto Originale (in Sel. magg.) Carlo Munier a. Allegro-B&C Quasi Adagio and Minuetto and

Rondo Finale Krick Plectrum Quartette

Concert by the Gibson Mandolin Orchestra, F. J. Baldwin, Dir­ector, Mar. 14, 1911. Assisted by Valentine Abt, Mandolin and Harp Soloist, at Rhinebeck, N. Y.

Gibson Orchestra a. Gibson is King Williams-Odell b. Dream Kisses Walter Rolfe

Mr. Abt, Harp a. Melodie in C b. Reverie Abt c. The Fountain

Mrs. Wallace, Soprano, Orchesrta Accompaniment Love's Like a Star Odell

Gibson Orchestra The Lost Chord Sir Arthur Sullivan-Odell

Mando-cello,—F. J. Baldwin Berceuse from "Jocelyn" B. Godard

Gibson Orchestra Lustspiel Overture Keler Bela

String Quartette a. Lead Kindly Light b. Sweet and Low

<j. Banjo

7. Mandolin

Polka di Concert Sweethearts (Romanza)

Frederick Bacon

Bartlett Bacon

Mandolin a. The Brooklet b. In Venice Waters c. Fantasia Abt

Gibson Orchestra The Meteor Rice-Odell

a. Preludis Munier b. The Last Kiss, Fantasia (unaccompanied) Pettine

Guiseppe Pettine

Guitar Duet Valse "La Ballerina" Foden

William Foden & George Krick

Selection-"Bohemian Girl" Balfe-Odell Festival Orchestra

Mandolin Orchestra Recital by Pupils of C. A. Templeman, at Fremont, Nebraska, Mar. 9, 1911.

a. The Troopers March F. J. Bacon. b. Water Lilies Idyl, Johanning-Lansing. c. Timbuctoo (An African Idyl) Geibel-Odell

Mandolin Orchestra The Summer Girl Waltz A. J. Weidt

Banjo Club a. March, The Phenomenon H. F. Odell b. Loves Golden Memories H. F. Odell c. Oddmcnt Danse Di Cupid H. F. Odell

Mandolin Orchestra

Mar. Concert by Webbers Juvenile Orchestra at Spokane, Wash 3, 1911.

Concert by the Gibson Mandolin Orchestra Mar. 31, 1911. Paul Goerner, Director.

a. March—"Gibson is King Williams-Odell b. Waltz—"The Third Degree" Theo. Bendix

Orchestra "The Band Master" Aubrey Stauffer

The Gibson Quartette—Mr. Goerner, Miss Winters, Mr. Hartung and Miss Case

Guitar Duet—"Reve De La Cigale" A. Chenet Miss Hucker and Mr. Goerner

Cornet Solo—"Grand American Fantasia" Altenbaugh Miss Mary Arena Altenbaugh

a. "Behind The Hounds" Allen b. "Timbuctoo" Geibel-Odell

Orchestra "Yankee Dandy" A. J. Weidt

Bacon Banjo Quintette—Miss Allen, Messrs. Goerner, Borgum Haltsley and Rutan

Eiler's Mandolin, Banjo and Guitar Trio in popular melodies—Messrs. Hartung, Borgum and Stout

Guitar Duet—"Mazurka Travata" Altenbaugh Mr. and Mrs. Altenbaugh

Zither Solo—"The Wanderer's Dream in the Mountains F. Gutman Mr. Fred Traulsen

Banjo Duet-"La Premier" Paul Eno Messrs. Goerner, Burgum, Miss Case, accompanist

Guitar and Kabashan Duet.—"Serenade Rosana" Altenbaugh Mr. and Mrs. Altenbaugh

"Love's Like a Star" H. F. Odell Orchestra

1. March, The Toastmaster Odell 2. Overture; Sans Souci Kaula Leon 3. Le Secret Gauthier 4. Song, Fathers Lullaby Webber

Hazel Van Avery Chorus & Orchestra 5. The Mill in the Forest Eilenberg-Odell 6. March Paris Mezzacapo 7. Violin Solo Reverie Gruenwald 8. Prayer & Ronds Derz Freischntz Webber 9. Song- Sleepy Head Sherman Webber

10. Medley Overture Nationl Song Miller 11. Galop Mile a Minute Edwards

10 1. 2. 3. 4. 5. ii.

7. 8. 9. 10.

Concert by Lyon's Orchestra at Kalamazoo, Mich., March 1911. New Era Concert March Boehm The Crusader, Overture, Rollinson-Odell A Dream of Spring, P. Hans Flath Zyra, intermezzo, Stahl Gibson Eminence,waltz Williams-Odell Medley, patriotic airs of two continents. .Rollinson-Odell Ombre Nocturne, serenata Ricardo Matini The Troopers Fred J. Bacon Annie Laurie Arr. F. O. Gutman The Toastmaster H. F. Odell

20 The Crescendo

ADAM DARR, GUITARIST ZBIJ Otlo Hammerer

A. Darr, an eminent guitarist, born in 1811 at Sch-weinfurt, began the guitar comparatively late. As he was richly gifted for music, he at first tried different instruments, and to his juvenile zeal the violin, and then the flute, seemed most suitable to his activity. His rapid progress in these instruments soon enabled him successfully to perform the solos in different orchestral concerts, and to acquire that steadiness which afterwards gained him the numerous triumphs on his far extended tournees with the guitar. It was no sooner than at the age of 18 years that this became his favorite instrument, but with his diligence and per­severance he soon became such a master of it as to be able to perform publicly in France, Belgium, Holland, Sweden and Russia. H e gave proofs of his art, before most sovereigns, earning everywhere much applause and honour. As a precious souvenir of his artistic success, Darr possessed an album with the most distin­guished testimonials which the wTiter of this article had often the pleasure to get a look at.

After having passed 16 years abroad, in some places a rather long time, almost 3 years at Petersburg, he longed to see his country again, so he accepted a sit­uation as governor and teacher of the guitar in an English family at Wurzburg, an occupation that quite suited his inclinations. But this place became still dearer to him by the lively intercourse with a quite congenial soul of an artist, an equal master and lover of the guitar, that was the Kapellmeister Frederic Brand. True friend­ship soon connected these two men, they travelled in Central and South Germany, and in numerous concerts presented to their astonished auditors the spectacle of an equally perfect virtuosity on the guitar. It was then a half forgotten instrument, unknown as to its power and capacity of expression. The sincere admiration that followed these artists from town to town, the en­thusiastic reception they found everywhere, gave their tournees the appearence of triumph marches. Indeed, the guitarists of to-day are very much indebted to these pioneers who exerted themselves so much to raise their instrument again.

Some time later Darr took his residence at Munich, where the writer of this biography made his personal acquaintance in 1846, and from that time corresponded with him without interruption.

In 1856 Darr moved to Augsburg where we saw each other every day, and continued on the most friend­ly footing. Darr gave then lessons in cither playing, and wrote his extensive Cither method, a work still more esteemed to day on account of its completeness and excellence, though nearly 50 years old. Besides this, Darr at that period and even before it, was extremely busy with writing solos, trios, duetts and arrangements for the guitar. All these pieces are very good and writ­ten with a fine sense of the powers of the instrument and its limits. They were very successfully performed in many concerts and entertainments by Darr himself with the writer of this, and a common friend who is still living.

Darr was not only a highly gifted musician and idealist, but also an excellent character of incorruptible integrity. His thorough knowlege of music enabled him, as it was mentioned above, to write for different instruments; he wrote even for the harp. Except his instruction book for the Cither and a collection of pieces for it, Darr's works were not printed; his compositions

and arrangements for the guitar have remained manu­scripts.

The disappointments which A. Darr, as a man, underwent with regard to a person near to him, suddenly troubled the perpetual serenity of his mind and at last compelled him to shake off the burden of life that had become intolerable. He died on the October 2, 1866. As it may be supposed, the unexpected death of this accomplished musician was generally and deeply regretted His faithful friends, among w h o m there was an eminent foreigner, lover of his muse, erected a monument for him in the cemetary of Augsburg, and the flowers which adorn it every year on Allsouls'day will prove the love and friendship that A d a m Darr enjoyed during his life time, and which outlives death.

Subjects of the Day. (Continued from page 7)

they are about to take lessons. The best way in the world would be for them to go to a reputable teacher and ask his advice, or better still have the teacher pick out an instrument for him. However, whether the in­strument be purchased through the teacher or from a music store, how foolish it is to buy an instrument for perhaps $6 which it is impossible to learn on anyway, although the prospective player does not know that, but he buys the $6 instrument and starts in with the teacher. He gives up in disgust after a few lessons and tries to soil the instrument. N o one wants it. If on the other hand he had bought an instrument for about 820 or S25 and through some cause had given up lessons, lie would find plenty of customers for his instrument, as a high grade instrument, be it new or second hand, al­ways finds a ready market.

Prospective players and also teachers, for their own good should consider that an instrument is ' 'good enough to learn on" only when it comes from a reputable man­ufacturer and the name of the maker is stamped on some part of the instrument and the instrument costs from slo upwards. Beware of an instrument at a less price than this. It is only wasting your time and money in trying to learn to play. Buy a good instrument, study with a good teacher and keep in mind the fact that prob­ably only one person out of one thousand is incapable of learning to play. Cases are very rare indeed where persons taking up the study of the instruments fail at least to play some, therefore make up your mind that you are one of those who can and will learn to play. Start off right and you will surely join the ranks of the thou­sands and thousands who have derived so much pleasure from the playing of the mandolin, banjo or guitar.

(Continued in June CRESCENDO.)

Next Month.

Report of American Guild Convention and Concert, more of "Subjects of the Day" by H. F. Odell, "Anent Commercialism A m o n g Teachers" by Ethel L. Olcott, n e w Questions, Personal Notes, Programs etc.

Husic Next flonth. T h e Gypsy Prince March, Kiesta , Mandolin and Piano. Serenade, MOS tJCO '( Shi , Mandolin and Guitar. Spectre Dance, Odell. Guitar Duett. A n d a Banjo Solo.

The Crescendo

\

CRESCENDO ROUND TABLE Teachers. Players, Dea this department Stor

s. Manufacturers and Publishers. Poems Ideas and Opinions. Send only please m a k e it short.

Something New. A. V. Holmes, teacher of the three instruments, of Chicago,

has worked out a plan by which a mandolin orchestra can adapt any piece of brass or reed band music to their instruments. By the use of the system, a mandolin orchestra which desires to play some number which is not at present arranged for mandolin orches­tra can get the parts mentioned and adapt them for their own use. Mr. Holmes seems to think that this band music is better for man­dolin orchestras than the regular mandolin orchestra music. The system is as follows. The instruments of the mandolin orchestra are given and following each instrument is given the band instru­ment which corresponds.

Piccolo mandolin tuned 4 notes above the standard mandolin — E flat clarinet or cornet.

Standard mandolin, leading part—Solo B flat clarinet or cornet. Standard mandolin (second mandolin)—First B flat cornet. Tenor Mandola—Alto (E flat) Saxophone or solo E flat alto. Octave Mandola—Tenor (B flat) Saxophone, B flat baritone.

• cello—B flat baritone or baritone (Eflat). Guitar—Arranged same key as first mandolin from Altos

and Basses. Contra Bass Mandolin—B flat bass in treble clef. Drums—same as for Band. The piccolo mandolin, tenor mandola and mando-cello are

all tuned as follows, 1st string—A, 2nd string—D, 3rd string—G, 4th string—C.

All band music written for any E flat band instrument in tre­ble clef can be used on these instruments. Standard mandolin, octave mandola and contra bass can play from any band music written for any B flat band instrument treble clef. Capo D'Astros can be used oa guitars, (1st fret) and music in B flat may be played in A (3 sharps), E flat-play in D (2 sharps) A flat-play in G (1 sharp). The above enables the orchestra to play any band music.

\\Y cannol agree with Mr. Holmes although the above table is quite interesting. In the first place the piccolo mandolin is an instrument ••.'• introduced into the mandolin or­chestra. W e have plenty of instruments in tin mandolin family now. What we need is more tone color and the real piccolo or Bute is H U H h more interesting than the piccolo mandolin. Mr. Holmes also speaks of thi ndola. This instrument is so obsolete no almost impossible to find one. It really has no place m correct instrumentation today. While we agree with Mr. Holmes thai the band music may be played there is so much transposing necessary that we cannot see where the advan­tage is to the mandolin orchestra player.

Mr. Holmes, in his explanation to us, says that the band se­lections are almost limitless. Quite so, they are, but considering the fact that hundreds of standard selections are today arranged for mandolin orchestra, playable just as written without requiring any extra thinking or transposing, we fail to see where Mr. Holmes' idea is at all necessary for the mandolin orchestra. There are thousands more pieces published for band than for mandolin or­chestra but almost invariably band arrangements are made for large organizations and the arrangements of 50 or 60 per cent of band pieces on the market are not as well made as the majority of the later mandolin orchestra publications. The above idea should be only used when a mandolin orchestra desires to play a selection not arranged for mandolin orchestra but we believe that for the present day mandolin orchestra, the excellent overtures, standard selections, waltzes, published for mandolin orchestra are much preferable to use than the band arrangements of the same numbers. However we think Mr. Holmes deserves much credit for having worked out this plan and we are pleased to present it to our readers for their consideration.

5 cts. CLOSING OUT 5 cts. • catalog. Not to be printed again.

Rockwell

These two pieces are discontinued fro

March "Coshoctonian" 2 Mands. and Guitar

H o w Fair Thou art Weidt Mandolin and Piano

Both up to date pieces, best plates and paper. O. K. in every respect

PINE F O H TEACHING About 6o copies left. While they last we will send you either

for 5 cents per copy postpaid or both for 10 cents.

H. F. ODELL & CO.

165 T R E H O M ST. - BOSTON, MASS.

THE CRESCENDO For only 25 cents For the summer months, June, July and August.

Just slip 25 cts. into an envelope and give us your name and

address and receive the Crescendo tor three m o n t h s

including almost $6.00 worth of musk.

165 Tremont St. Boston, Mass.

2 2 The Crescendo

PERSONAL NOTES

Boston Festival Concert.

The Boston Festival Mandolin Concert, under the, direction of G. L. Lansing and II. F. ((dell, took place in Jordan Hall, Boston, on Wednesday, Mar. 29th. Every seat for the concert was sold six weeks before the date and the night of the concert all the stand­ing room was sold before the concert started. This showed re­markable interest in the affair and critics who were in attendance were unanimous in saying that it was the finest of the sort that has ever been given in this section of the country.

The opening number was played by the large orchestra of 250 members. A photograph of this organization will be found on page 5 in this issue. The orchestra, under the able direction of Sir. Odell, played a double number, the first piece being "The Gypsy Prince", a new march in characteristic Hungarian style. It is quite different from most marches and made a distinct hit. T h e second number was Sullivan's "Lost Chord." In this piece, the orchestra was accompanied by the grand organ which was very skillfully played by Mr. J. A. Baumgartner. Those who attended the concert are unanimous in saying that the rendition of the "Lost Chord" by the orchestra was the finest thing that has ever been done in this country. Mr. Odell had the orchestra under perfect control during the entire selection. The precision and attacks were very exact and the expression with which the orchestra played was of Symphony Orchestra standard. The middle strains of the piece were played with the strings unaccom­panied making a very pleasing effect. The orchestra was drilled to such a degree of perfection that in the piano passages, it did not seem possible that the entire mandolin section was playing. F r o m the middle of the piece the composition works up to a tre­mendous climax at which time the organ was introduced. T h e last notes of the piece had hardly been struck before the audience broke forth into tremendous applause. The organ in Jordan Hall is one of the largest in the country and is considered as fine an organ as can be found in the world.

Chas. T. Grilley, one of the leading humorists, next gave some of his inimitable impersonations for which he is noted. The au­dience was convulsed at his witticisms. Mr. Grilley appeared twice on the program, his second selection being as well received as his firsk.

W m . Place, Jr. appeared next playing a double number, the first being one of the late Carlo Munier's best known solos, "Ca-priccio Spagnuola" and the second. "Romanza," composed by-M r . Place. The first number introduced some difficult technical passages which Mr. Place played with the greatest ease. In the " R o m a n z a " Mr. Place showed hi- musicianship in the exquisite expression with which he played the number. For his encore number, he played a charming duo number of his own composition.

The next selection was another double number played by tin-grand orchestra, under the direction of Mr. Lansing. The first

piece "The Spanish Gayety" was a characteristic Spanish move­ment introducing various traps, the second being a very popular number bv S. G. Cooke entitled "Wooden Shoes"which also in­troduced novel effect Once m o n the orchestra showed its ex­tremely careful drilling and under Mr. Lansing's direction, the numbers went witli a d pirit which greatly please,1 the large audience present. The orchestra responded to an eno

H. F. Odell then appeared in mando-cello solos. This being the first time the mando-cello was heard in Boston instru­ment, it attracted considerable attention. The numbers selected by Mr. Odell showed the instrument off to the best advantage, one of his solos practically including every note on the fingerboard. H e played in his usual artistic and musicianly manner and n i a very hearty encore, in addition to a beautiful bouquet of flowers.

The Lansing Mandolin Orchestra directed by G. L. Lansing played a double number, the first being his arrangement of a tion from the "Daughter of the Regimen! ,' -i, a selection from the very popular opera "Mile. Modiste." The orch rendered both numbers in an extremely pleasing howed careful drilling. The shading was excellent. The membei this organization always play with enthusiasm and the hi applause received showed that their efforts were , p

Mr. Lansing then appeared in banjo solos. His first i was played with piano accompaniment and the an un-

accoi ijo solo of his own composition. Hi i played in his inimitable style and provoked much applai li tremolo selection was played with the finger tremolo movement in a very musicianly and artisti me oi

the veterans in I ippeared to great advantage at this concert, lie responded to too received a beautiful bouquet of roses. Mr. Lansing pieces which show tile instrument off in its best light. H e always plays

characteristic banjo music.

'Ihe Langham Mandolin Orchestra, under the direction of Mr. Odell then appeared. The orchestra played double numbers, the first being "Evening Chines", a very sweet number introducing various effects, the second number a new medley, " G e m s of Scotland' arranged by Mr. Odell. The selection includes several well known Scotch airs and introduced solos for different instruments, and two or three string quartette effects. The Langham orchestra has gained considerable reputation for excellent work in the ten years of its existance and the pieces played were rendered in a fin­ished manner, the precision and attack being especially noticible and the general tonal balance quite remarkable.

Valentine Abt, one of the leading virtuosi of the country, play­ed his well known mandolin solo "Fantasia," This selection show­ed his remarkable c o m m a n d of the instrument and in the difficult technical passages with which it abounds, Mr. Abt gave an interest­ing demonstration of his wonderful technical ability. For an en­core Mr. Abt rendered a very dainty duo number which introduces several intricate passages requiring much dexterity and his tremolo work in this piece was exceedingly well done.

The Boston Ideal club, one of the veteran clubs of the country, next played two selections, one on the mandolin and one on the banjo. Both numbers were well received, but the banjo number especially pleased the audience.

The concert closed with a double number played by the Lang­h a m and Lansing Orchestras combined, Mr. Lansing and Mr. Odell alternated in conducting.

This concert was the fifth that Mr. Lansing and M r . Odell have given together and the success attending all of them is probab­ly unprecedented in any part of the world. This concert is con­sidered by everyone as the best which they have given on account of the unusually fine work of the orchestra and on account of the appearance of two such eminent soloists as Valentine Abt, and W m . Place, Jr. It was indeed an event which will be talked about for sometime to come and the general enthusiasm which prevailed throughout the evening well showed the interest in the mandolin, guitar and banjo in the eastern section of the country.

The Superba Mandolin Orchestra, W m . Edward Foster, dir­ector, recently rendered the music for a minstrel show given by the Brooklyn, (N. Y.) Y. M . C. A. This is another instance where the mandolin orchestra took the place of the regular orchestra. Under Mr. Foster's direction the organization-made one of the hits of the evening.

Hanks M . Davidson, the genial manager of publications of the White-Smith Publishing Co. on March '2sth. gave an extremely interesting stcreoptican lecture at the Franklin Sq. House, Boston. The lecture showed the evolution of a music Mss. by pictures of process and tools employed in producing a copy of sheet music

The advanced pupils of Frank B. Smith of Wallingford, C C gave a recital assisted by Robert Dwyer of Denver, Colo, humorist' at the Y. M . C. A. on March 30th,

The Gibson Mandolin Orchestra of Seattle, Wash., under the direction of Paul Goerner, gave an excellent concert in that city. The program was varied and the audience were'very enthusiastic over the excellent work of (lie players.

Tlie Editor of om contemporary, the Cadenza, was routed out of bed recently at :i o'clock in the morning to answer a telephone call. Imagine his alarm to hear an unknown voice

'phone telling him that his place of business was afire. Unfortunately, Ihe unknown voice, neglected to say whether it

• office oi In lore house. Taking a gamble that il was lu. -.too house, which by the way is in a very lonesome part of the city, especially at that lime ill the morning. Walter hied himself down town, but he guessed wrongly. lie then hastened up io In oi lie, .(,n Tremoi tance from his store hoe ie and found that, (he shoe store under his fire. Fortunately th Mr. Jacobs premises for which we congratulate lum. lie did not say much about his little jaunt at 3 o'clocl in 1 is still looking for the unknown voice. Moral; the nexl time you call up a m a n to say

m , 11. sure to a\- which place it is.

Miss Ethel I.. Bunce of Spokane, Wash., recently gave a re-cital with hei foi mance on the mandolin of the Ki vas ol especial interest. The little ones

9 years of age and have studied but four months. Their In instrument was quite surprising. The recital - Elected much credit on the teach­

ing of Mi

*~ m.

The Crescendo 23

T E N O R MANDOLA

A N D M A N D O C E L L O The above parts are now published for

THE FOLLOWING "WITMARK" NUMBERS and can be had for

FULL MANDOLIN CLUB ist Mandolin 2nd Mandolin 3rd Mandolin

T o numbers marker 2nd Violin, Viola, Cello

INSTRUHENTATION : Octave Mandola Banjo Solo (Amer- & Eng. Notation) Tenor Mandola Guitar Accompaniment Mando-Cello Piano Accompaniment

; of these parts will be quoted < 31C

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40 40

35 35 35 35 40

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5

5(3 Mile. Modiste, Selection Victor Herbert 572 The Red Mill, Selection Victor Herbert 600 The Nodding Tulip, A Pastorale Idylle Geo. J. Trinkaus *656 The Teddy Bears'Picnic, Characteristic Novelty John VV. Bratton *6>o Red Fez, March and Two Step Walter J. Hearn *6?4 Miss Antique, A Novelette Geo. J. Trinkaus *686 Genee Waltzes Maurice Levi •713 The Eagle (from The Land of Birds) A Suite of Five-A Manue I Klein •714 The RoPins (from The Land of Birds) A Suite of Five-B Manuel Klein *7i5 The Nightingale (from The Land of Birds) A Suite of Five-C Manuel Klein •716 The Canaries (from The Land of Birds) A Suite of Five-D Manuel Klein *7I7 The Swallows (from The Land of Birds) A Suite of Five-E Manuel Klein *7i8 Turkish Imperial Guards, March Fred Luscomb 731 Temptation Rag Henry Lodge 732 Porcupine Rag, T wo Step Charles J. Johnson 742 Cupid's Caress, Valse Lente Charles J. Roterts

*743 A Tale of Two Hearts. Romance Charles J. Roberts 744 Charme D'Amour (Love's Spell) Valse Lente Edwin F. Kendall

•746 Bright Eyes. Selection Karl Hoschna *740 Bright Eyes, Waltzes Karl Hoschna 751 Dutch Kiddies, Wooden Shoe Dance Geo. J. Trinkaus

*755 Madame Sherry. Selection Karl Hoschna *756 Madame Sherry, Waltzes Karl Hoschna *773 The Frisco Rag Harry Armstrong '774 Heart to Heart, Love Melody Geo. J. Trinkaus and Ernest R. Ball 777 The Girl In The Train (Die Geschiedene Frau) Selection Leo Fall 778 Barry of Ballymore. Selection Chauncey Olcott and Ernest R. Rail 770 The Girl Of M y Dreams. Selection Karl Hoschna "7*2 Madame Sherrv, Barn Dance or Schottische (Intro. ''Every Little

Movement") Karl Hoschna 784 School Comrades, March H. Englemann

•785 Boreas, A Northern Idylle (Suite Characteristic "The Four Winds'-A) Geo. J. Trinkaus

•700 Sirocco, A Southern Serenade (Suite Characteristic "The Four Winds"-Bi Geo. J. Trinkaus

791 Naughtv Marietta. Selection Victor Herbert •702 Red Pepper, A Spicv Rag Henry Lodge *793 Erirus. An Eastern Dance (Suite Characteristic "The Four

Winds"-C» Geo. J. Trinkaus *794 Zephvr, A Western Episode (Suite Characteristic "The Four

Winds"-D) Geo. J. Trinkaus

DISCOUNT TO TEACHERS Special Discount Allowed Clubs Ordering M. WITMARK & SONS DEPT. T.

96 W I T M A R K BLCC. NEW YORK

24 The Crescendo

Personal

A DISASTROUS FIRE.

The White-Smith Music Co's plant was seriously damaged by fire on April 6th. The fire started in the morning at 8 o'clock, be­fore a majority of the employees had arrived at the building. Three girls employed in the bindery on the 5th floor arrived early and started work. They were panic stricken, upon discovering the fire, but were safely escorted to the fire escape by the foreman of their department and escaped through an adjoining building. The fire did considerable amount of damage to the stock and building.

The White-Smith plant is a six story brick building, its east­erly wall extending along the tracks of the Boston and Albany R. R. The basement is used for storage and for the large fire proof vault for storing music plates. On the first floor are the big presses of the printing department. The second floor is devoted to the whole­sale and office departments. On the third floor are the shipping and engraving rooms. The fourth floor is the stock room and the fifth floor is used as a bindery.

The fire was confined almost entirely to the third, fourth and fifth floors. Thousands of dollars worth of finished music was entire­ly destroyed on the third floor. The fire burned upwards from the third floor and nearly everything on the three upper floors was badly damaged both by fire and water.

The presses on the first floor were covered with rubber blankets by the protective department and it is thought that these will be only slightly damaged by water. One of the engravers on the fourth floor had just taken the valuable engraving tools from the safe at the time of the fire. These however may be saved provid­ing the heat from the flames has not taken the temper out of the steel from which they are made. The office floor received a complete wetting but the fire did no damage on this floor.

The Company had thousands of valuable music plates in the vault and these were not damaged. It is indeed fortunate that the fire started so early in the morning before the plates which are to be used for printing during the day were removed from the vault, otherwise the loss would have been much greater. While the entire loss at this writing cannot be definitelv estimated it is thought that from S12.000 to 115,000 will cover. The building and contents were fully insured.

The White-Smith Co. does a tremendous printing and engrav­ing business in addition to a large publishing business. The pub­lications of many of the leading publishing houses are printed at the White-Smith establishment.

The music inserts of the Crescendo and Cadenza are printed there. This Company has been a Trade Member of the American Guild for some years and has been one of the first to adopt the recommendations made by that organization.

In addition to its large vocal and piano catalog the Company publishes many excellent banjo, mandolin and guitar methods and folios and the White-Smith Edition for Mandolin Orchestra contain­ing many standard pieces has become very popular with the frater­nity. The entire fraternity will regret the unfortunate fire which has handicapped the Company for a time, but with its customary progressiveness and with its ability to do things quickly, the White-Smith Co. resumed work and operation and started its presses four days after the fire. During its comparatively brief history, the banjo has had many devotees, of greater or less ability. Of these, probably there are few today better able to demonstrate the beauties and capab­ilities of this instrument than Mr. James A. Mantley, of Providence, R. I.

When he was but ten years old, Mr. Mantley took up the study of the banjo with Mr. Graffem, of Providence. It was about four years after this that Mr. Alfred A. Farland paid a visit to Providence, and young Mantley was so impressed with Mr. Farland's mastery of the instrument that he immediately purchased a copy of the Farland method, and started in to work out for himself the system of technique outlined therein. Then, one by one the various Farland arrangements and compositions were mastered, and today Mr. Mantley numbers all of them in his repertory, as well as a large number of other selections, including some from the classics and a number of his own compositions, all of which he renders in a music­ianly manner.

Mr. Mantly uses a special banjo with 13" head and 20 1-2" neck, and his unusually long fingers enable him to easily ob­tain all the characteristic banjo effects on this instrument. He never uses a plectrum.

Walter Burke, of Providence, R. I., one of the veterans of the business, reports that he is having a fine season. He evidently likes the Crescendo as in his letters he says: "I notice a steady growth in quality of contents of the Crescendo and I congratu­late you on producing such a valuable musical journal."

Prominent Manufacturers and Publishers.

Under this heading we shall occasionally show photos of buildings and give descriptions of our leading firms.

M. WITMARK & SONS, NEW YORK, N. Y.

"Success is work," the motto of M. Witmark & Sons, who this season celebrate the 25th anniversary of their existance, is the remarkable illustration of the growth of the Acorn to the Oak.

Three boys and a toy press were instrumental in laying the foundation stone of this flourishing establishment, and those same three boys are now at the head of one of the foremost publishing houses in the world with branches extending to Chicago, San Fran­cisco, London, Paris, Berlin, Vienna and Australia.

Their trade mark, a beehive swarming with busy bees, certain­ly belongs to them. The dome of their building, a beehive clock tower, is known throughout the land and has made their building a land mark, which by the way is the first building of eight stories erected, devoted exclusively to the music publishing business.

They employ over one hundred people in their New York office, keep two enormous printing plants in constant operation and main­tain no less than twenty distinct departments, which include the Book Dept., Popular, Operatic and Standard Music in sheet and book form, also arrangements for all instruments including Orch­estra, Band, Mandolin, Guitar, Banjo, etc.

Their catalog of Popular, High Class, Operatic, Musical Comedy, Teaching, etc. publications, is one of the largest in the country. Their Orchestra and Band Publications are in great demand, and this makes their catalog in this particular line one of the foremost. Their department devoted exclusively to the publishing of Mandolin, Guitar, Banjo, etc. music, is most up-to-date and cannot be sur­passed by any publisher in the world. Being modern in style and to meet the universal demand of teachers and Mandolin Orchestras and Clubs throughout the country, they have added Tenor-Mandola and Mando-Cello parts to their present big successes and will con­tinue to issue them to anything of importance in future. A list of the numbers to which these parts can be had will be mailed on appli­cation. Another fact to be considered is, that they are the only publishers of Popular and Musical comedy, etc., numbers, specially adapted to Mandolin Clubs or Orchestras.

Among the great successes published by this house for full mandolin orchestra are such pieces as "Mile. Modiste" Selection, "Red Mill" Selection, "Genee Waltzes", "Bright Eyes" Selection, "Madam Sherry" Selection, "The Three Twins" Selection, "Girl In The Train," Selection, "Girl of M y Dreams," Selection, "Naughty Marietta" Selection, "Doctor Tinkle Tinker," "Every Little Move­ment," and in addition many dainty numbers by such well known composers as Victor Herbert, Karl Hoschna, Manuel Klein, Morris Levi, Ernest Ball, Geo. Trinkaus, Leo Fall, and others whose rep­utation is of the same high standing.

Most of the Witmark numbers can be obtained for 2 mandolins guitar and piano, 3rd mandolin, octave mandola, tenor mandola, mando-cello, violin, flute and cello. A most comprehensive cata­log will be mailed upon application.

fr

The Crescendo

Read What they say about

ODELL ARRANGEMENTS and especially the Edition Odell.

lorn from thousands received from ers in all parts of the world.

These letters are selected at rand prominent teachers and play

Claud C. Rowden, (Pres. American Guild) Chicago, 111. "Your arrangement of "Miserere" is splendid as are all of

your arrangements. If we had more writers of your stamp the mandolin orchestra would soon forge to the front."

D. E. Hartnett, (Vice Pres. American Guild ) New York, N. Y. "I wish to tell you how much I appreciate 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. Your compositions and arrangements for mando­lin orchestra are certainly great. Even anticipating a new number gives m e great pleasure."

Edwin Beal, Valdosta, Ga. "Your arrangements are thoroughly musicianly."

G. Kliemann, Williamsport, Pa. "Your arrangements are the best and most fitting ones

for m y quintette and your Modestie, Danse di Cupid and Toast-master are numbers that delight every audience."

Jud P. Landon, New Britain, Ct. "The music contained in the Edition Odell is the best I

have ever used.''

J. D. Liddicoat, Cleveland, Ohio. "Your arrangements are the best I have ever used."

Emma Schubert, Philadelphia, Pa. "I am much pleased with your arrangements."

R. D. Beverly, Deny, Pa. "Your "Modestie" is beautiful. I a m a better m a n since

trying "Modestie" on our instruments. I shall play it before hundreds of people and call their attention to the composer."

J. Walter Villee, Toledo, Ohio. "The size of the paper you use in the Edition Odell is a

big improvement over the large sheets."

J. W. McLouth, Grand Rapids, Mich. "The 'Toastmaster' March is the most beautiful march

I have ever played. It is excellent in style, beautiful in harmony and practical in arrangement.,"

Herbert W. Pealy, Salem, Ohio. "Your "Love's Old Sweet Song" is the best arrangement

you have ever put out excepting "Modestie" which can have no equal in m y mind."

Wm. M. Fitzgerald, Ocean City, N. J. "I like your arrangements very much. A m using them

in m y teaching with excellent success."

Frederick Winslow, Swindon, England. " M y opinion of the Odell arrangements is that they are of

the highest order and stamp. Mr. Odell is a musician who knows what he is doing when arranging for mandolin orchestra."

F. Fink, Sioux City, Ia. "I will say that your arrangements are not only the best

but the only ones worth while."

Grant Mannis, Topeka, Kan. "Your compositions and arrangements are superb."

William Reyelt, Hoboken, N. J. "The members of the Amorita Mandolin Orchestra are

especially grateful to Mr. Odell for his splendid arrangements for mandolin orchestra."

W m . S. Marsh, Providence, R. I. " W e consider the Odell compositions and arrangements

the best we have in our repertoire "

Francis Potter, Omaha, Nebr. "Your arrangements for mandolin orchestra are excellent."

Miss Lucia Tenney, Gardner, Mass. "When I use a piece in the Edition Odell I know the ar­

rangement is sure to be satisfactory."

Fred Goeth, Paonia, Colo. "I think the Edition Odell is first class and surely there

is nothing better for teaching."

Harry Hitchcock, Rome, N. Y. "Your music is arranged in a rare manner."

Robert Davis, Swindon, England. "I a m delighted with the Odell arrangements."

H. G. Stuart, Dallas, Texas. "Here goes three raw raw raws and a couple of sis booms

for the m a n who wrote "Lady Dainty."

John C. Pfeiffer, Marietta, Ohio. "I must say that your arrangements are the most perfect

I have ever seen."

Geo. Waldo, Jr., Bridgeport, Ct. " N o arrangement of mandolin music can compete with

yours for clean cut style and effectiveness."

Fred J. Baldwin, Rhinebeck, N. Y. "Love's Like A Star" is great. Send more like it."

Frank C. Spake, Montpelier, Ohio. "The "Gypsy Prince" is as good a march as any published."

Jos. Wright, Christchurch, N. Z. "Your arrangements are the best in the world."

Belle C. Hart, Cleveland, Ohio. "It is a pleasure to find music for the mandolin so well

written, printed, marked and arranged. It is an immense sav­ing of labor for the teacher or director and you certainly have the idea of effects needed in mandolin clubs."

W m . Kottman, Edgewood Park, Pa. "Love's Like A Star" was the hit of the evening."

Carl Giddings, Grand Island, Nebr. "Your music is the most stirring tonic we have got hold

of. "Love's Like A Star" is one of the best we have had.'

A. deVekey, Bournemouth, England. "Your mandolin orchestra arrangements are delightful."

Geo. B. Kimball, Bridgeport, Ct. "Love's Like A Star" is great."

Clarence Bastien, Hamburg, N. Y. "Love's Like A Star" is the sweetest little thing I have

played this year."

Chas. Glaubitz, Brooklyn, N. Y. "You have good selections for your new issues, and I am

glad I subscribed lor them."

C. E. Leighton, Portland, M e . "The "Meteor March" is a dandy."

Will G. Plowright, Victoria, B. C. "Barcarolle is a line arrangement for mandolin orchestra."

W. Saunders, Sydney, N. S. W. "Lady Dainty" is certainly a gem."

John T. Whittaker, Philadelphia, Pa. "Cantasane Waltzes arc the finest waltzes I have heard."

Harry N. Davis, Worcester, Mass. "Your arrangement ol "Love's Old Sweet Song" is the

finest published."

26 The Crescendo

For flandolin, Guitar and Banjo Clubs.

Silver Threads Among the Gold, Paraphrase Our Naval Reserve, March

El Ole, Mexican dance Arranged by W . J. K I T C H E N E R for

h 15c. ist Mandolin, Solo Guitar or Solo Banjo, ea 2 Mandolins (2 Guitars or 2 Banjos) Mandolin and Guitar (or Banjo) Mandolin (Guitar or Banjo) and Piano 2 Mandolins and Guitar (or Banjo) Piano Accompaniment

20c. 20c. 30c. 25c. 15c.

H A M I L T O N S. G O R D O N , 112 W . 30th St., N e w York

IF Y O U W A N T R E A L B A N J O M U S I C , G E T T H E S E . "Ye Boston B o y " March. Fine Solo 40c. " A Pfaunny Phlt" Rag Oddity. Fine. 2 Banjos Mc. "The Klj ing Jockey" Galop. Fxtra Fine. z. Banjos 50c. " O h ! You Kastus" A Real Rag. Great. 2 Banjos 40c.

by Frank B. Smith. Usual discount. "Golby & Shepard's Progressive Studies" for the Banjo have no equal.

Frank B. Smith-"If you did'nt have the very best Banjo method ever printed. I'd be tempted to write a method myself, but your method cannot be improved upon.

Send for catalogue with special discount to teachers. S T E P H E N S H E P A R D . 526 East 18th, St.. Paterson. N. J.

SWEETANEMONE WALTZ" A very pleasing waltz, easy but full of style and grace arr. for full Mand.

Orchestra.

SPECIAL "LOVE=KNOT IDYL" 1st Mandolin and Guitar 12c; 1st Mandolin and Piano 15c; other parts 5c each-

F. A. G O U L A R T , 300 Washington St., Dorchester. Mass.

Personal.

The Plectrum Society of N e w York under the direction of Valentine Abt, will give a concert M a y 9th, at Carnegie Chamber Music Hall. The numbers played on this occasion are to be prin­cipally for tonal effect—for light and shade. Jn addition to the use of mandolas, mando-cellos, guitars, flutes, tympani and harps, the Bass Mandolin will be used in concert for probably the first time in this country.

A n O m a h a (Nebr.) paper says that Francis Potter puts his baby to sleep with the mandolin but the kiddie shows no marks of violence.

Fred Bacon, the banjo expert is having one of the busiest seasons since he has been before the public. H e has recently written a banjo method which is meeting with marked success and m a n y orders have been received.

The employees of the Oliver Ditson Co., Boston, will give a. dance on Tuesday evening, M a y 16th. These affairs have become an annual occurancc and are very enjoyable.

The Tuxedo Mandolin and Guitar Club, K. Bingham Krans, director, of Hartford, Ct. is having an extremely busy season. O n the 7th of April they played for the Mass. Sons of Vt. at Springfield Mass., on the 10th of April for the Last M a n Brotherhood banquet at Allyn House, this being the seventh consecutive annual banquet of this organization for which the Tuxedo club has played. T h e club also played on the 18th of April at the Allyn House for the Hartford Chapter American Institute of Banking banquet. This is also the seventh consecutive annual banquet of this organization for which the Tuxedo club has furnished the music.

WILLIAM EDW. FOSTER Solo JWandolinist

S E A S O N 1910-11 C o n c e r t s Jl Recitals

537 KNICKERBOCKER AVE BROOKLYN. N.

THE TRINITY MUSIC STAND (ParenteJ;

O n approval. Express prepaid. Illustrated folder shows you con­vincingly w h y the Trinity is ac­knowledged as the best and only

complete Music Stand in the world. H O P E MUSIC S T A N D C O , Dept. A. Mashapauff St., Prov., R. I.

^UtZeCttm^Jf'

Do Your Hands Perspire ? When Playing your Banjo. Mandolin or Guitar.

PERSPIRATION POWDER Stops Perspiratii 10c per box, poKtpaid.

H. F. OI)KI,L & CO., 105 Tremont St., ISoston, Ma»B.

T W O OF PAUL ENO'S LATEST FOR BANJO. A and C Notations Combined.

Mokapoke. Novelty Two-step. Solo .'Klc, Piano Ac. 40, Banjo and Piano 80c Ragloso Rondo 'Marks-L:noi Solo 60c, Piano Ac. 40c, Banjo anJ Piano 7.r>c.

Banjoists desiring good playable and banjoey solos should not fail to add these to their repertoire. W e have lots of others equally as good. Send for catalog and tuning chart Discount 1-2 off. THE MAXIMUM PUBLISHING CO., 1 524 Chestnut St Philadelphia! Pa.

T h e N a m e

G R O V E R Stands For

B R I D G E S Grover Banjo Bridges

S T A IM D . PAT. SEPT. 6,'04 At your dealers or Invented by fl. D. Grover, Price 15c 383 Albany St.

irect to A. D. Grover1

Boston, Mass.

The 15th annual concert of the Worcester Ideal Mandolin Orchestra, Harry N. Davis, director, took place in Horticultural II,ill April 4th. The Davis Mandolin Orchestra was a combination of the V. M . C. A., the Elite, the Gibson String Orchestra and the Ideal Club and was directed by M r . Davis. The instrumental soloist for the occasion was W m . Place, Jr. of Providence, the noted mando­linist. The complete program of the concert will appear in the June Crescendo. In reviewing the concert, Lester S. Butler of the Worcester Telegram says, "Notwithstanding the unfavorable weather conditions few vacant chair- were noticed. The concert began at 8 o'clock and lasted until 10:45. There was something being done every minute. A notable feature was the unflagging

i nlioti of the listener-, and the insistent recalls which greeted each number. Perhaps of the mandolin orchestral works, the best presentation was met m number one of part two and of that group, the first "The Lost Chord" seemed the better. Tin' playing was marked with a verve and rhythmic swing that

its own message and the performers were obliged to supple-ach appearance with another tO satisfy the eager apprecia­

tion of their patrons. Mr. Place played his solos with a sincerity which won him repeated encores and it is not overshooting the mark to say that the work of \V. Cray Harris at the piano contributed not a little to the pleasure of these numbers. The appearance of the Ideal Club, the Elite Mandolin Club and the Gibson String Orchestra furnished happy variety and each number evoked m u c h enthusiasm. The concert closed with the presentation of the med-

ollegisms" by the full orchestra. Mr. Davis conducted with a surer grasp of detail than was discerned in previous years and the harmonic balance was better preserved.

M r . C. A. Templeman of Fremont, Nebr. very kindly sent us a ticket to the mandolin recital to be given under his direction by Francis Potter. W c assure Mr. Templeman we thank him heartily for the ticket but the concert being in Nebr. and wc being in Mass. and furthermore having a previous engagement on that evening, we were unable to attend.

The Boston Music Publishers Association which includes such firms as Oliver Ditson Co., White-Smith Co., Walter Jacobs, H.F. Odell ev Co., Cundy Bcttoncy Co., in fact practically all the pub­lishers of Boston, held its last regular meeting and dinner of the season at Young's Hotel, Boston, Mass. on April 12th. Immediate­ly after the banquet the members in a body attended the theatre. This organization has done much for the publishing bush Boston I icrs frequently meet in pleasant business and social relations. Probably in no other city in the U. S. are all the music publishers on such friendly terms.

The Crescendo 27

The CADENZA A JIAusic Monthly Magazine issued exclusively in the interests of the

MANDOLIN, BANJO and GUITAR CONTENTS OF THE OCTOBER 1910 NUMBER

10 PAGES OF N E W MUSIC 36 PAGES OF TYPE MATTER

M U S I C Sweet Memories. Mandolin unaccompanied Abt

Chain of l>aisies. Waltz. Banjo Solo and Piano Ace Weidt

T h e Troopers. March. Banjo Solo (C Notation) Bacon

Youth and Riches. Overture Whiting ist Mandolin, and Mandolin. Guitar Ace.

Chain of Daisies. Waltz Weidt ist Mandolin and Piano Ace.

Memories of Manzo. Guitar Duet J""

1- E X T The Allen School Mandolin Club, with Photo The Mandolin Duo Bickford How Tipples Outwitted Cupid Osgood Banjo Talks, No. 7 Douglas T h e G u i t a r . Its Powers and Possibilities " ' Bertrand Music's Future • • • Hodges Editorially T h e Artist a n d A m a t e u r W h a t t h e C l u b s a n d O r c h e s t r a s A r e D o i n g

id many other features

FREE! 15he WALTER JACOBS COMPLETE CATALOG

of

MANDOLIN, BANJO and

GUITAR MUSIC 48 Pages Contents The Abt Superb Mandolin Publications.

The G a t c o m b Famous Banjo List.

The Jaques Popular Banjo Catalog.

The Jacobs Mandolin Orchestra Pub­

lications. Instrumentation: 1st Ma

3rd Mandolin.Octave Man. Mando-Cello, Flute Cello Ace, Piano Ace, etc.

dolin.2d Mandolin, jia. Tenor Mandola, Guitar Ace, Banjo

Guitar Solos and Duets

Banjo Solos and Duets

Methods, Studies, Collections, Folios, Etc"

F R E E for the asking-.

Address 167 Tremont St. WALTER JACOBS BOSTON MASS.

A Crescendo Advice Program.

Mandolin Orchestra program numbers tried and found of real merit. K e e p for reference.

Order the pieces from the publisher whose name is given

under each selection. Tell them you s a w it in Crecendo.

CRESCENDO PROORAJl NO. 16.

1 MARCH, "Madame Sherry" Hoschna M. Witmark & Sons.

2 OVERTURE, "Light Cavalry" Suppe Oliver Ditson Co.

3 WALTZES, "Girls of Baden" h'omzak Oliver Ditson Co.

(a "Mandoline" Thome 4 ) White Smith Co.

( b " N e w M o w n H a y " Rollinson Oliver Ditson Co.

5 SELECTION, "II Trovatore" Verdi Cundy-Bettoney Co.

6 BARITONE SOLO, "Love's Golden Memories" Odell Mandolin Orchestra Accompaniment

White Smith Co.

( PARAPHRASE, "Silver Threads among the Gold" . . Danks •j ) Hamilton Gordon

( M A R C H , "The Gypsy Prince" Kiesta H. F. Odell & Co.

8 WALTZES, "Among the Roses" Stahl Wm. C.Stahl

9 SELECTION, "Naughty Marietta" Herbert M. Witmark & Sons.

ro MEDLEY, "National Airs" Arr. Odell Oliver Ditson Co.

Crescendo Club List.

The 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 blank.

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

Name of Orchestra

Director

Street

City or Town State

How many members

Instruments

Names and addresses of members may be sent stating: instruments played.

1 separate p.iper,

Dickens Mandolin Orchestra, Frank Dickens, Director, 301 N. Main St., Monmouth, 111., 5 Members, Mandolin, Flute, Guitar.

Gibson Mandolin Orchestra, Frank J. Macully. Director, 1119 Broadway, Camden, N. J., 17 Members, Mandolin, Mandola, Mando-Cello, Violin and Guitar.

Morado Mandolin Orchestra, T. E. Muench, Director, 1202 So. Yahima St., Tacoma, Wash., 7 Members, Mandolin, Mandola, Flute, Cello and Guitar.

Gibson Mandolin Orchestra, Frank C. Spake, Director, Mont-pelier, Ohio, 12 Members, Mandolin, Mandola, Mando-Cello, Guitar and Piano.

28 The Crescendo

Recent Publications. With every piece composer's name is given, also arrang­

er's. The letters after names indicate grade—E, easy—fl

medium— D, Difficult.

BANJO

Alpha Musical Bureau

Imperial Grenadiers March James .1. Mantley. M-

Banjo Solo $.50

One of tht 1 f this skillful ban­joist. A n 1 1 marches. Effective for concert work or teaching. Short 6-8 introduction, the march proper being in 2-4 time. Keys of E and D.

P I A N O Alpha Musical Bureau

Die Lorelei Ra]ph r,, //„„_ E. 1 Solo s..")'i

A pretty teaching number. (June melodious and catchy.

4-4 time. Keys of C and B flat.

M A N D O L I N

Alpha Musical Bureau

Slumber Song W m vlacc Jr E

Unaccompanied Mandolin $.40 One of the daintiest and prettiest numbers of this sort that

ha? been published for mandolin. Introduces melody with pick­ing accompaniment. A few very easy harmonics. The number m a y well be considered an easy piece. The melody is sweet and effective. As a teaching number for this style of playing, it is excellent. Also effective for concert work as one of a double num­ber or an encore. Marked with the American Guild pick and tremolo signs. K e y of G. 4-4 time.

Oliver Ditson Co.

Danube Waves Waltz J. Ivanovici, Arr. II. F. Odell, M-

FuU Mandolin Orchestra $2.80 A careful arrangement from the original of this standard world

renowned waltz which has been played by dance orchestras in every civilized country for years. A very effective number for concert work, especially good for full mandolin orchestra and also a desir­able number for teaching. Keys of A minor, F and C.

M . Witmark & Sons

The Girl of my Dreams, Selection Leo Fall, Arr. Trinkaus, M.

Mandolin and Piano $.75 A very pretty selection of the principal popular numbers in

this delightful opera. Arranged for full mandolin orchestra includ­ing tenor mandola and mando-cello. The different numbers are in 3-4. li-S and 2-4 times. The entire selection is in the keys of C and F, nearly all in the first position making it easy for clubs. A n effective number for mandolin orchestras.

Naughty Marietta, Selection Victor Ihrhert-Arr. Trinkaus, M.

Mandolin and Piano s.7"> A n extremely good number arranged for full mandolin orches­

tra, one of the best things Herbert has written. FuU of charming melodies. Selection introduces "Naughty Marietta", "I'm Fall­ing In Love With Someone", the "Dream Melody" in addition to several other 0 I nown air- from ihe opera. Keys of G, C and D. 4-1, 6-8, 2-4, '•',-1 times. W e consider this one of the best light opera medleys published.

White-Smith Co.

Mandoline F. Thome-Arr. II. F. Odell, M

Full Mandolin Orchestra $2.20 One of Thome's best known numbers. A Spanish serenade,

characteristic throughout. A n extremely effective mandolin piece with piano or guitar accompaniment and very fine for full man­dolin orchestra. Good parts for all instruments. Effective coun­ter strains in the mandola and mando-cello parts. A number with m u c h dash and spirit. Very desirable in the repertoire of all man­dolin orchestras. 3-8 time. Keys of D minor, F and G.

Reliable Publications. Many pieces published within the last ten years are quite

as desirable as new ones. These listed are proved successes.

GUITAR

H. F. Odell & Co. That is Love Schottische C. V. Hayden, E.

Guitar Solo $ .30

An interesting bright number for teaching purposes in the

keys of A, CandD. Is very popular. A pleasing number for pupils.

M A N D O L I N

Hamilton S. Gordon Our Naval Reserve March Rockwell- Arr. 11'. J. Kilch

Mandolin and P $.60 A n excellent 4-4 all i breve march in the keys of D and G. Es­

pecially good for young pupils.

50 Eleven issues of the C R E S C E N D O in Vol. I. from No. 2 to No. 12, Aug. '08

to June '09 inclusive.

50

This includes over 50 pieces of new and standard music and over 200 pages of interesting reading matter, photos

of prominent players and clubs etc.

50 Only about 40 Sets left. Send at Once 50

THE CIRCULATION OF

KEYNOTES GOES ON INCREASING EVERY ISSUE

It 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 music in each issue.

81.09 for IZ months subscription. 61 cents for 6 months. Send 10 cents for specimen copy.

JOHN ALVEY TURNER, i90^SR^l\Z

The publisher of the largest European Catalog of Music for the above in­struments May we send you a list gratis and post free-

SUBSCRIPTIONS RECEIVED AT •CRESCENDO" O F H C E

T H I N K ot the C h a r m i r | S Effects in T w o and 1 I I I 1 > IX Three Part Harmony that you could

produce with the greatest ease from

THE BALALAIKA The Essex Balalaika Tutor

(price 65 cents post free) written by Prince Tschagadaeff, Emile Grimshaw and Clifford Essex makes the process of learning the instrument so very simple that it would be almost an Im­possibility to go wrong.

WRITE AT ONCE to the Clifford Essex Co. 15a Grafton St. Bond St. Lond particulars and prices of

Genuine Russian Balalaikas From $7 to $30

England, for full

W h y not Publish that riusical 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. Fu'll particulars on request.

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

THOMPSON REPORTING CO. PUBLISHERS

1019 FLATIRON BLDG., N E W YORK CITY. Books of Credit Ratings and Directory of the Music Trades for the United

Slatl. lims in the United States and Canada.