M~. 'DOLIN. BAf\JO WALTER JACODS - Digital Guitar Archive

$: M~. 'DOLIN. BAf\JO WALTER JACODS - Digital Guitar Archive$
CHRISTMAS NUMBt:R

M~. 'DOLIN. BAf\JO

~ll~Gll COl'll .. "i· 11 "I l.l '\IS Sol"<rl11tlon, 'S I 110 1wr ,,·nr In ,uh;nu:e

Cnnndlnu, $1..!:1 l.!c.. Cop, t 'o rr\"11, ~1..10 l:lt. . Lop)

DE EMBER 1911 VOL . XVIJI No. 6

' . T PUB LISHE□ MONTHLY BY

WALTER JACODS BOSTON. MASS. U.S.A.

,_ ,',

M. WITMARK & SONS Dece mb er, 1911 95 Witmark Building, NEW YORK

TENOR MANDOLA ano MAN DO-CELLO

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109 ZENO,\, '.\",· , F. M. W itm.irk • 250 BRIDE BEL LS. ',\· :1, Paul Ru ben! SJ.l MLL E. :\IOIJI STE, b ti ,:1 Victor ller bert 572 TIIE REil MILL, .--..·!••• t, ,,; Victor ll erben ooo TIIF. :'iO [)l)JNG rUl.11', .\ l'.ht -,:,- I l·,lll• G('O. J. Tnu ka us C>02 COURTS IIIP , W.1:•7,•, Geo. L. Spaul din g

•oso TIIE TEDD\' BEAR:f PICNIC, n1.,r., .-i··,ti ,- _\.,wlt~· John W. Bratto n •o70 RED FEZ. \ I ir h .,., I rw ,.;1,·p ·wall er J. Hearn • oS4 MI SS ANTIQU E, .\ '\,J\·..J,·tt<' Geo. J. Tnn kaus •681'.> GENEE WAL TlES Mauri ce Le\.'1 • 713 TIIE EAGLE ·.-r,11:1 The L.,n I of H1r 1~1.

.\ -.1,•.,· F1· I!·. \ :itn nuel Kltlll • 714 TH E ROBl:iS ·r ,.,, T !w I. 1:1 ! ,f ll1r h).

..;,1,••· ,• i •,• 'I Ma nuel Kirin •71 5 TII F. :'olGIITl;'i GALE Fr ,·.1 T.ic I. ,n I .,f Bir L

\ ..;,1,:,, ,: Fi,•l• (' . Monu ,l Klem -71 6 TIIE CA;';AIH ES ·Fr, .. , T',ic l. tn I <)f Bir,!

\-. 1 • i'. ·•·-11 :ita nuel K.lr111 •7 17 1 IIE 5 WA LLOWS Fr,,:11 The J.,111<1 Clf Bir!

\ .-..,;!,·,, Fi·;c-L Monutl Klem • 118 TURKI 5 11 IMPERIAL GU ARD S, :itar ch F'red J.uscomb

~~~ ig~ gJ ~l~~\~8~ Two-S1ep Charl~!~rrot~:A:~ 742 CUPID' S CARE SS, \'·11 .,. l.,·:1 •,· Charl es J. Robert ,

• 743 A TALE OF' TWO HEAR TS. R·•·11.1nrc Charles J. Rober ts 744 CIIAR:'l lE D'AMOUR I.,,•.-~· :-i;,dl , \' .-Ii c Len te Edw!n 11. Kendall

•1<16 URIG HT EYES , :--,·k~•1 ,n Karl ll ouhna •7-19 BRIG HT EYES, i\'.11ti:c~ Kar l ll osch nn 751 DUTC H KIDDIES, '.\·,~, l,·n ~:1,.,~ ll. ,rwc Geo. J. Tr iuk au,

• 755 MADAME SIIERRY, -;,.•.~,·ti m Kar l Uosc hn a •756 MADAME SHERRY, ,\· .J•i:,· Karl Hoschnll • ;;3 THE FRI SCO RAG lla'rry Armstron~ •774 IIEARTTO!IEAltT, c\l,1,1. Geo J TnnkausnndErnr stR Dall 777 Tl-IE GIRL IN THE TR,\IN ! ll id ~,:., ch ie,\t!ne Fr..mJ.Sc !,•cu .. 11 Leo Fnll 778 HARRY OF BALJ.YMORF., S,,;v, . Chll uncey O!conand Ern es t R. Ba-II 779 THE GIRL OF' MY DREAMS. Sdedi" n _ . _. Karl Hosc hna

-7 82 MADAME SHERRY , 11...,rn U:i.ncc ,, r Sclm tti ~ he Jntr•• "Ev,·r·, l.1ttk .\l ,H'cmcnt") . Karl ll oschna

78>1 SCHO Oi. CO MRADE S. \ f. ,rc.h . . . II . Engelmann •185 BOREAS ',\ :-,;,,rth, :n J,h·l"e S111•c Cha r;:,(t...ris:i(

" TJ,. r ,.,:r \\' ·:1 b'' .. \ . .. . . . . . . Geo J. Trink aus •7 90 SIR OCCO f1\ ~ ,ti'. 11•·:11 S. ~,·n .. !, Suttc Cha ~.1, h'nMK'

• T .. Fr,u: \\' :n•' ···H . Geo. J. Trinkaus 7rJl NAUGHTY MAIHFTTA, -..·lt'<:t1•m .. Victo r Herbert

• 792 RED PEPPER ,.\ "'l'1cv Ra~: . . . . . . . , . . • Henry Lo:lge •7Q3 ERIR US .\n I: .,tnn [) ,n••·) :iu:t,: Ch: 1r;1rtcn ·,tic

• Ti,,· F, u r \\' m !•" ·(' . . . . . . . . . . .Geo . J. Trir1ka11s

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25 25 25 25 25 25 lS 25 25 25 lS 25 25 2S 25 lS 2S 25 20 20 20 20 lS 25 25 2S 20 20 20 20 20 20 20 20 20 20 20 ,o 20 lO 20 25 25 lS 25 25

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•794 ZEP~~!~,.r·~-,~~·~\\:.~~l~~l'.1(.t1'· _su,~: .ci_,arnttC'ri,t,., Geo. J. Trinkau s JS 15 20 20 20 20 20 705 KATIE-DID, S.-\•·c-fr,n . . , - • • . • . Karl ll oschna 40 20 25 25 25 25

•7Q6 WHEN SWEET SIXTEEN, Sdec ti on . . . . Victor Herbert 40 20 25 25 25 25 iS •108 T IU-: TI-IOROUGIIBRED, \l.m .:h and Tw ,,-S tcp .. H. Engelmann 35 15 20 20 20 20 20 •79Q ENCHANTMENT , \\· • .;u,.,· . . . . . . . . . _. Walter Rolfe ◄O 20 25 25 25 25 25 · aoo A GAME OF TAG , !l· Geo. J. Trinkau s 35 15 20 20 20 20 20 •SOI KATIE -D ID, H rn D 11 ,r::,;, 'Hli h·: Karl H.oschna JS IS 20 20 20 20 20 6 802 KATIE-DID • . \ I u "i ,!\ ' I,\" .. su•,, . . . Karl H 'l'>Chna .lS IS 20 20 20 20 20

811 THE H EART -HRE AKERS, '• ' Ork,h and Gide un 40 20 25 25 25 25 812 Ofll WIN GS (ff LOVE, \ k, , r, Th ct1, Bendix J5 15 20 20 20 20 813 BUFFALO BILL'S FAREWELL , \ I .r, h ! ·1 '-' ;, Wm . Swccuey JS 15 20 20 20 20

Th is Li1t Will Be Add-,d to Ea.c h Mon th DISCOUNT TO TEACHER S 50 %

-, iv -C:i .. :.:; .. ij J:: '" 50 00 20 50 00 20 so 00 20 50 00 IS •• 50 20 so 00 15 .. so IS ◄0 so IS ◄O so 20 50 60

IS ◄O 50

IS ,o so

15 ◄0 50

15 ◄0 so 15 40 so 15 ◄O so 15 ◄0 so 15 ◄O so 15 ◄O so IS ,o so 15 ◄0 so 20 50 00 20 50 00 15 40 50 20 50 00 20 so 00 15 ◄O so 15 40 so 20 50 00 20 50 60 20 50 00

15 ◄O so 15 ◄0 so

IS 40 50

15 40 50 20 so 60 IS •• so IS ◄O so IS 40 50

. 20 so 00 20 50 00 15 40 so 20 50 60 15 40 ,o IS 40 50 15 40 so 20 so 60 15 40 50 15 40 ,o

Send f or our MUSIC ON APPROVAL Proposition r~.fr.ERLlsT~b't;

MONTHLY PUBLICATION ;::f mnf~ FREE :;::;::·;;,: :~::·" 0 •·~-~=:::·::::;·,::·.~::'.·:::-;,';;';::,~ It la lo thtt. ■1h■ nl.ll1e ol ■ ti (OIIUtrft" U.■ l THI! CADl!NZA IU: fflUll lontt.d whtt.11 writl111t ■dvtt.wll H-'"•

THE NAME

"Orpheum" on a B anjo is a lofty monu• ment to the maxim: "A long list of sat isfied Teac h• ers, P erformers , Soloists and Amateurs is the best Advertiserrlent . ' '

Th e clement of cos t doc, not ente r into the designing an d const ruc.tion of"O RPHEUJ\1 " Bnnjos. The one and on ly object has been to produce a ban j o tfiat is absolu te pe rfectio n .

Let us 1cnd you an "O R. PH EUM" Tight now no matt er what make you arc usin g: De Convinced.

Catalog Free for the Asking

Please Enclose Your Card .

Rettberg & Lange 21$-121 E , 24th .Strut /Vt:W Y01lK CITY

"ORPHEUM" BANJO-MANDOLIN

THE

"ORPHEUM" BANJO No . 2

CA DE NZA

•u.•••••••••••••••u,• • ••••••••••••••••••• .. .. • ARE YOU IN THE MARKET FOR THE 4-

: BEST MANDOLIN AND GUITAR. MUSIC PUBUSHEO? : : IF YOU ARE, MY MUSIC :

DIRECT FROM PARIS : WII.I.APPEAJ , T O YOU . Nouobo fommu.;,h,> ,- kofm~libB- 4 1'! Nm-~WitR~'i)r;:~111/e tt'Ot["o~"~ !'l!':i ~:~i:,;n::~eP.?!n:!ha!~A:Jii~ 4 4 this music; i( you >WH familiar with it you .,.ou\d l l)lln! no pain• to KCUn! It • • fromnbroM I : .,.hydtla ~·whtnyOUAn!AVedthi1 1rouble~ 4 4 ce~Thm'tlAt1~1.~~~~~tl1¥lo:;;!. .. U~t. ~~T ... i~ ~inJdf;,,tflffl 4 4 THEM TODAY . 4 4 .so.,., sdut io,u •"" ,...,,uJt,-u/lo po,11. 4 : J. ROWJES , 200 North 16th Stroot, Philadelphia, Pa. : .....................................................

"That Sparkling Rei..g" /J's a cor~tr . Ont of the but ra11 Utr UJrlfl,n. Arro n1td/0 1

Full Man doUn Orchu lro. Ir1 a dand11.

SEND IOcts for PIANO SOLO

"The Black Diamond March" A 1aod snappy march ; not dtffi c1.11f

111 Maodnlin •nd Guitar20c 2 Mandolin, an d Gl1ilar25c ht Mandolin .ad Pia.no 25c 2 Mandolin, and Plano 30C

Any other pa.rt. IOc each

F, A, GOULART, 24 Thane Street, DORCHESTER, MASS,

~-- ---J UST OUT-----~ For Mandolin, Guitar and Banjo Clubs

Silver Threads Among the Gold PARAPHRASE

MY CRl'OLI: SUI: TEDDY'S TERRORS, .,.n• Arnnged by • • , Heh $ 15

•• • 20 .20

·'° " W. J. KITCHENER for

.. ,j;,;an d·-:c ~~i;;'u°e"cuh :f Conservatory Method for the Guitar by t. G. Withers ,

Pri c• $1.50 Dlot oual to T•Kh an The moat thOf'O\lllh and c;omptthm.ivc method utan t .

HAMILTON S .' GORDON, now . 3oth s1 .. New York

F • E. COLE Mianufacturer of HIGH GRADE

BANJOS, MANDOLINS AND CUITARS

My catolo,: i.s fr,, for th, a.skillg. 3 Appleton St . , BOSTON, MASS .

•• If It 's ou,- publlcatlcn fl's 100d ••

Poem Rustique For BANJO CLUB By PAUL ENO

f:,nit:io'~~~ · fi!rtafo•~t .20c. l:!t i:.•.~tg, 11t.

& .. Banjo !11S) ZOc.DlSCOUNT ½ OPP _ CATALOG Guitar~«:. 15c.

H1f MAXIMUM PUBLISHING CO., 1524 Chrslnut Slrtd, Philadel~hia

THE CADENZA

A STATEMENT The Pub lishers have agreed.

The needs of the Profession are now recognized.

The entire Mandolin and Guitar family have at tut gained uniformity of clef reading .

AU of America's largest Publisben for the Mandolin Orchestra will issue Maodo-baas parts in the reading of the treble.

Walter Jacobs, 167 Trem ont Street, Boston, M. Witmark & Sons, 144 W. 37th Stn-et, New York City, Walter A. Boehm, 120 Cottage St~t, Buffa.lo, Gibson Mandolin -Guitar Company, Kalamm:oo, anti L. A. Williams, Ka1amll%00,

fumi sh Mando- bru.s parts in the 00.ss clef of Uni,•crsal Notati on, which reads the S.'lmc RS th e trebl e.

~t::::t!:n~b~:1!:11l~.~ ~~~~th!,~S!~r jf; lon, Oliver Ditson Company , Boston , and H.F . Odell & Company, 165 Trem ont Slret't, Boston,

will publi sh in the trebl e clef.

Most Publi shers \\i ll use a sin~lc d ef of doub le notati on, giving Uni• \'Crsa l Nota tion or the reading of the treble in larJ:e notes, and the old bass def notati on in small notes : or, when published, the rt'glllar b..-1ss viol par ls will be furni shed l\lnnd o-bass plnyers preferring the old bass def notation.

Careful deliberati on upon the combinati on of notati ons in one staff

f~~e:tt~~h~f~ teJx~~ri~~icG~t~~.11!~n1r'~~ ~:io~:::v:pa38ce 1~J~°:"(J

or fourth Mand o-bass string) up to the second line of sta ff (G, or first M:md o-b.,ss string ) inclusi\'ely, as this would permit inserting the smllll, old bass cl c.f notes a· sixth nbove, or furth er from the large notes , which space makes the distin ction more easily recognizable tha n as though the octav e al>0,·e were cmp loyc<l for the large notes, for then the small notci. of the old bass notation would be a third below, or a third apa rt from thl' large notes.

Inasmuch as the parts never cross , (as is the case with third Mi:ndolin

~~j ~rctaid~~i~l1~!:~~~~e~hd~g is~-ii~~~~ ~~~; •f:r ~;~~r s ;"l~t'\:fo~~

o\"cr, the Guitari st playing l\fand o-b."lSS may read the notes in the snmc position on staff as the Guitar part, no change of octnve being required .

Th erefore, bass cleffists arc accommodated by the combinnt ion clef and will read the small notes. T reble cleffisL<i and Universal Notationists will read the larger notes , s.1me position and octav e as the Guita r basses .

Th e distinction without a difference in notation reading is that Publishers opposed to Universa l Notati on will use a combination de£ of treble and bass , while the Publi shers in favor o( Universal Notation will use a combination clef of Universal nnd bass, (the reading in both cc,mbination s

~~~1fti~"o~f~i-oc:;,~:C:o'!}~d~;:!f~h : 1:;~s:l(:~a:~bidi : ::;~utr;!:~~ proper voice, octave rmd pa rt arc accurate ly indicated and read the same as the tre ble ; while thoae who publi sh in the trebl e clcl have the wrong octa ve, voice and part indicated , the notes being two octaves above where they sound, but as some of the old masters wrote bass parts in treble de£, the license to likewise trnnsgrcs.,; and establi sh a rule on an exception to a rule seems perm issible to gnin uniformity 0£ reading withou t adopti ng Uni\'crs."ll Notation.

revcjJr~.,';~h~hei:: c1~~ a~~,~~~1:aff=~~ f ~~i~~ ~~~~:

were to be estab lished in the Mand ohn and Guita r family, would it not be eventua lly carried into the Violin Orchestra and Band? We readily nppreciatc what thi.s would mean and think, at least, we understnnd why some prefer to gain Univers."ll Nqtation for the entire Mandolin and Guita r r~;:;· ~( th~hUnl!:~.r~:~tl~~s7s~ical and practica l conformit y to the

But whether or no the nbove, that for which the Profession by their

~~:~~~~ !: ~~ ~d\i:~[ !?t~~~~t~! ~irv~h~:1ti:1~a= ~~~J Guitar family,-is now achieved. The ba..• cleffisls are accommodated. The combinat ion de( gives victory lo toth sides and for commercial reasons, if for no other, is ~L .._

In justice to nny " ~'Uvering P.ublisher, (American or fon-ign), who

~!hfu11~wiC::Cf:1c1~r}~e u~d!~c:'~n~1ci~i~~;°;!i~~~; concerned only in that which vitally retard s or enhances the Mandoli n Orchestra, and is not ~ to champion the ca.use of either the Violin Orchestra or Bm,;s 8and -ll5 much as their ca111e needs cha mpioning.

"And to think he started wit h four notatio n melons to ea t 'cm all his re lf."

your ~ic~~~n::Gi"fhi~t 1~!( !~~fi;· is 1~: ?:t

11~t t~~~let~~ hi:: ~~ droJ>pc<I. One notati on for all clefs, and that the readi ng of t he treble or Umversal No l."ltion as now adopted by bot h the Profession and Pu blishers, is the lx-:<t obt."linable for nny man. Unless you are :i professional f'ater whrise time is. given exclusively to musica l gorging, lhrtt: notation melons will spoil while you a re getting away with the other one. Do you get this?"

THROUGHOUT

Boehm is Method for the Mando~Bass GENIUS HAS EXTENDED ITS DOMAIN

Coaci•• • dJinit•, compact. c:ompn,h--1..,.-. mod••-. p...,,..... 1..,. •ad pnc:tic.al .

THE ONLY MANDO-BASS INSTRU CTOR PUBUSHED c- .....

:Wa~tsi~~fi'ic:;!!0~;;,~ :d0~nor.

FfflGERilfG-AU keys, major Md minor. • Where the fingenng is optional, both methOOll are indicated. No echo is this book. No mum bles o( double-bass methods . h' s

a learned work, warm in the lore of a mu~ciM who has seen double- bass methods ncccptcd so long that some good mu sicians have become immun e

, 10 reason, progress and self-evident truths of Mando-bus fingering and nota tion.

A manly furtherance to nrt. A manly resistance to musical effeminacy . He weaves cloth-n ot cobweb, makes prac :ical--not theoretiCI\I, and

both teacher and student soon learn he 's aimed and fulfilled a hi&h and

swift~i{Jj=~f;:;:.np==[::~:~~~:1~:~ih~~~ since Wnlter A. Progress put hi~ foot on him, for Sanity and Comm on Sense have walked hand in hllnd with Prog ress1 with Reason leading the

:at1~ ~~e:r :::~~ ~~"=u:aot':t!· :~the author

PUBLISBBD Ill UIQVBllSAL lfOTATIOlf Price , net, 75c. (Diacount to tbe Trade ud ProfNlioa.} AdftllCII Orden recelYed.

Gibaon Mandolin-Guitar Company 600 Huriooa Court, Kala-, Michlpn

Get a 11Glbeon." oa &.,ronl at u low u Sl.00 doWD uul 11.50 JICII' month. (ODIJ Sc a d&J}, at DO &dnnce Ill pdce.

· Do baalDN& oa oar caplt.al. Stock fund&bed. We la&lp ..u. W11

rJ:: ~~:ii~t_ .. Y~~~~=.:'f;~~~JOU::!:: llrhbblltaldbutlq-'loal ,.__ ...... A. deVeby, l Sldord~-Bapad

W, J.Steat,19RoaterStrNt, ,lf.S. W •

............... . .t .. ~-lNCtADCNZAN......._,....wrklllll....,.. . .'

THE CA DENZ A

FROM MAINE TO CALIFORNIA '''Tire BIG TRIO" Bacon-Pcttinc-Fodcn

Portland, Me., Oct. 13, Due in Los Angeles, Cal., Nov. 2~

A FEW OPEN DATES- Great chance for teachers to engage the above celebrated artists. WIRE OR WRITE QmCK TO

Mr. E. f. GOGGIN, Manager, 225 Green St., Schenectady, N. Y. You can't lose on this .combination - Will do you more good than one hundred dollars worth of advertis ing.

See what Mr. GEO. L. LANSING, the noted per• former, teacher and composer, says:

Boston, Octobe r 10, 1911

"I .pred ict that The Fodcn-Bacon-Pettine Trio will do more to popularize th ese instrum ents than any soloists or combination th at ever toured the country. Th eir performance last evening in this city created the most favorable impr ession. It surprised everyone to hear how beautifully the instruments blended together .''

GEO . L. LANSING , Leader "Boston Ideals ."

Boston, October 10, 1911

"My impression of .the Fodcn- Pcttinc ~BacOn recita l last evening: Th e best banjo, mandolin and guitar combination I ever heard and the banjo positi vely the mqst mu sica l t oned I ever listened to . Thes e three great artists arc com plete masters of th eir respect ive instruments. Th e good to c_pmc to th e entire fraternity and the trio instruments as a result of the Big Trio 's 1910-11 bookings it is impossib le to overest imate ."

B. E.SHATTUCK

PATES BOOKED AND OPEN DATES Oct. 28th Germantown, fo~ Geo. C. Krick

" 30th Gettysburg, Pa. " 31st Open

Nov. -1st Open '

1 2nd Williamsport, Pa. 3rd Open 4th Open 6th Chicago 7th Open 8th Minneapolis , Minn •. 9th Pipestone, Minn.

" 10th Omaha, Neb. " 12th Fremont, Neb. " 13th Denver, Colo. " 14th Big Timber, Mont.

Nov.15th Open " 16thj Open " 17th Open " 19th Seattle, Wash. " 20th Tacoma, Wash. " 21st Portland, Ore. " 22nd Open " 23rd Pacific Grove, Cal.· " 24th Open " 25th Los Angeles, Cal. " 27th Los Angeles, Cal. " 28th Los Angeles, Cal.

Return East- all open between Nov. 28th and Dec. 15th except two dates in Kansas , and St. Louis, and four in Illinois.

January 10th, Music Chambers, Carnegie Hall, New York City

WHO WANTS "THE BIC 3"? • .... ._ ............ __._..Hit CADtNZA N -WNIII ,..._ _..... .........

4 THE

The "SYMPHONY" HARP MANDOLIN

B t tttr t/,ar, other A1/ m1do/i111

ITJ!t h:is a remarkably rich, full, 'Jl powcrful tone, or u tra or<linarily sweei qu ality. Its super ior

iry is appa rent 1he minu1c you try i1. The "Sy mphony" is il1c la1cs1 word in mandolins. hi s an aJ-

11an a O\·e r ::anythin g heretofore created in I It e mandolin line. Send for one on tri :il and see for

yourself.

We ,end" Symphon;y" Harp Mandolim and "S ymphony " Harp Guitar$ on trial.

\VRJTE P'OR FREE ILLU STRATED CATALOG

W. J. DYER & BRO. DEPT. 25 ST. PAUL, MINN.

CADENZA

CLAUD C. ROWDEN t:::~::~c/.',~: SflftBJ> c1;fJvCfllo~0 't-~5ii£ 1r .. 1ioM1~Ag1rcflo~8.:.J'/a's~

""lh111:c11iventhio kind.of

cr!i!~~::.n~~~~~~i"ha~ !T:: ~~r~.::: ::! c~:;:i•,~t°!~J with , ta proper ulC, all playenv~~ be &ff•t.lJ benellted." PRICE S 1.00 , Sud for """'"" D. E. HARTNETT • - • 120 E. 23rd SL, N•w York City

lll n nlor ol tha Ton .. Bu and Ton .. Lenr . Price, Sl .00 aedi.

:~:;;sF:o~;:lmss "THE FIELD ENSIGN" FOR MAll'DOLlN ORCHESTRA BY TID GOGGIN. \'ou will find th at thl• numbu i• a 1ure hit ,ovrry time it 11 plnyfd. The BIG TIIRP.E are ullna: It, 10 that 1pe&b l>N!ll)'wcll forlt. Ill Mandolin, JOc; 211d M•od oUn, 20,; ; Tenor Muldoll, 20c; Maiado-Cello, 20c ; Guitar Acc., 20(: ; I ll Banjo. JOc; 2nd Ban jo , :ZOC; Pi&AO A«., 40c. M1..11do-Bu1 ,-.u fumlabed In BASS CLBP ii de&lred, al the same pric1 u Nudola, I- ~ UPI- ' . Get in lin• and add thi1 numbu to your ,;oUedlon and yo,,, will find that it UI one o( the · most tuneful ~larch N )'OV. have ever played. BACON-GO GG IN PUB. CO. • 225 Gru n St. , Schen•ctad1, N. Y

A PAIR THAT'S HARD TO BEAT I

MARYMINE by Berthoud . Price ISc REVE ORIENTAL by DoPr~~~ ISc

Two Chuacterbtic Solo• for Una cco mpanied Mandolin Theso two are quite different from each olhtt-lt wouldn 't hur t to 1end fw both at once. ~\~'~f.~i yourHlf, Chriltmu 11 'moat hue, and YOU NEBO a little presen t from

F . LANDR\' DERTHOUD , Publl&tm, 66' We st 179th St., New York ! N. Y.

Mandolin Players ~!F:tofil~~ft~i~r~ft~-::' ¥i:; Cno . Ba.il'<IUl ~H. ll oly0ke, y ....,_ uys - " If you o;onlinua to publi1h mu1ie of

lhll l l)'lc, yo u will surely meat wil h unlimited SUCCUI . "

O■ncinr Mid th e. Palms, Schotti Khc, ht ~am! . . J O Royal Crut, Schonliche .40 Quun o f the Valley, Gavotte ,40 Dawn of lhe Rosa, Wahs .40

DISCOUNT 1•:Z otr GOLDBY'S PRACTICAL STUDIES for tbe lkndolla uted and andoned by lead ina \cacher&. 1'eachen send card. Wri 1e for ca.1.1110&.

f. D. GOLDBY ANO SON, SS Wut J9th St., PalerNfl, N. J.

THE BACON PROFESSIONAL BANJO The Mo1t MUSICAL Banjo of th e PrHent Day. Maltca friend, wh•r•'l'er beard. Prices $40 to $100

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~:~t:l•~:.~::::r.~!c!.~:~~-\~~1f~:0!~~::1:=a::ll~~r; h t . ll andolin JOc, 2nd Man~lin IOc, Jrd Mandolin Uc, Wando-Celkl Uc, Pl~te

~t1:.·~~c;~1'o.f~~1ttW1c8· ~ r : _ar.~u~1°d:!~1~ro~~~!~i SP&CLU. OPPBR : 2 Mandollm 1.11d Gv.ltn 10c, 2 lkndolln9 alld Pia.no 20c,

J0.9 . M.OALY, • Galet,-'nMtr9 ■alWla.,,NIW..a.iqt-SL, ....... II_

• .. ta Mliii ........_, et ell __..,. a.et fnl: CADtNZA h ...u. ... ••• w"'- Nv.,u...-.

THE CADENZA

THE VERY LATEST MUSIC FOR

MANDOLIN ORCHESTRA The Tournament (March - Two-Step ) Sullivan

Rondo d'Amour (Patrol) Westerhout

Schubert's Serenade Aspiration (Melodie) Smith

Priscilla (A Quaint Dance ) Clarke

S•nd for loo.st Th•matlc II.st of ,Mandolin o,chut,a /tlOJlc b)fth prlc:u . It Is g our.s for th • as1c.ln&.

WHITE-S.MITH MUSIC PUBLISHING CO. BOSTON NEW YORK CHICA.CO

02 ■TANHOPE STREET 13 EAST 17TH STREET 31 6 SO . WABASH AVENUE

The Chestnut Hill Academy M andolin Club, C . H. Elwe ll, Dir ector, Chestn ut Hill, Pa. , and the Ea&le Mando lin Club, S. W. Fr edric k.an , Dir ector , of Ironwood, Mich., have recently used the pop ular " U.S. A. Patro l" by Peck -Od ell .

It will arouae any audience to cnthwium.

The Washburn Mandolin

11 a moat artistic inatrumcnt and reprCICllb the height of perfection in mandolin building.

The wO:kmanship which i, found in the Washburn mandolin caMot be duplicated.

The respoo1ive quality of this magnificent instrument makes it p011ible for musicians to render their tn01t difficult compoaitiom with eaae.

!:..et III icnd yoo a copy of oor Wa,hbum Souvenir Catalog. A P011al will bring it.

:18-92 Adami Street, CHICAGO

Mandol in Clubs should use the famous dance , "Woodm Shoes," by Cooke -Odell. We do not believe it po n iblc for liatenerstokccpthcir feet still to the ma rked rhythm and melody.

I t is in the rcputo irc of the Kimball Mandolin Club, 0. B . K imba ll , D irector, of Bridgeport, Conn.

WILLIAM EDWARD FOSTER Mandolin Virtuoso

ADDRESS

537 Knickerbocker Ave.

Mr. Teacher :-

While you' r e thinking of t h a t mandolin soloist for your next concert, ge t a pe r fo r mer capable or disp lay ina: the possibili t iC! or the instru ment.

Rcndc:rina; a wide range or Clauia, Semi -classics, Fa miliar ain , with or wi t ho u t acco m • panimcn t .

H e c..ce ls in unaccompanied 10Jos, produci na; many 1urpriain1 effcct1. Sopt-an o or Bau 10101 with aelf ac•

· companiment, piz• ricato, harmonics, duo, trio and quar• tet1ty le.

Brooklyn, N. Y.

■ II II .......... If .. _,... Ilia&,,_ CADUWZA M -, ·....i •IK• wri:k 1 ~

6 ---- THE CADENZA

rwaller Jacob/M;~d~i; o;;CM~t;a Publication~ THAT INCLUDE PARTS FOR

TENOR MANDOLA, MANDO-CELLO and MANDO-BASS

lu1 ; .

•~~~i;1:gTJOSi~L..So0f5cb~5:'ebr~)a1111

I ·· ············: :::::: IAn,R.E.Blldrelb B .JO . 10 . IS . IS . IS• .IS .t s .10 .:zo t •A OORAVATIOlf RAG. (Cobb) ......... , ...... ..... . ... . ...... , . Arr . w,uer J•cob• ,J.O . 10 . IS .IS .u ,15 .10 .20 .40 t•AB SUI'. Eccentric Two •Step !fo•ehr. (Rolf, ) . . .... Art . Welter J1cob• ,JO . 10 . IS . U .1s• . 15 .15 .to .:ZO .40 •ALLURING OUNCES , Walt, , (Rolfe ) . . ......... . ....... An . R. I. Blldrelb .JO . 10 .15 , IS .IS• . IS ,U .10 .20 •AMOURE'M'E . Waln . (Leich\ ... . . ... Arr . Hild r1tb - J ■tob1 .JO . 10 . IS .15 . 15 ,IS .10 .20 •ANGEL'S SE RENADE. (Br111 J .. Arr . R . E.. Hildreth .JO .JO . 15 .IS . IS• . 15 . IS . 10 .20 •ARBITRATOR , TB&. lfln:b 10d Two-Step . {T.uberl ) ., Arr . 8ildr11b•J1eob1 .JO .10 . IS . IS .15• .JS . IS .10 .20 .40 .30 •AU .IIATJl'f. (Godard) ..•....... ....... ... . . .. . ....... . ...... Arr . R. E. Uildmb .JO . 10 .u .ts .u .ts . 10 .20

t•BARflDAl'l'Cli. Tb,Bvnn ln ' Gambol . {We111) .. . ........ Arr . WallerJ1 cob1 B .JO . tO .U .IS .10 .20 .40 .JO •BASHFUL BU.IIPl:11'. Scbo1tlK b1and81mDanc e. {Rolfe) .. .. .. . An . Wal1erJacob1 A .JO . 10 . IS . U .IS . 1$ .10 .20 .40 •BBRCBUSI from "Jocelyn." (Godard ) ................... .. ..... . An . R. B. Blldretb B .30 . 10 .IS . 15 . IS .IS . 10 .20 •B i RLll'f 11'1' SII ILliS AND TEARS . Onnv re. (Co11radl). . . . ArT. R. B. Rtldretb B .40 .l S .2S .2S .25 .20 .JS •BOY S OF TBB MIUTIA . ll ■ rcb . (Bodu1ldn ) . . .. ArT. BUdrttb •J1co b1 .30 .JO . IS . U . U . 15 .10 .20 .40 •CAVATINA. (Rall'}.. . .. ................ . ... . · ........... Arr . R. B. Hlldrelb .30 .to . 15 .ts .15 . 15 .10 .20 CHA.11'1' OF DAJSJSS. Walti .................... ......... ........ .. ..... A. J. Weld! .30 . 10 . ts . )$ .ts . 10 .10 .40

I •CHANSON SA.1'5 PA.ROLliS. Soni Wi1bov1 Words . (Tscb1 ikow1k1 ) .. Arr . R. B. Blldrtlb .JO . JO . IS ·15 ·15 •15 . IO .20 I

t •CLOUO-CB lliF . Two-Steo lnlerm,no (Pbllle ) .. . . ................. Arr . BUdrdb•Jaco bt .JO . 10 .15 . IS .IS . IS .10 .20 .40 COLORBO PROllliNA.D £, TU B. Mucb 111d Tw~S 110... . ...... . J . 0 . Liddicoat .30 . 10 . ts . IS .40 .10 .20 .40

•CONE BA.Cl: TO COJfflBIIARA.. lritbff Ol'ellrTw o-5 110. (Grer l . . . ArT. R.B. BUdrttb .JO .10 .15 .15 .u .15 .JO .20 •COIIIMAN'DBR, THE. lilarcb aad ho-Step. (RIU) ......... .. ..... . An . Walter Jacobi .JO . 10 .U .IS .IS .IS . 10 .20 .40 •CQlfSOU.TIOff . No. 6. (Llu t ) ............................ . An. R. B. Hildreth .JO . 10 . 1$ . ts . 1S• .JS . ts .10 .20 0 COPPBLJA. Vtltt Lant, . (Dallb• l... . .. . . .. Arr . R. B. Blldnlb B .40 .25 .25 .25• .25 ..25 .20 .JS COQUETTE. THli . Mnvrka Capricdo ..• .............. . •....... . . H■rrr W . Webber B .JO . 10 .15 . ts .JS . ts .10 .;tO .40

,. -CRUClnX1 (Fu re) . . ............ ...... . .. /&n. R. E. HUdretb B .30 . ID .15 .JS . IS . IS .10 .20 . 1CUPID ASTRAY. Wa\11. (Rolt , r. .. .. .. Arr . HUdretb •Jacoba B .40 .20 .15 .25 .25 ..25 .20 .JS

DUCE OF THI CLOW1'5. (.llarct line ) (Trlnk.v1 J... Arr . H.F . O~d l B JO . 10 . 15 .15 . IS . IS . 10 .20 ,40 t•DJXIB TWILIGHT . Cbancterilllclbrcb . (Job111onl . . Arr. W1herJ1cob1 A .JO .JO . ts .IS .U .15 . 10 .20 t•DRBA.111 USSBS . Walt z. (Rolf, I ....... .... ................... Arr . Bild rcth •J acobll A .40 ,20 .25 .25 .25 .JS .20 .JS

•DROWSY DEMP SEY. A Coon Sbvffte .. . .......... . .......•....... Gao. L. 1.111.11111 A .JO .10 . ts .15 . IS .IS . 10 .20 .40 •BL TORKRO . Waltz ............................................... R. B. HUdrt th A • .JO .10 .15 . 15 . 15 . 15 . 10 .20

t • PAJR COl'l'Fl0A.1'TES. W1ll r. ()lcVlis.b ) ....................... . Arr . W1ltrr J1eob1 B .40 .20 .25 .25 .25 .25 .20 .JS .,AIR DAMB. Linden . (Brown) . . . . . . . . . . . . . . . . . . . An. R. B. Hlldnth B .40 .20 ..25 .25 .25 .25 .20 .JS

t•FAJRY PLIRTATIOl'l'S. OancaCaprice. (Botbnlaln ) .. . .. An . Wal1erJ1eob1 B .JO . 10 . 15 .IS .IS . 15 .10 .20 .40 .JO •FAREWELL TO THE FLOWERS. Rt"tUM .......................... R. B. Bildrtlb 8 .30 . 10 .ts . 15 ,15 . ts .10 .20

t•PARIIIER BUl'l'GTOW1'. lllarcbHvmofMqve. (Luacomb ) .......... An . BUdretb•Jacobl 8 .JO .to .IS . 15 . 15 .15 .10 .20 .40 .JO • FlFfB !fOCTUR1'B . {Llrbach) .. . ... .. ..... An . R. E. Hildreth B .40 .20 ..25 .25 ..25• 25 .25 .20 .JS

t•PLIGHT OP TUB BIRDS. Bal111 . . ..... . ..... ..... . . .. ................ . W. 11. Rice 8 .30 . 10 . 15 . 15 .15• .15 . ts .10 .20 t•P(J!f 11'1' A BARBER SHOP. !fOYellr M1rcb (Wiun1l ............. An . Wahn- J1eobll A .30 . 10 .15 . 15 . ts .JS . 10 .20 .40 .30

•GLOR~l'l'A. Offnvu . . . .. . . . .. . .. . .. .. .. .. . . . A. J . Wildt B .40 .20 .25 .25 .25• .25 .15 .20 :JS •GRBTCBB1' . )IY RATBSICBLLBR PAJRY. (AJff ) ... .. ............ Arr. W1llff Ja cobi A .JO .10 . IS .IS .IS . IS . 10 .20 •BASH ED BROWl'I'. 1'onllr T•~S1111 . (AUID)... . ••••..••••• .. . Au . W1lter J1eobt A .JO .10 . 15 .IS .15• .15 .ts .10 .20

t • HBA.P BIG lffJU1' . Two-Stepl11lm1Snn . (SaWJff ) ·············· An · J•co•Hildr11b B .JO .10 . 1$ .IS .u• .15 .ts .t o .20 .40 t•BBART .IIURIIIURS. Wal11., (Rolf, ) ....................... . .... Arr . R. B. Hlldn1b B .40 .20 .25 .25 .2s• .25 .15 .20 .JS AO .30

HlLARIOUS ZIB . An B1blooi1n OddllJ ............... BarTJ W. Wtbbtf A .JO . 10 .15 .15 .40 .10 .20 .40 1•eo11s. SWliBT H0.11B. llltdl11"0ood-!flabt " Walts ············ · ··· R· B.Hlldr1th ll .30 .10 .ts .15 .u .15 .10 .20 t•BOOP -B-L\Clt . Two-St1p!foYdlJ. (Allan) ...................... An . BQd,.tb-J,cohl 8 .JO .10 .15 ,15 . 15 .15 .10 .20 •HOKOIUISO. (Dl'arak, Op. IOI, lfo. T) •••••.••..•••••.•••••••• • An . R. JI!. Bildr1th B .JO .JO , 15 .IS .15 . 15 .10 .20 •U(J!f GARL\ff DANCE !fo. 5. (Bn,bm.9) .. ...• . ..............•.... Arr. R. B. Blldutb C .JO . 10 .15 . 15 .t s . 15 . 10 •.20 •HUl'l'GARIAff DAl'l'CI ffo. 6. (Bnobm.9) ........................... Arr. II.. B. Bild.Nib 8 .JO . 10 .t s .15 .15 .15 . 10 .20 l!f A DIXJB DBLL. Slow Dn1 ..... ................... ..... P•cr M. Jaqa• B .JO .10 . 15 .IS .40 .10 .20 .40

•m CUPID'S TOILS . Walti . (Mone) ............ ...... ... ..... Arr . Walla- J1coh1 ll .30 . 10 .15 .15 . 15• .IS . 15 .10 .20 •JffDlPFBRBffCB. Chanettriltic )lou110 . (Rolf e) ....... .. ...... An . BllUltll•J•cobl 8 .30 .JO . 15 .IS .ts• . 15 .15 . 10 .20 Ill' LOVERS' LA!fB. Capriee. . . .. . . . .. . . . . . .. ................ •. RlrTJ w. WtbMor 8 .JO .10 .u . 15 .1~• .15 AO .t o .20 .40

•Iff ROYAL JAVOR . )11rch aad Two-Stt11. (Potlff) ...•...... .... .. An. Wallff J•CON B .JO . 10 .15 . 15 .15• .IS . 15 .10 .20 •JffTODCA.TIOff RAO. (Whlddea &Ad Coand) .... .. ....... ........ An. R. B. Blldnlla 8 .JO . 10 .15 .ts .15 . 15 .10 .20

t•IRVl!fA. latameuo. ('hro-Step ) (Rolfe) . . . ............... Arr . W1ltt:r Jacoi. B .30 . 10 .IS .15 .JS• .IS .15 .10 .20

I •J OLLY ROBBERS. o , a-tun. · (Suppe) .••.••••••••••.••• •.•••.• • . Arr .a. B. Hlldralla B .so .JO .JS .JS .35• .35 .JS .30 .40 I

l•D!fTUCICY W.DD lffO DOT. llo9'111t,Two-Slep. (T1m• ) ....... Arr. Wal t• J•eoh 8 .JO 10 15 15 IS• 15 15 10 .20 AO .• •IJIIO NYDAS. 0 ..-twe. (Slltab:t:rs) ............... ........... An . R. L Blldt1lla 8 AO :JO :U :U .'.is• :U :U ~ .JS ,40 .JO ..

t•ltlSS Of SPJl.11'0. Waltr. (Roifi) ...................... ......... Arr. Walter JaCON A -40 .JO .2$ .ZS .2$• .lS .ZS .JO .JS • LA ClRQU'AJITAJJIB. Ab' i. ow.. ltrle. (Oalnill'llarie) .•....• . . .... Arr. R. L BIWNth A .JO 10 .IS ,15 .1s• ,15 . 15 .10 .20 · L:p::·~:::::-w· (CbaA ..... LT

0

,.E ... R .. ,C .. J·•-A .. ,C .... O .. AnB .... S.,,........ • .,. " " " ... ·" " " .,. .. J · 167 T111oa; St:, B11!111 ll~u.·, U, S, A, ...

• • •-. ---. • ., •" ~ ""'nc CAPCNL\ ............ ••..,.... ......._.

THE CADENZA 7

·----•• --.CONTINUED FROM PREVIOUS PAGE •---•-· i Waller Jacobs' Mandolin Orchestra Publications I THAT INCLUDE PARTS FOR

TENOR MANDOLA, MANDO-CELLO and MANDO-BASS

~ i • ~ I j • ;i

LIGHT CAVALRY. Ourtu re. (Suppe \ .. . . ..... Arr . R. E. Hildreth .50 .JO .JS .JS .JS• .JS .JS ... :~~"i>I ~::'~11;RM':c!~11~i«1ioo. ·c·~~ir~;;.):: · · .. : . :~~-H~~':'.~t:::~: :!: .io ~! .IS .JSO ~! ~! ~ . , . ... ... ... •~URXA, No. I, (Sala 1-S.u 1) .. An . R- B. Hildr eth . 10 .15 .15 .u • . IS .15 . 10 • ltBRRY WIDOW . WaltL (lAb■ r) . . , , ....... , .. , .... , ... . . . . .. Arr . Bildntb•J■ cob1 .40 ,20 .25 .ZS .1S .25 .20 ,,

t•ltOftSTRAT VIAM. March. (Jor ) . . ............................. An. W■llu Jacobi .JO . 10 .IS . 15 . 15 . IS ,10 ,. 110011 WlffKS . Two-S t■P latcrm■no. IJ■q11n) .. . ........... Ar r . Tbos . J. Aru11troo1: . 10 .15 . 15 .15 • , 15 .40 . 10 ..

t•MOOSB, TBB. March . (Flath) .......... . . ...... . ............... Arr . Walter Jacobi .30 .10 .15 . 15 . 15• . 15 . 15 .10 ·" MYOPIA . IQtermeuo. (WU.oo ) .. . . ... . . . . . ................ . An . Tho. . J . A~m•troo1 .JO . 10 .15 .15 . 15 .15 .10 ,. ... •ff AVAL PARADE. Much and Two-St ep. tA.llen).. An. R. E. Hild.alb .JO . 10 . 15 . 15 . 15• . 15 .15 . 10 ·'° t•ffATIOl'fAL EM.BLEM. M.ircb . (8•1ler) . . . . . An . Geo. L. La1Ul111 .JO .10 . 15 .15 . 15• . 15 .15 . 10 .20 •KOCTOUB. (ChopUI, Op. 9, ffo . 2) • . .An . R. B. Bildtetli JO .JO . 15 . 15 .15 . 15 .10 .lO •ffORWllGIAN DAl'fCE, ffo. 2. (Gria1, Op. 35) ...................... An. R. B. Blidtetli .JO . 10 .15 .15 . 15• . 15 .15 . 10 .lO

OLB SAM.BO. A Coon Seren ade ..... . . ..... A. J . Weidl JO . 10 . 15 . 15 .15• .40 . 10 .lo .40

I Offl01' RAG. A Bermuda X..enca .. . . A. J. Weidt .JO .10 .15 .15 . 15 . 10 .20 .40

•Off TUB CURB. )(arch and Two-Slap. (AUeo) .. . .... An. Walter Jacobs .30 . 10 .15 . 15 . 15 .15 . 10 .lO .40 t• PA!l'SJES FOR TBOUOBT. W•lt .i. (8 1111) .. An , W•lter Jecobs .40 .lO .25 .25 ..25• ..25 .25 .20 .35 I •PBRSIAN LAIIB RAO. A P■pputlle. (Wenrich) ..... .... ......... An. Weller Jacob• .JO .10 . 15 .)5 .15• .15 . 15 .10 .20 .40

•PIZZICATO POLL\. (Stnuu ) .. .. An . R . B. BUdreU,, JO .10 .15 . 15 . 15 .u . to .20 •POLISH DA!l'CB. (Scberw111ka) . . . . ... . Arr . R . B. Bildretb B .JO . 10 . 15 . 15 . 15 .15 .10 .20 •PRil'ICB OP GOOD PBU.OWS. Quadrille. (A.Ilea) .An . W•ller Jacob■ B .40 .20 ..25 .25 ..25• .25 ..25 .35

RAO TAO. M■rcb 111d Two-Seep ...... .. .. . ... ................ . ......... A. J. Weldt 4 .JO . 10 . 15 . 15 .15 . 10 .20 .40 S•R.BD LUL &ho1tladie and Bani Daoce. (Mone) ..... .. .. ....• ~ .... /ur. WI.I.tu J•cobe A .JO . 10 .15 . 15 .15• . 15 . 15 . 10 .20

•ROOUISII BYES. A Plirtatloo . (Gnunweld , Op. 396 ) ..... ........ An . J■cob■-BUdretb B .30 . 10 .15 . 15 .15• . 15 . 15 .10 .20 I l•ROIIARCBOPAROSE. Rnlria. (O' Connor ) ............ ........ . /ur.R. E. Blldr■th 8 .JO . 10 .15 . 15 . 15 .15 . 10 .20 1•RUBBllR PL.UIT RAG . A Strateb.entte. (Cobb ) . . ... . . . An . WI.I.tu J•cobl B .JO . 10 .15 .15 .15 .JO .20 .40 t ♦ltUSSlAN PO:tY RAO. A SJDCopated Pnlnce . (R■msaJ) .. . .... Arr Hlldntb•J•cobe B .JO . ID .15 15 .15 . 15 .10 .lO .40

•RrJ: . R.BSL, (Tw..Step) A Lillie Scotch . .. . .......................... Geo. L L■naiq; .JO .10 . 15 . 15 . 15 . 15 .IQ .lO .40 ot54TBLLtTa ... uudn,. (Aemue ) .. . .... i ...................... . ... Arr. R. B. BUdt1Ui .JO .10 .15 .15 . 15 ,15 .10 .lO

esa~W"~T,~Ol~~t:'>i.o :t: ·1er.-hlm1 ·:: } An.R.B.HUdretb B .40 .20 .25 ..25 .25 ..20 .35

SEVILLA . W•lt, di Concert .• PercJ' • · J aquu .JO . 10 .15 . 15 . 15 .15 . 10 .20 40 ·•saow POL"l:S, )(arch . (Wuticb ). . ... . ... . .. Arr. Wallu Jacob• .JO . 10 . 15 .15 .15 .15 . 10 .20 •SIIO'LB AVEO. Simple Conl- lon. (Tb.om, ) .... . . . ............ . Arr . R . E. BUdntb .30 .10 . 15 . 15 .15 .15 . 10 .20 •SltATERS, TSE . (Lea P■ tin■un). Welti . ('.Weldteult l) ..... . ..... Arr . R . E. Hildreth .35 .35 .35 .35 .JO .40 itS"l:lPPUSOSIBGR.BBf'fB . ?fautk.1.1.?fonlt1 , (Two-St~p .) (bmuJ' ) .An . BUdr eUi-Jecob1 .JO . 10 . 15 .15 .15 . 15 .10 .20 •9C>LAJlBT. (Qu11n of Ll&bl) . VelH B•ll11. (A.11111) ••• • ••••••• • ••• An. BUdteth-J■cobl B .40 .lO .25 ..25 ..25 ..25 .20 .35 •SPA!l1911 DANCE NO. Z. (MonkowllLi) ....... . . Arr . R. E . HIidreth B .JO .10 .15 . 15 . 15 . 15 .10 .20 •SPA.!1188 OAIBTY . Bolero. . . . . .. . ...... P■ul Eno B .JO .10 . 15 .15 . 15 .15 .10

t•SPTJ!l'O CUPID , WeltL (Rolfe) . . . .. .• . . . .. .. .. ... .... . .. .. An . W•lter Jecobl A .40 .20 .25 ..25 .25 .25 .20 .35 •STAa or JUlf. Bani 111.nee. (Rolle ) . ...... . ................ An. HU4r,th-Jaeobl A .JO . 10 . 15 . 15 .15 . 15 .10 .zo

t•STA.llLAftD . latermeuoTwo-Step . (O' Connor) .. . . .. An.R .E. Bildntb B .30 .10 . 15 .15 .J5 . 10 .20 BWBBT COIUI. Cb■ n1cteri■Uc llercb . ... . . .................. . ... . .... A. J . Weld! B JO .10 . 15 . 15 . 15 .10 ..20 .40

•TBmD DBOUE, TBIL WI.I.I-. (Beiadb:) . . .. ... ... . ........... An . .,l.l.l1t J1 cobe B .40 .20 ..25 ..25 .25• ..25 ..25 ..20 3 5 •TR.ADUIO SIIILBS. Scboltl■c:be. (RlmMJ' ).. . .. Arr . Jacob■-Blldntb A .JO . 10 . 15 .15 . 15° .15 .15 . 10 .20 -TRAOII.BlllUAll'DROIU.lfZB. (Scbum■ 1111) .. . .. .........•........ An .R . E.BUdretb B .JO . 10 . 15 . 15 . u• .15 . . 15 .10 .20 "J'RI-1110U!l'TAllf , llatcb ■ad Two-Step. (W11km1n ) .. . .. An. Blldntb•J■cobs A .JO .JO . 15 .15 .15 .15 .10 .20 40 •TROOPBRS, TBIL March aod Two-St-, . . ... ..... . .. . ........ . ... . . P'nld J . Baco11 A . 10 .15 . 15 . 15 .15 . 10 .20 .40 '1'0lll[JSB TOOL ll.lG . fl a111>-D0W11.. (Allen) . . . . .An. Walth" Jecobe B .JO .10 . 15 .15 .15 .15 . 10 .20 .40

f--rw' O LOVERS, TBll . !l'OHl1tte. (Plath) ..• Arr. R. E. HIidre th B .JO . 10 .15 .15 . 15 15 .10 .20 i •u Al'ID L Wtllz ............. .... . ..... R.B . Blldretb B .40 .20 ..25 ..25 ..25• • ..25 ..25 .20 .35 •VJ:!1'811.\R ROIIAffCB. B1rc■ rol1 . . .•.... . . ••.• . . . . . ..... R. E. Blldretb B .JO . 10 .15 .15 .15 .U .10 ..20 '"VIGOR OP YOUTH. MarcbudT---Step . ... .. . . . .. : . . ... . w .... Rlce A .JO .10 . 15 .15 . 15° .15 .15 .10 .20 '"VIROll'fU. llK1.. OW Staadbn . . ........ . . . ...................... . Arr. R. B. Bl1dt1tb A .40 .20 ..25 ..25 ..25• ..25 .25 .20 -" •WHIRLlftO OVllR TllS BALL-ROOII FLOOR . WeilL (R•m111) . An , Hildntb-J■cob■ A .JO . 10 . 15 .IS . 15 .15 .10 .20

I •WI~~"l':&--.:.er.'1:..■ao:aft'.t\::'~~(;_; ·· fW°i~i.,..iki)' :::::·: jAn . R. E. Bildntb B .JO . 10 .IS . 15 .IS • .15 .IS .10 .20

· :~u~=:;-:'c;■-...;;1; ·.;.~~;; :::::: :: :::::·.·. ·_-_-.·_-_-_-_-_-_-._-_- _- . ::~/}111-!:! ! :: ::: ::! ::! ::! :!! ::: :: .40 : :~~~LOO~J~a~~ ~=..1 ~.!:~1:.~~~.~--.. ~~~~'.'.'.~~~:~:::~! -! :!: :: ~! ~! ..25• ~! :!: :: :: :I 'ZAJfPillTB. ~ lb.rcb . (Lake ) . . ... Arr , Walter J•cobe A .JO . 10 ,IS 15 15• .15 15 10 .20 I :•-PUBLISHED B¥ WALTER JACOBS, 167 Tremont St,, Boston, Mass,, U, S, A.-.

.. I

Ill &I; .. .. ----- -~ al_... Urlal t nt CADtNZA De •u&.1--w._ ..,.._ ••---•

T .H~E CADENZA

AUBREY STAUFFER AMERICA'S GREATEST MANDOLINIST BIST COMPOSITIOl'fS AS WILL AS TH& BEST WOUS OJ' OTJIJ;R l'fOTBO COIIPOSlltS WILL Bl ,ouND AIIONO THB J'OLLOWUIO PVBUCA.TJONS

MANDOLIN DUOS BEST EVER COIU YE DlSCO?fSOLATE. Great arr. bJ Stauffer ....... . ....... . ... 60c SPRII'l'G SONG (MHdel saoba ) ......... . ...... . .. . . . ..... . Olk MOOffLIGHT R.EVERlll: (Beautiful Melody ) . . • . .••.. 50c GOOD NIGHT DB.AR HEART (Ooe of Staulfer'1 buO . . .... 60c SONG WITHOUT WORD S. Mu Weber - Pine lor 1eachin1 .. 50c SWEET BRIARS. ' W. D, Moyer. FiH Melody. Easy . . , .50c DAY DP.RAMS. W. D. Mo7er. Ea11and pretty .......... . . ..... . 50c SILVER THREADS AMONG THI: GOLD. W.O.Mo7er .. ,., SOc THJrOLO CHAPEL. Great daKrlplin number. Moyer . , . . . ... SOc BAl'ID LEADER MARCH (Mo7er ). SoW1d1likea rea lbllnd .... .. . .. 50c AM.ERICAN IDEALS. Man:b (Moyer) . A aura bl! 011 an:, procramme .... . 40c SWEET .THOU GHTS. 0111 of J. R. Monia' be1t efforta ...... . .... SO.: numbef'J. VALSE BRILLIANTE . J. R. Morrll. A be.u1if11l concert w11!1 .• 50c i~V:.iiW0iwt;fJ~· B::..~til~ ';~t <•~t~ bit. Sl!R.EffATA. J . R. Morda. Ennordl11,1.l"J' 11.D.1 number .... ...• .•••• •.. 50c:

R1membei" tb.e STAHL MAN"DOUl'f, GOrtAR, 111d BAl'fJO METHODS ar, tb.ebetltpc,blubed PRICES ~~1lft:n~1n~: ?':no~~~t: ~~l:C1!° ~ :

::=:""·~: =oUlAo r c~ Discount J .2 Off FR EE -e:r;;~•:::: •;~ ~~~~mf:, ~ :,;;it~~~ i;::

ENGLISH MODEL

THE TRUTH IS FIRST0u~hl":~er:i.!l~f..!':!.!!':n::~~~i:-t.!.i~e~t

1 .. ~:~b~ lt'i:..:~:i~i:r.-:;r:1~ :i:11:c-;-~~ llult"-

SEC0~110i,n~::~:.'aultleu Kale whkb perm it• tb.1 conec:I a!ie and lenrtb of 11rint:-&iftlll 1u1 of 1ctlo11 and f1cWIJ"

T HIRD. I uu bolh lh1 Encli1h 1,id Am"riu.n Mndelt and employ lhe a!OIII 1elenllflc con1tn1ctlo11- lhne poinll 1ec:11ri11c the Jl"HIHI orolume, power, 1weehtn1, tkh.neu and purllJ of tone , 11 will u 1111Wnin,c qllllllJ.

FO UR~r~*s~1C~it&Wlk~ ::~r:m:, wi~titr~· U:-n~~'t'if.r4.t.z.ecm,tts?'~1:A~

FIFTH . I bue bun 27 JU.1"1 on the job II a IZllUl11f1eluret- wilh 1b1 added qll&llbtlou of a 111cc1ul'11I IMtber, ~i:!f':':!il.olo\Jt 111d composer. If lben 1thl 1..-cmea11 do nol quality m1 u 1.11 esput Jam 111 loaa to know

REGULAR MODEL

WM. C. STAHL, .,,,., ,. P obu , • ., • • • "' •••[•• 1• '" · Milwaukee, Wisconsin MilER OF THE LOUDEST AND SWBBTEST TONRO MAft'DOUNS , GUITARS .um BoUIJ OS (ft TH& WORLD

The Country's Idol of Mandolin Virtuosity , , T).A SSAGES requiring a tremendous climax are a positive pleasure r upon your mandolin. Experience, however, has taught me that

the most severe test of tone production is in rapid run s-i n making each individual note clean and true. The 'Gibson' tone in the above exacting particu lar criunciatcs perfectly and carri es in the largest hall with a wealth and brilliancy peculiarly its own, which gives confidence dear to the virtll.oso for he knows the contrasting tonal effects, the rapid execution and all the other intri cacies of technique will go forward to the aud ience ju.c;t as he produces them. • • • I most th oroughl y believe in the superiority of the 'Gibson' constru ction." • • •

William Place, Jr. " His precision, attack, accuracy of phrasing and tona l purity, coupled

with his temperamental endowment of discrimination for the highest in musical art, ability to technically surmount the seemingly impossible, and educationa l accomplishment to interpret with authority, make William Place, Jr ., dauntlcss." - The Sounding Boord, Kalamazoo, Mich., in 1·ts Review of Great Artists.

Available for Recitals and Concerts

AM- all~~-

MARSHAIJ.. B. MARTIN, Mar, I 02 Buiaaa Bld1-, Prcmdeoce, R. I.

I!; CLB24Ua1JU

Vol. XVIII

PUBLISHll!!D IN THI!! INTll!!"ll!!ST 01" THI! l'\.-\NDOLll'f. BNUO >.ND QUJTAJI

BosToN, MAss ., DE CEMBER, 1911

FAIRMOUNT MANDOLIN ORCHESTRA. PHILADELPHIA. PA. MR. CARL TSCHOPP. Di,·r<:1or

No. 6

IO T HE CADENZA

TH E ·FAIRMOUNT MANDOLIN ORCHEST RA

T H E CADEN?.,\ before now has made the statement that f\l r. Carl T schopp is a natural born organizer and director, and as yet it find s no j ust rea son

for the rescinding of that statement . Th e fronti spiece of t his issue is a fine photo-presentment qf one of the many creations due to thi s organizing facu lty so predominant in the make-up of i\lr. T schopp.. It is not the first , neithe r in a ll probabi lity will it be the last for which he will lay the corne r stone of success, but it is .are to say that, of all his musica l proge ny, it holds the forcmoSl place in hi s affect ions.

Of a ll th ese p laying-bodie s whic h f\lr . T schopp ha s fathered, pe rhap s the biggest li1tlc o rchestra is the "Fai rmount," which TnE c ,\DES Z,\ ha s herei n pictured for iu reader s. It is small num erically, but big mu sicall}'; sma ll in bodr, but big in stat ure of accomp lishment; small in "blow," but big in tone , and broad in it s repert ory , mu sical conception and interpretation. And while it is no t a g reat conste lla tion in the mand olin orche st ral heaven s, it is a fixed star that shine s with a stead y , brilliant lustre in the mus ica l firmament of Philade lphia .

The Fairmount i\ landolin Orche stra was o rganized in Septembe r, 1904, by rvlr . T schopp and :i. few of the now remai ning playe r-memb ers. Under it s first o r·ga nizati on it was ca lled "T he Fai rmount !\fo sica l Club," and did most excellent conce rted work wit h its then restr icted instrume ntation . In t he prog ression of time , as the general field of mando lin inst rumentati on broad ened through the inve nti on and manufacture of new instrume nt s and t he pe rfection of the old, the d irecto r, always a man abrea st of the time s, rea lized that if his club was to keep to the fore, it must keep pace with progress. Acco rdin gly, new and up-to-date instr um ents were adopted, and

: ~~h~rl hna~! ~C:~ !dnl:~i't h::n~1~~t 7~a~n~~!~~s afo~

· perfection ensemb le pe rformance. The true ten of a thing is in its trial , and the ve rdict

o f cold, dispassio na te critic ism is its adj udg ment. T hat ~he orchest ra then is built on a found a tion wh ich be speaks its pe rm anency; and t hat the foregoing statem ents relative to its va lue as an exponent o f small orc hes tral performances are made adv isedly and with full assura nce of · th eir acc uracy, is well, and abu nda ntl y de mons trated by t he

~::C~~e;;;:! n~~s Th~a~:1:dt:i'pl~~i~~c:ar~ ~~t~5 ~ev~~\~ Zf iti~:;;:n TH:t ps:sto~~~· 2~~~ ~s~t:s c~;e:i:\ ; :

1:ti~~ of "t he particularly de lightf ul numb ers given by the mand olin orc hes tr a" in th eir section of the prog ram .

Th e exec ut ive authorit }' of the prese nt0

orchestra is vested in Ar t hur Bamfort h, pre sident; C. Fred Kueb ler vi~e-pres i~e nt; Cat hrine D. Kroeger , recording secre tar>'~

. Mina R menhouse, financia l secretary; Chris tin e C. Whelen, treasurer; Sylvanus Rittenh ouse and J oh n Heller, librarians, and E llwood J. Sti les, bu siness manager. All of the former, together with Alva h Rittenh ouse George Rauscher , Henr y Neitz , Susan L. Kane, Elizab eth Rittenhouse and Bertha G reen, ma ke up the playing per sonnel of th e orchest ra . Of a tru t h " not hin g succeeds like success ," an d The Fa irmoun t Mandolin Orchestra is a success-quod era/ dtmons trandum.

Wh en th e 1oul of the innrument vibrates to skilfully touc ~ed ~trin gs, then ar e pla ye r and instrument in har

-~ omc umty .

T HE CALL OF T HE VIOLIN A Christm as Episode

Bv ERASTUS Oscooo

T HE . furni shings and appointments of Su ite D in the Ovington proclai med the tena nt, Har ry Kenda ll, bache lor , to be a man of refineme nt and

cu ltivated taste. The few paint ings and etc h ings which adorned the walls were gems in their way, and a new book wort h}' to be give n a place on the library shelve s, would be certain of find ing it self in t he best literary circl es.

It was even ing ; a d im light shed a softened glow in the room. Fr om its place of vantage on a music cab inet, the polished sides of a mandolin reflected a shimmerin g gleam. It had once been the prid e of the club in the good o ld college days, but its tinklin g staccat o notes were rarely ever heard now. On the lib rary table in the cent re of t he roo m were two easels, done in black and gold, exac tl y alike in des ign. On eac h rested the photograph of a woma n, as totally unlik e in face an d figure as Diana and Pri scilla . Saunders had just bro ught in t he evening mai l, and as he placed t he letters on the tab le, he lingered for a moment before the two pictures . The or iginal of one, M iss G ladys Har d ing, he had seen. · Th ough a disc reet ma n, Saunders possessed a d iscrimin at ing eye for a handsome woman, and many a surreptitiou s

re::;if ~ I ~aec/a~•ste~;~e~ u~~n ~~t:s b:~n \1i~s~f ~r:~~~nt~'J

comme nt. On the face of the othe r woman he bestowed but mild en thusiasm. uso me out -of-town friend," he decided, "not in the swim with the othe r." He wa s

~nn~ut;;d~ I 0::1~:et s 1:Jnd~!:~• f~vc~efl:!: e~~: iftfl~~ed

" I- I- beg pardo n. I thought yo u were ou t for t he eve ning, sir."

"Tho ught so too, but there was not a sca t to be had at the Empi re. Any mail? Th ank yo u."

Sau nde rs turned to leav e the roo m. "By t he way , Saunders, I am going out of tow n

tomprrow, out to Lake view, an informal house pa rty. Better get ready my sma ll trunk . Don' t forget my snow -shoes and skates. I shall lea ve on the morning t ra in ." ·

uve ry good, sir. I will see to it at once, sir ." Kendall threw him self int o h is loungi ng chair and

began a hur ried sea rch thr oug h his mail. Ah , yes, her e ~as G lady s' lett er. Th ere was no mistakin g her charac teristic handw riti ng, sty le and da sh wove n into every st roke. Of cour se the belated invitation in cold ink would

h~: u~ ~e~ h~: ~~~y ha~:"e~~~lyth:s f~y~:!t ~i: i~ie~7r~ and yet - . He was about to break the sea l, when his glan ce fell on still an ot her letter lying on the table, which caused the blu sh of a sel f~accusing conscience to creep int o his face .

" A lette r from Mollie, dear little Mollie," he murmured, "a silent reminde r that I ha ve been playing scarcely fair with her of late, I admit it - but, I will just run through Gladys' note first."

"Dear Mr. Kendall,"

took 1etx~:~:i~~~ bf,gte~~t~. it~~~:ll;, reh:e:e~~:::ta~~rr

m~ kingly. 11\Vhy couldn't she be good and natural, and wme as she wou ld talk ?"

' 'Now· don't. plead press o! business, previous engagement, r,r offer any one of the usual ffl1\SCUline excuses, for we won'L ac-

~i~~-~~~~d i~~m ~~n:~h:u!u~o;se Mtotk::er;e; f~ !~! (Contin1ud on. pagt .p)

T·HE CADENZA

TRAMP I TRAMP I TRAMP I THE BOYS ARE MARCHlNG

REVI SED AND ILLU STRATED BY w. D. KENNETH

On the pa rlor couch we sat, And our hearts went pit-a-pat While we talked of love and th ings I will not name; But the old folks, snug in bed, Never knew a word we said Fo r they heard the banj o playing just the same.

CHORUS

Plink ! Plank ! Plunk! We like the banjo; . It has other s skinned a mile, -You ·can visit, spoon and hug, With your litt le honey-bug Y ct the old folks hear the music all th e while.

II

12 THE CADENZA

A FEW "SIDE-LIGHTS" ON TEACHING BY ERA STU S Oscooo

II

IN the first in sta llment of mr informal talk , which appeared in the . ovcmbcr issue of TH E C,oENi'.A, . I tried to impr ess upon my rcadCrs- tcachcrscspccia lly

- the vital importan ce of having unwave ring faith and confidence in the inst rumen ts to which the y claim sincere a lleg ian ce, and I also dwelt on the g rave res 1>0nsibil ity w~ich should rest upon the shoulders of every earnest, consc1cn tiou s instru cto r. And right here I am going to relate a littl e incident which I think will tend to verify th e o ld ada ge that 04Enthu siasm is contagio us and loya lty a thing to be admired. "

At a certa in period in my career I was app roached by the headma ster of a famous boys' school in reference t.o becoming the instructor on the trio instrument s at t his swell establishment. After a littl e preliminar y spa rrin g the maste r said to me with sca nt civility:

"\Veil , you r credent ials appear to be satisfoctorr, and I sup pose we had better engage you, for the boys insist on having a teacher for the mand olin, ba njo and guitar. Per sonally I regard th em as barbarous instru• men ts, on ly fit for savages to play."

Pr etty "st iff dope" to hand a ma n fo r a Slarter, what? I felt like say ing a good man y things to the learned gentle • man , but swallowing my resentm ent I replied blandl y:

" I fear, sir, you hav e never heard t he instrum ents played well, and so naturall y are unju stly prejudiced. I simply delight in them , and when such arti sts as Patti , J ean and Edouard de Reszke and Nordica find t hem pleasu rabl e comr,an ions, th e)' must possess a certain char m and fascination.'

" I admire your loya lty," he cackled with a sati rical smile. "Pe rhaps in time you may be ab le to convince me I am mista ken."

"I shall certainl y try to do so," I to ld him, as I bowed myself out of th e room, and before the close of the first school term l did.

I had scarcely enter ed upon my new d uti es, before I discovered a good and sufficient reason why the headma ster had stigmatiz ed the instruments as barbaric. The existing cond it ions would almost warra nt his sayi11g so. Th e maj ority of m)' pupils were rich men's sons, and, as near as I could jud ge, had been allowed to follow their own sweet will as to the matter of tuning th eir inst ruments, fingerin g and choice of music. Expre ssion was an un• known factor among them. To illustrat e: "On the Mill Dam Galop" is a bright , tu nefu l compos ition, but just fancy ten or a dozen banjos - not one of them in tune-t earing that good old reliab le piece to tatters, each player apparentl y bent on outd oing his neighbor in volum e

~~ n~~:c ~~c:ius~~~i~· of~ ~: a~: 1! ~~t~·h ;~;eti~h~~u~t s'ikJ!: occur - it sounded like a boiler fact or)' in full bla st, and the sadde st part of it all was that the fellows thought ther were doing great work. It seems vast ly amusing as I look back upon it now, but ah , I put in many a tr ying hour during the first few weeks of that first term , for you sec, like the fellow in the poem, I was "b et ween the devil and the deep blue sea."

The headma ster-who from cou rtesy we will let represent th e "deep blue sca"-abom i,Qated the instru• mcnts, and wou ld not have wept, 1 fancy , had I th rown up my position and left the school in disgust. On the other hand, the boys-and many of them were little devils all right - I was ob liged to manag e with the greatest diplomacy. They had been indulged at home, had no

end of mone}' , but worst of all believed that the y were reall y "swe ll''. performer s .. Forsoot h, my lot ,~•as not .an env iable one. I must dev ise some scheme, wh ich, outs ide of my indi\'idual efforts, would brin g th e headmaster to terms and at the ·same tim e open the eyes of the boys to th eir 'many gla ring shortcomi ngs. T o brin g about thi s result I adopted the following method. Ju st as soon as sati sfactory arrangeme nts could be made, I was inst ru• menta l in havi ng the best professional mand olin, banjo and guita r clubs a, ,ai lablc give concerts at the school; also famouS soloists were engaged for recital s. I did not lose sight of the fact that th e finished work of the se cclc• brat ed arti sts would throw my humble efforts as a performer completely in th e shade. But to return to my text . I had faith and confidence in the instruments, and was willing. to haza rd the risk of losing prestige with bot h master and pupi ls for the sake of hav ing t he ca pabilities of the instrum ents practica lly demon st rat ed by masters of their art.

l\rly line of precedure was amply ju stified by the results which ensued, for my friend (?), the headma ster, came to me like a ma n, and adm itt ed he had enjoyed th e conce rt s and recit als immen sely, and that the instrum ents • when manipu lated by skill~ul fingers were a reve lati on to him. As for the boys, in a very short time their inflat ed craniums ha d shrunk to normal propo rtions, and I found th em quit e willing to accep t all my method s in teaching and dub organizing. ·

Another course I ·pursued with unr emitting zeal to popu larize th e instrumen ts, not only with my pupil s at th e school, but also with tho se in a cit y nearby, wher e my services were in demand, wis to place in their hand s th e two magazine s prin ted at that time in the interest of· the mandolin, banj o and gu itar. I urged my pupils to subscribe to the se journ als, and every month I bought from S. S. Stewart and L. B. Ga tcomb ten or a dozen copies of their respec tive pub licatio ns to give awa y.

cyn i;•~:~~r ;•:~d f u;:~1:: pt i~:'~~r d~~: •~;r,1. hc; :es~~a f o:b~~

me to accept the role yo u would fasten upon me. I believe I was only pursuing astute bu siness method s, ad herin g to the inevitable law of cause and effect. M y analytica l train of reaso ning ran on th ese lines: I obse rved that the pages in the publi c press devoted to baseball, footb all1 hockey and lacr osse were eager ly devoured by boys in all sections of the country; in short , the se sports had been largely popularized thr ough the med ium of print ers' ink . The fellows living in J onesvi lle were incited to organiz e a hockey team because the y read in the paper that the fellows in Smit htown had one, and that the spo rt was "in strongn at t.hc big collef!:es. Wouldn ' t it follow, I argued , Lhat the you ng mandolmi st, banjoist and guita .r• ist would be doubl y inter ested in his work , when he read in Str1vart's j ournal that mandolin and banjo clubs or orchestras were being formed all ove r the country, and th a:t the musical club s at Harva rd, Dartm outh and Yale were the " swell thin gs to join." Wouldn't the, pro,ram s of the Glee Club conce rts incite his ambition to fit himself " to make " the club when he entered college? And wouldn't his eyes glisten as he read among the list of " new issues/' that the ca tchy selections from his favorite comic ope ra were now obta inable, arranged for his pct instru ment ? I found the scheme worked beautifully , and I can stoutly affirm that every dollar I sent to Messrs. Stewart and Gatcomb for extra copies of the ir publications to give away, brought me better returns than any other inve stment I was ever intere sted 111.

1 am aware that there exists today a certain class of teachers who emphat ically maintain that the policy of

THE CADENZA 13

encouraging pupils to subsc ribe to and read trade jou rn als is a greaL mistake. These conservat ive men and women con tend th at {o give ·to t heir pup ils an o~portun ity to absorb the technica l articles, for instance, whic h frequenlly appea r in t hese magazin es, is suicida l to bus iness inte rest. In a ll good nature I am constra ined to say that I have no patie nce with such short -sighted and nar row viewpoints as these conservatives assume. If t he stock of knowledge t hey have on tap to sell to their pupils is so limited and must be so jealo usly guarded fro m was te that they deem it abso lutcl )' necessary to their bes t business interest to close t his jou rn ali st ic ave nue of enlighten ment to t hei r pup ils, I am almost goaded to sugges t , that the sooner they reti re from the proression the bette r.

MANDOLIN VERSUS VIOLIN Bv CLAUDE L. l\frAc U A M

111' has ofte n been a source or great wonde rment to me as to why iL is that t he mandolin is so litt le recognized by the musica l pub lic as an instrumen t t hat is really

worth while. Those who play t he ma ndolin, and especially t he a rtists, well know its va lue; and they know, too, that its recep tion by t he music-world is not what it shou ld be. And why? I wonde r how ma n}' mandolin ists there are who ever have reallr tried to discove r the cause, or ca.uses if there be more than one, for t he "w hy."

T here must be some existe nt rea son, and I am goi ng to express what I t hink to be t he rea l cause of the pus hing aside of th e mando lin for the violin in the genera l est imation of t he listen ing pub lic. I n my op inion t he ca use is to be foun d in the th inness and worth lessness of t he ave rage mandol in mus ic-p rog ram.

If every mando linist will look through his file ca binet and sca n the numbers that have bee n featured on the d ifferent programs , t he ca use will be easi ly found wit hout need of further seek ing. If he be honest, he will be willing to adm it t hat t he majorit}' of ma ndo linists shou ld be more t han a little shamed at the disclos ures. Co ntras t t hese prog rams with those of t he lead ing \•iolinist s, What wou ld we th ink were we to attend a J an Kube lik or Ma ud Powell recita l, and listen to such riumbcrs as arc to be foun d on t he majorit}' of mandolin prog rams offered?

Our t ~~:~!~~d: n~y:n~c~;s;~; ;o;~ ~~d o~e tr:a ; ·andolin a

; ~~~: rsc?mAn~\ °o~~ ~ft c~v~~ \:~ e':; rcr{::; r f:~; th t~: d~~ on t he violin? Eve n our foremost mando lin arti sts play th em but seldo m- if eve r. H ow many have eve r hea rd a Beet hove n symph ony on t he mandolins, or eve n a sonat a? And, too , th e concert os arc allowed to pass almost unnot iced. I t seems st rang e, but if one ever docs listen to a compos it ion by th e masters perfor med on t he mandolin, it is hac kneyed, somet hing that ha s been played to dea th

~ t \i~ s i~~~~j:~s Ji:ir; i!>aet i~ f~c:i: i::i i~~: i:1~0:b!i:~

wha t is generall y hea rd, t~a t one can onl y prai se, and hop e t ha t th e mand olinist will soon grow tir ed of th e up-t o-d at e "h its. "

man~ ~li~~=u1:i~JJ rd:~dt ~ _i;la~e:~ ~~hsin;ntt a~hae Kcib:1ir.

or any of th e great violinists, would refu se to play, it would not be long before th e mandolin would be given it s de served place in th e music-world . But so long as it is devoted by

::nd ~/t:i: ~~ ~i~h: i '~~~~~o~fn~~~ds~ : /~ '~:~: ~n,t~~~tI be intere st ing to gather a concensus of opinion on th is subject from other s who arc looki ng for t he advanc ement of th e mandolin ,

PERTINENT POINTERS FOR PUPILS Bv D. E. HART NE TT

N EVE R in t he who le wor ld-history of mus ic, from its first conception as an exact science down to its present pe rfect ion of mass and detai l, has

musi c'a l ar t occup ied so pre-e minent a pos ition in t he huma n economy as th at acco rded it in the t wentie th cent ur y. Never befo re has there been put fort h so much of rea l worth relative to th is wonderfu l and a ll compe lling art - its history, prac tice and pursu it- as in t he presen t ti me . In magazine essay , newspaper c riti cism and comment, monog raph, stu died edito ria l, concert -lecture or concert, in some form and in some manner it comes to us in a tor rentia l, down-pouring deluge. And wise indeed is he who does not strive to "get in out of. t he wet ," but ba res his head to the melodic elements, absorb ing , and storing up agai nst the drout h of comme rcialism an d. modern mate rialism.

So muc h already has bee n said and writte n, in genera lizatio n, on musica l art, th a t to add mo re would be a pi ling of Pelion on Ossa, but one per haps may be allowed to pa rti cu lar ize with out incur ring the da nger of red unda ncy . Vocal art, as exemp lified in ope ra, o rato rio and concert, has bee n treated not only genero usly, bu t lavi shly. In the ins tru menta l field, th e symp honic and minor concert orc hest ras, pages and pages have been devoted to its explo itation, whi le pianistic art beco mes at ti mes t he all abso rbing top ic. · But in behalf of musical a rt in its app lication to t he tr io inst rum ent s, the c ritica l essay and practical t reatise arc all too conspicuous by t heir absence.

1t is for t his reaso n, th e un'accou nt ab le paucit y of helpful mate rial, and because mus ic in connection wit h these inst rum ents is so closely inte rwoven with my own business and social life, and because I so ea rnestly desi re t hat ot hers should understa nd th e pleas ure and sat isfac tion to be de rived from the m, that I venture to add my mite, in th e hope tha t it may influence, and inci te to ult imate good.

For th e sa ke of our a rgum ent, let us suppose that }'O U, t he reade r, have decided to ta ke up th e stu dy of one of t he tr io inst ru ments-w hich is good. Th ese instrume nts arc much easier to lea rn th an eith er t he violin , 'ce llo or pia no, owing, among ot her t hings, to the fac t t ha t they are fretted instruments, and that t hey requir e th e stud}' of bu t one clef; i. e., the t reb le. Bu t th ough they may be eas ier of accomp lishme nt t han a rc th ese ot hers, disabuse your mind at once of t he a ll too prevalen t and erroneo us impression t ha t you will be t he .tccomplished playe r in from one to thr ee mon ths. Wi thin t his ti me, however, with co rrect study and prac tice,

· you at least will have reached a point where yo ur int eres t and enth usiasm are become fully a roused ; indeed, u nde r a compe ten t and en t hus iastic teac her you will find th e stud y most fasc inati ng, eve n from t he first lesson. T o point a mora l and make a pro ,,erb, tlu fa.u ination of accompluhnun t btgtlI Iludy,whic h iI lht f aJlttr of knowledge.

Th e banjo, mandolin and guita r offer unlimited advantages to all t hose who beco me even fair pe rform ers, as well as being th e sour ce of une nd ing pleasure . And

tll~a! nJo~~ n~h~~ :h~~~n; 1::s: ~~~;fh: hai:.~f~ n~~; :r i~hr~~~ emotions that .nothi ng oth er t han music can a rouse. And aga i~ asidc from th e ethi ca l ad vantag es afforded by th e stud y of the art, the re is anoth er, not small, if more materia l, conside rati on. The necessary ac qu ire ment and

(COflHHtd Ofl!/IOp .ff )

14 THE CADENZA

"T UNED UP?" BY \V ALTER FRANCIS VREELA N D " OH yes! right from the frets." This time honored

system of tuning the guita r st rings as outlined in almost every guitar "11.•lcthod" is ofte n too

~~1:;1~1~r!~~1~:ci1-°baltnc:r~n:t"a5~j~s~e!u!:;i~g:vi~a:b;

tuned from the frets , but with the cheape r, cruder in-

:~ck~bJ;'):, i~r 01icccs;:zc ~~u~ur"!11~he 0Kr1h f~~itg fti;

principle applie s to the mando lin famil}' of instruments when tuning from the seventh ,fret. It is best to persist in trying to tune the guita r "open" strinJ?S until t he "car" becomes thoroughly trained to the relative int c.va l exist ing between them. Th e interval in pitch is, of course, a fourth between each , except between th_e 3rd and 2nd string s, which is a third .

. "\Vhy isn't the 'fret' S)'Stem accurate enoug h?" First, because not every instrument is accuratcl)' fretted; second, st rings are frequently false at the tuning frets; third, a warped fingerboard ma)' render it impra cticable; fourth, often the string adjustment will not permit accuracy; and fifth, ill•balanced tension will not only prohibit perfect tuning from the frets , but will render nearly all the notes on the instrument imperfect. These observations appl)' also to the principle of tuning the .entire mandoli n fan:iily by the se,•enth fret system , and ! am ~rry to add wah almost every glaring defect greatly intensified. .

Th e same faults exist in the "fret tuning" of the banjo. The banjo suffers most from imperfect str ings and unequal tension. Man y mandolins "fre t" imperfectly al the _seventh fret (its tuning fret) because the finger~a rd 1s badly. warped, _or the strin gs arc adjusted too high, or th~ bndgc 1s misplaced. In taking up in deta il the ~vc pomts p~pos~d a.hove and discussing them in relat10n to the gu itar, It will be seen by those interested in the ba.njo and mandolin that they apply in principle to those instruments as well.

First:- lt is to be presumed that e,•ery guitar maker kno"'.s .that our musical scale is a tempered scale, and that to ~1v1dc the fingerboard off into eight eenths for the placing of the frets will obta in as true a scale of halftones as is practica l for rouy luy. The best makers now have accurate mechanical 1ystems for sawing the fret grooves, but there arc many who have not. In laying ou_t a fingerboa~d diagram with "dividers," even one mistake of the width o~ a needle divider point, if made at the first , second or third fret, would be magnified considerabl y at the fourth and fifth frets and much more in. the course of eighteen or twenty fre~s. H many 1uch mistakes were made (and they often are made} it would render false all the fingerboards made according to that diagram or "scale." Even if accurately marked and sa~ed , the d~iving in of the frets may be badly done. A misplaced bndgc, even on guitars, is frequently found. Beware of the old trick of 11correcting the octave" by the "doctoring" of the 12th fret while much of the re1t of the fretting is false.

Stcond:-:-The merest beginner soon cornea to realize that !ut stnng~ may be found false at any fret, but ~carcc y apprcc1atca ~hat woun_d ~ass strings, through 1m~rfect workmanah!p, the wmdmg too tight in one s~t10.n and too loose m another, etc., l'endcn them false hkcw11c. 1f a fal~c spot in a string should happen to come over th e tuning fret, not only the nat st ring tuned to · 1uch a false note, but all subsequent tuning of the

othe r strings therefrom would be rendered incorrect.

~r!; ::~~f; ;1:t ~~h:::,~."~t ~h~s lf;r~nfr~t:r:nd :ti! ~hn~

~~c~h!i ~~~! ~~npi~~~t~~c:i~~d:cfi~asl~;n:ri~~~i~~/:u;i~: of the st rings not in accord with the one with which the tuning began.

7'/iird:- Thc great stra in of the svings will sometimes, even on excellently made instruments, cause the "neck" to spring and warp. Thi a cauaca the strings to "draw" so high from the fingerboard that when a st ring is pressed down to a fret it will pity sharp of the desired note. It may not be very noticeable at the first, second or third fret s, but a moderate ly sensitive ear will detect it at the fourth or fifth frets . Occasionally we find an instrument where the neck and fingerboard have

r;~;~::nt~:;:rn18 i~~\h:~t~:ti:g

1~tc ~~ri!;~ei~fhi~t

and rendering not only the tuning from frets unreliable, but most of the upper register unaatisfactory. A l001e "dowel" on a banjo (a too common fault) allow, thi1 springing forward of the neck.

Fourth:- If str ing, are adjusted too high the extra stra in requir ed to prcas them against the frets will cau1e · the notes to play sharp . Thi s is easily remedied by lowering the bridge or nut , or perhaps both may require re-adjustme nt. ·

Fifth:- Very few players are careful enough to have (and keep} their in1truments accu rate ly adjusted, and those who do will appreciate the truth of the 1tatcmcnt

:~:t f ~~t~a;i~~h:n~~~:f' r:is~:~~~~c!ni' p~°J~d~ ~ic~~a~: tuning from the fret,. In fact ill-balanced tension of the string1 will not permit the truest tones. It is especially of importance in double notes and chords. Not on ly from the fifth fret , but through the entire register, the difference in the pressure of the left hand fingers and the varying pressu re of touch of the right hand will yield inaccurate pitch and cause much annoyance to a careful player. For instance, where we find a wire first, a compound (wire} fourth, and a gut third about as 1mall a1 the prope r $augc for a second string, and granting all

f~~!~ibJ:t:~nf:n~0

,6:,~f t~~~:;t:,r~~:~jii;• ~~~i:;'!t"~,t for that matter, not to mention the torture of a aen1itivc listener. I firmly believe that ill-balanced strin~ing of .guitan has ruined the pleasure and prospectt of more 1tudenu of that instrument than all other cau1cs combined .

Guitar players, pltOJt get a string gauge and in1i1t on a proper graduation of size. Rut ,prow your strings for tqual rt1i1tan.u by prcu ing lightly each string in turn at the twelfth {ret. Acquaint the car with the sound, or

~~:i~~ni:rr:~gdi::;~ i~h~u;:1~1ti~~ti~r.~nhc~v~:cr;t:~e!r

If ncceuary, sing, hum or imacint the intcrvcnin~ note, from the sound (pitch) of one string up to the pitch of the next. Although one may not be a trained, accurate 1inger1 humming the notes will aid by ronccntration in fixing in the mind and musical sense, or "car," the definite pitch. Persiat, and you will not on ly tune with greater

~rc~rr~, ct:~:i:! :~c::e;o:;~~V;;· co;;:;t ~~n~ plan.

By all means have true atrin" that play with equal resistance , and if the instrument II in proper order, you will o~tain wonderful musical Htisfaction from your · molt trivial aolo.

THE CADENZA

POSITION OF ALL THE NOTES ON THE MANDO-BASS FINGERBOARD

The sma ll notes arc in the Bass or F Clef readi ng, and sound one oct ave lower than written.

lower p~~t ~f~t: c~:b;~:~i~;1ci:fi~~i~~!:~~; ~~7~~~~gpi:~~ as Tr eble or G Clef) and sound whr,r wrillm, as the

· On pa$e 25 of this issue will be found a Mand o-Bass part to 0 Humoreskc" by Dvora k written with the Combi nation Clef, which is, therefore , a practical part for both the Bass and Universal Notation reader. Severa l prom inent publishers of Mando lin Orchestra music ha ve an nou nced th eir inte nt ion of .pub lish ing Mando--Bass pa rts in thi s ma nner; in fact, M. Witmark & Sons of New York, the G ibson Mand olin-Guitar Co., and L. A. Williams of Kalama zoo, Mich ., and Walter J acobs of Boston are •

~: :: d?nSTI~\ 't~~s~lt~~~b1~~~ i:s0 obl~~~s pa rt with t he

The guitarist will observe that the open strings of the Mando •Bassa re named the same as the lower four of his inst rument. He is, therefore , 11lrendy £amili11r with the fingerboard o{ this new member of the Mandolin family.

IITTINO PQSlTION STANDING POSITION

15

THE CADENZA

Devoted to the Interest of the Mandolin , Banjo aod Guitar

Pu blished monthly by

WALTER JACOBS 167 T UMO~ Stun, BonoN, )lu1 .

Entered as secon d-d MS matter July 16. 1908, al the Post Office al Dol1on , MUI.. unde r the Act of Man:h J , 1!119.

- WALTER JA COBS, Man aaina Editor MY RON V. FREESE. Lil.crary Editor

matlc by posl office or u.pr na money order , registered lcucr or tlrah on New Yo1k. Currency, ro,n and llaffl J)II aent at

..,nd

cr '• •Tc11.icen umu~t be added 1oaU chcck 1 to paythce:<chanac.

Advertiaing Rate■ On 111plication a dia,i,:ram 1ho,..·ina thc encl co, t ol a t\ 1~ will be

promptly Ji:;:•:~ the I Sth of month prettdina that of f)llhhcal ion .

~;Jma11.r,":!:~:i~1:.:r ~Jlm~k~:r~ !~1~:a;~b~ ~ti; f~\ c ... on 1u .

CorrHpo ndcnce 10hrited and r,c,rsonal item.• will be, "''tkom ed from all

~';:~~ ~':l~~::.~:01,.:c,a~c~n"t:1~\c~~ ~!1 ~::~t:i~~,iA ~~n~c ~:~i~~!:. are<lcs u ed .

Wedo not hold our1e lvH respo nsib le !01' th eopinlonso r con tribut on . Our ~-olumns an, open impartl a lly I.O a ll ,:ompe tcnt writcn on m11ltcl'II relating to the Mandoh n, Dani o and Gui tar. bu t "'e mu s_t u s,.n ·c th.e iiAht to condcme art.cl,.,, and to re,e.. t 1uch as arc found unava,l& blc or obicc tionablc .

UnJu st crit ,chm or penona l abuse f)O!litiv cly ignoM .

Th e entire contcnu of T11~u are ,:ovcrcd by th e general cop y. rtahl. and arti cla mmt 1101 be reprinted wil.hout 1pccial writun pcrmiaion.

Vot. XVIII DECEMBER, 19 11 No. 6

EDITORIAL "Th e v.ind is ehiU;

But let it whistle a.s it 9,ill, We'll keep our Christmas merry st ill."

En Avant! "Chi" or die!

Who Arc They! Heap Big Tri o! Ugh! A clef in time saves nine. Tri plets arc 5ometimcs t imely.

Mr. Ma nd~Bass is one of the solid citizens. Publicity without paucity is a proved polit y.

Something good has come out of Kalamazoo. Apropos, will the rock of pages bring the clef_ to be? That which is true lives, and that lives which is true.

It makes a much more meritorious mandolin muster with the mand~ members.

"~~d c1~J~~':t~:'b'a~t:~~;:'(1caro l) " Enthu siasm is contagious and loyalty a thin g to be

;ta~!ri,~•~:.h~~g~ ain iS! '~~5i~actt7g~:s~do~0 T~::h/:;,~

printed in this issue.

Th ere arc but three degrees of qualificat ion-good, better and best. The refore, if the Sixth Fest ival Ma nd~ Jin Concert of Messrs. Geo. L. Lansins and H. F. Odell to occur in March, is to excel the fifth, it presupposes a hidden fourth, which is better than "best."

"'Twa s the night before Christmas and all through the place, Not a clef that wu stirrinc on line or on space."

To reason, as do some men, from effect to cause is an inversion of logical sequen ce. A little boy, asked 'why a giraffe was given so long a neck, reasoned th at it was because its head was so far away from its stomach. Th is might apply to a momentous question now und er t remendous agitation.

Shades of J oe Sweeney! who could "root" for the

~~i!~r~:~m~~~ ,~ .a~~tKae~~~~s i~:t~1:~c~uc: ;;:~1~s~::~ makes it look easy, but the fellow who can hold his best girl, hold hand s and plunk a banj o all at th e same time, can sample a bottle and whistle while doing it. Use a fingerboard when soft, dainty fingers invite holding? Again, Shades of Sweeney !

Th is is a season of mcrr;-making and gift giving, but what to give "w ho/ ' and preserve pacification, is the prob • !em. Th ere is a story, tale , legend or _myth - and probably the last, about a man who made his wife a Christma s present of a cut of fine cloth so that she might make him some new shirt s. Now as such a proceeding would precipitate rather than propitiate, the story is of course improbab le. It ca rries, however, much of subtle suggcs- _ tion, and to explain, let us cite a supposititi ous case.

There are Mot her, Grandmother , J ack and Nellie, all of whom must be remembered by the pater at Christmas, and the pate r's pocketbook is path etically pinched. He knows only too well what th ey wish and expect, but doesn't know quite how to do it. T o begin with , there is

~~; ~;~1,a~ i :h;r ~1~as;;~·-\\t~octhecrs, t1:;:0

~~~n3c: re~~~.~: content with a kiss and a wish, yet would like somethin g to read thr ough all th e long winter evening s. J ack, the rasca l, wants a pair of skate s and a banj o, and wants them when he wants them , while Nellie, who has been asked to join "our girls" mando lin club, as a matte r of course wants a mand olin and the Club magazine. And there

is th

f~rf:1~:n~~::::J,ut~~d nucft t::na . co,npo,. Christma s

morning comes, and here is the clever way in which father has circumvented circumstanc es, and accomplished the almost impossible. J ack gets his skates and is happ y, albeit he is ju st a bit disappointed, Grandma is present ed

b;f~g ~~ ei,dti[i1cabr:nJir i:~t

1~n~:l~~~!!di't ~i~h~f li~~l~r~f

her eyes-. J ack. Nellie receives a fine mand olin and is too superlativ ely happy to remember the magazine, and the

!hi~h~~h:r ~~~::font; ~i~ r•:; ub:~:ft!liu~ ~o"N~~~:~~d there you are.

And Dad? Oh, he harks back to the time of his teens and plunk s Jack' s banjo when the boy is skating,

?:f~~~h:~:a~~~s !~:~eh:i~e: /h ~!;: f~~tc~~tc~~da~~~~ Some day, "w hen dreams are blue," we are going to

make a book, and we shall call it, "Puz zling Plagues of a Publi sher ." Jn it we arc going to recount some of the dc-mand s, the com-mands and the rcpri-mands that come in to puzzle the poor, perplexed and parbo iled "p ub," and

t1e., ~:c~~:ca !indc~:;d:r. psrr~~~~

0J!:~~~ntl~~~:h:t~';et:~

to continue, or doesn't happen to discontinue, or happens to continue to discontinue some subscript ion before he really knows that he should do the oppos ite of th at which he has done, then proceeds fhc process of pen-parboil i1_1g.

::ndi~gh~h ! 8ti:~ ~lh;! :~ • ~hafth!v~n~cc

0:~u~:d ~h!

(c..,;.,.. .. """ 33)

__ _j

11!1 MANDOLIN Humoreske

17

or VIOLIN A NTON DvoiiAK, Op.101, Ne1

Poco lento e grazioso (J = 72) h r. by H. H. H ILD HBTH

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f'h1 CADENZA Copyright MCMXJ by Walter Ja cobs

18

BANJO SOLO

Dass to B

Humoreske ANTON DVORAK , Op. 101, N:7

Arr.by R .8. H/LORHTH

~ oc.o lento e grazioso d,12 >

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'Th, CADENZA Copyright MCMXI by Watter Jacobs

19

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'Th• CADENZA

20

Humoreske 2QMANDOLIN

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'T/,1 CADENZA

Humoreske TENOR MANDOL A

21

ANTON Dvoii,\K Op. 101, N01 Arr. hy H.K. HILO HBT H

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f'h, CADENZA

Sang-Froid GUITAR SOLO

MORCEAU DE SALON. PAUL BEAUMONT

Arr. by WALTER JACOBS

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The Open Strings

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26 Vigor of Youth I 1~t MANDOLIN March ,

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W. M. RICE

TH E CADENZA 33

EDITORI AL (Continrttd from f>aft 16)

wher ewit hal to pay for. its pu blishing, we muSl co nt ent ourselve s with magazine space in which to give vent to a troub led sp irit.

A regular, and read y-to-be-i rregu lar sub scr iber wri tes to us- and the quotati ons ar c made verbatim et i ituatim thi s sub scriber write s, " '{ou will plca_sc diuo11ti111u T111:: C,,oENZ A {emphatic )." Quc r)' , what doc s this mean, and how are we to int erpre t and no t find ourselves in deeper and hott er w"atcr ! Docs it mean to d isco ntinue ha ving Tm : C AOEN1.A emph atic; emphatic ally di sco ntinue having T11 E CADEN7.,\ 1 or wha d \V e have always endeavored to make Tu E CADt:NZA em p hat ic and to the point in all tha t it says, and if such be t he int erpreta tion we a re glad of our success. Ir, on the ot her han d, il mean s to emphaticall y sto p sending it, th en indeed arc we all at sea. A su bscript ion is not a conc rete somethin g that ca n be dr oPRed with a "du ll, sickening thu d," nor ca n any thin g which is become "isn't" pe rtain to enough solidi ty to be stop ped with a bump. Pu zzle, pin the poi nt!

Th e lelle r cont inu es: 11\Ve neve r loo k at t hem and they only accumulate and a re worth no thin g to us." Now how, in the name of pub lishin g, doe s one know when thin gs accumulate , ir thing s a rc neve r loo ked at; and how, in th e nam e of pennies and pie-cru st, ca n the \•alue and worth of a thing be apprai sed if it is un seen? We will admit th at th e do llar that is not expen de d for a ma ga zine sub scription doc s help to swell an accumulation, bu t is it loo ked at? Oh , decidedly - yes!

Aga in t he lellcr comintJc s : " \Ve arc takin g lessons and that is all the mu sic we need." Shades of mu sica l pedag ogy and erud it ion! what a tuneful tea chi ng is thi s! We a rc dumb with dominating dissona nce, and d iffide nce prohibits co nsonant co mm ent.

With this C hri st ma s issue of T11E CADEN7.A the magazine comp lete s t he first half o f Volume XV III , which of cour se rep resents a co rre spo ndin g numbers of year s of life. Now eighteen yea rs, whi le neith er an antiq ue nor hoary age for a magazine , is ye t an honorab le reco rd o f time, and so fa r as known th e only reason for T11E CADENZA not being o lder is beca use it was no t bo rn sooner, wh ich is obv ious on its face.

T hrough all thi s peri od of its existence, TuE CADEN7.A al a ll time s has endeav ored to be co nsistent , just and true in comment and critic ism, commend in$ when co mm endation was due and condemn ing whe re 1t thought it to be dese rved. It alwa ys ha s aimed to keep ,\•ell abr east o ( the time s, espo using and ad\' oca ting a ll meas ures and mO\'emcnts with tendency toward s the u lt imate adva nceme nt of the tri o instruments, whi le oppos ing th ose that seemed mischi evo us in intent o r fa llacious in theory . As a magazine it full r realize s, howev er, that it is many, ma ny t imes removed from infa llib ility and any ~hortcom ings shou ld be accredit ed to er rors of judg ment ra th er than to intended fau lt-findi ng or acrimonious crit icism .

ing tt! ~hheor:~sl:~~ r~o,:, er~J ~!1~h:n~ t: i~~ ~:~~!ot: tt,~a~f

the Un iversal de(. Th us fa r th is magazi ne has refrained from commi tti ng it self on t hi s sub j ect by any ed itoria l expre ssion of op inion, preferring to awa it the ge nera l consensus of exp ression unbi.l sed by magazi ne comme nt. It must not be understood, howeve r, t ha t by "waiting" is meant a d illy-da lly ing policy of vacc illation, o r the rese rvatio n of an opi nion th a t whe n expressed becomes at once fu ti le and va lueless i( based on t he " ju mped-to-a-concl usion" j udgment of the majo rit y, wheth er o f suppo rters o r op pon ent s.

What this docs mean is that, whiche\'e r way its own leaning and inelinnlion, TUE CA DE SZA is ame nab le to foir ·reasonin g, and its private opinion is amen dable bf :l ,o,rnincin i majority. But where

~ ~1eo~ ~~i~,ti,~~r~~~-d 1!eh:~

1;~i~~ ~Ja:~~;:t~ but such has neve r m;inifestcd itself. and so for the "waiting" has been productive of nothing along these lines. Th erefore T11e C A· DESZA fl.'Cls that it is now wholly free to m:1kc public announcement

~~t:~:io~tn ,t:ii~~~h ~-in:n !~1~: ~~n~~\-~~k1 'fil:1~:t~e~f i: ?tsu~~~'i: ~

is.sue but for ove rcrowded space. THE CADESZA was, nnd is un reserved ly in favor of the new nota •

tion for the mando lin orchc.-stra fami ly; nt present for the mandobass only , but eventua lly, as due progress of time sha ll bring ac

,quaint ;m~ and fomili:lrit)' with the eha nl$'.c, its final and uni versa l adoption for the whole. Th e managing eduo r as bo th magazine and music publisher ear ly foresaw the ad \•antage that must ;iccrue by the ado pt ion of the new not.-ition, and could discern no clis.-idvant.nge, if taken logically and conserv ati vely, nnd this docs not include a i;cneral ovcrt urnmi; of traditiona l and est.-iblished forms now ~overn• mg in the reg11Ja, orchestr:1. With it the ma ndolin fraternity hb.s little to do, thei r orchcstw being a crt:1Jtio11 disti11ct/y of a'ls'tlf and by · itsdf.

Nov:r::~tCre1::,1d~~b:-1

e,\r~~~e~·JI~ ~~~~~"of J~~~~y~J>Au!t~fi~~ ~:;~ sum s the thi ng 11p in 11 nu tshe ll as "M 1mdoiin not Violin, A ma/e11r not Professional. " And l\la dame Walda hoff, a woman disti nb'llished in England, voices the s.-imc thought clea rly and concisc:ly thu s" ! think Univcr.;;1\ ;-.;owtiun should win the day . It is all much more simp le a nd better, :ind makes our world a Common wealth of its own, with its own laws , instead of a faint imitation of the Grand Orchestra inst ruments." And that is all with which the mando lin world has to dea l- its own ''Commonwealth."

During the recent Easte rn visit of i\lr. L. :\. Williams of the Gibson Mandoli n-Gu itar Co., there was held a meeting of publishing representatives and others in the l-<litorial offices of T H E C ADESZA. Present at 1hc mcc~ing were ~Ir. Williams, the originato r and promulgator of the new idea : H. P. Odell, the Secretary-Treasure r of the American Gui ld; T. H. Rollinson, reprc scn1ing the Oliver Ditson

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arrange r of recognized auth orit y and ofl the sta ff of bot h T m; CADKSZ A and Jacobs' Orchtsl ra M onlhly, and Walter J acobs, music publi sher and man aging edito r of these two magazines. At thi s litUe symposium the whole matt er wns well threshed out and winnowed, and Tm; CA DKS ZA is now m:;re firmly convinced that the new notatio n is the right and final solution to a much discussed and agitatc.-d quest ion.

in redJi nngi~~~fef! ~fo~~~~~~~•e~~~tlj~g1~t~~:::,1!:~~t~1c::!

~~aJ'~~1:! ~ no~ ~he~~h~\r l ,~~d,\h~c~!\\?l~~~t 1:!sS: r~e c\~h'::~ti! considered that in nearly every one of the many mando lin orchestras , by fa r the largest percent.age of all the pla yers are amate11rs of but

t;~; l~ i~ra~n~~~j ji~~it:t:,,,; i~11ih~

1~ete ~~~f~ethC: ~recl~~n~;~~h~~

them a great unexp lored mu sic-desert. It is undeniable that the man dolin orchc.-stra is not complete without its newest member , the mand o-bass. But if 1,a rts for that inst rument arc to be wriucn in a

~~~/=~::sg ~';5~~~i~!~r~:~~lt~r~~ t~~s:~ :t ~u~ll~y~~ ,:u~ C\•iclent. The inst rument is :i.t once discarded for sometiing easier , al l incentive to fu ture in\'en tion is nil, and the mandoli n orchcstra becomes hopeles.sly Cri1lplcd in further progress ion.

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clcfists and univ ersa l clcfisL'>, 1 .... i.th much of contron::rsia l arg ument. A comprom ise, however, wa.'> at Inst effected on a Bas.,; and Unfrersal Combi na tion Clef for some, nnd n Bnsi and Treble Combinatio n Clcf

~rr t~7: ~~rs~i.t~'1l~s~~~li~~ll~~;r~ aii/fi~g~~~~~ ,~~ ~~~e ;,_~

planatory notes. Tm> C AUR SZA will in the future ('ndorse tht> uni\· crsal notatio n b}' printing all of its musk for the nmndo-ba.ss in the Universa l Combinati on Clef , using smaller noles for b."\SS clef reading. Thu s i:; provided a double reading 011 the same slaj/: one for the mnny who can rc.-id only in the treb le clef, a nd the ot her for those proficient one.,; who nrc expert n•adcrs in the bas'i def. A splendid e.xnmple of this double readi ng de f will be found on pa~e 25 in th,. m.1.ndo-b."1SS p.1.rt of D\•orak's be.-iuliful " Hum oresk.:.' It is all most simple in the final sifti ng.

THE CADENZ..,. 'S Chri stmas gifts to its lar1 e corps of sub • tcriben and reM eni are the th ree new departmenu by the "B i& Fdlo w., " and a Heart y Greetin1. To all whom THE CADENZA reacbea--Oood Luck! Good Cbeerl and a Merry Chriatmaa.

THE

I The Il ROBLEM I ~ fi oBER I

CONDllCTBD BY I MYRON A. BICKFORD

Eminent Teeicher, Ptrformtr and Uterate.lr

This department has bun <rtattd in tltt tx/JTUS inkrtJls of kacl1trs, students and rtadcrs of The Cadtn:o , and iiucstions arc solieiud. To insure prompt a,uurtr, and as mdenu of t.ood/aitlt, all qutries MU ST~ S IGNED. S itn aturu ~IJ

t~C:.S :':uf':,!1~:::;,!:J i ~t ;~~ N,,1;::2 U~cf::':s;".~n; Probkm Pro'ber," care of Tiu Cadensa.

0. M. J., Wilsey , Kansas

I

or b~kc~~nh!~d!e~nmth!hba~jo:cr ,Vh~n t~ p1h~rdr~?f~~: notes is followed by one of three, what is the best way of picking both of t hem? Also, when the word "strike" is written over a chord, how should it be executed?

A. An arpegg io or broken chord of four notes may be played in three different ways: by using the thumb and

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all of the fingers to brush the str ings in what is known as the drum slide. I suppose you refer to regular writt en chords which are intended to be played in arpeggio stylC, rather tha n to an arpeggio which is writt en out as suchthat is, with one note following another, as a group of eighths or sixteenths.

This manner of play ing chords is often called "roll -- ing" them, which means that they are played in rapid

succession from the lowest note to the highest . When the word "strike," or "d rum slide" is written over a chord it indicates that the na ils of t he four fingers are bru shed quickly across the strings instead of their being picked with the fingers. The usual manner of making the drumslide is to double the fingers into the palm of the hand and then to make the stro ke by open ing the fingers quick!}', the littl e finger crossing th e st rings sligh tly in advance of the third, and so on with the ot hers, the first finger of course coming last, and really bearing the brunt of the · stro ke. When th is stroke is prope rly done it gives somewhat the effect of a short drum roll, since the last three fingers make a sort of preliminary clatter, before the first finger gets in its deadly work on the accent .

Another method of making the drum slide is to reverse the orde r of the fingers, sta rting the opening process with the first finger, and allowing the little finger nail to bring out the accent. This effect should be used very sparingly on the banj o, since it gives anyth ing but a real

~~~da~fl~:~~o~!t:h~th~: i~,t~~ft:T-~t:It,t?t f;at~: certain extent a matter of personal preference, since it would usually be perfi::ctly correct to use either the thumb and three fingers, or the thumb (with the glide) and two fingers. My personal preference is usually to uie three fingers for the upper three notes of a chorcJ. when all four not es are to be picked simultaneously, but to use the thumb-glide and th e fint two fingera if the chord is to be

"arpjf~°::~;d oc' three notes immediately follows one of

CADENZA

four I would use the thumb and first two fingers, regardless ~f the preceding fi~gering, s~ncc this is the regulat!on banjo sty le, and th ere 1s no pa_rt1c~lar ~cason for ad~ptmg that of the guit ar ·unless an obJeCt 11 gamed by so domg .

F. H. R., Seattle, Wash . Q. H :lving recently ' seen in ~n ar~icle that, "Brent

Ha yes is probably the greates t arti st using the pick, a_nd his system is employed by some of the best players usmg this sty le," I would like to know wherein ~is system differs from that 0£ othe r players who use the pick.

Mr. Hay es i11 the only man I have ever heard play the banjo with a pick who could hold his audience ~II by himself, without the aid of the orc hestra. If he has a specia l system of using the pick, I should very much like to know what it is.

A. I have not the article referred to at hand, but from my knowledge of Mr. Hayes and his work, I can say that he has a marvelous and almost unca nny control of the technic of the banjo, both as to the fingerboard and the pick as well. It is a rath er broad statement to say that he is the grealut arti st using the pick, but I believe he was the fi rst to make a scientific study of the manipulation of the pick, and of the necessary development of the left hand technic which this involves . It is impossible to go into a detailed analysis of his system at thi s time, but, in a nut shell, it consists simply of doing th e logical t hing at all times with both hand s. Thi s same idea has

~::~s t;e~~~<l.tA~nF:;1::1,r~~: i!x!~n:h~n ;~~c1::\f~~ bringing out a Method for plectrum playing which embrace s every possible detail in the control of both the pick

:;:te:eo }e~ ~aH~·ye: ;:/it~if:1rt:dr!~de t~:~"'oet~tt~;

banjoists who use t he pick, is that the former really i.s a

~~t::~ ::/:y~~!mm~ht~~~!/an~?!~~ &1:Te ?: ~:a;:; that I know of at the present time to obtain Mr .. Hay es' method in print, the best advice I can give you is to communicate with Mr. Farland.

G. S. E., New York. Q. In playing the mandolin should the left hand

fingers remain on a string after the pick crosses to another string? •

A. This is a question which must be answered "yes" and "no." Since leaving the finger on a string has the same effect on the note being held as the damper pedal on the piano, that is1 to prolong it, the same judgment must be exercised as with the pianist. The rule very often given to pupils that the fingers must remain on the strings

:!a1~~,e~~0)~b::g mth:t :C:1~

1~1 C~th 1fi~:e~hi~d afi~:~

remains on the 3 string, fifth fret, until it is needed on the D stri ng, thi s C will continue to vibrate long after it should stop. The time for it to stop is the very instant

~!;~!~i~:e t::g~~~n .Poi~~: i~no'!i ~t: :tdn~ :~~rd t~sth~ same as to hold down the pedal on the piano all through a scale, at least as far as this one note is concerned .

In a diatonic succession of tones the musical clarity requires that the vibrations of any tone shaJI be stopped when the nen one is taken, not before (unless a staccato effect is called for), and certainly not afur, unless an extremely muddy effect is desired.

In the caae of a succession of notes which form a broken chord, the effect of leaving a finger on a 1tring, even after the pick has gone to the next one, is not 10 pernicious

~th~~~:~ :f dl~•~Jio~~i~•~:, s~:ic; !~;~Ct ~:u;:~

THE CA D ENZA 35

is used with the piano. These · remarks do not apply at all to the fingers remaining on a stri ng while tha t st ring is bcins:: used , for this shollld always be done as far as possib le.

If mandol inists would try to app roximat e not on ly the quality and precision of tone produced by art ists on th e piano, violin or with th e voice, but also th eir int erp retati on and exquisite phras ing, there would be less inclination on the part of "the dear public" to class thr mand olin with musical toys. Attention to t he little detai ls embod ied in your quest ion cannot fai! to produce more musicianly players .

CONVENTION COZY CORNER In lhis "cmy comer", from now until the Eleventh Guild

Convent ion c:Joses, T H£ CAOl'rnZA in each issue ·hopes to post convention bulletins.

HOWEVER the A.G. B. M . G. may stand, move or vote (if it eve r comes to that) on the " universal" quest ion, it may cong ratul ate itse lf upon having

made a good "sta nd" when it selected Ch icago for the seat of its next Convent ion. And it may also congra tulate itself on having moved and voted rightl y when it placed the present incumbent, a universa l all-rou'.!'3- man , in its presidential chai r. Mr. Claud C. Rowden 1s not content with resting qu ietly on his official honors, but is workin g officially, unofficially, and ex-officially when he doesn't have help. Ha vingcapped theclimax in hote l and convention headquarters, he is now bringing extraordinary effort s to bear in prepa ring for the convention inus ic, and make the coming Ch icago Convent ion a criterion.

There will not be an orc hestra at the Eleventh Annual Convention 1 but t here will be thru big orchu trQJ. To ope n th e Convention music prog ram there will be a banjo o rchest ra of 100 players, wit h an instrumentation of JSt and 2d banjos, banj orines, piccolo-ban jos, cello-banjos, a few mandolin-ban jos to carry mandolin ob ligato parts, double bass banjos, guitars and harp-guitars . There also will be a symp hony mand olin orchestr a compo sed of teachers, professionals and a few talented amateurs. Thi s orchestra is now in rehearsa l, and its inst rum ent ation for the pre&cnt is twelve ISt mandolins, ten 2d mandolins, eight mandalas, six mando-cellos, and six mando-basses. Later th ere will be added from professional ranks, one flute, clarinet, oboe , bassoon, cornet, two horn s, t rombo ne and tympani . This aggregation, by the way, will make its · initial bow as an orchestra , at a recital to be given December 14th by "Th e Big Tri o" (Bacon-Pettine-Fod en) in the Lollis XV I Room at the Hotel Sherman . T o close the Convention music at the big concert, April 23d, there is to be a combined banj o, mand olin and/uitar orchestra of 300 players , that will play "Wcst war Ho!" th e new march composed for thi s conve nt ion by Mr. Geo. L. Lansing.

T HE CADENZA is in receipt of three artistica llr, got ten up circulars carry ing full length portraits of-three virtu osi. One has the portrait of \vm . Edward Foster, and a halftone of his Superba Mandolin Orchestra; another has that of William Place, J r. ; whi le the third bean that of Valentine Abt . The ba lam;c of the circu lars is taken up with individua l repertoire s, press comment, and app~ priatc poetica l quotations .

R ecent investigations have shown that the family

~fmPoU!~OJ~n~ . hc~~o;~i;~~r~~: ::s F5:;ch, ;::. nounccd Schop. Can it be tha_t our own Car l ~opp owet bil musical instin ct to ~c great composer?

BANJO CHEER . Bv J ouN Doucus

CHR ISTMAS seems to be a ~ and appropr iate time lo discou rse on "ba nJO chec r,U for, of all instrume nts, the banj o is par txulltnu the one

most str ikingly adapted to moments of comfortable jovia lity , and th at homelike "Suwanee-R iver" sentiment so undivorcedly wedded to it . Happ y is he (or should be) who, with the magic light of the open fire shining on his face, and th e crack ing of nuts soundin g in his cars, can nurse his old "J o" and d raw from its st rings the lovely strain s of "Annie Laurie ," or the lively staccato of "Darky's Dream/' or of 11Nigger in a F it."

Nothi ng mOre infectiously frolicsome at a Chri stmas party than two banjo s playing a blithesome schott isc'hc, a 6-8 march, or a buck-and-wing dan ce. Everybody's foot a-movin,'-and even old Grandad in the corner . warms up and t remu lously t aps the t ime with his stick.

Mother loves the ban jo, too, and delights in hea ring it played, for it brin gs back memor ies of other days, when her eldest boy used to pick "O h, Susannah," and "Carniva l dC Venice," twent y yea·rs ag'-o, before the lur C o f distant climes had enticed him into the wide wastes of the world, and made him a non-ret urning wande rer. -"I have never ," says Mothe r, " heard anyone play 'Oh, Susan nah ,' . like Frank used to doP ' Good , old Mother! Loya l and brave and tender! Frank is even now playing a wellworn banjo in a lonely prai rie sha nty , and the face he secs in the leaping orange flames of his wood fire is yours, and the t une he is so gently strumm ing is your favo rite--"O h, Susannah." Some day, some Christmas, he will yet be playing the sympat het ic tu ne for you in the beloved home of his youth, and the banjo will realize then, more than eve r before, what a place it has in the warm hearts of th e family circle.

cnce !f\~t!;~~:db:;~0e ckft:~ntl~~::i~c;;,s i~i'i5~~~h\~r:~~

Ca nada, a few miles above Med icine Hat. As a solita ry homesteader, with on ly a horse for compa n}', and the nearest nCighbor nine miles away, I set out one Chri stmas Eve to visit the homestea d of a friend some miles away across the snow-bl anket ed prairie. My horse had unfortunately gone lame, so I had perforce to walk-a dec ided ly foolish

· th ing to do in the far No rthw est in the dead of winte r, with the skies portendi ng snow.

I had not travelled more than five miles, when the wind began to rise. Th e thermomet er stood, no doubt, at about nine· below zero, and it was destined to go lower before th e morning. Soon, snow began to fall and at the

:: s~tf ~~\:i i t:d:~ e; :Jt; :: ;h:r iA?:; naeh;~z:~~d ~!0:\~C~ · st ruck the land. I felt the piercing cold all the more

keenly on account of the stor ming wind, and 1 became afraid that I would never see th e end of Dl )' tri p. I staggered blindly forward in what I tho ught the right direction, but it was all guess work . At the end of an hour I had to acknow ledge that I was hopelessly lost. What , with the darkness, th e raging blizzard, and the sting ing cold1 I began to feel stupid and tired. I had begun to long to take a rest that I knew would be dangerous to me, when I sudden ly ran head-fir st into w~at ~vas clear ly a strawstack. I was very th ankful for t his piece of luck , for I could burrow into th e stack to windward, and thus save my precious life. The stack might be on ly fifty ya rds aw.,.- from some sett ler's cabi n, or it might be half a mile away, for straw- stacks arc left whereve r the threshing ia done. I knew better than to gO wandering aroun d in that smothering, freezing inferno in search of somctbin&

THE CADENZA

I could not see, and it was not long before I had burrowed into t he huge pile of straw eight feet or more. Shelte red co mp lete ly from the wind, I lay and listened 10 the raging of the storm without. Was 1 warm ? Well, scientists show us that there is warmth even in ice, and if that is so, then und oub ted ly I was wa rm- warm as ice. By kicki ng my feet together and beating my hand s vigorously I managed to keep from actua lly becoming frozen, but -

Towards morning I mu st have slept. I dreamt I \,·as at home , wit h my old banj o on my knee, and somehow the banj o seemed to be pla}'ing itself, in a light , etherea l tone . Then I becam e aware of somethin g pricking my face. It was the st raw. I opened my eyes, and saw t hat the sun was shining brightly oulSidc the st:ick. And- yes ! - but no, I must still be dream ing! Wa s that a real banj o I heard ? Faintly, to be sure, but a ba njo, neverthele ss! It must be! 1 scrambled out of the stack , and there, but a few ya-rds away , stood a sod shanty and a stable; and , sure enough , coming faintly to mr car s was the dear old melody of " Come, All Ye Faithful ," and as I stumb led forward thr ough snowdrifts the tun e changed to 0 Hap py Day s in Dixie." And on a banj o 1- a good old banj o !- a rea l one!

Tru ly, "Banj o Cheer" par e:r:ulln1u And wit h it went scalding hot tea and fried bacon, and a bucketful of cold water to put my left foot in, for the toes had become

frozega~J;i~fe:r s~~IJ i, res, perhap s you can get ~ cheer out of other mediums - but for banj oists the banjo ever y time ; and , so saying, I wish eve r)•body a " Right i\•lcrry Christmas." -----

SOME "PICKINGS" FROM THE SERENADERS

BY MYRON A. B1cuoRD

T H E open ing of the season has wit nessed increased - enthu siasm among t he member s of The Sere

nadcrs, and new member s ha ve been coming in very fast. The impromptu program s have been extremely int erest ing, and those members who play n,ever fail to enjoy the ensemb le at each Serenade. While the movement is purely local, and its direct benefits are confined to tho se living in the vicinit y of New Yo rk, yet it i.s rapid ly taking on more or less of a national aspect.

One of th e recent "j oiners" is i\lr . Claud C. Rowden, President of the American Gu ild. While at the Serenade held Nov. 5th , i\'1r. L. A. William s of Kalamazoo, Mich. , who was pre sent as a guest , was made an honorary member.

T he Serenader s, as a body , pre sented a beautiful laurel wreath to Mr. Andrecf, condu cto r of the Ru ssian Balalaika Orche stra , at thei r opening concert in this city , and he has been made an honora ry member of the societ y.

At a recent meeting of the advi sory board it was voted to give a concert late r in the season, and for this pu rpose, plan s are under way for the organ izat ion of "The Serenaders Orche stra." This orchestra will be on rather more ambitious lines than anyth ing · previously atte mpted in New Yo rk, and to insure it s complete

:O~i;~j; ~~t: \d: c~hi: ~ir~l:n~:~d:i~nfr:~:r:ittndN;~

tiatio ns are being conducted with seve ral well-known band and orchestra leaders at the present t ime. It is probable that the ta lent for this conce rt wQI be confined to Serenaders, but 'this will in no wise affect it s artistic success; since there is a surpri sing array of ta lent on our

St~:~e;;~te l!~·raJ:& ~::;;iw~u=~~~h:~J~i!:;tiJ,!~~ i• seeking a new location.

PERTINENT POINTERS FOR PUPILS (Ctmlinutd f rom pa,, 13)

perfect under standing of the syste m of notat ion, wit h attenda nt rhyth m and time , will inculcate in you a

buesi~:~s~i~~i;1~i;ic~\~t1; 1'i:eni~ ~~~ :y afof1~~:.ble to your It was a well disciplined, deep thinker who penned

the following thought, -" ! buil t my fortune on the dial of n watch; seconds be

cmne pennies, minutes beca me dim{'S, hour.i bccnme dollars . I gave a money value to every tick, and took adv an• tage o ( e\!erything that tconomiud time.

I don't know th at there is any pnrticular rule or law of ~ri~ i:'i!~ oo~~ttoS,r/,~;ltEr,i:ie of the foundation Herc t hen is the lesson. Time, pas sing swiftly, silent

ly and unseen, is harne ssed by music-notation. If you learn the full meani ng or that one word, "Time," gra sp the governing law and ;ipp ly it in its stricte st sense, then will r our efforts a ll along the path be repa id ten -fold, even though you may never become t he great mu sician.

Jf you have made the dec ision for musical educati on, r ou doubt less have placed you rself under a teache r who has made a ca refu l stud y of the instru ment you wish to lea rn, a teache r who has a rea l interest in music, and in whom you ca n repose confidence; one who is as ambitiou s for your progress as are yo u yourself, and one who possesses the qualification s to lead you to the desired goal. Thi s is excellent ; yet if possible put your self unde r an instructor who is also a member of th e American G uild of Banjoists , Mandoli nists and Gui tari sts, an orga nization which has for its object t he advancement of our instr ument s and our literature, in the broadest sense.

Such a teacher stands for light and progressio n, and thi s mean s much to t he pup il. Above all else, avoid th e 11Simplificd Method" teacher , and the " Pla )'ingbr-Ear" " Professor." Th ey are the mu sical lee~hcs of the profe ssion who care on l}' for your money, an d at best can make of you but a musical frea k. Th ey are t he q uack s who fatten on that gu llible class of the pub lic who arc seeking to get somet hing for not hing, and get it-n ecu.

If '.)'OU 11ud a phyJicia,t, get a good ont tuho knowJ his physic. In like manner prove your jud gme nt by the select ion of the right teacher. Every compete nt teacher uses his own peculia r methods , spec ially devised to tide the new pupil O\fer the many difficulties that , as a teacher of IO'ng experience , he has found will often beset th e beginner. It is these met hods that sen •e to inspire the

~~ij~:~~e,;0;;:~:~c:~d~v~t:~~~af~t~ .~uar:ci f~u~~ ~~: 'i~

reason then why you mu st tr y to use th e best of ju dgment

~ip:; ::~~iJ; : ~:~~t:~ ::t~, .i~vi~hn;~d,,£,~/Pp~\~nni =~~ intuiti ve illustrati on, will mak e smoot h the rough places in your early path.

Many of those who take up the stud y or music arc adults, whose "ear" may have become developed throu gh listen ing to grea t singe rs, good bands and fine orchestras.

!v~tbu:h gc~s i~~~r~~~~:,1 i :s ~~~; •~~:i~et~; ,in!~aat ~;::t~ prove only an aggravation to their ca r. Is it the n entirely unreas onable to suppo se that , if they possess any ta lent at all for music, a poo r instrument will a lmost surely " kill" it ? Be sure to get th e very best instrument you can afford right at the outset, thu s tr ea ting the ear to the best tones possible under the circum stances. Jf you wanted a banana, would you bu y a poor one? Certain ly not! and music ranks much higher than bananas.

Do not he1ita te to ,pe nd as much for a mus ica l

T HE CA D ENZA 37

instrument as you would expen d on an ordinary suit of clothe s. You would not think of bu ying ucheap " clothe s, becau se exper ience has taught that even th ough you

rt~v:a:~~h :.~~cc:~: a :~~t..;~lL}~~s~:~t~~ll X0~~ s~i~~i:~l ~nnsJrr;;c~l\iF~vt1~n!:ra1~dcf,~~;c?Jc~1°\:~a~~I~; a:!Ti:1~,::;; with urnge.

Str inged inst rum ents should alwa ys be kept tu ned to concert pitch, and thi s is impo rtant. T he highe r the pitch of an instrumc111, the greate r the physi ca l effort involved in ove rcom ing the resistance of d1e st rings. T he refore whe n you tune your instru ment to a higher pitc h than usua l, you will be obliged to press correspond ingly ha rder with the finge rs, in orde r to force the st ring s firmly to t he fingerboard. An insufficient finger pressure pe rmits of the st rings vibrating 011 1Ju / rel, the most pro11fic cau se of "buzzing" tones.

In view of t he fact that your finger s a rc rather weak at t he beginning, your teac her may deem it advi sab le to tu ne the instrume nt to a low pitch, and gradua lly, as week by week the fingers devel op in strength and accur acy , raise t he tu ning to sta ndard pitc h. Thi s is often a good plan to be followed for the pupil b f t he mand olin and guitar, but as the st ring s of the ban jo

fn~~~ul; s:n;~ si:~: nb: nJ~a:ho~Jd t~: :~;li;/\o0

~o~cc::t ;~~;I: at the ver y out set. ·

All st rings te nd to dete riorati on of to ne by usage. Th e wound st rings, or ba sses, lose t hei r brilliancy much sooner t han th e uncove red stri ngs. T he latte r, through cont inual stretc hing, reta in t heir solidit y in body, in conseq uence of which the y gene rally gi\•e longer service.

On the ma ndo lin, if the best result s a re desired, t he "E" and "A" st rings shou ld be changed at lea st every two mon ths, t he " D" and "G" st rings every mont h. The two latter str ings are tightl y wound with a fine wire coveri ng which becomes loose as the strinj; stretc hes out, caus ing a muffled or "b uzzing" sound. Eve n if changed after but two weeks of us ing, t he improveme nt in tone will be ma rk ed ly obse rved. T hat 1 the "E" and " A" str ings do not need to be changed so often, is due to t he de teriora tion being much more grad ual he re t han it is wit h th e wire-bo und bas ses. Ye t with conti nua l using th ese become false, d ue to the uneven ness of st retching, and when in t his cond it ion they a rc a distr ess to t he car.

Players using gut str ings on t he ban jo and guitar exper ience the greatest trouble in this direction , it someti mes being necessary to dispe nse wit h seve ra l st rings before find ing one t hat is perfec t , one t hat give s an absolut ely t ru e tone in a ll positio ns. And the tro uble does not end there , as somet imes, eve n in an hour's p laying, a t rue str ing will become false and utte rly useless. I n the case of th e banj o, silk strin gs seem to have solved th e problem, beca use, be ing mec hani call)' made, and of sever al st rands, t he na.t ural incl ination . is to st retch even ly. It is for this r'eason that mos t ban joists now use t hem. •

H oweve r, st rings a rc inexpensive, an d the re is no excuse for hav ing poo r ones on your instru ment. T ake th em off. A pianist, for reaso ns tha t are obvious, is often obliged to pla y OJl an ins trum ent t ha t is much out of tune ; indeed, it is th e excep tion to find a piano t hat is perf ectly tun ed. Ther e is an excuse for hi m, but none for you, who can t un e your ins trum ent at will, and know th ere is alway s one recour se whe n str ings arc false, or emit a poo r to ne. In thi s condit ion th ey ac tu ally lit to yo u, in giving out a wl'Ong to ne a t the r ight fret. Ta ke them off, not alone out of cons i.der,ation for th ose who mu st

pe rforce listen to your practice , bu t, and thi s is of vas tly greate r impo rtance , do 10 fo r the more acc,,ratt drtlelop mt11t of you r own mu1ica/ tar. . ·

It was wh ile wr iting the above t hat two mandolinists from the Un ited States Warship " Ohio" ca lled at my stud io, and one of them volunteered th e stat ement t hat "a good mand olin," which had been pur cha sed about 1ix month, previous ly, " now sou nds somethin g fierce! Ca n' t get it in t une ." Inquiry revea led the inte resting fact that the st rings had never been renewed, but were the Jamt ones that were on the instrument when it was bought. Th ey depa rt ed with two sets of new strings.

Aside from the matt er of string s, do not forget there a re a number of other thi ngs necessar y to your comp l~te equipment; litt le inc identa ls the expe nse of whic h yo u mu st willingly incur, and to which you r teach er will doubtle ss di rect your attentio n. But first of all, and • above all, buy a m111ic 1ta11d.

The custom of puttin g the mu sic on a chair or tab le whe n playing , ca nnot be 100 str ongly condemned, since it compt/ 1 a wrong position of the bod y. Reme mber that habits , whether good or bad , arc acqu ired quick ly at the .begi nning, and the unlearn ing is a long, tedio us and difficult process. Use a mu sic sta nd and sit in t he position in which you would wish to have others sec you. The sta nd should be placed well to the left , and 1ujficient/y low to bt on a /i,u of ci1io11 with tht fi11gerboard whtn playing in tlu fi r1t po1it ion. Thi s is ve ry impo rtant.

It may be correct to sit erect and st ra ight as a soldie r, and loo k di rect ly ahead , as some of our good bookS instruct us. But where is the perfo rmer who does it ? Nine out of

fd~~~a~d1 l~~:~: ~~1~~~ ~te1 =)~:, ~~dn~haar: •}~ :~~~~ ~ ~:

mu sic sta nd shou ld be placed. T his is pa rticu la rly necessa ry at the beg inning, when the young student is more likely to ge t t he second fret when he wishes t he thi rd, and t he t hird st ring whe n he want s the fourt h.

If you desired to select one of two pictures, what met hod of inspect ion wou ld be t he best to reach a qu ick and satisfact ory conclusion ? You wou ld, of course, place them side by side . It is possib le to div ide t he sigh t as well as the attent ion . And if twa objects arc to be observed at t he Ont time, it is necessa ry t ha t bot h shou ld be in one "foc us"; i. c., in one line of visio n. H ence, placing the mu sic sta nd low, and well to the left , reduces to a minimum th e poss ibi lit y of a begi nner losing his place. It also obvia tes that un sightly ducking of the head back and forth from t he music to the finRerboard.

In t he course of yo ur study , yo u will find difficul ties in every d irection that oftenti mes may be ove rcome b}' exaggerat ion. T he trai ned ath lc1c ofte n breaks record s,

· but to do t his he knows that he must be tuned eve n above concert pitch; that it may be neccssar}' t.o exaggera te physica l conditions above the norma l, in orde r to ove rcome an y chance of "o ff-form " on the day of ·contest, and he rein is yo ur hint. Should ) 'O U expe rience difficulty, sa)• in advanc ing the thumb when playing t he banjo or guitar, exagge rate the pos ition, t hat is, adva nce it farther than is necessa ry, and feel that you muJI keep it t here. The mind will cont rol t he muscles, the re will be a compromise, and t he des ired objec t is the n soon attained. Or if unable to ma ke a given chord or fret easily, force the fingers beyo nd t he required · point, and contil) ue this plan as a regu lar, dai ly exe rcise.

As to.,l.he frequency of your lessons; tha t is a matte r dese rving of much conside ration, since no two peop le eve r stu dy with t he same deg ree of app lica tion, nor do they take th e sa me view of a given poin t. Th e first few lessons arc the hardest for bo th teac her and pu pi l, alld

THE CADENZA

th is period shou ld be covered in the shorLcst possib le time consiste nt with a t horough and correct understanding of each step taken. T o instan ce a case: A and B start toget her in taking lessons, A deciding to take t wo lessons weekly, while B takes only one. On reachin g home the following colloqu) ' may ensue.

A. " Well , I guess I' ll get busy. Next lesson's on in three days, and I'll have to put in an hour or so to night."

B. " Pshaw! l '\·e got a whole week for m}' lesson , so I think I' ll juSl drift dow n town and see the fellows."

The result is only too appa rent. A learn s in three days what it ha s taken B a week to acquire, because he uonomiud limt. And this is tru e in most cases of the pupi l who takes t wo lessons a week. He works with st imu lated intercSl and c111husiasm because or the added impu lse gat hered from the teacher; is impressed with t he necessity of action, and makes mou 1ha11 doublr t he progress of the pup il who has but one lesson per week, and Jakt's thr full wuk i11 rl·hicli Jo IMrn it.

Th e early lessons then in music should occu r with regular ity, and with not too long an interva l between t he lessons. Learn each lesson thorough ly and in your study apply at least t he same inte rest for you rself th at you willingly gi\'C to ot hers during the day. Let out some of the en th usiasm on your study th at rou would manifest at a ba ll game. T ake one or two maga1.ines pu blished in the interest of the instrument which you have i:WOpted, and thus keep yourself in touch with

0

t he field of actio n.

Next to tak ing lessons, the reading of proper literature will be your best and greatest source of knowledge and inspiration, and will prove a most important pa rt of rour musica l educatio n by supplying you wit h the necessa ry mental food. As both the mental and phy sica l faculties arc emp loyed in th e st udy of music, it is manifest that )'OU should read as many good books and magaz ines on this subje ct as you can procu re. You can not read too

_ much,_ for in eve ryth ing you undertake, the ment al facult ies must take precedence of the phys ical. You must have the clearest conception of what is to be done before }'?U ca~ do it. Suc h procedure will develop the mental mcent1ve necessary to carry out t he physica l problem s in technic.

_ M~ sic then , with its intimate stud}' and compani onship, will ope n for you new pat hs along eve ry line, It s message is con tentme nt and hap piness. It is food and stimulou s to the imag inat ion, giving a fuller cont rol of the me_ntal processes. And when the awakeni ng comes, t hen will you know the full power of musical ar t, indeed, the very soul of art.

Na tha niel Hawt horne , clea r sight ed and attun ed knew this, and most bea utifull y expre ssed it in tha: wonderful passagc-

"'Music can move us to fight, to dance , and to worship God. il can a~sc emot ion or all kinds - joy, sympa thy, courage, awe, gnef, love or foar : it. st irs the recesses or memory, making the life of the pas t more viv id than that of the passing moment : it can summon hope , and lead us to hclicvc that .fortu ne will aid us. And it cnn take us beY?':'d the region or all thini,:s known, and immerse us in vtSlons or beau ty never renhz.cd on earth."

T o all student s, Good Luck ! And all success to )'O U in your glorious undertaking!

Pile chimney high with blazing fagots, Still higher pile good chee r;

Th en fill a glass from foaming spigot, Chriatmu cornea but once a year.

Th e f MA~~ u~~ l~IST l

SIG. GIUSEPPE PETTINE t VIRTU OSO t

and Member of the Pamou1 " Bit! Trio" 1· Bacon-Pettine -Podm

This deparlment is crtaled/ or )-011r special interuts, Mr. SoloisJ, Ttachtr and A mate11r. All quu tions and sur.reslions made in t.000 f,1ilh, will receiu prompt and due co,uukraJian . A nonymous co1nlfrunications will NOT rect itNI altention. Address "The Mundofini st," care of TIit Caden:a.

MANDO LI N literatu re has made such progress that

lfs~~~ ~\!'~~~:~ t~=rp:1;to~ i!,~n;~acr~~l'J~~t ~~ti°!;

programs could be put togeth er that would be accepta ble to a modern audience inte rested in the plect rum inst rument s. And yet how littl e we have , eve n now! Everyone int erested in the mandolin should do his utm ost to promote and encourage t he growth of wor t hy and art ist ic original mando lin mu sic. Th ose who play should request it or the pub lishers ; t he conce rtgoer should ask it of the plarers .

\Ve arc too hasty in resorti ng to violin music to teach our pupi ls, or please our audiences, and, a lth ough thi s was more or less excusable fifteen years ago when ou r literature was very limited, it is not so now. We have at the present time quite a wealth of good music, a grea t part of which, althoug h not written in the highest form of composit ion (such as the Sonata , Conce rto, Sympho ny) , neve rth eless, is just as good musically as t hat written in t he same form for other instruments,. wit h the advantage of being composed and arranged by those who understood the possibiliti es of t he inst rument , therefo re its greate r effectiveness.

It is th e dut y of every mand olinist to do his little share towards makin g popular and famous t~e nam es of our compo 1ers throug h frequ ent ly playing the ir work s. ~ )' so doi n_g_ ou r instrument will ga in in prenige and a JUSt recogmt1on.

When one wishes to empha size the proficiency of a pianist or violinist he often merely remark s, "He plays BaclY, Beethove n, Chop in, Liszt," et cetera, ,or "He play, Paga nini , Spohr, VieuXlemp s ana Tartini." Of course, composers for our instruments of t he present tim e can never reach t he sphe re of these geniuses , yet if the y are encouraged, and mandolin mu sic is mad e to stand on its own meri ts, the time will be hastened when t heir successors may attain the heights and grandeu r of the great master s. I sincerely hope to live to see the time when every lover of the mando lin will be fam iliar with the works of th e leaders in mandoli n compositions .

By the way, who is going to write a book on the pre sent status of mando lin lit erature, with a list of the composers and their works? I don't mean an advertising scheme where Smit h or Jones may ~ct thei r names lined up with the worthy ones for a financia l or friend ly considerat ion, but a book, a guide, writte n by an honest and consc ientiou s man, whe re on ly really meritorio us compositions would be mentioned , and the cont ent& analyzed without natio nal, race, or other prejudice marr ing its value, giving not only the composer,' n·ames, but the publi shers' as well. A book of that kind would be of great help in educating pur pupil s. It would make them

THE CADENZA 39

stud y dili gc ntlr , and iL wou ld enabl e t hem to loo k at their instrum ent and iu lit erature with pride and d ignit y.

l have very ohen hea rd the follow ing express ion: "The mand olin is no t a ser ious instrum ent , and it nC\'cr will be." If music is a trad e- a bread-earnin g occupation- I admit that it ma}' be so. But , if music is somet hing higher, if it feeds the mind and soul, if it dc\ ·clops sy mp a th y and s·pcaks to th e emot ions, not onl}' o f th e listener, but o f the pla}'cr him self , J do not adm it it s trut h. Docs that hea ven ly instrum ent, the vio lin, speak to yo ur sou l when it is in th e han ds of an incompetent performer? Th e mo st pe rfect St radi va rius is no thin g but dead matter unl ess pla) •ed upon br an arti st , and rc t peop le will hear an ordinar y mand olin playe r and place the sta nda rd of the inst rument acco rdin gly. Is that fair? But t he most exasper atin g thing of a ll i!i th at when th ey hea r a good artist on th e mand olin they say, "\Ve il, he is ot\c of the few gift ed ones; the ord inary per son could neve r do it." Or, " If he had 0 11/)' put his energy in stu dy ing th e v iolin !" Now, I wish that they would leave us a lone an d let us sta nd on our own merits. If we produce good music and they arc pleased , let them say so. ?\o compa risons, please. Th e man do lin in the hands of even a passab ly good pla ye r will alway s please. It is t he man and not th e inst rum ent that moves and thri lls ,·ou. It is the man that carries yo u with him into t he· land of beaut iful dreams . But if it docs not please, do not b lame the instrumen t , if of good grade, but the player. ~ landolini sts in solo and ense mb le work hav e demon st rated time and ti me agai n that the ir instrument is capab le of sugges ting to the min d all kind s of to nal pictures in an intel ligent and a rti stic manner, the refore I fail to see wh y t his instrument is not as ser ious as any othe r.

Brot her Ma ndo lini st , do no t listen to th e p rejudiced and un sympat het ic per son who expects a dollar to follow eve ry act ion of hi s life. Take your man do lin, shut yourself in you r roo m and pla y -away. You will enjoy yo ur music, eve n if it be an ordi nar y mar ch or waltz , as mu ch as the v irtuo so enjoys h is concertos. You r friends will enjoy it, too , when yo u p lay for t hem; and if rou have br oug ht a ray of sun shi ne int o yo ur life or yo ur friend 's life, your inst rum ent has fulfill ed its mission, and th erefo re is wort hy of con side ration .

I hones tl y beli eve t hat the mand olin and its fami h• are the idea l home instruments. I t req uires an yw hc~e from five to te n }'ears for st udent s o f the bow instrum ent s to produce a ,presentable en semble. Th ese instrument s, unl ess in the hands of expe rts, arc inva riably played out of tune . But with th e plectrum inst rume nt s a fairl}' good ense mble ca n be had even wit h beginners.

It is bot h unfair and unju st for the mu sic lov er to liste n to a mand olin orchestra composed of amateur s, and then compare it wit h even the ord inary professio nal ira nd orchestra, A military ban d at its best suffers when compa red to the orc hestra, but I have heard band s compo sed of p rofessio na l musicia ns t hat left nothi ng to be de sired in purity of to ne, dyna mics, and all degrees of mu sica l express ion . Do we desp ise t he bras s ban d becau se · the one composed of amateurs send s our hands to ou r earal ·

Mandolin! H ow unju stly yo u are being attacked on eve ry side. But it is th is very abuse that is awak ing yo ur de vo tee s, and is makin g them work harder und er the sa~e

::!t:1~~r;:r~:riw;1n;~ii; ~~r~h:c:,u;;~:~. w;~tn ~~~ do yo u will take your place in th e musica l world and hold it with d ignit y and honor.

EX PRE SSION (Conlim1tdfrom last monlli)

Th e following is not an examp le of sy ncopa t ion.

Th e followi ng arc exa mples of sy ncopa tion with)hei r prope r execu tion on t he man do lin indica ted .

. Th e S}'ncopatcd no tes arc ma rked with a star.

A .\.l~er.tlo . * * W"Fr rl r F t IE Fr=J ~! c ,. ~ •

0;+-Lr ¥¥#i wtij ij Jqltp+I

t~tn·1r,f~ Th e syncop ated note is t he note which destrors the

metr ica l acce nt. Thi s note must be played wit h addition a l accent, and, t herefo re, with a dow n st roke. ln orde r tha t thi s note may sta nd out , the p reced ing one must be pla}'ed lightly, and wit h an up st roke, unle .ss it {the preceding no te) is rath er long, or is found at the begi nnin g of the measure, o r is a part of a chord, in which case a dow n st roke may be used. But whatever stroke is used it mu st be light. (Sec example s A and B).

1f the sy ncop ated note is represented by tw o sixt eenth notes tied, ver y often the o rde r of the stroke s is reversed, and the sy nco pated note takes the up st roke while the p receding note takes th e down. But af ter the first syncopated note is plared the clown st roke mus t be resumed on t he o th ers. (Sec exa mples E and F.)

EAl '"'ro -

~~-~· ~ "'~ -~- 1•o$@@@¥RNttH$1 As in t he followi ng example, the last note of a rapi d

pass age precedi ng a sy ncopati on mu st at all t imes be played with an up st ro ke. Thi s will add additiona l empha sis LO t he sy ncopa tcd~note.

~ -- ·- Ir rf

CONC ERT activitie s in th e Ea st are not du lled hr an y prcmo nitary sy mptom s of du ll times when art istic effort is concen 1rated behind the action.

!vlr. Wa lter F .\Vrceland , t he d isti nguishe d Bos ton guitari st , teache r and writer of i,:uita r li tera LUre, repo rt s t hat d urin g the monLh of Oct obe r lasL he pla yed twel ve engageme nt s

•in New En gland alone, ten of the se bein g with the "ivlexica n Serenade rs Co nce rt Compa nr " of which he is th e manager.

An d among the college mand olin and banj o club s there is un preceden ted int erest and acti vi t )' this seaso n . Mr. Geor ge L. Lan sing is coachin g and di rect ing clubs in thr ee great colleges, T uhnolou•, 40 men; D artmo11th , 35 men ; and fll t'llnlty, JO gi rls. S mi th College ha s a

~~tb c:fri~1~ 7:'~~~~;j th~d d~:~!~c;~~c:~:~;!\od~~c:~~~ ~'. Lan sing may be said to be its p reccntor and father co nfessor, since he ke"eps in cons tant touch with the club by mai l, and selects and a rr anges all its mu sic.

At T uft.1 College t he Glee and Mando lin Clubs a re act ively \\·Ming for their 26th co ncert season be ginnin g December 5th ., with 50 conce rt s a lready announced. Thi s is five more than last yea r, and the lar ges t numbe r of concert s ever given by a T ufts mu sica l club.

··'

THE CADENZA

The GUITARIST

CONDUCT l::D RY

IVIL L I A~ I FODE i\

VIRTUOSO and :\lrmbtr of 1hc FM10111 .. m11 Tr:o"

8:aron-P<'ltine-Podm

This department is crto ltd fr,, yoM special intr.rrsls, Mr. Stlioist , Ttn th tr 111,d A maltur. All q11rsfions amf rnggtslion s made in good faith, will rruirt prompt and due rr>nsideration. II r1onymr,11s comm1mications 11'111 NOT rtctfre 11/ttntio11. A1/drtss " The G11i11Jrist," care of Tht C11de11w.

I I I f I

T H E RE has been writte n so muc h conce rnin g th e guit ar-i ts origin, history, playing and practice , that anyth ing furthe r would seem almost super

fluous. And ye t, the last word can not have been spo ken since that wou ld at once signify the cessatio n of a ll progress. In the se article s the n, I sha ll cndca, ·or to add somethi ng to gu itar literature , and to be of value it must ha ve an intrin sic wort h, a tru e an<l intel ligent bea ring on t he subj ect. Th e or igin of th e gu itar is shrouded in deepest antiquity , and cannot be placed with any degree of cer taint y. Some writer s have tra ced it to th e ancie nt Hebr ews, who arc known to have used simila r inst rumen ts. Th e Moors next intr od uced it int o Spai n, and from thence it has pushed it s way into the four quarter s of th e inhabit ed world. Th e great est arti sts and the brighte st men and women ha\ ·e been, and arc now, its devotees and expo nen ts, and have listened with delight to th e great master s of thei r time s.

Howeve r, th e object of this a rticle is not to rev iew _ the histo ry of th e guitar from an ethi cal stand point , but

to be instru ctive in a material sense. From the man y books we may learn the rudiment s of music in th eir applicatio n to the guitar ,- the note s, clefs, sharp s, flats and a ll the signs and chara cters necessary to its practice and interpretati on. The se we find to be alway s th e sa me, but as to th e met hod of performing on the inst rument the y too often differ. In th e mann er of its holding , ·it s finge ring, touch and other importa nt detail s, t he books man y tim es are at variance with the ways and ideas of the best .performer s. It is the se points, and many other s t hat· long have been obsc ur e, that I hope to make clear in thi s series of wri t ings.

Th ·e holding of the inst rum ent t.o me has alwa ys appeared to be of th e first and great est impo rtan ce. After expe rimentin g with all of the known way s, and with some not so well known, I have found 11one rn good, and none JO Jaure, as that adopted b)' t he old masters , i.e., that of restin g it on t he thi gh, and ther e balancing it wit h t he right forea rm. Such holding requir es neith er

~~rt ,~: /up6t h~/: ~;;s 1thcc~:\1:; nt ~ ~~fchh ~:! .:r ad;t~ e~~

and the re still may be way s of which I do not know, and am willing to learn; but after a lifetime devoted to it s playing , and the tr ying of many different positio ns of holdin g, t find myself alwa·ys revertin g to first prin ciples.

of tih\:~xdts th~~~ ifi~~~~:. o\~~s: )r~h~~:'!n~~~:c::ti~ ~= player becomes as one in a boat, cast adrift in a mighty sea without compas(or rudd er. I n thi s connection, th.ere is nothin g better than a thorou gh study , with proper

under standing, of the way s and mean s de vised by th e great players of the inSlrumcnt , for without a rea l sense or know ledge of ~vhat we are attempting, we mu st fail in ever y und ertak ing. I have been asked man y times how I produce a certain tone , and how it is va ried. Th e answer is to be found only in the abo \•e menti oned swd y and knowledge, for th ere in lies th e on ly and true rea son. Of course the beginner can not acco mplish thi s by him sdf, and for such I will give the following instructions: -

\Vith the left han d, the thumb is pla£ed again st t he neck of t he instrument, with the ball of th e thumb alone touchin g it, thu s leav ing the rest of the hand in perfect freedo m . . Such position allows the thumb to act and mo\ e as a pivot wit hout being stiff and strained , as is the case whe re th e neck is held in the crotc h of the hand betw een the thumb and forefinger. It also has th e advantage c.f giv ing a grea ter reach with greater ease, and mu st be thu s maintained in t he higher as well as in the lower pos itions. Barring also becomes eas ier, with a smoot her mov ing from one posit ion to another, and without t he needl ess draw ing backward and forwa rd of the left thumb each ti me a cha nge of posit ion is made. Th ese a rc some of the reasons whr, and ot hers will present th emse lves as t lie student advances.

Th e right hand in it s posit ions and finge ring is more d ifficult to manage. It is th e bow of th e gu itar and , like the bow of the violin, will requir e a special effort and atte nt ion to make it properly behave . I t has to do many thin gs, and upon it depends q ua lit y of tone, force, speed, harmonic s, exp ression and oth er detai ls of import ance, which can be ta ken up only in th eir prope r place and seque nce. Therefor e, the pos itioQ of the right hand is of the 11tm0Jt im port ance, and too much attent ion ca nnot be given to the se points, and t hat from th e ve ry starting. Bad habits once formed are extreme ly difficu lt to eradica te, and someti mes never are entirel y overcome .

Pla ce _t he ist , 2d and 3d fingers on the gut string s, G, B and E respectively, and in the or~er named , drawing them far und er the hand. No w place the thumb on one of the silk cov ered bass s~ring s, exte ndin g it as far as poss ible in th e directi c n of the fingerboard, and in suc h ma nner that th e Jide of th(thumb , ,u vrr the point , shall touch the strin g. Thi s position now correctly attained ,

:~eb:if: r~.t bto~~ : ~~i~tsth:ra~~~~• :~~I t~:bc~~~a e:inegasi; and a fi xrd habit , takin ·g ca re that rarh timr the position is rxat1l y the Jamr. Th e string s are not to be struck, or sourlde d . . while exercising the above position. ·

NOV EL T Y NAILS THE NUGGETS

WE think it was Solomon who rai led becau se the re was nothing new under the sun , but of a surety he cou ld not have foreseen the em •clope-circu lar

~!t~~~n~~l~~~~r~~f~r~• h;i~ ~a:t~/':w b:~!r"::%e, \~~ it is both in one. It is a hand some ci rcular that, when

;!~t~:it ~c:~rce:ddr:::~id~.":~0d~nb~h;ib!cr:~ ;;~~~~~:~

ment of his 16t h annual concert given at With erspoo n Ha ll in Phi ladelphia on October 25th. Un folded , th e back presents his Fai rmou nt Mandolin Orchestra in half-tone, while the inside cent re carrie s a large halftone of a concert orchestra of 70 players. surrounded by a

~1;~~~~\h~";,fJ imKin;~f ~~~!~1 ch~dm~:~·hin~~~h t~1! ?~~

ventive genius .of some of our twentieth century leader s who realize that novdt y nails the nuggets necessary for natura l nutriment .

THE CADENZA 41

The BANJOIST

CONOUCTBO BY

FREDERICK J. BACON

VIRTUOSO 1.11d Membttofthe P&mOUS "Bia Trio "

Bacoo-Pettino-Podffl

~~~t:!'::dA!~:=~~w1li! /!~;//:::iJ~':,.~:,';/,~;·;,,"j~1~ toodfaill,, will rttf'ttt prompt and due consideration. Anonymous comm,mica tians wt'll NOT r«n"' aJuntUln. Addru s " Tiu Banjoist," UJre of TIie Ctuktu.a.

PLAY THE BANJO MUSICALLY

I I I

I bl_ the ser ies of ar ticles that I have been called upon to cont ribute from time to time in this department of TnE CADENZA, it will be my earnest endeavo r to

write instructively on technical points of importance to students and players of the banjo, as well as interesting ly on

be:~\i;\~faff";~a~;;g;;:.n, and I trust they may prove of In true and artisti c banjo playing the first great

consideration is that of tone. There must be cultivated the art of producing a rtal musical tone, and the banjo is capa ble of such production when properly han dled. A few years ago I discovered that the best quality of tone was to be obtained by picking the string s very near the fingerboard, resting the littl e finger on the head of the banjo (or tone-b ar shou ld such attachment be used} at a distance of about four inches from the bridge, with the thumb kept well in advance of the first and second fingers. To the casual player the tone th us produced may not sttm to be quite so loud, yet it will carry fully as far, and certain ly be much more pl~asing to the listene r. When

c~:~:tna~~i~s~~fl~~;,~\:t g~ !::!~:":Uto}h:h~uc~~t,~ acterist ic banjo tone . Occasions will of course arise at

~t:e:h:r~~n":n:~~~~~ :~:! ~o~a~;sf:;we t~~s b~u:l:~~ f~ brill iant introductions to march es, p0lkas, etc. This is accomplis hed by changing the posit ion , and picking the

:~tn~gsc:~~~~r t~ ~t~a~~i:reb;u~l~~in~ff:}!~~:0

:~:;a~h~ bridJe· With but very little practice the playe r is enabled to slide the supporting littl e finger back and forth on the banjo head, tht'.is changing his tohc quality at will.

If necessary, th e tone may be forced whi le playing near the fingerboard, and still retain its pure, mellow quality. In such case, however, care must be exercised not to lift (technica lly "hook") the strings, as the resultant tones arc then entire ly devoid of music. I have listened many time, to banjoists, and players of some note, whose ~electio ns were well chosen and performed with an admirable exhibition of tcchnic) but alas for the t0nc! It was

::zi::r rcThev~h~ie~a:~~t~}"fh:\~~bf!::;~~t1~0yf:;

::r:::i: •~ho!,t~d~~~!!e~1

'tos~i~!:c a;~y~t:iou~las~~~~ · ally appear in public, this sugges tion is offered. Try the audien ce with one or two selectio ns played well UP. to the fingerboard, and note if th e list eners do not hke this quality of tone far better than that produced by picking cl01e to the bridg e.

The player may imagine that hi, tone is not "carrying," but from a long experience I can honen ly assu re him that it will car ry just a.s for as the other tone, and

will be much more musical. Of coursC it is und erstood that the better the condition of the instrument, the cleaner will be the tone. The banjo head must be kept tightly d rawn at all times, and shou ld be renewed at least tw ice a year, since constant stretching dest roys its life and thus preve nt s a full vib raii on, eve n when tense. When renewing the head, select a good, white skin and one as nea rly as possible of uniform thickness, and nroer treat it with preparations. All first-class and honest manufacturers of banjos will admit that these so-ca lled "watc rprooP' banjo heads a.re incapable of prod ucing as good tone qua lity as arc the plain sk ins that arc not "doped" with parafine or shellac.

In play ing, the fingers of the left hand shou ld be pressed firmly aga inst the str ings directly back of the frets 1 tak ing care, however, that the fleshy part of the finger point docs not overlap the fret. Bend the fingers at the first joint so that the tips will touch the str ings onty • at the point s desired. Keep the mind centered on the tone, and try to make every note sound clear and distinct. When playing chords of three and four notes, arpeggio them - rolling them f ram the lowest to the highest note in rapid succession, accenting slightl y on the last or highest note, as genera lly this note forms part of the melody and should stand out in prominence.

To play rapid runs on any one stri ng it is necessary to use the fingers alternately. Most players arc familiar with thi s sty le of right hand usagc,yet I wish to further state in this connection t hat, when alt ernating t he fingers, and particu larly the thumb and first finger, after picking the stri ng, say with the thumb, be sure to lift it clear of the stri ng before playing the next note with the first finger. Arter a litt le practice, rapidity in play ing runs in this manner is easi ly gained, and each note is given a chance to fully vibrat e. I have noticed that a great man y players in making a quick run on one stri ng, keep both fingers almost aga inst the strin g. Thi s results on ly in a jumbl ed up mess of clicks very similar to the tone produced by using the plectrum, except that it is not q uit e so loud and harsh.

And right here is the place to insert a "Dan't." Don't ever play the banjo with anything but the fingers. Why should th e banjoist, more than the .harpist, use anything but the fingers? The tone of the banjo is fully as penetrating, and it is beyond me how the first-class teacher can advocate or teach playing the banjo with the pick. Th e possibilities arc not nearly so great, and there is positively much less of music. ·

In conclusion - play the banjo with the fingers, and learn to produce real musical tone. Bear in mind th is fact, that playing the banj o musically means ju st so much more towards bringing our instrument back to its former "popularity.

ANOTHER ODD ONE .

T HE article on "Two Gruesome Mando lins" in TnE CADENZA for October brings an intere sti ng communication from ~,fr. Evan Marlin of Capitola, Cal.

Mr. Marlin tells of an American \'irtuoso travelling in Mexico, who conceived the unique idea of mak ing a mando lin from the she ll of the armadillo, an cdcntate, earth-burrowing anima l of th e insect ivora, c_ovcred with a thick armor of bone- like she ll, hence its name . This shell after being hollowcdoutmadeafairly rxxJ body that gave a clea r,

~~i~h::~~· in"?;e~!~d°~1f:.c 1T~:u:;~natdil: i;:~c at: i~s:r:)f

nocturnal habits , which fact is mentioned on ly as information, and not becau se it ha s any bearing on the mandolin fami ly.

42 THE CADENZ A

THE CALL OF THE VIOLIN (Continued from pagt I O)

~~:~j~ I!~;~ \~n~~h!~n Jii\~o~,~n~~o':\~;;{ni~ i~~s-;~~f fi:iend~, whom ,I sha ll ms1st must nrrru1gc their sports, \ i{/rs and n1rtat1ons ~ swt themselve s. _ Mother hi1thly_ appro,;cs of.my proposed Yulet ide revel. fothcr mildly enthusmst1c for him, and ns for me- I thi nk you had better come, Harry. There will be a litUe snowshoeing, coasting, and ska ting, 'weathe r pcnnilting,' as they s.1.y on e11cul"!\ion bills , with dan cing and whist in.the evening. I repeat my opening lines, don't say.no.

Sincerely yours, Gladys Harding."

" 'And as for me- I th ink you had beucr come Harry'." Kenda ll reread the words slowly, meditatively' as if to analyze their full significance.

1

" I should be a confounded fool, if I didn't accept the invitation," he argued. · Again Mollie's letter met his glance. With almost

a suggestion of irritatio n, he arose and walked over to the .open fireplace, and gazed into the dull red glow of the smouldering logs.

" Accept, of course," whispered the worldly side of his natu re. "Old Hardin g is worth two millions at least and Gladys his only child, hand some and accomplis hed'. Somewhat cap ricious, perhaps, and given to fads."

" I wonde r if I am simply one of her latest fads/' he mused. "If 60 1 I have found it extremely pleasant being fadded. But then, I don't know which it isLove or Money? 1 have always abominated those marriag es, where t he girl pledges herself at the alta r before God and man, to love, honor and obey somesome rich old duffer at her side, when every one in the church knows the whole t hing is a farce and inside the year it proves to be. 'And as for mc- i thi nk you had

~yet:=~~~:i t:i~;:·nd 1;~1~\:~~:~s}!~e fe~~!!• ~~n{h~nct~ -

!f he knew the facts, would say , 'bite, you idiot, for ther~ 1s a golden hook and a silken line behind it. ' Maybe I will. Th ere's noth ing to preve nt."

- A half conscious smile had been on Kendall's lips all. through . his argumentative soliloquy, but now the

smil~,}h~t~ ·:~ r~:~~u t~i,a b~~~;::eu°;!·tes ted. Was he forgetti ng his sacred pledge to Mollie? " Heavens! am I losing all conscience?" he dep lored. " Which reminds ~e I haven't C\'Cn rca~ her letter yet. Th ere's no denying !t, I have been treatmg her dow"!right shabbi ly of late, m thought, word and deed."

Miss Harding's invitati on had fallen on the table concealing the other woma n's letter from view. '

"No , you shan't come between us," declared Kendall as he drew from ambush the little square envelope. Th~ handwriti ng o( the two women was for the moment brou¥,ht into sharp contra st. ' '

'What a str iking difference," he commented. "O ne ~~e ~r;he~1 , go; the othe r clear, graceful lines, every

He remai ned sta nding in almost a penitent ial atti tu de aa be broke the seal.

"Dear Harry," "Waldo, N. H.

It bcg~n, a beginning which, in· this instan ce, ~cndall accepted with pleasu re. dcar:;,How like Mollie," he smiled; " frank , unaffected

"Are . you not c:omiog to us for Christmas? .:You can picture

~~ ~n!i,y~ =n;:~ehan~:tfud ~s~n~~/:~'~-~ You wdl always be a boy to him you know. And mother in her

quiet, caressing littl~ way, smiling a greeting none the Jess cordia l, nnd :is for me- I thmk you had bette r come, Harry.

be t~~tb ly0l:r ~~ljn~'l~\'0:1i:?' ~;w ~ ~r!t~1;'1yth~~!a;~j days, but sometime s- I know it is wrong and foolish in me-I fear the memory of thein has become blurred to you, lllld you would feign forget them altogether. I never pass the old rustic seat by

!~~ b~\c:~~~fo~ ft s:i 1~\~;cc~~ifi~~n~td~hl..v~;~ /:i-gotl cn ? And do you remember as we sat there.in the moonlight, that gradually clouds appeared, nnd the scene grew darker, andand- 1 know youwill sa.y I nm getting fanci ful- I seemto feeltha t another cloud of anot her sort is gradually dimming the sunshine of our.lov~. Tell me by con:iing, dear, that. it is Only fancy. We will ai;am sit on the old rus tic bench, and 1! yQur heart dicta.lff-not wtthout - you will tell again the old , old story to · Mollie."

Th e lines in Kendall' s face softened. The ingenuousness of the letter was like a breath of pure, wholesome country air, that revived and stimu lated t he best that was in him.

"Th ere is sincerit y in every linc,U he murmur ed. " How odd they should both make use of the same exfi:::~~:.: 'As for me, I think you had bette r come,

side.He spread the two letters out before him, side by

"Whic h inv itat ion sha ll I accept," he ponde red. Conscience whispe red, "To thine own self be true." uBut I scarcely know what is being t rue to myself ;"

he pleaded, "a nd yet how the decision may shap e the whole course of my future life and happi ness. But I am a s.elfish brute . I have neve r once stopped to conside r which one of these _women I cou ld make the happ ier, and would I beco~e like th ~ hero of the Browning poem, capable of lovmg only half a yea r, as man is ab le'? '½>vc is of man's life a t hing ·apart; 'tis woman', whole eimtc nce.' Probab ly Byron verified his words."

He arose impatien tly and sought man's never failing solace in .solitude and perp lexity. He watched the blue ~make draft away from his cigar, as if seeking inspirati on m the feather y clouds . He would try and recall 'when he had seen both these women at their very best. Gladys in ~ rav ishing g~wn .at a dance or at the opera , always say mg and domg JUSt the correct th ing. Her face radia nt as she_ parried and thru st at repa rtee, or maybe a half coquettish glance flung at him as ahc whirled by in th~ dance, a glor ious vision of life and beauty. As if to bnng . her presence more vividly before him, he turned to her pict ure on the easel. How many times he had seen her we.iring ju st that expression, and this . beautifu l b~~~~~r\;~se :hu~;~ ~I~'! had writt en: " I thin le you bad

Then his glance rested on the face of the othe r woman. "Ah, little Mollie, you make but a simple figure

besid.e thi s," he .sighed, "but that's hardly fair, is it , Mat he? I have pictur ed Gladys at her best, in her natural

d\~::;\:~i 1e:;; d~;~h~~ cNo:~te~e tomt:fn:/a,?7jn~~

each life some rain must fall, some days mus t be dark and ~;;~J•~h:n!,ti~cn the dark days came-wou ld Glad ys

H is cigar lay smouldering in the tra y beside him, unh eeded , In retro spect he was living agatn those "dear old days" with Mollie, each hour fraught with some tender memory. The familiar scenes spread out before him like a painting bathed in pure and holy light. In the foregroun d were the figure, of a · man and maiden. At their feet ran a mountain st ream, shimmering and flashing under the iay a of the declining aun. The lowinJ. of cattle waa in the air, and the cry of the whippoorwill . Then the accnc shifted. It waa twilight , wit~ Mollie standing

THE CA D ENZA 43

by_ the old pia no, her y iolin ncs d ing under her dimpled chm. She was playing-what \\~S that melody of which he never tir ed? In lonely hours he had played snatches of it on his mando lin,- a soothin g, plead ing melody, t hat crept into one' s heart, and bad e one love the playe r and all the world, a swinging, rocki ng moveme nt . Oh yes, t hat was it, a lullaby, a German cradle song. Could he reca ll it now? Sweet ly, yet half haltin gly, the mando lin str ings responded to his not unskillfu l touch, but st ill it lacked- was it the depths of tenderness t hat had been bre_at hed into the strain by t he gracefu l littl e figure in whit e? Oh, how t he mu sic brought back the scene in it s enti rety. Mo llie in her simple gown, her round white arm wielding the bow almosl caress ingly. The soul of t he performer blendin g in such perfect sympathy with t he violin, it had seemed to him he had listened to angel ic mus~ He could almost fancy that aga in he caught the fragrance of the lilacs stea ling in on the evening air.

Lost in reverie, Kendall sat motion less, gazing at the burnt out logs. Had his love for the little girl up among the granite hills burned out and t urned to ashes at - "the kiss of gold"?

An apo logetic cough aroused him from his dreamin g. "W ill yo u requ ire me further tonig ht, sir?" 1.'No, Saunders, not tonig ht ," replied Kendall, slowly,

" but I will leave a note on my desk that I want you to take to Miss H ardi ng early in th e morning. And never mind about getti ng ready that small trunk. J ust put a few thing s in my Gladstone. I' ve changed my mind.

k:\~ fl!~p!h ir?.'~nd my h~liday in a litt le town up in

A MIGHTY NIMRODOLINIST .. '

IT is the unexpected ·which always happens. In th is instance it was an all un expected and an all unsuspecti ng partridge that crossed the path of the

big Trio while journeyin~ from Brando n to Roche ster in Vermo nt, only thi s time 1t did not happen. It was while traveling through one of t he most beautiful spots on a beautifu l road that Signor Pet ti ne, a ll unthinking , execut ed an arpegg ic sca le with a stone, a scale that beginning nowhere ended in a thick/ leafy cove rt . Instantl y there came th e unmi stakab le 'd rum," and to the st up efying surpri se of a ll, out from the covert th ere uprose a pa rt ridge. Oh yes, it was a real partr idge. Th ere can be no dou bt on that .score for th ere were three present, and the other two saw it as well as he, and as there is a local option law in ope rati on it rea lly must have been the re.

· Now the Signo r happened ~vC a gun , although he docs not pose as a mighty N imrod. He modestly states that "he hits somet imes," · wh ile ot hers claim tha t he "makes more hit s" than he hits. However, be that as it may, t he " rise" of t he bi rd caught the Signor a ll unaWar es, or as he put s it, 111 was not prepar ed." Th is P;t>b~bly me.1:ns ~hat his A st ring was not tuned, an d he

.d1.dn t ~ave his pick hand y, for he can do anything wit h a pi~k that is pickab le. Anyw/ly, he shot, ther e was a mighty rever bera t ion, and t hen th e bird shot- away. It could not hav e been a " lad y". part ridgefo rit gota way and although he did not bring it down, he says that "he s~ared it somCthing awful." At last account that poor scared little bird . was winging a solitary, strin gendo, affr~ttando, allegro con moto mo~e me~t towards the un Cxplorcd wilds

' of Canada , where rec1proc1ty doth ndt corrupt nor wandering , mu~ciana with trtm olo gun s break through and prowl. • •

INTERNATIONAL COMPETITION

ANNOUNC EME NT has been made of t he 114th Internati ona l G rand Contest of Music for instruments of the lvlando lin and Guitar Fami ly,"

organized by the mu sica l magazine " II Pleura," pub lished in Milan,)ta l)'. As this cont est is ope n to all musicians of all count ries, and believing that T11E CADENZA reader s mar be int erested to know the .regu latio ns and prizes in connection wit h this competition, the full list of such is subjoined . The translation from the Italian has been especia lly made by Deme tri us C. Doun is, that remarkable Greek performer on the lyre phoenix .

General Regulations and By-Laws of the Conte~

Art. I. The mu sical mnga1.ine "II Plettro," organizes a public con test for the following musical compos itions: "

A. :;mc~r:;r~:ii~~n~~fi~u=h~~:ri~: a~de~~ut m!~~ii~~~ octave mnndo lns, mando-cellos, mando-OOsses and guitars).

B. For an nrrnngement for mandolin orchestra of a classic composition by Beethoven, Boccherini, Durante, Haydn, Lulh, ~-lend elssohn, Moza rt, Porpora, Scarlatti or other renowned classi c com(>(?SCrs, ·

C. For a musical com 1:ios1tion for guitar solo. and for a musica l composition (C"r mandolin (difficult sty le) ~ith guitar or

D. ~~~oo~~rnt~~~~~. Minuet, Serenade, etc., for two man dolins, octa,•e mandola and guita r.

E. For dances for two mandolin s and guitar, nnd for dances (in the easici.t sty le in 1st posili011 only) for ma ndolin with piano accomi:m.niment .

Por Catego ries C. D. and E. the smaller compositio ns are preferablt',

Art . II . All Italian or foreign musicians shall have the right to take part in the contest.

Art. III. All compositions and arrangements shall have btt n

hithc:r~. J V,ub~~~r1~1io~

1i:;~~i~ '! nded!;1: ~,i1li! i:~~~~~

A. 1st prize: A present from the ?-.·linister of Public Inst ruc• tion; one hundred francs (S..?0) from "JI Plettro," and

;f';~·: Grand gold meda l from the Ma)'Orof Milan, and diploma.

B. l st prize: Fifty francs (110); silver meda l, nnd diploma. 2d priz.c: Twenty-five francs (SS); sih •cr medal, and

fr1;ri~: Twenty-five francs (15); bronze medal, and diplomn.

C. Isl prize: Arti stic present from the Senato r Marquis Ettore Ponti , ex-mayo r of Milan. 2d priz.c: Grand silver medal from " II Plettro."

D. nnd E. Silver :ind bronze medal s and dip lom:.5. Art. V. All prize rompositions and nrrnngements shall bcc:ome

the cxl"lusivc property of the music-.1\ magazine "rt Pletlro, " as accordi ng to the present by -laws.

Art. VI. Compositi ons and armngement.E must he sent in registe red letter, nnd in score only (not in parts). Each composit ion or arra ngemen t must hn\·e at it!I top a proverb which shal l be rc:pca~ an a sealed envelope , and in which envelope shall be the written name B.nd address of the contl'Stnnt.

Art. VII. The fee of adm ission to the contest is three francs (60c) for each composition or arrangement submitted. A composer sha ll have the right to submit as man\' compositions or arra ngemen ts as desired. •

Art. VIII. The date of entry for the contest shall close Oecem• be r 30, 1011.

Art. IX . Th e results or the contest will be announced through

the A l~~x.or ;~: p~=: '/::.: ~r t!13~~~!~~ ~°r::r ::::u~:a1;i1~;~ i\hould be nddrcssed to " II Plellro," Via Castclmorone No, 3, Milnn, Ita ly.

44 THE CADE NZ A

Dance Folio No. 2 Is Published for FULL MANDOLIN ORCHESTRA Including Books for

Tenor Mandota and Ma'"!do-Cello

6c 1111tam,- will briq: ,00 I n.Elt COP70t the

1st MANDOLIN BOOK q-Oa.J7 oa, c.n 11 thla price.

Address WALTER .JACOBS,

TEACHERS ' DIRECTOR Y

AGENTS FOR THE CADENZA

r.i-:.::\:=: il RANDBNBBRG , W. O. Tffffffaui.cllld, DAVIS, HAR.RY N. ?JO Plcuaat SL.

DBNTON, COfflBR AOAHlBLS C-~~M;::

DBUTHBR. TOIIAZ P. 1100 W. ~ ~-.r OITSON 6 CO., C. H. 1. 11 sa: : DIT&ON CO~ OLIVER ~;:~~ -

P.SSEX CO,. CLIPPORD .._ ...._

i-s!!."~~

BOSTON, MASS.

Now Ready Banjo Solos Now Ready

TO TH E MATINEE, 6-8 march . . . . . . . . . 40c THE MINSTREL BAND, 2-4 march . .. .. .. .. 40c SOUTHE RN MOONLIGH T, 2-4 rag two -step .. . ... 40c

n,,bo .. ,r. rMI a...Jo Na.mben . Profierl1 -n:..s tMrlp.lud lahli&D4a.

f R~t!; . iu: ·J.:C~ a!i ~:;,!~ Qjo, Mandolin, 514 We.lmina ter St., l'rowidenc., R. I .

F0fu~~:Wlk :~1':1r~r:::::~r:t.i~-•:;nl;~d QO ULAR.T, P. A 'T~t~'S,~fr;:~i::t:'.\i~i n.

!1~~~}:i:~:l~~tt:l°~,n-~ta;; H E:O?i!,~5:/!:;!?~i:i~? J., Tucha of JJulo, MH•

ord Pbllllpa Au ., Plttabv 1, Pa ,

PAIRBANKB CO, A. C. 62~.:Ir!;: PRAS8R. 8 . A. $14W•tin1Mter8L ,

~.R.r. HBPPBLPIHGBR , R. W, r!~~~ : HENDBRBON, BDW. J , Slll~A ..._,

Plttabms.Pa.. ICBYNOTEII ~~~ KITCHBNBR. W. J . rJ!:.;~ _'t;: LINDSEY MUSIC CO. UM}!.8:~ LYb l'l'& HEALY

MACULLBY, PJlANX J. u,~Ill; KdULLtN , R, B. 20,~":1:

Onwad , Otilo MORRIS CO., THB JOSBPH U6No.Nhl&J.lk., ....... _ ...

TEACHERS OF IIANDOLIN. BANJO AND GUITAR .

y~~:ed~:'::::~::~u::! ,!ni coat you only S1.oo per year -twelve iaaue■. Thre e lln~s will be allowed for each ~•rd.

llu■ic or llu■lcal llercbandi■e advertieemea.t■ NOT accepted la. thi■ Department.

NBW ENGLAND NBWB CO, 9JA rcliSt ., eo.-.w .. .

ROBINSON a co" ARHOLD 251 Woodward A• • · Dltnlft.Mkll .

ROWDBN, CLAUO C. Haadalffail , ~Ill .

SAHXAY'S CONSBRVATORY "~°fr~~ : IIAUNDBRB. W,

c-d, N.~1:t!f i. IHAW,A.J. ffU~&:::~i'.

. TBKPLBIIAH. C. A. .._t.. ·H,tw. TBCHOPP, CARL lHJNo.,,_St. ,

VOLinrBIN BROS. .~~ WBBIBR 81'0D10 . THB

.. _ ... WBIDT,A.J.

....... =-~: ut•p,.~ :

WR.IORT, JOUPH ~-- .N.-~11 ........................ TIIIECAHNZAN......_. .... ",....~ -

1

THE 'CA DENZA

VEGA ' SE RVICE SA TI SF IE S

WHEN th ere i1 a con1ultat ion of docton over a case a Speci alist or EJ:pert is usually ca lled in. Aft er the situation has bct"n thoroughly gone over h i1 advice is looked up to u fina l.

A player ha 1 indifferent success with a pooi- instrun1cnt. A friend comes along with a Vega Artists In strumen t and immediately the player realizes that his pr esen t condit ion is bad and inquires from his friend what he ,~o uld do in order to improve it.

Hit friend, th oug h not an expert, i1 th oroughly alive to the situ atio n in musical matter , and ad vises him th at about all the Special • itll in th e Mandolin, Banjo and Guit ar field use the Vega and Fair ba nks In stru ment.I . Their choice has been ma de possible through ma ny severe test.I and tria ls.

That sett les it for th e player. H e real izes the ■ituation is such th at c,ipert advice is what is necessa ry to im prove his pi-esent condition.

Th anking hi1 friend for the inform ation give n, he immediate ly writes to the Vega Company for th eir illustroted cata logs and h alrt oncs or Wor ld's F amou s Artists 10 th at he can start anew.

Th e indiv idu ality and qua lit y of th e Vega Arti sts M and olins and Guitar s and WHYTE

L YDIE and TU -BA -PHONE Banjos has been the means of th e best Artist s, T eache rs

and Pl aye rs realiz ing Greater Efficienc y.

J ohanne.bu ra,So .A frita

Giu1<11pe Pcttin <'. ~land olin Virtuoso at PffS('nt 1,l ... yin1 In r.he pr;n. dpa\ cities from C<NISI to co;ut in a concen tour with !>l eun. 8-n and Podn! is dem unltm ling th.- pouibilities of 1he Artist and the Ani 1U lnllnimcnt. •

I intmded writin11 you oorne few we,;,b ago but 10mer.hln1 or othCT attn, ... tohavet nmc,dup e&e:htimeto pn:v ent me.

mHU the r ritk al ,lcman d • of thi , fnmou1 !>IMdoli nist.

The Tu-ba-phone Oanj,u anivc,d safely ande,·erythln 1 ta n be said In ;u, favor. The u""I~"" of a!I your !n11rummta 11 r.heir best recommendation.

J, J, De-twin, th e moll •111'.ttUful Mandoli n, Ban jo and Guita r Tuchu i~~~~na,nd an Arlilt on th e thn-e instruments writes about hi• ne .. Veaa

Th e Pairbanb and Veaa llnu have liule to fear u to their reputati on ol brin1 the St&.odatd In Bao to-,, Muido lin.a and Oultan. Waterl,u'o.;. 1~g; ~jgll. E. R. STANLEY JON ES. ----

lndi anapo U.,lnd.

The ne..- Abt Model V<'ll:a !>l:lntloli n which I han • jull purc,h11$C<I i1 a bcautifulin 1tru'llrnt11r.dth c ftncslriu.ndo linlncnryrt11pect 1hat l h.an

The No. 7 WHYTE LA\'DIE Ban jo i1 th e fine1t in,trumen t th.at I haveeYCTl'ltfflOtheard.

H ff ,bi:-::1:~:~,r:~ t! ~;, qulllity lint\ lfrt'AI c&1Tyin11 J>OWt't &rt' 11 rt'\"Cl ati on t.oall whohavchearditand il11Rrt'lltlyadmlrNI b}'c•~r)·one.

W. ~I. J ONES. J. J. DER WIS .

THE VEGA COMPANY, 62 SUDBURY ST., BOSTON, MASS. N'0TIC~ John Wanamaker, New York and Philadelphia, have a complete assortmen t of Vega Mand olins and Guitan, and Fairbanks Banjos.

Everyone Interested in Music

ci:o . 1...,

S P,dU LDI NC "S

NOJ.:~SP~b!.-,ER

Should have a copy of GEO . L . SPAULDING 'S

NOTE-SPELLER TRADE-MARK REGISTERED 1911

This is a novel syste m of learning to read and write the notes in music, and is destitlC'd to revolutionize modem elementary method s

other !~:i i~s~~~~:t~h~~FN°:t~S~~r.et::~ ~~~i"~~a~~~~~ ,•;~1~;~~~c~~~~~~~~~~\~ f;'~n~U• f~~I~~ of the time hf'retofore consumed, without in the lc:isl in1crfcring ,,ith your present routine of practice.

in fact,~~di~=~,!ei!er~e w~.1,s~-~~::~1~~:!!~~:~~rt\ntgc':;;:~c~ursc of musical instruction, being,

In one MONTH, students of the uNote-SpeUer" will have leaped II YEAR ahead in their studies.

~ :..~~no:! 2 5 C Special Price 2 5 C 5oc REGULAR . cop7to • hi-son POSTP.AJD PRICE SOc

M. ~IT MARK & _SONS, Dept. •r• 95 Wltmark Building, NEW YORK

45

.

Z!"J':;~•=,°f."f~~"T k~':'~4c-v3:.~~~ ~0

o:~:tte:': XIIAS XTRAI 'HIGH FL VER • I BACK -ISSUES will be malled

THE HOGUE MUSIC COMPANY • :- : Wuhlnrton , Georala OF THE CADENZA 3 for 25c _ 6 for 50c I O Canis

Each 12 !or .1. 00

a la ............ et al--, .. , fflt CADCNZA NI ...U, ... wti .. writias H'f"utlMn

THE

SPECIAL INDUCEMENTS To Subscribe for 'fir, CI\DENZI\

The C:..denza and One Dollai, worth, lut price, of any of the Jacob, aheet muaic public.abool fer man• dolin, banjo, guil&r, piano or voice, but you MUST make your CHOICE known when sending In J.10ur iubscriptlon, /or $1.00

The C&..deoza and any one &ok, CoUection or Folio found in the Waher Jacobs catalog listed at NOT more than 50 ccnta, . for $1 .00

The C:..denza and ),cob, Orcheotra Monlhly f.,. $ I.SO v ..... u .oo

The Cadenza and Elson', Pocket Music [);crionary for $1 .00 C-t .. ta , n...._tu11-- -t ......... ----- • ..i C0DCm ............

:e!:"-.'""'rt.:::C-.:=:n.:t .:.1t"-.l.::!:rL°' ..... '" '-dred -.t -

THE CADENZA 117 TREMONT STREET BOSTON . MASSACHUSETTS

Mandolinists and Violinists ~: J. .. ,. .. i:

This is What You've Been Lookin1 for .... s . .o ... ... ... . ..

·" ... ... To iatioduoe the abo._ ~~:tenr;~ ;f!~5c -i. or the 8 pleoa

Address f . H. rRtY, Care Ovuholser Tllutrt. Olclahon:!• City, Okla.

BANJOISTS If ~ead~r:,::~.~',:tu:,,nt,m~.!,u.,nbi. ltOOERS S l'E C lAL oa ns• DA.MP PBOOJ'

W, ask one trial of the all-•blle R~er• Special. 1(00651.5 MUSIC ttO l.158 Pa,..laplllll, Ne1t' Jen•J

. DUOS ~wt:Ti:-r: for -MANDOLIN Sot this Catalog/> !~N~0:0RIT. :,':'~Son(s:r:~uiW~~."M·~~~~.;;~::.·.::!Bo:: :~ Contains the 1st Mandolin Pans to a Canlleria R::fcana. Intermezzo (Mascagru)_ •· • •· · · · · · -J~cobs ,JO bunch or Melodious Melodic,, and all M 8 W •t g~i:!~~:1.·,~1!.~I::~rF1~::rl0Ai~~~llde~6v~d~llii'&1~·-::: :~ or Waite', Proareuive Studiel • • aJ e Hark, the CholJ'. For Mandolin without Accompaniment ••.. Abt .J O PublUlur, Racine, Wia. Impromptu. Mandolin Solo .. .. ...•...................• Abt .SO Intermezzo SlnfoDica, "Cavalleria Rusticana" (Mascagni) .•... Abt .30

Maadoll11Solo . la VenJce Waten . Serenade. Por Mandolin •ltbout Acoomp&nh:iient Abt ,JO JNua Lo-.er of Illy Soul. Mandolin Solo ...........•.. . Mol'1'U .30 Lut Roee of Summer, The . . .......... . .. · ..... .. .. Alexander .30

Por Mandoli11 whboul Acoompanlmeqt . )(elwlJ.e iD P, Mandolin unaccompanied .. ..... Rubinstein-Abt .JO

:;~D~~boWariaiiO~) · . ·.: ·.: ·. ·. ·. ·. ·. ·. ·. ·.:: ·. ·.L~ :ro !rlhm~to011~~~:.,:nr.t~YJ':fr11 ';!:C:!'ci vi:!b1!'•~: ~f~ .

014 ~ j:(PC::i:';,}~or Mu,dolin w\tbout Accompaniment Alexander .SO =r•~· ~eB:;! ::::::::::::::::::::::iia~:Hi:~:i! :: Plpu 1 The. °feag Pipe Sounds). Mandolin Solo . ... ..... .. Abt .«I Pleyei'a Hymn. "Mandolin Solo ...•... ....... ......... Morria .30 Rentie . For Mandolin without Accompaniment .... Alexander .40 Ro.mama. For unaccompanied Mandolin . .... .... .... Pettine .40 Shepherd Lullaby. Reverie. (Holst) ....... . .......... Jacobs .«I = :::. ~tu~:~w!iti3~~~for:11o'!! ~.:!i::i~~~::: :!~! ::g =: 00 WALTER JACOBS, 167 Tremont St., Boston, Mass.

REMOVAL NOTICE On and afttt Nov . ht, 1911, HERMAN COHN, "The Strini Man", will occupy the ENTIRE

Buildin1 at 10 Cooper Square, N. Y., wher'c be will carry a ruUandCOM• PLETE line or Muaical lnatrument:a, Strinp and accaeoriea or every p-adeanddCKription.. Verybi&)leat qualitiea et UNMATCHABLE pric:ca.

Ptem/)l ut1lu anl ca,utu•, lrulmcnl a.uar,/.

Catalo&ua Pree to all on request .

HERMAN COHN, N,w ....... 10 c.....- ·•·· N~Yo,u:..,,

STANDARD MUSIC for MANDOLIN ORCHESTRA DI' co•JV)l'CT10W wrrB UOULUl ORCIISSTU

NEW' KUYAWIAK ''tt.llu.~..C~INC 1 BANDERILLEROS '"V3" .. "tffi--<>Dw.

We live a Vfff ' liberal dilcount to a&!>acriberl to our new isaJea. Send {or puticulan. NSW C4T41.,0G and 141U'U 1st ILUlDOLIM PilT .

CUNDY-BETl'ONEY CO. Booloa, Mau.

Ghe Latest Hit.1 b11 Tran1c. 8 , .Smith a- , S-- B- . Varied .. .. 60,;.

I•~::t ~1y·: :::::::::::::::·:::: ................... 2 :t ~•y~~~~~~~~:~~:~:~:~:~~!\bey_l~ wUlaaidaMmpleeopyo(anyofth••bovcplocaforlOceal.L (Silva).

Free ~~l~d•~~~Jt°J~~t-.f~':: ·v~~~;: Free STBPBBlt' SHEPARD, • 526 Eut 18th Street, P&te:r.oa, 1'. J. ·

.................... ---- ~ nc CADl:IIZA N ................ ,.. .........

1

THE CADENZ A 47

-~-~-~-~STUDY OF . THE MANDOLIN

A. TB'OROUOB IHTBOD

'Boot I , 50 centa B1 v.&1.•inun ABT

Book II, 50 cenls

ABT MANDOLIN TECHNIQUE ............ lofy. , aub

• A.. UV1SID!I 01 TJD en.nun» unaa BTVDI&S

llool< I , 75 cenls , Book 11, 75 cenls Book m, 75 cenls

A ~illOUS WORX

GRADUATED 'MANDOLIN DUO COURSE a, J. a01DT JIOUUS

B.mbnc• ltecnatloa.a in Dao , Trio ud Quartette Form of Mud olin

PlaJIDc,~i:~~~~Left · .' Book f, 50 cenls ' · ____ Book II, 50 centa

TWELVE SIMPLE ARRANGEMENTS .,. J . aom-r IIOUIB

Compl, te f~ lat . ud 2nd c~,.=~~ ~d Guitar Accompuimeat

•-.11,a.. .. ni.. ........ Scoclalld 117 ~.!. °ti!." ftN ..... !filtlOUl Aa6ea

It'~.._ .r:;-.:.-:r~ Aaiallta.,_ sean--..o... 0111 ... ,. Du1e

Book Complete , 25 cenls

Teachers: N::..1-1-:=-1:~ - dlw ce1.1n,..s 11wt o-

'WALTER JACOBS 111 TIIBMONT ST. ~N. MASS,

~•-ii•----._

HERE THEY AREi Three du os now bei ng featur ed by Sig. Petti ne on h is

Tr ans-Contine ntal Tour with the Big Trio.

The ramowi duct from D Trovator e Vc,J;.Pdti ne 40 cents Traumerei. Schumarm-Pdlinc 40 " Murmuring Brook Pdlin c 40 11

Two picecs for i'ull Mando lin Orchestra by Pettine

Columbus March Charmin g Des pot

1st Mandolin 30c P lano acc. 20c All other part s 15c each.

500/o off ~ ~h:~h S::!t~d fM dlscount &beet .

----~ The Music Meter . A pocke t mus ic ~ teacher. Wonderf ul. 50 cents.

The Arranger's Assistant. It enables ~ you to mak e your own an-angcmcnt

with case . 25 cents . ~--7 Both for 60 cents, cash with order.

The Rhode Island Music Co. 49 PENN ST. PROVIDENCE. R. I.

MORRIS SUPERB FOLIO,Nos.1&2 Conlalalnf POTPOURRI from tbc Standard Operas. CAlllEJ'I se.lcctlon, BROTHER KOAII tw~step, LOVE and DEVOTIOft meditation, amt FOURTI:Eft OTHEk SUPERB ftDIEllS

Specially arranied by JOSEPH Ml:SSIN/1.

Special to readen of The (;adenza 1st fllan d0UD or VloUo, 20 cts . 24 Jlandolln or Vlollo , 20 cts.

Cornet, 20 cts.

Ga.liar, 20 els . Plano, 35 els,

THE JOSEPH MORRIS CO., /.ltn.'.:'il"'..J:l'IA~

BANJO and GUITAR PLAYERS •so■ETBING NEW• The "CAREY" PICKS for THUMB and FINGERS

No mono 1111r• ft.naen . More p0wer to your ioa-. Tr_.olo -iu ud H ffl . W:ak• tb• 11111mli Toa• In DUO ,tylo, cle.u and dbtinc.t u lf TWO _,.n.te lnalnl • mm ta. No lloo ll. 100• ~fbl• . M )ll.tta.blo to uy Mu, finau. Germ.an llll'lel' ud lilac. for ,,..,._ Nau .ion lf for lady OI'" aent loman. CUlTIJt ( luH R■•en UICI tluaali ) 80c. BANJO (two ........... .a.-i. 1 IIOc.

ADDRESS TOM CAREY ARNOLD ROBINSON

511 S-eca A•• .. DETROIT , MICH . o, w....._._ Arc ..... . DIETllOIT , MICH.

TH E CA D ENZA

is the word every music-SUBSCRIBf. TO

Astonishing! lo\'er uses when first he THE CRESCENDO henrs the

Charm ing Monthlf Mandolin, Guitar and Banjo Ma1azlne

HERBERT FORRFST ODELL. Editor 1>elicacy of Tone It Contains in 12 lsaua that is obtained with such ease from

60 Piecn of Nt:w an d Standant Mmk for Mandolin, Guitar,

THE BALALAIKA Banjo, Mando-Cdlo, de ., carduUy sdecttd and of the playable kind.

This Music includes many of lht: 1rut aucceua

$25 , of lht: day, and ind udt:S about 100 pa1a, IT IS WORTH

The Essex Balalaika Tutor It also includes readable, interesti1 articles bv Valentine Abt, Giuse ,e Pettine, Geo. Durkee, J . . Derwin, \\!'alter Stent,

(Price 65 cent s. post free ) writt en by Pr ince Myron Dicflo rd, T. H. Rollinson, Claud owden, D. E. Hartnett, ,\ . de. Vekev, Ethel Olcott , Geo. Krick, Geo. Lansing, S. R. Day,

Tschagadaeff , Emil e Grimshaw a n d Clifford E ssex i·. ~ ... 1~r~~:d, p:t~~ ~n&;-e!ri~:s p:~tA~ ~)e~~0G!a~~· ~~b~;~ makes the process o f learn ing the inst rum ent so very

simpl e tha t it wo uld be almost an imposs ib ilit y t o Review of Recent and Reliable Publicat ions - Guild News-Advertisements of Prominent Publishers and Mnnufncturer&-Ph otos

go wrong . of Clubs nnd Players- Advice Programs :i.nd other interesting All Balalaika Mu sic is wri tt en in two and thr ee {ealures,

part harm o ny, wh ich makes the in strument so und a nd

comp lete in itself. Thi s duo sty le is ve ry eas}' to W. E. Fo1ter'1 Funny Cartoo o1 of Famou1 Teacben aod Player■ acq uir e. a n d ma nd olin ists a nd ba nj oists arc de lighted The co1t of the Cre■cendo to you l1 but 8 CEl'l'TS A MOl'l'TB

with the rapid pro gres s they make.

I SEND I De. FOR SAMPLE COPY AND

I Write at Once DESCRIPTIVE CIRCULARS to the CLIFFORD ESSEX co., ! Sn Gra ft on St .. Bond St .. London, England, fo r full particulai' s and It'• a Great Advertil lng Medium, Send for Ratu , prices of · Sub1eriptloo Per Year (n )[onth1 )

Genuine Russian • From S7 In U. S., Sr .oo Canada, 11.25 Foreign, 61. Bala.la1kas to 1130 165a Tremont Street, Boston, Mass., U. S. A.

.. -------- -- - - - --- .. A.s a player of

f GlJIT ARISTS I

BANJO, MANDOLIN[ or GUITAR

I You are interested in wh•t is going on abroad In response to numeroWJ requel'llll for the guitar compoeitions or

THE JOURNAL I Alfred Chenet in book form we have just published the WITH THE NEWS IS I CHENET GUITAR FOLIO

KEYNOTES I

I 40 PAGtS I containing seventeen of Chenet' • bc8t known guitar pitt cs, all or I them playable ror one or two guitan. The pieces arc melodious, I catchy , rather easy and effective for teaching or rccit11l work. The ONLY British Po.per that Caters for the I I CONHNTS I Three Jnstrumenb in Every l11ue and has

I AFTER THE REVIEW, March Special Offer I 8 PAGES OF MUSIC MESSAGE OF LOVE, Reverie I EVENING IN MADRID, Mazurka I I MARCH DES BRIGANDS Until January l, we I EACH MONTH WILHELMINA, Waltz will mail a copy or

thi, desirable book I LA BOSTONAJSE, Gavotte to anyone anywhere I INSTRUCTIVE. ARTICLES and ITEMS of REVE DE LA CIGALE, Reverie J OLLY STUDENTS, March for only

I INTEREST b)' the Beat Writers . GYPSIES' SCHOTTISCHE 25c postpaid I POLKA DE LA GARDE ·•·09 for IZ month• subscription. 61 cenb LOVE'S DICTATES, Caprice Rciu lar price SOcts. I DIADEM MARCH Cash must be tent I for 6 mootha. Send 10 cenb for Specimen Cop)'. OUR CLUB'S FAVORITE, Polka with order and this I beued OD the flnt of "WT mooth bJ, FAIRY DREAM, Waltz magazine mention- I JOHN ALVEY TURNER TAMBOUR-BATTANT, Fanta s.ie ed. Th is offer p01i -

~ib~ ~~::is:r~.r~;~ Waltz tivcly discontinued I JanuJiry I . I 39 Oxford Street, W., London, E.neland

SfND AT ONCf I the tint and foremoat publlaher of music for the Banjo, Mando-

I line &nd Guitar.

H. F. Odell & Co. "'~;'::.':'°" Boston, Mass. I comp~:!ntaJV:fn ':ii ~=i!-0·::r:it',!':i!h~~eaJ. ~~ ;:: free on application . _______________________ ,.

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' WALTER JACOBS, 167 Tremont St ., Boston, Mass .

~- ------ ~"='. U I• t• ta• •4unt.1 • of •II conu:rn~d lh•t lit ( CAO [ NlA b ~ m~ntion t d .. h - n .. , i1in1 •d •ul•Krs

.-our Latest for the Mandolin -I-

Ead1 1111111ht·r i-. df,•t·li\ t•I, arran !!l'd fur \-.1 -'lamlnli11 I and l'i:1110 or 1'-1 \lamlolin and (;11i1ar.

\II mar'-t ·d ha\t' ()rum l' a r1-..

1)01.0IU :" l\' .11.TZ I . \\\I.IHII 111 \ rt, ,n c,· d 1" I I I 11,1,11

( 'Ill.I.EGE \IDIOHIJ •:,.:. \larrh I I I l!l• lll '\-.c1, \rr.111~,, 11 .. 1, I 11,k tt

\.\(;El.'" ,-1:10-:.\ \llE 'I, 1:1:\t, \ \tr,in:!o <I I" Ii I 11,J.-:;

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.ill

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:111

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10 -IO 70 I.Oil uo ~o 1.00

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:w 20 10 .;o i;o :;o 60

:!O 20 ::o .,0 liO 111 .;o I 1:,111 \rr .n11,:,1lln II -' "''='•=ld=l===-=c.===--======= ==========

A FEW EASY NUMBERS FOR THE MANDOLIN <\II ( ,nod !or I 1•,u hin ~ or )1· 11 Ar1111-.1 1111' nl

.\Ell \!OW\ 11 \ Y. Barn llann · FLl·:l' l!l( 'E. \ al,,· 1.,·nt,·

EH :\!.\ (: (' 111.\IE". lclyl BY \ ii H l.\ I.I( : 11T. ,;,,n• n:l(le \BIi.\. Inte rmezzo 1' 1.011 Ell ,-.( 1.\C , I.an~,·

DITSON Jend f.:- r l'ricr I.id (Jnd \um,il ,• l'arl \

EMPIRE MANDOLINS -\tt II

I I., I !f!l J,

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\·, 1. ,. "I a,, , ,1,1 .. ,lul'tlotn ,~ 1 ,111,c11,,11.11.r,1 ., .: 1,i:_I, 1•,11111:i, n· 1<, 11 l , · ,,,, ,,.,I, <>art, ,kl·<l.1,o:I ti,, 11-,n, 1111;,JH1u1i.r,· f<•io 1,!,rul .,rnll\<,r\cd 1.,11\ ·.\llh ti., ,,. ,! :\1~ .1,r Vu 1m t-.1.1k, , ,.

I{ ,, I'· ,nd, n , , ,1.d h,h't ., \,. 11• 1 , 11' II lh; ,11 l h•'.'IC" ,-.,11,111~: trt,m 1111; ,,\J,,, ]-; , 1nr~• in th,· ·;.vrld

ARE .SOLD . FOR TONE Qt;A I.ITI ES ON LY. H nve: c\·1,;ryt hrn g tin: mo,;t r.:•wcting uc:per\<; n:qmre to .-nt1sfy lhlm.

Stdt> 1.:;ou Price:, $15 .. 00 Stvil J500 Prict.·. SJ5.00 St~·le 2000 Pri ce:, 20.00 St) I<: 5000 P rice, 50.00 Sty lt: 1500 Pr ice. 25.00 Strk i500 P ril·e, iS.00 Stde 3000 Prin - .i0.00 Stylt 15000 P 11n·, 150.00

T hc~1.: w<,n-lcrful l nst rumt·nt s will ht> se nt to ,my nddres!. with tht: di~tinct unde r· t:111dm~ if lh t~ arc not helter th a n ,my f\JA NDOL I NS L\'H t(' ill'd h~• tht" purchasc-r, they 11,ny ht· ri.:turncd flt our t.:xpt·n~t·, and the monty pni,\ for them l"lfundcd.

\Ve hnvc nh<)ut 2.50 disconl!n u cd munhl'rs of r,tht' r mnl,:c MAND O LIN S, which \\'l \,il l !->di for v nt hnlf price. hc~111nm1; ns 111w ns S2.00 and ns h1~h ns SS0 00 <'nch.

Tht· DITSON " \VON DER BOOK No. J" dl'>cribm~ MANDOLINS. GUITARS . BANJOS :md sim ilnr 111 ... t1un. u11 f- Rr:.t: t<, ,,nr midrt

OLIVER DITSON COMPANY, 150 ~~!;.1;"~~,T sT. Boston, Mass. C. H. OIT SON & CO .. 8 & 10 E.,t 34,h St. , New York, N. Y.

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