The CRESCENDO 1

You Cannot Go Wrong With a

VEGA TU-BA-PHONE BANJO Used by About All Good Players VEGA NEWS

- Sweetest Story Musically To'' With a V E G A M A N D O L l j y

Artist's Model •£/

Below we present a picture of the Peerless Banjo Quar­tette of Milwaukee, Wisconsin. With their Banjos they play the music that makes you want to sing and dance. Their instrumentation is: Vega Mandolin Banjos, Tenor Banjo and Guitar Banjo, and with the addition of a Trap Drum and Piano they have made a big hit.

PEERLESS BANJO QUARTETTE Milwaukee. Wisconsin

m left to right the players a Egbert, Tango Banjo; W n Tenor Banjo.

Paul Kozankc. Guitar Banjo; Charles tlickels, Tango Banjo; E. R. Abshagen.

W e had an interesting letter from Willis B. Connolly, Erie, Pa., the other day. He has been putting the banjo to the front in Erie and vicinity, and he says:

"We are now playing a concert session at the Hotel, using Tenor Banjo, Cello and Piano. W e handle all of the overtures,classics andselections.and theTu-ba-phoneTenor Banjo has a range of tone which is essential in this class of music. Musicians who never had any use for anything banjoistic have expressed amazement at the tone possi­bilities of this instrument. As you know, I am using the Tu-ba-phone Professional Size Tenor Banjo. Will send you a picture of the orchestra soon. "

A few days later he writes to send him an order for two N Tenor Banjos with cases.

The Clark Music Company of Syracuse, N. Y., a short time ago ordered a Tu-ba-phone Banjo for J. L. Burda. They write us that he is very much delighted with the Vega instrument, and is satisfied that the Tenor Banjo is the proper instrument for orchestra playing and wishes to thank us for the information in that regard. They are looking for more sales as a result of the above.

Mr. Frank C. Bradbury of St. Johnsbury, Vt., who joined the Marines some few weeks ago, sent us a few photographs. W e thought the ones below would interest our readers. As you will note, Mr. Bradbury is ready for pleasure or action.

William Schmick has sold quite a number of Vega in­struments in Philadelphia and vicinity. W e sent him a No. 3 Vega Mandolin a short time ago ($54.00 . His customer pronounced it the finest and most perfect-toned Mandolin he had ever played on, both for quality and quantity.

IF IT IS A HAIN.IO, MANDOLIN OR GUITAR YOU WISH, W E CAN SUIT YOU P

Vega Instruments For Sale at

JOHN WANAMAKER. New York City

JOHN WANAMAKER, Philadelphia. Pa.

DENTON.COTT1ER& DANIELS, Buffalo, N. Y.

LYON & HEALY. Chicago, 111.

SOUTHERN CALIFORNIA MUSIC CO., Los Angeles. Cal.

GRINNELL BROS.. Detroit. Mich.

CHAS. H. DITSON CO. (Lutes), New York City

McDOUGALL MUSIC CO., Portland, Ore.

SPECIAL OFFER

New Tenor Banjo Instruction Book £ Q « Regular Price $1.00. Send Stamps or Money Order U O L

LET US MAIL YOU CATALOGS FREE Banjos, Mandolins, Tenor, Guitar and 'Cello Banjos,

Vega Mandolins, Vega Lutes and Vega Guitars

THF VEGA CO. 155 Columbus Ave.,Boston, Mass. .U.S.A.

Vega Instruments For Sale at

E. F. DROOP & SONS CO., Washington. D. C.

VOLKWEIN BROS.. Pittsburgh, Pa.

H. E. McMILLIN & SON CO.. Cleveland, Ohio

GOLDSMITH'S MUSIC STORE, Columbus, Ohio

CRESSEY & ALLEN. Portland. Me.

SHERMAN. C L A Y & CO. San Francisco, Cal.

LEVIS MUSIC STORE. Rochester, N. Y.

CLARK MUSIC CO.. Syracuse, N. Y.

PLEASE MENTION "CRESCENDO" W H E N WRITING TO ADVERTISERS

2 The CRESCENDO

The Way to Tactical Victory ' All progress is the result of battle. The B. M. G. teacher marshals students and leads them to the heights of virtu­osity in the face of strong counter-forces.

The indifference, inanition and maladroitness of students are the forces to be overcome.

When one has a known force to over­

come, it is the part of wisdom to learn

how others have overcome this same force.

The aviator, starting out to best the force

of gravitation and ride the winds, doesn't

design himself an airplane. He looks up

the design most successful in overcoming

the forces he wants to master — air and

gravitation. Then he goes up. Stahl Methods are based on a study of STUDENTS aa well as a knowledge, a thorough knowledge, of all plectral instruments. They are designed to overcome just the kinds of resistance teachers encounter every day — at every lesson — and the fact that the vast majority of the country's most successful teachers use the Stahl Methods proves their utility, and their superiority over other Methods.

Sample Methods

will be mailed "on

selection" to those

of approved credit,

together with a

list of ALL T H E

F A M O U S

TEACHERS using

the Methods and a

LIST OF GRAD­

UATES OF RECOGNIZED ABILITY

who have been trained on Stahl Methods.

STAHL METHODS-F o r M a n d o l i n . In three books. $1 the book. Covers

technique from first to final. The most progres­sive, most thorough and most highly endorsed Method ever laid out.

F o r Gnitar. In one book, $1. The instrument is studied as a solo, ensemble and accompaniment instrument. Concise — b u t complete.

F o r Banio. T w o methods—one in A and the other in C notation. Each complete in one book. $1 for either book.

Thematics of popuh

of Stahl Instruments also mailed

The really BIG

teachers A L L use

Stahl Methods.

It is the small­

town teacher we

would especially

interest in STAHL

METHODS and B E T T E R PLAYERS.

and classic music and catalogs request.

BUY

W«i_3«i^l» %y

\&r Savind Stands

".**! 4SP

m The summer season _B especially an opportune time for teachers to INVESTIGATE STAHL METHODS. Those who find it convenient to visit Milwaukee are invited to call upon the author, W m . C. Stahl, for a thorough grounding in Stahl Methods. Without any charge whatsoever the courses will be gone over and, where teacher is in the habit of using supplementary sheet music,to keep up pupils'intere»t,acom-plete supplementary course will be mapped out. Teachers who will write are assured of the same thoroughgoing attention, and may ask as many ques­tions as though they came in person. W M . C. STAHL, Publisher, Milwaukee, Wisconsin

JUST SAY Send Full Particulars Regarding Your Monthly Mandolin New Issue Proposition, with Complete Catalog and Sample Parta Free ol Charge'

T H I S M O N T H ' S N E W ISSUES W H E N S H A D O W S FALL, Reverie

Keithley-Odell A JOHNNY O N THE SPOT, One Step

Roberts-Tocaben A

GUITAR SOLOS Arranged bv Vahdah OIcott-Bickford

M E N U E T Paderewski.. ELEGV, Op 20 . ...V. E. OIcott-Bickford PAS DES ECHARPES (Sc Cha -i.de SONG TO THE EVENING STAR (Tannhauser) Wagner.

DRINKING SONG(Rusticana)Mascagni BLUE DANUBE, Waltzes Strauss. RED SARAFAN Russian Folk-Song SAETERJENTEN'S SONDAG Bull LA CINQUANTAINE Gabriel-Marie SEXTET, from Lucia Donizetti SERENADE Widor A PERFECT DAY Jacobs-Bond I LOVE YOU TRULY Jacobs-Bond

Discount 50%

MANDOLIN DUOS Hearts and Flowers . . Tobani-Bickford . Longing for Thee E. H. Frey . Andante From Souvenir de Haydn . Leonard-), indrath . Andante From Souvenir de Bade Leonard-Frey . Souvenir of Venice. Barcarolle W m . Place. Jr. . Romanza in D Minor . . . W m . Place, Jr. . Slumber Sons W m . Place. Jr. . A Perfect Day . . Jacobs-Bond-Bickford. I Love You Truly . Jacobs-Bond-Bickford . ALittleBito'Honey. Jacobs-Bond-Bickford . O Sole Mio di Capua-Cambria . Then You'll Remember M e . Balfe-Cambria . I Dreamt I Dwelt In Marble Halls . . Balfe-Cambria . Rondinella, Mazurka de Concert . Stellario Cambria .

Discount 50'Z

MANDOLIN CLUB PUBLICATIONS All Parts Written in Both Notations

P R I C E S C H E D U L E O F M A N D . C L U B MUSIC—Letter after title indicates price: A B lst Mandolin 30 .40 2nd Mandolin, Guitar Acc Each .10 20 3rd Man d , Mandola, Mando-Cello, Mando-Bass, Flute, Cello (Banjo Obbl. to Odell

arr. only) Each .15 .25 Regular Orcheatra Parts published to numbers with # Each .15 .25 Piano Acc 20 .35 Banjo Solo arr. bv Bickford to popular numbers only 40 .30

Discount 50%

HAWAIIAN N U M B E R S MARCHES Hawaiian Love, Waltz . . Berger-Tocaben .. B "Entry of the Gladiators. March . Fucik-Odel]. •Hawaiian. Selection of the Most Popular M. a? n i K« AIa, Haw. March . Berprer-Tocaben .

Melodies Lake-Odell.. C Fieldston. March . . . . W. J. Kitchener . Hilo. Hawaiian One Step. Lua-Kaili-Tocaben . . A 'Lights Out. March. Two Step . McCoy-Odell. One, Two, Three. Four, Waltz. Lake-Tocaben . . A pox TROTS Kahola-Honolulu. Hawaiian Marches. One M-i-s-s-i-s-s-i-p-p-i.FoxTrot.Tierney-To.aben .#•. P w •) * W i * * Lua-Kai i-Tocaben . . A Blue Monday Potter-Tocahen . •Kilama-Wailana.Waltzes.Lua-Kaih-Tocaben . . B gome Jazz Blue . Fox Trot T ake Tn. ahen AlohaOe(FarewelltoThee).Liliuokalani-Odell..A %°^, eF

Jr^X/s''.^Brow^n-Shrigley-Toctben !

CONCERT N U M B E R S O N E STEPS The Red Sarafan, Russian Folk-Song. Arr.Odell.. A 'Hot Foot, One Step and Buck Dance in Stop •Pas des Echarpes (Scarf Dance) Time . . . . . Lake-Tocaben.

Chaminade-Odell. . A Send Me Away With a Smile •Golden Sceptre.Overture. Schlepegrell-Odell. . C __, Piantadosi-Pierce-Glogau-Tocaben . •Moment Musicale Schubert-Odell.. A Over There . . . . . . Cohan-Tocaben. •Marche Alia Turka (Turkish March) When It s Cherry Time in Tokio

Mozart-Odell. . B ,,. _ Reid-de Rose-Tocaben . •Last Dream of the Virgin .. Massenet-Odell .. A My Soldier Boy Lake-Tocaben. •Gypsy Rondo Haydn-Odell. . B WALTZES •Aragonaise: from Le Cid . Massenet-Odell.. B If You Had All the World ar.d Its Gold •TheBrokenMelody.Intermeizo vanBien-Odell. . A Piantadosi-Tocaben . •Marche Militaire. No. 1 . . Schubert-Odell .. A Come On Over Here (Ifs a Wonderful Place). Ghost Dance. Descriptive . Salisbury-Odell. . B Waltz Furth-Tocaben. The Robin's Farewell, Reverie. Arthur-Odell A Moonlight Blues, Waltz . . Deane-Tocaben. •Among the Roses, A Summer Idyl.Lake-Odell. . A *La Serenade, Valse Espagnole. Metra-Odell.

Music Sent un Approval to Responsible Parties —Reference Required

HIG P O P U L A R B A L L A D S U C C E S S

IF YOU H A D

ARRANGED FOR FULL MANDOLIN CLUB BY L. TOCABEN. Fr

All the World and Its Gold 380 Ho.l.lnn Street

BOSTON CARL FISCHER COOPER

SQUARE NEW YORK C H I C A G O 335 So. Wslis.l- Are.

PLEASE MENTION "CRESCENDO" W H E N WRITING TO ADVERTISERS

JUL 26 1918 C c l B 4 1 6 8 i »

The MANDOLIN ORCHESTRA

The Harp, Mandolin, Guitar, Banjo AND KINDRED INSTRUMENTS

VOL. XI BOSTON, AUGUST, 1918 No. 2

^x&ZW&^^

TENNESSEE MANDOLIN ORCHESTRA, Knoxville, Tenn. T. A. MILES, Director

Organized in April, 1916. The orchestra has given concerts in the largest churches and schools in and about Knoxville. The instrumentation is: 8 mandolins,

EE_E mandolas, 1 mando-cello, 4 guitars, 1 harp-guitar, 1 Irish harp and 1 mando-bass. Mr. Miles is also director ol the "Dixie Mandolin

Orchestra," a smaller organization than the above.

4 The CRESCENDO

Tim Green's Jug Band BY F. D. JACKSON

M A G I N E yourself on a Mississipi River steam­boat, say an upper river boat, bound north from St. Louis. Your boat only draws about thirty inches of water, as in many places,

especially in the summer drouth, il must navigate stretches of river no deeper than this, in places. The lower river boats draw mere water, but from St. Louis south the river averages deeper.

Your boat is a flat-bottom craft, as this construc­tion gives greater carrying power for the size, some­thing like the flat model mandolin, ft is equipped with side-wheels, not a screw propeller, as the latter can only operate in deep water.

The Mississippi current averages about five miles per hour, which retards the time up stream, and accelerates it down stream. The river scenery becomes rather monotonous, yet the passengers prefer the freedom of the upper decks, with occasional excitement of meeting another boat, possibly one pushing, not towing, a raft of lumber, cut and sawed a thousand miles to the north, and working its tedious way south, to be distributed by rail over half the continent. Your boat finally is abreast a high precipice, the

brow or face of a hill, almost a mountain, which leaves barely enough space at its foot for the tracks of the railroad. The captain informs you this is called Lover's Leap, as the traditional Indian lovers leaped to death from its height rather than suffer separation.

fn the valley which you saw to the south of this hill, is the entrance lo Mark Twain's Cave, which not only ramifies the hills roundabout, bul extends under the river itself, and is lhe objective point of many summer excursions by rail and water.

Your boat, having blown several long blasts, that the population m ay be duly notified, finally lies up to the "landing," the gang-plank is run out, and you are at liberty to look around for an hour or so, while the roustabouts handle the freight.

You are in the home town of Mark Twain, lhe scenes of the adventures, half real, half imaginary, of T o m Sawyer, Huckleberry Linn, Indian Joe. Every reader of Mark Twain remembers them like old friends. Here arc the hills Ihey romped and rollicked over, and in the valley beyond Lover's Leap, the cave in which they were lost; opposite, near the Illinois shore, the island where many of the scenes of their adventures were hud by Hns most liked of kindly authors. Here the writer of this spent his boyhood.

You stroll up to Main Street, it is dusk, and lhe gas lamps are being lighted in the streets one by one. You notice a small crowd al the next corner; you hear music, different from any ever heard before. now and then a deep bass nole, then lhe melody, something like the violin, yet you are sure il is nol a violin, a bell-like note occasionally, and again something that reminds you of the last minstrel show. The music ceases before you reach lhe place, but you see that some one, a boy, has just been passing a ragged hai, and, of course, they must be street musicians. But the music, — it

was different, and while you see the crowd straggling on, you see no one carrying anything like a musical instrument, and yet, some of the crowd must be the musicians. Where are the players, and what instruments did they play?

You follow the nucleus of the crowd, and find that in its changes, four boys seem to hold together, as tho' they were the musicians, yet you see no instruments, and one boy carries a molasses jug. While the music m a y have been sweet, you hardly connect it with the molasses jug.

The four boys stop, and before you reach the crowd that quickly forms, the musie has commenced, and you determine to see how it is produced ap­parently from nothing.

This is what you discover. One boy took a har­monica from a ragged pocket, another liad a triangle concealed under his coat, another had two pairs of "'bones" in his hand, and is now rattling them most effectively, the boy with the molasses jug is the double-bass player, and it is Tim Green's "Jug Band," if you please, to which you are listening. Tim is playing the harmonica, m u filing it with his hands wrapped around it, playing double notes, bass and after-beats, variations, and many things one would hardly believe possible on such an humble instrument. The triangle player puts in his ting-a-ling in single strokes, rolls, after-beats, and whatever his musical ingenuity m a y suggest. The bones player, wilh his real bones, made from pork ribs, white and polished, not the wood imitation affairs, contributes to lhe effect much as the snare drum in lhe orchestra, while the boy with the molasses jug, which is luned by filling il partly with water, pro­duces a weird "hoo" as he blows over the mouth of the jug, playing on lhe beal. followed by triangle or bones wilh lhe after-beats.

You have seen here one of lhe most unique musical organizations in existence. Hie "jug band." Yes. the terms are correct: it is musical, and il is an organization. If you think it is not an organization, try lo gel one of ils members into your own rival "jug band," or, try to gel the position of playing triangle or bones in Tim Green's "Jug Hand," and you'll soon see that it is an organization. Why, m y dear friend, no greater honor could come to a boy than lo have played in a good "jug band," even if he played only the humble jug; and then. jusl think, if he mounted from that lo triangle, and then lo bones, and with greater and greater musical ability, finally became its harmonica player, or. seceded and started his own "jug band," and as the leader of Nick Dooley's "Jug Band," — win. sir, while the struggle lor supremacy may lie fierce, the honor is worth it.

And when il comes lo music, the Hannibal Silver Cornel Hand (lhe cornel being the only instru-ment with extravagant silver-plating, the other six horns being plain brass) is nol to be compared, no, nol al all, sir. Don't the "jug band" plaj "1 Ionic. Sweel I Ionic." and "Annie Laurie." "and "Mocking Bird," with more variations than Paga-

(Continued on page 21)

The CRESCENDO 5

° F-ff T H A R P I S T S ° ROUND TABLE

B^k Conducted by GERTRUDE INA ROBINSON Harp Soloist, Teacher and Author

J l , __ Soloist, Madison Sq. Presbyterian Church N e w York City

JM This department is especially for Harpists,

I and they may ask questions pertaining

either to the Harp or Irish Harp. Questions

or suggestions will receive due consideration.

Address "Harpists Round Table," care of

jfrvffl^ the Crescendo.

O O

THE HARP POPULAR IN THE FAR WEST I^^^II^OAf the far West comes to us a breezy, bright, !!_•?» y° u nS woman, with a genuine enthusiasm for M S S T ! "*'H> harp. Mellville Moss is the daughter of ' •*• - P. B. Moss, of Billings, Montana, a banker, and a man widely known throughout the West.

MELLVILLE MOSS

Miss Moss has the two greatest gifts necessary for a successful harpist, a love of music, and untiring application; and her faithful practice has resulted in her having a repertoire of solos for the harp, and a command of ensemble work, as well as a capacity, and natural ability, to teach.

Billings is a city of twenty thousand inhabitants, and Miss Moss was the first to have a harp there, and as a result of her interest in this charming instru­ment, there are now four concert harps and eleven Clark Irish harps in the city.

At the close of her year's study wilh me, she returned home, and gave her family and friends the joy ol hearing her in the following recital program; in tin' music room ol her beautiful home, which is one of the most splendidly appointed in the far West.

She gave the following harp solos: "Patrouille," Hasselmans; "Autumn," Thomas; "Mazurka," Schuecker; "Old Black Joe," arranged by m y pupil Ethel Dean West; "Pattuglia," Spagnuola Tedeshi;

MISS MOSS'S STUDIO

and with piano accompanimenl,"Marche Solennelle," Gounod; "Agitato e Serioso," Parkhurst; also "Swanee Biver," Foster, for harp, piano and violin.

Miss Moss has great resources and broad ideas of life: not only is she a musician, but after giving her recital, she went, for the necessary months, to a government claim of six hundred and forty acres, that she is "proving up," and where she will lead the simple life, until it is time to return to N e w York and her beloved harp, in the fall.

HARP MUSIC POPULAR FOR WEDDINGS. AND H O W IT IS USED

There is a growing demand for harp music for home weddings, as well as in combination with organ for church weddings. Even in large homes the volume of the harp is sufficient to fill the rooms, and the lucious quality of tone lends sentiment to the nuptial rites.

A good arrangement of the wedding program is, about two solos before the ceremony, and if the bride wishes, a verse of " 0 ! Promise Me," arranged instrumcntally, just before the march, is in keeping with the event.

W h e n the bridal party is ready, the striking of the octaves announce the march and is immediately followed by the march, as arranged in the Lohengrin wedding march, ft is seldom necessary to play more than the first strain of the march, closing as soon as the keynote can be reached after the bride reaches the altar. The minister should wait before beginning the service until this is finished. Then as the service is taken up, the hymn, "0 Perfect Love," is played in the daintiest pianissimo until the prayer is reached, which is again closed by reaching the keynote as soon as convenient. After the prayer is concluded, any appropriate strain is played softly, until the benediction is pronounced, when the tone should be increased until the solo is complete. If the wedding is in any sense of a military nature, the "Star Spangled Banner" should follow now, and after that a series of harp solos, such as would be used in a recital, should be played intermittently until the congratu­lations are over, say about one half hour. '

It is m y experience that the harp is so enjoyed at weddings that few of the guests fail to speak of the pleasure given by lhe artist, and the particular appropriateness ot the harp for this most joyous occasion.

6 The CRESCENDO BS_____E__3__3___3___3___3___3Q___3________3_3_____,

H HAWAIIAN

ROUND TABLE MYRTLE STUMPF

and C. S. DeLANO Leadiog Autboritie.

Th is department is especiaUy for player so/the SteelGuitar and Ukulele. Questions or suggestions will receive due consideration. •miian Round Table, care of the C

__3___3B3___3_____QQ_____SE_3-__3__3__3_____£_3___3__3__3_E3_S

THE UKULELE " By C. S. DeLano

In my last article on the Jazz movements for ukulele solo and accoi. paniment playing, several strokes were explained in detail. In this artiele I shall ask m y readers to purchase a copy of "Cleopatra Had a Jazz Band," published by Leo Feist, N e w York. In some movements the tempo is too rapid to admit doubling the eighth notes. As this selection will illustrate this point, I have selected it.

Before beginning detail study of the selection, I wish to give a very effective stroke not given in m y previous article. This I shall call the syncopated stroke, and it is used for executing half notes, either coming alone, or tied to another note in the following measure. The reader w^U now write this stroke in the following manner. The notes given sum up in time to a half note. Take chord of D on the ukulele in following time: A n eighth; thirty-second joined to a dotted sixteenth followed by a sixteenth rest; then a sixteenth note; to finish a dotted six­teenth and thirty-second note use an alternate down-and-up stroke on all the chords.

W h e n the half note, on which this stroke is used, is tied over into the next measure to another half, dotted quarter or quarter note, use the tremolo on the second note. W h e n the half note is tied over to an eighth note, use double or single stroke on eighth similar to execution of other eighths used in the selection rendered. Reviewing briefly the strokes in m y previous article. For the selection now in hand I shall cut the number of strokes on eighth and quarter notes. The eighth and sixteenth notes play single stroke. Quarter notes play two strokes in time of dotted eighth and sixteenth with down-and-up strokes. Trem­olo dotted quarter notes. The triplet stroke given in m y pre­vious article is played as follows: An eighth note, triplet six­teenth; followed by two eighth notes, stroking D D U D U D .

W e will now consider in detail the selection mentioned. Beginning with the first measure of the song: First four quarter notes stroke double; first eighth note of following measure, single down stroke; following quarter play double stroke D and U. The following eighth note tied to a half, play eighth note single stroke D. The half note play with new syncopated stroke already explained. Play F-sharp and G in following measure single down-and-up stroke. Next two quarter notes double stroke D and U. E in next measure tied to E, play triplet stroke with tremolo on 2nd E. Execute eighth and quarters follow­ing up to A, notes tied with single and double notes respectively. Tremolo two tied eighth notes A. The following quarter note double stroke. Following measure single stroke the eighth notes and tremolo the dotted quarter. Next measure combine syn­copated half-note stroke with tremolo on half note A. Next three measures execute as already explained. On following G use triplet half-note stroke with tremolo on tied G. In second measure beyond, execute half note with the syncopated half-note stroke. Remainder of verse play as already explained.

The first six notes of the chorus play D and U single strokes. Give syncopated stroke to first half note E. Play next half note B with triplet stroke and tremolo tied note B. The re­mainder of second measure give single D and U strokes to single notes. Following E, half note tied to quarter, give syncopated stroke with tremolo on tied E.

Next three measures play similar to the first three of chorus. The following measure of tied notes G execute wilh triplet stroke and tremolo. The quarter and eighth notes following play as already explained. There being no special stroking for the balance of the selection, stroke as previously explained.

Summing up m y system, the following rules arc to be fol­lowed. In ordinary movements admitting the jazz stroking, double tlie eighth notes; give four strokes to the quarters; the first half note of each selection, give the syncopated stroke and trem/.lo a tied note, if any provided; it is longer than an eighth. The alternate half note, give the triplet stroke, wilh tremolo on next tied note as just explained. T w o tied eighth notes can cither be tremolo or four strokes similar to regular quarters. II so works oui thai where there is a half note to finish either the verse or chorus, it conies wilh the triplet stroke, (Continued on Page 7)

Manufacturers, Publishers, A

Teachers and Players A

are requested to send in items to A

this department about concert), \

recitals or other musical matters Q

which will interest Crescendo

readers.

ooooooo* On May 7th last, Miss Violet Standiford, of Youngstown, Ohio, was married to Maurice Clement, an officer with the M.S.S. Texas. Mr. Clement recently arrived from the war zone on a furlough,. H e is the originator of a beautiful naval service flag and winner of a signal contest held last winter between the army and navy teams. The bride is a great-granddaughter of Sir Jas. L. Cotter, an admiral of note, and is a musician of con­siderable prominence. The "Crescendo" extends its hearty con­gratulations.

The following news item was received from the American Red Cross Service. "Finding that twenty-five out of every hundred Italian soldiers stopping at the rolling canteens of the American Red Cross along the Italian front, are able to play some instru­ment, Lieut. M c K e y , in charge, has ordered a number of mandolins and guitars. From volunteers he has organized an orchestra to entertain the two thousand to twenty-five hundred men who daily enjoy bread, jam, hot coffee, cigarettes at this one canteen. The personnel of the orchestra changes as the men come and go to the front. The phonograph, which plays when the orchestra is not on duty, has proved so popular that it will be loaded on a mule and sent to outlying batteries along the Italian front." One of the great advantages of the Dyer "Symphony" harp-guitar is its light weight. The player not only gets the six strings of the regular guitar, but six sub-bass strings which sim­plify the various keys, yet with all its ponderous tone as an accompaniment instrument, it is very light to carry around.

Ferrer's wonderful guitar book has been re-edited, some of the little things cut out, and a new edition is being printed. This book will sell for a very reasonable price. This will be welcome news to guitar players.

Fred Bacon's banjos are very popular with the players. They are fine-toned instruments and well made up. He makes a business of placing agencies. Teachers will do well to corre­spond with him.

The Vega Co. is doing a tremendous business with mandolin-banjos and tenor-banjos, especially the latter. They are being used all over the country and the Vega Co. is hustling every minute to keep up with the orders.

Rudolf Howe, of Elyria, Ohio, has been doing quite a little solo work with mando-cello and organ accompaniment in his home town, church work especially, giving the offertory number several times at the services. A m o n g the numbers he has played are "Salut d'Amour" (Elgar), "The Swan" (Saint-Saens), "Traumerei" (Schumann), and "Little Story" (Odell), the last being repeated by special request.

Mr. C. V. Buttelman, who has been Managing Editor of sev­eral of Walter Jacobs' magazines for the past few years, has resigned his position wilh Mr. Jacobs and accepted a position as Sales and Advertising Manager with the Gibson Mandolin-Guitar Co., with headquarters at Kalamazoo, Mich. L. A. Williams, who formerly occupied that position, iis now General Manager.

A. D. Grover, the banjo appliances man, recently called in al the "Crescendo" offices. lie mentioned tlie fact that the sales of his Vibrators, Bridges, \Vrenches and Cloth Guards were wonderful. These goods huve met with much approval from the fraternity all over the country.

Geo. L. Lansing spent a w'eek-end in July with A. D. Grover, motor-boating on the Hudson. H e then made a short visit lu a sister residing in tlie Adirondacks, and is sptnding the re­mainder of his vacation in Maine.

The CRESCENDO

I PROMINENT TEACHERS and PLAYERS I I NOTES O N T H E MUSIC 8 j A short biography and photo of some well-known teacher \ I ;: :: or player appears here monthly :.* :.* .*: I

MRS. MARY BUTT GRIFFITH Atlanta, Ga.

The Philadelphia Times Herald, in writing of this "wonderful southern w o m a n " who rang the chimes at the Cotton States International Exposition, said in part: "Victor Hugo said 'the twentieth century is woman's century' and as a proof that there is nothing that the brain of woman cannot grasp, or her skill manage, Mrs. M . B. Griffith of Atlanta is a living witness."

Mrs. Mary Butt Griffith was born near Atlanta on the planta­tion of her maternal grandparents, William Andrew Jackson Beavers and Sarah Sturdivant Beavers. To her mother, who was a successful music teacher for twenty years, she is indebted for her thorough musical training on piano and guitar as well as her energy in every accomplishment as a teacher herself.

A Southerner by birth, the daughter of Captain W m . Butt, who was killed in the second battle of Manassas, a granddaughter of Judge W m . Butt, who for over a quarter of a century was one of the judicial figures of Atlanta, Mrs. Griffith's life has been closely identified with that city.

Governor Candler, in writing of Mrs. Gritfith, said: "I was President of the Board of Trustees of the Gainesville College which elected Miss Mary Butt Principal of the Music Department of that institution, and she taught music to m y daughters and has been teaching m y youngest daughter for the past two years, f say without reserve or hesitation that she is the most thorough, efficient and successful teacher of music I Have ever patronized. I speak not only from m y personal observation and experience as a patron, but from knowledge of her and her methods while President of the Board of Trustees of the Gainesville College." With a great love for the stringed instruments, Mrs. Gritfith

has been an ardent worker for the development of these instru­ments in the South, having brought the first mandolin to Atlanta. She now has the largest and foremost school for fretted instru­ments in the southern states — the G R I F F I T H S C H O O L O F MU S I C . Her daughters, Mrs. L'Ella Griffith Bedard and Miss Mary B.

Griffith, both well known to the fraternity, are members of the faculty.

THE UKULELE (Continued from Page 6)

which is very effective for closing. In this particular selection explained, we simply differ from the stroking in m y previous article by giving one stroke to each eighth, and two to the quarters.

In m y next article I shall give m y method for marking popular music for pupils who wish to play the correct chords for singing. It is quite essential for the teacher to be able to harmonize the chord from the notes given in the piano score, then with the aid I shall give in m y October article they will find no trouble lo play and teach the work correctly.

m In This Issue in the Order Printed [j] Ea___3E__3_______3___3________3E3E__3E__3___3________3 ___3£__3____3E3_3 ffl

Cujus Animam (Stabat Mater), Rossini-Odell Mandolin and Guitar

This is marked lo play allegro maestoso which m a y nol be well understood. Play it about moderato, throughout. Slightly agitato on the middle strain. The main melody or theme is played very broadly. This is the famous tenor solo from the "Stabat Mater." Published for full mandolin orchestra in the Odell Edition. Fascination. //. F. Odell

Mandolin Duo Play at a moderately slow tempo. In the first strain slide

the pick over the chords and tremolo the top notes. In the next strain tremolo both notes for four bars, then pick and tremolo the next four. This is repeated. Then the rest of the piece is played exactly the same as the first strain, the upper note being tremolo all the time. Follow the expression as indicated. Pub­lished in the Odell Edition. Message of Love, Alfred Chenet

Guitar Duet Play at a rather slow tempo. Follow the expression as indi­

cated. In the second strain be careful to observe the slides which are all on the third string. These also appear in the last strain. Published in the Chenet Guitar Folio, also sep­arately in the Chenet Edition.

My Old Love, Louis Good Banjo Solo, A Notation

Play at a regular march tempo, the introduction loud, first strain medium loud, second strain loud. Trio as indicated. In the second strain bring out bass notes distinctly. In the last strain use double fingering and bring out lower melody distinctly. N o w published by Geo. Stannard.

O V E R 1000

Successful Teachers USE

The Odell Mandolin Method

The most practical, complete and progressive method published. It contains every possible point about mando­lin playing.

Book I—Beginners; Book 2—Slightly advanced; Book 3—Advanced; Book 4-Duo, Trio and Quarto forms, Slurred Arpeggio, Right and Left Hand Harmonics. The most complete duo book in the world.

GEO. C. KRICK After examining all the methods I have decided to use

yours in my teaching in the public schools.

Four Books, each 75c. Complete. $3.00

LIBERAL DISCOUNT TO TEACHERS

Send for circular giving complete contents and what the leading teachers of the world say about it.

It is also a great Tenor Mandola method.

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

I I

s The CRESCENDO

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

Mandolin, Guitar and Banjo and Kindred Instruments.

HERBERT FORREST ODELL Editor and Manager

Published Monthly by the

CRESCENDO PUBLISHING CO., Inc.

E-TMred a. --cond-cla-i miller, June 9. 190., at Ibe Poit Office at Bo.lon, Mass., ondei the Act of March 3. 1879

SUBSCRIPTION PRICES

Single Copy 10 cents Yearly $1.00 Canada $1.25 Foreign 6 Shillings Advertising Rates will be sent on application. Forms close

on the lst of each month for the succeeding month's issue. Remittances should be made by Post Office or Express

Money Order, Registered Letter or Bank Check or Draft. Checks accepted only on banks with exchange in Boston or New York.

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

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

CRESCENDO PUBLISHING CO.

166 Tremont Street Boston, Mass

VOL. XI AUGUST, 1918 No. 2

EDITORIAL EpSE"! N E W way of playing the ukulele has just ^ * 5 y reached us. Tune il like a banjo, omi li ing [ W S bass string. In other words tune the third • ' string to C or D, Ihen tune the other strings relatively the same as the banjo, and play banjo music on it, omitting any notes that might be played on the fourth string. 11 is nol "according lo Hoyle," but a certain teacher in X e w York has been doing it quite successfully.

Referring again to the notation mixup, \vc have heard of banjo bridges ordered in A notation and banjo heads in C noiation, drum parts in universal; and recently another illustration, showing how lilllc notations are understood, was brought to our atten­tion. A banjo player wrote that when he saw a piece of music in A notation he luned the banjo lo A and couldn't make the music sound right. W e explained as we do to others who may not understand the mat­ter, that in both A and C notation music, the banjo is tuned to the pitch of C on the piano, then the player either plays the notes in A notation reading or C notation reading, depending on which way he has learned the fingerboard, but the sound of the notes in either A or C notation is identically the same.

N o one knows, in the music fraternity, except the music supply house, how much trouble the notations are causing. Furthermore, it is almost impossible to get music clerks (and we know this to be a fact from thirty years' experience) who can handle the orders that come in to these supply houses. A music clerk must understand three notations for mandola, three for mando-cello, several for the ukulele, also steel-guitar, two notations for the banjo, and so many complications of notations and tunings come

up that he must have a decidedly broader knowledge than a clerk who handles regular orchestra music, because that is always uniform.

There are different notations and clefs used in orchestra music, but they have been fixtures for centuries and probably always will be, but our fraternity is piling up notations to such an extent that it seems almost as though we were trying to win first prize for the class of musicians with the largest number of notations.

From the publishers' standpoint, there is much to be considered. A publisher must publish mandolin orchestra parts in two or three different notations in order to get all the trade, or must sacrifice con­siderable business, and it costs a great deal of money to publish music today. It is going to cost more.

Evidently it is not the purpose of the Guild to again take up these questions and try to straighten them out. There are ma n y who would like to see a legitimate musical notation adopted for our in­struments, and by propaganda and persuasion and a hearty endorsement of the movement by a major­ity of the publishers and players, such a thing could be brought about. The thing is gone almost too far now to be considered anything but ridiculous. We well understand both sides of the question and know that some want one and some another notation, but the thing to do would be to get both sides to come together and agree on one, and from our conversa­tion with the heads of the big publishers, we feel sure that such a thing could be done if an attempt were made either through the magazines or bv the Guild.

W h e n we speak of adopting a notation, and only having one, we do not refer to freak notations. They could never be accepted by the majority, nor is this ranting about notations, which we are giving our readers, a boost for any one notation. It is simply a sort of cry for help from the Editor who is besieged day after day with requests to explain this and that notation until he has come to believe that the word "notation" should be taken from the English language. The Guild is responsible for most of the present

notations, having lirst voted for some, then changed its mind and voted for something else. The Guild could be a power for good and drop everything that is past and start on a new looting with a legitimate notation for all instruments as a basis. It could be done, il probably never will be. The Editor is simply dreaming again. Some one has said: "If one of our boys hesitated as long in going over the top as some people do in buying Liberty Bonds or W a r Savings Stamps, he would be court-marlialed and shot for cowardice. And if the same punishment were meted out to non-combatants for financial cowardice, an awful lot of people would be shot at dawn."

Never forget the investment features in War Sav­ings Stamps. W h e n you buy them you become a stockholder in the United Slates, the best corporation in the world.

To achieve victory we must have two armies: one that lights; one that saves. F.very patriot will be a member ot one ol these armies.

lst MANDOLIN or VIOLIN

iAllegro Maestoso

OUJUS ANIMAM from

Stabat Mater .40

Guitar or Piano

G. ROSSINI Arr. by H.P. ODELL

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International Copyright Secured

12

GUITAR or HARP GUITAR

CUJUS ANIMAM from

Stabat Mater .30 G.ROSSINI

Arr.by H.F.ODELL

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14

MESSAGE OF LOVE.

REVERIE.

1st GFITAK.

2d GUITAR. ad lib.

Introduction Adagio. ,, By ALFRED CHENET,

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16

BANJO SOLO. 4'h to B.

Respectfully dedicated lu Mr. Frank Steele, Newport, R.I.

M y Ole Love. MARCH.

LOUIS GOOD.

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Copyright MCMIX by Walter A.Norwood. Music Publisher New York City.

•ff.C.alFint

The CRESCENDO 17

programs of Concerts anb iEecttate

Concert given by the pupils of the T e m p l e m a n School of Music,C. \. T e m p l e m a n , director, al Sioux City, Iowa.

Soldiers of Freedom, March Odell Selection from La Fille de Regiment Donizetti

Mandolin Orchestra Hawaiian Music

Hawaiian Holiday Burke Southern Sea Echoes Burke Palmgrove, Waltz Burke \lolia O e Liliuokalani

1 lawanan Players Irish Harp

Drink to M e Only wilh Thine Eyes Arr. by Mother Lullaby of the Winds Van Veachton Rogers

Katherine Bin en Reading, Selected

Charles Fry Cujus A n i m a m (from Stabat Mater) ti. Rossini Song of the Volga Boaimen (Russian son,;) Arr. by Odell Echoes of-61 Arr. by Odell

Mandolin Orchestra The Star Spangled Banner

Concert given by the Laurel Instrumental Quintette, at Providence, B. I.

1. "Crescendo March*' Odell "Filipino Shuffle" Odell

Quintette 2. Mandolin Solo. "Amorita Waltz"

Miss M o w n Ei. Songs: "The Gypsy Trail" Galloway

"Morning" Speaks Miss Birch

4. "Garden of D r e a m s " Lincoln "Carry M e Back to Ole Virginny" Bland-Odell

Quintette 5. Monologue

Miss Baeny (i. Banjo-Mandolin Trio, "That Midnight Frolic of M i n e "

Misses Baeny, Sweeney and Smith 7. Songs: "Cuckoo Clock" Grant Schaefer

"Thou'sl like unto a lovely (lower" Townsend " A n Open Secret" Woodman

Miss Birch 8. "Sextette from Lucia" ,...Donizetti-Odell

"Love Sick Barn Dance" Quintette

'.I. Hawaiian Sleel Guitar Solo, Selected Miss Smith

10. "The Wind-Up," Galop Odell Quintette

Concert by McCauley's School of Music, under the direction of Geo. II. McCauley, April 12lh, at Baltimore, Md. 1. March, "Shoulder Arms" .Pond-Odell

Mandolin Orchestra 2. Xylophone Solo, "Fifth Hungarian Dance" Brahms

Edw. P. Gately .!. Sextet, Sextet from "Lucia" Donizetti

Sextet I. Tenor Solo, "The Young Warrior" Burleigh

John Wilbourn Felice lula, I [arp John C. Hold. Flute G. 11. McCauley, Mando-Cello

5. (fl) Characteristic,"Song of the Boatmen on the Volga" Arr. Odell

(h) Waltz, "Ciribiribin" Peslalozza Mandolin Orchestra

(i. I larp Solo, " R o m a n c e " Hasselmans Felice Inla

7. Septet, "Strauss M a r c h " Mezzacapo Septet

X. Mandolin Solo, "Mazurka Concerto" Munier C. II. McCauley Felice 1 ula, I [arp

0. March, "Mississippi Volunteers" Cobb Mandolin Orchestra

Concert given by lhe Serenaders Banjo Quintet, Frank ('.. Bradbury, director, at Springfield, Vt.

1. in) "Circus Parade," Descriptive Jennings tin Patrol, " D e Coontown Review" Cammeyei (c) "A Southern Breakdown" Hogue

The Serenaders '_!. Mandolin Solo, Unaccompanied

Bandurria Stauffer Mr. Bradbury

Ei. Banjo Duel (r;) "Manzanille," Spanish Robyn (b) "The Crazy Quilt," Hag Bacon

Mr. Richmond and Mr. Bradbury I. Impersonation from life, " A n Old Country Gentleman"

Riley Mr. Fierce

5. (fl) Imperial March Jennings (b) "The Bobolink" Lansi/i,,

The Serenaders 6. Mando-'cello Solo, "Modestie" Odell

Mr. Bradbury 7. Character Study. "Rossie"

Mr. Pierce 8. Banjo Solos

(«i "The Royal Standard" Jennings-Bradbury (b) Cradle Song Bacon

Mr. Bradbury '.). (fl) "The Troopers" Bacon

(In "Somewhere in Dixie" Lansing (c) Finale, "Over There" Arr. Stogie

The Serenaders Concert hy the Gibson Plectral Sextet, Jas. H. John­

stone, director, al C a m p Custer, Michigan. 1. (fll "Camp Custer March" Schroeder-Johnstone

(b) "American Patrol" Meacham-Tocaben Sextet

2. "Jazzing the Jazz" Johnstone Jas. II. Johnstone, Tenor Banjo

Ei. (Ai "Michigan, M y Michigan" (/>) " O n . Wisconsin** Pryor-Stahl

Sextet I. Vocal Solo, Selected

Fern Van Keuren ."). "Ghost of the Ukulele" Brockman-Smith-Jacobs

Kazoo Banjo Hugs IE. ""(ii anil Opera Si rains" J'ohnxloiic

.las. 11. Johnstone, Mandolin 7. "Lights Out** McCoy-Odell

Sextet 8. Vocal Solo. Selected

Fern Van Keuren 9. Popular Songs, Selected

Kazoo Han jo Hugs 10. "Sunny South" Lampe-Odell

Sextel "'Star Spangled Banner"

UKULELES

18 The CRESCENDO

O -**-=<>

II MANDOLINISTS I ROUND TABLE I Conducted by F. Landry Berthoud

I This department is especiaUy for Mando-**^" •', I linists and they may ask questions per-

• taining to the mandolin, or contribute I items. Questions or suggestions will I receive due consideration. Address H '^fandolinists Bound Table," care of

o = o

SO maintain an interest in anything not vitally aiding in the prosecution of the world war is viewed by many persons as unpatriotic. Such seemingly immaterial occupations or

pastimes are reckoned, in the most charitable terms, as indifference to the terrible cataclysm that is rocking humanity and civilization to its very roots. At first sight there are very few things that appear quite so insignificant as playing mandolin, etc. Let the mandolinist console himself however by

reading these remarks of Thomas A. Edison, which appeared in the New York Times, June 8, 1918. "Some of you have been told that music is a non­

essential. . . . The time is not far distant when music will be recognized as a greater essential than books. Don't let anybody make you believe that music is a non-essential. Merchants who sell good musical instruments are performing a useful service to the nation." Mr. Edison, being known as a man whose opinions

and deductions are far from hastily thought out, gives us comfort and encouragement. Let us not cast our instruments aside as frivolous playthings but rather buckle down to work on them with renewed ardor. One little adjective in Mr. Edison's remarks must

impress all readers with his insight into things in general. He takes particular care to say "good" musical instruments. He uses that word because he knows that true music cannot be produced from trashy instruments. He commends merchants who sell "good" musical instruments.

It follows that the person who buys an inslru-ment is rendering himself a prime service when he buys the very best only. The other kind constitute a waste of material,

a waste of money. Manufacturers of such trash insult the public intelligence and menace Lhe people's development.

Mr. Edison said nothing about mandolins nor did he specify any particular musical instrument, he merely spoke of music.

Music! The mandolin is to be considered as a means

to an end, that is, it should be looked upon as one of a number of contrivances by means of which music may be produced. Let us do our uttermost to aid in this work. Let

every mandolinist do his bit, honestly and to the lull extent of his powers. He will have nothing to regret and much lo be

proud of. As a general rule we do not see upon the Vaude­ville Stage any real exponents of the mandolin, banjo or guitar. These here Vaudevillains are

usually slap-dash comedians and generally arrant fakirs. They are not lo be included in the real Players' Fraternity. Exceptions there are lo every rule, however, and lhe writer was so impressed with a "Musical A d " he chanced to hear not long since, that he feels obliged to tell all he learned about it by a visit to the performers after the show. The program announced "Miroslava and her

Serbians." The rising curtain disclosed four Ser­bians (we later assured ourselves they were the genuine articles) dressed in picturesque native costume and armed with instruments of the mandolin variety, only with much longer necks in proportion to the body. Their first selections were a group of short but

lively Serbian Folk Songs which were given with much spirit and many charming effects and quite without any aid whatsoever from the graceless "house orchestra." The instruments were brilliant and fairly strong.

There were four altogether, one soprano, one tenor, one "accompanying instrument" similar to a lute, and a full sized double bass such as is used in regular orchestras only this one was played entirely pizzi­cato with a leather plectrum. The men all played well and the ensemble was

good. The result was very liquid and flexible and of a very agreeable quality.

M m e . Miroslava appeared and sang several Serbian airs in a good voice. She was accompanied by the Serbians re-enforced by the regular musicians. Then the music struck up Sousa's "Stars and Stripes," to which the "Serbian" leader played in its entirety the fanciful llute part, stepping up to the front of the stage for the purpose of getting it "over" satis­factorily. A well merited salvo of applause rewarded the

act. In the "green room" we personally examined lhe

instruments. They were rudely constructed on the style of the Russian Balalaikas, hul the back of each instrument was formed with a single shell from land tortoises and highly polished. The first string on each instrumenl excepting tlie double b;is> was doubled, but all the other strings were single. The tuning of the soprano and tenor Tamburezzos (as they called their instruments) was peculiar. The first si rings were the same as lhe mandolin, and the others were B, F sharp and B octave lower than lhe second siring. The "accompanying" Tamburezzo was tuned in the chord of B major, and the strings on the bass were A. E, B and the lowest F sharp. These musicians were busy packing up and our

interview was not as long as we should have desired. It was none the less lull of interest and we could not help thinking thai if lhese crude instruments were capable of giving such delightful results, win-is it nol possible for us mandolinists to acquit ourselves in an equally musicianly and creditable manner? The answer is not hard lo find. The mandolin is for the most part only half

Studied and the musical education of lhe average player is jusl about nil. So much for the players. The teachers, wilh main earnest and honorable

exceptions thai we know of and probably many more that we do not know ol, are lor lhe most pari simply selling instruments, they are jusl salesmen. They are nol made of tlie stuff that is required lo

(Continued on Page 19)

The CRESCENDO 19

GUITARISTS ROUND TABLE

CONDUCTED BY

WILLIAM FODEN Virtuoso, Composer and Historian

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

LOOKING BACKWARD

(Continued from July "Crescendo")

\W October 4, 1911, the Trio left Forest Dale, Vt., " which had been Iheir headquarters since September 23rd," for a series of con­certs in various places. The first was at

Bennington, Vt., arriving there about 4 P. M. The concert was given the same evening, and was under the management of a local musical club. The attendance was large, and all our numbers roundly applauded, and, as is the custom in some places, a dance followed the concert: the music being furnished by members of the above-mentioned organization. An agreeable surprise was the presence of the

late Mr. E. F. Goggan, the well-known teacher of Scheneclady, N. Y., who came purposely to hear the Trio, and with whom we arranged, later, to manage the bookings of the Trio, while en route.

Mr. Pettine, who was not feeling well, retired immediately after the concert, hoping that a good rest would restore him to a normal condition, but the next day he was worse, and by the time we reached our next place, Proctersville, Vt., he was a fit subject for bed, so a physician was called in, who did his best to frighten us by diagnosing the case as diphtheria, or something akin to it, and advised him to go home as soon as possible. On inquiry we ascertained that a train would reach Proctersville at two o'clock in the morning, but as it didn't stop, it would be necessary to flag it. On considering Mr. Pettine's condition, and also that the weather was quite chilly, we concluded that lhe doctor's suggestion was anything but wise. Finally I said, "Joe, let me look at your throat." After examining it, I determined that it was only tonsilitis and that with care he would be all right in a few days. Meanwhile the hour for the concert was drawing

near, and as it was out of the question for Mr. Pettine to appear, Mr. Bacon and I hastily decided to play solos and duets, and do the best we could under the circumstances. But trouble seldom comes singly, on arriving at the hall, we found that the manager of the concert had gone away on a trip, and had left an incompetent young man in charge, with the result that very little had been done to advertise it, and consequently the audience was small. So after considering the matter, we decided not to play and ordered all money refunded. This was the only disappointment of the kind during the entire tour.

(To be continued)

MUSIC AND HUNTING Playing music, and the hunting of game, are two widely separated occupations, yet there are musi­cians who find pleasure and relaxation in following the chase. Among my musical friends there are several who

are enthusiasts and experts in this line and seldom allow an opportunity to pass to indulge in their favorite sport, often assuming great risks, and even resorting to bribery, when conditions are not wholly favorable. During the first week of the Trio's sojourn at Forest Dale, Joe, our Mandolinist, who is a mighty nimrod, could not resist the temp­tation to prove his skill, and in order to be on the safe side, "not having the right to hunt in that particular neck of the woods," ingratiated him­self with the sheriff of the county, and induced him to become his ally, and to m y knowledge on two occasions both sallied forth to the slaughter: but what they slaughtered, no one to this day has found out. At another time, in an Illinois town, friend Joe

met two young men carrying shotguns, whom he accosted, and offered free admission to our concert, for the privilege of accompanying them on their hunt: to which they agreed. The result of this escapade was two rabbits; of course we don't know for a certainty who shot the rabbits, but we've always given the Signor the benefit of the doubt. THE MANDOLINISTS ROUND TARLE

(Continued from page 18) make a musician, they are merely on the job to make their living. W e are quite sure that given the proper calibre

of performer in combination with the first class instruments manufactured at the present time, and not forgetting really competent, musicianly direction, music on mandolin orchestras would come into its own and create a veritable furore.

Yes, we are quite sure of it.

A ~ = " ^ Buy the C. S. DeLano Steel Guitar and Ukulele Methods n

N e w enlarged editions. Price 76c. The only ones giving the genuine Hawaiian methods. Ukulele Method pi vee solos, accompaniments and exercises In m a n y II

keys; all the Hawaiian strokes, modulations, triple fingering:, tremolo II work, complete accompaniments in major and minor keys, and choice If selections for ukulele and voice. |f

Steel Guitar Method contains every possible detail for playing:, with ss illustrations; has 10 choice solos in 6 keys, full treatise on grace and II staccato notes, positions, chromatics, shifting, inverted positions, triple II Angering, turns, cadenzas, minor keys, accompaniment work; how || to write tenor and 2nd guitar parts ; 40 solos with piano parts pub- ll lished for the instruments.

"I will teach this summer and will use your methods and solos."— H W A L T E R K. K O L O M O K U , Steel-Guitar Soloist, "Bird of Paradise Co." I will aell yon Steels, Thimbles and Picks lower than any one else. il

Send for Price List and Catalogue of Music.

IROAD1 SELES. CAL.

^-:^:»:»»»»;;

I c 11 BANJOISTS If you want the Finest all White Banjo Heads made, you should use my Special or Damp Proof Heads which are made

in all thicknesses.

JOSEPH ROGERS, JR. Farmingdale N e w Jersey

20 The C R E S C E N D O

BANJOISTS ROUND TABLE Conducted by

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

TJiis department is especially for Banjoists but ant/one nun/ ask questions pertaining

to the banjo or contribute items. Questions- or suggestions will receiri dim con­

sideration. Address "Banjoists Hound Table," care of The Crescendo,

A CHEERFUL OUTLOOK FOR THE PLECTRAL ORCHESTRA B y Thos. J. Armstrong

|HERE is every indication that a readjustment of the fretted" instruments, in our orchestras, will soon manifest itself; and that the hope of those players who seek the best in music

is toward a new field, close at hand, where tonal contrasts abound and only await employment. In their efforts to attain this goal, no sweeping changes are necessary nor wasteful experiments needed. The path has already been charted, the weak spots care­fully marked and the solid ground plainly shown. All that is needed to bring out the tonal changes in our plectral orchestras is to copy the method employed by the regular orchestra; but it must not be inferred that brass and wood-wind instruments are necessary. W e already have the instruments for effective contrasts without borrowing any from the violin orchestra, with the possible exception of the flute, harp and drums.

Our present mode of treatment in all plectral bands calls for two divisions, — a mandolin band or a banjo club. Either one m a y be pleasing enough, but when heard for any length of time both become extremely monotonous because a disjunction of their individual tones confines the element of variety within narrow bounds. Adding a banjo, to play along with first mandolin in a mandolin orchestra, does not relieve this uniformity; il merely introduces another voice running parallel with the melody with no chance for displaying a separate color. Nor is it any better for a mandolin to play continuously with lirst banjo in a banjo club; the distinctive mandolin tint soon becomes blurred and finally disappears. The fault would be brought home to us if the regular orchestra permitted the violins, clarinets and cornets lo con­stantly hammer away al the principal melody.

A regular orchestra comprises three or more divi­sions and contains, within itself, a medley of choirs, each one capable ol giving lull reign to lhe harmonies, and each possessing tonal features peculiar lo itself. The string choir leads the van and includes all the big and little members of bow instruments; then comes the wood-wind section, then the brass choir. and last the percussion instruments. All the beauti­ful effects coming from the real orchestra are obtained by a discriminating use of these different sections; introducing one when its appropriate voice lils and leaving it out when not needed.

In the plectra] orchestra we have practically the same thing only in a more moderate form. Here lhe medium lor gaining variations of lone rcsls entirely, or nearly so. among Ihe string instruments,

and this fact makes the ensemble particularly at­tractive and unique. Mandolins alone, or with guitars. will not furnish sufficient variety for the purpose; banjos alone cannot do it; nor do we look for guitars lo aid us in securing all the multiplicity of surprises and changes expected to come from a large plectral orchestra. W e must combine all the fretted instru­ments if we desire tuneful alterations.

A n orchestra convened along these lines furnishes the four essential divisions for imparting agreeable tonal changes in the music. The first division in­cludes mandolins, mandola, mando-cello. mando­bass and steel guitar, the latter being annexed be­cause its tones come nearer to a mandolin than any other. The second division gathers in every size and shape of banjo equipped with a vellum, such as, regular banjo, ukulele banjo, mandolin banjo, tenor banjo, "cello banjo, guitar banjo, bass banjo and possibly banjeaurine and piccolo banjo with the (lute as a companion. The third division supplies the soft and beautiful guitar voice coming from guitar, harp and harp guilar. The fourth division lakes in drums, cymbal, triangle and other acces­sories for emphasizing certain parts as occasion requires.

Assembled in the above form we secure an aggre­gation ca])able of rendering music that calls for variation and tonal diversity. A brief outline of its use m a y lie slated as follows:

A slow introduction foi' mandolin quartette, played very softly.

An answering theme for guitars alone, followed by a short passage for the harp.

Combined action of mandolin section, guitars and harp on the same theme, in a louder vein.

A series of phrases in which the mandolins alone, and guitars alone, answer one another, gradually merging together in a very loud climax, with the sleel guilar. harp and llute assisting al lhe close.

Throughout these maneuvers there are no banjos, drums or olhcr accessories heard, the different changes being confined lo the instruments mentioned.

Tlie lirst entrance of the banjo section conies in a veiy loud passage, and then only with short, sharp chords al regular periods with the drums.

Alter this a tremolo strain for the entire banjo division alone.

The same theme taken up by I he mandolin quartette alone, lo which is gradually added guitars, harp and (lute.

Then the full orchestra with all the instruments of percussion in a vigorous movement lo (he end.

Il is by no means pretentious, when we predict that (his is (he goal which the plectral orchestra is nearing and will eventually reach.

The CRESCENDO 21

_8E_3__3S-_3E___--^QQS___3_______3___3________3_____-_3________3__3B3 K'>:-'::o::':'::':':':':C'::cc':'::':':'::':;':.::^:':':;':'::C'::':'-::':>:':'-;x3^ss»

SECRETARIES ARE REQUESTED TO SEND IN NOTICES FOR THIS DEPARTMENT.

ill..

2 H. F. ODELL 8 CO., 165 Tremont St., Boston, Mass. I

.-. ODELI. SPECIAL STRINGS .*. MANDOLIN —GUITAR—BANJO—UKULELE True, strong, right gauge. Gut strings are real gut (only a few on the market). Buy now while you can get them. Good strings are scarce, but we have a good supply. M A N D O L I N : SetSOc. Assorted doz. 7()c. KAN.III: Set-iO.-. Assorted doz. Sl.OO GUITAR: Set SI.20 Assorted doz. S:>._!0 U K U L E L E : SetSl.OO Assorted doz. .S2.10

H. F. O D E L L & CO., 165 Tremont Street, B O S T O N , M A S S .

HARMONY A knowledge of Harmony is absolutely ntial to round out your musical

education. It adds wonderfully to your equipment as Teacher and Performer. Without it you limp along on the crutch of "unpreparedness." W e offer you a complete course of weekly Harmony Lessons at small cost fn the privacy of your o w n home. These lessons, prepared by Mr. Adolph Rosenbecker, former famous Soloist and Conductor, and pupil of Richter, and Dr. Daniel Protheroe, Eminent Composer. Choral Director and Teacher, can be secured only from UH.

Each lesson is an orderly step in advance, clear, thorough and cor­rect; not the mere mechanical application of dry-as-dust rules, but an interesting, intelligent, thoroughly practical method that grips your atten­tion and stimulates your ambition to succeed from the very beginning. A written examination on each lesson, in connection with ample original work, develops your knowledge and firmly fixes the important principles in your mind.

PORTLAND, MAIM-: Clifford E. Leighton, Secantreas, 548^ Congress Street Serenade June 12. Chief Serenaders, Miss Dorothj Hoss,

Mrs. A. French, Mr. Roberio and Mr. Raynard. M a d a m Bur-dette's full band furnished the evening's entertainment, hn-ported from Europe, and the whole organization wns present with their Kazoos. They rendered several selections; also fur­nished practical jokes and sang many songs. Among the imported talent were numbers given, such as vocal solos l>\ Mr. Manuel Roberio. Mr. Frank Bateman and Miss Anna Place; recitations by Mrs. Smart. After the program refreshments were served and dancing followed, music being furnished by the Serenaders' Orchestra. NEW LONDON, CONN.

Miss E. Lilian White, Secantreas, Box 715 Last Serenade of the season June 16. Miss Hazel Hadley

('.. S. (.. E. played several numbers, including "Watch Hill" Two Step (Kenneth) and the "Star Spangled Banner." Mr. and Mrs. Frederick .1. Bacon played Banjo duct, "The Troopers" March (Bacon); Enrich and Kurt Brater played Guitar and Mandolin duets, "Spring Song" and 'Primrose Flower" Waltz. Lilian White gave reading. "'Pickaninny Snuggle Song," accom­panying herself on the Mandola (musical setting by F. Landry Berthoud).

TIM GREEN'S JUG BAND (Continued from page l)

ninni ever dreamed of, and "Swanee River," and —

and — why just all the good tunes you ever heard

of? Music, huh, I guess yes.

But, the music has ceased, you see only a little

crowd, and a boy with a molasses jug; you hear

steamboat whistles, and realize the hour is up, so

you hurry back to the landing, and leave Mark

Twain's town to its peaceful existence.

g^fcfrfrC-C-i Ffr**«« CCCC-** CCtfrfrt fri frfrfr e-frt frfrC frfr* (^. 1

3 ODELL KRAFT MUSIC COVERS £ it 1 * ^ These new American made coverB are ju8t the thing to keep your sheet ^ ^ music in. Will wear like cast iron. Very inexpensive. Far superior to ts\ ^ manilla. You can't tear them. sp * Small size for 9 s 12 music. Lnrfte size lor lix 14 maaic. T * P R I C E S including Posture or Express * East of the Mississippi Klver * 12 5<> 100 ^ * Small 40c l.OO 1.75 JJ * Lartfe 50c 1.25 2.00 J * West of the Mississippi River * Small 40c 1.15 2.00 J * Lar*e 50o 1.40 2.25 * 5 S P E C I A L D I S C O U N T T O T E A C H E R S A N D D E A L E R S m

H A R M O N Y TKACIIKS Y O U TO Mi. thii

ablinf? you to determine the key of any composition and its various harmonic progressions.

2. T r a n s p o s e nt SiftM more easily accompaniments which you may be called upon to play. :;. H a r m o n i z e Melodies cor­

rectly and arrange music for band and orchestra.

4. Detect W r o n g N o t e s faulty progressions, whethe printed music or during the formance of a composition. 5. M e m o r i z e Rapidly, oi

the very greatest benefits dei from the study of Harmony. 6. Substitute O t h e r N<

when for any reason the ones -. ten are inconvenient to play.

and

per-

UNPRKCKDENTKl) SPKCIAL OFFKR! Take the time now to write us a friendly letter about your musical

ambitions — how long you have studied music — what particular course you are interested in, and whether you have studied Harmony. Tell us your age, whether you teach, play, sing—in short, write us in confidence just what you would feel perfectly free to tell us if you called in person at our school. W e will then sand you six lessons selected from the course you want. These will not be mere sample extracts or abridgments, but the genuine, original lessons, exactly such as wesend to our regularly en­rolled students. W e will send you our large catalog explaining the S h e r w o o d N o r m a l P i a n o Course. Students* P i a n o C o u r s e , H a r m o n y , Voice, Choral Conducting, Public School M u s i c , Violin, Cornet, Guitar and M a n d o l i n Courses.

UNIVERSITY EXTENSION CONSERVATORY 4210 Siegel-Myers Building

Chicago, 111.

FOR MANDOLIN AND BANJO CLUBS

®ty jfUost popular MANDOLIN PIECES Now published for Mandolin Solo,

Banjo Solo, 2nd Mandolin, Tenor Mandola, Piccolo Mando, Mando-Cello, Mando-Bass, Harp Accom­paniment, Guitar Accompaniment, Piano Accompaniment, Cornet Ad Lib, Cello Ad Lib, Flute Ad Lib.

CONTENTS INCLUDE Angel's Serenade—Ave Maria—Bridal Chorus (Lohengrin) — Cavalleria Rusti­cana (Intermezzo)-Cavatina-Cinquan-

taine, La — College Medley — Cradle Song — Enchantment (Waltzes)—Loin du Bai—Love's Dream After the Ball—Lucia di Lammermoor (Sextette)—Melody in F—Mignon (Entr'acte) —Palms, The—Paloma, La — Pizzicato ("Sylvia" Ballet) — Polish Dance—Santiago (Spanish Waltzes) — Secret, The (In-

II termezzo)—Serenade—Serenade Badine—Simple Aveu— Sing, f| Smile, Slumber (Serenade)—Sorella, La (Spanish March) — fl Spring Song — Traumerei—Valse Bleue—Wooing (Valse Inter-II mezzo).

n List price of each book, except Harp and Piano, 40 cents [j Harp and Piano Books, each 50 cents FOR SALE AT ALL MUSIC STORES

jj HINDS, HAYDEN & ELDREDGE, Inc., Publishers [| Formerly Hinds, Noble & Eldrt.lse

11-15 Union Sq., West, NEW YORK 8-_3Q-_3________3-__3__3___3________3_____Q_______________-___3BQSE_3_8

PLEASE MENTION "CRESCENDO" WHEN WRITING TO ADVERTISERS

22 The CRESCENDU

r$fyrpi?r$rpp^^

THE UKULELE REJUVENATED Every musician, whether teacher or pupil, marvels at the Ukulele played in the

/ ' 'American way," as set forth in Miss Dur-^ kee's Book of Solos. N o longer is

it the insignificant "strumming" » *. i * accompaniment, but rather an

interest commanding solo in­strument destined to take its place in popular favor with Mandolin, Guitar, etc. Every teacher will unhesitatingly add the Ukulele to his cur­

riculum if he hears the instrument played the' 'American way." S P E C I A L — A pick for Ukulele Players. Improves the tone and protects the finger-tips and nails from injury. The many complaints from Ukulele Players with tender finger-tips and nails suggested these picks to our expert. The resultant demand justified us in bringing them to the attention of the public. They are made in two styles, as follows: G2—Same as cut. Made of special heavy felt. Has three fingers. Size 1} x 2 inches. Produces the genuine strumming effect so necessary in Hawaiian music. Price each, $0.25. GI—Same as G2, but without fingers. Size H x 2 inches. Price each, $0.15. <J2 The use of the GI Pick is indispensable in playing the Ukulele the "American way." Send for particulars. They mean added income to every teacher.

Everything Known in Music Ask Your Dealer for Illustrated Catalog, or Write I's

50-97 JACKSON BOULEVARD CHICAGO

MISS JENNIE M. DURKEE

LYON & HEALY :

The New Musical Wonder THE TONAHARP GUITAR THE IMPROVED HAWAIIAN GUITAR

The patent attach­ment on the Tona-harp Guitar ena­bles one to produce every chord known to musical science, no fingering re­quired, the effect being most beauti­ful and fascinat­ing. For Hawaiian style of playing it is just as complete as Piano or Ha'p, producing 266 com­plete chords on the open strings and up to the 18th fret, (as compared to 19 on

the ordinary steel Guitar) including the three inversions of each diminish chord. W e have a thorough 48-page instruc­tion book for the instrument, containing 20 beautiful solos.

The Tonaharp Guitar being complete in harmony enables you to read from any piano copy.

WRITE FOR PARTICULARS SPECIAL PRICES TO TEACHERS

AGENTS WANTED

THE TONAHARP GUITAR CO. DELANSON, N. Y.

This Is Vibrator Weather i

Equip Your Banjo With a

GROVER VIBRATOR and keep the tone clear and crisp all Summer. I guarantee

that it will improve the tone of your Banjo.

Price $1.50

A. D. GROVER, 96 Spring St., New York City Manufacturer of the

NON-TIP BANJO BRIDGE GROVER WRENCH GROVER CLOTHES GUARD

S H 9

PLEASE MENTION "CRESCENDO" WHEN WRITING TO ADVERTISERS

The CRESCENDO 23

T H E IRISH H A R P Hy Alice Genevieve Smith

My impression of the harp after several years of experience both as ;i concert harpist and teacher, is that the vogue of the harp is in its infancy and the possibilities for its popularity in the future are tremendous. \Vhat we need most is literature that will be interesting to the young student so the development of tone and technic will be gradual.

One can make a greater showing on the harp in a short time than on the piano for the reason that runs and glissandos are simple on thjjs instrument while much more difficult on the piano.

At concerts, I have found this instrument always received with great enthusiasm, and a welcome visitor, and after a pro­gram, m a n y of the audience will come and look over the instru­ment, feel the strings, move the sharping devices and show much interest.

I welcome the Clark Irish Harp as a desirable instrument for increasing interest in the harp in general. The low cost makes it possible for many to own one of these instruments and the size tempts the little folks who want to play and it is the young sliMcnl who creates a demand for better teachers, better music and belter musicians.

In concerted music, nothing is more attractive than the strains coming from the harp. It is the eloquent interpreter of exulta­tion and inspiration. The harp is frequently used by operatic composers to ac­

company songs of higher personages, such as prophets and kings, and to cast a charm over the instrumental coloring of festal scenes. Even though the tone color of the harp is not of a sustained nature, its extreme lower register is remarkable for its mysterious quality while the extreme upper register is noted for a brilliancy which brings to mind thoughts of fairies and festivities.

To study and practise the harp will improve the student mentally and physically and as an accompaniment to instru­mentalists or vocalists, the harp creates a sensitive bond of sympathy that has no equal. W e need more enthusiasts in this great new field.

SEB:

DYER'S SYMPHONY H

HARP GUITAR j r N J O Y S a national fame and popu-

*"» larity which is due to extraordi­

nary power and sweetness of tone. The

six extra bass strings add greatly to the

ease of playing and make possible many

new and pleasing musical effects. Sent

on approval. Write for catalog. Also

Harp Mandolins, Mandolas, Mando­

cellos, Ukuleles, Ukulele Banjos, etc.

W. J. DYER & RRO. B Dept. 91 B B a s______________z:

St. Paul, Minn. H B

r-ii**!-*-

FIVE WONDERFUL

Hawaiian Books These Books have become Standard — they are

thorough, well printed and complete

BAILEY UKULELE METHOD W e have sold over 150,000 of this Book. This is the Method that has made the Ukulele-playing Fad what it is today. Price 75c.

SONGS FROM ALOHA LAND Collection of Hawaiian Songs with Ukulele Accompaniment This Book contains every Hawaiian Song worth while. All the leading Hawaiian Publishers are represented in its contents. W e have spared no expense to make this the best Book of Hawaiian Songs in the Market. Price $1.25.

BAILBY COLLECTION OF UKULELE SOLOS A remarkable collection of Ukulele Solos—the first of its kind on the market. Contains the very best in Hawaiian Music and many of our own favorites, such as "I Love You Truly," "Just A-wearyin' for Y o u " by Carrie Jacobs-Bond. Price$l.

PETERSON STEEL GUITAR METHOD Without doubt, the Best Steel Guitar Method published—over 50,000 sold. Kalani Peterson, the Author, was with the original "Bird of Paradise" Company which had so much to do with the present popularity of HawaiianMusic in this country. Price$l.

Superior Collection of Steel Guitar Solos Just what it says — S U P E R I O R Collection of Steel Guitar Solos, arranged in the Peterson System by Keoki Awaii, a master player of the Steel Guitar. Price $1.

T E N O R BANJO M E T H O D - By Arthur W. Black A complete, comprehensive and concise method which will enable any violin, mandolin or banjo player to successfully become a professional "Jazz" banjoist. Arthur Black is recognized as one of the best performers and teachers in the old as well as in the new "Jazz" style. Price $1.

Sherman.Imay & Ca House of Hawaiian Hits SAN FRANCISCO

| Bacon Banjos,Mandolin and Tenor-Banjos Are famous for rich quality of tone and wonderful sustaining power.

PASADENA. CALIP., June 21. 1918.

D E A R MR. BACON :

Thank you for sending so fine an instrument. I can truthfully say that after trying them all, I find your Mandolin-Banjo No. 2 tha very best. Your instrument seema to have a more sustained tone and richer quality, especially in upper register.

Yours sincerely. P. W. TOWLE (Teacher)

610 North Lake Avenue.

PLEASE MENTION "CRESCENDO"

4 Send for catalog and secure the agency for "Bacon' j Instruments. Better still, let us send you X a "Bacon" on 5 days' trial.

I BACON BANJO MFG. CO. N e w London, Connecticut

___ .». .•. ,», tt, A A ,t, A A A A .t, ,t. ,t. ,t.,», ,f, ,t. .•. A ,

WHEN WRITING TO ADVERTISERS

24 The CRESCENDO

sssssssssssssv:: vsssessssssess

8 RECENT PUBLICATIONS B WitA every piece composer's name is given, also arranger's. The letters after names indicate grade. E, easy. M, me­dium.. D, difficult.

M \NDOLIN

CARL FISCHER

The Cup Winner, March Louis Tocaben, \1. Mandolin and Piano $0.50

A bright 2-1 march in the keys of I) and (\. Received first prize at a competition of (lie American Guild.

La Brunette Waltz Severn-Odell, M. .Mandolin and Piano $0.50

A very pretty and melodious waltz number arranged for full mandolin orchestra with all orchestral parts. Keys of A and E. Good parts for all instruments. An effective number in full orchestra or for mandolin and guilar or for teaching.

Calif of Bagdad Boieldicu-Arr. Odell, D. Mandolin and Piano $0.90

An excellent arrangement of this standard orchestra overture. A bright, interesting number always pleasing lo play and a very effective concert number and nol as difficult as many of the other standard overtures, flood parts for all instruments.

Melody of Peace Martin-Arr. Odell, E. Two Mandolins and Piano $0.60

An extremely beautiful melody arranged lor full mandolin orchestra. It follows lhe general style of Handel's "Largo". Has very fine parts for all instruments. The string parts alone could be used as a quartet effectively. Excellent for c :ert work or leaching.

Among lhe Roses Lake-Odell, E. Mandolin and Piano Ml.."ill

A most charming idyl. Extremely prettj melody. Arranged for full mandolin orchestra, also regular orchestra parts MI the same key. One of the sweetest numbers issued this season.

Reve Angelique (Kamennoi-Ostrow) Rubenstein-Odell, M. Mandolin and Piano $0.75

The only arrangement of llns standard number published, Arranged for full mandolin orchestra with the regular orchestra parts in lhe same key. Splendid arrangement with mando­cello playing a prominent part. Verj effective for concert work. 11. F. ODELL & CO. Mignonette II. V. Odell, M.

Mandolin D u o .SO..")!) Another easy, pretty duo, introducing all tremolo and picking

Willi tremolo accompaniment styles. II has pleased man* who have heard il and is very desirable for concerl work or teach­ing. W m . Place, Jr., says "The Mignonette is a distinct relief from the three and lour string accompaniment numbers which invariably displa* more noise than music. Ihe second strain is a g em of melody with pure duo accompaniment."

GUITAR

CARL FISCHER

Scenes Thai ire Brightest Wallace-Olcott-Bickford, \l. Guitar Solo SI). Ill

An arrangement of this famous melody from "Maritana" in lhe key of E. A good number lor either concert or leaching.

Song of the Volga Boatmen Arr. OIcott-Bickford, M. Guitar Solo $0.30

An arrangement of this well-known Russian air in the kc of ('.. Well arranged and quite effective as a guitar solo.

Swan Song Wagner-Olcott-Bickford, M.

Guitar Solo $0.30 A good arrangement oi this standard classic in ilu- ke* ol

A with a rather novel introduction. Introduces right-hand harmonics.

BANJO

STEPHEN SHEPARD Choice Selections, Book It

Price $0.50 Contains "Rif-Raf Rag", "Double Joints Foxtrot", "Busy-

Body Kat;", "Imperial Unity March", "Excentricity", nil liy M . it. Chittenden, characteristic banjo numbers in the popular prevailing style, well marked and fingered and interesting for banjoists w h o use C notation.

j \s. ii. JOIINS POM;

Banjo Bugs Bag Jas. II. Johnstone, M. Banjo Solo $0.40

A lullly banjo rag wilh good melodies and characteristic in style. A good banjo number. Dedicated lo the "Banjo Bugs" of the New York Serenaders.

CARL FISCHER

Tlie Merry Monarch \. I). Grover, E. Banjo Solo (C Notation) $0.30

Another one of Mr. Grover's easy leaching numbers. Song and dance style. Key of ('..

Happy Hottentot C. S. DeLano, EE. Banjo Solo (C Notation) $0.30

Key of C throughout. An immense schottische. Excellent for teaching.

Farewell Waltz \\ . J. Conolly, E. Banjo Solo (C Notation) $0.30

Formerlj one of the best selling numbers in lhe Thompson & Odell catalog when published in A notation. Now published in C notation in the Fischer Edition,

Hilo Lua-Kaili, lix. Bickford. M Banjo Solo i A & Cl $0.40

A one step, inlroducing"Aloha Oc". I .anjoislically arranged In good keys for banjo. Positions and fingering carefully marked, lias guilar and piano accompaniment.

ffi__3___3^__3^___3___3___3__3__3___3__3-__3E__3^__3E_3E_3___3Ea

HAWAIIAN UKULELES No. 40 Genuine Nunes. $6.00

8 Like Cut 5.00 0 Canvas Case. .. t.00 60 Leather Case. . 5.00

The Fred Gretsch Mfg. Co. CATALOGS OF ANYTHING MUSICAL ON Al'PLICATlON

60 BROADWAY BROOKLYN, N.Y.

The Largest Musical Instrument Manufactory in the United S(ate«

_8-__3________3__3E_3___3___3____3E__3___3___3___3._3___3__3__3_______3____iBB_

BARGAIN SALE Discontinued Mandolin Music

3 GOOD PIECES By H. F. O D E L L

All for Two Mandolins and Guitar

;j Pretty melody. All very easy first pieces. Fine for teaching. First and second mandolin on double staff for teacher and pupil. Guitar accompaniment separate.

URANIE MAZURKA ARION CLUB GALOP RHEMBA WALTZ

Regular Price 40c. 5c a copy postpaid as long as they last

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

lhe CRESCENDO

[: LITTIG STEEL GUITAR METHOD STEEL GUITAR FOLIO TENOR BANJO METHODS UKULELE METHOD UKULELE CHART COMBINATION FOLIO containing SOLOS for UKULELE & GUITAR

Send for Catalogue and Prices W. A. Q U I N C K E & CO.. Majestic Theatre Bids:.. Los An_rle«. Cal.

SEXTET By DONIZETTI

For Full

From Mandolin C

"LUCIA" Arr

relies

lit Mandolin 30c. P. Acc. 30c. All Other Parts 20c.

Jas. H. Johnstone, 428 Academy St.

by H. F. ODELL tra

ONE HALF OFF

Kalamazoo, Mich.

THAT'S WHAT THEY ALL SAY Your banjo music'and studies in C notation for finger and plectrum play­ing can't be beat. They are the best I ever saw. Keep up the good work. 8 books of solos, 6 pages of music in each book. 50c per book. i off

The best value for the price ever published. Write now for descriptive circulars and thematics of banjo and

mandolin music. S T E P H E N S H E P A R D . 520 East 18th Street. Paterson. N. J.

M A N D O L I N M U S I C

T W O F A V O R I T E S By Berthoud Each One A Leader of Its Kind

F R I V O L E Z Z A (Easy) F O R T E A C H I N G A N D C L U B S Prices: M. and P. 50c t M . and P. 60c M. and G. 40c 2 M. and G. 50c

A n y other part, mss. 25c Net

S C E N E S F R O M T H E O R I E N T (Unaccompanied Solo) Price 30c- Discount Half Off

F. L A N D R T B E R T H O U D , 664 W . 179th St., NewYork, N.Y.

WILLIAM FODEN Guitarist

362 WEST 173D STREET N e w York City

New Edition—ARMSTRONG'S B O O K V C Notation. 2 5 c Net

Pub. by W . C. KNIPFER, Hartford, Conn.

T E A C H E R S — W r i t e for Special Offer for Armstrong's Studies

PLAYED AT THE GUILD CONVENTION

"Gibson Beauty" March. Arranged by Bickford " M y Little Violet" Waltz

" Submarine " Polka

Artistically Arranged. All Three for Net SO.90

J O E N I C O M E D E , Publisher. N e w Alexandria, Pa.

We

FREE TO BANJOISTS! iftll wan*; the best possible solos you can get hold of A " I * —something bright, catchy, characteristic and original. You want solos that matter, that are effective and not too difficult to play.

Eublish nothing but the very best works of the very est composers, for which w e pay the very best price

Will you allow us to prove. In a practical way, the high quality of our publications? Just send your name and address, and we will mail you by return ELEVEN CHARMING BANJO SOLOS in A notation, together with particulars of many other delightful issues.

' these solos, yen will

All our A notation •olo. __.»• tho C notation print.d on the back of ~ .h «opy.

Write now to C L I F F O R D E S S E X CO.

Ua Grafton St., Bond St. LONDON, ENGLAND

LINER AD. DEPARTMENT Advertisements inserted here for £5 cts. a line, each inser­tion. Cash with order. Not less than three lines nor more than 8 lines accepted.

F O R S A L E . Ditson Empire Mandolin with Sole Leather Case, almost new. splendid condition, cost $25. will sell for $15. Also Washburn Mandolin with Sole Leather Case, a fine instrument in good condition, cost $25, will sell for $16. H. F. O D E L L . 166 Tremont Street, Boston, Maes.

For Only Twenty-five Cents We Will Send You

The CRESCENDO For September, October and November

Just send Twenty-five Cents in stamps, give us your name and address and you will get The C R E S C E N D O for three months, including

$6.00 Worth of Music

165 TREMONT STREET, BOSTON, MASS.

ODELL MANDOLIN PICK GENUINE TORTOISE SHELL

Will not break or chip. Produces a clear tone. The longest wearing pick made.

Small Size. 1 Oe each. Sl.lOperdoz. Large " 15c " 1.75

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

I C R E S C E N D O A G E N T S I WHERE THE CBESCENDO CAN ALWAYS BE OBTAINED

Boston, Mass.

Butte, Montana Chicago, 111. Cleveland, Ohio Dayton, Ohio Hartford, Conn. Los Angeles, Cal.

New York, N. Y.

Pittsburg, Pa.

St. Paul, Minn. San Francisco, Cal.

8cattle. Wash. Sioux City, Iowa Syracuse, N. Y. London, Ont., Can.

Osaka, Japan Tokio, Japan London, England Wellington, N. Z.

Vega & Fairbanks Co. Oliver Ditson Co. New Eng. News Co. G. L. Lansing Post Office News Stand Lyon & Healy Courtney R. Putt Meredith's Music Store Fan-is Music Store Lindsey Mus. Co. So. Cal. Music Co. C. H. Ditson & Co. Carl Fischer H. A. Becker Volkwein Bros. W . J. Dyer & Bro. Alice Kellar-Fox Sherman, Clay A Co. Paul Goerner C. A. Templeman Rose Fritx Rogers Thos. G. Shuter

62 Sudbury St. 178 Tremont St. 93 Arch St. 170A Tremont St. 25 West Park St. Adams St. 2053 E. 9th St. 25 W . 4th St. 173 Asylum St. 416 S. B'way 332 S. B'way 8-12 E. 34th St. Cooper Square 601 E. Ohio St. 516 Smithfield St.

62 Baker St. Kearny__ Sutter Sts. 307 Eilers Bldg. 611 Pierce St. 114 E. Fayette St. 470 Dundas St.

F O R E I G N

Saskuke Miki The Kyoyeki Shosha,15 Takekawa-cho Kyobishi-Kn Clifford Essex Co. 15a Grafton St. J. G. Turner 83 Kent Ter.

SOME DANDY Ukulele and Steel Guitar Pieces By Walter Burke. All New. Just Out—and Greatl

U K U L E L E LA GLISSANDO. Solo 40c. Uke acc. 20c.

ENCHANTMENT, Solo 40c. Uke acc. 20c. DANCING ON THE BEACH, Solo 40c. Uke acc. 20c.

AT A HONOLULU WEDDING, Solo 40c. Piano acc. tOc. UKULELE WALTZ. Solo 40c. Uke aee. 20c. S. G. acc. 20c.

M A U N A LOA MARCH. Solo 40c. S. G. acc. 20c. SWAYING PALMS. Solo 40c. Uke acc. 20c. X oft

CHEER UP WALTZ. Uke solo, 40c. S T E E L G U I T A R

DREAMY DAY WALTZ, Solo 40c. S. G 20o. K§ E S T R E L L A de E S P E R A N Z A , Solo 40c. S. G. acc. 20c. §§ P A L M G R O V E W A L T Z . Solo 40c. S. G. acc. 20c. U k e acc. 20c. ». 'NEATH HONOLULU'S PURPLING SKIES.Solo 40c. S.G.acc. 20c.

HAWAIIAN HOLIDAY MARCH. Solo 40c. S. G. acc. 20c. SOUTHERN SEA ECHOES. Solo 40c. S. G. acc. 20c. H off

g| DRIFTING ON HILO BAY, Solo 40c. S. G. acc. 20c. % H . F . O D E L L & CO., 1 6 5 T i e m o & t St.,Bo«ton,Mas>.

PLKASB MENTION "CRESCENDO" W H E N WRITING TO ADVERTISERS

The CRESCENDO ••A_kAAAAA_kAAAA_4AAAAAA_l W^ W W^F^ • • • W^AW^^^F^W^TW^AW^^^

SUMMER MUSIC

S9«

Each Each c.<

o 5

is l i

Sextet from "Lucia" 30 20 20 20 30 20 40 50 60 40 50 Arr. by Louis Tocaben •Overture "The Light Brigade" 40 30 30 30 40 30 50 80 1.00 70 90 R. Gruenwald Drums .30 Overture "Asmodeus" 50 30 30 30 30 30 60 1.00 1.20 70 00 T. H. Rollinson. Arr. by H. F. Odell Drums .20 Alethea Waltz 40 30 30 30 40 30 50 80 1.00 70 90 Frank P. Atherton Drums .15 'Springtime, Novelette 30 20 20 20 20 20 40 60 70 40 50 Frank P. Atherton Drums .20 Zigzag, Intermezzo Capriccioso 30 20 20 20 20 20 30 50 60 40 50 Rich. Berber. Arr. by H. F. Odell Drums .20 Friendly Greeting March 30 20 20 20 20 20 30 50 60 40 50 Fred Luscomb Very easy Drums .15 One Flag For All March Easy 30 20 20 20 20 20 30 50 60 40 50 T. H. Rollinson. Arr. by H. F. Odell Drums .15 Norwegian Slumber Song 30 20 20 20 20 20 30 50 60 40 50 J. Francis Gilder. Arr. by H. F. Odell Melodies from The Brirish Isles 40 30 30 30 40 30 60 90 1.10 70 90 Arr. by H. F. Odell Popular Italian Melodies 39 20 20 20 30 20 40 60 70 50 00 Arr. by Geo. L. Lansing

30 15 15 15 15 15 30 50 00 40 50

Morceau Facile 30 20 20 20 30 20 40 60 70 50 60 Carl Bohm. Arr. by H. F. Odell O n Tiptoe. Characteristic 30 20 20 20 20 20 30 50 60 40 50 Lucius Hosmer

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HAWAIIAN STYLE GUITARS Played with a Steel Sliding Bar and Finger Picks

V O U have heard them played. Listened ***- to musical reproductions of dreamy Hawaiian melodies by talking machines. It pleased. You were interested. Learn to play. They are very popular.

*?*

Correct Position for Playing the Hawaiian Guitar

Hawaiian Style Guitars

Adjusted with nickel-plated nut, raising strings above finger­board, adapting them for the use of the sliding steel bar. Dit­son quality.

Prices

$7 to $20

Fine quality strings and supplies for these instruments. Repairing

skillfully executed.

CATALOGS MAILED FREE

Oliver Ditson Company 178 Tremont St., Boston, Mass.

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

New York, N.Y. •••••••••••••••••••»•••»•••»••»••••••••••••••••••••••»<

PLEASE MENTION "CRESCENDO" WHEN WHITING TO ADVERTISERS

DITSON Hawaiian

Professional Guitars American made — of thebetterkind. Used, recommended a n d sought by the most prominent p r o f e s ­sional players. Each guitar tested before shipment.

Prices

$25 to $60 *W W WW WW^r^WW^

N O T I C E T O R E A D E R - W h e n you finish reading this magazine place a 1-cent stamp on this notice, mail the magazine, and it will be placed in the hands of our soldiers or sailors destined to pro-

NO WRAPPING-NO ADDRESS. A. S. B U R L E S O N , Postmaattr-Gtntrwl.

COPYRIGHT 1918 BY CRESCENDO PUB. CO. S

All rights reserved

IENT. RI::> A3 SECOND CLASS MATTER JUNE 9. 190.. AT THE POST OFFICE AT BOSTON. MASS.. UNDER ACT OF MARCH 3. 1879

$1.00 per year

lhe CRESCENDO

SEl @B& 0

1 I

0

TRY THIS ON YOUR MANDOLIN

IN MOON-LAND Intermezzo by HARRIE A. PECK

A R R A N G E D B Y H. F. O D E L L

First Mandolin 30c Second and Third Mandolins, Mandola, Cello, Flute,

Banjo and Guitar Accompaniment, each 20c Piano Accompaniment 40c Mandolin and Guitar 40c Two Mandolins and Guitar 50c Mandolin and Piano 50c Two Mandolins and Piano 60c Piano Solo 50c Piano (4 hands) 80c

Discount, One-half Off

Complete Catalog of Banjo, Mandolin and Guitar Music THIS CATALOG IS FREE

WHITE-SMITH Music Publishing Company BOSTON: 62-64 Stanhope Street NEW YORK: 13 East 17th St. CHICAGO: 316 South Wabash Avenue

1st MANDOLIN.

Allegro mode

IN MOON-LAND. Intermezzo,T\vo-Step. HARRIEA.PECK.

frfr1*'-1.!. riE*.ir# TWTWH^kfr*&^

NEW^ F o r M a n d o l i n Orchestra N E W

A Splendid, New, Original Composition

AN IDYL IDEAL By I. H. ODELL. Arr. by H. F. ODELL

As the name implies, it is a decided novelty and quite different from any other piece. It is romantic in style and includes some beautiful melodies and harmonies, and the trio is especially fine, with a broad, slow, sweet melody, staccato accompaniment and obbligato effect. Superb parts for all, especially mandola and mando­cello or cello. You'll like it if you're looking for something classy. PPTPF^l lst M a n d *30; P'ano •«>; 2nd Mand., Cello, Flute, Guitar, Banjo Obbl. (A or C) .20 each; •t IV-lV^-LiO 3rd Mand., Tenor Mandola and Mando-Cello (transposed and non-transposed) .30 each; Mando-Bass .25 net. { Off on All Parts Except Mando-Bass.

Heady First of October

E C H O E S O F "(il A great patriotic piece. Should lie used l>

mandolin orchestras this season. Our catalog explains.

v all N E W ISSUES

You cau obtain our Dew pieces for only a few cents a copy. Write for our

N e w Issue l'lini.

Q n n Sample lst Mandolin parts, List of over 300 Odell Arrangements, Catalogs of various publishers, 171)1717 O U " including over 2,000 pieces and our New Issue Plan will be sent to anyone anywhere rilLJu

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

PLEASE MENTION "rRKSCENDO" WHEN WRITING TO ADVERTISERS