Vol. IX April, 1917 No. 10

10 cents per copy 3PYBIGHT 1917 BY CRESCENDO PUB. CO.

All righta reserved

$1.00 per year

UNTEKKO AS SECOND CLASS MATTER JUKE 9. 1909. AT THE POST OFFICE AT Borrow. 11AM.. UNDER ACT OF _L_>n I. 1870

The CRESCENDO

1

1

BE PATRIOTIC PLAY

U. S. A. Patrol By HARRIE A. PECK SYNOPSIS: Opening with Bugle effect, then patrol movement, finishing with "Star Spangled Banner" and "Yankee Doodle." The Trio introduces "Old Black Joe," "Maryland" and "Arkansas Traveler."

PRICES

First Mandolin, 40c. Other parts, 30c each. Combi­nations: Mandolin and Guitar, 60c. Two Mandolins and Guitar, 80c. Mandolin and Piano, 80c. Two Mandolins and Piano, $1.

Banjo parts are in A andC notations.

DISCOUNT ONE-HALF OFF

Also for Band and Orchestra

Send now for complete catalog of Guitar, Banjo and Mandolin music

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WHITE-SMITH MUSIC PUB. CO. DESIRE TO SEND YOU THEIR

Music Catalogs INSTRUMENTAL INSTRUMENTAL INSTRUMENTAL

INSTRUMENTAL VOCAL .

VOCAL .

(Piano) . (Violin)

(Mandolin, Guitar and Banjo)

(Orchestra and Band) (Quartets, Mixed, Men's

and Women's Voices) (Anthems, Mixed, Men's

and Women's Voices)

Please designate which catalog you wish, and state if you are a teacher, so that your name may be added correctly to our mailing list.

WHITE-SMITH MUSIC PUBLISHING CO. BOSTON. 62 Stanhope St. N E W YORK. 13 East 17th St. CHICAGO: 316 So. Wabash Ave. D

131(511

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N E W J«st 0ut ior Mandolin Orchestra N E W

A LITTLE STORY B.HF ODELL A charming, melodious, easy piece. Splendid arrangement. Immense for

full orchestra. A delightful Mando-Cello Solo. Excellent for teaching. Prices: lst M .30 2nd M, 3rd M, G. acc, Fl., Cel. 20c ea. Mdla, Ma-cel. (transposed and non-transposed), Banjo Obi. A or C 30c ea. Piano acc, 40c % off. Mando-Bass 25c net.

U K U L E L E by Burke DANCING ON T H E BEACH, Solo 40c. Uke acc. 20c

AT A H O N O L U L U WEDDING, Solo 40c Piano acc. 40c U K U L E L E WALTZ, Solo 40c Uke acc. 20c S. G. acc 20c

M A U N A LOA MARCH, Solo 40c S. G. acc. 20c Y* off. S T E E L G U I T A R by Bnrke

ESTRELLA de ESPERANZA, Solo 40c S. G. acc. 20c PALM GROVE WALTZ, Solo, 40c S.G. acc. 20c, Uke. acc. 20c HAWAIIAN HOLIDAY MARCH, Solo 40c S. G. acc. 20c y2 off. MANDOLIN DUOS

By Odell MOSAIC 50c ZEPHYRS 50c

% off.

REFLECTIONS 50c FASCINATION 50c

NEW BANJO SOLOS A or C DUCKY DADDLES, Odell .40 FILIPINO SHUFFLE " .40

THE BOBOLINK, Lansing .40 CANNIBAL CLUB MARCH " .40 KRANY KROW KAMP " .40

Get your name on our new issue list quick and you may have our new pieces for only a few cents a copy. Sit right down and write us now about our N E W ISSUE PLAN.

SEND TO ODELL for all sheet music or books. We can give you the same discounts you would get from the publishers, and you will have only one order, one payment, one shipment.

D A A Sample lst Mand. parts, List of 300 Odell Arrangements, Catalogs of various publishers, including F R F p O U U over 2,000 pieces and our String Catalog and New Issue Plan sent to anyone anywhere FIl____-L_

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

PLEASE MENTION THE CRESCENDO WHEN WRITING ADVERTISERS

J

The CRESCENDO

NEW

Tenor Banjo Book JUST OUT

Price - - - $1.00 VEOAM

Ukuleles Kjmw i c"„

$5. $8. $10. Genuine M. Nunes. Hawaiian. $12, $15. $18. Any selection C O D . Parcel Post.

Mr. Alexander Poli of De­

troit, Mich., is one of the lead­

ing teachers and players of

the West and finds the Vega

an instrument that is his ideal.

He writes:

"lam happy to inform you

that I find complete satisfac­

tion in my Pettine Special Vega

Mandolin. After about ten

months' trial have come to this

conclusion; the tone is beauti­

fully deep and mellow and can­

not be surpassed for resonance;

have had many mandolins, but

none has pleased me as well

as the Vega.

BURTON GEDNEY, MAMARONECK, N. A Banjo and Mandolin Teacher who has a large clientele. He is a very fine

City and vicinity, where he creates great enthusiasm

Geo. L. Lansing and his

Tu-ba-phone Banjo made a big

hit at the Lansing-Odell Con­

cert, Jordan Hall, Boston,

March 27.

Mr. Paul Goerner of Seattle,

Wash., is one of the most suc­

cessful teachers on the Coast.

He has become interested in

the Tenor-Banjo and writes as

follows about the Tu-ba-phone

which he lately received: "I

just received the Tenor-Banjo;

it is a beauty in looks and the

tone is wonderful. A m in

hopes of landing another sale

very soon. Hope you will have

a few of the inside screw tops

for me next week."

Y.

Banjoist and has appeared in New York

for his work.

Fernando Callejo, Jr., known in vaudeville and profes­

sional world as "Beau Beaufort," has been for some years

an expert banjoist and mandolin player as well as an ex­ponent of the Hawaiian Guitar and Ukulele. He was

born in Porto Rico. • Has just finished tour down South

America and has played with Gilmore's famous banjo and

novelty orchestra. He has filled engagements at the lead­

ing hotels in this country and is now at the Arlington, in

Binghamton, N. Y. Uses Whyte-Laydie and Tu-ba-phone

Banjo Mandolin.

C O L U M B U S , 0.,

T E L E G R A M : March 19, 1917.

"Cinciones Italian Orchestra here at Lyceum Theatre

leaves Wednesday night. Express us one Tu-ba-phone

style S Banjo-Guitar and one style S Tu-ba-phone Tenor-

Banjo so we can have them by Wednesday morning at the

latest."

Goldsmith's Music Store.

u 11

Vega Instruments

For Sale at

JOHN WANAMAKER, New York City

JOHN WANAMAKER. Philadelphia, Pa.

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

LYON & HEALY, Chicago, III.

SOUTHERN CALIFORNIA MUSIC CO., Los Angeles, Cal.

GRINNELL BROS.,

Detroit, Mich.

q

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

Vega Mandolins and Vega Guitars, also that last

issue, "Voice of the Vega."

THE VEGA CO. 62 Sudbury St., Boston, Mass , U. S. A.

PLEASE MENTION CRESCENDO WHEN WRITING ADVERTISERS

Vega Instruments

For Sale at

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

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

VOLKWEIN BROS.. Pittsburg, Pa.

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

GOLDSMITH'S MUSIC STORE. Columbus, Ohio

KOHLER & CHASE, San Francisco, Cal.

The CRESCENDO

STAHL TALKS TONE—NOT IBSEN €L We inflict no Ibsen philosophy on you —neither in print nor by word of mouth. Tone — tone — tone— that's the A^tahl forte. We let other folks Ibsenize to their heart's content. You know the dope: Attempts to tie you in bow-knots with ''logic" proving a Mandolin should have a flat back because a violin has one —and in the same breath—and by pic­tures —proves it should have sides like an artist's palette or a picture hat-probably because a violin hasn't. And winds up with: "Either the back is right or the sides are wrong; ipso facto, which? If you're not a presti­digitator or a pro- Turk you must say yes!" e. STAHL TALKS TONE—not factory wood-carvings nor ornamental planks with sides. C No similar instruments NOR SIMI­LAR-NAMED INSTRUMENTS equal

in TONE, in intensity, in carrying power, in singing quality the tone of Stahl Mandolins, Mando- Cellos, Mandolas, Tenor-Mandolas and Mando - Basses. No Banjos or Banjo-Mandolins have the singing and sus­taining qualities of Stahl Wood-Rim Banjos and Mandolin-Banjos, and in Guitars and Harp-Guitars the "string" qualities of Stahl instruments are inimitable. ^TEACHERS, DIRECTORS OF CLUBS, DEALERS-and individual players who patronize these three—get more musical value and more dollar value in Stahl instruments than can possibly be had in any other brand. €L STAHL METHODS for B. M. G. take students past the usual "jumping-offplace." They're intended to make tor progress and sustain interest. THEY DO. Samples sent on approval. WM. C. STAHL, MILWAUKEE

CATALOGS of Stahl Instruments and THEMATICS ot Stahl music—all combinations—mailed free on request

SuVrSfS DOLLAR BILLS F O R 20 CENTS SUBSCRIBE TO OOB MO N T H L Y N E W ISSUES. IT MEANS ONE DOLLAR'S WOKTH FOR T W E N T Y CENTS N E W ISSUE C O U P O N — Enter m y subscription at 80% oft for arr. checked X as follows :

lat Mand 2nd Mand 3rd Mand Ten. Mia Mdo.-Celto Mdo.-Bass Flute Cello Banjo......Gui. Acc Pia. Acc. (Parte in both notations).

Name Street •.

City State •. .....

I refer to • •

STANDARD CLASSICS A N D POPULAR HITS FOR FULL MANDOLIN CLUB.

1 his Month's N e w Issues

•The Calif of Bagdad, Overture Boieldieu-Odell . C

Melody of Peace . . . . Martin-Odell . . A

Bull Frog Blues, Fox Trot Brown-Shrigley-Tocaben

^ Price Schedule of Mand. Club Music Letter after Title Indicates Price ABC lst Mandolin Each .30 .40 .50 2nd Mandolin, Guitar Acc. Each .10 .20 .30 3rd Mandolin, Tenor and Octave Mandola, Mando-Cello, Mando-Bass, Banjo; Obi, Flute, Cello,

Each .15 .25 .:« •Regular Orchestra Parts Pub­lished Each .15 .25 .35

Piano Accompaniment 20 .35 .40 Discount % off

SELECTIONS Songs of Germany, Potpourri

Margis-Berger-Odell. . C •Master Melodies from Famous Light Operas

Roberts-Odell. . C •Songs from the Old Folks, on Famous Songs

Lake-Odell. . C FANTASIAS

•Hungarian Fantasia, Op. 207 . . Tobani-Odell. . C OVERTURES

Raymond Overture . . . Thomas-Tocaben . . C

•Zampa, Overture Herold-Tocaben . . C

•Semiramide, Overture . . . . Rossini-Odell. . C

M i Sent

HAWAIIAN NUMBERS

Kahola-Honolulu, Hawaiian Marches. One

Step Lua-Kaili-Tocaben . .

•Kilama-Wailana, Hawaiian Waltzes • Lua-Kaili-Tocaben . .

Aloha Oe(Farewell to Thee)Liliuokalani-Odell. . CONCERT NUMBERS

*La Brunette, Valse de Concert. Severn-Odell. , The Dying Poet Gottschalk-Odell . . •Dreams of Love. Nocturno . . Liszt-Odell. . •La Tipica. Polka Curti-Odell . . •Serenade Czerwonky-Odell. . •Fifth Nocturno Leybach-Odell . . Pizzicato, Polka (Sylvia) . Delibes-Tocaben . , •A La Bien Aimee, Valse . . . Schiitt-Odell . . Scotch Lullaby von Kunits-Odell. •My Heart at Thy Sweet Voice. St.Saens-Odell. •The Guard Mount. Patrol . Eilenberg-Odell. Melodie, Elegy, Op. 10. . . Massenet-Odell. •Adoration, Flower Song . . Barnard-Odell . •Swing Song Barnes-Odell. •Dawn of Hope, Reverie . . de Casella-Odell.

M A R C H E S •Curro Cuchares (The Bull Fighter) Spanish March Mettalo-Odell.

•March of the Bersaglieri, March Eilenberg-Odell.

Approval _o Responsible Parties — Re

UNIVERSAL AND TRANSPOSED NOTATIONS

FOX TROTS

Pussyfoot, Fox Trot . . . . White-Tocaben .. A A On the South Sea Isle . von Tilzer-Tocaben .. A

Morning. Noon and Night . White-Tocaben . . A £ Walkin' the Dog . Brooks-Shrigley-Tocaben .. A A ONE STEPS

Brown Skin . . . . Barton-Mills-Tocaben . . A

f There's Some One More Lonesome Than You A von Tilzer-Tocaben .. A A I Sent M y Wife to the Thousand Isles. One A Step von Tilzer-Tocaben . . A A WALTZES A •Santiago, Spanish Waltz . . . Corbin-Odell. . B A The Kiss That Made You Mine. Medley Waltz

{? Biese-Klickmann-Tocaben . . A

A G U I T A R S O L O S

B Arrangements by E. L. OLCOTT-BICKFORD

A Con Amore Melodie. Beaumont-Olcott-Bickford..40

A Swan Song from Lohengrin. . . . Wagner .30 A Song of the Volga Boatmen. Russian Song . .50 A Serenade Pierne .40

Traumerei Schumann .40 Fifth Nocturno, Op. 52 Leybach .75

A Melodie. Elegy, On. 10 Massenet .30 O Sole Mio. Neapolitan Song . . . di Capua .40

A Serenade from Les Millions D'Arlequin. Drigo .50 ference Required Discount '_ off

OUR SPECIAL FEATURE THIS M O N T H

THE UKULELE AND H O W TO PLAY IT . . . By LEON COLEMAN The best methods published—positively the most complete, thorough and reliable. The books, with the numerous illustrations that show you, show you the real way, the Hawaiian way. Learn the Hawaiian secrets of playing. It's easy with these books. Price 55c. each, postpaid Send for free circular.

THE STEEL GUITAR AND H O W TO PLAY IT . . By LEON COLEMAN

CARL FISCHER "">"-" SOPABB N E W YOR K OUR COMPLETE CATALOG OF MANDOLIN. GUITAR. BANJO. ETC.. MUSIC A N D INSTRUMENTS-SENT FREE TO ANYONE

IT IS FOR YOUR OWN INTEREST TO MENTION CRESCENDO W H E N WRITING ADVERTISERS

APR -2 1917

©CIB38G92.-3

^ L M DEVOTED TO THE INTERESTS OF

The MANDOLIN ORCHESTRA

The Harp, Mandolin, Guitar, Banjo AND KINDRED INSTRUMENTS

VOL. IX. BOSTON, APRIL, 1917.

3 C

• ________

El

No. 10

____z: • c__n

THE VEGA BANJO ORCHESTRA (FARMIXGTON, N. H.)

PEBCT STEVENS. Director

Tht member! of thin organization are i Percy Stevena, director, violin ; Harrr Thorne. lat banjo I Doctor Primo, 1 at baoio I Eric Hi lat banioi Arthur Cotton, i nitar-banjo : Walter Tonnft, 2nd banjo; Miaa Charlotte Spear, piano • (hurl.. Dola, Irapa.

It made ite initial appearance aa a dance team in November, 1016. It also playa for concent.

m^*— The CRESCENDO

p =

ARE NEW YORKERS CRAZY ? By EDWARD R. DAY

press,

| H E above startling inquiry came to m y notice when a gentleman of m y acquaintance one morning handed m e a clipping which he had taken from the "Buffalo Morning Ex-of August 5th, 1916, reading as follows:

"It is said that you'll hear more Hawaiian tunes on Broadway, New York, than you will on the whole of the main street of Honolulu,— proving that the New Yorkers have less sense than the Haivaiians." There was no delusion about this cold, unfeeling

type. There it stared m e in the face while I won­dered to myself—"Could it be true?" I then and there determined to appoint myself a committee of one to investigate, personally, as to the veracity of the unfeeling editorial. I had many friends in and about N e w York who were, I knew, not bereft of common sense musically and I had also met many of our Hawaiian brothers who had proven themselves extremely musical as had been their forefathers.

In September I set sail for N e w York. On reach­ing there I noted first of all, the tendency mentioned above of the N e w Yorkers to cling entirely to the Hawaiian tunes. They were, I might say the same ones that I had been listening to in m y home city, that is, a few bars of "Aloha Oe" and "Yaaka Hula Hickey Dula" whistled and hummed by the usual element who are first and foremost to catch on to the latest popular airs. This element was comprised of bootblacks, elevator and messenger boys, drivers, etc., all possessed to whistle or sing about four bars of the chorus of these two selections, Hawaiian of course, but why should the entire musical population of N e w York or any other city be branded as lacking in appreciation of heavier music simply because these two poor tunes were being done to death by a certain few. After reviewing and investigating thoroughly I found that like all popular hits in song and instrumental pieces it had ever been thus. Note such by-gone hits as "In the Shade of the Old Apple Tree," "By the Mill Stream," "Since I Lost You," and hundreds of others which have come and gone. In regard to the N e w York residents being bereft of sense I found a great many lovers of Hawaiian music who were far from being crazy, for they had found that much of the Hawaiian music was very pretty and entirely different from anything ever heard before by us, and is here to stay, so readers, get in touch with this music, if you know not how, note the ads in this Journal—instruments and in­struction books within the reach of all. If you have no demonstrator or player near, hear the records on a Victrola or phonograph and you yourself will want to play this fascinating music.

I might say in passing that this tendency, of the certain element above named, to whistle or sing snatches of certain catchy tunes is the medium by which the pulse of the public can be felt with quite a degree of certainty and it acts as good advertising as well, in booming the Hawaiian instruments and music so distinctly individual, and automatically helps the teachers and the music houses. It is a great innovation but I would here like to state to m y dear brother and sister teachers m y discoveries in

regard to teaching these instruments. In the words of Shakespeare, "Come closely in with me," and I will tell you. Don't encourage students who apply for tuition on the steel-guitar if they have no ear for music, as it is exactly like the violin when it comes to making correct tone. Rather put this would-be-student on the ukulele or mandolin where, after his instrument is in tune, his notes can be made cor­rectly. He may later develop ear sufficient to keep his own instrument in tune and do fairly well on anything but a steel-guitar or violin. Both the ukulele and steel-guitar are easy to learn and will become very dear to your music-loving soul. Once heard they are never forgotten for they make a bright addition to our other stringed instruments and will in no way affect them. Let us then add them to our already happy family of musical instru­ments and in this way awaken a certain element who love change and variety. W e will still have our piano music, stringed orchestras, band orchestras, brass bands, etc., as there is always an ever popu­lar desire for these by the music-loving public.

There is always someone trying to take the joy out of life and in this case it happens to be the author of the clipping from the "Buffalo Express." He would do well to visit our public library and post himself in regard to our friends, the Hawaiians, who have been a peace-loving people and naturally musical.

Well, so far so good. The N e w Yorkers are not crazy and therefore we might as well be a bit charit­able and give all credit to the race where it belongs, boom their music, teach the steel-guitar, make the welkin ring with the mellow tones of the ukulele and see if we cannot keep the interest at high pitch. Everyone likes this Hawaiian music and judging from the pulse of the public I have a pretty well 'grounded idea that the music and the instruments are here to stay. They will not demoralize our regu­lar orchestras in the mandolin and violin world but rather will revive interest in all of our family of stringed instruments. For this reason as well as for their own merits, I say let us accept their arrival with good grace.

FREE A copy for Mandolin and Piano or 2 Mands. and Guitar of

the immensely popular march

"THE PRIZE WINNER" to anyone who will send us the names and addresses of five players in their vicinity. This march won the prize in the Crescendo contest last year and you will surely like it. Simply send us names and addresses as above and state which combination you desire and it will be immedi­ately mailed to you postpaid. The names must be those of actual players of the mandolin, mandola, mando-cello, guitar, banjo, piano, ukulele, steel-guitar or harp. State after each name the instrument played. H. F. ODELL & CO., 165 Tremont St., Boston, Mass.

"ALOHA OE"

"MY F L O W E R OF HAWAII"

Mandolin Duos That Are Favorites

JAS. H. JOHNSTONE, 428 Academy St., Kalamazoo, Mich.

( 40 Cents Each I 'A Off

JA klL

The CRESCENDO 5

H A R P I S T S ROUND TABLE Conducted by Melville A. Clark American Harp Virtuoso, Historian and Acoustican

This department is especially for Harpists,

and they may ask questions pertaining

either to the Harp or Irish /fatp orconttib-

ute items. Questions or suggestions will

receive due consideration. Address '*Harp­

ists Round Table/' rare of the Crescendo.

THE IRISH HARP IN AMERICA

HE story of the Clark Irish Harp is really romantic and yet it had a most practical beginning. W h e n practising upon m y large harp when I was a child, m y little arms in­

variably ached with fatigue in m y efforts to reach around the harp to sound the strings. I was obliged to stand for hours while practising. M y experience is identical with that of any child who practises on a large harp. As I grew older I thought continually of ways to overcome this difficulty. W h e n I had arrived at the age of fourteen, I took m y first con­cert trip across the continent and while en route, found it most difficult to keep up m y practice because of the size of the instrument, which made it neces­sary to send it as baggage, and consequently inac­cessible for practising. M y first effort to overcome this difficulty was to make a small muted harp which I carried in m y dress-suit case and used on the train and in the hotel for practice. Coupled with this was an intense desire (even at this early age) that the masses should know and appreciate the harp even as they do the piano. I found the price of the large concert harp made it prohibitive to all but a favored few and children were unable to commence its study with convenience and comfort under the age of four­teen and not then unless their physical development had been at least normal. In 1908 I took a trip to Europe and while there

engaged in a somewhat exhaustive study of the his­tory of the harp and its development. I viewed many of the harps which were treasured in museums and more than once was struck by the fact that the harp in former years had been the instrument played by the masses—in fact the one musical instrument prized to-day which had its place in all the different epochs of pagan and Christian times. While travelling in Ireland and studying the harp

of that country, I was impressed with the practica­bility of the size of the harps in use in that country —almost small enough to be portable, yet the tone was very light and thin and so weak it would be in­audible in the large concert halls of this country, principally because there were no high tension small harps. In addition to this, to make accidentals, levers were placed in wood in such a manner that changes of climate would cause the wood to swell, thus making these immovable at times. These harps had no base—the person playing the harp had the choice of playing while seated upon the floor or plac­ing the harp upon a stool in front of him which, of course, did not provide stability of the instrument, so necessary for exact and accurate execution,—the large harp has the advantage of weight to make it •ecure—yet here was a basic idea for a harp for the masses in our time. It must be small, light, very

strong, portable, possessing all the power and beau­tiful quality of the large harp, with the additional quality of steadiness. This problem then confronted m e — t o eliminate all the defects of the harp of the ages; combine with it the perfection of intonation of the large harp; give it a detachable and collapsible base and all the other qualifications necessary for modern adaptation. It was the thought of years, the desire of years and the work of years, and I a m happy to say that it reached a successful fulfillment. As one prominent harp manufacturer has said, pos­sibly it was because that in m y personal experience there was combined the thorough knowledge and experience in harp construction together with a wide experience in playing and all matters pertaining to the harp.

I do not wish to seem boastful, so rather than describe m y own work, I will quote the description of this harp from "Who's W h o in America" and the International Encyclopedia. From the former— "Melville A. Clark, inventor of improvements, which have made possible a perfect portable harp and marks an epoch in the harp-making industry of the world, and has taken out eight patents on same." The N e w International Encyclopedia says—"The new Irish Harp—improved by the application of modern scien­tific principles by the American harp virtuoso, Mel­ville A. Clark, holds out every promise of success. Built after a model formerly owned by the poet, Thomas Moore, it preserves all the characteristics of size, shape ad general construction and has besides, a vastly more powerful and beautiful tone. It is made in two sizes, twenty-five inches with twenty-six strings and thirty-nine inches with thirty-one strings. The first of these instruments was placed on the market in 1913 and their quality demon­strated the same year on a concert tour of the United States by the Irish tenor, John McCormack, and the inventor." Also—"In 1913, an American, Melville A. Clark, patented a much improved model of the old Irish Harp."

Some difficulty was experienced in securing suit­able decorations. The exquisite transparent green finish, bringing out all the beauties of the wood, represents three years of experimentation.

Everything possible was done to simplify harp playing—the strings were marked to show location for sounding them, the tuning pins were colored ac­cording to the strings to avoid mistakes and sim­plify tuning; the changeable pitch-pipe was intro­duced for tuning; the accidental levers were fitted with springs so that they would rebound from the string immediately upon release; the levers were also marked with the letters, middle C was marked with a red dot.

I invented a collapsible base which gives the same posture to the performer at the small harp that one has at the large harp—this base gives absolute security to the instrument and freedom to the performer.

The spacing of the strings of the small harp; the position of playing; the manner of playing, with the exception of the foot pedals, are identical with that of the large harp. This instrument, born of neces­sity, stands as the perfect instrument for the masses •—it is the instrument that has wandered through every land; it is as old as civilization itself, and is now given back to the masses with all the perfection of the years of experience and has now become the youngest child in the family of fine musical instru­ments. It is inexpensive and so can be owned by the (Continued on page 23)

6 The CRESCENDO

83S___3QQ____3___3___3___3-_3___3E__3E__3____3_____.______Q___3__3QQ83 <»<>-0<3-<>0><Q»<><><><--<><><><><><><><><><>#

HAWAIIAN ROUND TABLE

CONDUCTED BV MYRTLE STUMPF and C. S. DeLANO Leading Authorities

Th is department is especially for players of the Steel Gu ita r and Ukulele. Questions or suggestions will receive due consideration.

Address, Hawaiian Round Table, care of the Crescendo.

THE UKULELE By C. S. De Lano

On account of the unsettled conditions in Europe tourists are forced to make their foreign pleasure trips to the Orient or the Hawaiian Islands. There seems to be a charm about a trip to Hawaii and many avail themselves of this trip as it is much less expensive than a trip to China or Japan. The climate of the Islands is delightful except in the midsummer when the humidity and heat are quite oppressive. At nearly every turn the visitor is greeted by the natives with their ukuleles.

In a majority of cases the instrument is only used to ac­company the voice. The native Hawaiian is nearly as dark as the negro and is possessed of heavy, dark, straight hair. The race is just becoming extinct and it is said not over 50,000 full-blooded Hawaiians are in existence. They have inter-married with the Chinese, Japanese and Portuguese and as a result, a majority of those who are known as Hawaiians are only mixtures of these races.

The ukulele is not studied by note or even seriously on the Islands. The Hawaiians are among the sweetest of singers and an extra charm is lent to their singing by their graceful accompaniments on the ukulele. As a rule the Hawaiian knows nothing of the theory of music and much less to write it correctly, and his tune, rhythm and his natural gifted voice is his asset in music.

One of the foremost of all ukulele players and teachers of the Islands is Ernest Kaai. I had the pleasure of being with him and secured from him many of his fancy strokes all of which are published in m y ukulele instructor. Mr. Kaai is a native Hawaiian, large in statue, quite dark and of a very pleasing appearance. He is a fine singer and an expert ukulele player. His main skill lays in his accompaniment work of which he is a master. He often uses six to eight forms of stroking rendering one selection. He has made sev­eral trips to the Pacific coast and at one time gave a recital at one of the music stores in Los Angeles, which was largely attended. He advertised a course of eight lessons for $20.00, and for the short time he remained had all the pupils he could teach. I spent an hour with him and assure you it was a pleasant one. I invited him to accompany m e with his guitar in some of m y ukulele solos. He plays both the regu­lar system and steel-guitar. After an hour's interview he asked m e for all m y solos. He then explained to m e his method of teaching the ukulele. He has manuscript paper with a staff of four lines representing the four strings of the instrument. Crossing these diagrams are lines indicating the frets. Dark dots on the vertical lines give the location of the fingers on the strings. A n open note represents an open string. He uses many other signs for various strokings. There is no signature nor tune indicated. I inquired how a person was to interpret these facts. He replied, "One must hear the music played and then apply the diagram method to the selection. M y pupils are mostly tourists and are only on the Islands from two to six weeks and do not wish to study the ukulele seriously. I do not wish to teach all the time as I have an interest in a sugar plantation. For this instruction I charge $2.00 per lesson." He used this form of music both for solo and accompaniment work. He admitted his book was not satisfactory and had no published solos in note form. His instructor is entirely by the diagram method. He informed me he was going to publish a new one, but to the present time I have no knowledge of such a publication. Two of his pupils who had taken the course came to me for instruction. One played a few measures of "Aloha" and "Too Much Mustard." He knew nothing of the elements of music and it required a month to convince him that a change to the note system would be to his advantage. This he did, and his progress was so rapid that later he became a member of m y sextette.

The point I wish to make is that the solos by the diagram system in this case were total failures and led the pupil to believe the ukulele could be mastered in three or four lessons. This resulted in a complete misunderstanding of the possi­bilities of this popular instrument.

Manufacturers, Publishers,

Teachers and Players

are requested, to Bend in items to this department about concerts.

recitals or other musical matters which will interest Crescendo A

6 C>€><XXXXX>4

Messrs. Artemas Higgs and Charles King of Fort Wayne, Indiana, banjoists, have been filling many engagements this winter with society dance orchestras. They use regular banjos, plyaing from piano or second violin parts.

readers.

Mrs. Alice Kellar-Fox has been elected Secretary for 1917 of the San Francisco Music Teachers' Association. She has been a director of the organization for the past five years.

W e recently had the pleasure of looking over a copy of the new Lyon & Healy harp book. The book gives an excellent story of the development and perfection of the harp by Lyon & Healy, which is most interesting. It also gives colored photographs of the various styles of the Lyon & Healy harps, cases, chairs, music racks and excerpts from letters received from famous harpists. The book employs the highest type of printing and illustrating. It is a pleasing addition to any library and to harpists, especially desirable.

A miscellaneous shower was given to Miss Abby Barnes and Harold Corey, whose engagement was recently announced, by the Lansing Mandolin Orchestra on February 9th. Both of the young people are members of the Lansing Orchestra, Miss Barnes holding the position of Librarian.

One of the most famous and valuable violins in the Lyon & Healy Collection of Rare Old Violins—a Joseph Guar-nerius del Gesu, dated 1742, was purchased recently by Mr. John McCormack, the well-known Irish tenor. The violin was sold for $18,000. It is one of the very finest speci­mens of this great maker's work in existence. It is in an exceptionally fine state of preservation—practically as it left the maker's hands. This violin was the solo instrument of the celebrated violinist and composer, Weiniawski, for many years, and at one time was in the possession of Leonard. The back is in one piece of handsome curly maple and the top is of spruce of the finest selection. The varnish is very hand­some,—brownish yellow color. Mr. McCormack is already the possessor of some world-famous instruments, including a well-known Stradivarius, formerly of the Hawley Collec­tion. Mr. McCormack is a connoissuer of tone—which he thoroughly understands. In becoming the possessor of this marvelous violin Mr. McCormack defeated a very celebrated violinist who was also negotiating for it. The famous Goding Amati, one of the finest in existence, again comes into Lyon & Healy's possession through this deal. It was formerly in the Hawley Collection, but was sold to Mr. McCormack two years ago. The CRESCENDO records with sincere sympathy for his be­reaved family, the death of James P. Downs, of New York City. He was well known to the fraternity as the author of that useful little book, "How To Read Music At Sight." We recently received a program of the second concert of the Philadelphia Mandolin Symphony Orchestra. This or­chestra is composed of young men who are wage earners and who have labored under great difficulties to attain the results which they now offer to the public. The instrumentation at the present time includes lst and 2nd mandolins, mandolas, mando-cellos, harp-guitar, mando-bass, metallaphone. The leader, Mr. Daniel Powell, is a musician of experience and the orchestra deserves great credit for the class of music which it renders. At the second concert, the "Andante" from "Mendelssohn's Symphony No. 4" and "Dance of the Hours" from "La Giaconda" were two of the numbers rendered.

The Philadelphia Press, in speaking of the orchestra, says in part: "Conductor Powell has trained his musicians not only to play these numbers with musical intelligence but with the proper phrasing and with remarkably delicate and musicianly effects With the proper encouragement, this organization will take its place as a prominent factor in tha musical life of Philadelphia."

The CRESCENDO 7

j PROMINENT TEACHERS and PLAYERS j

J A short biography and photo of some well-known teacher \ I :: or player appears here monthly .*.* I

*-_. . t

PROF. A. F. P I X T O

Prof. Pinto's first musical education in solfeggio and voice was received at the age of nine years from Catalana. Later he studied theory and piano with Giovanna Lamalfa, violin with his brother and harp with Vincent Lecunto. He entered the New York College of Music, studied harmony, counter­point and instrumentation with Messrs. Muller, Pearce and L. V. Saar, and was a member of the orchestra class under Frank van der Stucken. At the same time he studied the harp with H. Breitschuck, who taught the German method and afterwards with A. F. Toulmin of the England School. Sometime later he studied for three years under L. V. Zottarelle, a prize-scholar of Adolph Hassellman, professor of the harp at the Paris National Conservatory. By co­incident, his studies on the harp and composition were under teachers each using a different method, German, Italian, French and English. In 1900 Prof. Pinto organized and conducted the New York

Boys' Symphony Orchestra, composed of seventy-five boys, «Kedl2tol>\ After two years' secret practice, the boys made their debut in New York in a series of five Sunday evening concerts. Afterwards this organization had five successful tours in various large cities of the country. One of Prof. Pinto's most pleasing recollections of this or­

ganization was on the occasion of Mascagni's first visit to America. While here he heard the orchestra play and after Prof. Pinto had conducted the "Ode To The Sun" from Mas­cagni's opera, "Iris," he was surprised and astonished at the work of the orchestra and he promised to take care of Prof. Pinto's career if he would return to Italy with him, but Prof. Pinto was unable to take advantage of the kind invitation. Some of the boys who received their first training in Sym­

phony Orchestra work under Prof. Pinto, afterwards became members of such organizations as the Chicago Symphony Orchestra, New York Philharmonic Orchestra, Metropolitan Opera House Orchestra, the Damrosch Symphony, Victor Herbert's Orchestra, Russian Symphony Orchestra, Sousa's Band, etc Prof. Pinto is now engaged in teaching harp and compo­

sition at Lachvliff Academy, Highland Falls-on-the-Hudson; rsula Academy, College of N e w Rochelle, N e w York; Mary Academy, Newburg-on-the-Hudson, N. Y.; St.

Dominic Convent, New York City. Among his advanced pupils whom he prepared for pro-

appearances have been Winnifred Bambrick, (of : Frances Sabbatino, (N. Y. Symphony Orchestra) ; • ed, ( Welsh-American Harp Virtuoso) ; John Lotito, • ti Symphony Orchestra) ; Lucia Muliero, (Los

Angeles Symphony Orchestra) ; V. Mariscano, (Denver hestra) ; J. B. Ramagnano. (Victor Herbert ny) ; M. De Santis, i San Carlo Opera Co.);

{-°oi» Ma llenrv Tree Shakespearean Company); 'da Heintzen, (Creators Band); B. Caso, (The Birth of a

| NOTES OX THE MUSIC m In This [ssoe to tin* Order 3E3EZ30___3aE30___3___3___3____3___3____3.___3E

"Sweet Bells" —A'. GrutnvKkld-OdtU

Mandolin and Piano

The introduction is played medium loud with decrescendo at the end. At the beginning of the first strain, tho tempo is about that of a polka. Follow expression as indicated. Play second strain a little faster. The next strain is a repetition of the first except that there is an aecelerendo at the end. The next strain is played quite a little slower with accelerendos and ritards. The last strain play quite » bit faster and very loud. Play de capo as indicated. Then the coda should be played at first slowly, increasing the tempo to quite rapid at the end and loud. Published for full mandolin orchestra.

"Wooden Shoe Dance"— Van Vtackton Rogi n Harp Solo

This should be played at a moderate tempo but brightly and about medium loud in tone. The grace notes which ap­pear in various measures should be played very quickly I M plainly with the accent on the m a m note. in the second strain where the full chords occur, play with full <arpeggio effect and this strain should be played louder. The last strain should also be played loud with shading as indicated. Pub­lished by the Clark Harp Co., t'or pedal harp. May also he obtained for Irish Harp.

"I Sent My Wife to the Thousand Isles" Vm Tilzrr, Arr. Uirkford Banjo Solo, a Notation

Play at a moderate tempo, the expression as indicated in all of the strains except the last which should he played loud. Follow the fingering and position marks very carefully. Pub­lished by Carl Fischer, also in C notation.

Andante, It'. /.. J/ai/ili n (luitar Duet

This number may be played lirst guitar alone but it is strictly a guitar duet and is more effective when used with two guitars. It should be played rather slowly throughout, medium loud, ex­cept at the end where it is loud. With two guitars or with four guitars, two playing first and two playing second guitar, it is an especially pretty number.

Nation Company); I). Lyon, (the highest priced harpist on the vaudeville stage to-day), etc Prof. Pinto teaches the concert harp and the Clark Irish

harp two clays a week at the New York Collage of Music, N e w York City, and students are allowed cl.i tree of charge. Lessons are given in Harmony, Far '1'raining, Vocal Sight Reading, Concert Work and Ensemble Playing.

Buy the C. S. DeLano Steel Guitar and Ukulele Methods

ises in many

New enlarged editions. Pr r The only one* giving the wenuine Hawaiian methods Ukulele Method give* solos, accompanim *nts and «x<

keys; all the Hawaiian strokes, modulations, triple hng*»nn work, complete accompaniments In major and minor keys, selections for ukulele and voice.

Steel Guitar Method contains every possible detail for playing', with illustrations; has Ifeaw staccato notes, position fingering, turns, caden to write tenor and 2nd guitar parts; 40 solos with piano parts pub­lished for the instruments.

/ | frfwh thi* aummer and will uss your me thod» and tolom." — W A L T E R K. K O L O M O K F . Steel-Guitar S ,loist, "Bird of Paradise Co." I will sell you Steels. Thimbles and Pick*, lower Ihsn sny one else.

Send for Pric, Li*t and t atnluam nf Mu*tr. S. HIU> A l» H 1 \M,l.i is C A L .

voice. || itains every possible detail for playing, with 11 solos in < keys, full treatise on grace and II hromatics. shifting, inrerted positions, •- Ij . minor keys, accompaniment work ; how ||

c. s. I)I;L\NO

THE STONE DRUM HOSPITAL-For Sick and Feeble Drums EXPERT SERVICE AT R E A S O N A B L E PRICES

One of Our Specialties - FINE BANJO INO HtNOOtIN REPAIRING

Send for ESTIMATES and Drum Catalog

GEORGE B.STONE & SON mSSSST 47 Hanover St.. Boston, Mass,

"Frolic of ilu- Kazooa" Banio 8olo--••C•' Notation IT MARKS Vol R FEET RESTLESS

•

8 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. EDtared al second-class matter, June 9, 1909, at the Post Office at Boston, Mas... under

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 of contributors.

Address Communications to the Editor. All Remittances should be made payable to

CRESCENDO PUBLISHING CO. 165 Tremont Street Boston, Mas?.

VOL. IX APRIL, 1917 No. 10

EDITORIALS Sometime ago, one of our subscribers wrote us

objecting to the fact that popular song folios seemed to be published a year or more after a piano score has been issued. It happens that several years ago this was the case, but conditions have changed somewhat since then. Of course a song may become popular in one night and in a week's time, its popu­larity may spread over a large part of the country on account of .the many vaudeville theatres or pic­ture houses where such songs are exploited, and it would be impossible for any publisher to get out a mandolin folio containing such pieces immediately upon their becoming popular. As a rule a folio contains from twelve to twenty

pieces, all popular, and one reason why folios for the plectral instruments come out some little time after pieces become popular is the fact that the pub­lisher must wait to find enough popular numbers which are having a large sale to make up his folio. However, to-day various publishers are issuing

folios two or three times a year. In the sheet music line for mandolin orchestra

or banjo solo, conditions are a little different. Several houses are now issuing for mandolin or­chestra, also banjo and steel-guitar and other instru­ments, popular pieces as fast as they are issued for vocal or orchestra arrangement, and while popular folios must necessarily be slightly delayed, sheet music may be obtained for many of the popular pieces almost as soon as they become popular. The Butterick Publishing Company has closed the columns of the "Delineator" to mail-order advertis­ing, beginning with the April issue. This policy will be rigidly enforced in the future, despite the loss to the publisher of hundreds of thousands of dollars. The "Delineator" is the first national magazine in America to exclude mail-order advertising. The

principal reason for this move is to influence the trade toward the local dealer.

In a recent letter received from a teacher we were asked to recommend some teaching pieces such as waltzes or two-steps, "full of harmony," and the writer added, "so as to keep the attention of the student." W e have been wondering if such a condition as

this prevails in many sections of the country. Is it necessary to have two-steps full of harmony to hold the attention of the pupils ? If so, it seems to us as though there must be something wrong in the method of teaching in some localities. W e see no reason why a march arranged for mandolin or­chestra should have a first mandolin part full of harmony any more than a violin orchestra piece should have a first violin part full of harmony. There are plenty of duos on the market for those who desire to play the full chord or duo style, but in the mandolin orchestra arrangements, aside from occasional double stops, it would be rather peculiar to publish numbers with any part full of harmony, so to speak. Is there anything more beautiful on any of the instruments of the mandolin family than a simple, single-note melody played artistically with the proper accompaniment, and in mandolin or­chestra it is usually much more effective when all the plectral instruments have parts written with single notes with an occasional double stop. The harmony is then obtained from the combination of all the instruments, but the melodies and contra-strains stand out much more effectively in this sort of an arrangement than if each part were arranged as a duo. The general tendency in music lately, seems to be

to see how bad a class of music one may play and how bad an arrangement can be obtained, that is, in some localities, but we are glad to say, this tendency appears only in a very few sections. Recently a program was brought to our attention played by a mandolin orchestra which included en­tirely the same class of music as played at a regular Symphony Concert. How much more interesting for a player and listener to hear such a program than a program of nothing but the cheap class of music. W e also know of an organization which is building

up a library of all of the finest standard concert pieces that are issued by several firms and in the list which we have seen, there is not a single popular number, but most of the overtures, selections and finer concert pieces are included. This orchestra must derive much enjoyment from rehearsing this class of music. Popular music may be alright if used with dis­

cretion, but the indiscriminate playing of a large number of popular numbers on a program without any of the better class, is to be regretted. Last summer the Editor listened to a plectral or­

chestra playing at a summer resort, and while the work of the performers was very fine, with all his experience as a arranger and musician it was im­possible for him to tell when they stopped playing one piece and began another, because they played all one-steps and they all sounded alike. There wasn't enough variety in the eight or ten pieces he heard to form six notes of a diatonic scale. Let us hope that the time is not far distant when

there will be a return to the better class of music than at present played in many places, and let us

(Continued on page 20)

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The CRESCENDO 17

8BQE__3__3E_3_3QQ___3__3___3-_3-__3____3__3Q__3__3___3___383

I m I .program* of Concerts anb iEecttate CO HI (D "An Evening with the Serenaders.7' Second Annual Con­cert under direction of Fred. J. Bacon, at New London, Conn., Jan. 25, 1917. 1. Grand Ensemble—(a) "The Colored Guards" Weidt

(b) Waltz, "Dreaming" Rogers Orchestra of 60 players-Wm. H. Perry, Director

2. Banjo Solos—(a) "Dixie Medley" Arr. Ossman (b) "Darkey's Dream" Lansing Master Harold O'Neill

3. Reading— "Aux Italiens" Owen Meredith Lilian White

4. Mandolin Solos— (a) "Murmuring Brook" Pettine (fe) "Fantasia Romanantico" Pettine Giuseppe Pettine

5. The "Banjo Girls"—(o) "Sunflower Dance" Ossman (fe) "Newport Galop" Jennings

The Misses Portia Wetmore, Charlotte Waller, Hazel Hadley, Ruth Lawson, Mazie Rogers, Florence Chapel

6. (a) "Chain of Daisies" (Waltz) Weidt (6) "Yankee Dandy" (Rag) Weidt

Bulkeley B. M. Club 7. (a) "Impromptu" (Waltz) Frederick P. Latimer

(fe) "Keep Smiling" (Characteristic Rag) Perry Banjo, Mandolin and Guitar Orchestra

W m . H. Perry, Director 8. Reading—"The Race from Black Rock" Ralph Connor

Lilian White 9. Banjo Solos—(a) "Polka di Concert" Glynn

(fe) Medley Familiar Southern Airs. Arr. Bacon Fred J. Bacon

10. Guitar Solos— (a) "Alice, Where Art Thou?" (Transcription) Foden (b) Sextet from "Lucia" Arr. Foden

William Foden 11. (a) "Barcarolle," from Tales of Hoffman. .Offenbach-Odell

(b) "Old Folk Songs" Arr. Bacon Serenaders Orchestra—Wm. Perry, Director

Claudia M. Race, 8 years of age, of Syracuse, N.Y., rendered the following program on the Irish Harp from Jan. 4th to Jan. 13th at the Lyon & Healy Hall, Chicago, III. 1. "Valse Caprice" V. V. Rogers 2. "Lullaby" V. V. Rogers 3. "March of the Marionettes," Dutch Dance 4. "The Alphabet," Handel Air 5. "Gavotte'' V. V. Rogers 6. "Last Rose of Summer," Irish Melody 7. ' 'Kewpies Drill'' V. V. Rogers

Dedicated to Claudia 8 "Die Lorelei" F. Silcher 9. "Minstrel Boy," Irish Melody 10. "America, ' National Air 11. "The Chimes" Roper 12. "Bee March" Melville A. Clark Program given by the Sinfonia Mandolin Orchestra, T.

Tanaka, director, at Tokio, Japan, Nov., 1916. The person­nel of the orchestra is as follows, S. Tanaka, S. Konishi, M. S. Takei, M. Ogasawara, M. K. Takei, H. Takei, T. Iwakura, K. lchikawa. T. Sato, B. Sekine. 1. Mandolin Orchestra-

Overture, "La bella Galatea" Suppe-Billi 2. Guitar Duets— (a) "Arioso" M. Giuliani

(b) "Allegretto" W. A. Mozart Messrs. T. Sato and M. S. Takei

3. Vocal Solo-"Rock'd in the Cradle of the Deep" J. P. Knight Mr. T. Kishida Mrs. M. S. Takei at Piano

4. Mandolin Orchestra— (a) Melody, "Elegy from the Erynnies".. Massenet-Odell (b) "My Heart at Thy Sweet Voice" ... .Saint-Saens-Odell

Cantabile from "Samson et Dalila" 5. Guitar Solos —(a) "Notturno" A. Sarcoli

(fe) "Galop" M. Carcassi Mr. M. S. Takei

6. Mandolin Orchestra-Master Melodies from Famous Light Operas. .Roberts-Odell

7. Mandolin Solo—"Love Song" (Canto d'amore). .C. Munier Mr. T. Tanaka Guitar Accomp. Mr. M. S. Takei

8. Mandolin Orchestra-Gran Fantasia sull'opera "Rigoletto" Verdi-Marucelli

Annual Concert of the Wellesley College Glee and Mandolin Clubs, Feb. 9, at Wellesley, Mass., G. L. Lansing, coach of the instrumental clubs. 1. (a) "Neath the Oaks"

(fe) "Winds in the Trees" Lynes Glee Club

2. March, "On to Plattsburg" Lowe-Odell Mandolin Club

3. (a) "Awake! Awake!" (Serenade) Strauss (b) "In Heather Time" Cox

Glee Club 4. "Aspiration" Smith-Odell

Mandolin Club B. "They Thought" Borch

Sextet-Glee Club 6. "Chanson sans Paroles" Tschaikowsky

Sextet, Mandolin Club 7. (a) "A Southern Hush Song" Lynn

(6) "There Was a Man of Thessaly" Maedougal Dedicated to the Wellesley College Glee Club

Glee Club 8. Popular Medley Arr. Lansing

Mandolin Club 9. "Topical Song"

Glee Club 10. Ukulele Medley Arr. G. L. Lansing

Ukulele Club 11. (a) Medley

(6) "Alma Mater" Glee Club

''The music of the Hawaiians, the moat fascinatin? in the world, is still in m y ears and haunts me sleeping: and waking:." M A R K T W A I N .

A NEW DKDLELE INSTRUCTOR CONTAINS Maui Girl. Ua Like Noa Like. Ka Hola March. Wailana Waltz. Pahana— (Hula Dance). Honolulu March. Street Lei Lcua. One. Two. Three. Four.

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Sunny South Jig. Some Shuffle. Maori Schottische. Lillian Gavotte Price 50 Centt

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Send f orlist of Steels. Thimbles, Ukulele Solos. Ukuleles, Steel-Guitars, etc.

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GUITARISTS W e have a few real German gut strings still on hand. After these are gone you will have trouble getting good strings. W e saw the shortage coming and bought up a lot. They are the real thing, good gauge and strong. The wound strings are the best made. . . . .

1st slrinii gut. 2nd " " . 3rd " " .

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Per Set 6 strings $1.20 Not over 30 of a kind will be sold to any one in one order

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IS The CRESCENDO

o

c

___________P '** B

c

MANDOLINISTS ROUND TABLE Conducted by F. Landry Berthoud

This il, /.artment is especiaUy for Mando­

linists and they may ask questions per­

taining to the mandolin <>r contribute

items. Questions or suggestions tcili receive dne consideration. Address

"Mandolinists C< und Table," mre of Tin < r,•.<!•• nc'o.

c

Mr. AH., Fort Wayne, Ind., sends the following remarks: ' I notice a few words in the January Round Table

concerning getting an orchestra to play softly enough. I should like to drop a word or two which might be oj help—although it is by no means "new wrinkle." It is the very desirable "stunt" some arrangers have of pitching the fi strains an octave higher for certain in­struments (especially the lst mandolins) than the pp passages are. This brings out the desired contrast in power without special effort on the pupils' part, as the high notes are naturally louder than the low register oj an instrument. The writer is a drummer and tympanist and has noted how the violin orchestra arrangements contain bells in pp passages and drums on the repeat of a strain which is to be louder. The result is simply SURE to come. As I said before it is no new stunt, but this is merely a reminder to our arrangers who can come to the rescue if they but will, and help the teachers get more results in pp and ff. Another way is to place several bars rest in certain parts thus compelling that part of the orchestra to "lay out" entirely on pp strains."

W e certainly are pleased to have a reader interest himself sufficiently to write us on a subject like this, and in true Round Table fashion we shall endeavor to give our views on this ff and pp business. Every one of our readers is probably N O T aware

that with certain instruments as the flute, clarinet, etc., it is necessary to increase the pressure, i. e., the wind pressure, as one ascends a scale. The result is that it takes long and wearisome practise to arrive at playing the high notes pp. In fact it is quite dif­ficult to accomplish this end. If therefore a mod­erately good clarinetist were to play a melody in the lower part of his instrument and repeat it an octave higher, it is ten to one that the second time he would play much louder. On the mandolin it takes no more strength to get the high notes than it does to get the lower ones; a mandolinist can play it on the highest register of the mandolin as easily as he can achieve the feat on the lower register. Therefore I wonder if it is not merely brilliancy of tone quality which is confounded with plain dynamics ? Think it over. It is quite possible and very effective to arrange for the mandolin orchestra so that a melody appears on the mandocellos and the first mandolins play merely the harmony, way high up, and as this latter M U S T be a degree more piano than the melody, it follows that were the high notes on the instrument "louder" than the lower ones this sort of arranging would not be indulged in as the effect would be rather blank. The contrast our corres­pondent writes of is one of tone quality rather than power. The illustration of the bells being used the first time and drums and octave higher for the re­

peat is easily accounted for. The bells have a great brightness and on a low melody merely lend that attribute without increase in power. On the repeat, with the entrance of drums however, there is power but great dullness added so that the melody must be hauled out of the mire and either pumped out on the most "forte" instruments or given a different quality which enables it to bite its way out and be heard. Hence it is very effective to place it on the brilliant register of the mandolins. The result IS instantaneous, the CONTRAST is there, BUT—the drums are supplying the power! Really I do not think that there is anything more

possible to be done for the pupil other than to ham­mer the RIGHT and the W R O N G of things into his head. The pupil must exercise his intelligence a little—just a little! He is catered to exclusively al­ready in that all arrangements are worked out— commercial ones at least, and graded to his level. That is to say, graded D O W N ! The average man­dolin orchestra arrangement is so worked out that it can sell and be complete for two mandolins and guitar. Also it must be easily playable so that it can be played without too much trouble by a com­parative beginner. It seems to me that the time has come when a

great effort must be made to turn out more musically well-informed pupils; pupils who realize "getting the notes" is not the E N D to be considered. Making the MUSIC is what counts. For those players who are absolutely unable to play with other players in a club or orchestra or any Ensemble, a lady has offered the following sugges­tion which combined with a little imagination, is a very good one. She reasons out that when playing with other

people, they are not going to wait while you decide where the notes are. No, they go right ahead with their parts so you must "be there too." Well, as a substitute for "other people" try a metronome!

It seems quite in order here to ask our readers to submit theories, ask questions and present discus­sions and arguments Efor the Round Table. What­ever communication is received will be given due consideration. What we cannot answer off-hand we shall study up on—and whatever information we can impart, we shall, with the greatest of pleasure and generously. It is by entering into the spirit of the thing that the Round Table may be made interesting and instructive to our readers; and when one con­siders that you who are now reading these words, are doubtless in possession of some bit of informa­tion that would interest many, many others it is really too bad that you will not let us in on it!

A NECESSITY WITH THE HAWAIIAN STEEL-GUITAR

...The New Fitrite Pick... For use in playing the gruitar with steel in the popular Hawaiian style, or in the ordinary man­ner; and for banjo-playing. The most effective, most durable and neat Pick yet devised.

Made of German silver or nickel-plated brass in medium or heavy gauge as desired. Fits snugly — adjustable to any size fingers—brings out all the tone-effective with all strokes —far superior to anything of the kind now on the market.

Order through your music dealer, or send 50c for sample pair.

Dealers write for quantity rates. Address H A R O L D ORTH.

T H E D E N V E R MUSIC CO., D E N V E R . COLO. THESE PICKS SELL ON SIGHT

The C R E S C E N D O 19

GUITARISTS ROUND TABLE CONDUCTED BY

WILLIAM FODEN Virtuoso, Composer aod 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 consider a llon. A d dress —'' Gu I tarists hou>id Table." cure of The Crescendo.

LOOKING BACKWARD (Continued from February "Crescendo")

• ^ R C H E S T R A L and band instruments always f] interested me. As a boy, I was particularly

fond of the drum. It was m y greatest de­light to watch the drummers in a band or an

orchestra executing the various rolls, flams, drags, etc., and afterwards, try to imitate them on m y own drum. This recalls to mind the time I borrowed a drum

from my father's stock, (when no one was looking). My father owned a variety store and among the thousand and one articles for sale were drums. At the time of which I write, the boys in our neighbor­hood were to have an evening parade and I was to be the chief musician, so just before dusk, I went into the store and selected the best drum in stock and then silently stole out the back way and joined the paraders. The parade got under way with m e at the head of it, drumming for all I was worth, when suddenly someone said to me, "Billy, your mother is coming." I gave one look, passed the drum to the nearest boy and got out of sight as quickly as possible. It appears that the drum was missed from stock and immediately I was suspected of having taken it. W h e n the drum was rescued from the paraders, it was a fit subject for a hospital, for both the batter and snare heads were broken. When I reached home that evening, m y father and I had an argument and I admit that he had the best of it. My first experience in playing a bass drum was

with a brass band and for the first few months, I nearly succeeded in putting the entire band out of time because I persisted in striking between the beats instead of on the beat. This taught m e that it was no easy matter for a novice to play the bass drum, without practise in the proper management of the cymbals and drum-stick. On another occasion I was engaged to play snare

drum for a boat excursion and as we steamed out to the middle of the river, the band struck up a lively quick-step with the bass drummer and myself doing our best to drown the rest of the band and the noise of the boat's steam whistle. Unexpectedly the leader signaled the band to stop playing, but neither the bass drummer nor myself noticed it and we continued drumming until the tuba player shouted, "Hurrah for the field band!" Then we woke up and of course everybody laughed at us. While these little incidents have a humorous side,

they teach us to be watchful and to remember that each member of a band or orchestra is only one part of the whole.

(7# be eontinued)

A. L., LaFayette, Ind. 1. Would it not be well for a person making a

serious study of the guitar, when taking an important composition to practice, to first turn to Carcassi's Guitar Method and thoroughly practise the scales, ca­dences, preludes, etc., of the key in which the composi­tion' is written ? 2. Kindly explain the value and importance of a

full and correct knowledge of the different keys. I have often heard that one should study all the keys but never clearly understood why it is so important.

Answer. 1. A very good question and it answers itself. Most certainly it will be of benefit to review the scales, chords, cadences and preludes in the key of the composition you are practising.

2. In order to have a good knowledge of music or of a musical instrument and to be able to read and play all compositions, it is absolutely necessary to study all the keys, otherwise one is seriously handi­capped. For example, suppose a student is given a piece of music written in the key of A flat and he is not familiar with that key, what is the con­sequence? Manifestly, he will be unable to play it, therefore, be prepared, study all the keys.

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whole music trade. Send tne $1.50 for a vibrator and

if not perfectly satisfied return it and your money will

be refunded.

Also Manufacturer of the universally used

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Circulars and Wholesale Price, on Application

A. D. Grover, 96 Spring St., New York City

FRIVOLEZZA mandolins country.

Guitar and Ukulelt; be

An unquestioned Favorite Char­acteristic of the mandolin and EASY. Sounds good in this combination: 2 lides, teachers are using it all over the

PRICE, 35c NET Prices : M & G, 40c. 2 M & G 50c. M 4 P, 50c. 2 M & P. 60c.

Ukulele part, 30c. Discount _ off.

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" K A - Z O O - Z A - L U M " I 40 Cents A "Raggy-Rag" for tho Cuitar j i off

JAS. H. JOHNSTONE, 428 Academy St., Kalamazoo, Mich.

20 The CRESCENDO

BANJOISTS ROUND TABLE Conducted by

GEORGE L. LANSING and THOMAS J. ARMSTRONG

Eminent Authorities on Matters Banjoistic

This department is especially for Banjoists but anyone may ask questions pertaining

to the banjo or contribute items. Questions or suggestions will receive due con­

sideration. Address "Banjoists Round Table,'''' care of The Crescendo.

LET HARMONY COME IN

By Thos. J. Armstrong

|NE reason for the failure of many excellent melodies is because poor orchestrations and wrong harmony have ruined whatever good qualities the tunes may have. Every in­

stance of this anomaly can be traced back to the young composer who manufactures chords "by ear." Melodic progression is a different proposition from harmonic progression; melody takes every accept­able turn suggested by the ear, but harmony re­quires a safer pilot. In writing down a tune for the principal melody, it is proper, and frequently bene­ficial, to let the ear select all the wanderings and twists that sound nice, and while this plan is tre­mendously attractive it cannot be followed in writing the harmony. Something disagreeable is bound to happen. If the melody itself is not destroyed it be­comes so blurred and weakened by the monotony of sound, that most of its beauty lies hidden behind a network of inharmonious changes. Melodic composition being so extremely simple, it

is not surprising that almost every amateur, having just a slight acquaintance with music, can compose a tune and write it down correctly. It is also true that many people, with no knowledge of music, have composed beautiful melodies, and have had them written by capable harmonists who jot the notes on paper almost as fast as the voice sings them. Thus we see that the laws governing melodic progression, are readily grasped by persons having only a super­ficial knowledge of music. Harmonic composition, however, cannot enter the

student's brain by the ear route. It must be gov­erned and directed, in the various melodic changes, by the beautiful science of harmony; a science that should enter the life of every teacher, composer, performer and student of music; a science which needs no instrument to verify its written word; and a science of which the study can be made a pleasure and a delight. Harmony can be mastered through the mail, its

amiable mandates are revealed in a vast library printed in many languages, and its laws are pre­sented in a popular form in our magazines. The practical treatise on the subject by Mr. I. H. Odell, which this journal recently issued in monthly in­stallments, offered a golden opportunity for the em­bryo composer to familiaize himself with this noble art, and lift his inventive faculties into new fields. He must, however, commence at the beginning, and not the middle, if he wishes to understand the subject. The study of intervals marks the first step along

"harmony road," in fact no progress can be made if

this station is skipped, for the material acquired is carried all through the journey. If left too soon for more tempting places in sight, a trip back becomes imperative. After sojourning here until the surroundings are

permanently fixed, side trips can be undertaken to many places, among which "the triads" offer a solid foothold for that which follows. Their different aspects are easily remembered for, like intervals, they are either major, minor, diminished, or augmented. Then comes chord relation, harmonizing basses,

part-writing, figured bass, open harmony, inversions, counterpoint and other inviting spots lying within the region of "consonant harmony," and lending their help in building a harmonious setting for the melody. No need to hurry here for in this section will be found the basis of the art itself. While working in this field a great light will come

upon the student: he will see before him a variegated outline of "modulation," "dissonance," "suspension," "form," "tonal relation," "orchestration," and many other images which formerly appeared to him as nothing but shadows. He will then realize why a celebrated French teacher called harmony: "The science of discords." On taking up the study of harmony, it is well to

remember that no musical instrument of any kind should be used. The temptation of testing the effect on an instrument becomes almost irresistible, but it only postpones a true conception and proper under­standing of this great study. That harmony is an exact science not dependent on the ear, becomes vividly impressed upon us, when we recall that Beethoven composed his later compositions when he was stone deaf. Those who have gone a little way along harmony

road, sometimes complain of the dullness and seem­ingly contradictions expounded in the average text­book, but on moving further on these conditions dis­appear and the restrictions are fully understood and appreciated. Much time and labor will be saved if the student believes in his book, works out the exercises, skips nothing and avoids experiments that depend on his ear for a guide. EDITORIAL

(Continued from pages)

hope that the teachers in some localities who desire brass band selections played on one lone instrument will have opportunity to hear the finer things and improve their own musical taste and give their pupils the benefit of the improvement. Well ar­ranged, good, popular music may be effectively in­terspersed with the better numbers, but neither should be used entirely without some variation.

The CRESCENDO 21

SECRETARIES ARE REQUESTED

TO SEND IN NOTICES FOR THIS

DEPARTMENT.

N E W YORK C. L. Spaulding, Secantreas, 118 Bushwirk Ave.,

Brooklyn, N. Y. At the annual election of officers, the following were chosen for the Advisory Board: F. Landry Berthoud, W m . Ed. Fos­ter, W m . D. Kenneth, William Lange, Charles Link and Dr. James H. Stebbins, Jr., with Clifford L. Spaulding, Secan­treas. The Board meets regularly the first Serenade of each month. Any Serenader in good standing is welcome to attend and present plans for the welfare of the Society. For the next few Serenades, members of the Board will

act as C. S's and a series of Special Serenades will be given. February 18th Serenade, Mr. Cohen, C. S. He presented a

very fine program to a large audience that included a great many new guests. W e are sorry not to have a copy of Mr. Cohen's program to submit. If the players of the society had turned out and taken part in as great numbers as those who came to hear them, this would have been one of the most enthusiastic evenings on record. The first Serenade of February was held at the Cafe

Boulevard, preceded by the sixth annual dinner under the committeeship of Messrs. Haniquet, Lange and Berthoud. Several innovations were noticed. While the guests arrived, music was furnished by a "cabaret" orchestra which earned lots of applause and compliments. The tables, seating eight, were mostly reserved in advance. Among those who had in­vited guests and tables engaged were Mr. and Mrs. DeWick, Mr. and Mrs. Grindle, Mr. and Mrs. White, Mrs. Dalgleish, Mr. Haniquet and Mr. Lange, Mr. Burch and Mr. Siegel, Mr. Arthur Redfern, Mr. and Miss Spaulding, Mr. and Mrs. Berthoud, the Orchestra Board. Among the out-of-town guests were Tom Sawyer, of Cincinnati and Messrs. Knipfer and Morrison of the Hartford, as well as the N e w York Serenaders. One of the advantages of belonging to an amateur organi­

zation like the Serenaders is that one has the opportunity of knowing some very celebrated people in lines other than music. For instance, the trap player and drummer of the Serenaders' Orchestra, Mr. B. M. Fairbank, is also well known as an artist whose drawings and cartoons appear regularly in the daily papers, Life, Puck, etc. The very clever dinner cards which adorned each place were designed by Mr. Fairbank especially for this occasion. They were cut out sketches in color, cartooning the principle instruments of the orchestra. The bowl mandolin became an aeroplane through the addition of certain notes and musical insignia. Likewise the tympany was a huge cook's cauldron with the cook himself perched upon the rim. The ukulele, through the artist's magical touch, became an Hawaiian dancing girl; the guitar, a stunning Spanish troubadour; the drum, with the aid of its own drumsticks for legs, was "beating it;" an awful, frightful looking bug turned out to be the banjo; and best of all was the little gentleman of the Irish Harp in gay costume. The friends of Mr. Fairbank were delighted to re­ceive one of his sketches and the dinner committee may in­deed congratulate themselves on having given (at this era of pinnacle prices) a delicious dinner, a fine program and the most expensive souvenirs, all for one dollar and a half.

B O S T O N H. F. Odell, Secantreas, 165 Tremont St., Boston

34th Serenade, March 6th, A. C, Sherman, Jr., C. S. The G. E. played six numbers under the direction of H. E. Pendleton. Serenaders' Sextet played "Plectrio March" (Johnstone), Miss Gladys Moore played mando-cello solo "Tarantella" (Squires), Dr. Reuben Haskins rendered humor­ous songs, Miss Helen Arnold played two cornet solos, Mrs. Annie Lee sang soprano solo, "Love Has Wings" (Rogers), a Trio, (The Misses Moore and Mr. Sherman), played "Bolero" (Moskowski) and later played a ukulele, steel-guitar and regular trio, Mr. Edw. Belnoit, of N e w Bedford, played banjo solo, "Florida Rag" and several numbers introducing the old style thimble playing. John E. Russell, of N e w Bedford,

sang negro folk-songs with banjo accompaniment, Miss Bessie Edelstein gave readings, and the program concluded with the "Meteor March" by a Septet. A printed program was fur­nished by Mr. Sherman very tastefully arranged. It was one of the most "classy" Serenades of the season.

PROVIDENCE

Walter F. Burke, Secantreas, 911 Westminster St., Providence, R. I.

February 2nd Serenade, Walter Burke, C. S. The G. E. played "Persian Princess Overture" (Armstrong), "Sextet Lucia," "Love's Old Sweet Song" (Molloy-Odell), "Lady Dainty" and "Crescendo March" (Odell). Mr. Charles Grif­fin gave a "Lecture on Patent Medicines," Walter Burke played ukulele solo with Mrs. Mabel Kumph at the piano, Jas. H. Chase sang "Old Hawaiian Home" (Burke), accom­panied by a steel-guitar trio, namely Walter Burke, Mrs. Carrie Ceharest and Miss M. W . Young. Joseph Morgigno played violin solo, "Meditation" from "Thais" (Massanett), Jas. Chase played banjo solo, "Puss In The Corner" (Chase), accompanied by Mr. Burke on the guitar.

February 16th Serenade, Miss Marjorie Young, C. S. The G. E. played several numbers among them being "Darkey's Dream" (Lansing), "Ballet Des Fleus" (Morse), "Pearls" (Moret-Odell), "Lady Dainty" (Odell) and "Prize Winner" (Tocaben). The Mowbray Trio, J. W . Mowbray, Master John and Miss Helen Mowbray played "Danse di Cupid" (Odell) and "Alpine Rose" (Lincoln), Walter Burke played ukulele solo, "Mauna Loa," accompanied by Miss M. W . Young, on the steel-guitar, Louis L. Roberts sang "Who Knows," Miss Marion Abbott played piano solo, "Gay Butterfly" (Gregh), a selection for two mandolins and guitar played "Street Parade March" and "Morning Glory Waltz," and Miss Dorothy M. Hazard sang two songs, accompanied by Miss M. B. Abbott.

HARTFORD, CONN. W. C. Knipfer, Secretary and Musical Director, 118 Asylum St. The Hartford Serenaders was organized January 2, 1917, with 20 members. W. C. Knipfer was elected Secretary and Musical Director and J. W . Morrison, Treasurer. They meet every Tuesday at the above address. At the first Serenade held February 13th at Ives' Hall, there were about 75 present.

The Serenaders' Club played "Come Back To Arizona" and "A Little Bit of Ireland," "They Called It Dixieland" and "My Dreamy China Lady," and "Sail On To Ceylon" and "At The Minstrels." A banjo club played "Colored Guard" and "Red Rover," a trio, composed of lst mandolin, Mrs. H. Holly, 2nd mandolin, H. Pease and guitar accompaniment, W . C. Knipfer, played Selection from "William Tell." After the concert program was finished, dancing was enjoyed, with music furnished by the Serenaders' Dance Quartet.

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STEPHEN SHEPARD, 520 East 18th St., paterson, N J.

22 The CRESCENDO MlillliM

L Y O N & H E A L Y OWN-MAKE MANDOLIN

The Finest Mandolin Tone Yet Produced

This is the crowning achievement of our long career as mandolin makers. Observe these important features:

1. Violin Arched Back and Top 2. Compensating Tailpiece and Bridge 3. Scientific Scale

Also many other refinements are to be found in our "Own-Make." You owe it to yourself to hear it and test it.

MANDOLINS Style A With Scroll Head Style B Style C

M A N D O L A S $100.00 Net Style A With Scroll Head 75.00 Net MANDOCELLOS 50.00 Net Style A

$125.00 Net

$150.00 Net

Sold on easy monthly payments. Send for descriptive cata­log, illustrated with colored photographs of the instruments.

L Y O N & HEALY, 52-65 Jackson Blvd., Chicago H__H

STUDY

MANDOLIN WITH

Samuel Siegel World's Greatest

GUITAR, UNDER Wm. Foden BANJO, VIOLIN, HARMONY,

UNDER

GREAT MASTER MUSICIANS, IN THE QUIET OF YOUR OWN HOME HAWAIIAN STEEL GUITAR AND UKULELE

LESSONS ALSO GIVEN

An OUNCE of proof is worth a POUND ot promise. We have a solid wall of proof from graduate students. Better still—we will submit sample lessons for inspection without cost.

Siegel~77fi/ers School of 97/usic CLARENCE EDDY, DEAN

2716 SIEGEL-MYERS BLDG. CHICAGO, ILL.

FOR MANDOLIN AND BANJO CLUBS

Wfyt Jflost popular MANDOLIN DANCE FOLIO Noio published for Mandolin Solo,

Banjo Solo, 2nd Mandolin, Tenor .Mandola. Piccolo Mando. Mando-Cello, Mando-Bass, Harp Accom­paniment, Guitar Accompaniment, Piano Accompaniment, Cornetad lib. Cello ad lib, Flute ad lib.

CONTENTS INCLUDE Artist Life — Barcarolle—Cii ibiribin —

Love's Dreamland—Over the Waves—

A Waltz Dream —'A Frangesa -The Merry Widow—Return of

the Troops-With the Crowd — L a Favorita—College Days—

Ballroom Strains —Faust Up-to-Date—Dancing in the Barn —

Under the Double Eagle—L'Esprit Francais—One Heart, One

Mind - Plantation Christening Under the Chestnut Tree-

Medley—Jolly Brothers—Amorosa—Danza Habanera—In Old

Madrid —First Heart Throbs—Ox Minuet.

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

HINDS, HAYDEN & ELDREDGE, Inc., Publishers Formerly Hinds, Noble & Eldredge

11-15 Union Sq., West, NEW YORK

SAY. "I SAW YOUR AD IN CRESCENDO"

The CRESCENDO 28

•• TWO JMOBE QUERIES?? 1, Addressed to Harpists and Teachers Do you realize the opportunity

for gaining additional pupils

through acquaintance with the

mandolin orchestra director of

your vicinity?

Shall we give you details of

what other Harpists are doing

in mandolin orchestras? Shall

we write you a letter of intro­

duction to the orchestra director

near you?

2. Addressed to Orchestra Directors Do you appreciate the advantage to your organiza­

tion that comes by using the Clark Irish Harp?

This Harp supplies the heretofore missing tone

quality in the plectral ensemble; it satisfies the

desire of the idealist. Shall we tell you our prop­

osition, so that you can include a Clark Irish Harp

in your orchestra ?

j CLARK HARP MFG, CO., SYRACUSE,INN. SY_

HARPISTS ROUND TABLE (Continued jrom page 5)

masses—it is portable, so can be carried by the masses—it is easy to learn, so can be played by the masses. It is the harp of the ages so it belongs to the masses.

It does not detract from the large concert harp, but on the contrary it enables one who learns this harp to easily become a proficient player upon the large one and therefore marks an epoch in the harp his­tory of the world, because it will enable the masses to know harp music as they know the violin and piano. Explanation of Tuning Irish Harp in E Flat

By J. Russell Paine, Sec. and Treas., Clark Harp Mfg. Co. For advanced solo work or accompaniment, as well

as for orchestra work the Clark Irish Harp is satis­factorily tuned in a manner usually termed the E flat method. That is: when the Harp is in "open string" having all the semi-tone levers in a vertical relation to the strings, the Harp is tuned so that it is in E flat (3 flats, B, E, and A ) with the E string corresponding in pitch to E flat. It is easily under­stood that if a person wishes to play in B flat (2 flats) he must eliminate the third flat (A). This is done by turning each "A" lever against each "A" string, producing "A" natural throughout. For key of "F," both the "A" and " E " flats must be elimin­ated in a like manner. In the key of " C " natural '"B," "E" and "A" flat must all be eliminated. The Harp may be tuned in the " E " flat method

easily by first turning all the B, E, and A levers against the strings and then tuning the Harp in natural key of C. By turning all the B, E, and A levers away from the strings the key of E flat is obtained. The Clark Irish Harp has eight major keys, in

which it can be played without using the tuning key, merely by lever changes, i. e.:

The flat keys of F. B, and E. Key of C natural (B, E, and A levers turned against strings). The sharp keys of G, D, A, and E.

For the sharp keys the levers of the signature of the composition are turned after first placing the Harp in the key of C natural, by turning B, E, and A levers against the strings; for instance in the key of G all of the F levers are turned against the strings. In turning the levers, the player should first turn

those in the bass proceeding toward the treble in a systematic manner. If the Harp is in " E " flat and the selection to be played is written in "C" natural—the correct method of changing to this key is to turn each "A" lever, then each " E " lever and finally each "B" lever, always turning first that lever with the lowest bass corresponding string.

Harpists and teachers should take note of the fol­lowing opportunity to be listed in the 1917-1918 Musical Blue Book of America. The editors are in­terested in securing names of all harpists or teachers. There is no obligation in writing for the information

form so that you can then send data about your work. In filling the form in, if you teach both Harps, we suggest you mention that instruction is given both on concert grand and Irish Harp. The furm is secured by writing to the Musical Blue

Book Corporation, 105 W . 40th St., N e w York City.

Kamiki Ukulele Method This is the most popular book of the entire KAMIKI line;

professionals and amateurs swear by it. It contains in clear,

pithy language complete instruction for playing the ukulele,

both by note and diagram method. Its new enlarged edition

contains several first-class solos and many beautiful chords

that are found in no other book. The "Kamiki R a g " alone

is worth the price of the book. Price 50 cents

KAMIKI HAWAIIAN GUITAR METHOD This excellent, thorough instruction book contains many new pieces, es­

pecially arranged, as well as many of the old standbys. The pages devoted to instruction are amply illustrated with clear, explanatory photographs; the rudiments of music are explained to make easy the performance of all the pieces, which are written in musical notation. This book is a boon to both teachers and pupils. Price 50 cents

SONGS FOR THE UKULELE Here it is at last! A bully collection of Hawaiian. Neapolitan and American

songs written for voice, mandolin or violin with Ukulele accompaniment, Written in musical notation, but every chord is marked with its correct title. and its position explained in a simple diagram in the front of the book. This diagram iB the best teacher of chords to the beginner and useful for reference even to an experienced player. Many songs in this collection are splendidly adapted to part singing, and should be universally popular with Glee and Mandolin Clubs. Brand new Hawaiian rags, love-sonars and lullabys should make this a good buy for any one interested in Hawaiian music. Price $1.00

UKULELE SOLOS-Sheet Form INDIAN DANCE by Wm. J. Smith. Snap! Rhythm! Time! All rolled in one in this excellent composition. At present there are very few playable solos written for the Ukulele, but even if there were a thousand, this piece would rank up at the top.

Price 40 cent; \ off AT THE PLAZA by W. T. Kitchener. When a musician of Mr. Kitchener's ability sets out to create a composition, you can be sure that the work will be the last word in excellence—and this composition is. Price 40 cent; \ off

OH, THAT MODULATION UKULELE RAG by Harry J. Clarke. A rag-time solo for the Ukulele—brilliant in syncopation and rich in chord modulation. Catchy. Full of pep. Bound to make a hit.

Price 40 cents. J off

WM. J. SMITH & CO., 56 E. 34th St., New York

The CRESCENDO

ORIGINAL HAWAIIAN METHOD

i Kia STEEL-GUITAR $1 IOO I KlEl UKULELE $1 .00 jj || UkuleleSolosandHawailanSongsArr.byCeo.Kla50c.net tj

Liberal Discounts to Teachers

|| R. W. HEFFELFINGER, Publisher : LOS ANGELES, CALIFORNIA ||

SELECTED COMPOSITIONS FOR THE HAWAIIAN

STEEL-GUITAR AND UKULELE Arrangements by C S. D E L A N O

STEEL-GUITAR Aloha Oe, Hawaiian Farewell Song .40

Street Luana, Hawaiian Song.. ( r Honolulu Pakika " " .. i bu

f,a Paloma fiO

La Golondrina ) One, Two, Three, Four J .60 j Hawaiian Song

Discount "4 off list price. Music sent postpaid, cash to accompany all orders Backed up with our guarantee of ''Monet/ back, if not entirely satisfactory.'' Vou take no chances in ordering any or all of them. Anyway, Mr. DeLano's connection as arranger is a sufficient guarantee for the merit of each ndividual number. A D D R E S S A L L O R D E R S T O

W. A. QUINCKE & CO., ^^flgggftg*-OR H. F. ODELL & CO.. 165 Tremont St.. Boston, Mass.

UKULELE A loha Oe (Farewell To Thee) 40

Sweet Luana Voice and Ukulele 40

One, Two, Three, Four Solo 40

One, Two, Three, Four Voice and Ukulele 40

WILLIAM FODEN Guitarist

562 WEST 173D STREET New York City

If you are looking for Good Music, send for these at once

DAINTY BUTTERFLY AND LEAGUE "E" INTERMEZZO MARCH AND TWO-STEP

Good as Teaching Pieces and Excellent for Concert. Sure to Bring Instant Applause.

PRICES: Solo Mand.. 15c; Mand. and Guitar, 20c; 2 Mand. and Guitar, 25c; Solo Mand. and Piano Acc, 25c; 2 Mand. and Piano Acc, 30c. Net. Published by WILLIAM LANGE 2237 Eighth Ave., New York, N. Y.

GRETSCH Hawaiian Steel Guitars and Ukuleles Tango Mandolins and Cello Banjos are acquiring a reputation from coast to coast

Catalog Upon Request

F R E D GRETSCH MFG. CO. 60 Broadway. Brooklyn, N. Y.

We

FREE TO BANJOISTS! • fill want *he best possible solos you can get hold of M- " 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 we pay the very best price Will you allow ui 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 E L E V E N C H A R M I N G BANJO SOLOS in A notation, together with particulars of many other delightful issues.

W e feel confident that, when you have tried over these solos, you will recommend our firm.

All our A notation solos have the C notation printed on the back of each copy.

Write now to CLIFFORD ESSEX CO.

15a Grafton St.. Bond St. LONDON, ENGLAND

Y OU don't need a STRONG A R M to play the Banjo with a pick, but to

play it properly you need

Armstrong's "Plectrum School for Banjo" O "C" Notation Published by

• Price 50c. net. WM. H. ALBRECHT, 6138 Ludlow St., PHILADELPHIA, PA.

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

:ss=ss=ss==s=^ $s====ss« MANDOLIN Carl Fischer

Scotch Lullaby von Kunits-Arr. Odell, E. Two Mandolins and Piano 60c

A most charming little, short, sweet number in full man­dolin orchestra, also especially good for teaching. Very easy. Slow 6-8 time. Key of C throughout. Immense parts for all instrumments, especially good mando-cello part. Master Melodies from Famous Light Operas

Chas. J. Roberts-Arr. Odell, M. Mandolin and Piano 90c

Another very desirable medley and the only one introducing the old standard light operas. Arranged for full mandolin orchestra, also regular orchestra in the same keys. One of Mr. Odell's best medleys. Introduces excerpts from the "Mikado," "Fatinitza," "Beggar Student," "Boccacio," "Gypsy Baron," "The Bat," "The Merry War," "Poor Jonathan," "Chimes of Normandy," and others. Especially fine concert number.

W m . C. Stahl Royal Cavalier March Wm. C. Stahl, E.

Mandolin and Piano 50c Another one of Mr. Stahl's easy marches which are so

effective in full mandolin orchestra or for teaching. Keys of D and G. Bright, snappy, with good melodies. Glendale March Chas. Brunover, M.

Mandolin Duo 40c A bright number in march style. Keys of C and F. Intro­

duces some few easy chords and some double stops. Southern King March Chas. Brunover, M.

Mandolin Duo 40c A good 6-8 march movement in the keys of C and F. Intro­

duces chords and double stops and several single note runs. Very pretty trio. Regrets Guy Cameron, M.

Mandolin Duo 40c An exceptionally good duo in the trio and quarto styles.

Key of D throughout. By a new composer who lives way up in Alaska. Pretty melodies. Good harmonies. Stephen Shepard The Recall March W. D. Moyer, M.

Mandolin Duo 40c A march for one mandolin in the duo style. Key of G

and C. A brilliant little number. Very effective for teaching or concert. Twilight Dreams Chas. Brunover, E.

Mandolin and Piano 50c A very easy, melodious waltz all in the first position. Pub­

lished for full mandolin orchestra. Excellent for beginners or young clubs.

Frank Littig Buckles Walter Isham. M.

Mandolin and Guitar 30c A ragtime number with full chords but not difficult. They

lie right under the fingers. Something going on every minute all through the piece. Also published in the same key as steel-guitar and ukulele accompaniment. Decidedly novel and quite effective.

Among The Bent Mandolin Solos ever written. "INVOCATION," 60c-' "WILD DAISY," 60c, "AME VOLTIGEUSh," 40c. by S. CAMBRIA' stand pre-eminently.

By the way

"INVOCATION u ANILEDA'

tt will be played by MR. C A M B R I A

at this convention.

tt That Brilliant Spanish Waltz. The delight of all who have heard or played It. It is the Best Little Waltz Ever Written for the Mandolin.

Have You Your Copy ? PRICES : lst M., 40c, 2nd M., 20c. G. Acc, 40c, P. Acc, 50c, T.M., 30c; other parts. 30c, each. C A T A L O G FREE. DISCOUNT H A L F OFF.

The Messina Music Co., 253 West 112th St., N. Y.

i a

The C R E S C E N D O

/. O D E L L SPECIAL STRINGS .*.

MANDOLIN - GUITAR - BANJO— UKDLELE True, strong, right gauge. Gut strings are real German (only a few on the market). Buy now while you can get them. Good strings are scarce,but we have a good supply.

Set 50c. Assorted doi. 60e. Set SOc. Assorted doz. Sl.OO Set S 1 .*_0 Assorted doz. S2.4O Set Sl.OO Assorted doz. S2.40

H. F. ODELL & CO., 165 Tremont Street, BOSTON, MASS.

MANDOLIN, BANJO. GUITAKi UKULELEi

Do Business by Mail It*, profitable, wilh accurate lists of prospects. Oi

contains vital information on Mail Advertising. Also intity on 6.000 national mailing lists, 9 9 % guaranteed.

al Mfrs. Cheese Box Mfrs. Shoe Retailers Auto Owners

""Trite for this

Axle Grease Mfrs. luable reference book. oples of Facsimile Lett

Fish Hook Mfrs. Also prices and

Ross-Gould. 1001 Olive Street. St. Louis

Ross-Gould _ .Mailing

S*. Louis f-i f-

j CRESCENDO AGENTS j j WHERE THE CRESCENDO CAN ALWAYS BE OBTAINED j

Boston, Mass.

Brockton, Mass. Chicago, 111.

Cleveland, Ohio Hartford, Conn. Los Angeles, Cal.

New York, N. Y. Oakland, Cal. Philadelphia, Pa. Pittsburg, Pa.

San Francisco, Cal. Seattle, Wash. Sioux City, Iowa Syracuse, N. Y. York, Pa. London, Ont.. Can.

Christchurch, N. Z. Lechhausen, Aug.,Ger Gothenburg, Sweden London, England Para, Sur., D. Guiana Sydney, N. S. Wales Wellington, N. Z.

Vega & Fairbanks Co. Oliver Ditson Co. New Eng. News Co. G. L. Lansing Brockton Mus. Ins. Co. Lyon & Healy Claud C. Rowden McMillin & Son Co. Farris Music Store Lindsey Mus. Co. So. Cal. Music Co. C. H. Ditson & Co. Jos. Wright Jacob Nelson H. A. Becker Volkwein Bros. Alice Kellar-Fox Paul Goerner C. A. Templeman Rose Fritz Rogers Warren N. Dean Thos. J. Shuter

FOREIGN Louis W . Bloy . F. Sprenzinger G. Gerhard O h m Clifford Essex Co. J. A. Hoyte Walter J. Stent J. G. Turner

62 Sudbury St. 150 Tremont St. 93 Arch St. 170A Tremont St. 133 Main St. Adams St. 1022 Masonic Tem. 2060 E. 9th St. 173 Asylum St. 416 S. B'way 332 S. B'way 8-12 E. 34th St. 345 Albany Bldg. 329 Titan St. 601 E. Ohio St. 516 Smithfield St. 62 Baker St. 307 Eilers Bldg. 3713 Orleans Ave. 114 E. Fayette St. 752 E. Mason St. 470 Dundas St. 23 Ingles Bldg.

Wallgatan 27 15a Grafton St. 160 Pontewerf St. 19 Hunter St. 83 Kent Ter.

Back Numbers of the CRESCENDO

Vol. Vol. Vol. Vol. Vol. Vol. Vol.

I.-II.-III. IV. V. --VI. VII.

O N L Y A F E W LEFT 9 NUMBERS CONTAINING $18 WORTH OF MUSIC 8 NUMBERS CONTAINING $16 WORTH OF MUSIC 5 NUMBERS CONTAINING

•• OVER $10 WORTH OF MUSIC 11 NUMBERS CONTAINING

•• $20 WORTH OF MUSIC 7 NUMBERS CONTAINING $14 WORTH OF MUSIC 5 NUMBERS CONTAINING

•• $10 WORTH OF MUSIC 12 NUMBERS CONTAINING

• $25 WORTH OF MUSIC

50c. 40c. 25c. 50c. 35c. 25c. 60c.

SINGLE NUMBERS 10 CENTS LESS THAN 15 SETS STILL UNSOLD IN EACH VOLUME. MAKE YOUR FILES COMPLETE AND ORDER BACK NUMBERS DESIRED.

LINER AD. DEPARTMENT Advertisements inserted here for 25 cts. a line, each inser­tion. Cash with order. Not less than three lines nor mor* than 8 lines accepted.

H A R M O N Y L E S S O N S B Y M A I L — A practical course by a musician of m a n y years' experience and a member for years of Gilmore's Band. From start to finish m y instruction is easily understood. W h e n you get through you will actually have something of value. I. H . O D E L L . 165 Tremont St., Boston, Mass

SEND 10 CTS. for an Odell Genuine Tortoise Shell Mandolin Pick. Won't chip. won't break. Produces a clear tone. H. F. O D E L L & CO.. 16B Tremont Street, Boston. Mass.

FOR SALE-$100 Style F4 Gibson Mandolin, with black leather case. Perfect aa to varnish and in every other way. This fine instrument haB a beautiful tone. and plays exceptionally easy. $45.00. Write W . J. M O W B R A Y , Box 613. Providence, R. I.

ADVERTISE HERE D. Acker says: —"My Liner Ad in Crescendo paid O. K. Th« Crescendo arrived Thursday, and the order with $2 came Friday."

H. Spahr, Jersey City, N. J.—"Am well satisfied with Liner Ad department. Sold two instruments to two very pleased customers."

Chas. J. Glaubit says:—"I think advertising in The Crescendo It great; I have received so many answers. It travels so far and reaUy gives you good value for little money."

C. A. Templeman says:—"Received three replies to my ad in last Crescendo before I received the paper, and sold all the Instru­ments I offered for sale."

TENOR BANJO METHOD H O W TO PLAY AND READ

Tells All About It = = ^ = Just Out S1.00 POSTPAID

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

OVER 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 1—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.

Myrtle Stumpf, Los Angeles, Cal.:

"Having used metkod for years, I never thought of anything else. One day I vtas asked to look at your books. To be really slangy, although most emphatic, I 'had a fit' over them. They surely fill the aivjul vacancy along the lines of mandolin study. I U M the Odell method exclusively now.''

Four Books, each 75c. Complete, $3.00

LIBERAL DISCOUNT TO T E A C H E R S

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 1 MENTION CRESCENDO WHEN YOU WRITE AN ADVERTISES

The CRESCENDO

>••••••••••••••••••••••••••••»•••••»••••••••»••••••

HARP SOLOS By Eminent Composers

Tempo di Polacca Domenico Sodero $ .75 Paraphrase on "The Sweetest Story

Ever Told" A. F. Pinto .60 Transcription on "Annie Laurie".. .John Cheshire .50 Spring Song Mendelssohn .50

Arranged by John Cheshire Joyous Spring John Cheshire .50 Ecstasy John Cheshire .50 Twilight Murmurs John Cheshire .50 Fedora Gavotte Francis J. Lapitino .60 Transcription on "Alice Where Art

Thou " Francis J. Lapitino .50 Discount 50 Per Cent.

MOONLIGHT FANCIES WALTZ T. H. R O L L I N S O N

Delightfully Melodious and Rather Easy . . .

lst Mandolin .40 Guitar .40 Piano Accom. .40

Mandolin and Piano . 70 Two Mandolins and Piano . 90

Guitar and Piano . 70 Two Guitars and Piano .90

Flute and Cello 20 cents each Other Parts 30 cents each Discount 50 per cent.

ON TO PLATTSBURG M A R C H

By HERBERT W. LOWE With vocal refrain (ad lib.) in the last strain

FOR BANJO SOLO In C and A Notation

Arranged by GEO. L. L A N S I N G

Price Net 20 cent*

W e shall issue two fine numbers for the Mandolin Orchestra next month

THE DANCER OF BAGDAD Otto Langey PARADE OF THE MANIKINS Rudolf Wagner

Watch for the AD.

EMPIRE GUITARS DITSON

QUALITY

Prices

$15.00 to

$75.00

EMPIRE Mandolins

DITSON PERFECTION

Prices

$15.00 to $100.00

UKULELES

UKULELES American Made

Prices . . $5.00 to $10.00

UKULELES Hawaiian Professional

Prices . . . $15.00 to $25.00 American Made

UKULELES Genuine Hawaiian

Prices . . $8.00 to $12.00

MANDORES Ditson Beauty

Prices . . . $8.00 to $15.00

COLE BANJOS PROFESSIONAL

MODELS

Prices

$12.00

to $50.00

Fine Quality Strings and Supplies

Music Satchels Music Stands Repairing Skillfully Executed

OLIVER DITSON COMPANY 150 Tremont Street, Boston, Mass.

CHAS. H. DITSON & CO. 8-10-12 East 34th Street, New York, N. Y.

Catalogs Mailed Free Instruments Carefully Tested Before Shipment

Banjo

Mandolins

ORCHESTRA FAVORITE

Prices

$12.00 to $40.00

SAW TOUR AD IN CRBSCSNDO"