The Crescendo i

NEW NEW NEW Not Arrangements of, Nor Adaptations To, But Compositions for String Trio String Quartet

PETIT QUATUOR By Wm. Place, Jr. HABANEPA— A Mexican Dance Ey Myron A. Bickford BALLABILE CAPFRICCIOSO By Myron A. Bickford

Each Mandolin 25c. Tenor Mandola 25c. Mandocello ..25c. Complete 60c.

lst Mandolin 40c. Tenor Mandola. .30c.

Complete.

2nd Mandol'n. Mando-c. llo . ...Sl.OO

:0c. 30c.

O N E - H A L F OFF. The first String Trios and Quartet ccmposed for the Mandolin family of instruments and published in America.

IN UNIVERSAL NOTATION ABSOLUTE PITCH.

BOEHM'5 JUST FROM THE PRESS

METHOD FOR THE MANDOBASS Genius Has Extended Its Domain.

Concise, definite, compact, comprehensive, modern, progressive and practical.

The Only Mando=Bass Instructor Published.

SCALES—All keys, major and minor.

EXERCISES—All keys, major and minor.

F I N G E R I N G — A l l keys, major and minor.

Where the fingering is optional, both methods are indicated. N o echo is this book. N o mumbles of double-bass methods.

It's a learned work, warm in the lore of a musician who has seen double-bass methods accepted so long that some good musicians have become immune to reason, progress, and self-evident truths of .Mando-bass fingering and notation.

A manly furtherance to art. A manly resistance to musical effeminacy. He weaves cloth—not cobweb, makes practical—not theoret­

ical, and both teacher and student soon learn he's aimed and ful­filled a high and swift achievement for even him uneasy from doubts of Mando-bass mastery.

The followers of Mr. Precedent have been taking him up

C O N T A I N S

with a sponge since Walter A. Progress put his foot on him, for Sanity and C o m m o n Sense have walked hand in hand with Pro­gress, with Reason leading the way. Rashness was side-stepped, Caprice not introduced, and the author—the scholar of m a r k — not edited out of recognition of his work.

P U B L I S H E D IN U N I V E R S A L N O T A T I O N

Price, net $1.00. (Discount to the Trade and Profession) _

Write for Free Catalog that gives the W H Y of the "GIB-' S O N " construction; Free Thematic List; Free Booklet entitled, " H o w to Practice, W h e n and W h y , Psychologically considered." "Gibson instruments from 5c to 16 2-3c a day.

If a Teacher, do business on our capital. Stock furnished. W e help sell. W e pay the advertising. You pay for goods when sold. Return goods not sold. Try our "STILL H U N T . "

GIBSON MANDOLIN-GUITAR CO., 505 Harrison Court, Kalamazoo, Mich., U.S.A.

For Mandolin, Guitar and Banjo Clubs.

Silver Threads Among the Gold MY CREOLE SUE. LOVELAND IS CALLING. 1st Mandolin (Solo Guitar or Solo Banjo). . . . each $ .16

2 Mandolins (2 Guitars or 2 Banjos) " .20 Mandolin and Guitar (or Banjo) " .20 Mandolin (Guitar or Banjo) and Piano " .30 2 Mandolins and Guitar (or Banio) " .26 Piano Accompaniment " .16 Mandola, Mando-Cello and Flute " .16

CONSERVATORY nETHODS for the Guitar. Price $1.50.

Dear Sir:—I must compliment you for the very good method for Guitar you have published and will say it is the best method for Guitar printed in America. I give you this testimony because there are hardly any good methods for guitar. Yours very respectfully.

CARL W. F. JANSEN.

HAfllLTON S. GORDON, 141 W. 36th St., New York

WM. PLACE, Jr. Mandolinist

Concerts Recitals

E. STUART ROSS at the Piano

HARSHALL B. MARTIN, Hanager

29 WEYBOSSET STREET PROVIDENCE, R. I.

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copies of sheet music or 8 books. Size 14^ x 11 x 2 4 inches.

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free from dust, and is a decided ornament on your shelf, piano,

table or counter. Will wear for years.

P R I P F ^ Single Box 50 cts. By mall 65cts. Per Doz. 4.50. * ' M V / l - O Sent in special light weight pasteboard crate, E F " Special Discounts to Teachers or Dealers in Dozen or Half Dozen Lots.

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MENTION CRESCENDO

2 The Crescendo

CROAK - CROAK They say that the frogs along the Wind Creek have taken to standing on their hind legs to improve their low tones! That the crabs are using their claws as resonance chambers, with front and back boards! That even the Kansas grass-hoppers who pass that way tune up to flat backed instruments!

Well, if you want a flat back mandolin that sounds as fine as the Neapolitan Model, we'll give it to you. W e don't think any zoologist would undertake to substitute the thrush's trill for the frogs' croaks and we don't model our flat-back Mandolin on the violin plan. But we'll gamble you'll Like the sweet resonant tone of our flat "English Model" much better than the noisy jangle of any "violin plan" mandolin ever made.

W e make violins, too! Fine Ones! But we don't mix the families indiscriminately.

Harp and Harp-guitars too, are specialties of the Stahl shop. Finer never were dreamt of.

And as to genuinely genuine Plectrum Orchestra or Club Instrumentation, well! There's

The STAHL MANDO-CELLOS and MANDO-BASSES and TENOR-MANDOLAS which, with STAHL MANDOLINS, give you a plectrum quartette you can double to your heart's content, for any size organization and get ensemble effects that for richness, vim, color and harmony vie with the bowed quartette and encompass all the chamber music and serious music ever composed.

Then, there's the STAHL GUITARS and STAHL W O O D - R I M M E D BANJOS, they speak for themselves.

COMPLETE CATALOG OF PLECTRUM INSTRUMENTS, each of which has the suppliant resonance of REAL plectrum music, wbich will be mailed free to any address.

TEACHERS:—Make us your headquarters for Student, Club and Orchestra supplies and music. We make the business side of the teaching profession profitable and make the artistic side an assured success. Let us take these matters up together.

DO YOU RECEIVE THEMATICS FROM US REGULARLY? If not, send in your name and get them. Nearly every month we issue a round dozen arrangements of new or classical numbers for all instruments and all combinations. The most popular publications for dealers, or teachers are Stahl issues. Our catalog of duos is the largest in the World and growing monthly. If you've an eye to your own future and the real future of the plectrum instruments, by all means get in touch with Stahl Instruments and music. Keep out of the by paths!

WIS/1. C STAHL Manufacturer and pubiishtr 211 Grand Avenue, Milwaukee, Wis.

27 years a teacher, player and practical maker.

THE PLAYER WITHOUT A WHYTE LAYDIE BANJO IS LIKE A CARPENTER WITH POOR TOOLS A first-class workman needs the best

The best is a Whyte Laydie.

"During the past two years I have made some long trips with the whyte laydie Banjos. Have been through to the coast and back three times, also through eastern Canada from where I have just returned.

"1 have recommended the whyte laydie at all times, for

it is the best Banjo on earth, and during the past five years or more that I have been using them I must say I have yet to find

any fault or pick any flaws in them."

Buffalo, March i, 1913. Chas. La Noire La Noire Bros.

THE VEGA MANDOLIN AT THE

BOSTON OPERA HOUSE

OUR VEGA SERVICE PLAN ENABLES YOU TO TRY OUT ANY BANJO-MANDOLIN—MANDOLA MANDOCELLO-GUITAR AND SATISFY YOURSELF THAT IT HAS THE QUALITY AND VALUE THAT MEETS YOUR ENTIRE APPROVAL. IF YOU ARE NOT FULL SATISFIED, WE DO NOT EXPECT YOUR FAVORABLE DECISION.

YOUR MUSICAL SOUL WILL BE THRILLED WITH THE RIAHNESS OF THE VEGA AND FAIRBANKS TONE QUALITY.

THE VEGA COMPANY 62 Sudbury Street, Boston, Mass

In Mozart's Opera, Don Giovanni, there is an obligato to the Serenade given on the mandolin. The opera was given four times.

Anthony Amendola, the Mandolinist Chose a Vega Mandolin for this part.

After the first rehearsal with the Boston Opera House

Orchestra under the direction of Felix Weingartner, the cele. brated conductor, the entire orchestra arose and applauded Mr.

Amendola's work, an honorof which any Artisf would be proud.

IT COSTS YOU NOTHING TO BE SHOWN WHY VEGA

QUALITY IS THE TALK OF THE FRATERNITY.

MENTION CRESCENDO W H E N YOU WRITE

The Crescendo

™M§M®ffillM M. W I T M A R K & SONS March, 1913 96 Witmark Bldg, New York

NEW SPECIAL PRICES

For a limited period. boeKs 19 cents postpaid boohs 35 cents postpaid

WITMARK

MANDOLIN AND GUITAR FOLIO NO. 23

CONTENTS Till The Sands Of The Desert Grow Cold; Sweetheart Let's Go A-

•Walking (from Under Many Flags); When Irish Eyes Are Smiling (from The Isle O'Dreams; I d l.ke To Have A Little Girl Like You Like Me <from All For The L-.di«N I'!, Love You Sweetheart Sue; I Do Like Your Eyes (from M y Best Girl); Lost Melody (from Our Wives); Nothing Really Matters If Yonr Mate's True Blue (from The Military Girl); The hour-Leaved Clover (from The Love Wager); Listen To That Irish Rag-time Band; IsleO' Dreams (from The Isle O' Dreams); Home Is Where The Heart Is (from Under Many Flags); M y Ragtime Fireman; That Trombone Glide <from The Military Girl); Just That You Are You (from The Merry Countess) lst Mandolin 25c. Guitar Acc. or Harp Guitar . . 25c. 2nd Mandolin 25c. Piano Acc SOc.

FOLIOS WITMARK

MANDOLIN AND GUITAR FOLIO NO. 24

C O N T E N T S Black Diamond Rag; I Like A Girl, With A Smile Like You, Waltz;

March Progressive; Oriental Maidens, Two-Step, Intermezzo; Haunting Rag; I Always Knew The Girl I'd Love, Would Be A Girl Like You. Waltz; Lady Angeline, March and Two-step; How Would You Like to Make Love To Me. Waltz; They Gotta Quit Kickin' M y Dawg Aroun', March and Two-step; That's What I Call A Good Time, Waltz; Cherry Circle. Marchand Two-step; Mocking Bird Rag. March and Two-step; Daughters of the Revolution. Promenade " Tokio Rag.

Kl, Kape Ma nd Tv step;

WITMARK

GUITAR FOLIO NO. 12 CONTENTS

Songs with Guitar Acc. Till The Sands Of The Desert Grow Cold; Sweetheart 's G o A-Walklng (from Under Many Flags); The Four-ved Clover (from The Love Wager); Isle O'Dreams (from

The Isle O'Dreams); Lady Angeline; Home Is WhereThe Heart from Uuder Many Flags); I Do Like Your Eyes (from M y I Girl i. When Irish Kyes Are Smiling (from The Isle

' O'Dreams); Thou Art So Dear To Me; They Gotta Quit Kickin' My Dawg Aroun'.

Guitar Solos Lulv Angeline; Till The Sands Of The Desert Grow Cold; I Do Like Your Fyes

<from M y Best Girl); Isle O'Dreams (from The Isle O'Dreams); Sweetheart Lei's G o A-Walking (from Under Vlany Flags.; When Irish Eves Are Smiling (from The Isle O'Dreams); Home Is Where The Heart Is (from Under Many Flags); Thou Art So Dear To Me. Price Fifty Centa,

WITMARK

BANJO FOLIO NO. 13 CONTENTS

Songs with Banjo Acc. Lady Angeline; Sweetheart Let s Go A-Walking (from

Many Flags). W h en Irish Eyes Are Smiling (from The — - ) ; I Do Like Your Eyes (from M y Best Girl);

n Under Many Flags); They n'i Till The Sands Of The

Isle O'D Home Is Where The Heart Is (f Gotta Quit Kickin' M y Dawg Ar Desert Grow Cold.

Banjo Solos Haunting Rag; Pirouette; Cherry Circle. March. Two-step; I Always Knew

The Girl I'd Love Would Be A Girl Like You, Waltz; In Meadow Land, Idylle; Oriental Maidens, Two-step. Intermezzo; How Would You Like To Make Love T o Me, Waltz; Down In Sunshine Vallev. March, Two-step; Klown Kapers, March and Two-step; I Like A Girl With A Smile Like You, Waltz; Black Diamond Rag.

Price Fifty Centa.

FULL MANDOLIN

ORCHESTRA PUBLICATIONS

INSTRUMENTATION

r'<

784 SCHOOL COMRADES, March H. Englemann 35 15 20 20 20 20 •785 BOREAS. A Northern Idylle (Suite Characteristic "The Four Winds"—A)

Geo. J. Trinkaus 35 15 20 20 20 20 *790 SIROCCO. A Southern Serenade (Suite Characteristic "The Four Winds"—B)

Geo. J. Trinkaus 35 15 20 20 20 20 791 NAUGHTY MARIETTA, Selection Victor Herbert 40 20 25 25 25 25 •792 RED PEPPER. A Spicy Rag Henry Lodge 35 15 20 20 20 20 •793 ERIRUS, An Eastern Dance (Suite Characteristic "The Four Winds"—C)

Geo. J. Trinkaus 35 15 20 20 20 20 •794 ZEPHYR, A Western Episode (Suite Characteristic "The Four Winds"—D)

Geo. J. Trinkaus 35 15 20 20 20 20 795 Katie-Did. Selection Karl Hoschna 40 20 25 25 25 25 •796 W H E N SWEET SIXTEEN, Selection Victor Herbert 40 20 25 25 25 25 •798 THE THOROUGHBRED, March and Two-Step H. Englemann 35 15 20 20 20 20 •799 ENCHANTMENT. Waltzes Walter Rolfe 40 20 25 25 25 25 •800 A G A M E OF TAG, Humoresque Geo. J. Trinkaus 35 15 20 20 20 20 •801 KATIE-DID, Barn Dance or Schottische Karl Hoschna 35 15 20 20 20 20 . •802 KATIE-DID. March and Two Step Karl Hoschna 35 15 20 20 20 20 803 W I T M A R K COLLEGE MEDLEY arr. by T. P. & Geo. J. Trinkaus 40 20 25 25 25 25 806 THE DUCHESS. Selection Victor Herbert 40 20 25 25 25 25 808 DOCTOR DE LUXE, Selection Karl Hoschna 40 20 25 25 25 25 811 THE HEART-BREAKERS, Selection Orlob and Gideon 40 20 25 25 25 25 812 ON WINGS OF LOVE, A Reverie Theo. Bendix 35 15 20 20 20 20 813 BUFFALO BILL'S FAREWELL, March and Two-Step Wm. Sweeney 35 15 20 20 20 20 •822 DOCTOR DE LUXE. Barn Dance or Schottische Karl Hoschna 35 15 20 20 20 20 823 THE ROULETTE REEL. A Parisian Prance Henry Lodge 35 15 20 20 20 20 •827 THE SURPRISE. Medley Overture arr. by T. P. & Geo. J. Trinkaus 40 20 25 25 25 25 •833 THE RED WIDOW, Selection Chas. J. Gebest 40 20 25 25 25 25 834 IN M E A D O W LAND. Idylle Theo. Bendix 35 15 20 20 20 20 837 THE ENCHANTRESS, Selection Victor Herbert 40 20 25 25 25 25 •838 PIROUETTE, Pas Seul Herman Finck 35 15 20 20 20 20 •S39 CHERRY CIRCLE, March and Two-Step L. Harry Freeman 35 15 20 20 20 20 •840 K L O W N KAPERS, Marchand Two-Step Ernest R. Ball 35 15 20 20 20 20 •841 HAUNTING RAG Julius Lenzberg 35 15 20 20 20 20

IENTAL MAIDENS. Two-Step Intermezzo Roy H. King 35 15 20 20 20 20 I •817 BLACK DIAMOND RAG Henry Lodge 35 15 20 20 20 20

To numbers marked with * we can supply any of the following regular Orchestra parts : lst Violin, 2nd Violin, Viola. Cello, 2nd Clarinet, Oboe. Bassoon, lst Cornet, 2nd Cornet, Horns. Trombone and Drums. Prices of these parts same as for Flute an

~ZZ\

20

20

Eo

20

K O 15

15

< a

S, 40

40

to

50

50

1 Cello Parts Flute, lst Clarinet.

TENOR MANDOLA AND MANDO W D Allow 50'/, Discount on Sheet Music.

PARTS TO WILL

OUR NEW PUBLICATIONS BE ISSUED IN THE UNIVERSAL NOTATION

Music Sent on Approval—Write for Particulars.

m%

MENTION CRE8CENDO

The Crescendo

W h e n a firm In any branch of business has achieved unmlstshable success. It Is fair to credit them with reasonable Intelligence. J E R O M E H. RF.MIC K 6 CO.. after attaining prominence In every other branch of the music business, have added a Mandolin Ore rchestra Music Depa lii ver j begin n In. hai become lhe talh of Ihe Mandolin World.

REMICK'S MANDOLIN ORCHESTRA MOSIC The Talk of the Mandolin World.

The arrangements by H. F. O D E L L , conceded to be the best work ever done by this talented arranger. Hundreds of letters to prove it.

FOR FULL MANDOLIN ORCHESTRA NOW READY

1st Mandolin 30c. 2nd Mandolin ,. 3rd Mandolin Tenor Mandola Mando-cello I 20c. Mando-bass Banjo Guitar / Piano Acc. 1 .„ Mand. & Guitar j 4 0 c-Mand. & Piano \ _„ 2 Mands. & Guitar 1 50c. 2 Mands. & Piano 60c. Cello, Flute, Drums, 15c

ea.

ea

ea

e»

PEARLS—by Moret ENTERPRISER M A R C H — b y Lampe M Y HERO—by Straus SCATTERING OF T H E ROSES—by Ring & Hager D A U G H T E R S OF T H E AMERICAN REVOLUTION—by Lampe A F T E R VESPERS—Moret DIVIE LAND, March—by Chauncey Haines

The following arranged by Louis Tocaben T H A T O L D QIRL OF MINE—by Van Alstyne MOONLIGHT BAY—by Wenrich YOU'RE M Y BABY—by Ayer GOOD BYE EVERYBODY—by Gilbert M Y PERSIAN ROSE—by Friedland BE M Y LITTLE B U M B L E BEE—by Marshall HE W I L L T A K E M E TO HIS HEART—by E. Eysler, Arr. Adam

CHOCOLATE SOLDIER SELECTION—by Strauss, Arr. Odell. ALMA WHERE DO YOU LIVE WALTZES—Briquet, Arr. Adam

; Piano acc. KOc.; 2nd Mand.. 3rd Mand., Tenor Mandola, Mando-cello. Mando-bass, Banjo, Guitar, Flute. Cello, 40c. each; Drums 20c. 2 Mands. and Guitar $1.10 ; Mand. and Piano SI.10 ; 2 Mands. and Piano $1.40.

W E D D I N G OF T H E WINDS WALTZES-by Hall, Arr. Odell. 1st Mand. 60c ; Piano acc. 80c. ; 2nd Mand.. 3rd Mand., Tenor Mandola. Mando-cello, Mando-bass. Guitar, Banjo 40c. each ; Flute, Cello. Drums 20c

each. Mand. and Guitar 80c; 2 Masds. and Guitar $1.10; Mand. and Piano $1.10; 2 Mands. and Piano $1.40.

T H E S U N N Y SOUTH, Selection of Plantation Songs—by Lampe, Arr. Odell. 1st Mand. 40c. ; Piano acc. 60c.; 2nd Mand . 3rd Mand.. Tenor Mandola, Mando-cello, Mando-bass, Banjo. Guitar, Flute, Cello 30c. each; Drums 20c

Mand. and Guitar 60c. ; 2 Mands. and Guitar SOc.; Mand. and Piano SOc. ; 2 Mands and Piano $1.00.

HALF OFF ON ABOVE PRICES Postage Paid Order from us or from your music dealer.

The Best Mandolin Book

Have You One In Your Home? If Not—You Miss a Lot All the

Latest Hits Whitney-Warner

MANDOLIN COLLECTION No. 12 CONTAINS ALL THE

BIG JEROME H. REMICK & CO. HITS MANDOLIN DEPT. Or order from your regular supply house

Jerome H. Remiok & Co. 221 West 46th St., N e w York City

V O C A L H I T S By the Light of the Jungle M o o n Creatore Daddy Gee, But I Like Music With M y Meals H o n e y m o o n Love Hour That Gave M e You, The Island of Roses and Love, The If You Talk In Your Sleep If the Garden of Roses Should Change to Thorns I Like Your Apron and Your Bonnet Love Never Dies ( From Little Boy Blue) . . . . Moonlight Bay Month of June, The O n a Beautiful Night With a Beautiful Girl . . . Oh! You Beautiful Doll Oh! That Navajo Rag

ist Mandolin Book 25c -nd Mandolin Book 25c

Only Pal I Ever Had Came From Frisco Town, The . . Skeleton Rag, The Trolley Car Swing, The Somebody Else Will If You Don't Under the Love Tree W h e n You're Away W h e n I W a s Twenty O n e and You Were Sweet Sixteen . You're M y Baby

INSTRUMENTAL HITS After Vespers—A Twilight Meditation Brides and Butterflies—Waltzes C u m Bac Rag—Twostep Everybody Twostep Hyacinth Rag Rag Time Chimes—Twostep Universal Peace—Military March Twostep

Guitar Book 25c Piano Book 50c Banjo Book 25c

T h e s e b o o k s will b e sent to a n y part of the w o r l d postpaid u p o n receipt of the m a r k e d price.

Address All Orders To

MANDOLIN DEPT. Jerome H. Remick & Co. Or order from your regular supply house 221 West 4tith St., N e w York City

S U B S C R I (3 I F O R O U R N E W I S S U I

PLEASE MENTION CRESCENDO W H E N WRITING ADVERTISERS

©CI.B266079

The MANDOLIN ORCHESTRA The Mandolin, Guitar and Banjo

and KINDRED INSTRUMENTS.

VOL. V. BOSTON, APRIL, 1913. No. IO

THE FISHER MANDOLIN STRING Q U A R T E T Louise M. Fisher, lst mandolin, director; Christine Gibson, 2nd mandolin; Anna Ringland, mandola;

Mrs. J. T. Weaver, mando-cello

Organized in 1 912 as the second ladles mandolin string quartet of standard Instrumentation In America. The quartet plays nothing but the regular string quartets and the lighter classics arranged in quartet form. The mandolin and mandola players are pupils of W m . Place, Jr. The mando-celllst Is a pupil of L. V. Calder. These ladles are ardent workers for Ihe cause of mandolin ists and believe In doing something really worth while or not doing it all.

The Crescendo

5ELF=HELP FOR CRESCENDO READERS Written especially for the Crescendo by Emile Grimshaw

Ialwaj-s think that the reader who most appreciates an educational magazine like thc Crescendo, must be he who lives in some out of the way locality where per­

sonal tuition on his particular instrument is quite as im­possible as is the opportunity of hearing a good player.

T o amateurs thus situated, a monthly technical magazine is a mine of information, and must be a veritable godsend. Here are articles to interest and educate; in a certain page m a y be found lucid replies to queries that have probably puzzled him for months; he can read what all the great players are doing; how the B, M , & G world is progressing and then, enthused by all this, he can take up his instrument and try over the solos that are included in the music supplement.

I a m in sympathy with thc player in the out cf the way locality, and have a weakness for writing so that he m a y specially benefit. Perhaps I also realize that this type of reader is one who hangs on to every word, and just as an instrumentalist likes to play for an audience that listens and appreciates, so does a writer welcome an interested reader.

Although this article is primarily intended for the encouragement of the amateur who, maybe, is struggling along without the least knowledge of what the standard of perfection is to which he is blindly striving, it is possible that others more proficient may pick up a hint or two by the way.

In these days of keen competition, it is the m a n that can do a thing a little better who really counts; and to be able to do a thing better than the previous best, a person must make some use of initiative. The fact of having to think for oneself has often proved to be a blessing in disguise, it has paved the way to originality of thought, and obviated any possibility of slavish imitation.

Of course there are times when a player can derive great benefit by studying the methods of others, especially is this so during the period of learning, afterwards he must learn to rely upon what his own mind tell him is best, even though it be antagonistic to what he has previously been given to understand was true according to thc laws of the text books. A student of harmony who propounded the query: " W h y a m I forbidden by m y tutor to make certain progressions in music that I see made use of over and over again by such masters as Beethoven and Men­delssohn?" received the reply:

"Because rules are made for students—not for mas­ters."

There is a lot of sense in this answer, which is to the point and a valuable lesson in itself to every thinking music student. The prospective player who cannct have personal instruction, must progress as well as he is able by means of the various rules that he sets in the printed tutor. These rules are laid down for the students' guid­ance during the period of learning, and although it is probable that by far the greater majority of players will stand firm to these rules in subsequent years, it is equally probable that there will be occasional ones who prefer to think for themselves, and who consider fixed laws as unnecessary as are leading strings when a child has learned to walk. Progress has nothing in common with preced­ence, and initiative on the part of a musical instrument maker, composer or player often means a non-observance of hitherto acknowledged rules, or thc substitution of new rules for old.

Those music students who make a practice of think­ing for themselves, have acquired perhaps unconsciously a good start in the race for ultimate success. Enthusiasts

living far away from the big cities, with no opportunities for personal tuition and no possible chance of hearing a first class player must as a matter of necessity think for themselves; and the fact of so doing has often placed them far in advance of more fortunate students who, though they may be having the best tuition and possess many other advantages, have been quite content to let others do all he thinking.

Persons in other walks of life must also realize how important it is to help oneself. Ability means ablcness. A n able m a n must know how; he must understand things theoretically and I a m inclined to think that this is where so many mandolinists, banjoists and guitarists fail; they seem to care only about the practical side.

Every player should know as much as possible about the music he is attempting to render. Skill is the art of practising things you know; and the m a n with a great amount of knowledge, who is considered to be well learned on any subject, will always be found to be one who has cultivated the habit of thinking for himself.

Musicians should not attempt to play the game without first learning something of the rules. A m a n who attempts to fly without devoting some preliminary study to mechanics may certainly find himself soaring high above the rest but it will only be for a very short time, and he m a y never have another opportunity.

One banjoist m a y be desirous of knowing how a natural harmonic sound is produced and then rest content with this knowledge; another will not be satisfied until he has learned everything that it is possible to know about these particular sounds—why they arc obtainable at the 5th, 7th and 12th frets and not at other frets that are adjacent; why thc sound at the seventh fret should be higher than that at the twelfth and why the tone of harmonic sounds is sweeter than others produced in the usual way.

This is the kind of pupil that every worthy teacher finds pleasure in instructing the pupil who makes queries; who shows that he is making some use of his own thinking apparatus, and who shows a real interest in the instrument and its music. This is the type of pupil who will in all probability do both himself and his teacher infinite credit, to say nothing of thc particular instalment he has made up his mind to master.

It is a good thing to have some definite standard of excellence before- us as a guide in our upward progress. That out of the way student, who is constantly in mind as I write, will probably have taken full advantage of thc opportunities of clearing prominent banjoists that are offered thn ugh tic medium of the phonograph. Hen- is

ndard of playing that he can keep constantly before 1 im, and by comparing his own efforts with those of the unseen artist, he can judge very accurately as to what

is he is making. In musical composition, the same principle holds

good. Here also there is a recognized standard of pro­ficiency that must be attained before the budding composer can hope to see his work glorified through the medium of printer's ink. There are many discouragements by the way. It is not pleasant to have one's work rejected,— even when accompanied by a polite note of thanks from the publisher. There are plenty of promising careers that never reach maturity simply because of a lack' of persist­ency. M a n y a composer has been so disheartened at his first failure as to never make another attempt; he has received so to speak thc knock out blow at the first round,

(Continued on page 20)

J

The Crescendo

THE BALALAIKA Written especially for the Crescendo by W. W. Andreeff, "The Father of the Balalaika'

(Continued from March Crescendo)

W h y I have devoted m y life to the Foundation of a Balalaika Orchestra.

F I R S T of all because these instruments are m y own country's national instruments and the more I have worked on their improvement, the more I am convin­

ced that their musical possibilities stand on a higher level then the stringed instruments, perhaps better known, of other nations, for instance the ensemble of mandolins, guitars and other instruments of their family and this is why; the first thing in favor of the balalaika and domra is the ease with which one may learn to play them and which allows them to be played by people of all ages, nationality and ranks, not excepting even the poorest classes of the population and it makes it possible to have orchestras, that is, ensembles even for those people who would not have dreamt of taking up the noble art of music. All other stringed instruments take much more time and practise to learn to play as well as their higher, cost,-whereas the • price- for the balalaika and •domra is very low. It is also possible that these instruments will become popular among the cultured classes, that is among the wealthy people whose repre­sentatives can easily afford the time and money and besides a greater spreading of the knowledge of music, one of the highest and noblest of arts—surely is very important and needed.

The second reason is the musical qualifications of these instruments, their timbres are original and exceed­ingly varied although they are homogeneous as well as all the other instruments belonging to the family of picked instruments. They have a capacity of singing that brings them nearer than any other instrument"to the human voice by their airy, finesse in the -pianissimo.-and their mighty power in the fortissimo. With a complete know­

ledge of the playing of these instrumsnts, thay are vary interesting and really I think they ara unequalled in their dynamic effects,and to conclude, the plain rythmical way of playing the balalaika gives an ensemble an ex­ceedingly strong foundation.

All I have said I can sumtnarizs in the following words, I have devoted myself to giving all people without exception opportunity of interesting themselves in ensem­ble music with the assistance of the Russian national instruments which I have improved and which are the most suitable for this purpose on account ot the exception­al ease with which one may learn to play them and their accessability to everybody. I have applied all the facul­ties with which God and Nature have furnished m e to show (with the assistance of m y orchestra) in the very best light all the musical merits of the Russian national instruments and I have had success, but m y personal success is secondary to the idea of this great enlightening work and therefore I consider it important only as an assistant to reaching the summit of the greatest purpose.

(Continued In May Crescendo.)

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

Question—What is the average income of say the 12 best B. M . G. teachers in the TJ. S. A.? L. D. S.

Answer—-It is impossible to answer this question definitely. In the first place, the 12 teachers who do the largest business do not state to anyone what their income is, therefore we can simply say that there are a number of teachers in the country whose income per week, during the season, ranges from $50 to $125 approximately, received from pupils alone. Some of these teachers have clubs, do coaching, or concert work which adds to their income.

Question—Do they give all their attention to teaching B. M. G. and clubs? L. D. S.

Answer—As a rule, teachers who make a large income give all their attention to teaching and coaching with some concert work, as naturally they have a great many pupils and would have time for nothing else. There are a number of teachers who do teaching as a side line. Their incomes from teaching and playing range from $10 to $20 or $30 a week from this source.

Question—Do they insist on their pupils taking private lessons and club or orchestra work too? And what is average price for both? L. D. S.

Answer—We cannot inform you positively in answer to this question. The pupils of most of the leading teachers take private lessons only. This is the more advisable way of learning the instru­ments, still there are some very excellent teachers who give class lessons in classes of two or three, the conservatory system, and the time is evenly divided among pupils of the class. Other teachers give lessons, in classes of from 10 to 30 in a class. The prices of private lessons with the medium grade and best teachers is from SOc to $2 per lesson. A majority of the leading teachers receive about $1 per lesson. The price for class lessons in the larger classes is usually about 25c and the membership fee in almost all of the large amateur orchestras is about 25c per week.

Question—How can I place my B. M. G. teaching secure against the whims of people? L. D. S.

Answer—This is rather an unusual question and we can simply say that if you follow the example set by the leading teachers of the country and disregard nonsensical ideas that are sometimes advanced, we should think you would accomplish your purpose. It is well for all teachers to have a system of payments fpr lessons and a majority of the best teachers insist on payments being made for lessons whether they are taken or. not escept when excused for illness. Perfect yourself in all that is musiSal, in all that pertains td the instruments.- Do the best you- can7 as a teacher^ aad we think you should succeed.

Teachers and players

are requested to send in

items to this department

about concerts, recitals

or other musical matters

which will interest Cres­

cendo readers.

The Place Mandolin String Quartet gave a concert on Feb. 18th at the Churchill House, Providence, R. I. This organization is extremely successful in its appearances and this concert proved that the quartet is indeed one of the leading organizations of the kind in the country. The program includes Leichtes "Quartet, Op. 64, Bohne; "Suite I m Alten", Buys; "Petit Quatuor Op. 9, No. 1, Place;"Humoreske" by Dvorak;"Hungarian Dance No. 5,'' Brahms. M r . Place, for solos, played "Concerto In La Minor", La Scala, and "Capriccio Spagnola, Op. 276, Munier.

The Evening Bulletin says; " The development of these instruments has made it possible to play the music for string guartets unaltered from the -.corks of the masters, and while there may be some difference of opinion in regard to the superiority of such music for the mandolin family over the dantier compositions so especially suited to the instru­ments in question, there should be no adverse criticism regarding the unquestionable sincerity and ability of the Place Siring Quartet in the program which was given. It remained, however, for Mr. Place to demonstrate the peculiar charm of Ins chosen instrument and the possi­bilities contained therein for the hand of a skilled player. Nothing could have been more beautiful than the quality of tone he drew from the mandolin in the "Concerto" by La Scala. As a composer, Mr. Place adds another laurel to his well earned wreath for his Petit Quarto played by the quartet was melodious and of a classic simplicity which made it one of the most inteserting numbers on the program."

The Evening Tribune says " The selections were all rendered in a manner which showed careful study and a brilliant execution and the audience was thoroughly delighted."

The Crescendo «,,«„«_>. nevertheless their performance was always musical. Their inter

pretation of the "Elegy" by Kramer, a modern number dedicated. to the Zoellner Quartet, was excellent and reflected much credit upon Miss Calder's able direction. Mr. Calder was never in better form and displayed excellent techinque and beautiful tone quality.

The Sullivan School of Music, Ella M . Sullivan, principal, of Cincinnati, on Jan. 30th gave a concert, the numbers on the program being played by pupils of the school. It was a most successful affair. There was a large and appreciative audience. After the-concert pupils held a reception for their friends and everyone enjoyed the evening immensely. This school is remarkably successful with private pupils and also has an extremely well balanced mandolin and guitar orchestra composed for lst and 2nd mandolins, mandola, mando-cello, guitar and harp-guitar.

M r . C. H. O'Brien, the manager of the White-Smith Music-Publishing C o m p a n y Chicago branch, died in Chicago on March 10th of consumption. Mr. O'Brien was highly respected by his associatss and the trade in general, and his less will be greatly-felt. H e has been in the employ of the White-Smith Co. for m a n y years, rising from office boy to the position of manager of one of the company's important branches.

At the concert of the Gibson Mandolin Orchestra given at Seattle, Wash., on March 5th, the audience was the largest that ever gathered in that city at a concert of thi s kind. The orchestra inluded 50 mandolins, guitars and banjos. So many encores were received that the concert lasted until 11 o'clock and everyone in the audience remained until the last number.

Mr. F. E. Belcher, manager of the Jerome H. Remick & Co., and Mr. John Engle of the Detroit branch, called in to see us last month.

L. A. "Universal" Williams paid a flying visit one day last month made a short call on two or three members of the trade and fraternity in Boston ar.d left for Cleveland to see Mr. Myron Bickford.

Miss Eleanor S. Hayden announced her annual concert this year for Mar. 31st at Cambridge, Mass. The artists included the Hayden Trio, composed of Miss Hayden, Edith G. Wales and Edwin B. Powell; M a u d e H. Benjamin, Reader, and Henry A. Behnke, tenor.

Chas. C. Gay writes us that Kimball and Donovan appeared in No. Adams, Mass., a few weeks ago. H e says "Their playing was well received. People here who do net, as a rule, care for banjo music spoke of their playing as being very musical while banjo lovers were enthusiastic over it."

Miss Ethel Lucretia Olcott takes quite an extended concert trip, leaving Los Angeles the first of M a y and plays in a number of cities between that city and Chicago. Miss Olcott is very successful as a soloist and she has been unable to accept all of the engagement offered her during this trip as she is not able to make connections with some of the cities but will appear in m a n y of the larger ones.

The N e w York Plectrum Mandolin Orchestra, Valentine Abt, director, assisted by Guiseppe Pettine mandolinist and W m . Foden guitarist, will give a special concert in Aeolian Hall, N e w York city, Thursday evening, April 24th.

Among the numbers to be played will be the "Morning, Noon and Night" Overture, Suppe; "Zampa" Overture, Herold; "Tann­hauser Grand March", Wagner, "B Minor Symphony" first part Schubert; "Rigoletto" Fantasia, Verdi; and Mr. Abt's "The Bells."

This N e w York orchestra is receiving some very fine press notices from the N e w York papers which have usually been luke warm but M r . Abt has demonstrated that an orchestra with his instrumentation is worthy of the consideration of best critics of the country. This concert occurs the night after the American Guild concert and undoubtedly many Guild members will remain over in order to hear this orchestra which is making such a success in N e w York.

Guiseppe Pettine will give two concerts of original ma/ndolin music, one in Providence and one in Boston. H e proposes to give these concerts every year and will play music in Mss. if sub­mitted sufficiently ahead. This is to encourage composers. Con­certs of this kind will p'rove to the public that very fine mandolin music does exist and are encouragement to young composers. The price of tickets to these concerts will be $1. Full particu­lars will be given in the M a y Crescendo. Those desiring infor­mation or tickets m a y obtain either at the Crescendo offices.

The Calder Mandolin String Quartet of Providence, R. I., Miss Frances W . Calder, first mandolin, Miss Mabel Steen, second mando­lin, Miss Agnes Sweeney, mandola and Miss Florence Avery, mando­cello, assisted by Miss Jennie Paine, pianist, Mrs. Mabel Granlund, reader, Mrs. Annie L. T. Jencks, contralto and' Mr. Lawrence V. Calder, mandorcellist, gave aa afternoon recital for the Coventry (R. I.) W o m e n s Club on Wednesday, Feb. 19th.

The Calder Quartet is the first ladies quartet of standard in­strumentation to be-organized in America and although the asso­ciation is yet young, their work would do credit to a much older organization.

In their program on Wednesday, they played two string quartets unaltered from the regular string score. Their precision and general

accuracy was marked and showed careful training. While in cres­cendo passages, they might possibly have produced greater volume,

W e record with regret the death of Clinton Wuchter, a teacher and Crescendo subscriber of Protection, Kas. H e died on Jan. 23rd.

Jos. Gilman, teacher of violin, mandolin and mandola, of Bridgeport, Conn., is some busy this season, having 135 pupils a week. This shows the evident interest in these instruments in. his vicinity.

The Chicago Symphony Mandolin Orchestra, with Miss Elda Dushoff, soprano soloist, will give its third concert under the direction of Claud C. Rowden, at tne Whitney Opera House,

Chicago, IU., April 13th, 1913.

Pt^

The Crescendo • 9

Prominent Teachers and Players. Notes on the Music in This Issue. In the Order Printed

The Gay Chauffeur, H. F. Odell & G. L. Lansing. A novel march by two composers. One composer wrote the

first two strains, the other the trio. The march should be played at a bright tempo. Introduction ff. The first strain loud for six measures. At the ninth measure suddenly soft, gradually crescendo in the next two or three measures to loud. Th? first strain is played nearly all with the pick movement. The second strain is played loud throughout. Tremolo all notes marked with the slur. The first strain of the trio changes to 2-4 time but the tempo is the same as the first two strains in 6-8. Throughout the trio the quarter notes should be played tremolo. All other notes picked. The first strain of the trio is played soft, the second strain begins softly with a gradual crescendo beginning at the fourth measure. The last sixteen meas­ures are played very loud.

Sweet Love, Robert Vollstedt.

The introduction should be played rather slowly and softly with a very slight crescendo, a la reverie style. Then immediately after the hold in the fourth measure lake up the gavotte movement softly and slowly, playing a tempo at the next measure. At the sixth measure of this strain, there is a ritard which continues for three measures merging into the ritard of the melody in the third measure third line. Ritard again three measures from the end and continue the ritard to the piu moso. The piu mosso should be played not too fast but slightly faster than the first strain. At the end of this strain, make a decided pause at the rest over which the hold is placed just before returning to the first strain movement. The next strain in F should be played very legato.entirely with the tremolo and while marked a tempo, may be played effectively at a slightly slower tempo than the first two strains. "String" at the seventh measure of this strain means Stringendo, to accelerate the speed. D o this until the "a tempo" sign is reached. In the next few meas­ures of this strain the tone should be brought to ff diminishing to pp at the ending. From the end of this strain, go back to the begin­ning and play down to the coda sign. The coda play carefully as indicated, extremely soft at the beginning.

That Is Love" Schottische, Arr. C. V. Hayden

The first strain should be played about medium loud. The second strain in A minor may be played effectively soft for the first eight measures, then playing the second eight measures loud. The next strain is a repetition of the first and should be played medium loud. The following strain in D is played at the same general tempo but should be played with a variety of expression introduced at the players discretion. A slight ritard in the eighth measure is effective. The last strain is again a repetition of the first strain and should be played medium loud increasing in tone toward the last four measures which may be played loud.

Nettie Nut Patrol, A. J. Shaw.

This number should be played in bright twostep time beginning ff. The last two measures of the introduction should diminish in tone slightly and the second strain begins mf. The first strain is played about the same degree of tone throughout. The second strain play f throughout accenting the melody notes. The third strain ff, the third measure is played by tapping on the head of the banjo with the fingers cf the right hand. This strain should be continued brightly and loudly throughout to the end.

Misses Edith and Lillian Standiford are successful teachers of various instruments in Youngstown, Ohio. Their musical career began at the age of four when Miss Edith made her first public appearance at Lewiston, Fa. Since that time they have devoted much time and study to music and they now have one of the leading music schools where they are well known for their teaching ability and also as concert performers.

Miss Lillian Standiford made considerable reputation by taking 25 practical failures in music, who came to her, and through persist­ency, she taught them to play well, giving a concert in the Grand Opera House which was completely filled. A large sum of money was obtained from this concert which was given to the City Hospital. Miss Lillian is a brilliant harpist with the full power of a man. She has perfect command of the instrument and the sisters together with their combination of banjo and harp duets are a very entertain­ing concert attraction.

Both ladies have received many very complimentary press notices from various cities in which they have appeared. In 1915 they expect to make a tour of Europe.

f,.T..T~T-T„T„'iiTi,T-fTiiTi,T„T„ T,-T L__J , .T. t.

1 T T T I T

| Mr., Mrs. and Miss Guitarist ? YOUR ATTENTION IS CALLED TO

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io The C

J5he CRESCENDO. A Magazine for the Player, Student and Teacher of the

Mandolin, Guitar or Binjo.

HERBERT FORREST ODELL, Editor and Manager.

Published Monthly by the CRESCENDO PUBLISHING CO.. INC.

Entered •• (econd class matter June 9, 1909, at the Post Office at Boston. Mass-under the Act of March 3, 1879.

SUBSCRIPTION PRICES.

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

ADVERTISING RATES will be sent on application. Forms close on the ist 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 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 RE­M I T T A N C E S should be made payable to

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

VOL. V. APRIL 1913- NO. 10

EDITORIALS. When an unusual thing happens connected with our instruments, we are very pleased to make note of the same. Claud C. Rowden of Chicago, has just pub­lished a book of Harp-guitar contra bass studies. Being the first and only book of thc kind wc have heard of, we are very pleased to mention it to the fraternity It will be of great assistance to the players of this splendid in­strument and will aid them in quickly understanding the m a n y mandolin orchestra parts published for harp-guitar. W e congratulate Mr. Rowden on placing before

the players of this instrument a set of studies which will enable them to more quickly master the sub bass strings.

WARNING The time is nearly at hand when Guild members will meet to talk and discuss certain matters. So far thc Guild has moved to recommend various matters un­

animously. It is the earnest wish of the Crescendo to sec the Guild still remain a successful organization with general uniformity among its members.

The Guild, some years ago, made recommenda­tions in regard to mandola and mando-cello which were adopted by every publisher in the U. S. and many for­eign countries. These publishers combined have spent thousands of dollars in issuing music according to these recommendations. While occasionally theories or sug­gested changes have been advanced, generally speaking,

.scendo

99 per cent of the players of the world have been quite sat­isfied with the music as issued.

N o w there promises to be a disagreement on account of the hobby of one man. The matter has gone so far that two publishers have thought it advisable to adopt the so called universal notation for certain parts. Fifteen of the largest publishers in the world have declined to even consider publishing in this notation. W e believe, there­fore, as it is really a question for publishers, not manu­facturers or advertising men to decide, that it would be most advisable on the part of the- Guild to entirely drop the question of notation for music.

W e predict if the so-called universal notation enthus­iasts and its promoter attempt to force a vote for this unmusical notation through the Guild convention that it will eventually result in the disruption of the organization. It is our belief that teachers of instruments in the mandolin fraternity cannot afford to teach music to their pupils different from that taught to the pupils in the public schools. W e see no reason in the world, and no argu­ments have been advanced, why the few that will play mandola and mando-cello must have a special simplified (?) notation when real musical notation can be employed to serve the same purposes.

The American Guild cannot afford now to recom­mend this so called universal notation, because all but one or two of its trade members prefer to publish in another form. It will be insulting to the various houses who prefer to publish in the transposed form to ask them to publish in some other form. Whether or not the Guild recommends such a change, these publishers will continue to publish in the transposed form or some other musi­cal form but not in the so called universal notation but

as two publishers have shown a preference for this so called universal notation, we earnestly urge all Guild members at the coming convention to cast a vote for drop­ping the notation matter indefinitely. A vote to drop the the notation question as far as Guild recommendations are concerned, is the only possible thing that will keep

peace in the family. Let the publishers decide themselves which way they choose to publish. It is just as absurd

to command the publishers to all publish music one way as it would be to command all manufacturers to make their mandolins all bowl shape instead of flat backs.

A few more opinions on the clef question will be found in thc "Scrap BoDk".

Thc Crescendo courts criticism or suggestions from its readers at all times. It endeavors to please mando­linists, guitarists and banjoists. Its departments must be so divided that all classes of players will rind something of interest each month and it is obviously impossible to cater entirely to one class of players to the exclusion of the others. Opinions of readers will be welcomed at any

time and if it is possible to carry out suggestions which have been made, it will be done.

M a n y letters arc received by thc heads of the de­partments from time to time. A m o n g those recently received by Miss Olcott, the conductor of the Guitarists Round Table which has proved so popular, arc the fol­

lowing ;

" Your last in the Crescendo -was splendid." Win. Foden.

"Please let me compliment you on your very interesting

articles on the guilar in the last few issues of the Crescendo. They will help our cause immensely aud I hope you will keep up the good work."

Geo. C. Krick. (Continued on page 27)

THE GAY CHAUFFEUR.

1st MANDOLIN.

MARCH. .30

H. F. ODELL and

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SWEET LOVE ist MANDOLIN CONCERT GAVOTTE

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PROGRAMS OF CONCERTS AND RECITALS

Program of the second concert of the N e w York Plectrum Orchestra, Valentine Abt, director, at N e w York, Jan. 6, 1913. Orchestra

(a) Zampa Overture" Herold (b) Nocturne Opus No. 2 Chopin (c) Norwegian Dance No. 2 Grieg

T e n o r — (a) Malgre Moi Pfeiffer (b) Sie Je Pouvais Mourir Barbirolli (c) Mandoline (with orchestra) Debussy

Mr. Paul Dufault Orchestra—

(a) Tannhauser March Wagner (b) Mazurka No. 1. _ Saint-Saens (c) "Humoreske" . .' Dvorak

Intermission Soprano—

(a) "Aria" (From Samson and Delilah) Saint Saens (b) All I Can Give You, I Give" Hopkins (c) "Rose and Gold and Blue of the Skies (with the orchestra)

Hopkins M m e . Bertha Amet

Orchestra— (a) "Light Calvary Overture Suppe (b) "The Swan " Saint-Saens (c) Through Washington (patriotic) Abt

Program of concert given by Planque Mandolin Orchestra, F. Munro Planque, director, at Vancover, B. C , Can., 17th.

(a) M a r c h — " T h e Tournament" Sullivan-Odell (b) "Pink Lady"—Valse Caryll-Odell (c) "Persian L a m b — R a g Wenrich

Planque's Mandolin Orchestra Elocution Mr. J. B. Thompson Solo ; . . Mrs. John E. Newton

Accompanist Mrs. Nina Markley Whipple Recitation Mr. T. Smith

(a) "Lucia di Lammermoor"—Selec Donizetti (b) "Wooden Shoes"—Charac. Dance Cook-Odell (c) "Monstrat Viam"—March Joy

Planque's Mandolin Orchestra Elocution Mr. J. B. Thompson Solo Mrs. John E. Newtcn

Accompanist Mrs. Nina Markley Whipple Recitation Mr. T. Smith Recital "given by pupils of A. J. Shaw at Chicago, Jan. 20. 1. "Gloriana Overture" A. J. Weidt

Mandolin Club 2. "Silver Threads Among the Gold" Danks

Mandola Solo, A. J. Shaw Z. "Banjo Rag" A. J. Weidt

Mandolin Club 4. "The Gay Cavalier" A. J. Shaw

Plectrum Banjo and Piano Miss Anna Kneen and A. J. Shaw

•5. "Dainty D a m e " Wm. Stahl Mandolin Club

•6. "Trovatore Selection" Violin and Piano Misses Anna and Bessie Kneen

7. "Humoresque" Dvorak Mandolin Club

8. "Bridal Rose Overture" La Vallee Plectrum Banjo and Piano Mi7> Kneen and A. J. Shaw

9. "Turkey Trot" A. J. Shaw Mandolin Club

10. "Spanish Serenade" A. J. Shaw Guitar Solo A. J. Shaw

11. "Lucia Selection" Donizetti Mandolin Quartet

12. "Fashion Plate" Wm. Stahl Mandolin Club

13. "The Harlequin March" Plectrum Banjo and Piano Miss Kneen and A. J. Shaw

14. "The Messenger" Wm. Stahl Mandolin Club

Concert given by the Ward Trio, assisted by M r . Gorst at Wakefield, Mass., Jan. 21, 1913. 1. (a) Serenade"

(b) "Miserere" Verdi Trio

2. Whistling Solo (a) Waltz from Faust Gounod (b) "Slumber Song" Houser A Lesson in Whistling

Gorst 3. Cello Solo—Romance Op. 17

Mr. Ward 4. (a) Guitar—"The Little Aristocrat" Rice

(b) Mandolin—"Swiss Air Varie" H. Farmer Mr. W. W. Ward

5. Imitations (a) "Flute Solo" Selected (b) "Bell Solo"—Consolation Mendelssohn (c) "Fife Solo, Air from Freischutz Weber Whistling Solo

Mr. Gorst 6. Marimbaphone

Sextet from Lucia Donizetti 7. Sleigh Bells

"Old Folks At H o m e " , Air Varie Foster Mr. and Mrs. Ward

8. Chalk Talk Fascinating Facts of Bird Anatomy and Habits Fifty Bird Songs Reproduced With the Birds enlarged in Pastel and illuminated Piano Solo Robin's Return Fisher

With Robin Accompaniment Mr. Gorst

9. Spanish Mazurka No. 3 Bauersach Ward Trio

Program recently given by the Webber Juvenile Orchestra, H. A. Webber, director, at Spokane, Wash. March—"Stars and Stripes" Sousa-Webber Overture—"Stradella" Flowtow-Odell Serenade—"Coquette" Barthelemy- Webber Selection—"Madame Butterfly" Puccini-Webber Song—"I Ain't Goin' a Cry N o More" Bush-Webber

Francisco Bliss and chorus. Intermezzo—"Le Secret" Ganther-Webber "La Spagnola" Chiara-Odell Scenes from "Faust" Gounod-Walter " M y Hero" from "The Chocolate Soldier" . . . . Straus-Odell "Patrol U. S. A." Peck-Odell

Concert given by Langham Mandolin Orchestra, H. F. Odell, director, at Winthrop, Mass., Jan. 17, 1913. 1. March—"The Enterpriser" Lampe-Odell

Orchestra 2. Overture—"Raymond" Thomas-Odell

Orchestra 3. (a) "Humoreske" Dvorak-Odell

(b) "Dancing Girl" Hemy-Odell Orchestra

i. Mandolin Solo—"Mignardasis" Mezzacapo Miss Lena F. Webber

5. Selection—"Mikado" Arr. Odell Orchestra

6. (a) "Love's Like a Star" Odell (b) "Hippity Hop" Odell

Orchestra 7. Medley—"Collegisms" Arr. Odell

Orchestra 8. (a) Waltz—"Pink Lady" Caryll-Odell

(b) "The Lost Chord" Sullivan-Odell Orchestra

9. War-Song Medley—"Echoes of '61" '. . . Arr. Odell Orchestra

The Crescendo X.V.V.V.X-rN-*_>.-ft~..V.V .-__ .-fc. .-fc. ,-fc. .-w < ..-fc. .-__.-. -f. -f.-f. -f J>

MANDOLINISTS I ROUND TABLE | CONDUCTED BY *

W M . PLACE, Jr. | A

Virtuoso—Composer— * Litterateur *

This department is especially for Mandolinists and they may ask questions pertaining to the mandolin or contribute items. Questions er suggestions will receive due consideration. Address "Mandolinists Round Table," care of The Crescendo.

I N these days of strenuous clef and notation discussions so much attention is given to the arrangement of the orchestral parts for mandola and mando-cello that we

have almost lost sight of the fact that these instruments are really at their best outside of the orchestra, in fact as a solo instrument in the opinion of the writer none of the other plectral instruments can quite compare with the mando-cello and the mandola is surely not far behind.

Whether the mando-cello is written in bass, treble, or tenor, or what not and the mandola in alto, or treble, the fact still remains that they are musical instruments and made for musical purposes and to an audience it makes not a bit of difference how the music is written.

The devotees of the unaccompanied style of mandolin playing are rrany, yet for this particular line of work the mandola so far outclasses the mandolin that compar­ison is out of the question. The depth of the mandola tone is particularly appealing in unaccompanied numbers; the fact that it is a fifth lower than the mandolin together with the added string length and increased sound board surface gives a deep quality that should be the delight of every mandolin player.

W e have professional mandolin soloists galore; quite a few mando-cellists but the mandola soloists are rare. W h y , I cannot understand. Any mandolin number in unaccompanied style can be played quite as easily on the mandola and the effect is fifty per cent better.

M a n y of the more difficult unaccompanied mandolin solos are embellished with harmonic figures which on the mandolin "fall flat" unless the performer is an expert. Right hand harmonics are difficult and on the mandolin one must be minutely exact, so exact in fact that a slight nervous tremor which many performers experience in public will make a harmonic nothing but a toneless click. In comparison note the facility with which harmonics can be produced on the mandola; in fact an eighth of an inch either one way or the other will not spoil a harmonic. It might be well to observe here that students who will give up harmonics on the mandolin as hopeless will do well to study them on the mandola for three months before deciding that they are impossible for public per­formance.

Another common figure in unaccompanied style is the left hand pizzicato. While right hand pizzicato is very simple and practical on either instrument the left hand pizzicato is another matter. The writer can scarce­ly rt member of hearing more than two or three soloists who made anything at all of this style on the two lower strings but any performer of average ability can play pizzicato all over the mandola fingerboard and still have it musical.

W e hear much talk and argument about the mandola because it has been treated as a transposing instrument. Some manufacturers complain of instruments being

returned but the mere fact that the mandola is so wonder fully effective in the unaccompanied style should alone make an instrument stay sold; especially if the teacher is any kind of a performer.

Our instruments and their music are still in the constructive period. What the future will bring we do not know. Which ever way the notation question is decided the instruments cannot be killed for they are of such a wonderful and individual tone quality that musi­cally they are entitled to hold their place.

W e hear much about the publication of mandola solos,one company will publish one way, another, another, yet the whole realm of unaccompanied mandolin solos lie open to the mandolist now!

Probably all mandolinists are familiar with Mr. Abt's famous "Impromptu" a truly meritorious number and one which any mandolinist may be proud to have in his repertoire yet as effective as this number is on mandolin it is really one hundred per cent more so on the mandola. The body and depth of tone which the instrument gives forth seems peculiarly suited to this number.

Another number perhaps not as celebrated but quite original because of the unique tuning required is "Ban­durria" by Stauffer. The deep quality of the mandola aptly imitates the strumming so common to the instrument and the melody so unpleasantly pitched on the mandolin E string (a fault of the instrument entirely and not of the composer) is delightfully romantic on the mandola A.

There are hundreds of players who think that the unaccompanied style of mandolin playing is quite ideal and will monopolize two thirds of a program with com­positions of that nature and while the writer has nothing against this particular style yet he is of the opinion that mandolin solos are far more effective with accompaniment.

With the mandola the reverse is quite true. The mandola has a body of tone which lends itself to the unaccompanied style without becoming monotonous while with either piano or guitar accompaniment the tonal contrast is not great enough to be really pleasing.

It is but recently that the writer has become enthus­iastic over the possibilities of the mandola; but about three months ago he had occasion to play mandola about five hours a day for three weeks and for a time became so enthused that temporarily the mandolin was almost a secondary consideration. H e has since returned to the mandolin however but is thoroughly convinced that the mandola is worthy of far more serious consideration than it has received up to the present.

Beside following in the footsteps of the mandolinists there is ample field for research and individual develop­ment by anyone studiously inclined and it is unquestion­able that many new and delightful effects may be discov­ered for this sombre member of the mandolin quartet.

U p to the present the mandola has been considered too much as an orchestral instrument. It really is worthy of a place as a solo instrument and I trust that the fore­going m a y be instrumental in inducing someone to give it the attention it deserves.

Self=Help for Crescendo Readers (Continued from page 6)

and it is perhaps as well that one with so little stamina should retire early from the contest.

And when you have arrived; when your services are in demand; when people begin to pay you neat compli­ments—don't rest on your oars because you are in smooth water and going with the tide; this is just your opportunity to get well ahead.

In conclusion, if I may use still one more metaphor I would remind all readers that free-wheeling is * nly possible down hill.

The Crescendo

GUITARISTS ROUND TABLE

CONDUCTED BY ETHEL LUCRETIA OLCOTT Soloist—Teacher-—Composer

" The guitar is a miniature orchestra

in itself."—Beethoven.

This department is especially for Guitarists but anyone may ask

questions pertaining to the guitar or contribute items. Questions or

suggestions will receive due consideration. Address "Guitarists Round

Table," care of The Crescendo.

London Guitar Recital On December 14th, 1912, at Bechstein Hall in London,

Senor Pujol gave a guitar recital. Senor Pujol is a pupil of thc late Francisco Tarrega, and his home is in Barcelona, Spain. His program contained several numbers composed originally for guitar by his teacher, also transcriptions of Bach and Schumann numbers. The following is a com­ment from The Daily Telegraph.—"The guitar is an instrument one associates principally with serenades and sentiment under southern skies with the moon somewhere about. But that is only because one is ignorant of the possibilities to say nothing of the history of the guitar. For our part, let us frankly confess that until Saturday we did not know it was possible to play a Bach fugue on that instrument. Somebody, an Italian composer, we fancy, once wrote for it a concerto, and Hummel rescued that work for a time from oblivion by rewriting the solo part for the piano. But more often, for obvious reasons, it is the other way about, and in a programme of a guitar recital one naturally expects to find transcriptions. So it was at the recital given on Saturday afternoon, Dec. 14th by Mr. Emilio Pujol. This artist it was—and a most accomplished artist he proved himself—who introduced us to the unsuspected possibilities of the guitar already alluded to, and played on it not only the Bach fugue which has been mentioned, but a Gavotte as well from one of that composer's suites. Schumann's pretty Berceuse with some guitar embroideries and one of the most familiar of SchubertVMoments Musicals'Vere also in the scheme, these and the other transcriptions being by Tarrega, who was himself a distinguished guitarist. Mr. Pujol, whose playing of these, as well as of some original compositions from the same pen, showed his possession of a really refined musical temperament, almost made one regret that the great composers failed to discern the possibilities of the guitar in the hands of a skilled and sensitive artist. In­cidentally some pianoforte solos were contributed by Count Charles de Souza. But we are bound to confess that we derived far more pleasure from our joyous ad­venture in the company of Mr. Pujol." Dallas' Musical Monthly says "Senor Pujol is of the opinion that many of the classics are rendered to infinitely greater advantage and with finer musical interpretation on the guitar than on the violin, mentioning ih particular the Gavotte and Fugue by Bach which he played at his. recital- His opinion is that guitar players are not fed with music of sufficient artistic importance to retain their enthusiasm. His object in coming to England is firstly to endeavor to obtam a greater respect for the guitar from the highest musical authorities here in the same way as it has been accomplished m Spain, viz., that with many of the classics, a more musicianly rendering can be obtained on the guitar than any other instrument. He wants the guitar

to become necessary to musicians. When it is considered that a number of the old masters composed the majority of their immortal works on the guitar, possibly from lack of means to purchase the extremely expensive prehistoric forms of pianoforte, it can well be appreciated that the fact of their composition making a most musicianly adaption to the guitar is in no way a phenomena."

Senor Pujol has played before the King of Spain and his aunt, the Infanta Isabella, and was presented with an autograph, on which was inscribed the appreciations of the King who is enthusiastic in upholding the instrument of his people.

D. B. Should the thumb ever

work whatever ? used on the left hand in any

Answer: The thumb of the left hand should never be used for fingering any manner of chords. Mertz the distinguished master of guitar, used the thumb on the bass E string in certain complicated chords, but any of his music, so written, may be played without the assis­tance of the thumb of the left hand, and with just as good effect, and far more grace. Sor, who was one of the most skillful and distinguished guitarists the world has ever known, severely condemmed this practice, on the ground that it contracts the shoulder, shortens the play of the fingers, and places the wrist in a most awkward position.

A. B. Should the little finger of the right hand be kept down

solid all the time or not at all ?

Answer: Different masters of guitar have differed in their opinions as to whether the little finger should, or should not rest lightly on the sound board of the guitar. Certainly it should never be kept down solid, as if pasted there, or stationary, which would be very restricting to the right hand. Carcassi, who did more to perfect the fingering of the guitar than any guitarist, advocated resting the little finger lightly on the sound-board. His method for guitar is one of the best, if not the best one ever published, and enjoys the distinction of being the only one which has, (as Mr. Bone in his "Biographies" says) been "translated, revised, re-written, condensed, augmented and mutilated by succeeding guitarists of every nationality". Mertz condemns resting the little finger, on the ground that it impedes velocity of the right hand. Ferrer rested the little finger. I believe it is preferable for the little finger to be rested on the sound-board, ever so lightly, while playing scales with lst and 2nd fingers, but not while using the third finger, in argeggios, or in fact in any way. but to have it always free to move up and down the sound-board, or to be lifted when playing with the 3rd finger, for I think in this way it gives the right hand some surety and support, while it does not impede velocity.

A. B. Is it permissible to use the second finger of the right

hand to alternate in tremolo with the first finger ?

Answer: Yes, it is a very good practice, as those who use the one finger tremolo frequently are very apt to have the dread finger or "players paralysis" unless they alternate occasionally wkh the 2nd finger. Yanjtz, the talented Mexican guitarist who has made several beautiful records for the talking machine, has almost entirely lost the use of his right hand, so I am told by one of his advanced pupils, and can only play accompaniments now. This is very sad for such a skillful guitarist, and it behooves other guitarists to be careful of their right hand fingers in tremolo work.

Coatins*- an p-f* -"

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 consideration. Address "Banjoists Round Table," care of The Crescendo.

OLD AND NEW BANJO TECHNIC. by Thos. J. Armstrong

ALTHOUGH banjo playing has reached a higher plane than at any former period of its history, it is a pleasure, at times, to glance backward and

contemplate the methods employed by early banjoists; methods which paved the way for us in our search for improvement.

Wonderful changes, in the ways and means of obtain­ing effects, have appeared within the last few years. What was considered good form a generation ago, is now discarded. Musical results alone count. Spectacular antics and comic banjo turns are slowly retiring from the steady advance of more legitimate rules governing the art of music.

These changes have been brought about on account of a more serious study of the banjo by performers; better instruments from the manufacturer; and helpful accessor­ies for the student. In addition to these we m a y hope for greater improvements in banjo technics now that competent musicians are writing and composing for the instrument. A study of its tonal qualities will follow and these characteristic features will be more intelligently used in conjunction with other instruments.

Tone, in modified or concordant forms, received very little attention from the old time banjoist, because his crude technic, combined with a poorly made instrument, offered a narrow channel for inspiration. It was con­sidered wonderful, some forty years ago, when a banjoist fingered notes in the fifth position. The feat was indeed difficult, for, in those days, the banjo finger-board con­sisted of a perfectly smooth surface without raised frets.

W h e n we consider the obstacles confronting the pioneer banjoist in his left hand fingering, we are not surprised that he neglected that important member, and devoted all his energies to thc right hand. Most of his music remained in the first position and, consequently, he knew very little about the different tone effects avail­able from upper notes on the finger-board. In right hand work, however, he was at home. Some of these exhibitions of right hand manipulation were energetic and startling, but it was necessary to see the player in order to appre­ciate the performance. Among these effects m a y be ^mentioned: "stroke playing", "thimble roll," "fan roll", 'drum slide", "reverse slide roll," "figure eight," "fan-tan," and "hammer stroke".

Nearly all of these quaint relics have left us, and in their place we have a system, which is more orderly, even if it docs not possess as much variety.

This system appeared before the advent of raised frets, and came as the soft and pleasing guitar style. The fretted finger-board encouraged this form, thereby planting a beginning for modern banjo technics by offer­ing1 the entire compass of the instrument for left-hand fingering.

The guitar style of playing enables the banjoist to produce a variety of effects such as chords and arpeggios,

rapid staccato, tremolo in chords of two or more notes. tremolo with an accompaniment, skips of extended inter­vals in all keys, and numerous tonal changes governed by the right hand position in picking the strings. It also gives the player opportunities for making closed notes on the fifth string: a string that was formerly used ior one note only.

The plectrum style, as used today, furnishes more power in producing sustained notes and chords. M a n y stage performers obtain every effect employed by the finger player: even to the tremolo with an accompaniment. The plectrum system, nevertheless, is quite different from finger playing and must copy the mandolin formula from which it sprung.

In plectrum playing we find a peculiar reversal of tone quality coming from the strings. From the first to the fifth position the poorest tones are on the first string but above the seventh or eight fret these tones change, making the first string the best. Strong, resonant tones are on the second string from first to twelfth position, while in this same compass the third string emits rich mellow tones closely resembling the 'cello. Expert per­formers utilize these relative positions, wherever possible, in giving color and expression to the music.

Zither banjoists, in England, use the finger nails. This instrument consists of a wooden back banjo with wire strings tuned similar to an ordinary banjo. The left hand fingering is just the same as a regular banjo; but the nails of the right hand are shaped so as to pluck the strings. This impact of nail and string produces an exceedingly pungent and attractive tone.

Thimble playing today is not like thimble playing twenty years ago. The modern player uses three thimbles: one for thumb and one each for first and second fingers. This mode was probably adopted from the zither formular to suit an ordinary banjo with gut strings. The method seems awkward, when first viewed, yet those who follow it secure all the effects of the guitar style with less effort and considerably more volume of tone.

Every one of the above methods employ the same left hand fingering, thus proving that our present form of banjo technics has a foundation, even though a mild streak of rivalry divides the players.

NEXT MONTH Untold Tales of the Boston Ideal Club

by G. L. Lansing.

Look, Read and Order

TRINITY MUSIC STAND. More beautiful, more artistic, more com­

plete, and at a reduced price. The results of improved methods of manufacture. Trinity Music Stand Case &'Follo $2.25;

Without folio 3i.5p7-best and only complete t on receipt of price prepaid. Money back If not Box 53, Etmwood Sta., Prov., R. I.

^uU^atv^*

Music Slartdlnth- world, sati"sf~iclory

TRINITY MUSIC CO

The Crescendo

In this department, photos

of a subscriber and some

point of interest in the

place where he lives will

be shown with a few notes^

and what the players are

doing in each vicinity.

Where the Crescendo Goes On Its Journeys Around the World

Every month a city or town

will be visited in some

country in North America,

South America, Europe,

Asia, Africa, Australia or

on some island.

The above is a photograph of K. Berg, a Crescendo subscriber and representative of Kristiania. Norway. Mr. Berg states that there are very few who really play the mandolin well in his vicinity and duo playing is almost unknown. There are many instru­ments sold each year but there are no teachers who make the plec­tral instruments their specialty, no soloists to show what a wonder­ful little instrument the mandolin is, and last but not least, they have no Crescendo. Mr. Berg further states that the same con­

ditions apply to the guitar and that the banjo is an unknown in­strument in his country. In speaking of the Crescendo he writes " Your paper is fine and I only wish we had one like it in my coun­try."

gn_E % &

• _. 5" r-J

This is a photograph of the National Theatre, an interesting building in Kristiania, Xorway, one of the many foreign cities to which the Crescendo is sent.

Kristiania, the capital of Xorway.is the seat of Parliament and Supreme Law Courts. The city is situated at the head of Kristian:a Fjord. For two months of the year the fjord is frozen for a distance of 20 miles from Kristiania to the sea. The city is the terminus of a system of Railways. The city has many large buildings including a royal residence and environs are es­pecially beautiful.

MANDO-CELLO and

MANDOLA SOLOS

M O D E S T I E Reverie, by H. F. Odell Arranged so that any mandolin player can read it at sight. The piano and guitar acc. is the same as used in mandolin orchestra. It can be played as a solo with piano or guitar acc. or as a solo for either instrument with mandolin orchestra accompaniment.

Solo 30c. Solo and Piano 50c. Solo and Guitar 40c. 1-2 off discount.

O n the Wav—Largo (Handel): Love's Old Sweet Song (Mollov). Arr. bv OdeU. Subscribe for our .New Issues. H. F. O D E L L , 165 Tremont St., Boston.

EXTRAORDINARY ANNOUNCEMENT W e have made arrangements bv which we can now supplv at short notice the music of the Clifford E s s e x Co., for

BANJO BV Vess Ossman, Emile Grimshaw, Joe Morley, etc.

Among the pieces are Lancashire Clog—Dixie M e d l e y — H o t Stuff Patrol, etc. Real banjo music with lots of Zip and Go. Buy direct of us.

A L L P I E C E S are; Banjo Solo .40. Piano Acc. .40. Banjo and Piano 70. 12 off. Special Discounts to Teachers

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

Anyone may contribute to this deparment Stories, Poems. Ideas and Opinions. Send in anything

you wish only please make it short. A New Method of Playing Slurred Triplets on the Mandolin.

All mandolinists know how difficult it is to play slurred trip­lets so that they sound as they are written. With the ordinary down, up, down grouping of the strokes of the pick the first and second notes are slurred but the third note is accented and de­tached. Also, some time is lost in getting the pick back in posi­tion for the first down stroke of the next triplet. Other ordinary ways of using the pick give even worse results; up, down, up is obviously bad while down, down, down, kills the slur and could not be used in very rapid tempo.

Violinists, on the contrary, are able to roll off a series of beautiful slurred triplets by bowing in one direction, when the triplets are composed of the same note repeated the bow is stop­ped between notes. The effect thus secured has heretofore been the envy and despair of mandolinists but the writer believes that the following method will do the trick thus boosting the mandolin another step on its upward way. Proceed as follows:

Select a pick with a moderately sharp point. Lay it against the strings and push the latter over as advocated by Mr. Place in a proceeding issue of the Crescendo. Do this very slowly and when the first string sounds, that is to say, the first of the two strings that are in unison, you have the first note of the triplet. Continue the slow push of the pick and when the second string sounds you have the second note. Finish with a "slurred up" stroke (as demonstrated by emim nt teachers like Messrs. place and Pettine) l-'ghtly catching one string on the up and you have a perfect slurred triplet. Furthermore, you finish with the pick in position to begin the next triplet. Just sit right down and prac­tice this for five minutes and you will find yourself rolling off slurred triplets that are a joy and a delight. This is especially effective where the triplets are composed of the same note re­peated.

W. J. M O W B R A Y , Providence, R. I. Baltimore, Md., Feb. 24, 1913. H. F. Odell, Boston, Mass.

Dear Sir:—In regard to Universal Notation—so much of which is being written and promiscuously scattered about by one man.

This really does not give me any concern at all. It is all so foolish that it seems waste of good time to even talk about or discuss it. Anyone with any common sense, knows that the present nota­tion is sufficing in all respects, excellent arrangements are being given, and pretty nearly all are well satisfied. The only wonder to me is, that more firms with tenor-mandolas and mando-cellos do not advocate and push the great (?) new system of music writing, that will revolutionize reading, writing and playing of all melodies. that will simplify to a great extent, playing of mandolas, mando­cellos, violas, violon-cellos, trombones, clarinets, etc.—in brief, will enable the instrument to play its owner without effort.

There is no apparent reason in my mind, why, if writing tenor mandola and mando-cello music in the transposed clef, it will be necessary to place it twelve or fourteen lines above the staff.it was not neccessary to do it heretofore. What has brought about the change? It appears evident, that something must be wrong some­where, when it is possible for many publishing bouses and arrangers to write music for these two instruments in the treble clef, and it IS IMPOSSIBLE FOR ONE PERSON TO WRITE IT IN T H E S A M E MANNER. What is wrong? Why doesn't some good Samaritan show this one person wherein he is wrong, and teach him how it is possible to arrange this music in this manner, without having the stems of the notes punching holes in the blue heavens?

I wonder if the pieces published so far, in the experimental clef have had much of a sale, or have appeared on many programs? I have not noticed any particularly alluring programs decorated thus.

Yours truly, G. H. McCAULEY.

Dear Mr. Odell:— Boston, Mass. In his latest effusion in the Cadenza, Mr.L. A. Williams writes

"Pride and intellectual vanity are the products of Animal Ego".

sscendo He certainly poses as a -"terrible example" of it, although he implies that he represents the "Higher Self which is heavenly".

He claims that you are the only teacher who is sutislel with cur present notation. That statement is questionable. Unt'l Mr. Williams sprung his joke there was no complaint.

A man in Boston made a fortune selling five cent handkerchiefs at $5.00 each to a certain class of people who believed that they contained great healing powers owing to some supernatural treat­ment being given them by the advertiser.

Mr. Williams may find some of the same grade of mentality who will swallow his theories and others who will advocate them for personal reasons not publicly disclosed. I have seen testimonials for instruments signed by great artists who did not use them.

The publishing of mandolin music, in its various combinations, was in a badly mixed condition previous to the adootion cf certain ideas by the American Guild, which induced publishers to adopt uniform combinations. C notation for the banio was adopted by the Guild but publishers were not supported in their efforts by the teachers.

The transposition plan for the tenor mandola was adopted, largely through the vigorous efforts of Mr. Williams who now ridicules it. He does not attack the A notation of the banjo for his firm does not manufacture banjos.

At the present time, as a rule, mandolin music is issued under the forms adopted by the Guild. Now the question arises; will the publishers be expected to follow the Guild if it adopts theories, that vary from those of educated musicians all over the world. simply because a prophet says, "Arise and do as I command"?

Can teachers afford to betray their pupils by teaching them theories that will always clash with the methods taught in the public schools?

If the Guild stands for anything it must stand for Constancy and preserve its Integrity. This it cannot do if it is to be a divided house, which it will inevitably become if part of its teacher members follow such false methods. Mr. Williams cannot secure unanimity — H e can only cause confusion and destroy the moral strength of the Guild.

His influence in certain quarters, for certain reasons, may be great. He grossly exaggerates his parallels, and en leavors to con­found arguments in advance by peculiar rhetoric. There are many thousands who will never notice him but we may return to the conditions existing before the adoption of uniformity by the Guild if he obtains a strong following in its ranks.

In his advertisement issued under the heading of "The Miracle". the name of Deity is mixed with bombast to a questionable degree.

As an example of "Animal Ego" he is a success. As a represen­tative of the "Higher Self" he is a monumental failure. I trust that the Guild, as an organization, will leave him, and those tied to him, to push his fad without its endorsement.

Be a musical organization not a stepping stone for a manu­facturer.

Yours sincerely, T. H. ROLLINSON.

Brooklvn, N. Y. M y Dear Mr. Odell:—

I haven't advocated and don't expe-t to advocate Mr. L. A. Williams universal notation. Instead of simpl:fying, it only tends to create confusion. Vou understand the issue thorough1 v as anv­one re'dine your article in tlie Crescendo would be able to see. When I finished re tding it, I gave it to some of my friends to enjoy.

Although I am not very much in favor of the transposing idea, I would say put your foot down hard on this so called Universal Notation and keep it there.

We must not be small fry musici ins just to be pleasant and keep up appearances.

The Guild cannot succee 1 in gaining the notice of legitimate musicians by performing Easiest Way (?) stunts.

Very truly, W M . ED. FOSTER.

Terre Haute, Ind., Feb. 27 Dear Mr. Odell:—

I am looking for a magazine that is devoted to the masses an 1 not the few in regard to this universal notation hobby of "Deacon" Williams. Where do you stand? If you are with the masses, send me your magazine and I will forever plug for you.

Yours very truly, W. G. B R A N D E N B U R G .

P. S. I just wrote to the Gibson people to take the "Deacon" 40 miles out to sea with a good heavy roek and his U. N. The "Deacon' has replied saying that such words incited to mob and riot. The mob for me. W. G. B.

The Crescendo 25 The Serenaders' Annual Dinner

(By a Serenader)

A TOAST

"Tonight, a crust I'd rather have Than feast with spoon or fork, If I could only 'Serenade' With you in old New York."

Lagatree.

The second annual dinner of the Serenaders took place on Feb. 2nd at the Cafe Boulevard, N. Y. city. Under the capable manage­ment of Mr. Willis m Liess, who is one .of the Advisory Board, every kind of an appetite was appeased. He had flash light photos taken for souvenirs and had representatives of the press on hand.

At the close of the dinner, American Guild President D. E. Hartnett, presided as "Roastmaster." During the speeches and musical numbers he read letters and greetings from out of town members. The first letter brought thunderous applause because it was from Mr. Bickford, who was one of the prime mover- in the Serenaders. In Mr. Bickford's letter, he said; / believe the organ-zation has a great future because its principals are laid out along the

right lines and when the time is ripe, I intend to see to it that the Cleve­

land branch is a healthy infant." (Great applause.)

E x . Guild President Claud C . R o w d e n w a s next heard from,

b y letter, w h o said; " You deserve unlimited praise from the B. M. G.

world for the excellent example you have set in forming this truly,

wonderful organization where members and friends can 'rub noses'

without (car of exploding the powder that sometimes covers them. You

have set an example which should be followed throughout the world.

It is just such organizations as these that stimulate the love and interest

of our instruments." M r . R o w d e n also spoke of the "wo r t h y Secan­

treas" w h o keeps h i m in touch each fortnight with his clever, original,

always different yet m e a n i n g the same, " c o m e o n in the water is fine,"

a n n o u n c e m e n t s .

Another interesting letter w a s " T o the Serenaders" from H .

F. Odell of Boston and Editor of the Crescendo. M r . Odell, like

all Editors, is quick to see the vital points a n d to foresee the trend

of a n y m o v e m e n t . H e expressed the desire for a similar organization

in Boston, where, although the professional players are associated

together a great deal, they are not able to enjoy the relaxation a n d

a b a n d o n of pleasant comradeship which is a distinct feature of the

Serenaders. M r . Odell, to referring to the object of the club, said

" / think the organization deserves the support of all teachers and players

in the vicinity of New York." T h e Serenaders h a d anticipated

that M r . Odell would be present o n this important occasion, his

absence w a s excused'only because of the very good reason he g a v e

for not coming, i. e. because every m o m e n t of time that he might

devote to his o w n pleasure w a s occupied with answering letters

explaining W H Y he did not approve of "Making Hindu-Chinese

hieroglyphics out of musical clefs, a la Universal." This w o n very

sympathetic ami understanding applause from the Serenaders.

L. A. Williams sent a fourteen page "toast" all the way from Kalamazoo. It was not read in its entirety, the Roastmaster not feeling sure whether all the jokes would be approved by the National Board of Censorship, but it was ordered printed in full and the Serenaders have ordered copies in advance. It is a very serious paper and is worthy of most careful perusal.

Short speeches were made by the Secantreas, F. L. Berthoud, W m . Edw. Foster, Mr. Liess, Mr. Sam Speck of the Remick Co., Mr. Terry of the music department of Wanamakers', Mrs. Berthoud, and by Mr. Hartnett who had been asked to say something about the American Guild.

The musica] numbers which intersreiscd with the speeches were; "Daughters of the American Revolution, Lampe-Odell; "Scattering of tbe Poses, " Ring & Hager-Odell,played by the Serenaders Orchestra, "Concerto," Bane; "Indian Dances", Bane, by Mr. Johnson Bare on the Guitar; Mandola solo by Miss Mary C. Thorndike accompanied by Mrs. William D. Kenneth at the piano; Unaccompanied mandolin solos, "Loin de le terre d' Italie", Fersichini; "Serenade", Gounod, by W m . Edw. Foster; "Boys in Kb.-H", March, Bennet-Odell; "Scene de Ballet", Andreff, by tl e S« 1 m a i d s Orel 1

Among the distinguished guests were Arthur Bamiforth of Philadelphia, who also took a membership for 1913; Mr. Hipman of the Ditson Co., Mr. Van Epps, Miss Cora Butler from Staten Island, Miss Anna M. Tuttle and Mr. and Mrs. Glaub t from Brooklyn. Also H. G. Walker with a party of friends; Mr. W m . Lange, Mr. Harry Xeweorn. Or. and Mrs. Camerer, Mr. and Mrs. Grindle, Mr. and Mrs. Parry. The Advisory Board aeted as hosts and were all present except Mr. Farland, who was playing engage­ments in the W until a late hour, the la st hurrah was in the form of three cheers proposed by Roastmaster Hartnett for the longlevity and continued prosperity of thc Sere-

Thematic Guide

For

Mandolin Club

Directors

Containing 6 4 pages of complete Miniature (Readable Size)

ist M a n d o l i n Parts of our Publications, w h i c h are issued for

full Mandolin Orchestra, including M a n d o - b a s s , T e n o r M a n d o ­

la a n d Mando-cello parts.

Send for One, It's Free ! ! !

M. WITMARK 4 SONS, Dept. T, 96 Witmark Bldg., N. Y.

A. J. SHAW'S PLECTRUM BANJO Is a thing of beauty and a joy forever

Can be used equally as well for finger playing. If you are interested send for catalogue and printed matter.

Are you thinking of learning to play the Banjo with a pick? If so go about it in the right way, get rid of that tin pan you are using. Get a real Banjo. Get a Shaw Banjo. And dont try to dig it out yourself, its a long way around to take a short cut- Take advantage of my ia years work on my Pick System. This is the original and first Pick System on the market, 2 years ahead of any other.

A. J. Shaw's Pioneer Method for Pick Playing $2.00. Set o'f m y heavy guage strings 60c.

8 Solos for Pick Banjo Playing with Piano Acc. $2.00. 8 Solos for Finger Playing A Notation $1.00. Regular Nigger Music.

Cash with order.

A. J. SHAW'S MUSIC HOUSE 432 E. 43rd St., Chicago, III.

Selection on OBERON, Weber. Arranged by Ch. F E R E T .

This is one of the finest selections recently imported for mandolin orcl slra. It is destined to be the hit of the season.

T e n o r M a n d o l a a n d M a n d o c e l l o Parts.

J. R O W I E S , 3337 North 18th St., Philadelphia, Pa.

Standard Music for Mandolin Orchestra In conjunction with Regular Orchestra.

M f T W I Songs of Ireland Douglas-Odell lSKL,yy. Traumerei and Romance Schumann Cdell

W e give a very libera] discount to subscribers to our new issues. Send for particulars, n e w catalog and s a m p l e lst M a n d o l i n parts.

Cundy=Bettoney Co., 66 Hanover St., Dept fl, Boston

Frank B. Smith's Banjo Hits. All Cracker Jacks Ye Boston Boy. March Solo 40c The Flying Jockey, Galop 2 Banjos SOc O h You Rastus. A Real Rag 2 Banjos 40c Ripples from Dixie Land, Potpourri Solo 50c Pride of Trenton. Concert March 2 Banjos SOc Koontown Krinkles, Patrol 2 Banjos 4(lc

All of F. B. Smith's compositions are guaranteed to suit or money refunded. 'A off Send for complete descriptive list.

S T E P H E N S H E P A R D . 526 East 18th St., Paterson, N. J.

Back Numbers of the Crescendo ONLY A FEW LEFT Vol. I.—11 Numbers containing $ 2 3 worth of music 50c. Vol. II.—12 Numbers containing$25 worth of music 50c. Vol. III.—10 Numbers containing over $20 worth

of music 50c. Vol.1 V . — 1 2 Numbers containing $ 2 5 worthof music 50c.

Single numbers 10 cts. Less than 50 sets still unsold in each volume. Make

your files complete and order back numbers desired.

m n E D I A T E L Y .

The Crescendo

T5he

"SYMPHONY" Harp Guitar Amazes and delights everyone. The most wonderful tone ever produced by a guitar comes from the "Symphony." Greatest V o l u m e and Sweetest Quality. It has five extra bass strings of powerful, deep, rich tone like a harp. They make playing easier. Flats are as easy as any other key. New and beautiful effects pro­duced after only a few minutes'prac­tice. Leading artists are playing it with great success. An ordinary gui­tar has nothing like the power of a "Symphony." Write for free illus­trated catalog and artists' testimonials.

W e ship the "Symphony" on trial. W. J. DYER & BRO. Dept. 85, ST. PAUL, MINN

Recent Publications

30 DAY OFFER Here is the B A N J O I S T ' S chance

1 Dozen Banjo Strings Assorted "Neverfalse Brand" including "Neverstretch" 4th's and one of F. J. Bacon's Famous Banjo Solos our selection for $1.00.

Teachers send vour card and get our SPECIAL TEACHERS PRICE LIST.

Write for our Special Bargains for Violin and Guitar Players.

THE F.J. BACON CO 14 High St. Terryville, Conn.

C O N C E R T B A N J O S O L . O S Which always get an encore

*A Soliloquy Plantation Symphony *Ragioso Rondo Shiney Eyes Gal >p Recherche March Impromptu

These are good snappy banjoey numbers which never fail to arouse enthusi­asm. Your repertoire is not complete without them. Order at once.

Banjo Solo Sue; Piano Acc. 40c; Banjo & Piano 75c. Discount one-half off. *A and C Notation. Catalog Free.

THE MAXIMUM PUBLISHING CO., 1009 Spring Garden Sf. Philadelphia, Pa.

Tenor Mandola and Mandocello Parts Now Ready

A Day In The Cotton Field 1st Mandolin or Violin .40, 2nd Mand. .15, Guitar .15. Piano acc. .30, 3rd

Mand.. Octave Mandola, Tenor Mandola. Mandocello, Violin obi., Flute and Cello each .20. lst Banjo .40, 2nd Banjo .15. USUAL DISCOUNTS, T H E E A S T M A N CO., Permanent Bldg., Cleveland, Ohio.

BANJOISTS! W e make any Thickness or Color of Heads you may de-Why not try "Rogers Special Grade All White."

ROGERS FACTORY

Farmingdale. New Jersey

A NEW GUITAR SOLO GLADNESS

by Ethel Lucretia Olcott Medium grade. Very pretty. Showy. Not hard. Pretty melody

For teaching or concert Regular price 40 cts. % off.

Till May i, we will send you one copy only postpaid for 10 cts_

H. F. OdeU & Co. 165 Tremont St. Boston, Hass.

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

er'*. The letters after names indicate grade—E, easy—II

medium D, Difficult.

MANDOLIN

Oliver Ditson Co.

Just An Easy Motion G. L. Tracy-Arr. H. F. Odell, M

Full Mandolin Orchestra $2.20

Something new in the intermezzo style. Keys of G and C. It is played with a slow lilting motion and has several extremely catchy melodies. It might well be termed a slow twostep. Good parts for all the instruments. Good counterstrains. Very catchy throughout. Immense for clubs and a good teaching piece.

Book 4, Odell Mandolin Method H. F. Odell

Price $ .75 This method completes the Odell Mandolin Method published

in four books. This book is devoted almost entirely to what are called the "fancy points" of mandolin playing. The Duo, Trio and Quarto are explained progressively and extensively, also the Pizzicato, Slurred Arpeggio and Harmonics. These various points are treated in such a way that the book actually contains more educational material than all other books on these subjects combined. There are very easy preparatory exercises leading to the many progressive exercises. This method has already been adopted by hundreds of the leading teachers and the book, although only recently published, is meeting with much favor and will undoubtedly become extremely popular with both players and teachers. Jerome H. Remick & Co.

Be My Little Bumble Bee H. I. Mar shall-Arr. L. Tocaben, E

Full Mandolin Orchestra $2.20

An easy arrangement including parts for mandola and mando­cello and obbligato instruments of one of the popular song successes. Key of C throughout. All in the first position. Makes an effective program double number, or a good encore number. Is also effective with just mandolin and guitar accompaniment.

That Old Girl of Mine E. Van Alstyne-Arr. L. Tocaben, M

Full Mandolin Orchestra $2.20

Another arrangement of a popular song including tenor mandola and mando-cello parts, also the usual obbligato instruments. Keys of G throughout. First strain rather slow, the chorus a moderato march movement. Effective for teaching or concert work.

The Sunny South Medley J. B. Lampe—Arr. H. F. Odell, M

Full Mandolin Orchestra $3.40

A medley selection of well known southern plantation songs, opening with "Old Folks At Home" as a mandola or mando-cello solo with effective obbligato, followed by the "Mocking Bird", "Old Kentucky Home", "Arkansas Traveler", "Massa's In The Cold Ground" as a mandocello solo with orchestral effects, "Zip Coon","Old Black Joe" and the finale of the "Star Spangled Banner." An effective medley of these old airs and put together in an interesting way. Good parts for all instruments, keys of G, D and A. Nearly all in the first position. A very playable medley for concert work and effective in any combination of parts.

M. Witmark & Sons

Spooky Spooks, A Novelette Howard Ballon—Arr. Trinkaus, M

Mandolin and Piano $ .75

A catchy 6-8 slow march movement. Arranged for full mando­lin orchestra including all the usual parts. It is somewhat on the style of thc successful "Mosquito Parade" and is an excellent number for concerts for mandolin orchestras also effective for mandolin with guitar or piano accompaniment. Keys of C and A minor throughout.

Sweetheart, Let's Go Walking

Mandolin and Piano

Manuel Klein--A rr. Trinkaus, E

$ .65

One of the popular songs from "Under Many Flags", the spectacular production which has been recently produced in New York. A schottische style of movement with a 4-4 chorus movement. A very catchy number. Easy for teaching and interesting with the various parts. Published for 2 mandolins, guitars and piano accompaniment, also for banjo solo.

The

EDITORIAL. Continued from page io

"I hive read your letters in the Crescendo and they

«are very good."

Carl W. F. Jansen.

"My sincere compliments and congratulations on your

•work in Guitarists Round Table in the Crescendo. Your

articles please me very much."

Walter Vreeland.

"I enjoy your contributions to the Crescendo very

much."

Guiseppe Pettine.

"Have just finished your article in the Crescendo.

/ don't believe you hardly realize the good such an article

does. You write with authority."

L. A. Williams.

"I enjoy your department in the Crescendo immense-

•ly-' Myron A. Bickford.

The management sometimes wonders whether thc

players desire magazines such as the Crescendo is now,

published with interesting articles and music or whether

some desire a magazine with nothing but music, and

others, a magazine with nothing but reading matter.

The above letters prove that the various articles which

appear by our noted staff of writers are pleasing, and

judging from a majority of the hundreds of letters re­

ceived during the course of a year, it seems to us that the

best policy for a magazine is to print interesting and

instructive articles and music combined.

Guitarists Round Table (Continued from page 22)

H. A. B. Kindly let me know through the Round Table what

relation the two Mertz s were to each other. I have compo­

sitions by both Jos. K. and Johann K.

Answer: So far as I am able to ascertain, there was

but one celebrated guitar composer by the name of Mertz,

Johann Kaspar Mertz, the renowned Austrian guitarist

whose works are of foreign publication. G. Schirmer of

N e w York, has published three compositions, namely,

"I Montecchi ed I Capuleti Fantasie" and "Fantasie"

and "Grand Fantasie" by Joseph K. Mertz. These

works, however, throughout are in the style of Johann

K. Mertz, so I believe it has been merely a mistake in

the Christian name. These works were published in

1900 and may be posthumus works of the illustrious

Mertz. They are published without opus numbers..

Biographies

The ''Biographies of Famous Guitarists and Mando­

linists'' by Philip J. Bone is in progress and doing nicely.

Send in your subscriptions, guitarists, who have not

already done so that the work may be the sooner com­

pleted. This book will be a priceless treasure to all

guitarists with its rare portraits of all the old masters.

Price $4.00 for cloth binding and $6.00 for edition

• de luxe in leather with author's autograph.

Send subscription to Miss Ethel Lucretia Olcott,

722 W . 11th St., Los Angeles, Calif.

.scendo 27

American Guild Convention Twelfth Annual Convention and Concert. Place, New York

City; Dates, Saturday, April 19th to Wednesday, April 23rd, 1913; Managers, The Plectrio, F. Landry Berthoud, Secretary, 664 West 179th St., N e w York, N. Y.

S A T U R D A Y , April 19th; Opening of exhibits at Hotel McAl-pin, Herald Square.

S U N D A Y , April 20th, Evening;; A Gala Serena ie and recaption will be tendered the members of the American Guild and out of town guests by the Serenaders.

M O N D A Y , April 21st; Business meeting of the convention.

TUESDAY, April 22nd; Morning ani Afternoon, Business meeting. Evening; 12th Annual Banquet.

W E D N E S D A Y , April 23rd; Day, Competing clubs will play for the prizes, the first half of the contest before the judges only. The public will be admitted to the second half of the performance when the clubs play selections of their own choice.

W E D N E S D A Y , April 23rd, Evening; Annual Concert. The artists include the Place Mandolin String Quartet of Providence, a banjo quintet of celebrated players, among them being Mr. Frederick J. Bacon; Johnson Bane, guitar soloist; a well known vocal soloist; the prize winning club; a banjo orchestra and a complete full orchestra.

The concert will be held in the new Aeolian Hall. The official hotel will be the McAlpin, Herald Squars, the

largest hotel in the world, particulars of which were given in the last Crescendo. Practically all of the visiting members will be quar­tered at this hotel.

The exhibits will as usual, include the instruments, muiic, strings, etc. of various trade members. This is always one of the interesting features at every convention.

An official guide, containing full informition, will be issued in advance and sent to each member of the Guild. This souvenir will be small and if advertising space is desired, it can be had at the rate of .$10 a page or $6 a half page.

The principal feature of all American Guild conventions is the fact.that members of the fraternity gather together and talk over the various matters connected with the profession and industry and as N. Y. is such an interesting city to spend a few days in, with the fine program arranged by the Plectrio, the 12th Annual Con­vention should be extremely successful and enjoyable and it is expected that there will be a large attendance of Guild members and friends present.

Any information desired, particulars in regard to tickets for the concert, which shoull be engaged at once, also about room-; at the official hotel, may be obtained by addressing the Plectrio, 664 West 179th St., N e w York, N. Y.

At the Gila Serenade Sunday evening which will be held in the ball room of the Hotel McAlpin, Sydney N. Lagatree of Detroit will be chief Serenader. He invites everyone to bring an instrument and join in the General Ensemble. Other numbers on the program will he solos by Mr. and Mrs. Claud C. Rowden, W m . Ed. Foster, .Miss Mary C. Thorndike on the balalaika, W m . J. Smith, G. Percy White in songs with banjo accompaniment, the De Wick Trio of Brooklyn and songs by Mr. and Mrs. Frederick Martin.

The banquet will be held at the Kaiser Hof, one of Broadway's famous eating places. Perpetual toastmaster, G. L. Lansing will again preside.

At thc concert the Serenaders Banjo orchestra is predicted to be a head-liner. The instrumentation includes piccolos, ban­jeaurines, lst and 2nd banjos, mandolins, guitars, mando-bass, plectrum banjo, drums and traps. One of the numbers to be played is by Mr. Thos. J. Armstrong and in recognition of his position in the banjo world, thc Serenaders Banjo Orchestra have invited Mr. Armstrong to be their honored guest during the convention week. Thc Banjo Quintet at the concert includes Frederick J. Bacon, Geo. L. Lansing, Myron A. Bickford, J. J. Derwin and E. F. Goggin.

The Serenaders will be on hand during thc time of the conven­tion to lend a hand wherever necessary. Strangers who desire to be met at train or companions just drop a line to the Plectrio. Mr. James H. Johnstone is already on hand lending experienced services and assisting in making the convention a success.

It is very important that all visiting Guilders who wish to secure rooms at the Hotel McAlpin should write at once for reser­vations as this hotel is already running a capacity house.

A Report of the Guild Convention

and Concert

will appear in the June Crescendo.

38 The Crescendo

PROMINENT TEACHERS A L L E N , Mrs. LOUIE M — 345 N. 11th St.,

Lincoln, Neb. Piano, Guitar, Mandolin and Guitar.

AUSTIN, C. E — P . O. Box 535, New Haven,

Conn. Banjo, Mandolin and Guitar.

G L A U B I T , M R . and MRS. CHAS. J.— 392 Bleecker St., Brooklyn, N. Y. Mando­

lin, Banjo, Guitar, Zither, Violin and Piano.

K I T C H E N E R , W. J—157 W. 84th St., New York City. Mandolin, Guitar, Banjo and

Composition.

KURTZ, CHAS. L.—5100 Frink St., Chicago,

111. Mandolin, Banjo, Guitar, Zither.

LANSING, G. L.—170a Tremont St., Boston,

Mass. Banjo, Mandolin and Guitar.

I EVERT, JOHN J.—562 St. Catherine St., '-' West, Montreal, Canada. Banjo, Guitar and Mandolin.

O D E L L , H. F—165 Tremont St., Boston, Mass. Mandolin, Guitar, Banjo and

Piano.

O L C O T T , MISS E T H E L L — 722 W. 11th St., Los Angeles, Cal. Guitar Soloist and

Teacher.

P E T T I N E , GIUSEPPE. —Studios in Boston, Mass., and Providence, R. I. Permanent

address, Lederer Bldg., Providence, R. I. Man-lin. Teacher and Soloist.

D L A C E JR., WILLIAM—308 Caesar Misch * Bldg., Providence, R. I. Mandolin Tea­cher and Soloist.

ROWDEN, MR. & MRS. CLAUD C— 1022 Masonic Temple, State & Randolph

Sts. Chicago, 111. Banjo, Mandolin, Guitar and Piano.

T S C H O P P , CARL.—1319 Susquehanna Ave., Philadelphia, Pa. Mandolin, Zither, Gui­

tar and Banjo.

\7REELAND, W A L T E R F.—178 Tremont ' St., Room 40, Boston, Mass. Guitar, Mandolin and Banjo. Teacher and Soloist.

TEACHERS OF MANDOLIN,

BANJO O R GUITAR

VOUR professional card will be inserted ia

this list for $2.00 for 12 months, payable

in advance. Insertions must begin with the

January, April, July or October issue.

&/>e CRESCENDO Always obtainable from anyone on this list.

UNITED STATES Boston, Mass.

Vega & Fairbanks Co., 62 Sudbury Street. Oliver Ditson Co., 150 Tremont Street. New England News Co., 9} Arch Street. G. L. Lansing, 170A Tremont Street.

Baltimore, Md. H. R. Eisjenbrandt Sons Co., 201 No. Charles Street.

Buffalo, N. Y. Denton, Cottier & Daniels, Cor. Court & Pearl Streets.

Chicago, III. Claud C. Rowden, 1022 Masonic Temple, State & Randolph Sts.

Cleveland, Ohio. Myron A. Bickford, 604-5 The Arcade H. E. McMillin& Son Co., 2060 E 9th Street.

Hartford, Conn. Barker Piano Co. Asylum Street.

Los Angeles, Cal. Tbe L ndsey Music Co., 416 S. Broadway.

Newark, iN. J. A. J. Weidt, 439 Washington Street.

N e w York, N. Y. Valentine Abt, Carnegie Hall Bldg. C. H. Ditson Si Co., 8-12 E. 34th Street. D. E. Hartnett, 71 W . 23rd Street.

Pittsburg, Pa. H. A. Becker, 601 East Ohio St. Volkwein Bros., 516 Smithfield Street.

Port Richmond, N.Y. Miss Cora L. Butler, 2074 Richmond Terrace.

Providence, R. I. Goff & Darling, 276 Westminster Street.

Sioux City. Iowa. C. A. Templeman, 3713 Orleans Ave.

Syracuse, N. Y. Rose Fritz Rogers, 114 E. Fayette St.

FOREIGN Calcutta, India.

T. E. Bevan & Co., 13 Old Court House St. Christchurch, New Zealand.

Joseph Wright, 206 High Street. Kristiania, Norway

K. Berg, 12 Theresegade. London, England.

Clifford Essex Co., 15 A Grafton Street. Keynotes, 39 Oxford Street.

Yokohama, Japan John Gorman, 116 Yamashita.

LINER AD. DEPT.

Advertisements inserted here for 25 cts. a line,

each insertion. Cash with order. Not less than 3

lines nor more than 8 lines accepted.

F O R SALE—Harp, single action, in good condition. Big bargain. Will sell for $65. N. E. BRODERICK, -9 Washington Ave , Ossining, N. Y.

AFINE Vega Mandolin, and new black sole leather case for sale. Good tone, a

real bargain. Cost $32. Sell for only $17, H. F. ODELL, 165 Tremont St.. Boston. Mass.

HARMONY LESSONS BY MAIL. A practical course by a musician of man}' years experience and a member for years of Gilmore's Band. From start (• finish my instruction Is easily understood. When you get through you will

actually have something of value. I. H. ODELL, 165 Tremont St.. Boston.

—.CTS. per copy for discontinued or slightly soiled teaching mandolin N music. Good as gold. Send 35 cts. and we will send you 5 pieces off the ' pile. No catalogs but all good. Will you take a chance.

ODtLL & CO.. 165 Tremont St.. Boston. Mas*

ADVERTISE HERE.

Chas. J. Glaubit says:—"I think advertising in the

Crescendo is great, I have received so many answers.

It travels so far and really gives you good value for

little money."

Ethel Lucretia Olcott Guitarist

Available for guitar recitals, or guitar solos on club

and orchestra programmes, during the month of May,

in Ohio and Illinois.

For bookings address :

Miss ETHEL LUCRETIA OLCOTT 722 W . 11th St., Los Angeles, Calif.

YOUR WEST INT-MMTS W1LL.BK BKUVBI; BT MIMUDHIMO THJJ C.KCBNDO WHEJS WRJTING ADV.WT.iIBS

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