T_ ~ - - .VIMHii____-9Sv.mil»»•_.•_•».

The Crescendo

They meet bv ap|X)intment and look each to the other. Every­man of til in is easily great and accustomed to conquering by merely being pa-sent, which presence alters the face of affairs.

They are not therefore, the common souls who are-weighed for what they do. but rather the uncommon who are known for what they are. These are they who command and it is done, and usually in the grandest strokes, feel the most at home, yet singu'arly they now with knit brows, sit in silence.

The meaning r>< the meeting is most distinctly searching.

"How could this fad gain such popularity? What a game of blindman's-buff is this game of conformity1, and yet. for non-con-formity we are whipped by the world's displeasure."

Strangely their meditation continues without a spoken word. "Shall we individually dare say, 'I think', T am', or shall we con­tinue to quote some saint or sage' W h y do men of strong intellects dare not hear the God of Truth himself, unless he speaks through the usages of Beethoven, Bach or WagnerJ Is it not more just, to love the world of this hour than the world of their's? Or. rather, are not these times the ancient times i st.ad of the times we count backward? Is not this newly evolutionized convenience. Universal Notation, the embodiment of the oldest and maturest thought' And is not that which has remaiied the same the longest, the old notation, of the earliest and most undeveloped thought ? Shall we continue to argue the acorn is greater than the oakJ What infirm-

"Truly life is ahead of musical doctrine, and the people know-more than the theorists have taught.

"What failure is there which is no: resultant of law or progress5 and neither can we now- make water flow up hill. nor twist a rope of sand. H o w then can we voluntarily shut our eyes and bereave ourselves of reason5

"True, every advantage has its tax, but we must hav; no merit to escape tax, in the which, how can we publishers sell our nothing, (transposed parts i for something2

"And now each day is a judgment day, .md our sins of onission daub and mar our reputations, for lo! all the world surfers because we're stow to act; and while e en here at this meeting, we are armed all over with subtle antagonisms, to which no God attends. Still. we must weave, ^publish) but if we weave without the presence of the God of Truth,—we shall weave cobweb for cloth, while orr competitors are already weaving doth for cloth to them who want cloth. And who wants cobweb, whether it be 'transposed' or 'ex­clusively treble'1 W e do not hear a single desire for the latter and yet that is our delight.

"Still, if God thought of the oxen, ought not we to care for the bretheren? And if we can? as we

: hen our deeds must show it."

But Behold! Look! A figure breaks forth upon

tlie wall.—a point at the center of a circle, and underneath a hand, which writes with striking fluency. "Unity in the midst of all diversity."

They sit motionless and with eyes fixed, peer­

ing into the inner meaning of the plainly, visible figure.

fajMrb Al (Lit < _ W * ^ ;

Finally their tongues are freed and each discusses with another. "The hand-writing upon the wall,—is it significant?" Thank God it's not in collossal cipher as of old."

And then is distinctly heard in a liquid, low, reverent voice that fills the room:

"Would that every chair herewith be now a throne, holding a king—a king indeed, a king in truth, a king for truth, supreme in devotion for the good of all.

"I have heard the prayers of the thousands who have long cherished thy greatest contributions and imperishable works. Y e have wrought m nfully and in the purist spirit published libraries

productions, with which you have sought to :heir worshippers by enriching the minds

of the worshipful. The affection, for your work is noted in the solemn and pure delight which it gives you to conceive and produce the best, and well there may be between you a bond of secret sym­pathy, and a magnetic chain which unite you into an everlasting brotherhood and propogate a generous desire not to war with, but to serve artists in your art.

''But the arts move. Progress is incessent and where are you that you move not with it?

"The world's conception of supposed greatness is.—authority. power. I oendence, but be it not so among ye kings of men. for he who is great is servant and he who is greatest is servant beyond all the rest.

ten, suffer not your gratitude to precedent that affords a to blind you to the needs for the present uniformity

that now affords a better, for she i,Service 1 wherever beholden, makes all beside her more than they are wont.

"Determine then to know no way but the way of greatest usefulness, and give a heedi -ill of the hosts not only as students w students S7.'n and suffered.

"There. - of men. depart now in unity of spirit, and make service the aim QSistency or salvation for self, and

been slowly dying because bereft of deeds.

•s not too gr .-."selves wholly at your own disposal, bat make yourselves servants, minis­tering to the needs of men and by thus dealing nobly with all, they shall all show themselves noble, and in thus giving, thou shalt bountifully receive, some sixty, some a hundred fold.

"Put the great God of Truth, as it wea\ under obligation to you by obeying the law of uniformity anil compensation, for all lav

od mav be abundantly trusted.

"Remember now them who on the brink of the waters of life and truth are miserably dying, and withhold not thy hand for to serve them, for he who serves most enriches most his being, and God reveres bim who IS riches by honoring bim W I T H riches.

And they went out from the oldest unto the youngest, waxing earnest in devotion for Universal Notation, absolute pitch.

GIBSON MANDOLIN GUITAR CO.

505 Harrison Court, Kalamazoo, Hich.

'The Miracle" is a reality to those who comprehend, but an agance to those who don't. The key appears in the Febni-

tnu".

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D D I f ' i r Q Single Box 50 eta. By mail 65 cts. PerDoz. 4.50-1 ->-»v^«--»J Sent ..special light weight pasteboard .rate.

t^T Special Discounts to Teachers or Dealers in Dozen or Half Dozen Lots.

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

The Crescendo

To the Same Point The "BoWl-back Vs. The Back-board

Some makers talk about mandolin construction as if the mandolin was, and by right ought to be, a second rate imitation of the violin! W e resent the inference!

W e won't believe that our steel strung mandolins must be modelled to conform to the principles of bowed instruments with gut strings! A n d despite the august and atrocious claims of someone w h o is ludicrously announcing the doom of the mandolin family, we reaffirm our allegiance to the old-time practice of making Mandolins as Mandolins ought to be made, and making our Violins as Violins ought to be made.

S T A H L B O W L - B A C K A N D BACK-BOARD M A N D O ­LINS are both made on sound acoustic lines. W e don't try to shut our eyes to the fact that a Mandolin is as much a PERCUSSION instrument as is a piano.

W e proportion our bowl model to the theory that the deep bowl ABSORBS the NOISE W A V E S caused by the steel string and the percussion touch of the plectrum! The noise wave is ever present, and the bowl solves it.

W e proportion our Back-board type to the piano-scale plan, viz.: maximum sound board beneath lowest strings, minimum under highest strings.

In short, w e take you T W O R O U T E S T O T H E S A M E P O I N T . Choose the model you fancy. W E G U A R A N T E E T H E T O N A L I T Y , not only in Man­dolins, but in Mandolas, Mando-cellos, Tenor Man­dolas, Mando-basses, Guitars and Harp-guitars. and in Stahl Wood-rim Banjos. W e offer Mr. Stahl's

28 years practical making, teaching and playing experience against the course-in-pied acoustics taken by a competitor's ad-writer.

TEACHERS: For 1913, try us on student's outfit. club equipments, or Whole orchestra instrumenta­tions. Our goods are supurb; our prices AUT) a PROFIT to the prestige our instruments giVe you, and our methods, added to our instruments, giVe you a line on all of the business of your territory. Drop us a line. Catalogs and discounts Will be given upon receipt of your card.

MUSIC--From In addition to the la

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WM. C. STAHL 211 Grand Avenue,

Manufacturer and Publisher

Milwaukee, Wis.

T5he

"SYMPHONY" Harp Guitar Amazes ind 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. P A U L , M I N N . F. E. COLE

Manufacturer of H I G H G R A D E

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

APPLETON ST. BOSTON, HASS.

Standard Music for Mandolin Orchestra In conjunction with Regular Orchestra.

M J T W ! Song, of Ireland Douglas-Odel' _-«1-. VT . Slumber Song • . . . Warren-OdeM

W e give a very liberal discount to subscribers to our new Issues. Send for particulars, new catalog and sample 1st Mandolin part*. C u n d y = IJettoney Co., 66 H a n o v e r St., Dept 1*1, Boston

METHODS B Y

Arling Shaeffer

M a n v methods have been published for the Mandolin' Guitar and Banjo, but as yet none have met with success as

SHAEFFER'S METHODS. These Methods meet the requirements of all up to date

teachers and assist the pupil as well as theteacher to success.

These Methods are the result of some thirty years of constant teaching and it is a certainty that these Methods have made more good players than all other methods to­gether.

W h e n such artists as Samuel Siegel, Aubrey Stauffer, C . Hal Stoddard and man y others have used them constant­ly in their daily teaching, while thousands of other well known teachers have given these Methods an impartial and fair trial and all pronounce them as the ideal methods in teaching Mandolin, Guitar and Banjo.

Write for catalogue describing these wonderful Methods and rates to teachers; also the largest catalogue of concert Mandolin Solos by Siegel, Stauffer, Ostrander, W e e k s , Stoddard and man y others that are perfection in Mandolin Art. Address all mail to

LYON & HEALY, Chicago, III.

PLEASE MENTION CRESCENDO W H E N WRITING ADVERTISERS

•- sm&svm? Av__»*_r«-*-----MWK>i<«w"»

The Crescendo

nr ™TUHM1(OJ(S)!J1]1JKJ(M IM M. W I T M A R K & SONS February, 1913 96 Witmark Bldg, New York

FULL MANDOLIN ORCHESTRA PUBLICATIONS I N C L U D I N G

Tenor Mandola, Mando-Cello and Mando-Bass Parts INSTRUMENTATION

1st Mandolin 2nd Mandolin 3rd Mandolin Octave Mandola Tenor Mandola

Mando-Cello Mando-Bass (Univ. Notation & Bass Clef) Banjo Solo (Amer. & Eng. Notation) Guitar Acc. or Harp Guitar Piano Acc. L * we can supply any of the following Violin. 2nd Violin. Viola. Cello. Bass,

Flute, lst Clarinet. 2nd Clarinet, Oboe. Bassoon, lst Cornet. 2nd Cornet. Horns, Trombone and Drums. Prices of these parts same as for Flute and Cello Parts. 109 *250 .533 572 600 602 *656 •670 •684 *686 *713 *714 *715 *716 *717 *718 731 732 742 *743 744

751 *755 *756 •773 •774 777 778 779 *782

791 *792 •793 *794

795 *796 *798 *799 •800 •801

811 812 813 *822 823 *827 •833 834 837 •838 *839 •840 *841 *842

ZENDA WALTZES F. M. Witmark BRIDE BELLS. Waltzes Paul Rubens MLLE. MODISTE. Selection Victor Herbert THE RED MILL. Selection Victor Herbert THE NODDING TULIP, A Pastorale Idylle Geo. J. Trinkaus COURTSHIP, Waltzes Geo. L. Spaulding THE T E D D Y BEARS' PICNIC, Characteristic Novelty, ..John W. Bratton RED FEZ, March and Two-Step Walter J. Hcarn MISS ANTIQUE. A Novelette Geo. J. Trinkaus GENEE WALTZES Maurice Levi THE EAGLE (from The Land of Birds), A Suite of Five—A Manuel Klein THE ROBINS (from The Land of Birds), A Suite of Five—B Manuel Klein THE NIGHTINGALE (from The Land of Birds), A Suite of Five—C,

Manuel Klein THE CANARIES (from The Land of Birds), A Suite of Five—D, Manuel Klein THE SWALLOWS (from The Land of Birds), ASuite of Five—E, Manuel Klein TURKISH IMPERIAL GUARDS, March Fred Luscomb TEMPTATION RAG Henry Lodge PORCUPINE RAG. Two-Step Charles J. Johnson CUPIDS CARESS, Valse Lente Charles J. Roberts A TALE OF T W O HEARTS, Romance Charles J. Roberts C H A R M E D'AMOUR (Love's Spell). Valse Lente Edwin F. Kendall BRIGHT EYES. Selection Karl Hoschna BRIGHT EYES. Waltzes Karl Hoschna DUTCH KIDDIES. Wooden Shoe Dance Geo. J. Trinkaus M A D A M E SHERRY, Selection Karl Hoschna M A D A M E SHERRY. Waltzes Karl Hoschna THE FRISCO RAG Harry Armstrong HEART TO HEART, Love Melody Geo. J. Trinkaus and Ernest R. Ball THE GIRL IN THE TRAIN (Die Geschiedene Frau), Selection Leo Fall BARRY OF BALLYMORE. Selection Chauncey Olcott and Ernest R. Ball THE GIRL OF M Y DREAMS, Selection Karl Hoschna M A D A M E SHERRY, Barn Dance or Schottische, intro. "Every Little Movement" Karl Hoschna

SCHOOL COMRADES, March H. Englemann BOREAS, A Northern Idylle (Suite Characteristic "The Four Winds"—A)

Geo. J. Trinkaus SIROCCO, A Southern Serenade (Suite Characteristic "The Four Winds"—B)

Geo. J. Trinkaus NAUGHTY MARIETTA. Selection Victor Herbert RED PEPPER, A Spicy Rag Henry Lodge ERIRUS. An Eastern Dance (Suite Characteristic "The Four Winds"—C)

Geo. J. Trinkaus ZEPHYR, A Western Episode (Suite Characteristic "The Four Winds"—D)

Geo. J . Trinkaus Katie-Did. Selection Karl Hoschna W H E N SWEET SIXTEEN, Selection Victor Herbert THE THOROUGHBRED, March and Two-Step H. Englemann ENCHANTMENT, Waltzes Walter Rolfe A G A M E OF TAG, Humoresque Geo. J. Trinkaus KATIE-DID, Barn Dance or Schottische Karl Hoschna KATIE-DID, March and Two Step Karl Hoschna W I T M A R K COLLEGE MEDLEY arr. by T. P. & Geo. J. Trinkaus THE DUCHESS, S.-lection Victor Herbert DOCTOR DE LUXE, Selection Karl Hoschna THE HEART-BREAKERS, Selection Orlob and Gideon ON WINGS OF LOVE. A Reverie Theo. Bendix BUFFALO BILL'S FAREWELL, March and Two-Step Wm. Sweeney DOCTOR DE LUXE, Barn Dance or Schottische Karl Hoschna THE ROULETTE REEL, A Parisian Prance Henry Lodge THE SURPRISE, Medley Overture arr. by T. P. & Geo. J. Trinkaus THE RED WIDOW, Selection Chas. J. Gebest IN M E A D O W LAND, Idylle Theo. Bendix THE ENCHANTRESS, Selection Victor Herbert PIROUETTE, Pas Seul Herman Finck CHERRY CIRCLE, March and Two-Step L. Harry Freeman K L O W N KAPERS, March and Two-Step Ernest R. BaU HAUNTING RAG Julius Lenzberg ORIENTAL MAIDENS, Two-Step Intermezzo Roy H. King

We Allow 50% Discount from Above Prices. MUSIC SENT ON.APPROVAL—WRITE FOR PARTICULARS

'it mo

MENTION CRESCENDO

The Crescendo

REMICK'S MANDOLIN ORCHESTRA MUSIC 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.

NOW READY FOR FULL MANDOLIN ORCHESTRA

Pearls—by Moret Enterpriser March—by Lampe My Hero—by Straus Scattering of the Roses—by Ring & Hager Daughters of the American Revolution—by Lampe After Vespers—by Moret

ist Mandolin

2nd Mandolin

3rd Mandolin

Tenor Mandola

Mando-Cello

Mando-Bass

Banjo

Guitar

30c

Mandolin and Guitar 40c

Mandolin and Piano 60c

2 Mandolins and Giitar.

2 Mandolins and Piano . 50c

60c

Piano 40c

Cello—Flute—Drums 15c

Chocolate Soldier Selection—by Straus Wedding of the Winds Waltz—by Hall

ist Mandolin 50c Piano 80c Mando-Cello—Tenor Mandola

Banjo—Mando-Bass 40c Guitar—Banjo

2nd Mandolin—3rd Mandolin

Flute, Cello and Drums. .. .20c ist Mandolin and Guitar. .. .80c

ist Mandolin and Piano. . . .1.00

2 Mandolins and Guitar ....1.10

2 Mandolins and Piano. ... 1.40

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

The Best Mandolin Book

All the Latest Hits NOW READY

Whitney-Warner

MANDOLIN COLLECTION No. 12 CONTAINS ALL THE

BIG JEROME H. REMICK & CO. HITS V O C A L H I T S

By the Light of the Jungle Moon Creatore Daddy Gee, But I Like Music With My Meals Honeymoon Love Hour That Gave Me 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 On a Beautiful Night With a Beautiful Girl . . . Oh! You Beautiful Doll Oh! That Navajo Rag

ist Mandolin Book 25c and Mandolin Book 25c

INCLUDING 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 When You're Away When I Was Twenty One and You Were Sweet Sixteen You're My Baby

I N S T R U M E N T A L H I T S After Vespers—A Twilight Meditation . . Brides and Butterflies—Waltzes Cum 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 These books will be sent to any part of the world postpaid upon receipt of the marked price.

Address All Orders To

MANDOLIN DEPT. Jerome H. Remick & Co. Or order from your regular supply house 221 West 46th St., N e w York City

S U B S C R I I I S S U E S

PLEASE MENTION CRESCENDO WHEN WRITING ADVERTISERS

CIB26279?

The MANDOLIN ORCHESTRA The Mandolin, Guitar and Banjo

and KINDRED INSTRUMENTS.

VOL. V. BOSTON, FEBRUARY, 1913. No. 8

Thl- m a m m o t h orcheatra of over 250 players appeared at Chicago. 11).. some years ago at a concert given by Mr. Arling Shaeffer, one of the largest concerts ever given In this country. The orcheatra Included mandolins, guitars, harpa, flutes. violins, cellos, double bass, cornet, trombone, piano and organ.

The Crescendo

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

H O W I GOT THE IDEA OF THE BALALAIKA

IMPROVEMENT.

About 30 years ago, on a quiet June night, I was sitting on the veranda of my country house that looked out upon a wide court yard encircled by country buildings with wings on both sides and was enjoying the quiet of a country night. This quiet begins in the country very suddenly. Just before it, one can hear human voices, the creak of wheels in the field, the bellowing of the cows, etc., but with the end of the work in the fields, everything sinks suddenly into the calmness of a sweet rest, guarded by Nature herself. It seems that even the trees fear to rustle their leaves, for fear of disturbing the peace so necessary for people fatigued by daily work. At such mo­ments it is so quiet that one is enabled to hear the slightest sound from a considerable dis­tance which one could not have heard at 20 paces away in the day time. I love this stillness. At this moment I heard,quite

unexpectedly, sounds, which up to this time were perfectly unknown to me. The sounds were coming from one of the wings of the building where the workmen had their quarters. I could distinguish very plainly the tones of a stringed instru­ment. The player was playing a dancing song, slowly at first, then faster and faster. The melody grew brighter, the song floated into the air full of rythm irresistibly working up to a dance. A woman was crossing the yard carrying a couple of water buckets on her shoul­ders. I noticed how the heavy buckets started to rock and the water poured out of them and her feet began quickly to keep time with the music played. I felt that m y own feet wanted to do the same, also that one of them, for sometime, had been keeping time with the song rendered on the unknown instrument by an invisible player.

This, however, did not last long. I ran up to the wing of the building from whence came the sounds. O n a flight of steps a workman, a peasant, sat playing— the B A L A L A I K A . I had seen this instrument in the windows of small shops before but I had never heard it played. I was immediately struck by the rythmical and original way of playing the instrument and could not comprehend how such a poor looking, imperfect instru­ment could bring forth so much sound. Watching closely how Antip (the peasant's name) played and requesting him to give m e a few hints how it was done, I borrowed the balalaika from him and a week later I could play nearly as well as the teacher himself, much to his evident regret as he became furious that in so short a time, the pupil played even better than the teacher. To be sure, the repertoire of m y teacher and of the balalaika in general was rather limited. Permanent frets did not exist at that time and the frets were made by tying a string

around the neck of the instrument. There were only seven of them and the scale was diatonic, that is without any half tones. The price of the instrument varied between 15 and 25 kopecs. One can imagine the kind of workmanship and material which was used. Nev­ertheless, even at that time, I was struck by the sound and originality of this Russian national instrument, dif­fering so much on account of its originality from all other national instruments which I had heard before.

I remsmber that just then the idea to play myself and to bring the playing up to perfection burned through m y brain as with a hot iron. I cannot say what guiied m e the most, the instinct or m y national feelings. I think both were present and their union gave m e that

strength which knows no bars on its way and which does not hesitate at any sacrifices to accomplish its ultimate end.

With the permission of the Editor and the kind hearted American readers, (I know how kind hearted the Amer­icans in general are on account of m y concerts in America. I have never met with such warn and well wishing audien­ces as I did there. I was very touched by this and m y thank­ful remembrances will live in m y heart until m y last days), I will now take the liberty of making a little digression and say a few words about myself.

None of the arts had a greater influence upon m e than music. At the age of 14, I played, self taught, on twelve different instruments, not knowing a single note and, although it seems strange with all m y love for music, system­atic study was very difficult for m e and I often caused m y teachers to dispair. Of all the instruments, I loved the violin the best and astounded

m y teacher with m y virtuoso-like ability. As soon as I became acquainted with the balalaika, I abandoned all for its sake. I was drawn to it by a hidden power and instead of a violin player, I became a balalaika player which rather annoyed m y teacher. I do not regret it in the least for even if Fate had chosen m e to play the violin even to become the most famous artist, this would only mean art for arts sake whereas I work for an idea which fills the whole of m y existance with its light, an idea which is associated with many difficulties, even suffering. All this is redeemed by the recognition of the advantages which such work ought to bring to a great many people.

I will not attempt to enumerate the many obstacles I had to overcome in order to bring m y work to its present condition. T will only mention that I had to oversee the construction of all the different sizes of instruments, to form the complete instrumentation, to likewise form a repertoire, to find people who could devote themselves to this new specialty and finally to teach people to play

Continued on page 9.

The Crescendo 7

THE CLEF by II.

Answering Mr. Williams' open letter in the last Crescendo, 1 would say that the musical editors of the various publishing houses are men of vast experience in musical circles, and are quite competent to judge what music they desire published and in what manner. It is rather amusing to suppose that any arranger should •dictate how music should be arranged. He is simply told how many parts of a piece to arrange and in what clefs and that settles it. As a musician, arranger, player, teacher and director with many years varied experience, I naturally prefer to use clefs for music which I arrange or publish that arc in constant use in preference to clefs which are •obsolete or misplaced on the staff. M y experience has taken m e among the best professional musicians and singers and also among hundreds of the greenest amateurs. I have never yet found any trouble in having the players in m y organizations read from the regular clefs.

Music for the tenor mandola and mando-cello is at pres-scnt published in a transposed form, a form which was very strongly advocated by Mr. Williams some years ago on account of the fact that with this music any mandolin player could play these two instruments without learning a new fingerboard and if a mandola or mando-cello player happened to be absent from a concert or rehearsal of any •organization any one of the mandolin players could play the parts. From a practical standpoint this has become the standard way of playing the instruments and writing the music. If the various publishers cared to issue enough literature in this transposed form so that the players of these two instruments could have a large number of pieces at their disposal with piano or guitar accompan­iment, it would be quite advisable to continue the pres­ent system. It is very practical and simple for the players and the music reads easier than in any other way.

One other advantage of the transposed form of writing is that regular cello music of which there are quite a number of pieces published, can be played on the mando­cello by simply considering the regular cello part as writ­ten in the treble clef, and then playing the music on the mando-cello one note below, a very easy thing to do, and opening the entire field of cello music to mando-cello players. Tlie mandola is a beautiful instrument for duo work. All mandolin duos can now be played on the mandola just as written. Of course if the proposed change is accepted the hundreds of duo pieces now published would be useless for mandola and I can hardly imagine that publishers would consider publishing many duos in the new notation. There are many hundreds of players playing the music of these two instruments as at present published and there is much doubt whether any of them will care to learn the fingerboard a new way as they already have at command such a vast number of pieces for mandolin orchestra, and for the benefit of those who prefer the present form, I feel quite safe in stating that nearly all of the publishers will continue indefinitely to publish in the present form.

There is some demand for pieces with piano or guitar accompaniment, and while the instruments will always remain especially orchestral instruments, I a m not espec­ially opposed to the publication of music in another form, calling the strings of these two instruments by their absolute pitch names, C, G, D, A, but I certainly prefer to have the music in the treble clef but I am convinced that the present transposed form will serve the purpose of man}- hundreds of players for years to come although a few publishers may later consent to printing parts the new way in addition to the present parts.

QUESTION F- OdeU

The various arguments for the so called universal notation continually speak of treble reading. W h y not put the music in the treble clef. Players are accustomed to that clef and why is it necessan- to continua'ly say treble, treble, treble, treble this and treble that, showing the players a diversity of clefs but telling them they all mean the same as the treble clef. Give them the treble clef and settle it.

I cannot understand why the players of the mandola and mando-cello should be considered differently from players of other instruments. Players of any instru­ments neither know nor care where their parts sound and it is of the smallest possible consequence to have the music for these two instruments written exactly where it sounds. It is no more necessary to have the music for these two instruments written where it sounds than for the banjo which sounds an octave lower than written or the guitar which sounds an octave lower than written but if Mr. Williams' idea prevails in our fraternity, both the banjo and guitar may be written in the so called universal notation.

Among band and orchestral instruments there are only six or seven which sound exactly where the music is written such as the violin, oboe, flute, etc. The double bass sounds an octave lower than written, the piccolo sounds two octaves higher. Saxaphones sound differently than where the notes are written. The baritone saxa-phone part is sometimes written higher on the staff than the soprano saxaphone and sometimes sounds two octaves lower than the music is written. When trombone or baritone parts are written in the treble clef, they sound an octave lower than where the music is written. And of course horns, cornets, clarinets, etc., sound dif­ferently than the written music. There is small likeli­hood that the music for bands and orchestras which has existed for centuries will meet with any radical change. Is it necessary that music for the mandola and mando-cello should be written where it sounds any more than the instruments above mentioned provided the music is written in the treble clef which everyone knows and the notes located on the staff so that any player can play them easily?

Mr. Williams states in his open letter that I a m aware that the treble clef is wrong in every particular. I disagree with Mr. Williams to a great extent. It is not exactly right to place a bass instrument in the treble clef but it is a custom the world over to place a great many bass instru­ments in the treble clef and if it is wrong to place the mandola and mando-cello in that clef, then also all the band and orchestra music which is written that way is wrong. The tenor clef proposed in the so called universal notation has been obsolete for 50 or 60 years. It is never used in modern music. The bass clef is properly located on the fourth line of the staff in all the known music of the world. Misplacing it on the top line of the staff is a theory ad­vanced by one man who expects, because he says so, that everyone else must believe it is so. Many question the absolute pitch theory of the so called universal notation. I admit Mr. Williams has worked out a "simplified method" scheme which, if one understands it, as proposed, can be used for the music of the two instruments but I much prefer to write the music in about the same location but using the treble clef, if it ever becomes really necessary to have two kinds of parts.

The arranger is the only person in the world who must consider where instruments actually sound. Players

Continued on page io

8 The Crescendo

i^ev^M

Teachers and players

! are requested to send in

I items to this department

| about concerts, recitals

i or tf///«-r musical matters

z which will interest Cres-

? cendo readers.

Boston Festival Concert The mammoth orchestra for the Boston Festival Concert is holding regular rehearsals for the concert to be given in Boston-March 27th, 1913. This orchestra is the largest that has ever appear­ed in America and has gained an enviable reputation for its fine rendition of the various numbers selected each year. The addition to the list of artists of the Tufts College Glee Club of 30 trained voices, is causing more than usual interest, in fact nearly two thirds of the tickets for the concert have been sold. At the six previous concerts under the direction of Messrs. Lansing and Odell, the house has been entirely sold weeks in advance and from indications at this writing the same thing will happen this year.

The instrumentation of the Festival Orchestra includes first, second, third mandolins, tenor mandolas, mando-cellos, flutes, cellos, guitars, banjos, drums, piano and the organ is also employed in two or three numbers. The instruments are so arranged on the various voice parts that an almost perfect ensemble is obtained.

Mr. Carleton Ostrander, the celebrated mandolin virtuoso, will be at Chicago with Mr. Arling Shaeffer during the winter months.

The Gibson Mandolin Quintette of Pasadena, Cal., F. W . Towle, director, recently furnished the music at a minstrel enter­tainment in Pasadena. A m o n g the numbers played were "The Gibson Is King" March and "Sextet from Lucia."

The Place Mandolin String Quartet, at a recent concert at the Music School. Providence, played the "Andante" from the Hayden Quartet, "Spanish Dance" by Moszkowski and "Hungarian Dance" by Brahm. At a ladies night of the Nestell Lodge of Masons on Dec. 16th, the Quartet played "Idyl" by Beyen, "Humoreske" by Dvorak and two of the numbers mentioned above. This Quartet, which is devoting its time to the highest class of music, will be heard at the Boston Festival Mandolin Concert, March 27th and also at the annual Guild concert in N e w York city in April.

The Alpha Mandolin Quintet, under the direction of Jas. F. Roach of Cincinnati, Ohio, recently played at an entertainment given by the Knights of Phythias of that city. Other artists from the Roach School of Music assisted. Mr. Roach is having an ex­tremely successful season.

It is remarkable how m a n y interesting comic operas are pub­lished at the present time. It is also remarkable how m a n y American publishing firms are acquiring the published rights of the new operas. The latest Berlin musical play success is "Filmzauber", music by Bredschneider and Kollo, and the operetta "The Girl from Mexico" music by Szirmai, is the latest Budapest hit. Chappell & Co. of London and N e w York have acquired the performing and publish­ing rights of both of these operas.

The Langham Mandolin Orchestra, H. F. Odell, director, of Boston, is having a very busy season. This orchestra has been in existance for over 10 years and m a n y of the original members still play in the orchestra.' Other members have played from 4 to 7 years, therefore with the same membership, it has been possible to perfect an ensemble seldom heard in mandolin orchestras.

The instrumentation at present is 12 first mandolins, 10 second mandolins, 4 tenor mandolas, 2 mandocellos, 2 flutes, one playing oboe, 3 guitars, piano, snare drum, bass drum, traps.

Clifford E. Leighton of Portland, Me., has issued rather a novel teaching card. The top of the card gives his name and address and the instruments he teaches, and also explaining a little about his teaching. The lower part is a calendar for the year 1913. It is quite unique.

The Serenaders Orchestra has been engaged to give an entire program at St. George's Club the last Friday in January. N e w music is being rehearsed for this program.

Cav. Raffaele Calace has just written from Naples that his third Preludio (unaccompanied mandolin) dedicated to F. Landry Berthoud, is now in press.

D. L. Day, of the Vega and Fairbanks Co., returned in Dec. from. a business trip throughout the eastern section of the country, visiting many of the larger cities. H e reports that business is generally very good but says unfortunately there is a lack of good teachers in many cities and towns where there is a demand for an enterprising teacher and where such a teacher could do an excellent business.

Mrs. Alice Kellar-Fox is very busy playing at the leading clubs in San Francisco. She also gives much time to teaching. The Berkeley (Cal.) Gazette says of Mrs. Fox's playing; "On Thursday the 12th, Alice Kellar-Fox of San Francisco, also a member of tht Berkeley School of Music and Dramatic Art, faced a crowded house for her banjo program. Mrs. Fox took the first prize in New York as the world's best banjoist. Her own transcription of 'Old Black Joe' must have been one of the pieces she played for as we heard it last Thursday il seemed -worthy of it. Those who have not heard Mrs. Fox simply do not know of what the banjo is capable. It was so all through the program We have often heard the French song 'Obstination' but never has it seemed so musical as last Thursday with the banjo obbligato. Her final number 'Medley of Popular Songs' almost brought the audience up standing. Mrs. Fox is an artist in the highest sense of the term.'

The Giddings Family Concert Company is one of the most active before the public. The organization includes Mr. and Mrs. Carl Giddings and their sons and daughters, Chester, Edna, Mildred and Marion. The company has had three solid years of j:igage-ments playing 30 weeks this year. Next years time is sold solid. Their fees range up to $150 a day. The instruments played are mandolins, mandolas, mando-cellos, harp-guitar and the younger members of the family also have ability in other lines, altogether giving a very interesting evening's program.

A rather interesting trip by a musical organization has beer. brought to our attention by Teo Pin Chong of Penang, Straits Settlements. The organization is the Macwatters Male Quartet. The members of the quartet arc m e n from the Boston University and the N e w England Conservatory of Music. They are on a tour of the world which started last October and have sung in m a n y cities in Panama, Hawaii, Japan, Korea, Philippines, China and Singa­pore. They recently gave a concert at the Anglo-Chinese School Hall in Penang, the program including solos and quartet numbers and humorous readings by one of the members. It is certainly a remarkable trip for four men tc take and will occupy them for m a n y months to come. They are making a decided hit in all the foreigr. cities in which they have appeared.

At the rehearsal of the Providence Mandolin Orchestra helc. in the Music School on December 4th the Orchestra tried for tht first time Mr. Place's Plectral Symphony in D minor. The Sym­phony is in four movements an Andante Grandioso, Scherzo Adagio. and an Allegro (Tempo di Bolero) Finale. The work which hat just been completed has occupied much of Mr. Place's spare time for over a year. It was written purely for the purpose of demon­strating the possibilities of the mandolin in ensemble and in no sense can it be considered a commercial composition. The bra»t section m a y be omitted without great detraction from the original idea but with this exception the number is absolutely unplayable without all the instruments required.

The following is the instrumentation called for. lst mandolin, 2d mandolin, mandola, mando-cello, m a n d o

bass, flute, clarinet, cornet, trombone, horns, drums, tympani. At the first rehearsal the brass was omitted, but it will be used at the concert which the orchestra are preparing to give in the near future.

The eleventh annual concert of the Christchurch, N e w Zea­land, Mandolin Orchestra, under the direction of Jos. Wright, occurred on Oct. 21st. The local newspaper, in speaking of the event says;

"The various items were well balanced, and some charming effects were produced. The best items were 'The Chinese Patrol', 'April Smiles', 'II Trovatore' selections and 'A Passing Fancy'. Mr. Joseph Wright played a Romance by Mezzacapo very artisti­cally on a 'cello-mandolin, and was warmly encored. M r . Leon Sey's mandolin solo, with orchestral accompaniment, was also a fine piece of work. Master D'Arcy Wright played Lizst's Second Hungariar. Rhapsody on the banjo but it was quite unsuited to the instrument. His encore number was delightful, though. Of course M r . Joseph Wright was in his element with the baton."

The Crescendo g

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

The Blushing Rose, Chas. L. Johnson

This number should be played slowly throughout, the intro­duction beginning soft going to loud in the second measure, then suddenly soft in the third measure with a decided ritard to the hold in the fourth measure. The next strain should be played slowly but similiar to a slow gavotte with a slight swing. The second strain is very loud with the melody decidedly marked and the tempo may, to advantage, be slightly quickened here. The third strain is a repetition of the first. The first strain in the trio should be played slowly. The tremolo here especially should be very smooth. The next four measures arc played loud and the notes marked carefully accented. Then the last strain should be played very broad and loud a*- first continuing the contabile legato effect. The third measure from the end should be diminuendo and the last two measures very soft and a slight ritard would not be amiss here. In the accompaniment in the second strain of the piece, the triplets should be very carefully timed so they are played perfectly even. The mandolin orchestra parts of this piece are played similarly to the description here given.

Break of Dawn, March, Frederick J. Bacon

The bugle call and the short introduction should be played at exactly the same tempo as the march. Both also should be played wth a slight crescendo about every four measures for the first sixteen measures and the last eight or ten measures should be played loud The second strain should be played loud throughout. The first two measures in the strain in D, play loud, then the medium loud until the ff is reached five lines from the bottom of the second page. From there on play loud. A few of the notes in the more difficult chords may be omitted without effecting the piece. This is a bright concert march and if played as written introducing an occasional tremolo, it is very effectiye.

Quartet from Rigoletto, G. Verdi

The introduction is played tremolo throughout. In the fourth bar, make a decided pause where the two upper lines occur before the last rest. W h e n played with full orchestra, the melody is played by the mandola or mando-cello. If played with mandolin and guitar accompaniment only, the first mandolin must play the small notes. Also it should play the small notes marked "second mando­lin." Expression.must be carefully played as marked throughout. Beginning at the fifth line from the bottom of the first mandolin part, the melody is played picked except the last two measures of this strain. The last strain where the first mandolin melody is played after the beat, the tempo is accelerando with a decided ritard in the next. This is repeated. The ritard at the very end of the piece is quite pronounced. The expression throughout should be more or less exaggerated to obtain the same effect as when sung in the opera. The last two strains in the guitar accompaniment should be played quite staccato.

How Can I Leave Thee, Arr. Emilie Jaksch

This is an arrangement of a very popular German song for either guitar or harp-guitar. It is very easy and can be played by a guitarist of ordinary ability. The number should be played slowly throughout, the introduction, beginning loud, soft in the third meas­ure with a crescendo to the end of the introduction. The theme is played generally soft with a few slight erescendos. The last strain is in the form of a Postlude or Finale. The variations of tone should be played carefully as marked and if played throughout "a la tran­quillo". :iu number will prove very enjoyable.

S. A. T H O M P S O N , of Portland, M e .

S. A. Thompson was born in 1876. He came from a musical family and the first instrument he studied was the cornet while in the Brunswick (Me.) High School and he also played in the Bruns­wick band. He bought his first banjo from a student at Bowdoin College and as Mr. Thompson expresses it, after he acquired a little ability, "church socials had him". He also did some singing with banjo accompaniment. He soon found that his services as a teacher were in demand. His first season of '98—'99 proved to him that there was a big field so he came to Boston for instruction and after that came the real beginning of his work.

Mr. Thompson soon found that in order to better understand his instalments he would have to study harmony. This he did. H e now has a system of his own whereby mandolinists, banjoists and guitarists can study harmony successfully with their instruments. Mr. Thompson thoroughly believes that all students should study harmony.

He has composed and arranged considerable music although none of his compositions have been published. "The Quilting Party" and "March of the Strings" are his two most popular num­bers. His business lias grown from year to year, the last season being his best. He has two orchestras, one with a membership of 2.'! and the other with a membership of 40. The instrumentation ol the first orchestra is 5 first mandolins, 4 second mandolins, 2 n andolas, 2 mando-cellos, 1 guitar, 1 harp-guitar, 1 flute, 1 mando­bass and drums.

His studio is quite spacious and he is able to seat 100 people in addition to the orchestra. He has given concerts and recitals in Portland at which such famous soloists as Pettine, Farland, Bacon, Foden and others have appeared. His business now amounts to several thousand dollars a year.

U p to within a year or so, he was the coach of the Bowdoin College clubs but his Portland business has grown so rapidly that he devotes all his time to his private teaching at present.

THE BALALAIKA

Thank You. J. W. McLouth, (hand Rapids, Mieh.

Dear Mr. <•) I ell: "I feel that 'in these days of progressiveness' that you and the Crescendo are not in this noise of agitation but have arrived several years before tin's lias taken place, your magajsine i- educational and interesting ami your depar ment idea is iim , and will do much to benefit those that wish to know but are not in a position to go to the large cities where they can get proper instruction and advice."

(Continued from pag-e 6)

on these instruments, to form an ensemble, to work on

perfecting this ensemble, to create a system and a school,

to tight against the prejudice regarding the usefulness of

the balalaika as a musical instrument, and to conclude,

1 had to sacrifice m y entire fortune which I had inherited

from m \ late father, In a word, m y work resembles the

labor of a h u m a n being in a primitive forest. T h a n k

G o d 1 had enough strength tn overcome all difficulties.

S o m e other time I will, with the kind permission of m y

readers, relate several episodes which happened in the

course of m y long and difficult work in improving these

instruments and the organization of m y orchestra. I will

n o w limit myself to enumerating actual results of m y

twenty-four year's work in Russia and abroad.

(Continued in March Crescendo )

T h e Crescendo 15he CRESCENDO. The Clef Question

A Magazine for the Player, Student and Teacher of the (Continued from page 7) Mandolin. Ouitar or Banjo. neither know nor care, as I stated before. All they want is a

• part they can play with the least p: ssiblc trouble and I think H E R B E R T F O R R E S T O D E L L , the treble clef is decidedly the most advisable. Some

Editor and Manager. publishers m a y use the so called universal notation for these two instruments. That is their right and if they

Published Monthly by the think that is the best way to do it, I certainly should not C R E S C E N D O PUBLISHING Co., INC. attempt to dictate to them but I reserve the right to m y

own opinion in saving I prefer the treble clef and I find Entetei as second class ™ ^ \ \ J ™ \ * f ^ £ ^ °

s t °ffice•' Bos,on'Mass' that many players"and a large number of publishers agree with m e thoroughly.

SUBSCRIPTION PRICES. I personally would prefer to see the mando-cello in - . . . p t the bass clef, using the 8 va sign for the high notes and Yearly, . . • . . '. . . '. '• '. . . '• '• • • '• • • • '• • '• . $1.00! no^ using a n Y other clef. It is quite possible to write all Canada $1.25. the mando-cello parts which will be used by our fraternity Foreign 6 Shillings, in the bass clef with the 8 va sign. If it had been adopted

when the present transposed system was adopted everyone ADVERTISING RATES will be sent on application. Forms would see the simplicity and desirability of the bass clef

close on the ist of each month for the succeeding month's issue. and r candidly believe that if the mando-cello were put REMITTANCES should be made by Post Office or Express into the bass clef now, there would never again be a

Money Order, Registered Letter or Bank Check or Draft. Checks suggestion of a change, however there are manv reasons accepted only on banks with exchange .n Boston or New York. ^ the treWe def jg

spreferred b y the mandolin fraternity,

, C O R R E S P O N D E N C E is solicited from everybody interested therefore I shall not attempt an argument for the bass clef n the Mando in, Guitar or Banjo. W e should be pleased to receive ,,, 1 T , . .-. .. , _.•_, -j c • • programs and reports of concerts, club and orchestra news, personal although I hope to see the time when the ideas of musicians notes and music recently issued. and not theorists will prevail.

W e are not responsible for the opinions of Contributors. Vocal music which includes the tenor voice part is ir,nDCC- <-r>uuniiiP.TirtHc _ t, c.-_ .,, Dr- written in two ways, either in the bass or treble clef.

__,x^^l!SuC^MuMUN ?, " In l o o k i ng t h r o u g h the vast l i b r a r>' o f the Handel and

M I T T A N C E S should be made payable to H a y d n Society of Boston, the oldest musical organisation C R E S C E N D O PUBLISHING CO., j n America, of which I have been a member many years,

165 Tremont St., I find that nearly all of the tenor parts of the oratorios Boston, Mass. of the great masters are written in the treble clef. This

• means that they sound an octave lower but the tenor -,_. ,, C C D D I I A D V \srA o singers neither know nor eare about that point. W h y VOL. V. F E B R U A R Y IQ13. NO. 8 b _,«_-, J . A. *V _ •>

can we not write the tenor mandola part that same way? Mandola and mando-cello parts in orchestra very

E D I T O R I A L S . seldom go above high G. 50 per cent do not go above C. ,,1,̂ _____________________________________•m•§___•i____________i_-___• Banjo and guitar parts frequently go to high E, F and G.

It is with extreme sympathy for the members of his If ^hf Pla>'ers of the m a ^ o l a " a n d mandocello cannot family and the firm with which he has been connected [fad * £ ? * " * & * n°tes1,I

lJJ.ch S° ̂ ^ °S-Ur' V* CC-for many years that we record the death of Mr. John tmie that teachers taught them more of rudimentary music Maulbetsch of the well known firm of musical instrument ana f llttle |ess t h e o ry- . case makers, the Maulbetsch and Whittemore Co. Mr. , A P o m t ,to.consld" ;~lf a Pla>'er flrst a k ™ g up music Maulbetsch passed away on the 16th of December at his J*"*1*, read£<** a * n o r c\cf or a m i s P l a c e d b a ? s c}ei' home at Newark, N. J. h e wd! be ̂ "t^t W h e D hC ̂ "S. ^ w" T*™' ^^^^^^^^^^^^"^^^^^^^^^^^^^^^^^^^^ ment for which the music is in the treble clef. It is a

serious point which I will not explain further as it should Owing to the fact that one of the members of the be evident to anyone who understands music.

Plectrio and managers of the next Guild Convention, Although up to the present time the music in the Mr. Myron A. Bickford, has changed his residence from so called universal notation has appeared with only one N e w York city to Cleveland, Ohio, the active work of clef, it is proposed to use three clefs in the mando-cello the coming convention will be carried on by the two parts indicating the higher octaves and even if these resident members, F. Landry Berthoud and W m . Edward three clefs all read treble, it will be as confusing to the Foster. All engagements previously made by the Plec- mando-cello player to see various clefs introduced in Iris trio will be fulfilled both in N e w York city and out of music every two or three measures as it is to the regular town. Mr. Bickford's successor in the Plectrio will be cello player with three clefs in his music, but by using the announced at the convention. treble clef only for the mando-cello music and the 8 va

The Guild Convention, as previously announced, sign for high notes, there is no confusion of this kind. is to be held in N e w York city in April. One of the arguments presented for the so called

universal notation or in fact, making the change and calling the strings by their actual names, is that in gather-

The attention of Crescendo readers is called especially ings of peoplej w h e n everyone is asked to take an instru-this month to the series of articles by W . W . Andreeff, m e n t and »sit j^', that the mandola and mando-cello the celebrated exponent of the Balalaika, which begins player will be able to j o i n in and p l a y either p o p uiar songs, in this issue. college songs, etc. Very good idea, but stop and

The article on Mandolin Orchestra Instrumentation and Orchestration by the Editor, which was announced to be continued this month, is unavoidably omitted but will probably be continued m the next issue.

think. All the h y m n books, all the college songs, popular songs, are written in the treble clef and if the players of the mandola and mando-cello have learned to play in the tenor clef or the misplaced bass clef,they will have difficulty

Continued on pagt -4

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The Crescendo 19

PROGRAMS OF CONCERTS AND RECITALS

Concert given by the Kimball Mandolin Orchestra, Geo. B. ".Kimball, director, at Bridgeport, Conn., Nov. 1, 1912. 1. March— (a) Gypsy Prince Kiesta-Odell

Overture—(b) Gloriana Weidt Kimball Mandolin Orchestra

2. Chorus—Song of tbe Vikings Failing 3. Soprano— (a ) Just Awearyin' for You.... Carrie Jacobs Bond

(b ) 'Tis June Ronald Mrs. Roberts

4. Morceau— (a ) Salut d'Amour Elgar Waltz— (b ) Auf Wiedersehen Bailey-Odell March— (c) Sweet Corn Weidt

Kimball Mandolin Orchestra 5. Chorus—(a) The Miller's Wooing Faning

(b) Little Jack Horner Caldicotl Mrs. Roberts and Mrs. McClellan, Soloists

6. Piano Solo—Alice, Where Art Thou Archer Miss Grace Lewis

7. Songs— (a ) Love's Like a Star Odell (b) Love's Old Sweet Song Molloy-Odell

Kimball Piano Quintet 8. Contralto— (a ) Joy of the Mornng Ware

(b ) To You Speaks Mrs. Phillips

9. Chorus—Barbara Frietcbie Jules Jordon Mrs. E. G. Wilson, Soloist

10. Grand American Fantasia Bendix-Odell Kimball Mandolin Orchestra

Concert given by Thompson's Mandolin Orchestra, S. A. Thomp­son, director, at Poitland, Maine, Nov. 7, 1912, assisted by the Bacons, Mrs. Landers and Miss Davis. 1. March—Prince of India Farrand

Mandolin Orchestra 2. Banjo Duets—(a) March—"Tbe Troopers" Bacon

(b) "The Nightingale and the Frogs" Eilenberg-Bacon

(c) Medley—"Familiar Scotch Airs" arr. Bacon Mr. and Mrs. Bacon

3. Reading Selected Mrs. Landers

4. Banjo— (a) March—"The Conqueror" Bacon (1)) Waltz Brilliant "The University" Glynn

Mr. Bacon 5. Tone Picture—"The Chapel in theMountains" Wilson

Orchestra 6. Banjo Duets— (a ) Selections from Famous Overtures

Arr. Bacon (b ) Medley of Old Southern Songs. .Arr. Bacon

Mr. and Mrs. Bacon 7. Vocal—My Laddie Thayer

Miss Davis (with Orchestra accompaniment arranged by S. A. Thompson )

8. Sextette from Lucia di Lammermoor Donizetti Orchestra

9. Banjeaurine—The Village Church Organ Mrs. Bacon

10. Reading Selected Mrs. Landers

11. Banjo—"Old Folks at Home" Varied by Bertholdt Mr. Bacon

12. (a) Reverie—"Romance of a Rose" O'Connor (b) "Tbe March of the Strings" S. A. Thompson

Orchestra Musical given under the direction of Miss Ethel Lucretia Olcott, assisted by the Beverly Trio at Beverly Hills. Cal., Dec. 1, 1912. Trio—Canzonetta A. d'Ambrosio Guitar—Two Caprices Legnani

Op. 20. No. 2 and No. 9 Piano—Warum ^Why ? ) Schumann Violin—Humoresque Dvorak

Guitar acc. Trio—Japanese Reverie Bartlett Guitar—(a) Chant D'Oiseaux Zurfluh

(b) Sextet, from "Lucia" Donizettt-OlcoU

Concert given at Warsaw, Mo., by the Ionia Mandolin Club and Sands Orchestra, Nov. 21,22,23, 1912. 1. (a) Galop—"Raindrops" Trinkaus

(b) March—"The Toastmaster" OdeU Ionia Mandolin Club

2. March—"American Soldier" Meyer Sands Orchestra

3. Cornet Duett Selected Messrs. Robbins and Sands

4. Waltz—"Marguerite" from Faust Gounod Sands' Orchestra

5. Reading "As The Moon Rose" Miss Viola Schnabel

6. Lecture—"Some Lessons From Observing English Schools." Dr. Wilson C. Morris

7. Medley—"Echoes of '61" .4rr. Odell Ionia Mandoli,n Club

8. Violin Solo—"Souvenir" Drala L. Dean Sands

Mrs. Wendell, Accompanist 9. Jubilee—"Honey Bee" Richmond

Sands' Orchestra 10. Odejette—"Hippity Hop" Odell

Icnia Mandolin Club 11. Rhinoceros Rag Young

Sands' Orchestra Concert by the Langham Mandolin Orchestra, H. F. Odell

director, Boston, Mass., Dec. 19, 1912. 1 March—"Meteor ' Rice-Odell

Langham Orchestra 2. Overture—"Raymond" Thomas-Odell

Langham Orchestra 3. Reading—"The Debating Society"

Mr. Charles W. Alexander 4. Mandolin Solo—"Mignardisis" Mezzacapo

Miss Lena F. Webber 5. Waltzes—"Auf Wiedersehen" Bailey-Odell

Langham Orchestra 6. Selection—"The Mikado" Sullivan-Odell

Langham Orchestra 7. (a) Valse—"Phryne" Zulueta-Odell

(b) Song—"The Lost Chord" Sullivan-Odell Langham Orchestra

8. Reading—'Sochery Joins Dot Lodge" Mr. Charles W . Alexander

9. Medley—"Collegisms" Arr. H. F. Odell Langham Orchestra

10. (a) "Humoreske" Dvorak-Odell (b) An Oddlette—"Hippity Hop-' H. F. Odell

Langham Orchestra 11. Medley—"Echoes of '61" Arr. H. F. Odell

Langham Orchestra Eleventh Annual Concert of the Christchurch (N. Z.) Mandolin Orchestra under the direction of Jos. Wright, October 21, 1912. Overture— (a) Native Belle March Stahl

(o) Talisman Overture . . Gruenwald Tone Picture—The Chapel in tlie Mountains Wilson-Odell

Orchestra Banjo Solo—Selection from Rhapsodie Hongroise (Liszt)

arr. Park Hunter Master D'Arcy Wright

Song—D Bacio Arditi Miss Myrtle Twose

Mando-Cello Solo Tristesse (Romance) Mezzacapo Mr. Joseph Wright

Selections (a) April Smiles Waltz Depret-Odell (b) A Passing Fancy Rollinson-Odell

Orchestra Grand Selection— II Trovatori Verdi-W. J. Fletcher Descriptive Selection—Chinese Patrol Cammeyer

Orchestra Mandolin Solo—Andante et Polonaise Mezzacapo

Orchestral Accompaniment Mr. Leon Sey

Song—The Deathless Army Trotere Mr. Chas. Brown Banjo Quartette—Fernbank Quickstep Oakley Messrs. C. Kidman, H. Pullen, D'Arcy Wright, and J. Wright. Humorous Recitation—Selected Mr. Clement Pullyn Selection—English Airs arT- Hud^ God save the King.

The Crescendo

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 or suggestions will receive due consideration. Address "Mandolinists

Round Table," care of The Crescendo.

The Production of Tone as Applied to Plectral Instruments (Continued from January Crescendo)

T O explain the matter of clicking further let me give an illustration quite analogous.

Let us suppose that we have two blocks of wood and it is required that a large spike be driven into each. Into block number one the spike is driven by means of a series of blows from a hammer. Into block number two the spike is forced by means of a dydraulic press.

In both instances the objective point was accom­plished but the method of procedure was quite different in each case. By driving the spijfe ipto block number one with a heavy hammer much noise resulted each time the hammer came forcibly into contact with the spike. The operation upon block number two was absolutely silent.

This illustration is most adaptable to the mechanism of the plectrum.

To illustrate, place a Hartnett mute on the strings, hold the plectrum firmly in the right hand and swing it across one of the strings. Note the amount of click or snap when the plectrum attacks the string on both the doWn and up strokes.

Now lay the plectrum AGAINST T H E STRING and move it acrcss in both directions as before, making sure that it does not attack the string \\ ith a forceful blow but RESTS AGAINST IT A N D T H E N M O V E S ACROSS. Remove the Hartnett mute and note the mellow quality which the latter method produces.

Does not this experiment conclusively prove that a very large percentage of plectrum clicking is caused by attack? W c will all agree that much of the clicking is caused by wrong angle of contact, a subject which has been admirably covered by Mr. Pettine, now combine the correct angle of contact with correct preparation and an almost clickless tone is the result.

NEVER BEGIN TO PLAY ANYTHING UNTIL THE PLECTRUM RESTS AGAINST THE STRING. NO, NOT EVEN STACCATO!!

It is a commonly accepted idea thai a clicky tone is quite desirable in staccato passages. Many teachers irai.nU.in that the click cf the plectrum greatly adds to the effect cf a staccato figure. Regardless uf popular opinion THE CLICK OF THE PLECTRUM OR ANY OTHER UNCONTROLABLE NOISE IS NOT MUSICAL AND IS NOT AN ADDITION TO ANY MUSICAL EFFECT.

I can almcst hear someone ask "How can I make a staccato effect without making the tone 'snappy' ".

Staccato is one of the most beautiful effects which can be produced on the mandolin and when produced correctly with ALL T O N E and no click it is doubly effective.

"Staccato" is defined by Elson as follows: "De­tached distinct, separated from each other." Nothing is said regarding click, noise, or snap. This is of course a peculiar plectral condition but inasmuch at the other instruments do not produce click or snap there is no reason why it should be considered indispensable to the mandolin. If this had been more apparent years ago it is doubtless safe to assert that the mandolin would be much farther advanced than it is today.

The remedy for the clicking plectrum in either legato or staccato lies largely in the preparation of each indi­vidual tone. In other words always "feel" the string before you begin to play.

To play a bright, crisp, musical staccato without the slightest click proceed as follows:

Let us suppose that the required staccato note is. "B" second fret of the A string. Place the first finger of the left hand on the aforesaid second fret,lav the plectrum AGAINST T H E STRING and then go across it. After the string has vibrated an instant, release the pressure of the first finger of the left hand which produced the note and the vibration will immediately cease; making the tone crisp, sharp, and detached. I am confident that if mando­lin players will once master this little technicality that they will never play the staccato in any other manner. I would particularly caution students N O T T O R E M O V E THE LEFT FINGER FROM THE FINGERBOARD, NOT EVEN TO LIFT IT FROM THE STRING FOR THE ENTIRE EFFECT IS LIKELY TO BE LOST. MERELY RELEASE THE PRESSURE.

The theory of tone preparation as applied to the tre­molo is exactly the same but requires much more practice. It can be mastered so completely that the plectrum", eels"" the string on every down and up stroke. Practice SLOW­L Y at first. The slower one starts the better. After practicing slowly for two or three weeks gradually increase the rapidity of. the tremolo and if the plectrum clicks STOP and begin slower.

I do not wish the profession to think that this is a foolish Uttle scheme, good only in theory, for it isn't! The writer spent nearly two years with a home recording phonograph trying to make records which were not "clicky", with the results given below. Phonographs tell the truth; listen to the average mandolin record and see.

While the suggestions in this article will undoubtedly be laughted at by the "conservative" ones nevertheless they are ABSOLUTE FACTS A N D EASILY D E M O N ­STRABLE. The clicking plectrum does more to ritard the progress of the mandolin than anything else and TONE PREPARATION WILL OVERCOME IT.

Place Mandolin String Ouartet played at the Union Congregational Church on Xmas Sunday as a PART OF THE SUNDAY EVENING SERVICE. Ihey were in the Choir loft out of sight the entire time. Xo special entertainment, just part of the service that's all. MAN­DOLINS IN A CHURCH!!! O N S U N D A Y TOO!!! PART OF T H E SERVICE! ! ! Isn't the world growing wicked? But isn't the mandolin coming ?

THE CRESCENDO BINDER Strongly made from cloth and board. Will not

warp or break. Keeps copies in good condition. One or more copies may be removed without disturbing tlie rest. Holds 12 copies. Easy to insert. No tying or or sewing, simply a metal strip easily attached.

Price $1.50 parcel post paid THE CRESCENDO, 165 Tremont St., Boston

The C

This department ts especially for Guitarists but anyone may ask

questions per tain ins to the guitar or contribute items. Questions or

sugges'ions will receive due consideration. Address "Guitarists Round

Table," care of The Crescendo.

•'Hitch Your Wagon to a Star", in a Musical Way, and Then Think All

the Time of the Star.

Enjoy your practicing. As you practice do not think how much work it is, and feel it a drudgery, or so much unpleasant work to be done, but on the contrary,— take pleasure in even the technical exercises. Think hi >w much you are gaining by them, and of the technical ability you are gaining, to later put to use in beautiful solos, and tone pcems. Try to make every note a note of beauty in itself. When you practice this wa}', enjoying your practice and thinking of the beautiful music you are later going to play, because of these technical studies well done, there is such a satisfied, pleasant feeling after your day's practice is done. You have worked hard, and enjoyed your work. You must enjoy and take pleasure in your work, if \ou are to succeed in it. Otherwise there will always be that sense of fatigue, and dissatisfaction with your work and yourself, which can never bring success, but which invites failure or mediocrity, at best.

With those who have made a great success in music the first steps or perhaps least interesting parts, have not been thought of as pure drudgery—but as a pathway. (even tho' it be a long pathway) to the beautiful and great works of the masters. So each step along this pathway that leads to such everlasting pleasure should be taken with the joyful anticipation of that greater and lasting joy that will be yours when you can sit by the hour with the masters of guitar and know and understand them through their music. "Art is long." It is well that it is so. All great things come slowly. Thus are they so much more appreciated when they do come. Just as "the choicest fruit hangs highest". But that makes us all the more anxious to get it.

So guitar students "hitch your wagon to a star." Be not satisfied with less, and then make every step of the way a pleasant one. Think not of the long, and tedious road on the way, but fasten your thoughts and sight upon the "star", and you will be well repaid in many ways. First, the lack of fatigue that you will have—because of the joy in your work, and again by the shortness of the way, as compared with how long it seems when each practice hour is looked to with dread, and a sense of "slaving" rather than anticipating the practice time as a pleasure, or as a "labor of love" which is to bring you that much nearer the "star" of your ultimate accomplishment in a musical way.

cendo 21

E. J. M. In Ferrer's compositions for guitar, I find thumb glides

marked, but an unused string between the first note of the chord and the next. Must the thumb jump this string in its glide.-' Sometimes I find two unused strings enclosed in a thumb glide?

Answer—When a chord such as you refer to is marked with the thumb glide or "sweep" the unused string is supposed to be smothered by a finger of the left hand touching the string at any place convenient with merely enough force or pressure to prevent the vibration of the string and the right hand thumb sweeps over the strings in the same manner as it would were all the strings it touched included in the chord.

The reason composers write chords in this manner is because they wish the effect of the "sweep" on the chord whether or not all the strings are included in said chord. Of course the sweep gives a very different effect to a chord than the usual picking. Ferrer, Arrevalo and Romero employed this style in their pieces more than any other composers.

H. G. Is there any method by which a person (that is one who

never saw a harmonic executed ) can learn to play a lutrmonic without seeing one demonstrated on an instrument? If so please explain in Guitarists Round Table.

Answer—The method of producing harmonics is described in the Carcassi and Holland methods and also in many others. The harmonic is produced by placing a finger of the left hand over the fret of the note or notes one wishes to produce harmonically. The finger must press the string very slightly, yet with sufficient pressure to prevent the string from vibrating as if open. As soon as the string has been picked with the right hand, the left hand finger is immediately removed. In making a har­monic, the finger should touch the string directly over the fret, and in no ease between the frets as in ordinary playing. Left hand harmonics are produced at the 12th 9th, 7th, 5th, 4th and 3rd frets. All the notes on the guitar may be played harmonically by the right hand method, however. To to do this, the note which is to be played harmonically is fingered as usual with the left hand. Then place the point of the right hand first finger 12 frets distant from the fret which is fingered by the left hand, then with the right hand thumb, strike this note under the first finger which is placed on the fret, immediately removing the first finger. Nearly all the standard guitar methods fully explain harmonics and give exercises in various style of playing.

Popular Concert

Los Angeles is now to have popular orchestral concerts every Sunday afternoon in the Mammoth Auditorium. The Southern California Music Teacher's Association have organized an orchestra of fifty men, mostly members of the Los Angeles Symphony Orchestra, and directed by Edward Lebegott, who was formerly director with the Lambardi Opera Company, and is wonderfully talented. The price of admission to the concerts is twenty-five cents for any seat in the vast auditorium. The orchestra is called The People's Orchestra. They gave a series of six concerts and after the six concerts, the interest and enthusiasm was so great, that they are to give the concerts every Sunday afternoon for six months at least, and there is little doubt but that the People's Orches­tra will be established on a permanent basis. Each program contains one composition by an American com­poser and so far each program has presented the work of

(Continued on par* 32)

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 i/tiestions pertaining to the banjo or contribute items. O-iestions or suggestions will receive due consideration. Address "Banjoists Round Table," care of The Crescendo.

The Banjo Mechanically Considered By Thos. J. Armstrong.

Amateur Banjoists frequently give more attention to rapid fingering than to the tone of their instrument. For this reason many excellent players never raise their per­formance above the commonplace; the endless efforts for technical display impending their conception of the most important musical feature—tone.

H o w to secure a round, melodious tone would require a very long and perhaps tedious description. For the present, the banjo itself will be considered from a mechan­ical view point, and its tone capacity placed on equal terms with the good or bad condition of its different parts •—the strings, the head, the bridge, etc.

Every professional banjoist knows, from experience, that the success of his act depends entirely on the perfect condition of his instrument. For this reason he is con­stantly adjusting, replacing or fitting the different parts until he acquires a sort of mechanical mania for these sort of things; and, in a way, he becomes an amateur machinist.

A good banjo requires as much care and attention as a delicate piece of machinery, and if the best that is in it is to be brought out, every part of the instrument must be continuously under the careful attention of the player. One weak spot in the combination spoils everything. If the head is fine and the strings thin and flimsy we obtain only a metalic twang. If the strings arc just right and the head is loose a dull, lifeless tone is the best we can get; and if only one string is false the perpetual discords pro­duced offend the car.

A n expensive banjo, costing $100.00 or more, m a y be transformed in to a dismal imitation of its former self by merely loosening the head. O n the other hand, an ordi­nary $20.00 banjo, which is on bad terms with its owner, m a y only need a new head or a set of good strings to make it a perfectly reliable instrument.

Young banjoists are generally very careless about the condition of their instruments. A moments thought will convince them that its fragile points need attention; and any neglect or indifference in that direction is fatal. N o amount of brilliant execution and difficult fingering will offset a banjo in poor condition, because then the instrument has lost its tone.

F. D. J. Please tell me to what actual notes are the banjeaurine

and piccolo banjo tuned? Answer:—The banjeaurine third string and piccolo

banjo bass string are both tuned in unison with middle c on piano.

F. D. J. In what respects other than size, does the banjeaurine

differ from the banjo and piccolo banjo? Answer:—A difference in pitch and a marked differ­

ence in tone occurs between all three instruments. The variation in pitch m a y be seen by refering to the previous

question, where the banjeaurine third string was compared with the bass string of piccolo banjo. A clearer description of this change in pitch may be given when the banjeaurine bass is not elevated. The reguW banjo bass siring s >unds C, one octave below middle C; the banjeaurine bass s rands F, a perfect fourth higher than banjo bass ; while the bass of piccolo banjo sounds one octave higher than banjo bass.

That each instrument possesses a characteristic tone m a y be easily recognized by comparing the staccato tones of piccolo banjo with the mellow s rand of the regular banjo. Between these two comes th • brilliant tones of the banjeaurine. 0. R. B.

In playing at great speed ou the banjo, the vibrations are so short that the notes are muffled, not as clear and distinct as desired. Is there a limit to the speed for good tone production on the banjo ? Answer :

Rapid execution is more satisfactory in the higher positions than the lowrer ones, if clearness is desired. It is for this very same reason that bass instruments, like the double bass, cannot emit tones following each other in quick succession, because the vibrations are so long that the different tones have not time to assert themselves.

There is a limit to the speed for good tone production on the banjo, just the same as for every instrument. It is merely a question of pitch; it isn't whether a certain passage is easy or difficult on any particular instrument. If the pedal notes of a pipe-organ were connected to the keyboard, an expert organist could only produce 7 or 8 tones, from the lowest note, in the space of one second if he wanted the hearer to distinguish the different tones. In the same space of time- a violinist, or flutist could execute a chromatic run of two octaves and the ear would be conscious of the changing tones.

W h e n you say "muffled" tones result from short vibrations, you probably refer to the banjo's capacity for prolonging and sustaining the tones. While the banjo is undoubtedly a staccato instrument, this feature does not prevent rapid fingering; it rather promotes that style of music. Sustained notes, however, can only be secured by resorting to the tremolo.

Next Month AT RANDOM, by G. L. Lansing.

Popular Concert Continued from page 21

a local composer, and compositions of merit they have been, too. The soloists have been splendid. This means much in a musical way for Los Angeles and presents an opportunity for our splendid local singers and instru­mentalists to play and sing with orchestra.

The Crescendo

In this department^ photos

ot 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 Mrs. Emilie Jaksch of Prag, Austria, a Crescendo subscriber, who writes us as follows;

"In compliance with your request I will try to pen a short sketch of the musical lift of Prag. Being in m y 65th year and bound to m y home the whole day by the care of a 93 year old and infirm parent, it is seldom I come into direct contact with other musicians. I once had the pleasure of hearing the Swedish guitarist, Scholander who sang here for a few evenings with his daughter Lisa. Another time I heard Rob. Kothe, from Cermany. A correspondent of mine, M . Georg Meier at Hambourg, who keeps a music store there visited me once to try m y guitaV and played some pieces for me.

Such events happening as I said at very long intervals, are very agreeable of course because m y music is m y only refreshment and pleasure.

In .eisure hours I like to transpose pieces for the guitar. These are my only connections with the outside world. It is a pity, because .̂ certainly would like tc partake of more of it.

Prag is renowned as a musica' center all over the world owing to its Conservatory of music and its yearly performance of Wagner­ian dramas by which many visitors are drawn to Bohemia, the same as Bayreuth in Germany. Mozart lived here for several years and wrote his "Don Juan" in a house not far from mine. His house is still standing.

The mandolin and banio are not commonly used here as yet. There are some mandolin schools but the banjo is found only in variety theatres.

I send some views of Prag which in its old parts is a very pictur­esque city. The oldest buildings are sure to attract the notice of every connoisseur, especially those built by Teutonic architects.

Let me finish this leUer with a wish that it may have found and caused some int'erest in the hearts of brother musicians over sea to whom I send my friendliest greetings."

Speaking of the Crescendo, Mrs. Jaksch says; "I look forward to each number of Crescendo with much interest. I fully agree with all that is said in it concerning the guitar and with all my heart, I hope the Crescendo can carry its message all over the world."

This is a photograph of the city of Prag. In the foreground is the Karlsbrucke bridge, the oldest of the seven bridges which span the Moldau river. It was constructed four centuries ago of wood; afterwards rebuilt under the Emperor Karl IV of stone. In the background the Royal Castle and D o m may be seen.

Prag is the capitol of Bohemia and is situated on both sides of the Moldau river. It is the second city in importance in the Austrian Empire and the commercial and manufacturing center of Bohemia. It has many splendid buildings, among them being a fine cathedral. Prag is only 160 miles distant from Vienna, and 75, miles from Dresden. The Peace of Bohemia terminated the war between Prussia and Austria in 1866. The city was founded about the eight century.

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[nv.ntor of D:v=lo-i:rs (and System) $1.50; Tone-Bar $3.00; Tone-Lever $-.00 Adjustable Mute $1.00; Arm-rest 75c; Banjo Bridge 15c.

Don't Miss the March Crescendo. It will contain some timely Hints.

24 The Crescendo

A n y o n e may contribute to this depaiment Stories. Poems, Ideas and Opinions. Send In anything

you wish only please m a k e it short.

A Letter About Tuning Hobart, Okla. Dear Sirs;

I was reading the Questions and Answers in the Crescendo about tuning the mandolin and I would like to tell m y method, I teach the wave system, the same as used in piano tuning. A n y beginner on the mandolin will have no trouble in tuning if they follow this system.

First, tune one of the G strings to G on the piano or tuning pipe. Then strike the two G strings together and you will hear a number of tone waves sounding like this, wow-wow-wow-wow-wow. Tighten the G string which is out of tune and the little beats or tone waves will be slower and farther apart. Keep on tightening and listen to the beats. W h e n you think they have stopped beating as near as your ear can tell, you will find that the G strings are in tune.

Next put your finger on the 7th fret of the G string and tune the D string until the beats are gone. The tone should sound clear when you strike the D string. If you can hear little beats or waves, turn the key up or down until the beats stop, then your strings will be in tune.

N o w if the D and G strings are in tune, put your finger on the 7th fret of the D string and tune the A strings the same way. Then on the 7th fret of the A string and tune the E strings.

This method will take a little study but when you have learned it, you can always tell u hen an instrument is the least bit out of tune.

Yours truly,

O. C. Shoup,

Piano tuner and Mandolin Teacher.

The Clef Question Continued from page io

in reading from the ordinary treble clef. Cn the other hand, if they learn first in the treble clef, they will have no difficulty. All the mandolin solos are of course in the treble clef and if the mandola or mando-cello player intends to play this music on these instruments, he will be able to play the mandolin pieces as far as they are adaptable but if he learns from unknown clefs which are used in no other music in the world, he will always be confused when he sees the treble clef.

The treble clef is the only real universal clef, for according to the great staff construction, the real bass clef is only a continuation of the treble clef, the sixth line being emitted. I cannot see the advisability of showing beginners in music a variety of clefs, telling that they are all the same as the treble clef, only the music sounds this way and that way and so bewilder the pupil with theory that he m a y wonder whether or not he wishes to con­tinue studying music, and also making the study of harmony or instrumentation a closed book.

The abandonment of the C clef of the viola, which corresponds to the so called universal clef, in favor of the treble clef by which the strings of the viola would be read exactly like those of the violin, has been strongly advocated for the last half century and eventually viola music may be issued that way so that any violin player could take up the viola calling the strings as he does on the violin and play the viola parts. This is exactly what w e are now doing in the mandolin family, and considered by a majority as the most practical. However, if it is ad­

visable for new players to learn the instrument, calling the strings by their actual names, wouldn't they have less trouble playing the music in the treble clef than in a clef which they cannot find in music anywhere else.

There is one very serious aspect of this whole matter which we must consider. Mandolin music, with a majority of the publishers is but a side line. Several large houses have invested thousands of dollars in the present parts for mandolin orchestra. Suppose these publishers are continually asked to destroy old plates and make new plates. Suppose they should become impatient with the constant changes and decide to discontinue the pub­lication of mandolin orchestra music, issuing simply first, second mandolin, guitar and piano parts but no other mandolin orchestra parts? The mandolin fraternity would be the losers. Some say that others would imme­diately take up the publication. Possibly but the best mandolin orchestra pieces, the most popular among the players are copyrighted and owned by certain pub­lishers and no other publisher can possibly, under the copyright law, publish these pieces and it would be impossible to obtain some of the best numbers we now have for mandolin orchestra.

Mandolin orchestras must have music and a majority have already shown that they want certain copyrighted pieces. This should be considered very seriously by the fraternity. There is more truth in it than one might imagine. It is possible that if there is sufficient demand, the large publishers m a y add some parts later on to the most popular numbers, but the fraternity must not expect the publishers to change each year all that they have done in the past.

The few that at first hearing are enthusiastic about the so called universal clef seem to think that all the publishers are going to rush into print hundreds of solos. Possibly a few publishers will, but a majority of publishers-have no intention now or at any other time of publishing solos for mandola or mando-cello in a notation that m a y be forgotten in a year or two. Regular cello solos with piano are not considered an especially good invest­ment as the sale is limited. There are thousands more cello players than there are mandola or mando-cello players and certainly if only a few publishers care to publish regular cello solos, it is very doubtful if they will care to publish mandola and mando-cello solos where the sale is very limited, especially as the proposed change may not prove the best plan after all and another change m a y be suggested later on.

Those publishers who may publish a very few solos-will certainly not publish very difficult solos but only the easiest sort of pieces, therefore the players of these two instruments must turn largely to mandolin music, written in the treble clef. W h y not learn these instruments in the treble clef at first? The fraternity must keep in mind, all reports to the contrary notwithstanding, that the publishers are not in business for philanthropic motives.

One of the disadvantages of the so called universal notation is the easy way in which one becomes bewildered. A customer who has had considerable experience wrote us only a few days ago stating that he had read articles on this so called universal notation and now that it was to be possible to play cello music and viola music on the mando­cello and mandola right from the original parts that he would like to receive catalogs of cello and viola solos. This shows how mixed up one m a y become. This m a n understood the so called universal notation to mean the real bass clef and the real viola clef. Space does not permit of m y printing excerpts from the many letters I a m receiving on this subject, but I a m firmly convinced that only a few of the fraternity care to have any change made from the present transposed form and I a m really

(Continued on page -6)

The Crescendo 25

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MENTION CRESCENDO WHEN YOU WRITE

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escendo

The Clef Question (Continued from page /4

• surprised to find how few arc in favor of the 7) called universal'notation as I undterilOod s rmetime ago that the entire musical world with the exception of imself had

adoptcd_.it, already. Finally, if the suggested change is adopted, calling

the strings of the mandola and inando-ce!lo by their actual names, I prefer, to sec the music written in the treble clef which every man. woman and chiYl knows

thoroughly. I have contended ever sincethc change was suggested that the notes on the staff would appear about the same whether written in the so called universal or treble clef and to prove this, I ask everyone interested to

take a piece of paper, paste it over the clefs of a part written in the treble clef and the same part in the tenor or so called universal clef or in other words, the same as the mandola and mando-cello parts and studies which have

been recently published. Cover the clefs entirely so they cannot be seen,

read treble and one will find the notes are the same in either ease. The few parts issued up to the present time sustain m y ideas in as much as they are written exactly on the staff as I would write them in the treble clef and as

a matter of fact, if the parts are to be issued this way, the clef is almost immaterial. A majority will think

treble clef whether that clef be printed or not. Possibly to satisfy everyone, the publishers might issue parts for these two instruments with the notes in the same positions on the staff but without any clef being engraved. W h e n a customer ordered a part in the so called universal clef, publishers could send a set of little stickers with the clefs on them which could be pasted on or if the customer

wanted treble clef, a set of treble clef stickers could be

sent. I believe that those publishers who prefer to issue

parts in the so-called universal notation will confine most of the music to one clef. Very few publishers will care to publish parts where two or three clefs are introduced

which, even though they may be read as treble, will be confusing to either amateur or professional.

Time alone will prove whether the mandola or mando­cello will be used more extensively by calling the strings

by their actual names and issuing music in the so called universal notation or the treble clef. N o one m a n can decide the question. It is a matter for the entire frater­nity to decide. A majority of publishers will continue to issue the present transposed parts. If there is a

sufficient demand, these publishers may later also issue

parts to be used by those players who call the strings by their actual names. From indications all but one or two publishers, if they do issue the new parts, will put them in the treble clef, but if the parts are not to mater­

ially differ in their location on the staff or their general style from those already published, everyone will be satis­

fied as any player can take the part if printed in the so called universal clef scratch that out and write in the treble clef, or if it were printed in the treble clef he could scratch that out and put in the other as he pleased.

The notes would be played exactly the same. Throughout England, France, Italy, in fact nearly

all foreign countries, mandola players use the treble clef. England issues mandola or mando-eello parts in the trans­posed form at present in vogue here. There is not the slightest indication that if the English publishers decide to issue parts according to the proposed change that they will use any other than the treble clef and it is hard to suppose that the most musical countries, such as Italy, France and Germany would ever consider using anything

Concluded on next page

2/

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The Crescendo

The Clef Question (Continued from page 26)

but the treble clef, or the bass or viola clefs. The whole matter simmers down to this; mando-bass parts, whether written in the so called universal notation or in the treble clef arc located exactly the same on the staff and at this writing I firmly believe that as explained above, if parts are issued under the proposed change, music for the mandola and mando-cello, whether in one clef or the other will look about the same.

So far as the music is concerned, it is a matter which the publishers will decide, not the manufacturers, not the arrangers, but those who invest their money in issuing the music.

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Concerts Recitals

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

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PIANO

Jerome H. Remick & Co.

H o m e Sweet H o m e The World Over /. B. Lampe, M

Piano Solo $ .50

A grand fantasie describing how "Home Sweet H o m e "is played in foreign countries. Key of B flat throughout. The piece is dedi­cated by the prolific composer to John Philip Sousa in commemoration of his "Round The World" tour. The piece is tastely issued in book form with the "Home Sweet H o m e " melody arranged in the style of the country represented on the right page and a drawing of some scene of each country on the left page. The music opens with a short introduction and the air of "Home Sweet H o m e " carefully arranged. Then the melody is given as in the following countries; Germany, as a Landler; Spain, as a Waltz; Russia, as a Pollacca; Italy, as a Grand Operatic Aria; Scotland, as a Highland Fling; Hungary, as a Czardas; China, in a novel Chinese style; Ireland, as a Jig; America, as a Ragtime March. It closes with a grandioso and allegro finale. It is an extreme novelty. It is very interesting to play, not at all difficult, and the book is an excellent addition to any one's library. Mr. Lampe is to be congratulated on presenting such a novel musical work.

MANDOLIN After Vespers Neil Moret-Arr. H. F. Odell, M

Full Mandolin Orchestra $2.10

A charming novelty played somewhat in the style of a gavotte. There are some very pretty figures in the lower instruments and the principal melody is very effective and interesting. The parts are all quite easy. The introduction includes some quaint bell effects, and is a fine program number for orchestras and a very desirable teaching piece. Keys of G and C, 4-4 time throughout.

Scattering of the Roses Ring & Hager-A rr. H. F. Odell, M

Full Mandolin Orchestra $2.20

A 2-4 polka movement in Parisian style. Extremely catchy with a charming swing. Good parts for all the instruments, inter­esting counter strains. A very pretty program number and also good for teaching or effective with only one or two instruments. Keys of C and F. Can be used as a march or twostep if desired.

Oliver Ditson Co.

Simplicity R. Gruenwald-Arr. H. F. Odell, M

Full Mandolin Orchestra $2.20

A petite minuet in the keys of C and G from a suite by this composer of interesting numbers. A minuet is quite a novelty and the dainty effect of this peculiar movement always makes a desir­able change from the usual program number. In olden times the minuet was the accepted court dance on all state occasions. This piece is particularly interesting on account of the various counter strains and figures in the various parts. An excellent program number, also good for teaching.

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Oriental Maidens Roy H. King-Arr. Trinkaus, M

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A intermezzo twostep, 2-4 time, keys of D and G. A very effective little number in the popular prevailing style slightly synco­pated. A catchy, interesting melody, effective for either concert work or teaching. Arranged for full mandolin orchestra.

The Crescendo

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

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

USTIN, C. E.—P. O. Box 535, New Haven, ^ Conn. Banjo, Mandolin and Guitar.

D A Y T O N , MRS. L. M.—Cor. North and Maple Sts., Marcellus, Mich. Guitar,

Mandolin, Banjo, Violin and Piano.

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

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KITCHENER, 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.

f ANG, MRS. C. A — 1 0 Langdon Street, D O T T E R , F R A N C I S — R m . 10 Baldridge *~> Montpelier, Vt. Piaro, Banjo, Mandolin * Blk. 20th & Farnham Sts., Omaha, Neb. •lid Guitar. Banjo, Mandolin & Guitar

ANSING, G. L — 170a Tremont St., Boston, ' Mass. Banjo, Mandolin and Guitar.

I EVERT, JOHN J—562 St. Catherine St., '-' West, Montreal, Canada. Banjo, Guitai 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 ETHEL L.—722 W. 11th St., Los Angeles, Cal. Guitar Soloist and

Teacher.

PETTINE, GIUSEPPE. —Studios in Boston, Mass., and Providence, R. I. Permanent

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

ROWDEN, MR. & MRS. CLAUD C— Handel Hall, Chicago, 111. Banjo. Mando­

lin, Guitar and Piano.

'TOCABEN, LOUIS—13 Astor Place, New ' York. Composer, Arranger for Mandolin, Guitar, Piano.

TSCHOPP, CARL.—1263 N. 29th Strett, ' Philadelphia, Pa. Mandolin, Zither, Gui­tar and Banjo.

X/REELAND, W A L T E R F—178 Tremor* * St., Room 40, Boston, Mass. GuiUr, Mandolin and Banjo. Teacher and Soloist.

P L A C E JR., WILLIAM—308 Caesar Misch Bldg., Providence, R. I. Mandolin Tea­

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TEACHERS OF MANDOLIN,

BANJO OR GUITAR

VOUR professional card will be inserted !D

this list for $2.00 for 12 months, payable

in advance. Insertions must begin with tke

January, April, July or October issue.

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

Boston, Mass. Oliver Ditson Co., 150 Tremont Street. Vega & Fairbanks Co., 62 Sudbury Street. New England News Co., 93 Arch Street. G. L. Lansing, 170A Tremont Street.

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

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

Chicago, III. Claud C. Rowden, 27 E. Randolph Street.

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Cleveland, Ohio. H. E. McMillin& Son Co., 2060 E 9th Street.

Hartford, Conn. Barker Piano Co. Asylum Street.

Kristiania, Norway K. Berg, 12 Theresegade.

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

Los Angeles, Cal. The Lindsey Music Co., 416 S. Broadway.

Newark, N. 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. Yokohama, Japan

John Gorman, 116 Yamashita.

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A Gibson. 16 strings, strong powerful tonel ason for selling, taken for debt. An unusua .w haip-guftar. Cost, only a few months age ole leather case for $60 cash, on payments ot H. F. ODELL, 165 Tremont St., Boston, Mass,

SCTS. per copy for discontinued or slightly soiled teaching mandolin

music. Good as gold Send 25 cts- and we will send you 5 pieces off the pile. No catalogs but all good Will you take a chance.

O D . LL & CO., 165 Tremont St., Boston, Mass

ADVERTISE HERE. Chas. J. Glaubit says:—"1 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."

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