VEGA NEWS THE VEGA CO. - UR Research

IY)L.

VEGA Art Lasley has

been playing the banjo for quite a number of years and has appeared in about every large city of the Union. Writing us from Lexington, Tenn., week of June 4, he says:' 'You can­not beat the Vega Banjos. Have fixed up my Elec­tric. Have also the Whyte Laydie and it is a splendid instrument in every way. Will be East again this summer and will stop in and see you. Last time was in 1914."

NEWS Homer V. Oldfield of the "Oldfields" writes us from Oklahoma City: "Send me your latest catalog and also 'Voice of the Vega.' I have used the No. 7 Whyte Laydie banjos for years and have never met with any other that com­pares with them." The Oldfields were one of the first acte to tour China and Japan a few years ago, where they met with great success. W I N D O W DISPLAY OF VEGA INSTRUMENTS-SOUTHERN CALIFORNIA MUSIC CO.,

LOS ANGELES, CAL.

L. H. Bowen of Bunker Hill, W. Va., is very enthusiastic over the Vega Man­dolins and Banjos. W e just sent him a No. 9 Tu-ba-phone. He says: "I have given the banjo a thorough trial and it is sure O. K. Thank you for sending me such a beautiful instrument. The tone is fine, both in volume and quality. Check enclosed."

M. PAUL JONES Houston, Tex.

M. Paul Jones, an Artist and Teacher, whose reputation in his work on the Mandolin, Banjo and Guitar stamps him as the leader of the great South and Southwest. He is also a great Vega enthusiast.

Fernando Callejo, Jr., known in vaudeville and professional world as "Beau Beaufort," has been for some years an expert banjoist and man­dolin player BS well as an exponent of the Hawaiian Guitar and Ukulele. He was born in Porto Rico. Has just fin­ished a tour down South America, and has played with Gilmore's famous banjo and novelty orchestra. He has filled en­gagements at the leading hotels in this country, and is now at the Arlington in Binghampton, N.Y. Uses Whyte Lay-die and Tu-ba-phone Banjo Mandolin.

FERNANDO CALLEJO, JR. Binghampton, N. Y.

Vega Instruments For Sale at

JOHN WANAMAKER. New York City

JOHN WANAMAKER, Philadelphia, Pa.

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

LYON & HEALY. Chicago. 111.

SOUTHERN CALIFORNIA MUSIC CO., Los Angeles, Cal.

GRINNELL BROS., Detroit. Mich.

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

Vega Mandolins and Vega Guitars, also

"Voice of the Vega."

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

Vega Instruments For Sale at

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

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

VOLKWEIN BROS.. Pittsburg. Pa.

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

GOLDSMITH'S MUSIC STORE. Columbus, Ohio

CRESSEY & ALLEN. Portland, Me.

KOHLER & CHASE, San Francisco, Cal.

LEVIS MUSIC STORE, Rochester, N. Y.

The CRESCENDO

No Conscripts Among Stahl Models "SELECTIVE CONSCRIPTION" may be all

right for raising armies Rut we submit that

it's not a good way for deciding on the S H A P E

to give a Mandolin. Because a potato-bug is one

shape and an eagle's wing another shape and a

grand-piano lid another is no argument for adopt­

ing any of those shapes —or any other of the thou­

sand and one shapes one might mention— as a

right shape for Mandolin top, Mandolin back or

Mandolin sides-don't overlook the SIDES.

These fellows who Ibsenize philosophically

about a Mandolin being flat because the moon

seems to be- why they forget to tell you why

they make the sides of a shape they've con­

scripted from a bad dream.

S T A H L M O D E L S A R E A S CLASSIC and as

true to tradition as an ionic column; as scientifi­

cally proportioned to project sound as a telescope

to project vision; as accurately chambered and

strung and fretted for power and accuracy as a

French 75-millimeter g u n — A N D GIVE the great­

est beauty of model, beauty of tone-quality,

power and incisiveness possible to secure in

plectral instruments.

WM. C. STAHL

TODAY IS THE DAY OF THE YOUNG MAN. Militant Military America is counting her young

men. Her young men are all lovers of plectral

instruments—there's a spontaneous, born-in-the-

blood, bred-in-the-bone love for the plectral in­

struments in Americans that countless years of

subsidizing of bowed instruments by the rich have

failed to breed out.

EVERY BARRACKS, army post, field head­

quarters is rich in possibilities for the militant

dealer and teacher. Stahl Instruments —every­

thing from Mandolin and Tenor-Mandola, Man­

dola, Mando-cello and Mando-bass, which is the

real basis of the plectrum symphony orchestra—

all down the gamut of Guitars and Harp-Guitars,

Banjo-Mandolins and Banjos—they're the instru­

ments that make strongest appeal to America's

love of the plectral instruments. Ukuleles and

Hawaiian Guitars, too!

CATALOGS of both classic and British flat

models. And thematic catalogs of latest popular

and standard classical music.

Milwaukee, Wis. MILITANT D E A L E R S A N D TEA.CHERS have a glorious opportunity for trade with America's military.

N O W is the time. Write right now.

53V-iRS D O L L A R BILLS F O R 20 C E N T S SUBSCRIBE TO OCR MONTHLY N E W ISSUES. IT MEANS ONB DOLLAR'S WORTH FOR TWRIfTV CENTS

N E W ISSUE COUPON — Enter my subscription at 80% oft for arr. checked X as follows : 1st Mand 2nd Mand...... .3rd Mand Ten. Mia. Mdo.-Celh- Mdo.-

Bass .Flute Cello......Banjo.. ...Gui. Acc... .Pia. Acc. (Parts in both notations). Name Street , City State. -. I refer to , . •

STANDARD CLASSICS AND. POPULAR HITS FOR FULL., MANDOLIN CLUB.

This Month's N e w Issues * Hawaiian, Selection of the most popular

melodies Lake-Odell . Ghost Dance. Dance Descriptive

Salisbury-Odell . Hilo, Hawaiian One-Step

Lua-Kaili-Tocaben .

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

Each .15 .25 •Regular Orchestra Parts Pub­lished Each .16 .25

Piano Accompaniment 20 .35 Discount % off SELECTIONS

•Master Melodies from Famous Light Operas Roberts-Odell..

FANTASIAS •Hungarian Fantasia, Op. 2(17 . . Tobani-Odell. .

OVERTURES •The Calif of Bagdad . . . Boieldieu-Odell. . •Semiramide. Overture . . . . Rossini-Odell. .

HAWAIIAN NUMBERS One, Two, Three, Four, Waltz Lake-Tocaben . . Kahola-Honolulu. Hawaiian Marches, One Step Lua-Kaili-Tocaben . .

•Kilama-Wailana,Waltzes Lua-Kaili-Tocaben . . Aloha Oe(Farewell to Thee)Liliuokalani-Odell. .

Mi s..

CONCERT NUMBERS Au Bord d'un Ruisseau (At the Brook)

de Boisdeffre-Odell. . The Robin's Farewell, Reverie Arthur-Odell . . •Reve Angelique (Kamennoi Ostrow)

Rubinstein-Odell. •Among the Roses, A Summer Idyl Lake-Odell. . Melody of Peace Martin-Odell. . *La Brunette, Valse de Concert. Severn-Odell. , The Dying Poet Gottschalk-Odell. . •Dreams of Love, Nocturno . . Liszt-Odell. . •La Tipica, Polka Curti-Odell. , •Serenade Czerwonky-Odell. , •Fifth Nocturno Leybaeh-Odell . . Pizzicato, Polka (Sylvia) . Delibos-Tocaben . , •A La Bien Aimee. Valse . . . Schiitt-Odell. . Scotch Lullaby von Kunits-Odell. , •My Heart at Thy Sweet Voice. St.Saens-Odell . •The Guard Mount. Patrol . Eilenbcrg-Odell. Melodie. Elegy, Op. 10. . . Massenet-Odell. *Adoration, Flower Song . . Barnard-Odell .

MARCHES •Curro Cuchares (The Bull Fighter) Spanish March Mettalo-Odell.

FOX TROTS Bull Frog Blues . Brown-Shrigley-Tocaben .. Approval _o Responsible Parties — Re

UNIVERSAL AND TRANSPOSED NOTATIONS

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

ONE STEPS Brown Skin . . . . Barton-Mills-Tocaben. . A There's Some One More Lonesome Than You

von Tilzer-Tocaben .. A I Sent My Wife to the Thousand Isles. One Step von Tilzer-Tocaben . . A

WALTZES There's a Rose in this World for Us All

Waltz . . Alexander-Williams-Tocaben . . A •Santiago. Spanish Waltz . . . Corbin-Odell. . B The Kiss That Made You Mine. Medley Waltz

Biese-Klickmann-Tocaben . . A GUITAR SOLOS-Arrangemerns by E. L. OLCOTT-BICKFORD La Cinquantaine Gabriel-Marie $.40 Saeterjenten's Sondag, Melodie . . Ole Bull .90 Con Amore, Melodie Beaumont .40 Swan Song from Lohengrin. , . . Wagner .30 Song of the Volga Boatmen, Russian Song . .50 Serenade Pierne .40 Traumerei Schumann .40 Fifth Nocturno, Op. 52 Leybach .15 O Sole Mio. Neapolitan Song . . . di Capua .40 •ence Required Discount .2 off

OCR SPECIAL FEATURE THIS MONTH

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

STEEL GUITAR HOW TO PLAY !T By LEON COLEMAN

CARL FISCHER »-»«*"••• N E W Y O R K OUR COMPLETE CATALOG OP MANDOLIN. GUITAR. BANJO. ETC.. MUSIC AND INSTRUMENTS-SENT FREE TO ANYONE

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

AAA

.JUL 27 1917 875533 ©CI.R392800 c

gBsGEHD© ^L M DEVOTED TO THE INTERESTS OF -*_. MJ^ % M

The MANDOLIN ORCHESTRA The Harp, Mandolin, Guitar, Banjo

AND KINDRED INSTRUMENTS VOL. X. BOSTON, JULY, 1917. No. 1

T H E A L L E S T O W > M A N D O L I N O R C H E S T R A — W . G. BKIN'KEIt. D I R E C T O R

Organized Jan., 1017, with twenty-three members. T h e offirers are II. A. ltrinker. President, and Miss Miriam

Rose, Treasurer. The membership increased within two month- to thirty-seven. T h e instruments include 1 I

Ist mandolins, IO 2nd mmidol ins. I mandolas, 2 mandn-cellos. '_> guitars. 2 harp-guitars, I harp and _> hanios.

The repertoire includes the best published mandolin orchestra pieces. T h e first public concert w n s given in March.

1017. A n enterprising organization with an enthusiastic lender.

The CRESCENDO

PLECTRUM INSTRUMENTS PAST GLORY PRESENT DECAY

BY STELLARIO CAMBRIA m^

ITHOUT going back to the times when Orpheus' lyre used to hypnotize men and beasts, neither to the epoch when Sappho's cithern* used to celebrate happinesses

and mourn misfortunes, the most recent events of the Middle Ages present the string and plectrum in­struments in the climax of their glory. The lute, the mandola, the cithern were associated

with the troubadour's voice, and the most sublime lyric to them entrusted. Warriors' deeds, love of beautiful ladies, victories, disasters, noble enter­prises, foul plays, the epic of a tragic, but grand, epoch was celebrated, mourned or stigmatized by songs blended to the sound of these instruments. In Spain, and especially in the Basque Provinces,

they assumed a national character, and there, more than elsewhere, the plectrum instruments were greatly appreciated;—so much so that they were used in the most solemn and noble ceremonies, either profane or sacred. To them were entrusted, almost exclusively, the highest manifestations of the musical art of those times, which were truly the most glorious they ever had, but it did not last. The glitter of those glories began to fade away, and a night of abandon and oblivion followed. What were the causes ? Many and varied. The social evolution, which gradually changed cus­

toms, habits, aspirations, ambitions, began to take hold of every manifestation of the human intelli­gence, and music, not less than any other art, was greatly affected by the common metamorphosis. The hymn and romance of the troubadour were sub­stituted by the melodrama, and dramatic music took the place of the ancient lyric. The new musical form necessitated the need of orchestral elements, by far more powerful and more adapted to the poly­phony designed to answer the tragic and passionate situation of the melodrama. Everywhere sprang establishments of reed, brass,

and other instruments, and the lute, cithern, man­dola, and mandolin were entirely neglected and al­most forgotten. A spark of new life seemed to have animated the plectrum instruments at the decline of the last century, and the mandola, mandolin, guitar, and lute awakened from that lethargic long sleep on dusty shelves. Were they able to captivate the sym­pathy and confidence of that phalanx of musicians, great and small, composers, and performers ? No! What a pity,—how regrettable. It was wrong, be­cause these instruments, if made to perfection, are capable of producing marvelous effects, especially in sweetness and sentimentalism, which cannot pos­sibly be derived from any other orchestral source. To what use was the mandolinistic complex adopted? The most vulgar, and the execution of dance music and small serenades. In other words, the most popu­lar and simplest of musical forms.

It cannot be denied that there is a sort of dis­dain and contempt for these instruments, more re­grettable because noticed even among some of the very devotees of the mandolinistic art of the present day, which disheartens both teachers and pupils. * Antique harp in form of lyre.

The majority of those who study the mandolin and guitar learn only that little which enables them to scratch, in the worst manner possible, an easy polka, valse, song, ragtime, etc., and the worthy composers, either on account of diffidence or because of little sympathy for these instruments, refrain from composing for them, or else give us works in which the effects are sacrificed to facility of execu­tions. The elite, diligent scholars who constitute a very small, but very valiant, legion are compelled to turn to the repertoire of violin music which, save a few numbers, is anything but adaptable to the na­ture of the mandolin, for the effects produced by the violin bow are of an entirely different nature to those that can be obtained by the plectrum. With such disorder of things, can we pretend to

enlist the sympathy and help of an intelligent public ? To what extent are our own teachers (those who teach for the sole purpose of making money) and players responsible for such state of affairs? What should our aim be? It should point to the sympathy and help of the average intelligent public, and every admirer of the plectrum instruments should co-operate to the realization of this aspira­tion with a new and sane readjustment of things. REFORM

It is necessary that this reform (which should without fail bring a great perfection to future suc­cess) should necessarily begin in the schools. Man­dolin and guitar curriculum should be added to every musical institute and conservatory under the direc­tion of noted and approved instructors, in order that the plectrum instruments should receive the very same treatment afforded all the other instruments. It may sound strange, yet how many are aware of

the fact that in France, South America, etc., there are musical colleges and conservatories, endowed by the governments, where a mandolin instructor can­not secure a position except by a public competitive test. How many of our so-called "mandolin instruc­tors" could pass such a test as given by the Musical Institute of "G. Verdi," of Buenos Aires, to aspirants to the degree of teacher for the elementary grade, who were obliged to perform:

"9th Concerto," by Beriot; "Elegia," by Bazzini; "2nd Fantasia Mazurka," by Munier; "SaltareUo," by Papini;

and aspirants to the degree of mandolin instructor for the advanced grade were required to execute:

"Studio 186," by Cavallini; "Studio 180," by Leonard; "Serenata Andalusa," by Sarasate; "II Tremolo" (Capricio over a theme by Beethoven), by Beriot;

"7th Concerto," by Beriot. Once this reform, which is indispensable, had

been adopted, care should be taken to reorganize all of the mandolin orchestras in existence. Such or­chestras generally use the guitar as the only exclu-

(Continued on page 21)

The CRESCENDO

I O <L

D

Pi**!

o

o

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

This department is especiaUy for Harpists,

and they may ask questions pertaining

either io the Harp or Irish Harp or contrib­

ute items. Questions or suggestions will

receive due consideration. A ddress '' Harp­

ists Round Table," care of the Crescendo.

0 THE CLARK IRISH HARP IN AMERICA

(Continued from June "Crescendo")

After that, all my friends came back and looked at me and they cried, too, and went away believing what Tommy told them, and then they sailed over the seas to that lovely America. But they all carried pictures of me, and they remembered the sound of my voice, and back in Ireland they thought so much of me that they put my picture up in front of the British lion on the flag of Great Britain, and there we stand, making faces at each other all the time. Well, I hung on the wall all those long, weary

years, just crying for some one to love me, and the dust settled on me, and my dress faded and I think I must have warped a bit, for I was so very lonely when no one came to talk to me. I couldn't blame them, for they all thought I wouldn't answer.

An American to the Rescue. But one day some Americans came to Ireland, just

to look for me, and one of them was a tall, young musician, they said knew a lot about harps; and I knew by the way he looked when he saw me that he believed I was able to make some kind of sound. I tried to jump off the wall, and I tried so very hard to make him hear me, but I couldn't. My faithful lovers in America had told him all about me, so he had his eye trained for the dear little harp in the green dress that used to have the sweetest voice in the world. When he saw me, he lifted me off that cold wall,

bless his heart! And out of his pocket he pulled some strings and strung me together, and then brushed his hands over me in a loving sort of way and told me to wake up and talk. And, Oh my! didn't I do it! and Oh, my! didn't it please my rescuer! He told me what a beauty I'd be if I only had the right sort of fixing up. That annoyed me some at first, till he explained that most beauties need fixing up a bit. He took me everywhere he went, and I sang to him and all his friends, and they were so pleased with me, he decided to take me to lovely America and improve me and make me so attractive every one would want to own me. So that's how I came to America. He worked and

studied and taught me a lot of things I never knew before, how to make my voice big and strong, and still be sweeter than that of my big sister harps. He made my clothing so beautiful and attractive, and at the same time so inexpensive that any one could afford to buy me, or rather an exact model of me. One beautiful day I was all finished, and he told

me if I would sing my sweetest songs, he would take me to the Fair and Carnival, and there introduce me to all those old lovers who didn't think for a minute but that I was still hanging mute and helpless on the walls of Tara. Wasn't that lovely ? I remembered the times we used to have at the old Donnybrook

Fair in Ireland, and how for ages I had been used in great assemblies, even as far back as in the dedica­tion of the Temple of Jerusalem, and I could hardly wait to start.

The Reception in America. Right at the end of the big parade, which thous­

ands of people from all over the state had come to see, we took our place. I thought I should go wild with delight! It was just like old times I had seen, only bigger and grander and finer in every way. Just to do me honor, and to let my lovers in America know it was really I, he dressed up like a real Irish gentleman in a gray cloak and hat, and he put me

MELVILLE CLARK IN A CHAUNCEY OLCOTT COSTUME

in a little, low-backed car and away we went through the crowded streets, singing and playing. M Y ! My! Didn't I sing! and how glad my lovers were when they saw me. They followed me and cheered and I sang to them all the dear old heart songs, and then I sang other tunes to my other lovers who hadn't known me in Ireland; and then I sang some songs to some new lovers who came after me; for, though I do hate to admit it, I am a bit of a flirt. Such a crowd as we drew! When we finally

stopped, my rescuer took me out and placed me in the elegant "Hall of Harps," and I just wish you could have seen the crowds that came in to admire me and to buy the little Irish harp. I just love to keep singing and talking all the time, and I guess you would, too, if you had your mouth closed tight for a hundred years. I don't intend it shall be closed again, either. I am delighted with the Hall of Harps where I

reign as Queen. I've a lot of my relations here with me now, and thej* are all similar to me. I am as well liked as my big sisters, because I am small and com­panionable. I can be carried everywhere and in places where they are too big to go, and it don't cost anything to take me. I can do most things my big sisters can, too, and some things they cannot; for I can go out in all kinds of weather, and it doesn't hurt me a bit. Every one can make me talk, for my rescuer has

written a series of letters which explains just how to do it; and it's so very simple. He calls them "Home Study Lessons." He can send teachers' addresses, too. There is a big factory where thej' make models exactly like me, and hundreds and hun­dreds have been made and sold all over the world, and they make the sweetest music and are satisfy­ing in every way.

6 The CRESCENDO

__•

HAWAIIAN ROUND TABLE

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

This department is especially for players oftheSteelGu ita r and Ukulele. Questions or suggestions will receive due consideration.

Address, Hawaiian Round Table, care of the Crescendo.

T H E STEEL GUITAR By Myrtle Stumpf

S. S., Scranton, Pa. I should like some information as to the correct way of

placing the steel upon the strings when it is to be slanted either one way or the other. Also, as to how the fingers manipulate the steel in moving it in the various necessary directions. I have great trouble in guiding the steel when the notes necessitate a frequent changing from the bar to slant positions. It slips around and very often falls entirely out of my hand. Answer. The trouble of the above student is, without a

doubt, common to every steel-guitar player upon reaching the place where the steel is placed upon the strings at dif­ferent angles, aside from the straight bar. Some of the changes are made with lightning rapidity, so the steel must be held so there is little wasted movement in turning it. There are about as many different ways to hold the steel—with ar­guments in favor of all—as there are ways of holding the bow in violin playing. Many of the Hawaiian players when placing the steel on

but one string draw the fourth and fifth fingers back up into the palm of the hand. This is no advantage, whatever, as the second and third fingers have to be separated, the second finger to hold the steel and the third to be placed upon the string behind the steel. By the way, we call the thumb of the left hand the first

finger in steel-guitar playing, as it is often used to fret notes in connection with chords taken by the steel, thereby giving a greater variety of chords, mostly minors. Now, when the steel is placed upon the several strings

again, the fourth and fifth fingers have to be brought for­ward, as of course they are needed to stop the strings back of the steel. I have thoroughly tried out both ways and find it is far better to keep all fingers out and ready for use. Especially is this true when the slanting position of steel is necessary. The thumb or first finger should reach about midway the length of the steel and the second finger resting along the top. Now, in starting to turn the steel, one's first impulse is to let the first finger drop to the other side of the steel. DON'T do this, as you will have the dickens of a time getting it back when the steel is again turned straight. You'll more than likely have to take it entirely off the strings and re-adjust your fingers. The steel should never be taken off the strings excepting when staccato notes are played. The artistic blending of tones is what makes the music fascinat­ing. The thumb and first finger are now holding the steel

properly, at any given bar—straight across. We will say it is placed on the seventh fret, and we wish to turn it so as to cover notes D and B, third and first strings, fifth and seventh frets. Move wrist and arm very little, if any, and turn steel with thumb and third finger, swinging it around toward you until the proper angle is reached. Now, you'll find the tip end of your second finger is still

on the steel at its point and the thumb is still in correct position. The second finger acts as a pivot, so to speak, by which the steel is swung back and forth, for we must get back to the original position just as freely as possible. The third and fourth fingers are in the same position as before, only curved slightly, on account of the steel being turned. The fifth finger trails along on the strings back of the steel as before and—there you are! Now, it takes lots of time and diligent practice to move

this pesky bit of metal in all directions. Many players haven't the energy to stay with it until they've mastered its oddities. They substitute positions which bring the notes on the straight bar, but it isn't one-tenth as pretty. After all, a thing isn't worth doing at all if it isn't done well, and every­thing possible should be done to enhance its beauty. When it is necessary to turn the steel the opposite way from the slant, we call it the inverted steel. I will not go into detail concerning that in this article, for I find I've used up my space, so "here's luck to you," Mr. or Mrs. S. S.

<«<><*<-•<•<><--<-'<><>•

Manufacturers, Publishers, Teachers and Players

are requested to send in items to

this department about concerts.

recitals or other musical matters

which will interest Crescendo

readers.

0000»^>*X>000 €> o o o# J. H. Wark is doing quite a little playing this season and

recently played two banjo solos very successfully at a min­strel show in his town, where he and a male quartet were the only professionals appearing.

A new instrument has made its appearance on the market, the Lyon & Healy "Own Make" mandolins, mandolas, and mando-cellos. The new catalog issued by this company de­scribing these instruments is certainly an artistic production. It contains an interesting treatise on why one should study the mandolin and tells of the popularity of the instrument; then thoroughly describes the development of the new Lyon & Healy instruments. The catalog further illustrates all the instruments with natural-colored cuts, giving prices with complete description of each instrument. It is a very artistic catalog and very desirable from the point of the player, who, in buying a mandolin, is interested in getting the whole story and seeing the instruments. This company recently gave printed cards to all of their

employees, which stated that all those who had been in the service of the house for a year or more, and who enlisted for the war, would be paid a salary the same as they were re­ceiving prior to enlistment, less the amount paid by the government, and the positions of those enlisting would be held open for them upon their return. Several of the members of the New York Serenaders Or­chestra have enlisted in the service.

W e have often wondered what a "Jass" band was, and re­cently a little article has come to our attention which ap­peared in a New York newspaper, which gives the result of an interview of a reporter from that paper with the leader of one of the "Jass" bands in New York, which claims to be the original band of that name. The leader told the re­porter the following:—"A Jass band is composed of oboes, clarinets, cornets, trombones, banjos and always a drum. It is not necessary to have all these instruments, however, and the music played is more a matter of ear than technic. Few of the members of the band know music. One fellow plays the melody, and the others do what they please. Some play contra melodies; some play freak noises, and some just play. It is impossible to tell how. You simply have to feel 'Jass.' The time of the music is usually syncopated. A Chicago professor said that it was the untuneful harmony of rhythm. It is possible that the word 'Jass' means a jumble." Possibly, from this explanation, our readers may get some

idea of what a "Jass Band" really is. Wm. C. Stahl, the music publisher, has one of the most delightful duo catalogs in the world. Only recently he has added a number of fine duos, and among the older pieces will be found some of the best duos on the market by such writers as Aubrey Stauffer, Will D. Moyer, J. Robert Morris, and others. This house also issues a very large catalog of excellent mandolin orchestra music.

The Clizbe Trio of Amsterdam, N. Y., composed of Charles Sumner Clizbe, his daughter Helen Eunice, aged 11, and his son Charles Stuart, aged 9, recently gave a concert in Fulton-ville, N. Y., during which selections were rendered on the violin, cornet, piano, harp, banjo, and mandolin in every con­ceivable combination. Miss Clizbe plays harp, mandolin, banjo, violin, piano, and drums, and the boy plays cornet, mandolin, piano, banjo, violin, and drums. They are two very clever little people, and with their father, who has had many years' experience as a musician, give a very interest­ing program.

(Continued on page !i)

The CRESCENDO 7

j PROMINENT TEACHERS and PLAYERS I

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

MISS V E R N A M. C O M S L I Miss Comsli began to take piano lessons at the age of six

years, and studied for three years. At that time she went, with her parents, on a trip to Europe, and it was while in Europe she became infatuated with the stringed instruments and especially desired a zither. After a year of- travel, she returned to the States and not being able to find a teacher of the zither in her vicinity, continued her study of the piano and also took vocal lessons.

When fifteen, after returning from boarding school, where she had been studying both piano and voice, she took up the guitar under Chas. A. Templeman, of the Morningside Col­lege Conservatory, Sioux City, Ia. The following year she took up the study of harmony and the history of music and a little later counterpoint and harmonic analysis.

Miss Comsli has studied three years on the guitar and has given two recitals, programs of which have appeared in the "Crescendo." She also plays the mando-cello in the Sioux City Mandolin Orchestra.

PAT. SEPT.6,'04.

The universally used "Nontip" Banjo Bridge, made for all instruments.

Price 25 cents Circulara and Wholesale Prices

on Application

A. D. GROVER, 69 Spring Street, New York City

NOTES ON THE MUSIC g In This Issue in the Order Printed IT

Royal Cavalier March, Wm. C. Stahl Mandolin and Piano

Play this at a bright tempo. The expression in the first two strains play as indicated. The first strain of the trio is played softly, the first half and loud the second half. Tremolo all quarter notes. Pick the others. One of the latest num­bers in the Stahl Edition. Published for full mandolin orchestra.

Moment Musical, W. Loukine Harp Solo

Play at a moderate tempo at the beginning and rather softly. At the second strain, where the key changes, gradu­ally increase the tone and also play slightly more agitato. Carefully observe the expression as marked throughout this strain. In the last measure, in the long arpeggio run, gradu­ally ritard and diminuendo, and play the last strain very softly and with much ritard at the end.

Estrella de Esperanza, Walter Burke Steel-Guitar Solo

Play at a rather slow tempo throughout with expression as indicated. Bring out the melody notes distinctly and use the vibrato generously. This number is published in the Odell Edition with a second steel-guitar part in duet form. Dance Gracioso, Walter Boehm

Harp-Guitar Solo Play at about schottische tempo throughout, not too fast.

The first strain play medium loud, the second strain loud, third strain medium loud except at the end, where it should be played loud. The number is just as effective on the regu­lar si-x-string guitar as on the harp-guitar and is an especially interesting teaching piece. Published in the Boehm Edition.

Fascination Waltz, Walter Boehm Banjo Solo (C Notation)

Play the introduction loud with a decided ritard at the end. From the waltz on, play at waltz tempo. The number is played medium loud throughout. Two or three of the chords are played entirely with the first finger (see foot-note). A n excellent teaching number in the Boehm Edition. //

Buy the G. S, DeLano Steel Guitar and Ukulele Methods N e w enlarged editions. Price 75c.

The only ones giving: the genuine Hawaiian methods. Ukulele Method gives solos, accompaniments and exercises in many

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

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

'*I will teach this $ummer and will use your methods and solos." — W A L T E R K. K O L O M O K U , Steel-Guitar Soloist, "Bird of Paradise Co." I will sell yon Steels, Thimbles and Picks lower than any one else.

Send for Price List and Catalogue of Music,

C t t ¥lK*T A T V O S15S. B R O A D W A Y • a « W - l ^ A l ^ U LoS ANGELES. CAL. S

A term open

TEACH l_RS

.dolin orchestra agencies are I or fur particulars.

Austin Bailey Ballis Barr Becker Bedard Bickford Butcher Buttelman Calder Collum Conolly Cooke Derwin Dodge Evans Foote Goggin Goodrich Griffith Howard

Kanouse Kirby Maculley Marks Masterton McCauley McClellan Miles Munk Muntz Oberg Odell Parker Piper Place Rodgers Rogers

Rohrer Salsbury Savale Schomber Silberstein Smith Spake Stull Tanquary Templeman Thompson Tschopp Turnell Tuttle Wilcox Wilson Wright

Clark Irish Harp You recognize in this partial list of

B. M. G. representatives for the Irish

Harp, men and women who are leaders.

They realize the necessity of tonal vari­

ety and have discovered the "Crowning

Instrument of the Mandolin Orchestra."

CLARK HARP MFG. CO. 408 South Salina St. Syracuse, N. Y.

PLEASE MEN HON "( «KS( KMKI" WHEN WIIIIIM, HI AMVEKTISEKS

8 The CRESCENDO

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

Mandolin, Guitar and Banjo and Kindred Instruments.

HERBERT FORREST ODELL Editor and Manager

Published Monthly by the

CRESCENDO PUBLISHING CO., Ine. Entered at lecond-clasi matter, June 9, 1909, ar the Post Office at Boston, Malt., under

the Act of March 3, 1879

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

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

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

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

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

CRESCENDO PUBLISHING CO. 165 Tremont Street Boston, Mass.

VOL. X JULY, 1917 No. 1

EDITORIALS

The present issue of the "Crescendo" is its tenth birthday number. The "Crescendo" feels quite proud that it has reached its present age. It was quite a struggle, but with the continued increase in circulation and the very noticeable increase in the advertisements carried, the "Crescendo" has now reached a point where it hopes to be able to ac­complish many things for the good of the fraternity. This does not mean that the "Crescendo" has

reached a point where it will be satisfied to stand still, but it will continue to "crescendo" in every possible way. During the coming year it is probable that several

special numbers will be issued. A number of excel­lent articles have been secured, some by new writers, some by old writers. Considerable new music wili be printed during the coming year and the "Cres­cendo" hopes to continue to meet with the approval of its readers as it has for the past nine years.

At Whiting, Ind., on June 7th, a concert was given by the Red Cross Plectral Quintet, under the aus­pices of the Whiting Red Cross. The members of this quintet are S. A. McReynolds, lst mandolin; Miss Violet Thome, 2nd mandolin; G. W. Gray, man­dola ; Mrs. Claude C. Rowden, mando-cello and F. W. Zieman, harp-guitar. The organization was as­sisted by Miss Ruth Tilton, soprano. The quintet is giving its services in the work of

raising money for the American Red Cross. It is a fine service that these players are rendering and it is to be hoped that other similar organizations will do the same. It would be quite possible for many of the mandolin orchestras throughout the country to give concerts in various localities for this purpose and we hope to hear that other such concerts are being given.

Lyon & Healy have been very active in assisting recruiting for the marine corps in Chicago, and the following letter was recently received by that firm from the Major General Commandant.

HEADQUARTERS U. S. MARINE CORPS COMMANDANT'S OFFICE,

WASHINGTON. May 2, 1917.

Gentlemen: I am informed by the recruiting officer in Chicago that

your firm has rendered invaluable assistance to him, in numerous ways, in his campaign for recruits for the United States Marine Corps. He speaks most highly of the practical, intelligent and successful manner in which you have not only placed time and space at his disposal, but also of the sacri­fice of both and the utilization of your means to further the campaign as well as the encouragement that you have given to the young men in your employ, to enlist. On behalf of the officers and men of the Corps I thank you

most heartily for the substantial manner in which you have expressed your high sense of public duty, and assure you that the successful efforts which you have so generously ex­erted are highly appreciated, and to them is due no small part of the gratifying results which have marked the campaign.

Very sincerely, (Signed) G E O R G E BARNETT,

Major General Commandant. Messrs. Lyon & Healy, Jackson and Wabash Streets,

Chicago, Illinois.

All back numbers of the "Crescendo," with the exception of the June issue, are entirely sold out and hereafter only back numbers of the current issue can be obtained although occasionally a few back numbers for one or two months back, may possibly be obtained, but the sale of "Crescendos" in various localities have increased to such an extent that even though extra copies are printed each month, the issue is sold out within two or three months after printing, therefore, those who wish to secure copies of the "Crescendo" will be sure of having their own copy sent them by entering a regular subscription.

A splendid opportunity is offered by an old, estab­lished house on the Pacific coast, to a bright, am­bitious man who understands the small goods busi­ness. The house desires a manager for the small goods department and anyone who is looking for a very desirable position, is advised to read the adver­tisement, "Manager Wanted" and reply to same at once.

MANAGER-WANTED For Retail Small Goods Department

Large Music House in important Pacific Coast City desires a high-grade man to take charge of long established retail Small Goods Department. No investment required. Send full particulars, references and photograph to Box B, Crescendo, 165 Tremont Street, Boston, Mass. Correspond­ence confidential.

____.

1«* MANDOLIN or Violin

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16

BANJO SOLO

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D. S. al Fine

The CRESCENDO 17

HERE YOU ARE!!!

1 "SWEET LUANA" and "HONOLULU PA KI KA The first ia one of the most beautiful Hawaiian sontfg ever written; the

second a rax number with lots of snap and jollity. Both numbers are splendid for steel guitar. E V E R Y O *E should hare them.

PRICE 60e-One-hairOtr

"SWEET LUANA"—For .Voice and Ukulele Ace.

One of the prettiest of all the Hawaiian sorties, arranged for medium voice with ukulele accompaniment. A dandy. Y O U should have it.

PRICE 40c—One-half Off

W. A. QUINCKE & CO-^SftSSfflrSff*-" OR H. F. ODELL & CO., 165 '.Yemon. St., Boston, Mass. r

HAWAIIAN UKULELES No. 40 Genuine Nunes. $6.00

8 Like Cut 5.00 0 Canvas Case... 1.00 60 Leather Case.. 5.00

CATALOGS OF ANYTHING MUSICAL ON APPLICATION

60 BROADWAY BROOKLYN, N.Y.

The Largest Musical Instrumenl Manufactory in the United States The Fred Gretsch Mfg. Co.

For B A N J O in C Notation BANJO-EE-TIS. Some Rag by Warren N. Dean

Solo 40c. Piano Acc. 20c. D A I N T Y D O R O T H Y . A Charming Gavotte by F. L. Keaten

Solo 40c. Piano Acc. 20c Discount 1-2 off

ead what Thos. J. Armstrong says of these pieces in the June Crescendo Write for catalog of other good music for B.. M. and G.

S T E P H E N S H E P A R D , 620 East 18th St., Paterson, N. J.

FREE TO BANJOISTS! • "rtll want ^he best possible solos you can get hold of •*• " • * —something bright, catchy, characteristic and original. You want solos that matter, that are effective and not too difficult to play. publish nothing but the very best works of the very

best composers, for which we pay the very best price Will you allow us to prove, in a practical way, the high quality of our publications? Just send your name and address, and we will mail you by return E L E V E N C H A R M I N G B A N J O SOLOS in A notation, together with particulars of many other delightful issues.

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

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

Write now to CLIFFORD ESSEX CO.

We

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

Y OU don't need a S T R O N C A R M to play the Banjo with a pick, but to

play it properly you need

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

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

Pianists ! ! !

LADY DAINTY By H. F. Odell

Just published for Piano Solo (50c). This world famous piece is most desirable for teaching, recital, or to play "just for fun. " Sent postpaid for 25c.

H. F. ODELL 8 CO.. 165 Tremont Street, Boston, Mass.

FIVE WONDERFUL

Hawaiian Books These Books have become Standard — they are

thorough, well printed and complete

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

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

BAILEY COLLECTION OF UKULELE SOLOS A remarkable collection of Ukulele Solos—the first of its kind on the market. Contains the very best in Hawaiian Music and many of our own favorites, such as "I Love You Truly," "Just A-wearyin' for You" by Carrie Jacobs-Bond. Price $1.

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

Superior Collection of Steel Guitar Solos Just what it says — S U P E R I O R Collection of Steel Guitar Solos, arranged in the Peterson System by Keoki Awaii, a master player of the Steel Guitar. Price $1. T E N O R BANJO M E T H O D - By Arthur W. Black A complete, comprehensive and concise method which will enable any violin, mandolin or banjo player to successfully become a professional "Jazz" banjoist. Arthur Black is recognized as one of the best performers and teachers in the old as well as in the new "Jazz" style. Price $1.

These Books may be had of any music dealer. If your dealer happens to be sold out, place your order with him and it will be filled promptly.

Sherman,Bay & Ca House of Hawaiian Hits SAN FRANCISCO

S C E N E S F R O M T H E O R I E N T (Kcrthoud) Unaccompanied mandolin — special tuning Will make a HIT for you at your concert!

Miss Julia Greiner, N e w York's Premiere Mandoliniste, writes: "It (Scenes, etc.) is one of the B E S T D U O S on the market. All m y pupils

R A V E A B O U T IT."

PRICE 50 CENTS DISCOUNT. HALF OFF

F.LANDRY B E R T H O U D , 664 W . 179th St., NEW YORK, NY.

ODELL SPECIAL BANJO STRINGS Strong1, True—just what you are looking for 10c each; 50c the set; $1.80 assorted bundle of 30

H. F ODELL & CO., 165 TREMONT ST., BOSTON, MASS. Just Published "Tlio Czt\rni7s" MARCH = = = = = l l l C V j d U C l l A t l By Jas. H. Johnstone THIS MARCH WON lst HONORABLE MENTION IN THE RECENT MARCH CONTEST HELD BY THE AMERICAN GUILD OF B.. M. & G.

lst Mand. .30; M. and G. .40; 2 M. and G. .50; M. and P. 50; 2 M. and P. .60; T. M. and M. C. .20 each. Discount i off.

JAS. H. JOHNSTONE, 428 Academy St., KALAMAZOO, MICH.

UKULELE ACC. PUBLISHED FOR

Armstrong's Banjo, Mandolin and Guitar Studies Bk. III.. IV.. Adv. Bk. I. Can be played with Banjo. Man­dolin or Guitar as Duet, Trio or in Club. 25cper book, net

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

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

18 The CRESCENDO

o

n

17^777-^ _ 0

MANDOLINISTS ROUND TABLE Conducted by F. Landry Berthoud

This department is especially for Mando­

linists and they may ask questions per­

taining to the mandolin or contribute

items. Questions or suggestions will

receive due consideration. Address

"Mandolinists Round Table," care of

The Crescendo.

O

IME and time again on this page we have in­veighed against the manner in which a great many mandolin players care for their instruments. That sort of "care," or rather

the conspicuous lack of it that has been so frequently condemned, may be the cause of serious trouble. An incident that has just come under our especial at­tention is the following: A young, healthy lad of about eighteen joined a

beginners' class on the mandolin, and the instru­ment he produced was an heirloom from an older brother now grown up and interested in other things. The mandolin had been stowed away in a green

felt bag in a closet for years. When resuscitated, the strings were black, and a fine layer of dust over­spread all parts. The operation of cleaning it up and putting it in playing shape consisted in giving the strings a good rub on a coat sleeve and simply blowing the surplus dirt off where it had accumu­lated. The owner was warned that new strings and a

thorough cleansing were the proper thing, but the warning went in one ear and out the other. Suddenly the young man ceased attendance at re­

hearsals, and upon inquiry it developed that, having scratched his finger with a string tip, blood poison­ing had been threatened and, as a precautionary measure, the doctor was obliged to cut off a bit of finger! After six weeks' absence the young man presents

himself with a mandolin all furnished up to the nines, new strings, and also a partly-new finger. He's ready to play again, and his instrument looks like new!!!

Mr. E. K. H., Oakland, Cal., writes us he is most interested in the discussion anent "p" and '%" which appeared in a previous issue. He sends an account of how, at a small gathering, a cornet player and himself (on a mandolin) engaged in "duet" playing. Mr. E. K. H. appears peeved because the cornet player blew him out of business and advises us N E V E R to allow ourselves to get "bottled up in a small parlor with one of those individuals who un­corks his egoism through a cornet." Well, all right, Sir, we SHALL pay attention to this, and never al­low ourselves to be snared into such a predicament. Personally, we have played with almost every sort of instrument, but it passes our understanding to see where or how any acceptable results are to be ob­tained with mandolin and cornet. With suitable ac­companiment of piano or a strong guitar, it is pos­sible to make "music" with the combination, provid­ing the cornet player has some sense, but otherwise the experiment is, in our estimation, doomed to failure.

Another of Mr. E. K. H.'s remarks is very "a-propos." He says, "I think the hardest thing to get out of a bunch of mandolin players is a good even crescendo or diminuendo. They invariably JUMP from one extreme to the other." The reason for this is that, as a rule, mandolin players have given little or no time to the intellectual development of their musical talents. They give no special attention to the study of all the effects produced by a level­headed application of dynamics, and they seem to have N O RESPECT for the intelligence of their listeners nor their enjoyment. Neither do they ap­pear to have any desire to be considered as inter­preters of music—just merely mandolinists, execu­tants. Let us repeat that which has been often expati­

ated upon in this department, to the effect that a mediocre technic is no barrier to most artistic per­formance, providing always that the performer se­lects a composition simple and easy enough for him, and T H E N plays with his head! On this particular subject we have stored away

copious mental notes. That is, we've thought about it a great deal. Mental notes unfortunately get all muddled up, disconnected and blurred, unless promptly transferred to paper. On the other hand, it would seem that they become subjected to a smelt­ing and refining process and the good, salable ma­terial is the only remainder. The remainder in this particular case is the

thought that, in order to properly perform music, one must be particularly gifted—musically gifted. Almost any one can arrive at learning to play an in­strument more or less skillfully, but one in a hun­dred will cause you to forget his personality, to ig­nore his very presence, and to overlook any demon­strations of skill or techinc for the moment—ALL you can do is to LISTEN. No thoughts foreign to the music have a chance to form; you just LISTEN. Afterward—well, afterward comes the time when

you can permit yourself to marvel at the wonderful-ness of it all. The artist, his appearance, his bear­ing, his wonderful right hand, his educated left hand, his remarkable power of expression, and his control of the instrument—all these things crowd in on one's thinkery—but not until he has finished playing! As a corollary, the performer who attains celebrity

by any other means partakes of the character of a charlatan.

Now, then, it is plain that the player who, after repeated advice on this subject, cannot or will not endeavor to play music—not mandolin—and both feel and cause his listeners to feel all the subtle fluctuations in tempo and dynamics that are inher­ent to any musical performance,—that player is either strictly unmusical or plays the part of a faker. Not that fakers are not at times quite interesting, but their artificialness becomes tiresome very quickly, and their lack of sincerity forces itself into prominence, and promptly induces a lack of interest. Then our ever-busy brains get sidetracked and search other points of interest. The mannerisms get their share of attention, and the player's ap­pearance, his skill, his haircut—or lack of it—the crease in his trousers, etc., A L L come in for a close scrutiny and comment. Then it all ceases—we ap­plaud violently with the others; we demand an en­core ; and not so much to hear, as to SEE! Gentlemen, watch out for all those little "cresc."

and "dim" marks and everything!

The CRESCENDO 19

0

n

o

GUITARISTS ROUND TABLE

CONDUCTED BY

WILLIAM FODEN Virtuoso, Composer and Historian

This department is esperialhfoi Guitar­ists, but anvone may ask questions pertain­ing to the guitar or contribute items. Questions or suggestions will receive due consideration. Addiess—"GuitatistsFound Table," care of The Ciescendo.

n

LOOKING BACKWARD (Continued Jrom June "Crescendo")

pJ^nURING my quest for a guitar teacher com-• -IJy Petent to instruct me in the technic of the I--;.: 1 instrument, and give me a correct under-I » ' standing of its possibilities, I met with vari­ous experiences, but the one thing that astonished and disappointed me was the inefficiency I found among the different teachers which I came in con­tact with, some of them having absolutely no train­ing, no ambition, and perfectly content in their ignor­ance. Thank goodness these conditions no longer prevail, and that there are teachers everywhere thoroughly competent to impart instruction. Being unsuccessful in finding a capable teacher, I

resolved to practise faithfully and try to advance myself as far as possible, hoping that eventually some one would come along who was qualified to give me the needed instruction. It sometimes hap­pens, when one is in pursuit of a particular object, or an ideal, that it is realized only after a seemingly fruitless search, and very often in an unusual man­ner, or in an unexpected place, as shown in the fol­lowing instance. My folks, and many of our friends, were members of a social organization and annually had a grand ball. On one of these occasions I ac­companied the family to enjoy the festivities of the evening. Just about midnight, while the musicians were at refreshments, I found my way to the band­stand and, boy like, began tinkling on the harp, try­ing to pick out chords. This, it appears, attracted the attention of Mr. Lawton, the caterer, who was in another part of the hall conversing with my brother. Whatever the subject of their conversa­tion, it must have suddenly changed to that of music, and incidentally to the guitar, for presently my brother called me and, on going to him, he said, "Mr. Lawton plays the guitar, and I have been speaking to him about you." I immediately became interested and wanted to know all about it. Mr. Lawton told me that both he and his wife were tak­ing lessons from Mr. William 0. Bateman, and spoke very highly of him as a teacher, player and com­poser, and that the class of music he played was far above the ordinary. I will have to admit that I got a bit excited on hearing this and was very glad to accept an invitation to meet Mr. Bateman and of which I availed myself the following week. Mr. Bateman's playing astonished and delighted

me, for it was so different from anything I had heard, and besides I had no idea that such music could be executed on the guitar. It is hardly neces­sary for me to say that this ended my search for a teacher and any success I may have achieved is, in a great measure, due to his advice and instruction.

Mr. Bateman was a wonderful man, not only musi­cally, but also in other ways. Teaching the guitar was his diversion, and not his means of livelihood, and therefore he was not likely to be so widely known as one who makes it a business. His pro­fession was the law, and to which he has contributed several well-written books on the statutes of some of the states, copies of which may be found in the older libraries of the country. In his younger days he had made a very thorough study of the science and art of music, mastering Albrechtsberger's cele­brated treatise on harmony and several string and wind instruments. He also had his own ideas re­garding the theory of music, based on the notes of the harmonic chord, but entirely too profound for the novice. His compositions for the guitar are marked with originality and require a good technic, especially for the left hand. His system of bar-fingering is very explicit, and explains much that is often obscure; but it should be studied under the guidance of a teacher, on account of the lessons that are required to be written out by the student. His manner of holding the guitar was the upright, and he was the first one I ever saw hold it that way. He taught it to his pupils, but did not insist on it, and very few of them continued to hold it in that man­ner, on account of the fatigue it caused the left hand. but reverted to the old and original position, that of holding it on the left knee. Of his early compositions and arrangements, I

have "Fantasie Brilliante," "Sylvanus Waltz," "Brandwine Polka" and the "Cracovienne" with variations. The last named has the distinction of hav­ing one of the variations in the treble and bass clef, and it is the only piece I know of that is written with two clefs for a six-string guitar. Besides the above compositions, I have a number of songs with guitar accompaniment, beautifully arranged by Mr. Bateman. These, and the solos mentioned, were published between 1848 and 1853 and have been out of print for many years. In addition to the accomplishments already noted,

Mr. Bateman was a very good engraver, and some of his published music is the work of his own hands. His command of English and Latin was remarkable, but he never made ostentatious display of either; in fact, he was inclined to be somewhat reserved, and in regard to his attainments in music he always spoke of himself as an amateur. In relating the various accomplishments of Mr.

Bateman, I have been actuated by the sincere desire to pay homage to his genius, as well as to acquaint the guitar fraternity with a man who, because of his modesty and retiring disposition, is little known to the guitar world, and I feel sure that if he were with us to-day many excellent things would be forthcom­ing from his facile pen. (To be continued)

I The "KAMIKI" UKULELE Method THIRD EDITION

New Matter New Solos BEST OF ALL I ft 1 " K A M I K I " is Equivalent to " S T A N D A R D " |

in Matters Ukulelian

Price .">() Cents

| William J. Smith & Co., 56 East 34th St., New York, N.Y.

20 The CRESCENDO

BANJOISTS ROUND TABLE Conducted by

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

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

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

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

HISTORICAL By Geo. L. Lansing

O M E twenty-five or more years ago, in S. S. Stewart's Banjo and Guitar Journal, a series of articles appeared on the origin of the banjo. Among others, Mr. J. E. Henning

(at that time a well-known teacher in Chicago) gave quite an exhaustive treatise on the fact of Joel Sweeney of Appomattox, Va., as being the inventor of the instrument. It seems that Mr. Sweeney was the first white man to black his face and imitate the negroes. He went about as a wandering minstrel, singing quaint songs, accompanying himself on an instrument, made of a cheese box rim, a tough drum head, a long neck without frets, and having but four strings, to which he afterwards added a short or fifth string. It is not known what name he gave the instru­

ment, but it is said that Sweeney was known through the South as "Band Joe" or "Joseph and his band." No doubt he got his idea from some crude instru­ment used by the negroes, which fact is borne out by the following clipping from Thomas Jefferson's "Notes on Virginia," written by Jefferson in 1781. In a note on page 194 of the ninth edition, printed in Boston in 1802, Jefferson remarked on the negroes' fondness for music. "The instrument proper lo them is the 'Banjar,' which they brought hither Jrom Africa and which is the original guitar, its chords being precisely the four lower chords of the guitar." It is a well-known fact that Jefferson played the

violin and, for all we know, he was well posted on the subject of music at the time. It is just as rea­sonable to suppose that the name "Banjo" evolved from that of "Banjar" as to realize that in our own time we have seen instruments of the banjo family termed "Banjorettes," "Banjeaurines," "Banjolins," etc. The instrument in its present developed state

may well be called the only American instrument. All of the improvements that amount to anything have been invented by our manufacturers. Musi­cally, the banjo seems to appeal to the American temperament; perhaps I should go further and say to the Anglo-Saxon temperament, as the Latin races prefer the plaintive rather than the lively music. In the days of negro minstrelsy the banjo was al­

ways in evidence, and to-day there are hundreds of banjoists playing successfully in vaudeville. Coming down to the present, the instrument has

jumped into favor in dance orchestras. The fact that the tenor-banjo is preferred to the regular one does not change the fact that banjo tone is desired, but rather proves the fact, for the reason that, after trying mandolin-banjos for several years, it was found that the tone was unsatisfactory. The tenor-

banjo, being tuned the same as banjo, on the two lower strings, and the dimensions of the instrument being nearer those of the banjo, produced the real banjo quality of tone that is desired. A style of playing that is now seldom heard,

called "stroke" playing, was used almost exclusively forty years ago. It was not at all like the plectrum style used so much at the present time. A thimble covering the nail of the first finger was used together with the thumb. The method of playing was very difficult to master, but the effect was won­derful. The last performer to use this method of playing, so far as I can learn, was E. M. Hall, who lost his life in the Iroquois Theatre fire in Chicago several years ago. The present craze for using the ukulele for ac­

companying the voice often causes me to wonder why the banjo has been used so little in this direction. It has the ukulele beaten forty ways as an accompanying instrument, and is no more dif­ficult to learn. In all of the concerts given by the Boston Ideals for twenty-five years or more, I always put on a song number with banjo accompaniment, which proved to be one of the best numbers on the program. There is a great opportunity for teachers to push this line of work. Everj* one enjoys a song, and even a simple accompaniment played on the banjo is often more effective than the most elaborate one on piano. W. B. T., Worcester, Mass.

When one cannot get a saxophone player, what in­strument would you suggest to take its place in an orchestra made up of four other pieces, tenor-banjos, piano and drums?

Answer. The euphonium, or baritone, is an ex­cellent substitute for saxophone playing from 'cello and trombone parts. B. D. E., Portland, Me. When playing accompaniment with ukulele, should

a banjo be muted? Answer. The tone quality of the banjo, when

muted, is very similar to that of the ukulele; there­fore I should use the mute.

E S T O P - L O O K LISTEN: We are GOING TO MOVE and we want to dispose of as much stock as

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Hammering Down Cambria's Music at One-Fourth its Value No better opportunity could be afforded you to judge for yourself at the ex­pense of a F E W C E N T S why the most prominent men in the profession use and endorse CAMBRIA'S compositions. Music that is real music. Mando­linistic from first to last strain. N O FROST. (''our Most Artistic Unaccompanied Mandolin Solos, regular price $2, now 50c Twelve First Mandolin Parts, regular price $3.60, now 90c

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-r>

The CRESCENDO 21

NEW YORK C. L. Spaulding, Secantreas, 1185 Bushwick Avenue,

Brooklyn, N. Y. Mr. "P. C. Projector" C. S. at May 13 Serenade. The

Chief was a post-card projecting machine, loaned and ope­rated by Mr. Sturz. Instead of announcing each number, a likeness of the player was shown. The G. E. played "Boys In Khaki" and "Pearls." Miss Robertson sang "Schubert's Serenade," with Mrs. Kenneth at the piano and mandolin obbligato by Mr. Foster. Mr. Douglas banjoed Bacon's "Famous Overtures." Mr. Foster played mandolin solo, "Souvenir" (Drdla) and "In Elizabethan Days" (Kramer). The Banjo Bugs played "Teasing The Cat" and "St. Louis Rag." May 27, Mrs. W. D. Kenneth, C. S. Patriotic Serenade.

Rooms decorated with national colors and favors given out to all. Mrs. Kenneth's son, Donald, was the first New York Serenader to answer the call of his country and is now serv­ing in the Naval Reserves at Newport. The G. E. played several numbers. Mr. Di Diego sang two numbers. The Kenneth-Douglas-Spaulding Banjo Trio played "Gate City March" and "A Wee Bit of Scotch." Mr. Foster played man­dolin solo, "Dance Gracieuse" (St. Armory) and "Serenade" (Knautzenbach). The Banjo Club played "American Jubi­lee" and "Stars and Stripes." Mr. Cantor played mandolin solo, "Caprice de Concert" (Morris). A Trio, composed of Mr. Foster, mandolin; Mr. Kenneth, mando-cello, and Mrs. Kenneth, piano, played "Sparklets" and "The Inner Circle Toddle." This was a surprise, as it was the first public ap­pearance of Mr. Kenneth as a mando-cellist. The evening was brought to a close by the arrival in turn of representa­tives of the Allies, while their separate national airs were being played by the orchestra. Miss Lillian Weaver ap­peared as France, Miss Margaret Lange as England, Miss Edith Grindle as Italy, and Miss Shirley Spaulding as America. Little Misses Vivian and Doris Foster made cuts "Red Crosses." Russia was an invited guest, but could not appear on account of trouble at home. The audience joined in singing the "Star Spangled Banner." On Saturday evening, May 26, twenty-one of the New York

Serenaders attended the fourth Serenade of the Port Chester Serenaders. It was well worth the trip. PROVIDENCE, R. I. Walter F. Burke, Secantreas, 911 Westminster St., Providence,

R. I. Last Serenade of the season, Miss Gwendoline Hazard,

C. S. The G. E. played "Persian Princess Overture" (Arm­strong), "Love's Old Sweet Song" (Molloy-Odell), "Seren­aders' March" (Knipfer), "Pearls" (Moret-Odell), "Prize Winner March" (Tocaben), "Crescendo March" (Odell) and finished the program with the "Star Spangled Banner." Miss Vinnie Mowry and J. DiNicola played mandolin duet, Miss Helen Mack played piano solo, "Rigoletto;" Miss Violet Baeny played violin solo, "A Little Symphony;" Walter Burke and R. H. Chase played steel-guitar duet, "Palm Grove Waltz" (Burke). Mrs. Mabel Kumph, piano accom­panist.

PORTLAND, ME. Clifford E. Leighton, Secantreas, 548£ Congress Street,

Portland, Me. May 9, Serenade Chief Serenaders, Mary E. Curran, Miss

Ethel Curtis, Mr. W m . Burke, Mr. Earle Genthner. The Vin­cent Mandolin Club played "Royal Cavalier" (Stahl) and "Dance of the Crickets" (Seredy). Vocal solos were given by Miss Susie Tourtelott, entitled "When I Leave The World Behind" and "Sweet Adair." Two fine readings were ren­dered by Miss Florence Leighton. Guitar solos by Mr. Ira Eggert were enthusiastically applauded, and Mr. R. J. Rob­bins played two well-selected banjo solos. Refreshments were served by the chief serenaders. Dancing followed; music fur­nished by the pupils of Clifford E. Leighton.

OMAHA, NEB. Chas. T. Thiessen, Secantreas, 252 Sanford Hotel, Omaha, Neb. The first public Serenade by the Omaha Serenaders, Fran­

cis Potter, director, and John H. Clark, Secantreas, April 12, 1917. The Serenaders' Orchestra played "Fighting Strength March" (Allen), "Modestie" (Odell), "0 Sole Mio" (Arr. Odell), "Aloha Oe" (Arr. Odell), "U. S. A. Patrol" (Peck-Odell) ; Miss Nellie Pritchard played mandolin solo, "Mosaic" (Odell) ; Louis Vacirca played steel-guitar solo, "Hawaiian Love Song" (DeLano) ; R. J. Maguire played banjo solo, "Impromptu" (Eno). A mandolin sextet, composed of Miss Nellie Pritchard and Francis Potter, lst mandolins; John H. Clark, Jr., and A. D. Hunter, 2nd mandolins; Warren Ege, mandola and Robert Kimball, mando-cello; played "Serenade" (Pierne). Serenade, May 10. G. E. played "King Midas Overture"

(Eilenberg), "Banjo Rag" (Weidt), "Cavalleria Rusticana" (Mascagni), Miss Daisy Higgins sang "Love's Like a Star" (Odell) with orchestra accompaniment, Raphael McGuire played banjo solo, "March Impromptu" (Eno) ; Francis Pot­ter played mandolin solo, "Annie Laurie" (Abt) ; Miss Hig­gins sang one of her own compositions, "An Indian Love Song;" a mandolin-banjo quartet, namely Francis Potter, Chas. Thiessen, Robert Booth and J. H. Clark, Jr., played "Gibson March" (Boehm) ; John H. Clark, Jr., played man­dolin solo, "A Prayer" (Etinger) ; Mrs. Robert P. Kimball gave two humorous recitations; Mrs. Jean Thiessen played guitar solo, "Un Petite Mot de Reponse" (Emma) and the Gibson Mandolin Quintet played "A Little Story" (Odell). Miss Higgins was accompanist.

PLECTRUM INSTRUMENTS {Continued from •page l,)

sive instrument of accompaniment. It cannot be denied that the sound of the guitar blends agreeably with that of the mandolin and mandola, but it can­not be denied, either, that it is very difficult to treat it the way it deserves, and it is almost impos­sible to find in any orchestra the necessary number of guitarists who are efficient and capable of execut­ing in any tonality varied and complicated accom­paniments, especially those exacted by modern music. Such deficiency could be very easily elimi­nated by introducing in the small orchestras (or at least by adding) a new element, the harp. What an acquisition that would be—what a boon for the com­posers who could work (without any handicap) a richer field (and without that continuous annoyance of avoiding tonalities and movements that would prove too arduous and almost impossible for the average guitarist) ! In order not to deprive the small plectrum or­

chestras of their special character, it is necessary that all numbers, which, even if arranged for full orchestra, which did not afford artistic production be eliminated. Then, really good composers could be called upon for works especially created for those light instruments, remembering that not the acro-batism of the violin's technic, but the expressive, sentimental and delicate melodic style is the proper style for the plectrum instruments. Having thus reformed studies and improved the

mandolin orchestras, insuring them a new and sane ideal, perfect execution could be brought about, which would soon demonstrate that these instru­ments could be utilized in the theatres for the execu­tion of the scenic situations of some lyric, dramatic operas, and re-establish, thus, the ancient prestige of the plectrum instruments.

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22 The CRESCENDO

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The CRESCENDO 23

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M Y D E A R M R . GROVER:—Your Vibrator ie. the most practical appliance yet invented for the banjo. It prreatly increases the vibration and im­proves the quality of tone; its simplicity of application also renders it very easy to adjust. I tried it out at the Annual Guild Artists' Recital in Boston, April 29, and every one remarked t he beautiful tones produced, stating that same were the very best they had as yet heard emanating from a banjo. It should be used by A L L banjoistB.

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24 The CRESCENDO

S B S S 9 9 S S S 9 B S S ^ n ssssssessses::

I! RECENT PUBLICATIONS 8 With every piece composer's name is given, also arranger's. f |

S- The letters after names indicate grade. E, easy. M, me- S dium. D, difficult.

SSSSSSXBSSSSS^ :: «ssss==aessssi9 MANDOLIN W. C. Stahl

An Idle Thought Chas. Brunover, M. Mandolin Duo 40c

A rather novel style of duo somewhat similar to a gavotte with a number of easy chords and a novel style of melody. Keys of C and F. Almeda Waltz Chas. Brunover, M.

Mandolin Duo 40c A short waltz movement with introduction and trio. Keys

of F and B flat. Introduces a few easy chords, some double stops and single-note melodies. Silver Spray Waltz Chas. Brunover, E.

Mandolin Duo 40c A short waltz introducing double stops and a few easy

three-note chords. Keys of C and F. Carl Fischer

A la Bien Aimee Valse Schutt-Arr. Odell, M. Mandolin and Piano 75c

Arranged for full mandolin orchestra, also regular or­chestra in the same keys. One of the most delightful short concert waltzes imaginable. Most beautiful melodies through­out and splendid harmonies. Good parts for all instruments. A very desirable concert number.

Jas. H. Johnstone Cadenza March Jas. H. Johnstone, M.

Mandolin and Piano 50c A new 2/4 march by "Live Wire Jimmie Johnstone." A

snappy, bright number. Good contra strains in the lower instruments and an interesting number for small combina­tions or mandolin orchestra

UKULELE W. C. Knipfer

Ukulele Accompaniment, Armstrong's Advanced Studies Arr. Knipfer

Book I 50c A careful arrangement of an excellent ukulele accompani­

ment for these celebrated studies. The ukulele part is in D tuning. All chords are carefully marked and numbered, dia­grams shown with explanation of strokes. This book con­tains "Tuxedo Club March," "Bohemian Girl Selection."

Sherman, Clay & Co. Ukulele Solos (4th Edition) Bailey & Awai

Price $1.00 A revised edition of this excellent collection of ukulele

solos in the Bailey system. This system is written on two staves, the upper one giving the notes, the lower one giving the location of the notes on the various strings. The book includes "Old Oaken Bucket," "Lead Kindly Light," "Drowsy Waters," "Spanish Fandango," "Honolulu Tom-Boy," "Col­lege Medley," "Sweet and Low," "Love's Old Sweet Song," "I Love You Truly," "Just a Wearin' For You," and several others. It also contains an explanation of various strokes.

Wm. J. Smith & Co. New Kamiki Ukulele Method

Price 75c A new edition of this excellent method with all of the old

material and much new material added. The new material includes "Hanapepe Waltz" (Kamiki), "Holoholo Kaa" (Kamiki) and "Nahabat" (Berthoud). The book also has a number of songs with accompaniment and diagrams and chords in the various keys, also exercises. The book now in­cludes 48 pages.

TENOR-BANJO Frank Littig

Tenor-Banjo Method Frank Littig Price 50c

Introduces, in condensed form, rudiments of music, com­plete diagram of the fingerboard, how to hold and how to tune the instrument, various exercises and scales on the different strings, tremolo exercises, chords in easy keys and other progressive exercises, and short pieces with a few technical studies. A very useful book for any one wishing to study the tenor-banjo. In the non-transposed notation. GUITAR Stephen Shepard Motion Picture Waltz W. N. Dean, M. Guitar Solo 40c Melodious, humorous in style, imitating a "movie" pianist. In the key of C throughout. Introduces some easy runs. A good number for teaching.

NEWS (Continued from page 6)

A very successful concert was held by the mandolin clubs of the Noble & Greenough and Country Day Schools in Brookline, Mass., on May 5. Both clubs are coached by G. L. Lansing. These are both preparatory schools, and the boys have shown much advancement under the direction of Mr. Lansing's able coaching. Complete program will appear in a later issue.

Clifford E. Leighton's Annual Mandolin Concert given at Pythian Temple, Portland, Maine, April 24, 1917. A large and exceedingly enthusiastic audience was present. The Portland Evening Express and Advertiser said, in part, the following:—"These annual spring concerts are always eagerly anticipated by the relatives and friends of Mr. Leighton's mandolin class of sixty, and are easily among the most important of the pupils' recitals given at the end of the season. The stage, which was completely filled with the mandolin, banjo, and mandola pupils, was handsomely ar­ranged, and a large American flag formed a background for the prettily-tinted gowns of the young women players. The program ended with patriotic selections by the mandolin class, and after the very enjoyable concert the young people remained for a dance, music being furnished by the or­chestral players. At the May meeting of the Boston Music Publishers' Asso­ciation, Mr. Banks M. Davison, of the White-Smith Publish­ing Company, was unanimously elected president. The of­ficers elected at the February meeting were vice-president, H. F. Odell; secretary-treasurer, James A. Smith.

A. D. Grover has completed his new automatic machinery for both the Grover vibrator and the Grover "non-tip" banjo bridge. The new machinery causes the little cross bridge, which is used on the banjo bridge, to fit within one one-thousandth of an inch, and the new bridges are a considerable improvement over the old ones.

Jas. H. Johnstone's series of concerts this year was March 27 at Battle Creek, March 29 at Kalamazoo, and March 30 at Grand Rapids, Mich. The soloists were Ethel Lillian Brown, vocalist; Jas. H. Johnstone, mando-cellist; Fred Petrie, guitarist. There was also a banjo quartet, a string quartet and Mr. Johnstone's sextet.

A banquet was given by Boston music publishers at the Boston Art Club, May 18, in honor of Mr. Ernest R. Voigt, who has recently assumed the management of the Boston Music Company. Nearly every member of the Boston Asso­ciation was present. Clarence A. Woodman, of the Oliver Ditson Co., was the prime mover in the affair. Banks M. Davison, President of the Boston Music Publishers' Associa­tion, opened the after-dinner speaking and introduced Mr. Woodman, who acted as toastmaster. Various gentlemen present spoke on interesting subjects, and every speaker ex­tended a greeting to the guest of the evening. Mr. Voigt ex­pressed his hearty thanks for the cordial reception given him, and spoke of the importance of mental preparedness in the music business.

::============i==i======_=c====_=_: ORIGINAL HAWAIIAN METHOD

Jj Kiel STEEL'CU.TAR $1 .00 Kl3 UKULELE 0 I .00 jj || Ukulele Solos and Hawaiian Songs Arr. by Ceo. Kla SOc. net II

Liberal Discounts to Teachers

l| R. W. HEFFELFINGER, Publisher : LOS ANGELES, CALIFORNIA II •a-_r__.-_r__.__r--.--r__v__r__r_-V--r|__r_-r|__V-_.-_r__.--r__.__v__r__r__v_-r__rll

IfDAINTY BUTTERFLY Intermezzo! H A very pretty number in DUET STYLE. This number is an exceptionally f IU good CONCERT NUMBER

LEACUE " E " MARCH and TWO STEP n A very (rood MARCH in MILITARY STYLE. A DANDY DANCE NUM- I S BER. You cant keep your FEET STILL when you hear it. |J PRICES : Solo Mand.. 15c; Mand. and Guitar, 20c; 2 Mand. and Guitar. 26c: 1 b M a n d . and Piano. 26c; 2 Mand. and Piano. 30c. Net.

shed by WILLIAM LANCE, 2237 Eighth Ave., New York, N. Y.