Vol. VII June, 1915 No. 12 - UR Research

Vol. VII June, 1915 No. 12

F.4.HAL*.

10 cents per copy COPYRIGHT ISIS BY CRESCENDO PCB. CO. $1 OO pg,. vear

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ENTERED AS SECOND CLASS MATTER JUNE 9. 1909. AT THE POST OFFICE AT BOSTON. MASS.. U N D E R ACT OF M A R C H 3. 1879

The CRESCENDO

SUMMERTIME IS B. M. G. TIME! Bow instruments and overcoats are two bores the whole

nation is glad to shirk and sidestep just as soon as good weather arrives. You'll hear the sprightly sparkle of mandolin tone all

summer long. Picnicers in the parks, pleasure parties on excursion boats and all sorts of holiday-makers will be met with all summer making merry to the strains of B's, M's and G's. Bow instruments never have and never will get as close

to the hearts of the American people as the B's, M's and G's. Tbe very thought of picnicers toting a fiddle is laugh­able! It's such a serious, sawing, conservative thing, don't you know ! The summer camps of Maine, the

resorts of Jersey, the Lakes of Illi­nois and Minnesota, and the river resorts of all inland cities will re­sound to B. M. G. tone this summer more than ever. Tangoers and one-steppers DE­

M A N D B. M. G. tone—they want music that smacks of life and is tinct with sound more romantic than the sawing of gut strings ! T E A C H E R S find T H I S

MONTH the banner sales month. We always prepare for June with

large stocks. W e are prepared now to outfit all your pu­pils for the summer's work arid pleasures.

STAHL MANDOLINS, in both classic and flat-back models have carrying power that—measured in feet and inches—can give a hundred yards handicap to any other make in the market. Same with Guitars, Mandolas, Mando-Cellos and Mando-Basses. W e make complete instrumentation for Plectrum Symphony Orchestra, and are especially well stocked this month to outfit clubs, classes and orchestras. TWO CATALOGS of STAHL IN­

S T R U M E N T S will be mailed free to any address. Teachers will please enclose card for professional consid­eration.

STAHL METHODS FOR B. M. G.

—the best material you can give your students as they depart for the sum­mer. They will find the material interesting and highly instructive and come back in the fall much more advanced. $1 the book. Whole set sent on selection to responsible parties.

WM. C. STAHL, 211 Grand Ave., Milwaukee, Wis. Thematics of solo, duo, club and orchestra arrangements of Stahl Publications mailed free on request.

Best B. M. G. editions all bear the Stahl imprint. WRITE RIGHT N O W .

MANDOLIN ORCHESTRA MUSIC AT SO PER CENT. OFF THIS REFERS T O M O N T H L Y N E W ISSUES ONLY USE THIS C O U P O N

M E A N S O N E

W O R T H F O R

TWENTY CENTS

C A R L FISCHER, 48 Cooper Sq., New York City Kindly send New Issues each month, until further notice, at a discount of 80',V off, for arr. checke

X as follows: (All parts in both Notations). MAND. CLUB, of lst Mand., 2d Mand., 3d Mand., Ten. Mdla Mdo.-Cello, Mdo.-Bass, Banjo, Gui. Acc Pia. Acc.

Name, Street City, State I refer to

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•ZAMPA. OVERTURE. Berold-Toeaben.. . C *OLD COMRADES (Alte Kameraden, March. Tieke-Odetl A

A HUNDRED YEARS FROM NOW. Jacobs-Bond-Tocaben A

Letter after title indicates priceB, see schedule

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Cello.and Regular Orches-arts acc.

Published

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NEW MANDOLIN CLUB PUBLICATIONS OVERTURES

Raymond Overture (The Queen's Secret) (Tho i-Tocaben) C

MISCELLANEOUS COMPOSITIONS *The Swan (Le cygne) Melodie (Saint-Saens-Odell) A

Aloha Oe (Farewell To Thee) (Liliuokalani-Odell). A American Patrol (Meacham-Tocaben) B •Ave Maria, Meditation (Gounod-Tocaben) A •La Golondrina (Serradell-Tocaben) A La Lisonjera (Chaminade-Tocaben) A Minuet No. 2 in G (Beethoven-Odell) A Traum der Sennerin (Labitzky-Tocaben) A

P O P U L A R MUSIC All for the Girlies (Gilbert) A Do You Take This Woman for Your Lawful Wife? (Von Tilzer) A

In the Heart of the City That Has No Heart (Daly)A Last Night Was the End of the World (Von Ti !zer)A Little Bunch of Shamrocks (Von Tilzer) A On the Old Fall River I ine (Von Tilzer) A Trea Chic, One-Step (Caslar) A

TANGOS •Bella Argentina. La (Roberto) A Maurice Tango (Hein) A Too Much Ginger (Daly) A

WALTZES Sing Me the Rosary, Waltz (Lewis-Klickmann-Tocaben) A

•Aeroplane Dip. Hesitation (Pryor-Tocaben) ...B Vision of Salome Hesitation (Joyce-Tocabenl.B •Jolly Fellows (Vollstedt-Tocaben) B

ONE-STEPS Nobody Home (Allcn-Tocaben) A I Wonder What Will William Tell (Daly-Allen-Tocaben * A

Just for To-nieht, Tango, One-Step, Two-Step, Trot (Cobb-Brooks-Tocaben) A

RAGS Down Home Rag (Sweatman-Tocaben) A

SERENADES •Serenade from Suite. Op. 3 (Herbert-Tocaben) A Serenade (Titl-Tocaben) A

LETTERS AFTER TITLES INDICATE PRICES-SEE SCHEDULE Al Jolson's Bio Song Hit arranged as One-Step— Two-Step— Trot, Orchestra. Prices Column A in Schedule. Will be sent to Subscribei Installment. TENNESSEE

CARL FISCHER gjjg"! N E W YORK

for full Mandolin in Next New Issue

OUR COMPLETE CATALOG OF MANDOLIN. GUITAR. BANJO. ETC., MUSIC SENT FREE TO A N Y O N E

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

^ L ^ J DEVOTED TO THE INTERESTS OF ^ * * -A. J^J^^ % M

The MANDOLIN ORCHESTRA

The Mandolin, Guitar and Banjo AND KINDRED INSTRUMENTS

VOL. VII. BOSTON, JUNE, 1915. No. 12

THE ROGERS MANDOLIN, GUITAR AND BANJO CLUB Mrs. Rose Fritz Rogers, Directress

Thin club is n o w in its 12th season. It has • lariie repertoire of tbe best pieces arranaed lor mandolin orcheatra and plays a n u m b e r

oi riiitnarments in and abont Syracuse. N . T . T h e elnb recently lave its annnal Festival Concert wilh Ileal snrrras. T h e assistant

director ia H e n r y Menapnce. T h e other officers are Steven Short, Presidents Walter Munnerley. Vice Pteairfenl; Floyd Martin. Treasurer

• nd Miss E d n a Shay, Secretary.

4 The CRESCENDO

rj-apjHIS article is written for those who have taken lj|§jy up the study of the steel guitar, a style of P|j§p| playing the guitar with which the Hawaiian " ** ' musicians have made us acquainted. The steel guitar is easily learned as compared with

the regular style of guitar playing. It is adapted to all classes of music in all keys. The steel guitar is best suited for solo work. It is not as desirable for accompaniments as the regular guitar, although used this way. The adjustments of the steel guitar are practically

the same as ordinary guitar, with the exception of a slight change in stringing and tuning. Gut strings are not adapted for steel guitar. Silvered steel and compound strings are used exclusively. This, and the piece of silvered steel used gives the name steel guitar. The thumb and fingers of the right hand are used

in picking the strings as for all styles of banjo and guitar playing. The thumb, first and second fingers, are used for most work such as tremolo, alternate picking, etc. The third finger is used but little. A stronger tone is produced with celluloid or metal picks and thimbles. Nearly all players on steel guitar use them but one can also play without them. The piece of steel used alone and in conjunction

with the fingers in stopping strings, is held in the left hand. The steel used should be of silvered steel. Cold rolled and tool steel is much cheaper, but the superior quality of tone produced with silvered steel should encourage its use. In selecting a steel, be careful to get the proper size and shape. The steel is held loosely in the left hand, between the ball of the thumb and the inside of the first and second joint of the second finger, with the first finger resting on upper edge. The fingers and thumb are kept in a straight line,

except when reversing or turning the steel when it is necessary to curve the first and second finger with steel. Do not press down on strings with steel but rest lightly until familiar with handling steel. Never turn the wrist or hand, as this will not allow

a free wrist movement which is absolutely necessary for oscillating the steel. Keep the wrist and hand in straight line with all muscles relaxed. The wrist movement is same as used for mandolin tremolo. Do not try to hold steel with the tips of thumb and fingers as this causes muscles to tighten and besides being tiresome, does not allow the freedom and ease which is necessary in performing on any instrument. The steel cannot receive too much attention and the

THANK

Thos. Shuter, London, Ont., Canada "The Crescendo is always a welcome visitor. I wish it was a

weekly instead of monthly paper."

Angelo Vescial, Carnegie, Pa. "1 was very pleased with the mandolin solo in the Crescendo

I received, and I found the whole magazine very interesting and think it is worth the price and more so." Wm. Bowler, Verdun, Canada. "My studio would be incomplete without the Crescendo. I

shall soon be sending my new pupils' subscriptions along. My old ones are already subscribers."

distance of the oscillating movement is characteristic and at the discretion of the performer. I teach be­ginners to swing the steel the distance between two frets and if the wrist does not work freely, w e in­crease the distance to over two frets for exercise only. Eventually the pupil acquires the proper movement without contraction.

If the proper shaped steel is used and held in man­ner here directed, no trouble will be met in turning, reversing or shifting steel. A free wrist movement will always be at the command of the performer, which is absolutely necessary for steel guitar playing. The steel guitar will continue to increase in popu­

larity because it can be played with any combination as well as alone. Its fascinating, weird, singing tone is entirely different from any other instrument. With the information gathered from the Hawaiian

players and Yankee knowledge of music and inven­tion, the steel guitar will be placed on a level with all kindred instruments. From the Hawaiian Islands we have welcomed the ukulele, a very small string instrument resembling the guitar. It is strung with four gut strings, violin E and A strings being used. The proper tuning is B, F sharp, D and A for lst, 2nd, 3rd and 4th strings re­spectively. The ukulele is the piccolo of the stringed instru­

ments, therefore it has come to stay. It is not a loud instrument but has a distinct mellow tone. It is ex­cellent for solo work and voice accompaniment. In orchestra it plays lst or 2nd violin or mandolin. The ukulele is easily learned and those who study it seri­ously are well repaid for their trouble. The instrument is held like a mandolin. Left hand

work is similar to all stringed instruments. All the right hand movements of the mandolin, guitar and banjo are used for the ukulele both with fingers and plectrum. It will greatly improve any mandolin or­chestra if used in place of or as an accessory to the mandolin. Arrangers, publishers, composers, teachers, should

become acquainted with this instrument. Thousands are sold on the Pacific coast every week. Ukulele schools and teachers are very busy and a great many of the music stores employ teachers to give lessons on this popular instrument. The ukulele, with banjo, piano and drums makes a good combination for a small tango orchestra.

YOU!

Jas. B. Turner, Atlantic City, N. .1.

"Your paper lets a person know what is going on in the man­dolin and guitar business, and shows nice photos of guitar and mandolin quartets and orchestras."

Jos. Eitever, Chicago, Rl.

"I couldn't be without the Crescendo. I thank you for the interesting Guitarists Round Table and especially the beautiful guitar solos. I am a member of the Chicago Serenaders, the Chicago Symphony Mandolin Orchestra and the Chicago Plectra Orchestra. "

The C R E S C E N D O 5

PRACTICAL PRIMARY HARMONY -c-•O Written especially for The C R E S C E N D O by I. H. O D E L L

^MNWNMMNNMW^ INVERTED BASSES (Con/inurd/rom Man Crescendo)

T was stated in a former lesson that every bass note is supposed to be accompanied by its common chord, and does not need to be figured, but this applies to fundamental basses only.

With inverted basses the case is entirely different, although the notes of the chord are the same yet the intervals with reference to the inverted bass, are not the same, they must now be counted from the in­verted bass and figured accordingly and it is only now when we begin to employ the inverted basses, that the real figured bass commences. While it is not absolutely necessary for the student

to read or play the figured bass, it will be of consider­able benefit and interest for him to learn to figure the basses properly, while continuing the study of har­mony and it is recommended that he should continue figuring the bass notes in all places where other than the fundamental chords are employed. Let us return then to the Exercise 28. If we were

required to play the chords to the three bass notes, C, E, F, bars 1, 2 and 3 the chords having been re­moved, we would play the three common chords but it was the intention here, at bar 2 for the E to be an inverted bass and represent the chord of the funda­mental 7th of C and not the common chord of E, therefore we must figure the bass E so that it shall represent the chord intended. So as we must count from the inverted bass E at bar 2, we find that From E to G is a 3rd (G is the original 5th of the

harmony) From E to B flat is a flat 5th (B flat is the original

7th of the harmony) From E to C is a 6th (C is the original 8th of the

harmony) The first inversion of the dominant chord must then

be figured thus, 6-flat 5-3 no matter in what position the chord appears. The 3 may be omitted except when it requires an accidental and then one need write in the accidental only which is always under­stood to stand for the 3rd interval. The great changes of effect produced by this inversion or the other in­versions to follow has not changed the chord from a dominant chord, so that when the 6, 5, 3 chord is mentioned it is to be considered still as a dominant chord, and the intervals must resolve as first shown in lesson 3, Exercise 6, keeping in mind the change in figuring the intervals effected by the inverted bass as above mentioned, ?'. e. the 3rd must resolve as if it were the original 5th, the 5th must resolve as if it were the original 7th, the 6th must resolve as if it were the original 8th, while the original 3rd being in the bass, resolves as usual, by ascending a half tone. If the 3rd of the dominant chord can be employed

as an inverted bass, the 5th of that chord may be thus employed also and as the 5th of the dominant chord is the second interval which presents itself above the fundamental bass we will call it THE SECOND INVERSION OF THE DOMINANT

CHORD Exercise 29, A. At bar 2 the first inversion 6-flat

5-3 is employed simply to show in the same exercise

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the difference from the second inversion 6 4-flat at bar 4. Here in figuring the second inversion of the dominant chord, we find From the inverted bass G to B flat, is a 3rd (original

7th of the fundamental chord) From the inverted bass G to C is a 4th (original 8th

of the fundamental chord) From the inverted bass G to E is a 6th (original 3rd

of the fundamental chord) The second inversion is then, always figured 6-4-3

in whatever position the chord may appear. It should be noticed that in this exercise A the bass is more melodious than either of the other parts and exercise B shows that by employing an occasional minor chord, the whole scale may properly be employed as basses. At bar 2, we employ the second inversion sharp 6-4-3 of the dominant of A minor, which gives us B for a bass, resolving to A minor at 3. At bar 4 we have employed the second inversion 6-4-flat of the domi­nant of F major, which gives us G for a bass, resolv­ing to F at 5. At bar 6 we have employed the second inversion sharp 6-4-3 of the dominant of D minor, which gives us E for a bass, resolving to D minor at 7. At bar 8 we have employed the second inversion 6-4-3 of the dominant of C but by changing the in­verted bass D to the fundamental bass G, leaving the harmony as it was, we make a more graceful resolu­tion to C at 9. Thus it is evident that in harmonizing a melody (which should be done frequently now; the bass can be made to be quite as melodious as the melody itself, and sometimes even more so.

{Continued in July Crescendo)

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

the immensely popular march

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

H. F. ODELL & CO., 165 Tremont St., Botton, Ma*».

6 The CRESCENDO

NEW YORK. F. Landry Berthoud, Secantreas, 664 West 179th St., New

York City.

Mrs. Percy White assumed the duties of Chief Serenader March 21st in her characteristic efficient manner. The program opened with Sousa's "Stars and Stripes" and "Temptation Hag" (Lodge) played by the Banjo Club, followed by banjo duets "Moon Winks" (Jacques) and "Solo Jig" (Schaefer) played by Messrs. Haddock and Spaulding. A Beethoven Sonata ("Opus 24") for violin and piano was played by the Chief Serenader, pianist, and her guest, Dr. Schmid, violinist. The General En­semble was called at the middle of the program and played three numbers, after which Mr. William Schlossman made his debut as soloist and at the same time won the laurels of the evening. It seemed to surprise everyone that this experienced orchestra player should also do so well in his first appearance as mandolin soloist. He played "Slavonic Cradle Song" (Neruda) and "Friv­olezza" (Berthoud). Mr. Eugen Epple sang several songs, ac­companying himself on the guitar. The last number proved very popular because of the popularity of the participants—the fair sex of the Banjo Club, we think they call themselves "Lady-bugs." They are Mrs. White, Miss Weaver and "Shir­ley," banjos, and Mrs. Kenneth, piano. They played "Pro Patria" (Grimshaw) and "Colored Guards" (Weidt). Our Chief Serenader for April 4th very obligingly saved me a

lot of writing. He forgot to give me a memo of his numbers, and so, while I remember one or two of them, I can give no de­tailed program. The trouble was that those who had prepared numbers did not attend the Serenade, and those who played hadn't prepared anything. So it was that after the G. E. "Abie Douglass" had an impromptu Serenade, and quite forgot to make notes. Oh Abie! The Banjo Bugs played several numbers; Mr. Kenneth played

a banjo solo, accompanied by Mrs. Kenneth ; Mr. Berthoud played an unaccompanied mandolin solo and—really I can't think of anything more. Everybody seemed to enjoy themselves, however, so what

matters who did what! At the last April Serenade, when Miss Spaulding officiated as

Chief Serenader, the General Ensemble played "Dixie Twilight" (Johnson) and "Pearls" (Moret). A new trio, Mr. Quackenbush, guitar, with Messrs. Foster and Pitt, mandolins, played "Cecile Waltz" (McKee), followed by selections on the mandocello by Mr. Foster—"Reverie" (Siegel) and "Chaconne" (Durand). Mrs. Kenneth played the piano accompaniment. TheC. S. intro­duced two new soloists, first Mr. Nieman, banjoist, in "Polka di Concert" (Bidding) and "Kaloola" (Weidt). Mr. Nieman pleasantly surprised us with his style and execution, and we hope he will be called upon often. The second soloist was our orchestra president, Mr. Quackenbush, guitarist. He played most acceptably the "Last Rose of Summer" and an encore. W e overheard one of the audience comment "As a soloist Mr. Quackenbush begins where some guitarists leave off-" The Banjo Bugs gave "Operatic Rag" (Lenzberg) and "Fox Trot" (Pryor), and the Lady-Bugs "Yankee Dandy" (Weidt). The program closed with "Home Sweet Home the World Over" (Lampe) played by the G. E. It is a matter of regret that Mr. Haddock, one of our best

banjoists, has changed his residence from New York to Phila­delphia. W e hope that business will bring him back often, and especially on rehearsal nights. It seems a coincidence that just as we lose Mr. Haddock we

gain an orchestra member, one who comes from the Langham Orchestra, Boston—Mr. B. L. Read, flutist. W e very much ap­preciate his advent just at this time, because our regular flute player, Dr. Stebbins, goes to his home in the Thousand Islands early in May. The sympathy of all Serenaders is extended to Mrs. C. L.

Partee in her recent bereavement. Mr. Partee was an honorary member of the Serenaders, and in the more than five years of the Serenaders' existence this is the first loss our organization has sustained.

PROVIDENCE.

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

Serenade March 12th, Georgia L. Chase, Chief Serenader. The hall was tastefully decorated with many Chinese lanterns, and everything went off nicely. The G. E. played "Lustspiel" Overture (Kela-Bela), "Persian Princess Overture" (Arm­strong), "Lucia di Lammermoor" (Donizetti), "After Vespers" (Moret). Bessie F. McGreevy introduced a recitative entitled "There's a Street as Good as Broadway After All," especially composed for her by Mr. Chase. James H. Chase, Emil David, W. S. Marsh and Georgia L. Chase gave "In Banjo Land," in­troducing "In Banjo Land" (Schwartzl, "Minstrel Boys" (Jennings), "When Daddy Plays de Banjo" (Parker), "Darkie Chuckle" (Arr. Stone) and "Invincible Guard March" (Shat-tuck). E. Sydney Sherman rendered violoncello solo and James H. Chase gave an original monologue. A quintet composed of Walter Burke, W. S. Marsh, Emil David, Miss Bessie F. Mc­Greevy and Miss Susan W. Smith played, and Jas. H. Chase and Georgia L. Chase rendered the following somewhat different songs "Bashful," "Big Swamp Bogie Man," "Sneezing Song" and "Many, Many Ways to Say Goodbye." 32nd Serenade, April 9th, Miss Elizabeth M. Prell, Chief

Serenader. The G. E. played several numbers, including "Cres­cendo March" (Odell), "Prize Winner March" (Tocaben), and several others. The rest of the program included banjo solo, "The Brook" (Arr. Burke), Walter Burke ; reading, "Bobby Shaftoe," Gertrude May Mylod; zither and guitar duet, "For­gotten Sorrows," Elizabeth M. Prell and Eleanor A. Nickerson; mandolin solo, unaccompanied, J. Scacco ; songs, "Roses Are the Rhymes I Wreathe," "A Bonny Girl" and "The Birth of Morn," Marguerite I. Mylod, Miss Gertrude M. Mylod at the piano; glassophone and guitar duet, "Familiar Airs," Elizabeth M. Prell and Walter Burke. Walter Burke read a poem called "Hints for Serenaders," written by Mrs. Burke. The poem appears on page 22. 33rd Serenade, April 23rd, Miss Mildred A. Hazard, Chief

Serenader. Two new members added. The G. E. played "Prize Winner March" (Tocaben), "Persian Princess Overture" (Armstrong), "Sextet from Lucia" (Donizetti), "Lustspiel Overture" (Kela-Bela), "Asphodel Waltz" (Hildreth) and "Dengozo" (Nazareth). The rest of the program was as fol­lows : Piano solo, "By the Mountain Spring" (Carl Bohm), Miss Helen Mack; banjo and piano duet, "Sounds from a Cotton Field" (Jennings), Mr. Emil David banjo, Mr. W m . Callahan, Jr., piano; guitar solo, "Agathe," Mr. Walter Burke; selection for two mandolins and piano, "Street Parade March" (Brock­meyer), Marian J. Lloyd, Herbert C. Lloyd, mandolins, Emily C. Lloyd, piano; cornet solo, "Remembrance of Liberati" (Casey), Miss Mollie E. Biber, Miss Sadie Biber accompanist; piano solo, "Grand Polka de Concert" (Bartlett), W m . Calla­han, Jr. BOSTON.

H. F. Odell, Secantreas, 165 Tremont St., Boston, Mass. Second annual banquet held at the New American House,

April 23rd, George L. Lansing "Roastmaster." Guests were Mr. and Mrs. F. L. Berthoud of New York, Miss Susan W. Smith and W. S. Marsh of Providence, Mr. T. H. Rollinson of the Oliver Ditson Co., Mr. B. M. Davison of the White-Smith Co., Mr. D. L. Day of the Vega & Fairbanks Co. Three long tables, at which were seated many members of the Boston Serenaders. An excellent dinner, a general good time. Remarks were made by Messrs. G. L. Lansing, F. L. Berthoud, H. F. Odell, W. S. Marsh, T. H. Rollinson, B. M. Davison, D. L. Day, J. H. Johnstone, A. C. Sherman, S. R. Robertson, Dr. E. W. Gates, I. A. Tenger, H. E. Pendleton, J. J. Forsyth and Mrs. F. L. Berthoud, Misses Susan W. Smith, Lena Webber and Gladys E. Moore. Music was interspersed between the speeches. The Forrest Quintet played "The Skaters" Waltz (Waldteufel), "Love's Golden Memories" (Odell). G. L. Lansing and Miss Gladys Moore played banjo duets, Mr. A. C. Sherman sang a •very humorous song, accompanying himself on the guitar, the last verse of which was as follows:

Our president is named Geo. Lansing. When he plays the banjo yo' all start dancing.

Our Sec-an-treas is H . F. Odell. Who plays mighty fine on the mando-cell".

Our guests tonight are F. Landry Berthoud. Miss Susan Smith and William Marsh too,

Mr. T. H. Rollinson an' D. L. Day. And B. M. Davison to pass the time away.

Our Chief Serenaders this winter have been MiBs Lena Webber at Hallowe'en.

Gladys E. Moore at Christmas did appear And C. Edgar Harper began the New Year.

Then came Vora Moore serving lemonade. Henry Pendleton gave the next Serenade.

Along came Sherman with his club so queer. And now we wait for Shepard to finish up the year.

(Continued on next page)

The CRESCENDO 7

j PROMINENT TEACHERS and PLAYERS j

• A short biography and photo of some well known teacher J

I ;; :: :: or player appears here monthly :: :: :; I

NOTES ON THE MUSIC S In This Issue in the Order Printed m

ALEXANDER G. POLI

Mr. Poli, the well known teacher of Detroit, Mich., was born near Florence, Italy in 1876. In 1890 he came to America and began the study of the mandolin with Henry Haug and Eugene Page as instructors. H e later studied guitar with Mr. Haug and the violin and cornet with other teachers but the mandolin has always been his favorite. In 1899 he returned to Italy and had opportunities of hearing

many excellent performances of famous mandolin clubs there from which he gained much inspiration.

Mr. Poli is a member of the Gibson Mandolin Quartet of De­troit and has directed mandolin clubs in that city for a number of years among them being the Detroit Conservatory of Music Mandolin, and Guitar Club, the Florentine Mandolin and Guitar Club and the Lamed and Carter Ladies Mandolin and Guitar Club. For the past five years he has been connected with the Detroit Conservatory of Music as instructor of the Mandolin and Guitar. H e is a very clever performer and a most successful teacher.

THE SERENADERS Boston

May 7th Serenade, J. B. Shepard, Chief Serenader. This is Mr. Shepard's first appearance as a Chief Serenader, and it was a success. H e provided an interesting entertainment which was enjoyed by all. The G. E., under the direction of H. F. Odell and H. E. Pendleton, played "Frivolezza" (Berthoud), "Pris­cilla" (White), "Live Wire" (Johnstone), "Shadowland" (Gilbert), "Popular Italian Melodies" (Arr. Lansing). Read­ings were given by Miss Myrtie Hutchison. Miss Marion Tir-rell contributed two piano solos and Mr. Geo. I. Pettingell sang three baritone solos. Miss Blanche Little was to have played two cornet solos, but the rules of the building in which the hall is located forbid the use of wind instruments, therefore the members were unfortunate in not hearing Miss Little.

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 25 ctt.

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

DITSON SPECIAL NUMBER

Over The Fence March, Fulton-Arr. OdeU

Mandolin and Piano

This march is built on a theme which everyone knows. Care­fully observe the accents and explosive signs throughout the piece. The introduction is loud throughout. Make a slight pause after the last note in the introduction before beginning the first strain. The first strain is loud throughout and the second strain starts loud, then play medium loud after the first three bars and then very loud to the end. The first strain of the trio is soft and the rest of the trio is loud throughout. The number is humorous in effect, especially when played for full mandolin orchestra for which it is published.

A Dream, Bartlett-Arr. Odell

Mandolin and Guitar

An arrangement of this world famous song. While marked moderato it is usually played a little slower than moderato. The introduction begins softly with a slight crescendo. Then the main theme, beginning at the 5th bar, is played softly with expression at the discretion of the performer until the Jf measure is reached. At this measure a decided ritard is always intro­duced by singers and should also be done when played in man­dolin combinations. This same ritard effect is introduced on every measure that is marked/ The second verse of the song which is written to play an octave lower, is played about the same as the first verse except at the .//"measure there is a much more decided ritard with a diminuendo to very soft, then there is an increase to loud again, followed by a gradual dying awav and slowing of the tempo. A beautiful number especially in full mandolin orchestra where the various instruments are us>d. The harmonies especially in full mandolin orchestra, are splendid.

The Stein Song, Bullard-Arr. Bemis

Banjo Solo

A n arrangement of this very well known drinking song. The whole number should be played with considerable spirit, in the usual style in which the song is sung. It is played generally loud throughout with a slight gradation of tone as indicated. In a number of places measures are filled in with extra runs to give the piece the characteristic banjo effect. If played brightly with animation, this makes a very good banjo number.

La Donna E Mobile, Verdi-Santisteban

Guitar Solo

The number is played at a moderato 3-4 time but with con­siderable spirit. It should be played generally medium loud throughout with the exception of a few measures about 8 bars from the end when there is an increase to loud. The short curved lines in front of certain chords mean to play these chords with a sweep of the thumb. A charming number well arranged.

PIANO TEACHERS will find the O D E L L EDITION of teaching pieces most desirable.

The latest piece is

STACCATO DANCE, l.y H. F. Odell 2nd Grade, Melodious. Interesting and Instructive. Carefully fingered.

Price, 15 cts. net Postpaid

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

.*. .'. O D E L L S P E C I A L .\ .\ MANDOLIN-BANJO-GUITAR STRINGS Are the ones that will make your instrument sound just

right. True, strong, right gauge, medium price. Used exclusively by thousands.

M A N D O L I N i Set 40c. Assorted dor.. 60c. B A " J H , Each IOc. Set40c. Assorted doz. 8l)r. GUITAKi Each 20c. Set ItOc. Assorted doz. 1 .SO

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

8 The CRESCENDO

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

Guitar and Banjo and Kindred Instruments.

HERBERT FORREST ODELL Editor and Manager

Published Monthly by the

CRESCENDO PUBLISHING CO., Inc. Entered as second-clast Boston, Mass., under

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 Mandolin, Guitar or Banjo. W e should be pleased to receive programs and reports of concerts, club and orchestra news, per­sonal notes and music recently issued.

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

CRESCENDO PUBLISHING CO. 165 Tremont Street Boston, Mass.

VOL. VII JUNE, 1915 No. 12

EDITORIALS T a concert given by the Providence Symphony

Orchestra, Roswell H. Fairman conductor, on April 21st, one of the numbers on the program was the intermezzo from "A Basso

Porto" for mandolin and orchestra, by Spinelli. The mandolin part was played by Guiseppe Pettine. This piece is one of the serious numbers composed for mandolin and orchestra and to our knowledge, this is the first rendition of the number in concert by a man­dolin with symphony orchestra. The number has been performed operatically a number of years ago but this is the first concert rendition. The Providence Symphony Orchestra is an excel­

lent organization of nearly seventy players and we congratulate Signor Pettine on his success with the number which was very well received by the public. W e also congratulate Mr. Fairman, the conductor, for having placed this number on his program. The Providence Journal, in speaking of the number, said, ' 'It ought to have another performance.'' There was a time when the mandolin was seemingly

more seriously considered as is evidenced by the fact that Verdi, Mozart and other of the old masters es­pecially composed numbers for the mandolin to be used in connection with voices or with orchestra and among the more modern compositions which have given the mandolin a more prominent part are "Jewels of the Madonna" by Wolff-Ferrari and the above mentioned number by Spinelli. Such numbers added to the programs of Symphony Orchestras show the versatility and broadness of conductors and are pleasing novelties to the general public, especially when the mandolin parts are rendered by a capable artist as was the case in the above performance. This is further evidence of the fact that there is a

place for the mandolin in the orchestra or at least in­cidentally in orchestra music and it is to be hoped that other symphony orchestras will follow Mr. Fair-man's lead and present this number or similar num­bers at their concerts.

"The Banjoist" is the name of a new monthly magazine published in the interests of the mandolin, banjo and guitar and violin by Fred J. Bacon, the famous banjoist. The first number is dated April. It contains short articles by various writers, sketches of prominent players with photographs, editorials, personal notes and music in the form of mandolin, guitar and banjo solos in both A and C notation. W e welcome "The Banjoist" into the plectral instrument field because we believe the more the merrier and we wish Mr. Bacon all kinds of success in his new ven­ture.

T H E C R E S C E N D O , in its seven years existence, has been very fortunate in having the many fine articles which have appeared in its columns. For the coming year a number of excellent articles have been se­cured. Mr. Emile Grimshaw has promised several more and his articles are always interesting. W e have also another article by Edward R. Day, called "Hot vs. Cold." W e think it is about the most hu­morous thing that Mr. Day has written. This will appear in a later issue. Another article of interest, which will cause some

thinking on the part of many of our readers, is en­titled "Something To Think About," by Miss Susan W . Smith of the Providence Serenaders and we are very pleased to say that we have arranged with Mr. Walter A. Boehm, possibly the leading exponent of the harp-guitar in this country, for a series of articles entitled "Harp-guitar Ideality." In this series, Mr. Boehm explains a great deal about playing this beautiful instrument, how to use the bass strings and how to get the best effect for solo work and we think this article will greatly please those who already pos­sess harp-guitars and also all other guitarists as it is not only instructive but extremely interesting. This series begins shortly. The Harmony articles by Mr. I. H. Odell will be

continued for sometime longer. Many players and teachers are studying this series of lessons one of which appears monthly in T H E C R E S C E N D O . The lessons are simple and practical and we know that many of our readers have been greatly benefitted by following these lessons from the beginning.

The July, August and September C R E S C E N D O S will be especially interesting. The articles and music se­lected for those three numbers will be very desirable and as the three summer months are a good time for reading while resting, not only the articles but the advertisements of the leading publishers and manu­facturers with a view to preparing one's work for the next season, we especially urge players to take advantage of the special offer which we make. The JULY, AUGUST and SEPTEMBER

CRESCENDOS

Will be sent to anyone in the U. S. for only 25c post­paid. These three issues will include about $6 worth of the finest music for mandolin, guitar and banjo.

OVER THE FENCE. ls+ MANDOLIN. MARCH AND TWO STEP.

.20 JAMES M. FULTON.

Arr. by H.F. Odell.

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OVER THE FENCE. MARCH AND TWO STEP.

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JAMES M. FULTON.

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(FROM RIGOLETTO.) GUITAR. G. VERDI.

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The CRESCENDO 17

1 1 <sil£

fkograms of Concerts anb -Recitals 1 w

Concert given by the Langham Mandolin Orchestra, H. F. Odell, Director, for the Mass. Lodge I. O. O. F., Boston, Mass., April 26th. 1. March, "The Crescendo" H.F. Odell

Orchestra 2. Grand Selection, "Aida" Verdi-Odell

Orchestra 3. Impersonations

Mr. Frederick Allen 4. Medley, "Melodies of the British Isles" Arr. Odell 5. Solo, "Oh Dry Those Tears"

Miss Eda Clifford 6. (o) "Cavatina" Raff-Odell

(b) Caprice, "Lady Dainty" H. F. Odell Orchestra

7. College Medley, "Collegisms" Arr. Odell Orchestra

8. Baritone Solo, Mr. W m . R. Anderton

9. Humorosities Mr. Frederick Allen

10. "The Lost Chord" Sullivan-Odell H. F. Odell

11. Solo, "In the Garden of the Gods" Miss Eda Clifford

12. War Song Medley, ' 'Echoes of '61" Arr. Odell Orchestra 18th Annual Concert of the Worcester Mandolin Orchestra

under direction of Harry Davis at Worcester, Mass., April 6th. 1. March, "A Live Wire" Johnstone-Odell

Worcester Mandolin Orchestra 2. Reading, "Julietta-Tired-of-Her-Husband" .... Underwood

Mrs. Marguerite Bartlett Sherlock 3. Waltz, "Solaret" Allen-Jacobs

Worcester Mandolin Orchestra 4. Harp Solo, "Murmuring Breezes" Hassalman

Miss Phyllis Hammond 5. Waltz, "Alethea" Atherton-Odell

Ladies Ensemble 6. Overture, "The Light Brigade" Gruenwald-Odell

Orchestra 7. Reading, "Experience" George Hobart

Mrs. Sherlock 8. Harp Solo, "Chant Exiles" Godfroid

Miss Hammond f Introducing

9 Medlev 1 "Destiny Waltz" y. Meaiey i -Kentucky Wedding Knot"

L ' 'When Y ou Wore a Tulip," etc. Banjo Mandolin Ensemble

10. March, "The Moose" Flath-Jacobs Worcester Mandolin Orchestra

Concert given by the Chicago Plectra Orchestra Alumni, under the direction of C. C. Rowden, at Chicago, April 30th. Plectra Orchestra

(a) March, "Battleship Connecticut" Fulton-Odell (6) Overture, "Lustspiel" Kela-Bela-Odell (c) Serenade d'Amour F. von Blon-Hildreth

Mandocello Solo (a) "Traumerei" Schumann-Davidoff (6) "Spring Song" Mendelssohn-Moses

Mrs. Rowden Mandolin Quintet

(a) Serenade from "Suite Op. 3" Herbert-Tocaben (6) "In the Mill" Gillet-Reams

Banjo Solo (o) Valse Durand-Rowden (6) "Old Kentucky Home," Variations Foster-Farland

Mr. Rowden Plectra Orchestra

(a) "Song to the Evening Star" Wagner-Odell (6) Minuet No. 2 in G Beethoven-Odell (c) Medley March, "Foolish Sammy" Losey-Lincoln

Mandolin Solo (a) Concert Waltz. Op. 45, No. 3

Mandola Solo—Unaccompanied (b) "Afterwards" Mullen-Stauffer

Mr. Chas. Olson Banjo Quintet

(a) March, "The Stars and Stripes Forever" Sousa-Rowden

(6) Manzanillo, from "Jacinta" Robyn-Rowden Harp-Guitar Duet

La Ballerina Foden Mr. and Mrs. Rowden

Plectra Orchestra Overture, "The Goddess of Night" Allen-Jacobs

Concert given by the San Diego Mando Quintet, Feb. 2nd, under direction ot Leroy E. Hammond, at San Diego, Cal. 1. (a) March, "The Gypsy Prince" Kiesta-Odell

(6) Bolero, "La Morena" Zurfluh String Quintet

2. Soprano Solo, "A Banjo Song" Homer 3. (a) "A Spring Morning" Pettine

{bj "Moment Musical" Schubert String Quintet

4. ' 'Solit udine" Cerasoli Oddlette, "Hippity Hop" Odell

String Quintet 5. Trio, Intermezzo Edwards 6. Soprano Solo, "The Spring is Here" White 7. (a) Reverie "Romancia" Odell

(b) March, "A Live Wire" Johnstone Quintet

Concert given at the War Refugee Camp, Earls Court, Lon­don, by the Premier Mandolin Orchestra, J. W. Jenkins, director, May 20th, 1915. 1. Airs National M. Ernest Hudson 2. Marche, "Terriers" Papworth 3. Chant Mile. Bessie Lang 4. Extra (a) "Faust" Gounod

(b) "Diamond City" Acker 5. Chant M. Henderson White 6. Pot-Pourri, "Echi de '61" Odell 7. Chant Mile. Frances Jenkins 8. Extra, "II Trovatore" Verdi 9. Imitation de Basse-cour M. Sidney Locklynne

10. Chant, "Loves Like a Star" Mile. Kate Jenkins 11. Chant M. Bernard Sims 12. Pot-Pourri, "Scotland" Odell 13. Chant M. Henderson White 14. Valse, "Gibson Eminence" Williams 15. Chant M. Bernard Sims 16. Marche, "La Poste de Washington"

Hymne National Anglais Eighth Annual Home Concert of the Penn College Orchestra

at Oskaloosa, la., March 17th, 1915, under the direction of J. Worth Allen. 1. (a) "Boy Scouts of America" Mackie-Beyer

(6) "Selections from II Trovatore" Verdi Orchestra

2. March J. Worth Allen Banjo Club

3. "Selections from Boccaccio" F. von Suppe Orchestra

4. Cello Solo, "Chant du Berger" Schulhoff 5. "Pilgrims' Chorus" (from Tannhauser) Wagnir

Orchestra 6. "Le Flor de Mexico" Carlos Curti

String Orchestra 7. Violin Solo, "Romance sans Paroles" van Goens 8. Reading, "Alone on a Wedding Trip" Tompkins 9. Banjo Solo, "Selections from Rigoletto" Verdi-Allen

10. Overture, Patriotic Bowman Orchestra

18 The CRESCENDO

MANDOLINISTS ROUND TABLE Conducted by F. Landry Berthoud

Th is depai I,,,,,, / is • spi daily for Mando­

linists and thev may q&k ques

items. Questions or suggestions will

"Mandolinists -'

O T the least of the numerous troubles of the mandolinist appears to be the important mat­ter of knowing what key he is playing in, and conversely, how to "tell the key" from the

signature. To many, this signature seems to mean little more than a mysterious collection of hiero­glyphics and they avoid learning exactly what it is intended to convey. They content themselves with calling the key by the number of flats or sharps marked—"key of three flats" etc. and banish worry by letting the "other fellow" dope it out for himself. It is a great mistake and if you have fallen into

this habit make one big effort and study the subject up once for all—the knowledge thus gained will serve you ALWAYS. This recalls an incident which occurred some years

ago and as it quite pertinent, I shall recount it. It had become customary for three young men—all

friends—to meet irregularly at one anothers' rooms and pass the evening together. One of these young men was a guitarist, another a listener and the third a mandolinist (myself). On one of these occasions, after we had played over a quantity of music, we drifted into improvising, with the guitarist "faking" his part, at which he was very clever. A particularly interesting strain arrested the at­

tention of the listener. At his request we repeated it. Suddenly, "What key is it in?" he asked. I had paid no particular attention to this and stumbled in m y reply. But, the guitarist knew and answered up correctly!

"It's peculiar," mused the listener, "but you mandolin players never know what key you're in." That simple remark stung! I have never forgotten it. And, so far as it lies in m y power, I have learnt m y lesson. The fact that the guitarist knew at once what key

we were playing in is directly due to the fact that for average accompanying a guitarist thinks in chords whereas the mandolinist is liable to lose track of his key if he cannot at once "hear" it, as he is occupied with the melody only. Carelessness accounts for many things and often

the best people make errors through a simple lack of attention. But some players are really unable to name the key by looking at the signature. That is inexcusable! If all methods have failed and you are still unable to "tell the key," try this little memory scheme which of course will appear puerile to the musician but which nevertheless has helped many.

In the case of a signature abounding in sharps, just take your mandolin in your hand and look at it. Think of the strings as numbers, viz: The G as No. 1, the D as No. 2, the A as No. 3 and the E as No. U, then, if the signature has three sharps in it—why the key is three sharps, the No. 3 string, or A.

Should there be four sharps to reckon with—why the key is four sharps, the No. h string or E. In a similar manner, one sharp is the No. 1 string or G and two sharps is the No. 2 string or D. For more than four sharps an extension of this

scheme may be adopted, as follows: Having arrived at the key of E, four sharps, transport this No. 4, or E, lower down in pitch on the mandolin, to E first finger on the D string, second fret. Then the same fret on the A string will be No. 5, or B, key of B, and on the E string it will be No. 6, six sharps, note F sharp, key of F sharp. This is not nearly as compli­cated as it seems and may be rapidly, accurately and silently fingered out while the "other fellow" is rack­ing his brains to remember what key it really is anyway. In the case of signatures armed with flats, a similar

process gives the answer ina jiffy. Thiswise: Think of the strings as numbered in the reverse order, the E as No. 1, the A as No. 2, the D as No. 3 and the G as No. U. Then, consider only the FIRST FRET on each string. Now, grappling with a signature con­taining three flats, you will find that the FIRST FRET on No. 3 is the note E flat therefore the key is E flat. One flat is No. 1, FIRST FRET the note F, the

key of F. Two flats is No. 2, FIRST FRET, note B flat, key of B flat, and 4 flats is No. 4, FIRST FRET note A flat, key of A flat. For more than four flats transport the note A flat two octaves higher, to the FOURTH FRET on the E string and remember it as No. 4-. Then the same fret on the A string will be No. 5, note D flat, key of D flat. Same fret on the D string will give No. 6, note G flat, key of G flat and same fret on the G string gives No. 7, the note Cflat, key of C flat. All this reads as though it were a be­wildering set of operations, but just take a mandolin in your hands and see how simple— The above scheme was manufactured in theU. S. A.

Read what James L. Ford, Author of "The Great Mirage" says;

"Given a worthy theme—such as their own merits —artists can indeed be eloquent." My, what a slam!

THE ROUND TABLE BOOK RACK.

A short story that is bound to appeal to all players of stringed instruments is called "The Story of a Passion" written by Irving Bacheller and published by The Roycrofters at East Aurora, N.Y. This is a touching episode in the lives of two old

m e n — a wondrous fiddle—and a large black Spider.

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Guitar you will find music in all styles of playing thoroughly explained in an understanding manner.

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The C R E S C E N D O 19

REPERTOIRE

I: ~/>1UITAR students and soloists who are acquir-,l£\3fl ing a repertoire should strive to have as 'J£fi£\ many styles as possible represented so that ' '* * they may have pieces on hand for all classes of listeners. I think guitar soloists, as a rule, have been too much inclined to have a few "war-horse" solos only. These are undoubtedly beautiful, and designed to show the skill of the performer, but there are many audiences who would not enjoy such numbers at all; in fact who would be bored to ex­tinction, both by their style and length. Therefore, the soloist should have as wide a range of musical thought represented in his programs as possible. To have skill in performance is not enough to insure universal success. The artist on any instrument who is to appear before the public, must be able to please all temperaments and moods. Not all this can be done with only one or two styles of compositions, for there are some who would not think one was an artist unless he played some pyrotechnical thing. Others would be bored by such a number. Some people en­joy nothing so much on the guitar as a dreamy little lullaby or some old Southern air or ballad,—while there are others that would be far better pleased by a good concert waltz or bright mazurka. There are a great many people who admire Spanish music above all other, on the guitar. I think every guitarist should have a few Spanish numbers in their reper­toire, for the characteristic dances, etc., never fail to please on this instrument, which the majority of people associate with Spain and its black eyed Seno-ritas, and dashing Caballeros. I have even known people who were fairly well educated musically who thought no instrument other than the guitar was quite suited for the Spanish and Mexican music. Those who are acquainted with either of these countries, can hardly think of them without the guitar, for each household possesses one. A soloist may have technic unlimited, and skill in

many ways on his instrument, and may dazzle a few audiences with his brilliancy, but if his repertoire be confined to one or two styles of composition, he can never hope to attain the popularity of the guitarist who has a carefully selected repertoire covering a wide variety of pieces in many different moods, for the latter shows, in the first place a greater breadth of nature and temperament, and a wider comprehen­sion of human nature, in selecting these different styles to please all moods and temperaments his listeners may have, and, is therefore popular with people whom the other guitarist could never interest with his repertoire however extensive, limited to one or two styles of composition. To study all styles of musical thought, even if some styles do not appeal particularly to you, will improve

your playing in many ways, and give you a greater breadth, poise and versatility in your playing than can ever be obtained by studying one or two styles. To suit your selection to your listener is an art, and

one that well repays the performer if studied. To be a good program builder is a great advantage

to an artist. And in closing, the "spirit moves m e " again to

say: Study up some of the fine works of the modern composers and arrangers, and do not think that it is necessary to always hark back to the ancients for your music. Study the old masters, seriously and long, but in doing so, do not neglect the moderns. "In honoring the dead, do not forget the living." As I have often said, if guitarists would get out of this habit, they would be doing a great deal of good to the modern arrangers and composers for their in­strument, for there are fine manuscripts laying in desks and in trunks, turning yellow with age, because they have been refused by some music publisher on the ground that: "They are too difficult, and w e have no sale for such guitar music now days." Many times some of our guitarists do not go so far as to show the "children of their brain" to a publisher for the reason that they have heard the now time worn spiel they would most likely get, so use them for themselves, and the world is deprived of a good work. If all guitarists were as progressive as are pianists etc. they would create a field for the best in music for their instrument, and for all the good things that our present day arrangers and composers could put out, by buying them and using them on their programs, and thereby letting the publishers know that there is a taste and a call for the best music for the guitar that can be obtained, new things, not only the old time worn things that have appeared on guitarists programs from time immemorial. What would the operatic world, the vocal world, the piano world be today if those who composed it were as sleepy headed as are our guitarists in this regard? W e would no doubt still be regaled (?) with "The Maiden's Prayer," "Convent Bells," etc. in the one style of the old masters with none of the moderns that have given so much pleasure to musicians and music lovers, and who will continue to do so. Some may say, "There are not so many masters in our line today," etc. In answer I will say: "There may be more than you think or know about, or ever will know about, if you keep up at the present rate, and moreover, there would be many more than there are, if the ones we have could be appreciated." Again, some guitarists of the present day use no

modern music but their own. As if they were the Moses that is to lead guitardom outof the wilderness! Their own music may be splendid and praiseworthy, but to think "All the world is queer except me, and thee, and, sometimes, even thee art a little queer," as the old Quaker said, shows a narrowness that does not augur well for universal success in their art, for several reasons, first and foremost, because narrow minds do not beget great musical interpretations, and the Divine Art does not come in all its fullness to the little soul. To be a truly great artist one must be a big soul. According to the way the works of some of the modern guitar arrangers and composers are conspicuous by their absence on the programs of other guitarists, one would think it was in this day and age of the world almost a breach of "profes­sional ethics" to use the work of any twentieth cen­tury guitarist on the program, unless it were for the most amateurish of pupils recitals. It is right and {Continued on page SI)

20 The CRESCENDO

BANJOISTS ROUND TABLE Conducted by

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

This department fl especiaUy for Banjoists lint anyone may ask questions pertaining

to the banjo or contribute items. Questions or suggestions u-ill reetiei tin, con­

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

WHY STEWART MARKED THE TENTH

By Thos. J. Armstrong

(EARL dots, circles, stars and other designs on the fingerboard, are the guides which pilot the young student's fingers up and down the long banjo arm. W e call them position

marks. They not only designate certain positions, but they also form a definite picture, as it were, for the banjoist to study and become familiar with. As these position marks are permanent fixtures, it

seems unfortunate that no uniform system has been followed in placing them. W e are inflicted with two different methods; one style containing marks at the 9th, 14th and 20th frets, while the other places them at the 10th, 15th and 19th frets. One of these forms must be wrong, even though prolonged usage of it, brings familiarity of the fingerboard to the player. If a whimsical banjoist employed an instrument with marks at the 4th, 6th and 8th frets, he might still become a virtuoso, notwithstanding such markings conflict with the instrument's tuning and the manner of taking positions. A perfect system is one which marks the important

intervals and, at the same time, secures a happy alli­ance with the instrument's technical requirements. It was this plan of reasoning that caused Stewart, the great banjo maker, to place a dot at the 10th fret. He saw that this fret contained the keynote of the banjo's natural scale; he saw that this fret produced the sub-dominant triad, of that key, across the first, second and third strings; and, best of all, he saw that this fret marked the minor seventh of every open string except the fifth. The minor seventh furnishes one of the most forcible intervals in modulation, for it reveals the characteristic note of the new key about to be entered. Thatis the very reason why mandolins, guitars and frequently violoncellos have a mark at the 10th fret. By a lucky coincidence the marking of this useful interval, agrees with the second octave of the banjo bass, when the first string is closed at the 10th fret. It seems hardly necessary to add, that when a banjo fingerboard contains a dot or symbol at this fret, it is musically correct in both theory and technic.

At the American Guild convention in Washington, a resolution was passed requesting our banjo makers to mark their fingerboards similar to the chart given below. It will be observed that this chart gives a mark at

the 10th fret, but none at the 9th; and that the upper half of each string is marked similar to the lower half. Position notes on the first string are given, in order that the system will be understood, but it must be remembered that the position marks are for use on all of the strings, and the intervals on those strings are governed like the first string.

Jth.rds • T H I R D S ithtfds : |tWs

Fou f\rns FOURTHS | FOURTHS

FIFTHS ;

THIRDS'rtk.rJs;

\f02IRTHS

FIFTHS FIFTHS i | FIFTHS

6 E F G A Q C O E f G A B C

OCTAVES: "i'j

T OCTAVES | OCTAVE-S

OC TAVES P C T S V E S

The minor thirds are noted in small type and the major thirds in large type. Nearly all of the perfect fourths and perfect fifths are shown, and all octaves up to the 22nd fret. If the 24th fret had been given, it would have a mark similar to the 12th fret for that octave. Without going into tedious details, it can readily be

seen why this method of placing position marks, is of immense advantage to the banjoist. Playing "in positions" is more frequent on a banjo than any other instrument, because its manner of tuning in thirds, requires a larger number of skips than an instrument tuned in fourths or fifths. If these shifts in position are guided by signs well adjusted to suit numerous keys, left hand fingering becomes more intelligible and inviting. The method here shown accomplishes this. owing to the fact that no augmented or diminished intervals are marked. H o w fortunate it is, then, when we place a dot at the 10th fret, we not only in­dicate the banjo's natural key, but we also retain an equipoise with other needful keys. If we mark the 9th fret, all the symmetry of this congenial union is blotted out, for every string will show an augmented fourth between the 3rd and 9th frets, and every string will also have a diminished fifth between the 9th and 15th frets. In addition to this grievous fault, a mark at the 9th

fret restricts the player's recognition of the minor seventh interval. Instruments like the tenor man­dola, mando-cello and mando-bass have a sign at the 10th fret, because a conspicuous mark here, indicates the turning point in modulation. For these reasons Stewart was right when he heid

fast to rules governing other instruments, and made their labels fit the banjo fingerboard. During his business career he fought for three things. They were: "the smooth fingerboard," — " A Notation," and—"the 10th fret." He acknowledged his mistake of the smooth fingerboard; and if he were living to­day he would be publishing music for the "Banjo in C"; but his theory of position marks still holds good, and the credit for its ultimate victory cannot be taken from him.

The CRESCENDO 21

> 0 O 0 O *S

Manufacturers, Publishers, A

Teachers and Players

V* are requested to send in items to I this departynent about concerts. \J recitals or other musical matters 1) which will interest Crescendo X

readers. y

V

A m o n g the recent visitors in Boston was Jas. H. Johnstone, known as the "Man with the Mandolins," who during the past two years, has travelled nearly over the entire country with the exception of a few southern states. H e has been from coast to coast playing many cities in the various states. H e makes a practise of calling upon the members of this fraternity in every city he visits and as he always has his little camera with him, he has taken snap shots of a great many members of the fratern­ity. His collection now includes 3600 pictures of players and teachers.

Mr. Franklin Bradbury, of Springfield, Vt., came to Boston for the big Festival concert. Mr. Bradbury was known some years ago as a celebrated boy banjoist. H e is no longer a boy but is still a very fine banjoist. He remained in Boston for the Boston Serenaders' meeting and played some extremely inter­esting banjo solos at that time.

Mr. C. E. Leighton with a party from Portland, Me., at­tended the Boston concert. Mr. Leighton is a very successful teacher, doing a large business in this line.

Mr. John E. Russell, another successful teacher, came to Boston for the last Serenade and played two mandolin solos. Mr. Russell resides in N e w Bedford.

The Bickford-Olcott Duettists recently played in N e w Ro­chelle, N. Y., at a tea where there were 500 guests. This com­bination gave a classical composer's concert at Wanamaker's Auditorium, N. Y. city on May 4th.

The 8th annual concert of the Penn College Orchestra was given March 17th under the direction of J. Worth Allen. The concert was a great success with a large attendance. The Os-kaloosa Times in speaking of the concert, says in part:

"The thorough musicianship of J. Worth Allen and his splen­did ability in the development of musicians were again demon­strated . . . Delights hearers with interesting program— Gained splendid effects in the 'Pilgrims' Chorus.' "

The Orphean Orchestra and String Quintet of Philadelphia has had an exceptionally busy winter. The string orchestra in­cludes from two to twelve pieces and the regular orchestra from four to fifteen pieces, as desired by patrons. The organization has been playing two or three nights each week right along.

Clifford E. Leighton, the well known mandolin teacher of Portland, Me., gave his annual concert April 29th. Those tak­ing part were members of his mandolin class and are all his pupils. There was a large attendance and the program went off with the greatest success, every number being received enthu­siastically. The ensemble numbers included "Lady Meddle­some" (Stahl) and "Among The Roses" (Stahl), both numbers being rendered with refreshing life and brilliancy. "Bayside Gavotte,'' a new piece written by Mr. Leighton, and a captivat­ing plantation number, " A Darkey's Dream of H o m e " (Smith), also "Meteor March" (Rice-Odell), a medley overture, "Na­tional Emblem" and "Our Director" Marches. Mr. Leighton played several mandolin solos "Annie Laurie" (Harris), " U . S. A. Patrol" (Peck), "American Beauty Waltzes" (Bacon), "Dance of the Fireflies" (Losey), all of which were splendidly done and he received hearty encores. A m o n g the other features of the evening were the banjo solos of J. A. Hoyte, whose selec­tions were "Tri State March" (Lincoln), "Banjo Scout Parade" (Johnson) and " A Southern Dream" (Lincoln). The Ladies' Aria Club, composed of pupils of Mr. Leighton, rendered "Star­light Waltz" (Hausdorf) and "Field Ensign" (Goggin) with fine expression. Miss Susan W . Skillings' readings were charm­ingly done and added much to the pleasure of the evening. Miss Mary E. Curran, the popular piano teacher of Portland, was the accompanist of the evening, assisting all the mandolin class numbers and also playing for the soloists.

Mr. Harry F. Gill's twelfth semi-annual concert was given with great success at Passaic, N. J., April 29th. Miss Vahdah E. L. Olcott and Mr. Myron Bickford were the assisting solo­ists. Mr. Gill's concerts are very interesting and the way his youngest pupils played reflects much credit on him.

GUITARISTS ROUND TABLE {Continued from Page 19)

proper for one to do their own works a great deal, in fact the very thing to acquaint others with their merits, but when other guitarists know of good things their fellow artists has done, why not give him credit for it, and use it on some of your pro­grams some time? I a m not very strong for post mortem bouquets. I believe in giving the roses to people to comfort them during life. B. C. IV., Cincinnati, 0.

Has any guitarist to your knowledge been decorated with the French Legion of Honor? Answer. The only guitarist that I know of, who

has been accorded this distinction by the French (and I believe he claims to be the only one), was Jacques Tessarech, a Corsican guitarist, who made a trip to America about ten years or so ago. Whether he was in any other city than N e w York on this trip, I do not know. H e did not come on a concert trip, but on other business, but those who heard him say he was a very fine guitarist and was thoroughly familiar with the classics in general musical literature, but that he played mostly his own transcriptions, and did not care much for the arrangements of the different guitar masters. He was very fond of the music of Massenet, and played a number of his works. Those who heard him here in America say he played some of the Corsican airs with great charm. Those who knew him when he was here seem to have lost trace of him entirely, so I do not know whether he is living yet or not. C. I., Philadelphia, Pa. Can you tell ine if I can obtain a second guitar part

to your arrangement of "Serenade D'Amour" by Von Blon? I note that it says there is a second guitar part, but did not get it in my copy. Also will you tell me if it is an ordinary accompaniment? Answer. You can obtain the second guitar part

)f this piece from Mr. George Stannard, Trenton, H. J. No, the second guitar part is not an ordinary iccompaniment, but is a real duet part, and adds greatly to the piece, though it is quite complete as a solo, but you will find it much nicer for two guitars.

, FOR MANDOLIN ORCHESTRA -|

' Shoulder Arms March ] Arranged

Poinsetta Waltzes Dreaming Dreams o! You, Waltz Silver Threads Among the Gold

My Creole Sue Loveland is Calling

H. F. ODELL

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"THE BANJOIST" The NEW Monthly Magazine devoted to the Interest of the Banio, Mandolin and Cultar. Every number has an O R I G I N A L solo for the B. M, C, by celebrated composers. Banio music In botn Notations. Une dollar per year. S E N D IOc. F O R S A M P L E C O P V . Address F R E D J. B A C O N , Plant Bldg., N e w London, Conn.

Anyone may contribute to this department Stories. Poems. Ideas and Opinions. Send in anything you wish, only please make it short.

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WHAT IS A BANJORINE or BANJEAURINE?

By JAS. H. JOHNSTONE

While in New York recently, I did a little dance work in be­tween my vaudeville engagements, using my mandolin-banjo and my tenor mandola-banjo (sometimes called tenor banjo). The modern dances call for the banjo effect in the music. While playing these dates, I heard strange names applied to these in­struments, so called probably in ignorance of their proper names. For instance, the mandolin-banjo, an instrument with a banjo body but with a mandolin fingerboard and strung and played like a mandolin, is called a banjorine or banjeaurine. Why? Now, a banjeaurine is a five-string banjo, with the 4th string tuned to F below middle C, thus being a high pitched banjo. Then there is the tenor mandolin-banjo, often called tenor

banjo for short. This instrument is built like a banjo but only has four strings, tuned A, D, G, C like the mandola or viola and viola pitch. They call this instrument a cello-banjo. Why? It is not cello pitch. Then there is an instrument made, called the cello-banjo, built

like a banjo but with a mando-cello fingerboard and strung mando-cello style, four pairs of strings, A, D, G, C, and cello pitch. One prominent manufacturer of banjos has sent out advertis­

ing matter calling the mandolin-banjo by its proper name, but calling the tenor mandola-banjo a banjorine or banjeaurine. Why? The result is that a mandolin-banjo is also called a banjorine

or banjeaurine, and a banjeaurine may be a banjeaurine, man­dolin-banjo or a tenor mandola-banjo. It is a strange fact that the word "banjo" has more value

commercially (for vaudeville and dance work) than the word "mandolin," so it may be for that reason that the word "man­dolin" is dropped. Another noticeable fact is that we all know how violin players

love (?) the mandolin. Do you take notice? They are learning to play the mandolin-banjo in order to keep the mandolin players from taking their dance work away from them. Is the mandolin an instrument to be ashamed of? If so, why? I play on the mandolin and I'm proud of the fact, not ashamed.

HINTS FOR SERENADERS

By MRS. WALTER BURKE

1 If a Serenader, meet another Serenader, Wherever or whenever, at any time or place, Let each Serenader, greet the other Serenader, With a hand held forth in welcome and a smile upon his face. Every topic of dissention, let it drop and never mention. Will be found (in any company) to be a saving grace.

When a Serenader, meets a stranger Serenader, If from some distant City, to our City he should stray, Let that Serenader, hail the lonely Serenader, Invite him to our Serenade and make him glad to stay W e are just a band of Brothers, yes of Sisters too, and Mothers And love of music is the tie, that brings us here today.

If a Serenader, meet a should be Serenader, Who's a nice congenial person and to music is inclined, Let this Serenader, make a would be Serenader, By inviting him to come and join with others of his kind. For 'tis said "birds of a feather, will always flock together." In this nice congenial person, a new member you may find.

{Continued on next page)

SAY. "I SAW YOUR AD IN 'CRESCENDO'

f*d&

The C R E S C E N D O 23

HINTS FOR SERENADERS

{Continued from Page £2)

W h e n a Serenader, is a Chief Serenader, They've the talent all before them, to select what they may choose,

By a Chief Serenader, just a common Serenader, lf called upon, would scarcely have the courage to refuse. To our present Serenader, do the best you can to aid her, She's a good one, and when you are Chief, she'll help you to amuse.

N o w this Serenader, to another Serenader, Had been reading all this nonsense and I may as well confess, I am this Serenader, and the other Serenader, (As 1 have no doubt your guessing), is our own Secantreas. N o w he's adding something to it, and we'll have to let him do it, Because, well just because, w e can really do no less.

CODA

(ADDED BY THE SECANTREAS)

If a Serenader, to a non Serenader, Has received an introduction, kindly take him by the hand, Tell the non Serenader, he must be a Serenader, Convince him by your eloquence, and bring him safe to land. Gently take him by the collar, and relieve him of a dollar, Then present him with a card that will admit him to our band.

POSTSCRIPT

BY THE AUTHOR

If each Serenader, to the other Serenaders, Will observe these little hints, that have filtered through m y brain

Then all Serenaders, will be good Serenaders, And comfort, peace, and harmony, among us will remain. Many thanks for your attention, for your kindly condescension, And I promise never, never will I do the like again.

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24 The CRESCENDO

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Sing Me The Rosary Lewis & Klickman—Arr. Tocaben, E.

Banjo Solo $.30 An easy arrangement of this melody number which intro­

duces "I Will Love You When The Silver Threads Are Shin­ing Among The Gold." Keys of A and D. Guitar and piano accompaniment may be obtained also.

PIANO H. F. Odell & Co.

Staccato Dance H. F. Odell, E.

Piano Solo $.30 A short, easy 2nd grade teaching piece with a catchy

melody and very desirable for teaching purposes.

Messina Music Co. Sleep M y Little Angel Count M. Sigillo, E.

Piano Solo $.50 A very desirable easy teaching piece in the Keys of G and

B Flat. Pretty melodies. Interesting for young and old alike. A very good number.

MANDOLIN Carl Fischer

2nd Hungarian Rhapsody Liszt-Tocaben, D. Mandolin and Piano $.90

The first and, we believe, the only arrangement on the market at the present time, of this great world-renowned number by Liszt. With very few exceptions, the piece runs in the lower positions and while the number has been considered a difficult one, it is quite playable. As a standard concert number for mandolin orchestra, it is a delightful number to play, with its various strains and fine interesting melodies. Keys of C, F and D. The famous galop movement is carefully arranged. Pub­lished for lst, 2nd and 3rd mandolins, tenor mandola, mando-cello, mando-bass, guitar, and piano accompaniments. Just For Tonight Cobb & Brook-Tocaben, M.

Mandolin and Piano $.60 A tango, one step, two step or trot, introducing the song

'You Have Got To Be Kind To Me." An excellent number for dance work. Very interesting for any combinations of the in­struments. Published for lst, 2nd, and 3rd mandolins, tenor mandola, mando-cello, mando-bass, guitar and piano accom­paniments and banjo solo. 2-4 time, Keys of G and D.

The Swan Saint Saens-Odell, E. Mandolin and Piano $.50

A splendid arrangement of this celebrated piece. All in the first position. A delightful melody to play with any combination of instruments. Also a very desirable number for full mandolin orchestra and an excellent teaching piece. 3-4 time. Key of G. Published for lst, 2nd and 3rd mandolins, tenor mandola, mando­cello, mando-bass, flute, cello, piano and guitar, and banjo obligato and any orchestral part may be obtained.

70 SEND FOR LI8T OF

The Best Banjo Solos IN THE W O R L D 70

BANJOISTIC in style, delightful to play or teach, composed or arranged by masters

of banjo, such as Grimshaw, Ossman, Morley, Bassett, Hunter, Calcott, Mitchell, Turner, Milner, etc.

A or C Notation

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

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

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Chenet Guitar Studies The Easiest and Most Practical Course for Begin­ners. Used and recommended by thousands of teachers. Includes Scales, Chords and Exer­cises in C. D, G. A. E and F. Short tear hing pieces

Try these studies with your beginners Four Books Each 50c Sheet Music Discount

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<?' Successful Teachers USE

The Odell Mandolin Method

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

Book 1—Beginners ; Book 2—Slightly Advanced ; Book 3—Advanced ; Book 4—Duo, Trio and Quarto forms, Slurred Arpeggio, Right and Left Hand Harmonics. The most complete duo book in the world.

The Odell Method is used by such teachers as J. W . McLouth Alice Kellar-Fox K. B. E r a m

!^

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The CRESCENDO

LOOK OVER THIS LIST CAREFULLY

All are available for one or two Violins and Piano.

Numbers marked * have parts for Brass and Reed Instruments.

•Overture, "The Light Brigade" R. Gruenwald

Alethea Waltz Frank P. Atherton

•Springtime, Novellette Frank P. Atherton

Zigzag. Intermezzo Capriccioso Rich. Ferber Arr. by H. F. OdeU

Friendly Greeting March. Very easy Fred. Luscomb

One Flag For All March. Easy '. .T. H. Rollinson Arr. by H. F. Odell

Norwegian Slumber Song J. Francis Gilder Arr. by H. F. Odell

Melodies from The British Isles Arr. by H. F. Odell

Popular Italian Melodies Arr. by Geo. L. Lansing

Forget-Me-Not, Intermezzo Alan Macbeth

Morceau, Facile Carl Bohm Arr. by H. F. Odell

On Tiptoe, Characteristic Lucius Hosmer

40 30 Drum* .30 40 30 Drams .15 30 20 Drums .20 30 20 Drums .20

30 20 Drums .15 30 20 Drums .15

30 20

60 30 40

30 30 40

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20 20 20

20 20 20

20 20 20

20 20 20

40 30 30 30 40

30 20 20 20 30

30 15 IB 15 15

30 20 20 20 30

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60 90 1.10 70 90

40 60 70 50 60

30 50 60 40 50

40 60 70 50 60

30 20 20 20 20 20 30 50 60 40 50

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