a/0 rr L

PJ July, 1927 No. 1

W Vol. XX
c 6j

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 The CRESCENDO

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 8-*-.--*V~
July, 1927 The CRESCENDO cn

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[ 2} The C R E S C E N D O July, 1927

For Mandolin Orchestra

A MASTER ARRANGEMENT
By H. F. O D E L L
OF THE FAMOUS INTERNATIONAL SUCCESS

SIQNIFICANT
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Following are a few of the many professionals made by the celebrated Paul Whiteman Orchestra. O n e of the
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H. A. WEYMANN & SON, Ine

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 65 3
JUL 1577
July, 1927 The C R E S C E N D O [3]

The C R E S C E N D O
Founded 1008—H. F. Odell
T h e oldest and foremost fretted instrument monthly ftfje Clark
devoted to the interest of the
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Vol. X X JULY, 1927 No. 1 416 South Salina Street : : Syracuse, N. Y.

IN THIS ISSUE

The American Guild of Banjo, Mandolin and Guitarists, and

what it stands for displayed at the N e w York Convention ...
"Seeing the Best of Life," by J. T . Fitzgerald
"Nobody Knows" (what music is)
"Shall I Get Her a Ukulele?" by E. G. Wallace
Tenor Guitar-
N E W S O F INTEREST
E M I N E N T PLAYERS A N D TEACHERS
EDITORIAL NOTES
7, 8, 20,
GET THE LATEST
T H E R O U N D TABLE: A n ideal instrument for those
BANJOISTS'—Frank C. Bradbury, Conductor w h o c a n n o t devote their
MANDOLINISTS'—William Place, Jr., Conductor
full time to intensive study.
GUITARISTS'—Vahdah OIcott-Bickford, Conductor
HARPISTS'—A. F. Pinto, Conductor
CRESCENDO READERS' O W N C O L U M N :
"My Guitar," by W . B. G. Kellar
"Little Finger of the Right Hand in Guitar Playing" Great Advantage over all other Strnujed
PROGR wis OF CONCERTS A N D RECITALS
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"How So Fair," from Martha 12
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"Confidences" 13 IN THREE GRADES
Mandolin Duo—//. F. Odell
Birch (dark finish) . . £10.50
"Valse De Concerto" 14.-15 Rirch (lif^lit finish) . . 15.00
Tenor Banjo Solo—Win. (Banjo Bill) Morris
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"Adios" ("Farewell"), Spanish Dance 16
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'Hawaiian < rhoM Dance" 17 ELIAS H O W E CO.
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in IIi_;li School Cadets," March 18
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PLEA3I MENTION Tht CRESCENDO WHEN WRITING Ill -I)
[4] The CRESCENDO July, 1927

Moyer's Conservatory Duo Method for

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©CIBI^.79 JUL15'27

Founded 190H by H. F. Odell

The oldest and foremost fretted instrument monthl

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B O S T O N , JULY, 1927 No. 1

The American Guild of Banjo, Mandolin and Guitarists

and what it stands for displayed at the N e w York Convention
T O D A Y , music is gathering its forces to advance, not the competent teacher forms the best tie up between the
because of the m a n y mechanical means of presenting dealer and the prospect, and it logically follows that it is the
music, but because of the highly trained, serious and concern of the manufacturer to encourage the raising of the
active performers, critics, directors and teachers, bent on standards of teaching and of playing.
educating the public to the higher conceptions of the dignity O n Sunday, M a y 22nd, the registration and reception of
of their art. In outlining the purpose of the American Guild the American Guild of Banjoists, Mandolinists and Guitar-
of Banjoists, Mandolinists and Guitarists w e find their con- ists took place at their convention headquarters, Hotel Penn-
stitution to r e a d — sylvania, N e w York. Scores of fretted instrument enthu-
"The object of this organization is, and shall be, to pro- siasts from all sections of the country kept gathering at this
mote, advance and maintain the artistic and musical interests twenty-sixth annual convention, and it was not until the
of the fretted instruments, together with their several variants wee hours of the morning before the "glad to see you again
and kindred instruments, in their literature, music and trade, with us" ceased.
and in manner as follows:
T h e first musical event was rendered as " A n Evening
"By encouraging and inducing a high standard of excel- with the Serenaders" H . L. H u n t , Chief Serenader, at Guild
lence in all literature pertaining to the instruments in their
Hall on M o n d a y evening. T h e concert provided a unique
history and pedagogy, and by impelling a correspondingly high and interesting contrast uith the usual symphony orchestras,
standard for their music, in publication, composing and
and presented to the music loving audience, the very best,
arranging. characteristic and standard music. T h e "Serenaders" Plec-
"By striving to increase the average of ability and com- trum Orchestra, under the personal direction of William
petency in teachers and students, through the providing and E d w a r d Foster, is a highly developed organization with com-
establishing of certain standards of attainment in all grades plete instrumentation, comprising in its personnel a skillful
of proficiency, and the granting and issuing of duly certified and musicianly group of players w h o obtain a tonal effect and
and authoritative diplomas for these several grades, after the precision to be found in few orchestras. ( T h e evenings
passing of certain prescribed examinations." program and soloists is given on page 27.) This organiza-
At the last regular monthly meeting of the Eastern M u - tion is n o w in its seventeenth year, and has devoted itself
sical Merchandise Manufacturers Association held at N e w consistently to the general advancement of both music and
\ ork, W . L. H u n t spoke of the importance of the Guild in instrumentation.
offering one of the finest opportunities anywhere for good
T h e Educational Program on Tuesday afternoon proved
players to exercise their talents. M r . H u n t noted the recent
to be extremely interesting and afforded ample opportunity
unmistakable trend awa** from jazz toward standard music,
for discussions. Speaking on the "Teacher and the Dealer,"
as seen, for instance, hy the greatly increased sale of sym-
M r . H . L. H u n t went on to say that thru thirty-five years
phony records, and said that, in this connection, the Guild,
of experience he has found the necessity of closer friendship
itanding as it does for sound music teaching and higher
between the dealer, manufacturer and retail teacher. " T h e
principles, was deserving of the complete support of every
teachers of music are the advance agents of progress—and it
member of the musical merchandise industry.
is the artists w h o seek out the right ideals." Entering further
T h e teacher is in effect a missionary w h o raises the plane
into the discussion M r . H u n t presented the viewpoint that
of musical endeavor, for the simple reason that better teach-
ing means better playing, and because of this A. F. Chapin, cheap instruments were a draw-back to progress. It was the
also a member of the Association, stated that the influence prosperity after the w a r which placed on the market anything
anil importance of the music teacher in the musical develop- and everything, but a gradual weeding out is n o w taking
ment of the nation cannot be overestimated. place. T h e present day musical instrument manufacturers
Business must be developed at its source by stimulating are supporting the teachers by producing real artists' instru-
ments.
active buying for the products of the whole industry a m o n g
the ->eople at large, states M r . Buttelman in his talk before Lloyd Loar outlined in a very interesting way just how
ition. T h e purchaser of a musical instrument is an popular music was published in his talk on "Publicity.''
to the dealer only it he learns to play. Consequently,
MENTION The C R E S C E N D O wins WRITING '" VDV1
[6] The C R E S C E N D O July, 1927

Seeing the Best of Life secret of success in any musical effort does not lay in the
nimble finger alone. T h e deeper secret is to be found in the
mind that loves to try, to think, to fancy, to soar beyond the
J. T . F I T Z G E R A L D
meagre things of to-day to the better things of to-morrow.
LIFE is dry enough at times—for those who purposely T h e r e is too m u c h mental slothfulness in the world to-day.
shape their part of it to that end. For, be it remem- T o o m u c h lost time. T o o m u c h uncertainty of course—too
bered, life at best, for rich or poor, is largely a matter m a n y derelicts. T o o m a n y wandering here and there in
of w h a t the individual makes it. There's f u n — d o w n r i g h t search of the pleasure they m a y buy. T e n would rather
f u n ^ i n life for those w h o can detect it and subtract it from pay to hear someone play a solo on the mandolin or the
the w a r p and w o o f of all that comes to meet them. A n d guitar than to try to produce something themselves. H e r e
it's not the fun of the baseball park; or the tennis court and there is found one w h o feels more sense of creation in
or the s w i m m i n ' hole of which I speak—but the sheer fun w h a t he can do himself than in all that he could hear from
of lightening the burdens of life for ourselves as w e pass the best artists of the world. H e believes in himself. H e is
along. It's fun to be happy. It's fun to be in harmony with willing to try if only to satisfy his o w n mind.
our neighbor. It's fun to feel some of the throb and pulse A s is the case with a certain set of educational books well-
of life. It's fun to have sighed and smiled, for, as Emerson k n o w n to the American public, the whole secret lies literally
has told us, he w h o has done these things, has lived. A n d in those "fifteen minutes a day." T h e trouble is largely
so, there's fun for all ages, sexes and walks of life. Little that the youth of to-day hesitates to look forward to the
harmless tilings which quicken our pulse or increase our things of to-morrow. H e can get a narrow vision of the
interest in the days as they pass. fifteen minutes a day. H e can see only the hard work. H e
I sat d o w n to listen to a radio concert. Something in m e can see only the menial side. H e cannot see beyond to the
thrilled as I heard the deft handling of the saxophone, the days and nights of comfort, of pleasure, of creation, of
mandolin or the guitar. I w e n t to the music hall. I envied delight that march by at the snap of the master's finger.
the fellow w h o got so m u c h from his mandolin. I mar- I have heard it said that some m e n are never their best
velled at w h a t life must m e a n to the fellow w h o coaxed such unless in debt. There's a homely truth about this in m a n y
entrancing strains from his violin. T h a t w a s part of the ways. T h e y are the m e n with honor and conscience and a
fun of life. It w a s fun for these artists to give—it w a s fun will to carry on w h e n odds are against them. A n d so it is
for m e to receive. with the young m a n w h o says to himself: "I will get m e a
A n d in m y h o m e the bald fact struggled through to m e banjo, mandolin or guitar and I S H A L L , some day, get the
that after all, these fellows had shaped their o w n lives. T h e y best out of whichever I m a y choose." In other words, they
were not super-men. T r u e , they had genius and in-born put it up to themselves to do their best. Invariably, they do.
ability, but they found it and worked at it and played with
it and lured it o n — t o perfection.
T h a t w a s fun for them. T h e y were of the type w h o
Nobody Knows
lived each hour for w h a t the next would bring. Their f ~ ^ O U N D can be classified according to its n u m b e r of
w o r k at the office or the factory or even in the mine had l^j vibrations, giving us a note. Notes can be set d o w n in
been lightened because they k n e w their instrument awaited terms of mathematical calculation, forming a melody.
them at home. Their going h o m e meant more to them than T o m a n y tunes you sit d o w n and whistle and h u m . S o m e
to dress and stroll out to the dance or the theatre or the songs seem to drive tears to your eyes, while others m a k e
countless other diversions. T h e y stayed there and improved you joyful and w a n t to dance. S o m e are beautiful, full of
their minds, their time, and their ability. Each morning love, and others are cold and brutal.
they left h o m e for their day's w o r k with a hunger to get W h a t is this mysterious and fascinating quality of music,
back again—to their instrument. W h e r e they had a few w h e n played with tone expression, that seems to stir your
minutes after lunch, they slipped into the front r o o m and innermost feelings—that m a k e you so enthused over a certain
picked u p this child of their insatiable fancy. T h e n one day melody?
— t h e y faced the world prepared. N o b o d y k n o w s ! T h a t is w h y music is so fascinating.
I have, in previous articles, dwelt upon the prime import
of thinking mandolin all the time, if it be mandolin. O f "I wish i" congratulate you for The Crescendo, which I appreciate
thinking and living guitar all the time—if it be guitar. T h e very much for keeping one's self up to date in modern music. I will
do m y best for your magazine and music service among m y friends
lure, who are lacking information about your splendid publication."
— R . BURLET, Reims, Marne, France.
"No Instrument is Better
Than its Strings" "Come, dearest Mandolin, come!
Thou shalt m y only solace be.
There A r e N o Better Musical Ilis. silver strings m y soul will thrill
With joy and love and ecstasy."
Strings Than Mo/EARf

TRJLJESOLO Send Now for Sample Order of

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Famous System of Graded Teaching Pieces
ffiHJEIEMOTE // Costs You Nothing to Try Them
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MANUFACTURED BY Mandolin, Guitar and Tenor Banjo
Standard Musical String Co. C R E S C E N T MUSIC PUBLISHING COMPANY
J»169 Delmar Avenue St. Louis, Missouri
122 Cypress Aye., Cor. E. 134th St., New York

PL1 131 M K M I O N The C R E S C E N D O \\in\ W R I I I M ; TO ADVERTISERS

July, 1927 The C R E S C E N D O [7]

The American Guild Girls' Mandolin Club Broadcasts

(Continued from Page 5)
The Stevens H i g h School Mandolin Club, under the direc-
"The direct sale of popular music," Mr. Loar goes on to tion of Leigh E . Wittell, director, broadcasted a well arranged
say, "does not offer a margin of profit. T h e publicity costs program from the studio of W G A L on M a y 10th. T h e club
w a s assisted by Dorothy Drenberger, soprano soloist. M r .
of putting over a n u m b e r absorbs it all. B u t rather profits
Wittell rendering several beautiful guitar solos.
are derived from the royalties of the popular music used in The personnel of the club includes:
recording, broadcasting and other mechanical contrivances.'' Mandolins: E d n a M o h r , Mildred Yeager, Ruth Ridenbach,
T h e result of a recent survey ot "copies sold," by M r . Loar Marguerite Shanabrough, Margaret Shertz, Esther Urban,
provided interesting and comparative figures—"from ten to Mar*,* Roth, E d n a Roth, Gertrude Hoover, Lilly Flubacher,
fifteen years ago a million copies were the usual average sale Margaret Godschall, Marian Fosdick, Pauline Eshleman, E s -
of popular music, but today t w o hundred thousand is con- ther M a r r o w , Leona Levy, Ruth Wooding.
sidered good sales." Tenor banjo, Bertha McClain; Guitar, M a r y Flory; Piano,
Marie Gast.
T h e secretary of the Guild, Miss A . M . Nash, spoke on Following is the program rendered:
"Commercialism, and A r t " and interested the audience with March, "Under the Double Eagle" ( W a g n e r ) , Mandolin
her m a n y illustrations. Club; selections (a) "Farewell to T h e e " (Liliuokalani), (b)
" T h e trilling note of a mandolin has no longer a thrill for "Dancing Dolls" (Seredy), Mandolin Club. Soprano solos (a)
" B y the Waters of Minnetonka" (Lieurance), (b) " F r o m the
the modern young lady, but rather the trilling note of an
Land of the Sky-Blue W a t e r " ( C a d m a n ) , Dorothy Isenberger,
auto horn," professed Giuseppe Pettine during his discussion ace. by Marie Gast.
on the "Plectrum's Mechanism." Guitar Solos: (a) " W h e n the Swallows H o m e w a r d Fly."
Appreciating the value of instruction from one of the (b) "Spanish Fantasie" ( E m m a ) , Leigh E . Wittell. Selections
greatest living mandolinists, questions were continually pre- (a) " A Perfect D a y " (Bond), (b) "Old Folks at H o m e " (Fos-
sented to M r . Pettine concerning the angle of contact of the ter), Mandolin Club. Mandolin duet, "Mother's Prayer" (Free-
m a n ) , Marguerite Shanabrough, Mandolin; Gertrude Hoover,
plectrum and strings, information about the tremolo, and the
Mandolin; Guitar Duet, "Harp Quick-step" (Winner), M a r y
straight and acute strokes. Flory and M r . Wittell; Soprano Solos (a) " W h a t Does It
T h e rapid rise to popularity that has been m a d e by the Matter' (Berlin), Dorothy Isenberger; Selections (a) "First
banjo bands and dance orchestras in the past year provided Heart Throbs" (Eilenberg); (b) "National Airs M a r c h " (Kei-
another interesting topic for discussion. M r . Jas. H . John- ser), Mandolin Club.
Oh, boy! h o w is this for the end of a busy season for a mandolin
stone in his presentation of "Parts in D a n c e Orchestration"
orchestra? W e have appeared before the public seventeen times this
enumerated the different ways of marking tenor-banjo parts
season at concerts, banquets and entertainments; and broadcasted
n o w in use. S o m e parts have the n a m e of the chord written twenty-four times over K F O X ; and with a good chance of playing
just above the chord while others have but three. S o m e parts three times a week in the V. M . C. A. Cafe, for the rest of the
are written in actual pitch and others in octave notation. summer. M y orchestra was chosen over all the other orchestras in
B y the chart which M r . Johnstone has classified various San Pedro ,to play at the State convention of the Native Sons, on
publications it is surprising to note the great variety of styles their reception day at the Y. M . C. A.. That is saying a lot for the
and methods of writing and arranging tenor banjo parts. mandolins. A n d w e got a good price for it. W e played at a
This lack of uniformity in tenor banjo parts of popular music Masonic banquet last night where over two hundred sat, in Long
Beach, and they sure did like that kind of music. M y girls have a
dance orchestrations brought forth m a n y questions. Shall the
two hour rehearsal every week, and they are all there on time and
teacher instruct the pupil to read entirely by note—strict take an interest in it. W e are going after the movies next season,
musical notation—or shall he teach h i m to read by diagrams, and are going to keep up our broadcasting this summer. W e are
signs, names, codes, etc? going to broadcast every two weeks.
" T h e day of faking," sa3*s M r . Johnstone, "is past for t w o A. S. B A R K E V ' S LADIES M A N D O L I N O R C H E S T R A
reasons:first,because parts are published for the tenor banjo,
A n Evening of H a r p M u s i c
such as they are; and, second, orchestra leaders of to-day will
At the Beuux Arts Auditorium, Los Angeles, California,
not stand for faking. T h e arrangements are of such a nature
Alfred Kastner, Solo Harpist Philharmonic Orchestra, ren-
that the banjo line of instruments must harmonize with all dered a very interesting program to a very appreciative
other instruments in the orchestra." audience.
T h r u the suggestion of M r . Johnstone and following a There were compositions of Couperin, Handel, Galeotti,
discussion, on the possibilities of standardizing the method Debussy, Liszt, Chopin, Brahms as well as a Ballade by F.
of writing tenor banjo parts and the attitude of the publish- Poenitz. It is interesting to note that Franz Poenitz is per-
ers it w a s voted that a committee be appointed to present the haps the most serious composer for the harp to w h o m we can
proposition to the publishers there in N e w York. point at the present day. Poenitz has a very individual style
and has imparted an originality and a symphonic breadth and
Following the Educational Program, M r . Johnson Bane, dignity to _____ music. This selection was ably interpreted by
the eminent guitarist and composer ,rendered a guitar recital Mr. Kastner.
of his o w n compositions that were most delightful. His Assisting were Stephanie Kastner, soprano and a harp
complete mastery of the instrument, his rapid execution of ensemble consisting of Mr. Kastner's artist pupil.
chromatic passages, octaves, thirds and arpeggios were evidence A portion of the net proceeds was given for the benefit of
of his accomplishments and ability. It does not seem neces- the local fund of the S. C. Chapter of the National Asso-
sary to render here any extended account of M r . Bane and ciation of Harpists.
his work, for to all readers of The Crescendo, and to the A Glass Violin
banjo, mandolin and guitar fraternity in general, he should Attempts to m a k e violins from a material other than wood
be well k n o w n . H e has played extensively in concerts and have all failed until recently, w h e n a G e r m a n glass-blower
recitals throughout the country, and his n a m e is inseparable w h o is also a village musician in a town in the Riesen-Gebirire.
from the instrument of which he is master. has succeeded in making one of glass. T h e inventor's n a m e is
A convention would not be a success without a banquet Bartel Hcellerlein, and Reclams Universum (Leipzig) speaks
of his invention as follows:
and if w e are to judge by the attendance and the enthusiasm
"Or.e can really use the expression 'a crystal-clear tone' in
which prevailed this Tuesday evening the American Guild of reference to this instrument. Before this vioiin is played, it
B. M . and G . w a s a huge success. T h e musical program of must be 'blown,' so to sneak. Heir Hoellerlein is about to blow
the banquet (aside from the rippling strains of soup) w a s v. double-bass viol which will he presented to the Provincial
r__e 221 M u s e u m at Breslau."
— M u s i c Trade N e w s
ri 1 .si MENTION The C R E S C E N D O wins WRIIIM; 10 ADVEI
 [8] The CRESCENDO July, 1927

Radio Artist Bureau Formed Mandolin Sextet Honored

The formation of an Artists' Bureau, announced by Fowel The Allegro Mandolin Sextet has just completed a series
Crosley, Jr., president of the Crosley Radio Corporation, Cin- of concerts, sponsored by the Sealy Mattress Company.
cinnati, Ohio, who operate the well-known broadcasting station This unit of musicians, with Percy V. Lichtenfels as di-
W L W , is said to mark the beginning of a new epoch in broad- rector, are pioneers in the radiofield,having broadcast in the
casting studio management. In the opening of this Bureau, studios of K D K A when the stationfirstbegan their opera-
which provides a booking service for the station's outstanding- tions. It is considered a decided honor to see such an excellent
individual artists and organizations, a step has been taken in mandolin organization compete with the best radio talent.
the direction of a closer relationship between the artists and The personnel of the organization are Percy V. Lichtenfels,
the studio, and toward a more complete service to the public director andfirstmandolin; Adolph B. Fox, manager and
in making available for outside appearances the most success- mando-cello; Paul A. Wible,firstmandolin; Edward P. Green,
ful of its performers. tenor mandola; Chas. M. Dunford, second mandolin; Alec J.
It was the expressed desire of the artists themselves that Stright, guitar; assisted by Lloyd E. Longacre, five string
the radio station manage their outside engagements, that banjoist and Mrs. Percy V. Lichtenfels, accompanist.
brought about the inception of the bureau. They believed the Ninety and Still Teaching
broadcasting station to be the logical agency for booking M a d a m Guilia Pelzer, sister of the late Sidney Patten, who
their services, because of the many requests for their public was perhaps the most famous of British guitarists, is still
appearance that had been received at the studio. actively engaged in her profession of playing and teaching the
Taking into consideration the element of curiosity which is guitar, although in her ninetieth year.
fundamental in human nature, it is not remarkable that As a child prodigy on the guitar, M a d a m Pelzer came to
radio should have proved in many instances its ability to England with her father, Joseph Pelzer, and there played
popularize performers of merit. The m a n or w o m a n who duets with the child marvel, Regondi, who was startling the
enjovs time after time the work of an unseen artist can not musical world with his guitar accomplishments. M a d a m Pelzer
fail to be interested in an opportunity to "see what he looks still possesses Regondi's guitar and many other famous
like." It is for this reason that radio broadcasting already guitars.
has been the means of delevoping a new group of stellar From a recent article M a d a m Pelzer goes on to say: " —
attractions on the concert platform and vaudeville stage, the guitar is the instrument of romance, for the expression of
consisting of those who made their first bid for fame by sentiment, love, chivalry and deep poetic feeling. It is de-
entertaining the thousands who "listen in" daily and nightly cidedly superior to any other. From the remotest ages down
in their homes. through the medieval time of the troubadors to the present
The Crosley Artists' Bureau is declared to be in no sense day, it has been associated with all the traditions of history."
a scheme to advertise the station through the appearance of Banjo of 1831 in Display
its leading artists in outside programs; neither was it created Displayed in the show window of W . C. B R E H M , Los
for the purpose offindingmore employment for the services Angeles, was possibly the oldest of what the present genera-
of the talent by the Bureau. The sole aim in establishing it tion terms a banjo. The originator of this banjo was Joel
was to bring about closer co-ordination between the studio, Walker Sweeney, of Appomatox County, Virginia, who made
the artists and the public. Only those artists who have proved this instrument in 1831. H e produced the banjo as w e know it
their popularity by actuai radio performance at the studio, by adding thefifthstring or thumb string to the crude gourd
and for whose services there has resulted a wide public de- of four strings—generally of horse hair—made and used by
mand, will be managed by the Bureau. the negroes of the Southern States.
"If the inauguration of this Artists' Bureau," states Mr. Joel Sweeney might be considered thefirstto blacken his
Crosley, Jr., "should lead to similar action being taken by face and appear on the stage as a delineator of negro char-
other broadcasting stations, the results should be far-reaching. acters. H e travelled with a Band and everybody called him
Even more advantages than now exist will be offered by radio "Old Joe," even when a young man, or "Old Band Joe ' and
broadcasting to those who can back up their ambitions with when he made hisfirstbanjo it received it's name in that way.
able performance. The ranks of those who travel to a wide This instrument was secured from the only surviving member
public recognition via the microphone route will grow. The of the family in 1890, a sister 85 years old and totally blind.
concert stage, as well as the broadcasting station, will benefit. She related many stories of the exploits of the maker of this
To radio studios will be opened a new avenue of public service, banjo, and remembered quite well the time he originated and
and between studio [Link]
Carl Wand . F. Jansen
artists will come to exist a made hisfirstinstrument, later called the Band Joe.
One of
greater our representative
degree of co-operationguitarists, writes
and of the that he was
harmonious on
rela- Poor Old Joe! H e was called "Old Joe" when but 30 years
the radiothat
tionship at Station
in any W C F L , is
project Chicago, onto
essential the evening
the fullest of March
success." of age, and everybody that knew him loved him, the fun
26th, playing fourteen guitar solos. H e played three guitar maker of his time, generous to a fault, a born entertainer,
solos again on April 1 and has some other radio dates booked he could improvise both words and music of songs with Tiis
ahead. This isfinefor the guitar—for it is all too seldom that banjo, making local hits, keeping his audience convulsed
w e hear any of our representative guitarists over the radio. with laughter.
Congratulations, Mr. Jansen. Keep up the good work, and let About 1840 Joe announced he was going to England to
the people of "radioland" know what a guitar played in the play his Banjo for Queen Victoria, which he did. H e proceeded
correct fashion sounds like. at once to make for him a better and more elaborate instru-
ment. Upon the completion of this new Banjo he gave the
original banjo to a young lady cousin, who was a noted
GOING LIKE FIRE Musician of that locality. The young lady was a left-handed
TO EVERY CIVILIZED COUNTRY IN THE WORLD player of the Violin, making it necessary for Joe to construct
and adjust a left-handed neck for the old banjo, which the
Complete Method for Hawaiian Guitar owner used up to the time of her death. This was secured
" F r o m the foundation to artistic playing"
from the blind sister of Joe, and is the one now on display.
By JESSE SEDBERRY
Critics declare it the greatest m e t h o d ever published for H a w a i -
ian Guitar. (64 pages.) Contains beautiful solos, duets, trios,
quartets a n d master exercises. Explains fully h o w to arrange a n d
play popular music. In fact, it brings H a w a i i n n Guitar teaching
DIRECT FROM PARIS
Joe later made banjos for his brothers Dick and S a m and they
became noted players but all trace of these instruments is lost.
cornea the cream of European Mandolin a n d Guitar music the
and playing u p to the standard set by m o d e r n music requirements. writings of such brilliant m i n d s as Mezzacapo, liar:.. Fantauxzi.
Price $1.50 Net Munier, Marucelli n a m e s thai are hou hold words whi
Mandolin a m i Guitar are played -music thai is played by bc-
Master Compositions for Haw'n Guitar ginner, amateur, artist. \ postal will put into youi hands oui

Manaolana
Solo
40c
2nd
30c
R e g . Ace.
20c 1 DIRECT FROM PARIS
Breath of M y Soul 30c f N o Stamps
Spanish Serenade 30c J
Write today to
Discount to dealers a n d teachers enclosing card. THE MAXIMUM PUBLISHING COMPANY
JESSE SEDBERRY 1716 Chestnut Street, Philadelphia. Pa.
Importers of Banjo, Mandolin ami Guitar Musit
School of Allied Arts PHOENIX, ARIZ.

PLEASE MENTION The C R E S C E N D O W H E N WKII1M; ill ADVERTISERS

July. 1027 The CRESCENDO [9]
for the greater attendance given grand opera, concerts a n d
±J$A> ^-Lai \Jfc i ^ y V_j£> 3^-<Vj$o38Lx k ^ S • v ^ ^ k _ ^ ^ _ ^ y ^ o o S _ _ ^
good musical operettas today than ever before. Men no
EMINENT PLAYERS A N D TEACHERS longer think music as something like hemstitching, for w o m e n
./ .(//or/ biography and photo of some ivell-knoivn teacher or player
to enjoy," writes J o h n Philip Sousa in his article in the
appears here monthly
Chicago Daily News.

In m a n y leading theatres music is the predominant factor

in the entertainment program. In public schools music has
made a decided advance. Of wider importance in recent
years have been the musical p r o g r a m s of radio. If it w e r e
not for the diversified musical p r o g r a m s the set o w n e r s w o u l d
not feel so inclined to "tune-in" for so m a n y hours as they do.
T h e radio p r o g r a m appeals to every taste, a n d it is interesting
to note the big percentage of fretted instruments that take
part in the daily programs.

W h e t h e r all of this music is of the proper kind and m o s t

beneficial m a y be open to question. S o m e of it should be
directed to entirely different channels. F o r nineteen years
The Crescendo, true to its n a m e — always g r o w i n g more
powerful, increasing in f o r c e — h a s upheld the high standards
of music, endeavoring to keep music on the road of the
teachers ideals. W i t h o u t the support of such ardent lovers
of fretted instruments as each a n d every one of you, The
THOMAS NASSI Crescendo could not have lived and g r o w n .
Organizer, Dint lor. Composer

RECENTLY a noted pianist composer said that modern

E V E N though there arc thousands of staunch admirers music w a s in a state of crisis. "The noisy period of
of fretted instruments, T h o m a s Nassi can be considered
music, extending f r o m 1 9 1 2 until 1 9 2 4 , has shot its bolt—it
one of the eminent leaders. H i s admiration a n d faith
has elicited all the noises possible f r o m the orchestra—until
111 the art has been s h o w n in the editorial c o l u m n s as well as
articles in The Crescendo of w h i c h he has been editor. He n o w the people no longer react to it.
has served The Crescendo readers a n d served them well, "Modern music is justified by the very fact that it is
establishing m a n y friendships.
always searching for something n e w . O n e w h o judges m o d -
Following graduation from the N e w England Conserva-
ern music m u s t judge its intrinsic value a n d penetrate that
tor* ol Music, M r . Nassi entered the service as leader of the
Foreign Legion H a n d , composed of fourteen nationalities. value.

T h e armistice did not disband this organization as it continued " A l t h o u g h our m o d e r n music is n o w in an indefinite situa-
with a seven year concert tour thru Italy, Albania, and the tion, powerful m i n d s and great composers are w o r k i n g to
Balkans, returning to the L nited States to take u p the w o r k
combine the spirit of the past with the spirit of this n e w day,
of The Crescendo in 1926.
and out of this union something m u s t c o m e that will strike
There are m a n y mandolin clubs, s o m e of w h o s e pictures
US by its p o w e r and significanse."
have appeared in The Crescendo, that have enjoyed the lead-
ership of M r . Nassi. O u r hearts are with such a devotee of A t your h o m e s , at the movies, the radio a n d m o s t every-
the arr, organizer, director and composer, as T h o m a s Nassi. w h e r e you go the strains of this m o d e r n or popular music is
We wish him every w o r d of encouragement.
heard. It is no w o n d e r that the pupil asks so often if it
really is harmful to play at least s o m e popular music. Many
teachers will not play this "trash" a n d advise their pupils not

EDITORIAL NOTES to—but like the sign "Paint, d o not touch," the pupil is
tempted thru his curiosity to find out for himself.

H a v e y o u ever picked u p a popular n u m b e r and analizcd

HW I you ever stopped to realize the tremendous influ- it? T a k e for example the first strain of a m e l o d y no doubt

ence music has upon the life of the nation? Never everyone has played or h e a r d — " A l w a y s " . T h i s popular sung

before in the history of music has the art been so generally is a waltz from the slow m o v e m e n t of Chopin's "Fantasie

appreciated. N e v e r before has it been so widely advertised Impromptu"! Then again Chapin's " N o c t u r n e in I) flat,"

and never before have the people of the nation been so desir- Op. 2 7 , N o . 2, is the opening strains of that melody "(>h,

ceking EI "musical knowledge." How I M i s s "Vou T o n i g h t 1"

In days past, the musical profession w a s a subject for If a teacher w o u l d thru careful study bring out the like-
but at the present day m e n are far outdistancing nesses of good popular songs and their derivation from the
This m.i\ be temporary but the m o d e r n classics, and s h o w that these tunes are based on the music of
enthusiasm for music has m a d e it possible for boys and men yesterday, wouldn't it bring out its "intrinsic value" and show-
profitable careers. that "out of this union ( popular and classic music) something
n the part of m e n is responsible m u s t c o m e that will strike us by its p o w e r and signi/icansc" ?

0 w i n s wRiriM; 10 ADVERTISERS
[IO] The CRESCENDO July, 1927

T w o Banjos that the Teachers

I F you have beginners or ambitious banjo pupils

you know the value of having an accurately
fretted scale and instrument that has the carry-
ing power and the tonal quality of the best profes-
sional makes. Yet the matter of price is often a
troublesome one for the parents w h o do not wish to
make more than a moderate outlay for a beginner.
Here is where the Ludwig K I N G S T O N or the
Ludwig K E N M O R E serve admirably.

They are actually professional instruments capable

of traveling in thefinestprofessional company. Both
models have already been used in some of America's
finest orchestras by leading professionals. While
they do not have the beautifulflashyappearance of
some of our higher priced models they perform as
well. W e feel it will be worth your while to make
a serious comparison of either model on a trial or
test basis and then judge their worth for yourself.
Ask your dealer or else write us and w e will arrange
to send an instrument to him.

KINGSTON
23-Inch Tenor

KENMORE
27-Inch Plectrum

' " P H E Y tension from the top. Easy

to tighten the head. Absolute
accurate scale. Front-flash Flaredge.
Two-piece neck, with reinforcement
strip. M a d e of American Walnut.
Seven-ply laminated Walnut reso-
nator. Equipped with Planet 4-to-i
gear pegs and W m . F. Ludwig
selected banjo head.

SEND FOR C A T A L O G S

LUDWIG 8t LUDWIG
Professional Banjos

1611-27 North Lincoln Street

CHICAGO

[Link]. MENTION The CRESCENDO W H E N WRITING TO ADVERTISERS

 11
YOUNG AMERICA
1st MANDOLIN March
.20 Net H.F. ODELL, Op.72

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 MANDOLIN H o w So Fair
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MARTHA
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Copyright MCMXffl by Walter Jacobs

 13
MANDOLIN DUO CONFIDENCES
Tune lower D string to B .35 Net
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I« As performed by the composer with great success

Valse De Concerto
T E N O R BANJO SOLO WM.(Banjo Bill) MORRIS
Concert Style America's celebrated Tenor Banjoist
Andante „. ^ _/TN T
SUP

Cad a
T e m p o di Valse piacere h n hn A

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Copyright MCMXXIV by Nicomede Music Co.
 TENOR BANJO SOLO

Valse De Concerto 6
 16
ADIOS
(FAREWELL)
(SPANISH DANCE)
GUITAR.
LOPEZ
Arr. by [Link].

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Copyright M C M V by Oliver DiUon Company

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A Minor tuning WALTER BURKE

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Copyright,1919,by H.F. Odell 4 Co.,Boston,Mj_ss.
 E^o^x^**-

18 To Mr. Augustine L. Rafter, Assistant Superintendent, Boston Public Schools

Boston High School Cadets

TENOR BANJO
MARCH FORTUNATO SORDILLO
SOLO Arr. by A. [Link] BT

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RHYTHM STROKES
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Copyright M C M X X V I I by Walter Jacobs, Inc.,Boston

541?-1 International Copyrignt Secured Printed in U.S.A

\
•GfH-S-Ht^
July, 1927 The CRESCENDO [19]

SUCCESSFUL TEACHERS
and PLAYERS
///./..FRETTED I N S T R U M E N T WORLD

B R O O K S GIBSON STRING O R C H E S T R A
W M . BROOKS. Director
Shelton, Conn.

T P H E T E A C H E R S that use and r> IBSON C R A F T S M E N take

endorse Gibson instruments ^"^ painstaking care in producing
are recognized as the leading Tenor. Plectrum, Regular, Cello,
teachers in their community. A Mandolin, Guitar and Ukulele
student, when looking for a Banjos. Mandolins. Guitars. Man-
teacher, should have this in mind. dolas. Mandocellos, Mandobasses,
If unable to locate the Gibson Harp-Guitars, Ukuleles, Tenor
teacher, write us and we will Guitars; in fact, the complete
direct you to the most capable choir of fretted instruments for
teacher near vou. the Mandolin Orchestra or Banjo
Band.

W M . BROOKS
Shelton. Conn.

V O l ' can "listen in" to the Brooks Gibson Mandolin Club any Sunday after-
noon at 4:00 p. m., Station W I C C , Bridgeport, Conn. M r . Brooks is one
of the most progressive fretted instrument teachers in Connecticut, and he
and his students all use and recommend Gibson instruments enthusiastically.

IBSON offers .ui unusual proposition to teachers. Write for details. Your
G territory might be open for the distribution of the famous Gibson instruments.

GIBSON, Inc. \l\

PARSONS STREET
LAMAZOO. MICH.

PLEASE MENTION* The C R E S C E N D O WHEN WRITING TO ADVERTISERS

 [20] The CRESCENDO July, 1927

The American Guitar Society Presents Recital Proves Success

a Lecture-Recital The string and fretted instruments proved especially at-
Probably thefirsttime on record, the works and life of tractive to the large audience of friends and parents at a
Francesco Calegari were presented by the American Guitar recital given by the pupils of Mrs. Ella Hoffman, Muskegon,
Society at a recent Lecture-Recital held at Los Angeles. Michigan.
A brief sketch of the life of Calegari was given by Vahdah One interesting feature of the program was a memory
OIcott-Bickford to a very enthusiastic audience of appreciative number given by a six year old pupil of Mrs. Hoffman, which
guitar lovers. Mrs. Bickford gave many interesting resumes proves the remarks given in the editorial of the February
of this eighteenth century Florentine guitarist and throughout Crescendo. The pupils from the different classes presented
the entire program his works as a composer illustrated to the their numbers with much applause and the orchestra numbers
audience the type of Florentine art of the period, abounding were also very much enjoyed.
with slurs, graces andfloridpassages. At the close of the program Mrs. Hoffman was compli-
Assisting Vahdah OIcott-Bickford, were Zarh Myron Bick- mented by the presentation of a beautiful bouquet of roses
ford, Miss Amelia A. Hetrick and The American Guitar and tulips.
Society Ensemble. "Starlight" Gives Recital in Boston
Spring Concert by Columbia Clubs Through the courtesy of the Oliver Ditson Company, Bos-
Sophocles T. Papas, presented at the Play House, Wash- ton, "Starlight," dressed in her white doeskin Indian costume,
ington, D. C , the Columbus Tenor Banjo and Hawaiian Guitar attracted many to their show rooms and held the audience
and Ukulele Clubs in a Spring Concert, before a very large with her interesting songs and accompaniment.
and interested audience. It can be said that her program is truly American. As the
Mr. Papas, who is a well known teacher on fretted instru- Indian is the only true American, so is the banjo the only
ments, played a group of interesting solo numbers on the original American instrument. "Starlight" has appeared at
guitar. Perhaps the loveliest was the player's arrangement many of the better theatres with her unique setting and
for his instrument of Chopin's "Prelude in C Minor." Cer- program. She has also appeared at many of the leading
tainly the novelty was Mr. Papas' lullaby, a very recent com- music stores throughout the country, and has attracted many
position which is quite melodious and not at all modern in with her very fine voice and unusual accompaniment.
structure and tonalities. A brilliant number on the program From Vienna
was Mertz "Fingal's CaveT'. Vahdah OIcott-Bickford was recently honored by Karl Pru-
Another soloist appearing at this concert was Pasquale sik, well known guitarist and composer, in a review on "Seven
Romano, a young Italian, who played as a guitar solo, Leo- Solos for Guitar" from the Repertoire of Vahdah OIcott-
nardos "Souvenir Des Naples Tarantelle" with accompaniment Bickford.
on the guitar by Mr. Papas. Mr. Romano has that vivacious Mr. Prusik, in the "Musik Im Haus" states: "The collection
quality that is truly native to the Italians and gave a very of solo pieces by Lejrnani, Zarh Myron Bickford, and arrange-
colorful rendition of both this number and the encore. ments of pieces by Chopin, Alexander Scriabine and Theodore
The Columbia Tenor Banjo Club gave both the prelude and Ward, show that in America the standard of guitar technic
finale with pleasing co-ordination and surety of tonal effects. is of a high order, a condition which we are pleased to note.
The Columbia Hawaiian Guitar and Ukulele Club played a Thefingeringof the most difficult pieces proves in a splendid
group of well known selections as well. manner the high ideals of the transcriber, especially demon-
Assisting at this concert was Dorothy Sherman Pierson, strating the fact that she (Vahdah OIcott-Bickford) has the
soprano, whose clear liquid voice and vivid interpretation of best of taste."
a group of very appealing songs added greatly to the success
of the evening.

Tour ultimate choice

a B&D
SILVER BELL BANJO
Two of the most Popular Radio Enter-
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Theirs songs banjo and piano duels are
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Just out - U\(ew Qombined 4.8 T^age Qatalogue and Silver 'Bet/ News
ree - F
^7i

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GROTON, CONNECTICUT
[Link] MENTION The C R E S C E N D O W H I N WRITING TO ADVERTISERS
July, 1927 The C R E S C E N D O [21]

(s) Is there any publication which gives a clear explana-

tion as to hot. one uith a very slight knowledge of harmony
The could arrange a solo for five string plectrum banjo from ptan>

B ANJOISTS'
ROUND TABLE
part, or must
instrument

[ANSWER]
we be content uith
in the plectrum duo styh
uhat :. - tr this

Co-ducted by (I) In six-eight march time the dotted quarter notes in the lower
FRANK C BRADBURY voice (melody notes) should be played d o w n stroke and are not
Soloist and Conpoaer tremoloed. T h e effect desired is similar to that gained by the five
string finger banjo on the same style bass solo work.
THIS DEPARTMENT is especially for _: In passages where the higher note is tremoloed and a picked
Banjoists. Anyone may ask questions ace. is carried on the lower strings—the tremolo should be of an even
penaining to the Banjo, or contrite::
Question - will receive due
number of strokes but not a S E T number. In other words the
consideration. tremolo is treated here the same as in any other tremolo work. A
Address—'•Banjoist Round Table", care tremolo is an imitation of a continued tone and should always be
of The Crescendo.
thought of as such, not a set counted number of strokes. It should
not sound rhythmical.
: Answered in J .
The American Guild of Banjoists, Mandolinists and Gui- j. If you wish to read some good treaties on the tremolo, pro-
tarists have, through their held secretary. James H . Johnstone cure the Bickford mandolin method. This contains m a n y thorough
endeavored to get the publishers together on the subject of and detailed explanations of all uses of the tremolo.
5 Thefirstbest thing, of course, would be that better knowl-
"Standardizing Tenor Banjo Parts in Dance Orchestrations"
edge of harmony as this is the basic of good arranging for any
at the Guild convention in N e w York City. W e all hope instrument. Also one must know the banjo well—know its charac-
that this can be successfully accomplished and as the Guild teristics, its capacities, and also its limitations. In such case then
is showing the way in this matter it seems as if the publishers one can acquire a fairly good pra.: _ - g solos
from the piano part. O n e must have a thorough unJ.c -
of dance orchestrations would be glad to get "set" on this
all chords and their inversions through the entire fingerboard. If
and have things "ironed" out for them and a satisfactory one can name all the chords, [Link] is a good start. B y copying the
standard adopted. It seemingly would he such an easy mat- melody d o w n from the piano part putting it an octave higher
ter to adjust also. It isn't as if someone were being asked generally and copying in each measure the corresponding hai
to invest a lot ot money in some new idea or destroy (in by name, one "ill find that the problem is generally mastered. T h e
writers method for the plectrum banjo published by the W m . J.
selling valuel a lot of already printed music. It's just being Smith Co.. N e w York, which can be procured thru' the H . F. Odell
asked to adopt a certain standard and have co-operation for Co.. publisher. • _.;_ine, contains work on this subject and
the good of all concerned. on chord building.

[QUESTION]
"I a m sending iou a subscription to ir paper. I like it very
// ould appreciate some information on the follouing. for
much."—F. 1. WAC__HL West A'llis. Wis.
five-string plectrum banjo styh .
(1) Should dotted quarter melody notes in the lower
voice, with eight accompaniment between, be played tremolo ROWDENS T E N O R B A N J O TECHNK
-^ni __... :_._n _ PMHH rolled .:. E .- .' s
in six-eight march time* If so. what speed should tremolo
he to get best effect on extended down stroke for notes in
..-. ...
accompaniment?
(>) Would you suggest a certain number of strokes in
tremolo when melody is in the higher voice so as to get ,ven C L A U D C. K O W D F . X — 1 5 9 North State Street. Chicago. Illinois
uninterrupted tremolo?
(j) Should speed of tremolo in three-four time (waltz)
be changed uhen melody changes from high voice to loner
and vice versa, :,ith accompaniment notes in each case 2 and Do Yon Demand the Utmost
-uhat should be the speed of the tremolo in these cases to
sound uninterrupted?
(4) Is there any publication which deals exhaust
From the Drum or Banjo
the subject of tremolo, wherein the above ouestii "•-•7 0SEPH ROGERS. JR _ - been manufac-
- 4 tuni'.s: D r u m ,;-.c Banjo - 75 - ROGERS'

high grade
_
Alice Kellar • Fox School of Music tone, must have our pi
es ovei than all other makes
rEACHERS
Violin and Piano
Address
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• - • ' .'» SE :
[22] The CRESCENDO July, 1927

T h e American Guild
(ConUnued from Page 7)
Shall I Get Her a Ukulele?
W h y not?
furnished by the Gibsonians, under the direction of Jas. H . Won't she get tired of it?
Johnstone, and the soloists presented were Sophocles T. Probably!
Papas, guitar; Earl Cooke, plectrum banjo; Salvatore C u - She got tired of teething rings and skipping ropes and even of
senza, mandolin; Walter Kaye Bauer, tenor banjo; and A. dolls.
There's a time in the musical and social and emotional develop-
D e Filippi, as piano accompanist. ment of a boy or a girl which seems to call loudly and insistently
T h e gala event of the convention was the Grand Concert for an instrument you can tuck under your arm w h e n you go on a
on Wednesday evening at the T o w n Hall. Some of the fore- picnic or out for a boat-ride,—something you can cuddle lovingly,
most fretted instrument artists in the country were among the tickle gently and meditatively with a green felt pick, and persuade
to accompany your voice in unobtrusive vocalization.
soloists, including W m . E d w . Foster, director of the Sere- A n d a uke isn't so expensive that your heart would break if it
naders Plectrum Orchestra; William Foden, Miss Shirley were sat upon in the automobile.
Spaulding, Albert Bellson, Walter Holt, Lloyd Loar and A crushable felt bag is all the case it needs. It will not drown
out a feeble voice, or rebuke an ordinary one. In one hour you can
William Bowen.
learn enough about it to sing " W a y D o w n U p o n the Suwanee River''
T h e musical program of this gala concert as well as those or "Santa Lucia."
of M o n d a y and Tuesday evenings had been arranged under If you have a tendency to weakness of the lungs, a uke will
the personal supervision of M r . W m . E d w . Foster which, in jolly you along till you find yourself singing a whole lot more than
you ever felt inclined to betore, and you will increase your chest
itself, is sufficient to indicate that nothing but the best was
capacity and tone up your lung tissues. G o o d for your health and
presented and the memory of which will linger long with spirits at that.
those w h o attended. V o u will find that a restless young person will often work off
Aside from the musical program of those w h o attended, a lot of steam, singing and strumming a w a y for half an hour,
during which she might have thought up numerous reasons for going
were business meetings and exhibits by many manufacturers
to the movies or otherwise seeking amusement a w a y from home.
interested in fretted instruments. A little ukulele band, composed of a mother and three daughters,
w a s the feature of a "Mother and Daughter" banquet once upon a
" *w* T is a serious problem with many parents these days to time not so very m a n y moons ago either. It w a s part of a program
which depicted the various ages of the daughters, and the varying
I find wholesome recreation for their children. T h e band
ways in which mothers could be truly chums of these budding
-*- and orchestra furnish an ideal outlet for the energies young w o m e n .
of the 'gang' which might otherwise be expressed in ways T h e music w a s simple, but it spoke of hours of gayety and mutual
not nearly so healthful. It is pretty generally agreed that interest in the attainment of skill and enlarging repertoires. A n d
those daughters are all n o w studying music earnestly and with
while the child is growing is the best time to imbue him with pleasure. T h e uke helped hold them together and to keep their
a knowledge of and love for music. T h e child has the time interest growing in music. Meanwhile the mother isn't letting her
to devoted to it and learns most readily. By not giving him o w n music slide, for she still plans to be leader and chum.
If a child shows no over-weening ambition to play a piano, an
a musical education in childhood w e are probably depriving
organ, or the bass viol, there is no reason w h y the ukulele might not
him of the joys of music forever."—said C. D. Greenleaf be called in to supply the harmony for the household.
before the National Federation of Music Clubs. A handsome banjo-uke, with nickel trimmings, reclining on top
of the piano, indicates to the transient guest, that the family probably
THANK Y O U bought the piano for something more than a parlor ornament, and
"I a m mighty glad to see that there is at least one publication in loves music in whatever guise she m a y appear.
the field which is not giving everything to the tenor banjo player, T h e jazzy, popular song which seems so futile on a theatre organ,
and leaving thefive-stringplayer out in the cold." or even on a piano, often assumes a wistful, haunting beauty w h e n
the gentle chords of a ukulele chaperone it, and a youthful voice
"I could not get along in my teaching without The Crescendo. dances through its melody in careless gayety.
It is the one magazine which, w h e n it comes, I read at once from All children are said to pass through the various stages of h u m a n
cover to c o v e r . " — A N N A M . T U T T L E , Brooklyn, N . Y. development, from untutored savagery to the highest forms of civili-
zation. W h o can doubt that the characteristic instrument of the
"I have at hand your Crescendo for this month kindly loaned me
llawaiians at some time or other is just the musical metier of your
by m y friend . . . and highly recommended to m e as a very n e w v
boy or girl in their present period of unfoldment? A uke m a y be
and interesting magazine by him. Permit m e to say that I find it
the very thing, they need just now.
to be all of that and more. I gathered m a n y points of information
If it does nothing more than give a safe and sane expression
from its pages, and have concluded that The Crescendo is just the
to the period of puppy love, it will have served its day and
thing for m e . " — P . E. LUDLOW, Alameda, Calif.
generation admirably—and after all there is music in a uke, whether
you regard it as a permanent accomplishment or a passing adventure.
E. G. WALLACE.

" M y ad looks very good and it has already brought m e two n e w

Improvising Secrets! pupils in less than a week and a great deal of mail from all over,"
writes A L I C E K E L L E R F O X , San Francisco, Calif.
The 1926 Edition of the "Sure System of Improvising,"
"I enjoy The Crescendo ever so much, and am glad to subscribe
By SAMUEL T. DALEY to it again."—A. S. M l L U C A H
TELLS YOU How to Play and Improvise Your Own Jazz Breaks. lint
Choruses, Sock Choruses, Blue Notes, etc. All "Fully" explairml trttn
Illustrated Models. Explains ""Where" a Break belongs. " W h a t " notes
•re to be used, " W h y " these notes are used, " W h e n " you are playing
wrong notes, " W h o " ? will be in "Great D e m a n d for Hot Playing." Con-
tain* all I'.udiments and Rules for most Modern Methods ol [ _
NEU —Tenor Banjo Teachers?
Tor Banjo, llano. Violin, Saxophone, Trumpet, Trombone, Flute, Clarinet
and "All" Lead and Bass IiL-truments. Also contains over 4,000 Original
Jazz Breaks for "All" Instruments. 1- But C h n m w . 14 Sock Choruses,
5 Banjo, 5 Bass and 7 Piano parts for One Hot Chorus, 1
Original Waltz. "Hot" Roll Bass, etc. Mart Modern. Simplified, lilus-
• ' Instructions published. 142 large pages of Invaluable
Loafs Orchestral Tenor Banjo Method
A complete musical education for the T e n o r B a n j o student a n d en-
nfonution" for "All" Musicians. Endorsed by (hi
Iffemphlf _• r Artists, etc. th u-iast in four volumes, in eluding a course of practical h a r m o n y
"Guaranteed." N o w K- _,<]>. used a n d r e c o m m e n d e d by the leading schools in America.
PRICE—£3.00—POSTPAID Price ( e a c h v o l u m e I $1.00 n e t
Dealers, Jobbers, write
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C. M. COLLINS CO.
197 Fulton Street - Brooklyn, N. Y. - U. S. A. NICOMEDE MUSIC CO. - Altoona, Pa.

PLEASE MENTION The C R E S C E N D O WHEN WRITING 10 ADVERTISERS

July, 1927 The C R E S C E N D O [ 23 ]

2. Plectrums are usually beveled on each right edge. This bevel

should lie flat against the string and the point in question will take
The care of itself.
3. T h e plectrum should be held loosely for tremolo and be cer-
jl/TANDOLINISTS' tain that there is no tension in the cords of the right wrist. Never
pinch the plectrum between the fore finger and thumb; the resulting

^^n» •** -GROUND TABLE tone is harsh. For an occasional accented note a harsh tone m a y be
necessary on rare occasions. T h e looser the grip on the plectrum
Conducted by the freer the wrist action. A reasonable amount of tune must be
WILLIAM PLACE, JR. produced, of course.
Virtuoso, Composer and Author
4. Tremolo is, of course, nothing but a series of down and up
strokes and to master the tremolo one must repeat m a n y times, being
'TMIIS D E r A i m T T C N T is especially for
A Mandolinists, and they may ask ques- careful to play no faster than you can think each tone. A smooth
tions Dertaining to the mandolin or con- purring tremolo is soon acquired but never think of tremolo as a
tribute items. Questions or suggestions series of intermittent strokes; it is merely a means of sustaining tone
will receive due consideration. Address
"Mandolinists Round Table," care of The over a given period of time. Practice slowly and carefully, and
before you are aware of it a good tremolo will result.

S u m m e r is here n o w and w e should not let up on the good work.

A choir of first a n d second mandolins, m a n d o l a s , Your pupils should be encouraged to continue their studies, not to
neglect music because the slightest let-up of continuity means going
mandocellos, a n d mando-basses with guitar embellish- back and repeating. If your pupils insist on a "vacation" from the
m e n t used with w o o d w i n d s a n d pizzicato strings in a strenuous hours of practice during these w a r m weeks suggest reading.
standard s y m p h o n y orchestra will prove a novelty that Select a group of operas, lives of various noted composers, and the
should at least be w o r t h y of experiment! study of various methods. In this w a y even during the "vacation"
their musical minds continue developing, they get a n e w outlook on
their work and will feel more encouraged to return again in the fall
for good honest-to-goodness practice.
M a y I thank the readers w h o have writer) m e regarding the fret-
ted instruments in the standard symphony. It is certainly gratifying
to know that the idea meets with approval and I a m particularly
grateful to m y good friend Zarh M y r o n Bickford for his encourage- A Prediction
ment. If any one knows the possibilities of our instruments it is
COME time in the not far distant future, a composer of note will
Mr. Bickford.
suddenly discover the possibilities of the fretted instruments in
symphonic ensemble, and the "standard" music world will be all
C. M . — M o n t e r e y , Calif. agog with excitement; and the " n e w " tone color will be a veritable
revelation, particularly in modern composition; and the box offices
Would you kindly tell mc ivhat are the strings of a ban-
will be joyful, for something sensational will have been discovered;
durria, and how to tune same?
and the critics will criticize and the jokesmiths will laugh, and
[ANSWER] everyone interested will talk about the " n e w " work; and then w e
Bandurria strings are in six pairs. T h e three pairs of upper w h o have always known and loved the fretted instruments, ami
strings being gut and the three lower pairs silk spun with wire. realinzed that their day w a s coming, will smile to ourselves and say:
Beginning at the lower pair tune as follows:
" W e told vou so," but nobodv'll believe us then!
Bass cleffirstline G
Bass clef second space C
Bass clef fourth line F
Bass clef fourth space G
Treble cleffirstline E TENOR BANJO CHORD BOOKS
Treble clef second space A Black 50 Foden 50 Kotty 75
Littig 50 Tocaben 50 Tait 1.00
E. Z.—Duluth, Minn. Jazz Strokes for T. B 50 McNeil Chord System 3.00

/. How far should the hand suing in making the tremolo? JAS. H. JOHNSTONE, Music Publisher
2. Should the pick point towards the fingerboard or to- 9'iiA Osborne St. Kalamazoo, Mich.
ward the bridge?
3. Should the pick be held very loosely?
4. Should down and up strokes be practiced very long BANJOISTS—ATTENTION!
before the tremolo is started?
N e w resonator model banjo pin fully gold plated
[ANSWER] and black enamel and all details clearly shown.
1. T h e plectrum should swing just enough to clear the string on P R I C E P O S T P A I D £1.00
both the down and up strikes. A n y greater swing is mere lost
motion and results in a slow dragging tremolo. B a n j o Clubs - Schools - Teachers - Retailers
Write for Special Prices
GENERAL SPECIALTY CO., Dept. C
£& N E W MANDOLIN SOLOS 3§$ 4320 North Claremont Street, Chicago, 111.

By TRUEX
T T N I Q U E in composition, and their simplicity make them F A R F A L L E T T A : Little nutterfly (polka) hy Stellario
^-' very attractive to the ordinary player. C a n he played MANDOLIN Cambria. Easy and valuable as teaching material.
Fine as a duet or in any combination. Very catchy
on the Mandola, and are especially suitable for the Banjo-
Mandolin. You'll love them. MUSIC and a delight to play. Prices: 1st M . 25c: 2nd M .
and Guitar 15c; P. ace. 25c. Also by Stellario Cambria.
LA RAVISSANTE (mazurka) 25c
Unique .40 Forward March .40 Summer Moon .40
RIFLESSIONI (valse) ift
Crazy Cat .30 Pleading .40 The Prattler .30
1 >i posltory of L E G G I A D R I A (mazurka) 20c
Twinkling .30 Blarney .30 Daffodil .30 R I C 0 R D 0 (valse) 20c
Mandolin Music in 0 B.s
[ NO STAMPS ] All best works of prominent old and modern masten.
SILVESTRI'S A L B U M , C pieces (20 paces), with piano
NORTHERN MUSIC COMPANY parts prinl innsi--tih_ .'I _h(l
Messina Music Co. Serenade, 8 Operatic Selections, and Celebrated Gavotte
Markton, Wisconsin II Postpaid, tir.o. Prices Quoted
2451 [Link] St.,Bklyn, N.Y.
0, Calace. Munier. Marucclli. Leonard!, etc.

pi.I:\SE M E N T I O N The C R E S C E N D O W H E N WRITING T O ADVERTISER!

 [24] The CRESCENDO July, 1927

C A R L O S SALZEDO'S late composition, a concert for seven wind in-

struments and Harp, was well received in Philadelphia.
The T h e first movement is divided into a "Prelude" and "Allegro
Vivo," the second is a "Nocturne." T h e third includes a "Minuet
ARPISTS' Farandolj," "Pavane" and "Gailjarde."

ROUND TABLE M I L D R E D [Link] presented a number of young prominent harp-

Conducted by sts at her annual Pupil Concert on M a y 20th, at Birchald Hall.
A. F. PINTO
ber of Faculty of N.Y. College of Music

M A R C E L G R A N D J A N G gave eighteen successful recitals throughout

TUTS DEPARTMENT is especially for
Harpists. Anyone m a y ask questions
the Basque provinces and has returned to Paris to give a recital at
5 to the Harp, or contribute items. the Salle Erard and for the summer will head the Harp Department
Questions or suggestions will receive duo at I'ontainebleau. His American tour will be booked exclusively by
Address—"Harpists Round Table", care Daniel Mayer, Inc.
of The Crescendo.

A L B K R T O [Link] was enthusiastically received in Carnegie Hall,

N e w York, on M a v 9th in a joint-recital with the celebrated tenor
According to the announcement of plans for next season's educa-
tional work of the Symphony Society of N e w York, they will continue Gigli.
to finance the musical instruction of one hundred of the most promis-
ing young pupils in N e w York public schools. T h e children will MARY E. LOISE RAUH of Ottawa, Ohio, the talented young com-
receive lessons from the first instrument players of the orchestra, poser, played several of her late compositions at a recital in South
with the Harp added to the list of instruments. H a r p teachers in Bend, on M a y 16th. T h e audience was most pleased with her "II
Chicago, Boston, Philadelphia, Pittsburg, Syracuse and other cities, Penseroso" for Harp and piano.
make note of this announcement and encourage the Board of Directors
of public schools of these cities to follow the N e w York public school
innovation of adding the H a r p to the list of instruments to be taught M A R I E M A C Q U A R R I E and her Harp Ensemble were booked for
to talented pupils. two weeks at the Paramount Theatre, N e w York, in a Publix pre-
sentation. "Vienna Life," assisted by Florence Rudolph, premie e
danseuse; A m u n d Sjovic, basso; Harold Lauder, tenor; and Florence
E L F O R D C A U G H E Y , the brilliant young American harpist, w a s en- Donovan, soprano.
thusiastically received at his recital given in Pittsburgh, Pa., under
the auspices of the Tuesday Musical Club. The program included
LUCILLE LAWRENCE and her Harp Ensemble which included
three dances by Bach, "Impranttt" by Roussel, "Jazz Band O p . 33"
Marietta Bitter, Grace W e y m e r , T h u r e m a Sokol and Eleanor Shaff-
by Tournier, "Idyll, O p . 4, No. 1" and the "Spanish Dance" by Holy.
ner gave good account of themselves at a concert given at the Times
Square Theatre. T h e y were assisted by Michio lto, dancer; Yasha
Bunchuk, celloist; and Louis Horst, pianist.
ANNIE LOUISE DAVID thrilled her audience with the rendering of
a Chinese number composed by Frimi. * * *
T h e Portland livening Express commented on the event in part: M A R I K M I L L E R gave a recital on April 2=th at the International
"Particular interest was lent to the t\s 0 Chinese numbers by reason House, Flushing, L. I. O n M a y 8th, in the home of Mr-. J. J. Ed-
that they were presented in a Chinese coat, which had belonged to wards, Carlo Sodero (solo harpist of the Metropolitan Opera C o m -
the favorite wife of the ex-emperor of China and had been adorned pany) composed a brilliant cadger for the Liszt "Second Rhapsody"
with embroideries depicting the history of China, dating as far back which ivor thefirsttime he broadcasted at the Grand Opera House
as three hundred andfiftyyears." (Station W J Z ) . M r . Hawkins of the N e w York Herald writes:
Miss David expects to sail, June 3rd, on the S. S. Majestic for a "The Harp "Cadenza" tradition given to Liszt "Second Rhapsody"
three months vacation trip to Europe. by M r . Sodero was intelligently directed and ably executed. This
writer's later work, "Ode to St. Francis" (for orchestra, choral, or-
gan and two Harps), composed tn commemorate the seventh century
of St. Francis of Asiss, w a s performed for thefirsttime in public on
J E A N N E T T E V A N D E R [Link].N R E A U M I E , popular harpist-soprano,
M a v 23rd, under the auspices of the [Link] Academy, Highland
has booked m a n y engagements for the coming season. Falls, N. Y.
M m e . Reaume has a tradition family training back of her present
T h e auditorium was packed to its utmost acapcity. A m o n g the
high attainment, for her great grandmother, the Princess Marie ol
distinguished guests were His Eminence Cardinal Hayes ami Right
Belgium, was a noted harpist and singer, her grandmother, Jeanne
Re* erend Bishop John Mitty.
D a m a s , was a lyric soprano as well as a composer, and her grand-
T h e musical synopsis ol the " O d e to St. Francis" (symphonic
father, Jean Wander Velpen, favorite of King Leopold of Belgium,
prelude), " \n_;eliis Bells," "Evening," "Daybreak," "St. Francis
was composer and a clarinet virtuoso.
Strolling In the Forest," "Shepherd's Call," "St. Francis' Sermon to
the Birds."

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CHICAGO :: ILLINOIS

PLEASE MENTION The C R E S C E N D O WHIN WRITING ro ADVERTISERS

July, 1927 The CRESCENDO l>5 1
In regard to the publishers of popular music printing "guitar
chords" in place of the commonplace ukulele accompaniments n o w
The so m u c h in vogue,—the Conductor of this department has grave
doubts if that would give the guitar the type of popularity its lovers

(GUITARISTS' and most ardent devotees wish for it. In fact, even so primitive an
instrument as the ukulele, which is after all really a folk instrument,
and suitable only in a limited sphere in the musical world, has been
G R O U N D TABLE more injured than helped by the popularity it has received through
the above channel, for the reason that this diagram and "name"
Conducted by method of writing accompaniments (such as is in vogue by such
VAHDAH OLCOTT-BICKFORD publishers for the ukulele) has further cheapened the instrument in
Virtuoso, Composer the eyes of the public, as well as making the "strummer" on the
instrument think less of the possibilities of the ukulele than he would
'"TITIR D E P A R T M E N T is especially for ever have thought had he gone to a reputable teacher and learned
A Guitarists, but anyone may ask ques-
tions pertaining to tho guitar or contribute to read the instrument in a legitimate manner, as other instru-
items. Questions or suggestions will re- ments are studied,—really knowing what notes he w a s playing and
ceive due consideration. doing what he did in a musical manner. This system, on the con-
Address—"Guitarists Round Table," care
of The Crescendo. trary, has furthered the diagram idea in the minds of those w h o
take up the instrument, turning their minds entirely away from
v.
teachers w h o might teach them to play the instrument properly and
to make something more of it than is usually heard.
L. L. W.—Holgate, Ohio T h e kind of popularity it would bring to the guitar to have all
Would you please- explain how the 10th measure in "Lul- these jazz and popular songs "diagrammed" or "named" for the
laby" by Vahdah OIcott-Bickford is played? Do you slide guitar, would all but break the heart of the Conductor of this de-
from F up to B and then back to F, or do you slide from partment. It is difficult enough now, to get serious pupils to stick
to the guitar with patience and purpose to master the instrument,—
F up to B, pick B and then back to F? If I do not pick
but under such a state of affairs as exists with the ukulele now, and
the B I cannot carry the tone as the tone is lost before I would exist with the guitar if brought about by such influence of
get back to F. the "popular music publishers,"—there simply would be no serious
[ANSWER] guitar students left inside of five years. W e want quality rather
The indication in the measure you refer to is for the portamento than quantity and the quality will gradually bring up the average
and should not be confused with the glisse or glissando. Special on quantity, but the guitar in these jazzy days where noise and
chapters on this subject will be found in T h e OIcott-Bickford Guitar simplicity of execution are the chief desideratum cannot be expected
Method. Portamento is an Italian word which in its musical use to be as popular with the mass as the ukulele and tenor banjo and
means to "carry the tone," so w e carry the tone from the Fit to Ii the "steel"-guitar, for instance. It is an entirely different type of
and pick the B, as usual, leaving thefingeron the string returning instrument and has an entirely different sphere in the musical world,
for the Ft until it reaches the 3rd fret, at which exact instant the which is as a concert solo instrument, a chamber music instrument,
firstfingeris placed on the F#, as marked. If there is no interim as an accompaniment to songs of an art or serious type, and in the
between the time thefirstfinger is placed on the F# and the time high class mandolin orchestra where it has something better and
the 2nd finger reaches the G, the carrying of the tone will be perfect. more taxing to do than the mere strum-strum accompaniments so
It might be added that the reason for changing fingers here (that is often written for it of yore.
using thefirston FS in returning is that by so doing the 2nd finger T h e real aim of the most thinking and far-sighted of guitar
is ready to play the following note, G (but using the 2ndfingereven lovers, is to have its possibilities known and recognized a m o n g the
to return would also be correct). V o u will find a chapter devoted artistic and really cultured music-lovers and musicians.
to this type of portamento and also that of using the portamento from
one string to another, in the OIcott-Bickford Guitar Method. It " Y o u are deserving, o n a c c o u n t of guitar boosting, of the support
might be well to add here that all of the sliding, portamento or of e v e r y lover of that superlatively beautiful instrument," says C . M .
carrying of the tone used in this Lullaby is of the same type, in that H A M P S O N ' , San Francisco
the nates are all picked. In the glisse or glissando the second of the
notes is never picked, but sounded from the impact of the left-hand
A L B U M F L A M E N C O (". -olos) bv Ciinacl. villa ...
finger. Both effects are most beautiful when properly and judiciously
used but the portamento m a y be used with artistic effect in many-
GUITAR C A N O A L B U M S I SL II ((1 pieces in ea.) ca. vol.
TO A W I L D R O S E (MucDowcll) by ])e La Maza
cases where the glissando could not.
MUSIC BAILE- D E M U N E C A S i
M E D I T A C I O N . I'relmlio ( 4 otic ina 1 works
A. R. J.—Quincy, Mass. Largest Depository of R E C U E R D O . Romanza \ bv De La Maza complete
MINUETO
In your opinion do you think the Guitar is an ideal instru-
ment for voice accompaniment? Messina Music Co.
2451 8-th St..Bklyn, N.Y. // Published
I would also like to ask at this time if you believe the.
ukulele is helping the popularity of the Guitar:'

8
[ANSWER]
There is no doubt that the guitar is perhaps more fascinating as
New Solos for the Hawaiian Guitar
an accompaniment to the voice than any other instrument, but this is
no! by any means disparaging the piano, which undoubtedly is suit- By J. VOLLMAR
able for the accompaniment of m a n y types of songs that would not THE HAWAIIAN GUITAR SPECIALIST
Guaranteed to please or money refunded.
be suitably played on any other instrument. However, the guitar is B A B Y ' S S W I N G S O N G (Lullaby) Reg. Gt. Assomp 30
suitable for many types of art song where, as said in the April HAWAIIAN CAPRICE 30
number of this department, it is often heard in [Link], but seldom HONOLULU GUARDS MARCH " " " 30
in America, and there is no doubt that m a n y singers of such songs TRIANGLE M A R C H " " 30
VOICE O F L O V E W A L T Z 30
have waiting for them a pleasant surprise when they see what the S E R E N A D E TO T H E E 2nd Haw. & Beg (II Assol 30
guitar can really do in this regard, since m a n y singers think the S O L E M N I T Y (A Reverie) " •• 30
Kuitar only suitable for old folk songs, or perhaps something Spanish. N E A R E R . M Y G O D , TO T H E E " " 25
i'i ne net, postpaid
This limited idea of the instrument's possibilities in this regard, as
well as in solo work, however, are caused only by ignorance of its JACOB VOLLMAR Charlotte'sta'.? Rochester. N.Y.
history and by the misfortune of not having heard competent players Dealers and resellers. Send for complete discount circular.

P T I T T A W T Q T Q . If y o u h a v e n o t s c e n a 10,)y o f
The FITRITE PICK
[TAB ("Steel" or regular it]
L r U l l A J t U S I S . M O D E R N U . B U M for G U I T A R double [Link].
Transcription, by V A H D A H OLCOTT-BICKFORD I'loduoing big tone rolume
.1 it la the .1 can> I]J_ power. 'I'M
sdjustsble to l-i and Sad fingers.
PRICE $2.(JO (10 solos. 1 duet, 1 song with guitar.) Price 40c per pair
it all musical tm
Musical Director, A m e r i c a n Guitar Society
228(1 W e s t 23rd Street. Los Angeles, Calif. HAROLD OKTII. Mfr. • 1870 Beacon Street, Boston, M a

PLEASE MENTION The C R E S C E N D O W H E N WRITING TO ADVERTISERS

 [26} The C R E S C E N D O July, 1927

use. T o mention a few of these w e name Carcassi, Carulli, Coste,

i»Ui^^§__3)--_i£^|^>*_J%^l^)^^ Giuliani, and Sor (the latter w h o particularly specified the import-

THE CRESCENDO READERS' ance of not resting the little finger w h e n it w a s not necessary, or
w h e n the third finger was in use, and w h o at the same time gave
in his famous maxims, the very excellent advice: "Be sparing in the
O W N COLUMN use of the third finger"). Sor also gave another bit of advice to
This column is open free for discussion and contributions to our readers.
guitarists that would solve m a n y of their problems if they would
think of it often: "Never give work to weak fingers while strong ones
are doing nothing." This latter follows, of course, in the wake of
Through the courtesy of Mrs. Alice Kellar-Fox of San Francisco, the former m a x i m : "Be sparing in the use of the third finger." W e
Calif., we are enabled to print the following poem written in 1870 all know the third finger is the weakest w e have and by those w h o
by her father. He died in 1802. He was a guitarist of some renown never touch the little finger to the board it is usually used far too
and played a great deal in public, although his profession was that frequently—and at times w h e n other fingering would be infinitely
of a lawyer. He loved the instrument and in addition to his ability superior.
lo play the guitar, he had a very sweet voice which lie accompanied T h e only exception of any note among the great masters w h o did
with the instrument. not advocate the touching of the little finger on the sound board was
" M y Guitar" T. K . Mertz, the Hungarian composer and soloist, w h o played exclu-
sively his o w n compositions—which were of a style that necessitated
By W . B. G. K E L L A R the unusually frequent use of the third finger, owing to rapid ar-
When I am sad and lonely, peggios and three finger tremolo. Mertz w a s practically self-taught
Away from friends afar, on the guitar, having received only elementary instruction from a
The one I love most dear teacher of no reputation in his native city of Pressburg, before he
Is m y old friend, guitar. w a . twelve years of' age, at which time he began teaching the guitar
himself, through necessity on account of the indigence of his parents.
Its soft notes are so cheeriDg, H e evolved his o w n style of playing and not having the advantage
W h e n desolate and drear, of contact with any of the great masters of his period, nor of the
W h e n Winter's blasts are blighting, benefit of their writings because of his extreme poverty, it is not
M y guitar is ever dear. [Link] that he evolved a system of technic somewhat at variance
with the accepted standards in certain instances such as the almost
Its notes recall sweet mem'ries constant use of the third finger of the right hand in melody playing
O f the returnless past— (at times when it w a s absolutely unnecessary) and the frequent use
M y inmost soul they carry of the left hand thumb in stopping the sixth string. Mertz stands
Bright visions long to last. first in history as a wonderful composer for the guitar and secondly
a« a virtuoso in the performance of his o w n works, in a similar
But now old friend is changing, position to Ole Bull, the famous Norwegian violinist, w h o w a s also
Discordant seems to g r o w — practically self-taught. Although Mertz wrote an elementary in-
Its strains are not so thrilling, struction book of ony 29 pages (a copy of which is in the writer's
T h e y seem so changed and low. possession), it has never been accepted at any time, during his life-
time or since, as one of the standard methods of instruction, even in
Yet once more I'd hear thee, the elementary grade which it covers, and he cannot be said to have
Once more that thrilling strain influenced guitar playing as far as technic is concerned, to the extent
O f ties that once did bind me, of any of those great teacher virtuosi mentioned above, all of w h o m
"But long since turned to pain." (except Coste) wrote methods which are still in use today.
The two extremities of the right hand, viz., the thumb
But thou hast ceased to murmur, and the little finger, when rightly used and controlled, be-
Those strains no more I hear,
come a wonderful balance for the support of that hand on
Remind m e of the coming end,
Perhaps another year. the guitar. At times one is used for support or balance and
equilibrium,—at times the other. One is as correct and
Another year I may lie low, logical as the other, always providing that reason and logic
Yes, quite beneath the sod;
govern as to which is used at a given time or in a given
'Tis well, he w h o wills it so,
'Tis well, for H e is God. passage.. At times, of course, neither one can be used,—and
then the hand must be entirely free,—in which case it must
Little Finger of the Right H a n d in Guitar Playing remain as quiet as possible and uith as little movement as
possible.
This question was brought up in the May number of
There is just as much logic and reason for touching the little
The Crescendo in the banjo department, ivith the result that finger on the guitar as on the banjo in the same kind of technic.
the Guitarist's Roundtable has received a number of inquiries, Of course, in the plain strum-strum accompaniment playing, or such
remarks and several requests to write an article on this subject. accompaniments as use a bass and then the three outside strings as
the after-beat,—naturally, the little finger does not touch the board
As Mr. Bradbury mentions, banjoists have practically agreed that, in the proper technic of the instrument. But the chief function of
except w h e n the third finger is used, the little finger should be lightly the guitar is as a solo instrument,—not as an accompaniment instru-.
rested on the head of the banjo, since this has been proven to give a ment,—even though m a n y that take it up do not get to the point
better tone quality and greater power than w h e n it is free. Every where they can play solos on it. If a better tone and greater volume
reason that can possibly be advanced for this position in playing the ol tone or power is possible on the banjo by the touching of the
banjo also exists for the guitar. However, lightly resting or "lightly iittle finger,—the same results are absolutely the case on the guitar.
touching" is the word. In no case should the little finger be pasted In addition to this, a greater variation of tone color, an important
d o w n tightly to the sound board of the guitar. It should be touched adjunct to artistic playing, is possible with the proper use of the
so very lightly that it can be raised at any time as easily as the eye little finger,—which, w h e n rested or touched to the sound board
is "blinked," as it were. Furthermore,—and this is very important,— should be done in the manner of a balance rather than a definite
when to touch the little finger and w h e n not to touch it, is a question support,—which is quite a different thing.
of great importance. It is as bad or worse to rest it tightly or even Relaxation, such an essential thing in the perfect mastery of any
all the time, regardless of the w a y a particular passage lays on the instrument, is greatly aided by the resting of the thumb on the
strings, or the fingers that are being used, as it would be never to bass strings at the proper time for so doing,—and no less by the
rest it. W h e n the third finger of the right hand is used the little touching of the little finger on the sound board at the proper times.
finger should be raised. There are also times w h e n the thumb can (Continued on Page 28)
rest on the bass string while notes not using the third finger are
being played,—instead of resting the little finger all the time,—but
there has never been any good reason advanced as to w h y the little
finger should not touch lightly on the sound board w h e n the third
finger is not in use. All of the greatest masters of the guitar,—those
Chenet Guitar Studies
The Easiest and Most Practical Course for Beginners. Used and
virtuosi w h o m a d e guitar history, and w h o have given us our great-
recommended bv thousands of teachers. Includes SCALES, CHORDS
est literature for the instrument,—and w h o have given us our schools
of technic by which w e are guided even today in practically all
and EXERCISES in C. D, G. A. E and F. SHORT TEACHING
instances of technic,—have advocated and taught that the little finger PIECES. — TRY THESE STUDIES WITH YOUR BEGINNERS.
of the right hand should touch lightly on the sound board of the Each 35c Net
instrument in scale passages and w h e n the third finger w a s not in H. F. O D E L L C O M P A N Y — 157 Columbus Avenue, Boston

PLEASE MENTION The C R E S C E N D O W H E N WRITING TO ADVERTISERS

July, 1927 The CRESCENDO [27]

Allegro Mandolin Orchestra

Program for Pilgrim Church, June 2, 1927
PROGRAMS OF CONCERTS A N D 1 Grand Opera Strains: "Crescendo March"
Allegro Mandolin Orchestra
RECITALS 2 Harp Solo—"Echoes of the Waterfall"
Miss Edith M . Grindle
3 Candle Ceremony
Members of Troop 29
" A n Evening with the Serenaders" 4. Vocal D u e t — " N e w Life"
Concert for 1927 Registered Guild Members at Guild Hall, N e w York Mrs. A. W . Jones and Mrs. J. L. Grindle
Chief Serenader, H. L. Hunt 5 M a n d o Bass Solo—"The Palms"
The Serenaders Plectrum Orchestra; W m . Edward Foster, Director— Mr. Edward Hooghkirk
"Pinafore Selections" Suliivan-Odell 6 Stringed Sextette—"When Hearts Are Gay"
"Les Hallebardiers Passent" Bara Miss Myra MacKenzie, Mrs. J. L. Grindle, M r . Chas. Zipper-
Banjo Solos—"Berkeley March" Brooks and Denton man, Mr. Fred Tyrell, M r . J. L. Grindle, M r . E d w . Hooghkirk
"Tyro Mazurka" arr. Bowen 7 " D o w n Dixie W a y "
Master Fred Lavenburg, Jr.; Huldah L. Bowen, Piano Allegro Mandolin Orchestra
Seville Trio—"Spanish Medley Overture" Tocaben INTERMISSION
"By Moonlight" (Serenade) 8 "Filipino Shuffle"
Mandolins, Helen Williams and Ruth Sonnenblick Allegro Mandolin Orchestra
Guitar, Caroline Sehlmeyer 9 First Aid Demonstration
Mandolin Solo—"Capriccio Zingaresco" Marucelli Members of Troop 29
Alice V. Conklin; Mrs. John Nizamis, Piano 10 Hawaiian Guitar and Ukulele Specialty
Tenor Solos—"Rimpianto" (Serenade) Toselli Mr. Ray Little and M r . Burton Russell
"You In a Gondola" Clarke n Mandolin Solo, Harp Accompaniment—"Fragments Reverie"
Harry L. Hunt; accompanied by T h e Serenaders Trio Mr. Chas. Zipperman and Miss Edith Grindle
Mandolin, Harold Maass; Guitar, Oscar Jacobson 12 Specialty Number:
Mandocello, W m . Edward Foster Saxophone, Banjo Mandolin, Banjo Ukulele and Piano
The Serenaders Quintet—'"Entr'acte Gavotte" (Mignon) . . Thomas The Misses Cefarelli, MacKenzie, Grindle and Halligan
"Intermezzo from Naila" Les Delibes 13 "The W i n d U p "
"Russian Dance" Glinka Allegro Mandolin Orchestra
Mandolins, W m . Edward Foster and L. P. Pitt
"Sealy Mrs. Hour" J. L.— Grindle,
RadioDirector,
Station N eKw DHaven,
K A , Conn.
Pittsburgh,
Mandola, H. G. HinchcliflFe; Guitar, Oscar Jacobson Mrs. C. A. Hall, Accompanist
Mandocello, Walter Greenburg Pa., April 13th, 1927, 6 to 7 P. M.
Banjo Solos—"Les Syphes" (Valse Impromptu) Bachman By the Allegro Mandolin Sextet and Company—Percy V. Lichtenfels
"Gloria" Ilager-Ring (Director) and Paul A. Wible, First Mandolins; Charles M . Dun-
Alexander Magee; Ruth K. Stewart, Piano ford, Second Mandolin; Adolph B. Fox (Manager), Mando-Cello;
The Serenaders Plectrum Orchestra— Edward P. Green, Tenor Mandolin; Alec J. Stright, Guitar.
"The Beautiful Galatea Overture" Von Suppe Assisted by Lloyd E. Longacre, Five-String (Regular) Banjo Soloist;
"Espana" Waldteufel William Kottman, Lyric Tenor; Andrew Scheuerle, Xylophone Solo-
Guitar Recital by Johnson C. Bane, Carnegie Free ist; Matthew Miller, Tenor Banjo Soloist; Mrs. P. V. Lichtenfels,
Library Lecture Hall, Pittsburgh, Pa. Accompanist
1 Overture Banc Opening Number Sleep
Scherzo Bane 1 a March, "Loyal Friends" //. F. Odell
Concerto Bane b "La Serenade" Metro
2 Cavaleria Rusticana Mascagni Allegro Mandolin Sextet
Hungarian Dance, No. 5 Brahms 2 a Five String Banjo Solo—"The Smiler" Van lips
Spanish Dance, No. 2 Moszkoivski b Five String Banjo Solo—"Rag Pickings" Van lips
Mexican Serenata Bane Lloyd E. Longacre; Mrs. Lichtenfels at the piano
3 Mandolin Solo—"Chant a la D'Amour //. Russel Truitt 3 Songs from the Old Folks arr. Odell
Encores—Valse Caprice Munier Allegro Mandolin Sextet
Spanish Caprice Munier 4 Xylophone Solos—"March" Selected
Believe me, if those endearing young charms arr. Place "Cherie, I Love Y o u "
4 American Suite for the Spanish Guitar— Andrew Scheuerle; Mrs. Lichtenfels at the piano
Rondo Bane 5 Tenor Solos—"A Song of Joy" Cadman
Waltzer Bane "Negro Spirituals" Burleigh
Concerto Bane Mr. William Kottman; Mrs. Lichtenfels at the piano
Dance Bane 6 Popular Song Selected
5 Operatic— Allegro Mandolin Sextet
Indian P o w V o w Dance Bane 7 Tenor Banjo Solos—"Where the River Shannon Flows"
"VVTE
Southern can furnish you with everything in M U S IFoster
Melodies C "Popular Song Medley"
it publishers'
Symphonic Poems and manufacturers' prices. W h y Bane Mr. Matthew Miller; Mrs. Lichtenfels at the piano
8 "The Moon Fairies" (first time on the air) II. F. Odell
order from many publishers when you can make
Allegro Mandolin Sextet
ONE ORDER 9 Five-String Banjo Solo—"Footlight Favorites" Grimshaw:
ONE BILL Lloyd E. Longacre; Mrs. Lichtenfels at the piano
10 a Fox Trot Nicomede
ONE EXPENSE Allegro Mandolin Sextet and Matthew Miller, Tenor Banjoist
b "Love's Old Sweet Song" Molloy
and buy your music and instruments Allegro Mandolin Sextet and Andrew-Scheuerle, Xylophone
at the lowest possible price 11 Unaccompanied Mandolin Solo—"Serenade" Berlhoud
Perry V. Lichtenfels
ORDER TODAY AND CONVINCE YOURSELF 12 a"I take thi- opportunity to tell you I a m very glad to seeX<The
Lullaby, "Mighty lak' a rose" vm
b March,
Crescendo will"The
not beTroopers"
discontinued. W e certainl} need all the Bin on
help
H. F. ODELL COMPANY postiblc to further the Allegro
interests Mandolin Sextet
of the fretted instruments, (xxid luck."
157 Tremont Street, Boston, Mass. Closing Number, "Please
— (,. PETTINE, Providence, R. I.G o 'Way and Let M e Sleep"
"The Crescendo is the same great little magazine for fretted in-
strument players as e v e r . " — W A L T E R F R A V U . VII.M A M I , BoMon, Mas*.
PLEASE MENTION' The C R E S C E N D O W H E N WRITINC T O ADVERTISERS
[28] The CRESCENDO July, 1927
Little Finger of the Right H a n d in Guitar Playing
(Continued from Page 20)
"J his enables the player to get greater a c c u r a c y in the w a y of touch,
W A N T E D and FOR SALE —so that there is not the d a n g e r of h o o k i n g the strings b y lifting
t h e m u p too m u c h , so that they b o u n c e b a c k o n the fingerboard or
Advertisements inserted here for 25c a line each insertion. Cash with
frets, as is so often the case w i t h those w h o plav w i t h o u t t o u c h i n g
order. Not less than three lines nor more than eight lines accepted.
the little finger, especially in rapid scale p a s s a g e s a n d the like a n d
at times w h e n the t h u m b of the right h a n d c a n n o t b e rested o n o n e
of the basses b e c a u s e of the frequent need of the t h u m b for the
p l u c k i n g of strings.

S L I f i H T L Y U S E D R E G A L Guitars, T e n o r Guitars, Ukulele Various guitarists h a v e their ideals and demands in r e g a r d to

a n d Tiples. B . M u r p h y , B o x 64, Holdenville, O k l a h o m a . what they m o s t desire f r o m their instrument, just as p e r f o r m e r s o n

Artist mandolin (bowl shape) in case. U s e d sample. V e r y fine tone a n d other instruments. These are those w h o s e tonal ideal is "crispness"
w o r k m a n s h i p . M a d e b> best m a k e r s in G e r m a n y . W o r t h $75.00—take and a sort of bright, s n a p p y brilliancy. T o these there m i g h t not
$50.00—easy p a y m e n t s if desired. C. A . T e m p l e m a n , 413 Douelas Street, s e e m the n e e d for resting or t o u c h i n g the little finger. Again there
Sioux City, Iowa.
are those w h o d o not d e m a n d a n y variety of tone color other than
ale. $20.00. Will send C. O . D . Write
that p r o d u c e d b y the v a r i o u s instrinsic qualities, — " a s is", — of the
strings of the i n s t r u m e n t itself.
The guitar, being so versatile in itself and capable of such
ch scale. $110.00. Write a great variety of effects, must in the very nature of things

Stella Guitar. $12.00. Sandberpr. make a varying appeal to various natures.

To the writer, the sonority a n d richness of the tonal quality a n d
its capabilities of s u c h great variety, make the greatest appeal.
M . T u b a p h o n e T e n o r Banjo, 21 scale, extension finper board. M a _ n a - T h e r e f o r e , in tone, s h e d e m a n d s a n d idealizes that velvety richness
tone Resonator, a n d case ""* Write D . H., care of Crescendo.
of w h i c h the i n s t r u m e n t is so c a p a b l e . A t its best there is n o other
Peerless T e n o r Banjo, 21 inch scale, with case $35.00. F. C.
tone o n a n y instrument, to h e r e a r s , — s o dulcet, so soothing, so per-
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fectly rich in native richness a n d sonority without losing its quiet,
ved neck a n d leathei
u n a s s u m i n g , dignified w a r m t h , — a s that of the r o m a n t i c guitar. Its
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uood condition $100.00. Easy p a y m e n t s if desired. Write B. I).. care varying a s o n e could desire within reason—for it n e v e r g o e s to
ot Crescendo. extremes (of its o w n nature, at least) in p o w e r or blatant noise.
To those w h o s e chief d e m a n d is brilliancy a n d a cold, crisp, s n a p p y
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better choice. F o r d e e p , soul-stirring h a r m o n i e s a n d that intimate,
human quality of u n d e r s t a n d i n g all m o o d s of the p l a y e r , — a n d even

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ture, as c o m p a r e d
reserve—and
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that finesse of a n exquisite m i n i a -
a life-size oil painting, for i n s t a n c e , — t h e
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Arranged by H . F. O D E L L
sand a n d o n e other qualities it possesses, to intrigue the player a n d
Greatest Southern Medley hirer Published listener a l i k e , — w h i c h there is n o t t i m e or space to g o into at this
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perfect control of the little finger of the right h a n d so that it c a n b e
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equilibrium that aids the other fingers to d o their d u t y a n d to d r a w
X Everybody's Using It!
forth the greatest lusciousness in the w a y of the velvety tone quality
of w h i c h the guitar is c a p a b l e .

Master Method The Odell Mandolin

for Tenor Banjo Method
Hy W M . Moulds. Eminent Tenor llunjoisl IN FOUR BOOKS
T h e leading instructor—daily gaining in p o p u - Is the Most Complete. Practical and
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w i n n e r is contained between its covers. Original, :n in. ni , and i pupil studying from t M > book is alw&j
in apply the tremolo properly to any pleee played.
progressive, interesting studies. C o m p l e t e chord
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78 Pages .50, Canada $1.70 THE ODELL METHOD
Four Hooks, each $1.00. Book 1. for beginners; book 2, slightly
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JACK MILLS, INC • Music Publishers
Jack Mills Building 148-50 West 46th St., N e w York, N. Y.

II i .SI M E N T I O N The CRESCENDO WHEN W R I T I N G T O ADVERTISERS

 The CRESCENDO

ATTENTION ! TEACHERS ! Intermezzo from Cavalleria Rusticana

KILLIAN'S M E T H O D S , with a complete arrangement of t-hoi il-. iwith duiia'ains.
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Chord Books, 75 cents. — Published by Zarvah Publishing Co. — 2280 West 23rd St., Los Angeles, Calif.
KOTTY SCHOOL OF MUSIC — 60 Miller Block, Milwaukee, Wis.
Teachers' and Dealers' Discount

The Odell MANDOLIN DUO METHOD

2 M . & P. Duos, or Guitar Solos. Your O w n Selection. Explains fully every point of Duo, Trio and Quarto playing.
Used exclusively by thousands. — — $1.00 postpaid.
GEO. STANNARD
Publisher of Over 500 Good Things for B. G. & M. H. F. ODELL COMPANY 157 Columbus Ave., Boston. M a . s.
121 South Warren Street TRENTON, N. J.

npHE W . F. B U S L A P Hand-made Hawaiian

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Duet consisting of solo and chord ace, 30c each W. F. BUSLAP C H I C A G O — — ILL.
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nc.__Ti\ This is Style 2 of the

TEACHERS and PROFESSIONALS
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Our Latest March

JAGGERS
By WARREN N. DEAN
for MANDOLIN ORCHESTRA W e can hardly think of any word to best describe it, but any of these
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T. M. CARTER, arr. by H. F. [Link] PRICE: 30c N E T _
One of the most famous American marches. You will H . F. O D E L L C O . 15? Columbus Ave., Boston, Mass.
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H. F. ODELL COMPANY — 157 Columbus Avenue. Boston BANJOISTS ! ATTENTION !
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Send for my list of— For the B A N J O
120 COMPOSITIONS and ARRANGEMENTS Quick Chord Finder PRICE 50 C E N T S
By FRANK E. O'NEAL, Banjoist, Zez Confrey's Orchestra —
FOR HAWAIIAN STEEL GUITAR The efficient banjo player of today should be able to play, at sight, either piano
Used by teachers everywhere. A course graded from easy first grade numbers or banjo parts. With the aid of this Chord Finder, the player can mark either
to difficultfifthgrade work. N o better music written for studio use or recitals. piano or banjo music quickly and accurately in a manner that will enable him
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J. D. SCHURMANN — 1010 17th Street, Denver, Colo. card index, size five liy six and one-half inches, neatly bound. Can be carried
in your coat pocket; always at your service.
JACK MILLS, INC. - Music Publishers
Jack Mills Building 148-50 West 46th St., New York, N. Y.
THE ROACH-FRANKLAND
Instructors for fretted instruments have been sub-
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Steel
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(Two Books) each 75 TEACHERS and PLAYERS Methods
(Two Books) each 75 Send for full list of
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Standard Guitar Method (Complete) 75
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Tenor Banjo Method ... for Steel Guitar and Ukulele Music
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MENTION The C R E S C E N D O W H E N WRITING TO ADVERTISERS

S7?£97
 The CRESCENDO

Choice Mandolin -Orchestra Numbers

a
c £ .5 o
m
A U are arranged by H. F. Odell unless otherwise indicated. 0
TJ •o
£ ti s 3
The sign * indicates that Tenor Mandola, Mando-Cello and a
B a n j o parts are printed with both notations together
the s a m e sheet. Nearly all have D r u m parts.
on
S
-a
s T_ rs
c H 1 m c E u
" A w a k e n i n g of Spring, E . Bach
•Battleship Connecticut M a r c h , J a m e s M . Fulton
The Blue Jackets M a r c h , C. W . Bennet
"A B u n c h of Violets, C. W . Bennet
"Call M e Thine O w n , J. F. H a l e v y
*Capriciousness, T. H . Rollinson
' D r e a m s of Childhood Waltz, E . Waldteufel
Fifteen Sacred Melodies
*Flower S o n g , G. Lange
Girls of B a d e n Waltz, Karl Komzak
*II Trovatore, Selection, G. Verdi, Arr. by G. L. Lansing
•Intermezzo from Naila, L e o Delibes
* K u r e for Kare, B a m D a n c e , T. H . Rollinson
• M a r c h from Suite, O p . 113, F. L a c h m e r
•Melody in F, A . Rubinstein
Fantasia on "Moore's Irish Melodies," H . F. Odell
•Fantasia on " T h e Old O a k e n Bucket," T. H . Rollinson
• O v e r the W a v e s (Sobre las Olas) W a l t z , J. R o s a s
Selections f r o m "Pinafore," A . Sullivan
Selection from "Pirates of Penzance," A . Sullivan
• T h e Skaters Waltz, E . Waldteufel
•Sons of Liberty M a r c h , T. H . Rollinson
W i e n e r Berger W a l t z , C. M . Ziehrer
• Y o u t h a n d Beauty Polonaise, T. H . Rollinson
Overture, Z a m p a

OLIVER DITSON COMPANY - 178-179 Tremont Street, Boston

C H A S . H . D I T S O N & C O . - 8-10-12 East 34th Street, N e w York

JACOBS' 5-STRING
WEIDT'S TENOR BANJO COLLECTION
With Full Harmony, "Fill-Ins" Counter Melody und Professional Rhythm
- ^ Strokes
BANJO COLLECTION
The compositions and arrangements are
Studies for the fretted instruments, Weidt's Volumes 1 to 8. inclusive, lor
tenor banjo composer and harmonist.
The four volumes i w published otter a large repertoire of melodious, practical and playable solos of wide
FINGER P L A Y I N G
Variety. All numbers c nplete and very effective as unaccompanied solos. The specially prepared piano parts
(not just ordinary pia i accompaniments) are replete with counter melodies and other interesting elfeets.
Volumes 9 and 10 for
VOLUME I CONTENTS VOLUME 3 CONTENTS
M y Lady Jazz Fox Trot Dance of the Teddy Bears ... Novelty Fox Trot PLECTRUM PLAYING
The Booster One-Step National Emblem (Bagley) March
Little Boy (Fazioli) Fox Trot Any Old Time at All (Hingle) Song Waltz
Blue Stocking Caprice Carita Dans Espami VOLUME 10 C O N T E N T S
Harmony Kid Fox Trot Persian Lamb Rag (Wenrich) .... A Peppercttc
Kentucky Moon Song Fox Trot Whispering Winds (Bertram) Walts National Emblem. March Bagley
The Optimist March The One I Love (Jones) Fox Trot Melody in F (Rubinstein) Arr. Ilildretti
Monday Morning Blues Fox Trot Spooks .Cobb) Eccentric Novelty Flying Wedge, Galop Dolby
Shattered Dreams Reverie Japanola Song Fox Trot Some Shape, One-step Cobb
M y Caroline Song Fox Trot The NC-4 (Bigelow) March Dixie Rube. Characteristic March Allen
Take M e Back H o m e Again, Lizzie ... One-Step . It's About Time (Gottler) Fox Trot Magnificent, March Crosby
"Whyte Laydie" ' Valse H o m e Town Band March Over the Waves. Waltz (Hoss) Arr. Jacobs
Marcheta (Schertzinger) Fox Trot Rubber Plant Rag (Cobb) A Stretcherette New Arrival, March and ETwo-step Brazil
Ghost Walk (Cobb) Eccentric Novelty Here They Come March Veronica. Barcarolle Weidt
Cow Bells (l'iantadosi) Song Fox Trot Sure as You're Born (Little) Fox Trot W h y Not? One-step Weidt
VOLUME 2 CONTENTS VOLUME 4 CONTENTS Gob Ashore, Fox Trot Leigh
Sweet Dixie Babe Song Fox Trot "Got 'Cha" A Syncopated Chase Kuiawiak, a Polish National Dance
Tangled A Syncopated Mix-up La Paloma (Yradier) Spanish Serenade (Wieniawski) Arr. Hildreth
El Dorado Tango Fox Trot Queen City March Alhambra, Spanish One-step Cobb
Just a Memory Keverie Sparkling Crystals Novelette NC-4, March Bigelow
Melody Blues Sons Fox Trot Our Director (Bigelow) March
Pasha's Pipe (iiahni A Turkish Dream Too Tired (Little) Song Fox Trot Price for E A C H volume:
Waiting for You S O U K F O X Trot Down Main Street March
Goose Waddle Danse CharacteMstiaue Harmony Baby (Bertram) Sons 7,,s Trol Banjo Solo, 75s; Guitar Ace, 75c
Your Smile Song Fox Trot Flower of Youth (Bertram) Waltz
Atta Boy One-step Stepping Out March Piano Ace, $1.00
Ain't You Ashamed Fox Trot Thistle-Down (Scholes) Novelette
Smiles and Tears Reverie Free for All A Syncopated Scrap
Young Bands March The American (Betram) Maul, Send for our catalog of over
Gypsy's Dream Danse de Bailer Dutch Kiddies Wooden slice [Link] 500 M A N D O L I N ORCHESTRA NUMBERS
They Love It (Goold) Fox Trot Limited Express (Scholes) Galop
et Price, Each Volume: T E N O R B A N J O SOLO, $1.00; PIANO PART, $1.25 and other fretted instrument numbers.

Publisher of "Jacobs' Orchestra Monthly and Cadenza," "Jacobs' Band Monthly," and "Melody" (for Plonk

WALTER JACOBS, INC.,: 0 BOYLSTON

STREET BOSTON, MASS.
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Vol. X X No. 2

15 Cents Per Copy PUBLISHED BY H. F. ODELL COMPANY $1.50 Per Year

J COPYRIGHT 1927 ALL RICHTS RESERVED -V1"""*" * '
ENTERED AS SECOND CLASS MATTER JUNE 9, 1909, AT THE POST OFFICE AT BOSTON, MASSACHUSE-"
3, UNDER ACT OF MARCH 3, 1879
Printed In U.S.A.
 The CRESCENDO

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Books You Should LEARN TO PLAY

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KOA LOA METHOD

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Price 75c Each PRICE 50c
W E C A R R Y I N S T R U M E N T S PRICED T O SUIT A L L P U R S E S

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August, 1927 The CRESCENDO [1 J

You Asked
Your Teacher
r Dealer
About
It?
VEGAVOX
" T h e Most Beautifully Voiced Banjo
in. Banjo History"

It
// another
^1 instance w h e n
Vega leads in the
rfe
pertection of tonal beau-
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is on the lips of every banjo play
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W h a t is this n e w banjo? H a v e Y O U heardi ^
Its tone is amazingly resonant, sustained, and
beautiful. Its construction is absolutely a new-
creation. It is adapted to the most exacting of all
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T h e V E G A V O X is a line of banjos entirely distinct and in
addition to the famous Vegaphone.

Ask your teacher or dealer—or write to us!

T H E V E G A CO., 165-71 Columbus Ave., B O S T O N , M A S S .

PLEASE MENTION The C R E S C E N D O WHEN WRITINC TO ADVERTISERS

[2] The C R E S C E N D O August, 1927

For Mandolin Orchestra

A MASTER ARRANGEMENT
By H. F. ODELL
OF THE FAMOUS INTERNATIONAL SUCCESS

SIQNIFICANT
is the fact that professional
Banjoists invariably choose
the W e y m a n n Orchestra T H E " H I T " of the century. From "Chauve Souris," the fam-
ous Russian vaudeville, which has been running in Europe
Banjo -—not necessarily as for several years ; in N e w York City for 67 weeks, and is
now on tour of the world. This piece is one of the cutest,
the first but rather as the catchiest numbers that has been published for mandolin^ orchestra
for years. Splendid melodies, fine contra-strains, effective in any
final choice. combination of the parts. Excellent for mandolin orchestra, for
teaching, or to play for fun. Played continually by the Boston
Symphony at the famous "Pop" concerts. The Victor Record was
Following are a few of the many professionals made by the celebrated Paul Whiteman Orchestra. O n e of the
most popular and effective numbers ever published for mandolin
who swear by this musical masterpiece: combinations.
PRICES—1st Mandolin and Piano Ace, SOc each,
Fred C. Buck Waring's Pennsylvanians net; 2nd Mandolin, Guitar, Flute, Cello, Banjo (C
Maurice E. Aten Ted Lewis and his Orchestra notation), 15c each, net; Mandola, Mandocello
(both notations) and 3rd Mandolin, 20c each, net.
George Hoge Jan Garber and his Orchestra Regular orchestra parts 10c net.
Howard Miller D a n Gregory and his Orchestra
Ben F. Knell Fry's Million Dollar Pier Orchestra How many parts shall we send you?

H. A. WEYMANN & SON, Ine

1108 Chestnut Street H. F. ODELL C O M P A N Y
Philadelphia 157 Columbus Avenue, Boston, Mass.

Musical Instrument Manufacturers Ask for Free Sample Copy of Our Banjo, Mandolin and
for over 50 years Guitar Magazine— The C R E S C E N D O

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August, 1927 The CRESCENDO £3]

The CRESCENDO
Fouiulcd 100S—H. F. Odell
The oldest and foremost fretted instrument monthly
ftfje Clarfe %axp
devoted to the interest of the
BANJO—MANDOLIN—GUITAR .and kindred — Is Easily and —
J
instruments
Quickly Mastered
ADOLPH F. JOHNSON, Managing Editor
Published Monthly by
"The Class W a y "
H. F. ODELL COMPANY Write to us for Particu-
lars about the CLARK
H A R P , without obliga-
SUBSCRIPTION PRICES tion to you.
United States $0.15 $1.50
Canada .15 1.75 Its beautiful tonal quali-
Foreign .20 2.00 ty and great resonance
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1st of each month for the succeeding month's issue. lightful.
Remittances should be made by Post Office or Express Money
Order, Registered Letter or Bank Check or Draft. Checks accepted M a k e yourself and oth-
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Correspondence is solicited from everybody interested in the
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H. F. ODELL COMPANY
157 Columbus Avenue, Boston, Mass. CLARK MUSIC CO.
M E L V I L L E C L A R K , President
Vol. X X August, 1927 No. 2 4 1 6 S o u t h Salina Street :: Syracuse, N . Y .

IN THIS ISSUE
Why Is Not the Guitar More Universally Studied ? 5
Spain and the Guitar
When Patience Is Sinking, Thing of Hill (J. T. Fitzgerald) ... 6
Tone Color in the Mandolin Orchestra—Tenor Banjo (Zarh My-
5
Tenor Guitar -
ron Bickford) 7
The June Frisby Academy Octette
NEWS OF INTEREST
7
7, 8
GET THE LATEST
EMINENT PLAYERS A N D TEACHERS 9 A n ideal instrument for those
EDITORIAL NOTES 9 who c a n n o t devote their
THE ROUND TABLE:
full time to intensive study.
BANJOISTS'—Frank C. Bradbury, Conductor 21
MANDOLINISTS'—William Place, Jr., Conductor 23
GUITARISTS'—Vahdah OIcott-Bickford, Conductor 25
HARPISTS'—A. F. Pinto, Conductor 2+
Music TRADE N E W S 22 Great Advantage over all other Stringed
CRESCENDO READERS' O W N C O L U M N • 27 Instruments
PROGRAMS OF CONCERTS A N D RECITALS 26, 27

AUGUST MUSIC Can be tuned and played like the Tenor

'Twinkling Stars," Waltz 11
Banjo or Ukulele
ist Mandolin—//. F. Odell You -uill love its beautiful Guitar quality
"Ace High," One Step 12
Plectrum Banjo—Brunover X
"You and I," Fox Trot 13 IN THREE GRADES
Plectrum Banjo—Green
Birch (dark finish) . . #10.50
"The Crescendo," Ma rch 14, 15 Birch (light finish) . . 15.00
Piano A c e — H . F. Odell
Genuine Mahogany . . 20.00
"In Happy Moments" (from Maritana) 16
G u i t a r — W m . V. Wallace, arr. by Santisteban

"South Sea'Echoes," Novette 17 ELIAS H O W E CO.

Steel Guitar—Walter Burke
120 BOYLSTON STREET - BOSTON
"Yankee Pep," March 18
ist Mandolin—//. F. Odell

PLEASE MENTION The C R E S C E N D O W H I N %\ RII ING TO ADVERTISERS

[4] The CRESCENDO August, 1927

Moyer's Conservatory Duo Method for

Tenor Banjo
TEACHERS AND PLAYERS will find this the most interesting method of the kind published. Teaches every known
style in the Duo form of playing. Will awaken the public as well as the student to the wonderful possibilities of the
Tenor Banjo. The Duo as written for the plectrum instruments consists of two parts, the melody and accompaniment, and
the performer proficient in this style of playing never fails to score a hit. The exercises and solos are very melodius. The
solos alone being worth five times the price asked for the complete work. Fifty-one pages. Price $1.25.
Grand Concert Solos and Duets for Tenor Banjos
By WALTER K. BAUER
X-N TRICK R A G $0.40 " K O W T O W " (CHINESE DANCE) $0.30
SUN CRYSTALS (IDYLLE) 30 ECHOES FROM DIXIE (OVERTURE) 75
CHICQUITA (VALSE ESPAGNOLE) 30 LUSTSPIEL OVERTURE 1.00
"THE MAESTRO" (MARCH) 30 "SPANISH DANCE" (MOSKOWSKI) 50
All have Piano Parts at same price as solo part.
c Stahl's Combination Mandolin and Banjo Orchestra Folios
Playable in any combination. Price $1.00 per book.
W m . C. Stahl's N e w Folio — W m . C. Stahl's Easy Folio — Stahl's Excelsior Folio — T h e Peerless Folio
INSTRUMENTATION—First and Second Mandolin, Guitar, Piano, Tenor Mandola, Mando Cello,
Tenor & Plectrum Banjo Solo, Tenor or Plectrum Banjo Obligato, Tenor & Plectrum Banjo Chord Ace.
All arrangements are by W A L T E R K. B A U E R
SEND FOR O U R COMPLETE CATALOG OF MUSIC, M E T H O D S A N D INSTRUMENTS

WM. C. STAHL, 133 SECOND STREET, MILWAUKEE, WIS.

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SPECIAL SALE - - ODELL STRINGS

ORDER NOW — Teachers, write for special prices.
The Best and Strongest strings made in America. Breaking strength is the highest of any strings manufactured. Gauges correct
for all instruments. Mandolin, Mandola, and Mando-Cello strings especially good forflatback instruments such as Gibson. Vega, Martin.
Washburn, etc. Guitar gut and silk stringsfinestin the world. Tenor Banjo strings exceptionally strong for dance or concert work. All
steel and wound strings made of the highest grade of wire or silkfloss,looped or knotted ends on all strings except gut. Each string in a
special waterproof, glassine envelope. Where the dozen price is given, strings are not sold in less quantities at this price.
MANDOLIN TENOR BANJO GUITAR
No. STEEL AND W O U N D Doz. No. STEEL A N D W O U N D Doz. No. GUT AND SILK W O U N D Doz.
201 E 1st, steel $0.45 70 A 1st, steel $0.45 301 F 1st, gut $2.25
202 A 2nd, steel 45 71 D 2nd, steel 45 302 B 2nd, gut 2.25
203 D 3rd, wound 78 72 G 3rd, wound 88 303 G 3rd, gut 2.85
204 G 4th, wound 93 73 C 4th, wound 1.08 304 D 4th, wound 1.60
Set of 8 strings, 60c Set of 4 strings, 40c 305 A 5th, wound 2.10
MANDO-CELLO 306 E 6th, wound 2.40
No. STEEL W O U N D Doz. REGULAR BANJO Set of 6 strings, $1.20
213 A 1st, wound $1.20 No. SILK AND SILK W O U N D Doz. GUITAR
307 E 1st, steel $0.45
214 D 2nd, wound 1.60 50 1st or 5th, silk $0.65 No. BSTEEL
308 2nd, AND
steelSTEEL
. WOUND Doz.
.45
215 G 3rd, wound 2.10 51 2nd, silk 80 309 G 3rd, steel . .50
216 C 4th, wound 2.75 52 3rd, silk 88 309i G 3rd, wound 1.00
Set of 8 strings, $1.50 104 4th, wound 1.60
MANDOLA Set of 5 strings, 40c
310 D 4th, wound 1.08
No. STEEL AND W O U N D Doz. 311 A 5th, wound 1.35
205 A 1st, steel $0.60 312 E 6th, wound 1.80
PLECTRUM BANJO GUITAR
Set of 6 strings, 75c
206 D 2nd, Mound 1.30 No. STEEL AND W O U N D Doz. STEEL AND
No. Doz.
207 G 3rd, wound 1.60 109 1st, steel $0.45 STEEL AND SILK W O U N D
307 $0.45
208 C 4th, wound 2.10 110 2nd, steel 45 E 1st, steel
Set of 8 strings, $1.00 308 .45
111 3rd, steel 45 B 2nd, steel
UKULELE 309 50
112 5th, steel 45 G 3rd, steel
No. GUT Doz. 313 G 3rd, wound 1.08
113 4th, wound 98 314 D 1th, wound 1.60
150 1st, gut $0.96 Set of 4 strings, 30c
151 2nd, gut 1.10 Set of 5 strings, 40c 315 A 5th, wound 2.10
152 3rd, gut 1.10 316 E 6th, wound , 2.40
153 4th, gut 96 157 Columbus Avenue Boston, Mass.
Set of 6 strings, $1.00
Set of 4 strings, 40c

H. F. ODELL COMPANY
PLEASE i IENITON The C R E S C E N D O W H E N WRITING T O ADVERTISERS
 Published Monthly by the H. F. Odell Co., 157 Columbus Ave., Boston
Vol. XX / BOSTON, AUGUST, 1927 / No. 2

W h y Is Not the Guitar More Universally Studied?

LET us look back over the early history of the guitar properly played, the melody may be brought out with much
and its capability of expressing the highest musical power or great delicacy, the glissando can be used with fine
sentiment, then w e may agree that it is not because of effect, and if the tremolo can be mastered the performance
the instrument itself that it is not more universally studied, can be varied in many different forms. W h e n w e examine
but because of the necessity of real hard study to master it. the adaptability of the guitar for playing chords and arpeg-
The guitar has an aristocratic and ancient pedigree. It gios, it would be hard to find another instrument capable of
was Ernst Biernath w h o said that its origin dates back 3000 producing the variety of harmonic progressions or intricate
years B. C. T h e Babylonians, Egyptians, and Hebrews are chord combinations.
said to have used, during their religious ceremonies, guitars In summing up all that has been said, is it not true, that
shaped like the ones used today. T h e chief musician being in the guitar w e have an instrument worthy of serious
held in high regard and esteem by the whole nation. attention by the most talented music student? If every one
From Asia Minor it found its way to Greece and Rome, of us take it upon our shoulders to acquaint the public with
later to Spain, Italy and Germany. Thru the Medieaval the great beauties and advantages hidden in the guitar there
Ages it continued to capture the heart of the troubadour and can be brought about a change in public sentiment that will
minnesinger, king and peasant, rich and poor, reaching the again pay homage to this most beautiful of fretted instru-
height of popularity early in the nineteenth centry. Carulli, ments—the guitar.
Carcassi, Sor and Giuliani, showed in their solo performances,
the wonderful possibilities and beauty of the guitar. Bee-
thoven, Mozart, Hayden, and Von W e b e r also played the
guitar. T h e great Paganini has written many remarkable Spain and the Guitar
duos for guitar and violin, and performed them in concert.
Today there are but a few eminent artists w h o can say they W. H. HUDSON in "Far Away and Long Ago"
have appeared before the public as celebrated guitarists. writes: " W h e n I was nine or ten years old, our guest
Those who have heard William Foden will never forget the was a young Spanish gentleman, singularly handsome,
impressive way in which he presents a concerto, nor will they with a most engaging expression and manner. After supper,
forget Johnson Bane and his captivating compositions. There during which he charmed us with his conversations in pure
are others, too, deserving praise, w h o are making our modern Castilian, like music as he spoke it, w e formed a circle before
guitar history. a wood fire in the dining room and made him take the
For several thousand years the guitar has held its own middle seat. For he had confessed that he performed on the
amongst all the civilized nations of the earth. Original guitar, and we all wanted to sit where w e could see as well
compositions and etudes have been written for the guitar by as listen.
some of the greatest composers in musical history—but what " H e tuned the instrument in a leisurely way, pausing often
do we hear—hundreds of players, w h o are unable to read to continue the conversation with m y parents, until seeing
beyond two flats or three sharps, playing an easy little h o w eager w e were, he began to play. His music and style
waltz or polka, never even looking at the inside pages of were strange to us, for he had no jigging tunes with fantastic
Mertz "Fantasie" or Legnani "Caprice." Is it any wonder flights andflourishesso much affected by our native guitarists.
then that the general public will not feel enthused over a
"It was beautiful but serious music. Then came another
guitar concert after hearing a few amateurs make an effort
pause and he talked again, and said the pieces he had been
to play an easy accompaniment to the banjo, mandolin or
playing were composed by his chief favorite, Sarasate.
even with an orchestra.
It is up to every teacher, and every student as well, to " H e said that Sarasate had been one of the most famous
demonstrate what can be done with the guitar before you guitarists in Spain, and had composed a good deal of music
can expect the multitude to "go wild over it". It is the for the guitar before he had given it up. As a violinist he
individual effort of each teacher that counts. There is would win an European reputation, but in Spain they were
nothing that will stimulate the efforts and ambitions of a sorry that he had abandoned the national instrument."
good pupil more, than listening to a finished concert. T h e same magazine prints under the caption "The Casals
From a technical standpoint, the guitar is the most com- of the Guitar" the following:
plete solo instrument, with the exception of the piano. If [ed on rage 28)

PLEASE MENTION The CRESCENDO W H E N WRITING TO ADVERTISERS

[6] The CRESCENDO August, 1927

portant teaching situation in one of the biggest schools on

W h e n Patience Is Sinking the Canadian border at Windsor. So, finding the family
finances a little low, Hill was perplexed as to the purchase

Think o/Hill of guitars and other instruments. Did he let that stop him?
Not Hill. H e went out into his shop in spare hours and at
nights, and with his o w n hands and his blacksmith tools, made
J. T. FITZGERALD the instruments he needed. O n e guitar only encouraged him
1 never knew anyone yet who really tried to get somewhere to make another and to make it better. Meanwhile he was
w h o did not arrive, sooner or later. Particularly has this getting down to the finer technique and theory of these instru-
been so in the realm of the guitar, the ukulele, the man- ments. A n d as the instruments came from the clamps, they
dolin or the banjo. A n d so, when I see or hear of an5rone showed marked improvement all the w a y through, H e saw
w h o has given it all up as an insurmountable task after a tone short-comings, so he lengthened the fingerboard, used
few rudimentary attempts, I think of the big blacksmith w h o harp strings for basses, and got a deeper, richer tone.
lives six miles from m y home here in Ingersoll, Canada. H e made harp guitars, ukuleles, taro patch fiddles, man-
I have spoken of Hill before, but that was back in the dolins, and anything else he thought to be needed. A n d it
time w7hen Hill was just starting on his up-grade. I recall must be borne in mind that they were not crude or freakish-
full well the day some six or seven years ago when Hill first looking things either. They were just good enough and just
came to m y knowledge and to m y acquaintance. He-was fine enough to be sold to music stores and to many of the
then w*orking at his trade in his o w n little country blacksmith most exacting guitar players in the country. O n e has gone
shop six miles out. Big, sinewy, athletic despite his ponderous all the way to a particular player in South Africa. A n d Hill
frame, Hill was probably the most thoroughly characteristic is still making those guitars and those other instruments,
blacksmith I had ever known. H e commanded m y interest. because he has learned the art of being patient and getting
I saw him. some few weeks later, and he asked m e h o w to the best out of every effort as he goes. H efirsttaught his
hold the steel for playing the steel guitar. I showed him own children to play them, and then others came for assist-
m y o w n rather green method at that time. H e thanked m e ance and for guitars. That is h o w his class grew after he
and left for home, where in addition to his busy shop he had had taught himself.
his home and numerous little children. I knew that day A n d so I say that Bert Hill stands out in m y mind as the
that Hill wanted to learn to play the steel guitar. Modestly last word in patience, perseverance and stick-to-itiveness in
he intimated that he had at one time played a banjo a little, the string music sphere. H e has lived down and encountered
and latterly had given some time to the accompaniment more obstacles than anyfifteenof the rest of. us ordinary
guitar. thrummers put together. Hill wanted to get some place,
It would take time to tell all the graduations of Hill's and H E IS T H E R E . Living as he did away out in the
success up to the present time. But Bert Hill wanted to do country, he had not the advantage of the town m a n or
something, and he has accomplished it. To-day he is driving w o m a n in keeping abreast of the instruments or the music.
practically all over Oxford county, and has no less than In ever*,' way, his success has been such as to show what a
eighty-four pupils on the various stringed instruments. H e m a n can do if he really wants to—and tries.
If those w h o try faintly and then quit would but keep
has his o w n orchestra and has broadcasted some splendid
this story of Hill in front of them for a little while, they
Hawaiian concerts. H e is busy at the present time playing
would decide that after all, anything worth while is worth
at garden parties and other outdoor affairs. In the winter
just a little more effort, and the greater and more sincere
he also has many inside engagements. H e comes here to
the effort, the greater the result. N o w pick up that guitar,
Ingersoll a certain number of days each w*eek, and teaches
banjo, mandolin or ukulele once again, dear reader, and
guitar, mandolin, ukulele, violin and piano. His little black-
think of Hill. It should help.
smith shop out at Foldens' Corners is closed, and the roaring
forge of other days is silent.
But there is more than just this phenomenal success which "I would take tbis opportunity to tell you that I think that The
Crescendo is the best music magazine published. Several of m y pupils
the surface shows. Hill W A N T E D to Iearn to play these get it because it helps to keep up their interest, and also keeps them
instruments, and he D I D . H e was raising a big family. His posted on what is going on in the world of fretted instruments."—
wife was in ill health. H e was putting a boy through for a R A Y G A C N O N , N e w Britain, Conn.
teacher specialist, w h o by the way n o w occupies a very im-

The Home of C Notation theFB°arnjo I A. C. BROCKMEYER'S I

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Smith's Scale, Technique and Tremolo Studies for the Banjo 75c net T H I S T E A C H I N G M T S I C is really elementary. The Progressive Studies
Choice Collection of Banjo Solos, 0 books, per book 50c net for beginners are very clear and easy for the student to learn from.
Goldby's Practical Studies for tho Mandolin, 6 books, per bonk 50c Easy for the teacher to follow. The Graded Teaching Pieces are graded
Write for Catalog of Banjo Solos for Pick or Finger playing. for gradual advancement and are all purchased separately. Y o u will like
Teachers and Dealers write, inclose card. them and so will your students. Get them today.

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Successors to Stephen Shcpartl 11 business card or letterhead to identify you as a teneher. W e
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5169 Delmar Avenue St. Louis, Mo.
H. F. O D E L L COxMPANY — 157 Columbus Avenue, Boston

PLEASE MENTION The CRESC WHEN WRITING TO ADVERTISERS

August, 1927 The CRESCENDO [7:

j$10,000 Award for Completion of Shuberts

The Color in the Symphony in B Minor
Mandolin Orchestra Invitation to compete in the completion of Schubert's Un-
jfinished Symphony has been extended to composers, teachers
and students in 26 countries by the Columbia Phonograph Co.,
— The Tenor Banjo — which recently sponsored the Beethoven Week. The countries
By ZARH MYRON BICKFORD are divided into 10 zones. In every zone there will be awards
Imade: first, $750; second, $250; third, honorable mention. To
WHILE there are, no doubt, many orchestra directors; the best composition of the 30 receiving awards the grand
who are at the present time making use of the tenor ;prize of $10,000 will be presented. Each zone will have a
Jury consisting of five competent artists who will declare the
banjo, there are practically no orchestrations on the
awards to be made. A n international jury comprising one
market which give this instrument a definite and individaul member from each zone jury, and an 11th member named in
part. Its value in the dance orchestra is universally recog- ^Vienna, the city of Shuberts birth, will award the grand
nized, but its place in the mandolin orchestra has been much prize. The contest opens in September this year and will
slower in getting fixed and I confess to being among those •close in July 1928.
who might well be classed as "skeptics." While I firmly The artistic direction of the contest will be under the
believe the time has come w*hen the tenor banjo must and supervision of the Society of the Friends of Music, and other
should be recognized as having a legitimate place with the organizations. Shubert was a member of the above mentioned
society which was organized in 1812, and this organization
other plectral instruments, I am hardly prepared yet to say
has the original manuscript of his Unfinished Symphony.
that it can represent the characteristic tone color of the banjo Those prominent Americans who served on the advisory board
family better or more effectively than the longer stringed of the Beethoven Centennial will act in a similar capacity for
plectrum banjo. In fact, to me, the quality of tone produced the Shubert Centennial. Elaborate plans are already formed
on the longer strings is considerably superior and there is for a tremendous celebration next year in Vienna of the
very little that the tenor banjo can do, or at least should do, centenary of Shubert's birth.
in the mandolin orchestra that the plectrum banjo cannot do The winning compositions will be played at conceit, re-
equally well, if not better. ', corded on phonograph records and broadcast over the radio.
However, the important fact to be recognized and dealt ' The public will be given every opportunity of hearing the
awarded works.
with is that there are probably at least a hundred tenor In addition to the tribute which this international contest
banjoists available to one plectrum banjoist. will pay the name of Schubert, it is hoped that deeper interest
(Continued on Page 20)
will be aroused in Schubert as a composer, and in the com-
positions of other musical immortals. One of the leading
newspapers said that the Schubert's Unfinished Symphony
Composition "may unearth Latent musical talent, perhaps show
The June Frisby Academy forth a genius, and will mark thefirstorganized international
exchange of musical expression in the one language which
Octette makes all the world akin. Added to all this," the paper goes
on to say, "is the color of the historical background, with the
I fascination of attempting to solve the riddle offinishingthe
THE cover picture represents the official Octette of the
June Frisby Academy of String Music of Wichita,
unfinished." Banjo Gets Religion
Kansas. "The Banjo Gets Religion" is the caption of an editorial
The Octette is directed by Miss June Frisby who has in the " N e w York Times" recently that comments on the use
devoted her entire time and attention for years to the of this instrument by a new sect in Kentucky.
advancement of string music. T h e success of her organization "That new Kentucky sect, the devotees of which dance to
rests entirely upon her untiring efforts to bring these instru- the music of banjos, sounds like an excellent variant in piety,"
the editorial goes on to say. "Its name is 'The Unknown
ments into public favor. That she has succeeded is evidenced
Tongue,' which as names go, is just as good as the Holy
by the popular demand there is for her organization. Roller or the Shakers or the House of David or the Omnipo-
This group is much in demand for social and public tent Ooms.
functions of all kinds. During the past year they have "The sect sees no Ereason why the banjo, which crossed the
played at the Wichita Eagle Radio Show, the Crestview mountains with the southern pioneers, is any less godly an
Country Club, the Wichita Motor Show as well as appeared instErument than the sackbut, the violin or the organ."
on programs given by the W'ichita Chamber of Commerce,
Kiwanis, Lions, Cosmopolitan and other clubs. The Bauer Studios
The Octette goes on tour each summer and gives programs The Walter Kaye Bauer Studios began their summer
at fairs, celebrations as well as regular concerts. They have schedule of teaching July 1st. The studios are open every
appeared during the past year at the Tonkawa, Oklahoma day but teaching will be limited to three days weekly to
Celebration and the Clark County Fair as well as given allow the faculty to get in [Link] newest addition
programs at many towns and cities throughout Oklahoma to the studios is Miss Sylvia Silverton, personal secretary to
and Kan Mr. Bauer and business manager. Mr. Bauer has just been
This organization not only plays Banjos but features engaged by the Sam Fox Publishing Company to arrange ten
Mandolins, Guitars, Hawaiian Guitars, and all fretted in- of their most famous pianologues for the tenor banjo, includ-
ents, and has recently added the Piano Accordion. ing "Nola." In addition to this, Mr. Bauer is arranging three
new editions for William C. Stahl. Every Friday evening at
member doubles on "seven" instruments; the organiza-
eight o'clock the Banderillos, a plectrum group assisted by
tion uses forty-two string instruments, being fourteen dif- Mr. Leon Hatton, vocalist, broadcasts from Station W T I C ,
ferent kinds. Hartford, under Mr. Bauer's direction. The Banderillos con-
The personnel of the Octette consists of the following: sist of the following personals:
June Frisby, Director; Aaron Campbell, Pearl Pratt, George Mr. Bauer—mandolin, tenor banjo and Hawaiian Guitar.
Chisholm, Myrtle Kimpton, Cecil Hunter, M o n a Smith, and Mr. Alex GaLarneau—2nd mandolin, tenor banjo and ukulele.
Mon;-, all of w h o m are connected with the June Mr. Joseph Kowalczyk—mando-cello, cello-banjo, tiple.
1 n-ny Academy, are artists in their lines and play for the Mr. Anthony Loprate—guitar, guitar-banjo.
: pleasure derived from good music. This organization is under a fourteen wepks contract with
the station. Beginning September 1st, the Walter Kaye Bauer
PLEASE MENTION The C R E S C E N D OStudios will open
W H E N WKITINC TO another branch at Mel
ADVERTISERS
the direction of Mr. Alex Galarneau.
 The CRESCENDO August, 1927
m
Eskimos Play Symphony in Mandolin "All W e Need Is Enthusiasm"
Arrangement Writes PERCY WADDINCTON, Associate Editor "Musical Canada"

Under the direction of Harry Reser, nationally known "As an enthusiastic reader of 'Crescendo', and one engaged
banjo artist, the E s k i m o s w e r e heard recently featuring a in the noble w o r k of attempting to raise mandolin orchestra
mandolin a r r a n g e m e n t of Schubert's "Unfinished S y m p h o n y music to s y m p h o n i c status, I a m sure y o u will be interested
in B M i n o r " through the National Broadcasting C o m p a n y . to hear of the pioneering w o r k which w e are doing here.
" T h e Unfinished S y m p h o n y , " which is the subject of c o m - After twelve m o n t h s hard grind a n d painstaking rehearsal,
petition sponsored b y a well k n o w n recording c o m p a n y , is but w e staged last w e e k a recital w h i c h w e advertised as 'a
a fragment. T h e r e are but nine bars of a scherzo, a playful revelation in fretted instrument music', the 'revelation,' h o w -
t h e m e , a n d with these t w o m o v e m e n t s expressed the s y m - ever, turned out to be the reception w h i c h w a s accorded our
p h o n y stops. efforts. A packed house listened in rapt attention, completely
fascinated, the m e m b e r s of the ensemble, keenly conscious of
the receptivity of the listeners, played as if inspired, the
Juniors Play "William Tell" result being a striking victory for that which w e have so
m u c h at heart.
A juvenile orchestra capable of presenting forty weekly "After the performance I w a s immediately approached by
concerts, of twelve n u m b e r s each, ranging f r o m light popular the conductor of a large Choral Society with a view to taking
n u m b e r s to such selections as "William Tell" (overture by part in their important concert in the fall, I a m also nego-
Rosini) is a n organization of w h i c h the city of Portland, tiating with the director of a local S y m p h o n y Orchestra to
Oregon, already f a m o u s for its juvenile musical talent, m a y test out the possibilities of e m b o d y i n g the mandolin choir for
well be proud. certain symphonic m o v e m e n t s w h e r e the s h i m m e r i n g ethereal
This orchestra, presented b y the W e b b e r A c a d e m y of M u - tone color, w h i c h these instruments alone can give, is de-
sic, h a s the distinction of being the only junior orchestra in m a n d e d . T h e 'Prelude to A c t 1' (Lohengrin) a n d the pianis-
the country that has presented regular weekly radio concerts simo prayer in the 'Finlandia' tone p o e m are t w o of the
over a period of nine m o n t h s . chosen examples. This kind of ensemble music is n o w here,
Webber's junior string orchestra h a s a repertoire of three and the dominant note in the congratulations which followed
hundred n u m b e r s . In a g e the personnel ranges f r o m nine to w a s T never k n e w Mandolins could sound so lovely'. I score
eighteen years. This remarkable aggregation is the fifth m o s t of m y music myself a n d direct with the s a m e degree of
successful organization originated b y M r . W e b b e r . This care as I did with a full s y m p h o n y orchestra, precision of
g r o u p w a s developed f r o m " r a w material," inasmuch as none attack and release, minute attention to phrasing and expres-
of its m e m b e r s k n e w a note at the time of its "first get- sion, and insistance on the display of individuality of each
toeether." T h e following are m e m b e r s of this juvenile string voice. I m i g h t r e m a r k that I h a v e found the n e w Tenor-
orchestra: Jetta Jameison, Harold V a n A v e r y , L a V e r n e D u k e , Guitar section a decided acquisition. Vocal n u m b e r s used in
Harion B r a m b l e , Viola B r a m b l e , Gertrude Gottsacker, Bernice conjunction with the Orchestra w e found very successful,
R a y , Helen Tucker, Chester Rosenfield, Elaine Letissier, Sarah 'Song of the V o l g a B o a t m a n ' with voices 'off' being extremely
Hutchinson, Edith Gottsacker, D o a n e D u k e , D a n L. Reid, Enid effective, as w a s the ' H o m e to O u r Mountains' D u e t f r o m
Clifford, F r a n k G a t e s — a l s o Jiggs. This mention of the or- 'II Trovatore' with the singers in costume. A f e w w e e k s ago,
chestra w o u l d not be complete without Jiggs, the singing clog, I nroduced for the D u n d a s Operatic Society (the oldest of its
mascot of the W e b b e r A c a d e m y . kind in C a n a d a ) 'The B a l k a n Princess', in the second act,
w h i c h is a restaurant scene, I had a small balcony built,
furnished with p a l m s a n d a floor l a m p , on this alcove a
M a n d o : "By the way, what flat are you playing in: mandolin quartet in g y p s y costume, played soft music thru-
M a n d o l i n : "Flat? T h i s is n o flat, it is a studio." out the scene, the effect w a s c h a r m i n g and did quite a lot to
boost our instruments. This letter is written, not boastfully,
but in a spirit of thankfulness that our d r e a m s appear to be
c o m i n g true. All w e need is enthusiasm a n d vision."
KEEP YOUR SHEET MUSIC
A N D BOOKS IN A N M. L. Hallett Scores a Hit
ODELL Early in the spring the Masonic Order of Jersey City
presented a splendid minstrel performance, one of the most
elaborately planned a n d staged events ever given b y a fra-
ternal society in N e w Jersey. M r . Hallett and M . L. Hallett,
Sheet Music Box Folio Jr., w h o enjoy a reputation of being banjoists of exceptional
talent, w e r e called u p o n to play a banjo duet at the closing
part of the minstrel.
After the first rehearsal of the s h o w , the m e m b e r s of the
minstrel w e r e so impressed with the banjo musical n u m b e r s
that Messrs. Hallett w e r e requested to take their place in the
half-moon minstrel circle and play every n u m b e r of the show.
M r . Hallett, w h o is advertising m a n a g e r for Loft, Inc.,
candy manufacturers, is gifted "with the ability of saying
sweet things about the candies as well as playing sweet
\ / f A D E of heavy pasteboard covered with finest quality melodies, successfully blending his literary ability with his
•'•*-*' imported paper. Front cover lifts up (see illustra- musical accomplishments."
tion), music easily inserted or taken out without moving
box. Holds over 100 copies of sheet music or 8 books. ist Banjo: "Is your pupil learning to play by note?"
Size 1^/2 xnyi X2j/i inches. Label on front to put names 2nd Banjoist: "Absolutely not! H e is paying cash."
on. Keeps music clean and neat, free from dust, and is a
decided ornament on your shelf, piano, table or counter.
Will wear for years.

PrirP*. Single box by mail $1—6 boxes $5—12 boxes $10

1 1 l"_-Co i'iice includes crate in which sent.
DIRECT FROM PARIS
c o m e s the cream of E u r o p e a n Mandolin a n d Guitar m u s i c — t h e
writings of such brilliant m i n d s as Mezzacapo, Bara, Fantauzzi.
Munier, M a r u c e l l i — n a m e s that are household w o r d s wherever the
Mandolin a n d Guitar are p l a y e d — m u s i c that is played by be-
ginner, amateur, artist. A postal will put into your h a n d s our
n e w folder—
OCnd 4>[Link] And ive will send you one box postpaid.
DIRECT FROM PARIS
H. F. ODELL COMPANY II'rite today to
THE M A X I M U M PUBLISHING C O M P A N Y
157 Columbus Avenue, Boston, Mass. 1716 Chestnut Street, Philadelphia, P a .
Ask for free sample copy of our m a g a z i n e — T h e Crescendo Importers of Banjo, Mandolin and Guitar Music

PLEASE MENTION The C R E S C E N D O W H E N WRITINC TO ADVERTISERS

August, 1927 The CRESCENDO [9]

EMINENT PLAYERS A N D TEACHERS EDITORIAL NOTES

A short biographyand photo of some uellknoicn teacher or player
— appears here monthly

T H R U these columns w e wish to express our apprecia-

tion to the hundreds of friends w h o have written,
complimenting us upon the appearance and policy of The
Crescendo. W e are gratified to learn from all parts of the
world that The Crescendo has pleased them so and w e will
endeavor in even- way to make it mere interesting, of greater
value to either student or teacher and professional, with
each succeeding issue.
T h e following letter was one of the many which w e
received, and it is indeed an honor to be commented upon
so favorably by one w h o stands out as perhaps the foremost
in the art.
"Dear M r . Johnson: — T h e July number of The Cre-
scendo just received. Y o u have m y congratulations on both
the general reading matter and new "dress" of the magazine.
It is a pleasure to read (even though it be once a month)
a magazine devoted to the fretted family of musical instru-
ments which stands for the highest standard of mandolinistic
achievements and I hope that your paper, together with other
publications of the kind, will, with its artistic influence, be
forever preserved for the uplifting of the instruments w e
love so much. I am, with best regards, yours cordially—
Guiseppe Pettine."

JOSEPH T. DONOVAN To the student

Vaudeville, Orchestra, Teacher
O M F time or other a question will enter your mind.

TLRXIXG back the pages of vaudeville a few can

S Y o u may be able to answer it, perhaps none too clearly,
and perhaps not at all. T h e Round Table, devoted to each
remember back in 1900 when W m . Kimball and Joseph
of the fretted instruments, is there to serve you—to answer
Donovan drew applause after applause with their
your questions—to give their opinion on various subjects
double banjo act from the Keith's audiences. These premier
which you choose to ask them. N o matter h o w small the
banjoists were known for their extraordinary execution in
question might seem to you, send it on to us. Let us help
the old system of finger playing and many w h o heard them
"rou answer these questions which may arise.
well remember the "Xigger in a Fit" which was "Joes"
favorite. As protege of T o m m y Glynn, the famous banjoist To the teacher—
of that time, M r . Donovan acquired a technique that almost T H E R E are also many questions which arise in your
compared with that of his instructor. daily trend of teaching, some of them are similar to
Due to excessive playing the nerves of the fingers of his those which confront other instructors as well, and still
right hand became nearly paralized. For two years M r . there are some that present new basis for thought, new
Donovan received treatment, trying to bring back that light- problems, and new ideas. Let the "Round Table" be your
ning technique which he had developed. medium for conveying your problem and your solution to
other teachers so that they might know what might be asked
The change of style from finger to plectrum playing
favored this eminent banjoist and he soon became most effi- of them some other day.
cient with the pick. Resuming activities again by entering
vaudeville with the Lambert brothers as a banjo trio act.
To all our friends—
W E will at all times welcome news from our fretted
1 he success of this act carried them from coast to coast
many times. instrument friends. W h a t is going on here and there
—hundreds of others want to Iearn of. Articles of interest
A\ hen modern dance music came into prominence he concerning these instruments of our art are also welcome.
joined a pioneer banjo orchestra which was in big demand. Each and every one of you as subscribers of the Crescendo
Joseph Donovan, with all his experience, has today be- should feel that you are its "good-will ambassadors".
come one of Boston's leading banjo teachers. Rather than The Crescendo wants to talk about you and your interests,
accept any of the prominent orchestra banjo chairs he has and the Editor wants to be swamped with material. M a k e
devoted his time solely to teaching. it your duty to write in something for the coming issues.
n.F.\SE MENTION Tin- C R E S C E N D O W H E N WRITING TO ADVERTISERS

_______________________________________________________•___•
[io] The CRESCENDO August, 1927

What an Unusual Peg-Head!

The New Ludwig
BIG CHIEF Banjo
LUDWIG has again dared to do some-
thing n e w with the banjo.

A n d w h y not? Every prominent profes-

sional banjoist knows the tremendous show-
manship value of display. On the stage,
the dance platform or even in the teaching
studio the distinctive display banjo has
"selling powers".

The unusually distinctive "Big Chief"

display peg-head compels attention. The
well proportioned outline of the Indian head
completes a beautiful ensemble. T h e back
of the resonator features a large inlaid
"Big Chief" head as well. Golden plating,
hand-engraving, hand-burnishing and artistic
color combinations of wood and pearl inlay
show up with a tremendous flash and yet
remain harmonious in their artistic balance.

Detail Description of the

Ludwig Big Chief Banjo

I" UDWIG High - Pressure

-•—•* solid bronze shell with
double tone projector. Heavily
plated with genuine [Link]-
orately hand-engraved, hand-
embossed and hand-chased.
American walnut neck hand-
carved, inlaid with pearl and
ebony at the heel.
Fingerboard is inlaid with
pearl and wood in Indian de-
signs.
T h e peg-head is an outline
figure of the L u d w i g Big Chief
(design patents pending) in-
hid with wood and pearl.
This inlay is on genuine ebony.
affording a striking contrast
with the inlay, thus making it
a powerful display feature of
the instrument. Back of peg-
Resonator and detail view of T h e resonator side-wall is inlaid head is hand-carved, bearing
the shell show the elaborate en- «ith pearl and colored woods in the title "Big Chief."
graving, the n e w adjustable arm- Indian motif. Back of resonator
rest and tail-piece. has a large "Big Chief" Indian
head of colored inlaid woods SEND FOR CATALOGS
T h e Big Chief is top tension.
with life-like effect.
V o u tighten the head from the top,
eliminating the necessity of remov-
ing the resonator for tensioning.
L u d w i g tail-piece, gold plated.
All metal parts heavily plated LUDWIG & LUDWIG
w ith genuine gold.
T h e height of strings, known as L u d w i g "Planet," 4 to 1 gear Professional Banjos
the "action" of the banjo can be peg--, pearl buttons.
regulated by the banjoist, as it is Fitted with the choicest selec- 1611-21 North Lincoln Street
equipped with the Ludwig Banjo tion of " W m . F. L u d w ig" Selected,
Action regulator. banjo heads. CHICAGO

PLEASE MENTION The C R E S C E N D O WHEN WRITING TO ADVERTISERS

 ll
t MANDOLIN
TWINKLING
Waltz
STARS
or Violin . 20 Net H. F. ODELL, Op. 70
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la OL S. A. Iutern-itional Copyright 8*ci
 Ace High
Tenor Banjo Solo

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LtfJO SOLO
YOU A N D I
FOX TROT B. SHELDON GREEN

D. S. al Fine
'OTE: This Solo may be played with the fingers or plectrum
Copyright M C M X X V I hy AVm.C. Stahl
__________________•
 XSD _ A QL>.

14 Dedicated to the Monthly Music Magazine"The Crescendo"

THE CRESCENDO
PIANO March and Two Step
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18
YANKEE PEP
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or Violin .20 net H.'F. ODELL
Op.68

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International Copyright Secured ff'
August, 1927 The CRESCENDO [19]

STUDENT h ARTIST
through the
TEACHER and GIBSON

^ri1 LL of these artists were at one time students.

Through capable teachers and deligent work,
they have reached the top of their respective
professions.
1. NICK LUCAS, Brunswick Recording Artist
2. C A R S O N ROBINSON, Victor Recordin,, Artist
3. J A C K ROSE, Allen Theatre, Cleveland
4. MRS. BOB SCHAFER, Radio Artist, New York Citv
5. C H A R L E S PANTZER, Vaudeville Artist
6. A. V. MINNERVINE, Vaudeville Artist

GIBSON offers an unusual proposition to teachers. Write for

details. Your territory might be open for representation of the
famous Gibson instruments.

o [ 511 PA RS( )N S STREET ] -^

GIBSON, Inc.
<?S[ KALAMOZOO, MICH. Y

PLEASE MENTION The C R E S C E N D O WHEN WRITING TO ADVERTISERS

[20] TA.- C R E S C E N D O August, 1927

T o n e Color in the Mandolin Orchestra being played on the D string (3rd fret) and the A on the
(Continued from Page 7) G string.
In adapting such chords to the tenor banjo the practice
This in itself is sufficient reason to make us give the
should be followed as far as possible of utilizing the root and
matter serious attention, but in addition to this there remains
third of the chords, omitting thefifthin preference to either
the important fact that the tenor banjo can be made a most
of the other intervals. A n examination of the banjo parts
effective voice in the orchestra—if it is treated properly.
to the three arrangements ("Turkey in the Straw," "Largo
O w i n g to the similarity in tuning and pitch to the tenor from N e w World Symphony" and "Ballet Egyptien") re-
mandola, it has been a custom with many teachers and di- cently published by Carl Fischer, will give a good idea of
rectors to utilize their surplus tenor banjo players by coupling the practical method of using the part for both instruments.
them with the mandola players in the orchestra, but, while In these arrangements I have indicated the notes which are
this procedure gives the banjoist an opportunity to "sit in," to be omitted on the tenor banjo by using small notes in
and probably in some cases even brings out a part which the chords.
would otherwise be missing, owing to the scarcity of mandola
T h e one important thing to remember is that the funda-
players, this is by no means making the best possible use of
mental tonal background in a mandolin orchestra should be
the tenor banjo as a distinct voice in the orchestra.
that of the mandolin and its allied associates with wooden
T h e other alternative has been to allow the banjo to play bodies, and not the more strident and penetrating voice of
a harmony part, similar to its function in the dance orchestra, the banjo family. This is merely carrying out the general
but this method is even more distantly removed from the plan of the symphony orchestra, in which the violin family
real function of the instrument, except in cases where a constitutes the background, the other instruments being used
strong rhythmical figure is desired, as in certain sections of to add the necessary variety of tone color.
marches and pieces of a similar character.
T h e suggestions made in a previous article regarding the
use of the plectrum banjo apply equally to the tenor banjo,
since the general characteristics and timbre of the two in- Dear M r . Johnson: — W a n t to congratulate you on the N E W
struments are similar. If there is already an effective plec- Crescendo. Its splendid and you and M r . Nassi are to be heartily
trum banjo part to an orchestration, it can easily be adapted congratulated on your efforts.
to the tenor banjo by merely playing all single notes, etc., It gives us all inspiration I'm sure to see things coming along in
such a manner and we'll all do our best, I'm sure, to keep the
exactly as they stand, and by adapting the chords to the magazine a "top-notcher" in all details.
peculiar tuning of the tenor by omitting either the middle T h e n e w cover is positively the best yet on a fretted instrument
or lower note of chords comprised of three notes. For magazine. A tasty arrangement featuring each month is artists,
example, the chord A-C-F (the F on thefifthline of the clubs, etc., and at the same time you are getting more into the
magazine proper.
staff), as written for the plectrum or finger banjo, would Wishing you the best of well deserved success, I am,
be played on the tenor at exactly the same pitch (universal Sincerely,
or octave notation) by omitting the C of the chord, the F F R A N K A. B R A O I U K Y .

B & D SILVER BELL B A N J O S

Used By Many Leading
Soloists
Miss Gladys Carlisle whose photograph
is shown at the left is one of the leading
lady Banjo Soloists of N e w England.
In a late Concert given by the Maxwell
Mandolin Orchestra of Manchester, Ct.,
the Manchester News said: "Her solos
were splendidly received."

N e w S2 Page Illustrated, 1927-28 Combined

Catalog and S I L V E R BELL News—FREE.

The BACON BANJO CO., Inc.

GROTON, CONN.

PLEASE MENTION The C R E S C E N D O W H E N WRITING 10 ADVERTISERS

August, 1927 The CRESCENDO [21]

Recital by the Pupils of Mrs. Maude Emerson

Sprague
Recently the pupils of Mrs. Maude Emerson Sprague took
part in a very enjoyable recital at Mrs. Sprague's home, 75
Woburn Street .Reading, Mass. Mrs. Myrtle Lindsay Leman,
lyric soprano assisted in the program.
The youngsters showed a remarkable technique on the
various instruments including the banjo, piano and mandolin
and the efforts of all were most favorably commented upon.
A pleasing feature of the afternoon was the presentation of
a beautiful bouquet of sweet peas to Mrs. L e m a n by little
Evelyn Comey. Each guest was also presented with a carna-
tion by Miss Comev.
The program given was as follows: Duet, "Apple Blossom
March," by Roberta Raley and Dorothy Sargent; waltz, "Cir-
cling Around," by Arrabelle Davis; "In a Garden," by Alta
Stewart; banjo solo, "Spanish Fandango/' by Joseph Abbott;
R. A. A.—Pittsburg, Pa. waltz, "In a Boat," by Doris Comey; valse, by Ethel Lassell;
Would like to inquire for the names of pieces in the keys sonatine, by M o n a Mitchell; mandolin solo, "La Cinquantaine,"
of E\) and A\) for both the tenor and five string banjo. I by Richard Merritt; selections by Mrs. L e m a n ; caprice,
double on the tenor and plectrum banjo in orchestra work, "Mirthful Eyes," by George Lloyd; "Scarf Dance," by Gene-
vieve Coron (advanced class pupil); trio, Minuet by Phillis
but am anxious to obtain some material for practice and solo
Comey, Alta Stewart and Doris C o m e y ; banjo solo, "Bolero,"
purposes, in these keys. I seem to have a hard time buying by William Brown; waltz, "Snow Bird," by Roberta Raley;
such material. In solo work I use the five string (finger) " A Gypsy Dance," by Phyllis Comey; valse, "The Sleeping
banjo. Princess," by Dorothy Sargent; Minuet in G, Beethoven, by
[ ANSWER ] Frank Cate; duet, Andante Con Moto (from the 5th Sym-
The task of obtaining banjo music for any model banjo in the phony) Beethoven, hy Genevieve Coron and Mrs. Sprague.
keys mentioned is a difficult one. However, i will give a general
list of numbers for the tenor andfivestring banjo respectively, which Alice Kellar • Fox School of Music
have been found to be satisfactory. Of course, these keys are not ASSISTANT T E A C H E R S
as good for the banjo family if considered as to adaptability for the Instruction on all fretted instruments—Violin and Piano
instrument; consequently, for solo selections, the banjo composers and Address
arrangers "steer clear" of the remote keys more or less. 62 Baker Street San Francisco, Calif.
For the tenor banjo, numbers of an easy and medium grade will
be found mostly in the various methods. For more difficult selections
the following have been found successful:
"Crazy Jo" (Reser). Pub. Jack Mills.—keys of Eb, Ab. ROWDENS TENOR BANJO TECHNIC
"Oriental Rondo" (Morris). Pub. Nicomede Music Co.—key Cm, Eb. Not just an Instruction Book—and more than a mere collection ol studies.
"Caroline Capers" (Bradbury). Pub. W m . J. Smith Co.—key Cm, A complete, carefully graded work covering all the principles essential to
Eb, Ab. the art or tenor banjo playing, embodying the fruits of the author's many
years' experience as a soloist and teacher. Not an impractical or unneces-
"Egyptian Eyes" (Morris). Pub. W m . C. Stahl in "Popular Duets" sary page or line in the three volumes of 192 pages of harmony and technic.
— C m , Eb. May be used for banjo-cello, mandola and mandocello, as well as for tenor
banjo. Price $1.50 per volume, Canada $2.00.
"Folios No. II and III" (Weidt). Pub. Walter Jacobs. Have sev- C L A U D C. R O W D E N — 1 5 9 North State Street, Chicago, Illinois
eral good numbers in these keys.
"The McNeil Folio." Pub. Forster Music Publisher. Has one or
two numbers.
"The Pettine Duo Style Folio." Pub. Rhode Island Music Co. Has
some excellent duos in keys mentioned. (Operatic selections.)
Do You Demand the Utmost
For the finger banjo, one will also find many easy and medium
grade numbers in these keys in the instruction books, in addition to From the Drum or Banjo
published solos. The following selections have also been tried and
found excellent: OSEPH ROGERS, JR. 6? SON have been manufac-
"Mr. Jollyboy" (Grimshaw). Pub. Essex.—keys of Cm, Eb. turing Drum and Banjo heads for 75 years. R O G E R S '
"Fired Tim" (Grimshaw). Pub. Essex.—key Cm, C, F. heads are standard equipment on practically every
"A Spanish Romance" (Grimshaw). Pub. Essex.—key Cm, Eb. high grade Banjo of reputation both here and abroad.
"Down Georgia" (Lansing). Pub. Odell.—key C, Cm. You, as a banjoist or drummer, if you demand snap and
"Thumbs Up" (Morley). Pub. Turner.—key Cm, Eb, Ab. tone, must have our product. Used by more professionals
"Study in Black" (Bacon). Pub. Nicomede.—key C, Ab, F. 20 times over than all other makes combined.
"Monomoy" (Bradbury). Pub. Stahl.—key C, Ab, F. Manufacturers of the following brands:
"A Soliloquy" (Eno). Pub. Maximum.—key Cm, Eb, Ab.
Superior Extra Brand Daisy Brand
"Down In Georgia" (Armstrong). In "Banjo Gems" Folio. Pub.
by W m . J. Smith.—key Cm, Eb. 1st Quality Brand Three Star Brand
"Naval Cadets" (Bacon). Pub. Smith (Radio Folio).—key Ab. 1st Quality Slunk Brand U n i o n Brand
"Grand Duke," Waltz (Brooks and Denton). Pub. Smith (Van Eps Slunk Extra Thin Brand
Folio).—key F, C, Ab.
Many of the above numbers are splendid concert solos, and I
think you will find them all very satisfactory. Believe one may AT YOUR DEALER'S
obtain all of the above material through H. F. Odell Company, 157
Columbus Avenue, Boston, who job all fretted instrument music of Protect yourself—buy heads stamped WARRANTED
the various publishers.
Finger banjoists should "hunt" through the English publications JOSEPH ROGERS, JR. 8C SON
more, as some of the best of the modernfingerbanjo music is pub- F A R M I N G D A L E , N. J.
"I have
lished been
by the a subscriber
English houses. to(Essex,
"our" paper
Turner,foretc.)
several years and
England has
want fine
many to thank youof for
writers realthe great
banjo helpofwhich
music, a realThe Crescendo
playable grade forhas High View, N. Y. Factories Farmingdale, N . J.
been to me. The new
the average banjoist. cover design i_ a 'cracker jack'."—H. C. M I L-
LER, Lima, Ohio
PLEASE M E N T I O N The C R E S C E N D O W H E N WRITING T O ADVERTISERS
[22] The CRESCENDO August, 1927

Mrs. Sophia Helen Harding

MUSIC T R A D E N E W S
Mrs. Sophia Helen Harding, widow of the late Chauncey
Harding, passed away Saturday morning, June 11, 1927, at
The H. A. W e y m a n n & Son of Philadelphia, string instru- her home, 57 West 75th Street, N e w York City, after an ill-
ment manufacturers for over 50 years, have placed on the ness of four months, following an accident of a fractured hip.
market a new auxiliary instrument for the orchestra and Mrs. Harding was born at Venango, Pa., eighty-two years
radio broadcasting, called the Banjola. The scale is the ago, was the daughter of the late John and Margaret (Peiffer)
same as that of the tenor banjo, the design is like a banjo Kleckner. The deceased will be remembered by the older
but the head or sounding board is spruce rather than calf-skin. residents of this section, as a noted and famous concert and
church singer; also an instructor of fretted instruments for
forty years.
"The B & D Silver Bell Banjo Family," a new catalog Twenty-five years ago Mrs. Harding with her husband and
issued by the Bacon Banjo Co., Inc., of Groton, Conn., illus- children went to N e w Y ork City, where the deceased organized
trates a score of prominent players from all parts of the and established a school of music, known as the "Harding
country, who use these instruments, as well as showing a Music School/' of which she was the director for twenty years
complete line of the B & D Silver Bell Banjos. The frontis- — u p to two years prior to her death. She was a teacher at
piece of the book bears a studio portrait of the heads of the Jamestown and Randolph, N e w York, previous to locating in
concern, Frederick J. Bacon and David L. Day. N e w York City.
Mrs. Harding was a w o m a n of culture and refinement, a
During these summer months the Vega Company of Boston musical artist, whose children inherited that same talent, and
has been stirring up a great deal of talk on a new banjo which under her capable instruction, has bestowed on them the gift
they call the Vegavox, meaning "beautiful voice." Although they m a y be proud of, but the greatest of all is, she was a
just what this banjo is like has not been officially published wonderful mother, who enjoyed to the fullest measure the love
it is said that the Vegavox has "a distinct tone quality and a and care of her children.
new creation in design that sees a new standard for m o d e m Her patience and appreciation of the kindness of her chil-
banjo construction.'' dren during her illness and her resignation to God's will, were
lovable traits of her beautiful life. SeErvices in her memory
Ludwig & Ludwig of Chicago, professional banjo manu- were held from the home of her nephew, Newton Skelton,
facturers are pioneering a new banjo which is unique in conducted by Rev. Ralph M. Safford, of the Baptist Church of
design. In keeping with the elaborate inlays on the resonator the Springs, who spoke of the musical career of the deceased
back, as well as the carving on the neck and peg-head, the mother.
manufacturers have called it the "Big Chief." This model Mrs. Harding is survived by four children: John Mortimer
banjo employs the use of a distinctive outline design of an Harding, of the Chemical National Bank of N e w York City;
Indian Chief's head on the peg-head, as well as on the reso- the Misses Margaret, Martha and Antoinette Hairling, at
nator back ,displayed in actual wood inlay. The fingerboard home; also two sisters, Mrs. Margaret Skelton, of Monrovia,
is inlaid with pearl and wood also in Indian designs, and California, Mrs. Katherine Phipps, of Oil City, one grandson,
extending from the shell to the rim of resonator is an en- AlfredTrade
Music J. Harding,
N e w s N e w York City.
graved "Flaredge." The "Big Chief" was officially introduced
at the National Music Trades Convention. Nick Lucas and his guitar are being featured by the Phil-
lips & Crew Piano Co. in a tieup with the appearance of
A great deal of interest is shown in the Davidson Auto Mr. Lucas in person at the Keith-Georgia Theatre. Some of
Mute for the banjo, put out by the General Specialty Companj Mr. Lucas' Brunswick records are "In a Little Spanish Town,"
of Chicago, by the merits of the mute in aiding the banjo "Put Your A r m s Where They Belong," "Because I Love You"
player to secure unusual effects and tone shadings. The mute and "High, High, High U p in the Hills."
fits inside the banjo and can be attached to the modern better
grade instruments. It operates automatically with the move- Quite extensive additions are being made this season to the
ment of the player, the effect caused by a slight movement catalog of the Nicomede Company of Altoona, Pa. Most of
of the banjo. This device was designed by Julian Davidson, their new publications center around the tenor banjo, and in-
banjoist of Paul Ash Orchestra. clude forty new tenor banjo solos and four new folios of tenor
banjo solos and duets; in addition there is a four volume
"I feel musically inclined tonight." instruction book for the banjo to be known as Loar's Orchestral
"Then why not go over and string Viola ?" —Texas Ranger Tenor Banjo Method, and designed to take care of the needs
of the tenor banjo student from his beginning days until he
becomes an accomplished professional. The four folios of
tenor banjo solos and duets are planned so that they parallel
Improvising Secrets! in grade the four volumes in the Orchesti*al Tenor Banjo
Method. Each one of the folios is planned to be synchronous
The 1926 Edition of the "Sure System of Improvising," with one of the instruction books. The Nicomede Music Com-
By S A M U E L T. D A L E Y pany are presenting this tenor banjo method and its accom-
TELLS YOU How to Play and Improvise Your Own Jazz Breaks, Hot panying folios as being the most complete and best course of
Choruses, Sock Choruses, Blue Notes, etc. All "Fully" explained witu its kind published.
Illustrated Models. Explains "Where" a Break belongs, " W h a t " notes
are to be used, " W h y " these notes are used, " W h e n " you are playing
wrong notes, " W h o " ? will be in "Great D e m a n d for Hot I'laying." Con-
tains all Rudiments and Rules for mos"t Modern Methods of Improvising
NEW—Tenor Banjo Teachers?
for Banjo, l'iano. Violin, Saxophone, Trumpet, Trombone, Flute, Clarinet
and " A H " Lead and Bass Instruments. Also contains over 4,000 Original
Jazz Breaks for "All" Instruments. 12 Hot Choruses, 14 Sock Choruses,
5 Banjo, 5 Bass and 7 Piano parts for One Hot Chorus, 24 Rhythms,
Original Waltz, "Hot" Boll Bass, etc. Most Modern, Simplified, Illus-
trated course of Self-lnstruclions published. 142 largo pages of Invaluable
Loafs Orchestral Tenor Banjo Method
"Inside Information" for "All" Musicians. Endorsed by tho Original A complete musical education for the Tenor B a n j o student a n d en-
Memphis Five, California Night Hawks, Victor Artists, etc. "Complete," thusiast in four volumes, including a course of practical h a r m o n y
"Guaranteed." N o w Beady. used a n d r e c o m m e n d e d by the leading schools in A m e r i c a .
PRICE—#3.00—POSTPAID
Price (each volume) $1.00 net
Dealers, Jobbers, lurile
Now Ready—Also Four New Tenor Banjo Folios
C. M. COLLINS CO.
197 Fulton Street - Brooklyn, N. Y. - U. S. A. NICOMEDE MUSIC CO. - Altoona, Pa.

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^WhV^mmmm
August, 1927 The CRESCENDO C23}

D. R.
Are there any rules governing the use of the strokes in
The mandolin playing?

l/TANDOLINISTS' There are a number of rules governing the use of the strokes in
mandolin playing. Some methods teach that all strokes should be
d o w n where it is possible to get them so. It is a rather antiquated
^^ ROUND TABLE idea although still used by m a n y players and teachers. It would be
Conducted by just as sensible to say that all the bowings on the violin should be
d o w n where it is possible to get them. A large number having
WILLIAM PLACE, JR.
Virtuoso, Composer and Author
learned to play the mandolin from methods which have been in
existance for m a n y years seem to believe that there is only one w a y
'TMIIS D E P A R T M E N T is especially for to do a certain thing, where as later and more progressive methods
•*• Mandolinists. and they may fisk ques- show that there are newer, more progressive ways of doing things,
tions pertaining to the mandolin or con- than shown in the old methods. T h e most progressive rule is to
tribute items. Questions or suggestions
will receive due consideration. Address alternate the strokes whenever possible. Players w h o play with this
•Mandolinists Round Table," care of The method are as capable of getting a good tone with the up stroke as
with the d o w n stroke. It is impossible in the limited space in this
column to give the various rules. A general rule which is very
good to remember is that the d o w n stroke is usually employed on
accented notes and the up stroke on unaccented notes. For the latest
T. L. G. ideas and rules for picking w e refer you to the Odell Mandolin
Are strains that have been repeated a certain number of Method in which the rules for picking employed by Munier, Pietre-
times to be repeated again on D. C. or a D. Sf pertosa and also the older writers are shown and explained.
[ ANSWER ]
This is purely a matter of opinion. In a set of waltzes where a
first strain is repeated and the second strain is repeated and a sign
is used to take the player back to thefirststrain it is usually cus-
I Am Music
tomary among the best musicians not to repeat thefirststrain but to Servant and master am I; servant of those dead, and master of
go to the Fine as quickly as possible. In a piece which has several those living. Through m e spirits immortal speak the message that
strains and at the en dof the fourth strain perhaps the D. S. al Coda makes the world weep, and laugh, and wonder, and worship.
sign occurs it is customary to go back to the D. S. sign near the I tell the story of love, the story of hate, the story that saves and
beginning of the piece and play to the coda sign, then jump to the the story that damns. I a m the incense upon which prayersfloatto
coda and if in going back to the beginning there should happen to Heaven. I a m the smoke which palls over thefieldof battle where
be strains with repeats it is much preferable not to repeat but to go m e n lie dying with m e on their lips.
to the coda sign as quickly as possible, therefore while some do repeat I a m close to the marriage altar, and w h e n the graves open I
on a D. S. and a D. C. w e believe it is decidedly better not to make stand near by. I call the wanderer home. I rescue the soul from
repeats in such cases. the depths, I open the lips of lovers, and through m e the dead
whisper to the living.
M. Z. K. M. C. One I serve as I serve all; and the king I make m y slave as
What is the difference in size, stringing and tuning be- easily as I subject his slave. I speak through the birds of the air,
tiveen the octave mandola, tenor mandola and mando-cellof the insects of the field, the crash of waters on rock-ribbed shores,
the sighing of wind in the trees, and I a m even heard by the soul
[ ANSWER ] that knows m e in the clatter of wheels on city streets.
The tenor mandola is tuned 1/5 below the mandolin, that is I know no brother, yet all m e n are m y brothers; I a m the father
each string is tuned 1/5 below its corresponding string on the man- of the best that is in them, and they are fathers of the best that
dolin, the ist string of the tenor mandola being tuned to A, the 2nd is in m e ; I a m of them and they are of me. For I am the instru-
to D, the 3rd to G and the 4th to C. T h e mando-cello is tuned one ment of God. —ANONYMOUS
octave below the tenor mandola or an octave and 1/5 bejow the
mandolin. T h e mandola neck and fingerboard are but a few inches
"Music in The Crescendo is very pleasing, and it contains valu-
longer than a mandolin and almost any mandolin music m a y readily
able information also."—C. S. M A T T I S O N , San Antonio, Tex.
be played on a mandola. O n the mando-cello, however, the neck
and fingerboard are nearly twice as long as the tenor mandola. This
instrument corresponds exactly to the cello in the orchestra and is
just as powerful in tone. T h e strings of the tenor mandola are TENOR BANJO CHORD BOOKS
somewhat larger than the mandolin strings, the instrument being Black 50 Foden BO Kotty 75
strung with wire strings for the ist and wound strings for the 2nd, Littig 50 Tocaben 50 Tait 1.00
3rd and 4th. T h e strings on the m a n d o cello are quite large in size, Jazz Strokes for T. B 50 McNeil Chord System 3.00
all being wound. T h e old octave mandola was tuned an octave
below the mandolin with the strings slightly larger than those on JAS. H. JOHNSTONE, Music Publisher
the tenor mandola but the octave mandola is a thing of the past, 934A Osborne St. Kalamazoo, Mich.
in this country and most all of those w h o owned octave mandolas
have restrung them with tenor strings making them fair substitute'
for the genuine tenor mandola. A s very few firms make octavt F A R F A L L E T T A : Little Butterfly (polka) by Stellario
mandolas today, it is difficult to get any strings for an octave man- MANDOLIN Cambria. Easy and valuable as teaching material.
Fine as a duet or in any combination. Very catchy
dola except of the cheapest grade, as a matter of fact, w e know of
but one or two people in this entire country w h o are today using MUSIC and a delight to play. Prices: 1st M . 25c; 2nd M.
and Guitar 15c; P. ace. 25c. Also by Stellario Cambria.
the mandola. LA R A V I S S A N T E (mazurka) 25c
RIFLESSIONI (valse) 250
L E G G 1 A D R I A (mazurka) 20c
Messina Music Co. R I C 0 R D 0 (valse) 20c
£&r N E W MANDOLIN SOLOS #5 2451 84th [Link], N.Y. All best works of prominent old and modern
By TRUEX
r T N I Q U E in composition, and their simplicity make them
*-' very attractive to the ordinary player. Can be played BANJOISTS—ATTENTION!
on the Mandola, and are especially suitable for the Banjo-
Mandolin. You'll love them. New resonator model banjo pin fully gold plated
a n d black e n a m e l a n d all details clearly s h o w n
Unique .40 Forward March .40 Summer Moon .40
Crazy Cat .30 Pleading .40 The Prattler .30 P R I C E P O S T P A I D gl.00
Twinkling .30 Blarney .30 Daffodil .30
B a n j o Clubs - Schools - Teachers - Retailers
[ N O STAMPS ]
Write for Special Prices
NORTHERN MUSIC COMPANY
Markton, Wisconsin
GENERAL SPECIALTY CO., Dept. C
4320 North Claremont Street, Chicago, III.

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[24] The CRESCENDO August, 1927

The Origin of the Harp

The 'Tis believed that this harp, which I wake now for thee,
W a s a siren of old, w h o sung under the sea;
ARPISTS' A n d w h o often at eve, through the bright waters roved,
T o meet on the green shore a youth w h o m she loved.

ROUND TABLE But she loved him in vain, for he left her to weep.
Conducted by A n d tears, all the night, her gold tresses to sleep.
A. F. PINTO Till heaven looked with pity on true love so w a r m .
ber of Faculty of N.Y. College of M u A n d changed to this soft harp the sea-maiden's form.

T H I S D E P A R T M E N T is especially for Still her bosom rose fair—still her cheeks smiled the same—
Harpists. Anyone may ask Questions
pertaining to the Harp, or contribute items. While her beauties gracefully formed the light frame;
Questions or suggestions will receive duo A n d her hair, let loose, o'er her white arm it fell,
consideration. W a s changed to bright chords, uttering melody's spell.
Address—"Harpists Round Table", care
of The Crescendo.
Hence it came, that this soft harp so long been known
T o mingle love's language with sorrow's sad tone;
Till thou didst divide them, and teach the fond lay
T o speak love w h e n I'm near thee, and grief w h e n a w a y !
W h a t Is a Symphony Orchestra? THOMAS MOORE
Various Instruments Described by MELVILLE CLARK
"I'm going to give you this violin."
THE HARP " A n out-and-out gift?"
"Absolutely. N o strings to it." •—Scream
In orchestras the harp is coming more and more to be used as
one of the instruments. A t Bayreuth there are six harps, the N e w "Bobby," inquired his pa, "did you wash your face before the
York Philharmonic and the Boston Symphony Orchestras each have music teacher came?"
"Yep."
two and the Chicago Orchestra has two. In the N e w York Phil-
" A n d your hands?"
harmonic the harp is placed at the left of the conductor and directly "Yep."
in front of thefirstviolins, and this is the general position of the " A n d your ears?"
instrument where it is used. "Well," said Bobby, "I washed the one that would be next to
her." —Colgate Banter
T h e harp is believed to be the oldest of stringed instruments.
Hermes, the high priest of Osiris, according to Egyptian legend, w a s
strolling along the banks of the river Nile w h e n his foot came in T T is with deep regret that the Crescendo must dis-
contact with a tortoise shell lying in his path. T h e sinew of tortoise, *• continue the Harpists' Round Table. The fretted
dried by the sun, w a s tightly stretched across the shell and when
instruments to which the Crescendo is primarily devoted
struck produced a musical sound.
has created such increased enthusiasm in this publica-
In line with other progressive movements of the day, harp play-
tion that it lias become necessary to find more space to
ing has undergone an astonishing development. Formerly harp
playing consisted of the "tinkling of a few beautiful tones or further their interests.
chords," but it w a s generally thought by most musicians and or- The Harpists' Round Table will be discontinued with
chestra leaders, and considered by most professional harpists, that this our August issue—this, however, does not mean
the technical possibilities of harp playing were necessarily limited
that all connection with harpists will discontinue, as we
because of the manner in which addicrutals were produced. There-
fore, the great bulk of beautiful composition was unsuited to the all realize the prominence of the harp in fretted insru-
harp because in order to produce one semi-tone a separate pedal ment orchestras. N e w s and stories are welcome at all
and foot action were necessary. It is obvious that the most skillful times, as the Crescendo desires to serve its friends of
harpists are possessed of only two feet and as the producing of one
the harp as well as in the past.
accidental in the old method of playing required the use of the
entire foot upon a pedal it will be seen that the music which con- The services of Mr. A. P. Pinto, member of the N e w
tains m a n y accidentals in combination w a s impossible of production York College of Music faculty, and conductor of this
upon a harp. This limitation has been entirely overcome by a new department, has been deeply appreciated. The many
method of pedaling. W i t h the aid of a few simple and useful
years of contact through these columns of the Crescendo
appliances, the advance method makes possible the playing of
m a n y accidentals simultaneously. It consists of placing the ball of has brought many sincere friends which will bring to
the foot on the pedal and the heel of the same foot upon another him only pleasant memories.
pedal, thus operating two pedals at one time by the action of the Editor
foot.

WORLD-WIDE SUPREMACY
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Endorsed and continuously used by 95% of the foremost orchestras
and harpists throughout all civilized countries.
For your use while learning, you m a y obtain thefinestharp known
—the superb Lyon & Healy H a r p — a t very small expense.
Send for details of our special plan, and interesting harp booklet.
iVo Charge ^—^ Write Today

64 E. J A C K S O N B O U L E V A R D
CHICAGO : : ILLINOIS

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August, 1927 The CRESCENDO [25}

plectral instruments. There is quite a difference of opinion in re-

gard to this matter and the question would take dozens of pages to
The carefully explain to those w h o have not studied acoustics. Unfortu-
nately 6/8 time in any of the three instruments sounds the same

(GUITARISTS' whichever w a y it is written. O n the mandolin, w e believe it is well

to tremolo all dotted notes in 6/8 march time, and pick the rest,
unless the notes are marked with the slur meaning tremolo.—H.F.O.
5' j1
G R O U N D TABLE
Conducted by
Tom bets that there are only twelve positions on the
V A H D A H OLCOTT-BICKFORD
Virtuoso, Composer guitar. Bill bets there are as many positions as there are
frets. Who wins the bet? —JlM
'-piIIS D E P A R T M E N T is especially for
A Guitarists, hut anyone may ask ques- Bill wins. There are as many positions on the guitar as there
tions pertaining to the guitar or contribute are frets on the fingerboard, but if the amount bet is very large,
items. Questions or suggestions will re-
ceive due consideration. you should divide it for the reason that while every fret is a posi-
Address—"Guitarists Round Table," care tion it is very seldom that more than 12 positions are used except
of The Crescendo. by the most expert players. A complete scale m a y be played in the
>. ( 12th position and one or two positions higher but they are very
seldom used and are extremely difficult. H . F. O.
W . S.
Are short rests to be interpreted as silences on the man-
dolin and guitar family of instruments? If so, should the
L. S. B.—
What is meant by the expression a certain musical num-
vibration of the strings be stopped by the right or left hand
ber has a strong rhythm?
and why? If short rests do not mean silences for the fretted
[ ANSWER ]
instruments, why are short rests written especially in original
This generally refers to the fact that the musical phrases in the
compositions for these instruments? To illustrate, should a
l
style in which the composition is written are strongly accented, for
/% note followed by a fy rest in 6/8 march tempo be played instance in the case of a waltz, it would be said to have a strong
as though it were a ]/$ note? rhythm if the melody or the harmony were such as to cause a very
strong accent on thefirstbeat of every measure. T h e same m a y be
[ ANSWER ] applied to other compositions such as marches and mazurkas.
A rest is a rest always and should be so regarded. There is no
reason that the vibration of the strings should be stopped by either
hand for the reason that after having once picked or struck a note
on any instrument, that is considered the end of the note. A sustained
Final Concert of Season Gets Hearty Applaus
note is that note which is sustained by a tremolo movement on the
The annual concert given by the pupils of Miss L. Dorothea
plectral instruments or by a b o w in the violin family. It is obviously
W e b b , assisted b y the W e b b Concert Orchestra, in Fraser
impossible to stop the vibration of strings in every case and if it
Memorial Hall, School for the Blind, N o v a Scotia, proved m o s t
can't be done in every case, it should not be done at all. T h e
successful. T h e auditorium w a s filled and in its audience w e r e
mandolin and guitar have certain overtones or continued vibrations
m a n y musicians. Hearty applause w a s extended after each
after being picked. This plainly shows the inferiority of these
n u m b e r . F r o m the seven-year-old pupils with their first solos
instruments compared with the violin family, in fact, the guitar and
to the m o r e advanced w e r e m a n y w h o proved themselves
the harp m a y be well compared to English hand bells as far as
overtone and vibration are concerned. A guitar will continue to above the average.
During the evening Miss W e b b w a s presented with a beau-
vibrate for a considerable length of time and if a composer should
attempt to write and consider these vibrations, his music would be tiful basket of flowers by the Orchestra and Mandolin Club,
the greatest jumble of tones that could be imagined. In the violin and other floral bouquets f r o m her pupils.
family the vibration can be absolutely controlled by the bow. Un-
fortunately with the plectral instruments, w e have no such control
and the dampering of the strings by either hand m a y be employed
GUITAR A L B U M F L A M E N C O (5 solos) by Cimadevilla ... 90c
C A N O A L B U M S I 4 II (6 pieces in ea.) ea. vol. 90c
TO A W I L D R O S E (MacDowell) by De La Maza 55c
by soloists if they desire but it is not a legitimate w a y of playing MUSIC BAILE D E M U N E C A S
M E D I T A C I O N , Preludio / 4 original works
an instrument and w e do not believe that it is correct to do so.
R E C U E R D O . Romanza t by D e La Maza complete 60c
Answering the last part of the question will say that w e believe M1NUET0 '
that of course the rests mean silences but as to w h y they are written,
w e must refer you to the composer. A composer writes his music Messina Music Co.
according to his o w n ideas. If he has ability, he will write it 2451 84th St.,Bklyn. N.Y. If Published We Have It
correctly and with the plectral instruments w e attempt to play his
music. If w e disregard his rests w e are not playing his composition
and yet on account of the peculiar manner in which the tone of the
plectral instruments is controlled and the prolonged vibration after
a note has been struck, the effect is perhaps slightly different from
the playing of the same pieces on the violin, but so little as to be
hardly noticeable. W e repeat that a note once played with a single
pick or struck on any of these instruments is, according to all rules
8 New Solos for the Hawaiian Guitar
By J. VOLLMAR
T H E H A W A I I A N C U I T A R SPECIALIST
of theory, acoustics and w e believe practice, considered finished. If Guaranteed to please or money refunded.
B A B Y ' S S W I N G S O N G (Lullaby) Reg. Gt. Assomp 30
the note is a long one, w e have various ways of sustaining it on the HAWAIIAN CAPRICE 30
HONOLULU GUARDS MARCH 30
TRIANGLE M A R C H " " " 35

^KL™£^,
VOICE OF L O V E W A L T Z • 30
CONCERTO ROMANTICO S E R E N A D E TO T H E E
S O L E M N I T Y (A Reverie)
2nd Haw. & EReg. Gt. Assomp
" •'
30
30
by Zarh M y r o n Bickford. H T h e only A m e r i c a n Concerto tor this in- N E A R E R , M Y G O D , TO T H E E " » 25
strument and the only Concerto for Kuitar obtainable at the present Prices are net. postpaid.
time, t A w o r k of great c h a r m and beauty.
Price $3.00 JACOB VOLLMAR CharlottT'sta.^Koches'ter, N.Y.
Discount to Dealers and Teachers. Send for complete dlscriptive circular.
Zarvah Publishing Co.
2280 West 23rd Street, Los Angeles, Calif.

The FITRITE PICK

G T T T T A R T S T S ' ORIENTALE by Cesar Cu_, that charm- For G U I T A R ("Steel" or regular style)
• J - J l l / l l U O l J . i nK favorite of violinists and cellists, is now and for B A N J O . Fine for double tremolo,
obtainable for Guitar Solo, transcribed by Vahdah Olcott Bickford in and for producing big tone volume and
"Modern Album for Guitar", containing 10 Solos—1 Duet—1 Song carrying power. '1'wo sizes, large and small,
adjustable to 1st and 2nd Angers.
•with guitar. Price 40c per pair
Price $2.00 kt all musical mdse. dealers and Jobbers or
American Guitar Society HAROLD O R T H , /II/.. - 1870 Beacon Street, Boston, Mass.
2 2 8 0 W e s t 23rd Street, Los Angeles, Calif.

PLEASE MENTION The C R E S C E N D O W H E N WRITING TO ADVERTISERS

[26] The CRESCENDO August, 1927

Sixth Annual Concert of the Little Symphony

P R O G R A M S OF CONCERTS A N D Mand. Orch.—Walter Kaye Bauer, Conductor
RECITALS •1 a "Marche Militaire" Schubert
b " M y Heart at Thy Sweet Voice" (From Samson et Delilah)
c "Les Hallebardiers Passent" Bara [Saint-Saens
The Orchestra
2 Mandolin Solo—"Mignardises" Mezzacopo
The Gibson Plectral Orchestra of Galveston in Mr. Anthony J. Loprate
Miss Gertrude F. Hugins at the Piano
Concert—Wilfred S. Montague, Director 3 Petite Suite de Ballet Gluck
Allegro non troppe (Iphegenia in Aulis)
(a) Young America—March H. F. Odell Lento (Orpheus), Andante (Armide), Finale
(b) Selection from "Orpheus" J. Offenbach The Orchestra
(c) Laughing Eyes—Waltz H. F. Odell 4 Mando-cello Solo—"Love Sends a Little Gift of Roses" Upshaw
Orchestra Mr. Joseph Kokalczk
(a) Danube Waves—Waltzes J. Ivanovici Miss Gertrude Hugins at the Piano
(b) Zigzag—Intermezzo Capriccioso Richmond Ferber 5 a "The World is Waiting for the Sunrise" Seitz-Bauer
Ladies' Quintette b "Berceuse" (From Jocelyn) Godard
Miss Marie, Marburger Miss Evelyn Nelson, c "Pilgrim's Chorus" (From Tannhauser) Wagner
Miss Aline Breedlove Miss Stella Breedlove The Orchestra
Miss Laura Pierce 6 Overture from the Musical Comedy "Rose Marie"
(a) Herd Girls Dream August Labitsky The Orchestra
(b) La Belle—Waltz C. S. Dilano 7 Soprano Solos—"Roses of Picardy" IVhite
Guitar Duet "At Dawning" Cadman
Robert Nealy and Arthur T. Blease Miss Gertrude F. Hugins
(a) Humoresque Antone Dvorak 8 Humorous Monologue Selected
(b) Pizzicato Polka J. Straus Prof. John E. Foglesong
Orchestra 9 Tenor Banjo Solos—"Spanish Dance" No. 1 . Moszkowski-Bauer
"The Majesty of D a w n " (A Suite in six movements) Edward Cox "X-N-TRICK" Bauer
1 T h e Morning Star (Prelude) Mr. Walter Kaye Bauer
2 The D e w Drop Fairies Miss Gertrude Hugins at the Piano
3 T h e Prince of D a w n 10 a "Step Along" March Higgs-Bauer
4 T h e Prince of Light b "Sweet Marie", Waltzes Morris-Bauer
5 Glittering Sunbeams c "Spanish Belle", Fox Trot Stahl-Bauer
6 Flight of the Shadow Imps (Finale) d "Weeping Willow," Valse Lente Brunoiier-Bauer
Orchestra e "Sparkles," Fox Trot Sahl-Bauer
(a) Mia Amorita Fred Bacon The Hartford Banjo Band
(b) Revel of The Roses—Waltz Walter Rolfe
Men's Sextette Concert given by the Bickford String Quartet
R. B. McEachern, Geo. Anderson, W m . Heins, Robt. Nealy
R. B. Lancaster, A. T. Blease Assisted by the Lovejoy Trio and the Soloists—Mildred Clint, Pi-
(a) Andantino LeMare ano; Freeda Potts, Soprano; Vahdah Olcott Bickford, Guitar—in
Duet — Mandola and Mando-Cello the "Church ft ith the Lighted Window"
R. B. Lancaster and Geo. Andersen Piano Quartet—"Op. 272" Reineck
(b) O Sole Mio E. D. Capua Allegro—Scherzo-Moderato Adagio—Rondo Finale
R. B. Lancaster and Geo. Andersen Bickford String Quartet; Grace Lovejoy, Piano
Under the Double Eagle—March G. F. Wagner Soprano Solo—Selected Freeda Potts
Men's Sextette Grace Lovejoy at the Piano
D o w n Dixie W a y " II. F. Odell Bickford String Quartet—a "In Highest Thought" Them
A Medley of Southern Airs b "The H u m m i n g Bird"
Zacatecas—March Genaro Codina Frederic Clint, ist violin Grace Lovejoy, 2nd violin
Orchestra Zarh Myron Bickford, viola Marjorie Potts, cello
Clifford E. Leighton's Annual Mandolin and Guitar Solos—a "Parting for Syria" Giuliani
b "Elves at Play," Caprice Bickford
Banjo Concert, Portland, Maine "Hungarian Dance No. 6" Brahms
Lovejoy Trio: Frederic Clint, violin;
1 a The Colored Guards March A.J. Weidt Marjorie Potts, cello; Grace Lovejoy, piano
b Pancy Blossoms, Waltz Clifford E. Leighton Vocal Duet—"Venetian Boat Song" Blumenlhal
Clifford E. Leighton's Mandolin and Banjo Orchestra Freeda and Marjorie Potts
2 Banjo Quartet Selected Violin Solos—a "Indian Lament" Dvorak
Mr. Spaulding, Mr. Adams, Mr. Desmond, Mr. Ingram b "Liebesfreud" Kreisler
3. Fair Maid of Perth (overture), Mandolin Solo J. Widdell Frederic Clint (Mildred Clint at the Piano)
Clifford E. Leighton, assisted by Mary E. Curran Piano Solo—"Elegie" Nollet
4 a Moonlight Gavotte Clifford E. Leighton Mildred Clint
b Chain of Daisies, Waltz A.J. Weidt Quintet—"Larghetto-AUegro" Minuet, "Larghetto" Rondo Schnabel
Mandolin and Banjo Orchestra Bickford String Quartet; Vahdah Olcott Bickford, Guitar
5 Reading Selected
Miss Mollie Pillsbury Musical Program by "The Gibsonians"
6 a A National Guard Clifford E. Leighton
(Jas. H. Johnstone, Director) at Twenty-third Annual Banquet of
b Old Glory Selection Julius Seredy
the Western State Normal School Alumni
Mandolin and Banjo Orchestra
1 a "Pozieres March" McCoy-Odell
7 Solo Dancing (Dreaming) Selected
b "Life's Lighter Hours" Smith-JVells-Odell
Miss Katbryn Hilliard
2 a "Moonlight Frolic" Odell
8 a Dancing Dolls C. Jeffery
b "In the Pines" Johnstone
b Fraternity March Clifford E. Leighton
3 "King Rose," Overture Barnard-Odell
c A Popular Song Selected
4 a "Gibsonitis" Johnstone
Mandolin and Banjo Orchestra
b "Chop Sticks" Johnstone
9 Reading Selected
Tenor Banjo Solos—Jas. H. Johnstone
Miss Mol,lie Pillsbury
5 " D o w n Dixie W a y " Odell
10 Royal Arms Wm. C. Stahl
6 "Brown and Gold," Selection ..' arr. Johnstone
Mandolin and Banjo Orchestra
PLEASE MENTION The C R E S C E N D O W H E N WRITING TO ADVERTISERS
August, 1927 The CRESCENDO [27]

Hartford Plectral Club, Luth. League Seventh

Annual Concert — F. C. Bradbury, Director THE CRESCENDO READERS'
1 a March, "Young America" Odell
b Overture, "Persian Princess" Armstrong
O W N COLUMN
c "Shifting Shadows" Odell This column is open free for discussion& contributions to our readers.
Hartford Plectral Club
2 Banjo Ensemple—
a " D o w n Virginia" arr. Bradbury
b "Evening Song" Grimshaw
Miss Leona Bunnell M r . Frank Bradbury The Master
Miss Gladys Carlisle M r . James Franckum An Appreciation
Piano, Mrs. Frank Bradbury
3 a H a r m o n y March Smith When Farland on the banjo plays,
b Overture, "King Rose" Barnard T h e masterworks of other days,
Ensemble W h a t soul but could with rapture thrill,
T o list', while with consummate skill,
4 Brief Address by Rev. Hulteen
In wondrous tune, and perfect time,
5 Mandolin Solo—"Bandurria" Stauffer
H e weaves those melodies sublime.
M r . Frank Bradbury
6 a Concert Valse, " W h e n Hearts Are G a y " Odell The critics open wide their eyes,
b "The Lost Chord" Sullivan Listen aghast, in mute surprise.
Ensemble T o harmonies, they did not know,
7 Banjo Solos— Lay hidden in the old banjo,
a Rondo Characteristic Marks A n d find it hard to understand,
b Polonaise No. 2 Eno H o w Farland makes them sound so grand.
M r . Frank Bradbury
8 a "Gallantry," D u e D'Amour Kelelbey When Farland plays a "Barcarolle,"
b March, "The Toastmaster" Odell W e feel the gentle rise and fall,
Ensemble Of the frail craft as on w e glide
In fancy, o'er the rippling tide,
All this, and more, the tune conveys,
T o those w h o list', while Farland plays.
Concert & Dance given by the Columbia Tenor
A Chopin "Nocturne" now we hear,
Banjo and Hawaiian Guitar and Ukulele Clubs Stealing, exquisite on the ear,
Dull care takes flight ,when thus w e find
Under the direction of Sophocles T. Papas, assisted by Dorothy
A tonic, soothing to the mind,
Sherman Pierson, Soprano, and Pasqual Romano, Mandolinist
A s strains from Farland's banjo float,
"The Senator" (March) Morris T h e mastertouch in every note.
"Hawaiian Islands Waltz" Smith-Cusenza
Columbia Tenor Banjo Club The great "Concerto" Mendelssohn,
Guitar Solos— His program w e m a y find upon,
"Caprice, op. 26, No. 9" Legnani Then all w h o would a lesson seek,
"Prelude, C minor" Chopin In tone production and technique,
"Lullaby" Papas Will hear on giving close attention
"Fingal's Cave" Mertz Something beyond their comprehension.
M r . Sophocles T . Papas
Soprano Solos— America will yet be proud
"Love's Enchantment" Batten T o sing the praises long and loud,
"Shy Mignonette" Brake Of he w h o did with patience great,
" T o Eostra" Curran Her native banjo elevate,
Dorothy Sherman Pierson T o be at least upon a par
With piano, violin, guitar.
"One, T w o , Three, Four" Hawaiian
"Gypsy Sweetheart" Herbert
Others there are we have in mind,
"Drifting and Dreaming" (Fox-trot)
W h o will in music's history find
Columbia Hawaiian Guitar and Ukulele Club
A place, with those great ones w h o play,
Mandolin Solo—
T o cheer the heart from day to day.
"Souvenir des Naples Tarantelle" Leonardi
T h e critics in deciding thus,
M r . Pasquale R o m a n o
Are found to be unanimous.
"Xenychtides Tango" Ponghi
"Eventide" Papas
These artists, like all artists true,
Columbia Tenor Banjo Club
Will credit give where it is due,
A n d think the greater part of fame,
Theirs to be linked with his great name.
\ \ 7 E can furnish you with everything in M U S I C Such are the m e n w h o lead in praise
Of what is heard when Farland plays.
at publishers' and manufacturers' prices. W h y D. C R E E
order from many publishers when you can make
ONE ORDER "Do you know the Arthur song?"
'No, what is it?"
ONE BILL "Arthur any more at home like yo —Cincinnati Cynic
ONE EXPENSE
I rushed breathlessly into Neighbor Brown's apartment. "Brown,"
and buy your music and instruments I panted, "your wife just eloped with the saxophone player w h o lives
at the lowest possible price next door."
(Pause.) "You don't seem excited."
"No, there's no reason to be. W e stood the saxophone groaning
ORDER TODAY AND CONVINCE YOURSELF as long as w e could. This morning the wife and I tossed to see
w h o should get rid of him. She lost." —Cornell Widow
H. F. ODELL COMPANY
157 Columbus Avenue, Boston, Mass. "That last note w a s D flat."
"That's what I thought, but I didn't like to say so."
— L o t Angeles Times
PLEASE MENTION The C R E S C E N D O W H E N WRITINC TO ADVERTISERS
[28] The CRESCENDO August, 1927

Spain and the Guitar

(Continued from Page u)

WANTED and FOR SALE " 'After hearing in Geneva four concerts by our guitar
virtuoso, Andres Segovia,' says a musical critic in the Madrid
Advertisements inserted here for 25c a line each insertion. Cash with
order. Not less than three lines nor more than eight lines accepted.
El Sol, 'I thought it proper to put the question to myself,
W h a t will this happy appearance do for Spanish music? An
it* -, artist of the first order appeared playing the guitar as his
chosen instrument—the national musical instrument of Spain.
Will sell for $35.00. W e all know* what Casals did on the cello; by virtue of his
technique. Segovia has done as much on the guitar, and
No. 208 Mandoli more: he has enlarged the field of expression beyond what
has been produced on it before, so that in his hands it ex-
Slingerland Te 0.00. Will send C. O. D. Write
presses every shade of feeling conceived by modern music.
'Also, Andres Segovia has had to overcome the obstacle
Van Epps Recording Banjo with resonating chamber. 21 inch scale. $48.00.
Address B. F.. care of Crescendo. offered by that throng of music-lovers who, at the sight of
nj'o and case. 23 inch scale. $110.00. Write a guitar, are overcome with sentiment and lift their eyes to
the ceiling in anticipation of cheap and pleasant stuff.
Stella [Link]. $12.00. Sandberg, of Crescendo. " 'Spanish composers of modern times have already con-
Vega Mandolin, bowl shape, -lightly shop w 1. $30.00. Write H F. care tributed to the special literature for the guitar, and the
of Crescendo. famous Falla at their head has written a beautiful elegy
M. Tubaphone Tenor Ba .jo, 21 inch scale, extension finger bo _rd Magna- which seems an example of the highest in Spanish music' "
tone Resonator, and case (65 00. Write D. H.. ca e of Cres Jo.
Ii; Peerless Teno • Banjo 21 inch scale .ith case $35.00. F. C. care
.,1 Crescendo. CONSOLATION
nd leather case
I cannot sing the old songs,
No. 9 Tubaphone Plectrum and perfection case, extension finger board. In I sung long years ago,
good condition $100.00. Easy payments if desired. Write B. D., care
For all m y notes are s h a k y —
of Crescendo.
"Little Wonder" Vega Guitar, with resonator [Link] condition T h e y will not sweetly flow ;
$60.00. The Vega Company, 165 Columbus Ave.. Boston. But I can sing the n e w songs;
"The Crescendo is one of the best magazines on the market today, Their tunes I love to bawl,
keeping the musical world 'all strung up' the same as any musical For, luckily, the n e w songs
instrument, and I see no reason w h y anyone w h o understands the T h e y need no voice at all.
least of any musical instrument could do without it. T h e music
—Goblin
published monthly alone could not be purchased for $1.50, and the
reading matter is all g o o d . " — J O H N C. PFEIFFER, Los Angeles, Calif.

"The Crescendo is a very interesting magazine, and keeps me in

touch with what is going o n . " — T . S. H A G E R M A N , Williamsport, Pa.
The Odell Mandolin
Method
FAMOUS TENOR BANJO SOLOS
lly America's Greatest Banjoists and Composers IN FOUR BOOKS
GHOST OF THE BANJO
DIZZY FINGERS
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Is the Most Complete, Practical and
KITTEN ON THE KEYS
CAT'S PAJAMAS
By Zez Confrey
liy Harry Jentes It
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contains every possible point about mandolin pla
CRAZY JO By Harry Reser w h e r e a n d w h e n to tremolo throughout the four boo-
GREENWICH WITCH By Zez Confrev the tremolo is indicated by the slur, exactly the s a m e in all Odell
ECCENTRIC Bv .1. Itusscll Robinson arrangements, a n d a pupil studying from this book always able
PICKIN'S By Harry Reser to apply the tremolo properly to a n y piece played.
CHANGES By Edward B. Claypoole O V E R 1000 T E A C H E R S USE
TICKELS By Henry W. Ross T H E ODELL M E T H O D
TICKLING THE BANJO By William Morris
Price f>5 cents each 110. tr

JACK MILLS, INC. - Music Publishers 157 C O L U M B U S A V E N U E

Jack Mills Buildinc 148-50 West 46th St., N e w York. N. Y.
H. F. ODELL COMPANY BOSTON — — MASS.

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Here they are! The Folio you have long been asking for, an F A M O U S F O L I O — C a t c h y , tuneful melodious,
excellent collection of original, easy and exceedingly interesting colorful and attractive. W m . Morris. #1.00.
playable tunes with pretty melodies, published as solos or duets,
C O N C E R T F O L I O — Five Difficult Solos with
for Ukulele or Tiple. \\\ A Folio that will inspire the player to Piano Accompaniment. W m . Morris. #1.50.
further study of his instrument. Get it today and be convinced.
D A N D Y F O L I O — T e n Popular Style Tenor
C O N T E N T S — " T i p p l e Toddles," Fox Trot; "Hawaiian M o o n - Banjo Duets. W m . Morris. #1.00.
light," Waltz; "Southern Lady," March Song; "Vonette/ M A J E S T I C F O L I O — T e n Popular Style Tenor
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PLEASE MENTION The C R E S C E N D O WHEN WRITING T O ADVERTISER?
 The CRESCENDO

ATTENTION ! TEACHERS Chenet Guitar Studies

KILLIAN'S M E T H O D S , with i complete arrangement of chords (with diain-amsl
id KOTTY'S C O M P L E T E B O O K O F C H O R D S
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recommended by thousands of teachers. Includes SCALES. C H O R D S
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and EXERCISES in C. D, G, A. E and F. S H O R T TEACHING-
many features and knowledge not found in other methods. Price, Methods, $1.50.
Chord Books. 75 cents. — Published by PIECES. — T R Y T H E S E STUDIES W I T H Y O U R BEGINNERS.
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H. F. ODELL COMPANY — 15 Coluu io.-ton

Send S1.00 FA ON RY 10 Pieces frori the Stannard

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GEO. STANNARD Used exclusively by thousands. — — 11.00 postpaid.
Publisher >t Orer 500 Good Tilings forII. G & 11.
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card index, size (ive by six and one-half inches, neatly bound. Can be carried
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Instructors for fretted instruments have been sub-
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 The CRESCENDO

_oi • 1% /l 1 1 • s~\ 1 1V T 1
\ C h o i c e JVlandoli]1 Or ch Lee tr, a JAl]Lm be TS
All are arranged by H . F. Odell unless otherwise indicated.
ll 1
.5 c
-a 2
o
s

i ^! 1 a
T h e sign * indicates that Tenor Mandola, Mando-Cello and c
B a n j o parts are printed with both notations together on
the s a m e sheet. Nearly all have D r u m parts.
Ioa T3
i 2 o §

* Awakening of Spring, E . B a c h 20
r 1 "^15
i "*
15 20
E- S
20 20
s c
15
fe
15
o
15
p.
20
Battleship Connecticut M a r c h , J a m e s M . Fulton 20 15 15 20 20 20 —
— 15 15 15 15
•The Blue Jackets M a r c h , C. W . Bennet 20 15 15 20 20 20 15 15 15 15
A Bunch of Violets, C. W . Bennet 30 15 15 20 20 20 — 20 15 15 30
"Call M e Thine O w n , J. F. Halevy 20 15 15 20 20 20 — 15 15 15 20
,:
Capriciousncss, T. H . Rollinson 30 15 15 20 20 20 — 20 15 15 20
• D r e a m s of Childhood Waltz, E . Waldteufel 30 20 20 30 30 30 — 30 15 15 20
Fifteen Sacred Melodies 30 20 20 20 20 20 —
20 30 20 20 35
Flower Song, G. Lange 20 15 15 20 20 20 20 15 15 30
Girls of B a d e n Waltz, Karl Komzak 35 20 20 30 30 30 — 20 15 15 15
*I1 Trovatore, Selection, G. Verdi. Arr. by G. L. Lansing 30 15 15 20 20 20 — 20 15 15 35
*Intennczzo from Naila, Leo Delibes 35 20 20 30 30 30 — 30 20 20 40
• K u r e for Kare, B a r n Dance, T. H . Rollinson 20 15 15 20 20 20 —
15 15 15 15 20
'March from Suite, O p . 1 1 3 , F. Lachmer 30 20 20 30 30 30 20 20 20 30
"Melody in F, A Rubinstein 20 15 15 20 20 20 — 20 15 15 30
Fantasia o h "Moore's Irish Melodies," H . F. Odell 35 20 20 30 30 30 — 30 20 20 50
*Fantasia on " T h e Old O a k e n Bucket," T. H . Rollinson 30 20 20 30 30 30 —
20 20 20 20 40
•Over the W a v e s (Sobre las Olas) Waltz, J. Rosas 30 20 20 30 30 30 20 15 15 15
Selections from "Pinafore," A . Sullivan 35 20 20 20 20 20 —
20 20 20 20 40
Selections from "Pirates of Penzance," A . Sullivan 35 20 20 20 20 30 20 30 20 20 40
" T h e Skaters Waltz, E . Waldteufel 35 20 20 30 30 30 30 20 20 50 .
•Sons of Liberty M a r c h , T. H . Rollinson 20 15 15 20 20 20 — 15 15 15 20
W i e n e r Berger Waltz, C. M . Ziehrer 35 30 30 30 30 30 30 30 30 50
•Youth and Beauty Polonaise, T. H . Rollinson 20 15 15 20 20 20 — 20 15 15 30
Overlhre, Zampa 35 20 20 20 20 20 —
— 30 20 20 60

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Published in
JACOBS' 5-STRING
WEIDT'S TENOR BANJO COLLECTION FOUR VOLUMES
BANJO COLLECTION
With Full Harmony, "Fill-Ins," "'.ounter Melody and Professional Rhythm Strokes (C Notation)

The compositions and arrangements are

Studies for the fretted instruments. Weidt's Volumes 1 to 8. inclusive, for
tenor banjo composer and harmonist.
The four volumes now published offer a large repertoire of melodious, practical and playable solos of wi
FINGER P L A Y I N G
variety. All numbers complete and very effective as unaccompanied solos. The specially prepared piano pa
(not just ordinary piano accompaniments) are replete with counter melodies and other interesting eftVc
Volumes 9 and 10 for
VOLUME I CONTENTS V O L U M E 3 CONTENTS
1. My Lady Jazz Fox Trot Oancc of the Teddy Bears ... Novelty Fox Trot PLECTRUM PLAYING
2. The Booster One-Step National Emblem (Iiagley) March
3. Little Boy (Faziolij Fox ETrot Any Old Time at All (Ringle) Song Waltz
4. Blue Stocking .. . Caprice Carlta Dans Espana VOLUME 10 C O N T E N T S
5 H»rmo.y Kid Fox Trot Persian Lamb Rag (Wenrich) .... A [Link]'erctti'
fi. Kentucky Moon Song Fox Trot Whispering Winds (Bertram) Waltz National Emblem. March Bagley
7. The Optimist March The Ore I Love (Jones) Fox Trot Melody in F (Rubinstein) Arr. HUdieth
8. Monday Morning Blues Fox Trot Spooks .Cobb) Kccentric Novelty Flying Wedge. Galop Dolby
;i. Shattered Dreams Reverie Japanola Song Fox Trot Some Shape. One-Step Cobb
111. M y Caroline Song Fox Trot The NC-4 (Bigelow) Mardi Dixie Rube, Chano-lni .In' March Allen
11. Take Mc Back Home Again, Lizzie ... One-Step . It's About Time (Gottler) Fox Trot Magnificent, March Crosby
12. "Whyte Laydie" Valse H o m e Town Band March Over the Waves. Waltz (ltoss) Arr. Jacobs
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I. Sweet Dixie Babe Song Fox Trot 1 . "Got 'Cha" A Syncopated Chase Kuiawiak, a l'olish National Dance
_. Tangled A Syncopated Mix-up '. . La Paloma (Yradier) Spanish Serenade (Wieniawski) Arr. llildreth
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4 just a Memory Reverie .Sparkling Crystals Novelette NC-4. March Bigelow
... Melody Blues Song Fox Trot .' , Our Director (Bigelow) March
n. Pasha's Pipe (Ilahnl A Turkish Dream ( . Too Tired (Little) Song Fox Trot
7. Waiting for You Song Fox Trot ', . Down Main Street Manii
Price for E A C H volume:
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Song Fox Trot Banjo Solo, 75s; Guitar Ace., 75c
Waltz
in. Atta Boy One-Step li Stepping Out March Piano Ace., $1.00
11. Ain't You Ashamed Pox Tim 11 . Thistle-Down (scliolcs) Novelette
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Net Price, Each Volume: TENOR BANJO SOLO, $1.00; PIANO PART, $1.25 and other fretted instrument numbers.

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Books You Should fl BICKFORD METHODS FOR

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Written by ZARH MYRON BICKFORD
For Mandolin and Piano T h e World's Leading Mandolinist

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ELITE COLLECTION particularly valuable as a self-instructor. A n all-inclusive
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Mandolin Method
PAR EXCELLENCE SELECTIONS In four b o o k s — e a c h

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SUPERB COLLECTION (Arr. Barker)
38 exceptionally successful pieces. Inter- Tenor Banjo Chords
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Price
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September, 1927 The CRESCENDO [l

E R E IT I S — a n e w creation
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[2] The C R E S C E N D O September, 1927

The Weymann Orchestra

m
Superior Banjo A n n Rest

Tenor Banjo, Style N o . 2

Curly maple rim and neck.

Patented tone amplifying
rim and resonator. Beau-
tiful natural finish. Price
$185.00. Other styles from
$35.00 to $350.00. Write
for catalog.
Highly polished nickel plate, with inserted pyralin
pearl top. N o supports or attaching clamps visible.
Attached in less than a minute, and is held firmly
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Price, Nickel Plated, 75 Cents Each
With Pearl Inlay, $1.50 Each

Banjo Drum
A
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Only in the W e y m a n n do you find such

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C a n be attached to any banjo. Snare drum accom-
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September, 1927 The CRESCENDO [3]

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Vol. X X September, 1927 No. 3

IN THIS ISSUE
Rudiments of Music (I. H. Odell) 5
The Germ of Desire (J. T. Fitzgerald) 5
Tone Color in the Mandolin Orchestra—The Flute (Zach Mvron
Bickford)
Frets (William J. Smith)
'... . 6
7
GET THE LATEST
A n ideal instrument for those
FRETORIALS 9 who c a n n o t devote their
EDITORIAL NOTES 9
full time to intensive study.
THE ROUND TABLE:
BANJOISTS'—Frank C. Bradbury, Conductor 21
MANDOLINISTS'—William Place, Jr., Conductor 23
GUITARISTS'—Vahdah Olcott-Bickford, Conductor 25
PROGRAMS OF CONCERTS A N D RECITALS 26
Great Advantage over all other Stringed
CRESCENDO READERS' O W N C O L U M N 27 In'.truments
W A N T E D AND FOR SALE 28
SEPTEMBER MUSIC Can be tuned and played like the Tenor
"Beautiful Night," Barcarolle 11 ~Banjo or Ukulele
ist Mandolin—J. Offenbach
"When Dixie Smiles" 12 You will love its beautiful Guitar quality
ist Mandolin—G. L. Lansing
"Jazz Baby" 13
Tenor Banjo—Tail IN THREE GRADES
"The Bobolink" 1^
Regular Banjo—G. L. Lansing Birch (dark finish) #10.50
Birch (light finish) 15.00
"Spectre Dance" 15
Guitar—II. F. Odell Genuine Mahogany 20.00
"Pride of Honolulu" 16
Steel Guitar— IV. Burke
"At a Honolulu Wedding" 17 ELIAS H O W E CO.
Ukulele—W. Burke 120 B O Y L S T O N S T R E E T - B O S T O N
"Loves Old S» eet Song" 18
Mando-Cello, Mandola—Molloy-Odell
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Ul The CRESCENDO September, 192;

W m C. Stahl's Famous Publications

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I N S T R U M E N T A T I O N — F i r s t and Second STAHL'S Tenor Banjo Orchestra Folio
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___V_ ^\M
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an instrument or sings, should have a general knowledge figures which are exactly the same in all keys, should be taken
•
%
to. T h e n the intervals or degrees of the scale (diatonic) by
M

Vol. of XXthe-^ rudiments of music, and yet there are m BOSTON.

a n y w h o SEPTEMBER,
note of, and 1applied
927 to the music as performed, as this is No.
the3
seem to be far from well informed about these simple matters real foundation of melody in its simplest form, and by a care-
Rudiments of Music
and could not give correct replies to ordinary questions ful notice of the degrees a quick understanding of
will be gained and one will be surprised to find there are
intervals
These important "little points" for the beginners are , By almost
I. H. ODELL
always overlooked in the haste to become "players" ( ?) and but few to be remembered.
many so-called players of musical instruments are produced It is astonishing sometimes to find how main there arc
w h o can play the few pieces they have learned, but are w h o cannot tell the signature of any key, and do not k n o w
incapable of taking up n e w pieces except by slow and labo- the effect oi sharp and Hat. This is one of the simplest of
rious study and practice. A knowledge of rudiments m a y all rudiments and everyone should thoroughly understand
seem to m a n y of no importance, but one should consider the h o w m a n y sharps orflatsthere are in all keys, and the effect
fact that if the performer of a piece of music does not under- of sharps or flats or double sharps ( h o w m a d e ) , or double
stand the ordinary marks which indicate what the m u s flats placed before a note. Another point which should be
supposed to express he cannot very well k n o w or feel what
learned is the reason w h y one sharp is the key of G , and
lu- is trying to play except as lie m a y "blunder" into it by
w h y that sharp is placed on the letter I* and w h y one flat
accident or luck, any more than u reader would understand
is key of F, two flats key of B, and so on throughout all the
what he was raeding if he did not k n o w the meaning of half
various keys. All this is easily and quickly learned trom the
the words, although he could speak or pronounce all.
diatonic scale and its whole and half tones as steps.
N o w there are comparatively few rudiments to learn, and M a r k s ol expression are not usually observed, although
all are simple and easily committed to memory, for which they should be. but perhaps in m a n y cases are not understood.
reason there is but little excuse for any one not know ing the T h e ones commonly used are easily learned. So also with
most it not all of them. Teachers are frequently to blame the commonly used words to indicate tempo and character.
for this want of know ledge as the writer found in a remark- while the metronome marks m a y be readily understood b\
able case not long ago. A young lady asked a simple ques- using the second hand of a watch, thus: if the mark is a
tion: " W h a t is a third above E on the mandolin I) ctring?" quarter Qgtt followed by 96 it means there are 96 quarter
Telling her quickly it was G , she replied, "I don't k n o w what notes to a minute, all other times being determined the same
G or K is." and then 1 discovered that all she knew was this: w a y counting the number necessary for a quarter or half a
if a note was on the fir. t line, the first finger w a s to be placed minute.
at the second fret, and that is the w a y she had been taught There are also various other rudiments which should be
to play. Is it any wonder she did not k n o w more about learned thoroughly, in fact every student of any instrument
rudiments. should study musical rudiments and music in general aside
I a m not writing about the more complicated points in from the mechanical playing of an instrument.
music, these are more adapted to the advanced student, but
the simple and ordinary used rudiments, which should be well
understood and carefully taught by every teacher. Those
w h o have no teacher can easily learn from all instruction
The Germ of Desire
J. T. FITZGERALD
I he following points are called to the attention of those
w h o are not well posted on rudiments. THIS business of practising in any kind of music is the
1 he simple matter of division of notes is of great im- whole secret in a general way. There are. however,
portance and everyone should study out this division as certain definite lines which are laid down, and which
applied to measures and counts in the various tempi each as stand for no variation. T o offset these, there are other
ud 12 S which are those most com- methods which permit of individuality, and m a y be worked
monly used. TI, - are purely mathematical, but out according to the mental alacrity of the student.
in t.:. \ piece of music should be strictly adhered
The C R E S C E N D O wins WUTIMC TO ADVERTISERS
 [6] The CRESCENDO September, 1927

Tone Color in the could easily mar the effect of an otherwise good orchestra.
However, shouldn't this also be true of all the other instru-
ments as well? A n orchestra with a few "weak sisters" is
Mandolin Orchestra exactly on a par with the proverbial chain with its weak links.
This is a sort of indirect appeal for a general raising of
the standard of competence among players of the fretted
— The Flute — instruments, for it is only by having a sufficient number of
really competent players to draw from that mandolin or-
By [Link] MYRON BICKFORD
chestras can function in the most effective manner and per
form standard music which is really worth the study necessary
IT is the opinion of the writer that many mandolin or- to master it.
chestra directors have entirely missed a most valuable As previously mentioned, most of the existing mandolin
ally when they omit the flute from their instrumentation. orchestrations, if they contain flute parts at all, have treated
In referring to H . F. Odell's valuable book, " T h e M a n - the instrument in a purely obligato manner, but a little
dolin Orchestra," I notice that he refers to it as a purely ingenuity on the part of the director will readily discover
obligato instrument, and it is of course true that this has passages in which the flute might either carry the melody
been its chief function in the past and that practically all alone, in place of the first mandolins, or in which it might
the orchestrations which provide for it at all give it a more double the melody part for a short passage.
or less flowery obligato part. T h e chief thing to be sought is variety in tonal effects
In pointing out, however, that its greatest sphere of use- and this is never accomplished by giving the principal theme
fulness m a y lie along the lines of pure melody and solo or melody to one instrument or choir of instruments through-
playing, it is again necessary to call attention to the won- out an entire composition. It must be remembered that the
derful variety of tone coloring which is possible in the regular arranger of published compositions is usually placed under
symphony orchestra, made possible only by the almost infinite the necessity of making the publications as salable as passible,
variety of individual nstruments which have a distinctive tone which means that he is obliged to stick more or less closely
qualty of their own, and which the composer or arranger to the pure "melody and accompaniment" formula, so that
mixes with such skill that w e have a beautiful tone picture small combinations, ranging from a single first mandolin and
full of wonderful colors and effects. guitar or piano, on upwards to larger and more varied com-
It is, of course, true that thefluteis a wonderful obligato binations, will be interested in buying the composition.
instrument and it need not be deprived of this valuable This is indeed a hampering, though seemingly necessary
attribute, but it is equally beautiful and effective in purely condition, and can only be remedied by the formation of
solo and melodic passages, so w h y not allow it to add to the more orchestras containing a complete instrumentation, al-
beauty and effectiveness of the mandolin orchestra by func- though each individual director will usually have no difficulty
tioning at least occasionally in this capacity as well? in getting permission from publishers to make any necessary
There are many passages in which the melody is even changes in the published parts or to add such parts as are
more effective on the flute than on the mandolin, and in necessary for his o w n particular organization.
such passages the mandolin should temporarily take a back A more or less general and concerted demand from di-
rectors for orchestrations of a certain standard and character
seat, either remaining facet or assuming a secondary role.
would surely have its effect on those w h o publish mandolin
A notable example of this effectiveness is the recently pub-
orchestra music and thus would in time bring about the
lished arrangement of Dvorak's "Largo" from the New-
desired change.
World Symphony (Carl Fischer), in which the principal
Apathy means stagnation while agitation brings results.
theme (played by the English horn in the original score) is
given to the flute. T h e strings form a wonderful background "I have received two issues of The Crescendo on ray subscription,
of harmony while the theme stands out in all its beauty, and will only say that I most sincerely regret not having heard of
giving a thrilling effect which could be produced on no this publication long ago. A s long as it is published, I shall be on
the subscription l i s t . " — H A R O L D K. F R E D E R I C K , N e w Orleans, La.
other instrument.
It seems hardly necessary to call attention to the fact that the best magazine I have ever read on fretted instruments."—WIL-
L I A M F R A N K B , Waterford Works, N. J.
thefluteplayer in a mandolin orchestra should be experienced
and skillful, since an instrument with such a distinctive voice
and tone quality needs be handled in a capable manner or it Alice Kellar - Fox School of Music
ASSISTANT TEACHERS
For Instruction on all fretted instruments—Violin and Piano
The Home of C Notation th e Banjo Address
Teachers and Plavprs. eet these great solos—
Plectrum Banjo M A S S A ' S IN T H E C O L D , C O L D G R O U N D
62 Baker Street San Francisco, Calif.
Tenor Banjo R A G A L O N G FOX-TROT 30c each:
Regular Banjo A M E R I C A N G E N T M A R C H Piano Ace. 20c
Mandolin MARGIE WALTZ
The famous Goldby & Shepard's Studies for the Banjo, 6 books, per book 50c
Dean Pick Method for the Banjo, N e w and Revised Edition 75c net Send Noiv for Sample Order of
Smith's Scale. Technique and Tremolo Studies for the Banjo 75c net
Choice Collection of Banjo Solos, 9 books, per book
Goldby's Practical Studies Tor the Mandolin, 8 books, per book
Write for Catalog of Banjo Solos for Pick or Finger playing.
50c net
50c A. G BROCKMEYER'S
Famous System of Graded Teaching Pieces
Teachers and Dealers write, inclose card.
E.D. GOLDBY & SON, 615 McBride Ave. Paterson, N. J. // Costs You Nothing to Try Them
Bnocaanni to Stephen Shepard
Send us your business card or letterhead as a request for sample
Send for my list of— order, stating whether you want Guitar or Piano Ace. If you
150 COMPOSITIONS and A R R A N G E M E N T S don't like the music, return it; if you like it, pay a special
introductory price for the sample order.
FOR HAWAIIAN STEEL GUITAR Best teaching music for beginners on
Used iiy tc-iciu-rs everyvtnre. A course graded from easyfirstgrade number- Mandolin, Guitar and Tenor Banjo
to difficultflllherade work. N o better iruslc written for studio use or i" Ital
C R E S C E N T MUSIC PUBLISHING COMPANY
J. D. SCHURMANN — 1010 17th Street, Denver, Colo. 5169 Delmar Avenue St. Louis, Missouri

PLEASE MENTION The CRESCENDO WHEN WRITING TO ADVERTISERS

 Issued Every Month in the Interests of
Fretted Instruments and Fretted Instrument Music
Fdited([Link].k.2t4S-18.E

Combined with The CRESCENDO September, 1927

Co-operation is the Keyword of Success

In the last issue of Frets I wrote what identified; one which will reflect the importance of our fra-
I thought would be m y farewell article ternity; one which will give a favorable impression of our
to the fretted instrument fraternity. A t work to those outside of our sphere of actvity; one, which
the time I intended it to be such, for, to by its size and character, will provide a source of encourage-
somewhat paraphrase a sentence which ment for the n e w and young student; and one which will do
recently received considerable publicity, all in its power to m a k e the fretted instrument profession
"I did not choose" to be an editor any better and better in the years to c o m e — i f w e want all this,
longer. then let's co-operate with the present publisher of Crescendo-
However, the present publishers of the consolidated pub- Frets to help him attain these purposes.
lication Crescendo-Frets have urged m e to write "something" In the past I have hesitated somewhat to write upon a
for the first issue of the combined magazines. subject of this kind, but the possible need for that hesitancy
N o w , those of you w h o have personally met Adolph John- no longer exists. I a m not n o w , literally, on the side-lines.
son, the present energetic editor of this publication, will M y interest in the future of Crescendo-Frets is identical
agree with m e that he is a pretty persuasive chap. A t least with yours and that thought encourages m e to m a k e an appeal
he was with m e , and I promised him I would do as he asked. of this sort.

But, aside from that promise, I rather welcome the op- I a m also prompted to m a k e it because I a m exceedingly
portunity for, as one has edited a fretted instrument publica- optimistic regarding the future of the fretted instruments.
tion for the past two and one-half years, I can n o w better I believe w e have m a d e considerable progress in the past
appreciate the problems which confront the publisher of a decade, and I believe w e will continue to m a k e satisfactory
magazine that sincerely tries to serve the profession to the strides in the future. Believing such, I feel that a good,
best of its ability. Chief a m o n g those problems is the need strong publication will be a very helpful influence in attaining
of obtaining the unstinted co-operation of everyone in the that progress.
fraternity. These, therefore, are the reasons which prompt m e to urge
Frankly, the influence and value of a publication is in everyone interested in the welfare of the fretted instruments
direct ratio to the degree of co-operation and support it to give his or her unstinted co-operation to Adolph Johnson,
obtains from every one in the field. the present editor of "our" magazine.

Possibly that word "co-operation" has been used too fre- In m y informal chats with M r . Johnson I a m thoroughly
quently in so broad a sense that, like all generalizations, it satisfied that he is sincere in his desire to give the fraternity
loses a specific meaning. Yet, there is nothing mysterious a real, interesting and live-wire magazne. H e is young (I
about the kind of co-operation which makes a publisher's heart m a y be out of order in revealing that), chock-full-of-pep and
happy. In fact, it can be boiled d o w n into two words: has ideas which will m a k e Crescendo-Frets the very best
advertising and subscriptions. magazine possible.

It is upon such substance that a magazine grows mighty. Give him your co-operation !
It is with co-operation of this kind that a publication becomes
of greater value to the profession, or industry, it tends to serve.
If w e , in the fretted instrument field, w a n t a magazine
i(JJL**«Q.
\<&lttttr-
which will do honor to the profession with which w e are
PLEASE MENTION The C R E S C E N D O WHEN WRITING TO ADVERTISERS
 [8] The CRESCENDO September, 1927

Annual Banquet of American Guitar Society Arrangers Pleased With Guild

The second annual banquet of the American Guitar Society Recommendations
was held at the home of Mr. and Mrs. Victor L. Bouch on
West A d a m s Street, Los Angeles, on the evening of July 18. Two very important letters have been received this past
The affair was to especially honor Miss Amelia A. Hetiick, week in reply to the letters sent to all arrangers and publish-
secretary-treasurer, and Mr. Roy E. Poehler, thefirsttwo ers of popular song dance orchestrations that should be of
active members to be married since the society was organized decided interest to all tenor banjo players.
in 1923. The table was very bridelike in appearance, having The first one received is from "Kenn'' Sisson, the well-
been beautifully decorated by Mrs. Bouch, with wedding bells, known arranger of orchestra music. Mr. Sisson says in part:
pin,g roses and carnations. " A m in receipt of your communication of the 24th inst. and
having- been beautifully decorated by Mrs. Bouch. wish to state that I have been using the method you explain,
The members of the society, through the president, Mr. with one exception, this being the fourth note of a chord. I
Zarh Myron Bickford, presented the bride-and-groom-to-be believe it impractical to write four note chords.''
with a very handsome large silver well and tree platter and The other letter is from D e Sylva, Brown & Henderson,
double vegetable dish in the Paisley pattern, as their token music publishers of popular dance numbers, and reads as
for a wedding gift to the pair. follows: "Your letter of June 24th, regarding banjo and tenor
There were the usual after-dinner speeches by the m e m - banjo parts for orchestrations, has been received and 1 have
bers and guests and an interesting musical program was in turned it over to our dance arranger, Frank Skinner, who tells
charge of Vahda Olcott Bickford, the musical director. The m e that he will follow the suggestions outlined in your letter
program was composed chiefly of music of the romantic type, and also wants to say to you that they are indeed most wel-
presaging the happy event of the wedding on July 30. Dinner come."
was served for twenty-four members and guests. I'll say that that's making good headway. If tenor banjo
O n July 30, at 2:00 in the afternoon, at the First Presby- players who are interested in seeing correct parts published
terian Church, Dr. H u g h K. Walker officiating, the ceremony for their instruments, will w*rite to publishers who are not
of the Hetrick-Poehler wedding took place. following the Guild recommendations and tell them of the
The music for the auspicious occasion was noteworthy and proper method to write these parts, it will help a great deal
unusual. The ensemble of the American Guitar Society, com- towards standardizing tenor banjo parts in dance orchestra-
posed only of guitars and one mando-bass, played the beautiful tions. The Guild recommendations are as follows:
"Barcarolle" by Napoleon Coste, after which Vahdah Olcott 1. Tenor banjo parts to be arranged in octave notation.
Bickford played the "Chopin Prelude'', Op. 28, No. 7, arranged 2. Tenor banjo parts to be marked "tenor banjo".
by Tarrega for guitar solo. A sextet, composed entirely of 3. Tenor banjo chords to be named by a letter or a sign
active and associate members of the American Guitar Society, above the chord.
Zarh Myron Bickford, first mandolin; Victor L. Bouch, second 4. Tenor banjo chords to be of four notes whenever pos-
mandolin; Albert Edwards Sussex, mandola; Leslie N. Booher, sible and pratical, providing they do not become too difficult
mando-cello; Martha F. Booher, mando-bass; and Vahdah Ol- for rapid execution.
cott Bickford, guitar, then played Cadman's "At Dawning.'' D o your part and help get proper tenor banjo parts.
Followed by a mandolin and guitar duet, "I Love You Truly,'' Thank you.
by Mr. and Mis. Bickford. The sextet played the wedding JAS. H. JOHNSTONE, Field Secretary
marches, "Lohengrin" and the "Mendelssohn", and remaiks
were made by several that the fretted instruments certainly
made most romantic wedding music. During the ceremony Bill Rice Makes Debut in Trade
the lovely romance from "L'Eclair" was softly played as a
guitar duet. Twenty-eight years of experience as teacher of fretted
Mr. Poehler was a charter member of the American Guitar instruments, coach of the Harvard Glubs, Middlesex School,
Society, being present at thefirstmeeting and organization Milton Academy, etc., are the recommendations of the "new
in September, 1923, and Miss Hetrick came in a week or two man" behind the counter of the Cambridge Music Store.
later, and it was at the American Guitar Society meetings Since 1890 this Harvard Square music store has been under
that theyfirstmet. Both were pupils of Vahdah Olcott Bick- the capable management of Albert P. Briggs and his brother,
ford and it was through her getting them interested in playing and on July 1 Mr. William M . Rice entered in partnership
guitar duets for guitar society functions that their interest in with Mr. Herbert G. Olson, for thirteen years an expert
each other grew to such an extent that the happy event of piano tuner and phonograph repairer.
July 30 was the result.
Mr. and Mrs. Poehler left the afternoon of the wedding for
their honeymoon trip which is to take in Chicago, St. Paul The Four Gregg Sisters, Vaudeville Headliners
and Minneapolis, Minn., and several other points of the Middle
West, and will return to make their home in Los Angeles, The Four Gregg Sisters are now on a tour of the better
the"The
first Crescendo is a very interesting little magazine," says M A U D
week of September.
M O R C A N , Prince Bay, S. I., one of the best known harpists in the vaudeville houses of the Middle West in an exceedingly clever
country. and well-balanced musical act of high class songs interspersed
with catchy medleys and popular numbers. And while they
star on the plane, cello and violin, the big hit in their act,
T h e F a m o u s L a Quarite Strings EnoU°t'the w™iTh" which is captivating audiences wherever they appear, is their
Banlo Finger Pure Silk, assorted 16 for $1.00 banjo-uke quartet.
Banjo Plectrum Pure Silk, assorted 16 tor [Link]
Ukulele (Set) Pure Silk, Special Third 60
They add another prominent name to the list of vaudeville
"Being an old-time banjo player, a m more than pleued with the headliners and string instrument soloists who have selected
Slape La Quallte Silk Strincs. They arc the finest I have ever used W e y m a n instruments.
for strength and purity of tone."—Everill Smith. reeUskill, N. Y.
C L A B E N C E D. SLAPE, Mfr. — Dept. 5, Plainfield, N. J.

DIRECT FROM PARIS

c o m e s the c r e a m of E u r o p e a n M a n d o l i n a n d Guitar m u s i c — t h e
/Y"lrfoT V \ This is Style 2 of the
writings of such brilliant m i n d s as M e z z a c a p o , B a r a , Fantauzzi.
M u n i e r , M a r u c e l l i — n a m e s that are household w o r d s wherever the
j | ODELL PARISIAN IVORY PICK MMiidolin a n d Guitar are p l a y e d — m u s i c that is played b y be-
ginner, a m a t e u r , artist. A postal will put into your h a n d s our
\ / Splendid for mandolin or banjo. Esp»-**_l_y n e w folder—
\ / desirable fot beginners. Hand made. Has DIRECT F R O M PARIS
\ V a hard, smooth edge; produces a clcai tone
\ / Stiff, Medium or Flexible, 10c each : 75c a dozen Write today to
^—s Send for complete list of picks THE M A X I M U M PUBLISHING C O M P A N Y
1716 Chestnut Street, Philadelphia, P a .
II. F. ODELL CO.—157 Columbus Avenue. Boston, Mass. Importers of Banjo, Mandolin and Guitar Music

PLEASE M E N T I O N The C R E S C E N D O WHEN WRITING TO ADVERTISERS

September. 1927 The CRESCENDO [9]

W h e n an orchestra or band musician reads "by A . J.

W e i d t " in the upper right corner of his music h» doesn't
realize that the piece w a s originated by a banjoist of note.
Such w o r k of art is worthy of commendation by the fretted
instrument world.

Bonds of Friend-hip
M L :>IC is the heritage of every child, and m a n y of our
great m e n have testified to its value. A m o n g them is
Luther Burbank .the authority on nature, w h o said: "Music
is fundamental—one of the great sources of health, stemgth
and happiness." T h e love an dappreciation of music is planted
deep in the heart of everyone. It expresses our feelings of
happiness or sorrow, of love or hate, and of every other
emotion.
In no other profession is friendship of such importance.
Music and friendship go hand in hand in consoling, delight-
ing and inspiring. T h e music teacher and the artist w h o
A. J. WEIDTH keep friendship in their heart are always thinking of ways
Teacher, Composer, Artist to be of service. W i t h this ideal thought in mind their
P R O M I N E N T a m o n g the tenor banjoists by his composi- attitude is that of co-operation. F r o m Emerson w e leam
tions and arrangements, and by his editorials in Jacob's that "the only w a y to have a friend is to be one" and to
Orchestra Monthly. M r . A . J. Weidt. or Newark. N . I.. co-operate. Friends will then multiply everywhere.
has done m u c h to increase the popularity ot the banjo. T h e Crescendo, in its earnest desire to grow and to be 0:
It has been the c o m m o n conception of music that a person greater service to the art of fretted instruments has acquired
with "something to say" must say it with the piano or violin, a n e w and sincere friend—Frets. Co-operation, the by-word
but M r . Weidt w h o founded a system of harmony applicable of success and friendship, has combined these two journals
to fretted instruments, began his musical lite as a violinist of our fraternity into one, a bigger and better publication.
and deliberately switched over to the banjo. A n d n o w the T o "crescendo." w e must reach those w h o m a k e up the
banjo has reached his fondest hopes, used in virtually even- great fabric of our art. w e must increase our bonds of friend-
dance orchestra, concert orchestra and even into the symphony. ship, and created greater co-operation. N e w s items of interest
Before M r . W e i d t was k n o w n as a composer theorist, his and articles for discussion are means of "material co-opera-
name was recognized as one of this country's leading players tion." T h e Crescendo-Frets is your magazine and is
and teachers of fretted instruments. A s a youngster mirror on the progress of our fraternity*. Give it Y O U R
ambition was to become a d r u m m e r and he spent m a n y hour- support, so that it will do honor to the art of fretted
walking proudly behind a d r u m m e r in parade. In his active instruments.
career as a composer. M r . \\ eidt has almost three hundred
published numbers to his credit. M a n y of these are marches. Notice to Frets Subscribers
a development from the swinging, march rhythm created I H O S E w h o were subscribers to Frets as well
in childhood. .bribers to Crescendo will not be affected in any wray
O n e of the significant things about "Weidt's Chord S - because of the combination of the two publications. Provision
tern." a correspondence course in harmony as applied to the has been m a d e whereby all subscriptions of this kind will be
banjo and other orchestral instruments, is the w a y in which extended so that the subscn*ber will receive as m a n y copies of
he has been able to eliminate so m a n y characteristics formerly the combined publication as he would have received in indi-
considered necessary in theory and so save time without vidual copies of the two magazines.
depriving the student of any necessary instruction. For example, those of you w h o were subscribers to both
M r . Weidt has arranged his course so that it can be used : ndo and Frets will receive on extension on their
to advantage by teachers all over the world. T h r u m a n y ol sccndo subscription for the number of months required from
the leading music storr- si - are supplied with their Those w ho were subscribers to Frets alone will con-
is". These are solved and sent in to the main office tinue to receive the monthly copy ot the eombii
at N e w a r k for correction. Frets.

F_F \SE NE N D O W H E N WTUT1SC TO ADVERTISERS

[10] The C R E S C E N D O September, 1927

What an Unusual Peg-Head!

The A/ew Ludwig
BIG C H I E F Banjo
U D W I G has again dared to do some-
•*—' thing n e w with the banjo.
A n d w h y not? Every prominent profes-
sional banjoist knows the tremendous show-
manship value of display. O n the stage,
the dance platform or even in the teaching
studio the distinctive display banjo has
"selling powers".
T h e unusually distinctive "Big Chief"
display peg-head compels attention. T h e
well proportioned outline of the Indian head
completes a beautiful ensemble. T h e back
of the resonator features a large inlaid
"Rig Chief" head as well. Golden plating,
hand-engraving, hand-burnishing and artistic
color combinations of wood and pearl inlay
show up with a tremendous flash and yet
remain harmonious in their artistic balance.

Detail Description of the

Ludwig Big Chief Banjo

[ UDWIG High - Pressure

*—' solid bronze shell with
double tone projector. Heavily
plated with genuine [Link]-
orately hand-engraved, hand-
embossed and hand-chased.
American wal nut [Link]-
carved, inlaid with pearl and
ebony at the heel.
Fingerboard is inlaid with
pearl and wood in Indian de-
signs.
The peg-head is an outline
figure of the Ludwig Big Chief
(design patents pending) in-
laid with wood and pearl.
This inlay is on genuine ebony,
affording a striking contrast
with the inlay, thus making it
a powerful display feature of
Resonator and detail view of the instrument. Back of peg-
The resonator side-wall is inlaid
the shell show the elaborate en- head is hand-carved, bearing
with pearl and colored woods in
graving, the new adjustable arm- Indian motif. Back of resonator the title "Big Chief."
rest and tail-piece. has a large "Big Chief" Indian SEND FOR CATALOGS
The Big Chief is top [Link] of colored inlaid woods
You tighten the head from the top, with life-like effect.
eliminating the necessity of remov-
ing the resonator for tensioning.
Ludwig tail-piece, gold plated.
All metal parts heavily plated
LUDWIG & LUDWIG
The height of strings, known as with genuine gold. Professional Banjos
the "action" of the banjo can be Ludwig "Planet," 4 to 1 gear
regulated by the banjoist, as it is pegs, pearl buttons. 1611-21 North Lincoln Street
equipped with the Ludwig Banjo Fitted with the choicest selec-
Action regulator. tion of " W m . F. Ludwig" Selected, CHICAGO
banjo heads.

PLEASE MENTION The C R E S C E N D O WHEN WRITING T O ADVERTISERS

1 i

THE CRESCENDO 11
BEAUTIFUL NIGHT.
(BELLE NUIT.)
1st MANDOLIN
or VIOLIN. BARCAROLLE.
from Tales of Hoffman.
J. OFFENBACH.
.20 Net Arr. by H. F. ODELL
Moderato. (J.= eo)
Piano from original score.

ST^TI J^JTl con espressione.

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 12 THE CRESCENDO

When Dixie Smiles

Is* M A N D O L I N
GEO. [Link]
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Copyright MCMXXIII by Joe Nicomede PKIN-fED IN V S A j
 THE CRESCENDO 13
Jazz Babies March
Marcia Tenor Banjo Solo [Link]
" Vnn v ,H v r r w „ .35Net n
£ £ M t e 1*£« # 1 V rv „ £;
14 THE CRESCENDO

THE BOBOLINK
CAPRICE or FOX TROT
.40
BANJO SOLO G.L. LANSING
A Notation
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 THE CRESCENDO 15
To Miss Ethel [Link], Cal.

SPECTRE DANCE
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GUITAR SOLO [Link]
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 16 THE CRESCENDO

PRIDE OF HONOLULU
Waltz
STEEL GUITAR SOLO .30 Net WALTER BURKE
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 THE CRESCENDO
17
AT A HONOLULU WEDDING
UKULELE SOLO I Danza Habanera I
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*.[Link] H.F. Odell & Co.,Boston,Ma>s.
 18 T H E CRESCENDO

LOVE'S OLD SWEET SONG.

.30 net
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Transposed J. L. MOLLOY.
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Made in U.S.A. H.F. Odell & Co., Boston, Mass.

September, 1927 The CRESCENDO [19]

STUDENT to ARTIST
through the
TEACHER and GIBSON

LL of these artists were at one time students.

Through capable teachers and deligent work,
they have reached the top of their respective
professions.
1. NICK LUCAS, Brunsivick Recording Artist
2. C A R S O N ROBINSON, Victor Recording Artist
3. TACK ROSE, Allen Theatre, Cleveland
4. MRS. BOB SCHAFER, Radio Artist, New York City
5. CHARLES PANTZER, Vaudeville Artist
6. A. V. MINNERVINE, Vaudeville Artist

GIBSON offers an unusual proposition to teachers. Write for

details. Your territory might be open for representation of the
famous Gibson instruments.

GIBSON, Inc. .[511 PARSONS STREET W

SS [ KALAMOZOO, MICH, y

PLEASE MENTION The C R E S C E N D O WHEN WRITING TO ADVERTISERS

 [20] The C R E S C E N D O September, 1927

The Germ of Desire "Can you not determine the finger with the greatest strain
(Continued from Pa
on it? C a n you not tell in a measure just h o w far each
For instance, I recall a few years ago of having a student finger is extended ? Can you not see the diagram the ends
on the accompaniment guitar w h o simply could not master of your fingers in their varied positions make as you hold
the third position of the major chord of A. I was not aware down these proper strings?" 1 asked him these and other
of it for some time, but finally came to see and to understand questions. It was difficult. I was trying to get him to feel
that it was really a difficulty of the mentality rather than a that position of each finger separately and distinctly from
laxity of the finger control. I placed his fingers for him the rest. H e did not think that he could.
time and time again, but they would flip back to his mental I did not weary him. I kept the fingers there a little
idea of where that finger or hand must be just as soon as I longer, telling him all the while to try to get it so that even
would release them. H e could handle the other positions when he did not have his guitar with him, he could extend
allright in that particular key. Each time I spent almost thosefingersso that they would be in practically that same
half of the lesson hour with him on that particular position, position. H e smiled rather complacently. I was afraid that
and always with the same result—none. m y last one wager on this fellow had been lost.
O n e day I met him on the street after a lesson in which Imagine m y surprise when he came for his next lesson five
I was vain enough to feel that I had made some progress days later, and had that position down perfectly, not only
with him. I asked him if he could get that position when as regards the actualfingering,but the string tone as well.
he got home. H e could not. A n d so in the course of our " Y o u know," said he, "I was getting ashamed of myself,
conversation I asked him if he ever thought of this particular and was almost on the point of stopping m y lessons. I knew
position while at his work. In other words, I wondered if it was not your fault, and yet I could not do m y part. All
he ever held any mental exercising with regard to his fingers this past week as I went about m y work, I kept trying to
and his hands. H e had not. get that mental picture of that position. I tried to feel m y
There it was again. T h e same old trouble that most of guitar in m y hand. I tried to tell myself that I would be
us have. While the guitar or the banjo or the ukulele is in able to get it right when I got home to the guitar. And, of
our hands, and w e are at our lesson or our study, w e try in course, for thefirstthree days I got no further ahead save
varying degrees, but just as soon as the lesson or the stud)' that I was trying harder and harder, and felt in m y mind
is over and the instrument put away, w e put it all from the coming mastery of that difficulty. A n d then a day or
our minds. two ago it came. It came to m e all at once. I wondered
I asked this particular student to bring his guitar to the where I had the difficulty."
office that afternoon if he had a chance. H e did so. Again There is a moral in this. I have often thought of it.
w e went at the matter of placing those fingers—and again Not all the trouble is with the hand. M u c h of it may be
theyflippedout of place as soon as they were released. I put found in the indifferent, inactive mind that does not carry
them back one final time, and held them there. I asked him its impressions while away from the instrument. Some will
to close his eyes and try to place all his attention on his say their hands are too small, and yet a little girl is often
sense ol touch.

The New B & B "Silver Bell" Banjos

MAKES PLAYING A COMFORT AND PLEASURE

T1VT1VTFDT A I F resP°nse when string is struck—giving a quick response and

_l_______L__/A__* A JL* p u n c h to the tone—accelerating the tone to a greater carry-
ing power — fine adjustment and action that makes playing a pleasure — four hours
playing a SILVER B E L L and you are fresh and ready for another grind—not all in from
trying to get out of your banjo by physical effort what is not there.
NFW TMPROVFMFNTS makes this possible-The BG?D soft
r N E W A I V i r U A ^ V E I V I E I X 1 O P e d a l _ a n exclusive feature developed
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ful instruments are rapidly becoming the choice of the best Artists of this country
and abroad.
^fL'VV7 i<)27-28 Combined Illustrated Catalogue and SILVER BELL News of forty-eight rnr'L'
l ^ A ' •» pages (with thirty-eight pages of leading Orchestras and Professional Players). -T X v l / _P_

I'LIEASIE MENTION The C R E S C E N D O WHEN WRITING TO ADVERTISERS

September, 1927 The CRESCENDO [21]

Y o u buy an instruction book or books for the plectrum banjo or

standard banjo and master it thoroughly, then your next step is to
advance by buying some of the music which is not in the instruction
books and after you, or a person, has spent over one hundred dollars
for music (sheet! alone and has a good m a n y numbers memorized
they find they cannot use a single number for commercial purposes,
so what is the consequence? They buy no more music, because it is
mostly all old stuff that you cannot use on the public today in
vaudeville, and that is one set back for the instrument.
W o u l d the publishers turn around and publish some of Beethoven,
Bach, Brahms, Schubert, Straus, etc.. numbers in a practical, playable
style for plectrum banjo? I will say these would be in demand for
plectrum banjo solos because personally I would send m y check for
some, if not all of them.
T h e plectrum banjo is older than the tenor baftijo. but there are
more good pieces written for the tenor than the plectrum. W h y ?
I have read that most plectrum players cannot read music fast
enough at sight but personally I do not agree to that, because,
judging from myself, I can read and play at sight not only A nota-
tion and C notation but mandolin music, guitar music, saxophone
C. E. Vi.—Worcester. Mass. C or B flat or E flat music on the plectrum banjo, and I believe
there are a good m a n y others that can do likewise.
/. On the standard five-string banjo does a gut string
ME>st players (including myself) do not know h o w to arrange
give a better tone than a silk string?
music properly and have to be satisfied with what is handed to
_?. Hon high should the bridge be for a standard banjo, them over the counter, and that is not good enough; and that, also.
also for a tenor ban jo f If the bridge is too high, is it simply holds true for teachers I lack of material to put the plectrum banjo
on the m a p properly). I would suggest publishing them in folio
too hard to press on the strings uith the left hand fine-
form, if good, and if they cost ten dollars a folio it would be cheap.
J. If tenor banjo is tuned standard (first to D, second I have recently spoken with some of our best players and they
to B), does it sound just as well as a standard banjo? Could also agree with me, and w e all came to the same conclusion, that
the methods are too old. A s soon as a pupil sees '"Annie Laurie"
an expert tell them apart if he could simply hear them and
and "Old Black Joe", etc., his or her imagination is already set that
not see them? the limit is soon to be reached. I could go on and write a good
4. Can a tenor banjo be tuned and played as a ukulele? deal on what is the trouble, but I would personally like to see it
remedied, as I love the instrument too much not to say anvthing. so,
5. If hieh U ould receive higher pay in an orchestra, a
if some of our readers will write their ideas on the subject and the
plectrum banjo player or a tenor banjo player? publishers do their part. I know w e will all be one happy family.
6. Does a tenor banjo uith a twelve inch head give a From a professional and brotherly banjo enthusiast.
louder tone than one uith an eleven inch head? If not, P. P.. Inglewood, Calif.
u hy do some have a twelve inch head?

[ ANSWER ]
1. The gut string is generally conceded to hare the best tone.
If one uses gut strings on a standard banjo the quality of tone ROWDEVS TENOR BANJO TECHNIC
produced is splendid. T h e chief difficulty players have with gut N.: , _•" :r. :;.-•-. * 1 1 •— :r. i ~:r, L:- 1 - :_ :: -.. . r. :.' >-_i.;>
strings is to procure true ones. Awhile back it was very difficult to A eaniilete. carefalty fratfetf w w t eoierinc an tke principles essential to
procure true gut strings, but the situation is much better now and
tbe art of tenor banjo plajinc embodying U n fruits of the author's Many
good gut strings can be obtained. Silk strings produce a good tone -.-; - :- -7 r. ' 7 " " . -. -" -..::.;;- . :...:• __i . •
>!.; _-..:.- :.-....: r. _-. _ : ::.: :..::.•:_:: __; ~ i ---•'.:: :•.:..:
and, of course, are practically always true. It is a good deal a
matter of personal taste, and both kinds of strings are used by banjo. Price $1.50 per -rohnne. Canada C-M.
professional players. C L A U D C. R O W D E X — 1 5 9 North State Street. Chicago. Illinois
2. The height of a bridge is gauged by the adjustment of the
neck and no definite height can be stated. A bridge which is too
high for a certain banjo will cause hard action or, as stated in
question, make the left hand work too hard.
*. A tenor banjo cannot be tuned as a standard banjo success-
Do You Demand the Utmost
fully. A n expert could tell them apart because of the more resonant
tone of a long neck banjo.
4- A tenor banjo can be tuned the same 1 relatively as a
From the Drum or Banjo
ukulele, but it is never advised. T h e tenor banjo has its correct. •JOSEPH ROGERS JR cr SON" have bees manufac-
established tuning which is best for the instrument. Stick to it. • i hiring D r u m and Banjo heads for 75 years. R O G E R S '
5. There is no material difference. *-^ heads are standard equipment on practically every
6. Under good banjo conditions a twelve inch head would, no high grade Banjo of reputation both here and abroad.
doubt, give the more volume, but for all conditions and general You, as a banjoist or drummer, if you demand snap and
practical work the eleven-inch head is deemed to be the best. Also. tone, must have our product. Used by more professionals
most banjos today have flange resonators which would make it 20 times over than all other makes combined.
impractical, on account of the too large rim to use the larger sire
head. T h e eleven-inch head is more practical because it gives a Manufacturers of the following brands:
more brilliant tone under all conditions and is a convenient size. It
was considered ""good style"' awhile back by some to have a twelve- Superior Extra Brand Daisy Brand
inch head. I have always considered it an experiment, and today
1st Quality B r a n d T h r e e Star B r a n d
one notes that practically all the manufacturers use the smaller size.
There must be a good reason. 1st Quality Slunk B r a n d L nion B r a n d
Slunk Extra T h i n B r a n d
A Letter to the Round Table
AT Y O U R DEALER'S
It is a pleasure to read about all the complaints lodged by both
publishers and players regarding the live-string banjo and the plec-
trum banjo, so I thought I would give m y version of the subject
Protect yourself—buy >:,-ads stamped ll'ARRASTED
and would like to hear from other., also. I will have to start in
to complain myself, but I think most of the fault lies with the JOSEPH ROGERS. JR. 8C SON
publishers. F A R M I N G D A L E . N. J.
The publishers claim that they cannot sell enough plectrum or
.ng banjo solos to the players because the people w h o play High \ iew. N. Y. F_c:..-[Link] Fartrungdale. N. J.
these instruments do not want to buy them and here is ^in m y mind)
the re_-

PLEASE MENTION The CRESCEN W H E S w u n s c TO ADVERTISERS

[22] The CRESCENDO September, 1927

Paul Ash Rescues Chicago Symphony School of Research to Teach Evolution of Music
The directors of the Chicago Symphony Orchestra Society The opening of the fall term of the New School of Social
recently disclosed the necessity of disbanding, because union Research in N e w York will include in its curriculum the study
salary demands were regarded as unreasonable, but to their of "The Evolution of Modern Music.'' Aaron Copland, a
rescue steps Paul Ash, reputed to be one of the country's capable musician and qualified by his extensive study and
highest paid musicians. Mr, Ash offered to donate $10,000 distinguished conrosition, will lecture in this new course
to help meet the wage increase demanded by the musicians of offered.
the symphony orchestra. The directors of the society are Mr. Copland's articles on musical criticism have been widely
considering the offer which amounts to one-third of the read and many of his compositions have been played by
difference necessary to comply with the union demands. prominent organizations, including his five part suite for
chamber orchestra, "Music for the Theatre," and his "Con-
Smithsonian. Institute Issues N e w Handbook certo" for piano and orchestra, and "Grohg," a ballet in one
act, have been played by the Boston Symphony Orchestra,
A "Handbook on the Collection of Musical Instruments in N e w York Symphony Orchestra, Rochester Symphony Or-
the United States National Museum" was recently published chestra, League of Composers, Societe Musical Independante
by the Smithsonion Institute. The musical instruments of all of Paris, etc. M a n y have heard his interesting lectures on
ages, featured in this handbook, are fully described, ranging music in the Boston Public Library.
from the stone gong of the primitive days to thefinesttype The course will be illustrated by Mr. Copland on various
of present-day violin, gathered by the institute since its instruments and the current music of today will be commented
establishment in 1846. The collection includes several thousand upon. The following is the outline of the course for discussion
specimens of historically musical instruments coming from and illustration:
every section of the world. M a n y are rare and valuable gifts 1—General Survey; 2—Stravinsky (Rhythm); 3—The In-
from the royalty. fluence of Jazz (Poly-rhythm); 4—Milhaud, Honeger, Auric
Our musical instruments today, even though they are (Polytonality); 5—Schoenberg, Webern, Berg (Atonality);
highly developed and varied, it is declared can be classified 6—Reger, Hindemith, Krenek (The N e w Counterpoint); 7 —
as four types, depending on the manner in which the sound Gabriel Faure and Ernest Bloch (Form); 8—Ravel, Florent
is produced. They are as follows: solid, conorous instruments, Schmitt, Roussel (Post Impressionism); 9—Bartok and Proko-
such as bells, gongs and rattles; wind instruments, such as fiefF Folk Song); 10—Strauss, Mahler, Varese (Orchestra-
flutes, horns and bagpipes; vibrating membranes, such as tion); 11—The Youngest Generation in America (Antheil,
drums, tambourines and throat horns; and stringed instru- Sessions, Gershwin, Ro-* Harris, etc.); 12—Summary.
ments, including the banjo, mandolin, guitar and piano. Primi-
tive races in their varied stages of development have made Fox Issues New Folio
use of all of these methods of producing sound.
The experts of the institute declare that the bell is prob-
ably more closely associated with m a n than any other instru-
by Bauer
ment, as it has been made in practically every resonant Dear Mr. Johnson:
material, yet the most popular in the historical development
of music is the stringed instrument. I have your letter of July 13 requesting a bit of informa-
tion and description of the new tenor banjo solo book which
Three Branch Studios Opened in Hartford I have just completed for the S a m Fox Publishing Company.
Following a very successful season the Kinkade-Ellert The collection of solos represents some of the finest salon
Banjo Studios of Hartford, Conn., announce the opening of pieces and pianologues by our well-known American writers,
three new branch studios on September 1 in Manchester, including Walter Miles, Jules Reynard, Dorothy Lee, J. S.
Middletown and Meriden, Conn. These branch studios will Zamecnik, J. Henry Ellis and the late Eelix Arndt. Among
be under the direction of Kemp's Music Store, Miss Anna the compositions which have been transcribed for the tenor
Buell, and Mr. James Griswold, respectively. banjo and piano are the following numbers:
"Nola" Felix Arndt
"Marionettes" Felix Arndt
T E A C H E R S and PROFESSIONALS "Sparklets" Walter Miles
J"ry a sample set of our imported GOLD STEEL STRINGS tec Man-
"The Water Bug" Walter Miles
dolin, Guitar or Tenor Banjo. Sample set, any instrument above, 35c "Valse Danseuse" Walter Miles
"Fair Debutante" Jules Reynard
G E T O U R P R I C E LISTS
"Old South"
C. A. fEMPLEMAN - 413 Douglas Street, Sioux Cily Iowa "Patriotic America" J. S. Zamecnik
"The D r u m Major" J. Henry Ellis
"Simplicity" Dorothy Lee
These numbers give a wide variety to the repertoire of the
tenor banjo soloist and artist as no two of them are alike in
type. The piano accompaniments are arranged as nearly as
Improvising Secrets! possible to give the full orchestra accompaniment effect which
adds greatly to the musical value of the book. The numbers
The 1926 Edition of the "Sure System of Improvising/' are of medium difficulty in most cases, although employing
By S A M U E L T. D A L E Y practically all of the positions for the most part.
TELLS YOU How to Play and Improvise Your Own Jazz Breaks, Hot
Walter Kaye Bauer
Choruses, Sock Choruses, Blue Notes, etc. All "Fully" explained witn
Illustrated Models. Explains "Where" a Break belongs, " W h a t " notes
are to be used, " W h y " these notes are used, " W h e n " you are playing
wrong notes, " W h o " ? will be in "Great D e m a n d for Hot l'laying." Con-
tains all Kudiments and Rules for most Modern Methods of Improvising
NEW—Tenor Banjo Teachers?
for Banjo, l'lano. Violin, Saxophone, Trumpet, Trombone, Flute, Clarinet
and " A H " Lead and Bass Instruments. Also contains over 4,000 Original
Jazz Breaks for "All" Instruments. 12 Hot Choruses, 14 Sock Choruses,
5 Banjo, 5 Bass and 7 Piano parts for One Hot Chorus, 24 Rhythms,
Original Waltz, " H o t " Roll Bass, etc. Most Modern, Simplified, Illus-
trated course of Self-Instructions published. 142 large pages of Invaluable
Loafs Orchestral Tenor Banjo Method
"Inside Information" for "All" Musicians. Endorsed by the Original A complete musical education for the T e n o r B a n j o student a n d en-
Memphis Five, California Night Hawks, Victor Artists, etc. "Complete," thusiast in four volumes, including a course of practical harmony
"Guaranteed." N o w Heady.
used a n d r e c o m m e n d e d by the leading schools in A m e r i c a .
PRICE—#3.00—POSTPAID
Price (each v o l u m e ) $1.00 net
Dealers, Jobbers, write
Now Ready—Also Four New Tenor Banjo Folios
C. M. COLLINS CO.
197 Fulton Street - Brooklyn, N. Y. - U. S. A. NICOMEDE MUSIC CO. - Altoona, Pa.

PLEASE MENTION The W H E N WRITING TO ADVERTISERS

September, 1927 The C R E S C E N D O [ 23 ]

C. R. G.
Can a mandolin he tuned like a ukulele or, better still.
The like a tiple?
[ ANSWER ]
__«?8?' lyTANDOLINISTS' The mandolin should be strung as a mandolin, tuned as a man-
dolin and played as a mandolin. If a mandolin does not appeal to
^'J-ROUND TABLE you better, choose another instrument. Remaking one instrument
Conducted by into another can never be satisfactory. Change the stringing or
WILLIAM PLACE, JR. tuning of any instrument and its identity is lost. A n oboe can never
Virtuoso, Composer and Author be made to sound like a harp; nor can w e get a flute quality on a
double bass. A n instrument's construction, stringing and tuning are
--pins D E P A R T M E N T is especially for all vital essentials of its individuality. These problems have been
1 Mandolinists, and tlu-y ma.-, a--k .nu--,- carefully worked out by the manufacturer and to re-tune, re-construct
tribute items. Questions (>i »u_.,_. -*,.>n- and re-string, with strings of different gauge and for different pitch
will receive due consideration. Adfin-v- than that for which the instrument was constructed, can never be
"Mandolinists Round Table," care of The satisfactory.

S. S. B.
E. M. M. To settle an argument please answer the following: Are
Please tell me the correct strokes to use in the "Souvenir" dotted eighth notes followed by sixteenths always invariably-
by Drdla in thefirstmeasure of thefirsttheme and the first played down on the eighth and up on the sixteenth?
measure of the second theme as you have recorded it.
[ ANSWER ]
[ ANSWER ] In a mapority of instances the eighth note receives a d o w n and
the sixteenth an up. A s an exception to the rule, however, suppose
First theme: The triplet A-D-FI play down-up-down; the A
that w e have a series of dotted eighths followed by sixteenths and
following (contrary to usual form) is played with a single up; and
in the series w e have second line G (eighth note) followed by third
the FJ following is tremolo.
line B (sixteenth note) for illustration w e will suppose that of
Second theme: Tremolo octave D ; eighth note double stops are necessity they must be played first position. Both notes will be
one down stroke each; the double stop C f and A played tremolo; played down because the player is changing strings in an upward
double stop G and D also tremolo. direction. There are possibly two other exceptions of a similar
Double stops, even though they are slurred, of such short dura- nature. However, the foregoing will illustrate m y point.
tion as those cited above, are "mussy" when played tremolo. If the
fingers of the left hand are held firmly there will be sufficient
resonance to give a reasonably slurred effect. THE ROACH-FRANKLAND
Instructors for fretted instruments have been sub-
jected to the most trying of all tests—The Studio.
L. B. Steel Guitar Method ...DeHarport (Complete)
Steel Guitar Method ... James F. Iloach (Two Books) each
$1.00
50
With a metronome set to presto how many strokes of Ukulele Method ' " " 60
Ukulele Folio 50
tremolo should a quarter note receive? Mandolin Method (Two Books) each 75
Banjo Method (C Not.) (Two Books) each 75
Standard Guitar Method " (Complete) 75
[ ANSWER ] Tenor Banjo Method ... (Complete) 75
World's Sweetest Songs
It has been explained sevral times in this department that tremolo Steel Guitar Ace.
cannot be measured by numerical units—like eggs, by the dozen. Mandolin, Guitar Folios
Tremolo is rather a figure of capacity. W e have a specific amount Chord books for steel guitar, standard guitar ;
Send for catalogue of sheet musi
of time during which w e wish to sustain a given note. T h e number 612 JULIA STREET
of times w e tinkle that particular note is of no moment. Our prob-
lem is to sustain it clearly and distinctly during the required period
ROACH-FRANKLAND J A C K S O N V I L L E . FLA.
and generally the tremolo or sustaining process is begun with a d o w n
stroke andfinishedwith an up. This question comes to our attention
so often that it would seem that some methods must be advocating a M A N D O L I N ORCHESTRA SELECTIONS
definite number of strokes to notes of various time values; but it S n a p p y Marches by Jas. H . Johnstone
will be obvious to the student that such a method is impossible for Gibsonian Plcctrio Cadenza C a m p Custer
several reasons. Chapcrone T h e Squad R e d Triangle Georgian
Mo ning Telegraph
Let us suppose that under that system a quarter note is given Prices: 1st Mand* 20r net; Piano Arc, 20c net: All other pari-.. 15o net each.
sixteen strokes of tremolo. Nothing has been mentioned regarding JAS. H. J O H N S T O N E - Music Publisher
tempo. If, therefore, w e give a note sixteen strokes in andante tempo 934-A Osborne Street Kalamazoo, Michigan
what shall w e do with the same note when the tempo is allegro or
presto?
(Waltz) hy
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:ctr in teaching piece In thi
remember that tremolo is merely a means for sustaining tone when
the time value of the note is so long that a single stroke will not MUSIC Ist M. 25c
ny combination you choose to play it.
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[Link] MENTION The C R E S C E N D O W H E N WRITING TO ADVERTISERS

 [24] The CRESCENDO September, 1927

Venetian Carnival at Atlanta, Ga. Little Finger of Right Hand in Guitar Playing
It is unusual, even for "Palestine Craftsmen", to ask ladies This subject was discussed in length in a recent issue of the
Crescendo by the conductor of the Round Table, and since this is of
to be guests twice in the same year, but the precedent was
such importance to guitarists, I would like to present to the interested
broken, without regrets, at their recent musical affair. Wil- readers another side of the question. In all the years that I have
liam Butt Griffith, president of the B. M . & G. Guild and been playing the guitar, I have never found any advantage in resting
prominent member of the Palestine Lodge, F. & A. M., in the little finger on the sounding board, as in m y particular case it
assembling his "gang" to form the Griffithe Mandolin Or- interefred with the free play and relaxation of the other fingers.
chestra brought to the affair a lot of dainty damsels, this T h e third finger is the so-called weakest m m b e r , but w h y let it
m a y have been the cause of braking the "precedent." This rmain so? Ferdinand Sor did say, "Be sparing in the use of the
orchestr is composed of nearly forty pieces, giving a complete third finger," but never w a s a phrase uttered by a great guitarist
range of string effects, and every member is afinishedplayer. that caused so m u c h confusion amongst the players.
Aside from the m a n y splendid renditions by the Mandolin Let us look at it from a purely physical standpoint. If w e by-
Orchestra, Mary Griffith Dobbs, one of the South's foremost hard practice strengthen the first and second finger and spare the
third, the latter will always remain weak and if w e attempt to use it
harpists, gave several beautiful numbers. Mrs. Dobbs has
occasionally, i twill give us trouble. In order to have it ready to
been heanl on her Italian harp at many of the leading musical perform its task whenever called upon to do so, it must have equal
occasions. She is chairman of the Music Committee of the strength and power with the others, and since it is weaker to begin
Atlantic Federation of Women's Clubs. The following is the with w e must make it work harder, w h e n playing exercises. If I
program rendered— should stop here you might say: "Well, that is just the opinion of
1. Griffith Venetian Players with Bernice and Floyd Jennings: one person." But, let us go a little farther, som of the old masters
"Funiculi-Funicula" Denza did spare the third finger and occasionally rest the fourth on the
"Santa Lucia" Marziala founding board. T h e y lived one hundred and more years ago, since
"0 Sole Mio" E. di Capua then w e have m a d e progress. J. K. Mertz, whose n a m e will ever
2. Miss Blanche Thomas: shine brightly in the hall of fame of guitarists even though he was
"Cullud Lady on the 'Phone" (Reading) self-taught and in his concerts played only his o w n compositions and
arrangement (but this also might be said of all the great masters),
3. William Butt Griffith: has given us gems of guitar literaature which are impossible without
"Whirlwind Gallop" (Mandolin Solo) Seigel the almost constant use of the third finger. T h e same holds true
4. Griffith Mandolin Orchestra: with William Foden, whose remarkable technique is known to most
Barcarolle from "Tales of Hoffman" Offenbach American guitarists and whose compositions and arrangements re-
quire a well developed third finger. Foden is strongly opposed to
"Flow*er of Youth" Bertram
the little finger resting on the sounding board.
"El Dorado" Weidt H. Albert, the greatest living G e r m a n guitarist; Mozzani of
5. Bernice Jennings, soprano; Irene L. Bell, contralto; FloydItaly, Llobet, Segovia, Pujol, the three greatest Spanish guitarists,
Jennings, tenor; Leslie Hubbard, basso; Paul M . Hubbard, are to-day making guitar history in Europe. T h e y are looked up to
piano: and feted as Sor, Legnani, Giuliani, Ferranti. Carcassi were a hun-
Quartet, "Neapolitan Nights" Thomas dred years ago. N o n e of these modern guitarists rest the little finger
and all use the third finger extensively. Mozzani plays his scales
6. Banjos: alternating thefirst,second and third finger and his speed is most
"The World's Waiting for the Sunrise" Seitz astounding. Besides, his tone is powerful and of a most beautiful
"In a Little Spnaish Town" Wayne qaulity. Albert in his n e w "Guitar Method" of four volumes (used
by most teachers and scshools in Europe to-day) gives speiicil exer-
7. Miss Blanche Thomas: cises for the strengthening of the third finger and his right hand
"Betty at the Base-Ball G a m e " (Reading) fingering of scale exercises is similar to Mozzani's. Segovia, said to
8. Griffith Mandolin Orchestra: be the greatest of the mall, claims to have tihrty-two ways of
"Dance d iCupid" Odell touching the strings to get different effects, tone quality, tone color,
etc., and all this he accomplishes without ever resting the little finger.
"A Love Chat" Acker
N o w , personally I have great admiration for the old masters and
9. Bernice Barbour Jennings with Griffith Mandolin Orchestra: strongly advise every guitarist to study and play their music, but
Solo, "Love's Like a Star" Odell w h e n it comes to technical details I prefer to follow the modern
10. Griffith Mandolin Orchestra: artists w h o , by their remarkable performances, are showing us the
"Beautiful Rainbow" Odell w a y to better things.
In conclusion I want to express m y hope, that this friendlly dis-
"Dance of the Teddy Bears" Weidt
cussion will tempt others to give their views on the subject, so w e
11. Bernice Barbour Jennings, soprano; Irene L. Bell, contral- might all derive some benefit in our endeavor to keep boosting our
to; Floyd Jennings, tenor; Leslie Hubbard, basso; Paul M. beloved instrument.
Hubbard, piano: GEORGE C. KRICK
Quartet, "Nightfall in Grenada" Weidt
12. Griffith Mandolin Orchestra: "I would feel lost if I did not receive a Crescendo every month.
"Here They C o m e " Weidt It is just as important to m e as m y meals. W i s h you m u c h more
success with the world's leading monthly magazine."—ALICE [Link]-
Fox, San Francisco
The Nicomede Music Company, Altoona, Pa., popular man-
ufacturers and publishers, report that they are now manufac- Our Latest March
turing five different pick assortments and each is properly
displayed on cauls and in cabinets. The jazz banjo and man- for MANDOLIN ORCHESTRA
dolin pick assortment of forty different picks, made of high-
grade composition, is meeting with the highest approval of
the various music dealers.
Boston Commandery
T. M . C A R T E R , arr. by H. I. OOKLL

One of the most famous American marches. You will

Editor, the Crescendo: hear it everywhere, especially in naiades. Thefirsttwo
Permit me to congratulate you on the entirely new "dress" the strains are in military style with fine contra-strains.
Crescendo appeared in this month. The title page and arrangements II. I•'. O D E L L C O M P A N Y — 157 C o l u m b u s Avenue. Boston
of the different departments—everything—is greatly improved. I
have enjoyed the Crescendo for many years; it is better and bigger
than ever. ALBUM FLAMENCO (5 solos) bv Cimadevllla ...
1 would like to add just a word to what has already been said
GUITAR CAN0 ALBUMS I & II (6 pieces in ea.) u. vol
H O M E N A J E (Manuel de Falla) by Llobet
in commendation of the good defence of the regulation four-string
banjo by Mr. Hallett. The different letters show convincingly that
MUSIC BAILE DE MUNECAS )
MEDITACION. l'rcludio [ 4 original works
the "Daddy" of the banjo family is not yet to expire, but lias in RECUERDO. ltomanza \ by De La Maza complete
deed received a new lease of life. Long may it live and continue to MINUETO
be the best of the entire family! Messina Music Co.
Yours very truly, 2451 84th St.,Bklyn. N.Y. // Published IVe Have It
W M . K, BEDFORD.
PLEASE MENTION The C R E S C E N D O W H F V WRITING TO ADVERTISERS
September, 1 9 2 7 The CRESCENDO [25l

1". L . — W i l s e y , K a n s a s

The /. Will you please answer the following questions

through the Guitarist's Round Table of the Crescendo? I
j
pUITARISTS'

1
find some puzzling chord combinations in the composition

[•HI GROUND TABLE

"i'antasie Hongroise" by J. K. Mertz. I find the D, 4/h
h 1/, r line below the staff, used several times. I thought at
first that the bass E might be tuned to this note, but upon
Conducted by
V A H D A H OLCOTT-BICKFORD closer study I see that the following chords would be im-
Virtuoso, Composer possible if this were the case. These 01 cur on page 2 of the
composition. Do you not think that Mertz used an extra
*-pITIS D E P A R T M E N T is especially for
•i- Quitarists, bul anyone may ask Ques- sub-bass on his guitar tuned to this D (4th leger line)? If
tions perlailiinn to ilu- -.'uitar or contribute
Items. Questions or suggestions will re-
not, hoiu could all the above chords be executed on the
ceive due consideration. regular six-string guitar? Will you please give the meaning
Address—"Guitarists Round Table," care
of The Crescendo. of the word "volante"?
L. 2. What is the meaning of the diagonal line through a
chord? I notice it a number of times in the above composi-
G. G. S.—Altona, Manitoba, Canada tion. Any help on these questions will be greatly appreciated.
I. I live oat on the prairies where there is no opportunity [ ANSWER }
to hear a good guitarist. Consequently I can at best only
1. Y o u are correct in your supposition that Mertz used an extra
hear some of the meager bit that is occasionally broadcast
sub-bass string on his guitar, tuned to the low D, below the ordinary-
through radio.. I can play guitar music graded "A" and bass E string. T h e seven-string guitar is the low D, below the
some pieces graded "B". Would you kindly publish a list ordinary bass E string. T h e seven-string guitar is the one most in
of a few solos or duets that you think would give the greatest use in Russia and it was, no doubt, through Mertz' tours in this
beauty from one's mediocre technic? country that he came to use this extra low bass D string, although
2. I am also very much interested in arranging for my- he w a s not the only one of the great masters w h o used it. T h e
self, chords for both popular and other songs. Kindly advise greatest of the old French masters, Napoleon Coste, also used this
extra string, tuned to the low D. In some of the works of both
where 1 could get a method teaching same,— that is, that
these masters there are instances where this D m a y be obtained by
branch of harmony. tuning the sixth, or low E string to this pitch of D , but in m a n y
[ ANSWER ] others (as instanced in the chords you mention as occurring on page
1. It is with th guitar like every other instrument, only a bit two) it is impossible to change the tuning of the E string, and in
more so with it than most, that the more limited the technical such cases, the only w a y these compositions can be played on a six-
equipment the more limited the beauty of the compositions one is str>ig guitar, is to play the low D (when it occurs) an octave
enabled to play. However, this is not meant to be at all discourag- higher, which, of course, does not give the exact effect desired by
ing, for, as a matter of fact, there are m a n y simple pieces on the the composer w h o wrote for the seven-string guitar, but is the next
guitar, making little demands on the technical proficiency of the best substitute.
player, which are beautiful and it is far and away better to play T h e word "volante" is an Italian adjective, meaningflying,light,
the easiest piece well, with accuracy, good tone quality, correct swift.
phrasing, accent, etc., than it would be to do as so m a n y players are 2. T h e diagonal line passing through a chord as illustrated in
wont to do, play more or less difficult pieces indifferently well or in the Mertz composition you mention, is the sign Mertz, Giuliani and
many cases very badly. T h e former player is by far the best mis- several others of the old masters, used to indicate the thumb sweep,
sionary for the guitar. In response to your request, 1 a m listing which is indicated in modern music by the curved line in front of
below a few solos that are not in the least difficult, but are in fact the chord. T h e execution of the chord is to pass the right hand
easy, and also a few duets. If you are in doubt as to where to thumb over the strings comprising the chord, from the lowest to the
obtain any of these, write to the Crescendo: highest, and the effect is somewhat like an arpeggio, but with a
"Drink to M e Only With Thine Eyes" .... Arr. by OIcott-Bickford different tone color, a more definite,final,forceful, effect, than can
"Tyrolean Melody" (solo or duet) . . . Tchaikowsky-Olcott-Bickford be obtained through the use of the arpeggio. T h e greatest masters
"Pensando en T i " (Habanera) Alba of the guitar make use of m a n y effects such as this, and various
"Old Black Joe" Foster-Olcott-Bickford others, in relieving the instrument of the monotony that is evident
"Butterfly Caprice" ' Boehm in the playing of those w h o have not mastered these various effects
Books 1 and 2 of Light Music for Guitar Albert and acquired the judgment as to w h e n each m a y or should be used
German-Jansen to obtain the desired tone color or expressive effect. I trust that I
"Shepherd Dance"
"Aloha O e " Liliuoklani-Olcott-Bickford
2. While there are several books giving some instructions and
hints in regard to arranging chords for songs for the guitar, so far
understanding.
By J. VOLLMAR
8 New Solos for the Hawaiian Guitar
have answered your questions to your complete satisfaction and

T H E H A W A I I A N GUITAR SPECIALIST
as I know, there is no method or book which is devoted solely to Guaranteed to please or money refunded.
that purpose in a really definite way. O f course, thefirstthing BABY'S SWING SONG (Lullaby) Iteg. Gt. Assomp 30
necessary for that purpose is to be able to read the bass clef so that HAWAIIAN CAPRICE 30
you have an understanding of the piano score from which you are HONOLULU G U A R D S M A R C H 30
TRIANGLE M A R C H 35
to arrange the guitar accompaniment. The more thorough your VOICE OF LOVE W A L T Z 30
knowledge of harmony in general, the easier it will be for you I" SERENADE TO THEE 2nd Haw. & Hoc. Gt. Assomp 30
make such arrangements. It is also necessary to know your o w n SOLEMNITY (A Reverie) '• •' 30
instrument very thoroughly and the various idioms of chords most NEARER. M Y GOD, TO THEE " " 25
suitable, or rather, their most suitable forms. Y o u will find a com- Prices are net, postpaid.
plete list of chords of every known description in .ill keys, major JACOB VOLLMAR Charlott^Sta^Roche's'tcr, N.Y.
Discount IO Dealers and Teachers, Send for complete dlscripUve clrcular.
and minor, with m a n y ways and positions of playing them, as well
as a complete list of the various diminished sevenths and other
diminished
O T J T Tchords,
A R T S TinS the OIcott-Bickford Cesar
' ORIENTALE Advanced
< „i thatCourse
charm-for
The FITRITE PICK
by For G U I T A R ("Steel" or regular style)
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of violin! 1 cellists,from
la nowthe and for B A N J O . Fine for double tremolo,
piano score for
obtainable forthe guitar
(Iuitar which
Solo, will no
transcribed by doubt
V a h d a hbe helpful
Olcott to you.
Bickford in and for producing big tone volume and
"Modern A l b u m for Guitar", containing 1 0 S o l o s — 1 D u e t — 1 Song r.:E power. Two sixes, large and small,
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American Guitar Society M all musical mdse. dealers and Jobbers or
2 2 8 0 W e s t 23rd Street, Los Angeles, Calif.
1IAHOLD ORTH, Mf,. 1870 Deacon Street, Boston, Mass.

•LEASE MENTION The C R E S C E N D O W H E N WRIIINC T O ADVERTISERS

 [26] The CRESCENDO September, 1927

Concert by Pyle Mand. Club, Plymouth, Mass.

Assisted by Miss I'rudence Brink, Reader, and
PROGRAMS OF CONCERTS A N D Double Quintet from Glee Club of Plymouth Girls' Club
RECITALS j a The N. C. Four March F. E. Biglow-lf'alter Jacobs
b Flowers of Love Waltz /Vm. G. Stald-Odell
Mandolin Club
2 a Morning Song Guslav Holze
John Alvey Turner's Grand Evening Concert b Barcarolle, Tales of Hoffman
Double Quintet
Offenbach-lf'arhurst

Wigmore Hall, Wigmore Street, W. 1 3 a Invincible U. S. A . M a r c h H. F. Odell, Op. 79

b Georgette Waltz Joe IV. Nicomede
PART I Mandolin Club
i Trio—"Niggertovin" Morley 4 a T h e French Doll
E. Fairs, C. Day, F. Musselbrook b A Bargain in Cats
2 Banjo Solos—"Mazeppa" Morley Miss Prudence Brink
"Sprig of Shillelah" Morley 5 Medley "From Old Erin's Isle" Arr. It. F. Odell
Joe. Morley Introducing " C o m e Back to Erin," " T h e Irish Washer-
3 Duets: Vibrante Zither & B a n j o — T w o Country Dances Cammeyer w o m a n , " " T h e Harp That Once Thro' Tara's Halls,"
Alfred D. C a m m e y e r and Bernard Sheaff "St. Patrick's Day," "Believe M e , If All Those Endearing
4 Banjo S o l o — " D r u m Major" Morley Y o u n g Charms," "Garry Owen," "Last Rose of Summer,"
E d w a r d Fairs "The Minstrel Boy," "Killarney," "The Girl I Left Behind
5 Vibrante Zither and Banjo Solo— Me," "Kathleen Mavourneen," "Wearing of the Green."
T w o Cornish Dances: "Floral Dance" " T h e R o m p " Cammeyer Mandolin Club
Bernard Sheaff 6 a Evening Shadows C. R. Ricci
6 Song—"Melissa" Trclawny b 01' Car'lina James Francis Cooke
Roland Weddell Double Quintet
7 Mandolin Solos—"Danza Dei Nani" R. Calace 7 a Popular Italian Melodies arr. by G. If. Lansing
"Caprice Viennoise" F. Kreisler b Silver Ripples Polka W a r r e n N . Dean
Mario D e Pietro Mandolin Club
8 Tremolo Banjo S o l o — " C o m e Back to Erin" Claribel 8 a Elder Brown's Big Hit
J. G. Harris b Johnny Takes a Trip on the Cars
9 Banjo and Zither—"Mountaineers' March" Morley Miss Prudence Brink
Banjo Duets—"Keynotes Rag" Morley 9 a Fieldston; March IV. J. Kitchener
C. Day and F. Musselbrook b T h e Georgian, M a r c h James II. Johnstone
PART II c T h e Flying W e d g e , Galop Kale Dolby
Mandolin Club
io Mandolin Solo—"Poet and Peasant" Suppe George C. Krick Mandolin - Guitar Quartette
Tenor Banjo Solo—"Pickins" H. Reser
Mario D e Pietro Radio Concert
II Vibrante Zither—"Sweet Idleness" Cammeyer First Mandolin, Mr. Krick; Second Mandolin. Miss Krider
Banjo D u e t s — " M a r c h en Passant" (Vocalion X9544) Cammeyer
Mandola, Miss Marshall; Guitar, Mr. Spadaro
Alfred D. C a m m e y e r and Bernard Sheaff
12 Banjo Solos—"The Sports Parade" Morley 1 Galop "The Hippodrome" Foden
"Mauna Loa" Morley 2 M o m e n t o Musicale Schubert
Joe Morley 3 Andante and Polonaise Mezzacape
13 Tremolo Banjo Solo—"Love's Old Sweet Song" Molloy 4 Romanza 4model
J. G. Harris 5 Canzone Simbolica Jaffe
14 Banjo Duet—"Thumbs Up" Morley 6 Serenade from "Jewels of the M a d o n n a " Wolf-Ferrari
E. Fairs and C. D a y 7 Tarantelle "Napoli" Mczzacapo
15 Zither Banjo Solo—"Valse des Fleurs" Cammeyer
F. Musselbrook ATTENTION ! TEACHERS!
16 S o n g — " I Did Not K n o w " Trotere KILLIAN'S METHODS, with a Complete arrangement of rhords (with diagrams!
Roland Weddell for each fretted Insttument, ami KOTTY'S COMPLETE BOOK OF CHORDS
17 T r i o — " H a n d y Jack" Cammeyer (mili diagram!.) for each fretted Instrument, are oompHed on one and the same
E. Fairs, C. Day, F. Musselbrook principle, which will enable the teacher to Instruct on one Instrument squall;
as wall as another. These books are oompHed ,m ;l praotical basis, and contain
Recital of Harp Music man} features and knowledge not found in other methods. Price, Methods, $1.50.
Chord Books. 75 cents. — rulilishcd by
By Students of the Class of Helen Burr-Brand K O T T Y S C H O O L O F M U S I C — 60 Miller Block, Milwaukee. Wis.
Detroit Institute of Musical Art Teachers' and Dealers' Discount
Send $1.00 IZ 10 Pieces i ^ S c !
Two Harps—"Volga Boatmen's Song" arr. by Carlos Salzedo 2 M. & P. Duos, or Guitar Solos. Your O w n Selection.
Mrs. Frank D u f f — M r s . Esther G o o d m a n - H a n s
a "Lullaby of the W i n d " Rogers GEO. STANNARD
b "March of the Marionettes" Rogers Publisher of Over 000 Good Things for B. G. & M,
Mary Wade
121 South Warren Street T H E N TON, N. J.
"Angelus" Rente
Esther G o o d m a n - H a n s
a " A n Monastere" Ilassi-Imans
b "Berceuse"
Virginia Whisler
Hasselmans
ATTENTION!
DeLano
"Spanish Californian Folk Song"
a "Under Gothic Arches" b "Old Maid's Song" c "Carmela"
Ross
TEACHERS and PLAYERS Methods
Bernice Bigelow Send for full list of and
H a r p and Piano—"Choral and Variations" Charles Widot C. S. DeLano's Mel/tods und Solo*.
Musie
Virginia Whisler; Mrs. Brand at the Piano for Steel Guitar and Ukulele
a "Follets' Hasselmans Ask about the Wonderful Kona Steel filters lor
b "Pinere" Hasselmans with agency ; ful! line of accessories, and 4 new Steel Guila1
Mrs. Frank Duff Steel Guitar Solos. ond Vkulelt
Three H a r p s — a "Ballet from Sylvia," Delibes arr. Helen Burr-Brand p n T\T-T A lVm 845 S o u , h Broadway
b " T h e Lost Chord," Sullivan arr. Helen Burr-Brand KJ. O. U E L A A L S K J LOS Angeles, Calif.
Mrs. Frank Duff, Virginia Whisler, Mrs. Brand
PLEASE MENTION The C R E S C E N D O W H E N WRITINC TO ADVERTISERS
September, 1927 The CRESCENDO [27]

was in effect, something like the following: "You must re-

The Rickford String Quartet member, m y friend, that the C notation is comparatively new,
Assisted by the Lovejoy Trio and the soloists Mildred Clint, piano;and only a few players have mastered it as yet. W h a t about
Freeda Potts, soprano; Vahdah Olcott Bickford, guitar. the players in A notation, to w h o m w e have been catering a!_
these years, w e cannot and will not overlook their interests,
Piano Quartet—"Op. 272" Reineck so in order to make the Crescendo useful to everyone, w e will
allegro—Scherzo-Moderato Adaigo—Rondo Finale publish solos in A notation and C notation alternately," and
Bickford String Quartet; Grace Lovejoy, piano the Crescendo must be congratulated on this stand.
Soprano Solo—Selected Freeda Polls This, I think, has contributed in a large w a y to the splendid
Grace Lovejoy at the piano success of the Crescendo. I a m pleased to say that for
Bickford String Quartet: Frederic Clint, ist violin; Grace Lovejoy, m a n y years it has been m y pleasure to be a contributor to the
2nd violin; Zarh Myron Bickford, viola; Marjorie Potts, cello— Crescendo. The publication of m y recent article, "Keep the
(a) "In Highest Thought," (b) "The Humming Bird" Them Standard Banjo on the Map," has brought m e letters from
Guitar Solos—(a) "Parting for Syria" Giuliani enthusiastic standard banjo players from all parts of the
(b) "Elves at Play," Caprice Bickford United States and England, all testifying to the good I a m
rendering the old-time players, and congratulating m e upon
"Hungarian Dance No. 6" Brahms
m y defence of the standard instrument. M y very best wishes
Lovejoy Trio: Frederic Clint, violin; Marjorie Potts, 'cello;
for success are with the Crescendo always, to which I a m
Grace Lovejoy, piano
proud to be a contributor.
Vocal Duet—"Venetian Boat Song" Blumenthal M. L. Hallett, well-known player, writer and booster,
Freeda and Marjorie Potts 400 Broome Street, N e w York City.
Violin Solos—(a) "Indian Lament" Dvorak
(b) "Liebesfreud" Kreisler Hawaiian Dreams
Frederic Clint; Mildred Clint at the piano
Piano Solo—"Elegie" Noulet Fantasia by G. MUDER to Mr. Wm. J. Murray, Hawaiian Guitar
Mildred Clint Virtuoso
Quintet: Bickford String Quartet; Vahdah Olcott Bickford, guitar—
"Larghetto-Allegro," Menuett; "Larghetto," Rondo Schnabel From isles across the silv'ry sea
Entrancing music drifts to m e ;
*»**•_ Sweet strains of charming melody
O n fragrant winds of memory.
THE CRESCENDO READERS' Those sweet guitars again I hear,
That lovely song to mem'ry dear,
OWN COLUMN That tender, longing, sad refrain,
This column is open free for discussion& contributions to our readers. In dreams I hear that song again.
Aloha! Aloha! My love to thee;
Farewell! Farewell! Remember me.
Aloha! Aloha! Farewell to thee;
A Bouquet for the Crescendo Thus rings the song in memory.

To the Editor:—I have been a contant subscriber to the The strings with longing seem to sigh
Crescendo for upwards of twelve years, and I simply cannot A n d sweetest voices seem to cry;
allow everybod" else to say something nice about this excellent Soft winds of night in passing by
publication, without putting in m y say. I have always had a Seem gently sighing in reply.
warm spot in m y heart for the Crescendo ever since I received
Aloha! Aloha! Farewell to thee;
the first copy. This splendid musical monthly has always
(The sweetest strain it seems to me,
maintained a very friendly attitude with its subscribers, and
That song of true love's constancy
has always been most generous with space in its news columns.
A n d friendships steadfast loyalty.)
It is one publication which thoroughly covers the B. M . G.
field from coast to coast. Its mission has always been to In dreams I hear that charming strain,
make itself useful to every one of its subscribers. In this Itfillsm y heart with longing pain;
instance I recall an incident shortly after the n e w C notation I fain would fly across the sea;
for banjoists had been officially introduced by R. M . Tyrell in Beloved isles, to be with thee!
America. A s you will remember, banjoists took very kindly
to the n e w notation, and one of the Crescendo subscribers w a s Whene'er thy silv'ry strains I hear,
so wrapped up in it, that he wrote a letter criticising the T h y magic brings these visions near,
Crescendo for publishing solos in the old A notation. Every- A golden gleam from isles afar,
thing should be in C, he said. The reply of the Crescendo M y sweet guitar, in truth you are.
The song that through thy music rings,
\ \ 7 E can furnish you with everything in M U S I C Of joy and gladness also sings,
at publishers' and manufacturers' prices. W h y Of golden sunshine's cheerful rays,
order from m a n y publishers w h e n you can m a k e Of happy, glowing, golden days.
ONE ORDER Through thy enchanting singing strings
T h e glory of fair Hawaii rings,
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ORDER TODAY AND CONVINCE YOURSELF
The Odell MANDOLIN DUO METHOD
Explain- fully every point of Duo, Trio and Quarto playing.
H. F. ODELL COMPANY Used exclusively by thousands. — — 11.00 lo-tpaid.
157 Columbus Avenue, Boston, Mass. H. F. O D E L L C O M P A N Y 157 Columl.t,- , Boston. M..--

PLEASE MENTION The C R E S C E N D O WHEN WRITINC TO ADVERTISERS

[28] The CRESCENDO September, 1927

The Germ of Desire

(Continued from Page 20)

WANTED and FOR SALE seen doing the same thing. S o m e will say their hands are

Advertisements inserted here for 5c per word each insertion. too

Cash large. A n d yet one will see a m a n with a hand like a

with order. Minimum charge 50c. h a m turning out beautiful music. S o m e will say their hands
are too hard or knotted from work. And yet one hears
first-hand of the deck hands and laborers on the sugar boats

B a r g a i n s : Gibson Plectrum Banjo, in ca: !: cost $144.90, take $90.00 plying about the Hawaiian Islands and their music, or the
$190.00 Cello Banjo, silver plated, in case for $50.00. F 4 M a n d o l i n (r Italian navy d o w n at the railway yards and their guitars and
in case ; $70.00. Write quick. E a s y ter is if desired. C. A . T e m p l e
K S C J Building. Sioux City. I o w a . mandolins. It's all s u m m e d up in that one ardent desire to
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V a n E p p s Recording B a n j o with resonating c h a m b e r . 21 inch scale.
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ale. $110.00. Write A NEW LEAF

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BANJOISTS ! ATTENTION
n e w publication for the heerinner or professional that will
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engraved neck a n d leather case
For the BANJO
N o . 9 T u b a p h o n e Plectrum
Quick Chord binder P R I C E 50 C E M s
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D O N C. SANTOS, 55 Orleans St., ROCHESTER, N.Y.

PLEASE M E N T I O N The C R E S C E N D O WHEN WRITING T O ADVERTISERS
 The CRESCENDO

T H E T U N E S Y O U H A V E BEEN WAITING FOR £i>.

cc
Popular
Feist for Fretted
Hits No. 6
Instruments

A SUPERB COLLECTION CONTAINING FIFTEEN

OF THE LATEST POPULAR "FEIST" MELODIES

Arranged for Violin or Solo Mandolin with 2nd Mandolin Obligato (in one book)
Hawaiian Guitar Solo and Regular Guitar Accompaniment (in one book)
SI Tenor Banjo Solo and 2nd Tenor Banjo Accompaniment (in one book)
PLAYABLE AS SOLOS, DUETS OR ANY COMBINA-
TION O F PARTS T O SUIT MANDOLIN CLUBS
S3
CONTENTS
Sunday (Fox trot)
"FEIST" Honolulu Moon
At Sundown (Foxtrot) "FEIST"
POPULAR HITS, NO. 6 Sam, the Old Accordion Man
FOR Collette (Foxtrot) POPULAR HITS, NO. 6
Mandolin Thinking of You (Foxtrot) FOR
OR // You See Sally
It Made You Happy (Fox trot)
Tenor Banjo Solo
Violin Pal of My Lonesome Hours (Fox trot)
WITH ACC. FOR
WITH OBLIGATO FOR
/ Always Kneiv I'd Find You (Fox trot)
Second Mandolin Second Tenor Banjo
In a Little Spanish Town
Price $1.00 He's the Last Word (Foxtrot) Price $1.00
Love Is Just a Little Bit of Heaven
Just Wond'ring
Hello, Aloha!—Hoiv Are You?

" FEIST "

POPULAR HITS, NO. 6
ALL PARTS ARE IN THE FOR THESE BOOKS ARE FOR
SAME KEY, SO THEY CAN Hawaiian Guitar Solo SALE ONLY IN U. S. A.
BE PLAYED TOGETHER WITH AND CANADA ::::::

Regular Guitar Ace.

Price $1.00

Published
by W m . [Link] Music Co.214-16-18 East 34th Street
N e w York City

r I _SI MENTION The C R E S C E N D O W H E N WRITING T O ADVERTISERS

 The CRESC1 N D O

Choice MandoliilJ Or cliLes [Link] imbers

All arc arranged b> H . K. Odrll unless otherwise indicated.
B | 0
i _0

i "*" B c s
H M d e n • Indicate! thai T e n o r M a n . M a . Mando-Cejlo a n d
B a n j o parts are printed with both notations together o n
the s a m e sheet. Nearly all have D r u m parts. s s c
3A
a
Az
- ,
E
a
cc s
—
-3
-
£ S
'Awakening of Spring. E . B a c h
_o
20
"~ N

IS
15
IE
15
a H
20
20 20
S
10 -'II

20 — 15
IS
15
15
•
15
15
20
15
•Battleship Connecticut M a r c h , J a m e s M . Fulton
20 15 15 20 20 20
— 15 15 15 15
T h e Blue Jacket- M a r c h . C, W . Bennet
30 15 15 20 20 20
— 20 IE 15 30
_ Bunch of Violets, c. W , Bennet
20 15 20 20 20
— 15 20
( all M e Thine (>»n. J. P. Halevy
.'in
IE
11 IE 20 20 20
— 20
IE
15
IS
15 20
"Capriciousness, T . H . Rollinson
30 20 20 30 30 30
— 30 15 15 20
• D r e a m s of Childhood Waltz, E . Waldtcufel
Fifteen Sacred Melodies 30 20 20 20 20 20
—
20 30 20 20 35
iO IE 15 20 20 20 20 15 15 30
•nower Song, G. L a n g e
20 30 30 30
— 20 15 15 15
(iirls of B a d e n W a l t z . Kail Knmzak n
30 15 IE 20 20 — 20 15 15 35
11 Tro»atorc. Selection. C.. Verdi. A n . by G. I.. L a n s i n g
86 20 20
'.'il

30 30 30
— 30 20 20 40
Intermezzo from Naila. L e o Delibes
20 IE 15 20 20 20
—
IE 15 15 15
•Kure for Kare. B a r n D a n c e , T. H . Rollinson
20 30 30 30 20 20
-
30
March from Suite. O p . 1 1 3 , F. L a c h m e r to
15 IE 20 20 20 — 20 15 15 30
M lodj in K. A I! ll
-
3.*> 20 20 30 38 30
— 3H 20 20 50
Fantasia on " M o o r e s Irish Melodies." H . F. Odell
Fantasia on " T h e Old O a k e n Bucket." T. H . Rollinson 30 20 20 30 30 30
—
20 20 20 20 40
30 20 20 30 30 30 15 15 15
• O v e r the W a v e s
Selections from
(Sobre las Olas) W a l t z . J. Eto
••Pinafore,-' A . Sullivan IE 20 20 20 20 20
—
20 20 20 20 40
Selections from "Pirales of P e n z a n c e , " A . Sullivan 3.*. 20 20 20 20 30 30 40
20 20 30 30 30 3D H 1 50
I h. Skaters W a l t z . E . Waldteufel
20 IE 15 20 20 20
— IE IS 15
•Sons of I ibrrli M a r c h . T . H . Rollinson
30 30 30 30 30
— 30 30 30 50
W uner Berger Waltz. ('. M . Zil I
20 15 15 20 20
— 15 SO
Youth a n d Beauty
Ihi-rldit. /impl
Polonaise. T. H . Rolll
SS 20 20 20 '.'II 20
— 30 20 20 M

OLIVER DITSON COMPANY 178- 179 Tremont Street. BoStOD

i ll kS n DITSON ft C O > 8 1(1 12 ..i-i 3 uii Se .•. i. N ., v„k

SPECIAL SALE - - O D E L L STRINGS

ORDER /VOfl Tt'tiflwrs. write for special prices.
The Best and Str<
Hi dolln, M a n d o l a . and Mnniiu t . n.. Iallj good for 'int back a, Martin.
Washburn, ate. Guitar Ul in,.I ill hi,,,- In,, i n, ll„. world Tenor llanj.i lly itrong for darn K O I k. All
steel and wound nadi of Un in. in i i I. ..( i, loopad «,r knotted n all i ut. B a e h string In a
iif anvalopi. v. nol Old _0 h ss nunntltus at Ilu
M Wlllll IN I E N O H M [Link] G U I T \K
I I II. A M ) W O U N D Doa, No. STEEL A N D W O U N D Dot.
No, GOT A M I sn K w m M I
201 E lit. steel SI). IE, 70 _ let, ; tee! SIM",
. .45 301 I' lit gut S.2.2:>
202 A 2nd, steel 71 I) 2nd, steel
203 I) :ird, wound .78 72 (i :!rd, wound >s 302 H 2nd. gui 2.25
201 M 78 l Iili. wound 1.08 1. 3rd, trut
(_ 4th, wound Set al 4 strings, 40c 304 D Ith. wound 1.60
S, I „f 8 strings, G O r
M \MIO-( I.I.I.O _ 5th, wound 2.10
213 STEEL \M)i ND i' REGULAB BANJO GUITAB
I 6th, wound 2.10
SII.K A N D SILK W O U N D Dor. BTEEI VM>
Set of si I I I Will
6 strings, $1.20N D Poi.
214 \ 1st wound 11.20 807 E 1st. steel $0.45
50 Ist or :>th, silk $0.(i."»
.' 15 I) 2nd, wound 1.60
(; :trd, wound 2.10 .,i 2nd, silk .SO 809 II 2nd. steel 15
58 .Ird, silk .88 (; 3rd, steel ,">0
216 (' uh, wound 2.7."» G .!rd. wound 1.00
llll Ith, wound 1.00
Scl of 8 strings, J1.50
Set of 5 strings, 4 0 c
811
.".1(1 I) Ith, wound 1.08
206 M WDOI.A ::i2 V 5th, wound
No. STEEL AND WOUND Doz. 1.35
206 E 6th, wound 1.S0
207 \ 1st tee! $0.60 PLECTR1 M ItWJO Set of 6 strings. 75c
No. STEEL A N D W O U N D
2 OK I) 2nd, wound UO
1st, steel |0.45
No.
GUITAB
(_ 3rd, wound 1.60 109 STEEL A N D
(' 1th, wound 2.10 110 2nd, steel 45 308 S T E E L A N D Sil K U H I N D
Scl of 8 strings. $1.00 111 3rd, i''i 15 309 E 1st. steel 10.45
L50 I KULELE 112 5th, steel I."> 818 ll 2nd, steel
(,i i Doa.
15
L18 4th, wound 98 ::i l G 3rd, steel 50
1st, gut $0.96 Set ol 4 strings, 30c 816 G :trd, wound
151 2nd, K ut 1.10 Sel of 5 sli ings. 40c
1.08
.'HC I) Ith, wound 1.60
152 :ird, gui 1.10 \ 5th, wound 2.10
lf> i Columbus Wenue Boston, Mast
153 uh. irut 96 K 6th, wound 2.10
Set of 4 strings, 4 0 c
Sel of G strings. $1.00

H. F. ODELL COMPANY
PLEASE MENTION Tht C R E S C E N D O wins WRITING TO ADVERTISERS
w FEB 1 3 B2 3
Vol. XX No. 4

20 Cents Per Copy ELISHED BY H. F. ODELL COMPANY' S2.00 Per Year

COPYRIGHT 1927 ALL RIGHTS RESERVED
ENTERED AS SECOND CLASS MATTER J U N E 9, 1909, AT T H E POST OFFICE AT BOSTON, MASSACHUSETTS, U N D E R ACT OF M A R C H 3, 1879
Printed in U.S.A.

'3f%wm •......••••••••••• • • • •
 The C R E S C E N D O

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__3ii____:

Books You Should ASTOR & YALE

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PLEASE MENTION The C R E S C E N D O W H E N WRITING TO ADVERTISERS
October, 1927 The C R E S C E N D O CO

The Most Beautifully

Voiced Banjo in
Banjo History

The VEGAVOX

In DESIGNED
IN
In
Recording FOUR Broadcasting
MODELS
\ /fARVELOUS improvements have for "PXTENSIVE experiments over a long
taken place in thefieldof phono- Tenor period of years have resulted in
graphs and n o w a similar achievement has Plectrum bringing to you this new distinctive banjo.
taken place with the introduction of the Regular
In broadcasting its tone is resonant and
V E G A V O X . In recording, its voice Guitar
blends evenly with the other instruments sustained, and carries through the air
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yet it is heard clearly and distinctly from with perfectfidelityand clearness. The
the ensemble. For solo recording it is
absolutely unequaled. l acoustical barriers of the radio no longer
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Style I List $240 Style III List $360 "|

Retail $200 Retail $300
Style II List $300 Style IV List $510
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Write for Descriptive Circular

The V E G A CO., 165 Columbus Avenue. Boston, Massachusetts

PLEASE MENTION The C R E S C E N D O WHEN WR11INC IO ADVERTISERS
[2] The CRESCENDO October, 1927

From
T h e Master These Folios
Method for Win Approval
Tenor Banjo Ten Tuneful Solos or Du-
A n instantaneous hit! A p - ets for Ukulele or Tiple.
plauded by teachers and B y W m . Morris. 50c Net;
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Tenor Banjoist. Standard By Fred J. Bacon Melodious Numbers. Com-
text books worthy of seri- Famous Artist and Composer
ous consideration by every plete with piano ace. $1.00
player. T h e y are original, net, Canada $1.20.
N E W A N D SPOOKY Gives 'Em All the Shiver
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Selling Strong Also Published for Banjo Band Famous Folio. 10 M e d i u m

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out the Third Edition.
Concert Folio. 5 Tenor
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T h e greatest triumph in the history of Tenor Banjo m e t h o d s — Morris. $1.00 Net; Canada, $1.20.
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Each Part $1.50 Net; Canada Price, $1.70 Net; Canada, $1.20 Net.

D o n C. Santos, 55 Orleans Street, Rochester, N e w York

\ Choice Mandolir1 <Or chiestra INumbe rs

c
•M _o
All are arranged by H. F. Odell unless otherwise indicated. "o •
c ea
The sign * indicates that Tenor Mandola, Mando-Cello and
s 9
Banjo parts are printed with both notations together on
the same Bheet. Nearly all have Drum parts.
a S
T3
o A
o
c 3 'o
2
0
c
B •V p
H
CO
I 0 £
a
•Awakening of Spring, E. Bach 20 15 15 20 15 15 15 21.
•Battleship Connecticut March, James M. Fulton 20 15 15 20
20
.3 20
—1 15 15 15 15
•The Blue Jackets March, C. W . Bennet 20 16 15 20
20 20
— 15 15 15 15
•A Bunch of Violets, C. W . Bennet 30 15 15 20
20 20
— 20 15 15 30
•Call Me Thine Own, J. F. Halevy 20 15 15 20
20 20
— 15 15 15 20
•Capriciousness, T. H. Rollinson 30 15 15 20
20 20
_ 20 15 15 20
•Dreams of Childhood Waltz, E. Waldtcufel 30 20 20 30
20 20
— 30 20
Fifteen Sacred Melodies 30 20 20 20
30
20
30
20
—
20 30
15
20
15
20 35
•Flower Song, G. Lange 20 15 15 20 20 15 15 30
Girls of Baden Waltz. Karl Komzak 35 20 20 30
20 20
— 20 15 15 15
•II Trovatore, Selection, G. Verdi, Arr. by G. L, Lansing 30 15 15 20
30 30
— 20 15 15 35
•Intermezzo from Naila, Leo Delibes 35 20 20 30
20 20
— 30 20 20 40
•Kure for Kare, Barn Dance, T. H. Rollinson 20 15 15 20
30
20
30
20
—
15 15 15 15 20
•March from Suite, Op. 113, F. Lachmer 30 20 20 30 20 20 20 30
•Melody in F, A Rubinstein 20 15 15 20
30 30
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OLIVER DITSON COMPANY ]L78- 179 Tre monlt Street, Boston
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Vol. X X October. 1927 No. 4

IN THIS ISSUE
PAGE
The Emotional Mandolinist (Thomas J. Armstrong) 5
Tenor Guitar
Be Honest With Yourself as Well as With Your Pupil ("Skip") 6
The Future of the American Guild (George C. Krick) 7
GET THE LATEST
The Third Finger of the Right Hand in Guitar Playing (Vahdah A n ideal instrument for those
Olcott Bickford) 8 who c a n n o t devote their
full time to intensive study.
FRETITORIALS 9
Eddie Peabody
Comment on Orchestration Published X
THE R O U N D TABLE Great Advantage over all other Stringed
BANJOISTS'—Frank C. Bradbury, Conductor 21 Instruments
MANDOLINISTS'—William Place, Jr., Conductor 23
GUITARISTS'—Vahdah Olcott Bickford, Conductor 25 Can be tuned and played like the Tenor
CRESCENDO READERS' O W N C O L U M N 26 Banjo or Ukulele
Nature's Part in Music (Ethel L. Wall)
You will love its beautiful Guitar quality
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First Mandolin 15
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[4] The C R E S C E N D O October, 1927

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 'QB767052

Published Monthly by the H. F. Odell Co., 157 Columbus Ave., Boston

Vol. XX BOSTON, OCTOBER, 1927

The Emotional Mandolinist

By T H O M A S J. ARMSTRONG

T H E R E are t w o kinds of playing a m o n g mandolinists. swinging it wide open and other times only half way. This
O n e is the sane and fearless player w h o attacks a note constant rising and falling of sound is apparent from the
with precision and maintains its volume of tone from start and eventually tires the ear.
the very beginning; and the other is the emotional player, A s to the cause of this peculiar style a m o n g mandolin
w h o commences every note softly and gradually increases its players, it m a y be for two reasons—one, his desire to play
volume to the middle and then ends softly again. T h e one with expression ; and the other, his faulty method in position
is the cool and comfortable conception of the music at hand, playing. T h e emotional player does not m a k e his appearance
and the other is a timid attempt to impart expression and until he graduates above thefirstposition and possibly his
feeling, regardless of the selection's character. uncertain plan of fingering causes him to hesitate at each
T h e fearless player is enabled to bring out clearly iiic note. W h e n sure that he has the right fret his. confidence is
different themes in the music; while the emotional player's restored and be brings the note out stronger. This fault
frantic efforts for effect produce fatigue. eventually becomes a habit, until he finally plays everything
Although the emotional player is far too numerous in the that w a y — e v e n onen strings. T h e mandolinist afflicted with
mandolin fraternity, his existence is not entirely confined to this style of playing spoils everything because h s manner
that branch of music, for he m a y frequently be heard in appears too affected, his wavering tone lacks force and his
bands and orchestras. H e is particularly prominent in conception of the music becomes confused like a bewildered
Italian bands. traveller in a strange city.
Emotional playing is seldom apparent a m o n g guitarists In the mandolin orchestra occasional bursts of emotional
and banjoists, but seems to be only a m o n g the mandolin effort m a y occur, but their bad effects are partly hidden by
players, and once the habit is contracted, it is almost im- the other instruments. It is only w h e n the mandola has a
possible for the player to c o m m e n c e a note of moderate solo that there is danger of the fault becoming prominent.
length with the proper volume of tone. H e will begin a If this instrument is in the hands of an emotional player, his
long note very timidly as if he w a s afraid he did not have part is generally delivered in spasms, just as his fancy dictates,
the right fret, and then swell it out with all the force at his and invariably in unexpected places. W h e n he has a -zo\o,
c o m m a n d until near the end, w h e n he diminishes the tone, and the other instruments are subdued, his manner of playing
and then gets ready to repeat this performance on the next is more apt to be noticed than the solo itself. This is par-
note. T h e most exasperating part of this is, that he imagines ticularly so w h e n the tenor mandola is used, because its tones
he is playing with expression. His performance m a y resemble are more sonorous than the octave mandola.
the rising and falling of the ocean's waves, yet he keeps Emotional playing has prevented m a n y good mandolinists
serenely on, regardless of the fact that his hearers soon loose from obtaining success in their work. This is very clearly
sight of the melody under these tiresome and spasmodic shown w h e n the music really calls for a long and gradual
undulations of sound. crescendo. In such cases the emotional player fails to draw
Crescendo and diminuendo, the musical terms for increas- attention to that part even if he does increase the tone,
ing and diminishing the volume of sound, are the musicians because he has been doing the same thing throughout the
stock in trade because they assist him in giving emphasis and entire piece.
character to his art. All soloists take some liberties with a Every mandolinist is anxious to play effectively, no one
composer's work, by increasing certain notes and passages in likes to do anything poorly. All comments and criticisms
a musical number, but the emotional player overdoes it, and intended for the betterment of his art, should be heeded by
thereby does not produce the effect he wishes, for his per- the young musician, for it lays within his power to correct
formance reaches the level of a burlesque. his o w n mistakes. A few moments careful study of his o w n
Emotional mandolin playing is bad enough w h e n confined playing will reveal to him whether he begins each note with
to single notes, but the limit to this manner of playing is confidence or lapses into the emotional field.
reached w h e n the soloist plays double stops of t w o or more A t the risk of being ungallant it m a y be said here that
notes. Instead of a succession of smooth, even chords, it emotional mandolinists arc more numerous a m o n g w o m e n
sounds as if he w a s in another room and some other person than m e n , but this statement m a y be w r o n g and full ot
was constantly opening and closing the door, sometimes
PLEASE MENTION The C R E S C E N D O WHEN WRITINC TO ADVERTISERS
[ 6] The C R E S C E N D O October, 1927

Be Honest With Yourself as Well think it must have been frozen that w a y ) induced him to
favor ( ?) us with " H o m e Sweet H o m e " . H o w I ever con-
as With Your Pupil trolled myself was beyond me. I was on the verge of throw-
ing up m y hands when the conversation turned to other
By "SKIP"
channels and m y friendfinallyadvised the "prospective pupil"
to take up the study of drums. T h e pupil left in a fairly
TRY this over on your piano, banjo, mandolin or the contented mood.
guitar, and when you have, make a mental note of h o w I regret to say that there are still a few of so called teach-
it sounds and the impression you get from it—but don't, ers of fretted instruments w h o have about reached their limit
goodness N O , go tell the world about it, nor shout from the and will grasp at any "straw" in the w a y of a prospect who
roof tops, because that "mat of welcome" in front of your can be induced to part with some of his honest money. They
neighbor's door will be turned over. A t any rate I think will promise diplomas and graduation as a finished pupil
you will agree with me. and a perfected player at the completion of so many lessons.
Get a bit of paper, rule out a staff for four-four time and A healthy interest is n o w apparent in the teaching profes-
jot this d o w n (it is a familiar melody)—begin the broken sion, there is a better class of students and a better class of
measure with two eight notes C and CJ, then a bar. D (3/2 teachers than ever before. T h e above exmaple is only typical
note), JL\) (34 note), B (34 note), then another bar. B[) of the method adopted by hundreds of other teachers. Every
(J/2), F # ( M ) , A ( % ) , another measure full. G (dotted teacher should be honest with himself and with his "prospect"
yA), F (%), Ftf (%), D (j/4) a bar, thenfinishwith E as or pupil. W e all k n o w that a satisfied customer is the best
a dotted half note. N o w play this melody with all the advertisement that one can have.
seriousness and heart you can.
W h a t a m I driving at ? Patience, m y friends, but some
of you have already caught the idea and have played this
The Emotional Mandolinist—from page 5
"beautiful" melody as I have given it to you. "But it sounds
like ." Don't shout, keep it to yourself and to those prejudice, from the fact that these lines were written by a
w h o do not quite grasp the idea I will tell you. T h e melody man. Every musically inclined student is in danger of falling
is from " H o m e Sweet H o m e , " rendered by an ambitious into the habit, all sentimental performers are susceptible to
pupil at the request of a teacher friend of mine. W h y did its false charms and even the artist is tempted to over-step
this teacher friend of mine allow such a wholesale slaughter his right in the treatment of a solo.
of a melody that is so dear to us? Listen, m y friends, and
T h e young mandolinist should beware of this pitfall of
I'll tell you the story he wanted to convey to m e by this
emotionalism and if he has acquired it, try and overcome
example.
the fault.
W h e n a person of either sex, of any age, or nationality,
This can be accomplished by a careful study of the po-
applies to this friend of mane for instruction on the violin
sition, a correct and easy plan of entering those positions
he makes it a business to find out beyond any queston of
and a critical observance of his personal rendition of every
doubt whether the prospect had any conception of melody,
selection.
and whether he or she could determine any difference be-
tween "Lead Kindly Night" and the "Russian Lullaby" in Another method, equally effective, is in the right hand
so far as the melody was concerned. It is true that there management of the plectrum,firstholding it veryfirmlyand
are many w h o have no ear whatever, and they invariably playing a strain of music loudly and then repeat the strain
decide on the violin as the one they want to study. softly while the plectrum is held rather loosely. T h e left
hand fingers in the first instance have a firm and steady
Coining back to the "ambitious pupil," the teacher struck
pressure on the fingerboard and in the second the pressure
up the most discordant combination of notes and chords I
may be much lighter.
have ever heard, and after making a racket that would have
made a Chinese orchestra turn green with envy, he turned It is also necessary to follow the marks of expression in
to the young prospect and asked in a pleasant voice if he a piece of music, tor after all, if the performer wishes to
recognized the piece just played. After thinking real hard bring out clearly the composer's thoughts, he must be guided
for a moment he smiled and said in a confident way: " O h , solely by the author's signals for effect.
yes, that was " W h e n D a y Is Done," m y brother plays that
on the piano at home."
Well of all things, could it be possible! It was after
this that m y friend (still with that pleasant smile and 1
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TO ADVERTISERS
ADVERTISERS
October, 1927 The- C R E S C E N D O [7]

T h e details are being worked out by a committee ap-

The Future of the pointed for that purpose. T h e Constitution and By-Laws
''American Guild" will have to be amended in due time, so the changes to be
made, may be voted on at the next convention. T h e Guild
By GEORGE C. KRICK President will shortly appoint one or more professional mem-
Chairman of Organization Committee bers in each state, to act as organizers. T h efirstand most
important thing for every Guild member to do is to use his
FOR a number of years the officers and other members influence and have every teacher, within his reach, join the
of the American Guild have realized, that the increase Guild, and have his pupils come in as associate members. D o
in membership did not keep pace with the increase in not wait for the state organizers to do all the work. Get in
numbers of those professionally interested in the fretted touch with them and help.
instruments. T h e constant influx of new members, has in- If every present Guild member will make efforts strong
variably been offset by the defection of many of the old enough to bring in five new members, as a minimum, what
members. a wonderful organization we shall have at the end of this
It is not necessary at this late date, to go into the merits year. Five thousand members should be our goal and it can
of the principles, on which the Guild was founded (refer to be done, if all present members do their share.
Crescendo, Vol. X X , No. 1, July). Twenty-six years of
steady progress has proven that there is need for such an
organization and w e all know the truth of the old saying:
Noted Spanish Guitarist to Make
"In Union there is strength." T h e Guild has helped direct-
ly or indirectly every one connected with it. Sometimes, American Tour
however, we lose sight of the fact, that, what benefit we get
out of an organization of that sort, depends entirely upon Andres Segovia, who has been received in the leading
countries of Europe as the leading exponent of the guitar,
what we put into it. N o matter how efficient the officers
will make a tour of the leading cities of the United States this
are, how much work they do for the cause, the success of coming season. Hisfirstappearance will be at the Town Hall.
the Guild, is largely determined by the individual efforts of N e w York, early next January, after which he will visit
its members. Boston, Chicago and other principal cities.
If those former Guild members, w h o for some reason The London Times in a review of the recent recital given
turned their backs upon the Guild, with the remark that by Senor Segovia and speaking of his guitar, say—"with its
they are getting nothing out of it, had done something for small compass and a tone so delicate that a careless cough
the Guild they and the Guild would have been benefited among the audience will obliterate it altogether, yet intro-
by it. duces us to gradations of quality which seem infinite. The
voices of a fugue stand out from one another; the episodes
After talking with a number of one time Guild Conven-
of a sonata are distinguished in timbre as sharply as the
tion Managers, the writer was impressed by the fact, that registers of the harpsichord or of the organ can distinguish
before every convention there has been a large influx of new them.—The freely vibrating string after the moment of attack
members, in that particular locality in which the convention may play a contributory part, especially in the glissando,
was held. If in the succeeding year the convention was held which is one of Senor Segovia's most fascinating effects; but
in another city one thousand or more miles distant, main ot that is only a very small part as compared with what the
these new members would lose interest and drop out. This actual touch of thefingersof the right hand produces.
seems to prove, that if conventions and concerts were held "This instrument, at any rate when played by an artist
in or near the same locality once a year, the interest of all like Senor Segovia, is capable of many different tone colors.
these members would be sustained. T h e yearly state con- according to the manner of plucking. This directness of
touch makes possible subtleties which even the violin cannot
vention in addition to the national convention, is in the
approach, still less the harpsichord, which is its nearest re-
writer's opinion, the solution of a large part of the problem. lation in the matter of time. Its tone is sweet and its style
but to make these state conventions a success, every teacher is intimate, but what is most surprising is its capacity for
must come along and do his share for his own State phrasing; and it is the perfection of phrasing which gives
Chapter. the measure of Senor Segovia as an artist."
The old "chapter" plan, inaugurated some years ago, was "The ever-growing popularity of the harpsichord, to which
not successful and should and will be done away with. \\ hen the art of Wanda Landowska has contributed so largely, has
every teacher could organize his own chapter, it failed to do demonstrated to a striking degree the power of the plucked
what had been intended, namely, to unite the teachers for string as a medium of musical expression; but — the N e w
good will and co-operation in their profession. T h e new York Times goes on to say in their announcement of Senor
plan, if properly carried out, will bring together all profes- Segovia's American tour, — it remained for Senor Segovia,
above all other guitarists, to show that his instrument (the
sional and amateur players into a strong state body.
guitar) has also astonishing scope in the felicitous inter-
There is no reason, why N e w \ ork State should not have pretation of classic and modern music of a high order.
a chapter membership of five hundred, the same can be European critics have agreed that the guitar possesses a
expected of Pennsylvania, Connecticut, Illinois. Ohio, Mis- range of color and tone quality that in the hands of Senor
souri, District of Columbia and many others. Being governed Segovia at times surpasses that of the harpsichord."
by their own set of officers, holding their own state con- Senor Segovia usually includes on his program a group of
ventions and festival concerts yearly, can you picture to Irving Berlin
compositions by Bach,Contracts Popular
preludes, fugues, Banjoist
gavottes, or minuets,
yourself the great interest it would create throughout the which were, contrary to popular belief, originally written
The Irving
for the lute. Berlin, Inc., Standard Music Department, an-
country, if thirty or forty such affairs were held in addition nounce that they have under exclusive contract for a term of
to the National Convention? If the state conventions are years, Ralph Colicchio, featured with Ernie Golden and his
held in the fall and the national one in the spring of the Orchestra.
year, they would not conflict with each other, but rather be Mr. Colicchio is contracted to compose a series of tenor
of mutual benefit. This would also help to create new ma- banjo solos and in addition will arrange all the Irving Berlin,
terial for officers to govern the National Body, not to speak Inc., popular songs for tenor banjo solos to be published in a
of the opportunities created for the mandolin, banjo and guitar series of folios. Mr. Colicchio has a reputation for fine
soloists, to appear at these different State Festival Concerts. arrangements and his connection with this popular music
So far this has been a general outline of the plan, en- house will be very valuable to the fretted instrument players
thusiastically approved at the last convention in N e w ^ ork. as well as to himself.
There will soon appear a tenor banjo method book and
PLEASE MENTION The C R E S C E N D Oalso
W H EaN special
WRITINGbook
TO ADVERTISERS
on banjo chords by Mr. Colicchio.
[8] The CRESCENDO October, 1927

The Third Finger of the Right Hand Guild Recommendation Wins Another Point
In Guitar Playing The following letter was received from Leo Fiest, Inc.,
Music Publishers, N e w York, which tells the story of another
By Vahdah Olcott Bickford point won for the Guild in recommending uniform tenor banjo
parts in dance orchestrations.
When Ferdinand Sor, "the Beethoven of the Guitar," said, "Sometime ago w e were in receipt of a letter from you"—
"Be sparing in th; use of the thirdfinger,"he did not mean referring to Jas. H. Johnstone,fiieldsecretary of the Ameri-
that thisfingerchculd [Link] be trained so that it should be able can Guild of Banjoists, Mandolinists and [Link], "regard-
to do all that a well-trained third finger should do on the ing the decision of the Guild at their recent convention, re-
guitar and to be as perfect in its way and p'.ace as any cf the garding the standardization of Tenor Banjo Parts.
other fingers. H e merely meant that caie and thought :l.o. Id "This matter has been taken up with our Arranging De-
govern as to when to use that finder and when 1 ot to i*: z it. partment and w e have been endeavoring and will endeavor
Without question the third finger should have as cure^-1 to conform with this decision.
training as arty of the other fingers. "Will be glad to receive any further advice, whereby we
The third finger has much to do in guitar playing that can improve the Tenor Banjo Part in Feist Orchestrations.".
cannot be correctly done with any other finger. But the great
master, Sor, to w h o m we owe so much of the development of
Mandolin Teacher Injures Finger
the guitar and guitar playing as it is today, made this pro- Mrs. C. Gordon Snyder, mandolin instructor of the Gui-
nouncement as to the third finger solely for the purpose of mando Studio and School of Music, Chambersburg, Pa., met
teaching the student to think for himself and use a logical with a serious accident in the early part of the summer, which
method of fingering—in other words, not to use the third injured the first and second fingers of her left hand. It is
finger at such times as it should not be used, or at such times feared that it will be some time before Mrs. Snyder will be
as the strongerfingerscan better do the work. able to again play the mandolin with the technique which has
All the great guitarists of the past and those of the taken so m a n y years to acquire.
present recognize the importance of training the third finger Smith Music Company Releases New Methods
to do its full duty under all demands that m a y be made upon A new tenor banjo method and ukulele book has been re-
it, including the perfect technical execution of those solos and leased by the W m . Smith Music Company of N e w York. Roy
other works which demand the almost constant use of the Smeck, the author of these publications, is a well known
thirdfinger,such as many of the works of Mertz and other professional tenor banjo player and was one of the first
great composers and transcribers for the instrument. The artists to contract- for the Vitaphone. Mr. Smeck recently
whole thing is to know when to use the thirdfinger,when it signed a fifteen-week engagement with the Keith-Orpheum
is really the correct finger to be used and to know when circuit.
another finger could be used to better advantage.
It is always an easy matter to use the thirdfinger,as is DeHarport Issues Revised Edition
proven by the fact that practically all self-taught players and
ear-players use it to excess. Again, a.s all experienced and For Tenor Banjo
expert guitarists know, all those so-called "methods" which The new revised edition for the tenor banjo authored by
were written or compiled by those who wrote instruction Theodore and Teresita DeHarport is a complete and extensive
books for all instruments, knowing none, or perhaps knowing supnlement which goes thoroughly into the precepts of jazz,
one far removed from the guitar, were strong for the in- duo playing and chords. Syncopation is discussed from all
discriminate use of the third finger. angles, the building of chords from a single melody note is
Sor's words need never to have caused any misunderstand- made easy to understand, and modulations in all keys are
ing, for the words he used are plainly put, to be sparing, or presented by way of diagram and explanations.
discriminating in the use of the third finger and not to use The secret of how to play chords from first and second
it when another finger might better be used. If guitarists violin parts and from the piano score is entered into. The
had always followed this sound advice the art of guitar play- fundamentals of music are also discussed as it is reasonable
ing would not have such drawbacks as such so-called "meth- to expect that both amateur and professional musicians should
ods" above referred to, and thus the guitar today might be sure of the background of the instrument in which they
be in a better position in the minds of the general public are interested.
than it is.
A s any mere tyro of a student can glean from a very super- Alice Kellar - Fox School of Music
ficial study of the point at issue, by observation of the playing ASSISTANT T E A C H E R S
of untutored players and ear-players, and by a perusal of the Instruction on all fretted instruments—Violin and Piano
type of so-called guitar instruction books or methods, the Address
abuse of the third finger, or the use of it at times when it 62 Baker Street San Francisco, Calif.
should not be used, has been one of the drawbacks to a more
complete mastery of the instrument. Thousands have started
to learn it but never went very far, owing to such methods,
and were too discouraged when they found they had to lei an The FITRITE PICK
over in any of the standard methods in use in all countries For G U I T A R ("Steel" or regular style)
and for B A N J O . Fine for double tremolo,
where the guitar is properly taught, to use alternate fingering and for producing big tone volume and
and to learn when to use and when not to use the third finger. carrying power. T w o sizes, large and small,
adjustable to 1st and 2nd fingers.
In the question of whether or not it is best to lightly touch Price 40c per pair
the littlefingerof the right hand at such times as the third it all musical mdse. dealers and Jobbers or
finger is not in use and the thumb cannot be rested on one of H A R O L D O R T H , Mfr. - 1870 Beacon Street, Boston, Mass.
the bass strings, and where a better balance to the hand is
secured by so doing, the
NEW—Tenor questionTeachers?
Banjo of the training of the third
(Continued on Page 21)
THE ROACH-FRANKLAND
instructors for fretted instruments have been sub-

Loaf's Orchestral Tenor Banjo Method jected to the most trying of all tests—The Studio.
Steel Guitar Method ...DeHarport (Complete)
Steel Guitar Method ... James I*, ltoach (Two Books! each
Ukulele Method
Ukulele Folio
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Tenor Banjo Method ... (Complete) 75
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Now Ready—Also Four New Tenor Banjo Folios Mandolin, Guitar Folios
Chord books for steel guitar, standard guitar and banjo, each ..
Send for catalogue of sheet music and supplies

NICOMEDE MUSIC CO. - Altoona, Pa. ROACH-FRANKLAND 612 JULIA S T R E E T

J A C K S O N V I L L E . FLA.

PLEASE MENTION The C R E S C E N D O WHEN WRITING TO ADVERTISERS

October, 1927 The C R E S C E N D O [9]

While in the submarine service each of the three ships on

which he served were blown out of the water. Eddie sur-
vived each "thrill" and as one of the few survivors of the
last one he reached shore on a raft of ice and snow. During
his year and a half of service with the battleships and still
in his 'teens, he fought his w a y as a prize fighter to champion
(Continued on Page 20)

V7'OLTNG AMERICA, the main number in our music

*• section for this issue was written by M r . Odell about
two years after the Armistice and while the great contribu-
tion m a d e by the younger generation in the war w a s still
fresh in the minds of those w h o belonged to the preceding
generation. A t that same time the fact that this younger
generation was different in m a n y ways and that probably
m u c h that was n e w and valuable could be expected of it,
was constantly being emphasized in all their m a n y activities.
} oung America was composed and published by M r . Odell
as a direct tribute to this younger generation and in the short
time that has elapsed since its publication it has been played
and appreciated by thousands of them. T h e march itself is
technically easy enough so that young players can play it well,
and yet it is appropriately spirited and effective. T h e tenor
banjo parts recently added to the original arrangement were
planned to be used with the piano accompaniment, either as
EDDIE PEABODY a solo or duet, yet they can be used as an unaccompanied solo
" for no reason at nil " or duet very effectively. T h e solo part can also be used with
the mandolin orchestration as a solo with orchestra accom-
HAVE you ever heard of Eddie Peabody? If you haven't
paniment. The chord or obligato part is also suitable to be
this little article will introduce a bit of "musical
used as a part with the orchestra arrangement, although
dynamite", a banjo player that is rapidly becoming w h e n used in this w a y the banjo should be muted or else
one of the most famous banjoists and entertainers in America. played very judiciously, else the tonal balance of the mandolin
There are some w h o have never seen an aeroplane, so of orchestra m a y be upset.
course it is not to be wondered at.
Eddie Peabody w a s born on February 19, 1903, in Read-
* I ^HOSE of you who had the good fortune of attending
ing, Mass., and is of the eleventh generation of the Peabody
*• the N e w York Convention of the American Guild of
family which came over to the Colony. A m o n g the m a n y Banjoists, Mandolinists and Guitarists remember the artistic
ancestral achievements were the Peabody Institute of Music, and well arranged program presented under the management
piano manufacturers and other industries. His father at one of William Foster, but those of you w h o were not there no
time was in the music store business. doubt regret your inability to be present and will surely
Eddie is a natural born musician. H e has never studied attend the convention next year at Hartford, Conn.
music in his life, but he has given music lessons. A t the age In the July issues of both the Crescendo and Frets were
of five years he played mandolin, and at the age of nine he detailed reports of the convention, so it will not be necessary
played fluent fiddle. H e w a s educated in the public schools to repeat in these columns what a wonderful time was had
of Lynn and finished at the age of fourteen. by all—but I would like to bring to your attention the n e w
Uncle S a m at the beginning of the W o r l d W a r sent out plan of re-organization as proposed by M r . Geo. C. Krick,
a call for m e n , and Eddie, as a true American, enlisted in and adopted by the Guild. It was voted that the president
the Navy, not as a musician but as a hard working "gob". should appoint district, or state organizers, for the purpose
In 1922, five years later, he resigned with the rank of first ot assembling into state groups a chapter of the Guild. Read
class Quarter Master. His experiences in the service were what M r . Krick, the chairman of the Organization C o m -
with battleships, submarines and Hydroplanes. mittee, has to say concerning this n e w plan of organization.

PLEASE MENTION The C R E S C E N D O W H E N WR1TINC TO ADVERTISERS

[IO] The C R E S C E N D O October, 1927

I F you have beginners or ambitious banjo pupils

you k n o w the value of having an accurately
fretted scale and instrument that has the carry-
ing power and the tonal quality of the best profes-
sional makes. Yet the matter of price is often a
troublesome one for the parents w h o do not wish to
make more than a moderate outlay for a beginner.
Here is where the Ludwig K I N G S T O N or the
Ludwig K E N M O R E serve admirably.

They are actually professional instruments capable

of traveling in the finest professional company. Both
models have already been used in some of America's
finest orchestras by leading professionals. While
they do not have the beautiful flashy appearance of
some of our higher priced models they perform as
well. W e feel it will be worth your while to make
a serious comparison of either model on a trial or
test basis and then judge their worth for yourself.
KINGSTON Ask your dealer or else write us and w e will arrange
to send an instrument to him.
23-Inch Tenor

KENMORE They tension from the top. Easy to tighten the head.
Absolutely accurate scale. Front-flash Flaredge.
27-Inch Plectrum
Two-piece neck, with reinforcement strip. M a d e of
American Walnut. Seven-ply laminated Walnut
resonator. Equipped with Planet 4-to-i gear pegs
and W m . F. Ludwig selected banjo head.
TENOR or
PLECTRUM
Includes
S E N D for the forty page color il-
the Case lustrated L u d w i g Banjo catalog
complete with stories and the history
of the banjo, an article on the Five
string Banjo, relative merits of the
Tenor a n d Plectrum, Beginners'
playing tips by Chas. McNeil, serv-
ice tips and pointers, photos of
prominent Banjoists and a complete
descriptive display of the L u d w i g

SEND FOR CATALOGS

LUDWIG 8t LUDWIG
Professional Banjos

1611-27 North Lincoln Street

CHICAGO

PLEASE MENTION The CRESCENDO W H E N WRITING TO ADVERTISERS

—

T H E CRESCENDO 11
TENOR BANJO
Solo or Duet
YOUNG AMERICA H. E ODELL
With or without piano) March Arr. by L. Loar
v.] v

NOTF: The solo part can play the melody only (heavy noteaDor add th'' harmony Indicated by the sma'.l nctas. The solo part rhythm can alao b»
patterned after the rhythm used in the obligato and ch-ird part. The oblig-at" and <*hord part can be u_.ed with the orchestration.
Copyright 1921 by H. F. Odell Co..Boston. Mass.
 J a — •

12 THE CRESCENDO

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14 THE CRESCENDO

Young America 2
 THE CRESCENDO 15

YOUNG AMERICA
1st MANDOLIN March H.F. ODELL, Op.72
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Made in U.S.A. /fi
International Copyright Secured
16 THE CRESCENDO

ROYAL HAWAIIAN GUARDS

March
STEEL GUITAR SOLO 30 Net
Intro.

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18 T H E CRESCENDO

HALLOWE'EN DANCE
BANJO SOLO .40
C Notation
W A L T E R BURKE
Lively 5 Pos.

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October, 1927 The CRESCENDO [19]

STUDENT to ARTIST
through the
TEACHER and GIBSON

LL of these artists were at one time students.

Through capable teachers and deligent work,
they have reached the top of their respective
professions.
1. NICK LUCAS, Brunswick Recording Artist
2. C A R S O N ROBINSON, Victor Recording Artist
3. JACK ROSE, Allen Theatre, Cleveland
4. MRS. BOB SCHAFER, Radio Artist, New York City
5. C H A R L E S PANTZER, Vaudeville Artist
6. A. V. MINNERVINE, Vaudeville Artist

GIBSON offers an unusual proposition to teachers. Write for

details. Your territory might be open for representation of the
famous Gibson instruments.

GIBSON, Inc. ,[511 PARSONS STREET]-^

*S[ KALAMAZOO, MICH, y*

PLEASE MENTION The C R E S C E N D O WHEN WRITING TO ADVERTISERS

. • . . « - . - - *;
mmmm mm • • »' A i*
 =w-i*««ss ^a

[20] The CRESCENDO October, 1927

Eddie P e a b o d y — f r o m page 9
Eddie Peabody, Vega Artist, Sponsors
of his weight, having to his credit sixteen fights and twelve
knockouts.
Banjo Contest
In the service Eddie was known as the "Happyness Boy". Eddie Peabody, Vega artist, has been creating a great deal
H e had organized about twelve different string bands and of banjo interest among the amateur banjoists in and around
also directed a 175-piece band. Seattle by sponsoring a contest for those who can play their
After getting out of the service Eddie Peabody started own accompaniment on an instrument for the two selections
"Sad'n Blue" and " M e and M y Shadow" as nearly as possible
out with his fiddle and other instruments and organized a
like the rendition on Victor Records. Professionals and per-
string sextette at Long Beach, Calif. Later he went east sons connected with the stores featuring the contest are
with Earl Fuller, the "Daddy of Jazz", and was with him barred.
ten weeks on the Pantages Circuit. It was after Eddie To promote the contest and make possible the entry of all
pulled in at Cleveland, Ohio, that his real musical success those who desire, several music stores are holding an elimina-
began, for Philip Spitalny booked him for eighteen months tion contest in order to elect three to represent each store.
with a substantial salary. From this group Eddie Peabody will select one from each
In 1924 Miss M a u d e Kelly, daughter of P. J. Kelly, a group of three to take with him to the Fifth Avenue Theatre
for final tryouts. The winner will be engaged by Fanchon &
prominent pioneer of Texas, said "I do," and so did Eddie.
Marco at a salary of one hundred dollars for one week's
Mrs. Peabody is an attractive lady of charming personality engagement as Eddie Peabody's partner.
as well as a practical and energetic business manager for E. R. Mitchell of the Liberty Music House offers an ad-
her entertaining husband. ditionalfiftydollars to the winner.
It was not long before Eddie organized his o w n band Fanchon-Marco artists touring the West Coast Theatre
and was in great demand at social affairs and clubs in N e w Circuit, as well as thousands of other admirers, are ardent
York, and in addition to the several other recording com- boosters for Eddie Peabody. They aie keen in their appre-
ciation for the banjo artists' unceasing efforts to make the
panies he was induced to sign up with the Victor Recording
programs the highest form of musical entertainment.
people. Broadway received him with open arms and it was
at this time that he signed the million dollar contract with Nicomede's N e w Polishing Cloth
the Publix Theatres for six years (and Eddie wasn't even
twenty-five years old). In order to have a complete line of cleaning and polishing
In a big whirl of popularity and after being presented accessories for all finishes of musical instruments, The Nico-
mede Music Company reports that they are now introducing
with the Jazz Key in San Francisco, Eddie opened the
on the market a new high grade twin face perfumed polihing
Metropolitan Theatre of Los Angeles as its Guest Con- cloth which will be known as "Tuxedo Cloth." This new
ductor. For the first week the box office receipts almost product will retail at fifty cents and will be attractively
doubled. packed in display cartons and packages. A n extensive cam-
T o think that it was only four years ago when he started paign of advertising is being planned on this new cloth.
to learn to play the banjo, and all by himself by his o w n With this additional "Tuxedo," The Nicomede Music Com-
method. Today he plays without accompaniment banjo solos pany now manufactures five different cleaners and polishes,
known as "The Big Five."
of such difficult classics as "Tschaikowsky-1812," "Poet and
Peasant" and others with perfect ease.
T h e banjo is not his only accomplishment as he plays
twenty-six different musical instruments and pays one m a n THE
one hundred dollars a week to look after them. Twice dur-
ing the war his violin, an old master, was nearly lost in his "Professional Tenor Banjoist"
submarine escapades.
A complete course in Orchestral playing. Price Cl (\r\
This popular, youthful entertainer and musical director
plete course in Technic. all key*. <pj.l_HJ
composes as well as arranges his instrumentations. lie is a A complete course in Solo Playing.
musical director w h o directs and rehearses his orchestra daily.
F r o m the moment he arrives on the stage to the time the
curtain drops Eddie is in rhythmic action, and "for no reason ' Tenor Banjo Beginner "
at all" he says. H e does not aspire to become M a y o r oi The latest method for tenor banjo. Teaches Price Cl 0-?
Beverly Hills, but is ever eager to work and create new the student to play chords from the first «pi.__.^
ideas for entertainment. Ir 1 without the aid of any charts or
Besides being unusually popular as a soloist and as a di- ols whatsoever. Also teaches Melody
playing, Orders taken now. Ready somc-
rector he is affiliated with the Boy Scouts, is an honorary iimr in September.
member of the Ohio State Bar, belongs to the American
Legion, Elks, Masons, 40 and 8 (those w h o have had dis
tinguished service) and the Breakfast Club. Bellson s Tenor Banjo Pick
So many important and exciting events have transpired orchestra work. Can
in the experiences of Eddie Peabody that a book reading like also be used for solo playing. Strong,
the most vivid fiction could he truthfully published. hard we; hold.
M e d i u m or Heavy, 1 do;cn Cl Qf)

DIRECT FROM PARIS l

eross
$10.00
comes the cream of European Mandolin ami Guitar music—the
writings of such brilliant minds as Mezzacapo, Bara, Fantauzzi. USUAL DISCOUNT TO TEACHERS ii DEALERS
Munier, Marucelli—names that are household words wherever the
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new folder—
Banjo Retards. You will he more than pleased with them.
DIRECT FROM PARIS
Write today to
T H E M A X I M U M PUBLISHING C O M P A N Y
ALBERT BELLSON
1716 Chestnut Street, Philadelphia, Pa. Bremer Arcade Building ST. P A U L , M I N N .
Importers of Banjo, Mandolin and Guitar Music

PLEASE MENTION The C R E S C E N D O WHEN WRITING TO ADVERTISER

October, 1927 TA* C R E S C E N D O [21]

Banjo Literature
The T h e letter which appeared in the last issue of the Round Table

B ROUND
ANJOISTS'
TABLE
presented some ideas about music for the banjo (plectrum and five-
string). T h e writer has always felt this shortage of literature
particularly for the plectrum banjo and when one considers com-
mercial work and the buying of suitable solos for same it is "scarce
pickin's".
However, it must be remembered that the plectrum banjo espe-
cially, has had a peculiar position all along until the present time
and one would naturally expect things in the publishingfieldfor
this instrument to take time to shape themselves to advantage for
all concerned.
If one considers the literature for the regular banjo, both for the
plectrum and finger styles of playing, one finds a great advantage
with thefingerbanjo. If they are considered jointly and the music
judged for all uses and purposes, I think the literature for the long
neck banjo is a little ahead of that for the tenor banjo as yet. This
D. C. means a broad consideration of all things published both on this
/. Are there any exercises to limber up the fingers of side and in England. Also all types of music to be considered in
the left hand so as to have them in first class condition for their importance. Music for the tenor banjo shows it to have the
advantage in the dance type of literature, for instance, but on the
a difficult concert number? I find that I have to play a few
other hand the regular banjo literature shows a decided advantage
numbers to limber up my fingers. This, of course, would
in the standard and classical field (both finger and plectrum).
never do in a program when I am to show my best. Again this "hunt" is taking us more into thefingerfieldand finds
_?. In case a string should break during a number, what the plectrum banjo sadly neglected.
would be the best thing to do? Even the best of strings Players of any particular type of music are very apt to be
will break as you knoiu and, when they do, it is embarrassing. overly interested in the particular type that they play. They do not
[ ANSWER ] consider the rest of the field at all. For instance, the dance or-
1. Generally speaking, about the best thing one can do in this chestra player may be very much interested in that type of playing
respect is to massage or rub the hands andfingersso as to start or and begins to think that it is the only thing worth while on a
stimulate the circulation of the blood. In other words, a little banjo. T h e vaudeville player m a y likewise think in consideration
warming up. In the concert hall, where one has access to a dressing only of putting that "ten orfifteen"minutes over the footlights in
room, endeavor to play some on the banjo if possible. There is the best and most showman-like manner which, of course, he has
nothing like getting the "feel" of the banjo in hand and running to do in his calling.
over a few good technical exercises. If this can't be done, however, N o w — t h e publisher has to cater to all concerned in order to sell
a good brisk massage of the hands will help. In connection with his wares. It is to be expected that he will not cater very strongly
this point I would like to mention another factor that will help to the vaudeville type of player because they are in a very small
things. Endeavor to arrange your program so as to have a good minority. Furthermore, most vaudeville players have their o w n ideas
lead number, one that is perhaps "showy" but at the same time a aboutROWDEN'S
things and are going T E NtoOarrange
R B Atheir N JoOw n music
TECHNICaccordingly,
(Continued on Page 22)
selection that one can play under above circumstances in a sure Not Just an Instruction Book—and more than a mere collection of studies.
A complete, carefully graded work covering all the principles essential to
manner. the art of tenor banjo pluying, embodying the fruits of the author's many
2. In question it is not stated whether you are a plectrum or a years' experience as a soloist and teacher. Not an impractical or unneces-
sary page or line in the three volumes of 192 pages of harmony and technic.
finger player. If a plectrum player you will, no doubt, have less May be used for banjo-cello, mandola and mandocello, as well as for tenor
trouble along this line than if a finger player and using silk or gut banjo. Price $1.50 per volume, Canada $2.00.
strings. Whatever style you play, if you do more or less public C L A U D C. R O W D E N — 1 5 9 North State Street, Chicago, Illinois
work, you should always have an extra banjo at hand, ready to use
in case of any emergency such as string or head breakage. If you
do not have an "extra," then your best move is to pardon your
delay to your audience while you adjust the new string—set it as
best you can in a short time and proceed. N o w , if a plectrumist
Do You Demand the Utmost
using steel strings you wont experience much trouble with the string
going out of tune. Be sure you tune the banjo completely before
From the Drum or Banjo
starting playing again and possibly set the new string a shade sharp. OSEPH ROGERS, JR. 6? SON have been manufac-
If you are a finger player you are more liable to have "one sweet
time" keeping the banjo (new string) in tune and must be more or
less expert in tuning while you are playing. This takes a lot of
3 turing D r u m and Banjo heads for 75 years. R O G E R S '
heads are standard equipment on practically every
high grade Banjo of reputation both here and abroad.
practice and one has to think carefully so as to choose the best place You, as a banjoist or drummer, if you demand snap and
to do this tuning. Some players w h o do not have an extra banjo tone, must have our product. Used by more professionals
always carry a set of strings extra that have been on the banjo and 20 times over than all other makes combined.
stretched out. This is only fairly satisfactory, however. If one is Manufacturers of the following brands:
careful, however, to see that a new set of strings are well put on
before a public appearance and played on enough to get in good Superior Extra Brand Daisy Brand
shape, one will very rarely have any string troubles. Experiment 1st Quality B r a n d T h r e e Star B r a n d
with different strings and when you find one you like, note its
1st Quality Slunk B r a n d U n i o n B r a n d
average wearing properties, etc. Learn to know your strings and
you will rarely ever have one "put over on you." Slunk Extra T h i n B r a n d
O. F.
/. Kindly inform me what size strings to use on the AT YOUR DEALER'S
banjorine and are they the same size as used on the regular-
banjo? Protect yourself—buy heads stamped WARRANTED
2. Will you kindly let me know if there is any way to
clean a banjo head' JOSEPH ROGERS, JR. & SON
[ ANSWER ] F A R M I N G D A L E , N. J.
1. Now-a-days w e generally use the regular banjo strings on
High View, N. Y. Factories Farmingdale, N . J.
the banjorine. They generally prove satisfactory. Some players like
to use a thin guage string, however, for this instrument, which is
well.
PLEASE
2. This is sort of a hard problem forMENTION
[Link],
CRESCE ifN D O WHEN WRITING TO ADVERTISERS
one does not allow the head to get too dirty, the Wonder Head
Cleaner will prove effective. This is put out by the Nicomede
Music Company.
[22] The CRESCENDO October, 1927

Columbia Adds Four New Stations Banjo Literature—from page 21

To Broadcasting Chain anyway. A vaudeville player, to be continually successful, should

certainly be clever enough and able to do this. Most publishers, I
F o u r acoustically perfect, artistically appointed studios, believe, cater more strongly to the teacher and the average "plucker".
so designed a n d built that not a h a r m o n i c overtone, or m u - T h e y try, I'm sure, to keep well abreast of the times and still meet
sical shading will b e lost through the microphone, will pro-
the above demand.
vide appropriate " a t m o s p h e r e " for artists a n d entertainers
w h o will b e heard in the p r o g r a m s of the C o l u m b i a Broad- T h e writer can recall m a n y good classical and standard numbers
casting chain. having been arranged and published for the banjo in the past—
W i t h the s a m e care, the walls of the studios h a v e been numbers that wear well and that for the most part were well ar-
padded with materials of precise thickness a n d echo-destroying ranged and in due consideration for the original, playably arranged.
properties mathematically calculated to be equally effective N o w let m e ask a question: Did these numbers sell remarkably well?
in bringing out all the frequencies a n d h a r m o n i c s of a full T h e publishers tell us " N O " . Still they have kept at it and occas-
s y m p h o n i c orchestra or of a single plucked string of the sionally add to this field of music. Remember, that this type is a
banjo. steady seller and, as one says, "It wears well". Still—a small de-
m a n d , a small catalog of this type of music.
O n e m a y think I a m defending the publishers. N o , not exactly,
Miss Brubaker to Make Harp Debut for I do think there is onefieldwhere the American fretted instru-
T h e A r t h u r J u d s o n Recital M a n a g e m e n t of N e w Y o r k , an- ment music publishers have yet to get on to their job. That I will
nounces the first professional N e w Y o r k debut of M i s s M a r y discuss later, but w e must remember that from a publishing stand-
B r u b a k e r o n T u e s d a y evening, N o v e m b e r 22, at Steinway Hall. point the banjo notation caused a bad mix-up and slowed things up.
T h e y o u n g artist inherits her musical talent f r o m her W e have to suffer for that mistake. Also the changing styles of
m o t h e r , a n d h a s followed in her footsteps as a student at the playing and types of instruments retarded our literature. These and
N o t r e D a m e College, Baltimore, M d . S h e c o m e s before the other reasons have given the literature for the instrument a setback.
public well prepared with a standard repertoire of classic a n d In other words, w e must consider the banjo just what it is—a new-
m o d e r n compositions, having for the past eight years persued instrument being developed and its literature with it.
her study with several distinguished masters. S h e w a s re- I believe the writer of the letter mentioned is very sincere in his
cently coached in the master artist class for the h a r p with the good wishes for a better banjo literature.) W e all are, of course,
noted Italian-American m a s t e r harpist a n d composer, A . Pinto, hoping for that as w e are for all improvements to help boost our
w h o for the past five years h a s been conductor of the H a r p favorite instrument, but at the same time I do think our friend is a
D e p a r t m e n t of the Crescendo. little hard on what w e have already. Let's give the publishers
M i s s B r u b a k e r is one of M r . Pinto's specially sponsored credit for doing what they have, against m a n y odds.
pupils, this alone is the highest musical r e c o m m e n d a t i o n There are m a n y good numbers published for the banjo that if
for a harpist. H e r N o v e m b e r recital, therefore, m a y be looked they are properly presented (according to demand for a certain
forward to with interest. styled type of commercial work) that would be very successful, I'm
sure. For instance, w e can n a m e today two banjoists w h o have been
very successful in vaudeville and there are, no doubt, more that
Silver Guitar Introduced the writer has not become acquainted with, w h o are finger players
Sol Hoopii, C o l u m b i a Artist, a n d his H a w a i i a n Trio, in- and w h o have used published banjo numbers with marked success.
troduced at the W e s t e r n M u s i c T r a d e s Convention held at For vaudeville work these numbers must be well presented, of course,
S a n Francisco, the n e w Silver Guitar m a d e b y the National to gain their appeal. W h e n such real banjo music is well played
and put over with a well arranged and adaptable orchestration
String Instrument C o m p a n y of L o s Angeles, California.
T h e vital factor in the p o w e r and v o l u m e of tone in this it is bound to be a success. If a number is a good one and written
especially for the instrument, it is bound to succeed if presented
n e w guitar is due, claim the manufacturers, to the existence
of three scientifically constructed d i a p h r a g m s built within correctly.
the b o d y of the instrument. T h e s e d i a p h r a g m s act as ampli- Good program building has a lot to do with this, too. T h e
fiers, throwing out the tone through the perforated top of the standard and characteristic numbers must be varied with others.
In vaudeville with some popular music, no doubt. A n d there's the
instrument. T h e b o d y of the instrument is m a d e of G e r m a n
rub. If one is talking about banjo publications (solos) w e can not
silver, w h i c h will not tarnish, rust or deteriorate in a n y w a y .
Inn any popular music that is up to date and well arranged. This
is where I believe the American fretted instrument music publishers
DEALERS—TEACHERS--PLAYERS! can do something that will meet a great demand. It would help the
commercial player, be a great boon to the fretted instrument teacher
S a m p l e set, finest imported "Crysta Steel" string
and average player as well and be a money maker for the publisher
B. M . or G. 2,.e (retail 10 to 75c)
if done in the right manner. There is no question about the great
Set "Gold Steel" 35c (retails 65c to $1.00) Limited three sets. demand For this class of music.
O u r trin^'s m e a n m o r e profit lists free. If a publisher would arrange with some leading house that is
internationally k n o w n for its popular and dance music and would
C. A. T E M l ' L E M A N - 413 Douglas Street, Sioux C i t ) Iowa have a good arranger adapt .1 good playable solo arrangement for
the tenor and the plectrum banjos and do it at his choice of such
;is best fitted for the instrument and say, have these out on the
market w h e n they were "fresh" and not in a folio w h e n tin
year old, I'll gamble that it would be a paying proposition. Perhaps

Improvising Secrets! two or three solos a month for a starter. H a v i n g them arranged in
the same key as the orchestration or as the song copy. v W i t h a bit
of well spread advertising at the start there is no question but w hat
The 1926 Edition of the "Sure System of Improvising,"
such would sell like "hotcakes" and after a going awhile a publisher
By S A M U E L T. D A L E Y would find these issues being looked for and talked about by all
T E L L S Y O U H o w to Play and Improvise Your O w n Jazz Breaks, Hot interested.
Choruses, Sock Choruses, Blue Notes, etc. All "Fully" explained wltD W i t h the banjos as popular as they are, it has always been
Illustrated Models. Explains "Where" a Break belongs, " W h a t " notes strange to the writer w h y some of the large popular song houses
are to be used, " W h y " these notes are used, " W h e n " you are playing have not done this themselves and utilized the services of some
wrong notes, " W h o " ? will be in "Great D e m a n d for Hot Playing." Con- practical banjo arranger w h o knows what is wanted in this field.
tains all Rudiments and Rules for most Modern Methods of [Link].'!
In England the Clifford Essex house do this, having a banjo
for Banjo, Piano, Violin, Saxophone, Trumpet, Trombone, Flute, Clarinet
and "All" Lead and Bass Instruments. Also contains over 4.000 Original arrangement (sometimes finger, but mostly plectrum) of the current
Jazz Breaks for "All" Instruments. 12 Hot Choruses, 14 Sock Choruses, popular songs. American songs go to England and this house
5 Banjo, 5 Bass and 7 Piano parts for One Hot Chorus, 24 Rhythms, publishes the banjo arrangement of some of them w h e n they are
Original Waltz, "Hot" Roll Bass, etc. Most Modern, Simplified, illus- "wanted", and I have even seen such appear in an English banjo
trated course of Self-Instructions published. 142 large pages of Invaluable journal and sent to this side, the song still being popular and
"Inside Information" for "All" Musicians. Endorsed by the Original
being played over here. W i s h some of the American publishers
Memphis Five, California Night Hawks, Victor Artists, etc. "Complete,"
"Guaranteed." N o w Heady. would show a little speed like that.
PRICE—£3.00—POSTPAID
Dealers, Jobbers, write "I want you to k n o w that I a m very m u c h pleased with the new
Crescendo. It is all to the good, and w e believe good results will
C. M. COLLINS CO. follow your efforts. T h e cover page is just to our liking and the
197 Fulton Street - Brooklyn, N . Y . - U . S. A . general get-up is fine. H a v e read it all—ads and all. Lots of good
wishes."—C. A . T E M P L E M A N .

PLEASE MENTION The C R E S C E N D O W H E N WRITING TO ADVERTISERS

October, 1927 The CRESCENDO [23]

find a better example than the vocalist and a pause of an instant

between slurs makes music interesting and intelligible. Phrasing is
The indeed an art and volumes have been written on the subject, but
music without it is most amateurish. It is comparable to the recita-

IX/TANDOLINISTS' tion of a poem by a child in thefirstgrade. N o inflection, no pauses,

merely a sing-song bit of rhythm which expresses nothing except a
change of intervals.
-1-'-*- ROUND TABLE Your second question is certainly interesting. The tremolo should
N O T be slackened in morendo. Every amateur mandolin player
Conducted by invariably slackens his tremolo. It is easier—the line of least re-
WILLIAM PLACE, JR. sistance. T o maintain a given tremolo speed and stick to it is
Virtuoso, Composer and Author scholarly. Anyone can tinkle—tinkle—t-i-n-k-1-e slower and slower
to a listless drawn-out conclusion. T o maintain a tremolo speed
T H I S D E P A R T M E N T is especially for and stick to it takes skill. Again let m e say that tremolo is not to
Mandolinists, and they m a y ask ques-
tions pertaining to the mandolin or con- be considered as a series of intermittent strokes. It is a means of
tribute items. Questions or suggestions sustaining tone. Acquire a smooth flowing tremolo of any velocity
will receive due consideration. Address consistent with your technic and then stick to it. Little things of
"Mandolinists Round Table," care of T h e
Crescendo.
this kind show the difference between the mere player and the artist.

A. L. L.
/ have a mandolin, only about six months old, which has
J. B. R. developed a very annoying rattle. I have tried new strings
Please give me a list of half a dozen good unaccompanied and a new' bridge. Sometimes it will play finely for several
mandolin solos for concert playing. About grade IV. days and suddenly the rattle will begin. As I am a long way
[ ANSWER ] from any store ivhere it can be repaired I will appreciate
Impromptu Abt any advice you may give as I have tried everything and after
Bandurria Stauffer I am sure it is all right it begins to rattle again.
Mosiac Odell (easy)
[ ANSWER ]
Impromptu Pettine
T h e difficulty in undoubtedly caused by a worn gear in the
Romanza Place
machine geared peghead. Most machine head parts are of a rather
D Concerto Stauffer (difficult)
soft metal and often wear very quickly. I believe you will find the
C. K. L. next time you notice the "rattle" that one of the buttons on the
machine is the cause of the vibration. W h e n the "rattle" again
/ have been studying the mandolin for a year and as yet
appears strike the string and at the same time touch one of the
cannot tune it without the piano. When I go to an orchestra machine head buttons. G o over each button in this w a y and you
concert I marvel at the ease u-ith which the players tune will soon locate the "buzz". T h e only satisfactory repair is a new-
from "A", and I will appreciate any suggestions through the machine head which is very inexpensive. "Rattles" and "buzzes"
are exceedingly annoying, but they are usually caused by worn
Crescendo. Is there any short-cut in learning to tune?
machine gears, worn bridge groves, or nuts, or tail-piece covers.
[ ANSWER ] /. Can I re-string my mando-cello like a mandolin, only
Every individual is born with a certain sense of pitch. In some
lower?
the gift is so remarkable that they have what is known as "absolute
pitch". 2. Can I string it like a tenor-guitar?
Most of us, however, are not gifted and w e must learn by con- 3. If, like a tenor guitar, could it be strung double and
stant repetition. It is merely a matter of impressing upon the mind the strings tuned in octave pairs?
the interval of afifth,and the day in and day out system is the only
4. What guage wire, if the latter is possible?
way. There is no short cut to any branch of music.
[ ANSWER ]
C. L. R. 1. D o not attempt to re-string your mando-cello as a "low-
/ have a mando-cello and would like to use it as a Ha- voiced" mandolin. It was built for baritone voicing. A similar
question was asked in the September issue, please refer to this.
waiian guitar. Is this possible?
2. Stringing a mando-cello like a tenor guitar would merely be
[ ANSWER ] a matter of removing every other string, having it single instead of
It is possible to tune mando-cello to the first four strings of a double string. Of course, it would be tuned an octave lower than
steel guitar, but, as I have been continually saying, w h y not have the tenor.
a guitar and be perfectly satisfied ? 3. Double stringing with octave tuning might be possible, but
not very practical.
E. J. M. 4. A n instrument manufacturer would be glad to give you this
Is there a slight stop of the tremolo between the slurs of information. W e refer you to those w h o advertise strings in our
advertising columns.
a composition like the "Lost Chord" or any similar com-
position? Is not the tremolo slightly slackened in speed as w. s.
it comes to the very softest in a morendo or dying away Which is best: a large or small gauge string?
effect, or is the same speed maintained. [ ANSWER ]
[ ANSWER ] String depends upon the make and type of instrument and the
Slurs were originally introduced in vocal music to indicate to the quality of tone and timbre you desire. Write m e more completely
singer the correct breathing places. In instrumental music w e cannot and I will answer vou direct.

The B. M. & G. Composer's and Arranger's

£g£ N E W MANDOLIN SOLOS 3© REFERENCE BOOK Jas. H. Johnstone

very Composer, A n lper. Teacher, Soloist & Amateur should have
By TRUEX copy of this book .._ paces — It contains nearly everything a
. M. & G. Compose and Arranger's Reference Book should have.
T T N I Q L ' E in composition, and their simplicity make them
PRICE $1.50 N E T
*"-^ very attractive to the ordinary player. C a n be played
on the Mandola, and are especially suitable for the Banjo-
JAS. H. J O H N S T O N E • Music Publisher
934-A Osborne Street Kalamazoo, Michigan
Mandolin. You'll love them.
Unique .40
Crazy Cat .30
Forward March .40 Summer Moon .40
Pleading .40 The Prattler .30
MANDOLIN irert or teaching piece in the 1st position.
Tizinkling .30 Blarney .30 Daffodil .30 any combination you choose to play it.
[ NO STAMPS ]
MUSIC -2nd M . 20c — Guit. 20c — Piano Ace. 4Uc

SPECIAL O F F E R A L B U M No. 6
NORTHERN MUSIC COMPANY Contains two Serenades, a Mazurka, a \alse, a Fanta-
I'olka. al] for I
Markton, Wisconsin Messina Music Co. o mandnlms I nd (tuilar. and
2451 84th St..Bklyn, N.Y. inied mandoli
Price net 75c
ORDER T H E A L B U M BY N U M B E R
PLEASE MENTION The C R E S C E N D O W H E N W R I T I N G T O ADVERTISERS
[24] The C R E S C E N D O October, 1927

The Third Finger—from page 8 been taught to play with thefingersinstead of the nails, but
finger or the use of the third finger does not really come into now that he has learned that way and has won deserved fame
play, or, in fact, have any relevancy in the discussion. For for his virtuosity on his instrument, he would probably not
the very good reason that the littlefingeris never rested by learn another way at this time of life. The same with various
modern guitarists who have had proper training on the sub- other artists, but this does not change the fact that in teach-
ject, when the third finger is in use. Touching lightly the ing the instrument those with a pedagogic mind, trained to
little finger at such times as all the masters advocated, does think and have a reason for every thing they do or advocate,
not in any sense prohibit the most arduous and perfect training will, no doubt, hold fast to that which they also have found
of the third finger. There was no lack of ability and training good. The writer has the advantage of many other guitarists
of the third finger in the playing of any of the old masters in one way, in that she has had both types of training as
referred to in the writer's former article on "The Little Finger regards the little finger. She was taught not to touch it to
of the Right Hand in Guitar Playing," which appeared in the the sound board by herfirsttw*o teachers and played in con-
July issue of the Crescendo. certs some very difficult and standard virtuoso pieces before
The writer did not in any sense say in the above article, she was later taught, by the great master, Ferrer, that resting
nor did she mean in any way to infer, that good musical or the little finger was an advantage at certain times. In this
technical results on the guitar could not be obtained without connection it is significant to note that the writer's teacher
lightly touching the little finger at any time. She is very had taught her to play without ever touching' the little finger
familiar with the playing of such artists as Llobet and other and was bitterly opposed to it. H e was so impressed with the
pupils of Tarrega—Llobet being acknowledged as the "star" added beauty in tone quality and speed and general technic
pupil of that great Spanish master, and the one on w h o m his that she displayed after a few short months of practice with
mantle descended at his death. She, therefore, is aware that the method of touching it at the proper times, that being both
Llobet and the other Tarrega pupils do not touch the little a progressive and an honest teacher, he completely revolu-
finger as a rule, even when the third is not in use. However, tionized his method to advocate the touching of the little
as there are separate and distinct schools of violin playing, finger exactly as taught by the writer. Although he had a
as, for instance, the Cesar Thompson or Belgian school and tbe number of advanced pupils, some appearing in concerts and
Auer or Russian school, and different schools of piano-playing, recitals, he changed them all over to touch the little finger
such as the Lechetizky and others perhaps equally famous, as outlined (in the article referred to) and spoke many times
and inasmuch as all these schools hinge their separate iden- of the satisfaction it was to him to see the improvement in
tities, as it were, on some technical phase on which the players their tone quality and playinc in general.
differ, it is only natural that such a serious instrument as the Furthermore, in her teaching career the writer has had
guitar would also have its leading exponents who differ on many pupils who were advanced players. Some of them were
some technical point. teachers of years standing and some had studied for years
There are almost dozens of differences among leading ex- under teachers who taught that the littlefingershould not be
ponents of the piano and violin — among those who have touched on the sounding board at any time, who have changed
attained eminence and world-wide standing and reputation over to the system advocated by her and by practically all of
as artists. It is, therefore, idle to presume that there would the old guitar masters as well as m a n y modern authorities.
be a perfect accord on everv little technical point in position, Without exception, the students have been more than delighted
etc., on the guitar, since such does not exist in every instance with the results the change wrought in their tone quality,
on an** of the other standard instruments. As "doctors dis- ease of playing, surety, and insurance against snapping the
agree" and lawyers, so guitarists likewise have the same strings as well a the equality of tone thev were able to eet
prerogative. However, there are, of course, certain funda- in runs and the many variations of tone color and effects that
mentals on which all thorough guitarists agree as well as they were able to get that were difficult or impossible before.
a few on which some of the foremost differ. This was ever Not a one would change back to the old way.
so and probably ever will be so, not only with the guitar, but Another point to consider seriously in any point of technic
also with the piano and violin, for there is no sign at present is that there is a vast difference between a virtuoso or one
of a perfect agreement in all such matters. who is famed exclusively for his playing and one who is a
One thing of importance to remember, however, when mak- teacher as well as a virtuoso. Sor was an outstanding example
ing a decision as to which is the better and which is right, is of both in one. Giuliani, Carulli and Carcassi were such, but
first to use reason, and as Ferdinand Sor says: "Count reason among those guitarists mentioned by Mr. Krick in his recent
for everything and routine for nothing." Another important article, Albert, the great German guitarist is the only one
point to remember is that with the exception of Albert and who is equally well-known as a teacher. Llobet, Segovia,
Mozzani, all the guitarists mentioned in Mr. Krick's recent Pujol and Mozzani are known primarily as soloists and for
article on the subject of the little finger, were pupils of their concertizing, not for their teaching, although, no doubt,
Tarrega, and hence naturally would use bis system, since he all of them have done some teaching. Caruso, the greatest
was their only teacher! There is not space here to go into singer that ever lived, in the belief of many authorities, said
the reasons in detail, but suffice it to say that the crouching that he would not he able to teach or lay down methods or
position in which the guitar is held in this school and the rules for pupils to develop what he had developed in himself
system of fingering which differs from that used by other because he did not have the pedagogic or analytical mind, in
schools (as regards the right hand) to quite an extent, would other words he did not know why he did certain thing's him-
make the touching of the littlefingerby those players prac- self. It either came natural to him or he was taught that
tically impossible. way and followed the lead. As is well known, this is the case
Also, if certain well-known players use a certain method with thousands of soloists on all instruments. Sometimes, as
in the instance referred to, making it perfect according to the in the case of Kreisler. the violinist, they do things that are
idea of Mr. Krick, then it should logically follow that in all against the ordinary principles of technic as commonly taught
other points of technic these gentlemen should be perfect and for instance, Fritz Kreisler says that he has found that it
uavs him in results to be sparing in the use of the fourth
followed slavishly. Mozzani plays with thefingernails instead
of the cushions of the right hand fingers, but so far as I BANJO PLAYERS?
left-hand finger, whereas most universal violin methods and
know, that has not made many other guitarists follow his teachers of note stress the use of
TUXEDO that finger. Kreisler, how-
CLOTH
A new twin face highly perfumedon polishiner
(Contlnued Page _(>i cloth for cleaning, and
method in this regard, except, naturally his own pupils. polishinp Saxophones, Trumpets, Banjos and Drum rims, etc. Used
Aguado, the old Spanish master, also played with the nails and recommended hy the leadinp manufacturers.
and we owe to him a great deal, for he wrote some wonderful P R I C E 50 C E N T S •
literature for our instrument, but after hearing Sor play and Nicomede Music Co., Altoona, Pa.
becoming acquainted with him and his work, he said that he
was firmly convinced that despite all his fame as a guitarist, W i n not 'iiim the true classical exquisite beauty and
a virtuoso and a pedagogue and writer of methods, that he
was wrong in using his nails and that while he was then too
GUITAR delicacy of the works by writers of the modern school.
Composltlona bv such outstanding ligii-os as Segovia.
Mo//ani. Tarretca. Llobet. 1*11101. etc.. w h o today arc
old to change, if a young m a n he would by all moans change
his system in that regard and adopt the system of Sor, who
MUSIC .ated in -Europe as were their predecessors of 100 and
ago Impromptu hy Se^mla. net 40c: Prayer
_So; Tanoo by Taxrega, 60c: Romania by
condemned most severely the practice of playing with the Llobet, r5o: Tonadllla-Tango-Guajira by Pujol, $1.05.
nails. This method went out of style over a hundred years If you want any other number, either hy modern
01 old muster, ask us for it. Write for catalog.
ago with Aguado who did not perpetuate it after he thought Messina Music Co.
2451 84th St..Bklyn. N.Y. // Published We Have ll
it wrong, and Mozzani, the Italian virtuoso, is thefirstplayer
of note to take up the idea in all that time. N o representative
guitarist disputes the standing PLEASE M E N T I O N The C R E S C E N D O W H E N WRITINC T O ADVERTISERS
of Mozzani as a virtuoso on
the guitar nor do they that of Aguado, but playing with the
nails is not generally taught nor accepted by most guitar
masters either past or present, a.s desirable.
Mozzani would, no doubt, be equally good or better had he
October, i 9 27 The C R E S C E N D O [25]

C. E. M.—Worcester, Mass.
I. Is it true that practically all the great guitarists use
The
1 pUITARISTS'
small size guitars?
2.
amateur
Would you advise a person
size guitar for that reason?
to buy a standard or

G R O U N D TABLE J. Is the auditorium

son w'ith large fingers?
size supposed to be for a large per-

Conducted by
4. Does a large sized guitar make a louder or deeper
VAHDAH OLCOTT-BICKFORD
Virtuoso, Composer tone?
5. Are the strings and frets further apart and is the
*pHTS D E P A R T M E N T is especiaUy for fingerboard wider on a large instrument?
J- Guitarists, but anyone may ask ques-
tions pertaining to the guitar or contribute 6. What size guitar do you use?
items. Questions or suggestions will re-
ceive due consideration. [ ANSWER ]
Address—"Guitarists Round Table," care
1. It is true that practicajly all, or in fact all I have ever known,
w of The Crescendo.
of the great guitarists use concert or standard size guitars—none of
them use a larger, such as Grand Concert or Auditorium. T h e
reasons are several. A m o n g them the fact that the best balanced
{ " Q U E S T I O N S are always welcome, and bits of technical news tone quality comes from this size, which in itself is a sufficient
^•- regarding the playing or mechanism of the fretted instruments reason, another being that the size is more compatible with a h u m a n
are most acceptable. This department is for you; it is vitally being's ability to hold it in a proper position and secure a good
technical control for difficult work.
interested in your work with the guitar, and it stands ready to help
2. There is no such name as "amateur size" as related to the
and assist in any w a y possible. guitar. Standard or Concert size guitars are as large as I ever
This is your department and w e want it to be both interesting advise for anyone, no matter what size their physique m a y be.
and instructive, and with your co-operation w e can surely make it so. 3. T h e Auditorium size instrument would certainly need a large
person to handle it, and one with large hands, as well. It is only
useful in accompaniments of the simpler order, where the bass is the
F. J. W.—West Allis, Wisconsin
main desideratum, since the treble in this size of guitar m a y not be
properly balanced with the bass.
About alternate fingering on the guitar, — is it best in
4. T h e very large guitars usually produce a very deep, powerful
single note runs to alternate with thumb and first finger? bass, but seldom increase the treble. In fact, size has less to do
My teacher has taught me to alternate with first and second with the volume of tone and the quality than m a n y suppose. T h e
finger on the G and B string, but on the E (treble) string writer possesses a very small guitar called in the old days "Ladies'
to alternate with first and third fingers. I find this prefer- Concert," a little smaller than any made now-a-days, which has a
greater volume of tone and greater carrying power than some of
able tofirstand second fingers.
her other standard and concert size guitars. So size is not always a
criterion in the w a y of tone. That is seen on the violin, where those
[ ANSWER ]
of equal size and by the same maker, often vary considerably in
The system of alternate fingering as applied to the guitar in all tonal depth and volume.
standard methods and in all standard schools of all countries, is to 5. O n most of the auditorium and on m a n y of the grand concert
alternate on the three treble strings with the first and second fingers, size guitars, the frets, and thus the scale length, is a bit longer and
and on the bass strings with the thumb andfirstfingeror with the the neck in most cases (and in all I have seen in the auditorium
first and second fingers, according to the passage being played or size) is thicker and wider, to balance up the greater scale length.
according to the school. T h e fingerboard is thus a little different also, making the distances
T h e famous maxim of Ferdinand Sor, recognized by all schools as greater.
"the Beethoven of the guitar", "Be sparing in the use of the third 6. I use standard and concert size guitars and also, at times, the
finger," will, as the writer has said before, answer m a n y of the old size known as "Ladies' Concert".
problems of the guitar student. T h e _third finger is farthest away
from thefirstfingerand because of being the weakest finger on tht Mrs. T. M.—Geneva, Ohio
hand in all cases, can never attain the ease and surety in alternat- Will you please explain the plectrum method of guitar
ing with thefirstfingerthat the second finger could have. Of course, playing, ivhat the plectrum is like, etc? I use the thumb pick
one could learn this method of playing so that perhaps to them, it in playing, but do not know whether this is the plectrum
would appear easy because of never having sufficiently studied the
referred to.
easier and more natural way, of using thefirstand second fingers.
Just in the samfe w a y one could train to play an instrument in all I ANSWER ]
sorts of freak ways, but that would not mean that it was either the Guitar music, as written, cannot be played with the plectrum,
correct or even the easiest way. T h e system of alternate fingering since it is not of a type where a pick can scoop through the strings
on the guitar is nothing new and does not belong to any one school en masse. A n y music to be played with the plectrum has to be
of playing. A far greater speed, accuracy, equality of tone and written expressly for that style.
grace and ease in playing, is attainable with the system of alternate T o answer your question more fully—the type of pick or plec-
fingering recognized in use on the treble strings (viz. first and trum used is similar to a mandolin pick, that is, an ordinary plec-
second fingers) than with any other that has been or can be devised. trum, held between the thumb and first finger of the right hand.
Of course, there are times when in certainfigures,such as certain T h e technic of handling or manipulating the plectrum is the same,
types of tripletfigures,tremolo, etc., when even the thumb,firstand practically, as that used on the mandolin or other plectral instrument
second finger are used on the treble strings, including the E string (Continued on Page 28)
(in the former), and when the third finger, as in the well-known
"three-finger tremolo", is used with the other fingers. But in no
instance is the third finger used in such places unless both the first
and second also are in use in the figure or movement. In other
words, the third finger has no place in alternating with the first
finger unless the second finger comes also into play. T h e chief
function of the third finger is for chord work and broken arpeggi,
8 N e w Solos for the Hawaiian Guitar
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T H E H A W A I I A N GUITAR SPECIALIST
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"Modern Album for Guitar", containing 10 Solos—1 D u e t — 1 Song
SOLEMNITY (A Reverie) " " 30
with guitar,
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Price $2.00
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[26] The C R E S C E N D O October, 1927

The Third Finger—from page 24

ever, t h o u g h not a teacher, is called "the K i n g of Violinists"

THE CRESCENDO READERS' b y m o s t all critics the world around a n d h e says that he
finds it p a y s h i m in results to d o m o r e constant shifting for
OWN COLUMN the sake of allowing the stronger fingers to d o the w o r k
w h e r e v e r possible instead of the fourth which, d u e to the
This column is open free to our readers
for discussion and contributions. position in which the violin is held, m a k e s the fourth finger
the w e a k e s t on the violin hand.
T h e Carulli Guitar School, written b y the r e n o w n e d Ferdi-
n a n d Carulli, is as popular n o w in E u r o p e as it w a s in Ca-
Nature's Part In Music rulli's o w n d a y a n d there are literally dozens of editions in
almost every k n o w n language. Carcassi's M e t h o d is also very
By ETHEL L. WALL popular there a s well as in A m e r i c a , a n d his studies are used
in every land w h e r e the guitar is played, including the Tarrega
Did you ever sit on the front porch at night and listen to the pupils ( s o m e of w h o m h a v e edited n e w editions). Giuliani,
twittering of the birds mingled with the chirping of the crickets, w h o lived at the time of Beethoven, w r o t e Studies and Exer-
while the sun is taking its last glimpse to see that all is well? cises for the guitar that are still used b y the greatest living
Seems as if all the world is going to sleep, and saying its evening guitarists of all schools. Coste, the greatest of the French
prayers. masters of the guitar wrote Concert E t u d e s that are used as
H o w wonderful it is in the purple hush of early d a w n to see the studies b y all schools a n d s o m e of w h i c h appear frequently on
squirrels hurrying about. T a k e a stroll through the woods, hear the the p r o g r a m s of such Spanish guitarists as Llobet a n d others
beautiful song of the oriole, perched above his swinging nest. Hear of the T a r r e g a pupils. W i t h o u t exception these guitarists
the friendly little robin's joyous song as he greets you. Hear the advocated the light touching of the little finger w h e n the
rustle of the wind a m o n g the trees mingled with the laughing of third finger w a s not in use, to say nothing of the eminent
the waters as they dash gayly over the pebbles or tumble d o w n a Sor, w h o m T a r r e g a himself a n d all his pupils recognize as
fall. Is it any wonder that our great musicians are such lovers of the founder of the Spanish school of guitar playing and the
nature? T h e y go hand in hand with nature, they are one! greatest of its masters. N o guitarist could b e m o r e progres-
M a n y of the great master pieces of music were inspired by nature. sive in ideas than the writer, w h o has a l w a y s m a d e it a
T h e majesty of d a w n , the evening light on the mountain summits, practice to be of the "eclectic school", as it were, that is to
the peace that falls upon the valley, all bring forth to the musician, take the good f r o m all schools of playing a n d f r o m all com-
and help him to express his emotional feelings and thoughts of posers for the instrument, f r o m w h a t e v e r country or in what-
the soul. ever place they m a y be found. I n a s m u c h as all of the greatest
There have been landscapists in music ever since 1669. D o n living guitarists in every country h a v e to fall back on the
M a r c o I'cellini, court conductor to the D u k e of M o d e n a , composed L e g n a n i Caprices, the Giuliani 2 4 Exercises, the Carcassi 25
" W o o d Symphonies", and before him w a s John M u n d y , an English- Studies, Melodious a n d Progressive, a n d his Caprices, and the
m a n , w h o composed "Tantasia" wherein he portrays " A Clear Day", Coste E t u d e s de Concert, as well as the w o r k of A g u a d o and
"Lightning," "Thunder" and "Calm Weather." There were m a n y Sor a n d m a n y other of the old masters to build the technical
w h o followed later, enchanted by nature, w h o endeavored to put e q u i p m e n t of the artist, it w o u l d s e e m that w e should give
forth into music the babbling of streams, the sighing of the winds, t h e m credit for their great w o r k s . T h e y h a v e not been sup-
the song of birds, flowering meadows, and rustling of leaves. planted one iota b y a n y of the m o d e r n s . A s composers, none
Music taken from nature is a type of harmony which attempts of the m o d e r n s pretend to equal t h e m a n y m o r e than w e find
to excite a mental image by means of an auditory impression. The a n y of o u r pianists of today trying to claim the halo of
composer associates with his music a title, motto, or descriptive Beethoven or B a c h h a s descended u p o n t h e m ! Since these old
passage, to establish a receptive condition in the mind of the hearer, masters built so well that w e cannot get along a n d build a
he then addresses the imagination of his auditor with a melody perfect technical e q u i p m e n t on the guitar today without their
which will express the conception which the title has symbolized. w o r k s , despite all the n e w ones, let us r e m e m b e r their words
M a n y beautiful and well k n o w n pieces have been written about and their admonitions a n d study their w o r k s a n d their systems
or dedicated to nature, e. g.: " T o a Water-Lily" and " T o a Wild of technic a n d w e cannot g o far astray o n the path of be-
Rose" taken from M a c D o w e l P s "Woodland Sketches" and "Nar- c o m i n g ever better guitarists!
cissus" taken from Nevin's "Water Scenes."
Wherever w e go, wherever w e look, the great world of beauty Customer: " H a v e you ' M y Alice Blue G o w n ' ? "
lies spread out before our gaze in all its splendor and magnificent Clerk: "No, but w e have a lot of n e w rags here.''
beauty. — M u s i c Jester
W h a t a grand concert hall is nature! Not only the music of the
spheres as they go singing in their orbits, but music from every
source steals into the ear of the listener. T h e music of the feathered
ATTENTION ! TEACHERS!
KILLIAN'S METHODS, with a complete arranccment of chords (with diagrams)
songsters, the deep organ tones of the ocean and the tempest, the silvery for each fretted Instrument, and KOTTY'S COMPLETE BOOK OF CHORDS
notes of the dancing brooklet, the music of the sands, the majestic (with diagrams) for each fretted Instrument, are compiled on one and the same
sound of the waterfall, the sub-bass of the thunder peal, and the principle, which will enable the teacher to in--truct on one instrument equally
sighing of the winds—music everywhere in the great world of as well an another. These books are compiled on a practical basis, and contain
harmony. IIIEITIV features and knowledKe not found in other methods. Price, Methods, $1.50.
Chord Books. 75 cents. — Published by
K O T T Y S C H O O L O F M U S I C — €0 Miller Block, Milwaukee, Wis.
"I have been a reader of the Crescendo tor several months, and Teachers' and Dealers' Discount
I like it very much. I always look forward to the next issue. It is
a very interesting magazine, and has m a n y helpful items. Send $1.00 l<$ 10 Pieces £t\?As£T£
"I have always been a great lover of music, but never cared to 2 M . & P. Duos, or Guitar Solos. Your O w n Selection.
m a k e it a study, in fact, I did not think it would be worth while
as I w a s too m u c h of the old opinion "Music is a gift from the
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Professor Oden, soon changed that opinion. H e m a d e m e realize
that music, like other sciences, requires a gnat deal oi study, and
is not acquired over night.
" H e read selections to m e from the Crescendo, and I soon be- ATTENTION!
came interested an'l desired to read it myself. DeLano
" N o w that I a m a reader of the Crescendo, I would also like to
TEACHERS and PLAYERS Methods
Send for full list of and
be a contributor to it, too. Enclosed (the foregoing article) you
C. S. DeLano's Methods and Solos
will find a short item. Music
for Steel Guitar and Uhulele
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E i m i L. W A I i ."

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October, 1927 The CRESCENDO [27]

In the Spotlight at the Publix Theatres

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[28} The CRESCENDO October, 1927

T h e Guitarists' R o u n d T a b l e — f r o m page 25

(which, of course, is an entirely different family of instruments from

WANTED and FOR SALE the guitar, the guitar originally belonging to the plucked type as
Advertisements inserted here for 5c per word each insertion. Cash does the harp).
T h e thumb-pick you use in your playing has no relation to what
with order. Minimum charge 50c.
is k n o w n as the "plectrum" style of playing, although, I might add
here, that for absolutely correct playing on the guitar no thumb-pick
is used either. It is in no sense necessary and takes from, rather
ch
O r phead,
h e u mpearl
N o . fingerboard, with 16
1 Ouitar-Banjo. resonz than adds to the best effect of the instrument. T h e object of the
tor. A - 1 condition; $135. J a m A . Rasor. 207 R o s e St., Massillon, Ohi' thumb-pick is to enable the player to play the bass notes with what
Artist's A l Gibson M a n d o l i n . Mando-Cello. for sale cheap. Perfect they think is a greater volume than would be obtained from the
condition. A d d r e s s P h . H a 951 B r o a d Street. N e w a r k , N . J. fingers without such aid. A s a matter of fact, however, such is not
the case, as it has been repeatedly proven in tests that the bass notes
have not only far greater sweetness and richness of tone, but also
vicz. 239 South Chestnut Street. S h e n a n d o a h . P a . greater carrying power and resonance w h e n played as intended, with
the fingers, than w h e n a thumb-pick is used. Not only this feature
N o . 2 0 8 M a n d o l i n ( V e g a bowl shape), A l condition; w a s
rifice for $25.00. Write A . A - *" is to be considered, but also the fact that there is absolutely no reason
in solo playing w h y the bass notes should be played with a pick
(with the purpose of, as the player thinks, making the notes of the
bass louder) as there is no reason w h y the bass notes of a composi-
tion or the bass notes of chords, should be louder than the treble or
melody notes. O n the contrary, the main thing in solo playing is to
$110.00. Write have the melody stand out clearly and the bass and inner harmonies
to provide a subdued, although important background. At times,
of course, one note or chord must be louder than others, but this is
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by no means usually the bass note (or the one that is played with
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C L A R E N C E D. SLAPE, Mfr. — Dept. 5, Plainfield, N. J. the truth of what its effect is, and never knew one to return to it.
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 The C R E S C E N D O

g;__few&g^£fe^

T H E T U X E S Y O U H A V E BEEN WAITING FOR

(t 13

Feist for Fretted

Popular
Hits No. 6
Instruments
k
3k

A Sl'PERB COLLECTION CONTAINING FIFTEEN

OF T H E L A T E S T P O P U L A R "FEIST" MELODIES

Arranged for Violin or Solo Mandolin with 2nd Mandolin Obligato (in one book)
Hawaiian Guitar Solo and Regular Guitar Accompaniment (in one book)
Tenor Banjo Solo and 2nd Tenor Banjo Accompaniment (in one book)

PLAYABLE AS SOLOS, DIETS OR ANY COMBINA-

TION* O F PARTS T O SUIT MANDOLIN CLUBS

CONTENTS
> Sunday ( Fox trot)
" FEIST " Honolulu Moon
At Sundown (Foxtrot) "FEIST"
POPULAR HITS. N O . 6 Sam, the Old Accordion Man
FOR
Collette (Foxtrot) POPULAR HITS. NO. 6
Mandolin Thinking of You ( Fox trot) FOR
OR Ii You See Sally-
Tenor Banjo Solo
It .Made You Happy (Foxtrot)
Violin WITH ACC. FOR
Pal of My Lonesome Hours (Foxtrot)
WITH OBLICATO FOR
/ Always Knew I'd Find You (Fox trot)
Second Mandolin Second Tenor Banjo
In a Little Spanish Town
He's the Last Word (Fox trot) Price SI.00
Price $1.00
Love Is Just a Little Bit of Heaven
Just If ond'ring
9
Hello, Aloha!—Hon Ar, You?

" FEIST "

POPULAR HITS. NO. 6 9
ALL PARTS ARE IN THE FOR THESE BOOKS ARE FOR
SAME KEY, SO THEV CAN-
BE PLAYED TOGETHER
Hawaiian Guitar Solo
UITH
SALE ONLY IN U. S. A.
AND CANADA ::::::
s
Regular Guitar Ace.
Price SI.00

9
Published \\r T C .-^l^ A \ ' f~^ ~ 214-16-18 East 34 th Street Zz

b, W m . [Link] Music Co. _\-.„-wk cm

9
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 The CRESCENDO

BANJOISTS ODELL
MANDOLINISTS STRINGS
Special Sale
GUITARISTS discount to teachers
The Best and Strongest strings made in America. Breaking strength is the highest of any strings manufactured. Gauges correct
for all instruments. Mandolin, Mandola, and Mando-Cello strings especially good for flat back instruments such as Gibson, Vega, Martin.
Washburn, etc. Guitar gut and silk strings finest in the world. Tenor Banjo strings exceptionally strong for dance or concert work. All
steel and wound strings made of the highest grade of wire or silk floss, looped or knotted ends on all strings except gut. EEach string in a
special waterproof, glassine envelope. W h e r e the dozen price is given, strings are not sold in less quantities at this price.
MANDOLIN T E N O R BANJO GUITAR
No. STEEL A N D W O U N D No. STEEL A N D W O U N D Doz. No. GUT A N D SILK W O U N D Doz.
201 E 1st, steel ).45 70 A 1st, steel $0.45 301 F 1st, gut $2.25
202 A 2nd, steel .45 71 D 2nd, steel 45 302 B 2nd, gut 2.25
203 D 3rd, wound .78 72 G 3rd, wound 88 303 G 3rd, gut 2.85
204 G 4th, wound .93 73 C 4th, wound 1.08 304 D 4th, wound 1.60
Set of 8 strings, 60c
Set of 4 strings, 40c 305 A 5th, wound 2.10
MANDO-CELLO 306 E 6th, wound 2.40
No. STEEL W O U N D Doz. Set of 6 strings, $1.20
REGULAR BANJO GUITAR
213 A 1st, wound $1.20
214 D 2nd, wound 1.60 No. SILK A N D SILK W O U N D Doz. No. STEEL A N D STEEL W O U N D Doz.
215 G 3rd, wound 2.10 50 1st or 5th, silk $0.65 308 E
307 B 2nd,
1st, steel .45
$0.45
216 C 4th, wound 2.75 51 2nd, silk 80 309 G 3rd, steel .. .50
Set of 8 strings, $1.50 52 3rd, silk 88 3095 G 3rd, wound 1.00
MANDOLA 104 4th, wound 1.60 310 D 4th, wound 1.08
No. STEEL A N D W O U N D Doz. Set of 5 strings, 40c 311 A 5th, wound 1.35
205 A 1st, steel $0.60 312 E 6th, wound 1.80
206 D 2nd, wound 1.30 Set of 6 strings, 75c
207 G 3rd, wound 1.60 PLECTRUM BANJO GUITAR
208 C 4th, wound 2.10 No. STEEL A N D W O U N D Doz. STEEL AND
Set of 8 strings, $1.00 109 1st, steel $0.45 No. STEEL A N D SILK W O U N D Doz.
UKULELE 110 2nd, steel 45 307 E 1st, steel $0.45
No. GUT Doz. 111 3rd, steel 45 308 B 2nd, steel 45
150 1st, gut $0.96 112 5th, steel 45 313
309 G 3rd, steel .50
151 2nd, gut 1.10 314 G 3rd, wound 1.08
113 4th, wound 98 315
152 3rd, gut 1.10 D 4th, wound 1.60
Set of 4 strings, 30c
153 4th, gut 96 Set of 5 strings, 40c
A 5th, wound 2.10
Set of 4 strings, 40c 316 E 6th, wound 2.40
Set of 6 strings, $1.00

NEW arr. for T E N O R B A N J O

SOLOS - DUETS - by L. Loar
Young America, March — H . P. Odell A. Live Wire, March —J. H. Johnstone
After Thoughts, Valse Lente—H. F. Odell The Prize Winner, March — L . Tocaben
Laughing Eyes, Waltz — H . F. Odell Love's Old Sweet Song- —J. L. Molloy
Invincible U. S. A. — H . F. Odell Beautiful Night, Barcarolle —J. Offenbach
Boston Coinmandery, March — T . M . Carter The Meteor, March — W . N. Rice
Price each 40c, Folio of ten $2.50

These Tenor Banjo parts recently added to the original arrange-

ments were planned to be used with piano accompaniment, either
as a solo or duet, yet they can be used as an unaccompanied solo
or duet very effectively. T h e solo part can also be used with the
orchestra accompaniment. T h e chord or obligato part on the same
score of each arrangement, is also suitable as an orchestration.

H. F. ODELL CO., Publ.

One Order—One Bill—One Expense for .111 Music

157 C O L U M B U S AVE. BOSTON, MASS.

PLEASE MENTION The C R E S C E N D O WHEN WRITING T O ADVERTISERS

 •

• • A
 The CRESCENDO

LEARN T O PLAY THIS POPULAR INSTRUMENT

HAVE YOU SEEN UNDER S C H E I D L M E I E R ' S N E W SIMPLIFIED
the SYSTEM

Improved Hamilton SCHEIDLMEIER'S

c)cllei(_(lmetcr-,
Modem System,
Hamilton Combination
Lone Star K M MODERN
How To H A G "A NO JAZZ
SYSTEM FOR
MUSIC STANDS brass tubing
Tenor Banjo
A most unusual Book that has been instantaneously acclaimed
by all foremost Banjoists. A complete and comprehensive method.
wide shelves Simple and easy. Gives you a short cut to banjo playing. It
takes you through all the following essentials:
How to Read Notes How to Rag and Jazz
patented locking device Complete note system—Easy Popular strokes used in mod-
duets ern tenor-banjo jazz
How to Form Chords
Simplified course in harmony How to Play Full Harmony
ask — E a s y to understand Beautiful solos artistically
arranged
How to Play Chords
Diagrams of all major, mi-
Your Dealer nor, diminished, augmented,
How to Play Orchestra Parts
Made easy and simplified
etc., chords
How to Transpose Chords How to Play from Piano Parts
Changing from one key to Definition of chords thor-
another oughly explained
KR.\ U T H & B E N N I N G H O F EN Price $1.50 Net (In U. S.)
H A M I L T O N , OHIO Order a Copy To-day at Your Nearest Dealer

WM. J. SMITH MUSIC CO.

FIVE MASTER SOLOS

FOR

Tenor Banjo I [VE

WITH
PIANO A C C O M P A N I M E N T
MASTER SOI I is
$ a « #lit
j TENOR BANJO
By M . J. SCHEIDLMEIER $inlitts
Interesting Masterpieces
Here is a quintet of solos com- from the hands of
posed by one of the greatest tenor
A N T O N I U S STRADIVARIUS
banjoists in the world — " Mike "
JOSEPH GUARNERIUS
Scheidlmeier.
RUGGIERI, A M A T I
These five solos have been se-
lected by acclamation of audiences and many other
in, all parts of the country as being the best written by this famous makers
composer and artist.
They are the feature numbers played by him in his numerous M a n y rare and beautiful specimens have been
concert engagements and radio recitals.
Responding to the thousands of requests m a d e by those w h o added recently to the Wurlitzer Collection.
have heard him render these compositions, M r . Scheidlmeier has
finally been prevailed upon to permit the publication of them. O L D MASTERPIECES
Their value as solos of extraordinary merit is enhanced by in excellent preservation
the splendid Piano accompaniments arranged by Otto Merz. and ot undoubted merit.
The titles of the solos are: $
March "Knights of the Air" 100 up
Fox Trot "I've Got the Banjo Blues"
Concert Waltz "Sonia" The Rudolph Wurlitzer Co*
Novelette "Eccentric"
Fox Trot "Banjophobia" CINCINNATI CLEVELAND
Price in U. S.—Complete Tenor Banjo and Piano, $1.50 N E W YORK SAN FRANCISCO
Order from Your Local Dealer CHICAGO LOS ANGELES

WM. J. SMITH MUSIC CO. '"I™ Y&Zt™™*

PLEASE MENTION The CRESCENDO WHEN,WRITING TO ADVERTISERS
November, 1927
The CRESCENDO [O

TONY COLUCCl E hear m u c h about timbre, tonality, overtones and

"Silver Slipper"
N e w York other scientific terms for tone color—but just what
does "tone color" mean in terms of banjo performance?
"The VEGAVOX It means just this—-it is that characteristic quality of tone
truly t h e — ' most that is of pleasing beauty. It is that melodic purity which
beautifully v o i c e d you find in the V E G A V O X .
banjo in banjo his'
toryY , Words cannot describe this new banjo—only your ear can
appreciate the superb tone color of the n e w V E G A V O X .
W e invite you to try this "banjo of banjos," to test its
performance by actual use. T h e V E G A dealer in your
Mr. Colucci was for- neighborhood has one to show y o u — h e will be pleased
merly with the famous
to see you. Or, write direct for fully illustrated literature
Roger W o l f Kahn Or-
and trial offer.
chestra, a n d is n o w
banjoist with T o m m y
Gott in N e w York's
leading night club. A "The Most Beautifully Voiced Banjo In Banjo History"
Vega Banjo has been
this artist's choice. "—.

The VEGA Co.

165 Columbus Avenue - Boston, Mass.
PLEASE MENTIOK The C R E S C E N D O WHEN WRITING TO ADVERTISERS
[2] The CRESCENDO November, 1927

Weidt's Tenor Banjo Collection

T H E most popular and valuable
collection of tenor banjo solos
ever published. This is the
verdict of thousands of teachers and
players of the tenor banjo w h o are
Volume 5 Now Ready
using the famous Weidt Tenor Ban-
Fifteen practical and playable solos in wide
jo Collection. The latest volume
variety. All numbers in this book, and in
(No. 5), just issued, contains com-
positions of ten well known com- the first four, are very effective as un-
posers besides Mr. Weidt, but the accompanied solos. The specially prepared
numbers are arranged in the clean- piano parts (not just ordinary accompani-
cut banjoistic style for which the ments) are replete with counter melodies
n a m e of Weidt is so well known,
and other interesting effects.
with full harmony,fill-ins,counter
melody and professional rhythm
strokes. CONTENTS
PRICES — E a c h Volume 1 By the Watermelon Vine (Lindy Lou) Schottische
(Except Canada and Foreign) Allen
Tenor Banjo Solo $.75 net 2 Jinrikisha, Scene Japanese Benkhart
3 The Tippler, Eccentric March Cobb
Piano Part 1.00 net 4 Largo Handel
5 Cannibal Chief, Fiji Dance McGrath
Contents of thefirstfour volumes
are shown below. The numbers are by 6 Dixie Rube, Characteristic March Allen
[Link] unless othei*wise indicated. 7 All Aboard for Rock-a-Bye Bay! Cobb
VOLUME 1 8 A n y Rags? Schottische Allen
1 My Lady Jazz Fox Trot 9 O n the Nile, Egyptian Serenade . Smith
2 The Booster One-Step
3 Little Boy (Fazioli) Fox Trot 10 Hoop-e-Kack, Novelty March Allen
4 Blue Stocking
5 Harmony Kid
Caprice
Fox Trot
11 Y e Olden Tyine, Characteristic Dance Weidt
6 Kentucky Moon Song Fox Trot 12 Invincible Guard, March Shattuck
7 The Optimist March
8 Monday Morning Blues Fox Trot 13 Eventide, Reverie Weidt
9 Shattered Dreams Reverie 14 Darkey's Dream, Characteristic Barn Dance Lansing
10 M y Caroline Song Fox Trot
11 Take M e Back Home Again, Lizzie 15 Good Fellows, March Bertram
One-Step
12 "Whyte Laydie" Valse
13 Marcheta (Schertzinger) .... Fox Trot
14 Ghost Walk (Cobb) . Eccentric Novelty
15 Cow Bells (Piantadosi) Song Fox Trot VOLUME 3 VOLUME 4
VOLUME 2
1 Dance of the Teddy Bears 1 "Got 'Cha" A Syncopated Chase
1 Sweet Dixie Babe Song Fox Trot
Novelty Fox Trot 2 La Paloma (Yradier) Spanish Serenade
2 Tangled A Syncopated Mix-Up
2 National Emblem (Bngley) .... March 3 Queen City March
3 El Dorado Tango Fox Trot
3 Any Old Time at All (Ringle) Song Waltz 4 Sparkling Crystals Novelette
4 Just a Memory Reverie
4 Carita Dans Espana 5 Our Director (Bigelow) March
5 Melody Blues Song Fox Trot
5 Persian Lamb Rag (Wenrich) 6 Too Tired (Little) Song Fox Trot
6 Pasha's Pipe (Hahn) A Turkish Dream
A Pepperette 7 Down Main Street March
7 Waiting for You Song Fox Trot
6 Whispering Winds (Bertram) . . Waltz S Harmony Baby (Bertram) Song Fox Trot
8 Goose Waddle . . Danse Characteristique
7 The One I Love (Jones) Fox Trot 9 Flower of Youth (Bertram) Waltz
9 Your Smile Song Fox Trot
8 Spooks (Cobb) Eccentric Novelty 1" Stepping Out March
10 Atta Boy One-Step
9 Japanola Song Fox Trot 11 Thistle-Down (Scholes) Novelette
11 Ain't You Ashamed (Mitchell) Fox Trot
10 The NC-4 (Bigelow) March 12 Free for All A Syncopated Scrap
12 Smiles and Tears Reverie
11 It's About Time (Gottler) . . . Fox Trot 13 The American (Bertram) March
13 Young Bands March
12 H o m e Town Band March 14 Dutch Kiddies .... Wooden Shoe Dance
14 Gypsy's Dream Danse de Ballet
13 Rubber Plant Rag (Cobb) A Stretcherette 15 Limited Express (Scholes) Galop
15 They Love It (Goold) Fox Trot
14 Here They Come March
15 Sure as You're Born (Little) Fox Trot
JACOBS' ENSEMBLE FOR BANJOS Tenor Banjo Solo

NEW A diversified collection of 14 original compositions by

various American writers. For tenor banjo solo, and
plectrum banjo solo •with or without tenor banjo
chords ; parts for saxophones and any orchestra or band
instrument available. Piano accompaniment ad lib.
Plectrum Banjo Solo
with tenor banjo chords
Any Orchestra and
Band Instrument
Piano Part
.50 net
1.00 net

120 BOYLSTON STREET - -

W A L T E R JACOBS, Inc. BOSTON, MASSACHUSETTS
Publishers of Jacobs' Orchestra Monthly, Jacobs' Band Monthly and Melody. (For pianists and organists.)

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November, 1927 The CRESCENDO [3]

The CRESCENDO Z[)t Clarfe

Founded WOS—H. F. Odell
The oldest and foremost fretted instrument monthly
BANJO- Mdevoted
A N D OtoLthe
I Ninterest
— G UofI Tthe
A R ?nd kindred — Is Easily and —
Combined
instruments Quickly Mastered
with FRETS Founded
1925 " The Class W a y "
A D O L P H F. J O H N S O N , Managing Editor
Write to us for Particu-
Published Monthly by lars about the C L A R K
H. F. ODELL C O M P A N Y H A R P , without obliga-
tion to you.
Its beautiful tonal quali-
S U B S C R I P T I O N | J,Tnite.d States $ a 2 ° $2
-°° ty and great resonance
PRICES £ a n '? d a -2° 2*25
[ I'oreign .25 2.50
make it musically de-
Advertising Rates will be sent on application. Forms close on the lightful.
ist of each month for the succeeding month's issue. Make yourself and oth-
Remittances should be made by Post Office or Express Money
Order, Registered Letter or Bank Check or Draft. Checks accepted
ers happy by playing a
only on banks with exchange in Boston or N e w York.
Correspondence is solicited from everybody interested in the Clark Harp
Banjo, Mandolin, Guitar, Harp, etc. W e will be pleased to receive
programs and reports of concerts, club and orchestra news, personal
notes and music recently issued.
Cnly
$150
We are not responsible for the opinions of contributors. Convenient Terms Arranged
Address Communications to the Editor.
All Remittances should be made payable to
H. F. ODELL COMPANY CLARK MUSIC CO.
157 Columbus Avenue, Boston, Mass. M E L V I L L E C L A R K , President
416 South Salina Street :: Syracuse, N . Y .
S T A T E M E N T OF THF. O W N E R S H I P , M A N A G E M E N T , ETC.
nf the Crescendo, published monthly at Boston, Mass., Suffolk County.
Required by the Act of Congress of August 24, 1912,
October 1, 1927
NAME OF POST OFFICE ADDRESS
Publisher, H. F. ODELL C O M P A N Y Boston, Mass.
Managing Editor, ADOLPH F. JOHNSON Boston, Mass.
Business Manager, ADOLPH F. JOHNSON Boston, Mass.
That the owner is W M . W . NELSON Brookline, Mass.
That the known bondholders, mortgagees, and other security holders
OVERTURES
owning or holding i per cent or more of total amount of bonds, F o r M a n d o l i n Orchestra
mortgages, or other securities are: N O N E .
W M . W . NELSON, Owner
Calif of Bagdad Boieldieu-Odcil
Sworn to and subscribed before me this 23rd day of September, 1927.
Fair Maid of Perth J. Widdel
L A W R E N C E VON ROSENVINCE
Golden Sceptre Schlcpcgrcll-Odcll
(SEAL) (My commission expires November 22, 1929)
H o m e Circle Schlepcgrell-Vreeland-Tocaben
Vol. X X Nov 1927 No. King Rose Barnard-Odcll
Light Cavalry Suppe-Tocaben
IN THIS ISSUE Lustspiel Keler Bela-Le Barge-Fostcr-Tocaben
PACE Mazeppa Mahl-Odell
Plectrums—Past, Present and Future (Lloyd Loar) 5 Mignonette J. Baumann
"Key to Musicianship" (Reviewed by "Skip") 7 Morning, N o o n and Night in Vienna
FRETITORIALS 9 Suppe-Tocaben
Al Morey Mosaic J. S. Seredy
Poet and Peasant F. von Suppe
THE ROUND TABLE
Poet and Peasant Suppe-Tocaben
BANJOISTS'—Frank C. Bradbury, Conductor 2r
Raymond (The Queen's Secret)
M -NDOLINISTS'—William Place, Jr., Conductor 2)
Thomas-T'
GUITARISTS'—Vahdah Olcott Bickford, Conductor 25
Semiramidc Rossint-Odell
CRESCENDO READERS' OWN COLUMN 26
White Queen O. Metra
A Happy Climax ("Armstrong's Harmony")
Ode to the Banjo (J. Edmonson Wortman) William Tell Rossini—Tocaben
W A N T E D A N D FOR SALE 28 Zampa Hcrold-Tocaben

U. SIC IN THIS ISSI E Prices on Application

After Thoughts, Valse Lento—II. F. odell ^ Carl

CJarl Fischer, Inc. squ_._
bischer, Inc. IZ" JNeN e w York MA
Delirium R a g — A . IX Grover (Odell) )££ Boston: 2:2 )§£.
.Tenor Banjo ,6 -££ w
Guitar . '. .8 MMMMM^MMMMMMMMMMMM^KM
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[4] The CRESCENDO November, 1927

W m C. StahFs Latest Publications

NEW NEW NEW The Famous Stahl Methods NEW NEW NEW
are the result of careful thought, based Brunover s 14 Solos for
The Peerless Folio upon m a n y years' experience of a prac-
tical teacher. Tenor Banjo with
The Exelsior Folio T h e subject matter does not leave Piano Accompt.
for Banjo and Mandolin Orchestra one in a haze, but opens, like a gleam
of sunjight, a n e w era in the study of STAHL'S New Folio
I N S T R U M E N T A T I O N — F i r s t and Second music, where it becomes a real pleasure, for Tenor Banjo Band
Mandolin, Guitar, Tenor Mandola, rather than a dull, distasteful grind. S T A H L ' S Excelsior Folio
M a n d o Cello, Piano Accompaniment,
for Tenor Banjo Band
First and Second Tenor Banjo, Tenor
S T A H L ' S Tenor Banjo Method S T A H L ' S Tenor Banjo Orchestra Folio
Banjo Chord Accompaniment, First and In 2 Books Peerless Collection
Second Plectrum Banjo, Plectrum Banjo S T A H L ' S Plectrum Banjo Method for Tenor Banjo Band
Chord Accompaniment. In 1 Book Morris's 10 Duets for Tenor Banjo
Price, $1.00 per B o o k S T A H L ' S Hawaiian Guitar Method The Ideal Folio. 10 Duets for
In 2 Books
Tenor Banjo
S T A H L ' S Regulation Guitar Method S T A H L ' S New Plectrum Banjo Folio
In 1 Book
Morris's 10 Duets for Plectrum Banjo
S T A H L ' S Mandolin Method
Excelsior Folio
New Steel Guitar Folio In 3 Books
for Plectrum Banjo Band
T w e l v e catchy melodies, effectively S T A H L ' S Regulation Banjo Method
Nonpareil Guitar Folio No. 1
In 1 Book
arranged as Hawaiian Guitar Solo, Nonpareil Guitar Folio No. 2
with Regular Guitar [Link].
Easy and m e d i u m grade. Price, $1.25 per Book A n y of the above, $1.00 per Book
Price $1.00 Steel Guitar Method, $1 per
perBook SEND FOR COMPLETE CATALOGUE

WM. C. STAHL, 133 SECOND STREET, MILWAUKEE, WIS.

M A N U F A C T U R E R OF ALL PLECTRUM INSTRUMENTS AND PUBLISHER OF MUSIC AND METHODS FOR TLECTRUM INSTRUMENTS

T h e Master These Folios

Method for Win Approval
Tenor Banjo Ten Tuneful Solos or Du-
A n instantaneous hit! A p - ets for Ukulele or Tiple.
plauded by teachers and for BANJO B A N D B y W m . Morris. 50c Net;
p u p i l s everywhere. B y Canada, 60c.
William Morris, Eminent and MANDOLIN ORCHESTRA Imperial Violin Folio. 12
Tenor Banjoist. Standard Combined Melodious Numbers. C o m -
text books worthy of seri-
plete with piano ace. $1.00
ous consideration by every
player. T h e y are original,
Price, $1.00 Each Book net, Canada $1.20.
progressive, up-to-date. B e Superb Folio for Banjo and
INSTRUMENTATION—First Tenor Banjo, Second Tenor
a progressive player by Mandolin Orchestra. $1.00
securing this method. Banjo Obligate Third Tenor Banjo Obligato, Fourth Tenor per book.
Banjo Chords, Plectrum Banjo Solo, First Mandolin, Second
F a m o u s Folio. 10 M e d i u m
Selling Strong Mandolin, Third Mandolin, Mandola, Mando-Bass, Banjo- Grade Tenor Banjo Duets.
Put your order in now, as Guitar, Plectrum Banjo Obligato, Tenor Guitar, Ukulele, Piano. B y W m . Morris. $1.00
orders arc rapidly selling Net, Canada, $1.20.
out the Third Edition.
Concert Folio. 5 Tenor
Banjo Solos with Piano
Part T W O — N O W R E A D Y Ace. B y W m . Morris. $1.50 Net, Canada, $1.70.
T h e n e w Part T w o just issued carries everything between its D a n d y Folio. 10 Popular Style Duets. B y W m . Morris. $1.00
covers that an earnest student of this instrument could possibly Net; C a n a d a $1.20.
need to perfect himself in every branch of Tenor Banjo playing. Majestic Folio. 10 Popular Style Tenor Banjo Duets. By W i n .
T h e greatest triumph in the history of Tenor Banjo m e t h o d s — Morris. $1.00 Net; Canada, $1.20.
a method that has never been equalled.
Novelty Folio. 6 Difficult Tenor Banjo Solos, with Piano. $1.00
Each Part $1.50 Net; Canada Price, $1.70 Net; Canada, $1.20 Net.

C* Santos, 55

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 A

r W0V11'27 'Cl B756851

Founded 1908 by H. F. Odell

Combined with Frets

Published Monthly by the H. F. Odell Co., 157 Columbus Ave., Boston
BOSTON, NOVEMBER. 1927 No.

Plectrums--Past, Present and Future

By LLOYD LOAR

T HIS
that
small but important accessory
is used so energetically
days to agitate the strings ot mandolins,
these
Japanese
Samisen,
niave(-
length of his playing a r m
which w o u l d
he had
reach the most remote strings.
recourse to a long stick

tries referred to, material to use for this purpose w a s some-

In the coun-

banjos, ukuleles, etc., has had a quite «ith a w h a t at a p r e m i u m . O n e of the natural growths most con-
unique history. When we go back as wooden venient to use w a s a form of reed or tough grass, the s a m e
far as there is any record of h u m a n cus- P,ectrum in fact from w h i c h ancient papyrus w a s m a d e . T h i s reed
toms and activities w e find quite well '^pe< w a s covered with a skin w h i c h w a s rough and harsh in tex-
developed stringed instruments being ture; and it is assumed that s o m e pre-historic harpist in
played with devices that are the direct reacting for the l o w B\), accidently d r e w his reed plectrum
ancestors of the m o d e r n pick or plectrum. across s o m e of the strings instead of striking the string aimed
Cuneiform inscriptions are still in exist- at with the tip end. This w o u l d give h i m a b o w e d string
ence s h o w i n g us ancient races playing on tone and would call his attention to the possibilities of a
instruments of the lute or lyre family sustaned tone secured in this m a n n e r rather than a percussion
with splinters of spears, goat jaw-bones, tone secured by picking or strinking the string, and from this
dried reeds and similar devices. pre-historic fumble as a beginning c o m e s the m o d e r n bow-
It is assumed that the m o d e r n b o w , as used with instruments of the violin family.
used on the instruments of the m o d e r n As the plucked string instruments developed, however,
violin family, is a direct outgrowth of they increased in variety, and the type of plectrum used to
some of these ancient plectrums. It is play upon t h e m kept pace with this increase. W h e n w e c o m e
obvious that w h e n the first stringed in- down to the time of ancient R o m e we find plectrums of
struments of any sort w e r e developed almost even- conceivable shape and material in use. They
they w o u l d probably be played with the w e r e m a d e of ebony, ivory, bone, metal, shells, w o o d and
fingers. W h e n it w a s found necessary leather. They w e r e of all sizes and shapes, s o m e of t h e m
to re-inforce the strength of the fingers built almost like small hatchets, others of the general shape
so as to get m o r e tone from the instruments, the logica and size of the m o d e r n pick and other of the s a m e shape but
procedure w a s to use something in the nature of a plectrum. of various sizes all the w a y up to ones that w o u l d take a
Producing a tone f r o m a stringed instrument by m e a n s of a good sized hand to hold them.
b o w is a m u c h m o r e complicated matter than that of striking The m o d e r n n a m e "plectrum" comes, by the w a y , from
the string. However, when recorded history began, both an ancient G r e e k w o r d which m e a n s "to strike" or "to strike
bowed and plucked stringed instruments were in quite with." T h i s G r e e k w o r d w a s Latinized and b e c a m e "plec-
general use. tra" and in m o d e r n usage it is termed "plectrum," although
The generally accepted theory of the evolution of the the c o m m o n e r term "pick" is in general use a m o n g English
b o w from the plectrum is s o m e w h a t as follows: In certain speaking peoples.
parts of the ancient world, namely Egypt and Assyria, m a n y W i t h the development of the mandolin, w h i c h took place
of their stringed instruments w e r e developed to enormous in the 17th and 18th centuries, m o r e attention w a s given to
sizes resulting in gigantic harps and quite good sized lyres the designing of a plectrum that w o u l d produce a better
and dulcimers. T h e s e instruments even became so large that quality of tone. The ancient plectrums must have been
it w a s impossible for the performer to hold t h e m and reach rather noisy de\ ices, being almost as effective in producing
those strings farthest away from him. To augment the
(Continued (

PLEASE MENTION The C R E S C E N D O W H E N WRITING TO ADVIERTISERS

[ 6] The C R E S C E N D O November, 1927

Plectrums from page 5 shaped. It is not too m u c h to expect that some day some
material will be discovered that can vibrate a string to its
scratches and scrapes as in eliciting musical sounds from the fullest capacity and yet produce no more noise in the process
instruments upon which they were used. T h e n , as time went than a good violin b o w does. In fact, the felt pick used
on, the general standard of appreciation of the more delicate with the modern ukulele goes a long w a y toward doing this
effects possible to music w a s bound to improve. Music with the ukulele. It is necessarily of large size, and clumsi-
originally was nothing but d r u m music which is, after all, ness prevents its effective use on instruments, however, that
mere rhythmic noise, but as the h u m a n family progressed need to produce very m a n y single notes. T h e n when used
farther and father from this initial musical effort and appre- on a mandolin or banjo the felt plectrum is incapable of
ciation of it, their sense of tonal bueaty was bound to develop extracting the m a x i m u m tone possible to the instrument.
so that they wanted more music and less noise. Within the last few years plectrums have been put on the
For a good m a n y years^ in fact from the 17th century market with a celluloid or pyralin center faced with felt.
until the begginning of the 20th, tortoise shell was accepted These also have been very effective, inasmuch as they can
as the ideal material from which to make plectrums. It is produce a good body of tone and yet they are not noisy. In
still used by m a n y of the leading plectrum instrument players most cases the trouble has been in the past that when a pick
today and if taken care of and kept in condition gives good was perfected, that was soft enough to produce only a musical
results. Tortoise shell, however, has a tendency to dry out tone, the tone was so comparatively faint as to be restricted
and become brittle and harsh. W h e n this happens, of course, in value. O n the other hand it is possible to have plectral •
the tone of the instrument on which it plays suffers a instruments with such a powerful tone that the noise involved
corresponding decline. This can be obviated by a systematic in tone production is covered up. T h e n a great deal of the
oiling of the plectrum, but this is a certain amount of trouble plectrum noise that emanates from plectral instruments, along
and the tendency nowadays seems to be to avoid conscien- with the music, is due to the carelessness of the player rather
tiously whatever can be avoided. than the inefficiency of the plectrum. His fingers or the pick
W i t h the perfection of that large group of materials strike against the guard plate or head, so augmenting the
k n o w n as cellulose products and including celluloid, pyralin, noise impossible for the pick not to produce, as to make what
fibroid and numerous other substances, a material w*as fur- would otherwise not be noticeable a quite obvious feature.
nished, from which plectrums could be made, that lacked A good tenor banjo player with afirstclass instrument can
some of the disadvantages connected with tortoise shell; and produce a tone that seemingly carries no plectrum noise at
at the present time probably 99 9/10 % of the picks in use all. T h e powerful tone of the banjo effectively covers up
are m a d e of some form or other of cellulose. T h e ideal whatever of it there is. It is true most tenor banjo players
plectrum would be composed of some material stiff enough do not do this, but it is possible because it has been done.
to vibrate the strings thoroughly, yet soft enough so that its It would seem that a-combination of the two lines of activity
use did not produce any extraneous noise, and it would seem would result in a highly efficient and satisfactory plectrum
that such a material is almost impossible to discover. That
doesn't mean, however, that it will not be discovered.
S o m e of th? best modern picks, if used with a reasonable
care, produce very little noise. Experiments conducted bv Moy er's Superior Method
some of the modern manufacturers of cellulose products have for TENOR B A N J O or T E N O R GUITAR
m a d e ft possible for them to produce a material that is made Price #1.25
A Scientific Method for Tenor Banjo that teaches the orchestal style of plaj
with a high content of oil. It also contains a considerable lulred by the modern dance orchestra. Shows the gradual stops in the
development of players rrom Hie Orel note of the scale, through the simple
quantity of fibre, yet there is enough of the celluloid effect chords, io the most difficult modulations end Intricate jass strokes, contains
in these picks to give them the requisite amount of stiffness. simple lessons In hannon] as pi rti Iiord construction and covers tho
i__i Harmonious chords as taught bj the modern harmony systom devised hy
T h e oil and the fibre at the same time make the material Prof. k. Karl Kramer, it is easy to understand. Contains easy arrangements
of solos and duels for banjo as well as numbers suitable for the dance hall or
soft enough so that w h e n struck against the string it produces concerl program. A course In technio thai will promotae efficiency of tho
a m i n i m u m amount of clicking, if the pick is correctly The Chart Music Publishing House
hlghesi type. A book thai everj teacher will appreciate,

136 West Lake Street - Chicago, Illinois

The Home of Good Things for the Tenor Banjo

—Five-string Banjo—Mandolin
The famous Goldby & Shepard's Studies for the Banjo. 6 books, per book 50c
Denn I'lrk Method for the H..njo, N e w and Revised Edition 7..C net Send Note for Sample Order of
Smith's Scale, Technique and Tremolo Studies for the Banjo 75c net
Choice Collection of Banjo Solos. 9 books, per book
Goldby's Practical Studies for the Mandolin. 6 books, per book
Write for Catalog of Banjo Solos for Pick or FinRer playing.
Teachers and Dealers write. Inclose card.
50c net
50c
A. C BROCKMEYER'S
E. P. G O L D B Y & S O N 61" McBridc Ave., Paterson, N. J. Famous System of Graded Teaching Pieces
It Costs You Nothing to Try Them
SOTHI ns your business card or letterhead as a request for sample.
Send for my list of— order, stating whether you want Guitar or Piano Ace. If you
150 COMPOSITIONS and A R R A N G E M E N T S don't like the music, return it; if you like it, pay a special
Introductory price for the sample order.
FOR H A W A I I A N STEEL GUITAR Rest teaching music for bopinners on
Used by teachers [Link].e. A course graded from easy first grade i bei Mandolin. Guitar and Tenor Banjo
to difficultfifthgrade work. N o better music written for studio use or recital-.
C R E S C E N T MUSIC PUBLISHING COMPANY
J. D. S C H U R M A N N — 1010 17th Street, Denver, Colo. 5169 Delmar Avenue St. Louis, Missouri

PLEASE MENTION The CRESCENDO W H E N W R I T I N G T O ADVERTISERS

November, 1927 The CRESCENDO [7]

(.(.
Key to Musicianship •)*)
A Treatise on the Fundamentals by M A D A M E TROTIN
(Reviewed by " S K I P " )

M A D A M E C H R I S T I N E T R O T I N , prominent and well k n e w n measured notation appeared. F r o m this point on, M a d a m e

a m o n g professional musical circles, is a graduate of the Trotin tells us that music was becoming a little more elabo-
Brussels Conservatory in piano, harmony and solfeggio. She rate and that variety w a s being brought in through the use
came to N e w Y o r k m a n y years ago establishing herself as a of sharps, flats and naturals, and in her usual clear and
teacher of solfege, and has recently published an interesting thorough manner she tells us of h o w these key signatures first
treatise on the fundamental rules of music. " K e y to Musi- came into use. T o be thorough in the history of musical
cianship," as it is called, w a s dedicated to the American notation a resume is also given on music-printing, establishing
students of music, and in order that every reader, of the the fact that it was Petrucci, in 1466, w h o invented musc-
Crescendo m a y become familiar with this n e w publication 1 printing by means of movable types.
shall endeavor to give a clear and concise review. M o d e r n musical notation is explained in a very clear and
T h e average music student of today, whether he is a concise manner, elaborating upon the use and definition of
student of piano, violin or any of the fretted instruments, the staff, clefs, figures of notes, rests, ties, dotted notes,
has a better facility of the "performance" of music than he triplets, etc., and other odd divisions, and alterations. Each
has of its "comprehension." This is a fact, because, un- of the musical notations is illustrated, leaving no doubt as
fortunately the American school children are not given a to meaning by the authoress. A s an example of clarity in
clear "comprehension" of music as a part of their education. phraseology let m e quote a few words from " C l e f s " —
Music, like any language, has its "grammatical' rules and to "Clefs are signs which are put at the beginning of the
master it a knowledge of the fundamental principles, the staff to determine the names of the notes.—There are three
rudiments of music, is essential, yet there are m a n y w h o seem clefs (illustrated) : T h e G Clef is written on the second
to be far from well informed on these principles and could line, that is, its curve crosses the second line just touching
not give a correct answer on an ordinary question. M r . I, the first and third; it is the curve which determines the line
H. Odell in his article on "Rudiments of Music" which on which the clef is actually written and one has to be
appeared in' the September issue, stated that "these 'little accurate in making it because there used to be a G Clef on
points' for the beginners are almost always overlooked in the the first line in which case the curve crossed the first line;
haste to become 'players'.—A knowledge of rudiments m a y that clef ,however, is not used any more (illustrated).—The
seem to m a n y of no importance, but one should consider the G Clef is used in our day for the music written for high
fact that if the performer of a piece of music does not under- voices, for all instruments producing high notes and also for
stand the ordinary marks which indicate what the music is the upper part of the piano, organ and harp generally played
supposed to express he cannot very well k n o w or feel what with the right hand."
he is trying to play." Therefore, really, to sense a composi- Passing on to Part II, on " R h y t h m and T i m e , " M a d a m e
tion one must k n o w the essential details of its construction, Trotin explains in her introduction of this phase of musi-
and analysis is impossible without "comprehension". cianship that "Music is composed of t w o elements: Sounds
T h e aim of " K e y to Musicianship" has not been a literary- and Rhythm, and still, it is only w h e n closely combined with
one, according to M a d a m e Trotin, and in the preface she R h y t h m that sounds can be called music according to our
goes on to say that "the language that I use is the plain present standard. O n e begins to realize the truth of this
phraseology that any teacher would employ in giving a statement only w h e n starting to h u m a favorite composition
lesson." one note after another regardless of time values." Following
Part I, Musical Notation, conveys to the reader the his- a very interesting introduction on the elements of rhythm
tory of musical evolution from antiquity to our present day, and time the authoress enters into detailed explanation of
marking the progress from the time of Saint Ambrose, Bish- simple, compound and odd measures, accents, and syncopa-
op of Milan in the 4th Century, w h o composed hymns k n o w n tion. T h e beating of time is also considered an essential for
a.s the Ambrosian chants, a m o n g them his " T e D e u m Lau- every music student, and it is w h e n "beating of time has been
damus". In the 5th Century, M a d a m e Trotin calls to our well drilled into the student, it becomes part of himself and
attention the first treatise of Musical Theory by Boetius, a then enables him to follow easily the beating of the con-
Roman phiolosopher, and continues from this point to show ductor, thus getting his cue accurately if he plays or sings
the advancement of notation. A s an important step in the with the accompaniment of an orchestra."
evolution of musical notation the authoress explains the sys- "Musical Sounds", the phase of instruction in Part III,
tem of "Solmisation" which w a s "invented," w e might say, is indeed a valuable source of information for either the
by Guido of Arezzo in the IOth Century. This system was beginner or more advanced student of music. Beginning
used to simplify the task of teaching his fellow monks to with thefirstprinciple that slow vibrations produce low tones
sing, giving the notes names and indicating the exact position and that rapid vibrations produce high tones, M a d a m e Trotin
of each on a staff of four lines. Although Guido established aptly instructs her readers on the subject of vibrations. W e
a relation of notes he did nothing for rhythm and the w a y learn that every musical tone has a figured number of vibra-
to express it, and it was not until the 12th Century that {Continih d " " i'

PLEASE MENTION The C R E S C E N D O WHEN WRIT1NC TO ADVERTISERS

[8] The C R E S C E N D O November, 1927

"Key to Musicianship"—f rom Pase 7 most generally used and their signification, accentuation,
abbreviations, and graces; and the Metronome,, its use and
functions, is explained at length.
tions, noise of course, is also produced by bodies in vibration,
but they are termed irregular, therefore, not musical, and T h e Appendix has classified information on many types
that the chirp of the cricket seems to have the highest record, of musical composition constantly referred to, including an
approximately 36,850 vibrations per second. A chart illus- explanation of absolute and program music, classic, romantic
trates all the natural notes of the piano keyboard with the and modern music. " A m o n g modernists," M a d a m e Trotin
individual number of each octave and the number of vibra- writes, "there are two categories: those w h o still are some-
tions for each note. what conservative and whose works are very much to be

A musical tone has three qualities: pitch, intensity, and admired, and those w h o call themselves 'futurists' and whose

timbre. T h efirstof these, pitch, is determined by the number efforts seem to produce only noise.

of vibrations, and has for its standard 435 vibrations per "It is rather puzzling for the student to know exactly

second, producing A . This standard is called French or what path to follow, but he will always be safe if he keeps

International Pitch. Although M a d a m e Trotin is correct in mind what is the real role of Music in life."

in saying that the International Pitch of 435 has been uni- 1 hope m y readers have not found this review too lengthy,
as it was m y intention to convey to you all the need of
versally adopted it may be of interest to those reading m y
review that the orchestras, both symphony and otherwise, in "comprehension" as well a.s "performance" to really be a
musician. M a d a m e Trotin in her book "Key to Musician-
this country have adopted a slightly higher standard, namely
440 vibrations per second as A . T h e struggle for Interna- ship" has furnished these "comprehensive" essentials in a very

tional Pitch has a very interesting history and a resume is interesting and instructive manner. A n d it is as she wrote—

given of its evolution in this "Key to Musicianship". So far "If, through its clarity and thoroughness, this treatise succeeds

w e have learned of the mechanical side of a tone, how it is in initiating the American Student to the scientific side of the
formed, vibrations, and the historical struggle for a standard Divine /.it, I will rejoice at the thought that I have fulfilled

of pitch, and with this as a basis for further study w e con- m y mssion as a humble member of the Musical Brotherhood

tinue reading of the more detailed phases of modern music. of the World."

Steps and half-steps, enharmony, intervals, scales and their

scientific origin, with many detailed illustrations, make flu- Plectrums—f rom Pase6
subject matter of Part III both interesting and of value to
that would increase the tonal power of the instrument so
either student or teacher.
that the plectrum noise is covered up and a further im-
A practical course in harmony has value not only to the
provement in the material and design of the pick itself so
musician, but to others as well. T o really sense the com-
that there was practically no noise incidental to its tone
pleteness of a composition one must have the ability to
production.
analyze it, and this, of course, is impossible without some
Although the plectrum is very inexpensive and compara-
knowledge of harmony. M a n y teachers w h o require their
tively minute in size compared to the instrument upon which
students to analyze the composition which they are to "per-
it plays, it still is one of the most important features of that
form," say that the average pupil with comparatively few
instrument, and an improvement in plectral instruments or
lessons to his credit is able to adequately analyze several
their players' technic is directly dependent upon correspond-
Chopin mazurkas and play simple cadences. Behind all m u -
ing improvement in ;h.- plectrum. A s a general thing the
sical composition is harmonic structure, which, when shorn
more people there are thinking about some certain thing and
of all itsfigureand marks comes down to a very .simple form
endeavoring to improve it, the greater chance there is of the
of harmony. A n outline on the "Birth of H a r m o n y " and a improvement being made, and when it is considered how many
clear and thorough explanation of the essentials of harmony,
players there are today enthusiastically strumming away on
as well as the more advanced studies, compose the remainder banjos, ukuleles, mandolins, guitars, etc., it is not too much to
of Part III. expect to emerge from this mass effort a plectrum that will
Part I V contains a general discussion on the rules on
be far superior in any way to anything that has ever been
interpretation; tempo marks, expression marks, musical terms used or is n o w in use.

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NICOMEDE MUSIC CO. - Altoona, Pa. ROACH-FRANKLAND jfiSSfiESi

PLEASE MENTION The C R E S C E N D O WIIIEN WRITING TO ADVERTISERS
November, 1927 The C R E S C E N D O [9]

have heard of the banjo being limited as to its future, of its

being merely an accompanying instrument, and not conducive
to leadership such as the older recognized instruments. B u t
that is a mistaken idea, for the fellow w h o will study
seriously, develop to a degree of proficiency, together with
showmanship that is always necessary, will find himself
besieged with offers.
"Consider Eddie Peabody w h o , a iew years ago, w a s
playing in some one else's orchestra, and w h o is n o w playing
in the country's finest theatres with his o w n orchestra, with
a salary running into threefigures,delighting thousands with
his spontaneity and pep coming forth through the m e d i u m of
his banjo.
" M y o w n case, overcoming m y modesty, is itself quite
interesting. I was playing around Chicago, using m y violin,
getting nowhere, w h e n Milt W o l f , well-known character
there, advised m e to study banjo. In a iew wears I w a s
working with the best orchestra and worked myself up to
AL MOREY leadership of the orchestra in the acknowledged world's
" . . . uhen I say hurrah for the banjo, greatest ballroom, the Aragon in Chicago.
I really knou u hereof I speak." "There is something about the banjo that makes one have
O H yes, I like a banjo; nothing like loafing around the pep and dash. M r . Feld and M r . Balaban of Publix,
levee, listening to a darkey boy picking away a hot passing through the ballroom one night s a w m y work, were
old jig.' impressed, m a d e m e an offer, and I accepted a stage band
leadership and master of ceremonies in thefinesttheatre in
" T h u s did our musicians of classical turn, humorouslv
dismiss the banjo as an instrument of any consequence. N o t the South, the H o w a r d in Atlanta, Georgia.
knowing its advancement or its capabilities, they pictured it "So w h e n I say hurrah for the banjo, I really know-
in the light of that popular conception. But they are begin- whereof I speak."
ning to realize that that is not the banjo, any more than the • * *
street grind organ is representative of the real piano. .As editor I might add a iew words to the biographical
sketch which A l M o r e y has written at the request of Milton
"It is an instrument that requires a versatile technique;
G . Wolf, a good friend of mine. Possibly Q u e e n Marie was
an unusual, practical knowledge of harmony; an innate sense
of rhythm; an extraordinary good ear. unaware of the fact, but she w a s entertained at one time by
"True that the banjo's good n a m e has been maligned by an orchestra directed by one of the younger directors of the
fakers trying to learn it over night, faking a few chords and day. Al M o r e y — " s i x foot two and eyes of blue", twenty-
calling themselves banjoists; true that it is an instrument four years old and, shall I also say, single—was the youthful
that has its limitations; that its variations of tone color are director that made such a hit, and is still going strong. H e
somewhat the same, but in its o w n properfieldit is impossible is at the present time conductor of the Texas Theatre O r -
to deny its appealing and sparkling qualities. chestra, San Antonio, Texas, which is one of the Publix
"As for its popularity, ah there lies its great strength. Theatres.
\ oung and old are falling to its lure, and without doubt it
is the most eagerly sought after instrument of the day. A n d This is our fifth issue in the twentieth volume, and never
rightly so, for it is America's one contribution to the world before in its history has it had such an encouraging existence.
of music, and it is here that it has been developed to its N o w just h o w to explain this "popularity" would be rather
present-day brilliancy. difficult. Yet it is quite evident to us that the large host of
fretted instrument players and enthusiasts realize the value of
"Ai.d theatre m e n , and producers, have realized its tre-
the C R E S C E N D O and are supporting it by their subscrip-
mendous appeal; and have capitalized the talent of our tions. If there are any of your friends w h o have not yet
artists. Banjo soloists are recognized acts in vaudeville and become acquainted with this fretted instrument journal
presentation work. Even in newerfields,such as the vita- have them write in to us for a free copy.
phone, m u c h has been m a d e of it, and m e n like R o y Smeck, Each month w e have an interesting feature article written
by some person of authority. N o w is there any subject which
playing before millions, have knocked 'em dead! would interest Y O U ? If there i*. let us k n o w of it and w e
" Y o u n g m e n , considering the study of some instrument, will endeavor to issue an article on it.
PLEASE MENTION The C R E S C E N D O WHEN WRITING TO ADVERTISERS
[10] The C R E S C E N D O November, 1927

What an Unusual Peg-Head!

The New Ludwig
BIG CHIEF Banjo
L U D W I G has again dared to do some-
1 thing n e w with the banjo.
A n d w h y not? Every prominent profes-
sional banjoist k n o w s the tremendous show-
manship value of display. O n the stage,
the dance platform or even in the teaching
studio the distinctive display banjo has
"selling powers".
T h e unusually distinctive "Big Chief"
display peg-head compels attention. T h e
well proportioned outline of the Indian head
completes a beautiful ensemble. The back
of the resonator features a large inlaid
"Big Chief" head as well. Golden plating,
hand-engraving, hand-burnishing and artistic-
color combinations of wood and pearl inlay
KIW up with a tremendous flash and yet
remain harmonious in their artistic balance.

^j \Detail Description of the

Ludwig Big Chief Banjo

LUDWIG High - Pressure

solid bronze shell with
double tone projector. Heavil*
plated with genuine gold,elab-
orately hand-engraved, hand-
embossed and hand-chased.
American walnut neck,hand-
carved, inlaid with pearl and
ebonj at the heel.
Fingerboard is inlaid with
pearl and wood in Indian de-
signs.
The peg-head is an outline
figure of the Ludwig Big Chief
(design patents pending) in-
laid with wood and pearl,
This inla\ is on genuine ebony,
affording a striking contrast
with the inlay, thus making it
a powerful displa- feature of
Resonator ind detail view of the instrument. Hack of peg-
The resonator side-w all is inlaid
the shell show the elaborate en- head is hand-carved, bearing
with pearl .ind colored woods in
the title "Big Chief."
graving, the new adjustable arm- Indian motif. Hack of resonator
rest and tail-piece. has a large "Ki,; Chief" Indian SEiXD FUR CATALOGS
The Hin Chief is top tension. head ol colored inlaid woods
You tighten the head from the top, with life-like effect.
eliminating the necessity of remo* - Ludwig tail-piece, gold plated.
All metal pails heavily plated
LUDWIG &> LUDWIG
ing the resonator for tensioning.
The height of strings, know n as with genuine gold. Professional Banjos
the "action" of the banjo can I" I udwig "Planet," 4. to 1 j"(,ar
regulated hy the banjoist, as ii is pej;s, pearl buttons. I6II-__I North Lincoln Street
equipped \\ iili the I ,udw ig Banjo 1 itted w iili the choices) selec-
Action regulator. tion of " W m . F . Ludwig" Selected, CHICAGO
banjo heads.

PLEASE MENTION Tilt C R E S C E N D O WHEN WRITING TO ADVERTISERS

 THE CRESCENDO 11

AFTER THOUGHTS
TEXOR BAXJO Valse Lente
Solo or Duet
H.F. ODELL
(With or without piano)
Arr. bv [Link]

Tempo di Valse Lente

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Copyright 192T by H. F. Odell Co.. Boston. Mass.
International Copyright Secured
After Thoughts-2
 THE CRESCENDO
13
AFTEB THOUGHTS
PIANO ACC. Valse Lente
.30
Tempo di Valse Lente H. F. ODELL

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Made in U.S.A.
International Copyright Secured
 THE CRESCENDO
PIANO ACC.

After Thoughts 2
 THE CRESCENDO 15
AFTER THOUGHTS
1st MANDOLIN Valse Lente
.20
H. F. ODELL, Op. 73
Tempo di Valse Lente
a tempo
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Made in U.S.A. International Copyright Secured
16 THE CRESCENDO

BANJO SOLO
DELIRIUM RAG
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 THE CRESCENDO
17
GUITAR
or
AFTER THOUGHTS
HARP GUITAR Valse Lente .20 H. F. ODELL
)VEI Tempo di Valse Lente a tempo

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 18 THE CRESCENDO

GUITAR SOLO
FRIVOLITA
A Merry Dance
or Harp Guitar .30 ROBERT HYDE
Allegretto Arr. by G. L. Lansing
3fm iPct

•JAM rna 773

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[Link] 1922, by H, F. (Mell A Co.,Boston,Mass.
November, 1927 The C R E S C E N D O [19]

©•'

r ^Qk.
^1
HP * ^
Si
:
!
'NVoe£>^ Maurice Aten
T e d Lewis Band

The Artists of Today Were the

Students of Yesterday
It was not so very long ago that the banjoists, guitarists and other fretted instrument
players whose names are n o w being blazoned on the records, featured in theatre pro-
grams and from the leading broadcasting stations, were but earnest students of their
chosen instruments. Their quick rise to success and fortune points the way to those
w h o are today engaged in the study of music.

Gibson Banjo Band, Perkasie, Pa.—J. Phillip Landenberger, Dir.

The responsibility for developing the future stars of the fretted instrument world rests squarely
with the teacher. Those that use and endorse Gibson instruments are recognized as the leading
teachers in their community. A student when looking for a teacher should have this in mind.
If unable to locate the Gibson teacher, write us and w e will direct you to the most capable
teacher in your vicinity.
Live Teacher
Representatives
Wanted. Write
For Details. GIBSON, Inc., Kalamazoo, Mich.
PLEASE MENTION The C R E S C E N D O WHEN WRITING TO ADVERTISERS
[20] The CRESCENDO November, 1927

T o m Carey Opens Studio in Chicago With McNeil Issues N e w Plectrum Banjo Method
Display of Monster Banjo Mr. Charles McNeil, in collaboration with Warren J. Mar-
ler of Chicago, has issued a new plectrum banjo method that
Tom Carey, well known professional banjoist, recently is making a good impression among the players of the long
opened a studio in Chicago where he is giving banjo instruc- neck banjo. This method deals with the plectrum banjo prob-
tions, and has also included a department for the repair of lems in as complete a manner as the author's other method i
banjos. Prior to the last war, Mr. Corey had conducted a on the McNeil Chord System. The method contains a hundred
similar studio. H e is prominently known as a member of the pages embodying the correct way of holding the banjo and
Mays and Hunter banjo act and has broadcasted from many of pick, many valuable illustrations, melodious exercises analyz-
the leading stations. Mr. Carey was also soloist for two con- ing each string to the twelfth fret and single-note exercises
secutive years at the annual convention of the American Guild on the various strings in different rhythms, and chord inver-
of Banjoists, Mandolinists and Guitarists. sions illustrated by charts. Harmony is also considered an
The Chicago World's Fair banjo, an instrument weighing essential in this method to make it complete.
forty-two pounds, six feet in height and twenty-four and one-
half inches across the head, provides an interesting display at
Mr. Carey's new studio. This banjo was built for the musical Barrett Pupils in Recital
instrument display at the 1893 World's Fair. Mr. Carey has Featuring the annual music recital by the pupils of Mrs.
played upon this banjo on many occasions throughout the A. C. Barrett were a number of selections by a fifteen-piece
country. orchestra including violins, mandolins, guitars, tenor banjos
and other instruments, under the direction of Mrs. Barrett,
and m a n y well rendered solos and duets. Some of the classi-
BANJOISTS ! ATTENTION ! cal numbers included in the recital were: "Amarythia," "Hu-
H e r e is a n e w publication for the beginner or professional that will
moreske," "Traumei," "Serenade," "Ave Maria," "Hungarian
be a great help to y o u as well as a time-saver. Rhapsody No. II" and many others. The closing feature of
the program was the awarding of a medal by Dr. J. W .
For the BANJO
Quick Chord Finder P R I C E 50 C E N T S Reinhardt.
— By F R A N K E. O'NEAL, Banjoist, Zez Confrey's Orchestra
tc
The efficient banjo player of today should be able to play, at sight, either piano
or banjo parts. With the aid of this Chord Finder, the player can mark either
piano or banjo music quickly and accurately in a manner that will enable bim
SURGRIP"
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In your coat pocket; always at your service.
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PLEASE MENTION The CRESCENDO W H E N WRITING ro ADVERTISERS

November, 1927 The CRESCENDO O]

A Letter to the Round Table

I wish to congratulate M r . Johnstone of the American Guild for
his suggestion of more uniform arrangements of tenor banjo parts
for the dance orchestra. T h e tenor banjo is the abused instrument
in the orchestra. Every other instrument has a certain standard
arrangement to play from, but this is a very different thing with the
tenor banjo. Although w e have some very good arrangers for
popular music, there are just a very few that arrange tenor banjo
orchestration.; correctly. In seme respects the arrangements are
poorer today than a few years back on account of the different ways
of writing the chords, etc. Some are written below the staff, others
above the staff, etc. All banjo instruction books have the music
written above the staff, yet these arrangers write their chords in so
many different ways. The pupil learns one way of reading his
music from his instruction books but when he starts to play in an
orchestra he finds something different. This is very confusing, but
D . E . — O r a n g e , Massachusetts
at that I do not believe it as bad as the charts or the names of the
Please advise mc about the picking of the slides on the chords written above the music. This is the worst thing that was
fourth string which occur in "The Bobolink" by Lansing. ever done and is also very dangerous. The player reads these
This ivas published in the September Crescendo. Do you figures (symbols) and does not learn to read the music. This might
be all right for the lazy fellow w h o does not want to practice or
pick the E in the first measure or not?
who thinks he is getting away with something or a short cut to
{ ANSWER ] music, but there is not any short cut to music. The player w h o
The slides which occur in this number are of two kinds, the quick reads these symbols is not getting anywhere and he does not learn
slide and the slow slide. Thefirstone (B to E) is considered as a his instrument as he should. H e is no better than the faker. That
quick slide and thefirstnote (B) is picked and the left hand finger is w h y I say it is dangerous.
slides to E, which is not picked but the tone is made by the impulse I wish M r . Johnstone luck in his plans for the tenor banjo. I
of the left hand finger. This is true of all the slides in this strain. like the Crescendo very much (enjoyed the two pieces by M r . Morris
The slide from C to E at the start of the trio is to be considered as and Weidt), these two pieces alone were worth the subscription price.
a slow slide and the C is picked and the left handfingerslides more I saw in some of your issues that you were to have a separate tenor
slowly (on time) to E and this note is also picked with the thumb. banjo round table and I believe that this would help a lot. I think
The reason for this is that in the slow slide effect the impulse of that the tenor banjo should be separate and give both banjos more
the left hand finger alone is not strong enough and the note thus is of a chance. This would make it more interesting for the tenor
again picked to insure a stronger tone. The slide in the third players and I hope to see it in the future. With best of luck to the
measure of the trio is to be considered as a quick slide. The one in Crescendo.
thefifthmeasure of the trio is again to be considered as a slow slide. JOE M A C K , Los Angeles, Calif.

F. G. H.—Lima, Ohio "I have been a subscriber to The Crescendo for several years, and
/ am a player of the finger banjo and have always ex- it is the one magazine I don't believe I could do without. It is read
perienced trouble in keeping the thumb of the right hand more promptly and thoroughly than any of the others, and is a great
help to any player of the fretted instruments."—MRS. T H O R P E M I L -
straight when picking. It will naturally bend at the first TER, Geneva, Ohio
joint and I seem to have trouble picking any other way. Tke
instruction book I have makes it plain not to pick with the
thumb bent. Must this rule be strictly observed? Do You Demand the Utmost
The right hand
[ ANSWER ]

thumb should be used with a whole thumb

From the Drum or Banjo
striking down motion. This should be strictly adhered to, as a play- OSEPH ROGERS, JR. 6? SON have been manufac-
er cannot produce a good tone unless the picking is done correctly. turing D r u m and Banjo heads for 75 years. R O G E R S '
One must concentrate strongly on this and practice until this becomes heads are standard equipment on practically every
a natural habit. Practice a lot of exercises using the glide thumb, high grade Banjo of reputation both here and abroad.
arpeggio, etc., and also chord work in the style of the average second You, as a banjoist or drummer, if you demand snap and
banjo part which uses a single bass note on thefirstbeat of the tone, must have our product. Used by more professionals
20 times over than all other makes combined.
measure followed by a chord on thefirstthree strings. In doing
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well trained to this it will then seem perfectly natural and not
forced at all. A T Y O U R DEALER'S

Protect yourself—buy heads stamped WARRANTED

ROWDEN'S TENOR BANJO TECHNIC
Not Just an Instruction B o o k — a n d more than a mere collection of studies.
A complete, carefully graded work covering all the principles essential to JOSEPH ROGERS, JR. 8C SON
the art of tenor hanjo playing, embodying the fruits of the author'B m a n y
years' experience as a soloist and teacher. Not an Impractical or unneces- F A R M I N G D A L E , N. J.
sary page or line In the three volumes of 102 pages of harmony and teclinic.
M a y be used for banjo-cello, mandola and mandocello. as well as for tenor High View, N. Y. Factories Farmingdale, N . J.
banjo. Trice $1.50 per volume. Canada $2.00.
C L A U D C. R O W D E N — 1 5 9 North State Street. Chicago, Illinois

PLEASE M E N T I O N The C R E S C E N D O W H E N W R I T I N C T O ADVERTISERS

[22] The CRESCENDO November, 1927

AN INVITATION TO JOIN John Madden Heads Banjo Department

The Wallace Streeter School of Modern Music has secureil
THE AMERICAN NA- the services of Mr. John Madden as head of the Banjo Depart-
ment. Mr. Madden is rated as one of the leading exponents
TIONAL RED CROSS of the banjo in N e w England. Conforming with the ideals of
the school he teaches the most modern method, including a
will hold its Eleventh
thorough course in abstract harmony as applied to the banjo.
Annual Roll Call from The Wallace Streeter School of Modern Music is located in
Armistice Day through Springfield, Massachusetts, and has available many fine in-
Thanksgiving, Novem- structors on various orchestral instruments.
A s a message to every prospect Mr. Streeter says: "The
ber 11-24, when all are
study of music is more than a pleasure, for it is an inspiration
cordially invited to be- to the best in life. The ability to play a musical instrument
come members of this means brighter boys and girls, more contented grown up5,
g r e a t organization. and a leading place in any social gathering. W e must re-
Membership dues paid member, also, that in this age of music thefinancialpossibili-
ties of a professional musical career are unlimited."
at that time maintain
the work of the Red
Cross — local, national Lange Passes Three Decades in Banjo Mak
and i n t e r n a t i o n a l William L. Lange, prominent in thefieldof banjo manu-
throughout the coming facture, was recently congratulated by a host of friends which
marked his thirtieth anniversary as a manufacturer of banjos.
year.
Mr. Lange began manufacturing banjos and other types
of string instruments in 1897, and has been closely associated
with the rapid development of this industry, and is recognized
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G H O S T OF T H E BANIO Bv nov [Link]
DIZZY F I N G E R S
KITTEN ON T H E K E Y S
By Zez Confrev
By Zez Confrey
Alice Kellar - Fox School of Music
CATS PAJAMAS By Harry Jentcs ASSISTANT TEACHERS
C R A Z Y JO Bv Harry B e s «
GREENWICH WITCH Bv Zez Confrev Instruction on all fretted instruments—Violin and Piano
ECCENTRIC By .T. Itussell Robinson Address
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CHANGES By Kdwarcl B. Claypoole 62 Baker Street San Francisco, Calif.
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Improvising Secrets! Contents

The 1926 Edition of the "Sure System of Improvising,"
By S A M U E L T. D A L E Y JAZZ 1.1 LLABY
T E L L S Y O U H o w to Play and Improvise" Your O w n Jazz Breaks. Hot
Choruses, Sock Choruses, Blue Notes, etc. All "Fully" explained witn CREAM PUFFS
Illustrated Models. Explains "Where" a Break Lelongs. " W h a t " notes
are to be used, " W h y " these notes are used, " W h e n " you are playing
wrong notes, " W h o " ? will be in "Great D e m a n d for Hot Playinc." Con-
P U T rr O Y E R
tains all ltudiments and Rules for most Modern Methods of Improvising
for Banjo, Piano, Violin, Saxophone, Trumpet, Trombone, Flute, Clarinet BANJOLA
and "All" Lead and Bass Instruments. Also contains over 4,000 Original
Jazz Breaks for "All" Instruments. 12 Hot Choruses, 14 Soek Clforuses,
5 Banjo, 5 Bass and 7 Piano parts for One Hot Chorus, 24 Rhythms,
TANGLED UP Bl I ES
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197 Fulton Street - Brooklyn, N . Y . - U . S. A . N E W YORK CITY

PLEASE MENTION The C R E S C E N D O WHEN WRITING T O ADVERTISERS

November, 1927 The CRESCENDO [23]
A s for the fretted instruments adding anything distinguishable
in the grand mass of tone, that is out of the question; but I a m
The certain that they can be used and used effectively and I certainly
wish you every success in your efforts.
ly/TANDOLINISTS' Someone, sometime, will certainly interest a symphony director
in the mandolin and knowing the enthusiasm you have had for our
^J-ROUND TABLE instruments and the good work you have done I certainly hope that
Conducted by the honor will be yours. Write m e h o w the work progresses; I a m
TILLIAM PLACE, JR. sure Crescendo readers will be interested.
Virtuoso, Composer and Author

npITIS D E P A B T M E N T is especially for C. H. G.

1 Mandolinists, and they may ask ques-
tions pertaininK to the mandolin or con- I have a mando-cello and in playing forte the C
tribute items. Questions or suggestions
will receive due consideration. Address strings "jingle". Is this because of my playing or is it char-
"Mandolinists Round Table," cure of The
acteristic of the instrument. Your answer will be appreciated.

[ ANSWER ]
. Remove the outside C string. T h e "jingling" is not your fault
V. A. H.
entirely and you will find your work much more satisfactory with
2. Will you ivrite me fully what you particularly wish a single C string.
to know regarding the mandolin in the symphony orchestra?
A. F.
Do you refer to the introduction of the mandolin into the
How can I acquire a smooth tremolo? I have been play-
standard symphony as suggested in these columns? In any
ing the mandolin and tenor banjo for a year and even yet I
event the symphony director will be obliged to arrange his
cannot tremolo evenly on the ?nandolin.
ovzn parts for our instruments. My original idea was to
stimulate the interest of some director to try the experiment [ ANSWER ]
which I am certain will be highly successful, but one who Perhaps your trouble lies in changing from a single to a double
knoivs the possibilities of our instruments should certanly strung instrument. T o produce a smooth, even tremolo on the
mandolin after practicing chords in various strokes on the tenor
advise him regarding thefiguresin which the mandolin and
banjo is really quite a problem. T o change abruptly from a
guitar are most effectve. plectrum on the tenor to a mere quarter of an inch or less for
[ ANSWER ] melodious mandolin work is a problem that cannot be solved and
do justice to both the mandolin and tenor banjo.
1. Typical compositions a mandolinist should know are as fol-
lows : T h e right hand technic of the mandolin is one thing and that of
the tenor banjo is quite another. T h e condition which is troubling
Valentine Abt Raffael Calace
you is often encountered by mandolin players w h o are partial to the
Impromptu Preludes
Concertos four string unaccompanied style. Y o u perhaps have noticed in
Golden Rod
Sounds from Church Charles Alexander following the programs of the various players that mandolinists w h o

Serenata have developed a typical violin technic do not feature a great m a n y

G. B. La Scala of the heavy four string unaccompanied numbers on their programs.
Aubrey Stauffer
Concerto in A Minor M y personal opinion is that it is difficult to be exceedingly expert
Bandurria
Benedetto Persichini on both the tenor banjo and the mandolin at the same time.
D Concerto
Loin de Terra de Italie
Ranieri
Samuel Siegel Concerto "The writer wishes to thank you for the wonderful copies of
A n y of Siegel's numbers are typ- William Place music which you have been sending regularly all along, for I value
ically mandolinistic. Slumber Song The Crescendo among the very best of magazines in the music line,
and have received great benefit from i t . " — A L T A P U F F , Oklahoma
Giuseppe Pettine Carlo Munier
City, Okla.
First Concerto Cappriccio Spagnuolo
"Every good wish for the dear little Crescendo, which alone keeps
Elegy Mazurka Concerto
m e from utter stagnation."—MABEL F. D O W N I N G , Winnipeg, M a n .
Christmas Love Song
"The Crescendo is worth more than you charge for it."—W. E.
I have selected the above numbers as being representative of the W I L L I A M S , Fairbanks, Alaska
composers and numbers that are worthy. O f course, there are "Cannot get along without The Crescendo.. I devour the con-
hundreds of other numbers, perhaps equally as good. T o conform tents of each issue upon its arrival."—Gus A L L E N D O R F , Hiawatha,
to your request and analyze any one of the foregoing compositions Kansas
thoruoghly would fill more space than is allotted to this department.
If you will forward m e copies of the numbers in which yo uare The B. M. & G. Composer's and Arranger's
interested, I will mark each copy for phrasing and fingering and REFERENCE BOOK ^ ^ ^
attach a sheet of suggestions thereto. This is a service that the Every Composer, Arranger, Teacher, Soloist & Amateur should have
Crescendo is always glad to extend to its readers. In mailing music A copy of this book — 32 pages — It contains nearly everything a
B. M. & G. Composer's and Arranger's Reference Book should have.
or manuscripts the package should be registered.
PRICE $1.50 N E T
2. It would seem to m e that with trumpets and trombones taccc, JAS. H . J O H N S T O N E - Music Publisher
violins, violas and string bass pizzicato, muted 'cello, with delicate 934-A Osborne Street Kalamazoo, Michigan
flute, clarinet and harp with possibly French horn might work out
well as a backgorund. This, of course, is merely a suggestion and
MANDOLIN Little Boat Song (Serenade)
not strictly orthodox, but the mandolin and guitar in a symphony MUSIC Fascinating Eyes^Mazurka)
by B T E L L A B I O CAMBRIA
orchestra are certainly not according to precedent. P< D of the
• '

(•very confidence in the success of the venture in standard . iter different strol

Messina Music Co. 1st M 20c — 2nd M (5c — Guit. 15c — Piano Ace. 25c
ble, but only experiment will give the ideal treatment of
•

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[24] The CRESCENDO November, 1927

Don Santos Studio Opens Season Banjo Figures in Unique Rescue

The "Dill Pickle," weekly bulletin of Don Santos Studio of Believe it or not, the incident which Greely W . Franklin
Music, Rochester, N. Y., announces the opening of another relates as saving him from possible death in the recent fire
season with many new members. Each succeeding season has at the Apollo Theatre, Rome, where he appeared as banjoist,
found the studio with a better group than ever before, according is remarkable.
to their director, Mr. Don Santos. The Banjo Band Frolics on W h e n Mr. Franklin was making his escape from the burn-
Saturday nights, as the studio gatherings are called, attract ing theatre it occurred to him that he might attempt the
many banjo enthusiasts, w h o obtain many constructive sug- recovery of his saxophone which he had left on the stage.
gestions on the art of banjo playing by this unique gathering A s he was about to cross the burning stage, where later four
of banjoists. people lost their lives, the strains of his banjo suddenly
brought him to a halt. A s he did so, the blazing stage curtain
Heifetz Autographs Banjo fell in the path he was about to take. In reviewing the in-
cident Mr. Franklin claims that it was the strains of "Show
Recently from Singapore, the Vega Company received an
M e the W a y to Go H o m e " mysteriously played upon his banjo
interesting letter relating an interview which A. Bowlly had
by an unseen hand that had caused him to stop, saving him
with Jascha Heifetz, the internationally known violinist. Mr.
from the falling curtain. H e hastily picked up his banjo an-1
Bowlly, banjoist with Le Quimes Orchestra, Raffles Hotel,
followed instructions.
Singabore, was honored with the autograph of this great
violinist, and in his letter goes on to say: Tony Colucci Signs with Robbins
"I went in to see Mr. Heifetz, opened m y case, and as soon Tony Colucci, the famous tenor banjoist, has signed a long
as he saw the banjo he remarked what a beautiful and 'elabo- term contract with Robbins Music Corporation to write a
rate instrument it was. H e examined the banjo closely, series of compositions for the tenor banjo. These compositions
looking for some time at its rigid and beautiful construction. will consist of a series of original novelty banjo solos, a new
H e then asked m e where I would like to have him sign his folio on the art of improvising and a new book on chords for
name. I took the banjo from him, and having removed the the banjo. In addition, Mr. Colucci will p_repare a series of
resonator, his interest in the resonator prompted him to ask folios of easy material for the tenor banjo. This series will
about its use and value to tone. Of course, I told him that be done in conjunction with Mike Pingitore, the popular
the resonator improved the tone greatly, and he then pre- banjoist with Paul Whiteman.
ceeded to marvel at the inlaywork, the mother-of-pearl design Mr. Colucci, w h o was formerly with Roger Wolf Kahn
and the beautiful cawing on the neck of the instrument. when his orchestra played at the Hotel Pennsylvania, N e w
"He then strummed the strings and was much pleased with York, is now featured with T o m m y Gott and his Orchestra.
the tone. Mr. Heifetz remarked that the work of master This organization has just made its debut in the Silver Slip-
hands was evident in every part of the banjo. H e also com- per, N e w York's leading mght club, and is often heard over
mented upon the trueness of the frets. H e then signed the Station W H N .
banjo on the rim, and as w e were saying goodbye, his parting
words were: 'You have a fine instrument, Mr. Bowlly'." The FITRITE PICK
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November, i927 The C R E S C E N D O [25]

a city where there is a fine guitar teacher, for they are all too few
and m a n y throughout the country are handicapped because of the
The lack of a good teacher. I would advise you to get in touch with a
teacher whose address I a m sending you by mail and I think your
pUITARISTS' interest in the guitar will become augmented to the point where you
will not wish to study another instrument at this time.

_P ' \L____T__H1
G R O U N D TABLE In studying two instruments at the same time it is always best
Conducted by to have one instrument mastered to the point of considerable technical
V A H D A H OLCOTT-BICKFORD efficiency before taking up another. T h e n take up one which does
Virtuoso, Composer
not interfere with the other (such as the piano with the guitar) and
-"PHIS D E P A R T M E N T is especiaUy for have a certain practice-period each day for each instrument, say one
A Guitarists, but anyone may ask ques- in the morning and the other in the afternoon.
- tions pertaining to the guitar or contribute
items. Questions or suggestions will re-
ceive due consideration. T. O. H.—Albany, New York
Address—"Guitarists Round Table," care
of Tbe Cresoendo. Is it true as some one has stated that all the great guitarists
Ik
play only their own compositions? It does not seem possible
to me, since it is not true with the great on other instruments
A. M . D.—Chicago, Illinois
and never has been so. If such were the case it would seem
Will you kindly answer the following questions through to me that it u-ould be a reflection on the musicianship of
the Guitarists' Round Table of the "Crescendo"? I am aguitarists, for one ivho has studied the literature of the
girl of sixteen years of age and am very fond of my instru-
instrument at all knows that there is no shortage of good
ment. I have been playing the guitar forfiveyears. I alsoliterature for the instrument.
play the steel guitar and note am taking lessons in harmony
and am about tofinishthat also. Now- I uant to take an- [ ANSWER ]
other instrument. Many advise mc to take up piano with N o indeed, it is not true that the great guitarists play only their
my harmony; but I'm out of luck as I have no piano and o w n music, but on the contrary, it is a sign a guitarist is not great
if he can only feel his o w n music good enough for him to play. It
cannot afford to buy one at this time, but I have a tenor
would be a sign of extreme narrowness for a guitarist to neglect the
banjo. Would that do instead of a piano? [Maybe I could great masters of the guitar w h o have left such a wealth of music
take piano later. Also I wish to ask you "How shall I for the lovers of the instrument. Also there is a great deal of fine
practice both instruments at the same time?" modern music for the instrument, aside from the old original master-
pieces and arrangements, worthy the attention of all guitarists and
[ ANSWER ] the well-rounded guitarist is well acquainted with this music also,
My dear, there is no such things as "finish" on either the guitar just as a well-rounded pianist or violinist must be acquainted with
or in harmony. T h e guitar is a serious instrument worth a life-time all the new works for his instrument that are of worth.
of study and harmony, which is the science of music, is also a life- Another thing you m a y assure yourself of—and that is that a
time study. T h e greatest masters of hoth are the first to admit that guitarist is not really great although he m a y have a very good
there is no end to what lies before them in the w a y of accomplish- technic and finger dexterity) if he plays only the music of a certain
ment, for the more they know of each the more they see h o w much "school", for that is again a narrowing influence and bespeaks a
more there is to learn. It is nice to be versatile and do many things narrow attitude of mind that limits progress. T h e great artist can
will, but it is even better to do a few things—or even one thing, see the good in all schools and does not confine himself to the works
perhaps—or at least to feel one's self a master of one thing which is issuing from his o w n teacher or from any one "school" of playing or
sufficiently interesting to keep one always interested and alert for the composition. But,fingerdexterity alone does not by any manner of
more there there is to learn. T h e guitar is a splendid instrument to means proclaim the artist, and students of the guitar should study-
study in connection with harmony lessons, because being a harmony seriously enough the works of all the masters so that they will acquire
instrument and one which can be played in al] keys and on which the discrimination to be able to see this. Until the standard along
all chords m a y be perfectly played, it gives the student ample prac- this line is raised the guitar will not make much progress. It cannot
tice and opportunity to put what is learned in harmony into practice stand in the world with the other instruments unless its exponents
on the instrument. T h e piano is also a wonderful instrument on have a deeper knowledge of the literature of their instrument (both
which to study harmony, because of being the most comprehensive original and the transcriptions of masterpieces) for this is one of the
instrument with the widest range. Also due to the fact that most first fundamentals of the serious student of the piano, violin, or 'cello,
harmony books are written with the piano more or less in mind, and even if they do not expect to become professional musicians, and
the bass clef, etc., the piano is the easiest instrument in the world unless guitarists and teachers of the instrument can compete in a
on which to practice what you learn in your harmony lessons and
on which to write your exercises and hear them after they arc
written. Since you have no piano and do not wish to buy one at
present, I would earnestly advise you to stick to your guitar and go
to a fine teacher w h o will give you the higher work upon it and
acquaint you with the works of the great masters of the instrument,
both old and modern. Y o u are exceptionally fortunate in living in
8 N e w Solos for the Hawaiian Guitar

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T H E H A W A I I A N GUITAR SPECIALIST
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[26] The CRESCENDO November, 192/

Guitarists' Round Table—from page 25

THE CRESCENDO READERS' musical way, by such thorough knowledge of their instrument, its
composers and exponents of the past and present, there is little use
OWN COLUMN in trying to get the guitar very far in the musical world. T h e fault
This column is open free to our readers is not with the instrument. It is with its exponents. There are many
for discussion and contributions. of those w h o teach the instrument and m a k e their living thereby,
w h o do not even k n o w the names of some of the greatest masters
the instrument has ever had, names that stand in the guitar world
with those of Beethoven, Mozart, Bach, Chopin, etc., in the general
A HAPPY CLIMAX musical world.
F r o m "Armstrong's Harmony," published by W . J. Smith Music Co. It is difficult to raise the standard of a student w h e n the teacher
T h e chords of C became a wreck, w h e n E from G did stray. is not sufficiently advanced to guide him into higher paths, and the
So D told F: " W e must combine and double up with A." art of discrimination is a difficult one to impart. T o o m a n y students,
But E found G and strolling round they ran right into B, even of the best teachers, become self-satisfied w h e n they have
W h i c h m a d e F m a d , and taking A he went across to C. acquired a little technical proficiency and can play well enough to
T h e n G pushed B right up the staff, until they both saw D. amuse themselves, and discontinue their lessons and thus stand still
While A became so reconciled he beamed on C and E. or go back—at least m a k e no further progress. T h e need is for more
T h e n B and D and F locked arms, deciding they'd agree good teachers, more good players and more serious students w h o
A n d all the trouble ended there, as you can plainly see. take up the guitar in a serious w a y and expect to devote the same
amount of time and attention to it that they would to the violin or

ODE TO THE BANJO piano of they had chosen those instruments. T h e guitar being such
a difficult instrument on which to acquire technical mastery, the
T h e following poem is from the pen of J. Edmonson W o r t m a n . It
average undiscriminating person is inclined to m a k e too much of a
is designated as an "Ode to the Banjo", the queen of musical instru-
fetish of manual dexterity and pay too little attention to real m u -
ments w h e n touched by the fingers of genius and is dedicated to
sicianship. It is impossible to be an artist or a good teacher without
Mrs. Alice Kellar-Fox, the well-known teacher of San Francisco,
the musicianship.
to w h o m the writer refers as the "mistress of touch and technic":
O f all the strains of music sweet H. M. W.—Indianapolis, Indiana
T h a t greet the list'ning car,
/ have heard that some of the old opera composers wrote
In parlor, hall or busy street,
parts for guitar in the score but could not think of the name
N o n e sound so grand or clear;
N o chords so tjuick to touch the heart of one of the operas or composers. Does this mean that the
O r enrapture the soul, I trow, guitar was at one time one of the instruments of the orchestra'
In all the realms of music's art
[ ANSWER ]
T h a n the strains of the dear Banjo.
Perhaps the most famous, although by no means the only instance,
of the guitar being used in the orchestral part of an opera score was
Its vibrations alone can stir the heart
A s no other music can do, the use m a d e of it by Rossini in his "Barber of Seville". Guitars

W h e n touched by the fingers of magical a r t — played in the orchestra in this opera as it w a s originally given and

All hail! to the sweet Banjo; for years thereafter, since it w a s the desire of the composer to have

It has a soul and can surely talk— this effect and color that only the guitars could give. Also the song

In accents sweet and low, of the Barber in this opera w a s to be accompanied by the Barber's

O r caper about in the merry cake-walk, own guitar on the stage. T o d a y the guitars are cut out of the

T h e sweet—clear toned, Banjo. orchestra entirely, and in the last performance the writer heard of
the opera, with Chaliapin and his company, an attachment on the

In songs of love, or hymns of praise, piano in the orchestra vainly attempted to imitate the effect of

T h e Banjo does surely excel, guitars in the orchestration, which w a s desired by the composer and

In Liszt's, Beethoven's or Wagner's lays originally given by the correct use of guitars. Always the Barber

None other can answer so well; holds his guitar and in most cases seen by the writer, he "strums"

In dreamy waltz, or symphony air, across it in a manner that is never done by one w h o knows h o w to

There is none So sweet in rhythmical flow; play the instrument, and usually if one has opera glasses one notes
(Continued on Page SS)
O r the glorious touch of its beauty rare
T h a n the dulcet tones of the dear Banjo.
from the Sta nnard
Send $1.00 E S10 Pieces Catalogue. 2 M & G.,
With magical touch the queen of song 2 M . & P. Duos, or Guitar Solos. You • O w n Selection
C a n drive all sorrow a w a y ;
With the classical love of Mendelssohn,
GEO. STANNx\RD
Publisher or Over 500 Good Things for B. a. & M.
O r Chopin's melodious sway;
Divine, indeed, in all harmonis,
121 South W a r r e n Street TRENTON. IN'. J.
T i s joy for us to know-
That all the great masters' melodies
Arc played on the "Old Banjo".
LOOK HERE DeLano
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rams) .or each rretted instrument, are compiled on one and tho val artificial hai monies, arrangement of popular
principle, which will enable the teacher to instruct on one instrument t_q music, 23. solos in 9 keys. The only complel lor
os welt a;t another. These books are compiled ,,n B practical basis, end cn method ever published, (Eel the best. Steel Guila-
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November, 1927 The C R E S C E N D O [27]

"SILVER BELL" BANJOS

IN THE SPOTLIGHT
FROM COAST TO COAST
If you have ever heard "Roberts has toured the
the Master's touch on the World with the Banjo.
Violin, Piano or any other H e is known wherever
Musical Instrument, then music is known, as the
you will get some idea of World's best Banjo Play-
the music that is produced er. Before going on the
on the Banjo w h e n Joe stage w i t h his Banjo,
Roberts, whose portrait is Roberts w a s a Violin
shown, plays on his N e player and an Orchestra
Plus Ultra B £ r D Silver Conductor. But it is his
Bell Banjo. Banjo w i t h which Mr.
Roberts attains his heights
The article opposite
of expression. H e is an
taken from the Spokane,
Artist—a Banjo man.
Washington, Press, while
Mr. Roberts was there " 'There's something a-
last season playing a Coast bout a Banjo that gets us,'
Trip over the Pantages he says. ' W e Banjoists all
circuit. belong to the same lodge'."

*$

JOE ROBERTS
"Paderewski of the Banjo"
ENROUTE
Joe Roberts is on tour and will be pleased to meet any Banjoists in the various cities in which he appears
"I have n o w two of the greatest and easiest responding Banjos yet made. Regardless of
weather conditions they are always clear as a bell. All the Theatre Orchestra Leaders that have
played m y act say they have never heard any other Banjo with such a wonderful quality of tone
as the ones I a m playing. A m making the biggest hit of m y career and your Banjos are helping
m e do it.—Joe Roberts."

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48 Pages—FREE

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[28] The CRESCENDO November, 1927

Guitarists' R o u n d Table—from page 26

WANTED and FOR SALE with mingled mirth and disgust, that the "prop" guitar possesses no
Advertisements inserted here for 5c per word each insertion. Cash
strings! During this bit of by-play, the desired guitar effect is
with order. Minimum charge 50c.
attempted either by pizzicato violins or some attachment to the
piano. A n d thus the guitar loses out in having a chance to perform
Banjo and case for Gibson Man- the music that the opera masters wrote for it. There have been a
ue, Clevaland, Ohio. number of other operas that used guitars in the acore, some of which
used both mandolins and guitars, such as Victor Herbert's "Natoma"
and Wolf-Ferrari's "Jewels of the Madonna." Even these operas,
Largest Catalog of Hav Steel Guitar Music
400 beautiful melodies. Send for Catalog. however, in which the composers were particular to use guitars and
Building, Seattle, Wash. mandolins because they k n e w nothing else could give the desired
effect and tone color, are not by any means always given this way.
Only too often substitutes are used that are an insult to the composer
ale. $20.00. Will send C. O. D. Write
and which would seldom be necessary, as all cities where opera is
given possess players w h o could play the parts written for the
mandolins or guitars. Berlioz, "the Father of the modern orchestra,''
w h o w a s a guitarist himself, said in his great book on instrumenta-
tion that guitars should be used more often instead of less often in
Stella Guitar. $12.00. Sandberg, of Crescendo. orchestra, and he also severely condemned the practice of modern
conductors and producers of substituting for the guitar or mandolin
E
The Famous La Qualite Strings " woTJ parts written by the composer, pizzicato violins, as is so often done,
adding that these world-renowned composers were thoroughly ac-
quainted with the effects produced by pizzicato violins and would
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\ Olcott-Bickford Guitar Method Odell Method for the Mandolin

By VAHDAH OLCOTT-BICKFORD By HERBERT FORREST ODELL
It haB Ions been a complaint among teachers of the guitar that
This work is a thoroughly compresensive, systematic, and pro-
there was no modern method for the instrument, which wan thor-
gressive school for the instrument, and the only method which
oughly musicianly and standard. This want has now been supplied
presents the latest ideas as adopted by the American Guild of
in The Olcott-Bickford Guitar Method.
teachers and standard American publishers.
The reputation of the author as the leading authority of the
.Some of the important points presented are as follows:
country on all matters pertaining to the guitar, and her wide
experience as soloist, teacher and writer, combine to make it the BOOK ONE
standard text-book of the world for the guitar. Diagrams of the Instrument and Fingerboard.
Price, #1.50, N e t When and how to Tremolo.
Pleasing progressive exercises in Duet Form for Teacher and
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Advanced Course for the Guitar A series of valuable scale and Technical Studies such as have
never been shown in other methods.
By VAHDAH OLCOTT-BICKFORD It is equally valuable for teaching or for self-instruction.
It is the greatest work for the technical study of the guitar and
is not only on :a par with the work of the greatest masters of the BOOKS T W O AND THREE
instrument, but also more up to date, more progressive and more Contain progressive technical exercises and scales in the various
creative. It is practically a sequel to the Olcott-Bickford Guitar positions, also melodious exercises in Duet Form and on Double Stops.
Method. Send for complete descriptive circular.
Price, $1.50, Net
BOOK FOUR

Compositons and Arrangements Description of the Duo, Trio and Quarto Forms—Preparatory and
Progressive Exercises in the Duo, Trio and Quarto Forms—Melodi-
ous Exercises for Learning Tremolo Three and Four Note Chords-
for the Guitar Duos Requiring Special Tuning—Duo, Trio and Quarto Duets for
T w o Mandolins—Tremolo Melody with Varied Accompaniment—Left
By MANUEL Y. FERRER and Right and Pizzieati—Exercises Introducing the Vibrato and
(Revised Edition) Slurred Arpeggio—Ten pages of Left and Right Hand Harmonies—
Several obsolete compositions ; also some that are very unpopular Right Hand Harmonic Duets for T w o Mandolins—Twenty-five Ad-
have been omitted, but the cream of the original work has been vanced Technical Exercises.
retained and the price greatly reduced. It is the most perfect Tenor Mandola method published and is
The contents include pieces in various grades of difficulty, con- used for teaching the Mandola by thousands of teachers.
cluding, in the instrumental section, with brilliant variations on For teaching the Mando-Cello, it is of tremendous value and is
popular themes from grand operas. used in teaching this instrument in connection with the regular
Price $2.00 cello method, by a great many teachers.
Price, Each Book, $1.00

OLIVER DITSON COMPANY 178-179 Tremont Street, Boston

C H A S . H . D I T S O N & C O . - 8-10-12 East 34th Street, N e w York

PLEAS1C MKNllON The CRESCENDO W H E N WRITING TO ADVERTISERS

 The C R E S C E N D O

The Bellson Orchestral Tenor

Banjo Method
Buy Gennett Record No. 620a
and hear two of the greatest
Buy Gennett Record No. 6208
and hear two of the greatest
tenor banjo solos ever recorded.
PRICE $1.25 tenor banjo solos ever recorded.

The Greatest Achievement in Tenor Banjo History

since the Tenor Banjo itself
THIS BOOK WILL REVOLUTIONIZE TENOR BANJO TEACHING, AND IT IS GOING
T O M E A N H U N D R E D S , YES, T H O U S A N D S O F D O L L A R S T O T H E D E A L E R S A N D T E A C H E R S
W H O A R E W I S E E N O U G H T O BE T H E FIRST O N E T O H A N D L E IT.
T H E O R I G I N A L A N D O N L Y M E T H O D SUCCESSFULLY T E A C H I N G PROFESSIONAL
H A R M O N Y A N D R H Y T H M P L A Y I N G with legitimate musical notation, F R O M T H E FIRST LES-
S O N , leaving single notes, scales and tremolo to be taken up later on in the system. This is as it should be,
for it is much easier to play a strumming accompaniment on the tenor banjo than to play a single note melody.
Next in difficulty is the tremolo which is taken up next, and so on with E V E R Y P H A S E O F M O D E R N
T E N O R B A N J O PLAYING.

ALL M E L O D I E S This forces the student to

are ORIGINAL and in read the music and at the
D U E T F O R M , with the same time teaches him to
second banjo parts written read each chord as a unit.
in P R O F E S S I O N A L
R H Y T H M F O R M just THE WRITER IS
as they should be played.
The student is to learn to
enor Banjo Method U S I N G THIS S Y S T E M
WITH ALL HIS PU-
play both the melodies Chords - Rhythm -Melody PILS W I T H GREAT
and the accompaniment
parts. Every major, minor, ^LVisuaJized Harmony J® SUCCESS and feels con-
fident that if the tenor
Seventh, Diminished and
banjo teachers will give
Augmented chord is taken
this n e w system a fair
up in each key and marked
trial, they will turn out
with symbols the first time
only when it is taken up- more successful t e n o r
After t h e student h a s
once learned the chord,
^Albert [Link]\o banjoists than they ever
did before with the old
Virtuoso-Record Ariist
however, it is no longer Price '1.25 systems of teaching the
m a r k e d with symbols Published by instrument.
ALBERT BELLSON
ST PAUL. MINN.

A C O M P L E T E C H A R T S Y S T E M , teaching every chord on the tenor banjofinger-boardis given in

the back of the book, and while the study of these charts will enable anyone to read tenor banjo music
marked with symbols, the tenor banjo student should not be satisfied until he can read tenor banjo music
without the help of symbols and also be an able soloist.

Buy Gennett Record No. 620S Buy Gennett Record No. 620S
and hear two of the greatest (Usual dealer's discounts) and hear two of the greatest
tenor banjo solos ever recorded. tenor banjo solos ever recorded.

Sold by ALBERT BELLSON

(Tenor Banjo virtu

3281 Bremer Arcade St. Paul, Minnesota

PLEASE MENTION The C R E S C E N D O W H E N W R I T I N G TO ADVERTISERS
 The CRESCENDO

BANJOISTS ODELL
MANDOLINISTS STRINGS
Special Sale
GUITARISTS discount to teachers
The Best and Strongest strings made in America. Breaking strength is the highest of any strings manufactured. Gauges correct
for all instruments. Mandolin, Mandola. and Mando-Celio strings especially good for flat back instruments such as Gibson, Vega, Martin.
Washburn, etc. Guitar gut and silk strings finest in the world. Tenor Banjo strings exceptionally strong for dance or concert work. All
steel and wound strings made of the highest grade of wire or silkfloss,looped or knotted ends on all strings except gut. Each string in a
special waterproof, glassine envelope. Where the dozen price is given, strings are not sold in less quantities at this price.
MANDOLIN TENOR BANJO GUITAR
No. STEEL A N D W O U N D Doz. No. STEEL AND W O U N D Doz. No. GUT A N D SILK W O U N D Doz.
201 E 1st, steel $0.45 70 A 1st, steel $0.45 301 F 1st, gut $2.25
202 A 2nd, steel 45 71 D 2nd, steel 45 302 B 2nd, gut 2.25
203 D 3rd, wound 78 72 G 3rd, wound 88 303 G 3rd, gut 2.85
204 G 4th, wound 93 73 C 4th, wound 1.08 304 D 4th, wound 1.60
Set of 8 strings, 60c 305 A 5th, wound 2.10
Set of 4 strings, 40c
MANDO-CELLO 306 E 6th, wound 2.40
No. STEEL W O U N D Doz. Set of 6 strings, $1.20
213 A 1st, wound S1.20 REGULAR BANJO GUITAR
214 D 2nd, wound 1.60 No. SILK AND SILK W O U N D Doz. No. STEEL AND STEEL W O U N D Doz.
215 G 3rd, wound 2.10 50 1st or 5th, silk $0.65 307 E 1st, steel $0.45
216 C 4th, wound 2.75 51 2nd, silk 80 308 B 2nd, steel 45
Set of 8 strings, $1.50 52 3rd, silk 88 309 G 3rd, steel 50
MANDOLA 104 4th, wound 1.60 309* G 3rd, wound 1.00
No. STEEL A N D W O U N D Doz. Set of 5 strings, 40c 310 D 4th, wound 1.08
205 A 1st, steel $0.60 311 A 5th, wound 1.35
206 D 2nd, wound 1.30 312 E 6th, wound 1.80
207 G 3rd, wound 1.60 PLECTRUM BANJO Set of 6 strings. 75c
208 C 4th, wound 2.10 No. STEEL AND W O U N D Doz. GUITAR
Set of 8 strings, $1.00 109 1st, steel $0.45 STEEL AND
UKULELE 110 2nd, steel 45 No. STEEL AND SILK W O U N D Doz.
No. GUT Doz. 111 3rd, steel 45 307 E 1st, steel $0.45
150 1st, gut $0.96 112 5th, steel 45 308 B 2nd, steel 45
151 2nd, gut 1.10 309 G 3rd, steel -50
113 4th, wound 98
152 3rd, gut 1.10 Set of 4 strings, 30c 313 G 3rd, wound 1.08
153 4th, gut 96 Set of 5 strings, 40c 314 D 4th. wound 1.60
Set of 4 strings, 40c 315 A 5th. wound 2.10
316 E 6th, wound 2.40
Sol of 6 strings. $1.00

N E W arr. for T E N O R BANJO

SOLOS - D U E T S - by L. hoar
Young America, March —H. F. Odell A. Live Wire, March — J . H. Johnstone
After Thoughts, Valse Lente—H. F. Odell The Prize Winner, March — L . Tocaben
Laughing Eyes, Waltz —H. F. Odell Love's Old Sweet Song — J . L. Molloy
Invincible U. S. A. —H. F. Odell Beautiful Night, Barcarolle — J . Offenbach
Boston Commandery, March — T . M. Carter The Meteor, March — W . N. Rice
Price each 40c, Folio of ten $2.50

These Tenor Banjo parts recently added to the original arrange-

ments were planned to be used with piano accompaniment, either
as a solo or duet, yet they can be used as an unaccompanied solo
or duet very effectively. The solo part can also be used with the
orchestra accompaniment. T h e chord or obligato part on the same
score of each arrangement, is also suitable as an orchestration.

H. F. ODELL CO., Publ

One Order—One Bill—One Expense for .III .Music
157 COLUMBUS AVE. BOSTON, MASS.

PLEASE MENTION The C R E S C E N D O WHEN WRITING TO ADVERTISERS

 . PUBLISHED BY H. F. ODELL COMPANY $2.00 Per Year
L^-eOPYRIOHT 1927 ALL RICHTS RESERVED
ENTERED A3 SECOND CLASS MATTER JUNE 9, I909, AT THE POST OFFICE AT BOSTON, MASSACHUSETTS, UNDER ACT OF MARCH J, 1879
Printed in U.S.A.
 The CRESCENDO

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ROY SMECK'S IZ% METHOD

A veritable storehouse of information, presenting all that's n e w in Tenor Banjo playing.

by ROY SMECK
THE R E N O W N E D VITAPHONE AND RECORDING ARTIST
T h e plan of instruction in this method is orderly and progressive, every modern style of Tenor Banjo
technique being accurately explained. F r o m the rudiments of music the student is directed, step by step, to
the highest form of stage and orchestra performances. A m o n g the various features described are the following:
A Trip Through the Keys Playing jrom Orchestra Scores
All the Major and Minor Chords Jazz Breaks and Jazz Endings
Dominant /th and Diminished /th Chords Pointers for the Stage
Augmented Chords and how to Use Them Exhibition .Strokes (outlined with dr
Chords for Dance Work One Hundred Novelty .Strokes
In addition the book contains a large collection of Tenor Banjo solos, including the brilliant numbers
used by Roy Smeck in his Vitaphone and Recording work. A m o n g these will be found Roy Smeck's wonder-
ful march " T H E K I N G ' S H I G H W A Y " which many a tenor banjoist has longed to possess.
A BOOK THAT HELPS THE TEACHER. INSPIRES THE PROFESSIONAL AND LEADS
THE AMBITIOUS STUDENT TO SUCCESS
Price in U. S. A $1.50
Published by
W M . J. S M I T H M U S I C CO., INC. —214-216-218 E. 34th St., N e w York City

PLEASE MENTION The CRESCENDO W H E N WRITUCC TO ADVERTISERS

December, 1927
The CRESCENDO [I]

W h a t is it?

E hear m u c h about timbre, tonality, overtones and

Joe Brannelly other scientific terms for tone color—but just what
Mayfair Hotel
does "tone color'" mean in terms of banjo performance?
London, Eng.
It means just this—it is that characteristic quality of tone
that is of pleasing beauty. It is that melodic purity which
Europe's foremost you find in the V E G A V O X .
banjoist and
recording artist
Words cannot describe this new banjo—only your ear can
appreciate the superb tone color of the n e w V E G A V O X .
W e invite you to try this "banjo of banjos," to test its
"I have always been performance by actual use. T h e V E G A dealer in your
a Vega enthusiast, but
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n o w I a m doubly so—•
the Vegavox is truly to see you. Or, write direct for fully illustrated literature
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"The Most BeautifuUy Voiced Banjo In Banjo History"

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165 Columbus Avenue - Boston, Mass.
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[2] The CRESCENDO December, 1927

Weidt's Tenor Banjo Collection

T H E most popular and valuable
collection of tenor banjo solos
ever published. This is the
verdict of thousands of teachers and
players of the tenor banjo w h o are
Volume 5 Now Ready
using the famous Weidt Tenor Ban-
Fifteen practical and playable solos in wide
jo Collection. The latest volume
variety. All numbers in this book, and in
(No. 5), just issued, contains com-
positions of ten well known com- the first four, are very effective as un-
posers besides Mr. Weidt, but the accompanied solos. The specially prepared
numbers are arranged in the clean- piano parts (not just ordinary accompani-
cut banjoistic style for which the ments) are replete with counter melodies
n a m e of Weidt is so well known,
and other interesting effects.
with full harmony, fill-ins, counter
melody and professional rhythm
strokes. CONTENTS
PRICES — E a c h Volume 1 By the Watermelon Vine (Lindy Lou) Schottische
(Except Canada and Foreign) Allen
Tenor Banjo Solo $.75 net 2 Jinrikisha, Scene Japanese Benkhart
3 The Tippler, Eccentric March Cobb
Piano Part 1.00 net
4 Largo Handel
5 Cannibal Chief, Fiji Dance McGrath
Contents of the first four volumes
are shown below. The numbers are by 6 Dixie Rube, Characteristic March Allen
[Link] unless otherwise indicated. 7 All Aboard for Rock-a-Bye Bay! Cobb
VOLUME 1 8 A n y Rags? Schottische Allen
1 My Lady Jazz Fox Trot 9 O n the Nile, Egyptian Serenade Smith
2 The Booster One-Step
3 Little Boy (Fazioli) Fox Trot 10 Hoop-e-Kack, Novelty March Allen
4 Blue Stocking Caprice 11 Y e Olden Tyine, Characteristic Dance Weidt
5 Harmony Kid Fox Trot
6 Kentucky Moon Song Fox Trot 12 Invincible Guard, March Shattuck
7 The Optimist March
8 Monday Morning Blues Fox Trot 13 Eventide, Reverie Weidt
9 Shattered Dreams Reverie
10 M y Caroline Song Fox Trot
14 Darkey's Dream, Characteristic Barn Dance Lansing
11 Take M e Back H o m e Again, Lizzie 15 Good Fellows, March Bertram
One-Step
12 "Whyte Laydie" Valse
13 Marcheta (Schertzinger) .... Fox Trot
14 Ghost Walk (Cobb) . Eccentric Novelty
15 Cow Bells (Piantadosi) Song Fox Trot VOLUME 3 VOLUME 4
VOLUME 2
1 Dance of the Teddy Bears 1 "Got 'Cha" A Syncopated Chase
1 Sweet Dixie Babe Song Fox Trot
Novelty Fox Trot 2 La Paloma (Yradier) Spanish Serenade
2 Tangled A Syncopated Mix-Up
2 National Emblem (Bagley) .... March 3 Queen City March
3 El Dorado Tango Fox Trot
3 Any Old Time at All (Ringle) Song Waltz 4 Sparkling Crystals Novelette
4 Just a Memory Reverie
4 Carita Dans Espana 5 Our Director (Bigelow) March
6 Melody Blues Song Fox Trot
5 Persian Lamb Rag (Wenrich) 6 Too Tired (Little) Song Fox Trot
6 Pasha's Pipe (Hahn) A Turkish Dream
A Pepperette 7 Down Main Street March
7 Waiting for You Song Fox Trot
6 Whispering Winds (Bertram) . . Waltz 8 Harmony Baby (Bertram) Song Fox Trot
8 Goose Waddle . . Danse Characteristique
7 The One I Love (Jones) .... Fox Trot 9 Flower of Youth (Bertram) Waltz
9 Your Smile Song Fox Trot
8 Spooks (Cobb) Eccentric Novelty 10 Stepping Out March
10 Atta Boy One-Step
9 Japanola Song Fox Trot 11 Thistle-Down (Scholes) Novelette
11 Ain't You Ashamed (Mitchell) Fox Trot
10 The NC-4 (Bigelow) March 12 Free for All A Syncopated Scrap
12 Smiles and Tears Reverie
11 It's About Time (Gottler) . . . Fox Trot 13 The American (Bertram) March
13 Young Bands March
12 H o m e Town Band March 14 Dutch Kiddies .... Wooden Shoe Dance
14 Gypsy's Dream Danse de Ballet
13 Rubber Plant Rag (Cobb) A Stretcherette 15 Limited Express (Scholes) Galop
15 They Love It (Goold) Fox Trot
14 Here They Come March
15 Sure as You're Born (Little) Fox Trot

JACOBS' ENSEMBLE FOR BANJOS Tenor Banjo Solo

NEW A diversified collection of 14 original compositions by

various American writers. For tenor banjo solo, and
plectrum banjo solo •with or without tenor banjo
chords ; parts for saxophones and any orchestra or band
instrument available. Piano accompaniment ad lib.
Plectrum Banjo Solo
with tenor banjo chords
Any Orchestra and
Band Instrument
Piano Part
.50 net
1.00 net

120 BOYLSTON STREET - -

W A L T E R JACOBS, Inc.
Publishers of Jacobs' Orchestra Monthly, Jacobs' Band Monthly and Melody.
BOSTON, MASSACHUSETTS
(For pianists and organists.)

PLEASE MENTION Tilt C R E S C E N D O W H E N WRITING TO ADVERTISERS

December, 1927 The C R E S C E N D O |_ 3 ]

The CRESCENDO Founded 1008—H. F. Odell

T h e oldest and foremost fretted instrument monthly

&i)e Clark 5farp
devoted to the interest of the
— Is Easily and —
B A N J O — M A N D O L I N — G U I T A R ?ndkinddred Quickly Mastered
J
instrume
Combined Founded
with FRETS 1925 " The Class Way "
Write to us for Particu-
A D O L P H F. J O H N S O N , Managing Editor lars about the C L A R K
Published Monthly by H A R P , without obliga-
H. F. ODELL COMPANY tion to you.
Boston, Mass., Its beautiful tonal quali-
879
ty and great resonance
United States $0.20 $[Link]
SUBSCRIPTION make it musically de-
Canada .20 2.25
PRICES Foreign .25 2.50 lightful.
Advertising Rates will be sent on application. Forms close on the M a k e yourself and oth-
ist of each month for the succeeding month's issue.
ers happy by playing a
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 N e w York. Clark Harp
Correspondence is solicited from everybody interested in the On,y
Banjo, Mandolin, Guitar, Harp, etc. W e will be pleased to receive
programs and reports of concerts, club and orchestra news, personal
$150
notes and music recently issued.
Convenient Terms Arranged
IVe are not responsible for the opinions of contributors.

Address Communications to the Editor.

All Remittances should be made payable to

CLARK MUSIC CO.
M E L V I L L E C L A R K , President

H. F. ODELL COMPANY 4 1 6 S o u t h Salina Street :: Syracuse, N . Y .

157 Columbus Avenue, Boston, Mass.

Vol. XX November. 1927 No. 5

IN THIS ISSUE
PACE
Harp Solos
Fretted Instruments in Opera (George Cecil—Paris) 5 Published by

Music Plucked from the Air 6 Oliver Ditson Company

Growth of Musical Appreciation (Bruce F. Richards) 7 ALICE, W H E R E A R T THOU':
iptu • Francis J. Lapitii
A N EVENING A T H O M E . Alfred Holy
The Tenor Guitar (from a survey by the Editor) 7 1. Children's Thoughts John Cheshire
2. At the Fireside
The Little Finger in Guitar Playing (open discussion) 8 3. Youngsters at Play
4. A Little Dance
FRETITORIALS 9 A N N I E L A U R I E . Lady John Scott.
Transcription. Julie Kellar
Fred J. Bacon A T D A W N I N G . Charles W . Cadman.
Helena S. Torgerson
Comments Arranged by
John Cheshire
BY T H E B R O O K
Francis J. Lapitino
THE ROUND TABLE ECSTACY
Alfred Holy
FEDORA GAVOTTE
BANJOISTS'—Frank C. Bradbury, Conductor 21 John Cheshire
INVOCATION
MANDOLINISTS'—William Place, Jr., Conductor 23 Andrew Kostelanety
Violin, Harp (or Piano) and Organ
Margaret Hoberg E
GUITARISTS'—Vahdah Olcott Bickford, Conductor 25 J O Y O U S SPRING
L A K E LOUISE
LOG CABIN S K E T C H E S (Summer) Margaret Hoberg
CRESCENDO READERS' OWN COLUMN 26
Ode to the Banjo (G. Muder) 1 Over the Hilltops 4. "Lazy Lane" the Maples
_. ClOUda 5. The Camp-fire
A Timely Plea (Fretournal—Miss Ruth Baldwin) :;. Sunset on the Lake Charles W. Cadman
L O G C A B I N S K E T C H E S (Winter)
1. Snowdrifts 4. The Hunter
MUSIC IN THIS ISSUE 2. Moonlight 5. The Awakening of
3. The Ring of the Axe
R O M A N Z E . in G- A. F. Pinto
A Live Wire, M a r c h — J . II. Johnstone SPRING SONG. F. Mendelssohn. Domenico Sodero
Complete Orchestration Transcription. Alfred Holy
SUITE F O R H A R P John Cheshire
1 Mi tin.-t A Antique 3. Danse des Fleurs
Krnnev Krow Kamp, Fox Trot—G. L. Lansing 16
2. Htimoresuue
Banjo Solo SWEETEST STORY EVER TOLD
Paraphrase. BOSTON, MASS.
The Tonrutt, Walt/—W. K. Bedford 18 T ECHAS.
M P O DI H.P DITSON
O L A C C A & CO.
THREE SKETCHES
('uitar Solo (or Harp Guitar) TWILIGHT M U R M U R S
T W E N T Y - F O U R E A S Y STUDIES
PLEASE MENTION Tilt CRESCENDO WHEN WRITING TO ADVERTISERS (Published in book form)
[4] The C R E S C E N D O December, 1927

W m C. StahFs Latest Publications

NEW NEW NEW The Famous Stahl Methods NEW NEW NEW
The Peerless Folio
are the result of careful thought, based Brunovef s 14 Solos for
upon m a n y years' experience of a prac-
tical teacher. Tenor Banjo with
The Exelsior Folio T h e subject matter does not leave Piano Accompt.
for Banjo and Mandolin Orchestra one in a haze, but opens, like a gleam
of sunlight, a n e w era in the study of STAHL'S New Folio
INSTRUMENTATION—First and Second music, where it becomes a real pleasure,
Mandolin, Guitar, Tenor Mandola, for Tenor Banjo Band
rather than a dull, distasteful grind. S T A H L ' S Excelsior Folio
M a n d o Cello, Piano Accompaniment,
First and Second Tenor Banjo, Tenor for Tenor Banjo Band
S T A H L ' S Tenor Banjo Method S T A H L ' S Tenor Banjo Orchestra Folio
Banjo Chord Accompaniment, First and In 2 Books
Second Plectrum Banjo, Plectrum Banjo Peerless Collection
S T A H L ' S Plectrum Banjo Method for Tenor Banjo Band
Chord Accompaniment. In 1 Book
Morris's 10 Duets for Tenor Banjo
Price, $1.00 per Book S T A H L ' S Hawaiian Guitar Method The Ideal Folio. 10 Duets for
In 2 Books
Tenor Banjo
S T A H L ' S Regulation Guitar Method S T A H L ' S New Plectrum Banjo Folio
In 1 Book
Morris's 10 Duets for Plectrum Banjo
S T A H L ' S Mandolin Method
New Steel Guitar Folio In 3 Books Excelsior Folio
for Plectrum Banjo Band
T w e l v e catchy melodies, effectively S T A H L ' S Regulation Banjo Method
In 1 Book Nonpareil Guitar Folio No. 1
arranged as Hawaiian Guitar Solo, Nonpareil Guitar Folio No. 2
with Regular Guitar [Link].
Easy and m e d i u m grade. Price, $1.25 per Book A n y of the above, $1.00 per Book
Price $1.00 Steel Guitar Method, $1 per Book SEND FOR COMPLETE CATALOGUE

WM. C. STAHL, 133 SECOND STREET, MILWAUKEE, WIS.

MANUFACTURER OF ALL PLECTRUM INSTRUMENTS AND PUBLISHER OF MUSIC AND MEIHODS FOR PLECTRUM INSTRUMENTS

Part Two Part Two

Master Method for Tenor Banjo
By WM. MORRIS
Eminent Tenor Banjoist and Composer
Original, Educational, Progressive A Master Work, by a [Link] Writer
This is the book that will hold your pupils. Get it today, it's worth many times
the price asked for it. Unless you have this book you are not really up-to-date.
^(^NJ"T]--i,]\]T^ Original progressive studios. First position studies and exer-
cises. Finger control, and technic study in various positions.
Triplet studies. Chord progressions. Broken triad studies. Diminished interval studies.
Velocity studies. Phrasing studies. Plectrum exercises. Scale studies in major and
minor keys in second, third, fourth and fifth positions, with high position chords. M a m
of the exercises, melodies and studies in these positions are written as duets, to do aw ay
with the usual monotony and dryness in the drudgery of exercises, which are pleasing
and melodious in this work and instructive. Sixth and seventh positions with short
studies. Position playing explained. Trills explained. Beautiful original solos. Syn-
copating position chords. Arpeggio work. Scale studies in all major and minor keys,
covering positions Chromatic scales. Studies in various positions. Twelve major and
minor key studies in various positions, introducing short shift. Shifting studies in
various positions. Inverted chords in all positions. N o arrangements or revisions,
A TRULY GREAT WORK
OVER 80 PAGES OF REAL MERIT PRICE, $1.50 NET; CANADA, $1.70
Don C. Santos, 55 Orleans Street, Rochester, New Yo
PLEASE M E N T I O N The C R E S C E N D O W H E N WRITING T O ADVERTISERS
 ^^^ ©C1B761255

g&scENDD
^L M Founded 1908 by H. F. Odell
^-^^^F Combined with Frets ^^^f
Published Monthly by the H. F. Odell Co., 157 Columbus Ave., Boston
^ ^ ___^. %\M m ^

Vol. XX BOSTON, DECEMBER. 192": No. (>

Fretted Instruments In Opera

By GEORCE CECIL, Paris
Music Critics a! Fault nesto warbles "Com' e gentil" while playing a guitar. In
Musical experts often are under the impression that "Don "Tannhauser" Wagner avails himself of the effective harp.
Giovanni" is the only opera in which a stringed instrument T n e h e r o seldom is separated from his harp during the scene
is used on the stage. They glibly quote the "Serenade" (or with Venus; each time he declaims "Dank deiner Huld!"
"Aria", as it is described in the orginal score used for the t 0 nis enslaver, the indispensable instrument is brandished.
first production at Prague) as an instance, totally ignoring T h e harp also plays a prominent part in the "Tournament
various works in which the mandolin, the lyre, the harp, of song"; Tannhauser, Wolfram and Biterolf are each pro-
or the guitar, is held by the singer. Nor do these authorities vided with one.
even write correctly when referring to the immortal "Deh Except in "Sapho", Gounod only once asks the singer to
vieni aliafinestra";they, almost invariably, imagine that the accompany himself. W h e n Mefistopheles and Faust present
accompaniment is for the guitar. A s a matter of fact, it ,'s themselves outside Marguerite's house, Mefistopheles pro-
intended for the Spanish mandora, an instrument which is duces from beneath his picturesque cloak an instrument which
ls,10t
almost extinct. unlike a small guitar, and upon which he plays while
Though occasionally to be met with in museums and in singing the unkind and mocking "Vous qui faites l'endormie".
private collections, it must be many years since a mandora Ambroise Thomas, in "Mignon", makes use of the harp;
left the maker's workshop. Perhaps a century ago. . . . Lothario, in the sympathetic air, "Fugitif et tremblant", thus
accompanies himself, and the delightful " D u o des Hiron-
The Indispensable' Guitar delles" is accompanied on the same instrument by Mignon.
Amongst those who have written accompaniments of the
above nature are Gluck, Paisiello, Rossini, Verdi, Donni- A Mandolin Band
zetti. Gounod, Ambroise. Wagner, Thomas and Mascagni. There also is Mozart's "Xozze di Figaro".' In the first
Gluck, in "Orphee". has allotted to the singer who takes act, Cherubino sings the lovely "Voi che sapete" (which is,
the title role strains which are supposed to be sung to the according to many good judges, as beautiful a melody as any
accompaniment of the lyre. Paisiello's "II Barbiere" (which. e v e r written) to the guitar which Susanna obligingly strums.
by the way, was composed some years before Rossini con- A little later, La Contessa and her domestic join their voices
sidercd the subject) contains a delicious serenade. "Io son ;„ the exquisite duettino. "Sull' aria," the accompaniment
Lindoro", which is furnished with a most appropriate man- agaj„ being played by the sprightly abigail on the guitar.
dolin obligato. Rossini, however, did not find the mandolin Modern composers, as a rule, substitute for the guitar
a suitable instrument with which to serenade the operatic the orchestral harp. Exceptions, however, are furnished by
lady-love; the charming "Ecco ridente" (which Almaviva Mascagni, Giordano and Stanford. In "Cavalleria Rusti-
sings beneath Rosina's chamber window) is accompanied on cana" Turiddu sings the impassioned "Siciliana" to the harp
the time-honored guitar. T h e ill-starred Manrico. in "De- which is relegated to the wings; during the second act of
serto sulla terra", strums this instrument; and when, in the "Fedora" the piano is played on the stage; in Stanford's
"Miserere" scene, he wails the "Ah! che la morte ondardo" ill-fated " M u c h Ado About Nothing" Claudio's serenade to
the voice is supported in a similar manner. Donizetti, too. Hero is supported by a mandolin band. This instrument also
expected the sercnader to accompany himself. In the gay is effectively employed by Verdi in "Otello".
'Dun Pasquale" (which was originally given with (irisi. Other examples are to be found amongst operas of a
Mario. Formasari and Lablache. in ordinarv costume) Er- ,_»_______,
' (Continued on Page i 1
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 _ _ —

[6] The CRESCENDO December, 1927

Music Plucked from the Air

1\ T U S I C plucked from the air by the h u m a n hands sounds mysterious electrical currents under the hands of Theremin.
* -*- as though it may be a myth, yet it was a performance "As if these marvels were not enough. Theremin begins
that amazed the audience at the Music exposition held at to repeat the piece. But what is this? T h e tones no longer
Frankfort, Germany. In the Literary Digest w e learn of come from the same place as before. W e turn our heads: the
Dr. Rudolph Frank w h o expresses his enthusiasm for this sounds come to us like an echo—from behind us, from the
n e w and amazing art as an epoch in musical progress. The highest, farthest corner of the room!
leport of the event was taken from the "Reclam's Uni- " N o w another young m a n takes his place in front of a
versum" of Leipzig, and is described as follows: second box, smaller than the first. These two technical
"From a small mahogany box, which serves likewise as a musicians—tone engineers, let us call them—perform, merely
music-stand, there rises vertically a metal rod about 40 centi- by the raising and dropping and bending of their gently
meters long (15J/2 inches), while at the left there extends vibrating fingers, music which resounds through the great
another rod bent into the form of a ring. O n the floor is a room in pure and perfect tones.
dry-cell batter)*, and in the background is a loud-speaker. " W e learn that there are alternating currents of varying
Box, battery, and loud-speaker are connected by wires. frequencies, which are conducted from the human body over
" A young man, the typical engineer, takes his place in the apparatus, though they are entirely independent of the
front of this unpretentious desk. It is Leo Theremin, pre- body. T h e approach of the hands affects the frequency of the
senting for the first time before an audience his invention of alternating currents which surround the antennae. T h e nearer
music, produced solely by the free movement of the hands in the finger comes to the vertical rod, the higher the note
space. Slowly he lifts his hand, holding it a distance of produced. T h e further the hand from the ring-shaped an-
about one meter (39 inches) from the upright metal rod. T h e tennae, the louder the sound. B y these means are obtained
movement produces a sound, the tone of which rises gradually every possibility of musical expression. T h e tone follows, in
until it reaches a pitch which no instrument, and far less the the minutest particular, the vibration of the fingers, the
human voice, is capable of attaining. rhythm of the blood.

" N o w he raises his left hand gently above the ring-shaped "If one were to increase the strength of the current, even
rod, until it is at about the height of his head. As he does so to two kilowatts only, a truly disturbing effect would be
the note sounded grows louder and louder. T h e n he lets his produced by the transformed current. The echo, whose

hand fall, as if to soothe the sound, and this grows softer amazed car-witness I was, is formed merely by the reversal

until it dies out in the tenderest pianissimo. of the current.

"It is evident that w e have here the essential conditions for "I firmly believe that in later times, when the present in-

the producton of music—a variation in pitch on the one hand, vention is perfected and elaborated, w e shall refer to the
performance merely as music, pure and simple. T h e n it will
and in intensity on the other.
be recalled that it was first presented to the world on
"Incredulous w e gaze upon the young engineer. His looks
August 4, 11127, at the notable exposition in Frankfort called
grow tender. T h e inventor becomes the musician. T h e fingers
Music in the \.\iv oi the People."
of his right hand vibrate like those of a violinist when he
presses the strings. T h e y vibrate in the free air, and a
marvelously sweet tone sweeps through the room. Invisibly "I would like to say that IfindThl Crescendo deeply interesting
and most worthy of its cause."—WILLIAM R. CHARTER, Prince Ru-
a soul sings, and w e listen, thrilled. pert, B. C, Canada
" T h e works of such composers as Greig, Saint-Saens,
Scriabin, are played. It is marvelous, indeed, how remote
the tones of the piano sound in comparison with the vital
fulness and resonant force of those which flow from the
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December, 1927 The C R E S C E N D O [7]

Growth of Musical Appreciation

By B R U C E F. R I C H A R D S

T T is interesting to know that there is a steady growth of youth, w e should never have had the free school system
*• in the direction of musical appreciation throughout the which is such a blessing to the young people of the country;
country, for it is becoming widely recognized that some nor would America have made the progress she has in in-
education, at least in the fundamentals of music, is really an dustries, arts and sciences.
important part of modern life and goes hand in hand with Because of the interest taken by parents and educators,
academic education. we have schools on every hand, newspapers, magazines, and
W e are insisting and the Government makes it obligatory, books, and amazingly high standards of living. But w e must
that normal children shall attend school and receive satis- remember that the sentiment in favor of such education
factory training in rudimentary branches of study, and in began in the home.
many places, music is taught from the kindergarten up In the same way, musical appreciation depends largely
through the school grades, and to the end of the high school upon home encouragement and the youthful development
course. By this time it is assumed that the young person along musical lines. Even when music is taught in the
should know whether he wishes to elect to continue his schools, there must be sympathy and home co-operation to
musical study or not. get the best results.
A recent writer, the Hon. J. J. Tigert, speaking of music Parents will do well to keep track of the musical progress
and what it means in personal development, expressed the and the methods being used in the promotion of musical study
idea well in these words: in school, and then to give such home backing as will tend to
"That person who has learned to appreciate good music impress the child with the delightful worthwhileness of music
and good singing—who can listen to the compositions of the as part of the regular educational equipment of the refined
great masters of music, and feel his soul thrilled to its depths individual.
by the emotions which these composers have put into their
work—has gained something in this life which no other power
but music can give. The Tenor-Guitar
"In addition to giving our children an appreciation and
from a survey by the Editor
understanding of music for its -esthetic value, it has the effect
of training the memory, quickening the perception, stimulat- In the past year or so I have noticed a continual growth
ing the imaginaton and encouraging conversation. That it in the popularity of the Tenor Guitar or Lute, which ever
makes for mental discipline has been proved over and over you care to call it. N o w the question is: do you suppose it
again by the fact that the best music students are nearly will become so popular that every banjoist of the modern
always found at the head of their classes in their other studies. orchestra will find it necessary to use one as an instrument
"The knowledge of music fundamentals and principles to "double" on, such as the reed players with their saxo-
that will be gained will be worth many times what they cost phones and clarinets. T h e Tenor Guitar or Lute has for a
in money and effort in giving the student an understanding body one shaped and constructed such as its name imples, a
and an appreciation of music which would serve to round out Guitar or Lute. The finger board is the same as that of
an education in a way nothing else could possibly do." a banjo, either tenor or plectrum. O n e can readily see that
O n e thing is certain, if fathers and mothers, and those this instrument is made for that primary purpose—an instru-
without children but interested in the cause of education, had ment for the banjo ists to "double" on.
not taken an interest in the home in the progress and welfare In the continual search for new effects in the modern
orchestras, the Tenor Guitar has added increased life and
Fretted Instruments—from page 5 interest in the part played by banjoists. It is as M r . Miller
of Ludwig & Ludwig wrote in a recent letter on this subject
byegone generation—operas which, in spite of their sympa- —"anything that tends to make the Banjoist look more im-
thetic and tuneful music, would nowadays be voted "old- portant in the orchestra will help sell him to the audience.
fashioned" by irresponsible highbrows. Nothing good is This is an age of showmanship and display".
old-fashioned. . . . W e all agree, I'm sure, that this new instrument will
Undying Tradition never take the place of the regular six-string Guitar, yet it
Although the above-mentioned composers wrote the accom- does give the banjoists an opportunity to obtain Guitar effects
paniments for certain instruments, the harp, or a section of without having to learn the regular six-string Guitar tech-
the strings, almost invariably takes their place. Don Giovanni nique. "It does provide a distinctly different instrument
seizes his mandora, and sings to the accompaniment of the for the banjoist who finds himself under the necessity of
orchestral harpist; Manrico has to put up with this sub- doubling on some other instrument and itfillsa distinct need
stitute. Ernesto pours out his mellifluous lay to the support in the orchestra for an instrument on waltzes, ballads, and
furnished by the harp. Although Almaviva touches the music of this character, and when some member or members
strings of a guitar, the instrument emits no sound. of the orchestra desire to render the audience vocal numbers."
Still, the tradition remains. (Continued (

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[8] The CRESCENDO December, 1927

The Tenor Guitar—from page i The Little Finger of the Right Hand
In Guitar Playing
This is the opinion given by M r . Campbell of the Gibson Co.,
Gustave E. Podneck
and he goes on to s a y — " T h e T e n o r Guitar makes it unnes-
sary to play a muted banjo and gives a m u c h more pleasing Being only a student, I cannot say whether or not to rest
quality of tone because it is alive and vibrant instead of the little finger at any time at all on the sounding board.
For m e , or rather for the guitar students at large to adhere
muffled as w h e n a mute is used on the banjo. T h e fact that
to a school of teaching some methods or to avoid some
it looks exactly like the ordinary Guitar has a great deal of methods without sound reasons would surely be legiettable.
appeal to the banjoist and audience." O n the question of the little finger of the right hand, glancing
it over superficially, it m a y appear to be a mere trifle; say
The Vega Co. were also asked for their opinion on this
what difference does it m a k e whether one rests the little
subject, and they tell us that the "one reason for the steadily finger of the right hand or not so long one plays musicianly.
increasing use of the T e n o r Guitar as an instrument to But the w a y guitar authorities answer that question place;
"double" on, is the desire of leading orchestras to obtain the the student only in a muddle. Surely n o w , it would not be
true guitar effects as called for in m a n y of the popular dance any too early nor too late to have it out on an exposition;
so the student, too, must speak up, for it concerns his very
arrangements. Another reason m a y be due to the numerous
hard earned technique, which is dearer than money itself.
regular six string Guitar phonograph recordings which have
M a n y of us have suffered from this kind of "teaching"
been put out by the leading recording companies with excel- generally; "I want'it be done so and so for no reasons at all,'"
lent success. A few* of the top notch orchestras such as which the conscientious student will abandon sooner cr later.
Roger W o l f K a h n in N e w * York, have a regular Guitar N o w the question is before us—let us thrash it out. If wc
don't k n o w what is right cr wrong in guitar playing, we can
player in the instrumentation. Eddie Lang, w h o has been
say what w e know, but w e can by all means listen and read.
with the orchestra just mentioned, for over t w o years, has
Therefore let us sift these friendly literary disputes in order
built a tremendous reputation for himself. In speaking of that w e m a y adhere to the right teaching: the reasonable, the
the standard Guitar, w e do so to point out that the increas- logical, the practical one. A n d then uphold, maintain the
ing use of this instrument is undoubtedly one reason for the newly settled gain for our loving instrument, the guitar, that
popularity of the T e n o r Guitar. W h a t is simpler for th? so caresses the soul with its mellow tones for which great
m e n have composed lasting music that all guitar students
banjoist than to use a T e n o r Guitar to obtain Guitar effects?"
k n o w to greater or lesser extent.
Just h o w popular this n e w type of instrument will be is Pc sonally I have never heard M r . George C. Krick play,
a difficult thing to say. F r o m the reports of the m a n u - I have not even seen him, but w e iced bis articles n o w and
then—it should m a k e no difference that some of us have
facturers it seems that the T e n o r Guitar has m a d e quite a
not heard one or another soloist, w e will k n o w their methods
head-way with the orchestras and m a n y of the professional by the w a y they expound the_r teachings in writing.
banjoists w h o m I have c o m e in contact with, seem very m u c h I have, however, heard Vahdah Clcott-Bickford play many,
enthused over it. It m a y be that "they will become a stand- m a n y timer,. She is so well k n o w n among- guitarists that 1
ard instrument and have their place in with the others of a m afraid I will not be ab'.e io do justice to this great
musician, so far as tone quality, various effects, exceedingly
the fretted instrument family" — states M r . D a y of the
lapid technique, or phrasirg is concerned; or to tell the world
Bacon Banjo C o . h o w she carries the audience at her concert playing—I say
I a m afraid, I cannot do it. But w h e n w e turn ourselves to
the question of teaching, let us not then be sentimentalists:
yet w e shall honor all great artists; w e will listen to them
Reser Makes Flight to Fill Radio Engagement when they speak with tolerance on art. O n e w h o speaks
Harry Reser, leader of his Cliquot Club Eskimos and a calmly will have at one's disposal an attentive audience.
A n d also, w e should not over-look this: such a thing is quite
popular exponent of the banjo, m a d e an L800 mile airplane
possible that some great soloists (who as a rule are great by
hop to N e w York in order that he might fill his radio en- virtue of their gifted talent) w h o have learned to play wonder-
gagement with the W E A F Studio. T h e flight took off at fully at some great expense of learning—if they had practi-
Dayton, Ohio, his h o m e town, where he w a s visiting relatives, cally the right start (but m a n y of us have the wrong start),
such artists might have been still better musicians. That is
accompanied by his wife Grace Reser.
possible.
So far as the third finger cf the right hand is concerned
there does not seem to be any dispute. (I a m glad of that.)
NEW—Tenor Banjo Teachers? They so far agree upon its seiious training. The thing that
governs this m e m b e r is intelligence to k n o w w h e n not to use it.

Loar's Orchestral Tenor Banjo Method A m * h o w clear and simple that is: not to use the third finger
of the right hand when the stronger ones are idle, and when,
(Continued on r
A complete musical education for the Tenor Banjo student and en-
thusiast in four volumes, including a course of practical harmony
used and recommended by the leading schools in America. M A S T E R M A D E STEEL GUITARS, etc.
Price (each volume) $1.00 net
E x p e r t Repairing
Now Ready—Also Four New Tenor Banjo Folios of all string instruments, rates moderate.
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NICOMEDE MUSIC CO. • Altoona, Pa. 3731 C O N C O R D l'[Link].
W. F. RUSLAP CHICAGO — — ILL.

PLEASE MENTION The C R E S C E N D O W H I N WRITING TO ADVERTISERS

December, 1927 The C R E S C E N D O [9 J

playing at Music Stores, High Schools, Luncheon Clubs,

and Broadcasting.
O n a recent nine weeks trip as far west as the Pacific
Coast, M r . Bacon appeared in about thirty large cities, playing
as m a n y as eleven High Schools in one day. While in San
Jose, Calif., M r . Bacon was guest of honor at the Central
California Banjo Contest, held at the California Theatre,
and presented the Sherman Clay & C o . Silver C u p to the
winner, after which M r . Bacon was called upon to play
several selections.
It was while in this city, he made an airplane flight,
playing the banjo while 1500 feet above ground. H e was
accompanied by M r . Miller, manager of the instrument
department of Sherman, Clay & Co., San Jose, California,
and George Hallet as pilot. Fred says, " W h e n the pilot
stopped the motor so I could be heard, I almost collapsed
with fright, and while I enjoyed the thrill, I do not think
I could do this stunt again."
M r . Bacon while in Kansas City, M o . , this Fall, played
for D a v e Rubinoff, musical director of the Symphony O r -
chestra at the new, beautiful Midland Theatre. A few* days
later M r . Bacon received the following letter from M r .
Rubinoff.
"Really, never in m y life, have I enjoyed anything more
than your wonderful artistic banjo playing. Here's to the
greatest Banjoist I have ever heard. A n Artist to his finger-
FRED J. RACON tips.—Dave Rubinoff."
President, Bacon Banjo Company

r
I *HE Five-string Banjo is the oldest modern form of the Have you ever been to Pittsburgh? If you have not, let
•*• Banjo Family. T h e strings are "plucked" with the m e suggest an interesting statue for you to see. It is of
fingers and thumb, either in full chords, sparkling arpeggios, Stephens Collins Foster, the famous American composer of
single string staccato, or rapid chromatic runs. folk songs, and seated at his feet is a negro playing upon a
It was this original type of Banjo that attracted Fred banjo. This statue is in Highland Park and overlooks the
Bacon, w h o has faithfully stuck to the five strings and finger Alleghany River.
style of playing. His marvelous technique and really M u -
sical Quality of tone, he produces from this instrument, has
R e m e m b e r the illustration given last month in the article
w o n him m a n y admirers and loyal friends throughout the
on "Plectrums"? This instrument was a Japanese Samisen
World.
which is played with a wooden plectrum tipped with ivory.
For a good many years Fred has been considered one of
Instruments very similar to this were used to illustrate the
the leadingfive-stringBanjo players and probably no other
Chinese orchestra with their native instruments at the Festival
Banjoist has ever been heard to advantage by so m a n y lis-
of Nations held recently in Boston.
teners. H e has built up and maintained a reputation on this
instrument in a w a y that no one else could have done, due to
the fact, his selections are all very musical and his tones are It is with deep regret that w e learn of the death of
often compared to the H a r p or Piano. E. N . Guckert, a well k n o w n "ol' time" guitar player and
It was at the Pageant of Progress held in Lewiston, Maine, banjo enthusiast. Also of Billy Banmeister, better k n o w n as
October 15th, 1926, that Fred Bacon w o n the World's Bomaster, w h o was from the old school of Harp-Guitar
Champion prize Silver C u p and gold purse. H e was awarded players dating back to 1893, Chicago World's Fair times,
1 0 0 % on allfivepoints by which the contestants were judged. w h o passed away so recently. Both gentlemen of the old
M r . Bacon in the past few years has been interested in the school of music, which w e so admire for their distinctiveness
manufacturing of Banjos and devotes most of his time now, in the art, met with misfortune in their old age by blindness.

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[10] The C R E S C E N D O December, 1927

T w o Banjos that the Teachers

I F you have beginners or ambitious banjo pupils

you k n o w the value of having an accurately
fretted scale and instrument that has the carry-
ing power and the tonal quality of the best profes-
sional makes. Yet the matter of price is often a
troublesome one for the parents w h o do not wish to
make more than a moderate outlay for a beginner.
Here is where the Ludwig K I N G S T O N or the
Ludwig K E N M O R E serve admirably.

They are actually professional instruments capable

of traveling in the finest professional company. Both
models have already been used in some of America's
finest orchestras by leading professionals. While
they do not have the beautiful flashy appearance of
some of our higher priced models they perform as
well. W e feel it will be worth your while to make
a serious comparison of either model on a trial or
test basis and then judge their worth for yourself.
Ask your dealer or else write us and w e will arrange
to send an instrument to him.
They tension from the top. Easy to tighten the head.
Absolutely accurate scale. Front-flash Flarcdge.
Two-piece neck, with reinforcement strip. M a d e of
American Walnut. Seven-ply laminated Walnut
resonator. Equipped with Planet 4-to-i gear pegs
and W m . F. Ludwig selected banjo head.

S E N D for the forty page color il-

lustrated L u d w i g Banjo catalog
complete with stories and the history
of the banjo, an article on the Five
string Banjo, relative merits of the
Tenor a n d Plectrum, Beginners'
playing tips by Chas. McNeil, serv-
ice tips and pointers, photos of
prominent Banjoists and a complete
descriptive display of the L u d w i g
line.

SEND FOR CATALOGS

LUDWIG & LUDWIG

Professional Banjos

1611-27 North Lincoln Street

CHICAGO

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 THE CRESCENDO
TENOR BANJO u
Solo or Duet A LIVE WIRE JAS. H. JOHXSTOXE
(With or without piano)
Con spirito
March [Link]

I
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T th' r hi thro la tha obltfcato *D<_ rkord part. 11» ' '. «4*.o aad -» rd part faa b» »»»d w it b

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InWnatlnr
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THE CRESCENDO

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To CHARLES PHAIR

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 THE CRESCENDO 17
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December, 1927 The CRESCENDO [19:

Teacher, Student and Artist

Through Gibson Quality

P L A Y I N G a banjo, guitar, mandolin or kindred C*s

.'
fretted instrument built by Gibson is a source -X • • / *

of keen delight and satisfaction.

"^*^H»
T h e tone is rich—full—brilliant. T h e action is easy
and the response instant. Y o u have that inner feel- BB. " 4K__
ing of gratification that comes with the knowledge
that you are playing with exceptional skill and m u -
jH>«" il
sical effect. Perfection makes Perfection.
Gibson instruments are favored by the artist because
of this fact. T h e discriminating teacher also holds
these points in mind in recommending the Gibson as
the proper instrument for the pupil. It insures the
success of both teacher and students w h e n Gibson
instruments are used.
T h e leading teachers throughout the country are in
position to show you by personal demonstration h o w
Gibson excells. If unable to locate the Gibson
Teacher in your community, write direct to us and
w e will be glad to give you this information.

Gibson, Inc.
500 PARSONS STREET

KALAMAZOO MICHIGAN

G I B S O N , INC., K alamazoo, Mich.

Representatives
Y o u m a y sent m e the free Gibson books on
Wanted QBanjo • Guitar •Mandolin
• Ukulele • Mandola •Mandocello
Gibson has a limited
[ am a
number of opportunities
1 [Teacher • Student • Artist
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PLEASE MENTION The C R E S C E N D O W H E N W R I T I N C T O ADVERTISERS

tao] The CRESCENDO December, 1927

Erie Conservatory Broadcasts 27th Annual Convention of American B., M.

The plectral orchestras of the Erie Conservatory of Musicand G. Announced
recently broadcasted a program under the direction of Waters
Messenger through Station W L B W . Mr. Messenger is director The managers of the 27th Annual Convention of tho
of many plectral ensembles, and has done much to arouse American Guild of Banjoists, Mandolinists and Guitarists,
Mr. Walter Kaye Bauer and Mr. Frank C. Bradbury, announce
general interest in. fretted instruments in the vicinity of
Erie, Pennsylvania. plans for the coming 1928 Convention. The dates are May
The program consisted of mandolin and banjo orchestra 27, 28, 29 and 30, and the place is Hotel Garde, Hartford,
numbers, and many duets and trios as follows: Connecticut.
The attractions will be the festival concert orchestra of
"Live Wire/' March Johnstone 105 pieces under the direction of Messrs. Bauer and Bradbury,
"Golden Sceptre,'' Overture Schlepegrell which will feature the new symphonic development of the
Mandolin Orchestra mandolin orchestration. M a n y special arrangements are
"Down Main Street" Weidt being made by Mr. Bauer to make this possible. The Hartford
"Moonbeam" Banjo Band of 60 musicians will also be a feature during the
Banjo Orchestra Convention. This Concert will be held in the Governor's own
"Zingaresca" Navone Foot Guard Armory, and the Artists' Recital will be held in
Guitar D u e t — the hotel. Feature soloists will be announced at a future date.
Miss Charlotte Masten, Mr. Oscar Schlindwein Various historical sight-seeing trips, etc., will also be con-
"Moonlight Frolic" Odell ducted for the Guild.
"Filipino Shuffle" Odell The Garde is a small hotel with reasonable rates, and has
Mandolin Orchestra been selected for its home-like atmosphere and the advantage
"Love's Old Sweet Song " Malloy of having practically the entire hotel for the Convention.
Mandolin Trio—Mr. G. J. Warnaka,
Mr. Waters Messenger, Miss Charlotte Masten
"You Don't Like It, Not Much" An Interesting Book on Harmony
" M y Lady Jazz" Weidt
The W m . J. Smith Music Co. of N e w York City, has just
Saxophone and Banjo D u e t —
issued a remarkably clear presentation of harmony, entitled
Mr. Meisel, Mr. Messenger
"Armstrong's Harmony for Fretted Instruments". It is a
"Queen City," March Weidt
text book of which the fretted instrument players may well
"There's Something Nice About Everyone"
be proud. For the teacher it will be invaluable, for the
Banjo Orchestra
professional artist a welcome change from old style methods,
"In a Little Spanish Town '
and for the ambitious student it offers a safe road which he
"The Wind-Up Galop" Odell can follow with confidence. Armstrong's Harmony attracts
Mandolin Orchestra him by its very simple explanations and the terse manner of
presentation.
Every fretted isntrument now employed is given careful
attention, showing how to arrange and properly harmonize
melodies to suit its peculiar fingerboard. M a n y examples
show five or six different ways of harmonizing a melody.
A m o n g the various instruments treated are: Guitar, Ha-
waiian Guitar, Ukulele, Tenor Banjo, Plectrum Banjo, Stand-
ard Banjo, Mandolin, Guitar Uke, Taropatch, Tiple and
Mando-Bass.
In addition there is presented a full score for Plectrum

AH Orchestra, showing the [Link] effects possible, when all

the fretted isntruments are grouped to form a complete
orchestra.

you'd like CHICAGO ARTISTS DEMAND

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PLEASE MENTION The C R E S C E N D O WHEN WRITING TO ADVERTISERS

December, 1927 The CRESCENDO [21]

it is a very simple matter to learn to play in the plectrum style and

then you are all set, both styles.
The
ANJOISTS5
2. There are very few plectrum banjo orchestrations. We hope

B ROUND TABLE that the demand in the future will warrant the publishing of parts
for the plectrum banjo as well as for the tenor.
comparatively easy matter to adapt a plectrum
Of course it is a
part from the
Conducted by tenor part.
FRANK C. BRADBURY
Soloist and Composer 3. As it is not stated whether these solos are to be in finger or
plectrum style please refer this question to the round table again
T H I S D E P A R T M E N T is especiaUy Tor
and ^tate which style is to be used and the writer will endeavor to
Banjoists. Anyone m a y ash Questions
pertaining to the Banjo, or contribute items. make up an interesting collection of solos for professional work.
Questions or suggestions will receive due
consideration.

In playing the Tenor banjo, is it advisable to allow the

little finger oj the riyht hand lo rub along the head oj the
D. E. J.—Waukon, Iowa instrument?
/. Am sending you a diagram of chords taken from a
[ ANSWER ]
piece of music written for the five string banjo in C notation.
("Simple Confession".) Please tell me the best way to play Most banjo authorities deem that it is well to allow the little
the chords as to left hand fingering. finger to gently slide along on the head of the banjo. It must be
2. The following is a measure taken from another piece. following the will in any fixed position. Using the little finger in
his manner helps to guide the right hand in its work although it
m a y be said that it isn't absolutely necessary to have this finger
touch the head at all times. It must be free and is only touching
(D the head very lightly at certain times when it is natural to do so in
the work as called for by the right hand. Always keep the little
The slur over the two C J and B looks as though it is /intuit finger in a natural curved position, not allowing it to straighten.
It looks better thus and one might as well form the habit and train
for a snap. Can this be taken to advantage here?
it in this w a y from the start.
[ ANSWER ] Several new folios have recently been issued for the tenor banjo.
1. These chords are seemingly incorrectly arranged for the These cover a wide range of selections and it is gratifying to see
banjo. T h efirstand last examples are practically only in the Bass such come out for this instrument as w e need them. T h e numbers
or D tuning and would be fingered as marked below. T h e second taken from the Odell edition and arranged for the tenor banjo will
and third examples are incorrect as actually written for the five make an excellent addition of a standard class of music. T h e Sam
string banjo and would be impossible. Fox collection is another most excellent publication and is especially
well arranged by Walter Bauer. Other recent publications also
include much of a popular nature and for the most part are well
(2) done and are an improvement on [Link] previously appeared in this
line of endeavor. We are glad to see the popular song publishers
going into the banjo game and issuing their numbers for the tenor
2. T h e best w a y to play the example in (1) is to pick the first
banjo. That's a good start and w e hope will lead to the publishers
C- with the thumb, the second, with thefirstfinger,the B with the doing the same for the plectrum banjo. W e also hope that some of
thumb and fingering it on the third string (third finger at fourth their music will in the future be more correctly arranged and more
fret) and A would then be picked with the first finger. This would practical for the average player. This will lead to greater sales and
avoid the snap which would not be well here on account of the bar will greatly benefit all. This refers to the tenor banjo solo arrange-
position. T h e second bar position should be held throughout the ments. Some are still not what they should be in effective and
measure. practical arrangements.

E. R.—Portland, Oregon
/. / live out here in the West and play a standard banjo
"No Instrument is Better
and hear from a lot of tenor banjo players that the standard
Than its Strings"
banjo is going out of style in the East and the demand is for There A r e N o Better Musical
tenor banjo. Is this true? Strings T h a n
2. Is there anything done in publishing standard banjo
parts in orchestration as well as the tenor? UESOLO
J. Please name me some banjo solos that performers use
For All General Purposes
on the stage and where I could get them.
AND
[ ANSWER ]
1. According tp all reports the standard banjo (Plectrum) is
steadily gaining in all sections of the country in popularity. It has
For Professional Use
been much more popular in the West than in the East where the
Trial Set, Either Kind, 25c.
tenor dominated, but the plectrum banjo has now made a steady
gain in the East. It is also quite popular in the Middle W'e^t. I
MANUFACTURED BY
U
should say, stick to your standard banjo and then later, if you
felt the need, to double on the tenor. I take it from the question.
Standard Musical String Co.
submitted that you are a plectrum player. If you are afingerplayer 122 Cypres- Ave, Cor. E. 134th St., New York

PLEASE MENTION The C R E S C E N D O W H E N WRITINI. TO ADVERTISERS

[22] The CRESCENDO December, 1927

Banjo Virtuoso Acquires "Partner" Banjo Given Prominence in Conservatory

Albert Bellson, banjo virtuoso and prominent in the activi- The National Association Studios of Music, Boston, a newly
ties of the Guild of Banjoists, Mandolinists and Guitarists, established conservatory, opened their season this past month
recently announced his marriage to Vergil Rogers. Mrs. Bell- with James Lambert, a popular banjoist and teacher, in
son is of Danish descent and was born in Minnesota, she was charge of the banjo department.
one of Mr. Bellson's pupils and very talented on the mandolin To announce the opening of the coming season an attrac-
and guitar as well as the ukulele. With such a partner in life tive catalog of fifty pages had been mailed out to the general
Mr. Bellson ought to feel highly inspired in his future works. music public, showing the list of courses and teachers for
His most recent publication "The Bellson Orchestral Tenor each. The breadth and scope of the courses show that the
Banjo Method" is a very accomplished piece of work. It is banjo has been given sufficient consideration to place it on the
claimed by Mr. Bellson that this method is the "original and same basis with other and long accepted string instruments.
only method successfully teaching professional harmony and The banjo courses are enumerated as follows: Grade I —
rhythm playing with legitimate musical notation, from the Tone production; simple scales in whole and half notes. Ex-
first lesson, leaving single notes, scales and tremolo to be ercises for wrist development. McNeal Method for Beginners.
taken up later on in the system. This is as it should be, for Grade II—Studies in quarter and eighth notes and dotted
it is much easier to play a strumming accompaniment on the notes. Scale studies. Simple melodies. Studies in syncopa-
tenor banjo than to play a single note melody. Next in tion. Tremolo movements. McNeal method. Grade III—
difficulty is the tremolo which is then taken up, and so on Advanced scale studies (major and minor). Plectrum strokes,
with every phase of modern tenor banjo playing." rhythm, beats, chord construction, arpeggios, chromatic scales,
phrasing, solos, modern style of orchestra banjo playing.
M. G. Wolf Introduces New Banjo Head Harry Reser method. Grade IV—Technical studies, appog-
giaturas, grace notes, memorizing solos, intricate breaks and
Milton G. Wolf, nationally known among p_*ofessional ban- syncopations, advanced studies in modern banjo playing for
joists and an intimate friend to many of them, has made a solo and chord work. Advanced technical studies. Harry
serious study of the problems confronting every banjoist. Reser method.
The realization of the need for a standard stretched head
led to the introduction of the "Milton G. Wolfe Quality Su-
preme" banjo head. Joy Spreaders Entertain Thousands
This new stretched banjo head is available in sizes for all
standard makes of banjos and is sold in individual packages, The Joy Spreaders are a youthful and talented group of
each with full instructions for fitting. It is believed that the musicians who are heard regularly over the radio through
introduction of this new banjo head will induce banjoists to Station W E E I of Boston. "Big Brother" Bob Emery, their
have spare heads for emergency use, as the head is so packed organizer and director, has become a popular personage to
to keep it from being soiled or injured and always ready thousands of radio fans.
for use. Recently the Joy Spreaders were the headline attraction at
Boston's B. F. Keith Theatre. Their banjo numbers delighted
the large audiences that came especially to hear them. The
Oliver Ditson Co. of Boston, local distributors for the Bacon
NEW NEW Banjos, featured this popular group in their window display
The Professional of "Silver Bell" Banjos.

Tenor Banjoist The Famous La Qualite Strings E S w 3 f '

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successful in his orchestral or solo playing. I m e a n every w o r d
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play direct from piano, plectrum banjo, ukulele or guitar music
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play a n y solo ever written.

The Bellson Orchestral Popular Tenor Banjo Duets—

LADY DAINTY. Moderately Easy Fox Trot
Tenor Banjo Method PERSIAN NIGHT. Moderately Easy
BELLS OF NORMANDY, Very Easy
Fox Trot
Waltz
T h e greatest achievement in T e n o r B a n j o History Price $ 1 *? si
A M A N D A LYNN, Very Easy Waltz
since the T e n o r B a n j o itself. This hook is already " __•*_*
SAY 11 WITH PERFECT FIRSTS March
revolutionizing tenor banjo teaching a n d is earning hundreds of
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Duct consisting of solo and chord ace, 30c each
it. T h e original a n d only m e t h o d successfully teaching Profes-
J O H N R. H A N S E N — — Ely, Minn.
sional H a r m o n y a n d R h y t h m Playing with legitimate musical
notation f r o m the first lesson, leaving single notes, scales a n d
tremolo to be taken u p later in the ysten
BANJOISTS ! ATTENTION !
Bellson Tenor Banjo Pick H e r e ia a n e w publication for the beginner or professional that will
Correct shape for orchestra w o r k . C a n also be Price $ 1 C\f\ be a great help to y o u as well as a time-saver.
us^d for solo playing. Strong, H a r d w e a r i n g •
a n d easy to hold.

Order at once and easli in on the profits

per doz.
Quick Chord Finder ££MB™°
By F R A N K E . O ' N E A L , Banjoist, Z e z Confrey*s Orchestra
of the tenor banjo experts and teachers*
The efficient banjo player of today should be able to play, at sight, either piano
SOLI) H Y or banjo parte. With the aid of this Chord Finder, the player can mark either
piano or banjo music quickly and accurately in a manner that will enable him
ALBERT BELLSON to play them at sight. Q U I C K C H O R D F I N D E R Is published In the form of a
card index, size five by six and one-half Inches, neatly bound. Can be carried
3281 Bremer Arcade Bldg. ST. P A U L , M I N N . in your coat pocket; always at your service.

Co to any Gennett Record shop and buy Gennett record JACK MILLS, INC. - Music Publishers
No. 6208. Mr. Albert Bellson plays"Tickling the Strings"and
Jack Mills Building 148-50 West 46th St.. N e w York, N. Y.
Souvenir de Moscow—tvzo of the finest solos ever recorded.

PLEASE MENTION The CRESCENDO W H E N WRITING TO ADVERTISERS

December, 1927 The CRESCENDO [23}

B. J. K.
Please advise through the Round Table a book of studies
The
to improve the right hand.
[ ANSWER ]
Your question is somewhat indefinite but as a general set of
-GROUND TABLE studies for right hand training I can think of nothing that exceeds
Pettine's Book IV or "Plectrum's Mechanism".
Conducted by
WILLIAM PLACE, JR. H. L. J.
Virtuoso, Composer and Author
Will you please suggest two or three really good duets
THIS DEPARTMENT is especially for
Mandolinists, and they may ask ques- for violin and piano suitable for concert. Although I wish
tions pertaining to the mandolin or con-
tribute items. Questions or suggestions to use them for two mandolins and piano I want something
will receive due consideration. A1!dre-a
"Mandolinists Round Table," care of The more difficult than the things I find listed for those instru-
Crescendo.
ments and also I zuish to try some numbers written purposely
for three instruments rather than mere orchestra parts.
[ ANSWER ]
M . C. W .
While I feel certain that you can find m a n y quite difficult num-
/ originally learned to play the mandolin uith a teacher
bers in the mandolin catalogues, I realize your desire in the matter
who instructed me in the flat wrist system. I have non- of composition. I would suggest that you try "Petit Symphony" by
changed to the arched wrist method and having played sev- Moret and if you will try the "Double Concerto" by Bach I a m
eral years the former method it seems impossible for me to confident that your appetite for difficulty wi] 1 be entirely satisfied.

keep my w-rist arched. On simple exercises I manage quite

L. W. G.
well, but when my attention is centered on reading difficult
/ am a player in a mandolin orchestra and another player
notes I soon find my wrist flat on the bridge. Any suggestions
has a mandolin that plays easier and sounds louder and better
through the Round Table will be greatly appreciated.
than mine which is a . His mandolin is a .

I ANSWER ]
Can mine be made louder and clearer so that I can get more

Don't hurry! Play only studies or pieces that are perfectly simple. volume without forcing it?
It is more difficult to change from flat to arched wrist successfully, [ ANSWER ]
than to learn either system in thefirstplace. This, because one One of the great mysteries of existence seems to be the impos-
mustfirstcompletely "unlearn" the wrong and then concentrate upon sibility of producing any two articles which exactly duplicate each
the mastery of the right. I a m taking the liberty of making this a other. This is particularly true of musical instruments insofar as
pertinent statement, inasmuch as every one of the great mandolin tone production is concerned. For several hundred years violin
players of the last twenty years, so far as I a m aware, have used makers have been attempting to duplicate the work of Stradivarius.
the arched system. In a wood instrument the grain, the graduating, bracing and
Practice the, simple things slowly until your sub-conscious mind fifty-seven other details all combine to produce quality, quantitv
no longer urges you to drop your wrist. This is merely a matter of and so forth.
time and it cannot be hurried; and furthermore it cannot be accom- Unquestionably the manufacturers of your mandolin can change
plished if you attempt numbers that are difficult for you. It is the the tone materially, but no one can predict what the altered tone
process of "unlearning". W h e n you find that you can play a selec- will be, for tone is the most illusive and abstract quality in existence.
tion from beginning to end without once encountering the urge to
drop the wrist, you are ready to attempt something more difficult. S. D. F.
Patience, care and perseverance will positively result in success. Do you advise learning to tune with the set of four pipes -'
Will be glad to advise you as you progress. Is it better to tunc A and then the other strings by ear?

[ ANSWER ]
G. H. H. By all means tune A from a pipe, fork or piano and tune the
Is the correct position of the bridge the same distance other strings by ear. It is the method adopted by professionals for
from the twelfth fret as the twelfth fret is from the nut? by tuning in this manner one can be certain (if his ear is properly
trained).
[ ANSWER ] Tuning the four '[Link].s to the given tones on a piano or pipes,
Theoretically, yes. Instruments vary a trifle and usually it is or testing with unisons at the seventh fret is entirely an amateur
necessary to reset the bridge from one thirty-second to one-sixteenth method of procedure.
of an inch forward or backward. T o secure the correct position,
proceed as follows: Hr T> * C 1 " L I G H T S O U T " Match, McCov-Jolinstone
Play the harmonic which occurs in the center of the string. N o w 1 e n o r r>anjo bolos 30c net na™ AC_. 20- n_.
play the same note (closed) at the twelfth fret. Both harmonic and Folios of Popular Hits
FEIST'S N O 0 1.011
closed twelfth fret notes should be absolutely unison. A slight move- D E S Y L V A . Brown-Henderson 50
ment of the bridge will compensate any difference in vibration. I S LM FOX (with Piano Ace.) 1.00
might add, however, that a bridge with a straight saddle will never s.-inl rox Complete catalogue
JAS. H . J O H N S T O N E - Music Publisher
give perfect results so far as absolute unisons described above are 98. Osborne Street Kalamazoo, Michigan
concerned. T h e difference in the gauge of the wire of which man-
dolin strings are made invariably produces a variation in the exact MANDOLIN Little Boat S o n g (Serenade)
nodal point, so that with the bridge set correctly for the E string Fascinating Eyes(Maxurka)
w e find the A string several vibrations off. This condition can be MUSIC STEL____BIO I'AMI'.KIA
beautiful number- from the mighty pen of the
eliminated by securing an off-set compensating bridge which any of Kreat writer, and are excellent as a means to make
the reputable manufacturers can furnish and is the only possible pupils master different stroking, glisaando, _rd position.

Messina Music C o . Ist M 20c — 2 n d M 1 5 c — Guit. 15c—Piano Ace. 25c

way to have octaves andfifthsreasonably satisfactory on consecutive
Many more equally as Rood and instructive
strings. 2451 8-itll St„Bklyn. N.Y. by tbesa

PLEASE MENTION The C R E S C E N D O W H E N WRITING TO ADVERTISERS

 [24] The CRESCENDO December, 1927

The Little Finger—from Pa?c Scala, Wandering Troubador of Europe,

in passages, the same thing- can be done as well or even better
Returns
with otherfingers,than the third. And that, too, is clear A picturesque and interesting figure recently returned to
and simple, that upon training thefingersof the right hand America, which he had left over three years ago for an
to perfection, as a result of serious training, the weaker extensive wandering tour of the Continent.
finger will respond admirably upon plucking the string—yet, Salvatore Scala, the roaming troubador of Europe, has
it will always remain weaker, because it is built by nature strummed his banjo to the delight of audiences in hundreds
weaker. of Continental cities. M a n y of his hearers were listening for
Reading the two previous discussions from which already thefirsttime to banjo music, as it is commonly known to
we can gather some kernels of the affirmative and the nega- Americans today. Scala has gypsied up and down the face
tive side on the question of the littlefingerof the right hand of Europe, playing at the larger cities and the largely fre-
in guitar playing. The following quotations are some of the quented tourist resorts and his tour included an appearance
kernels, which I found on the meshes of the sieve—accept in Cairo, Egypt. A m o n g the many famous places where his
or reject them, please yourself. playing was acclaimed are the Riviera, Lisbon, Athens, Os-
tende, Milan, Paris, Brussells, Lucerne, Palermo, London,
THE AFFIRMATIVE—"Touching lightly the little finger Vienna, Naples, Madrid, and Rome.
at such times as all the masters advocated, does not in any Mr. Scala began his career at the age of seven years and
sense prohibit the most arduous and perfect training of the is one of the most colorful masters of the banjo in the world.
third finger . . . that resting the little finger is (was) an H e is an exceedingly talented performer, capable of playing
advantage at certain times. Without exception these guitarists operatic selections on his instrument with the same ease and
(Carulli, Carcassi, Giuliani, Coste) advocated the light touch- dexterity with which he executes the modern syncopated
ing of the littlefingerwhen the third finger was not in use. popular music.
This thought is put in words by Vahdah Olcctt-Bickford. O n his European tour he created a tremendous sensation
The whole article is written with fine literary diction and with his spirited jazz selections, revealing the vigor and dash
calm disposition, which makes it on that account scientific, of America's popular music to audiences accustomed to Old-
besides the fact that it is resonable, logical. Whoever else world masterpieces. Swinging easily from American jazz to
will write in her style, will not only be a good musician, but the loved masterpieces of the country which he was touring,
also afineliterary m a n or woman; and above all, the dispute he touched the heart-strings of his audience and delighted
will be banished—we will know definitely whether or not to them to an extent that made him one of the most popular
rest the little finger. American performers w h o ever toured Europe.
Mr. Scala is now engaged in the leading Picture Houses
THE NEGATIVE—"I have never found any advantage in and Vaudeville Theatres of America. H e displays with pride
resting the little finger on the sounding board, as in m y his Paramount banjo which served him faithfully on his long-
particular case it interfered with the free play and relaxation tour and which he avers has taken on for him a personality
of the other fingers . . . Foden is strongly opposed to the and he says, as Lindbergh did, " W E had a wonderful tour'.
littlefingerresting on the sounding boaid . . . "
This thought is by Mr. George C. Krick. His article is not
nearly as lengthy as is Mrs. Bickford's. It therefore has not
done the same justice to his negative view of the question.
Musical Instruments Heavily Taxed Under
I a m resting the little finger of the right hand and a m at N e w French Tariff L a w
comfort in doing so. But because I a m doing a thing or two, American musical instruments exported to France will pay
would be regrettable in m e to find merits in a practice, four times the duty imposed upon similar exports to Germany
when another practice is found to be more correct. There will and other nations, under the new French tariff established in
not be much of a calamity for students to change a poor connection with the recently consummated Franco-German
method for a better o n e — w e understand it is difficult for treaty, according to an analysis of the treaty and tariff just
accomplished players—but let the future guitarists have a made by experts of the Department of Commerce.
standard guitar position on the lap and a standard playing,
the violin has established a standard to great extent. The
violin, too, can be held and played in aridiculousway—they ROWDEN'S T E N O R B A N J O TECHNIC
Not Just an Instruction B o o k — a n d more than a mere collection of studies.
don't teach it otherwise, because they will not be able to earn A complete, carefully oraded work covering all the principles essential to
their living. the art of tenor banjo phiying, embodying the fruits of the author's many
years" experience as a soloist and teacher. Not an impractical or unneces-
Let us do something—say something. sary page or lino in the three volumes of 102 pages of harmony and tcchnic.
M:iy be used for banjo-cello, mandola and mandocello. as well as for tencr
banjo. Price $1.50 per volume, Canada $2.00.
C L A U D C. R O W D E N — 1 5 9 N o r t h State Street, Chicago, Illinois

GUITAR Guitarists! A t Your Service

MUSIC
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The FITRITE PICK X.T/"\rTTr'''EI'atl'st Radio Hit from K V O ( , K F O N . Ju,t off the iin-ss,
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it all musical nidse. dealers and Jobbers or T o m o r r o w M a y Bring M c Y o u 60 .40 .80 .60
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PLEASE MENTION The C R E S C E N D O W H E N WRITING TO ADVERTISERS
December, 1927 The CRESCENDO [25]
[ ANSWER ]
Yes, there were two famous guitarists by the name of Ferrer.
The One, and perhaps the most famous and better known of the two,

pUITARISTS' was Manuel Y. Ferrer, w h o m you mention. H e was born in Lower

California of Spanish parents and lived the greater part of his life
in San Francisco where he achieved most of his fame and where all
jB 1 vtt??V
G R O U N D TABLE of his published works were written. The other guitarist was Jose
Conducted by Ferrer, sometimes called Joseph Ferrer, w h o lived in Spain. H e
VAHDAH OLCOTT-BICKFORD
Virtuoso, Composer
was born in March, 1836, and thus lived at about the same time as
the other Ferrer. Both lived to a ripe old age. Jose Ferrer taught
»T»HIS D E P A R T M E N T is especiaUy for at the Conservatory of Barcelona, Spain, and also lived in Paris
A Guitarists, but anyone may ask ques-
tions pertaining to the guitar or contribute for some time, where some of his works were published. Some of
items. Questions or suggestions will re-
ceive due consideration.
his works were also published in Italy. T h e works of Manuel Y.
Address—"Guitarists Round Table," care Ferrer were all published in America by Oliver Ditson Co. of Boston.
of The Crescendo.
Napoleon Coste, the great French guitarist (in fact, considered
v»
the very greatest guitarist France has ever produced), was the only
one of note of his name in the guitar world—but there were two
H . F. I.—Lackawanna, N e w York other guitarists by the name of Costa, the one Antonio de Costa
/ have a number of steel guitar solos in the key of three and the other Onorato Costa. Both of these have published works
sharps, and the guitar is tuned in a chord of the Dominant but none of them have achieved the fame of the works of Nap. Coste,
w h o ranks among the very greatest guitarists of any period, and a
Jth in the key of .4, that is, from the sixth string as follows:
very great composer for the instrument, as well as a virtuoso of the
E—B—G§—D—E. How would I tune the Spanish guitar in first rank and an equally famous teacher. Coste w a s born in 1806
order to play chords to any song in that tuning? Or what in France and died in Paris in 1883. His compositions are gems
chords would I use? The main thing I want is to know of beauty.
how to make both instruments harmonize together uhen the
steel-guitar is played in that tuning. Thank you for any D. C. M.—Wilmington, Delaware

information. While the guitar seems to be at the present time more

popular in Europe than in America, uhat of it in England?
[ ANSWER ]
We seldom hear of a guitar appearing on a concert program
T h e tuning you mention is not a standard one even for the steel- in England any more and who are the leading exponents of
guitar, which is normally tuned in the A major chord. Not being
the guitar in England at the present time? I am referring
the legitimate or generally accepted tuning of the instrument, it
chiefly to soloists and composers.
would be no doubt impossible to find accompaniments for the regular
guitar that would be written to go with the pieces you mention. [ ANSWER ]
T h e only w a y to make such an accompaniment on the regular guitar T h e guitar in England at the present time is even less popular
that would harmonize with the tuning you have mentioned on the than in the United States. It has been many years since the instru-
steel guitar, would be to know harmony sufficiently well to be able ment has had any popularity to amount to anything in England.
to know the harmony throughout the piece you have for the steel- T h e leading soloist and composer of the past decade was Ernest
guitar and use those chords on the regular guitar. This applies of Shand, w h o finding the guitar too unpopular to continue making its
course only if you are reading the notes on the steel-guitar as they playing, teaching and composing his profession, went on the dramatic
sound, or that is, that it is not a transposed part you are playing, stage and became well known as an actor and entertainer in the
where the guitar is tuned in that fashion and you are reading it in leading music halls. Shand died a year or two ago. M a d a m e
the standard manner of reading. Of course if that were the case Sidney Pratten was popular as a soloist in her day, from the time
the above remarks regarding the regular guitar would not apply. of her childhood when she played duets with the celebrated Regondi,
But if your steel guitar is not only tuned in the manner indicated, to the time of her death in the nineties. She had a great following
but also read in that way, all you have to know to play an accom- as a teacher, among the elite of London, where she lived. Her sister,
paniment on the regular guitar is to know the harmony you are M m . Giulia Pelzer (so far as I know, the veteran guitar teacher of
playing on the steel and use the j>ame chords on the regular. the world), is still keeping up her work as best she can at her
studio in London, although in her ninetieth year. While the guitar
I. M. R.—Los Angeles, California had a great deal of popularity in England after it was introduced
Was there more than one guitarist by the name of Ferrer into that country by the famous master, Ferdinand Sor, yet England
has not produced many great soloists or composers, or in fart any
and if so what were the first names of each and where did
that will live, outside of the two mentioned. T h e English take
they live and what were their nationalities? I have seen more to other instruments.
music by the well-known M. Y. Ferrer and I have heard
the name used in such a way as to cause mc to believe that
there lias more than one guitarist by this name. The sunt1 8 New Solos for the Hawaiian Guitar
way in regard to the name of Coste or Costa. Was there
By J. VOLLMAR
THE HAWAIIAN GUITAR SPECIALIST
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"A M e n d mailed me your 1 •rn Album for (lm' N E A R E R , M Y G O D , TO T H E E " •' •• '• •• 25
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pieces! It is G R E A T that's
You will like it just ; JACOB VOLLMAR Charlott^SU^rRoch'e's'.er, N-Y.
Discount to Dealers and Teachers. Send for complete discrirtive circular.
Guitar Society — 2 2 8 0 West 23rd St.. Los Anjteles, Calif.

PLEASE MENTION The C R E S C E N D O WHEN WRITING TO ADVERTISERS

[26] The CRESCENDO D e c e m b e r , 1927

In music's realm there's none excel

In playing cheerful strains so well,

THE CRESCENDO READERS' T h o u g h grander themes in thee are found,

A symphony of banjo sound.

OWN COLUMN You fill, in music's realm, a place,

This column is open free to our readers A n d play your part with charming grace,
for discussion and contributions.
A master in thine o w n domain
O f music's sweet entrancing strain.

Staccato tones, so daintily neat,

O d e to the Banjo Like fairies tripping through m e a d o w s sweet

G. MuDER With bloom of dainty forget-me-nots,

T h u s sounds the banjo through m y thoughts.

Spirit of youth you seem to me, As Farland's playing I recall,

Thrilling with life and energy, A n d other artists, charming all,
Your tones and chords are bold and free, In artist's hands, I must confess,
Y o u fear no foe, 'tis plain to see. T h e banjo's full of loveliness.

You're like the youth of this dear land, Composers grandest music dreams,
A type of manhood, splendid, grand, These artists play, to m e it seems,
W h o fear no foe, their bravery, With wondrous skill and expression too,
H a s well been proven, o'er the sea. T o music's ideals ever true.

My tribute then I gladly bring

Thy tones are full of life and joy, T o those w h o to the Banjo cling,
O f happiness without alloy,
'Tis worthy of your constancy
T h y ringing chords they sound to m e In music's golden so.'reigntv.
Like bells that sing of liberty.

American, you're said to be,

N o wonder that w e foster thee,
You're right "on time" with your meaning clear,
American traits w e all hold dear. From the Drum or Banjo
[ • J O S E P H R O G E R S , JR. & S O N have been manufac-
Great solos show your quality,
' i turing D r u m and Banjo heads for 7? years. R O G E R S '
W h e n proven by great artistry, *-^ heads are standard equipment o n practically every
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tone, must have our product. Used by m o r e professionals
20 times over than all other makes combined.
Though one banjo, you seem a band,
W h e n played by artist's clever hand, Manufacturers of the following brands:
Y o u sound like two in one complete,
Superior Extra B r a n d Daisy B r a n d
Your strains sometimes are honey-sweet.
1st Quality B r a n d T h r e e Star B r a n d

Some say for "Jazz" you're best, by far, 1st Quality S l u n k B r a n d Union Brand
This m a y be so, you are a star S l u n k Extra T h i n B r a n d
In music's starry firmament
When rightly played with high intent. A T Y O U R DEALER'S

There's charm about you, all your own, Protect yourself—buy heads stamped WARRANTED
It sings right through your charming tone,
O u r blues and gloom they seem to flee JOSEPH ROGERS, JR. 8C SON
Before your cheerful minstrelsy. F A R M I N G D A L E , N. J.

A king thou art, in realms thine own,

High View, N. Y. Factories Farmingdale, N. J.
For life and cheer you stand alone,
W e love thee for thine o w n sweet way,
A gleam of sun on darkest day.
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ATTENTION! TEACHERS!
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Tor each fretted instrument, and K O T T Y ' S C O M P L E T E B O O K O F C H O R D S
(with diagrams) for each fretted Instrument, are compiled on one and the same T o p part has a S U M crip rim. M a d e
principle, which will enahle the teacher to Instruct on ono Instrument equally ,,\ gold n bronse, positively h a n d s o m e .
as well aa another. These books are compiled on a practical basis, and contain Y o u r dealer or direct 7 5 e
m a n y features and knowledge not found In other methods. Price, Methods, $1.50. Will send to dealers o n approval.
Chord Books, 75 cents. — Published by
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PLEASE MENTION The C R E S C E N D O W H E N WRITING TO ADVERTISERS

December, 1927 The CRESCENDO C27]

The Best

Christmas present
B & D "Silver Bell" Banjo
Means a
Life T i m e of M u s i c a l S u c c e s s

XIGEL HOLME owns a Style No. 3. Gold

Silver Bell Banjo. H e is the banjoist of
the celebrated B. A. Rolf Orchestra,
broadcasting over W E A F . They have
just finished a return engagement at
Keith's Palace Theatre, N e w York City,
doubling from Palais D'or.

START 1928 WITH SILVER BELLS

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A N D BOOKS IN A N
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ODELL should be subscriber
one and only Fretted
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box. Holds over ioo copies of sheet music or 8 books.
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PLEASE MENTION The C R E S C E N D O W H E N WRITIXG TO ADVERTISERS

[28] The C R E S C E N D O December, 1927

Guitarists' R o u n d Table—from page 25

WANTED and FOR SALE

Advertisements inserted here for 5c per word each insertion. Cash C. E. M.—Worcester, Massachusetts
with order. Minimum charge 50c.
Since answering your question in October Crescendo regarding
the various size^ of guitars, I have received the following letter
from M r . C. Frederick Martin of the Martin Guitar Co., so I wish
Sale—Mandolin-banjo, Gibson M. B.-4, silver plated. Faultless plush to case,
stand corrected on the matter of "amateur size" guitars in m y
mute, head not soiled, like new, guaranteed to be perfect. Make m e
offer. L. B. Coon, Newton, Iowa. answer to your question in the October issue, which I answered to
the best of m y knowledge, but it seems the Amateur Size has been
Largest Catalog of Hawaiian Steel Guitar Music in the U. S. A. More christened
than by that n a m e only for a couple of years and I knew 't
400 beautiful melodies. Send for Catalog. Paul Goerner, 302 Yale
Building, Seattle, Wash. only by the old name. M r . Martin's explanation follows: " A m o n g
other interesting things in your Guitarist's Round Table in the
$40.00, will sac-
October Crescendo, w e note your answer to the questions presented
by C. E. M., Worcester, Mass., relative to guitar sizes. In answer
Slingerland Tenor Banjo. 21 inch scale. $20.00. Will send C. O. D. Write to N o . 2 you say, 'There is no such n a m e as "Amateur Size" as
A. D., care of Crescendo.
related to the Guitar.' W e are wondering whether it is possible
that the questioner had in mind our Style 2-17 Guitar which w e
introduced about two years ago with the designation 'Amateur Size.
Professional Vega phone Banjo and case. 23 inch ale. $110.00. Write
C. G„ care of Crescendo. "Of course our N o . 2 Size is very old; it is probably the same
Stella Guitar. $12.00. Sandberg, of Crescendo. as the Ladies' Concert Size to which you refer, being a trifle larger
than the Size 2"^ which w a s called Ladies' Size. W e felt that the
from the Stannard term 'Ladies' Size' w a s not particularly fortunate for an instrument
Send $1.00 ISY 10 Pieces Catalogue, 2 M. & G., which w e hoped would have a wide market a m o n g amateur players,
2 M. & P. Duos, or Guitar Solos. You - O w n Selection.
so w e coined the n a m e 'Amateur Size.'
GEO. ST ANN ARD " W e are glad that there is a tendency toward smaller sizes in
Publisher of Over 500 Good Things forB. O. & M.
Guitars. O u r Style 2-17 has been popular and there seems to be
121 South Warren Street TRENTON, N. J. less demand for the Auditorium Size than there used to be. W e
would like very m u c h to confine our production to Standard and
Concert Size instruments."

LOOK HERE DeLano I a m glad to m a k e this correction in ray previous answer and
feel that m a n y players around the country will find M r . Martin's
You must have C. S. DeLano's new Steel Gui-
tar Method just out. Many new and exclusive
Methods
letter very interesting regarding guitar sizes.
ideas. T w o methods of playing ; amplified tones and
—something new. Tremolo, stage tricks, inter-
val artificial harmonies, arrangement of popular Music
music, 23 solos in 9 keys. The only complete for
method ever published. Get the best.
Price the same and complete
in one volume $1.00
Steel Guitar
and Ukulele
DIRECT FROM PARIS
p C r_T-T A INTO 8 4 5 S o u t h Broadway comes the cream of European Mandolin and Guitar music—the
L.. O . J L » E _ L A 1 > U Los Angeles, Calif. writings of such briUiant minds as Mezzacapo, Bara. Fantauzzi.
Munier, Marucelli— names that are household words wherever the
Mandolin and Guitar are played—music that is played by be-
ginner, amateur, artist. A postal will put into your hands our
FAMOUS TENOR BANJO SOLOS new folder—
By America's Greatest Banjoists and Composers
GHOST OF THE BANJO Hy Itoy Smeck
DIRECT FROM PARIS
DI2ZV FINGERS By Zez Confrey Write today to
KITTEN ON THE KEYS lly Zez Confrey THE MAXIMUM PUBLISHING COMPANY
CAT'S PAJAMAS ]ly Harry Jentes 1716 Chestnut Street, Philadelphia, Pa.
CRAZY JO By Harry lteser Importers of Banjo, Mandolin and Guitar Music
GREENWICH WITCH By Zez Confrey
ECCENTRIC By .1. Ilussell Robinson
PICKIN'S By Harry lteser
CHANGES By Krtward B. Claypoolo
TICKELS By Henry W. Ross
TICKLING THE BANJO By William Morris
Arranged as played by the composers, by Zarh Myron Bickford and
Improvising Secrets!
other great arrangers. Each number published with l'lano Ace. The 1926 Edition of the "Sure System of Improvising,"
Price 65 cents each
[Link], INC. - Music Publishers By S A M U E L T . D A L E Y
Jack Mills Building 148-50 West 46th St., N e w York, N. Y. T E L L S Y O U How to Play and ImproTlse Your Own Jazz Breaks. Hot
Choruses, Sock Choruses, Blue Notes, etc. All "FuUy" explained witn
Illustrated Models. Explains "Where" a Break belongs. "What" notes
Selected Solos for Tenor Banjo are to be used, "Why" these notes are used. "When" you are playing
wrong notes. "Who"? will be In "Great Demand for Hot Playing." Con-
with Tenor Banjo Accompaniments tains all lludlments and Rules for most Modern Methods of Improvising
for Banjo, Piano, Violin. Saxophone, Trumpet, Trombone, Flute, Clarinet
MANDY LOU 30 and "All" Lead and Bass Instruments. Also contains over 4.000 Original
ALATUA WALTZ 30 Jazz Breaks for "All" Instruments. 12 Hot Choruses, 14 Sock Choruses.
LUELLA GAVOTTE 30 6 Banjo, 5 Bass and 7 Piano parts for One Hot Chorus. 24 Rhythms.
HONOLULU MARCH 40 Original Waltz. "Hot" Roll Bass, etc. Most Modern. Simplified, Illus-
MOONLIGHT WALTZ 30 trated course of Self-Instructions published. 142 large pages or Invaluable
RIGHT O F W A Y M A R C H 40 "Inside Information" for "AU" Musicians. Endorsed by the Original
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SOUVENIR SCHOTTISCHE 30
M A S S A ' S IN T H E C O L D C O L D G R O U N D 30 PRICE—#3.00—POSTPAID
TENOR BANJO METHOD 75 Dealers, Jobbers, <write
Music and Supplies for the Hawaiian InBtrumaltfl
Send for Catalogue C. M. COLLINS CO.
197 Fulton Street - Brooklyn, N . Y . - U . S. A .
ROACH-FRANKLAND ^^SON'[Link].
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 The CRESCENDO

A N E W METHOD DE LUXE

"MONTANA'S" PLECTRUM BANJO BOOK

by« MONTANA"
The Famous Cow Boy Banjoist
The most attractive course ever devised for learning the PLECTRUM BAXJO.
In a clear and convincing stvle " M O N T A N A " reveals the svstem for quicklv mastering
all the technical features of P L E C T R U M B A X J O playing.
A m o n g the important subjects introduced are:—"Points For Pickers," " A F e w Don'ts,"
"Chart Exercises," "Where The Tones Are Best," "Augmented and Diminished Chords,"
"All Around the Keys," and "Jazz Strokes" for use on the stage and in the orchestra.
In addition there is a superb collection of instrumental solos, including several original
" M O N T A N A " numbers, as performed by himself on the stage.
The book is a gorgeous example of the progress attained in banjo publications; printed on
heavy selected paper and handsomely bound with an illuminated cover showing " M O N T A N A "
in brilliant white costume.
A book you will be proud to own.

Price in U.S. A $2.00

Published by

W M . J. S M I T H M U S I C CO., INC. —214-216-218 E. 34th St., N e w York City

THE UKULELE IN A N E W LIGHT

9
Roy Smeck s Favorite Stage Solos for
UKULELE
COMPOSED. ARRANGED AND CAREFULLY FINGERED BY
ROY SMECK (Wizard of the Strings)
These magnificent selections are the big hits played by Roy Smeck, in his triumphant tour throughout th-*
country. They reveal the marvelous effects possible on the L K L L E L E , when a natural system ot fingering
is employed. T h e titles of the solos are as follow- :
D R E A M Y EYES (Hawaiian Waltz)
H O N O L U L U "UKE" (March)
FRETBOARD RAG
RAGGING RUBINSTEINS M E L O D Y
"UKE" SAID IT (Rag)
O V E R T U R E " M E M O R I E S OF VENICE"
Every number a genuine hit, and published just as played by this "Wizard of the strings". T h e Over
ture " M E M O R I E S O F V E N I C E " will surprise anil delight Ukulele performers w h o desire brilliant effects.
with the least expenditure of effort.
A BOOK T H A T EVERY UKULELE PLAYER WILL CHERISH A N D ENJOY.
PRICE IN U. S.A. ... 75 CEXTS
Published by
W M . J. S M I T H M U S I C CO., INC. —214-216-218 E. 34th St., New York City

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•_• mn
 The CRESCENDO

BANJOISTS ODELL
MANDOLINISTS STRINGS
Special Sale
GUITARISTS discount to teachers
The Best and Strongest strings made in America. Breaking strength is the highest of any strings manufactured. Gauges correct
for all instruments. Mandolin, Mandola, and Mando-Cello strings especially good forflatback instruments such as Gibson, Vega, Martin,
Washburn, etc. Guitar gut and silk stringsfinestin the world. Tenor Banjo strings exceptionally strong for dance or concert work. All
steel and wound strings made of the highest grade of wire or silkfloss,looped or knotted ends on all strings except gut. Each string in a
special waterproof, glassine envelope. Where the dozen price is given, strings are not sold in less quantities at this price.
MANDOLIN TENOR BANJO GUITAR
No. STEEL AND W O U N D Doz. No. STEEL AND W O U N D Doz. No. GUT A N D SILK W O U N D Doz.
201 E 1st, steel $0.45 70 A 1st, steel $0.45 301 F 1st, gut $2.25
202 A 2nd, steel 45 71 D 2nd, steel .45 302 B 2nd, gut 2.25
203 D 3rd, wound 78 72 G 3rd, wound .88 303 G 3rd, gut .* 2.85
204 G 4th, wound 93 304 D 4th, wound 1.60
73 C 4th, wound 1.08
Set of 8 strings, 60c
Set of 4 strings, 40c
305 A 5th, wound 2.10
MANDO-CELLO 306 E 6th, wound 2.40
No. STEEL W O U N D Doz. Set of 6 strings, $1.20
213 A 1st, wound $1.20 REGULAR BANJO GUITAR
214 D 2nd, wound 1.60 No. SILK AND SILK W O U N D Doz. No. STEEL AND STEEL W O U N D Doz.
215 G 3rd, wound 2.10 50 1st or 5th, silk $0.65 307 E 1st, steel $0.45
216 C 4th, wound 2.75 51 2nd, silk .80 308 B 2nd, steel 45
Set of 8 strings, $1.50 52 3rd, silk .88 309 G 3rd, steel 50
MANDOLA 104 4th, wound . 1.60 309* G 3rd, wound 1.00
No. STEEL A N D W O U N D Doz. Set of 5 strings, 40c 310 D 4th, wound 1.08
205 A 1st, steel $0.60 311 A 5th, wound 1.35
206 D 2nd, wound 1.30 312 E 6th, wound 1.80
207 G 3rd, wound 1.60 PLECTRUM BANJO Set of 6 strings, 75c
208 C 4th, wound 2.10 No. STEEL AND W O U N D Doz. GUITAR
Set of 8 strings, $1.00 109 1st, steel $0.45 STEEL AND
UKULELE 110 2nd, steel 45 No. STEEL AND SILK W O U N D Doz.
No. GUT Doz. 307 E 1st, steel $0.45
111 3rd, steel 45
150 1st, gut $0.96 308 B 2nd, steel 45
112 5th, steel 45
151 2nd, gut 1.10 309 G 3rd, steel .50
152 3rd, gut 1.10 113 4th, wound . . 98
313 G 3rd, wound 1.08
Set of 4 strings, 30c
153 4th, gut 96 314 D 4th, wound 1.60
Set of 5 strings, 40c
Set of 4 strings, 40c 315 A 5th, wound 2.10
316 E 6th, wound 2.40
Set of 6 strings, $1.00

N E W arr. for T E N O R B A N J O
SOLOS - DUETS - by L. Loar
Young America, March —H. F. Odell A. Live Wire, March — J . H. Johnstone
After Thoughts, Valse Lente—H. F. Odell The Prize Winner, March — L . Tocaben
Laughing Eyes, Waltz —H. F. Odell Love's Old Sweet Song — J . L. Molloy
Invincible U. S. A. —H. F. Odell Beautiful Night, Barcarolle — J . Offenbach
Boston Commandery, March — T . M. Carter The Meteor, March — W . N. Ric-e
Price each 40c, Folio of ten $2.50

These Tenor Banjo parts recently added to the original arrange-

ments were planned to be used with piano accompaniment, either
as a solo or duet, yet they can be used as an unaccompanied solo
or duet very effectively. The solo part can also be used with the
orchestra accompaniment. The chord or obligato part on the same
score of each arrangement, is also suitable as an orchestration.

H. F. ODELL CO., Publ.

One Order—One Bill—One Expense for All Music
157 COLUMBUS AVE. BOSTON, MASS.

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