The Crescendo

It Needs Transformation Not Control. You

Cannot Control the Wrong to be Right.
If a howl body is a wrong1 construction for the Guitar, why is not the bowl body a wrong con-
struction for the Mandolin? T h e y are sister instruments.
A . E . S U T T O N . Turnbridge Wells, England.
Conductor of o n e of the most competent Mandolin
Orchestras in the K i n g d o m , and one of the best quali-
fied judges in his country, w h o s e i pinion c o m m a n d s
the reverence of both pupil and virtuoso, writes:
"I a m delighted with the Gibson Mandolin. It is
quite the best I have ever played on."
W e have all realized every effect has its cause, but w e have n o t all realized t h e e f f e c t h a s a
c a u s e that is • i m i l a r . M r . G o u r d Mandolinist, in a very confidential m o m e n t to an intimate
friend, you vere heard io criticise the lone of the bowl Mandolin, a c k n o w l e d g i n g its pinched, restricted
carrying power, but "Great g u n s and little fishes", did y o u shortly afterward r e c o m m e n d a pinched,
restricted construction that produced that pinched, restricted tone and try to sell that very friend a bowl
Mandolin?
N o two conditions directly opposed to each other can successfully exist in the s a m e instrument at
the s a m e tinre. Granting the sounding-board were so m a d e as to be free for vibration, w h a t about the
bowl? That is not free and does not respond by sympathetically reinforcing the sounding-board as
does the j^radu.ited b a d -board of the " G i b s o n " , and there y o u are. A pinched, restricted tone ("the
effect"), a pinched, restricted construction ("the cause that is similar"), a responsive (?) sounding-
board and an unrespomive, dead back-board that absorbs the vibration of the sounding-board instead
of reinforces it ("the two conditions directly opposed to each other'*), and this is the construction y o u
(?) r e c o m m e n d as the best.
Because it is not the best, but needs transformation is w h y the " G i b s o n " is. O n e reason
manufacturers are still trying to control the tone by different shaped bowls is because they h a v e been
slow to realize that to rontrolis to subdue and that which is subdued loses power. " B u t " , they say,
"the hard metallicness of tone m u s t be subdued to give the desired quality." T r u e , it m u s t with the
gourd construction, and this is a confession of another point that's w r o n g , and of trying to m a k e t w o
w r o n g s right w h e n they (the manufacturers) cannot control one w r o n g to be right, let alone two.
"It needs transformation, not control.'* It needs a light rim, a properly graduated and arched
sounding-board and a b a c k - b o a r d to reinforce the tone; not a b o w l to m o d i f y it. It
n e e d s — b u t what's the use? It needs the *'Gibson" construction, and to satisfy a craving for something
better, there w a s something better (the "Gibson'*) created. T h e r e w a s not a n attempt to m a k e a thing:
already created different from w h a t it is. T h e latter w a y is to m a k e over, but a " m a k e o v e r " , whether
instrument, house, or suit of clothes is a botch job for a patch-up is never as g o o d as the n e w .
W e cannot r e m o v e evil. This the g o o d alone can do. W e cannot r e m o v e the old style instru-
ments. This the " G i b s o n " alone can do.
But the Teacher says, "I m u s t realize on m y advertising the old construction, besides I hold the
confidence of m y entire c o m m u n i t y and, therefore. I can control the trade."
Perhaps you can temporarily, but y o u cannot control the w r o n g to be right and w h e n the "Gibson''
and its educational system turns on the search light of truth in your territory—when the hour of oppor-
tunity reveals its gathered p o w e r and you are discovered to be a short circuit furnishing the least g o o d
to the greatest n u m b e r , " y o u lose your control" and the rise, climax and decline of another m a n of the
hour, w h o s e hour is past, is recorded.
"It needs transformation, not control. Y o u cannot control the w r o n g to be right.'*

BE OUR AGENT. Do business on our capital. Stock furnished. We help sell. We pay the advertising; you
pay for g o o d s w h e n sold. Return goods not sold. T r y our "Still H u n t " . Write for n e w catalog a n d territory. "Gibson" instru-
m e n t s sold o n p a y m e n t s . F R E E : Thematic Catalog.

GIBSON MANDOLIN GUITAR CO., 105 Exchange Place, Kalamazoo, Mich.

British Distributing Agent, A DeVEKEY. 1 Stafford R o a d . B o u r n e m o u t h , England.

T h e C r e s c e n d o Is compiling a lift of the M a n d o l i n a n d B a n j o Orchestras of the world. It will take several years to d o it
but with the assistance w h i c h w e shall have, it will b e accomplished. T h e principal object is to s h o w to the w o r l d at large the
t r e m e n d o u s Influence w h i c h these organizations h a v e . Many m u s i c publishers h a v e in their catalogs pieces which players
desire a n d s o m e publishers are skeptical about Issuing the pieces for m a n d o l i n or b a n j o orchestras as they are In d o u b t as to
the actual d e m a n d . T h e C r e s c e n d o , by publishing a list of orchestras, will e n d e a v o r to s h o w that there is a d e m a n d for good
music. T h e r e are undoubtedly h u n d r e d s of m a n d o l i n or b a n j o clubs, therefore C r e s c e n d o readers a n d leaders of orchestras
a n d clubs will confer a favor by sending u s the n a m e s of these organizations, w h i c h will b e published in the list f r o m time to time

X5he C R E S C E N D O . 165 T r e m o n t St.. B o s t o n . M a s s . . U . S. A .

Name of Orchestra
Director
Street
City or Town State--
How many members
Instruments

and addresses of m e ; m a y be sent i separate paper

stating ments played.

'-' L a n g h a m M a n d o l i n Orchestra, H. F. Odell. Director, K l i e m a n n ' s G i b s o n Quintette, G |!<!iemann, Director,

165 Tremont St., Boston, Mass. 35 Members. Mandolin, 47 Washington St.. Williamsport, Pa. 5 Members. Mandolin,
Mandola, Mando-Cello, Guitar. Flute, Cello, Piano, Drums. Mandola, Mando-Cello, Piano.

Boston Ideal Club, G. L. Lansing, Director, 170A Ladies Aeolian Mandolin Club, H. \ Davis, Direc-
Tremont St., Boston, Mass. 4 Members. Mandolin, Mandola, tor, 230 Pleasant St., Worcester, Mass- ioMembers. Mandolin,
Banjo. Cello, Guitar. Mandola, Banjo, Piano.

Worcester Ideal Club, H. N. Davis. Director, 230 Tetrauq Quartet, L. W. Deuk<;r. Director. Hotel Havlin,
Pleasant St., Worcester, Mass. 8 Members. Mandolin, Man- Cincinnati, O . 4 Members. Mandolin, Mandola, Mando-Cello,
dola, Mando-Cello, Violin. Banjo, Harp Guitar. Harp-Guitar.

Derwin Mandolin Orchestra. J.J. Derwin, Director, Superba Mandolin Orchestra, Wm. E. Foster, Dir-
109 Bank St., Waterbury, Conn. 25 Members. Mandolin, ector. 510 Knickerbocker Ave., Brooklyn, N. Y. 15 Members.
Mandola, Mando-Cello, Banjo, Guitar. Mandolin, Mandola, Mando-Cello, Harp-Guitar.

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

2 The Crescendo

Our S u m m e r Crop
These numbers m a y be used
for one, t w o or three Violins
and Piano.

Selection from " The Bohemian Girl" 50 40 50 30 90 1.20 1.40 90 1.10

M. Balfe. Arranged by H. F. OJell

Flower Song ..... 30 20 30 20 40 60 50 70 60

G. Lange. Arranged by H. F. OJell

By Moonlight, Serenade . 30 20 20 20 40 60 40 70 50
T. H. Rollinson. Arranged by H. F. OJell

W e Have Just Issued a New Catalog

of our Mandolin, Guitar and Banjo Music and have a pamphlet of S A M P L E MANDOLIN PARTS.
BOTH SENT FREE O F CHARGE.

OLIVER DITSON COMPANY, Boston, Mass.

C H A S . H. DITSON & CO. J. E . D I T S O N & C O .
NEW YORK PII II.ADELPHIA

Does Merit Win ?

Read the Answer.
No goods consigned, no one dollar a week in-
stallment plan at triple pric •s. N o Free letter
heads or olher advertising f irnished (supposedly)
free of charge as a bait t< entrap the unwary.
Nothing
get free.you
just what Youpaypay
for. for
Legitimate M•te and
thodyrs
that arpeal to the intelligent and critical buyer-
Finest toned Instruments in the world
at moderate prices.
R E S U L T S more orders than 1 could till the
past season and all cash business at that. Have
again enlarged my plant and c a n n o w accept
some of the orders I h a d to refuse during the
season just past.
Can place a few agencies with live Teachers anj Dealers. Write now
THE BOOK FOR ORCHESTRAS AND CLUBS
for catalogue and prices to Arranged in ist position this collection has absolutely no
NA/IV1- C- equal. Arranged for all instruments. Prices: ist Mandolin
211 Grand Avenue, Milwaukee, Wis. 40 cents; 2nd Mandolin 40 cents; Guitar Accom. 40 cents;
Piano Acc. 50 cents; Tenor Mandola 40 cents; Mandocello
Mandolins,
40 cents; Violin Obligato 40 cents; Flute Obligato 40 cents;
Qnitars and lianjd tho World
Cello Obligato 40 cents.
•40 per esnt discount 11 yon enclose this ad. w h e n order-

COMPLETE CONTESTS
THIS IS A PROGRESSIVE A G E Angel's Sr Pale La
ir. mandolin Player, W h y don't yon trj t he Ave Maris to ("Sylvia" Ballet)
Brrdal Cho Polish Dance
IGHT" MANDOI-IIM P I C K S Spanish Waltzes)
GENtllME LUONITE, BEVELED EDUES Secret. The (Intermezzo)
M a d e In four grades nqu ntaine La Serenade
Never Chip cr Break College Medley
of flexibility
^K E^^ Improve Tone
Cradle Song
Enchantment (Waltzes)
Loin du Kai
Love's Dream alterthe Ball
Serenade Badine
Sing,
npleSm.le SU Tiber (Serenade)
Sorella. La (Spr h March)
Spring Song
Traume-ei
••Wright's Peerless" Strings are THE VERY -BEST WAVE Lucia di Lammermoor (Sextette)
Melody in F Valse Bleue
S A M P L E SETS MAILED AT I-OLLOW1NG PRICES ney ba t ,1 you Wooing (Vaise Intermezzo)
Banjo, gut and silk wound 4ths, set 40 say so. I IvHgnon (Entr'acte)
Guitar, Basses," 7, 7 ue STRINGS, Palms, The
Mandolin, Sil., Steel, Polished Copper Basses, set . .40 CASES, elc.
L O U I S F. W R I G H T . Winsted, Conn.
Hinds, Noble 6 Eldredge
T E A C H E R S A N D D E A L E R S PLEASE A S K F O R W H O L E S A L E PRICES 31=33=35 W e s t 15th St. New York City
Jobbers please write us

WHEN WRITING TO ADVERTISERS PLEASE MENTION THE CRESCENDO

 : o j c.

The ©rasosmidl® DEVOTED TO THE INTERESTS OF THE

Mandolin, Guitar and Banjo

OFFICIAL ORGAN
OF THE
Cla. B, No,
JUL 121909
AMERICAN GUILD
OF

Banjoists, Mandolinists and Guitarists

VOL. II. BOSTON, JULY, 1909. No. 1.

The Lancaster Banjo Trio of Lancaster, Pa., recently organized, is, by its careful attention to detail, rapidly working its way to the
front. Its repertoire includes many standard numbers. W m . C. Landau who plays first banjo, ranks very highly as a soloist. He has
practically given up the mandolin and guitar and now devotes his entire time to the banjo. John K. Trewetz plays second banjo and
is not only a clever player but is able to perform on 16 musical instruments and has been very successful In vaudeville. Lloyd H.
Ibach plays third banjo and has appeared In vaudeville at various times and is a very excellent player. The trio has had & very suc-
cessful season and indications point to a excellent coming season.
 T h e Crescendo
NOTATION
By J). L. Day.
This article w a s read at the last Guild Convention, April I5th.
During a recent trip which included all the leading
cities east of Buffalo and Pittsburg I took the opportunity
of sounding the leading teachers w h o m I met as to their
opinion concerning the A and C notation as applying to the
banjo.
T h e mandolin player wishing to obtain a certain piece
has quite a field to draw from. If there are no arrangement
m a d e he can, at least, have the opportunity of buying the
violin, cornet or piano part and in this w a y have the privi-
lege of trying out the piece which he has in mind. The
poor banjoist however, (am speaking n o w of the ordinary
player) does not have any such privilege. Having learned
in A notation, the piece he m a y wish to learn probably has
no banjo arrangement published and if so it is a sad affair.
That I believe is the general opinion of the banjo arrange-
ments which have appeared to a great m a n y pieces. T h e
principal fault is, that these arrangements are m a d e in a
key so that the banjo can be played in combination with
the mandolin and guitar, whereas if the arrangements were
m a d e strictly banjoistic and put into a key that they should
be on the banjo the results would be far different.
Most of the leading teachers of the present day m a d e
their start with the banjo. At that time the mandolin w a s
u n k n o w n here. T h e guitar although a most charming
instrument is a very difficult instrument to master and has
not become what w e call popular although it has a large
following and its true worth is recognized by everyone
interested in the B. M . & G. Although some of the
teachers of late years have had more business with the
mandolin, the banjo at the present time is coming to the
front showing the result of a healthy and substantial
progress.
T h e banjo being under discussion at the present time
will confine m y remarks to that instrument. Have you
ever noticed those w h o have dropped the banjo for five or
ten years come around with a Renewed interest. T h e old
"plunk" is given a n e w head, n e w strings and a n e w start
is made. There seems to be something about the banjo
that spells "Enthusiasm." Even if the interest has burnt
low something rekindles the spark and presto!—a desire is
created again, the result being the banjo becomes a live
wire that connects the teacher with a course of lessons and
later on the manufacturer for one of the "latest and best."
I verily believe, take two persons that are on the outs,
let them learn the banjo and then bring them into a gath-
ering of players and the banjo will bethe means of bringing
them together. So m u c h for the enthusiasm of banjoists
and the power of the instrument to awaken a renewed
interest which had become slackened.
At most every.concert the banjoist makes a "hit" and
those w h o have attended the B. M . & G. Festivals k n o w
that this is so. At the last convention in Washington, Mr.
J. J. Derwin coming on at a very late hour about n P. M.,
and on a very long program m a d e the hit of the concert with
his banjo. I hope no one w h o having been helped to
success by the aid of the banjo will forget a debt which w e
all o w e to those w h o have helped us in "our infancy."
T h e question of A or C notation prevailing at the
present time has considerable to do with the future of the
banjo. T h e present trend of matters seems to be towards
the C notation and I hope all lovers of the banjo will give
it serious consideration so that any decisions ultimately
m a d e will be acclaimed as the best solution. M a n y of the
teachers read or teach in A and C . Others say they
would not use C until they were absolutely compelled to.
Those favoring the A notation besides arguing its easier
teaching qualities and tending not to discourage the embryo
pupil want to k n o w what is to become with one or t w o
hundred dollars worth of music which they have on their
shelves.
Jerome M a y of Bridgeport, Conn., taught C notation
w h e n he first started. Having no books to guide him he
had to write out the lessons. This w a s about'61. S o m e
years later one of his brightest lady pupils went to spend
an evening with a friend w h o played banjo and w a s very
m u c h surprised and perplexed w h e n she found out she
could not play the same music as her friend w h o had been
taught the C system. O f course, her friend, w a s equally
at " C " with the C notation of her visitor. Would not
this be the result of the present agitation if the C notation
w a s adopted ?
Victor Smith of Troy, N. Y-, has taught C notation right
along and being an orchestra leader and fine musician has
written out the lessons for his pupils but would like to see
a systematic course of studies the same as used in violin,
piano, etc. Friends B o e h m and Knipfer are hot over the
C notation and already see it adopted at the next convention
O n e of the drawbacks of the banjo the last few years has
been the lack of n e w music which is banjoistic.
I do not think a fortune awaits anyone even if he can
produce good banjo music as the tastes of the banjoists are
so varied. All the professional artists of today play from
the piano or orchestra score and you k n o w to m a k e a hit
with the banjo professionally requires a constant "trying
out" to determine just what are the most suitable pieces in
fact, it is an entirely different proposition from the concert
soloist. In this w a y it is generally considered the profes-
sionals are up to date in their music selections. T h e desire
among all of us is usually stronger to get at something out
of our reach and the A notation player is usually "left at
the post" w h e n he wishes a certain piece and finds it is not
published for the banjo.
T h e C notation learner has the satisfaction of purchas-
ing some arrangement and at least trying it over on the
banjo. At first his efforts m a y be crude but by sticking to
it in time his efforts will be rewarded and no doubt a great
m a n y would develop into expert banjoists through having
to rely on themselves in this matter.
There is a subject which occured to m e as a solution of
this perplexing question, A and C notation and I have
discussed it with several well-known authorities,—that is
(Continued on page g)
 The Crescendo

THE MANDOLIN ORCHESTRA

By Herbert Forrest Odell

(Continued from June C R E S C E N D O ) the two lower mandolin string to be played open is no harder
A pleasing variety in a program is to than the key of E in which the two upper strings are
GUITAR have the guitar section play one number played open.
CONTINUED alone using a selection arranged for two, I believe with the universal introduction of the harp-
three or four guitars. This is very interest- guitar into mandolin orchestra instrumentation that the flat
ing for the players in this section and it is to be regretted keys will be used m u c h more in mandolin orchestra
that there is not more music arranged with several different arrangements as m a n y pieces are n o w transposed into
parts for guitars. sharp keys which would be more effective if left in the
1 have noticed in large orchestras it is sometimes flat keys.
customary to have the guitarists seated in the back rows For balance of tone in the mandolin orchestra, I should
but spread out, completely encircling the back and sides of say that one large i5 string harp-guitar is equal to about
the orchestra. I consider this a poor w a y to seat the guitar- three or four regular 6 string guitars, or one io string
ists as the bass is then too scattered and while if each harp-guitar is equal to two or three 6 string guitars.
player were an accomplished professional accompanist the T h e harp-guitar produces a quality of tone which is
effect from the front might be all right, in an amateur very similar to the real harp and on account of the neces-
organization, the players in the guitar section are more or sarily larger body of the harp-guitar, the tone produced is
less dependent one on the other, and the guitar section m u c h more sustained than the 6 string guitarand w h e n the
will play better and be heard to better advantage by lower bass strings are played the effect is s o m e w h a t
bunching the players together in the back rows near the similar to the double bass in the orchestra, of course not
center of the orchestra. This assists the players in this quite as sustained, but still m u c h better than the ordinary
section in working and playing together and also allows guitar which I have stated before is generally over-forced
the director to obtain any certain effect he m a y desire from and the pungent t h u m p of the bass strings is frequently
that section. heard too plainly.
In the harp-guitar, w e have the There are m a n y small combinations today of 5 players
H A R P - G U I T A R ideal accompaniment instrument for the consisting of first and second mandolin, tenor mandola,
mandolin orchestra. O n e harp-guitar mando-cello and harp-guitar. I consider this combination
in power is equal to five or six mandolins or even more almost perfect for a small mandolin orchestra and the larger
except where the mandolin players are especially good mandolin orchestras should be built up from this same
ones. T h e basses on a properly constructed harp-guitar combination only adding to the different sections and of
are tremendous in carrying power and the quality of tone course if desired adding the obligato instruments but the
produced is beautiful and rich. A very important point in combination of instruments mentioned above in the hands
connection with the harp-guitar is the fact that the correct of expert players are capable of playing almost any'piece
basses m a y be played. It is customary with the 6 string of music of ordinary difficulty.
guitar w h e n playing in the key of G , for instance, to use I a m referring to all of the instruments in this series
the low G for the first note, then alternating with the key of articles as connected with the orchestra but I believe w e
of D above. This is an incorrect inversion of the bass but is have in the harp-guitar the most wonderful instrument for
necessarily used with the 6 string guitar. With the harp- solo use that has ever been introduced into the instrumen-
guitar, the correct bass m a y be used, using first low G tation. At the present writing 1 have heard of only a f e w
then alternating with the D below that G or in other words using the harp-guitar as a solo instrument and I earnestly
the same basses m a y be used on the harp-guitar as on the urge all those w h o are using the instrument in club work
piano or harp. to perfect themselves in solo playing on the harp-guitar
The harp-guitar is in its infancy. There are three or four and leaders should introduce this solo as one of the numbers
m a k e s of instruments on the market but only a few play- of a concert program. I believe if our prominent virtuosi
ers have learned what wonderful possibilities are in them. w h o atthe present time devote themselves to elabaratesolo
With the use of the harp-guitar not only the correct basses work on the 6string guitar would give more of their time
are possible but in the hands of an expert player, bass to solo work on a well-built harp-guitar, that not only
runs hitherto not introduced into the mandolin orchestra are would their business inertase but the public would become
m a d e possible. Without the use of the harp-guitar, the decidedly more interested in the guitar. T h e possibilities
flat keys are almost impossible but immediately a harp- of a harp-guitar as a solo instrument are astounding. A
guitar is introduced into a mandolin orchestra flat keys capable player after some practice could bring out effects
become as easy as sharp keys. T h e mandolinist has that w e have never even thought of in connection with
become accustomed to sharp keys and rather objects to these instruments and 1 a m very m u c h surprised that more
playing in flat keys and yet beautiful effects are to be players do not adopt the instrument as a solo instrument in
obtained by usingflatkeys and the key of B flat which addition to the accompaniment work. Just imagine as a
allows the two lower strings to be played open is no harder concert number for a program, 4 harp-guitars playing a
than the key of D and the key of Eflatwhich also allows (Continued on page 9)
6 The Crescendo

GUILD BULLETIN
J have been negotiating with prominent teachers in but there are thousands of young amateurs in this country,
England and Australia in regard to becoming the local members of various clubs and orchestras who would derive
secretary for the Guild in each of those countries. There much benefit from an associate membership in the Guild.
are many prominent teachers and players in both countries M a k e an effort, everyone, and send in some n e w
interested in the progress of the American Guild and we members.
already have members in both countries. It is quite prob-
able that we shall make final arrangements so that the The following is a letter recently received from one of
Guild will be represented in several foreign countries. I o u r n e w members in England which will be of interest to
believe if a large number of prominent English teachers the American members.
would join the American Guild at the present time (I feel H. F. Odell, Sec-Treas. i Stafford Road,
very sure that a large number are going to) it will be the American Guild. Bournemouth, Eng.
entering wedge for the formation oi a British Guild for the Dear Sir:
reason that if from twenty-five to fifty should join the Though located in England, 1 will be pleased to join
American Guild from England, it is proof conclusive that it your Guild, principally because it will give m e a better
will be possible to form a Guild over there. opportunity of becoming thoroughly familar with all the
It is strange to me that the progressive teachers of details of same.
these instruments today sometimes have to be shown what Owing to the existing condition of things over here, it
benefit they will derive from membership in the organiza- is regarded as next to impossible to successfully run a simi-
tion. W h e n one thinks of the prevailing interest in the lar organization to that which you have in the States,
instruments, I wonder if one stops to consider that the though 1 am of the opinion that, if it could be carried
American Guild has been very instrumental in creating through, the trade and the profession would greatly bene-
this renewed interest. fit thereby.
Let us suppose for a moment that the instruments had The annual American Guild Concert and the "Exhibit-
died out as they threatened to do some years ago. What ion" as it were, of the different manufacturers' goods etc.,
would the teachers and players who depend on these has an importance, to m y mind, that can hardly be over-
instruments for their livelihood do, if such were the case ? rated.
At the present time, the teacher is enabled to do a good The Guild has accomplished much good, and I think
business on account of the interest in the instruments, the banjo, mandolin and guitar teachers in the States are
Imagine for a moment the Guild membership increased to sanguine that in the near future it will accomplish a great
iooo teachers. The interest which such a membership deal more.
could create would more than double the revenue which Even if today the successful formation of a Guild here
the teachers are receiving at the present time and yet some in England is regarded as "impossible" it is also "possible"
teachers hold aloof waiting to see what the developments that these strained conditions will not always exist, and in
will be. The Guild has long since passed the experimental the near future may be swept away, and a better state of
stage and 1 believe today in this country at any rate, the things prevail. Here's hoping so. Very truly yours,
American Guild sets the fashion. W e have carried out A. DEVEKEY.
many reforms which have been adopted by nearly every
F o r t h e beneflt of n e w
manufacturer and publisher in the country, and member- members who have recently
ship today in the American Guild is of much benefit to any Joined t h e Guild > •a 8 a i n cal1 attention to the Guild pin
whlch m a
teacher or player of the instruments. y b e o b t a i n e d f r o m t h e Secretary-Treasurer for
75 cents each. The pin is a very dainty affair, a little
In connection with the mention above of a larger smaller in size than a io cent piece. The outer circle is
membership, I wish to urge on each and every member the made of red enamel with the words "American Guild " in
importance of increasing our membership and I ask one and gold. The center piece is of white enamel with the mono-
all to do their utmost to bring new members into the gram B. M. G. The rest of the pin is made of an excellent
organization. quality of gold plate. It is a neat ornament to wear and
The Guild stands ready to pay as dividends an we have just had a new supply made up. lf you want
increased business for every teacher in the country, but one, send 75 cents to the Secretary-Treasurer.
through lack of a large working capital, we are unable to H. F. O D E L L , Secretary-Treasurer
send out all the circular matter that we should and although
w e are continually sending out various things, we should Recent N e w Guild Hembers
have enough money in our treasury to send out thousands PROFESSIONAL
of circulars explaining the work of the Guild and details, A. DeVekey, 1 Stafford Rd Bournemouth, England.
therefore I hope the present members will exert every ASSOCIATE
possible effort in inducing others to join. Only teachers Miss Ethel Straub New Carlisle, Ind.
and professionals are eligible for professional membership J. F. Scheurich 1377 Putnam Ave., Brooklyn, N. Y.
 The Crescendo
Crescendo Round Table Prominent Guild Members.
For Teachers. Players, Dealers. Manufacturers and Publish-
ers. Anyone may contribute to this department Stories Poems, A M e m b e r of the Executive Committee.
Ideas, Opinions. Send in anything you wish only please m a k e
it short.
My Experience with C Notation
By G. Kliemann
This article was read at the last Guild Convention, April 15.
From the very beginning of the agitation I have been an
advocate of the C notation, seeing the advantage it would bring to
the banjo and literature; but there w a s the hook, no instruction
books and no music publisheJ in C notation. At the last Guild
Convention in Washington w e had the promise of those interested
in its advancement, that they would publish shortly in C notation ;
Boehm, of Buffalo, had io pieces, T h o m a s Armstrong, and several
others would supply the immediate demand. I w a s good to m y
promise to teach in C notation and so started ; the first n e w banjo
pupil w a s informed of the n e w possibilities, which the C notation
would give him and the ancient A notation discarded. 1 looked
around for an instruction book and with the aid of our two
monthlies, the C R E S C E N D O and the Cadenza, could not find one
amongst the advertisers. 1 remembered although that our G . L.
Lansing had written a method in both notations and published by
Witmark. It w a s ordered and pupil and 1 commenced. Soon I found
that in this book all the A notation w a s not transposed in C and
w e got stuck. W . C Knipfer told m e in a letter last summer that
he w a s transposing W . C . Stahl's banjo method in C notation, so
1 wrote to Stahl but got neither book nor answer. A letter to Knipfer
brought the news that the whole affair w a s at a standstill on
account of his not getting the proofs. After waiting some months
this method at last came from the press and pupil and I started with
renewed vigor. After a while and as the pupil advanced he wanted
some pieces of sheet music. Here is where w e were left again, for I
have not seen a single one advertised so far.
I have been doing some stunts with mandolin and other music, SYDNEY N. LAGATREE.
popular songs, etc., but a m still waiting for the publications that Sydney N. Lagatree is a native of Saginaw, Mich. During
were promised last year. I have four more pupils waiting to his youth, he had an excellent business training and studied music
commence with the study of the banjo, but a m holding them back merely as a pastime. H e became so interested in music that he
until after the Guild Convention to see what the outcome will be. decided that it w a s the proper life work to take up. His great
Shall the teacher that is progressive and adopts the C success as a teacher, director and music publisher shows that his
notation go to the trouble of importing some publications from Eng- adoption of music as a profession w a s a wise one- M r . Lagatree
land ? If he does, he will certainly find vast material and stick to has been extremely successful as a teacher and has had a great
the use of those importations to the detriment of the American m a n y pupils, but his publishing business has grown so rapidly in
publisher. the past few years that he has had to limit his teaching toa very
N o w if ioo banjo teachers with only 6 pupils will order banjo few pupils which include teachers and professional players on the
music in sheet form in say from the first to the third grade, banjo, mandolin and piano accompaniment playing. Mr. Lagatree
it certainly will pay the publisher to issue them. W h y do has been interested for m a n y years in orchestra work and has been
those that promised the publications hold back? If they go ahead director of several organizations. H e is at the present time assistant
it will open the market for American banjo music in England, conductor of the Detroit Conservatory S y m p h o n y Orchestra, an
Australia and all over the world and'will pay the publishers of old organization which has been of great assistance in interesting the
favorites to publish the latter also in C notation, so that the C musical public in Detroit in the better class of music. M r . Lagatree
notationists elsewhere than in America m a y have a chance to play ranks very highly as a composer. H e has not only written music for
them. the stringed instruments but for the piano as well. H e has had
A n English Orchestra excellent training for both solo playing and composition.
A m o n g the m a n y noted teachers with w h o m he has studied are
In answer to the question Are there any Mandolin Orchestras
in England? w e show the photo of B. M . Jenkins Orchestra Farland, Gargiulo, Amsden, etc. S o m e years ago Mr. Lagatree-
(150 members) of London. This orchestra gives concerts at Royal left Saginaw for a larger field and went to Pittsburg, Pa., for a
Albert Hall, Crystal Palace, etc., and is a regular permanent time, but having had a previous offer to succeed Eugene Page in a
organization. noted conservatory, he decided to locate in Detroit, Mich., where he
is now. Mr. Lagatree is still a young m a n but through his long
experience is very conversant with all that pertains to music. H e
is especially bright as a conversationalist. H e is a careful student
of ali subjects in which he is interested and is one of the most genial
1 fir<*» . •/>•,*>. Ztrrf&fjfiOJjp ,.«rtJ<*, .1 \
members of our fraternity to meet. H e w a s recently elected as a
member of the Executive Committtee and it is quite likely that
within the next year or two he will manage an annual Convention
of the Guild at Detroit, Mich., and if such bethe case, w e predict
that a convention held under his management would be extremely
successful bothfinanciallyand artisticly.
H.F. Odell, Salford, England.
Dear .Sir:
I thoroughly enjoy the articles in the C R E S C E N D O which
are very instructive. R O B E R T DAVIS.
8 The Cr icendo
J5he CRESCENDO. N o part of the country should be asleep. The whole
A Magazine for the Player, Student and Teacher of the country should be teeming with interest and w e predict
Mandolin, Guitar or Banjo. that it is going to. Eastern trade will, during the coming
year be on a par with the western trade. T h e trade of the
HERBERT FORREST ODELL,
entire country will be on an even basis. W h y ?—because
Editor and Manager. the Easterners, Westerners, Northerners and Southerners
Published Monthly by the are going to join hands and create a n e w interest in the
C R E S C E N D O PUBLISHING CO., INC. banjo, mandolin and guitar which has never before been
SUBSCRIPTION PRICES. known in this country.
Single Copy, io cents- T e a c h e r s — M a k e up your mind that this is to be a
Yearly, Ji.oo- great year; that you are going to have more pupils than
Canada $1.25- ever before. Prosperity for all of us is coming just as sure
Foreign 6 Shillings- as fate—in fact, it is here. Say to yourself, I a m going to
ADVERTISING RATES will be sent on application. Forms send in a lot of subscribers to the C R E S C E N D O because
close on the 10th of each month for the succeeding month's issue. everyone w h o reads it becomes more interested in one of
R E M I T T A N C E S should be made by Post Office or Express the three instruments and the more people that become
Money Order, Registered Letter or Bank Check or Draft. Checks interested, the more pupils I will have. Get this idea
accepted only on banks with exchange in Boston or New York. firmly fixed in your mind and start n o w . Send in the
C O R R E S P O N D E N C E is solicited from everybody interested subscriptions and join hands with the C R E S C E N D O in
in the Mandolin, Guitar or Banjo. W e should be pleased to receive increasing the interest. Co-operation can work wonders.
programs and reports of concerts, club and orchestra news, personal You can't do it alone, neither can w e , but by working
notes and music recently issued. together w e can.
W e a r e not responsible for the opinions of Contributors. Publishers—Issue your best pieces for mandolin
A D D R E S S C O M M U N I C A T I O N S to the Editor. A L L RE- orchestra with tenor mandola and mando-cello in the treble
M I T T A N C E S should be made payable to clef and the banjo obligato parts in both A and C notation.
C R E S C E N D O PUBLISHING CO., Also issue your banjo solo pieces in both notations Be
165 Tremont St., careful of your arrangements. Employ only the best
Boston, Mass. arrangers. The players and teachers have learned to dis-
VOL. II. JULY 1900. NO. 1. tinguish between a poor and a good arrangement. Poor
EDITORIAL. arrangements will not sell but good arrangements will.
W e start upon our second year with the utmost Don't be afraid to pay a good arranger. T h e money in-
confidence that w e are entering upon a decided era of vested will come back to you; and above all advertise your
prosperity, not only for the C R E S C E N D O but for everyone music continually. Don't publish pieces and put them
connected with the mandolin, banjo and guitar industry. on a high shelf and expect that the players are coming to
W e feel that the remarkable revival of interest in the three you to hunt them out- Carry the news to the players by
instruments is largely due to the influence which the advertising in the C R E S C E N D O .
C R E S C E N D O has in interesting people in the possibilities Hanufacturers—Improve your product or add to it.
of the instruments. W e are so confident that the coming The players and teachers well k n o w the difference between
year is to be a good one that w e invite everyone to join the poorly made and poorly set up instruments from good ones.
"Crescendo Optimist Club." They demand the best, consequently it is only the good
A certain traveling m a n for a large house w h o recently ones that will win. Y o u will be the biggest gainers by
returned from a trip covering the entire country, stated this increased interest, therefore advertise your product in
that the business in the music line w a s immense in the the C R E S C E N D O and assist it in creating a n e w interest in
West but rather quiet in the East. If so, towns and cities which have never before been considered.
W H A T IS THE MATTER WITH THE EAST ? Remember that the C R E S C E N D O goes into towns and
Have the Easterners got the "sleeping disease ?" If cities that circulars and letters never will and the CRES-
this is the case, Easterners, let us w a k e up and show them C E N D O is kept on file and not destroyed.
A large N. Y. house states that the clubs daily form-
w e are not asleep. Are w e asleep—it is a question ? T h e
ing in various parts of the country indicate a return of the
two leading mandolin, banjo and guitar magazines and the
"fad" that prevailed several years ago that brought so
leading vocal, piano, band and orchestra magazines are
m a n y mandolins, banjos and guitars into use. This firm
published in Boston, N e w York and Philadelphia. 7 5 % reports increased activitv in their sales and a substantial
of the banjos, mandolins and guitars manufactured an increase in tlie demand for goods.
in Boston, N e w York and Philadelphia. 7 5 % of the music In reply to this firm, wc- wish to say, it is not a fad,
published for these three instruments is issued from Boston, it is a decidedly established fact that the instruments this
N e w York and Philadelphia. There is more enthusiasm, time have 1 o m e to stay.
more interest, more trade in the West without doubt. Another large firm with headquarters in Detroit states
S o m e of the best instruments on the market are made in thej are selling more banjos and guitars. They have made
the West and some of the best music is published in the a number ol sales tn young people w h o o w n canoes. Phono-
West. However, fellow Easterners, let us have more graphs have been popular long en >ugh and n o w banjos,
interest created in the East and let us create the field for man lolins and guitars are bi coming very popular.
larger trade for the Westerners. Let us invite competition. W e say conservatively based on the card systems of
three leading manufacturers that there are not less than
90,000 people interested one w a y or another today in the
banjo, mandolin and guitar. This being the case, think of
the enormous possibilities for the teacher, the publisher and
the manufacturer, therefore again w e say, "join the
C R E C E N D O Optimist C l u b " and let us work unitedly
together and reap the benefits for which w e have all been
waiting tor the past few years.
 1* GUITAR. ELSIE MAZURKA.
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 MISERERE
lst M A N D O L I N FROM
or Violin.
II Trovatore. G.VERDI.
Arr.hyH.F.ODELL.
Andante assaisostenuto. J-54
Play both notes in absence of 2nd Mand.

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Copyright MCMVI1I by H.F.Odell & Co.

 MISERERE in

G U I T A R or Harp Guitar. FROM G.VERDI.

Andante as sai sostenuto. II Trovatore. Arr. by H.F. ODELL.

The figures 0 and 8 under certain notes

indicate the sub-bass strings on Harp Guitar.
H.F.Odell & Co..Boston,Mass.
IV

A DREAMLET
GUITAR SOLO .40
H.F. ODELL
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VI
ABILA.
l^MANDOLIN. INTERMEZZO.
R. GRUENWALD, Op. 885,
arr. by H.F. Odell.
Allegretto scherzando.
Guitar or Piano CJ.

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Copyright M C M I X by Oliver Ditson Company

6T3S8-8-M.O. International Copyright Secured
 ABILA. VII

GUITAR INTERMEZZO. R. GRUENWALD, Op. 385

.20
Allegro scherzando arr.-by H.F Odell.

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Oliver Ditson C o m p a n y Boston
 VIII
ALICE,WHEREART THOU?
(ROMANCE.)
BAK30 By J. A S C H E R .
Arr. for Banjo by F.J.BACON.
Andante con espressione.
if *e g# ^

tremolo 3rd and 4th strings.

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pippa azzta;
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Noie^ vitij .ne stems turned down are played with the thumb.
Copyright 1897 by Oranpner dc Meyer.
 T h e Crescendo

MUSIC IN THE DARK.

By Thomas J. Armstrongs.

A pianist in G e r m a n y is creating quite a sensation by the treble strings are gut, the harmonies are brought out
giving recitals in the dark. H e claims that music is for the more effectively, giving a beautiful background for the
ear alone—that the eye detracts and takes a w a y all the mandolins.
finer effects in a well rendered performance. Another pleasing feature of playing in darkness, and
Although this fact has been known, to musicians, for one that should appeal to the members of a mandolin club
ages, few performers have dared to attempt an entire con- is that the different tones of the instruments are more
cert in darkness. T h e general public has, in a w a y , known apparent especially the mandola, its tones being heard in
it too; for h o w often have w e heard some one s a y : — " O h ! a very marked degree, above the other instruments.
music sounds so nice at night, on the water." The reason In view of these facts, it might be well for every
is they cannot see the performers. mandolin club to include a "dark stage " number in their
There is no doubt but that the G e r m a n pianist is on repertoire, and note the manner in which it is received by
the right road. Take, for instance, a young lady w h o the audience. •
sings in front of a critical audience, in the glare of hundreds
of electric lights—she m a y have a beautiful voice, m a y
Notation.
have it well under control, etc., and yet some one m a y
(Continued from page 4)
say, "Doesn't she open her mouth funny'" or "Isn't
she thin? " and thus her well sung song is forgotten. transposition. I a m told that for a great m a n y teachers
If this same young lady had sung in the dark fhe ears there is need of more knowledge to understand this subject
of her audience would have been concentrated on her song, and treat it intelligently. Suppose the pupil having the
alone, and their eyes would have been unable to detract " A " well in hand is given a little in-sight as to playing or
from the good points of the singer. transposing the same pieces into C. H e need not be told
In singing, the vocalist experiences no more difficulty that a course has to be taken in this special study but it
in darkness than in light, but an instrumental performer can be taken along with his regular lessons. Besides the
will need some practice to be able to give a creditable per- usual explanation no doubt written examples would be
formance. advisable. Would not this be a great help to the teacher as
S o m e years ago, a spiritual medium named Jesse Shep- well as the pupil ? Would it not broaden out both and
pard created a furor in this country, by giving what he m a k e a firmer foundation of which the future results would
termed, "Spiritual Concerts" in the dark. H e claimed that be more beneficial and lasting ?
spirits of the old masters, such as Mozart, Beethoven, etc., Having the best interests of the banjo at heart I only
entered his body and played their o w n compositions on the hope that others w h o understand this music question more
piano. The effect was rather uncanny but thrilling. thoroughly will thresh out the wheat from the chaff so that
A very beautiful effect is produced by a mandolin the banjoist of the future will derive a lasting benefit from
club of io or 12 playing in darkness. The hearers are any action which will be taken in the matter.
unable to see the different players shaking the pick up and
down, their ears being the only guide as to what is going
The Mandolin Orchestra.
on. S o m e practice is necessary for such a club to be able
(Continued from page 5)
to play in the dark, without their music, but after they are
capable of doing it, they will be surprised at the fine effect well arranged concert number. T h e effect would be
produced. In such a performance the ears of the players indescribable.
themselves become more acute, and consequently their 1 hope to see the harp-guitar occupying a prominent
sense of uniformity is greatly strengthened. O f course, they place in the mandolin orchestra of the future. Considering
would be compelled to memorize all such pieces. that a harp-guitar is of as much tone value as three or
Cinquivalli, the noted German athlete, w h o is a very four regular guitars, certainly the very reasonable price for
fine mandolinist, w a s formerly a member of a mandolin which these instruments can be obtained should be no
club called the "Howard Quintette" which traveled all hindrance to the well organized club adding one to its
over the world. O n e of their greatest hits was the play- instrumentation.
ing of "Rubenstein's Melody in F " with darkened stage. Harp-guitars are made today with extra strings numb-
O n e remarkable effect secured by a mandolin club ering from 5 to 12 or even more. A few days practise
playing in darkness, is in the seemingly stronger notes enables the ordinary guitarist to handle it with ease. It is
coming from the guitar. The basses appear to have more a decidedly more inteiesting instrument to use for accom-
volume of tone and even the treble strings seem stronger. paniment work than the six string guitar and I expect that
The first, second and third strings should be of gut and not in a very few years nearly all the leading orchestras will
•wire. A guitar with wire strings is an abomination, and be using one or more and I feel quite positive that all our
will spoil the good work of any club. Play such a guitar prominent manufacturers will be making harp-guitars as
in the; dark, and you will hear nothing but a nazal, tinny well as six string guitars.
snapping of strings, that is far from being musical. W h e n (Continued in August CRESCENDO)
 The Crescendo

PROGRAMS OF CONCERTS AND RECITALS

Program of Sixteenth Annual Banjo, Mandolin and Guitar Mandolin Solo—First Violin Waltzes Witt
Festival Concert, given at Chicago, 111., May 29th, 1909, under the Herbert Condon
direction of Claud C. Rowden. Reading—The Church Bazaar
Gibson Mandolin Orchestra Claud Beal
a "Life's Lighter Hours"—Gavotte Caprice . . . . Arr. Odell Piano Duett—True Friendship Mereno
b "La Czarine"—Mazurka Russe Ganne-Odell Curtis Espy Murry Espy
Banjo Solo Selection—Idle Moments Rollinson
Polonaise No. 2 Eno Orchestra
Selection—Home Sweet Home Hildreth
Mrs. Claud C. Rowden
Orchestra
Vocal Solo—Accompanied by Mandolin Orchestra
Accompanists Murry Espy and Claud Beal
A Dream Bartlett-Odell
Mr. Charles Olson Program of concert recently given by the Arion Mandolin Club
Guitar Solo and Landon Banjo Trio, at Lancaster, Pa., under direction of
a March Funebre -v -Chopin-Jansen Judson P. Landon.
b Rondo Caprice Zani de Ferranti 1 Arion Mandolin Club
c Carnevel Di Milano Gardana a March—The Toastmaster Odelt
Mr. C. W . F. Jansen b Elysium Waltz Gilder
Farland Banjo Orchestra 2 Banjo Duet
a Medley Scotch Airs Arr. Bacon a Greater America Stuber
b Persian Lamb Rag Wenrich-Jacobs b Popular Hit (Selected) Arr. Landon
Recitation Selected L. F. and J. P. Landon
Prof. W . W - Carnes 3 Song—(Selected)
Banjo Solo Thomas B. Spencer
a Tarantelle No. 1 Op. 33 Popper 4 Landon Banjo Trio
b Serenata, Unaccompanied Moszkowski a Simple Willie Jacques
Mr. Claud C. Rowden b Selections from 111 Trovatore Verdi
Sextet 5 Arion Mandolin Club
Lucia di Lammermoor Donizetti-Odell a March—Blue Jackets Bennet
Mandola, Mandocello, two Mandolins, Bass Banjo Reverie—Modestie Odell
and Harp-Guitar 6 Banjo Solo
Vocal Selected a Dixie Land Variations by Farland
American Ladies' Quartet b West Lawn Polka Glynn
Banjo Duett—Operatic Potpourri Arr. Rowden Judson P. Landon
Mr. and Mrs. Claud C. Rowden 7 Banjo Trio
Banjo, Mandolin and Guitar Orchestra—50 players a Overture, William Tell Rossini
Drowsy Dempsey—A Coon Shuffle Lansing (last movement)
Mr. Claud C. Rowden, Conductor b Familiar Airs Arr. by Landon-
8 Song—(Selected)
Program of Concert given by the Junior Y. M. C. A. Orchestra, J. F. Hillton
at Logansport, Ind., March 20, 1909, under direction of Miss Ellen 9 Arion Mandolin Club
M . Henderson. a Love's Old Sweet Song Molloy
Selection—American Fantasia Bendix-Odell b March—Phenomenon Odell
Orchestra
Octet—Street Parade Brockmeyer Program of annual concert given by pupils of A. J. Weidt,
at Newark, N. J., May 11, 1909.
Messrs. Hecht, Bigler, Wilson, Wagoner, Law,
Jones, Herrick, King Part One
Piano Duett—King Carnival Deshayes 1 a Summer Girl—Waltz Weidt
The Raiders—Galop Weidt
Claud Beal Carl King
Selection—Pansies for Thought Blyn Festival Orchestra
2 Loraine E. Davies—Reader
Orchestra
Violin Solo—Reverie Zimmerman 3 a Colored Guards—March Weidt
b Red Rover—March Weidt
Lawrence Hensel
Reading—Foot Ball • • • Fairbanks Banjo Club
4 Zither Solo—Selected
Curtis Espy
A. J. Weidt
Piano Solo—La Fontaine Lysberg 5 Loraine E. Davies
Murry Espy Part T w o
Selection—Lady Dainty Odell 6 a Flight of the Birds—Ballet Rice
Orchestra b Boys of the Militia—March Boehnlein
Quintett Newark Mandolin Orchestra
Messrs. Beal, Cilley, Bigler, Espy and King 7 Ideal Banjo Club
Octet—Beauty Bright Schottische Hosfeid-Eberharct 8 Violin Solo—Voix Celeste Batiste
Messrs. Wilson, Wagoner, Bigler, Hecht, King John Hunt
Herrick, Jones, L a w 9 Loraine E. Davies
Piano Solo—Tremolo Etude Gottschalk 10 a Yankee Dandy—March Weidt
Claud Beal b Kaloola—a Darktown Intermezzo -Weidt
Selection—Danse di Cupid . . . Odell Newark Mandolin Orchestra and
Orchestra Fairbanks Banjo Club
 The
Questions and Answers. Personal Notes.
This column open to all. Send in your questions.
Jos. A. Audet has been very successful in his teaching at the
Q U E S T I O N — T o m bets that there are only 12 positions on the Allen School, W e s t Newton, Mass., this season and has received
guitar. Bill bets there are as m a n v positions as there are frets. much encouragement over the prospects for next season. T h e club
W h o wins the bet? A SUBSCRIBER. which he formed at the school has played successfully at two or
A N S W E R — B i l l wins. There are as m a n y positions on the three entertainments. Mr. Audet has also been quite busy with
guitar as there are frets on the finger-board, but if the amount bet his classes in Boston and Waltham.
is very large, w e should divide it for the reason that while every
fret is a position it is very seldom that more than 12 positions are O u r congratulations are extended to J. J. Derwin on the
used except by the most expert players. A complete scale m a y be addition to his family of another virtuoso, viz : a young son.
played in the 12th position and one or two positions higher but
they are verv seldom used and are extremely difficult.
Miss Ethel Straube, a recent n e w associate m e m b e r of the
Q U E S T I O N — A r e the banjo and guitar the same in regard to
American Guild is a pupil of Mrs. Florence A. Dart, of South Bend,
the above? A SUBSCRIBER.
Ind. T h e young lady although but 13 years old, possesses to a
ANSWER—Practically the same. There are as m a n y positions
most unusual extent all those qualities which m a k e for intelligent
on the banjo as there are frets on the finger-board, but on account
musicianship, a fine mind, musical temperament, ambition and
of the peculiar tuning of the instruments it is difficult to play scales
application. She has a large repertoire built upon a solid technical
in the higher positions, although short runs and chords are easily
foundation and her services as a soloist are much in demand in her
played.
h o m e t o w n . Mrs. Dart is extremely successful in teaching young
Q U E S T I O N — W h a t officers should a mandolin orchestra have?
people h o w to play, and this young lady is another example of her
Should each mandolin orchestra have a constitution and by-laws?
careful instruction.
If so. what points should be covered ? B. B.
A N S W E R — A n orchestra of 15, 20 or 25 members or more m a y
A m o n g the recent engagements the Tuxedo Club of Hartford,
be very well managed by the customary officers of any club,
Ct., have played are Smoker for the State Medical Society on M a y
President, Vice-President, Secretary, Treasurer and as m a n y
26th, Banquet for the same organization at which 175 guests were
directors as desired or it m a y be managed by a so-called "Advisory
present at the Allyn House, farewell dinner given by the Central
Board" of from 3 to 5 members, one Deing the Chairman, another
N e w England Railway Officials to the retiring general manager,
the Secretary and another the Treasurer. "Too m a n y cooks spoil
Mr. Miller, at Huebiin, M a y 28 and June 18th, at the ladies night
the broth" m a y well be applied to the management of a mandolin
given by the University Club of Hartford. This organization has
orchestra. In an orchestra of 25 members, 5 should be sufficient to
played within two or three of 100 engagements the past season.
manage the business end. I believe that the musical director should
Next season, in addition to its concert and banquet work it will
always be included as one of the officers. His advice in regard to
solicit dancing engagements. T h e club is one of the most enter-
business matters is always needed. T h e musical end should
prising in the eastern part of the country and the number of engage-
always be left entirely in the music director's hands.
ments it has played is another proof of the extreme popularity of
In regard to constitution and by-laws the fewer the better, but
the plectral instruments.
there is need of a few. T h e constitution m a y be well included in
one paragraph stating the purpose of the organization. T h e by-
laws should cover the matter of dues and fines and attendance. W e announce, with sincere sympathy for his family, the death
A n excellent w a y to cover the attendance is to have a by-law stating of Geo. B. Sherman of Brooklyn, N . Y., the well k n o w n teacher.
that a member shall not absent himself from more than two
rehearsals in any one month without sufficient reason. Another
good by-law is to have members fined 10 cents for being absent Mrs. Alma J. Morse will m o v e next Jan. from Rutland, Vt.,
from a rehearsal without sufficient excuse. where she has had an extremely successful class, to Kingston, Vt.
Still another by which a member m a y be fined 10 cents for not
being in his place ready to play within 15 minutes after the time for
Miss Claribel Jeffery is extremely successful as a teacher. At
which the rehearsal w a s called.
a recent concert at Montclair, N. J., Miss Jeffery's pupils and the
Members in arrears of dues for more than three weeks should
Troubadour club of which she is director, gave an excellent concert.
be dropped from any organization. Members w h o continually
O n e of the local papers says "the club ensemble work w a s
absent themselves should be dropped, therefore a few by-laws,
excellently well rendered and the other numbers by the several
including the above are generally sufficient for the business
pupils were very pleasing. That the recital w a s most enjoyable
management of any musical organization.
and reflected well deserved credit on both pupils and teachers were
T h e matter of the management of orchestras will be treated at
evidenced by the hearty encores which the numbers received."
length in a later issue of the C R E S C E N D O in connection with the
mandolin orchestra article by Herbert Forrest Odell.
Chas. B. Rauch of Dayton, Ohio, has been extremely success-
Q U E S T I O N — I n seating a mandolin orchestra on a stage should
the first mandolins be seated in a half circle w a y across the stage, ful this season. H e undoubtedly does a very large business as his:
orders to various firms are usually quite generous. H e writes us
the second in the next row, behind thefirstmandolins and the
that he hopes sometime to have a Guild Convention held at his
other instrumentsfillingin the rear, or should the various instru-
city and he also states the h o m e coming of the world renowned
ments be seated together. R. E. C .
Wright Bros, w a s celebrated in magnificant style in Dayton.
A N S W E R — T h e seating suggested in the first part of your
question is a very poor w a y to seat any organization. T h e proper
w a y should be to seat the first mandolins at the left of the Geo. L. Lansing will spend the s u m m e r at W ; nthrop,
director, the second mandolins at the right of the director, the third Maine, where he has a fine cottage. H e has had a very busy
mandolins, mandolas and cellos directly in front of the director with season as usual.
the guitars or other instruments seated together in the rear. It is
a very poor w a y to spread out across the stage any section of A recent caller at the C R E S C E N D O office w a s the well k n o w n
instruments. A concise explanation of the proper w a y to seat a banjoist Fred Bacon, w h o is n o w resting at his h o m e at Forestdale-
mandolin orchestra will be found under the heading " T h e Mandolin Vt. Mr. Bacon, beside his concert and vaudeville work, is the
Orchestra" in the February C R E S C E N D O on pages 9 and 10. A head of a maple sugar making company which lias proved very
complete diagram is shown of the correct seating arrangement. profitable. With Mrs. Bacon he will go "en tour" again in the fall.
 12 The Crescendo
TRADE AND PUBLISHERS NOTES.
C l a r e n c e L . P a r t e e has a special proposition to offer com-
posers of music with Mss. they would like to see in print, that is
very interesting and theinvestment of a 2 cent stamp for particulars
would be to such of considerable aJvantage. Mr. Partee is not in
the habit of making announcements unless he has something
interesting to say. See ad.
Real appreciation is always interesting to a manufacturer of an in the country. His Plantation Symphony published by the
article. T h e following w e have taken from the original letter sent
to D . E. H a r t n e t t , the manufacturer of the Hartnett Tone Bar: difficult but very showy and is much to be desired by all banjoists.
Dear Mr. Hartnett: Victor, N. Y.
"I don't believe I have really appreciated your Tone Bar until
the past week when I tried to play on a banjo without it. Honestly
it didn't seem possible that I ha j ever been used to so uncomfortable
a position. M y fingers actually ached in less than five minutes.
A s for the tremilo, with m y shirt fingers,there w a s nothing doing.
['ts no wonder to m e n o w that professional banjoists' hands give
out, causing them to take up the pick. I think that anyone w h o
gives itfiveminutes trial an J isn't too prejudiced will want one. 1
have seen two professional players using it out in this part of the
country and I believe the day is coming when it will be a part of
the banjo just as much as the bridge or tailpiece is."
Sincerely, C L I F F O R D C L A R K .
We have just received the Ditson ''Wonder Book" No. 3,
which is a catalog of mandolins, guitars and banjos manufactured
by O l i v e r D i t s o n C o . It is one of the finest catalogs of the
kind w e have ever seen, giving a complete description of all the
instruments with prices, and it also contains prices of strings and
other sundries. It is profusely illustrated and the book should be
in the hands of every player of the three instruments. It is free
for the asking.
W e have recently received a fine illustrated catalog of the
" S y m p h o n y " harp-guitar manufactured by W . J. D y e r & B r o .
T h e catalog contains a complete description of these popular
instruments, and guitar players m a y obtain a copy free.
'in A Dixie Dell" is one of the new publications of the
J a q u e s P u b . C o . It has the southern flavor and is published
for full mandolin orchestra. Clubs will do well to take advantage
of the special offer made this month. See ad.
The Gibson Mandolin-Guitar Co. reports that it's
June business is the largest it has had in any one month. Gibson
instruments are having a large sale not only here but in Australia
and England.
Most players going out to play at a concert carry an instrument,
a music stand in a music stand case, and their music in a folio,
making four separate articles to carry. T h e Trinity music stand,
manufactured by the H o p e M u s i c S t a n d C o . , does away with
all this trouble, because it is an article combining three in one, the
stand, the case and the music folio, all in one little compact parcel.
It is remarkable how much musical instruction may be obtained
from that simple little affair, the E d d y M u s i c M e t e r , which
m a y be carried in the vest pocket. It is of much value generally to
musicians. See ad.
White-Smith Co. have two excellent numbers which they
will shortly publish for mandolin orchestra, "Sweet Visions" and
the " U . S. Patrol". Both numbers are arranged by H. F. Odell
and will be excellent additions to any club's repertoire. Leaders are
advised to get on to the White-Smith's new issue list at once.
See ad.
" T h e Most Popular Mandolin Folio", published by H i n d s ,
N o b l e & E l d r e d g e , is one of the finest folios on the market
and is arranged by Louis Tocaben. This company offers (he book
at a very reasonable price. See ad.
D . A c k e r has just issued a new piece for mandolin orchestra
entitled " T h e Diamond City" Two-step. It is arranged for full
mandolin orchestra by H. F. Odell and is an extremely catchy
number for orchestras or teaching. It will be issued in a very
attractive form. See ad.
Paul Eno stands today as one of the best banjoistic writers
M a x i m u m P u b . C o . , is a very characteristic piece not at all
See ad.
Among the well known numbers published by the Cundy-
B e t t o n e y C o . are the "Magnolia Serenade" by Missud and the
the "Bridal Rose Overture" by Lavalle and the "Second Connecti-
cut Regiment" march by Reeves. This company will add some
standard numbers to their catalog in the fall. Club leaders will
find it to their advantage to communicate with the Cundy-Bettoney
Co.. and ask about their new issue list. See ad.
T h e T r a c y M u s i c L i b r a r y has a corps of arrangers,
copyists and transposers w h o can do anything desired to a piece of
music, transpose it, arrange it for any combination and furnish all
parts desired at reasonable prices. See ad.
One thing that is especially desirable about Washburn instru-
ments manufactured by L y o n & H e a l y is the extreme accuracy
of the finger board. The tone of these instruments is remarkable
and it is a peculiar fact that m a n y people are still using the
Washburn instruments they bought years ago. O n e might almost
say "once a Washburn player, always a Washburn player."
See ad.
When a player can buy a bundle of strings of which 30 out of
every 30 are guaranteed to be true, this is a good string to buy.
The B a c o n C o . m a k e a special offer for a sample of their famous
"Never False" strings in this issue. See ad.
W i n . C . S t a h l has recently enlarged his plant and can n o w
take care of all orders. H e w a s so rushed some time ago that he
w a s unable tofillall orders but n o w he can attend to them. T h e
Stahl mandolins, guitars and banjos are excellent in detail of finish,
tone and workmanship. They are manufactured by a m a n w h o has
had over a score of years experience .in knowing what the players
desire. See ad.
G e o . S t a n n a r d has a very large catalog of good teaching
music for the plectral instruments. It contains music of all grades
of difficulty and something new is addeJ to it every month.
Teachers are advised to communicate with Mr. Stannard. See ad.
Sight reading is made very simple to the uninitiated through
the medium of the book entitled " H o w To Read Music At Sight".
See M e m o r y Library ad.
The Alligator's Parade, published by the Magbee Music
P u b . Co., is an extremely interesting number for orchestra. It
m a y be obtained from this company al a \ ery low rate. See ad.
The genuine ebonite mandolin pick made by Louis F.
W r i g h t will never chip or break. Most picks will break when
any extra force is exerted. T h e Wright pick will practically last
forever.
Vega mandolins and guitars are used by main- leading players.
T h e Vejra C o . also makes a tenor lute and cello lute correspond-
ing to the mandolas which are excellent instruments for club work.
This company have several fine catalogs which will be sent free to
anyone. T h e W h y t e Laydie banjos are having a tremendous sale
among discriminating players.
 The Crescendo <3

R E C E N T A N D RELIABLE PUBLICATIONS

Recent Publications. Reliable Publications.

W i t h every piece composer's n a m e is given, also arrang- M a n y pieces published within the last ten years are
er's. T h e letters after names indicate grade—E, easy—fl, quite as desirable as n e w ones. These listed are proven
M e d i u m — D , Difficult. successes.
MANDOLIN. MANDOLIN
C L. Partee H u s i c C o . Oliver Ditson Co.
The Little Elf Waltz Will D. Moyer, ESelection from Faust GoUnod—Arr. H. F. Odell, M
Mandolin Duo $ .30 Mandolin and Piano $ .90
An interesting selection from this standard opera for full
An easy teaching piece in the duo form in the first grade. mandolinMel- orchestra. Introduces "Soldier's Chorus" Siebel's
odious. Good for beginners. Keys of G and C . song, various waltz numbers and other popular bits of the opera.
A Melody Sweet Will D. Moyer, E An excellent club or orchestra number. All of the regular orchestra
Mandolin Duo $ .30 parts may be obtained. 6-8, 4-4, 3-4 tempi. Keys of A, D, G .
W h y Not? R. Gruenwald—Arr. Walter Vreeland, M
A very melodious easy piece in the duo or unaccompanied style. Mandolin and Piano % .70
Excellent for teaching. Very pretty as a concert number for young A delightful Polka Capriccioso in the keys of D and G .
players. Keys of G and E. Arranged for full mandolin orchestra. A n excellent number for
Bonhomie Will D. Moyer, E orchestras or teaching.
Mandolin Duo $. 30 BANJO.
An excellent and melodious easy duo, andante movement, 4-4 D. Mansfield.
time. Key of G throughout. Excellent as a teaching number. The Morning Star Polka D. Mansfield, M
Reflections Will D. Moyer, E T w o Banjos $• 25
Mandolin Duo $. 30 An excellent teaching piece in banjoistic style. Keys of A and
D. Introduces interesting bass solo.
An easy teaching duo by this well-known writer. A slow Hazel Schottische D. Mansfield, M
movement in 6-8 time. Key of G throughout. Mr. Moyer marks T w o Banjos $ .25
all his duos with the American Guild tremolo and pick sign. A catchy schottische introducing some chord work. A good
Song Without Words Will D. Moyer, E teaching number for slightly advanced pupils. Key of A and D.
Mandolin Duo $ .30 Little Sunshine D. Mansfield, E
T w o Banjos $. 25
A very melodious easy duo, slow 4-4 time. Keys of G and D. A melodious number. Good for teaching purposes. Keys of
A good teaching piece. A and D.
GUITAR. GUITAR.
C. L. Partee Music Co. H. F. Odell & Co.
Largo Handel—Arr. Vanasdale, M Love's Dictates Alfred Chenet, E
T w o Guitars $ .35
Guitar Solo $ .40 An interesting caprice. 2-4 time. Keys of A and D. A good
A good arrangement of this well-known standard classic. teaching piece of easy grade.
Excellent for either teaching or concert work. 3-4 time. Key of C . Unique Gavotte C. V. Hayden, E
Guitar Solo ?. 30
An excellent teaching piece, easy and tuneful. Keys of A and D.
Personal Notes. A Crescendo Advice Program.
We are frequently asked to suggest good mandolin orchestra
pieces for concert programs. W e shall occassionally print a pro-
A. J. Weidt of Newark, N. J., has been spending considerable gram of good numbers with which weare familar for the assistance
time during the last month on his house-boat "The Rambler" of orchestra leaders. Following is the first.
recuperating his strength in preparation for the management of the
CRESCENDO PROGRAn NO. 1.
next Guild convention of which he is to have charge.
1 MARCH, "The Toastmaster " Oaell
H. F. Odell & Co.
Mr. Charles L. Kurtz, the prominent teacher, is now located 2 O V E R T U R E , "Light Cavalry" Suppe
Oliver Ditson Co.
in Chicago. He writes us thar prospects are very bright for the
3 W A L T Z E S , "The Skaters" Waldteufel
coming season. Mr. Kurtz is connected with the Illinois College
Oliver DitSDn Co.
of Music and the Englewood Lyric School.
4 (") Sextet from Lucia .' Donizetti
(i) Pizzicati from Sylvia Deities
CibsonCo.
The pupils of Rose F. Rogers gave a very iuteresting recital at
5 (") Magnolia Serenade Missud
Syracuse, N. Y., on June 8th. Many of the young players showed Cundy-Bettoney Co.
their ability to a marked degree. Among those appearing were ip) American Guild March Bickford
the following: Mr. S. H. Fredrich, Miss C. L. Skeel, Mrs. George Partee Music Co.
Ebeling, Miss M M. Walsh, Miss M. L. Donovan, Mr. L. J. 6 SELECTION, "Carmen" Bizet
Palmer, Miss L. Schlafer, Mr. I. C. Blint, Mr- F. L. Stevens, Miss Oliver Ditson Co.
Sara Schafer, Miss G. A. Weeks, Mr. Emmet O'Neil, Miss A. R. 7 (a) Love's Old Sweet Song M.tllov
Bloomfield, Mrs. A. L. Fulner, Mr. G. V. Gilbert, Mrs. Frank H. F OJell &Co.
[/>) In Moonland . . Feck
Carey, Mr. Frank Carey, Mr. W . P. Fredrich, Miss F. K. Linden- White-Smith Co.
meyer. 8 M A N D O - C E L L O S O L O , Simple A v e u . . . . y/i -we
Gibson Co.
9 (a) Modestie OMI
Just at the moment of going to press we learn with sincere H. F. Odell & Co.
regret of the death of W . A. Cole the veteran banjoist and manu- (/') Moon Winks Jaques
facturer. Afineman with a good word for everybody. Particulars Jaques Pub. Co.
later. 10 Grand American Fantasia Bendix
Oliver Ditson Co.
M The Crescendo

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"
"
1.00
1.50
Youth's Companion " 1.75
SAY "I NOTICED YOUR AD. IN CRESCENDO"
 The Crescendo '5

Dull and Uninteresting! 1 WOULD LIKE TO HEAR

This is what the student of music
often thinks of the study of musical
construction. The E D D Y M U S I C H E T E R will ex-
plain this most necessary part of a musical education to
you in a clear, concise, interesting and never-to-be-for-
gotten manner.
P r i c e 2 5 c . Special prices to Teachers and Dealers.
Chas. W . EdJy, 62 fleeting St., Providence, R. I.
from Amateur and Professional Musicians hav ng vocal 0 instrumental corn-
positions for sale. (Any nstrument or combination. Send a two
cent stamp for my special proposition.
Clarence L. Partee, 207 East 17th St , New York
The Trinity flusic Stand
(3 in 1) Stand, Case, Folio. Best and only complete M u s i c Stand in the
World. A great welcome has been given this n e w idea in M u s i e Stands.
H u n d r e d s of musical people are buying it. S e n d for h a n d s o m e illustrated
folder which s h o w s y o u w h y .

Hope Music Stand Co., Mashapaug St.. Providence. R. I

15he
C i n n i n Bills go rapidly, so will
"SYMPHONY" T h e Diamond City T w o Step
rst Mandolin or Solo -33c 2nd Maniilin and other parts .20c. Pran } part 4 0 0

Harp Guitar Whistled o n tie streets

D. ACKER, 61 S. "'ain St.. Wilkes = Barre, Pa.
has no rival in volume of tone,
USUAL DISCOUNTS
combined with quality. •
What Experts say about it:
" T h e most perfect and practical instrument of
the kind."
"I would not be without one n o w for any
A n Opportunity is Offered
money." to a teacher or person with musical inclination to invest $2000 to $1000 in an es-
"J^ar beyond any guitar w e k n o w of " tablished musical teaching business. M o a e v fully secured. Partnership or sal-
"In tone and volume far superior to any I have ary. Large earnings for last five years. Business established 18 years. O p -
ever heard." portunity given musical Darty to m a n a g e w r V n competent. First class
' W i t h o u t question the greatest instrument for opening in every respect. F o r p a r t i c u l a r s a d d r e s s
club w o r k ever brought to m y notice." EDITOR C R E S C E N D O , Boston, Mass.
" T h e r e are no others to c o m p a r e with it in
volume of tone."

Sold o n E a s y Payments
Write for illustrated catalog. Sent free to
any address. Take advantage of the
W. J. DYER & BRO. PREMIUMS
Dept. 85, ST. PAUL, MINN.
offered for securing subscriptions to the
Crescendo.
T5he Banjo, Mandolin and Guitar SEE INSIDE BACK COVER
Department of the Summer Music School at Chautauqua, N. Y.,
will again be under the direction of

MYRON A. BICKFORD
and teachers desirous of brushing up on technic, teaching meth- THE CUNDY BETTONEY CO.
ods, etc.. could not do better than to spend a few weeks during invite Mandolin teachers to write for particulars regard-
July or August at this popular resort.
Full particulars from
ing their N e w Issues for Mandolin Orchestra. -
MYRON A. BICKFORD 93 Court St., Boston, Mass.
CHAUTAUQUA, - N. Y.
C U B S C R 1 B E for the Stannard issues for Mandolin and Guitar.
^ Something new every month. Catalogue and blanks free
to all.
"Don't Take Our Word" GEO. STANNARD
But send io cts. for a sample of Our Famous '"Never-False" Publisher of Good Things
Strings for Banjo, Violin or Guitar. 30 out of every 30 131 SO. W A R R E N ST. - T B E K T O V , >". .1.
Guaranteed to be as represented, or we will gladly replace.
Prices in bundle lots upon application.
"Neverstretch''Banjo and Guitar wound strings—"Best IIM A D I 2 C I E D E L L
o n Market." 'No-Knot" Banjo Tailpieces outclass all others. A unique Two-Slep with tie real Southern swing. Don't Miss This One.
Special [2 Mandolins and Guitar acc. 15 cts. 1 xi^#
No-knots are required to securely fasten strings on the instru- Offer 1 2 Banjo anJ Piano acc. 20 cts. 1 I N e t
ment. Price 35 ds. each. Our Strings are fine for S u m m e r Tenor Mandola and Mando-Cello parts 10 cents each.
as well as Winter use. Percy H. Jaques Pub. Co., Jacksonville Fla.
T5he F. J. B A C O N CO.
Dep't C. Bristol, Conn. "HUMBUG MEMORY SCHOOLS EXPOSED"
A N D A D D R E S S ON DEVELOPMENT OF THE
H o w to Read
IF IT'S OUR PUBLICATION ITS 000/)"
3Iusic at
PLANTATION SYMPHONY Sight.
Another Banjoey Banjo Solo by the World renowned composer P a u l E n o To introduce a series of valuable!
Contains that " B a n j o S e n s e " so seldom found in music written for this instru-
ment. Don't lose an opportunity. Order at once. Banjo Solo 50c; Piano Acc.
40c; Banjo and Piano 75c Usual Discount. D E P T . M.
T H E M A X I M U M P U B L I S H I N G CO., 1 5 2 4 ChestnutSt,, Philadelphia
Send for
Circular.
educational works, the above
will be sent to all applicants]
R o o m M E M O R Y LIBRARY
860
FREE
'-* Park Place, N e w York
YOUR BEST INTERESTS WILL BE SERVED BY MENTIONING CRESCENDO W H E N WRITING ADVERTISERS

A?5M26
16 The Crescendo

PROMINENT TEACHERS
A C K E R , D.—61 bo. Main St., Wilkes-Barre, Ha. Banjo, I T C H E N E R , W . J.-157 W . 84th St., New York City Man-
** Guitar and Mandolin. Guild Officer- dolin, Guitar, Banjo and Composition. Guild Member.
A L L E N , M R S . L O U I E M — 345 N. nth St., Lincoln, Neb.,
NIPPER, W. C—48 1-2 W. Main St., Meriden, Conn.
**• Piano, Guicar, Mandolin and (Juitar. Guild Member.
Masonic Bldg., Middletown, Conn. B.M.&G. Guild Mem.
U D E T , J O S . A — 2 1 4 Boylston St., Boston ; Mercantile Bldg.
A Waltham,Mass. Violin,Mandolin andGuitar. Guild Meniler. A N G , M R S . C. A.—10 Langdon St., Montpelier, Vt. Piano,
' Banjo, Mandolin and Guitar. Guild Member.
UST1N C. E P. O. Box 535 New Haven, Conn. Banjo,
A Mandolin and Guitar. J3 uj Id M e m ber. A N S I N G , G. L.—170a Tremont St., Boston, Mass. Banjo.
EMIS, G E O R G E W . — 1 7 5 Tremont St. Boston, Mass. L M.tnrlolin and Guitar. Guild Officer.
Mandolin, Guitar, Banjo and Flute. Guild Member. 1 c v b K f , J O H N J.—352 W . St. Catherine St., Montreal,
1 C K F O R D , M Y R O N A.—351 Main St., Springfield, Mass. L- Canada. Banjo, Guitar and Mandolin. Guild Member.
Banjo, Mandolin and Guitar. Guild Member. M A U R E R , V A L . J—242 Irving Ave., Brooklyn, N. Y.
O E H M , W A L T E R A — 1 2 0 Cottage St., Buffalo, N. Y. _ Guitar, Mandolin and Banjo. Guild Member.
B Mandolin, Guitar and Banjo. Guild Officer. M O R S E , MRS. A L M A J.—10 East
1 St., Rutland, Vt. Banjo,
B R O U G H T O N , M R S . A. C — 3 5 2 8 Eagle St., Los Angeles,
Cal. Mandolin, Banjo, Guitar and Harmony. Guild Member.
Mandolin, Guitar and Piano. Guild Officer.
D E L L , H. F.—165 Tremont St., Boston, Mass. Mando-

B U R C H A R D , R O Y W . — 1 9 Belmont PL, Passaic, N. J.

Banjo, Mandolin and Guitar. Guild Member.
o lin, Guitar, Banjo and Piano. Guild Officer.
L C O T T . MISS E T H E L L.-722 W . ith St., Los Angeles,
Cal. Guitar Soloist and Teacher.
C O F F E L , HAL,—Pennville, Ind.
Banjo, C o m poser and Arra n ger.
Mandolin, Guitar and
o
D E T T I N E , G1USEPPE.- -Lederer Rldg., Providence, R. I.
•• Mandolinist. Guild Member.
D AVIS, H A R R Y N — 230 Pleasant St., Worcester, Mass. ) O T T E R , FRANCIS.—55 Barker Block, Omaha, Neb.
D AMandolin,
Y T O N , M Banjo
R S . L.and
M —Guitar.
Cor. North and Maple Sts..
GuildMarcellus,
Mich. Guitar, Mandolin, Banjo. Violin and Piano.
Member. Banjo, Mandolin and Guitar.
R O W D E N , MR. & MRS. C L A U D E C—Handel Hall, Chica-
Guild Member.

E R W I N , J. J.—109 Bank St., Waterbury, Conn. Mando- go, III. Banjo, Mandolin, Guitar and Piano. Guild Member.
D lin, Guitar and Banjo. Guild Officer. USSELL, JOHN" E—77 State St., New Bedford, Mass-
C S C H E L M A N , MISS IDA E.—429 Randolph St., Mead-
Banjo, Mandolin, Guitar and Piano. Guild Member.
'-' ville, Pa. Mandolin, Guitar and Piano. Guild Member. 13 Astor Place, New York. Composer,
C E R R U C C I , C — 7 8 St. John St., New Haven, Conn Harp, TOCABEN,
1
Arranger for LOUIS.
Mandolin, Guitar, Piano. Guild Member.
* Guitar, Mandolin and Violin. S C H O P P , C A R L — 1 2 6 3 N. 29th St., Philadelphia, Pa.
U O S T E R , W M . E D W . — 5 3 7 Knickerbocker Ave., Brooklyn, N.
* Y. Mandolin, Banjo and Guitar. Guild Member.
T
Mandolin, Zither, Guitar and Banjo. Guild Member.
U T T L E , MISS A N N A M . — 5 5 1 ^ Greene Ave., Brooklyn,
G A T C H E L L , F R E D F — 525 Main St., Springfield,~~Mass. N. Y. Banjo, Mandolin and Guitar. Guild Member.
Banjo, Mandolin and Guitar. Guild Member. R E E L A N D , W A L T E R F.—178 Tremont St., Room 40,
A R P E R , J. G E O — Lethbridge, Alta, Canada, Mandolin, V
Boston, Mass. Guitar, Mandolin and Banjo. Arranger
H Guitar, Banjo and Violin. Guild Member. E B B E R , H. A — 4 8 9 % Washington St., Portland, Ore.
H E N D E R S O N School of Music, Main office 2703 5th Ave.
Pittsburg, Pa.
Pittshnrfr P a .
[ b F F E R Y , MISS C L A R I B E L — 7 W . Park St., Newark, N. J.
w
Mandolin, Violin, Banjo and Guitar. Guild Member.
E E D F A L D , O V I D S.—31 nth St., Upper Troy, N. Y.
Performer and Teacher of Guitar. Guild Member.
' Mandolin, Banjo and Guitar. Guild Member.
[EN1NGS, A L L E N G A L E S — 1 1 8 Seaton Pl. N. W., Wash- w
W A S H I N G T O N INSTITUTE O F MUSIC-Walter T. Holt,
Pres., 937 K St., N. W . Wash., D. C. Voice, Piano, Har-
' ington, D. C. Mandolin, Guitar and Banjo. Guild Member. mony, Violin, Cello, Mandolin, Banjo andGuitar. Guild Member.
[ O N E S , E L M E R D — n o E. Sixth St., East Liverpool, Ohio, O L F E . O. S.-535N. 6th St., Allentown, Pa., Guitar,
' Mandolin, Guitar, Banjo and Violin.
w
Mandolin. Banjo and Violin.
Cards inserted in above list 12 months for $1.00 (2 lines). Extra lines 50 cts. each.
Guild Member.

NEW M U S I C H I T S for Orchestra LINER AD. DEPT.

1 L O V E Y O U , D E A R , and O N L Y ' Y O U Advertisements inserted here for 25 cts. a line,
A beautiful march song with an elegant melody. Just out.
GIVE M E AX A M E R I C A N GIRL each insertion. Cash with order. Not less than 3
The big national song hit. Big demand for this song.
T H E LITTLE COUNTRY' S C H O O L H O U S E lines nor more than 8 lines accepted.
A beautiful ballad of school days.
T H E ALLIGATORS' PARADE—Two-Step
A dandy number and splendid seller.
10 Parts Piano and Cello, 20 Cents Eacb or Above Four lor 75 Cents
M A G B E E M U S I C P U B L I S H I N G CO.. B o x 1713. Pittsburg, Pa-
F INE G U I T A R F O R S A L E C H E A P . A Haynes Excelsior with M & W sole

leather case. Standard size, dood tonal quality. A real bargain. Cost $30
will sell for onlv Sr5. instrument and case.
H F. O D E L L & CO., 165 Tremont Street, Boston. Mass.
I B S O N T E N O R M A N D O L A F O R S A L E C H E A P , with Leather Case. Cost
G
Mr. Teacher $s8. Sell for $?<;. Only used two months. Just like new. I guarantee it to-
be in lirst class condition. Has a large broad tone. It's a rare bargain.
III O D E L L . 165 Tremont St.. Boston. Mass.
HARMONY LESSONS BY MAIL. A practical course by a musician of many
THIS IS A G O O D TIME TO JOIN years experience and a member for years of Gilmore's Band. From start to
finish my Instruction is easily understood. W h e n you get through you will
The AMERICAN GUILD of actually have something ol I. H. O D E L L , 165 Tremont St., Boston.
A R R A N G E M E N T S M A D E F O R M A N D O L I N O R C H E S T R A . H. F. Odell.
Banjoists, Mandolinists a n d Quitarists 161 Tremont St.. Boston. Arranger for Oliver Ditson Co.. White-Smith Co...
THE CAU«E
Gibson C o , etc., etc. Latest arrangements are Love's o u Sweel Song for

BOOM YOURSELF
The B. M. and O.
H. F. Odell & Co , Tannhauser Man h, I iowei Song and Bohemian Girl for Oliver
Ditson C o : Intermezzo. Cavalleria for Gibson Co; Diamond City March for
D. Acker: The Gibson is King March, for Lewis A-Williams. Sweet Visions and
U. S. A Parol f,.r White-Smith Co.
Yearly dues only $1.00.
200 Leading Teachers belong. W h y don't If Y O U wish to S E L L . B U Y or E X -
you join N O W ? Dues go up after Jan. 1910. C H A N G E anything here is the place to
Write at once for application blanks, etc.
say so.
H. F. O D E L L , Sec'y-Treas., 165 Tremont St., Boston

Y O U R B E S T I N T E R E S T S W I L L B E S E R V E D BY M E N T I O N I N G T H E C R E S C E N D O W H E N W R I T I N G A D V E R T I S E R S