Jill ·: 1••

( ESTABLISHED IB9'1-l

Issued in the Exclusive Interests . Of THE

Vol. XX AUGUST, 1913

t~~ii 15 ~:::,s Subsaiptlon , SI.SO per Je■r In adu nrl' Canadian, $1.75 Foreign, $.?.00

\.l PUBLISHED MONTHLY BY

WALTER JACOBS BOSTON , MASS. U.S.A .

M. WJTl\lARK & SONS ,11 cas r, 1913 95 Witmark Building, NE W YORK

NE\A/ SPECIAL PRICE:S for a Limit t!d Pen od FOLIOS :?Sc. book 1 IQc. , po U p"-icl ~Oc. hoo lu lS c . 1Hnlp 11id

WIT)! AH J;

MANDOLIN and GUITAR Folio No . 23

t Desert Grow Col,\ - S.,.ut! ,urt l.e1'< li, A-W~ lk1n, \- Wh ,11 lnsh E1e1 Are ~m,hn( hum Tbc 1,1.,

• t Y<>o l.1ke 1-h •!to,n A:I ►-.,, tht L,ko 'tour F.Jc< lr<>m My ll ht

Rull y M111eu II Your Mu c't l.,»·e o·n , nm1 )

l•u - M J Ragtime Firu nan • I Th• t You At e You Urom Th e

Guita rA cc,o r Ha rpGul1ar Pil.110Acc.

WJT:\IAHK

GUITAR Folio N o. 12

CONTENTS so:ms WITH GUITAR ACC.

~5c

'"

T.U the Sands of !ht Outn Grow Cold - S"·uthcar t Let'•

g1:,~~~f/:':~ ~'i:,~"~":,~';'i'~J i!~~l11 - The Fo11r-Lu;:: Isle O'Drums. - 1.ady Aocelioe- Home l u rl Is •from Under M•or fl.11 1 - I Do l.,k Beu (",u! - Wben l ri~h En s

O'Drm. ms - Tt011 Afl So De.uTo Me TberC01:aQuu

Unir:i1A:J, AJ!."14ce.; • . ~:.i1:eo~::.:r;;::1~t·!li:-o~t.:~s~i~~:1~::,r, r::~: F.f, t~ !'!~,<.!:.'ft":irr.~nf,.,~?:,:,~1~!•~.~:~:ii,!:.'i'~t;f.,~•r.1~!1s;i~~~~~1fh~~ T~,r~ S.OurToMe.

PRICE. FlFTY CENTS

Full Mandolin

WITMAUK

MANDOLIN and GUITAR

l•1Mndolin 2nd Mu1dol,n

Folio No. '24

\\'f'OIAIU i

G11ilar Acc.o rll 1rpGui1.ar . . l'iario Acc ...

BAN JO Folio No . 13

CON TENT S SO NGS WIT II BANJO ACC.

Und~ttr.:;ii!;~~- '•A~0s~i1~:1~~~!m(IT~: Isle O'Dream~ I (h am My .ll •st Girll -ll ome h WbNe the Goun Qu,t K, ckm' ll e , erl Cruw <:old.

UAN IO <\01.0S

"• ...

r,111 \1,;"t,\~~eK :~ .. ~1/1':;":,."':f.,1 f\::;•~~~'.c~~1~!~J~• J :!°d:~ ~.; !t.'id ~e!:O e,ie n1~~ ~:E~:•:~o;::;t~1}~:~t•;~f11V.~:l~~~~::+~:YJteli~~~J2k i::::~0l!•,~h ~nd

PH.ICE, Fn' TY CENTS

JNSTRUM E:NTATION

.,

Orchestra Publications l

THE CADENZA

''ORPHElJM'' the Meritorious Banjo Im it at ions are plentiful , but lucki ly "ORPHEUM" Merit cannot be imitated. Th e superiority or "ORPHEUM" Banjo s is realized at once by comp arison with any "so-ca lled" best.

Details of "ORPHEUM" .ruperiority Scient ifica lly constructed rim , with inde­

pendent vibr ating chambe r.

Solid ring of stee l adju st ed to a beve l und er head with openings spaced equally.

H eavy wood rim 5-8 inch thick , fitted with metal part s on top and out er side.

Volume and carrying power

Vibration and sustained tone

-Quality Adju stm ent of neck and frett ing perfect. Easy action

M ate rial : Absolutely best seaso ned material Fin ish: French Polish, not varnished

Hence "ORPHEUM" the Meritorious Banjo Ill ust rated catalog free for the as king . ENCLOSE YOUR CARD

RETTBERG & LANGE, 225-27 E 24th Street, NEW YORK, N. Y

Use Developer, Mute and System and Become One or the Up-To-Date Summer "Joys" I . Easily, p lcaaa ntl y and silently thr ough OcvcloJ)Cf", Mute

and System, you mem oriz:c o.11 tun es- and without offending any one in thcopez-ation .

Si11,ht, Li11,ht, Muti c , Musk-sta nd, Counting, Beating, dll the mrcAanfu connected with notation and reading-the.e a re no more or less than ment a l and ph ysica l 111/11,Amenll, each or which ia but t emporarily uaeful and a ll or which a re elimina ted through the Dev elopeT, Mute Fonnul a by 1ilent memorizing.

2. You are not di stu rbed or rendered un comfo rt ab le by pesky insects or a rtificia l light and heat.

3. All mclodiet arc so thoroughly imp ressed upon the ment al

film in 1//ence, that th ey can be reproduced nt will at any tim e or pince- in the da rk, or out in n boat, wher e it is coo lct1t. With n heart as light as n fcnther, you p lay over the tunes dear to your heart and othc rs- o.nd forge t about the torrid \ffather.

11 ta ta the ad .. u1&11 or all collU!raed tbat THE CADE!fZA l>e ineall oned when wn 11n1 adnrtl.un

Tl-IE CA DE ZA

" EVERY ONE A 'GIBSON'- ITE" The Delpha Mandolin Orchestra, Arthur F. Den~e. Conductor ,

Teacher and Soloist writes: "S ince my Orchestra ba s adopted the ' Gibson' instrum ents there has been a vast improve:n en1 in tone quality and members' interest."

'Tis Better to Deserve than to Demand He has stood ror principles rat her than men; therefore has

Mr. Ders e succeeded , because dc se n 'ing- and no one can climb up any other way.

I t's tone quality t hat comma~ds Orchestra members' in teres t , and makes that Orchestra deserving.

And the deserv ing arc sought - t he undeserving seek. No one atte nds rehearsa ls because he bought his inst ru ­

ment cheaply. and the teacher who sells t he cheap instrument is he who pay s the greatest tax by entreaty to get members regularly to rehe arsa ls.

Thu s it is better to deserve than to entreat or demand, and loya lty to thi s principle rat her than to chea pn ess or short ­sighted selfishn ess, is the ladder upon whic h this man of worth and his orchestra have risen .

H e;, who wou ld climb up some other way i:ees on ly the stars. while his feet a re a lready on the brink of t he quick sands.

Mr . D ene and his Orchestra have commande d maximum attent ion by t heir prog ressiveness in adopting, advanc ing and profiting by · The Hartn ett System or Teaching and Study,

Universal Notation and , A Constant War on Ignoran ce. .

Th ey have placed the rea l good above see ming profit and Progr essiveness above conventiona lity, and when such stand­ards of right are va lued above hy pcr --0rth odoxy and conserv­ati sm , the tet hers to slow an d fitful progrcs, are loosed and the musica l soul mounts in a straight line towards the idea l.

'Tis Better to Dese rve than to Demand.

Write for the CataJoe that 1ive, the WHY or the "GIBSON " constru ction: Fre e Them atic Li■ t ; Fre e Booklet entitled " How to Pr actice, When and Why, P1ycholoeically Considered ." "Gi bson" instruments rrom 5c to 16 2-3e a day.

If a Teac her, do bu~lne88 on our capital. Sloek furni shed . We help se ll. We pay the ■dvertiaiq. You pay for goods when sold. Rl'lurn good .~ nnt 801d. Try our ' '.STILL HUNT." •

GIBSON MANDOLIN-GUITAR COMPANY 500 HARRISON COURT, KALAMAZOO, MICIDGAN, u. s. A. FOREIGN DISTRIBUTING AGENTS

~-------

THE CADENZA

Stahl "Efficiency'' Methods F OR MANDOLIN , BANJO AND GUITAR

" E FFIC IENCY Systems" urc the 111st word in the direction of shops, foctorics, departments, etc. Ove rworked workers have gone on strike - rebe lled - at the psychological j forcc l which J. transforms daily dawd ling into down righ t doing1 ::.,: _._,. ,.,. 1 .==-::-;-;

STAHL METHODS ore H scienti fica lly precise, productive an efficient for GETT I NG IDE AS INTO the student mind and GETTING TECHNICAL RES UL TS OU T OF t he st udent mind as is the Taylor System of Shop Economics, in getting similar results from operat ives.

The principle is th e some. T hese M ethod s urc adapted to the who le orc hest ra of students , from th e slow or the "thic k" to th e bright and th e precocious. Th ey PUSH eac h stude nt for ward with the rC$istle15!1, incessa nt drivini;;. power of the co iled spring. T here is no let up. Th e mat eria l is so progressive nnd so forcefully presented and arranged th:lt INTEREST, TE CHN ICA L DEXTERIT Y ANO MU SICAL KNOWLEDGE increase percq>t ibly eac h week .

Co-operation Between Author and Teacher Th" nu tl:or INV ITES correspo ndn1 ce from teachers: gladly co­

OllCrflt es in suggesting suitable moteria l for use IN CON J UNC TI ON with oil stage, of the instructio n, nnd hold s him selr at a ll times ready 10 correspo nd, ndvise nnd suggest to th e teac her .

He Wm. C. Stah l- has TAUGHT for twenty -five years. Hi s record isn't th e 111etMric flight of the man who .. never took a lesson" but hud the ··mllurnl knack" and mad e good, then wrote out a method ! No l He rose to the topmost place as teacher ·and :,oloist by METHOD. and he takes your st udent s OVER GROUND HE IS FAMILIAR W ITH nnd thoroughly grou nd s them in all that pertains to thei r instrument.

Brmu:olia Plectrum Method used - the one infollib le method

St a hl 's N e w M a ndo li n M e thod Part I, 65 pages, S I Par t II , 73 pages. SI Pa r t 111, 73 pages, $ 1

St a hl 's N e w Cu lt ar M et ho d Comp lete in 70 pages, $ 1

St a hl' s N e w Ba nj o M ethod s A Not ·ation, Complete, 71 pall,es, SI C Notation, Complete, 71 page s, SI

Prof essiona l Di scoun t - Send Card

WM. C. STAHL .Jtr:anu/a<tumand'Publi,hu 2 I I Crand Ave., Milwaukee, Wis. LAROES T CATALOG UE OF DUOS IN TH.E WORLD . THEMATI CS OF POPULAR AND CLASSIC MU SIC MAI LED i"REE,

H E~QU ARTER S FOR EVERYTHING A TE ACHER NEEDS - FRO M ADVICE TO SU PPLI ES.

- - B-M-G HEADQUARTERS +++++t WALTER JACOBS, 167 Tremont Street, BOSTON, MASS. l

Can NOW Fill all Ordera For Th e * Mandolin, Banjo and Guitar

PUBLICATIONS =======OF THE FOLL OWING PR OMINENT CONCERNS ==== ===

BERTHOUD , F . LANDRY CAMBRIA, STELLARIO

CHAPPELL & CO . FARLAND , A. A.

FODEN , WM . GIBSON MANDOL IN -GUITAR CO.

GOLDBY , E . D . GORDON, HAMILTON S.

JACO BS, WALTER JO HNSTONE, J . H.

LA'GAT REE , S. N .

NORWOOD , WALTER A. REMICK & CO., JEROME H.

RHODE ISLAND MUSIC CO. SHEPARD , STEPHEN S.

STAHL , WM . C. STANNARD , GEO .

STERN & CO. , J . W. TUTT LE , CHAS . N .

WILL IAMS, L. A. WITMARK & SONS, M .

N. B . T his List will be added to next month

SPECIALLY SOLfCfTED-••The pat,on age of the LIVE B -M -G T eacher.; and M ando lin Orchestra Leaders . :: :: :: :: :: :: :; :: :: :: : :

It la to tb • adna1q;, or all coa.unaed lllat TIO C4DBl'fU. be mentioned wbe11 wrl!la& adW!rtl.1ers

4 T H E CA DE N ZA

LOOK Mr. Mandolin Man No mor e dis appo int ment s wh en th e inev itable " request " come s

No more " digging " va in ly throu gh your files No mo re " fakin g" a num ber yo u ought to have

ALL For the PRICE of ONE The Old Patriotic Songs The Favorite Home Songs

ARE IN

THE COLUMBIA COLLECTION Thi s wonderfu l collectio n of wond erfu l song s will b e ready

abo ut Sept ember 15, 1913.

SPECIAL OFFER

IMPORTANT

All ADVANCE orders received BEFORE Sept • emb er 1st will be forw arded , expr ess or post ­age free , ON RECEIPT of t he followin g prices :

I BOOK 3 BOOK S 7 BOOKS

25 BOOK S 100 BOOKS

$ .25 .50

1.00 3.00

10.00

To obt ain Th e Columbia Collect ion at th ese " SPECIAL OFFER " pri ces you MUST

(1) Order before Sept emb er 1, 1913. Don' I latu iti , li ~ou l,ad a,dutd NOW

(2) Send payme nt with order . (3) Refer t o Th e Cadenza.

N. B . No DUPLICAT E orders will be accept ed except at regular prices. Th erefore don' t have the excuse that " I d id n' t kno w what a grand collection it was."

~ SEE OPPOSITE PAGE FO R THE

CONTENTS and INSTRUMENTATION

ADDRESS ALL ORDERS TO WALTER JACOBS 167 TREMONT ST .,

BOSTON, MASS._

1 Im. It la to th •d.utac:• of .U .COD«nlM tha t THI: CA.DSNZA 1No _...... -"- wri tia,: ad •lrtlMn

THE CADENZA

~@ ~ ~

120 S that are a Delight and Comfort 120 s ongs in the Hom es of all the World ongs

The Columbia Collection of Patriotic and Favorite Home Songs

Playab le in any C ombin ation of the Instruments listed EKh msrrumcn 1 hu • Kpa ralc book conllinini! !IM".: c min: 120 numbcrt

A.tT1n1.dbf

R. E. Hildreth

'Soto Vioiln wlllld11t1put1dlib .

•So lo Flut e wl1bd111tput1dllb.

•Solo Clarin et wlthd11elpart•dUb.

•Solo Cornet wilb du.t put ad lib.

2nd Violin . Viola. 'Cello Bass. 2nd Clarin et . 2nd Com et. Trombone Drums . Piano . ·

.50

.50

.50 .50 .50 .50 .50 .50

Price 50 cents

Prlc• .

•Solo !!·d~~o~ ad lib. .50 2nd Mandolin . .50 3rd Mandolin . . .50 Tenor l\fandola . . . .50

(Unh'ffMl!\ 0111Lion)

Mando -Cello . . . . . . .50 (U'n.ivusal Xota1ion)

l\fando •Bass . . . . . . . .50 (Un.iVttAl:-. ota h OCI)

Piano . .50

PUBLISHED BY WALTER JACOBS, BOSTON, MASS.

Tn mpl Tnm,! Tn111pl Underlb e Willow V1u.n1Cblllr • W1tcbo11h1"RIIIH WurinsoflheGfffll We'd llell er Bide • Wn

TABL E OF CONTENTS

A'1 0 0 Fot1rt.bof uty ll ymn GeatleA11.11ie

~lo~IB';!:•rl Hap117Fanau

~~T~~ ff• l'll Thal Onu · Thr o ' Tan.' • Hall• Han u1 11,mn H ome, S•ul Home H o• Caa I Lene Th,:,e Hunley I lo1"e1 n TeUlbeS1ory l talian ll rmn

l•m••·•••o>•S<o,m,s., uu1,lo•erof MrSo11 I oh n ADdenon , My J o oy101heWorld unita 1111Bdoret.he Dani e, Moth er

·•: ··:

6 THE CADENZA

~ @~r -e2_ CREPUSCULE

B, F ANTA UZZI

SEXTET FOR ONE MANDOLIN

One of the finest impor tatio ns ever publi shed ror unacco mpani ed Mandoli n

J UST OUT. Price TWENTY-FIVE CENTS net Seadf otU1J' lte •catalo1o flm p0r1edm1111lc.

J. ROWIES, 3337 North 18th Stree~ Philade lphia, Pa.

HARP MANDOLIN

-1 Btlltr than otlur Mandolins

«JIit ha s a remarkably rich, foll, powerful 1one, or extraordi­

narily sweet qu:ilicy. lu superior­ity is ap par ent th e minute you try it . The "Symphony" is the b.tclt word ,n mandolins. 1t is an ad­

vanu over anything - heretofore crnu: d in I h e mandolin line. Send for one on tria l and see for yourself.

W • ~ nd "S y mphon)/" Ha rp Mandolin, and "Sym. pJ,ony" Harp yui/ars on /rial.

Wa.na Fo• Fu.1 lLLU ITllA TlP CATALOO

W. J. DYER & BRO. DEPT , 125 ST . PAUL, :MINN.

For C\' (' f )' custom er - ~o matt~•r what y1}U may want; wheth er it be a

$100.00 "GRAND CONCERT" or a $40.00 No. I BACON PROFESSIONAL

WE CAN GIVE YOU I Both TONE and BEAUTY

You ;:au t.~· ro ur OWN Ju<lhl', ,1,; we send on TRI.\L. &·ml for c:it:i loi: and dio;count.

"NEW YORK. JUNE 13, 11113 Ou.~ Ma. 11.-.co~ :- -G mm l Con~ rt llan}o r«ci v,:d and all I c~ siiy is: /

,.,.,..., 1,,0,J " " "a '° " '· /I; , 11,t la ll uw J ;,. /Jo'VOf. ll i• • Ti§a,iy in looks. II. G. WILL IAMS, 036 Broadway"

BACON MANUFACTURING CO., Forest ~:l e, Vt. I

HENLEIN'S MANDOLIN SCHOOL Thi St11d1rd Mandolin Method of America, Newly Rnlsed, New Music

Th is Famous Melhod In,, nvw bren bt:fore the jillblic for i,5 ycnn. and is today U1e mOllt U.'lt.,'tl or a ll Mnndolin l nslrtu:tor,.

It is a well koo\\·n fact that lhi 1 Method tins done more lo make the Mandolin 1,opulftr tlum any other in.'llni clor knuwn.

Th ow.nndJ or le.ache~ h1w e lclt ifietl lhnl il i.'I Uie mot l 1ui tab le for teacher and pul)il, rontftining bcsi,le, the progfC'l.1ive Studi es and Eludes. graded pieces e1pecin lly compo,c,tl for the mnndo lin, all \'Cry mdodiouJ, and a 1il0011ure to the pupil.

Will 11cnd you a copy or the new Re•laed Me lhod. \'o l. I , on •pp rou l, at the specia l price or 67 centa, poslpn.ld.

THE JOSEPH KROLAGE MUSIC CO., Cincinnati, Ohio

r.-:~r~nt!~ ~~:::.~J. :to anee •• • ••..••••••••••..• ,.Ho-. -10

. 10 .20

·.ii ::J \t1i.~.'::.~'.~.l.:::::~f~~ ::8 .ii> .21 l~py,;· .. ··· .... ··.:~::~r':.~ :i8 .so :!8 :=

•••••• l/ 111/ .40 .10 .20 ... .. .. A llt • .40 . 10 .20 .. Tri11..h111 .40 .10 .20

.... A~• .40 .10 .20

·:.1:""ii~1 ~ :rn :~ ....... i:.~; J8 .30 .iO .io ...•••••• Al/l'Jff .JO ••••••..•• A /It• .JO .ii> .iO ::::: · O·~': ::8 .ii> .20 ........ 0-alt . • .f(l .10 .20

·1~ ~ ~ .ao :l8 :=: Tuan .40 .10 .20

•••••••••••• Rol ft .40 .20 .u ••..••.•••• • 11',iJl .JO .10 .2()

. IVriil .40 ,10 .20 •••• • ••• W{l,011. .JO .10 .20

•... IV.UI .40 .10 .20 • • AU,.. .40 .10 .ID .. w.u, .40

.. ..... G,f!Ji• .~

·::::::.':W;;J, :!3 .iO .io

················ ··· t:~ ~ .30 ::& ~ ) ...... r.. .. ,. , .40 .10 .20 nee) P,,1111 ... • 40 .10 .20

.....••..••............. VnBlolf .30 .10 .20

-~~~::::::::::::-:ti :5 M&Rll ••••••••••••••••. so.ln-•• .40

Cbanctawtk J.fll.fdl ••• • ••••••• w,u, .40 ..,d J'.-lln ....... .... ... Lea,f•1 ..80

.iO .20

.iO .io

.10 .30

t ~ MarcbudTft.&ep .:::::·:~:= 1 :i8 ! =!T.!~.t!.:~t i:::::::1,r,,: :: :rn .20 . i:== .w~·wfflh· ::::::: :;~: ~ ~ :rn :I

I ~Te~~-~•,~T ·T~·EMONT. ;;!tss/'!.o•~;;"• ·~0A .. ~ I ··---··---··---··---··._,.··._,.··---··---··._,.··---··---··

J n ..

THE CADENZA

WARRANTED TO BE UN BREAKABLE

HAND-MADE PLECTRUMS

Used and invented by Sig. P ettine and familiarly known as the PETTINE PICK

FinUht.d b:y hand lo !JU/I the particular p/oyw FLEXIBLE, MEDIUM or HARD

One lOc - Three 25c - One Doz. 75c SPE C IAL OFFER UNTlL SEPTEMBER 15

One each of the different grades, 15c post paid

We handle all the imtrudion books and solos by Pettine, Munier, la Scala, Ma,u ccelli and other:,. St.nd for catalogue.

Llkra/Ji.eaun/1/a !Ac t,adc

Rhode Island Music Co., 49 P enn St., Pro vidence, R. I.

GIVE THE PUREST TONE

a .. :i: u ti z

8

I PRESERVE your CADENZA !}~~\'n~~~~~~t~"~;;11t:·i~:1l~l~l~~~t anl:~ic~~ ~~~?i::?;~d?"~f o~i'lC:.in,~ i:lnd to know that wc h:wc sucet.'{-dt.•X at Inst in securi ng n rc:illy pr:ic1ica l binder . You cm1 now have your CADKS:tAsi n the form o( :i handsomely bound 11001.:, ready 10 rdcr lo at any lime.

The Big Ben Binder ~j~~".';j;~~I ~ hlk~ndc~d:~d~; =:1:,,}!u~~':,~ t~ C!t:~nl. papen on an

The Uig Ben Binder ha~ By spec ia l arr rin ~L'-thc n1)pcuranc«; .Qr a regul~r ment we ca n furni !-h ~r~~::u1:~1~·1u;c~~nd1:~,:~ yo u wi th thi s bind er for Only $1. '.\lcrc ly send us yo ur na me an d er; the name s1nmped in addr ess on a s lip of pape r. ~imp ly say "Sen d me yo ur binder.

renl gold leaf . . The hinder makes a richly bound I en close SI ." i hc bi~dcrwill bcsc n tp romp tl y,a l\ cha.rgcs !i~~~ c thnt will be a handsome addition to ymir p repaid .

· .Send in your order now to

T H E C A D ENZ A 167 Tremont St., Boston, Mass.

·7

·-JACOBS' ORCHESTRA MONTHLY~ a 100-PAGE MUSIC MAGAZIN E de,·oted to the interests of lb~ Professional Md Amateur

T!maaa,u_ia. conW...111tlCbolnlacWt.b1M1111do&,e....JoaadG"1WStudm.t . !l2,.._olH!r9MUllclat•ffJ'i.!._AN~2!~!!~RAi~er~~tlaa ,S lla •- Cudlu, ,us. •-.. . ,...._ Published by WAL TfR JACOBS, 167 Tremont Street, Boston, Massachusetts

THE CADENZA

The Comedies of Commerce The manufacture of musical instrume nts seems to exert an especial att raction on cranks and "new thoughtists." To wit­AMONG VIOLIN MAKERS, one prc-.um: 1hly r'-·Jmlahk mak ... •r is 11fTcring a \·io\iii whose hack is made of .MANY RIBS, a ll glued

together. li e PROVES HI S THEORY OF CONSTRUCTION hy d t in~ 1hc mandolin l't>IIStructio n of altcrn:i.tc white holly and rose wood rib s. AMONG CLARINET MAKERS , one prc,,umably hom.,,t mak,·r looks ar,m nd _anol DIS CO\ll~R S (?) that Co m et..'-, Trombo nes ,

etc. , all h:wc 11idc hdl ends! .\m J, ipso f:11:w , hypoth ... "'11•, lik,._•, the l'l,1r1m:t is wrung as m:t<k to-day , o r th 1.1 Co rnets and T rombo nes arc :111 '.\'rung! Su, he puB a wide, 11\)-<.'ttn·cd end onto his Clarinet.

· A COMMERCIAL TRAGEDY AMONG MANDOLIN MAKERS one maker, at least, ca1alogs two distinctly REVOLUTIONARY SHAPE S which he dubs mando­

lins; ditto as 10 Guitar s, and some other instrum ents.

this !~r: !~rii~~:1!d~bi:~u~:1~1i~~l~~1e~~w c!~\~ne \~:J!e: :;::r~ ~:i: :;:r:~~=~;•p~!:;~ !i ~~;1~:~% e: r~;: g~~:: ~~~ ~~~be:o!~fJ:i~~

of "S HAPES" masquerading as simon-pure, bona-fide mand olins, guitar s, etc.? A GRAND CHORUS OF STAHL ENTHUSIASTS

:m· ,],, 1111,: a pk c tmm pr,.pag.m,la work unp:1rall..Jll-..l m lhc hi:::tory of llw pk"Ctmm i11s1mml·t1ts. \\'i th a TRUE FAMILY .,f :-:,•:1p,,J1t;m mo,!d:::, and a tnll' family oi the English mOOd:::, with :m;h..-<I lla t

li:,d,~. mdt fa1mly oomplctl· and LEGITIMATE in 11111111g, as well :is in ~hap,: , these Stah l boosters arc ,·nh~lmi.; new s1udc 11ts every ,by.

Im•·· \~~~~~1r~~:1·:

1,~-'1\~~~!~~~~i~~~l~:~c,:~1~\.~1i,~::1i~~tt~ .. 11;~::~~s~;:~Hit~~~~i ~~-~::i~~I~;~~:::; [~\~~~~:~~:~:~::~~ THAT' S TH.E BR.EACH FOR THE PLECTRU M PROP AGANDIST. Gel afll :r thl•new /.:l'llt:r:ition.

Turn the ti,IC' ,,f 111,pubrity away fn.,111 tlu:l>uw••<l instrunwutsand TOWARD THE PLECTRUM INSTRU ­MENT S! Let thost: whu ,,ill, bcimld lc their 111in,J:; with :tfJ.:tnncnts like thasc ~1\·t.11 in th e first two p;irat:raph s.

--t~• 1~~J :,;;FJ ~ ;::: ~.~!,1~~~~ y~~~ o,~AJ rJ1~~:~:•

111~'.~~l:t~1::;~i~l~1):~~;,1~f;.:tJ~1N1~ H1E

STAHL FORCES. STAHL INSTRUMENT S have the TONE, the ACTION, the FORM, the FINI SH­

MW~ l~o~ - to ATTRACT, INTEREST and HOLD TH.E :ttll'llti on of THE SERIOUS

Compld r Co/11/01, of " Tltt Tu:o Sia!./ Familiu '• of / ru lrumrnl, Mailtd Fret

WM. C. STAHL, :!:t;:~•bc,j~h:~. Milwaukee , Wiac. ~-:i~:tfr~:.•·:;:.:! .. ~':!fo~h: .. :~~~in;"!::::r::n:'.::.r~~:.d:t~:;~:p':ii~ .... . - . .

INDEX TO OUR ADVERTISERS

BACON COMP ANY, THE P. J. BACON-GOGGIN PUB. CO.

12 Hiab S1. Terryrille,Cooa . ~:; r=~=-0000000001

ll.5G ret11SC. Sche oedady ,N. Y. 42 O Q0-0-000-0000-0,0.0,0 ~ ~ BACON MPG . CO. Porut D•I•, Vt. . B.uLEY, BD, L. 4.5.51 Filth An. Brook.1711, N. Y. BERTHOUD, P. LA.NDRY 664 W. 1791.b SI . New York, N. Y.

4J Advertise rs' Announcements ..

CADENZA, THE 167 Tremool St. BOiton, Maa. 7, 41, 4J The Lyric Stri ng Orchestra . .. CAMBRIA, SIGNOR STELLA.RIO 104? Broadw17 New York, N. Y. CARBY, TOM .51.5 Stot-ca A..e. Detroit, Mich .

C~mmon Sense in Teaching and Study. By D. E. Hartnett ..

COLB, P. B. J Applelofl St. Bosto11, Mu ,. CONDY-BETTONE Y COMPANY, THE 66 n ',oonr St. Boiito11, M, u. DYER, W. J .• BRO. 01panm 1111 125 St . PIIUI, Mina .

42 The American Guild. Official Monthly Bulletin .. ., Guild Growth ..

ESSEX CO MPAKY, CLIFFORD I.S.G r&fto11 St. London, E11&l1nd FARLAND, A. A. Jl.5 £utS6C:0ttd St. Pllhtlleld, lf. J .

:; Editoria l :

... . . ...... 1- 8

10

12

12 ,. FODEN, WM. tMGn11d Au. Bn&),wood,N . J . 6, 4J Music Supplement .. . ............... 15-30 GIBSON MAN'DOLIN-OOITAR CO. 500 Htn ilOQ Court Ka1,,m1100, Mith. 2 GORDON, HAMILTON S. JU w .. 1 36lb St. Now York, N. Y. GROVER, A. D. J.St >Jba111 St. Bot:to11, Mu, . HARTNITT, D • .S. 71 WNtUrd St. New York, N. Y. JACOBS' OllCHBSTRA MONTHLY 167 T11121oot SI. Bot:1011, Mu , . JACOBS, WALTER 107 Tum oot S1. Bottoo, M, n. J. 4, 44 KEYNOTE S JII Odord St. W. Lo.adu, End111d 4J llOU.G.S MOSJC CO., TH:E JOSEPH Cmciluu,tl, Ohio . LYON aod HEALY 2$-49 E. Adam■ SL Cbktao. lU.

March . .,Adalid" (Th e Chieftai n) (Hell ) An. Walltt Jacobll Ill mandolia, 2d 111.&Adolin, 1•1101 ma11dolt, mendo-ctllo, pitar 1«.

J?ly1i.111 Dreams . Nonletle . (Ro..U.nd ) An . R. B. Hildri:tb l11 m111d0IJ11, 2d m.s11doli.a, te1101 mandol.l, ma.ado-cello, pllar tee., pluo e« .

!.hRb . "Adalld" (Tbe Chiefta.ia) (Hall ) An . Wtll tt J•cob1 BujoSoto

Th e :;1:{l J:,'iik (c i:::.C::o~)d Two-Step. R. E. HIidreth

Me M1Uct11 M111. A PICU,ll R11. A. J. Weldt GultarSoJ.o

NORWOOD, WALTER A. 10.51 W11b. An. Brollll, New York 41 Some "Pickings" from the Serenaders. By the "Sec&ntreu .. .. 31

31

J2

JJ

REM.IC~ •cOMPAffY, JEROME H. 219 w .. t 46th SL ffewYorlr,N . Y. (Cour J J RBTTBERG • UNGB ns-111 E. 24th SL N,w Yorlr, N. Y. 1 The Mandotinist, Conducted by Sig. Giuseppe Pettine .. RHO.Olt JSL.lND MOSIC CO, 49 Peu St. Prnideact, R. I. ROOBR.s' MUSIC HOUSE F1.n11Jnad&l1, ff . J . ROWIES, J . J"7 No. lltA SL I!biladtlpblt, Pl . SHEPARD, STEPHBff 520 B, 11th St. P1teno11, N. J.

lit Q,...d Au . Mllw,u.Jr.ff, Wit.

lllSo . WUH11St . Trnloa,ft. J .

N~ ,M o. 01 Sudbury SL Bottoll, ..... .

7 The Guitarist Conducted by William Foden ..

ti The Problem Prober. Conducted by Myron A. Bickford .. 42 British Departm ent. Conducted by A. de Vekey .. ,., u The Artist and Amateur ..

4J What the Clubs_ and Orchestras are Doing

STABL, WM. C. ST.lfftfARD , GEORGE

TUTTLB, CHAR.LES ff. YR.GA COMPAJIY, THE

WITJil.AU • SONS, 111.

WORLST COII P.llf'T, JOHN 95 Wltman: Bid&. New York (Cou.-) 2 New Publications ..

~Ad¥ertisers' Ann0uncementa .. t0,,,41 lkaoopt 61. ao..,c-.11 ...

It l■ to the 1d....,taa1 ol ell CO.Cffllod lhal TH£ C.u>INZA be 111 .. tloaod wbn ~ 1dn:rd1tn

" ,. J7 .,

. ..... 4 1-U

©c t B'.!H79U!t

Vot. XX

PUIILISHl!!D IN TH I!! INTE~E!ST 01" THe l'\,\NDOLIN, B/VUO ,\ND QUIT,\11

BosToN, MAss., Aucu sT. 19 13 No. 2

@!~1=;;;20[=~;;'2mn ~;;;;;;;E o~;;;;;;2ll~;;;;;;;;;20 !E:;;;;;;;;;;2@1= o=l1=0= 110J

~ ~ I I I I ~ ~ I I I

O THE !.\'RI C ST RING ORCHEST RA of J',;ew York. is u, org11nii111ion unique. in fnr111a11on •nd dctirnmc in ob1«1. lu chief d11im IO lo di11ine tn.m in un iq uenc11 lie1 in the fitel th nr 11 is exact ly whaf 111 name unph u - 11 ,5rr1111\ orc hc11rn and nothing furth er, 1he wood-w ind , rud . brau a nd percu ssion bcinge1imin11ted ■nd le11YIIIP,tn ar11siic and effccl i\'C ensemble of plect rum and bowed 111s1rume nt11tion.

h s ,al.on d'ct,~ is 10 CllGOUral{C, by fon;e of example, the study of the c lusics and hiP,hcr for1111 of mus1c 1111<1 1hc1r rendi 1ion b y plecTrum in­atrum enit. reinforce d in co lonng by the bo wed , and to provid e I light orc he11ra for ellcctivc \,o rk. 111 chamber conccru and Vdrinus funct ions held for 1he bene6t of c harit able 1nstitu1ion1.

~

Do dir eciuh:.· ~);1~~

10~ N°i:;:aa~J~t'°":~1 'di~~ :J:;t~~::~"!!1!~~:;~:~:;~,11~fr.·c~:r-srr,~~~:11~~~ug~ l~=~~:,~,~~~1n°',~11e.~:~enT~~: lo wortmg en1emble 10 Too 111e111ben, give1 bu! 11dded lnn;e 10 11n 11lrc11,ty f.,rcd ul bod) ' of pl" yrrs 1h"1 sh .. uld l!t: cnr.,;_,u rnr,c-:rl by be 11c 6ciar y and c haritab le orp,"ni1:111iun1 w hic h d u n e only 1he di s1inctly mu ,~1c1 l 1tnc.l lhl" nrli~ric "lly c llic ,,•111.

[2]1=0=1 1=0=1 o @= o= O=o=1[oJ

10 TH 1-: C /IDE N 7. .\

COMMON SENSE IN TEACHING AND STUDY lh D. E. 11.,n s..:rr

~ l 1cT11ou l'\o. 2- T F.Ac111:-.:c 1:-; Cums ,\ SD C1.,\ss t:s (Co111i,111rd f rom //u J uly iuur)

S01.v1:-.c A B1c \ lnuc .\l . PRo n1.r.~1

T 9 lh c man w~10 _lives in a _hu sy . hi!:h-wallnl. :.1111~ 1111muncd, no1se-1nfcstcd city , 1~1c woods alf1_1rd~ about the only oppo rtu nitr for 111111 IV expan d 1nw

natural ness : to mcC't his real sel f. anJ become acquaintn l wi th his ow n ego. \\ 'hen :,;uch a one 1,.·an be trans_poncd alm os t in a night in to 1hc \'e rr heart of the wi lderne ss , ,·irtuall v placed o n the trail with pack and all nccc ss.arr pa raplll'.rna\ia. in\ ·olvin~ but little of financial 1..·xpc,_is~ _:ind p h~·sic,11 effort well ! wh o want ;, 1~ hani: around c1v1li:,,cd haun ts for three hun dred and s1x1y-fin.• days o f the rc arf

Li\ ·ing out "in the woods .. cncouraµcs the dcn. l'?p­mcnt o f a sense of independen ce and crea 1cs 1he ab 1htr 10 cope with circum st::inces whc!1 the~· a ri~e. ~sca n 1101hing else in all 1hc" world: the ~0111µ and commµ , as fancy dictates, with footsteps of cv~r '?~ yi n~ _len~th s ; the close atte n tion required for eac h 111d1v1dual SLcp, lest one ge t an un expected tumb le; the une, ·en .mo,·cme nts of _the bod~·, forci ng hithert o unu sed mu scles 111t? heahh r act ion ; the acti \'itr, which co mpels c~eep brealinn~. follo\\ed hr brief periods of rest and rcact1on- all of the se, and more, lend 10 the lonr o f the wood s a del ight fully sy ncopa ted spirit o f restful unre st , a ~ort o f rag -tim e_ diven.icn in living wh ich , contra ~~cd mth the mecha111c~I c~•eune ss and same ness of civilized custo ms, affects !um hk e the sta rtl ing, new di scove!"}' of a wc\1-sprin~ <;>f li_fe-joy. 1.n the process o f "taki ng' the se outing s (rcahza uon), one !s usua ll,· benefited 10 such an extent that he return s to !us work Charged and surchar ~cd wi1h a .renewed resen ·e of vita l str engt h , bo th mehtall y and physica lly.

If one ha s never ca mped-o ut o' night s in the deep wood s and knows not the de lecta ble aroma of frri ng-fish­freshl~· ca ught for t he im1~aticm l~· awaited sup pe r, ~nd the acrid fragrance of burnm g wood and charr ed, glowmg embers; 1he glor ious warmlh of die sun by dar, and the ch ill of the forest night 3ir: th e encircled ca mp-fire o f resinous logs, and th e long, flickering shado, ~·s beyo nd _its pa le that arc 50 subtl r sugge stive o f the '!1ght-prow ling wild life o f the forest o r t he ghosts o f their hunted and depa rt ed brothers: th e pungent sme ll o f crack ling cedar or pine bo ugh s- natur e's ma).!iC, sleep-compe lling mattre ss unde r a t ired bodr - and her soothing lullabrs, sun g by th e winds th rough the bra nches 3rching O\·erhead ; the mists that lie on the waters befo re th e dawn and di spel wit h the su n- if one docs no t know the se delig ht s of the impcnc 1rab le wood s, the deep colored lak es and sentinel mount ains, then indeed doc s life ye t hold for him a new and wonde rfull y enjoya ble expe rience.

Th e wilderne ss is no respec ter of per sons. In additi on 10 encoura ging a new sense of independen ce in the weaker, it also tests the spirit o f the st ronger to compJ~, with the

~~~c~!~:1: ~~ti~r;es -~rc;~ ~t;1i;':~1

i~at~;:j ~r ~!n~h~1 ,r:~ i'J th rough, the newly incited and unwonted .activity , whi le the ever-varying senings of the wooded scene s- the same

~:l~~::, IC~~~~ i~f \':~l~t~r:;ihWai:\\~: a~~di~:~~;~~i~~'. f\o o th er place in the wide world permit s o r produce s such int rospec tiv e and per spective reveries - those even ing d ream s which cap the climu of gloriously full days, in a manner that makes one singularly at peace with him self and the world . The writer of the following lines well knew th e value of being

; \1 .osi,: W1T11 XAT I . RH

··Today a lunging fills my trouh l~,I bn·a st To 1nm me from th<' has te :in,! ,·ain unn "-1: .\ 11,I fo r fro 111 lll<'n. :111<I all lhnt man hath ma th•. W:11k t\uwn the quiet forest nisl1.:s o( i;lm1k:

x:;.:ir:!~~,~t,~:::~i1~ ~etf.! "~1:.:: ~~~t

1

T" !war tho- lang ua.:,· of th e fom :m,I pine. .\ n.J m:1ka: the gr.m•.lt"11r of th eir sccn: t min e.

•• J !1111.: tn ft-cl the .-ool lirl'C:i:c fan my ch<-ck. T" hl'ar 1lw G od u( Nnt ure clC'o,rly S)wnk Throu.:h b"t11(h~ a"ld gra_~scs and thro " \,•a\'~-:i a nti lot.one : Tn r,•,1 wi1hin this tr anqu i! h11sh-;1 l011c: ·

Occa siona lly there come golden moment s in solitude whe n tho111,:ht s leave lastin g impre ssions through co ncen­trati on, and inspi red hr the wonder s o f nature and th3t inexp lica ble ' 'at rnos ph erc·• which is bred of the ''open ," anJ which is imposs ible to de scr ibe , an atmo sphere which is knowab le to none only through having expe rienced and cujoye d it. \Ve know tha t the menta l film- the brnin ­ca n be impre ssed fullr as well (or bett er) b)' tho11ght, as In- 1ig l111 and 101111d1. Hut thou~hl , which is self-rcgi strn-1i·o11, co mes at its best thr ough concentratio n onlr, which, in its turn , requir es solitude fo r 1he establi shm ent o f the mos t favo rable conditi ons so necessary· to the perfect excrcisi111,: o f its functions. And rhere is no be tt er place wherein 10 engender th ese conditi ons, than in the deep woods where 101111d1, 1ighl1 and 10/itudt' arc distributed in their right propo rti ons.

Art , in p:iinting and sculptur e, is enjoyed through the eye-, igh t. In mu sic, it is enj oye d thr c ugh the car ­hearing.

H istory' record s that some of the world' s grea test compo sition s were inspired by the woods - their sound s and sur rou nding s; that from natu re's ow n er.aft-shop came 10 some of the world-renowned mus icians the ncccss:i.ry

i•;s 1~iri~i~,~s!~1~l;;~c1~~:ethti~ t~1~~d~~~h~i1~/~~!ri:1

1;; 'i

1:::

tions were derived as much from the sight s t he)' saw, as from the sounds they heard? And do not the same conditio ns-s ound s as well as sights- al so inspire th e .anisL in his pai ntin g, and are his best effort s to expre ss his emotio ns on canvas not only inspired by the compos i1c sir,hlJ pre sented, bu1 co nside rabl y enhanced h)' the 10und1 whic h he hears ? The artist's outlet for the expre ssion of his emotio ns is through his brush -s ight s, as is the musi­cia n's thro ugh his instrument - sound s, and that which inspire s to action the one is perhaps e<1ually serviceable to the o ther, but exp ressed by each only through hi s own chosen too ls.

Solitude is nature's ow n great smith y wherein the elemental s arc fused, welded and wrought int o a perfect whole as concentration is the forge from whic h all th oughts, inspirati ons and idea ls spring at w+.itc heat ­and the forge of concentration is set up in t he midst o f solitude.

Since the object of th e mu sic-student is to arou se and stimulate emot ion through sounds, it may readi ly be seen that such enjoyment ca nn ot reach its highest point under co ndi tions and surroundin gs incide ntal to city life, where the inspiring power of proper 1ight1 arc absent. Th e object o f the artist-stu~ent is also to arou se and_ stimul~t e emotion, but through sight ~, and he,. too,. lac~s. Ill the Cll) ' environment the fullest equipment , smce msp m ng, nature­produced 1011nd1 arc ab sent, although _the artificial ones of man 's inven tion ma y abound on all 11dcs.,

AN EARTHLY PARADISE

)~or the writer there is just one enchan ted spot on thi s grand old globe which pe~its of su~h glorious "intake~" 0£ inspirational thought-1deal s- W1tchhopple Lake m

TI-IE CADENZA II

the Adirondack s, where the "red god s", hold fort h about eight miles over lakes, st reams and trai ls from Beaver Ri\ •cr in Herk imer Co., N. Y.

One day in the month of A ugust, 19 11 , we- a good friend and "Katish" - wcrc slowly "troll ing" in the writer' s littl e "red -green" boat on Big Crooked Lake. Silently we awaited the " tug" from the out-spe nt, trailing lines; t hat electric, alert-c ompelling message from th e deep , which, if properly received and expertly handled , would possib ly mean the a rriva l of the fisherman 's greatest joy­momcnt - 11.1ing tlrr landi11g nrl, and then to another of those ncvc r-to-bc-fo rgollc n lunche s in the wood s would be added th e finishing touch - trout.

Did you eve r cat 'cm , prepared like this? Catch rour trout , split 'c m and 1hen sp read strip s of bacon crossw ise. Now make secure between the folds of a wire broi ler and broi l over a bed of wood.c oals, a large pol of st"eaming coffee ha ving been made in the meantim e-ca n' t you smell it? Secured in the brvilcr, first heat up the bacon­side of the fish and t hen turn 'cm over quick ly, allowin g the "dr ippings" to percolate through and permeate t he spec kled beauties. Now ope n up the broiler, tu rn the "face to face" side of trout and bacon outwards, reas semble the broi ler and then - in a few turn s over the coals - bac on and tr out arc ready to serve, toget her with the good thi ngs that go with 'c m. U' m! Can't you ta ste 'c m? And such service! Th e mos t lav ish and elaboratel y gotte n up menu of an artist-c hef is incomparable with th is simple woods lunch ; a lunch with the flavor of th e food heightened hr the distance traveled, by t he exercise between meals , the

~~t"~-~\~:~~1fif~1c!:1:1t~,~~~~I~• a~~:t~~:.~;~;fi~~c l:\·~;1;~~j~~;~

and too enjora ble for mere word s to Ji<lcquately por tray), and br the insp iring surroundings :md presence of good mortals -a ll healthfull }' inflicted with ra, ·enous appetites and a commendable desire to ruakc eac h recurring day

h~~te~e;; ~ etba~k :~~fC~~'~;o1~Sc~1s:~!1c!::J~~~~r s

1 w~k~

me wit h, "C ut out }'Our d rcjlming, 1-lartnett !'' Occasi onal!}' there will come a long time between

"b ites" and consequentl y time to thi nk- to meditate. One part of the writ er '• woo<ls-policy is a lwars to avoid "ta lking shop" whe n in th e open. Ord inary conside ration for the feelings of al' othcr seldom leads _one to bring up and dwe ll upon a possib ly unwelcom e (you ne\ •cr ca n tell ) theme of discuss)On, whcn - unfortunatcl v for him- vour boat companio n has no other alternative ·than to listCn to you, unl ess p.crhap s he is a good swimmer and feels that an icy batb coupled with a long pll ll to shore would be amp ly compensated by the prot ection afforded by distance and the vastne ss and silence of the deep woods. But though one may not alwa ys talk , he ca nnot help but thi,rk, f? r ,such conditi ons simp l}' compel the la tter. It is often­tJmes easy to restrain voice or acti on, but th ought docs not lend itself to such case of suppre ssion, and so the oft­cons ide red subj ect again and again intrudcd - "ll'hy do 10 ma,ry Jail in mu,i d "

"Sc u OLARS FA1L \V111LE CARL.AND S CROWN TUE D u~cE"

As the littl e boat. padd le-propelled hr one hand , glided along at a snail' s pace , va rious t}•pes of failure s 3nd successes came to mind and were mentally compared . Lizzie Brown, ten }'Cars old and the ordinary type of child - lacking, comparatively speaking, in both intellectual and emotiona l deve lopmen t- is brought to the tea cher for instruction. (Seldom docs a chi ld voluntari ly urk the stud y of mu sic.) Fortunately, her emotions have as yet been but little deve loped, and so she naturall y approache s and engages in thi s stud}', as she docs with her school

prob lems; that is, she trie s to stud~· understanding ly, in so far as conditions anJ her own limi1cd intellect will permit. 1-lcr chances, therefore, arc good for making the o,u rncctu iu ln1, in ~pitc of the heart-breakin g customs imposed by the old method s, assuming 1hat she studies under th em, and thi s for the reason that , while soh-ing her mu sical problem s, she is not- at least not 10 any great (•xtent - inttrfurd fl'ith by d, ulop ,d rmo1im1. She succeeds.

~Ir. A. Bcrit c, a).!C thirty-eight - an in1elligent and alert pe rson, and a successful bu siness man - !'Oluntaril)· 1uk1 in,1r11ctio,1. De nloped emotio n has lcJ him to the !Hmlr of music. Finding th at the o rdinary cus1oms and experiences of life fail to gi,·c expression 10 one's various des ires, aspirati ons and mood s, and being con\'inccd that 1hc infu sion of a little self-reprodu ced music would supplr the missing link in the chain of life' s \·crsati liry. gratify the cra\·ings of an cmotion•stan ·cd soul and gi\·e that color and roundness so 11ecessar y IO a comp lete exi~tencC, he hearken s with joyou s anticipati on to the call of t he music­gods. T he first opportunity to st udy mu sic now present s it self and , an swcrin~ the call. he procures an inst rument. T hen, with the en1husiasm usually born of the con tem• plati on of 1omrthi11g 11r.:i·, he hopefully starts out on the trail lead ing to the mos t beautiful of all musica l lake s­T1111r.

But he was led by a guide (teacher ) who made him bclie, ·c thnt he could enjoy 1hc beauties of the sough1 for ~oa\ (tune ), whi/1 urki11g it: that he could actuall~ - bask in the sun shine of tune , while rarni"g {:) it - in fac1, could ,oro a11d reap at Jiu sam, 1im,. He drh·es himself and his familv almost mad with his aimle ss and franti c effons to ati.empt the working out of tune with sound. resulting in hideous tune-distorti ons, and finds that many ··goals" may be reachcd - rxap1i11g rh, rir,ht o,u.

He now sum mons all the patience. determination and forti111dc that he can mu ster, and earne stly a\'ows that, '' I will learn the darned thin~ or bu st." ~-c,. in spi te of all, he becomes hopelessly discoura1,:ed and · finally does "bust." - quitc. He is now comple1el~· ticketed and tagged as 011t of the "nine out of ten"' musi'°al failure s. It is so consoling for th e teacher to reflect- the writer him self has so '"reflected .. and knows th e feeling- that thi .1 man '·ha s no talent for music; ' ·'he is not musicalh · gifted," ct cetera. As for Bait<.·. himself. he looks at thC matter in quite a similar li1d1t .md becomes resigned to his musical fotc. " I cou ldn"1 learn time , so guess thcre· s no music in me ! .. sings the new member of the ;.Down and Out ~ lusical Club,"' and thu s helps to pro,·c that "T he scholar Fail s while Carl.and s Crown the Du nce."

Th e abo\'C o rder is rc\ ·ersed ;inJ in\'Crscd until one is pen ·erscd at the cha o1ic maZl'. imposed by a contemplati on of the situati on. In trying to get a comprchen sid! trasp upon the matter to scrn: as a figuring b3sis, one ma~ follow down through the \\·hole list of mu sic-student tnJcs - tak ing the successes and failures just as thcr come - and the conclusion is reached that , to the tune-hungry beginner, the intelle ct recci\'es \'Cry littl e consideration in the app licati on of 1he old methods. It is such innstiga­tion which forces the pertinent question: Is there any common -sense in music methods which ~m1it the com­paratively unintelligent child of ten rears to succeeJ. while the in1elligent, a lert and succe ssful bu siness ma n fails?

Th e answer pro\·cs- if it pro\ ·es anyt hing-two points . Virst, with the adult, that mixing intelli~ncc and de vel­oped emotio n is gene.rally attended with disaster, no matter how great the int elligence. Second, with the chi ld, that ve ry litt le intelligence is necessary to :1cquire

(Co,itinu«l OR pa,. JJ)

THE C ADENZA

~ .._I _T_H_ E _ _ A_M_ E_R_I_C_A_N _ _ G_U_I_L_D __ 01_8_A_NJ--'?""!~'-TG=-\"-"1fT"'

1!'°'~""ft:..:.~=-~'-N

1_s_Ts _ _,

~ OFFICE.RS DIRECTOR S

Pr ui du 1 M.R. 0 . £. HART l'fETT , New York CltJ

V>Cc-Pr caide,,.I MR . CilL TSC R OPP, Phil.l.dclphla , Pa .

Secn tuy -T, ~1u rcr .IIL WALTE R J ACOBS, BMtoo, Mau .

MRS. C. C. R0WDBN , Chk..10 111. MR. WM. P LACB, Jr., Pr oYidence, R. I.

M R. SUII UHL SlEGB L, CblQl&O, 111. MISS CORA BUTLER, Sb.tu Isla nd, N. Y. MR. S. N. l.AGATRJ!B, De~ oil, Mich MR . WM. ao. F0S TBR. B,oo .. lra , l'f . Y •

Tho, Amcric&n G uild B- .i -G Pin ._.aho•n ahove ava il.at.le u, mcmben on ly . l' ri«, 7~. The pin ii mad e o f , rd and while n1 a rnc l a nd ll(>ld pla te . Cu t ol pin , ,_ - on ata tionttJ" k,an,rd memboN for u,o .,...,q 011 reul pt of 25 ,;wu.

I OUR TRADE MEMBER S I BAC0l'I' KA ll'lJFACTURJNG CO. MANUFACTURER S

Fota<t O&lc, Vt.

CtrffDY-BETT Ol'l'EY CO. M USIC PUB LI SHERS oo ffa ..o·nr S1., Boston, Mn a.

P. E. COLE MANUF ACTURER J Appltl oa St, Bosto o, Mau.

OLIVEll DfTSON CO. PUBLI SH ERS AN D MANUF ACTURER S 150 Tremont SI .• Boston. M111.

G lBSOff IIIJl'DOUl'f -G UITAR CO. • MANUFACTURER S 500 H.1rriaoo Conn. K1llm.1100, M k:b.

E1.U.S BOWE CO. MANUF ACTURER S

Wil TaR J ACOBS

LYOJf ud IIEALY

18Cour1 S1.,lloltoa, MaH. MUSIC PUBLI SHER

167 Tremont S1., Bo1n11ft. Mi u. MANUFACTURER S

l J!:,. Adams S1 .• CbiQ &O, m . C. F. IUJtTIJf ll CO. MANUFACT URERS

Jfu.1nth, Pa. IUULBETSCB ll WBtTTEM ORE MANUF ACT0RER ,S

46 er- S1 .• l'fe•11k , N. J . R. P. ODELL ll CO. MUSIC PUBLI SHE RS

16S Trn:IOIII Sl.,Boat o;n, Mu: s . JEJt OKlt H. U:IIJCI ll CO. MUSIC PUB LISHE RS

219 West 46th St., l'fe• Yclfll: City

RRTTBERG ll LANGE MANUFA CTURERS 2:ZS-227 £ . :Z◄ th S1., N• • Yc...11: City

} . ROWUtS MUSIC PUBLI SHER lll 7 Nn. 18th St., Pbilldel,hla , Pa .

ARLING SHAEFFER M0 SIC PUBLI SHER 6061Clmb&U Ball , Cblu. 10, IU .

A. J . SHAW•S MUSIC HO USE M USIC PU BLISH.ERS O:Z E. ◄l rd StrHI, Cblu1 11, Ill .

WM . C. STAHL PUB U SHBR AND MA!flJ FACTURBR 211 Grud A•e .. MU.,,.u kee, Wi 1.

JOS . W. STERl'f ll CO. MU SIC PUB LISHERS GEO. L. THAYER IOZ·I04 Wel l J8lh St ., l'fe• York City MANU>"ACTURER

VANDERSLOOT MUSIC CO. Mt . Optnn , N. V. MUSIC PUB LISH ERS W Ulilm.spOrt, Pa .

VEGA ud FA.lRBAJflCS CO.'S MANUFACTU llBRS 62 Sudb nryS t., Bolt on. M1u.

ff . A. WBYMANN ll SOK MAl'fUFACT 0 RBR S Cbeata ut St., Pbllld1 lpbi1, Pa .

Wlil TE-S MIT B PUB . CO. MU SIC P UBLIS HERS St&AbopeSL,Boatn o,Mu-.

M. WrTMARK ll M USIC PUB LISHB RS l'f• • York CIC,

J OHN WORLE Y CO. MU SIC PJUl'fT BRS.

OTT O ZU.t:.MERMAJf~ :z s5c;~~ SI., Boi ton, Mu .. MU SIC PRIJfT ERS l'fn1da Bldc .. CioclnoaU , Oblo

'-= == = - = == = OeeeFeeFe-IC-'--I_A~L .. M ... O_N_T_H~L=Y= BU,..L..,L .. E-T ... IN...,_=- =-..,...,-..,..;,,,.....-j ls 1T1 \T IOX FF.t:,,. \XD AxxL\ I. Du1-:s

There seems to exisl in the minds of manr people some confusion as to lhl· luiiiation Fee and Annu:il Dul'S of Gui ld member ship. For the benefit o( those desiring or considering membership a \\OrJ is here appe nded con• ceming th ese fct..~ and Jue,. For :\ ssoci:ne membership, thu e is no initiation ju ,,.q,.;,,.J. but ,;imply an annual J ue of fifty cents (5oc)- a reduction of one•h:ilf of th e former cost, as suggested hr t he Sccret.·u-r: r rcasurer and passed by th e Connnt ion of 19 13.

For Professiona l membcr~hip, e\'t:ry 11nv memb er, when j oinini the organization. must par an initiatio n fee of one dollar (S1.00J, besides th e annual due of i 1.oo, mak ing the total amou nt of the 01t rn na assessment i 2.oo. After thi s th ere is no cost S3\·e the annual du es of )51.00 (payabl e in ad\ :rnce) so long as a person shall cont inue in Prof essional membership. but no obligati on exists to continu e in such members hip longer than is pcrsonallr de1ircd. J udging from · nr jous letter s received by the Sec.rct.ary-Trcasurcr , there would seem to be an idea prevalent among man r t hat the initiation fee muSl be rcgular ly included wit h the annu al dues. Thi s is not so, as the payme nt of the fee for initiat ion is required but o,ic,1 and that only when joining th e Guild.

GUILD GROWTH

~ Th e two li&ts here following, represent t he comp lete rosie r of all new and renewing P rofessiona l and J\ ssociate i\ lcmbers who have entered o r re-enter ed t he American G uild bet ween t he elates of Ju ne 15 and J u ly 15, and have remitt ed their du es for 19 13. Th e na mes are: list ed in t he o rde r of cnuan ce into membership . (Sec Tn E C.\ IH '.NZ.A from Feb ruary to Jun e for previous lists.)

P 1m l'ESS I0 SAI. l'II EMDEMS

2 17. CO lllNNE StJS DElll.ASIJ, Westc hester . N. Y. :!18. C. 8 . Goo o 1t1c11, Norwich, Vt .

A "iSOCM,TI! l'ili- MRl! M~

264. R.Av>1oso T. L EM lll.U:<, Grec n Bay, Wi :1e.

265 . J. S. Co1•£LASD, C leve L·m d , Oh io 260. c. WA LLACE RAWliEY, San Pran cisco. Ca li. 267. AST HOSV GA P8, N e w Yo rk , N. Y .

268. Mu . }.·I. Sc.11se1>EU IAS , New Yo rk , ~. Y .

209. Jotts Sou.ET, Drookl)·n. N . Y. 270. J. A. 5 TBNC£L, Buf fa lo ,~ - Y .

271. A. R . C nAPWAS, New Orlcnns, I-1. Zi2. FuLTOS T. GUST , Ridgewood , N. j. 273. Jo11s T. S1,11n1, Lexington, 1Mo. 274. Wn.LloUI s. T1tlWULY., Mt. Vernon, Wm.h. 276. 0. C. VAS ZASDT, Sugar Lnn d, Texas

THE CADENZA 13

:!'it i. J. I~. WEJIEII. Tacoma, \\"ash. 277. Jo11s '.\lc K H:o-:-.:A, Xew York, X. Y. :!7S. \\' II.LI AM II . 11.utl> E II, Xor"i ch . c .. nn.

Th e number of ent rants int o the ra ce for t he Five 1-lonorar r i\ lcmbers hips, as Premier Gui ld Boos ters, is increasi ng. Come in ! the race is fun, and the lead is ope n 10 all. \Va tch these two lists as the y appear each month . Th e first one, with it s name s lis ted in bold-faced type, will ~ivc th e five leade rs an d their total sco res up to the date of issue of the magazine. Th e second will show the progress of t he race in mont hly scores, Ri\·ing it by laps, as it were.

l'RE'.\IIER S TO J IJI.Y 1:1

D. E. Hartnett, New York , N. Y . . W. J. Kitchener , New York , N. Y . . Car l Tscho pp, Philadelphia , Pa. Nel son C. Powe rs, Capitola, Cal . .. L. F. Wing, Seattle , Wash . ..

101 m emb ers 15

. .. 13 . .

. .... s

SCO RE FR O~! J G:-:J-: 1.; TO JL""I.Y 15

D. E. Han.nett, ;,.;cw York, :--J. Y.. . .. ~ mcml crs Gibson ~l:m,lolin-Guitar Co .. h:alam.uoo . ~l ich. . .:I J. Earl Rahht•, Xcw York. X. Y.. I mcmlJ<!r l{r,1:m,\ J . I.A'~li(•ux, Cr,..'('n Hay. \\'i o;,.:,.

COMMON SENSE IN TEACH ING AND STUDY j ( 'o11li11lln/fu,-., po~ JI )

a sufficient knowleJJ,?e o r mu sic notat ion to enjoy playins: tune s correct ly, ir that intd liµcnce be rigl!tl}' used, and rm01io11 hr propaly ro11trollrd. T he latter is of pa ramount impona11ce, for, in ord er to soh-e th e scientific prob lems of music- the very poi nt wherein so man y fail- t here eit her mu st be an nitirr lack int of emotio nal developme nt or, havinJ.! such, on ly th e abi lity to per fect!~· control .or suspend the emotional acti, ·ity ca,1 q1,al1fy its possnso r to 11u intrllnt. and study 1rndrrsta11di11gl)'. But since those who are lack ing in emotiona l de, ·elop ment usua l!~· do not care a r.ip for music, and seldom, if e,·er, take up t he stu dy , it buomn srlf -rridrn t that thr musical fi rld is rrcruitrd f rom thr ranks of thou 1cho arr morr or Ins emotio11ally dr.rlopr d.

. .-\SS ISTIS (; TIit: l°:O.f"IT (?) Consider ing th e ,·.1rious types of mu sic-st udent s-

1bc weakest, menta lly speaking, ha, ·c e1:actly 1he same ri8ht 10 dema nd and receive the benefits accorded bv mu sic, as ha,·e the stronges t. For the J,roddess of musi~ knows no bia s; shows no unjust favoriti sm to th ose who coun her; imposes but fe\,. eJ:actions upo n those to whom she ~ives so much in return for p,-opcrlr directed effort s, and the jor of achievement is as sweet to th e dunce as it is to the scholar. Th erefore , any set o f rules or prin ciples, designed for the purpose o f indicating th e correct meth od of proced ure in self-reproducin g tune , should be simple of compr ehension, easy in app licatio n and ye t sufficiently broad in scope to perm it the weak , as well as the strong, to unde rsta nd, app ly, achieve and enjoy. Such principles should be at least as simple and broad as arc th ose gove rn­ing the art of photography , where drrrlop er and hypo "wo rk" as faithfully for th e littl e child as th ey do for the ad ult - fo r tlu dunu as tu /I as f or tlu scholar.

T o quote from a previo us article: "Th e very fact that th ere is such a great nriety of method s in use re, •ea ls a confu sed state of a lb .in; an indefinitene ss of pur pose that can carry wit h it naught save doubt , pcrp le1:ity, confusion, wasted energy and- nine tim es out of ten­utte r failure ." In the vast solitud es and silences, I th ought much upon th e grea t army of failures and reflect ed that , 5eason after season and wit h attentio n devo ted exclusive ly

to teac hing, one meth od aft er anot her was thorough ly t rie·d out , unti l all the old meth ods were exha usted and found - want ing. Nevert heless, the propor tion of failur es and successes rema ined about the same .

Th is statem ent is not made at ha p-hazar d, nor is it made with out taking into ser ious considera1ion t he possi­bilit y of indiv idua l error in t he int erpretation and app lica­tio n of t he old meth ods. For the writer docs not base his conclusions solely upon his own personal experiences, but mostly upon the expe riences of other s; teachers of int elligence who have expressed similar \·iews and admit to similar experie nces, and hundred s of student s­repre sent ing all trpe s, some of whom had studie d under very prominent teachers.

Th at which should be the most obvious is quite oh e11 t he \'Cry last to present iu clf. T hu s, after a time . this t hought finallr projected itself: ·'P rrlwps rlu 111,.11,odJ of i1ut n, ctio11 are :a o11g. I s 1101atio11 inu rprrred and ap plir d rightly- that iJ, alo11g thr /inn of lrasr rnista11u?"

TH E CA~ l l:'.H.,\ S11ows TIi t: \Y AY

Repos ing on my "po 111iac" jacket, in the cent re uf the boa t, was a small , black. oblon~-shape d, box-like affa ir, inanimate , yet mutcl r readin g the answer to the ridd le. Indirectly, 1his same little object had given the writ er and his man y friends much !!enu inc pleasure. Indeed, its joy -emittin g, intere st- impelling and education­inst illing q ualities seemi nglr know no limitati ons, and it might well be considered a necessary part of enr}' ind ivid ual's perso nal parapherna lia, whether in th e woods or out of the woods. For it scn ·es equally well duri ng the long winter mon th s, as it does in the summer. trut h• fully refleCling- in a ll but color - many of the ~or~cous sight s enj oyed during vacation. I t :ms" ramrra. 1

Appa rentlr lifeless and dum b, yl' t sugges1in- of life itself thr ough its cnlivcninµ, in1cre:-1ing and lau)!h­compelling "snap s'' that recall rnanr pleasa111 memories, and seemingly imbued itself \\·i1h life when in action . this liul e camera was destined to show the war. by co11\·i11cing para llels. lo accuracr in impn:ssion and expression: to corrcc l re~istratio n an~I reproducti on- 1hc rea l desire of th ose wishinJ.! to self•rcprod uce tu nc11 .

In thinkinµ- of the end less amoun 1 of plea sure which t his littl e insuument had afforded friend s and self, throut: h it11 un limited suppl~· and ,·ariety of ,·yr-11111n· .. snap ~." its acq .iracr in reproducin)-.' 1hrou)-.'h photograp hy- tha t which it sas, as the phonograp h faithfully reproduces tha t which it lut1rs, nat u'rall~· came up for menta l review and t he ana lop:r seemed to be perfect. As the bjcct of the camera, t hrough photograp hJ·, is to reproduce sights, so likewise it is the object of the music-student to repro­du ce sou11ds in- tun e. And thi s is not hing more or less than th e effect of a numb er of menta l and phy sical ope ra­tions app lied to a mu sica l instrument , as specifically indi­cated by va rious charac ters that appea r upon a printed page. Th e resu lt desired in each case is reprod uction .

Bot h sil-'ht and hearin g ar'c ut ilized in mu sic-s i~ht to serve int ellect , hearin g to serve emoti on. Rea lizing th at th e best way to gratify emotion- not offend it by playing tune s wrongly ma nr time s- lay in the ability of the student being able to plar tun es correctly t he first, time heard aloud, th e following idea, tha11ks to that littlr ranu ra u1hich /a) 1 in thr little rrd-grrn, bo{}t, suggested itseJf:

Jllhy not 11u thr brain a.s a fi lm , 1ipo,1 rrhirh to rrgist rr musica l impr ns ions, and thr11 w rnrn, as a nr~at it t f rom wh ich to rxp rns or rrp rod11u thru im prrssions ,- both oprra­t ions, im prn sio11 a11d rxprnsion , to br co11s11mmatrd th,0111,h tlu mrdium of notat iou a11d a m1uieal i11st r11mrn11

(To hr co11ti n1ud i11 tht Srpttmb a issur )

14 THE CADE NZ A

Devo ted to th e Interest s o r the Mnnd olin, Banjo 11nd Guit 11r Pub lished monthlr by

\\'ALTER J ACOBS 167 Tu:MOST S ra 111:,. llosros, MASS.

Entered AS 1«0nd-d-1n ~~~~:~l~"1xc!°o,1m.:.::~\~h~°:'\ Office at IJo11on, Mau .,

WALTER JAC0iis." Man4ilng: Editor MYR ON \', PREESE. 1.huary Editor

Subsr riptl :m

~:~r.E 1c~·,.in1~'Pi'i~~n Ccn~ uch.

~~~tncd le~17~~~TT1~;~~

0,~~f .. ~~rt~; c':2~:,,~· .~::";:".,/::1°:~~:S!:!1 Tcn« ntsm111tbead dedtoall chKl<11op:l)'thcuchan1ir.

Adverti s ing Hates Onapplication:1dia11"nmsho,.-in11 1hcuac 1 costo fallsp :ucnwi llbc

pr on,ptlrfo"'-.rdtd. Porm1 dose the 10th of month pn• :fllini,: that of publi ra 1ion.

~dJ1.:.cu11.llri:~:.,~~i;~~;:t~:::r,;),t.~it::!n~~\1·r!!~-:~i..11 ~~e -¥:~~ C AD KSU.

pe,-i1\nte~i;r:rn~~!~::.;r!~:'r!t'"ofd1J:';.j.';,~d1l~~it.~~ ~d''ctf~'::'1 ~~:~ of c:onccrt 1. Protl1"llffil and all real n~ 1H'rl.ainin11 to the ,nstrumf'n U 1n-t det.ir'fd.

Our eolum;!\!0 not,, h;~~~t:Jl;"~1~~~:,:t~t

1~-~~;;1~~• ~~,~~~~~~~ ~li~~:S ~~•.r~;;J~1~~::t~:~~i!~i:~~:~~~~~~~f,,~~t to condme

The cnti.., contents of T1t~SU • .., rovf'r'fd by thf' 11cnrral COi')'• ri11ht. and :artkl ct mull not be rep rin~~O\lt 1i-i11 I .. nu= permiuion.

Copyri11h1. l913.b1·Wa lte rJ aeob 1-

VoL . XX AUGUST, 19 13 No . 2

EDITORIAL !\ ow is the vac.u ion scasc n made va in-g lo rious if Lime,

p lace, compa nions, a nd recreati on be no t conge nial. Ti u·: C\ DE~7.A hope s that e\ ·err membe r of th e fraterni t r has, or will have , fou nd the t'ime, " hit the spot'' and corra lled th e r ight compa nions for fun an d a long, hea lthful , help­fu l- in fact , fu ll-t o- Li1e-brim t·aca t ion. I t also hopes to sec eve ry body returning well tanned and ca nn ed- th e one with sun and t he o th er with idea s- and gelling a s bu sy as a shuntin g-engi ne when making up t rain sect ions for more return -tripper s than there arc cars to return the m. G ood luck to t he t·acati n~ t·aca tioner s and the Summe r pr obationers.

T u t: C.\l )E:,.:'I.A is indebted to :\ Ir. Pere,· , ·. Licht en fels , of Pitcairn , Pa., for a corrcction"w hich is, ;t the same time , in the line of information. Refc rr in~ to th e p rog rnm­statcment of .\ Ir. Pettine that, at the la n cr ' s concert of !'I.la~· 12th and rc\ •icwed in T11E CADt::,.:'I.A for Ju lr, th e mando lin Pr elude to Act 3 o f Spinelli's oper a , A /Jouo /Jorto, received it s first Ameri ca n perfo rman ce at that time , :\Ir. Licl11enrcls write s: "Sig nor Sca lzo is slight ly in advance o f Signor Pcuinc. I had the pleasure of hear ing Signo r Scab .o, accompanied hr the Pitt sbu rgh l,.estival Orche stra , play thi s number wit h great succe ss at a concer t gi \•en in August , 19 11 ."

Th e regu lar receipt o f copy and letters from i\lr. A. de Vekcr, th e able condu ctor o f TH E CADES1.A's Briti sh D epartme nt, is bot h rea ssu ring and encou rag ing. It is

J:~: t~i;g h~d knnit" b~~ t , pJ! ct~~1~1:11~~ii!!Jla

0: khi ;~it:~•" i\t~

the unequiv «;>ca l stand which he has take n on th e questio n o f U nivers a l Not ati on. It is encoura ging, since it leads o ne to believe that Eng lish op.posi1ion to th e que stion i, not nearl y so strong as it ha s been pain ted by some o f th e ma gazi nes.

In his la st len er , :\ Ir. de Vckc r write s, " I be lieve in it lll ni\·crsal !\ o ta tionJ who!t..-..hear te<lly. It smoo th s 1hc pat h for 11/J, and how an yone, un less bl ind ed by pre ju­d ice, ca n fail to sec it, is d ifficult to und erstand." Not at all diflicuh, br o th e r sup po rt er! I t is simp lr histo rica l repetitio n: the world-o ld story o f all innovatio n op posed hr co nvention , whether it be in m usic, medicin e, mecha nics or me taphysic s. \\ 'e re i, not so, "t he ga me wou ld no t lw wort h the ca nd le."

l\ lr . Willi a m Pl ace , J r., o f Prov ide nce, R. I. , cont ri­buted two doub le number s on a co ncert p rog ra m o f t he '' T au .J\lpha C hi" in that city on T uesday eve ning, l\ila y 13, 19 13. Th e composit ions inclu ded La Sca la, Muni er, Bcc th o t·cn and Paga nini.

l\ l r. Pl ace ha s succeeded in "beard ing the lion in its de n, th e Douglas in his ha.II" o r, in o ther word s, has cOJwinced the Victo r Phc nog raph peo ple that rea lly good mand olin numb ers will make good reco rds, hr proving it. H e ha s recent ly made reco rd s for this compa ny o f i\ lunier' s "Cap riccio Spagnucl o" Op. 276; Bee thoven 's So natinc , exp ressly wr itt en for t he mando lin ; f\ loo rc's l rish melody, "Oh Belie ve tvle if all T hose En dea ring Young Charm s," and Alexand er' s "Scre nata ," a ll the d iscs of which will be ready p robably in Jul y . Tu E CADENZA representative had the pleasure o f liste ning to the rep rodu ction of one o f t he numb ers, while in Kew Yc rk , and was amazed at the sp lendid tona l-retu rn frc m the instru ment. No t one single tone had t he faintest se mb lance o f t he " tinkle" and "plink ,' ' whi ch might ha ve been exp ec ted when rep rod ucing th e mand olin t h rough the phonog rap h, but a ll came ba ck t rue, full a nd sonorous, et·cn in the extr eme upper reg iste rs of the instrument, and th e pio11issimo passages we re clea r a nd disti nct. Vict rola-mand olin reco rds by good playe rs may yet become the rage.

Pu u1.1s11t:Rs OF i\ lus ,c •~ UN1VERs,, 1. 1' 0TAT1os IL has been a mu ch moo ted c1ucstio n, bo th p re­

con\'e nt iona l and post -conventi ona l, as to wha t pub lisher s wi ll issue mu sic in the U nh ·ersa l Notat ion . An an swer mi1.dn be giv en in surmi se, but th e actua l one ca n be made only on the defin it e statement s from pub lisher s as to inte n­tion or non-in te nt ion. T o an swer th e qu ery in part, and to furnis h informa tion that is defin ite and ba sic, T11 E

C\1>t:S'I.A pre sents herewit h a lis t o f publi shers who ha ve ac."luall r signified th ei r intenti o ns o f issuin g t heir future out-put of ~ la ndo li11 O rchestra mu sic in the Unive rsa l l'\o tatio n, as reco mmen ded by th e Ameri ca n Gui ld at its T welf th Annua l Conventio n. Th is list, which is in no war conj ectu ral but ba sed upo n writte n stat eme nts ove r

• a uthenti c sig na tures, will be repeated from month 10

mo nth for some tim e, with addi tio nal na mes listed , as ot her pub lishers may adv ise the ed itor o f t heir intenti ons to adop l Un ive rsal Notat ion.

The list now stand s as follows: 1. BOEH.M, W., 120 Cottage St., Buffalo, N. Y. 2. GIBSON M.A.NDOUN-GUITAR CO., Kalamazoo, Mich. 3. JACOBS, WALTER, 167 Tremo nt St., Boston, Mass . 4. JOHNSTONE, J. ff ., 1050 Madison Ave., Albany, N. Y. S. KNIPPER , W. C., Merid en, Conn. 6. LA.GA.TREE, S. N., 80 Wash ington Blvd., Detroit, Mich. 7. NORWOOD, WALTER A., 2051 Wash. Ave., New York 8. RHO.DE ISLA.ND MUSIC CO., 40 Penn St., Providence, R. I . o. SHE PARD, STEPHEN, 526East 18th SI. , Pater son, N. ].

10. STANNARD,GEO. 1 121 S. Warren St., Trenton, N. J. 11. STERN, J. W. ,I; CO., 100),i: West 38th St., New York, N. Y.

•12. TUTTLE, CHAS. N., Neoaho, Mo. 13. WILLIA.MS, L. A., 521 Hani&0n Court, lt&lamuoo, Mich. 14. WITMA.RX & SONS, M., 14<1 Weat3 7th St., New York, N. Y.

•Note: Will publish in both Universal Notation and Treble Clef (tmn spost.·d).

16

t"lMANDOLIN or VIOLIN

March ''Adalid" (THE CHIEFTAIN )

R.B. HALL Ar-r. by WALTBR JACOBS

· .i ~1 e r ~ r J I J 7 ; J J I· J , 1, I , • .J. l 1 I ff f ,if

fh=J ;J .J J J J I J. ) J r I J D J J J J I J. j r r I

~ ~ }: F r r I r r J , d: v :d ·r 1 :i4 n .J J J) n .J J a w 1

, ~, □. i J r I w ~ w □ J □ 1 w. ). r r !)-1 , r r I r r .J , 1

.I It 112 ~ I -l j ::1 ,. j , F j J I J , J· J=I .J .a J J •; 'F QJ A .n r r I t ~1 .J , , ,J. a J .n r r , r r r a r r .J I w □ w J ,

,~ 1 n j J I J' F ,Jg? 1J'J r r I J 7 F Jg j .n F r I

Tiu CADENZA Copyright IICMXW by Walter Jacobs

l~C-,.,ripJ8-m

2!!MANDOLIN

Elysian Dreams NOVELETTE

17

EDGER REVILAND Arr . hy R. B . HILOR/ITH

poco rit. ......____....

1' 11:tr1 y r· I f'' 1 s V r· I r=r Ji I J. J. I g_;, J fl ~ /

rt? ;w, 1t @J?, 1, vr· 1v· 1, vr· 1f=r ;1J vr ~1 ~ - "!? · -==

Th, CADENZA

r8

2<:i MANDOLIN

March '~dalid" (THE CHIEFTAIN )

'----"

R.B. HALL Arr . 6.1/ WALTKR -/,/COBS

fn·g J IJ J J U J IJ J J JLJ J 1J J J , I f

. 1,!f----=-.____;::

, ~ fu w I w w w • 1 □ "/ v J □ 1'3 l

Th, CADENZA

I~ I I =IJ BJ J I

J 3 I 0 I

I __ )

TENOR MANnoLA Elysian Dreams and 3Q MANDOLIN NOVELETTE

19

E DGER REVILAND

~

20 March ''.A.dalid" (THE CHIEFTAIN ) R.B .HAL L TENOR MANDOLA

and 3<! MANDOLIN Arr . by WAJ.,TKH ,/ACORS

-I.__! r r ~ r r r j

" f -~ Ju 11 11 2 BJ j

I ff

i~ 11; J J ,j 1 J "j ~ Ip f -11 p 11· i ,J 11 I

r ' r r - Ur r j - r r I t _,.,..r ,~, , r. 1 I .. ~ .. 1J J J .u I J BJ J I i ~ i; ie J J I

;;....___......+ r r f #f r Ur f j r r r -~ ,j (1, 1 11rc f ~=1 t I ,J J j 11

BJ II~ •p I

I I Ip J :II I I r r r r u r r ,, ,.ij

11., ,J oJ ,J 1·t µ ,J I * µ J J ~ ~ p ,J I I eJ ,,J ·r ~~ J4J µ J J I I r r r r I r r f j f r r------r rr f* t t 1ltL~ ~1!1±±±; p ir~i• it I .~ p 11 µ JJ I - .... j r r ---- r

--t µ ,J I I µ J J it µ ,J 11 J J ~ I ~ ,J~J µ J J it : ~ I r j r r r j r r r------r r r , . /, r; J•~ µ JJJ I~~ J I~ :) ~ I

• u.J•J•J I ! r r J I ,~ Ii~ I .q : f I .. "'------r --r I -.,_ r •r .ADI,, Tit, • all •ol e1 ar11 f u,-.J,j Jla11doli• 1 6Nf 1,·l,011/d 6t played al llloNglt IM Trd/1 ;,,,lead qf Tnror cl,f IDaS 11s11d

TA, larg e ,wftli t.GII h pl .ayed also"" /lie Ocfa111 J/Hdola D

~~=~~~:::·· 'J ~ ! i iAec DEFo A,~,,poA81

11!NOR MANDOLA 0 I a I ; :~! .. ~ .. I j !!...LL! t:...~.-<L-!--I-1-l-!-fr i 4tltst, ....... -·-'

Tiu CADENZA

BANJO SOLO March ''.A.dalid" (THE CHIEFTAIN)

21

R.B.HALL Bnss to B Arr. by WALTBH -JACOBS

- ~~~ ·~ ': :w F F d 7 £ = .j Ii l '{•p 111 ' r F I f.f "if ,~~@ ll=i u r c r r 11: rr ·r 1 ~ u r r r r 1 ~; ·rcr 1

f#-")F: ~ F r I f F p 1 1 l: t:a,f ·1 m•, u r r 1

,~ j u c c r r 11: F r r IF u r r r r IF; v r rr , '~¾,~F: ~ f r If f F l I' ' ~ F j I', l r F -11

2

3 u r r I ,~~ Jr:'ttJ 'r 1:r.n .J J lrrJ~e··-r 1r.n r r 1.J r £ U 1r r J r I t•# ~j . pj = •d I U Ur r I pif~••r Ir •D .J J 'r-' v J *T 1r #D r r I ,~ €f2C"'rl r r 1JtC'"f' r r ,r r ! r Pi 1!1 u r r 111 ~ * 4 1

,~, •=·!1U ~ ~ 1~ ~ .. □.,t: _1_~! u ~ ~ 1~ ~-□ - 1,1.J u; ~ 1 ,o . ' ~ • J §~ □ ~ ': 9 ~ ~ 1~ ~ ! ~ 1r U □ Ef If f J d 1 ! ~Ju 1. ,~#· ~ ~ J ~ 1.uro ~ ~ l □ BLJ r.J IJ,t§lJ J. I J J. . J. 1

® ®----- • J

,~~ a !11 ~ ~ 1r r-□ . l'.!?! t'~ ~ 'r ~-□, 11.J u~ ~ uq~ □ ~ 1

'~~ : U ~ ~ I~ ~ ! ~ ).r .n •. i Ir .n i J 1.J R I I I

, ~~ J r .J 1 1 : ·tr r r , i ,n J. □ 1 u n • w , ~ l J :1 F * 1 The C A D E N z A Copyrlpt IICIIXIU by Wallor Jacobo p

/■lff'Nl1' ... l C"JlyriKitl Sn,,,_, .

22

\__, GUITAR SOLO

Tiu CADENZA

Me Melican Man A PIGTAIL RAG

Copyright MCMXIII' by Waller Jacobs l•l • -•Uo••l CoJlyn'glu $'"""' "

24

BANJO SOLO The Starry Jack

MARCH and TW O-S TEP

A"on :._11 0

~~:!~'.~~'fF~ - J 1 J 1 ; 1 t i. c . f t f f. 'f r r f d r f f rt r = t a I , 0 I , , t 8 8 t a I ;

4f!lav.--- -·: ~ltr .-----··· ' af~ .-·• -·' i•J•.•········;:,,. 7 8 to ta 14 18 Thi CADENZA

26

MANDO - CELLO

March Adalid" (THE CHIEFTAI N)

R .B. HALL Ar r. by WALTER JACOBS

GUITAR ACC. Elysian Dreams

NOVELETTE

27

EllGER REVILAND Arr . by N. B. HI LDHBTH

' 28 March '.i\.dalid" OfilTAR ACC. (THE CHIRFTAIN)

\ R.B . HALL

\_,, ~ ~ M~ndolj" ' d • ,1,,_ by WALTBH JACOBS

~ ,J -t ;g '1-J_a 14, ~ 1~ • ,t, □ r 4 r 1 □ r 4 r 1

,~ .J 'f J F I J r J r ~@ z 3 1a, 3 I I(~ ::; I 1•! F ! J I

flt; hi r 13 rJ r 1; F:.i F 1u r:.i r ;@ ii iii~ I

~ # ~ -1 I 1 • I 2 · 2~ Mandoli n

¥1 (s ,,~ □ 1 □ 1 =• □ r2J t4aijd~1~ 11 IJ d r Ir ,~ F ! ! 1~_j j r 1~J Jr 1~4&.Y 1;i pi J 1;i J ,J ~ t I~ 11 ,~ □ d r 1r' 1r ! ! 'a ~ J ~ 14 r J r 14 rg r ;·! r ,~ ~a~ □ ~ 'a ~ a ~ 'a ~ □ ~ 'a ~ a ~ 'o r; r f• u ~ □ ~ 1J ·~a ~ 1 □ r □ r 1 □ r □ r 14 ~ a ~ ,. J 1rJ r 131r2 r 1 □ §r □ r i □ r □ r ,4 ~ □ ~ ,4 ~4

II! V 11 l fd

I •'·r .J J

'J ~J

~ 'J ~J

r

~

~

· ,. a ~a~ 1a ra r 1a'·ra f 1a ~ □ ~ 14 ~a ~)i~gtf ,. u ,4 , 14 ,_4 , 14 •r4 r, □ •r □ r_ ,ju □ o 12• 2

'g'rgtf 112

~ CADENZA . .

11J I

I

I

I I

I

I

I

I

I

J

I

PIANO Elysian Dreams

NOVELETTE

29

------- -- -

T H E CA D ENZA ' I SOME " PICKING S" FR OM THE SERENADER S

B,· T Iit : "5£t'. ,\:-TRE ,\ S11

MRS. C. P. Quackenbu sh was Chief Serenader .11 the June ISt Serenade and, 3.ftcr the cus­tomar y G. 1-:., her \"Cry intere sting program

opened with the Premier So lo de Co ncert, for flute and piano , b}' Gu staH Schmidt. T his number was played br the cornpo:.cr' s younge st sun Emile, the regular fluti st o f th e Scrcnadcr s Orchc strn. wit h an older son at the pian o as accompani st. T he mu sic appeared quite diffic u lt , fro m die sco re, anJ it wa s a surpri se to hear it played with an ca se and aband on hardly to be expe c ted from so youn g a performer. T he o lder son o f the co m­poser is 'cellist in \\'alter Damr osc h' s Kew York Svm­phony, while the younger lad is following in his fatl;cr' s foo utcp s. \Ir. Schmid,, senior (who played flute in the Serenadc rs Orche s1ra at the T welfth Annua l Corwe nt ion Concert ), is a '' First Prize'' 1nan of the Paris Conservatorr, a member of one of the big symphon~· orche st ras and :in extra ordinarih' fine flutist.

T he sec0nd nu mber was a Romance by Davidoff, played on the octave ma nda la by i\li ss \ I arr C. T horndike. It was plarcd with a fiue quali1r of to ne, and for an enco re she ga, ·e the prim liu le ditty " Sally In Our Alley," by Henry Care}' · "Cupid' s Arrow" by Euo was very well played on the banj o by \Ir. Joseph :\lullin , with i\l iss Clarice Laught on, who is an :1ble accompani st a11d always ob liging, assisting :n the piano. T wo solos for the ma ndo­lin (unaccompanied) were next plared br \ Ir. Jo sep h ~ ettne r- "Bandurria" bJ·Stauffer , and " L'nder the Doub le

51:gl:~: •~~~~rJ!\\ 1~~•) · t ~~af~~1~··cn~i~;1 ~~~ ~11~~~r:':a:,;>J

11s

0! faithf ul Serenader. i\ lr. \ \ 'm. l·:d,L Fos ter played :i couple of short solos on the 111ando-cello-- "Dedicati o11" by Popper , and ":\!Clodie" hr \la ssenet (a reque st number), accompanied h}' \ l iss Laughton.

T he Serenade of June 15th was an unusua lly good one, and almost a "crowd' ' assemb led. It proved a remarka ble test o ( the strength and vitality o ( the Sercnadcr s, because here in New York the people usuall y drop everything in the line of stren uous endeav o r duri ng the hot mont hs. T he C. E., as it just happened, was vcr}' _well ba lanced, th e 0 Serenadcrs /\ larch" br Knipfer, and "Bits o f_Remick's H its No. 12" by Lampe, going off with a snap and precision quite un looked for. And - ,oto rrou, b)' the way- i\ lr s. \V. D. Kennet h has added a new inst rume nt to the list of t hose which she a\re:idy knows ho\\' to plar - not hing less than t he mando-ba ss. She played t his in the Con­vention Orchest ra Concert , and it is to be hoped she will not gi\·c it up anothe r season.

ti After t he ensemb le, a ban jo quarte t led the program in tw o ripp ing marc hcs- "T he T win Sta r" and " Inv incib le Gua rd." (T he C. S. neglected to give th e compose rs' names and, th erefore, the writer is unab le to give the m credit for their compos it ions.) T he perfo rmers of t his nu mber were th e popu l:ir b:injo ists, J\.Jullin, Doug lass :ind Sp:iu ldi ng, wit h l\ Iiss Spa ulding and M rs. Ke nneth at the

' f\f~~~! l~;~e ~;: ~ ~ea:;~ ~j:\oa;~s~~n;p_:~~1 md:: 1~

1:~, ~:~

the q uan ct received a large and noisr hand, but did not respond becau se th ey had " run out of reperto ire."

i\ lr . Wm. Ed ward Fos ter pla)'cd two m:indolin solos­"H umoresqu c" by T or Auling, and as a well mer ited encore, Bra hms' Hun garian Dan ce, No. 51 Mi ss Laught on accom pany ing at th e piano.

The " remodeled" Plrclrio next played a rath er ambi­(COMn11,d on ~ .f9}

THE I MA~~~ :~~I ST I

SIG . GIUSEPPE PETTINE I VIRTUOSO l

• ad Membu of the Pamo1.11 "Bir Trio.. I B.con-P et tlne-Podm t

This depar lnu:llf h11s bun crtaled ror you , spu ial inter t sls, Mr. S oloist, Ttad s?r 11nd .4 nu,/eur. All quntio11 s and Slll.f tSli o11s made i,i toad faith, will receit-t prompt a11d du t to nsidtra/ion. A 11011y mo11s communicalions U'i/1 NOT rtu irt alle11lio11. A ddrn s ., Tlie ,\/u11dofh1is l," t:art of T im C ADE:-;ZA.

SO much has already been written concerniniz th e pro­ceedin gs of the Twelfth Annual Con, ·c111ion of the American Guild of Banj oists, .\lanJ olinists and

Guitarist s, that mr reader s should ha, ·e a nr r clear idea of wha1 was accompli shed ther e. T herefore, to write further along the se lines would be futile and tirin g. 1\ nd }'Cl I ba\ ·e been wonderin~ whether all of th ose who ha, ·e had 1he op portunit ies of attending the se con,·enti ons since their beginning ha\'c 1101ed t he musical growth of the ind ividua l member s o ( thi s organizati on. Com parinJ!, in Ill} ' own •mind , the membe rs who anendcd th e first, second and t hird conventi ons with th ose who were present :it the twelfth, I noti ce a great difference , and thi s differ­ence reflects so much credit upon the Guild as a body that I have ventu red to speak of it , alth ough it docs not app ly di rectly to t his department.

In the first period of the Guild' s existence , ther e were a. few soloists on t he mand olin, guitar and ban jo who were mu sicians, and a few who coup led their mu sicianship with t he profe ssion of teachi ng. At the prcscm tim e. ho,, ·c,·cr, the major ity of the Guild member s arc musicians, as well as instru mentali sts and teacher s, and their combined effo rt s promise well to become one of the izreat factors o ( t he mu sical world.

\\"hat is t he c:iuse of thi s izrcat change and \·igorous impro vement? I think I can safcl~· assert that it has been brou!!ht about - if not wholl~-. at least in th e .(!reater part ­by the g.ithering 1ogctlu:r of th e teachers from ~Tar to year at tf1esc convention s, with the opportunitie s for compari sons an d cri1icism arising from th e splendid concert s therl· )!ivcn, b~- the inst ructi, ·e paper s read before the member s al the meeting s, and by the sub seq uent discussions afforded by their readin g. \\"hat would be more natural than. o n return inf! home, to stud y 11111,if. be­sides the mand olin, guitar and banj o. :iftcr disconring the gene ral lack of trainin~ along thc se lines. when co111rastcd wit h the work o ( the rea l musicians displa~·cd at the se concerts?

Hut the Gui ld, besides helpin g its own mem~e rs, is constantly helpinµ everr lover of the plec1rum i11s1rumcnts as well, and whet her you arc in or out of it , the Guild hrlps yo11 by raisin~ the statu s of your instrument. The America n Gu ild of Banj oists, !\lan do linists and Guitarists is not selfish, for it li\·es to up lift the plectrum instruments · and t heir devotees, and is your best friend. Can you, th en, afford to reap th e benefits de rived b~• all from lhis great orga nization, without giving your litt le mite towards th e st rengt hening of its capaci ty for musical enlighten­ment ? Come, send in your :ipplication for membership and be one of us. You can learn more at one convention abou t your chosen inst rument, than you would by- reading several \·olumes pcrt:iining to l he subject, besides mce1ing

32 T HE CA D ENZA

man y o r the leader s in t he field-compos ers, soloists, teachers, fcllow•players and t he man ufacturers of yo ur instrument. The membership fee is so small (P rofes• siona l, i 1.oo; Assoc iate, 50 cents) and the benefits arc so great, that you should not hesitate another instant. \\ 'rite today to ). Ir. \ \ 'a lter Ja cobs at 167 Tr emo nt Strcc1, Boston, the Secretary- Tr easu rer of the organ izati on which awaits yo u as a member.

Th e Amer ica n Guild should be very proud to ha\ ·c as it s officia l a man who sacrifice s his business and his t ime to un selfishly furtla·r it s int ere sts. Thi s J!Cntlcman, ­who sc tact , forc siJ!'.ht and busine ss acumen has, within a comparati\ ·cly few year s. placed him in the front rank s o f the mu sic publi sher s o f thi s cou n try ~ will und oubteJly rai se thi s o ri:anizatio u to a hcii:ht beyo nd the fonde st hopes of it s most sanguine member s. :\ s much :i~ the old m:inagement did for th e wowth o f the GuilJ, thi s man will do more. As g reat as the Guild ha s grown under t he old management, it will grow ~reatcr under the new. I congrat ulat e 'till' GuilJ upon its J,:ood luck.

F uRT IIEH. Ix s TH.liCT 10:-. s Co:-.c1:: Rx 1xc ; ru1:: PH.01•1::H. .-\x c 1.£ OF CoxT ,,CT

(Co11ti111ud fr om tlu J uly isnlt' )

\\'h en playing arpej!gi. whether th ey include two, three or fou r strin gs in their executio n, the supreme difficulty is to be found in ob1ai ning the pr oper ang le o f cont:ict on the returnin_g sweep of t he plectrum. In play ing ascending arpeggi on four string s, the plectr um is, of cour se, held as illu str ated in phot ograph '.'\o. + in last month' s anicle. But it ( th e plec trum ) p ractica lly mo, ·es somewhat in the directi on o f the sound-h o le, until the t\ string is reached, and then it turn s a little to ward s the bridge , striki n!,! t he E strinJ?, After thc linish o f the downward sweep , th't: hand mu st be .turneJ inward, with the t humb sliglnlr cun ·cd. ).!ivin).! the plcc1rum a d1.:ince to assume the J<1mr posi1iou fo r 1he upward sweep th at i1 held in the downward. the only Ji!Tcrcn ce bein ~ that no w the other side of the plectrum is used.

The line s o f contact o f plectrum and strin gs o n thi s backward sweep fo rm an acute an).!lc, theref o re I have termed thi s stroke 1hc acute-up stroke . \\' c h:l\e, the n, five different strokes : the arnu-d o:n i, the <1rt1u- 11p, the ob111u-up1 the J1wi glit-dv.i·11 and th e stMiglit-11p ur okes.

Th e acute-d own stroke should be used in conseculi\'e do wn str okes, especia lly whC11 th e no1cs arc not st:icc.:ito.

Th e acute-up str oke is used in descendin g ar pe).!gi on two , three or four string s. ,

The obtu se-up stroke is used in conjuncti on with the acute-down stroke for slurring the note s on the ma ny different :irticulati ons.

The straigh1-down and the st raig ht-u p strokes arc used in staccato, and in pla)•ing inter va ls whe re one o r two stri ngs arc to be skipped o r when the two notes arc to be played on two d ifferent string s.

I h:i" e dc\'oted many yea rs o f stud y to these different forms o f strokes and have played them to many different mu sician s, aski ng them to tell how thi s or that effect sounded. Their verdict has a lway s been as I expected, and I am convinced t hat t he mando linist of t he futu re will have to ta ke t hese d ifferent str okes into cons ide ratio n­and mas ter th em, if he wishes to phrase correctly a nd beau tifull y , a nd to colo r his mus ic tastef ully.

W hen play ing t he acute-dow n, acute -up a nd ob tuse -up stro kes, t he plectrum mu st be held extre mely loose. Wh en p lay ing t he s tr aigh t~o wn ~nd th e st ra ight- up st rokes, it may then be held a litt le tight er.

(Co nlin11ed on pa1134)

THE GUITARIST

Cr.nd11cltd by

WILLIAM FODEN

VIRTUOSO and Mffllbrr ol lh c FUPOl,lll ~e11 Trio"

Baca,.~ttin.,.Fod"'

Eu :~1t:ST ,\RY IL \H.~rn:-.Y AS J\1•1•1. 1£1J TO TIit: Gu 1T ,\M.

(Co,ui,nud from thr J uly iJJ1u)

I I f

111 mos t instruc 1io11 book s publi shed for the guitar, the minor sca le is onl~· gi"e n in its me lodic form. Both should be under stood and practiced, and it is therefore rl'commcndcd that <11/ sca les, both major and minor, be written out accord ing to their for mulae, but without the aid o ( an ins1rument.

<). The specific nam es gi ,·en to the degree s o f a scall · ar c the following:

Th e first dc~ree is ca lled the T onic. second " " ·• " Super-tonic.

·· 1hir<l " " Y.ledia nt . •· fourth " Sub-d omi nant.

tifth " " D o minant. sixth " • (Sub-mediant ) Super-dominant.

" sen nth " •( Leading-n ote) Sub-tonic. It mu st he under stood tha t the se name s arc the same in all keys. T he following ex:implc s will me re fully illustrate their o ffice.

fa.9~ lnC lnG

~ .~•~::~ ;-·~;--:~~ ~ .7. 1•~ ,: ~-~~

A cho rd of three or me re note s can be fo rmed on each degree o f the sca le (major or minor ), a nd iu name will co rre spo nd with 1he degree, as show n in Ex . 98. Ch ords con sisting o f three d ifferent tones arc termed triad,, of which the lowe st note is called the fundamental , or root, and tc which is added it s third and fifth . A triad is, in this scnsc, composed of two third s, one abo \•e a nothe r. The follow ing examp les show t he triads formed on eac h degree o f the sca les o f C ma jo r and A mit1or, with thei r name s wrine n below them. A figure at the side of a no te indicates the di sta nce fro m its lowest, or fu ndame nta l tone.

A T riad on eac h D egree l A Tr iad on eac h Degree o f t he Scale of C Major o f t he Scale o f A ~ linor

• Non:. The a.s lh defJ'N ol • acakl Is IOffleti'IIW!II ,;ailed 0.. ,,.._-,1;,, 111, and the '"''"'nth, the t,,Ui■1-lt0k, (See de&iitioll Na. 9.)

T he g-cnl.'rJI t hara,.:1er uf l.'ach 1riad Jcpcnds on the kinJ flf third an<! lifth it h;h. for instance

1 . If llll" third is ru;1jor ;,ud the lihh pcrfc(:t. it j,. it majo r triad .

.?. I f tht · thir<I is min, t :111~1 the fifth pcrfrct. it i~ ;1

minurtriml. 3. I f the thi rd is maj,lr :111<1 the fifth dimiui~heJ, i i ii.

a dimi11islml triad. 4. If 1hc 1hinl is maj,Jr ;ind tlw fihh augmc111cd, it is

an tl/f~lllt'llf1•d triad. 1\II the forcgoine: \\ ill he murc full} illustr:1ted later c,n.

Obscn ·e for thc prci,ent th;ll the tunic, i.uh-du min:rnt anJ dc minam , in a 11wj,,r ua/,-, ur kcr, art· .1II maj or 1riad1. while in :1 111i11or k,•y, ouh- the toni c and ... uh-dominant arc minor trim/J, the <l<,miuimt hcin,L! a major 1riatl or chorJ. Furthermore, it will be 11CJ1it·cd dwt 1/iu,· d1orJ:. arc the attendant h;1n11 .. nic:s rif their rcspecti\·e mode s r key s. Br n.--arr:rngiui: the part ~ .• 1ml a~ldin~ another no te, 111;1king tlu.-m ft,ur-wned d10nl i., and writinJ: the m .for the guitar, tht · fullo\\ inJ! examples \JOO :rnd 10 1) \\"ill she\\" the se harmouic :-. T lic fit<"urc:. beside lhe nok~ i11dic:11e the left hand fin)-!'cring.

A1·n ::-;u,\:-:T lb 11.~m~11-:-. 1:-: n11: Ku 111 C .\L\JOR

.\ 1-rE :,,;1n :,,;T I IAR~ IO:-OI E» I~ TIii:'. 1\..1;:y 0 1' !\ .\ li :,.011.

E1 . IOI n..,, n~, ---~

~ -~ ~ .,,.. •Ho = - :·ffi'tr!E:" - rjii.ilt!iicliu,;,1 ,IJ>=t¾i !II.if'" - :,,~na,,i'l! •=,::~ •1 ==, .. -=~== l \>:. u •.• i t! ~ . On II o~~ .,;;- (>.... o... \' o .... I\' •

All the chords in examples 100 an<l 10 1 arc co ncords <1r co nsonances, in contrast to which lhcrc arc discords · or disson:rncc s. T hese two co ntra steJ comhinations (conconl and discorJ} arc the two or~anic pri nciples in that di\ ·ision of mu ~ic ca lled H armony. Concord, mu sica lly speaking, findi. iu clt.·111cnt:1ry expression in the third and fifth degrees of a chord. as from C to I·:. ;1 third. and from C to (j, :1 fiflh.

Disco rd shows itself in the seco nd degree from a )-!'i\·en no te, as from C to D, F to G.

Al\ o li1cr consona nt o r d issona nt com binati ons arc hut de rivations o f t hese t hree, i. e. 1 t he thir d, fifth and second, as shown in their irn·ersio ns, o f which we will spe ak later .

Co ncord is followed by disc or d, anJ thi s again is reso lved into concord. Thi s return from di sco rd to concord is ca lled Ruolutio11, a resolv ing or merging Of one co mbin a tion int o an oli1er .

It is no t the intenti on o f the writer o f this article to p resent a complete , or eve n exte nded, t reati se on the subje ct o f harm ony. H e int end s to dis cuss it only · as occ asic n require s, a nd only in so far as it is applicab le to the gu itar .

l Tu 1H co11/i1111n/ fo Scptamber i•n•• )

33

Th e R. i Ail ROBLEM J 19' OBER I

Condutudby I MYRON A. BI CKFORD "'1

Eminent Tracbc.- . Perform...- I andLllffaleut

This drp,1rt 11r,1t h,is brr11 urutc,f III fht txp rtJS fote rests of /.•,, h ·rs. studr11ts <lml ,,,,,Jr rs vf T 1tHt:\DHS z1, a11d q1uslitms ,,, ~ soliri ttd. To i11sr1rt pt'lmipl ansu•tr, a11d as eoidt11rt oft

\~'/,.'ub~11p~;:fisl';;ttt,,,.1~fl[ ::\-J~\~/f/i~s ;!~~=:~;;:;,,~~! ~;,;/l be ams ig11nl lo /he 1,~ulr lmdtl .• lddrtss "Tht Pro6lt111 /'robtr," wrc of Tm·: CADE:--z \,

.\ I. II. C., Berkclc~ ·, Cal. Q. 1. As a practical beginner on the banjo would it

he hettcr for me lo learn the C notation, and if so, \,·hr? 2. Is lhere any more rea son for writing in C ins tead

of: \ for the banjo, than ther e is in writiny- C instead of BJ for the cornet: I men1ion thi s because I was fo rmerly a cornctist.

3. \Yh:11 pcrccntat,:e of banjo music is publi shed in C IIOlalion:

.J. \\ "hat woulJ be the aJ ,·an1age o f C notatio n to a banjo p lare r :

5. ls not the ~reatcr number of added line s abo\"C the staff a d isadvantaj?e in C notation?

.,J. 1. lfr a ll means vou shou ld learn the C nota-tion, and in orde r to be wcll .infon nt·d and able to play the ma ss of banjo mu sic now cxtaut in this cou ntry for the banjo , you i-hould olso have a knowledge of the .'\ notation. One of the prima ry and important rea sons foF lcarnin1,: an<l uiiinµ-the C notation is that it is 1111uiwlly coru c/

1 a nd

that its use lea, ·es t he reading in the ker in whic h the instru ment is wned. the 1\ notation making it a tr a nspos­ing instrument, which stric tly i-peaki ng it is not. l nci­dentallr, it ma}· be saiJ that the syste m o f treb le clef writi ng which has heretofo re been used for the banjo, bot h in A and C notation, h:ts m.1lle it (and 1hc guitar as well) a transpo sin_µ-instrument, in tlw sense 1hat tl1e :tctua l pitch o f the note s is au octa\"c 'lowcr than lhe positio n on th e staff would ind icate. "l'his.ho1, ·c, ·cr,hasbec n rectified -~ by the recent adop1io11 of ,thc modified tre ble clef sign 1he line 1hrough the sign inJicatinµ- 1he pitch as a n octa\"C lower than thc sam l· no te in theord inan · treb le clef.

In banj o mu sic whe re thi s modified clef Sign has 11ot bee n inlr oduccd, t his tra nspo$ition, or Jropping of an ocia \·c, mus \ be made 111011t1lly. and in tunin g the inst ru­ment.

2. T he ana lo~y between the banjo and the cornet is a sor t o f inverted propositio n. since the banjo is st rictly a C in strnmcnt, thi s bein g tlu: pitc h 10 which it is tuncJ , while the corne t in ll!, is not a C but a B :> instrument. Th e S}'stem of play inj.! and writing for all instrume nts of the co rn et fam ily, ca lls th e ope n lone or kcyno1c of the inst rumelll C, no matter what its rc_;1l pi tch ma r be. Th us, the opcu or fundament a l l0ncs of the B;,, :\ a nd E:> co rn ets, t.hc actua l p itch of which is lh, A and E:,, respec­ti\'el y, a rc a ll written and ca lled C. Thi s makes it neces­sa ry, when combini ng an y of thesc : .instrumenu with the vio lin, piano or ot her C in strument s, to writ c, in a ker as mu ch J,iglirr than C as th e pi tch of t he instrument is i<Y.l"tr than C.

34 THE CADENZA

sitio:~t:s \~•~i~;~;t roi:·~t= ;~~:1~:;ro~.I~~~: 7,~c~J~:a~~s~r~r5~ banj o the only poss ible reason th:at can be ad ,·anccd for writ ing in 1\ 1 is that the banjo, when the mere st infant. was 11111.-d lO A, inst c;1J of C. From thi s it wi ll be see n 1ha1 by natur" it has nc, ·cr been a transposing instrument.

~-~~r a ~/;~f :r;,~:1:~~~~isc<l~:i::~;~,~t i~h: :~:~~~:to1f ~~~~~ issues.)

j. If yo u mea n the banjo music alrcadr published and for sale , tht· pcrccntaµc is somewhat ove rwhelmin gly in favor of 1hc J\ 1101.:11iou: but o f t hat being published at the prcsc ut time, I shou ld sar that per haps 40% is either being puhli shcd iu C alone or in botli notation s. Thi s Joc s not t:ikc into co11sidcratio11 the publication s of the J•:ugli sh market, of whid1 there is an almost unlimited supply , all of whi ch (with 1he exception o f a few pieces by one publi sher ) arc iu the C notation.

-f· Th e ad\'autagc s o f the C notation to a banj o player arc numerou s, if no t unlimited. The grow inj( po pulari1r and adopti on of plce1ru m playi ng on the banj o open s the lidd o f mand olin and , ·iolin mu sic 10 a great extent to the banjoist who read s in C. By the use of the fin~er s and the plectrum. prae1ica llJ· 1hc entire range of mu sic, in so far a it can be made to lit the banjo, is at the command o f the player. Ordinarr gui1ar accompa niments d iffer ,·err littl e from banj o accompaniments, except in 1he occas ional form o f the chord, and these arc immediately anilable to the C reader. \\' i1h a certain amount of practice in the war o f adapting piano chords to the banjo, it is also pos sible 10 read direct from the piano score without the necessi ty o f tran sposin,L!'; a lth ough to do thi s rcadil r, especia lly with the fingers, require s t he abilitr to arran ge on the spot, and the facility with which thi s can be done mu st depend on the def!ree of difficult} ' o f th e co mpos ition. l •

Another adnrnta~e. as implied in the answe r to yo ur first que stion, is that you arc invar iabl y playing in th e same ker as yo ur accompani st. Th e o,u ext ra added line abo, ·e the staff is nol a serious drawback, and in fact, is partly m:idc up for by that which is /01t below the sufT. Reading o ne line rno re u r less is largclr a matt er of habit, 1nd is (o r should be) no more o f a hardship to the banjoist than to the , ·iolinist , pianis1 o r fluti st.

A.G. B., ~cw Yor k Cit y . . (!. 11:n ·e an y famous artists on ot her instrum ents,

such a s , ·io lin o r pia no, e, ·er been de \'otccs of the banjo? A. ll cnri \ 'icuxtemp s, the famous , ,iolin ist and

co mposer, durin~ hi~ last tour o f thi s country, shortly before his death, de\'Otcd considerab le time to the banjo, and c,·en ga, ·e lessons on it to the well-kn ow n basso, Karl For mes. Th is wa s in the early dars of the ban j o, and of course before its pre sent stage o f dc ,1ck>pment had been reached. It is also said that Thalberg , the great piani st and riva l of Liszt, was passionately fond of the banjo in his declining years; but whethe r it was as a player or merely a love r o f the instrument, we arc no t told.

F.. B. D., ri.tansfield, Ohio. Q. la it possib le to obtain in struction books o r

st udi es for the mando la and mando-cc llo, and in Universa l Notation? ·

A. Th e Publi sher of Tm : CADENZA has issued &Orne easy Studies for both of the se instruments in this notati on, and the Gibson Mando lin-Guit.ar Co. has in p ress, com­plete 1'.lcthod1 for both mandala and mando-ce llo in Unive raa l 1otation.

11·. L. ~I., Roc hcst c, , 1'. Y. Q. 1. Can you give me some informat ion in regard

to copyrighting a mu sica l composition, and who pays the fee!

?. Wh at dOCs a mu sica l comp os ition usually bring? .,/ . 1 . Th e copyright of a composition is usually

attended to b}' the publisher, he paying the fee, which is i,;1.00 , un less arrangements arc made to have the compose r aucnJ to thi s. Th e p11bli1hn, stri c tly speaking, is the one who owns the copyright, after ha ving made a rran ge­ments with the compo:.er, eit her hr pur cha sing the com­position out right, o r publis hin g it on a rO)'alty or other ba sis, and who attends to ulli11g t he co mposition. Oc­cas iona lly t he nominal publisher is rea lly nothing more 1han th e agent who gets the pri111ing done and attend s to the ncceuary detai ls of ge ttin g a compo siti on on the market for the comp ose r.

z. Thi s q ues tion hardlr admits of an in telligent an swer since co mpositio ns have been sold to publi shers at !'rices ra nging from $ 1.00 to $25,000 , the price o f course depe nd ing o n a dozen different thing s, such as the merit o f the work, its poss ibilitie s in the way of popu larity , the reputati on o f the composer , etc. Sousa traded one of his first ma rche s, which later had a tremend ous sale, fo r a n old dictionar y. If you mean to ask ho w much a co m­positio n usual!}' bring s in the ,\·ay o f re\'enuc to the com­pose r o r publi sher, the sca le would slille from some hun­dreds of thou sand s profit to about the sam e amount in a '' sunken fund." It is absolutely imposs ible to gi, ·c an y idea of what a compo siti on will or shou ld bring, since that will depend largcl}' on what the pub lisher :.ccs in it and how badlr he wa nts it.

E. Y. ~I., Sa n Fr ancisco, Ca l. Q. I. I have trouble in taking the chord F~, A,

Di; in the first posi tio n on the banj o. Can )'Ou suggest any way to make th is chord ea sier?

2. Should th e strin ~s of the banjo be loos ened when not in use, and would you ad vise kcepinv the instru ment in the case all the time ?

A. I. Your difficulty in takin g thi s chord prohab ly comes from an incor rect position of the lefL hand. The tips o f the fingers mu st be useJ, and care taken that the fingers do not inte rfere with et her slriu gs than the ones being pressed dow n . It is also essentia l that the 1hu111b be draw n well down under the edge of the finge rboard, a nd that the wrist be slightly thrown out for 1his particu lar cho rd. ·

2. The st rin gs o f any instrument sho uld always be left up to pitch, for the} ' will not on ly Ian much longer, lrnt the instrument is always kept in tune, 1hus savi ng the annoyance of stretching the str ings to tuning pitch.

As a ,enc ral thin g it is better to keep the i nstr ument in some kind of case, either a carry ing case, or so me ot her kind,10 th at it may be protected from atmo spheric chan ges.

THE MANDOLINIST (Contiruied from p11g, 31)

One ma y hold the plectrum so that it will form the co rrect ang le, and yet fail to secur e t he correc t result, or the differenc e in soun d may be so very slight as to be ha rd ly noticeabl e. This genera lly hap pe ns with yo un g players, or even with expe•rienccd pla yers at th eir first attempt.I, but such a failure shou ld no t be a sou rce of discour agement. A g reat impr ove ment will be no ted after the playe r ha s had sufficient practice, and enough of experience to secure case and freed om with the right hand .

Tl-IE CA DE NZ A 35

i BRITISH DEPARTMENT

Co.adouu4b

A. DE VEKEY OOURNEMOUT II, ENC LAND

l i

.:s rnm/1100, "' /his Orf>iirlmrnl I cordiiilly i1ll'ilt /he w.oprru­lit>11 "f 11/1 in En ,:.land rn,rnrrlrd 1t•ilh uny o( /ht 8u"j o, .\fomloli11, 11, Guililr f1.w1ily of i11s/r•1111t1ds, tditlhrr A mulll 11r a, Profu­simrnl , <1111I i( /hey ,l'i/1 stml lo mt at my /Jo11rnemo11/11 add rru ( Xo. I St,rtford Hrmd), 11/1 news of r,tntral inter_cst, co11ruls, im­prm·emt:11/s 111ttl s11,:,:.eslio11s of all ki11ds, they w,11 ~ rci•ie-.tv-d i11 the rofom,11 "f T1rnCAD 1a;sZ\ ,is they "PPl!ar to tire eye of mi ubso­lutt/rr, · I rn,r, ;{'j//i 1111r.;:cn•fo£ i,upu,1U1fily.

M IC Fred II awes (Londo n) ha s still further indi • \'.atcd his vcr .iatility by appeari ng as a mando-ccllo so lois t, and it may be addcJ with co nspicuous

success. I la\'ing ordered a J acobs' \lando-ccllo .\leth oJ :rnd so los in Abso lu te P itch, \Ir. H awes evidently belie ves in keeping up to date in a ll pertaini ng IO t he inst rument, and iu in vestigat ing 1he resources of the instrumen t from every st andpoint. .\ Ir. Ha wes is the first arti st to feature the mando-ccllu ;1s a so lo instrument in Lo ndo n . At a co nce rt orj;anized by ~ Ir. B . .\I. J enkin s in di e Lecture /! al l of .i\ mhurst Park We sleyan Church, his so los, ·'Simp le 1\ veu" (Th omC) . .:ind "Nazare th' ' (Gounod ), arr. ;\ . de Vckey, were . listened to wit h rapt aucmio11 , aml warm lr app lam..lcd by a most inte rested an d ent hu ­siastic audience.

~ Ir. H awe s wishes to place on record his t ha nk s for the assis 1,rnce he has received fro m i\Ir. B. \ I. Jenkin s, and the hints given him fro m time to time in correspo nd­ence bv li1e writer.

Tl1an ks! I hop e that yo u will in turn p lace befo re an r you meet intere sted in the mand o-ce !lo, th e permanent .iJvamagc s of the Ab so lut e Pit ch method, in con t ra st to the tra nspos ing S}'Stem, which would ha ve the e ffec t of dr iv ing wou ld-be devotees away froln thi s beautifu l in st rument alt oge d1cr.

Th ere is almcs t always an clemept o f doubt as t o suit abi lit r a nd lUncfu lness, when o rde ring · mu sic from T1Tu :s on ly. A sheet o f most unintere sting mu sic might poss ibl r follow a most romanti c and eup honious titl e, wherea s .i title "q uit e o rdi nar y," a11d free fro m any poetic "picture/' might p recede a p iece o f mu sic that is a ver itabl e gem of melodr. Jn ope nin g a list received the othe r da y, I wa s agreeab ly surp rised to find it co ntain ed ov er 400 miniature solos, each compl,u iii itulf , thus e nab ling an r ­one befo re o rde rin g to tr y ove r the co mp lete number before dec idin g. That there wi ll be a big app lication for thi s late st Wa lter J acobs Thematic Cata logue goe s without sayi ng.

EXPLANATORY- Conce rt g iver s arc reminded . that any non-appearance of th e no ti ces and programme s sent me, is due to lac k o f space ava ilable in thi s magazin e to pub lish th em all. Seve ral , in the last few issues o f T HE CAot:s;u, ha ve been unavoidab ly cro wded out.

At a concer t recentl y held in King sdere , Near New bur y, Her ks., Eng., an unexpected treat wa s pro­v ided by the banjo p lay ing o f Mr s. W. Ingram Drake, o f whose pr oficiency on the in strument few o f the audie nce, o r even the ot her arti st s, were previ ously aware . It is to be hoped the banjo playing of thi s lady will encourage

many ot hers to take it up in her di strict, where good banj o p laying is indeed too seldom heard.

A comm uni cati on just received from \\"alter J . Stent. Srd ney, N. S. \V .• Australia, would indi cate, from the co ncert bookings of his \"ariou s orµ-aniz:11ions, etc .. 1hat a very healt hy int ere st is being maintained there in the "t rio" instrume nt s. A bouqu et thrown at th.: British De pa rt me nt is app reciated br the writer , while thost· intere sted will be glad to hea r that ··:\ bsolute Pi tch·· and TuE CAUEN7A find a staunch champion and warm admirer in the p rogress ive teacher from ''d own under.""

i\ lr . Ge o. Stannard of Tr enton,:-.:. J., L·. S .. \ .. \\riles: "i\ l r dear \ Ir. te \ \key ~

"So rrr yo u cannot be prc:.ent at ou r Cuild rn .. .-e1i11~. April 19-23. \Vh y don't you fellow s duh !Ot!Cthcr each yea r a nd se nd O\'cr a rcprc sentati1 ·c.

Sincere l\" 1·01irs, Ce o. Starmard;' The above ex tract is rep.rOduccd, that it will be read

by the trade here , who mar ur ma~- no t reµ-ard it as a happ~ · a nd practicab le sugµ-cstion. .\ Ir per so11;d opi nion is, 1ha1 if it co11/d be arranged, it woulJ certain!~ - be p roducti1·c o f good results to the industry in bo th coumries.

Th e Clifford Essex Bala laika Or ches tra is again booked a t the Sa\'O}" Ho tel , Lo nd on. wlwu the Consu l Gen era ls of the J'\a t ions di ne to).!cdwr. T he orclu.·1ara pe rform ed at this intere sting functi on l:ii,t rear when Bar on H cyk ing too k the Chair, and booked quite a num­ber o f engagements thr oug h the e1·cnt.

At a concert given br the Youn µ- Hel pers League ( in con nec tion with Dr. Barnar~l o's 1-loml') :1.1 the .\l ow lem In stitu te, Swanage, Eng. , \ l rs. and \ liss Slade had a

__ sp lend id reccp1i on for the ir banj o duct s. ··Banj o Oddity" anJ " Pomp adour Gavot1c,'

0

;\ lorlcy. .\ liss Sophie Slac.Jc is a n amateur player of marked ability, her He rlinµ- per­form ance stamping he r as a plarc r from whom much may be expected in the futu re, while o( \ Ir:-. Slade it may be sa id 1hat indeed few loca litie s arc so fonunatc: in ha1·inµ­such a willin1: and indefati gab le wor ker in the banj o ca ust· as her self.

Vcrr rarely can be reported a 1·aried and int.:res1ing voca l a nd instrumental concert consi,ninµ- cntircl~ · of the wor ks of loca l co mposers, yct so rc.1d;. the pro_l!rammc o f an en1cnai11ment given in aiJ o f the Bo~- Scout s' ~cw Drill H all, al the St. J ame~· ll all, \r o rthin~, En~., on i\larch 27, 28, 29. The nu111bers included songs. piano, viola , ce llo, vio lin, mand o lin and µuitar solos. the last two me nti oned bein).! the composition s o f 1he soloist, .\li ss i\ . rvl. Cres swell , who played ·' Leonardo \ lia"' (mando lin so lo), and "Escalo na," Span ish mar ch (g uitar solo).

Visito rs LO the Durb a n (So u1h i\ frica ) 1-lorticu hural Society 's Rose and Chrysanthemum Exhib iti on recently enj oye d a prog ram of mu sic entirclr from the Wa lter J acobs Catalog by the Proc tor )>arker \ lanclolin Orches ­tra. The number s includccl "'l,;.iss o f Sp rin!!.' " "C owboy Cape rs/' " La Cin quan taine," ·•D ance o f the Lunati cs," " Darkie s' Dream ," "Sere nade d 'Amour," "F our Little

~il:?,'.'. i~~Cti tf~~am~~:.~~'!;~ •1;.~::::~c {i 1:·~i~~;, :;·r;i:~!;~1~i~ \Valtz," ' ' i\lel od}' in F ," uSa lu t cl'A,i1ou r1" "Cami lla ," and were render ed in thi s orc hes t ra's best s1rlc .

The mand o lin is being featured at seve ral Lond on theatr es ju st now. At Co1·en t Garden durin)? the opera seaso n ii wil l be heard in the ' 'J ewels o f the \lad onna: "

(Continued 0 11 pug, 40)

THE CADENZA

T H E C.\Dt:S'I. .\ has rcccind a nr y tine po,tal- card photo~raph of .\Ir. J osep h ll o \·cy and his siste r. .\ liss Addie. ,\Ir. ll ovcv is the Wl'll-known

banjoist, who 'played in some of thc· cxhihi1 room , a1 the last convcmio11, and his sist<.'r is ;111 :m:u mpli shed piani st. Bo th arc now at their summer home in Syh-an Beac h, J\. Y.

~ liss Gla<lvs E . .\ loo rc, who is acco unted one o f th e finest lady ha1ljoists in ;\m crica, will assist the "Boston Idea ls" in their Po rtland cn1-:agcmcm a t .\!r s. \\" . 1-:. Tuff ts' fcst i\·al concert in October next.

W hen the first st r.iin s o f the "R ed , Wh ite and Blue·· sounded in the "Gr :u1d .\ lccllcr (h' crllirc."' plart·d :It .\ Ir. Paul Gocrncr·s Jun e concert in Seattle (the program i~ no ted clscw hcrt ·) . an old war ve tera n's wife. a_gcd ciJ::hty­sevc n yea rs, unfu rled the stars and stripe ,; and arou ~eJ the audi ence to a wikL.pitch of patrioti~ enthu siasm.

l'dr. K. Bingham Kr an s, the Ji rcctc,r (Jf the T uxc:d<, :\land olin and Cuitar Club of I lartfor ~I, Conn., write s that his Club is getting 751 ; of a11 1he hanqut'l en i-:aµe­ments in H art ford an d vici nit y, an J closes with thi s \·c ry perti nent questi on : ' '\ \"hy docs not c\er y city ha\ ·e it s mand olin club s that go nftrr the b:mquet bu siness :•• Ech o and Tin : C,, 1n::-.i'.,\ answers, " \\ 'hy:·•

Mr. Pau l l\ , Schwartz of Su nJhcim, near Kehl ( Bad en), German ~·. cause s much scurr ying in th e dcrical rank s of T11~: C,\1>1:::-.z,, for d iction ari es and con sultati o ns, by his lette rs which, because of his not bei nK a fluent writer of En glish, he indites in Esperanto - another • in stance o f the direct va lue o f uni ve rsa lit y in langua,i.:<·, as well as in notation. !<.Ir . Schwart;,. is a teac her o f the mand olin, guitar and \·iolin in SunJ lieim, an d leade r of the ).,Jando lin Societ y at Kehl.

Mr. Charle s i\. T empleman of Sioux Cit y, la.,, is undoubtedl y a very bu sy man the se days . alt hough it is now the popu lar ly supposed id ling t ime for musician s. Th e Mo rning side Co llege Conservatory o r 1 lusic, n which Mr. T emp leman is a member of th e Facu lty, has issued its Summer pro spectu s- for six week s from Jun e 16 to J uly 27- which include s special cou rsei:; in pianofo rte, pipe o rgan , vio lin, voice, mand olin, guitar, banj o, har­mony and hi story of music .

Th e Dev lin Banj o Tr io o r Chi cago - consistin g o f M r. fran k De vlin and his two sons, J oseph, aged ele ven, and Louis , aged seve n years - p layed . a rccc,n engagement in th at city for the Order of f orester s. Th is wa i; the

,-l·cnnJ r uh lii.: appea rance of the T rio, whic h wa s c 111h~1-,..ja,-tically rei.:ei\·ed, the boys fair!~· capturinµ t he "ho use'' with tlu.·i r banj o work. T he t wo yo unj?stcr s. who arc th e pupi l~ or thl•ir father, we re entirely de \'oid or :rn~· stat,{e­nn, ousnc i;s and pla r cd clean-cut and well, :\ laster .J,lsep h i:i\'in~ l\ \'fJ solos and encores and :\ laster Loui s three.

:\l os t rn<·u, whe n overworked, reso rt to a chan1,:e o f kh e (,tdy to li,1,:hten t hei r labor s, but e\' identl y t his is no t 1h t.' Gi s c- ,, ith :\Ir. \\ ' . C. K nipfc r of :\le riden, Con n. ).Ir .

.~f11

i!1 ~;~~-\\11l~r~

1;~?.k1:.:

1" }:;; : :' t~ ~,c ta~ le~:~~i~!r i~,::er~~t~

~·xtcndi11L' i111,1 :\ liddlctown , ll artford aml Po rtlan d, aml a ~till ford ll' r hr oadening of his lines (,f work ha s nuw 11cc-e,..~i1at HI his rem oval to Crom\\'e ll, in orde r to mo re 11t";1rly c:cntrali;,_e his pos ition :ind successfully cope with hi~ i,u: n:as;n,-: intere sts. I le rep o rt s that rece ntl y he had 1,ccasio n 10 tl·~t the prac 1ic.1I \'a luc of uni\ ·er sal no tati o n, becau se o f the in:ibilitv o r an incllicicnt 111,11Hlo-ccllist. and tirmh- hclit ·\·es t hai it will solve some liithcr lu nxa­tious problem s. :\ I r. Knipfcr is orl{ani;,_inH :i scp lel to pl;1y on ly the cla s.1.ics, a s illuslrating th e possib ilitic ~ of 1he plectru111 instrument s.

:\ Ir. A. J. Sha\\ ' of C hica,-;o, is fishin g at Fox Lake. Ill.. entic:inµ friend s, fellow-players , "fin ny·' be.iutie s

.. and fun to his ncwlr purcha sed summer home . I le expect s 10 cmer tain man y pupils and friend s during th e coming \'acatio n month s, and int end s making his Fox l.akc home the head quarte rs for open-air c:oncerl s. :\ Ir. Shaw also says 1hat the fishing is ~ood and that he ne\er ­also, so he says--c a tc hes less than from fifl r to six ty c, •cry tim e he goes after them . \\ 'e might ha ve stood for li ft\' nr eve n fih, •-11ine, but as for- well! we don't belie ve 1hdt "sixtieth" fish has ever been caught by a nro ne with pick, nc1, thimble s, gaff, fingers , hook, line, t od or reel.

,\ Ir. :\ ly ron A. Bickfor d is uSimmeri ng" at Ch~utau­<1ua thi s year, as usual, a nd will remain through Jul y and Augu st. I le expe _cts lo put in :1 most str enu ous two month s in deep C fishing, do- re sai ling a nd contrapu nt-ing fa up enliarm onic rive r, with a littl e so l(t) water bathi ng thrown in: flat-fish ing in Min o r Lak e and sharp- shooti ng

:~ ~~l:~~1i:ga1~f1:; ,!~~•rt;h;{,; '~~1

11~~:~;,~:t~::~1~~~k;'::i1:~; ba ss-baw ling, c:ld-climbinp, mand o-i nt,:- in fac t , p laying the who le dire-tonic thing.

Mr . Bic kford will have run charge o f t he string (not line s) department 1his season, plar ing firsl vio la in an orches tra of 30, and will dn rnpo home nl fine about th e first o r Sep tember . He ha s seve ra l "conve nti on" cards

{Conlin utd on pogt1 ~9)

THE CADENZA 37

M R. C. S. Dc l.ano's '.\l::indolin, Guitar, Banjo and L"kuldc Club s of Los 1\ ngclcs, Cal., g,!VC lheir annual co ncert at the G.imut Club Auditorium

in that cit r on Saturday night, .\ lay 24, 1913, ass isted br h liss Edith B. Spence, sopra no, and .\ liss Kath erine 1-'iskc, \"iolinist. T he pro~ram was as follows: En st.1nl,le - .lfa111/o/i11 u,rd <:11it1ir Cfob

11. "Sc rcnata " . .\fosek1r.1•ski b. "Soullu :.-nl 1.ullal,\ ·" c. 01·crturc, " \V an ,f,•r~•r" . . Amsdc11

Enst.1nhle- /J1mio Cluh '"Eulcrp('all Calup'" ... Dt:f.t111u '"Banj o Fro lics" .. . . IVl'ii/t

Enscmhlt.~ Uk1tlele Clu l, " Hawaiian Gaiet y" ...... Dd.m10

Enscmhl c-- /J i /.41110 St.t l,·t u. '"Nat oma" . . . . . . . . . . . . C11rpr11tu b. "La Plor de tl.lcxiro" . . . C11rli

Sc,Jo- Mi.u Spenrl! . 1'In the Garden of '.\ly ll eart" ... . /J11/I Solo-Miss 111/ili Hark

"Love's Idol," Gavotte. . . ... . . S htr-,,1,•"9(/ Enscmbl e-Gui t,ir Clt.f,

a. "L:1 Paloma" .... .. .. . .. . ..... J",m/itr b. "Bow ling Club Man:h". . . ... .... f "rey

Enscmb lc- M,111do/i11 Orchrslra a. Minuet. ................ . ..... Buthm.~11 b. Overture, "Cnrtaphilus" ... . . .. . Co/rl

Guit.,rSo li- Mr. l~e /J. Milb(mk a. "Miscrerc" from II Tromlore . \lrrdi b. "Aloha" .... . ... . . ...... . ,.A rr. Dtlllf10

Solo;;-a'~ -~';;!:~........ . . T . Banjo nnd Guitur - M issrs r:. i.,;,;,;~;J.;.; ~;1;/S: (.~;,~· . . ...... oJII

"Americ:m Rondo".. ... . ... . S t11b,., Soli- Mi u Kathtrint Fiske

11. "Bcr ttuscctPricre " ......... . ......... Jh si" b. "So 1t\'L-'11ir de Wicni:iw ski".. . ....... ll arsd1e

Enscmblc-- .\f1111Jo/ill Orrhr.1tr11 a. Sextet from l.11cia........... . ............ D011i:f'lli b. Overture, '"The Necromancer" .... . Carp,mltr

If the well laid plan s of i\ l r. C. V. Buncl man and ot hers do not "ga ng aglee," J ackso n, i\li ch., will have a good mando lin o rche st ra for the com ing seaso n of 19 13- 14. Th is orc hesl ra is alr eady orga nized with a mini mum mem­bersh ip o f twenty player s, and a good prospec t of fift )', with Prof. G. L. Curtis o f Ann Arb or, ~1l ich., as dire cto r. Th e only qua lifica tion necessary to eligib ility is to "s how promise" and to " make good." Certai n comme nt from the loca l press, rel ative to th e new orga nizati oti, is of pec uliar significan ce at th e present time , and from it we quot e tw o exce rpts.

"The pop ular ity of the mando lin orchestra ha s in­creased treme ndo usly within the past te n years. Th e mando lin o rches tr a of tod ay is a standard instituti on in the musica l world, and quit e unlike the o ld mand olin club s which have give n the mand olin it s und ese rved reput a­tion of be ing a 'd inky' instrum ent for pa rlo r am usement on ly . In fact, the mand olins o f today embody possib il-

itic s und reamed of ten rears ago. Of cour se no instru­ment can eve r compare with the vio lin, yet e, ·en the world' s )jrCatcst l"iolin plarer s fail to thr ow a shad ow on the solo work of such mando lin \·irtu osi as Ab t. Pet tine Or Sie­gel. Th e st andard mandolin orc hestra of today is a very worthy mate for the v iolin o rche stra, :1s will be noted by t he inst rumentation of an orchestra which recendr plare d in Chicago (Row<len's Symp hony Orche stra ) : tweh-e 1s1 mando lins, ten 2d mand olins, four mand a las, six manJ o­cellos, t hree Rutes, one saxoph one, one clarinet , one ba s­soon, four mando-ba sses, tw o har p-guitars, four guitars, drums and traps.

"Another feature wortlw of no te in connection with the modern mand olin orc hCstra is the recent adoption b}' the mand olin fratern ity of the Unive rsal ~ o tation, whic h elimin ates the necessity of learning to rea d in the var ious clefs . . . ...... Th e reading has been co rrected so th at notes in all parts read a like in name. T his is hard for the mu sician to understand at present for some reason ­pro ba bly bcc'ause it is so simple."

Th e Imperia l ~ land olin Orche stra and the Imperial Quinteue o f Be, ·erl>•, ri.Jass., .\ Ir. J. I.. Brown , director, ga\"e it s first annu al co ncert on \\ 'edne sclay night, .\la y 28, 19 13, a ssis ted hr i\ l rs. Jennie C. Brown , reade r ; '.\liss Annelle J . Srmmes, sop rano; \\·ith '.\l iss :\. Fran ces Foster as accompani st. T he inslrumen1a1ion is:- orche stra ­fi,·e 1st mandol ins, four 2d mand olins, 3d mand olin, l\\O

tenor mand a las, mando-ccll o, drums, 1raps and pian o; quintett e- two !St ma ndo lins. ?cl mand olin, ten or man­do la and ma ndo-ce llo. T he program was as follows: ­Enscmblc-U,rhrst,a '

Q. •·~tonstrat Viam". b. " l\. Love Chat" ...... . c. "The Lost Chord" ..

Readi ng- .lfrs. B,m, •n "~ lrs. Tyma n Takes the Coll~-c1io11"

Ensemb lr:-Orchtst,a a. '"J.mly Dainty" ... b. "Fifth '.'l'octumc" ..

Vocnl Soli-. \f iss Symmrs 11. "A Birthdny" ....... . b. '"I Love You, Swcct" .... .

Enscmb l~ui11/tl~ a. ' 'Spnngtimc Serenade" .. b. "Camilla" ....... ...... .

Rc3<!!T1~~~1?i~:us:ory" .. . En scmblc--O"hrs/rn

.. . . Joy . .. ......... Ack ,,

. ... S11llim11-0drll

. .... . .. · ... .. Odtll . .... . f'irlil-llild,tth

. .......... IVoodman

. .... .. ....... Bartlrll

. . l.11ro111hl'-lli ldrtll1 . B0 11t

........... Do:,·lt

"Collcgisms," Mc<llcy ......... .. . . . . . .. •Irr. OJrJI

V~\~ f;!? ~-~·~'."'rs (u·ilh or~~~s,'~''.' ..... _ ......... _ .. _ Tosti Enscmblc--O"hn lra

''Echoes of ·01," ~h:d lcy.. . . ... ...... ........ ~Ir,. OdtU

Mr . Walt er Vreela nd's ri-1. B. G. Orches lra o f Bos ton spru ng a p riva te recita l upon themse lves at the di rector's stu dio on M onda)• eve ning, Ma y 19 1 19 13, and enjoye d a

THE C ADENZ A

fine program of solo num be rs by various membe rs of d ie

~~~~~;:~fe~, a~~c t~~~~s f~~r t\~it~a~dili~a:~d ':;~d~J; were accompa nied by M r. Vreeland on the guitar. The progra m, which with othe r socia l fest iv ities occupied the enti re eveni ng, was as follows:

~-lnn~C':::niJi~:f!\J:~:::. ~~~l~~ . .. . . . . . . . . . Bonr. Mandoln-Miss E. M. D11re11

"Winte r Scenes," Waltz Intermezzo .. . ... 1Vhiddt11-Conrad Guitar-Mr, J. A. Ul'ain

"Uodcr the Balcony ," Serenade .. Mandolin- Miss A. D. Paine

awJ~~1,~1: .. {r_c>~_ "A~/l!;; · "t\ddi o dcl Passato," La T,ariata ..

Man dolin- Afr. C. Cummints "Dan ~ of the ~loths ," Capri ce ..

Guita r- Miss A. K . 1/aymud "Pantasi e Amcricainc" ....

:-.landolin- Miss F. IJ . JJ,ml . "Dlue Bclls or Scotland,'' varied ..

Gui~[;~j.-/~--~,~~~'?. _. t\lan~L~~~~!!r.~ i~e::;;;~~ ..... . Banj,TI;t~.\~[~i? Caprice ..

. .. . l'rula11J

.. Thomas-Odtll

...... l'~Ji-Fr.rrtr

Weidl

. RDlul'r ll

. .. ... Jlarri.s

.. B tt lhOf'en-Ferrr.r

..... Keler-Hda

.... . . l' , etland

T he Lavery Ladies' M ando lin Orchestra of Detroit, l\ lich., Mrs. Ma rguerite B. Lave ry, di recto r, gave a suc­cessful concert at the First German lVf. E. Church on Tues-

~vts3~~~~\,1t~a\l i:f~ n1k}~ il~sr:isrte:dd:(; tt:· ~~~ SPl~~!:h: mandolin; Miss jean McC lemont, reade r, and the Eute rpe ivlandolin Orchest ra. The program was as follows : En scmbl~ Lat~ry Ladies' i\landolfo OuhtJl,11

Serenad e ~la.zurka ..... . . . . .. . . Boeh,,. Re:u ling- Mi.ss McC/r.mont

En~b~£:t~~ ~~~~dfI::~·,~;.;;,~~ · "Young Amen en• . . . . .............................. Lto11

Whislling So lo-M,s. May "Carmena" . ................. .... ............... IVilsa11

Ensemble--la~)' Ladies' Mandolin Orchestra Barcaroll e from The Talts of llojfma11n .. . ..... . Ojfe11bach

Man~~~~.!:M .i~~ .'~l~~s.c~.' .......... .

En~~J~g~;'e;t;[~.~~~~in Orchtstra

. .. La,11/ree

. . . lllojftU Reading- Miss Ravi/er

"A Shop Girl's Version 0£ 'R omoo and Juliet·" Enscmbl~.l.a~J Le.dies' Ma11Jolin O,chesl ra

"Water Lilies" ........ . . . . '. . . . l oha,mint

T he Fort Wayne M andolin Orchest ra of forty mem­bers , under the directorship of M r. \V , R. ("T eddy") Barr,

f~~ \t :y~ie~sf~d~ li~tf urida~ r~~ge;~~a~:: ~ ;, ~;:l;;~~ aa~ audience of 6oo paid admissions. T he ensemble numbers were as follows : En.scrnLle- Fo,Jy Wayne Orclteslr11

a. March , "The Tali sman" .. . ... ... . ............. . Sta hl b. Jl.·led it.ation ... . .... .. .. ...... ............ .. A ,r . Ba ,,

Ensemb le-- Gibson /' Ir.drum Orchtsl ra a. Ca.price, "Dance of the Moth s" .. . . . .. WeUil b. Waltz. f rom Tiu Pini Lc.dy .. . ..... . . ......... . . . Cary/I a. "That's How I Need You" . . .. . .A rr. 811rr b. Overture , "A Merry Musician" . Ramsdd l

Ensemble- Fort Wayne Orcl,r.slra

. b: fhl°oiJ 1~~·,~·:er!~hek~~~ ·p,o~;.; ..... . A~;:i::: Mr. George J . Davis' Mand olin Quartet and 0 Banjo

Four" played two nu1J1bers of the program at an entertain­ment and smoke talk of the Mirim ichi Tr ibe, I. 0 . R. M . at North Attle boro, Mass. , on Wedne sday night , April 161 19 13. The Quartet played "P ersian Rose" (Fried­land ), with an encore number of " Be My Little Bumble

Bee." T he "Banjo Four" played "Th e Pride of Com­~~:rh~'" (Smith), and respc nded to an encore with "Sun ny

T he Pro'vidence Mandolin Orchestra, l\•fr. William Place, J r., di recto r, gave a mando lin fest ival in that city on Wednesday evening, .J une 4, 19 13. The Orchestra was assisted by Miss Mario n Mason, sopra no; Mr . Theodore T. Peck, mando-cellist; the Calder Mando lin Stri ng Quartet - iVliss Frances \V. Calder, 1st mandolin ; Miss Jo sephine Heaton, 2d mandol in ; M iss Agnes Sweeney, mandola , and l\•liss Mary E. Gagan, mandolon­ccllo ; t he Fisher r..landolin String Quartet - Miss Louise M. Fisher, 1st mando lin; Miss Christine Gibson, 2d mando lin; Miss Anna Ringland, mandola, and Miss Florence E. Aver}', mando lon-cello; t he Mab ray T rio­i\1lr. William J . Mobra y, mando lin; i\ lr . Russel Tomlinson, mand ala, and i\:lr . Theodore T. Peck, mando lon-ccllo. Th e program was as follows: Ensc111ble- Orchrsl,a

Valse C.-ipricc .. ...... .. .. . . . .. . .... . AmJrr ejf Ensemhl~ F1Jhr.r Mandolin Quarltl

"Tristessc" ............ . .. . ........... Place ~Jandolon-ccllo Solo- Mr. Pu:k ... . .. . Sd r.clt:1I Enscmb le----Orchestra Solon :l v~i !~ ,f:~~?\;fo~o~~lante. Scherzo. Adagio, Bolero .. Pl11ce

:.· ::~~~!~·~,:~i';.N,zs~,~~I~ild T~r-j_~·zf~·: : .. : : : : : : : : : ;,:C:t~~ En scmbl~ Calder M1111Mli11 Q1m,ltl

Idy l . .. . . . . . . . . . . . . . . . . . . . . . Bey r.r Solo for Voice- .1/ iJJ M11so11

"Love's Like a Star," from AtJ1111lis.. . . . Odell Enscmble- .llobray Trio

RL-vcrie . .. .. . .. . . .. Benili:c Enscmble----Orcltestra

l·lung.-irian M.-irch .. . ..... ... ...... Ki t st/1

Mr. G. L. Lansing's Mando lin Orchestr a of Boston gave a recita l in that city on J une 5, 19 13, at the i\ leta­physical Club Rooms. T he full progra m was as follows: Enscm~ !c-:--Orchtslm"

b: .. ~~~~1r~, .. ·:::::::::. ·····::::::::.~'.1~~~- .

1~1t:::; Guitar Solo- .:J,liss J, ene Pliilips

Selection, Hoht111ian Girl . . . . . .... Balfr.-Mutr. Enscmb le-OrcJiesl,a

a. Selection, Ch«olate Soldier ., .. . .... . . . . . . . . 0. S tmuJ &flg~;;:~r1ro~:;;:;y•. . .... Von B/011-Jlildrtlh

"Cuckoo, Sha.II I Grow Old?".. . .. Ab t Ensemb le-O rehesl,a

a. Largo . . . . . . . . . . . . . . . . . . . . . . ll andel b. "The Birds and the Hrook" .. . . ... . ... . S111/:

Mando lin Solo-Miss Vera M oore "The Bandmaster".. . . . SI 111jfr.r

Enscmb lc-Orchtst ra Waltz, "Wedding of the Winds" .. . . / foll

Ban joSolo-- M issGladys E. A/oore "Ragfo90 Ro ndo " ... l!.,m

Enscmblc-Orc/w t, a March , "Soldier 's Blood" . . . . . . . Von Bkm

The Tu.xedo M andolin and Guita r Club of Hartford, Conn., Mr . K. Bingham Krans manage r and _ d irecto r, closed its l9 12-13 season at t he Ne w Ha ven (Conn.) Yacht Club 's Fourth of Jul y celebration, the Tu i:edo's second -Independence Day date with t he Yacht Club.

~n tr: c\~idc-r::i:g,c~I ? o}0

\~ 2:?·s~ffideid,t 'co ~~~lpii; : Oub, inc~uding A. L. With erell, vocalist ; E. J . Smith, vocalist; K. Bingham k.ran s, vocalist and director ; Park C. Boyd, "The Whistler" , and John T . Hend erson, harp-guitarist, gave one of ita cha racteri stic concert s. The full progr am was as follows : En1CD1bl~ Tlludo Club

u. March , "Chula Vi■ta"..... . . . .. Rolli,u o,a b. Novelet~ "Spooky Spooks" .... . .. Dallon

THE CADENZA 39

Song- Mr. Will,utll

Ensc·l~;~~ H:~d~.oc~~.bSong" .. 0-.·cr turc, L11cin di Lammtrmoor ...

Song- Mr. S mil/1 "On the Tr. iii of the Lonesome Pinc" ..

En scmhh..'- r11xdo Cl11b Strc tchcn .:nc- "E volu tion Rai;" . .

Song- Air. Kmns "R ow, Row, Row" . .

Ensembl e- ruxrdo Club

. lln krl

. .. Doniu Ui

. . .. M, Dorwld

. ..... . . . Allt"

. . ... . . . Jaonu . M o,uuo

lnt cm 1czzo, "Ju st an Easy Motion" ... . . ... .. . . .. . . TrtU:, \\'hi slli ng Solo- Mr. /Jt1yd

~IL"<llcy , ''The TuXL'<IO Wh istkr" (a rrang ed) . Song- M r. Withtrdl .

. . Krans

" In the Wildwood Where th e Blue Bell :. Grew" . .. . . . _ Taylor Ensembl e-- 1'11:rtdo Club

Old l·'arn rit c, "Lon !'s Old Sweet Song" .. Song- ,\/,_ S mi th

. . .\toJJoy

" Till the S:1mlso f the DcscrtGrow Cohl" .. EnS(.•111ble- T11:rdo Club

:\ Ti ckh..'f, " Th e Banj o Ral:" ... 11'.tidt Song- Mr . Kraus

" ll avc You E, ·cr Loved Any Oth L-r Girl ?" En S1•mbiL~ T11:rrdo Club

. Ulni• S<oll

Conre rt Jl,larch . "The Boston ldc.1\" . . . . Si,tttl

Th e pupi ls and teaching Slaff or the Gill School o f :vlusic at Passaic, N. J., !\fr. H.ur) ' F. Gill, director and manager, g:wc th e ninth semi-an nual school concert on Friday evening, J une 6th. Th e trio instr umental num­bers were as follows : !\larch, "Twin Diam onds/' and Waltz, "Pre liminary " (Barker ), by the combined classes; Schoui sche and Waltz (Waite), by the Juni or Mando lin Class ; mand olin solo, "Sce nes that Are Brighte st" from M aritana (Wallace) , by Miss Liddy Roedel; ").fusical Novelt ies," by t he tvlisses S. J ean and Dorothy C. Gill ; J\la'rch, "Southern l niper ials," and " Frogville Echoes"

. (T easeda le), by th e Banjo and Guitar Orchestra, and th e closing numb er {selected ) , b}' th e Venetian Mandolin Orchestra.

SOME "PICKINGS " FROM THE SERENADERS (Co ,.tinutdf, 0111 poge3l )

tious number , namely, Op. 25, the Serenade for flute, violin and viola (a rran ged for violin, viola and 'cello'), Beethoven, which met with a most decided and generous approva l. Tht Plectrio now consists of Mr . Stellario Cambria , mando lin; J\Jr. Bertho ud, mandala ; ~ Ir. Foster, mand o--ccllo.

Drigo's charming Serenade was pla)•ed by !\Ir. Scheffel as a mando--ccllo solo, :Miss Laughto n accompany­ing at t he piano. T his is a number which should become betle r known amo ng mand olin orchestras, and would make a number 10 hil every time : It has been played by the famous R ussian Balalaika Orchestra with most te lling effect.

f..lr. Ste.Ilario Cambria gave two unaccompan icd!man­dolin solos- " \Vild Daisy 11 and " Invocat ion," his own com­positions. Mr. Cambria is a very b rilliant performe r, with a well-developed tcchnic, and plays with great taste and

:~~, ~~•enH;0~se :h:~ l~haa~l~

0 afl~ itt~ ~io~o the Serenadcn ,

The Chief Serenader, M r. William Lange, made a "s light" speech, afte r which he anno unced his closing

· numbe r-" Ca mpus Dreams" by Kenneth, and pla)•cd by a 11quartet and piano." T he players were M r. Foste r and Miss Ken neth , mandolins; [Mr . Kenneth , ocu ,,e mando la; M r. Berth oud, tenor mandola; M n . Kenneth , piano.

0 ~ Ju ne 29th, M r. A. L. Doug lass was the Chief Serenader. It was a some hot nif ht, but - well ! there

~:e:: in~~oul~ r ~h~c~~ :~~gP;f:.:! c: ~ e:a r i ~~e: Jl [a ~ ;

libraria n chose "Watch Hill" - that delightfully breezy spot, known only to a select few. Thi s brought refreshing "air s," thank s to 1\lr. Kenneth, the composer, which cooled off th e audience and perspired the players. Then to equa lize th ings, "S unny South Medley" by Lamp e was selected , followed by a littl e ~'lar ch of Stahl' s- " Southem Belle." "Bit s of Remick's Hi ts, No. 12 " by Lampe made people forget all about the weather, and brought the G. E. to a close.

Th e prog ram~ consisted of "Chan son Polonaise," \Vieniawski, played on the mandola by 1 lr. F. L. Berth oud, accompanied b}' Mrs . \V. D. Kenneth; "Voodoo Dance" by Gr iffin, an unaccompa nied banjo solo by ~Ir. Spaulding, also "Sweet and Low" as an encore ; and a man do-cello solo by . fr . Foster, with pi.1no accompaniment. As a closing number, the "quartet and piano," aforement ioned, was called upon, playing selections from Th, Chimu of No rma ndy and two encores. T hese pop ular players arc called upon at almost every Serenade , but, owing to their natural shyness and acute sense of modesty, the~· refuse to appear too frequentl y.

THE ARTIST AND AMATEU R (Continued f rom pafl 36)

tucked up his slcc,•c for the 19 14 game in Cb ·eland, and will at once begin to get the m ready to trum p the trick next Apri l.

TuE CADENU acknowledges the receipt of a pro­fessional photo of :Mr. S. N. Th yrring of Salt Lake City , a man who lo,·cs the banj o, plays it well and manages to make the two unite in financial ret urns. :\Ir. T hyrring was a pupil of Mr . Bcrth oldt of St. Louis, and is now a professional performer who is rn ro11tr the greater par-t of the time .

l\-liss Ethel Lucret ia Olcott is back in Los Angeles ·from her recent concert trip in the middle West. Miss Olcott gn c fourte en indiv idual concer is, played at :\Ir, Bickford's big concert in Cleveland and for :\Ir. Rowden's new.bo rn "Serenade" in Chicago. :\Jiss Olcott expresses herself delighted at meeting some or the leading lights of the B. ~I. G. world on her trip, and writ es that " nothing but the morgue" can possibly keep her from attending the Cleveland connnt ion. It is safe to say. ther efore, that this premier gu itari st will be ,·isible in Cleveland in April.

We do not mean to be undul y puffed with pride, but arc just a littl e bit "pe rked-up " in our feelings by a lette r from 1 lr. Mark A. Dunn of Perth , West Austra lia. 1\lr. Dunn is an enth usiastic instrument alist and a member of the " Perth Mand olin Team," a quartet of men- which will short ly be increa sed to a septet by the addition or three mand olins- assisted by :\ Ir. Dunn 's sister as pianist. He is also a member of the " Perth Banjo T eam"- and all " Cadc nzaites ." But the rea l whync ss of our " pcrkc<l­up" cond ition? It is becau se these people pti r largely from T m: CADENZ. \ pub lications. Ther specify "Salut d 'Amour" and " Ballet des F leurs" as two prime fa,·oritc s. wit h " Light Cava lry," selections from FauJt and "N an i Parade" runn ing a close second for popu larit ~·. Th e fol­lowing is a portio n of 1\.Jr. Dunn 's lett er, which: wc ta ke the liberty of quot ing, in that it carries much hidden significance. He writes: "Our (present ) instrumentation is ut, 2d and 3d mando lins, man do-bas s a nd piano. We transpou thr man dola part for the 3d mand olin when there is no pa rt for the latter." \\ "hen uni, ·crsal notation bCCOmcs univena l, such unnecessary labor and waste of time will have become a thing of t he past.

THE CADENZA

.. -------- ---~--------- ·, 1 TEACHERS' DffiECTORY 1

A UDET, JOSEPH A., Teacher of Violin, ?.fan­dolio and Guitar. 160 Boylston Street ,

Boston. Dennisoo Block, NcwtooviUe, Mass.

B EMIS, GEORGE W., Teacher of Mandolin, Guitar, Banjo and F1ute.. 175 Tremont

Stn:et. Bost.oil, Mus. Instru ctor at New En&;land Coosetvatory . B ICKFORD, MYROS A., Mandolin, Guitar,

Banjo and Piano . Soloist and accompanist. Coridactor OC'\-eland Man dolin Orchestra. 601-5 The Arcade. Clc1,cland, Ohio. E\ ' :\;\ S, W'.\l. B., Tt-;u:ht•r of Violin, D:mj,, .

'.\bnd olin and Guitar. The ll artnc-ll '.\let?Kd u~. 400 1 P:irk .\ n • .• ~ Cl\- York City.

ff ARTXETT , D. E .• Teach<.-r ol Banjo , Man-dolin and Guitar. 71 West 23rd St reet ,

~e•· York City.

KI~~~j~':J·c!n~o:'. "!~'W~t 8-fth Street. Ne• York City .

LlE~~·p.?~u-: Di1r:::.r ~t'. B. & P. 126 Sutb Suttl. Pittsburg~

~ A~ Ve!;~_Lu&~'f!A,ofGu.~~ &ndurria Trio." 14-17 So. Ftow-e'I" Street . J..ru -Cal S lB.W , A . J .• Te:a~htrof Pkc""""'trum and Finger

Banjo Ma};ng, }.fan doli.n, Guita r, Violin and Harmony. 432 E. 43rd Stnet, Chicago, 111.

~ROPP, CARL, Instructor 0£ Mandolin, Guitar , Banjo and Zither . 1319 Susque­

hanna A\-c., Philadelphia, Pa.

VREJ=~• ~T:!1• ~~:~~~ Cub and Mandolin On:hestta. 178a Tremont Street. Bostoo., Mass.

W£lCJ~-J-~1!~i~an~g ~i~::'. tnn Strer:t. Ne,nrk, N. J.

BRITISH DEPARTMENT (COtlli•-' fn1• JIOte "5)

f AGENTS FOR THE CADENZA Wh ere th e Mav,zine is alway• obtainable

BOSTOff, Mi u. OUVER DITSON CO. 1:50 Tr1i.acu11 Sc.

A.. C. PA.IRBAffKS CO. 62 Sudbar, St.

NEW ENGU.ND NEWS CO. 9J Ard:! St. B011JUCBMODTH, Eaaluad A. DB VEltEY I ~tafl'OC'd Jtd. BROOltLYN, N. Y. ED. L. BAILEY WI 5th A.H .

BUFFA.LO. ff. Y. DENTON , COTTIER A DANIELS Coarl II, Pffrl Su. cmc AGO , Ill. LYON .. HEALY

CU.OD C. ROWDEN A.. J. SHAW

CRRJSTCHIJ'RCH, N1w z .. l'd JOSEPH WRIGHT

CLEVEU.ffD, Ohio MYRON A. BICX:FORD

1022 11..-k Te111pl1

UZE. ♦JrdSt.

l06BlahSL 60t-405T.li1 Arude

ZOS3E. 9tbSt. DUl'fEDIN,N1wZul&11d N.Z.8. T.&BOOKSOCIETY f.SPrbieuSI.

FLINT, Mieb. F. M. DELL 107 Wll.&h Blda:.

HARTFORD, Co11.11. FAJlRJS MOSIC STORE 17J Alyl11m St. U.Ul'l'CESTON, Tu111,1,11la HOPWOOD A CO. l2J Brbbue St.

LONDOff, W., E11a:1&11d CL1PFORD BSSBJ: CO. 15A G..ttoa St.

LOS A.NOBLES, C.I.

lfBWARJC,lf . J. NEW YORJC, N. Y.

OMAHA, Neb. PHIUOBLPRlA, Pe .

PITTSBURGH , Pe.

PORTLAND, Ore11111

SIOOJ: CITY, loWI

UYNOTES

LINDSEY MUSIC CO.

A. J, WEIDT

C. D. DITSON 4 CO. D. B. llARTffRTT

l90zfordSt.

416--fl&So. Broad w'y

U9 WHhhiatoii St. &-UB.J4thSt.

IZOB. 2JtdSt. W.J . IUTCIUffBR 157W.&UhSt.

FRANC IS POTTER B&ldrid .. Btk.

TRJ!: JOSEPH MORRIS CO . IJ6 lfo. 9th SL VOLICWEll'I' BRO S. 516 Smlth&ald Sc.

H. A. WEBBER "891 Wul,.lqto11 St .

C. ,\ . TEMPLBMAN J7IJ Orleaiu -'-"• · WELLllfGTON, ?few Zeal.lad J. G. TOR.l'fBR

~ladame St. !-:Imo sang sc, ·eral songs to her own ~uitar accompaniment rcccntl r before Queen Amelia or Portu gal, who expressed great apprecia1ion of a very deliglnfu l emcrtainment.

" Simple and perfect. . ~ ow I can teach the n,1,andola and mand o-ccllo prope rly", comments l\fr s. :\!orris Dolbr (directre ss of the Lyric :\land olin Orchestra, Stoke on Tre nt, Eng.} on the decision of the American Gui ld re the method of writin g for these instrume nts.

at Drury Lane in " '.\lice and '.\fen/' and in "All the \\°in• ocn;" at the Emp ire. At the last named theatre the mandolinists includ e the well-known names 0£ Senor Obregon, ~li ss Radcl rffe, '.\liss Cruttcndcn and Miss Klair, to which house the incompa rable dancing of Madc­cmoisd le hxa sht will lure numerous admirers of the terp sichorca~ art.

uKaloola" bids fair to become a prime favorite banjo solo here. Well within the capabi lities of the average banjoist, and with a true \Veidt- ian ,•cin of melody running thro ughout, it will be, during next season, frequently mentioned in these notes as aver) ' popular concert numbe r.

Music not only has charm s to soothe the savage breast, but th e kind under notice may be said to have charmed to such an ex.tent as to have rende red the "c harmed one," for the time being, quite indifferent to the gastro nomic counter att raction s of a Savor Banquet. · :\Jembc rs of the American Guild will be intcr cncd

to hear- that the first conn=ntion of a similar associat ion

P:rh~~~=::iry~~-~~c:u~:!d1:~~:~~rfo~v!rd1~:~r~ man at the helm, '.\Ir. Jul. Huber , Direktor of Modcrnc '.\lu.sik ZUrich, some information, thu s bringing the two B. :\L G. organizations in touch with each other. The title of the Organ in connectio n with the above, is " Modcrne h lusik."

Mrs. M . D. Rigby (the dircctrcss of the Ladies

~;:;,a J!as!~:. ?i:t:ftia~i::i:\!;,~t->a~d 18~~~~"~

The "occasion" was a recent banquet given to the Ccnsu l Generals of all Nations. The listene r, the Consul Genera l of Servia {who stated that he "cou ld not attend

~he~~~~~~~? t~:tth

p:o':!~~,:;~~:~tff~~d 't s~:a&';lia~~~ Orchestra, which received warm praise from all present.

Mr. W. G. Davis of ll ford, Eng land , has been doing

fuIB11e':i°::,.i~~~ ~~~a~=~~~t~; i ~c~1~:t r;i :;,.\::e~~ h• \;~!:~ success, reHect!ng grcatc rcdito n their pa instaki ng director .

T H E CA D E1N Z A

Th e Banj o P hiends are t he most successful Banjo organiza­tion befo re the pub lic to-day . With the highes t grade T U-BA ­PHO NE and WHYTE LA YDIE Banjos they have appeared in lead ing cities from t he Atl antic to t he P ac ific.

Our ··Professional Artist s" site meets the app rova l of cri t teal Bonjoi st s.

A well-known banjoist writ es: ··Sometime ago I wrote you about a T U-BA-PH ONE Ba njo. Since then I have tr ied two of the mak es you ore familiar with, but they arc not what I want. M y choice will be a No . 9 T U-HA- PH ONE . Let me know by rcrnm mail your terms, etc."

The 'Vega Mando li n ·,onlin ues lo gioe A rtfab eoery qualit y n eeded for their criti cal demand s, nolwith• standin g the mistaten opinion s of some manufactur ers whose in slrum enll do not haoe the

easy action, rich round lone qualily , and Rreal carryin g power possessed by the VEGA. Our Vt:GA SE RVICE PL.AN eoabks you to try out any Banjo - Mandolin - Mando la- M andoccllo or Guitar and satisfy you rself

that it has the Quality and Value tha t mttU )'OW" c:ntitt approval. Your M usical Sou l will be thrilled with the ricbncss of the Vqa and Fairbanks Tone Qual ity.

1111 1111 II

THE Ill '

FRESH FROM PRESS I A SWEET. EAST ilD c.t.TCIIT WilTZ IIOTDDIIT mnnt.sD I BACK ISSUES cA0JlJ:zA .. SWEET MELODY"

\\1M~~Land~!:.~7Z=::!:eth7~~~-=%.: ANY po.t paid.

60c roun1 M■ndolin On,h e.UN and thit....,.,. ltadcau..• It IUJ<etadasldydwtf ~ , ...,mandolins. 12 Issues on r•c•fpt

Price : Two Mandoli8- and C-■itar 50c. S...ple Copy 20c of Pt<b/Wwoll>:y WAUtR A. NCMIWOOO. MSt •• ..... - A-. • .__NcwY.,._

BANJOISTS un--::t:::3..~;:'.;=:,.~._. • We have in stock copies of practi cal ly all back ROGERS SPECIAL .,.. U..e DAMP PROOF issues of The Cadenza ftom July 1908 to

·•--trWeltlle.a.W.. ........... Decembc, 1912. On account of the raise ROGERS MUSIC HOUSE F .......... N. w~ in the price of our subscripti on beginning

with the Jan uary 1913 issue we desire to

I I prom ptl y dispose of all issues published at the

NEW PUBUCATIONS old price and to that end make the above cash • with.-ord.er offer . At least 12 copies mud be ordered to secure the 5 ccnta pci-copy rate .

BAJ<JO

~! ~~ :': · ;}~ ~tep R.11iZ~ Banjo ~ lo • .30; Guitar Aoc. •. 10 : Piano Acc. • ..20. Refu to this acl ancl addre u

:;:~~c!,.~~lcnj Pigtail Rag A n . wf'j_~if;::: THE CADENZA. 167 Tremont St., Boston, Me.ss. Banjo Sole in C notation, .30; Gui~ Acc. •. IO; Piano Acc., ..aJ

WALTE R JACOBS. BOSTON, MASS.

42 THE CADE NZA

---UNACCOMPAr.!~c~~~~ .. ~: .. ~c~)R MANOOLIN---Cn- . Rllfl'u la Cal,,ce•, f•mou1 Pnh1du l'fo1. l , 2 ind hb latu l and

bu t onc yc!,lbcl'fo . J,jualrKCI Yed • • • - • - Price 6 Sc. each OTHER WORKS BY THIS SAME CREA.T CO MPOSER

Fo r Ma.nd olin •• •

ktEAGziil~Dtotl'cng/~. ':n·:i . .. :~i~ ~&t~~i. ~-~:~ ~- ... ·:: ::g~ Th rte "ll omcma dc '"but t han~ for una" ompanied mand olln, ■ re

g;.,~~-; P'i~si:Es, d:::::;,1 .:1-Ao:Ail.1ti~~1!~ .. t"~~~!•2:CE:.~h?!1~~~1~: f . LANDRY BtRr MOUO, - • 664 Wu t 179 th Strul ,Nt:wYorlc.N. V.

THE CELEB RATED AND WORLD-FAMOUS

WEIDT'S ELEMENTARY STUDIES NOW READY roR BANJO IN C NOTATIO .)I

To a nybody - Tnc htr, ProfeH iona l or Am.atcur - rcfeffin& 10 th la ad . and H ndinc

~~ V1!!! :;'11!!~0f1~,t:; l,-;~i ':!:!i:-::3!.r~~t:;i~:;"t!1l ~:'J1Jo~~i,:: soc 1"/u 1<1<, rnsalaJu N f/Jot ofC X <m11i,;;,. f a, /Ir~ &, r,jo ,-ni•so trt<1ln * "'far Ute ,·11J J, ,. •

..,,., 1 f.<111 ll n r, ,,.;.,,...J rA,11 if tn1 J I At 1ocirl y /odQj1< :,..,, l'.,:t11l)' 1'f4rl Ol<).

AJ, tn'il all order< lO WAlTffl: JACOBS. 167 Tre mont St •• BOS I ON, MASS.

ALL CRACKER-JACKS Man b •••.••..••••••• . . Solo .. . . ..... .. . . .... 4<k

SLAND ~~&t; .. z : t~@ : ~ All ol Fran.II B . Sm ilh' 1 compoaltio1111 an ll",Uallteed to 1u.it ~ money relu11ded. S111d lor complete deauiptiu 1111. DISCOUNT ONt'-tlALr orr

STEPHEN SHEPARD, 526 East 18th St., Paterson, N. J.

COMRADES ~kED J. BACON

Lyon & Healy' s New Improved Washburn Banjo

It's the Combination Patent Truss that Does It

Does What? Eliminates the "fluty" or "woody" tones,

by insulating the head fr om the rim; almost doubles the volume and carr ying power, and enhances the tone quality far beyond that of any othe r banjo. Seven styles to select from, ranging in pr ice from $25 .00 to $100 ,00. Writ e us about them.

~ 25 -49 Ea1t Adame St reet, Chkaa: o, lllin oie

FOR SALE Gibwn Mnnd o!in. St yle A-4, wi th le-other ca se. Gi bscn Mond olo. Sty le H .2, with uti lity case. The above in , truincnts os good os new. Will

make a bargain price to , ~cure quick sale . Addres s : Lock Box 67S, Lacona, I owa.

Carey«;~~!·• Lessons by Mail F. E. COLE Manufa cturert o f HIGH GRADE

The "CAREY" TIPS for THUMB and FINGERS the ~ h"~~T:i":.ri : aecu o ~~~. ~k!' :irJ.:f!':· u T~~Juiae~'to ~:to!'!:: z,,;o hook tonet poulb~. Ad,iu.stabl e to any Use fi.nacr. Ccnnan silvCI' and luu ror ~an.. Ment ion ifr ~ta dy .... r,,nt!eman.

GUITAR (t hr ee l in1e r e ■ ltd th umb ) 60c. BAN.tO (twe nqere eM thunt ) SO<. Add,..,. , TOM CAREY. 515 Se.,..c a A• e . DETR OIT , MICH .

CADENZA READERS , ATTENTION! oni /: ~ ':"~ ~=aJ: ~\~~~i:lrb,.Ji:n~ ol th e Cadct1u. we ol ftt )'OU. for thi 1 moo1h

THRff MANDOLIN SOLOS I MANOOllN ANO PIANO Wild Dai sy, Cambr ia (By~ Cla_ibrle~

Sul Lid.o, B~tt :icc~fari (Im ported) ~•:~~::o:~t~~-=~~:; In vocat1on, C,u11bna ( Imported) Remiruscenze, Serenade (Imp. )

Ca1:11o&ut Pri« k .00 All for only ,'1 .60 HI . POltq o preJMU(I .Addr e .. SIGNOR STU LAR10 CAMBRIA 194 7 9.,. • ..,.,, New Yoril

SUMMER TIME. SUMMER TIME. HOW THE STRll"IGS BREAK I

u~~t!!f:•s~~n/OUflNBYBrfalsa Brand" Goodv;:=er or Sample Vlolin or G<Utar Striq 1Sc. B .. jo Stria& IOc.

Se nd lodaJI fQ tha F. J. BACON CO ., - Terry•ill• , Coan .

BANJOS, MANDOLINS AND CUITARS

My Ulkuot. isfrufor llu asliin1,. J Appleton .st., Bo.ton , Mu, .

FREE FOR THE ASKING Eleven Banjo Solos '" ~~~""

By Vess Ossman, Emile Grimshaw. Joe Morley and Bert Ba.ssett

W• lnt1lt• 90a to t,9th• .,•.Jat:CH.Jfal '8rltbl, pabllcatlon,1

AT OUR EXP£N.S£

Cllllord Eu11 Go., I~ Gralton St., Bond St., London, Enf.

THE CADENZA 43

JUST OUT For Mandolin , Guitar and Banjo Clubs

Loveland is Calling •~,:;-:.~\•"~.!;:_I•• SILVER THREADS AMONG THE GOLD

MY CREOLE SUE TEDDY'S TERRORS <• •:-•> fl OLE <•~•~• "••«> OUR NAVAL RESERVE

{ Ma rcha nd Two-S l ,p_p)

Arrang11d bl ~•i1!~~~1~~(Jt~j~~l~• 2°'n~~r~-~~ '.:.. . .c~ch I :~

~ -r J. KITCHENER ~1;r1;t~J?1;~~;:fE~t~~~:::·· :~ P11n0Accumpanlmcnt .15

!>la.ndola Mand t>CelloorPlutefo r Si lvcr Thu■dt ' Creal• Su■" a.nd .. Lovtlan d Is Calling' . 16

HAMILTON S. GORDON, 141 w. 36th st .. New York

FARLAND ~£'~~,;~ts\;:!~riih',·:~j;t~.~~~ 1~:~s2:~~E~r:0:A"~~SE~~hy~~ c,·cr l<nown

' Farlan d'• Course o/

0{.,~~ ...... ~~" 'J.icll Pl1yinc ,

mclh odo lpt ay!nQ 1he b · · pl,..-tnim th at ha ~ eve r mon~ ~~::r.,:r /;t;!~[:;, LO.

l' ltE.f~ nj G Stri ne• :?O for Sl 00. Ill, :?nd and 3rd. Auor ted to 1uit . Made und~ r

:;~~i;:t;::1irJ1i'.~~-iin!~!t~~\ ... i~F=}!t::::: ::: :::::~: ;m!~~ "Jit ~~~h."n lfqi::l :~1~(~ ~~~~ciji~~iJ':ynr~ J.uthu or ullu loid •~

A. A. FARLAND, 315 East 2nd St., Plainfield, N. J.

I!! Bailey Hand Rest for MANDOLIN STUDENTS lndonrd by leadla1 tu. cben. A

r.:~e;;.; =~-~~ Ii~:~ totheteather. CiNilo trl!llo>MI

'·"""'"""· PRI Cf SO CENTS (No ,wni,.)

ED. L BAIL.£Y 4 55 1 Firth A,,.e,. 8roo ld7n. N. Y .

NEW I JUST PUBLISHED .I

"IN SOLITUDE" NOCTURNE , Op . 2

R:, All uBorHn A rr •• ,. T11lt1•Anno1 .. a1

111 MRndOlln .JO Tenor Mandoll .20 , M'ando-Ba .. .20 2nd Mandoli n .20 Mando-Ce\lo .20 Guita r Acc. .20

Playable io aoy comblna llon. DIK ount Half Oft . CHARLIE& N . TUTTLE, -

S.a jo A.u. .20 Pl&no Acc, .JO

Cu b wlt border Nl!:08MO, MO.

As a plaJe r of BANJO , MANDOUN E or GUITAR you arelntereat­ed In what Is 101111 on abroad. The Journal with lhe ne w• ll

KEYNOTES The ONLY Brlti1h Paper th at Cate ni for the Thre e ln 1trum cnt.1 in Every Ju uc and hu

EIGHT PAGES OF MUSIC EACH MONTH INSTRUCJ1VE ARTICLES and ITEMS or INTEREST

by the Desi Wrltera,

$1.09 for 12 months subscription . 61 cents for 6 month■• Send 10 cents for Specimen copy.

la 111edoothaflrstof o1t11 maotbb7

JOHN ALVEY TURNER,39 Oxford Street, W.,London,EngJand I.be fin l and ro.-i publishrr ol m uak: ror th• Banjo. l.1ando lloe and Oul t.ar,

HI,"~~ th~~iw:t:'.?led~~~-~'ld:.C::t:;~ ; .re~=.ift In 111 Sah crlpt"3q ~r • Pull Yur •Ill ba rec,l , ad al lll• .. Cadtaia " <Mk, .

Your Chol•ce of hund reds of bea ut i­ful selections

for two MA NDOLINS and GUITAR , or DUO S

10 for $1.00 Postpaid. CATALOGUE FREE. GEORGE STANNARD , Publ 'r of Go od Thin 1a, 12 1 So. Warr en St.,

TREN TO N , N. J .

STANDARD MUSIC FOR MANDOLIN ORCHESTRA IN CONJUNCTION WITH RECULAR ORCHE STRA

NEW { :~~i:f~f s6~~AND ._ Gra~d Sel_ectio:. ~ -~:~~:~6:::: We aiv e • Yrr, liberal d'-nt to subocrlber1 to our New hsuu Sai d( oc-part!cu lan , oawu. talop aaadMinp!e li t Ma11dolin p,arta

CUNDY-BfTTONEY COMPANY, 66 Hano\'er St ., (De pt . C), BOSTO N

MUSIC PRINTERS, ENGRAVERS The Larses t Utho s raphic Plan t in New England

Devoted exclusively to the pr int ing of music by C\·cry pr'X'C.<;S. \\' e

~11~:~ s~o1::. \ Je ~~:;t::,~:~~11\~~1ts.a:~~r:;~~'S~~,;~i~~~

if you desire, No orders too small to rcc:ci,·e atte ntion. Pr ices Low Corr espondenu Solicited

JOHN WORLEY COMPANY • 40-48 Stanhope Slreel, BOSTON, MASS. .,....---GUITAR SOLO----.

THE SEXTETTE FROM LUCIA

lhc ~=i~it~~ .. ;.:~;; ~1~ ~~~~::~. n•~:~!1f; 1~: }:~I~•~ ~;:~:::c:~~ ~ffo,;,u and ~ nol found in a.nr other 11.rr.ingcmem. Th e pnsition, 11.nd fin11,:rinp o! bo1h hands att well marh-J . S..,,n~thinl[ out of the ~,n:u '}', &n d for1 ubtcri ptlonb\ 1nk.

WJI.LIAJ\.f FODEN. 488 Grand An !nue. En!,!lcwuod. N. J .

SPECIAL INDUCEMENTS To Subscribe ro, $ I 5 0 per Year The CADENZA, Regular Price I IN ADVANCE

Galld Prolesslonal Membership ANO The Cadenza' ' ' . Gulld Assoclale Membership AND The Cadenza. . • . .

$2.00 S 1.50

per Year IN ADVANCE per Year IN ADVANCE

On this Cadcnta and Guild clubbing arrangement all subscriptions must end with the Occcmbcr, UJI3, issue, nt which time all Guild

:~n;~nh~s~~~I ;t~h~~~!0~f

5 0°~~!Fs1:;;r ~~~ tro~ {h~ub-i;f~ ance o( the yenr. __ _

The Cadenza and One Dollar's "'orth, list pri ce, of any of the fu_acobs sheet music publica tions for mand olin,

ma"J!• y~i;a<:;Jba1CE ork;:.~• !h!n >'~;!.!.!~5;~

your subscrip t ion, for- JI ,SO The Cadenza and any~ Collection or Polio found in

the Waller Jacob s catalog listed at NOT more than 50 cents , for JI.SO

The Cadenza and Jacobs' Orchestra Monthly for J2.00 The Cadenza and Elson's Pocket Music Dict ionary for JI.SO Coottatll : The linp0rtaat tams uud In mllSic with pronundatlan an d i:ondM

daftoltioa,\oe- \hcr wi1b\heel cmen u ornotatlonaodabl0trn,phlcalllnnrovn fin bwwlttd naiad namM lo music. No musk:lan can ar.ord to be witbou1 ll.

GiveJoo;tf/ ~ =~ J' petfy:;e:i!Y~t~ep~~:J~=!tten N. B. We recommend that remittances be made by Post Office or

Ih: press money order.

44 THE CADENZA

JACOBS' EASY MANDOLIN AND BANJO ORCHESTRA FOLIO Seventeen Origina l Compositions and Arrangements

JNSTRUM ENTl'.TIO N AND PRIC ES First Mandolin SO cents

I Banjo Accompaniment SO cents

Second Mandolin 50ceots Guitar Accompaniment 50 cents Third Mandolin 50 c~nts Piano Accompaniment so cents Mandola (octave tuning) . SO cents • Flute Obligato • SO cents Solo Banjo SO cents 'Cello Obligato 50 cents

N.B. - lnP o\ioNo.1 both th e l 1t&nd2od81njopa,rt1arelno11ehook. Th e .)d M1nd olin 111d Mendola p,.rt s are i11 one boo!. in all the n11111ber1, but 1h 1 .,....qemtllta for the l •o Ullib'umtlll.l ue dill'ereot.

CONTENTS TO NO . J CONTENTS TO NO. 2

.·.·_· __ ·_·:·:·:·:·:·:·:·:·:·:~:ttT5 :.·::::.·.·.·::.~'::.~'~~~Cl"j:\v~~

··············:::::::::::::::::~: :~~~~ .•.• • .• . •••• , , ••••••. Geo . L. Lanlinl(

.•. • •• ••••• ...•.• A. J. \Vcidt •.• . • ArT.W allcr)OlCObs

•••...••••...••••.•..• •• • A. J.W cidt (Sullivan ). Ar r.W11!tcr j11cobs

•• . .. •• ••.•••••.••• • •• • Van I,. fla.,.,.nt l ••.•...• •... \'an I.. fla....,d

• •••.... • • ArT. WalttrJa cobs .•.... . • • .•...•. C. 11.Soule

.. ••••••••.•.•••• A, J .,\'cidt

THEO . K. MANDOLIN COLLEC'ilON Twenty -three Ori ginal Compositions and Arrangements

INSTRUM ENTATION AND l'RICCS

Fint Man do lin Seco nd Mand oiln •

SO ce nta SO ce nh

CONTEft TS

Gui ta.r Acco mpan iment Pia.no Accompan iment

Soconb soc enh

Al!OIJ.11 Polka .. . .. . . . . . . .. ...•.•• I •. A. Bilka Boccau:ioMa«.h (S..~ ) •••• • •. . ••• . • ~... . ... ,\ .,.. W:,Ji.« J arob• Cuallerla Ru.ttlcana. l n1rrmc uo (~l a.1<'agni) ...•. . . . ... ArT. \Vali er Jacobs

Larco (ll andt l) .. • • • • . •• • Arr.W1tlttrJacobs Lou'1 DrHm.land Walt.In (Roed 1T) .......... . .. .. . .. .. ArT. Waiter Jacobs Maren• Walla .. ...... . . . . . . L. A. Dido

Cbamonette de la Meodoline. G:,Jop. . . . . . . . . . . ........ .. Waller J:w;obs Naw ll&rpScbol!IKbe ••. ..••••••.• • • .• •••••. . • • • •..•••... R.S. S..und cn Cborufrom Lobeocrin - March.. . .. ~ .. ArT. Walter Jacobs Peaalllco l the Guard, Tbe (Eilcnbtrg) ........... ....... A .... Wither j Koh:, CircuaDQMaRb . . .. . . ........... ............... . . ... .. L.A.Did tt Pruoo Son,:. Prom "II Trov aton: " . . ... .. .. . .. .... . .. . ArT. Walt.tr Jll<Vf•• CnteUIWalta . .•• •••.••••••..••••. ••..••.••••• ..••. I..A.Didt1 DarkiH' H oedoW11 ..••.. ..•.•.••.••. •• •. •••..•..•.•..•••• Walter ) 11<:0ba

Sleep,GtntleMother. Prom"IITrov. ton: ·• . . .. , ..... Arr. WaltcrJ acohs So11Ceod Danca Scbollllcbe (Kenneth) •.••••..•• ••••..• ArT. Walt.tr Jan.bs

Eat11dla.n1lna Walt-r (Waldtc,:,fel ) ••.•• • . .••••..••..••• . An. Walter Jacobs Rea.rt Bowed Down, Tbe . flrom ''The Boh emian Gi rl" . . . An. W:tllcr J arobs "Dowd)'" Duk.IHI Rag.time • . ••••••••• Walter J aro ba

~:~~ .. ~-~:~~~~:~7:~1eri~::-rh~·~~;.:;~·c:i;1: .'.~';;.~~,:1::!: Vl111JM1, Ma Belle. Man:b (Schrammcl) •..•••••.•••••.. Arr. Walter Jacobs

Yo11,.Tl'\ll1Walta ••.• •••••••••••••••••• L.A.Bides

TWELVE SIMPLE . ARRANGEMENTS

Nearn, Mr God 10 Thee Mr Coutllf'J 'Ti 1 ol Tbee

. ~• JI~~;::1..::;ni::....

J'o r l1teod2nd Jl u dollm and Gti.ltar Accompeol,neo t

Sy J. Robert Morris COl'l'TBl'l'TS

Bl11eBell1o f ScoUand Ruul&n N'atloaal Aathe111 Home, Swee! Home Lut RoH ol Sum.me,,

Sook Complete 25c:,

AsuueLa urle OldBt.ckJoe HunBowedl>oWII J>W,

GRADUATED MANDOLIN DUO COURSE Sy J. Robert Morris

Thi s work cmh,ac.cs Recreations in Duo, Trio and Ouartettc form of Mandolin Playinr , Melody with Aceompanimc:ot, Arperrios, Left Kand Pizzicati, Harmonic1, etc., etc:.

Sook I, 50c. Sook II, 50c.

r. REMICK'S NEW NUMBERS FOR :=, MANDOLIN ORCHESTRA INDIAN SUMMER hy Nd .\l ore/ THE DREAM TANGO hy L'ricl Davi,

,\., ,.,, ~~,I ••~ H. F. ODf. 1.1. 1' 11., ht \l a,o-! 10, I',,,, .. , 1n, . ~•d M ,111'1, lr•L Mand, 'f ~no r M on d o!a , Man ,h;-Cdln. Miln d n- ll d,,. r;,rn.,. ll•n••,, t~ll", t ·1111, l>t "". ~-,. .,,,h,

,,1,L •nd ',·o.t,,r ~•I, \\ .,,.,1 ~u•I I', ·"' . ., ~ '.1 .,,,I ""I,,,,.,"'°' ~ M .,n d ""' ' l' ,.,nu SO<. k ,.lul.,r 11n h•·,lr• l'u• l<J< , ,. h

IH,-. n .1.:nu1 I Y IJEDICAT~ : 11 Tl) JO H N l'/IILII• l>OUSA

HOME SWEET HOME THE WORLD OVER <.JtANIJ ► ANTASrE

By J . RODEW AI.T LAM P E. Ar n nged by H . F. ODELL NI I 11 ft,, , "'"'!"'", ,[,._, .,1,. · th, "'•""", ,n,. h,d, Jl .,•u,· . ..,,.,.~1 Ihm" ·• " 1,i.,...t m •l1!Ie , ~nt c<>untri u , ~it : I F.u~land, ! l,1 r,; 1~n.,

~ 1(11,_,.,\ hah. 1, ._,,.,l.rn,!.7 ll uu,_• 1- .. ~ , IL,n_._., r, ,larul.lO A m•fl<• .., I'm••• l•I \l, n,J <th, )' ,,.,,.,"" m, ,. !,ul \1 .,n, I, Ir! M .. n,I . f, ·n·, r ,\ l. ,n<L•,I,,. M.rn•I·•·< .. 11.,, Marl' ln • ll ., ,,. ll .,11J>. hua.,r. Hui• , I ,·II,, 1/J\ ~Hh :,1.,11<1. an,I hu,1:1., "'"• ;n,! \1 ,n,t ~nd ,.,,.,,,, SJ 11,. MJo11•I "'"' h rn" St IU, ! :,1,.,,.1, an,l 1,,.,,,,, ~L.-1-0

Al -..,, P UHi l ', lll·JI H l k k ► <,UI ,\k Oklll E'Hk A ""'•11 I lr.h ,u,,I 1•,.,n -, ~I '-ll. ► <111 "" J J>,.,,,., i,; 4\1. l' umu ~Oc. llr un lh trm .. nn,n, .!Oc, IIJr p JO,, ►.u,~ l' .irt-, •·J, h !O..

lN..,Tk U!IIENTATll•N ""' All •lr< I,. .11 .. l' , . .,,.,A,, • ,.,,, 1.,,,,. , .1 , \', .. 1m,!11-l V1ulm,\',.,1,.,.,;.,11., ,u o,.1,1 ►"lnh· , hi na nn ..i . 111 Jll•t hd l·,tn~t- r,.,,n1-•·<· , n .,.. T,,,ml, -r. ◄, l>rt.m, ► ull <lt ,h, -u .. 11,. ► ,,u.,,.,.,.. A t.l··•I ,,. """"II <h,h. Enr:1. JS! V1,.1n,. !<><l ►"lu t~, l', u.,1 .. . !n•t Llurin<I, ,,i..,, , !Id . .,,~, I,!.,,,,! ;n,I 11,,rn, • .lrJ anJ ~:h

ll ,,111. l ,n,., 1, .. 1111 .. ,,., . I••"•· 1 ,ru 1>:1.111, ll aq , JOc .-au■. llr,;an <,r l lat1numun1 10 ,., , ua

BITS OF REMICK'S HITS ~!EDLEY O\ 'ERT l'J{E (l\'o . 12)

Arr :111~c, l by II . F. ODELL

Conlainin,: Rcmick' s most popular songs artistically grot1ped Ay }. /3odeuJall L umpc

l'l(J{.l " hi Man,1 .. 1111, ,u,. 1•,~u" M« . !10,:; :ml Ma mfolm . lrd M11.11dolin . Tenor M•nd ola, ~land o-Lcllo , l,1lndo-1Jan. Ha1110, Gu,1a,, ►'lute. C•ll o, ('H h, ~Oc, M11n,l,ihn and l , u,111.r, ~. 1""1l Ma nJnhn, Rll d (>u !la r, S L.10. l>llnd,il,n 11.r>d

l',an n, SI 10, ""' Mand ulm, ,rn-1 l', ~no , S1.-W l•u u mar Ah" I,., h~,L , .,, h! ,.,,.\ :mt V,uJ"" · \',, ,IJ, lfa •~. 1st """l :n,l t.:l.u,neis, •) ho>r, Ha~,oun , h t ~nJ :nd C<>rncu, !l orn• , Tr ombone and Orum , , uch ZOc.

TWILIGHT 13RIDI,;S AND BUTTERFLI ES ,_ k~nn e 11,· N,\!' II. AfEH """"'d l.1· II . r . O !lE! L Walun by NEIi. )I QHE T Mran~eJ hy If F 01.lELL

.:.11•1;:~~-}' .i(\ 1·.· i>nch -! · .\l. '" , '~I ~•1 ' .t ! ' ! \'.,

It, ,~,• ,r. !I..·.· ]· , •• • '' ,\ , ,. ,II : •; .\ j• ~ ', •l

LITTLE BOY BLUE ALM/\, WHERE DO YOU LIVE ? W~IT,c< i., IIF NIU IIFIH ,a· Wa11,.,, h; JFA:'i Rl!]( .,HJF.T

►,.,.,, ll ~PIJ W, SJ<ar; t'·~ mo , 1 ~u,<e,,!ul ''l" 'IJIIC l't•><ILICl"'n " ll·1l!lt'f r.1111 '"' H, ,.,-h,a,· ,u,ct,~. (,,mr,leti b)" J. ff.,,1, ... 11 L•l>lr.,, /dllU Nl ,1:.1) In' Al.11~.kT AJIAM

l•k] C~:S -h t :,h noluhn , ~. l',an " 1trc, !111,. ~n-1 t.l .tndolm, J rd MJn tl.,hn, f t'n'l r M ,rn ! ,l,1, M ,:d-,·Ccllo , .\l ~n· l •-llhs, !,ut111.r , ll~n/o. Fb:•, Cello , ll11un • , ~u, •~•t, :,1~n,t, ,lin "''d l.ullfll, 110.-. '"" Mand01l,n , an·! l,unar, SJ.LU, :'-lou,fol.n 3n·I

l' ,an", S I.J O: 1""0 M,11duhn s•r>J J•,.n,_., $1.40.

The Cho colate Soldier W edding of th e Winds Th e Sunny South Opua.tic Sdcc 1io11 • Funou s Walt,n "tle~h"n ol Pl •nt.&U311 '-nni1

8r OSCAR STRAUS Mrnn i ,·J liy OUEI.I. Ill' JOUN T . !!Al.I . Arra n;;,d hi· O DE! 1 ll y J. BOrlEWAI.T I.A!IIPE Au an~eJ b)' ODEL L Pl! ICES~ Js l MAn,lohn , SOc; !' ,an" • «-, eOc; !m l l'll! Cf' "i 1~1 /IIJn, lohn . ~Oc. 1•,~110 •cc., Ml.; ! r>,I l'klll:."i 1,1 \l •n,l,hn 40c P1•n o ace, f>Oc, 2nd Mar>dnlln. Jrd Man dolin, r.,,.,., Mn 11,t.,1~. Man ,lo- i\h m !,,1,n, Jr, ! M•ndolln, T,n or' i\b ndold, l>hn d.,, 111.,11 lol,n 1t 1 'l• nJohn, Ten or M111Jola \1lodo Ct'IIO. Mand ,;- ll 1u, ll •H)O, t,u,1~,. ►·h,h•, Cdlo, 40,; L'cll<>, :'-la.n,lll-1\J -' , Guitar, llanio , 40c utb: F1111.,, l.'dtu , M Jtll l ,.Ii.,, ,;, lllll JO, Gu:tu , flute , C•llo, !Oc

!E~~01:'.iri~~:~i:~~~~!t'i~J ,,:~ii·~i,:' ~:f i\3' : .. : t~:~~~tli~'.fr)'.;, ~~~ .. ~~~~~f ,t:"~11 /!Ji ~.~.~i~·~.f 'J ~:~~t:~;~.~~~! 1!~;~~~L~!;_~~-:J"oi.nGuu~~ \:,.r:.: /;,~

THE FOLLOWING STANDARD NUMBEllS ,_rraugedb y l l. F .Ol>F. 1.1. THE FOLLOWING POPULAR SONGS

•DAU C IIT Y.ltS Of T I.UTION -)\a" h 1,., !.nm:w, lllX IEl ,ANll - )t.mh l'wo-~lq> 1,y Cl"' uu ,c~· !bu,rs lnLro, Old lll ack J o<' S II.V'ltV 11~: 1.1.s -lntrr" a,.,, T "'<'-1't~i, !,}', ,.,,. noid,ml T IIE II OltS E T ltOT -. \" """"" lhn, I•}" t·,;,1 Davi•

Arr•ni: .,J by I O UIS TOCABE;,; VOU"ltE M\' BAIi\ ' .\,., !I\OONl!idlT IIA\. u· ·:c: (;uulJHVE E\'EkYHOD\' ·• MY llTTIE l'EltSIA!';" k O:- E .l'r. '·": THAT 1)11) till-IL o•· Ml~E ,\·, \ .• · !IF. MY l lT TI.Y. llUMIIJ.E REF. \:,,.'t., H E Wll . l. T,.KE ME TO m s II F.AltT , 1;, F, .. ,,, · •. 1'1.-uy L,nl e W, Jo,. W, ~, IL •,,

Pric u-1 ~: :,.1. :11) . !',~non •. l•J • .!,ii \ l. ,Jr,J \l ,T,·T1•,e 'I .. \I •'. .• ,. )I. !I., ,.11,,,.,,,:u:..tr.~'ol·•·• !;, \[.,..,,:, ;,, , \!.'<I'.,,!\!,.,., , :,,:;),:;:) )!. ~ I' t,U,., (', !lo, 1'1-:t,· :,,,.l Onnn • lu111, ,.,. m .,,: ,.,l • I!', r.1 ·b, t·• .,:I ,t't,•n ~~• .-,,,!1.

DISCOUNT O ~ E IULF OFI-' T II E AIIOVF, !'R ICES SEN T P OS TPArn TO ANV l'AltT OF T U E WOH LD

J:>; l'ltEl'AIL\T J O:>;

RE MICK'S (Wh itn ey-Warner)

Mandolin and Guitar Collection No. 13 C onta;ning All Om Rece nt VOCAL and INSTRUME NTAL HITS

l ■ t Mandoli n Dook , ?Sc Guii. r Dook. lSc 2nd Mandolin Book , lSc. B.o jo Doolr, Zk Plano, 50c T heH bookl .-il l bOJ H o t P OST PAID to 10 7 p.art o f 1b1 world 011 receipt of marked price. O RDER NO W.

Addr~u oil Ord,,rs to MANVOL l /'I VEPT.

EROME u. REMICK & co .. NE~J\~J;hK·c~w SUBSCIUHE FOU oun !',EW ISSUES

-

Or order from y1~~; m

regu lar supply ho~

It I ■ to the adn01a1e ol 111 co nce rned tha t TII E C,.DEN ZA he mentioned when wri ll nJ a durtiser ■

IN FIVE BOOKS FOR EACH INSTRUMENT

.\/m fr v11d EurciuJ

.\l tlodio 11J Througho11l WEIDT 'S Curcfu/Jy Fi11gertd Wd/ Graded

ELEMENTARY

STUDIES

A Practical Method for Cla ss and Private In st ruction PLAY ABLE IN ANY COMBINATION

PlBLI SHED FOR Tl-IE FOLLOWI:-G I:- STRL.\IENT S:

1st an d 2nd .\IA:-DOLI\'

Book I. Boo k 2. Boo k 3. Book 4 . . Book 5.

1st and 2nd BAN JO (A Nota tion ) Book 1. 50c . Book 2. 50c. Boo k 3 . . soc. Boo k 4 . . soc. Book 5 .. . soc.

50c. 50c. . soc. 50c. 50c.

Boo k I . Boo k '.?. Boo k J. Boo k 4 . Boo k 5.

*1st and 2nd

! st and 2nd GU T.-\R

50c. 50c. 50c. :iOc. 50c .

; 1st a nd 2nd

* 1st and 2nd BANJO (CN otat ion )

Boo k I . . Boo k 2. Boo k 3. Boo k 4. Boo k 5.

. ... 50c. 50c.

. .. 50c . .50c. 50c.

TE\'OR-.\IANDOLA MAN DO -CELLO *MANDO -BASS Boo k 1 . . 50c. Book l. . . . . . soc. Boo k I . . . 50c. Book 2. 50c. Boo k 2. 50c. Boo k 2 . . . .S0c. Book 3. 50c. Boo k 3 50c. Book 3 . . . . S0c. Boo k 4 . 50c. Book 4. 50c. Boo k 4 . . .50c. Book 5. 50c. Boo k 5. 50c. Boo k 5. .50c.

NOTE - Publ ish~ in UniYersal Notauo11 lor tbf fou r ln, 1rume111• marked ,.i lh •

OCTAVE MA;>;UOI.A and 3rd MA;>;IJQLt;>;

Book I . Book 2. Book 3 . . Book 4 .. . Book. 5.

. soc. 50<:. 50c. 50<. 50<.

Oblig a to and Accompan iment Port s to All Boo ks

Fl. UTE OBI.IGATO

Book I . Book 2. Doak 3. Book 4 ... Book 5.

. soc. ... soc.

soc. .. Soc.

50c.

'CELLO OBLIGATO

Boo k I . . . SOc. Boo k 2. . SOc . Book 3. . . ..... SOc. Book 4. . . .. SOc. Book 5. . 50c.

~I PUBL!~HED w ALTER JACOBS

PIA;>;O ACCOMPAN IME;>;T Book I. .. . .. SOc. Book 2 ............ SOc. Book 3. . . .... SOc. Book 4. . . .. SOc. BQ,ok 5 .. .. .. .. . ... SOc.

B O S T O N 1~ M A S S. ~

II i110 the 1dY•n1•1c ol •II con~tmed thll TI U: CAD F.~ZA he mcn1ioned ,.hen writinc ■durtisus