by Walter A. Boehm

September 1911, Cadenza Magazine

Such vast strides toward the realization of higher ideals in the mandolin orchestra have taken place during the past few years that many are likely to imagine that perfection has arrived in the establishment of tenor-mandola and mando-cello.

To those who are of this way of thinking, let it be affirmed in the most positive manner, that this “seeming end” is but the beginning. By this is meant that the publishers, on whom fall the office of demonstrating the enlarged possibilities of the greater mandolin orchestra, have fully awakened to the demands of the teachers, players and mandolin orchestra directors for a higher grade of music, better arranged owing to the greater scope given to the composer and arranger by reason of the greater variety of tone color afforded by the added instruments.

A great New York firm has just sent out thru the medium of our two splendid magazines, its message all over the globe, that it has prepared the full mandolin orchestra arrangements of operatic works. The magnitude of this firm’s other musical interests aside from those centered on publications for the mandolin, can be closely related to the fact which points to the importance and desirability of giving the enlarged, modern mandolin orchestra such serious consideration. Publishers cannot be induced to finance new projects unless it first be proven in the most conclusive manner that the project be a worthy one.

All the other prominent publishers are now furnishing new, and in many cases, their best  former publications dressed up in the new orchestration; and these are sent out to the players on both hemispheres of the globe, it is inspiring as well as intensely interesting to note the bristle of enthusiasm generated among the expectant and now enlivened players as they greedily tear off the wrappers of the music, send out a special call for an extra weekly rehearsal and then get together and revel in the greater volume of harmony coming from the new way of doing things better.

If there be any who read these lines that have not experienced this thrill, it must surely be because they have not been where these thrills take place. The Writer affirms with perfect safety, and with· a positive feeling that contradiction of the above assertion is impossible, providing that the fellow who sets out to seek the thrill- producing localities is not of the lively sort closely akin to an Egyptian mummy. No one has ever been successful in electrifying the stoical, non-responsive, indifferent-to- pleasure inhabitant of the pyramids. However, one is safe in making the affirmation that not EVERY thing has thus far been tried. We have yet to hear that a modernly equipped mandolin orchestra with tenor-mandolas, mando-cellos, harp-guitars and mando-basses may in the near future have its exhilarating and multiple-varying tonal effects directed and focused on the aforementioned dead one. The outcome is necessarily problematical. Nevertheless here may be the suggestion that would redeem the veracity and fame of the unsuccessful North Pole hunter. Who can tell?

The mandolin fraternity pats itself on the back now because it no longer is compelled to borrow from the viol family the materials of sound necessary to make it IDEAL. That is one of the first points that clearly indicates strongly the ascendency of the mandolin orchestra. Adding a mando-cello for the purpose of either sustaining the bass or bringing out with greater force the counter-melodies is certainly more in keeping with a strictly formed plectrum orchestra.

To use the mando-cello constantly in the role of reinforcing the bass or lowest step in the musical structure, would seem like wasting its best qualities in much the same manner that the person with large ability and efficiency is prevented from giving out his best efforts when compelled to occupy a position of small scope. Put the man at the bigger, nobler work for which nature has abundantly equipped him and the best that is in him, comes out. So it is with the mando-cello.

Therefore it was necessary to establish and engage this new member of the modernly formed mandolin orchestra, the mando-bass, to leave the bass work unimpaired and not deficient, while the mando-cello goes off duty from the bass section to perform its higher function in the realms of ecstatic tone-ravishing melodic figures.

Those who for the first time have heard the thunder of the mando-bass or even the exquisite effects produced by tenor-mandola and mando-cello, invariably ask the question, “Why have these boosters not been injected into the mandolin orchestra ere this?” That is the time when every conscientious member of our profession hangs his head with shame and feels like hiding from the disconcerting scrutiny of the questioner. But if he who was asked the question, speaks out from the heart, it cannot be other than, “Simply because we have been so confoundedly lazy that we did not deem it worth while, “NOTWITHSTANDING THE FACT THAT WE ALREADY HAD THE IDEA SUGGESTED TO US AS FOUND EXISTING IN THE CLASSIC SYMPHONIC ORCHESTRA.” But it is not human nature to admit openly so negative a quality as laziness. We find even those who cannot admit the defect secretly.

But now there is a thought-force at work which commands silently but with inevitable authority, “Get in line with PROGRESS or stand aside and make room for those who wish to advance.” And we find this force at work in every branch of the business, be it teaching, publishing or manufacturing. And it is well that it is so, because, were it not so, everything would continue in time-worn ruts, a condition antithetical to progress.

TUNING THE MANDO-BASS

The mando-bass is tuned in fourths and therein differs from the mandolin, mandala and mando-cello which are tuned in fifths. The four strings of the mando-bass beginning with the highest or first string are G, D, A, E. The lowest string (E) is six tones deeper than the lowest string of the mando-cello. In reckoning musical intervals, the reader must always bear in mind that the first note and the last are included in counting. For example:-from E to C (E, F, G, A, B, C) is called a sixth. The lowest string of the mando-cello is tuned to C.

The mando-bass thus occupying the lowest part of the orchestral scale, corresponds with the double-bass (contra-bass) of the viol family. The best way to convey to the mind of the reader the actual pitch of this instrument is to state that the fourth string (E) corresponds in actual pitch with the lowest E on a seven octave piano. The comparison with the piano is made because of the presence ol this instrument in the large majority of homes. Strik- ing this lowest E and counting up four notes we get A (third mando-bass string)j counting up four more we get D (second string); and four more up we get G (first string).

FINGERING

While the scheme of the mando-bass is in general like that of the double-bass, the former instrument is considerably smaller in every way than the double-bass. The string from nut to bridge on the mando-basa is approximately thirty-six inches Iong. The string from nut to bridge on the double-bass is about forty-three inches. The difference in length, in this respect between the two instruments is therefore about seven inches. This fact shows at once that the fingering on the mando-bass is considerably closer together than on the double-bass. This is fortunate for the mando-bass player because it obviates the necessity of adopting the more or less com- plicated system of fingering employed on the double-bass. This can be made perfectly clear to the reader after com- paring the fingering of the two instruments as follows:-

[figure showing that the Mando-Bass has one finger per fret while the Double-Bass use the 01224 method]

Note the orderly manner of fingering in the mando-bass (0 I 2 3 4). The numerals represent the finger and fret. To be more explicit: the figure I means that the first finger is to be placed at the first fret; the figure 2, second finger at the second fret; figure 3, third finger at the third fret; and figure 4, fourth finger at the fourth fret. For simplicity, we fail to see how this system can be improved upon.

Let it be understood that the writer has not the slightest intention of casting discredit upon the system of fingering employed on the double-bass when used on the double-bass. The extra long fingerboard of the double-bass makes it impossible to allow each finger to govern each successive semi-tone.

The point to be clearly and forcibly emphasized is that the more or less complicated double-bass fingering need not be inflicted upon the mando-bass player who is fortu-nate in having an instrument with a shorter scale. Guitarists will readily note the exact similarity between the mando-bass strings and the four lowest strings of the guitar. The mando-bass in reality is nothing more than a guitar with the first and second strings removed and tuned one octave below.

The writer is at the present time preparing an instruction book for the mando-bass on the above lines which contains a number of well-known melodies with mando-bass accompaniment in the form of moving bass. Naturally being eager to hear the two parts together, the first available player that came along was ambushed and dragged in to act as demonstrator. This unfortunate victim happened to be Edward R. Day who has gained prominence as a writer of interesting and humorous articles for our two magazines. Upon being asked to play the mando-bass part, Mr. Day objected on the ground that he was more proficient on his favorite instrument, the guitar.  “That’s exactly why I asked you to try it,” the writer replied. Then the embryo mando-bassist got busy and dug in. The effect on Mr. Day is best explained by stating that the first time in playing thru the selection, he made two or three mistakes. The second time he got a firmer grip on his chair and the expression on his now open countenance gave unmistakable signs of a lively interest and a determination to apply more precisely the principles expounded in the Hartnett Music Developer and System. The writer feels positive that Mr. Day’s implicit confidence in himself and in the author of the mando-bass instruction book is now so firmly established that, were a sarrusophone placed in his hands, and he were commanded to cut loose on the notes before him, there would be no remonstrance on his part. Anyone who doubts the efficiency, practicability and simplicity of the above system of fingering the mando-bass is earnestly urged from telling it to “Sweeny.” Go tell it to E. R. Day of Buffalo.