"Having an aversion to traveling and leaving his family, he did not fully capitalize on his growing fame"[2] until 1904, when he was invited to play at Carnegie Hall for the 3rd annual convention of the American Guild of Banjoists, Mandolinists and Guitarists.

In 1911, Foden and his family moved to Englewood, New Jersey,[4] near New York City, after a successful eight-month tour of the United States and British Columbia together with Giuseppe Pettine (mandolin) and Frederick Bacon (banjo), with newspapers referring to them as "The Big Trio".

Within he states, "For an absolutely correct scale, ease in playing, volume and purity of tone, I consider that the Washburn instruments have no equal.

[5] According to Back (2007),[6] Foden's works may be divided into two categories, a) light popular compositions in established dance forms such as waltzes, marches, polkas, primarily written to provide an income, and b) virtuoso original compositions, including works with theme and variations and often in an extended form, to suit as showpieces in his own performances.

Stylistically, he followed older European composers such as Sor, Mertz, and Zani de Ferranti, but Foden is always original in his inventive modulations and unusual choice of keys.