MAY 1966 - Classic-Banjo

-

MAY 1966 One Sh"II" • mg and s· ixpence

1J B.M.G.

•=======================================• Defini te ly t he most imp orta nt book avai labl e~ t o eve ry ty pe of pl aye r of t he guitar ' • * R ecomme11tled by John Gaval/ to all playe rs of the Spani sh

Guitar who sing to their own accompanim e11ts.

DANCE BAND CHORDS FOR THE GUITAR

by ERIC KERSHAW

Every chord given in diagram form and musical not atio n

In "DA N CE BAND CHORDS FOR THE GU ITAR," t he author has listed EVERY chord the gui tar ist is ever likely to be called upon to p lay; in additio n to the more usual major, minor, augme n te d , dimin ishe d , seventh, ninth . e tc., chor ds, all other chords-such as mi nor chords with added ni n th; minor chords with added sixth s ; dominant seventh chords wi th augmented fifth ; chords of t he fla t tened fifth; elev enths and thirteen t hs, etc., are shown . A specia l feature of this book is th a t und er the various chord names. the author gives the a ltern a tive chord sym bols for the same chord used by various arrangers . T hus the chord of Gbmaj7 is o f ten given in dan ce- band parts as ( 1) Gbmj7: (2) Gb7 :. ; and (3) Gb perf7 . Every possib le chord symbo l likely to be encou ntere d in dance -band parts is given. Throughout the book all chords are shown {where possible) in four-, fiveand six -n ote formations and are kept in the finger-board position most practic a l

for use in actual dance-band playing.

The lay-out used by the au t ho r is che most conve nient ever devised. All chords are arranged alphabe t ica lly so it is on ly a matter of a few seconds to turn up any chord it is desired to play.

E:ich chord is shown in both musical notation and diagram form-with the correct fingerin g - and all players ( students or professionals) o f the gui tar w ill find this work an invaluable aid.

In the second part of "DANCE BAN D CHORDS FOR THE GU ITA R" the author deals w ith the use o f chor ds in the dance band and gives exampl es o f actual dance-band parts with advic e on the best method of play ing them. Al so a w ho le page is devoted to " ins ide" chords.

This book contains 42 ful l music-size ( 12"X 10") pages and will be found t o be a welcome and invaluab le addi t ion to both the dance-band guitarist's and Spanish guitarist 's library .

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MAY, 1966

Tli e H Y WHITE Guit ar Me thod anti

Son g F olio This great self-teaching method, containing 40 songs, fully explains:-

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Vol. LXIII No. 733

0111 Co11er

JACQUELINE and Bridie (Ja cqueline McDonald and Bridie

O'Donnell) are two popular folk singers and since Christmas they have appeared and sung on almo st every TV and radi o programme employing folk singers. In addition to running their own folk club and singing at clubs all over the country, they also give illustrated talks to schools , colleges and other organisatio ns.

Two years ago the United Nations Orga nisation authorised their tour of Displaced Persons' Camps and during the summer of 1963 they visited fifteen of these camp s.

Their repertoire is mainly Brit ish, plus some American songs they brought back with them. Jean Ritchie , with whom they stayed in Amer ica, taught them many songs from her home town of Viper in the Appala chian Mountains of Kentucky.

LIVERPOOL GIRLS

Jacqueline and Bridie live in Liverpool and they feature many Liverpudlian songs and, being ex-teacher s. they also sing many skipping and playparty songs.

For three years Miss McDonald sang with the Liverpool Spinners.

These two talented girls Who, between them play, banjo, mandolin, guitar and dulcimer , have an LP on the Fontana labe l (TL.5212) entitled " Hold Back the Dawn" .

EDITED BY

A. P. SHARPE 11

The Editor does not necessarily agree with (or always understand) the opinions expressed by his contributors.

MAY , 1966

They have organised concerts with such people as Robin Hall and Jimmie McGregor but on the 17th of this month they are taking over the Royal Philharmonic Hall, Liverpool. and are hoping the 2,000 seats will be filled for this their most ambitious venture to date.

CONTENTS Music in this issuc:-ZITHER BANJO SOLO: 'Chanson TTistc' (Tc/111iko••sky) SPAN ISH GU IT AR SOLO: 'Fanfa re' HAWAIIAN GUITAR SOLO: 'Wiki Wiki W a' MANDOLIN SOLO: 'Marc hc Militairc' (Bclboni) Americana by J. McNaught on • . 250 Banjo Technique by Cyril Phillips . . . . 24 l Borcclona: Strai~ht and Jau by lvor Mairanis . . 260 "B.M.G. " Diplomas . . 263 By the War . . 264 Coming Events Cornspondence

Directory ol B. M. & G. Clubs, <tc. Federation News

. . 262 . . 265 .. 271 . . 264

Folk Forum by Mike Aston . . 245 Free and Euy by Glyn tlughes . . . . 243 From a Bath Chair by R. Tarrant B1llcy . . . . 253 Guitar Callisthenics by L. H. Drabblc . . 252 Guitar Technique by James O'Brien . . 244 Guitar Top ics by Peter Scnsicr . . 259 Hawaiiana Before 1920 by M . A. M;iximchuk . . 249 H. G. Corner by Kealoha lire Ju .-z. Guitar by Len Stew art Mandolin Tone

Our Cover .. Plectrum Guitar Topics by Ja ck Whitfield Rally Result~ . . Rock and Pop by Sid Moore Small Adverts Tape Club News Teachers and thei.r Addresses The Banjoist's Right-hand Thumb .. The Lesson by Henr y Clifion You Ask Us ..

, • 247 248

• • 249

241 • . 251 . . 262 . . 246 . . 270 . . 263

27l & 272 . . 249

260 269

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lt111jo Tecll11lq11e By CYRIL PHI LLIP S

IN the long and fascinati ng history of "B.M.G." "Corresp ondence "

co.lumn disputes, ·few -lasted as long and produced such intriguing results as the one that raged not so Jong ago about folk and " bluegrass" banjo. One had the impression that Ian Peacock's beard was second only to George Brown's prices and income policy as a matter for public concern!

I was sorely tempted ito join _in but as I grow older - and I hope wiser -1 have had ,to revise quite a number of my opinions about aU sorts of s!-lbjects and my attitude these days 1s that nearly all arguments are cases of sixof-one and half-a-dozen of the other.

Nevertheless I felt a great many of the views put forward were not ,likely to advance the cause of 1he banjo one little bi,t. Chief among them was the contention - expressed in different ways by different people - that the public ought ,!o be. "sh~~n what the banjo can do . This opm1on was put forward by orthodox players - some of ,them quite eminent in the fretted world - and, as a fondame ntally orthodox player myself, I have great sympathy w.ith their feelings. No one re<>rets more t·han I do that -the fingerpl~yed banjo is seldom heard through any of the media of public. entertainment in the way we would hke.

But withou t wishing :to offend anyone I feel compelled to ask what this

242

marvellous something is that ,the banjo can do that the public ought to know about? And who is stopping the "real" players from showing them?

There is not (and never has been) a conspiracy against the banjo. There is no ·lack of opportunity to show the public what it can do. It is no good champing at the bit because a few teenagers get television appearances with nothing better to offer than three chords and a -lugubrious 1yric. This is not the reason they got on T.V. They are usua'lly there because they :tried damned hard to get there and because a producer - probably after being hounded to death by an agent -thought their act was reasonably entertaining. And quite honestly I doubt whether - with a few exceptions -there is a finger-style banjoist -living who would be capable of providing an entertaining act! The reason, I fear, is not far to seek.

The banjo is a peculiar instrument and has had a peculiar history. In the first place it was not a solo instrument. It became so later and achieved its original popularity partly through its novelty appea'l and partly because it became - with the development of frets and the shorter scale 1ength - an ide,al instrument for recording in the early days of :the gramophone. Banjo players became prominent personalities

B.M.G. and vied with one another in the production of origina,J solos, while the technical potentialities of the instrument were explored in greater and greater depth.

This, remember, was in the days before T.V., radio or the talking film secured their relentless grip on rthe public. In those halcyon days music did not fill our homes as it does now; and many readers will doubtless recall the days when an amateur working men's club rendi:tion of "Macushla" or "Trumpeter, What Are You Sounding Now?" was given the '.kind of enthusiastic reception it most certainly would not receive from a contemporary T.V. audience.

Times have changed-but the banjo has not. Instead of being a medium for all kinds of music and entertainment, it has become a cult - and a cult, mark you, not of the banjo as a musical instrument but as a sort of cultural hobby-horse for the perpetuation of the tradiitional banjo solo. The novelty value has worn off, it has not adapted itself :to the popular music trends which keep any fostrument a.Jive and has now become - to the public - a crashing bore; because all it has to offer is an unintelligible technology and a vast reper:toire of solo compositions, many of which are out of step with 1the mood of the times!

The position today is tbat the banjo is almost exclusively an amateur instrument - and the amateurs who p1ay it are Jess concerned with its evolution as a musical instrument than wFth keeping alive the tradition of the concert solo as symbolised by the works of Ossman, Morley, Grimshaw and Cammeyer. There is of course,

MAY, 1966

nothing wrong with this as long as we do not expect the public to share our enthusiasm.

When players say the public ought :to be shown what the banjo can do they make ,two mistakes. The first is they do not actually mean what they say - their real desire is to promote public appreciation of banjo solos, not the banjo. The second is <they are delegating to someone else a responsibility that rests on their own shoulders.

lf :the intention is to popularise ,the banjo, this can be done very easily by playing on it music people will like -not what you ~hink they ought <to like. If, on the other hand, the intention is to popularise solos, I fear the task is hopeless unless we concentrate only on the most widely acceptable so'los.

The Editor pointed out in a recent editorial that a return to the original simplicity of the banjo would go a long way towards revitalising it. I can well imagine :the head-shaking and tut:tutting t·hait went on among the "El Contrabandista" merchants when they set eyes on this piece of iconoclasm. Technique has become the sacred cow of the banjo world and as sacred cows go this has proved to be one of the most immovable Aberdeen Anguses of all time!

UNMUSICAL ROW

I have had a basinful of :this kind of thing and am thoroughly fed up with it. Players listen in awe to breakneck chromatic performances, apparently quite oblivious to the fact that what they are really hearing is the most diabolically unmusical £Ow imaginable. Words -like "superb", "b rilliant technique" and "fantastic fingerwork" are accorded without discrimination to people whose toneless battering-ram attack ill becomes an art described by Shakespeare as the food of love.

All this is because the traditional player, who labours under an insupportable burden of inferiority compl exes because his instrument is not taken seriously enough, deludes himself into thinking that the road to academic glory is paved with technical complications. What absolute nonsense this is - and how right the Editor is.

The banjo is essentially a simple instrument and anyone who cannot face this fact is doing it a disservice. What appeals to people about the banjo is its sound and not its

MAY, 1966

technology. It is a beautiful, innocent instrument; specifically designed to make straightforward, unequivocal musical statements of immediate appeal. Obviously a crude technique is bad and undesirable but technique is not an end in itse lf. Technique is something you must have if you are to play yo ur instrument well but it should ·only be used as a means of giving a more meaningful and polished interpretation of the music you play.

Some yea rs ago I was listening to two adjudicators discussing the merits of :two performers at a contest. One of the judges insisted that of the players being discussed, the one who had attempted the more difficult piece shou·ld be given higher marks . Apparently there was 'little to choose between them musically . Now it may be allowed that in a musical contest, where all-round ability is the criter.ion, t-here ·is a justification for awarding marks for the player whose technica-1 ability may seem superior. But what reason is there for supposing someone who chooses to play a simple piece in a contest is ·lacking in advanced technique?

In any case, there is more to technique ,than speed and tricky fingering.

ABSURD CONTRADICTION

Te chnique is the ability to produce good tone, rhythm ic emphasis, smooth and relaxed position changing and many other things. I have heard it said of a player "h is technique is terrific, but his tone isn't very good". This is an absurd contradi-ction of terms. If his tone is not good, then his techn ique is not good either; and, what is more :to the poin-t, if his tone is not good he cannot possibly produce music worth listening to .

Few would perhaps accept Ian Peacock's contenti o n that most banjo solos are dated - it could be argued that some of them are surprisingly modern and the works of Fran k Lawes are as up-to-date as -anyone could wish. Wha,t I think is dated is this fanatical obsession wi·th banjo fore, banjo tradition and -the cult of the banjo solo as an end in itself.

With any other instrument, music is the prime objective and the specialised solo is reserved for the right time and pla ce. Moreover, to make any public impact at all •the standard of playing

B.M.G.

CLIFFORD ESSEX STRINGS REALLY WORTH GETTING

* YOUR FINGERS ON * would have to be very much higher than it is at present. Technique, like pat-riotism, is not enough.

We need to try out many more differen t types of music i0n the banjo, exper imenti ng to find what pleases audiences and what does not. We need to learn more about music and stop worrying about precisely how many pieces Morley composed. We must stop collecting solos like cigarette cards and devote our attentio n to playing fewer solos a good dea'l better than we do now. We must get ouot and about more, mix with other musicians instead of ju st giving •recita ls to one another.

The finger-style banjo is unpopular not because it is never given a chance but because when chances do come, players do not seize the oppo rt unity of enter taining the public; instead they try desperately hard !!O educate them . Not-hing could be more fut ile.

The lack of interest in the banjo is something for which players :have only themselves to blame.

243

Free·and Easy By GLYN HUGHES

(t TILL on the subject of street ~ characters ·of Scouseland, I am reminded there was a fellow who lugged a ifull-size harp around . He was "Dan ,the Harp". He was a striking fellow in many ways . He had the hand movements off pat and his head cocked close · to t-he strings was a real professional touch. But there was no sound. The strings on Dan' s harp were O.K. only from a visual point of view. For string it was: twine, sisa-1 and bits of old rope!

In the Upper Parliament Street area, close to its junction with St. James's Road, a blind man of distinguished, even patr iarchal , appearance read aloud from a Braille Bible. I cannot discover his name but he was a wellknown figure for many years and is still remembered today.

"I am Longing for the Dear Old Home Again" was the first and last song in the repertoire of "the Silent Tenor" (the busker's answer :to the "Whispering Baritone"?). In spite of a par ,tiality fQr the "hard stuff", he had a rathe r saintly face.

TH_E DUK _E~ of _ Sing<:lpore. (Left t~ right): Zainal Abidin Bin Sula iman (bass guitar), Za,na l Ab,d,n B,n Ak1b (rhythm gu,tarJ, Richard Young (dr ums) and Ahmad Murad Bin

Sulaiman (lead guitar) , Now a well-e;,tablisued group in the Far East, "The Dukes" (all pupils of Ha1·ry l\la.rtinezl lmvo just had ,. si ngl e issued on Philip s ME·0l46-DF which fca.tures "Selina " (July 196 5

"n.!ILG ."l on one side.

244

He touched many hearts - and pockets !loo, I hope!

Let us stay in -the Vocal Department. Catching the crowds coming from <the "Hippodrome" (the H ip) and the "Olympia" (the Limpy) was a Maile Voice Quartet of middle-aged to elderly gentlemen . Being blind, they frequently got separated as they made their way along -the gutter. But n_o matter how far apart they got, thelf voices still blended perfectly in four par,t harmony.

How I wish they still could be heard today!

"Bluebell" was an elderly lady (we always call women ladies in Liverpool) who sang a song of that name ·. Her pitch was anywhere between the "Hippodrome" and the "Empire". She was invar iably accompanied by her blind husband, or partner. Tihe old dear is all bu t forgotten now. Does anyone remember the "Bluebell" song?

In Pudsey Street (where the old / Stadium used to be) a legless man sold bootlaces. H e had a dog which for many years sat by his side in the street. One day the old chap failed to turn up a,t his usual pitch, and for the· next few days he was not seen. Then he reappeared with his dog (now dead) fastened on a wheel ,trolley. A card stated THE DOG IS DEAD. Indeed if this was not obvious at first glance the stench proclaimed it to the skies. It was hot weather, and after a few days the dog, -still lying in state, was removed by :the combined forces of :the Sanitary Depa rtment and the Police. And on that sad note I wiU end our little glance at some of tihe street characters of old Liverpool.

GOOD PUBLICITY

I was pleased to see the street buskers of London getlting good publicity in "Plays and Players" recently. (Singing guitarists are in the majority I am glad to say).

What fascinating -lives these people lead! It is an honorable ca.Jling. I t is about the on'ly job that appeals to me. There is nothing shameful or reprehensible about it. I am proud to have been a busker myself (I am still one).

We buskers are carrying on an ageold tradition. We are true descendants of the troubadours and minstrels of the middle-ages. Tihese minstrels and

B.M.G :

American guita rist JIM HALL has been booked for a season at Ronn ie, Scott's Club in London. He starts a four weeks' engagement there on May 30t h and will appear wi th a bass and dr ummer.

itinerant musicians of the pa&t were far closer to present -day buskers than to session men, studio musicians and concert artists. There is an aura of romance, mystery and glamour about old travelling players. A man who could play a fiddle was In Demand. He was indispensable. There was no switching on radios or record playe rs. No Musician; No M,usic. It was as simple as that.

Nothing will ever take ,the place of live music. People, in the main, like street musicians. See how they peek up and come to life at the -sound of the "Happy Wanderers" in Oxford Street ! A dty street is humanised and warmed by a street piano or an accordion. In spite of ghastly skyscrapers an d hideous office blocks, the sound of a fiddle or baHad can boot you right back to the time of Homer!

Let us have more buskers; more street musicians; more griddlers and chanters. Let us get out in ,the streets, on our front doorsteps, and into "the local". Get music out of •the reci-tal room concert hall and classroom and put it back into life. That is where it belongs, always has done, and always will!

Apology: To the gentleman from the George Formby Society who wrote ~e a kind 1etter and sent a copy of their magazine. I ts arrival coincid_ed with my moving from London to Liverpool. In the conf usion, ietter and mag were lost. Please write again.

The above applies also to others who may have written and received no reply. These .things happen, but I am o-Jad to report things more settled now, :nd all letters will be answered as usual. (But do not forget: S.A.E. if you want a rep ly! )

MAY, 1966

fi11lt111 Tecl,11ltf11e By JAMES O'BRIEN

(Continued from last month's issue)

HOW many readers tried to keep the ,li!ttle finger of the right hand

still - and found it an impossibility? Not only that; they could a'lso see no reason for it! The little finger is doing no ha rm ,to any.one; it -is not getting in the way! ..

While this is tru e, to an extent , 1t 1s a definite advantage to right-hand technique to have the :little finger well trained. Well-trained - '!hat is - to do nothing!

The main advantage is thcl!t in training tho fourth finger you cani:iot help training the third. Everyone w11:l agree •the third is the most difficult of the three fingers (we use) to develop properly - and to work independently . Alternate fingering with the 3rd and 2nd is not as easy as with 2nd and 1st. Consequently , if one takes the trouble to cope with the little finger and bring tt under control, half the difficulty of the a lternate 2nd and 3rd will disappear.

Look at it this way.

RELAXA TION

When first you try to keep the liNle finger still, you find it becomes P?ssible only if the 3rd finger movement 1s kept down to the minimum and only if the hand is -in a state of controlled relaxa tion .

You understand the Ja,titer? It means the hand is not flopping

about loosely; neither is it rigidly tensed .

Try -to pract ise the exercise in ~ast month's art icle at every practice . Give it five minutes each time with intense menta l concent ration. And . . . even i{ you do not ach ieve the desired result in perfect form (due to age or due •to doing i:t the wrong way for so many years) the pr.actice and effort involved will imp rove the right hand generally.

I must refer, again, to another exercise in last mon;bh's article. This is the one which should help in keep ing the right-hand fingers apart.

You might like to practise the fo llowing as welL

Play !the first string repeatedly with the third, second and first fingers and

MAY, 1966

position them thus: ;the third will strike the string at the right edge of the sound hole; the first finger at the left edge; and ithe second finger in the middle.

This is a difficult thing to do while keeping the hand in :t:he prope r position ; there is no question abou t that. Nevertheless, its effects a re remar kable in helping to separate the fingers. I would strongly recommend this exercise to anyone who "s uffers" from fingers ithat get 'in each other's way!

Two recent ·letters made one thing cleaT - that I had not succeeded in making myself clear on some aspects of the right hand and on the correct method for filing •the nails. I had suspected this might happen because some things can not be explained satisfactorily by the pr inted word alone. I replied to both these writers at once.

I may say, in pass ing, that I apprec iate the inte rest shown by these two gentlemen in going to the troub le of writing.

The result of !their letters is that I have sen:t rough sketches to the Editor , sketches which shou ld cover all aspects of the matter . These will take some time, naturaUy, to be properly drawn and made into blocks for printing. In the next couple of months, therefore, we should have an ar ticle on the righthand position and fingernails complete wi,th sketches.

It often occurs to me that some readers may feel I spend far too much time on techn·ique - as if technique were the only :thing that mattered. This is perfectly true . Techni que is the only thing tha:t matter.s as long as you lack it; -once you have it, it does not matter any longer !

How many times have you sat down to play your guitar, to produce wonder ful music, wi!thout becoming immediately aware of your technica,l deficiencies? How many times have you tried to play a smooth-flowing prelude by Bach and achieved -instead - a disjointed jumble of notes? How many times has the fiery "Ast urias" of Albeniz become a tame and insipid thing in your hands?

I need not say any more. If you have music in you technique will bring it out. If you have not ... the acquiring and pract ising of techn ique will become an intolerable burden.

(To be continued)

B.M.G.

lo/It Forum By MIKE ASTON

I AM often asked by both folk singers and folk-club organisers

about the economics of .the whole folk music revival. We cannot ignore the importance of the singer's fee and its influence on modern folk trends. Gone are the days when the village yokel stood up in his local and sang the popula r songs of the day fo r a pint of ale. Today, :the first quest ion to be considered when engaging a singer or group is: "How much does 1he cha rge?" Unfort unately, ,the .answer is often : "Too much for -us to affiord."

How much is a singer worth? The factors affect ing this decision are based on his or her drawing-power firstly and thek standar d of performance secondly. This , inevltaoly, leads to personality cu,lt amongst folk singers.

Plenty of nationa l exposure on radio and television plus a good agenrt -can he1p ,to push a singer's fee beyond the scope of a normal folk club. Th is means !the clubs tend to engage more and more amateur singers for moderate fees which, perhaps, is a good thing for folk music anyway.

There was a similar occurence •in the trad it,onal jazz boom some years ago . Only a few of the bands survived .

The writing may even now be on the wall for the professiona l folk singer.

SPAR E A THOUGHT

Before we leave rthis subject, ·let us spa re a thought for the folk groups. Have you ever considered how difficult i,t must be for them :to survive at all?

Apart f11om the task of keeping the group together and travelling continuously around the counrtry, the question of fees is always rearing its ugly head . The income of a group has to be shared amongst its members and , probably, a manager as well. 11his, inevitably, dissuades good solo performe rs from joining or performing with a gro up since the financial reward -cannot be as great in these circumstances.

It is now up to us a:ll to stop inflation and rising prices whenever we can for the common benefit. Both singers and olub organisers can do a great dea l to put this 'into practice and I ,think the result can not on1y benefit

245

the folk-song_ movement but =help it to grow strong in the face of commercialism.

RECORD CHOICE "Rural Delivery N o. 1." by the New

Lost City Ramblers. VERVE VLP 5001 12" L.P. Hurray fo r E. M.I! They have had

1the good sense to ar,range for the release of Folkway s records in this country under the Verve 1abe1. As most record coHectors already know, Folkways is the doyen of folk reoord companies. Moses Asch, its director, is one of the most respected folk people in the U.S.A. ·and it ·is considered a great honour by any performer to be asked to record for 'him. I suspect Verve will concentrate on the more popular albums from t he enormo us number available but nevertheless, this :is a ·tremendous breakrhroug h.

A LESSON

Th is record ls a -lesson to our countiry music performers by its very ta~eful ness and •sensitivity to material. The three members of the N.L.C.R. include Mike Seeger another member of the talented Seeger family.

Banjo, mando lin and guitar all featu re considerably not to mention some good fiddling by Tony Schwarz. "Big Bill Broonzy and Pete Seeger in

Concert." VERV E VLP 5006 12" L.P. Anot her album from Folkways. This

was recorded ·in 1956 which, by recorded folk-m usic standards, is a long time ago. What a pity Big Bill is not alive today to benefit from all the hard work he put into fhe America n folk-song revival. This record shows what a master he was with an audience and how itwo performers from cornp1etely different backgrounds can join on common terr.itory and communicate.

I shall mention just one track - the one where Pete goofs off - as he puts it. Sometimes his banjo playing oounds like drops of water trickling off a corrugated iron roof and at other !times a full orchestra seems ito be up there on ~he stage. "His Name was Connolly." Various

Irish singers and the Liam Mallory Showband. WA VERLEY ZLP 2064 1211 L.P. This is one of many patriotic Irish

Republican records being released to coincide with the 50th Ann iversary of ,the Up rising. Irish showband~ are just gaining pop ularity in this country but

246

in Eire I understand they are in their heyday. The songs on this album all fo1low the same ,theme and form a sort of one-sided picture of the condirtions under which James ConnoHy lived and died.

(To be continued)

Roclt 11nd Pop By SID MOORE

NEWS this month of Hatfield group "The Trekkas" comes

from Martyn Day. Martyn tells me they specialise in what might be called "negro-pop" mus_ic of the type played by James Brown, Don Covay and others. The ·group has a line-up of six: Mike Casey Oead guitar), Martyn Day (guitar), Ron Baird (bass guitar), Angela Penketh (organ), Ken TayJor (drums) and Mike Simmons (lead vocalist).

Incidentally, Angela and Mike (organ and lead gui!tar) began their musical activi:ties by p-laying piano and string bass respectively, fa a local youth orchestra.

Says Martyn: "Our first record "Please Go" got into the Radio London "Fab Forty" - which pleased us no end! Since then, bookings are thick and fast, with Eddie Veake (manager and food -taster) having taken root near the ·telephone". The photo graph of this group shows a neat appearance. An exceUent example to the advocates of ·the "Freak", or " Moronic" look.

Nothing new from the "Woe and Destruction " boys and girls seems to have emerged lately. 11here is a rather cute little ditty about "Pressing a Little Button" - good tune, incidentally , but with (in my opinion) a somewhat irrational moral. It seems to "slam" every form of progress, from typewriters to television - including, presumably, the means by which the writing of similar songs has become profitable!

* * * Way out in front for cheerfulness

and freedom from chips on the shoulder are (for my money) The Seek<?rs. Come to think of it, these Aussies seem to form much of a pattern - Rolf Harris and Frank Ifield, to mention but two, seem ,to have endeared themselves by a cheerful

B:M.G. ls this someone else's

"B MG,, , d" 1 . . . you re rea mg. Why not become a regular reade r by placing

an order with your loca l supplier?

approach . Perhaps this has something to do with life in a young country where self-pity avails little benefit!

* * * With so many ctifferent (or

indifferent) folk groups getting on -the band waggon of wo~. it is a pleasure to repo1t on a Wiltshire folk group who not only sta rted for 1:he fun of it but "·intend to keep things ,that way". Using traditional English and American melodies spread over two centuries, the "Caine Folk Singers" use five guitars. Line-up is: Margaret Benfield , Brenda Pearce, Graham Edwards, Pip Bishop, Kevin Tinson, Maurice Liver-ton and David Ha-lstead.

* * * Overheard on a bus the other day :

Young gir-1 : "Have you heard Donovan? I think he's 'Fab'!" Elderly lady : "Oh, yes. I really think he's good - particularly when he sings 'My Old Man's a Dustman'."

* * * I learn tha•t parents are to be catered

for at Hinckley Youth CP.ntre,

MAY, 1966

Well-known Walsall (Staffs) singer / guitarist JO HNNY CUITAR, al ia s Johnny Porter .

Leicestershire. Following a course of guitar ·lessons for teenagers, the parents became interested. Now, a course of lessons has been arranged for <the parents.

* * * South Woodford and Leyton oroup

"T he Sidetrackers" refuse to be"' sidetracked from their main aim; to play only Country & Western style. Formerly a beat group, they are now -concentrating on music associated with such names as Johnny Cash, Hank Snow and Buck Owens. To many people, they claim, this makes a pleasant change from -the Rolling

.. ··"·• _ _ ,.. ,.

· I . I

. .-I

MAY, 1966

Stones or the Bea1les. Line-up is: Dermot Gibbons (vocals), John Anderson (lead guitar), Denis (" Jynx") Snow (bass guitar), Denis Murphy (rhythm guitar) and Phil Collis (drums).

* * * Par-t of the British Standard:

" Specification for School Music Equipment" contains recommendations to purcbasers of electric guitars. Much of it is sound commonsense but I comment here on two extracts ; "pickup output should not exceed 10 millivolts". What utter rubbish! I do, however agree wi,th the statement that; "no gu:itar should be connected directly to the mains" . Ra ther ·like saying "No guita rist should jump off Beachy Head"!

B.M.G.

H. O. Corner By KEALOHA LIFE


W ITH Will Ault (guita r), Bi:lly J. Bell (bass) and myself on

electric Hawaiian guitar the late Pasquale Troise formed the Troise Hawaiian Trio and we toured for three months, after which I resigned through illness. On recovery I re-joined Felix Mendelssohn's Hawaiian Serenaders.

Ji will doubtless , in passing, interest mandolin ists to hear :that backing the Tro ise Hawaiian Trio were leadmandolin ist Cyril Gaida; Angy Pal umbo (tenor-banjo) ; Troise on guitar; and Eric Sawyer, Viktor Hatek, Jack Mendelssohn and Remo

Hatfield group " THE TREKKAS' '

247

Lauricelli oi;i violins. Bil-ly J . Bell Sr. " doubled" on contra-bass banj o while Will Ault also played banjolin .

Remo Lauricelli now plays in .the Johannesburg SABC Symphony Orohestra and I played guitar with him in this self-same symphony orchestra five years ago.

In addition to ithe above-named musicians, the Hawaiian Trio was backed by Mrs. Troise and Eddie de Snoek (pianos), Gerald Delmonde Edmonds (accordion), Jack Cooper (vibraphone), two players of the clarinet; Frank Galleoni (mandocello) and Percy Manchester as vocalist.

With this line-up we toured the Potteries, .the Midlands, Lincolnshire and Cheshire.

While broadcasting to the Pacific Islands with the Mendelssohn group in this period (1941) I also joined the "Hill-Billy Boys" as banjoist/harmonica player/ yodeller, replacing that fine banjo soloist Eddie Ross. With this group I played alterna te weeks round the West Country and Her-tfordshire on guitar with "The Spitfires" orch estra and in the "Hawaii London" extravaganza, leading the Kiano Hawaiian Boys composed of the Jate Buddy Lane (hula drums). Bob W!lliam!> (drums) - both Negro ar,tists; Reg Ro ice (bass), Cyril Sherman (guitar) , Don Phillips (ukulele), Boris Neilsen (guitar), Ken White (liple), Leon Video (tarapatch) and huladitncers Esmee Lee, Amar ita and Lolita.

SCENE EXPLODED

We finished our tour on a bamboo grandstand a,t the Grand Theatre, Brighton, where the .fake volcano for the Mauna Kea sacrifice scene exploded, due !to a magnesium fault. The. scenery fell on top of us •three limes a week and the musicians became jammed in lhe revolving bandsta nd!

During •the final week I had the pleasure of playing with that bri:lliant guitarist George Elliott (whose sightre:iding and transposing of scores intended for other im,truments amazed me) on broadcasts and it was with ·him as s0!0 plectrum guitarist that I made my firsl recordings for Columbia on August 27th 1941 as a vocalist in "Song ('[ the lsi?.nds" and "Aloha Oe" and playing maracas in "La 9umparsa Cubana".

248

I askeQ for my Hawaiian guitar recordings of "Hilo March" and "Oua Oua " to be cancelled, thinking them not good enough, but severa1 collectors have sample copies (as well as one of my falsetto vocal ,of " Iniki Ma-lie") lhanks to the Columbia Co. supplying me with several sets.

In 1941 I also bought my first 12-string jumbo guitar. I mention this as being of information 10 teenagers, since in that year these instruments were already out of date and the Epiphone Vibrola vibrato-lever had not "caught on", having fallen in.to disuse!

After meeting Al Shaw at the Victoria Pa:lace, he joined the "Serenaders" on electric Hawaiian guitar and banjo, leading the band during Felix's enforced absence rut Windsor Banacks - where we played a concert with Felix conductiQg.

With Al Shaw leading the troupe, we tou red Staffordshire , Somerset and appeared in the Metropolis, in addition to Sunday concerts in Greater London.

Atfter I had recorded "L:, Ctrcaracha" and "Cie lito Lindo" vocals in Spanish (plus playing the cowbeJ.ls in "Ind ian Love CaH"!) for Columbia, I bumped into Pulu Moe and jumped a:t his suggestion that we rehearse our own Royal Hawaiians for six months to be ready for two tours he had been offered.

HAPPY PERIOD

This period was probably the most happy and exciting in my life as the Moe Trio had several hundred beautiful arrangements of ancient and modern Hawaiian music - all, I feel, better than their ·stage or recorded work.

In between these daily, all-day, rehearsals I appeared in London with my Cora:l Reef Trio; at concents and in broadcasts with Mendelssohn (where one day I had the pleasure of being in the same show as Gracie Fields) and in Hull during a blitz in the only theatre left -standing.

It was then, in London, that I first met the la:te Harry Brqoker and Ray Baillie (the latter had appeared for a couple of weeks with the "Serenaders"). They were rehearsing with A. P. Sharpe's Honolulu Hawaiians. I a,Iso met at this time Bert Redstone, pioneer Hawaiian guitarist; guitarist George Weston; Hawaiian

B.M .G. guitar stylist John Treadgold and many others.

After concerts all over the North with the "Se renaders", I took my Blue Pacific Islanders to Southend's Royal Theatre (the first of several appearances .there) and ·then joined Al Shaw's Blue Hawaiians in 1942 as guitarist/ Hawaiian guitarist, making my first Pathe Gazette film, and appearing with the Pulu Moe Trio (plus Ber•t Kirby on bass) as "Fe lix Mendelssohn 's Hawaiian Islanders" at the Savoy, Burnt Oak which were recorded on the Manhattan discing of "Akaaka Fa:Hs".

The -left-handed Hawaiian guitarist Roger Smith joined the "Serenaders" in August of 1942, while I was "doubling" alternative appearances with my own group all over England and Wales. To my delight, the Moe Trio joined us in November of that year a-t the Theatre Royal, Edinburgh.

With the Moe Trio I made another Pathe "shor t" and continued to tour with them on one-night stands until 1943.

I then joined USO - the American Forces Entertainment Unit - in their London Red Cross shows presenting, with my Royal Hawaiian Islanders, Hawaiian dance music to the troops. Returning to the "Serenader,s" in the summer (after a brief spell · with Johnny Denis's Hawaiians) now being led by Dave Scott and featuring Archie Slavin on Hawaiian guitar for a few dates.

(To be continued)

Jt1zz G11ltt11 By L EN STEWART


LAST month we investigated ,the problem of extemporising upon a

chord sequence which involved more than one chord per bar and readers will recall that , in keeping with my usual policy, I chose a simple approa,ch to these chords. In other words, the phrases contained the actual

MAY, 1966

notes of the chords with only a few additional notes here and ,there.

A fluent knowledge and technique on these ,lines is necessary before proceeding any fur~her.

However, assuming we have achieved such instant extemporisaLion within these limits, we can now .tackle the question of introducing some other notes into our phrases that will not offend the chord structure too much.

A study of various modern jazz solos will show two important point s :

First, the prominence given to accented passing notes instead of unaccented passing-notes. Secondly, the rather extensive use of in tervals of the ninth, flattened ninth, flattened fifth, major seventh and sixth .

Regarding the first point: an accented passing-note (i.e. a passingnote on the beat instead of arfter the beat) will always sound more prominent.

In the second case, one can find examples of phrases constructed almost entirely of ninths, sevenths, sixths, flauened-ninths, flattened-fifths, etc., with a minimhm of basic notes of the chords. Here again, if any of these are placed on the beat instead of after it they will sound more prominent.

By using such notation in the right manner we can constru,ct some very modern phrasing - bearing in mind -that some melodies lend themselves to this style of jazz more tha:n others.

In the musical example on this page I have used .the same eight bars again but th is time 1the extemporisation contains some of the ideas we have just discussed. This example should be studied and played in conjunction with the one given in Jast month's article. Compare them and hear the difference between them when played. Decide for yourself which is ,the most modem .

The reason I ask you to decide for yourself is because good jazz can be played by using either of these two methods of thinking - or, better still, by using a combination of both.

(To be con~inued)

...----::::---1 a c; J r r 1(uu JQJ Dm7 G7 C7

F '.:!...- G'f '.:!...- C ~ A7 ff Dm7 G7 C

t 11

MAY, 1966

Mt111doll11 Tone

0 NE of the first things the beginner on the mandolin

should learn is how to produce a clearcut note. There should be no muffing of tone when a mandolin is properly played; the melody should ring out clearly and distinctly and this is only obtained by paying proper attentio n -to details.

The correct method of holding the plectrum and the instrument, coupled with the correct and precise use of the left-hand fingers, is important from the very commencement of studies. The beginner should pay particular attenition to such details for rh_ey will be laying the foundation of aH his future rendit ions.

"Always produce the best tone you can" should be printed on every page of every mandolin tutor. A great singer '1nce said there were three things necessary to produce a good vocalist: the first was voice; the secon d, voice; a11d the third, voice.

So with the mand olin (and, indeed, any instrumen t) it is stone- always tone.

Of course, technique cannot be ignored but without tone no one ever became an outstanding player of the mandolin.

The 8t111jol1t's Rlfht-Ht111tl

Thumb

THE correct right-hand method of striking the strings of a banjo

usually strikes the beginner as most unnatural. The necessity for pushing the thumb beyond the first finger so that each shall have a perfectly free action seems to put the hand in a cramped position - and matters do not seem to be improved by the necessity of tucking the little finger in the hand.

The young banjoist must, however, persist in protruding the thumb of the right hand as far as possible beyond the fingers . He will find consolation in the fact that the cramped feeling will become less and less noticeable as he progresses.

B.M .G.

H11w11ll111111 Before 1920

By M . A. MAXIMCHUK


AS time progressed I became more enthralled by -the music of

the four Hawaiian records and although dad did not buy any more new Hawaiian records for some time it was maybe for this reason I memorised all the selections and could either whistle or hum them to myself.

lt finally registered with me that I would like very much to learn to play the Hawaiian guitar.

Not knowing what kind of instrument the Hawai ian guita r really was, and with no musical education of any kind--plus the financial position of a church mouse, my means of getting .the instrument was to hope that somehow everything would turn out satisfac torily in the future.

One day, with time on my hand s, l was idly turning the pages of a mailorder catalogue when right in front of me I spotted my instrument-the Hawaiian guitar! Strange as it may se·eem, it was a normal guitar which ,

JOSE PH KEKUKU " Inventor " of t'he Hawa i ian Cuitar

249

with the necessary attachments, could be changed to a Hawaiian gui tar. Complete with case, attachments, etc. there were illustrated quite a number of instruments at various prices.

Little did I realise at the moment what the future held for me and my choice of instrum ent. Neither did the professional players such as Pa le K. Lua , Frank Fere ra , Ben Hokea, Ernest Kaai and count less other fan"ious players of the "stee l" guitar, including the famous "i nventor" Joseph Kekuku, who were playing and recording before the 1920's, know what a change would take place in years to follow to their beloved instrument.

However , all th is should be written as another story- from the common wooden acoustic guitar to the present multi-neck instruments of eight and ten strings, pedals, etc.

Pale K. Lua and David Kaili recorded quite a few records for "H is Master's Voice" and Columbi a. No doubt they also recorded for other labels as well. Both were native Hawaiian s who toured and played with the famous troupe "Trene West Royal Hawa iians" and cove red all of. the Uni ted State s and Canada well before 1913.

NO HIGHER TRIBUTE

Pale K. Lua was a lead violinist in an orchestra at one of the hotels in the Islands before he decided to change to the Hawaiian (steel) guitar. With a lot of fire in that right hand of his. he proved to be one of the outstanding Hawai ian guitarists of his day. No higher tribu te can be paid to this artist than was made by Ben Hokea: he christened Lua "The King of the Hawai ian Guitar".

To me it as much a pleasure today as it was in those early day s to listen to this virtuoso' s recording s.

Tn tho se days a "solo" was with no other accompan iment. Lua was the first Hawa iian guitarist to record regularly his duets with Spanish guitar for accompaniment. David Kaili was the other half of this famous duet team.

The duet sty le, of playing was copied by many other artists and is being used even to the present.

There is no doubt that the Iren e West Royal Hawaiian Troupe came to the United States by entertaining on one of the Matson Line ships plying between Honolulu and San Francisco.

250

As I have no information, I am sorry I cannot write anything about this famous troupe.

Lua towards the end lived in New York where he passed a way in the early 'twenties. F.or record collectors , here are some more records he made:

17774 Cunha Medley/Hu la Medley.

17859 Happy Heinie/Maid of Honolulu.

17803 The Rosary/Aloha Oe. (In all titles except "The Rosary"

which he plays unaccompanied-a Spanis h guitar accompaniment is provided by David Kaili.)

T-he year 1915 was outstanding for Hawaiian music and one person who deserves a lot of credit for the great promotional work he carried out at that time is Keoki E. Awai. It would be easier for Hawaiian music lovers to remember him if they associated his name with that well-known and lovely waltz "Kilima", of which he is the composer .

RANK HIGH

Awai was a prominent Hawaiian guita rist of his day and would rank high with any today . H e was well educated in music. It was Awa i who, with his outstanding Royal Hawaiian Quartet, delighted thousands of people during the Panama-Pacific Exhibition at San Francisco in I 915. Everyone was sent home to such songs as "Waikiki Mermaid", "On the Beach at Waikiki", "Song of the Islands", "One, Two, Three ·, Four" and many more .

With the Hawaiian guitar gaining in popularity, as well as Hawaiian songs. a demand was created by the people to buy mu5ic for piano , orchestra, etc. This, in turn, made the publishers turn out hundreds of pieces of music that have long since been forgotten as well as a lot that is still with us today.

Keoki E. Awai arranged and had published by Sherman -Clay & Company, of San Francisco , Volume One of the "Super ior Collection of Steel Guitar Solos", both in note and Peterson System. Included were nearly thirty select ions- all H awaiian . This was followed shortly by Volume Two of both Hawa iian and popular selections with some standard numbers .

All the arrangements in these volumes made by Awai were playab le and not like those of around 1930.

Remember those exceedingly goodlooking folios that included both Hawaiian and popular selections?

B.M .G.

Awai 's Royal Hawaiian Quartet

When you took them home and sat down to play them it was if both the notes and numbers had come from a Bingo mixing machine! Also it made one wonder where he could buy a corkscrew steel one foot long with sections chopped out for positions were often like frets 10. 7. 9. 0. 5!

Hawaiian guitar music arrangements were slaughtered by no one else but the publ ishers who would not listen to the players of the Hawaiian guitar. When sales dropped off their cry became that both the Hawaiian guitar and its music was just a passing phase.

Rather than admit their mistake they used the scapegoat of various tunings as the reason for not publishing music for the Hawaiian guitar.

(To be continued)

Pal e K. Lua and David Kai l i

MAY, 1966

llm•rlc111111 By J. MCNAUGHTON

(Continued from the March issue)

A FUR TH ER tape session began next day, under Cliff

Spaulding's hospi tab le roof. Imme diately after breakfast we settled down in the Studio, where the twin recorders rest benea th a veritab le photo gallery of banjo celebrities; the Certificate of Merit of the American Banjo Frater nity is neighbour to a fine enlargement depicting Messrs . Farmer, Gregory and Van Baar at the height of their considerable careers. Frederick J. Bacon has pride of place on the adjacent wall, among many other notable s but the ever-growi ng pile of tape reels amassed by the Librarian of the A.B.F. will soon call for enlarged pre mises!

First on the deck was Bacon's brilliant setti ng of "Massa's in the Cold , Cold Gro und". wherein the spirit and technique of the finger-style banjo were exemplified to perfection. The tone was rich . mellow, harp-like and, to me. entranci ng. The Mae stro's "Ghost Danc e" followed, to offer more evidence (though I needed none) of the colossal technique of Fred J. Bacon. whose pupils included Frank C. Brad bury and Clifford L. Spaulding. Both are staunch disciples of Bacon to this day-a nd both still prefer Bacon banjos .

WONDERFUL TECHNIQUE

In passing, I find it hard to understand why Bacon's ab ility was not more widely recognised in the U.S.A . tha n appears to be the case. He had a wonderful technique-for he had been taught by Farland •himself; and Farland is regarded by many experts as the greatest finger-stylist of all time.

ln addition - and even more important , to my mind-Bacon produced musica l tone and made use of light , shade and phrasing; if the two recordings I heard that day are anything to go by-and I think they are.

Yet. despite this, I have heard of him being decried by at least one professiona l of his own era . Very odd, to say the least .. ... but I digress!

New Rochelle-and the home of Alexander C. Mage e-marke d the next point of call under Cliff Spauld ing's am iab le and tireless guidance and I was delighted to meet the virt uoso

MAY, 1966

from whom l had received so many fine and friendly letters over the past fifteen years for Alex, with characteristic 1<indness, wrote to welcome me into the American Banjo Fraternity at the start of my honorary membership in 1950.

Two years later, on my return from the Far East, the late W. M. Brewer' s record recital (held in Robert White 's London hotel room) revealed Alex Magee as master banjoist of prodigious technique and musicianship, whose full-length arrangement of the "Second Hungarian Rhapsody" was indeed a revelation, for the tone and attack ( on nylon strings) could not have been bettered by Morley himself.

BANJORIAL SUCCESSES

Now aged eighty-five and hampered by arthritis which has bedevilled so many fine banjoists, Alex Magee can look back on over seventy years of banjorial successes; of early days with those great players Farmer and Gregory, of Charles Van Baar the piamst-composer, and Burton Gedney, his duet partner in that Golden Era.

As soon as we settled in the pleasant drawing room, the New Rocheile Concert discs-those on -the-spot recordings that Stanley Higgins of Plainsfield made at the last concert given in the town by the Fraternity - were on the turntable and we captured the magic of those performances as they were presented on that memorable night.

Outstanding among them was the "Hungarian Rhapsody" Alex had featured magnificently; the celebrated "Koontown Koffee Klatch" (wellknown to "disconnoiseurs") and the characteristic "Darkies' Jubilee " provided ample evidence of the skill and musicianship with which Alex Magee invested all his playing.

The tone was rich, round, clear and full, with a sonority of bass that bespoke the approach of a perfectionist: for Alex never sacrificed tone for pyrotechnics, though his technique e·nabled him to meet any demands.

Assured ly, Alex Magee stands as one of the greatest banjoists America has produced, yet, like our beloved Sidney Turner , he can really be described as modest and, as the Bath Chairman once put it, uHerly swankproof.

Of course, there was not enough time for many ques tions to be raised -and this was unfor,tunate, for Alex has sharp memories of his very earliest

B.M.G. days with the banjo. He is quite a raconteu r, too (like his friend Cliff Spaulding) and can enliven a reminiscence with deftly hum orous touches and memorable turn of phrase. In short, a thoroughly charming person whom it was a delight to meet.

The visit was enl ightened by the true banjorial hospitality extended . by Mrs . Magee, whose kindly ministrations were much appreciated despite the demands of banjoviality.

Fortunately, Alex was to accompany us, the next day, on the long car drive to Lewistown; Cliff and I were thus able to savour more of his mellow aphorisms en route, for though he is no longer young in years, Alex Magee is young in heart, with the added advantage of the gentle wisdom of great experience .

Lt is indeed unfortunate that his recordings are not available commercially and unless Stanley Higgins still has copies of the New Rochelle discs we, over here, are definitely the poorer.

(To be continued)

Plectrum Guitar Topics

By JACK WHITFIELD

(Continued from the March issue)

HA YING accepted - perhaps against my better judgement

the challenge to produce a workable scheme for introducing finger-style instruction during a student's plectrum guitar course, I feel I can claim the right to lay down one or two conditions .

The first is tha t when the plectrum is temporarily put aside the teacher ~hould insist that the pupil adopts the correct guitar "ho ld" for finger-style playing.

The second is that even when he is working on the plectrum guitar the pupil should be made to use the left hand as if he were playing finger style:

ARE YOU HELPING TO GET US MO:RE READERS· BY TO

RECOMMENDING YOUR PLAYING

"B.M.G." FRIENDS?

251

i.e. the finger tips descending directly on to the strings just behind the frets; the ball of the thumb behind the guitar neck at all times; the wrist well forward.

The third is that the student should be taught the correct right-hand technique and not allowed to "p luck" the strings haphazardly.

After all th is, one might we·ll ask: "why not learn finger-style right away and introduce the plectrum later ?"

Why not, indeed? There are some teachers who see this as the right order.

However, I am working on the assumption that most youngsters want to start (as my "challenger" in this matte r suggests) on the plectrum guitar.

The point at which it will be "safe" to introduce finger-style must depend on the player 's prog ress in his P.G . course. He should, I think, have a mastery of the first few scales in his tutor; be able to change chords in the "home" keys with complete confidence and smoothness, especia lly in playing arpeggios ; be reading music fairly well and able to locate notes readily , at least up to the fifth fret. He should also be well at home with the first few solos in his tutor.

INEXPERIENCE

This would take , with an average student, between four and six months ' work if it were done thoroughly. lt would be somewhere about this stage that I would introduce (if I had to ! ) the first finger-style diversion.

... .. but I would go right back to the beginning of the tutor to do it and insist that the student regarded himself again as an absolute beginner; at least in the matter of tempo. He must forget that he can finger a scale at X notes a minute; everything he does must come down to the tempo demanded by the inexperience of his right hand.

First I would make him work for two weeks at least (giving fifteen minutes of each day's practice) on the scale of C, played at first with top strokes, with alternate starts on first and second fingers; then with surface stro kes, ditto. For the next two weeks, his finger-style pract ice would be on the same scale, using second and third fingers of the right hand. In other words, he would spend a month absorbing correct right-hand finger-movement , with no distraction of attention to the left hand because the fingering of the scale should already .b~ second nature. (It would be imp0rtant, though,

252

to ensure that the left-hand fingers continue to operate correctly!)

During this introduction of fingerstyle:, his plectrum studies would continue as normal; except, of course, if practice and lesson time were limited, his prog ress in this fie!d would be slowed up.

How long he stays with the C scale and right -hand practice will, of course, depend on the teacher's assessment of his right-hand progress.

When the leacher is salisfied that the principles have been absorbed (it goes without saying that the playing pace shou ld be pedestrian at this stage) the· student can start applying finger-style to the first series of arpeggios irl the plectrum guitar tutor. Again, he well knows the left -hand fingering and notation: it is the right hand on which he must concentrate.

The teacher will know whether the ear ly arpeggios in the P.G . tutor offer enough variety for more than elementary progress with the right hand but certainly, no matter how simple, there should be material for a month's work - or more .

NO HARM

At this stage, too, the student might have earned a little light relief and simple "bo m-ching " or arpeggiated song accompaniments on chords he knows would do no harm.

He should then start on the second scale, second group of arpeggios, etc., in his P.G. tutor.

It will be noted I keep emphasising that in his early finger-style practice the player will be doing only exercises with which his left hand is already familiar - and that is how it sho uld be for quite a long time .

In other words, provided the material is adaptable his finger-style studies will always be way behind his P.G . stage. The sole purpose of this scheme is to make sure he concentrates on his right hand.

It will be up to the teacher to decide whether he needs other material. This will depend on the nature of his P.G. tutor: some of these (such as the Mel Bay series) are admirably suita ble to finger-style practice; others less so except in the basic scales and arpeggios.

Where the P.G. tuto r falls short it would be· difficult to suggest a better supplementary than Boo!<: I of the

B.M.G.

BARRY SHAW (of Hull) One of Yorkshire's leading players of the

Spanish guitar . A schoolmastc,·. )fr . Shaw ha s conduct ed successfu l cla.sscs at local evenin g in$titutcs for some time :wd h as g iven a, numh er or

public p cdormanc<:' s.

Carcassi Me thod for lhe thoroughness of its exercises and the simplicity of its scales in the early stages.

On the basis of what has gone before, this could be introduc ed in about the third of fourth month.

1 cannot see that much purpose would wou ld be served by trying to go further into detail on what is, after a ll, no more than a hypothetical pro gramme.

l have given my idea of a practical "jo int" course-inadvisable though [ think such a course may be!

1 would be pleased to hear report s from any teacher who tries it out-or who may have better ideas to offer.

(To be continued)

fi11lt11r C11//l1the11lc1

By L. H. DRAJ3BLE


THE a rching and flattening movement of the third finger pre

viously described is one of the essentials in modern technique , as it also extends to the other fingers as shown in Exs. 20 and 21 which are (as for all the Callisthenics practised so far) to be moved from the 1st fret to the 12th and back.

Often a finger is required to be fretted before use to assist in a smoot h and

MAY, 1966

probably quick chord change, as in Ex. 22. Here the third finger retracts across the fret and allows the first finger to come through. A similar movement takes place in.Ex. 23.

There are literally hundreds of chord forms and movements which can be performed in exact ly the same manner and careful practice of these last few examples will equip the student thoroughly when the occasion arises.

As the single·-string Callisthenics began with close intervals and gradually extende d into more open ones (which deve!oped the fingers by pressure while stretching) so with the chord forms. In Ex . 24, the fourth finger remains permane ntly fixed, while fingers 1, 2 and 3 move away. A similar stretching movement (this time with a three part open-voiced chord, using fingers 1, 3 and 4) is illustrated in Ex. 25.

The barre and the stretch should now be thoroughly absorbed by the student and the fingers bear witness of this .

Ex.20

.ffl.ffll~lJd C7 C9 ,1 3

Ex. 23 ~-=II mm~ Emaj7 B13 add11

Ex .24,

·1•1, ·1, · :« ·\ ·1

AG/ 9 D 13 ~r, !,9 Gmaj 7

Ex.25

.11.■ .m A6 A+ A

MAY, 1966

Two excellent reference books in this particular sphere are "Micky Baker' s Complete Course in Jazz Guitar" Book 2, and "Jazz Guitar Method" by Ronny Lee, Vol. 2, in which there is an abundance of stretch and barre work .

The next obstacle on the path to improved technique is the interchange of fingers during chord progressions. In this operation one and sometimes two fingers remain stationary and serve as a pivot or support whilst the other fingers interchange. The Callisthenics for this process are both valuable and interesting and when comp leted the student will discover the fingers fall instinctively on the proper frets and at the right time.

Many of the examples given so far are suitable for adapt ing to existing solos in any reperto ire; the advantage being that whilst they may be included for effect, they still remain Callisthenics--therefore both pleasure and exercise may be derived from them at the same time.

(To be continued)

From!:'11811111 Cllalr :;;J

By R . TARRANT BAIL EY

IBY all known Laws of Cause and Effect , this contribution to

"B.M.G." should be the most beautiful article I have ever written .

In case you are wondering why I think fit to make so bold a claim, pour yourself out anoth er with less soda this time in case the shock shakes you as severely as it did myself.

A large·-hearted , though ill-advised, reader I have yet to pe granted the privilege, of meeting, has despatched to me from afar the beautiful new portable writing machine upon which I am endeavouring to perform correctly. But it dazzles me. Not only is its plating so very bright but its main structure is of a soft delightful battleship grey; all but the type-hammer shield and this is a delicate saxe blue shade that takes my mind back to -Mr. Field's tailoring establishment in Hammersmith when the members of the Bath Balalaika Orchestra were being fitted, more or less, for the ir orchestra l uniforms.

The major difficulty is, however, making a full and complete recovery from the shock and surprise the arrival of the machine gave me.

B.M.G. Next to my own rejoicing will come

that of the Editor, his Printers and others connected with Earlham Street , because my other writing machine ·, bought in 1906, is blessed with script like unto very beautiful hand-writing and this, for some reason I have never been able to understand, has frequently called forth the remark it is "difficult to read". Utter nonsense, of coursebut it afforded the gentlemen of the Press an excuse for the numerous misunderstandings we have enjoyed and I feel sure they will sadly miss their favourite cause for compla int.

This present coming , as it has, so soon after the magnificent new tape recorder some "B .M.G." readers and contributors gave me, makes me wonder if the old people who assert that these things "go in threes" are right and I sha ll discover a 1966 model "Rolls -Royce" in my carriage drive one fine morning, with one of those nice little square documents bearing the inscription "With the Editor's Compliments" instead of a parking ticket stuck on the windscreen. I rather hope not, however, as after fiftyseven years as an owner-driver I abandoned the hobby years ago much to my Bank Manager's satisfaction.

GREAT THOUGHT

What the writing department of this old Firm really requ ires is a new typist and should I happen to see a suitable model I will endeavour to ascertain its vital statistics and let you know. This great thought is inspired by the beauty of my new machine's up-to-the-minute, zip-fastened, Jerseycow-coloured wolf-whistlelike carrying case, with its little leather "owner's name and address" contrivance coyly tucked into the outside arrangement thoughtfully provided for the safe secretion of Air Travel Vouchers, pawn tickets and whatnot.

Confound it, there is another small letter that shou ld have been a capital - but the fault is entirely that of the operator . You see, this beauty has a "Shift Key", whereas my 1906 machine boasts what was known in those far off days as a "Double Keyboard" that is, one set of keys for Capital letters and an entirely separate one for small. It looks like a two-manual Church organ but there the resemb lance ends as the tunes it has played for "B.M.G." over the past fifty years or so have, I fear. Jacked the Odour

253

of Sanctity. And unless I stop jawing about my

new writing machine. Editorial wrath will be aroused.

As ·my name is mentioned in no less than three of the letters appearing in last month's "Correspondence", perhaps I had better begin my bit of monthly "r eviewing" by acknowledging the honour the writers have granted me.

Eric Rose' s referen ce to the "Merriman" wood-hoop banjo took me back to I, St. Marks Emporium, Cheltenham, where many years ago dear old Sid Turner introduced me to Mr. Merriman and I was privileged to try the first banjo this gentleman had made . The description "sha ped like a shallow bell" is excellent as the instrument, if laid face downward, certainly had the appearance of an inverted soup plate with portholes. Mr. Merriman was a fine craftsman and the workmanship of the whole job was superb. The tone and power, however (although above the average in quality) did not move either Sid or myself to desert our old loves.

SID'S PUPIL

Mr. Me-rriman, if I remember rigbtl y. haile d from Gloucester and I hav';! a faint impression he was one of Sid's banjo pupils .

P. M. Price is right in thinking I am in full agreement with his opinion of high-grade wood-hoop banjos and I have also to agree with the Editor' s footnote as to the existence of metalrim instruments ; indeed I can even go a litt le further as Hal G. Reed (mention of whom was made in the old "B.M .G." series "Engagements") first appeared at my old Park Street Studio with an all-metal zither banjo! To avoid misunderstanding, let me at once point out that the arm and fingerboard were of wood but the shell, or vellumdisplaying part of the contraption, was as much like a shallow, highly polished saucepan as anything could be. It was more powerful than the average zither-banjo but the tone was raucous as the instrument sounded as metalic as it looked.

And now let me endeavour to relieve the anxiety of J. W. Jarvis , although I fear nothing I can tell him will help very much.

One thing, however, is ce.rtain-not one of the gentlemen in the old "Bird

254

of Parad ise" Hawaiian photograph is "missing" from the picture. When, in July J 921 Walter Waioli ~resented me with that photograph he did so me!ely in the hope it might add a htll e Hawaiian Guitar atmosphere to the pictorial decorat ion of the studio . that struck him as somewhat overba n1oed. • H ow the photograp h came into his possession I know not but he seemed to know all the people depicted extremely well and quite casually remarked that one of them was an Englishman from Manchester who made up so well that he lo_oked even more H awa iian than the natives!

It is nice to know the ancient "Bird of Paradise" illustration gave Kealoha Life so much pleasure and as he c~n ident ify each of the performers w1t!1 the one exceptio n of Diamond Kegom. J can but conclud e this was the musician Walter Waioli mentioned .

Robert White's fine example in giving a lecture and demonstration appears to have influenced Horace Craddy to "say a few words" at a Bristol concert last week- two concerts in fact.

0£ the first, Horace wrote me: "Now as to the concert I am bound to tell the truth and therefore do so~emnly report that although the plectrum banjo went down very well, the fingerstyle items in the second ha lf went even bett er. I am going to give it another go on Wedne sday night to an all-male audience . This should be a tougher test and I will let you have a report."

SO ENTHUSIASTIC

And here is the report: - "The first half , plectrum-banjo went very well. The second ha lf I introduced by referring to

l. The vogue of Folk Music now on rad io and television.

2. The fact tha t some of these gro ups occasiona lly employed the five-string banjo-o ften wrongly strung and tuned and using only a few elementary chords.

3. Explained the difference between plectrum-banjo and the banjoNylon and Silk strings.

4. Played "Darktown Dandies" and "Spani sh Roman ce" .

The banjo was used without a "detonator" in a large hall and it fairly crackled out. I could have gone on and on as they were so enthus iastic but I remembered a The atrical

B.M.G.

DENNIS E. OSMAN (Of Beira , P.E.A. )

seen li en~ with hi s now Pot·Uu;:uc~c guita1·1•;:t.

Manager' s advice of years ago "Al ways leave them wanting more"!

After the show, men of a ll ages came up to sha ke my hand and to say how they enjoyed it. It really shook me and l hope you do not feel 1 have been boastful. If you do, write my wife and tell her you are glad that at last your pupil has seen the error of his ways. I t is th~ finger-style banjo for her every time!"

Jt 1s splend id to know th is sor t of

JO HN B. SCOTT (of Leve n, Fife s hire)

is semi here with his 8-string elect ri c Ha.wa.iia.u guita r he ma.de.

M AY, 1966

good work in the cause of the fingersty le banjo is going on but why, oh why, do not the good men and true tha t labou r thus report to our Editor, and spread the glad tidings to the rest of the banjo world?

On Saturday last ou r "F ives Cou rt" contr ibut or brought his charmi ng, ba njo-tolera nt, wife and his America n friend Cliff Spaulding to sample the tornado tha t was endeavour ing to remove Ensleigh Lodge a t the time.

Happe ning to be in a rather better temper than usual I telephoned Horace Craddy a t Bristol and he, without much persuasio n. kindly consented to join the pa rty. As my elder daughter was also here from Stafford, the gro unds of the Estate appea red to be simply crowded with costly and impressive automobiles!

CONSIDERABLE STRAIN

T he seating accommodation of the Magnophone Depar tmen t was subjected to considerable strai n but the visiting sufferers patien t ly bore a rec ital last ing severa l hour s. I will not attempt a detailed report of the proceedings as the "Fives Cour t" repre~ sentat ive was present and can do that sort of thing far better than I.

One thing ·he probab ly will not mention is I most ind iscreetly suggested making a tape recording of such works as they admired for forwarding later. I gave them a nice clean piece of paper each up on which to jot down the names of the tunes they admi red, only to find they admired them all so much the paper was inadequate and more had to be provided!

Tt would have saved ,time had they just asked for the lot , since that it was it amounted to in the end.

Thank goodness I made no ment ion of delivery dates; but there are a comforting number of shop -lifting days left to Christmas.

Th e McNaughton car was scheduled for departure to Aberg avenny on the morning of the following day and I anxiously await the next instalment of "F ives Court" to lea'rn if it ever got there . However, Bob White will tell me; if he recovers sufficiently to write a lette r.

There is little fear that finger-stvle banjo playing will decline whilst Horace Craddy , Joseph McNaughton, Cliff Spaulding and R obert White are abo ut.

(To be continued)

Wiki' Wiki Wa Hawaiian Guitar Solo (High Bass Tuning) Arra v.ged by

RONNIE JOYNES A. P. SHARPE

Quick March tempo 6B

:f 1h, fll;r f r I t f I L f r I a I L f r I f f R~ , , , R~ , , , E~ , , , E~ , , , E~ , , , E~ , Cm ,

'l?1, F ff E f 1# 1 f ff f f If f I E ff f f 1 B~7 , , , B~7 , , , B~7 , , , B~7 , , , B~7 , , ,

,...----.....

'W •1, 1t ,r r r ,r f r r B~7, , , B~7 , , , B~7 Fm7 Gm7 B~7 , E~ , --.

6B

1R5 R epeat in octave s

JJ - = II

6B 5B 6B 6B 5B SB 6B 4B 5B 6B

' W•1, f 11qf f I f II r r I r ff§"~J - I t r f 11qf I f 11qf t 6B 5B

e r , ,

SB

'&"b 6r f r . ;r F ,r f r I R-

1C [ r 1f f R~ , , , R~ , , , E~ , , , E~ , , , R~ , , , E~ , Cm ,

,..--....._ SB

~ W·i. 3 1f r r ,r r r r I ii:: b~ 11 -B~7 , , , B~7 , , , B~7 Fm7 Gm7 B~7 E~ , , , E~ , ---

Arranged by ALAN V. MIDDLETON

Chanson Triste Zither Banjo Solo TCHAIKOWSKY

Fanfare Spanish Guitar Solo

ERIC HILL

'*.!I~ !f :§t 1i~ :ftp !1 1;111 ~ 1r,: r I

! ~::::n 1 J ~ J~n

,-;-~ ·ffi D~ ~a~ ir ht 1!~ =, ~, 1!,r~ ~ I

'D ·t~ r t lter it l~~ij~~~ I:~ :f :uP l~~:r@ II t

Arran ge d by ALBERTO TOMAS

Marche Militaire (The Cad i)

Mandolin Solo G. BEL LONI

MAY, 1966

Guitar Topics By PETER SENSIER


IIN beLween our fifth and sixth IJ recording session we spent e_ight days in Salta, far-north Argentrna, where we ,had been booked to appear in the First Festival of La.tin-American Folk Music as part of th~ professio!'a-1 oroup of artists representmg Argentma ~an honour of which we are very proud.

The whole Festival, booking the al'lists and deleoations; arranging their accommodation; ,the publicity and building the open-air thealre to take 9,000 wiL'h a huge permanent stag~ and dressing room, had been accomplished in only forty days. . .

Deleoations of folk mus1c1ans and dancer; came from Chile, Bolivia, Brazil, Paraguay, Peru ~nd Uruguay.

To hear all this music, to see the ooroeous costumes, to meet and talk ~ilh such a wide variety of La:tinAmerican artists, was a wonderful experience to Dor ita and I. S~metimes it felt almost unrea l; an expenence we could not have dreamed of in our wildest dreams.

There we were in Salta, the city from which Giiemes had, at the head of his force of gauchos, driven 'OUt the Spanish army on .the first step towa~ds Argentine independen~e. Salta, nestling amonost the mountams of l'he precordillera each one a different colour thal cha;oed continually thr ough the day. Saltt the city of ports, c~pita.J of the province, said •to be .the nchest of all Argentine provinces in folklore. Salta the birthplace of Eduardo Falu and Jaime Davalos.

AT HOME

We were a train journey of two nights and a day from Buenos Air~s and a further eigh·teen days by slup from London but we could not have felt more at home. We were -surrounded by musicians and singers we ~ad m~t. worked with and become fnends m Cosquin and Carlos Paz; artists whom we had not previously met, such as the famous group Los Fronterisos, gre:et-ed as like compatriots, and the orgamsers of the Festival, especially Sr. Romero (its ,leading light) made sure we were part of everything going ?1?-· . .

Perhaps the most surpnsmg mus1c1an

·a.M.G. we saw and heard at :this Festival was a member ,of -the Bolivian delegation.

He came on the stage playing solo charango. For -the first eight bars- or maybe sixteen- he played in the normal way; right hand plucking and strumming, left hand on the fingerboard. Then, suddenly with no warning and without losing a; beat, -he reversed the instrument -' right hand on the fingerboard, Jef.t ·hand vibrating the strings-still playing! A gasp went up from the 9,000 people! With complete faci-li·ty he swit'Ched from right to left; from left to right-eight bars one way, eight bars the other; four bars either way; two bars either way; rhythm, melody and, finally, one hand picking on the fingerboard-just 1eft and then the right.

It was quite unbelievable. He was truly and completely ambidextrous!

SERENADES

The "F.irst Festival of LatinAmerican Folk Music", the slogan ot which was America canta en Salta (America sings in Salta), concluded with a huge asado (barbecue) given by -the Governor of Province for aJ.I the artists and delegations plus everyone else concerned with the Festival. In a:11, over a thousand people sat down to eat and afterwards, as the wine had flowed liberally throughout, the various delegations erupted into spontaneous performances which included a series of serenades for their host, the Governor of Salta.

That night we caught the train back: t-hirty-six hours through the valleys of SaHa, the desert and sa:lt flats of Santiago del Estero; by-passing the Sierras of Cordoba and, finally, across the great open flat pampas of the province of Buenos Aires to the capital.

Our fast few days in Argentina were fairly hectic. We had to finish our LP; attend a photo session; give interviews to the Press; appear on TV; and, most important of all, see all our fr iends for a final chat, a meal, a drink, or an evening of music. We a:Iso had to pay a couple of last visits to our favourite spot on Buenos Aires, "Mi Refugio", where Mario Canale (a great favourJte of ours) was slill singing.

Whenever we visited "Mi Refugio ", Canale always managed to inveigle us into performing. His method was simple and impossible to refuse. He

259

would announce us in the most flatter.ing and poetical manner, call us to the stage to acknowledge the applause of ,the audience-and once we were there, he would thrust guitars upon us!

Having been subjected to this gentle blackmail, usually at the end of Sr. Canale's last "spot" of the night, we would then retire to the bar ne,rt door for a glass or two of wine with him and other folk musicians who either worked at "Mi Refugio" or who had dropped in to lis·ten. These .included Gabriel Machado the pianist, Hugo Diaz a truly brilliant harmonic player, Angel Asis a fine guitarist and singer who •has also written some excellent folk songs of La Rioja, -his native province, and a. young requinto player of quite staggering ability whose name we never discovered.

We would sit round chatting, playing and singing until 4.30 a.m., Joa:th to leave such congenial company.

All too soon our final day arrived. We were due aboard the "Hardwicke Grange" at 3.0 p.m. but previous to that we had a final interview with a lady reporter from "La Prensa" and a last-minute visit from Vicente Cidade of Radio Nacional wh'o brought with him his brother Ramon Ayala, a wellknown composer, singer and guitarist who had with him a number of songs for us, plus. his •latest LP.

He insisted on singing over the songs he thought we would like best, much to 'the enjoyment of :the friendly waiters in ,the Cafe Suarez where the four of us were having a -last drink.

HONOURED

Much to our surprise we made it to the s·hip more or less on time and were helped aboard with our luggage by two cheerful dock-workers. On reaching our cabin, one of them said: "Aren't you those two English people who sing our folk music?" We admitted we were. "We saw you on TV last Saturday and we recognised you as soon as you got out of the ,taxi," said his mate. Then suddenly, they gripped our 'hands. "May we say how honoured we Argentine people feel that two English people have cultivated our folk music?"

We replied ,that in fact we felt honoured to have had the opportunity to sing and play .to Argentine audiences. ·

260

"Nol No! " they insisted. "It was wonderful to see how much you love our music. Did you really enjoy your stay?"

We said that indeed we ·had enjoyed every minute and that we loved Argentina.

"Yes," said one, "it is a fine country but we have our problems". "Of course," said :the other, there are problems-but there are solutions as well! " And off t-hey went enjoining us to return soon.

TIie lesson By HENRY CLIFTON

IIF a banjo you wish to play, II And long to do so well. Listen now to what I say,

And you' ·JI weave that magic spell.

Take your banjo fr.om its case, Practise at your leisure.

Do not rush; it's not a race, And it wiH bring you pleasure.

Study first the arm and strings; Make sure the vellum's ;tight.

The latter , like a,U other things, Must always be just right.

Make sure the bridge is not ·too high Or the strings will be too taut,

And however much you really try, You'll not reach the chord you

sought.

Tune the strings and watch -the tone; Make sure the pitch is right ,

Or you'H practise on your own: Your family, flown wi,th fright.

Study the piece and read it over. See it in your mind.

This will put you right in clover, And the notes wHI be easy to find.

Try i,t now - but take it slow. Make a note of that ·tricky part .

Too early yet to try to show, You can play it off by heart!

fncrease the pace each time you try. Those notes you must caress

'Til you ifeel your fingers fly, And you know you've got success.

'Tis now you find your banjo's soul. You can hear it in its voice.

And hav ing reached this happy goal, Wi,th music, you'll rejoice.

B.M.G. 811rce/01111 ••

Str11i9llt t111d Jozz By IVOR MAIRANTS

THE phrase "A Fun ny Thing Happened to Me on The Way

to the Forum" is not only the stock-inlrade opening remark of the comedian. I could honestly use t hat phrase on almost every one of my trips abroad. This time, it would read 'A.F .T.H . to me on the way to Barcelona'.

Walking in the departure lounge of London Airport someone called after me. It was Jack Higgins, Artists' Manager for Harold Davison, the impressario. Jack was shepherding Woody Herman and his Herd across to Barcelona for a one-night stand.

Having introduced us to Mr. and Mrs. Herman, my wife and I were invited to join them and as we boarded the plane it reminded · me of many similar scenes which involved the carrying of saxophone cases, trombone cases and the inevitable string bass in its canvas cover! No stringed instrument player trusts his precious instrument to -the tende r care of :the baggage porters, although I must confess that on our Japanese and Canad ian tour with Mantovani, the -guitar flew in 1the hold without any harm coming to it.

NOT SO FORTUNATE

Others do not seem 10 be so fortunate. A guita rist friend returning from an engagement in Australia, found his "Les Paul" model guitaT with a broken neck when he collected hi~ case in !lhe luggage ha,ll at London Airport.

Woody Herman's clarinet never -lefit his hand and it was · well nursed throughout ·the plane trip!

Sitting in .front of us, we noticed a few young fellows who seemed rather familiar and the man sitting next to us, who showed great interest in the new Triden t (in which we were flying), turned out to be a director of the Arsenal Football Club and was 'looking after ha-If the team on -their way to Valencia for a match as par t of Valencia's Carnival week. The other half of the team had <travelled on an earlier plane with their manager , Billy Wright (result - a draw).

MAY, 1966

It only shows you how much inte rnational aclivity takes place quietly unbeknown lo most people.

Woody and the Herd were staying at the same hotel as ourselves and we were invited to one of the two concerts ,they were giving that night at the "Palacio de! Musica", a very much over-decorated old hall.

Th e band's immediate itinerary did not seem very glamorous to me. The previous night lhey had played Manches:ter and flown to London to make a connection with Barcelona. The morning after the Barcelona concerts they were due -to fly 10 Frankfurt but as 1there was no direct flight they had to change at Milan.

I felt fortunate to be able !to view all this tearing about from the "wings", although I was due ,to do some onenight stands in April.

Considering the circumstances which were enough lo make anybody tired and sleepy, the concert we saw was a mirade of exhilaration and brilliant :technique. I must honestly admit I did not miss the absence of the guitar either in lhe rhythm section or as a solo instrument.

SWW DELIVERY

It may be recalled that Woody's first visit to England included Charlie Byrd on guitar who, upon hearing I had a *-*-* for sale, came to try it and unloaded all his traveHers cheques in exchange for a beautiful guitar. CoincidentaHy, one of the reasons for my Barcelona -trip was ,to collect a guitar from FLETA for which I had been warting some years. Present delivery, almost 5 years. but more of that in a later issue in a special article entitled " IGNACIO FLETA E HTJOS" .

T o come back to . Woody Herman: I must say I have not enjoyed a jazz concert so much since the first Basie or Ellington concerts. The five-piec-e trumpet section had good opportun~ties of showing their youthf ul exuberance; all under twenty-five. Individually, Bj.(I Chase, lead and high note man, played a beauti.ful solo taki ng "Sometime" from "West Side Story" as his vehicle. Ma:rvin Stam, whose two greatest musical influences are Charlie Mariam o, alto, and Miles Davis , trumpet, played brilliant high-speed fluent jazz.

Bu t, for me, DUSKO GOYKOVIC , a 34-year-old Yugoslavian , was the

MAY, 1966

great thri ll. He soloed on a F,lugel Horn in "I Remember Clifford" and I think he is the greatest 1 have heard since Miles Davis. The performance was sheer artistry, incorporating the best features in jazz and musical expression. I am sure Woody and some of the musicians enjoyed his per-formance as much as I did although they must have heard him play •this many times.

Sal Nistico on ·tenor sax should write a book called " How to Play a Thousand Notes a Minute without catching your breath" . AHhough he turned up half an hour late for the concert, he certainly made up for Jost time!

Car-I Fontana, on trombone, was most impressive musica lly and tec hnically . I know he was very ,tired and much of his solo playing must have been reflex action but it was, nevertheless, breath tak ing. An explosion of musica ·I construction , invention and sheer technical ability . The jazz wor ld is reaUy indebted to Woody Herman for embarking on these energy-sapping tours; otherwise we would not have •though t it possible for such jazz art istry to exist.

SHINING BEACONS

It is essential for such beacons to shine in the direction that jazz is moving; otherwise dance music would drown in the morass of pop and rock which is impregnating the air waves in the name of MODERN jazz. I have nothing against pop mus ic. It is very heal·thy musically for the majority of teenagers to be interested in any kind of mus ic, so long as -they do not -lay the law down and call it MODERN jazz!

Readers would probably be interested to know that a recent M.M. Opinion Poll of 130 British teenagers on the subject of music resulted in ,the following figures. Of -the 130, 65 are play ing musical instruments, 27 have played at some time or other and given up, and only 36 have never tried to make their own music. And of those 36, 31 would like ,to learn an instrument!

The most popular instrument was, of course, the guitar and 28 played gu itar and 5 bass guitar. To my knowledge a proportion add classical guitar to their playing and others change !lo classical guitar.

The guitar is to-day doing a service

B.M.G. which the violin and piano failed to do in the early part of ,the century; that is, make people want to play a musical instrument of the ir own accord. A ch ild used to be forced to take ·lessons . Now the child wants t he parents to provide the instrumen t as ·long as it is a guitar. Personal concerts and performances by great players he lp a lot - and to a large extent, records. Re::ord shops are now displaying c'assica l guitar discs by Segovia, Bream, Williams, Yepes, Diaz, Ghilia and other lesser known players and guitar records are regularly stocked .

'fhe recordings of the old mas ters like Mudara, Milan, Dowland, de Visee, Bach, Moza,rt and Sor help mus ic sales in t he same manner pop records help pop music sales. Guitarists hear a piece and they want to play it -regardless of grade . New players are given a hearing aJ.though it is extremely difficult for most to attain the top rung .

FULL STEAM AHEAD

Back in Barcelona, I noliced Reg ino Sanz de la Maza was due to give a guitar recital 8!t the "Palacio del Musica" on the 30th March. I have never ,heard him play but know he had in the past run into a patch of the "Willies" . I hope he is on good form now.

The guitar manufacturing scene is going full steam ahead in Barcelona in mass-produced , well-finished guitar s but in genera l, althoug,h the finish is good, one cannot always be sure of the tonal qualities . Estruch, who, in the last decade, was mass-producing cheap guitars of poo r tone and quality, has now t urned his shop into a workshop where better instruments are being turned out.

Taurus is another recently -inaugurated manufacturing firm producing fairly good looking, rather high-pr iced instruments for ~-he qua lity of tone and this also applies to GONDAL, another combination firm. Then, of course, there is Dotras Cordoba whose guitars are on genera l sale in Great Britain. These have built up a good name . The man in charge of his guitars -is ENRIQUE SANFELIEU, a very ab1e guitar maker whose father was a famous maker . He is specially constructi ng for me some concert and flamenco guitars, under his ,own name which will, in my opinion, be well worth considering at

261

the price. Certainly, lhe best value in Barcelona. '

For ,the near futu re I have prepared a full •length article on luthier, IGNACIO FLETA who was called the Stradivarius of Spain in a Spanish magazine article.

One last word in the coincidence depa rtment. Wait ing for my return plane at Barcelona Airpor t, I bumped into my old friend Wilfrid Thomas, the comme ntator, who was returning from Valencia where he had been filming the Carniva'I, which will by now have been shown on T.V. We had a very pleasant flight home, on,ly to run into a snowstorm as we toll'Ched down through darkened clouds. That morning l was sunbathing.

THE

fi11itt11 on Wt1N By "DISCUS"

"Popular Classics for Spanish Guitar." Julian Bream. RCA Victor RB.6593, 12", 33 r.p.m.

"A Bach Recital for the Guitar." Julian Bream. H.M.V. CLP.1929, 12", 33 r.p.m.

"Concierto de Aranjuez" (Rodrigo). Julian Bream with the Melos Chamber Orchestra, "The Courtly Dances from 'Gloria,na'" (Britten) and "Concerto in D for Lute and Strings" (Vivaldi). Julian Bream Consort. RCA Victor RB. 6635, 12", 33 r.p.m.

"Music for Voice and Guitar." Peter Pears and Julian Bream. RCA Victor SB.6621 Stereo, 12", 33 r.p.m.

"Julian Bream in Concert." Bream a,nd Pears. RCA Victor RB.6646, 12", 33 r.p.m.

Th is amounts to a Bream Festivaland what is wrong with that , pray ? The first record is frankly "pop" in the best sense, containing all the best boxoffice items by Villa -Lobos , Torroba, Tur ina, Albeniz , Falla and Trad. All your old fa vourites, p'.ayed with great panache and, to judge by the recorded sound, performed in someone's bathroom . The Bach recital contains the "Chaconne" but though it is played well, as one would expect, it lac ks the movement and authority it require ,s and, from Bream, usually gets. For the rest, it is p layed as we know Bream to be capable of playing Bach -w ith clarity and as though Bach were a human being rather than a ·computer.

262

The Rodrigo Concerto has long needed this recording to offset the overrated versions by Yepes. It is a fine work (though set high on the fingerboard in p laces) and we know the justice that Bream can do to it-now, to order, in our own homes. The Dances from Gloriana are small masterpieces, combining a modernity of vocabulary with the essential (if indefinable) spirit of Olde-Englishness. arranged by Julian who, too, plays the Jule with great elan in a manner denied to adhe rent s to the authentic technique of the instrument.

The Vivaldi Concerto is engaging with cheery little tunes but it is a ,slight work in the company it keeps.

The record as a whole is irresistible. "Music for Voice and Guitar" shows

the immense contribution being made by British composers to the guitar-song area. Th e "Songs From The Chinese·" and the folk song arrangements of Brillen are tours de force, no less, immensely effective in the ensemble. with guitar part s that are of virtuoso proportions. Further works by Britten, Walton. Seiber and Racine-Fricker, make this a record of archival importance by a guitar-and-voice union that has no peer today .

The final record, recorded "live" in concerts in the U.S.A. and Britain, adds the successfu l touch of Bream's spoken commentary between items. It s content is always nicely balanced between humour, respec t and information and i-l indubit ably adds to the-degree of communication between artist( s) and audience. One side is given to lute music by Dowland and, surprisingly but happily , by William Byrd : the other to songs with the lute , by Dowland. Both are well recorded and the record as a whole is a must to any serious lover of the guitar and of music. Julian seems to be assuming Segovia's role as the definitive leader of the gui tar in the world of music and the crysta llisat ion centre for _its development. Whether or not he is the greatest player today (Segovia excepted , as he must be), he is certainly the one who most convincing ly breathe s life and vitality into its strings (poetic licence) to produce what all musicians recognise and salute as living music.

Not only has he a magnificent technique, he can also make every piece of music sound as though he were just discove ring it-o r even improvising it.

Perhaps we may be fo rgiven our pride in his uncompromis ing English-ness! (To be continued)

B.M.G.

Rally R1111/t1 The Federation (N .S.) held its Annual

Festival at the Gros_venor Ballroom, Liscard, Wallasey , Cheshire on Sunday, March 27th and below we give the result,s of the various contes ts. The adjudicators were: Messrs. P. Barker , T. Hark~r , J. Hullcy , A. W. Pea~on and D. S. Peu,nger. ORCHESTRAL CONTESTS Class A Riverside B.M. & G. Orchestra ... 90 mark,s Liverpool Premier Orchestra .... .. 82 mark,s Class B Liverpool Premier Orchestra ...... 87 mark s Birmingham B.M. & G. Club ... ... 83 marks Riverside B.M. & G. Orchestra ... 81 marks Class C Birmingham B.M. & G. Club ..... . 91 marks Liverpool Premier Orchestra ...... 88 marks Riverside B.M. & G. Orchestra ... 83 mark,s Class D Riverside B.M. & G. Orchestra ... 91 marks Liverpool Premier Orchestra . . .... 85 marks Birmingham B.M. & G. Club ...... 84 marks Beginner's Solo Contest Tony Ward .. . ........... .. ..... . ........ 79 marks John Hyde .............................. 74 marks Electric Hawaiian Guitar Solo Oontest John Tweddle ................ .. ....... .. 70 mark•s Plectrum Guitar Solo Contest Colin Wildman .... .................... 94 marks Colin Adcock .......................... 88 marks Trefor Owen .. .. .. .. .. .. . . .. . ... .. .. . . . 85 marks Electric Plectrum Guitar Solo Contest Colin Adcock . .. .. .. .. . .. . .. .. .. .. .. .. .. 90 marks Trefor Owen . .. .. . .. .. .. . .. .. .. .. .. .. . . 89 marks Mandolin Solo Contest Ernest Mann . . . . . .. .. .. .. . .. .. . .. .. .. .. 90 marks Edna Schofield ...... .. ................ 84 marks Banjo Solo Contest Selwyn Cash .. . .. .. .. .. .. .. .. .. .. .. . . .. 84 marks Harry Edgar .. .. .. .. .. .. .. . .. .. . .. .. .. . 82 marks Henry Keen .. .. .. .. .. .. .. .. .... . .. .. . . 80 marks Clasmc,,ll Guitar Solo Contest Brendan McCormack .. .. .. .. . . .. .. . 98 marks Juvenile Solo Contest Colin Wildman ..................... ... 95 marks David Evans .. ................. .. ...... 86 marks Plectrum-Banjo Solo Contest Howard Shepherd .... ................. 92 marks Thomas Ferryman ..... .. .. ........... 91 marks Cyril Rowbottom ..................... 91 marks Selwyn Cash ........................ ... 86 marks Veteran's Contest Henry Keen .. . . . . .. . . . .. .. .. . . .. .. .. .. 85 marks Cyri-1 Rowbottom .. ... . .. . .. . .. .. .. .. . 84 marks Harry Edgar .. .. . .. .. .. .. . . .. .. .. . .. .. . 80 marks Jazz: Traditional or Modern Colin Adcock ........................... 95 marks Colin Wildman .. ......... . . ..... ...... 88 marks Duets Contest (Acoustic) E. Schofield & E. Mann .. .. .. .. .. .. 86 marks H. Shepherd & G. Shepherd ...... 84 marks R. Waite & F. Cameron ............ 83 marks Duets C.Ontest (Electric) R. Waite & F . Cameron .......... .. 95 marks E. Schofield & E. Mann ............ 85 mark6 A. Ward & C. Adcock .. .. .. .. .. .. . .. 80 marks Trio Contest E. Schofield, E. Mann & S.

Dawson ............................... 90 marks

HELP U S MAINTAIN THE STANDARD

OF " B.M.G." BY RECOMMENDING IT.

MAY, 1966

G. Hennie , R. Partington & R. Wooding .............................. 89 marks

H. Shepherd, W. Shepherd & G. Shepherd .. .. .. .. . . . .. .. . . .. .. .. .. . .. .. 88 marks

Quartet and Quintet (Acoustic) Del Rio Mandolin Qua rtet ..... . 83 marks Birmingham Quartet .......... ....... 87 marks Osborn Quintet ........................ 86 mark~ Quartet and Quintet (Electric) Osborn Quintet ... ................... 86½ marks Best Orcheslral Pianist Olwen Cantlay. Most Outstanding Solo Artist Of

The Day Colin Wildman Best C.Onductor Bob Rummens

Coming E11ent1 Arti sts and agents , Cl11b Secretaries and

readers , are invited 10 send details of forthcoming events for inclusion in this fea111re. The derails p11blished are all we have been given and we have 110 f11rther particulars. May 7-Barba ra Polasek Guitar Recita l. Rear

don Smith Lecture Theatre, Cathays Pa rk, Cardiff. 7.30 p.m .

9-Jo hn Williams Reci~al, Basingstoke. 9- The Folklanders at "Kings Head ",

Enfield. 9-Julian Bream Recital , Southampton.

12- Julian Bream Recital, Middlesbrough. 13- Julian Bream Recital, Durham. 14-Juli an Bream Recital, Macclesfield. 15- .lulian Bream Recital , Stowe School. 17-Segov ia Rec ital , Ulster Hall, Belfast.

8 p.m. 21- The Folklanders at "London Appren

tice•·, Old Street , City. 21-John Williams Recital , Sedbergh, Yorks. 29- Julian Bream takes part in the Lakes

District Festival. 31- Juli an Bream takes part in the Caer

philly Festival. June 5-Julian Bream Recital, Claydon Hou6e ,

Near Bletchley, Bucks . 8- John Williams Recital, Wigmore Hall.

14-The Folklanders at "Robin Hood ", Potters -Bar.

18- The Folklanders at Herts Folk Festival, St. Albans.

19- Julian Bream Reci ,tal, B1-ickling Hall, Near Norwich.

19- The Folklanders at Hornchurch. 22-John Williams a-ppearing with the

Dublin Chamber Orchestra, Dubli n. 22-Ju lian Bream appearing at the Bath

Festival. 24-Julian Bream appearing at the Bath

Festival. 26- Liverpool Premier B. M. & G. Orchestra

plays at Calderstone Park Open Air Theatre , Liverpool , 3 to 5 p.m . and 7 to 9 p.m.

27- John Williams appearing in the Glasgow Proms.

30-John Wi!Hams Recital, Nottingham . July 6-John Williams appearing in the Burton

on-Trent Festival. 18-John Williams appearing in the Festiva l

of the City of London. 23-The Folk.landers appear at Louviers

Town Hall, France.

MAY, 1966

"8.M.fi. 11 Dlplomt11 A COPY OF TIIE TESIS

NECESSARY T O SECURE "B.M.G." DI PLOMAS

can be obtained on receipt of a selfaddressed envelope by applyi ng to the Editor, "B.M.G.", 20 Earlham St., London, W .C.2.

The following candidates have been awarded Dip/omas: -Judith Margaret Ashcroft, of Woodford Wells, "A" Grade '(Spanish Guitar).

Teacher: Carol Bergstrom. Examiner: Geoff Sisley.

Deborah Turner, of Hamilton, "A" Grade (Plectrum Guitar).

Teacher: Margare t Cunningham. Examiner: Percy Waddington.

Ian Blackman, of Greenford, "A" Grade (Plectrum Guitar) . .

Teacher: John Da v16. Examiner: Geoff Sisley.

Dennis Buttons, of Hamilton, "A" Grade (Plectrum Guitar). Joan Wardle, of Hamilton, "A" Grade (Plectrum Guitar) .

Teacher : James McLeod . Examiner: Percy Waddington.

Christopher Simmonds, of Bolton, "C" Grade (Plectrum Guitar) . Howard Kay, of Bolton, "C" Grade (Plectrum Guitar).

Teacher: Barbara Lobb . Examiner: Tom Harker.

Paul Davis, of High Wycombe , "A" Grade (P lectrum Guitar) .

Teacher: P. Wootton. Examiner: John Davi~.

Darrel Keir, of Hamilton, "A" Grade (Tenor -banjo). Harland Betzner, of Hamilton, "A" Grade (Tenor-banjo). . " .. Margaret Louise Gairn, of Hamilton, A Grade (Mandolin). Roy,'.11 Barber, of Hamilton , "A" Grade (Tenor-banjo).

Teacher· June Comfort. Examiner: Percy Waddington.

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B.M.C.

Tape Club News Hawaiia n Seclio n. Three new tapes were

received during March . T:he first is a n~w selection of recordings by Bert Scoll (including several lesser-known numbers) all tastefully and competently ·handled.

B-ill Tay lor, of Milltimber, Scotlan? , has submitted his firs t contribution to this section- an interesting and varied selection that' should appea l to all tastes. Bill 's presentation of one number is especially outstanding.

Three Hertford shire members - Bob Hurworth, Denis Bridger and Tom Darvill - have formed a group known as the Paradise Islanders; with H .G., P .G. and Ukulele respectively . They hope to undertake public appearances short ly and have recorded a selection for Tape Club members. Tom Dar vill introduces the tape and heartiest congratulations are due for the fine sound they have produced. We would

. like to wish the Paradise Islanders the greatest success for the future!

JOHN MARSDEN.

Guitar ~t ion. Two new tapes to report this month. First another contribution of :flamenco music from Geoff Cook of Seasca-le. This is a fine intr.oduction to _this fa,scinating s tyle. Geoff explains the van? us dances, tunes and styles (Allegnas, Sevillanas, etc) and then proceeds to demon-

FLAMENCO GUITAR ALBUMS

• CA RLO S MONT OY A. Six Ol'igin al and authentic Flamenco G"uitar Solos as recorded by Carlos i\fontoya on ABO Paramo unt Reco1·d Album AB_C-.157. Containing: Alomo. care de Chrn1t::ts, 1/,apat.eado, Huelva, Zambra, Vanacioues de Cadi7.. 7 16d .

• MORE MONTO Y A, 'l'cn ori gina l and authentic Flamenco Guita-r Solos, conta inin g : Alegria .s. JJoogic Flamen• co J3uleria Corralera, Compa-s l,'lamenco, Ecos de Sierra Nevada, .Tota, Gua.jirns i\relodias en Jere z, Petene l'a-s.

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BLUEGRASS BANJO BLU ECR ASS BA NJO "CL AWHA MM E R

STY LE" by John Cal'bo. A fiTst book for Dluegra.~s Picker s covering ~he basic steps in this style. l 11ti-oduc111~ Tuning Ba.sic Roll s. Ea-sy Chord '.l'ablat,ire

1 'l'humb Leads , otc. 5/ · net.

• To be pu b is hed on 16th Ma y. THE KINC ST ON TRIO pre sent s an

Introduction to BLUEGRASS 5-string BANJO 3-l,'lNGER STYLE . This great method is proving to be one of the foremost publications in its clas s. (Complete with 7in . LP rooord.) 12/6d.

PICTU RE CH ORD S FOR BLUECR ASS BANJO . Merle "Red" Scobee's explanation of the 3-Finger Roll. with. over 85 photos and more than 60 drawings complete with chord progres&ions an d 'Inger roll exercises . 5/ •

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263

stra•·e them with some fine examples of the art · of flamenco playi ng and singing. A good follow-up to hi s first tape.

Secondly, Ken Patten of. Sheffield, .~as pr.oduced a tape contaming Haw~11an Gu itar playing by members A_lan W11l~y; plectru m guitar playing by Chns Speddmg on a "gig" with Len Stewart\ group; and duets by two unknown Amencan pla yers. Ken explains •how he wa-s able to re-record a 15 i.p.s. recording of these two players on his machine, the maxtmun: speed of which is not greater than 7½ 1.p.s. I am still trying to work it out!

On Sunday, 27th March, 1 took my tape recorder to the Grosvenor Ballroom . at Wallasey and with the kmd co-operation of the Festival Officials (and the Contest ants) I tried to record ~s much of the Federation Northern Section Contests of 1966 as possible . . . .

Under far · from ,deal cond1t1ons, I wa·s be-devilled by a bad connect ion in the early stages. However, I think C_ have enough reas ona bly recor~ed n:iatena l In make up a 4 in. reel for c,rculall?n around the Guitar Section. If any competitor would like a copy of any part I have recorded, all he has to do is send me a blank tape .

STAN DAWSON. Banjo & Mandolin Section: I_ am pleased

10 report that the member ,s list ed below have sent in tapes during the past_ month: Les Campbell (multi record ings), Cltff Smith (banjo solos), P. A. Lockwood , R. Traynor, Fred Dray and Dorothy Parsons su1;>ported by the Bournemouth B. M . & G. Qumtet.

As a matter of interest, t~e Club has now a I ibrary of I 15 . tapes, with 60 of these circulating L·he various groups.

WAL•LY SPRANKLEN.

Please say :."AS ADVERTISED IN B.M.G" .. .

when rep lying to any adve'.tise m~nt in them pages. Our advert isers like to know the source of you r enq uiry.

Gui tars b y :-

F . A. (. M . A limited number of these hand-built Argentine guitars will be_ avai lable this month at moderate prices. Specification:-

European pine sound ~oa rd Algarrobo back and sides Cedar neck Jacaranda Finge r-board Beautiful mosaic rosette Fine mosaic and purfling at

all edges Hand polished Each guitar c/w case

Enquiries:-PICAFL OR LTD. , 47 Cathca rt Rd. , L<indon, S.W.10.

Phone: FLA 2046

264

Federation News (Nortliern Section )

According to letters of appreciation already received , our Festi val at the Grosvenor Ballroom , Wallascy, on March 27th went "smoothly" and "w ith a swing". Despite the terrible weather, many contestants and spectators had arrived well befor e time, determined to see "t he oil " . This was intended to be an austerity Ra lly but as ~oon as the competitions commenced it was realised that musically it was going to be quite the opposite; although more en lries in the so lo classes would have been appreciated .

The acous tics of the hall were wonderful. For the tlrst time at these gatherings J could hear what the so lo guitars were playing!

Outstan ding among the young soloists were Colin Wildman of Liverpoo l (plectrum guitar); <;olin Adcock , Birmingham (plectrum guitar) and Brendan McCormick Liverpool (Spanish guitar). '

T he adjudicators , in their final summing up, stated that although ent ries were down in number the standard of playing was

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EDWARD CROSS and SON 23°S ABBEY ROAD, BARKINGSIDE, ILFORD, ESSEX R,ductio n for School• Trode Enquiries lnvit•d

B.M.G. higher than ever. The ir spokesman also said that every performance , witho ut exception , could have been staged anywhere in pub lic.

The only let-d own of the day was finding the loca l restaurants closed-despite the assurance of their manager s that they would be open. The catering at the hall was good but we needed the cates fo r overflow. However, by the comments made to our officials at the Festival (and since) everybody thoroughly enjoyed themse lves and the future of the Annual Fes tival is assured.

8. B. TH URLOW.

By t"e Way An electric guitar silencer (not our

words!) has been per fected in the United States to allow practising wichout distu rbing others.

Instead of being plugged into an amplifier the guitar is plugged into a small portable unit 10 inches long and the player listens to his music through headph ones .

* * * Delayed through production difficulties,

Dorita y Pepe's new LP "Dorita y Pepe, LA. '66" is now in the shops on the new SPOT label: JW.550.

On the same label is a Rhythm and Blues LP by Alexis Korner , SPOT JW.551.

* * *

M AY, 1966

Mike Bonehill o( the London Schools Fo lk Association is interested in hear ing from folk artis ts who wou ld be willing to appear at schoo l Folk Music Clubs.

* * * The Newport (U.S.A.) Folk Festival will

take place this year on July 28th , 29th, 30th and 31st. We hear that a number of British folk artists have been invited to appear.

* * * Film and stage actress Jane Asher is

studying the classical Spanish guitar.

* * * The Gibraltar-born Spanish guitaris t William Gomez is now resident in London and will soon be ac tive on the British concert scene.

* * * Th e Education Dept. o( the County Coun-

cil of the West Riding of Yorkshire is looking for two more full-time teachers of the Span ish guitar. The re a re already four guitar teachers amo ng ,he 60-odd instrumenta l speciali sts who · wor k for the Education Dept .

A good salary , pension , holidays , being a part of a stimulating musical a tmosphere, and the freedom to develop private teaching and playing mak es this an attractive proposition for guitarists with the right qualifications and an ambition to teach.

* * * Michael Jessett has been busy of late

ANTONIO LOPEZ MARTIN - Spanish Morocco CONCERT GUITAR IN ROSEWOOD .£125 with ease

We arc glad to announc,, this new addi"tion 10 our range of fine 1nStrumcn\s. Unfortun"~tely we can only obtain lwo every fifty days and a wB.iting list is almo st inevitable. Tohe Lopez. Martin i~ a wonderfu lly respons ive and Lruly " musica l'" instrum ent and ;l

full doscr-iption can be sent through the post ·1oge1hcr wiih full colour pho,ographs . Copies are once ogain available ol our free twenty-four page list of instrunicnts.

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Principal: MICHAEL WATSON

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MAY, 1966

composing and playing lute music for the BBC/TY children's programme "Jackanory".

* * * Recently issued fretted instrumen t records

include: "The Guitar Sounds of Buddy Merrill" (Vocation VAN 8053) and "Stars of the Steel Guitar", 14 tracks by various C. & W. players (London HAB 8269).

* * * At a concert given by the University of Minnesota, at Scot's Hall, St. Paul, on March 20th, Richard Walz (a pupil of Albert Bellson) played the mando lin part in a concerto for mandolin and orchestra by G. Hoffman. Mr . ,Bellson, in telling us of his pupil's success, says: "Richard , still in his early teens, is a very talented boy. He has only been studying with me for about 18 months and started from scratch. If he will continue he has a very bright future in the mandolin world."

* * * The April 2nd issue of the American magazine "Billboard" features a story on a "guitar string gadget" that "was gaining quick popularity ". Designed by actor-singer Richard Eastham who, a few years ago was playing the role of Baron Von Trapp in "The Sound of Music", in which he was required to strum a guitar. "He quickly discovered ," says the article, "a source of annoyance to all guitarists - the task of stringing the instrument . Un like other guitarists, however, Eastham decided to do something about it and invented the little gadget

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B.M.G. that simplified the process. The machine, which has a tuning peg in a slot, strings and unstrings a guitar with a turn of a crank."

The article adds that Eastham started a company to manufacture his device and sold 31,000 the first three weeks it was on the market !

* * * All players o( the mandolin, mandola and

related instruments interes ted in attending a Mandolin Convention to be held in the late summer should write to B. B. Thurlow, the secretary of the Federation (Northern Section)- see "C lub Directory'' for address. (Please enclose a s.a.e.) The response to this note may decide the location of the meeting.

* * * On March 28th, 29th and 30th the guitar

club from Maltby Youth Club provided interval music at the Area Youth Drama Festival held at Adwick-le-Street High School, near Doncaster.

Correspondence Dear Sir-For many years now the

"Correspondence" seclion of our magazine has been the seat of controve rsy-and, unfortunately , acrimony. As Editor , you have maintained a strictly neutral outlook and rightly so. Consequently, I was somewhat surprised to find in the March issue that the most controversial view (to my way

265

of thinking) was expressed in your editoria l comments.

As a lover of fretted instrum ents and particularly the banjo, I hope your forecast of a revival in public interest in this instrument proves to be accurate. However , if this revival is to be built on foundations comprised of the works you mention, it is, in my opinion, doomed to failure from the start.

You blame the "tra ined musician " for the decline of the banjo (who were they, by the way?) and I agree many unsuitable arrangements have been made, part icularly of orchestral works , which are quite ineffective and taste less when played on any solo instrument with the possible exception of the keyboard instruments. Nobody has been more guilty of such indiscretions as myself but they have proved money-spinne rs to the professional solo player.

In my opinion we are in the hands of the professiona l who, by the very nature of things , reaches a greater proportion of the general public than the amateur and consequently has the greater influence on the popularity or otherwise of his instrument. If Oily Oakley et al were still with us I am sure they would not be making a Jiving (or attempting to) by featuring such solos as,

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STRINGS No. 1033. Banjo Plated 4 / 9 per set No. 914. Tenor Banjo Plated, 4 /6 set

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/ 130 SHACKLEWELL LANE, LONDON , E.8 -----------------BANJO, IANDOLIN k GUITAR MAKERS'

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266

say. "Sunnower Danc e" and I doubt if they ever did.

You criticise the musical value of some of these advanced compositions and arrangements and, by inference, uphold that of the solos of your choice. Your plea for a good tune is one I can support wholeheartedlybut are the melodies in banjo music good? [ think very few have the character and originality required to attract a present-day audience of non-fretted instrumentalists who arc far more sophisticated and have a more discriminating taste in music than those who listened to the players you mention. I doubt if any at traction the old solos would have for them would be anything more than ephemeral.

It seems peculiar to me that , if your surmise is correct, the advanced writ ing was the cause of the falling off of interest in the banjo, whereas it was this very same pheno menon that made the violin, piano and guitar-to mention only three instruments which at one time were no more popular or musically acceptable than the banj o is today.

I am i:orry that in the fretted instrument world there are not better composers writing better music for better players.

No , let us woo the public by playing music they want to hear before introducing them to music we want them to hea r. The well-known psychological maxim "From the known to the unknown'" could be followed to advantage. - PHIL BAR KER .

* * * Dear Sir- I do not know whether the

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B.M.G. "head" used by phrenologists shows a bump indicating a sense of humour , but I do know such a bump must stick out like an egg from the head of R. Tarrant Bailey.

I am tickled pink by his " Bath Chair" contribution s! " Keep it Goin' " , R.T.:B.FRAN K LA WES.

* * * Dear Sir- I sometimes wonde r why any-

one would take up the mandolin. When he do"~, he enters a singularly deprived community.

Not only do we find it nearly impossible to get any instruction (whereas guitar and banjo teachers are "a dime a dozen " as we say in Ameri ca) but when, in the hope of getting some instruction in print, we subscribe to the "B.M .G." ma gazine, we find in it cvcry thi11g but mandolin items. I have been subscribing to your magazine since late last year and I have yet to run . across an article on mandolin playing. Perhaps you shou ld mor e accurately call it the "B.G.".

You might try printing this letter and see whether it evokes similar lellers from other readers. - ELLJOTT HUGSERN.

* * * Dear Sir- What an awful state our banjo-

ists' " bible" has come to; very little about the banjo these days and it looks as if our turn to be squeezed out is to follow close on the heels of the poor old tenor-banjo. Articles are getting scarcer and the solos are not the least appealing to the majority of banjo players. 1 stress the word "ma jont y" .

Could I make a suggestion? With so many hundreds of good banjo solos out of print, would it be possible to include some of them in "B.M.G." (both first and second parts)? F or example: " Bonnie Scotland" and "To the Front' . I should say that every banjoist would be compelled to take "B.M.G." to get the solos.

My main reason for writing is to offer

MAY , 1966

some information for lonely banjo players . There arc hundreds of them . I know of several here who play away by themselves, just longing for a part ner to play duets with. Well, whoever is interested may have a tape record er. What I do is this: I select a few solos I wish to play and set up the tape. Have the volume turned up so there is room to adjust on the playback.

I then take the second part or accompani ment nnd have a practice run through. When I am satisfied there are no snags, I take a look. at the solo ; have a run through and find the difficult part(s). I go over that part until I gel the speed I can play it and pro duce a clear tone and clean picking. It may be slow at first but that is the speed I am going to play the second part and put it on the tape.

Now it is time to start the tape. I do so and announce ir.. this manner: "This is the second part of 'Rondo' (or whatever the solo is). This is the tempo -one , two, three , four ; one, two, three, four." I give the count twice and it is foolproof.

The second part is played right through, trying to keep a strict tempo all the way. Rests should be counted carefully and expre ssion marks noted.

Having got the second par t on the tape, run it back and play the solo. Start the tape, come in after the last count of "four" and away you go. If you have help handy, the volume of the tap e can be adjusted to the banjo and you have a lovely duet. When the solo part is thoroughly mastered the second part can be wiped and put on again at a faster speed. I tune my banjo to a tuning fork so, it' desirable, I can keep the second parts on indefinitely.

My regular playing partner visits me once a week and we often both play solo with the second part on the tape.

Where a second part starts with a rest in

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MAY, 1966

the first bar , play the so/.o Intro. and then carry on with the second part.

Any player who has not tried this will find he has opened up a new world of interest. It is a great help with difficult solos. Some of Morley 's ("Diana ", "Ad Astra", "Desert Trail", etc.) are a joy to play with the accompaniment. I suggest a start be made with easy pieces such as "Sunflower Dance ". It is a great help with the "Six Studies in Syncopation" in "The Banjo and How to Play it". In fact , there is no limit to the help it gives to the player who does most of his playing by himself.

Well, I hope a few players will find this is useful information and they will derive as much pleasure from it as I do. My partner and I find it a useful method for playing obbligato Trios, such as in "Syncopatin' Shuffle"; the tape playing second and two solos to juggle the other parts. Great fun!

Enough for now-but please: a little mor e banjo talk in "B .M.G .". - W. J. BRITTON.

* * * Dear Sir-May I correct Ray Bernard's

S. C. EVANS Th e Violin Shop

NEW ADDRESS-15a HAGLEY ROAD

BIRMINGHAM 16 EDGbaston 0787

Specialist supplies of all materials and tools for professional und amateur GUITAR MAKERS SEND FOR LISTS - POST FREE

"Make Your Own Spanish Guitar" in stock 15/- Postage 1/3

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HAND-'.\fADE CONCER'l' GUI'l'ARS HY

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(;HAS. E. FOOTE LTD . 20 DEN MAN ST REET, LONDON , W.1 Telephone : CE R 1811 Sat urd ays t ill 5

Est. 46 Years.

B.M.G. assertion that the ukulele-banjo popularised by Alvin D . Keech and tuned to G. C. E. A. was a "lo ng-scale or tenor" since these were two different instruments; the Keech model and Aladar de Vekey's instrument both being "alto long-scale ukuleles"-a lthough the latter "joined " at the eighth fret while the former joined the body at the twelfth fret. Tuned to G. C. E. A., the third string was a special one made of monel, wound on gut. The shape of Mr. de Yekey's instrument was identical to that of the 5-string instrument impor ted to Hawaii from Spain in 1885 and called guitarillo and later, from Portugal and Madeira, as the viola rajao. It subsequently lost its fifth string in Hawai i and its peculiar cognomen taropatch fiddle as well as its original tuning: A. D. G. B. E.

Later still it acquired double courses of strings and a shallower body while reta ining the small Portuguese soundhole and with the tuning G . C. E. A. it became known simply as the taropatch. _

The tenor uku lele, tuned to G. C. E. A. but with the fourth string tuned down an octave for solo playing, as suggested by Alvin Keech , was derived from two fish-

267

shape d Portuguese instruments (the tai l serving as p'eghead; the body beautifully carved to represent fish-scales; and the open mouth servin g as soundhole) the viola tenor (also called cavaco and machete rajao in Portugal and guita rillo tiple in Spain) tuned to either A. D. G. C. G . or C. F. B. D. G. It measured 24¼" and the bandolim (or Dguitar) tuned to violin tun ing of G. D. A. E. and measuring 26f'.

Otherwise, Mr. Barnard is correct in his description of the baritcne instrument.

Readers may imagine the 8-string development o[ the taropatch was either an accident or merely a manner ol' reinforcing the volum e by doubling the string. This is not the case. The 8-string taropatch was copied from the Spanish guitarro, g11i1arrito or requin to, 2¼-feet Jong and strun g with (counting from the eighth string) an E, two A's , two D's , two F# 's and a B.

The Hawaiians altered the stringing to three A's ; three D 's; one F# and a B-subsequently altering to two A's; three D's; two F#'s and a B, finally establishing the stringing as two strings to each note .

Johnny Pineapple is seen playing, appar-

solo guitar

ABLONIZ BACH BEHREND BENDA CORBETTA FARNAB Y HANDEL PONCE PUJO L PURCELL SOR TAN S MAN TU RINA VANHAL L W EISS

Tangui llo 3s. 6d.

Cello Suite No. 3 (Duarte) 8s.

Sevil lanas Ss. 6d.

Two Sonatinas (Segovia) 4s. 6d. Suite in D (Kennard) 4s. 6d.

Five Pieces (Duarte) 3s. 6d.

Eight Aylesford Pieces (Segovia) 5s.

Estudio (Segovia) 4s. 6d.

Rapsodia Valenciana 7s. 6d. Three Pieces (Duarte) 3s. 6d.

Sicilienne 4s.

Mazurka (Segovia) 4s. 6d.

Homage a Tarrega (Segovia) 4s. 6d. Cantabi le (Segovia) 4s . 6d.

Fantas ia (Kennard) 4s . 6d.

Ask for a free copy of our catalogue giving details of over 650 pub lications for guitar solo, duet, trio, guitar w ith voice, etc.

SCHOTT 48 Gr eat Marlb orough Str eet Lon do n WI. Tel : GER 1246-7-8.

268

cntly , the interesting Portuguese pear-shaped 12-string guitar (featuring a stan dard guitar head instea d of the screw method of tightening the strings of the guiwrra port11g11esa). - KEALOHA LIFE.

* * * Dear Sir - Interested read ers of A.

Stringer's comments (March issue) regarding the 12-string guitar and the American LP " 12-String Guitar Story" will no doubt be plea sed to know this recording is now avai lable in th is country on the ENVOY label (VOY 9159). This particular album was one of a two-album set issued in America in February I 965.

Also avai lable on the ENVOY label is the "Banjo Story " (VOY 9158) first issued in America in Ap ril 1965. This album covers the "bluegrass " and "fol k" sty les of playing by twelve artists, including Joe M aphis, Billy Faier, Mike Seeger, Mason Williams, . Eri k Darling, Dick Rosmini and Eric We issberg.

The original recording company in America, HORI ZON, is now defunct and the "maste rs" of their recordi ngs arc now in the hands of ENVOY for re-issue in Great

If you are looking for the RIGHT INSTRUMENT

or the RIGHT STRINGS

then you MUST TRY

Guermantes Guitars and

SAVEBEZ Strings

See you r usua l supplier, or write to:-J, THIBO UVILLE LAMY & Co. 34 ALDERSCATE ST,, LONDON, E,C,1

as played by

956 E.8.G. Nylon; E.A.D. Silver-plated

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All strings are avallable separately

AUGUSTINE

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From all rood dealers

B.M.G. Britain .- GEORGE BARNES.

* * * Dear Sir- I, too , take my hat otr to

George Barnes for his interesting "Collectors Corner " article. I have three of the records he mentions and in these one ca n get a good idea of the range of the mando lin and the many and varied types of accompan iment; all of which seem to blend most ar tistically . I am only a beginner myself and unde rstand little of music generally so I am unab le to state categorically which instruments these are; nevert heless I am ab le to apprecia te art in the form of music and these three records a re every bit as good as Mr. Barnes has said - particu larly in the variation of styles and tempos. To an yone (rnandolinists included, of course) these records must be a rea l pleasure .-L. MANUEL.

* * * Dear Sir- In your January issue Mr.

Kelsall said that Scruggs "mus t be able to dispense with th e capo ". I would advise him and all other "bluegrass" banjoists not to be in undue haste to cast away such an indispensable piece of equ ipment. Quite fran kly, I wou ld be amazed if Mr. Kel sall-

MAY, 1966

or Earl Scruggs for that matter -could play the same tunes and arra ngements they play in the open tu ning in some oth er key withou t using a capo!

Given time , a good musician can wor k out an arrangement of a tune for a differen t key which would not require a capo but the result would be a different sou nd and, in my opinion , an inferio r one. In any case, the group player may be asked at a moment's notice to change the key of a tune to su it the vocalis t; hence the importance of the capo. . . . .

The question o f the su1tab1hty of certa1:1 keys for certain songs brings me t~ menti~n the importance of the D tuni ng. With Scr uggs pegs, one can quick ly change from the G to the D tu ning. Now , since D is a fifth below G, it is obv ious these two ;c~ys give the singer a good alternative if a tun e is too high or low for his vo ice- and ~;nee the D tuning is an open-stri ng one, it has the same tonal and fingeri ng advantages as the G tuning. (I do not mean one never uses the higher pos itions when playing in these keys).-J . V. HIL L.

THE TEACHER SERIES OF GUITAR PUBLICATIONS

arranged by

JOHN DUARTE

The songs in these books are set in keys suitable

for children's voices and h@e guitar accom

paniments that make very modest demands 01I

the playe,-. Th e melody lines are fully fingered

so that they may be played by pupils having

only the humblest of technique; in this they

pr()'l)ide the opportunity to play and shape

simple tunes tha t are already familiar, accom

panied by either teacher or even another pupil.

T he three books in this series are:

Sing and Play NATIONAL SONGS

Sing and Play NURSERY SONGS

Sing and Play SEA SONGS

Each Book 7s. Please send

for copies on appro va l to :

NOVELLO & Co Ltd Borough Green, Sevenoaks, Kent

London Showroom: 27 Soho Square, Wl

MAY, 1966

You Aslt IJ1 (Readers seeki11g advice are invited to

se11d their problems . A stamped addressed e11ve/ope. should be enclosed for reply by post. Problems of general interest will be summarised in this feature without the sender's 11ame and address bei11g disclosed. -EDITOR .)

D. S. (Brentford)-We suggest the follow ing easy banjo solos, in the order given : "Sunflower Dance ", "Gold D iggers", "Dusky Dandy" , "Lobster's Promenade ", "Tyro Mazurka", "Californian Danc.e" and "Co mical Coons ". Eac h will add a li-ttle to your technical ability and they are all well wor th playing.

G. B. {Marlborough) - We regret we are unable to help you. Once a reader's Jetter has been answered it is destroyed and we have no record of his full name and address. You will surely understand tha t to file such letters would involve time and expense (the cost of filing cabi nets alone would be immense) that cannot be justified.

H. J. L. (Manchester) - The first banjoist in the world to broadcast to the public was Chas. H. Stainer who made his historic broadcast from Marconi House, London, on January 8th, 1923, for the British Broadcasting Company.

Mr . Stainer broadcast banjo solos on many

A Touch of Velvet MONOPOLE

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ELECTRIC BASS GUITAR E703 l G, Nylon Tape Woun d 12 9 E7302 D, ,, ,, ,, 18 O E7303 A, 22 6 E7304 E, ., 31 6 E730 4-string set 84 o

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B.M.G. 269

later occasions. If Mr. Stainer reads this perhaps he will

recall for readers his feelings at the time.

S. P. C. (Reading)-If you wrote to the Cliffo rd Essex Co. they would quote you a price for the extra-wide and extra-long piece of ebony you need for the fingerboard of the unusual instrument you are cons tructing.

W. S. D. (Peterborough) - We do not keep a file of record numbers. We can only suggest you get your local dealer to do a little "delving" in current catalogues to provide a list from which you could make a selection.

G: A. D . (Burgess Hill) - The "competent ~us1cal instrume!11 repairer" who gave ·you ~1s way of_ lowenng the a~tion of your guitar :~ ~es(, avoided . If the action is, as you state,

high we suggest you have it put right -by a competent guitar repairer. Do not trust such a high -class instrume nt to anyone .

AD-LIB

CHORD READING A GUIDE TO THE STRUCTURE OF CHORDS AND THEIR APPLICATION TO E·XTE'J~ • . PORISATION OF BASIC THEMES AND

CHORD SEQUENCES Explains the simplest exercises on basic chords and progresses in easy stages to the more complex tech-

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PRICE

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CLIFFORD ESSEX MUSIC Co. , Ltd. 20 Earlham Street, London , W.C .2

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GUITAR

MUSIC in

Edited by Karl Sclteit

Airs and Dances from Austria

Baroque Aires and Dances

Canzonets and Dances

Renaissance Songs and Dances

Easy Pieces from Shakespeare's Times

For complete l ist of publications

ple ase writ e for speci al bro chur e

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270

Sm11/I Ad,erts All odvcrti~mcnls muse be prcpoid

CLOSCNG DATE: 101h OF THE MONTH The cosl of advertising under 1his hc.1ding is 3d.

per word (minimum 3s. lwelve words or less). Trnde race: 6d. per word (minimu m 6s. twelve words or less). The re is no eharsc for a Box Number, but the words: "Box••• 'B.M.G.' 20 E,,rlhnm S1rcc1, London, W.C.2." musi be included in the advertisement ond paid for (eight words).

Advertisements ore nol o«ep led by telephone

FOR SALE SPANISH GUITAR by Clifford Essex. Good condi1ion.

Mellow tone. £30 or offers. Todd, 177 Ashby Road, Scun1horpe Lines .

ANTON IO MONZ INO classical gui1ar. Model classica I. 1957. Orii; inal CO$! £ISO. Accep1 f.90 o.n .o. Minto condilion. Lewis, 16 Waverley Rd., Bristol 6. Phone: 8ris1ot 33361.

MAYBELL Slingerl and tenor-banjo. £15. Windsor Ambassador Suprcmus 5-string banjo with case. £20. 67 Soul h\\OOd Rd ., Ramsgale, Kent.

FIVE-STRING "John Grey" b"njo & case. £1'2. Box 519, "D.M.G.", 20 Earlham Sc., London, W.C.2.

" PARAGON" 5-scring banjo in case. Pre-war model . Good cond ition. Offers. Box 520, "D.M.G.'', 20 Earl• ham S1.J. London, w .C.2.

" VEGAPtt ONE" teno r, Vega "Whyte Laydic" tenor, Vega extra-long S-strins . £40 each. "Nel son" (Ve~•) S•strins, £30 . Mandolin-banjo, custom buih. £9. Gunter Amendt, 4 O usseldorf-Nord, TneodorS1orn1Str 14, Ge rmany.

WANTED HF.l,P . Con1ra or horp•{luitar urgen tly required. 134

Sheppe y Road, Becontrce, Dagenham, £$sex. F.NGLISH dulcimer . Any condition. McDonald, Coach

House, Sc. Michael 's Rd., Liverpool 17. WANTE D. The ,sherenbou ts of a l.ncoce nnd • Pnnorm o

guicnr left with Will Millis . S. Selby, M.D., Cushing Hospita l, Fram inghRm, /lla ss. 01702, U.S.A.

WE HAVE customers wailing for Cl ifford Essex nnd other i;ood qu~lily S-str ing banjos, plcctrum•bnnj os and 1cnor banjos. If you have such nn ins1run1en1 for disposal, the simplest way to sell il is 10 send us full details (make, n1odcl, condition. etc.) and state orice required. Clifford Essex Music Co., 20 Earlhan, Street, London, W.C.2.

GOOD MAKE Rat-back mandolin, Gib son or similar. Condition not imPOrlllnt. £10 10 £20. Thurlow, 4 Coniston Ave., Wallnsey, Cheshire.

WANT.ED. High quality classica l gui1ar by a leading SpMish lu1hier. S/hand preferred. Lewis, 16 Waverley Rd., Bristol 6. Bristol 33361.

WANTED . Complete method for guila r by f'crdi nMd Sor. Gavin, 16 Su,vcrton Rd., Bilborough, Noningham. Phone: Noningh am 291528.

WANTED. Banjo solos. Morley's "Piece Cnrae 1eris• tiquo''. "'Bnnjo Diver sion'\ Purchase or exchange. Clarke, 19 Auckland Rd., East, Southsca, Hants .

NAT IONAL all•metal, hollow neck, Hawai inn guitar. Holl , 37 Ellerton Rd. , Wnndswor1h Common, London, S.W.18.

GEN UINF. buyer requires Oscar Teller vinuoso·s model or Oscar Teller 7M or 7P. Must have been mode before 1960. Plcnsc send full details and price to: Weekes, Spcltbrook, Bishop's Stortford, Hens . Tel.: Sa"• brldgeworch 1(183.

VARIOUS RONO EL SIM OES. Spanish guirnr record collector.

who hos now 1,361 diffcrcn1 items, buys, sells Md exehnnitcs suitor records. Write : Ronocl Sin,oes, Rue Dr. Luiz Borreta, 192 Sao Paulo, Brazil.

Wli#Miiilillll/il!dlMt!mmm,JU111lDl3B1!11Plll'DPff

Have Enjoyed

This

You Reading

Issue? If you are a regular reader of "B. M.C ."

you need no teUtng of th .e good tlt ings you

receive for only eightee1ipence a m~mth-but

othe~ players mny be glnd to hear of it .

Will you help us-and them.-bv telling your

plnying friends of this magazine ?

B.M.G. MAY, 1966

*IVOR MA/RANTS* Britain's Leading Guitar Expert . ..

presents TH E W ORLD 'S MOST COLOS SAL GUIT AR SELECTION

of

CONC ERT, FLAMENCO, FOLK , JAZZ and POP FOR STUDENTS, PROFESSIONALS AND CONCERT ARTISTS

CONCERT ANO f'LAMENCO GUITA RS

Price s includin g castt Jose Ramir e-1. Concert I ........... ......... .... 225 IS O Jose Rrunirc~ Concert JI .............. ... .... 131 15 O Jo se Ramirez. Flnmenc o .................. ... .. . l41 IS O Felix Manzanero Concert .................... . J60 O O Felix Mani.ancro Fl:unenco I ....... .... .... 152 5 O Felix Manzan ero Flamenco If . ... . . ... . .... 125 O O Masaru Kono No. 7 Concert .............. . 183 IS O Masaru Kono No. 4 Conce rt ........... .... 131 S O Masaru Kono No. 3 Concert ............ ... 110 S O Juan Alvarez Concert .............. ... .... . ..... 168 O O Solor Gom.~lc,. P. Concert .... ... .... ... ... . 94 10 0 Sola.r Gonzalez M. Concen . . .•........ ... .. . 78 IS O Conde Hermanos Flamenco A .. ....... .. .. . . 94 10 O Conde Horm:lJ\os Flomenc-0 n ........ .... . .. 63 O O Manuel Reyes Flamenco ............ .. ..... .. 120 IS O Manuel Reyes Flamenco .. C.. ............... 99 15 0 Enrique Sanfelieu Conce rt 11 .......... . ... . 6S O O Enrique S,,n(elieu Concert M ............... 48 0 0 Carmelo Flrunenco 3 .... .... .. ... ..•. .. .. ...... IOS O O Carmelo Flamenco 2 .................... .... ... 84 O O Co nncl o Flamenco I ........................ . .. 73 10 o Prices exdudi ng ca_su Yairi 800 ....................... - ................. .. . so 8 ()

Yairi 700 ................ ......... .......... ....... .. . 39 18 0 Yairi 600 .............. .... ............. ...... ....... . 29 8 0 Yairi 250 ... . .............. ..... .... .............. . .. . 18 18 0 Aria Palisanto .. ................................... .. 33 12 0 Oscor Teller No. 7P .................. .. ... ..... .. 69 6 0 Oscar Teller No. 7M ............ .... . ...... ... . 52 10 0 Oscar Teller No. 6P ........... . ...... ... .. ..... .. 41 S 0 Oscar Teller No. 6M .......................... . 39 18 0 <>.scar Teller 1''o. S ........... ............ .... .. . 31 10 0 Jose Mas y Mas M 10 Spccint . . ............ . 37 16 0 Jose Mas y Mas Flamenco M9 ....... .... • 31 10 0 Jose M:is y Mas MS ..................... ... . . . 28 7 0 Jose Mas y Mos M7 .......................... . 26 S 0 Jose Mas y M;is M4 .... .. .................... . IS I S 0 Jose Mas y Mas M2 ... .. ......... ... ... ..... . . 12 12 0 Jose Mas y Mas Ml ..... ... .. .......... . ... .. . 10 10 0 Tacay 1717 .................... ..................... . 36 IS 0 Tatay 1716 ......... ................ ............ .. .. . 32 11 0 Ta1ay 1715 ............................ ... .... ...... . 23 II 6 Ta 1ay 1714 .............. ..... ... .... .............. .. 19 19 0 Tatay 1713 ......................................... . l4 3 6 Dotra .s Cordoba 2803 .. ..... . ............... .. . . 32 7 6 Dotras Co rdoba 2802 . ......................... . 23 12 6 l)o 1ras Cordoba 2800 ...... ...... ............. . . 19 S 0 G-iannil\i 19 19 0 Giannini . .. .. .. . ............ . .......................... . 16 16 0 Giann.ini ... . .. .. ............................. . ........ . 12 12 0 Manuel Segura .................................. . . 16 16 0 Manuel Segura .. . . .... .. ................... ... . 13 13 0 Guitar Covers 21/-, 261·, 37/6. 42/• , Guitar Cases £S. £6·6·0. £7•7•0, £8·8-0. £9.9.o. £10-10-0. £1S•IS-O.

•·oLK , J UM BO and 12-STRJ NG Martin 018, Guild DSO, Guild 040, Guild 12-Slri ng. Gui ld F30, Gibson J4S, Gibson 160E. Favilla 12-String. Epipho ne Texan, Epiphonc Cor cez, Epiphonc Caballero, Ha rmony 12-StriJIS, Harmony Sovereign 1260 Jumbo, Harmony Sovereign 1203, Hoyer, Hawk, Horner. Levin Goliath, Levin Goli;iih 12•S1ring, Eko , Eko 12-$tring, Kyomci, Mu.siCOIH.tc.

* * * ACOUSTIC : ACOUSTI C ELECTRI C GUITAR S Gibson L7, Gibson IA, Gibson ES l75. Gibson ESHSTD , Gibso n ES33STD, Gibson ES330, Gibson Barney Kessell, Guild A3SO, A ISO, AIOO, ASO, Guild Stnrfire, Guild XISO, XIOO. Guild Slim Jim, Levin 1797, Acoustic, Gretsch Country Gent leman , GrelSch Tenncssean, H armony H77, H7S, H70, H7t, Horner Commi ucc , Prcsidenl. Senator, Congress, cl o r Ac:;ustic, Epiphone Casino.

* * * t:;XCLUSIVE PUBLICATIONS f.ROM U.S . George Van Epps New Solos . ... .... .. .. ... .. .. .. 11 3 George Vru, Epps Tutor ............. .. . . ...... . ... 24 O Cha rlie Christian Jazz Gui tar ...... ............ . .. lS O Cha rlie Byrd "Th emes From Great Movics" IS O Kenny Burrell "Jazz Guilar" .... . .......... ... . .. IS O Mundell Lowe " Guitar Impres sions " ........ . IS O "SOO l'op Songs", "101 Pop Songs", "Legi t

Fake Uook " . Fabulous Ventures 1. l I, 111, each .......... .. ... ... ..... ..... .......................... IS O

All M:ckey Baker Guitar Boo~

* * CON<:t::RT :tnd H .AMENCO GUITAR Asuado Method (de la Maza) ..................... 21 O Laurin<lo Almeida Tut or ............ . .......... ... . Sophocle s Papas Tucor ............................ .. Cha rlie Byrd "3 Blues for Classic Guitar" Flamenco Guitar (Mairants) ...... , .... ........ . ... . Tn1roduction 10 Flamenco (10" Reco rd) ..... . Lives and Legends of Flnmcnco (l'oh n::n) ... Art of Flomcnco (Pohrcn) ...................... . Sabicas & Escudero Album ....... . ............... . M3riO Escudero Album .. ....... .... ........ . .... . Carlos Montoya Album ...... . ................... .

MANY OTHER PLAMUNCO ALBUMS

32 6 22 6 9 6

42 0 25 0 39 0 2S 0 7 6 7 6 7 6

KINOC,'lt' ADO POSTAGE WHEN OROERI NC

Call or write for your requirements to:

IVOR MAIRANT S MUSICENTRE LT.D. 56 RAT HBONE PLACE, LONDO N, W .I. MUS 1481/2

Open all day Saturday Nearest Tube: Tottenham Court Road

MAY, 1966 B.M .G. 271

Dlrect11ry_ ol 8. M. & fi. C/11/Js SOCIETIES AND (?RGANISATIONS with

the names and addresses of their Secretaries.

American Banjo Fraternity, Exec. Sec., W. C. Kentner, 1278 W. First Ave., Columbus, Ohio, 43212, U.S.A.

American Guita r Society. Sec., Vahdah Olcott Bickford, 2031 Holly Hill Terr., Hollywood 28, Calif., U.S .A.

Aston Banjo Club (Wimbledon), Sec., R. G, Oram, 5 Chart Close, Shortlands, Bromley Kent. RAV 1995.

Barnet. Sec., Cecil Daniels, 26 East Barnet Rd. Herts . BAR 7918.

Belfast Banjo Club Sec., J. Knowles, 206 Deerpark Rd., Belfast 14. Phone: 744516.

Birmingham. Sec., G. W. Mills, 66 Arnold Road, Shirley, Solihull, Warwicks.

B. M. & G. Tape Club. B. & M. Sec., W.Spranklen, 6a Burton Road . Kingston-on -Thames, Surrey. H.G . Sec., J. D. Marsden, 22 Gisborne Road. Sheffield 11. G. Sec., S. Daw son, 11 Pinfold Lane , Halton, Leeds 15.

Bournemouth. Sec., Mrs. D. Parsons, 100 New Rd., West Parley, Dorset . Phone: Northbou rne 3435.

Brixton. Sec., J. W. Smith, 45 Bonham Rd., Brixton, S. W.2.

Cork Classical Guitar Circle. Sec., Mrs. B. Green, "G orsefield", Loretto Park, Cork. Phone: Cork 33952.

Croydon. Sec., J . F. Masters, 47 Downlands Rd., Purley, Surrey. Uplands 5384.

Edinburgh. Sec., F. Fin lay, 4, Salmond Place, Edinburgh 7.

The cost Inse rtions

Particular s

of twelve under this

consecutlye heading Is

of Membership and

10/-

Dates of Meetings (or service offered) can be obtained

on application to the Secretary.

Federation of Banjoists, Mando linists and Guitarists. Southern Sec., James Bishop, 40 Badgers Croft, Eltham, S.E.9. KIPiing 7354. Northern Sec., B. B. Thurlow, 4, Coniston Ave., Wallasey, Ches.

Fretted Inst rument Guild of America. Sec. Tr eas. : Ann Pertoney, 2344 South Oakley Avenue, Chicago 8, Illinois, U .S.A.

Fulham. Sec., J. White, 19 Broughton Rd ., Fulham, S.W.6.

Garfield Howe Guitar and Wind Group. Sec., Mdme. Garfield Howe, Brooklands, Abingdon, Berks.

George Formby Appreciat ion Society. Sec., John Walley, 105 Kidsgrove Rd., Goldenhill, Stoke-on-Trent . Tel.: Kidsgrove 2441.

Hackney. Sec., W. H. McMinnies, 58 Theydon Street, Walthamstow, E.17. Phone: LEYtonstone 5916.

ll ford. Sec., W. J. Percy, I I Kenda l Ave. Barking. RIP 1205.

Ladbroke. Sec., Al Jeffery, 66 Chepstow Road, Bayswater, W.2. BAY 6856.

Leeds. Sec., A. R. Warman, I I, Ella St., Leeds 2

Leigh-on-Sea. Sec., F. D. Lucas , 12a New Rd. , Leigh-on-sea.

Liverpool (Premier). Sec., Miss E. M. Wood 4 Meredale Rd., Liverpool 18.

London Banjo Club, Sec., Sally Adams , 10 Windmill Drive, Clapham Common, S.W.4. KELvin 4484.

Lute Society. Sec., Mrs. Wiltoo Sq., London , N.l

Poulton, 5

North London. Sec., Mrs. Anne Chapman, 34 Abbey Rd., Bush Hill Park, Enfield. Phone: Enfield 1173.

Orrel Mandoliers. Sec., H. Hughson, 34 Princess Ave., Gt. Crosby, Liverpool 23.

Purley Guitar Society (Classical). Pres . J. Finn, 5 Woodcote, Valley Road .; Purlcy, Surrey, Bywood 3663.

Sale. Tlte Neapolitan Quartet. Sec., Hen ry V. Pizey, 29 Carlton Rd., Sale.

Scotland. Sec., F. Fin lay, 4 Sa lmond Place, Ed inburg h 7.

Sheffield Classic Guitar Group. Sec., Brian Mirfin 5 Bradway Road_ Bradway, Sheffield.

Society of Classical Guitar (Melbourne) , Sec., John Tanner, P. O. Box 50, Chadstone Centre, Victoria , Aust ralia .

Wallascy ("Riverside"). Sec., W. Cook, 135 Borough Road, Wallasey, Ches. Tel.: Wallasey 4806.

Watford. Sec., A. E. Ayres, 64 Harwoods Rd., Watford. Tel. : WAT 32216.

York. sec., T. E. Ulliott, 38 Tranby Ave., Hu ll Rd., York .

Teac"ers and T"elr Addresses •Before a Teacher's name denotes an examiner for "B.M .G." Diplomas.

15/- per annum for 2 lines or less; 5/- per line for each extra line 01 part of a line LONDO N AND SUBURBS

Bishop, James, South London Guitar Classes: Electric/Acoustic/C. & W. Phone: KIPiing 7354.

Classical Guitar Tuition. All Creighton Ave., N.2. TUDor 5338.

grades. 118

*Davis, John (B., G. , M. all styles). Wembley 7017

Depreux, Guy. (G.) 20 Flask Walk, Hampstead, N .W.3 HAM. 2834.

Ealing Spanish Guitar Studio. Cres., W.5. PER 8929.

118 Conway

Eric Gilder School of Music for guitar tu1t1on in all its forms. Individual and Class Coaching of professionals. 195 Wardour St ., W.1. REG 0644

Flamenco Guitar Tuition. Authent ic Flamenco, all grades. SWlss Cottage 2403.

Gallo, Louis (G., P.G., El. Bass G. , EL P.G.) -6 16 Gr een, Lan es, Harringay, N.8. Phone: BOWes Park 4666.

Harjono, A.G.S .M., accepts students in Classical guitar. MOU 5776.

J effery, Al. TV's "Mr. Banjo". (B. EI.B., P.B., Folk B., T.B., G., P.G., U.) Vocal acct . a speciality -66 Chepstow Rd., W.2 . Phone : BA Yswatcr 6856.

•Johnson, Chas. (P.G., S.G., H.G., EI.H.G., EI.P.G., B., M., U.) Correct t uition all styles, 94 Chelmsford Road, E.17. COP 2011.

Kelvey, Scilla. (G.) Individual Coaching, write: 21 Frognal, N.W.3.

Kramer, Adele. Professor at the Guildhall School of Music and Drama, Loodo o, gives lessons in classic guitar for beginners to concert standard, 24 College Crescent, Swiss Cottage, N .W.3. Tel. : PRimrose 5366.

Martin, Juan. Flamenco guitar tuit ion. Solo work, acc't for dancing & singing, 457, Fu lham Rd. , S.W. 10 FLA . 7354.

McGovern, Des, (P. G.) 175 Galliard Edmonton. N .9. Phone: HOW 6655.

Rd.,

•Morris, Geo. E. (B., P.B .). 48 Muswell Hill Rd., N .10. Phone: TUDo r 3968.

Romero, Pedro. (Flamenco guitar tuition). DER 8S84.

Seguro, David. lFlamenco Guitar) ton Sq., Victoria, S.W.I.

33D, Eccles-

Sherman, Harry . (P.G., H.G., T.B.), 5 Towers Court, 232 Ballards Lane , Finchley, N.3. Hillside 9758.

*Sisley, Geoff. (G., P.G., H.G. & Contra -G.) 68 New Oxford St. MUS 4388 o r I 00 Charing Cross Road. TEM 2856.

Slight ,, ,P.M. Flamenco _.guitar tuition. George's Sq., S.W.1. TAT 2736.

• Southgate, G. (B., T.B., G ., H.G.) 123 nell Rd., Upper Too tin g, S.W.17.

54 St.

Spanish Guitar Studio (Lock Aitken) . 84 New man St., W.I. LANgharn S0•l4.

•St anley, Arthur. (G., B., T.B. M.) 7 Bonningto n Sq., Vauxhall, S.W.8.

··· ·······~············ ·········· ······· ··· S,nd for parsicu/ars of the

IVOR MAIRANTS POSTAL COURSES fo r

Spanish and Pleet.rum Guitar Each leSJ·on r,erionally checked and corrected

Details from: IVOR MAIRANTS MUSICENTRE LTD.

56 Rathbone Place, Oxford Street, W .1 . .....•...•.• . ~ ........•••••••••••.•...•....

Stotler, L. C. (B., P.B., T .B., M., P.G.). 95 Geere Rd., West Ham, E. 15.

Walker, Tim. (G. ) Former Studen t Narciso Yepes Phone : PAD. 7504.

Wembley School of B. M . & G. Jazz, Solo (Plectrum. finger), 38 Charterhousc Ave .. Sudbury Town. WEM 7017.

Wingate, Philip. (G.,P.G ., & Contra G.) c/o Payton' s School of Music, 112 Islington High St., N . I.

ABERYSTWYTH •Mii verlon, A. {All fretted insts.) Tuition ~r,y

stylc-3 Queens Road.

ASHTON U-LYNE (Lanes.) •John son, F. H Moderne School of Music

(G & P.), 44 Stamford St. Phone : ASH 2583.

AYR Davidson, R. W. (B., El.H .G., M., P.G., El.P.G.

and llouble bass)-) I Graig!e Way.

BERKS HIRE Battine, P eter. (Flam. and Classic G.) 18 St.

Leooa rds Rd., Windsor 63988.

BIRMINGHAM •Hull, S. G., and Wood, Amy (B., P.G ., H.G.,

M.) - 11 Upland Rd., Selly Park. Phone : SEL 0355 and SEL 0290. (Examiner for "B .M.G." Diplomas.)

McDevitt, Chas. G. (B., G. , Accordion) 24 Oak Tree Lane, Selly Oak. Phone: SEL 1849. Studios a lso at Recditch & Bromsgrove

Mills, Adrian G. A.B.S.M.,A.L.C .M.,(P .,P.G.,M .) 66 Arnold Rd., Shirley, Solih ull. Phone: SHI 6094.

Titmus, J ames. (B., P.B., U.) .52 North Rd. Srllv Oak.

BISHOPS STORTFORD (Herts) May, William. {S.G., P .O .• P.B., M.U.) Write or call: 96

Heath Row. Continued 011 next page

272

BOLTON • Harker, Tom. (P.8., P.G., H. G.). B.B.C.

soloist. Enquiries: Harker & Howarth , 7 The Arcade, Bradsbawgate.

'Lobb, Barbara, A.T.C.L. (B., M. , G.), 685 St. Helen Rd. Phone : Bolton 62393.

BOURNEMOUTH Spanish Guitar Centre. Prin: Tony Alton . I 86,

Holdenhur st Rd., Tel. Bournemouth 27153. •Strike , Donald (B., T.B., M., G., H.G.) . All

styles- 16 Westbourne Arcade.

BRISTOL Guitar Rendezvous. Prin.: Peter Blackburn, 24

Tennis Rd. , Knowle 4. Tel.: 76063. Spanish Guitar Centre. Prin.: Michael Watson,

2 Elton Rd ., Bishopston . Tel. : 47256.

CARDIFF Spanish Guitar Centre. Prin.: Michael Watson

35 Windsor Place. Tel.: 23813.

CHA THAM (Kent) Burt, Pete . B.Sc. (P.G .,Bass G.,P.B.,M.,Theory) .

67 Holland Road.

CHESTERFIBLD (Derbys.) Gullick, Clem. (El.P.G., G., T.B., P., P.Acc.).

6 St. Margaret's Drive.

CLEETHORPES (Lines.) Robinson, Ken. (G. & P.G.) 69 Campden

Crescent. Phone : 6339 J.

CRAYFORD (Kent) Middleton, T. Hugh, A.L.C.M. (Y.,M.,P.,G.)

4 Green Walk. Tel: Crayford 23728

DARLINGTON (Co. Durham) "Reay, John W. (P.G., M., Y., Bass G., Theory)

55 Cobdeen Street.

DERBY •Taylor, Bernard. (B. M. & G. all styles.) 44

Rowditch Avenue. Phone: 45469.

DUBLIN & BALLYMEN A •McGarvey, Jack. (B., Z.B., H.G .) Examiner

for "B.M.G." Diplomas for Ireland. All corns. 31 Ballymoney St., Ballymena. Co. An•.rim.

EDGWARE (Middx.) Lipscombe, R. (B. & P.G.) 34 Limesdale Gdn ~.

Phon e: COL 5305.

EDINBURGH McCall um, Duncan. rG.) 5 York Place.

FALKIRK •Macbe th, Will. (B., T.B., G., M., U.) "S,udio",

14 Orchard St.

FRINTON-ON -SEA (Essex) Keiller, W. J. (B. P.B., P.G.) 34 Sycamore

Way, Kirby Cross.

GLASGOW Davidson, James. (H.G .) 33 Gateside St., Glasgow, E. I

GREENFORD (Middx .) •Morris , Ian J. (G., P.G .) Hedgerle.y Gardens.

GT. HAR WOOD (Lanes.) Bat)lam, Wilfred. Mandolin artist. Mario cle

P,etro & Leopoldo Fraoci<-courses. Tuition on violin bv Sev~ik method . 29 Spring SL

HARROW (Middx.) Bolton, C. (G.) 48 Alicia Avenue, Kenton .

Harrow. Phone: WORd <worth 0519. ·

H ORLEY (Surrey) 'Sa rgent, Htrb. (P.B., P.G., M.,) 27 Church

Road. Phone: Horl ey 5029.

HORNCHURCH (Essex) Van:;o, George. (B., P.B.) 4 Randall Drive.

Phone: Hornchurch 42549.

B.M.G : HAYLE (CornwaU)

*Philp, Wm.C.D. (P.G.,P.B.,B .) Nankervis House Venton league .

H YDE (Ches.) Johnson, Eddie. (P.B., T.B., M., Bn.) I Cor•

onation Avenue.

LEEDS Proetor.,_ Cyr il. (B., P.B., G., P.G., H.G ., TB.,

Bass u., U .)--Specialist on Electrical lnstruments -180 Town Street, 12. Tel. : 637009.

LEICESTER *Chamberlain, J. (Lute, B., M., G., etc.) I

Waterloo St. Local agent for Clifford Essex Music Co. Ltd., (Examine r for "B .M.G." Diplomas.)

LIVERPOOL Bethell, Pierre. (G ., P.G ., H.G., B., P.Acc.)

- lst Fir ., 29 Islington. NOR 3231. Established here since March, 1942.

•Lewis, Fred. (B., P.B ., T.B., P.G., Bass G.) All styles of playing taught. Beginners or advanced. 480 Rice Lane .

MANC HESTER & DISTRICT *Shepherd, WW. (B.) 18 Weller Avenue. Tel. :

Chorlton 3820.

NEATH (Glam.) •Veale, Bert. (G., El.P.G., H.G.) "B.M.G."

"C" Grade Dip . Music Shop. Tel. 2825

NEWCASTLE-ON-TYNE Clazie, J ack. (H. G., Specialist, P .G., G., Bass

& U .)-18 Ancroft Ave.:North Shields. •Dorward , T. J. ·w. (P.B., T. B., P.G. & M. ,

Bass G and Theory) - 15 Hoyle Ave., Newcastle-on Tyne, 4. Tel.: 37477.

Smith, Charies. (G., P.G .) 5 St. George's Terr., Je,mond. Tel. 813539.

NEWMARKE T (Suffolk) Wiseman, Val. (P.G.) Post Office, Woodditton .

Phone : Stetchworth 218.

NOTTING HAM Leverton, Tom. (G., P.G ., Bass G. , EJ.P.G.,

(El.H.G ., H.G.)-16 Trentham Gdns., off Chalfont Dr., Western Blvd.

NUNEATON Beeby, Jack. (B., M., & G. all styles.) 193

Edward Street.

PLYMOUTH *Leet. Arthur. (G ., P.G., M., P.B., T.B., E.G.,

P ., .1'.Acc.)- Studio: 225 North Road. Stoyel, Arthur. (P. P.Acc ., Sax., V., M., U.G.)

Stud io: 6 Seaton Avenue, Mutley.

RAMSGATE (Kent) Young, Alan. (P.G ., P.B., Z.B.) Studio: 34

Hibernia Street.

SALISBURY Dacre School of Gui tar, Banjo and Mandolin.

35a Rollestone Street.

SHEF FIELD Drabble, L. H. <P.G., El.P.G., U.) 353 Hague

Row, Park Hill 2 Howe, L. W. (B., Z.B., G. Tarrega method.)

313 Brincliffe Edge Road. Phone: 52838. •St ewart, L. (G., Bass, Theory.) 103 Washington

Road. Phone: 55392.

STAINES (Middx, ) Minay, Henry. (G., P.Acc., P.) 8 Clifford

Grove, Ashford, Staines. Phon e : Ashford (Middx. ) MX 53457.

MAY, 1966

STOCKPORT Howard, Don. (Classic Gtr.,) 251 Wellington

Road South . Phone: 2127. Teacher for 25 ye.an; at Messrs. Forsyth's M/c.

ABROAD

ADELAIDE (S. Australia) •Boyce, John. (G.) The Melody Shop.

124a Gawler Place. •Sm yth, Joa... (G.) 10 East Terrace, South

Plympton. 76-4483,

BULAWAYO (S. Rhodesia) •An dersen, Palle. (G.) c/o Rawsons Motors ,

P.O. Box 1094. •se nar11, John. (G.) Apply : Radio Ltd .,

Box 1043.

CALCUTT A (India) *Das, Mukul, (El.H. G., P.A -,c. P .) Radio artist.

22 Bethune Row. Phone: 55-1:547.

COLUMBUS (Ohio) Kentner, W. C. (G ., B.) 1278 W.lst

Avenue, Columbus 43212. 488-3829.

HAMILTON (Canada) •Wadd ington, Pe rcy. (M., T.B., P.G ., P., 'dola,

M-cello). 18 John St. N.

HOLLYWOOD, Calif. (U.S .A.) Bickford, Vahdah Olcott. (G.) 2031 Holly Hill

Terr . Phone: Ho 7-203 I.

JOHANNESBURG (S, Africa) *Charl.ie Macrow's Studios for exper t tu:~ion

on banjo, mando lin, guitar and El.8.G. Studios Gcrm iston, Johan nesburg and Benoni . En,iuiries Phon e: 22.2361 or write Box 140, Gcrmiston.

•G ilbert Stroud . College of Music for B. M. & G. lessons. Enquiries phon e : 23.3846 or Box 204 Johannesburg.

LOS ANGELES, C"alif. (U.S.A.) Nixamis, John N. (Mandolin Ar tist-Teacher.)

1753 W. 42nd Street. Phone: AX 3 0865.

SINGAPORE (Malaya) •Martinez, Harry (El.H .G., El.P.G., G., U.)

Theory & Modern arrangements. Rad io A,tist, 354 Siglap Rd., Singapore IS. Tel.: 47752.

ST. PAU L, Minn. (U .S.A.) Bellson, Albert. (G., B., M.) Guitar Mas ter

Teacher, University of Minnesota, 538 Am. Nat' I Bldg.

SYDNEY, N .S.W. (Australia)

Griffiths, David. (El. H. G.), 7 Fa irview Ave., Punchbowl. 75,5216,

•Schumacher, Walter. (G.) 2 Kent Rd. Rose Bay. Phone: 37.611 J.

•Skin ner, Phil. (All fretted insts ., all styles.) 47 Pacific Highway, Crows Nest. Phone: 43-4713.

TASMAN IA (Australia, •Marsh , Jack. (B , M., G., all styles, T.B. , U., P.Acc .

Tbeo1y of Music) 30 Hargrave Cres ., Launceston . Phone: 62387.

TORONTO (Canada) Atkins

1 Bertram (Guitar)-108 Boulton Drive,

WA.2-1776.

VANCOUVER, B.C. (Ca nada} •Alexander, Arthur. (B., P.B., G., H.G., M.)

2483 Galt Street. Phone: HE.3-9657.

ABBREVIATIONS .- "B. " Banjo. "Bn." Banjol!n . "Dola" Mandola. "El.H.G." Electric Hawaiian Guitar. "El.P.G." Electric Plectrum Guitar. "G" Classical Spanish Guitar. "H .G." Hawaiian Guitar. "M ." Mandolin. "P" Piano. "P .acc." Piano Accordion. "P.B." Plectrum BanJ ·.> "P.G." Plectrnm

Gu itar. "S ." Singing . "T .B." Tenor Banjo. "U" Ukulele. "V." Violin . "Z.B ." Zlthe• Banjo .

.,,-/

M,w, 1966

HOW TO MASTER THE TENOR-BANJO

l>y Emile Grimshaw ltt elu c!(I~: Ptclim im,ry 1.:,.gon~ nm.I llxctd,e>. Scnlcs. ,, rpcgr:,ios. Chords . li:(crciscs in Time uml Syncopation . Len hund :ind IHsht tmnd facrci,cs . 0Jncc b"nd t>larin~. Urc:tk• and Endincs. Rhyth•

m1c Stroke~ etc .• etc.

Price 7 /6 ( l'OSIOJ:C Sd. cstr3)

CLIFFORD ESSEX MUSIC Co., Ltd . 20 EA RLHAM ST REET , LONDON , w .c .l

MICKEY BAKER'S COMPLETE COURSE in JAZZ GUITAR

IN TWO GREAT VOLUMES price 12/6 each book

(Po, ogt 9 d. tx cu )

BOOK , . 1•·c:i.t11rcs new hnrm o11io de• \'iCC.i :Hui l CChnic,uCcs : pro~rt~sh·c chonl :11111 rndody sLyle•: hoL i:uil,nr so lo~:u1<I i11cl11dcs rfrr~. hr cn-ks. n11.fns nml t he 1:.tcst 1'11ythm n-ud hluc s 1>hrn ses BOOK 2. Chord :rnalysis : chord~ 1111d 1rn,~ i11i: t011cs: r eso lution s: relrttcd chore! ~ : :illcr ed chordo,; symctri c; h:i ,, ,non;• i11trnduclions and c11di11i;s: tictl:~I 11oiut: cou 11tc1·11oi11t: ori:;i11:1I

solos . THESE TWO BOOKS ARE A " MUST " FOR EVERY JAIZ •MINOEO PLAYER

OF THE PLECTRU M CUIT AR.

Ob1amab/c (tom:-

CLIFFORD ESSEX MUSIC CO. LTD.

20 Earlham Street, London , W .C.2.

MUSIC STANDS

~ * NOW

fitted with non-sk id

rubber pods on feet .

* [

* A really eff i c i ent solidly • built music stand. F o Ids up small enou gh co be carried in the instru ment case.

* Telescopi c upright adjustable to any height. Really wide led g e for music, with extension

arms at top .

* Nick., p/01cd throughou t PRICE 31/6d .

(Posto~• and pockln, 3/6 ur,o)

CLIFFORD ESSEX MUSIC CO., LTD. 20 Earlham Stred , London, W.C.2

B .M .G.

12-S'fRING GUl'l'AH TAILPIECE

A wonhwh flo a ccessory for the do- i t•You r • self i;uita r mak er 01· the p layer wish ini; 10 replace the " flim sy" type of tail11icce filled

to some instrum ent s.

1)1,'J',111,S: 4 }iu . o\' ~1·:d l h 1u;.:1h. ~olid ca~ t. ~trin!.!• h r :.ul llt.1,,,1 wi th ,,u h-k :.◄•tio11 olot s . " "iclth or 111•:ul. ;>;1i11.; 11i,t.:u1cc ltctwct>n out e r std111."I.

2~111. ll i;.:hly ni<-kt•I p lntcd U11011::ho111,.

21/6d. Cl'o . r:,::, • 116<1. ~~, ra)

CLIFFORD ESSEX MUSIC Co., Ltd. 20. EAR LH AM STREET, LONDON , w.c.2

- REAL NICKEL-SILVER --

Fret Wire GUITAR 4{• per yard BANJO 3{- ,. MANDOUN ... 3/· "

(l' oSt !t/;C 9d. e~tr n) We ca n a lso now supply the extr a-wide

soft Gem1an frctwirc for BASS GUIT AR PRICE 5/6 YARD

(l'os1:we 9d. CNlra) ONLY SOt..D IN YARD LE NGT HS

CLIF FORD ESSE X MUSIC Co., Ltd . 20 Eull mm Stree t, London , W.C.2

Have you read A. P. SHARPE'S

THE

STORY OF THE SPANISH GUITAR

( THIRD EDITION) c o:-.'TAINS:

iii

A C0Mr •LETE IIISTORY 01' T IIE INSTRU· Mf.NT 1·oc1:.'T IIER WIT H RIOGRAl'IIIES OF ITS FAMOU S COM POSF.RS 0 1' T IIE l'AST.

l'LA n :ns AND l'ERS0 NAUT 1t:S

I 11c/11di11g T H IRTY -ONE FU I.L ·PAGE

HA LF-TON E PLATES , r special art .mJ1J1/e111c111 gii-c.1· f11ll•JJ(lge {lh<>tograph of ol d mu/ new g11i//lr.~ (!ro ll/ and back 1•ic 11·s) with ro111J1/ctc tlcwils of their co,mrur rio11 mu/ 11/1 rhc

rclcwmr 111c(lsttrcmc11ts. A hook c:.,·cr)•n.ne in1~rc.,tcd in mu<ic will cnjo\ · r1.'.;1din~ :md c,'\:r) 1 p f:1)-cr or 1hc Guit:1r will find

:. '(()ntCC of in<r>ir-:uion.

Cl.OH i llOUNO

15/ - (l'ostai;c 1/ 3 extrJ)

CLIFFORD ESSEX MUSIC CO.. LTD 20 Earlham Street, London, W .C.2

Sole selling oge ncs for U.S.A. and Canada

MILLS MUSIC INC . 1619 BROADWAY. NEW YORK 19. N.Y.

THE STUDIES OF FERDINAND SOR. Th o wo r ld•flllll0U S Hla dky editi on; ed i ted and ftni;orcd l)y CARL DOBRAUZ .

FOR EAC II AND EVERY PLAYER OF TJI E SPANI SH GUI T AR Book 1- 14 pieces. 13ook 2- 16 piece$. B0ok 3-16 pieces. Book 4- IJ piece;,. llook 5- 1.S pieces. Book 6-11 pieces.

llook 7- 10 pieces. EACII UOO K

7/ 6 (Postage 6d. cx 1r:-i)

Sole scll,nt 01cnu :-

EVERY O E OF T H ESE 103 STUD IES IS A WO RT ll -PLA YING SOLO.

These books arc progrcs$ ively arrnngcd. Book I i$ for th<! beginner, whilc nook 7

is for lhc advanced playe r.

CLIFFORD ESS IEX MUSIC Co . , LT D . 20 EARLHAM STR EET, CA MBR IDGE CIRC U S, LONDON , W .C.2

~~a~ul<J,, ~, HAKE SURE OF GETTING ' YOUR COPY OF " B.M.G." EACH MONTH

~:~~sS~~~ :;c;l-u:~:n,ct~n•Ji~; order . Th e mo .st trouble-fre e

SEND THIS OFF TO-DAY TO CLIFFORD ESSEX MUSIC CO .. LTD. 20 , E3rlham St,.. Cambridge Circus

LONDON , W .C.l

Please send me "B.M.G." for th e next twelve mont hs com men cing with the

... .... ..... ...... . . ................ 19 . ..... lssue ,

I enclose he re with ................. va lue 21/· NAME ....................................................... .. ADDRESS .................................................. .

To m:eke sure o( roc.aivint L :r:h i:h!Yp~~~!h~~;~t: d irect H •••••••••••••••••• • ••• •• ••••• ••••••••••••••••• ••••••••••

SU BSCRIPTIO N RATE - ............................ ..... ...... ................ .. l l /- fo r 12 Month s (U .S.A .• SJ.00) • l.'lcMo note ltl'NJ'\\' \ l Nl'W SUBSClU U.l::Jl U.S. rc>dtrs rtmiuin& by binker·s tn~ ~u h sc 1•f1lt lot1 I 'i .: '• ' ,1 •••• •• : • • ·:···· I cncck ,hould ,dd lSc. co cover b,nk includes S/ · (l'lc:t, c IHI~ X :11;:tmst. :i1Ip ro11rf at c scc~1ou) do•uncc charg e, . 110~1,.'\I ehn.r{;CS - - - - - - - - -

I ll yo u do not wis h to cu t th is " B.M.C .' ' copy tho above rorm on a shoot or papor)

iv B.M.G . MAY, 1966

THE BEST YOU CAN BUY-IRRESPECTIVE OF PRICE

CLIFFORD ESSEX ''TONE TESTED'' STRINGS Only th• finest mot,rla/s ul>tllinable or, used in tht monufaeture of these hlrh•grode strings, and each one It 1uarontud to be of the correct gouge /or th,

JXJrtlculor lnsirumtnt for which It Is lnt<nded . ONE QUALITY ONLY - THE BEST!

NYLON SPANISH_ GUITAR (Finger Style)

each

1st, best qual. 1st,

mono-filament nylon (light gauge) (standard gauge)

(light gauge) (standard gauge)

2nd, 2nd. 3rd. 3rd, ,, ., .. 4th , covered on nylon floss 5th,

(light gauge) (standard gauge)

6th. Set of 6 strings (light gauge) 15/-

.. (standard gauge) 16/-

LIGHT GAUGE PLECTRUM GUITAR (Highly burnished)

(Made specially for light action electric guitars and for players wh-0 use the finger-style method of playing.)

1/9 2/-2/-2/3 2/3 2/6 3/-3/3 3/6

Plated Steel, 1st and 2nd 10d. Mone( covered. 3rd . . . 1/9

4th 2/-5th .. . 2/3 6th ... 2/6 Set of Six Strings, 10/- .

(Be sure to ask for "Light Gauge" strings!)

ST AND ARD PLECTRUM GUITAR (Highly burnished)

HAWAIIAN GUITAR (For electric or acou stic guitars)

Steel, 1st (E) lOd. .. 2nd (C#) 10d. .. 3rd (A) I /-

Burnis hed copper covered 3rd (A) 2/3 4th (E) 2/6 5th (A) 2/9

.. 6th {E) 3/-Set df Six Strings, 12/-

(Stau whether plain or covered 3rd required)

BANJO each

"Silver ing" Plated Steel. 1st, 2nd or 5th lOd. "Tonal" Plated Steel (forplec. ·playing) 1st or 2nd 10d. *"Long-Life," monel-covered. burnished 3rd 1 /9 "Dura-Life," .. .. 4th 2/3 "Copper Polished ," highly burnished,

silk covered 4th 3 / -• Always state whether required for finger or plectrum

when ordering this string.

NYLON BANJO 1st, best qua!, mono-filament nylon 1 /9 2nd, 2/-3rd, .. .. .. 2/3 4th, covered on nylon floss 3/-5th, best qual, mono-fi lament nylon I /9

Set of Five Strings, I O / -Set of Four Strings, 8/6

TENOR-BANJO "Parago n," (special tensioned steel) 1st IOd.

.. ., ,. 2nd IOd. "Paragon," (monel cove red) burnished 3rd 1 /9

4th 2/3 (Complete set 5/6)

MANDOLIN or BANJOLIN "Gold Medal" steel 1st (E) IOd. "Gold Medal," steel 2nd (A) !Od. "G old Medal, " mone l covered burnished 3rd (D) I /9 "Gold Medal " ., .. 4th (G) 2/3

Set of Eight Strings, 11 /-

UKULELE Fi.nest Quality Gut I Best Qual. mono-filament Nylon 1st, 2nd, 3rd & 4th, ea. l /6 1st, 2nd, 3rd & 4th. ea. I /Set of 4 Strings ... 5/6 Set of 4 Strings ... 3/6

Specially suitable for electric guitars

Plated Steel, 1st or 2nd lOd. TENOR MAN DO- BASS CELLO OR BANJO Mone) covered , 2nd

3rd 4th 5th 6th

Set of Six Strings. l O / 6 (State whether plain or covered 2nd required)

1/9 MANDOLA ~~3 Plated Steel 1st (A) 10d. 2/6 Wire Cov'd 2nd (D) I /9 2/9 3rd (G) 2/-

4th (C) 2/3 Set of Eight Strings, 13 /-

POSTAGE EXTRA

Wire Cov'd 1st (A) 2/6 2nd (D) 2 /9 3rd (G) 3/ -

.. 4th (C) 3/3 Set of Eight Strings, 22 / Set of Four Strings. 11 / -

CLIFFO·RD ESSEX MUSIC CO., LTD., 20 Earlham Street, London W.C.2 Printed for Henry G. Wake.- Limited, 70 Shaftesbu r y Avenue , London , W.1 by H. G. Leates Ltd. , 45-47 Alexandra Street. Southend-on-Sea.

Essex and publi shed by the Propr ieto rs, Clifford Essex Mu~ic Co. Ltd ., 20 Earlham St ree t, Cambr idge C ircus. London. W.C.2.

MAY 1966 - Classic-Banjo

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Transcript of MAY 1966 - Classic-Banjo