No. 457 ) MAY, 1943

MUS IC IN TH IS ISSUE Plec trum Banjo Solo : ·• C:\pc Town Parad e."

Mandol in Solo : " Peaceful Is le" Plect r um Guitar Duet : " Polonaise " (/Jorh) . Haw a iia n Guitar Solo : " One Sta r lit Nigh t..''

P lectrum Guitar Solo : " Mellow Mood ."

i i

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• FORTtETH YEAR • ,:. f •

. ~o~~~ The Monthly Magazine de~oted to· the interes~s of the ~anjo, Mandolin , Guitar and Kindred Instruments

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Vol. XL. No. 457]

A. Edited by P. SHARPE

I . The Editor does not nece 1111rih1 agree u,,i th the opinions ezpressed

by his contributo n .

MAY, 1943 .

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ADVERTIS ING RATH ON- REQUHT,

[P rice Eightpe nce

The Spanish Guitar In England

outstanding ~ players of the instru- non-players who came solely because ment. of their desire to hea r· guitar music.

At liis former home in Cromwell PUBLIC RECITALS Road, London, all . four walls of h is Th e more spectacular, although to

By J . L. WHITE music room were .covered with photo- him , personally, less important, activi-

1 N the Ja nuary "B.M.G." R. E. graphs .of guitarists from the earliest ties of Dr. Perott were the promoting Pullman expressed regret at- the times to the present day, and he had of public recitals in London of Con­lack of interest shown in the many personal souvenirs of contem- tinental guitarists making their first

Spanish guitar, suggesting that this porary players. visits; notably Lou ise Walker and was due to the failqre ·of its en- His. principal object behind the Francisco Alfonso. In · spite of the thusiasts to make efforts to bring the formation of the Society was to help success which these two artists had instrument to the notice of the gen- anyone who wished to learn to play achieved abroad, both on concert eral public. H~ thought that while the Spanish guitar, and the most timid tours and iq broadcasting, the a1:1di­·the difficulty of the solo instrument aspirant could be · sure of an inter - ences in London we_re disappointi ngly accounted for the absence of concert esting and enjoyable visit to his house small and did not justify furt her appearances of guitarists, mu_ch ~i~ht and plenty of encouragement and efforts . be done . by means of pla_ym~ with practical help . The p1:1rely nominal The Society always • ~ad a sma~l other strmge?- and woodw_md ms!ru- subscription to the Society and its number of • keen enthus iast s, but 1t ments -to ~rmg the clas~1cal guitar unique library of guitar music made never increased its current member- . before aud1en.ces who might other- it open to anyone who wanted to ,ship in a manner which c.ould indicat.e wise not hear it. - know ·more about the instrument and that it had succeeaed in creating any

Although it is true that players ~nd to meet other players-who ranged considerab le influence on the atiitude . admirers · ?f the real gut and silk- from guitarists of world-wide repute of the ·general public to the guitar. strung guitar, as a . body, _could h~ve to beginners who struggled ner vously It is fair to conclude from Th:. been much more active m securmg with their first pieces . Perott's experiences that the Spanish appreciative recognition: of their in- · E t· 1 tt ded by guitar makes little appeal to English strument, sufficient evidence _ is al- very mee mg was a S? a en people as a classical instrument, but rea dy available to enable one to form --------------- does attract just a few individuals an opinion regarding its position in who become ardent ent husia sts . Yet England at present, and to conclude _ co n tents for the sake of these latter alone, Dr, that this is not likely to alter sub- Music in th is issue : ~ Perott will surely fee l that his en-stantially in the fut~re. : 1:~!:'i,: i~f~~ ~.0

i~~.-~~rp:s 1!~,wn Parade" deavours have been well worth "".hile. Plectrum Guitar Duet : · " Polonaise" (Bach).

PHILHARMONIC SOCIETY Hawaiia n Guitar Solo : " One Star lit Nig ht" , Plectrum Gui t ar Solo : " Mellow Mood "

Without any doubt, the greatest Banjo Boosting . By Byron Davies . . 153

efforts at making the classical guitar " B.M.G.'' Club No tes . · · · · 156 " B.M.G. u Diplomas . . 158

known more generally 'in England _ in By th e way • • - - - - 155 Correspondence , . . 156

recent years have been those of O.r. Easy - Bu t worthw h ile . . . . . . . . . 148

Borl·s· Perott, who, wi·th thi's 1·dea m· Felix Men de lssohn 's Hawaiian Club . . . . 148 Four-St rin g Gu itarists. By Sa m Ad a ms . 145

· d · f d th Ph 'lha ic Frets at London's County Ha ll . . . . . . · 148 m1n ,. Orme e I rmon No Th anks For ," Th anks For th e., Memories." . Society of Guitarists in 1929. _O.r. ,By E. Ga t es . . . . . . . . · . . 144

, ·t · t • th R ad io News . . . . . . . . . . : . 156 Perott s career as a gm _ ans 1n e Rh yt h m ic Playin g of the P lect ru m Ba nj o.

large . concert halls of Czarist Russia Smar.y A~~ce~ti~::::: :."ts :-: .. .. : : ' m has -already been described at length Th e Beginne r and t he P lec trum Guita r.

G d 1 . d By Jack Whi t fie ld . . . . . . . . 154 in "B.M. .,'' an over a op.g per10 - Th e Mus ic Of Eddie Lan g. By Bill y Ne ill . . 146

he contributed articles on the world's The J . t~ a;, 1~rte Guita r In Eng la nd , By 141

SEGOVIA To make the ordinar y Englishman

understand what is meant by the true Spanish guitar, without demon­strating the instrument or playing a gramophone record, _it is necessary to mention the name of Andres Segovia · when, if he is interested in music, he will perhaps realise that something . other than the instrument played in the dance band is• meant, for Segovia is the only player who has maqe re­peated appearances in London and the

142

provinces, broadcast frequently ,' made more than one - English record, aQd has been televised.

Segovia's first recital in 1926 at . the Grotrian Hall secured for him the -most lavish prai se -in all the principal news-

B.M.G. in his collection, ther~ would be -a dif­ferent response-although one pro ­gramme alone (broadca st when the least number of people could hear it) would be unlikely to evoke this .

papers, and ever since he IJ,as been VALUABLE WORK received by · large and enthusiastic The amount of work done by the · audiences, He certainly has made the Editor of "B.M .G." on behalf of the Spanish guilar known in England (or, Spanish guita r has been mo.st valu­perhaps, it might be truer to say, that able and continuous. He took an he has made Segovia kno wn in Eng- active part in the meetings of the land), but in spite · of his success his Philharmonic- · Society of Guitarists playing does not appear t.o have inspired any general _in­terest .in the instrument or any clemand for further guitar music from the musical world ,: the gramophone companies , or the B.B.C.

RECORDS The recor d companies may

justly claim to know the popularity of various kinds of music as shown by ihefr ·sales, and their , catalogues therefore supply valuable evidence regar ding the posi­tion of the guitar in England. These said catalogues show tha t over a number of years less than a dozen Spanish guitar records have been is­sued, -and any inquiry after further possible issues brings the reply that sales hardly justify what has already been don e.

Th e B.B.C., even more than the record sellers , are able to assess tlie public reaction to music. . Over several years they have, -apart from Segovia ,

May, 1943

wor ld of , the Spanish guit ar-who's who and what's what-and it is throug h him, personc.1lly, that many enthusiasts glean interesting pieces of infonp.ation and (often) welcome news of each other.

DEBASEMENT Most players of the Spanish guitar

fee l that th e plectrum-played guita r is largely respons ible for their own obscurity, and what they consi"der to be the debasement of a beautiful in-

strument. One of . the man y " swing music " enthusiasts who have a great admiration for the classical guitar once made an ambitio us ·attempt to reconcile the two classes of exponents . In . 1939 at th e

. Streatham Rhythm Club , he invited a number of players of ·both guitars to play before the huge audience. Much as some of the classical pieces may have been appreciated , there was not the slightest doubt that 'no "converts" wou ld be forth ~omin g.

·From the foregoing it may reasonab ly be concluded th at in England there is very littl e interes t in the Spanish guitar except -as a novelty introd uced occasionally in musi cal pro-

. grammes of wide ly varyfo g types. .

This country has ·pitifully few really capable pla yers, and these · are. rarely heard.

broadcast very · few guitar Drawn by] [J. G. He-nderson r,ecitals; these include those of .. DO YOUR WORST , DIGBY, WE MAY GET

There are many amateur players of the Spanish-•guitar who are extremely devoted to tq.eir instruments (for some the guitar is· their sole and all-absorbing interest) and Emilio Pujol, Maltide Cu ervas SOME EGGS ! "

and Alice de Belleroche. In five years and did ·everything to help it by giv­they have given two gramophone talks ing space in , "B . .M.G." to its reports , on the Spanish guitar (one by Charles letters from members, articles, music, Chil ton and the other by A. P. and advice. Sharpe) , and with monotonous regu- He frequently brought to the larity for · the last sixteen years th ey Society's meetings selecti ons from his have br oadc ast the three or four unique collection of records and thus Segovia records in their possession. enabled members to hear famous

Th e Corporation (or, at least, those players who are never in England. responsible for the broadcast of this It is quite possible that the attention type of music) apparently rega rd this he gives to the interests of the Span­amount of Spanish · guitar music as ish guitar is out of all proportion to sufficient to satisfy the interest the actual number of readers of the shown. - · · magazine who are really appreciative,

P erhaps if the y were ~o accept our but th eir appreciation is all · the Editor's offer to _introduce . a greater greater because of th is. var iety of pl;iyers and styles ' of play- · Mr. Sharpe knows more than ariy­ing by :means of the records he ha s one else what is happening . in t}:ie

they displa y a kee.nness seldom ob­served in other instrumentalists. The y can never hope to. secure for .the Spa.nish guitar an appreciation from the genera l public even · approaching that accorded orchestra l ins t ruments , or the Hawaiian and plectrum-played guitars.

"PEARLS BEFORE SWINE"

Since the foregoing conclusion is based upon man y years of va in at­tempts to stimulate a desire for Span­ish gui tar music-some addresse·d to would -be players and small groups of sympathetic listeners ; and others to the worl d of music~lovers at large-it

Rhythmic Playing Of The Plectrum Banjo

. By DICK SADLEIR

143

" corny .. " Moreover, fretted instru­mentalists are inclined to be ·some­what conservative-even narrow-in their musical outlook.

:Seems logical to presume that no fur­ther efforts in the future are likely to hav;e very different results. It would therefore be well for players of the -classical guitar to cease expending their time and energy in " casting s INCE the public ation of "Chords pearls before swine" and to develop for the Plectrum B;mjo," many

PROGRESSIVE Views and -opinions on any subject

are largely formed by environment and experience, and I would suggest that the average fretted ·instrument player has not had much opportunity to study modern style. He, therefore, must be a little cautious in his con-

instead such activities as will tend to readers of "B.M.G." have writ-bring them closer together for their ten asking how they can develop the mutual satisfaction. Ken Harvey style of playing.

Players should realise that, · like To clarify th~ iss.u.e, let us see what many beautiful things in an ugly is generally meant by .this style. world, the instrument of Sor and What most readers really seek is Tarrega is not popular. Its difficulty information in playing the banjo in alone precludes nearly all of them , the crisp, full _ rhythmic style whi-ch from attaining the conce·rt platform, Ken Harvey devel?ped. '

dem~ation. · Is ." modern style " desirable on the

banjo? Any fretted instrument player is · entitled to ask such a ques­tion. My view ii; that such a st yle is ooth desirable and progressive.

while the utt er lack of any prospect Wherein does the elusive difference of earning money with the instrument compels it to be definitely art for art's sake when its players bave just a few hours for practice afteT a probably wearisom e task of .earning a liveli­hood .

There are harpists, players of the harpsichord, and recorder players for whom their instruments mean the most important thing in life, yet who could not secure even as much time on· the radio or in the recording studio as the classical guitarists .

GET TOGETHER

In normal times players . of the Spanish guitar will do sufficient in

First of all, let it be said that modern style is E>ssentially crisp in character. This is surely suitable for the banjo and a refreshing change from the jangly style affected by some plectrum players.

Let us consider the approach to this style.

I believe that the best mental pic­ture of modem style can be gained by listening to the brass section of a good dance band. Here is the crisp style and a cutting ton1;1 colour which is akin to that of the plectrum banjo. I will leave this aspect of the question

. in the hope -that the interest ed reader will listen to good bands.

keeping themselves together through APPLICATION SID TAYLOR a Society and a magazine such as As to the method of applying this "B MG " k. ·1 bl h 1 d an enthusiastic p¼tyer · of the . . . ., ma mg ava1 a e e P an electric Hawaiian guitar. style to the banjo, let the student loolr instruction to all who are inteHisied Before the war Mr. Taylor was f)rst to his re~ding. Whatever phrase in joining them , arranging meetings weU known in the North London he plays, let him see that the notes and informal concerts in different district for his playing wi th . his are placed accurat€ly. Let him con-

. h · · h · · d own combination" .The .Ha 'rmony areas, v:1t Joint gat enngs peno - Hawaiians." Now that he is i n sider the normal accented puls es or ically, rather ·than in devoting much the R.A.F. his spare time is beats and the syncopated beats time to pr_opaganda. limited, but he stm manages to falling between them'.

play at concerts, etc. T · · · Th e keynote seems to be" get to- ____ _ __ __ _ _ ____ he ·next point to consider is the gether," and "B.M.G." at present lie? Fjrstly, in the sulbstitution of difference in practice in the sound offers the best opportunity of doing chords for single notes. Secondly, in produced by the up stroke and the this and attracting the , attention of the employment of dance-band phras- down stroke. This is of paramount possible newcomers to our ranks. ing; that is, breaking U,P the melody importan _ce in producing a rhythmi-

in the idiom currently popular with cal effect.

SAVE PAPERI

IT IS A

VALUABLE

.MUNITION

dance bands. The ·« D tuning" popu- Now let us try an exercise based larised, though not originated, by Ken on the foregoing . remarks. Take a Harvey has no real influence on the four-note chord on the banjo and play style. Wally Had ley can be cited it four times to the bar; that is, as as an e~ample of a player who em- four crotchets or four quarter notes ploys modern style, but uses the in foxtrot time. Now, in the next orthodox C tuning. bar, take the same chord and play it

Let me begin by saying that I four times with an up stroke, 'f:?egin­realise only too well that any article ning with a quaver, or eighth, note on modern style must necessarily rest. The two-bar phrase then is: give rise to controversy. No two down , down, down, down-rest, up , plaY.ers agree on what is stylish and up, up , up. All the notes in this two­what is: to use dance-band slang, bar phrase , with the exception of the

·144

last ··note, will be quart~t notes. · The final note, as you will · readily ·see, must ·be ·an eighth~note. Therefore, you have four notes on . the beat in one bar and four notes after the beat in the ne:x:'t. · · ·

Pra -ctise this sequence over ~nd over again, keeping one foot tapping four in the bar all the time. In the second bar, your chords should coine between the f9ot beats .

tbat ap inqe _asjn,_g n;umbei; ·Qf· pic1yers be'en· chosen -to write and ··-pres~nt ,su(}h will endeavour to get a new ·u slant" a sickly •· pseudo-sentimental ·pro­on their playing, •gramme about a player who ·· remains

the ·idol of most players of the plec-t .trum guitar. Lang himself, if our · in-

No Thanks For "Thanks formation is correct, would have hated

For -The Memories ,; hearing such slush as put over the air on this tenth anniversary of his death.

By E. GATES MORE SUITABLE RECORDS • Almost any plectrum guitarist with

THE idea of broadcasting a pr?- a knowledge of Lang, the man, could gramme about the late Eddie surely have devised a better pro-

. LIGHT AND CRISP , Lang _ on Mareh 26th was good. gramme thim " Thanks for . the At all times . see that your playing I wish I could say the same about the Memories" turned out to be. (And

is light and crisp. The effect required programme. . why that title, anyway. Surely it is not that of an arpeggio chord- Listeners who heard the . broadcast would have been better suited for a rather that of a chord struck on the will remember the almost "sugary" programme of "hit" tunes by one of piano without using the sustaining presentation : and tha,t the major por- tin pan alley's prolific song -writers ! ) pedal. · tion of the records used were by popu- If our Editor will pass this para-

For practice.in this style I have ar- lar vocalists (an obvious way of try- graph (and I hope he will ·not "blue ranged a chorus of "Swing Low, ing to appeal to listeners ~ith · lit~le pencil " it) I suggest that, in future, Sweet Chariot" (reproduced on this or no interest in Lang or his music) if the B.B.C. want to pay tribute to page) and-) it is suggested that the in whic~ the average · peri,9_n may,_ 0~ any player of a fre t ted instrument student acquaints himself with the may not, have heard a guitar bemg he alone should be chosen for four~note shapes of the chords in played. . . the task. I think . it ha~ be~n either the C or D tunings .' Both We wer-e told that the scnpt for proved that he can wnte a scnpt suit­shapes will be found in " Chords for this programme was written by Rex able fot broadcasting; his knowledge the Ple.ctrum B"anjo." · Harris and Bettine Rampton, the pro- of most player's activities has never

. . gramme being presen:ted by the. for- been in doubt to anyone who has ever : For ·the ·. conyenience of ban301s_ts, m~r gentleman. Mr. Harris has been listened to his biographical broadcasts

I have transcribed the arrangement presenting a programme about and articles· while his vast collection , to the familiar lcey of G. As a gene_ral '.' swing " music each week for longer of fretted instri.unent records could ~ule, ,,however , keys empl~ymg than . I care to remember .. Frankly, I provide the ;inusical examples .

open chords are to be avoided. have never been able to hsten to one It would be easy to say the -kind " Ringing " chords are not wanted. If of these broadcasts, so I cannot say of records I would have chosen had I the · st.udent ma~es progress, there - whether Mr. Harris knows his subject been asked to compile. a memorial fore, he could with adv~ntage trans- or not . . . and it is surprising how programme on Lang (a most unlikely pose the piece half a tone high~r into many people broadcast on subjects eventuality). I dQ not propose to A 11. The last two chords m the of which the ir knowledge is of the enumerate such records, but I should second bar, for. example, would be slightest. I am willing to wager that certainly have used. more records of "snappier" as a result . . this gentleman just about knows a · Eddie's solo waxings; some of his

Paper and space are restricted in guitar when he .sees (and hears) one lesser-known duets with Lonnie John­these times and many of us are asked . . . but that is the sum total of his on (what is better guitar-and jazz­to dispense with diagrams we would knowledge of the fretted instrument. than some of their . blues?); the normally ·employ. However, I hope With this in mind , it is ~eyond my Venuti/Lang duets (such as, "Stringin' I have made my meaning clear and comprehension why he should have the Blues" · and "Goin' Place ·s "); his

· perfect team work with the "Blue · SWING LOW, SWEET CHAR IOT · F " b t h 1 Arr D. Sadleir our . . . u w Y go on .

" - A..-=-.. "~ A A b A..-.. INEVITABLE CHOICE :f=v , ~ f M,-F ±-U tF$ ! : I , ! $Er H w~~ertct~~~iht~!s~ec!rd :f~1~e1:f~~~~ · . • A- ,. · A would _ come into the · broadcast, be-

,,.. ~ J A-. A ~A f f -6f: , ,.. A ~ ~ ~ : cause of the obvious tie-up this pre-

. 4• s f. ~ tl1dld r ~ 1 .7 t r tI I a 2 r !" , ~~~;0a·1~~~~ s{~~~u~~~~~- h:v~r u~~

it. · b q" • . . 1, "-- I do not know whether it y;as Rex f# ~,5 ~q,: f ; I f; Ff i I fi 81=$ ! ; I , l ~ l I ;!:;~~s~leBei;~~es!~m~~~r;;~;, ;~~

technically-wrong phrases such as : • 11. " Lang made niany experiments With

-, :bf u ~ i; I 16 , Hi tli'11 . F F I . II ~~= ~t.~::,:,~.~;;ie~~h~·~:,: • . strument," or the (to us) laughab le

145,

statement that : "Lang had a way of · of .the average 'cello~built guitar . • the average player's poor tcme produe­pulling strings to produce the sus- When the guitar manufacturers tion. One cannot expec~ to pro.di.ice tained notes typical of his · style ." began producing tpis kind of instru- a fine round tone by stro!<ing . . the (Forgive the italics!) ment they made fingerboards narrow string s with a flimsy apology for a

to encourage ban j_o players to double plectrum. . . THEm HANDICAP on or take up the guitar with a mini-

:ELECTR~C GUITAR Many articles have be en written mum of effort. Although this had the .about Lang and h is guitar playing - desired effect , some of these banjoists mostly by non-play.ers of the instru- Th e intellig ent use of a microphone ,

. ment ,. which has been. iheir handica:p. applied th eir banjo technique to th e -toget her with a - su it ably subdued R H · h d b · 1 d guitar , produc ing a stYle o£ pla ying rhythm section, will also do much to

ex arns a O vious Y rea some almost exclusively confined to the top of these articles , for the old cliches four strings of the instrument. remed y this fault. And, of course, we . made their appearance. · mu st ·no.t forget the increasing use of ·

Readers of "B.M.G ." will be learn - The chief exponents of th is stY1e the electric guitar which, I hope , ing ·a lot about Lang and his music w~re, of course, Kress, McDonough, when sufficien tly develop ed, w ill solve from OU'l' new -series of arti cles Vi~tor_ ,and V_olpe, and th e . av er~ge all guitarists' tone and volume by Billy Neill. It is possible . that Mr. guitarist ,. findmg _the bass strm~s ~iffi- problems.

· Harris will also be learning from t hese cult for .solo ,P1~ymg; adope~ th is • top Ano ther way to improve one's bass­articles . . . and, on the next anni- four st rmgs mode of playmg. string technique is to try playing some versary 6f Eadie's death, be in a better The trouble was th at whereas t_he of the easier solos and studies written position to present a programme about l~ader~ of th e s_tyl~ coul~ (and did) for the Spanish (finger-style) guitar . this . guitarist . .. Although I hope he hit a_ me,an bass .st rmg (witness some -Players of the plectrum guitar will will not ! , of Kress work wit~ 1,ang) th e ave_rage find that a great number of these can

My disappointment in this pro- player, th ro_ug~ e_it_her · she~r lazmess be played quite easily with a plec ­gramme was complete when Mr. or lack _of mcln_1ation, neglected th e trum , and they nearly all feature the Harris ended by sa~ing , in 'the most bass st rmgs entirely. bass strings to the utmost advantage maudlin of tones :· "Goodbye, Eddie for the old composers for the Spanish ... and thanks." GREATEST GUITAIUST guitar knew that the instrument had

Can you wonder that " Mike," writ- Fortunately there were still a few six strings-and · used them. ing in The Melody Maker, said: "I top-line guitarists· who used the On this page I am reproducing two listened dutifully-and l ·came away bass strings for • other than ornamenta- examp les of the effective use of th e feeling more than somewh;i.t slightly tion. I need only mention one-yes ( bass strings that are both taken from sick"? . · Eddie .. Lang-who, despite the sneers the first movement of Lauderic • A_nd ~f any .reader . of !~B.M.G," of "corny," etc., from the chord- Caton's "Concerto for Guitar." The

wants to read what any intelligent cho~s gentry still remains one of the · first two movements of this rhythmic and -enlightened listener must fiii-Ve greatest . guitarists that ever lived. I work have already been broadcast -by thought after this broadcast, he should do not think anyone . will dispute me Caton with Johnny Claes' Orchestra, read "Mike 's" article. For onc_e 1 am · if I point ouf that -he owed no small and_ the work is conspicuous for its i~ . complete agreement with, thts part of this .fame to his extensive use fine use of almost the entire range writer. of the bass side of the guitar. of the plectrum guitar.

I wonder how · many "four-string" Four-String Guitarist s . . guitarists' efforts will survive the test INCREASING POPULARITY

of time -as 4as Lang's playing ? The bass figures in bars 6 and 7 of .By SAM ADAMS . Another reason often quoted for this ·Ex. 1 must ·be played on the fifth and

L. ISTENI:r-,fG to many players of the neglect of the bass strings is that fourth strings re~pectively (the first plectrum, guitar I sometimes they are not heard as easily as the note only of the phrases being struck

.. wonder why they bother to fit {reble .' In the main, this ·is due to with . the .plectrum), otherwise the bass strings to their instruments. Ex­cept for an occasional chord in the ·accompaniment , the bass strings are seldom used ; while in chorus playing they rarel y go below the thin} string.

This is a deporable state of affairs, for the bass side of the guitar has a beauty and sonority all its own.

(;

....:.J . . (;7

Ex. 2.

sli d"

Hm · 07 C Cm 'JI

Many -reasons have been forthcom­ing. why so many players of the plec­trum guitar neglect the bass st rings of 1-heir instruments . Some ar e merely excuses, while others are intelligent reasons worth.y- of consideration .

9u JJintP~.J □ ,,pdJ JJµplJJJf.UJtn 1p1,JVJ wyJ ~ ,C 67 A7 07 G C f;? Am7 1)7 _

NARROW FINGERBOARD -~ =- .=-Personally, I think that one of the ~-4 Ui

chief ea.uses is the narrow fingerboard · ·

r·1~~1U"tJ . - ¥Jt

146 May, 1943

effect will be lost. Ex. 2 is, apart from pass notes to the first blue-blowing tenor-ban •jo and there seems barely its melodic appeal, a really fine bass- chorus, after which follows a banjo time for a switch over before and string study that 'will not present the '' stop chorus," which may, or . may after the solo. · .average guitarist with any difficulty. not, be played by Ed.die. Frankly I However , this need not , by argu­

As will be seen, both these examp les favour Bland as the player, based on ment , delay us longer; suffice · it to are complete phrases in themselves. several reasons, one of which is that add that whilst more could be wr itten

I think I have enume ,rated some of the instrument used is a banjo , of these recordings and what Eddi e the ways to overcome thi.s disuse of whereas Eddie was kno wn to use a does in them , time and space can be· the bass strings, and if players will follow the suggestions I have · outlined

_.they will be amply repaid and will be * contributing in no small way to the ever-increasing popula rity of the plectn~m-played guitar.

The Music Of Eddie Lang

By BILLY NEILL

(Continu_ed from the April issue)

R'ETURNING to _America, Eddie Lang continued to record with the Blowers, and among several

titles were " Tiger Rag," " Deep Second St. Blues," "P lay Me Slow," and " Gettin' Told," all of which were made dui::ing 1925 for the Bruns wick Company.

Altogether , the group (from the tim e Eddie joined them) recorded be­tween sixteen and twenty . titles, ex­tending to 1928. These, together with all of hil? most important recordings, I will append as a discography at the close of this series-that is, if demand warrants its inclusion.

-Most of the tunes recorded by the Blowers were compose.d by its mem­bers (as previously stated); Eddie's nam e being , in several ins tanc~s.

· linked with that" of McKenzie, but as " Lang e P and, .in one- case (" Best Black "), was quoted as "Carle."

Some of these composition s by Eddie are : " Deep Second St. Blues," "Gettin' Told ," "The Morning · After," "Stretc h it Boy," "Blues in F," "Hot Honey," etc. The finest of these I consider to be " Best Black,' _'-whic4 is as musically melodic a composition as any one could hope to find.

TENOR-BANJO SOLOS In " If You Never Come Back "

Eddie .demonstrates his abilitv as a tenor-banjoist oy piaying a ·single­string solo in similar style to his guitar :playing, complete with "p ull " effect and all ! Bland is credited as composer of this piece, but the back­ing (" Hot Honey .") is by Lang. On this side Eddie plays gu~tar

1 walking -

EDDIE LING

Real name, Salvatore Massaro. Born Philadelphia, 1904 ; died 1933. First famous hot guitarist. Lifelong partner of violinist Joe Venuti. Visited London 1924 with Mound City Blue Blowers, In addition to many solo and duet records, worked with Paul Whiteman, Roger Wolfe Kahn, and other commercial bands. Accompanied Bing Crosby, Boyd Senter, Gene Austin, Annette Hanshaw , Ruth Etting, Sophie Tucker, etc. Recorded with Goodman, Nichols; Trumbauer , McKenzie, Mole, Dor­seys, Lanin, Pettis, Rich, Redheads , Charleston Chasers, etc. Featured in the film "The Big Broadcast" and with Paul Whiteman in " The 'King of Jazz. " Con­sidered by many to be · still unequalled as technical and artistio master of his

instrument.

used t!) bette r purpose in giving a more detailed . review of his many bet­ter . and • lafer elect,rically-recorded efforts when we meet up with them.

But before leaving the Blqwers, mention must be made that they are worthy examples, and at least one or two · titles should be includ ed in guitarists' collections and • are not being glossed over as immaterial ·in this survey of Eddie's recorded work.

LIVED IN THE STUDIOS To go back a little to the period of

his schooling we learn that , to quote the "Rhythm " article : "Attending this school and also playing ' violin in the orchestra , was a boy who has since become my inseparable pal­Joe Venuti." It was with Joe that on Eddi e's return to the States in 1925 they renewed a temporarily broken partnership; forming an orchestra of their own to play in " The $ilver Slip­per Cafe,'.' in New York .

. B.M.G. artist as long as it provided him with th e opportunity to do so. ,

Aside from the necessity of playing for "bread and butte r," which is, most unfortunately, the necessary lot of any artist, it is obvious that the demands made for his services (apart from recording) provided a sufficiency of means to justify his choosing at pleasure and with independence to play only with and for the best orchestras and artists-but he · ap­parently was not content to do so.

IDEAL OBJECTIVE The ideal objective was for him to

derive the greatest pleasure out of, and to attain ·his purpo se with, his guitar and his music. His whole life ,­being wrapped up in his instrument, pr~vented him from enjoying (?) .the superficial and easy life of the clp.ss of musician who catered for , and pampered' to, the elite; to audiences who cared not for , or .understood , the soul of music.

147

any, however cynical, sarcastic, or exact the examiner may be. His style sur passed the genera-I trend and level of guitar-rhythmic-music at each phase or period of development in dance music. In fact, his was · the standard, the ideal by which others "' were judged. His . was the lead that kept the playing of the plectrum guitar on the upgrade.

After the joint attempt of having a band of their own, Joe and Eddie (in 1925) joined the orthestr a led by Roger Wolfe Kahn and, as Eddie states: "Played with him until he disbanded the outfit "-but more of this later.

WORLD RENOWNED PLAYERS It is said that Venuti and Lang

were occasionally engaged for special sessions by Goldkette around 1923, just prior to Eddie 's trip to London with the Blowers.

This band, at that tfme, had several star players whose nam es were later to become world-famous.- · The late Very few recordings can be traced

featuring Eddie of this period, and the task of tl'acing- his recor ded his­tory from 1926 onwards- now bec9mes more involved because of the fact that the success of ·Lan g and his guitar c~eated such a deman(j for his services that he might be said to have lived in . .the· studios for the remainder

. of his all too short life. It , is almost impossible to s_ay for

certain that he remained with any particular group for a certain period, as it is found that whilst contracted to play for a said orchestra, he would ,also be recording or broadcasting with all sorts of bands and artists.

JOE VENUTI AND EDDIE LANG.

' Don Murray (clarinet and saxophone ) whom Venuti used for one or two of his late1' "B lue Four" recordings; Steve Brown on bass (the most excit­ing player _of the earlier Goldkette recordings), and the nucleus of the old · Scrant .on Sirens: Riskin , Farrar and the Dorsey Brothers, all o~ whom, as mentioned previously, were in­duced by Goldkette to join· his band.

One wonders , on studying the many recordings on which Eddie is featured and allowing for the playing time given to dances , cafes, broadcasting, etc ., if he ever found time to sleep at all!

HIGH STANDARD

It can also be wondered .that , spending so much time with his

This form of music for Eddie must have been obnoxious and far from his ideals and ideas of music as an art. They m{ist have been from the facts above stated , and because he played with any group and artist, irrespec­tive of race , colour or creed. Eddie could, and did , play with the best and worst-from the h~ghest to the lowest.

I need only cite the instances of his having played with Andres Seg6via and Boyd ·senter !

GA VE HIS BEST guitar , it did not become merely a Where, in all of Lang 's recordings, job of work with him. It is undoubt- .might one accuse him of having edly a fact , his efforts rig})t to the played without feeling? ·of having last were of a musically high stan- not meant what he played? No mat­dard, and undeniably true that it did ter the artist , group , or type of music, not, with him , become a 'mere form of Eddie gave of his best like ·the true work, as he could not possibly have artist he wa_s. He participated with

· retained such consistency of perfect the fullest sincerity and contributed musician ship. That it wa.s devotion greatly to the success of the whole. to his instrument and his love of The early recorded examples of music is evidenced by the ·fact ·that Eddie's playing can, even by preserit­he would play with any group or day standards , stand the c~·iticisms of

Venuti claims he had been a mem-ber of this band from as far back as 1918, as he tells of how he made his first . record with a band when four­teen years old-and 'that this band was Goldkette's.

The title recorded was "No . 14 Blues," so called because this was the number of the• piece in t):l.e blues library book. -In tHis Joe played a four-string chorus .

VENUTI ERRS Dil_igent searc hing and ·inquiry re­

veals that Venuti aparently errs here in ·a matter of ·four or five years, as the Goldkette band was not formed . until 1922, just when the Scranton Sirens disbanded.

I am indebted to Chas. E. Waring for his • assistance in solving the riddle of ·th.e Venuti dates, which is l)rove d by the fact that a Goldkett e title of "It's the Blues,'' on Victor 19600 bears the sub-title " No. 14 Blues,'' in which Venuti does play a four-string chorus. But the actua l date of this session was March , 1924 !

148 ·i:-i .

Edd~e, of co4rs~, was not present on this session, the fret-chair being held by Rowdy QuickseU, on banjo.

Eddie and . Joe may have been

Frets At London's . County Hall

featured with the, G~ldkette · band · ON• Easter Monday the combined before the Blowers tnp to London , orchestras of the · Islington and but unfoi:tunately there are no \mown ' F lh L C C I n t · (f t record ings, and none until we reach e'ght u 1 am ). · · dns 1 u esd otr _Y-1926 1 p ayers , un er con uc ors

o · th G ldk t . . . Bernard Sheaff and Edward Fairs, n~ 0 er. . 0 . e te title which played at the L.C.C. Exhibition of Arts

features Venuti m a solo spot (and a d c ft h ld t th c t H 11 incidentally, . also displays the meri t~ Wn t ~a ts e a e oun Y a , f S . . . es mms er .

o . teve Brown as a terrific bassist) . is "_Dinah," ·but othei ; than this it falls The combined orchestras gave an

' flat by comparison with the la ter hour and a half's progr~mme (in two recordings. parts); items including : " Banjo

· Vamp, " "Gems From the Over-,JOE ANO EDD.IE tu res," "Down the Mall," "Musical

Of the supposed · earliest waxings Memodes," . "Nigger Minstrels," made by Joe and Eddie, let us quote "Show Boat," etc. Venuti , who i.n 1934, when on a visit A Hawaiian Quartet introduced to this country, said: " . .. Eddie and variety with their playing of" Momi," I used to make records . for .an ltaiian etc., while Michele Ronga (leader of concern when we were still at school the Islington mandolin section) gave that was before th e Goldkette recor d~ brilliant solos accompanied by his ing (' No. 14 Blues' )." .And later: brother on guitar. His programme in­" I had my own band when I was eluded '-' Schon Rosemarin" (Kriesler) eleven-just a quartet. There was and his own composition " Polka Edd ie, Charlie Senso, Chick Grenace Brilliante." and me." · .

Th is may or may not be true. At H~rry Ruth, _ leader o~ the banJo least it need not conce I f t section, cqntnbuted fa:ultless _plec -

· as giving pleasure to the n:i.any thou­sands who already appreciate · . . and enjoy it :

" In his prel iminary literature about

the · club, Felix Mendelssohn is asking "fa ns" to state the .form and particu­lar type of Hawaiian music th·ey pre­fer, i.e., swing , dance, light or authentic Hawaiian. He goes on to say : "Remember the · 'Hawaiian Serenaders' do not confine themse lves strictly to hula -hula music. I have · proved that such a band can adapt itself successfully to any kind of music, from a Strauss waltz to swing strictly' in the groove. If you prefe~ ordinary commercial dance music, the n perhaps such love ly melodies as Ellington's 'Solitude'. played in the Hawaiian manner appeals to you. It is tor you to say. The future musical policy of the ' Serenaders ' depends on the type of music yt>u like best."

Any player . interested in joining this Hawaiian club should write to the General M;mager : William Dash, .at 31, Haymarket, London, S.W.1, for particulars of subscription and details of what the club offers to mem bers .

rn us. n ac t b . 1 . 1 d' . H 'it is perhaps J·ust as 1·1 th t rum ~ anJo . so os, me u mg arry

' ' we a we Res ' " C J ' " d " 0 · t E have no access to these early record- er S ,, razy O an ve_r ure asy-But Worthwhile ings (one title is reputed to have been Me~ey. In the lat te r h~ was accom-" Stringin' Blues ") as they would pamecl _by th e full ba nd · . NO thinking player of a fretteq in-merely serve to show "how baby H. Ashford's . masterly handling of strument will ridicule a banjo, looked when ... "-and such remem- solo passages on the bass-banjo were mandolin ; or guitar solo merely brances can, at times, be most em- much in evidence. because it 1s exceptionally easy barr assing. . . The County Hall ,Conferen ce Hall -to play. Banjo ~olos like " Park

, However, it is as well to· mention in which the performances took place' Crescent :• and "Gold Diggers," ·and a that Joe's claim is disputed by Eddi e's was crowded with .visitors from · ali few other very easy solos that could brother Tommy, who, . in a le tt er (sent' parts of the Exhibition and each item ?e named, have benefited the fre.tted to and quoted by J : K.. Gibson in was given a· tremendous ovation . mstrument cause to no mean extent, The .Melody Maker) said: · "Eddie . for they have not only made young at .the age of twelve did not record ------ · players · feel they were making·head-with Joe Venuti , although he played way with ~heir chosen instrument with him on all other occasions ." Felix Mendelssohn's (and thus given them valuab le en-

Before proceeding to the real corn- couragement) but they also enab led mence·m~nt of Eddie recordings · it is Hawaiian Club t~e non-playing public to hear effec-perhaps as well to mention t)lat it ·is . tive tunes played easily and effec-n.~~h impossible to write of Lang f ELIX ME~DELS~OHN has formed tjvely-which is, of course, how they without having to mention Venuti- a Hawauan club to further the should be played. . and vice versa . They were seldom popularity of Hawaiian music. · The truest test of any solo is in its , see_n singly, in bands, studios apd He feels_ that a Hawaii~n club will originality; effectiveness; and selling pl~ces frequent ed by . musicians. The help stimulate ~nthus1asm . among ·power. It is far more diffo:;ult to write pair are , around this time , to be found tho~e who have hitherto not thought an effective easy solo than it is •to in recQrdings by the Denza Dance serious ly. of t)'lis type of music, as ~~11 write an effec_tive difficult one, .and the

_Band, _Goldj{ette, Kahn, Jack Pettis , fretted instrument composer who can Red_ N1ch_ols, Johnny Sylveste r, Sam "~~ giv€ us w9rthy pieces that wm appeal Lam n, etc., etc., but let us follow PHOTOGRAPH 1 to beginners deserves the congtatula- · them chronologically as near cor- our cover photo gra ph this month shows t ions or everyone interested in fret'ted rectly as mat\ers. ~~1tar;';;f~•known broadca st1ng Northern instruments, and all the success such .

(To be con tinu ed) · TERRY USHER numb ers would surely achieve., . ~

!"B.Jf.G:" Supplement. May .. 19431 , p O 10 n ais e 140 .

Arr. by · Plectrum Guitar Duet · TERRY USHER J.S. BACH

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Mellow ·· Mood .Plectrum Guitar Solo

R.GU,NTER

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One ·starlit _Night SEnENADE

Hawaiian Guitar Solo

Cop~Tight re s erved by the compo s er.

151

A. JOHNSTONE . Op.43.

152 · Cape Town Parade Plectrum Banjo Solo ·

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153

If there .is a profit on this ·· eoncert; Are Smiling," · f' Roses of Pica rdy," it will go to the movement; if there "Because," "I Hear •You Calling"

: . . By BYRON DAVIES is a loss, I will sustain it. I am not ·" Thora,',' '.' Mighty Like · a Rose," et~.

H .N. · CASSON, a well-known expecting a loss. I hope arid believe - . • writer on business methods , it Will be a "full house" and I ask COPYRIGHT DIFFICULTIES

says th.at the most powerful all "B .M.a :» readers to take their r' quite understand that there are word in the English language is tickets ear1y: Help make this first difficulties of copyright , but · I · have ACTION. It is just one of the things show a succ.ess, and I will promise you never tackled anything yet (includ­I have learned from him , but I have another within a little while when -I ing the annexing of jam tarts as ·a also been inspired to "action,., by the have hopes of a great surprise-some- youngster) that did not br istle with encouraging things that have been thing to which the,worq "impossible" difficulties. said by dozens of "B.M.G ." readers might well be applied. . If I have a thousand members and who have written to me. · I .will tell you all about it in due it is decided · what new "number"

In effect, these letters tell me: (a) time, but I do Rot want to play alhny they wish, then we shall be in a posi-1 am the "push -and-go " man that the "t rump cards" too soon ! tion to say to a music publisher : banjo has been waiting for; (b) that "Issue this for the banjo and we will

COMMENTS ON LETJ:ERS · b h ft 1 000 f d the instrument has an "appea l " no (l) B . d . t· Wh t d uy t e rst , copies or istribu-other possesses and that a "move~ . roa cas in_g. . a a . ,goo tion to members of the Society-we ment" should . be started to make that th mg for t4,e Society if a portion of -will be able to call the tune as well · as appeal better known; (c) that each the c~ncert c?uld be broadcast ! Well, play it ! ,.. writer is only too willing to assist in :: will tr_Y; if. we are unsuccessful on This question, as I say, is a big one · that movement; (d) that there is a t is occaswn we _may be able to per- and I can only touch lightly upon -it keen interest for information upon suaf e th e ~ .B.C.· m th e future. . here. It deserves discussion by '"Our and to join the National Society of ( ~ MuSic. Ufon th ~ _pubhshed members as soon as a meeting can be Banjoists ; ( e) that all look to me, as music for th e banJ 0-th e opmions .of my arranged. it were, to rally . round me as a sort m~nyd cSorre_spofndents alre . raktherf . GR ,.MOPHONE RECORDS f " l d ,, Th . ff " d m1xe . ome, or examp e, spea O QI, 0 ea_ er. ey s~y, m e ect, ?, the "beautiful melodies" and "char- (3) Recording. I have in mind that

some th mg and ~e will support you . ·acter istic " mus ic; others complain we will get a well-known professional ~OMETHING DONE that although the music . is, in itself, to record the number to be distributed

Well, f am dealing with the last quite appealing there is a lack of -and 9n the reverse side of the record point first. I have done something by popular "known " numbers. tp give instructions on "How 'to play renting the Wigmore Hall, Wigmore · · Says one wi;iter : "You -can't expect it," with musical illustrat ions . Street, London, for a Banjo Concert the rising generation of banjoists to Again assuming that we have a . to be held on Saturday afternoon, sit d'own . and apply themselves to a 1,000 members, I shall be in - a posi­J·une 26th: Within a couple of months J;1.umber-like " Donkey Laug.h." tion to say to a recording company : of "intrqducing myself" I am doing Mapy, of course, refer to the old re- "Make this record, list it in your things banjorial . quests of listeners to " play some- catalogues,> and we will buy the first

It is especially pleasing that, at ·the ~hing we all know." Well, -strange as thousand recprds for distribu tion to very outset, I am enjoying the most it may seem, although there is a deal our members." . generous and most enthusiastic sup- of such " known" music arranged, for If we per severe we shall gradually port that ever a man could desire or the banjo , very few players devote get the banjo figuring again . in the obtain ; aU of the artists appearing at themselves to it. Even ihoug h they record lists. this concer-t have volunteered their make a start on it , they soon devote (4) American troops. Undpubtedly services without payment. They did • their energies to what may be called our friends from the other side of the so because they recognised that this more ~• artistic " and more " char - Atlantic should be interested in our is something more than a concert, it is acteristic " nuJT!bers·. Concert and Movement. We will see the start of a movement. As soon as we have the Society what can be done to bring it to their

It will be · a good show, and I will going, I shall hold a meeting and this notice. Can anybody help ? try to run it like George Black or C. B. subject will, I anticipate, be one of (5) Badges and Certificates of Mem­Cochran would run a banjo concert. substantial discussion. Despite diverg- bership . These ·seem a popular idea. ,

THE CONCERT ent views we must obtain a consensus Regrettably I know of no substance of opinion, and then we will 'see what availab le at the present time suitable

Elsewhere in this issue will be can be done to meet the wishes of the for the former , but I already have an found a list of the artists who ·have majority. After that is accomplished, art ist designing wha t I think will be 'promised to appear. From the names we shall · then meet the wishes of the quite an impressive and attractive you will sec that it will not be « ·au minority , for minorities are often as certificate .

· banjo." Even I realise you can have important as ·majorities. (6) Life Memberships. This is a too much of a good thing, and although I am afraid that my own opinion suggest ion that . deserves discussion . I can stand as much "ba njo" as you would be puny compa red with that · (7) Library. One correspondent care to give me, o'the_rs may not have formed by. the more exper ienced, bu t · suggests that we have a Library of my capacity "for punishment." . it seems strange to me. why many banjo music (similar to the library

No , player of a fretted instrument "live-for-ever" numbers of the ballad held by the . Philharmonic Society of should miss this show . I know that type are not arranged for the banjo- Guitarists) so that members can bor­if they do they will be sorry. such · n4mbers as "W hen Irish Eyes row any solo, if oI;ly for" testing out."

154

ENORMOUS DIFFICULTY Thesk are a few of the suggestions.

I must collate them, combined with those ~lready given in my own articles, and get them " plan-like "­bearing in mind that however well one "plans the work " he cannot tell how far it comes within the realms of possibility until he "works the plan. "

Several of my correspondents tell me of the enormous difficulty of _my task while , conversely, others ask me to immediately "start things going " in their ovin towns-as far remov ed as Taunton and Sunderland.

I would be a superman to do this. Being pnly an ordinary fellow I fore­see that, although ·I may have many minor achievements en- route, my " movement" is one demanding a " Five-year plan." That is the period I estimate I shall have to devote to its ·achievement.

I hope to achieve many ,small sues cesses as I go along, so that at the end of the five years I shall achieve a big success. · ·

FAR-SIGHTED VISION To achieve anything big a man must

have . far-sighted mental vision and those who rally round me must hcive it also.

I heard of an organisation whose members paid half a crown a ·year subscription. I asked a member what they received for the two shillings and sixpence and was told, "nothing," to which I resppnded that they enjoyed a good bargain.

It was astounding to hear that diffi­culty was experienced in " getting members to pay their subscriptions ! " Well, I ask you, what can one give for half .a crown a year ? Much better to charge an amoun t in return for which something worthwhile can be given.

8.M.G. . May, U143

first stage of actuality is · reached, and not obvious-the wind instrumen ts. I ask you all to do what you can to (These can, of course, be tis.ed for make it known and tickets early.

to . take your duets other than those in " swing " 'time, but I assume tha-t the student's

The Beginner And The Plectrum Guitar

By JACK WHITFIELD

30-0THER INSTRUMENTS-YOUR FRIENDS .

JUST as a larg e arid lamentable number of musicians regard the guitar as a "novelty," · some

guitarists (in their fanatical affection for their chosen medium) take not the slightest interest in other members of the musical family.

That is a pity (I would ;ilmost say a tragedy) because the pleasure of ex­periment in musical combinations is equalled o_nly oy the value of associa­tion with other instruments-particu­larly in the case of- the beginner, who lllfre often than not rides a lone musical trail because he has not a fretted instrument comrade to " tag on to.»·· ·

contact with them is through the dance band.)

The first time I spent a couple of hours in a drawing room with a player of the clar ine t I found out that I had been missing opportunities for prac­tice of the first order; the chance of learning more about mµsic and the way we get it; and , on top of that, a lot of ent ertainment.

Guitar and woodwind ! It did not a t first sound as if it would be a par­ticularl y happy union , but it was ­esp ecially in the slower typ e of num­ber. I i:emember II Stardu st " and " Solitud e" as outstanding successes. Try an .e~periq>.,ent with the clarinet man in your band . and I think what you produce after a spot of practice will be worthy of a " solo " spot in the programme.

The . accompaniment must be fairly full, with the accent on the bass, but high chords against .low clarinet is a nice change-provided it is not over­done.

DIVERGENCE OF TONE

I want to suggest one or two ways in which students may seek com­panionship if they have no other player of the fretted instrument Guitar and saxophone is not quite family within range. I include the such a happy combination, chiefly be­Hawaiian guitar in this family, but I cause of the wide divergenc e in tonal intend dealing with it in a separate quality. but the fusion is more effec-article. tive than one might assume before

JAZZ PREDOMINATES hearing it, particularly in the case of • the tenor saxophone.

There are (~erhaps un~or~unately) Need I mention the violin? Her e, more students mtere~ted J? Jazz tha n of course, the combination is ideal. I other types of music ~hich can ~e have arrangements (published abroad) produced equally effectively by their of a handful of " semi-classics" for inst~umen_ts, and fo~ th~t reason alone violin and guitar-the simplest ar- . I ~111_ be?m by suggestmg a".enues of rangements you could think of for exploitation that, at first . sight, are both instruments, but as satisfying •

. The annual payment I have in mind for the Society is ten shillings (less than 3d. a week ! ) and I do not wish anyone to join who does not visualise , '­as I say, the "big thing "-:-that it is to provide funds for a movement having objects which may take time, energy, initiative to achieve, and which will have to be conquered in rot<)tion.

~i CAUSED.BY NOT • >

ADDRESSING YOUR LETTERS CORRECTLY

Our Address Is :

8, New Compton' St.,

as you could wish. Included are Handel's "Praeludium II and Gossec's "Gavotte," the latter arranged so simply that it -could be played by a student on either instrument. My ar­rangement of t)1e piece as a guitar solo was published recently in "B.M.G. ", and guitarists with a violinist among their friends might have a shot at " arranging it back" as a duet.

I recommend a · study of Terry Usher's arra ngemen ts (now appearing in ·the music . supplements). In addition to being first-class duets for the thinking player, they could equally well be used as duets for guitar and violin-the latter instr u­~ent playing . the top line.

And here, Ladies and Gen .tlemen , you have in the first of our Concerts at the Wigmore Hall, on June 26th, the first' tangible , material proof that what the Editor of this magazine has afforded me the means of saying is something more than mere talk. The l

Charing 'Cross Road, London, W.C . 2. .

CLIFFORD ESSEX MUSIC CO. LTD. , v,,r~~ There is a lot of instructive pleasure .,_

in arran ·g'ing violin and piano ,accom­paniment as violin and -· guitar accom­paniment. Pieces like Hellier's "Blue Strings ·" lend themselves particularly well to this treatment.

VENUTI AND LANG If you want to go all the way into

jazz violin and guitar, make a thorough acquaintance with Joe Venuti a:rid Eddi e Lang. I am not going to say Grapp elly and Re\nhardt because both are essentially soloists, and the solid background of guitars in the Hot Club Quintet recordings is not accompaniment , however good the rhythm. ·

Finally, the piano. Never let me hear anyone say the guitar and .piano -are · not good companions. I used to think so, before " Accent on Rhythm " came along, and George Elliott , with James Moody, proved that by intelli­gent arrangement the two can do al­most anythin g together.

But we cann ot all aspire to the Elliott technique , · whilst all our pianists, have not the Moody sym­pathy. I suggest the best means of employing a pianist is as accompanist to single-string solos. Violin solos with piano accompaniment are ready­made material , and a guitarist using them is developing his single-stri ng technique in the pleasantest way possible. ·

(To be continued)

We hear that Louis Gallo is still teach­ing in the North London district, and has returned to take an active part in dance band circles.

B.M .. G. A. J . Powell Banjo Octet) is working oi:i a series of . easy plectrum guitar solos­both original numbers and arrangements of well-known tunes - and it is hoped to issue these in the near future. The solos will be fully fingered and so arranged to appeal to students of the plectrum guitar.

Clifford Essex guitar strings have durabildty ;md a grand torie , and are the best · strings it is possible to buy today. Why not try a set on yom· guitar ?

We hear that band leader Alvino Rey is now ·working in a munition factory in the States, having voluntarily given up all his band work and ele .ctric guitar p]ay­ing ·to aid the war effort.

Plectrum guitarists ar e reminded that a " high spot " of the forthcoming ban jo concert at the Wigmare Hall on, June 26th will be the guitar playing of West Indian Lauderic Caton. We have heard Mr. Caton rehearsing his trio for this concert and we can promise play ers a, p1'ogramme that will start them talkiing.

Pre-war users of the - Nick Lucas plec­trum will find ,the substitute now being sold by the Clifford Essex Music Co. Ltd. (price 8d. each)" as good as the original.

If you have a fretted instrument to dis­pose of, do not forget that the Clifford Essex · MuSlic Co. Ltd. will be glad to mak e you an offer for it.

Appearing in the touring show, "Frank Randle's- Scanda ls of 1943," is Arthur Cannon, atlect ionately known as the " Daddy of the Banjo." Mr. Cannon started his long career by playing with the Miles-Stavordale Quartet in 1899, with whom he toured the U.S.A. Durin g the last war he was a member of the Peddlar's Concert Party, at the end of hos­tilities playing vaudeville dates with his banjo-playing "partner Ling. In 1938 he parted from Ling and ha s since played solo . His act includes Monti's " Czardas, " and/ desp ite his age (he is over 64) we are told he can moye around the fingerboard " like nobody's business ·." He extends a hearty welcome to all banjo ists who care to Vlisit him " back, st_age."

The Clifford Essex Music Co. Ltd. has . still an adequate stock of strings to meet

Following A. Scatterty's article , " Th e normal requirements, but itJ is certain that Banjo in the Highlands," in the December stocks will be difficult to replace. Is your "B.M.G.," we hear that Dave Willis, Jr. (a stock of strings sufficient to carry you Lance-Bombardier in the R.A.), is pro- over the next six months?. ducer of the Garrison Variety Company's shows at Gibralta1· which feature •the banjo playing of Bertie Owen, now a gunner in the R.A. Surely a case of . an alert son profiting from his successf ul father's experience !

More ond more publieotions for the Hawaiian guitar are being issued ,in the high bass tu ning. This tuning, which is (from the first string) 'E, Cl, A, E, q;, A, can quickly be used by players only used to the standard A Major tunring as the fir-st three strings are the same in both

· tunings ; the lower thre _e strings being an octave lower .

On March 22nd a short recital of banjo records was given by Mr . Pontifex to members and fr iends o-f the Fu lham B., M. & G. Club. Included wer e records by Oily Oakley , Cammeyer and Ern est Jones .

Will any American reader undertake to send the Editor the new gramophone record supplements as they are issued ? Mr . Sharpe is anxious to keep in touch with the records being issued in the U.S.A., but cannot obtain the new supple­ments .

Whil st the Editor is only too . pleased to ~off. Sis ley (busy these days broad- answer quest ions sent him , he asks that

casting with Gregor i Tcherniak and the readers keep their inqu _ir ies down to

155

reasonable number -s. One corre~pondent submitted near ly two dozen different ques­tio ns relat,ing to the playing of the elec­tric Hawaiian guitar within a space of five weeks, many involving fairly lengthy answers. This player adm itted that he was taking lessons from a well-known teacher. If he had asked the teacher the same questions he no doubt would have received far better answers than it' was poss ible to give by correspondence.

We are still receiving lette r's from players in which they say : "I did not know that 'B.M.G.' was still being pub­lished." Please help us to make your magazine more widely known by adv ising every player you meet to read it.

George Morris has recently been ap­pearing with A. J. Powell's Banjo Octet at Sunday l:oncerts; in addition, being featured as n soloist.

Many playei ·s of fretted instruments are now serv ing with H.M. Force s. Servic e pay does not allow of such luxuries as su bscribing to '« B.M.G." Why not help a player in the Forces to ... keep in touch" by giving him an annual subscdption?

Is t;here ·an out-of-print solo or copy o( "B.M.G." you particularly want? A small advertise1nent in "B.M.G." will probably find it for you .

Rex Arthur is still playing the banjo and has recently been touring the mun1-tion factories fo1· E.N.S .A., where he has met many enthusiastic banjo ists who make a point Qf meeling him after the show to talk•" banjo. "

If you play in public, "B.M.G." will be glad to print your news. Send the Ed i­tor deta ils of your pub lic engagements­ot her readers will be pleased to read of your activit ies.

Have you noticed that Ivor Mairants plays the tenor-banjo in the Gera ldo arrangement of " Der Fuehrer's Face " ?

There is no charge for printing your solo an our music supp lements. If you have written a solo for banjo, ma ndolin or guitar, sei:id it to the Edit or for con ­sideration. If he considers it suitable, it wm be printed dn a forthcom ing issue .

Ashton Stevens - Chicago newspaper crit ic and columnist - is s till wagmg a campaign in the U.S.A. to restore t he banjo to the dance bands . We hear that Mr. Stevens has pledges from severa l leading American band leaders to use the banjo instead of the gu itar . '

Do you agi•ee with the letters printed in this month's " Correspondence " ? Do yon consiiler that such-and-such a. wr iter is "talking out of his hat" ? Why not contribute your views? If you can wr ite a let_ter that will interest other readers , H will be printed. N.o literary ability is necessary. ·

Recently issued fretted instrument records include : "Romantic Waltzes" (Intro.: "Ah ! Sweet Mystery of Life ," " When Irish Eyes are Smiling," " Love's Old Sweet Song," "Mar cheta," " It . Hap -

pJneci". in . Moneterey " Md "Miss'ouri Waltz ")-Felix Mendellsohn's' Hawaiian Serenaders (Columbia FB.2905, and "My Ga-1 Sal " and "At the · Cross Roads" ­Roland Peachey and His Royal Hawaiians (Decca F.8297).

Ronnie Joynes ha-s just completed a tour of the Granada Cinema circuit; his out­standing playing o,f the electric Hawaiian guitar securil;lg him many return " dates ."

Neil Moret's famous intermezzo "Hia­watha" will sl;lortly ba heard over the air and oq records-this haunting tune be­ing a recent " revi val." Players of the fretted instl'Uments can take part in th is revival, as "Hii.aiwatha" i-s included in the Cli.fford E&sex lists.

Last month , Tarrant Bailey, Jr ., and his pupil, Ronald Oddy, called in at the "B .M .G." offices after making their Pathe film. They treated us to an exhibition of plectrum -banjo playing that was well worth hearing :' Mr. Bailey's plectrum techniqu e is in the Harry Reser class, whilst Mr. Oddy's playing makes us pre­dict that _he is -a player who will one da'y reach the top ranks.

So many players of the Hawai-ian guitar have written asking for the complete ar­rangement of Harry Pahene's " South Sea Swing" (as recorded on Regal -Zi>nophone MR.3561) that the Clifford Essex Music Co. Ltd. have published it, despite the present high cost of production. It can be obtained ·tor ls. 7d. post •free.

Present-day qonditions make it impos­sible to give comptete detaits of forth­coming broad casts. Readers of "B.M.G." are advised to Cl>11$Ult the "Radio Times," in which full details of current pro­grammes are given (daity newspapers barely give detaits that seldom give any indication of the type of p r ogramme) and try to listen to au fretted instrument items. Letter s or postca-rd~ to the B.B.C., Broad­casting House, London, W.1, voicing an approval of such broadcasts, wm ensure further such programmes . May 2nd. "Music While You Work" will

be played by Troise and His Banjoliers from 10.30 to 11 a.m. in the Forces programme.

May 13th. Troise and His Mandoliers will broadcast in the Forces programme from 11.0 to 11.30 a.m . ·

May 13ttl. Troise and His Barijoliers will play " Music While You Work" in the Forces _ programme . from 10.30 to · 11.0 p.m . (Recording.)

May 15th. Felix Mendelssohn's Hawaiian . S.erenaders (Directed by George Elliott)

will broadcast in the Forces prog ramme from 2.30 to 3.0 p.m.

May 17th. Felix Mendelssohn's Hawaiian Serenaders (Directed by George Elliott) "".ill broadcast in the Forces programme from 8.30 to 9.0 p .m.

May 20th. " Music While You Work" will be played by Troise and His Banjoliers in the Home Service and Forces pro - . gramme from 3.0 to 3.30 p.m.

May 21rth. The · Kentucky Banjo - Team (Bernard Sheaff, Edward .Fairs, and Dick Pepper) will play "Ad Astra" in the Kentucky Minstrels broadcast. Home Service, 7.30 to 8.1,5 p.m.

May 29th. " Music While ·You Work" will be played by Trois .e ·and His Banjoliers in the Forces pro gr amme from 10.30 to 11.0 p.m. (Recording.)

kinds in various :pa_rts of Lond-0n,,~.S .1:llts seem to prove that fretted instruments are _ far frorri for gotten. ' ..

Meetings of the Lewisham Club . will c-0ntinue ·to be held throughout . the sum­mer and all fretted instrument playe rs are invited to attend the club's meetings . They are held on the se·cond and fourth · .Sunday s in every mont h.

~ 13. M.\J:•Di pl001 c1s. .( ~rr£ SP""cl~"c'.; A COP; OF THE TESTS NECESSARY LETTERS TO THE EDITOR

TO SECURE "B.M.G." DIPLOMAS Letters from players intended fo: pubtica-can be obtained free of charge by applying tion shoutd be written on one side of the to the Editor, "B.M.G .," 8, New Compton paper oniy and · as short as the subject Street, London, W.C.2. permits, reaching this office before the

The following candidates haye been 10th of the month. Publication of a letter awarded Diplomas: does not imply edito riat endorsement of Miss Mar·garet Meads, of Newstead , "A ,, the opinions expressed. No tetter can be

accepted for publico.tion U?),tess accam-Grade (Plectrum guitar). panied by the sender's name and fuU

Teacher : Sanders Papworth . · Examiner : Elsie Dawson . address.

Raymond Ha ll,-of Nottingham, "A" Grade (Mandolih) : ·

Teache r : Sanders Papworth . Examiner : Elsie Dawson.

Doreen Lover, of Nottingham, "A" Grade (Mandolin) .

· Teacher : Sanders Papworth. Examiner : Elsie Dawson.

Alex ander Mur ray, of Glasgow, Grade (Hawaiian guitar) . ·

Examiner : F rank Merton.

Dear Sir, I wou ld like to have the use of your

" C6rrespondence" columns to defend your most inte resting . . and well-".er~ed writer on things Hawauan-Ray Higgms -against the scathing subtleness of Robert Mar tin. . ..

In my opinion the single-neck Hawauan guitar cannot be sufpa~sed for demo!ls­

Stanley Jolly, of De11by, "A." (Hawaidan guitar) .

Teacher : Mrs. · Elsie Dawson . Examiner : Sanders Papworth.

" B·" trating left-hand techniq ue and · flowmg melody . I sha ll retain this opinlori until I hear even one Hawaiian guitarist play­ing ·a double or triple-necked instrument

Grade " to sound like a Hawaii an guitar. lt stands to reason that, in jumping from one neck to another, the player must "kill" the last note or chord played in order t9 make a clean start on the next neck . ·

Regarding Mr. Martin's child-like letter and his mention of Sol Hoopii " using a

13 M '1 (JI b N t two -string guitar," ·1et me tell him . that _ U () £§ the~e is such a thing as a bull~t-nosed,,steel • • • _ _ which enables the player to mour~( the

· · desired string (or strings) on -the smgle -- [Club Secretarie!l are invited to submit neck g~itar , ~pus maintairi;ing,, "flowing

re.ports of their meetings for inclusion melody and . good p~rasmg. under this heading. There is no charge (?n t:i,.e multi-ne_ck guitar, , therefore, to for insertion, but reports shoutd be as mam~.rn the~e 1mpor_tant. assets (the brief as possibte an4 posted to reach this Haw;man guitar's pnm_ary charm) ~ office before the 10th of the month.- player wou ld have to manipulate _ a wed_ge-EDITOR.] · nosed steel of some great length_ which,

- of course is absurd and not practical. ~em~ers of the F_ulham C:lub are dpmg Perhap~ it seems a· shame to bring

\heir bit to. keep ~he banJo ~efore the Roland Peachey into th e d iscussion, but general public, playing at functions of all Mr. Marti n was the · first to do this and I

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am sure he (Mr. Pea c)1ey) will fipd nothing untoward in what I have to say .

Mr . Martin upholds Roland Peachey as the leading e<'ponent of the Iiawaiian guftai· in this country. He is wrong! A!id yet he is right. This apparent cont_rad1c­tion can be explained by telli ng Mr . Martin that he does not know his subject. He seems to be u nder the impression that because Mr. Peachey uses an electric instrument with strings and frets, played with a steel in the left hand and fing er picks on the right hand, . that he is a HAWAIIAN guitarist. Roland Peachey: is a wonderful technician ; has a really clever technique all his own .; and -is, un­doubtedly ; the leading exponent of · the "electric guitar- -cum-organ ." I am . qu ite sure that even Roland Peachey himself

would ' mitke 'no ·cla'im •to ·be ·a HAWAIIAN gilitai'ist' as it is evident that he does not ·play; · or seemingly •intend to · play; his guitar:cum-organ in any · way resembling anything Hawaiian . · .

Mr. •·Martin might think that I · have no experience of Mr. Peachey's plaYing. I have : heard him play many times ; have · seen him play often ; have had many chats with him; · and have every disc he has made.

I can sum up, best by stating that Ray Higgins' article was on the electric guitar played in the manner of a ,Hawaiian guitar, not on the el~ctric guitar played in the manner of an organ. Mr. Martin must see that he was entirely "out of . order" in writing to you and talking about an electric instrument for which we have not yet found a suitable name,

Answering Mr, Martin's question: "Has anyone in this .country a better technique than Roland Peachey ? " the answer is "No! " The reason being that no other

· player. plays his instrument in the manner adopted by him, with tp.e possib le excep ­tion of Sandy Macpherson or Reginald Foort-but I think Mr. Peachey's tech­nique is just a mite better than either of these · players , f

I am fully aware that there are many Ha'waiian guitarists using two or three­necked guitars, but at least they en­deavour to emulate the Hawaiian guitar. Whether they are suc gessful or not is a matter of opinion. ~

And now for · a change of subject. Where have your "Honolulu Hawaiians"

got to ? I can appreciate tl:le fact that .records are few and far between, but the B.B.C. Is still tunctlonlng, and let me tell you that the average programme is a:wful, so fol' goodness · sake either get your " Hawaiians " on the air about five nights a week or give· us a few (seven · per week, at least) of your perfectly balanced pro­grammes of Hawaiian re ·cords.

Thank you for the photograph of Eddie Lang on the March "B.M.G.," and my heartfelt thanks and congratulations go to Billy Neill ·for his much-lo<lked -for series on the one and only Eddie.

Yours faithfully, HUGH SHIELDS

·Dear . Sir, I · was completely astounded to read

some of the statements by Robert Martin in his letter in the March "B.M.G," and I would like to air my views ori this sub­ject of Hawa,iian guitar playing,

First, I would like to point ou·t that Ray Higgins has written many excellent articles for "B.M.G." and never in one of them do I remember him referring to anyone in particular .. Why Mr.. Martin should deem it necessary to become so antagonistic and openly · accuse Mr. Higgins of writing an article containing a cheap snub at Roland Peachey I cannot imagiI)e, unless his let~r was inspired by Roland Peachey · who thought the article in question was directed towards himself. If this is so, it appears to ine that Mr. Peachey is adopting a superiority com­plex and I, for one Hawaiian guitarist, do not feel inclined to tolerate suc'.1 snob­bishness.

I have never seen Mr. Peachey in action, but I have heard many of his broadcasts and I can assure Mr. Martin . that his play~

,. . . ' , .... HALL

SATURDAY

-JUNE 26th AT

1.45 p.m.

BA ."'JO CONCERT

ART ISTS· :-

BERNARD SHEAFF & EDWARD

FAIRS

-FRANK , LAWES RONGA BROS I

TOM ED,WARDS & W. MORSE

LAUDERIC CAT .ON

GEO •. E. !MORRIS WILLIAM BREWER . I ALFRED

LLOYD,

GREGORI TCHERNIAK & GEOFF. SISLEY

THE

ISLINGTON AND

FULHAM · B., M. & G. B A N D S

THE JEFFERY BROS. ETC.

TICKETS: ·

Sf- .& 2f6 Early applioatlon is advisable.

OBTAINABLE FR OM CLIFFORD ESSEX MUSIC O~,' Ltd.

ing does not impress me one little bit. It ·rn_ay s'i.iit the ' so;called " swing "-minded (?) publfc, but to · the ' experien ·ced eat ' it leaves much to be desired. · ' · · Why all this controversy about the slant and reverse-slant? Surely such a . simple manceuvre is hardly worth mentioning, I could reverse slant the steel eighteen to twenty years ago ! .It was all part of my tuition when I was -taking lessons in the U.S.A. Of course, you will know that this is pract ically impossible with the flat steel, and I have been given to understand that Roland Peachey uses a flat steel. ·

No! Mr. Martin, · Sol Hoopii does not use a two-stringed guitar ..'as you mention neither does he use a three -neck guita; with umpteen strings and various gadgets, He can c_harm the whole world with just an ordinary single-neck, six-string instru­ment which , may I ha sten to add, is quite enough for any real first-class Hawaiian guitarist. ·

Mr. Martin asks Ray Higgins if he can name any player in the whole British

,Isles with acbetter technique than Roland Peachey, and adds that he doubts whether such a player exists. If this remark is intended as a direct challenge to .~ll players of the Hawaiian guitar in this country I, myself, will be very pleased to take' it up-and I could name several other players who have a far superior technique to Mr. Peachey .

Yours faithfu lly, BERT REDSTONE

Dear Sir, . When I saw in the "Radio Times" that the B.B.C. were broadcasting a " tribute " to·Eddie _Lang on the tenth anniversary of his death, . I thought this would be a pro- · gramme worth waiting up for . But what a " flop" it proved to be! · I hope you heard this broadcast and that you will write a .review in your most pungent terms' so that the B.B.C. will never aga in entrust a programm_e about a player of the guitar to Mr. Rex Harris -w ho may know everything there is to know about "swing," but has a lot to llfarn about the guitar , , . and Eddie Lang!

Yours faithfully, JACK WILSON

(I think that . E. Gates' article in this issue takes ca:re of M-r. Wilson's request .­·Editor)

Dear Sir, , The other week we Hull banjoists had

the pleasure of hearing a "sta r" p layer in the person of Freddy Morgan ­" America's Wisecracking Banjoi'st."

I had Freddy in to see me at my busi­ness address in Hull and had half an hour's very int eresting conversation . During the week I went in to see his turn and after the show went "back stage ' to sei> his instru men ts and have a chat .

He is a delightful and breezy youth as befits a " wisecracker ." He gave me a signed photograph of himself in his Stalin disguise , which is so excellent that those not . " in the know " · think it is a photo-

. graph 01 the real Stalin. His turn is one that has to appeal to

the general public and contains some ex­cellent playing (and · some very good comedy work) in which is introduced I;,iszt's "Hungarian Rhapsody " and " Poet a!1d Peasant."

158 B.M.G . . In· h.is dress,i.l:lg-room he gaye me some letter you say: "It is my experience that If I may take a little me.re .of your

examples of 'his · playing which was .a de- when players reach the stag e when they time I would like .to quote 'fi:om · Rob ert

light to hear and see as his technique was can play arrangements i.n the key s for Ke able 's splendid book " Tahiti.:....Jsie of

~:x:cellent. One of his banjos has a mute which Mr. Martin ple ads, they are quite Dr eams." In writing of Gauguin, the

attachment and th is gives a pleasant effect capable of playing from the piano copies escapist artist, he says: "M illions · of us

in sweet numbers . He also uses a bridge or making their own arrangement s." I these days find ourselves tied in some

mute on the three lowest stl'ings and by am now tempted to say, "So what?" place at some job in which we know only

use of his right forear m gets a fine vibrato Not becau se I disagre e with you- I do not too bitterly and well that something in

effect which , wi th the first str ing un- -but it would have meant exactly the us will never be fulfilled. We shall con­

muted, gives a very pleasant renliit ion. sa me (to me, at any rate ) if you had said: tinue to live . · .. knit about wit h human

"! should mention that he p lays a tenor- "The Hawaiian guitar music in "B.M.G.", ties and responsibilit ies, and in the end

ban jo, with the first string tuned an ls foi- beginners only. Players who have be nc:,tly and res pect fully buried in a

octav e lowe1·. Thi s is an excelle nt idea , had more tha n ten lessons, KEE P OFF!" cemete ry beneath a headstone distin­

for as he plays well up .the fingerboa rd Before leaving this subjec t, I would like guishec from a th ousand oth ers as much

the first string shrillness is entirely to ask why a person who tak es up the as we were from the swarm in our life.

eliminated, yet his position playing bril'l,gs study of the piano, Spanish guitar, violin, We shall have had•our trick at the wheel ,

it up enough to kee p it bright. To etc., is first of all taught to play in the and will it have been worth ' while? "

counteract this first strin g becoming ' key of C natural, progress ing · from that Please convey tci Mr. Bail ey my sincere

sharp, Fre .ddy places his bridge a little key to all " flat" keys and au "sharp" thanks for his expressio n of his thou ghts.

out of alignment. keys, whereas quite a number of so-called Your~ fai th fu lly,

With the usual freemasonry or brother- "authorities" wh<? write Hawaiian gui tar GEORGE FOVARQUE

hood of all ban joists, he showed me all tutors seem to thmk that they are doing these ideas of his and enterta ined me to a grand job if they fill about fifty pages his playing, and I am hoping to see him of their tutors with full details of keys again if he visit s this city. · A, D and E, finishin g with a vague sug -

Yours faithf ully , ges tion (genera lly occupying from half a ALFRED B. HOBSON page to , at the most, three page s) tha t

Dear Sir, I was pleased to see in the Februa ry

"B .M.G." the lett er fro m Harry J. Dum­ple ton about th e " Harmony Hawai ians ," for I thoroughly agree . with all he says about th.e playing of this combination . I had the pleasure of hearing them re-

. hear sing in a dres sing-ro om at the Queen's Theatr e , Dublin , during an engagement there last Octobe r.

Tom Hudson can certainly handle the electric Hawaiian guitar, so much so, in fact, that my youngest dau ghter Cage 9)

remarked as we left the dressing -room aft er hearing the comb inatio n play "Tiger Rag" : "D addy, it 's a good job he is not playing his guitar on the bill , this week. You would have to stick to your banj o! " Out of the mouths , etc. Th e two small daughters were playing banj os and singing and, as an introdu ction to my singing act, I opened with a few short dream y Hawaiian guitar solos . She lost hope in her "daddy " as a Hawaiian guitarist afte r hearing Tom Hud son!

The "Ha rmony Ha waiians" is a great outfit and I wish them all sort s of good luck.

Yours faithfully, JA CK MACGARVEY

Dear Sir ; · I am afra id I have made a bad mistake

in my letter published in the Februar y issue. Instead of the sent ence: " I make ·no comment wh atsoever on the . great variety of tunings required for all the se arran gements " following " For ever and a Day, " etc., it should be in th e preceding parag raph, . so as • to read ". . . seven of these arrang emen ts are in A ar.d D. I make no comm ent, etc., etq ." If I have now made mysel f quite clear in the matter you will notice that instead of my letter bein g in complete contrast to at 'least th e first . part of J . All en Edwards' letter , I am in complete agreement wi th him as far as th e tuning qu es tion is con­cerned. Personally , I nnd the High Bas s tuning a very suitable tuning for everY­day use , especially f.or playin g in th e "flats O !

·In your answer to the above-ment ioned

there really are more keys in existence than thos e mentioned.

I would now like to draw attention to you r rather personal remark s abo ut " Curly " Orm erod. Perhaps his playing of -the electric Hawaiian guit ar does leave much to be desi red, but , after all , readers of " B.M.G." are interested in what all the different players are doing, even sup­pos ing you are not . I may say, in passing , that the player men t ioned left the B.B.C. Scotti sh Variety Or chestra last month and is now in London.

As you say in your reply ·to J . Allen Ed wards, " there are many · published solos in the standard ·A Major tuning." Never­theless , I sti!L maintain that the se same arra ngements are entirely unsuitabl e for electric - Haw aiia n guitar playing because of the necesssity of using open strings.

Yours faithfully, ROBERT MARTIN ,

Dear Sir , I really must thank and acknowledge

your generous act in allowing T~nant Bailey, Jr., th e use of your usu a l spa ce in the Feb ru ary issue and for pµbli sh,ing such a splendid article-in fact, the finest article on this subject that, to my know­ledge, has ever appeared in pr int. His ph ilosophy is worthy of great er recogni ­tion than even " B.M.G. " can ensure!

I myself am within a few month s of at­taining 20 years' service (!)as an engineer­ing draughtsman with one firm , and I am conv inced that my nature is such tha t I should have been un able to stick it i f it haq not been for the " esc.apism " and re­laxation provided by ban jo and saxophone play ing in th e dan ce band sinc e abo ut 19;!6. We all have our dreams for the future, I suppose, and the war has stre ngth ened my determ ination that, being spared the lives of my .wife and my own, to step out with both feet at the conclusion of hostilit ies and war time restri ctions from such a drab exi stenc e and paucity of publi c . taste and goodw ill and spend the res t of what will be left to us in the realisation of these dreams as far as possible . I might add that thi s will incl ude the play ing of the Hawaiian guita r and piano-accordion for pJayin.2's sake !

Dear Sir, I fee l I fl1USt write to thank you for the

February issue of " B.M.G. " just receiv ed . In my humble opinion this is one of the finest numbers you have ever produced. I have read, and rerea d, it from cover to cover and I mu st offer you my sincere congratulations on producing such a fine issue. .

It would be invidious to pick out any particular article, but I must han d out a bouquet to yourself for the excellent article on Oily Oakley and one to Tarrant Bailey, Jr., for his inspired a nd inspir­ing art icle on the adv anta ges of becomi ng a professional musician. The latter article rang with sincerity, and I offer my congratulations to Mr. Bailey in dis­covering in time the pro fession to give t:im a life of satisfactio n and joy. I am nearing my "a llotte d span " and can only say that I only wish I had been as for• tunate an d far-seeing as Mr, Bailey has been.

Your s faithfully, J. BIC KNELL

Dear Sir, Can you please tell me the correct

position for the bridge on my guita r ? Yours faithfully,

T.· G. PINKERTON (This is a quest ion I am being repeatedly asked, and for the benefit of other players I am amwering it in these columns . The correct position of the bridge-no 1'1\atter what the instrument-should bE! the same dista nce from the twelfth f ret as· that fret is from the nut. In · other words, th e twelfth fret should be exactiy hal fway between the nut and the bridge. Perfect ad;ustmenJ on at! strings can be ac.com­plished by sound ing the harmonic at the twelfth fret and playing the note at the same f ret; the note and harmonic should sound at the same pitch .-Editor)

Dear Sir, I am finding the arti cles by L . T.

Broomfield most interesting ; he is givin g me a new lease of life on the ban jo. The re is just one little crit icism I should like to make and that is that I would pre­fer him to devote a little more of his space to the actual playing of the older solos he is digging out for us.

It is gr atifying to find someone who is familiar with the older banj o solos . I have been " s~ung" once or twice buying

B.M.G.--· solos. from titles, but now ?le have a ma11. s ftJ.. • who "kno ws his titles" it is a great help. rn::all ..L.LlrHsemnints I ha:ve bought each solo recommended by 1..11 lll't; .:A I Mr. Broomfi eld and have not been dis- .. . - .-- ·-----appointed yet. Long may he continue to . . • . ' write for "B. M.G." . . The cost of advertising unde:· ~his head~

Yours fa ith fully, ing is now 2d. per word (minim:um 2s., WILFRED MEADOWS twe!ve words or !ess). If th.ey wish., ad-

(Th.e following letter was written by Lestie R. Loader-now serving with the R.A .M.C. in India - tD h.is sister in Eng­land, wh.o passes it on to me as sh.e feels it wiU in .tierest readers.-Editor.)

. . . The old - banjo is beginning to · straighten itself out a bit, now that the

rainy season is over, and last .night, or evening I should say, we had' a grand time with two guitars and one ban~o . " We" consisted of Freddi e Gascoyne (late of the Ilford B., M. & G. Club); Reg. Lipscombe (Romford); Len Fullford; Jimmy Moore, and myself. Both Freddie and Reg play the banjo , and it is a great pity that i.ve have only the one instru­ment between the three of us because I am quite sure that . if the others bad their instruments the evenings would be much more enjoyable. They both tell me that when it is possible they are going to buy an instrument and some music.

I don't remember if I told you, but we have had the very good fortune to meet Mr. Spooner (now S.M.) of the mobile cinema whi ch visits us periodicall y and gives us a good evening's entertainment. When we first met him he told us that he was a member of the Ealing B., M. ~ G. Club .. He told the other lads that if there were any more fretted instrument playe1-s about he would try to get a club together out here. That is certainly a fine suggestion, and I can only nope it is possible · to do it. The only · snag . is that we are all in different units -a lthough stationed fairly near to each other-but it . is not always possible for us to meet owing to the different jobs that we are doing.

Nevertheless we manage to have a good time. The other evening Len Full ~ ford and Jimmy Moore played a guitar duet, " Th ree Sha.des Blue," and they put up a grand show. .Fr eddie Gasco yne played . ·• Vodka ," " You and a Canoe ," and " Opera tic Memories" on the banjo , an d Reg Lipscombe played " Camptown Carnival " and "Donkey Laugh." I played " Ad Astra," " Bell Chimes ," and " Ba nj o Frolic ."

All the lads are waiting for the arrival of the October issue of "B.M.G." (even the Sergeant-Major!) and they are so keen that I have a suspicion that I will need an armoured car to go to the post tent to collect it when it does arrive! Naturally. I sha ll not try to keep th is most prized mag to . myself because I know that every one of us is as inter ­ested in its contents as a cat in a sardine tin. So roll on the day when "B.M.G." arrives! ·

I am going to try to arrange for us all to have some photographs ·taken to send you and I hope yo u will forward one on to Mr. Sharpe so that these lads' friends can see that although we are· miles

·away fr9m home we are still lceeping the banjo and I.he guitar ringi ng in the heart of India .

vertisers can h.ave the use of a Bo~· number free of charge, but th.e words: " Box xxx, 'B.M.G.,' 8, New . Compton Street, London, W.C .2," must be included in the advertisement cmd paid for (eight words). ·

FOR SAL'E }_J ANJO by T. W. Bacon , superb instru-

ment, plated rim, 40 gilt brackets , carved ivory pegs. Heavily inlaid M.-o' -P. Leather plush-lined case . £10. Also Zither -banjo, raised frets. £ 5. Piccolo banjo. 42/-. Mr. Heron, 4, The Ridge-.way, N.W.7. '

CLIFFORD ESSEX "Paragon" G Banjo , modern, . with case. £27 10s. " Aris­

tone" Guitar by Abbott. Large 'cello model. £17 17s. Choice of 3 "Vega " .tenor-banjos. .From £8 8s. to £22 l0s. Lund tenor-banjo , £ 15 15s. Zit~er-banjos from 30/- to £10. Others models, G and ten~ from £5. Booth's, l l, Churchgate, Bohon. Tel.: 2608.

GUITARS and banjos , 2 to 60 gns. Stamp for list . Busfield , 57, Lingfield Lane,

Eastbourne, Darlington. B ARGAINS ! · If you are looking fo1• a

bargain in a used fretted instrm;nent , send for - a copy of our second-hand list. Please state instrument in which you are interested. Your p resent •banjo, mando­lin, or guitar taken in part exchange. Clifford Essex Music Cq., Ltd., 8, New Compton Street , . Charing · Cross Road, W.C.2. E LECTRIC Hawaiian guitar and ampli­. fier to match. Very powerfu l. New. Ownet' South Sea Islande1·. £65 cash. Wr ite: Wright, c / o Ben Valentine, 36, Warrington Crescent, London , W.9.

WANTED ' W ANTED . Any bound volumes or

·loose copies of "The Banjo World." Box 113, " B .M.G.," 8, New Compton Street, London , W.C.2. P LECTRUM guitar. Good model. Send

full particulars . Cash waiting, Rands, 4, Gt>dstone Road, Rotherham, Yorks . ·W ANTED . ' Hawaiian guitar solo

"Dreamy Honolu lu Moon " by van Allen. Retail price •paid. Box 114, " B.M .G.," 8, New Compton Street, Lon­don, W.C.2. FRE TTED instruments. Records and

magazines. Send full particulars . Cash waiting. Rands , 4, Godstone Road, Rotherham, Yorks. F OUR-S TRI NG tenor guitar. First -class

make. Gay, 108, Leominster Road , Hall Green , Birmingham. W E will pay tash for teat unwan ted

banjo, mandolin, or guitar. Highest quality instruments preferred. Give full details (make, model and conditio n) . Cash by return on acceptance . Clifford Essex Music Co., Ltd., 8, New · Compton Street, London, W.C.2. COLUMB IA electric · record player, with

pick- u p, wanted. State low!!st price. Box 115, "B.M.G. ," 8, New Compton Street, Lonpon, W.C.2.

159

Directory of B., M. & G. CLUBS

with the names and addresses of their Secretaries.

The cost for twelve consecu tive Insert ions under this •head ing is 5'·

PAR TICU LARS OF MEMBER~HIP AND DATE S OF MEETINGS CAN BE OBTAINED ON APPLICAT ION TO THE SE CR•ETARY .

Bradford. Sec., H . Broadley, 56, Bierley Lane, Bierley, Bradfo rd.

Cheltenham. Sec., Miss A . Gardiner , 29, St. Georges Road.

Fulham. Sec., E. A. Colegaie, Fulham Men's Institute, Beaufort House, L.C.C. School , Lillie Road, S.W.6.

Glasgo w Haw ai ian Club. Sec., J. G. Cath t·o, 17, West Avenue, Stepps, Nr . Glasgow.

Lewisham, S.E. Sec., Arthur S. Walter, 16, Elsinore Road, Forest Hill, S.E.23.

TEACHERS & THEIR ADDRESSES • Before a Teach er's nam e denotes an Examine_r for " B.M.G." Diplomas.

7 / - per annum for 2. lines; 3/ 6 per !i ne for extra l ine s or pa-rt of line.

LONDON AND SUBURBS

Bai lli e, Ray (T.B., P.G., G., H.G., U.).­Speclallslng El: H .G. Phone Tcm, 7905, or cm­forcl Essex Studios.

•Edwards, T. H. (B., T.B., P.G., H.G., U.). - 119, Forest Rise, Wal thamstow, E.17.

*Fai rs, Edward (B., T.B ., P.G. , H.G.).-51, Suffolk lw:\<I, No1·th Harrow.

Gallo, Louis (P.G., H.G .• T.B., B., P. -Acc.). -199, High Road, Tottenham, N.-15.

• Grimshaw, Emile (B., M., G., T.B.).-54-5, P lccadllly, W.1. 'Phone: Re gen t 6977.

*Handscomb , A. F. (B., P.B., P.G., H.G., P .•. U.) .--4 03, High M · .. ·Wood Green, N.22.

•John son, Chas. (G., P.G ., H.G., B., M., U.). .Correct tuition, all stylc ·s.-94 , Ohelmsford Rd .. R~ .

Kewl ey , Stan (B. & G.).-Modern-style speclallty.-6n, Angel Pk . Gdns., S.W.9.

Life, Kealoha. Popular ra dio, film and Columbia recording soloist . (El. H.G.-.A Major Hi gh Bas!> and all tunings--G ., U.. Tlple and Taropatch). Private lessons : 2 gns. - 21, Elbrough St., Southllelds, S.W.18.

• Morris, Geo. E. (B., P.B., H.G., P.GJ .-4 8, Muswell HIii Rd. . N.10. 'Phon e : Tudor 3968. Also West End Studios.

*Sheaff , Bernard (B., Z.B., G.) .-6 8, New • Oxford Street, W.C.l . 'Phone : Museum 4388.

ABERDEEN •stordy , J. w. (B., M., P ., & P.-Acc.).-

398, King Street . ·

ABERYSTWYTH *Milverton, A. All fretted instruments.

Tuit ion (any style) .-19, Eastgat e.

l1:60 -B.M.G. , ,, ··AYR ·· GUILDFO~D .& DISTRICT

•Davidso_n, ~- (B., T .~., El.H.q. & G.>.- Lane, A,,W,.'(B., M., .P.G., H.G ., u., etc.) . .:.-Theory & Ha.rmon,y; So:o or Dance style. Agent 37, Westfield' Avenue , Woking. Tel•~ Woking 2975 for Cliff.ord Essex Music Co., Lt<!., 55, George St.

BECKENHAM Sisley, Geoff (G., ' i>'.G. & H.G.). -iO, Bev­

ington Rd·., or Clifford Essex ·studios. 'Phone : BEC 0637 ..

BEDFORD Salmond, H. A. B, (B., Z.B. & T.B.).-Be­

ginnerG oa,refu lS, grounded. - 80, Chaucer Road ,.

BIRMINGHAM *Bailey, Tarrant, Jr. (All fr et ted insts.).--

76. Primrose Lane, Ha.J.I Green. · *Kapua, Ken, (Specialist on Hawaiian

Guitar and Ukulele ) .- 12, Colmore Ave., King's Heath . ,

Kirby,· Alfred. Banjo Soloist. Tu ition on Banjo and · Guitar. - 108, Row Heath Road,

· King's Norton. *Pidoux, John (B., M., G. & T.B.). ­

Scotcher•s Chambers, ·59, Corpor ,a.tlon Street. 'Phone : cen -trat - 1301. ·

*Rich, Sydney ·J, (Z.B. & B.) .-45, Hannon Rd., Klng,'s Heath. (Examiner for "B.llf.G." Dip.)

*Thomson, F. (P., G. & B .) Instructor Kay Westworth's School of Modern Muslc.-8, Worcester Street.

BOLTON

HUDDERSFIELD -•Mathews, ·Cyril· (P .G., U ., Theory).-27,

Devonshire Skeet, Lock,wood.

IPSWICH .*Gough, Bet'nard (B ., Z.B., M., U. & V.) .-

151, Woodbrid .ge Road.

LEEDS *Taylor, Madam, A, CM., Bn ., B., G .).­

Ohez Nous, 68, Beeston Road.

LEICESTER · *Chamberlain, J. (B ., T.B., M., G,, H.G. &

U.). -1, Waterloo · Street. Local Agent for Ol1f­ford Essex Music Co., Ltd·. (Examiner !or .. B.llt.G." Dlplom as.i

LLANELLY . *Jones, T. E. (B., Z.B., M., T.B., G., H.G .,

U.). (Ex-a.miner · for "B.M .G." Diplomas).- 18, Temple Street.

MALVERN LINK Smith, Frank (B ., Z.B., G., H.G.).-" Lons­

dale, " CromweH Road.

· ROTHERHAM Glancey, ,: (P .B., T.B. ,'El.H. G:; U,,"=P.G :)"::._

96, St. Ann's Road. Clifford . Essex . accesso ries . supplied. · Parker, .. J. (B., M., T .B., Z.B.).-2 1'4,. We ll-

gate. Clifford · Essex accessories supplied. . *Rands, E. D. (P .B. & P.G.).-Modern in ­

teresting tuition. Pri -vate or class.--4, God­stone Road .

SCARBOROUGH •.Robi nson, M. G. (P.B"., M ., G., H.G., U.) ·.- ·

Gr-ange l\olme, 28, Manor Road.

STOCKPORT Howard,' Don (B., M., G ., P .G., H.G.).-251,

Wel-lington Road South. ·•Phone :H27. Jackson, T. (Z .B. & B.).-Finger~style.-

37, Hamilton St ., Heaton Norris.

STOKE-ON-TRENT *Pearson, Fred (B., G., P .G., H.G ., M:, U.,

P .Acc.) . All styles.-28, Hayes Street, Br.ade ley, Bur3lem .

WEST BROMWICH (Staffs.) Johnstone, A, (B ., T.B., M., G., H.G., P.,

V .. ·U.).-11, Lodge Road.

WEYBRIDGE Bolton School of Music. Prine., *Barbara Lobb, A.T.C.L ., Broadcasting a rtist . Tui·t!on : all fretted • lnstruments.-685, St . He lens M . (-temp. add.). 'P bone : Bolton 3393.

MANCHESTER & DISTRICT · cator, E. (B ., P .G . & Z.B.). Beginners care-Black, Alice (B. & M.).-6, Chappell Road, fully _gro un ded.-8 , Old Pa lace Road.

•Harker, Tom (P.B., P .G ., H .G. ?!< Speclal,lst In modern • style & arranging. sololst.-Enqulrie& : Booth's· School oC Churchga.te. .

Sax.). B .-B.C. Music,

Droylsden , . •Grey, Harry F. (B. & T.B.). - 24, Brass­

ington Rd., Heaton . Mersey, Manchester. 'Phone: Heaton Moor 1163. (District Examiner for "B. M.G." Dll)lomas. )

BRISTOL Howard, Don (B., M., G., P.G., H.G.).-•craddy, Horace (Banjo & Guitar).-32, .· _ F_o_rs_y_th_ '_s._ 12_6_._0e_ a_n_sg_a_te_._ BLA __ 3_2_s,1_. ___ _

Victoria . Park : Fishponds. Tel- : Flshponds 64022. MIDDLESBROUGH CARDIFF · •s1acklock, Alan CG., H.G. & T.B.) .-119,

WIDNES. *Davies, Fred (B . & Z.B. & Theory) .-26 ,

Halegate Rd., Hale-bank. Ex-amlne r for " B.M.G." Diplomas.

.ABROAD •Allen, R, (B ., M., G .).-i2, Northcote .St., _ E_•.,._ x_s_e_r_eet_. ____________ _

(Examiner .for "B.M.G." Diplomas,) · ALTO ONA ( S · NELSON (Lanes.) , Pa. U . . A.) . CHELTENHAM •Lund, Wm. <B. & Z.B .) . ....:..Finger. and Sipes School of Music (G ., M., T .B., H.G.,

Plectrum.. -1 6, Terry street. etc .). H~r,mon.y · & Theory.-829. Seventh Ave. *Gardiner, Allee (B ., T.B ., M., G. Span. & Haw. & U.).-29, st. George"s Road.

DARLINGTON Roblnson,-S. (P.B. & P.G.).-62, Hollyhurst

Road. .

· DERBY Aston, Sydney (B. & MJ.-" Park View,"

463, Osmaston P.ark Road. *Dawson, Mrs. Elsie (B., M., G., & H .G .)

AU sty les. Distr ict Exam1ner for" B.il1.G." Dip­lomas . Attends the StudJo, Messrs. Wisher & Son, 7, London Road ·. Private- Add.res& : " Holly Hyrst," 83, Dei,by Road, Sandlacre. 'Phone: Sandia.cre 3394.

DUBLIN & BALLYMENA. •MaC'Garvey, Jack (B., Z.B., H .G.).-Ex ­

aminer for "B.M .G." Diploma & for Ire la nd. All corns ., :n, Bal]ymoney Street , Ballymena., Co. Antrim.

EBBW VALE, MON. •sesagni, Leno <B., P.B., T .B ., P.G ., H.G.;

P. Accordion ) . Personal or Postal Tuition. Examiner for "IJ .M.G." Diplomas . . Examination In your own. home If preferred. Rhythmic, swing and straight styles of pl-a.ying.-36, Va,lley Rd.

NE,WCASTLE-ON-TYNE Clazie, Jack (H,G. Specialist, P.G. & U.).­

HI, Ancrof,t, A'Ve., North Shields. 'Phon e: North Shields 1515.

.NOTTINGHAM •papworth, Sanders (B ., M., G., Saxoph.or:ie,

Ukul;, le, H .G.). Local • Agen-t for Clifford! Essex Music Co. (·District and LincoJ:n, a nd Mansfie ld Examiner for" B.M.G." Diplomas ·.).-32, A-J.fcreton Road, City.

*Richar.dson, Edward (B., M. & G., all styles) . Over 20 years · professiona l exper -ience . -4S, Portl-and Road.

PRESTON *Earle, !:ugen .e (B. , M., G., Theory).~

" Radio & Recording · Artist." -15, Cannon St . 'PJ1one : 2439.

*Taylor, Ernest T. (B., M., GJ .-10, Cross Street.

READING Hamlet, J, (B., T.B., Z.B., G.) Visits radius

20 mlfes. Agent Messrs. Clifford Essex Mus1c Co., Ltd. - 13, Pries t Hill, Cavers ham .

FALKIRK ' ~ -RHONDDA •Macbeth, Will (B., T.B. , G., M., U.).- *Ph'II' w 'G (B M G HG) E · "Stud .to," 14. Orchard Street. 1 ips , · · · ·• ·., •• • • .- x-

a.miner for ·· IJ.M.G." Dlplom-as.- 37, South Street, Ynyshlr. • GLASGOW

•Mertol'\, Frank (School . of Syncopation). D.lrector , 'Frank Morton/s Orohest,:,as (B., T.B. , G., H.G., M., Sax., P ., P.A>cc.) . . C.E. music stocked. All kinds repalrs. -l;Sl , sauchiell.all Stre~t , Oha.ring Cross .

ROSSENDALE VALLEY •Taylor, Norman. Specialist Modern

gul•tar tultion .-292, Clarke-Holme Ter r ., W-a.ter­foot.

EDMONTON, ALBERTA (Cainada) *Hale, Miss A. (B., T.B., G ., H.G., M.).­

A,berta College, 10041, 101st Street .

JOHANNESBUR'G (S.A.) •Kudsee's, Geo. "B. M.G." ·school, .162, ·

central Ave., Mayfair . 'Pho1_1e : 35-3575.

JOHNSTOWN, PENNA (U.S.A.)' •Mosso, J, B. (G ., P.G., H.G., T.B.i.-Nanty

Glo ., Penna.

LETHBRIDGE, ALTA. (Canada) •Harper, J, G. (F., P. & T.B.). Directo r

Lethbridge Conservatory .of Music. Ens emb le Cl-as-ses Cor, 11th Street and 5th Avenue, S.

SYDNEY (N.S.W., Australia) · *Hine, A. (B., z:B., M., G. & H.G.).­

Studios , 326, Parra.matta Road , Petersham. Agen-t fo.r Clifford Essex & Son's instruments and . music.

VANCOUVER (B.C.) *Fletcher, F. (Teacher of .all fretted in­

struments), c/o MusicianS' Union, Room 81, 553, Granville St . · ·

WORCESTER (Mass.) Russel, Alice M: Expe r ienced teacher (P .,

•ceuo, Fretted Instruments). Time, tune , tech ­nique, keyhoe;rd; harmony, pretty music . Care­ful,, Interest ing lnstruct lon .-ll8 , La-ke Avenue, Worees\er, Mass ., U.S .A.

ABBREVIATI ONS .-" B." Banjo. "Be." Ban.ju! 'ele. " Bn." ,Ba.njol!n, "Do! ,a." Mandala. . " G." Guitar. "H.0 ." H-a.w.a,Uan Gu itar. " M." Man doMm "P." Piano. "P.B." Plectrum -Banjo . ''. P.O." Plectrum-Oultar. "S" Sing.Ing . "Sax."· Saxophone. ''. T.B." Tenor-Banjo. "U ." Ukulele. "V ." Viol-In,. "Xyl." Xy lophone . " Z.B." Zither Banjo.

May . 1943

" BLACK DIAMOND " BANJO STlllNG S We have a sma ll stoc;< of the wor ld-famous "Black Diamond" w ire-cover ed 3rd un d 4th b:mjo s trings wh ich we ca n supply al lhe follow ing pre-wur, pre ­P urchase Tax pr ices unt il st ocks

a re ex ha usted .

3rd- 7d. each 4th - •9d. each.

6!6 8!6 pe r doz .

POST FREE pe r doz .

CLIFFORD ESSE X MUSIC CO. LTD . 8 Ne w Compto n Str eet , London , W.C.2

B.M.G. TH E

"ACME" P L ECT RUM

Hand -made from t.he finest tortoiseshell ann highly pol ishe d and be v• ell ed . T he perfect pick !

PRIC E 1 f 6 EACH

lPostag .:- extra,

CLIFFORD ESSEX MUSIC CO. LTD. 8 New Compton Street, London, W.C.2

IT he 'Crover' de 1u:eii~idge

iii

REAL SILK

GUITAR SLINGS (RE D, GO L D, B LUE or GREEN)

L OOP ONE END, TASSEL THE OT H ER .

These r eal silk . fuil -lcngLh guitar sli L1gs arr a definite aid to pl ily ing - e~th<'r si tting or stnndi n g.

PRICE

213 C3Ch, post free.

CLIFFORD ESSEX MUSIC CO. I,TD. 8 New Compton Stree t, Lond on , W.C.2

Are. y'ou Qualifying for a ,.B.M.G.' Diploma?

, iis ~ THE BANJO

l (Po,tage 3d. , .,tra) I AND

fhc 'G rover' de luxe ll r idgc, mode for 4 or; str ings , How to Play 1·t 1 /2 in. or 5/8 in. from fully scoso ncd hard maple fitted with ebo ny top to preve nt strin~s fr om cu tt in g or

sl icing th e bridge . · EMILE GRIMSHAW CLIFFORD ESSEX MUSIC CO. LTD R N ew Compton Street. London, W.C .2 A e.ompfr te modern mctlrocl for the banj o. T he ":ork

of an aullioriry rulw /wows everythi ng that i's t'10rth lmowiug about the banjo. ttJho luu realised tch:1t was ,uecltd to bri<lge the gnp which , tmtt'l th is book was publ ished, e.-.:isted bcttl)een old-fas/rionetl bool:s of iu­srructio n and the remar k able rlet1t lop me11t t1Jhich has ta/Mn place in banjo playi11g du ring la te years . Everyt lrfog the brgimur wa nts to lmOt/J is to he fou nd in th is l-ook , and the ,mthor 's treatme nt , particu ­larly i11 relat ion to rht inversio n of chortl s is str eets

P rotect the Vellum of your Banjo and Impr ove YOUR Playing

FIT THE

'C .E.' Improved Wrist-Rest -~ Price 2 /6

(Po1tage 4d . extra)

Adjustab le t o any height, will fit any make of inst rument, keeps the arm at the cor rect angle, prevents arm so iling the vellum .

CL IFFO RD ESSEX MU SIC CO. Lt d. , 8 N ew Co m pto n St., Lo ndo n, W .C.2

2 Mandolins .......... ..... 1/ · 'D ola, 'Cello & Guitar 1/-Plano Acc ...... . ......... .. . 1/-

C LIFFORD E SSEX MU SIC CO. LT D .

8 NEW CO MP TON STR EE T LONDON , W.C. 2

VELLUMS We regret that owing to shortage of labour and materials we can 1w longer supply ready-stretched vellums

BUT

WE CAN SUPPLY best quality un.stretched calf-skin banjo vellums at the prices quoted below. With every head p urchased fr om us we supply complete and de­tailed print ed instructiQfls to enable any banjoist to fit the vellum to liis instr,mu:nt with the minimum of

trouble.

YOU CAN BUY A "C. E." BEST QUALITY VELLUM

·\A/ITH EVERY CONFIDENCE Prices :

For lOin. hoop or larger For hoop smaller than lOin.

(Po rt Fret )

21/-17/6

CLIFFORD ESSEX MUSI C CO. LTD . 8 New Compton Street,Lond on, W.C.2

ahtad of a11y1hi11g a t1em1>ttd bt/ore . 1/ you an• a bez im 1er, you ca nnot a/fo rd to be t1Jithout this

up-to-date 11wdtn1 me tluul.

Thi s Modern Method tells you How to play the banjo cffect i vely with the correct right and left hand fingering . How to play major and minor scales , chords and accompanimen ts in all keys . How to play the banjo with a p lect rum. How to write and arrange banjo music from a piano score. Ho w to arrange song accom pani ments, banjo so los and plectr um dance arrangements . H ow chords arc forme d . H ow to tran spose . How to mo dulat e. Th e whole fu lly explained by mean s of illustratio ns and n umerous exam ples used ~ onj unction wit h melod ious exercises.

SIX SHILLINGS (Postage 4d. ex1ra)

CLIFFORD ESSEX MU SIC CO. LTD . 8 NEW COMPTON STREET , LO N D ON , W .C.2

•

iv B.M.G. Ma y, 1943

Hawaiian -Guitar • TUTORS and ALBUMS

"KAMIKI" HAWAIIAN GUITAR METHOD T1his method is undoubted ly the most practical and easi ly understood book of its kind on the market. All superfluous exp lanatio ,ns have been eliminated and wh ile everyth ing of importance is ju st where it is most needed, there a re no long bewildering explanations to confuse the

student. Ideal for t he playe r wlho is teaching himself . PRICE 4/- (Postag e 3d. cxtrai

KOA LOA METHOD FOR HAWAIIAN GUITAR A short, easy method written in both musical notation a,nd diagram system . Include s illustra ­tions of correct position for ho ldin g t he guitar and manipulating th e s teel . An ideal method for the player who wishes to gain quick proficiency o,n tlhe, Hawaiian guitar without a lot of work.

PRICE 3/- (Postag e 2d. ext ra )

ROY SMECK ALBUM OF "EVERGREENS" (High Bass Tuning) Contents :

"Shine On, Harvest Moon," "Pagan Love Song," "St. Louis Blues," " That Naughty Waltz," "I'll See You In My Dreams," " Aft er You've Gone ."

PRICE 2/6 1Postagc 2d. extra )

HARRY PAHENE'S FIRST ALBUM OF SOLOS (High Bass Tuning) Contents:

" Drow sy .Waters," "Lazy Days ," "If You Could Care ," " Coral Sea ," "Ki lima Wa ltz," " Waik iki Blues," " Pah ene Pranks ."

PRICE 3/- 1 P o:,t.ogc l d . cxt.ra J

IVOR MAIRANTS' ALBUM OF SOLOS (.A7th Tuning) Contents:

"Re d Sails in the Sun se t," " Misty Isla nds of the Highlands," " Home," " Ha rbou r Lights," " Isle of Capri," " Hom etown ."

PRICE 1/ 3 1Pos tage 2d. extrn )

ROLAND PEACHEY'S ALBUM OF FAVOURITE SOLOS

Contents : (High Bass Tuning)

" Dreamy Hawaiian Moon," " Hawa iian Serena de," " Kalua Cape rs," "Alo ha Stomp ," 11 Blue Pacific Blues," "Mokihana ."

PRICE 2/ 6 !Postage 2d. extr a)

ALBUM OF POPULAR FAVOURITES (Arr. by Cyril de Vekey) Contents :

"Alexander 's Ragtime Ba,nd," "Margie," "Ava l on," " Din alh," " J a panese Sandman," "The Sheik of Araby,"

PRICE 2/ 6 !Postage 2d. ext ra )

HAWAIIAN MEMORIES SELECTION (High Bass Tuning)

• Introducing : (Arr. by Harry Pahene)

11 Ju st Say Aloha," " My Isle of Golden Dream ,," " Aloh a," "M oonlight in Waik iki," " A·n Old Hawaiian Guitar," "Goodbye Hawaii ," " My Bi rd of Paradise," " On th e Beach at Waikiki," " ·Hawaiia n Blu eb ird," " Lit tle Heaven of the Seven Seas," " Moon light Bay," " .Yaaka Hul a

Hick ey Du la." PRICE 2/.- (Po st age ld . ext r a)

CLIFFORD ESSEX MUSIC Co. Ltd. 8 N'ew C~mpton St., London, W.C.2

Prin ted by Peverleys Ltd ., 32- 36, Fleet Lane , Lon don, E. C. 4, for the Publishcn and Proprietors . Clifford Essex Music Co. I:.td. 8 N; w Comp ton Street , London, W .C.2