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Vol. L. No, 580]

LEN FILLIS DIES IN SOUTH .AFRICA

By THE EDITOR

MANY readers of" B.M .G." will learn with regret of the death of Len Fillis. He died on June 19, in

Johannesburg, at the age of 50.

Leonard Milford Fillis was born in Cape Town, South Africa , in 1903, and his mother bought him a tenor-banjo for his 10th birthday . Four years )ater he was a variety artist and toured his home country with a brother and sister as " The Fillis Trio ." After two years of vaude­ville he entered the dance-band world and was associated with South Africa 's largest dance band until 1923, when he came to London with his pianist Edgar Adeler.

In London he immediately secured a four-months' engagement at the famous Cabaret le Gaite in Rotterdam and when he once again came to London he was booked by Jack Hylton. Eventually he joined Jack H ylton's Kit-Ca t Band, appearing at the exclusive Kit -Cat Club in London , and whilst with this band re­corded bis own number "U ncann y Banjo" (H.M .V. B.5279).

After two years with Hylton, Len FiUis left to join Fred Elizalde and his " Hot " Music at the Savoy Hotel. Len's co­musicians with Elizalde at that time included such famous names as Adrian Rollini , Chelsea Quealey; Bobby Davis and vocalist Al Bowlly-whom Len had taught guitar back in Cape Town .

In 1927 he made his first records for Columbia and by 1929 he had given up dance-band work in favour of free­lancing. By this time he was running several recording units and, although . under contract with the Columbia Co., was recordirrg for every .:ompany of note

and Kindred Instruments Ed ited by

A. P. SH ARPE #

The Editor does not necessarily ar,ee with the opinions o:pressed by h1ir

. contributors.

AUGUST 1953·

LEN FILLIS

the South African player whose death is recorded i11 the accompa11yi11g article.

CONTENTS

Music la n1s woe: Soaulsb Guita r Sol:o: ° Canto dt Amo r " Banjo Solo: " Wood land N)'IDpbs " Plectrum GuJtar Solo: 0 Jeaa Mary 11

Hawaii an Gu.lt:ar Solo: " Moonbeams 0

Auslr.\Uan Gulld New s ~.: ... · •rt•" by J. Mc- lBO Banjo & Zllber-Ban!O ~ Na 11gh1011 • • • • 277

11 B.M.G. 11 Diplomas . . . . 230 By lb• Wa)' . • .. 280 Club Notts , , ™ Cornspood .. <c • • 2&1 Da .. •1 Baek ! .. . . . . .. 277 Dltt<IOl'l' of B. M, & G. Clubs • . 283 Fedentdoa News . . . . , . . , . , 280 It Could Onb Happen Oace by Jat:k Duartt , , 264 Kurt Jensen Weds . • . . . . • . . . 177 Len Filll• DI., In Sooth Africa by Tl1t Edi1or 261 Mandolin Tecbnlqoe by V. I . Pars/tr .. .. 263 Modem Pla)'in& for Pltrtrum Balljolsts b>• Ro;,

Burnham . . . • . . . , . . . . 267 New Hawaiian Rtronl., by The Edllor . . • • 166 Ptayln& tbt Hawalllln Guitar b;, Ba,// King • • 268 Plectrum Guitar Fonim Condu cud by Jack

Wi,/1/ield . . .. .. .. .. .. 266' Second Performance l,p I<. Tarram Bail t:y • . 278 SmaU Ad•ertJmn•nts . . . . . . ·183 Spaulsb Guitarists' Scrapbool< • . 165 Sparklln2 Gtm . . . . . . . . US T<•cliers aad l'belr Addre sses • • . • . . 183 'fe-4,:balQue aad Exp r tsdo o by Dr . JJ. A . J•,•wll • . 27!' Tb• &nJo lo llrttoln by W , M , /lrew,, . , 2~ Tht Mudtrn Haw:aliall Gul12r by Frank Bnk,r , • 276 Tbt Spanish Gulta r b;, TtrtJI UsJ,,r . • 275

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in London under various pseudonyms and was house guitarist for the majority of these Companies.

He was also in demand by the B.B.C. from the early 2LO days and in addition to many solo broadcasts and broadcasts by his own " Novelty Orchestra" (which he led on Hawaiian guitar), he was fea ­tured in many regular radio programmes, including Austen Croom-Jobnson's " Soft Lights and Sweet Music " and " Two Friends in Harmony."

A PIONEER

Len Fillis's play ing of the tenor-banjo showed a style and techn ique -years ahead of other players of the same period and his muted " hot " single-string choruses showed an inventiveness which is modern even by today 's standa rds.

Of the many solos he recorded (with Sid Bright accompanying on the piano) I re­call his transcription of the popular fox­trot " My Pet," of which "Melody Maker" record crit ic Edgar Jackson wrote:

" It is in the second chorus that things really begin to move. Th is chorus, which is un­accompanied, is such a mass of syncopation that even those who arc used to the broken rhythm s employed by advanced dance bands will find il none too easy to follow · the tempo ihe first time they hear it. But does it em • ba rrass Fillis? Not a fraction. He plays these intricate rhythm s and the rap id progres­sions of chords of which they are composed with ease and confidence. . .. The left-hand fmgcring of this chorus must be such as to tie any ordinary player into unrave lab le knots.

To me, however, the last chorus is the best. Here Fillis Ceatures his own " hot " single­~•ring 1ranscrip1ion of the tun e agains t the original melody which is em bodied into th~ piano accompa niment. Th e who le thing bristles with style. The phrases are as intrigu­ingly tuneful as they arc stylish and rhyth " mica!."

I .en Fillis can be called a µioueer of tlu : plectrum guitar in this country. when

262

most " guitarists" of that era were tuning their instruments as tenor-banjos and try­ing to forget the two bass strings, he was playing the instrument in the legitimate manner and his solo jn the Gilt-Edged Four Columbia record of " Best Black" was credited to Eddie Lang!

During his career he was associated with more than 150 radio , variety and recordings artists and Len Fillis claimed that he could be heard on more than 10,000 different records. Some of the well-known stars he accompanied on records are: Ramon Navarro , Jack Buchana .n, Elsie Randolph , Anna Neagle, Adolphe Menjou, Gracie Field s, Hilde­garde, June, Jack Hulbert , Cecily Court­neidge, Marion Harris and Jessie Matthews. In addition, he has been on recording sessions with Ambrose, Joe Loss, Roy Fox, Carroll Gibbons, Nat Gonella, Sydney Lipton , Edgar Jackson and Harry Perritt.

He accompanied Rudy Starita's xylo­phone solos on Columb ia records.

HAWAIIAN GUITAR Although Len Fillis was such a brilliant

exponent of the tenor-banjo and plectrum guitar, it was as a player of the acoustic Hawaiian guitar that he was best known. It was only in recent years that he used the electric instrument.

In addition to his own solos (on the early Decca records he was listed as" Phil Lenard "), and his "Novelty Trio ," " Novelty Quartet " and "Novelty Orchestra " (Columbia), some of the recording outfits led by Len Filtis include:-

Lian Milford and his Hawaiian Player s (Rega!-Zono).

Edgar Adeler's Hawaiian Players (Stemo).

The Blue HawaUan Quintet (Edison Bell).

rerrachini's Haw aiian Band (Broad­cast).

The Hawaiian Melody Makers (Broadcast) .

The Honolulu Quartet (Decca). Paolina's Novelty Hawaiians (Im­

perial ). The Pa lm Beach Hawa iians (Decca). The Splendide Hawaiian Quartet

(H.M .V.). The Waikiki Serenaders (Broadcast). The Pagan Three (Sterno). The Five Beachcombers (Radio). The Hula Hawai ian Trio (Eclipse). The Hawaiian Revellers (Radio) . The South Sea Haw aiians .(Domin-

ion). The Haw aiian Marimba Players

(R:egal-Zono).

B.M.G. The Hawaiian Serenaders (Eclipse

and Victory). Prince Kalu and his Hawaiian Seren-

aders (Imperial). Kula's Hawaiian Trio (Imperial). Lani 's Hawaiian Trio (Imperial). The Melody Trio (Domin ion). Jose Norm an's Haw aiian Band

(Regal-Zono ). The Radio Rhythm Rascals (Colum­

bia). The Royal Honolulu Sextet (Edison

Bell). The South Sea Islanders (Imperial). The Sunny Hawaiians (Victory). Tahiti Beachcombers (Columb ia).

TECHNIQUE AND STYLE Len Fillis , although " commercial " in

his playing of the Hawaiian guitar , always played with impeccable technique and a modern style. His records are notable fo r their tasteful Introductions and clever obbligatos to vocals. His " Radio Rhythm Rascals" records (Columbia), in which Jack Llewellyn is featured on plectrum guitar, reflects the modern Hoopii influ­ence of that time .

In July, 1938; Len Fillis left England for Australia , where he unde rtook a three-months ' tour for the A. B. C.; broadcasting from Sydney, Melbourne , Adelaide , Perth , Hobart , Newcastle , Grafton and Brisbane. Whilst in Aus­tralia he also recorded several titles for the Regal-Zono . lab el.

He was all set for a visit to America when the outbreak of war came. He de­cided to sett le in • Austriliia. Meeting Cluny MacPherson and Vic Wilson (two of Austra lia's outstanding players of plectrum guitars) at a party early in 1942, Len Fl llis persuaded them to join him to

AUGUST, 1953

form the Len Fillis AU-Star Tri o whi.ch was immediatel y booked for six Wednes­day-night broadcasts in the A. B. C. National programme.

Ill-health was forcing Len Fillis to have long periods of inactivity , but in addition to short spells with leading Australian bands , in 1944 he was feat ured in a "Songs of the Islands" Saturday night broadcast with the Sydney Wireless Chorus.

Len Fillis came back to England in 1946 and attempted to form a new-type Hawaiian combi nation to play in Lon­don 's West End. He told me that he had learned a lot from the Hawaiians he had met in Australia and , given the chance, could give listeners something new. His attempts were unsuccessfu l and , apart from one or two isola ted engagements , was never given the chance to show what he cou ld do.

Returning to South Africa , for the past five years he has been playing, between bouts of illness, in the Jounge of Fay ­land's Hotel and Restaurant in Joh annes­burg .

Len Fillis has nearly a hundred compo­sitions to his credit (many being writtep in collaboration with Sid Bright), the most notable being: " Dizzy D igits," ' · Un­canny Banjo," ·· Thought of the East ," " No. 13 Blues," ·· Ta mia ' the Tenor ," " Sort of Uncertain ," •· Food for the Soul," ·• Banjovialiry," " Butterfingers," "In 'A'" and "Mood Ruby. " He is also author of the plectrum guitar method published by the Lawrenc e Wright Co .

Jn the passing of Lea FiJlis the fretted instrument world has lost' a player who did much to popularise the tenor-banjo, plectrum guitar and the Hawai ian guitar.

"THE THlNGS WE COUL D I>O TOGt ;ntER .. .. "

i\ucusT, r9·53

By V. J. PARSLER

(Coniinued from the July issue)

CONTINUING our study of these · Elementary and Progressive Studies

for the Violin (Kayser), No. 7 now becomes due for analysis. Written in B t, , there are no hidden difficulties.

It should be played one stroke per note; in a steady down, up, down rhythm. To produce the best tone from a staccato stroke, the plectrum should strike downwards at about the angle of 45 degrees. By downwards I mean towards the soundboard or belly of the instrument.

If the plectrum " hooks " the strines , or just pushes them sideways, the tone will suffer. It might even cause a jang• ling of the strings against a fret higher than the one being played.

Another point about this exercise is the diminuendo following a crescendo in a number of places. Do make this lessening of volume as definite as the easier crescendo. Note how the phrases come down the scale as they become softer.

You mjght like to try the effect of a little accelerando with the crescendo and the same amount of ritard with the diminuendo . It is an effect often used by sploists :and adds ·interest to what might otherwise be a rather uninteresting run.

The exercise finishes with some chords or " double stopping." If you have any difficulty in playing on several strings at once, it might help if you moved your right hand nearer to the fingerboard (i.e. away from the soundhole in the opposite direction 10 the bridge) and ,held the

8:M.G. plectrum looser than is your normal practice.

Should a three• or four-string chord be beyond yout capacity, take the plec­trum in a down stroke across the lower strings and tremolo the top strings .

A four-string tremolo takes a great deal of practice ." At first it sounds a horrid jangle-but it will come in time.

The crotchet chords are best played with a down stroke, using tremolo for the minim and semibreve chords .

Exercise No . 8 is the first we have encountered in the key of D major. AJ­though marked " andante ... for our pur­pose it is better played as an a/le,:ro moderato.

The curved line above each bar can be ignored as, in th is instance , it means one bow per bar.

Do nor allow the plectrum work to become· jerky ; a smooth down and up stroke, with a slight accent on the first note of each bar, is what should be aimed for. There are a few additional accents which should be made.

A FEW SNAGS At first glance, exercise 9 looks

quite easy-but there are a few snags. In the first place it is marked " alleJ?ro assai " which means very fast-but let your speed come with practice. When you have played it a score of times, you might try and see how fast a staccato you can manage.

There are quite a Jot of accidentals which must be put in correctly to get the true meaning of the piece. Another small point: the end of the third line completes the theme , which is then re­peated. Complete this phrase by making a slight pause on the D, with a ral/. lead­ing up to it. Then start off again at the original tempo .

" ... IF ONLY YOU PLAYED 1HE MANDOLIN! "

263

Repeat this in the middle of the sixth line .

It also _occurs in several other places which I am sure you will now .be able to pick out for yourself .

This exercise is a good test for the f!)urth finger: in the extensions to C on the first string; the~accidentals; and the notes where a 4 is shown above them.

At this point let me remind the student that there is no one to check whether he plays these exercises as I suggest or whether he just scamps through them. The result will, however, show in the progress (or otherwise) he makes. He will cheat himself and no one else.

HAND CO-ORDINATION Omitting exercise 10 (which is m~re

for bow control) we come to exercise 11 which , although still in the first position, is far from easy. Four triplets in a bar plus the key of E t, calls for careful co­ordination of the two hands.

Each triplet should commence with a down stroke.

I am going to relax the " no open strings " rule in this exercise . The D string can be played open whenever it occurs.

One reason is that the covered strings do not " cut" through as do the plain first and second strings whiJe the speed at which this exercise is played does not allow the string to sound too long.

Notice the direction " enerRetico allegro." You will feel a rest has been well earned after this exercise !

The twelfth exerc ise completes this group, which has been solely in the first position , There are no special difficul­ties to Dote in th is as the player will, by this time, know what is required.

Allegro ma non tanto (allegro, but not too much) will give a little .breathing space after the previous exercise. A chromatic run in the middle is our first introduction to this musical form.

There are a number of ways of play­ing a chromatic scale and we can elabor ­ate on them at a late r date. For our present purpose the fingering as marked will prove quite satisfactory.

The next group of exercises will prove a distinct advance in difficulty and I think this a good place to summarise the achievements up to date .

The left hand shou ld now be stronger and quite capab le of dealing with every note on the four strings up to and includ­ing the 8th fret

The right hand shou ld synchronise ex­actly and produce a clean-cut note. In the fast exercises the " fanning" action of the . right wrist should be most notice­able .

264

It will be a great help if the student will memorise not only the names of the notes on each string, as far as his fingers can reach in the first position, but also the names of the four notes on each fret. Without looking at the instrument, of course.! INVALUABLE ACCOMPLISHMENT

This accomplishment wiU be invalu­able for position playing and chord work later.

I have not mentioned scales before but if the student is really in earnest he should play the appropriate scale before he attempts the relative exercise.

In the first position, scales of only two complete octaves can be played­but their usefulness cannot be too strongly stressed. Keep those fingers on the frets as long as possible and make the · change from one string to another imperceptible to the listener. It is not easy on the mandolin but it is something at which we should aim.

A reader has asked me to write about duo-style playing . I shall deal with this subject when we have done some more work on the single-note exercises. It is one of those effects which can be shown on the instrument better than by the written word but I shall be able to explain several of the styles that are most useful.

(To be continued)

IT COULD ONLY r. HAPPEN ONCE

By JACK DUARTE

(Continued from last month 's issue)

DJANGO REIN­HARDT'S style as a musician was even

more strongly personal t h a n his technical facil ity. This simple fact over-shadowed all others and reduced the immediately pre - war statement of a certain Press critic that Rein­hardt was no jazz musi­cian (the reference being in derogatory terms) to

a level of fatuous irrelevance attainable only by critics in their weaker moments.

Who , we may ask, cares or cared into what pigeon-hole Reinhardt fitted?

When the miracle of h is technique ceases to monopolise the attention, there remains a fund of musical interest which is unlikely to be exhausted by anyone shor.t of another genius.

Do not expect, therefore , a systematic

8.M.8 . study of Reinhardt as a musician; rathe r will this ar ticle be a collection of personal reflections at leisure.

Reinhardt, as we all know , was of gypsy stock and there can be little doubt that his peculiar style resulted from the fusion of this element with his love of improvised jazz . For this reason he was never a purely gypsy musician and never an out-and -out jazzman.

His principal inheritances of romany origin were a strong melodic vein and an unmistakable fieriness which broke out with an abruptness that was often almost disconcerting. Who can forget the first impact of the outburst which marks off the middle eight bars of his chorus of " Moong!ow" from the previous 16-which were played with an expressive tenderness that was in itself before then unknown to the plectrum guitar?

Such outbursts were, of necessity, dis­plays of technique and their impact fre­quently hinged wholly on this fact rather than on their musical content.

In this connection, an example imme­diately corning to mind is the flooding dimin ished-seventh arpeggio used in " St. Louis Blues;· later in "Nag asaki," and later still in ·• Songe d'Au tomne." Al­though he demonstrated it to me many years ago, I never fully grasped how he did it!

MANY LINES OF THOUGHT The preceding sentences, now that

come to re-read them before writing on, suggest so many lines of thought that I must turn back to explore some of them a little.

Although his early study of jazz music revolved round gramophone records of Arm9trong and Ellington, Reinhardt came into prominence in the so-called "swing" era-and if his playing belongs

Atrousr, 1953

to any period of jazz, it is to this one. Apart from a taste for unusua l har­

mony (the Ellington influence) w~ch he displayed more freely on informal occa­sions than in his recorded pieces, Rein­hardt showed little influence by his early idols. Unfortunately, he never assimi­lated the modern influences he found at work after the late war (call it " bop " if you must). I say " unfortunately" not be­cause he would necessarily have been better for so doing but because his attempts amounted to mere caricatures ­a fate largely shared by those of Benny Carter, another pre-war ·• great,'' who should never have tried!

Every Reinhardt lover of discrimina­tion must have winced at the record of " Blues Primitif " which Reinhardt made on .amplified guitar.

Strangely enough, one of Reinhardt's little " fingerprints " was that type of spinning phrase (there were many vari­ants of this in his playing) of which Ex. I on this page is characteristic. Such phrases were clear ly zigeuner in origin. Ironicall y, -they are also charact.er.istic of modern jazz. Ex. 2 is from Dizzy Gillespie.

It did not stop there. Reinhardt's passion for florid phrases, also attribut­able to his ancestry, is too well-known to require any illustration and this, too, is shared by the modernis ts. Further, the modern " pointing " of phrases by •·ghost ing" certain notes to give impetus and force to prom inent notes was also freelv used bv Reinhardt.

Ex'. 3 is ~ small phrase taken from Reinhardt and Ex. 4 is by the present­day genius Tai Farlow. The principle is the same.

With these-and other devises in com­mon- it is strange that Reinhardt never

Ex . 12 t 7' · 1 ffl rfrlr 1PF' H ( gradual deceleration j

AUGUST, 1953

really developed a feeling for modern phrasing ; and how clearly it underlines the unwritable subtleties of jazz style!

THE MELODIST When we come to deal with Reinhardt

as a melodist we are immediately faced with more material than we can possibly cram into one article or, for that matter , into sever.1J articles.

The s'erious student of style will find great interest in seeking examples of\ even the following few aspects-n one of which are peculiar to Reinhard t but all of which lire abundantly displayed:

(I) The majestic sweep of phrases into the upper register. Ex. 5.

(2) The construction of inspired phrases whose development in \erms of accent 1s clearly self-contained and not dictated in any way by bar-lines. See Ex. 6.

(3) The feeling for artistic balance within groups of bars. Notice how, in Ex. 7, having formed a flat but by no means uninteresting little chromatic one and a half ba rs, instinct led him to bal­ance it immediately by a jetting phrase composed of an arpeggio with compara­tively wide intervals.

HAPPY CHOICE (4) The happy choice of the unex­

pected interval to lend intere,t to a phrase. Ex. 8 shows a phrase which begins similarly to Ex. 7-flattish and chromatic in structure-and this termin­ates with a wide, upward, but gentle leap. The interest here is in the interval marked by the bracket.

Actually this example might well qualify under the previous heading, also.

(5) The ability to deliver some pass­ages with such warmth and conviction that one forgets they are mere strings of unvarnished arpeggii-as shown by Ex. 9.

(6) H is obvious spontaneous reaction to melodic fragments that appealed to him. An example of this is in Ex. 10 in which he spins a delicate pattern; pausing just long enough at • to catch his fancy so that he continues ~s in Ex. 11.

He is. however, sufficientlY. great as an artist to avoid the mechanical repeti ­tion of his pattern and , although the ob­vious relationship to the "trigger" phrase is kept, each repetition is varied and at the third time the ohrase is made to flow onwards in semiq.uavers; avoid­ing the excessive break-up of the line.

It is worth noting also how gracefully arid natu rally he brings the rapid surge of this passage into still water. Ex. 12.

STUDY HIS WORK One could well continue indefinitely

but space does not permit such luxury and we must be satisfied with these few examples of the artistry which lies artist­ically concealed and which will reward those who have the patience to study Reinhardt's work with a better object than simple simian imitation.

As with all artists of his kind-the unschooled genius-there was dross mixed with the gold, jazz being a waste­ful art by nature. Often Reinhardt sacrificed his better judgment for trivial (musically) displays of technical facility -"Mystery Pacific" and "Rose Room," to mention only two examples. The former 1s worth its place in tbe archives on technical grounds but the latter best forgotten.

In moments of lapse he could , too, produce phra ses of incredible poverty (musically a11d technically) and I would refer the reader , as an example, to the middle section of his early record of

THE

C L IFFORD ESSEX "MANUSCRIPT n SERIES ~

Throuch the cenerosity of the famous American composer, player .and arran,er,

ZARH M. BICKFORD we are able to offer players of the b1Rjo the followinc well-known tunes arranged for

BANJO TRIOS Thes e numbers are arran1ed for THREE FINGER­STYLE BANJOS-each part bein& interestin& and satidyin1 to the player. fulf r positioned and fincered.

AMERICAN RONDO DIXIE MEDLEY "RAISIN-EL"

TANGOMANIA PREACHER & THE BEAR L'INFAN .TA MARCH

Wh erever thr ee banjoists t:1n a;ec ro,:ether, these arrangements -are bein g playe d and enjoyed. No~ only are they nti~fyinc to the banjoist but 111 make items

for public playini . -PRICE

EAC H sf• TITLE

NETT

Thtst masterly arron1cmcnt.s have met the demand of those players who wish to f)lay music spe.cially a_rranged to 1ive satisfrjng results-sin gularly and collccti~dy .

CLIFFORD ESSEX MUSIC CO. LTD. 8, NEW COMPTON ST., LONDON, W,C.l

265

" Body and Soul" which is monument­ally insensitive.

At this stage I find there are so many points of interest unmentioned tha t I must trespass on the Editor's hospitality · for one more month.

(To be continued)

SPARKLING GEM

A WELL-known singer-guitarist was appearing at one ·of London's ex­clusive night spots in cabaret and,

as is usual, night after night lhe patron who had imbibed a little too well insisted on loud-voiced remarks during tbe act.

Towards the end of his engagement, the singer was rendering a particularly intricate song when the usual reveller started interrupting the perfo rmance.

Du ring a four-bar guitar interlude th,e singer stopped-and turning to the drunken patron remarked , in a voice beard by all present. "Would you mind? I'd like .to cast a few more pearls !"

He continued his act in reverent silence and received a thundering round of applause at its conclusion.

Each 111011111 1111der this headi11g we print .<in item of particular interest to players of the Spa11ish g11ilar, Cut out and pasted in a scrap­book, these art;c/es will make an interesting reference library.

Items from "B.M.G." readers for inclusion i11 "Scrapbook" will always be welcomed.

A. W. L:ane, the well-known Woking teacher , sends us the following extract from an article by Frank Mott Harri­son, Mus. Bae., which appeared. in "The Lady," dated February 20, 1890:

"For many centuries past the guitar has been the national instrument of Spain and Portugal. Indeed, so popu­lar it must have been at one time that, after a battle in which the Portuguese were defeated , no less than 14,000 guitars were found on the field."

* • The poet Shelley, who played the guitar,

gave clear proof that he knew of what he was speaking when he penned his rhapsody on his beloved instrument, exclaiming:

"The art ist wrought that loved guitar, And taught it justly to reply,

To all who question skilfully In language gentle as its own,

Whispering in enamoured tone."

NEW HAWAIIAN RECORDS By THE EDITOR

RBCENTL Y I received some new Hawaiian records from abroad­and despite the fact that these

discs cannot be obtained in England (although there is always the possibility of their re-issue over here!) I would like briefly to comment on them.

From Holland come three records by The Mena Moeria Minstrels, which feature Buddy Wairata on electric Hawaiian guitar . Issued on the Omega label, the titles are: "Tomi Tomi" and "Na Aloe" (35.111); "Royal Hawaiian Hula " and " Hano Hano Hanalei " (35.118); " Little Lani Jo" and " Kane On.e H ula" (35.119).

Buddy Wairata is the " King Nawahi" of the electric Hawaiian guitar. Although, judging by these records , he is always "busy," his fast right-hand technique never detracts from the enjoyment of anything he plays. He always produces a grand tone from his instrument . ,

"Na Aloe," a paraphrase of "Hula Blues," includes some amazing triple fingering and fast steeling in addition to a Hoopii-style chromatic slide in perfect rhythm. There is also an inspired counter­melody behind the vocal.

In the second chorus of - " Royal Hitwaiian. Hula ," B"uddy Wairata uses a (to me) new effect in broken chords which ranges over the whole compass of the instrument ! His hot chorus in " Hano " is really modern with a clever use of " block " chords.

The echo chamber for the vocalists in Little Lani Jo " does little to detract

from Wairata's beautiful counter­melody. The best thing of this otherwise trite melody is the glorious tone from the Hawaiian guitar fo r half a chorus.

Buddy Wairata 's tone in the slower tempo numbers shows that in addition to bis amazingly fast · right-hand technique he has nothing to learn about tasteful and worth-hearing tonal reproduction.

I understand there is a possibility of The Mena Moeria Minstrels corning to England . lf they do, I predict the fans will quickly flock to see and hear Buddy.

NEARER HOME From Germany come three Polyphon

records recently made by Tau Moe and

' ·Ex. t ' _ , .

B.M.G. his Original Hawa iians: " Hilo Hattie " and "Hula Blues " (X.51477); "Little Brown Gal " and " Hawaiian War Chant " (X.5 1478); " On the Beach at Waikiki " and " Rhythm of the Islands " (X.51479).

Tau Mo_e has been appeari ng in Ger ­many for many months past, but readers of " B.M.G ." who remember him from his appearances with the Felix Men­delssohn stage show will need no telling tha t htl is an outstanding player of the electric Hawaiian guitar .

On these records he shows, in his " easy " chord choruses , his hot playing , his lovely phrasing in double-stopping, and his " brass " figures behind vocals, that he rates among the " greats " of the Hawa iian guitar.

His facile command of cross-picking and modern-style slurs, the restraine d but nevertheless effective use of the volume control, tasteful phrasing and inspired modulations into vocals, make every number a pleasure to listen to.

Tau always embellishes a chorus with taste and his use of harmonics is always "just right :" In the straight playing of a melody, his tone could not be bettered .

We in this country are suffering from a dearth of. Hawaiian records. The Con• tinent is better served in this respect but fans over there would like to hear records made by outfits in this country as much as fans here want imported records. ls there no way an exchange can be effected?

'Conducted by JACK WHITFIELD

BEFORE introducing two more ' examples for pract ice in small barre

playing, we must answer promptly a query which has arisen out of last month ·s artic le.

:~ _. l'I V V "'

~ 1 'fltlr:Ef 1ti 1:Ef :tf =EEF I Repeat ad lib .

AuousT, 1953

It relates to the second example which, you may remember , consisted of triplets on first and second, second and third, third and fourth, fourth and fifth, and fifth and sixth strings ; using the small barre by first, second and third fingers in succession.

No doubt the problem facing the begin-• ner who wrote in is common to many others. It is this : Is the fust finger raised from the fingerboard before or after the second finger is applied-or while it is being applied? And should the second finger be ra ised before or after the third is applied-o r while it is being applied?

The answer is: No! Once the first finger is on the fret it

stays there until the triplet is completed. Similarly, the second finger remains o~ the fret, held firmly, while the third finger is brought down, so that when the final note of the triplet is played all three fingers are on the frets ; each stilJ exercis­ing the pressure required to stop the strings, even though the efforts of the first two are apparently wasted.

Jf you play the first triplet in the manner described and then, by way of contrast, try it out with each finger being withdrawn after the required notes have been played, you will see that the efforts of the seemingly " unused " fingers are by no means wasted.

Thei r maintained pressure " streng­thens" your playing.

In changing position for the next triplet, incidentally, all three fingers are moved as a group into place over the frets re­quire d for the new sequence ; so that they can make a direct descent , with no " reaching •· for the correct position.

Now to this month 's examples. Example I uses mainly first and fourth

fingers and is really a sample of the type o[ exercise which you can well work out for yourself to improve your left hand.

SAME RULE APPLIES The rule mentioned above in connec-

II

AUGUST, 1953

tion with last month's example applies in reverse here. Before playing, place the fourth finger on the top two strings at the twelfth fret and the first finger on the same strings at the ninth fret.

Thus, when the first chord has been struck and the fourth finger lifted, the first finger is actually holding the strings ready for the next chord.

When this has been played, release the first finger to play the two open strings, at the same t ime moving the hand to position the fourth finger over the tenth fret and the first over the seventh fret; bringing both ·down simultaneously on to the fingerboard in preparation for the next two chords.

Apart from an almost negligible exten­sion of the span to match the widening of the frets, the structure of the left hand remains unchanged as the hand moves down the fingerboard.

With this example as the pattern, repeat the process on second and third, third and fourth, fourth and fifth, and fifth and sixth strings.

There is no end to the exercises you can devise on these lines if you want to master the small barre.

Making use of the open strings as indi­cated in Example 1, try out first and second fingers, then first and third, then third and fourth , second and fourth.

U you have covered the ground set out in this and last ll)Onth's articles, the rhyth­mic eight bars of Example 2 on the opposite page should give you no trouble.

I would hate to think you could not put the results of your practice to practi­cal use, so I suggest, when you have Example 2 at your finger tips, you might substitute a D7 for the minim rest at the end and present it to your bandleader as a guitar Intro. to something or other!

(To be continued)

MOi:>GfaN fJ'-AVIN~

FOkf~'B~f'4ti By ROY BURNHAM

STUD ENTS' Course 5. Lord B a d e n - Powell

bad a motto on his desk which read : " Softlee, s o f t I e e , catchee monkey." A valuable mo.tto-and particularly valuable to the student.

So many are tempted to run before

·they can walk; to attempt solos beyond

·B.M.G. tbei.r present capabilities; or try to emu­late the tricks and spectacular effects of the advanced player before they have the basic foundations.

The quickest road to proficiency is the steady way of learning basic things first, one at a time---ever broadening our foun­dations as we go and then building on them.

So we learn to hold the banjo correctly and use the plectrum in the right way, not digging it into the strings but striking them neatly and cleanly with a free action of the wrist.

Then we begin to use the left hand ; by practice, exercising the muscles of the fingers until they can press the strings firmly-and the chord shapes whicl). once seemed so awkward are formed without even a thought.

And as we do this we begin to learn the fingerboard and become familiar with written music- and from time to time we should give a thought to the right hand and strive to keep the action free and yet precise; always trying to obtain the best possible tone from the instrument.

Then comes the time when we must take our technique a stage further. We must begin to use the left hand to do something more than merely stop the strings (firmly, immediately behind the frets). We must use it to add effect to our playing-and train the right and left hands to work together.

We begin with the foundations - the difference between legato and staccato . A legato note is one which rings on, gradu­ally dying away. A staccato note is cut short abruptly.

If you str ike an open string of a banjo it will ring on unless you muffle it by plac­ing a finger on it-without actually :stop­ping the string by pressing it against the fingerboard . If you strike a stopped string, it will ring on until the pressure of the left-hand finger is relaxed.

So to produce a staccato note on the banjo we must release the pressure of the left-hand fingers after striking the strings.

PROMPT RENEWAL HELPS US TO KEEP DOWN OVERHEAD COST­ANDSAVES USTIMEANDTROUBLE

267

'ACTION' ON CHORDS The easiest way to practise this is with

chords. Before using the plectrum at all, finger

the chord of G at the third position and, counting four beats to the bar, press the strings firmly on the fingerboard and then release them for ellch beat. Once you have the feel of this action, use the plec­trum; striking the strings with a down stroke as you press the chord down and releasing the pressure almost immedi­ately after striking the strings.

Practise this for several days, then turn to Ex. 25 i'tl " How to Excel on the Banjo." Play every chord staccato with a down stroke---speed is not importan t, although you will find that after a time yc1\J can gradually quicken the tempo.

This month's solo is "Vodka." It is a little more difficult than the solos I have introduced before. Take it a section at a time and watch the notes carefully, for it introduces minor keys and modulates into keys outside the key signature .

You will need to use staccato chords in the second movement and in parli of the fourth movement.

Watch carefully for the changes from p to ff. They are very important in this solo.

Intermediate Course 5. Cross picking is an art whfoh is attempted seriously by few plectrum-banjoists. Yet it is quite simple and is only a question of develop­ing a little dexterity with the right hand­or, in other words: practise, practise, practise.

There is no reason why any plectrum­banjoist should not be able to change from any string to any other string on either a down or up stroke---or to play a whole succession of notes, every one on a different string.

Fundame ntally, it is a question of using a down stroke on the beat and an up stroke between the beats; irrespective of which string happens to be struck next.

THE WRONG IDEA Some players seem to be wedded to the

idea that strings must be changed only on a down stroke. I find no difficulty, even in fast passages, of striking the first string with a down stroke and following it with an up stroke on the third or fourth string.

Practise this on Ex. 69 in :, How to Excel," using down-up-down-up stroking throughout and omitting the lower notes wherever double stopping occurs, e.g .. the last half of bar 3.

Then, when you begin to get the feel of cross picking, turn to Ex. 24, which is in faster tempo.

268

This month's solo is "Hot Frets ." An excellent number and of particular interest to the intermediate player be­cause there are a number of lessons to be learned from it.

My personal preference-and one which is in accord with my own rule for down and up strokes mentioned above­is to use down-up-up-down strokes on each of the first two bars, and wherever the same rhythm appears.

One can play chords equally forcibly with an up stroke as a down.

It is an excellent solo for the combina­tion of both legato and staccato-SIMUL­TANEOUSLY.

In the Students ' Course above , I have dealt with staccato chords. In the first movement of " Hot Frets " there is a legaro melody with a staccato accompani ­ment. It is achieved in all its effect by keeping the finger stopping the melody note firmly pressed on the fingerboard for the full duration of the note while, a1 the same time, relaxing the pressure of the other fingers stopping the accomp anying notes of the chord immed iately after they have been struck with the plectrum.

Not particularly easy , no doubt-but , on the other hand, not particularly difficult.

Playing the banjo well must bring into play finger muscles we do not usually emp1oy. It is just a question of exercising and building up the muscles.

DU O-STYLE PLAYING

Advanced Course 5. Duo-style p lay­ing should be studied. It is the technical term used for the solo rendering of two parts--one played tremolo , the other staccato.

The simple.st form of duo-style is the tremolo single-string melody with a chord accompaniment on the beat. This is achieved by playing a tremolo note on the treble or bass strings and sweeping the plectrum across all strings with a single down stroke on the beat.

Ex. 104 in "How to Excel" demon­strates this-a lthough the late Emile Grimshaw preferred to use an up stroke for the chord . This is one of those debat­able points-my contention being that a down stroke will bring the chord " in " exactly on the beat.

The next most common type of duo­style playing is the tremolo melody with an arpeggio accompan iment. In this , wherever the accompanying note occurs , the down stroke on the note played tremolo is omitted while the accompany. ing note is struck.

B.M.Ci. Ex. 27 breaks down the mechanics of

this and you can play it with consecutive down and up strokes throughout.

Written normally, this exercise would appear as a semibreve G with crotchets E t, , B. t, , Et, , B t, , underneath with tails pointing · down , in bar one. Bar two would have a minim Et, and minim F with tails pointing upwards and crotchets G, C, B t, and D , underneath with tails pointing ' down.

This month 's solo is " Operatic Memor­ies," a good selection with plenty of varia­tion in tempo and effect-and practise those single-note fast runs until they are brilliantly clear.

(To be continued)

By BASIL KING

A READER asks me to go through t w o published

solos with special attention to the pick­ing: " Hilo March" and " Oua! Oua!" I have offered this reader some help direct but rather than go though part icular published solos- un ­

less readers make a sufficient demand ­! am going to deal generally with the subject of pick ing; especiaUy fas1 pick­ing.

Let us consider first what the possibili­ties and limitations are in the various styles of playing:

Single-stopping. Very fast playing is poss ible with alternate picking; that is, with the use of one of the fingers and the thumb alternately and the correct technique . Jn fact , the Hawaiia n guitar can become almost as agile as the clarinet!

The basic rules are simple. (I ) Use the finger for on-beat notes and the thumb for off-beat notes . (2) Move from string to string so that the finger is used before moving to a lower string and the thumb before moving to a higher string .

NaturaUy, the basic rules will not cover everything encountered but­especially for those who are not advanced players - we will learn to walk before we try to run and I will give some simple exercises in alternate picking later in this article.

Double-stopping. When playing two

AUGUST, 1953

notes at a time, alternate picking begins to become impossible . It is usually best to use the two fingers for two notes on adjacent strings and the thumb and second finger for two notes on spaced strings .

Fo r fast playing you must practise until you can use the right hand at speed.

Cont rol of the steel is essentia l and it is necessary to know where the next notes are to be found before you start to move to them , otherwise you will move the left hand erratically and fast right-hand picking will be impossible .

It is necessa ry to learn to move about the instrument in a sure manner before you try to ach ieve fast playing - or even complicated picking in a slow number.

Chords. Alternate picking is impossible with chord s since the thumb and two fingers are a!I in action on a three-note cho rd. For fast play ing of chords, the right hand must work at speed but aga in the secret is to be sure of where you a re going with the lefr hand so that hesitat ion does not put you off.

TWO EXERCISES The two alternate-picking exercises re­

produced on the opposite page (reprinted from the earlier article) are in octave-up notation and are marked for the High Bass tuning. For the E, E7th, C # m and low-5th El 3th tunings, alter the mark­ing in the first exercise to : first two notes , 4th string; next two notes, 3rd string ; next two notes , 2nd str ing and use the first finger instead of second; next three notes , 1st string ; next two notes, 2nd string and use first finger instead of second ; next two notes, 3rd

· string; and last two notes , 4th string. 1 cannot give the marking for the

second exercise in these tunings because their bass strings may differ in pitch considerably but it will illustrate the principles we are studying.

Notice that, in accordance with rule (I ) above , we are using a finger on the accented beats of the bar .(the first and third beats)- treating them as on-beats­and the thumb on the unaccented beats of the bar (the second and fourth), treat ­ing them as off-beats.

The accented beats here are not delib ­erately accented ones. The accent .is in the rhythm of the music-even a scale can have rhythm - and you should make a del iberate accent.

Feel the rhythm when you begin to work up speed.

In accordance with rule (2), we always move from string to string when the righ t hand is in the best position for moving, wh icheve r way we are going-up or

AUOUST, 1953 11.M.G

r r r r ,r c r r 1r r r r I r r r + +

a @····-······· @····-····-· ······

f., l J J 1J 2 r r lr J J J IJ @··-·~····.l @·····~········ .. ···-··~-······-·:·······~··········: @····-·····

J j II

down. Practise the exercise with vibrato , say

three times- slowly and regularly. Re­peat three t imes, making sure you are using the right hand correctly.

All of the picking motion must be in the fingers and the thumb ; the hand and arm must remain still.

Try using the first finger and thumb throughout: then the second finger and thumb.

Repeat three times , making sure you are using the left hand correctly and producing a nice vibrato. The left wrist must not move from side to side but act only as a pivot.

Each note must be clean, clear and of equal volume.

Now repeat the above without vibrato and fairly fast-but still regularly and in a flowing manner.

The two exercises are scales of C major. Write out similar exercises in other keys and practise them in the same way. In the High Bass tuning. for ex­ample , the exercises in the key of G will come at the 10th fret mostly. Jn the other tunings mentioned. they will come at the 15th fret or the 3rd fret , mostly.

UN ISON SINGING

In talking in recent articles to Hawaiian group .leaders and those who plan to hecome group leaders , I have mentione d unison singing and humming several times. A few words about this may not be out of place. (After all, singing came long before the Hawaiian guitar in Hawaiian music!)

Unison singing, if it is to be anything like what you hear on the native record­ings, is not just several people singing the same tune at the same time.

They must do more than that. They must pronounce their words in

the same way; they must all start a word at the same time ; and what is more likely to be missed, they must all finish their words at the same time.

The voices must be blended. A member of the group with a loud

or rough voice must tone it down until it blends. A member with a wide or fast, or otherwise conspicuous, vibrato in his voice, must learn to control it and tone

it down until it blends with the other voices. A member who is too self. conscious to sing out in a natural voice must overcome his feelings. He need not be embarrassed; the audience is not listening particularly to him!

The need to blend voices applies to humming and to harmon y singing as well as to unison singing.

Chanting is done without vibrato and several blended voices will sound more solid than many unblended ones.

(To be coruinued)

By w. M. BREWER

(Co111i1111ed from last month's issue)

IT is appropriate at this stage of my story to give a

. ~- biography of Will C. .t- ~-rr Pepper , who was born -.J~ ,: in Mortlake, Sl!rrey,

;~< , on August 31, 1864. }!-.. • Early in life he · achieved distinction

at cricket and was selected f r o m the Surrey Colts Eleven to play for his county (Surrey). He declined the honour to pursue

a prominent career as a banjoist. It is interesting to note that at a con­

cert appearance with his father in 1881, Will C. Pepper played the " Blue Danube Waltzes " on a seven-string smooth-arm banjo .

Jn July , 1893, he became a member of the famous Clifford Essex Royal Pierrots, which gave performances before mem­bers of the Royal family and distin­guished personages in the Isle of Wight , in London , and in the P rovinces.

A photograph of Clifford Essex and Will Pepper, taken with other member s of the troupe, shows them playing banjos with 17 frets. They featured , as banjo duets ," Monte Carlo March ," "Galop de Concert ," " Pierrot Waltz ," "Bonnje Scotland ," " Gaiete" and " Polka de

269

Concert." Will Pepper left the Royal Pierrots at

the end of 1895 and formed the White Coons Banjo Team (la ter styled the White Coons Concert Party) which -appeared first at Torquay and then had a long and popular run.

As a soloist at recital s given in the St. James's Hall , London , Will Pepper played unpub lished compos1t1ons by Parke Hunter , H. J. Fiske , etc ., on a five-string Tem lett banjo , but his reper­toir e also included so los by other com• posers: "White Coons March ," "West Lawn Polka ," " Yellow Kids' Patrol, " " Yacht Club March," "Delavergne March " and " Alabama Rose."

He made a whole series of recordings for the Pathe Co. and, in addit ion , manu· factured his own banjo records under the name " Temlett. " (W. E. Temlett played the accompa niment s .)

later in life. Will C. Pepper, whose ful) name was William Charles Pepper , was appointed by the Bonar Law government to advise on arrangements for setting up .Enterta inment Tax and other matters affecting Customs Dut y on musical in­struments . For his services, Mr. Bonar Law wished him to accept a knighthood, but he declined.

He held this advisory post until his death at Bexhill-on-Sea on September 5, 1928.

Will C. Pepper sponsored the building of the Felixstowe Pavilion and owned the Pavilions at Clacton and Bexhill; · leasing many more from seaside councils.

STATUS RAISED

By J 880, the minstrel troupes from the

TUNES EVERYBODY CAN SING: -

ALBU M OF

STANDARD FAVOURl·TES Ar ranged fo r

GUITAR OR B·ANIO SOLO (FINGER OP. PLECTRUM STYLES)

CONT EN TS:-«DOWN AT THE OLD BULL AND BUSH" "MY SONG GOES ROUND THE WORLD"

" If I SHOULD PLANT A TINY SEED OF LOVE" "IFYOU WERE THE ONLY GIRL IN THE WORLD" "LET THE GREAT BIG WORLD KEEP TURNING"

"PUT ME AMONGST THE GIRLS"

Price

2/6 (Postage 2d. extra)

CLIFFORD ESSEX MUSIC Co. LTD. 8, NEW COMPTON ST., LONDON, W.C.2.

States had raised the status of the banjo to that of a solo instrument in their pro­grammes. J. H. Haverly's Mastoden Minstrels of 1880 featured a team of twelve banjoists led by William A. Huntley and including John H. Lee and Samuel Devere. The latter was a " thimble player." He also played lively marches and was the composer of a song called " The Whistling Coon," later popularised by Eugene Stratton .

(A. D. Cammeyer in his reminiscences described Devere's banjo as having a fingerboard covered in glistening metal ! )

Haverly's Colored Minstrels of 1881 had with them, as banjoists, E. M. Hall, Arthur Thatcher, Tom Beet and the Bohee Bros. (James Douglas Bohee and George B. Bohee). E. M. Hall played " Home, Sweet Home ," with variations , and introduced the tremolo style of play­ing for the first time in Britain.

James D. Bohee was a fine executant and his favourite banjo when he arrived here was a smooth-arm instrument made by Hammig of New York. He had played it to President Grant.

James Bohee's " American Jig" was given publicity later by Alice Walkin­shaw, a noted player and a pupil of Clifford Essex. She married James Dunn, who as a " Banjo Sketch Artist " at the Palace Theatre, London , on March 7, 1898, imitated the the Bohee Bros. in his act.

The Bohees remained io England and ran their own minstrel troupes. James Douglas Bohee set up a teaching estab­lishment in Coventry Street, London, W. l , and gave lessons to H.R.H. The Prince of Wales. A studio portrait of James Douglas Bohee, together with pictures of Alfred Weaver and the

WILL C. PEPPER

·•Weaver " banjo played by H.R.H. The Prince of Wales were reproduced · in "The Sketch," London, on January 30, 1907. James Bohee w.as much respected in the profession. He died from pneu­monia at the County Hall, Ebbw Vale, Mon., on December 8, 1897, and was buried in the Brompton Cemetery in London.

George B. Bohee survived his brother and after the disbandment of the Bohees Minstrel Troupe at Hereford in 1898, he accepted engagements as a solo act at music halls. He toured Scotland in 1902 and was seen in London as late as 1926. The precise date of his death is unknown.

Further biogra0

phical data concerning the Bohee Bros. and their repertoires were given in my series "The Banjo in America" (" B.M.G. ," June, 1952).

MOORE & BURGESS The personnel of the Moore and

Burgess Minstrels (1869-1904) included, as banjoists: G e o r g e Washington

ERRATA The year when W. Temlett

established his workshop at 95 Union St., London, S.E., was, through an unfortunate misprint, shown in last month's "Banjo in Britain " as 1846. It should be 1864.

("Pony") Moore; Walter Howard (1869); Edwin French, a coloured artist (1884-1885); Pete Dwight; Bert Bradley; and the famous British players Joe Mor!ey and Alf. Wood.

Morley and Wood joined in 1894 and played their own compositions.

Sam Raeburn , whose real name was George Ellis, succeeded French in the Moore and Burgess Mipstrels. His chief triumph was a banjo song called " On the Steamboat." He died of pulmonary tuberculosi s in 1890' at the age of 27.

John E. Dallas and Richard Spencer set up business as makers of banjos in London in I 875 and 1880. respectively.

Callender's A!l Colored Minstrels. who came to Britain from the States in 1884, had a banjo band. The troupe gave performances at the Holbom Amphitheatre in April, 1884. and, later , at the Standard Music Hall in Shore­ditch.

The · American artist, Edward C. Dobson , settled in England during this period. He directed a studio in Regent Street, London, from 1884 to 1892 and won a gold medal on June 9, 1885, with

AUG .UST, 195)

'fKE WHITE COONS Bobbie Wilks, Ben Meredith , Fred Stephens,

K me Tem ple am/ Will C. Pepper .

an original composition at the Steinway Hall, London. in a competition. The award was presented to him by H.R.H. The Prince of Wales.

AUTHOR AND COMPOSER

During the I 880's, the celebrated Britisher. Herbert J. Ellis, who compiled his first banjo tutor in 1886 at the age of 21 and composed hundreds of solos, commenced his fretted instrumental career . Ellis excelled as an author and composer rather than as a player. He was born in Dulwich on July 4, 1865, and died at the early age of 38 on October I 3, 1903.

J. fa Brewster was a noted composer and player in 1885. He was born in Twillington. Newfoundland, in 1856 and was the author of " Howard 's Banjo Tutor" : Chappell's "New Banjo Tutor"; and ·• The Brewster Banjoist." One of his best compositions was "Brewster's Minor March." He died in 1912.

Alfred Davies Cammeyer came to London from the States in 1888 and five years later set up a teaching establish­ment at 59, Piccadilly in partnership with Clifford Essex. In 1896 they started market ing banjos and zither-banjos. Cammeyer retired in 1939 to live in Brailsford, Derbyshire .

A ·complete biography of Cammeyer and details of his instruments will be given in later articles. His business was taken over by John Alvey Turner , Ltd., who now employ Sidney J. Young, the craftsman who constructed the Cam­meyer " Royal " and " Vibrante" zither ­banjos.

(To be continued)

A:a:arded the "E. J. Tyrrell Cup" in the 1953 Federation Contest for CrnnJosition

Jean Mary Plectrum Guitar Solo

Slowly (ad lib .)

'~ffMI 1!!~ftfr®1lel{ JUDD PROCTER

f @ E7 :A~

t 11 Fine

Copyright reserved by the Composer

:Moonbeams

Arr. by SIGVARD AKERMAN

Larghetto

Canto de Amor ( SPANISH LOVE SONG)

Spanish Guitar Solo LOPEZ AL.MAGRO

r.,..

At,GUS1', .19~3

-- -~"~~c,)iilt, By T ERRY USHER

I AM constantly _ be!ng asked by gu1tansts to write an article

on .. temperament" -not the temperament that makes us want to break the guitar across our knee when we fail to maste r it but the " temperament" which is a term covering the method of deciding the

precise pitch of the notes of an instru­ment.

In my view, anyo ne who tr ies to write a short article on this subjec t is asking for troub le, and, so far, I have evaded the man y requests. However, a few weeks ago I gave a talk to the members of the Man chester Gu itar Circle on the subject and , in spite of its " conden sed " nature and the many things I had to leave out, it still seemed to meet the needs of members .

So , with warnin gs of its inadequacy as a complete explanation, here is my brief account of "temper ament. "

Firstly, we have to understand wha t an · " interva l " is. ·

An interval is the musica l dist ance between one note and another ; simply 110unt the numbe r of note-names and you have the interva l. From C to G, for example-C. D. E. F. G. , five not e­names- the interva l is a "fi fth." F to B -F . G. A. B., fou r note- names - the in­terval is a " fourth." C. to C.-C. D. E. F. G. A. B. C., eight note -names-an "e ighth " or "oc tave."

Each interva l--sec ond, third , four th , fifth, sixth , sevent h, etc.-is met with in several forms, accordin g to the nu mber of semitones in it. For example, C to B is a major seventh ; C to B t, is a domi­nant (minor ) seven th ; C # to B t, is a dim inished seventh .

Some intervals sound mor e harmoni­ous to the ear tha n others. This is because the two notes concerned are pro ­duced by vibrations whose rates per second bear a compara tively simple rat io to one ano ther. For instance, in the most consonan t interval (the eighth, or octave) the higher of the two notes is vibratin g twice as fast as the lower-• the ratio is

-2 / 1. Th e consonan t interval s are as follows :

Octave : 2 / 1. Perfe ct 5th: 3 / 2. Perfec t 4th: 4 / 3.

Major 3rd: 5/ 4 . Minor 3rd: 6 / 5. Majo r 6th : 5 / 3. Minor 6th : 8 / 5.

AIM IN TUNING The aim in tuning an instrument is to

prod uce consonan t sou nds from the con­sonant interva ls so that the consonant chords will sound pleasing and harmoni­ous-bu t this is an ideal impo ssible on instrum ents with a fixed scale. Only on the bowed instrument s (violin, etc.) and in the human voice can the player adjust the point at which be plays each no te so that the intervals are consonan t in ever y key .

Why is thi s? Briefly put , here is the explana tion­

omitting many importa nt and significant details bu t contain ing enough truth to serye our purpose.

Let us look at the diatonic major scale - that is the ord inary scale-fo r example: C. D. E. F. G. A. B. C. Pythagoras first demonstrated how suitable notes cou ld be found for such a scale by mounting a st ring on a box with a movable bridge to divide the string into two parts .

Wherever the note emi tted by one part bore a consonan t relationship to the not e emitted on the other side of the bridg e, the numerical relation ship of the two parts gave a point with in the octave where a note of the diat onic scale could be fixed.

Here are the ratios for every note of the diatoni c scale:

Tonic: 8 to 8. 2nd note : 9 to 8. 3rd note: 5 to 4. 4th note : 4 to 3. 5th note: 3 to 2. 6th not e: 5 to 3. 7th note: 15 to 8. Octave : 16 to 8.

The tonic. 8 to 8, is the whole /en,:th of the vibra ting object or the comp lete number of vibrations of the note forming the tonic of the scale. The 2nd note is nine-eig hth s of the vibratio ns ; the 3rd note is five-fourths as many vibrat ions as the tonic, etc.

Thu s, if the tonic is vibrating at 24 vibrations a second, the 2nd vibrates nine -eighths as quickl y <or 27 vibrations a second) and the other notes at the corr ect proportions of added speed.

WhH,t the Editor Is only too plu>o .d to sin info..-matiOft on a.ny matte.rs conntttecl with the frettt.d lnstf'ume.nts he rea rets that leu11r1 unaccompa nied by a stamped, self-addressed envelope cannot be ans wered.

SET OF VIBRATIONS Here is the complete set of vibrations

for an octave of the scale of C, if the tonic is vibrating at 24 per second: -

C. D. E. F. G. A. B. C. (octave). 24 27 30 32 36 40 45 48 Not e that the octave vibrat es twice as

qu ickly as the toni c- which is, of course , the 16 to 8 relation ship.

Now let me show you that the notes of the diatonic sca le of C major will not have the correct number of vibratio ns per second to be sa tisfactory to make up the notes of the d iatonic scale of D major. To do this, by ch~cking . t~e vibrations of each note (although this 1s the co rrect method ), would take up far more space than I ca n use . So we will do it simply by checkini a very con­sonant in terval in each scale-that is, the perfect 5th , whose ratio is 3 to 2, as a glance at the previously given formu la will confirm.

In the dia ton ic sca le of C major the 5th note is G. The interval C to G is a perfect 5th. The vibrations of the note C should bear to the vibratio ns of the note G the ratio 3 to 2. Let us check . The note C is vibrati ng at 24, the note G is vibrating at 36. 36 to 24 is the exact equivalen t of 3 to 2. So the ra tio of the interval of the per fect 5th is correct for the sca le of C since their vibration rates were originally calculated to serve accur­ately in tha t key.

Now let us try to use the notes of the scale of C to make a perfect 5th in the scale of D.

Th e perfect 5th from the tonic of D is A. Using the vibra tion rates from the scale of C we get 27 vibrations for the note D and 40 vibrations for the note A. Is thi s ratio the same as 3 to 2 ? No ! The rat io of 3 to 2 would give us 40½ to 27.

So the note ,\ is half a vibration too slow and would sound a quarter of a semit one flat i.f played, for exa mple, as part of the chord of D major .

If a similar tes t were made, most of the other notes in every other scale would be wron g if they used the vibration-rates of the notes of the diatonic scale of C major.

Most instrument s- piano s. organs , guitars. ban .ios, etc .- have fixed notes y~t they must be able, nowaday~, to play 10 every key. How is this achieved ?

If the notes or the frets are so fixed tha t the instrument is perfec tly in tune in any one key, it will be badly out of tune iJl most of the other keys . So the instru ­ment is never made, or tuned , to be per-

276

fecrly in tune in any particular key. In'stead, it is so made and tuned that no particular key is exactly in tune but every key is almosr in tune.

IT WILL SERVE In the case of the interval we have

tested, for example, the note of A might be so tuned as to vibrate at 40¼ vibra­tions per second . At 40 it woul d be cor­rect for key C but very wrong for all the others. At 40½ it would be correct for key D but very wrong for key C . At 40¼ we get a compromise : it is not quite right for key C but it is not so far wrong for kev D and it will a lso serve as "not far wrong" for all the other keys, too.

What is actually done is to tune the instrument (and fix its frets in the case of the Spa nish guitar) so that every semi­tone is exact ly the same music a l distance apart from the next semitone.

In a diatonic scale there are " large semi tone s" and "small semitones." In a " tempered " scale all the semitones are the same leng th , or as nearly so as is possible.

Her e a re the differences , in vibration lengths , of the notes of the lowest octave of C on the piano , between the diatonic scale notes and the temp ered scale notes:

C. D. E. F. G. A. B. C Diatonic:

32 36 40 42.66 48 53.33 60 64 Tempered :

32 35.92 40.32 42.71 47.95 53.82 60.41 64

The difference shows up more strik­ingly when we take a higher octave , where there are more vibrations per second:

C. D . E. F. G. A. B. C. Diatonic:

512 576 640 682.6 768 853.3 960 double Tempered :

512 574.7 645 683.4 767.1 861 966.5 double

SIMPLE AND OBVIOUS For those mathematically minded

readers ' who want to know why I used the figure 24 as the vibrations for the note C in the first example-when , in fact, the lowest vibration for C on the piano is j2--1be reason is that 24 is the least common multiple of the figures forming the ratios for the notes of the diatonic scale. By using the figure 24 as a theoretical basis , the division of the ratios became simple and obvious.

I could more correctly have begun with C (32) or C (512) but the figures would not have then shown their obvious relationship so clearly.

Of course, there is much mo re to " temperament " than this . I have said

■.M.S. nothing about the historical development or temperament; about the mean -tone system, which was an early attempt to make instrumehts playable in several keys; or about Bach's demonstrat ions, through h is 48 Preludes and Fugues, that keyboard instruments, by " equal tempering ," can be made playable in every key.

If you want to know more about this fascina ting subject , your local library will obtain for you a book on tuning and temperament. I am not ashamed to admit that this is how J learned about it. People make me sick who try to pretend they are so knowledgeable. D id not we all learn what we know either by being told , or by reading a book ?

How many of us have made an abso ­lutely new discovery ? Not one in a million. Yet we find too many people a fraid to admit that at one time they , too, " didn't know."

For my part, the more J learn the more I realise the more I have to learn . It makes one think!

(To be co111i1111ed)

By FRANK BAKER

\I TE now deal with several more YY questions that have arise n over

the past yea r, and, firstly , let us consider the student whose pla ying is co nfined to the self -accompaniment style: i.e., who plays the acoustic guitar because he or she prefers this style or because there are no other guitarists available for providing an accompaniment.

Players in th is position need not resign themselves to the front room and feel they will never be able to play in public. The self-accompanied Hawaiian guitar can give a good account of itself when well played and could present an int er­esting music item in any local concert­providing one or two things are taken into account .

About a year ago a young player came to me with a similar problem. H e was self,taugl"lt -and played the self-accom ­paniment style . He had developed a n incredible technique that would have done justice to Anton Karas, and, although a poor reader, he possessed an exceptionally good "ear." His vast repertoire included light music to jazz an d although it could not be said that all his chords were 100 per cent .. correct (i.e., if a comparison had been made with the

Auousr, 1953

printed copy) this was hard ly noticeable. He was invited to take part in one or

two local shows and entered several talent competitions-and it was then be came to me.

His pliying cou ld not be heard enough, even in a small hall. Few of the local ha lls possessed a microphone and ampli­fying equipment with the sensitivity and power to pick up the acoustic Hawa iian guitar satisfactorily.

He tried one of my electric Hawaiian guitars but was far from happy. The volume was , of cou rse, ample but the soste11wo was too great and the bass stri ngs (extensive ly used in the self­accomp an ied style) tended to '· ring" much too long whe n holding a barre. Also the electric instr ument did not prove very responsive on so me of the rhythmic effec ts he had developed: mainl y due to lh•~ slo wer damping of the s,rings.

SPECIAL UNIT

Eventua lly I made a special pick-up to fit his existing guitar - quite a moder­ately-priced acoustic instrument - and this. used in conjunction with a small S­watt amplifier and JO-inch speaker gave really excel/ell/ results.

The amplification was close to the original sounds a nd , perhaps, gave an improveme nt in tone with a much lower level of scratch noise from picks, steel, etc .

From then on this player appeared in a number of shows; won several talent contests; a nd was fas t making a name for himself. Unfort unate ly I lost touc h with him when he was called up for his National Service.

I hope this will serve as an example to all those play<!r:; of the Ha~ aiian guitar wh o, through no fault of their own or from cho ice, play the acoustic instrument in the self-accompanime nt style. There i,; no reason why such players should not achieve success in the solo instrumenta list field as much as other instrumentalists providi1;g that what they play can be clearly heard by their audience.

One or ' two readers of this column have suggested that I am prejudiced against the acoust ic H awaiian guitar and that I have written very little in relation to it. My onl y prejudice is the lack of volume of the acoustic instrument. Even the best gives nothiri"g like the volume of the cheapest electrified gu itar and small amplifier.

At the last Southern Rally there were no entries in the Hawaiian guitar con­tests but the previous year there were

AUG UST, 1953

several · entries in the acoustic Hawaiian guitar contest. I was seated approxi­mately halfway from the stage in the St. Panc ras Town Hall and experienced extreme difficulty in hearing any of the competitors-except for the occasional passage where full chords were used.

This could not be said for the electr ic Hawaiian guitars or other fretted instru­ments.

It should be remembered, too , that this particu lar audience was really interested and kept very quiet !

Summing up, my advice to those players who have written to me on this subject is as follows :

Having developed the self-accompani ­ment style on your acoustic instrument, pers1:v1:r1: with this style but for public performance fit a small pick-up uni t to your guitar . In most cases this can be done without cutting the instrument in any way. In some cases it can even be suspended in the souodho le.

Used with a small 5-8 watt amplifier you should then be ready to perform as a soloist in almost any haU, with the knowledge that your guitar is on an equal footing (as far as volume is con­cerned) with most other instruments.

KEEP YOUR INSTRUMEN T Do not be tempted to sell your acoustic

guitar for an electric instrument. The electric Hawaiian guitar is not suitable for the self-accompaniment style of playing.

This article may not be of great interest to those players who are content just to play their instruments at home­but I believe such players are in the great minority . I have found that most of my pupils, as soon as they reach the stage where they can play moderately well, have managed to get involved in some pub lic performance or other-be it only a show at the local church hall, a works concert, talent competit ion or such like.

From then on their ambition to play pub licly goes forward in leaps and bounds .

Few players, if any , are lucky enough to start with the idea l conditions of a B.B.C. studio---excellent microphones , complete silence, perfect acoustics-so it follows that the player must prepa re him­self for the worst conditions: a ha ll with poor acoustics , no microphone and, per­haps, considerable noise level from the audience such as at a smoking concert or wedding party where everyone seems to be talking all the time.

Under these conditions the Hawaiia n

■.M.G. guita rist may be truly thankful for the elec trical amplification of his instrument -an d any faults are outweighed by the advantages.

(To be continued)

KURT JENSEN WEDS

ON. July 25 Kurt Jensen and Vera Petherbridge were marrie d in Copen­hagen and we know that the many

readers of "B .M .G." who met this charming couple at Guild recitals in London will wish them every happiness.

They are now in England and p lan a touring holiday of Southern Engla nd by car.

Kurt, who has his mandolin with him, is hoping for an opportunit y to appear in a 8.8.C. programme whilst he is in England.

He also tells us that the Danish Union is organising a Massed Band Concert rn the autumn of 1954 a t which it is hoped to have Troi se .and Hugo D 'Alton appearing as guest artists.

Other news of Kurt Jensen's activ ities is that on Ju ly 4 he and guitarist Finn Sivertsen appeared in a Dani sh televi­sion programme and on Ju ly 6 be gave ·a so lo broadcast over the Danish radio. He has also made some Po lyphon records conducting ,the " Brio " Man­dolin orchestra {30 players) which was augmented by flute, oboe, two clar inets and harp . The pieces recorded were " Santa Lucia" and " Funiculi , Funi­cula ."

DAVE'S BACK! ,f OR two week's (commencing July 6) ' Dave Apollon appeared at the

London Palladium and h is playing of such numbers as " Begin the Beguine ," Summertime ," "The Man I Love" and a truly breath -taking "Hungarian Rhapsody" shows that " The Man With the Mandolin " has Jost none of his techn ique-in play ing the mando­lin-or showmanship .

Dave told us that his plans for the futu re will probably include a tour of England and, possibly , a visit to the Cont inent. He has ideas for forming an all-string orchest ra over here (if be can find the players) but, apart from that, he is awaiting events to shape themselves.

With him he has brought an ampli ­fied tenor -mandola and mando-cello and waxed eloquent over the effects he can produce on these instruments. By the time this appears in print we shall have

277

hear d some specia l recordings he has brought with him,.

Dave Apollon features mode rn num­bers in his stage act (notable for their up-to-date treatment and florid fills-in) but he is also at home in more serious music. His left-band technique is truly in the " great " class whilst his right hand is something at which all players of plec­trum-played instruments can marvel and try to emulate.

We hope that Dave Apollon. last t ime here in 1935, is with us for a Jong time. His masterly playing of the ma ndolin cannot fail to create interest in the in­strument by the general pub lic.

'~t,f,-~~~etie By J. McNAUGHTON "AFTER struggling

through the eleven examples of syn­

copation in Part 4 of ' The ... Banjo and How To Play

It,' I am still dubious about the time in the Six Studies," writes E. M. of Sheffield, who is one of the many lone players in my long list of corre­spondents.

His letter concluded with this appea l: " Woul d you please put me right by giving the correct counting for these studies? I am sure there must be many, like myself, who would profit by this even though they may not have asked your help ."

Subject to Editorial approval, I pro­pose to dea l with E . M.'s request in this way: Each month, from now , l will cover one of the Six Studies-and T hope the advanced players will bear with us. if only for the sake of the not-so -expert.

First , a word of explanation, before I give the actual counts. All beats shown in brac kets are not to be played by the right hand; being ties they are held down by the left hand.

Study N o. 1 (2/4 time. 33 bars, in­cluding the "second end ing ") : l & 2 & I (1) & 2 & 11 & 2 & I ( I) & 2 & 11 & 2 & I (I) & (2) & I 1 & 2 (&) I (I) & 2 & I I & 2 & I (I ) & 2 & I (I) & (2) & I 1 & 2 & I (I) & 2 &. I I & 2 & j l & 2 ~ I (I) & 2 & I l 2 & I (I) & 2 & I l 2 & I (1) &a2 & 11 I 2 & I (I) & 2 & 11 2 & I (I) &a 2 & I I & (2) & I (I) & 2 & 11 & (2) & 11 & 2 & I I & 2 & 11 & (2 &) I 1 &a 2 I (1) &a 2 & II (I) & 2 ii

To avoid errors, I wrote the ent ire counting, in pencil, above the notes of each study-so E.M . will rea lise h is plea

278

involved quite an eff!>rt. Any reader in similar straits is advised to copy the counting given above. If lightly written in pencil .it can be easily erased.

Next month I will give the counting for the second study.

LACK OF INTEREST During a recent "session" with my old

friend C. G. Fitzpatrick, whose brilliant technique entitles him to serious con­sideration as one of Britain's greatest banjoists, 1 asked him to play some of his solos which have appeared in "B.M.G ." music supplements. After he had played "Sylvan Glen," "Elana," " Queen of the Ice " and several others, including his most recent compositions, as yet unscored, I expressed my surprise at the apparent lack of interest in these grand finger-style pieces.

They are all fine solos-yet they are seldom heard.

The three I have named are particu­larly good and I urge all finger-stylists to " look them up" without delay--and there are at least seven others in the supplements of recent years; all deserv­ing of serious attention .

"Fitz" merely smiled at my expres­sion of surprise and shrugged an expres­sive shoulder when I condemned the ever-present apathy which many seem to display. He would rather play than talk, anyway, so I asked him to play an arrangement of " Russian Rag "-and it rippled from his banjo with astonishing ease.

Despite his current preference for a nylon-strung banjo, he can still coax the real Cammeyer tone from a zither-banjo -as "Caprice Accidental" and many other gems proved.

With his phenomenal memory and in­imitable style, " Fitz" is one of the real Masters of the Banjo.

As a finger-stylist he is comparable to Tarrant Bailey Jr . in technique, though he does not equal the latter 's strong tone; having, generally, a less robust attack. This is probably due to his zither-banjo background-although Ossman, Morley and Hunter figured largely in his early studies.

VALUABLE HINTS Several valuable hints emerged in the

course of our " session " and he was quite agreeable when l asked if I might pass them on to re:1ders, for " Fitz·• makes no mystery of his methods,

l noticed some seemingly unorthodox ideas in his right-hand fingering: i.e. In addition to the " first finger glide," popularis!!d by Park Hunter, "Fitz" uses a thumb glide. For instance, when a note

EI.M.G. on the third string is followed by one on the second string-or between second and first strings. (This means, of course, that the thumb strikes two notes consecu­tively-a practice normally to be avoided. However, in his case the result always appears to justify the means.!).

Yet another unusual feature of his right-hand method was the use of alter• nate fingering with the first and second fingers only-on all strings!

This requires considerable concentra• tion until a smooth, flowing effect is achieved-but it is well worth the effort involved.

Furthermore, if pract ised at less than two inches from the bridge it provides a splendid means of strengthening the fingers.

The chromatic scale of C, from open bass to tenth fret, makes an ideal starting point for those who wish to experiment on these novel lines.

By these seemingly trivial details, finger-style technique can be imple­mented to a remarkable extent, particu­larly in the awkward passages with which advanced solos abound. Used judiciously -a nd " Fitz ," like a good general, always plans his attack-they will help to solve problems and eliminate the pitfalls which prevent many ordinary players from acquiring some of the skill which characterises the scintillating perform­ances of C. G. Fitzpatrick .

(To be continued)

SECOND PERFORMANCE

By R. TARRANr BAJLEY

IN costly raiment, Albert Forde Packer and I presented ourselves at the Corridor Rooms, Bath, to fulfil our

engagement to perform A. H. Nassau­Kennedy's " Bonnie Scotland " as a banjo duet. So sanguine were we of success at the concert to be held there that we had also perfected the rendition of R. Allen's " Danse Bon Bon " in readiness for the encore we felt certain our 'combined effort would ensure.

But there was no encore because there was no concert.

As we arrived, the death of Queen Victoria was announced.

This occurrence is mentioned as evi­dence of my unquestionable antiquity.

It was this same antiquity that helped me to enjoy so thoroughly the B.B.C.'s second presentation of " Scrapboo)c for 1902.'' This exceller;it broadcast was, I am old enough to know, very well done. Mr. Grisewood " turned the pages" as no

AUGUST, 1953

one else could have done. His person­ality " gets across " via the loudspeaker more convincingly than that of any other talker.

Each time he licked his thumb to turn over a new leaf, I felt more and more a return of the old pre-first-world-war atmosphere of security, unspoilt happi­ness, " everything is all right, you can trust this chap, be really understands .''

How well he portrayed the carefree existence we all enjoyed until 1914-and how correctly he described the merry out­look we brought to bear upon all we undertook in those far-off days.

Those were the conditions existing when I first fell in love with the balalaika. Bu.t although we early enthusiasts really did love the instrument, it did not prevent our referring to it as the "be llyacher," or describing it as " ballylike a banjo ! "

Truly learned people have been wont to observe that "history repeats itself," and this inspires a hope that carefree days may yet come again.

In the case of the balalaika, history has repeated itself and, with no desire to poach upon Mr. Brewer's preserves as a historian , I intend to inflict some facts and dates upon you for the purpose of impressing upon your nylon-strung · minds the truly extraordinary course of events that appears to have almost super­seded the radish in the matter of repeats.

VILLAGE TO ROY ALTY Andreeff, by skill, perseverance and

love of the instrument, guided the balalaika from the remote villages of Russia to the palaces of the Czars. Robert A. Birse, employing the same methods, has guided the instrument from Cambridge villages to the presence of Roya lty.

That "repeat," however, remarkable though it is, by no means completes the wonderful story.

ln 1896 Andre.eff was doubtful about the possibility of making his improved balalaika popular, particularly as he was constantly hampered and delayed in his work by the action of government departments. So he sought advice. Sought it from one of the greatest minds his country had produced. He wrote to the famous author, Leo N. Tolstoy, as.k­ing if was worth while continuing the struggle.

Tolstoy's reply was characteristic, and the translation reads: " I think you are doing good work in trying to safeguard for the nation its traditional lovely tunes . I think the path you have chosen will bring you to your goal and I therefore wish you full success in your work."

i\_UGUST, f9 53-

· Now here is 1he extraordinary "repeat," " coincidence ·"--or call it what you will. ,

The Hon. J. J. Astor, M.P., asked Mr. Birse and his Balalaika Players to per­form aot a party held at Hatley Park, a magnificent mansion in Bedfordshire. The host introduced the musical direc­tor to Sergei Tolsto y, a grandson of Leo. Tolstoy. He told Mr. Birse that balalaikas are now made in France, and promised to send along the address of the manufacturers . How's that for a historic repeat?

This party marked the Balalaika Players ' four1h app~arance before Royalty and on this occasion they were compli­mented by H .R.H. the Duchess of Kent. Graciously chatting to members of the orchestra , H.R.H. said she found their music interesting , unusual and fascinating, and thei.r costumes most attractive. She was particularly interested in the training of the boys, and inquired how Mr. Birse determined at the outset whether a lad was sufficiently musically inclined for teaching to be worth while.

PRINCE NICHOLAS Present also was Prince Nicholas of

Yugoslavia , to whom Mr. Birse was presented. Mr. Birse describes the Prince as being quite young and a charming personality. They conver sed in Russian and Yugoslav , although the Prince speaks English fluently and likes life in England.

Later S. Tolstoy remarked to Mr. Birse: " I do not understand how you were able to teach English boys to play our Russian balalaikas. Not only do they play Russian folk tunes in the Russian spirit, but they look typical Russian youths ! ··

Would that the work and enthusiasm o( Mr. Bi.rse could move some young ·and capable banjoist to emulate the great success of the Balalaika Players.

Jimmy Bohee did give King Edward VU banjo lessons, and- " History repeats itself."

TECHNIQUE & EXPRESSION

By Dr. B. A. PERorr

ALTHOUGH this article is intended primarily for players of the classical guitar , let us first settle_ the ques­

tion what . kind of inter-relationship exists between technique and expression for all musical instruments.

Let me begin by asserting that unless the technical difficulties of any piece of music are complete ly mastered, true

expression cannot be brought to perfec­tion l It matters not how far advanced a player is, b'e must be as perfect as pos­sible in executing the pieces he can play before true expression is possible .

Perfection can only be attained if we exercise the full strength of our concen­tration powers - and concentration means the focusing of the maximum attention upon a single object. The less we concentrate the farther we will be from attaining perfection .

Logically enough. even if we exert the full power of our concentration upon two or more objectives, we will never achieve full perfection in any of these objects.

It must never be forgotten that our powers of concentration are always in demand, whether we ar e performing a physical feat or are engaged in mental effort.

The art of technique is purely a physical effort, result ing in extreme skill in hand­ling the various devices that contrive to produce a musical sound .

Expression is something pertaining to our soul- relat ing to the mind ; something that is highly subjective and which re­flects, as a mirror , the inner immaterial nature of a man. Expression is the mirror of a man's character , temperament , cultur e and intelligence.

That is why so many outstanding musi­cians are, to all intents and purposes , technically equal. but hardly two could be standardi sed as indistinguishable from one another. Their mode of expressing the music they play is as varied as man himself.

We can find a striking example of the difference between technique and expres­sion if we recall the sounds of a musica·l­box or barrel-organ . These purely mech­anically operated instrument s reproduced music with an infall ible technique. The tempo of the barrel-organ could be accel­erated or slowed down at will- but tha t was all that could be done to vary the music.

These soul-less, robot- like instruments were enti,rely devoid of expression or indi­vidual interpretation .

All this is the best proof that perfect technique as an end to itself, like nature m orte in painting, will never satisfy the artistic disposition of a real musician.

TRAINING NECESSARY Although we are all, as a rule, born with

nimble fingers, these must be trained, through persisting efforts , to achieve the ability of perfect technique on any instru-mffit. ·

In every side of our daily life, spiritual desire for achievement must be based on

279

the perfection · of our mechanical and automatic · funciions . In · running, for instance, .we concentrate only on the final goal, but not upon the muscular move­ments of our legs or the way our dia­phragm helps our breathing.

The same applies to music: we must concentrate not upon the intricacies of one's technique, but upon our own inter­pretation of a compos ition while being animat ed and inspired by its beauty.

One might ask what kind of practical conclusion should be drawn from the above? How should one proceed, not trying in vain " to read before knowing how to spell; to run before learning • to walk"?

The practical steps to achieve this pur­pose c.an be condensed into a few guiding rules:

All of us start to study anything from the beginning . The first musical exer­cises in any method or school are the simplest and easiest-but there are two ways of tackling them.

One way is to think the exercises are only temporary transit ional stages to reach the next, more difficult and compli­cated, exercises-and so on.

The other approach is to consider the exercises arc " an end in itself" so that until they are properly mastered , no further exercises are tackled .

It would be best to imagine that the pupil is receiving from his teacher one exercise, on a separate sheet of paper , a t each lesson; and unless this is fully mastered he is-not given the next exercise.

INQUISITIVENESS One may think it is natural to be

tempted to attempt an exercise beyond one's technique-nothing but human inquisitivenes s, a timid glance " into to- . morrow "-but this kind of behaviour is expensive and uneconomica l !

Time is wasted; concentration is allowed to flag; progress is delayed and energy is m~und . ·

All this will accumulate and will finally lead to badly-played music which cannot satisfy the performer himsel f nor his most benevolent listeners.

Let me conclude this article by sum­marising its contents in two simple sen­tences:

(a) Continuous faulty playing resolves into a bad habit of liking inferior execu-tion and an inferio r type of solo . .

(b) This, in turn , frustrates our ability for advancement , especially in the art of musical expression , which is the highest achievement of the true musician.

280

John Gavall has been busy with radio and television engagements recently. Following bis appearances in the T.V. play "The Heir of Sldpton," he gave a 15-minutes talk on Sunday , July 12, when viewers were enterta ined by an informal chat about the guitar and songs from Mr. Gavall 's repertoire. On July 16 he ap peared on sound radio in " Cafe C-Oleue," and this month be will be heard in a " Music for the Hom e " programm e (August 5) and with the " Southern Serenade " orchestra in the lat e night p_rogrammes on August 17, 24 and 31. . .

Recently issued freued instrument records include a long -playing di sc (Cap itol LC. 6596), in which guitarist Carl Kr ess plays "Class ics in Jazz.'"

• The seco nd annual music festival at Granada

(June 20 to July 2), a Festival destin ed to a11ract music lovers in increasing numbers each year , included recitals by Andre s Segovia. . . .

Mr. and Mrs. R. E. McCaugh ey, Liverpool players of the zither-banjo , appeared at a con­cert at Sankey on June 20.

• • Don Fraser, ex.Stephane Grappelly guitarist,

has replaced Laurie Deniz with th e Ray Elling­ton Quartet.

• Frederick Boocock, 42-ycar-old Blackpool

man , told a policeman " I wanted to do it," after being arrested for swing ing a banjo through a plat e glass window while walking home. He was fined £1. . .

We arc sorry ·to learn that Geo. J. Holmes pass ed away on June 10, aged 73. Despite severe wounds in the first world war (caus ing him to lose his right leg) Mr. Holmes taught hundreds to play a fretted instrument and was once associated with the East Ham Club .

On June 20 R. A. Birsc and his Balalaika Players performed before H.R.H. the Duchess of Kent.

• • Segovia will play the Villa-Lobos "Concerto

for Guitar and Orchestra " in the ninety-sixth season of Halle Orchestra concerts which com­mence in Manchester on October 14.

Writing in the Manchester Sunday Chronic/,: , Robert Robinson says: "John Gavan is the only guitarist 1 know without a 'gimmick'! He abjures check shirts. dispenses with a hill-billy drawl , plumps himself smack in front of the camera with no thought for tweedy back­grounds, is English and beardless. But the ease with which his limber voice adopts the langu­age , melody and accent of many land s rend ers other disguises irr elevant."

• • • The Silver String Banjo Trio (P. Nava , Mra.

M. Jones and O. Taylor) played "Coon Band Contest, " " Whistling .Rufus." '' Reverie ," and song selections at a Blind Institut e Concert in Southampton recently. . .

On Jun e 8 the Society of the. Classic Guitar presented Monina Tavora in a guitar recital at the Carl Fischer Hall , New York City. Her solos includ ed items by Gluck . Galilei , de Visee , Sanz, Carulli. Bach, Gilardi, Ponce , Grau , Pedrcll and Torroba.

On June 13 the Society was responsibl e for a 45-minule mid-day broadcast from WNYC, New Yo rk, when guitar duets were played by

■.M.S. V. Bobri and J. Prol; lute solos by Betty Martin; guitar songs by Eitbne Golden; guitar solos by J. Prol ; reco rder and euitar duets by Alice Smyth and Max Shames ; and a flute and guitar trio (R. Freundlich , flute, V. Bobri and J. Pro ), guitars).

• • Last month Sot hcby's, the famous Bond

Street (London) fine art auctioneers, sold an XVll[tb-century mandolin by Januarius Vinaceio, Naples, 1777, for £65.

Congratulations to 12-year-o ld John William s (son of guitar teacher Len Williams) for his playing of studies by Carcassi and Villa-Lobos in the T.V. feature "A ll Your Own." on July 12. Jn ~oung John we have possib le com­petition to our still-young Julian Bream.

A COPY OF THE TESTS NECESSARY TO SECURE " B.M.G. " DIPLOMAS

can be obtained free of charge by applying to the Editor , "B.M.G.," 8 New Compton Street, London, W.C.2.

The following candidates have been awarded diplomas:-

Artbur William Cope , of Nottingham, "C" Grade (Plectrum guitar) .

Teacher: Sanders Papwonh. Examin er: Elsie Daw son.

J. Gous, of Brakpan , " B " Grade (Mandolin ). Martinis van Vuuren , of Brakpan , " A ··

Grade (Hawaiian guitar ). Johannes Lourens, of Brakpan , " A " Grade

(Hawaiian guitar) . Koo sie Toerien, of Brakpan, "A " Grade

(Banjo) . Tea cher : Kassi e Kaspcrsen.

· Examiner: Chas . Macro w.

AUSTRALIAN GUILD NEWS

Guild meetings have been well attended and the addition of " Down the Mall " and " Ben Hur Overture " to the repertoire has been well received. The best part of a n hour's rehearsal at each gathering on these two numbers has been particularly helpful to man y, members. some of whom had hitherto played only " popula r " music.

The organi sation has now been in existe nce for almost two years: its third year commenc­ing with the first Friday in September. when it is planned to present another grand Fretted Instrum ent Concert. Th e organiser for this even t is the President , Roy Smedley.

PHIL SK INN ER.

(Northern Section} The principal item on the age nda of the meet­

ing held on Ju ly 5 was the cont est details for this year's Rally . Once again we arc fo rtunat e in securing the services of T. Ha yes as M.C., but other officials are still required for relief duties and all clubs who have non-playing memb ers willing to help are requested to con­tact me as soon as possible .

One pleasant duty at this mee ting was the acceptance of a lovely trophy from T. Smith

AUGUST , 1953

(Chairman) to be known :,; " The Coronation Cup "-:i challenge cup for the Orchestral C lass "C •· Contest. The only <.:ondition allached to this cup is that the playing time of the contest piece docs not exceed 4½ minutes.

By the time these notes appear in print the Syllabus will be distributed. Will all members who have 1101 received a copy, please inform me- and do not forget the s.a .e. !

The success of this year's Rally depends on YOU. It is your entries- and your support that can make it far bett er than last year's low figures . It is up to you !

The next meeting will be held on September 6 at 9 Mapl edale Road , Liverpool, arid the ma in item on the agenda will be "Venue of the 1954 Rally ." September 6 is also the clos­ing date for this year"s contest entries .

G. WOOD.

The Alpha Club gave a conc ert for a child ­ren 's Coronation Party at Du lwich H amlet School and the same evening another a t the Spiritualist Hall , Forest Hill . So lo items were played by Mr . Fry (B.) and Mr . Harper (Bn.). Band numbers included: •· Man the Guns, " "Evergreen Waltzes ," '"Coloured Major,"' .. Banjo Vamp,'" · · Teddy Bears· Picnic;• " Skaters· Waltz ." ·· Syncopatin' Shuffie," ' ' Cockney Capers; · ' ' Gold Diggers," " Strauss Waltzes ," "Nigger Minstre ls," "American Medley ; · " Butterfly Waltz ," "Sullivan Selec­tion ," ccc.

On June 8 the club gave a concert at the Brotherhood Hall, West Norwood , at which solo items were given by Mrs. Weeks (M.), Mrs. Dickson (M. ), Mr . Mercer (M .) and Bill Harper (Bn.).

The Alban1bra Club holds its inaugural mee t­ing on September 2 and will be directed by W. Turland Hill , from whom full details can be obtained . (See C lub Directory). Mr. Hill's aim is to develop an orchestra and several keen and ambi tious player s have already enro lled. Play­ers with a desire for orchestral playing will be welcomed.

On June 21 the Darlington Club travelled to Dumphrics to ta ke pari in a R .A.F . Association concert presented at the Lyceum Theatre before a.n audience of over 2.000. It ems played · in­cluded: " Down the Mall ," ' ' Evergreen Waltzes,♦' "Gypsy Love ," u American Mcd Jey, 0

"Show Boat," "Ever lasting Waltz· · and " Blaze Away ."

Th e Club is to be congratulated on making the round trip of over 200 miles for th is concert.

• • Jn addition to providing entertainment at

Darby and Joan Clubs and mus ic for garden parties. the Croydon Club bas given three com ­plete concert s during last month. In addition to the usual club number s, " Mandolin March ," " Ave Maria " and •· Londonderry Air " have been played as mandolin solos; " Spani sh Sere­nad e " and " Moonlight and Roses " as mando ­

' lin duets; "E vening Reverie," "Down South.' ' " Indian Patro l ·• and "Loving Eyes·• as banjo solos; and '"Kingdom Comi n" ·· as a banjo trio .

It may not be generally known tha t the Croydon club meets every week throughout the year.

Th e Southwark and Brixton clubs recently had the distinction of playing before two Lon-

,UGUST, 1953

don Mayors with in three days. The Mayor vf Lambeth was present al the Coronat ion concert in V'auxhall Park on June 9, while the Mayor of Wand swo rth visited a swimming gala at Brockwell Lido on June 12; for which the clubs provided interval music.

Both clubs arc now official ly closed until mid­Septcn1lxr , but the usua l ·· gel-together " nights have been plann ed and, in the case of South­wark . a lready started.

Recently played individual items at Southwark have included: Mr s. E. Weeks (M.) ·· In a Gol­den Coach •·; W. Harper (Bn.) ·• Bal Masque" and " Un Peu d"Amour ·· ; the Sout hwark Duo , "Orpheus in the Underworld," "One Lonely Nig ht· · and "Coronation Rag " ; Th e Cavendish Minstrel s, " Whistling Rufus " and " Butterfly Waltz."

The Philham1onic Society of Guibri sts is en­·couraging a spiri t of healthy emulation among i:s members by holding a. competition . Co m­petitor s arc 10 be dividfd into two classes. De­tails of the compe titio n. which will take place at the Socie ty's Sept embe r meeting , will be circulated to mein bcrs .

• • On June 27 the No rth London Club gave a

conc ert in Pymmcs Park Summer Theatre. Ed­mon ton - the first time a frett ed instrument orche stra had p!ayed in thi s open-air theaire . Befor e the show had finished, the en tertai nments manager for the Edmonton Borough Council had book ed the club for a repeal show in September and a 15-minutc spot in a show at the Regal Cinema.

In addition 10 the playing of" Man the Guns ," "Nina Pancha," "S how Boat." "La Paloma ,'' "Gems from the Overtu res," "Hungarian Rhapsody ," "Post Horn Gallop ," e1c., Michael Broad played banjo solos; the Banjo Team, " Ad Astra " and othe r members gave variety turns.

RfADfR<; ' LETTERS

Dear Sir ,- Jt is a a pity that , in his excellent appr ecia tion of the late Django Rein hardt (July " 8.M .G.' '), Jack Duart e did not name those "sever al players whose technique and mus ician­ship equals and , in at leasr one case (in my opinion ), surpasse s that of Rcinh3rd t.''

I do not doubt that Mr. Duarte knows of such gui tar ists; but it would be interesting to kno w their namcs.-LAURI E HENSHAW .

Dear Sir ,- J know that ·• B .M.G." has to cater for many tastes and for the most part I th ink

··-··· it doe s the job admirably . have been to ld that you have some articles in hand on flamenco music. 1f this is true, then it makes ii all the more annoying that you should cons ider such a trivial contrib u tion as " And Now, Flamenco ·· wor th including in your Jun e issue.

The tit le is absurd and no indication is given of Eddie Fr eeman ·s movem ents or engagements in this coun try. More important than these is the underlying suggest ion that flamenco is chea p and full o( tricks. Thcr~ arc tricks, of course, in every art-even that of playing the classical guitar-but l believe that no one can judge flamenco until he has been 10 several Luclgas; unt il he know s instinctively the difference be­t wecn, for example, the "Seq uiriya " and the ·· Soicarcs en La " ; unt il his skin has become alive al tbc incredibl e H deep so ng ·•; and unt il the gypsy girls have become the many-coloured serpents of his dreams. Without these " he's one that goes 10 sea for noth ing but to make him sick."

"B.M.G." prides itself on moving with the times. May I suggest that you produce some­thing authoritative on flamenco and, by so doing, remove the unfortunat e imDrcssion creat ed by the article you published in your Jun e issue.-HUMP HREY LLOYD .

Dear Sir, - Hugo D 'Alton's broadca st of Hum­mell"s ·· Conc~rt in G ·• in the Third Pro• gramme on May 15 was memorable particu­larly for superb tone . I now read that he used nylon strings on his mand olin .

l had cha nged o, ·er from an eight -string banjo-mandolin to a fou r-string banjo lin and found difficulty in reproducing the smooth tremo lo and clear note of the double-struJl8 instrument in the single-strung; especially on the first strin g. ( obtained from Clifford Essex a set of nylon guitar strings and used the plain l st for the banjolin E; plain 2nd for the A; covered 4th for the D and covered 5th for the G and foun d the improve ment in resonance and " banjo " tone was remarkab le and, with practice, I am obtain ing a much smoother tremolo .

I find the nylon strings make playin g much eas ier and, ultogether, an interest ing experiment which has proved well worth while.- H . LAMB ERT.

Dear Sir, - [ was pleased to read R oy E. Whiting's observat ions on my " Mandolin Po pular ity" article and I entir ely agree with his remarks rega rding the po~sibilit ics of the in­str ument . It is qu .ito tru.! that we only rcalisd' the possibi lities when hearing a really good piece of mandolin music played by a capable player,

There has l een a great deal of really good music writte n for the• mandolin by Francia, Calace. Mun ier. de Pace, Stauffer, Pers ichini,

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281

Sgallari, Pettine, Moyer , Pictrapatosa, Ciociano, do Piet ro, etc.-but where are the players?

[ was ind eed gratified to hear about young Dudley Whiling's playing at a recent Festival. lt is a privilege lO perform good music. We owe it 10 the.se composers to do our best and I am de lighted to learn that some of the younger generation are playing music from the mandolin Ma stcrs. -JOH N ANSON .

Dear Sir ,- Th c letter by W. M. Brewer in your Ju ne issue is of interest to me since Prof. ·· J ohnnie" Henni ng was my teacher many years ago.

Mr . Brewer sc~ms concerned abo ut the ques­tion of his own integr ity, l am concerned over that of Mr. Henn ing, long since dead, but who, nevertheless, was a person of some standing and whose integrity was never question ed . He stated that the Los Angeles ban jo was Sweeney's and that he could prove it-just as Mr . Brewer has stated that he " has proved conclusive ly that Sweeney was not left han ded ."

It would seem to me that before we ca n term the state ments " dogm atic " and " puerile " that ynu ~hnu~d pri nt th e newsshee-t re ferred to ~ in a spirit of fairplay for both sides of tbe mat!er . Henning based his statements on facts given him, just as Mr. Brewer has done.-F. X. TABER.

(I am u11able to print extracts from tire uewsslu:et referred to as a copy is never se11t 10 me. J 1'110,ited Col. Co.'/ins to slat e h.ls disagreeme 11ts in ·• B.M.G. ", f or /rea/t/ry argu­ment s are always helpful, but Ire preferred to a11ack Mr. Brewer in his own narrow circle, and enclttl his feller: ·· Future le11ers from you will be placed ill my wastebasket unopened, with my copies of " B.M .G. "-ED ITOR) . . . . Dear Sir,-How I like 10 read in " Cor respond ­ence" iuch leHers as Ja s. Nolan 's and D. Macdonatd's. I fee l the latter has " got some­thing " in his appe al for the B.B.C.' s interest in our instru ments. 1 should like to see onr of our experts responsible for say six weekly pro­grammes of recor ds of all our instruments, in a varied programme of music, with listeners being invited to send in requests for the typo they pre fer.--CH RJSTINE ROBERTS .

Dear Sir,-! would like 10 support the sugges­tion by Mr. Macd onald in last month' s ·' B.M. G." for a campaign of on e kind or other which will mak e a concerted effort 10 get readers to write to the B.B.C . asking for more o( our favourit e music.

l am an ent husiast of Hawaiian music but have found, from personal experience, that there appears to be a lack of enthusiasm for this type of music nowadays. For some time now I have beon attempting to mak e contact with other pl1yers of similar interc.<t in or a round the S .W. Lond on area with the view to forming a Hawaiian combination but have had little response.

Do es this sign ify that this type of music is losing its popularity , not only with the gene ral public but also with former cnth usiasts?-K. L. TAY LOR .

Dear Sir ,- Thc campaig n 0{ calumny against me by Col. G. H. Collins continues in the June­Ju ly issue of his ncwssheel wherein he a lleges in a tirad e of general abuse , that: -

" Out of the many hundreds of errors of omission and comm ission in a recently con ­cluded scrie.s of ar ticle.s, it was stated that the date of death of Sam Sweeney is unknown, whereas the record s show it 10 be January 13, 1864, at Orange Court House."

282

stated in my ams;.cs that Samuel D. Sweeney died from ~mallpox at Harrow Court House in 1864. (The precise date is unknown). Whatever may be THE records in possession of Col. Coll.ins, 1 have before me the testimony of Arthur Woodward, Chief Curator of H istory and Anthropology, Los Angeles County Mu­~eum-a gentleman of undoubted integrity-that Samuel D. Sweeney" followed General J.E . B. Stuart until the red mists of battle swallowed up the famed cavalry leader at the Yellow Tavern skirmish " (seven miles north of Rich­mond , Va.) and that "after Stuan·s death, Sam Sweeney was transferred to General Fitz-Lee's headquarters where he continued to play and s·ing for his :baulc weary comrades."

General Stuart was killed on May 10, 1864, and it is accordingly difficult to envisage how Sam Sweeney could have followed him until that date if he (Sweeney) died at Orange CourJ House on January 13, 1864!

On page 440 of H. B. McClellan 's '" The Campaigns of Stuart's Cavalry " it is recorded that Sam Sweeney died of smallpox at Hanover Co1trl House . I am not prcp3red to challenge the writings of Lhe reputable American historians mentioned above. Col. Collins, in doing so, is obviously oblivious to the fact that he is beliuling his own countrymen, 1101 me!

In hi.s tirade, Col. Collins renews his false accusation about my having stated" tbat the Boston Ideals consisted of 100 banjoi, ts. I have already nailed that lie in your July issue. Next, I am accused of stating that " r/oe pho11ograp/o flatters the artist's playing. " Yet anoLher falsehood.

Col. Collins places me in the category of writers ·• who are either in ignora nce of the facts or are too lazy to do proper researclo. or to whom the facts arc not available." H is own ignorance was such that on June 25, 1951, he informed me ;,. writing that Richard Sweeney served with General J. E. B. Stuart during the American Civil War (1816-1865) ! Now, after boasting in an offensively worded letler to you about " the vast store of knowledg e he had accu­mulated over a period of ma11y years, 10 which Mr . Brewer could not possibly have access," he comes up with the announcement that Richard Sweeney died on February 10, 1859, and not 1860 as ,stated in my series.

Th e year of Richard Sweeney's death is given as t 860 by Arthur Woodward in his biographies of the Sweeney Brothers and by Edward le Roy Rice in his book "Monarchs o( Minstrelsy." . I am bound to rely on the intorma1ion pub­lished by A111erica11 writers!

Col. Collins refutes as assumption my state­ment that the early American banjos were loo_g scale. Tha t is not assumption but fact , as is well known. In reminiscence s published in S. Swain Stewart's Journal (February 1888) A. Bauer wrote:- .

" I remember the time when F on the upper line was E ; the neck of the bw1io was so muclo longer than now Lhat the natural keys of the banjo were ' D' and • G ' instead of • E ' and 'A· as now. (A notation)." Bauer went on to dc-serJbe a banjo owned by

Julius von Bonhorst of which " the neck was so long that he could scarcely reach the nut I"

SADLEIR 30 Rathbone Place, Oxfo rd Street, London, W. I

Ntor Tottenhom Court Road.

FOi\ INSTRUMENTS OLD 01\ NEW GUITARS · MANDOLINS ' BANJOS ALL TYPES OF FINE QUALITY

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11.M.G. S. Swain Stewart did not allow his journai

to be used as a medium for disseminating mis• information any more than you allow "BM.G." to be used for such purpose, as Col. Collins has libellously asserted . John Copeland, Hon. Tre asurer of the " Fraternity of Five-string Ban­joists," has furnished me with much informa­tion about tbc long necks of American banjos in the early days and 1 accept his testimony.

Regard ing " the many hundreds of errors of omission and comm:ssion " attributed to me, this must be particularly offensive to his col­leagues of the " Fraternity " who have gone to so ·much trouble to give me tbeir whole-hearted and sincere assistanc e in collating the data on which my articles on " The Banjo in America " were, in the main, based. I can substantiate everything 1 have written and if Col. Collins will supply a list of the " hundreds of errors " to which he refers I would be pleased to deal with each of them, pr,ovided the list is drawn up in courteous terms and not i.n the abusive language of a screed foisted on me1c11bers of the Fraternity some time ago in which I was dubbed "an un truth ful opinionated dosi-i:one Britisher ." - W. M . BREWER.

Dear Sir,- Perhaps your reade rs will be inter­ested in some of my activities. For the past two years l have been resident with a modern­style group , the " Merry-Macs,' ' in Glasgow·s West End. I am using a tuning on my electric Hawaii an guitar which , I believe, bas hitherto been unknown in this country, but sounds like the tuning Speedy West uses with the Tennessee Ernie accompanying band. The effects I can obtain would have astonished me six years ago.

The -comb ination l am with consists of two saxes, elect ric accordcon, electric Hawaiian guitar , piano (doubling Univox). drums and bass-the la11cr being played by my old friend Jack Kirkpatrick, who has played the same bands as l for the past 11 years. Jack is a staunch supponer of the H.G.

The effect we produce with Un ivox, electric Hawaiian guitar and two saxes is quite diJicrcnt and very popular with the dancers. I have no t heard this " new sound " produced by any other dance outfit using electric Hawaiian guitar. I would always be pleased 10 meet any enthusiasts at the Bearsden Pub lic Hall any Saturday even­ing.

Incidentally, Bert Read (el. H.G.) and Alex . Mcinnes (cl. P.G.) are featu red at Glasgow·s

THE GUITAR RE.VIEW

AN INTERNATIONAL MAGAZINE DEVOTED TO THE CLASSIC GUITAR

-::-

The GUITAR REVIEW, by maint.aining the high standard s deemed necessary to justify its devotion to the Classic Gu itar , hu drawn to itself the good w ishes and -earnest support of the names greate st in the present•day histo,..y of the Gu itar . Contri• butions of articles and music by em inent guitarist$ and composers add to our detcrmin;ation to make: the: GUITAR REVIEW ever batter and ever more valuable to all guitarisu and to music-lovers in general.

- -::--

SUBSCRIPTIONS TO VOLUME 3 HAY BE PLACED WITH ANY BRANCJt Of HESSRS.:• W. & G. FOYLE LTD. THE PRICE FOR SUBSCRIPTIONS IN EUROPE IS

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Au<iusT, 1953

' ' Crocodile Club " and the " Piccad.illy " (Glasgow 's exclusive night club) occasionally holds a Hawaiian night , and I was featured there ~ short while . ago.-LANI REFFORO.

• • Dear Sir, - Concluding his report on Julian Bream's Wigmore Hall recital, " A .F.'" in the July issue poses the question: · · When will modem composers provide us with a guitar repertoire equal in quality to that of the lute? "

Th e answer, in case your readers have not already realised it, is: when the guitar has begun to approach the populari ty and arti.stic standing once enjoyed by the Jute there will be com­posers willing and able to provide a library of good quality contemporary music for the guitar.

Whether, of cour se, guitarist s (and critics) will even then be willing to accept such works as anything more than " attractive and tr ifling pieces " or whether those composers will have been dead and buried 200 or 300 years before their music is rediscovered or accepted as haviDa: worthwhile "quality," remai ns to be seen.

From my own experience (and that of other teachers of the guiiar) I have found that it is those " attractive but trifling pieces "-and the equally •·trifling" music by Tarrega or in the flamenco idiom-that draws more converts to the instrument than the immense ly difficult and frequentlJ rather pointless arrangements and transcript ions o( classic and romanti c works to which ·· A.F." devotes nearly two-thirds of his review.

11 is these converts and newcomers 10 our instrum ent-a nd those th at follow them in (we hope) increasing numbers-lo whom we must look as a source of composers for the guitar.

It is an odd paradox that al a time when it bids fair for the guitar 10 attain what may well, if handled properly , be its greatest era of popu­lar ily, guitarists (of Europe, in particular) have become what one can only describe . as " arra ngement and transcription happy "; a condit ion that will tend to repe l ra ther ihan amact both ·the musically literate ·and the public 10 our instrument.

I believe that music wriue n for the guitar by composers who face up to its limitations will always be more effective, of greater interest, and more apprec iated generally than adaptati ons and arrangements of works not originally intended for it and which frequently emphasise these limitations.

I am passionate ly fond of the works of the luteni st-composer s: l admire the brilliant tech­nique required to play many of the best trans­criptions or arrangements; and l am fr equently disappointed by the lack of inspiration in much contemporary guitar composition. However, I am convinced 1ha1 when contemporary works appear as recital ma1crial they sho uld not be dismissed as lightly as ·• A.F." has done, but receive a fair and thorough review. Otherw ise it may well be that artists will become loath 10 play them ; publishers wilt cease to add modern works 10 those already lying unsold on their shelves; composers will turn their atten­tion elsewhere ; and there never will be "a guitar rcp~rtoirc equal in quaJjty 10 that of the lu:e. ""-PETER SENS IER.

SCAR TH GU ITA RS Makers of finest instruments for lS yeat1.

Plectrum and Finger Sty le, from £8.8.0. Send for beautifully illustrated brochure .

Also the famous "Sanh" Elect r ic Pick-up Unit. £5.5.0, and Foot Pedal Volume Control £5.5.0.,

And all types of Amplifiers. a:'"'SCAI\T H LTD., 55 Ch arlns Cro11 Road, London, W .C.2. GER. n◄I. Open all Sat urday

A UGUST, 19$3

Closing date: 10th of the month.

A ll ndnrt iscmc nts must br prep aid

1"hf! '-'OM uJ ud,·t>rll slng mulrr 11,J,t hl'ntling i s 3d. per word (minimum J s.: twth· e worfl j or less). Tra,Jc ru1t•: 6ci. orr wortJ (min imum 6s.; 1wr•h-r words or lt S$). Tltue i5 110 charKe /or a Box mm1btr . b ut the wor,ls : ·• Box :=:, ' 8 .M.G .. ' 8 . Ntw Comr,1011 S1ru1. Lo11do11, W.C.2. " must bt in clutittl i11 tlie a,frertl,i:· m<•nt um/ p :li,l /or (eight worcb).

Ad, ·cr1isemcn ts arc not ac-ctptcd by tdepbonc

FOR SALt:

L EA~!~~~Jr s "!~rc:~cr 0~hc Jr\~-~~l~- ;;l~~ru:cn~1m~~~

Essex :,uinRs. Fit a :,et t o ~·our Instrume nt and hear 1hc diffcrcncl' ! Current ~rice li~l on ba:k page of CO\'Cr . Cliff ord E."5cx Mu sic Co., Ltd ., 8. New Co mm on S1rcct , London . \ V.C .2.

p~~~R:~;11i~t~lis.1d!t3 ~~-\~;· ~~ru~~~el~~cconnd

~~~~: £20 or ncarcsl offer . \Vcarin.2. 1S. Co nstitution Hill . Welli ngton. Shrop~hi rc .

G\~~~-" '.~)~~!~'\;',;~d·:~~~,;~~i:". tc~~fi';"'~~ requc.,i;;t: £10 o .n .o . Dando, 52. Bloom field Avenue. Bath.

E~;rfnl"t.~1~i1t~:.:r c~~::~g :o~~~~~z~. fittrn,vc~:1~!, acknowlcdRcd .. The Best Obta inable." t\l)pr o\•al willinRIY. Six adjustab le poles. cnsuri nt ricrk c t ba lance. £3 17s. 6d .: twin-Pole. £3 5s:_ Lar2cr si ze for clccuic H awa iian. sur>er•Scnsi li\'c. fro m O Ss. Ide.al for r.1dio or ~mall amplifier. Foot \'Olumc contro h . impro\ ·cd model. t l 151'. S.A .E. for full detail ~. Crri l Proct or , lS0, Town S1., Leeds, 12,

B ~f ?:C~~1fonc:~ns~;:·~~sn,:,a\ ·~,~ 3ou~°:!,ke~cc~~~~

stantly c:hantt:ing. we do not issue lists bu t arc a lwa)'S plea sed to send fullest dcrnil s of :tnYthinr, we ha\ 'C to offer. i( you will sta te l} ' pc of ins.trun1cnt you :.ire seek­ing and the nrmro:dm:uc price )"Ou wi.oih to pa )'. C lifford E~scx Music Co ., Lld .. s. New Comp ton St .. London, W .C.2.

WA;-.TED

BLACK' S Chord Me1hod !or Ten or-Banjo . Bell. ' 3 1. The Par k. Thursby . Carl isle.

zr r~HERS. Good cond it[on. , Send pJrl i~. 13. Estraham Rd., Lond on . S,\\ . 16.

CL~:f~~t ~rn:: :1~ a:: ;~~~~;~:~r~;~~ar~igr~:~l~ mcnt s ot 1hc ir O\'•'n ma~c . Send dcrnils in first ins1ance . 8, New Como1on St .. London, \V.C ,2.

EXCHAJ',GES

E~~~~A~~- ·:!f1~~~i~ ~~~f~~a,~j:,b:;;_ fi~~t\~~; mak e. co nUilit.m. ..-\1H.h,:n-0n . JOc, , Lumphin n:ans Rd .• Lochgc lly, Fife .

VARIO US

JNJ,~~i~t~ ,~~-.C .. P~;, r~~~~~.~,-~~m~:~:o"i!~~o~~ S.W.11,

A lHA~ ·tBR A Frc m:d Orchcs.tr(1 has Yacam:ic~ for mandoli n. mandola. guitar , ba njo .and ba.ss pla)·cr s.

Particulars from: Tur land Hill, 109. Coll in,,ood Gdns .. ll!o rd

MANDOLlN lSTS ~ Pa~quak Troise anc.J Hugo ..l D"Alton nrc comme ncing a Schoo l for Mandolini :-t s rl'Quirinl' tui1ion in the ad\ ·anccd art of otayin~ 1hc mando:i n. \Vd lc for full details: Troise. 4. Roc-hc-ster Terr .. Londo n. N.W . I.

IB '}g~~f F}~.~i~H'i~4~_oc1~~~i,c;!1, /~~~~h:r~: \Vrhe for p:H1iculnrs.

FRETTED INSTRUMENT NEWS AN INDEPENDENT FRET MAGAZINE

NEWSY-INSTRUCTIVE-AUTHORITATIVE GIUSEPPE PETTINE, EdiU>r

Full detaib from:

CLIFFORD ESSEX MUSIC CO. LTD. 1 IIEW COM"TOII ST, ,CIIAAIIIG CIIOSS RD~ LONOON,W ,C.l

B.M.G.

~ di 'a.M~6. && SOCIETl£S ~-.;o ORGANISATIONS , with the name s a.nd addresses of their

Secretari .es. Tb ~ t·os-1 of "°'·elvt consecuth·e insertion s under 1hls head in~ is 7f6

PARTICULARS OF MEMB£RSHJP AND DATES OF MEET INGS (OR SERVI CE OFFERED! CAN 8£ Oll'fA INED ON APPLICATION TO THE

SECRETARY ,

Alham bra . Sec. , W. Turland Hill , 109, Collin ­wood Gardens , ll ford , Essex.

Alpha. Sec., E. J. Gillett, Shackleton Sch"o l, Kirkdale , Sydenham, S.E.26. Tel.: GlP. 4656.

American Guitar Society. Sec., Vabdah Olcott Bickfo rd , 2031, Holly Hill Terr ., Hollywood 28, Calif., U.S.A.

Aston Banjo Club. Sec., H . 0 . Winch, c/ o 4, Foxbourne .K.d., Tooting, 1;.W.17. 'Phone: BALham 7664.

Australian Fretted Instr ument Guild. Sec., Phil Skinner, 14, Duntroon Ave ., Wollstones­craft, Sydney, N .S.W.

Beaufort (Fulham). Sec., D. R. Coppack, 12, E lborough St., South fields, S.W .18.

Birkenhead. Sec. , F. Phillips , 60. Prenton Rd. W .. Prcnt on. Birkenhead .

Birmingham. Sec .. A. R. Tysall, 142, Mel ton Rd. , Kings Heath. Tel.: HIG . 1483.

Boston . Sec. , H . A . Waterfield, 22, High St .. Boston, Lines. 'Pho ne : Boston 2730.

Bristol. Sec., Srnnley Hill, 13, West mead R:I., St. George , Br istol, 5.

Bdxtoo. Sec ., J. W. Smith , IS, Tulse Hill , Brixton, S.W.2.

Croydon. Sec., J. F . Masters, 47, Do wnlands Rd ., Purley, Surrey . (·Upla nds 5384.)

Oarlington. Sec., F. N. Pemberton, 98, Willow Rd., Da rlington .

Edinburgh. Sec., J. Alexander , 10, Marchm ont C res., Edinbu rgh, 9.

Federation of Banjoists, Mandolinlsts and Guitarists. Southern Sec ., Mi ss K. Marsh , 28, Lodg e Ave., G idea Park, Romford, Essex. Northern Sec ., George Wood, 9 , Mapledale Rd .. Liverpool 18.

Fretted Instrument Guild. G en. Sec., V. J . Pa rsler, 19, Patten Hous e, Amwell Cour t, G reen Lanes. Lo,:1don, N.4.

Gloucester. Sec., Mrs. J. Neale , Ashley House, Cha rlton Kings, Chelte nham.

·TEACHERS advertise in

''B.M.G.'' FOR PUPILS

AND PRESTIGE

283

11£ord (Barki ngside) . Sec .. W. J . Percy, I! , Kend al Ave., Barki ng, (RIP. 1205.)

Lee (Excelsior ). Sec., Mr s, A. Pratt , 210, Long La ne , Bexlcybeath , Ken t.

Leeds. Sec., F. W. Metc a lfe, 48 , Royal Pa rk Ave., Leeds, 6.

Leigh-on-Sea . Sec. , W. Readman , I 0, Leigh Hall Rd., Leigh-on-Sea. Es sex.

Lewisham. Sec., A. S. Wa lter. 16. Els inorc Rd ., Fores t Hill, S.E.23.

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

London. Sec., Sally Adams, 4, Littlcbury Rd. , S.W.4. 'Phone: MAC . 6110.

North London . Sec., D. A. Clare, 60, Devonshire Hill Lane, N.17. TOT. 1121.

Orrell Mando liers. Sec., S. Ro me, 26, Cind er Lane, Orrell , Bootle , Liverpool, 20.

Philharmonic Society of Guitarists . Sec ., L . J . Kingston, 34, North Ro w, Park Lane, W .I.

Plymouth . Sec. , F. Mal e, 99, Mut ley Plain , Plymouth.

Rock Ferry (Egerton ). Sec ., Mrs. E. Morrill . Egerton Hou se, 22, Egerto n Park, Rock Fe rry .

South~ark . Sec., F. Thomas, Walworth Men 's Insti tute, J ohn Ruskin St., S.E.S.

Stretford. Sec., L. Henry, 21, Milburn Ave. , Nort hendcn, Manch ester.

Watford. Sec., R. Morgan, 276a , Bald wins Lane, Crox lcy Green, Herts .

• Before a Teacber'!I name denotes an Examiner for " B.M.G ." Diplomas .

10/ - per a111mm f or 2 li11es or less ; 5 / - per line for each ex tra li11e or part of /i11e

LONDON AND SUBURBS

Bibobi, Emile. Guitar , Tarrega method. Als. comorchcnsive Luition in oil styles of plcc. p la yio• ac ncral mu siciansb io and sight- reading. Ad .. Fra nklin Studio. 36, W orplc R oad , \ Vimblcdon, S.W.I ~. WIM . 3746.

Chesnakov. Elements of Music and Ha rm ony in the Stud y of the Classica l Guitar. Theore t ical- and prac t ical trn infna in Modern Technique as a basi s for devcl op.11cnt of art ht ic playing and for eliminat ion of fnults . ~elf~acqufr cd or in st,1llcd by wrong tcach ina . Pro,qre.s.sivc. selec ted ~tudics from works o f o ld a nd contcmpe>rary M.:1stcr:-1. Few \'acancics for Studcn 1s. 2-la. C:nhcart Rd .. S. W. 10. FLA. 4354.

(Con ti1111ed 011 follow ing page)

STUDY UNDER BRITAIN'S FINEST TEACHERS PUC. GlR. : lvor Halranu . Roy Plummu , lk1 Isa.ace 5PANISH GUITAR: Tarr•p H.thod undortuporvlolon ef

lvor H~iranu and Pete r Sen.slu

Send for (rH pr:os~ctu t :

CENTRAL SCHOOL OF DANCE MUSIC IS WEST ST,, CAMBRIDGE CIRCUS, l ONDON, W.t.l · Temp/• Bar 337 3-4

284

Davis, Harry (B., M., and G.). Day & evening. 87. Sky Peal• Rd.. Woodford Green. LAR. 8089.

Gallo, Louls.-Personal tuition on P.G. and EI.H.G. Also P.O. l)OSlal course .-199, Higb Rd.. Tottenham. N. IS. 'Phone, evcnins:s: BOW<:! Park 4666.

Harker, Roland (P.G. & M.).-20, Roland Gdns ., S. Kensinaton, S.W.7 . 'Pbonc: FRE 7013.

Jeft'rey, Al, (B., EI.B., P.B., T.B. and P.G.).-66. ChCPSIOW Rd .. W.2 . 'Pho ne: BAYswa,er 6856.

*Johns .on, Chas. (P.G., H.G., EI.H.G., B., M., UJ.-Corrcc t modern tuition, all so·lcs.-9 4. Chelmsford Rd .. E.17. (Key . 2011),

Ke!Ut.r, W. J, (B., P.B., P.G.).-55, Uplands Rd.. Woodford Bridge. BUCkhum 0769.

MackliJI, F. (B., P.B., T.B.).-29, 1Lind St., Deptford, S.E.8.

Middleton, Alan V. (B., Z.B., G., Theory).-72, EUi.ndale Rd., S.E.24.

•Morris, Geo. E. (B., P.B., H.G ., P.G.).-48, Muswcll Hill Rd .. N.10. "Phone: l'udor 3968. Also Weol End Sludlot.

O'Leary, Stanley. Banjo soloist (Morley met.bod). 9c. New Broadway, Eating, W.5. '

*Palumbo, Angy (P.G., B., T .B., M. & V.).-10, Na.arino Rd .. E.8. "Phone : Clissola 1117.

•Percy, Edw, T. (B., M., G.).-5!, Carlton Terr .• Gl. Cambridge Rd .. N.18. PAL. 0637.

Roler, Miu HIIIIE (Zitber).-13, Estreham Rd., Su-ealbam Common. S. W . 16. STR. 862;,

Sensier, Peter (G.).-20, Heron House, Barrvw HIii Rd .. N.W.8. PR! . 6268.

*Sisley, Geoff. (G., P.G., B., T.B. and H.G.) .-68, New Oxford Si. . W .C. 2. 'Phone MUSeum 4388.

•Soutb&ate, All SIYICJ. S.W . 17.

G. (B., T.B., G., H.G.).-123. Brudenell Ru.. Upix,r Too1ina.

•Stanley, Arthor (G., B., T.B., M., H.G.).-41, lorn Rd., Brixion. S.W.9.

ABERYS'IWYTH • MJtvenoo, A. (All fretted insts.) Tuition, any

stylc .-19, East,aatc.

BEXLEY (Kent) Bowles, Alan (B., P.B., G., P.G.) .- 31, Hall

a Place Crcsceoi. ~'------------------[ BIRMINGHAM JisGitfus, Fred (B., M., G., Theory).-193, Hay

Green lane, Bournvi llc.

mr~Jull, S. G., and Wood , Amy (B., P.G., H.G. , M.).- 596. Pcrsbore Rd ., Selly Park. , 'Ph one; Sel. 0290. (Examiner for "B .M.G. " Dit>lomas.)

*Rich, Sydney J. (Z.B. & B.).-45, Han­non Rd .• Kina· s Hcalb . (Examiner for "B .M.G . " Diplomas.)

BLACKPOOL Hedees, Henry (G., P.G., B., P.B.).-237,

Warley Rd .. N.S.

BOLTON *Lobb, Barbani, A.T.C.L. (Bn., H.G., P.G.,

P.8.. P .Acc. . P .). Prin.. The Bolio, School or Music , 685. St. Helens Rd. ' Phone: Bolton 3393.

BOURN EMOUTII *Strike, Donald (B .• T.B., M., G., H.G.).­

AU styJcs.-16. WcstbOurnc Arcade.

B.M.G. BRIGHTON

Thomycroft, Beryl. G.S.M. Gold & Silver Medallist (M.).-20, St. Michael", Plocc. Tel.: B'ton 26942.

BRISTOL Toogood, Jack (P.G., H.G. & U.).-23, Batten­

burg Rd .. George 5. Underdown, Mme. (P.G., S.G . & M.).-3 1,

Trelawncy Rd .. Rcdland . ' Phone 37508.

DERBY •Dawson, Mrs. Elsie (B., T.B., M., G., H.G. &

U.). (Dlmict Examiner {or "B.M.G." Diplomas) . The Studio, Wisher & Son, 7, London Rd., Duby , Priva1e acldcess: " Holly Hyret ," 83, Derby Rd .. Sandiacre. Tel.: Sandiacre 3394.

DUBLIN & BALLYMENA •McGarvey, Jack (B., Z.B., H.G.) .-{Ex­

amincr for "B.M .G." Diplomas for Ireland .) All coms.- JJ. .Ballymoney St.. Ballymena. Co . Antrim.

FALKIRK •Macbeth, Will (B., T.B., G ., M ., U .).­

•• Studio," 14. Orchard St.

GLOUCESTER •Barker, Phil (P.B. & Theory). Staie and

R~A- M=~C~ili.~~~M. 'Phon e: 22162.

GUILDFORD & DISTRICT Lane, A. W. (B., M., P .G., H.G., U .. etc.).~

37, Wesllleld Ave., Woking, Tel.: Wokina 2375.

LEEDS Proctor, Cyril (B., P.B., G., P.G ., H.G., U.).­

Sl>CcialiSt on Electrical InsuumenlS .- !80, Town Su-eel, 12. Tel.: 37009.

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

U.) .- 1. Water loo SI. l.oc3I Agenl for Cli.ft:ord Essex Music Co., Ltd. (Eullliner for "B .M.G.'" Diplomas.)

LLANELLY .•Jones, T. E. (B., M., G., H.G. ).-{Examiner

for "B. M.G." Dlploma.s).-18, Tca,ple Street.

MANCHESTER & DISTRICT Howard, Don (G., B., M., P.G., H.G ., V.).­

Forsytb"s, 126. Deansaate. Tel.: BI.A. 3281.

Sbawcross, Jos. (Expert tuition on Banjo and Saxophonc). - 28, Goodwin S1.. Salford . 6.

NEWCASTLE-ON -TYNE Cl.azie, Jack {H.G. Specialist, P.G. & U.).-

18. Ancrofl Ave.. Nonh Sllield.<. "Pbone; Nonb Sllicld.< 1515.

•Dorward, T. J. W. (P.B., & M.). 15, Hoyle Ave ., NC1A'C3Stlc-0n•T) •nc. 4, Tel.: 37477.

NORWICH Winslone, N.W. (H.G. , EI.H.G., U.). - 126,

Lakcnham Road.

NOTI1N GHAM •Papwortb, Sanden (P.G ., Z.B., T.B., M ..

G.. H.G.) .- Local ag ent lor Cllft:ord Eosex Music Co . (Dislric1 Exallliner for " 8.M .G." Diplomas .}-32, Alfrclon Rd .. CilY. 'Pbonc: 77248.

AUGUST, 1953

PLYMOUTH •Lee, Arthur (P.G., M., P.B., T.B., E.G., U.

Piano, P.Ace.).--Studio : 22S, Nonh Rd.

READING Hamlet , J. (B.G., Finger and Plectrom).-13 ,

Pricsl HilL 01 \'trsham,

RUGBY •Da.s, Mukul, M.Sc. (H.G., P.Acc., Theory).

Radio ar1ist. (Examiner for •· B.M.G." OU,Jomaa .}­. ' The Laurel,."

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

251. Wcllina1on Rd .. Soulb. 'Phone : 2127.

SWINDON •Dommett, C. S. (P.B., T.B., U., M., P.O . &

H.G.) .- 16, Kent Rd ., Swindon.

WARRINGTON •Fo1'lu, W. H. (B., M., G.).-{E.xaminer for

"B .M.G." Dit>lom.,).-30, Orford Green.

WIDNES •Dav ies, Fred (B. & Z.B. and Theory).-26,

HalciialC Rd .. Halcbank.

YORK Spindler, Geo. R. (B., M. & G . Theory).­

Cb.ildrco wcl~Olcd . 29. Neville Street.

ABROAD JOHANNESBURG (S.A.)

•Char lie Macrow's Studios for eitpert personal tu ition on Banjo, Mandolin, Guic.ar and E.lcctric Hawaiian Gui1ar . Studio s: GermiSLOn &Dd lobanne<bYia. Inquiries: 'Pbone 22.2361, or Bo• i-40. Gcrmiswn.

•Kudscc, Geo. A. Examiner for " B.M.G." Diploma<, 111, Bib Ave., Mayfair. 'Pboae: JS. JS75,

•Vincent, Eric {B., M., G., etc.).-17, Store Bro, .. IDdg., 74, Eloft: St. Tel.: 23.2651.

LOS ANGELES, CALIF. (U.S.A) Nizamis, John N. Mandolin Artist-Teacher.

1753, W. 42nd St.

ST. PAUL , MINN. (U.S.A.) •Bellson, Albert {Artist-Teacher of fretted

ins1rurnc.us and piano-accordion). Author and Publisher of Bellson Orchestral Tenor Ba,ifo Mc1hod aad Tbe Professional Ten or Banlolll, 98, W. 7th S1.

SYDNEY (N.S.W., Australia) •Hine , A. (B., Z.B.. M., G . & H.G !.­

Studios: 326, Parram.atUl Rcl.. Pctcrsh am. Aaen, for Oitrord E.ssc:t MlL~ic Co. •s instrwncnu a,nd mus.ic.

•Sainty , Cec. {H.G., P.G., P.B., M., U.).­J I. Mount A \.' C., Puncbbowl.

TORONTO (Canada) Alkins, Bertram (Classic guitar).-15 I , St.

George SI. CR.A. 5326).

ABBREVIATIONS .- .. B." Banjo. .. Bn," 8anjolin "Clar." Clarinet . " Dola .. Mandol 3. ·• G ." Spa nish Gui tar . " H.G ." Hawaiian Guuac ·· M ·· Mand ohu . " P.'• Piano . .. P,Acc ." Piano At'-Ordi1'n. "P.B ." Plectrum B3nio.. "P .G.'' Ph.-cttum Guitar. .. S." Singing, .. Sa"(, .. Saxopb"ne . "T . B."

Ttoor Banjo. "U." Ukulele . "V." Violin. "Z.B ." Zitbcr Boitio.

ASK ANY 'STAR ' PLAYER WHAT STRINGS HE USES.

9 TIMES OUT OF 10 THE ANSWER WILL BE-

" CLIFFORD ESSEX" Cur rent p rire list /re ~ ()11 r etJUt! ."'I

REPAIRS, OVERHAULS, ETC. C lifford Esse x cr aftsmen can do , minor ad­just ment o r a comp le te ov er hau l to put your

instrument in perfect playing order .

QUO TAT IONS FREE

AN UP-TO-DATE & COMPLETE BOOK OF INSTRUCTION

• "THE BANJO

AND

HOW TO PLAY IT" by

Emile Gr imshaw

T hi s Tut or s liou ·s _--011: How 10 pla y elfec th ·ely " ith th e corr ect right • a nd left - band flni:er ing; ho" to syncopate ; ho" to produ~e c1·ery kno" n banjo effect ; how to pla y the ba njo " ilh a plec trum ; how to pla y the banj o in the dan ce band ; how to write and arran ge banjo mu~ic rrom piano cop ies ; how to arr-ani,:e song acco mpanim ents; how chor d~ arc form ed ; how to tra nspose ; how to mod ulat e. Th e " hole i~ foll y exp lai ned by means of illu~• tra tions and numerous exa mples. used in conjunct ion with melodiou.,

exercises and complete ~olo~. PRICE :

7/6 ( Post~ee ◄d. e x t~ :J.)

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

-a.M.G.

SPANISH GUITAR MUSIC

Players of the classical Spanish guitar should

send for a copy of the new Clifford Ess e x list of music available. A copy will be sent to any player on request.

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

THE CLIFFORD ESSEX

SPANISH GUITAR TUTOR Compiled by

A LO N SO HEDIO

ID EAL FOR TH E ST UDE:\ T WH O CAN1'0T HAV E PERSO~AL LESSONS

Acclaimed by ployers and teochers, this tutor includes complete and detoiled instructions, exercises, scales. and many solos. The difficult explanations of all technical poincs ore mode with c/or,ty and the book contains all that is necessary for the complete mastery of the finger-

style guitar.

PRICE

716 (U.U . & CANADA S f:25)

(Postage 4d. extra) CLIFFORD ESSEX MUS IC CO ., LTD., 8 New Compton St ., London, W .C.2

~Yo"-a~la% ~, MAKE SURE OF GETTING • I YOUR COPY OF " B.M.G." EACH MONTH To make i ur• o( rtct i:vine " 8 .M .G." •Ytry month it is necessuy to place a stand ing order. The most tr'oubl.,fre e way is by t ub scribine direct with tht pu blithtirt ~

SU BSC RIPT IO N RATE -15/• for 12 months ( U .S.A . •• $1. 10)

~

ACTUAL SIZE ILLUSTRATIONS Of TH REE Of TH E PO PULAR

CLIFFORD ESSEX REAL TORTOISESHELL

PLECTRA •• ACE " - >

A prec ,,1on -m:ade: p lec • t rum desisned by one ol En ch.nd", fir st• t :ank cu 1ot i, c, . Beumlully h;;md• m1dc fr om r-e:al torcoiseshie d l :and h1&hly po l ished. ldul fo r mo~c soloists .

1/-

iii

<- " MAYFAIII. "

" ACHE '•- > n,e perfect pick fo r the p l:aye r w ith ave r­~,e .size har1ds . M;ade by ha nd fro m th e best to r toiseshe ll , h11hly pollshed . Su it • a.b it fo r ban 10 , rn:an• do lin o r 1u 1u r

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A pop ula.r p lect r um w it h mos t platers of the b:an10 and &uiu, r , M:ade from spec ,ally Hlected torto ise she ll, h:and po lished 1.n d b e .i utdu ll )' fini shed .

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YOU 'LL WITH A

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I Send us you r o ld p,ck. w he n o rd cr,ni , Wt will muc h it ror t hickne n .

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Cliffor d Essex pleccro.

CLIFFORD ESSEX MUSIC Co ., Ltd 8 New Compton St., London , W .C.2

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iv

The increasing popularity of the guitar as an accompaniment to the vo ice prompts us to issue this book, w hich we know will be welcomed by all interested in song accom par,iments .

In '' Tips for Troubadours", John Gavall approaches the subject of playing guitar accom ­panimen ts in a totally new way ; explain ing in simple terms all that is necessary for the student to master the art of accompanying songs .

Even if you have no knowledge of mus ic, " Tips for Troubadours " wil l show you how to play guitar accompan iments-and teach you (in easily-understood language) how to emulate the many singers who are world famous for the ir songs with the gu itar .

If you have no knowledge of playing the gu itar , this book w ill teach you how to play the r ight harmon ies. and the correct chords to any song you wish to sing .

If you are already a so lo player of the guitar, " Tips for Troubadours " will be of particu lar interes t to you , for it shows how to use the instrume nt in a new and interest ing manne r.

PRICE

5/-( Postage 2d. ex tra)

CLIFFORD

B.M.G.

HOW SONGS

TO ON

Al 'GUST, I 953

ACCOMPANY THE GUITAR

by

JOHN

GAVALL th e

Broadcasting & Telev ision

SINGER - GUITARIST

* THE EASIEST AND MOST INTERESTING SYSTEM EVER DEVISED. CONTAINS EVERYTHING THE BEGINNER WANTS TO KNOW ABOUT THE ART OF ACCOMPANYING SONGS ON THE GUITAR.

ESSEX * MUSIC 8, NEW COMPTON STREET, CHARING CROSS ROAD, LONDON, W.C .2

Printed b, Pc,crk-s Lid. ( r .U.l . .11-:11,. ~kc1 Lane. Lon don. E.C.4. for 1~c Pubhshtrs and P ,opr ic1ors. Clilfor d Es~cx Music Co .. Lid .. . . '· New C<'m;>lon Strccl. Londo n. w.c.~.