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See page /94
l3 Jug of Ale, A ... ............. ......... ... . . arr. Lo u is Gallo 20
A La Borrachill1 (Es pe ro n) ...... ..... .... arr . GeoH Sis ley 20
LISTOF AVAILABLE A La Chaparril a (Mexican Song) .... .. ... arr.
A La Cucaracha (Mexican Song) ..... .. .. arr.
U cofl' Sisley 20
V ince Miller 20
/\ La Gohmdrina (The Swallow) .. .. .. ... arr . Geoff Sis ley 20
A La Guilana (Tango) ....... .. ..... ..... .... .... Geoff Sisley 20

Plectrum Guitar Solos II Lazy Moments ........ ... ... .. ...... ........ A n gy Pa lumbo
B Lii.:ht Stuff ..... .... .. .... ...... .. ..... ........ .. . Vince Miller
i\ Londonderry Air .. ... ....... ... ... .. ... .... arr. Louis Gallo
A Lou is' Blue Boogie ...... .. .. . . .... ...... .. .. . Louis Gallo 20
B Lourc (J. S. Bach) . .. ... . .. .. .... ...... arr. C hri s Spcdding 20
•T his List gives the titles of ALL Solos available at the present timee ll Lullaby (Brahms) .... ....... ........... .. arr. Louis Gallo 20
ll Malai.:ucna (Lecuona) . ... .. . . .. . . .. . arr. Roland Harker 25
B Marc.:iclla Espagnol . . . . ..... Angy Palumbo 20
Although every solo shown below is avc1ilable at the time this lh.t was com - A Melody in F (Rubinstein) ... .. . .. .. .... . arr. Geoff Si-sley 20
piled , printing d ifficulties today may mean that certain solos aro rep rintin g. A Mexican Hal Dance ... .... .. ... .. .. .... . arr. L o u is Gallo 20
/\ Minuc1 from 'Berenice' ... ..... ... ....... arr. Geoff Sisley 20
A ·i\fonwn 1 Musical (Schubert) ... . . . ar r. A ndre de Vekcy 20
/\ Muongluw . . . . . . . . . . . . . . . . . . . . .. . . . . . . . .. . . . . . . . . Geoff Sisley 20
/\ My llonny ... ........ .... .. ......... .. ...... . arr. Lou is G allo 20
A-Easy 8-Moderale C-Diflieult p. B Ni,rc.: issus , ... , .. .. .. .. . .. . . .. .. ... .... .. .. .. .. .. . . . .... .. Nevin 20
II N(•urly llluc ... ... ..... .. ..... ............ ....... .. Bert Bass e tt 20
A Nocturne (C hopin) ... (finger o r PJ.::c trum) arr. L. Gallo 20
A Oh! llo vs Carry Mc 'Lo ng (Fos ter ) . . , arr. Vinc e Miller 20
8 A Media Luz ...... .. .. .. .. .. .. ... ......... arr. Geoff Sisley 20 A Pnlm Trees .. ...... .. .. .... .. .... .. ......... ... . .. Geoff Si-sley 20
A Album l.e,i f (Schurn/lnn) ... . . .... .. arr . Vi nce Miller 20 A Purly \-V11ll:r . ..... . .. . . .. . ..... ... .... ... . .. . ... . An gy Pal um b o 20
A Allcgreuo (Carulli ) .. ... ...... ....... a rr. Chr is Spcdding 20 A Pcnclo11e .... . ..... ... ... .. .... ............. . Angy Palumb o 20
B Amblin ' Pete . ... .. ......... .. ..... ..... ... Andre de Ve key 20 B l'clilc Soubrcllc .. .. .. .... .. ... ... .... , .... Andre de Vekey 20
l3 Andante (Carulli) . .. . . ...... . ......... arr. Chr is Spcdd in g 20 A Plainsm:111,The .... ... ......... .... ... ..... ... . Ju dd Pr oc tor 25
A Andanlino, Op. 31 No. 5 (Sor) ..... . .. .. .. a rr. Do rward 20 H l'rclmlcs Nos. 7 mul 20 (Chopin) . . . . .. arr. Louis Ga ll o 20
A Ay, Ay, Ay .......... .. .. ................... arr. Vince Miller 20 B Prelude CRach111anir10ff) ......... .. . .. arr. Geoff S isley 20
B Barcarolle ... ........ ....... ... ... ... ...... arr. Loui s Gallo 20 A Rcsi~!mltion (Tani.:o) (D 'Orrcz) ...... a rr. Vince Miller 20
A Believe Mc, If All Those Endearing Young A Rc, ·crie llluc .~ ........ .. ..... ... ... ............ R. A. nrad ficld 20
Charms .. .... (Finger or P lec1rum) arr . Loui s Gallo 20 B lfockct in Orhil ... ..... ..... .... .. ... .......... . Loui s Gallo 20
A Blue Danube (Strauss) .. .. . .. ... ........ arr. Geoff Sisley 20 B ROl·kini.:ihe Minors .. .... ... .... .... ..... .. Angy Palumbo 20
A Blue Dreams . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . Geoff Sisley 20 B Rondo (Paganini) ... ... . . . .. . . . .... ...... a rr. Lo u is Ga llo 20
A Blue Hues . . . . ... . . . . . . . . . . . . . . . . . . . . A. Ney & GeolT Sisley 20 A Sanla l.m:ia ... ... ........ .... .... ... .. ...... a rr. Louis Gallo 20
8 Blue Rays .. ... . ...... . .. .. ......... .. . .... ..... Ramon Gallo 20 B Sc~oviana .... ..... .... ... ... ... ... ..... ..... .. ..... A . P a lumb o 20
A O1mp Fire Sere nad e . . . . . . . . . . . . . . . . . . . . . . . . . . GeolT Sisley 20 H Serenade (Schuhcrt) .... . .. .. . ...... . . arr. Rol a nd Hark e r 20
A Camp Fire Songs (Ha llelujah, I'm a Bum- 11 Sl1e'll Re Co min' Rouml lhc Mountain arr. L o u is Ga ll o 20
l•rnnkie & Johnny) .... .. ........ ... arr. V ince Miller 20 A She'll Re Comin' Round lhe Mountain a rr. Vince Miller 20
8 Caprice . .... ...... . ..... .... ...... ...... ...... . .. .. . Terry Usher 20 A Slumber Song (-Middlelon) .... .. ...... arr . Geoff Si sley 20
A Ci1rm e h1 ... . ..... . .. ... ...... ............. .. arr. Vince Miller 20 n Soliloquv . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Terry Usher 20
B Carmineua .... .. ............ .. ....... ......... Angy Palumbo 20 B Sorin!? Fever .... .. .. .. .. .... ........... .. .. .. ... Jvor M ai ran !6 25
B Carnival of Venice (w it h variations) ... ar r. Louis Gallo 20 R Stenhan,e Gavotte (Czibulka) arr . Michael Hodgkinson 20
A Cielilo Lindo ....... .. .................... . arr. Vince Miller 20 Tl Sulton Mulfon ... . . ... .. .... .... ...... .. . ... . ..... Ca rl K ress 20
B Chicken Barbecue ..... ... .... .......... ..... Chris Spedding 20 Tl .Swnnce River (V>1ried) .. .. .. .... . . . .... .. .. . . . Lou is Gallo 20
B Chordially Yours ..... ..... .. ............. ... .. Louis Gallo 20 A Sweet ani'I Low (Barn by) . .. .... .... ... . arr . Vince Miller 20
B Cornflower Blue . ... .. ...... ............ Dundas K. Bed nail 20 A Take ii F:asv .. .. . . . ... . . . .. . .. .. . .. . . A. Pa lu mbo 20
B Cosa La lino .... .. ....... ... ...... .. ... ........... . Ray Gallo 20 Tl T aneo Del Coraeon ... . . . . ....... Lou is Gallo 20
B Daviil of The White Rock ..... .... ... arr. Vince Miller 20 R Teenam! Guitar . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . Be rt Weedon 25
A F:! Cefiro (The Breeze) .. .......... . ..... arr. Vince M iller 20 Tl Three Blinrl Mice ffrnnsn iption) . . .. . ... . . . . .. . Al Shaw 20
B F.I Choclo (Villoldo) ...... . . .. ......... . . arr. Vince Miller 20 A. There is a Tavern in fhe Tow n . . .. . .. . . arr . Loni~ G 'lll o 10
A El Cubo (B. W . Dykes) . ..... ..... . arr . M. Hodgkinson 20 Tl Tir.?er Rtg ... . ....... . ... .... ... .. . .. .... .. arr. nick S~rl!,•ir J.<;
B Elcgie (Les Erinnyes) (Massenet) .. . ... arr . Johnny Kent 20 n Tonea Tn111!0 (based o n l $;i l.c i) .. . .... . . . . . T.o ni~ r. allo J.O
B Flal Top Boogie .... . ............ . .. .. ..... C hri s Spcdding 20 A Trnnmcri t- (Schnrn ann) . . .. . .. .. .. . . . .. . :u r . G.:r, ff <;islcv 20
B Flight of the Bop Bee .... ... ........ ..... .... L ouis Gallo 20 A Trisfes~e (Chopin) . . ... .... ... . . .. :,rr. Vince Miller 20
B Fr.rnkie and Johnny Blues A Trn;s Pr.r:1 M n•<·e:u1x '""r h• p,..,, cl' Av i1!no11: Au.,.,..~
(C. & W . style) .... .. .. . ... ......... arr . Chris Spedding 20 clema1Uo,ulc: A11Clnirdcl11T .un c) arr . Vince Mi ll e r 20
B Gallovanting . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . .. . . Loui s Gallo 20 B \V,.v ;n• Corn
A Gavotle (Bach) ..... .. ....... . . .. .. .......... arr. Louis Gallo 20 (C',·11111lrv-\Vc •st<-rn thm slvlc) . . . .. . .. C hri , S~tldin!! 20
A Gesture .... ........ . .... .... .................. Andre de Ve key 20 r W••••k.1·1111 .. . .......... . : ..... .. ...... . Andre <le \l c-l-c v :W
A Giddy Guitar ... ..... ...... ... ...... .. .. arr. Ch ri s Spcding 20 I\ ,v~•re "" n .., \V,w . . . ... . .. .. .. . ..... .. .. . . arr . S. /\p1hl"r 20
B Gilana Mia (D ykes) ... .. . .. .... . ... . .... ... arr. Milvcr ton 20 A. '-Vhrn th '! '-ainl s Go Mllri-hinl! ;., . .. .. . l"lr r. T ,, 11is r. -,11<> J.0
B Greensleeves . . .......... ... .. .......... arr. Chris Spcdding 20 /\ \Vh i~•w rir1n , . ..... .. .. , .. .. . . , . . . . .... . , ;l rr. ni l·k S·><ll•·i r J.<;
A Guilana .. .. . .. ... .. . . . ......... . .. .. . ... . . . . ..... . . . .. ... . A . Ne y 20 (' Wildll'~• D:HH't ! (Pa P.a11ini \ .. . a rr . Louis (iallo 20
B Guitar Boogie Shuffle
(A rt hur Smith) ... . . .. . ... . ... .. . . . .. . arr. R. Co li cchi o 30
A Guilarrila ........... .. .. . .. . ........... . ... . .. . . ... Louis Gallo 20 IOp POSTAGE EXTRA
B Gvns:v Guilar . .. ..... ....... .... . . ... . .. . .. . ... .. Louis Gall .o 20
B Harris in Wonderland .. .... ... ... .. . . . .. .. Albert Harris 25
A Hava Nagilla ...... ....... .. ..... ...... .. .. arr. Louis G all o 20 Obtainable from:-
A Home on th e Range .... ..... . .. ...... arr. v .ince Miller 20
B Hone v Blonde . .. . .. . . . ... .. . .. . .. .. ... .. Dunda s K. Bednall 20
A Hot Copners ... . ... . .. ......... . ......... ............ Al Shaw 20 CLIFFORD ESSEX MUSIC Co. Ltd.
R I'll Take Yon Home Again Kathleen arr. Vince Miller 20
C Jn Lnnguid Mood 20 EARLHAM ST .,
(A Tr ibute to Rddie Lang) ... .. . ...... .. . Lon is Gallo 25
ll Introduction and Valse .... ........ .. ... . Andr e de Vekey 20 CAMBRIDGE CIRCUS , LONDON, W.C.2 .
R Island Serenade ....... ......... .............. An!!v Palumbo 20
A Jeannie Wilh the Light Brown Hair ... arr . Vince Mill e r 20

Aloha from Hawaii 213

By Jerry Byrd
American Scene 216
Around the Clubs 220 The Editor does not necessarlly
PUBLISHED MONTHLYAT Al l items submitted for
agree with the opinions. 20 EARLHA M STREET, inclusion in BMG must arrive
Barry Mason 194 LONDON WC2H 9LR
expressed bv his contributors . BEFORE the 24th o°i t he month.
By Arthur Young Advertising: Tel.: 0 1-836 2810
All printed matter appearing
Club Directory 204 in this issue is copyright by GRAMS : "TRIOMPH E" LONDON WC2
BMG unless otherwise slated . EDITOR: J. McNAGHTEN ON REQUEST
C9rrespondence 221 Editorial: Tel.: 01-278 1523
By lvor Mai rants Subscription rates:

Down Under 214 See inside back cover

By Phil Skinner
VOL. 73 No. 852 APRIL 1976 PRICE 30p
Fretted Recognition 200
By Kealoha Life
Frets in France
By C.R. Hooker
Notes and Co,nments
Guitar Music Review 205'

Looking Around 206 In the course of the working month a steady stream of printed matter concern-
ing fretted instrumentalists reaches the editorial office of this magazine , and it
Mandolinata 203 is perhaps not surprising that the bulk of such mail consists of publications by,
about, or for, guitarists . Furthermore-and .this is all to the good - there are
Music Supplement 207-210 several well compi led bulletins or newsletters now firmly established on a regular
basis in furtherance of a laudable intention to enhance the stat us of the queen of
On Guitar Improvement 195 fretted instruments. The Soundboard (the official quarterly newsletter of the
By Graham Wade Guitar Foundation of America) is a case in point. The October issue devoted
many of its thirty mimeographed pages to evidence of considerable activity in the
Pop and Jazz Chord Progressions 199 field of guitar publications in the USA, and of the steady increase of scholastic
By John Bennett research into the origi ns and resources of the instrument.

Pop Rhythms for Bass Guitar 198 The Guitar Foundation of America (GFA) was established in 1973 as a non-
profit organisation, and the current board of directors includes s'ophocles Papas,
By Don Roberts Frederick Noad and Abel Nagytothy-Toth - all well known to readers of BMG.
212 The Soundboard is produced for issue to GFA members and though it has yet
~agoss nig Lute Recording to make its mark in the wider terri tories beyond its membership borders, it has
By Malcolm Weller "the potential, " as they say.
Small Advertisements 223 From Fresno, California , we receive another quarterly newsletter - for, and
about, the plectra! side of the banjo world. Known as T he R esonator, this four-
Teachers' Addresses 224 page mimeograph is "the official publication of Banjos Unlimited," a California-
The Great Harry Reser 198 based association "de dicated to preserving the banjo and its music ." Naturally, in
view of its limited print area, copy is confined mainly to news paragraphs of club
By W.W. Triggs meetings, rallies, get-togethers and banjoramas, and it serves as a very useful link
The Orpheans-and others 196 between banjoists in the widely separated areas of the West Coast of America .
By Tarrant Bailey, Jnr. Lincoln (Nebraska) houses the editoria l P.O. Box of Rosette, the bi-monthly
journal of the Lincoln Guitar Society, which aims at the same target as the GFA
Vista Espanola 204 and other like~minded organisa tions. Jn the issue for November-December 1975,
By Jorge Gardner the Editor, John George, refers to the Albuquerque Classical Guitar and Vihuela
Foundation - whose existence may come as a surprise to those who may have
You ng Ladies and the Banjo 202 regarded Albuquerque merely as a staging post on the long trai l westwards to
By Eric Enderby Laramie.
0, day. All the instruments used in the with light tensio n stri ngs, and a tech -
concerts were either originals or copies nique that produces the fullest sound,
of the origina l instruments. Mr. Mason keeping in mind the period of the
explained that the series was not only music.
a success in regard to capacity aud- After a coup le of years of practice
iences, but also that the enthusiasm and research 1 felt that it was time to
shown by many eminent players in the give myself and t he · instruments an
guitar world proved that a new devel- airing. The Plucked String Series was
opme nt in plucked instruments is the result. Without seeming too phil-

B M imminent.
With another series planned for this
year, we invited Mr. Mason to explain
osophical I think its influence will be
felt in a coup le of years' time, because
it takes a little time for people to
how he became interested in old guitars absorb new ideas. The most important
and what his plans are for the futur e. thing for me was t he genera l feeling of
A My first influence was at the Royal
Academy of Music where there was
acceptance; no one said I was a crank,
messing around with old instruments,
the general idea that gui tari sts were in fact it was quite the reverse, people
the most unmusical of al l professional seemed to be interested in the different

R s musicians. I found that this idea about

guitarists was more or less true as the
four years at the Academy progressed.
Looking for some way out of the
sound and expression I produced.
The most important breakthrough,
1 thought, was the Baroque Guitar,
with its unu sual octave tuning s and
classical guitarist's doldrums of playing strummed Alfabeto chords . This instru-

R 0 the same standa rd repertoire (that is

already played so well by Bream and
William s), I decided on a two-fold
ment deserves much more study. The
other imp ortant instrument was my
Nineteenth Cen tury Guitar (a copy of
study. Fi rstly a study of technique on the "Berlioz") which l played in -the

y N
the classical guitar, as this was the
most sta ble of my instruments, and
secondly a stud y of the lute and early
D Major Quintet by Boccherini. The
sound of this guitar is extremely beau-
tiful, and although it is less powerful
guitars. This I did in my third and than a modern guitar, its sweet pure
fourth years at the Academy where I tone could be heard even through the
studied the lute with Anthony R ooley, sound of two violins, a vio la, and a
and continued my lessons with Diana 'cello playing fortissimo. W ith all this
Poulton at the Royal College of Music. talk about lutes and baroque guitars
Well, what happened, and what was you may think that the future of the
by the result of all this work, you may guitar depends on its history. This is
ask? The first thing that astounded me not quite true; in fact, in the last
ARTHUR was the wealth of music for plucked concert we gave the first performance
instruments . There is a fantastic of three songs by the young composer
YOUNG amount of music that is not played.
Almost every period from the sixteenth
and guitarist Paul Grego ry.
I think there is a need for both
century has more repertoire than that aspects. For a healthy state of affairs
of the classical guitar repertoire as it it is time we looked again at the long

A T the end of last year the

Purcell Room saw a series of
concerts devoted to plucked instru-
ments. The series was devised and
stands today.
After finding the music I had to find
the proper instrument to play it on. At
first I thought I was a bit pedantic
when I started to order three different
history of plucked instruments, and
this does not mean just transcribing
the music regardless of different -tun-
ings, technique or philosoph ica l back-
ground . J would therefore recommend
introduced by Barry Ma son, and for Baroque guitars for the three different that every guitarist, whether he is a
each of the three monthly concerts he tunings, but later this was to prove beginner or not, looks at the history of
demonstrated different topics in the more sensible than I had thought. the instrumen t, becau se there is much
history of plucked instruments. Having both the appropriate instru- to learn from it, both from a •technical
The first programme of the Plucked ments and mu sic, I began to play. Then point of view and a musica l one. It is
String series was called Espana, and I met my biggest obstacle: how lo play unbelievable to thin k that un til recent ly
it looked at early Spanish music for a Renaissance, Baroque , or Nineteenth there was no book describing the
Renaissance Guitar and Vihuela; with Century guitar with a modern tech- history of the guitar accurately, much
popular music by the exuberant couple nique . less have there been any concerts that
Dorita y Pepe. The second concert The use of modern technique-with give a faithful representat ion of the
featured Renaissance instruments with all its confusion over angle of wrists guitar's history in sou nd! I therefore
music for lutes, cittern, orpharion, and and nails- is a problem when we come hope that the next three concerts at the
chitarrone . The last concert in the to play on older instruments. As far as Purcell Roo m, plann ed for this year,
series traced the history of the guitar I am concerned I tend to make a corn- will contribute to -this new interest in
from the Renaissance to the present promise; l use authentic instruments the art of playing plucked instrumen ts.
"Adelita" or as a study for a pupil as
in the case of Carulli or Carcassi.)
(e) The student had to make a plan
of the work, showing its form, move-
Graham Wade • • • ments, and stating the keys.
(f) The student goes on to deal with
the outstanding characteristics of the
work, through harmonic and rhythmic
analY,sis, the influences present, and
ON any other vivid impressions.
(g) The performer now has to present

6UITAB what he feels is the character and

meaning of the work.
(h) Finally, aesthetic and technical

IHPBOVEHENT comments have to be written with

instru ctions for the study and inter -
pretation of the work.
Cortot asked the pupils not "to
. .. INTERPRETATION accum ulate pages and pages of writing
but to give me something to read
which is your own." So my advice th is
month is for guitarists who really wish
to do something about improving their

W HEN considering interpret- musical activity, requires as much

ation and technique it of.ten thought as it does actual physical prac-
pays good dividends to look in your tice; thought can involve reading about
local lib rary for books on music relat- music, listening to records (and not
play ing; go off now and write on the
Cortot model about your latest piece
being studied, making it as detailed as .
possible and really working hard at the
eight problems listed. I would be inter -
ing to othe r instruments. Of particular only of guitar music!), discussion, ested to see any examples of these
value are books on teaching the 'cello, ensemble p laying and so on . which you consider worthwhi le to send
the violin, and the piano; the reason Alfred Cortot was dealing for most in and also any commen ts about the
for this being the long and dignified of his career with very talented young Cortot method of tackling interpreta-
playing tradition of these and ·the musicians, and what he prescribed for tion.
adjacent teaching tradition stretching them can direct gu itarists to the heart And- if you consider the exercise a
back severa l centuries. The keyboard of what music is about. What Cortot waste of time and prefer to practise
heritage in particular can prove im - first intended to establish about a com- instead - remember that Cortot was
mensely valuable, and it is perhaps in position was the maximum amount of one of the greatest instrumentalists of
this area that experiences of great informa tion about a composer's aims the 20th century. What was true once,
players can unlock several doors for in writing a par ticular item. In his view must still be true now!
the inquisitive guitarist. to achieve a poetic understanding of a
One of the finest interpreters of the work, the player had first to analyse
20th century piano repertoire, for and discover the factual framework
example, was Alfred Cortot, who was underlying t he piece in question.
also one of the great scholars of piano So each student had to write an
music, as well as a superb pian ist. analytica l sketch before beginning the
Cortot (whose records are still avail- study of a composition; work at music 17 CANNON STREET
able), like so many outstanding music - has to be crea tive and fru itful, not BIRMINGHAM B2 SEN
ians, unleashed some of his energies in routine and aimless. In the analysis PHONE 021-643 9043
the task of teaching and lecturing and the student had to write the following
in his writing about interpretation we guide to the music:
can find a gold mine of truth and (a) Surname, Christian names, place
Guitars by
revelation. and date of birth and death of the Vicente Camacho, J ose R ami rez,
Too many guitarists feel that they composer. A A. Jon es, Petersen, Conde,
can only learn the guitar when •they are (b) The composer's nat ionality. Hermandos, Conda!, Yairi, Martin,
actuaUy engaged in the business of (c) The title of the work, opus num- Gibson, Yamaha, Suzuki
playing it; hence they think too little ber, date of composition, and dedica-
and fiddle away at various finger exer- tion .
cises and pieces ad infinitu m without (d) The circumstances which brought
Strings by
taking time for reflection and the pro- about the composition as far as the Savarez, Concertiste, Augustine, etc.
cesses of pondering what is really on composer himself indicates. (Failing
the printed page. It is rather like read- any indication from the horse's mouth,
ing a textbook without ever lifting no· doubt students cou ld try to deduce
Guitar Solos, Studies and Tutors
your eyes from the print to weigh up the composer's circ umstances-a useful
particular paragraphs, but ploughing imaginative exercise . A piece could be PERSONAL *
straight through. The guitar, and all written for a pupil, such as Tarrega's
nNSavoythe Orph
JI early days of the BBC, the
eans made a wonderful THEORPHEANS
twelvi-iuch Columbia disc "taking the
mickey out of" English radio. It was
the custom of the BBC, amongst other ANDOTHERS
indiscretions, to charter a well-known
'cellist to play in an attempt to make by
the birds sing, at the same time using
their microphones to bring a breath of
country air to stifled factory workers. TARRANT BAILEY , JNR.
The Orpheans did not miss the chance
to parody this, and "Miss Phyllis M.
Hancock and her 'cello" evoked loud
Of course, that is a desperate sort of The mention of the Second World
donkey brays and an apology from the War and the police brings back
nightingale that he had a sore throat humour in the face of national tragedy ,
but it was humour, and it was a memories of the sergeant who said:
which he hoped to cure with Yahdil, a "Bailey, who on earth ever heard of a
medicine that had just been proved to safety-va lve. Nowadays we take our-
selves so seriously, and the people who policeman taking a banjo in his car to
be a gigantic fraud on the British his police beat, and playing it in
public. tell us EXACTLY what the world will
be like in the year 2000 cannot laugh uniform to the Luca s firemen in the
Well, methinks that if the old coffee break?"; it also recalls the
Orpheans were alive today, the BBC at, or understand, the mess we are in
today. Our forward-looking progress- tremendou s success of my Tarrant -
would give them material for a fiesta. ellas, a group of pupils which included
Science in action is my biggest laugh. I ives never take it that they can only
better today by promoting those things policemen. And- in case you think I
have just heard a learned discussion on didn't take policing seriously-I have
prostostamlins and anti-prostos-tamlins, tha t make for greater happiness now.
Radio, once an entertainment, is now done a twenty-hour non-stop duty spell
or something like that, as part of the amid a heavy bombardment during
entertainment for today. On other a grim educational propaganda vehicle,
occasions I have been informed that a and a powerful diffuser of fear and which I have :tended dead and dying,
depression. The stars are the politic- and looked for an alleged unexploded
certain archaeological discovery was bomb with instructions not to report
some two million, four hundred (and ians. The Orphean s were much more
HONEST ENTERTAINMENT. back before I found it. As I had to
thirty?) years old, and I have longed use my torch for the latter "fae na ," a
to shout out: "And two hours, five Even in my extreme youth Clifford nervous Home Guard sniped at the
minutes." The cancer experts really go Essex remarked on my acute percep- light and to complete the happ y picture
to town with their monthly new dis- tion of rhythm and time. (He was
coveries "which are believed to be an there was no unexploded bomb any-
commenting in BMG on my first pro- way. So I got back to the station to
enormous progress in this field" but fessional discs.) But also I have seldom make out the Jong report after a
which (ALWAYS) are in the initial needed a watch to judge the passing of
stages of experiment so that "it is much merciful inspector said "Find Bailey."
one hour exactly, and in more extended Birmingham police records would not
too soon to pronounce a definite consideration it is clear -to me that one
opinion." In fact this scienti fic discov- prove me a liar. Nor my friend Fred
who entertained wounded soldiers with Clements (a member of the Tarrant-
ery programme is, for me at any rate, his playing in World War One, and ellas) who was a regular policeman ,
a good deal more amusing than the who continued non-stop playing among and from whom I am most happy to
allegedly humorous programmes. the falling bombs of Wor ld War Two get letters still, occasionally. I believe
I cannot help wondering what has (when police duty permitted) - must he still plays his wood-hoop Windsor
happened to the truly British sense of naturally realise that his time is getting banjo also. ·
humour. How many readers remember a bit short. This prompts me to assess
the Bruce Bairnsfather competition in my reactions to what has been a long Man y people ask me why I don't
Punch during World War On e, when lifetime of music. I played to those return to England (Won't you come
Old Bill was portrayed surveying his suffering soldiers in World War One home, Bi ll Bailey?).
empty rum ration bottle through which because father told me to. From the
a German sniper had put a bullet near age of fourteen years onwards I began The answer is very simple. My nerve
the bottom of it. Competitors must fill to play because nothing else in life gave way before a t:ombination of
in the blank spaces of Old Bill's com- seemed so worthwhile. Now, towards climate, war and broken marr iage, and
ments: " I'd like to catch the -- man the end, it is the only thing that offers neither of these terrib le enemies has
that did that. I'd -- well knock his me complete freedom from stress and attacked me here. So far. The final
-- head off." worry, though so many years in play- blow was -the shifting of taste from my
Punch gave an example of how it ing posture also tend lo make me beloved instruments, to regurgitation s
might be· filled: "I'd like to catch the regard · myself something ak in to a which foretold the Beatles, and I knew
bad man tha-t did that. I'd jolly well butterfly stuck on a pin, whereas orig- I just could not compete, nor lower my
knock his silly head off." First prize inally I was oblivious of everything own musical standards . I can do more
three can openers, Second Prize forty except the music. But the sound of a good where I am, maintain my health
thousand pounds and a month in well played ban io still jolts me into an and wealth. and offer true culture to
Blighty. illusion of youth. those who really want it. My postbag
brought the comment: "Why don't you We have both recovered a little. A further "something" is the new
come down off your throne and really Old people who talk about •them- banjo solo, Never Say Die, which your
DO something for the banjo?" To this selves are an awful bore. Though I esteemed editor may include in this
comment of a Federation official I could speak of incredible experiences, issue. It is a bright march, so give
have replied with the release of my so could everyone else I expect. So I your interpretation the necessary verve
playing on the new Barker-Bailey disc. will continue the theme of my former and attack. I am sending your editor
It is more than fifty years since my first comments by citing the help that you a recording of it, and perhaps he will
pro disc, and keen critics will note might give by supporting the banjo like to give you more academic instruc-
that I have slowed down a little, if I industry by buying the new discs and tion on that point.
admit that ·the two final numb ers are music that are beginning to appear
old unrelea sed discs, whereas the other once again. When the unrestrained
material was recorded in 1975. I hope hooliganism of war-bred modern music
that the disc wiU prove to English permits enough silence for harmony to TAPE RECORDED
youngsters that ·the love of the banjo be recognised, step in and enterta ,in INSTRUCTION
is not entirely a waste of time if one's your friends, even if the BBC won't for Banjo and Classical Guilar
playing is happy and carefree at near have you. The world is passing through by
seventy. And that professionally it has a battle waged by science and "t he Tarrant Bailey, Jr., former British slar
seen me through the wilderness to an humanities", not really between coun- of Decca, Parlophone, Imperial, l'athe,
oasis- which is something. Granted I tries at all. If you blow yourself up, Regal and other discs.
have made many foolish mistakes, but "Finest living fingerslyle player" ("Five
music may not be much use to you, Stringer" American 1974).
so has everyone else, and my musical but it would be very interesting to "His technique on discs rema ins un-
mistakes are less •than average. know what is. Science even demand s equalled since 1925" (BMG English 1974).
"Lesso ns exceed my most optimistic
Does that really answer my critics? that a guitarist should risk his life expectations" (Mr. Hanauer , 717 Nor-
Perhaps not. There is the unspoken electrically in order to be in popular dyke Rd ., Cincinnati letter I 973).
word coward. You brave English fash ion. "Your (apes amongst my mo st treasured
possessions" (Mr. Bladi er, 7 Fisher St.,
people may justly use it if you so feel Although my part in the Barker- Malvern , Australia letter 1974).
inclined aftet bearing in mind that I Bailey disc is also a reply to the Feder- For full particulars send In ternational
waged a one-man battle for long years ation official, I cannot help wondering Rep ly to Tarrant Bailey, Jose Antonio
for the banjo's pre-eminence , and when if the same official has also surportcd 50, Finca Obi-spado La Cuesta, Tenerife ,
Islas Canarias Spain.
I very nearly died, so did the banjo. the banjo by buying the disc.

Britain's leading Guitar Expert
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TJIHE next Clicquot Club Eskimos

session took place late in Jan -
OW that you have become given chord symbols only. Gettino used uary 1926 and was issued on 570-D.
acquainted with the first blues to playing these bass patterns a°gainsl The titles were Chinky Butterfly and
scale on strings two, three and four, we chord symbo ls will help you to inter- I'd Rather Be Alone, the second of
are going to see this month how this pret chord symbols relative -to a bass which was also issued here on 3958 as
scale can be used in various bass com- part. the Denza Dance Band .
binations and also in actual chord When employing this, or any other All their recordings at this time have
sequences, showing how the bass blues scale, one is not bound to use the same style, sleighbells at the begin-
patterns can be used against chord every note of the scale, ju st as a corn- ning and identical instrumentation.
symbols. poser is not bound to use every note of There is, however, always an interest-
Very often the bass guitarist may the scale to produce a melodic line. ing difference between the various in-
not be given a written part, but may be T~us Ex. I shows a basic bass pattern strumen ts' distribution which never
using only one note or unit from the palls and is ever exciting.
EX.I I UNIT EX.2 2 UNITS scale. Ex.2 employs •two units from the Chinky Butterfly begins ensemble
. f J• l I J. ;
I 3
scale, Ex.3 uses three units from the
sca le, Ex.4 employ s four units from
the scale and Ex.5 employs all the five
and the banjos start with sax playing
the melody, the former filling in beau -
tifully. The next moment of interest


3 I 3 I

. I
4 13
units. All these examples use the blues
scale of F in the first position and also
employ differing rhythms by way of
Ex.6 is yet another one that is ex-
occurs when the banjos have the
melody and leave the piano to fill in
on its own . The final cho rus is spirited
tutti and the whole piece bounces along
in fine rhythmic fashion. There is, of

tremely popular and sounds well and
uses three units from ·the scale. It is
this one that is employed in Ex.7 which
is an actual chord sequence used in
course, the underlying Chinese theme
which gives the number added charac-
I'd Rather Be Alone, issued here on
practice. It consists of 12 bars and 3958, provides us with another up
many of you may recognise it has the tempo number, without so much stac -
conventiona l 12-bar blues sequence. cato as usual as it swings along in a
All notes that are flat have been very spirited and compac t manner . It
IP----- indicated with flat signs to help you commences with some rou sing banjo
,~Mfe1df &H--?r
+a F7
remember this, althoug h in actua l
practice the flat signs will only appea r
at the first note in the bar, as all other
followed by sax and violin together.
In fact, these two instrumen ts are
featured more often here than is cus-
6P----- such notes stay flat unless otherwise tomary . ~eser has two good breaks,
wts rr,~,,rtHu:trJ stated. The first fou r bars empl oy the
three units from the scale of F in the
first position, followed by two bars in
one especially notew orthy, and also a
nice rhythmic coun ter melody against
the sax; generally a more con trolled
t~e. sixth ~osition employing the three and easy flowing rendering than hither-
s1mtlar units from the sca le of B flat, to.
followed by two bar s back again in the Now we arrive at another coup le of
F first position. followed by one ba r in Syncopator session s, the first for over
the eighth position, followed by one three mont hs, taking place early in
bar in th e sixth position and concludino0 February as it does. It is rather an
with two bar s in the first position. unusual session because it is one of the
Next month the same scale will be few which only have one matrix where-
given and listed on strings one, two and as th~y nearl y always came in pairs.
IP (.) three complete with examples and a The title was Love Bound and it was
I ~ ~f ~
"'•,a rr,Pr
typical sequence.
____ ., ____
issued on 604-D.
It is delightful to hear once again
the bright and sturdy bra ss section
which can equally as well play just as
subdued, and on this occasion, some
muting is in evidence. Reser mixes
some brave tremolo with lightning runs
and triplets and there is much light ~07 'io7 II( 7 -/ )
and shade to enhance the vario us
figures; a certain amount of staccato
phrasing also exists with offbeat brass
and it all adds up to anot her fast-
>ll<~-\1>--- )
©-0..2.-~(-..-- )
II ! z~(
> H
moving example of expertise from
Reser's boys.
Their next session was on the first
of March , and comprised three titles, J
0'1 c;
possibly to make up for only doing one
the previous month. T hey were Behind
The Clouds, Say It Again and I'm As
Blue As The Blue Grass in Kentucky; II
three good numbers. The first two were
issued on 594-D, the second also on
3962 as the Denza Da nce Band, and
the third on 604-D, being coup led with
the title already discussed for the
February session.
Behind The Clouds (possibly another (
attempt to erase the unfor t unate Ha ONTINUlNG with the classifica- tension or accommodate a melody
102-H example from people's memor- tion of chords, the fifth and last note: Example 4. Similarly, the root
ies) is fairly straigh t to start off with, group to consider is the dim inished note may be altered to a maj.9th:
some chimes being thrown in, an d chord. Although the diminished chord Example 5.
continues with staccato brass, the piano functions as a triad in its simplest It is best to confine these alte rations
filling-in to comp lete each bar. Reser form, it is generally played as a 7th to the top two voices. Altering the root
has a good chorus which he takes with chord in most pop and jazz progres- on the bottom of the chord destroys
mute, accompanied by rhythm and sions: Example I. t he characteristic sound of the dim.
saxes; chord tremo lo and triplets - no Using F as an example, the follow- chord. In any case, raising the root a

single string-a re featured and create ing chords are interchangeable: tone would result in a 2nd not a 9th,
a surprising difference from what one F" p •7 F"ma7 p 9 0
when the root is the lowest note.
has now come to expect. In fact, it is Example 2 shows the dim.7th chord Example 6 shows a common pro-
the first example of this and sounds with its three inversions (written en- gression using a dim. chord. Example
rat her thin a lbeit very presentable. I harmon ically for convenience). Because 7 shows the same progression with
have always been of the opi nion that the intervals in this structure are all the varying degrees of tension added to
muted tenor is better for a slow num- same _ minor 3rds - each inversion each chord. The dom.7th chord has
ber where the notes are not so blurred sounds exactly the same as the root had a lowered 9th added to it, result ing
to the ear when accompa nied by ot~r position chord; the only difference in an identical structure to a dim.7th
instruments, as they are on a fast fox- being one of pitch. (The analogy may chord. By utilising this information, it
trot. Tt lacks the crispness which is be likened to a square being tipped is possible to convert a dim.~th chord
essential to a recording of this type. over, each tip presenting the same into a dom.9 b. by adding a root
Say It Again, for my money, is by shape.) This allows any note to be note at an interval of a maj.3rd below
far the best of all three titles and has selected as the root note : Exam ple 3. the lowest note of the d im.7t h chord.
a rea l jazz flavour about it, albeit con• When construc ting a bass-line, th is is Example 8 shows this device applied
trolled absolute ly. Every .instrument a very useful device as you have a to the progression given in Example 6.
has plenty to do and Reser is certainly choice of four notes to select from. Note the dom. to .tonic movement in
no exception; in fact, he displays more The dim.7th note may be alte red to ba rs two and three; this is a device I
Continued on page 203 a maj.7th to create a little more shall be d iscussing in later articl es.
11111 Allied Electric Company's "Concord"
twin-neck, with up-turned machines
and massive powerful pickups, usually
finished in blue. Incidentally, it was
Grimshaw who made the beautifully-
engraved pearl and gold-plated special
model that bore my name, and which
I used for many years on TV, stage,
films, discs, and broadcasts.

By the way. Harry Pah ene Broke r,

Part 2
1111m 1111um111111
by KealohaLife
and Sammy M itchell, used "Daykena"
steel gu itars, made by Tommy Daykin,
while Al Shaw and Wally Chapman
favoured the "barometer" shaped U,S.
National model. The post-war " Dyna-
mic" model by this company is recog-

ll N the near pre-war and wartime
banjo world, due to panic selling
A most curious guitar, much in de-
mand by professionals (and I'm sure,
nisable by its unique three clear octaves
in black and white zig-zag, of which
there was a Czech copy in I 958. A
at the auction saleroom s in London, erroneously called "Swed ish Guitar", most excellent steel, the Supro, is still
banjos, domras and balalaikas were since the large pearl butterflies on the available, but the Oahu (favoured by
selling at eight shillings each (the con- uncomfortably broad and deep finger- Sam Koki), the Dickerson (used ex-
trabass variety of each, plus mando- board must have indicated a Sicilian clusively by Sol Hoopii, Dick Mcintire,
basses and Mittenwald three- string or German origin), un-named, un- and Bernie K. Kaai Lewis), and the
double-basses, sold generally at five labelled, was everywhere, and was in- Aloha (used by Val Hao) , as far as 1
pouni:ls each), and at this price were stantly identifiable by its huge-sized know, never reached England. (The first
seen the Rose Morris "John Grey", bridge (almost enough for a string is identifiable, by its name only; the
the "Victor Supremus" in the Windsor bass) heavily-swelled back and front, second by its lozenge shapes on the
' Whirle' range (usually warped if found back-canted neck, and large rosette; it front edge; and the latter by its com-
nowadays) , and the excellent U.S. g":ve out a deafeningly loud sound, pletely pearl-inlaid fingerboard).
Slingerland; quite common were with very penetrating basses. The bril- Finally, the old Harmony "Crem-
scrolled-head banjolins, and ukulele- liant accordeonist, Boris Neilsen Lei- ona" (with its neck uncomfortably
banjos by Dallas, John Grey and there fenstah l (cousin of the virtuoso accor- deep, and quite unlike the ultra -slim
was even a wooden "Felix Mendel- deonist Toralf Tollefsen), used his necked, double trussrodded "thin"
ssohn" ukulele. "altera tion geniu s" many times, on Harmony electrics of today), is still
However, the most incredible bargain these so-called "Swedish" Guitars, knocking around; the latest "night-
I had (and never to be repeated) at a while I watched him. First, he would marish" guitar from behind the Iron
London auct ion -room during an air- thin down the bridge considerably, Curtain shook me rigid the other day;
raid was a bundle (tied with rough then remove top and back of the gui- it was an acoustic instrument, with
brown str ing round the necks! ) of tar, and with a razor-blade, thin the 14th fret extension fingerboard , two
American Leedy "Indian-Head" ban- latter to cartridge-paper thickness in huge shoulder cutaway s, the one, nea r-
jos (two plectrums and one tenor). order to make it vibrate like the top est the player having a large sound-
They were the ultimate in luxury, the and back of a ukulele; finally, he would ho le in it, in addition to the normal
resonators being decorated with the re-glue back and top, and then thin large body soundhole! (Could th is be
head of a Sioux chief in full ceremonial down at an angle, the side of the finger- !or " monitoring" the soloist's play.
headdress in rubies and emeralds, with board nearest the player, in order to mg? ... ). The label was in Cyrillic
Florentine heels to the necks, while the be able to use the thumb for covering characters, proving its Slav origin, but
heads and finderboards were exquisitely both bass-strings simultaneously. not being familiar with the maker's
inlaid in figured hand-carved pearl. Boris was guitarist in several of my name (no country or city was indi-
These were sold to me in 1938 for early Hawaiian groups; after the War cated), only the word "Kremona"
four sh illings each ... alas, I disposed he jo ined the Levin orga nisation in meant anyth ing to me!
of them mid-War. A. P. Sharpe was the Sweden as a repa irer. I would be inter-
Editor of " B.M.G.", and he wrote me
about them, saying he could sell as
ested to hear any information on these
guitars , if anyone still possesses one,
many as I could find at £250 each (that and perhaps our editor might be able Ltd.
was 15 years ago). At these sales, ten to hazard a guess on the former staoe
shillings would secure a Panormo artist(s) who must have owned tl~t The Violin Shop
guita r or a La cote 1820 (the latter can matching set of three Leedy "Indian - 45 REGENT PLACE
be recognised by a crown with the head" banjo s. BIRMINGHAM B1 3NB
initials VR (Victoria Regina?) on the Concernin g pre-War and Wartime
brass machine -head plates a 'tioer' Electric Hawaiiaan steel guitars to <021) 233 1741
stripe back, with 12 frets 'o n fin~er- look out for; I have seen several Emile Specialists supplies of all materials and
boar~. and eight on the sounding -top, Grimshaw model s around recently tools for professional and amateur
and ivory frets , barrels , and thumb- (made of African Obici wood)- and a GUITAR MAKERS
pieces. f ew o f anot her very good make, namely SEND FOR LISTS- POST FREE


With so manyfine and experienced guitarists, the end result is a cross section of the
best electric and acoustic guit~r playing currently to be heard, a true progression
from GuitarWorkshopVol. I and an accurate reflectiC/11
oft he best of the contemporary
guitar scene.
Ralph Denyer,Features Editor,Guitar Magazine.




in the night just to have another " look-
see." Renewed interest will be observ-
YOUNG ed by a sudden keenness in cleani ng
and polishing and that wonderful feel-
ing that it does sound better than the
old one. Barga ins are to be found and
LADIES AND again: an incentive target to save for
can always be fixed. .
Finally, I must tell you about a pupil
THE BANJO who came to me some time ago from
Barcelo na with just one slim pr imer;
although she wasn't a banjoist, that
-....--..--...-..-.--.--..---- by Eric R. Enderby -------..-...--.....--) doesn't matter. I supp ose she could
have been.
It appeared that she could play no
actual published piece of music and
RECENTLY received a letter from I say this becau se the young Lane- had been told that this would not be
a friend of mine enclosing a short ash ire Miss was learn ing Paper Roses necessary for, on complet ion of the
note from a young lady, a Lanca shire and why not? I have thrown in a few study of this pa rticular primer, she
lass, bitten by the banjo bug and specials like The Wombl es to void this would be ready to learn almost any
struggling to learn to p lay on an situation myself . . . . After all, this is piece of music of her choosing. This,
instrument in dire need of care and music of their age and eventually I'm then, was the main purpose of her visit
attention. This brings me to the prob- sure as interes t grows the challenge of to me for my recommendation of a
!ems of these youngsters, some of Syncopated Sunbeams and the like will suitable reper toire.
whom seem unable to find a suitable take over . So, to be fair to her and certain ly
teacher , whose only medium of advice Then there's the tutor book. Trouble with no intention of pulling rank - if
is often through BMG. here, and I refer to the com~lete works, that is a wise term-I decided to sort
One decision that has to be made as not the first step books which are fine out a few fairly popular solos of the
soon as possible is a very feminine one . as far as they go, is that the difficulty moderate kind and these I handed to
Tho se silver, red, or what-have-you, to graduate through to the more diffi- her to play, keeping my fingers crossed
highly varnishe d and lengthy left-hand cult sections is beyond most without a for her. Here 's where I stand down,
nalis have to go! I once watched with teacher's guiding hand. I remember for although they were played a little
grim intere st the contortions of one my first teacher pointi ng a fore boding too woodenly for my liking, I had to
such young lady as she tried to avoid finger at a mid-section as he rema rked admit that it was as fair a bit of sight-
breaking her treasured talons. She "Either you get past here or . . . " readi ng as I've ever come across, allow-
finally chose to give up the banjo! and the finger was then passed omin- ing for the odd fluff here and there.
Having to make do with a most ously across his throat! Needless to I still have that primer as a souvenir
unsatisfacto ry banjo, there are but say 1 flogged myself to the limits to and on it is the teache r's name and
few ladies' banjos around but again ensure that I didn't get the choppe r so address. Little purpose in my contact-
ing him as I understand he can't read
mostly it's a case of what's to hand at it worked with me. Engl ish and my Spanish is virtually
a price than can be afforded. Female I've had some who produce pop useless. 1 have played this book let
laps have a limit when it comes to sheets from their music cases when through ma ny times and it certainly is
weight and I remember one lady friend they have discovered that I shall not comprehensive. I still think that Span-
of mine (an ex-Cabaret artist) who, throw a fit. Indeed, this has often ish gent one hell of a character who
owing to a stiff leg, managed to per - strengt hened their rapport with me and couldn't care Jess about keeping them
form standing with the banjo on a rest. with the help of Roy Burnham's chord interested. You 've got to be dedicated
Better I suppose than a circulatio n- book have turned to some account this to suffer a longish period (I'm nor sure
stopping sling round a neck better letting off of steam. Many of them are now but around two or three years) of
able to display a diamon d necklace. In anxious to join in at school parties and , concentrated cramming.
all fairness, however, there are many hard as it is to believe. there are quite
other you ng women who think nothing a few around who have never heard of
of holding their parago ns and the like Old Black Joe- let's be fair! I see the THE IN COMPARABLE
with great ap lomb . old ha iry one of keeping up the interest
Another colleague wrote despairing- in a recent BMG. This is part of a
ly abo ut derogatory remarks an ex- teacher' s job, with new music, new
pupil 's parents had passed around ideas and co-operation . One thing are made in
about his teaching. Traditional ba njo never fai ls when interes t is flagging different tensions
music issuing from young Annette's somewhat and that is a new banjo. to suit
banjo had, it appeared, interfered with Funnily enough, it need not be much you r guitar and
the telly. In the early days, of cou rse, better than the old one, which, any- your style of playing
it had been accepted that this would way, requires a face lift. There's some- Sec your usual supplier or write to-
be; however, it had continued in the thing about a strange banjo that , to J. THIBOUVILLE-LAMY& Co. ,
form of, to them , unheard of music and my knowledge, has caused hardened 44 Clerkenwell Rd,, London EClM SPS
the youngish parents had cried stop! friends of mine to come creeping down
Another use of the positions is where,
,ta nbolinata for the sa ke of preserving the same
tone colour the playing of melodic
phrases needs to be kept on the one
string . A fur ther case where judgment
has to be exe rcised is in the use of
portamento, particularly where the
porta mento is used for point ing an
exp ~essive climax in the music.
The fourth finger is usua lly the
beginner's bogey. Sca les such as A
FOUR FIFTHS AND FIVE FOURTHS Hat, B Hat, G minor , etc., do not
involve the fourth finger in too much
by J. 8 . NOLAN of a stretch and give good practice in
the initial stages. I have arranged a

lively R ussian dance , Comarinskaia,
HE cryptic caption above is by the first position . So let us consider which gives such practice in the G
way of being a veiled allusion to the benefits of position playi ng. m inor section. Tn the latter 's four th
the standard tuning of our instrument Playing different scales and the ir bar a quick switch with the second
-and also that of its prestigious "fret- finger to D gets the semiquaver group
chord interva ls in the first position on one string . The semiquaver figure
mate," with whose name it is often involves the left hand fingers in differ-
assoc iated in musical literature. The which occurs frequently in the G major
ent patterns for each scale. Take the sections needs practice to deliver
guitar, of course, as well as having five scales of A major, B major et seq.,
strings related by intervals of a fourth, neatly (see next issue).
starting on the lowest string. By start-
has a fur•ther stri ng, B, tuned a third ing these two-octave scales with the
above its G string; the whole tu ning first finger and by advancing the hand HARRY RESER
making it most effective for securing a step at a time up the fingerboard you Continue d from page 199
correct harmonic progression. The can play your scales using the same variety of stroking, picking and syn-
sca le length of the guitar is roughly finger patterns somewhat like the copated phrasing here than perhaps
twice that of the mandolin. The com- piano. Whereas in the first position you a ny other record we have examined so
pass of both instruments could be have to use all four strings to play two far. Each note is crystal clear and this,
taken as two octaves in the first pos- octave scales, you can get the same coupled with the degree of "hustle,"
ition . Take the scale of G major in two octaves on three strings by making as it were, can only leave us gasping
pitch both instru ments have an octave one a judicious shift with that first in disbelief. Equally so, brass and reeds
in common. The mandolin, like the finger; with just two shifts via three disp lay tremendous variety, and the
violin, with its tuning and small scale- strings you can even reach the third trumpet has a nice ad lib solo chorus
length, is perfect for playing melody octave note . You make your scale towards the end. A truly superb re-
and passage-wo rk involving rapid scale descent mainly by using the third finger cordi ng and one that well justified a
playing. of the left hand . Using three strings in third take on this occas ion.
The older player who has attai ned this way, instead of four makes for The last title provides us with some
some degree of expertise on the man- more speed in playing. Of cou rse, in pretty earthy brass at the beginning ,
dolin-or any fretted instrument - be- fast passages the overriding consider- nicely countered by a clarinet immed-
comes more concerned wit h problems ation must be to secure as fa r as pos- iately thereafter with the same brass
of the right hand - the master hand- sib le the regularity of the plectrum softly accompanying in the bac k-
and is inclined to forget his early strokes. The fingering then is vitally ground. Reser has a nice eight -bar
strugg les to lea rn the fretted alphabet important and mixed use must be made break to follow; saxes and brass then
- the fingerboard. That is why I think of the first position a nd intermed iate alternate. throwing the melody about
it is impo rtan t for -the beginner to let positions up to the highest note in the between each other and the t rombone
his imag ination play with ideas of the phrase. This problem is best illustrated enter s in for a short moment before
function of his particular instrume nt; in studying a complex piece such as sliding out to let the trumpet take
its differences and similarities to related Eileen Pakenham 's Lark's Song. When another chorus befor e the two main
instruments . shifting to a higher note the new sections conti nue the ·table-tennis lead-
Turning to the problems of the left position should be established, that is, ing up to tutt i finale.
hand in relation to the mandolin held long enough for the playing of Again, and throug hout all these
fingerboard, the player is again con- three or four notes. Otherw ise there records, there is the same vivacious and
fronted with conflicting decisions. is a tendency for the hand to become ene rgetic drive , the main pu lse being
Should he set tle for the security of the unsett led in the higher position. ably controlled by the rhythm section
first position - where the frets are Stu dying the positions is a mus t for and Reser in particular. At the risk of
widest and the tone the loudest - or the student player until he attains repeat ing myself, I wou ld say once
venture into that strange hinterland fam iliarity in their use. The expert again that Re ser never ceases to thrill
beyond the second (or even the th ird) player who has subconsciously assim- us with something new, and is always
position in purs uit of doubtfu l ben- ilated their use is able to creep in and the inspiri ng facto r behind his music-
efits? Also, chord-playing is easier and out of the various positions, via the ians, thus enabling a well-above-
there are more chords obtainab le in half-positions , a1; the need arise s. average recording to be put out.
with ten or more top professional sing - the 25th) for flamenco guitar only,
e rs and five or six brilliant gu itarists organised by the "Pena Los Cerni-
such as Paco de Lucia, Manolo Cano, calos." This is not a festival, as such,
Melchor de Marchena , Pedro Pena, and but a serio us open competition which
"El -Poeta "; and to see and hear all attracts a large entry, with big money
these in one night can be quite exhau st- prizes, but best of all a gu ita r (valued
ing, for it starts at l l p.m. and finishes at 50,000 pesetas) made by a famous
around 8.30 a.m, craftsman especially for the competition
This particular one at Mairena del as first prize.
Alcor, near Seville, and birthplace of The first competition was held in
Antonio Mairena , the great singe r, 1971. Two years ago I handled and
started in 1953, and runs for two days played the prize guitar made by the
every August about the 10th or 11th. great constructor Jeronimo Pena Fer-
There are many famous festival s around nandez of Marmolejo, J aen, for that
6spanofa Seville each year, also at Almeria, year's competition. He had jus t put on
Cadiz, Cordoba, Benalmadena (near the strings that morning when I arrived

Malaga), and at Ceuta, in North Africa .
Dozens of smaller towns and villages
also put on smaller shows with a
coup le of professionals and lots of good
local talent.
with two other guitar ent hu siasts. The
workmanship was per fection, and the
clarity of sound resounded like crystal
drops around the patio in front of his
workshop. (He works with only one
But now, to the delight of all guitar- young apprentice) , I usually spend some
by Jorge Gardner ists here , there are two festivals for that time on translations for h!m. as every-
instrument alone. Las t Decembe r in one from San Francisco to Tokya

T HE survival and popularity of

flamenco over the last twenty-five
years, not only in Spain but the whole
world, did not come about by the
Granada, from the 9th to the 14th, La
Triple Dimension Expresiva y Artistica ,
for classical, flamenco, and popular
guitar , was organise d by the Univ ersity
of Granada, and a local bank; the three
writes in English. But one letter I
picked up was written in Span ish and
signed "Andres Segovia" asking for a
concert special to be made - but more
about that later .
onset of tourism, but by small gro ups principal playe rs being Manolo Cano, Hi s output is not vast but all is per-
of Aficionados throughout southern Ernesto Bitetti, and Victor Mon ge fection. Many people coming to Spain
Spain who met at fiestas and kept the ("Serranito"). Manolo Cano also exhi - expect to buy "off the shelf". But with
art alive by talking and playing for days bited his collection of antique gu itars- the guitar he made especially for me,
until drink and exhaustion overtook some of which he played on-a nd we has discussed and sounded the
them. spoke about them at length. wood, which is kept under constant
Today, flamenco festivals are big and But my favourite guitar festival was humidity con trol - more so during th e
well organised throughout the year, at Jerez de la Frontera (last October Cont inued on bottom of next page

Directoryof 8. M. & fi. Clu/Js

AMERICAN BANJO FRATERNITY. Exec. Sec. , LEICH-ON-SEA. Sec. . L. F . Head, Westbolme,
W. C. Kentner, 2665 Woodstock Road, Columbus, Branksome Ave .• Stanford-le-Hope, Essex.
Ohio, 43221.
Chas. Mansell. 64 Brook Road. Benfleet, Essex
The cost of twel•• consecu1i..
in.« rlions under this heading it
£I LEWISHAM B. M . & G. CLUB. Sec., Mrs. M. H
7 Chisle t Close, Beckenham. Kenl
SS? SJF. LIVERPOOL (J>rcmier). Sec.'. Miss E. M . Wood.
ASTON BANJO CLUB (Wimbledon), Sec.. R. G. Meredale Rd .. Liverpool 18.
Oram. 5 Chart Close. Shortlands, Bromley, Kent MACCLESFIELD. Sec., B. Jacklin, 103 Nicholson
BR2 0EB. Tel.: 01-460 1995. Ave.. Macclesfield. Chesh ire . Tel: Macclesfield
I JO Craig Street, Darlington, Co . Durham DL3 20102.
BARNET. Sec., Cecil Daniels, I Birchwood Avenue, 6HJ .
Hatfield . HAT 65140. MANCHESTER GUITAR CIRCLE. Sec., Ray Pallet,
EALING GUITAR SOCIETY. Sec., Mrs. P. A. 291 Sandy Lane, Droylsden. Tel : 061-330 0942.
BELFAST BANJO CLUB. Se<!., J. Knowles, 206 McGlashan, 68 BelleV11e Road, Ealing, London, NORTH LONDON. Sec., F . T. Boswell, 2 Marl-
Deerpark Road, Belfast. 14. Wl3 8DE. Tel: 01-997 9449. borough Ave., N .14. Tel: 01-368 6637.
rREITED INSTRUMENT GUILD OF AMERICA. OLDHAM. Sec., J. Taylor , 14 Wemeth Crescent.
BIRMINGHAM. Sec., W. H. Richardson 147 Oldham. Lanes. Tel: 061-624 1112.
Thornbridge Avenue, Birmingham B42 2AF. Phone See., Trcas., Ann Pertoney, 2344 South Oakley
021-357 3176, Ave .• Chicago 60608, Illinois, U.S.A. PORTSMOUTH B.M.G. CLUB. Sec., R. A . While,
GARFIELD HOWE GUITAR ANO WINO CROUP . 29 The Downsway, Porchestcr. Hants .
BLACKPOOL. Sec ., C. R . Hooker, 114 Warbreck RUISLIP BANJO BAND. Sec. A rthur C. Jones, 36
Drive. Tel : 55805. Sec.: Mdme. Garfield Howe, 25 Turberville Close,
Abingdon. Berks The Chase, Jckenham, Middlesex. UB 10 855. Tel.
B. M. & C. Tape Club GEORGE FORMBY SOCIETY. Sec., Billy Hartley, Uxbr idge 38576.
B. & M. Sec .. W. Spranklen, 6a Burton Rd. , King- 99 Chequer!. Ave .. Llnc2!J:ter, Lan e..~. T~I: 052A SOUTHEND CLASSICAL GUITAR SOCIETY, Bob
ston-on•Thames, Surrey. Alliston, .16 l'arkvlew Drive, Leigh-on-Sea. Essex.
60225. Tel. : Southend 525079.
H.C. See., J. D. Marsden. 74a Norfolk Road, GLASGOW CLASSICAL GUITAR SOCIETY. See.,
M iss Isobel M. Yule, 15 Banavie Rd., Gil SAW. Sec .• R . Warr ener , '"Cartref", London Rd., South•
BRITISH FEDERATION OF FREITED INSTRU- Tel: 041-339 2801. borough, Tunbridge Wells. Tel : 28533.
Northern Sec .. Mrs. H. Jacklin. 103 Nicholson Ave., Avenue, Hatfield. HAT 65140. Secrelary: Bob EIHs, 13 Coldwell Close, Middle-
Macclesfield, Ches. Tel: 0625 20102.
11, FORO. Sec., F. N. Perrin . 23 Mannin Road. yard, Gloucestershire.
Southern Sec .• Miss H. Roler, 13 Estreham Road, Chadwell H eath. Romford RM6 4PT. Tel: 0 1-590 WALLASEY ("Riverside "). Sec .• B. B. Thurlow, 6
Streatham Common, SW16 SNT. Tel. 769 8625. 8226. n,e Aubynes, Wallasey . Tel: 051-639 2177.
CROYDON. Sec .• Mrs. H. Sumner. 31 Cork.«:rew LEICESTER CLASSICAL GUITAR SOCIETY. WATFORD. Arlhur Cooper, 17 Kenwood Drive,
Hill, West Wickham. Kent. Tel: 777 5102. Meets monthly every 3rd Wednesday. Sec., Mrs. Rickmanswortb, Herts.. WD3 2YQ. Tel: 77903.
H . Brook , 11 Sackville Gardens, Le icester LE2 YORK. Sec. Mrs. M. B. Hounam. 23 Middlethorpe
!>ARLINGTON BANJOLIERS. Sec., Mr, E. Watson, 3TH. Tel. Leic ester 704862. Grove, York Y02 2JW. Tel. 65552.


Osca r Caceres. There are one or two
engraver's errors, such as misplace d or

MUSIC omitted accidentals, and even a barline
missing, and although Schott's appear
to be una ble to quote prices for Max
Eschig publications, they are the sup-
pliers for this country.



By Mary Criswick
If you want to play Rachminov's
and ·Debussy's best known works on an
instrument patent ly not suited to them,
then ask for the Berben catalogue, for
this misguided publisher's attention has
been turn ed to a variety of such works,
ranging from the piano-thumping Pre-
lude of Rachman inov, through the

T HE present Giu liani revival has

tended to obscu re his contemp-
oraries rather unfairly, and this month
the balance is somewhat restored for
seeing, and writing certain parts in
sma ll notes, the purpose of which is
not explained - maybe you don't play
those bits until you feel really good,
gra ndiose Largo of Handel to two of
Debu ssy's most delicate, impression-
istic piano works. I fully expect Tchai-
kovsky's 1812 Overture to be issued
Carcassi and Sor. or perhaps only on Mondays. In other soon.
Sor, in fact, stands apart from his words, this collection is not deserving For a gifted guitarist with a clear
fellow guitar compose rs as being the of Scheit's academic reputation. sounding instrumen t, there is a pos-
author not only of guitar music but Composers like Carulli and Carcassi sib ility that Doctor Gradus ad Pemas-
also several ballet s and operas; indeed, are usually known only for their didac- sum might just work in its re-arrange-
it was only towards the end of h is life tic works, snippets of which appear in ment by Abner Rossi; and Leo Delibes'
that he turned wholly to the guitar and numerous collections, so it is hearten- Passepied, in a joint arrangement by
composed prolifically for it as well as ing to see two fairly substantial works J. W. Bickel and L. R. Pearson, has
playing it. For many years he was by Carcassi, edited by Schmid-Kayser more than a sporting chance. At 30p
reputed to have indulged in (friendly?) (who modestly restricts the appearance only- all congratu lations to the pub -
rivalry with another composer/v irtuoso , of h is name to once, in minute letters), lishers- it's worth a try.
Giuliani , in London in 1832 or 1833. Three Sonatinas op. I . and Six Easy K. SCHEIT (ed.) Fi rst Studies. Univer-
However, a newspaper notice was dis- Variations, op. I 8. The fingering is sal, £2.25.
covered some years ago, dated 1829, sensible and accurate , and the Sonat- CARCASSI Three Sonatinas, Six Easy
bearing news of Giu liani's death, which inas in particular are pretty, if un- Variations , ed. Schmid-Ka yser.
goes a long way to discrediting the exceplional. Vieweg/ Novello, £1.75 and £2.50.
story. Abloniz's "revision" of Sor's Varia- F. SOR Variat ions op.9, ed. Abloniz.
Both composers are hand somely tions on a theme of Mozart, op .9, con- Berben /Breitkopf, 80p. Fantai sie op.
represented in Karl Scheit's volume of sists mainly of doubling the note 30, no. 7, ed. Caceres. Eschig/Schot t,
First Studies, which also contains con- values, which makes the music look a n.p.
trib utions from Aguado, Carcassi, lot easier, and spreading the music out
Carulli and Coste. Scheit's own contrib- over seven pages, which makes it look DEBUSSY Doctor Gradu s ad Parnas-
ution consists of "modernising" tt1e even easier still. By contrast the serious sum, ed. Rossi. Berben/Breitkopf,
fingering, altering the part -writing so concert guitarist can get twelve pages 60p.
that we have a few more quaver tails packed with music of Sor's best in DELIBES Passepied, ed. Bickel and
and rests than we might be used to the Fantaisie op.30, no.7, edited by Pear son. Oxford. 30p.

VISTA ESPANOLA it's just for the children to play for Sabicas and Nino Ricardo must have
Continued from previous page amusement. been like us, once .. . .
Twice a week I stop on the way home

• •
winter- and, with the pine, cedar, to see two old friends: Anton ia, an
ebony, etc., sorted out after seven attractive lady from Madrid. and her
Aston Banjo Club
visits, I still had to wait two years and husband, Ricardo, at El-Palo, Malaga.
eight months for it to be finished, but She is helping me with "Calo" the
the pride and p leasure I have can only gypsy language- as in flamenco there
be compa red with someone owning a Merton Civic Ha ll
are the andaluz an d the gypsy styles- r,
Rembrandt or a Stradivarius. and when someone visits, a glass of
(odjoccnt Wimbledon SR LT stotion .s).

But guitars a re alive and do come wine and an extra guitar appea r . . . Saturday, 22nd May, 1976
to life in people's hands. To see a guitar a neighbour from Seville looks in at
(7 .30 p.m. (doors 6.30 p. m .)
throu gh a house window makes me the door ... it's so natural for some-
hesitate, to look at the shape of its one to sing, or to dan ce the Sevillanas, ADM ISSION by program me - - • 40p
head; to know the constructor (by its that daily practice and experience grow (30p OA P & childre n)
design or .its colour) and, by this, to naturally , and no one worries about From : Secretary or ot door.s.
know that the owner plays well, or that wrong notes.
planatory notes, and ·the emphasis is repairer as straightforward as possible.
on the well balanced duet form, with This is no "do it in next to no time"
pieces of varying length. A page ex- guide-it is a most useful manual. It
planing all the guitar notations used deserves a protective cover to go over
in the book is included, thereby fore- its dust jacket, so that it can be kept
stalling possible queries. All in all, this by the workbench, within easy reach.
is a splendid collection with something R.H.

for everyone interested in the guitar.
* * *
* * * Five Pieces from the Fitzwilliam Vir-
The expanding interest in the music ginal Boo k; Dances of the 18th century
of the late Renaissance is proving to (arranged Mary Criswick, published
be a source of unfailing delight to Max Eschig).
players, singers and listeners, and we
U1tOU'n1J take this opportunity to mention, with
a glow of especial warmth for the
pleasure it gave, The Penguin Book of
Scarcely a week goes by, it seems,
without a new book by Mary Criswick,
whether it is books of ensemble
arrangements or a book of solos. These
Italian Madrigals for Four Voices, latest two offerings from the Eschig
edited by Jerome Roche (U.K., £1). stable are very suitable for the player
The thirty-two madrigals were looking for good playable music with-
chosen and edited with amateurs in out great technical demands but full of
Ap ril mind, and Dr. Roche has obviously musical wisdom.
2-Siegfried Behrend , Bergisch Gladbach . spared no effort to ensure appropriate The Fitzwilliam Book arrangements
4- Narciso Yepes , QEH 7.15. keys and acceptable ranges for SATB. contain works by Farnaby, Byrd and
6- Sicgfried Behrend , Munchen Br Studio.
7- Les Luthistcs, Wigmore Hall. 7.30. Prose translations and a guide to pro- Farnaby's son Richard, and the music
8-Forbes Henderson, guitar, Wigmore nunciation give additional worth to is totally delightfu l. The 18th century
Hall. 7.30. this splendid collection. dances are by obscure but pleasing
17-19- Eighth Annual C&W Fe stival , Wem- composers such as Pecour, Groscourt,
bley Pool. Seek ye something different? Here
24- London Pro Musica, lute solos/songs, be airs a-plenty, sirs, for mandolin, and Isaacs; Mary Criswick has rescued
etc. Wigmore Hall. 7.30. mandola, lute or guitar-come, try these pieces for us from the museum
25-Bengt Edqvist and Borje Sandquist, your hand at accompaniment or shelves, and the pieces certainly deserve
guitars , Wigmore Hall. 7.30. playing.
29- Siegfried Behrend. Lippstadt. counter melody!
30-Miguel Rubio , guitar, Wigmore Hall. Her arrangements are tastefully done
7.30. * * * with adequate fingering, and very clear
30-Tomas The Aco ustic Guitar. Adjustment,
Locri , flamenco guitar recital , presentation; no doubt there will be
University Theatre, Newcastle. 8 p.m. Care, Maintenance and Repair . Don
C. Teeter (University of Oklahoma more of these on the way and I think
May they will be eagerly played by guitarists
2-British Federation of Fretted Instru- Press. $20.00). of about Grade V standard.
mentalists ' Annual Festival, The Forum Setting himself a mammoth task, the
Civic Centre, Wythenshawe (Manches- GRAHAM WADE
ter) JO a.m. - JO p.m. author-to stem the flow of questions
which severely curtailed his working
22- Aston Banjo Club , Annual Concert,
Merton Civic Hall, Wimbledon, 7.30. time- decided to write a book which,
as he put it, would go further than
By the way
»~w IJ1~LIIAAt•lt,1•~
Irving Sloane's Guitar Repair. The
rw'l"llt•w • ••"' result- 200 large pages of practical
"Georgette Twain, "America's Queen
of the Banjo," is now presenting her
advice, aided by over 150 photographs trio 'The Electric Twain Set"-Georg-
A Musical Voyage With Two Guitars. and line drawings- adds up to a monu- ette Twain and Alice Wilson (plectrum
Vladimir Bobri and Carl Muller. mental assembly of "inside know- banjos) and Brise Wilson (guitar)-at
Collier. Macmillan. £3.50. ledge," extremely well bound. the "number one" hotel in Oakland,
These "64 Duets from 34 Countries" Fifteen cha pters cover the essential California. Miss Twain (now complete -
are beautifully presented in th is 192 procedures : tools useful in guitar re- ly recovered after hospita l treatment
page book which is an ideal compan - pair; materials; glues; techniques of for bronchitis) sends her best wishes to
ion volume to the 1972 volume Two crack -repairing; de-assembly and re- all the kind folk whom she met in
Guitars by ·the same authors, being of assembly of guitar bodies; string act ion London, including Bertie Owen, Billy
similar format and similarly graced and tension adjustment; tuning and Bignell and Howard Shepherd. G.B.
by Bobri's excellent drawings. refretting; neck reinforcements; inton - * * *
The itinerary includes Iberia, Latin ation and bridging; short cuts; pearl Don Van Pal the ("The Flying Dutch-
America, Scandinavia, Russia, the Far inlays; finishing and refinishing; care man ") has a
very busy schedule for
East, Africa, Europe, the USA and the of the guitar; suppliers of parts and America's · Centennial Year, including
British Isles. materials; glossary of terms and a many dates with the Western Fair
Composers represented range from bibliography. Association and a fifteen-piece band
Rameau to Tchaikovsky; from Stephen Don Teeter , an authorised Martin back-up, as they sayif·Don has a new
Foster to Segovia and Duarte . The repairman, has gone to great lengths plectrum -banjo LP in the planning
various geographical groupings of this in this book to reveal everything he stage and his tuition cassettes are still
absorbing book are prefaced with ex- can to make the task of the DIY guitar in demand. G.B.
Dedicated to J. McNaghlcn


Firsl parl again then Trio then 1st parl and Coda ·

© Composer11976 B.M.G., APRIL 1976 207

Dedicated to Louisa Lei Ilena Moe-Reyes, whose signature tune this was

@ @G G7

~ •t J $gJ 1J~iJ 11=3J zJ.pJ.(JJ w @&J. g;}

Ii "Mai - ka' - i no kau
3 2 3
3 ®

G C D1

4 zJ.(~jj
sW 2l 4ffa 3 .
CD @tl
<ID5 j. g~) I(#)J
i J ~ ~
3 ®
Hemd-le- le 0 ke kua - hi wi, Kua - hi - wi na - ni ,

( optionally c1 for ©
special arrangement) 1-2-3
D7 G 1 01

Uj~L-f.iJl~ ® CD
3 Z: 1
wai - a-le a - l e,

' @

Lik e !
Hawaii~ n -Guitar Solo (Hi):li Bass Tuning) RAY H I GG IN S
.Chorus '_ . 4'8 10 .
i•O~ ·SB 6~

e•f11,r ·rIf =+'1=!4~

·3 1B 3 6 ,a 9 • .,.,,,, · • 3

f#& 1 1
6B 1B

E_,f d i :II

208 B.M.G., APRIL 1976

Etude for tvvo strings
Spanish Guitar Solo ALEXIS CH-ESNAKOV

+ The.striking finger sllouldfall resting against the next stnng (o the one struck.
Q Fingering. i =tsl : · m = 2nd: . ~ : 3rd: p. thumb.

Sacratnento(PASO DOBLE)
Mandolin Solo ANG.YPALUMBO

B.M.G.,~APRIL 1976 209

To John Williams


B5 B5



5) James Yohai 1976

210 B.M.G., APRIL 1976

BY THE WAY Stat e laws prohibit the possession of According to our bush telegraph it
property with defaced or obliterated may be necessary to make it clear that
Continued from page 206 serial numbers - incl ud ing numbers By The Way is a news and views
originally inscribed by the legal owner, column and not a music and discs
AMONG many interesting items it seems !- therefore , if such property review feature. Comments in th is
in the last issue of T he Sound- comes to the notice of police , they can column, whether on music or discs, are
board is the news of the award of seize it, arrest the one in possession at independent of whatever our regular
Honorary Memb ership in the Guitar the ma ter ial time, and check the tele- contributors may say in th eir own
Foundation of America to Mrs. Yah- typed lists of stolen items, or even feature articles.
dah Olc ott Bickford, whose connection transm it a teletyped report themselves. Having said that, we are delighted to
with the American Guitar Society (of Eventually, the rightful owner recover s be able to draw attent ion to a brace of
which she is president) began at its his property . . . and as Earle Stanle y recent albums distr ibuted by Music
inception fifty-two years ago. Gardner may have put it: "The D.A. Sales Ltd. The first of these, A Va riety
Mrs . Bickford' s authority on all Closes The Case ." of Mando lin Music, has a to tal of
aspects of the classic guitar has Jong Over here, the back of the peghead is thirty- six compositions , of which
been known , especially in California, ofte n used as the ea siest place on which twenty are for solo only; seven can be
where she and her husband, Zarh, to stamp or inscribe a stock number or played either as solo or duet ; four are
settled in the I 920s, having established customer's identity number, especially for mandolin with gui tar accompani-
a reputation in th e eastern states as for guitars, mandolin s and othe r ment; two can be played as mandolin/
outstanding musicians , executants and permanently closed-back inst rument s. guitar du o or as .trio (two mandol ins
teachers of all the fretted instruments. The banj o family , with its inevitable and guitar). The four remaining titles
Mandolini sts and banj oists among perchpole (dowel stick in the USA) has are dut o-sty le solos, and the whole is
our readers had cause to be grateful to an ideal solution: the top (face side) of excellent value at 95p plus postag e.
the la te Zahr Myron Bickford for the the "perch" when in playing position, With seven titles by de Pace , one by
many fine instructive articles he con- cannot be seen without the aid of a Per sichini, three by Francia, plus
tributed to BMG; his sedes on ad- mirror (unless the " head" is a trans- Stauffer, Bick ford , Grimshaw, Bassett,
vanced technique for finge'fstyle banjo parent type); and the majority of etc., the album m ore than ju stifies the
was particularly useful in that it offer- citizens would never think of looking relatively modes t price; even at the
ed solution s to many fingering prob- there for a ser ial number, particularly pre-war price of a bob a page this lot
lem s which had, until th en, hampered as the trade practice is to stamp the would have cost thirty-six shillings!
many players of difficult solos. maker's name and addr ess on the side Wherefore we echo the comment of
of the perch which is visible at once- Hug o D 'Alto n in his foreword: We
* * * in the case of "open back" banj os- or should be grate ful to the publishers for
The winter issue of The Resonator as soon as the resonator is removed. making this collection possible.
has some sound advice for owners of It therefore beh oves all owner s of The banjo album is A l J effery's Pop
fretted instrument s : advice which-sad such instruments to keep note of stock Banjo (also from Mus ic Sales) hot on
to say- has become incr easingly neces- number s for identification purposes . the heel (if we may di sto rt a phrase) of
sary in the light of present -day circum- Mr. Bill ones reminds his readers that
stances . John Billon es (pronounced his enviable selection of classic guitar
physical details will not do, because solos arranged for fingerstyle banj o.
Bill-yo -ness) devote s a page of editorial "descr iption s are not or derly enough There are twenty -two famou s "chunes"
comment to the need fo r precautions for a computer ." He says : "T he finest, as they say on the Beeb nowadays, and,
against Joss-by-theft of banj os; stress- most exquisite. m ost extensively plated since titles often prove useful, here they
ing the necessity of some form of and inlaid banj o ever made cannot be are:
num eral ident ification - such as a serial listed in the crime compu ters without a
number - being stamped in "a n incon- Leaving On A Jet Plane, You Ar e My
number." Verb. sap! Sunshine, Walk Right In, It's Four In
spicuous place inside that won't show
but can be seen with the resona tor off." * * * The Morning , Teach The World To Sing,
Where there is no seria l number, it is Supply following ineluctably the law English Country Gard en, Que Sera, I
suggeste d that the owner inscribes his of demand, it comes as no surprise to Lov e Y ou Because, The Entertain er,
driving licence numb er. (Use of a us to learn tha t the micr ofilm indu stry Maple L eaf Rag , Green Grass Of Hom e,
Social Security Number is not advised: had turned its eye to guitar literatur e, I'll Wait For You, Yesterday, Th ose
" It takes an Act of Congress to learn in the form of texts of university dis- Were The Days , King Of The Road,
the identity of a social security number cou rses on such topic s as the music of Bring M e Sunshine, You Won't Find
holder"). Apparently, when a police- Sor; the development of Italian key- Another Fool Like Me , Red R oses For
man sees "suspicious property" he board variation from guitar mu sic in A Blue Lad y, R elease Me, Tie A Yellow
looks for a seria l numb er, has it tele - the XVII century; and the career and Ribbon, Morning Has Broken, and Chap -
typed through the official computers - compositions of Mauro Giuliani. Th ese lin's Eternally .
which are b ot h state-wide and nation · are available as films, or "Xeroxe d" (in They've even included the words-
wide-and within one minute he learns either hard or soft back) , from Univer- and Mr. Jeffery ha s obliged with chord
if the property is "hot" and when and sity Microfilms, Box 1307, Ann Arbor, symbols, too! Fifty-two pages of exper.t
where it becam e so! Eventually, the Mi chigan 48106. In cidentally , thi s arrangements-and all for 95p plus
rightful owner regains his property, org anisati on can also supply all ttie post age!
and whoever was in possession of the back issues of the magazine Guitar
item at the start of the process "ge ts Playe r, in Xerox form.
arrested ." * * *
by lvor Mairants
IIIFthenguitar musicbe the food of joy
Alirio Diaz play on, for I have
Lute Music of the Renaissance: IV .
Poland-Hungary. Played by Konrad
yet to hear a more enjoyab _le guitar Ragos snig. Arc hiv Pr oduktion . No .
recital. Not only was the music played 2533 294.
with superb fluency and _perfect The se pieces are by a group of com-
rhythm without apparently taxing the posers who not infrequently involved
player, but the progr~mm~ was su_ch themselves in politics , spying and court
that it did not tax the hstenmg capacity intrigues, who often had to change
of .the audience. their employment as the plots and
Although at first the tone of the counter -plots turned out disadvantage-
guitar seemed to lack body and clarity, ously. For all their worldly machin-
one became used to it as the concert ations and cour tly politicking, the
proceeded and the somewhat "blotting record indudes compositions of con-
paper" basses and slightly distant siderable musical value . The pieces are
trebles did not deter the listener, be- Alirio Diaz fresh for being relatively unknown,
cause the music was performed in the except to scholars of the period, al-
most masterly relaxed yet intense 1915) on the one hand made much though this record is likely to bring
manner. play of whole tone scales and augment - them to the notice of a wider public
The guitar he used had flame maple ed harmony and on the other hand of and demonstrate their popular appeal.
back and sides and was finished in a melodies full of Eastern promise, Some pieces are already well-known in
hideous shade of rose-pink but, as with neither of which was musically great. alterna-tive versions-as is so often the
any great artiste , it is the player not Diaz finished with Four Popular case with Renai ssance music .
the instrument that matters. Dances by A. Lauro (b.19 17), the last From the first note of Cato's Praelu-
The first half of the recital consisted of which ended in a fantastic technical dium one settles back secure in Ragoss-
of Milan , Mudarra, Narvaez, Corbetta, display which brought the audience to nig's thoughtfu l interpretation and im-
De Visee and Sanz, and for my money its feet. peccable technique. T he tonal contrasts
I liked the music of Corbetta least of Each encore was lengthily applauded always clarify -the musical argument.
that sextet of composers. Diaz has re- Occasionally the reflected phrases are
and after the third encore (a Neapol-
corded some of these pieces on Van- itan folk tune) the audience had to be a little over-obvious, such as in Chorea
guard VSD-71135 and anyone who polonica by Dlugoraj and the sparse
satisfied as they certainly were with a
would like to recall the spirited ren- good two hours of happy, easy listen- texture of the second Fantasie of Bak -
derings of the Diferencias, Sohre Guar- ing guitar music, played with ease, fark sometimes seems too thin ·to bear
dame Las Vacas (Na rvaez) and Mud- panache and musicianship which im- the slowly moving melody, bu t one ·
arra's Fantasia would do well to in- proves with each performance. readily forgives Ragossnig. More fre-
clude it in their collection; it also quently he excels himself, as in the
includes the Zapateado by Regino taut inner tension of Dlugoraj's Fan -
Sanz de Ja Maza and Three Venezuelan tasia, and his Villanella-a partic ularly
Traditional Tunes by Sojo, which he att ractive piece, tranquil and serene,
played later on.
The second half also included the
ANDMUSIC played with great sensitivity, attent ion
to detai l and exquis ite tone.
Sonatina by F. Moreno Torroba which from Ragossnig's playing is characte rised
sounded as fresh as the first time of by vigour, masculinity and intelligence.
hearing . I suppose the fact that Diaz
Jives in Rome has some J?earing on the
SHOP He plays with a bold clarity and
adm irable musicianship - what more
inclusion of Acquarelli Napolotane by 25 THOMAS ST., S.E.18 can one ask? An outstanding addition
C. Cammarota (b.1905), the second to a first class series.
movement of which was based on 0 Tel. 854 0794
Sole Mio and included the whole spec- MALCOLM WELLER
trum of guitar technique but contained
no advanced musical ideas. The Two
Pieces for Guitar by E. Castellanos (b.
Tuition by James Yohai



ted their own items, I had the feeling
of being a " Musica l Grandfather"! Be-

Q) h
cause the Concerto in G for Two Man-
dolins (Vivaldi) was played by KEITH
HARRIS (who graduated from my
stud io about eight years ago) and his
pupil, PAUL HOOPER. Some of
Pau l's students also, are already in my

(9 p
Sydney Orchestra- so that makes me
a " M" Great-Grandfather! But it
brings home the truth of that old negro
song 'He plays de Banjo better now
than his ol' master do"! Their expert
L duo work, backed by the precision and
Enzo Marciano and family sensitivity of the orchestra under
Enzo's baton, provided a thrill both to
Jar conductor, Josef Rueker, was un-
s fortunately unable to attend,
the ears and the eyes.
Here is the programme:
K Enzo is a fine organist and has
studied conducting in Europe, achiev- Convention organiser: Dr. Peter
I ing honours in Rome. He has conduc- Evans. Concert compere: Milton
N ted the Melbourne an<l Geelong Sells.
N Symphony Orchestras, and has made
many guest appearances on the Conti-
CHESTRA: Overture for Mandolin
E nent. Under his skilful coaching 'ihe Orchestra. (Lipriandi). Concerto in 0
R massed players blossomed daily into Maj or (Viva ldi / Behrend) Keith Harris
a unit effusing true musical excellence. and Paul Hooper with guitarist, Mrs .
Nith such leading and encouragement, Adrian Hooper . Capriccio EHans Gal).
it is no wonder that, at the grand con- Soloist, Heinz Becker. Song of the Sea-
cert given on Tuesday , 6th January it shore and The Flower (Hattori). Two
was announced that "This is the first Minuets (Bach).
MANDOLIN ORCHESTRA! " The Overture Medley (arr. Grimshaw) .
concert programme is given hereunder, Show Boat (arr. Grimshaw). Vivace
and it is proposed that we Australian from William Tef.l (Rossini).
players, though separated by many
hundreds of miles, rehearse common SYDNEY PLAYERS: Hungarian
numbers, so that recitals might be given Dance No. 6 (Liszt) Real Live Girl.
in interstate capital cities after some Shining Moon (Russian Traditional -
short rehearsals in "tutti". Andreeff), conducted by Adrian
During the musical camp, practice Hooper.
MELBOURNE MANDOLIN sessions were held dai ly from 9 till AUSTRALIAN MANDOLIN OR-
11 a.m. and evenings 7 to 9 p.m. as re- CHESTRA: Balkan Suite (Rosenfeld).
ORCHESTRA quired. Each day, one-hour master Fiesta M exicana (Dunnebeil). Encore,
classes were arranged, the subjects Granada (Lara) .

IE ACH year from 2nd to 8th

January inclusive, t~e members
ORCHESTRA -ove r 40 in number -
offered being "T ime" which introduced
unusual time-signatures and involved
rhythms (Bruce-Morey being the Jee-
turer). Keith Harri s's discourse on
"Plectrum Techniques" was most in-
methodically arrange for a MANDOL- formative, and both subjects absorbed
INJSTS' GET -TOGETHER , to which most of the week.
the frettists are made welcome. Our Five of our Sydney players took their
Sydney players received a hearty invi-
tation and eight were able to attend.
Banjos along for variety , and to pub -
licise the concert, "Bus king" Banjoi sts
The venue was at "Pax Montis" -a played the shopping centre for several
one-time convent, now used as a guest- days preceding the performance. They BOOK I - 75p BOOK II - 93p
house- located in MANSFIELD, Vic- were aided and abetted by many of the METHOD FOR MANDOLIN
toria, a distance of over 500 miles from Mandol inists. The result was a most BOOK I - £ 1.00 BOO K II - £ 1.50
Sydney. Several fine players also joined encouraging and enthusias tic audience From your nea rest music dea le r or
from Canberra. of some 200, in the St. Mary's Hall.
direct fro m the publishers
The M.M.O. has a good repertoire of At the performance I decided to "si t-
classical mu sic, and the organisers were out" with my wife, who came with me CRANZ & CO . LTD.
able to enlist the distin gu ished services to Mansfield, and to enjoy the recital MO NTAG UE ST., RUSSELL SQ.,
of ENZO MARCIANO as guest con- from the audience, although I went for- LONDO N, W .C. I.
ductor for the seven days. Their regu- ward when our Sydney players presen-

arranged by
Casanova, The Easy Winners,
Oned in Line, Minuet from Don · Giovann i,
Viennese Refra in, Gavotte,
To a Wild Rose, Plaisir d'amour,
Strawberry Fai r, Minuet Mozart.
65p (p&p 25p)
Ask for our guitar music catalogue
Phone (0 I) 43 7 3342


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" It Was a little stubb orn to star t off
ARL Scruggs brought his "Earl with, but I just wouldn't give in," he
Scruggs Revue" to Mankato said. ''It's working okay now."
State University Thursday night, Feb- Scruggs repor ted he is stiH working
ruary 12, and it gave me a chance to on getting his strengt h ba ck and ten-
visit with him and ask him abou t a dons limbered up, but that wasn't
couple of things. One was the airplane apparent as he whipped through
accident in which he was injur ed three "Foggy Mountain Breakdown," "The
months earlier and the other was the Ballad of Jed Clampett," "Flint Hill
change in his playing from bluegrass Special" and other numbers associated
to a more rock-orien ted sound. with him for so long. Although he still
We met in the Mankato State does bluegrass favourites such as these
student union ballroom where his band in his "Earl Scruggs Revue," he said
was setting up and warming up in the that he no longer considers himself a
afternoon before the performance and bluegrass ban jo player.
he invited me outside into the band's "I just got tired of doing the same
comfortab le customised bus . Earl was thing for 20 years," he said .
still using a cane-crutch because of the Instead of working with the trad -
cast on his left leg. The doctor had itional bluegrass band of five-string
made him put it back on, he said, to banjo, mandolin, acoustic guitar, fiddle
protect it from the cold weather in and acoustic string bass, he now heads
Minnesota. This was Earl's first week a country-rock type of group consisting
back on the road after the airplane of electro nic piano, electric bass, guitar,
mishap which interrupted his career, drums and himself on banjo, all
and Mankato, Minnesota, was the fifth Earl Scruggs in action generously amplified. While he still
stop in that tour. Many of the fans of the pioneer uses the basic techniques of his blue-
The late night accident happened at bluegrass banjo player may not realise grass style, he has adapted them to the
a private unattended airfield near how close that came to ending his intensity of the rock idiom and leans
Nashville as Earl was returning alone career on the banjo. His doctor was heavier on the elements of the blues
from a concert in Kentucky. Earl often not hopeful at first. than he did before. The hard -driving
flies in his own plane as the band and "The doctor had a dim view for a moment um which was always part of
equipment travel in the band bus. while," said Earl. "He told my wife his style is emphasised all the more in
(Ironically, Earl took up flying -in 1957 that he wouldn't encourage her to have these rhythmic electronic surroundin gs.
after a car accident ,,when his doctor any hopes of my ever having any co- He uses a Barcus-Berry pickup on his
acivised him to avoid long tiring auto ordina tion of my hand, other than banjo which he believes gives him at
trips to protect his hips which were knowing my determination and love least as natural a sound as playing
injured in that collision.) He remem- for picking." throu gh a regular sound system micro-
bers little about the accident except At that point, Earl displayed the phone, without the necessity for main-
that something went wrong on the same will to continue playing charac - taining position on the mike.
landing. Searchers found him wander- teristic of so many banjoists faced by On the negat ive side of that evening's
ing aimlessly ,through the weeds at 5 disability over the years. In an amaz- performance, the over-amp lifica tion, to
o'dock in the morning, nearly 4½ hours ingly short period of recovery time he my ears, resulted in a metallic sound
after he came down at the lonely field. was able to get his fingers under con- rather than natural banjo tone and lost
His left leg, left hand and nose were trol again and return to professional
hroken. playing. Continued on page 218
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AMERICAN SCENE to A nn Pertoney, sec retary of the Fret - gave its first performance of 1976 on
Continued from page 216 ted Instrument Guild o f America. February 2.
Jack Meilahn p lay s banjo with a Th e Storyville Rhythm K ings, Jerry
the clarity of the banjo notes in a mu sh Dixieland band on Sunday a t JBs. O n Cowell (banjo) and Hank Needham
of too much rhyt h m backing. On the Monday , musicians ' night, a number of (piano) are playing at the Underground
positive side of the perfo rmance, what banjoists perform. Bill Bailey's Banj os O rleans in Cincinnati .
Scruggs has d one is more than just and Ed M cInt yre's Banjo Buddies are The Classic Jazz Society of South-
plopping himself into the centre of a featured on the other nights. western Ohio (address : Box 653, Ci n-
rock band for commercia l reasons. The I also sat in at Chicago's Red Garter cinna ti, Ohio 45201 USA) has recently
band maintains a rhythmic feel which with banjoi sts Vern Timm and Ken sponsored local concerts by Ray Heit-
is more characteristic of the lively Salvo. ger's Cakewalkin' Ja ss Band of To l-
shuffle-step square dancing I've seen in Unfortunat e ly, I had to leave before edo , Ohio , and Jim Cullum' s Happy
Alabama a nd Arkansas than the cliche Feb ruary 22, when Andres Segovia was Jazz Band of San A ntonio, Texa s. On
rhythms of the usua l rock band. The scheduled to perform a t Chicago's March 7 they will host Gene Mayl' s
amplificati on emphasised thi s infec- Orchest ra Hall. Dixieland Rhyt hm K ings of Dayton ,
tious rhythm to a point where it drew Meanwhile, back in Ohio , Carlos featuring Claire Austin.
cheers and demands for three encores Montoya was in co ncert in D ayton on The College of Mt. St. Jo seph, Cin-
from a sell-o ut audience of 1,500 January 24 and the Class ical Guitar cinn ati, will present Ma;x Morath on
college -age young people . Ensemble of the University o.f Cincin- April 4th.
His band is lar gely a family group na ti's Co llege-Conservatory of Music J ACKIE LITZ I NGER
with son Randy o n lead guitar and
fiddl e, son G ary on electric bass, har- ALOHA FROM HAWAII the Hawaiian language ,* a new
monica and vocal lead, and son Steve interest in steel guitar, and the
on electronic keyboard and banjo. Continued from page 213
emergence of so me good new groups
Scruggs' wife, Louise, is manager , and of k ids doing nothing but Hawaiian
Q-Your favourite writ ers of Hawaiian
a long-time frie nd of the famil y, Jody songs and mu sic.
M aphis, is on drums.
Du ring my interview, I tried to pur- A- Chas. E. King; Alvin Isaacs and Q- Tell me about Alfred Apaka.
sue the point of how Scruggs had come Danny Stewart. Danny for his really A- Alfred was easy ,to work with and
to d evelop his unique three-finger sty le. beautiful hapa -ha ole so ngs (songs he had a magic about him when he
One of his big influen ces as a ch ild, he with Engli sh lyrics). sang. He pleased bot h sexes equally
related , was Smith Hammett of his Q- What do you see in the future for and was simply a great crowd
native North Ca rolin a who had a Hawaiian music? pleaser. I worked with him from
special k ind of •three-finge r picking 1930 until his death in 1961. We
A-Well, first of all, I think it mu.,t
style. Wonde ring if the re m ight be any appeared together in the Tapa R oom
return to its original identity. It is at Kaiser's Hawaiian Villaget (now
kind of a throw-back in the synco pat ed too integrated with foreig n so u nds-
Scruggs style to the Vess Ossman-Fred T he Hilt on Hawaiian Village) from
Mexica n guitar sty lings; some rock
Van Eps ragtime era preceding him, I 1955 to 1961. We still miss h im.
sounds, even, and folk guitar and
him about thi s possibility. However , singing styles. The fut ure will depend * * *
unle ss there was an indirect tie through upon what the yout h of Hawaii are Benny now appears in th e Royal
Hamm ett, Scruggs revealed that there taught abo ut th eir music . It is en- H awa iian Hotel luau show every
was none , nev er having had the o ppor- couraging, howev er, to see a return Sunday eve ning , followed by a 2-hour
tunity to hear a ny of their record s. He m ovement by the kids -to their stint in the adjoining Surf Room from
was familiar with the Ossman and Van or igins, suc h a strong new interest in Continued on page 222
Eps names only through their mention
by the player of a gut-string banjo
player he met briefly several years ago.
Earl said he did play 5-string ban jo
with bare fingers in his younger years
but took to using finger picks for more
volume when he started playing barn
dan ces.
WOOD: Spruce, l\faple, Mahogany, Brazilian Rosewood, Cypress
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Jackie s Corner 1
STRINGS: Savarez, Conccrlistc, L'l Bella, Augustine, D'Aogelico, Goldbrokllt

T H IS report is from Chicago ,

where the Cincinnati Kid is
vacationing. Centre of th e action her-~
New Guitar catalogue mailed upon receipt of $2.00.
This amount deducted from minimum purchase of $5.00.


is Jolly Banjos Ltd., 4424 W.Montro se.
Ba nj o music is heard there every night 5944 Atlantic Blvd., Maywood, California, 90270, U.S.A.
and Al Kout , manager, introduced me
I had difficulty in finding the where- conductor, mandolas to right and in
a bouts of the rehearsal rooms, but the front, and guitars behind mand~las

FRETS statio n-master very kindly directed me

to a larg e hall, seem ingly far below the
station and along many stone cor-
and linking up with the 2nd mandolms.
Woodwind at back of the central man -
dolas and batterie (percu ssion) on stage
ridor s, where the players were already at back, the 2 mandobasses were to
IN assembled-an ideal rehearsal room,
large , centrally heated, comfortable,
the right behind guitars.
I noticed 2 bass violins in a corner,
with a sma ll stage , and - of course -

FRANCE sound-proof.
The conductor - or, rathe r, "chef
so l expect they will be used to aug-
ment the bass section at times, or
perhaps used alternatively.
d'orchestre" -is M. Schneider, and the Of further interest is the organisat ion
orchestra is beautifully balanced, with that supports the players. In a. large
about 10 to 12 mandolins, 6 mandolas office adjoining the hall was the ltbrary

(they should be so lucky) , 8 guitars of over 250 orchestra tions docketed
EFORE taking a late holiday and 2 bass mandolins . and numbered in a steel cabinet.
in Paris during November I To augment this ther e were 2 flaut-
contacted Madame Menichetti (widow ists, 1 oboe and 1 clarinet, plus 2 per- As a number is taken out and pass-
of the famous composer of music for cussionists, one on tympani and the ed to another member for distribution
mandolin and guitar orchestras) and, other on drums and effects, but both to the players, the titles are entered in
in response to my enquiry, she inform- very much in the background . a register, no time is wasted during
ed me that there is now only one good practice as music is ready to hand , a
This combination seemed to give a secre tary was also at work on the books
mandolin and guitar orchestra in Paris perfect balance and produced a grand
- the Railway Orchestra. and correspondence during the whole
rendering of the works performed. - session and another helper was on
This, I presume , is run by members no efforts were spared by both con- hand at all t ime seeing to the arrange-
of the French National Railwa ys, with ductor and players to get the correct ment and comfort of the players-the
headquarters at the St. Lazare station, intonation and inter pretation. whole rehearsal seemed to go with
although I suspect that membership is Madame Adorfe, who plays prin- almo st regimental precision.
not confined solely to railway employ- cipal 2nd mandolin, very kindly offered
ees, and has the imposing title of me her place (and a lovely mandolin) I don't suppose the layout of the
"Orchestra de !'Plectra." orchestra is new, but it certainly diffe~s
and I joined the orchestra in playing a from that in general use here, and 1t
Madame Menichetti said she had fine arrangement of Ketelby's In A shows the advantage of a large man-
made enquiries and found that al- Monastery Garden. I have never en- dola section which gives more scope
though there was no orchestral conce_rt joyed playing with an orchestra as for varied harmonies in that much
during the week that I would be m much a s I enjoyed that hour und er neglected section .
Paris, I would be very welcome to M. Schneider's direction.
attend a rehe arsa l at the St. Lazare The orchestra formed a semi-circle I am looking forward to another visit
statio n and I was given a letter of fo rmation with the "chef" on a small in the spring when I hope to learn
introd uction to a Madame Adorfe who rostrum almost in line with the two more abo ut the continental manner of
has a shop in the Rue Saulnier and ends of the semi-circle - both 1st and arranging and bal ance .
plays with the orchestra. 2nd mandolins were to left of the C.HOOKER


from Charlie Hynd a selection of multi-

A\ l[?il)IU~ II) lrltiI~

record ings made over the past five
years, featuring a wide variety of music
and styles. Two first-rate tapes of much
more than ordinary interest. Best .
iCILIUIUi thanks to Charlie and to Billy!
A reminder that the Luau is drawing
Club secretaries! Here is your chance to put your Club under the spotlight! near! May 29th is the great night, and
For a place in the new Club Page, send your news items not later than the tickets should be ordered as soon as
24th of the month . Good pictures welcomed-black and white preferred. possible from Arthur Jones at 986 War-
wick Road, Acocks Green, Birmingham
27. The price is £5 each, including the
cost of a sumptuous Hawaiian buffet
plus an evening of entertainment by
Wout Steenhuis and Kealoha Life, in
addition to the many other performers
who will be on hand. As an additional
treat, Arthur inform s me that Ronnie
Joynes will be present. Ronnie will be
remembered by many for the years he
broadcast with A. P. Sharpe' s Honolulu
Hawai ians, and subsequently on Guitar
Club. Ronnie is bringing with him a
Malayan girls quartet, the Ip Sisters,
who sing Hawaiian songs ; and, for any
. . aspiring hula students, American hula
~-- --- - ,_ ... - · - ,:11'11 instructor Mrs. Sandra Rodgers will be
there! I t promises to be a first-class
LIVERPOOL HATFIELD evening, and in addition to the enter-
We reproduce a photograph of Looking in at the clubs lately, it is ta inments there will be the pleasure of
the Liverpool Premier Orchestra, quite apparent that nearly all have one meeting many fellow Hawaiian enthusi-
winners of the J edson .Challenge Shield or two members on the sick list; mostly asts and Tape Club members. Ka lena
and Coronation Challenge Cup at the victims of the 'flu epidemic. Neverthe- and I will be present (all being wefl),
Musical Festival held at Wythenshawe less, Hatfield were able to muster quite and we hope to meet many friends old
on the 4th May, 1975. a good number for the public concert and new. So, don't delay-make sure
The photograpn shows the orchestra in which they took part for Music of your tickets and book now for what
acknowledging the applause at a con- Week 1976 at the Welwyn Garden City promises to be the most exciting even-
cert in Sherdley Park , St. Helens, on Leisure Campus, on Thursday, 5th ing of Ha waiian entertainment of the
the 29th June 1975. Th e orchestra has February . decade!
been playing in the open air theatres The Welwyn Times' report by Eric JOHN D. MARSDEN
in Liverpo ol parks continually since Hill commended H atfield - This club
1948 and in Sherdley Park, St. Helens !ms got something - and noted its
since 1968. During 1975 they gave "gentle, honest and romantic" pro-
concerts in four other parks in St.
Helens and H aydock. J. ENNIS FEDERATION
cassettes of mandolin orchestral play-
ing have been forwarded to Arthur
Cooper, the secretary of the Watford SOUTHERN SECTION
B.M . & G. Club, as requested by Phil.
Banjo and Mandolin Section No confirmation received to date; we The meeting for January was held
Two tapes and two cassettes were hope he received them. at the Adam and Eve, Petty France ,
received last month. From Mike Broad, All enquiries concerning the Tape on January 30th, and was a very lively
a 3 in. reel of fretted instrument Club should be addressed to the a:ppro- one .
variety, up to the high standard we priate secretary, enclosing a stamped Much thought had gone into the
have become to expect from Mike. addressed envelope (see B.M.G. Direct- new subs, and our chairman ou tlined
From John Murrell , a 3 in. reel of ory of B.M . & G. Clubs). his plans to make the situation a bit
banjo entertainmen t entit led "Memor- WALLY SPRANKLEN easier on everyone, and after much
ies of Billy H orne," a most delightful discussion, the following were out-
tape of rare banjo material , many HAWAIIAN SECTION lined:
thanks, Mike and John. Two new tapes have been received The £5 fu)l membership (with voting
The two cassettes ·were kindly sent -from Canadian member Billy power at AGM) .
by Phil Skinner of Mansfield , N.S.W., Reid two further programmes in The £2.50 associate member ship
Australia. These very entertaining his " Hawaiian Rendezvou s" series, and (without voting power).
Both the a bove carry full privileges,
i.e., free entry to the rally, free entry
to the contests.
Thus it wiU be seen most members
will opt for the £2.50. Long-standing
OAP members, free, with all privileges.
Under 18s £2.50, with all above priv-
Orchestras £5 per orchestra, with
membership for all members (free rally
entry, etc.).
Or chestral contests £5 per orchestra
(with membership for rest of year).
Unlimited number of contests , free
rally entry.
I tru st the above will make clear
what everyone has been asking-and
now for the benefits to all :
More cash available for Federation
ventures. An assured income for the
rally and a continuance of this, the
only national organ isation.
We have a new secretary, Miss Hansi
Roler, who so kindly stepped in to
replace Vera Godwin. Dear Sir,- Mr. Selwyn Cash (a neighbour Bowsk ill, Walter James , Jack Henricks,
We are at present negot1atmg a of mine) has just given me copies of your Harry Harper - ([ ca n' t recall the other two,
Saturday in October for the 1976rally; last three issues. I was fascinated by these, alas!). From row: The young boy on the
more news when this is finalised. as they brought back memories of the days left was Trevor ; the lad on the right was
when I used to play the banjo , and was a named Cook. I beli eve he ran a banjo band
v ur get-together on Januar y 30th regu lar reader of B·MG. in Wallasey for many years after tbe
was very well attended, with, believe it I was a member of the Alverntone Banj o Alverstoncs broke up.
or not, a predominance of ban jos. Band , and we went with our Club (run by We used to hold meetings in the Lib eral
the late Harry Har per) to the 1929 Rally. Club , Egremont (Wallasey). Harry Harper
Famous people kept dropping in- If I remember rightly , the test piece was was a profess ional music ian a nd we b~n
among them Ber-tie Owen and J. Mc- The Blue Danube, There must have been some very happy evenings. He died in thP.
Naghte n- all were welcomed. at least six bands playing this, and believe ear ly 1930s, aged 42. Jack Henricks was a
me, we didn't wan t to hear it again for a fine fingerslylist; he was a deep sea diver
All in all, it was seven hours of long time! who lost his l ife during World War Two
sheer pleasure, our thanks are due to Mr . Cash thought your readers might be while working on a bombed warship in the
Jim Ennis for his organisation . interested in the enclosed photo; I am not Medite rranean Sea. I believe Walter JamC6,
We hope to put on another in lat e in the group, as l had a cold at the time it of Wirral , still plays the banjo ; I'm sorry
was taken. (As the photo goes back to the l don 't know what happened to the others.
May or early J une at the Alliance Hall 1929/ 30 period, and I am now 72, I'm afraid l' m afraid this i.s rather a long letter but
if available . most names escape me. I'm sorry I can't I have enjoyed reading those BMGs - and
On a personal level I took part with recall the name s of those in the back row, the many happy me morie s of my younger
the Hatfield and Barnet clubs in a except our pianist Mr. Brazendale-second days, brought back by "t he old mag."
.from right. Middle row (left to right): Alan ROBERT REGINALD FROOM .
week-long music festival at Welwyn
Garden city (campus west) and we had Dear Sir , - In the November i&suc I cor rect proced ure wuuld be in try ing to
the great pleasure of introducing our enquired about Rudy Wa rata 's LP It's through your columns.
music to Jots of people who had never Aloha Again! , mentioned by Jas. Curley. l:f the problem is one of finding a secre-
perhaps visualised our instruments in I would like to say many thanks to both tary I would like to offer my services, if
this setting-and we therefore featur - BMG and Jas. Curley. I am now the proud of course the project got under way.-A. W.
possessor of this disc and quite a .few more HEALD .
ed Joh B. Kok as our main inspir- Hawaiian records Mr. Curley has sent me
ation. and l am now a Satisfied Hawaiian Fan- (From other reports of s ilence in the
atic.-GLEN AT KINSON. guita r section we assumed that there had
To all our friend s: we hope you will been a loss of interest in the field. Doublless
suppo rt us-and , in particular, the * * *
D ear Sir, -1 have been a member of the
there will be many readers who will be only
too ready to join a guitar section of the
northern rally-for we all have the Tape Club HS G Section) for many years, Tape Club if there are fresh signs of life,
same object. Happy playing. and was also a member of the Tape Club's We urge would-be members to contact
R. V. SHE LTON Guitar Section for a considerable time. I Mr. H~ald, 7 Prospect Way, Brabourne Lees,
eventually resigned from -the Guitar Szct ion Ashford, Kent TN25 6RL. We will gladly
because there seemed to be no enthusiasm give space to hclp.- Ed.)
shown by the club secretary . J say this with
Send for particulars of the no animos ity, but I wrote on two or three * * *
IVOR MAIRANTS occa,sions and never had a reply . Dear Sir,-A word of gentle reproof for
POST AL COURSES fo r ft would appear this section of the Tape peda l guitarist Pete Willsher, interv iew in
Spanish and Pleclrum Guitar Club has been phased out, probably through Magpie on TV on 30th January, anent the
Eacl, lesson personally cl,ecked and correct,d
lack of interest, which is rather surprising discovery of the Hawaiian steel guitar;
Details from as the guitar is so popular, therefore with
IVOR MAIRANTS MUSICENTRE alt hough I did not see the programme
56 Rothbon e Place, Oxford Stree t , WI P JAB this in mind I would like to ask what the myself , correspondents, suitably shocked,
organise a Tape Club (Guitar Section) wrote me to say that apparently Mr. Will-
sher stated that the steel guitar evolved
fro m "a warped Spanish guitar, played with THE BALANCE
a piece of bone," and went on to ~ay that
the steel guitarist (Harry Pahene Brooker)
in the accompanying Pathe Pictorial film-
clip, Sophisticated Hula, wa6 playing "a
standard acoustic guitar, with heightened
bridge and adjuster nut, amplified with an
attached pickup," (or words to that effect).
I have a film "still ," and an action photo-
graph of the film (on which I was playing
l HE string question with fretted
instrument players is-or should
be-the most important of all the
material technicalities of their instru-
ment. Inferior strings can make an
plectrum guitar), which clearly shows Harry excellent and favourite instrument an
playing a ·'National" acoustic German silver abomination while, on the other hand
de luxe, triple-con e resonator steel guitar; it i_spossible, by the use of best quality
while on the soundtrack he used his nor ma l strmgs, to make an indifferent instru-
twin-neck electric steel guitar .
The steel guitar has been " invented" with ment quite pleasant to play upon. It is
the aid of perfume bottles, steel comb, glass most essentia l that the whole set of
tumb lers, steel bolts, and many other metal- strings should be equally balanced; the
lic objects, but never with the aid of the balance of tone throughout a set of
muting device bone!
Among those who have added to the mass strings being a most impor tant point.
of misinformation concerning the invention Many times we have tried novices' and
of our instrument (the most maligned in students' instruments and found the
history!) are the American editor of a balance of tone between the various
fretted instrument magazine who claimed
it was invented by "a boy ( l.J.S.) from Kan- strings woefully out in relation to each
sas or Miami,'' and -the British contributor ot~er. This is mostly caused by the
to a c&W magazine, who claimed Cliff thickness of the strings being out of
Carlisle invented it; if the TV authorities balance. For instance (taking the banjo
don't get wise, we 5hall have producers
assserting that it was invented by a bala- as an example) a first a bit too thin and
laika-player.-KEALOHA LIF E. a second a shade too thick will cause
mandolins-and indeed play them now and a dispa~ity that is fatal to good playing,
* * again-I find that interest in this part of the
country is almost non-existent· however I and 1t 1s the same between the second
Dear Sir,-After a break of two year6 I
received my Januar y BMG and was very do derive great pleasure in ;hatting o~er and third, the third and fourth and
pleased with it. You even have a Down "o ld times" with a few enthus ia6tic friends between the first and fifth.
Under sectio n, which I also enjoyed. I am when I v isit my old home town of Preston . We have kn_own players use a part
just a strumming guitarist, mainly interest- I thought you might be interested in the
enclosed photograph taken in 1930. of a second stnng for the octave saying
ed in jazz, but look forwa rd to any advice that it "would do", but let anyone try
offered in your excellent magazine by top- Incidentally, my late father was a great
class musicians. Here in Brisbane, sunny it tenor-banjo ent husiast and wa-s a member of the disparity between the fifth string
may be, but that i.s no help when your Eugene Earle's Banjo Band in Preston.- (open) and the first string when stop-
'cello guitar neck develops a twist, after Mrs. JEA N GRAY (formerly Jean Grime).
eighteen years. Having tried every music (Thank you, Mrs. Gray. Your photograph ped at the fifth fret, and then consider
store in town (with no luck) I came across brought back our memories of Jean Grime, how the tones of the various strings
a young man who makes classical guitars too; the charming picture graced a BMG can be balanced under such circum-
for a hobby. My "Aristone" soon lay on soon afte r the 1929/30 Rally , if I remember stances. Th 7 best of banjos strung hap-
his bench awaiting overhaul. correctly. Dear old Eugene and his Red hazardly with any kind of strinos will
I then sought a new pickup unit to re- Rose Revellers arc also conjured up by 0

your letlcr.-Ed.) be spoilt.

place my original Watkins of twelve years Let any banjo player go carefu lly
ago. (The mulfled bass type of soun d-v ery
original and good for the early Rock and up the scale of C or G from one string
Roll days-is useless for jazz.) I am still Continued from page 218 to another and note whether each
trying to get a suitable pickup unit-I ~et 8.30 to 10.30. It is my pleasure to work string tone balances with the other as
laughed at, and am offered units for 60lid6
or "roundhole" guitars. Oh, for a Cyril these shows with him. Most recently he passes from one string to the next
Proctor in Brisbane! we worked in a lovely Hawaiian show and he will soon discover if the strings
Now, two appeals for help! How much is at the new all-military hotel-t he Hale are balanced properly.
BMG's yearly rate in Australian dollars?
(At the time of writing, approximately $6). Koa, just next door to the Hawaiian
Can any American reader give me details Village. The show closed on January
of Les Paul? 31, but may return again soon .
[ would be glad to hear from a ny reader
who cares to write on any jazz/ pop guitar Benny Kalama is also very much in
subject . All the best to BMG from Down demand by many local show producers
Under.-JOHN HOTSON, I Halcyon St., to supply the arrangements which are
Rochedale, Brisbane, Queensland 4123. consistently ·top-drawer quality and in
* * * p~rfect t~ste. Like I s~id at the begin-
. Dear Sir,-1 was most intrigued to read nmg-th 1s guy does 1t all! Long Jive
m the February BMG , of Garnelt'6 Banjo Benny Kalama!
Club on the way to the first Federation COULD HELP YOUR NAILS GROW
Rally al Blackpool in 1929. I well remember * At this wntmg there are more NATURALLY STRONG
the event, as I mysel,f was an entrant, and students studying the Hawaiian Ian- ,",SK IN YOUR LOCAL GUITAR SHOP
came tirnt in the mandolin 6olo contest gauge than ever in Hawaii's history. TERRY GO ULD M USIC
although only eight years old al the time'.
I actually took part again in 1930 to achieve
t The Tapa Room burned to the The Old Crown
the 5ame honour. ground in 1973 and to date has not Bugbrooke, Northamptonshire
England NN7 3RF.
Although I still possess a couple of banjo- been rebuilt.
SERIOUS writer needs back issues !Banjo
World , Keynotes, The 'Jo, BMG before
The cost o( adve rtising under this heading is 4p per word (minimum 48p, twelve words or 1930, cte. Urgently need Keyno tes, Apri l For inserting Box No. add 25p extra. We regret advertisements arc not accepte d by 1928. A lso want old ba njo methods, photos,
telephone. music. Box 8 19, BMG, 20 Earlbam Street ,
FOR SALE offers. Early banjo music . Offers. Ring London WC2H 9LR.
Bromborough 051•334 3680. After 6 p.m.
ENTHUSIASTIC collector seeking early
BAN JOS CLIFFORD Essex Concert Grand plcc. banjos, fretlcss or fretted , any condition and
banjo, block pearl pooitions. Excellent tone, make. Also piccolo•miniature banjos and
FLETA guitar banjo . Vega Gibso n. Klaus etc. Reasonable olicr. Ellis, 352 Easterly parts. All realisti c price request& acc<ipted.
Zimme r 51, Aachen Riit6chers tr 165, Ger• Road , Leeds 8. Visito rs or other collectors to view collec-
many . tion arc welcome. Gunte r Arnendt. 14 th
JAS. Morrison 5•string banjo , ci rca 1900, Storm Str., 4, Dusseldorf 30, Germany.
inlaid neck. Excellent condition. £l00 o.n.o. GUITARS
Tel. 0494 30470.
GOOD studc nl•pri cc classical guitars, inc.
ABBOTI' Monarc h plectrum banj o with Mcrvi, Francisco, BM, Kimbara, Estrucb, VARIOUS
case. £70. Farghcr, 7 Alben Street , Douglas , Alhambra, Garcia, Su:z.uki. Strings: Con•
Isle o( Man. certiste. Savarez , Aranjucz, etc. Rentons, CYRIL PROCTOR, Electro•Musical In·
VEGAVOX I plectrum banjo. 1955. £230. High Street, Leamington, Warwicks. 0926· str umcn t Specialist, 180 Town Street, Leeds
Klau s Zimmer, 51 Aachen, Riltschcrslr 165, 26703. LS12 3RF. Special pickuP6 for E..H.G.,
Germany. HOFNER Bigsby "Vcrithin", semi-acoustic pedal, etc. Adjustable poles. Six to twelve
SUTI'ON spec ial inlaid zither banjo. About guitar, two pick•ups, excellent condition, st rings. Also for bass guitar , electric and
1903. Also con tempora ry music and Cam• red finish. £50 o.n.o. Tel. 01·361 0483 after acoustic guitars, violins, banJO, etc. S.A.E.
mcycr tutors . Offers. Willis, 34 Midhurs t 6 p.m. for new prices.
Court , Mote Road , Maidstone , Kent. MANY BMGs, 1960•1975. Good condition.
VECA li11lc wonder tenor banjo , 17 frets MANDOLINS Offers. Phil Coram, 50 Kay Road , Stoc kwell,
with case and resonator. Good condition. S.W.9.
£45. Phone Gftcr 6 p.m. Swansea 43.58.5 . MANDOLIN by Pecoraro. Embcrghcr
PARA GON 4-string plectrum banjo . £300 style. Perfect tone and cond ition. As new
o.n.o. Spo ! banjo £35. Zither banjo £25. with case, £ 150 o.n.o. Offers Orpington

Also BMG·s 1929•1955 plus (most editions) (Kent) 25362 evenings.
A selection of
YOUR AD. HERE l very fine instruments
Strings, Bridges, Capos, Music
.-----.------,- -----.- ----.- ---r--- ----. 1 Octave and Te nor Mandola
I strings.
Note our new address:
1-----+- ------l---+-----+---+--- ---I•
-- --+-----1-------- --- ----i I Telephone: 01.636 4388
l- ---+----+----+-----f---+------1 1
I ARTH UR JONES present.s
1-----+----t-----ll-------+----+---- 1 A HAWAIIAN LUAU
I on

SATURDAY, 29th MAY, 1976
,_ _____
__ __ __ .___ _.__ __._ ___ ..,__ ____ at the

SIGNATURE .............. ...................... ......... ................................ .. . I

A DDRESS ········································
····· ·······················" ········ ········ I SOUTII SEA SERENADERS
--.................. ..... .....·............................................. . AND YOU!

······· ···········:·······, ······························'·············· ·TEL...................... . I J ust br ing an inslru m i?nl.

8 p.m . to midnight . Tickets £5.
I (including buffet)
Cfearly print your advertisment in capital letters one wor d per square I Tickets available from Arthur Jones,
and include the price of the · article, also your address, telephone or I 986 Warwick Road , Birmin gham,
I. box number. .. B27 6QB.
Cheques should be made payable to



JI LUAU '76.


and 11,e/rAddresses
FREE INSERTIONS: To annual subscribers of "B,M.G." of not more than two lines, for each additional line 50p per 12 issues.
Non-subscribers: Ads inserted at tl.50 per line for ll issues.


BENNE IT , J. (G., P.G.) all styles; harmo ny, sigh t- CARLSON. LEW (B., P.B .. M., G .• all styles), 29
BROWN, HILARY, Classical and Fo lk Guitar,
read ing, improvisation. Tel. 01-539 7953. Cliffe Ave.. Hamble, Southampton. Mandolin, Piano and Singing. 92 Baldwin Road,
COURT SUZANNE, B.Mus., C lassic Guitar Tuition Kidd erminster, Worc estershire.
from 'beginner to pr otess ional standard. London YORKSHIRE
N.2. "Jel.: 01-444 0411. KENT
FORD, AMOS A. Spanish & Classical Guitar. 28 CALVERT, MALCOLM, C lassical Guitar, SA North
Barrett Ave. Wood Green, N .22. Te l: 88,3 0216. C.G.S, SCHOOL OF GUITAR. Sec. Mrs . V . White, House Farm. Cros land Hill, Hudd ersfield.
GALLO, LOUIS (G., P.U., El.P.G.). 6 16 Ureen 2 Lennox Road East , Gravesend, Kent . NAREl'. J. (G., P.G.). 62 Woodside Drive, Cotting-
Lanes. Harringay, N.8. Tel: 01-888 4666. COLEY, V. F. Classi cal Guitar Tuition. Serious ley , Bingley BDl6 IR P.
HOPE HARVEY T. (G., EI.P.G., P.G., all sty les). students and beginn ers . 121 Elsa Rd., Welling,
Guit~r Study Centre, Welling . Te l. 01-856 4876. PIDCOCK, H. (B.G.). 55 Pearce Road, Sheffield
Kent. Tel.: 01-304 0193 . S9 4JG. Tel: 40979.
JEl't'IU sY, Al, TV's "Mr . Hanjo". (B., El.ll., _1'._B.
Folk B., T.ll ,, G .. U.). Vocal acct. a spec,a h ty. YOUNG. ALAN (P.G .. P .B., Z.B,). Studio: 34
66 Chepstow Road, W.2. 229 6856. Hibernia St., Ramsgat e. SCOTLAND
KENT, A. (Pl. G.), 52 St. Jos eph's Drive, Southall, DAVIDSON, J. (G.), 108 Torphin Crescent, Green•
Middl esex. 01-574 4810. . LANCASHIRE tield N., Ulasgow G32.
KRAMER, ADELE . Prin. Professor at the Gutldhall
School of Music and Drama. London , gives . WALES
lessons in classic guitar for beginner~ to concert BATHAM, WILFRED. Mandolin artist. Mario de
standard . 24 College Cresc ent, Swiss Cottage, Pietro and Leopoldo Francia courses. Tuition o n ENDERBY; ERIC (B., P.B., G., P.O.). 6 Cathan
N.W.3. 722 5366. . violin by Sevcik method. Mandolin and guitar Crescent, Po rt Mead, Swansea.
LIPSCOMBE, R. F. (B. & P.G.). 34 Lune,dal e accompaniments; solo guitar. 29 Sorin2 Ave .. Gt.
Harwood. MILVERTON, A. (All frett ed lnsts.) Tuition any
Gard ens Edgware, Middles ex. 01-205 5305. style. 95 Maesceionion, Waun Fawr, Aberystwyth .
MARKIDES, A. (Bouzouki), 167 Valley Drive, N.W.9. HOOKER, C. R. (B . . P.B .. T.B ., M,, P .G .• H.G.),
114 Warbeck Drive. Blackpool. Tel: 55805. ROBERTS, DON (G ., P.G ., Bass G.). 98 Marl-
R~E~~knss HANSI (Zither). 13 Estrcham Road, ROSCOE, BIX (P.G .• Bass G ., P.B., T .B., M.)
borough Road, Cardiff. Tel: 35508.
Streatham Common. SWJ6 SNT. Tel: 769 8625. 39 Bright Street, Southport. LIFE, KEALOHA (E.H.G . , E,P.G . , Uke .), 22 High
STOITER, L. C. (G .• P.G., B .• P.B., T .B .• M .). bury Place, Ely, Cardiff CFS 4LP.
Preparation for "B.M.G." Diplom as. SS Geere TAYLOR. J. (B., P.B .. T.B .• M .G.). 14 Wern et h
Road West Ham . E.15. Tel : 01-534 077~. Cres., Oldha.m. Tel: 061-624 1112.
WAKEFIELD, YVONNE, Classical and Flam enco AUSTRALIA
Guitar lessons . Tel. 01-748 8942. LEICESTER
WILLMOTT, ROD. (G., Lut e , Song Acc.), prepara- BUNGAY, W., 17 Deborah Grove, Clovercrest,
tion for grade exams, college entrance, etc. 01-385 Medbury North 5092, S. Australia.
2560. KATHLEEN WARNER, A.R.C.M . (Oass G.), ACADEMY OF GUITAR (Principal D. B.
"Ho lmwoo d", College Ave. , Leicester. Tel: 59461. WALTON). Tuition by teachers with qualifications .
BEDFORDSHlRE Preparation for Examinations and Music Fe stival s. Classical to A.M.E .B. Exam. standards. Flamenco
and fo lk Guitar. Studio: Celtic Chambers, 246A
RHYTHMIOS GUITAR SCHOOL. 73 Leicester NORTHUMBERLAND George Street, Brisbane, Queensland.
Road, Luton.
CAMBRIDGE SHIRE HOLLIDAY, JACK, (B., P.B., T.B.), 45 Melrose 40 Elizabeth Street, Brisbane, Q. 4000, Australia
Avenue, Gate shead . T el: 21 4357 . ·
VANGO, GEORGE (B. , P.G. , G.). 13 Westfield Rd.,
Great Shelford, Cambridge. Tel: Shelford 2665 . TASMANIA
McB:AIN, JIM (G . , H .G., M . , P .G., U.) . 16
CHESHIRE Anderson Rd .• Launceston. Tel: 25644.
KALAMUNIAK, VLADIMIR , Classical and jau
BAMBER, N. G. (Zither Banjo and Banjo). 28 guitar. 16 Glenmore Road , West Bridgford, Nott .
Waterloo Road . Bramhall SK7 2NX. Tel.: 439 5159. Tel: 231053 and 865663. CANADA
SHEPPARD, A . E. (B .• M ., G., Clar., Flut e), 23 St. SPANISH GUITAR CENTRE. Princ ipal : Robin J. ALEXANDER, A., (B., P, B., G., H.G ., M.). Criss
Elmo Rd ., Walla sey, Cheshire. Tel.: 05 1-~38 6448. Pearson, 44 Nottingham Road, Basford, Notting- Creek ,- B.C., Via Kamloops, Ten Del, Canada.
ham NG7 7AE .
t>HILP, Wm. C. D. (P.G .• P.B., B.). Naokerv is
House. Ventonleague. Hayle. KIRTLEY, TED (P.B. , T.B.. P.G.), 46 Quarry WELLINGTON
Road. Ale veston, Nr. Bristol. GUITAR CENTRE. Len -Doran, L.T.C.L., R.M.T.
50 Willis St.. Tel : 556 474.
kindred ins trum ents. Enquiries: 19 Jubil ee Terrace, RHODESIA
Maryp ort, Cumbria. RIDGE. HORACE. A.T.C .L . (G .. P.). 206 Fenpark
Rd., Fenton. Stoke-on-Trent . Tel: 313442. SALISBURY
SURREY •BARON, WALLY (B., T.B., M . & G . harrn ony and
BAKER FREDERICK (G.). Spanish Guitar Studi o. arranging). All styles. l3J Victoria St Tel. : 22461.
Tibsh~lf. Derbys DES SQD. Tib. 2414. £MONDS, ANDRE, Guitar & Bass Guitar. Im-
provisation, Reading Technique. Studio Nea r Croy- SWEDEN
DEVON don. Tel : 689 2335.
MICHALIS (Classical G.) 33 Ha velock Rd ., Add is• DIEHL, J. ERIC, Classi cal and F lamenco. Ostgot-
G. TATHAM (C.G.), Oxenways, Membury, Axmins- agatan 6, S 502 64, Boros, Sweden. (Cl. , FI., Fo.,
ter. Tel.: Stockland 402. combe. Croydon. T el: 656 21.52. TB .)
ROMERO, PEDRO (Flamenco Guitar Tuition) . T el:
DURHAM 399 7841. U.S.A.
WARWICK, SAM, (T.B.), 2 Holm lands Park , SUSSEX
Chester-le -Str eet. Tel: 030-588 3281. C OOPER, PHIL (G., P .G., T.B .. M.). 32 Arthur
Woods Ave., Bur!;~gton, Mass . T el. : 617-272 0152.
DORSET GEARON, FRED (B.M.G., Hawaiian Guitar. El. MAIER , HOWIE ("J.B. , P.G., M. , U.) , 200 Caesar
Bass and Ukulele (All styles). M.M. Winner Blvd ., Buffalo, N. Y. 14221.
HARLEY, DAVID, A .G. S.M. (Guitar and Lute). 1933/ 34. (Assoc iated Board Royal Schools of
T elephone Bournemouth 39013. Mu sic for Class ical Gu itar .) MAIER MUSIC STUDIOS, Banjos, Guitars Man-
dolin. 200 Caesar Blvd., Williamsville 14221
STROPES, JOHN P. (Gu itar ),. _1628 No rth Franklin
ESSEX ACCORDION & GUITAR CENTRE. Prin- AMY M. WOOD (G . B.M.P .G.) . 11 Upland Rd., Place, Apt. 30, Milwa ukee, vvisconsin 53202.
cipal : Jerry Mayes, A .-Mus.L.C .~ ., A.B .C.A. Selly Park, Birm ingham. Tel.: 021-743 5907. TRUITT, RUSSELL (G., B .. M.). 1105 Federal St .•
(T.D.), Mem.I .S.M., B.C .A. & L.S .M. Examiner, GUITAR SCHOOL. D . J. Brown (All Styles) . Write Pittsb~rgh, N.S. "Jel.: 321 6512.
Private address: 19, Colchester Road, Southend , to : 274 Hagley Road. Birmingham 16.
Essex. Southend 40909. Clas sical/Plectru01. Begin- WILKING , PHIL (T-B). PO Box 327 Es tes P.ark,
ADRIAN INGRAM, L.T .C. L., Cert. Ed. Advanced Colorado. Tel. 586 451 1.
ner s and Advanced. For all grades and Diploma guita r tuition . Tel. : 021-429 7589.
G. D . JONES. Private Tuition. B.M .G . Diplnm a WEST INDIES
PERCY , TED (B.M.G .• All styles). Advanced F/S Std. (C.G., PG .. Flam.G., Bass.G . . D.Bass. M.).
Banjo Techniques. 121B Margu er ite Driv e, Leigh- 16 Shepheard Rd., She ldon, Birmingham B26 3RN .
on-Sea, Essex SS9 INN. Tel , 0702 712853. Tel: . 021-743 3145. NICHOLAS, T. J, (C.G.), 4a St. Anos Ave., Port
of Spain. Trinidad, W.I . Tel.: 62 41180.
The arm is constructed from seasoned mahogany with a
choice of rosevvood or ebony fingerboard, inlaid with mother-
Both neck and tailpiece are fully adjustable to suit individual
tastes . The hoop is of laminated maple and the metal top
ring is sec ured by four tee n tens ion brackets.
Th e vellum is of finest calf-skin. The resonator is of the flat-
p la te variety with box-wood edging.
Pric~ is £()7.20 inc ludi ng Value Added Tax and hard case.
Dimensions are as follows: -
Scale length 15in.
Nickel plated frets 15
Hoop and Resona tor 8 in. di ame ter

Available from Cliffo rd Essex Music Co. Ltd., 20 Ear!ham Street, London WC2H 9LR


Fret Wire
j SUBSCRiBE TO B.M.G'? Send now t0: B.M.G.
Public a tions Ltd., 20 Earlham
The only way to make sure Of
GUITAR . . . 35p per yard Street, London WC2H 9LR,
receiving B.M .G . each month is to
UANJO 3511per y:ml Eng land.
1\·lANDOLIN ... 3Sp per y;ird place a stand ing order with the
(Postage 9p c.xtra)
ONLY SOLD IN YARO LENGTHS publi sher. Please send me B.M.G. for the next
6/ 12 issues commencing with the
20 fa1rlham Stred. Lo111lo11.
.. .. ... . .. ... .. ... .. .. .. . .. .. . 19.. . issue.
£3.60 for 12 months.
I enclos e herewith cheque / P.O.
£ 1.90 for 6 months
REPAIRS U.S. $9.00 for 12 months
value £
A$ Skr


TO A U.S. $4.70 for 6 months
plus 75 ccnls if remitting by check for Name
For a really first-class repair or over - bank clearance
haul-executed in the minimum time
at a reasonable cost-entrust your
instrument only to Clifford Essex
craftsmen. We 11re cons t antly receiv-
ing letters from sa t isfied clients who
have been highiy p leased with the New subscriber □
work c.!lrried out on their instruments.
Renewal □
please tick where applicable

Each Eac h
Plcctn1m-Banjo tai lpiccc extension type with hing ed cove r. Rosewood sadd le-type bridge with plastic saddle {No. 127) 85
Nickel-plated . Complete with bo il an d itut £1.85 Rosewood bridge -pin type briiJgc with plast ic saddl e (No .
Single-note (G} Pitch Pipe 20 132) £1.00
Set of Pi tch Pipes (G.C.G.B.D.} SS Ebony bridge for flat-top gu ita ~ w ilh plastic inse t for strings
£1.40 (No. 125) 85
As above - C hromium plated
Scrawh plate for fht-top gll itar . Black 40
Grover Non-slip Pegs. All metal (,.,eh) £2.2 0
M;ihogany for necks , pnrt lally shaped .. , £5.00
Non-slip peg with white pla st ic button 70
Mahog.:rny. back and sid es £ 17.00
Octave peg with whit e plas1ic button 70
12 String Guitar floatin g Tailpiccc. Quick ac ti on slotted cast
GcarCd Banjo peg ! white bullon 85 £3.00
he:'\ds . (L<~neth from h~ad M hase 4 ½in.)
Matching octave peg for geared peg 70
Epiphonc type · ·com nc 11sator•f tailpiccc. Q llick actl on slo tted
Wedge plates (nickel-p lated) 95 he.,d. (Leng th 6in.) •. £3.00
Ebony for banjo finge rboard. Approx. 21in. x 2in. x ¼in. £4 .50 Floating 1:1il pic{;c wi 1h cast s lLHtcd head, Curved fur cello
Tailpiccc bolts (nickel plated) 25 & 38 type g~1itar (length 5in.) £2.00
Tailpiccc bracket and nut 40 Flo.ttit,g tailpicce wilh pri::::sscd stri ng•hc ad. (Length from
Ebony wedges (per pair) so h~ad tu base 4in .) liO
Nickel- silver frctwirc (Only so ld in yard lengths) per yard 85 Floating tai lpiccc with cast !)lottcd•hcad . (Length from
Machine heads for zitlicr-banjo . (Various) (Lis t on applica- head to hasc 6in.) £1.80
tion) From, per pa ir £2.00 f loati ng ta il piccc with c ast .-;lottcd-1,cad reinforced with three
Nickel-plated brncket and nut (will fll most mak es) 45 stay -rods. {L<.: .nglh from hc.ld to base 4½in.) £1.80
Chrome-plated sho1; \\'ilil washer and screw 20 Ela~tic Capo-6 St ring 90
Elastic banjo capo 50 S in glc•notc pitch pipe:-:. A or G (in conta iner} 20
Ten or Banjo case1', Felt Lined £1-0 & £14 Set of Pitch Pi pes (E, A , D, G. B, E} (in container) 90
Havana Type Mute 90 Ebony end knobs 30
Deluxe bridges. with ebony in~ct. 5•str ir,g only 40 P lastic end knob!i:, blac k or white 20
Maple Br idges (stat e 4- or 5-strin~) 30 White plastic J)11rflin g , !in . wide . I f 16in. thic k . . . 2ft. 15; 3ft. 20
Ebony fur gu itar finge rboard . Approx . 19in . x 2t in. x ¼in. £4.50
Schaller Gear ed Banj o Peg £2.75
£2.20 A11i..:rit.:an Spr in g-loa<lcd type Capo ci".is.tro £ 1.75
Schaller Octave Ban jo Peg
60 Polk guitar tllllmb pkctra. ho rn or in1iution tor toise she ll 20
Top Nuts . Ivory
GL1it.:1rstrin g winder, H.oscwooJ 40
Resonator Cine. fillings) D.I.Y. kih only (inc. postage' £9.50
Guitar Sling. Hook fixi ng f<ir .. Round Sc,undhole .. typ e
Resonator Fittings . .. £3.60
guit~r s £1.50
Banj o Cases D e Lu xe- P lus h lined ... £45.00
Rosewo od push-in tunin g pc is f or flamenco gu it a rs 40
Tenor Banjo Necks shaped (ready for fretting & finbhing) £6.00
Spi111i:s:hGuitarists· Foo tstoul. So lid Mahog an y . Fo ld ing £8.64
Gu ilar Straps ( L\!alhcr o r Sm.:dc) £3.50
R~a\ silk guila r hang ing cords. tG rc cn. red or blue} 30
[k ·st qual ity case l1i<li.=guitar strap (nickcl•p lated fitt in gs)
MANDOLIN wilh shoulder pad £ 1.25
Nii.;kd- silvcr frctwire (only sold in ya rd len gth ~) (pe r yard) 35
Each Top Nuts. real lvury liO
White Hardwood Banjol in Bri<l£t.! 4S Uri<.lg1.:Sa<.ldk:-. 60
Mandolin llridge 85 Rosclh .:s £2.50
Frctwirc . (Only ~o.Jd in yard leng th s). per yarG 35 Cases - de luxe. plush lined i:45.00
Si<1gk Note (A) !' itc h Pip es 20
Set (4) P itch Pipes (i n container) .. 60 (Case:-.: can on ly be supplied t :> callers unless or dered with
Ki dnCy -sh apcd mandolin t;,ilpiccc . Nickel -plated 80 an irlslrum cnt.)
Shell-shaped mandolin tailpiccc. Ni ckel plated so
Ma cl1inc Head s £3.80

A an d G tuning forks 58 & 7/i
Nickel-plated heavy-duty mu sic stand (Telescopic) . With Each
rubber feet £4 .40 Set of pitch pipes ( E. C sharp. A. E. A . E) (in conta ine r) 90
15 lmi tali on tort o i.-.;cshcll (p ]a,.::1
ic) tini;.cr .ind thum b picks 20
Plectra , pl astic and nylnn
M anu ~cri pt book. l2•~t:,vc quarto size M.S. 6.0 lm it:1tion h orn thumb pick 20
Ukule le tailpicccs 50 Metal finger and thumb p icks 20
Instrument stands . suitable fo r Gu itar or Banj o. Nickel Tlrnmb Pi c ks (real tortoi~cshcll) 3S
plated , ru bber feet , fully collap s ible £4.50 National lype finger picks 20
Bottk: neck steel 75

Table Music Stands . £2.60

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Print ed for Henry G. Waker Limited (0 1-278 1522/3 ), 203 Kings Cross Road. London, W.C.1 by H. G. Lea tes Ltd.,
Proprietors, B.M.G. Publications Ltd., 20 Earlham Street, Ca mbrid ge Circus, London, W.C.2.
and publi she d by the