Documenti di Didattica
Documenti di Professioni
Documenti di Cultura
,.
MUS IC IN TH IS ISSUE
Plec trum Banjo Solo : ·• C:\pc T own Parad e."
Mandol in Solo : " Peaceful Is le"
Plect r um Guitar Duet : " Polonaise " (/Jorh) .
Haw a iia n Guitar Solo : " One Sta r lit Nigh t..''
P lectrum Guitar So lo : " Mellow Mood ."
ii • May , 1943
B.M.G.
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4CIA~I H ,wIAl[lll[1'l4GI
IK C LVDES SOLO CUITAn AR n ANOEM£N 'rS
OF:-
"S OMEBODY STOLE MY GAL ''
" AL\VAYS "
"SHINE ON H ARV EST MOON"
"RAMONA" "MY BL UE HEAVEN" WE WILL BUY THAT UNWANTED BANJO, MANDOLIN, OR
"LA CUCA RACHA " and
" FASCINATING Ll'ITLE LADY " GUITAR, AND MAKE YOU A GENEROUSCASH PAYMENT
PRICE FOR IT
lf6 If you have an unwanted fretted instru me nt , send us full details
(make, model, condition, et c.) and pr ice expected. We will send
(Post~gc 2d. cx Lra) cash by return when inst r ume nt is accepted.
CLIFFORD ESSEX M US I C CO . LTD.
8 New Compton Street, Londo n W.C.2
CLIFFORD ESSEX MUSIC CO. LTD.
8 New Compton St., Charing Cross Rd., Londo n, W.C.2
Roy SIDeck
Album of Evergreens
for
HAWAIIAN GUITAR
Containing: " ST . LOUI S BLUES, " " P AGAN
LOVE BONG ,"' " SHINE ON, HARVEIT
MOON," "THAT NAUOttTY WALTZ,"
"APTER YOU ' VE OONE," " l'LL SEE YOU
IN MY DREAMS ."
Specialt11 simplified arrangement •
Wi th Ple ctru m Guitar Accomp a n im e nt.I
(High Bass Tuning )
POST FREE
SEA SWING'' CLIFFO :ilD ESSEX MUSIC CO. LTD.
8 New ·compton St., London, W:C.Z
THENICKLUCAS
PICK
As most users of the Nick Luca s Pi ck
a.re awe.re, the ban on imports hll-S1:11ade
it imp ossible t.o bu y t his pick for some
considerable tim e.
Fo rtunate ly we hav e secur ed a. quan -
tity of picks the as.me shape, size and
texture of th e Nick Lucas and can supp ly
these (in ivory fin ish onl y) for the price of
8~ each
SENDTHISOFFTO-DAY (pos ta ge extra)
. ~o~~~
,:. f •
:Seems logical to presume that no fur- Rhythmic Playing Of " corny .." Moreover, fretted instru-
ther efforts in the future are likely to mentalists are inclined to be ·some-
hav;e very different results. It would The Plectrum Banjo what conservative - even narrow - in
therefore be well for players of the their musical outlook.
-classical guitar to cease expending
their tim e and energy in " casting
pearls before swine" and to develop
s . By DICK SADLEIR
INCE the publication of "Chords
for the Plect rum B;mjo," many
P ROGRESSIV E
Views and - opinions on any subject
are largely formed by environment
instead such activities as will tend to readers of "B. M.G ." have writ-
bring them closer together for their ten asking how they can develop the and experience, and I would suggest
that the average fretted ·instrument
mutual satisfaction. Ken Harvey style of playing. pla ye r has not had much opportunity
Play ers shoul d realise that, · lik e To clarify th~ iss.u.e, let us see what to study modern style. He, therefore,
many beautiful things in an ugly is genera lly meant by .this style. must be a littl e cautious in his con-
world, the instrument of Sor an d What most readers really seek is dem~ation. ·
Tarr ega is not popular. Its difficult y information in playing the banjo in Is ." modern style " des irab le on the
alone precludes nearly all of them , the crisp, full _rhythmic style whi-ch banjo? Any fretted instrument
from attaining the conce·rt platform, Ken Harvey devel?ped. ' player is · entitled to ask such a ques-
while the utter lack of any prospect Wherein does the elusive differe nce tion. My view ii; that such a style is
of earning money with the instrum ent ooth desirable and progres sive.
compels it to be definitely art for art's First of all, let it be said that
sake when its players bave just a few mod ern style is E>ssentially crisp in
hours for practice afteT a probably character. This is surely suitable for
wearisom e task of .earning a liveli- the banjo and a refreshing change
hood . from the jangly style affected by
There are harpists, players of the some plectrum players.
harpsichord, and recorder play ers for Let us consider the approach to this
whom their instruments mean the style.
most important thing in life , yet who I believe that the best mental pic-
could not secure even as much time ture of modem style can be gai ned
on· the radio or in the recording studio by listening to the brass section of
as the classical guitarists . a good dance band. Her e is the crisp
style and a cutting ton1;1colour which
is aki n to that of the plectrum banjo.
GET TOGETHER I will leave this aspect of the question
In normal times players . of the . in the hope -that the interested reader
will listen to good bands.
Spanish guitar will do sufficient in
keeping themselves together through SID TAYLOR
APPLI CATION
a Society an d a magazine such as As to the method of applying this
"B MG "
. . ., ma k.mg ava1·1a bl e h e 1P an d an enthusiastic p¼tyer· of the .
electric Hawaiian guitar. style to the banjo, let the student loolr
instruction to all who are inteHisied Before the war Mr. Taylor was f)rst to his re~ding. Wh atever phrase
in joining them , arranging meetings weU known in the North London he plays , let him see that the notes
and informal concerts in different district for his playing wi th . his are placed accurat€ly. Le t him con-
.h · · h · · d own combination" . The .Ha 'rmony
areas, v:1t Joint gat enngs peno - Hawaiians." Now that he is in sider the normal accen ted pulses or
ically, rather ·than in devoting much the R.A.F. his spare time is beats and the syncopated beats
time to pr_opaganda. limited, but he stm manages to falling between them'.
The keynote seems to be" get to- ____ play at concer ts, etc .
_____ _ _____ T he ·next· point
· · to consider is the
gether," and "B.M.G." at present lie? Fjrstly, in the sulbstitution of difference in practice in the sound
offers the best opportunity of doing chords for single notes. Secondly, in produced by the up stroke and the
this and attracting the , attention of the employment of dance-band phras- down stroke. This is of paramount
possible newcomers to our ranks. ing; that is, breaking U,P the melody importan _ce in producing a rhythmi-
in the idiom currently popular with cal effect.
dance bands. The ·« D tuning" popu- Now let us try an exercise based
larised, though not ori ginated , by Ken on the foregoing . remarks. Take a
Harvey has no real influence on the four-note chord on the banjo and play
SAVE PAPERI style. Wally Hadley can be cited it four times to the bar; that is, as
as an e~ample of a player who em- four crotchets or four quarter notes
ploys modern style, but uses the in foxtrot time. Now, in the next
IT IS A orthodox C tuning. bar, take the same chord and play it
Let me begin by saying that I four times with an up stroke , 'f:?egin-
realise only too well that any article ning with a quaver, or eighth, note
VALUABLE on modern style must necessarily rest. The two-bar phras e then is:
give rise to controversy. Notwo down , down, down, down-rest , up ,
plaY.ers agree on what is stylish and up, up , up. All the notes in this two-
.MUNITION what is: to use dance -band slang, bar phrase , with the exception of the
last ··note , will be quart~t notes. · The tbat ap inqe _asjn,_gn;umbei; ·Qf· pic1yers be'en· chosen -to write and ··- pres ~nt ,su(}h
final note, as you will · readily ·see, will endeavour to get a new ·u slant" a sickly •· pseudo-sentimental ·pro-
must ·be ·an eighth~note. Therefore , on their playing, •gramme about a player who ··remains
you hav e four notes on .the beat in the ·idol of most players of the plec-
one bar and four notes after the beat t trum guitar . Lang himself, if our · in-
in the nex 't . · · · No Thanks For "Thanks formation is correct, would hav e hated
hear ing such slush as put over the air
Pra -ctise this sequence over ~nd For -
The Memories ,;
over again, keeping one foot tapping on this tenth anniversary of his death.
four in the bar all the time. In the By E. GATES MORE SUITABLE RECORDS
second bar , your chords should coine • Almost any plectrum guitarist wit h
between the f9ot beats.
. LIGHT AND CRISP
T HE idea of broadcasting a pr?- a knowledge of Lang, the man, could
gramme about the late Eddie surely have devised a better pro-
, Lang _on Mareh 26th was good. gramme thim " Thanks for . the
At all times . see that your playing I wish I could say the same about the Memories" turned out to be . (And
is light and crisp. The effect required programme. . why that title, anyway. Surely it
is not that of an arpeggio chord- Listeners who heard the . broadcast would have been better suited for a
rather that of a chord struck on the will remember the almost "sugary" programme of "hit" tune s by one of
piano without using the sustaining presentation : and tha,t the major por- tin pan alley's prolific song •writers ! )
pedal. · tion of the records used were by popu- If our Editor will pass this para-
For practice.in this style I have ar- lar vocalists (an obvious way of try- graph (and I hope he will ·not "blue
ranged a chorus of "Swing Low, ing to appeal to listeners ~ith · lit~le pencil " it) I suggest that, in future,
Sweet Chariot" (reproduced on this or no interest in Lan g or his music) if the B.B.C. want to pay tribute to
page) and-) it is suggested that the in whic~ the average · peri,o_nmay,_ 0~ any player of a fretted instrument
student acquaints himself with the may not, have heard a guitar bemg he alone should be chosen for
four~note shapes of the chords in played. .. the task. I think _ it ha~ be~n
either the C or D tunings .' Both We wer-e told that the scnpt for proved that he can wnte a scnpt suit-
shapes will be found in " Chords for this programme was written by Rex able fot broadcasting; his knowledge
the Ple.ctrum B"anjo." · Harris and Bettine Rampton, the pro- of most player's activities has never
. . gramme being presen:ted by the. for- been in doubt to anyone who has ever :
For ·the ·. conyenience of ban301s_ts, m~r gentleman. Mr. Harris has been listened to his biographical broadcasts
I have transcribed the arrangement presenting a programme about and articles· while his vast collection ,
to the familiar lcey of G. As a gene_ral '.'swing " music each week for longer of fretted instri.unent records could
~ule, ,,however , keys empl~ymg than . I care to remember .. Frankly, I provide the ;inusical examples .
open chords are to be avoided. have never been able to hsten to one It would be easy to say the -kind
" Ringing " chords are not wanted. If of these broadcasts, so I cannot say of records I would have chosen had I
the · st.udent ma~es progress, there - whether Mr. Harri s knows his subject been asked to compile. a memorial
fore, he could with adv~ntage trans- or not . . . and it is surprising how programme on Lang (a most unlikely
pose the piece half a tone high~r into many people broadcast on subjects eventuality ). I dQ not propose to
A 11. The la st two chords m the of which the ir knowledge is of the enumerate such records, but I should
second bar, for. example, would be slightest. I am willing to wager that certainly have used. more records of
"snappier" as a result. . this gentleman just about knows a · Eddie's solo waxings; some of his
Paper and space are restricted in guitar when he .sees (and hears) one lesser-known duets with Lonnie John-
these times and many of us are asked . . . but that is the sum total of his on (what is better guitar-and jazz-
to dispense with diagrams we would knowledge of the fretted instrument. than some of their . blues?); the
normally ·employ. However, I hope With this in mind , it is ~eyond my Venuti/Lang duets (such as, "Stringin'
I have made my meaning clear and comprehension why he should have the Blues" · and "Goin' Place ·s "); his
· perfect team work with the "Blue
· SWING LOW, SWEET CHARIOT · Arr D.Sadleir F our " . . . b u t w h Y go on 1.
" - A_...:.... " ~ A Ab A.-. INEVITABLE CHOICE
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w~~ertct~~~iht~!s~ec!rd
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would_ come into the · broadcast, be-
'" J ~ f f -6f: , ~ ~ cause of the obvious tie-up this pre-
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1. I h:v~r
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· b qA . I do not know whether it y;as Rex
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1,
f ; I f; Ffi I fi 81=$
. • A-.
!; I , l ~ l I ;~~ ;!:;~~s~leBei;~~es!~m~~~r;;~;,
technically-wrong phrases such as :
I II
• . strument," or the (to us) laughable
May/ :1943:,~ 145,
statement that : "Lang had a way of · of .the average 'cello~built guitar. • the average player's poor tcme produe-
pulling strings to produce the sus- When the guitar manufacturers tion. One cannot expec~ to pro.di.ice
tained notes typical of his · style." began producing tpis kind of instru - a fine round tone by stro!<ing. .the
(Forgive the italics!) ment they made fingerboards narrow strings with a flimsy apology for a
tb encourage banj _o players to double plectrum . . .
THEm HANDICAP on or take up the guitar with a mini-
Many articles have been written mum of effort. Although this had the :ELECTR~CGUITAR
.about Lang a nd h is guitar playing - desired effect , some of these banjoists
mostly by non-play.ers of the instru- The intelligent use of a microphone,
. ment, . which has been. i heir handica:p. applied th eir banjo technique to th e -together with a - suitably subdued
R ex H arns· h a d Ob vious
· 1 d st
guitar, producing a Yle o£ playing rhythm section, will also do much to
Y rea some almost exclusively confined to the top
of these articles, for the old cliches four str ings of the instrument. remedy this fault. And, of course, we .
made their appearance. · must ·no.t forget the increas ing use of ·
Readers of "B.M.G." will be learn- The chief exponents of th is st 1
Y e the electric gu ita r which, I hope,
ing ·a lot about Lang and his music w~re, of course, Kress, McDonough, when sufficiently developed, will solve
from OU'l' new -series of articles Vi~tor_ ,a nd V_olpe, a nd th e . aver~ge all guitarists' tone and volume
by Billy Neill. It is possible . that Mr. guitarist, . findmg _the bass strm~s ~iffi- problems.
· Harris will also be learning from t hese cult for .solo ,P1~ymg; adope~ th is • top Another way to improve one's bass-
articles . . . and, on the next anni- four st rmgs mode of playmg. string technique is to t ry playing some
versary 6f Eadie's death, be in a better The trouble was th at whereas t_he of the easier solos and studies written
position to present a programme about l~ader~ of th e s_tyl~ coul~ (a nd did) for the Spanish (finger-s tyle ) guitar .
this . guitarist ... Although I hope he hit a_me,an bass .st rmg (witness some -Players of the plectrum guitar will
will not ! , of Kress work wit~ 1,ang) th e ave_rage find that a great number of these can
My disappointment in this pro- player , th ro_ug~ e_it_her· she~r lazmess be played quite easily with a plec -
gramme was complete when Mr. or lack _of mcln_1ation, neglected th e trum, and they nearly all feature the
Harris ended by sa~ing , in 'the most bass st rmgs entire ly. bass strings to the utmos t advantage
maudlin of tones :· "Goodbye, Eddie for the old composers for the Spanish
. . . and thanks." GREATEST GUITAIUST guitar knew that the instrument had
Can you wonder that " Mike," writ- Fortunately there were still a few six strings-and · used them.
ing in The Melody Maker, said: "I top-line guitarists· who used the On this page I am reprod ucing two
listened dutifully -an d l ·came away bass strings for •other than ornamenta- examples of the effective use of the
feeling more t han somewh;i.t slightly tion. I need only mention one-yes ( bass stri ngs that are both taken from
sick"? . · Eddie ..Lang-who , despite the sneers the first movement of Lauderic
• A_nd ~f any .reader . of !~B.M.G," of "corny," etc., from the chord- Caton's "Concerto for Guitar." The
wants to read what any intelligent cho~s gentry still remains one of the · first two movements of this rhythmic
and -enlightened listener must fiii-Ve greatest . guitarists that ever lived. I work have already been broadcast -by
thought after this broadcast, he should do not think anyone . will dispute me Caton with Johnny Claes' Or chestra,
read "Mike's" article. For onc_e 1 am · if I point ouf that -he owed no small and . the work is conspicuous for its
i~ . complete agreement with, thts part of this .f ame to his extensive use fine use of almost the entire range
writer. of the bass side of the guitar. of the plectrum guitar.
I wonder how · many "four-string"
Four-String Guitarists .. guitarists' efforts will survive the test INCR EASING POP ULARITY
of time -as 4as Lang's playing ? Th e bass figures in bars 6 and 7 of
.By SAMADAMS
L.
. Another reason often quoted for this ·Ex. 1 must ·be played on the fifth and
ISTENI:r-,fGto many players of the neglect of the bas s strings is that fourth strings re~pectively (the first
plectrum, guitar I sometimes they are not heard as easily as the note only of the phr ases being struck
.. wonder why they bother to fit {reble.' In the main, th is ·is due to with . the .plectrum), otherwise the
bass strings to their instruments. Ex- Ex.i ·-
cept for an occasional chord in the
·accompanime nt , the bass strings are
seldom used ; while in chorus playing
they rarely go below the thin} string.
4½r' (; Hm · 07 C Cm
slid"
'JI
This is a deporable state of affairs,
for the bass side of the guitar has a
beauty and sonority all its own.
....:.J . .
Many - reasons have been forthcom - (;7
ing. why so many players of the plec- Ex . 2.
trum guitar neglect the bass strings
of 1-heir instruments. Some are merely
excuses, while others are intelligent
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reasons wort h.y-of consideration.
NARROW FINGERBOARD
Personally, I think that one of the
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chief ea.uses is the narrow fingerboard (;Jim • ·
146 May, 1943
effect will be lost. Ex. 2 is, apart from pass notes to the first blue-blowing tenor-ban •jo and there seems barely
its melodic appeal, a really fine bass- chorus, after which follows a banjo time for a switch over before and
string study that 'will not present the '' stop chorus," which may, or . may after the solo. ·
.average guitarist with any difficulty. not, be played by Ed.die. Frankly I However , this need not , by argu-
As will be seen, both these examp les favour Bland as the player, based on ment , delay us longer; suffice · it to
are complete phrases in themselves. several reasons, one of which is that add that whilst more could be wr itten
I think I have enume ,rated some of the instrument used is a banjo , of these recordings and what Eddi e
the ways to overcome thi.s disuse of
the bass strings, and if players will
follow the suggestions I have · outlined
_.they will be amply repaid and will be
contributing in no small way to the
ever-increasing popula rity of the
plectn~ m-played guitar.
*
whereas Eddie was kno wn to use a does in them , time and space can be·
The Music Of
Eddie Lang
By BILLY NEILL
EDDIE
(Continu_ed from the April is sue)
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Mandolin Solo . PHIL BARNES
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Mellow ··Mood
.Plectrum Guitar Solo
R.GU,NTER
.
One ·starlit _Night 151
SEnENADE
Hawaiian Guitar Solo A. JOH NSTONE
. Op.43.
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If there .is a profit on this ··eoncert, · Are Smiling," · f' Roses of P icardy,"
it will go to the movement; if there "Because," "I Hear •You Calling"
: . . By BYRONDAVIES is a loss, I will sustain it. I am not ·" Thora,'.' '.' Mighty Like · a Rose," et~.
.N. · CASSON , a well-known expecting a loss. I hope arid believe - .
H • writer on business methods , it Will be a "full house" and I ask
says th.at the most powerful all "B.M.a :» readers to take their
COPYRIGHT DIFFICU LTIES
I' quite understand that there are
word in the English language is tickets ear1y: Help make this first difficulties of copyright , but · I · have
ACTION. It is just one of the things show a succ.ess, and I will promise you never tackled anything yet (includ-
I have learned from him , but I have another within a little while when - I ing the annexing of jam tarts as ·a
also been inspired to "action,., by the have hopes of a great surprise-some- youngster) that did not bristle with
encouraging things that have been thing to whic h the,worq "impossible" difficulties .
said by dozens of "B.M.G ." readers might well be applied. . If I have a thousand members and
who have written to me . · I .will tell you all about it in due it is decided · what new "number"
In effect, these letters tell me: (a) time, but I do Rot want to play alhny they wish, then we shall be in a posi-
I am the "push-and-go" man that the "t rump cards" too soon ! tion to say to a music publisher :
banjo has been waiting for; (b) that "Issue this for the banjo and we will
the instrument has an "appea l " no (l) COMMENTS
B . d . t· ON Wh LETJ:ERS
t · d b uy t h e ft rst 1,000 copies f or d istribu-
other possesses and that a "move~ . roa cas in_g. . a a . ,goo tion to members of the Society-we
me nt" should . be started to make that th mg for t4,e Society if a portion of -will be able to call the tune as well · as
appeal better known; (c) that each the c~ncert c?uld be broadcast ! .Well, play it ! ,..
writer is only too willing to assist in :: will tr_Y;if. we are unsuccessful on This question , as I say, is a big one ·
that movement; (d) that there is a t is occaswn we _may be able to per- and I can only touch lightly upon -it
keen interest for information upon suaf e t h e ~.B.C.· m th e future. . here. It deserves disc ussion by -our
and to join the National Society of ( ~ MuSic. Ufon th ~ _pubhshed members as soon as a meeting can be
Banjoists ; ( e) that all look to me, as mus ic for th e banJ 0 - th e opmions .of my arranged .
it were, to rally .round me as a sort m~nyd cSorre_spofndents alre . r akth erf . GR,.MOPHONE RECORDS
0f
" l d ,, Th . ff " d m1xe . ome, or examp e, spea O QI,
ea_ er.
th nd
ey s~y, m e ect, ?,the "beautiful me lodies" and "char- (3) Recording . I have in mind that
some mg a ~e will support you . ·acter istic " music; others complain we will get a well-known profess ional
~OMETHING DON E that although the music . is, in itself, to record the number to be distributed
Well, f am deali ng with the las t quite appealing t here is a lack of -and 9n the reverse side of the record
point first. I have done something by popular "known " numbers. tp give instruct ions on "How 'to play
re n ting the Wigmore H all, Wig m ore · · Says one wi;iter : "Yo u -can't expect it," with musical illust rations .
Street, London, for a Banjo Concert the rising generation of banjoists to Again assuming that we have a
. to be held on Saturday afternoon, sit d'own . and apply themselves to a 1,000 members, I sha ll be in - a posi-
J·une 26th: With in a couple of mont hs J;1.umber-like " Donkey Laug.h." tion to say to a recording company :
of "intrqducing myself" I am doing Mapy, of course, refer to the old re- "Make this record, list it in your
things banjorial. quests of listeners to "play: some - catalogues, ' and we will buy the first
It is especially pleasing that, at ·the ~hing we all know." Well, -strange as thousand recprds for distr ibution to
very outset, I am enjoying the most it may seem, although there is a deal our members." .
generous and most enthusiastic sup- of such " known" music arranged, for If we persevere we sha ll gradually
port that ever a man could desi re or the banjo , very few players devote get the banjo figuring again . in the
obtain ; aU of the artists appearing at themselves to it. Even ihough they recor d lists.
this concer-t have volunteered their make a start on it , they soon devote (4) American troops. Undpubtedly
services without payment. They did • their energies to what may be called our friends from the other side of the
so because they recognised that this more ~•artistic " and more " char- Atlantic should be intereste d in our
is somet hing more than a concert, it is acteristic" nuJT!bers·. Concert and Movement. We will see
the start of a movement. As soon as we have the Society what can be done to bri ng it to their
It will be · a good show, and I will going, I shall hold a meeting and this notice. Can anybody help ?
try to run it like George Black or C. B. subject will, I anticipate, be one of (5) Badges and Certificates of Mem-
Cochran would run a banjo concert . substantial discussion. Despite diverg- bership . These ·seem a popular idea.,
ent views we must obtain a consensus Regrettably I know of no substance
THE CONCERT of opinion, and then we will 'see what available at the present time suitable
Elsewhere in this issue will be can be done to meet the wishes of the for the former, but I already have an
found a list of the artists who ·have majority. After that is accomplished, artist designing what I think will be
'promised to appear. From the names we shall · then me et the wishes of the quite an impressive and attract ive
you will sec that it will not be « ·au minority, for minorities are often as certificate.
· banjo." Even I realise you can have important as ·majorities. (6) Life Memberships. This is a
too much of a good thing , and although I am afraid that my own opinion suggestion that . deserves discussion.
I can stand as much "banjo" as you would be pun y compared with that · (7) Library. On e correspondent
care to give me , ◊-the_rs may not have formed by. the more exper ienced, bu t · suggests that we have a Library of
my capacity "for punishment." . it seems strange to me. why many banjo music (similar to the library
No , player of a fretted instrument "live-for-ever" numbers of the ballad held by the . Philharmonic Society of
should miss this show. I know that type are not arranged for the banjo - Guitarists) so that members can bor-
if they do they will be sorry. such · n4mbers as "When Ir ish Eyes row any solo, if oI;ly for" testing out."
154 . May, U143
8.M.G.
ENORMOUS DIFFICULTY first stage of actuality is ·reached, and not obvious-the wind instrumen ts.
Thesk are a few of the suggestions. I ask you all to do what you can to (These can, of course, be tis.ed for
I must collate them, combined with make it known and to . take your duets other than those in " swi ng "
those ~lready given in my own tickets early. 'time, but I assume tha-t the student's
articles, and get them " plan-like "- contact with them is through the
bearing in mind that however well The Beginner And The dance band.)
one "plans the work " he cannot tell The first time I spent a couple of
how far it comes within the realms of Plectrum Guitar hours in a drawing room with a player
possibility until he "works the plan. " By JACK WHITFIELD of the clar ine t I found out that I had
Several of my correspondents tell been missing opportunities for prac-
30-0THER INSTRUMENTS-YOUR tice of the first order; the chance of
me of the enormous difficulty of _my FRIENDS .
task while , conversely, others ask me learning more about mµsic and the
UST as a larg e arid lamentable
to immediately "start things going "
in their ovin towns-as far remov ed
J number of musicians regard the
guitar as a "novelty," · some
way we get it; and , on top of that, a
lot of ent ertainment.
as Taunton and Sunderland. Guitar and woodwind ! It did not
guitarists (in their fanatical affection a t first sound as if it would be a par-
I would be a superman to do this. for their chosen medium) take not the
Being pnly an ordinary fellow I fore- ticularl y happy union , but it was -
slightest interest in other members of esp ecially in the slower typ e of num-
see that, although ·I may have many the musical family.
minor achievements en- route, my ber. I i:emember II Stardu st " and
That is a pity (I would ;ilmost say " Solitud e" as outstanding successes.
" movement" is one demanding a a tragedy) because the pleasure of ex-
" Five-year plan." That is the period Try an .e~periq>.,ent with the clarinet
periment in musical combinations is man in your band . and I think what
I estimate I shall have to devote to equalled o_nly oy the value of associa-
its ·achievement. you produce after a spot of practice
tion with other instruments-particu- will be worthy of a " solo " spot in
I hope to achieve many ,small sues larly in the case of- the beginner, who
cesses as I go along, so that at the the programme.
lllfre often than not rides a lone The . accompaniment must be fairly
end of the five years I shall achieve musical trail because he has not a
a big success. · · full, with the accent on the bass, but
fretted instrument comrade to " tag high chords against .low clarinet is a
on to.»·· ·
FAR -SIGHTED VISION nice change-provided it is not over-
I want to suggest one or two ways done.
To achieve anything big a man must in which students may seek com-
have . far-sighted mental vision and panionship if they have no other DIVERGENCE OF TONE
those who rally round me must hcive player of the fretted instrument Guitar and saxophone is not quite
it also. family within range. I include the such a happy combination, chiefly be-
I heard of an organisation whose Hawaiian guitar in this family, but I cause of the wide divergenc e in tonal
members paid half a crown a ·year intend dealing with it in a separate quality. but the fusion is more effec-
subscription. I asked a member what article. tive than one might assume before
they received for the two shillings and JAZZ PREDOMINATES hearing it, particularly in the case of
sixpence and was told, "nothing," to • the tenor saxophone.
which I resppnded that they enjoyed There are (~erhaps un~or~unately) Need I mention the violin? Her e,
a good bargain. more students mtere~ted J? Jazz tha n of course, the combination is ideal. I
It was astounding to hear that diffi- other types of music ~hich can ~e have arrangements (published abroad)
culty was experienced in " getting produced equally effectively by their of a handful of " semi-classics" for
members to pay their subscriptions ! " inst~umen_ts, and fo~ th~t reason alone violin and guitar-the simplest ar- .
Well, I ask you, what can one give I ~111_be?m by suggestmg a".enues of rangements you could think of for
for half .a crown a year ? Much better exploitation that, at first . sight, are both instruments, but as satisfying •
~i
to charge an amoun t in return for as you could wish. Included are
which something worthwhile can be Handel's "Praeludium II and Gossec's
given. "Gavotte," the latter arranged so
. The annual payment I have in mind simply that it -could be played by a
for the Society is ten shillings (less CAUSED
. BY NOT• > student on either instrument. My ar-
than 3d. a week !) and I do not wish rangement of t)1e piece as a guitar solo
anyone to join who does not visualise , '- ADDRESSINGYOUR was published recently in "B.M.G. ",
as I say, the "big thing "-:-that it is to and guitarists with a violinist among
provide funds for a movement having LETTERSCORRECTLY their friends might have a shot at
objects which may take time, energy, " arranging it back" as a duet.
initiative to achieve, and which will I recommend a · study of Terry
have to be conquered in rot<)tion. Our Address Is : Usher's arra ngemen ts (now appearing
And here, Ladies and Gen .tlemen , in ·the music . supplements). In
you have in the first of our Concerts 8, New Compton' St., addition to being first-class duets for
at the Wigmore Hall, on June 26th, the Charing 'Cross Road, the thinking player, they could
first' tangible , material proof that
l
equally well be used as duets for
what the Editor of this magazine has London, W.C . 2. . guitar and violin-the latter instr u-
afforded me the means of saying is CLIFFORD ESSEX MUSIC CO. LTD. ~ent playing .the top line.
something more than mere talk. The , v,,r~~ There is a lot.,_of instructive pleasure
155
■.M ..G.
in arran ·g'ing violin and piano ,accom- A. J . Powell Banjo Octet) is working oi:i reasonable number -s. One corre~pondent
a series of . easy plectrum guitar solos- submitted near ly two dozen different ques-
paniment as violin and -·guitar accom- both original numbers and arrangements tio ns relat,ing to the playing of the elec-
paniment. Pieces like Hellier's "Blue of well-known tunes - and it is hoped to tric Hawaiian guitar within a space of
Strings ·" lend themselves particularly issue these in the near future. The solos five weeks, many involving fairly lengthy
will be fully fingered and so arranged to answers. This player adm itted that he
well to this treatment. appeal to students of the plectrum guitar. was taking lessons from a well-known
teacher. If he had asked the teacher the
VENUTI AND LANG Clifford Essex guitar strings have same questions he no doubt would have
If you want to go all the way into durabildty ;md a grand torie , and are the received far better answers than it' was
jazz violin and guitar, make a best · strings it is possible to buy today. poss ible to give by correspondence.
thorough acquaintance with Joe Why not try a set on yom· guitar ?
We are still receiving lette r's from
Venuti a:rid Eddi e Lang. I am not We hear that band leader Alvino Rey players in which they say : "I did not
going to say Grapp elly and Re\nhardt is now ·working in a munition factory in know that 'B.M.G.' was still being pub-
because both are essentially soloists, the States, having voluntarily given up lished." Please help us to make your
and the solid background of guitars all his band work and ele.ctric guitar p]ay- magazine more widely known by adv ising
ing ·to aid the war effort. every player you meet to read it.
in the Hot Club Quintet recordings is
not accompaniment , however good the Plectrum guitarists ar e reminded that a George Morris has recently been ap-
rhythm. · " high spot " of the forthcoming ban jo pearing with A. J. Powell's Banjo Octet
concert at the Wigmare Hall on, June 26th at Sunday l:oncerts; in addition, being
Finally, the piano. Never let me will be the guitar playing of West Indian featured as n soloist.
hear anyone say the guitar and .piano Lauderic Caton. We have heard Mr.
-are · not good companions. I used to Caton rehearsing his trio for this concert Many playei ·s of fretted instruments are
think so, before " Accent on Rhythm " and we can promise play ers a, p1'ogramme now serv ing with H.M. Force s. Servic e
that will start them talkiing. pay does not allow of such luxuries as
came along, and George Elliott , with su bscribing to ' « B.M.G." Why not help a
James Moody, proved that by intelli- Pre-war users of the - Nick Lucas plec- player in the Forces to ... keep in touch"
gent arrangement the two can do al- trum will find ,the substitute now being by giving him an annual subscdption?
most anythin g together. sold by the Clifford Essex Music Co. Ltd.
But we cann ot all aspire to the
(price 8d. each)" as good as the original. Is t;here ·an out-of-print solo or copy o(
"B.M.G." you particularly want? A small
Elliott technique , · whilst all our If you have a fretted instrument to dis- advertise1nent in "B.M.G." will probably
pianists, have not the Moody sym- pose of, do not forget that the Clifford find it for you .
pathy. I suggest the best means of Essex · MuSlic Co. Ltd. will be glad to mak e
you an offer for it. Rex Arthur is still playing the banjo
employing a pianist is as accompanist and has recently been touring the mun1-
to single-string solos. Violin solos Appearing in the touring show, "Frank tion factories fo1· E.N.S .A., where he has
with piano accompaniment are ready- Randle's- Scanda ls of 1943," is Arthur met many enthusiastic banjo ists who
Cannon, atlect ionately known as the make a point Qf meeling him after the
made material , and a guitarist using " Daddy of the Banjo." Mr. Cannon show to talk•" banjo. "
them is developing his single-stri ng started his long career by playing with
technique in the pleasantest way the Miles-Stavordale Quartet in 1899, If you play in public, "B.M.G." will be
possible. · with whom he toured the U.S.A. Durin g glad to print your news. Send the Ed i-
the last war he was a member of the tor deta ils of your pub lic engagements-
(To be continued) Peddlar's Concert Party, at the end of hos- ot her readers will be pleased to read of
tilities playing vaudeville dates with his your activit ies.
banjo-playing "partner Ling. In 1938 he
parted from Ling and ha s since played Have you noticed that Ivor Mairants
solo . His act includes Monti's " Czardas, " plays the tenor-banjo in the Gera ldo
and/ desp ite his age (he is over 64) we are arrangement of " Der Fuehrer's Face " ?
told he can moye around the fingerboard
" like nobody's business ·." He extends a There is no charge for printing your
We hear that Louis Gallo is still teach- hearty welcome to all banjo ists who care solo an our music supp lements. If you
ing in the North London district, and has to Vlisit him " back, st_age." have written a solo for banjo, ma ndolin
returned to take an active part in dance or guitar, sei:id it to the Edit or for con -
band circles. The Clifford Essex Music Co. Ltd. has sideration. If he considers it suitable, it
. still an adequate stock of strings to meet wm be printed dn a forthcom ing issue .
Following A. Scatterty's article , " Th e normal requirements, but itJ is certain that
Banjo in the Highlands," in the December stocks will be difficult to replace. Is your Ashton Stevens - Chicago newspaper
"B.M.G.," we hear that Dave Willis, Jr. (a stock of strings sufficient to carry you crit ic and columnist - is s till wagmg a
Lance-Bombardier in the R.A.), is pro- over the next six months?. campaign in the U.S.A. to restore t he
ducer of the Garrison Variety Company's banjo to the dance bands . We hear that
shows at Gibralta1· which feature •the On March 22nd a short recital of banjo Mr. Stevens has pledges from severa l
banjo playing of Bertie Owen, now a records was given by Mr . Pontifex to leading American band leaders to use the
gunner in the R.A. Surely a case of . an members and fr iends o-f the Fu lham banjo instead of the gu itar . '
alert son profiting from his successf ul B., M. & G. Club. Included wer e records
father's experience ! by Oily Oakley , Cammeyer and Ern est Do you agi•ee with the letters printed
Jones . in this month's " Correspondence " ? Do
More ond more publieotions for the yon consiiler that such-and-such a. wr iter
Hawaiian guitar are being issued ,i n the Will any American reader undertake to is "talking out of his hat" ? Why not
high bass tu ning. This tuning, which is send the Editor the new gramophone contribute your views? If you can wr ite
(from the first string) 'E, Cl, A, E, q;, A, record supplements as they are issued ? a let_ter that will interest other readers , H
can quickly be used by players only used Mr . Sharpe is anxious to keep in touch will be printed. N.o literary ability is
to the standard A Major tunring as the with the records being issued in the necessary. ·
fir-st three strings are the same in both U.S.A., but cannot obtain the new supple-
· tunings ; the lower thre _e strings being ments . Recently issued fretted instrument
an octave lower . records include : "Romantic Waltzes"
Whil st the Editor is only too . pleased to (Intro.: "Ah ! Sweet Mystery of Life ,"
~off. Sis ley (busy these days broad- answer quest ion s sent him , he asks that " When Irish Eyes are Smiling," " Love's
casting with Gregor i Tcherniak and the readers keep their inqu _ir ies down to Old Sweet Song," "Mar cheta," " It . Hap -
May; ~943.
pJneci"
. in . Moneterey " Md "Miss'ouri 21rth. The · Kentucky
May Banjo - Team kinds in various :pa_rts of Lond-0n,,~.S .1:2lts
Waltz ")-Felix Mendellsohn's' Hawaiian (Bernard Sheaff, Edward .Fairs, and Dick seem to prove that fretted instruments
Serenaders (Columbia FB.2905, and "My Pepper) will play "Ad Astra" in the are _ far frorri for gotten. ' ..
Ga-1 Sal " and "At the · Cross Roads" - Kentucky Minstrels broadcast. Home
Roland Peachey and His Royal Hawaiians Service, 7.30 to 8.1,5 p.m. Meetings of the Lewisham Club . will
(Decca F.8297). May 29th. "Music While ·You Work" will c-0ntinue ·to be held throughout . t he sum-
be played by Trois .e ·and His Banjoliers mer and all fr etted instrument playe r s
Ronnie Joynes ha-s just completed a tour in the Forces programme from 10.30 to are invited to attend th e club's meetings .
of the Granada Cinema circuit; his out- 11.0 p.m. (Recording.) They are held on the se·cond and fourth ·
standing playing o,f the electric Hawaiian .Sunday s in every month.
guitar securil;lg him many return "dates ."
Neil Moret's famous intermezzo "Hia-
watha" will sl;lortly ba heard over the air
and oq records-this haunting tune be-
ing a recent " revival." Players of the
fretted instl'Uments can take part in th is
M.\J:•Di
~ 13. .( ~rr£ SP""cl~"c'.;
pl001c1s.
revival, as " Hii.aiwatha" i-s included in A COP; OF THE TESTS NECESSARY LETTERS TO THE EDITOR
the Cli.fford E&sex lists. TO SECURE "B.M.G." DIPLOMAS Letters from pl.ayers intended fo: pubtica-
can be obtained free of charge by applying tion should be written on one side of the
Last month , Tarrant Bailey, Jr., and his to the Editor, "B.M.G .," 8, New Compton paper only and · as short as the subject
pupil, Ronald Oddy, called in at the Street, London, W.C.2. permits, reaching this office before the
"B .M.G. " offices after making their Pathe The following candidates haye been 10th of the month . Publication of a letter
film. They treated us to an exhibition of awarded Dipl omas: does not imply editorial endorsement of
plectrum -banjo playing that was well Miss Mar·garet Meads, of Newstead, "A ,, the opinions expressed. No letter can be
worth hearing :' Mr. Bailey's plectrum accepted for publico.tion U?),less accam-
technique is in the Harry Reser class, Grade (Plectrum guitar). panied by the sender's name and full
Teacher : Sanders Papworth .
whilst Mr. Oddy's playing makes us pre- · Examiner : Elsie Dawson. address.
dict that _he is -a player who will one da'y Dear Sir,
reach the top ranks. Raymond Hall,- of Nottingham, "A" Grade I wou ld like to have the use of your
(Mandolih) : · " C6rrespondence" columns to defend
So many players of the Hawai-ian guitar Teacher : Sanders Papworth. your most interesting ..and well-".er~ed
have written asking for the complete ar- Examiner : Elsie Dawson. writer on things Hawauan-Ray Hi ggins
rang ement of Harry Pahene's " South Sea Doreen Lover, of Nottingham, "A" Grade -against the scathing subtleness of Robert
Swing" (as recorded on Regal -Zi>nophone (Mandolin) . Martin. . ..
MR.3561) that the- Clifford Essex Music · Teacher : Sanders Papworth. In my opinion the single-neck Hawauan
Co. Ltd. have published it, despite the Examiner : Elsie Dawson. guitar cannot be sufpa~sed for demo!ls-
present high cost of production. It can Alex ander Murr ay, of Glasgow, " B·" trating left-hand techniq ue and · flowing
be obtained ·tor ls. 7d. post •free. Grade (Hawaiian guitar) . · melody. I shall retain this opinlori until
Examiner : Frank Merton. I hear even one Hawaiian guitarist play-
ing ·a double or triple-necked instrument
Stanley Jolly, of De11by, "A" Grade " to sound like a Hawaiian guitar. lt stands
in the manner of an organ. Mr. Martin use a two-stringed guitar ..'as you mention
must see that he was entirely "out of .
order" in writing to you and talking about
an electric instrument for which we have
BA ."'JO neither does he us e a three -nec k guita;
with umpteen strings and various gadgets.
He can c_harm the whole world with just
not yet found a suitable name. an ordinary single-neck, six-string instru-
ment which , may I ha ste n to add, is quite
Answering Mr. Martin's question: "Has
anyone in this .country a better technique
than Roland Peachey ? " the answer is
CONCERT enough for any real first -class Hawaiian
guitarist. ·
"No! " The reason being that no other Mr. Martin asks Ray Higgins if he can
· player. plays his instrument in the manner ART ISTS· :- name any player in the whole British
adopted by him, with tp.e possib le excep- ,Isles with a cbetter technique than Roland
tion of Sandy Macpherson or Reginald BERNARD EDWARD Peache y, and adds that he doubts whether
Foort-but I think Mr. Peachey's tech- SHEAFF & FAIRS such a player exists. If this remark is
nique is just a mite better than either of intended as a direct challenge to .~11
these · players . f players of the Hawaiian guitar in this
I am fully aware that there are many
Ha'waiian guitarists using two or three- -FRANK , LAWES country I, myself, will be very pleased to
take' it up-and I could name several
necked guitars, but at least they en- other players who have a far superior
deavour to emulate the Hawaiian guitar. technique to Mr. Peachey .
RONGA TOM ED,WARDS Yours faithfu lly,
Whether they are sucgessful or not is a
matter of opinion. ~
And now for · a change of subject.
I
BROS & W. MORSE BERT REDSTONE
Where have your "Honolulu Hawaiians" Dear Sir,
got to ? I can appreciate tl:le fact that
.records are few and far between, but the
B.B.C. Is still tunctlonlng, and let me tell
LAUDERIC . When I saw in the "Rad io Times" that
the B.B.C. were broadcasting a " tribute "
to·Eddie _Lang on the tenth anniversary of
you that the average programme is a:wful,
so fol' goodness · sake either get your
" Hawaiians " on the air about five nights
CAT .ON his death, . I thought this would be a pro- ·
gramme worth waiting up for . But what
a " flop" it proved to be!
a week or give· us a few (seven · per week, · I hope you heard this broadcast and
at least) of your perfectly balanced pro- that you will write a .review in your most
grammes of Hawaiian re ·cords.
Thank you for the photograph of Eddie
GEO•. E. !MORRIS pungent terms' so that the B.B.C . will
never aga in entrust a programm_e about
Lang on the March "B.M.G.," and my a player of the guitar to Mr. Rex Harris
heartfelt thanks and congratulations
to Billy Neill ·for his much-lo<lked -for
series on the one and only Eddie .
Yours faithfully,
go WILLIAM
BREWER .I ALFRED
LLOYD,
-w ho may know everything there is to
know about "swing," but has a lot to
llfarn about the guitar . . . and Eddie
Lang!
HUGH SHIELDS Yours fai thfully ,
·Dear . Sir,
GREGORI
TCHERNIAK JACK WILSON
(I think that . E. Gates' article in this issue
I · was completely astounded to read
some of the statements by Robert Martin
& GEOFF
. SISLEY ·Editor) ca:re takes of M-r. Wilson's request .-
ABBREVIATIONS.-" B." Banjo. "Be." Ban.ju! 'ele. " Bn." ,Ba.njol!n, "Dol ,a." Mandala.. " G." Guitar. "H.0." H-aw.aUan Guitar. "M ."
MandoMm "P." Piano. "P.B." Plectrum-Banjo . ''. P.O." Plectrum-O ultar . "S" Sing.Ing . "Sax."· Saxophone . ''. T.B." Tenor-BanJo . " U."
Ukulele. "V ." Viol-In,. " Xy l." Xylophone. " Z.B." Zither Banjo.
May . 1943 iii
B.M.G.
THE
" BLACKDIAMOND
" REAL SILK
"ACME"
BANJO STlllNGS
We have a small stoc;< of the
PLECTRUM
Hand -made from t.he
GUITARSLINGS
finest tortoiseshell ann (RE D, GO LD, BLUE or GREEN )
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s trings wh ich we ca n supply al These r ealsilk . fuil -lcngLh guitar
lhe follow ing pre-wur, pre - PRIC E 1f 6 EACH sli L1gs arr a definite
pl ily ing - e~th<'r si tting
aid to
or stnnding .
P urchase Tax pr ices until st ocks lPostag .:- extra,
a re exhaus ted . PRICE
CLIFFORD ES SEX MUS IC CO. LTD.
3rd- 7d. each 4th - •9d. each. 8 New Compton Stre et, London, W.C.2 213
6!6 8!6 post free.
C3Ch,
pe r doz . pe r doz .
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,
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CLIFFORD ESSEX MUSIC CO. LTD .
8 New Compto n Street , London , W.C.2
VELLUMS
We regret that owing to shortage of
labour and materials we can 1wlonger
supply ready-stretched vellums
B UT
WE CAN SUPPLY This Modern Method tells you
best quality un.stretched calf-skin
How to play th e banjo cffect ively with the
banjo vellums at the prices quoted correct right and left hand fingering .
below. With every head p urchased How to play major and minor scales , chords
from us we supply complete and de- and accompaniment s in all keys .
tailed printe d instructiQflsto enable How to play the banjo with a plectr um .
any banjoist to fit the vellum to liis How to write and arrange banjo music from
instr,mu:nt with the minimum of a piano score.
trouble. How to arrange song accompaniments, banjo
solos and plectrum dance arrangements .
YOU CAN BUY A "C. E." How chords arc formed .
How to tran spose . How to modulate .
BE ST QUALITY VELLUM Th e whole fu lly explained by mean s of
2 Mandolins .......... ..... 1/ · ·\A/ITH EVERY CONFIDENCE illustratio ns and numerous examples used
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Plano Acc ...... . ......... .. . 1/- Prices :
For lOin. hoop or larger 21/- SIX SHILLINGS
C LIFFORD E SSEX (Postage 4d. ex1ra)
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8 NEW CO MP T ON STREET CLIFFORD ESSEX MUSI C CO. LTD . CLIFFORD ESSEX MU SIC CO. LTD .
LONDON , W.C. 2 8 New Compton Street,Lond on, W.C.2 8 NEW COMPTON STREET, LO ND ON , W .C.2
iv Ma y, 1943
B.M.G.
Hawaiian -Guitar •
•
TUTORS and ALBUMS
"KAMIKI" HAWAIIAN GUITAR METHOD
T1his method is undoubted ly the most practical and easi ly understood book of its kind on the
market. All superfluous exp lanatio ,ns have been eliminated and wh ile everyth ing of importance
is ju st where it is most needed, there a re no long bewildering explanations to confuse the
student. Ideal for t he playe r wlho is teaching himself .
PRICE 4/- (P ostag e 3d. cxtrai
CLIFFORD
ESSEX
MUSIC
Co. Ltd. 8 N'ewC~mptonSt.,London,
W.C.2
Prin ted by P everleys L td ., 32- 36, Fle et Lane , Lon don, E. C . 4, for the P ublis h cn and P rop rietors . Clifford Essex M us ic Co . I:.td.
8 N; w Comp ton Street , London, W .C. 2