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No.

457 ) MAY, 1943

,.

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.
~/V\IV\/V\IVVV\JVVVVVV\-'\JVVVVV'J'VVV\IV\IVVVVVVVVV\JVV\,'>JVVV\IVV' ,

BILLTRINGHAM ELLAIS' MANDOLINSCHOOL


COMPLETE BOOK OF INSTRUCTION
GUITAR TUTOR BY

A thorough and complete method


of plectrum gttita1 · playing w hich
7f6 HERBERT J. ELLIS 7f6
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teac hes the student to quickly un - CLI FF ORD ESSEX MUSIC CO . LTD . 8 New Compt on Str eet, London , W.C.2
derstand the art of r hy thmic dcmce '.,-vvv,.,,v ~~~ ~
band playing

4CIA~I H ,wIAl[lll[1'l4GI
IK C LVDES SOLO CUITAn AR n ANOEM£N 'rS
OF:-
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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
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Wi th Ple ctru m Guitar Accomp a n im e nt.I
(High Bass Tuning )
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SEA SWING'' CLIFFO :ilD ESSEX MUSIC CO. LTD.
8 New ·compton St., London, W:C.Z

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LO NDON , W . C .2 8 New Compton St. London , W .C.z
IPlease send me." B.M.G." for the next 1
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The Monthly Magazine de~oted to· the interes~s of the


~anjo, Mandolin , Guitar and Kindred Instruments
P u blished on the 1st of each Subscription Tates:
month at
Edited by 11 month s ...... 7 /6 (U.S .A. 11.50)
6 months ..... ..3/ 9 (U .S.A. 75C.)
8 , NEW COMPTON ST RE ET, A. P. SHARPE All news i tem s submitted for the
LONDON, W.C.2, ~NGLAND. I. next inue must aTrive at thi,
The Editor does no t nece 1111
rih1 office not laterthan the 15th.
Telephone-Te;nple Bar 2810
agree u,,i th the opinions ezpre ssed ADVERTIS ING RATH
7 elegrams-" Triwnphe, Westcent, London" by his contributo n . ON- REQUHT,

Vol. XL. No. 457] MAY, 1943 . [P rice Eightpe nce

outstanding ~ players of the instru- non-players who came solely because


The Spanish Guitar ment. of their desire to hea r· guitar music.
In England At liis former home in Cromwell PUBLIC RECITALS
Road, London, all . four walls of h is Th e more spectacular, although to
By J . L. WHITE music room were .covered with photo- him , personally, less important, activi-
1 N the Ja nuary "B.M.G." R. E.
Pullman expressed regret at- the
lack of interest shown in the
graphs .of guitarists from the earliest ties of Dr. Perott were the promoting
times to the present day, and he had of public recitals in London of Con-
many personal souvenirs of contem- tinental guitarists making their first
Spanish guitar, suggesting that this porary players. visits; notably Lou ise Walker and
was due to the failqre ·of its en- His. principal object behind the Francisco Alfonso. In · spite of the
thusiasts to make efforts to bring the formation of the Society was to help success which these two artists had
instrument to the notice of the gen- anyone who wished to learn to play achieved abroad, both on concert
eral public. H~ thought that while the Spanish guitar, and the most timid tours and iq broadcasting, the a1:1di-
·the difficulty of the solo instrument aspirant could be · sure of an inter - ences in London we_re disappointi ngly
accounted for the absence of concert esting and enjoyable visit to his house small and did not justify furt her
appearances of guitarists, mu_ch ~i~ht and plenty of encouragement and efforts .
be done . by means of pla_ym~ with practical help . The p1:1rely nominal The Society always • ~ad a sma~l
other strmge?- and woodw_md ms!ru- subscription to the Society and its number of •keen enthus iast s, but 1t
ments -to ~rmg the clas~1cal guitar unique library of guitar music made never increased its current member- .
before aud1en.ces who might other- it open to anyone who wanted to ,ship in a manner which c.ould indicat.e
wise not hear it. - know ·more about the instrument and that it had succeeaed in creating any
Although it is true that players ~nd to meet other players-who ranged considerab le influence on the atiitude
. admirers · ?f the real gut and silk- from guitarists of world-wide repute of the ·general public to the guitar.
strung guitar, as a . body, _could h~ve to beginners who struggled ner vously It is fair to conclude from Th:.
been much more active m securmg with their first pieces . Perott's experiences that the Spanish
appreciative recognition: of their in- · E t· 1 tt ded by guitar makes little appeal to English
strument, sufficient evidence _is al- very mee mg was a S?a en people as a classical instrument, but
rea dy available to enable one to form --------------- does attract just a few individuals
an opinion regarding its position in who become ardent ent husia sts . Yet
England at present, and to conclude _ co n tents for the sake of these latter alone, Dr,
that this is not likely to alter sub- Music in th is issue : ~ Perott will surely fee l that his en-
stantially in the fut~re. :1 :~!:'i
,:
i~f~~ ~. 0
i~~.-~~rp:s 1!~,wn Parade"
Plectrum Guitar Duet : · " Polonaise" (Bach).
deavo urs have be en well worth "".hile.
PHILHARMONIC SOCIETY Hawaiia n Guitar Solo : " One Star lit Nig ht"
SEGOVIA
, Plectrum Gui t ar So lo : " Mellow Mood "
Without any doubt, the greatest Banjo Boosting . By Byron Davies . . 153 To make the ordinar y Englishman
efforts at ma king the classical guitar "" B.M.G.'' Club No tes . · ·
B.M.G. u Diplomas
· · 156
. . 158 understand what is meant by the
known more generally 'in England _in By th e way • •
Cor respondence , ..
-- - - 155
156 true Spanish guitar, without demon-
recent ye ars have been those of O.r. Easy - Bu t worthw h ile . . .. . .. . . 148 strating the instrument or playing a
Borl·s· Perott, who, wi·th thi's 1·dea Felix Men de lssohn ' s Hawaiian

Four-St rin g Gu itarists.
Club . .
By Sa m Ad a ms
. . 148
. 145 gramophone record, _it is necessary to
m1n · d ,. · f Orme d th e Ph I'lha rmon ic Frets at London's County Ha ll . . ..
No Th anks Fo r ," T h anks For th e., Memories."
. . · 148
. mention the name of Andres Segovia ·
Society of Guitarists in 1929. _O.r. ,By E. Ga t es .. .. .. . . · . . 144 when, if he is interested in music, he
Perott ,s career as a gm·t_ans· t 1n • th e RRhadytioh mNews .. .. .. .. ..
ic Playin g of the P lect ru m Ba nj o.
: . 156
will perhaps realise that something .
large . concert halls of Czarist Russia Smar.y A~~ce~ti~::::: :."ts
has -already been described at length Th e Beginne r and t he P lec trum Guita r.
:-: .. .. :: ' m other than the instrument played in
. d By J ack Whi t fie ld .. .. .. . . 154
the dance band is•meant, for Segovia
in "B.M. G.,'' an d over a 1op.g per10 - Th e Mus ic Of Eddie Lan g. By Bill y Ne ill . . 146
he contributed articles on the world's The J . t~ a;, 1 ~rte
Guita r In Eng la nd , By 141
is the only player who has maqe re-
peated appearances in London and the
142 May, 1943
B.M.G.
provinces, broadcast frequently ,' made in his collection, ther~ would be -a dif- wor ld of , the Spanish gu it ar-who's
more than one - English record, aQd ferent response-although one pro - who and what's what-and it is
has been televised. gramme alone (broadca st when the throug h him, personc.1lly, that many
Segovia's first recital in 1926 at . the least number of people could hear enthusiasts glean interesting pieces of
Grotrian Hall secured for him the -most it) would be unlikely to evoke this . infonp.ation and (often) welcome
lavish prai se -in all the principal news- news of each other.
papers, and ever since he IJ,as been VALUABLE WORK
received by · large and enthusiastic The amount of work done by the · DEBASEMENT
audiences, He certainly has made the Editor of "B.M .G." on behalf of the Most players of the Spanish gu itar
Spanish guilar known in England (or, Spanish gu ita r has been mo.st valu- fee l that th e plectrum-played guita r
perhaps, it might be truer to say, that able and continuous. He took an is largely respons ible for their own
he has made Segovia kno wn in Eng- active part in the meetings of the obscurity, and what they consi"der to
l and), but in spite · of his success his Philharmonic- · Society of Guitarists be the debasement of a beautiful in-
playing does not appear t.o strument. One of . the man y
have inspired any general _in- " swing music " enthusiasts
terest .in the instrument or who have a great admiration
any clemand for further guitar for the classical guitar once
music from the musical world ,: made an ambitio us ·attempt to
the gramophone companies , or reconcile the two classes of
the B.B.C. exponents . In . 1939 at th e
RECORDS . Streatham Rhythm Club , he
The recor d companies may invited a number of players of
justly claim to know the ·both guitars to play before
popularity of various kinds of the huge audience. Much as
music as shown by ihefr some of the classical pieces
·sales, and their , catalogues may h ave been appreciated ,
therefore supply valuable there was not the slightest
evidence regar ding the posi- doubt that 'no "converts"
tion of the guitar in England. wou ld be forth ~omin g.
These said catalogues show ·From the foregoing it may
tha t over a number of years reasonab ly be concluded th at
less than a dozen Spanish
guitar records have been is-
in England there is very littl e
interes t in the Spanish guitar
sued, -and any inquiry after except -as a novelty introd uced
further possible issues brings occasionally in musi cal pro-
the reply that sales hardly . grammes of wide ly varyfo g
justify what has already been types. .
don e. This country has ·pitifully
Th e B.B.C., even more than few really capable pla yers,
the record sellers , are able to and these · are. rarely heard.
assess tlie public reaction to There are many amateur
music. . Over several years players of the Spanish-•guitar
they have, -apart from Segovia , who are extremely devoted
broadcast very · few guitar Drawn by] [J. G. He -nderson to tq.eir instruments (for som e
r,ecitals; these include those of .. DO YOUR WORST , DIGBY, WE MAY GET the guitar is· their sole and
Emilio Pujol, Maltide Cu ervas SOME EGGS ! " all-absorbing interest) and
and Alice de Belleroche. In five years and did ·everything to help it by giv- they displa y a kee.nness seldom ob-
they have given two gramophone talks ing space in , "B ..M.G." to its reports , served in other instrumentalists. The y
on the Spanish guitar (one by Charles letters from members, articles, music, can never hope to. secure for .the
Chil ton and the other by A. P. and advice. Spa.nish guitar an appreciation from
Sharpe) , and with monotonous regu- He frequently brought to the the genera l public even · approaching
larity for · the last sixteen years th ey Society's meetings selecti ons from his that accorded orchestra l ins t ruments ,
have br oadc ast the three or four unique collection of records and thus or the Hawaiian and plectrum-played
Segovia r ecords in their possession. enabled members to hear famous guitars.
Th e Corporation (or, at least, those players who are never in England.
responsible for the broadcast of this It is quite possible that the attention "PEARLS BEFORE SWINE"
type of music) apparently rega rd this he gives to the interests of the Span- Since the foregoing conclusion is
amount of Spanish · guitar music as ish guitar is out of all proportion to based upon man y years of va in at-
sufficient to satisfy the interest the actual number of readers of the
tempts to stimulate a desire for Span-
shown. - · · magazine who are really appreciative,
P erhaps if the y were ~o accept our bu t th eir appreciation is all · the ish gui tar music-some ad dresse·d to
Editor's offer to _introduce . a greater greater because of th is. would -be players and small groups of
var iety of pl;iyers and styles ' of play- · Mr. Sharpe knows more than ariy- sympathetic listeners ; and oth ers to
ing by :means of the records he ha s one else what is happening . in t}:ie the worl d of music~lovers at large-it
····"·
143

: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
:f=v, ~ fM,-F±-UtF$!: I , ! $ErH ·
:f~ . • A- ,. ·A
w~~ertct~~~iht~!s~ec!rd
1
~e1:f~~~~
would_ come into the · broadcast, be-
'" J ~ f f -6f: , ~ ~ cause of the obvious tie-up this pre-
.4•sf. ~ tl1dld r ~ 7 t rtI a2 r !" ,~~~;0a·1~~~~ 5{~~~u~~~~~- u~~
A-. A ~A A A ~:

1. I h:v~r
it.
· b qA . I do not know whether it y;as Rex
f#~,5~q,:
1,
f ; I f; Ffi I fi 81=$
. • A-.

!; I , l ~ l I ;~~ ;!:;~~s~leBei;~~es!~m~~~r;;~;,
technically-wrong phrases such as :

-,:bfu~ i; 16, Hi tli' 11. F F I . ~~= ~t.~::,:,~.~;;ie~~


· A " Lang made niany experiments With

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
9uJJintP~
~
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.(; 67
1p1,JVJ
A7
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07 G C f;? Am7 1)7 _
reasons wort h.y-of consideration.
NARROW FINGERBOARD
Personally, I think that one of the
-~ =- .=-
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P0? E7 . Am7
.-
D7 r i G
¥Jt
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)

R'ETURNING to _America, Eddie


Lang continued to record with
the Blowers, and among several
LING
titles were " Tiger Rag," " Deep
Second St. Blues," "P lay Me Slow ,"
and " Gettin' Told," all of which were
made dui::ing 1925 for the Bruns wick
Company.
Altogether , the group (from the
tim e Eddie joined them) recorded be-
tween sixteen and twenty . titles, ex-
tending to 1928. These, together with
all of hil? most important recordings,
*
I will append as a discography at the
close of this series-that is, if demand
warrants its inclusion.
-Most of the tunes recorded by the
Blowers were compose.d by its mem-
bers (as previously stated); Eddie's
nam e being , in several ins tanc~s.
· linked with that" of McKenzie, but as
" Lang e P and, .in one- case (" Best
Black "), was quoted as "Carle."
Some of these composition s by
Eddie are : " Deep Second St. Blues," Real name, Salvatore Massaro. Born
"Gettin' Told ," "The Morning · After," Philadelphia, 1904; died 1933. First famous
"Stretc h it Boy," "Blues in F," "Hot hot guitarist. Lifelo ng partner of violinist
Honey," etc. The finest of these I Joe Venuti. Visited London 1924 with
consider to be " Best Black,' _'-whic4 is Mound City Blue Blowers, In addition to
as musically melodic a composition many solo and duet records, worked with
as any one could hope to find. Paul Whiteman, Roge r Wolfe Kahn, and
other commercial bands. Accompanied
TENOR-BANJO SOLOS Bing Crosby, Boyd Senter, Gene Austin,
Annette Hanshaw , Ruth Etting, Sophie
In " If You Never Come Back " Tucker, etc. Recorded with Goodman,
Eddie .demonstrates his abilitv as a Nichols; Trumbauer , McKenzie, Mole, Dor-
tenor-banjoist oy piaying a ·single- seys, Lanin, Pettis, Rich, Redheads ,
string solo in similar style to his Charleston Chasers, etc. Featured in the
guitar :playing, complete with "p ull " film "The Big Broadcast" and with Paul
effect and all ! Bland is credited as Whiteman in " The 'King of Jazz. " Con-
composer of this piece, but the back- sidered by many to be · still unequalled as
ing (" Hot Honey .") is by Lang. On technical and artistio master of his
instrument.
this side Eddie plays gu~tar 1 walking -
147
. B.M.G.
used t!) bette r purpose in giving a artist as long as it provided him with any, however cynical, sarcastic, or
more detailed . review of his many bet- th e opportunity to do so. , exact the examiner may be. His style
ter . and • lafer elect,rically-recorded Aside from the necessity of playing sur pa ssed the genera-I trend and level
efforts when we meet up with them. for "bread and butte r," which is, of guitar-rhythmic-music at each
But before leaving the Blqwers, most unfortunately, the necessary lot phase or period of development in
mention must be made that they are of any artist, it is obvious that the dance music. In fact, his was · the
worthy examples, and at least one or demands made for his services (apart standard, the ideal by which others "'
two · titles should be includ ed in from recording) provided a sufficiency were judged. His . was the lead that
guitarists' collections and • are not of means to justify his choosing at kept the playing of the plectrum
being glossed over as immaterial ·in pleasure and with independence to guitar on the upgrade.
this survey of Eddie's recorded work. play only with and for the best After the joint attempt of having
orchestras and artists-but he · ap- a band of their own, Jo e and Eddie
LIVED IN THE STUDIOS parently was not content to do so. (in 1925) joined the orthestr a led by
To go back a little to the period of Roger Wolfe Kahn and, as Eddie
his schooling we learn that , to quote IDEAL OBJECTIVE states: "Played with him until he
the "Rhythm " article : "Attending The ideal objective was for him to disbanded the outfit "-but more
this school and also playing ' violin in derive the greatest pleasure out of, of this later.
the orchestra , was a boy who has and to attain ·his purpo se with, his WORLD RENOWNED PLAYERS
since become my inseparable pal- guitar and his music. His whole life ,- It is said that Venuti and Lang
Joe Venuti." It was with Joe that on being wrapped up in his instrument, were occasionally engaged for special
Eddi e's return to the States in 1925 pr~vented him from enjoying (?) .the sessions by Goldkette around 1923,
they renewed a temporarily broken superficial and easy life of the clp.ss just prior to Eddie 's trip to London
partnership; forming an orchestra of of musician who catered for , and with the Blowers.
their own to play in " The $ilver Slip- pampered' to, the elite; to audiences This band, at that tfme, had several
per Cafe,'.' in New York . who cared not for , or .understood , the
star players whose nam es were later
Very few recordings can be traced soul of music. to become world-famous.- · The late
featuring Eddie of this period, and ' Don Murray (clarinet and saxophone )
the task of tl'acing- his recor ded his- whom Venuti used for one or two of
tory from 1926 onwards- now bec9mes his late1' "B lue Four" recordings;
more involved because of the fact Steve Brown on bass (the most excit-
that the success of ·Lan g and his
ing player _of the earlier Goldkette
guitar c~eated such a deman(j for his recordings), and the nucleus of the
services that he might be said to have old · Scrant .on Sirens: Riskin , Farrar
lived in ..the· studios for the remainder and the Dorsey Brothers, all o~ whom,
. of his all too short life. as mentioned previously, were in-
It , is almost impossible to s_ay for
JOE VENUTI AND EDDIE LANG. duced by Goldkette to join· his band.
certain that he remained with any Venuti claims he had been a mem-
particular group for a certain period,
as it is found that whilst contracted This form of music for Eddie must ber of this band from as far back as
to play for a said orchestra, he would have been obnoxious and far from his 1918, as he tells of how he made his
,also be recording or broadcasting ideals and ideas of music as an art. first . record with a band when four-
with all sorts of bands and artists. They m{ist have been from the facts teen years old-and 'that this band
One wonders , on studying the many above stated , and because he played was Goldkette's.
recordings on which Eddie is featured with any group and artist, irrespec- The title recorded was "No . 14
and allowing for the playing time tive of race , colour or creed. Eddie Blues," so called because this was the
given to dances , cafes, broadcasting, could, and did , play with the best and number of the• piece in t):l.e blues
etc ., if he ever found time to sleep worst-from the h~ghest to the library book. -In tHis Joe played a
lowest. four-string chorus .
at all!
I need only cite the instances of his VENUTI ERRS
HIGH STANDARD having played with Andres Seg6via
and Boyd ·senter ! Dil_igent searc hing and ·inquiry re-
It can also be wondered .that , veals that Venuti aparently errs here
spending so much time with his GAVE HIS BEST in ·a matter of ·four or five years, as
guitar , it did not become merely a Where, in all of Lang 's recordings, the Goldkette band was not formed .
job of work with him. It is undoubt- .might one accuse him of having until 1922, just when the Scranton
edly a fact , his efforts rig})t to the played without feeling? ·of having Sirens disbanded.
last were of a musically high stan- not meant what he played? No mat- I am indebted to Chas. E. Waring
dard, and undeniably true that it did ter the artist , group , or type of music, for his •assistance in solving the ri ddle
not, with him , become a 'mere form of Eddie gave of his best like ·the true of ·th.e Venuti dates, which is l)rove d
work, as he could not possibly have artist he wa_s. He participated with by the fact that a Goldkett e title of
· retained such consistency of perfect the fullest sincerity and contributed "It's the Blues,'' on Victor 19600bears
musician ship. That it wa.s devotion greatly to the success of the whole. the sub-title " No. 14 Blues,'' in which
to his instrument and his love of The early recorded examples of Venuti does play a four-string chorus.
music is evidenced by the ·fact ·that Eddie's playing can, even by preserit- But the actua l date of this session was
he would play with any group or day standards , stand the c~·iticisms of March , 1924 !
148
·i:-i .
~a.M.
. ~
G
. .• ~

Edd~e, of co4rs~, was not present


on this session, the fret-chair being Frets At London's ·sands as giving pleasure to the n:i.any thou-
who already appreciate ·. .and
held by Rowdy QuickseU, on banjo. enjoy it :
Eddie and . Joe may have been . County Hall "
featured with the, G~ldkette · band ·
before the Blowers tnp to London ,
ON• In his prel iminary literature about
Easter Monday the combined the ·club, Felix Mend elssohn is asking
orchestras of the · Islington and "fa ns" to state the .form and particu-
but unfoi:tunately there are no \mown ' F lh L C C I n1 t · (f t lar type of Hawaiian music th·ey pre-
record ings, and none until we reach e'ght u 1am ). · · dns u esd otr _Y -
1926 1 p ayers , un er con uc ors fer, i.e., swing , dance, light or
o · 0 th G0 ldk t . . . Bernard Sheaff and Edward Fairs, authentic Hawaiian. He goes on to
n~ er. . . e te title which played at the L.C.C. Exhibition of Arts say : "Remember the · 'Hawaiian
features Venuti m a solo spot (and a d c ft h ld t th c t H 11 Ser enaders' do not confine themselves
incidentally, . also displays the meri t~ Wn t ~a ts e a e oun Y a ,
. . . es mms er. strictly to hula -hula music. I have ·
of S . teve Brown as a terrific bassist) .
is "_Dinah," ·but othe 1; than this it falls The combined orchestras gave an proved that such a band can adapt
' flat by comparison with the la ter hour and a half's progr~mme (in two itself successfully to any kind of
recordings. parts); items including : " Banjo music, from a Strauss waltz to swing
· Vamp, " "Gems From the Over- strictly' in the groove. If you prefe~
,JOE ANO EDD .IE tu res," "Down the Mall," "Musical ordinary commercial dance music,
Of the supposed · earliest waxings Memodes," . "Nigger Minstrels," the n perhaps such love ly melodies as
made by Joe and Eddie, let us quote "Show Boat," etc. Ellington's 'Solitude'. played in the
Venuti , who i.n 1934, when on a visit A Hawaiian Quartet introduced Hawaiian manner appeals to you. It
to this country, said: " . .. Eddie and variety with their playing of" Momi," is tor you to say. The future musical
I used to make records . for .an ltaiian etc., while Michele Ronga (leader of policy of the ' Serenaders ' depends on
concern when we were still at school the Islington mandolin section) gave the type of music yt>u like best."
that was before the Goldkette recor d~ brilliant solos accompanied by his Any player . interested in joining
ing (' No. 14 Blues' )." .And later: brother on guitar. His programme in- this Hawaiian club should write to the
" I had my own band when I was eluded '-'Schon Rosemarin" (Kriesler) General M;mager : William Dash, .at
eleven-just a quartet. There was and his own composition " Polka 31, Haymarket, London, S.W.1, for
Edd ie, Charlie Senso, Chick Grenace Brilliante." particulars of subscription and details
and me." · . of what the club offers to mem bers .
Th is may or may not be true. At H~rry Ruth, _leader o~ the banJo
least it need not conce rn us. In f ac t section,
t b cqntnbuted
. . fa:ultless
d' . H_plec -
'it is perhaps J·ust as 1·1 th t rum ~ anJo . so1os, me 1u mg arry
have ' no access' to these we a we Res er 'S ,," C razy J O' " an d " 0 ve_
ea rly record- · r t ure Easy-But Worthwhile
ings (one title is reputed to have been Me~ey.
" Stringin' Blues ") as they would pamecl _by th e full ba nd ·
merely serve to show "how baby
In the lat te r h~ was accom-

H. Ashford's . masterly handling of


. NO thinking player of a fretteq in-
strument will ridicule a banjo,
looked when ... "-and such remem- solo passages on the bass-banjo were mandolin ; or guitar solo merely
brances can, at times, be most em- much in evidence. because it 1s exceptionally easy
barr assing. . . The County Hall .Conference Hall -to play. Banjo ~olos like " Park
, Howev er, it is as well to· mention in which the performances took place' Crescent :• and "Gold Diggers," ·and a
that Joe's claim is disputed by Eddi e's was crowded with .visitors from · ali few other very easy solos that could
brother Tommy, who, . in a le tt er (sent' parts of the Exhibition and each item ?e named, have benefited the fre.tted
to and quoted by J : K.. Gibson in was given a· tremendous ovation . mstrument cause to no mean extent,
The .Melody Maker) said: · "Eddie . for they have not only made young
at .the age of twelve did not record ------ · players · feel they were making·head-
with Joe Venuti , although he played way with ~heir chosen instrument
with him on all other occasions ." Felix Mendelssohn's (and thus given them valuab le en-
Before proceeding to the real corn- couragement) but they also enab led
mence·m~nt of Eddie recordings · it is Hawaiian Club t~e non-playing public to hear effec-
perhaps as well to mention t)lat it ·is . tive tunes played easily and effec-
n.~~h impossible to write of Lang f ELIX ME~DELS~OHN has formed tjvely-which is, of course, how they
without having to mention Venuti- a Hawauan club to further the should be played. .
and vice versa . They were seldom popularity of Hawaiian music. · The truest test of any solo is in its ,
see_n singly, in bands, studios apd He feels_ that a Hawaii~n club will originality; effectiveness; and selling
pl~ces frequent ed by . musicians. The help stimulate ~nthus1asm . among ·power. It is far more diffo:;ult to write
pair are , around this time , to be found tho~e who have hitherto not thought an effective easy solo than it is •to
in recQrdings by the Denza Dance serious ly. of t)'lis type of music, as ~~11 write an effec_tive difficult one, .and the
_Band, _Goldj{ette, Kahn , Jack Pettis , fretted instrument composer who can
Red_ N1ch_ols, Johnny Sylveste r, Sam "~~ giv€ us w9rthy pieces that wm appeal
Lam n, etc., etc., but let us follow
them chronologically as near cor-
PHOTOGRAPH
our cover photo gra ph this month shows
1 to beginners deserves the congtatula- ·
tions or everyone interested in fret'ted
rectly as mat\ers. ~~1tar;';;f~•known broadca s t1ng Northern instruments, and all the success such .
(To be con tinu ed) · TERRY USHER numb ers would surely achieve., .
~
!"B.Jf.G:"
Supplement. May ..19431 , p O 10n ais e 140 .

Arr. by · Plectrum Guitar Duet ·


TERRY USHER J.S. BACH

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Copyright reserved by the compos er.
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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.

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


152
· Cape Town Parade
Plectrum Banjo Solo ·
J. I.ASHTON
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Copyri ght reserved by the composer .


May, 194·~ 153

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

Radi'1N~s (Hawaidan guitar) .


Teacher : Mrs. · Elsie Dawson .
Examiner : Sanders Papworth.
to reason that, in jumping from one neck
to another, the player must "kill"
last note or chord played in order t9 make
the

Present -day qonditions make it impos-


a clean start on the next neck. ·
sible to give co-rn,plete details of forth-
Regardin g Mr. Martin's child-like letter
and his mention of Sol Hoopii " using a
coming broadcasts. Readers of "B.M.G."
are advised to Cl>71$Ult the "Radio Times,"
in which full
grammes
details of current
are given (daily
pro-
newspapers
barely give details that seldom give any
13M'1(JI_ Ub N()t£§

· ·
• • _ _
two-string guitar," ·1et me tell him . that
the~e is such a thing as a bull~t-nosed,,steel
which enables the player to mour~( the
desired string (or strings) on -the smgle -
indication of the type of programme) and - [Club Secretarie!l are invited to submit neck g~itar , ~pus mai ntairi;ing,, "flowing
try to listen to au fretted instrument items. re .ports of their meetings for inclusion melody and . good p~rasmg.
Letters or postca-rd~ to the B.B.C., Broad- under this heading. There is no charge (?n t:i,.e multi-ne _ck guitar, , therefore, to
casting House, London, W.1, voicing an for insertion, but reports should be as mam~.rn the~e 1mpor_tant. assets (the
brief as possible an4 posted t-O reach this Haw;man guitar's pnm_ary charm) ~
approval of such broadcasts, wm ensure
further such programmes . office before the 10th of the month.- player would have to manipulate _a wed_ge-
EDITOR.] · nosed steel of some great le ngth_ which,
May 2nd. "Music While You Work" will - of course is absurd and not practical.
be played by Troise and His Banjoliers ~em~ers of the F_ulham C:lub are dpmg Perhap~ it seems a· shame to bring
from 10.30 to 11 a.m. in the Forces \heir bit to. keep ~he banJo ~efore the Roland Peachey into the discussion, but
programme. general public, playing at functions of all Mr. Martin was the · first to do this and I
May 13th . Troise and His Mandoliers will am sure he (Mr . Peac)1ey) will fipd
broadcast in the Forces programme from nothing untoward in what I have to say .
11.0 to 11.30 a.m . ·
May 13ttl. Troise and His Barijoliers will
play "Music While You Work" in the
HART LEYS' Mr. Martin upholds Roland Peachey as
the leading e<'ponent of the Iiawaiian
guftai - in this country. He is wrong! A!id
Forces _ programme - from 10.30 to · 11.0 FOR ORCHESTRATIONS yet he is right. This apparent cont_rad1c-
p.m . (Recording.) tion can be explained by telling Mr .
May 15th. F elix Mendelssohn's Hawaiian . All Popular and Martin that he does not know his subject.
. Serenaders (Directed by George Elliott) Standard -Dance He seems to be und er the impression that
will broadcast in the Forces programme Orcihestrations because Mr. Peachey uses an electric
from 2.30 to 3.0 p.m. instrument with strings and frets, played
May 17th . Felix Mendelssohn's Hawaiian St ocked with a steel in the left hand and finger
Serenaders (Directed by George Elliott) picks on the right hand , . that he is a
"".ill broadcast in the Forces pro gramme All orders over 5/• sent post paid ,
c.o.o. Lists on re ceipt of postcard. HAWAIIAN guitarist. Roland P eachey: is
from 8.30 to 9.0 p.m. a wonderful technician ; has a really
May 20th . "Music While You Work" will
be played by Troise and His Banjoliers
Hartley's Music Stores, clever technique all his own .; and -is, un-
79, VICAR _ LANE, LEE D S doubtedly ; the leading exponent of · the
in the Home Service and Forces pro- . • 'Phone 25505 "electric guitar--cu m-organ ." I am . quite
gramme from 3.0 to 3.30 p.m. sure that even Roland Peachey himself
B:M,.G. -,lfi'J.
would ' mitke 'no ·cla'im •to ·be ·a HAWAIIAN
gilitar'ist' as it is evident that he does not
,. . . ' , .... ing does not impress me one little bit. It
·rn,a
y s'i.iitthe 'so;called
" swing "-minded (?)
·play; · or seemingly •intend to · play; his
guitar:cum-organ in any · way resembling
W 1·G,M-OR'E HALL publfc, but to · the ' experien ·ced eat ' it
leaves much to be desired. · '·
anything Hawaiian . · . · Why all this controversy abou t the slant
Mr. •·Martin might think that I · have SATURDAY and reverse-slant? Surely such a . simple
no experience of Mr. Peachey's playjng. manceuvre is hardly worth mentioning. I
I have : heard him play many times ; have · could reverse slant th e steel eight een to
seen him play often ; have had many chats
with him; · and have every disc he has
·JUNE 26th twenty years ago ! .It was all part of my
tuition when I was -taking lessons in the
made. AT U.S.A. Of course, you will know t hat this
I can sum up , best by stating that Ray is practically impossible with the flat steel,
Higgins' article was on the electric guitar
played in the manner of a .Hawaiian
guitar, not on the el~ctric guitar played
1.45 p.m. and I have been given to understand tha t
Roland Peachey uses a flat steel.
No! Mr. Martin, · Sol Hoopii does not
·

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 .-

in his letter in the March "B.M.G." and Dear Sir, ,


I would like to air my views ori this sub- THE The other week we Hull banjoists had
ject of Hawa,iian guitar playing. the pleasure of hearing a "sta r" p layer
First, I would like to point ou·t that Ray ISLINGTON in the person of Freddy Morgan -
Higgins has written many excellent AND " America's Wisecracking Banjoi'st."
articles for "B.M.G." and never in one of I had Freddy in to see me at my bu si-
them do I remember him referring to FULHAM · ness addr ess in Hull and had half an
anyone in particular .. Why Mr.. Martin hour's very int eresting conversation.
should deem it necessary to become so B., M. & G. B A N D S Du ring the week I went in to see his turn
antagonistic and openly ·accuse Mr. and after the show went "bac k stage ' to
Higgins of writing an article containing sei> his instru men ts and have a chat .
a cheap snub at Roland Peachey I cannot
imagiI)e, unless his let~r was insp ired by
THE JEFFERY BROS . He is a deli ghtful and breezy yout h as
ETC. befits a " wisecracker ." He gave me a
Roland Peachey · who thought the article signed photograph of himself in his Stalin
in question was directed towards himself.
If this is so, it appears to ine that Mr. TICKETS: · disguise , which is so excellent that those
not . " in the know " · think it is a photo-
Peachey is adopting a superiority com- . graph 01 the real Stalin.
plex and I, for one Hawaiian guitarist,
do not feel in clined to tolerate suc '.1snob -
Sf- .& 2f6 His turn is one that has to appeal to
bishness. Early applioatlon is advisable. the general public and contains some ex-
cellent playing (and · some very good
I have never seen Mr. Peachey in action, O BTAINABLE FR O M
comedy work) in which is introduced
but I have heard many of his broadcasts CLIFFORD ESSEX MUSIC O~,' Ltd. J;,iszt's "Hungarian Rhapsody " and " Poet
and I can assure Mr. Martin .that his play ~ a!1d Peasant."
158
B.M.G.
. In· h.is dress,i.l:lg-room he gaye me some letter you say: "It is my experience that If I may take a little me.re .of your
examples of 'his · playing which was .a de - when players reach the stag e when they time I would like .to quote 'fi:om · Rob ert
light to hear and see as his technique was can play arrangements i.n the key s for Ke a ble 's splendid book " Tahiti.:....Jsie of
~:x:cellent. One of his banjos ha s a mute which Mr. Martin ple ads, they are quite Dr eams." In writing of Gauguin, the
attachment and th is gives a pleasant effect capable of playing from the piano copies escapist artist, he says: "M illions · of us
in sweet numbers . He also uses a bridge or making their own a rrangement s." I these days find ourselves tied in some
mute on the th ree lowest stl'ings and by am now tempted to say, "So what?" place at some job in which w e know only
use of his right forear m gets a fine vibrato Not becau se I disagre e with you - I do not too bitterly and well that something in
effect which , wi th t he first str ing un- -but it would have meant exactly the u s will never be fulfilled. We shall con-
muted, gives a very pleasant renliit ion. sa me (to me , at any rate ) if you had said: tinue to live .· .. knit about wit h human
"! should mention that he p lays a tenor- "The Hawaiian guitar music in "B.M .G.", ties and responsibilit ies, and in the end
ban jo, with the first string tuned an ls foi- be ginners only. Players who have be nc:,tly and res pect fully buried in a
octav e lowe1·. Thi s is an excelle nt idea , had more tha n ten lessons, KEE P OFF!" cemete ry beneath a headstone distin-
for as he plays well up .th e fingerboa rd Before leaving this subjec t, I would like g uishec from a th ousand oth ers as much
the first string shrillness is entirely to ask why a person who tak es up the as we were from the swarm in our life.
eliminated, yet his position playing bril'l,gs study of the piano, Spanish guitar, violin, We shall have had•our trick at the wheel ,
it up enough to kee p it bright. To etc., is first of all taught to play in the and will it have been worth ' while? "
counteract this first strin g becoming ' key of C natural, progress ing · from that Please convey tci Mr. Bail ey my sincere
sharp, Fre .ddy places his bridge a little key to all " flat" keys and au "sharp" thanks for his expressio n of his thou ghts.
out of alignment. keys, whereas quite a number of so-called Your~ fai th fu lly,
With the usual freemasonry or brother- "authorities" wh<? write Hawaiian gui tar GEORGE FOVARQUE
hood of all ban joists, he showed me all tutors seem to thmk that they are doing
these ideas of his and e nt erta ined me to a grand job if they fill about fifty pages Dear Sir,
his playing, and I am hoping to see him of their tutors with full details of keys I fee l I fl1UStwrite to thank you for the
again if he visit s this city. · A, D and E, finis hin g with a vague sug - F ebruary issu e of " B.M.G. " just receiv ed .
Yours faithf ully , ges tion (genera lly occupying from half a In my humble op inion this is one of the
ALFRED B. HOBSON page to , at the most, three page s) tha t finest numbers you have ever produced.
there really are more keys in existence I have read, and rerea d, it from cover to
Dear Sir, than thos e mentioned. cov e r an d I mu st offer you my sincere
I was pleased to see in the Februa ry I would now like to draw attention to congratulations on producing such a fine
"B .M.G." the lett er fro m Harry J. Dum- you r rather p ersonal remark s abo ut iss ue. .
ple ton about th e " Harmony Hawai ians ," "ofCurly " Orm er od . Perhaps his playing It would be invidious to pick out any
for I thoroughly agree .with all he says -the electric Hawaiian g uit ar does leave particular article, but I must han d out a
about th.e playing of thi s combination . I much to be desi red, but , after all , readers bouquet to yourself for the excellent
had the pleasure of hearing them re- of " B.M.G." are interested in what all article on Oily Oakley and one to Tarrant
. hear sing in a dres sing-ro om at the Queen's the pos
different players are doing, even sup- Bailey, Jr., for his inspired a nd inspir-
ing you are not . I may say, in passing ,
Theatr e , Dublin , during an engagement in g art icle on th e adv anta ges of becomi ng
there last Octobe r. that the pl ayer men t ioned left the B.B.C. a professional musician. The l atter
Scotti
Tom Hudson can certainly handle the is now in London. sh Variety Or chestra last month and article rang with sincerity, and I offer
el ectric Hawaiian guitar, so much so, in my congratulations to Mr. Bailey in dis-
fact, that my youngest dau gh ter Cage 9) As you say in your reply ·to J . Allen covering in time the pro fession to give
remarked as we left the dressing -room Ed wards, " there are many · published solos t:im a life of satisfactio n and joy. I am
aft er hearing the comb inatio n pl ay in the standard ·A Major tuning." Never- nearing my "a ll otte d span " and can only
"Tiger Rag" : "D addy, it 's a good job he theless , I sti!L maintain that the se same say that I only wi sh I had been as for•
is not playing his guitar on the bill , this arra electric
ngements are entirely unsuitabl e for tunate an d far-seeing as Mr, Bailey has
- Haw aiia n guitar playing because been.
week. You would have to stick to your of the nec esssity of using open strings.
banj o! " Out of the mouths , etc. Th e Your s faithfully,
two small daughters were pl aying banj os Yours faithfully,
ROBERT MARTIN , J. BIC KNELL
and sin ging and, as a n introdu ction to my
singing act, I opened with a few short
dream y Hawaiian guitar solos . She lost Dear Sir , Dear Sir,
hope in her "daddy " as a Hawaiian Can you please tell me the correct
I really must thank and acknowledge position for the bridge on my guita r ?
guitarist afte r hearing Tom Hud son!
The "Ha rmony Ha waiians" is a great yo ur generous act in all ow in g T~nant Yours faithfully,
outfit an d I wish them all sort s of good Bailey, Jr., th e use of your usu a l spa ce
in the F eb ru ary issue and for pµbli sh,ing (This is a quest ion I am being repeatedly
T.· G. PINKERTON
luck.
Yours faithfully, such a splendid article-in fact, the finest asked, and for the benefit of other players
article on this subject that, to my know- I am amwering it in these columns . The
JA CK MACGARVEY ledge, has ever appeared in pr int. His correct position of the bridge-no 1'1\atter
ph ilosophy is worthy of great er recogni - what the instrument-should bE! the same
Dear Sir ; tion than even " B.M.G. " can ensure! dista nce from the twelfth f ret as· that fret
· I am afra id I have made a bad mistake I myself am within a few month s of at- is from the nut. In · other words, th e
in my letter published in the Februar y taining 20 years' service (!)as an engineer- twelfth fret should be exactiy hal fway
issue. In stead of the sent en ce: " I make ing draughtsman with one firm , and I am between the nut and the bridge. Perfect
·no com ment wh atsoever on the . great conv inced that my nature is such tha t I ad;ustmenJ on at! strings can be ac.com-
variety of tunings required for all the se should ha ve been un able to stick it i f it plished by sound ing the harmonic at the
arran gements " following " For ever and a haq not been for the " esc.apism " and re- twelfth fret and playing the n ote at the
Day, " etc., it should be in th e preceding laxation provided by ban jo and saxophone same f re t; the note and harmonic should
parag raph, . so as • to read ". . . seven of play ing in th e dan ce band sinc e abo ut sound at the same pitch .-Editor)
these arrang emen ts are in A ar.d D. I 19;!6. We all have our dreams for the
make no comm ent, etc., etq ." If I have future, I suppose, and the war has Dear Sir,
now made mysel f quite clear in the stre ng th ened my det erm ination that, I am finding the arti cles by L . T.
matter you will notice that instead of my being spared the lives of my .wife and my Broomfield most interesting ; he is givin g
letter bein g in complete contrast to at own, to step out with both feet at the me a new lease of life on the ban jo.
'least th e first . part of J . All en Edwards' conc lusion of hostilit ies and w ar time The re is just on e little crit icis m I should
letter , I am in complete agreement wi th restri cti ons fr om su ch a drab exi stenc e like to make and that is that I would pre-
him as far as th e tuning qu es tion is con- and paucity of publi c . taste and goodw ill fer him to devote a little more of his
cerned. Personally , I nnd the High Bas s and spend the res t of what will b e left to space to the actual playing of the older
tuning a very suitable tuning for everY- us in the realisation of th ese dreams as solos he is dig ging out for u s.
day use , especially f.or playin g in th e far as po ssi ble . I might add that thi s will It is gr atifying to find someone who is
"flats ! O
incl ude the play ing of the Hawaiian guita r familiar with the older banj o solos . I
·In your answer to the above-ment ioned and piano-accordion for pJayin.2's sa ke ! have been " s~ung" once or t wice bu ying
s
. ;t),1ay,1913 159
B.M.G....
ftJ.
. • Directory of
solos. from t itles, but now ?le have a ma11.
who " knows h is titles" it is a great help.
I have bought each solo recommended by
rn::all
1..11
..L .
L
lll't; lrHsemnints B., M. & G. CLUBS
.:A I
Mr. Broomfie ld and have not been dis- .. . - .-- ·---- - with the name s and addresses
appointed yet. Long may he continue to . . - . '
writ e for "B.M.G." . . The cost of advertising unde:· ~his head~ of th eir Secret aries.
Yours fa ith fu lly, ing is now 2d. per word (minim:um 2s.,
WILFRED MEADOWS twe!ve words or !ess). If they wish, ad -
vertisers can have the use of a Bo~·
(The following
Lestie R. Loader-now
letter was written
number tree of charge, but the words:
by " Bo x xxx, 'B .M .G.,' 8, New . Compton
serving with the Street, London, W.C .2," must be included
The cost for twelve consecu t ive
Inser t ions under this •headin g is
5'·
R.A.M .C. in India - tD his sister in Eng- in the advertisement cmd paid for (eigh t
land, who passes it on to me as she feels words). · PAR TI CULARS OF ME M BER~ HIP AND D AT ES
it wiU in .tierest readers.-Editor.) OF MEE TI NGS CAN BE OBTAINED ON
. . . The old - banjo is beginn ing to FOR SAL'E APPLICAT ION TO THE SE C R•ET ARY .
· straig hten itself out a bit , now that the }_J ANJO by T. W. Bacon , superb instru- Bradfo rd. Sec., H . Broadley, 56, Bierley
rainy season is over, and last .night , or ment , plated rim, 40 gilt brackets , Lane, Bierley, Bra dford.
evenin g I should say, we had' a grand carved ivory pegs. Heavily inlaid M.-o' -P. Che ltenham. Sec., Miss A . Gardiner ,
time with two guitars and one ban~o . Leather plush-lined case . £10. Also 29, St. Georges Road.
" We" consisted of Freddi e Gascoyne Zither -banjo, raised fre ts. £ 5. Piccolo
(late of the Ilford B., M. & G. Club); banjo. 42/ -. Mr. Hero n, 4, The Ridge- Fulham. Sec., E. A. Cole gaie, Fulha m
Reg. Lipsc ombe (Romford) ; Len Fullford; .way , N.W.7. ' Men's Institute, Bea u fort House, L.C.C .
Jimmy Moore, and myself. Both Fr eddie LIFFORD ESSEX "Paragon" G Banjo , School , Lillie Road , S.W.6.
and Reg pla y the banjo , and it is a great
pity th at i.ve have only the one instru-
C modern, . with case. £27 10s. " Aris- Glasgo w H a wai ian Club . Sec., J. G.
tone" Guitar by Abbott. Large 'cello Cath t·o, 17, West Avenue, Stepps, Nr .
me nt between the three of us because mode l. £17 17s. Choice of 3 "Vega " Glasgow.
I am quite sure that . if the others bad .tenor-banjos. .From £8 8s. to £22 l0s.
their inst ruments the evenings would b e Lew isham, S.E. Sec. , Arthur S. Walter,
Lund tenor-banjo , £ 15 15s. Zit~e r-banjos 16, Elsinore Road , Forest Hill , S.E .23.
much more enjoyable. They both tell me from 30/- to £10. Others models, G and
that when it is possi ble they are goin g ten ~ from £5. Booth's, l l, Churchgate,
to buy an instrument and some music . Bohon. Tel. : 2608.
I don 't remem ber if I told you, but we UITARS and banj os, 2 to 60 gns. Stamp
have had th e very good fortune to meet
Mr. Spooner (now S.M.) of the mobile
G for list . Bu sfield, 57, Lingfield Lane, TEACHERS
& THEIRADDRESSES
East bourne, Dar lington.
cinema whi ch visits us periodicall y and BARG AINS ! · If you are looking fo1• a • Befo re a T eac her's name denotes an
gives us a good eve ning's en terta inment. bargain in a used fretted instrm ;nent , Exami ne_r for " B.M.G." Dipl omas.
When we first met him he told us that send fo r- a copy of our seco nd-h and list.
he was a memb er of the Ealing B., M. ~ 7 / - per annum for 2. lines;
Please state instrument in which you are
G. Club .. He told the othe r lads that if interested. Your p resent •banjo, mando - 3/ 6 pe r !i ne for extra lines or part of line.
there wer e any more fretted instrument lin , or guitar taken in part exchange.
play e1-s abou t he would try to get a club Clifford Essex Music Cq., Ltd., 8, New LONDON AND SUBURBS
tog eth er out here. That is certainly a Compton Street , . Charin g· Cross Road ,
fine sugges tion, and I can only nope it is W.C.2. Bai lli e, Ray (T.B., P.G. , G., H .G., U.).-
po ssible · to do it. The only · snag . is that E LECTR I C Hawaiian guitar and ampli- Speclallsl ng El: H.G. Phon e Tc m. 7905, or cm-
we are all in different uni ts-a lthough forcl Es sex Studios.
. fier to match. Very powerfu l. New.
station ed fairly near to each oth er-but Ownet' South Sea Islande1·. £65 cash. •Ed w ards, T. H. (B., T.B. , P.G., H.G., U.).
it . is not always possible for us to meet - 119, Forest Rise, Wal thamsto w, E. 17.
Write: Wri ght, c / o Ben Valentine, 36,
owin g to th e different jobs that we a re Warrington Crescent, London , W.9. *Fai rs, Edwa rd (B., T.B ., P.G. , H.G.).-51,
doi ng. Suffolk lw:\<I, No1·t h Harrow.
Nevertheless we manage to have a WANTED' Gallo, Louis (P.G ., H.G. , T.B. , B., P .-Acc .).
good time. The other evening Len Full ~ -19 9, High Road, Tott enham, N."15.
ford and Jimmy Moore played a guitar W ANTED . Any bound volumes or
·loose copies of "The Banjo World ." • Grims haw, Em ile (B., M., G., T.B.).-54 -5,
du et, " Th ree Sha.des Blue ," and they put P lcca d llly, W.1. 'P hone: Re gen t 6977.
up a grand show. .Fr eddie Gasco yne Box 113, " B .M.G.," 8, New Compton
Street, London , W.C.2. *Handsco mb, A, F. (B., P .B., P.G., H.G.,
played . ·• Vodka ," " You and a Canoe ," P .•. u.) .--4 03. High M -.. ·wood Green, N.22.
and " Opera tic Memories " on the banjo , P LE CTRUM gu ita r. Good model. Send
and Reg Lip scom be played " Camptown full particul ars. Cash waiting, Rands, • Johnson, Chas. (G., P.G ., H.G., B ., M., U.).
4, Gt>dstone Road, Rotherham, Yorks . .Correct tu ition, all stylc ·s.-94 , Ohelmsford Rd ..
Carnival " and " Donkey La ugh ." I R~ .
played " Ad Astra, " " Bell Chimes ," and ·W ANTED . ' Hawaiian guit ar solo
" Dre amy Honol ulu Moon " by van Kewl ey , Sta n (B. & G.) .-Mode rn -style
" Banjo Frolic ." sp ecla llty. -6n, Angel Pk. Gdns., S.W.9.
All the lads are waiting for the arrival Allen. Retail pric e •paid. Box 114,
of the October issu e of "B.M.G." (even " B.M .G .," 8, New Compton Street, Lon- Life, Kea loha. Popular radio , film and
don, W.C.2. Columbia recording soloist . (El. H.G.-.A Major
the Sergeant-Major!) and they are so H igh Bas!> and all tunings---0 ., U., Tlple and
keen tha t I have a suspicion that I will FRETTED instrum ents . Records and Taropatch) . Pr ivate lessons : 2 gns. - 21,
need an armou r ed car to go to the post magazines . Send full particulars. Elbr ough St., Southllelds, S.W. 18.
tent to collect it when it does arrive! Cash waiting. Rands , 4, Godstone Road, • Morris, Geo. E. (B., P.B., H.G., P.G J.--48,
Naturally. I sha ll not try to keep th is Rotherham, Yorks. Muswell HIii Rd .. N.10. 'Phon e : Tudor 3968.
FO UR -STRI NG tenor guita r . First -class Also West End Studios.
mos t prized mag to .myself because I
know that every one of us is as inter - make. Gay, 108, Leominster Road , *Sheaff , Bernard (B., Z.B., G.) .- 68, New
ested in its contents as a cat in a sardine Hall Green , Birmingham. ' Oxford Str eet, W.C.l . 'Phon e : Museum 4388.
tin. So roll on the day when "B.M.G." W E will pay tash for teat unwanted
arrives! · banjo, mandolin, or guitar. H ighest
I am going to try to arran ge for us quality instruments preferred. Give fu ll ABERDEEN
all to have some photographs ·taken to details (make, model and condit ion). Cash
send yo u and I hope you will forward by return on acceptance. Clifford Essex • sto rd y, J. w. (B., M., P ., & P.-Acc.).-
398. King Street . ·
one on to Mr. Sharpe so that these lads' Music Co., Ltd., 8, New · Compton Street,
friends can see that although we are· miles London, W.C.2.
·away fr9m home we are still lceeping COLUMBIA electric ·record player, with
the banjo and I.he guitar ringi ng in the pick-up , wante d. State low!!st price. ABERYSTWYTH
heart of India . Box 115 , "B.M.G. ," 8, New Compton 0
Milver ton, A. All frette d instruments.
St reet, Lonpon , W.C.2. Tul Llon (any style ) .-19. Ea st gat e.
-B.M.G.
,,, ·· AYR ·· GUILDFO~D .& DISTRICT · ROTHERHAM
•Davidso_n, ~- (B., T .~., El.H.q. & G.>.- Lane, A,,W,.'(B., M., .P.G., H.G ., u., etc.) ..:.- Glancey,,,- (P .B., T.B.,'El.H.G :; U,,"=P.G:)"::._
Theory & Ha.rmon,y; So:o or Dance style. Agent 37, Westfield' Avenue, Woking. Tel•~ Woking 2975 96, St. Ann's Road. Clifford . Essex . accessories
for Cliff.ord Essex Music Co., Lt<!., 55, George St. . supplied. ·
HUDDERSFIELD Parker,..J. (B., M., T .B., Z.B.).-2 1"4,. Well-
BECKENHAM gate. Clifford · Essex accessories supplied . .
Sisley, Geoff (G., ' i>'.G. & H.G.).-iO, Bev- -•Mathews, ·Cyril· (P.G., U ., Theory).-27,
Devonshire Skeet, Lock,wood. *Rands, E. D. (P .B. & P.G.).-Modern in -
ington Rd·., or Clifford Essex ·studios. 'Ph one : teresting tuition. Pri -vate or class.--4, God-
BEC 0637.. stone Road.
IPSWICH
BEDFORD ·• Gough, Bet'nard(B ., Z.B., M., U . & V.) .-
Salmond, H. A. B, (B., Z.B. & T.B.).-Be- 151, Woodbrid .ge Road. SCARBOROUGH
ginnerG oa,refulS, grounded. - 80, Chaucer Road ,. •_Robinson, M. G. (P.B"., M ., G., H.G., U.) ·.- ·
LEEDS Gr-ange l\olme, 28, Manor Road.
BIRMINGHAM *Taylor, Madam, A, CM., Bn ., B., G .).-
*Bailey, Tarrant,Jr. (All fretted insts .).-- Ohez Nous, 68, Beeston Road. STOCKPOR,T
76. Primrose La ne, Ha.J.I Green. ·
*Kapua, Ken, (Specialist on Hawaiian LEICESTER · Howard,' Don (B., M., G ., P .G., H.G.).-251,
Guitar and Ukulele) .- 12, Colmore Ave., King's Wel-lington Road South. ·•Phone :H27.
Heath . , *Chamberla in, J. (B ., T.B., M., G,, H.G. & Jackson, T. (Z .B. & B.).-Finger~style.-
Kirby,· Alfred. Banjo Soloist. Tu ition on U.).-1, Wa terloo · Street. Local Agent for Ol1f-
ford Essex Music Co., Ltd·. (Examiner !or
37, Hamilton St., Heaton Norris.
Banjo and · Guitar.-108, Row Heath Road, .. B.M.G." Dlplomas.i
· King's Norton. STOKE-ON-TRENT
*Pidoux, John (B., M., G. & T.B.). - LLANELLY . *Pearson, Fred (B., G., P .G ., H.G., M:, U.,
Scotcher•s Chambers, ·59, Corpor ,a.tlon Street.
P.Acc.). All styles.-28, Hay es Street, Br.ade ley,
'Ph one : cen -trat - 1301. · *Jones, T. E. (B., Z.B., M., T.B., G., H.G., Bur3lem .
*Rich, Sydney ·J, (Z.B. & B.) .-45, Hannon U.). (Ex-a.miner · for "B.M .G." Diplomas).- 18,
Rd., Klng,'s Heath. (Examiner for "B.llf.G." Dip.) Temple Street.
*Thomson, F. (P., G. & B .) Instructor WEST BROMWICH (Staffs.)
Kay Westworth's
Worcester Street.
School of Modern Muslc.-8, MALVERN LINK Johnstone, A, (B ., T.B., M., G ., H.G., P.,
Smith, Frank (B ., Z.B., G., H.G.).- " Lons- V.. ·U.).-11, Lodge Road.
BOLTON dale," Cromwel-1 Road.
Bolton School of Music. Prine., *Barbara WEYBRIDGE
Lobb, A.T.C.L ., Broadcasting artist . Tui·t!on : all MANCHESTER & DISTRICT · cator, E. (B ., P .G . & Z.B.). Beginners care-
fretted • lnstruments.-685, St. Helens M . (-temp. Black, Alice (B. & M.).-6, Chappell Road, fully _gro un ded.-8 , Old Pa lace Ro ad.
add.). 'Pbone: Bolton 3393. Droylsden , .
•Harker, Tom (P.B., P .G ., H .G . ?!<Sax.). *Grey, Harry F. (B. & T.B.).-24, Brass-
Speclal,lst In modern • style & arranging. B .-B .C.
ington Rd ., Heaton . Mer sey, Manchester. WIDNES .
sololst.-Enqulrie& : Booth's· School oC Music, 'Phone: Heaton Moor 1163. (District Examiner *Davies, Fred (B . & Z.B. & Theory) .-26,
Ch ur chga.te . . for "B.M.G." Dll)lomas.) Halegate Rd., Hale-bank. Ex-am!ner for
BRISTOL Howard, Don (B., M., G., P.G ., H.G.).- " B.M .G." Diplomas.
•craddy, Horace (Banjo & Guitar).-32, .· _ F_o_rs_y_th_ '_s._ 12_6_._0e
_ a_n_sg_a_te_ ._ BLA
__ 3_2_
s,1
_.___ _
Victoria . Park: Fishponds. Tel-: Flshponds 64022.
MIDDLESBROUGH
CARDIFF · •e1acklock, Alan CG., H .G. & T.B.) .-119, .ABROAD
•Allen, R, (B ., M ., G.).-i2, Northcote .St., _ E_•.,.
_x_ s_ e_r_eet
_. ____________ _
(Examiner .for "B.M.G."
Diplomas,)
NELSON (Lanes.) · ALTOONA, Pa. ( U.S. A.) · .
CHELTENHAM *Lund, Wm. <B. & Z.B.) .....:.. Finger. and Sipes School of Music (G., M ., T .B., H.G.,
*Gardiner, Allee (B ., T.B., M., G. Span. & P lectrum..-16, Terry street. etc .). H~r,mon.y · & Theory.-829. Seventh Ave.
Haw. & U.).-29, st. George"s Road.
NE,WCASTLE-ON-TYNE EDMONTON, ALBERTA (Cainada)
DARLINGTON Clazie,Jack (H,G. Specialist, P.G. & U.).- *Hale, Miss A. (B., T.B., G ., H .G., M.).-
Roblnson,-S. (P.B. & P .G.).-62, Hollyhurst HI, Ancrof,t, A'Ve., North Shields. 'Phon e: North A,berta College, 10041, 101st Street .
Road. . Shields 1515.
· DERBY .NOTTINGHAM JOHANNESBUR 'G (S.A.)
Aston, Sydney (B. & MJ.-" Park View," •papworth, Sanders (B ., M., G., Saxoph.or:ie, *Kudsee's, Geo. "B.M.G ." ·school, .162, ·
463, Osmaston P.ark Road. Ukul;,le, H .G.). Local • Agen-t for Clifford! Essex central Ave., Mayfair. 'Ph o1_1e: 35-3575.
*Dawson, Mrs. Elsie (B., M., G., & H .G .) Music Co. (·District and LincoJ:n, and Mansfield
AU styles. District Exam1ne r for" B.il1.G." Dip- Examiner for " B.M .G." Diplomas ·.).-32, AMcreton
lomas. Atte nds the StudJo. Messrs. Wisher & Road, City. JOHNSTOWN, PENNA (U.S.A.)'
Son, 7, London Road ·. Private- Add.res&: " Holly *Richar.dson , Edward (B., M. & G., all *Mosso,J, B. (G ., P.G., H.G., T.B.i.-Nanty
Hyrst," 83, Dei,by Road, Sandlacre. 'Phone: styles) . Over 20 years · professional exper -i ence . Glo., Penna.
Sandia.cre 3394. -4S, Portl-and Road.
DUBLIN & BALLYMENA. LETHBRIDGE, ALTA. (Canada)
•Mac-Garvey,Jack (B., Z.B., H .G.).-Ex - *Earle, PRESTON •Harper, J, G. (F ., P. & T.B.). Director
aminer for "B.M .G." Diploma& for Ire land. All !:ugen .e (B., M., G., Theory).~ Letllbridge Conservatory .of Music. Ensemble
corns ., :n, Bal]ymoney Street , Ballymena., Co. " Radio & Recording · Artist."-15 , Cannon St . Cl-as-ses car, 11th Street and 5th Avenue, s.
Antrim. 'PJ1one : 2439.
*Taylor, Ernest T. (B., M., GJ .- 10, Cross SYDNEY (N.S.W ., Australia) ·
EBBW VALE, MON. Street.
*Besagni, Leno CB., P.B., T.B., P.G ., H.G.; *Hine, A. CB., z:B., M., G. & H.G.).-
READING Studios , 326, Parra.matta Road , Petersham.
P. Accordion). Personal or Postal Tuition. Agen-t fo.r Clifford Essex & Son's instruments
Examiner for "IJ .M.G." Diplomas . . Examination
In your own. home If preferred. Rhythmic, swing
Hamlet, J. (B., T.B., Z.B., G.) Visits radius and . music.
20 mlfes. Agent Messrs. Clifford Essex Mus1c
and straight styles of pl-aying.-36, Valley Rd. Co., Ltd. - 13, Priest Hill, Caversham. VANCOUVER (B.C.)
FALKIRK ' ~ - RHONDDA *Fletcher, F. (Teacher of .all fretted in-
struments) , c/o MusicianS' Union, Room 81, 553,
*Macbeth, Will (B., T.B. , G., M., U.). -
· "Stud .to," 14. Orchard Street.
*Ph'II'
1 ips ,
w· 'G· · (B ·• M·., G •• HG) E
• • .- x- Granville St . · ·
a.miner for ·· IJ.M.G." Dlplom-as.- 37, South
Street, Ynyshlr. • WORCESTER (Mass.)
GLASGOW
•Mertol'\,Frank (School _ of Syncopation). ROSSENDALE VALLEY Russel, Alice M: Experienced teacher (P.,
D.lrector, 'Frank Morton/s Orohes t,:,as (B., T .B., •ceno, Fretted Instruments). Time, tune, tech -
G., H.G., M., Sax., P ., P .A>cc.). . C.E. music •Taylor, Norman. Specialist Modern nique, keyhoe;rd harmony, pretty music . Care-
stocked. All kinds repalrs.-l;Sl, sa.uchiell.all gul•tar tultion .-292, Clarke-Holme Ter r ., W-ater- ful,, Interesting lnstructlon .-118 , La-ke Avenue,
Stre~t, Oha.ring Cross. foot. Woreester, Mass ., U.S.A.

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 )
w orld -famous "Black Diamond" highly polished and bev •
w ire-cover ed 3rd un d 4th b:mjo elled. T he perfect pick ! LOOP O NE END, TASSEL THE OTHER .
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 .
IThe'Crover'de1u:eii~idge CLIFFO RD ESSEX MUSIC CO. I, TD.

,
POST F REE 8 New Compton Stree t, London, W.C.2
CLIFFORD ESSEX MUSIC CO. LTD .
8 New Compto n Street , London , W.C.2

Are. y'ou Qualifying


fora,.B.M.G
iis
(Po,tage 3d. , .,tra)
fhc ' Grover' de luxe ll r idgc, mode for4 or; str ings ,
1 /2 in. or 5/8 in. from fully scoso ncd hard ma pl e fitted
ITHE BANJO
~
How toANDPlay 1·t
.' Diploma?
l with ebony top to prevent strin~s fr om cutti n g or
sl icing the bridge .
CLIFFORD ESSEX MUSIC CO. LTD
R New ComptonStreet. London, W.C .2
· EM ILE GRIMSHAW
A e.ompfr te mod ern mctlrocl for th e banj o. The ":ork
of an aullioriry rulw /wows everythi ng that i's t'10rth
lmowiug about th e banjo. ttJho luu realised tch:1t was
,uecltd t o bri<lge the gnp wh ich , tmtt'l this book was
Pr otect th e Vellum of your Banjo and publ ished, e.-.:istedbcttl)een old-fas/rionetl bool:s of iu-
srructio n and the remarkable rlet1t lopme11t t1Jhich has
ta/Mn place in banjo playi11g during late years .
Improve YOUR Playing Ev erytlrfog the brgimur wants to lmOt/J is to he found
in thi s l-ook, and the ,mthor 's treatment, particu-
larly i11relation to rht inversion of chortl s is streets
ahtad of a11y1hi11g a t1em1>ttd bt/ore . 1/ you an• a
bez im1er , you cannot a/ford to be t1Jithout this
up-to-date 11wdtn1 metluul .
FIT THE
'C .E.' Improved Wrist-Rest
-~ Price 2 /6
(Po1tage 4d . extra)
Adjustable t o any height, will fit any make of inst rument, keeps
the arm at the correct angle, prevents arm so iling the vellu m.
CL IF FORD ESSEX MUSIC CO . Ltd ., 8 New Co mpton St., 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
'D ola, 'Cello & Guitar 1/- ~onjunction with melod ious exercises.
Plano Acc ...... . ......... .. . 1/- Prices :
For lOin. hoop or larger 21/- SIX SHILLINGS
C LIFFORD E SSEX (Postage 4d. ex1ra)
MU SIC CO. LTD . For hoop smaller than lOin. 17/6
(Po rt Fret)
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

KOA LOA METHOD FOR HAWAIIAN GUITAR


A short, easy method written in both musical notation a,nd diagram system . Include s illustra -
tions of correct position for ho ldin g t he guitar and manipulating th e s teel . An ideal method for
the player who wishes to gain quick proficiency o,n tlhe, Hawaiian guitar without a lot of work.
PRICE 3/- (P ostag e 2d. ext ra )

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


Contents :
"Shine On, Harvest Moon," "Pagan Love Song," "St. Louis Blues," " That Naughty Waltz,"
"I'll See You In My Dreams," " Aft er You've Gone ."
PRICE 2/ 6 1Post agc 2d. extra )

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


Contents:
" Drow sy .Waters," "Lazy Days ," "If You Coul d Care ," " Coral Sea ," "Ki lima Wa ltz," " Waik iki
Blues," " Pah ene Pranks ."
PRICE 3/- 1 P o:,t.o gc l d . cxt.r a J

IVOR MAIRANTS' ALBUM OF SOLOS (.A7th Tuning)


Contents:
"Re d Sails in the Sun se t," " Misty Isla nds of the Highlands," " Home," " Ha rbou r Lights,"
" Isle of Capri," " Hom etown ."
PRICE 1/ 3 1Pos tage 2d. extrn )

ROLAND PEACHEY'S ALBUM OF FAVOURITE SOLOS


(High Bass Tuning)
Contents :
" Dreamy Hawaiian Moon," " Hawa iian Serena de," " Kalua Cape rs," "Alo ha Stomp ," 11 Blue
Pacific Blues," "Mokihana ."
PRICE 2/ 6 !Post age 2d. extr a)

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


Contents :
"Alexander 's Ragtime Ba,nd," "Margie," "Ava l on," " Din alh," " J a panese Sandman," "The Sheik
of Araby,"
PRICE 2/ 6 !Post age 2d. ext ra )

HAWAIIAN MEMORIES SELECTION (High Bass Tuning)


(Arr. by Harry Pahene)
• Introducing :
11
Ju st Say Aloha," " My Isle of Golden Dream ,," " Aloh a," "M oonlight in Waik iki," " A·n Old
Hawaiian Guitar," "Goodbye Hawaii ," " My Bi rd of P aradise," " On th e Beach at Waikiki,"
" ·Hawaiia n Blu eb ir d," " Lit tle Hea ven of the Seven Seas," " Moon light Bay," " .Yaaka Hul a
Hick ey Du la."
PRICE 2/.- (Po st age ld . ext r a)

CLIFFORD
ESSEX
MUSIC
Co. Ltd. 8 N'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

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