N o . 432

• •

ONLY SETS

-- --· ..

0~~-f;tf~{ I

lh .. · /wn .. · liecn fortwwtc to · sec ur e SOO sets of the inw l d - f:m1011s

BLA( -:K. DIAMOND' ' BANJO Srl"'RINGS

n- li ic h nc :u-e offe ri 11;.{ :1t rhe pn .. ·-n-:,r price of

PE R SET OF 2/2 F Ol ' ll ST IU '.\:GS

lb 11_i11 sl r i II !.;'- 11 n • di ff it>11 !1· ro ofll:1 i II f <1- d:1~- :1 ,,,J l liL·

11·is<: pf.t y t:r "ill :>L'<:111 (.' ., supp /~- of r/1l' '-,(.' "nl :1c:I, l)i:11111>1HI" l11111j11 .;(r ill!!-~ 1d1i/c tli c ~ .,r e ;11 :1ifuli k

* CA SH \Y IT H ORDER ONLY

CLIFFORD ESSEX & SON l TD. ,&, SHAFTESBU RY AV E NUE , LONDON, W . I

M USI C IN T H IS ISS U E a~ njo So l o (f! t ri £f! r tt :,I "") : •'ff1<" [·t!" ,i U(' S r--:1~L!'

M .-ndo li n Sol o: ' !,~dtJ.r, ., .uu,1,c · Gu i t :u · So lo : " t. c,: r·nd1..•"

H •.,....o.ii a n G u i <.:,.r So to: ( w i ch G t r . A cc . } : " ~. ,,.,N '. ! " l ~-111,.

P iric tn1 m B a n jo So lo : •· :•: 1 P.1i I · U ~n d c l c So l o : •' I r-,:, n ,Jl , ·•

11

'Takl' earl' of' your iustn1111mt !

MAKE IT LOOK LIKE NEW W ITH

"CREMONA" the amazing new polish and re,ivcr. // will i>l'ill {! b,1ck a// lhe l11str~ to your banjo, mandolin I guitar I Uc .

Prices 1 /6 and 2/- pe r bottle /Postage 1d extra)

CLIFFORD ESSEX & SON, LTD. 90 Shaftesbury Ave nue, London, W. 1.

PLAY TITE T UN .eS E VEJ?YBOD Y .KN OWS

ALBUM OF FAVOURITES FOR PLECTRUM GUITAR

Sp ,ci;illy arranged hy IVO R MA IRAN TS

C:0 11lc rHS "Sweet Sue," "I Ai n' t Got Nob od y," " Honey suckle Rose, " " If I Had You," " Mean To Me," " Goodn ight Sweethe art,"

Each with gui tar accom/J:t11imc11t

PRICE 2/ • ( P osta f~c -itl 1..· :<ll' :t}

CLIFFORD ESSEX & SO N, LTD. 90 Shilftesbury A venue, London , W .1

W e are still W A NTING

SECOND-HA ND M US I CAL

INST RUMEN T S \\'c fir e 1H·c p11rc cl to pu r c h t1sc fo r cns h

all kind s of ,.;cco n d- h n n d 1nu hic nl

ins tr un1c n ts

IF YO U HA VE ANYTHING FOR SA LE, SEND us FULL DETA ILS TODAY

CLIFFORD ESSEX & SON, LTD. 90 Shaftesbur y Ave nue, London , W.1.

B.M.G. [April, 1941

J\i\' 01 '1IE U SIIIPMEN1' .JUST AUUJVEI) - -Still die fin est m1Cl mo st wic/efy usccl 111et/1od o/11:ii11a/i/e !

T IIE IM PROV ED The most f)Of>ul ar m ctho,1 fo r plc c 1ru n 1 l(uitar \;nt ircl y rcv isc (l ao d n .:•wr iu c n by Nick Lu cas to cover all p h a~<.:s or plcctn un /~uita r t cch• oiquc . In th e p aJ.!c:-: or t hi~ n-u.:thod wi ll be fo und in s tr u ct io n s for the tyr o w h o h a:,, just d c:­c i,h.:d to !al< (! up 1hc !'>tu d y o r th is fasc inati ng ins1 r u 1nc1u, and ad vancct..l s t ud ic:,, :1n d :-.o los for chc p l ayer who h. n o lon J,!cr i n th e hci,!i n n cr•s

NI C K LUCA S PLE CTR UM GU IT AR M ETHOD • .. J towJ>r, J,, usit·, · , 1111rsr ,!f n:ml, r11 inslr11r­

l io11 J1Jr Jiu• J>/u· Jr u m r;uit,,,.

PUll LIS II ED IN T I IHEE VOLU M ES

!' HICE 5S. Ei\Cll VOL.

A l 1 S t ocl {s are L imite d

SEND YOUR ORDE R NOW

JOE M OR LEY 131\ N .JO SLING

/ l l'lf>s to 11wl,e 1,l11yi11g th ,· im trll)n ,·111 a plct1.,1tr< - sitt ing or slamling . ~/'ahcs all

the m ,,:~ht of th , bmyo. Pr ice 2 1- l'!lCh (Po :-1:tJ!(' .M . l"Xli. t)

Cl.11-'FOHD ESSEX & SON LTD . 90, Sh af tc :-.IJu r y Av\:'nu c, I .ondon, W. I

NEW ' ' SL OW MOTION" METH OD

S howing sy 111'0/1a l 1•t! and Jlmuaiian Finger

ST R OKE S fo r the

U KULELE Jl/1 Jiu• /11/rst Jmiessio11ul 11/w fi,/(' .~troh1's 1·xp /11im'd by l fu, 11cw s1'{l­

/1'11d1i11g pholt~t:ra/>hic 1111'/hod. Pr ice

113

CLIFFO RD ESSEX & SON, Ltd. 90, Shaftes b ury Aven ue, Londo n , W.1

SEND THIS OFF TO-DAY I TO CL IP P OHD ES SEX & S ON LTD. ,

GO, Shaf teabury Av en ue. I I LONDO N, W. 1.

1 Plea se send me "B .M.G." for the next I . . . . . . . . months comm encing with the

I . . . . . . . . . . . . . . . . . . . . . . . . . . 19. . . . issu e. I I t enclose hen twith ... . ... . value . .... . I I NAM E ... " ...... ... . ............... ... I

st aKc

Sok En1:lish A ),(cll\ S :

CLIFFOR D ESSEX & SON LTD . 90 Sh a rtcs h\lr y Avenue . London. \V.1

"TROP ICAL" BANJ O STRIN GS

T H EY LOOK LI K E GUT,

SOUND LI K E GUT , B UT-

A RE NOT FALSE LIKE GU T,

NOR EX PENS IVE LIK E GUT.

1 st or 5th .. . .... .. . .. .... . .. .. . .... Sd. each 2n d .......... . . ...... ..... .. ..... . .... 7d. 3rd ........ . . .. . ... .. .... .. . . . . . 8d.

Obt11i11al,lc only .from; -

CLIFFOR D ESSEX & SO N Ltd. 90, Shaft esbur y Av enue, Lond on, W . I

I .\' o .. 'l'r op intl ., .,lt' i rtg ,':,· gcnu it&t I unfr .,s 1hr, ru t•d.,pe ltwrn tile 1w111c., " 'l'm1 1icol " owl " Cli}Jm·,l

/-;','f8 Cl : ."

'' Pl ectrum P iayu ng FOR

Modern IBa mljoBst s "

PRI CE

6s. ,. •t / ,t:_•,

l ! . I l/rl l )

1111

By EM IL E G R IM S HA W SPECIAL F EATUR E S

I· \ ' (' 1 ~• -.1, k n l Pk t· ln11n Pln \'i111: fully .m d '-lcar )\' l"Xp l.1incil .

ln\' cr·s io n i n a ll I<.l·ys. l :-.t·1ui I li11i:-. on 'l'oc w -l' 10ch1t·tion.

I low ro p l:1y Fo ur -Note Chorc.L'-w hil e n.·:ul in l! fro rn 'l'hrl'c-Notc C h o rd s.

1\ II ahou t l\lockrn Dan ce O r chcs1 r u play i nt! ,

TJw E~:-.t•111i:ils o l ll.111nu ny,

J low 10 S ynco p a te :, Popu lar Soni! . Jl 1,w 10 l 111p1mi ,t· 011 t he U.injo . ~ 1111:h· :'\ t, I(' :md ( ' l1urd ' l '1l•flwlo .

Every 1=-or, u ofSlacc.:alo P lay in :,! expla in ed and i lh1s l ta lc<I b) ' n,11ntro u s l'Xcrciscs .

·1·n .•01o lo \\1l h Sl:llT: 110 . \ , •c•om 1)·1n't , ~ton :, , ,1 T1111dul l·., 1·r~ ,,i·~. a ll v J

\\ li1d 1 .ew i k. u I\' ~uld i·o m·1:-d y (·xp l:1i11nJ.

V:llu ah lc I li nes o n SiJ,!h l Hca<lin,-t .

And t lte fo llowi ng So lo s & Du e ts Ban jo ~o lo s-

Pl cct rur n :\"ot: 1m11c111 E l1:1t

( ( 'hopi n J !' il.cri 111s' ( ' limn, fro m • ' l' :1n11l1:111,c.·1 "

( \ \':ll!OCI') ;\uuun n So o ~:

('l \d 1.1iko\:-ky) J .on do nd l·1·1 y .\ ii' l .id •~·:-t r.,u m (I ,ii'.!-l)

O r i,i:!inal P lec trum Ban jo Du ct s-" I l1J:h J111k-."' " Bl.u·k .uuJ 1Ut11.-· ·• " ' l \\'o 10 :1 U.u· .. •• B.111jo lb ..:" •· \\ IH·ll I .1..:lns :u-c

J , (HV "

•• (. ·, .1z~ l) :11h.:l·"

and I ,cmd o nik rry ,\ ir :11 r. :1s :1 Banjo tJu;u-h :t .

EVEH\' l'LECTHUM HANJOJS T S II OU I. I) IIAVE T I ii $ BOOK

T• make su ro of roccivi ug )lour "D.M,CI ." oVcr y mo n l h It is neceu a ry to otn.ce a atandin g or der . T he m ost trouh le•f reo wny is by suh• ■cribi n g di r ect wi th t he publish ors . 7 / 6 .•. 12 issuos .

3/ 9 ... 8 isaues.

I ADDR EI S ... . .. . .... ...... ...... ... ,. , I L...--~! ___ ::::::::::::::::::::::::::::::::::j ~ r ~flti ·

!JO. SHAFT ESB URY A VENU E, LOf!D!)N . Wl

The Monthly Magazine devoted to the interests of the Banjo, Mandolin, Guitar and Kindred Instruments

Published on the 1st of each month. at

90, SH A FTESBURY AVE NU E, LONDON, W.t., . ENGLAND.

Telepnones- GeTrard 5314-5315 Telegrams-- "T Tiomp he, LesquaTe ,

London."

Vol. XXXVIII. No. 432)

NEW READERS BY THE EDITOR

WHEN war came to upset the normal life of fretted_ instru ­ment players, a eons1dcrable

number of our regu lar readers join ed the fighting forces and thought this was the end of their playing activities. Having put . their instruments away, many took the line of reasoning that "13.M .G." was no longer necessary to them ... and stoppe d taking it. This, coupled with the defeatist policy of many newsagents and music shops who told readers that the magaz ine had ceased pub lication, caused a drop (a big drop !) in our circulation.

Edited by A. P. SHARPE

~ Th.e · Editor does not necessarily agree wi th the opin ions expressed

by h.is contTibutors.

APRIL, 1941

letters that the policy of the type of article printed is decided upon. So let me know what you want . .. and what you dislike about "13.M.G."

THE HAWAIIAN GUITAR ON WAX

BY RAY I-lrGGINS

1-SOL HOOPII AND HIS NOVELTY F IVE

(1 N this short series of articles I want J to deal with some of the best

Hawai ian records issued in Eng­land during the last two or th ree years. In a similar series of articles by Geoff. Sisley a few years ago, most of the re­cordings by Sol Hoopii's Quartet were dealt with and since these are now with ­drawn from the catalogues I will make no further mention of them save to urge

Soon, quite a number of serving players were sending home for their instruments and were not long in dis­covering that the opportunities lo play were even greater tha n in peacetime. ·some players found their way into regimental dance bands . Most of __ ___ _ _ __ ______ _ these players have started taking "B .M.G." again (one section of our subscrip tion list looks like a part of the R.A .P.C. records !) and, in addi tion, war has brough t many players who are new read ers ; players who have felt the need of a guide and source of instruc­t ion, and we have rapidly recouped ·the equivalent of all those who no longer take the magazine.

In a way it is unfortunate that these new read ers shou ld become acquainted with" B.M.G." ju st at the time when, owing to drastic reductions in the ration of paper and greatly increased production costs, it is impossible to main tain the high standard for which this magazine has been noted for so many years .

Neverthele ss, I am anx ious to assure every reader , new or old, that "B.M.G ." is a reader's magazine . I want to give you wha t you want. It is by reader's

Contents M usic in this issue:

Banjo Solo (F inger style): " The Evxones March'" Mandolin Solo :" Indian Sunrise" Guitar .Solo: "Legendo" Hawai ia n Guitar Solo (with Gtr.Acc.): ••sweet Lei

Lc h ua." / Plectrum Banjo Solo: ' 1My Pal J o"

Ukulel e Solo: 0 Legende" Advanced T ec hnique on the Banjo , .. ... 128 Al Bowlly and Jimmy Mo sena .. . . .. Alfr ed Kealoha Life's Stage Appea.ranccs .. B.M.G." Club Notes ue ,M.G." Diplomas ••e .M.G !' Notes ... Brevities By the Way Correspondence ... ... ... .. . Guita r or Ukulele. By A . do Vekey It depends on you ... ... ... ... . .. Makin g an Elec tric Hawaiian Guit-ar. By J. S.

128 135 136 136 136 135 136 136 127 127

Arklct ... ... ... ... 133 Now Rea ders. By the Edito r ... ... 121 N ew Se ries or Hawaiian Guit a r Broadcasts 127 President Roo se vel t a Banjo Player? 128 Rad io N ews ... ... ... ... ... 136 Sol Hoopii Re co rds available again 123 Tak ing Sto ck. By Roy F. B• II ... ... ... 135 Tho Beginner and the Plectrum Gu itar. By Jack

Whi t r.eld ... ... ... 133 Tho Banjo. By F. T . Lamb .. . 121 The Banjo Boy , .. . ... ... .. . ... 127 The Hawa iian Guitar on Wax. By Ray Higg ins 121 The Mando li n, Guitar and Ukulele. By A, do

Ve key .. . . .. 126 The S t ory of the Banjo . By A. P. Sharpe 124

Subscription Tates: 12 months . ..... 7 /6 (U .S,A. St.SO) 6 monttls ..... . 3/9 (U.S.A. 75c.)

,1.!1 news items submitted for th e next issue 1nu.s t. ar ri-t,e at this office not later than the 20th.

ADVERT ISIN G RATEi ON REQUEST,

[Price Sixpence

readers to worry the Columb ia Com­pany (who have since taken over these records) for their re-issue. The emphas­ising of Hoopii 's " Pua O'Kealoha " in the January Regal-Zonophone list (MR.2!7) was at least an encourage­ment which may possibly have been prompted by the fact that th is solo is now ava ilable in prin ted form.

T he first recording by Sol Hoopii's Novelty Five to be issued over here was Brunswick 02195, "To You, Sweet­heart, Aloha " backed by " Hula Breeze," in the summer of 1936. Much of this record was taken up by the voca l choruses of Bob Cutter, a plectrum guita rist in the outfit , but Sol's chorus in" To You, Sweetheart " caused some perp lexity to many players at the time. Some thou ght that it was a single chorus played by Sol on treb le and bass strings simultaneously but even a talented player like he undoub tedly is, would, I th ink, find this difficult to accomp lish whilst reta ining the beauti ­ful tone so characteristic of his playing. O thers conside red it to be a second Hawai ian guitarist , but I am inctined to thin k that it was a bit of dual record ­ing by Sol himself. Readers may re­membe r that at the time Layton and .Johnstone were making one or two novelty records as a quartet : i.e ., Layton and Johnstone singi~g with Layton and J ohnstone !

It was not unt il March, 1939, tha t we were privileged to hear more of Sol Hoopii's Novelty Five and then a series of non -vocal " evergreens " be­gan to be issued on Decca. Nearly all of them exhibit Hoopi i in his two moods ; the first in which he em­bodies the restrained and traditional beauty of tone which does not exist even in the imagination of many " white " players of the Hawai ian guitar, and the second in which we hear Sol the j azz player with his flawless staccato phrases,

122 -B.M.G. [ April, 1941

neat appoggiat1.1ra and an attack that the new record contains a numb er of The backing is" Wang Wang Blues," is comparable to the brass section of a the old features. T his record is un- another fine display of Hoopii's inimit­full orchestra "going to town." In doubtedly a triumph for Hoopii which, able technique. Perhaps the most these records, moreover, the electric unhappily, is too often copied note for salient feature of this title is the guitar reached new heights of perfec- note over here . Again there arc some "swing " chorus in which there are tion in which the bass notes have at fine bass runs and excellent triple several " breaks " reminiscent of a Jong last received attent ion and are finger ing but one of the features that trumpet solo. As in all the previous beautifu lly emphasised when necessary. strikes one most is Sol's ability to retain titles, the accompaniment is unobtru-

The first record to be issued was even in such numbers as this the same sive but, nevertheless, deserves the "Stack o' Lee Blues" (Decca F6970). plaintive tone as in" King's Serenade." highest possible praise. This opens with a chorus play ed straight The secret undoubtedly lies in Hoopii's The final record, so far, to be: issued in the restrained style of Hoopii and left hand . The final chorus contains was " Twilight Blues" on Decca F exhibiting a trnly beautiful purity of ·•punch" in plenty and it is the copy- 7il16 which every serious student of the tone. This is followed by a chorus ing of such effects as this that I con- Hawaiian guitar should possess along played in artificial harmonics and in- sider sheer plagiarism ! with Hoopii's .own published arrange­eludes a short " break " by one of the "12th St. Rag "is ba cked by" Fasci- ment. Incidentally, this is also Hoopii's plectrum guitarists. At this point I nating Rhythm " which also contains own composition and in one part of the would like to say that the type of plec- a similar technique . There are several record he hands over to the rest of the trum guitar " break" used r-:::::;~------- - -------:......,;;::;:::s::=~n~~~ outfit which gives some nice by this player admirably rhythm; a neat plectrum suits " Hawaiian " record- guitar break; and a 11ifty ings and is not blatant or break on ukulele. In addi-obstrepe rous. Next, Hoopii tion it contains most of Sol's apparently makes use of a favourite features already foot-pedal volume control to mentioned · and makes the re-give us a novelty effect. This . cord well worth the price of is done by striking the strings ~ at least a dozen of the usual when the volume control is I__J Hawaiian - outfit-cum-dance-at a minimum setting and band recordings . then increasing it so that an ° The last title to date, organ-like effect is obtained. u "Aloha Oe Blues" more or What I would like to em - less explains itself and if it is, phasise is that these novelty to me, a little less intere sting effects ·are not overdone to than some of the previously the point that one begins to mentioned titles perhaps this feel restless. Finally there is a ~ is because of the perfection fine staccato chorus in direct I have come to expect from contrast to the style of the " HOW oFre 1-1 HAVE r ToLP yov ·,;,,, C"'- --. · · Sol Hoop ii and His Novelty

l'(OT To PLAY "lllAT 1'1WiC, I NJ)ooRS... ,..-' ~ . - ' opening chorus. o-C .£. -fo,vl.lf:!1!dr:{, Five.

The backingofthis record is _ . _ If it should be that there "Farewell Blues" in which we are given instances of tha t characteristic Hoopii arc still players of the Hawaiian guitar seven choruses ; each containing some " break "-a sort of rapid succession who do not possess these records, my different palatable feature. One of the ofappoggiatura-which is used in some advice is go round to you r dealer with­most notable is the introduction of bass of the older recordings such as " Pid - out delay. Even if, by some remote runs and the inclusion of bass notes of gin' English Hula." Readers will know chance, you should not like them it astounding purity and fulln ess of tone. the type of break I mean by referring will, at least, stimulate the Decca It should be noted that Sol takes more to the eleventh bar of my composition Company into issuing more Hawaiian honour s than the sound engineer in "The Tradewind's Lament" in the guitar records for us players who do ! their production. In the third chorus Febru ary, 1940, "B .M.G." (To be continued) we have Hoopii's beautiful tremolo- The next record to be issued " Hula

THE BANJO a feature in which he is sti_-cets ahead Illu es " (Decca F.7 125), is a pI1rticular of any ·other player rccordmg to-day. favourite of mine. Readers will remem­It is rem iniscent of his old recording of ber Sol Hoopii's previous recording of " King 's Serenade." Then follows a this title with his Quartet but the new BY F. T . LAMU ". tr!ck" ~l~orus in ~hi~h h? appea_rs to record is in a mucl; more' soph isticated _ (';' AKING the first part of page fi ohc ove~ the stt 1_ngs with his fingc1_ and tempo an d la cks the vocal choruses of :.J seven as read, we: proceed to thumb picks 'A'.hilst they (the stn ngs) the earlic1· disc. The tremolo that Sol the latter part of this page deal­arc damped with the left hand. We achieves on this record must surely be ing wi th first exercises on open strings. '.'11so have the effect Sol used quite a l?t the most perfect ever recorded for To practice correctly one should en­rn s~1ch ~umber~ as " Orange Grove 1n., abso lute beauty of tone and express ion deavour to strike the string with the tip qahforma" :_ viz. the effect tha~ Geoff. and suggests to me the very soul of the of the plectrum. It is not easy, neither S1sl_ey,_ I believe,. con.,,pared with the Islands . Severa l " blue" notes are is it so simple to proceed li·om one whistling of the wmd m the ualm trees. introduced with a hard tone - obtained string to another without making a mis-

A new recording of" 12th St. Rag" by picking near the bridge or the steel take . This is ov<:rcome by many play­was the next release in this series (personally, I prefer the latt er method) . ers by means of the" push stroke," cxe­(Decca F.7008). Many players will This number suits the C~ minor tuning cuted by hitting one strin g and allqw­remember Sol Hoopii 's previous re- admirably and it is a great pity it canno t ing the plectrum to loll, more or less cord of this number with his Tr io and be published as Sol's arrangement. gracefully, aga inst the next string ;

April, 1941] 8 .M.G. pushing the plectrum against the the plectrum is hitting the strings and second str ing and eventually reaching is being used at the only spot - the tip. the next string. This stroke, as ,in Once the two exercises on page seven billiards, is definitely barred. and the three on page eight are being

Let each and every stroke be entirely . played confidently and well, one can self-contained in this way . Take the turn to the fourth exercise on page eight. first bar of these exercises ; the G is hit, To achieve a satisfactory up and but before the next note (which is B, down stro ke it may be uecessary to second string) is play ed the plectrum lessen the angle of the plectrum stroke takes a short swing backwards and hits and here the most important points are the note on the forward swing . T he regularity of tim e between each note same action ar.plies to the change from in the first exercise (i.e ., the first exer ­second to first string. One natu rally cise using alternate strokes) and, second­makes more mistakes using this method ly, the same clarity of tone and attack at the onset but by using the " push whether an up or a down stroke is em-

. stroke " the great danger is that the ployed. The due observance of stress, wrist action will be absolutely nil whereas in the swing action of inde­pendent hitting of each string one must, or rather shall I say, should, be culti­vating a free wrist.

It is important to notice that the two exercises are labelled " down strokes " therefore the plectrum does not travel in a lin e parallel to the vellum but at an angle of approximately twenty de­grees. I mention twenty degrees with a certain amount of trepidation for I find tha t the angle, in my own case, is never constant . It is only given as a very rough guide to prevent " fla t;ting " out which is a sin quit e a few beginners on the plectrum-banjo are prone to ; as there are also quite a number whose constant endeavour, it seems, is to dig a hole in the vellum with the plectrum tip.

The return of the exercise (i.e., from the first string to the third) is more difficult than the forward journey but if things are taken slowly the two exer­cises should not prove difiicult.

Whilst counting-for naturally we are going to count_:_place a little stress on ONE, normal voice on Two, another stress (slightly less than on ONE) on THREE and normal voice on FOUR. Ifwe adop t a monetary value for the beats, I suggest a two-shilling value for each bar. If each beat is equal in value, each would be sixpence but rather'give the beats a value of ninepence, fourpence half:.penny, sixpence and fourpence half-p enny.

The stresses mentioned above err on the heavy side but this is all to the good at this stage. There should be crispness and attack with this method.

Page eight has sound remarks at its head. · The first three exercises played diligently and well will help to lay a sure foundation for future playing.

The question may well arise, " Are these simple exercises so frightfully im­portant? " They arc ! Counting has become a habit ; the rise of the free wrist has become second nature and

ROY PLUMER tl,e bri/li(lnt j,/(lyer of /1lectr11111 guitar, wl,o is now serving witlt tl,e Amry "somewl,ere in Eng/mu!." He /,(Is J,is guitar with ltim and is in frequent demand at local concerts and, last numtli, j,ltryed classical music

at a C/u,,nber Music Recital.

which is on the first and fifth notes in this exercise, corresponds to the beat value as mentioned earlier on.

The second exercise commences with an odd note before the bar. What count is used for that? Four ! Correct ! While this exercise is quite a nice study in variation from all down to alternate up and down strokes, we must avoid the pitfall the author had provided. The open bass string has been placed in bar seven for one purpose only ; to make certain the plectrum is not " digging " -so not too much shell ; just the tip as on the other notes and strings .

For a friendly relaxation, consider the last bars of exercises two, three and five on page eight. Each ends with the same va lue rest, yet each has a varying number of notes with different values.

123

Have . you worked it out? If not, turn to page one.

Well, this ends our second instal­men t. Naturally I am a little concerned whether my approach is too simple in style . I am endeavouring to treat Grimshaw's Plectrum Playing for Modern f!anjoists in plain, simple language an d whilst my avoidance of academic for­mula may be unforgiven by those who need not the advice tendered I would appreciate a line from those players still in the novice stage .

( To be continued)

SOL HOOPII RECORDS AVAILABLE AGAIN

(7 HE Regal-Zonophone Company :.J inform us that they propose re-issuing the Sol Hoopii Quartet

records previously available in this country on the Brunswick label, if sales warrant it. This month, " An Orange Grove in California " and " Ten Tiny Toes" (MR3452) are the titles chosen for issue and although we know quite a number ofplayerswill dispute the choice of ti ties, it dep ends on the sale of this disc whether the many other examples of Sol Hoopii's playing are released or not.

Readers of " B.M.G." may care to suggest titles to the R egal-Zonophon e people for re-issue. W.e know letters will be welcomed and all players in ter­ested should write to the Company at Blyth R oad, Hayes, Middlesex, giving particulars of the titles they would like to see issued.

For players' guidance, here are some of the titles that were available on the Brunswick label. " Don't Stop Loving Me," "Drifting and Dreaming," " King's Serenade," " H ula Girl," "My Hawaiian Queen," '~Hula Blues," " Mid night's Near," " Aloha Beloved," " Lady Be Good," " My Little Grass Shack," " Weave a Lei," " The Lei Vendor,"" KingKamehameha,"" Ak­aka Falls," " I Want Someone to Love Me," " I Like You," "Ahe Nani Kauai " "Waialealc " " Kola Pa" " My 'Is le on Hilo ' Bay," "Flow~r Lei," "Kamehameha Waltz," "Kuu Home," "Maori Brown Eyes," "Mauna Kea," "Makola Pua," "Ka Mahini Kaili Aloha," "Iniki Malie," " Hawaiian Honeymoon " and " Duke Kahanamoku."

There are a few other titles of real Hawaiian tunes never issued in this country but the Regal Company will know of them.

124

THE STORY OF THE BANJO

Bv A. P. SHARPE

B.M.G. [April, 1941

the instrument in a didactic poem Finger playing gradually ousted thim­wr itten in 1763 entitled " The Sugar ble playing an d then, in 1882, Dan Cane" and although this writer refers Polk (a mandolinist of unusual talent to the bansflaw he adds a footnote to the who Jived in Kansas City, U.S.A.) effect that " this is a sort of crude originated plectrum playing on the

(7L E who attempts to wri te the guitar invented by the ncgi-oes," but banjo, although it was not until many .,Tt,, history of the banjo trav erses an even earlier reference to the banjo years later that plectrum playing be-

many "blind alleys" in his (although not actually by name) is came the vogue. Here it might be men ­search for data anent the very early made in Sir Hans Sloane's Voyage to tioned that it was the inclusion of the days of the instrument and although no Madeira and Jamaica, published in 1707, banjo in the dance band that brought two writers appear to agree on its but written in 1688. This writer says : this popularity about and it was this origin, it seems that the banjo did start "The Jam aican negroes had several renewed popularity that caused the (as a banjo) with three strings. sorts of instruments in imitation of tenor-banjo (an instrument that looks

Chambers' EncyclojJcdia says : "The lutes" and goes on to say that " the like a banjo but is tuned in fifths at the word 'banjo' was originally a mere instruments are sometimes made of same pitch as the viola) to come into negro mispronunciation of bandore, de- hollowed timber, covered with parch- existence . rived through the medium of Spanish mcnt or other skin." It is interesting to Ilut let us attempt, as far as we are and Portuguese from the Latin pandura note that in the second volui:ne of this able, to look at the story of the banjo and the Greek jHmdoura," whi le Ca rl book there is a drawing of t'1V0 instru- in chronological order. Engel, in his book Mu sical J11stru111cnts mcnts almost ide~tical in shape to the Up to the year 1838 the banjo was a published in 1874, suggests that " the early-known banJOS. crud ely-made instrument with wooden Sencgambian bania is the parent of the Another early literary reference to hoop and a plain fingerboard, with the banjo." Oth e1· writers derive the name the banjo is in . President J efferson's parchment (or vellum) tacked on with "banjo" from bamlore but the Rev . Notes on Virginia (1781) where, on page bras s-hcaclccl nails. Any tightening of Francis W. Galpin - wodd-famous au- 283, he says (speaking of the ncgroes in the head was accomp lished by holding thorlty on mus ical instruments - says in Virginia) " the instrument proper to it before a fire ! Jn this year ( rB38) the his Textbook of European Musical Jnstru- them (the negroes) is the bm,jar which first brass-rimmed shell with book-bolt ments, published in 1937, that "the they brought hither from Africa." tightencrs was introduced in New .York banjo is said to have been a negro One of the earliest-known banjos in (U .S.A.) by Henry. C. Dol~son, and by adaptation of the medieval j,ando~e; existence is in the Lond on South 1840 the word bmuo was llrmly cstab- · the name being written at the end of Kensington Museum and dates back to lishcd fo~ it occurs _in m~ny published the eighteenth century as banjore." the early eighteenth century . This is a songs wntten at this pcnocl.

· cc On the other hand," continues the lut e-shaped instrument with a small By 1845 experimcnt5 had been made Rev. Ga lpin , " there is a primitive body and lon g handle and has five with frets . At first these were pieces of stringed instrument C01Jsisli11g of a strings. gut tied round the handle, but later in­shallow wooden tray (over which It is an undoubted fact that the laid frets were tried . Two years later strings arc stretched) with a short many " minstrels" were the peop le raised met_al frets rna~e thc!r aJ?pcar­handle which the ncgrot ic tribes of the who did much to make the banjo gcner- a~ce and 1t was <:1-t this penod m the Cpngo district call ed the bandju." ally known .. To the pioneer work of the l~lstory of the banJo th~t harmony was

In recent years some write rs have Christy Minstrels (who toured America, hrst attempted on 1t. stated that the first banjo was made in England and the Colonies) all credit is In 1859, Hercules MacCord (of St . 1830 by Jo el Walter (Joe) Sweeney due for bringing the instrument before Louis) fitted a tube through the arm for {an American), but further research the public and although the banjo was the fifth string, eliminating the side has proved that this player was merely mainly used to accompany vocal ilems octave peg, but this feature met with responsible for the addition of a fifth in the minstrel shows, it was broug ht to little success and is to-day seldom found (probably the bass) string to the four- the notice of the people who were later on a banjo although it is extensively string instrument in vogu e before this to spread banjo interest. used in zither-banjo manufa cture . date. It is general ly conceded, how- Most of the early forms of playing the Up to the year 1863 the banjo was ever, that" J oe" Sweeney was re~pon- banjo were more spectacu lar than tuned a minor third lower than it is siblc for_ t~c start of _chc populanty of musical and the thimb le (fitted to the to-day ; a higher pitch being impos­thc ba1!J? 111 the U.S .A. C?ntrnry to first fingc1· of the right hand) was the sible due to the length of the finger ­the _op_1111on o( many Americans, t~c means of vibrating the strings. Later, board . In 1863 the shorter scale was banJO 1s not _ solely a produ~t of thcu- more ambitious play ers came along and evolved and the raising of the pitch country. ~t 1s true that the mstrum~nt simple solos were attempted. As the gave the instrument the true character­was vastly 1mprovcd upo n over a pcnod construction of the instrument im- istic tone always associa ted with the of years in the ~.S. but, at the same proved (and here it may be noted that banjo . time, to_tally dd~erent developments all improvem ents to the baqjo have The few English makers of banjos were taking place 111 England. If proof been canied out by white men - the seemed to be cont ent to folJow the of this is needed one has only to mention negrocs havino· no part in the mech- Americans . At this time there were the fact that the six- and seven -string anica{ improv;ments of the instrume nt) many Jirst-class barvos on the market banjos in use here during: the nin<:tecnth finger playing became popular, corn- (usually with smooth fingerboards, as century were unknown 111 America. pletely changing aJJ strokes formerly frets were not universally in use),

G. A. Keeler (an enthus iastic banjo- in use and copying a system obviously mainly the products of Clarke (New ist in Engl and and an ind efatigable based on the playing of the Spanish York), J. B. Schall (Chicago), S. S. searcher for details of the banjo's early gu itar. During this period many Stewart (Philadelphia) and Dobson life) has discovered that James Grain - instruction books referred to the new (New York). ger, M.D . (an Englishman), mentions finger-playing as the "guitar style." About the year 1870, Albert Wilson

April, 1941] B.M.G. 125

(of Troy, N.Y.) veneered the wooden on the first finger of the right hand and Clifford Essex's Royal Pierrots and rim of the banjo with thin German silver the method of playing is to strike down Will C . Peppe r's White Coons helped to and this idea was later improved upon on the string instead of picking it. T he spread banjo int erest and banjo festivals by Jas. W. Clarke of New York City, first finger and thumb only arc used." became a regular feature in many of the while in 1878 S. S. Stewart produced In 1885 the first metal tailpiece made larger town~ in England . . the wood-lined, German silver hoop its appearance. Hitherto an ebony . I n Amenca, the banJo was the familiar to most players to-day . tai lpiece (as still used on instruments mstrum c~t of the few. Ou tstanding

In 1881 the famous Bohec Brothers of the violin family) was the method of players hke Vess. Ossman, Fred van visited England from the U.S. with affixing the strings, whilst the "push - Eps, Brent Hayes, A. A. Farland, I-lavedy's Coloured Minstrels. James in" type of peg (also copied from the P~rke ~un _ter and_ Fred Bacon were Bohee was the soloist (it was he who violin) was the usual method of tuning. still dehghtmg aud iences. and am~t~ur introrl11c.crl the " tremolo with thumb Banjo strings (as such) were unknown ; p layers were to ?e found m most c1t1es,. accompaniment " style of playing to most tutors and methods of the time but the populanty had waned . this country) and althoug h he played giving details of what violin and guitar In ~nglan~, we possessed a few 0';1~-on a smooth arm fingerboard (later he strings to use on the instrument. stan~mg soloists who, by means of thei r did use an instrument with five frets) Writing in l888, s. s. Stewart said : pub lic appearances_ and g!·a1;1ophone he starte d a banjo craze that did much " Not many years ago a banjo was records were sprcadmg baqJO ~ntercst ; to make the instrument popu lar. Banjos pat ented and called the • closed-back , perhaps the most ~1otable bemg Oily without frets were still in the majority banjo. This instrument is accredited to Oakley and .John Pidoux. and, in England, the popu lar instru- a banjo maker named Parsons (who More an? more :"'orthwh!lc music ment had six strings (some players were Jived in New York) and Henry C. Dob- for the banJo _was being published and still using seven-string banjos) whilst son later improved upon it." This was amat~ur ?anJO bands (usua lly under most solos seldom ventured above the the instrument later improved upon the direction of a local teacher) sprung fifth position. by A. D. Cammcyer and brought to up all over the country.

Strings up to this time were all gut; this country early in 1888 and called And then in 1910 the "boom" wire strings not being adopted un til by him the ;:ither-banjo. The " closed- period in the history of the banjo some twenty-odd years latcL back" baqjo was never popular in the starte d. I t was in th is year that the

Very few star performers of this States and was considered a failure from banjolin, tenor-banjo an d plectrum­period (both in America and this a musical standpoint. banjo made their appearance in country) could write or read music but, It was in 1885 that Stewart devised America. Produc~ of the dance band, nevertheless, their public appearances an instrument tuned a fourth higher they . pt1t _the banJO before the genera l brought the instrum ent before the than the banjo which he called the public as 1t ~ad never been done before. public. ba11jearine. This instrument had a In a short time whenever one hear d a

13y 1883, MacCord was making shorter neck than the standard baruo dance band one heard the banjo (or banjos with as many as twenty-one frets and was used as the lead instrument one of its " family") and it is an un­but his innovation was slow in gaining in banjo bands. Hitherto the piccolo doubted fact that many players took favour. Up to 1895 a "banjo craze" banjo (a smaller edition of the standard up the instrument from hearing it swept America, but the instrument was instrumen t- tuned an octave higher) p layed fo~-dancing. In the autumn of almost forgotten (except by the enthusi- was used in banj o bands, and it was this 1913 a Clifford Essex dance band (w_ith asts) by the end of this year. "The same maker who put on the market a Bert Bassett and N. Kov acs playmg Silent Banjo," a poem by G. H. Conrad, bass bat!iO- This instrum ent: (with five banjos) appeared at t~e " 400 Club " published in The Chicago Tribune on strings) had a 16 in. vellum and was (now the Embassy) m London:-t~~ September 15th, was apropos of that tuned an octave lower than the banjo . first dance band to use a banJO m time. The first verse ran :- The four-string bass banjo ('cello tun - Eng land . ·

The banjo hangs upon the: wall, ing) and the thr ee-string contra-ba ss The adven t of the plect rum guitar in Its strinw,; arc sna pped in twain; banjo were first introduced in this 1926 started the decline of the banjo in

Its notes thl'o' pleasure's go lden hall country as wooden instrument~ by the dance band and its gradual dis-Shall echo nc'e,. again. Clifford Essex early in the present cen- appearance from the eyes and ears of

A broken shell , a silent thing, Its days of trnmph 0 •c1~ tury ; later to be superseded by the the public marked its relegation to

. And ah, the hand that 1rnilccl its string vellum sound ingboard instruments we amateur players who, nevertheless, can Shall tn,i l that strin~ no mol'c ! know to-day. · still be numb ered in their thousan ds.

Anything approaching a" standard " By 1893 the banjo had attained a Ilanjo playing, in general, seems to of banjo construction was yet to be great pop ularity in this country and have stood still for the last decade found . Size of hoop ; the number of instruments with sixteen frets and five although there is no doubt that indivi­frcts ; length of fingerboard : all varied stri ngs were rapidly gaining favour. dual progress is being made by players to suit the individual player. For in- T here is no doubt that the increase in who are never heard in public. Ken stance, E. M . Hall (a noted "min - the number of frets and the minor im- H arvey (an American from Mil­strel" banjoist of the pci·iod) used an provemcnts constantly being intro- waukee) visited this country in 1934 instrument with a , 3 in. vellum ; a duccd, corresponded with the more and introduced somethin g new in handl e 21 in. in length; and an un- advanced phases of banj o music . More p lectrum-banjo playing. Hitherto the fretted fingerboa rd. This same player and more English makers were ente ring instrument was, as far as chord playing (E. M. Hall) published a New Tutor in the field to produce instruments to was concerned, a three-string instru -1884, in which he wrote : " There arc meet the popula r ··demand ; some of ment but Ken Harvey permanent ly two styles of playing the banjo; 'pick- the better known being W. E. Temlctt, tuned his fourth string up to D and ing or guitar style' and 'striking or J. E. Dallas, Arthur Tilley, John four-n ote chords and modern harmony banjo style.' " He added that, " in Abbott, Windsor and Taylor, Alfred was a feature of his playing. this ' banjo style' the thimble is used Weaver, Richard Spencer and J. Riley. In America the an nual Convention

126 .B.M.G. (April, 1941

of the B.M. and G. Guild invariably sees the appearance of banjo bands numbering anything up to a hundred and fifty players and no one who has seen the talking film of the Gould Banjo Band on parade through Ameri ­can streets can fail to be thrilled at its play ing and to know tha t the banjo is not dead over there.

mentioned they remain the same as in the standard tuning.)

You could easily adapt the popular choruses you know on the plectrum guitar to the banjukc. Although you only play the latter instrument from the charts the intervals of the strings are the same as the first four strings of the guitar. Assume you are fingering the first four strings of the guitar and you will see what I mean. As you hav e no time to learn anything new and only wa nt the solo featu re mention ed, this is th e quickest way of providing just what you need. You will not be playing in the same key as the plectrum guitar but, in you r case, this is of no conse­quence.

Despite its present apparent relega­tion to the b;i.c.kground, the banjo will rise again in England and, who knows, by the efforts of such players as The Kentucky Banjo Team (Dick Pepper, Edward Fairs and Bernard Sheaff) ; Tarrant Bailey, Jr., and George Morris (who are still broadcasting) the charm of the banjo - a charm all its own-will once again sweep the coun try.

Answering C. L. (Stockport) .- It is quite correct to place the steel straight across in th e ins tance mentioned lo play the one note on the fourth string and not " pick it out" (as you say) with the po int of the steel arched . Guard other strings well to prevent any contact sounds not advisable creep ing: in.

Tl1~ Ma11cl~ll11, '31Jitc11'

(Plectrum, Hawaiian and Spanish)

arid u k1..1lele, Cl»IPU<flow A. de VEKEY

IJ E. (Nelson) writes : "I have J.,,; just bought a lot of old guitar

• solos and I see that some of them have a bass note D. I have never seen this before in guitar music. As all the other notes seem to be all right this freak note must be intended for the low E. Can you tell me anything about it ? "

Answer.- This is not a" freak" note . The sixth string for these solos is tuned an octave lower than the fourth string . Most guitar solos that require this re­tuning have the following marking: ­" 6a en Re." Maybe you have not noticed th is. When playing notes on this bass string it will help to quick ly locate them if you remember they are on the same frets as th e fourth string but, as mentioned, an octave lower.

M. W. (Leicester) wants to know the main tunings in the " altered tun­ing " mando lin solos.

Answer.-( 1) One of the first strings tuned to C:jj:. (2) One of the second strings tuned to F:jj:. (3) One of the four th strings tuned to BD. O ther timings are third strings F and D ; fourth strings A and F,and third strings F and D ; fourth strings BD and G. In the first of the last two mentioned we published a solo " Impromptu " some years ago which is still obtainable, price Is. 1 d. post free.

There are other tunings but those mentioned above ar e most ly used.

(Where any other str;~~ ·

Answering .J. P. (Lonclon). - Thc tremolo solo for Spanish guitar referred to is by no means the only one issued ; there arc a number of oLhers. More­over, once you acquire the t remolo you can app ly it to a large number of An~wering P. J. (Co lchcstcr). - If existing Spanish guitar solos not actu- you will send me a s.a.e. I wil l be-i>lcascd ally written for this style of playing in th e first place ; thus considerably to send_ you the inforf~nation y<~11 require .

h . · . ·l . rr t I . <ld' .· . You w1ll, howev cr, rnd qu e.~11011~ 3 and en ancrng t 1e cucc . n a 1t1on to 1 · I · tl · t · I k the tremolo movement there is a most 5 exp amcc •~ · 1e ms Tuciion )OO · to fl, . 1 f: . . h I f' which you refer. e ect1ve anc ascmatmg met oc o

playin g the chords in briliant arpeggio style while the thumb takes the melody on the lower strings, or whole melodies can be taken in this style.

It is somewhat difficult to por tray in the written music the style I allude to and, as yet, I have seen no reference to it in any instructi on book (and I think I have gone through most works published in every country) . It wou ld, howe ver, be possible (by means of an example and detailed description) to give players an ide a of how this beauti­ful effect is secured but, of course, there is nothing so helpful as an actual de­monstration.

Your letter is very interesting and the amo un t of work you are prepared to put in shows a keen desire to master all difficulties.

May be I could help you on one or two point s if you send me a s.a.c .

H . D. (Morecombe) writes :- " I have played the tenor-ban j o but do not have my instrument with me now. I have managed to borrow a mandolin­banjo but th e owner does not want the stringing altered. Is there some gadget that I could use to obtain t·he same not es as the tenor -banjo? The notes at the fifth fret given the tenor-ba1~jo tuning. That is why I ask."

A11su;i>r.- You can obtain a capo d'as tro at any music shop . Fix it at the fifth fret which, as you say, will give you C, G, D, A.

Answer ing T. W. (Bud e) .-As you play the plectrum guitar and banjuke, study th e solo in this month's music

·-.olement and read the article on

Answering H. G. (Lo11do11).-As ind icate d in my reply to T W (Bude) what applies to the ukule le (1·cgarding the similar ity of intervals to the gu itar) app lies to the banjuke . Nothing against you using a plectrum if you so desire. As a matter of interest I have just written to a correspondent direct who states : " I play the popular stuff on the banjukc and use a plec tr um, for I obtain three times the tone than with the fingers and here on community numuers you can do with it."

While I personally prefer the fingers, there is the othe r fellow's point of view ; and he finds the plec tru m suits him better .

Although it is not orthodox, ukul ele and banjuk e players who prefer to introduce the tremolo might try sus­taining the top not es or some of the movements . Some like this style an d yet I have met others who do not care for it at all. By this I mean as per the mandolin . The three -finger tremo lo on the Spanish guitar, on the other hand, seems to be universally admired. Nowadays the unorthodox seems to come in for a great deal of attention in various ways, as correspondence proves.

Answerin g Sgt . H. L. (" Somewhere in England "). - The ins trum ents pre­sented to your unit are : ( 1) Auto­harp. (2) Guitar-zither (also known by other names), and (3) not quite sure for your descript ion is not explicit . " A four -string instrument with a vel­lum " might be a plectrum-banjo, tenor-banjo, banjuke, or a banjol in. If the latter it has- or shou ld have - a machine head. Non-slip pegs (that is,

April, 1941]

pegs with a screw at the end of the button for tightening) may be used on the others. If the better class of instru­ment, these will have geared pegs.

If the scale of the vellum instrument (distance from nut to bridge) is approx imate ly 13¾ ins. and it has non­slip pegs it is a banjuke.

Instruction books for all these instru­ments are obtainable and if you will send me a s.a.e. I will give furth er pa1·ticulars.

D. J. (Guildford) writ es :- " I have acquir ed a mandolin of the flat variety (no label} which has a zig-zag kind of bridge. Can you tell me what is the idea of this as I have never seen one like it before. The instrument is dark b,·own all over and possesses a most pe culiar style of tailpiccc. It has been rad1e1· knocked about round the body but I would like to know an approxi­mate value of the instrument when new. Maybe the bridge will guide you as to make ."

Answer.-S evernl · makes of mandolin have the bearing at bridge " stag­gered," or set back, which is done to secure correct intonation in all the positions. Even without a label I could place the country of origin but I would have to se~ the instrument. If you care to post it to me (with postage for return) I will examine it and give further particulars and, if you wish, let you know the approximate cost of the neces­sary repairs.

B.M.G: 127

Why not get some solos out of it ; either with the fingers or a plectrum if interested in that way. You are quite Of right ; I, too, believe in obtaining the most out of any instrument . On com­paratively new instruments it is as well

NEW SERIES HAWAIIAN GUITAR

BROADCASTS to bear in mind that developments are S T ARTING this month the Editor con~tanyy taking p~~ce an~ wh~t m/,ght _, is arrangin~ a ne"".'. series _of pro-be c~ns1?ered the full 1esomces of grammes of Hawauan gmtar re-certam mstruments years ago cannot cordings for the B.B.C. These pro­hold to-day. grammes, which will be broadcast

weekly, will be devoted to well-known Other rej,lies unavoidabf:y held over. players of the Hawaiian guitar and each

/\II correspondence rclating ~ this Dcp.ir; - broadcast will feature records made by, mcnt should be addr essed DIRECT to A. de one player and give biographical de­Vckcy, 13~4, Christchu,-ch Ro.id, 13oscoml>c tails of his life. fa,st, 13ourncmouth. Sol Hoopii is the subject for the first

"THE BANJO BOYS"

WORK ING under the nom de plume of " The Banjo

· Boys " two north ern banjoists have produced ,i snappy banjo act featurincr plectrum- and tenor­banjos .

0 Haro ld Fitzgerald, a player

programme (April 3rd on the Forces wavelength at r r -45 a.m.) which will be followed on April 12th at 4.45 p.m. by a programme on Len Fillis. Other players in this series will be Peter Hodg­kinson, Andy Iona, Lani Mcintire, Roland Peachey, Dick Mclntire, Sam Koki, Johnny Pineapple, King Nawahi and Roy Smeck, and all plavers inter­ested in the Haw aiian gui tar shou ld watch the Radio Times for particulars of dates and times.

And may we remind reader s that letters of appreciation to the B.B.C. help to make such fretted instrument programmes as these possible.

of many year's standing, plays the plectrum-banjo and J. George Tatter­sall, in I 930 leader of the Norwic h B.M.&G. Club and later associated with the Cardiff and Newport (Mon.) GUITAR or UKULELE! Club, is the tenor- Bv A. DE VEKF.Y banjoist. Their re-pertoire includes :JN this month's music supplement ln ·111y of the popu there ·appears a number specially

F. Y. (Preston) writes :- " I wonder ' -la· ban,io composi written to show how easily a why someone docs not write solos for · 1 ~ -tions and their own guitar player can play solos on the the banjuke or a tutor is not issued for of ukulele and vice versa. At this juncture it. .Jus t now so many 11layers seem to arrangement, current and " evergreen " numbers. I cannot do better than rcquote a sen-use the instrument but only from the Since the outbreak of hostilities their tence in Mr. Dykes' letter pub lished in chart form or vamping accompani- services have been much in demand for the February " B.M.G." in which he ments for songs. I fiddle arou nd a little the entertainment ' of H.M. Forces and said :-with a plectrum on it lior popular songs · tl a e d f tl c: t tl h " I wonder why guitarists do not apply their f,ol. I th"11·1l< mo1·e 1·nte1·est ca11 be ley r · prou O · 1e ,ac · · ley ave c1 r 1 · 1 k 1 1 » J b Ii knowlc gc o t 1cir mstrnmcnt tot \Cu ·u c c. obtained in this way. Everybody does appearec · e ore over 20,000 troops ; Players of either the gu itar or the

having been the " high s1:iot " of the not sing or wants to accompany those ukulele can app ly their "knowledge to who do . What many of us want arc many programmes in which th ey have the other instrument and, while this is tune s." appeared. Unfortunately this success- true as the solo indicates, do not Jct me

Answer.-Solos and tutors are pub- ful ac_t wiU_ h~~e to ~\~:mp?rarily 1is- be misunderstood. While the intervals lished for any instrument with ukulele ~>~nd ed owmg to 1'.11 -J itzgciald havmg of both instruments are the same·, each tuning and I repeat that as th e intervals JOtncd th ~ Royal Air I-orce, al th0 ugh w_e has other possibilities that are essen­are the same as the first four strings of are ~ure it will not be long !,>efoi:e }us tially its own, but that can be taken the guitar, any play er of the latter playmg of the plcctrum-banJO will be care of later. The main idea at this instrurncnt can quickly work up num - 111 dema nd again. writ ing is to exp lain their near relation­bers on either the ukulele or the ban- IT DEPENDS ON YOU ship as regards fingering. Naturally, jukc . True, the fourth string on the the same solo fingered in the ·same way ukulele or baniukc is mostly tuned an on the two instruments wou ld be. in .., I t depends far more upon the indivi- I octave higher than written but, quite a different keys, and her e might men-dual than upon the system, tutor or the r I T number of players ma ke enquiries for tion so is the music writ ten ,or t 1e crz a string to tune as written. See solo facilities, whe th er or not knowledge au d guitar which takes exactly the same . efficiency is acquir ed. Success will al- . m this month's music supplement and place in this connection. ways lie in the wake of those who are 1 1 if you send me a s.a.e. I can send you Let us now undertake a itt e testing. keen to couple reading with work. fi I I other information that will interest you . Let a guitarist - ,nger -sty e or p ec-

128 [April, 1941

tz:um--;-play the solo "Leg ende" on may be intro?uced and the part im- PRESIDENT ROOSE his guitar. Then, even without previous proved to suit the change of instru- VELT kn?wl~d~c of the ukulele, play it just ment; a proficient p layer can do this A BANJO PLAYER? as 1f_ld11s _mstruhment was a small guitar, at sight with almost any published part. , • cons1 enng t e strings as E, B, G, D. Occasionally, the plectrum may be aR! HUR T. CREMIN, director If a ukulele play er, simply play the solo " palmed " while playing and certain of the New York School of Music, on the guitar as you would play it on suitable movements played with the has cvol_vcd what_ he calls basic the ukulele. Please understand that fingers with diversiform strokes all of rules governmg the mstruments for both solo parts could not be play ed to- which must add to _the solo fr~m the wh~ch_ p~ople are fitted according to · gether as written for they arc in differ- listeners' point of view. their md1v1dual personality and back-ent keys ; in exactly the same way as The fingcri~g ~or the solos as print ed gr?,uncl._ . . the early bar\jO lead insLrumenL (Lhe has uol Leen _rn<lie::ite<l, foi· anyone cap- Nc1vous, _tense people, !:ke :81tle1·, banjeaurin c, or C banj o) would not fit able of playmg either would use the make . good p1ccolo p layers said Mr. in with the usual banjo solo part. Expe rt obvious fingering. In one or two bars Cre~m. " The stolid types, such as players could play from either copy the numbers in circles denote the Stalin, arc adept at the trumpet." in any key desired but that docs not string on which the note is played by " People ~ith quie_t hobbi es, like come within the range of this article. the composer but they can be varied, sta~p collectmg- Pres1dcnt Roosevelt, " Lcgend e " could, however, be fea- of course. Here I would stress one for . mstance - wcrc mad e to strum a tured in duet form by n·uitar and point. While the solo for guitar has banJo, mandolin or guitar."

AL BOWLLY AND JIMMY MESENE

ukulele by making use of the symbols. been purposely written to take it on the For instance, while the guitarist played first four strings (in order to show that the part written for his instrument, the it can be played in the same way on ukulele play er could join in by using the ukulele) the guitar ist can use many the symbols written for guitar and vice of the lower notes on his instrument to versa. secure the depth all players so enjoy. By JACK Wi-u-rnm,D

While these notes up to now have T~is will, of course, fit in perfectly and (7 NEARLY started by saying : dealt, in the main, with the similarity w11l add to the general cflect. J "M eet AI Bowlly . . . " but that of the two instruments it is necessary to I think this covers most that can be would be unnecessary because study each instrument in its correct said at this stage until players realise you know him as well as you know your tuning and not be satisfied with this what an addition the ukulele in its next door neighbour. And if you arc at transposed . form of playing . which is new_ form of uti_Iity is going to be. all interested in dance bands and the ~mly m_entioned for the purpose of . Like most t111ngs worth while, the men _who make them up, the same goes i)lustrauon. Once pl~yers hear how de- mstrument n~eds studying properly. for Jimmy Mesene who partners Al in a h~htfully these two mstruments blend Those who w11l study it properly will grand act featuring vocal and guitar w!th fingers or plectrum the interest be well reward ed from many angles. duets. w1ll be crea ted to develop still further Mere chart strumming from the piano But what you may not know about the real_ly great possibilities lying ahead. copies will gei: you nowhere. Once the man who has been compared with There 1s no need to entertain doubts knowledge of the instrument is gained Bing Crosby as a vocalist, is that Al about the" library " for there exists there are hundreds of solos written for Bowlly- despite experiences that would abundan t scope from the music already other instruments that can easily be turn any man blase-is as crazy about issued. One of the charms about these adapted, or one can take the popular the guitar as anybody I have ever met. two ii:istruments is the distinctive differ- so~gs if th: preference is that way. In I know, because I sat with the pair of ence m to~e. Granted_ they are of the th_1s form,_1t actually means reading as them in a _ ~heatre dr~ssing room the same qt~ahty whep. talkmg about guitar w1th a gmtar, but making more use of other m~rmng ai:id listened to some tone, as It were ; the one has a brilliance the higher register of the instrument grand gu1tar playmg. partaking more of the soprano quality and on the first fout strings only. ' Another piece of news for you is that

. a1:d the _other the beautif~l. rich depth . While, for practice pu rposes, any Al. Bowlly spends hours composing w1th "."h1ch we are all fam1har, the two mstrument tu?ed as a ukulele may be gm~ar solos (I heard some of them -:nd, blendm g perfectly . used, the desired quality of power is bchev~ me, they were worth heanng)

I have already mentioned that a ukulele played with a plectrum can furnish ordinary second mandolin parts with startling effectiveness and man­d~lin ensc~bles wh~ may appreciate this fact will be acldmg them to their mandolin orchestras to secure a new and most efficient tone colour. The warm gut tone, brilliant and penetrat­ing, mellow and sweet, really provides a new colour to one playing second mandolin that greatly adds to the effect. Try _it for yourself. If you play the mandolm try the customa ry man­dolin playing the second part and then let this pa rt be taken by a ukulele player with plectrum who knows his job and note the effect. Chord work

with the long-scale instruments with and Jimmy Mesene-whom you will the fourth string tuned down to the re_mcmber as a grand plectrum guitarist written note. Failing these, one will w_1th !'l"at Gonel!a for a long time~oins · ~ave to do the best possible with what him m co_ncoct111~ new tunes and new 1s available until aher the war. One rhythms for the mstrum ent they both play er I know (who has heard how lov~. If onlt they_ would have the these instrum ents blend) has fixed a patl~nce to wnte their n:1mbers down ! capo on the seventh fret of his guitar If Al l3owlly and Jimmy Mesenc to play duets with a friend . He is very come y_our way, make a point of seeing keen and, to use his own words is them (1f you can get a seat !) a nd put " going all out " to use the ukulel~ in in your qu?t~ of applause for two boys various ways as soon as things settle who have Jomcd in the movement to clown. _______ popul arise the guitar.

ZARH MvnoN B1cK1>0Ro's

"ADVANCED TECHNIQUE ON THE BANJO" will be resumed directly duplicates of the instalments Jost by enemy action are

received from the U.S.A. - EDlTOR.

l"B . .M.o:· Supplement . .April. f 941 .,

Gtr.

E

Co,pyri'gltt reseruet! by flte composer:

Legende Guitar. & Ukulele Solos

(Finger or Plectrum)

B7th

D .'If This and ~imil:lr ban may be played an octave lower If desired.

129.

, A.de VEKEY

A E7th A

130.

SV\Teet Lei Lehua Hawaiian Guitar Solo{with Gtr ac.c}. Arr:by JOHNNY KAMAA!NA

5 .....•••....••..... : I J_. "'-,10.a _ ... 1 ' -

G.

12B lOB

To Ad i Firoze Framjee (Poona)

Indian Sunrise Mandolin Solo RAY HIGGINS

My Pal Jo 131.

Plectrum Banjo Solo A.PALUMBO

March tempo ~

~ H n 1d1J ,Ja, er lffl<>p , u I Fr r w I Ji'! ff l, r 11:; ij ff htf=J .

f?l , D ), fl I £0 U F I P, 'g ~ ' iJ I ~ ,tf J ''iJ I ~ ' et ~ 1 2

fl 2B

$'r'('rTr'lrJCP, ·1 ~ , I If, Ul, f If'!·; l, 11 tf ths u. E 2 4 2 I 1. . . II 2. 5P~ v' rf:11 WW 111 [ f' r ,r I er t1~1J#ffl

,~ 1 p ,1-lli-1 p ,!fffitrpft1·r 1'E,fffu..1 dfJJF 1f ,ffoo ~:( t q

11 •~. 5p 4 /I- 8 . 5P 4~ 1~ 1~-~ 1~ !d±P:1 t1blprr1r1p ,eu ff,'!! ,;f(r 'ft p !Ptr::i-1

132· . The Evzones March

Banjo Solo (Finger style) FRA~.'1{ RALLSTON

E 3B.2B3B 5PR "t.~ . . ! 1. _J j

~ AU er I Etttrn&ftl f r£Ci:D7 eru·11 fJ1ctH e.f 1*mffi1j1t01

_ ,2B tpmu 2 1 1

drJ1 E cf I cfqr tt=,fM•fffffiJFE1T1 C, r pllrrr1]f 1

Prb~1crrr1grrmrr1t11tffHUrrtfiW~ffBRrbrfie-m f

11~ if! 112 ¼, tgrroo1tt1ffkt7=Cr1t,,imu~1LtJ,1~wu1;, t,1tf 1•

*ffl ~ 1 P ~ ~ 1 t1r E rI u rI 1ft J 1!P ~r "1 OOErcfl tr U1 P--mf

~hrtcrr IP-r -p I fur EJ I; f; r 11,tl, 111trlJ l~~f !f I; tin :f¾H1Dr ~1C1cJdcl,1Ff J1'rt11~t1t1fe:rfrrij

b . I t P1!~ tI VJ J1!1Ert1U•u 1if ~ 1tf (JI §r&il~ r :11

CODA ~ r ·c.i((1{r"r-ri' Id dru Fi I r f --JI FLYE.

D.S.to♦ then Coda.

April, 1941] B.M.G. 133

THE BEGINNER AND THE PLECTRUM GUITAR

tice, practice, PRACTICE. At first · your sounds from the " open " string next fingers will wander to t4e wrong frets ; door you know again your stroking is and then when you discover the right inaccurate. frets they will catch other strings and Now repeat these exercises playing a

IlY J ACK WHITFIELD deaden them. And then when yo_u have simple chord ; firstly a series of alter -10.-NOW FOR THE CHORDS! managed at last to finger two chords nate up and down stroke s on the top

(7 WOU LD encourage every student and play them cleanly you will have to two strings, then the top three, etc ., ad J of the plectrum guitar to learn practice hard to change from one to the lib. Make the notes clear and vigorous

to play chords from symbols-as other quickly and without fumbling . If and practice differin g " tones " by a means of maintainin h is interest . you are anything like I w?s during ~y playing on di~er ent parts of the strings

. as an introduction to t~e essentials of first _weeks of chord practice there w11l - .near the bndg e and farth er up the harmony . and chiefly as a means of ~c t1m.cs when yoµ wan~ to scream; fingerboard towards the nut .. . · dcvelo · ' t. ·I' · c ; d

O fid, times when you would hke to throw Next month I propose dealing with

nut I Wpomugld acl<s·

0

11aHdqdu·t r 11

. ~-11

'. cn~dc. your gu itar into the. dustbin ; times the left hand in chord work, but do not < • < ,cw SCIIOUS WO! s h I cl. ffi I h d . f. d I .

of warning. Do not a llow chord playing ~ en1

Y?U vo'!"bl t 1af~ a 1 11cu t

1 c 5>f1

1· 1s orget to sen(,.,.., abong <1:ny dq)uenes.

to becom e the be-all an d end-all of your · s1mp Y im_posst C to mger C ean y. 1ese J. 0 C continue playing. Do not neglect practice iq are _t_he times when yo~ have the ~pp_or­other directions to sing hill-billy songs ~un~y t ~~ ~o~etl youise lf bf st1c½i~g (plca~ant though this may be as a re- f. ~i· a ~-- · \ . : len,.1fs sure Y .ts m_g t creation between serious study), and . 0 ows ay, _t e;,e "".1 rr corn~, t le time never forget that " strumming " chords wh_en you C<m swmo out a good, (if it is done correctly) is just as much s?h.d, clean rhythm ; when you ~an a matter for the application of those sit m a <lane~ band and p lay un!lurn ed ba sic princip les of right-hand technique ~hbr~ugh a s1tx:clho~r tshess1on, ktakmgl dthe ( .· • · . · .. • 1 ·) . . 1 JO m your s n em e sure now e ge given m p1cv1ous clll1c es as so o th t h th · J'f1t' th b d d la · a your r y · m 1s 1 mg · e an an

P 's):'mg. .· , . . . the dancers as only a guitarist's can. mgle -stung playmg and cho1d play - I fr 'd I h II I « J't"

ing are bound intrinsically in almost 1 £1 a~ a .1t\ h s da . iav~ t~ ~p ~ every solo you will encounter . (I am e t at~ _ng ~ an s_ 111 • c or .P aymg taking it for granted in this series that as. I did m smg!e-strmg: m~truct1_on. !'-t

0 a t to bee me d II d th is stage (and m ment1omng tlus pomt

y u w, n · o · a goo a -roun . I h · · · . player). When ou )la the chord that ?gam am not over-emp as1smg its vou come to k~owl a/" G,, from a importance ) we must be thorough to a ' . degree. symbol on a sixpenny song copy ( even . . . . . though you may not have the foggiest Th~ pnnc1ples &overnmg t~e nght idea why it is " G " or what notes you hand m ~hor~ playm_g are precisely the are playing) you must give it just as same as_ m ~mgle-stnng work: I h~ve much conct ntration as if you were de~lt w1th them thoroug~ly 1~ ear lier playing it from musical notation in the articles. Rem ember - straight !me from middle of a " highbrow" solo. elbow to knuckles ; ~rm relaxed ;

Forgive me if I insert a paragraph mov~ment fro~ the wrist. In chor? here for the downri ght beginner who p)aymg you w1I~ need even more flexi­does not know how to start learning b1hty of th~ wnst and you 1:1-ay _allow chords from symbols . Iluy any good yourself a little na_tural reaction ~n the chord book (such as the Nick Lucas, arm "".hen_ you stn_kc a cho~·d. Roy Smeck or Black's). This will give As 1~ sm_gle-stnng playmg, the up diagrams of your fingerboard with dots stroke 1s as _1mport,:int as the down (for to marks positions and frets at which the rcas?ns wh1~h, while_ they may not be fingers are placed to make given chords o~v1ous whilst play1~g four-m-a-bar, - which you will at first learn by their will be abundantly plam later) and here symbol names . ' When' your " chord is your practice " routine " for the course " is complete you will know all month. the chords likely to be encountered in Firstl y, " deaden " the top four the average dance band part and you strings with the forefinger of your left will be fit to play in a dance band. The hand, leaving the bottom two clear. whole business is mechanica l in the Play a series of" four-in-a-bar " down­learning thereof and it is possible to be a strokes with the plec trum on the dead ­reasonably useful bandsman without enccl strings . If you hit the fifth string knowing a note of music. Just as you your stroking is inaccurate. Now play can play chords on the ukulele without up and down strokes on the top four knowing music. But more about dance strings. Make sure the strength of the band playing in a later article. up and down strokes are equal. Get a

Now do not think that I am telling " bounce " into your stroking, at the you that chord playin g is easy. It is same time keeping to the" rules." Re ­not ! It is difficult and a heart-breaking peat the practice on the top two strings business at the start. There is only one and then the top three (deadening only road to efficient chord playing - prac- those you are striking) and if a note

MAKING AN ELECTRIC HAWAIIAN GUITAR

BY J. S. ARKLF.T

JI JI OST players of the H awai ian ~f'I, guitar . would like to own an

elect ric model: One cannot listen to the recordings of Sol Hoopii, Andy Iona, Johnny Pineapple, Roland Peachey, etc., without being enthralled and imbu ed by the desire to produce such sonorous chords and tone colours . But, apa rt from conditions to-day , owning an electric Hawaiian guitar is often beyond the reach of the struggling player .

Perhaps there are some players who, like myself, would feel they had accom­plish ed something worth while in mak­ing an electr ic guitar. At first thought it may seem a most difficult and costly proposition but I found it a pleasur­able, enlightening and quite a reason­able one.

Lack of electrical experience need not deter anyone from attempting to make the instrument as there is very littl e one need know about this side of the businest If you arc sufficiently inter ested to attempt it and already own a radio set, you are half-way there, for the latter can be used as the ampli­fier and the. only electrical part to con­cern you is the pick-up magnets neces­sary for carrying the string vibrations to the amplifier (ra dio set) . ·

In my efforts, I tried two methods of picking up the string vibrations ; the first being to dismantle headphones and use the magnet-coils from them. The results were main ly experimental and are not comm endable for they Produced nothin,,. more than a better

0 insight into the need for something more exacting. True, in principle, it worked but was obviously far from satisfactory. Armed with the knowledge of what was necessary I sought the help of a friend with a knowledge of electrical engi neer ing .

134

With strings, geared pegs, a block of wood and a length of flex gathe red to­gether , my tota l outlay was complete. As a guide to others wishing to make a simil ar model, here are detai ls of design and structu re of the instrument .

As a sound -chambe r was unnecessary it followed that the body of the instru ­ment merely acted as the framework for the strings, bridge, pegs and magnet and so on ly des ign and shape had to be considered . Meas uring the standard length of an acoust ic gu itar for distance from nut to bridge (and allowing for the pegs and the approximate size of the magnets) the dimensions used ar c as given in Fig. 1 reproduced on th is page.

The shape of the instrument was then marked on the wood (any hardwood such as beech, birch or maple) and, for a few pen ce at the local j oinery works, was roughly cut out. Then followed shaping of the neck and a general finishing with wood rasp and sandpaper. Next the machines were fitted and a meta l nut inserted, followed by the fitting _ of a fingerboa rd } in. thick (with inlaid whit e cellu loid frets ; the positions being cop ied from the acoustic model) fitted to the neck.

For convenience of design, the brid ge and tai lpicce were comb ined as shown in Fig. 4. Th is was made from a block of brass and fixed by three wood screws to the face of the body. The position of this was· determined by measuring the distanc e from the nut to the twelfth fre t ; the saddle of the brid ge being the same distance from the twe lfth fret as that fret is from the nut.

FiJ.1

1-P :::-)

8.M.G.

A /1hotogra/1lt of the acllwl cle.clric .~uitar 11uulc 1,y our co11trib11tor.

Fig . 5 shows details or the magnets and coils, which m 11st be give n some care and tho ught in const ruction as this is the most important part of the instrument and governs th e qual ity and volume of tone . It might be advisab le to give this job to an elect rical engineer

N .B.- These ske~ches are NOT drawn l o .<r:ale.

[April, 1941

capable of wind ing the coils to the necessa ry requir ements, but for thos e pla yers wishing to tackle th e job them­selves, here ai·c the detai ls.

The ma gnet was ma de from special steel wh ich, when harden ed, holds the magnetism perman ent ly. (This magnet ­ising is definite ! y a job for an electrician) . The pattern chosen requ ired a piece of meta l 8 inches long, ,;t in . wide and ¼ in. thick and, when shaped, two holes were drilled imd t;i,pped on each land ­ing to which were aflixed the two coils. The type of wire used for the coils was No. 46 ga uge (similar to that used on ea rphone coils) · and wound to 1,000 ohms on eac h bobb in, but this figure depe nds on the input load ing of the amplifier (radio set) to be used. It may be mentioned that 2 ,000 ohms is the usua l inpu t loading or most rad io sets and amp lifiers so two coi ls of 1,000

ohms each will match the input. If you arc in doubt as to the inp ut or your rad io or amplifie r it can be dct cnnin cd by an electrical eng ineer who can also tell you how much wire is necessa ry.

T he building , or design, of the coils and pol e p ieces is based on the same prin ciple as that of a pick -up or ea r­phone. T he pole pieces arc shaped like a capital "T" (with plates attached, sec Fig 5, between which the coils are woun d) cut from a piece of steel I in. X I in . X i in.

Each pole piece" picks up "on three strings. When assembled and fixed to the landings on the magnets by sma ll screws , a cove r of insulat ing material was shaped to !it over an d round the wound wire to prevent dust from falling amo ng the coils and adding to the general appearance. A good idea of how this looked can be seen from the diagram.

The fram ework bciug rea dy for the ma gnets and volume control ( detai ls of the wiring of the latt er to the former is given in Fig . 3), an ob long apertu re was cut into (but not t!trou,gh) the body to receive the magnets (see Fig. 2) which were sunk into it, leaving the coils and pole pieces pro trudin g to slightly below the height of the stri ngs ; allowing for packing und erneat h to adju st the magne ts later. The magnets were fixed by two screws small enough to. grip , but no t long enough to pass through , the back of the body. An alt ernative method of fixing the mag­nets would be to bore two ho les through the body of the instrument an d fix by sma ll bo lts and nuts ; the latter

1 being countersunk into th e wood. Before fixing the magnets, another

aperture was ma de in the face of the instrument (but not through it) to

April, 1941]

receive the volume control and bored to the right diameter and depth at the right-hand side of the strings (sec Fig. 2) and the control fixed by a plate and four small screws.

From the oblong to the round open­ing a 3/16 in. hole was bored to allow the connection from volume control to magnets being made and another hole 1 in. in diameter was bored from the oblong opening to the side of the instru­ment to enable the connecting cable to be fitted. l n this manner all connec ­tions arc hidden, thus adding to the general appearance.

When the volume control -to-magnets connections have been made ; the magnets adjusted (temporarily) to with­in { in. of the strings (tu ned to pitch) and the cable connected to the P.U. sockets of the radio, the instrument is ready for its first test.

This test will be necessary for accur­acy of pitch and quality of sound, which can be altered by adjusting the height of t.he·magnets. When th is test is being made the volume control on the radio should be at full volume.

After a few tests, and litt le adjust" mcnts made, some consideration can then be given to additional luxuries such as white purfiing at the sides of the fingerboard; sunburst polishing; plated bridgc -tailpiec e ; white celluloid plate for volume control, etc. ; and the whole looked at with admiration and played with satisfaction .

In conclusion, if this art icle is the means of helping you to· make an electric guitar I wish you every success and . hope that it affords you as much pleasure in the making and playing as it gave, and is giving, me.

TAKING STOCK

B.M.G. two that is tricky, hoping to cc get away with it ." We all do it at times . Yet one must remember that it is only through constant hard work and incessant prac­tice the great player is made. He is not born overnight.

One might ask, too, " Have I started work on a solo a little more difficult than anything previously attempted ? " Why be content with grade A solos­or even B ? Work to a plan of grad u­.ated playing ; each new number attempted being a little more tliflkult than the one before. It may take weeks of steady practice before one can play the piece without hesitation and, although that may seem a long time to spend on a single solo, it is worth while for one's standard of playing has im­proved and it will be found that num­bers already in one's repertoire will improv e, too.

Not only the mental but the technical aspect should be looked into . Can faults be found in one's technique ? Quit e possibly ! Perhaps the banjoist might discover that the right-hand first finger is a li ttle weak ; that in fast numbers it is not functioning as efficiently as it should. Thus, having found the trouble it must be counter ­acted. How ? By an exercise ! What sort of exercise ? A home-made one that makes the first finger work a little harder than the others. It need not be anything elaborate ; a few three-note chords will suffice, played in semi­quavers + .... , the double pluc king on the second string, although not good technically, serving to strengthen the first finger.

Any other faults may be observed and corrected in a like manner.

Ways and means of improving rendi ­tion should be sought. When playing melody and accompaniment do you

Bv Rov F. BE LL keep the melody note (often a minim t7::ROM time to time every well- or even longer) stopped firmly while :J" conducted business takes stock the accompanying chord is played,

to ascertain exactly how it particularly in a bass-string solo ? stands. It is not at a ll a bad idea for The melody must ring through and the player s of frette d instrument s to do accompanying chord shou ld be fairly likewise. staccato. Try playing the melody

Every little while it is of inestimable alone, making it carry as much as valu e to stop and think : cc How does possible ; then play the whole passage my playing compare with that of a again, concentrating on the melody mouth or so ago ;> Have I made any and filling in the chords as a back­progress? Am I still clinging to some ground. Play the " B.M.G ." arrange­of my old faults ? " ment of " Riding on a Rainbow "

Being frank , one might adm it : (September, 1940, issue) paying srecial "Well, I haven't qui te master ed that attention to this aspect and it sounds tricky lit tle run in such-and-such a solo practica l,Iy id_entical wit_h_ Patricia Ros~­even yet, although I suppose I should b<;>rough s piano rend1t1on. Play 1t have done." I t is one of the frai lties of without and .. . human nature to rattle away anyt hing Again, is one watching expression? that can be played with moderate ease It is easy enough to miss expression and then skip through the odd bar or mark s when playing a memorised num -

135

ber. Are you playing staccato passages cr isply enough ? Is sufficient attention being paid to phrasing? Above all, are you using accent correctly even if it is not indicated on the printed copy ?

The difference the correct use of accent can make is well illustrat ed in "Operatic Memories." In bar 29 of " Light Cavalry " the first B and the second A need the accent ; in bar 30 the l1rst E and second D ; in bar 31 the E and B. The use of accen t turns tltc passage fron'l a dead, meaningless series of notes to a pa ssage full of life and vitality.

Turn to the _second movement of "William Tell." The two-bar cre­scendo run needs careful acce nting otherwise it sounds completely difforen·t to what the composer intended. One is easily tempte d to phrase it G, A ; B, C, B, C ; D, E, D, E ; F:jj:, G, F:jj:, G ; A, B ; instead of accenting the G, the second B, the second D and the second F:jj:. The phrasing thus becomes G, A, B, C ; B, C, D, E ; D, E, F:jj:, G ; F:jj:, G, A, B, each ha lf-a-bar becoming louder and loud er until it swells out into the tremolo D7th .

These are just a few suggestions for your stocktaking . There are many others but I hope these have given some idea of what to look for.

BREVITIES All wise work is mainly threefold in character .

It is honest, useful and cbecrful. * * *

A wise player changes his mind sometimes ; a foolish one, never.

* * * One hour of playing to-day is wo,·th two to-

monow. * * *

Playing a fretted instrum ent is seldom a duty, and has conseq uently no business to be made disagreeable.

ALFRED KEALOHA LIFE'S STAGE APPEARANCES

" Ci) ,M.G .. " contributor A. K. Life :.};Jis now a featured artist with

Felix Mcndcl ssohn's Hawaiian Screnaders as electric Hawaiian guitar ­ist and novelty vocalist. He has ap ­peared with the Sercnaders at the Palace Theatr e, Lu ton (February 16th), the Regent Cinema, H anley (February 23rd) and on March 6th broadcast his own arrangements of ·" Hilo March" and "Oua, Oua ." In addition to ap­pearances at Wolverhampton this month, the Serenaders have just con­cluded a two weeks resident job at Bentall's, Kingston . Mr. Life appears in traditiona l native costume and only

136

sings and plays genuine Hawaiian music. The rest of the time he plays plectrum guitar and ukulele with the band .

Any reader of "B .M.0 ." would be welcomed by Mi-. Life when the Serenaders visit his town, for he tells us that he will be pleased to meet any interested player back-stage after the show.

Readers will be sorry to hear that Joe Den i1/., the well-known coloured plectrum guitarist, is in hospital with a fractured foot ca11scd by cn~my action recently.

Norman Tay lor, well-known Northern broad­casting guitarist and teacher (now serving with the Queen's Own Came ron Highlanders}, was marri ed on February 15th to Miss Winifred Bess Pilling at Wesley Place Methodist Chapel, Bacup. Prior to being ca lled to serve in H.M . Forces, Mr . Tay lor was on tour with " Macari and his Dutch Sercnadcrs." He still finds time to play his gu ita ,· and is now a member of his Battalion Dance Band . ·

Rol and Peachey has formed an entirely new combinat ion and, last month, recorded" Moon­light and Roses," " T he World is Waiting for the Sunrise," "Begin the Beguine," "The J3rec~e and I," ". Medley (including : "Sweet Leilani," " South Sea Island Magic" and " Hawaiian Paradise "}, " Ta -Hu -Wa -Hu ­Wai," " Sophisticated Hula" and another "Mcdky ,, (including " Drea1r1 Love r," " Kiss Me Again " and " Speak to Me of Love"} . These new recordi ng5 will appea,· on the Decca label and wi 11, we feel sure, be welcomed by players of the Hawai ian guitar.

Ha rry Owens and His Royal Hawaiian Hotel Orch estrn arc featured in a film shott ca lled " Hawaiian Rhythm " now showing at local cinemas. All players of the electric Hawaiian guitar will be interested in this film.

Miss Una Hope-B ridges is a member of the "Black Dom;no" Concert Party ; formed for troop concerts. Iler playing of the banjo, man­dolin and guitar is a welcome featu re of their programmes and the enthus iastic receptions given to Jhis versatile ensemble is ample testi­mony of ,ts popu la,·ity.

Last month a H .E. bomb fell in a London borough . The local press, writing of the damage done some time aft er the event, gave publicity to a Mr. James, a you ng Scots lodge r , who was playing his banjo in his room when the bomb foll and did not hea r it coming . Despite the fact that the room in which he was playing was com­pletely wrecked, he escaped with only a slight cut.

A banjo duo living at Aylesbury, Bucks, are anxi ous to meet another banjoist cir guitar player living in the vicinity with a view to form­ing a quartet. Any players interested can have th e enqu irer 's name and address on receipt of a stamped postcard.

If Mr. Harry Johns, whose letter appeared in last month's "B .M.G.," will send along h is address to the Editor there is a letter waiting for him. Unfortunately his original letter has been mislaid . ·

B.M.G. During the month of April a banjoist is staying

in Otley, Yorks, and is anxious to meet another player. Any reader living in Otley, Leeds or Bradford interested shou'ld send a stamped addressed postcard to the Editor for the name and address of this player.

We hear that Django H.einhardt is safe in Pari s and is playing at Maxim's. This is the first news we have received of the French gu itar wizard since the capitulation of France.

[April, 1941

and "Hawaiian Love "- Ray Kinney and His Hawaiians (Decca F.7748) .

On Sunday, Feb rua ry 23rd, membe rs of the Bradford B.M. & G Club gave a concert at the Co-op Institute for members of I-1.M. Forces. The hall'w as crowded an d every item well. ap ­plauded. On Fcbrnary 28th the same pro­gramm e was repeated at !'he Tailor's Club, Horton Lane, for serving members of the club. --------

His many friends will be sorry to hear that • 6 Ronnie Joyn es (now serving in the R.A.F .} is in E M (; •• 12 • I s hospital suffering from a torn 1nusde .in hls Ip om cl stomach. • • • ·--=-'---- - - -

Back numbers of "JJ .M.G." from and in­cluding I'cbruary, 1939, can still be supplied price 7//. each post free. Orders should be sent to Messrs. Cl ifford Bs.scx & Son, Ltd.

!'lease include a stamped addre ssed envelope when sending letters to " IJ.M.G." contributors needing an answer.

A " B.M.G ." reader living in l'eterborough, Northants, is anxious to find a teacher of the banjo. Arc there no tcache,-,; in th is district?

If players of the plectrum-banjo or plectrum guitar living in Rotherham, Yorks, will send me their names and addre sses another player in their town would like to meet them with a view to mutual pra ctice .

Felix Mc,1dclssohn's Hawaiian Sercnaders recently recorded " Nobody's Sweetheart," " Dinah," " Cra:.:y Rhythm" and " St. Lo uis Blues "with Ivor Mairants and Wally Chapman sharing electric Hawaiian gui tar honours. The accompanying guitari~ts were .Joe Deniz, Archie Slavin and Jean Sasson.

Prese11t-day conditions make it impossible to giv, complete details of forthcoming broadcasts. Readers <?f "B.M.G." are advised to co,isult the "Radio Times," ill which full details ef current programmes are given (daily 11ewspapers barely give details that seldom give a,ry indication of the type ef pro.1:ramme} a11d to try to listen lo all fretted i,istrument items. utters or po.itcards to the B .B .C., Broadcasting House, London, W. 1, voicing a,1 aJ,proval of such broadcasts will e1is11re further such /irogrammes.

AfiriL 3rd. A programme of Sol Hoopii records (comp iled by A. l' . Sharp e) will be broad cast in the Forces programme from 11 .45 to 12 noon.

AJ,ril !?.tit. T,·oisc and His Banjoli ers will broad­cast in the Forces programmes from 1 1.30 to 12 noon.

AJ;ril 12th. A programme of Len fillis records (comp iled by /\. P. Sha rpe) will be broadcast in the Forces programme from 4.45 to 5 p .m.

AJ1ril 19th. Mario de Pietro will broadcast mandolin and tenor-banjo solos in the Home Service programme at 10. 15 p.m.

Recently issued fretted instrument records include: "Chant of the Jungle" and" Sheik of Araby "- Felix Mend<:lssohn's Hawaiian Scre­nadcrs (Columbia FB.2575 ) and " Ka-Lu-a"

A COPY OF THE T ESTS NECESSA RY TO SECURE " JJ.M.G." DIPLOMAS

can be obta ined free of char ge by app lying to the Editor, "B.M.C." 90, Shaftesbury Avenue, London, VI/. r .

The following candidates have been awarded Diplomas:

M rs. Saun ders Davis, of Chelten ham, " B" Grade (Guitar). Teache r : Miss A. Gardiner. Examiner : Sidney G. H ull.

David Saunders, of Cheltenham, " B" Grade (Banjo}. Teacher : Miss A. Gardiner. Examine r : Sidney G. Hull .

Mic hael Bester, of Bcnoni, "A" Grade (Plectrum guitar). Examiner : C. W. Macrow.

At last month's meeting of the Lewisham Club the following individual items were played : G. Martin and Miss M. Marlow (mandolin and guitar) " Stella di Napo li " and " Unc Pensive Fugitive" ; Messrs. Prior, Aken and Pooley (banjos) "Savoy American Medley" : W. Reachnan (banjo} " Coloured Band Patrol " and the entir e ensemble, " I3lazc Away," " Overture Medky ," " Banjo Vamp,'' " Nigger Minstrels," " Man the Guns," " Op eratic Memories" and "S how Boat ."

Commencing Easter week, the Fulham Club will meet on Thursday evenings at 6.30 p.m . During May, and until further notice, meetings will start at 7.30 p.m. and a ll players living in the di~trict a re invited to attend these pleasant and instructive meetings.

Meetings of the Ta1111to11 Club arc being en­thusiastically attended and all players living in the district arc invited to write to L.J. Thomas , "Laguna," Wyndham Road, Taunton, Som., for details of this newly-formed club.

LETTER S TO THE EDITOR Letters from pla;•ers intended for Jmblicatio11 should be written 011 one side of the /1aj1er only mul as short as tl,e subject J,ermits, reacl,ing this o.ffice before the 15th of the montl,. Publicatio11 of a letter does not imJ,ly editorial endorsement of tl,e o/1i11ions ex/>ressed. No letter can be accefited for Jmblication unless accomJ,a11ied by tl,e sender's name a11d Juli address.

Dear Sir, Tarrant Bailey Jr 's letter in th e February

"B.M.G." hits the nail on the head by attack ing

Apri l, 1941]

the lack of uniry among fretted instrumentali sts as a whole. The m odern fashion would appear to be hero-wor ship of a player's sryle or name rather than his (or he r) ability to transmit bcauliful music through a frette d inst rument. Any thinking, broadmi11dcd player must surely realise that he should concentrate on popularis­ing fretted instrument music, as such ; definitely not any particular style or nnmc. In spite of the development ofB.M. & G. clubs in many parts of this country it can frequ ent ly be noted that the furthcrment of frcucd instrument music bas been sacrificed to some individual player\ name or sryle. As a mass result of this outloo k the average l istener has a poor conception of good fretted instrnment music or the capabil ities of th e instnun cnts. The moral wou ld appeat · to I.,e that frclled insl rnm cntalists must in future study 1hore in terms of" lh e music" rather than "me."

In conclusion, the much crilicis ed and com­paratively sadly supported 1-'cdcrntion of J3anjo­ists, Mandolin ists and Gu itarists, had at leas t one excel len t ouject : i .e., to encourage fre'ttcd instrument music, no t so mu c h of the "me."

If every phtyct· st udi ed a long these lincs there would surely be some improvc:;mcnl in the pre sent pathetically ignor ant outlook of our average lislcn er. Why pick oursclucs to pieces (as p layers) when the p11blic badly needs ed ucat ­ing up to modern Ii-cue d instrument music and inslrum ents? It docs not requ ire much thought to sec that th<: " me " slud cn t creates his ow11 vicious circle !

Yours sincerely, LC:SLIE MARSH.

Dear Sir For sdmc time pa st I have eagerly awaited

eac h succ eeding broadca st of the KcnLu cky Minstrels; the high spot or these parti cu lar programmes being, or course, the banjo solos which arc so ably put ov.;r by the Kentucky Banjo Team. But ,1s brond cast succeeded broad­cast I realised with inlcnsc irrit ation that the so-called banjo solo was be ing admirably ren­dered by the clarinets and violins of the sup ­posedly aecompanyini:; orchestra. It is true that the banjos usually played the int,·oducti on and the lirsl movem ent or so of the numb er, bu t the orchestra would incvitnbly begin to " edge in" as soon as the repea ts were reached when, from tha t stage until th e conclusion of the number, the orchestra wou ld take it " all out" wilh the result that the · poor old banjos would be drowned and scarcely hea ,·d above th e din creat ed by the other instrum ents .

A bi111jn solo indeed ! 'Well, this kind of lreatment lasted for months,

or rat her for years. Uut what did we banjo players do abou t it, • In my own case, and from wha t T cou ld ascertain from various other banjo­lovin g :u;quainlanccs, we did JUST NOTIIINC and this meant that the broadcasts of the Kentucky Banjo Team were hall' lost to us each time they were pr escn ted.

1'he January broadcast of the team annoyed me so much (du e solely to th e above cau ses) that I put 011 a very belated thinking cap. I lried to reaso n why p layers of' th e abilily of Messrs. Sheaff, Fairs and Pepper were served up to us in such a scco nd-rntc mannct· and the con ­clu sion I eventu a lly arrived at was this : Lhat perhaps the Producer of t·hc programme, 11eucr having been inform ed to the contrary•, was under the mistaken impression tha t the broadcast was pleasing everyone .

So there and then I. wrote a leuc r to Harry S. Pepper (who produc es these shows) and in a nice manner put in front of him ju st how these broadcasts were being rec eived l.,y banjoists. I had the tem er ity to suggest thnt an unob trusive piano background was all that was requ ired for his Banjo Team and asked him to please cut ou t

B.M.G.

H ESSY'S Special

BARGAIN OFFERS

IVO R MAIRANTS GUITAR OUTFI T £6/15/ 0

Concert size, cello-style body, adjust­able brid,::c, 14 fl'cc c.:xtc1,sio,,, in shaped case, com plete with 5 lesson cm11-sc,ncw.

10 STRING TlPLE . Only £7/19/6 Rct;:il American model, walnut finish,

new, samp le model. REGAL 4 STRING BASS GUITAR.

£15/0/0 Idea) double for guitarist , very J)()WCl'fu l tone, mac hine heads, inbid positions,

sample model. PAOLO SOPRAN I PIANO ACCORDION .

£ 24/ 10/0 120 X 41 X 3 slide coupler, white c:is­i1\f.:, m c t·al urili, l)Owcrfol rcson::mt ton e, fufly gu:,ra'ntccd. showroom soiled, in

c.;1s,c, c~nnot be repeated. PAOLO SOPRANI PIANO ACCORDION,

[.27 /10/0 120 X 41 X 4 (2 push treble couplers, 1 b:,ss coupler:), blnck /g rey nnc. casing, exce lle nt tone, J{<)Ocl c,ond1tion, in cnsc,

cxcepr ion al h:wg;1.io. LEFEBVRE lli, BOEHM CLARINET

£ 11/10/0 17 Jccys, 6 rin8$, L.P. , chony wood, nick el si lver l<c)•wor k, n:paddcd ftnd ovcrh nulctl , ~oo<l t01\C, io C:tSt vnluc.

PENNSYLVANIA B!, TENOJ< SAXO -PHONE £39/10/0

S.P.G.U. 1 low pitch , reco nditioned, brown pads , :1s new, wonderful tone nnd

action, b:1rg-.lin. BUESCHER ll!, TRUMPET OUTFIT.

£17/10 /0 Silvcr-pl:itcd, Aristocl'at, in cxccpt ion::il fo\C condition, comp1etc with mouth~

piece , etc. BESSON BI, TENOR TROMBONE .

£8/10/0 Silvcr: -platcd, engraved bell, sing le water l<cy1 complete with 1nouth(>ic<:e1

good cond ition. BUESCHER Ep AL T O SAXOPHONE .

£32/ 10/0 S .P.G.D., low pitch, pate nt F & G. trill keys, brown p:i<lS, ovcrh:mlcd, excel lent tone, cosy action, in e-osc, cxccpt ionrtl

PAOLO SOPJl.A~Y~C~ROMA'f IC ACCORO ION. £42/10/0

109 trcbk.s io 5 rows, 120 bass i1'I 6 rows, 4 sets reeds, slide treble couple r, nac1·0-lR(1uc casing, vcr} ' powerfu l tone, r:lpid bas s al'ld treble ttction, used for :, very s hort while, in cxcc:llcnt cor'ldition, it,

case, c,mnot be repeated for value. ALI, WHITE BANJO VELLUMS.

11 in. 4/6, 12 in. 5/6, 13 in. 6/6, 14 in . 7 /6, 15 in. 8/6, 17 in. Calf Orum Vellu,n 10/6, 17 in . Cloudy Vellums 7/6, 18 in.

8/6. IVOR MAIRANTS COMPLETE COURSE Of 52 LESSONS FOIi GUITAR WAS £1 ,

on ly 10/6. Any Instrume nt sent for 3 clays Free Tria l against Cash. Money refunded if no t

more than sa tisfied. Hugo Stocl,s of Orchestra l Music, Al­bums, Solos and Tutors for all Instru ­

mencs. No lists avai lable. Highes t Allowance for your own

Instrumen t.

HESSY'S LTD. 18/ 20 MAN CHESTER ST.

LIVERPOOL

137

the band. I posted my let ter and then awaited the February broadcast when, to my great de­light, the banjos played to the end with piano accompan iment ; the band only coming in during the la st sixteen or twenty bars to give the number a mus ing finish.

I wrote to Mr. Pepper again, this t ime thank­ing him for giving us banjo enthusiasts a real break nnd asking him to pl ease continue to present all future banjo solos in such a ma nner.

Wh ich just goes to prove that the B.B.C . do heed our letters providing that suc h epistles contain wm'thwhilc suggesl ions and not merely abuse . Now readers all, should this letter find its way into the con·cspondenee columns of "IJ .M.G." plea se do not write thanking' me for the improved Kentucky Banjo Team broad­casts - just send lhat postcard to the B.13.C.

Yours sincerely, R. H. HOWARD .

Dear Sir I writ~ to thank you for the present series of

art icles by F . T. Lamb. l'or a number of years now this writer has given me a great amount of pleasure by the manner in which he ex­presses him self in yom· columns. The fact of his basing his future articles on that old and ·wcll­tricd favourite-" Plectrum !'laying for Modern Banjoists "- serves to increase 1ny anticipation of what is in sto re for us dur ing the coming months.

I h ave just read the March" B.M.G." which is, in my humble opinion, well up to sta nd a rd. Ind eed, I look for its appearance each month so much th at when I eventually receive my copy it is ,\S big a tonic as ,111 extra" pay day ."

So, with apologies to Frank Lawes, I will con­clude by saying : " Keep It Going ! "

You, ·s fait h fully, T . MEADOWS.

Dear Sir, Like Mr. Rymer (February "B.M.G.") I,

too, am anxiously awaiting the re-release of the Sol Hoopii record s. Every month I call at my local dealer 's-but still no news !

Pleas e, Mr. Sharpe, keep on at the Companies to issue these real Hawaiian records . If they will not consider the Sol Hoopii discs what about ag i tat ing for the many others they must have on hand . I can think of no other person more qualified to tell them what is worth issuing.

Yours faithfully, VERNON l'ETTITT.

(All readers ill/erestcd ill these records should read tlte a1mou11cemen/ in this issue, alld act accordingly.­Editcr.)

Dear Sir, Thanks a lot for the Carl Kress broadcast . I

enjoyed the interest ing script buc, above all , the record s. Any chan ce of these being issued over here? I, for one, would like to buy them.

Yours faithfully, G. D. VICARY.

Dear Sir, I sec that my views have angered Mr.

Hibb erson somewhat, and rathe, · than be in his bla ck books I would like to explain my motive for disliking American solid electric Hawaiian guitars. I have t ried the makes he mentions and that is the reason why I do not use them ! In­cid en tally, I have tried ele ctr ic guitars of Swiss, Hungarian, Austrian and German manu­factu re and most American makes (great and small) but I have , so far, failed to find anything that is not both expensive and trashy. Mind you, this is my personal view only and, possibly, I am ext remely fussy- like many other m usicians.

For the past four years I have been searching

138

for the perfect (or nearly perfect) ekc tric guitar and since I have been in Eng land have been using an instrument of lkiti sh manufacture with a standard acoustic guitar body, 1·01111d soundhole, glued -on bridge, flat top, carved back, and twelve-frets clea r ; in fact, a standard Hawaiian guitar but fitted with electro-magnets under the strings . In my opiniou, the tone of this instrument puts it above any solid electric guitar of any make in the States.

I am only too pleased that some staunch fol­lower upholds the American electric gu ita,-s, for they wou ld leave a big gap were they to dis­appea r, and I do not for one moment wish to deny them the right of cxi sr,.,nc:c,. I m~rdy state that they are not good enough for me- in finish, wor kmanship or tone-and ha ve no sym­pathy for electric gu itars made of metal or com ­posite material. Howeve r, I did 11ot say in my article tha t I did not use an electric guitar.

The idea tha t the more dead the material used in constrnction the bcue1· the tone and lasting power is a mistake, for the difference between solid mahogany instruments and those pressed from solid bakelitc or mad e from metal is aston­ishing and points to the fact that the electric guitar shou ld vibrate even more than an acoustic instrnment-but internally so as to pr event wastage of volume and lasting power through attempting to amplify it by a resonance chamber and thus making it aud ible in a room.

It is astonishing how electr ic guitars vary in tone according to the wood from which th ey are made which puts paid for ever to the idea th at an electric guitar only has to be solid to be good. Lani Mcintire uses an all-metal electric guitar, of wh ich the tone to me, is painful. Dick Mcintire, in con tra st, uses an all -wood guitar which possesses amazing tone and lasting power.

I am not content as yet with the electric guitar, for the semi-acoustic type with a gu itar body has excellent tone but insufficient lasting power, wh ile the average solid instrument has the last ing power but usually a poor tone. The one I u sed in the broadcast on March 6th was, I think, a definite improvement, but I am shortly hi.wing a specia l type of electric guitar made to my own design which should prove inter esting.

Come to think of it, Mr. Hibbcrson, I have heard of Sol Hoopii . You sec I happ en to have been brought up with Hawa iians who knew h im well and, although I have never met him, I have heard qu ite a lot about him . Because he uses an electric guitar, surely that docs not j ustify it !

I do not wish to sta rt another controversy, but surely beaut iful tone , perfect picking, lovely anangcmcnts, and pleasant tone arc common traits of every nativ e Hawaiian musician now­adays. Sol I-loopii's greatest achievement in the days when he recorded for the Brunsw ick label was in making an ordinary" box "gu itar sound exactly like an electric instrument.

Yours fr1ithfully, ALFRED KEALOHA LIFE .

(Mr. Life 11u!Y already be aware of the laws of electrical amj1lificatio11, but I would like to j,oillt out that the tone and lasting J1ower of m!Y electric .t:uilar must be govemed by the quality qf the electro-11wg11ets and am/1/ifier. The />r i11ci/1le ef electriC<il amj,lification is the picking u/1 ,1f string vihratio11.r which arc, in turn, transmitted to tltc am/1lijier as sound im/111/ses. Tlte amj,lifier intake v(ilvc turns tltese vibrations i11to musical sound which i.r tlten am/1/ifietl tltrough the wiring circuit and emitted via tlte sj)C(tker. The only factors having a,!>' bearing on tltc IJuality qf tone or /asti11g J1ower must, t!ttriforc, be the electro-magnets and the tunf>lifier. Airy vibrations of tlte instrument itself luwe 110 bearing 011 the results /nodutcd. Give11 high quality ma.11.11ets 011 an instrument, results wouM vary with dif/erc11t types of amj,lijier.- Editor.)

Dear Sir, I was pleased to sec Tarrant Bailey J r's letter

B.~ .G. in the Fcbrnary "JJ.M.C." replying to all the "hot a ir " that has been floating about re finger-style banjo v. plectrum-banjo. I heartily agree with everything Bill says ; in fact , I should have been surpri sed if his opinion had been different. He knows what the banjo is and can play it. We have both had a vast amo un t of experience, th e p laying of solos in pub lic, etc. ; I, perhap s, more than anyone playing the banjo in this country to-day.

If players want to use the space in your maga­zine, let th em write something beneficial to readers, not a lot of twaddle . They should rc,­mem ber that there is always a for i.nd against, so let us call it a closed book .

I must thank Mr . C. E. Bramley for his kind remar ks in last month's issue. I am constantly in touch with the record compan ies and have been for the past twenty years. It was only through my old friend C laud Ivy that I was able to record for Decca. The records sold very well - not in their quarter of a million-and the Decca Co. was more than satisfied and was going to continue recording but th e company changed its policy, etc., and so upset things .

One of the great troubles concern ing the banjo is, as Tai·rant Bailey says, tha t banjoists

RAY DUDLEY who, altltough 011/y i ll, has been J1i<!Yi11g tlte guitar for ten years. After worki11g all dt!Y in <L War Production Factory o.Oicc he s/JCJuls ltis evenings /1layillg band or cabMet engagements mul ltas done much to increase

fretted instrument interest in his district.

arc divided and consequently one hears : " Oh, him ! He's an olcl-styk: finger player " (I have heard it !) Why is it? Is it sour grapes?

I have meant to reply to the various letters you have printed concerning this cont 1·ovcrsy but have never gol down to it. Neverthel ess, th ey have given me a good laugh, especially when one remembe rs pas t ep isodes.

By the way, regardin g th e D tuning you rnay be inte, ·csted to know that I ve1y, very seldom tune my fourth string to D. I have pra ct ised keeping it to C and I have proved that to be better . I suppose I shall receive heaps of abuse now!

However, keep the "B.M.C ." going. I have read the maga zine c:vcr since it starte d. I re­member calling at Grarton Stn :ct for many copies (for my father) when I had hardly emerged from my crad le.

You rs faith fully, GEORGE MORRIS .

Dear Sir, Once again we must thank Mr . Papworth

for his guitar solo " Lisbonia" (a rea l " man in the street " solo). Please g ive us more of th is type of music, not only for guitar but for all inslrtnncnts.

Thi s is not only my own opin ion but that of

[April, 1941

on,, or two players whom I have introduc ed to "B .M.G."

I like " hot" mus ic as well as the next but I do not rely on "B.M .C." for it; I buy it. There is plenty avai lable. Please keep "JJ./vl.C." music supplement like the rest of the magazin e-fo r the " man in the street."

Youi:s faithf ully, .J. FROGGATT.

Dear Sir Dr. J>'. T. Liang's aniclc in lhc March

"B.M.C." is bound to cause confu sion in the mind of _the early amateur as it contrad icts such wr iters as Jack Whitfield who states that there arc a hundred and one ways of using your right hand but only one is rig h t. I wish to poin t out that the plectrum is not held with the thumb and index finger alone in the orthodox manner ; the second and 1hird fingers· arc so placed that they strengthen the index finger. If this is_ done a perfect balance and a str ong up stroke ,s ob­tained ·; an essential before an even tremolo can be produced. One must, of course, give the muscles time and J,raclice to develop.

By far the greater number of expert players of the past fifty years have used this or thodox method . They c,111 and do produce an even tremolo on one, two, three or four str ings with­out any tired effects.

Yours faithfully, CHARLES GRAI N .

Dear Sir, Please thank M,·. McNaughton for his

"Ba njoists on Record." It is what I have been waiting for.

Yours faithfully, M. C. RICHARDSON.

Dear Sir, Like a wa rrior in full war pa int among his

brethren in top hats and spats (and his sisters in fur coats) stood A. K. Life in the recent broadcast by Feli x Mendclssohn's Scrcnadcrs. Hawaii ! Hawaiian ! ! Where arc the grass skirts, palm tre es, lagoons and su,-f of the old days :' In sp ite of the guitar going modem I do think a Hawa iian programme that is not is a terrific disappoin tment. Come then, Mr. Mendelssohn, orde r three grnss skirls ; three gallons of trop ical surf; and three bushels of brill illllt flowers ! Give us lhe modern stuff (since it has come to stay), bu t if you cou ld sec my partne r in her grass skirt before she takes off her silk stockin1,.-,; you would have hysterics.

Yours faithfully, H. W. FISHER.

P.S.- My demolition colleagues in th e loca l A.R.P. have promised to do someth ing _about that old " Bamboo Bridge," so beware !

Dear A. P. S., . There arc so many . good thing,; mentmg

praise in the March "JJ.M.G." that I am im­pelled to express my than ks for the admirable way in which you, in spite of ever-pr esent diflkultics, maintain that high standar d to whic h ,·eadcrs have become accustomed dur ing you ,· "term of office."

Looking back at some of the outstand ing events in recent issues I recall with the utmost sa tisfaction many of these " high spots." The splendid instructive art icles by Bernard Sheaff and Alfred Ki rby- a lso the fonnc ,·'s consistently fine a,·rnng cments for the music supplement ; includin g what I think was, and is, one of his masterpieces, the Bach " Gavoue." Any player who cares to listen to the Scgov i;i. re­cording of this deathl ess classic will be , no doubt, amazed to find that the Sheaff arrange­men t" has it all." True, the six-note chords of the guitarist cannot be emp loyed in full but melodically and harmonically 1his arrangement

April, 1941]

sta1~ds out as one of the finest examples or the scoring of classical music for our instruments that we have had the good fortune to enjoy ... and if this solo is carefully played it will do more to change the cuncnl op inion re" classics on the banjo" than all the tal k in Lhe world.

Roy F. Bell's unusual approach to some aspects of banjo playing must surely be a great stimulus to those who arc trying to leave the rut of stereotyped sLylcs. l hope we shall hca,· mo1·c of this brig ht con tribut or ; he has, like Berti<: Owen, initiative and imagination and; as his a rti cles show, is constantly seeking new ideas and passing them on for the benefit of ns,ulcrs who ought not to be slow to accept such valuable help. · ·

But where is our othc 1·" ch ime," Alfred Bell? After seeing his name on really inter esting art icles and hrst-class solos a year 01· so ago 'r miss his" tones" in "JJ.M.G." Speak up, Alf. Dell !

Our valued " n :gulars "-A. de Vckcy, Ray H iggins, Ililly Ne ill, Z. M . Bickford, Jack Whitfield and F. T. Lamb-a rc doing g rand work. Long may th ey continue ! Dr. P. T. Liang 's most pleasing contribution pr esen ted hls viewpoinc in a clear and intere sting manner. Let us hope he has more to say to us.

However you, M1·. Editor , contri ve to " balance " tl1<: music supplement eac h month is a mystery Lo me- and I cannot understand how any rcacl(:r can i1naginc he has a " fair moan" (as they say in the R.A .F.). Carry on, A. P. S. , you arc doing line !

Ken Harvey's amus ing letter n :minds me that it is some time sine<: he wrote for these pa ges. What about it , Ken ?

I, too, am one of those who would be del ighted to sec an arti cle from the pen of Oily Oakley. And what about Ernest Jones and John l'idoux? Sul'<;ly they, too, have many interest• ing thi ngs " in the bag.,,

Dy the way, <:ongratulations to Tarran t Bailey Jr. for a sup erb performance in th e noon­day variety broadcast which I have just listened to as I write. ·

Finally, it is extremely grat ifying to sec such abundant evid ence (via " Correspondence ") of real int erest in the doin gs of the fretted instru ­ment world. Perhaps it is a case of a11111r vincit

. ? omma . , Wishing you every success.

Yours sincerely, J. McNAUGHTON.

B.M.G. Directory of

B., M. & G. CLUBS with the names and addresses

of their Secretaries

The cost for twelve con~cutive Sf. lnaerllona un der this headlnC lo •

PARTICULARS 01' MEMBERSHIP AND DATES

OF MEETINGS CAN BE OBTAINED ON APPLICATION TO THE SECRETARY.

Brighton. Sec., Capt. C. E . Stevens, 51, Wilbury Cresce nt, Hove 4.

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

Croydon. Sec., J. F . Masters, 47, Down­lands Road, Purley, Surrey.

East London, Sec., James W. Pearce, 27, Saxon Road, .East Ham , E.6 .

Grimsby. Sec., K. Coulb ec k, 79, Campden Cresc., Cleethorpes, Lines.

Haokney and Distriot. Sec .. G. H. Saerott, 7, Colne Road, E.5 .

Leeds Philharmonic Mandolin and Guitar Orohestra. Sec., Mias Irene Taylor , Ebor House , 32, Burton Row , Hunslet Moor, Leeds, 11.

Lewisham, S.E. Sec., Arthur S. Walter , 16, El ~inore Road, Forest Hill, S.E.23.

Liverpool (Premier), Sec., C. F . Cooke, 7, Culme Road, Muirhead Avenue, Liver­pool, 12.

London. Sec., G. A. Keeler, 106, Kines­wood Road, Goodmayes, Essex .

139

TEACHERS & THEIR ADDRESSES •Before a Teacher's name denotes an Examiner for " B,M.G." Diplomas.

7 / • per annum for 2 linn; 3/6 per line for extra line, or part of Unc.

LONDON AND SUBURBS •Edwards, T. H. (B., T-B., P.G., H.G., U.)

119, Fo n•• Rt.e, Wa)tba.m1t.w, Jt .U.

•Fairs, Edward, (B., T-B., P.G., H.G.) 51, Suffolk Road, North Iiarrow.

•Grimshaw, Emile (B., M., G., T-B.).-54/G, Plcoadill)>, W.1. 'Pbono: 1l4CODI HIT .

0 Handscomll, A, F. (B., P.B., P.G., H.G., P ., U ,) 403, Hish Rd., Wood Green, N.22.

•Johnson, Chas. <G., P.G., H.G ., B., M. , U.) Oorreol lu.lllos, all 117100. II, Cbolmolor<I Re .. , • . lf .

Life, Alfred Kealoha, (G., El .H.G. , u., tiple & ta,011atch). Play Hawaii's national Instru­ments llke the Hawaiians. Also Hawaiian language course. P riv ate lessons 10/·. Special, lgn. 28, Werter Rd., Putney, S.W.15.

•Palumbo, Angy (H.G., B., G., M. & V.) 10, Nanrlao Road, E.I. ToS.pboao: OU..1014 Wf .

•Sheaff, Bernard (B., .Z-B., G.) ea, New Oxford SlrMI, W.0 .1. •pi.. .. : M111..,. UN ,

•southgate, G. (B., T-B ., G., H.G.) All t\7l00, ID, Brudoaall .a4., Up- Toolla., 1.1'.lf,

•atanl•y Arthur CB., M., G., & H.G.) 10, Wahr 1,a,.., 8 .W.t. 'PboH: Tw. 4111,

ABERDEEN •stordy, J. w. (B.. M., P,, " P .-Ac:c:.).

ffl, Jtlac "'* · ABERYSTWYTH

•Mllverton, A, All fretted instruments . Tulllon (....,. 1\710), lt , Eaotcat. .

BECKENHAM Sisley, Geoff (G., P-G. & H.G.) 28, Wick­

ham Road, or Clifford Essex Studios. 'Phone : BEC 0637.

BEDFORD Manohester & Salford. Sec., S. Higain­bottom, 38, Slade La ne, Longsigbt, Manchester. Salmond H. A. B. (B., Z-B. & T .B.l-Beein -

neu care(uJIJ crouodtd . 10. Cla•uur Road. Oldham. Sec., J. Taylor, 14. Werneth

Crescent , Oldham. BELFAST

Small !cJl'ertisements· South-West Lon~on. Aston Banjo Club . J-1 Sec., H. 0. Wmch, 117, Hartftetd Road.,

•Campbell, Leslie (B., T -B ., H.G., & M.) 3~. Brookvale Avenue.

7 7,e ratc.fiil' 111/vcrti.<i11g mule,-this Jwuli11g is:, !- /icr half-incl,, or less

Lt1rgc,-sf,ace, /,ro rnla.

(.;lifford Essex " l'rol ,:ssiona l " j1lectrum guitar wich case. As n<:w. Sell for £G, or nearest. C. Mower, Wollrig , Ashk irk, Sclkirkshire, Scot­land.

If you have an instrum ent to sel l, this is the place to find a buyer.

C.E. IJANGATNS. Selmer electric guitar and ·am/ilifier out fit. BMga in . £18. " Premicrvox" electric guitar and m11/1li/ier outfi t. Good condition . £, 2 . John Grey " Dictator " bmifo and case. Almost as new. £io . Gr imshaw "Revelation Sup er X" model ba,,jo and case. Good condi­tion. £9. " Aristonc " fJ{c~trmn guitar and case . 'Cello bu ilt, "f" holes. £ 10. C.E. "Silver M edal " ma11dolin and case . £4 JOs. F ull I ist of bargains on app lication. C:liflord Essex & Son Ltd., 90, Shafte sbury Avenu e, London, W.,.

Wimbledon, S.W.19. BIRKENHEAD Walthamstow . Sec.,

Forest Rise , E .17. Totn Edwards, 119, •Hurst, Harry (B., Z.B ., T.B., G. & H.G.)

W, Olnelud 8n .. \..

Warrington and Districts, Sec., Mrs. M. Weaver. 20, Alexandra Road, Stockton Heath, Nr. Warrinrctoo.

Watford . Sec ., g_ Dowson, 80, Queens Road, Watford. Telepho ne: Wat. 3279.

West Herts (Watford), Sec., W. Bign ell , 236, Watford Road, Croxley Green , Watford, Herts.

Western District (St. Marylebone and Paddi ngt on). Sec., A. G. Binks, "Sans Souci," 19, West Way, Nea sd en, . N.W.10.

Willosden (Th& Mandollers), Sec. , J . H. Scrutton, 71, Townsend L:rne, Kings­bury, N.W .9

BIRMINq,HAM "Kapua, Ken. (Specialist on Hawa iian Gu,­

,,., a,ul Ukul d•. 12, Colmor• A.'n oa • , Kla.c'• lba\11..

Kirby, Alfred, Banjo Soloist. Tuition on Oan j• and Oult.ar, lOI, Row ll •ath Rd .• Klac• Ner.._,

•pJdoux, John (B ., M., G. & T-B.) Scotch• er ' • Cb a m.beu. SI, Corpora\ioa a,. 'Pb•••: O.».\rllol 1301.

•Rich, Sydney J, (Z-B. & B.)-45. Hannon Rd., !tin~• • Bulb. (Eum lnor for " B.JI .O." Dli,,)

•Thomson, F. (P., G. and B.) Instructor IC.a:, WH\wortb'1 8cb•ol of Kodera M••'-• &. WercH ter 8trMt.

BOLTON •Harker, Tom <P.B., P.G., H.G. & .Sa:i:.)

Specla lhl ln modnn 1t.1l• k ana1:11lar . B.B .O. lolo!A. Bnq•hSH: Boo\b', lchool ot 141111•. Charob1ak.

140

BOURNEMOUTH "De Vekey & Sons, A. (B., M., G., Ukut.lc

• Ha100iian OuitCN'.) 1154, Cbriatcburob noad, ·<;' • oomb. Ea.at. Telepbono: Cbrl,toburch t ll.

BRADFORD •Ra tcliffe, W. (B ., Z-B.) Harmony. Fing er

or Plec. style . 120, Ewart St., Great Horton.

BRISTOL •craddy , Horace. (Ban;o ond G1dt&r)

-31 . Victoria l'ark , Fhbpond,. Tel.: Fl1bpo1:11d1 58&,,

CARDIFF •Allen, R , (B., M., G.) - 12, Northcote St.,

(:Examiner for "D .M .G." Diploma,.)

CHELTENHAM •Gardiner, Alice (B., T-B ., M., G. Span. &

)fow. &, U .) 29, St . Gcor&c's ltood. Turner , Sid E. (B .• T-B ., G., H.G.)-1.

St. Ma.rk's Emporium .

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

~t~~d!'~i;. DJ:!1f!. tx:.1:/t0W~~bo0

; !~~~:",~~::: Road. Priv ate Addrn,, "lloll y lhnt.,'' 83, Derb 7 M ., Sandiaoro. ' Phon• :· Saodiacr• 339,.

DEWSBURY •L yles, Albert (B.M.G.) (Exnminer tor

"lJ .'Al.0 ." Dii,loma1). ~. P a rk ltd. lludde nfte ld •blt.e.t.

DUBLIN & BALLYMENA •M acGarvey , Jack (B., Z -B., I-I.G.>:-Ex­

aml ner for " 11.~J.G." Diplomas for Ireland. All coms., 31, . Ballymoney Street, Ballymena, Co. Antrim.

EASTBOURNE "McNaughton, J. (Z-B., & B.).-F lat 1, 6,

St. John·s Road. 'P hon e 5079.

EBBW VALE, MON. •eesagnl, Leno (B., P-B., T-B., P.G., H.G .•

7>. ,-tc:r.",·llion). l'er sonal or Post.al Tuition. Extlmioor lor .. JJ.M.G." Oiplornas. T~x::uniuat.iou in your own homo if 1>reforred. Rhythmic, Swine and st raie-ht. sty les of plnying. 36. Vall ey ltoM.1.

FALKIRK •Mao beth, Will (B., 'I'-B., G., M., U.)-

•• Stndlo," U, Orobud 8tn,ct.

QLASGOW MoKeohnio, Alex. (B., T-B ., G., H.G., M.)

all 1t1I••· 15, Oarturk 8treo\, Cro u btn.

•M erton, Frank (School of Syncopation) . Otroct.or. }<'rank Morton' • Oroheatr a• (B ., r .s .• 0 ., Jl .G. , M., Sa:e., 1'., J>,.Ac:c.). C.E. mu1ie ,t ocke d. All kind• rennin. 551. $ft.1,1~htohall St. .. Ch ulnr Cron.

MANCHESTER and DISTRICT Black, Al ice (B., M., G., all styles, P.Acc.

liar . ) .-6, Chappell Road, Droylsden.

"Grey, Harry F. (B . & T-B .)- 24, Brassing­ton M .. Heaton Mersey , Manchester. 'Phone : Heat.on Moor 1163. District Exnmlner for .. TJ.M.G." Diplomas .

Howard, Don (B., M., G., P.G., H.G.) Plec. and floi or alylu , (Pupil ol Emil • Or!mabaw, LoA4.) Teacher !or Forsyth Bros .. 126, Deansgate .

Math ieu, Sam (B. & Z-B.l Finger and Plec. 30, Turnbull Road, R•ddlab Lane, OonoA.

[April, 1941

WEYBRIDGE Cator, E. (8 ., P .G. & Z-B.) Be1lnners n~-

1ui1, croundod. I, Old Palaoo Jto&d.

WIDNES 0 Daviel, Fred (B .• Z-B., M., G., & Th cor11).

~. ll a l•sa t. lloa.d, ll ale bank ..

ABROAD AL TOONA, Pa. (U.S.A.)

Sipes School of Music (G., M., T-B., H .G., etc .) .-H armony and Theory. 829, Seventh Avenue.

MIDDLESBROUGH *Blaoklock, Alan (G., H.G., and T-B.)- BLOEMFONTEIN, 0.F .S. (S.A.)

119, Emx :,treot. •Penny, R. (H.G.), Radio, Staee.-8, Falc.lc Str u t,

NELSON (Lanes.) ONTON B RTA (C "Lund , Wm. (B. & i-B. )-F inger and EDM ' AL E anada)

Pl ectrum. 1s, 1•erry Street. •H ale, Miss A. (B., T-B., G., H .G., 1,f.) Albert• Collage, 10011, IOlat Street .

NEWPORT (Mon ) Gearon , · F. (B., M., G., U., H.G., Bass) 29 , Hamilton Street. · .

NORTHAMPTON "Bruce-Dundas, . c. F. (B., P.B., H .G., P.GJ

Droa.dugttni: attiat.. . Dea.tor to a ll frett..cd ina\ru ­ment.. - 188, Kioe.tey ltoa.d.

NOTTINGHAM •p apworlh, Sanders <B., M., G .. Saxo­

pA.o,u, Ul:vlll•. ll .0 .) Loe.a.I Arent tor Clllord &ue z a nd Soo. (Dbtrict a nd . Lincoln a nd l&an•O.•ld ltxam• inor for " TJ.M..G." Dlplo1u1.) 32, Allrot on !toad, C1'1.

•Richardson, Edward (B.,M.&G., al! styles) Onr 20 yeara' profeulonal experienM. 4J Portl and Rd .

PRESTON •Taylor, Ernest, T. (B., M., G.) Special

OoacJalnc tor Cont e1h, ek . l t . Cro n 8\rNt.

READING Hamlet , J. (B., T -B., Z-B., G.) Vi sits

radlua it mile,, A.sent Menu. OIUl'ord E•MX • l oa, 13, Prlut HIii, Caurabam.

ROSSENDALE VALLEY . •T aylo r, Norma n . Specialist Modern

1uUar t alUon. ffl, Olarlu,,Jlolm o Ton . Wakrloot.

ROTHERHAM Parker , J. (B., M., T-B., Z-B.)-214, Well­

"•'•· CJUford Euez acceuorlu awpplt.d.

JOHANNESBURG (S.A.) °Kudaoe"s, Qeo. B:M.G. School, 162, Ceo­

tral Au. , Mayfair. ' J">hnno 3S-3S7'. *CharliP Macrow's Studies (B., M. & · G.)

Johnnnesburg, oermlston, Benonl. For parttcu­lnrs write to P.O. Box 140, Oermlston.

JOHNSTOWN, PENNA. (U.S.A.) •Mo sso, J . B. (G., P.G., I-1.G., T-B.), Nant,

Olo .• Penn a.

LETHBRIDGE, ALTA. (Canada) •H arpe r , J. G. (Ii'., P. & 'f-BJ. Directo r

l.et.bl.>ridge Con1on a\ or1 of Mu 11c. En .. rnbl • oi ..... Cor . 11th St.rco\ a nc.l 5t.b Auoue • .l:l.

NANAIMO, B.C. (Canada) •Kushner, M , L. (H.G. , V., P.) 217

Machleary 8troo\. 'Phon e 111.

NEW YORK CITY, (U.S.A.) *Gibbs, Geo. A. (B., M., G.) United Orches­

trnl Sch ools, 184$, Broadway.

PENTICTON (B.C.) •staok houso, Mel. (H-G.). Examiner for

"D .Al .U." Dlplol>la• .- Do< 177.

PERTH (W. Au stralia) • Everso n , G. F. (M. & Bn .) Nlchollon' a

Music Watohouao, Darr&ek Street. . 0 Hinohollffo, G. (Specialist on M., Bn.,

and TJuo,.,). 18, Dane 8\., Vtetorfa l' a rk. •M ats on , Glen. (Specialist on Hawaiian

Oultar . l'upll ol D••ld K. Kaili, 17&, Pl or Sh oot.

GUILDFORD and DISTRICT SALFORD POONA (India) Lane, A. w. <B., M., P-G., 1!-G., U., et.e.) Shawcros,, Joe <B. & Sax.)- 28, Good - Fra mjee, Adi F. (H.G.). 322, Main Street.

17 We,ttl •l d Avenue, Woklnt'. T el. : Wokia., Sff'S. _ "_1•_s_t_, .. _t. ______________ _ IPSWICH SCARBOROUGH PRETORIA (S.A.)

*Robins on M G (PB M G I1 G U) Nasser's, Rud olp h (B., M. & G.) .-Studios, •Gough, Bernard (B., Z-B .. M., U. & V.) Grangehoime. •28, 'Man~r Roaci'. ·• · · ·• · · 306, Church Street.

151, Woodbrldeo !load . -------------------

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

Ebor Ttouu , 32, Burton ll t?w, lluoale t Moor .

LEICESTER •Ch amberlain, J . (B., 'I'-B .. M., G., H.G. &

i;! • .1· & w:.,~~101:&~!~r!~. ~- lft•.~ .. '°01p?~!:::.f LINCOLN

Littl ewood, Ter ence (H .G., B. & P-B.) 2P3, Burton ll-o•d.

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

Welliogton Rd. Sth. 'Phone : 2127.

*Lin ley, Wm. (B. & Z.B.). Finger or Plec:-. by Pro,ed Motbodt.-3, Spoocer lltreet, Reddlab.

STOKE-ON-TRENT •Pe ar son , Frod (B., G., H.G., M., U.). All

1\1 111, U, B ayH Street, Jlr ade1ey, Da u1em. Priaei. pol In , t.ruot.or t.t Kay w .. \worth'a, sa. Ot• llaU Stroot, ll ao l•1. 'l 'hoo o: 8.0.T. 29114.

ST. PAUL, MINN. (U.S.A.) •B ellso n, Albe rt (B., M., G. and P-Acco r ­dion). Virtuoso, to&c-.hor and deater.-376, St.. P eter Street (Alao M inncapolla , ;Minn .)

SINGAPORE (S.S.) *Daroya, Elp. c. (All fretted instruments).

574, Serangoon Road.

SYDNEY (N.S.W., Aust ra lia) ·H ine, A. (B., Z-B., M., G. & H.G.) -

8tudio 1, l26, l,arr amaU t. Ro ad, P et.r1ham. Ai••' .. T ON (s

Clifford IC.sex &. Son' • in d.ru m•oh a nd ma d o. LLANELLY AUNT om.) "Ski nner, H. Phillip (all frett ed in stru -

•J ones, T. E. (B., z -B, M., T-B., G., H.G., Th omas, L. J. (P -B.) . "Laguna ," Wyndham ments). - Nlcho lsons, 416, Geor ge Street.

q..l fltxa mlnor for·• D.M.Q." Dip.), 13, Tomplo l\l'MI. Roa d. VANCOUVER (B.C.) MALVERN LINK WEST BROMWICH (Staffs.) •Fletoher, F. <Teacher of all fretted ln-

Smlth, Fr ank (B., Z-B., G., H.G.) "Lons- Johnston e, A. (B., T-B., M .. G., H.G., P., st rum entsl. c/o Musicians' Union, Room 81, 553, d•lo," Cromwell Ro•d. Y., U.).-11, Lode• Ro&4. Oran\'llle St .

AllDREVIATIOl'IB.-" B." Banlo." D•." BanJole1-. "ZI-." Banlolm. "Doi«" Mandola. "0." O...itar. "11.0." ll awallao Guitar ." 'JI." 'Mandolin. "l' ." Piano. "l".ZI." 'C>-nm-Baslo." P.O." Plectrum-Ool'-' r . "S." l!llor!nc. N .,.,., .. lan,p boo•. "2'.B." Teoor-BanJo." U." Ukulolo. " Y." Violi• "Xvi ." Xylopbon o. •• Z.D." Zither Banio.

Apr il , 1941]

"SUNRISE SERENADE" T hi .:. d c l ir.-ht ful nu rnb c r h :l$ b een n1·r ~1111.:-cd effec t iv e ly hy Oid , $ :td 1ie r for plec t ru m a n d

I Ja wai ia n J:uit :Hs . P RI C E

1 /-COlltpl c l e w ith fru i ta r :.cc om 1) a ni n, cnt

f l'o M, IJ,!ll I d , ~xtr ,t l

CLI F FOR D ESSE X & S ON 1, TI ), go S h a (t e shu r y Av cn u <;. London, W . 1

Fit one to YOUR instrnment!

"Regal Wrist Rest" T lh · Hh "-,I , ·,l1U!t)fl ahk \\ 1· i, 1 , , • ..,, , · \ 1,.•f p11 1 , ,n tl 1,· 1u.,r k"-•1. \\ ' id,·. 11.11 ., 11,I . 1d i11, 1.1h!t·, Th ,· t,,p i , m :1d1..· f r,HH f in. ·· E 1i1h\i,1. · l1i., hh · po li,li,· ,1. and l li1,.• ti u iui.: :-. (w h id 1 .11•,· 1u . .. l,· .u 1j 11,l .1hl1• 1,• Ii i .tl l \ iu, t , H ll h .' lll) :,n · 10 :h l, · r .. 1111 ht •, 1\"\ hra ....... hi1:,hl\ · ni,·kt•l- p la ln l. .\ , ti 1 h·,1 i..., t lh · · .. :'\I-: \\ '

1• \ t..:.H ;() >J" .uul .. I~ Ee.;,\ I • .. l•.m.i,, ....

Price S/-(J'o. ~t" !/r. 4d. r .,·/r f/)

CLIFFORD ESSEX & SON Ltd . 90, Sha ft esb ur y A venu e, L ond on , W . 1

Th e NEW , , KAMJTTJ" Imp rove d .l'-.

Hawaiian Gu itar Method PRI C E

N ow On ly

3/6 Postage

3d. extra

'rl I IS 111~:tla. 1.I i, t11i.l, •uh1 ,•tlh t ht · m, ,,1 p1·:u·1i, ·.,I :tt hl , .a ... ilv u

0

1h h-r­, 1,h•, l h ,, .ik ,,! it, l,i ud , ,11 1 lh · 111ark t · I. \ ll -..~11H.·d lu ,~11-.. t>, ,,l., na1i,, 11, h :1vt·

1h·,·n ,·l i111i11:1t. •, I :i 111l \\ l,;t, . ,•\ ,•n1h iu g­,, I i111p.irl:11h 't• i•. in, , ,, h , ·r, • ia i, m ,, , t 1h ·t•d, ·,I. 1lwn· . 11 1· ,i. , l,, u1~ h,,,, i ld,·•·· in 1: 1·xpbll ;11i,, u , h) , ·, \11lu ,, · li h· ,t 11d1·111. Th i, ll h' tlh• •'· \\ ii It il :,. , 111lp l, · ilhi- , t r;11i,,u , , ,,i ll h, •.t \u •k c\lllt·

., i,I h• ,·,,· r~ ,,,, u ld •h,• pl:1,, n • ,,I llh ·

ll. rn .1ii.111 (: 11iL1r.

CLIFFORD ESSEX & SON LTD., 90 S haftes bury Av enue, London; W .1

MODERN CHORD METHOD von

Ple ctnun Guitar l lY

J\R T H UI { BL J\CK

A com ple t e s tudy pf 1{11it::.r chord s in dia ~ 1·an1 a n d 1nusi ca l c ot a t i on fon 11 sh owing ho w the y c an l: e form ed in any posi t io n h y a s y , t c m o l mo va h lc fl n{!c r co rnhi nnt lons, an d :.\ th or ou ~ h e xpl :in :ition o l ho w to a p ply t hem in

play in g fro nl 0 1·ch c~ t1•,tl pan s .

P RI CE

?.16

CL IFFO R D ESSEX & S O N L TD . 90 Sh a ft es bury Av e n ue , Lond o n . W.r

"BELL BRAND" BANJO ST RINGS

W o h ave in s to c l< 3 l irn i t c d su p ply of t h e fa m o u s ' ' Be ll 8t' :lnd 1

' ba nj o st rin gs 1st or 5t h 4d . 2nd 4d. 3rd 6d . 4t h 8d .

CLIFFORD ESSEX & SO N LTD. 9 0 Shaf tesbur 1 Avt :nue , Lo ndon , W .1

B.M.G. MODERN GUITAR IST 'S

HANDBOOK ON

llUNS, MODULATIONS

and FILL-INS by

VOLPE & VICTOR A com 1, le t e a nd car ef u l su rve y o l th ese s ubj ect s . inc lud in g "F ill -in s ' ' o n M a jor . M inor , Au g m ente d a nd ' Di m inishe d Ch o r d s ; Bass R u ns an d C ho r ds: .P ic k a nd F ing e r S lur : M odulat io n s in Hig he r a nd L ow e r K ey s ; Wa l t z M o dulatio ns ; In t rod uc t ions: V ::11np in M ajor and Min o r Ke ys : Cadenzas iin d t he use of

t h e Gli ss ando (S lide ).

!'HI CE 5 , - I Pos111ge 2(1 ()Xl l' .1)

CL Jf'f' O R D E SSE X & SON LTD . 90 Sh aftes bu r y A ve nu e, L on don . W .,

Th e mo st poJJu.lar t>lectrmn in u se toda y

U SE D B Y PL A Y E RS Ol"THI! B ANJ O, MAN• DOLIN AND GUI T AR ALL 0 V E R T H I!!

WORLD . T H E

"NICK LUCAS" Ca n b e • u1>pll od In lm l lnt lon 1h ell or !Tor :, !ln l1h.

PR IC E Jd. EA C H

(Postage extra) CLI F FORD ESSE X & SON LTD .

90 Shaf tesbur y Ave nue , London , w .1

ii i

WE CAN STILL SUPPLY

VELLUMS

T h e easiest u nd most t r oubl e-free way of r c111aci ,1t,: a har1j o ve l lum i:;; hy pu rc has in g on e ready str e tched. 11 requ ires no dam1>­h tg, a n d h 111r1g ,s as s imp le as u u lt rn g a licJ

on a ho x.

S e nd f or CURRENT PRICE LIST CLIFFORD ESSEX & SON LTD . 90, Shaft esbury Avenue , London , W.1

Play the music of SOL HOOPII

DICK MclNTIRE SOL K. BRIGHT H,1waiia11 1:ui t:11· solos as l'ecord ed by these

world - famous pfrlyer s --............ ----------. -----........ -....... -... -..... --.. .

C o m pl otc l is t o f o ~c ,· 70 so lo s b y th es e

: w e ll -kn o wn H a.wa i i:in Gui t ar ists se nt po st :

i fr ee to a n y add ress on .lp p l ic:t t io n. •

SOLE E NGL ISH AGENT S

Clifford Essex & Son Ltd . 90 Shaftesbu ry Avenue , London, W . I

THE NEW-TYPE ADJUSTABLE GUITAR BRIDGE JI ·c luiv ,· af t, red 1hr "P/1 U/IGO N" adJ11stab/e u 11itor bridur to tlw 11t 'fl" "f lat " 111odcl. .\ l ad,· of ,·bo11y in two st')"l, s- ~/lfll mu / '.,. /lo stj•li·s- th is bridg,• n•i/( gfre br11, r l0 11c "' "' fi 11cr actio11. If yo 11r g11itar ha s 11 .f/oMi 11g tailf,itCe ,·o tt a m 11s~ lhe 1\ ',•w " I' ; I/ <, / ( ;() \ ' ·· adJ11s1at,I, bri dw •. /Vh ,•11 or d1'ri 11g , f>l l'usr s11I1I· if ~·1J1ir x 11i1ar is

You

a flat o,· 'cl'll o 11;odd .

PRI CE ON L Y 7/6 P OSTAG E 4<l.

CLIFFO RD ESSEX & SON , Ltd., 90 Shaf tesb ury Av enu e, W.l .

nee d a copy of tl1is .. NEW pn ce li st ! The new Clifford Essex illustrat ed 11rice list of instrum ents an cl acces­sories shoulcl be in the hands of every banj oist. maudo linist ancl gnitarist . A copy will be i;lalllY sent to any aclclress 11ost free on receipt of the atta ched coupon. Cut it out ancl post today.

'/'hi , , 0111,011 r, 11I /11· s, 111 i n an 1111s1•fll1 d , m •l'lo/><' f1,r II I d. /ws tag ,·.

'j' () ; C I.IF FO ll l) ES:--E X & S O:'-: J.Tll . 'JU :--11.\ l•"l'ES IH H Y ,\ \ E. , L O:'--DO:'s, \\".I

] ' /, as, sl'J1d me /1os1 f r<', 011d 1d lf 1•w / 11bli'-!uli o11 11 rn/>.1· ,(/' your 11r« · price /i ,t. Thr i11str11111, 11/ I />lny is 1/11· . . •• • • . • . • .. ... . . . . . , • •. , , .••. . . ..•

:\".· / \ II( . ... . . .. . . . . . . . . .. . . .. . . . . ... . . .. .. . .. ... . . .. . . .. . . . . .. .. .

• If >IJJU,0~~ .. . . . . .. . .. . . . . ........ . . . · , · , · · · · · · · · · · · · · · · · • • • · · · · · · ·

I

£27 - 10- 0

•TTTTTTVVTTVYTYTT ► ► · •• ~

~

Body Size . \\lid ,·s t part I i t in d w s. 1 . .:ng th o fhod y 2 1 indw s. D ept h 3~ inchl's. W ood . Ca r H·d lo p and hack in .tdc­frorn natura lly ~1..·ason ctl spr uce :111d

sd,· , 1,·d hi gh ly- lig u r,·d cu rly rnapk n .. ·sp 1..·c tivcl y. 'J'ht· h :u u lk is n 1ad<..· from s 1w c ially ha rd maho gony. sp lic,·d 1hr<>ugho u1 1lw kn g 1h w ith alt <•1·nall' s tr ips of ,·hon y, mapl e and ebon y, lo g i\', · atl dcd st ren gth am! pre, cnt warpin g. C ur v, d finge r ­hoa rd from ha rd rosc \\'ood.

Fini sh and Deco.ration s . F ini s h,·d in ric h co )ou r~ n tf~yarn l hrown and ruhh cd ' a.nd po lis lw d w ith go ld, ·11 s unh u rs1s on t lw tnp , ha ck and han d !,·. 1',)g-lw ad h:11h lsonwl y in­la id \\' ith mo tlw r -o f- pca rl .tnd a ll positi on~ o r, tin gcr.-honrd nl:..trkt ·d \\'ith b lock motlw, ·-, ,f p,·a rl inla id w ith e bony. T he han d le and p,·g ­hc:u l h ound wi th whi l<' ivor in<:.

Fittin gs . N ickc:l-pl:1tcd ind i\'i d t1.<l ··(; 1•o v <.·r 1

' 1n ach i1h:-h ,.-ads: dl'\ ':t t l·<.I

lin gc r -p la !<-in t·ho ni tc bo und \\'il h i, orinc.:, lo n g llo a t iu ,:! t:,i l- p ic.•<:c· n~.-w adj ustahlt · ro s,·woo d hri d ,: ,·.

A LI, CI JF F ORD HSS HX

G U11'A R5' CAN STILi , B E P UR CJI AS E D A T PRE-P URCH A 5'E TA X PJUCES . B UT S UPPTJE S A RZ~ LIMI TED - S O

BUY NOW!

B.M.G. [/ \ pril, 19+1

~ ''J L ,, e uxe GUITAR

* VTYTYTT◄

◄

* A genuine hand carved top and back model with •· f " hol es offered to those guitarists who

prefer the large-sized "auditorium " 'cello-built instrument. The new "Paragon " "de Luxe" model is the supreme exam.pie of the true craftsman's skill and is made from the finest materials the World has to offer , coupled with workmanship which can only come from years of applied crafts­manship in fretted instrument manufacture.

Other mudels : " l' arago11" ,\rti sl 'C i.;llo l\ fockl ·• l'an 1go11" No. (>()() :Model "Pro fess ional " Mo del " . \ rt ist " iv! odd

Harh rn111jJll'l1- 1rith cos,·

.J.:22 O ()

,{;19 10 () L l4 0 0

{8 I O 0

SEND TODA Y FO R ILLUST HATED GUITA R FOLDER

IT 'S FREE

~ ~

- ◄ ◄ ◄ ~ ~ ◄ ◄ ◄ ◄ ◄ ◄ ◄ ◄ ◄ ◄ ◄ ◄ ◄ ◄ ◄ ◄ ◄

"v Ve are tile actual mmn(/ arturers ,.

◄ ◄ ◄ ◄

► CLIFFORD ESSEX & SON LTD., 90, Shaftesbury Avenu e, London, W.l ~ • AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA•

l'ri ntn l by p._.,·,·rl<:ys L id . , 32-3 1>, F lc~L La,w , L ondo n , E. C .-1. 1'01 ,h .. l'11hl:s l11·is a nd l'rnp r il'lo r~ Clifl ,,rd Ess. ·x &. Son Ltd. 90, S lrnftcsb ur y A\',• ll<I<'. l ,ondon . \\ '. I