MUS IC IN T HI S ISS UE

Ba n jo s010 (F i nger or Plei::trum Sty l e): ·· .\lr '.H 4 Jl'f; ., 1.: ) I ( .X.\BB a11d ) H .h'..\Y." ' Hawa i ian Gui ta r So to: ·· .\10(;0 1" .una: )l.\l! t' H.''
Ms.ndoh ,1 So to : ., \\ 11un : 'I IIE I .\FI-: l~l c;HT:-: ., 1: 1-: (:l. 1-:.,'.\.II XLl .'" Plectrum Gui tar s0 10 : '"Jl~RBOl"R IJTGHT~ .' '
Tenor -Banjo Solo : -·~ )[OKi" )tOKF;::.:·

~ =;p Vol. XXX IV. No. 385. MAY, 1937. [Price Sixp ence :
· l15
::-:o
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OWING TO THE RUSH OF ORDERS FOR
THE NEW " CONCERT GRAND" BANJO, (--··--~
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Vol. X X XI V. No. 385. MAY , 1937. PR ICE SI X PENCE

two items on the te nor-banjo , an •· Wiza1·d of the Strings " is no mis-

Nct~s
<111dc~mm~r1ts
electric Hawaiian guitar number c,r::.l
his nove lty item 0:1 ,i1e ukulele in
which he imitates Bill Robinson (the
nomer when applied to him.
play.:d "Tiger Rag," "Dinah," "Glow
Worm " and last , but by no means
He

BY THE ASSOCIATE EDITOR

fa mous coloured dancer) doing his least, ··Nola" on the ukulele . Yes,
AT the
the moment going to press,
of
sad news reaches me of the
death of Bert Bassett. Through-
famous step dance on a staircase.
In his Holborn Empire presentatio n
·• Nola," on the ukulele! With his
secretary , Mr. Smith , he next played
he opened w ith " Tiger Rag" on the tenor -banjo items for my benefit.
out th e w inter, Bert (who has never tenor-banjo (and what a "Tiger"! !) . His technique, to use an overworked
enjoyed the best of health) found it following with his speciality, "Thi·ee \"Ord, is amazing.
increasingly di fficult , through bad o'Clock in the Morning," in which he After the show I accompanied Ro:-,
attacks of bronchitis, to carry out his imitates three ban jos; duo style pl&y- Smeck to his hotel , where I was
various duties. At the beginning of ing combined with left hand hamme r- treated to the most aston ishing dis-
April he became an inmate of Guy's ing of the stri ngs. In his Hawaiian play of plec trum guitar playing it
Hospital, and it was hoped the care guitar number he demonstrated his has been my good fortune to hear.
and attention that could be given him mastery of the instrument whilst h is Roy Smeck could put over an hour 's
would put him on the road to recov- artificial harmonics mus t be heard to show unaided. using his ukulele ,
ery., but bronchial pneumonia set in be believed ! te nor-banjo , Hawa iian guitar and
and he passed away in th e early plectrum guitar, and I am sure that
hoars of April 21st. * AMAZING
* * rhe most blase of theatre audiences
I am sure everyone who ever met Good as h is stage show is, one must would be clamouring for more at the
Bert will join with Mr. Cliflord Essex hear Roy Smeck playing in his final curtain.
and myself in tendering our heartfe lt dressing room to appreciate that With all Roy Smeck's "wiz.irdry,"
sympathies to hi s sorrowing mother ever y number he plays is tru ly
and brother. CONTENTS musical ; musical effect is not sacri-
* :a, * PAGE
ficed for digita l dexterity; every
WIZARD OF THE STRINGS -c:~~1."~T:TR:;T~
;~!¥.)tG~~~ .--~rG~ff . Si:~;r...... IS~
1?9 unorthodox effect he introdu ces into
: ; 8 •.\1.G.:: l'?IPLO_):AS 19\/
The news of the month has B.~1.G. >:orb 196 his playing is used to enhance the
undoubtedly been the sensational BY rn•~ WAY ••• JS.9
Co::-:
c:tRT ):"on s I9S musical whole and is not just cleve r
·' walking out " of Roy Smeck :from ~~~:1~~:::
,~t.;"y
' :\ks;~·TER;~s
. B~:·.-\.
P: ·shar~ - Ui
200 showmanship.
the Jack Hylton show at tJ-.e London FtDE RATIO :-: ~tW S •.. ... ... .. . . •• 100 Roy has (by the tim e these notes
·· fR0 ~1 T&ACHtR to P t:Pn ..." By Terry Usher •.• 196
Palladium . ) h ; ~ I(: St"PPU:~tST 1:S !HJ :) isS l."E :- are read) already played in Birming-
I met Roy when he first landed in BASJO S0 1.0 : r- ) fe:Do1:C
A1.. .\lc::'\,1,u»an d .\JcKAY."
HAWAtlAS G1.·1·u:i:r: Sor.o: ·· ;,.1OOOY ,\lu,a ; ,\JAR<tt."'
ham and Glasgow , and I expect he
England and he expressed surprise .\IASD OLIS SOL O : •• \\" HtRF. TH E (.-.n:- L tGHT~ .4.ll:Jo;: will appear in the principal theatres
that he was to be only allowed seven GLEA'41XC-."
Pu .:c.1Rn1 Gi.: ru .R Soi..o: •· H.-.;rnoi ·R L iCH T:t .. all over the country in the near
minutes in which to present his act. TJ:::sOR 8A:-.Jo S01.0: 1 • S:uo1,;,· )! oKr.s." future. He asked me to tell "B .M.G.''
~OTE S A:SD Co'4~l': S TS ..• • •• . .• J$1
When, on the second day of the show. ◊1.;T OP THE R lii 1$7 n;aders that it will give him pleasure
he was informed that he would have RAPIO X~ws
S PA:-:JSH G1:1TAR
. ..
R £C1TAL .. • ••• ...
.. .
• ••
l9,
191$
to meet fretted instrumentalists and
to "c ut " his act to three minutes ·· SntL ·• \\:ou:. Bv Cvril de \"eke,· .. . ... lS-i answe r any questions they care to
TH£ B1.sJO A:- D THE Ii Ec1"xs.tR. B~· CHJJord E:ss.e:o.:lS:3
. to put it in Roy 's own words : THt FA"O\".S G1.JTARI S.TS IS lT AI.Y .
0 put to h:m , and I hope rea ders will
" Waal, I guess I just haci to walk ·rHt.GE :sn.E
B,· Dr. Born A. Perott
.-\RT OF PL-A \ 'i:SG ACCO~P.-.:-rnr :-.-
rs-
1%
JJ J
take advantage of this invitation , for
out." By G .• -\. Ktele t. lSt; Roy is a nice fellow and his delight
T 1-1
t )IA:-:DoLJ:-:, UJ.:1.;
r..tu :.
The following week found Roy at Gl'ITAR ASD
By .-\. de Vek ev Jf .;
in playing any fretted inst rument is a
the Holborn Empire where, in a "fH£ PHI L HAR~lO:S l C SocIE .TY OF G.,;JTA IUSTS. • tr eat to behold.
By A. P. Sharp, !SS
twelve minute offering. he present ed THE T RE:-. ~ OF TI-U: HAW.,JJA:-. G t.:JT AR ••• .H'5 Although Roy has only been in this
 182
country for two weeks, he has alread y
made four records which will be re-
leased under the ·n Rex " label and,
having heard the advance pressings
of these records , I can say that they
are some of the best he has ever
made.
* * *
WELCOME
I am sure that Roy Smeck 's stage
appearances will do much to popular -
ise the fretted instru ments amongst
non-players , whi lst players them-
selves can learn much from his play-
ing. We, in this country, cannot hav e
too many players of this type, for the
good they do in furthering fretted
instrumen t interest is inestimable.
* * * Harvey 's " train" imitation ! ) ; some- repertoire.
VAUDEVILLE ·BANJOISTS
The banjo is coming into its own
on the music hall ~tage !
We have now in this country the
American instrumentalists
Ken Harvey. Roy Smeck
and Don Galvan; Freddi e
Morgan and Wally Hadley
(the American and Austra -
lian tenor -banjo ists who
left this countr y last year
for a tour of Australia and
are. at present, playing in
the U.S.A.) are due back in
England at the end of
July. Will Van Allen
(how many readers remem-
ber his "M usical Tramp "
act of not so many years
ago?) has returned to the
vaudeville stage as ·'Banjo
Allen ," featuring patter
and banjo solos; Stan Kew-
ley (for many years with
" The Four Brownie Boys "
and recently in a double
act with drummer Harry
Shiels) is now deligh ting
audiPnces with his banjo anrl guitar
solos in a new musical act; and there
are at .least another half -a-dozen acts.
all featuring the banjo or tenor-ba njo.
on the music hall stage.
With all this banjo activity in th e
music halls , where are the Engl ish
players who will , or can, " cash in "
on this returning popularity of an
instrumen t that has always pleased
the music hall audiences ?
Nobody knows better than I tha t
we have.. the players in this count ry
who are highly skilled executants on
the ir instrum ents and hav e earned a
measure of success on the concert
platform, but it does not fol.low that
these players would be a success on
the music hall stage . Before the stage
aspirant will stand a chance of suc-
ceeding he will have to adapt himself
to special conditions: he will have to
learn something about the tastes and
requ irements of music hall audience s.
B.M.G.
The greates t mistake made by the
banjoist who aspires to music hall
fame is rely ing too much on the
banjo alone. In his gamble for suc- . crowds " and have a worthwh ile pay
cess the uni nitiated invariably banks
on " executive ability "; forgett ing
that " originality " and " personality ,.
are far more reliable aids to fame
(and a worthwhile bank balance). Un-
inspired digital dexerity counts for
very little in a vaudeville act.
It should be alw ays borne in mind
that only a very small percentage of
music hall patrons are banjoists. They
go to the theatre to be entertained;
they want to see something they con-
sider exceptionally clever (hear the
appl ause that alwa ys follows Ken
thing interesting or amusing ; they are
not likely to be excessively enthusias-
tic over the appearance of a " common
or garden type " of banjoist playing
RO Y S ME CK
the " common or garden " type of
banjo solo. Don Galvan would be
pleased to play you " Take Your
Pick" in his dressing-room, but he
knows better than to put it into his
stage act.
Vaudeville audiences subcon-
sciously look for the "actor"; it is
the artist that really matters; the man
is there to do the enterta ining ; so
the banjo mus t rank as part of the
act; not the whole of it. Music hall
artists have to cultivate a good stage
pres ,ence; they must be confident (or .
a, least. appear to be) and give the
impression , on the stage , of feeling
th oroughly at home .
Banjoists (and other instrumental-
ists, for that matter) who aspire to
vaudeville fame can learn much by
study ing the stage techn ique (not
banjo technique) of the "t op-line ,.
players who are already pleasing
aud iences. in this country; always
[May, 1937
beari ng in mind that it is not always
the greatest musicia ns and executants
on the instrument that "d raw the
enve lope waiting for them at the
end of the week.
* * *
BLAZE AWAY!
Advertised elsewhere in this issue
is A. Holzmann's world -famous march.
" Blaze Away." arranged for fretted
instrumen:s. In addition to solo parts
for banjo (both finger and plectrum
styles) and mandolin; parts are avail-
able making it possible for every
fretted instrument combination and
B. M. & G. club t hroughou t the
country to include this number in its
Since Sousa's band first featured
this number, almost every band of
note has included " Blaze Away" in
its repertoire , wh ilst the number of
recordings of it that have
been made are too numer-
ous to list. Two recordings
. that are of especia l interest
! to us are those made by
· Eddie Peabod y (on Colum-
bia) and the Regal-Zono-
phone recording· of it (is-
sued this month) made by
Raymonde and his Band o'
Ban jos.
* *
SOLD OUT
*
, Every so often it is neces-
sary to remind readers of
the necessity of placing a
standing order if they wish
to avoid missing an issue of
" B.M.G." Too many read-
ers of this magazine obtain
their copies by orderin g it
"\ \·hen thev remember it."
The Mar~h issue is now
out of print and therefore
unobtainable . whilst the April num -
ber is, as I write. down to the last few
copies. Many casual reade rs are going
to be disappointed whe n they try to
obtain coi::iesof these two issues.
With a magazine like "B .M.G.," it
is impracticab le to overpr int a large
number of copies each month for the
benefit of the casual reader , although
we do pr int many more copies than
are actuaEy required each month. The
circulation of "B.M .G." is going up
by leaps ac1.dbounds (especially in the
U.S.A.) and our monthly printin g
order has to be correspondingly in-
creased; but , as in the case of the las t
two issues. it is not always possible
to gauge che demand successfully.
Readers the mselves can help us by
placing a standing order for" B.M.c.· •
either by subscr ibing direct (a sub-
scription form is always printed on
page ii of the cover of each issue );
by giving a definite order to their
 May, lUi.li]
teacher or local music dealer to
reserve a copy each month; or by
asking thei r newsage nt to deliver a
copy as published .
* * *
HANDS ACROSS THE SEA
As I mentioned in the preceding
paragraph, every month more and
more fretted instru mentalists in the
U.S.A. are !'eading "B .M.G.," but
there are still hundreds of players
in America who are still to learn of
the existence of this magazine. May
I ask · the help of readers in the
U.S.A. in reaching· these :i:layers oi
the banjo, mandolin and guitar by
introducing t he magazine to their
playing acquaintances or by sending
me their names and addresses; I will
be pleased to send them a free speci-
men copy.
Incidentally, I would remind
readers that if they obtai:l. a new
subscriber they will be presented
wit h a 2s. banjo, mandolin or gtiit ar
solo ( to be chosen from the Clifford
Essex catalogue) as a mark of appre-
ciation fo1: their help. An increased
circulation will materially help the
publishers to give even gr1;:;,1ter
value for money than they do at
present. so why not try and earn a
free solo. All you have to do is to
induce a playing acquaintance to
subscribe, send his name and address
(with 7s., U.S.A. $1.75) to this ..ffice
and name the solo you would like
but. remember , .it must be a Clifford
Essex publication.
* * * I am sure readers can give some
FINGER STYLE!
It will be remembe red that, in last
month 's issue, Tarrant Bailey, Jr.
somewhat tren chantly told Bi, he
was "talking out of his hat" for sug-
gesting that a banjoist on a certain
record played with a plectrum. I
have receiYed the following informa-
tion from "Alaur is," and "Ala uris "
obviously speaks with authority. He
says:-
" Regarding Tarrant Bailey's con-
tent ion that the banjoist in the Bos-
well Sisters' r ecording of ' That 's
How Rhythm Was Born ' plays finger-
sty le, it may interest readers of
"B.M.G ." to know that Mr. Bailey is
correct; the banjoist being Perry
Botkin, a player who will be known
to many plectrum guitarists through
his work on the guitar in man y
American records."
So that's that!
* facingsset off t he handsome black bodywork
* *
" B,M.G." INTRODUCTIONS
Hardl y a month passes that we do
not include a request in our " By the
Way" columns of a player who wishtM;
to meet another in h is district with a
view to mutual practice.
~·B.M-.C..
Two enthusiast s can put in hours
of practice together and enjoy every
moment of the time spent, whereas
a lone player often finds practising
monotonous. Two players can play
solo and second parts, each creating
a feeling of confidence in the other,
eliminating the inevitable element of
nerves, whilst the feeling of friendly
rivalry created will undoubtedly in-
duce each one to produce his best
form, particularly if each takes turns
in playing the melody part.
Far fewer failures and disappoint-
ments from public amateur perform-
ances would result (and they do
happen, as anyone who has attended
local concerts will confirm) if we
had more duets by players who thor-
oughly understand each other.
The banjoist who aspires to play-
ing in public cannot have a bette r
groundi ng than playing with a
mutually interested player who will
play duets with him.
A point that duettists should re-
member is that the melody should
always" stand out" above the accom-
paniment; too many duets resolve into
a "battle" of who can play the
loudest, with the accompanist usually
winning.
Whilst on the subject of duets, I
would be interested to hear from
readers on the subject of " how to
memorise second parts." Banjoists I
know can memorise a solo pa1·t with
very little difficulty, but when it
comes to committing an accompani-
ment to memory they are "all at sea."
interesti ng hints on how they "set
about" memorising what is, perhaps,
the most important part of a duet; the
accompaniment.
* * * I did. ··
CONGRATULATIONS
In a hurried note accompany ing
Ter ry Usher's article this month , he
tells me he is getting married on
April 29th. I am sure all readers join
with me in wishing him every
happiness and the best of luck in his
new venture.
If you are interested
in electric guitars (plectrum or Hawaiian
sty le of playing) we urge you to investigate
the new " Premiervox" electric guitar. In
America the electr ic guitar is acclaimed by
guitar ists everywhere.
You must play the ·· Prem iervox " to
apprec iate its q uality: you must see it to
realise its full beauty. Shining chrom ium
of special new mater ial- " Resonite.' · It is
the most modern and att ractive electric
gu itar you have ever seen.
S£ND TO-DAY FORA FR££ COPYOF TH£
·· PRE.M
l£RVOX •· GUITAAFOLDER
CLIFPORO eSSEX & SON, Ltd,,
15a Crafton St .,_ New Bond Street, London, W.1.
i88
.Jt,~13.~
11j~
andfli£ E~i1111~r
by
Q.ifktd ( SSQ.X
MUCH has been written in
about th(; importance
"B .M.G."
of looking after one's instru -
ment ; seeing tha t it is
(1) strung wit h the right kind of
strings; that
(2) the frets ar e not worn ; that
(3) the wedges in the wedge
holder , shown
here , are ham -
mered firml y
down in place.
to ensure com-
plete rigidity of
the handle or
arm; that
( 4) the bridg<:
is in the right
place, viz.. the
same dista n ce
from the 12th fret as the 12th fret
is from the nut at the top of the arm ;
that
(5) the strings are not too high or
too low from the fingerboa rd , be-
cause all these things are important.
I am impelled to make these re-
marks be:ause just latel y I found one
of our "Paragon " models at a B ..
M. & G. Club of which I felt thor -
oughly ashamed; and no wonder, for
when I saw the motley lot of strin gs
it had on it, I asked the owner not
to play it, but let me take it home
with me and in the moming re-string
it and overhaul it thoroughly , which
I found everythin g wrong with: it ,
the strings were fa lse and the wrong
kind. The bridge was a quarter of
an inch out of position . When I took
off the Resonator I found that the
wedges were quite loose in the wedge
plate. ., .
I strung it up with "Tropicals " a
la Joe Morley, and you would not
have believed it was the same instru -
ment.
Now I am sur e this is not an
isolated case, far from it. Many
players are much too lax about the
upkeep of their instruments, and the
above is only a tr ue instance of a
splendid banjo being tempo.rar ity
ruined by ignorance , neglect, care- .
lessness , or a combination of all
three.
It did not take me half an hour
to put matters right, but it should
have been the duty of the owner
to have kept it in the same condit ion
as it was when it left us originally.
Incidentally , this kind of thing is very
 ~84
unfair to the makers. because suo -
pose some Club member had said to
the owner: "Oh. you have a ' Para-
gon ' model, do let me try it; I have
always wanted to." Well, what would
lrave been the result? There is no
need for me to say . This person , for
ever after, when asked about a
" Paragon " would say " I tried one
once and it was rotten ."
Now I should like to quote from a
letter I recently received from an -
other owner of a "Paragon " banjo
who resides in Sydney, N.S.W. :
"Well , the 'Paragon' is a grea,t in -
strument, and I play on it daily, and
am still improving . Its tone is re -
marked on everywhere I go-several
professional friends delight to use it
at concerts, etc., and they all remark,
' What a great job.'
" l follow out the advice given in
'B.M.G.' re dismantling the instru-
ment once yearly, replace vellum and
strings, clean it up and treat all
woodwork with vaseline. Conse-
quently the ins trument always looks
fresh and new."
Now this is a man who evide ntl y
loves his banjo and cares for it as it
should be cared for, consequently he
must always get the maxim.uni effec:t
from it, and have an instrument to
please both ear and eye. Instead o(
treating the woodwo rk with vaselino=,
I would advise one of the many
furniture polishes now on the mar-
ket , and be sure to finish off with a
silk handkerchief.
Many players have a difficulty in
tuning their banjos or tenor-banjos ,
especially where a tuning fork is
used , so I bring to their notice a new
pitch pipe which has been put on the
market for
5-string banjo
or tenor-banj0.
The note for
each string ·is
given, as will
be seen from
the illustration
of the tenor-
banjo pitch
pipe here
shown.
The advantage over a t uning fork
is that both hands are free, and the
various notes can be continually
sounded until . the instrument is in
tune with them. I think this acces-
sory will be welcomed by players as
they only cost ls. 6d. each, and are
en close d in a neat case, in which they
should alway~ be kept to prevent
dust getting in them .
Th e new Ken Harvey plectrum
should appeal to all players who use
a pick, for not only is the price
ridiculous ly low at 4d., but it has
three points, any one of which can
B.M.G.
be used, thus making its life three
times as lon g as the ordinary plec-
trum .
Ken · Harvey always uses one of
these. so that should be sufficient
recommendation in itself.
L. F. HEAD.-! am so glad to hea1·
how muc h you like "B.M.G ." but you
should not find the articles " too
advanced " for you.
You. like so many more , find the
subject of TIME presents considerable
difficulties , and yet , as I have often
pointed out in these columns, it
merely requires a sound knowledge of
the various va lues of notes , and allot-
ting them t hese values , no more and
no less. when reading music .
Years ago I wrote an article on
" How to read music in correct time ,''
an d it had to be reprinfed twice, after
a time. Unfortunatel y. the numbers
containing it have long since been
sold ou,.
You must count the example you
give : l and 2 and 3 and 4 and. Th e
semi -quavers being very short , fol-
lowing the dotted quaver.
Take "The Banjo and How to Pla y
It ," and carefully study page one.
where you will see· the " Relativ e
time value of notes and rests ." Turn
the page and study the various ex-
ampl es shown . The counting appears
above the notes. Then tu rn to page
eight and work through the examples
given there. If you encounter any
difficulties let me know what they
are and I will put you right. No
guitar tutor puts the ·subject of time
so clearly as does " The Banjo and
How to Play It," and it would provP.
a cheap investment for you.
R. E. MITCHELL.-Your 7-string
zither -banjo must be·a very old model.
I should say, and all I can suggest is
that you add a " C" and a low " G "
to your present tuning. I do not
advise tuning it like a guitar, for your
first string tuned up to " E " would
probably be frequently breaking . If
as you say, the notes and chords in
the higher register are harsh and
lack resonance, that is probably th e
fault of the banjo itself. Personally.
I would not give a 7-strin g zither-
banjo house room.
STUDENT .-You can obtain the
Bickford Mandolin Method from my
firm, price 6/ - each par t; there are
four par ts .
There are no more quer ies this
month, so I hope it means that
beginners are getting out of that
stage.
All corr es pond ence relating to th i,
Departmen t should be addressed 10
Clifford Essex (B.R.), 15a Graiton St,reet.
Kew Bond Street, I.ond on, \Y.1.
[May, 1937
Ttie Ma11cl~ll11,
~ (Juitc1r
(J>lectmm,I.Jawaiia11 b Regular )
and U ktJl£le,
ccic1Krrc1Y A. deVEKEV
A • like
Mc.N., of Glasgow , writes:
am makir.g a guitar and Y,ould
to ask if the inla y (pattern
"T
enclosed) on the fingerboard wou ld
affec t the tone of the instrumen t to
any degree that would be noticeable. "
Answer .-Th e inlay you mention on
the fingerboard would not affect the
tone to any degree, but of course , it
is always better to have the sounding
board quite free. Inlaid edges, and,
perhaps, round the soundhole, do not
seem to make any difference, but even
so, I prefer just the plain binding.
O.C.K. (Leic ester), writes : " I have
a hand with thick stubby fingers, and
I find it awkward to 'clear' the open
strings in man y chords on the guitar
I am using . It may seem a strange
thing to ask. bu t how do the finger s
of the average hand run; in order of
length, I mean. "
Answer.-Maybe the neck of your
instrumen t is too narrow to su it your
hand. Try one with a w ider finger-
board and see if it suits you better.
Personally , I prefer a guitar with the
neck at the nut approximately lf'
wide wifa string spacing as wide as
this will permit. Some players, on the
other hand , may prefer a slightly nar -
rower neck , but the lf' width is, I
think, more favourable to the major-
ity of pla yer s.
Your last quest ion is the first of its
kind I have been asked , and I wonder
how man y could give a correct answer
witho ut first glancing at their hands?
However, the following wi ll be found
to be the general rule , although, of
course , t here may be exceptions . Start-
ing from the thumb (the shortest) the
next , in length , is the fourt h finger
followed by the first, third and, the
longest, the second finger .
E.M. (Rhondda), plays the Hawaiian
guitar by ear and is not able to t ake
lessons , but wishes to learn to read
from music by mean s of a Method to
be recommended.
Answer .-T here are many methods
on the marke t, but the " Kamiki"
(price 3/-) would suit your purpose
at this stage.
" C.A."- LONDON.
In a recent issue . mention was made
of "A.F. " (also of London). who has
starte d a guitar ensemb le and wa nted
the names of a few similarly interested
pla yers. Now comes a letter with
"C .A. London ." as the only clue to the
 May, 1937]
identity of the writer who asks me to
send him particulars of the number
of players in the " A.F." ensemble and
details of the instrumentation.
information is unknown to me, whilst
This
e:ven if it were, " C.A., London " would
not find my correspondent. If "C.A."
will send a stamped addressed en-
velope I will give him the address of
"A.F."
Again I would point out that, in this
corner , no names and add resses are
published , except by the express wish
of the writer, but I naturally prefer
that all correspondence should bear
t he name and address of the sender .
As a matter of interest, it is often to
their benefit, for it sometimes happens
that , on certain points or to save a
long period of waiting, I send a direct
reply, although this means ad-
rlitional work for me whkh ,
in certain circumstances, I am
pleased to unde rtake.
THE " A.G." HAWAIIAN
CLUB IDEA
My "B.M.G." copy goes for-
ward on the 14th of each
month, but, up to date, the
following letters have been
received on the above subject
although I hope, by the next
issue, to receive considerably
more.
J .R.F. (Torquay): " I agree
with ' A.G.,' especially with
regard to arrangements for
the Hawaiian guitar on a par
with the records we are told
to listen to, and am willing
and anxious to join the sug-
gested 2/- club, or up to 5/-,
if necessary.
"I am also impatiently wait-
ing for the articles on the
Hawaiian guitar , whic h you
are to write, mentioned long
before Xmas. "
J.P. (Scunthorpe): "Regarding the
'B.M .G.' 2/- per head Hawaiian
guitar music; I am willing for any-
th ing like this. I would like piano ac-
companiments if others are willing."
J .R. (Blantyre): "I quite agree with
' A.G.' (Kettering) , in this month's
'B.M.G.,' and think it is a good idea.
Who would not love to be able to play
as others play on records. I will be
quite willing to send my 2/ - whenever
you say the word . Here's hoping we
are a winner."
E.J.J . (Uttoxeter): "Referring to
'A.G.,' I think a subscription club a
very good idea, and I, for one, would
become a member. I am sure the idea
would be welcomed by many readers ,
rriore so by those who have only a
meagre knowledge of arranging . I
have been under a tutor for the past
two years and have recently been ar -
ranging some of the evergreen valses
B.M.G.
... for one who has little knowledge
of piano music it is a tedious job . If a
subscription club is formed these
arrangements would teach tis a lot in
addition to giving us more variety and
pleasure in playing.''
W.D., Mc.M. (Co. Armagh , I reland):
"With reference to the suggestion of
' A.G.' re arrangements for the
Hawaiian guitar , I think this idea very
good, and I, for one, would be pleased
to become a member of any club
formed. Would it be possible to have
some of the arrangements similar to
the ban jo solo, 'Dinah ,' in last June
' B.M.G.,' this is with both ordinary
and ' hot ' chorus? "
Note.- The foregoing readers have
all given their names and addresses ,
but not so the following:
T ec,che,· : " In case you don' t know , a minim is
sti ll worth four qua,·er s ...
Pupil : "Go od job the re's still somethin.g that hasn't
gone up."
"TWO O.K.'s" (Manchester): "Great
idea of 'A.G.' of Kettering. We will
watch ' B.M.G.' for developments and
when all is in ship-shape order we will
write you aga in, but you can count on
us as 'tw o bob' members. "
HAWAIIAN GUITARIST WANTED,
S.W., of Morden , who conducts a
Trio, featuring banjo , guitar, piano-
accordion and bass , wishes to me·et a
good Hawaiian gu itar ist living in the
S.W. district of London , with a view
to forming a Quartet. If any player
interested will send me the usual
S.A.E. I will pass along name and
address.
All correspondence relating to this
Department should be addressed
DIRECT to A. de Vekey, 1354 Christ•
church Road, Boscombe East, Bourne-
mouth .
185
THEJREND·Of THE
HAWAIIANGUITAR.
.
W. R~TING
in the Januar y-March
issue of " The Mastertone -:·
Gene Mack, well - known
American guitarist , says: " It is my
belief that the Hawaiian guitar will
atta in first place as the most popular
instrument within the next ·tew
years. I have read with interest
during the past year several articles
by writers who believed the mandolin
and tenor -banjo were re turn ing in
popu larity, but I believe the Hawaiian
guitar will reach there ahead of them.
"Although it was comparatively
unknown to the average per-
son, there was quite a bit of
experimental work being done
on the Hawaiian guitar, and
when the electric guitar be-
came nationally popular, it re-
sulted in placing the Hawaiian
guitar years ahead in progress.
Since then experimental acti-
vity has reached a new peak
and we now have Alvino Rey
with his eight-s tring guitar,
J immy Smith with his ten-
,bng guitar , Tony Rocco .with
his fifteen-string guitar and
the writer ·with his sixteen-
string guitar. Then there are
the advocates of the A major
tun ings, A 7th tunings and E
7th tunings , with the count~
less players who use varia-
tions of these tunings to obtain
certain effects.
"Many of the new ideas now
in use are nof sound in theory
and will, in time, be forgotten
but the improvements that ar~
based on the -fundamentals of
m_u~iS_will remain to enlarge
the poss1bilttles of the Hawai ian
i Uitar. The Hawaiian guitar is
rapidly approaching the stage where
it will be recognised as a ·standard
MUSICAL instrument: Surely no
instrument deserves this ·position
more than th e Hawaiian ·guitar , be-
cause of its natural charm and
beautiful tonal qualities. ·
. " In response to many requests for
information , and contrary · to . the
policy of most of the leading players,
I am going to explain here about my
· sixteen-st ring electric gu ::tar, what it
does and how I happened to ·design
such a guitar. I was dissa tisfied with
the limitations of the six-string
guitar and dec:rled to make a studv
of all the tunings being used ,. t;
determine which tuning -would · b e
best for me to use. I spent months
classifying tunings _and recording my
 J86
observations of each tuning. I found
some of them were too limited i:n
range, some lacked brilliance, etc. In
my search, I ran across a minor tun-
ing that was very interest ing but in
itself was not sufficient to use. The
rich chords and colour effects were
so beautiful that the tu ni'ng could
not be overlooked, yet could not be
used alone because solos in major
keys did not lay wholly conveniently
on that tuning. I found that t he A
major professional or high bass tu n-
ing was far superior in every way to
other tunings, but decided it could be
improved upon by add ing two strings
an inverted seventh on the bottom
and the root on top. Th is increased
· the range to six and one-half octaves
utilising double-octave harmonics. It
combined the outstanding advantages
of the E 7th tuning with the A tun -
ing. I was then satjsfied with the A
7th tu ning I had evolved. but that
minor tuning -still intrigue d me and
I believed that by using both tunings
I could overcome the lim itations of
the major tuning wlt h the minor tun-
ing and vice-versa . The only way I
could use both was to put two necks
on the guitar-and there you are.
" Of course, it took a litt le time to
have it built , but my wishes were
carried out so well that they even
excee ded them, and I now feel tha t
I have the finest Hawaiian guitar ~n
the world. The harmonic , melodic
and tone -colour effects, many of them
entirely new , cannot be surpassed .
Inasmuch as the development is
en tirely based on sound music prin-
ciples, I believe this guitar will
re main as a decided improveme nt
and will, by use, increase the scope
of the Hawaii an guitar.
" To-day teac hers of the Hawaiian
guitar have the finest opportunity
ever offere d them of reaping the
benefits fr om participating in a .
growing field. Since the last genera-
tion, educational methods had im-
proved in every subj ect but the
guitar until Eddie Alkire began to
publish his instruct ions for Hawa iian
guitar, which embody every known
advantage of modern psychology in
music teaching . As if that were not
enough, these lessons a-re further
enhanced by the author's pers onal
co-operation with each teacher and
special problems are given considera-
t ion by Eddie , who is fast becoming
recognised as one of the foremost ·
authorit:ies on the Hawaiian guitar.
"Teachers should take adYantage of
these development s that are at thei r
disposal, and, if they will go out and
help create a public desire to learn
the Hawaiian guitar , we shall see the
Hawaiian guitar holding a place of
8.M.G.
prom inence in the musi<: wor ld and
being recognised for its true worth."
THEGENTLE
ARTOF
PLAYING
ACCOMPANIMENTS-Ill
By G. A. KEEL ER
L AST month I gave a definition of
what is understood by " accom-
paniment."
Definit ion, of course , is closely con-
nected with classification. The two
proceed " hand in hand." Whenever
we, as banjoists, mandolinists or
guitarists qualify a keyname by an
adjective , whe n, for example, we
speak of the key of "B Flat," we are
applying the pr inciples of classifica-
t ion and definition. A learner on tht:
banjo, for instance, having maste r ed
the scale of C, in all probability pro-
,._._.._
...Pitbp Par........
91
~ It is a wisemanwbolooks ~
~ fbingsooer,insteadorooer- I
~ looking tbings ~ '
~
I
1.-.-.-.-
...................................
~ Some
ceeds thereafter either to study the
nearby scales of F (one flat) or G
(one sharp). The acquisition of a
knowledge of a new scale is a mile -
stone, so to speak , as we go along our
educatio nal way, a bit of real know-
ledge gained by our own work and
study in the field of musica l art. Wc
have to remembe r, as Holman (an
educator) has said, "The mind is not
a mere heap, or even a mech anically
connected whol e dovetailed .together,
so to say; but each part of it and
every one of its actions grow out of
that which precedes it and grows into
that which follows it. If mind were
not th us coherent , our lives would
never mean much more to us than
the experience of the passing
moment." Hence we cannot limit
ourselves to merely one key.
Th e ba njo learner must therefore.
prefe r ably, first learn to use the
pr imary scale of C and the n learn to
correla te this with other keys. Thus.
looking again at our diagram of key
distances given last month, we can
see that to the left of the cen tral
key (C) we have the key of F, B t, ,
E t, , etc., and to the right of the cen-
tral C the keys of G, D, A, E, etc.-all
frequently used keys for the banjo.
Every n0te of the scale of C can be
made sharp or flat, and correspond-
ingl y the "signat ure " which denotes
a key can comprise as many as seven
sharps or seven flats. Scales with
more t han three or four sharps or
[ May, 1987
t hre e or four flats ar e only rarely
used in connection with the banjo.
But, whatever the key may hap pen
to be, the dominant , sub-dominant
and tonic chords, with the ir respec-
tive inve rsions, are those which gen-
erally serve for accompaniments.
The advantages gained by a good
working acquain tance with the four
chief flat keys and the four
chief sharp keys are manifest enough
whe n we come to study modulat ions
or to analyse any melody with a num-
ber of varied chords and accidentals.
To illustrate, I append a few modula -
. tions in which "sharps" are -used :
JfodutaUon Cltords
of /1,o Dominan t.(Cto G)
, .,, f#f.f1
A simp!cModrlQfi(lfl
~To Compl• te v.,
I
i
~Modulation 1nlol•
CJromaUc Modulafi',r.i ( i,8. C to E)
; tt; ii! 1q •F
11
fretted instrument learners.
as do other music learners, become
acquainted with quite a useful range of
chords simply by keeping consistently
to the w~rks of one particular com-
poser. They acquire, in this way his
"wo rk ing vocabulary" by mast~rin"
his chor ds, his turns of expressio;
modulation, int erludes, etc. ·
It has been well said, "Every face
tells a story as clearly as every piece
of mus ic tells a tune, if one is only
clever enough to read it." A grea t
deal of the art of playi ng an accom-
paniment consists in interpret ing the
composer's story or inte n tion . How
interpretation can grea tly affect the
story may be exemplified by the fol-
lowing anecdote. A congregation at
a village church (whe ther " Out
West ," or elsewhere , does not matter)
had engaged a new organist, a
disciple of Bach . They were con-
sequently treated at the first Sunday
of the new organis t to a libera l dose
of Bach, but an influential section of
the congrega tion thought that the
music was " jiggish ," i.e., too much
like a jig! The organist was ap-
proached, and , sensi ng the meagre
musical knowledge of his critics , he
played , at the next meet ing, " Jump .
Jim Crow" ver y, very slowly in-
deed, without saying what the tune
was that he played . To cut a long
story short, the organist , strange to
say, was congratulated on his choice
of more Slolitablemusic! So much for
interpretat ion, of which quite a lot
more could be said.
 May, 1937}
Observations of common faults in
playing accompaniments show that
t he faults are not entirely confined to
grade C (or difficult) pieces, as
even quite easy accompaniments
are occasionally found to be incor-
re ctly, or unsympa the tically. ren -
dered.
On the tech nical side, nothing can
be more effective as a means of dis-
play than for a composer to use inter-
vals of thirds, of course, j udiciously .
To practise exercises in th irds (major
and minor) is an economical expendi-
ture of t ime, and the fingerin g
strength gained is invalua ble fo;·
simple passages afterwards . In-
stances of thirds are to be found in
"Banjo Vamp ," "Vo dka ," etc. Here
again , simple as the device is of
p;issages in thirds . and the fact being
that a divided chord is the most
ordinary method of harmonising a
tune , I have frequently heard pas-
sages with say, dotted quavers played
without any notice at all being taken
of the effect or value of the "dots,"
and, moreove r, also unevenly ren-
dered at that , notwithstanding that
man 's - hand, evolved by Nature for
the express purpose of clasping, is
eminently well fitted for lith e, glid-
ing and plucking or picking move-
ments in chords upon banjo and
guitar strings. To gain strength and
evenness in playing thirds it is some-
times advisable to use the thumb and
first finger , even on the first and
second strings. Some ban jo players ,
however. secure a perfect legato by
the use, ·in the ordinary way, of the
first and second fingers on these
strings. They can even obtain by the
same means , the opposite effect.
namely , a clean cut "staccato. " It
must be remembered that only by
acquiring complete control can the
needful varieties of touch be intro-
duced, so essential in playing occom-
paniments.
(To be continued)
[E->..-atu
.m. The word "choi·ds," pri ,1ite,l
in the thi,:d line fr om t he botto m on pag e
172 (co!. 3) of the .-l.11>·il
i.ssite g/tould hav e
bee,i" 1,eys."- G.,l.l>:.]
OUTOFTHERUT
F one reads " B.M.G. Club Notes"
I every month it will soon be not iced
that a vogue exists for certain com-
positions to the exclusion of other s
of equal and. perhaps , superior merit.
One can understand the latest publi-
cation being played through the pub-
licity it is given; but, at the same
ti me. there are many older and ex-
tremely effective solos that (judging
b~•the concert and club notes) seem
(Continued in column three)
B.M.G.
OF MUSICsomehow
DICTIONARY looked.
to have been entirely over-
TERMS Surely it cannot be just because
they are old, since the average audi-
Compiled by A. P. SHARPE
A Concise glossa ry of wor ds, signs
and abbrev iations used in frette d
instrument music
A.bbreviations :
F ... F-ren.ch word It. ... Italian wo-rcl
G ... Ge-rma-nwo-rdL ... Lat in wor_d
(Continued from the April issue)
Chanson (F )-A song. Chansonette .-A
short song .
Chanterelle (F) - The soprano or E str in g-
of the violin. (The octave G string oi
the banjo has been called the chante r-
elle).
Chord.-T he combination of two or more
notes.
Chromatic.- Notes forei gn to the key.
signature. (F) chromatique.
Chromatic interval.-An interval found
only in a chroma tic scale.
Chromatic scale. - One pro ceeding b y
semitones.
Clef. - The sign placed at the beginn in g
of the staff, used for fixing the pitc h.
(Only the treble (or G) and bass (or F)
clefs are used in fretted instrument
music).
Coda (lt .)-''A tail"; a few measur es
added for a more efiecth·e clo>e.
Comodo (Tt.)-Conveniently; with ease .
Common chord.-A chord, consisting of a
bass-note with its major 3rd and perfect
5th.
Common time. - Two or four divisions in
the bar, usually known as 4-4 time.
Compound interva ls.-Those exceeding an
octave.
Compound time.-Wh en the beat , is divis-
ible into three equal parts, such as 6-4,
9-8, 12-8.
Con (Tt.)-With. Con agilita.-Cl e~'llv
and neatly executed. Con amore. - W'th
love and ten dernes~. Con anima.-With
vigour and reso!ntion . Con bravura.-
See bra,:,wa, Con brio.-Wit h firP..
boldness and anima tion. Con di li1renza.
Wit h care and accuracy. Con dolore.-
With griei. Con ener!l'ia.-With ener,:v
and emphasis . Con expressione.-With
expression. Con facilita .-Wi th
facility . Con forza.-W ith force.
Con. fuoco,-Wit.h fire. Con giusto.-
With precis ion. Con grazia.-With
grace. Con gusto.-With feeling; taste -
fully. Con maesta. - With grandeur
and majesty . Con sordini. -W ith
mut e. Con Spirito.-Wit -h spirit. Con
velocita.-Wi t.h swiftness and rapidity.
Con vivacita. - With vivaci ty.
Concerto (lt .)-A composition for a solo
instrum ent with orchestral accompani-
men t . Concerto grosso.- A co-ncertofor
several solo in~truments.
Concord. A chord which does not require
re solution . Consonance-Harmon y.
Consecutives .-The movement in harmon y
of two par ts .
Consonant or Concordant intervals. -The
intervals oi majo r and minor 3rd and
6th and all peri ect intervals (except,
occasiona lly , the perfect 4th) .
Con sordini (It.)-With mute on; "so ft"
pedal
Con tenerezza (l t.) -W ith tenderness .
Corona (lt). - "A crown"; the pause.
Contrapunta !.-S ee co11nterpoint .
Contrary motion.-The movemen t oi tw;,
parts in opposite direct ions.
Counte,point. - The art of ccmbi nin(I:
mel ~dies . ( T,), "Pun rt um contr :,
punctum", note again&tnote.
(To be continued)
187
ence neithe r knows nor cares whether
a soloist plays the latest composition
or not; a banjo solo appeals to the
listening public solely on its own
merits. Undoubtedly our leading solo-
ists set a certain fashion in solos, and
the majority follow the leaders in-
stead of striking out for themselves.
Should one of our leading players re-
vive an old composition, it is usual
to find a large proportion of players
purchasing that piece themselves.
Some time ago Joe Morley broadcast
his composition "Jacko on Parade"
(a number that has been published
for several years); dozens of banjo-
ists who heai·d the broadcast ordered
the solo. Consider ing the wonderful
enthusiasm of banjoists (unequalled
by the players of any other instru-
ment) , it is strange they possess so
little initiative in selecting music.
Personally the writer likes to feature
the latest solos, but he also plays a
lot of others that are really good, and
at the same ti me have not been
played by everybody else.
A proved success should be judici-
ously worked , sometimes as a pro-
gramme item and occasionally as an
encore; yet some soloists feature the
same two or three solos with ever-
recurring monotony, whilst many
amateurs seem to be quite satisfied
to work up two or three solos and
play them year after year.
In conclusion, may the writer urge
players (and particularly banjoists)
to delve into the publishers' cata-
logues and discover the wealth of
good solos awaiting their pleasure.
Messrs. Clifford Essex and Son , Ltd.,
issue m'niature reproductions (price
ls.) of all their banjo solos, which
makes the selection of solos an easy
one: the player can actually try over
the ma:or portion of any number
before he purchases it.
· For those players interested, here
is a list of solos that are seldom played
to-day,. but which, from personal ex-
perience , the writer has proved win-
ners; these are: "A Warm Reception ,"
"A Ragged Proposition ," "Creole
· Belles." "Dreamy Eyes," "Eli Green's
Cake Walk," "Hunky Dory ," "Happy
Days in Dixie," "Nigger in a Fit,"
"Prairie Flower ," "Polka de Con-
cert," "Ragtime Jubilee ," "Lobster's
Promenade" and "White Heather."
This list has been purposely con-
fined to " A " grade pieces. so there
can be no excuse on the score of
difficulty. and anyone workine: these
solos will be amply repaid for the
small amount of time and trouble
exp~ngeg ,

world -famous guitaris ts and matt ers
THE
· PHILHARMONIC relating to the guitar but, from his
own lips, his own activities in the
SOCIETY
OF GUITARISTS
guitar world are a " closed book" and
Its aim s and objects; with a biography
of· • its found er and lirst president ,
Dr. Boris A. Perott.
By A. P . SHARPE
ANY readers of "B.M.G." must
M have often wondered just what
"The Philharmonic Society of
Guitarists " is and did. Often , when
r.eading reports sent in by the secre-
ta1-y, my curiosity has been roused
and I kept promising myself to
attend on e of their meetings but , for
.various reason s, the proposed visit
never materialised . . . until last
·rponth ; and now I am sor:-y my
.visit has been so long delayed .
. · The meetings of the Society are
held at the private residence of
Dr. Perott , who places a well-
\ppointed music i·oom at the mem-
ber s' disposal, its wall s covered
with photographs of world-famed
guitar virtuosi. The Society was
formed with the main idea of
brin ging into contact and co-
operation all professional and
amateur players of the classical
guitar and, by means of organised
lect ures and concerts. to win the
interest of the general public , plac-
ing the guitar in its rightfu l place
as one of the finest media for the
expression of classica l music.
Although , quite naturally. the
classical guitar is considered the
instrument, other fretted instru-
ment s are ·not barred. Players of
the -Hawaiian guitar and plectrum
gui tar have contributed items at
recent meetings whilst the night I
attended, a zither-banjoist played
two solos to the obvious enjoyment
of the assembly. I have often heard
-it said that players have no wish
to join the Society because they do
-not play classical music! If you play a
guitar {no matter the style or how re-
cently you have commenced the study
of the instrument) the Secretary will
welcome you as a member. In any
·case I would suggest that every
player of the guitar write to the
Secretary (address in Club Direc-
tory) for particulars of memb ership .
During my visit I had a most inter -
·esting. if brief. talk with Dr. Perott
who. in answer to my question :
·" How long have you played th e
-guitar? ". modestly said: "Only forty-
.six years, but I am not good now:·
His " life story" makes interest ing
:i·eadir.g and, although this appeared
in " B.M.G." some years ago. I am sure
.that readers -need no apology from
.me .for including it again.
Dr. Perott will talk for hours about
B.M.G.
I am indebted to Alexis Chess {a
member of the Society and well
known to "B.M.G." readers) for the
following:
Dr. Perott first studied the guitar
seri ously in 1893, but h is real
enthusiasm for the instrument as a
medium for the interpretation
classical music began in 1899, when
of
he became a pupil of Decker-Schenk.
the well-known guitar virtuoso and
composer. Afterwards Dr. Perott
studied with V. P. Lebedeff , the bril-
liant Russian guitarist who gave con-
DR, BORI S A. PEROTT
certs in Russia. Germany and
France. Unfortunately the early
death of Lebedeff prevented the full
development of this player's remark -
abl e gift as a guitarist.
Dr. Perott 's love for guitar music
and his desire to master the
technique of the instrument were so
great tha t every minute he could
spare from his studies at the
University was devoted to the instru-
ment. although it was never his in-
tention to play or teach the instru-
ment professionally. For over five
years he practised upon the guita:·
daily and his determination to snc-
ceed. coupled with his patience ar.·:l
powers of endurance. was a sour ce of
astonishment to his family 2.11,I teachers resulted in the growth of a
friends.
His concert activit ies began in the
year 1905 and. judging by press
notices. newspaper reporters always
treated Dr. P erott as an artist of the
first magnitude. During his early
[May, 1!)37
medical career he travelled exten -
sively through Russia, Finland an d
Siberia , and his guitar was an in-
separable companion during these
travels.
Always willing to help a good
cause, it is not surprising to find that
ir.. nearly every town where Dr.
Perott had to stay, even for a short
time, he invaria bly receive d an )n ·
vitation '.o appear at concerts to raise
funds either for the local hospital
or for other charitable institutions.
During these travels he was also
happy in helping young students
of the guitar and. in many cases,
his des·i:e to help has meant giv-
ing persona l lessons to those who
could not afford to pay for them .
It has always been his one ambi-
tion to make the guitar a better
known instrument by means o.f
demonstrations from the concert
platfo:m; by encouraging the study
of the correct technique and the
play ing of good music worthy of
the instrument; and the writing of
his se:ies of articles for " B.M.G."
which guitarists all over the world
follow with the greatest interest.
Between 1905and 1910 Dr . Perott
appea ; ed at many concerts in
Petrograd , where his guitar solos
were always outstandingly su~-
cessful and accord ed the greatest
of praise from the music critics.
His repertoire of concert pieces in-
cluded origina l composit ions by
Carcassi, Guiliani , Cottin. Ferranti.
Regor.di. Mertz , Lebedeff and
Decker-Schenk. whilst tra nscrip -
tions from the masterpieces of
Schul:ert , Rubin stein, Rossini.
Chopin. etc.. were invariably
inclucied in his programmes.
From 1910 Dr. Perott 's profes-
sional medical activities demanded
so much attention as to leave prac-
tically no time for keeping up his
practice on the instrument, without
which no public performer can be ·
successful. During the Great War
Dr. Perott took an active part and.
following the Russian Revolution, he
emigrated to London where he now
has a successful practice as a doctor.
numbering many famous people
amorig his patients.
Although the career of Dr. Perott
as a guitarist in Russia was br ief, it
had man v excellent results. The seed
of enthusiasm for the classical
guitar was sown in fertile soil and
the manv demonstrations of the real
art of piaying given by him and his
i::reat movement for the instrument in
Russia.
In 1929Dr. Perott founded the P hil-
harmonic Society of Guitarists. with
only a few friends to help in his diffi-
cult task. At present the Society
 May, 10137) B.M.G. 180

numbers t he following celebrated
guitarists amongst its many members:
Andres Segovia , Louisa Walker.
Emilio Pu jol and Vahdah Olcott
Bickford.
To-day Dr . Perott 's increasing
medical activities leave him very
litt le time for t he playing of his be-
lov ed instrument, but the encourage-
ment he gives to struggli ng studen ts
of the guitar ·and his enthus iasm for
its music deserve the highest praise ,
whilst his unbiased outlook on all
styles of guitar playing is an objec t
lesson to the too often bigotec frett ed
instrume ntalis t.
A GALLE
RY OF
GUITARISTS
By
The coda consists of a really fine
movement on the lower stri _ngs, with
interspersed ·chords · on the treble
strings, terrr>jnating with an uncanny
diminuendo to a C9th chord; an un-
usual. bu t nevertheless effective .
ending to an extraordinary record-
ing. Incidentally. throughout the
r ecord ther e is no accompan iment ,
making th e achievement all the more
meritorious.
On the reverse side of th is record
Len Fillis plays a muted tenor -banjo
solo. " My Pet. " with piano accom-
I r
BLAZE
fuller tone of the six-string instnt -
ment, but it has its fascinat ion .
Earl y in :his recording one can hea r
a quai n t, sing le note passage in har-
mony , played on guitar an d piano.
Th is passage soun ds like a succession
of sixths.
The main theme of " A Blues Seren -
ade " is most rhythm ic-due, no
doubt, to Len Fillis ' keen an d appar-
ently inborn sense of rhythm . Later
in the record there is a most intrigu -
ing "break" on the guitar, which
more than interests me for I have
never been able to "sort it out"; it is
the best of its kind I have heard for
many a day. Ju st one of tho se accom-
plishments we should all like to have
at our finger-tips !
Since 'Ne have now heard Len
Fill is playing two typ es of guitar and
t he te nor-banjo , let us next turn to

AWAY
GEOFF . SISLEY
9. LEN FI LLIS
EN FILLIS is ·a player of the
L guitar whose work remains in
one 's memory however in-
frequently one hears him play. His
playing is, without dou bt, outstand-
ing; although it has often teen the
subject of heated controversy in
·'straight" fretted instrument
circles for . at first hearing. many of
his ideas stri ke one as bein g weird
although now , after many years havl '
elapsed, many of his records are
paragons of style; for instance, his
recording of his well-known corn--
position, "Just a Matter of Chords. "
his playing of yet another instrument
-;-the Hawaiian guitar . On Decca
TH E WORLD FAMOUS
F3228 he plays th e well-known " ever -
green.''" The Japanese Sandman ," on
th is instrument wit h orchestral
AMERICAN MARCH accompaniment. To those who
BY A. HOLZMANN · k now this recording (one of .more
recent issue than the two previously
now available reviewed) I need not dr aw at tention
to the tastefu l and melodious way the
for fr et t ed number is played , but I would like
to men tion the beaut ifu l obbligato to
inst rumen ts the trum pet solo; th is is really ex-
~~,
press ive Hawaiian guitar-play ing to
I RECORDED BY
an astounding degree. Played mostly
in octaves , it h as a plain tiveness all
S EDDIE PEABODY its own. The solo " break " which

As any plectrum guitar ist who has
attempted to play th is number is
aware, it is more than just a matter
of chords; it is: a matter of chords
coupled with style and technique , to
mention o.nly two ·salient points.
The first thing that strikes the
listener on first hearing this disc (it
is recorded on Columbia 7620) is the
wonderful use of sostenuto . Ther e
is a tendency for present-day
players to make their notes tou
"clipped/' . emu lat ing the trumpet
players' staccato style. For years the
guitar has been recognised as a sweet-
toned and mellow instrumen:. and T.
for one. congratula te Len Fillis for
making the most of the instrument 's
inhe rent qualities in this recording .
Staccato technique is quite per-
missible and unders ta ndable as <1
contrast, but to overdo the effect-and
it is too often overdone-robs
guitar of its tonal beauty .
Some fine examp les of left -hand
pizzicato are to be found in this re -
cording ; neatly and cleanly
executed, wh ilst the number of keys
through wh ich Len Fill i? seems fo
resolve makes th e whole number
sound over -involved at the first hear-
ing . but it all has a meaning as the
listener will quickly discover if he
plays the disc through a few times.
!
COLUMB IA DB 661 occurs later is also worth hearing
RAYMONDE AND HIS more than once if only for it~
simplicity and effectiveness .
. _BA ND 0 ' BANJOS Next month I hope to deal with
R EGAL · ZONOPHONE MR 2404 nibre Len Fillis recordi ngs. In the
mea n t ime I wou ld recommend all
1'he foU.o-wingsolo parts are obtainable: tenor -banjoists to the many interest-
Fin ger Ban j o (wit h 21Hl B. Ace) ..-... . ... 1 1· ing recor dings t.his player h as made
Plectrum-Banjo (wi 1h 2nd B. Ace) ... ... 1/ ·
Solo Man dolin (wi th 2nd )I _ Ace) . ... . . 1/-
on this instrument and suggest the y
Piano Acc . . ...... .. 1 1-. can fin d much worth emu lat ing :n
~ ::~~~~
i~ragd ~·la;i~--~-i-~~~-
and the fol101<'in
-:::::::::
g b(ln/l parts:
~;: these discs.
3rd M., 2nd T -8. 1 3rd B., f,l'dola , M'CeHo,
Bass Ban Jo and Gtr. ace ...... 6d . EACH
Seut. oost free if cash accompanies order
Sole <listrib11tin9_;lg ents :
Mrs.- K. Austen, of " Ed f;emont,"
1$~ (;Rl}f:TQ_N STREET, NEW OONO S"J;"LONDON.v Chicliestel' Road, Croydon, is anxi ous to
obtain a copy of " Dancing Queen " for
paniment . Although this side would ban jo and piano. Can any reader oblige?
the
appeal more to tenor -banjoists. it con- * * *
We are asked t-0 g1rn publicity to the
tains quite a number of ideas which following: - Whi'lst !Irr. S . J . Vaux is a
can (with discretion) be adapted tc m1>mber oi the Lewisham B., :wand G.
the guitar. Club , his preparation for the Lei gh-on-
As most readers ·are aware-. L~n Sea Festini was entil"ely by ::llrs. A.
Linton , of Holloway.
Fillis did no t confine his activities to
the plectrum guitar and tenor -banjo . * * *
i\lr . C. \Valle, of ,vallasey , writes:-
Next I propos e tak ing a reco1:ding b.,· " Stepha n ie Gavotte " is a pleasant sur -
h im made on the tenor -gui tar . This prise. Guitar ists need mor e ar rangements
is entitled "A Blues Seren'ade ,. snch as this which is, although not tech -
(Columbia 4920). nically . di(ficult, delightfu l to p1ny and
,·ery pleasrng to the ear."
The tone of a tenor-guita r is apt.
fo sound a li ttle ghostly after thi'
* * *
:\lr . J::rnest F . C. Maslen, of 10 George
 rno 8.M.G~ [May, 1937

Stree.t, Evesham, Worcs., is anxious to
r.nd a " swing plectrum guitar teacher "
within a radius of fifteen miles of his
home .
* * * ITH refere nce to the tes t piece
\\ ;e are sorry to bear of the inclisposi-
tion of llfr. l\Corris Dolby, and hope his
sojourn at Bournemouth and his ensu -
ing cruise to Madiera will bring a speedy
ret1nn to health .
* * *
llfr. Adam Seebold, conductor of th e
Southend · Pier, was present at the recent
l,eigh -on-Sea Club's concert, and was so
imp res!ied by the presentat ion of " The
Four Racketeers" that he booked them for
the aiternoon conceit to be given on the
pier on Coronation Day.
A COPY OF THE TESTS NECESSARY
TO SECURE "FI.M.G." DIPLOMAS
can be obtained free of c'harge by
applying to the Editor , "B. 11!. G.," 15a
Grafton -Street, Bond Street, London, W.
The following candida tes ·have been
awarded Diplomas:-
Leonaod Fowkes, of Heanor, Derbys.,
" B " Grade (Hawai ian Guitar).
·Teacher: .Tohn Brough .
(~d~rationNews
Frederic k Wheeler, oi East Ham, "A "
Grade (Banjo).
Teacher: B. W. Dykes.
Examiner: Clifford Essex.
Miss Irene E. M. Roberts, of Birmiug. Southern Section
ham , "B" Grade (Hawaiian Guitar).
Examiner: Ken K.apua.
Albert William Jeffery, of Paddington ,
W for Division I Bands at the
Rall y for 1937, it h as now been
"A" Grade (Banjo).
Examiner: Clifford Esse.x. decided that this shall be " Th e
Sho w Boat ," a selection arranged for
Donald Smith, of Dovercottrt, " B •·
(Banjo).
Teacher : W. H. Millis.
banj o, mandolin and guitar bands, or
orchestras , by Emile Grims h aw, pub-
Examiner: Bernard Gough. lishe d by Messrs. Chapp ell and Co.,
Ltd., 50, New Bond Street , W.1, and
obta ina ble from the usual sources.
G . A. KEELER.
Northern Section
HE date for th is year 's Northern
May 2nd- Troise and his Mandoliers
will broadcast in the Nat ional pro-
T Contests at Blackpoo l may no,v
be given as Sunday , September
gramm e from 1.30 to 2.0 p.m. 19th and , subject to the necessary
_May 13th--Troise and his Banjoliers minimum of six entries, all the 1936
will broadcast 111 the London Hegional
programme from 1.30 to 2.0 p.m . events will be repeated wi th, per-
May I 6th-Troise -and his llfandoliers
haps, an additional con test. More
will broadcast in the London Regional about this in the June "B .M.G."
programme from 7.15 to 7.50 p.m.
May 29th- Troise and his Mandoliers The last meeting again considered
will broadcast i n the Nationa l programme numbers submitted for the band con-
-----
from 4.30 to 5.0 p.m.

When replying to
test (the only one wit h a fixed test
piece) but the final decision is de -
layed by the absence of one num-
ber not , at the t ime, from the printers.
Examiner: Sanders Papworth. At the next mee ting (May 2nd) a
Donald W. Connor, oi Barking, "A" advertisements please choice will be de finitely ma de so t hat
Grade (Ha waiian Guitar).
Teacher : l\Iiss F". Randall. bands will have at least four mon ths
Examiner: Berna rd Sheaff. mention "B.M.G." irr which to practise.
George William Pearl, of Streatha m, M.C.s for the Rally will once again
"A " Grad e (Banjo) . be Messrs. Eugene Earle and S. G.
Teacher: )liss Li!~• Ridler.
Examiner: Clifford Essex.
Howard C. Chadwick , of Cardiff, " A "
Areyou playingthese Backhouse but the ad judi cato rs hav e
yet to be decided upon.
'Grade (Banjo).
Teacher : Charles Robinson.
two latest hits? Annual subscrip tions are now al-
most due for renewal and the 1937/3
Examiner: R. Allen.
J. Davies, of Llanelly , "A"
()Ia .ndolin -Banjo) .
Grade " Classical membersh ip cards will be available
shortly. Members attached to a club
Examin er: T. E. Jone,. or band sho ul d pay the shilling to
Miss Ma~ Seek , of Singapc ,re,
Grade ( renor-Banjo).
11
" A Snackbar ''
(HA R RY !SHERWOOD)
th~ ir Secretary; unattached members
Exnm.iner: Elp . p. DarO)'.a. by pos t to me, please. .
Donald Cathles, of Dovercomt, "A " A clever, but not diffi,cult to play, R ally contes t entra nce forms will
Grade (l3nnjo) . arrangement of the well -known not be available until July 17th and
'l'eacher: \V. H. Willis. cLassicaltunes "Poet and Peasant," will only be suppl ied to members who
Ex aminer : Bernard Gough. "Bohem ian Girl," "Faust," " ll have re newed th eir subscriptions.
W. G. J . May, of Dlanelly, "A" Grade Trovatore, " and "Hungarian Rhap-
(P lectrum Guitar) . Will intending contestan ts kindly
Examiner: T. E. Jones. sody" formed into a medley that note to save me unnecessary labour .
Miss Eileen Fisher , of Kirkham, " A " banjoists everywhere are enj oy- W. LINLEY.
Grade (:llandolin) . ing playing.
Ex~miner ·: _E_uge~e Earle.
"International he " SOURDINE "Plectra
InstrumentBadges Medley"
Banj o, -Mando li n or Cuit ar
'l:be ideal pick for p r:;c-
t 1$ing . The id eal pi d ~ for
balla d number ; , A pick

...
BANJO, GUITAR) ;rou mus t ha\·e. Can be.
( ANO ACCORDION (JOE MORLEY) supplied in two sizes. No
Well made in gi lt
and enamel .Quite easy to play; this medley 1ui
!:~1~
·rof8<1-1\
0
·it/\~~inud~:
im or Guit ar. ·
·
Pin Br ~oeh F it ting introduces such weU-known melo- No. 0
lllu t.tration s , how dies as " The British Grenadiers,"
acfual sit.e of bad ge$ "The Girl I Left Behind Me,"
"Wait f or the Wagon," etc., and
is pr.oving popular with listeners
..,..No. 1

ILLUSTR,1.TI01'S
and players alike. Sl!O W ACTUAL
SIZE OF PIC KS
ONLY AVAILABLE AS BANJO .
GUITAll
SO LO S (Finger ·or Plectrum sty les)
Price 6 D. Each
9d. 2B ( Finger or Plectrum Sty le) ... I/. St-nt post. free if
2B (F. or P.) and _Piano acc . ... 2/· cuh ae<:
umpanies order
Sent po.st free, H cash a<-eo mpnn les 01·dtr
CL I FFORD ES SE X & SON , LTD., CL IF FORD ESSEX & SON, L td.,
15a Crafton St ., New Bond Street, London, \Y.1. tSa Cr a fton St., New Bond Stree t, Lond on , W.1.
 191
l"B .J,[.G'.'Supplemenf.Jfqy
.f937.I Moody Mike March
f .CLAtDE BANKS
M.M. J.=120 Hawaiian Guitar Solo
192
McDougal, McNabb & McKay
Banjo Solo
Arr: by .RAY BAILLIE ( Finger or Plectrum Style) JIMMY LONGFELLOW

Moderato Verse .)J

,,•,,1
-1, s ¥ ri~ 11~1,-•r •f 1
,, F1~11,
,11tip, i~ 11~

J,i~I!~i,f!f1i.ijlirlfa~,;,
~•,.'{:p :r111'f,ff11f•$if!fI
·t1, 111th'flt,·ii-i,f~,,!"'11,F:1,1:~
, •·~ tr1ri~,:u1
11 j

~ORUS
#r
I ~ 4~7sJ
f J ~- 14 if fj 1i,-d zJ,1.,1

f &f t:f1! Ei•r Ii'r i•t l'f"t 't r 11'U i f I

3~ 4

:'fi f t !f::t
11
2~
1
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3PB ................... .

HF i J Iiff 4111,
ff\·t!lfiipw~ :r,r f 1.pf.f
ti~ 11 ii 1
:r·t't 1·f1r ·t:rd sJ·1 :rI Ni!fi•Itiizjf(t¥1
4,•,:1
t3 PB.... . . SPB 5PB

'f (f ifrf (fif·f!fJ

'1:f'1!f 'f ;r i lfi"'ffu~r
1

4•'~ 1

3PB .......... .....• ....... ..., 3PB .... ...... ... ·•·····-··: . I

i !.(Iff f ·J I'ffF
4••,:fop •~
i•~([if='[1h:i
:~ '{hfg

I;~ued ~s a Banjo supplement tn "R.~I. G:' by sp ecial arrangement with Cecil Lennox Ltd, Choring Cross Rd, W.C. 2. Owners of the copyright.
To obta,n a piano accompaniment f~r use with this solo, e,·ery pl.,yer sho.nld purchase the song " McDougal, McNabb &McKay."Price6d.postfrce.
Obtainable from CLIFFORD ES~E.X & Snn, Ltd. 15a, Grafton S tr eet, London. W.t. or ftQm your local music dealer.
 193
SMOKY 110KES.
Arr, by SA:-{DERS PAPWORTII. A. HOLZMANN.
Tenor-Banjo Solo.

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Issued as a Tenor-Banjo suppler:tentto"B. 1!. G." by special Mtang-ement with the copyright owners B. rcldman & Co. A special pi,M accomp,,n i:i:cnt fo,
use with this solo can be obtain ed from CL[FFORD ESSEX & Son, Ltd. \Sa Grafton Street, London. W. J. Price 1/· or ., banjo .,aompanimcntpri c,
6d. The published fing-cr style banjo solo (Price 1/-) can be used with this 'I'enor-Banjo ~olo in duct form. ·
194

Where the caf e lights are gleaming

Arr: by LEN CARROLL Mandolin Solo R.GOEHR

isoued as a Mandolin s~pplem,nt to"B.:l!.G'. 'bysp eci,1 arrang ement with B.Feldm,n &Co. Shaftes bu ry Avenue.W.C.2. Owners ol the copyright.
To obtai n a piano ;,.ccompanirncnt for use with this so1o 1·cYcry ph.ytr should purchase the song"\\nere the C;\{clig hts .arc g! eaming! 'Pri~ 6~°postfrtc.
Obtainabl e from CLIFFORD ESSEX & Son, Ltd. !Sa, Gr.,fton Street, Lor.don. W.1. or from your local mu5ic dealer .

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'b6;mi iIbf rI? ~ ~-·It f 1
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I r r IEr t t1:illrr :oo
T••~•das a Gui ,.,c s::r ;.!,o ient !<>"R -~1.G..'by ~?eclat arrangerr.ent with Peter :lla~rice ~lu~ic Co. Drnmar_k St.\\•. C.1 2 .. Owners of the copyr igh t,
T~ obtain a ri.1~.....acco:r.:',•-
--i::", l for \J"'ew:~h thi~ solo,c\ ·ery player shocld .,purc.h?...~e
c:"' the scint' ' Harbour Li~tts: Price 6~ post f:ee..
Ol-!ta il!:-.etc! ..~~ "!.r~-P"')RP ~SS~~X !i: S:-!l, I.d.1G :t1 Gr,1.! ton St:-cct1 LrinCon. '\\".1. or from your local music dealer:
May , 1937 } B.M.G. 1 95

J!I.
~
0
FINGERBOARD HARMONY FOR GUITAR
By EDDIE LANG, Price 4s. Net.
Send for Complete Catalogue of the World's Best Instrumental
Novelty Solos to :-
fRANCIS, DAY & HUNTER LTD. 1

138-140, CHARING CROSS ROAD, LONDON, W.C.2

 ]!)G
THE FAMOUS
GUITARISTS
IN ITALY
Chapter XL.
By DR. Boms A. PEP.OTT.
(Continued from the Ma1ch issue.)
F ERRARI, GIAMB ATISTA, was
born in Modena, Italy , in 1814,
and died in 1891, an d, although
he was a self-taught guitarist , he was
considered good on the instru ment.
whilst it is interesting to note that
he pre ferred playing on a ten -string
instr ument . Very little is known
about his life , but he ofte n p~rfor med
in public , when his playmg ~as
accorded a great measure of praise.
It would be unfair to o".erl?ok
Ferrari and many other gmtansts
simply because they were not world
famous . It is not every player of t he
guitar who can earn world fame,. as
the instrume n t, so far as the playmg
of classica l mus ic is concerned, de-
ma nds a tremendous amount of
patie nce and devot ion to study. Very
few can amass a fortu ne t hrough
playing the guitar, or even a comfort-
able livi ng. so only a real love of the
instrument can attrac t devotees to
the classica l guitar. It i~ this gen-
uine love of the inst rument that
ma kes its players , as a ru le, very un-
selfish people wit h a noble tendency
to dedicate all the ir available
spare time to the , .ad".ance-
ment of the guitar . It 1s tms kmd of
player who is a great supporter of
the gu itar movement and an out-and -
out admirer of his more famous con-
temporaries . He is intensely inte ~·-
csted in biogra phies of h·,s
predecessors and is spiritually
closely associated with the whole
familv of guitarists , dead and alive!
Th; name of Giam batista _Ferrari
was not overlooked by Mana Rita
Bl·ond,·. for it is men t ioned in her
famous · book " H Liuto e la Chitarra .,,
Spina, Andrea, was b orn m · th e
early par t of the 19th century a nd
he spent most of his life in Vienna , , \\'~II-known iretrnd rnstn 11
where he was well known as a solo·: · ad tlr~ssin:r the,r letters c 'o ' · 11. .11.1.f.
l·st on the guitar , ded icat ing most_ of
his time to teaching and composmg.
He published an interestingmethodfo:·
the "Uitar, entitled "Prim '. Elementi
per la Chitarra '' (" First Elements of
the Guitar "). It may be of interes t
to readers to know that this was the
first guitar method it was my fortune
to own, having inherited it from my
father who had tried in vam to
maste1'. the "Uitar with the help of
th:s book. o;';the whole , this me thod
is too elementary an d does not pro -
"ress in the manner in which other
~ethods do.
Spi na also published some." Varia-
tions f or Guitar Solo f rom the Opera
B.M.G.
Ze!mirn" and "Twelve Exercises for
the Guitar," in addition to severa l
composit ions for two guitars , but all
are inclined to be a little mon-◊tonous
and of a simple kind.
Another Italian guitaris t who bears
the same surname and may be a dis-
tant rela t ive is:
Spina, Frederico, who lived late r in
the same century. He also resided in
Vienna, an d, strange as it may appear.
his life and activities are almost a
parallel with that of his prede cessor.
According to Domingo Prat's book,
" Diccionario de Guitciristas 1933," he
also composed several "Airs Variees
from Zelmira. "
He was a ver y good teacher and
composer . but very litt le is known
about h is concert activ ities.
These two guitarists should not be
confused with the thi1·d Spina
(Vicenti) who lived in the Argentine.
(To be continued)
SPANISH
GUITAR
RECITAL
U
NDER the auspices of the Phil -
harmon ic Society of Guitarists. a
recita l will be given by th e
famous Spanish guitari ~t. Franzisco
Alfonso at 179. Queen 's Gate. South
Kensington , S.W.7, on May 22nd, at
8.30 p.m.
Senor Alfonso is sufficiently well
known among pla yers of the Spanish
auitar to need no intro duction as an
; , t ist of outstand ing merit, pla ying in
th e style ·of Segovia , and it is hoped
that "Uitar enthusiasts will support
him bv their presence at his first
appear;nce in London. Tickets ,. to be
purchased in advance, are obtainab le
from the Presid en t of the Society .
Dr. Perot t, 155 Crom\,·ell Road.
S .W .5. price 2s. 6d. each .
Wr1"te c/ o "B. M. G. "
\\ "e are often ,,sked ior t he adclr,',, ,., o!
iamo us player·,. Will reade rs n~te t ha t
lhev c·a 1: ni\\':i,·s conununicate "·:1~1 a111
nen1~,,,t , b/.
.\ II s,,ch letter;; ,ll' i !I be_(onrard~d to the
a.ldre,see.
Hawaiian Guitarists
You will enj oy r eadi ,:ig " Haw ai i and . It s
Musi c ··- an in t cr e:st 1ng book let , ma i led
fr ee upon r equ est .
Learn t o p l a y II
d ir ect from pi ano cop i es' '
quick l y a nd ea sil y t h r oug h th e stu d y o f
t he II
EH A '' T eac h in g Piec e s. On ly b ea uti •
f ul Hawaiian songs used. Car ef ull y gra de.d
an d pub lis hed in sepa rat e sheet mu s,c
fo r m .
TEA CHERS sen d l &tt erh ead or bu sines s
ca rd f or tria l lesso ns.
EDDIE AL KIR E PU B L I C AT l O NS,
EAST ON, PA., U. S. A.
".-ldi .stic . h ·ra1t(lemP11t.~ /OT
Steel G1L'ifor"
[May, 1037
"FROMTEACHER
TO·
PUPIL"
Finer Po int s of Plec trum -
Guitar Play ing
No, 5, THE GLISSE, BLUE NOTE,
SNAP, SLUR AND GRUPETTO IN
M ODERN RHYTHMIC PL AY I NG
By TERRY USHE R
O guitarist, wishing to call hi m-
N self proficient in modern
rhyth mic play ing, can afford to
neglect the a.ids to "hot ''. playing
which are the subject of th 1s article .
With the exception of the "blue
note," which is an effect of recent
growth , all these " tricks of the
trade " were known and used by
finger-stylists , to whom we owe the
bigger proportion · ·of our left-hand
technique . We modern plectnsts
find tha t tbe introduction of these
effects into our playing , wh ether it be
in a more-or-less "stra ight " melody
or an out -and -out " hot " chorus .
brio'htem it and' adds interest to th e
nu;;;ber both from the point' of view
of the player and from its appea l to
t he listener.
I intend to give a full aescription
of how best to play these effects, fol-
lowing it with an .example of th e
introduc tion of the effects into our
playing.
1. The g lisse. The glisse (de-
noted by a line drawn between the
note where the effect commences
and the note where it ends ) is, in
effect, a chromatic run of which
only the first and last notes are
shown in the music. It is played
by placing a finger of the left h~nd
on the note first shown; stnkmg
that note and sliding the finger
alon" the string until t he
seco~d note is reac hed, keeping the
finoer fi-rmly depressed on t~e
string all the time. The finger, m
its . passage along the fingerboar d.
stops the string at every fre t
between the two notes and , as th'?
: str ing is vibra t ing all the time.
a note is produced at each fret
in tum . If the glisse is correctly
plaved (wh ich necessitates a
strong left h and and a smooth ly
fretted fingerboard) the last note
can be held for several seconds.
The glisse can be played up or
down the fingerboard ; but , in the
case of the downward glisse, the
note dies away before the finger
has passed many frets ; so it is of
little use expecting to susta in the
the last note of a downward g!isse.
2. The Blue Note, Usually de-
noted in modern music by the
abb reYiation "sm" placed over a
note. the blue note (pulled str ing.
or smear) is played by fingering
the note a semitone below the note
 May, 1931] B.M.G. 197

required; picking the string . and. play ed downwards. whereas the fingers firmly · down on the string
hold in g the ·string firmly against slur ( in steel string playing) is close behind the frets. Pick the
the fingerboard , pushing i-t side- always played "up " the seal<?. note A; pull 4th finger sideways ,
ways until the ,tdded tension The snap is denoted either by n snappi ng off the note on to the 3rd
raises the note a semitone to the similar sign to the slur or by the finger which is holding the G j$.
desired pitch . A blue note can ,\;Ord "snap" writ ten above the Then pull the third finger side-
also be played another way, i.e. by note. It is easy to tell whether ways , snapping off to the 2nd finger
" bluei ng " the note downwards a snap or a slur is intended by which is holding note G; do the
instead of h igher. Let' me explain noticing whe ther it is to be played same with 2nd finger until the first
more fully. Let us say we want up or down the scale. The snap is finger is left holding the note F;
to play, as the final note, E on the played by fingering the first note which should vibrate for several
second string (5th fret ) . Place and , having already placed another seconds if the grupetto has been
the finger on the string at this fl:et, . finger of the left hand on the correctly executed . ft should be
push t he finger sideways and then second note (which , of course, noted that the string is only struck
strike the string . If :rou have must be on the same string), strik - once with the pick. The secret of
done this correctly the note F will ing the str ing. pulling the finger a successful gr upetto lies in the
be produced and, by allowing the which is on this first note sideways strength with wh ich •the left-hand
string to return to its normal posi- towards the treble side of the fingers pull the string sideways and
tion on the fingerboard, re.taining fingerboard; i.e. away fr om oneself. the firmness by which the fingers
the pressure of the finger , the note When a certain amoun t of add\- remain ing on the string hold down
will "smear " down to E again. tional tension has been pu t on th ~ the remaining notes.
·The two types of blue notes can str ing by this pull, the string will
be combined by picking a note.
.smearing up to the note a semi-
snap away from under the finger .
commencing to vibrate from the
"STEEL" WORK
tone above and then down again fret at which the second note is By CYRIL DE VEKEY
to the orig inal note , picking once
only. A conti nuous quavering
stopped; the force of the snap
being sufficient to ensure that the I T was with interest that I read the
letter of " A.G." (Kette ri ng) in
the April "B .M.G." who suggests
effect can be pi·oduced by doing string vibrates enough to produce
this three or four times until the a strong , clear note. a subscr iption club for Hawai ian
vibrati on of th.e string ceases and 5. The Grupetto. This always guitarists. enabling them to obtain
the note ·finally dies away . gives my pupils a great deal of special arrangements of the more
3. The S lur: Th is effect is de- trouble; demanding a strong lef t advanced type than has been hither to
noted by a curved line between hand . and patience to acquire the obtainable. At the moment, this
t he note to be slurred and the " knack " of the thing. Eddie Lang strikes me as being one of the br ight-
prev ious note and is obtained by used this effect (and the blue note) est, most helpful and practical ideas
holdirlg the first note and dropping in almost every number he played on Hawaiian guitar interests that has
the appropriate finger on to the (and in his solo "Feeling My been mooted for some considerable
hig her. note ·marked. 'The finger Way") . . It is denoted either by time .
must be dropped sharply and the word "grupetto" being writ- True , the idea, if it materialises.
firmly on to the slurred note ten over the notes to be played in would ca:er for the more advanced
before the string vibration has this manner or by a line drawn player, but the student of to-day is
ceased; the reason the :irst note · over two notes and the abbrevia- the potenticil advanced player of to-
must be held firmly until the next tion " Gr ." A grupetto is a small morrow so. while special arrange-
note has been slurred is in order chromatic run or portion of a sca'ic ments of the kind suggested may not
to keep the string vibrat:ng . Sev- played downward and is, in eff~d . appeal to the beginner .and young
eral notes can be slurred in sue- a series of snaps played with student, they wou ld be good "stock "
cession, pick ing the string only successive fingers of the left and could be put on one side for use
once, but they must be on the same hand . at a later date .
str in g and in such a position that Let us try one. Place the left- Naturally . these special arrange-
the . first note picked car. be held hand fingers on the first string r.,; mentc wo,ild not be published in the
all the time. follows: 1st finger , F j$ at 2nd fret; accepted sense of the word an d sug-
4. The Snap. This is the exad 2nd finger , G; 3rd finger, G ;j:; and gestions on this point would , I think.
opposite fo the slur and is always 4th finger, A. Hold all · these be welcome and the following has
?? ................ ·.......... .............. ....• ..................... ...... ....... occurred to me.
Grope/lo. ~ Gliss • S~':f._napSwr&Sr.ap
__ •. _ • I suggest that the arrangements

fEi1f£tflf1 (when made) shall • be issued as a

~~1'~,r €tiF1 r,1r11r1
@,r;- '·loose-leaf" insert to "B .M.G." and
included for those readers who are
club members (as only members
7P ......... ..................................................... should receive them); an idea which
seems. as far as I can think out at'
the moment. something concrete ,
·r.11f r tI
liable, of course , to revision to suit
such conditions as may be necessary .
The quantity printed need only be
: · Giiss. .. ······· ···················································; ~~,;;s~~;
·············
·········· the number required for a normal
. .-fi ..;~ • ~ ~ ~ . f fFh ~ inclus ion in the " B.M.G.". supple-
ment. the surplus copies r emaiJJing
&#L r11Ctr r Prr ,r, 1r.rtr,
r,1a,cr'iru
1,; 1• 1• on hand to be sold to the club at a
low rate for the purpose of prov iding
new melT\bers with the complete
issues or. alternatively . may be taken
care of by the editor and despatch ed
to new members on joining .
 1~8
There would be arrangeme nts to
be made regarding details, etc ,
before anything definite can be
accomplished, so suggestions would
be very welcome. Someone has to
put forward an idea in a workable
form and the foreg oing is my sugges-
tion .
The main thi ng at this juncture is
t o arrive at a definite number of
players interested; indicat:ng their
willingness to participate by writing
and offering any work able sugges-
tions they may have. Once th at is
forthcomi ng th e matter can proceed .
Personally, I think the suggested
membersh ip of 200 should be easily
reached and, later, something of a
most interesting and enterta ining
nature may emerge from the idea put
forward by "A.G ." of Ketter ing .
Bristo l.-On April 17t-h several mem-
bers of the Bristol (East) Cbb played
" Tattoo," " Kig!!:er Minstrels," " Gold
Diggers" and "Niggertown" with suc-
cess at a concert gi\·en by tile Brist ol
Royal Engineers at their headquarters.
Clapt on.-1[embers of the Hackney
Club ga·,e a varied programme, which
was greatl.v appreciated, at a concert held
in St . )fa tthew 's Churd1 Hall . Warw ick
Road, on Wedn esday, )farch 3lst..
Sel'eral community items were included.
Dagenham.-)In ster Harry Simpson
pla1•ed mandolin solos at his school's
Annual Concert 1·ecent!)·; his precise and
well-timed playing receidng high appre -
ciatio n .
Hack ney.- '.\fembers of the Hackne)'
Club gave a full evening's performance
to a la rge and appreciative audience at a
concert held in the Central Hall , i\fare
Street., on Saturday, l\Iarch 2ilth.
Holloway. - "Moonlight and You,"
"l\J a~nolin. , \ ...altz," "Gem s from the
Olas$1cs," " Ben Hur," .., Stmus;
Waltz es" and " Bu1terA,· Waltz" were
som~ of the items pla, ·ed 'by twanty mem-
bers of the Hackn e)' Club at H.)I.
Prison, Camden Roa,l, on April 18th.
Leigh-on-Sea.-The Leigh-on-Sea Club
_gal'e a most successfu l concert in Elm
Hall on April Wh , the hall beilig packed
with a most appreciative audience . Tlw
club opened with "Beat As You Go.·•
" Lan cashire Clol!'S" and "Lo ,·e an,I
BPautv \\'alt,; es" followed I>" zithN-
banjo 'solo " l'olka de Conceii ," I.,,· L.
Ilehar . The mandolin and guitar en-
semble (JG pla,·ers) played two Hawaiian
select:ons and Hawaiian guitar solo;;
were contributed by i\{iss Barbara Ed -
ward. A banjo quartet , :.\fessrs . Behar.
Cradick, l\Iantor and ?-Ioat, plai•ed " Zar-
ana" and " The Four Racketeers "
()fessrs. F. G. Bm<len, piano, Ron Bur-
den, banjo and saxophone , Chas. )Ian-
tor, banjo, and Frank )fan tor, drums and
xylophone) presented an enjoyabl e
twenty minutes of melody, rhythm an,!
.,ong to the obYious enjoyment of the
,rndience . A Hawaiian trio, the :.\Iisse,
Bark er, Edward and Farnborough, next.
pla,-ed, their vocalising contributing in
B.M.G.
no small meas ure to the ir pleasing
presentation. )'fessrs . Behar and Moat,
banjo duet, played " Handy J ack" and
the club again contributed " Swanee
Sing Song," "The Kitties " and "Gay
90's" as community numbe rs.
Bob Row, with his humom- and cleYer
compering, Mr . F . G. Burden, for his
capable conducting, and Madame Edward,
for her sympathetic piano accompani•
ments, all desen,e special men tion .
Leigh-on-Sea. - At the prize distribu -
tion and concert held by the Leigh-on-
Sen )Iusical Festival in Elm Ha ll on
April 10th the following prize winners
contributed fretted instrument items :
Harry Fosh, Miss Mary Behar, Messrs.
H. Keen and C. Doughty , Miss Gladys
Percy, i\fiss Ella Spicer, ?1:Lessrs.
H . Keen,
H. Russell, C. Doughty and E. F"earn and
J!iss Blanche Fisher. .
Liverpool.- The Lh·erpool B., M. and
G. Society gave ano ~her successful per -
formance a L lire Bear's Paw Hotel on
Sat,urday, April 3rd . They are finding the
addition of their own amplifier a great
asset.
New Ma lden.- Severnl members of the
South London Club ga,·e half an hour 's
enterta inment at a conc.ert for the Sur-
biton Women's Co-op. Guild held in
Stonelagh Hall on April 17th, receh·ing
a g-reat ovation.
Newcast le-on-Tyne.-At a concert in
aid oi the Kewcastle Eye Hospital held
in the Palace Theat re on April 18th, the
Kewcast.le-on-Tyne Club p layed " Glitter
of Steel," "In a Persian )farket," "Nig-
ger Minstrels," " Strauss \Valtzes " and
"Gems from the Classics." Mr. Dor-
ward, the conductor, was congratulated
upon !he club's performance.
Nort h Fin chley.-At a concert given
by the Xorth Finchley Brotherhood in
Dale Grove Hall, on !\[arch 18th, )fr. A.
D. Lord played "Brindisi," "Entr 'acte ."
·• Come Ye Discoqsolate" and ")foscow -
,;ki's Serenade," mando lin solos.
Oak ley, Near Dovercourt .- A conce1-t
gi,·en by &out., and Gu;des following
the opening of the Boy Scouts' New
Building on April 17th, included items by
Donald Smith and Donald Cathles
(known locally ns "ThG Two Don s") .
'fh.ese two lads played " Glitter of Steel,' '
" La )Iargt1erit e,'' " Gold Di2:gers " and
(j Hiking" as banjo duets~- and were
gi \"en a ma1Yellous reception, and were
undoubtedly the "star" tum of the
evening. Both ,,ouths are pupils of W.
H . )Cillis, of Dovercourt. and each hck!s
an "A" grade" 'R..11.G." diploma.
Periva le.- At a Social held bv th e
XHtional Guild in the Perival e School
Hnll on Saturday , April 10th, "The
Bu1·1ingt-0n Banjoists" (Messrs. T.
f'kingle , \V. Dallibar . R. Emery, H.
:-mit-h and i\Iaster K. Skingle) were
accorded a splendid reception for their
playiTI¥ of " The Kilties,'' " A Banjo
Vamp ' and "Nigger Minstrels."
Preston.-On April 15th Eugene Earle
and his concert part,y gave a delightful
entertainment at the British Legion Club;
banjo and guitar solos being among th~
selections.
Roehampton.-Ou Saturday, llfarch
20th, about thirty members of the Ex-
celsior (Le,dsham) Club contr ibuted to
a concert given ior the wounded soldiers
and inmates of St. Mary's Hospita l,
[May, 1987
under the ausp ices oi the .Old Con tempt.
ibles of Lewisham . Community num-
bers included " Man the Guns,'' "Banjo
Vamp,'' "Swanee Sing Song,' ' "Com -
munitv l\Iedley," " Spick and Span ish,''
"Sing Away Blues,'' ' Nigger Minstrels,''
" Leslie Stuart Medley " and " Butterfl y
Waltz." A Hawaiian quartet, Mrs. Pen-
fold and 1Iessrs. Ha.rdstone, L. Mote and
A. Hobscn, played " Coral Isles,''
" Aloha O~ " ru1d " When the Poppies
Bloom Again " and duets and trios by
)Iiss Kettle and Messrs. Hardstone and
Newson were well rec.iived.
St. Martin 's-le-Grand .-The a.udien,•e
at a G.P .O. Concert held at King George
V. Hall,' on Saturday, April 10th, appre·
dated a .fine performance given by mem-
bers of tJ1e Hackney Club .
Stockton H eath.-O n Marnli 24th, at a
Cone€rt given at " F ri ars Green,' ' and
on April 3rd, at a Concert given at the
Church H all, the Warrington Club (nnder
the directiDn of ~Irs. Wea ver) success-
iully contributed commu nity items which
were wel1 rece ived.
Sydenha m.-The Lewisham Club's
finc:er banjo team played the following
items at the South Suburba n Gas Co's
Concert or. Satu rday, April 10th : " Syn-
copatin' Shuffle,'' " Whistling Rufus,''
"Cute and Catchy,''" Jazzbo's H oliday"
and "Con:munity Medley." Members o[
the team a.re Messrs. F·. Akery, J .
Ash'ley, C. Ashley, M. Dolby, H .
Dance . C. Warner, W. H. Wyles and A.
S. Waller with Mr~. Dolby at the p iano.
T hornto n Heath.-On Saturday, April
3rd, before a most appreciative audience ,
the Croydon B., i\f. and G. Club Quintel
uave a th irll'-minute programme in aid
~f the local· Scout fund. Items included
" Zar an a " " Ban jo F rolic " " Beat as
You Go,': "A Banjo Vamp" and "Re -
tnl'n of the Regiment ." 1Ir. Pres1and
playing his banjo-guitar giving a splendid
depth to the combinat ion.
Warr ington .-On March 18th and 19th
,i Caie Ohantant was held at the Baptist
Church in Go1borne St,reet and t.he War-
rin gton Club contributed their services
for both evenings, the playing of the
members contributin to t-he success of
00
the musica l part of t'.i,e concerts.
"13.
M.(;"N()tes
Two gramophone records from the
Parlophone April supplement that will
interest fretted instrument players are :
" Whi te R,se" and "Tony,'' playe d by
Oily Oaklty (F.745) and Sylvia Ballet--
" Pizzicat o" and "Love's Dream After
the ;Ball,'' played by an unnamed mando-
lin orchestra (F .749). The Bruns wick
suppleme nts offer Andy Iona and his
Is landers playing "South Sea Lullabies"
and " At ~ ight by the Ocean " (Bruns-
wick 02>392)and plectrnm guitar duets
" Sweet Strings " and " Easy Like,''
played by Fran k Victor and Harry Volpe
(Brunsw ick 0-2265) .
Unu el niaj legantoj sugestis ke ni
malf.ermu specialan rubrikon por helpi
esperantisto jn en la muz ika mondo. Se
aliaj personoj volas havi tian angulon en
n ia gazeto ni esperas keciii skribos al ni
por ke ai havu detalo jn pri ilia j
deziroj.
S.E . Turn er, the well-known Chelten•
ham banjoist, reports hav ing had a Yery
 May, 1987]
buoy season, having appeared at concert,
in Gloucester, Ledbury , Droitwich, Wel-
ford, Stratt-0n, Standish, Nailsworth ,
Apperley, Cirencester, Wooton-under -
Edge, Didmarton, Tetbury, A.ndoverlord,
Tuffley, Staverton, Breden, Swindon.
Didbrook, Broadwell, Lydbrook, Blak-
eney, .Oddington, Winchcomb.e, Bourton -
on-the-Water, Dumbleton, etc . He has
been featuring " Man the Guns," " Cir-
cus Parade," "Sprig of Shillelagh,''
" Sai1ors Don't Care," etc., and sa ys the
-----
banjo has been well received wherever
he has played.
13.M.~.
(lub Nctes
Club Secretaries who contri bute to /his
section sho1,ld confine their notes to
B., !11.and G. it ems, ,crit e o• one si<le
of the paper, a.nd be as concise (1s
possible. Notices must reach t.~e Editors
not later than the 20th day of the month
vrecedino that in which the m1.11.ou11.ce
ment is to appeaT. It win assist if notes
- •
a-re forwaTded as soon ofter the club
meetings as possible; such notes being
incorpo,·ated in one aM10!l11cement pe,·
Month.
The Bradford Club held its usual
monthly concert on April 4th before an
appreciative audience, community item$
being: "Gems from the Overtures ,"
" Gems from the Classics," " Ba.njo
Vamp," "Operatic Memories," "Har-
bour Lights" and "iia rgarita ," whilst
a mando lin quartet , (Messrs. Green.
Williams and Thomas and Mrs. Crofts)
played several items .
It is a pleasure to record U1atn ine new
playing members have enrolled during
the last three weeks whilst several
inquiries have been receiYed from
prospective members.
• • •
The fortnightly meetings of \he Bristo l
( East) Club have been well attended,
whilst the progress in the standard oi
playing is being maintained. The latest
numbers to be added to the club's reper -
t-0ire are : "Rendez.Vous," "Magnolia
Waltz" and "Gypsy Love." To increase
enthus iasm an extra intermediate com-
munity .evening is proving successful.
* * *
The weekly meetings of the Chelsea
Club have been well attended; rehea rsals
now taking place for a conc,«t to be
given during Coronation weEk. The
Club has recently played at a dance
gh·en by t,he Southern Railway Club,
Nine E1ms and for the Wandsworth
section of The British Legion. For futur e
public engagements members will wear
bi lle costume blouses.
* * *
:\fembers of the Dagenha m Club are
rehearsing a selection of Stephen Foster' s
famous plantation · songs. The club has
arranged a Monday afternoon practice
meeting each week in the Osborne Lec-
tu_re Hall t-0 whjch any interested player
will be hea rtily welcome. Pract ,ice
begins at 2.30 p.m . until 4.30 p.m.
* * *
At the April meeting oi the Hackney
and Distr ict Club fifty members and
friends from the Croydon Club were wel-
comed, whilst Messrs. Emile Grimshaw
a~~ Son ,vere prominent amJngst the
VlSltors. The evening's programme
01ened with th.e combined clubs playing
' l'l:lan the Guns,'' which was followed
by the H ackney Clu b playin~ " Open the
Show "; "Lustpiel Overture ' and "Jam-
boree " following, p layed by the Croy-
B.M.G.
doa u1~mbers. [nclividual itemi wer.e:
·• Rhapsodie H ougroise No. 2," G. A.
Keeler; mandolin and guitar duets by
:Messrs. Presland, Snr. and J nr., and
" Romance in C :Minor," banjo solo, S.
Watson. The banjoisis from both clubs
then combined, playing "Banjo Frolic,"
led by Hany Davis and a mandolin en-
semble, led by E. J . Tynell, contributed
" Nina. Pancha. " After a ban jo quartet.
" Jazzbo 's Holiday," by Hackney mem-
bers, th e combined clubs pla yed " Ben
Hur,'' "Nigger Minstrels," " Moonlight
and You" and "Community :Medley."
* * * municate with Mr. Finn?
The attendanc e at the m.eetings of the
East Ham Club conti nues to be satisfac-
t0ry and community numbers played
du ring the last month have inc luded
" Rally Overt,ure ." The club has had
the pleasure of visits from members oi
th.e Romiord and Islington clubs, whilst
two new members have been enrolled.
The club is badly in need of more
players of the mandolin .
• •
Commumty items at the Aprtl meeting
of the I Iford Club were : "Beat As You
Go," "Hikiug ," "Ben Hur," "Gems
irom the Overtures " and " Rally Over-
ture ." Miss i\I . Fairlie played "Th e
:\Iiddy's March"; ifessrs. G. A. Keeler
and W. E. Ga.yes, banjo duet, " K.en-
nedy's Galop "; :Messrs. C. R. Crocker
and Brown, plectrum guitar duet, " Sweer.
Music"; F. Gascoyne , banjo, " You and
a. Canoe " and " In the Chapel in the
Moonlight"; Messrs. J. Edwards and W.
Kirb y, banjo and accordion, played a
medley of popular airs and J . Edward s.
banjo, a classical selection , The next
meeting of the club is on i\Iay 4th .
* * *
Fifty mem]iets and friends of tlw
Islington Club assembled on St. Patric k',
night, opening the proceedings ,vith con~-
munit;, it.ems: "Man the Guns" "Ga, ·
OO's" and "Spick and Spanish ." Other
iteu1s were: " Serena.ta.," mandolin solo,
E. J . Bangs; "Romance in C Minor "
and "H ungarian Rhapsody ," banj o
solos, G. A. Keeler; "Take Your Pick ,' '
MR. DE VEKEY'S SERIES OF
TECHNICAL ARTICLES ON THE
HAWAI IA N GUITAR WILL COM-
MENCE IN NEXT MONTH'S ISSUE.
199
banjo solo, W. l:'ernet; " Zaraua " and
·• Joy Ride," banjo duets, Messrs. Keele1·
and Percy; " My Fancy " " Spanish
Rose" and " Farewell Beioved," guitar
and mandolin trio, the Bros. Braine a.nd
G. West, and "Barcarolla." and
·' Comme un Reve,'' mandolin solos
\(iss Gladys Percy . '
*
i\Ir . Finn, oi c/o i 2, *
* H umberstone Gate
Leicester , asks 1i any players would car e
t-0_help him form a B., M. & G. Club.
Will any 1·eaders li ving in Leicester o,·
district who are interested please com-
* * *
At the April meetings of the Leigh-on-
Sea Club the following items were
played: Miss Mary Behar and L . Behar,
banjo duet, " Ragtime Episode " ·
;\fessrs . Behar, Cradick, Manter and
~[oat, banjo quartet, " Zarana. "; M1·.
Taylor, mandolin solo, " Black Bess"
and .Miss Farnborough, guitar solo
"Moody Guitar ." Community item;
were: " Pro Patri a.," " The Gay 90's "
"Kilties" and "Community Medley."'
A Southend gramophone recording
firm were present with their recording
apparatus and a lOin. double-sided disc
oi two band items, "Beat As You Go"
and "A Banjo Vamp,'' was made, Both
pieces recorded well and the record is a
great success. It is now availabl e for
loan to any member oi the club.
* * *
At the meeti ng of the Liverpool Societl'
on April 9;h Don Gal van played se,·eral
items on his tenor-banjo and guitar 10
.the delight- of everyone presen t, whilst
B1lly Costel'lo (" Popeye, the Sailor"),
who came along with Don, also con-
tr ibuted several items. Both these
artists_ congratulated the Society upon
the high musical standard, .especially
upon its renditi on of " Show Boat."
Soloists dul'ing the evening were: Messrs.
Hobbs and He atly , guitars ; Messrs .
Blackmore and Thomas, banjos; .Miss
Beryl Wood, mandolin and L. Patterson
Hawaiian guitar . '
* * *
At th e rne.eting of the Lewisham Club
on April 12th the following community
items were played: "Tattoo," "Scotch
Broth," "Show Boat," " Man the Guns"
"Mexican Ride," "Vodka," " P~t
Luck" and "Kil ties." Ind ividual items
were: " Camptown Carnival " and
" Desert Trail/' Frank Scot,t; and " Fre t-
work," banjo duet, .Messrs. S. Vaux and
B. Bullard. Three new membe1·s were
enrolled now bringing the membership
t-0 fifty-one. * * *
Ai the meeting on April l2ih, the Lon•
don Club had the pleasure of welcoming
several members and friends from the
Ram,sgate Club who made th.e journey
specially to attend the meeting. As com-
muni ty numbers " Man the Guns "
'' Jovial Huntsman," "Niggertown' "
" Sprig of Shillelagh," " i\Iagnolia
Waltz," "Kilties" and "Banjo Vamp"
were played. Joe Morley played
"Banjollit:,," "Hoe Down," "R adio
:\larc h" and " Sl.ep Lively "; F. C.
~fusselbrook, zither -banjo sol0s " Une
Pensee" a.'ld "King of Clubs" ;'E. Hod-
dinott (Ramsgate), plectrum banjo solo
·'V odka."; Messrs. W. Chandle r and R'.
Joy~e (also from Ramsgate) , zither-
banJo duet, "Andante and Waltz"; G.
A. Keeler, banjo solos, " Rhapsodie Hon-
groise No. 2" and "Schaeffer's Jig" and
Messrs. Tom Edwards, F. C. Musselbrook
a.nd Dr. Hussey, banjo trio, "Handy
Jack ." The community number. for May
&re "Magnolia Waltll," "Niggert-Own"
"!\finstrel i\fan" and "Ope n the Show'."
 ~00
1'h_e Newcastle-o n-Tyne Club meetings
cont1n11.eto -be successful and manv ne""
members have· enrolled. Comn:i'unity
items hav e included "St rau ss Waltzes "
;, Vodka,'' "In a Persfan Market" a1id
',' 'Glitter of Steel," and ~!.essrs. William s
and Ha,1;rison, ,banjo and tenor-banjo ,
played Listen to This " at the last
meeting. The increase ·in membership
has made it necessary for the club to
return to its old clubroom in New Bridge
Street . * * * letter does not imply . tdito,·ial endorse-
At the weekly meetings of the Orrell
Ma ndoliers, individual items have been
the .order of the day . l\Iandolin solo,
were played by : S. Russell, "Schubert';;
Serenade"; E . S. Thorpe, "At Even-
tide"; Miss A. Hibbert , " Love's Old
Sweet,, Song "; i\Iiss Reynold s, " Spring
Song, and A. Edwards, "S cal'let and
Blue''.; a mandolin dnet, "Faust Selec-
tion," i\fe_ssrs.H. Collinson and V. Dye;
tenor -ban10 solo, "Get Goin'," J. S_pence;
plectrum guitar tno, " MoonJinllt
Shadows," Mrs. Russell and Messrs. "R.
ll ennioon and C. Summers; Hawaiian
guitar solos, " 0 Sole :i\Iio," J. Cosens
and "Boys in Blu.e," :Miss J. Adair p1·c•
ceded "'l'he Harmony Quintet" playina
" Curro Cuchares '.' and " The Spring~
well Quartet<' playing" Handel' s Largo. "
* * *
.-\.meeting of the Phi lharm onic Society
of Guitar ists was held on Thursdav
e,·en ing, April 1st. A large gathering
of member s and friends were entertained
with a full programme of sm:gs to the ·
guitar. and Spanish guitar solos, given
by i\I,ss J. Vollers, Miss Lindsay, H .
~Coy Thomas , J. Fr eeman , )li ss E.
Rober ts and ~Ir. Trouncer.
The next meet ing of the Society is
a.rranged for Stmday, ~~ay 2nd, at 8.30
p .m., when an int erest ing feat".1re in the
programme .will be I-he guitar band led
hv )fis s Lindso,·. ' and it is neglected, the tonal result , is
. * . * * appall ing. We ha-·e to clean our iaces and
During the las t iew months the atten-
dance at the meeting s of the Ram sgat e
Club has b.eeu Yery encouraging and, on
Easter Sunday, a success ful concert was
held in the clubroom .
* * * I wish· to tha nk you ior the inclusion of
1'he Southa mpton and Distr ict Club is
bad ly in need of .more memb,ers · and
players o( fretted instruments in the dis-
trict are invited to write to the Secre-
~ry (address in Club_Directory). for pat··
t,cul:t.rc of mcmbcrsl11p . 'l'his club is in.
th.e capable hands of Cvril. de Vekev
whose progressive ideas ·are an assuranc ~
of successful meetings.
Indh ·idual items played at the Apl'iI
meetings were: C. de ·vekey, guitar solo
"Guitar in Blue"; W. S. Allen, guitar'
"Air and Variatio)Js "; Messrs. W. s'.
Allen and D. H. Jones, banjo duet
"Slippery Trombone"; M:.essrs. G. T'.
Lloyd and W. S. Allen, banjo due ts
'' Luna Lure," "Laughing Waters ,:
"Valse Penchan t ," "It's ~lond ;v
Night " and " Two Country Dances.; '
Community number s were: '.' Strauss
Waltzes," "You and a Canoe," '.' l\Ian
the G\lns," " Kilties" and " Return of
the Regiment."
* * :I:
The w~ekly meetings of the South
London Club continued successfully, new
~lumbers added t-0· the 1·epertoil'e being ,
.. Open th.e Show" and "Show Boat." A
successt \ll concert and dance in aid of
clul, fonds was held in March, 250 being
present.. The club's danc e band and
banJo band ·supplied the music and·
~nterta inment and it is •pi·oposed to hold
sey~ral ol .t hes.e- dances in the .'near .
future.
B.M.G.
LETTERS T O THE EDITOR
Lette,:s from playe,·s intended for v,.,bli•
_ cation should be written on one side of
the paper only and sho.uld be as short
as the subiect permits. P"Ublicati on of a
ment of the opinions . express .ed. ·.Th,
word " Co,-respondenct" should -be writ -
ten in the top Ieft hand corner of all
the letters intended 1or inclusio n under
this headi1'Q.
Dea,· Sir,
The current issue of "B.Jl.G." fairlY
bristles with interesting items, but I have
a few flowers and bricks to slin)!' about.
I strongly disagree with ' An Old
Reader" in concleinning u Alauris'...,,
articles, and I look forward to his pages.
I am not a. gra1llophone " iau so .1 have
no axe to 0 rind. · • :
I heartiYy support L. Brydor in his
appeal for printable debates on our in-
st rnments which should produce some
friendly articles, but I hardly fancy R.
Hayes' idea oi send in" in pet " bates,"
as I a m of the opin ion t11atthis may intro-
duce a little bad taste which , seeing that
·• JJ.Jl.G." is a magazine read the world
over, may create (in the minds of foreign
read ers) a "comic cuts" resu lt which
woul1 ultimai ely destroy the true per-
S}'echve of an unbiased paper, so keep the
; hate stu fi" ont of it .
)ly hin t lo fellow lbanjoists and guitar-
ists is the finest and most economical wa,·
oi getting the best out of yom instni -
rnents ; treat them like a real friend and
not merely as a " money getter "; keep
them clean all ove1· ; and only use well-
known brands of str ings , vellums, etc . If
one pays man ~• pounds fol' an instrument,
shoes to preserve them, why not om
instruments ?
Yoms sincerely ,
TED PILKINGTON .
Dent· Sir,
my pupil's photograph in the Apl'il
" B.JJ.G.," but you ha,·e captioned it as
" r. Knoll'les, of Burton-on-Trent," which
is wrong . It shou ld haYe been, " of Hoy.
Ian ~!. Con)IIIO!l(Barnsley) ." .
" ' 1th kind regards and best wish es,
· Yoms sincerely ,
G. R. TANFIELD .
Dear Sir, .
I am in agreement \\"ith " An Old
Ueader" and have no \.iUJeior " cairned
music" (l pass over the articles bv
"Afauris "); there is no wireless o'r
gramophone in this house. I would much
rather the a rtic les by Clifford Es sex were
enlarged and a more instructh'e and
interesting element introduced .
-
FREE SAMPLE COPY OF
•stertone
A H mt UNt NT HOlfflClY 1(lt "-OU. TW:NIU ,llto U.U.I
o IWST11
A Magazine of Guita r , Banjo and
Mandolin.
WRITE - - 1~\er_est·••~. this co,;t~cti'on; a..numbef:ot
MASTERTO N£ P UBLI SHi ive (.0 , ·
KA LAMAZOO, MIC H J'CAN, u.s.A.
[May, 19137
Another point , I am hoping to find some
player, or pla,·er~, of the banjo .who is
oi· are, inte:resied in .nii litar• ba.i.1dmusic'
popular matcl1e.s>· set -pie ce's., etc., aw.a,;
from ..seme.:Qf ·the .stuff. most.Iv old air's
c_oP.ied, . ·played year after : year by the
hn,:,,er-st\'le brinade. · ·
fhav ·e been-areader. ·o(;< B:A{G" s1·11ce
19~.3; · . : ., .. .
· Yonrs faithf ully , .
. · REGINALD FRANCIS
Dear Sn, • . - ·
Fmt hi'r to ii1yJeHer .. pu.blisliecl· in •last
mont h 's " _B.Jl.G:," · as you supposed, · I
nwst certam ly did not 1k11owihe · histcii'v
ot J. J. Ashton, and I join with those whi,
hope that the success of his " Ossmania "
will condemn anything I said that can
ha\'~ . hurt tl.,~ su~ceptibilities .of- ~his
bnnJOISt.
Neverth_ele,~, you will grant th~t.:in.the
very special cn-cmnstances his is the ex-
cepti on. that p1:oves the rule; the two si y_les
of banio plarmg have the1r proper .uses ,
11
•
a~d - that the average player . would be
, wise_lo ,plty _bolh s~yles; having .two sep-
arat~ 1u~trument~ - tor the purpose and
playmg .the _mt\sic.writ ten expressiy for
t he purpose 111 its proper stYle. ·1 have in
hand an artic,le in whicl.1 I'ha,·e endea,·•
omed to pro,·e that e,·ery !banjoist, if he
ll'1s\1es to ile ma position to cope with the
rnnet~ · of work which 1 haYe had to
execute , must cult ivat e both stY!es as .in
~rra.nging melodies nOt writte"'nfor 'the
mstrnme nt, it im!nediate ly become;; ap-
patent that cert.am metres , or melodies,
lend themseh-es to plectrum ; others to
finger sty le, and tliat one or the other will
meet almost, e,·ery occasion.
You as~ for opinions of "A lauri s' ,.
:"ork in " 11.J/.G.'' This request has been
rnsp1re_d bv yet another of these people
who hide &ehincl a "psillv pseudonvm "
who, as a Fule, are quite incapab ie of
clomg anytlnn g useful or constructive but
are lirilliant at taking the heat·t ot;t of
those \\'ho do. If " Alauris" were to lift
the veil that co,·e1·s J1is ident,ity it would
gh'e _me still more pleasure to say that I
cons 1~er that his li, ·ely contributions , re -
sourcef\llness, enthusiasm and origina.li tv
have done more good for fretted instrumen-
ta lists, banjoists included, than the harm
tha t ll'Oulclresult from " An Old Reader"
contribvt ing .a similar amount, although
!us short letter seems to have been singu.
!~1:ly s~1ccessful from a negative poin t of
view. Unfortunate lY; the people who have
somethmg encouraging and constructive
to_say often fail to come forward and it
,nil be ~ great pity if H B_.:31
.G.", reader~
allow this destrnctive letter to have efiect,
an effect winch might be possibly avoided
by expressmg .the appreciation, ·"sbich
many must feel, towaras " Alauris" for
his share in making" B.M.G." . the bright
and useful magazine that it has !become
under its present editor. ·
I do not always agree with the opin ions
expressed by the g_ramophone editor, but
I. am all for l11s bemg encouraged to con-
t mu e. ·
Yours faithiully,
R. TAURANT BAILEY, Jr.
Dear Sir
I .'i.Vas'very sui·prised to see the com-
plaint by "An Old Reader" in the last
issue (!f.." B .M ..G/,',concerµing the inc l u-
s1~n 01 A1auns record reviews. It is
eviden t that he must have a personal
g1:u~e of some sprt against gramophones,
for. )11S'letter canuo .t be taken as indica-
tt ve .o{ th~ get\eral · opinion of •fretted in-
strument ·players, of that l am sure ·. I
personallY,; have cqntiµ _uaJly. added to my·
collech?n c.f.records for several years, and
~ h~ve .f?und . t,h\S feature (lf exceptional
times . I. wonfii-haye missed a " aood· one ·/'.
but fiir ' its mention ·in "B.'M)J.:»· ·
(Continued on page 202)
May, 1937] B.M.G. 201

sMASBIN~RGAINS
BA '""'
""""·
.,.,.,;,. .
H. ere ' 5 remar ka bi e VaIUe In
. Tu!'kish (Papei· Th in ) CYMBALS . llin.
J2 in. 21 / •. l Sio . 24 / •.
11 ,6.

SECOND-HAND
MUSICAL
INSTRUMENTS
~~---
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~~-.......-:
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BASS VIOLIN. Goocl ''f'one. Showroom
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£19 19 0 . 'l'M·m s, SO.'· c1Cl))O$:it,5/ • weekly.
L ONG ARM UKULELE. Sample model. 25 / ·,
LYO N and HEALEY S.P. ALTO . Hands~m t-1,· Cocus woo d . Open G. By
COMM . PAOl. O SOPRA N I I TAL I AN PIANO cagr:i ,·~cl. Solo i11strmuc11t~. Cost £40. On t - BOEHM FLUTE.
ACC0RDE0 N. 12c x 41. 4, ,n ir .e trch]!'" . 5 -Yoiri:- st-a.uding ,·a1,1e. £14 19 6. n~1,osit. ZO/ -. 5/ · R1.1ffetCrom pton . In cns<!-.Barga.in £5 15 o.
l>ass. Patent slid<' couDler. To exact specifica• weekly . PREMIER SICE DRUM 14 inch . Kickel
tlons as abO\"C. Dlue.' White XaCl'Ol:.t(lUe plated . Double Tcusion . OJ:ympic 1nodel.
casih~. nood tone a.ncl e:>a~lition. Cttsh Pt·icc-. £2 10 0.
£16 10 o. Terms. n /6 deposit. Bala.nee of BOOSEY C. MELODY in n e w COJH1 ition. S.P. ITAL I AN MAHOOLIN, Rouncl back. Sweet
£17 7 6, il t S/ , weekl~ . L:it cst. inll)rovem. en ts. Cost £38. Sacrifice. tone. 8-su·ing . 35/•,
£10 19 s. OP..r, osi t..20 / •. s ,·. weekly.
TEMPLE BLOC KS. Set of four. l:xceJ>tionally
CO-OPERATIVA ITALIAN PIANO A CCOR· KINGSWAY /\LTO ,•mt>odying all the 1"'test .fi1\c c1nali~Y- Coloured Reel aud Gold. 25/ ·
,DEON. 120 x 41. 4-vo iee u ·eble. 5·\·oice ba :-:-;.itntH·o,·emcn ts . £24. Dt."t,osi t 40 ·. $/• weekly. r set.
1>~
Slide oct.a.,·c co upl er. Gil t bellows and hnH CHARLESTON PEDAL . Extreme!,·
notes . Whi te Pearl Xa c l·otn~.u~ casin,:. Orn:,,- LAFLEUR B Flat TENOR. L.P. S.P·. Jn ,·er.,· light. ( 'olla.J>~ihlc-. Aimnininm .
n,1ented.:._In ,·er.v ~ood cond1t100. ~oocl to11~. goo<\ condition. Oash Price . £14. l'erms. 20 - 18/ 6.
Cost #!:,=> . Cash Pnce . £29 10 o. 'Iei·ms, 40. · deposit -. Bala.nee. of £15. at 5/ · weekly.
deposit. Ba1a.uce or .£31. at 7/ - weekly .

COMM, PAO LO SOPRANI ITAL I AN PIANO £i~Nn8ea~tf/n1s~~:/Na~;/f0 ~hf.

2:;,i:f.;1i,
J
ACCORDEON . 34 x 48. 2•Yoice treble. Light £6 o o. Deposit , 15/ ·. 4 / . weekly,
Blue / White mottled :Xa.C?·olaq up casing. Gif1
hell ows . \"c1T litt la us:C'd. Excellent co nd it ion
Gas h Pr ice. £ 10 19 6. 11.'erm~. 17/ 6 dc))osit.
Balance of s.:11 5 o . at .1,f. week!y.

E Flat sousA,HONE . Silver plated . Detach ·

DRUMS that beat the Band a.ble 24in. bell . Complete in ,t"a.terproof carry-
i n ~ cas.::. Gift. £14 o o.
VIOLIN BOWS . Fino selecte d sticks. lies t
ALL Acco R DEoNs ARE suPPLIED coM • for VALUE ttualit~· Dow H i,ir. 10/ 6 and 12 / 6 ·
PLE T E JN CASE WIT H _ STRJIPS & TU T OR ~llipii\ , l cnfi.°le •·hgrr.Mr:ER~! rt~. ONt~ 1~-~.
WINDSOR BANJO MANDOLI N. llin . 1,ea,1 . ).6
co ve1·ed. 17/ 6. SI DE ORUM . Nickel plalecl. ten sion rods . tone •ring. Fitted with r esoua,-
Sei;a.ra..te tensio n. 52 / 6. Snip . t-or. Ba1·gain £:3 10 o.
PREM I ER BASS DRUM. 28 x 15 . Tymuani
GUITARS Take your "Pick'' :-~\·~~"£,
~;s~. Qualit,· ,·ellum . Exceptional VIOL I N. See:ond-h:uul.
Uarga in . 25 / ·,
Fi n e tone. Exccptiona-1
M A RRACAS. Special offer . I;a.-ge size. 7/6
ANGELUS GU ITAR outfit. F.xcoptionnl mur. PARAGO N S•String G BANJO. In case . E;cel ·
()Owerful tone. Complete in ease . £ 4 19 6. ~~/: .Rl.E.STON PEDALS. J-:xtremel]r li~ht. lent. tone. In as new condition . Yer~r htt .)c
All-m eta l OOBRO GUITAR. Smtable
~;~~,sg
1~1;~
r ·d~~;~~~~\~n~f1~e
i•~1~~'1<1:,7
10 0 111
1la.wa11an
~'\,-"\/\,
*~!• used. £15 o o.
Any a rtic le sen t on 3 days' free trial against dep osit ,

i.HESSYS
E. G. GRIMSHAW GUITAR Cost £1~ 10 O
In sha ped case. Gift £10 19 s, or 20 / · ~el)OS!t.
y OU 'II be SEND TODAY. TOMORROW MA¥ BE TOO LATE,
and 5/ · weekly,
GIBSON GUITAR . Exceptional Yaluc £6 19 6.
01 15 /· d eJ)OS1~ and 4 l • weekll',
more than
~el
1~f,?,
,~ll~-~1n ,;,•~c1~r.···
~o~~l~~tt £38. An CX· pieaseq
AMP LI FY I NG GUITAR (on<' on)~,. ,·c-r:-·fme
. with yo_ur
tone ) . Only £3 10 0. . choice
Beautiful Tot le GUlTAR . £..,, itnblc Spa ais:h o:·
ll-a.wa-iia ,n su·le. 35 / •, ~-
18-20 MANCHESTER ST.
LIVERPOOL

I note with ;,adness that he is giving up
this feature. If anything can be done to
induce him to reconsider hi s decision-b y
all mean s do it!
Yours faithiu lly,
·
H. RAILTON
Dear Sir,
Your generosity in publishing a screed
irom " An Old Reader " in the Apri l issue
of your journa l is praisewo rthy, as the
appropriate home for letters that a re vir-
tually anonymous is the wastepaper
basket . Since, however, the communica-
tion in question has been given publicity,
equal advertisement is due to be unst in-
ted labours of " Alauris " in providing
readers, other than ·' An Old Reader," not
only with a master ly sum mary each
month of recorded works of the great
artists, but also for indicating the instruc-
tive and musica l value of the discs . "A11
Old Reader" fails to app recia:e, for in-
stance, that the work of Mays and Hunter ,
two of the most accomplished banjoists of
any a_ge. is lost to us because facilities for
recording did not exist in their day, and
he should appreciate the fact that th e
artistry of the late Eddie La ng is pre-
served to us throug h the medium of re-
cords. He will never meet those artists
(and many others) again in the flesh .
The playing of aramophone records
made by celebrated exponents of the
banjo, mandolin and guitar, is not
mechanical music, as he alleges, but a
faithful tonal reproduction of all that is
desirable in fre tted ins trumenta l music .
I commend " An Old Reader " to Ernest
J . Tyrrell's letter printed immediate ly
preced ing his own, inasmuch as the writer
of Iha t letter is a fine mando li nist who, a~
an assidu ous player himself, appreciates
the educat ional value of good records.
Finally, I would suggest !,hat" An Old
Reader " just ifies his adoption of that
P.seudonyrn and satiates his desire for
' some really interesting articles on how
to play the banjo " by read ing the con-
trib utions of Clifford Essex and oth er
authoritative writers on the subject. H e
might usefully supplement h is reading by
listening to a fe,v gram ophone records by
Joe Morley and Oily Oakley, who as re-
cording artists oi the ir own compositions
off.er the best demonstrat ion of how to
play them .
Yours faithfully,
W. M. BREWER.
n~a,·Sir,
Answering . " An Old Reader, " I should
advise him to purchase a tuto r on " How
to Play the Ban jo in Ten E asy Lessons "
as a monthly magazine can hard ly fit his
requirements. I also envy and wish I
were in his happy position of being able
to hear such art ists as Segovia, Oyan-
guren, Don Galvan, etc., but as my time
for tra ,·el is limite d, I must be sat isfied
with wax reproductions of thei r amaz ing
ability .
So, more of " Alauris," please, whose
POPULAR SONGS
(Subject.. lo Copr rigbt Owocrs' P,rroinion)
A RRA NGED AS SOLOS OR FOR ANY
COMB INA TION OF I NSTRUMENTS
also
e AUT H OR' S MS. REVISED
e MELODY LI NES HARMONISED
e ORIGINAL COMPOS ITI ONS ORCHES·
TR ATED
• . PIANO ACCS. W RIT TEN
Nominal Fees • Terms on Applicat ion
RAY BAILLIE
Steinway Ha ll, I, George Street,
Hanover Squa re, London , W.1.
Telepbooe: :l!AYFA.IR 5577
B.M.G.
11,onthlr contrib uti on:; ar~ oi great inter-
e6t and value in mr efforts to master the
plectrum-guitar.
Yours sincerely,
J . T. WATKIN S.
Dea1· Sir.
Recently 1 was fortunate in being able
to attend a demonstration 'by Roy Smeck
at one of Birmingham's music stores and
w~ndet· ii i·ou would be kind enough to
prm~ .this appreciation of a very fine
rnus,c ,an.
Opening with Edd ie Lang 's " Pi okin'
illy Way," i\Ir. Smeck gave us a selection
of the best plectrum -guitar solos in clud -
jp.g his ow1; " Slipp ery Finge rs " and
Gmtarese ' ; the McDonough - Kres s
" Stage Fright " and half-a-do zen others:
all played with the same ter rific swin~
and techn ique. - ~ANJOS. 4-str ing Plectru r,,.
Then came a spell with the electric
Hawaiian guitar; a beau tifu l instrument
beautifully played. ' Shop soi'led only, £!1; 220. Clifford Essex
.-\s if this we1·e !lot enough for one day ,
who sh_ould wajk I!), but Don _Galvan (also
appeanng m Bmnmgham UHs w.,.,k). Ruy
Smeck and he are obviously old friends .
Mr. 9a1vl!n was persuaded to play , and
chose Spnng Song," which he played in
master ly style .
Space, I know, will not permit me to
detail a tenth pa.rt of what was playe d to
us. Suffice it to say that it was two hour s
(yes ! t wo hours!) of sheer joy. 'Dhank
you, Mr. Smeck (and you, too, Mr. Gal-
van), and you may be sure that should
another visit be our happy lot I shall
once more do my best to be in uie
" FRONT ROW."
IJear Sir,
. It is ~-ith a spirit of hope for the future
ot the 1retted mstrument fraternitv that
I pen these lines. But banjoists need more
t1_
1an hope to rouse them from the ir state
or compla~ency and acceptance of "dig i-
tal dex_tenty " as the acme of perfection
111 banJo plaving .
" B.11[.(}_".is i~ a position to do a great
deal towards this end. The Associate
Editor's critical reports oi concerts, etc.,
shou ld cause man y to sit up and consider
them one of the worth-while featu res of
our m_agazine, bu t what is needed , how-
eve~, _1 s for a numbe_r.of players to sting
banioists to a recognmon of their average
low st_andard of abil ity in musica l inter-
preta tion.
The month ly music supplements are
without doubt, useful but to me they
cle_arly indicate the " spoon feed i~ " re-
q mred !by so many readers . Snrely if one
learns to play a musical ins trument he
should also learn sufficient of the the ory
of mns ic to be able to arrange a popular
song as a solo! f ossibly the first results
would not be bnlhant . . . but practice
makes perfect . The pa~es in "B .M.G."
thus released could possibly (for a month
or so) be used for articles outlining the
main points and difficult ies to be over-
come in ~aking arrangements .
The arhcles on. men and matie rs per-
taming to mandolms and guitars are usu-
ally interesting and instructive, but are
there no other banjo ists th an beginners?
From the typ e of ar ti cle that appears in
" B.M.G." one would think not.
The series of articles recently sta rted by
Mr . Keeler looks promis ing and strikes a
higher than average note, but one swallow
makes neither a summer nor a dr ink.
So ·here's to "B .M.(!.," with more power
to its elbow ~nd a l!ttle less of giving of
th at to banio1sts which they like to hear .
Yours sincerely,
H. F. BURTON.
OWING TO LACK OF SPACE
MANY LETTERS ARE UNAV OID-
A BLY HELD OVER -EDIT OR.
[May, IU3 7
S.rnc1 ts
II Amertisemen
The ro te for Adverti,in/1 under . thi,
heading i, 5/ - per hal/-1nch., or leu .
Larger space pro rata .
BARGAINS FROM THE "C. E."
SECOND-H AND LIST
BANJOS. 5-strings .
94i. Clifford Essex "Wood Hoop
Special " model with flange and
resonato r and case. Shop soiled only , £-9:
247. Cli:iord Essex "Prof~ssional . ,
model, 12-inch nickel silver hoop, with
case . Shop soi:\ed only, £6 10s.; 214.
Clifford Essex " Po pular " model, with
flange resonator and case, £4 His.
1633. Clifford Essex " Boudoir " Grand
moclel with flange resonator and case.
" Professiona:l " model with case,
£6 IOs.; 184. Clifford Rssex " .Metal
Hoop ::;pecial " model with resonator
and ca;;e, £8; 187. Clifford Essex "Para-
iron " mocel and case, £ 15.
Z ITHER-BANJOS
208. Clifford Essex Grade 3 model and
ca,e, £.1; lcS. Temlett Zither Banjo and
case, £ 1 llJs.
GUITARS
183. i'l!accaferri :Model Plectrum Guitar
and case £3; 211. A'lona :Model Hawaiian
Guitar aDd case, £8.
Any of the above instruments may be
purchased by monthly instalments. Add
JO per cent to cash pnce and spread over
twelve monthly payments.
Any instrument sen,t on app roval
against cash . A complete list of all
secondhar:d bargain, will be sent on
applicati ot1. Clifford Essex and Son,
Ltd., 15a Grafton Street, New Bond
Street, London , W .1.
Hawaiian guita r•, inlaid irets, complete
in case, £5 10s. A cheaper model, pine
front, rosewood fingerboard, £2 5s.
Uku lele in case, imitation mothe r-of-
pearl fingerboard, fine tone, 30s. Gen-
uine old Violin, Stradivarius model , £10
or near offer. Write Baillie, c/o
"B.M.G. ," 15a, Graf ton Street, New
Rood Street, London, W.J .
Ii you have anything to sell that
appea ls to p layers of fretted instruments,
,,·hy not inser t a 5s. advertisement under
this head ing? Send your advertisement
to: The Editor, " B.iJI.G.," 15a, Grafto n
Street., Xew Bond Street, London, W .1.
E.G., Har tford , Guit ar with case.
Good ton e. Hardly used . £4 or neares t
offer. Write or call. A. Whillock, 4,
Lausanne Road, Hornsey, N.8.
PLAY FEATURED SELECTIONS -
"JheWolverine
P!ect
rophon
ic Folio''
For ban jo, mando li n and Hawaiian
f1uitar band. Parts pub lished for 25
~~~~:~~~!: rr~~~o~~-;r
(id:~~~s in:~~
a.ccord1on). A truly wonderful collec ·
t ,on f eatured at American Guild Con-
i•J~ i~r~HEii ..a\i.::.:···
· Pric e (each) 5/·
NICOMEDE MUSIC CO,,
Altoona, Pa,
Solo En.!!lish Selling Agents-
CLIFFORD ESSEX & SON Ltd .,
15a Grafton St., New Bond St,,
London , W.1.
 May, 193i}
·:-~.......
Directory of
S ., M. & G. CLUBS
with the names and addl'etlses
of their Secretaries
'~i;,~•:ii.•~~V~~ ~: 5/-
T.."~.1r:~. 1 Street, Plymouth .
PARTICULARS OF MEMBER SHIP AND DATE t
O" MHTINQI CAN BE OBTAINED ON
APPLICATl(!H TO THI! 8 ECHTAAY
Acton and Eal ing. Sec ., Clifford Essex,
15a., Grafton Street, New Bond Street,
W.1.
Bombay. Sec ., F. Rozario, Zueb
Chambel's, A., Gell St., Jacob Circle,
Bombay, India .
Bradford. Sec ., Harry Pea1main, 48,
Acton Str eet, Bradford Moor, Bradfor d .
Bristol {East) . Sec., W. Jenkins , 226,
Sta.plet-0n Road, Bristol, 5.
Briti sh Fed erat ion of Banjo ists , Man -
doli n iats and Guitarists. Southern
Section, Sec. , G. A. Keeler, 106, King3 -
wood Roa d, Goodmayes. Al l communi -
cation$ to Acting As,istant Sec,·eta,ry,
E. J. Bangs, 13, Z.'enidale Road, Leyton-
,tone, E.Il.
New Northern Siction, Sec., \V. Linley,
3, Spen cer Street, Reddish, Stockpon.
Broad atairs, Sec ., Geol'ge J. Marsh, 9g,
Bradatow Way, Broadstairs .
Calcutta . Sec., Thos. A. Clizzle, 86,
Elliott Road, Ca lcutta, India.
Cardiff. Sec., W . Teague, 145, Penarth
Road, Granget own, Cardin .
Chelaea. Sec., W. H. Bloomfield, 69,
Silverthorne Road, Battersea , S.W.8.
Chelt enham. Sec., ~liss Alice Gardiner,
Kingnra.y Hou se, Pith •ill e Street,
Cheltenham.
Croydon . Sec ., J. F. Masters, 47 , Down-
lands Road, Purley, Surre~•.
Dagenham (The Heathway Ser enaders),
Sec., John E. Bis hop, 130, Osborn ~
Square , Dagenham , Essex.
" Excel " (Kennington). Sec., C. H.
Cooper, 20, Wincott Street, Kennington,
S.E.11.
Excels ior, Lew isham. Sec., All Freear,
13, Point Hill, Greenw ich , S.E.10.
G lasgo w, Sees., Fran k and !\In. i\Ier ton,
551, Sauchiehall Street .
G lasgow (Premier). Sec., Jan \.Vien, 25,
Baliol Street, Cha ring Cross , W.
Hackney and District. See .. G. H . Sagrot,,
310, Amhmst Road, N. 16.
I lford. Bee., Jimmie Edwards, 57, El~in
Road, Seven Kings. -
Islington. Sec. , A. V. Tuck, 17, Sprine:-
fiela Drive, Eastern Avenue, llfora,
Essex . · · ttol st ; Max (B ./;
Leeda . e ec., H . Elso n, 11, Barthorp~
Avenue, Stainbeck Road , Leeds , 7.
Leeds Phll harmonic Mandolin and Guita r
Orchet tra. Sec., l\Iiss Ad a. Taylor, Eber
Hous e, 82, Bur ton Row, Leeds, ll .
Leigh-on-Sea . Sec ., W. Readman , 10.
Leigh Hall Road, Le igh -on-Sea.
Lewis ham , S.E. Sec ., Morris Dolby, 6,
Harwo od Avenue , Bro mley, Kent.
London. Sec., G . A. Keeler, 106, Kings -
wood Road, Goodmaye s, Essex.
Newcastle-on-Tyne. SPe., C. Phillips, 44,
Bath Lane Terrace, Ne,vcastle -on-Tyne.
D.4.
New South London. Sec., D. M. Culling ,
· No. 4, B roomwood Chambers, Broom-
wood Road, S.W.
Newpo rt (Mon-.). Sec., P . F . Boshier , 9,
Gra ig Park Avenue, Malpas , Newport,
Mon .
North Lond9n. Sec., A. W . Lloyd, 408,
Lordship Lane, Tottenham, N.17.
North Wales. Sec ., Algernon H. Lace ,·.
"Fairfield," Woodlan d .-1.,·enue, Rlio·s-
on-Sea, Colwyn Bay.
Oldham. Sec., J . 1·aylor, 14, Wernet!l
Crescent, Oldham.
Or rel Mandoliers B.M.G. Society. Sec.
J. A. Stringer , 3, Alt Roa d, Bootl e:
Live rpool, 20.
Pukda le , Canada. Sec., Miss M. Sheehy,
1292, Danfor th Avenue, Toronto, Ont.,
Canada.
B.M.G. 203
Philharmon ic Society of Guit arists, Sec. BIRMINGHAM
J . L. White, 120, Pa lmel'ston Road ; Oittus , Fred (B .. M .. G.) ! 69, OakTrce
Lond on, X .22. {Circula t.iug Library ior L:uie. $o~rnY ,ll e, 8"h:1m. (Examic e r for .. B.M.0."' Dip J .)
memb ers). "Kapua, Ken . Specialist on HawaiianGui-
Plymouth. Sec., S. C. L. Carder, 6, Ilben ra, and c;Jt.wl(l~. 1'2, Coico,01'CA,•en ue. Kio 1fs H eAt l'I.
Kirby, Alfre4, Banjo Soloist. Tui tion
Ramsgate. Sec., Alan Young, "Gympie, "
o o Banjo :tad Guitar . lOS. Row He~th Roid . Klogs ~ortoc .
Martini, S. Director of Studies, Kav West•
Avebury Avenu e, Ramsgate, Kent. worch ·s Mod.c r:i.Music Ma ker ,, S Wor ces t e r Sc•• 8irm ini;fu tu
Romford. Sec ., H. C. Smith, 50, Clare- 5. (Midla.cd 0032• E;tpCr< !os truct ion on :111Fr e tted !a s uv •
nac::its. Pcr soz:al t uitio0 on lb.waii,1;0 Cu lt :tr ,
mont Road, Romiord. • Pidoux, John 18., M.G. & T .B). Scotcher's
Salfor d. Sec., Allan Shaw, "Maylan," Cbltt:ibtcs , j9.Cor pot:uioo Street. 'Pboac : ~ntral lttt.
Holly Gro,•e, Northenden Road, Sale, "Rich , Sydney J, (Z-B . & B.) --45 , Hannvn
Cheshire. Ro;i:d, Ktog·s Heath (Examiner for B.M,G . Dipl~) .
•Wel ch , J, C. (Z-8. t; B.) - AIIC.E.Publica -
Sout h-West London . Aston Banjo Club. tion !\ In n oc'k, 27. M i1'1ltClld Rolld, GrM•eH v Hill. Erd in i:!ton .
Sec., H. 0. Winch, lli , Har tfiel d Road.
Wimbledon, S.W.19. . BLACKBURN
Wa llase y. Sec., W. Cook, 135, Borough • winstanl :y, Les ter (B .. G., P .) Coventry
Road, Wallasey.
Hou:1."!.Qu:1rrv St ' Phnn,- : i~
BLACKPOOL
Watford. Sec., T . Jackson, :S2, Sout,b-
field .-\,·enue , Watford . "Bedfor d , L. (B., M., G., H .G.). Solos for all
Western Dist r ict {St . :\Iarylebone & ,s. B loo mA9ld Ro 11d .
i"!l-t m mPnt it. Studios
Paddington). Sec., .-1.
. \\". Jeffery, 3, BOLTON
Fulham Place , Paddin gton , W.2. "The Bolton School I usic." Prin. ' Barbara
Wolver hampton. Sec., E. \V. Chea.die, 33, Lobb. A.T.C.L. Pe rtoo:.l tuiti o~ . 8 . .JI .. O. ,P .. 6-P • .tcc ..
Sherwood Street , Wolverhampton. .$J;\ Br:1.dsha,.,•11!.~
tc. · ·
BOURNE,...OUTA
TEACHERS
& theirADDRESSES
'De Vekey & Sons,A . (B .. M. , G. , Uku~le
t;, Ha~t1ii • n G" itar) 1354 Chris tchurch Road, Bo,comba
' Before a Teacher 's nam e.de not es an Eas t. Teleph,:,nt : Christchu rch"lll.
P ettitt, Mrs, W, (B. , lo!. & G.) 30,Richmond
Examiner for "B,1\'l.,G," Diplomas . ;\fan11-iron•. Ri£11,mog(I Gardens..
7/- per annum for 2 li,ies;
3/6 j,er li ne for extra lines or part of line. BRADFORD
Ratcliffe,Wm. ( B ./;Z.B.Fing erorPl ectr11m)
LONDON and SUBURBS f. i( :1.t:1S lt!'tt ;,v '°l, LidC •I ~~''" "·
Baillie, ~~y ( T-8., H .G., G., U., Theory ) SR .ISTOL
S~ inwar Hi.li. Gtorte St •. \\".I. Phooe; ~(ar53i7. 'C arlson, Lew, (P .B, T,B .. G., H.G., M., r.,
• Ba rnes, Fred (B. , T-8., G., H -G .. Theory). & Sa;r, t HS. G1...uc('l:~r Road. 13isho ,-.,!un, Bri, tol, 7
Plectrum style :a speci,1ltt)', 6' , Fall.fan l Par k Ave . s, ' Cradd y, H. E, 0 , (B ., Tenor-lJanjo 8-Gtr .J
:-:o""OO<l. $.£.25. 'Phone : Liv:ogs; oo g ~ - ' - 32. Vic 1ol"iAhr k. Fisb.D,onds . Bristol. ·
'Ba ssett , Ber t (8 ., Z-8. 8- T-B)- 198, BURTON-ON-TRENT
Cla,pham Rd . . S.W.9 , an d 15Ji,Gr2!°?0:1 St .. Sew Bond St,\\",I
·Q riggs , F. 0. (B. T-B . H. G, 8- G.) Th e
Bignell, Billy (B. T-8 . & P.G .) 236, Wat- Cr och~c , Roil~st go Road ,
ford Road . c~ o-.:ti:>· Grl!'en . Pho:-:c W.atford .fi1S
CARDIFF
'B lak e, J .~. (B .. T-8 ., M. & G.). All styles . • Allen, R, (B., M .. li.) -171 City Road,
SI. LCWC$ Ro:,,d, :-.o-rth ..~incb!ey , :-..12 { En miner for " 8 .JI .G."' Oiplotl'l.u),
"Bou tl e, Madame. Sen.T.C. L. (B., M., G, "CHELTENHAM
P. Acc ord ion .) 36. Shunhalt Street , Wa lth ainst o,.,•. E .17.
"Gard iner, Alice (B., T-B., M., G. (Sj,an . &
Campbell , M.issesM, & B. (B .,T-8 .,M., G.)
16. Grea t Etstcm Road. :i.::id4?. Plaisto"'"' CroYC. E.IS. T:;;~;:d
~·i~
S:. Marlc' s Einporiu.m.
lt gs(lf_~ ·l o;_ei/ i,u'i!t~
5
/i~G.)- l,
'Dykes . B. W, ( R. , T-R., M., Do/a., G.H. G.
,\(.~~llo t, 8-~,iiv ·o.) 15a Grafton Street. W.l,and a ll Mctt"o: CHICHESTER
rn~:d~ w=foer
R~;.'f~~y ~~S
F~~:~le~:
..c1!-::o~.n~~~::
ln,g. "Pho :::e: \ al. 5Z$1.
Turnock, E.T. (B. ,T-B Ii- G .). WcstAshling.
COVENTRY
' Ed wards, Jimmie ( B .. G. S, P. Accord.)
5Ce · Pollard, Irv ing S.-61, Primrose Hill S.t .
t~:~~~r ·Ph!n
t•t;}~~J
2
fg~v!°f:t'r.
1~e=-c~!s'~l.'s~ ~~,:~· ·p1, ,...,,.: t',<I?. F.ll:::tmin.-.r for" B .. U.G." Olo iom:ui: • •
• Fairs Edward (B .. 1'-8. &- P.G.; -N e1>1lyn
, DARLINGTON
SuF.olk Road, ~ ort h Hano ,.,-. p;r,ncr ~"!t6
"Grimshaw, Emile (B .,M.,G. ,T-B) - 54/ SS, McNa ug ht on.J oseph (B .. Z-B., P .B .. 1'-B .
.H .• P -G.. H. G.. (..'. I ~tt C-F. G "'1• s 11-:piitd: 76 Pl'n1t-ur{ Strl'5t
Pic:cadi!l;. W.I. 'Pbonc: Rctc11t 697i.
Grosve nor College of M usic , 447, Strand, . DERBY · . .
W ,C.?. B ••T .IJ.,H. ,u1d S,G .• P . Aocordfort. Sr1.r:. etc. f"ror.
I Lcs.soos ! Is. "Phone : Te rnple J:l.S:!.
Bowd, Bert (B., M., G.l Finger, Plect rum
and D.a~ Styles. ?90. Normantori Ro~d.
·tt a ndscomb, Alwyn e Frank (B .,M.,P ., V., • Dawson, J\1r s. Elsie (B ., Z -B .. T. -8., M.
H.G . 6- P. A.ccordi'o11.} 403, Hieh Road. Wood Grun , S .'22
G.• H.G •• (;). Dis tr lct Enmlnerfor "D .•'.#.0." Oiplom u.
T-8.) -P lectrum style. att ends the Su.idio. Me s ,rs. \\'i sher & Soa, 7, London Ro2:S,
Twcl•e lessons, e? ?s. 4?, Sinclair Road. W,14, Tel e.: " The Spot:· '."riv.atc Addr ess , 9. Station Road , Sandiacn: .
$11,cp. 8 u5a ◄236, Derbysh ir e . •P150 1,c. S .1,1,li.a.,;.fC"·
Johnson, Chas. (G ., P -G.,HG .,) Modern DEWSBURY
:ii~d thoro ~htul tt on. ,.-. Ct-.clmslord Road,E .11
· Rid ler, Lily . Prize winne r. Honours T.C.L . • Ly les, Alb ert (B. , T-8., Jlf., G.,). (Exami•
nu for-" B ..lt .O." Oiplomis> 9, Park :R.0:1:d. Hudder.s l'-e ld
Cert. T.C.L .. R.S.A .. L .C.M.• Holder of .. C" Gra de "(l.,U.0."· v;<t;+..,A.
Dip!oi:nu (8 .. Ptec. and Fi11Jt, z.s .. T,J) .. Sn . . ;K. P/. &-
Theory}T eru:a .Cl ls .(12:lessou•I• Tr ial lenon'.! s. U , Fr.:i.nld lo DONCASTER
Rd. Pea ce, S.£;.to . . or Hcrae Hill Studio by aE>PQiotment.
· 'Sheaff, Bernard (B. , Z-B., G.) 68, New • Miln er, David (B .• ill . & G.). Barnsley.
l'-eu11thorp c and !-hcfrie'd ,•isi ted week;)•· " G~t}'Storiis, ··
Oxloro Street , W.C.t. · Pho:ie: Mu seu m .-3$$ B:.iwc•y Road. l>ho ne: Ros~in:.":ton .t!
·Stanley, Arthur (B .• M., G.• & H-G.), DOVERCOURT
\'i si ts St rca.tham :1nd Southern d is trict, 10, W:ue r L!\tt.C,
S,W.2 "Phone: Tul -49, 9 "Milli s, W. H. (B., T-8., M. , G.).-3, Nel -
Webber , J, {P.G.). Solo and dance styles son Road ,
r· C" Dig.) . 191. De.ver Hou.se Ro.-d. Roeh2mpton. S .W .li . DUBLIN and BALLYMENA
ABERYSTWYTH 'AtacGarv ey, Jack (B ., Z -8., H .G. 8- Pka .
"M.ilverton, A. (B ., T-8 ., M ., H -G., etc) 19, Glr-.) RCldio $, St« ge de/x>rlmtnl. tie. Eum inerioc "8.Jf.G.'·
Diplomi, , for tr c·~:id. All to nit, -3> . R:.,11,mo~erS1.. &llrtntna .
£,isti:ate.
' Nort on , E, 0 , (B. 8, Z -8 .)- Examiner for
ALDERS HOT "'B ..U.G," w. Duhlin .
nift~m :u :. 1 F ,wte Ro:1d. F.,_it"\'i4!;
Meadows, T. (B. , /; Sax.) 34, Chu rch EBBW VAJ.,E, MON.
L.2ne.
• Leno Besa gni (E., P-B. ,T-B., P-G.,11.(1.,
AYR P,Acco,·dion) , Personal or Pos1:1: Tuici or. . 'E•·ami r.er for
"Da vidson , ~. (B., T-B ., H .G. and G.)- .. 8.M .G .. Oip:o m3S, E11amio3c ion In )"Our o wn home if pre,
~r ~~a~i.e\'lo~/1n1 ic. $wing :ind st•:i.i:h c 6:ty le s or pla)·in g-
Theo?' & h:u·mon\•. Soto or D:ine e ~tvl t;. 6. Pr e!ttwi e k R, I.
BECKENHAM EOIN BU kGH
"Sis ley, Oeoff (G.. P-G & H .G) 2~. Gr ecn- "Chilton, B. (Z-8. , B., M. /; G.)-Puo il of
ways . Be-ckenh:un . K~at. or Clifford
Ill . Ch.:U1fHfC Stn:ict. I.or.do:\ . W .1
Essez Studio. 3nd A. O. Cammt-,u Albert BuHd.tnss . Shandwii=:lc Place.
GLASGOW
BEDFORD
Buchanan, M iss Eli zabeth (8., T -8., M.,
Salmond. H .A.B. (B .. Z-8. & T -8. -Bc gin - G.. U.) .\tusk St~ints . Vell um s . lnstn.11ne1HS rtp2ired o·n
, r,.fo11 \' dM,in,t,..,1 _ AA. C"':h~""""f ~'"rl.
n@r11-.-. prernises ZS.(k;anville Street . Ch:tring Cross,
M.cKechnie, Alex. (B .. T-B .. G., HG ., M.)
BELFAST all styles 15. Canurk Stree t. Cro$shil 1.
•camp bell, Leslie (B., T .B. and M.)-7 , •Merton Fran k & Mrs. (School of Synco-
Re n ne.it Or l,·e BrMk\ "i'l'P:.-,,. cnue.
patio:'I). Director . FrMk ;\[erton 's Orchestra$ (B., T,B ,,
BIRKENHEAD 0,.. 11.0., JI,. Sax .. P .. P-Ali'c,) All C.E. mu sk srock ed.
1
"Hur st , Harry (B .. 7.-8 .. T-B .. G. 6-H.G.)
1$6 . Clc>v~ l,,nd Scree :
~7s
w'i~ J;;~7B
,S5~
~~B)~~1Hrfiv~~~15ii~
Co:rol~ide Park, Cla rl.ts.ton,
 20.J. 8.M.G. [M ay, 1937

FALKIRK OXFORD YORK

•Macbeth , w11.-(B.-, T-B., G., M .. U. }- "Tak e a Trip
Arl hUr A. Kennedy.
to BANJOLAND- Pilot,
-'13Wt-St St., Osncy. 0:dord,
'Spi .ndler , Geo, R, (B.&, Z-B.)-Finger
pb.7~~~ an(! ~h: -.hand tc-.'.hniQue tf« iallY c:.ie ·e.t kr. B.D. 1'llitlff
" $tnrli.n:· U.. Ot'ch:ud ~trP. c t,
for B ,JJ,O. n,Plo ffp • ~i,,,.,. C.01• Bo<;ton SISI. Yor K'.
GUERNSEY, 0,1, PLYMOUTH
Carlyle , Henry (B., T-B., P-G., H-G,, U.,
P -Acro,-d. &- Harp. ) All Sl->"lCS- 'l . C!emi!)ntc 13joad.
·George, J . (B.}-6, Cheltenham
Mutle>· · (.£,c:,,mincr for ·•a..u.o:·Diplomas .)
Place, ABROAD
'Lee, Arthur (B. , T-B., M., Sax., P., U. ADELAIDE (S. AUSTRALIA)
HALIFAX "Becker, J. E. (B. B-M., H .G.,G . & U.) -
'Wa rburton, H. (B. , Z-B.) , Finger & Pleet., b~:,~:;dte~~~~'.'~Trt:i:~x~cs:
Th eory , H3n non) ·-225 . c13ridi:!e Ho-Jse. Gawler Place.
350. Glbbel 9HOC!.
'Willi amson, Harold, A.L.C.B. Medallist, 'Smi.th, H. Boake (B. ,B -M.,H.G. , G. &, U .)
l.tl .).f. (B •• G. ,6, T -8.) PLcc1rum a i d fioicr st) •lc! ,
PORTSMOUTH and SOUTHSEA Cl:md~e H0.1~e. G:iwler PI ce , ·
'' Bt-~h;1,rvl1te," W !low Cr c scitnt . $ Owtrb y 8ridJo?c. "Chandler, F. H. (B ., Fi11g. & Plec., T-B ., BLOEMFONTEIN, O. F ,S , <S.A.>
Jt-G••p.(; .. S-:. •"''' .ll. ) 12. J.iehfleld R03d.
HAYWARDS HEATH • Penny , R. (H .G .•-8, Falck Street.
•.Sheppard, Leslie . A .L .C.M.- AII Iosrru. PRESTON 'W he lan, Fred A. (B., Z-B. , Plec. or Fin.
menu. $U$Stx Academy. Bro3dw ay Cb;\.rnl)(:rS Mvl~I F.xamincr for .. n..11.G. Diplomas Co O,F.S. B.1ke7
• Earle, Eugene (B.,,lf.,G. ,Theory )-"F a: io
& R«ordinj! Artist''. 15 C.1;nno!'!Scrttt. · Phone 2439. BOMBAY, U,-DIA>
HULL 'Tay lor. Ernest T. (B., M., G .). Special
•Boid, A. A. (Plec. G.) 99, Spring Gardens, • .siqueira, Victo r (H.G ., M. & U.) Radi"
Antab> • Rd. Phone: 1.n,,
~Pord, Roland F. S. (Banjo, Fit1g. & Pleet .
,Co:i.chin~for Coot es cs, e t<'. 10. Crou $1ree,.

READING
;~i;:·'/,ttrt1~
-Wi~J;~;: :Sid
~iiu~r
B.RM~ 0

D:f\~e":'f
1~ab~-GRoid~ B~f:::t
'· ftu~if/ ;:lt~~~~;·~e
S tud io,, Spring
Hamlet , J. (B .. T-B .. Z-B .. G.). Visits
& G. CILlh. :...'lY:ILodee - SOuter Street.

CALCUTTA (L\'DIA)
Phoo e ; JIOIG. and
Pbonl!-: 3673(t
West End Baok.
1r1~~~
~iU.i~~-e~:3-ic:!.)fcss rs. Clifford E su x & So,n. 13,
Cox A, B. (B: . G., H-G .. P.) 51 Elliott Rd.
'Smi th, Madam Sabi na,A .L. C.B. I. U.M.
Gold and Silver Medalilist, (.B •• Pfoge, dlld Plu.,J l. Ii- G.).
-49, Bachelor Stirect. Bouk,..ud. "Phone : S31S7. RHONDDA (GLAM.) CALGARY, ALBEkTA (CA~ADA)

ILFORD and DISTRICT ' Phillips , W. G. (B. Bn.,G . &M.) Atlnyles . • Adla:n , <ieo. H. (Finger & P/ ectr11m T-B .,
Con., Rbondd,>. B .• ~t & G . Club. 3,.South Stree t. Yn)•shir, ,U .. G. . H.G.) -Theor; • a.nd H:i.rn:on)· Classes, Stoderu s
•Dykes, B.W. (B .. T-B .,M., Do/2 ., G., H-G,,
M-C~Uo ~- 8-Banjo.)
'<a\. S.281
-
23. R3,)•mond Road . lllord . Phonit:
RI DDI NGS (DERBYSHIRE)
at
T~~k:~:
--
o?~
-~I~
UJCIUl<,
AE~nBa~j~t. & Fretted
centre Street.
P-o.>1hh lti SChOOJ . fi06
Instru-
'Tay lor , Bernard (B ., J\f., G., H. G., all
IPSWICH st.)·les.). Jessamine Cott age, m,b Street , Rlddin,5, CAPE TOWN (S,A.)
·oough , Bernard (B ., Z-B •. M., U. & V.}- "Pa~ha, S. (B.,Z -B., M., G.). Pupi l of Emile
1s1. Woodbridge R03.1. ROTHERHAM
~rnnsh,:.,.w,
0 1 ew-.r of C 1p1 i ·own B.uijo Baud , A!I Cliffore!
Parker, J. (B., M .. T-B ., Z·B.J- ·214, Well- F..-,"-"•
· ,\cc.-u,,-d,:-,- I-+'). ?rt-:n S:r~..-,.
ISLE OF THANET gate. Clifford Essex accessories supplied.
COLUMBUS, OHIO <u.S,A .)
•Youn g, Alan (Z-B ., B.,Finger&Plectrn111, ROSSENDALE VALLEY
T .B .. 6 p.>Studio . .. G)·mpie, NAYebury Ave ., R2m st!atc. "Reams, <ieo. A. (B., p.;,,g, 5- Plec.) 1766,
Taylor, Norman, Championship Holder, Ku:'Vt·onh Roa g.
P-B • • t; P -G). :?ft'?,Cla:-ke•Holme Ttr .. Burnley
(B .. 2,B.
LEEDS Road, Waterlooc. GOTHENBURGH, (SWEDE~)
'Tay lor , Madam , A, (M. , B", B .. G.'-
Eoor House . 3!. Burton Row. Hulllslet :'>1
00f"- SALFORD "Akerman, .Sigvard, Teacher of fretted
in,t rutncnu . )tusi~ Studio , Kungs,::.atao 5,
Shawcross, Joe (B. &- Sax.) - Plectrum
LEICEST ·ER Playini aod Lnt es t Dane~ Methods a spe-cialie}'-28. Gooc!.· HAM I L TON ·, ONT , (CANADA)
'Chamberlain , J. (B •. 1'- B., M,, G., H.G. win Street ,
6--Q.) .102, London Ro..1.d. Local Asent tor ClilYord 2su:r ~ "Waddington, Percy 'M .,G .. H.G., T-B ., P.
Son. (E.:r.:amin•rfor •• 8.M.G.'" Diplomas. SHEFFIELD a11d Sax) 5; g Kin5 St, and ,333 Ou:iwa Str ( t:t , :S
"Tanfield, G. R. (B. &- G.) Tuition all styles JOHANNESBURG <S.A.)
LEIGH -ON-SEA -Solo &nd 0:lllC~. S2 Sharrow SJ, • Ford, Bert (B . & Z-B.). FingeMtyle
'Wadd ington, S. F. (B., Z -B., Fi11gerStyle, sp,cciallst Write Bo,i:"ZS05for appoin1men1.
Q •• H.G..> 157 Le1'1.h Ro;1cl. SOUTHAMPTON AND DISTRICT • Macrow, Charlie (B., M. & G,)-Stcdio s :-
LINCOLN ' de Veke y , Cyril. (B .. T-B . Guitar. ( A II ~,~~'.~t;~p~ i. ~:ag~,e';:!£SR?d~:~an~e
sbur,. $. We mble)·
r;lylO ). Solo Ulh,kk-. Saxo/ihoM !• .f. Morr is Road.
Littlewood, Terence (H.G ., B . & P-B .) KITCHENER, ONT. (CASADA)
37$. Monlls Ro.ad STAPLEFORD ,,-ons.J
'You ng, Bernie De (B., T-B. , G.. H.G .. M.
LIVERPOOL Tew , Hor ace (PB ., B., H .G,) • 6 ,,; 00 .,. U ar.d The>!?T)- 506. Kint <itreet, E.
C41tfu.ny groanded . terms modera te.6..."1..Derby R~d.
"Bullen, R. N. (B., Z·B ,, Sax .)-43, Mon 1- Li:THBRIDGE , ALTA. (CANADA)
c1.air Drh·e , :-.fossley Hill. (Ex.miner for •· B.,lf.G.'' ST, LEONARDS -ON..SllA •Harp er, J. G. (F., P. & T-B.). Director ,
Diplomas.I L.-cthbridge Conservator;• of Mwsic . Eosemble Cl uu s
Fo ster, Lois Irene (T-B .. B .,M., G .. U.) - Cor. 11th Street a11d $eh Aven11e. S .
LLANELLY ~- Car isbroolce Ro,..'td. Visiu ~st"boumc- .
LUCKNOW (ISDL,
Jones. T. E. (B., Z-B ., /If., T•B, , G., H.G., •Monis se, Wm.. \H.G. a "d Theory )
Q.). (.B:zaminer fO! ".a..u.o,.:·Diploo::as) IS, Temple Stree1. STOCKPORT
Examiner f<ir B.M.G. Di pl omn. 3. Hilton L.lce.
Howard, Don. (B. M .. G., T-B.} . Finger
MANCHESTER and DISTRICT aud Pltetr;um Styltt. -(Pupil .of Emile .Grimshaw • .Lo~don..l- . N. ISLAND ' (NEW ZEALAND)
tsl. WeUto;ton Ro.id SoLlth, Stockpart. 'Ph0J!C: 2l 2i.
•Cashmore, Jo·e !B .. P.B., G .. H .G., M., B. M. & G. Oreb. Hoo . Sec.. H. J. Blades, Esq •Bon etti, Antoni (B .• T-B., M. & H.G .)
Dola .. T.B €- C,t"llol H:mnon>· ·
:8.:8 C . ~ Mi Qt • :11ndorofHcion
Te.:1cher of Tt.i.cher s.
. P~f i:om1I & pou . Rhvt"hm
'Linl ey, Wm. (B. & Z-B.) Finge r or Plec. Z61 Hii:!h St .. H"
a v,·ern
bf YrOVed m.cJ.l].oot-~...:Sptnq.r Street. Kecldl $b.
aod ao lo expert. Breoks . fill•ins , etc. ~ . Chute: PERTH (W. AUSTRALIA)
Road, Old Trafford
Earl, Harold (B., ilf. , P-G. .) Modern STOKE-ON-TRENT "Everson, G. F., (M. & Bn.) Nicholson's
6lyle. Tt.teher for J. Reno & Co., 6-', Oxford S.u eet. ) fusi-e:Wa,:-e.l:ouse, Barrack Street
•ooodman, ,A. (B., Z-B. , Dola .. M., 0.)- "lniull , W, (B.) 27, King's Ascnue, Wol- 'Hinchcliffe. G.-(Specia list on M., B11.
Mus ie: Vellums, Instruments. St:il)(s. Accessories .aaJ 11t.nton. (Distl"ict Exomlaedo<" ".8 ,M. G"." tlip1000.is). o,id T~<,rr). '99 Sw anse3 Screct. Victoria Park.
R~pair s I~. Beruford Stree t, Mo.ss Side. Manche.seer. • Matson, Glen. - (Specialist on Hawaiian
Gteenall Jos. (Banjo, Fing. or Plec.) Z, Fir SWINDON, Guitar. Pupil of 1):1.\'idK. Kaili. li6 Pier Stree t .
Ro.ad. S"'·ic,con.ne:-.r ~13.rtcbeste:. 'Webster, G, H. (Bn Jlf,, H.G . & U.J-
'Grey, Harry F. (B. & T-B.)-24 , Bras• 'Dommett, C. S. (B., T-B. , M . 5-G.)-16 Room 39. Bcm Marche Buildin~s . Banac k S tr eet.
s:in&ton Ro:.d ."D!dsbun• , ~ anchu tcr. ·Phone: He.ato:'I Moo: Kent Road. Swinc!Gn.
1163. Distrkt Examiner for •• B,J,I.G.' Oiploma.s. 0
PRETORIA
Howard , Don. (B., M .. G., T-B) Plec. and , WALLASEY (CHE S. ) •coetzer, H. (B., Z-B.. P-B.) Tuition all
FinJ.t,er ,tyles. (.Pupil ot Emil e Grimshaw, Lond.) "le.acher Walle Charlie (P. G and Har1>10>1y)52, ~J~!~~ i:umincr fo r B.~t.G , Olp!omas , 22. O:iutt..h St ..
~;;l:~ : .Boosey& HawSi:es Ltd •• 9-3,Ox ford Ro.d, 'Phon e Poulton, Ro:a,t 9
• shephe rd, Will (B •. T-B., M.. G., Dola) WALSAL~ & WOLVBRHAMPTON ST, PAUL , MINN , <11.s.A. J
(8.B .C. ArtiU)-18 Well t r Ave .. ?-ell L.~ e. Cbodton E,s.tale Simpkin, R. W. (B .. P.O. , & H .G.) Broad- • Bell son, Albert ( B., JI!., G. & P -Accordio n)
l.Jsher, Terrv (P -G. ,G.) Priadpa l In struc 1or easticc Sofois t. i5. P-1\.r,eter Street. Wa.l~H . Vit1uo$0, t eaeher aod do t er. -'2 \\-".icti Stt'Ce.t, (Alllo
¥ame:0k Scbool or Modern Music. 29,-3.S O.d0rd Road ,
Spc,ct:11i1 t in ModernRhythmic Gu.it.Jr Pl~),jng · ~-=!~a~ •.~~••~ .A~~· · G .) - " Osterley, Mlonea.pell~.Min ri,l
SYDNEY ('1.S.W. AUSTRM.U)
Wood, /\1adame Wynifred (B., Finger a ,;d •Hine , A, (B .,Z-B.,M.,G . &Haw,Guita,-J-
MIDDLESBROUGH Pledr,im., Z -8 ., .U. & G.}-Studio, •• St . Aub:rn5, " Victor!•
s,udios. 326. Parr ama tt a Road. Pcte~m. A(leZ)t foe
Road, We:dnes~eld. Wolverh.2mpt QD,
• Blacklock Alan. ( G., H.G., §. T-B.)-70, Clifford Eue:t & Son's !nsttume:ic, and m~&ic.
Clifton S t reet. WEST BROMWICH (ST AF FS) •.Skinner, H. Ph illip (B., T-8 .,M.,G .•H ,G.)
John st one, A. (B .. T.B., M., G .. H.G. , P. All $t)·les. Soloist . 2 FC .• 2 BL .. Dirccco: B"ue ~ Gold
NELSON (LANCS.) B .M.G. Clull. 3'.!7. GcOff:C St fSe Jt Sy d p•y fo u.r Wrevi1.rd.)
V.• U.)-W . lodJ:,,e Ro11d
'Lund , Wm. (B.& Z-B. )-Fing er and Jones , W. (B. & Z-B.}- l{adio Artist. 30 TORONTO (CAN ADA)
Pltc1rvm. 15. "Icny S·ree: Poo01,·Hill I..ane, Ch :ulemoa t . •Ha za rd , Ted B. (Fi nger and Plectr um ,
T -8 •.,11.. G.. H.GiU.)-Theor)' and Harmony CJ.a.net. Studen t,
NEWCASTLE-ON-TYNE WEST HARTLEPOOL El)semble. Wci dt"s Chord Sys tem for ~l fretted in~tnll•
mt:nts. (E~amincr for •· B.Jf .G." I>iplotu ..s~JS4 , Co.-.o
Dorward , T. J. W. (B., Bn., & M.) "Dunelm " Smith Clifford (B) 79 Percy Street Ave •• Toronto. On t .. C;anada.
19. Wes1holme G.:trdens . ~tw,·casl!e-oo•Tye,~. S
VANCOUVER (B,C.)
NOTTINGHAM WEYBRI .DGE
• Fletcher, F.-(Teacber of all frettedinstru-
"Papwort h , .Sanders (B., ill ., G., Saxo·
lihone. ui ulele. Haw , Gu i tar) Local Agent for Clifford
C~~o~J,.8-,.~- f:,.-;;fJ,.
Beginners carefully mc r.iul ":\lus!ci:u-:s. Un!on" 3l9, PeoderSt . W.
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WINNIPEG (CANADA)
WORKINGTON •craw, J\\rs . V. H. iB .. M. Ii- G.l- 138,
•Richardson, Edward (B .. M.&G .. all styles) Phi llips, J. A. (B . & Z -B.) -50, Derwent St.
OvcrZO )'urs• profe u ionaJ experience '8 , Portl:lnd Road , E~anson Screet .
 B.M.G. JJ;

The
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CL IFF ORD ESS EX & SON , LTD ..
CLI FFOR D ESSEX & SON, Ltd •.
1St1 Cratto rt "it., Nev. Bond Street London W,1. 15a Grniton St ., New Bond St. London . W . 1.

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Why worry about the Publisher ?
CL IFFORD ESSEX & SON . Lt d. , stock all pub lished iretted instn , ment "CA LACE ''
MANDOLIN PLECTRUM
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lin players , Even if you a r e no longer
a learner on the in1trument, you will
May be pu r cha sed by instalments. fe·c. r--
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" CO NCERT GRAN D ·• 10 Guineas 2s. L:u ·l P;11 •

'' GOLD ME DA L " 8 Gu ineas :--c1I.I> :--1-:P.\l:.\Tl-.t \

" SI LV ER MEDAL " 6 G uineas ~c~ : ""'-:.~;~" .;.-<
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•· BRONZE MEDAL " ; G uineas - ::.· .• _.-- ;; r :-.,;.. =~
"• l.Sa Cr31ton St ., Nev. Bond Street Lon<lon W.l,

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Clifford Es sex & Son . Ltd .. MonelW ireStrings
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tro111 b:ab!1 P•h1b.ee ORCHE ST RAL PLEC TR UM G UITAR
lmi :•t10:1 tor toi1u b•!I
Jfu b ,u ll•d t r.!fc1 HI, plain steel ;id , each.
2nd, plain steel sd , oaeh.
2nd , co vered Sd each.
Pr ic• 6d , Each 3rd, covar ed 3 d. each .
4th, cove r ed 9d. t,'\ :h .
CLIFFORD ESSEX ,I,, SON ltel . 51h, coveretl , • eaeh .
1sa Craflon St. , 6th, co vtrcd 3 e~c:h.
New Bond St .. w.1 Set, with covered 2nd • 6
Set. wit h plain 2nc1 :;,'
HAWA I IAN GUITAR

KEN HARVEY PICK ist , plain stee l

'2nd, rl:li n ~teel
3rd 1 cov,re d
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h:n ·,. b\.'\;. , ,ki: ~: Ken whf>re- t:1e\· l':lT •l1·, itt r:, Set of six: strings • 3
tyJ}t>')f r,lf-drmn • . now , by ~pec?al arra:1Zt'Tl\(•!1t
wi·I, Ken Han·ey, we are able \O offer play~:·, •h,, CLIFFORD ESSEX .a,. SOU Lt d
· " P;ck . :\fade irom imi.atioi. • ,,.Jl.
· J-,,,: Ha r•.-.-., 1S:ri Cr.lfto1 1 St., Ne-.~ B011d Strttt Lo11do11 W. 1.
· h,;,·elled ren,h' ior use.
See the signature " Ken H i.l"vey" on every P ick'.!
PRICE 4d. EACH Clifford Essex
The narre that denotes evcry,r ,ng
A.CTUAL Sil£ OF PLEC TRU M 11,1~· Fre~ l : ea~
. a ·,jl!.,,;tJI : •• ~ 1 1, II lhat is best in (retted instr;...r--e::ts
CLIFF ORD ESSEX & SON , LTD . 15a Grafton S t., New Bond St., Londo n, W . I and the ir acccs~orie! ,
 B.M.G.

You cannot buy

a Better Banjo!
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/!_ I+ you are interested in this wodd -
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1amous banjo . as k for a copy of the nev.
··Paragon .. banjo folder . It gives iull speci .
fication and details of th is amazing instru,
ment and it's F REE !

J'nn~J t,y Pe,·erle)·s, Ltd., 3~-36 Flee: Lane 1.of:llO~. F. C.4, i<lr the Publi,hera and Propri et-01a.Clifford E•sex & 5011 , Lt4 .,
15a GraPon ' treet ~ ew Bond 5ne et. London \\' l