THE MONTHLY MAGAZINE DEVOTED TO THE INTER~$~

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ii B.M.O Fl ; (ll\ll AR\ ·. 195<>

"A BOOK THAT SHOULD BE IN

EVERY GUITARIST 'S LIBR ARY "
TH E CLIFFORD ESSEX ALBUMS OF SOLOSFORTHE
DANCE BAND SPANISH GUITAR ·
TUTOR SPANISH
CHORDS FOR Compiled by

THE GUITAR A L ON SO MEDIO GUITAR

IDEAL FOR THE STUDE NT WHO
EVERY CHORD GIVEN IN DIAGRAM
CANi'\OT HA VE PERSON AL LES SON S EIGHT FAMOU S MELODIES
FOR M AND MUSICAL NOTATION ar rm1s:nl by
In .. DANCE BAND CHORDS FOR THE Acclaimed by players and teachers, this GEOFFREY SISLEY
GUITAR.'' the author has li$t ed EVERY chord tutor includes complete and detailed COS TL·,•,r s :-
the d.a.nce •band gu itarist is ever li k• 1Y to be
ca lle d up on t o play : in addition to t he more instructions, exercises, scales, and many CAT ARI. ~ IVSET TA ' S WAL TZ SON G.
u, v3 1 m ajor, m inor , a ug mented, d im in ished, solos. The diffkul t explanations of all LA CU M l'A I\ SITA , C IRIBIRIBIN , SONG
aev enth , n inth , e tc . cho rds , all other chords - technical points ore mode with clarity OF T I 11•: ROS E, LA P AL.OMA, LA
s uch as m inor chords w ith add ed ninth1 : minor l)Qi'\ NA f: MOBILE , SANTA L UCIA
c hords w ith added sixths : dominan t seventh and the book contains all that is necessary PRI CE
chord s with augmented fifth; ninth ch ord, w i th for the complete mastery of the f,nger-
augmented fifth ; chords of the flatt e ned fifth;
el• ven t hs and th irt •• nt h 1 etc . a r • a.hown.
style guitar. 6 /-
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PRICE
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N ETT
7!6
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CONTE NTS :-
C RE1,;NSLH , V £S , GAGLIARDA (G oliloi).
PH Et UOIO N o. 2 (J . S. Boch), GAVOTT E
ALBU M

CLIFFORD ESSEX MUS IC Co., Ltd . C L IFFORD ESSEX MU SIC CO ., LTD . (.J. S . Bach). SAllAIJAND E ET DO UBLE
8 New Compton St ., London, W .C.2 8 N ew Com pton St., Lo ndon, W .C.2 (J. S. Boch). CO URANTE (J. S. Boch).
G IGA (Viva ldi). LA XEN Ol'H ONE (l'h .
E. B, ch). G ...VOTA (J. C . 8,ch ), TH R EE
VA LS ES (~t o, 2r1). AN ELI SA (Bce rhovcn ),
FUGUETT A (A zpiazu) .

*
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Noll' is 1he l i me to hal' e yo ur b aujo ,

REPAIRS
AND OVERHAU LS
111a11do li 11 o r g 11ilar r ep a ired o r put in f irs/ -
class play ing o r der . Alf work is carried 011
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ouly 111
besl o w.
e11 u-i1h real p ride iu 1heir wor k cau

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PR IC E

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It is impossible WEISS ALBUM OF
for us to advertise all the goods and printed tuto rs and SIX FAMOUS PIECES
w ·rtm,:n l br
solos we have in stock. BUT ... JOSE DE AZP .IAZ U
WE WILL GL A DLY SEND TO ANY ADDRESS ILLUSTRATED C 0 1\ T ENT S :-
A l R. G IG UE. l' II ELU DE . SAIIAB ANUE ,
LEA FLETS THA T CANNOT FA IL TO BE OF INTEREST TO YOU PRESTO . S UITE IN A ~11NO!l .
PR IC I,

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To:-
CLIFFORD
ESSEXMUS
IC Co., Ltd.
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I_ - - - - - - - - - C UT ROU N D D OTTED LIN E - - - - - - - - - - -
 • FIFTY-THIRD YEAR •

The Monthly Magazine devoted to the interests of the

.G.
Banjo, Mandolin, Guitar and Kindred Instruments
Published on the 1st of each Edited by S1<bsc
riplio11 rate:
12 months .. IS / - (U.S.A. $2.20)
month al
3 NEW
COMPTON STREE't,
A. P. SHARPE All news items s11bmi1ted for the
LONDON', W.C.2, ENGLAND 1 next issue must arrive at this office
The Editor tloes not necessarily agree before the 1011, of the mom h.
Telepho11e-Te111p/e Bar :8 10 with the opinions expressed by his ADVERTISING RATES
Telegrams-" Triomphe. Westcent, London." contributors. ON REQUEST

Vol. LIii. No. 610] FEBRUARY 19S6 [Price One Shilling and Threepence

in respect of the six unions with which print the magazine on much cheaper
unde rstanding has a lready· been reached, it paper to counteract the printing cost;
will be in the ·neigh bourhood of 7½ per cent.
on everything except paper. We shall ha vc (3) increase the sale of the magazine and
ByTHE EDITOR to write later 16 give a final figure, which will thus secure mo re money to stand the extra
S you read this I expect Christmas take into consideration whatever agreement cost!
A has long faded from your thoughts
-but I am writing these notes
is reached with the L.T. S . and A.C.P."
Now, 7½ per cent. increase may not
Reducing the number of pages in the
magazine wou ld, I feel, be a retrograde
during the Christmas holidays; sur- seem a lot-but during the last twelve step and, eventually, lead to a diminishing
round ed by the many greeting cards kind months the cost of printing "B.M.G.'" readersh ip. Printing lhe magazine on a
friends and reade rs have sent me from all was, first of all, increased by 5 per cent. cheaper paper (we had lo do just that
and then, a few months later, by another during the war !) is a step I am loa th to
over the world.
It is imposs ible for me to acknowledge 10 per cent. With this new increase 11 ta ke.
personally every card but I hope all the means that today "B.M.G." is costing Th is leaves us with course (3). I- and
nearly twenty-five per cent_ more than it the Clifford Essex Co. - do all that is
kind people who thought of me at the
time of "Goodwill to all men" will take did this time last year! possible '.o increase readership and I am
this " thank you as a sincere I feel that the selling p rice of" B.M.G." happy to say that during the pas t twelve
acknowledgment. cannot be increased further-and to months , new readers have been com ing
counteract these crippling increases along in gratifying numbers; but we are
(which ne·ver seem to end!) [ am left with not securing enough new readers to cover
One communication received during
only three courses: (I) to reduce the increa sing produc tion costs.
Christmas week I did not welcome! It number of pages in the magazine; (2) to
was a letter from Messrs, Peverleys (the
YOU CAN HELP
printers of "B.M.G."). It said:
CONTENTS This is where you can help. If only
" At the end of the five-year period of Musk in this is~-uc:-
wages stabilisation in the printini; industry, 11 Jittt!ry
you can induce one new player to take
Ba.nio Solo <F~. or Plct.): .lc1P."
negoti ations were started with a view to con- Hawaiian Guitar Solo: 14 UmJ la I 1".ul K<: Aho 0 ., B.M.G.'' regularly you are helpi ng to
cluding new agreements. The following Mandollo Solo: " Dixie Medic;· " · ensure the continuance of the magazine.
information is to acquaint you of the present SJ>anisb Gujtar Duet: t• Dutt fh.lde '' (Caru lli)
position.
Will you please make an extra effort to
"The Londo n Masters Pri nters' Association "B .l\l.G." Dh>lomas: .. 135
help?
has agreed with th e representatives of six D;· the \Va.)· !JS With greatly increasing pri nting costs,
printing trade unions ~ot including the Club Note.s 136 many magazines ar e going out of publica-
London Typographical Society and the Asso- Correspondence .. 136.
ciation of the Correctors of the Press) terms tion. You and I do not want to see
Directory or B. :M. & G. Club~ .. 139
for incr eases in wages, and the members of Disc Chords by R. Tarrant lJoiley 119
"B.M .G." follow suit-but the "red
these unions arc now ba lloting to see whether Guil ar" Backing hy Rt •g. Balch 120 light" is glowing. On my part, I am
the terms of the agreement arc acceptable. C·uitar News froro O"·ers~as Collected by P1..·1
a doing everything human ly- possible to
Subject to acceptance by Januar y 21, I 956, Senst.er •• US
the new agreements will come into force in )lusi<,>I Therapy .. 118
"p u.t it out." With your help, we can be
respect of the first full pay week in January, Notes and Comments ,,,, The Editor .. 117 successfu :.
1956 . Pl:iying: the Ha~·aiian Gidtar by Br1Sfl Kiug 134
"Negotiations between the L.M.P.A ,, L .T.S., Right from the St.·1r1 by Jack Whitfield .. 122
*
and A.C.P. are still proceeding and ii is not Sm~1Uft.dnrtis~n1ents 139 Af ter that far from happy tale, let us
known whether they will be completed in Spa.in \Vithout SJcsta {S) by [\, ·or Mafram_s 131 tmn lo a topic in lighter vei.n.
time for the new sea lcs to becom e operative Teachers .ind their Addresses . . 140
at the beginning of January as well. The Art of Ffamenco by Micl1(Ief e. Fislier .. 121 We at "No. 8" have become used to
"W e very much regret having to tell you The B..~njo i n Drit:iin by W, M. Bre wer . . 123 well-known personalities calli ng for
that we shall have to increa se our printing The FJectric Plectrum Guitar t,y Jack Duarte 132 supplies. The" top names" in the fretted
charges for " B.M.G. " from the first publica- Th e }'n: tted Instrument Guild 135
tion after January l. Until the new agree• instrument world, of cour se, are always
The Guitar on \Vax by " Discus •· 126
ments are finally ratified, it will not be pos- The Spanish Guitar by rerry U .1ho· 125 calling for strings, plectra, etc., and inter-
sible for us to tell you the exact amo unt but. This Mo11th's: Conr P ortra it 134 nationally-known players usually visit u,
118 B.M.G. FEBRUARY, 1956

when they ·are in London. can take with him on his travels · and and requested a sheet of wrapping paper
Lesse_r-known players, too, usually call practice in hotel bedrooms. To a man on which he wrote a name.
in at "No. 8 " when they visit the metro- who has given over s:x thousand lectures He knew exactly what he wanted and
polis and we are as pleased to see them on music since 1941, when he and his part- a brief glance through the book con-
as their better-known members of the ner first set off for the moors between vinced him he had found it. Neverthe less,
fretted instrument fraternity. Lancashire and Yorkshire with a gramo- we could not help wonderi ng for whom
It is a gratifying part of the phone and some records and an idea to the present was intended!
Clifford Essex service to supply talk to soldiers about music, the ability
strings , etc., to such well-known to find solace in playing the guitar after
players as Billy Bell, Andy Wolkowsky, a hard day·s work must be great. (Inci-
Freddie Phillips, Malcolm · Mitchell, dentally, his teacher was "B.M.G." MUSICAL THERAPY
USIC as a therapy in hosp:tals was
George Elliott, Bert Weedon. Harry
Brooker, etc.; we are no longer surprised
when a famous Mayfair hostess sends her
contributor Terry Usher-and
Dobson told us that he uses a recording
Mr.

made for him by Mr. Usher in his talks!).

M initiated in this country just over a
year ago as a result of the visit of
liveried chauffeur in a truly Docker- Theodore Bike) is another caller who Mme. Mero-Irion, who was responsible
Daimler for " another fourth s'tring for always manages to disrupt our routine- for the organisation of a widespread and
her guitar "; we are used to multi- but as his highly individual songs to his highly successful music service in the
linguist singer-guitarist Viera calling (with own guitar accompaniment are always United States of Amer ica, which now
her charming children) for another supply worth listening to, we do not grumble. boasts 60,000 pupils in many d ifferent
of strings; Hector McLeod, the famous .Another frequent visitor is Richard hospicals.
actor who is now so well-kn.own to LT.A. Levin, ace set des:gner for the B.B.C. tele- On a recent five-week return visit to
viewers, usually likes to try a guitar or vision service, His hobby is playing the this country Mme. Mero-Irion was able
two when he calls for a new solo or some Spanish guitar and balalaika. He was to see that an encouraging star t has been
strings. We are sorry to see Josh White most apologetic the last time he called as made at seven hospitals, with arrange -
leave after entertaining us on his guitar he wanted a guitar" with tin strings!" He ments in hand at three more. So far the
that has been repaired in the Clifford hastily explained it was for his daughter, hospitals participa ting in the scheme are
Essex workshops. Jon Pert wee proved who wished to play in a small dance group the Star and Garter Home; Stoke Mande-
to be as funny off stage as on when he her friends had formed! ville centre for Spinal Injuries; Grov e
called for new machines for his Panormo Park Chest Hospital; the Home for Incur-
guitar. Famous horsewoman Pat Smythe FAMOUS SLOGAN ables, Putney; and th ree mental hospi-
likes to find out what the latest Gaval\ tals-St. Bernard's and Horton Hospitals
songs are. Brian Reece (radio's "P.C. When I recall the famous " names" that at Epsom and Warlingham Park.
49 ") calls for some MS. paper. visit "No. 8" 1 feel we could justifiably Classes so far undertaken with success
paraphrase the famous slogan carved in include one in guitar playing.
A WELCOME VISITOR the stonework above the nearby Palace
theatre stage door: "Through this portal ENTHUSIASTIC RESULTS
Luis Maravilla (now speaking English have passed and will continue to pass the
" a leetle " after his American tour) was stars of the fretted instrument world." Wherever this Service has been tried
a -welcome visitor during his recent But what set us guessing during the authorities have been enthusiastic
London engagement with the Pilar Lopez Christmas week was a visit from famous about the results. In some cases there
ballet; the famous gynrecologist who stage, radio, film and T.V. star Patrick may be a direct physical improvement in
regularly calls for guitar music is always Barr. He asked to see a copy of " How muscle co-ordination-but whether there
interesting because he never fails to lo Excel on the Banjo" and, after is scope for this or not, there invariably
impress upon us that playing the Spanish glancing through the work, said it was appears to be an improvement in morale;
guitar helps him to keep his fingers " just what he wanted." It is true he also a new interest in life which expresses
supple for the delicate operations he is asked for a sheet of notepaper on which itself in various ways.
called upon to perform:. to pen a message to accompany the book The Music Service in Hosp itals is
Walter Dobson (of Dobson and Young entirely concerned with teaching the
fame) calls for a new batch of solos and patients to take an active part themselves.
tells us that the Spanish guitar, because of It does not a im to provide music for pas-
its portability, is the only instrument he
FIP sive listening. It is run by a sma ll
FEBRUARY, 1956
8.M.G~ ll9

committee headed by Lady Ogilvy as No photographs this month, to start "Old Jim's Christmas Hymn" was
chairman, with an advisory " artists with. This offers but little difficulty, what that Magnophone sang - and its
committee" composed of many distin- since no more have yet been taken - but I overpowering, alar ming volume and re-
guished men and women in the musical hope you liked the photographs of the markable tone, combined with the words
world. Lady o ·gi\vy, who is American Magnophone and, at long last, really of the song, did .more good to the cause
born and has close links with the Ameri- believe there is such a thing. of Temperance than any entertainment 1
can music service in hospitals, kindly If only you could hear it you might had previously attended .
allows her Chelsea house to l::e used as enjoy the thrill that so stirred my young True, the "Christmas Hymn " turned•
headquarters. blood when first its overpowering roar out to be " Rock of Ages " which, as far
The teachers undertaking wo:k for this astounded me. as I can trace, is not a Christmas hymJ'/
Music Service are carefully selected as It was at the Holborn Restaurant in at all, but the Magnoph one meant well
a warm, sympathetic personality is neces- London and the Columbia Company had and was doing its most terrifying and
sary as well as the appropriate musical arranged a demonstration of "T he Most blatan t best to convert us all.
qualifications and teaching ability. It is Powerful Sound-reproducing Instrument
a tribute to the musicians that they have Ever Introduced " for t he benefit of an ASTONISHMENT
almost always been asked to increase their invited audien ce.
teaching time; in one instance from an The years roll b~ck and, once again.
The Modem Marvel stood in dignified my pipe falls under my brother-in-law's
original two hours' weekly to two whole aloofness surrounded by 16 other
days! · feet as my mouth opens in astonishment
machines. No favour was shown or at the machine's performance.
quarter given and even ordinary· grapho- Bellowed across the room, leaving !b ile
phones of the Company's own make were other 16 machines with revolving man-
included with the products of rival firms. ·drels that were but visual adjuncts.,
crashed the beautiful words:
By R. TARRANT BAILl!Y NOT WITHOUT POWER "Old Jim was a character well known
about the town,
(Continued from last month's issue) The demonstrator set all 16 machines Through singing in the Village Choir he'd
going at once; each, as far as one could gained a great renown.
XCUSE me just half a minute, please. gather, playing a different recording. The To hear him sing each Sunday morn, to
E Thank you ! Sorry to keep you
waiting, but I wanted t o look round
resultant musical effects were not without
power and would have delighted any
church the good folk came .
But soon he drif ted downward to a
drunkard' s life of shame."
to see if the Editor was about. audience blessed with a tendency to enjoy Please do not strain the " Correspon -
He is such a decent sort of chap that a Mother's Meeting held in the Parrot dence" section of "B.M.G." with en-
I am feeling most contrite about having House of the Zoological Garde ns ! quiries why Jim was so well· known in
thoughtlessly caused him unnecessary But the suffering was short because, the Town when his perf@rmance appears
worry and bother last month by forget- after about a minute of the frightfu l din, to have been confined _to the Village.
ting his tactfully tendered requests for the Demonstrator switched on the Mag- There is more than enough acrimony in
brevity; writing yards and yards about nophone - and the other 16 machines that par , of our magazin e already !
the Magnophone whilst the space famine might as well nor have bothered to be From the rest of the beautiful song it
was at its height. And sending those there. would appear that the late lamented
three pictures of the machine on top of James's exceptional gift for lowering pint!
all that; fatheadedly overlooking the caused hiin, shortl y before his regrettable
fact that they would take up more room demise, to become quite one of ourselves.
than he could spare ! BANJO SOLOS
· But nol a word of complaint from our
long-suffering Editor-and all he did was ll,LUSTRATED (7) VALUE OF ADVERTISING
It did my brother-in-law a lot of ·good
to cut out the only part of my gassing and he proved to the Columbia Company
that might have done his magazine good. the unquestionable value of advert ising
The bit his self-sacrificing, sweet nature by ordering an Edison record of "Old
moved him to delete was where I was Jim's Christmas Hymn" the very next
ref~rring to New Year Resolutions. I had day ! He liked that sort of song. Before
written: "You might also resolve to pay· Jim came alo ng with his Christmas Hymn
your" B.M .G." subscription at the proper the favourite had been:
time and not go forgetting it like you did " I want to see the dear old home a)!ain.
last year. Of course, if you w:sh to lead That cottage in the little winding lane."
a really good life you will resolve to in- You know the sort of thing-" hear
veigle half a dozen other plinkyp\onkers the roses chiming and smell the church
into becoming subscribers, too ! " bells climbing "-and all that. I never
In an endeavour to demonstrate my understood why he liked this sort of
apprec iation of the Editor's restraint I record so much since, as far as I was
am resolved that, although I cannot carry aware , he had been to church on!y twice:
out his hear t's desire by not writing at once to be christened and once to be
all, I wilJ use a stop-watch with the Bar- married-on each occasion, unwillingly !
lock in future and thus avoid conveying Now I must dry up for the Editor's
the impression that I must be a large sake.
shareholder. " L'INF ANTA " Did you notice the beautiful heading.
 .120
B.M.G. FEBRUARY, 1956

he gave my contribution in the Christmas

number? " Absorbing story " he called Ex JI. Ex 12.
it ! As if, with the new assessments pend-
X Y Z X Y Z
ing and .Bass at ls. 8d., one could afford
to " absorb" ! Even the gentler.ian who
claimed to be Scotch by absorbtion could
not stand it !
(To be continued) f~:"''--1--1
--1-~!'
bass stream may have contained a G; the you to become familiar with the finger-
baritone E; tenor C; and alto A, he board; inproves your · playing; and im-
merrily plays a C6 with A in the bass- perceptib ,y leads you away from the
By REG. BALCH and so on. " shapes,. mentality to tha t happy state
(Continued from last month's issue.) By the time he has finished, our original when you realise that" shapes" are only a
'.'I
·
KNOW all my chords," is a ph~ase
I often hear from student gmtar-
representation of a four-part song might
look like Example 12 (assuming he leaves
parro t device for speed and that no guitar-
ist "knows all his shapes."
. ists.. This usually means the guitarist the melody line in its correct pitch). Small Going a slight step farther than this, a
. knows a few " shapes" for each chord wonder that many finger-style guitarists guitarist might then start playing "back-
symbol he sees (or can work one out) and, consider the plectrum guitar a " hybrid " ings .. of :1is own invention-but this then
· · in itself. is most commendable-but it also instrument! becomes a matter for experience, ear and
usuallv· means that he plays his chords. I know it is impossible for the plectrum harmonic sense.
with ~o reference at all to inversion or guitarist to always preserve the continuity · I hope this article will enable players of
voicing; his main consideration being that and correct movement of inner parts in the plectrum guitar to put the chord sym-
the' " shapes'' should not be too difficult the same way and with the same facility bol system in its proper perspective. The
or too far apart. as the finger-style exponents of the guitar. system has many advantages and, as a
This matter of " inversion " cf chords We can all, however, try to make a little "device," is invaluable to dance-band
and " voicing" of harmonies is very im- more sense of our chord symbols; try to musicians. Furthermore, a bare symbol
portant and it constitutes the main make our chord changes continuous; and pan leaves a good jazz-man a great deal
objection to utter reliance on the chord try to make the "backing" we play flow of exploitable scope.
symbol system. logically. Its weaknesses, however, should now be
If you see a B t, 6 symbol on a guitar obvious to the reader; it leaves too much
INNER PARTS. scope in the sense that a bad plectrum
part, in which positi'on would you play
it? Which note would you use in the This can only be achieved by listening guitarist can come along, play horrible
very carefully to the innei; parts of the four-string clashes (omitting some of the
bass? Would you even think about such
things? Or would you merely play a chords. played and trying to make the hard ones) with no reference to richness,
chord of B t, 6, saying: "Well, I know changes almost imperceptible, i.e., by depth or this really important voicing/
this shape! "? staying in the same position as far as inversion business and still claim (with a
possible and merely l ifting one finger or fair amount of accuracy) that he is playing
SEPARATE PARTS altering a "shape" slightly to achieve the the part "as written."
Consider the average four-part song. desired change of harmony.
Underlying the melody, which we will When once you start doing this with a AGAINST NOTATION
consider as a horizontal line of musical chord-symbol part," chord bashing" then Personally, at present I am against hav-
sound-(1) in Example 11 on th;s page- becomes the most interesting part of ing orchestral guitar parts written in(
are the other "Jines" of musical sound, pleccrum guitar playing. notation-but only for the reason that I
comprising the harmonies to that melody Try to play the whole part in, say, the have littb faith in the ability of profes-
(2), (3) and (4) in Example 11. Each line, second or third position; and the next sional arrangers .to write decent standard
whether it be alto, tenor, baritone or bass, chorus try the whole part in, say, the guitar parts. If you have ever heard the
is in itself a ·little " tune"; a little song tenth position. This thoroughly tests expressed disgust of a good " gig .,
which should, as far as possible, move your knowledge of chord "shapes", helps drummer with the average S.O. drum part
smoothly and logically and, by itself,
sound reasonable. Ex. 13. It 112 I
At various points-X , Y and Z-we :.r.·I-✓• lo6.,D1,
It ll,o,.,.,.,Jn9.,.,.,JAJnuulDu,.,/Gau.,I ,ll06u,II
consider the four separate parts as a
whole; decide what relationship the har-
IG , , , IBm , ., , I J)m ., , ., IE7 ., , , IA.In, ., , I :I. I Cm , , ., I '/. I
monies (at those points) have to the main ; D?', , , I '/. IAm.71, , ID7, , ., I06., , ., I09,., , I 06., , , I G6 , I I \:
~tream (key) and fix "labels" to the!Ti-
D t, 9, C7, Em6, and so on. "Chord
symbols," in fact,! Ex.14.
One can see immediately the awful IIFin,., , IB~mu, IE~7/ E~+/ / Al,mej7,,., ID~ ,,, lo,,.,,lc.,.,,I'/. Icm,,,_,I
glaring weakness of the system.
Along comes a plectrum guitarist;
IFmu,IB~7,Bh,IE~nwj7u,1Al>u.,los~,n,,lo,,, lot ... IAm7u/lD7,.,., I
~tudies these chord · .symbols; and plays IG , , ., I '/. IAm ., , ., IB7.,.,, IE , , , IE+ ., , , IFln, , , IBbm, , .I IEb7, E~u I
them on his guitar-bur where at" X" the IAl>maj7.,,, ID~, .,.,IDbm, ,.,·IAl,., emulrg.,.,,\Bbm'7.,,, h~b7,.,, IA!.,.,, IAJ.,, I II
 121
FEBRUARY, 1956
B.M.G.
you will have some idea of why l oppose grooves (in an effort to catch what the which the rhy thm is free. Notice the
notation guitar parts! guitarist was doing) is less likely to res ult characteristic glide on the bass string
I do, however, urge you all to stud y in a series of " clicks " at the spot where from F ~ up to the tonic B that marks
printed guitar solos as much as possible. the pick-up was removed or replaced. the end of many falsetas!
Better still, buy piano copies of good num- Furthermore, a particular musical phrase AlthoL1gh this is the only solo record in
bers and make some arrangement of your is more readily located on a 78 r.p.m. the series, ma ny falsetas are to be heard
own. Be careful not to infringe copy- record than on the microgrooves of a L.P . in the accompaniments of the songs.
right in this respect-but what you do in With an adjustable-speed motor, 78's One of the Seguiriyas for which Ja
your own attic is nobody's busi11ess;. as may easily be "tuned" to one's own Nifia de los Peines is renowned is re-
Jong as you keep it that way! guitar or slowed down by as much as a corded on RS.586. Thi s is backed by a
It is unfortunate that insurmountable half. This is a great advantage when Tango Flamenco, a form of Tientos made
copyright difficulties make it impossible transcribing from or playing with a famous by la Niiia de los Peines. This is
for "B.M .G." to print arrangements of record. one of the most exciting sides in the series .
current well -known "standards." Tunes Undoub tedly the best flamenco music (Incid entally, both these pieces are pla yed
with wonderful out-of -the-rut harmonies avai lable in this country are th e series of in the key of A natural, although their
like " Body and Soul," "Night and Day," six discs recorded for Colu mb ia by Nina rhythms are quite distinct.)
"All the Things You are," etc., would de los Peines , accompanied by Nino
It should be remembered that on most
make nice guita r solos. We can now buy Ricardo. These were recorded in Spain
flamenco records the guitarist plays with
" Moonlight in Vermon t " (it ii in the before the war and all bear RS. numbers.
La Ni na de los Peines-litcrally "the a ceji/la clamped at some particu lar fret.
Ivor Mairants album!) though, and with The sta '.ement of the key of a piece of
that ringing - in our ears, who is to say girl with the combs "-is generally
flamenco music is always relative to the
how tasteful a plectrum guitar can be? acknow ledged to be the bes t tlamenco
cejil/a, which is regarded as the. nut: i.e.
For this month, Example 13 (on the singer of the last fo rty years . She repre-
the fifth string open to the cejil/a is always
previous page) gives you the chords of sents the acme of flamenco singing. Her taken as A, irrespective of the actual
the good old standard "Sweet Sue," while real name is Pastora Pavon. On her re-
posit ion of the cejilla.
Example 14 is the beautiful foxtrot , un-
usual ·but logical, "All the Things You DETERMINE THE POSITION
Are."
(To be continued) When attempting to transcribe from a
record one should first dete'rmi ne the
position at which the cejil/a is clamped.
This can occa ·sionally be done by listen-
ing for the lowest note sounded and
By MICHAEL E. F ISHER assum ing this is given by the sixth string
held by the cejilla. Alterna tively, if the
AST year marked the issue of the first
L long-playing flamenco records in
this country. There is now a wealth
key is '.<nown it is mer ely a matter of
locating the actual pitch of the tonic note.
NINO RICARDO Some times, especially in rasgueado
of records from which the prospective For 111anyyears a top flamenco guitarist in passages, it is easy to detect the note on
buyer can choose! However, before d is- Spain the open top string by its specia l sound.
cussing the latest issues, I feel it wou ld This gives the cejilla posit ion dire ctly.
be useful to review those 78 r.p.m. Anot her Seguiriya s (labelled with the
flamenco records that were with us before cordings onlookers may often be hea rd alternative spelling Seguidil/as) is re-
the questionable boon of L.P.s. These using her christian name when shouting corded on RS .695. On the reverse side
10 in. discs contain some of the best encouragement. At present she lives in is a P eieneras pl ayed, as alw ays , in . tbe
flamenco recorded - they are lhe cheapest Seville with her husband Pepe Pinto, who key of E natural. The Peteneras has a
10 buy and one may exercise one's dis- is also a well-known singer. characteristic 6 / 8-3 / 4 rhythm also found
creti.on in the choice of pieces rather than Niiio Ricardo is the stage name of in the Guajiras . The version sung by la
have a miscellany selected for one . • Manual Serrapi. · For many years he has Nina de los Peines is in her own personal
Unfortunately, many already seem to been a top flamenco guitarist. His tech- style. A simpler (rather different)
have become "unavai lable" or have nique is prodigious. The speed with version has recently been revived and
actually been deleted from the catalogues. which he can play must be heard to be become popular.
Before this happens to all these records I believed. However, he plays many
things faster than tradition dictates. This A classical M alagueiias and another
would like my readers to have a chance
Pereneras are to be heard on RS. 551.
of obtaining some. is especially tru e of his Seguiriy as which,
Wherever one lives flamenco records for some aficionados, Jacks the true Ricardo accompanies the M alagueiias in
provide a ready means of "soaking one- savour . On the oth er hand his Bulerias the key of. F ;!$ natural usually reserved
is excellent. for the T aran/as. B natur al wou ld be
self" in the idiom and of absorbing
flamenco rhythms and harmonies . To be On Columbia RS.782 he has recorded the more normal key for Malaguenas.
able to play flamenco properly it must two solos. Every aspiring flamenco There are some beautiful fa lsetas in th is
become part of one's life. A few records player in this country should have this reco rding.
and a gramophone are a sufficient aid. disc which illustrates well Ricardo's On RS. 550 is a second Tango Flam-
78 r.p.m. records are especially useful vigorous styl e of playing. On one side is enco and a live ly Sevillanas (in the key
to the student. Th eir surface is less sus- a rhythmical Alegrias in A Major, with a of C). As I described in my last article
ceptible to damage than that of the newer traditional opening falseta in the minor (Decembe r "B.M.G."), the guitarist co n-
LP.s. Repeated playing of a couple of key. The backing is a Granadinas in fines hi:nself to rasgueado and leaves the
 FEB RUARY, 1956
122
B.M.G.
melody to the singer if one is present . ably the most called for item in his rep er- cour se, much of their value is lost if you
Th e intricate rhythms of the castmiets toire ! fail to identi fy the notes as you go along.
add variety to this record. The Cana on the reve rse side is well Cho rds in the key of B I] a re amo ng
The las t two records by la Niiia de los sung by ·Manalo Manz anilla an d excit- th e most important fo r bud ding dance-
Pein es each have one side devoted to ingly dan ced by An_tonio. Th e three , band .p layers. The fou r-string forms
Saetas. T hese are sung un acco mpanied guitars of Albe rto Velez (one of the given below the sca le should '· be turned
aod are probably even more foreign to you nger giants), Juan Ga rcia de la Mata into six-stringers: B r, by forming a full
the Eng lish ea r than is most flamenco. arid Jose Motos pr ovide a po werfu lly ·barre at the sixth fret , plac ing the fou r th
Saetas--Iiterally "a rrows "-are devo ut rhy th mic backgrou nd. finger (instead of third ) on B r, at the
son gs sung by ind ividuals watching the (To be continued) eighth fret (fourth stri ng) and the third
religious pro cessions that take place in finger on F at the eighth fre t (fifth
Seville du rin g Holy Week . The "brass string); E IJ by forming a full barre at
band " on the record repres ents the the third fret and placing the fourt h finge r
drum s a nd trumpets heading each of the on E IJ at the sixth fret (fifth string); F7
slowly-moving processions. By JACK WHI TFIE LD by formi ng a full ba rre at the firs t fret
The first of these records (RS. 585) is and placin g the third finger on C (fifth
backed by a seco nd Sevillanas; this time
with claps imtead o f casta1iets:
other Saera (RS. 612) is backed by an
The F OR the benefit of
those who need
them, just a
strin g). .
Ha ving worked out the six-string
chords, try to play them in seq uence-
Al egr/as which , like the solos, is in the few words of guid- s IJ, E r,, F7 , B IJ. Tough ? Of
key of A Major . an ce on the solo, cou rse it is-jumping from the sixth fret
Two more records in th is series- .. Lazy Feet ," on back to the third , then back to the first
RS . 972 and RS. 1168- are sung by El Page 23 of the and then up to the sixt h again ! Wha t
N ino de la H uerta. T his singer is not tut or. is more, in the normal cou rse of dance-
in the £ame class as la N ina de los Peine s This is in fact muc h band chord playing, no expe rienced
but his records are worth hearing. simpler than the solo guit ar ist would do it !
in the previous
lesson. Main chords WITHOU! MOVING
THE SAME RHYTHM • used a re F and C:,
Th ~ first record has a very pleasant T he whole sequence can be played
(both shown at the
Caracoles on one side. N o tice that th e without moving the position of the left
top of the page ) but make th e C7 a five- hand at all-by playi ng the chord of B r,
rh ythm of the Caracoles is the same as the string chord by addin g C on the 5th
Al egrlas. It is normally accompanied in with the full barre form at the sixth fret
string (3rd finger). This will enable you (as before); Et, at the same fre t, using
C Major. to play Bars 3 and 19 by holding the
The backi ng is a Fandan go in a more the shape given for B t, on Pa ge 23 : F7
complete chord - raising the second
relaxed mood, acco mpan ied in the old er at the same fret , using the shape given
finger for ope n D. for C7 on Pa ge 23.
style. This is in contra st with the accom- T he chord at the end of the thir d line .
panim ent of the Fanda ngo on RS. 1168 In the case of F7, however , the first
is F- augmented (the fifth being raised a string is deadened by the first finger and
which is more lively. T his latter Fan- semito ne) and the sign a bove it mea ns
dango is also interesti ng because Ricardo the third finger plays Con the sixth str ing
that it should be played wit h emph asis. at the eighth fret ; at the same time dead-
uses the key of A nat ural instead of the In th e first and second bar s of the
customary E natu ra l. ening the fi0h string.
fou rth line, play the first G on the ope n This bus iness of position-playing ;s
On the reve rse of this second disc is a third string and F on the fourth string;
Media Granadina. This is a short ened vital to the aspiring dance-band player.
sliding the finger up to the fifth fret for
form of the Granadina which, in turn , . T here is no end to the experimenti ng and
the second G.
is tile form of the origin al Fandango tha t inve~tigation one can do on a dance-band
Observ e caref ully the difference in pa rt:
deve lope d in Gra nada ! •Li ke the solo rhy thm between the bars with simp le
on the first record referred to, tile gu ita r With this sequ ence, for insta nce, he
quavers (such as Bar 3 on Line 3) and could try playing the B IJ chord at the
part is in the key of B natur al. Th e song those with dotted quavers (Bar 3 on Line
is leisurely and more gracefu l tha n the first fre t; EI} . at the th ird fret; and F7
4). T he dotted q uavers, of course, give
Fandango . at the first fret.
you a "hill -billy" rh ythm; the other s an
Since the war, H .M.V. have issued a You might even play E IJ at the first
even " on e-an d-two-an d."
long serie s of flamenco records on its fret -if you ar e prepare d to work hard
JOS. label. T hese include more songs by A NEW KEY at the follow ing difficult "str etch ": first -
la Nina de los Peines as well as the work A new key- B IJ-is introduced o n finger barre on 5th and 4th strings at the
of other well-known singers. I ,ha ll dis- Page 24. The sca le 'as wr itte n starts . at first fre t (giving B IJ and E IJ respect -
. cu ss these records in another article. the first fret on the fifth str ing and fin- ively); 2nd finger, 3rd strin g, Jrd fret
A single issu e by Col um bia ' (DB. 3050) ishes at the sixth fret on the first string. (B t, ); 4th finger, 2nd strin g, 4th fre t
ma rked the outstanding success in Lon - Player s who have mastered the "pat- (Et,); 3rd finger, 1st strin g, 3rd fret
tern " scale given on Page 47 shou ld also {G ) . .
don of the great dancer Antonio and his
partn er Rosario. I strong ly recommend practise the scale of B IJ in this form. It F our-stri ~g -inversions of the thre e
th is recor d to anyone with a " Spanishy will star t at the sixth fret on the sixth chord s are given in Groups 7 on Pages
taste." The Zor ongo Gitano, sun g by stri ng (second finger) and end at th e sixth 31 and 32. Th ere is plent y of move-
Ro sario, · is . an Andalusian folk song fret on the first string. meot up an d down the fingerbo ard here.
popu la rised by the poet Lorca. The dance Rememb er tha t although execution of Excellent practice if you work slowly,
pattern scales becomes automatic in due smoot hly and methodica lly. ·
was ar ranged by. Anton io and was prob-
FEBRUARY, 1956
&M.G. 123

So much for the .chords in the new key enable the young .Musselbrook to make
-but you must not neglect regular chords properly!
single -string exercises. . That given on From 1910 to 1914 he .appeared as a
Page 24 should present no difficulty. You banjo soloist and ' leader of a successful
will get three times the value from it, · fretted instrument orchestra in the Beck-
however, if you have the patience to enham (Kent) area and, during the same
"transfer" it to the sixth positbn, using period, he played Park e Hunter ·~
the pattern scale in B t, as your finger- arrangement of Liszt's " Hungarian
ing guide. Although the low A does not Rhapsody " at a concert given by the
come into the pattern scale, you will, of G.P .O. Minstrels in the Croydon Town
course, play it on the sixth string with Hall-a performance that was repeated
the first finger. with great success at a Maso n ic concert
You could now make a start on the at Raynes Pa rk, London .
Study in Rapid Fingering on Page 48. In 1927, Freddie Musselbrook appeared
Concentrate, for the time being, on the at a concert organi sed by John Alvey
Lines 1-7. You enter new territory here Turner at the Wigmore Hall, London-
in playing at higher positions on the inside playing the zither -banjo solos "Valse de F. C. MUSSELBROOK
playin g his gui:ar- ba njo
strings. Position and finger markings Fleurs" and " Fernbank Quickstep" and This i11s/r,ime111-a/1l,ough made in the shape
should be caref ully observed. collaborating with Bernard Sheaff, Mario of a guitar-has a ba11;0 scale lengt h with five
I cannot usefully add to the author's de Pie tro, Edward Fairs an d Claude E. strings (including octa ve siring) lune,/ as a banio
note on the exercise, which endorses what Day in other items.
has been said in these articles ~everal He was chosen to play solos at a
times in relation to exercises generally. concert arranged by the Federatio n (S.S.) of works written by A. D . Camme yer ia
(To be continued) at the Memorial H all, Farringdon St., ret irement, he per for med ·on a guitar-
London, in 1937 and, some time later, ban jo; an instrum ent he likes for its
after playing solos at the Central d u!cet ton es.

1ke'84"jo~48~ Y.M.C.A. in London, he

was asked by Miss · Lilian
Baylis, of the Old Vic and
By w. M. BREWER
Sadler's Wells, to give her
(Continued from last month's issue) lessons on the banjo,

F REDERICK
C E C I L
MUSSEL-
Mr. M u sscl-
b r o o k ' s artistry on the
zither-banjo is most remark-
BROOK, M.M.,
able having regard to the
was born in Lon-
fact that he is handicapped
don on October
by a permanent disa bility in
12, 1896. He took
his right arm; the result of
up the study of
wounds received in World
the banjo at the
War I, du ring which he won
age of seven under
the Military Medal. His
instruction from versatility is demonstrated ·
his father who
by the expert manner in
shorten ed the arm
which he plays the contra-
of a standard bass banjo in all engage-
i ns t r u men t 10
ments of the London Banjo
Club.
The published solos of
F. C. Mus£elbrook are
" King of Clubs " and
"Men of Arnheim "; the
latter being chosen by the
Fed eration (S.S.) as an
orchest ral test piece in I 950.
Other numbers from his
pen are "C rinoline" (which
appeared in a "B .M.G."
music supplement), " Man-
dojos Ma rch," "Valse
Ca price" and "Rosiemary
for Rem emb rance."
Whe n Freddie Mussel-
F. C. MUSSELBROOK(right) brook gave a recital at the
playing duets with CLAUDE E. DAY Alliance Hall, Westmi nster. OLLY OAKLEY
 FEBR UARY, 1956
124

the old St. James's Hall. for another three yea rs and the retai ning
Oily Oakley was born in Birming ham
· Th en came an offe r of a regu la r job fee raised to £90 per year. ([t is in tere st-
on November 26, 1877, and comm enced
after Oakley's own heart - testing banjos ing to note that the piano accompaniments
a study of the violin at the age of 10.
Two years later he exchanged the violin in the Wind so r factory , with a studi o set on many of the G. & T. Co. discs wer e
for his brother 's banjo, on which he took asid e to enable him to carry on his teach- played by Landon Ronald, who was later
lessons from Arthur J. T aylor by whom ing and it was at this tim e that he changed knight ed and beca me world famous for
he was employed on leav ing school at the over from banjo to zither-banjo. his co mpos itions and conducting o f Sym-
age of 14. When he was 17, Oily Oakley travelled phony Orchestra s).
At the age of 15, Olly Oa kley started to London to play at a concert in the . At the age of 27, Olly Oakley was
work in the mu sic store of Joseph Riley Fins bury Barracks and af ter the show a appearing on the pier at Llandudno when ,
and Sons in Birming hain and, in 1894. member of the audien ce called " back after on e of his shows, he was introduced
opened h is own studio for teac hing the stage" and intro duced hi mself as a repre- to a young lady, who was late r to beco me
banjo ; giving lessons to betw een 40 and sen tative of the Edi so n Phonograp h Co. his wife. She came from Liverpool and
50 pupils a week. During all this time. wh en his Llandudno engagement ended,
Oily Oakley's fathe r used to travel to Oakl ey decided to make Liverpool his
Lo ncjon once a week to take his son to home. He lived in Liverpool for eight
A. D. Cammeyer fo r lessons a·nd, later , y~ars and built up qu ite .a forge teaching
to Surbiton for tuiti on from Arthur Till ey conne ction there, but his services we1'e
(compos er of' ' Queen of the Burlesque") . requi red in Lond on so frequen tly that on
Olly Oakley' s real name was Joseph July 9, 1908, he married and he and . his
Shar pe. He chan ged his name in 1894 wife moved to London.
whe n an amate ur mins trel troupe was NAME BECOMING KNOWN
being for med in Birmingha m which he At th e end of his record ing contract
was aske d to join as a banjo solois t. In with The Gramophone & Typ ewriter Co. ,
Oakley's own words, here is how the the question of a renewal was broac hed,
chan ge of name ca me a bout: but the name of Oily Oakley was becom-
" At the first rehearsal of the Troupe I ing so well kno wn throughout the countr y
was asked what name I was going :o use (it
was the thing in amalcur theatrical circles of (and so many other Recording Compan ies
those days to work under an assumed name). want ed his servi ces) that the offer was
Hitherto, the idea of a name other than my declined, leaving Oakley free to record
own had never entered my head bul, as it for any Company that wanted his ser vices.
seemed to be expected of me, I began to look
around for a na me that would be easy 10 It was during this period of his career
remember and , at the same time, trip off the that Oil y Oakley cut so many of the hun-
tongue easily. dred s of records for the many different
" I was a follower of the Aston Villa foot• Companies then in existe nce. In 1912, a
ball tea m and one of its forwards was ,,
player whose na me was Olly Wa keley (l re• well-known criti c wrote: "Oil y Oakley is
member he was nicknamed ' the da isy the only player of the banjo who has
clipper '). The name • Olly Wakeley ' seemed achieved the ar t of loud a nd clear
to come easy to th e tongue and r thought
that if l could strik e a name somelhing like 11 playing."
I would have the ideal nom de plume. I Whe n war was declared in 19 14, Oily
started with • OIiy this ' and ' Oily that ' and. Oak ley was one of the first artists to be
calling in • alliteration's a rtful aid,' began engag ed for the famous Broadwood Con -
thinkin g of surnames beginning with an 0 0LLY OAKLEY
and s truck upon my grandmother 's name of certs, a nd for a time he appeared at h ome
IN 1940
Oakley. . Althoug l, <Tippled by rheumatoiil arthtitls -
conc erts for the troops. His own concert
"I repeated the name, 'O ily Oakley' to 111u1b/eto walk or use ltis lumds-Oakl ey re- party , "The Hum ore sques," had been
mys1,,:lf st:vcral lim es an <l jt se em ed to me to
mained cheerful and co11ti111,edto take a11 formed each summer to tour seaside ·
have the sound usually associated w'th peop le interest ;,, fretted instrum ent activities
in the public eye- so ' Oily Oak ley' I called resorts ; and aft er the 1915 summer season,
myself; an d stuck to it for all my future he took it to Sout h Africa, where he
public engagement s." He asked Oakley to make a test record ing visited all the principal towns in the
In 1922, Joseph Sharpe became ·• Olly for his C:ompan y. An appo intment was Union , scoring an enormous success. The
Oakl ey " by De ed Poll. fixed and a few days later a test wax was tour lasted six months, and when he
MORE CONCERTS cut which proved to be the starting point return ed to England , Oily Oak ley resumed
Followi ng the Mins trels, Oak ley of Oakl ey's long record ing career. His his recordin g activities and entert ain ing
appeared at mor e and mor e concerts (all force fu l style of picking (acquir ed the troops in England. In 1917, he went
for ·charity) and , in addition , he was th e through playing in large concert halls) to Fr ance to ent ertain troops resting from
featur ed soloist with Arthu r Taylor's was ideal for recording conditions in the front line.
"Mexican Ban jo Band" which fr equentl y those day s when playing under the old Later, he formed with Ge orge Morris
performed in and around Birming ha m. aco ustical condi tions dema nded a banjo- and Jac k Mars hall a dance band which
His first pr ofessional engag em~nt as a ist who could "pick his notes with force.'' had a seaso n at Bla ckpool.
soloist was at one of the Saturd zy Night Later , he was approached by The Olly Oakley began broadcasting in 1924
concerts that wer e a regular feature at the Gra moph one & Typewrit er Co. (lat er to from the old 2LO studi os and was often
Birmingham Te mperance Hall. Soon his become "His Master's Voice") and was engaged for a week at a tim e to tour the
engag eme nts were tak ing him farlher and put under a three-yeai contr act wit h a various B.B.C. regional stations. For six
farther afield--even to Lon don where he reta ining fee of £50 per aonum. Wh en yea rs, he was a regu la r broadc aster. (Jn·
appe ared at a Clifford Essex concert at this expired , the contract was r enewed tho se days , an artist would play from each
FE~RUARY, 1956 12S

·B.B.C. station in turn, visiting the town in for the correct leng th, by keeping the left-
which the studios were situated). hand fingers firmly on the strings when-
· When the Empire Exhibition - was ever the notes arc still required to be
opened at Wembley in 1925, Olly Oakley By TERRY USHER vibrating.
and hi.s Dance Band (formed specially for Another fault players unconsciously
the engagement) played in the huge (Continued from last month's issue) commit is to let one of the r ight-hand
Stadium ·Restaurant, where patrons could fingers touch the vibrating string, thus
sit and listen three times daily ,o first-
THIS month we re-
stopping the note fro111sounding for its
class dance music being led by a banjo
I turn to the Sor
full length.
Studies for a little
soloist who, as an interlude to dance A third m istake is to let one of the
more encouragement to
music, would play solos. (Oakley Jedthe other left-hand fingers lean sideways. J t
those past the ' absolute
band, playing his banjo standing.) is, in fact, supposed to be playing another
beginner stage. This
In 1930,'.he cut six sides for the Parlo- time, we look at Study note on an adjacent st ring but careless
phone label (his only records to be made No. 5; the shortest of hand positioning has allowed that finger
by the electrical process), but these proved all-just one line of to lean sideways until it touches the
to be the last he was to mak:e. The first eight bars . vibrating string and stops it from sound-
twinges of the complaint 'that was to put This study is really ing.
an end to his playing were beginning to be an introduction to the Well, having wo rked at Study No. 5
felt and, despite the finest medical treat- playing of two-voice music in which the until we can play it presentably-and in
ment, the drea<l rheumatoid arthritis rhythm of each voice is different. The the correct time - with every note sound-
crippled his hands. Oily Oakley last way to play it is not to try to read both ing for its full length, we realise that this
appeared in public on New Year's Day, lines of music at once; that is, both is merely a hors d'oeuvre. No. 6 is the
1931, at a concert in Haltwhistle (near voices. main dish. It is the first real composition
Carlisle). Firstly, read and play through the line in the seven books of studies and well
He died in the West London Hospital of music with the stems upwards. Be worth playing to your friends .
from a punctured peptic ulcer on January sure you hold out each note for its cor-
4, 1943. rect time value. Count "Four; One- BINARY FORM
two-tbree-four" ; etc., as you go along, Study :"lo. 6 is binary form-t hat is, in
VERSATILE BANJOIST to check your timing. two parts - and an alysed further it turns
Olly Oakley was perhaps the most ver- Then do the same for the bass line- out to be the A.A.8.A. type of musical
satile of all British banjoists. He played that is, the one with the stems down- form that will soon become an old
compositions by Morley and Cammeyer wards. friend, for it is one of the most com-
as well as his own works. The latter Remember that each line must add up, monly encountered and one of the most
included such evergreen numbers as in each bar, to four beats so do not for- effective of the simp le musical forms.
"Dashwood Quickstep," "Rugby Par- get to count in the rests appearing in the A tune through once, to let you hear
ade," "Pastorale," "Devil May Care," line with the stems downwards or you it. Then again, to fix it in your mind.
"Fernbank Quickstep " and " Winifred will be unable to get the four beats. Then ano ther tune, to avoid monotony.
Mazurka"; the difficult solos "Sweet Finally, the- first tune again to remind
Jasmine" and " Marche de Ccncert "; PLAY TOGETHER you of the first theme before you finish,
arrangements of Berlioz' "Rakoczy It is probably from this form that the
When you have played each line separ-
March"; Kowalski's . " Marche Hon- ately, play them together. The notes-and Sonata Form-the best musical form
groise" and the "Nell Gwyn Dances"; from a composer's point of view-wris
the times-of course overlap so that you
md medleys of popular songs of the day, have to count the two lines at the same developed. But you are all a Jong way
~.g., his "All the Winners" selections. His time. It is like playing one line with the from playing sona tas yet, so let )lS not
;howmanship. was supc.:rb. I rc.:membt:I'a dwell on that subject!
left hand on the piano and the other line
;oncert at the Wigmore Hall when he put with the right hand. In Study No. 6 the melody is in the
:,ver a seemingly unrehearsed show with If you strike the notes at the correct treble, with the note-stems pointing up-·
his then accompanist (fhomas Best). They moment and liold them for the right wards.· Make this "voice " the pre-
played the ._latest popular tunes "appar- length of time irrespective of what is dominam one and keep !he notes with
ently" unaware "what the next melody going on in rhe other line you are sure stems po int ing downwards a little quieter.
would be." The artifice was an outstanding to get it right. , Do not forget to alternate your right-
success. Ol\y Oakley paid tribute to his The mistake every pupil makes when hand fingers when playing the treble notes
wife with his "Winifred Mazurka " and he begins to play this kind of music is to in bars such as 2 and . 3 (do not count
to his youngest son (killed dur ing the war take his left-hand finger off a note as soon the first note o f the piece as a bar!). Too
in an R.A.F. training flight in Canada) as he has struck it; even if that note is a many pupils try to "get away with"
after whom his popular solo "Tony" was minim or even a dotted minim. The note
named. Neither Tony nor his other three · is doubtless still sounding clearly "in his
playing all the three treble notes in these
bars with the same right-hand finger.
sons, Maurice, Cyril and Teddy, took after mind " but it certainly is not sounding When I am leaching I have eyes like a
their father. "in the room" ! As the player is pre- hawk and when I see a pupil doing this he
(In this series Mr. Brewer is prese,1ting , as
1 sumably intending his playing to be is made .to go over and over the bars until .
fm· as possible in alphabetical o,der, biovaphies listened 'to some time (if only by his they can be played with alternating fingers
of we/1-knowil British players of tlie banjo .-
EDITOR.) . friends) it is no use playing notes " in his of the right hand.
(To be continued) mind." The correct fingering is clearly marked
All notes have to be struck and held out in these Dobrau:e; editions so there can bf>
126 FEBRUARY, 1956

no doubt which fingering to use. The Sal Salvador Quartet. Capitol

In Bar 8 there is a small vertical line KPL.105 (10 in.; 33 r.p.m.).
between the second and third notes. Do A disappointing record in which Sal-
not mistake this for a figure 1. It is, in By "Discus" vador fa ils to live up to the promise of
fact, a form of phrase mark used in these " After You've Gone " and " Crazy the sleeve-and of his previous solos on
Viennese editions and signifies a very Rhythm "-Martin Slavin's Vibra• Kenton records . There is no light or
small pause (known sometimes as a chords. Esquire 10-416 . (10 in.; shade in the playing and little melodic
piccolo pausa) between ·the notes. It is 78 r.p.m.). inventiveness in music that is strikingly
more a slight gap; a making of ·the In many ways these sides are remini- unmemorable. The average gig band
second note in the bar stacca ro rather scent of the old Goodman sextet and the could think up as good stuff as fifty per
than a true pause. Its purpose is to show music itself is no more modern than that. cent. of this. Even the technical disp lay
that the " first tune " is completed and Best solos are from Dill Jones and Keith is, for America, most commonplace.
its "repeat" is about to start. Bird. These are far better than the first Only in "Salutations" does he get
In other words, remember:ng the two sides by this group (reviewed here a moving-arid then he is highly repetitious.
A.A.B.A. form of the composition, you while ago) and make good listening of
hav.e finished playing A and. you are the conventional sort. Recording is ex- " Hi Lo Boogie " & " Truck Stop
a bout to start the second A. Grill "-Arthur Smith and his
cellent-unusually good for Esquire's Crackerjacks. MGM.805 (10 in.;
When you have finished the second A British issues. Archi e Slavin (brother of
(in Bar 16) there is a crotchet rest instead 78 r.p.m.), and MGM.SP.1122 (7 in.;
the vibes-player leader of the group) 45 r.p.m.).
of a piccolo pausa before you repeat the plays two short solos in the second num-
A.A. or (when you have played the_ re- ber and the second of these· is not bad for All the guitar playing is in th e first title.
peat) before you go on to B beyond the one who just about qualifies as a veteran This is rather more enterp rising and
double-bar sign. acceptable than most of its predecessors,
in the business. Pre-war guitarists will even though it says no thing that was new
You know , I suppose, that whenever a remember him well.
work begins with an "odd note'' instead even 20 years ago !
"Move It On Over," " Fly Trouble," " Hawaiiao Serenade "-Ken Griffin
of a complete bar, the last bar of the
" Window Shopping" and "Pan and Andy Nelson. Columbia 33S.
work is always shorter than it should be
American "-Ha .nk Williams and his 1057 (10 in.; 33 r.p.m.).
-shorter by the length of the "odd Drifting Cowboys. M.G.M. EP.512
note" that appeared at the beginning. - An electronic orga nist and an electric
(7 in.; 45 r.p.m.) (extended play).
Hawai ian guitarist take tu rns at playing
THE "ODD NOTE" A very good buy for anyone who likes eight Hawaiian numbers of the slower
Study No. 6 begins with an " odd music in the Hank Williams' manner, ,in kind; three authentic and five being indi-
note" before Bar I-so Bar 16 is shorter the least. Records of this type abound
genous to the Charing Cross Road-Den-
than indicated by the time signature. The but few, if any, are so acceptable as these. mark Street group of islands ! Both
" odd note" is a crotchet-so this crotchet The music itself is of the simple C-F-G7-
players give good accounts of themselves
is subtracted from Bar 16; which is only C type with no trimmings; the numbers and the recor d may well sell freely to
two beats long instead of three. have a cheery melancholia about them;
those who like· a simple melody played
After the double-bar (which signifies and ther e are good solos from e.H.g. and, well, rather lushly, and without due
especially, e.p.g,
the end of a theme or section) we find regar d to authenticity.
another "odd note" of a crotchet so that Slim Whitman and his Singing Guitar.
Lond'on REP.1006 (7 in.; 45 r.p.m.) "Bon-bons, Chocolates and Chewing
the last bar of the whole study is also
short -again it is of two crotchets ' (extended play). Gum" & " Apples, Peaches and
The singing would be at least inoffen- Cherries" - Josh White. Vogue
length; one crotchet played and one
c rotchet rested, sive if possessing no positive virtue, if it' V.2308 (10 in.; 78 r.p.m.).
How far Josh White has travelled
Do not forget to repeat each "sec - were not for the bursts of yodelling and
(progressed is hardly the word!) from the
tion " between the doublt: bars. The two the disgusting noises made by a man with
an e.H.g .... if that is a "si nging" guitar, great songs and folk artistry that made
dots each side of the double bar show
I am Winston Churchill. When the comic his reputation can be judged from these
that each section must be repeated. Note,
sleeve notes speak of "folk origins," and two commercial offer ings. They are
also, the little - letter p below so.ne bars.
one of the numbers is "Rose Marie," we good, of their type, but what a sad waste
They do not signify pianissimo or quiet
indeed feel that we are learning some- of great talent !
but signify pouce or right-hand thumb
to be used to play these notes, thing, We also feel a little uncomfortable Americans in Sweden. Esquire EP.45
Finally, watch for the "climaxes" or when the same notes speak of the con- (7 in.; 45 r.p.m.).
" most exciting parts" of the study. Play tents as " smooth, civilised music in the One side is given to the Ji mmy Raney
mp or p and gradually get louder until modern manner." Oh dear! ensembles, the titles being "Indian Sum-
the climax is reached (where you play f) " Blues in the Night" and " Breezing mer" ar.d "Jump ing for Jane," and the
and then die away again. Along With the Breeze "-Nellie jazz is comparable with the best in the
Where is the climax ? Only experience Lutcher and her Rhythm. Bruns- U.S.A. Raney gives solos .that have a
will tell you this-but if you have any wick 05352 (10 in.; 78 r.p.m.). continuity rare with him and his tor -
musical feeling in you, you can tell where Welcome return of ebullient Nellie, in tuous, melodic lines con trast with the
the most importan t moment is. It is fre- fine form, with a guitarist whose solo in directness of Chuck Wayne-for those
quently where the music mounts to the " Breeze" (acous tic p.g.) is as buoyant as lucky enough still to have H.M.V.
highest note in the treble or where the Nellie hersel f and shows an equally fine B9771 (Coleman Hawkins's Orchestra,
harmony suddenly changes. disregard for the occasional " clanger ''; " Jumping for Jane").
(To be continued) on which enlightened note we commend
(To be continued)
this to you for your lighter moments.
Edited and fingered by
DUETETUDE
TERRY USHER
SpanishGuitar Duet
CARULLI

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 UMI IA I NUIK.E AHO
Hawaiian Guitar Solo

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 Jittery Joe. ·
Banjo Solo (Finger or Plectrum Style)
FEBRUARY, 1956
B.M.G. 131

beaten track. Then, after circling up and Our driver braked gently-and things
SPAIN down We_ would find ours(,lves passing started to happen !
WITHOUT SIESTA (5) through them.
We stopped for a meal at one of these
For a few ghastly seconds I thought the
steering had gone; the car seemed com-
By lvoR MAIRANTS villages and the hotel-if one may call it pletely out of con trol. We were madly
(Continued from the December issue) that-provided us with a never-to-be.. slithering towards a head-cm crash with
ALENCIA! forgotten memory. The people and the oncoming lorry !
V I wonder if J. Padilla, composer
of the rousing tune named after
atmosphere . could have belonged to a by-
gone era of perhaps a hundred years ago.
Instead of a crash we slid a longside;
almost touching. , What a relief ! I recall
one of Spain's best-known ports which in It was the sort of place Don Quixote him- at the time that the thought passed
the late -1920's created a fashion for hats self cou ld have lodged at- and just as through my mind that there would be no
amongst the ladies, ever visited Valencia. remote. more guitars for me to think about.
My impression of this port was a busy We had some difficulty in getting food The car was still careering along in a
l?rovincial commercial town and seaport : there because a fiesta had been going on mad slide, but the driver managed to
Hardly the romantic place it is made out for a week prior to our call-and every- pull it over-off the road and the earth
to be-even bearing in mind that an body jt1st ate, drank and made merry. finally gripped the wheels and we came
Englishman can find a romantic atmo- The heat was overbearing but indoors the to a stop.
. sphere anywhere across the Channel ! stone floors made everything cool. The rich red earth continually blows on
After I had settled my agreement with to the roadway and after receiving a
the Brothers Conde (described in detail in WE MEET A STORM wetting fro m the sudden rain it had be-
the December" B.M.G.") I decided to go Moving on to reach Valencia before come like soap and we were caught · in
to Valencia-or to be exact, to Masanasa dusk fell we encountered a storm. Appar- the skid trap.
-where Ricardo Sancis has his guitar ently it had not rained for ages and this The road into Valencia itself was lined
factory. Nothing like seeing the instru- performance was" really something." We on both sides with masses of gorgeously
ments from their raw state and ex1mining finally descended from the mountains and colourec flowers that were a treat to see
each stage of their manufacture. reached a stretch of level road with after the giant boulders and other gaunt
We left Madrid in our- car about mid- beautiful red earth on both sides. The rugged formations of the mountains.
day and began climbing. It was really storm had p,asscd us and the ra in had After saying good-bye to my friends the
"Coming Round the Mountains" and we ceased. There had hardly been any traffic interpreter and the driver, we were now
traversed some of the most wonderful for over 200 miles when unexpected ly dependent on our own linguistic abil ities.
rugged mountain scenery. It was truly we saw a car travelling slowly in front of The Spanish of my wife, son and myself
majestic. The little towns and villages us. We could not overtake because at was practically nil but my daughter
we passed had a habit of appearing to be the same time a huge lorry was coming Valerie had picked up quite a bit of basic
situated in <list.ant valleys, far olI the towards us. Spanish during our week or so.

"THE BANJO'S BACK IN 1'0WN ! "

132
B.M.G. FEBRUARY, 1956

Valencia seems to be a busy town Spanish guitars of good quality and that
where commodities are a little cheaper I was relying on his firm for our supply.
than elsewhere in Spain. The specialities He agreed to do his best to see that what
were shoes, clothes-and open drains ! we received were made of thoroughly
Not forgetting sailors, many cafes, hotels seasoned wood and checked in every way. By JACK D UARTE
and lodging houses-and last, but not Gradually the whole family collected (Co11tin11et! from the December issue)
least, the hou&e of" Tatay," "Julve" and · and we ended up in the courtyard with
" Sanchis " guitars.
There are famous makers - " Esteso "
myself sitting down trying the many
guitars handed to me; the whole
making encouraging remarks. This was
family T HERE are many
ways of organ -
ising the guitar
1101 amongst them-who put their own
really mixing pleasure with business bu t fingerboard in terms
labels in guitars made for them by these
time was passing too quickly for me. I of mus ical resource
firms!
could not afford to indulge in the pastime but all are based on
My first call the following morning was the inter-relationship
of Manana.
to a suburb of Valencia called Masanasa. of the vario us mov-
My son, Siu.art, who is interested in thto Back to Valencia we went to see able or " genera l "
manufacture of instruments, went along Tatay's-in the centre of what seemed a major scale fo rms-
with me. The front of the two-storey densely populated back street. Our visit all, that is, that a re
building bearing the name FABIHCA DE was a short one as I wanted to make the worth considering.
GUITARRAS R. SANCHIS contained acquaint ance of Telesforo Julve. He has A peculiar case,,
higil, wide wooden gates with shuttered a shop, backed by a facto ry and ware- though, is that of the
windows on each side. house. He also makes his own str ings George Bar nes Method.
and has his own despatch department. Barnes, who was featur ed on last
There was a small door in the gate .that
in response to my knock was opened; . month's cover, is a good ish, boun cing
admitting us to a large indoor courtyard player of the older school (musica lly) but
formed by three sides of the house. his published Method is a locus classiws
Eventually Vicente Sanchis Jr. was found for putting carts before horses. His
and I explained I had come to see his fingerb oard rati tmalisation is based on
workshop, stock and materials and to major scale forms, like the others, but he
learn about his methods of making guitars derives his movable scales from the nut
since I had ordered a large number fo1· position forms-an d names them accord·
Great Brit.ain. ingly: e.g. "C form," "G form ," etc.
This in itself is so unsound and irra -
LANGUAGE DIFFICULTY tiona l that the fact that plectrum and
/vo,· Maira111s(mu/ his family) iu the showro om
fingering directions are omitted from
Unfortunately, Mr. Sanchis Jr. could of Te/esforo Julve (extreme righ t)
most of the exercises in the book is almost
not speak English and I do not think he a detai l!
had the slightest idea what I was saying.
However , I learned that he had taken a Mr . Julve is now the senior member of EIGHT SCALE FORMS
correspondence course in English and a family of guitar makers who have been
Chuck Wayne's fingerboard picture is
co~ld understand some of the language if in Valencia for many years . Besides based on eight scale forms; four of which
written down. He had never heard manufacturing, he has a prosperous sho p
are twins, differently fingered-making six
English and had no idea how th e language --shown in the accompanying photo-
basica lly different ones. MS. and other '
sounded! graph. He, too, showed me requests from
engraved mater ial on this matter will
all over the world for his instruments;
From then on we wert! busy writing have to wait until the nex t issue. The ·
few of which he was able to supply.
our "conversati on." reader who has followed me for some
By the time I had found out all I time will, however, be ab le to revise ·
He proved most co-operative and wanted it was nearly 8 o'clock and time 'some of my earlier materia l in which I
although there was no work going on , to catch the night boat for Palma Mal-
gave the seven basic forms of major
because of a death in the family, he lorca. Off we went again, with ou r
showed me the main floor with seven luggage and some gui tars I had collected scales (in connect ion with fingerboard
work benches; the timber stored for dry- rationa lisation for sigh t-reading) . For ·
from Mr. Julve . Needless to say, the those who have not access to that issue of
mg; the frames, clamps and tools for guitars in their cases caused the same "B.M.G ." , I will give these forms again
b~nding'. and even gave me a sample of topic of conversation as they would have
hrs special glue to take home with me. next month.
done at home-like "Give us a tune, Those you sho uld concentrate on are
He. ~howed me his correspondence mate ," but in Spanish, of course! (my numbering) I, II, III, IV, V and VI.
contarnmg requests for guitars from all Here you might think I would have I will also try to give some idea of
parts of the world and when I asked him been forced to take a siesta~but the Chuck Wayne's approach to the overall
why he had not supplied these firms he "calm" Mediterranean became rough picture of which these fingerings are a.
replied that they were sufficiently busv and tossed the boat about in a most tm- part.
supp!ying Spain! · sleepy manner. It was somewhat ironic If I were asked: "Who would you say
I explained that the guitar was because I had chosen the boat trip in is the best-loved guitarist in jazz today?"
becoming more popular in Great Britain preference to flyin~ as I wanted to relax I should answer, witho nt hesitation, " Bar-
and that we were unable to supply the in the calm of the Mediterranean! ney Kessell." He is tru ly everyman's
need for reasonab ly-priced genuine guitarist in a musica I sense and has a
 133
f<EBRUARY, 1956
B.M.G.
number of most amiable characteristics. ing chord realisat ions I have ever heard; " Barney's Blues "-one of those fasc ina t-
Firstly, be is a true jazz player who an economical single-string passage; ing little tunes that will insinuate itself
always plays with a compelling and virile chords again; and finally a Coda that is into your whistling for days af ter one
beat. His playing is always in good taste so simple but so effective that one won- hearing-given typical Kessell harmonic
(never descending to the vulgarity that ders that no-one else has stumbled across twists at the phrase-ends .
can so easily come to those with a wealth it before! The theme is first stated . by Kessell,
of technique) and he has no inhibitions The other solo is "Our Love is Here to playing with his right-hand fingers; and
in the matter of style. Just as Reinhardt Stay" and the overall pattern of presen- this is the best use of this rather restricted
successfully blended the strangely differ- tation is the same - as is also the degree method I have yet encountered. It not
ent flavours of jazz 'with gypsy rhapsodis- of enchantment. only gives a delicacy of tone and softness
ing, Kessell brings the jazz manners o( It should be remarked that the opening of attack but also enables him to weave
advance 20 years in the course of eight (and closing) chord choruses are really in the bass-line essential to the overall
bars without apparent inconsiste;icy. quite easy to play; finger-wracking chords effect.
Because he feels it so truly and plays are not necessary to the clear-thinking The second chorus fiuds Bob Co oper
it so cleanly and with such a beat, it could musician, no matter how many people doubling the melody on oboe and the
hardly fail to carry conviction with the may be blinded by this kind of" science." total sound is even more engaging than
listener. Bob Cooper joins issue with his oboe with Kessell alone. Each soloist (piano,
Paradoxically, although Kessell often in four items and although he is a vast oboe, guitar) introduces him self ove r an
sounds as though he is near the limit of improvement on the puffy noises of Bud interesting chord sequence. The piano of
his technique (and, another paradox, this Shank's flute, his tone is not true oboe Claud Williamson is crisp and lucid; the
happens in single-note passages much tone. It is rather that of an intelligent oboe a ·trifle messy and embarrassed;
more often than with chords) he never saxophone player who can blow and but Kessell is his usual forthright self-
sounds strained. The effect is rather finger the double- reed instrument. Never- first a single-note chorus with Barney
one of excitement. theless, it is a canvas against which Kes- opening by pu rsu ing a short phrase from
The clarity and logical pursuit of his sell can project beautiful counter-melody top to bottom of the guitar until there
ideas has also the effect of conferring in- (" How Long Has This Been Going On?") is no more guitar left and then a chord
dividuality to his playing-quite apart and rich harmonic colours (" Prelude to a chorus in which he articulates the chords
from the character of the ideas themselves Kiss") and Cooper wisely adheres to the with the same "open-shut" variations of
-because these qualities are present in plain melody, making his oboe sing to the attack that one associates with a good
few modern jazz players and in none to a best of his ability. brass section.
greater extent than with Kessell.
SUCCESSFUL EXPERIMENT TOUCH OF GENIUS
OWN EFFECTS In "Speak Low" the oboe and guitar Fina lly, the opening theme. A last,
are scored, in the ensemble, together in tonic-based, chord from Kessell which,
Technically he makes a more full use
of the guitar's musical resources than any what is a fairly successful experiment in as it dies ou t, is met by a slightly swelling
other prominent player and many of the tone-blending rather than the mutual drum roll from Shelly Manne-the drum
enhancement of the two instrum en ts. being tuned exactly to the tonic note of
textures and effects he uses are entirely
his own property, e.g. the playing of a The gem of the oboe-assisted pieces is the key. A small touch of genius!
series of chords with up strokes in "Just The remaining two tracks are fast
Squeeze Me" (his L.P. Vol. I on Vogue numbers, in whic h Cooper plays tenor
records). MUSIC STANDS (with which he is far happier); one
All these-and more-thoughts have "standat·d "-" Slow Boat to China"- -
been prompted by listening to Barney A *
really and one original-" 64 Bars to Wiltshire."
The former is good but the latter is much
Kessell Vol. 2 (Vogue LDC. 153, !Oin. efficient
• 33 r.p.m.). solidly - bu llt better and Kessell cascades his way
music stand. through a truly amaz ing chorus, parts of
The first volume, as I said in an earlier Folds up small
article, was great. This is greater. enough to be which have to be heard . a few times
carried in the before they can be credited.
His bedfellow in Vol. I was Bud Shank instrument
(alto and flute) whose playing has never This record deserves to sell well and
case.
appealed to me; his flute contributions to Vogue Records should receive the sup-
Vol. 1 were remarkably seedy. In Vol. 2, *
Te I es copi c port they deserve for such a fine issue.
however, Kessell has co-opted Bob upright A Hampstead (London) reader wrote
adjustable to to me recently, in a high ly self-op inion-
Cooper (tenor sax and oboe); an L.P. of any height.
whose wonderful Sextet was recently re- Really w ide ated vein, and in his letter asked: " Do
viewed in these pages by "Discus." ledge for you really think th is (Kessell Vol. 2) is
music. great virtuoso playing ? All this solo
Two of the eight bands are Kessell
music. I am sure some guitarists in
solos with rhythm backing. " A Foggy
Day in London" opens with a guitar
*
Nickel plated
ihr<J11ghouc.
England can do just as well! "
My answers are, simply: '' I do," and
chordal introduction of great delicacy; in PRICE "For instance, whom?"
which some chords are played (on off- '17/6d. Get his record; judge for yourself - •
beats) so skilfully that they match the (Postage and
packing 2/-ex,ra) and give yourself a rare treat in do ing
harmonics used earlier in a similar struc-
CLIFFORD ESSEX MUSIC Co., Ltd. so.
tural position.
8 New Compton St., London, W.C.2 (To be continued)
There follows one of the most enchant-
134 B.M.G FEBRUARY, 1956

In bar 4, there is a gap in the melody, such things straight off.

which gives you an opportunity to " fill Bars 5 to 8 can be treated in a similar
in." Try thinking up something simple way to bars I to 4 but from the third beat
and working it out on your HG. If you of bar 7, the top two lines in the piano
By BASIL KING
still get no ideas, or if you want to com- treble stave cease to provide satisfactory
pare the ideas you do get with something two-part harmony. Also there is not a
READER has
A suggested
that I devo te
definitely good, examine the top two lines
in the piano treble stave in bar 4. You
r eady -made " fill-in" in bar 8 like th ere
was in bar 4.
find there a " fill-in" in thirds which is For the backing in the next few bars,
some articles to from bar 9, perhaps you begin to get
the subject of play- completely in keeping with the character
of the music. some ideas. Someth ing simple-such as
ing an ad lib a chord played on the first beat of each
chorus, and to If you use the E7th tuning, you may ob-
ject that it is not convenient to play. Try bar and sustained through the bar. On the
playing a chordal
modifying it to something that is con- first beat of ba r 9, on the E-type and
backing to a vocal C :jl:m tunings, you could play a B t, 7
or an instrumental venient to play.
I should modify it by playing the or B t, 13 chord, with the note B t, at the
solo. top, coinciding with the melody note in
These are inter- second line down in the piano treble
stave in bar 4 as the melody line of the the music. I should play the chords high
esting and similar subjects. They both
fill-in, with the orig'nal top line an up; the first one at the 18th fret.
require the player to compose mus:c that On the A tunings, for bar 9, you could
fits in with music already composed. You octave lower as my !1anno ny line. This
changes the original third intervals into play the top B t, note with the important
therefore have something with which to
sixth intervals and makes the "fill -in" harmony 11ote D ; picking the D a little
start, something to give you ideas, which
convenient to play on the E7th tuning. before the first beat of the bar and the
is a great he!p. B t, on the first beat. Play high up,
The simple formula for success, of You may object that you would not
have time to think of all that in impro- with the B t, at the 18th fret. The D then
course, is to take the original music; think
vising a backing to a soloist ! If you think comes or. the 3rd string at the I 7th fret.
up some ideas for your ad lib chorus,
chordal backing, or obbligato: sing or of these things now and keep practising
them, you will eventually gain such a TIIE SAME PATI'ERN
hum or whistle the ideas if you find that
necessary at first; wor k them out on your mastery over your thoughts and your in- Following the same pattern, you will
HG-and there you are.! strument that you will be able to play play an A t, or A t, 6 chord on th e first
No, I am not being funny. That is the bea.t of bar 10, with the note A t, at the
formula. I realise that good ideas may top. On the E tunings, it will come at
THIS MONTH'S the 16th fret. On th e A tunings, you
not come easily and that it may be diffi-
cult to work th em out on your HG at first;
COVER PORTRAIT will play the melody note A t, with the
that you may have to improve your tech- Ro/a11d l/arl<er started to play the important harmony note C.
/>a11joat the age of 1\-being given les- Notice that the harmony changes to
nique or simplify your ideas or both; and sons />y his father. From the banjo he
that you will certainly have to learn some graduated lo the plectrum guitar and Ddim on the fourth beat of bar 10 (al-
harmony to play chordal backings. The quickly reached professional standards. though this is not given in the chord
At the end of the war he toured Ger- symbols on the music) and I should not
essential thing is to make a start, follow many, Austria. Italy, etc., for ENSA and
the formula, and practise until you play ano ther chord on this beat if I were
bro(Uicast over BFN. AFN and the
achieve the desired result. Austrian Fo rces ,ietworks with his own following the chord-backing pattern sug-
It is in making a start I can and will Se~tet. gested above.
Retumi11g to E11gla11dhe established My next chord would be an Et, or
help you. Thinking up your own ideas himself i11 the circle of "se ssion"
and p,ractising is something only you can Et, 6 one (with the note G at the top)
players ;,, Lo11don and has played with
do . band-leaders Duncan White, Bernard on the first beat of bar 11. On the E
Motlshin, Leslie Baker atld many other tunings, it will be easiest to play a double-
ON THE RIGHT LINES recording a11d broadcasting l>a11ds. stop, wi!h the note G on the I st string .
He is the player of the guitar with the at th e 15th fret and the harmony not e
Playing a backing (not necessarily Mantov<mi orchestra on records , broad-
chordal) to a vocal or an instrumental casts and television shows a11d is the B t, on .the 3rd or 4th string (depen ding
solo, will put you on the right. lines, so featured guitarist with the Alber/ Marland on the !lining) at the 14th fret.
suppose we do that for a tune you prob- Orchestra al the Mayfair Restaurant. At The gap in the melody in bar 12 calls
ably know, "Sing Me a Song of the this exclusive Lendon night spot he oftetl for a " fill-in " and the top two lines of
plays his ow11arra11gements for guitar <>!
Islands," working from the popular piano such numbers as u Clair de Lune," .the piano treble stave give a good one,
copy (the same arrangement has been ♦, Malaguena/' etc. against which to measure your o~n ideas.
published in Chappell's First Hawaiian Recently he was featured as a soloist on In bars 13 to I 6, a similar backing to
the ITV feature " Lights of Lendon " and that in 1:ars 9 to 12 will be satisfactory.
Album). Number the bars of the refrain has wrillrn and played some of the inci-
only from 1 to 44 for easy reference. dental music for tire film "S oho Fair." The melody note drops down to Et, in
Suppose, for the first few bars, you get llis playing of his own guitar solo bar 15, so make Et, the top note of your
no ideas. If you are backing a singer, "Serenata" is heard in one scene of this chord on the first beat of bar 15.
forth coming film. The piano treble stave gives a typ ically
play the melody-or the top two Jines in Roland Harker' s solo guitar arrange-
the piano treble stave, which give you ment of Lecuana's famous .. Malaguena"
Hawaiian filf-in from the last beat of bar
melody and harmony in !birds. This is published this mon~/1. This arrange- 15 to the first beat of bar I 6. I n playing
sounds nice behind the vocal. If you are ment. although primarily for the player of this fill-in on a 7th tuning , you coul d
the Spanish guit ar, can also be played ant icipate the harmony change lo Et, 7,
backing another instrument, leave it to by the p/ectmm guitarist.
the other instrument. in which case your fill-in would consist
 1956 135
FEBRUAR Y,
B.M.G.
"Concierto de Aran juez " (Rodrigo), " Con - Jack Duarte & ·Roy Plummer , etc.
of a slur up from a D7 or D13 chord to There i; a stea d y demand for the IOs. 6d.
certo in D" (Castelnuovo-Tedesco) and " Con-
an E tJ7 or E tJ 13 .chord. certo " (Wissmer). Perfo rmers must be in the and 7s. 6d. seats so those who wish to secure
In my arrangement of " Auld Lang age g roup I 5 to 30. seats sho uld apply now to the Treasurer. · Any
Syne" in the Music Supplement last I will gladly fu rnish further details to any- rem aining will be sold at the door, as will the
one inter ested! 5s. unreserved seats.
month, bar 12 of the Stand ard and H igh Catering facilities arc being provided for in
Bass tuning par ts should, of course, have (To be co11ti1111ed) the adjoining hall and there will be a number
shown fret 12 for the note on the last of trade stands showing t he latest inst ruments
!>ea~of the bar. and accesso ries. T hose who com e early will be
able to obta in refreshme nts and inspec t the
(To be continu ed) tr ade show. Th ere will also be an interval for
the same purpose. .
A COPY OF THE TESTS NECESSARY TO The place is K ensington T own Hall (almost

~N~sfrm,lOvUS"eas SECURE " B.M.G." DIP LOMAS

can be obtained free o f cha rge by applying to
the Editor , "BM.G .," 8 New Co mp ton Street,
opposite Kensin gton High St. Undergro und
station) and the date is Tuesday, April 10 . T he
time, 7.30 p.m.
Collected by PET ER SENSIER. London, W.C.2. Our mailing list con linues to expand. Any
Mu sik- read er who wishes t~ be notified by post of our
Austria. This year's "Internationale The following candidates have been award ed forthcoming act ivities should send me his (or
tagc in Oeste rreich " will be held from August diplomas: her) name and address.
S to the 15th. ·1he guitar i.s well featu red in
this international mcctin~ of music-makers be• Norma Wylie , of Germiston, "A" Grade V. J. PARSLE R.
cau se Karl Scheit, Profe ssor of the Guitar at (Ma nd olin).
the Sta te Academy for Music, Vienna, iS a lead- Jfazel Wylie, o f Germiston, "A " Grade
ing liehr. G uitarists from seven countr ies (Ba njo).
attended last year's meeting.
·r cacher: Chas. Ma crow.
Examiner: Kassie KasperS<n.
The days arc devoted to teachini; and lec- Th e Btresford Ma n dolin Orchestra after
Daniel Pieter Bredenhano, of AJbcrton, "A"
tures and the evenings arc given over to prac ti• twelve mcnth s training, gave its first co~ccrt at
t · cal playing in whi ch the guitar i$ used both as
Grade (Plectrum guitar).
Anthony Bema.rd Sacke, of Brak pan, "A" the Lcich :1ardt (Sydney, N.S.W.) City Mission
a solo and chamber-ensemble instru ment. Hall recently, when over £IO was raised for
Brazil. Maria Luisa Anido recen tly gave a Gra de (Mandoli n).
Tea cher: Chas . Mac row. the Mission's Cri cket Clu b. The group, which
recital in Sao Paulo. An interesting programm e rehearse s under the direction of P.hil. Skinner,
Examin er: G. A. Kudsce ..
included " Dolor" (San Sebas1ia11), "Castel- also held a recita l and Ch ristm as pany on
Albert &!ward Lee, of Nottingham, " B "
lana " (Villar), " Impromptu " (Uo!Jet), " De December 22 and is already booked fo r several
nie Tierra " and " Pericon " (A11ido) and the
famous " Vidalit a " by Alb erto Wil:iams.
G rade (P lectrum guitar).
Teach er: Elsi e Dawson.
Exam iner: J. Chambe rlain.
. . .
en gageme nts this year.

Roneo l Simxs , freque ntly mentior.ed in thi s Recently issued fretted instrum ent records
column, is the possessor of a collection of include "Stra nger than Fiction " (used as signa-
records of guitar music second to none. He ture for the B.B.C ., T.V. fearnre of the same
frequently broadcasts selections from this com- namc)--Bcrt Weedon (Parlopho ne R.4113);
prehcnsiv~ d isc library-168 guitarists have been
featured throug hout a series of 380 broadcasts
in tile cour se of which he has played 1,747
records! A recent broa dcast was devoted to
Our next concer t at the Allia nce• Hall , West•
mins ter, is being held on February 13 and
. . .
. " Tex as Lady " and "Alabamy Bound "-Le s
Paul and Ma ry Ford (Capitol CL.14502).

Bur ton G. Gedn ey appear ed on American TV

the recordings of Narciso Yepes. commences at 7.30 p.m. May I remind (Channel 7) on Sunday, December 18 in the
Cncho.s lovak ia. Th e College of 1 cac hers in feature "'.,ife Begins at Eighty." Mr . Gedney,
members that they are admitcd to these A.H.
Prague now inc'.udes a teacher of the guitar- Guil d concerts at half price and can thus save who plays banjo, mandolin and guitar is direc tor
M iss Poctova, a pupil of Prof. Stepan U rban most of their subscription dur ing the year. of his own school of music in Ne; Rochelle,
-under whose instructio n it is possib le to pass N.Y.
Arrangem ents for the G uitar Festival arc well •
a State Examination as a quali fied teache r of in hand. New artists as well as o ld favourites
•
the guitar. have been booked. These include Brian Daly, Regin ald Whiffen, the fifleen-ycar -o ld boy
France. A friend has sent me n~ws of an Ro lan d Ha rker, John Williams, Ike Isaacs, who won trophies in both the North ern and
unusual guit ar recital g iven in Paris recently. It Geoff. Sisley, Victor ia Kingsley, Dorita & Pepe, Soul~m Rallies this year, was featured in
was a rec ital of flamenco guitar music and the
soloist was M. Alonso, who is reported to be a
fi-M flamenco plavcr.
\ Japan. The September -Octob er is.ue of the
r .
style banjo solos.
.
Chi ldren's Hour on January 14, playing finger-
.
T he Mandolin-Guitar Society (directe d by
Ja panese guitar magazine "A rmenia" has just
arrived and is, as usu al, packed fu ll cf informa-
SPANISH Carlo de Filippis) gave a concert on December
I 4; the prog ramme including " Overture, La
Caravane" (Gretry) , "N oc turne" (Field)
tion and news. Articles include "M. Giuliani:
Third Concerto " by Jiro Nakan o; " Concierto GUITAR " Allegro di Conc erto'• (Salvett[), "Frasq uita ,;
(Lehar), " Va lse de Concert" (Andree{!) ,
de Aran juez " by lsao Ta'<aha shi and " Pari s
"G YPSY Rhapsody (Be11uti), " Down South"
and Gu itar Mu sic," by S. Konis hi.
MUSIC
The music supplement is .. Butterfly " by Ji ro
Nakano, who is one of Japan 's lcad :ng guitar-
ists and a pro lific compose r for the instrument.
Switzerland. Here is news for advanced
Players of the classical . .
(Middl eto11), " Golondrina"
.
(Serrade(), "Nea-
politan Song" (Tchaikowsky), etc.
.
For five days commencing December 12 the
Spanish guitar should " Stafford Players " presente d the South Seas
guitari sts who woul d like to try thei r hand at
win ning 1,000 Swiss francs (I st prize) or 500 send for a copy of the play, "l11e Litt le Hut, " and t·he prod ucer
Swiss francs (2nd prize). engag ed Artie Powell and his partner Jack Banks
The oppo rtunit y to do th is will occur between new Clifford Essex lists (electric Hawaiian guitar and plectru m guitar)
to play incidental music-whi ch included "Song
September 22 and October 6 this ~ar at the
Conservatoire o f Mu sic, Gene va, during the
of music available. of the Islands," " King's Serenade.'' " Aloma,"
Competit ion for "M us i c Copies will be sent to " W hite Blossoms of T ahni ," "' T rade Winds,"
International
" Moon of Manak oora," "T iger Shark," etc .
Performers.
The set piec e will be Them e and Variations any player on request. • • •
The Six:h Annual "Festival of Art s" at Beth-
on "La Folia d'E spag ne" (Ponce). Then fol- CLIFFORDESSEXMUSICCO., LTD. nal Green includes a class for fretted instrument
lows two groups of five solos from which one grOUPS o ( six or more players. Test -piece is
p iece each is to be chosen by the performer 8 New Compton St., London, W.C.2 optional, out must not exceed six minutes. The
and a final group from which a fu~ther piece clo sing date for entri es is February 6.
may be chosen. This last group consists of '"
 1956
136
B.M.G. FEBR UARY,

In a frw weeks th<>American-Swcdi.,h sini;er- Bayswat cr and the Porthole Club.

guitarist William Clauson arrives in England
for his leading role in the new British musical Rud_y Marsalas, New Or'Jcans folk singc r-
of Sir James Barrie 's "The Little Minister," gu1tarist, gave a recita l of Creole songs at the
.which opens a! Manchester Palace on March 13. Dear Sir,-1 was interested in Basil King's
Institute Franeaise in London during December. article in the Dc<X:mbcr issue on new Hawaiian
After a thrc.e.-wcek run it comes to London 's This was followed by a similar recital at the
West End. guitar designs since I possess a simi la r instru-
Alliance F ran,;aisc in Binningl1am on January ment: i.e., an American twin pick-up single-
In the play, wh ich is to be called "Wild Grows 30. He is also expected to appear at the Socicte
the Hear.her:· Mr. Clauson is the leading player. neck 8-string autematic- tuniog console model
France Libre in the near future. with five prcss-bt1tlon to ne controls; a mastc ,'.
swilcl1 for changin g from one pick-up to the
Oepartm<:nt of doing things the hard way' other; and four adjust.able legs that fit into the
In a newspaper we read that a 74-ycar-old retired body of the gt1ilar -t he whole packing into an
engineer of Woolston, Hants., recently made a oblong e,:1rrying case.
banjo out of bit$ and pieces found in his house. Eight milled wheels at tl1e end of the instru -
Th= included [,n old wooden egg bowl, a piece ment opcrn tc the tuning machines: a slight
of stairca£e banister, wireless terminals, cycl,· The " visitors' night " held by the Associated pressure on any given wheel can give an altera-
spokes, curtain rods, toy railway lines, part of Banjo Circle on January 6 went wi.th a swing, tion of 1½tone s on the desired string with only
a toothbrush and a picture hook. Then the in spite of the foggy weather. Among the items a quaner-of-an-inch revolution. One can either
maker composed a musical chart to help him played were " Corn Cob Parade " and " Whist- use a standard E tuning and alter any given
master the chords <>fhis instrument and iaught ling Rufus " by the Circle ; " Jolly Roger " and string at will or, as I do, use an eight st ring
himself tc> play! " Keynotes Rag," Charles Manse ll ; " Georgian E13th+4th tuning tha t enables me to use four
Breeze," '4ril Phill ips and C. G. Fitzpatrick; tunings simultaneously; using the wheels only to
"Cafe au Lait •· and " Patrol Ecccntrique ," " trim" the 1uning.-KEALOHA LIFE.
Juliar; Br<--.inl will play t·hc guitar (off stage)
f or l·hc new Arthur Bc-njam\n opera "M~nann."
Walter Trimmer and W. M. Brewer; "Minia-
ture No. 3" nnd '· Dance Arlequin/? Ucrry
to be scrc,med in the B.B.C. television service
on February I. Thi, opera is the first to be Garden and C. G. Fi tzpatrick; "White Coons"
and "Mountaineers' March," the Circle. After Dear Sir,-May I be allowed to reply to Basil ·
commissioned by the B.B.C. and is 10 be pro- O

duced in grand styk. " M,mana " is a story of the refreshment interval , "Mazzcppa was King's comments on my letter on scales and
17th century Spain by Caryl Brahms, ada -ptcd played by Reginald Whifl'en; "Water harmonic,'/
for T.V. by the producer George Foa. Th e Nymphs," Chas. Darke and Bill Wyman. Basil I must thank Mr. King for pointing ou t the
Royal Philli~rm<>nic Orchestra and part of the Brewer contributed two piano solos: " Rustk glaring error of the "4-loop" note. Of course,
Glyndebourne Opera chonis have been engaged of Spring " and an unpublished Viennese it is "C" again. However, with regard to the
number, and Audrey E lliott sang "Golden Ear- numbering of the hannonics, there appears to be
for it.
rings ," "Blue Moon" and "Pretty Baby" 10 confusion even in text books. One book on
banjo and guitar accompaniment. The visitors harmony says B overtones, or harmonics. as t hey
Kealoha Life i. back in this coun -1ry for a then joined in with some community singing arc sometimes called .... " The point is that
rest prescribed by his doctor. Before leaving led by Miss Elliott and her tw<>accompanists. a str ing Yibrating in two loops gives the first
Johannesburg he recorded 120 titles of accom- The evening ended with a rOtLsing rendition of ,wcr tone; a string vibrating in three loops gives
paniments and solos for various labels of which "Dar ktown Dandies" by the Circle. the seco11d. Had 1 used the word ,. overtone ''
eight-with King Force Wilson Silgee's Jazz instead of "harmonic" perhaps Mr. King
Forces, already released in South Africa-arc * •
The secretary of the Croydon Club regrets would have agreed with the numbering.
due for release in the U.S.A. on a LP disc. Now for the ma~e-up of the scale of C Maior.
On the Trek label (AC.929) Life's own · to report the passing of Mrs. M. Baker at the
age of 74. Mrs. Baker was the widow of W. J. In t he harmonic series, wit,h C as its funda-
Hawaiian Trio plays "Song of Hawaii" and men tal note, one overtone stands out. In fact,
"Boat to Kamaland," and this disc is proving Baker, at one time President of the Fed erat ion
(S.S.). She had been playing the mandolin and it occu rs three separate time s among the first
a best seller in S.A. eleven overtones. This second most importan t
Kealoha Life's playing o{ the ekctric Hawaiian banjolin for many years as a member of the
old Ladbrooke Orchestra and the Croydon note is G. It is called the dominant. The next
guitar is also a feature of "Spogg er. Poe! in
Club. She will be greatly missed. most importan t overtone is E.
Hawaii " (HMV. HS14) accompanied by These three notes together make the common
Hendrik Susan's orchestra and "Home of • * tonic chorcl of C Major.
Broken Hearts" (Decca FM6l40) accompanied On December 14 the Norwich Banjolicrs Just as every not e has its own "dominant "
by B<>b Fairwcathcr's orchestra .. played for -the Chapel Field Pensioners Club it must also be the dominant of another note .
and each week <luting JanuaP')' played for Old A note that is " dominant" of its neighbou r
Admirers of the Moc family from Hawaii will Folk Parties. Items played durinz these two- on one side is, at the same time, the tonic of its
be interested to kn ow that Pulu Moc is now hour shows include: '' Man the Gun s," "Glit- neighbour on the oth er side. Take C. On its
b.nck 1n Honolulu .n.nd the- Tau Moo Tdo, afte.r ter of Steel.'' (♦ Blaze- Away," "Washington .-Lght is G, ils dominant. On its left fa the note
a tour of Switzerland , is now appearing in Post," "Nigger M inst rels, " " Swanee Sing which ir is dominant, i.e., F. This is the next
Brussels in n ,how called " American Express." Song," "Everpeen Waltzes," "Coon Band most imp-:>rtant neighbour of C and is called
Louisa Moc is appearing in Qern1any and will Contest," "Beat as You Go," "Spick and the subdominant,
j oin Bill Buysman\ Kilim11 Hawaiians, . the Spanish" and "Down South." Another item A simple instrument depending on overtones
popular Dutch combination, for two weeks as well received is the " Hill-Billy" sd ection for only for it; music is the bugle. The four na turn l
featured artist n, Charlcy's Cabaret in Luxem- community singi ng. overtones of a bugle tuned in C are: G. C. E.
bourg on June l. G., i.e., the harmonics easiest to play. (There
• Special Attraction!
arc, of course, higher ones-and two lower).
Ray Kirkwood is at prcs<:nt appcarir.g al two Take a bugle tuned in the dominant of C.
Londo n night spots: "Frenchm an's Creek" · in i.e., G. The four natural overtones played by
ALLIANCE HALL
PALMER ST., WESTMINSTER, S.W.1

A YEAR'S SUBSCRIPTION· ~~!· 1:':~_B:.

}~~~--~-
t___ p.m. 7._.~o The Editor . . ..
TO "B .M.G." The Luton M. & G. Ensemble
always welcomes any Item of
& The Troubadours news of fretted instrument
(Twelve consecutive issues, including the (Mu$iCQI Dire(((Jr, Mis-s Jrene Bone}
"double" December number at 110 MICHAEL __BROAD __
(Banjo) - Interest. Be sure to give full
extro cost) detal/s--f'lace, Date, Time,
Admis111ion1
l5f- 4/•
3/·
NON-FEDERATION
FEDERATION
MEMBERS
MEMBERS
etc.-and post to reach him
early In the month. "B.M.G.''
(U.S.A. & CANADA $1.lO) Pru~n,ed by
goer to presr on the 10th of
P'o1ted to any addreH in t:he world THE FEDERATION OF- B.M. & G.
SoulfHtrn Secrion the month.
FEBRUARY, 1956 B.M.G 137

this instrument arc: D. G. B. D. And a bugle .... Segovia's ~olos without undue difficulty-but
tuned in the subdominant of C., i.e. F, has as its can th.ey equal his iutcrprctation or them?
four natural overtcmcs: C. F. A. C. Remember .. . Throughout the world today there arc hun-
lf we take these three togcthcr-C.E.G., dreds or thousands of certificates hanging on
G.B.D., F.A .C., and r~-arrangc the notes we IT IS YOU, THE READERS OF
walls but where arc the Giglis, t he Segovias the
produce the scale of C Major. Thus we sec that "B.M.G.", WHO MAKE OUR Paganinis? Need I say more? - DOUGLAS
the scale of C (or any other major scale) is PEEL .
merely an elaboration of the bugle-ea!: notes or
natural overtones.
"CORRESPONDENCE"
Dea r Sir,-1
* •
am not bitterly disappointed. As
A word or two about the tempered scale. COLUMNS OF INTEREST I t~ought, Sc. George the militant (played by
If we take the note C to have a frequency of Do n_ot rest content to read the other fello¥i/s poin< Ar tie Krnrns) turns out to be our old friend
256 vibrations per second, the notes of the of vi~. The E.di1or welc:omes leuers for publication Don Qu 'xotc-with a few red herri ngs tied to
diatonic scale have the following frcqucncics.:- on any topic concerning die fretted instruments, his horse's tail!
C DE F GA BC The allegations made i,1 his original Jetter
256 288 320 341.3 384 426.7 480 512 SUGGESTIONS, HINTS, GROUSES, have been refuted from first-hand experience
ratio: 9/8 10/9 16i15 9/ 8 10/9 9/8 16/15 COMMENTS, INFORMATION- and . knowledge: by Ivor Mai ran ts, Peter
The ratios arc from the scale steps in the har- AL£ ARE WELCOME Sens,er rnd myself. Since this amounts to a
monic series. ... confinnatio n of your original Editorial it is
If we work out frequencies of notes in a dia- apparently classifiab le as "panotting." '
tonic scale of D (0=288) we find that E is even by an amateur like mysc]{! All ever
seem to b-0 able to hear on my radio is the . Your corresponde nt sets himself up as cham-
288 x 9/8=324, so it is not the sane as the pion of t he down-trodden a nd discouraged
E in the scale of C. endless succession of electric guitarists, with
their hot licks and flicks. I cannot distinguish younger genera t ion. What about tho rest o!
On fixed-keyboard instruments like the piano us? There seems to be a fundam ental difference
a position such as this is impossible, hence a one from the other.
If I may 11omlua lc; a player as England'~ between the method of Mr. Kearns and that of
compromise is affected. This is done by divid- those w:1om he opposes . His method is 10
ing the octave into twelve exactly -equal semi- " No. I " I would, without hesitation, say
George Elliott. We hear little of George these boost the up-and-coming (as well as the no-
tones; making the ratio of two consecutive hope brigade) by comfo rting words such as·
notes the same. This is called a scale of " equal days, unfortunately, but 15 years ago-when he
was in the "Accent on Rhythm" programmes "You know, old man, yo11aren't so bad, rea lly.
temperament." Another two lessons- and al! you need to reach
On this scale, ifC is taken at 256; C:$=2.1/12 regularly-wo were fortunate to be able to hear
real plectrum guitar playing. What tone and ex- the top drawer is a few friends in the righ t
x 256; D, 2.2/12 x 256; Oji, 2.3/12 x 256, etc., places! " Our efforts arc much more orthodox.
the result bein.g: - pression! His solos were a joy to hear.
Beloved Django Reinhardt is no longer with We leach and write and give our time to assist
C Cjl D Oji E F Fjl G us,_ but will his .playing ever be equalled? His anyone who cares to bring his problems to us--
256 272.2 287.5 304.4 322.5 341.7 362.1 3S3.S guitar laughed and cried. It had something to ~nd _such people arc legion. Our main concer n
Gjl A All B C say. It had a soul (in Django's hands). I 1s with , t::>morrow·s successes iather than yester-
406.3 430.5 456.2 483.5 512. believe that he was unable to read music. I day's failures.
also believe that Eddie Lang was also only an When Mr. Keams is in a position to show
Each semitone in this scale corre .,p,,nds to a
aver.1.gc musical theorist. Was it Paul White- your _readers that he has d one as much for
frequency ratio of 1.059/ I.
man who said of Eddie: "He didn't need to be gu11ans_tsas the people he criticises (and has
Finally, may I add a list of books c,f interest
a good reader. He had it all 'in his somcthmg to offer t hem other than words that
and use to all players wishing to learn of the
wonderland of music: - pocket ' "? ha_vc their roots in the bitterness of personal
" Listener's Book on Harmony 11 i:Lawrence The Spaniards have a saying rclati tig to the failure-as a guitarist in the pro fession) he will
guitar: sels cuerdos y w, co,.m;on-six strings then be wor~h the paper_ he occupies.
Abbott).
and a he.art. To 1lic_mthe guitar is not a piece Of_course, 1t may be said that the refutation
"Harmony" (Walter Piston).
"The Structure of the Musicd Scale" of machmery. It 1s a living thing. It is a ~f h,s dicta has come from "interested " par-
(J. L. Dunk). medium between the player and the ears of ucs. From where else could it come othe r
the listeners. No matt er how good the archi- than pec,ple as little qual ified to speak ~s Mr.
" Harmony for Listeners " (Douglas
tec t if the workman docs not carry out the _Kc_arns appears to be? Your Editorial made j 1
Turne/{).
work properly! I have no doubt that there quite clc1r that certain basic qual ities are essen-
-N. W. WINSTONE.
:ire many players who can read through any of tial if _o~e is to reach t he top of the profession
• • -quaht1es bo th musical and h.uman. Those
Dear Sir,-The recent letters in "B.M .G.'' who really have what it ta k~ will not be dis-
concerning sight-reading, etc., prompt me to say THE STRINGS OF YOUR GUITAR SHOULD coura?ecl by the truth. Indeed, Ivor Mairants
a few words on the subject. BE KEPT UP TO CORRECT PITCH has given a shor t list of those who have made
A plectrum 2uitaris t (for pleasure) I am not the grad~ in recent years-and t hey spea k for
a good sight-reader, but people often ask me themselves.
to " give us a tune" and my efforts seem to be
enjoyed. My own way is 10 practise a piece
GUITAR In general, it is a mailer of the word of Mr
Kearns_ against that of the rest of us- and wi::
of music ; memorise it; and then dispense with
che printed copy, except for occasional refer- PITCH PIP~ are quite happy to lei readers come to their
own cori~lusions. They will be assisted in their
task by_the fact that although Mr. Kearns in-
ence to make sure I still ha vc tl:e correct
chords, etc. · dulges in any amount of ill-temper ed rhetori-
Surely this is the only way to be able to .give c~! posturing in his last letter (and atiacks me
real expression, feeling and tone to any music! with great abandon) h~ contributes nothing
Some of your correspond ents serm to be whatsoe,cr to the matte r 111 hand. There is not
mainly concerned with all the tcchr.icalitics-
and who are the so-called " top-six ," anyway?
Quite frankly-and withou t wishing to be ERNESTO LECUONA'S
thought an authority on the subject- I do not
know of six guitarists regularly broadcasting on
the B.B.C. who could be called outstanding,
MALAGUENAfrom the .. Suite E.spagnoJ"

LAMBDA RECORDS Supptied Complete in Hy,.ienic Plastic Box

ARRANGED FOR SPANISH GUITAR
HAVE PLEASURE tN ANNOUNCING A by Roland Harker
REDUCTION IN PRICE OF THEIR FRETTED PRICE
(Al:so playa&le on tfre Plectrum Guitar )
INSTRUMENT SERIES TO
6/- each 8f6
(Postage 4d. extra)
PRICE 3/• (Postage 2d. extra)
POST & PACKING 1/6 (up to 3 records). U.K. only.
S.A.E. FOR CURRENT LIST Obtainable from :-
· 4, KIMBERLEY AVE., LIVERPOOL 23 CLIFFORD ESSEX MUSIC Co., Ltd., CLIFFORD ESSEX MUSIC Co., Ltd.,
The Clifford Essu Music Co. can supp(y these records 8 New Compton St,, London, W.C,2 8 New Compton St., London , W.C.2
to persoMI shopt)ers, os they hold a sto,k of all issues.
138 FEBRUARY, 1956
8.M.G.
the slightest aHcmpt to challenge the concrete My amateur status also matters little and does enough to credit him with any authori ty.
points made in my own first letter. In fact, not affect the validity of my work. A good- "Inside" is just about the last word to describe
Mr. Kearns takes exception to "tricks of jour- class amateur has the time and inclination to where he "speaks from." It shou ld be
nalism." His own .letter should cacsc him to study music to a greater extent than many pro- "out.side."
cringe; it is so full of tricks and misrepresenta- fessionals who are immersed in the fulfilment of I have no further time to waste on this so-
tion that in failing to point this out he insults their engagements. This is so well known that called controversy-nor on Mr. Kearns_ My
the intelligence of your readers. I realise, of it is not even debatable. The best amateurs are free tim-: is, however, still at the disposal of the
course, that the best way to '' get away " with incomparably better than the worst professionals many aspiring guitarists who do not feel tl1cy
anything is to accuse someone else of doing it. -and musical professionalism means no more hav e learned it all-and the smaller number of
So, too, does Mr. Kearns. than that the " professional " does nothing else guitarists who will, notwithstanding " dis-
His last letter is completely valueless as a for a living. One can even become a profes- couragements ," continue to find their way to the
contribution to the debate. For that matter, sional musician by ceasing to do any other work! top. -JA CK DUARTE.
what debate is there? Mr. Kearns has made a There are, believe it or not, even professional • • •
number of allegations; these have been refuted musicians who cannot sight-read on their own Dear Sir,-I have been learning the Spanish
by a few of the people who arc in the know and instruments! guitar for a year and would very much like to
in the swim. The rest are probably too busy I do not doubt that Mr. Kearns will rush into attend r.citals, sessions or other meetings where
earning their bread and butter with their guitars print again with further attempts to discredit fellow enthusiasts gather. l look through
-a mode of living that has not eluded everyone. me . Let him-and, likewise , anyone misguided "B .M .G." and there seldom seems to be any
To have a debate you must have something t'iat informa,ion about such mee tings other than
is truly debatable-and it is best conducted by those tr.at have already taken place .
people who arc equally well-informed.
l fear l am neither interested nor clever
Exclusive to B &D I can occasionally get to London and
would dearly love the cnance of meeting others
~nough to deal with Mr. Kearns' last outburst interested in the Spanish guitar. How can
The new range of I obtain such information in advance?-
in detail. He is in such a seething, bubbling
stat<' of fnistrated ill-temper that he verces " ENTHUSIAST_"
on the incoherent at times. Neither am I
interested in presenting my credentials to Mr.
Kearns. I am quite satisfied to be judged by
GENUINE (I am always pleased to give publicity to
recitals, etc., if the information is sell/ to me.-
EDITOR.)
my works and to find 1he acceptance of many
of the world's greatest guitarists. The concert
SPANISH Dear Sir,-lt
•
may interest your re~ders to
know that on Christmas Eve I took my banjo
hall is not confined to my dreams, nor do l, as FINGER-STYLE·
a composer with practically no unpubli shed down to my local beer house and played carols,
to the lusty accompaniment of cu.stomcrs; in-
works, share the c<;>mmon romantic miscon-
ception of composers. What does Mr. Kearns
really know of me? On what authority does
GUITARS cluding. the Vicar. " Hark the Herald Angels
Sing," " 0 Come All Ye Faithful " and "Th e
First Noel " were in your music supplement
he suggest I have made false statements or
claims? Why the coyness, Mr. Kearn s? Why from i8.16.S Decemb~r, 1948. "Good King Wenceslas" and
:• Christ 'ans Awake" from the December, 1955,
not go the whole hog and call me a liar? At
least it would be frank! The first time guitars at this price have issue. These carols, arra nged by Vince Miller
for plectrum-banjo, were equa lly suitable for
Whe ther your correspondent can or cannot carried the full warranty of a leading finger-style playing.
in1agine humility in me is of no ·accoun t. I Spanish manufacturer. Specially made I am hoping Mr. Miller will give us a funhcr
have a fair sha re of humility but it is not for Boosey & Hawkes by RICARDO selectior. of carols next year.-C_ J ; HAY.
prompted in the slightest degree by the Artie
Kearns' of this world. SANCHIS of Valencia, approved by
Mr. Ivor Mairants, checked and guar-
anteed for workmanship and seasoned
Just pz.,bJished wood by the makers of the world-
..INVITATIONTO THE famous ESTESO guitar. Recommended
by . Boosey & Hawkes as genuine
SPANISHGUITAR" Spanish guitars in both tone and
measurements.
An album of famous melodics. arnngcd by Retail Price
GEOFFREY SISLEY for the SPANISH GUITAR- includi ng Tax
(Fully fingered and positioned.}
Mode/2080 The" Cadiz
Price 3/6 net Flamenco" 1£8 16. S
Contents Mode/2081 The" Cadiz" flO 10. 0
Mode/2082 The " Granada
BELLS OF ST. MARY'S A. Emmett Adams Flamenco" iEIO 4. 9
LES PATINEURS !Emile Waldteufcl Modef 2083 The " Granada " fll 11. 0
LOVE'S LAST WORD IS SPOKEN
Model 2084 The" Sevilla
C. A. Bixio Flamenco" iEl6 10. 9
LOVE HERE IS MY HEART Lao Silesu Mode/2085 The " Sevilla " f 18 5. 6
Model 2086 The " Castilla" f:33 12. 0
DREAMING Archiba ld Joyce
Model 2088 The " Clasica " 1£48 6. 0
Plectrum GUITAR SETS
SPEAK TO HE OF LOVE Jean Lenoir Models 2084, 208$, 2086 and 2088 have 19 nickel sil,er No. 151. Plated Standard Gauge (l ight). 8/5 per set
frets. No. 185. Giant Monel Heavy Gauge, 8/ 9 per set,
LOVE WILL FIND
A WAY No. )S7. Tropical Suinlen Heavy G auge, 9/6 per
Hatold Fraser-Slmson Se-e your local dea,er, or ,end the C<Hlf>Ort today-
sec ..
IT'S TIME TO
SAY GOODNIGHT Finger Style
Henry Hall To BOOSEY & HAWKES LTD., No. ISO½. Gut and Silk wound, 21/2 per set ,
TELL ME l'M FORGIVEN Robert Kat>cher AdYntlsjng Dt!pt., Frederick Close, No. :187. Nylon and Terylcn~ wound, 15/11 por sot.
Marb/(> Arch , Londol'l. W.2.
Pl~ase send full deraff.s of 1he-new Genuine ELECTRIC
TRANSA T LANTIC LULLABY No. 627. Plec.trum Light Gauge for Solo work,
Geoffrty Wtight SPANISH GUITARS. and p articul ars of 11/I por sec.
Easy Paymems Scheme. No. &37. Pleccrum Heavy Ga.uge for Group Play-
Obtainable from all Music Dealers.
Na,ne . .. .... ... ., ......... . .................. .... . ing (or Rhythmic Wotk), I l /7 per set.
JOHNALVEY LTD.
TURNER Address .......................• , ............ .. .. .
No. 6.17.Hawaiian, 11/7 per set,
68 NEW OXFORDSTREET,LONDON,W.C.I. Carry some spores-in case.
or the PtJblishers . ... .. .... .. ...... .. , ..... , . , ........ ... JJ.M ,G.2S6 Alto sofd singl., by be.st dea lers everywhere .
Sole Monufac(urers
Ascherberg,Hopwood& CrewLtd. BRITISHMUSIC(MG) STRINGS
LTD.
· · 16 Mortimer Street, Londo·n, W.1. BOOSE.Y
& HAWKESLTD IJ0, SHACKLEWELL LANE, LONDON , E.8
 FEBRUARY, 1956 8.M.G. 139

CLUB MEETINGS Brixlon. Sec., J. W. Smith, 15, Tulse Hill,

Brixton, S.W .2.
Details of B.M. & G. club moetings- time, day
and place-can be obtained by wriiins to the Edinburgl1. Sec., J . Alexander, 10, Marchmont
Closing elate: 10th uf the momh Secretary (name and address wtll be found Crcs., Edinb u rgh, 9.
in our C)ub Dircc:cory), enclosing a stamped
addressed envelope. Mose clubs are on ly too
All adw.:rtiscmcnts m:1st be prcp:,id happy to welc:ornc visitors an d are always· pleased f•cderalion of Banjoists, Mandolinists and
The cosl ol advertising under 1/ris hec,ling is 3d, to enrol new members. Guitarists. Sou thern Sec., W. T. Carter, 5,
per word (minimum ls. 1wel~•e words or less). Trade
rate: 6d. per word (mi11imrm1 6s. lwe(ve words or Ch rjstchurcl1 H ill, Hampstead, N.W .3.
ltss) . TflCre is no .charge /or a Bo.Y. mwi .?cr, bw lhe No rthern Sec. , L. Henry, 21, Mi lburn Ave.,
words: « Box uz~ 'B.M.G .. ' 8, New Comptou S1ree1, Nonhenden, Manchester.
Lo11don, W .C.2," must be included i,1 1/ie advertise-
ment arid paid /or (ejght words).
Frclted Instrument ·Guild. Gen. Sec ., V. J.
AdYertlsemeots :Ire nor accented by tdephone Parslcr, 19, Patten House, Am well Court,
SOCIETI£S At"ID ORGANISATIONS Gre en Lanes, London, N.4,
FOR SALE
wilh the names and addresses of their
N~~~~d
nd 0
PA~~!~c~ni.gut~~~gain~a ~:~~~ri,by40fe Secretaries. Fulham. Sec., J. White, 19, Broughton Road,
Rd., S.E.27. Fulham. S.W.6.
" MO~~~CHN!~~3~;~~: r:;;:~!
';ff~~s:~~~~s~\-njo
01niculars: Anic. Powell, 17. Park Ave .. S1,1ITord.
The cost
hm~rtions
or
under
tu~ITC to,uecutin
tbis bcadln~ i.5· 1!6 Glasgow 8anjoliers.
Gordon Ave.,
Sec., John Lawther , 28,
Garrowhill, Baillies ton,
ELEP~Tc~ 1
~ns~~~ca~cr~~~s.bal~!::~ ~~;r1,t~-i;Cd;~:~~~!:
tion for tone, scnsillvity and ,,,aluc. f3 17~. 6d . Double
l'ARTICULARS OF MEMBERSHIP AND DATES
m' MEETINGS (OR SERVICE OFFERED! CAN
Glasgow.

(duo) units. wi.h control Pilnc-1, ready to fit. " Ki1s" BE OBTAINED ON -Al'PLICAIION TO · IIIE HackneJ. Sec., W. H. McMinnies, 58, Thcydon
for E..H.G. (cvcrythin1:1 but wood) from £4 tOs. 0d. SECRE;:JARY. St., W,11thamstow, E.17.
8 strings, £:S. La1·gc untts. to suit rad:o or sm::dl
2mplificr, from £J. 5i.. 0,:;1. Ba,njo and m1ndo fin uni1s:.
from £2 17s. 6d. Foot volume controls, £J. 15s. Od. Alptia. Sec. , Mrs. K. Dickson, 62, Venner Rd .. Henle)· Gailar Club. Sec., Anna Garfield-Howe,
Approval willin\?lY. S.A.E. ror dc.rnils or advice . Sydcnham, s:E.26. L.R.A.M., West Hill Hous e, He_nley-on-
Cyril Proctor. 180. Town St:, Leeds 12. Th a mcs.
Associated Banjo Circle, Sec., C. H . Phillips,
A ~~{rcc~
0
~~~1:.N
Od~ccll:ur~ou!:, r!~c~~:it!ru[~~~: 6, Grange Crcsc., Grange Hill, Chigwell , llford. Sec., W. J. PercJ, 11, Kendal Ave.,
E.C.4. Essex.
BANJO and P.G. solos, cheap, Stamp !or lhts. Barking. (RlP. 1205.)
F'argher. 7, Albert St., Douglas, 1.0.M. Aston Banjo Club, Sec., H. 0 . Winch, c/o 4,
Lee (Excelsior). Sec ., Mrs. A. Pratt, 2 10, Long
"JOS:Crf~~~E~~~ (o~:~~!,~
"cr:;;s~otil 33 /t~.,str~~: Foxbournc Rd., Tooting, S.W.17. "Phone:
Lane, Bcxlcyhca th, Kent.
Cos1csscy, Norwich, BALham 7664.
R ET~~:;c~O~~!?nirin~;~~:•~en~s ~u~rns~~~~ lstoco1;.: Barnet. Sec., 0. A. White, 26, East Barnet Leeds, Sec., A. Ellis, 6, Hollin Par k Parade,
Leeds, S.
stantly changing we do nm issue lists bul ii you are Road, New Barnet, Herts. BAR. 7918.
looking for a good rccondi1lontd ins trumen t wri:c givinij
details of the tyoe of instrument you :ire :;;eckini;::and Beaufort. Sec., D. R. Coppack, 12, Elborough
Leigh-on-Sea. Sec., Mrs. Day, 36, Grange Park
s,atc the approximate price you want to pay. We St., Southficlds, S.W.18. Dr ive, Leigh-on-Sea, Essex.
wj]( gladly send dct.lils of anythin~ we h1ve to offer
likely 10 meet Y0tlr rcquircmcncs. Cltliord E.~scx Muslc Birkenhead (Egerton Park). Sec., F. Phillips,
Co. Ltd., 8, New Compion Street. London, W.C.2. 60, Prcnton Rd. W., Prenton, Birkenhead. Lewisham, Sec., Arth u r S. Waller, 16, Elsinore
Callers welcomed. Rd., Forest Hill, S.E.23. 'Phone: FOR. 5328.
F 0i!;dhJfn;:;
Birmingham. Sec., A. R. Tysall, 142, Melton
tm~in~c~~~:!~~i1~~~ ~! ~i~~"i~ Rd., Kings Heath. Tel.: BIG. 1483. Liverpool (Premier). Sec., Miss E. Wood, ·4,
request. E:rsicst terms. Chas. E. Foote L;c:. (D/3) . 40 ,
Ruper! Street, London, W.1. GER. 1811. Estab:ished Bournemouth. Sec., A. James, 41 Sou th Rd., Merc<lale Rd., Liverpool, 18.
35 years. Bournemouth.
TA~ ~~si
1
~~~a~~i:ddi~~· Li~ur ~~~~n::~~\rac~~~~
London. Sec., Sally Adams, 10, Windmi ll Drive,
Clapham Commo n, S.W.4 . 'Ph one TULse
Flats. Chelmsford.
M ACCAFERRI Spanish guitar. Concert model. Hi ll 4484.
Williams, 49. Albert Rd., ~ingston. Surrey.

WANTED
DO YOU North London. Sec., D, A. Clare, 60,
De1•onshire Hill Lane, N.17. (TOT, 1121.)
WANTED.
.
Guitar

"VEGA..
case, 39 in . x 14·! in.
39. Elm Ave .. Eastcotc, Ruislio. MidJx .
or good Amcr!can plc:trum-b,10jo,
Stanlci•, 41, Lorn Rd., Brixton, S.W.9.
WA~!~me;"i~~~r-~~~~~ r~:s/~ei~cnsir:~~ni~.al~c~;y
Repl:y:

TEACH Orrell Mandolicrs. Sec., S. Rome, 26, Cinder

Lane, Orrell , Boo tle, Liverpoo l, 20.
Philti armoni c Society of Guitarists. Sec., Archie
We are con°stantly being asked for the Sia vin, 11 Man or House, Ma.rylebone Rd.,
in fh~t inst'.l.nce by Air Mail. W. 1-J. Fen:,., P .O. Box
127. Auckland, C.1.. New Zealand. name and address of a local teacher-and N.W.l.
~~nfoL~:c:::~d~ l~i!o~dndE~su~u~~d ~~~~
WE h~!~'-g~~"d often are unab le to supply the information
Souihwark. Sec., Miss Kay Timpson, 49,
gi,1fng fullest det1ils of your im1rum en1 and price because the teacher does not include his Becctiwood Rd., Sanderstcad, Surrey,
asked. Clif[ord Esst:x Music Co . Ltd., 8, New Como~
ton Street, London, W.C.2. name and address in the , Teachers' columns
of- "B,M.G." Strctford. Sec. , L. Henry, 21, Milburn Ave.,
Northcndcn, Manches ter.
Somethingto sell? · THE COST
10/· per a1111um
IS REASONABLE,
for 2 lines or less;
Wallasey (" Riverside"). Sec., W. Cook,
Boroug h Rd., Wallasey, Ches.
13S,

Somethingyou want? 5/-per linefor each extra line or part of li11e, Watford. Sec., R. Morgan,
Way, Croxley Green, Herts.
14, Canterbury

A SMALL ADVERT. IN
" B.M.G;" GETS RESULTS
IF YOU GIVE
CLASSIFIED ADVERT. RATES: LESSONS STUDYUNDERBRITAIN'SlEADINGPUYERS
PLEC. GTR.;
lnao.
lvor Mair.ants, Roy Plummor, Ike
Private Advertisers : SPAN ISH GTR . : tvor Mairilnts.
3d. per word IT WILL PAY YOU HAWAIIAN GTR.: Don Sanford.
(Minimum Charge: 3/- - 12 wods} PUPILSM~YNOWALSOENROLFORNEWCLASS
TUITION

Tra de Advertisers : TO INCLUDE YOUR U you unrlOt anend pe rs6naUy, learn from the
lvor Mairants' Postal Course for Plectrum Guita r,
Particula rs free from :
6d. per word NAME IN " B.M.G." CENTRAL SCHOOL OF
IS West St., London, W.C.2.
DANCE MUSIC,
Temple Bar 337l/4.
(Minimum Charge: 6/- - 12 words)
140 J 95t
B.M.G. FEDRUARY,

BOLTON
wPM~~~~
PRESTON
'Lobb, Barbara, A.T.C .L. (B., M. , G .).- Prin.: *Earle, Eugene (B., M .. G .. P.Acc.).-R adio
The Bol<on Schoo l ol Music. 685, St. Helca, Rd. and Rc:cor<ling Arlist . Cnnn on St . ·Phone: 2439.
*Before a Teacher's name denotes an 'Phon e: Bolwn 3393.
examiner for " B.M.G." Diplomas, BOURNEMOUTH READING
10/· per armum for 2 lines or less; Sherring, H. J. (B., G., H.G., U .). All styles .- Hamlet, J. (B., G. Finger and Plectrn m).-13 ,
Priest H.iU. C&versham ,
Sf- per li11e for each extra line or part of line. 89, Gresham Rd.
•Strike, Donald (B., T.B., M., G., RG.).- SHEFFIELD
LONDON AND SUBURBS All stylcs .-l6, Wcstbournc Arcade.
Bibobi, Emile. Guitar, Tarrega method. Also Howe, L. W. (B. , Z.8., G., Ta rrcga method),
313. Bcincli!Ic Edie Rd. 'Phone: .52838.
comprehensive tui1ion in all stylc.s of olcc. playlng, BRISTOL
acm::ral musicianship 3.nd sishl-rcadina:, 162, Queen's
Road. Wimblc<lon. S W.19. LIB. 6947. Savante School of Coollinental Music. P rincipal : STOCKPORT
Mdmc. C. Underdown, L.A.M. M. , G. & Zilhcr-
Balch, Reg. (P .G.) Harmony, technique & harp tuition . 31. Tr Cl:\wncy Rd., Rcd\and, Bristol 6. Howard, Don (Classic Gtr., P ,G., E.H.G., M.)
aural trainina.
b::lnd playing
A se"·crely practical COW'3t: In (1.anco,.
to " g;ig " .slandard. Hasic ad. lJb. Spanish
Tarrc2a
Guitar Centre.
technique by Micb atl \Vatson
Tuition in Segovia-
(.orivatc or
~~t~
1
116~u~~
- ~~rut:.uit~;h:~~~mf.a 2~_ments. 251,
p]ayiDS:-tauaht. Enquiries: 75 Shrewsbuo Rd., E..7.
class).-;;, GlouCOS<CIRd . Tel.: 472l6.
Chesnakov. Elements of Music and Harmony STOKE-ON-TRENT (Staffs)
in the Study of 1hc Cla~sical Guitar. Theoretical and. Toogood, Jack (P .G., H.G . & U .).-70, Malvern Shaw , J. (P.G. & P.B.), 55 Selwyn St.
practical trainin2 )n Modern Technique t,s a buls rot Rd., St. Gcora:c. 'Pbonc: 51227.
dcvclot:iment ot artistic Dlayini and for cliinlnuJon of
faults, sclf-aCQulrCd or installed by wrona tcacbins. CANTERBURY (Kent) TUNBRIDGE WELLS
Progtessivc, selected s1odics from works :::>( old and
Stansfield, W. (B.). Thorough tuition. Forge Spanish Guitar Centre. Adult beginners
contemporary Masters. Few vaca.ucl.ea ror Studell~. '"'c.tconie. SIOnc Court Farm, Burrswood, Groom·
48a, Cathcan Rd .. S .W.10. FLA, 4354. House. Pelham. Caotcrbury. brJdg,c, Kcr'l1.
Gallo, Louis (P.G., El.H .G., P.B., T.B.).- Per -
aorial 1uition, also P.O. p,oe:1~ eO\U'te , ~16. Or~ CARDIFF WOKING
Lanes. Harrin11ay, N.8. Phone: BOWca Park 4666. Haigh, Ernest (G. & Bass).-24, Gelligaer Gdns. Lane, A. W. (B., M. , P.G., H.G ., U., etc).-
Hofer, Josef (G., Zither, Harmonica, · Chrom. .....-- 37, Wrnficld Ave., Wokin a. Tel.: Wokloa 2375.
,'cc.) .-7. Baron■ Mans .. W.14 . FUL. 7119. COVENTRY
Hood, S. C. (G.).-112, Beresford Ave., Hanwcll , Llewellyn, Jack (8 ., P.B., T .B., P.G. & G .) YORK
W.7. 'Phone: WAX.low 5154, 182, Albacy Rd .. Earlsdon. S1lindler, Geo. R. (B., M, & G. Thcory).-
Jeffery, Al. (B., El.B., P.B., T.B. & P.G.).- Childrcn wclco,ued. Clal'cmoDt House . 14. Park
66, ChcOstOW Rd., W.2. 'Phone: B,'Y1watcr 68,6 . DERBY Grove.
•Johnson•, . Chas. (P.G., H.G., El.H.G., B., •Dawson, Mrs. Elsie (B., T.B. , M., G., H.G . &
M., U.).-Correct modern NitJo:n, au st)'la.-94, U.). (Disaicr E.x:J,r:nincr for 8.M.G.~ ' Dlptom3s.)
Cbel=lord Rd .. E.17. (COP. 2011.) The S1udio, Wisher
u
&. Son, 7, London Rd., Derby. ABROAD
Private address: '·Holly Hyrst," 83, Derby Rd,,
Keiller, W. J. (B., P.B., P.G .).-55, Uplands S:andfacrc. Tcl.: Sandi acre 3394.
Rd .. Woodford Brld11e. BUCll:bunc 0769. BRAKP AN (S. Africa)
Kramer, Adele, Professor at the Guildhall •Kaspersen, Kassie. All string instruments an d
School of Muslc an\$ Drama, London. a:ivcs lessons
DUBLIN & BALLYMENA ac cordion. Kassic:"s Studio s. 4. State Duildings
U1 classic 2Uitar for bcafoncrs to conccn stat'ldard. *McGarvcy, Jack (B., Z.B ., H.G.).-(Ex- Phone: 55-2 16 1. ·
24, Colle ge Crescent. Sw~· Couaa:e. N.W.3. Tel.: t\mincr for 1 'lJ.M.G .. 11 Diplomas for Irel a nd) All
PRJmrose 5366. coms.-31. Ballymoney s, .. Ballymena, Co. Antrim. CALCUTIA (India)
Macklin, F. (B., T.B., P.B.). - 29, Lind St., FALKIRK *Das, l\lukul. (H.G ., P.Acc.). - Radio Artist.
Dept ford, S.E.8, S1udio La Gui larc , 22, Bethune Row. 'Phone::
*Macbeth, Will (B., T.B., G., M ., U.).- B.B. ll47 .
Middleton, Alan V. (B., Z.B., G ., 'Ihe ory).- •• Studio," 14~ 01.'cbard St,
72, Elllndalc Rd., S.E.24.
Miller, Vince (B., P.G., H.G., T.B.).-133, JOHANNESB URG (S.A.)
SL<x:kwcll Par~ Rd., S.W.9.
GLASGOW *Charlie Macrow's Stud ios for expert
Moore, Ron. (G . . & P.G.).-Derek Hawkins, personal tui tion on Banj o , Mandoli n, Guitar and
•Morris, Geo. E. (B., P .B.).-48, Mmwcll Hill JOI. St. VInccnl St. Ekc1rk Hawa ii1J1 O uiiar . Studios: Gamlston and
Rd ., N.10. 'Phone: Tudor 3968. Aho Wul End Johanne sburg,. JnQuirics: 'Pi1onc 22.2361. o r llox 140.
Studioa. Ccrmiston.
•Percy, Edw. T. (B ., M., G.).-55, Carlton
GRIMSBY
Robinson, Ken. (G. & P.G.).-534, Laccby Rd. *Vincent, Ede (B., M. , G., ctc.).-17 , Store
Terr .. Gt. Olmbridgc Rd .. N.18. PAL. 0637. Bros .. Bid i .• 74, Etof( s,. Tel.: 23.26.51.
Roler, Miss Hansi (Zither) .- 13, Estreham Rd., LEEDS
Streatbam Common, S. W .16. i.TR. 8625, · LOS ANGELES, Calif. (U.S.A.)
•Sisley, Geoff (G., P.G. & H.G.).-68, New Proctor, Cyril (B., P.B ., G., P.G. , H.G., U.).- Niwmis, John N. (Man dol:n Artist-Tea cher),
Oxford St., W.C.1. 'Phone: MUSewn 4318. Soccialist on Elect rical lns1rumeru s.-1SO, Towo 1753. W. 42nd St. 'Phone: AX. 3-0865.
Street. 12. Tel.: 637009,
*Southgate, G, (B., T.B,, G., H.G.).-
121, Brudcnell Rd., Uri,J"l('r Tootin11:. S.W 17. LEICESTER MONTREAL (Canada)
•staoley, Arthur (G., B., T.B .. M.).-4!, Lorn •Chamberlain, J. (B., M., G., ctc.).-1, Water- Nagylolhy-'foth, Abel (Classic guita:r).-P.O.
Rd .. Brixton . S.W.9. 'Phone ; BR!. 4893. loo St. L<><al agent for Clillord Essex Mus.ic Co . Box S~J. Sta1ion U., Montreal.
Thurstans, Ida (G. & M.). Eeginners, Ltd. (Examjncr (or "B.Af.G." Diplomas.)
Ad\ •anccd. 9, St. Ann's Rd., Barnes. S.W.13, PRO. SINGAPORE (Malaya)
6967. LIVERPOOL *Martinez, Harry. (H,.G., P .G., G., U. , M.)
Turner, Roo. ~P.G.). 146, Katherine Rd. , Bethell, Pierre (G. , H.G., M., l'.Acc.).-lst Fir. , Theo ry and mod ern arrant:cmcnu. Radio a r Ust.
East Ham, E.6. GRA. 3219 (evenings). 29. lslina,on. NOR. 3231. 46a, Mob Gua .n Terr. , Singapo re 3.

ABERYSTWYTH MANCHESTER & DISTRICT

• Mil.-ertoo, A. (All fretted insts.). Tuition , any Howard, Don (Classic Gtr., P.G., H.G., M.).-
Fors>1h's, 126, Dcansgatc . Tel.: BLA. 3281.
atylc. - 19, Easl~ate.
Sha,.·cross, Jos. (Expert tuition on Banjo and
Sa~ophone}.-28. Goodwin St., SaiJford, 6 .
BEXLEYHEA m (Kent)
Bcxleyheath School of Dance Music. For first- NEWCASTLE-ON -TYNE SYDNEY (N.S.W., Australia)
class guill\r tuition. Studio: 70, Oa~lands Rd. Cluie, Jack (H.G., Specialist, ·P.G. & U.).- *Hine, A. (B., Z.B., M., G. & H.G.).-
f'nonc : B.H. '1429. Studios: 326, Parnamatta R d. , Peu:rsham. Aa:c n1
1S, Ancroft Ave.. North Shields. 'Phone: Nor 1h for Clifford fuscx Musi c Co.'.s inst.rum eou a.ad
Shields 1515. mus ic,
BIRMINGHAM •Dorwacd, T. J . W. (P .B. & M.).-15, Hoyle Loader, Rosa. (G., B., l·I.G .).-" Sea Breezes,··
*Gittus, Fred (B., M., G., The ory).-193, Hay Ave., r,,,::cwca
stlc-on-Tync, 4. Tc:I.: 37477 . Rivuvicw Rd .. Avalon.
Grc1;n Lane. Oournvillc.
•H~ll, S. G., and Wood, Amy (B., P.G., H.G .. PLYMOUTH TORONTO (Canada)
M.).-596, Pcrshorc Rd.. Selly Park. 'Phone! • Lee, Arthur (P .G., M., P.B., T.B., H.G., U., Atkins, Bertram (Classic guitar ).-108, Boulton
Sel. 0290. (Exatniocr for •· B.M.G.u Dip'.om13.) Piano. P.Acc.).-Studio. 225. North Rd. Drive. (WA. 2-1776.)

ABBREVIATIONS. - ·· B." Banjo , "Bn/' Baniotio. • C iar ." Cla rinet. "'Dola" Mandola. "G. 11 Oas.sic.al $panis.h Gui:ar. ·· H.G." Haw.:ii!~n Gu,,ita r. ·• M:"
Mandolin. P." Piano. "P.Aoc."
0
Piano Accordion. "P.B." Plectrum. Ban jo. ·· P.G.'' Pkctfurn Glllt.ar. "S." Sin2ina ... Sax." Saxo:ohone. T.B. Tenor Ban10 .
.. U. 0 Ukulele. "V." Violin. "Z.B." Zithec &nio .
F1,1mu.,R\'. 19 56 iii
8 .M .G.
New edit ion
s.
THE ST UDIE S OF

PLAYINGFERDINANDSOR
PlECTRUM RANIERI
for FOR AL L PLAYERS OF THE
(L'ART OE LA MAI\ OO LINE)

MODERN SPANISH
BANJOISTS GUITAR MANDOL
IN METHOD
~
by
EM ILE G RI M SHA W RECO MMENDED 0Y TERRY USHE ~ The aim of 1/i is method is to teach the
With a comt,le:e detailed new .scc11on dcofm: with :he
modern .. D " Tuninf by Ro'/ Burnham . 3/udm t 1/re correct 1ec/111iq11 e of 111 011-
Every Sty le of Plectrum Pl;.iyin : fully ind clc2 rl y EDITED AND r-lNGERED BY dolin playing, and the rw1 /1or uses many
exp lained .
Inv ersions in a ll Keys . CARL DOBRAUZ studies, from 1/re very si111 p les1 10 the
Hinu on Tone Production. mo.rt diffic ult, he used to tle,•d op !,is o w11
How t o P lay Fou r- N o t e C hord s wh ile r-cad inc ~
fr o m T hrce•N ot • Chor d s. phenomenal 1echNiq11e.
T he Eu c nt i:3,
fs or H armony . Boo k 1-2 -4 pieces . Book 2- 16 piece s.
How to Syn co pat e. Boo k 3- 16 pieces . Book -4- 13 p iec es.
Improvising on the Banjo . Boo k 5-1 3 pie ces . Boo k 6- 11 p iec es . TEXT THROUGHOUT
IN FRENCH, ENGLISH,
Sincl c-N otc and Cho rd Tremolo oxplainacd.
Every fo r m of St a cc ato Pl ayi nir lllu,cr-atc-d . Bo ok 7- 10 pieces . N & ITALIAN
GERMA
Tre mo lo with Suc;c2to Accompaniment ,
Scoru of Tun eful Exe rcises, all clurly and co ncis e ly
EACH BOOK e IN TWO VOLUMES e
oxpl aincd .
H ints o n S i sh t lt f'l:1.
di n « .
PRICE
416 VOL. I : 111c mumluliu mu/ i, .~ (:11111/JOll
t"III JJW' IY.
{Pos:e1:c 3d. uua ) rl1 e 1,lectmm . J/nw t r, lwM the 1111111 •
7/6 These books o( solos ar e progressively
,to/in . Jlow 10 lrold th e p lu tmm .
71,e ritlll arm . Tltr ldi ,,nu. i:hls:tr•
(Postot c 6d. e;ictro)
arranged. Book I is (or the beginner, while int:, Rudimem ," of 11111 .ri,·. Noro ond
CLIFFORD ESSEX MU S IC Co ., Ltd., Book 7 is (or 1l1e advanced player. ra1s . The tr emo / n . f{ .l(Ul'i .tl':,.· 011 u/1
8, NEW COM PT ON ST ., L ONDON , w .c.2 EVERY ST UDY A W O RTH-PLA YING SO LO four .uring ,f , /111arnk U.H' of 1hr

.
.... ... . . .. . . . . . ........
.:
. .. . . . . . . . ... . . . . . ... .. e. Sole s ellinr a : enu :-
CLlfFORD ESSEXMUSICCo., Ltd.
fourth /i,i ru .
Sc aln . S/11r.'(, Sync 01u11io11.
S1aa11tfl pl"y ins:.
Tri11ll'tl',

.
: GIBSON -TYPE . 8 New Compt on St ., Lon do n , W.C.2. ENG.
nc .
PRICE 9/-
:. PLECTRUM GUITAR .: tPos,oee 6d. cx 1ro)
. VOL . 2 : 1'1'r m1Jl 1J """ s1m: cmo S<'mfrrum ·u s.
:. MACHINE HEADS :.
.: .: f:,':,url'isrs for
Clll'Omtrli<.'
1/rr
ptJSSUt:t·.\·,
fourth fin£ a .
Gmcr: nnlt'S .

i
:
VERTIC A L FITTIN G
(i.e" the st ri ng barrels come thrcwgh che
guitar head - the bass plates being fixed :
i SPANISH
GUITAR r/ ,r trill . R('pUJl rd n(llr.f. Doubl e
stoppint: . I'/ayi11r in Mrfouspo ."i1ion:; .
'fhe p oruunr m o, <'IC.
: at the bock) : ACCESSORIES PRIC E 11/6
: No . 19 . Engra ved bass plate . Co g whe els : 00 YOU KNOW WE CAN SUPPLY: (Po.st age 6d . extra)
• flx ed by ho ld ing sc r ew s. Ha rd - •
i wearing gears . St ring posts I½" ! FRETW IRE (NIC KEL SILVER)
REAL IVORY TOP NUT S
◄/- pcryd .
3/ 6 each
EACH VOLUME CONTAINS DOZENS OF
: betwee n centres. Str ing ho les : TUNEFULSOLOS AND ARRANGEMENTS
: in posts recessed. Brass finish . : ROSEWOOD BRIDGES IS/ - ..
• W hite butto ns. 19/6 pe r se t . • EBONY BRIDGES . . 17/ 6 ..
Obtainable from :-
! No. 19a. Exactl y the same sp ecificati on i IVO RY BRIDGE SADDLES 2/6 ..
CLIFFORD ESSEX M U SIC CO . LT D .
: as above, ex ce pt t he whole is : EBO N Y END KNOBS 4/- ..
8 New Compton St ., London , W . C. 2
: nic ke l-p lated . 21/ 6 per pair . : BEST Q UALIT Y BO N E ROLLER MACH INE HEADS
: Pos u. ce 9d . ext ra : ,c 37/ 6. £2. 1.0, £2.◄.6, £2.6 .6 and £4 . 12.6 pc, po,r

: Obwinoble from :- : ond . of course ,

: C LI FFORD ESSEX M US ICCO . LTD. i C LIFFO RD ESSEX "TO NE TEST ED ..

STRINGS.
NY LO N
CLIFFORD ESSEX
.
: 8 New Compton St., London , W.C .2 :
. CLIFFOR D ESSEX MUSIC Co ., Ltd . STOCK AL L FRETTED IN STRUMEN T

~··
·················
···············
··········"' 8 New Compton St., London, W .C.2
MUSIC AVA ILABL E IN T HIS COUNTRY
- IRRESPECTIV E OF PUBLISHER

~, •
THE BRIDGE SADDLE OF Y OUR

SPANISH GUITAR SENDTHISOFFTO-DAY

It is a pro ved b et that th e best matcriil
~Yo"-a~/aJi : T O CLIFFORD ESSEX MUS IC CO ., LT D . :

fo,- t he nddl c of a Spani~h e:uitar is i:• 8 New ComptooJgo~ . W .C.l •i=•:

:

ivory - bu t many commc r ci;:allymade

Please send me " B.M.G." for the next
tuiurs arc fitted w ith a pb.stic bride:e
saddle bcciusc ivory i$ not only difficult twe lve months commencing with the
t o obuin bl1t cxpcn.sivc . ::.
MAKESUREOF GETTING I . . .. .. ..... .. ... .. ............. ..... 19 .... .. Issue ,
.
~:~t
~e-.
We can su pply REAL IVORY bridge
sadd lcs-.it the rcason,b lc pr ice o f 2/6
(post.ace 'Id . i.:.xtn 1) . If you will send us
YOUR COPYOF "B.M.G." EAC
H MONTH
i:. h~~~-~-i·t·h ·: : :: : :: : :: : :: : : .v~-1~~-.•.~' : i

~
your old bride:e sa~dlc (or any material) To make sure or rcceivin~
we will $Upp ly 2 new one o( real ivory " 8 .M .G: ~ t vcry month it is
-o r m.tke one to your dimensions ! n cc~ss.1.ry l o p lace ~ st:t nd in g:
Just a p;:art of the Clifford Essex serv ice order . The mos t tr ou bl e•fr ec : ADDR~-S-~::::: : : ::: ::: ::: ::: :: :: :: : :: :: :: :: : ::: : :: : .[:.

i.
way is by subs cr ibin g dir ec t

~~~- ;~-~~~
10 players.

CLIFFORD ESS EX MUSIC CO., LTD .

w it h 1he publishe rs.
SUBSCRIPTION RATE -
I Sf. fot' 12 M onths
REN E~;~: .-.·.: :: .·....... ;I~;_
~.......•.
8 New Compton Str ee t , Lond o n , W.C .2 ( U.S. A . • - ~2.20 ) : (P leos~ put X o &o in st approp riate secc ;o r,) :
! . . .. ... ... ... ......... . ..................... ..~
H yo u do no t wi s h lo c ut this "8 ,M .G: · <opy the abo ve fo rm on a she e t o f p it.pe r-,
iv 1956
■.M.G.
FEBRUARY ,

FORTHEMANDOLIN
MUSIC We ar e p leased t o announ ce tha t we h ave bee n app o int ed so le E ng li sh
.. .. sellin g age n ts f o r t he f oll owing fo reig n m an do lin so los .. ..

PLEA SE QUOTE RM NUMBER WHEN ORDERING

RM I Campane a Sera (Billi) RM48 Tosca , " Recondi t a armon ia" (Puccini)
RM2 La Sonnambula " Pre ndi, l'a ne l ti do no" (Bellini) RM49 La Trav iata, '' Addie, del passato bei sogni ride nt i " (Verdi)
RM3 Violette di Parma (8ec ucci) RMS0 La Trav iata, "Ah, for se e Jui che l'anima" (Verdi)
RM-4 Quel Mazzolin di Fiori (Anon) RMSI La Trav iata, " Di Provenza ii ma r, ii suol " (Verdi)
RMS 0 Dio de l Cie lo ! (Anon) RMS2 La Trav iata, " Libiam ne ' lieti calic i " (Verdi)
RM6 Dove se i Stato , Mio Bell'a lp ino (Anon) RMS3 La Trav iata, "U n d i, felice , eterea" (Verdi)
RM7 Fenest a che Lucive (Anon) RM54 II T rovatore , " Ai nostri moati ritorneremo " (Verdi)
RMB Occh i Ner i (Black Eyes) (Anon) RMSS II Trovatore . " Do quella pira ·· (Verdi)
RM9 Santa Luc ia (Anon) RM56 Tannhauser, March (Wagner)
RMI0 II Bacio (Arditi) RMS7 La Paloma (Yradier)
RMII Mefistofe le " Dai ca mpi, dai prati " (Soito) RM58 La Docc ia, Mazurka (Capitani)
RMl2 Minuetto (Bolzoni) RM59 'E Spingo le Frangese ! (de Le,a)
RMl3 La Se renata (Braga) RM60 Tesoro Mio ! (Becucci)
RM l4 Valzer Op . 39 , No. 15(Brahms) RM61 Nor ma, " Casta Diva, che inargent i " (Bellini)
RMIS Lolita , Serenata Spagno la (Buzzi-Peccia) RM62 Sulle Onde, Waltz (Rosas)
RMl6 Core 'Ngrato (Catar i, Catari) (Cardillo) RM63 I Lombardi, " 0 Signore ! dal tett o nat io " (Verdi)
RMl7 Funiculi-Funicu la (Denio) RM64 Nabuc co, " Va, pens iero , su ll'ali dora te" (Verdi)
RMIB A Sera (da" La Wally " Preludio atto 3) (Catalani) RM6S Rigoletto , " La donna e mob ile" (Verdi)
RMl9 Stud io Op . 10 No. 3 (Tristezza) (Chopin) RM66 Rigo letto, " Questa o quella per me par i sono" (Verdi)
RM20 Addie a Napoli (Cottrau) RM67 Rigo letto , "Tutte le feste al tempio" (Verdi)
RM21 Prima Carez za (Notturno) (de Crescenzo) RM68 U n Balle in Maschera, " Eri tu che macchiavi que ll'an ima "
RM22 Tara ntell a Sincera (de Crescenzo) (Verdi)
RM23 Ave Mar ia (Gounod) RM69 La Forza de l Destine , .. Pace , pace , mio Dio ! " (Verdi)
RM24 Serenata (Gounod) RM70 Tosca , " 0 ! dolci baci, o langu ide carezze ! " (Puccini)
RM25 Serse, Largo (Honde l) RM71 Tosca , ·• Vissi d 'arte, vissi d 'amore" (Puccini)
RM26 Sulle Rive de l Weser, Mazurka (Moren co) RM72 Turandot , " Non piangere , Liu " (Puccin i)
RM27 La Cumparsita (Rodriguez) RM73 Turandot , "Tu che d i gel se i cinta" (Puccini)
RM28 La Bion d ina in Gondeletta (Mayr) RM74 The Barber of Sev ille , " Ecco ridente in cielo" (Rossini)
RM29 Canto di Primave ra Op . 62. No. 6 (Mendelssohn) RM75 The Barber of Seville , " Se ii mio nome saper vo i bramat e "
RM30 Noel de Pie r rot , Serenata (Monti ) (Rossini)
RM31 lnno d i Mameli (Novoro) RM76 The Barber of Seville , " Una vo ce poco fa" (Rossini)
RM32 lnno d i Gar ibald i (Olivieri) RM77 Ave Maria (Schubert)
RM33 II Libro Santo (Pinsuti) RM78 Serenata (Schubert)
RM34 La G ioconda, Danza de lle O re (Ponchielli) RM79 Sogno, Op . I 5, No . 7 (Schumann)
RM35 La Boheme , "Che Gel ida Man ina " (Puccini) RMB0 Mad rig ale (Simonetti)
RM36 La Boheme , " Valzer di Musetta " (Puccini) RMBI Viva San Gusto (Sinico)
RM37 La Boheme , " Mi Ch iamano Mimi " (Puccini) RM82 Ar ia di Chiesa (Strode/la)
RM38 La Fanciul la del West, "Ch 'ella mi creda libe ro e RM83 0 Primavera ! (Trindelli)
lontano " (Puccini) RM84 ldeale (Tosti)
RM39 Madame Butterfly, Un be l di vcdrcmo (Puccini) RM85 Malia (Tosti)
RM40 Madame Butterf ly, Coro a bocca ch iusa (Puccini) RM86 Marechiare ( Tosti)
RM41 Manon Lescaut, •· Donna non vidi mai " (Puccini) RM87 La Serenata (Tosti)
RM42 Manon Lescaut , " In quelle trine morbide" (Puccini) RM88 Nebb ia (Val/ini)
11
RM43 Lucia di Lammermoor , "Verranno ate sull' aure RM89 Aida , " Ce leste Aida " (Verdi)
(Donizetti) RM90 Aida , lnno a Marc ia Trionfa le (Verdi)
RM44 Marta, " M'appar i tutt 'amo r " (Flotow) RM91 Voci di Primavera (Voices of Spr ing) (Strauss)
RM45 Le Lac de Come (Golos) RM92 Stor ielle del Bosco Viennese (Tales from the Vienna Woods)
RM46 Don Pasqua le, " Comee gentil" (Donizetti) (Strauss)
RM47 Daghela Avanti un Passe , Po lka (Giorzo) RM93 Sul le Rive del Danub io (The Blue Danube) (Strauss)

EACH SOLO
(COMPLETEWITH ACCOMPANIMENTSYMBOLS)

1'6D
(Pos t age ex t ra)

CLIFFORD
ESSEX
MUSIC
CO., LTD., 8 NEWCOMPTON
STREET
, LONDON
, W.C.2
T~ leg ra·ms : Triomph e , Wes tc e nt, Lon do n Te le phon e : TEMple Bar 28 10

~ =====-========= ======= ====== == ==== ==-

Pri nted by Pcvcrlcys Lid ., 32-36, F leet Lane. Lo ndon . E.C .4, for t he Publishe r, :ind Pr opr ietor s, Cliffo rd Essex Music Co ., Ltd .,
S, New Complon Succt , London , W .C .2 .