Vol. LXIII No. 737 SEPTEMBER 1966 One Shilling and Sixpence

11 B.M .C .

* R endy Sept. 26tl,

¥

A

COMPL ~l~TE GUIDE T O T H E

I nst ·rurnen ts of the

Banjo Family • BANJO • ZITHER-BANJO • PLECTRUM-BANJO • TENOR-BANJO • Ul(U LELE-BANJO • BANJOLIN • BANJEURJNE • GUITAR-BANJO • BASS BANJO

• CONTRA-BASS BANJO

Th is 36-page poc ket-si1/.e booklet gives full detail s of each instru ment­

scale length, wn ing, number of frets, etc.- rogethcr with illustrati on .

It also gi \·es type of str ings 10 use and names all the pa rts of the banjo.

No longer need :myone be in doub t 0 1·cr any instrum enc of the Ban jo

F amily. A book to read and read again- and keep handy for reference.

Compil ed by :

A. P. SHARPE

TNVAL UABLE TO THE ENT HUS IAST IC

PLAYE R, THE TE ACHER AND TH E DEALER

2/-(l' ostag c 'id. C>.lrn)

CLIFFORD ESSEX MUSIC CO., Ltd. 20 Earlham Street, Cambridge Circus, London , W .C.2

Sole Selling Agents for U.S.A. and Canada:

M IL LS MUS IC, I NC ., 1619, Broadway, New Yor k. N.Y., U.S.A.

SEPTEM BER, 1966

T HE c urr O RD ESSEX

DE LUXE BRIDG E

WI 111 EBONY ! NSF ~ I ,,,,.

BANJO OR TENOR -BANJ O

\ ,, - ,--• ._.. 4 111_!.. __,.... ..._ _

• • ., . • ' I ' " •• •

) " or ~ ·· 4 -str in~ o r "-s ir ing. ~ l :ttl' \\hie ll 1·t•q ll ir ed ,d tr·n f 11·d1•nr 11.:

l'Rl CE 3/6d F.A( H

(/'o s111~e 6c/, extr 11) {lh l a h a h lt· f f'n111

Cu FFono EssEx M usic Co. L TD. 20 EAR L HAM STREE T , L ONDON , w .c.2

MUSIC STANDS

NriW r -f,ttcd wit h 1 t

non-skid rubber pods

on fee t .

* ,, ~ I\

* A r eall y e f fi c i en t so lid ly - bu ilt music stand . F o Id s up small enou gh to be carr ied in the instru • men t case .

* Tel esco p ic u p r ig h t adjustab le t o an y he ight . Real ly w ide l ed g e f o r music, wit h extensi on

ar ms at top .

* Nickel oloted chroutl iou l PRICE 31/6d.

( Po sroa e and 1,addngJ /6ut ro)

CLIFFORD ESSEX MUSIC CO., LTD . 20 Earlham Street, London, W .C.2

r---------,------ - - -,----' ME L BA Y'S ! MANDOLIN

CHORDS I N PH OTO D IAG RAM FO RM ,',

M eers the dc111a11d.1· n/ th ,, 11m1Ululi11i.N who ll'i.vhes to

joi 11 in ~roup " pv1i" playi11g.

l' R ICF

716 (P,J.,•rnge 6d . i•xtro)

CLI FJ-O IW ESSEX M IJSIC Co . Ltd . 20 Earl ha m Street. London. W .C .2

• SIXTY-THIRD YEAR •

- - • . - --- B . .G. ¥ ~"' V .

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

Pu/Jlished on the 1st of each month at

20 EARLHAM STREET, LONDON , W.C.2, ENGLAND Telephone -T emple Bar 2810

Telegrams-"Triomphe, London, W.C.2."

Vol. LXII I No. 737

0111 Cover By THE EDITOR

£t. OME months ago I received a ~ letter from Wi1liam Glover (well known enthusiast and teacher of the Spanish guitar in London) who tO'ld me a pupil of his, on ly eleven years of age, was mak ing such progress he pre­dicted he would one day be a concert gui-tarist of the rank of Julian Bream or John Williams .

During the upsurge of interes t in the Spanish guitar during the past decade, brilliant youngsters have come to my notice and although I have heard several of them play, in the main they had reached the stage of becoming first-class per.formers in a !limited way without sihowing ,the slightest spark of becoming another Ju lian Bream.

As a member of tihe committee that helped to shape Ju1lian Bream's musical career I can remember much of the early stages which even•tually led to his briUiant emergence as a con­cert artist of standing.

MUSICAL ENVIRONMENT

David Pash has been brought up in a musica·l environment, for he spends mos•t of ,his time in the music shop o'f veteran Charles Skinner, W:hich is managed by his grandmother. His early interest in the guitar was fostered by Mr. Skinner who for three years gave him lessons. He is stHll in charge ·of his general musical education. In

EDITED BY

A. P. SHARPE #

The Editor does not necessarily agree with (or always understand) the opinions expressed by his contributors.

SEPTEMBER, 1~66

1965 Mr. Skinner realised young David was ready for more advance d 'lessons and he was placed with Mr. Glover who tells me that ~he youncr artist has an extensive repertoire and enjoys most of all the music o{ Sor and Tarrega.

One day David and his grandmother

CONTENTS Music in this issuc:-BANJO SOLO: "Song of the Reapers" (Sd11111u11111) MANDOLIN SOLO: " Andante with Variations"

(Batiste) PLECTR UM GUITAR SOLO: "Na rcissus "

(N e1•i11) SPANISH GUITAR SOLO: "Alleman de lrom

Suite in D Minor,, (De Visee) Americana by J. McNaughton .. B.M.G.,, Djp]omas By the Way .. Coming Events Correspondence . . . . Directory of B. M. & G. Clubs, etc. •Federation News . . . . . . Fixed Guitar Chords by D. W. Roberis .. Flamenco Guitar by Peter Tottenhain Folk Music or America by George Barnes Free and Easy by Glyn Hughes . . . . From a Bath Chair by R. Tarrant Bailey . . Guitar Callis thenics by L. H. Drabble .. Guitar Technique by James O'Brien H. G. Corner by Kealoha Life Jazz Guitar by Len Stewart Mandoli n Tone .. Neglected Ukulele by Ray Baillie .. New PubJications .. Our Cover by The Editor . . . . . . Plectrum.Banjo Attack by Roy Burnham .. Robbery With Violence by Ronald Pearsall Rock and Pop by Sid Moore Small Adverts Tape Club News . . . . Tape Record ing by Jeffrey Pocock . . Tcacl,crs and their Addresses .. The Guitar in Israel by Jvor Mairants .. Th e Guitar on Wax by "Discus,, What is a Guitar? You Ask Us ..

. . 390

.. 399 404

. . 403

.. 400 407 398 384

.. 380

. . 383 381 388 382

.. 389 385

.. 387 385

. . 386 404 377 382 398

. . 378 406

. . 398 395

407 & 408 379

. . 396 395 405

Subscription rate: 12 months 21/-. (U.S.A. $3.00.)

All items submitted for the next issue must arrive at this office BEFORE the 10th of the month.

ADVERTISINC RATES ON REQUEST

One Shilling and Sixpe nce

called in at No. 20 and I had the plea­sure of listening to his brililiant inter­pre tations for ove·r half an ·hour. He played wi1th feeling and understanding and his hands were a joy to watch . I can confirm what Mr . G lover says about this pupil: "A natural music ian who has the gift (possessed by Ju'lian Bream at ,his age) of prod ucing beauti­ful tone from any guitar he picks up."

CHALLENGE

I firmly believe •tha t if eleven years' old David Pash could be granted the same facilities as were granted to Julian Bream at his age, there woutld emerge an artis 1t who could well chal­lenge the best concer•t artists in this country.

Confirmation, if any were needed, of these sentiments came from veteran Phi l1harmonic Socie ty of Guitarists member, L. E. Griffith (who took the picture appearing on the cover) . He remembered Julian Bream a!l the Society's meetings and remarked on the similarHy of their tastes and ski'1ls in performing the works of the gu itar masters. Mr. Griffith has been a con­stant visi,tor at David's home and has been granted the opportunity of hear­ing 1him play many times .

David Pash has already played in public at his school and in concer ts for nhe blind in West L'Ondon. Let us hope it w~ll not be too long before his name starts to be known in a wider field where first class playing of the Spanish guitar is apprecia ·ted.

378

Roclt tllld Pop By Sm MOORE

NEWS this month of a new scheme being tried out by the

G.P .O. Under the name of "Dial a Disc" the plan consists of an arrange­ment wthereby callers can hear the fatest top pop disc for the price of a normal telephone caH. To avoid over­loading the system, this is only in­tended to ,take place after 6 p.m. (and will end at 6 a.m.) and there will be a different record for each day of the week. .

If the preliminary trials prove successful (they finished on July 31st) a regular service wiN be in operation in •the Leeds area in the autumn, and will possibly be extended to other areas.

* * * I find myself less and less able to

take many of our pop singers seriously. The recent recording by Chris Montez of "The More I See You" consists basicallly of a "jiggetty­plonk" piano arrangement bolstering up t,he (in my opinion) ra ther less­than -robust voice of the singer. Per­haps this disc suffers by comparison with the original (which I have heard) by an "old >timer" known as Dick Haymes! The same can be said to

" , • , and after we've put over the image, you can lear n a couple of cho rd s on the guitar .•. ! 11

B.M.C.

A FREE COPY OF B.M.G. FOR YOUR PLAYING FRIEND

The Editor will be pleased to send a free sp_ecimen copy of "8.M.G ." to any player you know who does not read the magazine. Send us his name and ad d re s s and state the instrument he or she plays.

apply to the "Big Dee" version of "Swingin' On A Star" - a certain Harry L-illis Crosby having done this before. And oh! so much better!

* * * I read of a recent dispUlte over a

folk singer's dissat isfaction witih a guitar he recently bought. It turned out to be a gut-strung instrument ( or was it nylon?) whereas tihe customer demanded a steel-strung version . The dealer is reported as sayiing the instru­ment could be re-strung with steel strings .jf required.

I imagine regular readers of this magazine would hesitate to accept an instrument so treated!

* * * Brighton Technica1l College has its

own group-a folk group known as the "Tee Set". Line-up is Rosemary Falkingham, singer and rhythm guitar; Dave Cameron (lead guitar); George

SEPTEMBER, 1966

Arpthorpe (banjo) and Peter Elliot (string bass).

* * * "I would particular ly like to com­

mend the enrthusiasm tihey put into their performance and their excellent manners both on and off the floor." Th is is the last sentence of an un­solicited testimonia:l received by Fatther Michael Cook who is now manager to "Giorgio and Marco's Men" - a popular Midlands group at present working in Germany.

This kind of testirnonia1l gives the :lie to what is all tto often a misplaced conception that a'll pop performers are mo-rons.

The group was formed at the Youth Club of St. Mary 's and St. John's Church, Wolverhampton, where they performed to raise money to send a sick person to Lourdes. Thi~ was in 1963. The group has come a long way since then and can claim as admirers such personalities as Cilia Black, Gerry Marsden, The Searchers and Jimmy Savil-le. Line-up is: · Giorgio UcceJ,Iini (Vocals, Baritone sax, Trum­pet and Organ); Marco Uccellini (vocals, 'lead guitar and baritone sax); Mick O'Dowd (rhythm guitar) ; Peter Byrne (bass guitar); Frankie Rudge (Tenor and Baritone saxes, flute and clarinet) and Ala,n King (drums). The boys are tihe first to admit the group's excellent public image owes much to the untiring and unselfish efforts of Father Michael Crook.

* Belfast C. and W. group "The

ISherriffs" wished to appear in authen­tic costume--and encountered a diffi­culty. To obtain a pair of spurs to his satisfaction, singer Brian Shane had to send to rthe United Staies. Rigging-out the full group took about six montlhs. Li-?e-up is: Vince Dargan 0e1!-d gmtar ); Hugh Dargan (,harmonica) and Brian Shane (rhythm guitar and voca1Js).

* * * Final note of the . month: My

Sound Adviser tells me certain ampli­fier manufacturers are fitting obso-les­cent types of valve such as KT 66's and KT 88's on '/heir sides! The italics are his (not mine) and I am •told this met·hod of mounting the larger type of va:lve is thoroug,hly bad practice and can considerably shorten ~he life of the valve. These valves are expensive, too, and often have to be ordered specially in most areas!

(T o he continued)

SEPTEMBER, 1966

11,e Guitar In Israel

By IvoR MAIRANTS

T HE guitar, as most people are aware, is not a traditional Israeli

instrument. Folk dancers and singers are more -likely ,to use an accordion, drum or tambourine tro accompany the Hora .

There is a great diversity of cultural activities of a very -high standard from opera to Yemeni folk dancing; from the Habima Players (theatre) to cabaret in ,a Jaffa club.

The last 'time I was in Israel, October 1962, there was little evidence of the guitar as a popular instrument, although when I was asked to take pa:rt in a jam session on Kol Yisroel Radio I was provided with an American solid electric guitar and amplifier of: very good quality.

Nearly four years later, the guitar has visibly hit Israel. It is obvious from the records displayed in the music shops in Tel Aviv that Pop-Rock-Beat music of Europe and the United StJates has also swept this Middle East centre of western civilisation. Naturally, to produce the sounds on the records, it was necessary to have Gu rta-rs. That is to say, electric guitars and bass guitars; banjos soon followed.

Most of the solids and acoustic electrics come from West Germany and

B.M.G. Italy and most are of the lower and medium-price range which sell for high prices because of the enormous amount of duty ·pa:id on all imports. One young gui tarist on leave from the Army sat in wrrh the band one night at the Accadia Hotel in Herzlia and played very nice jazz. How he was able to afford his super American electric guitar, beats me.

There are now a number of musical instrument stores in Tel Aviv but the largest and most well stocked is the Israel Music Centre. There are -three floors with guitars of all kinds: Flat ­t·op round hole from the cheapest up to Italian and German Jumbo guitars; Spanish nylon -strung from these countries as well as Spain and, of course, solids and acoustic electrics . I did not see any acoustic plectrum guitars but quite a Jot of classioal guitars.

More and more people are taking up the study of classical guitar and it was interesting to see a notice in a Tel Aviv bus adver.tising a school for the tuition of Spanish guitar (referred to as " Sephardi" guitar).

It would seem to me that the plectrum guitar as an orchestral instrument (used in nearly au record­ings of orchestral and vocal, popular and •light music in the West) has not penetrated to these parts at aN and had it not been for the "hooligan" music (as many guitar players and arrangers term the 'pop' groups) the guitar would not have become the -popular instrument it is to -day in Israel

379

The classical or concert guitar is also making serious inroads into the life of ,the young Israeli and in 1965 the Education and Culture Centre of the General Federa tion of Labour­Histadrut - published a book on finger­style guitar called 'Guitar Playing' writ ten by Moshe Jacobson with Hebrew text.

Next to the Government the Histadrut is probably the most impor tant organisation in Israel.

The tutor, which begins by ·tracing the his'tory of the guitar from the ancient LIRA to the present six-string variety by means of half a dozen drawings, con tains the usual pre­liminaries such as timing, notation and exercises. In the main it is a collection of pieces by N. Coste, Carulli, Sor, Carcassi, Ktrhnau, Kiiffner, De Visee, Aguado and a few pieces with single­note melody and second guitar chord accompaniment.

Suffice to say ·tha t prior to this, there was proba:bly no call for a Spanish guitar tutor. One of my own books, "Latin American Rhythms for ,the Gu ·itar", was translated into Ivrit a few years ago and this edition has been selling in Israel. Now some of my other tutors are going to be translated and published in Israel.

NOT SUCCESSFUL

There has been an attempt at making guitars bu t the results have, so far , not been successful. Even the well-finished Spanish-made guitars that have found their way to Israel sound about as vibrant as a bread pudding and as stodgy!

In spite of these frustrations, the guitar scene is on a par with other countries in the world where youth is on the musica l spree. There is grea:t interest in guitar playing of every description and any of the •leading concert artists would find enthusiastic audiences in the Mann Audivorium or in the many Kibbutzim (collective settlements) which fatve excellent concert halls. There are over 225 Kibbutzim with membership ranging from under one hundred to over one thousand.

If it were possible for visiting guitarists •to indude tuition as part of thei r concert tour, I am sure all leading players would welcome such an opportunity and so fur ther guitar interest in Israel.

380

Flamenco Guitar By PETER TOTTENHAM

(Continued from last month's issue)

T HE reaction to Sabiscas tends to be a violent one and 1t !has

become fashionable to cr,iticise his style for the very reasons that make ~t so extraordinary. His detractors admtt his brilliance but assume it is nothing more than a superlative technique . .

In fact his many records tell a dif­ferent story; they revea-l technique, taste, imao-ination and invention brought to : new and exciting .pitch of achievement and any honest flamenco guitarist will admit that at the very 'least it deserves great respect.

The commonest complaint against him is he is not 'Andalusion born-to which we could add he has spent many years o utside Spain and thus away from the grass -roots of flamenco; but before automatically concluding his superb mastery of the guitar must therefore lack the profundity of pure flamenco we should also note he is pure gypsy; that he grew up in a gypsy and flamenco environment; and his life (including years of working with Carmen Amaya) has been completely dev-oled to flamenco . Arguably, this is more important than the geographica-1 accident of his birth .

RICH AS ANY

In simp le .terms of feeling the music of Sabicas is as rich as any- but we must make a very important qualifica­tion with reference 'lo flamenco.

Flamenco as played on the solo o-uitar is a rather different thing to the intense group creation of flamenco proper , where song (cante), dance (baile), guitar and audience are inextri­cably inv.olved in a profound rnusica:l and emotional experience.

The most important element of llhis is that depth of fee1ing we know as jondo. This is the essence of flamenco and although it can be transmitted by a solo cantaor (the most jondo mani­festations of flamenco are, in fact, completely unaccompanied) it cannot become ,part of the solo guitar- in whatever style it is played.

In effect, Sabicas on the one hand and a traditiona l stylist on the other wi"II play the jondo toques - the seguiryas or soleares or tarantas- with equal feeling but neither will be able to

B.M.G. convey t hat indefinable poignancy and tragedy and grief which is the mark of the outstanding cante. .

The terms involved are relative : c::impared to the c~nte t~e sol<? guitar is ,lacking in emotional mte11:s1ty but, compared .to other styles <?f guitar play­ing, its qualities of ifeelmg are most marked.

The real criterion of flamenco guitar is somewhat different. We must look for feeling and we must look for tech­nique- but, perhaps mos t importan~ of all is the overall effect oE musical so~nd. By this I mean the s_peci~l quality of the solo fl~menc? g~1tar is its fuMness; t he way 111 which 1t pro­duces a full -bodied , complete sound­a sound that is chordal rather than melodic; which is composed of har­monic patterns rather than individua l notes.

This effect is achieved by the strik­ing use of rasgueado chords in the In troducLion; in the Coda and , struc ­tura:My, at termina l points within the toque. lt is also aC'hieved through a highly developed technique that em­phasises arpeggio and tremolo effects and through more elementary but equaally forceful dynamics.

CRUDE EMOTIONS

Compared to that of the classical gui tar this style is overwhelming and breathtakin g- but raw. Flamenco uses a different instrument whose ~harpness and "edge" serve to distinguish the individual notes but not to evaluate lhem and it involves crude emotions.

T·he classical guitar is concerned with a greater sophisticat -ion apparen t both in the sensitivity of the emotional involvement and in the concern with the fuH value of e·ach, note, whe~her it

IF YOU ARE ONE OF THE TWO THOUSAND-ODD

READERS WHO RECEIVE YOUR COPY OF 'B.M.G.'

EACH MONTH BY SUBSCRIPTION

--N . B. -When you receive a notice of expiry with

your copy of "B.M.G." please

RENEW WITHOUT DELAY It greatly helps our subscription department and always ensures

uninterrupted delivery.

SiEPTEMBER, 1966

appears - alone or in relation to the ,oth.er notes of a chord .

The difference is clear if we take a simple .piece of music like the Villa­Lobos "Pre lude in A Minor" . Tech­nicaMv this could be considered as extre~C"ly elementary but in the hands of Seo-ovia the result is a miracle of rich a~d varied sound, entire ly due to his ability to extra.et the total musical essence from each note.

This concern with inhere nt musical va lues is, I take i:t, what '~he supporters of so-called "lyricaal" flamenco find (or hope to find) in their music. They ig­nore the fact that it ·has little relevance to flamenco and that flamenco has developed its own priorities that are more or less alien to the classical tradi­tion.

So far I have briefly assessed :two of the three guitarists who appear to re­ceive most of the attention in England - Sabicas and Pepe Martinez. J,t rema ins to deal with Carlos Mon toya .

EASILY UNDERS TOOD

Th is guitarist enjoys great popularity outside Spain - a populari ty reflected in !his many public appearances and re­cords- but the truth is he does not fio-ure in the flamenco 'hierarchy. His appea·l is easily understood since his playing is fui:t of gimmicks and supe~­ficially flashy- but fundamentally his music is deceptive. It suggests a tech­nical complexity that does not stand up to examination and a rhythmic ric_h­ness ultimately monotonous because its value as flamenc:> is minimal.

What should be obvious is that his lack of sensitivity is total.

On the other hand there is a kind of value 'hidden in his work that deri-ves from ·the fact that , as a nephew of Ramon Mon toya, he has •learned from the master . The variations , or falsetas, of tJhe latter remain gems of flamenco despite the passing of time and- regret­table though Cados' interpretations of them may be--' traces of their original beauly and power are still audible.

Frankly, anyone · seriously interested in the guitar and in flamenco should be wary of U.K. record releases . Apart from Sabicas (who is we11 served) the important artists are neglected but since it is now fairly easy to obtain foreign records it is wmthwhvle mentioning the significant names - which I propose to do in next mont,h's artiole.

(To be continued)

SEPTEMBER, 1966

Free ttnd Ettsy By GLYN HUGHES

A FINE ·long 11etter from reader T. H. Sambrook of Stoke-on­

Trent, bursting at the seams wi<bh the spirit af free and easy music making, tempts me to nominate him Free and Easy of the year!

Mr. Sambrook, or "Harry Banjo" as he is olherwise known, became a banjo add ict at the age of eight or so (he is now a young 55). It was coming home from a picture show (or a "penny rush" as he calls it) that he heard a busker playing a banjo outside a public house. He found he cou1ld not tear himself away and said to himself: ''l'-H have one of those some day."

There was indeed 1rttle hope for, as d1e says: "Things were pretty bad in those days! "

However bad things were, Harry managed to acquire an instrument - of sorts. He describes his first instrument as an old 7-string smool!h-arm banjo, split at the back, upon which ihe could never get more than one string. Wreck that rt was he was able to play "Pagan Love Song" upon it- using but one finger.

When Harry was about 18 he was al>le to buy a better instrument and he commenced studying with a teacher. However, so good was his "ea r" tha1t he could play •the exercises demon­s-trated by his teacher after a single hearing!

LESSONS END

He found he could do the same with music he heard in films. With -litt1e difficulty he could play the music 'he had heard straight off (in his own fashion, of cour-se).

'J1his ability-and a certain dislike of practice- brought his formal musical education to an end after tJhree months!

It was tJhe end of lessons but Mr. Sambrook p1ayed on in his own free and easy way: in parks with his un­employed pails (where he once turned to find a huge audience ga1bhered to listen!); at weok-end camps in the nearby countryside; and in local pubs.

I wii'I 1M Mr. Sambrook tell us of those week-end camps: ·

"Eight or ten of us used to go to a week-end camp about ten miles in the country. It was glorious. One of the

B.M.C. lads was pre tty go::id with a uke and we had some lovely sing-songs. Sa1tur­day night we would walk to the nearest vtlfage pub and get everybody singing.

"E ven after all these years we are st ill remembered by some of the older villagers.

"I remember one time we were in a pub in Cheadle (Staffs) when two old blokes in bowler hats entered. They had arrived on a push-bike (one on the backstep! ). One of them had a banjo and aHer a -little while and a go::id look a't us, •he rtook it out of its case and played "Old Black Joe"­finger style. I was fascinated and asked him to keep on playing- but he was "fingers only"; nothing else was any good.

"His attitude, I Dhink, explains the gulf that exists. A 'lot of fretted instru­mernt players are never heard becau se 1they are afraid of being laughed at if they cannot manage all t1he "twiddly bits". Many a happy-go-lucky sing­song is .Jost as a result.

" I remember on one occasion (dur­ing a park-walking period) a bloke I knew asked if he could have a go on my banjo. He played some piece with a lot of 'twidd ly bits', whioh obscured the melody, and my mates didn't like iit a bit!"

I LAUGHED

Well, Harry, I laughed aloud when I read that bit about your ma•tes not ·liking all those "twiddly bits". I know exac!lly the situation. It has happened to me (and still does) for I often for­get myself and my duty to my audience and go flying off on some flight of iharmonic or melodic fancy; di&toJ.1ting and playing around ithe chords until the melody is lost in the "far out" arrangement.

As a jazzman I am not opposed to improvisation and to kicking things around both notationa'lly and rhythmi­cally- but I realise how exasperating this can be to people who only want to hear ,the melody-and they are right in teJ1ling us to cut out the messing about and get on with playing the tune!

We musicians need putting in our place now and again. We go "right off", given ·half a chance!

But let me geit back to brother Sambrook's biography. He still plays looaNy at parties and a:t the pub at week-ends, where his banjo is called "fiddle" by all and sundry! Some time back he bought a washboard and

381

geared up a tea-chest bass. On dart­match n ights, accompanied by his pals, he i:;layed his favourite "old ies" of ·the 'twenties and 'th irties. "The grea1t big wide grins on everybody's faces was more 1than ample payment for me, I can tell you," says Harry. "We 11ave piano and drums in the smoke room now but I don't enjoy it more than the old sessions in the bar."

I do not t,hink I wou1ld either, Harry. I know which I prefer.

Thanks very much Mr. Sambrook for your interesting and cheery Jetter. I am sure we have all enjoyed hea ring of you and your playing. I wish there were more like you in this world. I would be a happier place. Keep it up!

~' * * From Stoke-on-Trent to Sheffield

and a letter from a banjoist who, wants to pal up with someone also interested in the banjo or ol!her fretted instru­ment.

Forced Lo move from his home in the !South (where he took 1essons and had musical friends) he now finds him­self on ,his own. I have indicated a couple o-f leads he might foNow up in •the Sheffield area but if any reader in N1e district feels he can help I will gladly pl.llt him in touch .

* * * The reader who sent me a few odd

pages lorn .from old copies of "B.M.G." could not have kn own how muoh ·interest and pleasure these would give. I keep finding things of interest a111 the time. For instance, in bhe July 1935 page is a picture of lvor Mairanls and A'ibert Harr is who (1lhe capt ion tells us) on Saturday, Jun e 14th recorded rt.heir own solos "Spring Fever" and "Ded ication to Eddie Lang" for Brunswick .

I have never owned itihat record but I have the same two players on a Brunswick 78 playing "Autumn Har ­vest" and "Ya nkee Doodley Plays a Fugue". It was among the first plec­trum guitar records I owned and i1t is still one of my favourites.

I remember on the same Brunswick ·label being thrilled and staggered by 1the ·playing of Les Paul. "Beg in the Beguine" /"Dream Dust " and "Dark Eyes" /"B lue Skies". Wonderful stuff. Yes, and Eddie Lang on Parlophone playing those numbers mentioned by P. M. Price in his "Grand Concer,t" article recently .

Wrhat memories these old 78's re­vive!

Here is Guillermo Gomez on the Columbia label playing "Elegie" and

382

"Gavota" and here on the green Zono­phone -label Jimmie Rodgers singing and playing "You and My Old Gui,tar".

I seldom play them now for I can hear ea~h and every note in my head and can hear them as clear as i.f they were on the turntable .

But I must stop before my pen runs away with me. See you again next month.

(To be continued)

Plectr11m-l t111jo llttaclt

By ROY BURNHAM (Continued from last month's issue)

T HE main essential for success­ful attack is power. No army

would launch an attack without suffi­cient manpower and firepower. The plectrum-banjoist who is going to ex­ploit the attacking capabillities of his instrument needs a well-equipped armoury. Musical power comes from chords . It is not a purely relative power.

For example, double-stopping has not just twice the power of a single note-it has very much more in its impac t on the ear. A vhree-no te chord increases the ratio more- and so does a four-note chord . There is not only ,the vo'iume that makes the impaot; the ·harmony has an additional impact.

Therefore the foundation for good attacking banjo playing is complete command of four-note chords. Many plectrum - banj oists, particularly in their earlier days, only learn to play three -note chords. This should be remedied as soon as possible. Four­note chords are not difficult to finger; although it may ,take a little time to become proficient. I t may be more difficult to find a reference to learn the fingering; but here at least we can be helpful.

First decide whether you want to use your banjo with the traditiona1 C­bass tuning, or with ,the D-bass tuning.

What are the advantages of eaoh? If you have an extensive repertoire

of published banjo solos you wiH want to maintain l'he C-bass because it is used ex•tensively in traditional and contemporary published music. All three-note chords you have learned can be transformed into four-note chords

B.M.8 .

LARRY H I NCHC LI FFE (lead singer and rhythm gullarisl) LESLIE ORC H ARD (bass) and CHARLES CURRY (lead guitar­ist) comprise one of Yorkshire's top C. & W. groups. The Trio recently performed at the Country Cet•Together at Cecil Sharp House. They play at local clubs and do a lot for char ity a nd hav ·e certainly given c. & W . a boost in t he Done.aster area.

by ,the addition of an extra note on the bass string. This may mean some re­arrangement of the fingering of the first, second and third strings.

Tihere is no need for me to give de­tails of four-note chords wHh a C-bass. They are aH listed in the tutor "Chords for Banjo and Tenor-Banjo" published by the Clifford Essex Music Oo. Here you wiH find fingering charts , musical notation and chord symbols.

The D-bass tuning is used by players who prefer to tune their bass string in octave with the first. A1lthough some of llhe old~time finger stylists used this tuning for many of their numbers, it was Ken Harvey who adopted it as a permanent tuning for his particular brand of plectrum and electric banjo playing in the 'thirties and 'forties.

I prefer the D-bass tuning-and those of us who do, feel it has advant­ages for solo playing and rhythm play­ing-e specially if our -repertoires com­prise a •large proportion of speci~l arrangements . And if one does want to incorporate a published number exactly as it is written into a perform ­ance, then one can retune the bass down to C as easily as the old finger­banj o soloists tuned theirs up to D for a single number.

Fingerings and inversions for four­note ohords with a D-bass will be .found in a special section of tihe plec­trum banjo tutor "Plectrum Playing for Modem Banjoists", published by

SEPTEMBER, 1966

the Clifford Essex Mus ic Co. Whatever your choice, C or D-ba ss,

it is essen tial to become so used to fingering four -note chords that they become second nature. Only then wiH you be able to concentrate on the techniques to give bhat added aittack.

Olean fingering is ~he first requisite. Always use the finger tips t-o stop a string . It is also desirable •to avoid the use of a barre when one wants to change chords quickly. A four string barre can be replaced by fingering 4, 3, 2, 1. Stop the strings firmly just be­·hind the fre ts.

(T o be continued)

Guitar Calllstllenlcs

By L. H. DRABBLE (Continued from last month's issue)

IN Examples l to 14 the fingers were being conditioned to p'iay any

practical interva ·I uhat may occur on one string from a Minor Second to a Perfect Fifth.

The reason for this S'tretch, besides being Callisthenic, was to facilitate any change in position.

It is also na•iUrally easier to work along the fingerboard up to bhe h igher positions than the reverse (as the student will have experienced during practice) and it is on this account tha t all examples should be p'layable with accuracy and ease in either direction.

These examples are to be played om:e again withou t the open string­but witJh one exception.

The first note of each group only is to be struck wibh plectrum or finger (whichever style •the student favours) and the remaining note (or notes) is to be hammered on to the fingerboard with -the fingers of t!he left hand .

Th is hammering effect should be practised firstly as an appoggiatura then as an acciaccatura.

The next step is to repeat •bhe whole operation-this time using the glis­sando or slur wherever practical. It should be obvious ,that this is imprac­tical! willh Examples 9 to 12 but not impossible.

Th is technique of hammering the finger on to the required note and snapping it off again is one of the basic requirements of flamenco playing and one great exponent of this particular

SEPTEMBER, 1966

style is Carlos Montoya, whose mastery and stren~th in the .Jeft hand has to be seen to be believed.

Much use of the •hammer-snap is made in Country & Western s•tyle as explained by Chris Spedding in his admirable book on {he subject.*

Besides classical music containing its trills and mordents in which this technique is employed, t,here is Jazz improvisation and as this is sometimes carried out in ultra fast bursts or phrasings the hammer-snap type of run is invalualYle and essential.

Ex. 38 rnus•trates the necessity of ~his, as the phrasing would not be pos­sible to perform at any speed without hammering certain notes.

In the first bar the first note of the first three triplets is struck, the others being hammered. The last note of the .fourth triplet is also hammered.

In the second bar, whilst the first finger remains across strings l and 2 at the 5th fret, the first note of the first triplet is snapped off with the fourth finger, then the third note.

The first note of the 1wo semi­quavers -is a'lso snapped off, leaving the first finger a,t the 5th fret.

It would assist matters if t;be first finger held the barre at the 5P through­out.

Ex. 39 gives a run on Am9 a:t 5P using a similar effect. The second note is hammered on. The third note of the tri~let is hammered on and snapped off to give the third note whiilst the two separate semiquavers are played staccato.

Here once again the first finger holds the barre at the fifth fret.

Many interesting effects may be ob­tained wibh this technique of hammer­snap which wou·ld hardly be possible or practical in normal picking or fingering.

(To be continued)

• "TIIE GUITAR-COUNTRY & WEST­ERN STYLE", Chris Spedding. Clifford Essex Music Co. Ltd. Price 5/Sd . post free.

B.M.C . Follt Music of llmerlca

By GEORGE BARNES (Continued from the July issue)

AMID the proliferation of folk­song per£ormances, good, bad

and indifferent, spawned by the com­mercial hustling of all kinds of folk music, i-t is good and most refreshing to return to the grass -root musicians of the 1920's-30's from whom this kind of music has been gleaned.

Nothing is more startling than the contrast in taste between the urban folk singers of the 1920's-30's and those af the 1960's. The ear-ly banjo, mandolin, guitar and violin make such .ftiiendly music, inviting companionship, de­manding par,ticipation. On the other hand, the unyielding din of today's electrical instruments and voices riding high above-inaudible without amplifi­cation-is impersonal and cold.

Yet the echo of that earlier period lingers on, particularly .in aspects of R.ock 'n' Roll, Folk-Rock and (perhaps more so) in Country & Western music whose singers sbill retain the Country sound; though in many groups the instrumentation bas gone far away from the home-made style of the early period.

That great sage George Bernard Shaw once remarked: "Things do not progress, they only change" and if he were around today he would no doubt add: "and not always for the better! "

Although some of the ear.ly per­formers are still with us, most have "passed on"; but their recordings have been preserved and these are sought after, from every part of the world where English is spoken. A great num­ber af these original 78's have been re­recorded into LP album col'lections and many more wj.)J be issued.

Victor and Columbia hold the major share of recordings by ·the pet:formers who were ~he big sellers in Folk Music

and the · a'1bums by "Folkways"-the specialist label-are highly regarded by the serious collector.

Credit for preserv.ing many original recordings is due to several smaJ.J inde­pendent labels, associated with a dedi­cated band of folk -'lorists and musicians who promote "County", "Folk Leg­acy", "Folk Lyric", "Arhoolie" and "Old Timey" records. Many of the recordings on the albums issued by these labels have been taken from the old 78's made by recording companies which have passed into oblivion many years ago: including the period when the American depression was at its darkest in 1932.

The first album of folk music from the rural areas to be released fur the Big City markets was "Smokey Moun­tain Ba,llads"-in the late summer of 1941. The Victor Company commis­sioned John Lomax to edit this album of selections of -rare recordings from their vast archives af American rural music; recordings :that were previously marketed exolusively to the same rural areas from whence the music came.

COLLECTOR'S ITEM

'"Smokey Mountain Ballads" was a complete success; went "out of print"; and became a rare collector's item-a success that was a'll the more remark­able for no publicity of any kind was given in the professional publications.

Twenty-four years later-in 1965-Victor re-issued :this album on their "Vintage" label (Victor LPV.507) with six selections added to the original -list­ing. The performers on this historic disc carry the illustrious names of Uncle Dave Macon, The Carter Family, The Arthur Smith Trio, Monroe Brothers, Dixon Brothers, Gid Tanner and his Skillet Lickers and J. E. and Wade Mainer. AU came from the Southern Appalachian ·area and were good indeed. Their -instrumenta:I rteoh­nique, vocal •style and harmonic treat­ment served as models during the period p11ior to World War II.

One of the most :famous of the old­time artists was Tennessee-born Uncle Dave Macon (banjo ist/vocalist), a colourful personality who joined the "Grand Ole Oprey" in 1926. At that time he was already in his mid-fifties and he continued to perform with the show until his death in 1952 at the age of 82.

The two selecbi.ons recorded by this sparkling performer are his lyric folk-song "Railroadin' and Gamblin'"

384

and the descriptive banjo -vocal sketch of a "Cumberland Mountain Deer Race".

Another impor:tant figure in ,the early days of commerciaiJly recorded old-time music was James Gideon (Gid) Tanner, banjoist and violinist, from Walton County, Georgia. The other members of the Skille t Lickers were: Clayton McMichen (violin), Ted Hawkins (mandolin) and Fayte Norris (banjo) ­all highly-rated performers . In addition there was Riley Puckett, wiho played the guitar finger-style.

Puckett was blinded -through a mis­hap at the age of 7, but this did not stop him becom ing one o-f the most remarkable hill-bi;lly guitarists to record.

Two traditional selections are recorded: "On Tanner's Farm" and "Ida Red", with Puckett as vocalist and some fine guitar playing.

The Alrthur Smith Trio - banjo , guitar and violin - a-re represented on this album with three contrasting selec­tions: "There's More Pretty Girls Than One" , "Chittlin' Cookin' Time" and 'Tm Bound ,to Ride". Arthur Smith, who haHed from Dixon County, Tennessee, here demonstrates .on ·this recording his wonderful driving banjo­style .

ESTABLISHED PATTERN

One of .the patterns established at an early date was the recording of family groups and The Carter Family from South-West Virginia was one of the most important. It consisted of Alvin Pleasant Car-ter who sang bass and did most of the writing and arranging of uhe songs recorded; his wife Sarah who sang in a clear ,lead-voice and played rhythm on the auto-harp; and May­belle, first cousin of lSarah, who sang alto and played 1ead guitar in a clear­toned style that was to make her unique amongst guitarists in the music world .

Two of their most popular numbers are recorded:· "Wouied Man Blues" (which is their own version of a song A P. Car.ter heard from a convict :Jabour gang) and "East- 'Virginia Blues", a traditional lyric folk-song.

Another impor .tant family group, the Monroe Brothers (Bm and John) from Western Kentucky here sing two selec­tions : "Darlring Corey" and "Where is My Sailor Boy?". The mando1in play­ing of BiH Monroe was brilliant then as it is today whilst his elder brother John was no mean performer on the guitar.

B.M .G. T-he Dixon Brothers from Darlington

County, South Carolina, were another influential brother team and sparkling performers on plectrum and Hawa<iian (steel) guitars; giving a fine sound to their two items "Intoxicated Ra t" and "Down With bhe Old Canoe".

J. E. Mainer (violinist) and his younger brother Wade (banjoist) are from Weaversville, North Carolina, and three numbers by them are included in this collector's album: "On a Cold Winter's Night", a baillad written by Carson Robison (the leader and vocal­ist of the famous Hill-Billy Pioneers); "Riding in That Train R01rty-Five" and "Down in the Willow" .

J . E . Mainer and his Mountaineers are still performing and are well re­membered by "yours cruly" when they were playing over :the aiir from Radio Luxembourg in the ea,Tly 30's--dlired by an American Company called Crazy Water Crysta.Js. The crystals were never sampled but the Hill-Billy sound was ce1tainly most enjoyable.

SOME LIMELIGHT

The artists mentioned from this current issue of " Smokey Moun tain Ballads" have only been briefly dealt with, to give some limelight to a few of the many entertainers ~ecording in th~ days of "way back". There are many more, including Jimmie Rodgers -t he "Singing Brakeman"-often referred to as the Father of Country Music. The Carlisle Brothers, Bradley Kincaid, Vernon Dailhart, Delmore BroDhers, Charley Poo le and his North Carolina Ramblers, Grayson and Whitter and _some colourful characters in the "Spooney Five", Allen Brothers, Moatsville String T•icklers, Scottdale String; Band, Mississippi Mud Steppers, Carohna Tar Heels, The Three Stripped Gears, Byrd Moore and his Hot Shots and Earl Johnson\s Olod Hoppers.

The only quaint thing about t!hese groups was their names-the playino of the fretted instruments were ,o,f the first order - without any gimmicks!

(To be continued)

YO U'VE M ISSED Q UITE A LOT if yo u haven't seen th e Cl ifford Essex l ists re lating t o the instrumen t yo u pla y ! Wh y not drop t hem a l ine askin2 for them?

T here 's no charge'f Write to:-2O EA RLH A M STRE ET , L ONDO N w.c .2

$/EPTEMBER, 1966

1/Ned fi11/tt1r C,,o,is

By D. W. ROBERTS (Continued from last month's issue)

T HIS month's group of chords is, in the main, set in the key of

F Major showing variat ions in two basi c chords of F; namely F based on the tonic F- and C7 based on the dominant C.

In Ex . 7 the uppeT group gives us the tonic chord F while the middle group gives us Caug. which is a varia­tion on the dominant C made by changing the G into GJ. This chord can immediately follow the C7 to give a natural lead back into the tonic F.

Ex. 8 is a slight variation of Ex. 7, made by introduc ing the minor 7th to give us domi nant 7th chords in each case.

The uppe r group gives us an F7 th which can be used to give a perfect

Rx . 7 654321

;8;3ittt 3~

F Rx . 8

Ex.9 .

C+

Im ffl ffiffl Dm

Ex. JO

F+

Rx.ff

C'1

Am

SEPTEMBER, 1966

lead into the subdominant B0. The middle group gives us C7#5 which performs the same duty as the Caug. in Ex. 7. The lower group gives us an A 0m6 which, if raised to the third position, would give us B0m6, which is derived from the subdominant Bb as already outlined in Ex. l.

The F7 can be played alternatively with F9 in Ex. 6 to give added variety.

In Ex. 9 the upper group gives us a Dm, which is the relative minor of the tonic F. A change into the minor key is often found in many pieces.

The middle group gives us the pure and simple C7, the dominant C in the key of F. The lower group gives us a G7b9, which is an Fdim. if the root G is omitted . This chord, like the Fdim., will resolve back to the tonic F.

Ex . I 0. A further variation gives us Faug. which can be useful as a lead into either a Fmaj.6 or the sub­dominant Bb. The middle group gives us the relative minor (Am) of the dominant C which can be used instead of C7 when the melody note is A (in the key of F) .

Ex. I I. Assuming the key of F# Major , the upper group gives us FJ7b5 . which is a variation of tonic chord F#. This chord can be used where an F#7 is quoted but the melody note is in actual fact Cq (which is the flattened fifth).

The middle group gives us C#7, which is the dominant Clt. The lower group gives us Ffdim . which is derived from the tonic F# and usually resolves back to the tonic .

Ex. 12. Back again to the key of F . The upoer group gives us Bb which is the subdominant Bb. The middle _group gives Cl 1 which is the dominant C7 with an added fourth (F) . This chord usually resolves back to Cl and can be used where C7 is given but the melody note is F.

(To be continued)

Mt111doll11 Tone

EVERY player of the mandolin should constantly be striving to

improve the quality of tone he or she produces. Tone is of far greater import­ance than executive ability for neither andante n·or allegro compositions can be played in a pleasing and satisfactory manner on the mandolin unless the player has devoted more than a little attention to tone production.

B.M.C. Good mandolin tone is dependent

upon se'Veral things. The first essential is, of course, a

good instrumen t. It has been said there are proportionately more bad mando­lins in existence than bad instruments of any other kind-but that was prob­ably said before the guitar craze swept the world! However, the mandolinist should buy the best instrument he can -and good mandolins can cost quite a tot of money! The player who expects a first-class instrument for a few pounds is deluding himself.

Good mandolin tone is also depend­ent to a great extent upon the posses­sion and manipulation of the right sort of plectrum. No other substance has been found to equal tortoiseshell of a medium degree of flexibility to vibrate the strings . Too many players of the mandolin use a flappy thin plectrum of unknown material which not only produces the wrong type of tone but limits the volume to less than a half what should be possible under the right conditions.

A supple wrist action has also much to do with the acquisition of a good quality of tone. Unless the beginner has this impressed upon him during his early studies he is likely to acquire a tremolo with an action from the elbow joint; which is entirely wrong and will be difficult to remedy.

MORE PICTURESQUE

It is a noticeable fact that the best mandolin tone is produced by players who 11se an arched wrist. All Italian players of the mandolin seem to use this elevated right -hand method: one cannot help noticing it because the poise of the wr:ist is infinitely more picturesque than the flat-wrist method.

Many mando'inists sacrifice fifty per cent. of tone through inad vertently striking single strings instead of both strings of a pair. Let no player com­placently think he never offends in this way. There are more "single-stringers" than anyone would imagine and of all faults in mandolin technique, that of sounding only one string of a pair is the fault least apparent to the player himself.

Much of the insipid mandolin play­in~ one hears is undoubtedly due to a lethargic method of practising . Every mandolinist with a desire to improve should devote a certain amount of his daily practice to velocity exercises. These should be practised loudly and with as much vim as possible.

385

lf a mandolinist will devote fifteen minutes a day for a month to exercises of this kind, not only will his executive ability have improved a hundred per cent. but the improvement in his tone production will be something for his hearers to marvel at.

A final word or two about the left hand.

The left-hand finger nails should be kept closely trimmed so that the finger­tips can press the strings firmly against the fingerboard without hindrance. This left-hand pressure also contributes to the production of good tone so every player of the mandolin should see tha t the finger-tip maintains its pressure , as often as possible, for the full duration of each note .

H. fi. Corner By KEALOHA LIFE

(Continued from last month's issue)

A N amusing incident during the subsequent ,tours of Felix

MendelssOlhn's Serenaders was recalled to me a few days ago by Esmee Ash . Our stage clothes had been indavert­ently left in a large skip (1hamper) on Cardiff station. I managed to get a telephone caH to a smal11 vil'lage in the Welsh valleys (ait which we were due to appear) to procure white "ducks" for the band by the unorthodox ex­pedien t of writing a note to a station­master en route and throwing ~t. attached to a brick (whioh Pulu Moe was earring aro und with him for some obscure purpose), at ,the window of 1,he nearest signal box.

Surprisingly enough, we were re­warded with a complete -rig-out on arr iva1 at the looa:I cricke t-club and so, in often very i'll-assorted Hawai'ian aNire. we were able Ito carry out the show!

On a series of one-night stands our trumpet player (who sha:H be name­·less), in the excess of exhuberance engendered by a surfef.t of malt, was essaying the acoustics oif the dance-haH convenience by blowing a sequence of ear-sha:ttering scales on -his instrument when suddenly •he dropped it a·nd it became jammed in the orifice of one of the appurtences of ,the aforesaid "li•ttle room".

It look the combined efforts of Felix Mendelssohn and t!he unfortunate vic­tim to extricate the trumpet in time for the next set <Yf dances!

386

Another hilarious incident invo'lving the fate Harry Brooker occurred dur­ing a rehearsal when Maurice Asih gravely announced to Felix that the had trampled on his own glasses- an ex­pensive pair - when getting out of bed . This amused Harry so much that the tears of amusement that filled his eyes made him remove his own rimless spect,acles Ito wipe them away. He placed them on Uhe lid of the pia'tlo and crushed rtihem t-o fragments a few moments later as he flung back the piano-lid.

Our vocalist's efforts were not greatly ,appreciated in Wa'1es where, at the Capitol, Cardiff, the audience pellted us with pennies and bottles, shouting: "We can sing in Wales! " In t-he meantime a sinister individual sniped at our bare feet (we were wear­ing Samoan lava-lava) with a .l 77 air­rifle.

In Aberdeen the show was abrupt ·ly cancelled af.ter two numbers due to the stampi ng of the feet of several tihou­sand enthusiastic Aberdonians on Hogmanay completely drowning the soft sounds of the Hawaiian guitar.

At the Hammersmith Palais we were all very interested to see a ship's orchestra from Java, the Roya 1l Dutch Hawaiians - featuring itwenty skilled .fretted instrument performers and an exceNent Hawaiian guitarisit led, to our surprise, by a proper conductor.

VERY FUNNY

Ta·lking of conductors, we thou~ht it excruciatingly funny one evening when at the close of a show, behind t1he tabs (stage curtains) Felix Mendel­ssohn "beat llhe band in" witih his baton into 4 / 4 time preparatory to playing a farewell "Goodbye Hawaii" while the pit orchestra simultaneously struck up "The King" . The sax section of the Serenaders, almost petrified, changed to the Nationa!I Anthem, in 3/4 time, with a comparab le expres­sion of horror on the faces of bo:1h orchestras, leaders and audience!

As I end !!his series of articles willh their reminiscences I reafoe t-hey be­long to an era that, a-las, is forever past and which seems 1to be beyond reca-11. AH that remains is a collection of press cuttings and photographs: a host of memor.ies; and the exquisite voices in harmony of Maurice and Esmee Ash Ito remind me, as we play together, of the grand days when we were much younger (although no more enthusia stic) and when life consisted

B.M.G.

TEACHERSI More and more people are taking up the study of a fretted instrume/11 - we are still receiving enquiries for the name and address of a local teacher. If YOU teach the Banjo, Mandolin or Guitar, you should (it1 your own interests) have your name a11d address in our Teachers'

Directory. IS YOUR TOWN REPRESENTED

IN OUR DIRECTORY!

of the throb of ukulele and guitar; the flash of dusky P<Ylynesian eyes; the sigh o-f the Hawaiian guitar and tihe thud of sharkskin drums against a background of palms, leis and tapa cloth, interwoven with the nostailgic singing of authentic Hawaiian race­artists (some long dead) whose glorious v.oices and thril:ling "atmosphere" on 1Lhe Hawaiian guitar never failed to stir me.

Aloha to you all - me ke aloha pumehana pau loa.

Neglected· fllt11/el• By RAY BAILLIE

(Continued from last month's issue)

II N my previous article we discussed II the playing of those crisp rhythms •that make the ukulele suoh a wonder­ful instrument for the purpose of play­ing a 11hythmic background willh almost any group, whether it be Hawaiian, La:tin-American or "pop" ensemble.

'f.his month we wi'll discuss the important aspect of melody playing.

Please do not .Jet the uku1ele fabl into the tWI() stupid categories the guitar has fallen into these days-main -

SEPTEMBER, 1966

ly by ignorant people. Heaven forbid we should hear or read about "lead" ukuleles and "rhythm" ukuleles!

11here is only one type of ukuie1le and that is when the instrument is played correct ly.

Who ever heard of a "front wheel" cyclist or a "back wheel" cyclist?

Having cleared 1•he air over that point llet us get down to ithe funda­mental requirements for playing melodies on the rnstrument.

Our first step is it-o -learn •to play simple major scales. In the playing of these we only use the first three strings - it is we1'1 to make a mental note of the fact tna·t the fourbh string is always wri~ten down an octave. That is: it sounds one octave (eight notes) h igher than the written note. This is done to save confusion when writing for the instrument.

Now look a-t Ex. I on this page. 11he string numbers are marked at the top and the numbers below s-how the fingers and frets to be used. (T1hese are both the same.)

Play this scale unti-1 the notes fall under the fingers in a semi-automatic manner. Play it upwards and down­wards as often as you can manage­the effort wm bring its own reward.

This scale is said to be in the first position and it is the sea-le of Eb Majo•r. With the first finger constantly at the first fret and no open strings being used, i-t wil'l be fair1y obvious where the expression "First Position" comes from.

Turn now to Ex . 2. Here we have added a few chords. This, again, is in the first position.

Play this exercise slowly at first- as you no doubt will- and then gradually increase the speed while still IJlaying it evenly until it reaches about 48 ba•rs per minute. (Quickstep tempo.)

Clilford Essex "TONE-TESTED" STRINGS

MADE UP TO A STANDARD-NOT DOWN TO A PRICE! Clifford Essex "Tone -Tested" Ban;o, Mandolin and Guitar strings are used by most broadcasting artists, professionals and amateurs all over the world and we constantly receive unsolicited letters testify ing to the tonal qualities and long life of our products. lf you are 11ot yet a user of these high-grade strings, why not fit a set to YOUR

instrument and give it TONE? CURRENT PRICE LIST FREE ON REQUEST

Clifford Essex strings are only supplied in the famous Blue and Black envelopes bearing the name and address:-

C LI ff ORD ESSEX MUSIC CO. LTD. 20 EARLHAM STREET, CAMBRIDGE CIRCUS, LONDON , W .C.2

SEPTEMBER, 1966

I 3

i,J ©

&r r • I 2 • ·I 3

~i r r I r t f1

Rever ·t now to Ex. I. This time we firmly plant the first finger a't the second fret on the ~hird string.

Fo!lowing the same sequence of fingering we wiH produce the scale of E Major in the second position. (Remember, this time the first finger remains at the second fret through­out.)

Again, itake Ex. 2 and play in the second position.

The next step is to play both these examples at the third .fret and then move up the fingerboard, one fret at a -time, until you can play them in a1H positions up to about the ninth posi­tion.

You will now have -leamed the most important part of solo playing on the ukuiele-o r any fretted instru­ment, .for that matter: position play­ing. .

1-t will now be fairly obvious it is no more difficu~t to play in the key of F Major (one flat) than it is to play in the key of F# Major (six sharps).

Mas ter this system and you are weN on the way to mastery of the ukulele.

A very useful poi-nt to remember is that the fi6tih degree of -the sea-le can be played by the first finger on the fourth string. This is often more con­venient than the normal fingering.

On this page you wil'l find a short solo which I have written so that you may show off the ukulele as a solo i-nstrumen-t. 11he t itle was inspired by

B.M.C.

kF •

t lr r r ! lj'. t 11

the very beautiful range of mountain s in the Eastern districts of Rhodes ia where I teach. The word "V umba " is Chishona-nyika and means simply "m isty". (I am sometimes tempted to. write a more agitato-type melody as I drive through this mist a,t 5,000 feet above sea ,}eve] on my way •to work at 7.0 a.m. ea,ch morning!)

"V umba Melody" is written almost enti-rely in the third position and while it is comparatively easy to play, it is most effective. A'll the positions are clearly marked and where the melody falls on ,the fouI!th string I have marked the numeral "4" in a circle.

The melody notes are -bhose with the tai ls pointing downwards and these shou 1ld be played slightly -louder than the accompanying chords.

The chords should be played with the first finger of the right hand and should be crisp but soft.

A'11 nhe rests may be a bj,t confusing at first but if you remember you are playing two parts - melody and the accompaniment-you wiH rea·lise their importance.

I would suggest the best method to adopt when learning ithis is to play tlhe first two bars until! you have grasped them and then proceed to the second two bars. Then play the first four bars. Use the same procedure fur the next four bars and then you will be able to play the first phrase of eight bars.

Work •through the en-tire piece in

Vumba Melody Not too fast t

t? 1 St 1 , i ~ ; f it-, • ia ! 1 i r-, 1 ie J r •,if © ©

'k fCfT7p tJ i I~ J _ f I~ J f 1f· J J 1f· t J + t-j i I r i •? I r ; i 1Jf t t I r i ? I r i 1 It· ' i ,► t-! r It a r 1; r •r If· ; ,i 1 ~ u d 1i •F 1 1 ·~•F'l 1fH 1rii 1JJJ l~i ~ IJ J F IF J II

ft

387

!Iris manner and you wiH have. little difficulty.

I hope you enjoy it and from now on I hope to hear of some good play­ing on that fine 1ittle instrument -the neglected ukulele.

Jazz 111/tar By LEN STEWART

(Continued from last month's issue)

A WORTHWHILE method for developing your own Jazz

technique is to cho ose one of your .favourite melodies; make sure i-t con­tains a good varied chord sequence; t1hen proceed as follows: -

(I) Thoroughly memorise the ohord sequence until you can think of any particular bar immediately.

(2) Practise the rhy-bhm first, using different chord shape s and positions for each chord; working out as many variations on the rhY'thm accompani­ment as possible.

(3) Learn the melody (as wri-tten) and ~hen again an octave ,higher. The guita r is an idea l instrument for play­ing melodies an octave higher t•han written. Prac tise the melody, using different positions for the same notes. This is good practise for increasing your knowledge of the fingerboard.

(4) Work out a Jaz z chorus on fairly simple lines at first Do not use too many notes and , as before, use different positions embracing as much of the instrument's range as you can.

Write out your first simp le choruses for analysis later. Continue until fluent on these simple lines.

(5) Take 1the above written chorus and examine it for possible improve ­ments. Make sure you ihave produced nice phrases and they connect with each other smoothly. Remember, they should fit in nicely with the chord sequence.

(6) Work out your finished ohorus in other keys. 'Dhe most widely used keys, are C, F, Bb, Eb, Ab and Db.

You wil·I find !!hat after concentrat­ing on every possible Jaz z treatment of only 'One melody, your second melody wiH be worked out in con­siderably less time.

I 'have found from experience this method produces results much better than trying -to attempt too many melodies (or ideas) at once .

(To be continued)

388

From 11 811tl, Cl,11/r By R. TARRANT BAILEY

l OLLING in two of the mosit luxurious arm chairs of the blue

drawing room suite in my stately home, the Jadies of the House hold were so enthralled by a television pre­sentation of yet anot1her repeat per­formance depicting adventures of "Champion the Wonderloaf" or something, I was able to steal quietly away unobserved and reach the sanc­tuary of the Magnophone apartment where my two writing machi_nes had been si·lently reproaching me for many days.

Breathing a sigh of .relief, I turned to the alarmingly high pitle of un­answered correspondence to sort it into t1he order of importance i1t should hold in the unlikely event of my find­ing time to -tackle any of it.

And what did I find? Quantities of highly-co,loured picture

postcard views of sunshine holiday resorts bearing bright, reassuring, messages from the vO'luntarily unem­ployed who were doubtless building sand castles or riding donkeys instead of indu&triously writing articles in readiness for the September issue of "B.M .G.".

INJUSTICE The inju~tice of ~his struck me all

the more forcibly because a week be­fore my younger daughter had ~hought fit to take an equestrian holiday of no less than fours days' duration in the neighbourhood of the New Forest and, as she entered the automobi ·le in which •her elder sister essayed to undertake ·the journey , she ·looked casua-lly over her shoulder and said : "You wi'II take every care of my animals and birds whilst I am away, won't you?"

Above the Brands Hatch roar of exhaust gas through a hole burnt in the "51lencer", I endeavoured to shout my expressions of delight at the privi ­lege thus granted and to wave a fare­well l'hat would be visable above the piles of luggage calculaited to mislead a casual observer -into supposing the car to be making it-s departure to carry out research work at the South Po'1e for several years!

W.hen the car had turned the corner and was out of sight, my sense of lonely depression was dispel-led with a jerk as I realised exactly with what

B.M.G.

POST EARLY IN THE MONTH "B.M.C." goes to press on the 10th. Items received ne-ar press day may 11& too late for inolus ion in the next issue. PLEASE POST EARLY.

I had .been entrusted and about how much time I should 1have for "Review­ing the Previous Issue" after attending to the daily requirements -of one horse, one dog, two cats, one African Grey Parrot, one Ring Neck Parrot (~hat is what they are called and not what you feel ,like doing to 1them as they screech like fem inine pop voca:lists), one Ficher-s Love Bird, thirty-three Foreign Finches, four Cockatiels , twenty-eight Budgerigars, two rabbits and the poultry.

We have now fost the thread of our argument.

Oh yes, I remember-~hose holiday postcards.

The first I picked up was from Fred Osborne ,the "Folk Focus " ge111t·leman who -had despa•tched the missive from "T he Ship Inn" on the beach at Saltburn-by-the-Sea. It conveyed the glad tidings that he =had received a postcard .from the "Free and Easy" Contributo r who was spending a few days on the Isle of Anglesey. I ask you? And only a couple o f weeks ago Fred Osborne wrote me from the Coast of Antrim in Northern Ireland saying how much .he was enjoy ing a ,holiday there.

But the next picture postcard I picked up produced a resolve to look at no more. Instead I would ask my new presentation writing machine to soothe my shattered nerves by act ing as a safety-valve to my penit up emo­tions. For this second postcard was a double -sized one bearing. in "Glorious Somethingcolour" , an illustration of the 35,400 ton R.H.M.S. "Austra;lis". "SOUTH TO THE SUN- SUMMER CRUISES" was proclaimed in very bold type, whilst the postage stamps said something about Repvbblica Italiana. And very nice too! The wriitten message o:>mmenced :- "Am on •t.his boat on the way to Greece and enjoying the lazy lifo in brilliant sunshine". Then fol-lowed comments of a ·personal nature; conduding

Don't forget . . . . WbeQ wrltbac to tile Editor or • ''B.M.G ." co11Cril1Qlor, remember to • dooe • .C- pt4 acllru ud t HdO,- II :,ou ldtal ..U, for • replJ'.

SlEPTEMBER, 1966

"H ope y:>ur usuaJI article will be awaiting me on my return on August 1st. Best wishes". Need I tell you it was signed "A.P.6-. ?"

What a hope! It is August the first tomorrow and I have not yet thought of a word to write. Pass the August "B. M.G." please!

Let us begin with "Tape Record­·ing". There is no finer writer than the General Secretary of the B.M. and G. Tape Club and in this issue he has surpassed ,himself by unselfishly th·ink­ing out something sufficiently simple for even 1the President to unders-tand. My blessing be upon the thoughtful reader whose suggestion inspired the work! He. like myself, is not a really folly qualified electrical engineer and so t.he detai ls of working parts, so splendidly descr•ibed by Jeff Pocock, are a very real help.

Not , I am glad to say, in time of trouble as the P.resentation Tape Recorder •that means so much to me seems to be fool-proof indeed and the only worry it causes is regret I have not yet made tape recordings for des­patch to eaoh and every one whose name is announced by McNephew McNaughton in his Presentation 'Address.

I AM SHY

J efI Pocock is one of them and as he is a Hawaiian Guitar enthusfast I should like to send him a tape repro­ducing •the performance of the Bath Guitar Octet; the first Hawaiian Guitar disc I ever •heard; and a few very ancient Sol Hoopii itreasures in t•he col­lect:ion here.

But, like Mary Ellen's young man, I am shy. You see, Jeff knows all there is to know about tape recording and is, withal, a perfectionist; so ~f I did

· dare submit my humble effort he migh<t feel cal-led upon to point out the trans­magnifygandubancia:lity was too 1hoponphostomorious in its insobuca­~udiancy or something, whereat I wot.tld ·hang my head in shame for many moons.

The fir-st tape recording I ever made all by myself was, of course, inflicted upon McNeph ew McNau ghton be­cause .it was he who thought out and directed the plot that made me a genuine Tapeworm.

My second aHempt was despatched to my son in the Canary Islands . He ihad, at the time, two tape recorders both of which were fa r from well. They have since become entirely deaf

SEPTEMBER, 1966

and dumb . Owing, I now reaiise, to his machine' ·s indisposition, my first dror,, a;\though well-received, did not evoke the glowing testimony one fo}t il deserved. However he has since ac­quired (i•t always passes my under­standing how anyone can possibly afford •to buy one) a de luxe model of grea lt efficiency enabling him to pass my early reoo,rding effort as "perfect".

Of this new machine he wdtes: "One feature of whioh I feel sure you would approve is the automatic sel-f­comoensa tion of volume control in rcco~d;ng (what language) so there can be no under nor over recording, nor b !ast, .and of course no dial is fotted to check the volume as, wherever or however one performs, any excess of vo'.l!me is au-tomaticaJ.ly leveHed off:•

THE JITTERS

Doubt-less this means the contrap­tion acts l·ike those fool-proof cameras that make their own arrangements for exposure adjustment. Very nice and all t.hat but by now I have grown ~o lcve th~ little device t,ha•t looks like a sea-sick spirit ·level with the jitters on my machine far too deeIJlY to desire its dismissal

Somewhat acute suffer ing in the fingers of my right hand has reminded me tha,t when I gave you a list just now of all rtil\e zoologic<tl specimens . entrusted to my tender ca re by their owner, I neglected to mention her pair of Flying Squirrels.

Poss ibly thi s was ~he outcome of an instinct ive kowledge that they are "unmentionab le'' .

They · are called "Damn" and "Blast" respective ly having weN and truly earned the ir -titles-not on·ly by their agi1lity as the most catch-proof creatures in the world but also from their p layful knack of nipping off small por tions of flesh from the human hand.

The y are ·fodeed a pretty picture as t1hey soar lightly tb one of the shelves in their residence and blink ,their liotle eyes whilst masticating the de1icacy ·held so swee tly in their tiny fo repaws .

They -look so fairylike and whimsey one has but to observe the morsels they are consuming so delica tely to realise and appreciate the sou rce of the forceful expressio ns wibh . which Tico 1Vhe grey parrot occasionally obl iges.

(To be continued)

B.M.G.

Guitar Tecllnlque By JAMES O'BRI EN

(Continued from last month's issue)

FOR the self-taught player, com­mencing a new piece of music is

an adventure - in man y cases, an adventure into the unknown . The un ­known title; the bewilderin g array of notes ; ithe uncompromising assortment of rests; do tt·ed notes; difficult timing and what have you, all these may make the player wonder if the adventure is worth the trouble!

ft is nice , therefore, to see on your music -stand a piece that ha s no com­plicated problem in timing; no diffi­culty in read ing. I am referring, of co urse, to "Gavotte" by Bach, ar­ranged by Julian Bream and publ ished by the Clifford Essex Music Co . I ment ioned thi s last mon th and , by now, many of you (I hope) have ac­quired this work.

Tt is a piece well worth t;he study for severa l reasons.

A simple and easily recognisable 'lune coupled with a deligh tful harmony make the necessary technica •l work very much wort h-while. The two ma in difficulties are in the matter of speed and in ·left -hand strntc hes. Here. speed does not refer to the tune itseH but to I he necessity ,to move the left-'hand fingers qui ckly from one position to the next.

Most .reader-s will be familiar with the speed of a gavo1tte; it is not very fast. Nevertheless, we are not going- to worry about speed at this stage. T here is no poin •t in minimising the techn ical difficulties which-though not great­are big enough to cause cons iderable hand (and heart) ache when taken at the cor reot speed! In many cases, if you forget the tune is a dance and treat it just as a tune, it will sound good at any speed . Th is is, of course, as hmg as you play it for your own ·hearing on•ly and no t before an audience.

ARE YOU HELPING TO

GET US MO·RE READERS· BY RECOMMENDING "B.M.G."

TO YOUR PLAYING FRIENDS?

389

There is one important matter, how ­ever, that the slow player must not lose ·sight of. It is this. The rule for alternate fingering holds for all speeds . In "Gavo~te" much of the piece is in single notes; the tendency to ignore ·~he alte rnate -fingering ru le can lead the player into real ·troub le when he eventually tries to play the piece at full speed.

You can work out much of the right-hand fingering yoursell' but where an obvious choice is not apparent I wi·ll give you what I think is the cor­rect finger ing.

Slurs (snaps and ·hamm ers) are much in ev idence in "Gavotte". As these are part of •1,he norma l basic technique in guitar-play ing they should not present too much of a problem. There have been articles on this subject in p:-evious issues of "B.M.G ." but as new readers will have come along then I wiM g() over th~ "bare bones" of the mall er again .

TWO WAYS

The slur (indicated by a curved line joini ng two notes) is P'layed in two differen t ways. The hammer is used in making an ascending slur; the snap is used in a descending one. Supp ose we look a,t Bar 2, Line I . Here we have a snap frrom F# to E and rPhis is followed by a hamme r from F# to .G#.

In the first case the second finger is puHed off the str ing after th e F# is played and this pull ing-·off act ion pro­duces the E. This is caMed a snap.

You must not lift the finger in the ~ormal way (for this would produce ltltle sound); tthe string is aotuaHy pulled sideways and then allowe d to "snap" back aga in.

The hammer is quite different. _As soon as the F# is played the

tlmd finger comes down heavily (like a :hammer! ) on Gj.

Need less to say, in each case one must watch the timing so as to keep " in time".

You do understand, also, that on;Jy the first note of each slur is played by the right-ha nd finger; the second no te is produced by left-hand action alone.

There is just one more th ing abo ut the snap-slur. In near ly all cases ­with the odd exception as in Bar 2-the snap is from one stopped note to another stopped note. This means the lower note has to be fingered either before or at the same time as the upper note. This wiH become ·obvious

390

as we proceed. Bar 1, Line 1, is only half a bar;

nevertheles ·s we will refer to it as Bar 1 so that as we go on we wm both be lookin g at the same bar at t he same time.

Bar 1 is played with p, i, m, a; the second G# ·is played with m. This aUows the third finger ( a) to be used easily on the same note w.hich opens Bar 2. A barre here is fairly obvious though not indicated by the appro­priate figure.

Now, the snap from F# to E (open). Use m on the Ff T•he fdllowing slur is a hammer and you should use i on the F#. As soon as the 1Jhird finger comes down on the G# move the first quickly to F# on (he 6th S·tring.

This is what I was referring to in the second paragraph of this article - the necessity to move the left-hand fingers quickly. If you omit -to do this you will have a very "jumpy" tune.

Bar 3 is not easy. The first finger, which was on F#, 6th str ,ing, now flattens ornt to form a barre at the second fret. As well as this, the third finger mus t be positioned :on D# before the E is played.

The last note in the previous bar will have been played hy m so the E in Bar 3 will be played by a- with i on t,he fourth string and p on the 51lh.

In making the snap the fourith finger comes to res-t against the first string (as in apoyando stroke, right •hand). This form of snap is more effective in every way than that which 'lifts vhe finger clear of the fir-st string.

Try to wor k out ithe rest of t,he first two ·lines yourself. Next month I will go over them with you and, perhaps do the next part as well.

(To be continued)

Amerlc11n11 By J. M cNAUGHTON

(Continued from last month's issue)

W I1H the ",house" ait its most receptive stage, Lloyd

Longac re (seen with me in •the picture on this page) began on the first of his four solos: "Royal Tourist March" (Jaques)-a bright number with some affini,ty to Eno's "Marche Impromptu" - and played it bril'1iantly . Morley's "Danse Arlequin" produced the same clear, clean tone, with a rich sonorous bass and deft picking throughout. Mr.

B.M .G.

"MAC" ANO LL OYD LO N CACRE.

Longacre never loses sight, so to speak, of the melody line and obviously prefers solos in which the banjo can sing the tune clearly; des­pite the demands of whatever rhy thmic or accompan ·imental forms the com­poser may have included.

This was further exemplified in "West Virginia H oedown" (Boggess), a lively sdlo with some neat harmonic effects. Grimshaw's popular "Black Coquette" rounded off a stimulating performance and 4eft us in no doubt whatever of the briHiance Lloyd Long ­acres reveals so effor,~lessly in all his playing .

SiEPTEMBER, 1966

It was then the turn of lihe M.C. to face the music for The Poison Ivy Quarte t (Tom Wrigley, LoweH Schreyer, John Hammetit, w.i-th the re­doubtable Cecil Boyd on EI.P.G.) was then listed to portray "Jazz at its worst"-a medley of "The World is Waiting for the Sunrise" , "Ida Swee t as Apple Ch.le:r", "Ain't She Sweet" and "Somebody Stole My Ga l". The result was most effective - fo r uhe ba·njos were all finger-sty.le and the ideas were conveyed in modern idiom again st the briHiant Djangoe sque back­ground of Cecil Boyd's inspired "run­ning commen tary" .

A most enjoyable fina le to ~he Fall Rally of Dhe American Banjo Fra ter ­nity.

A forma l p icture of the whole ass embly at Lewis tow n was taken be­fore the various private sessfons be­gan--and went on into the small hours I - with intervals for refreshment and further sna•tches of "banjo talk"; ai!I of which added up to the most delighHu l experience of my ba njorial ca reer .

When, a-fter breakfast, we said fare­well, this column for once was speeoh­less-but ~he happy memories of all that Lewistown means to me will slay until the Last Curtain Call

(To be continued)

TH E WH OLE ASSEMB LY AT LE W I ST OWN , ,w i th ou r own J, McN aug hto n seate d cen t re fron t.

Naroissus Plectrum Guitar Solo

Andante with Variations Arranged by

ALBERTO TOMAS Mandolin Solo A. E. BATISTE

(1820 -187 6)

FJ1Jirr 1cirif? 1@ rim lqJ~IJ1JT;'E I pa tempo f

1 &I, t5fm1Frrr" cfi&1r 18 Yi), , 1 ~ ~ 3 Ju; Ja ID3 ratt. f ..!!-fl -========

a tempo

~~~~ ~ -"b' --- I ~ - I==!=! ...--.... -------,,.--. f$3 ~~@ucrrG+-uJ 1r@rr+ ¥r1r@r-r.w# rrr 1r:!U#1rrt&1 ...!v~ ~~ ~ ~

X ~ - ...--.... ~ :R -100:J J □ J Jffl1? J2#iF I nm]-iQ 1 @ uJ C£r I r~r r r r r tcr 1 ~ _,, '-.-/ '-.-/ ~ '--~ ., ~ '-'

.r t:ttrt@.a?nlt@-413 I@ rW w ,m ID fi7 lil iJh I

*~WiwrCTrCT1rfdfrrrtf-n 1d u 18, H f prall. S ff~;

Arranged by AL JEFFERY

Song of the Reapers Banjo Solo

SCHUMANN Op. 68

l. :::;-~ L~ ~ ~I b I 'I J. 1~ ~iffl tr; lfftdf i IEf!r df !ff( rt rl ~ le: F!r tU I

1 » «bi r : 1 m W I tf9 { i\ 1 i2? W 1 -~P? 2 II

1~ ~ ~~ 4 ff .J, ll'c'O F E l:1 I•(( :r·fil n IC rJ E u I t[r J lie CL tu I

SEPTEMBER, 1966

Wh11t Is II fi11lt1111

THE electric guitar is the sound of •the 'sixties- an indictment of

the 'sixties if ever the re was one. Fo r yea-rs now the grossly amplified twang­ing, either on its own or as accom­paniment lo rthe wailing of the million­aire pop-groups, has assau lted the ears of a fairly ·large propo rtion of the wo11ld's populatio n- and with un­doubted success.

11hoise who have oppose d it have simply had to retreat before the on­slaught of sound. To raise one's voice has been to have it engulfed­"drowned" is much too mad a word.

Now there is, iif possible, worse to come. I t is repoiited tha t the latest equi pment fo r pop groups in Britain is a guitar with 10 knobs p roducing sounds ranging fr om the strummin g of a banjo 10 a deafening organ note and, stran gely, even that of a guitar!

T he person who first introdu·ced elect ronics to music certainly has a lot 10 answer for .

MOOT POINT

Whethe r a con:trivance that makes sound s like a banj o or an organ has any right to be called a guitar is, of course-, a moot point. Nothing could be so far removed from the delicate classical guitar or even ,the rhythmioa 1l Haw ai-ian instrument than the glittering, metallic, garish weapons with which the pop­Si:ers mow down llheir vi·ctims. Some new word should be invented to des­cribe them. some onoma1opoetic term such as <the brilliantly conceived " klaxon" ; only a hundred times more so, and with electronic overtones.

But that is per haps takin g the electric guita r too sertiously-conced­ing, in fact, ithat it is here for ever, whereas it may be a passing fancy which will have had its day when tlhe present pop generatio n grows up; or perhaps, perish <the t hought, it is only paving the way for somet:hing worse. T ime was when the saxophone was regarded by the more conservabive music lovers as an inst-rument of tor­ture: now it is almost in !the olassical category.

Can the sa me ever occur with the electric guitar? And what, oh what, will have ttaken ils place ?

(Reprinted from "Now Zea.land Pres s")

B.M.C.

T11pe Recording By J EFFREY POCOCK

(Co111i11ued from last month' s issue)

A UR first condensed explana­'V lion of Lape recording terms having been confined lo a descripti on of the various pa rts of Qhe tape deck - or mechanical section- we can now take a fook at some of the more general •terms ~overing the amp lifier and its conneotions.

Most tape recorders have a varied assortme nt of siockels both for incom­ing and outgoi ng signals. You rs may have less- or more--t han those cles­cribed here but the following should be a fairly comprehensive sededtion:

DJODE INPUT. Named after the part of a radio set to which it is meant to be connected, this is of low or moder­ate sensitivity for recording from a radio set withou t the use of a micro­phone. It sho uld never be connected ito an AC/DC set unless a prope rly­designed isolating transformer is used.

It is fallacious to accept a popu larly­held ~heory 1lhat a couple of h.igh­voltage~working conden sers wm help. Wh~le cutt ing out the dangers, they will do nothing but introduce intoler­able hum, since only a direct earth connection can avoid this.

MICROPHONE INPUT. Self-explanatory, of course, but a few words to fill in the details may help . First ~t should be under stood almost all mic. inputs on tape recorders are intended ror use with high-impedanc e microphones ­t hat is, 50,000 ohms (nominal) in the case of a moving ~oil or ribbon mic, or I or 2 mrllion ohms (megohms) for the cheap er type of machine using a crysta l mic.

BOTH USED

A moving corl or ribbon micro­phone can be used equally we11 on !the latter type of machine .

fo a ll cases, the mic. inpu t wil•l be •!he most sensitive input on the tape recorde r; operatin g on the first valve or stage of 1he -amplifier. (TI1e diode usually operates on this stage also but its sensitivity is reduced by a resistive neJtwork.)

Where a condenser micropho ne is used this input w.il1l also ca rry a volt­age to polar-ise the microphone­usually about 100 vol1s-but due to t-he infinitesimal current needed , this

395

voltage wjll "d isappear" if a moving coil type of microphone is connected .

However. a crystal microphone can be damaged by connection to this type of inpu·t unless a small condenser is used in the mic. hous ing or lead to prevent the flow of current.

GRAM . TNPUT. On many models the diode inpu1 (o.fiten marked "radio and gram") serves a dual purpose but on certa in mode ls a separate input will be found. 'f.his is usually of even Jess sensitivity than the diode input- mak­ing for easier -control of volume.

MONITOR. Jn some cases this is a contro l lo enab le one ~o hea•r material being recorded. Usually a tone con ­trol is switched-in .for this purpose during the recording operation, rever,t­ing to norma l use on playback. Most reconk:r s, however, do not give a loudspeak~r signal dur ing recording and m this case the monito r wiM be -in the form of a socket lo which either headp hones or a sepa rate amJjlifier can be connected.

OUTPUT. A socket so marked will usually have some indication of its purpose. If followed by "Hioh", "Hi­Z" , or "High impedance ", this indic­ates it is to be used for drivinct an amplifier. A low Jmpedance (;f.iten marked 15-ohms, or 3-ohms) output is for direct connecti on to a loudspeaker .

NO HARM

While the correct type of speak er tJo use is that of approximately the same impedance as indica ted, no ha rm will be done by mis-ma!tching as Jong as the match is the "co rrecl " way round. For example: a 3-ohm spea ker will do no -harm connected to a 15-ohm output but a 15-ohm speaker shot1ld not be connected to a 3-ohm output.

Some conlinenlal machines use a 5-ohm speaker and in such cases it is permissible to use a 3-ohm speake r as an extension.

Never !take a lead from a low impedance outpu t socket to an ampli­fier, s-ince although such an arr ange­ment will work, it usually has the effect o[ culli ng out (muting) the in­ternal tape recorder speaker and the o utput stage is then workino att the wrong impedan·ce. Damag e to.:> the out­put transformer could resulrt under these condrtions. . Hav ing dealt (at some length) with inputs and outputs, a few comments on the remaining con:trols may be wort h wMle.

396

TONE CONTROL. Again, sel-f­explanatory, but it is worlh mentioning almost all -tape recorders have their controls swi•tched out dur ing record­ing. This is because the correct amount of bass and treble ,is fixed during re­cording - tho ugh some older tape recorder s •had the •tone conltrols ieft in cir:.:uil ( with resu ltan t comp lications) while recording.

SUPERIMPOSE SWITCH. A device to prevent erasur e of a prev-ious record­ing whHe another reoc,rding is being made . Its uses are limited, since one cannot 'hear the old recording during the making of the new uniless addi ­tional equpiment is used. Furt hermo re, it is not possible 1:0 preve nit some erasure of the prev-ious recording, as the following data will expla in .

BACKGROUND NOISE

BIAS Osc 1LLITOR. A section of the tape -amplifier providing a high­frequency current feeding the erase head. Earl y •tape recorders had a plain m:ignet ~~ erase recordings. In point o,f fact, it did not erase but ob literated •them by sa<turating the tape with magnetism.

A little ·later, cloctro magne tic erasure was used (and sl'iM is on the cheap imported pocket battery re­corders from Japan) but this had the same effect (that of saturat ing the •tape) and the result was a heavy back­grou nd noise .

Using alterna ting curren t at mains frequency (50 c.p .s.) would simply leave a hum on the •tape but the usual frequency of between 45 a,nd 60 kc /s leaves a clean and relatively noise­free tape.

A small amount of this curren rt is a lso mixed wiLh t-he $igna'l to the re­cording head and is known as "bias" current . Unless th is ·is used, heavy dis­tor,~ion wilrl result. Since this small amoun t of cur rent (even without the use of an era.se head) -has the effect of partiaHy erasing a previo us recordino­!t wi'll,, ~e under~to?d why "supe;~ impose 1s only part ially effective.

(To be continued)

"B:M.C." CONTRIBUTORS are always pleased to hear from readers with comments on their articles and sugges­tions for future articles . If your letter requires an answer, please be, sure to enclose a self-jOddressed and stampad . envelope.

B.M.G. THE

fi11itt1r 011 Wax By " DIS CUS"

"Wizard of the Strings." Roy Smeck. London HA-R.8273, 33 r.p.m. 12".

A little late perhaps for the recen t rev ival of "The Twentie s", Roy Smeck displays a virtu osity on the uk ulele that is peerless, coupled with tremen­do us energy. Some concessions to the passing years (not in repertoi re) help (but do not dispel) the atmosphe re of cheery anachronism . To the starve d uku lele player this record will be the greenes t of oases but we cannot share the opt imism of the sleevenote-which sees the ukulele joining the guitar and the banjo (?) on a crest of pop ular ity.

"Braziliana." Luiz Bonfa and Maria Toledo. Philips BL.7703, 12", 33 r.p.m.

Th is is str ict ly a fami ly affair : Mr. and Mrs. Bonfa play and sing (res­pectively) their own composit ions (with son:e instrumenta l support ) in a nicel y van ed, wonderfu lly · tuneful. relaxed programme that wou ld charm the hardest heart. His guitar playing is ta~tefu_l in _accompaniment and captiv ­atmg 111 his solo tracks-there is too a tremoio effect that mu st be mult i­tracked (how else ?); a little senti ­mental but s-tunnin&ly effect ive. Mrs. B's voice and manner remind one of As trud Gilberto but have a warmth and ma turi ty in place of the little-gi rl­fost quality; her mus icianship earns her place on this record .

"The Soil and the Sea." Pete Seeger, Woody Guthrie, Lee Hays, Peter Hawes. Fontana TL.5299, 12", 33 r.p.m.

"In Concert." Pete Seeger and Big Bill Bro0•llzy. Verve Folkways VLP.5006, 12", 33 r.p.m.

Woodie Guthrie sings, amongst other songs, "House of the Risin g Sun"; the difference between this rough but auth entic version and the well­rounded and commercialised versions most people know will determine whether or not this is your kind of record. Expressly for folk folk.

The Seeger/Broonzy in concert finds these two giants in front of an appre ­ciative audience, hitting it off fairly well together. T he best items are how ­ever those in which they solo; the im ­provi sed fun of the duets just fails to penetrate the vinyl veil. Both ar tists come over well in their off-the-cuff chats between numbers and with Bill

SEPTEMBER, 1966

Broonzy it preserve s a vital part of his charm-t he public concert was the best "studio" in which to record him and it is well that this was realised while there was still time.

"Strummin'." Big Ben Banjo Band. Music for Pleasure MFP. 1063, 12", 33 r.p.m.

At 12/6d. it is irresis tabl e to those who believe musical pleasure requires no effort of thoug ht and knows naugh t but rose-strewn cheeriness - -and to judge by the sa'.es of BBBB record s, there are an awful lot of them.

"Bumpin'." Wes Montgomery. Verve VLP.9106, 12", 33 r.p.m.

Despite the inevitable sleevenote claim, this is not as good as the first Montgomery -with-str ings essay (Dark Velvet), though it is still good eno,ig h for a place on anyone's shelf who is no t actually hard -up.

The imaginativeness of the first albu m is missing here in all but a few tracks. The ti tle tune is good, so is "Here's That Rainy Day"-wh ich was such a favou rite at R onnie Scott's during Wes' visit last year - bu t the band justifying the whole record is the delica te piece of Montgomery-in-No­man's -Land "Mi Cosa", a composi tion that is in the uncla ssifiable area be­tween Jazz and all forms of non-jaz z. The refinem,·nt of his "composing" is matched by the delicacy of his near­classic execution. lt is a lovely lit tle piece, but let us not exaggerate the strength of his compos ing, as has al­ready been don e with Reinhardt.

Music for Violin and Guitar (Paganini). Oscar Ghiglia and Regis Pasquier. H.M.V. CLP. 3511, 12", 33 r.p.m.

Pa ganin i, whose command of both instruments was legendary , left much music for solo guitar and violin. H e left also some for these instruments in duet. One side -of this record is given to the "Grande Sonate in A Major" and a "Tarantella in A Minor". Th e former is the same work as that re­cently recorded by J ohn Williams.

Ot her than historical -interest this new recordin g adds nothing . The violin part (rathe r timidl y played) does littl e more than make platitudinous back­gro und comment on the guitar solo.

Chiglia, of whom more has been heard here by repu te than on record , plays strongly and well but the per­formanc e does not add up to the same tour de force as WiHiams.

The remai ning pieces sparkle and flash but they are violini sts' music and the guitar assumes its more famil iar

SEPTEMBER, 1966

duo role of work~horse. "Glad to be Unhappy." Paul Des­

mond/Jim Hall. RCA Victor RD. 7761, 12", 33 r.p.m.

The old team of Desm ond and Hall has turned out yet anot her album of ravish ing music-making ; this time the motto theme is that of the bittersweet­ness of love . Th eir unity of thinking is miraculo us as is their sensi tivity and Jim H all seems to have a limitless imagination backed with a technique geared impeccably to the free flow of his ideas. His chord techni que is espec ially remarkable and seems to owe nothing to anyone else.

Both Hall and Desmond (and let us not forget Conni e Kay , the drummer, and the two bass players who take turns in supp orti ng the front line) are a ristocra ts with a lyrical turn of mind.

"Guitar Forms." Kenny Burrell. Verve VLP.9099, 12", 33 r.p.m.

This is a showcase for Kenny Burrell against a background of orc hestra l (or in some cases small-gro up) sound . He uses both electric and classic guitar , playing the latter both with fingers and with plectrum. The album has much fine musicianship and sensit ive playing, with perhaps only one lapse of tas te-­a treatm ent of "Greens leeves" too vul­gar to succeed. He plays the classic guitar quite well (with some regard to tone) but resorts to his plectrum when he requires strength coupled wit h speed.

The guitar is well used and is not restricted to the now-fashionab le single-­note line but the a lbum lacks warmth . There is not much else tha t it lacks thou gh.

"South Sea Island Magic.'' The Waikiki Beach Boys. Music for Pleasure. MFP.1080, 12", 33 r.p.m.

"Stars of the Steel Guitar." London HA-B.8269, 12", 33 r.p.m.

The first record is pure potboiling in both material and performance; it is one long spira l cliche, with only one period of tension - the open ing sounds like the run-on of a very worn 78-r. p.m. record; but do not worry, it is the surf and it d ies down in time for the music.

The "Stars" are numerous in num• ber and in the variety of ways in which ·the y use the steel ( = Hawaiian when there is surf) guita r. The ope ra­tive word is "use" since the result ha s seldom much to do with music beyond the "beat" thumping or bun khouse level. Individual tra cks (and players)

B.M.G. range from the cheerful and infect ious to the plain nau seating.

"Love Songs from South of the Border." SO Guitars of Tommy Garrett. Liberty LBY.1302, 12'', 33 r.p.m.

T he hanging-peg of the materia l ma y cha nge but the overall effect remain s that of a G.M. & B. orchestra with the indispensible tremolo. Tommy Tedesco , appa rent ly much . in demand. cha nges stud ios and play s some very pleasant solos but when he finishes. the tide comes in and we are awa sh with tremolos again. Guitar s Un limited probably represent the limit to which the instrum ent may be mu ltiplied to any kind of advantage . Mostly mum s­and-dads music.

"Tuff Guitar Tijuana Style." Al Caiofa. United Artists ULP.1129, 12", 33 r.p.m.

Tijuana Style mean s there is an active section; Tu ff Guitar mean s it is only on about three track s you can ident ify it as a guitar of any kind . In some degree th is is better than most of Al Ca iola's offerings , having some fairly pleasant moments in, for in­stance, " Corcovado"-a nd it is is sur­prising how many people have redis­covered the octave after Wes Mont­gomery!

We are incl ined to agree with the sleevenote writer that "i t boas ts of Al Caiola at h is very best"; but thereafter we part company . That "ve ry best" is sti ll pretty ordinary stuff and if, as we are to!d, he is a "mu sical genius", where does that leave Hall , Mont­gomer y, Pa ss, Kessel and numerous others? The Saints had bett er move over!

"Goin' Out of My Head." Wes Montgomery. Verve VLP.9126, 12", 33 r.p.m.

Wes is supported by a sta r-studded ensemble of eight brass , five woodwind and th ree rhythm. U nlike some others he does not use these forces as a crutc h; rather doe s he sta nd to them in similar relation ship to tha t of a con­certo soloist to the orc hestra. He com­petes with them, joins them , uses them as his backclo th- and alway s with the musicality no publicity agent can give to anyone. That thumb- struc k guitar caresses magically at moment and shouts like a very he-man in the next. We may become used to the Mont­gomery magic but the spell rema ins and so does the rea lisat ion that with every record he has something new to say.

397

"Quiet Nights & Brazilian Guilars." Guitars Unlimited. C a p i to I T,2451, 12", 33 r.p.m.

One's first instinct on read ing the sleeve is to groa n inwardly - how many records of the "One No te Samba" , "Girl from lpanema", etc.? The mu si­ca l fact is that Jack Marshall has ma r­shalled (sorry, but it is the best word for it) a group of such famous Br azil­ian guitarists as Howard Robert s (who plays some very nimble " jazz" solos), .Bob Bain , Tony Rizzi , Al Hendrikson , Tommy Tede sco and an outsider called Lau rind o Almeida (who a ltern­ates with R osinha de Valen~a who is hard to identify). The sum tota l of the playing ; the arra ngements and the recording; is a fresh and fascinati ng record worth keeping for one's quieter moments .

"Shadow Music." The Shadows. Columbia SX.6041, 12", 33 r.p.m.

Let us keep our sense of va lues on an even keel! The se boys are no geniuses; they are no virtuosi either; they are entertainers and popular musician s of taste and accomplis hment within thei r limits . It is in the latter connections they rate highly and, with this record , continue to r ale high ly. Hank Marvin contributes nothing to the ar t or scope of the guitar but what he does he does well and he never overste ps his limits or his abi lity. The en ter tainment now extends to the sleevenotes - and it shows these boys have the sav ing virtue of not tak ing themselves too serious ly. If they eve r lose it they will sure ly join the herd .

"Funky 12~tring Guitar." Bilfy Strange. London HA-F.8274, 12", 33 r.p.m.

Apart from one or two fra nkly ugly tracks this is quite an agreeab le record. If only sleevenote writers did not feel ob liged to oversell a rtists and music ! If this one were be lieved we would accep t the twelve-stringed guitar (re­mar kable only for its double and octaved tuning) as the uni versa l panacea , bridging the "ga ps" between F lamenco, fo lk, Bossa Nova, blues , Westerns, hymn s and sex. We know it is physically difficult to play but let us remember what Dr . Johnson sa id when rem inded of the difficulty of some music he had just been ·obliged to hear-"Would to Gcid it had been impossible!" Mu sically, Billy St,range does not set the States on fire but he entertains competently. At his folksy best he sounds like Jesse Fuller, who works single-handed and is probably paid much less.

398

"Rhythm Guitar" & "From Nash­ville With Love." Chet Atkins. RCA V ictor RCA.1515, 45 r.p.m. single.

Unpretentious, Chet Atkins at his best, "Nashville" is agreeable light music without trace of the clever-clever Atkins. A chance to have some of his best work without the need to buy unlovely tracks on an L.P.- which can be the most undiscriminating way in the world to buy one's music.

(To be continued)

Ro/J/Jery With Violence

By RONALD PEARSALL

WHEN the police arrived, Alec was a'lready feeling

better. 'f,he flat was ·in a mess. Drawers had

been wrenched out; the con-tents thrown around tihe room. In ,the middle of it all sat Alec, drinking coffee, livid marks around bis neck where the assailant had ,tried to strangle him.

The detective-sergeant looked at the marks scepticaUy. "You'll live," he said affably, "now tell me exactly what happened."

"I've told it all to the cons table," said Alec.

"Well, ,tell at all again- to me," said the sergeant, sitting down on &he divan .

Unobtrusively the constable t0t)k out his nott:'book, held his baH-poinl pen ready.

"I was at a gig-I'm a dance-band pian'ist, you see. I came iin -late; a:bout two o'clock. I switched on the lights, then someone grabbed me from behind and tr ied to strangle me. I managed to struggle free-and 1!hen he ra-n."

"Is that all?" asked the sergeant. "He took four ·hundred pounds!"

said Alec, feeling.Iy. Ignoring the fact that this seemed a

lot of money for a dance-band pianist to •have, the sergeant asked : "That's a date finish for a dance, isn't it? Two o'clock?"

"Oh, we finished at ·twelve. I had to take my girl 1home."

"And where was this money?" asked the detective.

"In the drawer of the bureau . It was locked."

B.M.G .

Is this someone else's "B.M.G." you're reading? Wt,, not becMM • resular ffador by placln1

an ordtr with your local ., pplltrl

The sergeant sighed deep ly. "Yo u know, sir," he said, "you people ask for this. How long had the money been there?"

"I didn 't have time to. bank it," said Alec defensively. " I won it at lunch time, on the dogs. Twenty pounds at twenty ito one."

"I suppose you told everyone about your luck?"

"Not everyone," sirid Alec indignantly. "I told them in the band. Someone ,in the club may 'have heard."

The sergeant looked at the marks on Alec's neck closely.

"You'd better see a doctor about that; it's drawn blood . Put some iodine on ·the cot. He had a good shot at strangling you but strictly an amateur, strictly an amateur. Now tell me: how many aTe there in the 'band?"

SMOOTH GROUP "Six piece. Very smooth group,

though I say it myself. There's a drummer, ·bass, tenor sax, clarinet, me of course on ,piano, and a guitarist. Spanish, not electric."

"Spanish guitar, not electrJc," repeated the sergeant thoughtfully. "That's interesting."

"We're a very smooth group," Alec assured •him. "No amplification. I wouldn't be -seen dead with an electric guitarist! "

"My son's got an electric guita r," said the sergeant.

"There's no need -to suspect any of the group," said A1lec. "They're all O.K."

"You trying to teach me my job?" asked the sergeant, icily.

Alec coloured. " 'Cou rse not, sergeant," he added hastily.

"You'd better look for another guitarist," said the -sergeant cr,isply. "This one should be out of circulation for two years or more. Breaking and entering assault .... "

* * * The inspector looked at the charge

sheet thoughtf ully. "You cleaned this one up pretty quickly," he remarked to the sergeant.

"Nothing to it, sir," said the sergeant. "W hen I saw :the marks on the -t!hroat I saw there was something

SEPTEMBER, 1966

odd. When he told me about the Spanish guitarist in the band, I knew I ba:d my man. You see, sir, a ,player of ~he Spanish guitar uses his finger tips when he's playing. He doesn 't use a plectrum. So a Spanish guitar,ist, un:less .he's an odd kettle of fish, !has finger-nails of different length on each hand.

"Now, on the neck of this man­wha-t's-his-name?-the skin had been cut by the nails of one ·hand, yet on the other side, tthe s~ was merely brnised. It had to mean something. It could only mean the finger-nails on one hand were longer than on the other."

He smiled. "This pianist wasn' t a bad fellow, really. He wanted :to give me a reward. I ought to have pinned him for trying to ·bribe a police officer!"

The inspector looked at his subordinate closely. I wouldn't put that past you, ·he thought ....

Federation News (N ORTHERN SECTION)

The first Re-Union Dinner to be held by our section will be at the ~idland Hotel , Lapwing Lane, West D 1dsbury , Manchester 20 on Sunday, September 25th, 1966.

This is an excellent hotel and ideal for rthis k ind of function. A good meal has been arranged and ·leading ar.tists on the three main instruments have been engaged to entertain us. Over eighty members and friends have promised to attend. The func­tion will commence at 5.00 p.m. and the cost will be about 20/-. ·

Everybody interested in ~he Federation is welcome an<I tickets and information are available from our organiser: Bert Pearson, 12 Plymouth St., Oldham, Lanes. Phone MAln 8528.

The set contost pieces for 1967 are now ready: A Class, "Neapolitan Medley" ar-ranged by J . Hulley. B Class, "Eliza• bethan Ser.enade" arranged by A. Pearson.

B. B. THURLOW.

Tt1pe C/11/J News Hawaiilln Section: John Lyndon and

Charlie Hynd have submitted a second excellent tape of multi-recordings. Charlie, who lives in Kilmarnock , recorded the rhylhm and voca·ls. Jolm, Jiving in Man­chester, added the Hawaiian guitar. Long­distance multi-recordings 6eem to be be­coming popular, because John Turner of Slough and Bert Heald of London have been working on similar lines and their first multi-recorded tape :is also now cir­culating. I -think it will be agreed that John has really surpassed himself; inspired by Bert's first-class rhythm backings.

Alan Willey has submitted his second tape to this section , including a wide range of superbly recorded music by ·himself,

SEPTEMBER, 1966

Bernard Whitty and 1he String Dusters (featuring Brian Hanlon on Hawaiian guitar).

One of our new members, Jim "Kimo " Edwards from Mer,thyr Tydfil, has kindly 6ent in a fine tape of recordings. Kimo 's nimble fingering on · Hawaiian guitar de­lighted your secretary aod congratulations must also go to Jack Laycock for his first­rate P.G. backing.

Fjnally this month, John Moore of Bir• mingham •has submitted a tape of record­ings by Hiti-hiti and his Hawaiian Islanders. Hiti play& in a modern , swingy, yet per­fectly authentic 6tyle and our thanks to him for this selection of excit ing record· ings. Thanks also to John Birch for his contr ,ibution to track two.

JOHN D. MARSDEN. Banjo & Mandolin Section. Three new

members enrolled last month: E. J. Turner of Norwich , Phil Squibbs of Bridgwater and Bert Bird of Weston-super-Mare who has donated a tape of banjo soloo.

Charlie Mansell has again produced an excellent tape of banjo duos and Eric Enderby (accompanied by Ernie Symonds} a tape of banjo duets composed by Bric.

WiA!LLY SPRANKLEN.

(All enquiri es co11cemi11g the Tape Club should be addressed to the appropriate secretary-see "Club Directory"-enclo ~'ing a stamped addressed e11velope.)

MANDOLINATA All the beauty and wonder of

the Mandolin on L.P.

Enchanlmcnt and Sparkle from four of lho Worlds grent M•ndolin Artists.

GIUSEPPE ANEDDA (Rome) HUGO D'ALTON (London) DAVE APOLLON (U.S .A.)

DICK DIA (U.S.A.)

NATIONAL MUSIC DIST'S 104 VENNER ROAD , SYDENHAM , LONDON, S.E .26

(Retail enquiries invited)

'GUITAR REVIEW1

No guitarist's archives are complete without these superb magazines; pub­lished six-mo nthl y for the classic guitar.

The latest issue (No. 29) is now avail• able, specia li sin g in ear ly music with musical illu strations. No. 28 is sti ll available-on gu ita r construction; also back numbers 23 and 24 containing the winning music for composition and the development of the gu itar in the U,S,A.

If you don't know about! the Reviews, send for any one of them (pric e 16/• includin g post) and see for yourself I

SPANISH GUITAR CENTRE

2 Elton Road, Bristol 7. Tel. 47256

B.M.G.

"8.M.G. '1 Diplomas A COPY OF THE TESfS

NECESSARY TO SECURE "B.M.G." DIPLOMAS

can be obtained on receipt of a self­addressed envelope by applying to the Editor, "B.M.G.", 20 Earlham St., London, W.C.2.

The following candidates have been awarded Dip/omas:-Virginia Rose Flei.shm,'.m, of Quaker '6 Hill , "C" Grade {Hawaiian Guitar).

Teacher: Gallaher School. Examiner: Phil Skinner.

THE HANSEN LIST

FOR GUITAR The Easy ·Picture Chord Book

Volpe 5/­Easy to Play Guitar Chord

System Arnold 5 /-Guitar Chart Book Volpe 2/6 The Hollywood Song Book 7 / 6 Modern Guita -r Chord Chart

Ross 2/6 My First Theory Book Block 5 /­

•Single String Guitar Method for Beginner6 Dan Fox 7 / 6

Standard Classics arr. Urai 5/-

FLAMENCO Carlos Montoya More Montoya Mario Escudero Sabicas & Escudero Flamenco Puro

7/6 7/6 7/6 7/6

Sabicas 7 /6

FOLK GUITAR '"The Big 12 String Guitar 5 /-Easy to Play Blues Folk

Favourites 5/-Easy to Play Gospel Folk

Favourites 5/-Essays in Sound Judy Henske 5/­

•Folk Songs of Today 7 /6 *Mason Williams Guitar Book 5/-101 Gospel Songs & Spirituals 10/6 101 Hootennany Solos & How

to Play Them 10/6 Rod McKuen Popular Folk

Hits 7 /6 30 Easy to Play F-0lk Songs 5/-

BLUEGRASS &ANJO Bluegra~ Banjo Clawbammer

Style Carbo 5 / -The Kingston Trio presents an

Introduction to: Bluegrass Banjo 3 Finger Style 12/6

Picture Chords for Bluegrass Banjo 5/-

Available from your local dealer *Just Published!

Hansen Publications Ltd. 29 NEWMAN ST., LONDON, W.1

399

Martin Rooke-Matthe,\'S, of Woodford , "A" Grade (Spanish Guitar). Gary Draper, of Harlow , " B" Grade (Plectrum Guitar).

Teacher: Carol Bergstrom. Examiner: Geoff Sisley.

Christopher Archer, of Ickenham , "A" Grade (Plectrum Guita r).

Teacher: A. Kent Examiner: John David.

Ian Taylor, of Bolton, "A" Grade (Plec­trum Guitar) . David Pilkington, of Bury, "A" Grade (Plectrum Guitar) . Eric John Sandiford, of Worsley , "A " Grade (Plectrum Guitar) .

Teacher: Barbara Lobb. Examiner : Tom Harker.

Peter Shadney, of Hamilton , "A" Grade (Tenor-Banjo). Michael Bodnar, of Hamilton, "A " Grade (Tenor-Banjo).

Teacher: June Comfort. Examiner: Percy Waddington .

Melanie Quick, of Nottingham , "A " Grade (Spanish Guitar).

Teacher: E. Milward . Examiner- Bernard Taylor.

LOVELY ART RE-BORN! in concert with

Rev. Adam Hunki er, 0.$ .B.

CLASSIC BANJO Complete L.P. Album of t en greot numb ers in striki ng recital order, all arrang e d (or compo sed and arranged ) by performer , In glorious hi-fi. fing er work throughout, on nylon, fully self­accompanied. Vegavox IV five- stringe r used. Highly effective on any hi-fi ph ono. • Inq,ired interpr etation. • Rousing originality and delivery. • Attmctive variety. • General appea1. (Not for banjoists

only.) Send for free brochure, or ordor direct (prepaid ) from: CLASS IC BANJO RECORDS Assumption Abbey (Inc.) Richardton, N. Dak., U.S.A.

58652 Remittance payable to: Assumption Abbey (Inc .) $4.00 (U.S.A.); $4-~ (Canada and Mexico); $S.O0 (a ll Fore ign ).

STUNNING BREAKTHROUGH by a MASTER

(We always wondered when, didn't we!)

The finest of the European classic guitar strings since 1939

By RIF AT ESENBEL, Paris

CONCERTISTE Dupon t patent nylon SPANISH GUITAR STUDIO

84 Newmon Street , W.1. (LAN 8094) IVOR MAIRANTS MUSICENTRE LTD.

56 Rothbone Place, Oxford Street, W.1. SPANISH GUITAR CENTRE

36 Cronbourn Street, W.C.2 (COY 0754) THE LONDON MUSIC SHOP LTD.

51 Weymouth Street, W.1 (WEL 4795) SPANISH GUITAR CENTRE (Western Area)

2 Elton Rood. Bristol 7. /Te l: 47256) JAMES PARR (MUSIC ) LTD.

56 Upper Queen Street, Belfast 1. SPANISH GUITAR CENTRE (Western Area)

35 Windsor Place, Cardiff.

IYho/esalr ,nqulrle• to: C. P. Nupen, 33 Brunswick Gdns, London, W .8

400

John Townley, of Sheffield, "A" Gracie (Plectrum Guitar).

Teacher: Len Stewart. Examiner: J. Chamberlain.

Jane Currer, of Solihull, "A" Grade (Spanish Guitar). Fred,l Grocott, of Solihull, "A" Grade (Spanish Guitar) .

Teacher: B. T. Collard. Examiner: Adrian G. Mills .

Cynthia Prescott, of Sydney, "A" & ".B" Grades (Spanish Guitar).

Teache r: Antonio Losada. Examiner: W. Schumacher .

Bland Finlay, of Dundee, "A" Grade (Plectrum Guitar).

Teacher: Leslie Booth. Examiner: Wm. C. D. Philp.

Bradley Edwards, of Bumaby, "A" Grade (Plectrum Guitar).

Examiner: Arthur Alexander. · Stephen Mainwaring, of Port Talbot, "A" Grade (Plectrum Guitar).

..,

Teacher: Bert Veale. Examiner: A. H. J. Milverton . .... c o 11._ziLJQ

THE INCOMPARABLE

SAVABEZ NYLON STRINGS

are made in different tensions

to suit your guitar and

your style of playing

-

See your usua,J supplier. or write to :-J. THIBOUVILLE-LAMY & Co. 34 ALDERSCATE ST. , LONDON, E.C.1

Is this the guitar for YOU?

VICENTE

1!.t©t This beautiful model 1716 costs 31 gns. There ere 49 others • Vicente T etey, Rickenbacker, Eko end Levin • all featured in the latest R-M Cata logue.

ll oBc - 1U o,•,•.ie '>O".<.QO> l ~ ,tos•i,_.•~1:..1', •

Catalogue 1nd 11eme of your nearest dealer from

ROSE, MORRIS & CO, LIMITED 32-34 Gordon House Road, London N.W.S

B.M.G. Alison Thomas, of Bulawayo, "A" Grade (Plectrum Guitar). Jacqueline Fromentin, ·of Bulawayo, "A" Grade (Plectrum Guitar). Peter Kitchener Bruce Cooks, of Bulawayo, "A" Grade (Plectrum Guitar). Brian Charles Futte1·, of Bulawayo, "A" Grade (Plectrum Guitar). David Rademeyer, of Bulawayo, "A" Grade (,P!ecti:um Guitar). Douglas J. Bullock, of Bulawayo, "B" Grade (Plectrum Guitar). Michal Whatt, of Bulawayo, "B" Grade (P lectrum Guitar).

Teacher: Mike Barker . Examiner: J. Sellars.

Thomas Hasson, of Horsley Park, "A" Grade (Spanish Guitar).

Teacher : Donald Andrews. Examiner: Phil Skinner.

Nic holas Hutchings, of Wembley, "A" Grade (Spanish Guitar).

Teacher: John Davis. Examiner: Geoff Si<>ley.

CLASSICAL GUITARS £ s. d.

SEPTEMBER, 1966

Correspondence Dear Sir- My article "Barcelona Straight

and Jazz" prompts Seiior Juan Ruano to write (July issue) stating he "wou ld like to make some realistic observations and lend constructive criticism" .

He does neither. I wrote: "Back in IBar­celona I noticed Regino Sanz de la Maza was due to give a guita r recital at the Palacio de! Musica. I have never heard him play bl!! know he had in the past run into a patch of the 'willies'. I hope he is on good form now."

The above paragraph is quite undeservi ng of sarcastic protest. Many great artists have run into nervous patches and regained top form. My comment was written without any offensive intention and I am surprised that offence should have been taken.

Seiior Rua no also disagrees with my observations about the guitar . manufa ctur ing scene in Barcelona. He assures readers that "Quality guitars are not being mass pro­duced." "Qual:ty" relating to guitars is a

FOLK

Oscar Teller Model 61 M ... 34 2 6 Martin D. 21 Dreadnought 61 A ... 31 I 3 Guild Bluegrass

£ s. d. 185 0 0 171 10 0 52 10 0 79 0 0 20 0 0 39 0 0

., ., 61 P 40 5 0 Levin Goliath Giannini No. 4 25 4 0 S-Soiled Epiphone Texan

No. 2 10 10 0 Jason Jumbo No. 6 12 12 0 Framus Jumbo

., No. 104 16 16 0 Rumanian¾ ... Vilsor -¾ (Spanish) I O I O O ., Jumbo Zenon 600 ... 18 18 0 Harmon~ 12 String ... Guitarras Condal A.A.C. Special & Guild 12 String

Case 131 5 0 S/H Guild ¾ F.20. N.T. Guitarras Condal A.C. & Case ... 116 7 6 Levin-12 String

7 17 6 17 10 0 59 10 0

143 0 0 90 0 0

S/H Condal flamenco & Case .. . 80 0 0 Special Offer 50 0 0

Make a note of our Autumn Sale - Starts September 5th. Dozens of Bargains!

AT MUSIC PICCADILLY. , : . . l . 8-10 Denman St .. Piccadilly Circus , : London W .1. Telephone :GERrard 1648 /9 / ------------------

\\ ~ 1Us~d:~s~:eu~-~!-~IN~~ \85 Giant Model Heavv ...... .. 12/11 357 T,opical Stainless Heavv .. 13/4 337 Tropical Stain less light .. 13/1

C~rHEDRAL • SPANISH CUITAR (Finger Style) 150¼ Gut and Wound on Silk, Set 26/· 287 Nylon and Wound on Terylene 19 / 4

!!if!!!s 497 Nylon and Wound on Ny on 16/ 1

, 627 Pleclru.!\~f ~ .~~-C. .. ~.~ ... ~.~-~- 15 / 5

STRINGS = 617 Hawaiian Set .. .. ...... ... .... .. .. .. . 16/5 ~ Prices subject to Pure-haw- Tax surcharge- .

' ;~f;n ;ifi;l~~e:~~I~ i~~;; ;~;;~c;;• from / 130 SHACKLEWELL LANE, LONDON, E,8

_____________ _. __

SEP TEMBER, 1966

ma tter of opinion and is often relative . My views regarding tone, appearance and prices are stated without bias and arc based on close observation, involvement a n d experience.

Guitarists, guitar ma kers and people in the trade consider my views helpful. - IYOR MAIRANTS.

* * * Dear Sir-It has occurred to me that one

of the main reaso ns players cannot obtain artificial harmonics easily on the Hawaiian guitar is that (in contrast to American man ­ufacturers) British makers-both tiade and amateur - omit to provide the instrument with a compensated bridge; either in the "slanted" form (featuring a diago nally ­slanted bridge saddle) or the "staggered'" form (featuring first and third str ings in their no rmal equidistance from the 12th fret to the bridge saddle) and the rema ining st rings being progressively retrograded in similar manner. Both systems have the aim of providing a longer vibrating length re­quired by the thicker bass str ings and are generally more accurate than the completely compensated metal bridge featuring screwed independent sadd les fo r each string which

BARGAIN RAMIREZ FIRST CLASS

CONCERT GUITAR FOR SALE

Telephone: FIELD END 7482 or write: 178 Connon lone, Pinner. Middl~sex

A Touch of· Velvet MONOPOLE

LAMINATED NYLON WOUND ELECTRIC PLECTRUM GUITAR

each s. d.

P7401 E o r 1st, Paten t Steel 1 2 P7402 B or 2nd, ., ,. 1 2 P7403 G or 3rd, Nylon Tape Wound 5 4 P7404 D or 4th , 6 9 P7405 A or 5th, 7 6 P7406 E or 6th , ., 9 3 P740 6-string set 31 l

ELECTRIC BASS GUITAR E7031 G, Nylon Tape Wound E7302 D, E7303 A, E7304 E, ,. E730 4-string set

12 9 18 0 22 6 31 6 84 °

picato HIGHLY VIBRANT ELECTROMATIC

ROUND WIRE WOUND P7501 E or 1st, plain P7502 B or 2nd, .. P7503 G or 3rd, round P7504 D or 4tth, P7505 A or 5ith, P7506 E o r 6tth,

wire wound

P750 Set All prices include Purchase Tax

Approocb your local dealer In case of difficulty please notify us

1 I I I 2 9 3 6 4 1 5 0

17 £.

GENERAL MUSIC STRINGS LTD. TllEFORE'ST INDUSTRIAL ESTATE PONTYPIUDD, GLAM., S. WALES

B.M.G .

MAY WE REMIND YOU

8.M.G. 1 is obtainable to orderfrom Teachen , Music Shops,

Bookst.alls and Newpge nts all over the world

p •

"' by yearly subscription direct from the Publishers

(Subscript ion form on page iii of cover)

trave l nut -wise or tail-wise . My own Hawaiian guitar feat ures a

standard plectrum guitar "staggered" com­pensated bridge, used in conjunction with a "solid" plectrum guitar tailpiece and an extra- low bone nut which promotes "slack" feel to the instrument and a mellow tone­in contrast to the American sty le of having steel both ends (at nut and bridge) which has the tendency to secure too sharp a tone

401

and litt le extra sostenuto. This is to be found on many expensive American instruments of the consol type although, fortunate ly, the cheaper standard stud io instru ments sti ll retain bone nut and metal bridge / tailpiece combined .

While the ex.tension of the fingerboard up to the bridge is excellent insofar as one is able to play several octaves higher, a gap (as in the norma l solid electric plect rum guitar) obviat es the sound of the picks touching the body . However, a strip o f plastic sponge glued to the fingerboa rd (or along the out­side edge of same)-or free of the finger­board in the picking area - will obviate this irritating and often audible sound.

Slightly wider spacing of the str ings than the ordinary Hawaiian guitar will promote more accurate picking, alt hough fast llrpeggi may be slightly slowed down as a result. This can be overcome by assiduous practice.

Players assuming the sitting playing position must glue (with the aid of the modem "count -three-and-stand-clear" im­pact adhesives) a strip of plastic sponge to

GUITAR TEACHERS .................................................... ,

See the

MEL BAY METHOD for the

MODERN GUITAR COMPLETE IN SEVEN GRADES

Used successfully by PRICE 10 /• Postage 6d, extra

the W or Id's Le ad in g Guitar Studios Available from all music and instrument deal,ers.

MILLS MUSIC LTD., 20 Denmark St., London, W .C.2 · · ·· ·-· 11■11•■■■1111••···· .. ••••••••••••••• ....... ... . ................................................. .1

BANJO, IANDOLIN k GUITAR MAKERS' SUPPLIES k ACCESSORIES

WOOD : Spnce, Maple, MalaOIIID7, Bnzlllan Rosewood, Cyprea FINGERBOARDS semi-finished Ebony or Rosewood

Wood fibre Porflinp, celluloid bindinp. Rosettes-bl ack and white or coloured Mother-of-Pearl lnla)'9-lvory for Nuts and Saddles

GUITAR NECKS- BRIDGES -MACHINEHEADS

STRINGS: Savarez, Concerdste, La Bella, Augustine, D' A.Jllellco, Goldbrokat

POLICY CHANGE: Guitar catalog mailed upon receipt of-$1.50.

This amount deducted from minimum purchase of $5.00.

VITALI IMPORT CO. 5944 Atlantic Blvd., Maywood, California, 90270, U.S.A.

402

the complete underside of their instrument; ensuring that the whole underside of the body and arm are thus covered to promote rigidity on the knees and obviating the in­secure sensation of the ,body or neck slip­ping away from the player.

The correct height of chair is essential, hence the habit of Pulu Moe (and Eddie Peabody in the banjo world!) bringing their favouri te stoo l on stage with them! KEALOHA LIFE.

* * * Dear Sir- As a regular reader of "B.M.G." I would like to ask if you could include a series for tenor-banjo in the magazine.

I am sure that if you used your influence you could induce Sam Warwick to do some­thing for the many tenor -banjo enthusiasts . - JOHN KELK. (We did have a series for the tenor-banjoist by Paul Lud gate, but 1he response was so small the wriler became discoura ged. I will gladly prilll any articles for the 1enor-banjo Mr . Warwick-or any 01her wriler- cares to let me ltave.- EDITOR.)

* * * Dear Sir- I am pleased Kealoha Life has ascertained which particular photograph of Johnny Pineapple I referred to .

My copy of the Keech tutor for uku lele quotes the "D" tuning. Keech did however produce "long scale" ukuleles tuned G. C. E. A. (to my knowledge, three models), the fourth string tuned to the note G on the second line of the stave with all the notes on

RANIERI METHOD FOR GUITAR

BOOK I - 7/6 BOOK II - 10/-

From your nearest music dealer or direct from the publishers

CRANZ & CO. LTD. 1 MONTAGUE ST. RUSSELL SQUARE LONDON, W.C.1

COUNTRY AND W ESTERN CUtTAR SOLOS

Arra.nged by Dick Sa.dleir Album oonta,ining: WAGOJ\ WHEELS MY BUOKET'S GOT A HOLE IN IT RIVER STAY 'WAY FROM MY DOOR

IN A SHANTY IN OLD SHANTY TOWN OOOL WATER

I LIKE MOUNTAIN MUSIO GRANNY'S OLD ARMOHAI R

BACK HOME IN TENNESSEE PRI CE 4/ - BY POST 4/4

RHYTHM AND BLUE S GUITAR SOLOS Ar ranged by Dick Sadleir

Album containin g : ROOK-A-DYE YOUR DABY

AM I BLUE • BILL BAILEY DON'T TAKE YOUR LOVE FROM ME

OF ALL THE WRONGS YOU'VE DONE TO ME - J AILHOUSE BLUES YOU'RE G:EYITING TO BE A llAllIT

SUGAR BLUES PRI CE 4/• ____ BY POST 4/4

From your duler or

FELDMANS 64 DEAN ST,, LONDON, W.1.

the fourth string one octave lower than they sound .

With reference to tuning ,the ukulele : this is a matter of personal preference. Mr. Life pre fers the "C" tuning: I personally have yet to be convinced there is a more suitable tuning than the standard "D" for solo play­ing and accompaniment.

Of the eighteen tutors and method s for the ukule le in my possession only two quote the "C" luning , the remainder advocating the " D" tuning . The leading names in the ukulele field in the U.S.A.- Roy Smeck, May Singhi-Green , Wendall Hall and Cliff Edwards - all advocate the standard "D " tuning , as does Britain 's exponents Billy "Uke " Scott and the late Max Nesbitt .

The comedian-uki st George Formby used four tunings---C . D. Eb and F- and although not cons idered a "solo" player in Lhe sense of the word , he did more to popu­larise the ukulele and ukule le-banjo in Britain than any other performer .

Could I persuade Kealoha Life to write another article about the ukulele , this time explaining why he prefers the "C " tuning? It would be most interesting to tha t now

S~PTEMBER, 1966

growing band of ukulele players . - RAY BERNARD.

* * * Dea r Sir-Following the articles on the dangers of electrocution in recent issues, I would like to tell the younger players of the electric guitar, especially the groups, of my idea which I carry aroun d to various halls . In fact, it is so obviously simple some ­one must have thought of it also.

I have four three-pin plugs: 2-amp, 5-amp, 13-amp and even the old 15-amp, each wired to about 9" lengths of three-core cable. The live and negative leads are wired to a bayonet socket , one for each, leaving the earth lead "wandering ".

The ampl ifier lead is wired to a bayone t plug with a crocodile clip on the earth lead .

When one arr ives at a hall, all that is necessary is to plug the amplifier bayone t p lug into the appropriate socket of the plug required; thus avoiding dismantling plugs and plugging in -bare wires with matchsticks!

The cost of this "outfit" is only about 15s. -which is well worth it to avoid a nasty shock or even deat h! -HAR OLD EAVES.

easy pieces for guitar

solo

two guitars

Bach Carcassi Coste Diabelli Ferandiere Franck Guiliani Haydn Kuffner Molino Ponc e

Bach Coste Hande l Kuffner

Three pieces from the Anna Magdelena Not ebook (Segovia) 4s 6d Twent y-four short pieces, Op 21 6s 6d Recreation, Op 51: Fourteen pieces 6s Five Easy Study Pieces rro m Op 39 3s Six Short Pieces 4s 6d Four Short Pieces (Segovia) 4s 6d Eighteen Progressive Pieces, Op 51 6s Minuet from Quartet in G (Segovia) 4s 6d First Pieces fro m Op 80 3s Six Rondos, Op 11 5s 6d Preludes Nos 7-12 (Segovia) 4s 6d

Pre lude (Pujol) 7s 6d Barcarolle and Waltz 3s Cou rante in C (Tarrago) 4s 6d Twenty-five Easy Sonatinas 7s

Ask for free copies of our catalogue and Teachers' Guide to the Spanish Guitar

SCHOTT 48 Great Marlborough Street London WI . Tel: GER 1246-7-8

SEPTEMBER, 1966

Coming E11ents Artists and agents, Club Secretar ies and

readers, are invited to send details of forth­com ing events for inclusion in this feature. The details published are all we have been given and we have 110 further particulars. September 12-Folklanders at "King 's Head", Enfield. 17 & IS-G eorge Formby Society 5th

Annua l Meeting. Im perial Hotel, Blackpool

24-John Williams Recital, Wellingborough. October

I- Mike Seeger, Royal Festival Hal l. 2-John WHliams Recital at Woodford. 4-Julia n Bream Recital, Wigmore H all.

CHAS. E. FOOTE LTD. ORDERS ACCEPTED FOR

RAND-MADE CONCERT GUlTARS BY

A. A • .JONES (£ 52 105, Od. to £ 105)

ALSO IN STOCK -

TATRA DE LUXE , lingerstyle guitar. Good finish and soun d. £15 15S,

SOLOIST by YAIRA. ExcellentJapanese made fingerstyle guitar. £19 10s,

TATAY. Span ish made fing erst yle guitar. Pine belly , fan strutted.

£50 18S, CONDAL. llfodel BO. German pine top.

Indian rosewood back and sides. Oedar neck . Ebony fing erb oard.

£1 16 17S, IN STOCK ACAIN: " WISONIA" str ings

for concert guitar . 24s, the set, 01• can be purch ased sin gly. 1st 3/2 . 2nd 3/3. 3rd 3/6, 4th 4/6, 5th 5/-. 6th 5/6 . We also sell llfonopole, Savarez and Augustine.

MAIL ORDER SERVICE -

- EASIEST H.P. TE RMS

CHAS. E. FOOTE LTD. 20 DENMAN STREET , LONDON, W .1 Telephone: CER 1811 Saturdays till 5

Est . 46 Years.

GUITAR MAKING MATERIALS Wood, Varnish, Ivory, etc.

CATALOGUE 35c. (2/6d.)

JOSEPH F. WALLO 1319 F Street Northwest

Washington, D.C., U .S.A.

ROYAL FESTIVAL HALL Saturday OCTOBER 1st at 8 p.m.

THE GREAT AMERICAN MULTI-INSTRUMENTALIST AND FOLK SINGER

Mike Seeger (guitar , autoharp, banjo, (rddle)

also ISLA CAMERON HEADINGTON MORRIS

THE YOUNG TRADITION RACHEL and YOSSEFA

Tickets: I S/-, 12/6, 10/-, 7/6, 5/- from R. F.~Hol/

B.M.G. 6-Julian Bream Recital, Wigmore Hall. 8- John Williams Recital at Tetbury.

20- John Williams at the Wigmore Hall, with other artists.

22-John Williams Recital at Uppingham (Rutlan d).

25-Barbara Polasek, guitar, Wigmore Hall. 28-John Williams Recital, Lla nelly. 29- John Williams Recita l, Bristol. 29-Folklanders at Hatfield. November

I-Joh n Williams Recital at Newcastle . 3- John Williams Recital, Cheltenham. 4- John Williams Recital at Exeter.

13- John Williams appearing in the Belfast Festival.

16- John Williams appearing in the Durham Festiva l.

403

19- John Williams Rec ital at Hayes, Middx. 26-Julian • Bream in concert at Friends

House , Euston Road, London. Dec emb ea·

I- John Williams Recital, Middle sbrough. 5-John Williams Recita l, Herne ! Hemp­

stead . 14- Julian Bream in concert at Mancheste r

in aid of Sunshine Home s for the Blind. 17- Thcodore Bike! concert. Royal Festiva l

Hal l. January 2 1-P resti-Lagoya Recital, 1Bristol. 22- Presti-Lagoya Recital, Cardiff. 27- Presti-Lagoya Recital , King 's Lynn. 28- Presti -Lagoya Recita l, Norwich.

I •M ~ t~i~ t~ 1.1 tleil) i t1 .t-1 SPANISH FINGER STYLE SPAGNOLA

By Manuel Segura F4415 Pinewood top, mahogany body Rosewood finger board and bridge. Screw cog machines. Nylon str ings.

FRANCESCI By Manuel Segura F4416 Similar to the above but with attractive inlaid rosette and purfled top edge. TRADITIONAL SPANISH

By VICENTE CARRILLO Model F6 Overall length 39¼". Body 19¼'' x 14¼" x 3¾". Fan braced Pinewood Top, walnut back and sides. Purfled. Screw cog machines with bone rollers. Nylon str ings.

Model FI0 Description similar to above but with light figured wood body and ebony finger board.

FOLK Model BANJOS

DALLAS FOLK Model 4462 5 String, Long Scale, 26 frets 10½" vellum with tone ring 13½" resonator. Adjusta ble string action. Chromium plated bezel, 16 brackets, resonators , plates and tailpiece. FRAMUS FOLK Model 6/ 175/PS As above but with 18 brackets and modern shaped head. Framus trad it iona l finish.

Both of the models have the snappy, br illiant tone for render ­ing modern folk music. De Uc,,r Consult your local musical inst rument dealer

! MUS~L LIMITED lDALLAS BUILDING, CLIFTON STREET, LONDON, E.C.2.

404

New P11/J/lc11tlo11s Below we list some new publications for the /retied i11Strume11ts. Publishers are invited to submit copies of their new works for inclusion in this feature.

"Spanish Guitar Album, " famous songs arranged by Geoff. Sisley. Contents: I Know Where I'm Going, The Foggy, Foggy . Dew, I Have a 1Bonnet , J Wan t to Go Home, The Star of the County Down , My Ain Folk , The Lass of Richmond Hill , Charlie is My Darling and The Girl I Left Behind Me. Boosey & Hawkes Ltd., 5 / 6d.

* * * "500 Ohord Shapes for the Plectrum-

Banjo " by Keith Papworth. B. Feldman & Co. Ltd. , 3s. 0d.

* * * "Tanz -Typen ," Willy Jansen . 20 easy

gu itar arrangements of popular tunes such as "Oh! Susanna ", "Good Night , Ladies", "O ld Black Joe", "Londonderry Air", etc., with a sprinkling of original work5 by the author, living up to the title of his album. Schott & Co. Ltd .

S. C. EVANS The Violin Shop

15a HAGLEY ROAD BIRMINGHAM 16

EDGbaston 0787 Specialist supplies of all materials and tools for professional und amateur GUJT AR MAKERS SEND FOR LISTS - POS'l' rREE

"Make Your Ow n Spanish Gu.it~r" in stock 15/- Postage 1/3

CLIFFORD MUSICAL SUPPLIES

Proprietor: JOHN INGRAM Clifford, Boston Spa, Yorks

Tel.: Boston Spa 2007 Fuzz Boxes . . £13 19 6 Telephone-Type Gui­

tar Leads .. £ 1 and£ 1

Guitar Straps Plectrum

and Thumb and Finger

Plectrums ..

2 6 9 11

10 6 11 6

8 Hero Harmonicas (48

Reed) 7 11 Drum Sticks . . 7 7

Many Other Musical Items Send S.A.E. For Lists

Cash With Order Refund If Not Delighted

Add 2/6 Postage for Orders Over 30/-

B.M.C.

Have Enjoyed

This

You Reading

Issue ? If you are a regular reader of "B.M .G." you. need no telling of the good things you receive for only eighteenpence a montli-bu.t othe ·r playe,·s may be glad to hear of it. Wit: you. help us-and them-by teUing you.r

playing friends of this magazine ? Olllllllllll lllilllll lllllllllllRIIIIIIIIIIIIIDUllllllllllllUIIIIIIIIUIIIIIIIIIIIIIIIIIIIIIIIIHlilllllllllllllllllUIIIIIIIIIIIIIIIIUII

By the Way Recently issued fretted instrument records

include: "Holiday for Guitars "- Buddy Me rr ill (Vocalion VAN 8056) and "The Incomparable Bola Sele" (Yocalion LAEF 600).

* * * John Whitaker , Barry Evans and Philip

Jackson , three 14-year-old pupils at Dearn-

SiEPTEMBER, 1966

side Secondary School, Goldthorpe, Yorks , may have careers ahead of them as teachers of the Spanish guitar. They have been studying the instrument fo r two-and-a -half years under Brunon Baron , West Riding County guitar teacher. John Gavall (County Music Adviser) has described them as being among the best he has heard for their age. The boys' parents have been told their sons have the ability and po tential to become teachers of the guitar and it has been suggested they stay on at school to take the G.C.E.

* * * On August 18th, D. E. McConnell ,

Canadian guitarist, gave a rec ital at :Burgh House, Hampstead. His programme in­cluded items by Francesco da Milano , Anthoine Franc isque, Nico las Vallet, Jacob Pollonis , Comte D'Logy , Weiss and Sor.

* * * Fre tted instrument items issued in the

U.S.A . recently have included: "Music from Nashville" - Che t Atkins (RCA Camden CAL 981) and "Mus ical Orchids from Hawaii "- Leo Addeo and h is Orchestra (RCA Camde n CAL 977).

* * *

GUITAR FINGERBOARD

TEACHER by

JOHN W. DUARTE

4s

The object of this booklet is to help the guitar student to learn the location of the notes of music on the fingerboard of his instrument. For this purpase it is equally useful with any form of six- or twelve-stringed guitar in current

use, and it may be used not oniy by those under personal (uition but also by those 7llho are 7llorking on a self-help basis.

'' . . . both musicianly and practical." THE MUSICAL TIMES

NOVELLO & CO LTD, BOROUGH GREEN, SEVENOAKS, KENT

London Showroom: 27 SOHO SQUARE, WI

SEPTEMBER, 1966

At the National Folk Festival recently held in Denver City Auditorium, A. L. Cam p of Boulder , Co lo rado, was featured as so loist on banjo. Mr. Camp , now approaching his 90th year , was one of over three hundred pe rfor mers an d groups from every part of the U.S. and Ca nada appearing at this three days ' Festival. "Mocking Bird ", with variations , played by "Archie " Camp , drew great applause from the audience of 10,000.

A shor t biography and photograph of Mr. Camp appeared in our March issue.

You llslt IJs (Readers seeking advice are inv ited 10

send their problems . A stamped addressed envelope should be enclosed for reply by post. Problems of general interest will be summarised i11 this featur e without the sender's name a11d address being disclosed. -E DITOR.)

).R.T. (Upholland)-As you say the " humming noise " stops when you finger the strings we would advise you to look a1 the slots in uhe nut. If these arc too wide or too deep it could be the cause of the buzzing. The on ly other likely cau se of buzzing wou ld be worn frets or something loose on the instrument. Th e remedy in each case is obvious.

* * SPANISH GUITAR CENTRE

Correspo ndenc e Course Segovia / Tarrega Method

Ideal for tho se in the provinces or ab road

Gui tars available 36 Cranbour n St., Londo n, W.C.2.

as played by

956 £.8.G. Nylon; £.A.O. Silver-plated AUGUSTINE

wire wound 20/8 set 960 E.8.G. Nylon; STRINGS D.A.E. gold alloy wire wound 21 /4 set

All strings ore ovoi/oblt r~ parotely From oil rood dealers

B.M.G. H.T.V. (Tonbridge) - Your local shop ha s

misinformed you as repairi ng a bro ken gui tar head is somethi ng fairly straig htfo r­ward to a guitar craft sman. To have a com­plete new neck fitted would be expensive , whilst a first-class repair of the smas hed head wou ld cost on ly a few pounds. Pro­perly executed, the repair would not weaken the head in any way.

* * * Y.W. (Bromya rd)- lt is impossible to value your gui tar without seeing it. F rom the labe l details you quote it is obviously made in ,Brazi l and from the constructional details given in your excellent drawings we wou ld deem it a hand-made instrument of quality.

* * * S.L.P. (Balham) - The Cliffo rd Essex Co. supplies strings to severa.l bazouki players in the London area. They ·have found that two plectrum guitar I st and two 2nd strings (light ga uge) for the I st and 2nd (tun ed in unison) and a light gauge plectrum guitar 4th an d a " Dura-Life" banjo 4th for the 3rd (tuned in octaves ) is the ideal. Bazouki str ings, as such, are unobtainable in this country as far as we are aware.

* * * K .J. (Llanelly)- The instru ment you des-

cribe cou ld be a Portuguese guitarra or a bandurria; it is impossib le to say which by the scanty details you give. If you will supply a rough drawing with measuremen ts we might be able to give you a definite identification.

* * *

405

S.I. (Mexboro)-Of course the banjo wrist rest will not be suitab le for your zither ­baJ1j11. We fail to see the necessity for a wrist rest on the latter instrument as Uhe wooden "bow l" is in itself a suppo rt for the right arm.

* * * W.W. M. (Bolton) - The "$"-shaped brackets in the zither-banjo hoop are known as "chairs· •. lt is possible the Cli!Tord Essex Co. can suppl y a replacement but they wou ld need a sample. Ta ke one o!T your instrum ent (the small screw at the top is the on ly method of fixing) and they will sec if it can be matched.

* * * H .A. (Barns ley)- 1lhe tuning s you give for

the bass an d contra-bass banjos a rc not quite cor rect. We would refer you to the tuning chart on Page 84 of the December 1965 " IJ.M.G." whe re the tunings arc shown in relation to the piano keyboard. Vellu m diameters , scale length s, and the other deta ils you seek arc all given in the ne w booklet advertised on Page ii of this month 's cover .

* * * G.E. (Swansea) - We arc unable to give you the names of any establishment in Lon ­don where you could hear the Ha wai ian guitar played. Th e "Be11chcomber'' restaur­ant of the Mayfair Hote l used to have an Hawaiian outfit , but whet her it still has we are um1ble to say.

SOUND CITY 124 SHAFTESBURY AVENUE • LONDON '. W1 · GEF:i 7486

406

Smt1/I llherts All adve rtisements must be prepa id

CLO SING DATE: 10th OF THE MONTH The cost of advertising under this heading is 3d. per

word (minimum 3s. twelve words or less). Trade rate : 6d. per word (minimum 6s. twelve words or less). There is no cha rge for a Box Num ber, but the wor·ds: "Box • ••, 'B.M.G.', 20 Earlham Stree t, London, W.C.2. » must be included in the advertiseme11t and paid for (eight words).

Advertisements arc not accepted by telepho ne

FOR SALE CAMMEYER "New Era" banjo. Superb mint condition.

Plus case. £60. Reay-Jones, "Crispcns'\ North Tawton, Devon .

KAY acoust ic. Cost £36 I0s . Case and Framus pick-up if required. Starkings, 3 Peter Close, Caistcr-on-Sca, Norfolk.

FOR SALE. Dobro steel body guitar. Tel: STR. 2971 any time .

JOSE RAMIREZ 0a menco gu itar. £10 music, footstool, Digitator, stand, etc. All for £95 cash. Write : Davies, 28 Lannet Rd., Gloucester. .

FLA MENCO guitar. Arcangel Fernandez. Exceptionally fine tone and condition. £95. PRI. 0602 before9.45 a .m.

TENO R -BANJO. Ludwig. First-class instr un1ent. I 9 frets . Hard case. £25. 12 Brantwood Ave., Monk­$eaton. North'd.

8-STRING twin-neck Hawai ian . Mahogany. Callers only. £25. Heywood, 79 Chipstead Valley Rd. , Cou ls­don, Surrey.

VEGA pre-war mod el. "Vegaphone de Luxe". Gold­plated, artistically designed and elaborate ly inlaid. All metal parts engraved. Fine condition and superb tone. Good case . £150 or offer. Amendt, Dusscldorf, Theodor -Storrnstrasse 14, Germany.

TENOR-BANJO. Jcd son . Maple resonator. Profes sion al inst rument . Plush-li.ned case. £25. Rayner, 37SixthAve., Heaton, Newcastle-on-Tyne 6.

WINDSOR "Artiste Model 2" hollow-neck banjo in perfect cond ition. With case. £25. Windsor zither­banjo. Perfect condition. With case. £12. Burgess, 71 North Side, C lapham Common, S.W.4. Phone: 01-228-3704.

SPAN ISH concert guitar . Felix Manzanero I Madrid . Former first Ramirez official. £120 . Field End 7482 or write to 178 Cannon Lane, Pinner, Middx.

ES TR UCH. Fine hand-made Spanish concert guitar. lmmac. With case . £85. Cost £138 new. WIM. 7139.

ARCANGE L FERNANDEZ concert guitar. 1965. £ 180. Eric Hill, Burnham 2780.

WANTED STAFF VACANCY . The Cli fford Essex Co. ha s a vaca ncy

for a young man with knowledg e of Spanish guitar. His duties wou ld eventually include assemblins and depatch of orders, attending to customers in the shop, and generally helping to maintain stock. Write stating age, commercial experience; playing abi lity and salary required . Address your letter to Mr. Sh,u pe, c/o Cliffo rd Essex Music Co.

WANTED . S.S . Stewart or B. & D. banjos; 5-string or tenor. Any condition. Write to: Ulf Harste , Ramdohr­str 3, Bremen. Ge rmany.

NATIO NAL all-metal hollow neck Hawaiian guitar. Hall . 37 Ellerto n Rd., London , S .W .18.

0 PAR AVOX " five-stri.ng banjo. Patrick Mtmson, D Princes St., Thurso, Scotland. .

KIN DRED instruments, vocalists and dancers required for Hawaiian group. Ukulele player urgently requ.ired, instrument provided. Moore, 16 Falstaff Rd ., Shir ley. Warwi eks.

USED tenor -banjo case . State price and condition. O'Connor, 23 Kirkinner Rd. , Glasgow, E .2.

VARIOUS RONOEL S IMOES. Spanish guitar recol'd collector,

who has now 1,361 differen t items, buys, sells and exchanges guitar records. Write: Ronoel Simoes. Rue Dr. Luiz Barreta, 192 Sao Paulo, Brazil.

WE HA VE c ustomers waiting for Clifford Essex and other good quali ty 5-string banjos. plectrum-banjos and tenor banjos. If you have such an instrument for disposa l, the simples t way to sell it is to send us full det ails (make, model, condition, etc .) and state price required . Clifford Essex Music Co ., 20 Ear lham St., London, W.C.2.

A SM ALL AD. will find a buyer for what yo u have no furthe r use for- and find what you need. Try one if you have something l(? sell (an 1.mwa!)lCd instru­ment or music?) or are look mg for something (a good S/ H ban jo or guitar or an out-of -pr int method or solos?).

Will anyone who has bought a s/h ",Para­gon" tenor-banjo during the last 3/4 months write to Clifford Essex Co., 20 Ear lham St., London , W.C.2.

B.M.G. SEPTEMBER, 1966

*IVOR MA/RANTS* Britain's Leading Guitar Expert. . .

HAS PLEASURE lN OFFERING THE WORLD'S LARGEST 'SELECTION OF

CONCERT, FLAMENCO and PLECTRUM GUITARS FOR STUDENTS, PROFESSIONALS AND CONCERT ARTISTS

£ s. d. Jose Ramirez Concert No . l

No . 2 Flamenco

236 S 0

Felix Manzanero No . I No. 2 Flamenco No . 1 , .

No . 2 ..

A. Solar Gonza lez Concert P M

C-0ndc Hcrmanos Concert M Flamenco l

2 3

Enrique Sanfeliu Jr .. .

Manue l Reyes Flamenco C ..

Carmelo Flamenco 3 2

(Above with cases)

Jacob Van de Geest Concert A B C

Oscar Teller Concert 7P 7M 7A 6P 6M

YA!Rl CONCERT specially made for a nd sign ed by IVOR MAIRANTS Concert No. 800

Aria I .. " 2 .. " 3 ..

No. 700 No . 600 No . 250

Giannini No . 1001 No . 104 No . 6 . . No. 2 ..

Jo se Mas Y Mas, Va lencia Concer t M .10 Special Flamenco M .9 Conc ert M.8

M.7 M .4 M.2 M. I

131 S 0 141 15 0

183 I S 0 157 10 0 152 S 0 126 0 0

94 10 0 78 IS 0

78 IS 0 94 10 0 75 12 0 63 0 0

67 0 0

99 15 0

105 0 0 84 0 0 73 10 0

131 S 0 110 S 0 73 10 0

69 6 0 52 10 0 47 5 0 47 5 0 39 18 0 3 1 IQ 0

SI 9 0 40 19 0 30 9 0 19 19 0

33 12 0 25 4 0 19 19 0

21 0 0 16 16 0 12 12 0 JO 10 0

37 16 0 31 10 0 28 7 0 26 S 0 I S 15 0

12 12 0 10 10 0

T atay Concert 1717 . . 1716 .. 1715 . . 1714 .. 1713 ..

Manuel Segura " Francesca " "Spagno la"

Kyomei 053 .. Nu. 4

£ s. d. 36 15 0 32 11 0 22 1 l 6 19 19 0 14 3 6 16 16 0 13 13 0 12 12 0 10 10 0

PLECTRUM and FOLK GUITARS F OR THE CONNOISSEU R

Barney Kessel I ES 345 TO Stereo ES 335 TDC .. ES 330TDC . . ES 330 Sunburst EB 2 BASS J.45 J.50 SJN J 160 E B 45 12-Strins ES 120 T L7C . . UC

GIBSON

L4 Charlie Christian P-Up ..

EP IPHO NE Ri voli Bass Texan .. Cortez .. Howard Rober ts El. .. Howard Rober ts Ac.

CA 100 Blonde 'Capr i' CE I00DE TIOO Slim Jim Electric A 1500 'Savoy' A 508 A 3508 D40 D SO

Favilla 12-String

GU IL D

26 1 9 0 257 5 0 204 I S 0 185 17 0 180 12 0 183 I S 0 101 [7 0 114 9 0 128 17 6 141 I S 0 162 15 0 89 5 0

215 5 0 162 I S 0 204 15 0

192 109 87

220 196

133 183

147 147 80

204 129 199

0 4 0 3 0

10 0 7 0

0 0 J j 0

0 0 17 6 10 0 15 0 10 0 10 0

189 0 0

For The Beginner from 6 6 0 Kyomei No . I £6/ 15/0. No. 2 £7/7/0, No. 3 £8/ 15/0 , No . 430 £9/9/0, P.45 £ 10/ 10/0, No . 500 £11/ 11/0, P.55 £12/12 /0, P.600 £13/ 13/0.'

MAIL ORD ER SERVICE

Call or write for your requiremen,ts to:

IVOR MAIRANTS MUSIC:ENTRE LTD. 56 Rathbone Place, London, W.1. MUS 1481/2

Open all day Saturday Nearest Tub e : Tottenham Court Road

SEP TEMBER, 1966 B.M.G. 407

Directory ol 8. M. & r;. C/11/Js SOCIETIES AND ORG ANISATIONS with the names and addresses of their Secretaries.

AMERICAN BANJO FRATERNITY. Exec . Sec., W. C. Kentner, 1278 W. First Ave., Columbus, Ohio, 43212, U .S .A.

AMER ICAN GUITAR SOCIETY . Sec., Yahdah Olcoll Bickford, 2031 Holly Hill Terr., Hollywood 28, Calif., U.S.A ,

ASTON BANJO CLUB (Wimb ledon). Sec . R. G . Oram, 5 Chart Close, Shortlands, Bromley, Kent. RAY. 1995.

BARNET . Sec ., Cecil Daniels, 26 East Barnet Rd., Herts. BAR . 7918.

BELFAS T BANJO CLUB. Sec., J. Knowles, 206 Deer• park Rd ., Belfast 14. Phone 744516.

BI RMINGHAM . Sec., G . W. Mills, 66 Arnold Rd. , Shirley, Solihull, Warwicks.

B. M. & G. Tape Club B. & M. Sec., W. Spranklen , 6a Burton Rd., l<ingston ­on-Thames , Surrey. H.G. Sec., J. D. Marsden, 22 Gisborne Rd., Sheffield II. G. Sec., S. Dawson, 11 Pinfold Lane, Halton, Leeds 15.

BOURNEMOUTH. Sec .• Mrs. D. Parsons, 101) New Rd., West Parley, Dorset. Phone Northbourne 3435.

BRIX TON. Sec., J . W. Smith, 45 Bonham Rd., llrixton , S.W.2.

CORK CLASSICAL GUITAR CIRCLE. Sec., Mrs. B. Green, "Gorsefield", Loretto Park. Cork . Phone Cork 33952.

CR O YDON. Sec., J. F. Masters, 47 Downlan ds Rd., Purley, Surrey. Uplands 5384,

10/-The cost of twelve consecutive insertions under this heading is

P ARTICULARS OF MEMBERSHIP AND DATES OF MEETINGS (OR SERV ICE OFFERED) CAN BE

OBTAINED ON APPLICATI O N TO T HE SECRETARY

EDINBURGH . Sec., F. Finlay, 4 Salmond Place, Edi n• burgh 7.

FEDERATION OF BANJO ISTS, MANOOLINISTS & GUITARISTS . Southern Sec., James Bishop, 40 Badgers Croft, Eltham, S.E .9. K IPiing 7354. Northern Sec., B. B. Thurlow, 4 Coniston Ave .. Wallasey, Cheshire.

FRETTED INSTRUMENT GUILD OF AMER ICA. Sec. Treas., Ann Pertoney, 2344 South Oakley Ave., Chicago 8, Illinois, U.S.A.

FULHAM. Sec. J , White , 19 Broughton Rd., Fulham, S.W.6.

GARFIELD HOWE GU ITAR AND WIND GROUP . Sec., Mdme. Garfield Howe, Brooklands, Abingdon, Berks.

GEORGE FORMBY APPRECIATION SOCIETY . Sec., John Walley, lOS Kidsgrove Rd., Goldcnhill, Stoke -on-Trent, Tel.: Kidsgrove 2441.

HACKNEY. Sec., W. H. McMinnies, 58 Theydon St., Walthamstow, E.17. Phone LEYtonstone 59 16.

ILFORD . Sec ., W. J . Percy, 11 Kendal Ave., Barking. RIP 1205.

LADBROKE. Sec., Al Jeffery, 66 Chcpstow Rd., Bays­water, W.2. BAY. 6856.

LEEDS. Sec. A. R. Warman, 11 Ella Stree t., Leeds 2. LEIGH-O~-SEA. Sec. , F. D. Lucas, 12a New Rd .,

Leigh-on-Sea. LIVERPOOL (Premier). Sec ., Miss E. M, Wood, 4

Meredale Rd., Liverpoo l 18.

LONDON BANJO CLUB. Sec., Sally Adams , 10 Wind­mill D rive, Clapham Common , S.W.4. KELv in 4484.

LUTE SOCIETY . Sec., Mrs. Diana Poulton, 5 Wilton Sq., London, N.l .

MANCHllSTER GUITAR CIRCLE. Sec., Mrs. S. Downes , 7 Kensington Rd ., Chorlton-cum -Hardy, M/C 21.

NORTH LONDON . Sec. , Mrs. Anne Chapman, 34 Abbey Rd. , Bush Hill Park , Enfield. Phone Enfield I 173.

ORRELL MANDOLIERS. Sec., S. Russell, 28 Ennerda le Dr., Litherland, Liverpool 21.

PU RLEY GUITAR SOCIETY (Classica l). Pres. J . Finn, 5 Woodcote, Valley Rd ., Purley, Surrey. Bywood 3663.

SALE. T.l{E NEAPOLITAN QUARTET. Sec. , HenryY . Pizey, 29 Carlto n Rd., Sale.

SCOTLAND. Sec., F . Finlay, 4 Salmond Place, Ed in­burgh 7.

WALLAS EY ("R iverside"). Sec., W. Cook , 135 Borough Rd ., Wallasey, Ches. Tel.: Wallasey 4806.

WATFORD. Sec., A. E. Ayres, 64 Harwoods Rd., Watfo rd. Tel.: WAT. 32216.

YORK. Sec., T. E. Ulliott, 38 Tranby Ave., Hull Rd. York .

Tet1cller1 and Tllelr Addresses *Before a Tcac:licr~s name denotes an exam iner for

" B.M.G." Diplomas

15/- per annum/or 2 /i11a.r or less,· Sf· per line/ or each extra li1te or ,,art of a line

LONDON AND SUBURBS

BERGSTROM, C. H. (G. , P.G,), 68 Cheste r Road, Wanstead, E. I I.

BISHO P, JAMES , South London Guitar Classes: Electric /Acoustic/C. & W. Phone KIPiing 7354.

BURKE, PATRICK. (G. Approved method). Phone FRE. 3423.

CHESNAKOV. Elements of Music and Harmony in the Study of the Classical Guitar, Theoretical and practical training in Mod ern Technique as a basis for development of artistic playing and tor eliminalio~ of faults self-acquired or install ed by wrong teaching . Progressive, selected studies from works of old and contemporary Masters. Few vacancies for Students, 48a Cathcart Rd ., S.W.10. FLA. 4354.

CLASS ICAL GU ITAR TUITION. All grades . 118 Creighton Ave., N.2. TUDor 5338.

CLINTON, GEORGE (G.), 120 King Henry Rd., Hamp ­•tead, N.W.3. JON . 0905.

•DAVIS, JOHN (B., G., M. all styles). Wembley 7017.

DEPREUX , GUY (G.), 20 Flask Walk, Hampstead, N .W.3. HAM. 2834.

EALING SPANISH GU ITAR STUDIO . 118 Conway Cres., W.5. PER. 8929.

ERIC GILDER SCHOOL OF MUSIC for guitar tuition in all its forms. Individual and Class Coaching of professiona ls. 195 Wardour St., W.I. REG. 0644.

FLAMENCO and Classico Espanol Spanish Dance tuition for professionals. Evening classes for amateurs. Tani Morena, 81 Fordwych Rd., N.W.2. G LA. 0407. (Studio: Leicester Sq.).

FLAMENCO GUITAR T UITI ON. Authentic Flamenco , all grades . $Wiss Cottage 2403.

•GALLO, LOUIS (G., P.G., El. Bass G., El. P.G.)- 616 Green Lanes, Harringay, N.8. Phone BOWes Park 4666 .

HARJONO , A.G.S.M., accepts students in Classical guitar. MOU. 5776.

JEFFERY, Al. TV"s "Mr. 'Banjo". (B., EI.B ., P.B., Fo lk B., T.B., G., P.G., U.), Vocal acct. a spcciality -6 6 Chepstow Rd., W.2. Phone BAYswater 6856.

•JOHNSON, CHAS. (P.G., S.G. , H.G. , EI.H.G. , EI.P-G., B., M ., U.) , Correct tuition all styles, 94 Chelmsford Rd., E.17 . COP. 2011.

KELVEY, $cilia (G.), Individual Coaching, write: 21 Frognal, N.W.3.

KRAMER, ADELE . Professor at the Guildhall Schoo 1 of Music and Drama, London, gives lessons in classic iuitar for beginners to concert standard, 24 College Cre.S:C:@"nt, Swiss Cottaee * N .W .3. Tel. : PRimrose 536 6 .

MARTIN , JUAN. Flamenco guitar tuit ion. Solo work, acc't for dancing & s inging, 457 Fulham Rd ., S.W.10 . FLA. 7354.

•MORRIS, GEO. E. (B., P.B.), 48 Muswell Hill Rd . , N.10. Phone TU Dor 3968.

O'GRADY, F. (Guitar coach) , Lcyt onstone, E. 11. Phone WAN. 0687 evenings .

ROMERO, PEDRO (F lamenco guitar tuition). DER. 8584.

SEGURO, OA VIO (Flamenco guitar) . 33d, Eccleston Sq., Victoria, S.W.l. Phone VIC 6045.

SHE RMAN , HARRY (P.G., H .G., T.B.), 5 Tower s Court , 232 Ballards Lane, Finchley, N.3. HILiside 9758.

*SISLEY, GEOFF. (G., P.G ., H .G. & Contra-G.), 68 New Oxford St. MOS. 4388, or 100 Charing Cross Rd. TEM. 2856.

........................................... S, nd for partlcu lar8 of the

IVOR MAfflANrl'S P O ST A L COURSES for

SfJenidt and Plec trum Guitar Each /,,s on r,,r1onally ch.ecJc,d and corr, ct,d

Oetoi/s from: IVOR MAIRANTS MUSICENTRE LTD.

56 Rathbone Place, Oxford StrNt , W.1 , ........................................... .

S LIGHT, P. M. Flamenco guitar tuition. 54 St. George's Sq., S.W.1. TAT. 2736.

SPANISH GUITAR STUDIO (Lock Aitken), 84 New­man St ., W. l. LANgham 8094.

•STANLEY, ARTHUR (G., 8 ., T.8., M.), 7 Bonnington Sq., Y:tuxhall, S.W.8.

STOTTER, L. C. (B ., P.B., T.B., M., P.G.), 95 Gcere Rd . , West Ham, E.15.

WEMBLEY SCHOOL OF B. M. & G. Jazz, Solo (Plectrum, finger), 38 Charte rho use Ave., Sudbury Town. Wl3M. 7017.

ABERSTWYTH • MILVERTON, A. (All fretted insts.) Tu ition any style

- 3 Quocns Rd.

ASHTON -U-LYNE (Lanes.) •JOHNSON, F. H. Modernc School of Music (G. & P),

44 Stamford St. Phone ASH. 2583.

AYR DAVIDSON, R . W. (B., EI.H.G . , M ., P.G., EI.P.G. a nd

double bass)-! I Gra igic Way.

BERKSHIRE BATTIN£, PETER (Flam . and Classic G.), 18 St.

Lconards Rd., Win dso r 63988.

BIRMINGHAM •HULL. S. G., and Wood, Amy (B., P.G . , H.G ., M.)-

11 Uplands Rd., Sclly Park. Ph one SEL. 0355 and SEL . 0290. (Examiner for "B.M.G." Diplomas.)

McDEY lTT, CHAS. G. (B. G. , Accordion), 24 Oak Tree Lane, Selly Oak. Phone SEL. I 849. Studios also at Red ditch & Brom sgrove.

•M ILLS, ADRIAN, G.A .B.S.M., A.L.C.M. (P .• P.O ., M .), 66 Arnold Rd. , Shirley, So lihull. Phone SHI. 6094.

BISHOPS STORTFORD (H erts .) MAY, WILL IAM (S.G., P.G., P.B., M.l,J.) Write or call:

96 He all, Row.

Continued on next page

408

BOLTO N •HARKER , Tom. (P.8., P.G., H .G.). B.8.C . soloist .

Enquiries: Harker & Howarth, 7 The Arcade, Bradshawgatc.

'L3!!~ ft.i::!'\iot.;~·~2r93~B., M., G.), 685 St.

BOURNEMO UTH SPANISH GU ITAR CENTRE. Prin.: Tony Allon, 186

Holdenhurst Rd. , Tel.: Bournemouth 27 I 53. •STRIKE, DONALD (B., T.B., M., G., H.O.). All

styles- 16 Wcstboumc Arcade.

BRISTOL GUITAR RENDEZVOUS. Prin.: Peter Blackburn, 24

Tennis Rd., Knowle 4. Tel.: 76063. SPANISH GU ITAR CENTRE. Prin .: Michael Watson,

2 Elton Rd ., Bishopston. Tel . : 47256.

CARDIFF SPANISH GU ITAR CENTRE . Prin.: Michael W,1tson,

35 Windsor Pince. Tel. : 238 13.

CHATHAM (Kent) BURT, PETE, B.Sc. (P.G., Bass 0., P.8., l'yl,, Theory),

67 Holl and Rd.

CLEETHOR PES (Lines.) ROBINSON, KEN. (G. & P.G.), 69 Campden Cr=cnt.

Phone 6339 I.

CRAYFORD (Kent) MIDDLETON, T. HUGH, A.L .C.M. (V., M., P., G.),

4 Gree n Walk . Tel. : Crayford 23728.

DARLINGTON (Co. Durham) •REAY, JOHN W. (P.O ., 0., M., V., Bass 0., Theory),

SS Cobdeen St.

DERBY "TAYLOR . BERNARD (B., M. & G., :,II sty les), 44

Rowdilch Ave. Phone 45469.

DUBLIN & BALLYMENA •MeGARVEY, JACK (8., 2.8 ., H.O.) Examiner for

"B.M.G." Diplomas for Ireland. All corns. 31 Bally­money St., Ballymena, Co . Antrim .

EDGWARE (Middx.) LIPSCOMBE , R. (B. & P.O.), 34 Limcsdalc Gdn s.

Phone COL . 5305.

EDINBURGH McCALLUM, DUNCAN. (G.), 5 York Place.

FALKIRK 'MACBETH, WILL. (B., T.B ., 0 ., M., U.) , "Studio ' ' ,

14 Orchard St.

FR INTON-ON-SEA (Essex) J<EILLER, W. J. (B., P.B., P.O.) , 34 Sycamore Way,

Kirby Cross.

GLASGOW DAVID SON, JAMES (H.O .), 33 Gatcsidc St., G lasgow,

E.I.

GREENFORD (Middx.) •MORRI S, JAN J. (0. , P.G.), Hedgerlcy Gardens.

GT. HARWOOD (Lanes.) BATHAM, WILFRED. Mandolin artist. Mario de Pictro

& Leopoldo Francia courses. Tuition on violin by Sevcik method. 29 Spring St.

HARROW (Middx.) BOLTON, C. (0.), 48 Alicia Avenue, Kenton, Har row.

Phone WORdsworth 0519.

1-fAYLE (Comwoll) •PHILP, Wm., C.D. (P.O., P.B., B.), N.1nkcrvis House,

Ventonlenguc.

HORLEY (Surrey) •SARGENT. HERB. (P.B., P.O., M.), "Stansfelu",

Rcdchall Rd. , Smallfield. Phone 2390.

HORNCHURCH (Essex) VANGO. GEORGE (B., P.B.), 4 Randall Drive. Phone

Hornchurch 42549.

B.M .C. HYDE (Chos.)

JOHNSON, EDD IE (P.B., T.B., M., Bn.), I Coronation Avenue.

LEEDS PROCTOR, CYRIL (B., P.B ., O., P.G., H.G. , TB.,

Bass G., U.)- Speciali st on Electric.ii lnstrumcnts-180 Town Sr., 12. Tel.: 637009.

LE ICESTER •CHAMBERLAIN , J. (Lute, B., M., G., etc.), I Waterloo

St. Local agent for Clifford Essex Music Co. Ltd. (Examiner for "B.M.O." Diplomas.)

LIVERPOOL BETHELL . PIERRE (G ., P.G ., H.G., 8., P.Acc.)- lst

Fir ., 29 Islington. NOR. 3231. Established here since March, 1942.

'LEWIS , FRED . (B., P.B., T.8., P.G., Sass G.) All styles of playing taught. Beginners or advanced. 480 Rice Lane.

MAN CHESTER & DISTRICT •SHEPHER D, WILL. (B.), 18 Weller Ave. Tel.: Chorl­

ton 3820.

NEATH (Glam.) •VEAL E, BERT. (G., EI.P.O. , 1-1.G.), ..-B.M.G." '"C"

Grade Di p. Music Shop. Tel. : 2825.

NEWCASTLE-ON-TYNE CLAZIE, JACK (H.O., Specialist, P.G., G., Bass & U.)

-18 Ancroft Ave., North Shields. •DORWARD, T. J. W. (P.B., T .B., P.G. & M., Bass G

and Thcory) - 15 Hoyle Ave., Newcastle-on-Tyne 4. Tel.: 37477.

SMITH, CHARLES (0 ., P.O.), S St. George's Terr., Jesmond. Tel.: 813539.

NEWMARKET (Suffolk) WISEMAN, VAL . (P.O.), Post Office, Woodditton,

Phone Stetchworth 2 I 8.

NOTTING HAM LEVERTON, TOM., (0., P.G., Bass G., EI.P.G. EI.H.G . ,

H.G .)- 16 Trentham Odns., offChalfont Dr ., Western Boulevard.

NUNEATON BEEBY, JACK (B. , M. & 0., all styles), 193 Edward St.

PLYMOUTH *LEE, ARTHUR (G., P.O., M., P.B., T.B., E.G., P .,

P.Acc .. )-S1udio: 225 North Rd. STOVEL, ARTHUR (P. P.Acc., Sax., V., M., U.O.),

Studio: 6 Seaton Ave., Mutley.

RAMSGATE (Kent) YOUNG, ALAN (P.O., P.B., Z.B.), Studio: 34 Hibernia

Stree1.

SALISBURY DACRE School of Guitar, Banjo and Mandolin. 35:1

Rollestone St.

SHEFFIELD DRA8BLE, L. H. (P.G ., G.), 353 Hague Row East,

Park Hill 2. HOWE, L. W. (B., Z .B., 0. Tarrega method), 3 13

Brincliffc Edge Rd. Phone 52838. *STEWART, L. (G., Btoss, Theory) , 103 Washington

Rd. Phone 55392.

SIDMOUTH (Devon) FR EEMAN, PHILIP . (0. Segovia -Tarrega meth od .

Flamenco. Modern jazz). " The Mynd", Cliff Rd., Sidmou1h 3327.

STA INES (Middx.) MINAY, H ENRY (G., P.Acc., P.), 8 Clifford Grove,

Ashford, Staines . Phone Ashford (Middx.) MX 53457.

STOC KPORT HOWARD, DON. (Classic Gtr.), 251 Wellingt on Rd.

South. Phone 2127. Teacher for 25 years at Messrs. Forsyth ·s, M /c.

SEPTEMBER, 1966

ABROAD ADELAIDE (S. Australia)

'BOYCE, JOHN (G.). The Melody Shop, 124a Oawler Place. •s~~J1• JOAN (G .), 10 East Terrace, South Plympton.

BULAWAYO (Rhodesia) •MIKE BARK&R STUDIOS. (G., B., P .• P.acc .• bass).

Phone 61996 Bulawayo. •SE LLARS, JOHN (0.), Apply: Radio Ltd., Box 1043.

CALCUTTA (India) 'DAS MUKUL (EI.H.G., P.Acc., P.), Radio a rtist .

2Z Bethune Row. Phone 55-1547.

COLUMBUS (Ohio) K~~Iri~fs·s~s2~: (G., B.). 1278 w. 1st Ave., Columbus

GEORGE, C.P. (S. Afrka) •ANDERSEN, PALLE (G .), c/o Leyland Motor Corp .,

P.O. Box 28S.

HAMILTO N (Canada) •WADDINGTON, PERCY (M., T.B. , P.O., P. 'dola ,

M-cello). 18 John Sr. N.

HOLLYWOOD, Cali!. (U.S.A.) BICKFORD , VAHDAH OL COTT (G.) , 2031 Holly Hill

Terr. Phone Ho 7-2031.

JOHANNESBURG (S. Africa) •CHARLIE MACROW'S Studios for expert tuition on

banjo, mandolin, guitar and EI.H.O. Studios Ocm1is­ton. Johannesburg and Bcnoni. Enquiries-Phone 22.2361 or write Box 140, Gcrmi ston .

•G ILBERT STROUD. College of Music for 8. M . & G. lessons. Enquiries phone 23.3846 or Box 204 Jo'burg.

LOS ANGELES , Cali!. (U.S.A.) NIZAMIS, JOHN N. (Mandolin Artist-Teacher) , 1753

W. 42nd Street. Phone AX 3 0865.

NORTHAMPTON. Mass. (U.S.A.) JAMES HURLEY MUS[C STUDIO . (M., G., P.G ., 8.,

P.acc.), 160 Main Street. 584-2650.

SINGAPORE •MARTINEZ , HARRY (EI.H.O., EI.P.O., G., U.),

Theory & Modern arrangements. Radio Artist, 3S4 Siglap Rd., Singapore 15. Tel.: 47752.

ST. PAUL, M inn. (U.S.A.) BELLSON, ALBERT (0., 8., M.), Guitar Master

Teacher, University of M inncsota, S38 Am. National Building.

SYDNEY. N.S .W. (Australia) GALLAH£R'S SCHOOL OF MUSIC. (All fretted

insts., P.Acc., Woodwind, reed nnd brass), 46 Darcy St., Parramatta 635.6387.

GRIFFITHS, DAVID (EI.H.O .), 7 Fairview Ave., Punchbowl. 75.5216.

•SCHUMA CHER, WALTER (G.), 2 Kent Rd., Rose · Bay. Phone 37.6 111.

•SKINNER, PHIL. (All fretted insts., all styles), 47 Pacific Highway, Crows Nest. Phone 43-4713.

TAS MAN IA (Australia) •MAR SH, JACK (B., M., G., all styles, T.B., U., P.Acc.,

Theory of Music), 30 Hargrave Crcs .. Launceston . Phone 62387.

TORONTO (Canada) ATKINS , BERTRAM (Guitar) - 108 Boulton Drive ,

WA.2-1776.

VANCOUVER, 8.C. (Canada) •ALEXANDER, ARTH UR (B., P.B., G., H.G., M.),

2483 Galt St , Phone HE.3-9657.

ABBREVIATIONS .-"B." Banjo . "B n ," Banjolln. "Dola" Mandola. "El.H.G ." Electric Hawaiian Guitar. "El. P.G ." Electric Plectrum Guitar . "G" Classical Spanish Guitar. "H .G." Hawallan Guitar. "M." Mandolln . "P" Piano. "P.acc." Piano Accordion. "P .B." Plectrum BanJ •~ "P.G ." Plectr•,m

Guitar . "S ." Singing. "T.B." Tenor Banjo . "U" Ukulele. "V." Violin . "Z.B." Zltbe• Banjo.

SEPTEMBER , 1966 B.M .G. ~111'111:1 m1111· 1111111m111m1mwlil lnllll liffillllli ll!lli'l!'lill'!IIIJIJII IQ1nl 11111Jllllltlilll ,IIII 1111mal1UIIUIIIID1UllillllllU1llllllUI 1:iuruum:111,11111:lllllllllllll'.lllll 1111!il 1U:1:1111m111.1111m,1111111111m1111111u1111 l!illillllli~

I

i ""

Ma ndolin Machine Heads

Nicke l-plate d side plate 4in. long with engra ved patt ern. Sc rew-on cogs. White ovoid buttons. Solid barr els dr illed for horizonta l fitting. ~ in. centr e barre l to centre bar rel

The same but brass

We can also supJ>ly a cheap er machine head , dimensions the same but with rivett ed-on cogs and nac rolaque buttons

postage I/- extra

per pair

30s.

25s .

19s. 6d.

Clifford Essex Music Co. Ltd.

~

: 20 Earlh am S t. Cambridge Circus London WC2 ii =;;;immmmm1•111mm,mw1~111n111L1Iul,lililllllLl:l:i 1m11i11 1111 lil:llh 11111111 llliilll II lilll,lllllllilUllln!Plnltllrn, IIIU1lilllll1lli,lillUl'ill!llllrnJIUIIIIIIIIIUIUl'lillUIUl'llllllUIUIIUllllllllllll!IIIIIUI II 11111 IIHUI~

G AVA L L 'S

''TIPS FOR TROUBADOURS"

OR

HOW TO ACCOMPANY SONGS ON THE GUITAR

The l'asiesr 1111tl 111osr i 11tN<·.,1i11g .\,·.,r em {'\'er tlt:vised . Co11toi11s ,,\·er, ·thing tlu· hcgi11111:r wants w k11o w 11/u; 111 1l1c: 11rt o f !l cco1J1p<111\·ing song ,\ 0 11 f/ 1(~ ,:uitm .

PRICE

5/ -(Postagc 6d, extra)

CLIFFORD ESSEX MUSIC Co., Ltd. 20 EJrlham Street, London, W .C.2

- - - lrnAL N ICKEL -S ILVER ---

Fret Wire GU ITAR .. . 4/- per yard BANJO .. . 3/- ,. .. MANDOL IN . . . 3/- .. ..

(Posta.ge 9d . extr a) We can a lso now supp ly the extra -wide

soft German fretwire for BASS GUTT AR PRICE 5/6 YARD

( l'ostn.go 9d. cxtm ) ONLY SOLD JN YA.RD LENGTH:;

CLIFF ORD ESSEX MU SIC Co., Ltd . 20 Earlbam Street, London , W.C.2

~~a~lt:J,, ~, MAKE SURE OF GETTING ' YOUR COPY Of "B. M.G." EACH MONTH

n ece ssary to p lace a standini: or der . Th e most t rouble-free way is by <1:ubscribine di r ect wirh the pub lishers .

I fmraiian Ci11itaris1s!

*

YOU 'LL PLAY BETTER wit h a

BASIL KIN G BU LLET - NOSE ROUND STEEL USED BY AMATEUR AND PROFESSIONA L PLAYERS ALL

OVER THE W O RLD.

A beautifully-made correct-weight steel, machined from super -hard Ger• man silver with a pe rfect 'Mirror'

finish to prevent string whistlin g.

Leng eh D i.imcttr ... Wtight

... J l ,n. ... l in . . .. 5oz .

PRICE 12/6 EAC H ( U.K. Post•g o I/· extr a)

CLIFFORD ESSEX MUSIC CO . LTD. 20 Ear lham Street, Londo n , W .C.2

SEND A POSTCARD TELLING US lhc inqrun u:nt } 'QU pl:1y nnd we will , end you coni c-:: of o ur l:ncc.t list~ rrc:c of ch:1rgc . \Ve kno,"'' yo u will fiud thcm of imcr ci.t .

Ill

CLIFFO RD ESSEX MUSIC CO . LTD. :!O Ear lham St reet , Lond o n, W .C .2

Now is th e time to put new life into your inst ru ment by fitti ng a new head

We Still Supply Superior Quality

Best English White Calr Skin

Banjo Vellums SUPPLIED COMPLETE WITH DETAILED

FITTING INSTRUCTIONS cu r r ent pri ce I is t on re qu est

Clifford Essex Music Co Ltd 20 Earlham Street , London, W.C.2

SEND THIS OFF TO-DAY TO CLIFFORD ESSEX MUSIC CO . LTD .

10. Ear lh ;im St., Cambridge Circus LON DO N , W .C .2

Please se nd me "B.M .G." fo r t h e n ext twelve mo nt hs co mm encing w it h t h e

.. .. . . . ....... .............. . . ... . . 19 .. ... . lss ue ,

I en clo se htorew ith .. ....... va lue 2 1/-

NAME .................. .......... ................ .. AD O RESS

K/\1\l lKI I IAWA II AN GU ITAR M ETI 100 Probably the mo st famous or all 1111ors for 1he ins1ru111enl. In addition 10 exercises on all str ings, contains i11slruc1ion on a I Sl}le s of playing anc.l over 25 ~o lo~ for the inst ru­men 1.

7/6 Postage 6cl. cxtrn

To make sure of receiv ing L " 8 .M .G ." every month i t is

SUOSC RIPTtO N RATE - ..................... ....... ... ..... ... .... .... .. . .

CLIFFORD ESSEX MUS IC Co. Ltd . 20 Ea rlham Street, London, W. C. 2

21/. for 11 M on,h s (U.S .A .• Sl .00) • Plea.se uoto , L N l"W 'U l • U,S readers remitting by banker's tllP .:11h::t·r1pt ,lo 11 I l:l •::XI•:\\ A · • · • ·· ; '• :S IS(.;_l!IUER. :· · ·· cnc ck should add lSc . co cover b.-nk incl ud eft 5 / · r Plc:i sc PIIL X :q;arnst. approp ri ate 8C'Ct.ton 1 l clearan ce cha,-gcs:. po ::itl\l ch ar ges _ _ - - - - - - _

r11 you do not w ,sh to cut th is '"8 .M.c:· copy rhe •hove for m on a shee t o l oa pe rl

iv

N o, 13

N O, 7

B.M.G. SEPTEM BER, 1966

WE OFFER THE FINEST SELECTION OF HIGH QUALITY

GUITAR (AND ZITHER-BANJO)

MACHINE HEADS IN THIS COUNTRY

SPANISH GUITAR THESE MAC HI NE H EADS ARE FITTED WITH "BONE" ROLLERS AND ARE MADE FOR

HORIZONTAL FITTING, i.e . FOR SLOTTED PEG H EADS

J .E. D.

1206

1208

No. 7 (formerly No . 10) 1212

1214

No. IJ

1216

PLECTRUM GUITAR

Per Pair Nickel-plated engraved side plates . Screw-on cog wheels. Nacrolaque ovoid buttons .

1.5/16 in. cent re barrel to centre barrel £1 IS 0 Nickel-plated side plates with engraved des ign. Screw-on cog wheels. White ovoid

buttons . 1.5/16 in , centre barrel to centre barrel . . . . . . . . . . . . £2 0 0 Nickel-plated side plate s with engraved design round edges and lyre- shape d end. Screw-

on cog wheels . White ovoid buttons on enclosed shanks. 1.9/16 in . centre barrel to centre barrel . . £2 7 6

Gun metal side plates with gi lt engraved Horal design. Screw-on cog wheels. White ovoid buttons on enclosed shanks . I ½ in. centre barre l to centre barrel . .

Nickel-plated side plates, engraved design and with scalloped edges and lyre-shap ed end. White ovoid buttons on enclosed shanks . Screw-on cog wheels. 1.9/ 16 in. centre barrel to centre barrel . . . . . . . . . . . . . . . . . .

£2 IS 0

£3 5 0 Nickel-plated side plates, artistically engraved and with scalloped edges . Screw-on cog

wheels. White "Butterfly " buttons on enclosed shanks. I½ in. centre barrel to centre barrel . . £4 10 0

Go ld-plated side plates with scalloped edges and etched floral design picked out in silver . Screw-on cog wheels. "'Butterfly' ' mother-of-pearl buttons on enclosed shanks. 11-in. centre barrel to centre barrel £.5 JO 0

Gun metal polished side plat es with engraved design picked out in gold and lyre-shaped end. Nacrolaque ovoid buttons on enclosed shanks . Screw-on cog wheels. 1.9/ 16 in. centre barrel to centre barrel £S 12 6

(Also suitable for Zither-Banjo or Hawaiian Guitar) THESE MACHINE HEADS ARE FO R HORIZONTAL FITT ING, i.o. FO R SLOTTED

PEGHEAD

1200 (formerly No. 2) 1202

1204 F.R.

Per Pair Brass side plates. Screw-on cog wheels . White round buttons. Solid brass barre ls.

1.5/ 16 in. centre barrel to centre barrel £0 18 6

Brass side plates, engraved design round edges. Screw.on cog wheels. Solid brass barrels . White oval buttons. 1.5/ 16 in. centre barrel to centre barrel . . . .

Same as 1202 but nickel-plated . . . . . . . . . . . . . . . . £1 £1

I 0 3 6

Nickel-plated side plates with engraved design and solid barrels. Screw-on cog wheels . Clouded pear l ovoid bu11ons on enclosed shanks. 1 ½ in. centre barrel to centre barrel

NO, 1200 THE FO LLOW ING ARE FOR VERTICA L F ITT ING, i.e. THE MACHIN E H EADS ARE F ITTED AT THE BACK OF THE PEGHEAD ANO THE BARRELS PASS THROUGII HOLES

£2 0 0

1201

1205 No. 19

Same as No. 1202, with recessed string holes and round buttons . . . . . . . . , . . .

Per Pair

£! 1 0 £1 3 6

Per Pair 1209 Specification as No. 1208 (Spanish Guitar) .. £2 12 6 1215 Specification as No. 1214 (Spanish Guitar) but ,·.9/ 16 ;~·.

No. 19a 1207

Same as 1201 but nickel-plated and ovoid buttons.. . . Gibson-type with brass side plates. Screw-on cog wheels.

Recessed string holes. White ovoid buttons. 1 t in. centre brarrel to centre barrel . . . . . . . .

Same as No. 19 but nickel -plated , with White oval buttons Specification as No . 1206 (Spanish Guitar) ..

£1 3 6 £1 7 6 £2 2 6

cen tre barrel to centre barrel . . . . £4 10 O 1217 Specification as No . 1216 (Span ish Guitar). . £S 12 6

(It is emphasised that Nos. 1207/ 1209/ 1215/1217 are for VERTICAL fitting. Although the barrels are encased in ubone" they are drilled at the top 10 take

the string.)

SINGLE MACHINE H EADS Tl-lESE ARE FOR VERTICAL FITT ING AN D CAN BE SUPPLIED FOR

RIGHT - OR LEFT- HAN D FITTING

No. 4

No. 4

No. OI

No. S

(State which required when order ing)

Brass plate and solid brass barrel. Screw -on cog wheels. Nacrolaque ovoid button . . . . . .

Same as No. 4 but nickel-plated . . . . . . . . . . (We can supply ferrule:;: (bu:;:hes) for No . 4 or No. 04 . Nkkcl•

plated 1/6 each; Rrass 1/- each) . Gun metal burnished plate with engraved fern design. Screw-on

cog wheels. Nac rolaque "Butterfly'' button on enc losed shank. ''Bone" rollers

Per Pair

Per Pa i'

5s. 6d. 7s. 6d.

I ls. 6d.

BASS GUITAR machine heads, four on one plate for left-hand fitting. Brass side plate , engraved design round edges. Screw-on cog wheels. White ovo id buttons. I.I /8 in. centre barre l to centre barrel. Overa ll lengt h of plate 4.5 /8 in.

FENDER -TY PE machine heads, six on one plate for either left-hand or right• hand fitting. (State which required when ordering). Brass side plate , engraved design round edges . Screw-on cog wheels. White ovoid buttons 1.1/8 in. centre barrel to centre barrel. Overall length of plate 7 in. For 12-string guitar, one of each side would be required. (Price per pair £2)

£1 1 0

No, 5

PO STAGE EXTRA (A/low/ /- per pair) ( postage abroad on application)

OBTAINABLE FROM:

CLIFFORD ESSEX MUSIC Co Ltd 2 6 20 Earlham St . Cambridg e Circus London WC2

Printed for Henry G. Waker Limited, 70 Shaftesbury Avenue, London, W.I by H. G. Lcates Ltd., 45-47 Alexandra Street, Southend-on-Sea: Essex and published by the Proprietors, Clifford Es6ex MU6ic Co. Ltd., 20 Earlham Street, Cambridge Circus, London , W.C.2.