B.m.g. (banjo Mandolin Guitar) Magazine - July 1975

METHODS FOR

Flamenco! FLAMENCO GUITAR by Mariano Cordoba An Instruction Method in tablature mu sk for playing F lamenco sty le.

and standard

£2 .20 in c . p. & p .

CLIFFORD ESSEX SPANISH GUITAR TUTOR Compiled by Alonso Mcdio A really compr ehmsin tulor CODlaininl <0mplele u.d detailed hutructloA, exercbes, ecalea and ,oloe based on lhe Taneg...Sep'ria method . Ideal for the player wilhoul a teacher. Used b7 up-Iodate teachers all over lhe world. (Over 40,000 copies sold.)

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TIPS FOR TROUBAD OURS

FLAMENCO GUITAR

OR HOW TO ACCOMPANY SONGS ON THE GUITAR

A new method for learning flamenco. Include, themeo and rhythms for all Spanish ft.amenco tunes. Musical notation and cUra throughout.

by John Gavall

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The moat flllllous book for lhe student 'lfho wishes to accompany soags. Virtollily coataios a basic coarse of humoay ._. applied to the guilar.

RYTHMES FLAMENCO

55 p ELLIS,S THOROUGH SCHOOL FOR THE SPANISH GUITAR

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Revised by Bernard Sheaff A well eslablbhed l!utruction book einbraclng all lhe aecenary matttl' to play the lnsll'Rllltnt.

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GUITAR TUTOR FOR YOUNG CHILDREN

£2 .40 par B. Miranda Includes the ffamenco rhythms for the fo llowing: COLOI\IBIANAS • GRANADINAS · BULERIAS SEVll-LINAS • MALAGUENA · SOLEARES GUAGIRAS FAJ.UlUCA · ALEGRIAS ZAMBltA · TANGUILLO · FANDANGO FANDANGUILLO

CLASSIC GUITAR

80 p

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T his Primer has been designed for the beginner guita rist who may well proceed methodically from lesso n to lesson. participating in the joy of making mu sic from the very st:irl by playing a single note to the accompan iment of his tcntl1er.

METHOD FOR THE GUITAR

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Well estal;lished methods for Engl ish, Frenc h and German .

by Mary Criswick T hit G uit ar tut or lt as been wr itte n fo r yo un e children, F rom ro ughly age 6 to 12, learn ine with a teac her either pr ivat ely or jn a class .

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THE

FERDINAND CARULLI GUITAR SCHOOL Edited by Jos . Krempl A thorough method of stady, co.edai: aD a,pecc. of pla)'lnc. Text In Enclhh. Freach aad Gmnan .

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PLAY THE GUITAR by John Gavall A new approach to eelf.t,ddoa by lh• JllDII. who ha • made a ,peclal etudy of lhb ,.,pect of guitar

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STORY OF THE SPANISH GUITAR by A. P. SHARPE (4th Edition) CONTAINS: A COMPLETE HISTORY OF TBE INSTRUMENT, TOGETIIEJl WITH BIOGKAPBIES OF ITS FAMOUS COMPOSERS OF TBl! PAST, PLAYERS AND PERSONALITIES

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STUDIES FOR THE GUITAR by Fern ando Sor The tm, nt y Stud ic., for Gu itar by Fernan do Sor which arc revised, edited and fingere d by Andre• Segovia.

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Flamenco Solo! CIELO CORDOBES (SOLEARES )

by Paco •Pella

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Flamenco Guitar By James Yohai

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Notes and Comments

Look ing Around

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By the Editor

JULY 1975

VO L. 72, NO. 843

Lute Disc Review (Part 2) By Malcolm Weller

5

Mandolinata

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THE NORTHERN FESTIVAL

flTwhenwas many indeed encouraging to behold the throng at Wythenshawe on May 4th, II hundreds of fretted instruments converged on the Forum to take part in yet another succes sful annual festival and rally. As is to be expected at

Perception By Tarrant Bailey, Jnr.

3

Plectrum Guitar System By Kealoha Life

8

Practical Harmony By Dick Sadleir

7

federation events, the atmosphere was charged with euphoria; the genial happygo-lucky aura was everywhere observab le, and many of the old hands who had been present at the first rally at Blackpool in 1929 were convinced that the old pre-war, magical "feel" of the occasion was being experienc~ increasingly since the adoption of the Forum as the annua ·I home of the Federation's deservedly popular festival. As usual in recent years, we asked George Barnes for his impressions of the event; his comments, in addition to the Federat ion's normal monthly Federation News, appear elsewhere in this issue. One point of interest to orchestras and audience alike was highlighted during a conversation with one of the aforementioned "old hands" who recalled the time when, due to the number of entries, a separate competition day was set aside for the orchestras alone. There are, it appears, a number of Federation members who seem to think that the increasingly large quota of orchestral entries in the various contests warrants the resumption of an " orchestral day" during the festival period. How the Federation as a whole will view this suggestion is, of course, another matter, but the Correspondence columns of BMG are, as always, open to all readers who wish to express their opinions on this-or any - topic of interest to fretted instrumentalists.

32

THE ASTON BANJO ORCHESTRA To many B.M. & G. aficionados the annual concerts presented by the Astons

Old Time Pickin' Corner By John Atkins

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On Guitar Improvement By Graham Wade

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Pedalli ng Along By t.'dward Kirkman

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Small Advertisements Strings Galore By H. R. Enderby

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Tape Club News

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Teachers' Addresses

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are second only in importance to the Federation's annual festivals, and such confidence in the ability of the world's oldest banjo orchestra is sustained every year. It is indeed remarkable that, wars apart, the Astons have presented a full concert programme annually since 1897. As many readers of BMG are aware, the late Harry Marsh founded the orchestra in 1896; he would have been overjoyed to have seen the audience s of 2,000 which have filled the Merton Town Hall for the Astons in recent years.

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HUBERT KOCHLAFFEL a barre chord on the fingerboard may be substituted and the whole piece played in the key of F and so on up the fingerboard. (3) Now from the sophisticated to the simple. There is another way of playing blues particularly on the guitar, and that is in the popular finger picking style, employing open strings where su itable. The first of these is Rolling Blues in which the 8th note (or quaver) rhythm should roll along so that the swinging four-in-a-bar bass notes played by the thumb match evenly with the slightly syncopated rhythm of the melody. It is all very repetitive-and intentionally so- in order to facilitate the automatic ma n:pulation of the fingers of the right hand while the Ieft hand more or less holds the chord. This pattern could be transposed into any key by using the same inversions (or shapes) of chords. Where an open chord shape is used as in Rolling Blues in the key of E 2

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(4) Ragtime Picking Blues (see page 15) is a two 12-bar example of vary ing syncopations employing the swinging four-in-a-bar bass and provides very useful practice for finger independence. (5) Fina lly, a further variation, W a/king The Bass whose main object is to demonstrate a walking or moving bass · against a simple Rock 'n Roll riff. Although the repetitive melody-line and the walking bass could not be more elementary, the trick is to play them together, so tread warily and finger ca:refdly.

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PERCEPTION by

T ARRANT BAILEY , JN R.

IF

OR me, one of the most beautiful words in the Eng lish language is "Perceive" . The things I have perce;ved turned out better than things I merely understood. Perception is broader, deeper and more co_mprehensive than understanding, and 1s instantaneously complete. If you ~re won?erino what this has to do with music I " tell you. will When (in 1926) Eddie Lang's April Kisses was first issued on a blue label Parlophone disc I immed;ately wanted to play it, and immed_iately perceived how it was done by hstenm~ concentratedly to this record a few times. T~e transcription I made. to my own "'.'nt• ten cribbed copy, differed very h!tle from the published arrangement which came out years later, except that the chords of the ninth in my copy were of another form. Exactly the same occur~red with the Dorsey record release of his Oodles of Noodles some years later (I used to play saxophone), but, of course, the saxophone wasn't tro_ubled with harmony, so there was no m1~take at all. Jn case you think I am fanforraneando", a I 928 copy of Rhythm reports me having broadcast April Kisses, before the music was "out", and some old timers will remember me playino Oodles of Noodles on sax. Now many ~ill jump lo the conclusion "It's all right for Bailey, it's his 'ear' ." You will be surprised to know I have not the highly prized gift of "n~tural pitch". Of course, I am_n~t deaf either, but thouoh my transcnphons are perfect, they sometimes turn out to be in another key. So musical perception does not depend on absolutely perfect hearin<>,and it is worth cultivating. (I imµr~ved my own lack of "natura l pitch" by singing musical intervals softly to myself, trying to use as base what I thouo-ht was about right for our open third"string- banjo and guitar being the same, of course.) If therefore you want to cultivate

this enormous asset of perception, when you Esten to a fine recorded performance, follow it through critically with the published music, if available, mentally picturing yourself in the same performance. There will be points where you think "Is n't that terrific" and others where you may think "I could do better than that". Then play the last bit again, and analyse the reason that you thought you could do better, and the better technical device you had in mind should reveal itself. (Even composers of pu blished music do not always play according to their own copy.) Do not be alarmed if you can only catch about two or four bars correctly on your first attempt. As with everything else you have to master your own potential and defeat your own 'laziness. The next day you may catch another four bars, and on subsequent days get one movement of your musica'J jig-saw puzzle completed. Gradually the gift will develop and you may write down a whole record in an hour or two. But always before you start, tune your instrument to a tuning fork or pitch pipe, and make sure your gramophone turntable runs exactly at recorded speed. And AFTERWARDS watch out for copyright trouble if you play someone else's unpublish ed work in public. Perhap s composers who are more famous will correct me, but I believe the foregoing practice is a great aid to inspired and immediate composition. People often ask me if I compose bitby-bit. I do not. The whole MELODY suddenly occurs to me as an entire complete work, though usually I do some experimenting with the harmony when I start writing, and when I have only theme for a first movement , the second always occurs to me in process of writing the first, and so on. My perceptive powers are free, thanks to the exercise they have had . I have in this manner developed a gift that is not unlike telepathy, and is just as hard to explain. So I hope you accept my sincere effort to explain it, and believe me

when I say I can transcribe a full orchestrat ion from a record, though not without long sustained effort. This, of course, demands knowledge outside the instruments which are untransposed, and is not for you soloists. Banjo solos, on the other hand, are a piece of ca:ke for me, and nowadays if I am short of time I record a new composition, and transcr;f,e from tape when and if I need it. Of course, everything I have written about today needs EFFORT. Writing this needs effort, and I would rather tape it, and let BMG trans cribe it from the tape. ENERGY CRISIS? I'-ll say there is an energy crisis, but it is a crisis in human energy. I have just been recording Joe Morley's Chrysanthemum for a pup;I. I fell to ·wondering why I had so enjoyed playing it. The answer is that it expresses so much TENDERNESS. How often does one hear of that quality today? Occasionally there is sickly sentimentality, but of sweet tenderness, "nada". Today music, like most things, seeks daringly for sensation and fame without "wasting" the just effort in striving properly for it. Life is so short, that petro l must make us go, electricity must make our music, machinery mu st make our food, the cine must read our books for us, and the poor dear ch ildren must be carried in luxury buses to their "education". (A daily five-mile walk in youth has not killed me .) Without HUMAN ENERGY there is no permanence for humans , because that is achieved by a son carrying on his father's teaching, that he in turn had derived from generations of learning, po lishing the art or trade to which he is dedicated, rather than destroying the ethics which rule that particular calling. It is a calling, because we are called, or at any rate used to be called, to the duty of -keeping beauty and goodness alive. Music is a heavy responsibility in this respect in the days when it is more easy and profitable to sell armament shares, or fire a gun. J . McNaghten and Brian Jacklin are bravely supporting our struggling instruments against the extinction that brutality promises to all the arts, though they are well aware that their time could be much more profitably spent in other activity. But it is this en~rgy that has enabled BMG and the banjo to survive so long in this decade, as did predecessors in others, faithful captains have struggled to keep afloat the sh:p of banjo literature which unites the fretted fellowship.

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IKE a good many other teacher s I rarely have time to enjoy .the luxury of a duet evening with a banjo friend and the last time I settled down to enjoy this luxury it turned out to be an almost complete debacle, for we had barely had time to run through a couple of numbers before I became irritated by the constant loss of pitch of my colleague's first string. By the time it gave up the unequal struggle by Eric R. Enderby ~ aga inst old age I was, to put it mildly, quite grumpy. like a mixed bag of strings. My friend "Thank goodness for that," I re- comment he made after a tria l run did "borrow" my little wad with a few with the new string, which naturally marked, with my customary tact, and still had a little give in it (this method , drops of sewing machine oil on to wipe added: "Now you can have a free one whilst being the best I know of, is his strings with. Unfortunately his of mine!" still not the complete answer) , was: hands perspire somewhat and although Do you know it took me a good "I still don't think much of your I. rarely suffer in this way I still confifteen minutes to convince him that sider it a wise precaution; in any case, of string." This was understandI didn' t mean what he so obviously choice able; strings are a very personal thing, dirt gathers, however clean the fingers, thought I meant, .though, truth to tell, varying from player to player, as we as will be seen by the marks on the he rare ly carries spares! wad which, incidentally , I throw My "free" strings, you see, are the all know. away after use for this very reason. "Suit yourself," I remarked, huffily, result of years of great banjo cunning "You 're too fussy," he argued . and as play for the evening had lost its - yet they can be easily available to "Maybe," J replied, "but dirt doesn't appeal somewhat we decided to sus all who ad opt my strategy. Instead of improve the tone, however little there p~nd action for a while. sitting back to await arrival of .the actually is on the string." usual socks and ties that are lovingly handed out at Christmas and birthday "Session" sherry Nylon "wouldn't do" times, I very carefu1ly write down the "It's going down a bit," he combrand name of my favourite strings; plained. My friend, like so many players I this has never yet failed to produce "Yes," I answered, ruefully eyeing know, only possesses one banjo and the required results. the bottle of sherry .that my wife pro- plays fingerstyle, using steel strings; So, somewhat mollified , my friend vides for practice sessions . he confesses to preferring the nylon -after a great struggle-had a new I don't bother to change st rings sound, but as he said, it wouldn't do first str ing on his plectrum banjo , but necessarily but one thing I can't stand when he used a plectrum. the silly so-and-so ended up suck ing is a worn fourth string. I point ed Alfred Kirby once told me he had his thumb after the needle-sharp end out that his was showing signs of old little time for "gu t", as it was then, had pierced it during the process. ag;:: and the covering was losing its and there are many play ers even today snow -white image. It had that shiny who p1·efer the sharper tone of steel. "Plan B" bron ze look that signifies tha t any Personally , I prefer nylon for the flesh Naturally, it wouldn' t hold its pitch · moment separa tions in the binding and steel for nail playing. Nylon, once - being new- and that was where I would occur, mainly through the frets its "s tretch period" is over, is liable cutting the covering and sections to outlive the player; "shredd ing" brought plan B into operation. "What on earth is that for?" he would come adrift, causing trouble, shou ld be enough to tell anyone it's without actual breakage, as they shunt• time to replace the string. asked , as I produced a finger-stall. When my friend rose to leave, he "'Tis folly to be wise!" I counte red, ed up and down the basic wire in gay was showing signs of embarrassment. taking the banjo from his bleeding abandon. After all, you can't very well offer "You'll have a buzzer," I remarked, grasp (no pun intended) and by sliding my stall-protected finger back and only to be accused of language un- someone money for a free string, can forth with a gentle pulling action I fitting for the parlour when in all you? ''!'JI send you one of mine," he attempted to remove as much of the fairness he must have heard me right stretch from the offending string as first time. This he followed by a learn• finally dec lared, after some considerpossible. The reason for the finger-stall ed discour se on tolerance , gauge, t hick- . ation. "Not on your Nelly," I grinned, is pretty obvious when dealing with ness, and the like. Personally I prefer adding rather unkindl y. "Wouldn't to stick to a complete set of a good steel strin gs as, without due care, it is brand of string as I'm convinced touch 'em with a barge pole!" possible to have a very nasty cut-as He thought for a second or two. anyone who has seen a grocer cut makers have balance (a very important "Te ll you what .'' he tkdare cl brightly, cheese will agree-and I'd certain ly no factor) in mind when they manufacture intention of suffering an incision on a strings, and provid ing they suit my ''I'll send yours back. can't stand 'em playing action I leave the academics myself." valuable index finger. "Go sec a taxidermist.' ' [ grunted. Gratitude not being one of my to them . They have to stay in busine ss Touchc. and stand or fall by demand . I do nol friend's strongest points, the on ly 4

Strings Galore

t

(Mudarra) and Dindirindin -(Anon) where a slight ly jocular, arch quality is needed. The contrasts would have still further improved this outstanding record. A beautiful cantigas by Alfonso el Sabio starts the first side. Surp risingly the gap of three centuries is no t in the least d isturbing. Haviflg paid Yepe s the highest com pliments , it is regrettable that one must adversely criticise his Bach Lute Suites,

Malcolm Weller:

LUTEDISC REVIEW

A

Chamber Music I, Archiv 2722/012.

N

absolutely outstanding record of the vihuelista songs has just appeared, TERESA BER-

Certain ly there are laudable passages and technical excelle nce bu t somehow the mus:c is disappointingly mono tonous. For austere grandeur one must tum to Jakob Bittner, Suite in G minor for Lute, played by WALT ER GERW JG,

GANZA and NARCISO YEPES, Canciones Espanolas, Deutsche/Grammophone 2530/504. Berganza's voice is clear, lucid and beautiful. Her diction is admirably clear and Deutsche Grammophon have granted us the benefit of the full Spanish and English texts. Song after song brings delight and Yepes excels as a sensitive and creative accompanist. His charming decorations increa se in complexity and originality in repetitions. (It is worth remarking that his version of the Rodrigo Concerto is amongst the best available (Decca SPA 233).) Triste estaba et re David and Si me llaman a mi ·by Mudarra exemplify the sensitive interaction between Ber-

Yepes

ganza and Yepes performing superb and lovely songs. Likew;se Toda mi vida hos ame and Aquel caballero, Madre by Luis Milan are exquisite. The refined and delicate notes are set like jewels; the voice and guitar blend, decorate, answer one another, weaving a delicately embroidered tapes try of sound. The sombre shades of Berganza's voice and her approach are sometimes too serious for the lighter songs, e.g. Isabel, perdiste ta tu faxa

RENAISSANCE LUTE MUSIC (BASF 3044/7). It is interest ing to contrast Gerwig's Mace with Rooley and T yler. Where Rooley and Tyler wou ld discove r bucolic zest and an earthy feel, Gerwig is detached from mundane sensuality. His playing exists in abstract forms of harmonious relations, an intricate artifice that transcends sentiment. I am reminded of Sir Michael Tippett's words in the pieces by Pierre A ttaiga nt "Man has a need to dream and a need Continued on page 8

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who has stayed with the music through thick and thin; he is the one now who everyone turns to , and he is the one who has given the people a music to respect. Whatever the form of music no one becomes the best by sheer COV ER JO HN luck, and Monroe is a classic examp le STORY ATK IN S of someone who obviously has tremen dous natural ability and feel but who has nurtured that ability by sheer hard work and determination. What lesson, then, can be drawn by ' HOPE that everyone who reads land whenever this was requested. British musicians? No one I know has this column managed somehow to Monroe of course still plays his F5 get .to see Bill Monroe and his Blue- and every time I see him he seems to the time to dedicate so many hours to grass Boys at least once during their mellow a little more. This time he was their music and it is highly improbab le recent tour of this country, as here for really on form throughout the tour that anyone anywhere will again be the asking, was the best tuition you and his vitality is just amazing for a able to create something like Bluegrass music. One of my lessons learned was will ever get in your life. I was lucky man of his advanced years. enough to be able to spend eight days Over the years, Monroe has evolved no matter how hard British musicians of the tour with Bill, and any fears a presentation of playing one half of a work at playing Bluegrass, it will that he may be slowing down were show in accordance with a fairly set always be someone else's music they immediately dispelled after about eight pattern. The second tune is always a are playing. Surely, then, the best bars of the opening number at their showcase for his current lead singer, policy must be to try and introduce first concert in Glasgow. The 1975 and his third number , no matter who something of their own to the music. version of the Bluegrass Boys consisted is on banjo , is Bluegrass Breakdown. All too many groups I have heard of the one and only Kenny Baker on Scruggs actually recorded Bluegrass trying something different from the fiddle, Bob Black on banjo, Ralph Brt>akdown with Monroe ~ome years Monroe Bluegrass doctrine merely Lewis on guitar and Randy Davis on before he and Flatt put together copy other Bluegrass groups copying bass, and they measure among the best Fof!RY Mo,.mtain Breakdown. ;:i,nd other music. Example being that many of Monroe's bands in recent times, there is more than a coincidental sim- groups may play Emerson/Waldron only being surpassed by that supremo ilarity between the two. Also included version of, say, If I Wae A Camenter combination of Baker, Joe Stuart, Jack is at least one gospel number from the without ever realising the original song Hicks and Monroe Fields. BlueRmss Quort et and a fiddle tune by Tim Hardin is a million years away from Kenny Baker - this has been from the 'grass verson. It would be Bob Black played a Vega banjo, better, I feel, to take a song like Carsomewhat unusual for American grass Grey Fa1de for as long as anyone can penter and adapt it to Bluegrass withremember! banjoists, and a somewhat muddyThe second half of the programme out cribbing the idea from another sounding one at that. He seems to covers requests and when Monroe says group. This is, of course, where the know about 10,000,000 fiddle tunes on he will play requests ·he means just real challenge comes along, as it is the banio, but he was not quite up to that. Many times he would do numbers quite easy to believe that all the best some of the better banjo pickers Monthat the · b and had never played to- ideas have already been done , and all roe has had in recent times. Memorthe best songs have already been able moments in Black's picking were gether before , although this was usual- adapted for Bluegrass . In terms of ly only revealed in conversation later, ·his breaks on Baker's fiddle pi-:::ce contemporary music, this may be so, Grey Eagle and on Footprints in the as not even the most intent listener but I know there was a whole era of could recognise the fact. The spontanSnow . Anvone with tanes of any conCountry Music in the 40s, with groups certs should refer to these for really eity of his music is staggering, as no like the Bailes Brothers, Blue Sky matter what the number. within about inventive breaks . three notes of the kick-off. usually Boys, and singers like Acuff and Ralph Lewis is one of those m~ from fiddle. everyone was in there. Molly O'Day who wrote a whole host 'grass musicians who plays all of the Other than for recording sessions Mon - of great songs, most of which have bluegrass instruments , and he plays roe hardly ever rehearses formally with never seen the light of day since. Certhem well I should add. With Monroe his group, but at almost everv moment ta iniy when these are tried they suche plays a really beautiful sounding he is playing that mandolin. Every ceed, such as Don Stover's recent ver1940s Martin D28 Herringbone , al- single night they would play for about sion of Acuff's Great JudRment Mornthough he never gets to play too much an hour before 1zoingon stage, and this im~ and Wreck On The Hif!hwav and in the way of lead guitar. He is never- after Monroe had sometimes snent Mac Martin's version of the Bailes theless a superb guitar player, although hours olaying his mandolin travelling Brothers Pretty Flowers There will be another Monroe tour his primary instrument is mandolin in the bus . and the records he has been featured Thi<; i~ rledication, and for a man next year and it will do more to on in the past attest to his ability on who has done as mnch , travelled as stimulate British musicians than ten this instrument. He also plays quite many milP$. and hired as manv music- years of listening to records . If the good fiddle, and during the tour he i'\n<: as MonroP: has. doPs more to stimulation can only be in the form of did some neat twin fiddle tunes with ~xolain why he is the best in the world a desire to succeed in other directions, Kenny Baker on occasions, although at his chosen profession. Bluegr~ss then that in itself cannot be a bad on stage this was restricted to Scot - music is his creation . He is the one thing.

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last paragraph . If you are teaching music, the responsibility of maintaining the pupil's interest is largely in your hands. If your attitude is one of apathy or intolerance you will quickly develop strained relationships with the student and then you can forget any prospect of progress. Teaching calls for a great deal of tact and under standing , coupled with a sense of leadership. Many teachers inspire their pupils by telling them of the progress made by other students or by drawing attent ion to the performances of soloists on the instrument. If the student gets far enough he or she will want to tackle the ha rmo nisation of melodies , probably the most intrigui ng aspect of musical study. And the most confusing. A fretted instrumentalist is confronted by a succession of books all written for keyboard players and he may not want to add the study of the keyboard to his other problems.

Years ago when I was teaching, I learned to steel myself against what always appeared to be the most stupid question of all: "How long does it take to master the instrument?" What I never learned was .the perfect answer to this question . You just can' t tell a naive beginner the truth that no one ever "masters" an instrument You can't tell him that whilst anyone can learn to play a musical instrument, some people will always play better than others; you can't delve into the complexities of co-ordination, rhythmic sense and other factors which will govern the extent of speed and progress and above all you can't assess the interest which the student will show Model progressions. and maintain. These days there is genera l acceptWe seem to be wandering away ance of the fact that too much harfrom the subject-matter indicated by mony training has been theore tical and the title of this short piece, but before that more importance shou ld be we talk about harmony let's get back attached to practical work . . . the to the "interest" mentioned in .the development of the ear. In this connecDON'T MISS A COPY-SUBSCRIPTION

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tion I always remember the · advice given to students by one of the finest musicians I have ever met. "Go back to your hymn book" was what he repeatedly told students. These days some of .the avant garde sect find it fashionable to sneer at the "sugary Victorian hymns" but they rema in models of harmonic progres sion. For this reason I have arranged two wellknown hymns for guitar. Both have been transposed from their original keys and I recommend this type of writing as an exercise for all students . In choosing a key . . . and you may have to experiment with several . . . make sure that you can accommodate the lowest bass note. In their origina l voicings the hymns will inculcate an app reciation of good progressions and will, in places, provide good practic e for chord control. The awkward fingerings have been marked, so cut your left hand nails short and get on with it.

FORM INSIDE BACK COVER

7

and in all postt1ons (as indeed one shoul d all intervals dealt with in this series), in order to be able to play "across the board" by changing from one set of strings to another in the same area, without interrupting the even flow of intervals in thirds in the process. It is advisable to memorise the tonecolouring of each set of strings, which differs enormously (acco rding to ga uge, wlnding and composition), when you practise these scales on varied sets of strings, and to be acquainted with the position at which the tone-colouring comme nces to change, thu s obviating the involuntary substitution of a du'Jl tone for a sharp tone, qu ite independently of the picking area.

PLECTRUM GUITAR SYSTEM A Series for Acoustic and Electric Styles Part 1O by KealohaLife

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N addition to the formations of :ntervals of major thirds in my last article there are intermediary positions. Between the second and third shapes, there is a similar ly shaped one; between the fourth and fifth shapes there is an other "short slant", as I call them (one fret in between); and between the sixth and seventh shape s, a "long slant", for want of a better "rule of thumb" simplified term. Also, at the fret before these "short slants", there are similar shapes, for instance at sixth fret, first stri ng and seventh fret, second string; and 13th fret, first string; and 14th fret, second string . In other words, when proceeding from one shape to a different one, in backing procedure (and this applies to all intervals, e.g. thirds, sixths, tenths, etc.-and to all fretted instruments) the intermediate shape (whether struck, or slid without picking, ln grace -note fashion) assumes the shape of the interval-pattern to come; not that of the one already played. I'm a great believer in "ru"le of thumb" versus theory, if (and only if) the rule of thumb replaces, abbreviates or translates standard theory , and additionally prevents the player from making harmonic mistakes when playing fast technical phrases. My dear frien d, and former pupil, John Kerridge, "h it the nail on the head", when he said (on hearing me do some "backing" work on steel during a recording) "whether it's melody or harmony, music is just a series of patterns .. ." and that's it! If one memorises all the possible patterns of scales, arpeggi, intervals and chords, with their location on all, and every set of, strings, with correct matching between chord and melody-line in single no tes or interval "double-stopping", it is virtually

8

impossible to play a wrong note! Now, I propose to deal with the intervals of third s on the second and third str ings of the guitar, which differ in "shape" to those on all the other strings, and in between which exist also a series of intermediary intervals, easily discoverable in the same manner as before.

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Graphs I, 2 and 3 demonstrate an F major scale in thirds; it will be noted that I have purposely omitted the fingeri ng of the small barre position in this scale, rather leaving it to the individual player to discover the most co mfortable fingering, that will suit his handspan and style. These positions could be played by placing the second finger on the second str ing, and the first finger on the thir d string, although I personally play the first barre posi tion in graph I with the index across the two adjacent strings, switching to the second finger in the next barre position; while in graph 2, for convenience, I "bar" the two juxtapositioned notes with my third finger. Of course, this scale may be played either by striking both no tes simultaneously, or, for especial Mexican flavour, separate ly Players may wish to play the first few groups of notes in graph 1, and then cha nge stri ngs, continuing the scale on the first and second strings in ascending fashion, but should learn the pattern given on the second and third strings, so that when playing in higher registers, part of this scale falls easily under the hand. One should master and memorise all these patterns in thirds on all stri ngs

LUTE MUSIC Continued from page 5 for grace and comely beauty". Like Ragnossnig with UlsamerCollegium, Gerwig played with the COLLEGIVM AVREVM, RENAISSANCE DAN CE MUSIC (BASF 29359-9). The two are very much alike with a somewhat ponderous quali ty in many of the pieces . The Christoph Demantius preserves the general gloomy character of the second side and the dirge-like character of some of the dances doesn't seem appropriate. The same de lightfol Galliarda and superb Pavane by Pierre Attaignant allows Gerwig to shine throu gh with his glorious tone and the resonant acoustics. There is a serene beauty in his playing in Susato' s Pavane Mille Regretz and the flute and lute in the pieces by this composer impart a fresh transparent quality.

Walter Gerwig

~anbolinata

TAKING THE MANDOLIN IN HAND

lt. OME questions like "Am I holding ~ the mandolin-t he plectrum-in

the proper way for best results?" are bound to agitate the mind of the novice player, particularly if good tuition is not available , so it may be helpful to consider this aspect of left and righthand positioning in some depth. As regards the left hand certain points of similarity and comparison with the violin inevitably arise, due to both instruments having the same tun ing. The left-hand contact with the neck of the mandolin should be easy and natur al and the player is spared the uncomfortable contortion of the left wrist and arm imposed on the violinist from the start. The violinist, wit>hhis fretless fingerboard has to grapple with the problem of correct intonat ion right from the beginning, with the result that he soon learns to associate the printed music with its real sound, apart even from his instrument. The mandolinist •is inclined to depend on the frets and to associate the notes on the sheet music with the relative frets before playing and hearing the music. It would be of immense benefit if he could learn, like the viol:Oist, to look at a piece of music and hear it in his inner ear. 1'his would help him to achieve correct intonation in the higher position s where there is so much room for error due to the ,progressively diminishing fret spaces. Another idea of use to beginners on the mandolin is the practice of straightway introducing budding violinists to position playing by getting them accustomed to making the minute variations in the reversed Geminiani grip (the natural spread of the fingers in the first position) as the hand moves up, say, through the first five positions and back. The application of this principle to advanced playing can be seen in the Kreutzer Study No. 12 where there is a magnificent series of fingered arpeggi through four octaves. If this study is played passably well it can give one the delightful but temporary illusion of

tremolo, i.e. sustained tone effect. From these three plectrum patterns the whole complex of mandolin technique and playing styles is built-up . From a combination of such slender means an Anedda is ena bled to give a matchle ss interpretation of Bach's mighty Chaconne; a Pietro to display in all his recordings a miracle of vibrato with the plectrum; or a Takashi Ochi to cope like a true mandolin maestro with being in the Pietr o class. the fiendishly difficult scores of SchonWith the twelfth fret opposite the berg, Boulez and other avant garde centre of the body and the neck of the composers. While, of course, familiarity mandolin slightly elevated, the left with the fingerboard is of the utmost hand (forming a straight line from the importance it is vital from the star t to elbow through the wrist to the knuckle aim for mastery of the plectrum hand joint) is in a perfec t position t o support so that perfect liaison ·between the two (but never grasp) the neck of the instru- hands may eventually be achieved. ment, while the tip of the thumb is Violinists early in their careers learn brought against the opposite side of the to master the intricacies of timekeeping, neck. In this position the neck of ~he interpretation, etc., by working through mandolin rests easily just above the the less difficult sonatas for violin and base-line of the first finger- but never piano by Mozart, Beethoven, etc. Music below it-and , maintaining this of this type (apart from mandolin solos "stance", the left hand can easily glide with piano acc.) has not hitherto been up and down through the various posi- readily available. However, "duos" tions. To reach the fourth string it is writ
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1

9

PEDALLING

Some .time ago he came home bearing the Mud Rock LP which includes rock numbers, o!dies and In the Mood which he declared was "better than Joe Loss." Now the refrain of In the Mood is based on simple chords: the tonic with the root at the top, the subdominant and dominant seventh with the fifth at the top. The original key was Ab. The chords are Ab, Db and Eb7, You can play these twelve bars on the top three strings of the pedal guitar. Start with the sixth pedal down, so that you have an E tuning: this gives the notes of the Ab chord at the fourth fret. Then release the pedal and play the Db notes, also at the fourth fret. Press the pedal down again and repeat the Ab notes; then release it and move to the sixth fret for the Eb notes. Return to Ab. The same chords are available on strings 4 3 2. You press the fourth pedal (D tuning) to obtain Ab at the sixth fret and the second pedal for the Db and Eb notes at frets seven and nine. I have shown .some of the characteristics of the A6th tuning and there are many more that you can work out. For instance, pedals 3 and 4 give C6/9 and Amll chords; peda ls 4 and 5, C dim and Fl3b9 chords; pedals 5 and 6, Hm6/9 and Bl3 chords. Then there are three-pedal and four-pedal corn binations. We will return to tun ings, standard and pedal, later in the year . In the meantime there are other matters to discuss: the new B.M.G . diplomas for Hawaiian guitar, which will include pedal guitar; my visit to ,the Si.idsee section of a famous museum in Berlin; and who knows, perhaps a little nostalgia? It was all so different when I was 15. (To be continued)

ALONG by EDWARD KIRKMAN

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ASE of single-~tring. pla~i~g on the pedal guitar 1s Just as important as having a variety of chords. Where possible, the single notes should be played across the strings rather than along the strings. The steel is tilted, and clean damping of each string is essential. Every pedal guitar tuning should have at least ·one pedal geared to sino-le-string playing-that is, with the no~s grouped as closely as possible. Players with sixth tunings will kn~w, for instance how often the maior seventh and' ninth notes crop up in melodies, necessitating extra move ment of the steel. My colleague Jerry Byrd _is said_ at one time .to have had an e1ght-stnng tuning based on the notes of the scale. This would facilitate single-string playing, but chords would require skilled gap picking . The notes provided by the basic A6th tuning are: F# A C# E Fli A C# E 6th root 3rd 5th 6th root 3rd 5th Pedal No. 6 flattens the third string to G# and the second string to B : F# A C# E H G# B E 6th root 3rd 5th 6th maj 7 9th 5th You will see that together these two pedals cover the notes of the A major scale except for the low ninth B and the two D notes (elevenths). I personally like to have the low ninth available at the same fret and use a pedal which raises the root a full tone. The sixth peda l provides A and E chords. Because of the close tuning of 10

the strings, gap picking is requ ired for the A chords: A6/9: A q E F# D (omitting the third string). A maj 7: A C# E G# (omitting the fourth string). A maj 9: A C# E G# B (omitting the fourth string) . The first two can be played with thumb-sweep and finger, and the A maj 9 chord with thumb-sweep and two fingers. There is an E major chord G# B E and the ninth can be added below: F# G# B E. There is a C# minor chord C# E G# and a C#m7 chord C# E G# B. Of course, there are times when single notes can be played with the steel down, as in fast numbers played across simple chords. When I began writing for B.M.G., I remember mentioning that I had a one-year-old son. Mark is now 15 and a pop music fan, and I am expected on occasion to provide an acceptable rendering of the latest hit for himself and his friends in about five minutes. I am allowed longer for a polished version.

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ON 6IJITAB IMPBOVEHENT A C;OURSE OF STUDY

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O achieve . a reasonab le mastery of the guitar, once the initial stages of learning have been negotiated, usually involves the conquest of a certain fundamental repertoire. Such a repertoire will depend ultimately on the desires, prejudices and level of achievement of one's teacher, and one could argue lengthily about the basic requisites in the evolution of a list through which technique and musicality can be systematically strengthened. Such a list is as significant in what is omitted as ..well as in what is included. However, I would like to outline what I consider to be the primary considerations for the ouitarist of ambition, bearing in mind, ~f course, that th is schedule is intended for the guitarist who has already studied for a couple of years and has shown some aptitude, physical and mental, for the instrument. The study scheme can be divided into various stages to indicate the steady orowth in confidence, maturity and development which the conscientious pupil could be expected to ach :eve. Stage One: Fundamental technical studies designed to ensure security of both right and left hands. Carcassi Melodic and Progressive Studies, Nos. 3 and 7, Sor, Study in B minor, VillaLobos Study No. 1 in E minor. H istorica l works of significance to develop awareness of stylistic developments in gu itar history; 16th century-Milan Pavanes, and Narvaez's Guardarme !as Vacas; 17th century suites and dance movements-Roncalli, Logy's Suite in A minor, the easier dances of Sanz; 18th century works- Bach's Prelude in

- eontinuetl

often tend to fragment under the impact of the individual student's own interests and capab ilities. What must be pointed out, however, is the inclina tion of many guitarists to underestimate the difficulties of performing certain works adequately which often means that guitar·sts press on to deal with music they are not yet ready for. Each of the stages outlined above is clearly at least a year 's work, and while changes can be made within each section, and works will invariably be transplanted from one stage into another, attempts to sell short the early mater ial will result in most cases in technical difficulties later on. It is worth remembering that John Williams mastered all twenty of the Sor studies (and recorded them) fairly early in his career; for a student who has not mastered Sor Study No. 1 to tackle Villa-Lobos studies willy-nilly is often to put the cart before the horse. The sta irway to the stars is steep and goes up one step at a time, with each step demanding perfection of its own kind.

D minor (an essential study in every respect), 19th century - Sor's Minuets. Stage Two: This involves deeper musical knowledge and sharper tech- .---------------nical control. 16th century-Dowland's Melancholy Galliard, Queen Elizabeth 's 1 Galliard, 17th century - Sanz's Canarios and other lively dances, 18th century one of the Bach Sarabandes, Bourree 17 CANNON STREET from 1st Lute Suite, 19th century, BIRMINGHAM B2 SEN various expressive items from Ta rrega PHONE 021-643 9043 including Lagrima, Adelita and Mar ieta; technical studies; Sor studies Guitars by (Segovia edition) Nos. 1, 2, 3, 6. Alard's Estudio Br illante in A (transcribed by Vicente Camacho, Jose Ram irez, Tarrega and often erroneously alleged A. A. Jones, Petersen, Conde, to have been composed by him), more Hermandos, Conda!, Yair i, Martin, selected studies by Aguado and CarGibson, Yamaha, Suzuki cassi. Strings by Stage Three: Further technical studies of a more advanced nature; Sor Savarez, Concertiste, Augustine, etc. studies (Segovia edition) Nos . 9, 15, 17, Villa-Lobos, Ta rrega's Recuerdos de Guitar Solos, Studies and Tutors la Alhambra, Capricho Arabe, Turina's Soleares, Villa-Lobos Studies No . 11 PERSON AL SHOPPERS ONLY and 5, Albeniz's Le yenda, Torroba's Madronos. Stage Four: Villa-Lobos Studies Nos . 2, 3, 7, 8; Sor Studies Nos . 12 and 20; Bach Courante from 3rd Cello Suite, METHOD FOR GUITAR Mudarra 's Fant asia. BOOK I • 75p BOOK II • 93p Stage Five: the learning and mastery METHOD FOR MANDOLIN of suites in their entirety, Bach's PreBOOK I - £ 1.00 BOOK II - £ 1.50 lude and Fugue in D, Fugue in A minor, From your nearest music dealer or and Lute suites, the absorpt ion of direct from the publishers sonatas, and study in detai l of other Villa-Lobos studies including Nos. 7, CRANZ & CO. LTD. 8 and 12. I MONTAGUE ST., RUSSELL SQ., In such a detailed scheme of study LO NDON, W.C.I. the steady build-up of difficulty will

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11

GUITARMUSIC

REVI Ew

THIS MONTH: BACH TO BARRIOS

By Mary Criswick

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F 1974 was the year of The Entertainer, I wonder if 1975 will be the year of The Cathedral? Both Joplin and Barrios, their respective composers, figure in this month's music, which is a very mixed bag. I must admit, I had-and still have -the ragtime bug just like everyone else, and am heartily wishing I had my piano on this side of the channel. .Perhaps it was with piano-less people like me in mind that Mario Abril arranged just four Scott Joplin favourites, including the two best known of all, The Entertainer and Maple Leaf Rag. Strangely enough, ragtime can often be extremely difficult to arra nge for guitar solo: you mu st keep in the steady bass, the often acrobatic melody line as well as the typical pre-jazz chords that are so cha racte ristic. Also the large majority is composed of four different strains of music, occurring in the pattern a a b b a c c d d - which represents quite a long piece to a guitarist. Abril has in each case arranged three rather than four strains, and on the whole made a fairly accurate representation of the piano score. However, he has also occasionally seen fit to alter the bass line or the odd chord, and even in one place to omit a whole bar-all presumably to make the piece easier to play. These are minor details, however, that can be rectified with a quick glance at one of the many facsimile editions of the piano originals now on the ma rket. Bach this month comes in the form of the second violin sonata arranged by Carlos ·Barbosa -Lima. For some reason the publishers, Columbia, have released it in two volumes of two movements each. It is clear ly laid out , overspaced rather than underspaced, and the fingering and dynamics are sensible. Barbosa-Lima has also transcribed three Scarlatti sonatas, L 290, 12

L 527 and L 395. They all suit the guitar admirably well, and are not to difficult. There are two new Albeniz transcriptions, Granada arranged by Miguel Abl6niz, and Torre Bermeja, arranged by Alfonso Borghese. Of these, Granada is by far the easier piece, and this transcription could be tackled by bright second year students. Torre Bermeja is not for amateurs, however, and the appearance of the page is somewhat marred by over-editing. Surely anyone capable of playing a piece of this standard does not need to be told when to use an apoyando stroke, or when to ·keep down one finger of the left hand between two chords. Oddly enough, one aspect of the notation is not explained - the use of square (as opposed to diamond) notes: these denote artificial harmonics. It took over ha lf a century for the works of Scott Joplin to be "rediscovered" : whereas just thir ty years after the death of the lnd o-American Agustin Barrios, people are recognising his genius. The piece that is all the rage now, The Cathedral, ha s been republished by Brazillance and imported into Br itain by Breitkopf and Hartel; but Barrios wrote many other works with a similar South American flavour, none of which is, to my knowledge, available in Britain, excepting a Prelude and V alse published by Ricardi . If all goes as planned, we sho uld eventually have a complete LP of his works recorded by John Williams.

The Cathedral is one of the more substant ial works; it opens with an almost ecclesiastical andante which gives way to seven pages of relentless quaver movement (semiquavers in the original, but Almeida obviously preferred a less cluttered page). Incident-

ally, it rises to a high B natural in the last few bars; ·;f your instrument stops shor t at B flat, then this note can be played as a natur al harm onic. Music reviewed: SCOTT JOPLIN . Four pieces, arranged by M . Abri l. Hansen/Chappell. J. S. BACH. Sonata No. 2, arranged by Barbosa-Lima in 2 volumes. Columbia/Breitkopf, £1.50 and £1. D. SCAR LA TII. Three Sonatas, arranged by Barbo sa-Li ma . Columbia/ Breitkopf, £1.43 . I. AL;BENIZ. Granada, arranged by Abl6n iz. Berben/Breitkopf, 50p. I. AI.,a,~NIZ. Torre Bermeja, arranged by Borghese. Zerboni/Schott. A. BARRIOS. The Cathedral, arranged by Almeida. Brazillance/Bre;tkopf, £1.25.

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HOWTO PLAY

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S the rasgueado, in all its varied forms, is an integral part of basic flamenco technique, I make no apology for offering students some further examples, in order to ensure complete familiarity with this impor tant sector of right hand activity.

FLAMENCO GUITAR MORE ON THE RASGUEADOS

A point to be borne in mind by the learner is that there can ·be (and is) some variation ·between the manner in wh ich d•ifferent composers and/ or arrangers indica te their intentions when writing out their music. It will be obvious to the thoughtful student that it is essential for him to be able to identify the different signs as they appear on the printed page, therefore I include here another form of denot ing "rounded" rasgueados . These should be practised in strict accordance with the fingering indications given, in order to acquire the command of these effects which is one of the marks of the accomplished player. Both fo rms of rounded rasgueado serve to introduce the idea of the "continuous" rasgueado. Further examples of different mixed rasgueados can now be practi sed by the student, but ~t must be remembered that-as mentio ned in my previous article last month-the triplet must sound as one beat. To prepare the student for what may seem unusual , I now give examples of rasgueado chords which, being of less "than six notes, do not necessarily start from the sixth string, nor end on the first string. Study these examples carefully and play the exact number of strings shown in the music .

ROUNDED RASGUEADO

by James Yohai

ROUNDED RASGUEADOS GOING UPWA}WS . WITH THUMB COMING DOWNWARDS

ROUNDED RASGUEADOS GOING UPWARDS WITH JNDEX COMING DOWNWARDS

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BOOSEY & HAWKES . (Musical Instruments ) Ltd Deansbrook Rd., Edgware, Midd lesex HA8 988. Tel: 01-952 7711

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13

June

23- Pedro Soler, Nottingham Festival. 25- Dagoberto Linharez, guitar. Wigmore Hall. 7.30 p.m. 27- Pedro Soler, Old Hall, Lincoln's Inn, 7.30. 28-Darryl Denning, guitar _lecture /recital. The evolution of the guitar. W1gmore Hall. 7.30 p.m. July

6-Tony Fitzsimmons, guitar, Killarney Bach Fes•tival, Town Hall, 3 p.m. I !- .Paco Pena, St. Edmund's, Salisbury, 7.30. 25--'Martin Best Consort (inc. lute/guitar), Old Hall, Lincoln's Inn, 7.30. 27- Best Consort, Dyrham Park, Bath, 7.30. August

16-Martin Nockalls and David Collins, guitar duo, Merlin Theatre, Sheffield, 7.30. 30/31-Banjo Spectacular, South California Banio Band, Cockatoo Inn, Hawthorne, California. *

..

*

Sonata II for unaccompanied violin (Bach), trans. Carlos Barbosa-Lima. Columbia / Breitkopf. Vol. I , £1.50 (7.9p per page); Vol. 2, £LOO (!Op per page). Now that the best artists have passed the days of the bits-and-pieces by Bach, comp lete new works are welcome. This one, BWV 1003, is in its original key of A minor and the four movements are divided between two volumes-in one book the price could have been lower: Grave and Fuga in Vol. 1, Andante and Allegro in Vol. 2. The Grave isn't as hard as it looks and a suggestion of the tempo would have reassured anyone daunted by the forest of beams. Bach's fugues for non-key board solo instruments are never easy nor, strangely, short; this covers 14 generous pages but i~ far from difficult. The same may be said for the Andante , a mere three pages, but not for the Allegro, which calls for a near-v irt uoso technique; like the rest of the sonata, it's well worth the effort. Carlos Barbosa-Lima is one of the greatest living players and a skilf ul transcriber, and it shows. La Fuente de nie Pastrie (Eduardo Grau), fing. Carlos ·Barbo sa-Lima. Columbia/ Breitkopf, £2.25 (12.Sp per page). Eduardo Grau, a 56-year-old Spanish com po ser, settled in Argentina in 194_8 and still works and teaches there. His thre e-movement piece, inspired by a romantic poem (Nie Pastrie's fountain) is in the usual quick/ slow/qui ck form. In spite of its dedication to Carlos Barbosa-Lima it is not difficultrhythmically straightf?rward, surp~isingly light on the accidentals, Spanish in flavou r but not in a hackeneyed way. Nothino0 earth-shattering • but a nice change in the sort of music an average audience loves. Even with 18 pages the price is high. TERENCE SLOANE

1-1-

Kika Kila

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A most absorbi ngly interes ting booklet, printed in Hawaii, and which has been awaited by Hawaiian mUS!Clovers for over eighty years, is now on sale, and no teacher, player or admire r of the steel guitar and island music shou ld be without it. This unique booklet of eight pages, entit_led Kika Kila (one _of the native Hawaiian names for the m~trument), The Story of the Hawa([an Steel Guitar, published by the Hawauan Musi c Foundation, Honolulu , has been researched by Dr. Donald D. Ki_lolani Mitchell and is the only booklet m the world today on the instrument s ongms, and its subse quent deve lopment, both :n its electrical and peda l fields. The author very kindly sent me several autographed copies (as did Jerry Byrd , with equal ,kindl iness), and furthermore permitted me to quote not on ly from his exciting pamphlet, ?ut also from his almost equally mteres tmg letter. A teac her al the Kamehameha Schools he voluntarily and gratis carried out the researches culm inating in the pr:nting of this history, in h!_scapaci~y as a Director of the Hawauan Music Foundation, and in 1930 recei".ed tuit ion from the famous native Hawai ian steel guitarist (composer of M oana. Chimes) M. K. Moke, who also taught Tau and Roselani Moe. Dr. Mitchel\ never knew Joseph Kekuku personally, but corresponded w~th the latter's wife wh:le Kekuku was m hospital during his last illness, and was a lifelong friend of Joseph's brother, Edwin Kekuku. Edwin and his wife are dead but the ir son Merle, played in the Hawaiian • • Mu ~ic Foundation's "A ll-Steel" programme when the booklet was introduced. There are, in this fascinating bookGeooraphy-wise ·having always let , many rewarding items , e.g. ~he thought of Hamilton as a town in inventor of the flat steel bar; the in Ontari o, we were delighted to hear from ventor of the pedal guitar (Ern_i~ Hamilton, New Zealand. where John Tavares); exciting notes on So~ HooJ?u, Turner presides over the Hamilt on Kekuku's change lo steel strmgs-mClassical Guitar Society which is hold- spired by the zither, when he stud ied at ing its first Annual Competition for the self-same Kamehameha Schools. ouitarists in September. Solo and duet and encyclopaedic information and ~lasses have Junior and Sen:or divi- remin lscences, mentioning many famous sions (below/ above 18 years ) and tl'iere steel guitarists in Hawaii. is a specia l Open class for "own KEALOHA LIFE choice" in Flamenco, Brazilian, Mexican , etc. Intending contestants write Continued on page 19

NewP11/Jllc11tlo111 Three sonatas (D. Scarlatti), trans. Carlos Barbosa-Lima. Columbia/ Breitkopf, il.50 (8.3p per page). Not so long ago there were only three Scarlau; sonatas heard from guitarists, now there are many more though, with a total of 555 to draw on, there's a long way to go, even allowing that there are many that the guitar can't hand le. These three are given as L290, L527 and L395, all are in the same key (A) and all are fairly hard to play at a proper speed. With 555 of them there is enough room for confusion and it would help a little to give both L and K numbers, all the more since Ks are more often used now than Ls. There is no L527; it is Longo listed as S27 (K328), confusion worse confounded. The mu sic is lovely, the fingering as good as might be expected _(though it assumes -a goodish stretch with 4), and the layout, printing and production are first-class.

q uickly for details to Mr. T. at 6 Hardle y St., Hamilton, N.Z., and help him and the socie ty to make the event the resounding success we hope it will be.

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17

FESTIVAL Banjo

By JOE MORLEY

BY THE WAY Continued from page 14

BANJOS ARE BACK!

!R

ECE NTLY , record s and casseues with the above tit le have been issued, but, as far as the Aston Banjo Club is concerned, they have never been away! This they satisfactor ily proved on Saturda y, May 10th at Mer ton C:vic Hall, Wimbled on, when an enthu siastic audi ence of almost one thou sand attended thei r Annual Concert. The Concert was honoured by H is Wor ship the May or of Mert on with the Lad y Ma yoress and their children, and visitors came from a s far afield as Dor set and Devonsh ire, Lan cashire and Durham as well a s Lond on and the Home Counties- to say nothing of a party who flew in from Pari s. Especially welcome, was a party of twenty-six from the Bournemouth B.M.G. Club. The programm e presented was, as usual. a mixture of old and new, of classical banjo pieces and the Aston's own a rrangement s of more modern compositions. Variet y was also pro vided by the use of different combinations: apart from the full orchestra, there was a finge r-style ensemble (eight of them), a trio (Reg Baynham , Denni s Crowther and Wally Spranklin) and a sextctte (The Astonaires) plus an interlude with piano and organ. Start:ng off in great style with -Bernard Sheaff's " Federati on March ", the Orchestra followed with their own arrangement (by Joe R ivers) of Joe Ha yne's " Petite Waltz " and Aubre y Stauffer's " Ben Hur Overtu re", this latter dug up fro m the past-it is actually number eight in the Aston' s library of nearly four hundred numbers . Next ca me the Banjo Ensemble with Joe Morley's "Sprig of Shillelagh" and Allen's " Danse Bon-Bon", afte r which the Orchestra rea ppea red with three numbers (two of them arran ged by Jo e Riv ers) includ ing a well-recdved " Elizabe than Serenade" by R ona ld Binge. The trio already mentioned then played "C hampa gne Ra g" and " Black Coquette" and, while the pur ists might have preferred these to be played finger-style, the audience just lapp ed them up. By way of a complete change, the conductor, Bernard Fa renden, forsook his baton and moved to the piano while R osemar y Higgs left her piano for the Compton Or_gan to delight the audience with " Deep Purple " and Jam es La st's " Gam es that Lovers Play ". The first

half then ended w:th the Orchestra playina Grimshaw's "Spic k and Spanish" and Rosse's "Doges Mar ch" from the Mercha nt of Venice Suite. If I continue in this vein, we shall finish up with a music catalogue which wasn't the Editor's idea. In all, the Astons played twenty-six number s and the high l:ght of the second half could be said to be their own arrangemen t of Eri c Coate s' " Dam Busters' Ma rch", Middleton's " Down South" and J oe Ri vers "Itali a n Medley". Ron Oram, Honora ry Secretary and Deputy Conducto r, played two plectrum banjo solos in his distinctive manner and the audience really stamped their feet when the Astonaires (six membe rs of the Orchestra, three p!ecLrum, tenor, 'cello and cont ra-ba ss) swung lo two medleys of tunes from the I920s with Ralph Read er 's "S trolling" as a final encore . The programme ended w:th a selection "T he Ga y 90s" and H oltzmann's " Blaze Away ". Not content with a good th ing, we heard of one party who reco rded the whole concert on cassette tape and then played it all over again on their way home to the West Co untry by car. That's what 1 call Banjo enthusia sm. The Club owes grateful thanks to the well known firm of Shure Electronics Limit ed who kind ly len t them a Vocal Master Sound Equipment. With the various sections " miked" and ba lanced by an exper ienced sound engineer, the audi ence were able to hear the playing to the best advantage no matter where they were placed in the hall. A good time was had by all. ERIC FRANKLIN

• HAPPY DAY

l

•

technique. It was noticeab le in the contests that entries varied, compa red to tho se of 1974- less in the beginner's contests and more in the classical guitar sections - but it was good to note the keen "com petition spir it" amo ng the young folk, making it difficult for the adjudicato rs to separat e the firsts and second s in some events. A special mention for two young competitors in the fingerstyle banjo solo contests- Hazel Ta ylor and Nicholas Bambe r-w ho are certainly making grea t progress: the kind that J oe Morley and Olly Oak ley would have given good marks for. Peter Moss, the young mae~tro of the ukulele, once a<>aindel:ghted listeners with his playi;rr and I am certain if R oy Smeck was to:,hea r him play some of his "or igina l" solos. he would be a mazed at the expertise displayed by this fou rteen-yea ro!d disciple. A very interesting and popular part of the Northern Music Festival is the many trade shows and photographic displays but the majo rity of f~etted instruments on show were made m the Far East and some were "co pies" of a well-kno~n Ameri can ma ke of 'way back. There were. however. two En<>lishmakes being displayed, includintthe C.E. "Rega l" banjo, a beautiful c raftsman-finished produ ct inside and out. devoid of unnece ssary trappings and gimmicks, but producing a fine banjo tone. Of the many banjos handled I rate the C.E. " Regal" the best-a n impr oved "Re ga l" of the I 920s-a nd one canno t give a better recommendation than that! As usual, quite a number of visitors spent most of the day in the !1"~in~all at the trade show, some giving impromptu performances on banjo , blue orass-style, being to the fore. T would tuggest a contest for bluegrass music in futur e events. Yes it's really worthwhile to attend the a~nual North ern B.M . G. Mu sic Fest:val. I must congratulate everyone concerned in orga nisinl!; what ha s become a must for every en thu siast of the fretted instrument family. GEORGE BARNES

HE 1975 Northern B.M.&G. Music Fe stival, held on May 4 at the Forum Civic Centre, Wyt henshawe, Manchester is now but a happy memory, and like previous occasions was a resounding success. The co nversations T had with many visitors. from far and wide left me with the impression that a most en joyable time was being spent, and well worth travelling many miles to attend - one visitor from Toronto, Canada was g reatl y impressed with everythin g connected with the fest ival. Of the many notabilit ;es in the fretted instrument world attending, it was l!;OOd to see the BMG editor, Hug o D'Alt on, the maestro of the mandolin and Phil Ba rker, the master of plectrum -banjo

DON 'T MISS A COPY-S UBSCRIPTION FO RM INSIDE BA CK COVER

19

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y quest for "fret-news" pro• duced a very frank account of the experiences and reactions of an English player of the el.p.g. who spent ten years over here. Though too Jong for inclusion in its enti rety, it gives impressions - of the Melbourne scene which are certain to evoke comment. Extracts from his letter begin after his arrival in Melbourne in 1964 ... " ... I used to take my guitar and amp. around ... and get known. I became inundated with work . . . I couldn't believe the appallingly bad music produced by some of the groups . . . Most of the drummers were like the typical French La Batteri and the place seems infested with "dizzy fingers" accordionists on mighty electronic machines, constantly producing wrong notes and wrong chords in the left hand and bass . . . I've never managed to get used to the Australian habit of getting off the stand every ten minutes for a ten-fifteen minute "beer break". It destroys any atmosphere that the

20

band builds up and the musicians get take of trying to cater for the toneso damned sloshed they can't play any- deaf Australian public and ... bastardway towards the end . . . ise their restau rants with teenage pop " ... There are a few good musicians groups which drive all the Greeks away in Melbourne. Some are Austral ian, and disgust anyone wanting to ·hear most are English and a few, a very few, Greek music. " ... I've been running a school for are cont inental European . . . most of the good musicians here go back to guitarists here for two years. Several hundred have attended . .. there are Europe ... "G., a wonderful musician, went qu ite a few keen youngsters who will back home ... he was playing with a eventually make it, and together with bass guitarist who knew eight numbers the pup ils from the oh-too-few other genuine teache rs in Melbourne, I' d and couldn't read - not even symbolswho guzzled beer all evening ... and a say that in ten--fifteen yea rs ... there'll be a firm base of sufficient gu ita rists to young guitarist (on pheno-barbitones) support a good B.M .&G. Club. who got "horrors" and couldn't play ... " ... One of the most popular places "On the folk scene a few good entertainers play and sing mainly depressive to hear the guitar is at the very infre'songs with a message' and a vast num- quent Saturday night concerts . . . I ber play very badly and mumble the sometimes think (the soloists) could do a bit more hard practice before words in an inaudi·ble drone into the with tops of thei r guitars . . Most folk they perform-but who notices in Ausguitarists are so poo r musically that I tralia? Who ca res? " ... I shall set up base in St. Albans get embarrassed FOR THEM. or Dunsta-ble. I shall travel to Madrid "The most vigorous and enthusiastic to study Flamenco teaching methods f.i. group is the Melbourne Mandolin and then to Moray House to study their Orchestra ... they sometimes give free ways of teach;ng teachers to teach the Sunday concerts in the great hall of the guitar. A rt Gallery - a perfect visual and 'Tm looking forward to renewing acoustic setting-the mandolins sound my musical associations, to seeing my like crystal bells under the huge, vaulted old "headmaster" Ivor Mairants, and ceiling, packed crowds are always very to playing with a few musicians who appreciative and enthusiastic ... (after- know what it's all about." wards) there are always swarms around REG BALOH the stage, handling and examining the mandolins and guitars and asking ONTAPONTAPE questions . .. Banjo and Classical Guitar Ins1.ruc1ion by " . .. One very interesting small group TARRANT BAILEY, Jnr. round here produces some of the most You could share the knowledge of my pupils original and exciting f.i. music I've in ever heard. It's a Turkish combo: a SPA IN. CANA DA, AUST RALIA, SOU.TH AFR ICA, ITA LY. £IRE. GREECE, u.s.A., lead instrument called a Zass (a long, ENG LAND, TRINIDAD thin-necked, Bouzouki-like instrument and duplicate their poli shed pcr£om,ances and perhaps contribute to their written but with a couple of sympathetic appreciations which I am proud to possess. strings, as on sitar), a bass guitar, For particulars. write. enclo sing an International Repl y Coupon, torhythm guitar and bass (or baritone Tarrant Bai ley, Jnr., Jose A ntonio SO, drone) Zass. The plectrum technique Fi nca Obispa do, La Cuesta, Tc ncrifc, of leading player is very good ... very Canary Islands, Spa in. fast and well controlled . The instrument is electrified (amplified) and the sound of the music is wild, exciting and hair-ra ising. I felt it needed a cymbalist or tabla player to comp lete the sound, but the basic rhythms were very well played and the improv:sation excellent when I last heard the group . They call themselves The Dervishes and left me with a determina tion to visit Tu rkey and learn the Zass. (Do any BMG readers know this instruCOULD HELP YOUR NAILS GROW NATURALLY STRONG ment?) (The Saz, perhaps?-Ed.) EASIER TO PLAY GUITAR "There are some good Greek groups ASK IN YOUR LOCAL GUITAR SHOP with guitars and bouzoukis. Very hard TERRY GOUL D M USIC to trace, they appear at weddings and 28 Frognal Lone Hampstead Village feasts and seem to disappear . . . Most London NWJ 7DT England Greek restaurant owners make the mis-

A . K. ISAACS' STORY

ft of the biggest joys that I 'V NE have had since coming to

Hawaii is in meeting musicians, singers and entertainers that I had either heard on recordings or had heard about ever since I was a boy just starting out. But in meeting and talking with Alvin Isaacs I learned much that only few peopl~ know anymore. I am referring to the "early" days in "popular" Hawaiian music, from the 1920s through the '40s. And Mr. Isaacs knows! And he has contributed to his art as much as-or more than- almost anyone in Hawaii and he has done it in every music category. He is an accompli shed musician; a prolific writer-composer; a fine vocalist, and he is an Hawaiian language authority! (I can already hear him denying every one of these statements! ) You will notice that I say "IS" because Jie still does all of these things-at the age of 70! But that is not nearly allhe is also a "PRODUCER" because he is the father of three sons- all of whom have made their own fine reputati ons in Hawaii and in Hawaiian music. They are "Barney" Isaacs (Alvin, Jr.), steel guitarist plus; Norman Isaacs, who plays everything (even steel guitar if you want) and sings beautifully; and Leland "Atta" Isaacs-one of Hawaii's greatest "slack key" guitarists. So I think you will agree that Mr. Alvin Isaacs has done his part! He is a gentleman; a devout Mormon, and yet he's a little bit of what Hawai ians call kolohe- a rascal. At a -luau he is irrepressible. He loves his family and his many friends and his native music. A radiant man, this. Like ' many Hawaiians who were born into large fam;Jies (sixteen keikis) he was raised by his grandparents with no -Jesscare and love than his mother and father would have given him. They spoke nothing but Hawaiian so Alvin has a thorough knowledge of everyday Hawai ian and that is why many

Hawaiian! Many of Hawaii' s greates t musicians and entertainers came from this area . He grew up with Andy Iona, who along with one Johnny Ku, inspired Alvin to play- saxophone! When he was only 10 years old he could play numerous instrumen ts; guitar, ukulele, piano and some horn instruments. At school he would stand outside the door and listen to the band rehearsals until one day the bandmaster (who also doubled as janitor) invited him to come in. He made a mistttke when he extended that invitation! Alvin soon learned to play all the instruments in the band and a couple of years later HE was the bandmaster! people still call on ~im when they v.:~nt And it went on and up from there. the precise meanings of Hawauan As we drove back to his home in words and phrases. Kalihi following our luncheon visit (two hours) he pointed out an open field. " Andy Iona and a gang of us / kids used to meet there in the old days and we'd all play music together," he / said. "This was back around 1920 or so." It now has a Freeway running through it. In those days- those lovely dayssteel guitar was THE instrument. All the kids in the islands were either playing, or learning to play steel guitar and contests were held all over the territory of Hawaii to see who was the best. The most widely known was Pali K. Lua . He came from Lai 'e- up on the north shore where the farge Mormon settlement is -located. This, also, is where Joseph Kekuku was from and interest in this "new" instrument ran high, particularly in Lai'e. Kekuku is generally credited with having discovered steel guitar, but many had a hand in its improvement and development. And natura lly, Alvin Isaacs was one of Alvin Isaacs those most interested . JERRY BYRD "Kaleolani" I saacs is a "Kahili boy" and over here that means "bed-rock" (Continued next month)

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21

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D guitar playing is one II\. AGTIME of the most interesting instru -

mental developments of the folk guitar boom of ·the last 20 years. In Buffalo, we recently had the opportunity to hear Eric Schoenberg, who is currently the leading performer of this style of guitar playing. Eric appeared as the feature performer at the State University Coffee House "Ragtime Nite". He explained ·that certain fingerpicking guitar styles are basically ragtime. These styles use the thumb to produce a steady rhythm on the lower strings, while the index and middle fingers pick out the melody on the treble strings. Thi5 is sometimes referred to as "Travis Picking", after Merle Travis, the gre3:t country and western guitarist and composer. Others call it "Cotten-style picking" after Elizabeth Cotten, blac:: folksinger who composed Freight Train. However, despite these rag-like guitar styles, classical piano rags are not as easy to play properly on guitar as the pieces composed for the instrument. In fact, before Eric Schoenberg went to work arranging Joplin and other rags, people felt it was not possible to play rags unaccompanied on guitar without changing them around.

Difficult arrangements This "changing around" usually meant altering melody, syncopation and harmony to the point where little of the rag was recognisable beyond the first or second strain. But Eric, by dint of long, hard practicing and careful arranging , manages to play very faithful versions of piano rags on. guitar. It is a pleasure to hear him play Jop lin's Maple Leaf Rag, The Entertainer or Sunff.ower Slow Drag (by Hayden and Joplin). The arrangements are extremely difficult and Eric admits it takes him months after completing the arrangements before he can play them 22

Ill

well on stage. He has even resorted, in a few isolated instances, to a technique that must be a guitar "first". He uses his nose to fret certain unreachable notes on the bass string. As guitarists often hunch over their instruments, this isn't as grotesque as it sounds. In fact even after he pointed it out and repeated the critical passage, I'm not sure that all of the audience was aware of what he was doi ng.

Bounce and Jilt Eric plays his numbers very well in the steady, stately style of the classical St. Louis ragtimers who often admonished "do not play fast" on their printed piano scores. He manages to get a nice bounce and lilt into these beautiful melodic numbers . Eric also played Temptation Rag, Twelfth Street Rag and even Jelly Roll Morton's (New Orleans style, ragtime-jazz piece) The Pearls. The programme was not limited to piano rags and included some fine blues guitar, as well as Chet Atkins' numbers, Merle Travis' old country favourite Goodbye My Bluebell and Pete Seeger's Singfng in the Country. It will be interesting to see if other guitarists will follow Eric's example and learn to play ragtime pieces properly on the guitar, with a real concern to preserving the author's melody and syncopation. Most folk guitarists will probably have problems because of ragtime's technical difficulties, and it remains to be seen if the technically proficient classical guitarists will become interested in this beautiful music. ELI KAUFMAN All that glitters here, is GOLD! The Golden Banjos from Decatur, Georgia is a twenty-member banjo band, ·every member plays gold-plated Bacon and Day instrumen ts.

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Best wishes and continued oood hea lth to Muriel R oget, the energetic secretary -treasurer of Banjos Unlimited and their publication The Resonator, who is once again at "fu ll steam ahead" with many activities in the banjo world a_fterher recovery from a spinal operation. GEORGE BARNES

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S we move into the summer months, there are several events coming up in my part of the world which shou ld be of interest to banjoists either for participation or just listening. With rising costs making extensive travel more difficult each year, we may just have to sit and wish from afar, but for any of you within a reasonable distance .this information should help you in planning for summer music trips. The most immediate is the annual Fretted In strument Guild of America (FIGA) Convention which this year will be in Arlington, Virginia, just across the river from Washington, D.C., July 4, 5 and 6. Convention site in t-ha.tcity will be the Ramada Inn at 1900 North Fort Myer Drive. Host orchestra for the event will be the Tacoma Mandoleers led by He rman Continued on page 24

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LEITE R FROM AMERICA Continued from page 22 von Bernewitz of Arlington, president of the FIGA. Pattern for these con• vention s is usually "workshops" and impromptu playing, during the days; and concer.t s by fretted orchestras and soloists in the eve_ning. Although the convention is intended for all fretted instruments, banj o and mando lin have been the most popu lar instruments at the two past conventions I have attended, possibly with banjo a little in the lead. The programme is still in the process of being made up at this writing but I recall that at last year's convention in Weth ersfield, Conn., Walter Kaye Bauer, the noted banjo .teacher and writer, voiced his intention of bringing his large banjo band from its home base in Wether sfield to Arlington for this convention. If so, it will be a real treat. Located in the East again this year, the convention should draw in some fine artists from that heavily populated area of the United States. Fretted instrumentalist s wanting further details for possible attendance should contact Ann Pertoney, Secretary, FIGA , 2344 South Oakley Avenue, Chicago, Illinoi s 60608, USA. A couple of events in the Midw est this summer relate closer to ja zz and ragtime than strictly to banjo , but since these do involve jazz band playing, I'll list them. One is .the St. Louis Ragtime Festival at St. Louis , Mo ., July 7-12 aboard the Goldenrod Showboat moored on the Mississippi levee at St. Louis, Missour i. Host band here is the St. Louis Ragtimers featuring banjoist Al Stricker. Other s performing will include The New Black Eagle Ja zz Band of Boston with Peter Bullis on banj o, Th e Salty Dogs of Chicago with Jack Kuncl on banjo , and num erou s ragtime pianists. Music will begin at 7 p.m. nightly during the six-day event. For those near enough to attend, additional information may be obtained by writing to Neal R. McFarland, Goldenr od Sh owboa t, Showboat Landing, St. Louis, Missouri, 63102, USA. Another event of this type occurring in the Midwest, for the first time this year, is the World Championship of . Jazz at Indianapolis, Indiana, August 1-3. The emphasis here again will be on traditional ja zz which mea ns a generous sprinkling of banjoi sts in the rhythm sections of participating band s. Some of ·those that have already indicated they will take part include Turk Murphy , The Hall Brother s' Jazz 24

Band of Minn esota with Mike Polad on guitar and banjo, The Happy Jazz Band of Texas, Rosie O'Grad y's Good time Jazz Band of Florida, The Cake Wal•kin' Jazz Hand of Ohio, The Speak easy Ja ss Babies of New York, The J azzberry Jam Band of California, Max Collie's Rhythm Aces of England, The Black Eagle Jazz Band and The Original Salty Dogs. Over $7,500 in cash prizes in competition is added incentive for participation by ja zz bands, soloists and jazz clubs. Details on this one are available from Indianap olis Jazz Club, c/o Bill York , 602 Maple Lane , Brownsburg, Indiana, 46112. An all-banjo event rounding out the season in the Midwest will be the an nu al rally of the Midwest Banjo Club in LaCrosse. I haven 't received the exact da te on this yet but it is usua lly on the last Sunday of September at the American Legion Hall in that city. Banj oists from Minne sota, Wisconsin, Illinois and other nearby states attend. I'll keep you posted on this one as we get closer to it as I'll be direc tly involved in it myself. LOWELL SCHREYER

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INCINNATI , Ohio, is a river· boat town- a famous music centre- gateway to the sout h and once the home of Stephen Foster-and is populated with steady, conservative people who know what they like and like what they know. Is it any wonder that the banjo is popula r here? I was born in Cincinnati 26 years ago, and grew up with the inevitable sing-along heritage of an Irish-German family. The banj o, I discovered, pro · vided a nice accompaniment for informal songfests. It wasn't too difficult to teach myself a few chords after I acquired a second-hand tenor- ban jo at a good price. Imagine my thrill when I began studying in 1969 with a profess:onal teacher and my eyes were opened to the possibi.!.ities of the instrument! Eventually I bought a pre -war Gibson banjo . The market here not being overrun with young female banjoists who can sing, I spent the first part of my professional career playing and vocalising on the top of an upri ght piano at Shakey's P:Zza Parl or! Two of the most wonderful "side

effects" of banjomania , in my experi• ence, are the banjo's great attraction to people as a " happy" instrument, and the friendly rapport that most banjo players instantly seem to have with each other. Du ring a Hawai ian vacation last year, I was treated to Aloha hospitality at a Shakey's by Marvin Ludwi g (who kindly let me play his banjo) and pianist Ricky Tolentino.

Jackie at Shaky's But the banjo lives in Cincinnati! The centre of the action here is The Old Saloon, where what we call the Tri-State (Ohio, Kentuck y, Indiana) Banjorama takes place on the first Sun day of each month . Owner s Saul Striks and Ralph Guenther open the swinging doors of The Old Saloon to professional and amateur banjoists alike for fellowship, experience and fun! . Ralph is one of the best tenor banjoists around these parts. Saul, piano virtuoso , was once with Somethin' Smith and the Redheads and has recorded with the famous John Cali. T he monthly banjorama is produced by Pau l Mathauer, tenor -banjo player and collector. Those who have dropped in include Bill May and Lowell Sparrow, both left-handed plectrum players. Bill now lives in Indianap olis, Ind iana, and from what we hear , Lowell is playing somewhe re "down South". Players from this area have included Howard Blagg, Jerry Cowell and Wally Bollinger, Mar ty Simms, another female banjo player - right on, sister s! -comes from Harri son, Ohio. Dayton , Ohio, is the hometown of Harold Grleser, plectrum player, and assorted members of his Dayton Banjo Band. A regular member is Larry McCart, who also plays plectrum with the Skunk Junction Dixieland Jazz Band. Continued on page 26

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"RADIO" - Borgy's Banjo Reunion (Periwinkle Records - PER 73'1lCanada). Radio, That's A Plenty, Wooja Boojee Wooja, Crazy Words. Crazy Tune , Some of These Days, You're Driving Me Crazy, Alabama Jubilee, Jazz Me Blues, Georgia On My Mind , Vo-Do -De-Oh Blues, Temptation Rag , Winchester Cathedral, The World is Wailing for the Sunrise. (Four Star Rating.) " Radio", the title tune, on track one of this, the second "Borgy" album, was written as a signature tune for a Rudy Vallee programme and leads off a fine programme of thirteen tracks of vintage jazz wilh the tenor-banjo of "Borgy" Bergerson to the fore. With the exception of "Borgy " , the line-up of musicians has completely changed since their first LP album-"Borgy's Banjos and Brass", which was reviewed with 26

a cover photo in " BMG", November 1971, when the band came to England to open the D iamond Lil Saloon at the Skyline Hotel, London Airport. The present line-up is George Robb, pianist , arranger and musical director; Ian Arnott, alto-saxophone, clarinet and 1930-style vocals- both originally from Scotland; Larry Fishkind , tuba; Pete Cooper (from England), trumpet, " teapot" and voca ls; and Borgy Bergerson , tenor-banjo. Every track is a "foot-tapper " with some fine arrangements by George Robb, outstanding performance by Pete Cooper, giving the kind of sound on trumpet that Nat Gonella gave with his "Georgians" way back in the 1930s, the fast singlestring tenor-banjo with interplay by tubaphone in Some of These Days, George Robb , tickling the ivories in great style, :n his own composition Wooja Boojee Wooja, a bouncy boogie beat number. Listen to the fine balance of sound in Crazy Words, Crazy Tune, Tempta1ion Rag, That's A Plenty and the scintillating tenor-banjo solos in Jazz Me Blues and Alabama Jubilee, even a listenable version of that wellworn number .. . Sunrise! Yes, Borgy has come a "long way since his visit to England in I 97 J, and his boys must surely rank as one of the best groups in the vintage jazz field.

UKULELE IKE (Cliff Edwards) "I'm a Bear in a Lady's Boudoir" (Y azoo Records - I 047-USA). I'm a Bear in a Lady's Boudoir, Hard Hearted Hannah, For No Good Reason At All, /'U See You In My Dreams, Charley, My Boy, Who's The Meanest Girl In Town, Josephine, Stack O' Lee , Part One. Insufficient Sweetie, Alabamy Bound, lt Had To Be You, I Want To Walk In AJ?ain Blues, California, I'm Going To Give It To Mary With Love, Stack O'Lee , Part Two. (Four Star Rating.) Here is one for the listener who would like to hear how the ukulele should be played to accompany a song - fourteen tracks which include some of Edward s' best original recordings made during 1924 to 1930---tunes by America's top song writers of the period. The album sleeve is striking and very colourful-the best seen for a lon_g time, with an amusing expression of the title tune, "I'm a Bear in a Lady's Boudo ir" by Amer ican cartooni st R. Crumb , plus a photo of Edwards. Every song is a '·' gem", which stretches from love ballad s to snappy "hokum" or uncritical type of tune, with "Scat"

singing plus, of course, his expe rtise with the ukulele . Three numbers, Stack O'Lee , I'll See You In My Dreams and Mary With Love have the additional accompan iment of three brilliant musicians on piano, clarinet and guitar. Edwards made his first records in 1919, none of which were issued, and his last in 1968, an LP album, "Ukulele Ike Happens Again" on Vista Records (BY 4043), a Walt Disney Production, which included Singing In The Rain and June Night . The latter sold 3,200,000 copies when originally recorded in the 1920s, but it's the Yazoo re-issue of his 78s which should be in one's collection. His career spanned almost fifty years and, unlike most performers, he never limited his style to one kind of material, being always in demand for record ing, theatre shows, films and rad io; creating a sensation by introducing Singing In The Rain in the Hollywood Revue of 1929, the first musical filmed in Hollywood. His voice is heard in Jiminy Cricket and singing When You Wish V pon A Star in Walt Disney's "Pinocchio". Truly a great character of whom Ward Kimball, trombone leader of Disneyland's famous "F irehouse . Five Plus Two" Dixieland Jazz Group, and friend of Edwards, relates that his income was almos t the same as paid to stars like Eddie Cantor and Sophie Tucker , making millions of dollars, losing it all, his career eventually be coming a shamb les and died penniless and forgotten in 197I, after spending two years in an actors' nursing home in Hollywood in 1969 as rel ief patient supported by the Actors' Fund-a sad end to a great artist.

LETTER FROM AMERICA Continued from page 24 Since early this year the Tri-State Banjorama has hosted members of the Springfield (Ohio) Banjo Club. One of their leaders Bill Bricker, "discovered" The Old Saloon on a trip through Cincinnati. Bill is also a ·banio collector, and incidentally, he introduced me to BMG. So the banjorama is still growing and we welcome any players or lovers of the instrument to join us, right here in River City (that's Cincinnati!) on the first Sunday of the month at 7886 Montgomery Road. Anyone with news of other banjo happen ings in our neck of the woods is invited to write me at 3336 Royal Place, Cincinnati. Ohio 45208. US.A. . JACKIE LITZINGER

101u ~ 1u 1r A\ 11:2 lti IE

1CILIUll3~ ~lub secreta~ies ! Here is yom chance to put your Club under the spotlight! or a place in the new Club Page, send your news items not later than the 24t!i of the month. Good pictures welcomed-black and white preferred.

special occasion: W. J . Ball beino the guest recitalist at this meetin;;' of AM nol doing a write -up on the Bri_stol's B.M.&G. Club . Mr . "'Ball Northern Rally, no doubt this will ~fohghted ~s w:th his masterly renderappear elsewhere in this issue . But if I ings_ (to his own taped piano accomwere asked for my impress ion, l p~mmenq of the true Joe Morley era. would say the enormous amount of His recital began with Syncopatin' work put in by Hazel and Brian Jack- Shuffle (Lawes), then Freckles (Mor ley) lin, the other organisers and back followed by Chop Suey (Grimshaw), room boys and girls. Polka. de Concert and Zarana (Morley), Twenty-eight contests, nearly 300 March Impromptu (Eno), Spanish entries, plus nine orchestras, plus Clem Romance and At Sunset (Grimshaw) Vickery and his Stompers. As Larr y and Sports Parade (Morley). Grayson would say, "What a gay day." Later, Mr. Ball "joined in" as the I hope the financial side was a success. Club played Return of the Re giment · Another little surprise which pleas- Tu_ne Tonic; The Butterfly Waltz'.· antly impressed me, was the appeal Minstrel Medley; Glitter of Steel; made by Hugo D'Alton in his usual Speedwell; Gems from the Overtures· charming way, on behalf of the St. Hiking . ' John's Ambulance and Nursing Mr. Ball was given a great reception , Brigade (who were well in attendance and thank_ed for his splendid perform on duty). I und erstand there was a ance . Inc 1dentally, Mr. Ball and his good response to the appeal. father joined the (then) Bristo:! Banjo Down south now, to the Astons con - Club in 1928! cert on May 10th at the Merton Town R. D. ANDREWS Hall. This is an annual event to open ,the Me_rton Arts Festiva l. Again, I am ' not domg a write-up, but judging by the size of the audience the Aston pull in, I get the impression that the club is not only popular with fretted enthus iasts, but also with the general public . This is borne out by the fact tha.t the club gave a second concert the follow- Northern Festival ing week in Mitcham, again as part of the Merton Arts Festival. Further afield now to Hertfo rdshire. OR the second year running , the I get the impression that Cecil Daniels Wythenshawe Forum was taken and bis two B.M. & G. clubs (the over en b!oc by "the Fed." on Sunday, Barn~t and the Hatfield) are high on ~fay 4th _from JO a.m. until 10.30 p.rn.; the hst of the Hertfordshire Society for the welfare of the disabled and it was, without doubt, a very successful day indeed. handicapped folk in that area, because The large exhibition hall was crowded in addition ,to the several visits the thro ughout the day, many people took clubs have made to var ious homes, the opportunity_ to see, handle and play etc., recently, on May 17th Mr. Daniels the_ numerous instruments on d isplay. was invited to entertain the residents Tlus trade exhibition was very well of Wroxham House, Potters Bar, the supported by th~se taking part, and most recent home for the elderly the r~ally was appreciated by all the fretwelfare department has opened. t1sts present. Most of the stands were JIM ENNIS still going strong at 8 p.m.; the success of this part of the Festival can be BRISTOL Tuesday, April 22nd at the Univer- judged from the fact that most of the sity Settlement, Bardon H ill, was a exhibitors have already booked for next

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year-and there are enquiries from others wanting to join in. On the competitive side of the Festival the standard of playina was very high indeed-with the highest mark of the day going to Peter Norris of Stoke, who attained 95 in the classical guitar contest (class 6). The Hardbattleli al:;o did very well, with Lillian and Victor getting 95 in the duets (acoustic- class 24) and carrying back to Stockport with them no less than five cups- plus a "t hird place" with the first-time entry (in the orches tral contents) of The Tuesday People- a tied place with Oldham B.M.&G. A great welcome was given to the Birmingham B.M.&G,, who were competing for the first time in many years, and they were obviously delighted with their results- first in Classes E and B, third in A and D. The battle of the giants (Liverpool Premier and The Rivers:de Banjoliers) was, as always, a close-fought thing, with this year (fittingly for Ken Jones in his 25th year with the orchestra) the top honours going to Liverpoo l- and the Conductor's Cup to Ken. But you can't keep a good team down, and the Riverside Banjolier s played a magnicent finale to the day with The Baby's Opera (duration eight m'.llutes). Leeds also, for the first time for many a year, fielded an orchestra; we hope they will be back next year. Macclesfield Showboat Orchestra were well placed with three second prizes in Classes B, D and E- Class D being a shared place with The Canute Guitarra (much to the delight of Don Pettinger, who said it couldn't happen to two nicer clubs). Canute also won a deserved third place in Class C with a beauCful rendering of Recuerdos de la Al hambra. Despite great difficulties, Charles Hooker got the Blackpoo l B.M.&G. there again- and was rewarded with a third place in Class B. Nine truly great orchest ras competed this year, and the adjudicators were unanimous in their praise of the very high standard achieved. There were fourteen adjudicators and- as there were 185 entries dur :ng the day, plus nine orchestras playing 27 items in the evening-this was a tremendous job they d id. Gent lemen, take a well deserved bow! Gues t a rtistes Clem Vickery and the Vellum Stompers played to a packed and wildly enthusiastic audience in the main hall, and the fact that they had travelled from London on the day, just to support the event, shows what good

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Federatio n members they are. The Stompers are resident at Diamond Lil 's Saloon at the Skyline Hotel, Heathrow . It was great to have Hugo D'Alton supporting us; we made him work so late-we had provide a police escort to enable him to catch his London train, immediately after the last orchestra had finished playing. David Davies, TV celebrity from BBC's Look North, did us the honour of presenting the awards, and promised to be back next year .

NORTHERN FESTIVAL-CON TEST RESULTS CLASS I Beginner s ' Solo: 1st, M. Boyd, 89; 2nd, C. Lang nnd M. Doherty, 85; 3rd, L . Vine, 83. CLASS 2 Hawai ian Steel Guitar: lstt C . Hooker. 77. CLASS 4 Plectrum Guitar Solo: 1st, V. Hardbattle , 92: 2nd, J . Lilley, 86; 3rd, P . Turner and S. Pashley, 82. CL ASS 5 Elec tric Plectrum ' Guitar: 1st, J. Lomas, 78; 2nd, K. Greenwood, 72; 3rd , M. Malkin, 70. CLASS 6 Class,cal G uit ar: 1st. P . Norris, 95; 2nd, J. Winterbottom and M. Burke, 94; 3rd. D . Mulligan, 93. CIASS 7 C lassica l Guitar (u nder 16): 1st. M. Burke, 2:id . J. 13uckley, 83; 3rd, G. Parden, 82.

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86;

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CLASS 19 Jazz Solo: 1st. V. H ardbaule, 85; 3rd . C. Woods, 83.

88; 2nd . P. Mo ss,

CLASS 21 Troubadour: 1st, P. Moss . 80; 2nd, L. Eyre, 79; 3rd, Y. Bojeng , 78. CLASS 22 Pop Contest: 1st, Los Paraquel, 78. CLAS,5 23 Folk Contest: 1st. S . 13rereton a nd P. Norris , 87; 2nd, Yarn and Double-U-Band, 80; 3rd, L. and V. Hardbaule. 79. CLASS 24 Acoustic Duet s: 1st. L. and V. Ha rdbat lle , 95; 2nd. H. Taylor and D. Cotton, 92; 3rd, C. Rhodes and H. Beech, 91. CLASS 25 Electric Ducts: 1st , M . Thurlow ,md H. Smith, 88; 2nd . E. Mann and S. Pash ley, 86.

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H; w-; rd Sh;ph~rd with (I. to r.) Carol Lang, Lyndsay Turnbull and Hazel Taylor. (Pictures, courtesy: Wythenshawe Express)

Clem & Co. in action A lot of hard work went into this event-the Federatio n had over seventyfive peop le working throughout the day - and special mention must be made of our lady in the Information stand, Mrs. B. Malkin; our music steward for the last 25 festivals, Mrs . G. Wood; and our hard -working secretar y, H. E. J. Superinte ndent Rogers of the St. John Ambulance Brigade, and his boys and girls, did a great job- our thanks to them. May I also thank all for their good wishes, and- -as they can see- I am almost fighting fit aga in. All in all, a Wonderful Festival! See you all at the Forum on Sunday, May 2nd. 1976. BRIAN JACKLIN (Publicity Officer)

CLASS 8 Mandolin Solo: 1s t, E. Schofield . 83; 2nd B. Allen and E. Mani', 73; 3rd, M. Thurlow. 67. CLASS 10 Ba:ijo: 1st. S. Cash . 86; 2nd, C. Sands and N. Bamber. 85; 3rd, H . Tay lor. 84. C LASS II Ba njo (under 16): 1st. H. Tay lor, 85; 2nd , N. 13amber. 83; 3rd, C. Sands, 80. CLASS 12 Plectrum Banjo: 1st, V. Hardbattle , 78; 2nd, S. Cash. 77; 3rd S Ravenscroft, 72. Cl,I\SS 13 Plectrum Banjo (under 16): 1st. D. Kemp, 82; 2nd, C. Wood s, 77. CLASS 14 Te nor Banio: 1st, S. Clayton. 85; 2nd, G. Malkin, 80: 3rd . H. Taylor , 76. CL ASS 15 Ukulele Solo: Jst. P. Mo ss, 94. CLASS 17 Juvenil e Solo: 1st . P. Mo ss, 93; 2nd, N, Bamber, ?I; 3rd . H. Tay lor. 90 . CLASS 18 Veterans: 1st. R. Evan s 87; 2nd . A. Nicholson, 86; 3rd , J. Bloor, 84.

C LASS 26 Trio s: 1st, Osborn Trio, 91; 2nd. B. Allen, J. Hullcy and R. Evans, 83. CLASS 27 Acou stic Quartets: 1st. Osobrn Quartet, 85; 2nd, Neapolitan Quarlel, 81; 3rd, Can ut e Quartet, 80. CLASS 28 Electric Quartet: 1st . Osborn Quartet, 87; 2nd, Cambr idge Quintet, 76.

Southem Section It may seem odd in spring to be planning an event not due to take place until mid-autumn, but the April Fed eration meeting was wholly taken up with such business in hand . The event, of course, is the Southern Fede ration Rally on October 11th at Camden Town Hall. At least it gives plenty of time for entrants to practise their pieces. Al ready the Secretary has had enquiries from Northern competitors who hope to take back Southern troph ies. The Festival Secretary this year is Mr. Reg Baynham, 18 Pir-

bright, Kingston Hill, Kingston, Surrey , to whom all communications regarding the Fest ival should be sent, accom panied by a stamped addressed envelope. Closing date for entries is 20th September; entries received after this date will be accepted at the d iscretion of the Festival Secretary and on a payment of a 50p fine. To combat rising prices, reluctant ly the prices of admission have had to be raised slightly and are as follows: Contestants 60p (this covers as many classes as they wish to enter). Orchestras £3 (covering all members). Mem-

bers (producing membership card) 75p . Non-Me mbers £ 1. It was pleasant to hear the A ston Banjo Orchest ra play the Federation March at their an nual public concert this year and a very good job they made of it, too. One non-playing member of the audience, hearing it for the first time. hoped he could purchase a record of it. He was adv ised to learn the banjo and play it any time he wanted . Who knows, perhaps he will b~ competing in a year or two !

28

ORCHESTRAL CLASSES CLASSES A I st. Liverpool Premier. 183; 2nd. Riverside Baniolicrs. 182; 3rd, Birmingham. 172. CLASS B 1st. Bir min~ham , 172; 2nd . Macclesfield, 166; 3rd, Blackpool. 154. C LASS C 1st. Liverpoo l Premier . 191; 2nd, Ri verside Banjo • liers , 188: 3rd, Canu te Guittarra Society, 182. CLASS D 1st, Riverside Banjoliers. 194; Equal 2nd, Macc lesfield ll .M.&G. and Canu te Gul11arra Society, 179; 3rd, Birmi ngham B.M.&G. Orc hestra, 176. CLASS E 1st. Birrninsham. 180; 2nd, Macc lesfield, 163; Equal 3rd . Old ham 8.M .&G . and The Tuesday Peop le 156. Bts t Drummer: J. Turn er (Liverp ool Premier). Best Pianist: 8 . Pearson (Oldham B.M.&G .) . Best Con ducto r: Ken Jones (Liverpool Premier).

V. GODWIN

Hawaiian Guitar Section Four new tapes have been received recently. Bern Causley has subm itted a selection of music taped in New Zealand during his round-the -world trip last year, featuring live recordings by Bill Sevesi and Murray Cha rteris. From John Scott comes a furthe r unusual selection of recorded music, while from our Canad ian member Billy Reid comes further broadcast material by his Hawaiian Serenaders. Lastly, one of our newest members, Mike Broad, has submitted a fine tape of his own multirecord ings. Four excellent tapes- best thanks to all concerned! It is sad to have report the passing of two of our members, Ken White of Manchester and Dennis Burke of Sheffield, both after serious illness. They will be missed in the Club, and our sincerest condolences go out to all relatives and friends. A new Club Directory is :.nthe process of preparation - thanks to our member Brian Cook for handling the printing for us! The Directories will be mailed out to all members as soon as they are ready . Finally, we feature this month a photo of our popular Macclesfield member, John Pickford , who is currently undertaking quite a lot of engage-

Banjo & Mandolin Section We welcome new member Michael Tarlton, of Muswell Hi ll, London, who has been attached to reel-to-reel group "M" . Many thanks to Arthur Churchill for a 3 in. reel of excellent variety, very su itable for club circulation. A reminder to all members, we are still in m:ed of tapes and cassettes for club use. A riew system will gradually be introduced, which I hope will help to keep the flow of tapes more regular; it has already started with groups " M" and cassette " Two". The request for members to despatch Comments Shee t and tape to next listed member, within ten days will cease. Again each member's name on the Comments Sheet will be a date, and members will be expected to despatch tapes no later than this date. I regret this new system has had to be adopted but there are a few members who have ignored the ten day request, and hold on to tapes for many weeks; this disorganised the club to such an extent tha t a new system just had to be introduced.

WALLY SPRANKLEN

John Pickford ments in the M idlands area with his band, and enjoying excellent receptions wherever they appear. With the ability to stage a floor show also, J ohn's band is really helping to keep Hawaiian music alive in this country.

JOH N MARSDEN

Directoryol 8. M.& G. C/11/J1 AMER ICAN

BANJO

J' RATERN ITY.

Exec.

Sec.,

W. C. K entner , 2665 Wood stoc k Road , Co ium b us,

Ohio , 43221. ASSOCIATED BANJO CIRCLE (Westminster). Sec: Chas. Mansell. 64 Brook Road. Ben0eet . Essex SS7 51P. ASTON BANJO CLU B (Wimbledon). Sec .. R. G. Oram. 5 Chart Close. Shortlonds, Bromley, Ken! BR2 OEB. Tel.: 01-460 1995. BARNET. Sec. , Cecil Danie ls, I Birchwood Avenue, Hatfield. HAT 65140. BELFAST BANJO CLUB. Sec., J. Knowles, 206 Dccrpark Road, Belfast. 14. BIRM INGHAM . Sec., W . H. Richardson. 147 Th orn bridgc Avenue. Birmingham B42 2AF . Phone 021-357 3176. BLACKPOOL. Sec., C. R. Hooker, 114 Warbrcck Drive . Tel: 55805. B. M. & G. Tape Club B. & M. Sec .. W. Spranklen. 6a Burton Rd. , King ' s ton-on-Tiiamcs. SUrrey . H_G . Sec . . J . n . Marsden. 40 Orc.h:trd T.an ll!., Beigl1ton, Sheffield. Sl9 6EX . BRITISH FEDERATION OF FRETTED INSTRUMENTALISTS. Northern Sec .. Mrs. H . Jacklin. I03 Nicholson Ave., Macclesfield, Ches . Tel: 0625 20102. Southern Sec . • Mrs . V. Godwin. 14 Trouvillc Rd., L<:mdon, SW4 8QL. '.fcl: 01-673 2057. CROYDON. Sec . . MrS. H . Sumner. 31 Co rk.
The cost of twelve consecutive insertions under thi s beading is

£I

LEIGH -ON-SEA. See.. L. F. Head. Westholme , Branksomc Ave., Stanford-le-Hope . Essex. \,EWISHAM B. M. & G. CLUB. Sec ., Mrs. M. H Torre nce, 7 Chisle t Close, Becke nham, Kent BR3 IUB . LIVERPOOL (Premier). Sec.. Miss E. M. Wood, Mercdale Rd .• Liverpool 18.

EA LING GUITAR SOCIETY. Sec., Mrs. P. A . McG lashan, 68 Bcllevuc Road, Ealing, London. Wl3 SOE . Tel: 01-997 9449. FRETIEO INSTRU MENT GUILD OF AMERICA. Sec . . Treas., Ann Pcrtoney , 2344 South Oakley Ave .• Chica go 60608, Jllinois, U ,S.A. GARFIELD HOWE GUITAR AND WIND GROUP. Sec.: Mdme. Garfield Howe, 25 Turberville Close, Abinadon , Derks

GEORGE FORMBY SOCIETY. 99 Chequers Ave . , uncaster, 60225.

Sec., Billy Hartley , Lanes. Tel: 0524

GLASGOW CLASSICAL GUITAR SOCIETY. Sec . , Miss Isobel M , Yule, 1, Banavie Ra .• Gil ,AW. Tel: 041-339 2/!01. . HATFIELD. Sec .. Mr. C. Daniels. Avenue, Hatfield. HAT 65140.

I Birchwood

ILFORD. Sec.. F . N. Perrin . 23 Mannin Road. Chadwell Heath. Romford RM6 4PT. Tel: 01-590 8226. LEICESTER CLASSICAL GUITAR SOCIETY . Meets monthly every 3rd Wednesda y. Sec.. H. Brook, 18 Moat Close, Thurlaston, Leicester LE9 71N.

MACCLESFIELD. Sec ., B. Jacklin, 103 Nicholson Ave.. Macclesfie ld . Chesl1ire. Tel: Macclesfield 20102. MANCHESTER GUITAR CIRCLE . Sec., Ray P allet. 291 Sandy Lane, Oroylsden. Tel: 061-330 0942. NORTH LONDON. Sec . , F. T. Boswell, 2 Marlborough Ave., N.14 . Tel: 01-368 6637. OLDHAM. Sec., J. Taylor, 14 Werneth Crescent. Oldham . Lanes . Tel : 061-624 1112. PORTSMOUTH B.M.G. CLUB. Sec., R. A . White. 29 11te Oownsway . Porchestcr, Hants. SOUTHEND CLASS ICA L GUITAR SOCIETY. Bob Alliston, ).6 Parkvlcw Drive, Leigh-on-Se a , Essex . Tel. : Southend 525079. TUNBRIDGE WELLS & DISTRICT B.M.C. CLUB. Sec. R. Warrener, "Cartref .. , London Rd., South• boroush. Tunbridge Wells. Te l: 2/!533. WALLASE1 ' ("Rlverside"). Sec . . B. B. Thurlow, 6 The Aubynes, Wallasey. Tel: 05Hi39 2177. WATFORD. Arthur Cooper. 17 Kenwood Drive, Rickmansworth, Herts .. WD3 2YQ. Tel: 77903. WOUT STEENHUIS APPRECIATION SOCIETY, Secretary Mrs. B. Baker, I Coburg Flats, Cobura Place, Hastings. Sussex. Tel: 3132. YORK. Sec., T. E. Ulliot. 24 Farndale Ave., Osbald• wick. York.

DON'T MISS A COPY- SUBSCRIPTION FORM INSIDE BACK COVER

29


At Los Angeles I stayed wi,th Keith Cellian, a guitar/sa x player, who has a gig band in the suburb of West Covina, and I "sat in" on rhythm guitar with the 14piece dance band. My meeting with Dr. time 1 write a recognisablt: tune, iL i~ a Thornburgh was another experience I 5hall "folk tune". When I composed the Sonatina always remember. We soent the evening Lirica I did not realise this simple fact and together and he was very pleased with my was therefore surprised when I read Mary efforits on his marvellous instruments (Van Criswick's review in the June issue, for the EpS banjos and Ramirez guitar). work does not use a single "folk" tune in More recently, at Kamloops, Cyril Pinchthe whole of its length-at least not as most back recalled his meeting with you at No. people understand the term; its thematic 20 in 1971. He has formed a small banjo material is all my own. This accounts for group with himself on tenor, Ray Ford and my not realising that identification -was Ossie Simpson on plectrum banjos; Del necessary. I am flattered to be able to infer Trefry, bass guitar/tenor banjo; his daughfrom all this that the .tune I wrote seems ter Linda McNiven, plays the piano. During good enough to survive the test of timethe long evening session I joined in on the hallmark of "fo lk" tunes in their usual whatever instrument was availab le. Durin g sense. the evening refreshments a toast to BMG JOHN D UARTE wa,s drunk-the old mag. had been the means of bringing this happy group to* * gether. I should mention that Cyril makes Dear Sir,-Over the past ten years, whilst his own instruments, and they have a learning to play -the old-time clawhammer particularly good -tone. especially the banjo. I forgot to mention my meeting with sty!:: or banjo, 1 find that out of ten or so different tunings used, several are variants Harry Martinez in Singapore , where he is which require strings to be tuned above still very busy, teaching . He has discontinued his radio and concert work. as he their normal pitch. Th is unfortunately causes a greater breakage-almo ,st always found it too involving. Working weekdays whilst ,tuning. To alleviate this, I have only , he has numerous classes at various recently been tuning my strings a semitone ~chools, etc. His day starts at 5.30 with lower, to give more leeway. Do you think Yoga and cvclinJ!:.He has promised to see that some of the tone is lost by this , or is ~bout an El. H.G. arrangement for BMG. I am moving from here (CalJ!;ary) to it hardly worth worrying about? Medicine Hat. to stay on a ranch for a R. B. GORDON few days , before Vancouver. From there, (With "average" slrings it should no/ be by train, to Los Angeles. necessary to tune below "concert pitch". CYRIL PROCTOR Most s/eel firsts or seconds will stand tuning a lone higher 1han normal; and nylons can * * " be raised considerably once they have been Dear Sir,- 1 have an instrument (pictures "bedded in". We do 1101,however, advise raising the pitch of covered strings more of which I enclose, together w ith a very than a lone, nor do we advocate 1he use of rough diagram showi ng its measurements). plain s1eel third strings whatsoever.Keep 10 The label inside reads: JOAO MIGUEL normal pitch for the best all-round resulls. ANDRADE Fabrica e Armazem de lstruYour banjo will sound duller when pilch is men,tos de Corda. Guitarras, Violas Braguezas, Cavacos Rua Nova de Tr inidade. lower than normal.-Ed.) I wonder if you or any of your readers can identify it. C. GOLDING Dear Sir, - This tour (Mr. Proct or is nearing the end of his third world cycling (This is probably a Portuguese guitar.-Ed.) tour-Ed.) has been .the best of the three and I have had a wide variety of experiences, musical and adventurous. In Malaysia I met Ashton Pennefather, at Ipoh . He plays pedal steel and has a nice style; he had his own group, doing radio and conce rt work as well as dances. When I got to Australia, I tried ,to contact Reg Balch and Phil Skinner, witho ut success. Douglas de Kroo, busy at Caring bah, has many pupils, including my niece, on classical gu itar . At Canberra I met Justus Havelock (from Malaysia) who plays the· el.H.G. (he used to be with Pennefather at lpoh). The most interesting and colourful place I have ever been to is Tahiti. Th ough the musical experiences were a bit thin, my walking and cycling tour,s on the main island, and on the beautiful islands of Moorea and Bora Bria, are unforgettable. I have tried to capture some of the events on my slides.

*

30

*

Dear Sir,-1 regret that an error occurred in my article in the J une issue, page 8, paragraph 6, which should have read: "w ith the exception of the set com prising the second and third strings", and trust that any

coHf usion

wa~ morm:ntary.

KEALOHA LIFE

*

*

*

D ear Sir,- As a regular reader of BMG, I am enclosing a pho·to of the banjo my son has made for me in New Zealand. I purchased the blocks of mother-of-pearl from Clifford Essex and sent them to him. I was wondering if you could use this photo for BMG as of interest. C. PITT

*

THE JNCOMP ARABLE

SAVABEZ NYLON STRINGS are made in different tensions to suit your guitar and your style of playing See your usual supplier or write to-

J. THIBOUVILLE -LAMY & Co. 44 Clukcnwell Rd., London EClM SPS

Teachers and TheirAddresses

~

FREE INSERTIONS: To annual subscri bers of " B.M.G." of not more than two lines, for each add itional line SOp per 12 issues. Non-subscribers: Ads inserted at £1.50 per line for 12 issues. LONOON A NO SU ISURISS

Al~~~ri

~~~!'~ou~;s si~~cuesh!95~ -as~~:~istui~~1 i1!~

Studi o , 72 Newman St reet , W . 1. 01-580 8094. BERGSTROM , CAROL (Mr.) (G .. l'.G.). 63 Chester Road, Wanstead, E. I I. BOLTON, C. (G), 48 Alicia Avenue, Ken ton, Harrow, Middlesex . 01-907 0519. DAVIS, JOHN (B., M. & G. All styles),, 38 Charterhouse Ave ., Wembley, Mid dlesex . 0 1-9u2 7017. DUER, B. (Classical and folk styles). 20a SI. Luke's l(oad. W.11 01 -229 4926. EASTWELL , M. W., 118 Creighton Avenue, London, N.2 . FOlrrett Ave., Wood Green, N.22. Tel: 888 0216. CALLO, LOUI S (G_, !'.G.. EI.P.G.). 616 Green Lanes. Harringay, f'l.8. Te l: Ol-88R 4666. GEARON, FRED. (B.M.G., Hawaiian Guit ar, El. Boss and Uk u lele. All sty les). M.M. Winner 1933/34. Tel: 01-743 8127. JEFFREY, Al, TV 's "Mr. Banjo". (B .. El.B., !' .B. , Folk B., T.B .• G .. U.). Vocal acct. a speciality. 66 Chepstow Road. , W.2. BAYswater 6856. KALAMUNIA K, HELEN. Classic al guitar . 6 1b Cromwell Road , Kensington, S .W. 7 Te l: 01-373 1132. KENT, A. (Pl. G.), 52 S I. Joseph's Driv e, Southall, Mi ddlesex. 01-574 4810. KRAMER, ADELE. Professor at the Guildhall School o f Music and Drama, London , gives Jessons in classic guitar for beginners to concert standard. 24 Collca,e Crescent, Swiss Collage, N.W.3 . PRtmrose 5366. LIPSCOMBE. R. F. (B. & P .O. }. 34 Limcsdale Garden, Edgware. Middle sex. 01-205 5305. LOCKWOOD . JOHN. Classical Gui tar Tu ition. 17 Hambridge Road, Putney, S.W.15. Tel: 788 8622. LOOMES. JAMES CClassic Guitar Tuition), 36 Pakington Hou se, Clapham Rd . . 01-274 '.1410. MAR KIDES , A. (Bouzouki), 167 Va lley Drove, N.W.9,

Mi~~t'l i., RAY. Creatorthe ofwora ld.guitaPrivate r tuition strip syndicated throughout lessons

lay stress on P.U.ctical musicianship, hanno~y and methods of uulisinf a minimal amount of time to obtain a sure technique. Flamenco taught to a p ro~ fessional standard. All ages accepted, advice offered about you r choice of guitar. 65 South Hill Park , N.W .3. Te l: 794 6334 (mo rnings). MYATT, B. (G.). 13 Salvine Road. Putn ey. S.W.15. • PERCY . TED . CR.• M., G .. all styles). Advanced F/!i R3njo Techniques . 55 Ca rlton Terrace. Gt. Camhr ;dgc Road . N . 18. Tel: 0 1-807 2R9,. STOTTER. L. C. CG.. P.O .. B .• P.B .. T .R., M .). Prcparatir111 ro r .. n.M .G." Dinloma-c::. 9:S Gecre Rnarl W,s 1 H,m. 'F. 15 Tel: 01-534 0778. Wll.LMO 'IT . ROD. (G .. Lute. Song Acc .). prepara lion for grade c:-:,irns. college entrance, etc. 0lp385 2560.

BERKS HIRE C RAGG. SYDNEY. Clusical Gui1ar T11i1ion, from heJiinncrs to concert slond3rd. Willowtrec House, IIS P ark R d., Didcot. Tel: 2349. CA MBRIOGK~IIIRE

VANG O. GEORGE (B .. P.O .. G.). 5 Westfield Rd., Great Shelford. Cambri dg e. Tel: Shelford 2665. CHESHIRE ASHURST, MAURICE (G.). 488 Woodchurch Rd., Birkenhead . Te l: 051-608 3532. SPANISH GUITAR STUDIO. 4 Upper North~at ~ Stree t. Che~ter. F(lr dtU:1: il-t rclc:phonc Brombor ou gh 05 1-334 4379 - 0270 8 11675. SHEPPARD, A. E. (B. M., G., Clar .. Flute), 23 St. Elmo Rd ., Wallasc y,' Chesh ire. Tel.: 051-638 6448. CORNWAl.l , P HILP. Wm. C. D. (P.O .. P.B., B.). Nank ervis Ho use . Venlonleaguc. Ha yle. CUMRERI.ANO JONAT HANS MUSICENTRE, Wilson Street. Workin~ton. Guitar . plectrum ~uit3r 11•1dall fretted in(lmmcn t-c:: . Tel: Workinitfon 4108, OERRY SHIRF. BAKER, F'REDK. CG. & P.G.). 5 Rabbinstnn St. . Tibshelr. aod Huc1-.::on ·~ Mn~ic Cen tre, Market Hall. Chesterfield . Tel. TJB 2414. TAYLOR, BERNARD (B .. M .. G. all styles\. Pupilt T'repared for A:-.!:Oci alcd R<,ard exam.~. 18 Norll1 Close, Micklc over , Derby . Te l Derby 52011.

DEVON LEE, A . (G), 225 Nort h Road West, PlymouU1 PLI ~ l) G .

G . TATHAM (C .G .). Oxcnways, M cmb ury , Axmins • tcr. Tel.: Stockland 402.

LEVERTON, TOM (G., P.O., Bass G.. El.P. G ., El .H .G., H.G.). 16 Trentham Gdns ., off Challont Dr . . Western Boulevard. Nottingham . Tel: 294ll5. Sl•ANISH CU ITAR CENTRE, Pr ;nei~al: Robin J . PearSo n.. 64 Clarendon St . , No 11mgham . Tel: 48325.

D URHA M w t1!~!~

1 nd 3~l:'." a s

~: s tr! ~'."'• Te\: ·i]s -ss\

Park ,

ESSEX ESSEX ACCORDION & GUITAR CENTRE. Pri~c ipal : J erry Mayes . A.Mus. , L .C.M ., A.B.C.A, (1.0.), L.B .C.A.(Hons .), Mcm. 1.S.M, B.C.A. & L.S.M . Examiner. Class ical and plectrum sty le. Finest tuit ion given for all ages and grades, also d iploma. Tape recorder faci li ties and pro fessional ~o~h!~() _19 Co lch este r Road, Priulewc ll, Essex.

9

HAMPSHIRE

THE NEW BOURNEMOUTH GUITAR STUDIOS, L>ir. D. M. Harley, A .G.S. M .-F. E. (Guitar Teach er to BournemouU 1 Education Comm.) and Sar ah Richmond Wood Road, Bournemouth. 569 CA RLSON , LEW (B. , P.B .. M., G .. all styles). 29 Chffc Ave.. Hambl e . Southampton. LIFE, KEALOHA (E.H .G., E.P.G.. Uke .), 98 Crown Co ur t, Harl ey Walk, Portsmouth PO l IQW. Te l. : 819173.

¥~r;r~"i_

Ht:RTFORD S HIRE

KIRTLEY, TED (P.R. , T .B.. P .O .), Stokeficld Cot .t age, TI1ombu ry, Bristol. Tel: Thornbury 3030. !iTA t'F'OROSHIRE RIOGE . HORACE. A.T.C.L. (G .. P .l . 2o,; Fenpark Rd .. Fenton. Stoke-on-Trent. Tel: 313442. SU RREY EMONDS, ANDRE, Gu itar & Bass Gu ;lar . Im• prov isation. Reading Technique. Studio Near Croy• don . Tel: 689 2335. Ml<.:UAU S (Clas sical G.) 33 Havelock Rd ., Add iscombe . Croydon . Tel: 656 21.52. R~tJE~~i . P ED RO (F lamenco Guitar Tui1ion ). Tel: WARWICKS HIRE GU IT AR SCHOOL. D. J . Brown (All Styles). Wr ite to : 274 Hagley Road, Birmingham 16. G. D. JONES. Private Tuition. B.M.G. Diploma Std. (C.G ., PG., Flam.G., Bass.G., D.Bass, M .). ~l~h~l~;J~ 1~~ /he ldon, Birmingham B26 3RN.

4

WOOD, AMY M. (0., n.. M., P.G.). I I Upland Rd . , Selly Park, Birmingha m . Tel : 743 5907.

CANNIN G, JOHN (Hcr ts County Music School). Classica l guitar only. 38 Wa lsworth Road . Hitchin.

Wll ,TSHIRE

JERSEY
DACRE SCHOOL OF GU ITAR, 35a Rollcslone St .. Salisbury.

l'LEE CE, KEN (B ., M ,, G., St. Hcli er .

V.) .

18 Belmont

Rd.,

Kt: N'f

HOPE, HARVEY T. (G . El.1'.G. P.O., all sty les). Guitar Study Centre, Welling. 'rel:01·856 4876. YOUNG , ALAN (P.G., P .B., Z.B.). Studio: 34 Hibe rnia St.. RamsfZ_ate . C.C .S. SCHOO L OF GUI TAR. Sec . Mrs. V. White, 2 Lenno x Road East, Gravesend, Ken !. CO LEY , V. F. Classical Guitar Tuition. Serious studen t1 and beginners. 121 Elsa Rd., Well ing, Kent . Tel.: 01-304 0193. 1,,A~CASHIRI? BATHAM , WILFRED. Mandolin artist. Mario de Pictro and Leopoldo Francia courses . Tuition on vio lin by Sevcik method. Mandoli n and guitar accompaniments; . solo guitar. 29 Sprina;: Ave., G t. Harwood. BETHELL 1 PIERRE (G., P.O . . H.G., BL P.acc). hS'cudios ' . 10 Gardner Rd., Tucbrook, iverpooJ 13. T,t: 05 1-228 12Sl. HOOKER. C. R. (B ., P.B .. T.B ., M. P .O .. H.G .). 114 Warbeck Onve, Dlackpool . Te 1: 55805. ROSCOE. DIX (P.O. . Bass G .. P.B., T.B., M.' 39 nri~ht Strctt. Sou thr.ort. SMITH, N. (G), 7 Marsh Ro ad, Little Lever, Bolton, L, n c",. T~~!;~Ro1~i,.::··

T~i~ ·o6l ;;'h

i''lir_-) 14 Wemeth

LEICESTER KATHLEEN WARNER , A.R.C. M . (Class G.). "'Ho lmwood" , College Ave . , Lei cester. Tel: 59461. Preparation for Examinations and Musi c Fe stivals . LINCOLNSHIRE ROBINSON, KEN (G .. P.G.). 69 Campden Crescent , Clee1horpes . T el : 6~977. THOMPSON, KEN. Flomenco, Classical, Fol k. 27 Woodsley Ave. , Clcethorpcs . NORT HUMRF.Rl.A NO HOLLIDAY . JACK , (B. , P.B., A venue, Gateshead.

T .B.), 45 Melrose

NOTTTNGHAMSHIRF. KALAMUNIAK. VLAOJMIR. Class;cal and ia,z auitar . 16 Glcnmnre Road , Wes t Brid gford, Nott. Tel: 231053 and 865663.

WOl
VORKSHIRt: CLANCEY, T.
AUSTRALIA BUNGAY, W. , 17 Deborah Grove, Clovercrest, Mcdbury Nor th 5092, S . Austr alia. VIRTUE, BOBBY (classical gu lrnr) , 2 / !6 Canary's Rd .• Lakemba, 2195. Sydney. THE CLASSIC MUS IC SHOP, St. Francis House, 40 Queen Eliz abeth Street, Bri sbane, Q. 4000, Au strali a. Tel: 2 1 4357. ACADEMY OF GU ITAR (Principal D . ll. WALTON). Tui tion by teachers with qualifications . Classical to A.M. E.B. Exam. standards. Flamenco and Folk Guit ar . Studio: Cel ti c Chambers, 246A George Street, Brisbane, Quee nsland . TASMANIA McBAIN, JTM CO., H.G., M ., P.G., U .) . 16 Anderson Rd.. Launceston . Tel: 25644 .

DON'T MISS A COPY- SUBSCRIPTrO N FORM lNSrDE BACK COVER

31

VARIOUS

FOR SALE BMGs 1953-1974, bound; details P.O. Box 23-110 Papatoetoe, A uckland, New Zea land. DONALD J. TATEM concert guitar, 1971, £350. P. O'Donovan , 48a Peel Street, Macclesfield, Che.shire. Tel: 27200. 8-COURSE lute by Stephen Murphy, with case, condition as new. £220 o.n.o . Te l. 01653 7856. GRIMS HAW "Ha rtford 12" gu itar and hard, 6haped case ; both in excellent conditio n. £85 o.n.o. Taylor. Tel. before 8 p.rn. 0795 25041. MAR TIN 12-stri ng guitar, model D12-20. 1965, £250 o.n.o. N. Grant , 4 Abbots Oose , Datchworth, He 1>ts(0438 812519). SHAFT ESBURY guitar, with case, sma ll amp., excellent semi-acoustic. £55. 0 1-906 0755. VEGA VOX 1, plectru m, post-war, shaped case, immaculate. £275. 16 Warn efo rd Gardens, Exmouth, Devon. RAMIREZ, Sanchis, Contreras, Co nde, Francisco Guitars. Also beginner 's mode l inc. small size; folk mode ls inc. Yamaha , Harmo ny, Eko Hand-made fo lk instrum ents.

Renton, 25 High S'trcet , Leamington, Warks. Tel.: 26703. WEAVER 5-string , I 1 in. metal hoop, in origin al leather case; fine tone and condition . Offers: Box 8:.10, liMU, 20 Earlham Street, London , W.C.2. FLAMENCO. Exciting new guitar tutor , with tape reco rding. :t-'or detai ls, s.a.e. to G. C. );{ussell, 98 Leeson's Hill, St. Paul's Cray , Kent. BEAU TIFUL "Phoebe" pod-back mandolin circa l 920s; excellent condi ,tion , with case, £40 ono. Phone 01-850 8743. CAMMEYER Vibrante zither banjo, excellent condition; offers : J. G . Thomas, 13 Wood Lane, Woodford Green, Essex. Te l: 0I-505 0309. GIBSON AS mandoli n and case, as new, few months old. Serial No. 398827. £450 or offer (list price £692). A. C. Wilkie , 136 Green Lane , Northwood , Middle.sex, HA6 IAN .

RARE mandolin methods , hand bound, inc. Branzoli , Cristofaro, Francia , Munier , Siegel; also so'ft backs: Bickford, Moyer (duo style) and Ellis. SAE to Box 821, BMG, etc. .

ZITHER MAGIC. Dicea LP ECS 2086 idea l ,background music, tilms, par ties, etc. CHORD l.<' iNDERS for mando lin a nd tenor banjo. Practically any chord in any pos ition. Chor ds, Box 31.7, Estes Park , Co lorado 805 17, U.S:A. US$l.50 post paid. WANTED BACON "S ilver Bell" tenor banjo with case; a lso Vegaphone resonator and resonator tfanges. C. Mitchell, 16Ja South Lane, New Malden, .Surrey. CELLO acoustic guitar. L. Burrows, 166 Woodford Avenue, Plympton, Plymouth, Devon. 0752-37166. HUMl'ED or "Easigrip " round steel , for lady Hawaiian guitarist. S. Jolly, 157 Stenson Road, D erby . Te l. 24037. WA NTE D: early banjos , crude ly made, and fancy inlaid banjos; also pa rts of early ban jos. "Reu·bens Banjo Collection", White Lodge, 55 Grove Park, Camberwell, S.E.5. 'fel. Eve nings 0 1-274 4822. The collection may be viewed by appo intment. SERIOUS writer needs back issues Banjo World , Keynotes , The 'Jo, BMG, before 1930, etc. Urgently need Keyno tes, A pril 1928. A lso want old banjo met hods, photos, mus ic. Box 8 19, BMG , 20 Earlham Street, London WC2H 9LR. MANDO LIN music, methods , st ud ies, solos , ensemble pieces, etc. Marius Pope, 51 Queens Road , Tunb rid ge Wells, Kent. 089223838. OLD ed ition of BMG with guitar 6olo " Maria" .by Pick ersgill. Will pay £ 1.50 for same. W. Pickersgill , 5 Hi ghfield, Elton , Chester. Tel. 024-463 774.

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CLIFFORD ESSEX SPANI SH GUIT AR TUT OR Compi led by Alonso Medio A really comprehensive tutor containing complete an d detailed instruct.ions, exer cises, scales and solos based on the Tarrcga- Segovia method. Ideal for the pla yer without a teacher. Used by up-Iodate teacher s all ove r the world. (Ovtr 40,000 copies sold .)

£1.25 Postage: IOp

b Adagio (Aguado-Bream) b Agathe ( Mertz-Sensier) b Air (As I Went to Wa ·1~·ingham) (Dowland-Sensier) .. . . .. a Air from Semiramide (Rossini-Sensier) b Air (from Suite No. 10) (HandelWeston) .. . . .. a Air in E major (Weiss-.5ensier) ... b Alborada (The Music Box) (Tarrega) a Allegretto ( Carcassi-Sensier) a Allegretto OP 147 No. 9 (Giuliani) a Allegretto, OP II (Giuliani Bibobi) b Allegro (Haydn-Weston) ... a Allegro in C major (Antonio Cano) .. . b Allemande (from Suite in A minor) (Weiss-Sensier) .. . b Allemande (from Suit" in D minor) (Weiss-Battine) .. . . .. b Allemande (R. de Vlsee-Battlne) b Allemande (Robinson-Sensier) b AmaryHis (Louis XIII-Sensier) a Andante (Haydn - Bream) b Andante (Aguado) ... . .. a Andante Graz io so (Carulli-Sensier) b Andante in A (Aguado) a Andantino Cantabile (Sor) .. . ... a Andantino in A minor and Andantino in D major (Paganini-Sensier) .. . b Andantino & Minuetto (PaganiniBattine) ... ... ... a Andantino & Waltz (Carcassi-Sensier) b Andantino, Op . 31 No. 5 (Sor-Sensi er) a Andantino, Op . 147 No. 2 (Giul iani) · a Andantino , Op. 147 No. 5 (Giuliani) a Arietta and Marcia (Paganini-Sensier) a Austrian Folk Song No. 1 (Solo or duet) (arr. Ernest Sperling) ... ... a Austrian Folk Song No. 2 (Solo or duet) (arr . Ernest Sperling) b Ballet (Carulli) ... ... ... a Believe me if all those endearing young charms (arr. Gallo) ... .. . b Berceuse de Jocelyn (Godard-Weston I b Black Eyes (arr. Gallo) b Blue Danube (Strauss-Bibobi) .. . b Bourree (from the Lute Suite) (BachAguzado) .. . . .. b Cancion de Cuna (Trud.) (arr. Peter Sensier) a Cancioncita (Criollo .. Song) (Alonso Medic) ... a Capriccio (Legnani) c Capriccio No. 2 (Legnani) a Caprice ( Carcassi-Sensier) ... . .. a Caprice in F major (Legnani-Sensier) b Capricho Arabe (Tarrega-Bream) c Chit Chat (Giuliani) .. . ... . .. b Consolation (Mendelssohn-Sensier) ... b Corriente (Sanz-Sensier) ... . .. b Cossack's Recollections (Poloupaenko) b Country Dance (Aguado-Sensier) a Courante (Blow-Weston) a Danse Nord (Norwegian D an c j (Giuliani) ... ... . .. b Danza Moro (Moorish DJnce) (Tarrega) a Duet Elude (Carulli-Usher) a Duet Facile (Carulli) ... a Duet Study in F (Carulli) a Duet Study in G (Carulli) b EI e g i e (Les Erinnyes) 1i,.ii"assenet'. Battine) ... . .. b El Sueno (Vinas-Sensier) b El Vito (Trad.-Sensier) ... . .. a Endecha (Tarrega) see Two Preludes a Entr'acte from Rosamunde (Schubert Medio) ... ... . .. b Estudio en Me (Antonio Cano) a Estud io en Re (Antonio Cano) a Estudio en Sol (Antonio . Cano) c Etude in A (Coste) ... . .. a Etude in A major (Sor) a Etude Brilliante (Aguado) b Fantasia ( M ilan-Se nsier) b Four Preludes (Spe rling) b Fur Elise (Beethoven) (arr. hy Norman c. Lees) .. . .. . b Fur Elise (Beethoven arr. P. Battine) a Galliard ( Robinson-Sensier) b Galop ( Sor-Sensier) ... ... . .. b Gavotte from "Ottone" ( Handel-Weston) b Gavotte ( Handel-Sensier) . .. . .. b Gavotte (from Suite in A minor) (WeissSensier) ... .. . a Gavotte (Lully) (arr. Ronald Moore) a Gavotte (Gossec) (arr. Robert Weston) ... ... b Gavotte (Bach-Bream) .. . . .. . .. b Gavotte-Musette (Reinecke-Terr.pestini) b Gavotte in D ( Scarlatti-Sensier) . .. b Gavotte in E (Bach-Sensier) (Segovia's famous H.M.V. record) b Gavotte-Variee (Suite XIV) · · (HandEi°I: Weston) .. . b Giga (Sanz-Sensier) . .. .. . .. . b Gigue (from Suite in A minor) (WeissSensier) .. . .. . . .. a Gigue in A minor (Weiss-S.,nsier) b Grand Valse (Tarrega) ... b Greensleeves (arr. T"rry Usher) a Introduction and Valse (A. de Vekey) .. . b Jai Perdu Mon Euridice (Gluck-Weston)

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CLIFFORD ESSEX 20 EARLHAM ST. LONDON W.C.2.

"CLASSIC SERIES" of Solos & Duets for Spanish Guitar by the WORLD

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and

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A.

Ful ly Fingered and Positioned a-Easy b-Moderate c-Difficult p

b Jesu, Joy of Man's Desiring ( BachSisley) b Jeux lnterdits (same as Romance) ( Romance de Amor) ... ... a King's March (Jeremiah Clarke) (arr. as a Duet by E. Sperling) . . . . .. a La Cinquantaine (Gabri.ii-Marie-Gallo) b La Mariposa (Tarrega-s.,nsier) a La Paloma (Yradier-Sensier) ... a La Pastora (Catalan Folk Song) (arr . Sensier) ... . .. b La Preciosa (Sanz-Sensler) ... a La Serenisima (Sanz-Sensier) . . . . .. a Larghetto, Op . :;;5 N<>. 3 (Sor-Bibobi) b Largo ( Mertz) . . . ... . .. b Liebestraume iLiszt-Sensier) ... c Lob der Thranen ( Mertz-Sensier) a Loch Lamond (Scott-Moore) ... . .. a Love's Dream Waltz (Will E. Papworth) a March (Bach) (arr. as a Duet by Terry Usher and J. W. Duarte) . .. a March from "Scipio" (Handel) (arr. Robt. Weston) b Marche Militaire (Schumann-Weston) a March-Prelude (Wilfrid M. Appleby) .. . b Maria (Gavota) (Tarrega-Sensier) a Marcia (Giu liani ) b Marieta (Mazurka) (Tarrega-Sensierl b Marionette Dance (l.egnani) a Mazurka (Tarrega-Sensier) c Melanch o lia (Giuliani) ... a Melody (Schumann-Weston) b Memories of Broomyland (A. de Vekey : jnr.) ... . .. b Menuett (Muffat-Weston) .. . . .. a Menuet from "Don Giovanni" (MozartWeston) .. . ... .. . . .. b Menuetto & Variation (Suite X) (HandelWeston) b Minuet from "Berenice" (Handei : Weston) a Minuet from . ·sept Pieces ( Hande·1: Weston) ... .. . . .. a Minuet in Canon (arr. as a Duet by Derek Kennard) . .. a Minuet (Mozart-Weston ) c 'Minuet (Aguado) ... a Minuet (Scarlatti - Wade) ... a Minuet & Air (Barrett-Weston) b Minuet and Waltz, Op. 4 No. (Aguado) .. . ... b Minuet For Dida (Paganini-Battine) .. . b M inue t in A major (Sor-Bream) b Minuet in D major (Sor-Bream) b Minuetto (Aguado) . .. . .. b Minuet de la Cour (Giuliani-Sisley) b Moment Musical (Schubert-Sensier) ... b Mouvement Perpetual (Alonso Medio) a My Lady Hunsdon's Puff ( DowlandSensier) ... . .. a Nocturne (Chopin-Gallo) a Pavane 2 (Milan-Sensier) a Pavane 3 (Milan-Sensier) a Pavane 4 (Mi!an-Sensier) .. . a Pavanes 5 & 6 (Milan-Sensier) b Piece de Salon (Paganini) (arr. by Alexis Chesnokov) .. . a Plaine Song for Two Lutes (arr. as a Duet by Peter Sensier) .. . a Poco Allegretto (Carulli - Sis ley) b Polonaise (G iuliani-Sens ier) .. b Polona ise ( Bach-Sensier) .. . a Prelude and Sarabande (Sor) .. . b Prelude in F major (A. F. Cramer) b Prelude in F major (Giuliani) a Prelude No . 1 (Tarrega) b Prelude No. 2 (Ta rreg~) b Prelude No. 4 (Tarrega) a Prel ude No. 5 (Tar rega) b Preludes Nos. 6 & 7 (Tarrega) a Preludes Nos . 8 a 9 (Tarrega) .. . a Preludes Nos. 10, 11 & 12 (Tarrega)

a Preludio o Capricho Arpeado (SanzSensier) .. . ... . .. b Preludio-Fantasia (Sanz-Sensier) b Preludio (Weiss-Sensier) b Queen Elizabeth Galliard (Dowland: Sensier) .. . .. . . .. b Reverie (Borodin) (arr. by Ronald Moore) ... ... ... b Reverie, Op. 15 No. 7 (SchumannS<.:nsier) .. . b Romance (Romance de Amor) (arr. Peter Se11sier) ... ... . .. c Roma11ce in A minor (Paganini-Sensier) a Rendino in C (Diabelli-Sensier) a Rondo (Car~ assi) .. . .. . a Rondo (Coste -Bre am) ... b Rondo (Carulli) a Rondo (Yohai) . .. ... ... b Rosi !a (Polka) (Tarrega-Sensier) ... b Russisches Zigeunerlied ( Mertz-Sensier) b Sarabande (fr om 2nd Violin Sonata) (Bach-Sensier) ... b Sarabande (from Suite in mino;i (Weiss-Sensier) b Sarabande (from Gre ig's 'Ho lberg· Suit e) (arr. Gjertsen) a Sarabandb (Handel-Weston) ... b Sarabande in A (Weiss-Sensier) a Sarabande & Minuet (Corelli-Sisley) ... a Sarabande with Variations ( HandelBream) ... b Scherzo (Coste) b Serenade (Schubert) (arr .'·. Alonso Medio) . .. .. . b Serranas (P inos Verdes) Flamenco (Navarro) b Sesquialtera No . 1 (Sanz-Sens ie r) . . . b Sesq:iialtera No. 2 (Sanz-Sensier) .. . b Seventeenth Century Suite (Anon.-Sor) c Sextet from "Lucia de Lammermoo r " (Don izetti-Sensier) ... b Siciliana (Meissonnier-Sensier) b Si lent Night (Gruber-Sens ier) a Sobre las Olas ( Rosas) (arr. Peter Sensier) (The Melody of ··when You're in Love") b Sona t a in A ( Usher) . .. b Sonat:na ( Paganini-Sensier) ... a Song of the Pines (Barcarolle) (A. de Vekey) . .. .. . .. . . .. c Song Without Words (MendelssohnCramer) ... b Sorrow and Song (Shand) b Sostenuto (Giuliani) ... C Spanish Gypsy Dance (La c'achuchai (Legnani) ... b Study in A ( Carcassi-Sensier) c Study in A major (Tarrega - Bream} b Study in A minor (So r-Sensier) b Stu dy in B minor (Sar-Bibobi) b Study in E minor (Sor) b Study in E minor (Carcass!) a Study in G (Sor-Bream) c Sueno (Tremolo study) (Ta rrega Sensier) ... ... . .. a Suite in the Manner of the 17th Century (Usher) ... ... . .. b Supplication (Froane) b Swallow, A. (Castag na) . .. . .. a Tango Allegro Flamenco (Marin-Sensier} b Tango Espanol Flamenco ( MarinSe,isier) ... ... . .. a Tango in A Flamenco (Marin-Sensier) b Tarantelle ( Coste) .. . . .. . .. a The Young Student (Little Reverie) (A. de Ve key) .. . a 1"hree Studies (Aguado) a Tirolesa (Giuliani-Sensier) ... a Tower Hill and His Rest (Farnaby) (a·r,: as Duets by Duarte & Usher) b Tremolo Study (Carcassi-Sensier) ... b Tremolo Study in A major (Tavarr o) b Tremolo Theme '(from Fantasia-Capriccio) (Vinas-Harker) ... . .. b Two Catalan Folk Songs (arr. Sensier) b Two Chopin Preludes, Op. 28 Nos . 7 & 20 (arr. Weston) ... b Two Eighteenth Century Airs (arr. Peter Sens ier) . .. . .. a Two Guitars (arr. Geoff Sisley) a Two Minuets (Paganini-Sensier) .. . a Two Preludes-Lagrima and Endecha (Tarrega) (arr. Appleby) . .. a Two Polish Airs ( arr. Wilfrid M. Appleby) ..• ...

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Under the Pear Tree (Wyssotsky - Perott) Vais& Etude (Giul iani) ... . .. Valse Etude Op. 32 (Sor) ... Valse Op . 64 No. 2 (Chopin) (arr: Peter Sensier) .. . ... . .. Venetian Barcarolle (Mendelssohn Battine) ... Vivaca con Brio (Giuliani) ... Waltz & Rondo ( Carulli-Sensier) Waltz Op . 39 No. 15 (Brahms) Water Music Air (Handel-Weston) Weaver's Song (Wyssotsky-Perott}

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Printed for Henry G . Waker Lio1it•d (01-278 1522/3). 203 Kini!< Cross Road, London. W.C.1 by H . G . Leates Lid . , and published Proprietor•, 11.M.G. Publications Ltd •• 20 Earl ham Street, Cambrid;e Circu,. Lendon, W .C.2.

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