MUSIC IH THIS ISSUE

. Banjo Solo" SAVOYAMERICANMEDLEY" Ha w ai i a r Guitar Solo " PLAYTO ME,GIPSY!"

Ma n do l in Solo" PEACEFULISLE" Guitar Solo (f ing. or Plec.)" OVERON THE SUNNY SIDE"

APR IL , 1934 [ Pr ice Si xp e nce

"A R.EVELATION J
IN CONSTRUCTION'' Read below what W. A . says :-

THE
'_
'CONCERT
GRAND " BANJO
•· My pupil has made very rap id progress since receiving the' CONCERT
GRAND ' Banjo . The instrument is certainly all you claim it to be ,
and I was agreeab ly surprised . The workmanship is a reve lation,
the hand le has a comfor table feel when playing , and the tone is full
and rich ." w :A.
Price 21 gu ineas .
WITHOUT FL A NGE AND RESONATOR, 18 guineas
H IRE PURCHASE T ERMS
TWELVE MONTH LY PAYMEN TS OF £2 4 0
or without fh'lnge 3.ndreson:ito
r
T W ELVE MONTH LY PAYMENTS Of £1 17 9
FI VE- STRIN G, PLECTR UM- or T ENOR- BANJOS
/'llll fiu• /lrt,fx,1m/ fi,, m
0
.\
 ii . B.M .G. [Ap ril , 1934
THE NEW
' ORDER
BY POST
Thousands of our customers
'HAVAN A'
BAl\'JO OR TENOR-BANJO
from ever y part of the
globe- regularly send their
orders by post, knowing lbeir
requirements will be care -
MUTE
.\ 1m1t..-i, :111 a:,.,,.•t t, , ,·, ·et)' h:i.nj,,i,t . 1>:1rti1.•ul:1r-lr in
fully dealt with by our com• t,iani.~i, ,,11 nh'''Cll'l·,u,. J,,r it 11<•l t111lr .,.,, (ten, the
petent staff . For over forty
PATENT h,nc but ,w..:ctco~ it :111,Ia,lds nrn,kal 1.1ualih·. ;\h)r1.• •
,wl·r . ,, h, ·n 1)l:1ri11J.:M•ftly witlh•Ul ;, Ulllh ' t -h, ri; will
years we have specialised MANDOLIN PRICE alw;1y.s b..· the h:'n~k•nl'r to 1>lar :-trpCt,:Kio~ i 11M,•;1d (•f
,t:1n· ;1tv dll•r"~I,.
in fretted iastrum tnls and
4 16
•, En·n t lw
accessories , and the name
SLEEVE GUARD .\ UH.at,· is ;il,-, , us1.•(11l (,,r" quiet J)r:i.,·ti,•,._
lw,-t pbroers nw,t lle.: ,·ot c :1 ccrt:i.i11 :i.m,1unt .._,(tim(• h•
1,r;1,·ti,·,,: :i.rt.l :-,•me.:,1( thi:- mi._:ht , with :1,lv:111t:t1'(\', lx·
CLIFFORDESSEXis known AND TAILPIECE Sent Post Free
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United Kingdom but in every

COMBINED panies order ,)ht:,in:, i,lc ii-. un,l,1ut1..'tll)' , th(• •• I l:l\ ·:1n.'\.'' which i:0-
filll..'1.I,ll1 th.._• :--trin~:-, lx·t,,•~.;.•,, th1.• brid>t"1..' :rnd thl!'
t.\iloi,·c.- (as ,lwwn in the ill u.,.trati,,u h...•hm•I anJ c:rn
countr y in the world as This combination sleeve guard a nd tailpieee bi.· 1111.•\ ,l M' that it t. •uchi:-:- lht.· hrit!l{c :-111.I. in :111
'1."
be ing associated witb every- is heavily nickel-pl a ted. Supplied compl e te i11,-1ant pr0\.luc(':- 1h1.•:,,,w'-'\:'l'-•:-,l
11Hth:J l.ff,._"'
~l ,•bt;1 inabl1.·.
with !:Crews for fixing. which can be
thing the discriminating accompli sh e d in a fe w momen ts .
player requires . Do not hesi -
tate to ORDER BY POST.
·~ r- hnv.
CLIFFORDESSEX & SON. - IS"' CRAl"TOH
- -- - ,5
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DONO s~
z LO
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.-T H E "SIEGEL"- •- · -· -· -
1 P LECTRU M
A f!I..-Ctr'Ulll known

I ~;.\'~~;!~k i~~r~N::~
tcd in.,.tnimcnt
1

1ll:1y•
I ~~;:!::';1r~~t'~•;;•.~1
from i1nit ;1tinn
~:~~
1or-•

I ~;,~~~:t'~,·it~
1

led cJJ!cS
i,~~.t~:
I, CLIFFORD ESSEX & SON Price
15a, Grafton Street
.• t,,, .
each 6d. .\'},~:.,.
,}-'
I •New Bond Street , W.1 • ,'fl_,•/i m·c"'u />(lm·,.s.,rtl,•r j

THE BANJO AND PRICE

HOW TO PLAY IT
EMlLE GRIMSHAW
3 '-
SENT POST FREE IF CASH ACCOMPANIES ORDER
.4 complcl<- modun mclhod for tl1c bon;o. The c&ork.
of a n au th,,, ft!I who knor.c1cvcrµthing (hat is u1 orth
.knowingabout the bc11Jo, wha ha, ualis;:d wbq( u,a.s

THI,
1MPROVED '' KA MI Kl,, Mcdcd to b1idrc the gap, 1vhlcli, unlit this boo~ wa,
publishc.d . existed bclwan old-fashioned
instructi on on d the tcma1l{oblc d<-11c.lopm<-nl
book,, of
wMd liq$

POCKET "
token place in banjo playing J1,11in1 late year,.
HAWAIIANGUITARMETHOD E1.1c1ythi11gth<-h<-gin11erwan/$ lo }cnotC i, to 6c found
T m:- mctlw,,I i, nudou.ht.,·lll~• th1.• mo:,.t
i,r :u·tic:11 ,·:n,ily unl1..·n-t,ll><l l,ookof
:'UHi
in tbi, book. and the authols ltcalmcnl . suuli culatly
PRICE in rdalion lo the. inuu,ion of chords, is street, ahead
its kind llll 1hc markd .. \ 11:-upcrtl\1..>us
,._•~pl:rnat i\) 1\ :-. h;1,·l· b.....:11 (•liminate-d :mJ of any thing allcmptcd b4orc . If you arc a beginner GU ITAR STAND
3'6 \\·hilc ...·,· .-:r)·thiui,:- or illll}llrlam:.-: is ju:-.t
wh..-r, · it i~ 1llO$l 1i'-'c,lcll. thcr..- :\rl· 110 h•nl,{.
hcw il,lt.·rinK c,i:pl:i.na l il,u .. c,•c._•11fu~clhl!'
!fOU cannot GJford to be wHhoul this up-Jo.Joie modctn
method .
Post Free
if cash
ac.companies
order
1.·~·1.
·_i-
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y would -I:..; 111:tr,·r 1•£ th,· llaw;1ii;111
l,u,l:,r.
SENT POST1FREE IF ~ASH ACCOMPANIES ORDER
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~r-~
IS" GRA,. TC»I $TIUl!r , HEW IJON O s~ L..OHDOH .W. ' ·
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15 " CIU t fl"f OH S"fR EET. NEW B':),-,,D 5-.; L ONOON .W . I

l[ ~=~~
IUIBICRI
8
of :::ei~~n~
" B. M. G." on
the day of publi-
The "Pocket" Gu,tar Stand is evolved
on entirely new principles. Here's a
\ ,\ r;:r~;~.,~
::a'.,;;;·:
-·. ·-.... . --.. ......... -·- --. ::::::iptions can stand that WILL fit the pocket of your
instrument case or overcoat, yet absolutely
~~ ..~'W'~·.1: st
1s cL"f:j: commence with
0
,,. ; 1~:;." m' , rigid when set up. Finished in frosted
;
.. 8 ~IC - ••t-ty ,...061J.. (o,t 1.. , 1.(l _, ... ~-M•
Pt.......
":
d -
.. , ,,. 11,~
any month . nickel plate PRICE
and Ii tt e d ,
buffers, it is
extremely smart
.................... .m ..'"" , •••'- ~....,a..... ......................... 71- for twelve
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with rubber
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... . . . . . . ... .. .. . .
the double Christ-
m a, Number,
Addrr;u .•
published at 11- ) . ~r-~.
..
15 "' CRA l "f0H S T'Rfi~T . N ~ W BOND S ,:' LONOON .W. ,.
 A Monthly Magazine devoted to the interests of the Banjo,
Mandolin, Guitar and Kindred Instruments.
-
Publi,htd on the First o/ each Month Edited by Annual Su bsc ripti o n , 7/ •
at Am e rican S u b scr i b e r s, 1 dol. 71 c .
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l'lE.Gll! N T i ,TRIQM P H t;. Ao v lL l'I Tl 3tNO ftATll!S W I LL B I! a &N T O N

61 81 •6 882 L ONOON" A P PLIC AT IO N .

VOL. XXXI- No. 348.) APRIL , 1934. [PRICE SIXPENCE .

AN ATTRACTIVE ITEM.,, it ems were presented musically, con-

N\)t£s.
cllld CC)mm£flts
BY THE EDITOR
One of the " features" of t he· Lewis-
ham Club pr ogramme was, without
doubt. " J ac k Freea r and h is Ple ct rum
trary to the type of " banjo act " that
has occasionally bee n pro du ced on t he
music-ha ll stage in the past years .
Banjo Boys ," who presented ban jo
A SIGN OF THE T I MES . playing in an u p-to-date and most MORE SIGNS.
HE Lewisham B ., M.and G. Club's en te rta ining form . It is the kind of Have many banjoists comparecl a
T concert , a report of which appears
on anot her page of t h is issue, may
be rega rded as one of the outstan d ing
"m usical act" that bids fa ir to attract
the attention of variety " book ing
agents " (who always welcom e a
printed copy o f a banjo solo with that
of a published solo for any othe r in-
strument ? If so, t hey have probab ly'
eve nts in the annals of B., M. and G. " musical act " that has a " general notic ed that whi le th e latt er is written
h istory, for never b efore , as far as I am pub lic" appea l). Jack Freear an d in accorda nce with musical notat ion
awa re, has a suburba n clu b concert his "Boys" will do much, by th eir and witb a minimum of ext raneous
a ttra cte d an audience so large as to public pe rform ances, to furth er the "signs " the former appears to have
overflow t he eaµa city of a concer t hall intere st in the banjo by ind ucing non- had the added attention of an account-
the size of the Lewisha m Town Ha ll. players to" lea rn to play ." All the ant or mathematician, for in no other
Between 1,100 and 1,200 people instrumen t al solo does on e encoun te r
at t ended and hundred s were, owing CONTENTS the profus ion of figures and signs that
to lack of accommodation, "turned """ appear to be essential to ban jo
away at the doors " long before the A.sw<0s To co •.,.s,o,o"'" -- ... ,,, musi c (eith er plectrum or finger style).
advertised t ime at which the concert " B.M.G, " ccua NoTts ... ''' The ban joist. is shown, on the copy,
was due to commence. ~:-~~;·;;,~:PLOM AS ... ,6g 'in which position (on the fingerboard)
And thi s in a dist ric t of London CA KK OF THV. MANl)OI,.1:S. By F rederic½ \ Vin slo,~ · :~; the chord or notes are to be formed or
th at is a long way from the central cosc&RT No"s ,,. pla yed; the fingers of the left hand
point . co••.s•o,u,:,ce ... ... ,, 6 to be used ; th e fingers of the right
Th ere must be something in th e E"""""' APPoONT•o ,69 hand (or, in the case of p lectrists , the
ap peal of fretted instruments. L,w,SHA~ Le,os. By A.P. Sharpe... ... •6i "strokes") to use; and undernea th
A promo te r of the "B., M. and G. Mus,c s"""""""T '" THos Issu<1- t be notes will oft en be found figur es
Festiva l" of years ago , and not so HAWAlU~GUOTAR so,.o-" PLAVTO ;i., Cu•sV," ,65 in circles denot ing the stringson which
'.\1Asl}Q1.1N SOLO -" PeAC £t'U L Isr,R • · ... ,66
many years eit her , would have con- GUITAR Sor.o(Fing. or Plec .)- " Ov•• ONTK< t he notes should be played . I have
;idered such an audience as "record" su"v Srne ... ... ... ,66 seen some four -note ban j o ch ords in
even if the conc ert hall was situated PL•~r:~i ..~~•J~_SoLO-"l°HK S.vov A>I KRIC~~,67 which the notes have necess itated the
in th e "he art of the West End, " which, PiANOFORH Acco~"""'""T. ByG. E. Gamble 163 addit ion of n early a doze n figures,
to my mind, proves that the attend- N ,01.•PL,.vi.-.:v Fo" a1r.~JorsTs. By Alf 1ed Kirby ... 164 letters and signs!!
ance at the Lewisham Club' s conc ert NEW Music A:-1D You k RKPERTOIR£ . B)•"Obsen·er" 157 And that i; the reason why banjoist s,
is a definite sign that fretted instru - RADIO Nx w s . .. : 7o - a$ a general rule, ·are u lost" when

ments have a following that will, in SHARPS"°FLATS... ··- i69; · rea d ing music ot her than th at written
time, rival that of the vio lin , piano So"l. ~~:U:. 0 0 1
1~~• ~ .. '" -~"• ~..STo_"- x.~1. _Y,6o
8
specifica lly for th eir instrument owing
and kindred instru ments . The "record" TH• BANJo B•so. ByKa,. oo1b,• ... ... osG to the abse nce of the usua l direet ions
au dience also reflects great credit on Txt-:.FA~roUsGutTARlSTS JN RUSSIA.
By1)..-. Boris or ft i-oadsigns. II
A. Pe,ou. Ch~p,:r XVIII. ... ... ... ... YSS>
all members of the club who assisted, Ttt<L•1ctt
•oN-s,. ;1us1c,cF•sT1v,1. ... ,,o I have received req uests that the
by sellin g tickets, in making th is hug e Tult LkWIStCAM B ., M. AXO G. C r.uu CONCt:NT • •• 159 u Savoy American fvledley," since the
atte ndan ce pos.~ible. THrf{~~~~:/,i-~:~1eeu;·
GU!~~!i:. ~:·;;~'v;t!~"
a~~ r57 fact wasannouncea that it would be
THK "SAVOY AM&RICAN M,u,!;t\ •,1' By Ber t Basset( 164 issued in ''8 .iv.1
.G.,'' should be arranged
 156
B.M.Ci. [Apr il, 1934

for finger-sty lists , while othe rs in relation to other bands of

ha ve urged the claims of the the " vellum " class, is due to
plect rum-style . To include the inclusion of instrum ents of
arra ngeme nts for both sty les var ied "voic ings."
in "B.M.G ." would not be The Aston Banjo Orchestra
possible and so I decided to stands in a class by itself as,
arrange the "Medley "' in a indeed, does also the Luton
way that woul d be, as near as Mandolin Orchestra .
possib le, app licable to be>th
sty les. Although the ar ran ge- We are not yet sufficient ly
ment looks defini tel y " plec - progressive and th is must b~
trum," I have so arranged it alte red . I want fretted instru-
that stud ied in conjunction ments to become a" cult ." I
with the ar t icle on t he subject, like them and I wa:,t other
included in this issue, finger- people to like them also, ,met
the way to " put them over,.
stylists will find little difficu lty
in adap t ing the plec trum solo is to form really good mandol in
to finger -style and, at the and ba njo com binati ons, for
same tim e, it will materially ccncertec• mu sic app ea ls to the
help the finger-style player to major ity .
he not so depende nt on "road But "hat constitutes a good
signs ."
.
Several correspondents have
FRA NK DAY'S W AIKI KI B EA CH H AWA IIAN S
who are proving very popular with the public at Cinemas and
Theatres in the Leicester district.
band? Do we, for instance, like
a drum and fife band '
Wou ld we enjoy listen ing to
sent ·me a "cu tting" from the a °:>andof piccolos or ba ssoons ?
London Evening News, of March 1st , liable to give the non -playing public No, perhaps not, but add the int er-
of an article headed " What must I the impr ession that the ban jo is "a mediate inst ru ments, i.e. , the clarinet,
play next ?" (by F .B.H .), in which the thing of the past " which, as readers flute and oboe and we have a delightful
writer refers to the ever-changing ideas of "B.i'II .G." are aware , is far from wood-wind orchestra . ·
of band leade rs and conductors regard- being the case, and the success of To obtain a rea lly good effect we
ing fretted instrum ents. the numerous B ., M. and G. clubs and must have · an extended compass -a
The following excerpts from the concerts goes to prove that th e banjo range of v-:>icesfrom low to high.
ar ticle tell their own story : is as popular a mu ·:ical instrument The sa me app lies to the " brass "
41
•••• to mak e any headway at all, a dan ce as ever. instruments, and · these, with the
musician must be tluJroug/,ly co 1wersant "strings" and the "battery," give
wi t h three or four instr umcnts i and possess
~uch ver satility and adaptab ility that he c~n THEBANJO
BAND. us the Grand Orchestra.
But let us deal with the "strings,"
play a fo w more if required . Moreove, -, no By KATE DOLBY.
· slip-shod playing is all owed ; he must be which is the section of the Grand
Y rather vehement advocacy
jazz boom ardved , pouri ng int o the ptibli c
• ear the rhythm of saxophones,
M
e xp ert in a ll he touches . . . . . Amu~i cian's
lot was a happy one until 1920, when the

banjos,
of the banjol in is to show that
we have the ideal inst ruments
Orchestra nearer to our own instru-
ments .
The first violins repre sent the
sousaphones and drums . The violin he ld with which to complete the varied soprano voice; th e second violins the
its own ; but oth<!r str inged instrument s " voicing " so necessary to a rea lly alto voice ; the viola the tenor voice ;
Fell out , and th e da,ice band , as someth ing good banjo orchestra. the 'cello the baritone voice , and the
different, came into being .. . . . In 1924. At present, so far as I know, the
the teno r"-banjo made its appear a nce, and
double -bass the " basso."
a.II banjois ts quickly had to adapt their ea 1·s on ly banjo comb inat ion of any note Thi s is approx imate ; for a musical
a11d fingers to it. The I G · ban jo vanished is th e Aston Banjo Orchestra. inst rument has a wider compass than
and surprisingly, the soprano saxophone Of the hundreds of banjoists who the human voice.
went with it , and has ne ver r egained favour. heard this band at the Federation
. ... The happy ban jos and oompa-ing
Incident ally, the double-bass ' is so
Sausas we1·e ban ished in no time and their · Rally Cont est many will have come called because, in earl ier times, it was
players had to sor t themselves out a mon g to the conclusion that its supe riorit y, used to double the bass parts played
lau~uun.m~ g uit ctns a m..l. :suu l- bv the ·cello.
fu l doubl e -basses.
"The arrival of the teno r
• It is now given an in -
four-s1r i1lg guitar in 1932 dependent pa rt, the 'cello
made the ordi1lary ~ix-st rin g part being more florid
players feel thatthey hads::ome than formerly.
supcrflous fingers on their There is another instru -
left hand s. . . .. Once upon
a tiine, I j oin ed a band as a men t that I wish to attach
violinist ; sioce then I have
I
to th e violin family, and
played G • a.nd teno r-banjos, that is t he ha rp- at once
te1101·-guitar a nd xylophone
- and now I am gett ing to
a solo and an accompany-
g rip s with a piano accordion. ing instrnme nt and often
1\1av•be I sha ll have to leatn used with the " st rings ."
t hepgraud t'rgan next." The mandolin family has
Although B. F. H. may had the good sense to
be correc t in his allusions pattern itself similar ly to
t o dance mus ici ans in the violin fami ly.
general I would suggest As Mr.Winslow remarked
th at his remarks in respect in his very excellent article,
to the banjo (or " G" the octave or bass manaola
banjo ashe inappropriate- is now pract ica lly obsolete,
ly terms it ) a re m islead ing FIV E MEM B ER S O F T HE LATE WA L SA LL B., M . & G . the tenor mandola hav ing
in asm uch tha t they are C L UB , W ITH M I S S FLOREN C E E. BROUGHT O N (centre). taken its place .
 April, 1934] I .M:G. 157

Add, to the" mandolins," the guitars This concludes my thesis. I think composit ion until they have heard it .
{plectrum or finger style) as a substi- the onus for the encouragement of played , claiming they do not intend to
tute for the harp and you have a banjo and mandolin bRnds lies on the spend the ir money for music that m ay
perfect mandolin orchestra. Federation . not in t erest t hem. Consid8ring t he
This instrumentation should b~ At their annual rally and contest, very small out put, most players can
considered " standard." • classes should be provided for both sure ly afford to send for all the new
There are, of course, many other mandola and banjo orchestras . solos adve rtised by reputable publishers.
instruments with wooden sou nd-boards, If no incentive is he)d out to players No music ho use, nowadays, can
such as the long-scale ukulele and the of fretted-instruments, what induce- possibly afford to t ake the risk of
Hawaiian guitar, that can be effec- ment have they to uplift or standardize issuing a worthless piece of music, so
tively combined with tlie mandolins , anyth ing . the possib ility of striking a "dud " is
but I should consider these as " extra " All the same, the clubs must do their reduced to a minimum .
rathe r than " standard." part.
I am not, of course, telling you any- My remar ks, of .course, allude to
th ing new. There are hundreds of amateur, not professional combinat ions.
pieces published for mandolin orches- THEMANDOLIN,
GUITAR
tra. I am rathe r urging you to take {Plectrum, Hawaiian & Regular)
advantage of this .
Now, having "straightened out," as
it were, the violin and mando lin
NEWMUSICANDYOUR ANDUKULELE.
CONDUCTED
BY A. de VEKEY.
families, what about the banjo band ?
One wonders why banjoists are so
REPERTOIRE. "Toneless" plays a zither-banjo
slow in adopting a standard instru- By " OBSERVER " and comp lains his instrument sounds
mentation for their bands. " dead " beyond the first few frets.
I RST impressions are not always
The reason, however, is :10t far to
seek.
The banjo, being a chordal instru -
F safe w hen judging a composition,
because many playe rs cannot
He also asks whether a tone ring
would improve this.
Answer.-The tone ring is only
ment is, to an extent, sell-sufficient. form an opin ion of t he merits of a tune suitable for a banjo. If you placed
The violin, also the mandolin family unti l they hear someone else play it; your instr~ment in the hands of an
of instruments, are, with one exception, and even then the ir decis ion is likely expert, he could, no doubt, do some-
tuned in perfect fifths . to be prejudiced by the manner in thing to improve the tone but, without
They are, for the most part, melody which it is played . If the rendit ion is having the instrument for examinat ion,
instmmen ts. Chords can be played on good they like the solo; if delivered it is difficult to say exactly what might
them, but not easily. poorly they do not. be done . A best qua lity vellum,
Closely allied to this type of player properly fit, ed, might improve the tone
Therefore , to form a choir of voices is the one who imagines the pr oper
they need the assistance of other of the instrumen t . I note what you
composition is one writ ten by some say about the handle. Th is, of course,
members of the family . Tr.e banjoist well-known composer. They hammer
laughs and says, " I can make my own should be rigid. In the circumstances
away at one particu lar com poser's I suggest that you put the matter into
voices." music j ust because it was written by
That, however, is not so, !or the experienced hands.
him, no attention being pa id to the
limited compass of a banjo cannot merits of the piece or to their ability
cover the ent ire range of the various "Mandolin," London, write~: - " I
to play it effectively. have made a flat-back mandolin and
voices. Different players have dissim ilar
What the banjoist can do, is to play carefu l measurements show it to be
ideas as to what are t he essent ials of
a melody with the attendant harmony absolutely perfect, as I have taken
a really good solo . There are some some hints from well-known makes .
which, of course, is very effective who will play only those solos that
{pleasing) and it is that fact which is The bridge is cut back exactly the same
are difficult, or seem ingly difficu lt; as on some of the other makes I have
ha lf the secret of · banjo's popularity. t hey believe, quite wrongly, I think,
But one has only to hear a band s.e1:i:
n. ThP. ''F." ::inri "A" :tre in
that aud iences are most like ly to be
consist ing of banjos only, to realise tune, but I cannot keep the " D " and
impressed by t his type of solo. Others " G " in tune on all strings, and my ear
that the re is something lacking . like a solo tha t has a tuneful melody;
Of course it is the higher voices. is very sensitive. I have tried two
some prefer unusual harmony, and a differen t makes of str ings, and the
Mark you, small combinations of great m:iny apprec iate most the
ban jos such as trios and quartets are curious thing is that one string is
effective solo that can be played with
very delight ful, but for a fully balanced right a t the twelfth fret, and the other
a minimum of effort. is not. Can you explain this ?
ban jo orchestra yol! must bring in the The more a playe r likes a piece of
other instruments of the family, which A nswer.- Strings do not always
music, the better he will play it; his " pair" properly. The only th ing to
consists of first and second banjolins ; repertoire, the refore, should contain a
tenor-banjos; bass banjos and contra- do, presum ing that every thing else is
selection of solos he likes best . By
bass banjos, plus, of course, the good in order, is to keep experimenting unt il
playi ng a few selected solos over a nd
old banjo itself (played either finger or you find those tha t do pair. You
over again until he feels sure that he would be surprised, incidentally, at
plectrum style). can render them well and with confi-
The ban jos approximate to the the quant ity of str ings one uses on
dence, a playe r will soon have the
guitar and the harp in the other some occasions, when experimenting,
nucleus of a repertoire. Afterwards, or when testing various fretted instru-
fami lies. this shou ld be added to-very care -
This shou ld be standard . Banjoleles, ments .
fully. There are few things more
for instance, would be " extra." inte resting to an intrlligent player R. W ., Glasgow, takes the oppor-
You may now use the same reper- tha n th is gradual bui lding of a reper- tuni ty of extending his thanks for
toire as the mandol in orchestra if you toire; he experie nces all the enth u- " some very valuable informat ion " he
wish, although music written specially siasm of the ardent collecto r. has received from this corne r of
for the ban jo and, perhaps dance mus ic There are a great number of players " B.M.G.," and asks further adv ice
also, is best. who will never send for a new on chord tremolo.
 158 B.M.G. [April, 1934

Answer.-The small bone in the fore- regard to the following difficulty : key in which you are playing, but as
arm may be said to be the pivotal I can manage chord work all right, regards the minor scales the key-note
point . When you are more advanced, but my single note picking is not at is denoted by the first finger. I have
you will find that the tremolo is not all ' clean.' My quest is for some not given the minor fingering for t his
actually • reckoned by any definite uniform system of fingering scales, you can evolve from t he system I have
number of down .and up strokes. for daily practice, to help synchronize given for the major scale. With regard
The speed of the tremo lo will vary a the work of both hand s. If it is not to alternate picking, most playe rs
littl e according to the nature of the possible for you to give an example adopt the method of " passing on " the
piece, but it should be smooth and in musical notation, perhaps you could down stroke when a change of string
continuou s, witho ut any trac e o! " jerki- explain how one might do th is, and occurs, but it is quite permissible to
ness." Note this when pract ising and whether consecut ive down and up use the alternate strokes irrespective
you will soon achieve the desired result. strokes could be used. of change of string. If you require
Do not grip the plectrum too tightly. Ans,ver.-Yo uis is not the first any further help in the way of musical
Actually, it should "give " a little query I have had on th is subject and, examp les, and will comply with the
when playing. A beaut iful tremolo had you sent your name and address, first few lines of this reply, I will be
for soft chord work, is the thumb with the usual S.A.E ., I would have only too pleased to help you.
tremolo with arched wrist. Most forwarded an example direct. I will,
exquisite shading can be obtained by however, expla in the method , as far
th is method, which has a smoothness as is possible with t he printed word, D. S. R., Cardiff: " I would like to
and charm of its own, a:id when insert some position dots in my guita r
preceded by a gentle sweep of the fingers fingerboard . but no music stores seem
at, say , the beginning of certa in bars, to stock them . Could you tell me
is distinctive in its effectiveness. It where I can obtain some, and the
is possible to " palm " or slip the usual spot to put them."
plectrum between the first and second Answer.- These are obta inable from
fingers when execut ing this movement, Messrs. Clifford Essex & Soa, or you
subsequently ret urning the plectrum can buy a few guitar bridge-pins having
to its normal position without any a pearl eye inset, which will suit the
interruption of the solo. My " Seren- purpose. Remove the pearl insets
aders " featured this method for years, and insert them at the fifth, sevent h
with two mandolins or banjos playing and ninth frets. Some place them at
this tremo lo in different positions while the third and the twelfth frets also,
one of the deeper voiced instruments but the former is usual. They can be
played the solo, and thus a most inserted either on, or at the side of,
artistic effect was obta ined. A "s plit the fingerboard.
stroke " effect, not only on the ukulele,
but also on the mandolin and banjo, A. W., London, is a young nmndolinist,
can be occasionally employed with and has composed a solo for this instru -
excellent effect. ment, but he is doubt ful as to the signs
necessary for the plectrum, some pieces
G. B., London , is contemplati ng he has ditlcring in this respect.
making a guita r, and asks a number of Answer.- The plectrum signs you
questions as to the best dimensions send are usual, and I would .idvise you
!or a powerful plectrum-styl e instru - to use thei:1. Yes, I know that some
ment, and requesting siz,e; thickness of mando lin publicat ions have the words
sides, back, soundin g board ; and " down " and " up, " and " D " and
height of bridge- for flat or 'cello- " U," but l do not recommend t hese.
built model as considered advisable ; Francia's method is a short vertical
best scale ; wood, etc. stroke for " up," and a ~hort horizontal
A11s1~er.- Rather a " ta ll " order. RONALD F. BURDEN , st roke for " down," but the examples
It would ta ke many pages of close of ThorpeBay, winner of the CliffordEssex you have sent are those in genera l use.
Gold Medal for Banjo Playing at the 1934
typ escript to give even an uulline ul Leigh-on-Sea Musical Festival.
t he necessary information and this, as
you say you have no previOllS exper- A. C. L. , Sunderland : ' · Can you
ience, would not help you very much. taking the scales of G major and explain this ? A friend was speaking
The better plan would be to test a G minor to illustrate my meaning. to a seaman about the guitar, and the
number of guitars, and when you have Commence the scale of G major, in seaman told my friend of a rather
decided on the instrumen t that appeals the second position, on the sixth str ing curious method of qu ick-tu ning for
to you as the ideal for your pur pose, with the second finger. The following guitar s thal he had noticed when at a
constitute that instrume nt your model, notes and numbe rs, indicating t he cabaret show. One of the caba ret
with any variation of const ruction you fingering, are for the left hand. G-2, ' turns ' w,s a verv smart mando lin
care to make. By this method you A-4, B-1, C-2, D-4, E-1, F sharp-3 , and guitar ·. duo• a'.nd, when halfway
will be able to learn far more about G-4, A-1, B-3, C-4, D-2, E-4, F shar p-1', throu gh one of their items, the guitar
the construct ion of a guitar than could G-2. This will give you the scale of player broke a st ring, but ' carried on •
be covered by information in th is G· major in the second position . For amazingly well in spite of th is. After
corner. I would suggest that, before G minor, you commence the scale on the item the guitarist ' put on • a gut
try ing to build a guitar, you take one the sixth string with t he first finger on st ring, and then seemed, somehow, to
entirely to pieces. and then re-:onstruct the th ird fret. You can apply this pu t the machine head in "ne utr al,"
it. You would certa inly find this method to other scales also. If you wind the string ' up to pitch • very
helpful in many ways, before com- commenced the major scale with the quickly, and then slip the machine head
mencing your own model. sec.ond finger on the second fret, you into " gear " for final tuning. I use
would be playing in six flats and, if on silk and gut st rings myself so, of course,
F. S., Manchester: "I would .be the fourth fret, in four flats . You will am interested to know where I could
very grate ful if you could help me with Jj..ndthat the second finger denotes the obtain a similar mach ine."
 Apri l, 1934]
B:M.G. 159

Ans1~er. I have seen these machine-

heads, but only three in all my experi- THE stu dy of the guit ar at an early age
and soon became an outstanding figure
ence. Two were on a guitar which I
had brought to me for repair some years FAMOUS GUITARISTSin He
the gu itar world.
was a military officer and, when
ago, and the other was in the possession on active service against the (then)
of the late Podmore Clark, the banjois t . IN RUSSIA. very ferocious Caucasian tribes, was
I do not know where you could obtain By Dr . BORIS A. PEROTT. ta ken pri soner and spent nearly two
one of these machines in this country . years in prison, togeth er with his
All the guitars on which I saw them, Chapter XVII I. guitar! ! The guitar, fortu nat ely, eased
were of foreign manufacture . As a Biographies of his situat ion a great deal , for the
matter of fact, my last experience of J. M. Stock ma n, J. A. Klinger na t ives were great music-lovers and
this type of machine -head was about and M. V. Po loupaenko always listened to his playing with
th irt y years ago. I h ave no recollec- eviden t l!ppreciati on . Thus his life
tion as to the name of the machine - J.M. STOCKMAN , in his a utobiography, was spa red and his impri sonmen t made
head makers, and I do not even wrote that he was born, in 1839, in St . more congenial by the friend liness of
remember whether the guitars had any Pe tersbu rg , and was by profession a the tribesmen towards their pri soner.
dist inguishing mark , but they certainly pedagogue . He commenced his gu itar In his unenviab le posit ion the guit ar
had no labels. playing in, approx imate ly, 1860, when proved of far more value . than a
he was a student . In relation to the revolver and in th at wilderness and
S. L., Liverpool, plays the tenor-banjo guitar he careful!ystud ied the schools of
and guitar ; he knows all the chords, isolat ion, was his one consolation and
Carulli, Carcassi, Lenian i, Aguado and protection .
and can play them in " acceptab ly good Sor. and he also collected a compre -
time, " bu t is a little undecided as to After his ret irement from milita ry
hensive library of contemporary gu itar serv ice, he decided to estab lish himself
whether he should join a dance-band mu sic. He lived, pract ically all h is
now, or whether he should be " still permanently in Kursk with his frien d
life, in Kursk. north of Ukraine, and in Stockma n. • The latter part of his
more proficient " before doing so, and 1883 he inaugura ted , by per mission of
would welcome any adv ice to this end . life has already been described.
his friend , Profe ssor Ant on Rubin ste in , He wrote man y original pieces for
Answer .- From your letter, I gather the Director of St. Petersburg Con-
that you can play, fairly well, the the guit ar and also arranged many
servat ory, classes for the guitar at th e Russi '.ln airs for th e instrument.
chords in all keys on both instruments , Kurs k Musical Academy.
from music and the symbols . In this He was nom ina ted teacher at th e
<case, I would ad'vise you to join a small M. V. POLOUPAENI<O,a doctor by
Academy, but received no rem uner- pro fession, was born in 1848. His
band, for actua l experience in a band, at ion. H e had man y pupils, severa l
even for a short period, will produce far career as a guit a rist commenced in his
of whom gave perfo rmances in public medica l stud ent clays when he became
better results than ' plodding along ' by as soloists ..
yourse lf. a pupi l oi the, at that time, famous
Another guitarist friend of his, guitarists, Biruk off and Sokolowski.
Comjm lsory Playing in C/1ibs. Genera l Klinger, also became resident M. Poloupaenkogave his first concert
The articl e by Mr. R. Tarrant Bailey in Kursk and, for fifteen years, these in 1875, and being a great friend and
on the above subj ect , in the March two famous guitarists practi sed to- admirer of M. Decker-Schenk, th e latter
issue, is very interest ing, and while I get her practically every day . They and he often played duets in different
still maintain tha t compulsory playing gath ered round them many other keen Russian cities , such as Voronej,
(as general~y understood, and if rigidly players with whom they rehea rsed Harkoff, Youzovka and St. Petersbur g.
adhered to) is a mistake, I also thi nk every Sat urday . These Saturday He died in 1902, leaving many com-
that an agreed arrangement on t he part meeting s used to commence in the early positions for the guitar, including his
of a few members, at a special meeting, afternoon and seldom finished before famous "Cossack's R eco llection, "
who may be, more or less, of an equal 4 a.m. or 5 a.m . on the Sunday morn- which always appealed to me greatly,
standard, increases interest and prob - ing. And so it continued for fifteen so much so that it was always included
ably creates friendly rivalry and critic - years!! in my concert pr ogrammes . It is still
ism, but compulsory playing should not It was a sincere friendship, termin- in man uscript form , but I hope that ,
be applied in the case of any Club ated only by the dea th, in 1898, of some day, it will be published . It is
proper, and I have replied to querists General Kling er. not too difficult technically and it
in this 'Corner' accordingly. M. St ockman himself died in 1905. represent s t he rea l Russian sty le and
I could quote instances where players He beq ueathed all his music to the spirit .
have . refrained from joining a Club In ternationa l Guitar Associati on. H e
until assured that this compulsory rule also left several of his own compositions
would not be applied, but I have not
sufficient space in this ' Comer' to say
and many arra ngements of famous
Russian airs.
THELEWISHAM
B.M.&G.
anythi ng further at the moment, except
to add that I think the " Play or Pay " The date of LIEUTENANT-GENERAL
CLUBCONCERT.
section should be distinct from the Club J. A. KuNGER'S birth
is unknow n, bu t
proper, the latter which young players
could first join for experience and later,
no doubt, they would aspire to join in
he was much older tha n bis friend,
M. Stockman . He commenced the T HE concert give n by the Lewisham
B., M. and G. Club , at the
Lewisha m Town Hall, on March
1st, was one of the events of the B.,
with the" Play or Pay" sect ion. This, M. and G. season . An excellent pro-
in my view, is the better plan in order The Publishers of 'B.M.G.' gramme had been arranged but was,
to secure increased Club membership, will send a CompleteSolo, as is often the case, somewhat on the
and is also in the best interest s of all, free of charge to every lengthy side. A two, to two-and-a-
players, maker s, publ ishers, and readerwho sends the name h alf, hours programm e is ample for a
teachers . and addressof a new sub- practically "all mu sical" program me
scriberto thisoffice,together although on this occasion t he pro -
Alt correspond ence relati ng to this DE>part-
gramme was so cleverly ar ranged and
ment should be sent D IR EC T to A. d e Vekey.
85, Seabourne Road, Bournemouth.
with remittance so vari ed as to include items for all
 160 [A pril, 1934
B.M.G.
individual tas t es. All thi~. of course,
by th e way.
a stage "act," for the items were
obviously well•rehearsed and were
SOMEBANJO
SONGS
The introductory item was the club's played with an absen<".eof the "crash-
" signature" tune, "The Lewisham bang-wallop" effect that is someti mes ANDTHEIR
STORY-XXI.
B. M. Gees" (with vocal chorus), in evidence in the case of plectrum-
presented by the club in the approved banjo soloists. Th e "act" was pre-
manner of" stage bands" i.e. the club sented in the up-to-date sty le which By G. A. KEELER .
commenced with " tabs (stage-cur- appeals to the general or "variety "
tains) down," the latter being" raised"
gradually whilst the item was in
audience. Jack F reear gave an excel-
len t int erpretation of the banjo solo,
IN th is series, I have previously
considered some favourite Eng lish
progress. This novel, in the case of "Overtur e Medlev" in the finale of and Scotch songs, etc ., and we now
B., M. and G. concerts, method of which the "Boys·" joined with great come to t hose claimed by th e Princi -
introducing t he club was immediately effect. Jack Freear and his Boys pality, as Wales is occasionally sty led,
succeeded by the programffi'e proper, r eflect great credit on the Lewi~ham that Wales, of which, fortunately, it is
of which the first items were "Ma n t he B., M. and G. Club, and their ' act" stilltruetosayto-day" isaseaofsong ."
Guns,'" "Spick and Spanish," and will do much to popu larise the banjo The existen ce of such a body of songs
"Community Medley," played by the in the general sense. The items as belongs to Wales, make:; a selection
club, and render ed in the adm irable played included "L isten to Th is," more than ord inarily difficult, as
"D olby '.' manner, although "Ma n the ''Ri ding on a Rainbow" and" Medley r eaders of "B .M.G ." will readily
Guns" was lacking in synchronisation. of Popular Songs." understand.
Th is, however, was no doubt due to The second half of the programme To deal now, more directly with our
the fact that the players h2d not yet opened with the club items "Adm iral subject, Mr. S. J. A. Fitzgerald, in one
becom e· acclimatised to t he Andy," "Snnny Italy" an<l "S ing of his works on music states that "It
surroundings. Away Blues." '' Admiral Andy" some- will natu!ally be of interest to the
The first soloist to appear was Joe what lacked the "light and shade" English reader to know that ther e
Morley who, on this occasion, recalled effect to which the number lends have been man y work ers in the field
the" Joe" of years ago when he used itself, but apart from this , the general of research \\'ho have lovingly devoted
to be "billed " their ta lents to
as the "lightn ing ___ ___ the rescue and
banjoist," for his preservation of
chromat ic run s in t h e songs of
"Mazeppa" and Cambria, and
"Ad Astra " were amongst the more
master pieces of notable may be
finger-style tech- Plll:U;!l<'I! ment ioned, Ed-
nique, while in \\'ard Jon es (Bardd
"Donk ey Laugh," y Brenin) 1752-
he in t roduced 1824; John Parry
those inimitable (Bardd A la w),
effects for which 1776-1851; J ohn
he has a flair. Joe Thomas (/ euan
Morley is, un- Ddu), 1795-1871;
doubtedly, th e A ,PHOTOGRAPH OF •,THE LEWISHAM !B,, M . and G . CLUB, JohnOwen(Owain
"ace" of finger- Alaw), 1821-1883;
style exponents. taken on the stage ol the Lewisham Town Hall, March1st. Brinley R ichard s,.
Mario de Pietro was next to appear, performance was good. 1819-1885; Thomas Love Peacock,
and he played both mandolin and Mr. Bernard Sheaff, "Bo lero" and who wrote the "Marc h of th e Men of
tenor-banjo solos. His technique is "C ompany Mascot" in true zith er- Harlech ." 1785-1866; John Thomas
remarkable and I hav.i never heard banjo style and his performance (Pencerdd Gwalia ) ; Dr. Joseph Parry,
any other mandolinist, with the merited the dema nd for an encore and and Pr o fe sso r D avid Rowlands.
pos~ible P.xreption of Pers :chini, who the appreciation given. Among5t modern refurbi shers of Welsh
could rend er violin solos on the man- I had ju st time, before catching my melodies must be mentioned Ceiriog
0
dolin with the art and skill of Mario homeward tr ain, to hear Mario de Hughes .
de P ietro, His technique and ex- Pietro play Kreisler's " Liebeslied" as These investigators, of course, dealt
pressive playing is indeed worthy of a a masterly mandolin solo and "Light with the general aspects of Welsh
violinist "virtuoso, " albough his Cavalry Overture" as a tenor-banjo music. Here, naturally, as our heading
tenor-banjo solos seem to me, to suffer solo. Of the two I preferred the shows, we can only consider a few of
from "over elaboration ." mando lin solo. but I enjoyed hearing t hose old and beautifu l Welsh tu n·es
Mr. Jimmie Edwa rds, the · next his tenor -banjo "Medley of Popular that have been adapted to the banjo ,
soloist, played a well arranged medley Melodies" with which he responded either as solos or as" songs with banjo
of the " classics" in excellent style , and to the inevitable demand by the accompan :ment."
in response to a well deserved encore, audience. _____ Amongst the earliest adapta tions of
played "Who walks in when I walk ,-...----
out" (which appeared in the music
supplement of the March issue of
I ,.e - ---------
A few complete sets
- a Wdsh tune that I can recall is W. E.
Ballan t ine's arrangement, in one of his
banj o albums, of "P oor Mary Ann."

4
"B .M.G."). ".Jimmie's" performance of the last Volume This was an air arranged as a solo
was good, and his playing, vocal of,. B .M.G." (Oct., 1932, (with var iations) for the six-stringed
choruses and stage · presence
· combined,
f to Sept., 1933- 12 numbers) '"Mention of Ceiriog- promp ts me to rec or-<l
ma k e a P 1easing Item or any can be Supplied for that the firs: memo,·ial to be set up in \Vales
programme. 4/- post free . - lv Thomas Jeffer son (173 1-1826), the Welsh
Then followed Jack Freear and d ,·aughtsman of the Amcri,·an Declarat ion of
" The Lewisham Club Plectrum Boys,'' CLIFFORDESSEX & SON ludcpenclence, was rec e ntly ,,.wei led.
one of the brightest bani·0 "turns''. jP.lforson, it will be recalled, in his famous
15a, GR~FTON ST., NEW BOND ST., W.1 "Notes on Virginia, .. devoted a paragraph
I have heard. It really amounted to 1,,..._...., ___ .....,___ ...,.._., __ .,._....,1 10 the banjo-- G.A. K.
 161
April, 1934] 11.M.G.
banjo and the work was remarkably Parry as a solo for various instru- of ' Studies.' If there is any secret at
well done for those days (somewhere ments, including the harp, piano, all in this inability to acquire tech-
abou t the 1880"s) especially the varia- cornet and euphonium. nique, I consider that the cause is want
tion built on the "rolling style." Every- The " Maid of Llangollen " is one of of suppleness and strength of the hands
body at all musically inclined is surely the standard songs of Wales and was or in the fingers. To those who wish
fami!iar with this very old air, known ar ranged, with banjo accompaniment, to become proficient in their studies, I
in Welsh as "Ar Hyd y Nos." for in an early number of Turner's Banjo would advise obtaining the book en-
which a Mrs. Opie gave us, long ago, Song Books, now, I believe, out of titled " The System for Practising the
the words beginning "Here beneath a print. Violin and Piano, based upon Psycho-
willow weepeth, Poor Mary Ann." It The "Land of My Fathers" (Hen Physiological Principles" (price 3/ - ),
will also be found in many collections Wlad Fy Nhadau )- a song sung by Goby Eberhardt . If this system is
under t he title of " All through the wherever Welshmen assemble in followed, for even only half an hour
night," and has "served as the basis honour of St. Da,·id - has music ad- each day, I am sure that an improve-
of many a drawing room song. The apted from an ancient melody dating, ment in the strength of the fingers
English words, I believe. are by the it is believed, from the 8th cent ury. would be noticeable within a week.
late Mr. A. P . Graves, the well-known The Welsh words are modern and When using this system some of the
Irish scholar and the author of" Father were written by a_Pontypridd " ·caver, practice, such as hammered action,
0 ·Flynn" and "Land of my Fathers" Evan James, whilst the English words holding notes, stretches , ete., can be
(English words) . are by A. P. Graves as I have previous- done, silently, on the finger-board.
Just now I mentioned Thomas Love ly mentioned. I have not yet seen a Messrs. Clifford Essex & Son will be
Peacock, who wrote the "March of the banjo transcription of the song but able to supply this book, a ' System •
Men of Harlech." I have in mind as I feel sure one exists, as I have heard it which I can thoroughly recommend,
write, a magnificent arrangement, by played by wandering banjoists. because I know that those who adopt
Harry Turner, of th is st irring old 15th Finally, it gives one furiously to it will derive wonderful benefit and
century tune. This arrangement was think that at th e time that numerous will greatly improve their playing.
published by John Alvey Turner about clever arrangements of old songs were This System can be used in conjun ction
1895 and is well worth st udying from being made for the banjo, and practic - with the Studies and Solos mentioned
the point of view of what was expect ed ally also at the period when diagrams in my previous article, and can be
from first-class banjo players _in those of th e fretted fingerboards (then an in- adopted with adva ntag e by all mando-
days. The tune is incorporated in novation) were being newly published, lin ists and sguitarists, for the principles
Grimshaw·s fantasia entitled" Wales." the compiler of a banjo instruction of working is the same on most stringed
Welsh airs, etc., included in this self- book should write:- instrumen ts. Paganini used a similar
same fantasia are as follows: "The " The a uthor ,vould adv ise l he student 1 system.
Ash Grove," "Bells of Aberdovey" while the car is resting fr(Jm, a /Ja-njo t.-r.ercise. In order to make progress it is essen-
to take a lesson or two i1l the science of tial that your instrument should be in
(Clychau Aberdyfi), "Ap Shenkin,"
"Fair Cambria,"" Jenny Jones."
trnnn0 1\y or thorough b<tss if he ,vishcs to
bl!comc a gl'eat player." ,l condition for producing the best .
As a matter of fact "The Ash The ita lies are mine, and I leave The difficulties will be magnified if the
Grove" (the Eng lish words of which reade rs of "B.M.G J~: to t heir own action or setting of the strings to the
were written by John Oxenford) an d reflections on this point, but to con- finger-board. is not comfortable. There
"B ells of Aberdovey" (English words clude this sect ion of "Some Banjo is a limit to both low and high action.
by A. P . Graves) appear very ear ly as Songs and their Story," I would para- I, personally, prefer the action to be
transcriptions, i.e., as solos (with or phrase the old comp 'ler's words and slight ly high than too low, for if the
without variat ions) for the banjo. "Ap say "The writer would adv ise the action is too low a ' buzzing • effect is
Shenkin" and "Fair Cambria" are reader whilst the eye is resting from apt to develop although the strings
seldom met with, but "Jenny Jones" reading a ban jo art icle to take his would be easier to hold down, while if
is frequently encoun tered. This famou s instrument and play a few of these the action is a shade higher a clear tone
air is generally supposed to have been thrilling old tunes if he wishes t o will result. If your strings are much
composed in 1835 by John Parry , a become their great admirer." lower than n;" at the twelfth fret you
baritone who was also a pianist and In the next section of this series I will doubtless encounter the ' buzzing '
harpist. He was born at Denbigh in hope to d<'al, howf'ver imp<'rfectly, trouble. and if above 1/ , ; at the twelfth
1776 and died in London in 1851. He with some of the many fine Irish songs fret the action wilJ then be somewhat
was, at one tim e, bandmas ter of the and melodies. difficult and hard. The height of the
Denbigh Militia but, coming to London, (To be continued.) strings above the first fret of the
he became a teacher of t he flageolet, mandolin should be approx imately ~1r•
and subseque ntl y, Treasurer of the and no higher. It is necessary to
Royal Society of Musicians. His works adjust the action of either the mandolin
or guitar, but it requires much time
include " Ivanhoe," " Two Wives,"
"Castillo," "My Uncle Gabriel," etc . CARE
OFTHE
MANDOLIN. and patience to obtain jus t that height
Among his songs were "Oh, Merr ily By FREDERICK WINSLOW . for br illiant playing without encounter-
Row the Bonnie Bark " and "Jenny ing the trouble I have mentioned.
OMITTED, in reference to my Another important item is the correct
Jones" -the last mentioned being by
far the most popu lar . The words of
the ballad itself were written by
I previous articles, the fact that
many of the " Studies " and
" Solos for the Mandolin," of which I
position of the bridge . The bridge must •
not only be the correct distance from the
nut, but, also, must be dead central on
Charles Mathews and sung by him at
Madame Vestris' Royal Olympic gave a list, may be found rather diffi- the sound-board, t he distance between
Theatre, in his bur let ta of " He cult to play as there are many mando- the nut and the bridge on both the nrst
would be an Actor ." It was published linists who have great difficulty in string (E) and the fourth string (G)
for the proprietor by Cramer, Addison developing an advanced techn ique, being identical. In other words, the
and Beale, 201, Regi-nt Street, S.W. although this difficulty arises, in a good bridge should be set to an imaginary
The melody is known ·in Wales by the · many cases, through lack of sufficient straight central line through the centre
name of "Cader Idris." "Jenny practice or, maybe, owing to the of the tail-piece up the finger-board to
Jones" was aft erward s arranged by student not adopting the right system the nut, otherwise the tension will be
 162 B.M.G. ·[A pril, 1934

unbalanced. It must not be thought especially the A and E strings, will latter being a protection against the
that one can just place the bridge gradually wear hollow places in the influence of damp air, for, if you wish
where one surmises it should be placed, frets. A remedy for this is to' surface ' to obtain the best results from your
for there is a correct system that must the whole board to the same level. A instrument, you must give it much care
be followed. I have met even profes- good finger-board, when finished, should and attent ion.
sional players who, hav ing trouble with be practically as level as a billiard tab le, (To be continued.)
their instruments through 'sharpening ' for should one fret be a shade higher
and ' flattening,' have altered the posi- than the others trouble will follow. [I wish to thank those readers who have
tion of the bridge on the instrument in The str ing should be kept at the base written letlers in appreciation of my
order to bring a ' faulty ' string as near of the string -post and should not ' over- articles in ihis magazine, for this appre-
' true ' as possible and, at the same ride ' on the winding, once the twist ciation encourages me and re11wvesany
time, overlooking other defects that that holds it has been made. It should doubts I may have as to whether the articles
would become evident with this un- then wind evenly, each coil round the are of interest to readers. I t is also
certain method, for while the altered string-post, to ensure an even pull. I gratifying to myself to leam that such
position may suit two of the four pairs note that some players are apt to be interest in 01,r ' family ' of instruments
of str ings, the others would be either careless in this respect, with the con- is in evidence.-FREDERICK WINSLOW. )
' sharp ' or ' flat.' The best method of sequent trouble which occurs through
testing the setting of the mandolin, neglecting this important detail. Strings
such as the height, etc., is to use
engineers' steel ' feelers,' passing on the
should be wiped, both on the top and
underneath, with silk or soft cloth, after
LEWISHAM
LEADS.
under-side of the strings at the top of play ing, and should also occasionally By A. P . SHARPE.
the fret, but note that the G strings be lifted from the slots one at a time,
should be a shade higher t\1an the E , and the rust, which sometimes accumu- F the twenty and more clubs
runn ing 'down-h ill' with the bridge
saddle bearing.
lates, removed. A slight rub with a
vaseline cloth is advisable . The D O whose headquarters are situa t ed
in or arou nd London, I supp ose
Another very importan t item is that strings especially should be renewed it is fairly safe to presume tha t seventy-
the best make of machine-head should frequently for, when once the covering five per cent. of them give at least one
be used on the instruments in order to is worn through by contact with the concert during the winte r months . Are
render fine· tuning possible. There are frets, the strings become false and very these concerts doing the fretted instru-
many machine-heads having cogs that dull in tone. The G, A and E strings ments good or harm?
give what is termed a " back lash," hav e a longer ' life ' than the 3rds, but Without referring t o any printed
e.g., on being turned 'down' a 'jump ' all str ings should be renewed fairly programmes I think I am right in
occurs through a cog ' missing ' owing often to obtain the best results . I saying that th e average club concert
to the worm of the machine being always keep my instruments, those that given in the London dist rict commences
worn and not lowering the string I use myself, in silk bags together with with two or more concerted items by
gradually, or, when raising the stri ng, an over-c~>Verof a mackintosh bag, the the club, followed by (in more or less
half a turn may be necessary before the the same order) a mandolin quintet; a
machine engages the cog. soloist , perhaps Joe Morley, Bernard
In the setting the bridge. should not "Plectrum Playing Sheaff, Mario de Pietro or A. D.
have the tendency to tilt forward. The for Cammeyer; a humorist (in most cases
bridge should be shaped slightly, on a lot funn ier than he ever imagines) ;
the underside to give, if anythi ng, a Modern Banjoists" a soprano (or ba ritone) ; a banjo duet,
backward slant, thus ta king the strain By EMILE GRIMSHAW trio or quartet , and so on ad infiniti,m.
from the tail piece to the sadd le. And if one looks at the audience one
Years ago this fault was general in the SPECIA i, FEATURES: sees the same familiar faces that one
mandolins of a well-known Italian Every Sty le of Plectrum P laying has seen at these concerts for years
fully and dearly expla ined.
maker and, after the instrument had Inversions io a ll Keys.
and years. Now, I ask you, what good
been used for a short while, the bridge Usefol Hints on Tonc-P1·oductioo. can such stereotyped concerts do the
began to ' pull over ' or lean towards How to play Four-NoteChordswhile fretted instrument s if they do not
the finger-board, the front edge of t he reading from Three-Note Chords. induce non-players to take up the st udy
unders ide of the bridge ' wearing ' the All about Modern Dance Orchestra Play-
The Essential '-""fHa rmony . (iog. of a banjo, mando lin or guitar?
sound-board sp that when the bridge Howto Syncopate a Popular Song. At every concert given, about a
was removed a channel had been made How to Jrnp1·0\'iseon lhe. Baojo. quarter of the audience do not play
at the place where the bridge had Single-Note and Cho1·d Tre,nolo . either the banjo, mandolin or guitar,
Every Form of Staccato Playing ex-
rested, showing that the back portion plained and illustrated by numerous and are merely there to be enter tained.
of the bridge did not touch the sound- exercises. But are they? Can a repetition of
board at all. The round brass saddles Tremolo with Stacca to Ac..:omp'm"t. numbers written specially for an in-
had a tendency to ' pull forward ' in Sco res of Tunef ul Exercises . all of strument amuse a non-p layer of that
which arc clearly and c:onciscly
the centre of the bridge where the D expla i11
ed.
instrument? As a non-player myself
and A str ings rested, there being no Valuable Hints on Sight Reading. my answe~ is empha ti cally "NO ."
support to keep these str ings in the And tlt.c/oll<rwing . Solos and Duels:
How then can t hese club concert s be
·correct position and, being held by the presented in a way to interest the non-
outside E and G strings only, t'le middle :~e!J~us~tos-
PRlqE N0eturn in E fl:tt (Cl10/li11J
~!~~~n aJu:::~rum
., Migh Jink$"
players of fretted inst rum ents ? The
strings would be out of tune . Pilgrims· Chorus from · · Bl.ick and Blue" Lewisham B., M. and G. Club have
A fretted instrument player will find
that, in the course of time, some of the 6 "'Ta nnhauser"(Jl l'ngner) · · Two in a 8:tr"

- ''"h(T.:;i,~~!fm ,) ::~,~!~~~ Er:i,~s

•.~l·;
found the answer!
are On Thursday, March the 1st (before
frets will become worn much more than
others . A mandolinist playing a great
' L:.::~!~~,\!
J::!r.'s'e•:t /(t;:~ ~t) ··Cra%y l)M~~.w
with order srnd Londonderry l\ 1rarr. as:, lk,nJo Quarlcl
" the largest audience that has been seen
at a club concert for many years) this
EVERY PLECTRUM BANJOIST
deal in first to third positions only, for
instance, will find that the strings will I SHOULO HAVE THIS BOOK club gave their usua l annual concert
but it included an item which was defin-
have a tendency to ' touch ' and vibrate itelyunusual- Jack Freear's "Plectrum
on the frets in higher positions, these not Banjo Boys "-a modern, up-to-the-
being so worn. The pairs of strings, minute ensemble which must have
 April, 1934] B.M.G. 163

pleased every member of the audience "Jazz" has done more good for t he wanting in " backbone " when played
between the ages of fifteen and fifty, banjo than anything else during its unaccompanied . I would rath er it was
players and non-players alike. Th is whole existe nce. Before its introduc- said that the player is wanting in that
"ou tfit" consists of twelve members tion in+o the dance band the general essential if he cannot produce banjo
of the Lewisham Club playingplectrum - public usually associated the banjo tone without the help of the piano .
banjos, and Mr. Freear, who conducts, with a blackened face and looked upon Banjo tone is characteristic. and can
and their repertoire includes the it as a means of collecting pennies. stand alor.e without support from a
usual banjo numbers such as "Listen For the benefit of these anti-jazz piano.
to This "-their signature tun e-but, fiends I would like t o quote a parag raph (3) The last extract to which I
as their programme is presented prim- from th e London "Evening Standard," wish to refer is, " It will certain ly pay
arily to entertain, most of the numbe rs of March 7th. It said :- any banjo student, who has had a few
played are arrangements of popular 11 Rachmanino rr has arrived in London quarters ' lessons, to induce some pains -
songs, marches, etc .-and how popular and will, of course, play lilt Prelude. taking pianist to accompany him
with audiences that have been steeped He has w1·itten many- and better - pre• t hrough his various pieces a nd allow
ludes, but ooly the o,,e in C-sharp minor' has
in "Bonn ie Scotland," "R ugby Parade," achieved world famf':. him to point out the discrepancies in
"To the Front," etc ., and have never I once told him that I had just heal'd it time, expression, etc."
been 'shown how entertaining the banjo 'jazzed· and asked him what he thought of I will agree here provided the pains-
such desecration . ' I prefer it like th at, · he taking pianist be also a banjoist ,
can be to those members of th e audience ..-epli ed."
that do not play any part icular otherwise my advice to any st udent
instrument. who has had a
I consider that few quart er s'
an item similar lessons is to have
to Jack Freea r 's a few more and
"Plectrum- leave hisTeacher
Banjo BoyJ,:' if to do the point-
included in every ing out where
club concert, discrepancies in
would induce ti!Jle,expression,
more members etc., requir e cor-
of the general rection. Surely
public to take up the Teacher of
the study of t he the banjo is the
banjo than a proper person to
dozen Joe Mor- imp art this
ley's or A. D. JACK FREEAR 'S PLECTRUM BANJO BOYS. knowledge
Cammeyer 'sever rather than a
Jac k Freea r ; Jack Slade, Don Stent, Stan Pratt , Geoff Sisley, Cliff Sisley, Ernie Wickendon,
will, although I Bob Newson, A. C. Hayden, Bob Palmer, Bill Goodge . pianist who is
admit that both ( T·wo 111..em.hers· were uhsent wlu,i this pl,ctograplz was taken.)
not a ls o a
these players banjoist.
have done much to sustain interest in " Observer's" experience appears to
the banjo in th e past. PIANOFORTE me to be that of one who has not had
The youth of to-day is a modern the advantage of a banjo teacher, and
product and demands modern enter- ACCOMPANIMENT. therefore derived some help by being
tainment and, to interest him in any· accompan ied on the piano, and this I
fretted instrument, clubs must present By G . E. GAMBLE. fully apprecia te. It, however, occurs
that instrument in a modern manner to me that a large number of young
and so, I think that it reflects grea t j\ FTER perusi ng "Observer's" players may feel that they will not
credit upon th e Lewisham B., M. and /-\ remarks in the March issue, re make gcod with t he banjo unle s.~they
G. Club and Mr. Jack Freear, that they pianoforte accompaniment being can avail themselves of the assistance
are the first, if not the first, to show the essential to the successful rendition of of a pianist. If this view were taken
younger members of an audience tha~ ban jo solos, I should like to mak e a it woul<ldiscourage many , and possibly
the banjo is really a modern, happy- few comments on the following extracts result in their "not bothering " to
go-lucky instrument and not, th e taken from that article . continue with th e instrum ent . I feel
antiquated one used by nigger minstre ls (l ) He states that "The banjo sure, however, it is not "Obse rver's" ·
upon which to accompany themselves more than any other instrument is in- wish to convey such an impression, and
by plucking a monotonous " plonky- complete without an accompaniment. I think he will not mind my having
plonk." Whilst I agree that the righ t sort of disagreed with him on one or two
Th e older fretted-instrum ent players accompaniment is desirable when play- points, which I have done solely for the
are, I am afrai<l, inclined to look ing ban jo solos publicly, I maintain benefit of readers who may take him
askance at the younger generation that the banjo is the one instrument too seriously in regard to the pianoforte
because the latter prefer what is more th an any other that can be played accompaniment question. Let a player
commonly named "jazz ." Surely if without pianoforte accompanim ent. who - wishes - for . accompaniment to
one is to interest this younger gen- This is one of the many advantages it improve his technique etc., seek the
eration in the banjo, t he only way in has over other instruments, and th is is help of a banjoist in this respect.
which it can be accomplished is by often put forward in its favour when Combined playing with kindred instru-
showing the m that the instrument can adversely criticised by non-players. ments takes one out of" t he only child
be effectively used for producing the (1) Another statement ·,Observer" in the family " group, and tends to-
music in which they are more than makes is, " However much soul and ward the greater enjoyment of the
keen ? I am fully aware that a certain expression the player may put into his partic ular instrum ent one plays, as well
section of fretted instrumentalists exist playing, he cannot get away from the as helping one to acquire greater abi lity.
who feel that " jazz" and the banjo fact that the t one of the banjo is Therefore , do not depend entirely upon
should be "things apart ," forgetting wanting in " backbone." piano accompaniment but join in with
th at it was this so-misnamed "jaz z" Here again I cannot wholly agree. other banjoists and allow you r teacher
that really "pu t the banjo on the map ." I say the t one of the banjo is not to do what he is paid for.
 164 [April, 1934
B.M.G.
i.e., those bars having a succession of
THE"SAVOY six semi-quavers after the initial quaver NAIL-PLAYING
FOR
AMERICAN
MEDLEY." chord.
Example I and II can also be utilised BANJOISTS.
(For finger-style players.) in " Poor Old Joe," but the first four By ALFRED KIRBY .
bars (and similar bars) of this tune

T
By BERT BASSETT.
HE "Savoy American Medley,"
although published in an album
will be best if altered a, shown in
example III , and the last eight bars as
exa mp le IV .
T HERE can be litt le doubt that
strings vibrated with the nails
prodnce a clearer tone than when
plucked with the finger-t ips. This is
as a finger-sty le banjo solo. has N.B. The first six bars of examp le
not hitherto been issued as a plectrum - IV are also alternative t o bars 25 to 31 particular ly the case where the first,
banjo solo and I have arranged it as of "Poor old Joe." second and fifth strings are of steel.
such, in response to riumerou, requests, Example V, together with the Many players cann ot develope suitable
for inclusion in this issue. This arrange- previous examples, will enable the nails in any circumstances. l•requently
ment with but little alteration or finger-stv le player to adapt " Swanee they are inherently thin or very brittle.
adaption, can also be played as a finger- River" to his requirements . Then again, the amateur player, (who
style solo alt hough, as the plectrum - " Turkey in the Straw" can be played is, of course, in the majority) often
banjo ha s four strings only (the fifth, as written (substituting the thumb of follows some occupation which -inter-
or octave string being useless in plec- the right hand for the downward plec- feres w ith the growth and care of the
trum playing) it will be necessary for trum stroke sign, and the first finger nail s. In such cases the player must
finger-stylists to disregard the left for the upward plectrum stroke sign) as use his finger-tips. If the banjo is
hand fingering, as shown, b the case • far as the initial five bars are concerned, strung with gut strings, the finger-t ips
of some chord~ or run -sequern;es. But but uarssix,sevenantleight will beeasier are ac.cepted as the c.orrec.t m edi um for
the adaption should not present much if played as shown in example VJ, while plucking the strings, but if the player
is _azither-ban joist, or plays the banjo

·~-•~nm
:~~
IJp ............ b,'ll·· ••••••• ••
£.I l ~: ,, '

.j±~:§j •~ n·? ,tt

;i w 1;'ttLfjjS ./"il••·· , tp .. .. . ... .. ... .. , with first, second and fifth steel strings,
he should where possible, use the na il
,.iG3
1~· ~t;:'-,
method of playi ng. The finger-nails
shou ld not be pointed as they will be

rti
E"'Jr101>
· . . - •. - . . . . £,,.lf
inclined to grow "over" and hook the

UJFfaFFi .~ 0 1u5
1@WtuJ--6& 1
strings . Keep the ends of th e finger-
nails broad with a slight arch tow ards
the centre. Do not touch t he sides of
the nails, which support and strengthen
E,..J.Y

~
1....,,,.....,
··1·.:.....
SP-· · ...

f ..l,UU
.
Iy "-,F,.'~, . i .i ;,l ....,;,. -.. --- ... .... -...... : .... ·;
tj I , l;~ 1·~ E'J
~ ~
I:F iJC O9¥
them. By th ese means the maximum
resista nce is maintained. Do not use
scissors or files in trimming th e nails,
an emery board, as used by all mani -
JP....... ···- .. __. ... _.../11'....:tJ8;. ...... .. curist~. is all that is necessary to keep

jlf;f~ n 1ii· ~- •, ,. ~-;~,&~!

IJP t:,.:!l.
them rn perfec t order . A little olive

A] (aJI D"[J r~ I er I
oil, or vaseline, rubbed into the nails at
II
i -
night help~ to check any tendency to
crack. Finally, I have a practical
"tip" to give to nai l players. Some -
~ ~ If ,# - ... ... . times a nail will be accidentally split or

4 t
h ,Yii[
+. t . L IH IIi.HOf< Hi..
1 J::4Hffi£11If
.. ...
,.-,
.8.
torn. If the damage is not too exten-
sive, cut a piece of thin cour t plaster
(preferab ly flesh tin t ) in the shape to fit
the tip, moisten both sides and attach

hi IU &:o:iof
' I &•[jHlll@ErltrOU,f
zl
firmly. When dry ,. cover over with a
film of secotine. Renew as required
unti l the defect grows out. ·
ERRA7'.·/. People have often remal'ked to ine, "\Vhy
Th e I:':i11 llnr:J of E:1.·.l/l ..:./1
01•/d In: F. Tiu: dots a./lt:r lhefir# d10J-din E-:..
·. VJ should /Jc ,fmored .
hav e you $luck to the banjo a1l these 40 to 50
years," and I have invariably answered
difficulty, and the purport of this article bars nine to eleven will be more effect- ., Because it take s me away from bu$iness
is to suggest one or two alternat ives ive if played as example VII, and the anxieti es, it r"elievcs the tension tha.t often
that may be found .useful and, some: last two bars as shown in example VIII. arises nowadays from within, due to a sum-
times necessary, for finger-stylists . The introduction (marcato marziale ) mation of troubl es and worrie s. " lt has been
pointed oul Lhat "\:Vhatever artists and
The first six bars, for instance, can t.o "· Marching Thro' Georgia" should musicians themselves say, their patron.s come
be played finger chord-tremolo style be played as shown in example IX. to them in large pa rt, just as pat ients go to
but, as few players can produce the . . If attention has been given to t he docLors, for help, for relief, A good farc e
necessa ry ff tone when using this foregoing hints, the remai nder of the for example, is a public blessing. Meo leave
their' exasperations behind them in the theaLre.
met hod, example I, will probably be solo sho uld prove easy to adapt to th e They get much more than value for their
easier to accompl ish. finger-style metho d. money." , In the same way a good banjo solo
"Yankee DoQdle/' " Dixie" and the CliffordEssex & Son,
is a godser1d to many who are unable to
first eleven bars of" CamptownRaces" a,ttend the theatr e very orten. , Here it is
Den.!' Sin_;,, , . 19th Mateh. 1934. that banjo artists, like others artists, come in
,yillbe found to be just as playable in I am l'<.-ally 1,dC-Owith )'OL1rLong- Lif e Sanjo Srd
.-.sto,1
Stri1igs, .Th e one that I h::weo n m:r B:u,jo .tt present is: to relieve the " tension·· and it i'sjust as nntcll
finger-style as in plectrum-style, but tru e at every fret. I put it01l two month ~ ago and there a mistake 1J1t t/, e.psycliolog-Z:Catside lo cut do•um
is not a dc.nt or C\'C n n mark on it.
bar t\velve (" Camptown Rac~s ") will Othe r Ranjo Srd iitrings which I ha\'e ui«XI have e.~pendilnrt on 1nusic a,id mu,sic lessons as it is
be easier and more effective if. played gerlCr:tU)• lastod about a fottnight at the most. a mi.~laJuo,i tile physiolo ..crical side lo economise
l must therefore thank )'OU for introducing to me what o,i necessary e.~pendilttre on medi "cine .
as example II. • I think is the bc~t e,·cr'. ."lndI am hoping th.:ttbefore long
Mr. G. A. K!::ELER, in an address at
rou will a<l\'erti~ a similar i,;tringfor the PlcctrurnGuitM.
The method of playing exa_mple II You~. a me.,tiog of the llford
also applies to the many similar bars, ~O~;\l-i'N T,\Vl .OR:. B., M. and G. Club.
165
166

PEACEFUL ISLE
_ Mandolin Solo . PHIL BARNES
Con espressione .

wtif1iff 1f1tiFH1tr
, 1p fIfH1fff 1 1
.
if 1£f&1
r Ir P1t'H1f •.,
1
-. ~ p .
1
-

,q Ft 1Fr1r IetEIfli I f Irf t Itff i Ifit i 't ; f r1

=-- p . cresc.

,1 f fr 1f,,: 11t#ft1iflr1
1
E!MF f 1fr1r Iff f1Fdr
dim. p
tJII cresc. dim. .
Copyright rese"·ed by the composer
,,

OVER ON THE SUNNY SIDE

Guitar . Solo
·Arr: by BERT BASSETT (Finger or Plectrum Style) . JACK EGAN

Piano Intro. Slou·ly, an.d in tempo

 ·167

·THE SAVOY AMERICAN

ONE STEP
MEDLEY
Banjo .Arr : by . Pl ectrum Banjo Solo Arranged by
BERTBASSETT DEBROYSOMERS

"OAMPTOWNRACES"
12P... ._ SP 10B
n. ·..n··,;;
n ;;·······;;;··· ·····, SPB . !OB....... ........ ... ............. : 5 PB

&lti ~~liiifil111,
UflfitUff11 tffiflrmu,1
1lnl '1U 13P p (r) {f)
10B M n,;::::=
V l'\ I~ V !"I !OP !OB .... .... : .. ........ .... . .'........ ...... ....... ... .
• · · · ·•·•·•• ··: 4 / 3 • I. '' 4 ~ r, M V M V r, V r, ·
3 • 3 1·
2 : 2 I

p
ff
"POOR OLD JOE" 3B M 3p
3P M r, M VM V r, V l'\ !"" V !"I
4

SP'B

1
1
1: Jjw

. . (I ,, • . •

Is sued as. a Banjo •supplement to B.}t.G. by special arrangement with 'The Lawrence Wright Music Co.,Ltd.,Denmark Street, London.•W.C. .
British owners of the copyrigh t. To obtain a Piano accompaniment for use with this solo , every player should purchase. Lawrence Wrights
First Album of"Original Sa,·oy Orpheans Medleys" Price OM Shilling, obtainable from. M_essrs Clifford Essex & Son, 15~ Grafton St., W.I.
168
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 I

April, 1934] 169

8.M .G.
JAMES MORDEN, of . Bolton, "B ,.,
Grade (Plectrum-banjo). ANDFLATS.
SHARPS
Teacher : Mi~sBarbara Lobb ,A.T.C.L.
A COl'Y OF THE TESTS Nl::CESS..\RY
TO SECURE "B.Af . C." DIPLOMAS
can be obtained free of charge by apply ing
Examiner: Mr. Harry F. Grey .
I DRIS JONES, of Ebbw Vale, "A"
Grade (Ba njo).
I T is fairly safe to state that the first
thing a music student learns is the
names of the ledger lines and the
spaces between and it is almost certain
to the Editor, "B . ,11. G., ..
1Sa, Grafton Street,
Ex aminer: Mr. Lino Besagni. the way he or she will memorise these
Bond Street, ALBERT CARTLEDGE,of Upper Mar- is by remembering the notes E, G, B,
London, W. chay, Derbys., ".C " Grade (Banjo). D, F by thinking of Every Good Boy
The fo!lo\\'ing cand ida tes have been Teacher : Mr. John Bro ugh. Deserves Favo urs and thinking of the
awarded Diplomas: - Exam iner: Mr. Sanders Papworth . word " face " to remember the notes
F, A, C, E between the lines. Th ere is
G. A. JOH~SO!\", of Leytonstone, C" 1
FREDERICK H. BUFF, of Erdington,
'
no doubt that these simple aids have
Grade (Plec trum Banjo) . "A" Grade (Banjo). done much to help the stud ent who
Teacher : Mr. Emile Grimshaw. Teacher: Mr. H. Bolton . will find the following a still further
Examiner: Mr. Jimmie Sutton. Examiner: Mr. Sidney G. Hull.
help in finding the names of the var ious
W. PERRY, of Plymouth, "C " Grade keys .
(Banjo ). EXAMINER APPOINTED.
Teacher· Mrs. Alys Perry. NAMF.SOF THE MAJORKEYSll'!TII FUT
Mr. Max Holst, of 42, Sincla ir Road , S!G:SATURES.
Examiner : Mr. J. George.
W.14, has been appo inted an examiner One flat for F will always do,
SIDKEYROGERS.of Net herfield, Notts ., for th e" B .111/
.G." Dip loma~. But for B flat there must be two.
" A " Grade (Ban jo}. For E flat three and A flat four,
Teacher: Mr. Doug las Burrows. For D flat five must be in store.
Exa min er; Mr. Sanders Papwo rth.
JOHN ALEXANDER McCRINDLE, of
SECONDHAND In G flat six you'll always see,
And seven in the C flat key.
Pretoria, S.A., " C " Grade (Guitar).
Exami ner: Mr. R. Meyer.
BARGAINS. (N .B.- 111e last flat but one in the
signature or THE FOURTHBELOWTHE
6. 1
\Veave 1·" 10½'' hoop. Metal Hoop
'
LASTFLATwill give the name of the key .)
WILLIAM GORDON MCMURTRIE, of BANJO and case, mahogany arm , nicke l
Pretoria, S.A., "B" Grade (Banjo) . silver- hoop, \.lak lin ing, .splendid tone, NAMES OF THE )[AJOR KEYS WITH
soiral>!c for fing. or plcc. siyle ... £7 0 0
Exam iner: Mr . R. Meyer . 44. "Emil e G1·i1nshaw" inodd metal hoop
SHARPSIG:-IAT URES.
B. H. CouRT, of Birmingham, " B" BANJO, in cowhide case. 12'' hoop, In C, of sharps and flats there's none,
Grade (Hawaiian Gu itar) . splendid condition .... .......... . ..£12 0 0 Of sharps in G, you'll find but one.
.f.7. u Clifford Essex · '' Metal Specia l" model While D has two, and A has thr ee.
Examine r : Mr. Ken Kapua. BANJO in No. 15 (lhree ply) case . Full
dcs<'l'iption in our cataloguc . ... ..£9 0 0
In E are four and five in B.
JIM TYMAN,of Da rwen, "A" .Grade F sharp has six for its own share,
51. "Clifford Es~c~" \:Vood Hoop Specia l
(Banjo). BANJO and No. 4 case .... .. .. .... £9 0 0 Whi le C sha rp wants all seven there .
Teacher: Mr. Frank Neviso n. 66. u Clifford Essex:.. "Professi1.mal · mode l N.B. - The note above the last sharp
Exam iner : Miss Barbara Lobb, BANJO , "Pa r agon ·· 1·eso 1Hllo1· a nd in the signat ure indica tes the name of
A.T.C.L. c"se ... .......... .................. .. ..... £8 10 0
the key.)
FRED HALL, of Sowerby Br idge, Yorks ., 78. Good rel iab le BANJO and case £4 10 0
"C " Grade (Ban io). 84. u Barnes & Mullins " BANJO, with resou-
To find the names of the ~Iinor Keys,
Examine r : Mr. Harold William son, a.tor and case. Cost £20 . Owner will both with sharp and flat signatures,
A.L.C.B. accep t. ....... ... ... .................. . £12 0 0 remember that :-
85. '' P;.crrtgon.. 4-string plectn 11n model Since the Major Keys we know ,
ANGUSD. McLEOD,of Calgary, Canada, BANJO a nd case .. ... .. ... ... .. ... ..£16 0 0
"A" Grade (Banjo ). The Minor's found a third below.
86. ·BA NJO and resona tor, suit<tblc. fo r a
Exam iner : Mr. George E. Tucker. beginner. .. .. . ..... ....... ..... £3 10 0
SS. "Jed son" 4-string Plecl ,·um BANJO
Miss AMY JONES, of Bolton , "A" with resonator and case. Gold plated
Grade (Hawai ian Guitar). h Artist .. mode l.. · ···· .. .. -·· ... .. L • . £8 - 0 0 CUTTING COMMENTS.
Teacher: Mr. Sh irley Holmes 94. '.' Clifford Essex·· " ·Imperia l · model
Exam iner : Miss Barba ra Lobb, BANJO and case ... .. .. .............. £7 0 0 Ban joist: "I am cont inua lly mis- .
A.T.C.L. 95. Cliffo,·d Essex " Popu J,ir" model BANJO, taken for Joe Morley . ·what shou ld
ROLAND DR.\KE, of Bradford, "A" with flange resonator and c ase. Cost I do about it? "
.CS 10s............................... ...£6 0 0 Friend : "Well, I should suggest
and " B" Grades (Zithe r-banjo). 99. Cliffo,:d Essex " Popu lar" model BANJO
Teacher: Mr. Bernard Sheaff. you wr ite and apo logise to .him. "
w ith flange resonator and ,case ...£6 0 0
Examiner: Mr. Edward Fairs. 100. C lifford Essex" Boodoir Grand" BANJO
and cas e ..... .... ...... .. ..... .. ..... .£10 0 0 A recent news item states that a
WILFREj) JONES, of Leyto n, "A" 61. "Windsor " model 2, ZITHER-BANJO,
Grade (Ban jo). jazz composer who lost his inspiration,
complete wil h case .... ........... .. .£6 0 0
Teacher: Mr . C. E . Golding . regained it on being tre ated by a
101. Clifford Essex G,·ade I. ZITHER-BANJO
Exam iner : Mr. Clifford Essex . a nd case .............................. ... £7 0 0 hypnotist. In fairness to the hypno-
104. \Vindsor ,c P,opular " No. 7 mode l tist, howev er, it must be realised that
J AMESSTONES,of Walkden, Manches - perhaps he did not. know t he facts of
t er, "A,, . Grade (Hawai ian Guitar) .
Teacher : Miss Barba ra Lobb, A.T.C.L.
Examiner: Mr. Harry F. Grey.
ZITHER-BANJO and case . Cos, £6 15s .

70. "Clifford Essex " "Parngon"

BANJO, complete wilh case .. .. .. £12 0 0
£3 15 0
TENOR-
the case . ..
45. u Clifford Esi,:ex ·· Grade H, wood hoop In a letter recently sent to the
ToM McSHAN.E, of Bolton," A "Grade BANJOLIN, 4 st ring, co mplete with edit or of " 8 M .G." the correspond ent
(Plectrum-banjo) .. case ...... . .. ..... .. .. ..... . .. ............. £5 O O said " I should lik e to see another
Teacher: Miss Bar bar a Lobb ,A.T.C.L. A full descriptio11 or'all Clifford Essex m~dels sixpenny magazine as • good as this
Examiner: Mr. Harry F. Grey. can be seen in the Banjo Folder F. R. 2. month 's 'B.M.G.' " As Bert Bassett
said " th e only th ing he could suggest
~ r-~.
J AMES TREVOR; of Darwen, Lanes.,
"B" Grade (Mandoli n-banj o). was to buy next month's ' B.1vl.G.'"
Exam iner: Mr. H arry F. Grey. _/$ ~ CRA/'70/'I $ TIUl!T, N~W tJOND :!r: u:»tlDON.W. I,
 '
[Apri l, 1934
170 ■. M.G.
3rd. Alan Walker (Southend), 69 In Sunny Climes. One entrant.
marks. Ninette Waddington (Guitar ) and
Class 98. l\h1'DOLIN AND GUITAR William Hobbs (Mandolin), of Leigh-
DuET. Test Piece, one of own choice. on-Sea, 75 marks .
l 1l r elatiot'1 to the issue of th e "Savoy Class 95. BANJO or ZITHER -BANJO
American l\l edlev" in this month 's'' B .kl .G.'' (with Piano Accompaniment) . Test
Miss Barbara L0bb writes: u I a rr ange d a
banjo part of this · Medley,' wit_h_ the pe r-
mission of i\•Jessrs. Lawrence \ Vr ,g ht (t he •
pub lishers), for my broad ca st in 193 1. I
BARGAINS Piece, Apple Blosso-ms.
entrant5.
1st. Frederick D. Reed (Golders.
Twelve

f'rom our
s ubmi tte d this arra nge m ent fo r inclusion in Green), 88 marks (Silver"'Medal).
"B. ,J1. C./' but, al th e t ime, th <: publish er"s
pennissio11 co uld 11ot be obtained fo1· this. I SECOND-HAND STOCK 2nd. Ronald F . Burden (Thorpe Bay ),
also arra11ged th e I i\•Iedley · for my quart et ,
BANJOS £ s. d.
85 marks (Diploma).
and it wa s this ar range ment wi lh whi ch we 3rd. Thomas W. Bishop (Thundersley)
won th e C. E. Challe nge Cup at the Northern Cam meyer "Mig no1l" .. . 5 0 0
8 . 1 M. and G. Rally. ·· Th e in iti a1ive of Miss Cammeyer "S tud en t" .. . 3 15 0 68 marks.
Ba,-bara Lobb is hig hl y comm endabl e and is "Me lo dy Jo·· wi th resonato r ... 3 3 0
\Vin dsor Zither Banjo No . 7 3 10 0 Class 97. BANJO or ZITHER -BANJO
worthy of menti on.
Dallas 12 in . hoop 5 10 0 DuET (Unaccompanied). Piece of
1\Ir. Ro land Ford has been appointed \'isit - Tun~er Zither Banjo No . 2 ... 7 10 0 own choice. Th ree entran ts .
ing teacher to the \:Ves t E 1ld Stud io, 148, \ Veave r 12 in. hoop ... I 8 0
Ca mm eye r Vibran te .. . 1i O 0 1st. Leon Behar and Ronald Burde n,
Spring .Ban k, H ull, fo r Span ish aod Hawaiian The KiUies, 86 marks .
G uitar . Cammeye r "N e w Era·· 14 10 0
Skinner ••Favour ite·· ... .4 4 0 2nd. J essica J effries and George
MANDOLINS Turner, The London Cl1,b Parade,
85 marks.
THELEIGH-ON-SEA DeLa Foley
Piet r o ...
(flat ba c k)
2 10
3 3 0
4 4 0
0
3rd. Ja ck Calcott and Tom Lilly-
J. G . W inder
white, Sllujfte Along, 84 marks.
MUSICAL
FESTIVAL. GUITARS
F. de ~lureda 2 10 0
Class 96. GoLD MEDAL(Open Com-
3 3 0 pet ition). Medal presented by Messrs.
CLASSESFOR FRETTEDINSTRU)IE~TS. Se ntchordi He r manos
Clifford Essex & Son.
Te lesforo Julve 4 4 0
J\ T the Leigh-on-Sea Annual Musical Luigi
Pano nn a ...
6
... 8
6
8
0
0
BAxJO or ZITHER-BANJOwith Piano
J-\ Festiva l held at Elm Hall, Laco1e ... 15 15 0 Accompaniment . Test Piece, one of
Leigh-on-Sea, the Classes for Juan Pages, 1790 ... 15 15 0 the following. Six entra nts.
Fretted Instrume nts were held, on La Fo ley Ha waii an 5 0 0
(a) No. Ill of Three Miniatures .
Fr iday, March 9th, in the Council PLECTUMGUITARS (b) Piece Caracterisque.
Chamber. Michigan 3 3 0 (c) A Twilight Melody .
It was gratifying to the promoters Mich ig an .. . 4 4 0
Michigan .. . 5 5 0 1st. .Ronald F. Burden (Thorpe Bay),
t o note the increase in the number of Michigan .. . 6 6 0 (c), 90 marks (Gold Medal).
competitors as compared with last year 2nd. Fred . D. Reed (Golders Green),
(which was the first year for Fret ted MISCELLANEOUS
In strum ent Classes). Tenor-Mandola by :l'lontague .. . 5 5 0 (b) 89 marks.
Commencing at 6 p.m., every Class
Tenor-Mandola by La Foley 3rd. Leon Behar (Leigh-on-Sea), (a),
(flat back) 6 .6 0
except one was keenly cont ested in the Tenor-Mando la by
84 marks.
spirit of friendly rivalry until 9.20. Barnes & Mullins 3 3 0 All items were closely followed by a
Tenor-Banjo by Cammeyer . most attent ive aud ience and amongst
Adjudicator: Mr. Bernard Sheaff. Gold plated de Lu xe 25 0 0
Results were as follows :- T enor-Guita r by Boosey. the distinguished visitors were Mr .
E. G. Jn r . 3 10 0 Clifford Essex, Mr. and Mrs. Dolby ,
Class 94. HAWAIIANGUITAR (with 4-String G uitar by Michigan . .. 4 4 0 Mr. and Mrs. Millis, and Miss F. Leath-
Spanish Guitar accompaniment). Pa ir Se lm er low pitch B Aat a nd wick, of the London Club.
A Clar ion e ts in case . .. 10 10 0
Test Piece, Reverie. Seven entrants. Low pitch A Clarionet
1st. Nellie Barker (Southend), 79 by Hawkes 3 0 0
marks (Diploma). Full par ticulars 01 any instrum ent w ill
cladly be sent on application
Znd. E lla M. Spicer (Westcliff), 78 Instruments Bought - Sold - Exchanged
marks (Diploma).
3rd Ninette Waddington (Leigh-on- JOHN ALVEY TURNER
Sea), 74 marks . 28, Store St., Tottenham Court Road April 9th.-Mr. Hora ce E. Craddy
Class 93. MANDOLIN Solo with Piano London, W.C.1 will br oadcast banj o and guitar solos,
Accompaniment. Test Piece, Sim - Telephone: Mu11um4388 Telee:rams: BanJo, London includin g " Lazy Rhythm"and "Sweet
shine of Naples . F ive entrants . Musi c ," from t he West Regional
1st. Frank H. Chandler (Southsea, Stati on.
Portsmouth), 85 marks (Silver
Medal). The CRESCENDO April 21st-Members of the Dublin
Banjo Club (Messrs. E. G. Norton, E.
2nd. Chas. Harlin (Lewisham), 69 Am er ica' s ol de st a nd finest Jo urn a l Tobin, C. Rooney, F. Harris and C.
marks. devoted e xclus ive ly to the Banjo,
Mandolin and Gu it ar M. Stewar t) will broadcast from t he
3rd. Anne Foster (Ilford) 64 marks. Dublin Stati on.
Editedby WALTER KAYE BAUER
Class 92. SPANISHGUITA R (Unaccom- Advisory staff of five famous B.M.G. April 24th- Mr. Tom Harker will
panied). Test Piece, I n Stately Ar tists and Author it ies broadcast banjo solos from the North
Measure. Four entrants . 8 PAGES OF MUSIC IN EACH ISSUE R egional Sta ti<:m.
1st. Frank H. Chandler (Southsea, Yearly Subscription,14/· April 25th.- Yo unkman's Czardas
Portsmouth). 81 marks (Silver S end -Jd. for Specimm Copy Band will broadc ast from th e North
Medal). R egional Stat ion, 9-9.30 p.m.
CRESCENDO PUBLISHING CO .
2nd . Ninette Waddington (Leigh-on- ZSZ,AsylumStreet, Hartford,CoDD.,U.S.A.
Sea), 79 marks (Diploma).
 171
April, 1934] B.M.G.
Special Easter
BARGAINS Club Secretarieswho send 11otesfor in-
clusion in this section should be as
Bues~her-ElkhartAlto Saxophone, Art Gold concise as possible. Notices intended
BANJOIST (Bishop's Stortford)- fin ish, complete in case, with fuH equ ipment. for inc/.-usion i11"13.M.G." must reach
_We do not know of a banjo teacher in £21 net cash.
Buescher-Elkhart Tenor Saxophone Outfit,
this office_on or beforethe 20th day of
Bisi,op's Stortford, but should this comp lete in case, Art Gold finish . £24 net cash the month. preceding that in which
meet the ~ye of any_onewho may teach Buescher-ElkhartE-ftat BaritoneSaxophone
, the announcementis to appear.
the ban10 m your district and who will complete in case, with foll equipment, Art
communicate with thisofficewe shall be HE meeting of the Acton and
pleased to forward the address to you .
J.S.C. (Eccles;;:ji)_:-The instrumenta-
Gold finish. £31 10s. net cash .
All these instruments are new, fin ished in tht?
new Americi\n transparent H Att Gold . "
Burnished inside bell with all other parts
T Ealing Club on March 7th was,
as usual, well attended and some
satin finish. .
!ntensive C?~ munity _playing indulged
tion, for your quintet, you first mention m, compnsmg " Siesta " (Tango)
will be mor~ effective_than the suggest- The " Dobro" Amplifyin&: Guitar, constructed
in the most approved maoner, giving the "Southern Fest ival," "An Evening
ed alternative, espec1allv if the teno r- utmost responsivene .ss, g lorious tone a nd Reverie" and many of the club's fav-
b~njoist and first banJo player are volume that is outstand ing for either orches - ourite numbers. The announcement
fairly proficient . The alternative can tra l or solo use. that" Ben Hur Overture" would be the
be used when the parts necessary for "Popular" Model, £7 10s. cash, or 15s. n~xt number for rehearsal, was greeted
the formt: r are not obtainal.,le . deposit and 10 mo1Hhly payo1ents of 16s.,
or 4s. weekly. with great applause.
" Professional" Model, £10 10s. cas h, o r "Syncopa.tin' Shuffle" was given a
QUERI~T (Manchester}-It is, per- 20s. deposit and 11 monthly payments of 20s. most smart and effective render ing by
haps , possible to arrange the "classical or 5s. wee kly. a quartet consistinir of Messrs. Lawes,
tunes" you mention for the banjo, but "Concert" Model,£13 cash, o r 30S. deposit Scott, Carter and Harrison. N.B.-
why worry. To do so would be simply and 12 monthly payme1Hs of 22s. 6d., or " Syncopatin' Shuffle" should prove
a waste of time, for audiences would 5s. 6d. weekly.
very effective, if orchestrated, as bot h
not appreciate them , and thecomposers " De Luxe" Model, £19 19s. cash , or 40s.
deposit and 14 monthly p:t.yments of 301,, a community and orchestral number .
would positively hate to hear their Mr. _Fran_k Lawes delighted every-
or 7s. 6d. \\'eek ly.
"works" so rendered . Banjo music one with his latest composition "On
played on the banjo will give far more
pleasure to the listener than a."travesty SPECIAL OFFER the 10.15," with pianofor te accom-
GENUINE ROGER VELLUMS,Signed, paniment by Mrs. Perfect . ·
arrangement" of a symphony or 11" 6s.; 12" 10s.; 13" 12s.; H' 13s. 6d. The club's annual concert will take
concerto as a banjo solo. p/ace on Wednesday, the 23rd May,
SECONDQUALITYROGERVELLUMS .
S.P.A . (Kilbum)-We cannot say 13" 5s. 11d. ; 14"6s. 9d,; 1;" 7s. 6d. 8 p.m . {doorsopen at 7.30), at Mattock
whether your article will be suitable ROGER BANJOVELLUMS , Unstamped. H_all,Mattock Lane. Full particula rs
for inser tion in this magazine unless I 2" 4s. 3d. ; I3" Ss. 3d. ; 1;·• 6s. 6d. will be announced in the next issue of
we see it. Original contributions Huge Stocks of the latest Banjo, Guitar, "B.M.G."
Saxophon e and Accordion Music. Tutors
from readers are always welcome. lor all instruments.
Send your article along by all means. The Bradford·-B.,M. and G. Club
SEND FOR LATESTLISTSOF held th eir monthly meeting and con-
ORCHESTRATION S.
~ert on March 4th, when the following
Gibson "Mastertone" Guitar, Style L.00. items were rendered : Community
Have you appliedfor the beautiful co mplete in case, £7 17s. 6d. (under the directorship of Mr. G. E .
E.G. " Revelation" Guitars. Play these and Moore}" Happy Days are Here Again"
'WINSLOW' produc~tw icethe volum e wilh ha lf the cffor·t .
Rosewood Finish, £16 16s.
"Federation Mar'ch," " Butterfly
Waltz," "Smoky Mokes," "Old Lon-
FOLDER Yet? De Luxe Model, in be aut ifully figu1·ed mottle
Sycamore, 24 Guineas.
THE WORLD 'S BESTACCORDIONS:
don," "Overture Medley," " Play to
Me, Gypsy," "Sundown in a Little
A e:reatdeal of thought has been put
into this and it is profusely illustrated. Frontalini " Popular" Model, 48 Bass Keys Green Hollow " " Hibernians " and
and 34 Piano Notes, £14 17S. 6d. cash ; 27s. " Baiser d' Amour.' ' Mrs. A. Croft and
Whilewe should like to actuall~show and deposit and 12 monthly pa.yments of 25s. Messrs. G. E . Moore and E. Green
demonstrat
e the beautifulranee of Comm Paolo Soprani"Professional" Model, played "B lack Bess" and "Memo irs
120 Bass Notes and 41 Trebl e , 4 Voices, d'Amour" as mandolin and guitar
•WINSLOW' GUITARS Octave Coupler, in shaped case, hand and
(Fin cer and Plectrum Style) shoulder straps supplied free. £2410s . cas h ; duets , and Miss L. Gledhill and Messrs.
MANDOLINS
, TENOR•MAIIDOLAS £3 deposit and balance of £27 at 7s. 6ll. G. E. Moore and H. Whitehead played
AND MANDOCELLOS ,veekly. banjo trio, " On the Mill Dam."
( Pat. Adj ' mt., Enc. and U.S.A.) Dallape" Popular " Model Piano Accordion,
I 20 Bass, 41 Piano Keys, 4 sets of Stee l
to you, this is not possible in every case, but Reeds , pus h-in Octave Couple1·, £39 cash, The Derby and District "Stra nd "
we have attempted in the above-mentioned or £4 depos it and bala nce io 12 monthly
folder, to illustrate the wonderful con- B., M. and G. ~lub held t~eir meeting
paymen ts of £3 5s.
struction and detail work of these hand- SEND FOR ILL USTRAT ED LEAFLETS
on March 3rd m the studio of Messrs.
made instrumentt, therein. OF THESE IN STRUMENT S TO•DAY Chas. Foulds & Sons, Irongate, Derby .
• MARVELLOUS TONE /11slru111ents Sell/ carria.J,tepaid any-wl1tre ·i11 1:he programme w~s of a comprehen-
TRUE TONATION V.K . on. ,J da;ys' trin.l, lo approved accounts . sive nature and mcluded mandolin
THE ACME OF PERFE CTION Yonr 1Jwn i11slrm11eut taken in part pay men t.
THE WORK OF A SPECIALIST duets (with guitar accompaniment)
A LL INSTRUM ENTS AR £ NEW A ND FULLY
Maker: GUARANTEED by Miss C. Clarke, Mrs. Dawson and
Miss I. Clarke, the items being :
FREDERICK WINSLOW
36 - 42 and 43, COMft1ERCIAL ROAD HESSY'S, LTD. " Killarney Calling" (from December
" B .M .G.") and " Havana Moon" ·
, WILTS, ENGLAND
SWINDON 18120, ManchesterSt., LIVERPOOL, 1 Mr. B. White and Mrs. Dawson played
 172 ■.M.G. [Ap ril, 1934

as banjo duets: "Listen t o Thjs" and Beudet played " Spick and Spanish " " Dolores," Hawaiian-guita r solo, Miss
"Overture Medley, " whilst the com- as a banjolin solo. Margaret Porter; "Hiking," "Sunny
muni ty items were : " Fingers and A pleasing incident occur red du ring J ack " and" Sing Away Blues" played
Picks," " Sunny Italy,'' " Man the th e evening when Mrs. Haz le (one of by t he club; "Ka leidoscope, banjo,
Guns," "A merican Patrol,"" Admira l th e club members) presented an em- Miss Rowlinson, and " Selection of
Andy,"" Sailors Don't Care,"" Moon- broided banner to the dub. Music Hall Songs " and " Roses in
light and You"" Banjoliers ," "Scotch The club is fortunate in having as Pi cardy," played by Messrs. Jiinmi e
Broth " and "Sw anee Sing-S ·ing ." new members , Messrs . Mogford (wit h E dward s and W. M. Brewer , as duets.
his drums), A. Hale (banjo). E . Hale Jimmie Edwards' latest numb er , " Got
The first meet ing of th e Finchley and L. Birch (gi1itars). Me Gue ssi n '," p r oved a worth y
and Hi ghgate B., M. and G. Club was add ition to t he club 's repertoire of
held on March 6th with initial success, The Harrow " Ba njo Team" is now cvmmu nity items. A snappy number,
several members being enrolled. The defini te!y form ed under the direction "Two in a Bar," banjo, Miss Mary
communitv number s in rehea rsal at of Mr. Edward Fairs . Besides in- Fair lie, was a popular feat ure. Mr.
the moment are" Darkey's Roma nce," dividual numb ers and duet playing, G. Warner gave a brillian t rendi tion
" Glit ter of Stee l" and "Happy Day s community items include, "Ban jo of "Dance Russe" as a mandolin s:>lo.
in Dixie. " Pl aye rs of fretted instru- Vamp," "Vals e Sympathy," "Tattoo," Mr. G. A. Ke eler in trod uced J oe
ments are cord ially invited to th e "Gold Diggers " and "T o the Fr ont." Morley 's lates t composit ion, "Pep,"
club meetings, and it is hoped that Th is combination would welcome in fine style , and Messrs. Greenslade
mandolinists in the district , who may additi onal ent hushstic players, and an d Miller played the pleasing gui tar
be interested, will communicat e with comm unicat ions shou ld be addressed d uet , "Sweet Music." The Ilford
Cyril B. Sugden, 2, Beresford Road , to Mr. Fai rs, "Newlyn," Suffolk Road , B., M. and G. orchest ra, which has
East Finch ley, who will be pleased to Nor t h Harrow, where the monthly been re-organ ised on a pP.rmanent.
give full particulars. Meetings are meetings are held. basis, creat ed great enthu siasm with
held on alternate T uesdays, 8.15 p.m., ·• "In a Persian Market" and "Swanee
Sing-Song." Mr. Gascoyne cont ri-
as from March 6th. The following numbers were played
at t he Ft-brua ry Meet ings of the but ed "Hot Frets ." The success of
the evening was larg ely due to the
The three January meetings of t he Hartlepools B., M. and G. Club: banjo
efficient work of Miss Warner as
Grahamstown (S.A.) B ., ill . and G. duet, •· Sunny Italy," Messrs. F.
Thornton a nd W. Swinb urne; ban jo accompanis t . Mr. Tuck , Secret ary of
Club were well attended, when a the Islington Club , was a welcome
num ber of community items were solos, "T o the Front," Mr_ C. W.
Angell ; "Sprig of Shillelagh," Master visito r, and two new member s, Messrs.
rehearsed. Individual items included: C. H . Smit h and R. T owler were
mandolin solos , "Donau Wellen R. Cockburn; "K ingdom Coming,"
·enro lled .
Waltz, " " Gold Diggers" and "Song Mr. W. Swinburne; and "Beat as
of the Volga Boatmen" Mr. Mar~; you go," Mr E. Metcalf. Th e March meeting of the llford
ban jo solos , "Spanish Ro mance " and "Return of the Regiment " and ' In B., M. and G. Club was notewo rt hy
·· Spanish Fandango," Mr. H. R. Hoyle; a Pe rsian Market.' ' have been added t o for the excellent rendition of the
" Bonnie Scotland " and " Whistling • the reperto ire of community numbers . commun ity n umb ers " Banjo liers,"
Ru fus," Mr. Les Hoyle; "Home "G ot me Guessin'.'' " Sing Away
Swee t Home," "S tarlight Wa ltz ," The llford B ., ;\I. and G. Club com- Blues,' ' " Hikin g," "A dmiral Andy,"
"On th e Milldam" a nd "Norton's menced its sixth year at th e February "Tattoo," "Tune Tonic, " and " Jovial
Ma r ch ," Mr. King (the veteran meeting, when the following ite ms Medley. " Messrs. Jimmie Edwar ds
banjvist). were given by members: "Sp eedwell, " and W. M. Brewer played (1) a fox-
banjo, Mr. Oldham; "C u te ar.d trot number arra nged by Ji mmie
Th e members of the Hackney and Catchy.'' ban jo and guitar duet, Edwa rds, in which was included the
Di strict 13., M. and G. Club continue Messrs. Parke r and Tomkins"; "You banjo solo "S nakes"; (2) "Va lse
to have really successful meetings. and a Canoe," tenor-banjo, Mr. Towler , Chantan te," played by W. M. Brewer,
The club was recently visited by Mr. a n d the community numbers, and (3) "Selec t ion of Music Hall
and Mrs. Warner, of the I lford Club, "Adm iral Andy" and "Tune Tonic ." Songs," ;:>layed as a du et . Master F.
when the k llowing community i tems In honour of th e founder of the club, Knie played "Cuttings" in excellent
were played : ·· Hiking," "Magn olia a recital was given of compos itions style. Mr. W. To mkin s rendered
Wa ltz, " "Beat as You Go,"" Sunn y and arr angements from the pen of "After You' ' as a guit ar solo, and,
Ita ly" (a new add iLion to the club 's Mr. Jimmi e Edwards . These included: with Mr. F . Park er, •· Blac kt horns"
repertoire) and " Federat ion March ." as a banjo duet . Another banj o duet
Mr . Warne r , accompanied at the -I NEW FAST 1S. 3d. SELLER S was "Devonshire D umplings," played
piano by Mrs. Warner, played man- by Messrs. Eas ie and Franklin . Mr.
dolin solos, •· A Rus sian Dance" and PLAY QUICK METHODS G. A. Keeler played "K enn edy 's
" P izzicato " ; Mr. Coc,mbs (banjo) NOW AVAIL ABLE FOR Galop," and Mr. Oldham "B reeze
accompan ied by Mr. Morse (guit ar) Piano Accordion ($ or 10 B.-sscs) bi• F . A. ·r\.>dcsco Along." ' The club libr arian , Mr. A. S.
Accordion (I ta li::tn StylcJ hy Ton,-· L,lmb.,.r<lo
played" The Good Fellowship March," Acc:ordlon (Ger mnn Style) by Fr~nk l.ucas Consta n tine, contr ibuted "Moonlight
a composition of Mr. Coombs . Guita r ! Plectrum or Fi 1\ger Style) by Herbert Boote
Ha wa iian Guitar (1.-:ttest St yle) by Co nr:icl Ccbelc in and You " as a finger-style banjo solo,
Master Victor Thomas played " White Ukulele (C or D Not:tlion) by Allida Black while Mr. G. A. Warne r ably repre-
Coons" as a banj o solo, and Mr. A. ~·a
~;::rc"J
<ttn
!1
~~~~~:
1 ~!:l
0
No\~~1ti!f Lloyd IAmr
b)' Be nn ie $.1ntopktro
sen ted the mandolin section . The
Viol in - - - by I. E. Skwkin
Mandol in (or Mandoli n Banjo ) by 1-1 . Rus8ell Truitt
DON ' T MISS Each ::\lc:thoJ i:s oorrc;ctly wrim.:n
b>•an Artisl o f Natio n al Reputat ion .
IS YOUR CLUB PLAYING

"DINAH "
TH EY ARE Pl ..,:\ YABLE IN ENSE .MBLE
----- - Publislu...Jb) ''_____ _
" MAN THE GUNS " and
Arranced as a Plectnam Guitar Solo tly Geoff Sisley NICOMEDE MUSIC co. Altoona Penna., U.S.A.
'' GLITTER OF STEEL "
CLIFF ORD ESSEX & SON, LONDON two ideal community numbers
In next month 's 'B.M .G.' British Distrib utors
 April, 1934] 173
B.M.G.
club was much indebted co Mr. Will For ty-fou r members a tte nded the Musselbrook played "Vals e Chantante"
Kirby for his efficient work as accom- fortnightly meeti ng of the Lewisham and "D ancer's Dream" ; Mr. Wymer
panist and extend to Mr. and Mrs. B., M. and G. Club on March 12th. played "M ake it Snappy" and "Sy n-
Kirby sympathy upon their recen t sad Among the numbers played as com- copated Shuffle "; Mr. G. A. Kel'ler,
bereavement . munity items were: "Scotch Br oth," "Pep ," an d Mr. A. Cole," Llanvanor "
"Sunny Ital y ."" Community Medley," (own composition).
The average attendance for the "Admiral Andy " and "Sing Away The communit:1 num bers for April
past year of members of the Islington Blues." During the interva l, Mr. and 0th are: " Gold Diggers," "S pan ish
B., M. and G. Club was, including Mrs. Dolby gave some notes and com- Romance,'' "Shuffle Along," "Mins-
transitory members . seventy per cent. ments on the club 's recent concert, a trel Man," " Circus Parade " and
and the number of visitors during the report of which app ears elsewhere in "Nig gertown. "
same period was eighty -seven. · · this issue. Continuing the club meet- Now is the time for prospective
At the last meeting of the club the ing, Messrs. Geoff Sisley and Bert members (banjoists, mandol inists and
members were delighted to welcome Bullard played aguitarduet," Pickin ." guitarists) to join in order to take part
Mr. G. A. Keeler, who joined in the Messrs. Presland, senr. and jnr. (guitar in the club 's orches tral programme.
community play ing and later played and mandolin) , played '· Post Horn
ban jo solos, "Rhapsody Hongroise" Gallop," and Messrs. S. Hardstone. Th e North London B., M. an d G.
and an MS. solo by Joe Morley. Geoff Sisley and L. Mote gave a guitar Club held their sixty-fifth meeting on
Mr. Ke eler also assisted the club trio, " Moonglow " ; Mr. Bert Bullard February 26th. Th e programme
the same evening at Collin's Music Hall. also played tenor -ba njo solos. "T am in' commenced with community play ing,
Another welcome visitor was Mr. the Tenor " and "Spe edwell. " As a condu cted by Mr. G. Mills: "B lush
Hartnup, of the Bat tersea B., M. and finale to the enjoyab le evening, the Rose," " Lancashire Clogs," ' · Return
G. Club. man dolin and guitar sections of the of the Regiment "a nd"Ban jo Vamp. "
The club members appreciate visits club played "N ina Pancha." Then followed rotational playing: Mr.
from m~mbers of other clubs, and any The April meetings of the club take A. G. Binks {banjo), "Desert Trail";
fretted-instrument enthusiast is place on the 9th and 23rd, and on the Mr. H. Davis (banjo), "Shuffle Along " ;
assured a hearty welcome. 17th a visit to the Ilford B., M. and G. Mr. A. Eldridge (banjo), "Valse
Future club engagements are April Club will be made. Oriental." Members' competition:
7th and April 12th, and May 12th, of Messrs. Binks and Luxt on (banjo),
which full particulars will be given There was a good attendance at "Moonlight and You" ; Miss Varney
later, or particulars can be obtained the London B., M. and G. Club on and Mr. A.J. Lee (mandolin), "Hearts
on application to the Club Secretary. March 12th, Mr . H. Ackerman being and Flowers " ; Messrs. A. G. Lloyd
in the Chair. The proceed ings open ed and H. Davis (banjo) . "Sprig of
The Leigh-on-Sea B., M. and G. with community it ems, as follows : Shille lagh." Voluntary playing:
"Sport s Parade, " " :t>
launa Loa " (both Messrs . G. Mills, A. G. and A. W. Lloyd
Club held their March meetings at
Caedmon Hall, and the following led by Mr. J. Morley) and "Kitties,'' (banjo), "Syncopated Shuffle"; Miss
conducted by Major Ackerman . "Ra lly Varney and Mr. A. J. Lee (mandolin),
banjo solos were played: "Dashwood "Mexican Dance' ' ; Mr. A. G. Binks
Quickstep, " Mr. Aldred; "Miniature Overture " was rehearsed with Mr. B.
Sheaff conducting, t he result being (banjo), "Senegambian Revels" and
II I. ," Mr. Behar; "White Coons,"
satisfactory. After the usual interv al, Mr. G. Mi lls (banjo), "Spanish
Mr. Cradick; "Ch iltonian Waltz"
and "Barcaro lle," Mr. Hoare; "My community playing was resumed with Rom ance." The meeting concluded
" Sprig of Shillelagh ," " Freck les" and with further community playing.
Moonlight Madonna," Mr. Leadbeater;
"Apple Blossoms," Mr. Readman and "Lancashire Clogs," Major Ackerman
" Glitter of Steel," Mr. Rowcliffe ; condu cti ng. The voluntary playing At the March meetings ·of the
banjo duet, "Blaze Away," Messrs. was commenced by Mr. Joe Morley Newcastle-on-Tyne B., M. and G. Club
Behar and Rowcliffe ; Hawaiian guitar who played" Pep, "" Hoe Down " and the following commun ity items were
duet , "Reverie," Mrs. Barker and a further unnamed MS. ; Messrs. G. played : ·' The Kilties," " Persian
Mr. Henry; guitar solo, "In Stately Mills and F. C. Walters played a Market," "Moonlight and You, "
Measure," Mrs.Waddington; mando lin ban jo duet," Eth iopian Shuffle"; Mrs. "Sailor s Don't Care," "E ntr'A cte
solo (own composi tion), Mr. Henrv . Knight followed with banjolin solo, Und Barcarolle " ; Hawaiian guitar
Visitors are always welcomed ai: the " Sailors Don't Care "; Mr. F. C. solos, "Hawaiian Moon," "We got
club meetings, and we recently had a a Robe," " Pale Blue Moon " and
visit from Mr. Elliot , of Southend , " Slumbering Beneath the Palm ";
BANJO TUTORS Mr. J. B. Clazie, banjo solos, "Jov ial
who gave some fine selections from 11
The Banjo and How lo Play 1t;·
the operas on his piano accordion, by Emile Grimshaw ... 6/ - Medley,'' "Rugby Parade, " "Com-
and Mr. Day, who played the banjo 0 How to Excel on the Banjo" pany Mascot "; Mr. J. C. Aaron,
solo "·Donk ey Laugh, " both items 0
by Emile Grimshaw ... ... 6/· banjo solo, "Carnival of Veni: e";
Plectrum Playi ng for Modern Ban• Mr. W . Rayner and Mr. T. Dorward,
being much appreciated. jo ists," by Emile Grimshaw .. . 6/ -
Community numbers played were: u 250 Ba1ljOQueri es wo1·th A11swering" 1/6
banjo solo, " La Marionette. "
" Return of the Regiment ," " Aces "Banjo Players· Favou.-i1e ·· (co111ain-
Up," "Glitter of Steel," Lancashire ing 70 solos) ... ... ... 4/6 The March meeting of the Parkstone
Book of Min iat ure Reproduclions of B., M. and G. Club was well attended
Clogs," Coloured Band Patrol " " A Banjo Solos .. . 1/6
Mexican Ride " and "The Kitt ies." Slack ' s Plectrum Method 6/- and the !ollowing items were played:
Accompanist, Mrs. Edward. Stahl's P.ectrum Met hod ... ... 6/· Community, " Tattoo," "In a Persian
B\ack's 1-'raclica l Chord Method for Mark et." "Man the Guns," "Admiral
Members were pleased with the Plectrum Banjo .. . ... 3/·
success of the fretted instrument Andy,"" Twinkleto es," •· Tune Tonic"
Black's Orchestral Banjoist ... .. . 10/6
classes at the Leigh-on-Sea Annual SENT POST FREE IF CASHACCOMPANIES ORDER
and " Overture Medley"; trio, "Com-
Musical Festival. There were thirty- munity Medley," Messrs. Joiner, Ripple
eight entries. A report will be found and Whittaker; duet, " La Margurite
elsewhere in this issue. Waltz," Miss R. Whittaker and Mr. E.
Rose; banjo solos," Mind the Pa int ,"
 174 [Apr il, 1934
B.M.G.
Mr. E. Rose; "Lotus Girl," Mr. F.
Oliver; and tenor.banjo solo, "Sugar
and Spice," Mr. F . Vick. Players are
cordially invited to the club meetings. THE ABERYSTWYTH.-At a local con-
cert on February ·23rd, fretted instru-
The success of the weekly meetings
of the Penge and District B., M. and
G. Club continues, as the excellent
SCARTH ments were well to the fore, the
programne including Mr. D. Parry,
mandolin -banjo solos ; Mr. Willie
attendance proves. The solo items at
the last meeting includ ed "Canadians
Parade," Master Meadowcroft (the
"IMP" Isaac s and Master D. Davies, Hawa -
iian guitar and guitar duets; Messrs.
A. Milverton and S. Walton, banjo
club's youngest member) ; "Dinky duets; and Mr. Milverton's B., M. and
Patrol," Mr. H. Chate; and "Felicita," • Tone
G. Band.
Mr. J. Burt; and duets were, "Beat as • Workmam ·h;p
you go," Messrs. H. Dance and H. CARDIFF .- At a concert held at
Wallace; "Return of the Regiment," • Appearance the Regent Cinema on March 18th ,
Messrs. L. Page and J. Burt ; and the Cardiff B., M. and G. Club played:
"Water Lilies," Messrs. H. Dance and "Admiral Andy ," "Magno lia Waltz;,"
H. Chate. The mandolin section of "Moonlight and You," "Overture
the club, although small , is a great £7 15s. Medley," "Wales," "In a Persian
asset. Market" and "Drifting."
The Stockport B., M. and G. Club CHELTENHAM .- At a concert
cont inues to record good attendances held at the Y.M.C.A. on March llth ,
every Wednesday. Particularly was the programme was provided by the
this the case when recently an "open "Concor cians," under the direction of
meeting " was held. Community items Mr. W. M. Parsons, when the following
were interspersed with sextet, quartet communi ty items were played by the
and solo items. orchestra (Mrs. Parsons , violin and
Mrs. Barnshawexcelled with a really banjo ; Messrs. Crisp, Trigg, Clarke
musical "Medlev of well-known fav- RIGHT ON TOP! and R . South, banjo; Miss C. Mac-
ourites," as a • mandolin solo, and Notwithstanding all the competition and guitars intyre and Miss D . Davies, mandolin ;
Mr. S. Shaw gave a snappy banj o solo on the market , i. Scarth" Guitars are still Mr. J im South, drums, and Mr. W. M.
"Glitter of Ste el." RIGHT O N TOP. Parsons, piano and guita r) : " Cro-
•TO NE marti e,"" Return of t he Regiment,"
The meetings of the Walthamstow e WO R KMANSHI P "El Capitan," "Levanto," "Play,
B., M. and G. Club have been very •APP EARANCE Fiddle, Play" and "Lazy Coon" (the
successful, and the members are to be That's the reason. Illustrations, howev er , can- last mentioned item being a recent
congratulated on the fine performance not do ou r gu itars justice. They must be seen composition of Mr. Sid E . Turner, the
and heard for you to appreciate the t ruly
they gave at a local concert on marvel lous value offere d. O ther Mode l s well-known banjo soloist); banjo trio,
March 1st. The commun itv numbers fro m £1 10 s. upward s . Writ e for " Nigger Minstrels " and " Happy Go
played were: '' Scotch Broth, '' "Moon- illustrated brochure - IT'S FREE! Lucky," Messrs. Crisp, Trigg and
light and You" and "Community Clarke ; banjo solo, " Gold Diggers'
Medley," all of which were greatly *GUITAR SOLOS March," Mr. R. South, and mandolin
appreciated by the large audience , to Rainbow's End. By Ed laug} R e duced duet, "Sil ver Bells," Miss D. Davies
most of whom a B., M. and G. ensemble Pickin" My \.Vay ,. ,, Now and Miss C. Macintyre . Encores were
was a great novelty . . Feelin' My Way ,. ,. 3 1- each frequently demanded by th e large and
Individual items at the club meet- Api-il Kisses ,, ,, Post Free enthusias tic audience.
ings were provided by Messrs. Button Pre lud e(Rad1m1wi110.ff) arr . H. Volpe 2 1.
Coster, Barnes, Lodge (banjo); Messrs. Stringin' Along CROYDON.-The members of the
Button and Wright (mandolin and with A noabell e F . Vic fo,- 2'- Croydon B ., M. and G. Club p layed
guitar) and a delightful piano interlude Slue Hues A. Ney 2 1- several selections preceding and fol-
was played by Mr. Engl eback . In "A '" · L. Fil/is 2 1- lowing a Primro se Leag ue meeting
Meetings are now held on Tuesdays, Community Med ley E . Grimsllflw 2 1- held at St . Augustine's Hall, South
the dates for April being the 10th and Moonglow - G. Sisley 1 1- Croydon, on March 9th. The club
Postai.e1d. u tra members also appeared at the Public
24th.
Hall on March 21st, playing on this
Five new members have been en- .._GUITAR TUTORS occasion as a theatre orchestra and
rolled by the Wood Green Banjo Club, At a Glance 11- post free 112 providing the incidental music between
during the past month and the meet- L-en Fillis - 2 '- ,, ,, 'l/2 the acts of the play entit led "Jane 's
ings have been well attended. Smeck "s Chord Method 3 16 ,, ,, 318 Legacy," prod uced by the Femina
Community playing is the great i'dar chisio"s Harmony Dramatic Club.
feature of the club, which proves a for Guitar 3 '- post free
social success. The piano -accord ion McNe il! Modern GLASGOW.- Mr. and Mrs. Merton,
Plectrum Method 6 '• ,. with the Glasgow Banjo Club, gave
has been included in var ious numbers
with success and the Wood Green the ir annual entertainment in the con-
Accordion Club has been formed .
Players of this instrument are invited
to join . Subscriptions, etc., are nom-
inal . and particulars can be obtained
G. ScarthI:·
69, CHAR!NG X ROAD
cert hall of the Incorporated Homes
on March 8th, Mr. A. Orr and Miss
Jean Ran kine also assisted in solos
and tri os. The items played includ ed :
of the Secretary of the Wood Green "Nigger Minstrels,"" Admiral Andy,"
Banjo Club.
LONDON W.C. 2 "Glitter of Steel," " Scotch Broth "
~,.__T.
_,_1,_p_1_u,
,,_,_____ G_,,,,
_,,_~
_d_1.
_"2
_1_
1_, y- and "Festiv ity" (arr. Mrs. Merton),
 April, 1934] 175
• .M.G.
also "Hawaiian Love Song" and Lloyd; .-ntertai ner, Mr. A. East; concert a:range<l by the .. White
"Lilaha Waltz," for guitars, Hawaiian banjo duet, Messrs. A. C. Jarvis and Heather Club for the Blind," held at
and Spanish. H. Davis, "Joy Ride" ; song, Miss the Whyte Melville Hall on March ,t h,
Frank and Mrs. Merton were specially Rae Parker; mandolin ensemble , " In all items , especially" Nigger Minstrels,"
engaged for a two nights' entertain. Fai ry land," Mr. A. J. Lee (leader), Mrs. being enthusiastically applauded by
ment at Irvine (Ayrshire) on February Knight, Misses Gooch and Varney , the audience . ·
27th and 28th, and the Ir vine Times, Messrs. G. W. Thurhw, E.T. Coates, NOTTINGHA M.- At the annual
of March 2nd, says:- F. Haigh and H. Davis. Community: concert of the Under wood and District
" Tbos t! of us who ha\'e lish.-11edLO the "Scotch Broth," " Moonlight and Choral Societv, the" Sande rs-Paoworlh
banjo and guitar performances on the 1·adio You" and "Nigger town"; banjo
by Mr. and Mrs . Me rt on were pri\lileged to Hawaiian Guitar Band" (conducted
hear lhem in several banjo and Hawaiian
ensemble, "Da rkies Romance, " Mrs. by Mr. A . Hugh Terry ) played the
g-uitar duets, which made a pleasant inter- Mann. Messrs. P. Hammond, F. Haigh, following items: " AlohaOe ," "Maomi,"
lude. 'These were ~n~atly enjoyed by the A. G. Lloyd, 'vV. Morse and H. Davis. " Kentu cky Barbecue," " One, two,
audienc(?, and their mastery over these Piano accordion, Mr. R. Timms. Com•
popular instrum ent s must have sti1Ted pangs three, four" and " Coral Isles"; Mr.
of infcriorily comp lex in the hea1·tsof most mun ity playing conducted by Mr. G. Terry and Mr. San ders• Papworth
amateurs prcscnt - nC'Iinstruments are more Mills; at the pian o, Mr. Leslie Lee -played " Black Eyes" and " Int er•
abused by the \lllinili ated. Their rendering and Mrs. J arvis . The final being mezzo, Cavalleria Rusticana," as vio-
of 'The Bells of St. Marys · served to dancing, mu sir. by Syd. Victor 's Dance
show variety of banjo playing rarely heard. lin and guitar duets, and mand olin
Other items were : 1 Glitter of Steel,· Orchestra, concluded a successfu1 and guitar duet," Toselli's Serenade,"
• F~!-livity; · Hawaiian Love Song' and eveni ng. all the items proving the most popular
'Come, Dance with Me.·"
LONDON. - On February 28t h and of the programme.
HACKNEY. - A concert was givf'n March 1st , Mr. Jimmie Edwards gave PRESTON.-At a concert given at
to the inma tes of the Hackney Insti- banjo recitals at functions organised
by Lloyds Bank and the L<Jndon the Ambleside Golf Club on February
tution, on March 3rd, by members of 28th, Mr. Eugen e Ea rle played a
the Hackney and District and North Postal Service, being introduced on
the latter occasion by Mr. W. M. selecti on of banjo, guitar and pian o-
London B., M. and G. Clubs, Mr. H . accordion solos and, on March 1st, Mr.
Davis acting as stage manager. Brewer. At each event "J immie's"
Community items pLa;yed w.ere: recital consisted of his own compos i- Ea rle was engaged as banjo and guitar
soloist for the Cambrian Society's
"Federation i\Iarch," "Hiking," tions and arrangements, which gained ann ual dinner, held at the •· White
i\Iagnolia Waltz," followed by banjo vcciferous applause. Horse Restaurant," Pre ston, and also
quartet, "C amptown Carniv al," l\<Iessrs
. An ensemble of Ilford Club mem-
on March 9th at the Public Ha ll,
O'Keefe, Foster, Stevens and Morse. hrrs , Mrs. Jessica Jefferies, Messrs.
Mr. R. Rolinson gave a pianoforte Jefferies, Par ker and Tomkins, con- Lytham .
solo from "The Bohemian Girl" and tributed items at a concert given STOCKPORT. - At a concert held
Mr. Beudet a banjolin solo," American at Ambr ion House, Vauxhall Bri<lge at the Wellington Street Met hod ist
Medley''; Master Victor Thomas played Roa d, S.W. 1 (the head -quarters of School on March 10th, the "L inl ey
" Comical Coons" as a banjo solo, and Ambrose Wilson, Ltd.) , on March 3rd. Banjo Quartet" (members of th e
Messrs. Jarvis and Davis gave "Joy "Happy-Go-Lucky " and "Kilties " Stockp ort B., M. and G. Club) played
Ride" as a banjo duet. were featured as banjo quarte ts (leader) several it ems with such success that
Miss Shelton and Mr. G. Locke Mr. Parker. Mr. Tomkins , who played enco r es were demanded by the
contributed vocal items, and the corn• bass-banjo in the quartet, also played aud ience .
munity items : " Kilties," "Banjo "A fter You " as a guitar solo. Mr.
Vamp," "Georgia Medley" and "Tat- and Mrs. Jeffries played a banjo duet, WIMBLEDON. - The series of
too" were played by members of both "F reckles ," which was greatly appre - dances held at the W imble don Town
clubs. ciated by all present. Hall, organised by Mr. Harry Marsh,
A most enjoyable evening was came to a successfu l ,conclusion on
spent, the "old folks" proving a most LONDON.-Miss Florence Leath- Saturday, March 17th with a grand
appreciative audience. wick gave a most successful Charity St. Patrick's carnival night. The hall
Concert in aid of the National Union was literally packed and everything
ISLINGTON.-The "Islington ot Teachers on the 3rd March, at Carr 's went with a wonderful swing, due t o
Banjo Band," ably assisted by Mr. G. Restaurant, Strand, when, in addition the spirit uf gaiety which prevailed.
A. Keeler and Mr. Davies (of the North to other artists, she was ab ly assisted The Aston Banjo Orchestra received
London B., M. and G. Club) proved by several members of the Acton and a tremendous ovation for their perfor-
one of the most popular items in an Eal ing Club, including Mr. Frank ma nce nf: Waltr., ·• Mother Machree" :
outstanding "Variety Pr~gramme," Lawes, who contributed several de- Irish jig; ·' Gay Gosson " ; fox-trot,
which was given on March 11 th, at lightful banj o solos, in add itio n to "Londonderry Air " ; waltz, "My
Collin's Music Hall, the band receiving taking part in the concerted items. Wild Irish Rose"; one-step , "I t
thre e'' curtain calls' ' from an audience These were in the hands of Mr. and Takes an Irish Heart" ; waltz, " When
numbering nearly two thousand. The Mrs. Perfect, the Misses I{. M. Cook, Irish Eyes are Smiling''; one-step,
items played included: "Blaz e Away," K. Douglas, E. Clarke, and Messrs. "Tipperary ," and several other num•
"H ik in g," "Communit,y Med ley," Middleton, F rank Lawes, Ber t Bassett bers, more enc.ores being demanded
"Banjo Vamp" and "Kilt ies." and Chris Nea le. Mr. Neale also sang than given. Mr. Joe Lane's Dance
charmi ngly to his guitar accompani - Band did remarkab ly well and received
LONDON. - On Feb ruar y 24th . at ment. great praise for their admirab ly
High Cross Memorial Hall, To tt enham, Among th e large audience assembled arranged Irish numbers, while the
the North London held the ir fifth we noticed Mr. and Mrs. G. A. Keeler, Bergo Piano-accordion Tango Band
annual concert, the programme includ • Mr. Em ile Grimshaw and Mr. Clifford were very popular with the dancers.
ing community items by the club: Essex. The three bands made a distinct
" Federation March," " Ta ttoo," contras t in colour tone when per -
"Rugby Parade," "To the Front"; NORTHAMPT ON.-The ·• Windsor forming separately, but blended with
banjo trio, " Cute and Catchy " ; Banjo Combination" (leader, Mr. Will striking e:'fect when massed together.
Messrs. G. Mills, A. G. and A. W. Cave) played several selections at a
 176 11.M.G. [Ap ril, 1934

•Edwar ds, Jimmi e (B .. 7-B. &G. ).C o11d11c-

Sm
cl11 ts
Amertisemen
1or ll forrl Ba11jo Club. first winnt:rs Y.:ssex Cup and
Turner Shi ~la . Speci~lises in coaching (ordanc.e work,
~~~;~a~;~;s~t1!,~to?~~!~•~~ t1f~~~
-Jl ·f!~l~i~s~oa d,
•Fairs, Edward (B.,T•B. & P.G.) - New l i·11,
Tho rato 'for Advertising under th is Suffolk koad. Nonh Hal'row.
Letters from players intended for publi• he ading i s 5 / - por half•inch .
Freear, Jack (Plectrum Ba11jo Specia list),
cation should be written on one side Barnes & Mullins ,l18 JSs. mod e l profes•
13, Poi111Hill , S .Ji 10.
of the paper only and should be as Gallo, L. (1-B., B. & G.) i\Jo<ier,, style P·G.
sional GUITAR, co mple te with case . Perfect pb.,·iug , Perso n~! and Coaespc.rndence Com·seTu ido n
short as the subject permits . Publica- order . Also TENOR-BANJO, togethe r with on 'r.s. and P-G . t99, High l<oad. $ . l'octenham, N .15.
tion of a letter does not impty edi/.orial solos and tut ors fot both instruments. \:Vhat •Grimshaw, F.mile (B. , M.,G .. 1 -B.)-54/55,
e11dvrsementof the opinions expressed . offe.-s? Write G. Edmonds, c/o Clifford Piccadilly, W.1: '!'none : Re1!:ent 697;.
Essex & Son, 1.5a, Grafton Strc~t, Bond Grosvenor Co ll ege of Music , 447, Strn 11C1,
The word "Correspondence" should Street, London, \V. \V .C, z. /J, T-B ., H. 11mlS-G. , ;•. A,:;coril,011 Se1x., '"·
be u;ritlen i11 the top leji h-ittd corner Froll\ lS ICS$ons 1.1/-. ' Phone: Temp le ;33z .
Clifford Essex "Concert G.-and ·· BANJO. • Handscomb, Alwyne Frank (B.,M ., l'.,V ..
of all the letters intended ftir inclmion Condition practica lly as new. \ ,Viii accept 11.G. 0'"Pu mo .u,ord io n). Est. 1901. 5, Terrick Road ,
under this headi11g. first cheq ue for £12 . i\Iost exceptiona l bar- Wood Green, N.u .
gai11. Hall, 3, Park Dri,re, Nottingham. • Ho ls t , ,'llax (B. & 7 -B.)-P lectrum s tyle .
To the E.clilor or" /J.,W. G.J .. Solo and <lance band , Twe lve lessons , {.z :zs. 42,
London, England. C. E. 11 Concert Grand" BANJO. uPa ragou" Sinclair Rc,ad, W , 14, Tele,: She p. Bush 4-:r:86.
Dear Sir, resonator · and fh.ulge, wrist rest. and plecu ·um " Keech" Music Studios . All inst rume nts
I was more than inter es ted in a foatun:~ holder, perfect conditio n, ill case, ;69 . Cole, 1augb1. S~cialis1s . Becbs1ein Hall B 1·ook St,, W . 1 .
ai-ticl~ which appear ed in you r December 53, \1/es tbour nc Grove, Scarborough . Telephone : Mayfair 3uo.
edition, und er the ca ption of u The Last or HAWAIIAN GUITAR. Bums, as ne w, in
,"1orri.s, Geo . E . , Banjoist
So mers' 8c1nd (/J ., T-8 & G.)-Fin s=,e
witb
r and Plectrum
Debroy
the Dobsons .. by M. I.. Hallett. I had the S t yles. Conespo 11th: 11ccCourse Tuirion a Spec ialit, ·.
pleasure of hearing the$ \! famous players
case. £15. V. L. Gandy, Th ~ Park, Lym m,
25, Cadbur1 Roart, S.E. 16. 'Phone: Bermonasey 32~8.
many tim es wh ltt1 lh t:y w 1;::
1·c: ,,t t!1c hlti~hl uf Clw,!::hir 1:.•
.
Pa y ton's Sc ho ol of Music (B .. '/ .B., JJf •• G.,
th eir fame : th ey were outsta11d i11g musicians For Sale! C . E. £4 4s. UKULELE in case . H .S G .. Uli.e. V.P .. S,,Sa~ .• /'. Aee .. TJieory) . 1 12, Hi:iitb
of their day without a doubt. Good cond ition! \Vha t offers? Thorn, c/o S1reet , lslington. N . z. Headq uarters of the Islin,i:ton
Se\lera l years ago, I had the pl eas ure of Clifford Essex &Son , 15a , Grafton Street, \V . l . B., M. and G . Club .
hea1 ing Mr. i\•I. L. Hall ell (t he author of the Pe rcy, E. T. (B ., Z -B .. & P. all siyles,-
ar t icle refe.-red to ) play banjo dueti-: w ith his "Paragon" 4•string GUITAR , "ce llo model," H , r:airfax Road, Gr- en L anes. N. 8
son at an hotel on Mahopack L ake , wht!'rc finger-plate, with case, as new, cost ,618 18s., P ettitt, ~\rs. E. (B ., JI'/. & G ). JOA. Barous
yo ung Hallett couducted adanceo rchest 1'tl ror accept £10 I0s . Consider part exchange . Cour t Road, Kensi n s:1,,11,W . 14.
upwards of three yea rs, aud I can tn1thfuHy G uitar or G. Ba njo . Robinson, Gtenhaven, Pettit, R, (B . & 1-B.) • 89,Cari ton Str eet,
say that th e " Hall t!US" are real a i-ti~ts on Bristol Avenue, Fal'ington , Leyland, Pr e sto n. Kemisb r cwn, N.W . 5.
the banjo. M. L. (S1lr. ) is 011e of the few Reed, l<eg. W. (B., TB ., tlf .. C. H.G. Soto
finger-style players in the U.S. A. who still SPECIAL BARGAINS Uiu ,- Mooern pleclt'um stvlea~peciality. s Oenma n
Koad. Ped.ham. S.Jt.15, 'Phone: Ro,l11t:y 3173
favotir·s th e fiv~•String banjo. ~nd hi~ per- "Em ilt! Gri mshaw" model melal hoop Reeves , AnitN (B., M. & G.)-Specialisiug
fornrnnce pa·ovc;::sthat he knows his instrument . BANJO, fiu~d with "P aragon" reso nator, in in Plecumn ~lethod. Apply by lc1ter to 154, Grafton
1 have a great love for th e banjo, l>on1 with leath er case . (12" hoop). :CtI; "Paragon·· Street. New BonJ Street, W .l, or 30, Howards Road,
my ca r ec.- in the minstrels, having played model BANJO with cas e, practically new. Pla.istow. U.13.
with Hav edy 1 Guy Brothers and Henry's £15; " \.Vinds or"" Ge m S upr cm us" BANJO , •~i dlcr 1
Lil y. Prize w11111er.Honours T.C . t..
Cert. T .C L. , 1<.$.A., I..C.M .. HoMer o! " C" Grarle
troupes . with resonator and case . /.,3 I0s. ; "Mal'l• 8. and M. Oiv lo1nas (B .• ,~,"'' '"" 1111d Fiilger, Z-B.,
Afte1· heari11g the Halletts, I have wondel'ed bo.-ough .. ZITHER-BANJOand cas e. Suitable T-B .. M •• B11,Pj.,wd Tfleo,y.) Terms[ , 1s, (r2lesson s).
why they bave not gone into radio work. fo1·a b~.~inner . In perfect pla'1ing order. £,2; Tri,.\ lessoJl zs. 56. '.\'lilkwooci Rei., Herne Hill . S . E.1.4
U11derSt<ttld they do quite a little 1.·0111,·ert Grade II "C lifford Essex .. ZITHER-BANJO Ro bins on , Ag nes E (111..B ..Z .B.,1 .B. ,V ..&I',
wo rk. 1 would thank yott to pub lish the and ca se. £,5; "C lifford Essex .. wood hoop 29, Loodon L~nc. '.\·l ::tre S 1., H1u;kuey. ~ .8.
above in the "B. M. G . ," whe 1·e I c:un sul'e it BANJOLIN and case . 4 st ring. £3 J0s . ; •Russell-Law, A.(B .. 7-B.&G.)-AJI s tyl es)
will do honor to the se splend id playe 1·s, "Cl ifford Essex .. "Mdal Spec ial .• TENOR- Lates1 method s-8 0, Seulao Rd., Wa hba.msto w, :e.17.
where honor is due . BANJO, o1 Paragon" resonator Rnd case, Sadleir . Dick. Ra,i io . Recordi u g aud Talk ie
Very truly, £ 10 ; Cliffo rd Essex "Paragon·· TENOR- Arti$t. (B .. T•B ,, G., H .S .G., Sax .. P. A ceortlio11,T heory
JOI}. LAWRt-;NCE, BANJO and c ase, .6°12. and Harti8'11y.)-181,, Cambr id~eAve ,, Kilburn. N.W .6.
Vaudtt•ille, en -route, U.S .. -1. Sawyer, L. S. (1-B .• B., H .G.• G., 'Cello.
Any i1lstrum ent sent on approval againsl
cash. Cli fford Essex & Son, 15a , Grafton J}w~~~:1:i~~~~~- (ti~cs:a!f1~T!b~~stincs Road,
To the Edito.- of "B . ill/. G. , .. St reet , New Bond Str ee t, \V. t. Sc ott , St ella ( p.9) Specializes So l<>& Dance
Dea1· S ir , Work. 23 North )-;ud Rd,Go lders G rn. Speedwell.3ti6◄,
As a banjo enthus ia st I would lik e to •Spa ldin g, C . W. (B. & 7-B. )- All stylu
vo ice my opinion as to the poss ibilities of the 17 0, Woodrna n stcrne Road , S1rea1ham , S. W .16.
ban j o as a musica l i nstn11ne1\t. That lh e St anle y, A. /B .. 1.B ., M., G.) - All style•.
banjo is a m11sical inslrument wa.s prov ed by TEACHERS 19 , om.,. Road, Bri:iton. S. W . 9.
D. Milner's wonderfu l pcr fo rma nc ~ from AND THEIR
•Sutton, Jimmi e (B., P-B., Z-B .. P.G. , H.G .)
North Regional Statio n r'ecen tly. But I ADDRESSES s, Gillet "ferrace, Wahhamstow , H. 1:.
thi nk that these II possibilities .. arc being
It kill ed " by plectrum expo11ents. lt seems
* boforo a T oachor•e name de note • an ALDEl'tSHOT,
0
to me that, during the h\ St five or six yea t·s, e.xamlncr for e,M.Q ," Diplomas. Meadows, T . (8. & Sax. ) - 34 . Church La u e.
th e banjo has lost prest ige in the musi c-al 11• pu 11mum1 Jo, lt~Q lmtS ; ABERYSTWYTH
world and l think I C:\n prov e tllis s t ate m ent 3/6 per l foc for cxrrn l 111,sor p,11t of lr,11.
•, ~il ve rton, A. (B., 7-.i .. JI/. . H-G. , de.) 19,
by dra w ing you.- atten t ion to th e fact that LONDON AND SUBURBS Ectsllf(<ue.
banjo broadca s ts are few and far between.
In t92i, ot thereabouts, no programme was
Baillie, Ra y (7-B . , C .. U .. J hem;, 1E9. Ci,ar• AYR ,
in st Cross Road, W.C.2. a lso 6r. S het wooci \\ a~·. •David son, R, (B., 1 ·B., H .G. a11d G.J-
comple te without its ban joist, then the plec • West Wickham, Tele. : :Sprin g Patk Ji•,I). Tbe ory & na ri n o11v. Solo nr cb.1,ce s tvle . 67 W all.-ce St
trmn banjo ist arrived and I considc. Jr that the •Barnes, Fred(B. , J-B., G.) Plectrum style
m any yea rs of hard work by Joe Morley, BECKENHAM AND SYDENHAM,
a spec ialitv. Correspondence Course fo1· modt:rn
Olly Oak ley, Alfred Ki1·by, Nassa,u Kennedy , dance s t,·le: 69, Falkland Pk . Ave. , S. Norwood, S.l:':.:z5 •Rid ler, Lil y , is now visiting- lhe abov e
weekly . F1.1IIpal'iieuhu ·s and terms i11London address .
Parke Hunter. and many oth ers, have been • Bassett , Bert (B .. Z -8 . & J-B.) - rglS; • S is le y, Oe off. (G. ('·G, & H;G.) J.S, High
ti lterly mined, and the banjo has now lost Claph.tm Road. S , W. 9, aud ,$a, G l'a.fconStrll:!:
~t. N ew Suee1. Beckenbam , ol' Chffo 1·c Essex Stuo 10 .
th e rnusici1I recognition that wa s: s o hard to Bond :Stre i:t, 'N . 1.
ga .in , a,,d ,vhile publishers publish the' ' stuff " Blake, J. R. (.i., J -B., M. & G.). All sty les . BEDFORD
they <lo, ou1· aim will get farther and farther ~1. Lewes Roa<i, North Fiuch [email protected] . 1-:. Salmond , H . A . B. (B .. Z ·B. & 7-8.) - Begin-
ners careft;,lly gtounded. 80, Chaucer Road.
away. Therefore, I appeal to all finger -style •Boutl e, Ade lin e (B., Haw. G.. 111
.. P.) Pri,-e
banjoists to demand mon~ pieces like E llis's Winner T C.L. 12, Billet "fer., Wahhams tow. E . 17. BELFAST
"Roma11ce ill C Minor," i'\I orle _,,·s '' Pompa - Braithwaite, E. A. (B .)-202, Queens Road, •Ca mpbe ll, Le s lie (B ., 1,s., M. , U.)-7,
dour," operatic arrangements by Oily Oa k ley Peckham, S.B.15. Bennett Drive, Brookvale Avenue . Instruments ,
and D. Milner, etc . Mus ic and Strinu.
Campbell, Mis sesM. &. B. (B ., 1-B.,M .. G.)
Yours fa ithfully, 16, Gt . Eastern Road. and 42, Plaistow Grove,£. 15, BIRKENHEAD
c. L,,\ 't...ANJ) • Dy kes, B. W . (B .. 1-B., M., G.)-23, Ray . •Hurst , Har ry (B ., Z-B., 1·B., G. & H. G.
mond Road, llford. -:z86, Clevela nd Street
 April, 1934] 177
B.M.G.
BIRMINGHAM ENFIELD (~lrDOI,KSF.X) LEE OS -( continu e d)
•Oh t us, Fred (B., Z·B., 1-B .. ,11.)- Locol • Rand Hll, i"l\i ss Bab s (B., U. H.G. & G.)- ' Tay lor , Ma dame A. ,M .. Bn .. B .• G.)-
Aient for Clitlord Ks.s~x & Son. (Rxamine r for 26. S~·dnC)' R')ari. 'Pi1 011e: Enfield 3S1~.._ __ _ Bho1· }loose . Jt, Bunon Row. Htmsli-, ~1001'.
"8.M.G." Diplomas .)- 1t9.0akTree Lane, Sournville
FALKIRK · Wh itt in g ton, W . 1B.. Z •lf ., 111.,-55. L» n~-
•Hull , S O. <Z·B.. H .G. & M.)-Commu n• • \\ ac b• th , W ill (H., /.ff., G., M., U.J- royd Te rrace , Burton Road.
icatio ns to go. Westfie lo Road, Kini's He,uh, Binni nt• , Studio. " 1,1.O rchar d S1reet .
ham S tudio: 'laylor & Sons. ~1usic War ehouse, LINCOLN
Br idte S1teel, Wa lsall. an d Dale Forty's S1udio, FLEET (Ha nt s. , Ne al e, ~eg,(B., Finger, P lectrum aml Dauce
New Scree1. Birmin e:ham.
O ord on. H . c. (Z•8., B .. H.G.)-"Sbiri n ," Styles) - 9 ', Dixon S1ree t, and 166. Hi1,d1Sueet.
J ones , Ernest (Radio & Recontit1![ ((:otr,m . Albany Hoad
0ia .1,tist) - 16o. Wake Gr ,en Rd .. Mo~ le1·. 'Phom : LLANE L LY
Midl-4nd 66.p and South 1.u9 GATESHEAD
Kirb~ ·, Alfr ed . Banjo So iohn. T uit_ion . "lle a d, 0 . W . (B .. M .. G.. J .B ., J/.). (ExA 111• •J o n es, T , E. (B., Z·B., J.B ., G.. H .G.,
U ). (H.xaminerfor·•k .M G " l)iplomas) -18,Temt•leSt ,
108, How He.1-thRoad . Kiois Nur ton. 'Phoue: KN. 310. rne1 r,,r .. R.M.G" Oiplo 111
as ,) - 9, , Ro1lsle>· Avenu e .
• Kap u a , J<e n . !:>"puialislm1 HnWft.iia, 1 G11ifa,. LIV E RPOOL
und U;.m<Jc. "Bl .. ulia, •tn ," Ardley Rl'I~. J<in2s Hea1h. GLASGOW
• Bull en , R. N. (B.. Z-B., Sax.)-43. Mont •
• Pi doux, Jo hn tB .. Jlf • . G. & J-B J. Scotch er' s ll uch ana n, M iss El iz ab et h (H., 'l.R .. M., clair Drive. nosshn Hill. (Exam iner tor ·· 8.M.G"
Chambir:: s.59. Corpora1ionS1. 'Phone, Cent r al 1101. G .. U.)-Mus 1c, ~crinies , Vellmu s s re-
ln stn 1111e11t Oipluma$.) ·
•~ k h , Sydn e y J. (Z-B. & B.)-45 . Hanllon paitf.:J on pre 111i~es-26 ,G 1·anvilleStrc:et.Cha1 i11f:,Cros.s. Oarne tt , O . E. (B .• T-B. & Z·B .)-AII st\' les
Road . K111fs He,1.1h (E:1 .. 111ine r for B JI G." Diplomas). fl\c Kec hni e, Ale x . (B., 'l:B .. C . . H.G .. ,JI.) of Banjo Pla ,·ing 1augh t . Spec ial auentio n iivt"n to
all tayl es-1~ . Ga rturk St ree t, C.rosshili the modern la nce method Lessons a:i vt!ln priva te h·
• W e lc h , J .C.IZ-B . &B.1 AIIC. E Publica - • .~e rt o n t F ra nk & l\1r s . (~r.ot1 i~l1 Srhool ol or by corr es:;>ondence . Concert pan iei;. ::t•rau,i:ed-
tion~i11s1ock . 27, )fi11s1e aci ~,1 .Cra\·eil• ·Hil l.E l'riin }!t o11
Syncopation ) .. Direeto 1', llrank Mer ton's Da11ce Or• 181. Breckfie ld Road, N.
BLACKPOOL -;hestras ( '4 .. 1"·H.. Z •B .• G., H .S.G. B•1., Be. S-•K. • Lewis , A. E. (B .. J:B ., H .G.,U. . M., P. Acc.,
•Bedford , L. (B .. .<·B .. il/.. J .B .. G.. H .S.G.
1 '. , C1mimt) Tu itio11 for Bands and Conct:n e n~a,::~- x.,,1,.S, Drrm 1s) - Bei::inne1·s and a,ivane#. . :vtembe1s
rnents All(: .!.:. mus ic stocked. Vellum !!-,re1}airs. e ,e - invited Liverpool 8 . :\f. & G. Club (Examin e r for
& P.) Theot \' .ind h.1.1111on,·. lns trun:iems ~nd solos 551. Ciauchiehall Str ~et , Ch e r in ,::Cros~. "B.M.G." Dip\011'1~$. 213, Smiih,tow11 l.~ne and , 78
alwav)'; in s tock . Studios-,s. Bioomfielrl Road . Tunn ell Road . Tel.: tfo,·al ,bS,.
BOLTON Hin d,
GRAVESEND
L T. (B. &Z.B.)- Holder" C "Gra~t
Vou ld, Harry (B .,M. & G.)- 155,Smitbdow n
•L ob b . Barb ara. f',it1cipal . ;. Roltou School ~oaci.
Oi1,to111a- 22, St. Jame s' Avenue .
of ,\ 1usic: · b. 8otd Stre et 1Headqua.-1e1·s • f 6011011
B .• !.I. & C. Club.) E:u tnin c dor ,; B.M.G." Diplomas . HALIFAX MANCHESTER an d D is tri c t
Lessons 2h•e-non B., M.. HG. , S.G . & U. • Narburt o n, H . (B .. Z·B.),Finger & Pleet .. Fen to n , J oe tB.,Z-B.,T ·l:1.)-Plectrnm play•
3SO Gil,be1 Street . ing . Solo or Da nc e work a speciaH , y-109. t'ei2n•
•William son , H a ro ld , A. L.C. B. (B., G. & mouth S tree t, Collyh u rst .
T-B.) - ,9. P~el S 1re~1. ~owerb r BridJ.:.t:. Fe nto n, Sey mou r (B. & Z·B., Pleclnm, ex•
11e1t). T er ms moOe-ra te.-361. O ldham Hd .. Failsworth .
HIGH
WYCOMBE •Ooo dma n. A . (B., Z-B .. Do/a., M., G.1-A II
BRADFORD •we at on, Robert W. (B. &Z·B.,ji t1![e• style) C.E. music stocked. Ve llu m$, Instruments, St ri r:,:s
-i4. Oukl'!:~tr e et Acce ssor ie s and Nepairs. Examiner for "B .M .G.' '
• Ver n on, Syd. (B.,111. & G. A, •lisl) 17.Upper Diplomas-156, Beresford St. 1:\loss. Side, Manche s ter .
Rusluon Road. Thornbury . Tel . : Br~d ford 19;3 . HULL •Orey , Harry F. (B. & 7-1:1
. 1-3, Upper West
BRISTOL · F o r d , Ro lan d F . S . (B., Fi,rger& /"lect,m11 Gro"e, C.-on~,i. . Manc hes 1e r . 'P hone : Ardwick :uts-o.
i ner for" 8./.1,G." Diplomas .
Cradd y. H . E. a . (B .. Te11nr-Ba~jo& Gl,·.)- mdh ods (T -H •• M., U. & H.G.)-"V eiaville ."' 8el,:q1.ve
Drive, Anlab y Hoad. :::irndio: Y.P I. Cha, ·tou e St,·@et
Dis trict £.11:a,m
•Linl ey, Wm . (B. & z.B .)- Careful training
32. Vict oria Pa rk Fisbponds. Bdstol. · 'Pbo11e : 11016. for be;?inner or advaucetl srn deot . Examiner for
' Smi t h , Madam Sa bina , A. L. C.B . l.U.M . •·B.M.G. " D iplomas. ~ec .. Scockpor t B .• M. & G. Cl u b .
CARDIFF (;o ld and Silv(!r Medallist. (H., Fi,11:,,,
imd PlLC.• .\I 3"4, Woodland Avenue , Gorton. ( Ne.-,r H)'de Rd. St 'o . )
•Allen , R, (B .. M. , G.)-171, Cit y Ro ad, & G.). -t9 Bachelor S1ree t. Boulevard. 'Pho 11e n187 Mathi eu, S. (B., Z·B &P·G .)-Plectrum and
(&:11.m incr for" B. JI .G." Dh,lomu).
finger $t~le- •6. Woorllanri Ave nue . Gorton .
• Mc Or a th , E. (B .. M .. G.) Conductor of ILFORD and Di s tri c t
B. , M. & G . Ba11d. Liitleton Str ct.:t. C:l.nto11. *Shep he rd, W ill (B., 'l:B .. M. , G., D olfl)
2, ' Davis , W . O. (B.. Z·B .. Ba,,j11lw & fl,/.)- (B.B .C. Arti st) - •$, Weller A\'e ,, Nell Laue. Chorlton
,,. Par kway , Wat e r La ue, $4!:ven Kin1?,s.Ess e x i also a1 Estate. Manches1er.
CHATHAM (K 1rnT) The Me1ro,,01i1au A~d em__r
. E,~ham Hall. For es t Ga ~e .
Fowl e, T . W.(B.&Z·B) - 38,Thorold Road . fld w ards, Jimmie (B . . J .B ., G.)-57, E lgrn •S pin d ler , Oeo. R. (B. & Z·B .)-Finge r
pla"ing anrl r i~h t,ba11d technique spec iallv C3.tered for .
Roafl. Se, 1f'll Kin~s.11£..,l'd . 'Phone : Sev~n Kinu 1315. Examiner for '•S.M.G "Diplomas .-146,Liv@rJ)OOI Rd . ,
CHELTENHAM (See ::tlso London .) Pa.tdcrofc. neu Mar:chescer.
• O ard in e r . A lice (B .. ,:B ., M. , G. (Spa.11.& IPSWICH
Haw .)m1d U.) - Kin gs.way House. Piuv illc Street. •o oug h . Be rn a rd (B. , z.B ., M .. U. & J/.)- MIDDLESBROUGH
Tu r n e r, S id E. (B .. 1·B. , G.. H.G.)- 1, •o<(..Rell~ Vue Road. • Blac kl oc k Ala n . (G.. H.G., & 1-B .)- 70,
St . ~1ark's Emporium. Ciirton Str eet.
ISLE OF THANET
COVENTRY •v ou ni:-, Al a n (Z -B .,B .. Fi11f!er & Plectmm . NELSON (LANCS.)
•Polla r d, Irvin g S: - 61. Primros.~ llill St. T-B., h G.) S1udi o . "Gympie , " Av ebu ry A\ e . Rams~:l.le
• Br indl e , Billi e (B.,111., G.) Plectrum style
'Phone: 38s1, Exanuner for " 8 .M.G. Oiplomas. JARROW-ON-TYNE a spe:ciality. B.B.C . Ar tist .- 15, Leeds Road, P.O
Conductor ~f Coventry 8, . M . and G . Club . 1.lttl e john , J ohn (B.. Z ·B. & U.)-123, Bede •Lund , W m. (B. & Z-B .)-F i111:er aud
DAGENHAM and BECONTREE 'Rurn Rria.tl. Plect rum , 15, T er r y Stree t,
Je ffries, Mrs. J essie (B., M., BS.) 145, LEICESTER NORWICH,
Baron Road. Greenlane . Chadwell-He1uh. ' Chamb e rl a in , J. (B .. J -B ., M ., G., H.G.
& U.)- ·u. Belvoir Street. Local Ae:~nt for Cl ifford *Aldou s, Wil l. (B. & G.) 2 , Char les Avenue,
DERBY Eu ez & Son . (Euminer for " R M.G." Oiolomas.) 'J"huuder Lan ~. Th orp e.
•Daw son , Mr s. E ls ie (8., z.o., ,:B .. M., NOTTINGHAM
G., H.S.G.. U.). Disttic t Examin er for "B .M:G." LEIGH-ON-SEA
Oiolomas, a tu 1nds tbe Stud io. Mess,s. Chas. Foulos & Mur re ll , H. E. (1· B., M. G .. Fing er a11tt • Pap wo rth , San ders (B .. M ., G.. Saxop /10,,,,
Son Ltd.,4<' Irongate . Pr ivate Adtlre SS>
.9.S ta tion Rt! ..
~n~iacre, o'erbyahire. 'Phone: Sandi acre Q,i. Pltdnm1), 1031. Londo'l Road. Ukuld e, H 10# . G u:ita,)-Local A~ent for Clifford Bssex
•W a d d ingto n , S. F. (B .. Z ·B .. .F'i11f/t1·Styl e, a 11dSon. (Diuricl and Lincoln and ~a 11s6eld Eum -
inerfor '' B,bf .G.'' Oiplo1nas.)-32. Al[re ton Roa d. City
DEWSBURY G., H .G.)-1~51., Le ith Roaci .
'Lyle s , Albe rt (B., T·B .. M .. G.). (E xaminer •Rich ards on, Edw ard (B.,M .&G.,allslyles)
ror" B.M .G." Oiplomas ,)- 9, Park RoaC.. LEEDS -O,•er io )'ears' professional experience-48 , Portland
Ro ad.
H uddersfie ld visited . Pro ct o r , Cyr il (B., 1-B .. G .. H.G .• U.)-
6. Gras:mer e A" enue. Tom: Road. Tel. No. 38406. OLDHAM
DOVERCOURT • Howcr of t , Ch • rl ~s (B.. Z-B ., J.B . G.,
•MIiii s, w. H. (B., 1·B .,M., G.)-3. Nelsou Ate Youone of the teachers wh o h ave H .G.• 1,/.). (Examiner for' "B M.G ," O iplo inas .)-
Road . not r~alis~d t he a dva ntages of incl udin g 1o6. Werneth Hall Road.
DUBLIN AND BALLYMENA his na me and address in " B.M .G." •Nix on , Fra n k (B .. "/'.B., G., H .G. & U.)
eve r y m onth ? ,c,, Sylvan St re e 1.
•MacOarvey, J ack. Recorrling and _Rad io •Ta y lor, Jac k ,B. & J.B.) Finirn an d
Art ist (B ., M .. G .. H .S.G.)-I.essoos by .tppo rntmeuc . Thi~ i!- the o,,t,., B ritish )la ga.-:in e _de,·olcd cx - PIP.crrum}. (Eumi n l!':r for "B.JI .G." Diplom u .)-
Publin '21 Whitworth Rd ., anrl Ralh ·rrena. N. lrel:rnrl ch 1~ivclv to lhc interests of frc~tcd 111strumc11ts . 2;9. l.ee Str eet.
•Nort o·n . · E. O. (B. & Z·B.1-·F.xa111in,r for In :tddit io11 to hm·ing ,'\n cxta1ordm:-11·
)• IMKe so b:
"B M.G." Oiplomas-3, Fo, ·le l<d. , Ftirview. Dublin i:.cri1>tio11list , it is stocked by lmndrcd~ of nms ,c OXFO R D
S;hops th roug hou t the: C0\ 1ntrr :rnd ,iHIP!>lied to their
EBBW VALE , MON. custo l\\<'N- hy ;\1cs s~ . \V. II. Smith. llorncc • fa ke a Tr ip toBA NJ O I.A NO - l'Uo/.Art h ur
'.\fr1 r:,:.h:i.l1.Ltd .. 'fol<-r fi l"()s.. :i.nd o ther ntw~{')tl1>Cr A. Kenned\ · Aflpl y Me~srs. Acou·~ ,.tus.ie S1ud ios
• Bes a g ni , L. (B .. P·B .. 1lf . • G. & J/.) Pupils !"\ntl mn ~:.%i11\~ :lg-e n<.·ie..;:.
c.arefully g 1·ounc":edin all s tvles. 36, Vallev Roan . A~ the :'l(h•crti~crncnt is o nlr 7, .
1.Xt~t of :1 lwo .Ji11c PLYMOUTH
for :1 whtlll! yc~r . why ll\)t sc 11il rm1r n:-un.; and
EDINBURGH I\• u~ now?
;\ddn.•!1-....:
•Oeo rge , J. (B. & Z -B .) 7. Drake's Terrace,
•Chilton, B. (Z·B., B .. IYI. & G.)-Pupil or Hill Street . (Bxamln er for" B,M.G ." D iplomas.)
A. D. c~mmeve r- Albert Bldgs., ~handwiek Place . " B.M.G." • Lee, Arth ur (B .. J.B. , M., Sax. , I'., U.
u .-tctord1011. Gm'tars)-All sty les; Theor~·; Harmony;
EMSWORTH (HANTS) Adve r ti.sing Mana .g er, Instrum e nts. Music, Strin2s. Ve llums. erc.-225 .
Watt s , Mrs. E .-(Z ·B., M. & 8 .)-28 J Sa, Gra fton St ., New Bond St., W . 1 Oensham Tetrace, North Road .
Thorney Road. CONTINUED OVERLEAF.
 178 B.M.G.· [April, 1934

PONTYPR I DD ST. LEONARDS - ON-SEA ABROAD (Con t i nued) ·

• Gou ld. E. J. (B., 1.B. Bn. a,,c.· 1llf.) 12 . Foster, Lo is Ir ene (7-B, B. , ft'/.. G., U.) DURBAN, NATAL (SA, .)
Llewellyn Street . Hopkin!- cown. i4, Carisbrook~ Road . •Vow les, L. E. (B.,Z-B.,1 -B .). (Exa,,11\ner for
SWINDON "B ./11.G." J.Jip\oma s) - "Tower Hous t:," 1g8_.lm,1~.s Rd.
PRESTON
•Ear le, E uge ne (B .. 1 -B .• ,II., H.G., l' .G., •oo mm ett, C. s. (B ., 1-B .• M . & C.) -1 6.
HAMILTON , ONT, (CAN,,DA) \
Kent Ro~d. Swinrlou.
Theo,y,Sllx.) - Radto and Recordir1g.1.rcist. Plectrum
Techn1que and Tone. (.t::xaminer for" B lf.G." Dip • Waddington, .Percy (IW. . G.. H.G .. 1:s .. P.
lomas .)-15 . Cannon Street. 'Phone 1439). WALLASEY (CHllSHlkl< ) twil Sax.j i. I31ake :Str c::
cH. a111:i
133\, On~wa. Stl't!c-t. N
•Ta y lor, Ernest T. (B .. M., G.,elc.). Teacher Brig gs A. W. 1B .. Z-B & P.)- AII st _des -
of Winner s of Emile Grimshaw Cup. 1930, 1931& 193l i
J.t, Wallace Street. Kelvin Roaci. JOHANNESBU R G (S.A. )
Jn venile \1a11dolinCont es 1, Black~1ool,193i& 1933; Plcc . • For,!, Bert (B. a11d Z.B .). Fin){er -style
Gu i1~r C o111e~t. Blac k 11001. IOl2 • 10. C-:-
oss Sff~ e t WEST BROMWICH IS"l'AFF~. ) s peci ~li s t. Writ e Bo x 2:0S5 for apJ,o intmen t.
READING Jones, W. (B. & z . B.) - Radio Ar ti st. 5.-
Pearson Stref':t. KITCHENER , ONT, (CANADA)
Ha ml et, J ack (B., 1-B., Z -B. i-13 , Pnest •Yo ung, Berni e Oe (8 .. T-B . G., H .G .. Alf.
Hill, Cavers11am. WEST HARTLEPOOL 1wtl U .)- 1;6. \.\'el>er Sucet , P.. Kitche-n er, Orn
• Take a Trip to G U IT Al{LAND.-Pi/,,/ , *Smith Charles (R .1, 41. Sonthh11r 11·:·c:rracc
Arthur :\. Kenne<i)' . .-\pply \l es-.r~. Auw el is. Bin fielli LETH BRIDGE, AL TA (CANADA)
& Co .. l.td. WALSALL & WOLVERHAMPTON *Harper, J . O. (F., P. & ·1,B.) . Dir e ctor,
RHONDDA (Gr. AM.) • Wake lam, L I{. (B .. Z-8 .. 1-8 .. C.) - Ltthbrid~ e Con s.erv;uorv of )•fusic. En se mhi e Classes
•P hill ips , W. 0. (B. 1-B .. G. & 111.) All l>irec,or. Wolvt rha11lf1tm1 8 •• M & (1 O1cl,t:~1,a-- Cor. rnh St. :.nd 5th Ave., S.
sty l es. 37. South Street, Yn yshir, Oa.1'1estn11:-\lld··0sterley. ·· P, t!'.lw0011 Hd •.\Ved 1te•!';fielil
Wood • •~adame Wynifred (B .. F;11xe, ,ind PERTH (\V. AUS'rRAJ,U)
RIDDING$ (DBRBYSl-!lR~.) Z·B. 1,1. & G .)-Srndio
Plttt11m1, .19 , Wu l ve p amptor, • Matson . Olen. - Specialist 011 Hawaiian
l'ay lor . Bernard (B .. M .. G .. H.G. . 1111 Road , Wednes6 t:Jd. G uitar. ? upi l _of David K. Kaili. 18. Roy Slnel .
stvlesl. Jei~a111ineCouaie. High Stree t, RicM111i:,s, Guitar Playing ii ls F.d,iie Lall)! a11<lNick St . L~w ley.
Luc as •au.: ht br Mr . John P:dou:c B~n jo, ~lan riol in * Webster, O. H. (B11., M .. H.G . & U. )- 30A.
ROCHDALE auci f-1-G. lesso ns e::iv e n wee k!)' . A o1>h· t c 1'lll1i : - • johu Temple S!r ee t, Victo r·ia Park.
• Sc h ofie ld , Chas. (B. , 7 -B & G.)-;05 . nrake Picioux, $c o ,chc r'.$ Ch~1l'lb e 1·.s, ,9. Corpon\liou :-.~. •
Slree t. Bi1·mingham. PRETORIA (S.A.)
ROTHERHAM WIDNES •,~eyer , Rupert (G.• H-G. a11dM.). Recor<l-
• Dav ies, Fred. (B .. Z-B . nnd 1heo1")'). 26, in~ anti 'Radio Anisc-P .Q, Box 395.
Parker , J . (B., M .. 1-B. , &Z-B.) - 214, Well H.ahon View, Halebank ,
gate, Clifford Essex. accessories supp lied. REGINA, SASK, (CANADA)
SALFORD W IG AN Li ke to play I he banjo (B . & 1-B) See Ai.
Urqu ha n, 113,Scyth e's Mus ic Bui ld ing
Shawc r oss, J oe (B., 7-B., Z-.B. & Sax. )- M urr .. y, Miss. A . (H-G .. U & P.)-Instru-
Plectrum :Pla )'in~ and Latest Dance Mecbnrt,- a menisand mn sic:.in s tock . 1n. \lanchesl ea !~r-ari. Jnce .
speciali ty-2.t. Coodwin Street. Salford. SYDNEY (N.S .W. AUSTRAl.!A)
WORCESTER *Hir gs, Wm . O. (B .. 1-B. & l' -G.)- 253.
SALISBURY (WU,t'S) • Ba il ey, Harold (B., 7- .B .)-29 Rroa,i St. \\ 1i lliam Str et=t.
Powe ll , R. C. (B., Z-B. & U.1-8, Nelsou •Hin e, A . tB .. Z-B .. M., G. & Hnw . Cui/flrl -
l<oa<f,Sal i sbu1y. WORKINGTON Saidios . 32.6, Parramaua rload, Pe1ersharn. A2ent for
Clifford Esse1 & Son 's instrumen1s and music.
SHEFFIELD Phillips, J. A. (B. & L-B .)- 50. Derwent St.
• Ski nn er, H. Ph illi p (B .. T-B .. ,11.. G., H.G.)
Coope r , Edgar(B.& 7-B)-Summer ~easons YORK All st,• le s. Solo1s t, -z FC .. 2 BL, Direc tor Blue & Cold
1926 to 193-z, inclusive. with Mr. H~rq · Wood's Band . B. M.G. Oub . 327, George St.. Syd11e~·(ue ar Wynyard)
Palac e . Douglas - 111,Cherry S1reet, Sneffield. Ramsden, Joe (B ., Fi,,fier a11d l"lectn1111.
•Miln er, David (B .. M. & G.) visits weekly, Z ·B .. T-R.) Ho lcier of 1)iplon1a 15. F;.unrlal e ~,re,-.t CALGARY, ALBERTA (CANADA)
Doncaster. Ba rr,sley a 11d Worksop district. IE,:.l.mi ner •A dlam . Oeo. H. (Finger & Pleclrum. 1-B ..
for" B.M.G." Dip lomas)-81, Mo11tgo11:ery Rd , Ne1her
Edge. Sheffi eld.
ABROAD. M ., G.. H G.)-Theory a,Hi H armony Classe-s,
ADELAIDE (S. AUSTRAr.lA ) Sn.id t nts' E.nsernble. - 52:3•8th Av enu e W es t .
STAINES • Bec k e r , J.E. (B .. B-M .. H.G .. G. & U.) - c/o ·Tuc k er . Oeo. E : Baujo & Frett ed I11strn•
Mont2"omery, A. /B., Z-B .. 1-B.. 1lf .. G., Albui s Lhi .. 51, Rund le S1rec1 , m~u ts Foothill s School, 606. Cenu e S 1ree t.
Sa;,.., 1'p t.J- 23. Clar enc e Str ee t. 'Phcnt!: Staines:) . •Sm ith , H . Boake (B .. B -M .. H.G .. C. & U.J
c io All;u~s Lt •I., sr. Rund le S1 rd t. QUEBEC (CAe<AOA)
STOKE-ON - TREN T • Oagnon , T: W . tE., 1-B. , M., U. and G. nil
• ln s ull , W. (B.) 27. King's Aven ue. Woi- BOMBAY (INDIA) st "us •• .s,. A,•e. Parent. t ,
,a...m on. (D is tr ic t Examin"'r £'>r·· H MG· Diplomas . ) The Musica l Syndicate (B .. Plec. C., /11.
Pearso n , F red 1B., Z-B .. G.. H.G .) - F iu-
2er :;mcl P lec trum Sh'l es . Lates t melhods. 2S, Ha~·es.
~r.d1
.1fe~
a;~·c:.~~ir/rd
.~-tls
' 1'doxS,.rac e (M .) 8 6 TORONTO /CANADA)
• Hazard, Ted B. (Fitz1rera1td Ple,tmm.1-B.,
Street, Bradeley. Smalhhorne. Stoke-cn-Tre11t. *S iq u e i ra , Victor (H.G .. 1',f. & U. ) Radio Jf.. G.. H.G., U.)-Tht()ry and H armonv Classes
Atti s t and l-:x;.iininer for "8 .M.G." Diplomas -6 2 StUrlencs' Ensemble . Weidl'S Chor ti ~vstem for &II
Sta ni s tr eet, Mr. & Mrs. Jas, A .T. C.L., l.a111in1tton Road . '
A.L.C.M. (T-8 .. 8 ., G.. & Thrt). ,in, Eru.on St, Hanley. freued iristrumencs . (Esam in er for "B .M G." Dip-
CAPE TOWN (SA. ) lom as. )-154. C~,~an Ave., Toronto , 0n t. , Canada.
SUNDE R LAND •Pas ha , S. (B .. Z-B., "1., G.). l'npil of Eu,ile · WINNIPEG (CANADA )
•J oh n so n, Robert (B., Z -B., M .. I'., G., U., Crim:;h$w. Oil'COIOr' or C;1pe ·r o wn B~ 11jl) B" 110.
Siiigi,,g ,6, Th,ory) - 33, Queen's Crescent, Chester Rd, All Clifford Essex Accessoties-q9. Plei n St . il\ills, Ted (B., 1-B. , M .& G .)5?3,0shorneSt.

.\BBREVIATIONS-
0

' B." Banjo. Bt." B14njuleie .

•
1
•· Btr." Ranjolin. '· Doia.." l\.h,n<ioia. .. G... Guitar. ·· H.G. 0 Hawaiia~ Guitar.
'' M." Mandolin. "P." Piano P-B." Plectrum B~njo . 11 P.G ." P lectrum G uit ar . ·1 .")·." 8ing ing . •· 5)ax." Sa:xoo"rioue. ·• 7 •B." Tenor-
11

Raulo . .c U. Ukuiei~.
0
· V." Violi11. "X,,l 't X~·lophone. "Z-B."Zither-'Banio .

DIRECTORY OF' B., M. & G. CLUBS

Parliculars of 111ewbersliipcan be oblni;,cd on applicalio,i /(J fl,e Secretary of ""Y Ch,b
T h e co s t fo,- twe lv e eo n sec u"tlvc insertion s under t h is headin g is 5/.

Ct .ni AnnRESS OF H1-:AOQ UARTF.RS M oETl ~G s S~CRETARV

Acton and Ealing 12, Mattock L;.ne, Ealing , \V ..:; Lst antl 3rd Wednesdays Clifford Essex,
e<"t.c
h month, 8- 10 p.m. 1.'ia , Grafton St. , New Bond St., W. I
Bath 321 Park Street. Hath 1st \:Vedn csday each , R. Tarrant Ba iley,
month, 8- 10 p.m. 32, Park St., Ba th '
Battersea "Qu ee n's" Hot e l. Robin son St., Evety \:Vedncsday, D. M. Culling,
· Battersea 8- 11 p.m. 80, Que en's Rd., Batrersea
·Birmingham Marshall Fod, Hotel , Even· 3rd Thursdnv J. Webber,
Corporation St . · each montl>, 8 p.m '. 35, Ilsley Rd., Erd ington, nr. Birm ingham
Bournemouth Above Stewart & Co's . Gervis Hall Alrernat e Tuesdays from R. G. \:Vhite,
Restam·ant, The Arcade, B"m'th. Oct. 24th, 7.30-10 p.m. 163, Shelb ou rne Rd., Bournemonlh

CONTINUED ON PAGE /II. OF COVER.

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