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Vol. XXll, - No. 241,] MAY , 1925. [Price Sixpe nce.

'' A pleasure to play on.''

Read below what I. f. says :-

The

"CONCERT GRAND"

Banjo.

20 Gns . 21 Gns.

~:;

PRICES

II ,_ ·. _

Fitted with Nickel-plated

R .. onator, as illustrated. ~

Fitted with the new jl'

'4 Paragon" Resonator, · illusirated on back page \

of cover- j)

i

~1 Upper Burma,

•• Owing to my illness, I have been a long time in acknowledging the receipt of my 'Concert Grand • banjo.

" I wish now to tell you how t>leased I a1n with it. ll is such a beautiful instrument, and such a pleasure to me to play on it ! I am more than delighted with this fine instrument , and wish I had had one before.

Cl I. J, 1•

ALL INSTRUMENTS MAY BE PURCHASED BY

INSTALMENTS .

CLIFFORD ESSEX & SON,

16A, GRAFTON ST.,

BOND ST.,

London, W.

(2)

j,j

B. M. G .

THE H AV AN A No. 2 MU TE

ABRIPGED Plf/CE LIST OF

For Banjo . Banjolin or Tenor-Banjo . AT- . LOW PRICES ,:

(

/ I

: I

_.: , I

' '

I i

i.ufNubs ·:

or :

t Etm · n~BANJOS

The C.E·. Wo~d Ho.op SP.e~ial The C.E. Metal Hoop Special The lmperiar- (Grade .E) The Clipper (Grade C) The Popular (Grade B)

Grade 1 Grade 2 Grade 3

, Z · ITH ER-BANJOS

MANDOLINS

£ s. d.

12 12 0 12 12 0 10 10 0

7 7 0

5 5 0

·10 10 0

7 7 0 5 5

©

Produces a soft and pleasant muted effect by being fitted on the top of the bridge when required.

Gold Medal Silver Medal Bronze Medal ...

8 8 0

6 6 .0

5 5 0

Any string instrument can be tuned to a much

finer degree when muted. Write for Illustrate_d .Catalogue

CLIFFO: RD ESSEX . · & . · sQN, ·· ·· ...

Price

3 /8

Post free

15a, GRAFTON ST.,· NEW BOND ·ST., L0NDON,·:w.

THE " PARAGON "

RESONATOR

Coupon for Phrase . Compet it.i - ~rJ- .

Tille Selected ... . ... , ... ::::······

PRIGE 3 GUIN EAS Phrase ...... : ... , ... ... .

.

. '

When ordering, gii-e the vellmn diameter of the banjo for which the Resonator is req1tired.

Competitor's Name ... ... ... . Address .................... : ... ! ..... .

Canvas Case to hold "Paragon" Resonator, 10/6

Mute out of action, resting against the tail-piece.

THE H AVANA N o . 1 M U TE

1 For Banjo, Banjolin

or Tenor-Banjo.

} 3/8 rposi free

, A soft and pleasant muted tone is obtained

\.,. by sliding this attach- ment along the strings from the tail-piece to

bridge.

This Mute cannot work loose.

The best Mute to use with an inslru:nent that is fitted \t«h a

Resonator.

I I

Mute in action, resting against the bridge.

CLIFFORD ESSEX & SON, 15a, GPafton Str e et, Bond St v E:et, _ London , W .

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■ •

Jt Ql\onte~ Qlt4ga3int ~ei,ottb to t6t jnttrtts'ts of t6 t @Anjo, Qllanbofint <Buifor , an~ 1tinbr tb Jnts'frumtnt6 .

Edited by EMILE GRIMSHAW.

--- - ===== ==,-== ===== =-- ----·-··

VoL. XXIl.-No . 24r.)

18 . M . G.

The only Representative and Important British Organ of the

BANJO , M A NDO LIN,

&

GU ITAR.

Published on the first of each Month . n

15a, GRAFTON STREET,

BOND STREET, LONDON , W.

Ttlea;riuus : l•l•pbone :

·•Trtompbe, Londoo# '' 2~ Mayla1r.

Annu al Subscr ipt ion, 6/6.

American Sub scribers , 1 dol. 80 c.

The Editor 1til1 t>c pleate<i to «e.ivc from bi.s read~

Items of general interest (hui:oorou, or otherwise} relatitl,g:

to the above imtrumenh. vii., o.ewsp~per cuttiois, C(:l(j•

;:~,;~t~!~~de!~ea)~dau~ti~~el:::'·c~~ fJ :!tt:: • ,

etc.

All oommu.o.toatiom submitted for inclUJioo i..D tbe next luue must arrin at tbe.e omca not later tbu. tbe

~oth of each mo11tb..

ADVBRTISINO RATES Wll,L 86 SENT ON APPLICATION,

CONTl!:NT~. PAGE

ANSWEkS TO QVl~R lf.:S . .. 127

8.,:<J0 HISTORY ... r,8

"B.M.G." Dn>LO~US 1.16

B.M.G. NOTES ... 127

BRAIN WA\'£$ ... . .• 126

CUPPINGs PR0'.'1 S. S. ST~WART'g RA::,,:Jo )O~RN.\l., 1883 TO 1885 ... ... . .. 124

Ho,v TO P1 .. w " EvERYBOl>Y LOVES Mv BABY." By Clifford Essex... . .. . .. us How TO PLAY ·'T Koo~v11 ... LE J>ARA.UE.''

By Clifford Essex ... ... . .. 114 How TO PJ ... AY THE MANOOLT~ Sor.o IN THI$

ISSUE ... .. ... ... ... . .. 116 How TO Pl-:ODUCE Goon MA.'"DOI.IX TONE 1t7 MR. AR'fHUR \VJLSOX ... . .. n6 NEW DAXC~ Music.: ... ... ... . .. 126 NOTES AND CO;\tM£j',;'fS. Bv the F.:ditor ... 113 The Banjo io. Baltimore-More Mi~•Stat~ments-Of lnt~t to 'Tenor-Banjoists. - Sigbt-R,!.ading - A Ladbro~c Announ«ment- D<'ath of )fr. T<'IlY Casrle- Mr. W. H. Plmnbridg<".

PHRASR COMPETIT ION .•• .•• • •• 116 THB ASTON BANJO CON<.:►:R'I' ..• ... . .. u5 Tm: IC:SsE:<TIALS o,· I-IAR~1oxv. By Emile

Grimshaw ... . .. . . . .. . . .. 115 THE f).fl'OR"l'ANCE OF PI.AYfXG IX Tu:,.:-E,

By William Chas. Dunn ... ... . .. 118 TH£ SELECTIO~. CARE, AND t:s1-: OP SrRt::J.

S1'RrXG~ ... ... •.• ... . .. r17 T11E TE.NOR-llAl"\JO. By ..\nhur Lange ... 125 VIBRAT(•, GLISSANDO ,\XD $TAC<.:ATO ()\' THt-:

SA XOPt-ION I•: • .. • •. 124

MAY, 1925.

NOTES AND COMMENTS .

BY THE EDITOR.

THE BANJO IN BALTIMORE .

T

HE banjo seems gradually to be finding its way into the theatre and concert orchestra. It is no longer a novelty in London theatre orchestras, but in America, where tradition is of much less consequence, it i$ a recognbed fac.t that the banjo has a distinct quality of tone that cannot be successfully imitated on anv other instrument, and that this t011e, together with the rhythmic beats that are readily obtainable on a banjo are a valuable asset in the best orches- tras.

It is interesting to note that the banjo has been officially recognised and accepted as a standard instrument bv Mr. Frank Rehsen, who conducts the Century Theatre Symphony Orches-•

tra at Baltimore, U.S.A., and uses the banjo for rhythmic effects.

MORE MIS-STATEMENTS, A correspondent has drawn my · attention to a paragraph that appeared in the " Information Corner " of The 1ltl11-sical Mirror of February last, in which it is stated that the banjo " is regarded by the most progressive jazz players as obsolete," and " there are several banjo tutors on the market, but none of them can be called really up-to-date, as they mostly treat of the five-stringed banjo, and the require•

ments of modern syncopation are not dealt with t"8-ny extent."

A letter has been forwarded to the Editor of The Mmical Mirror, in which,

[PRICE SIXPENCE.

---···- --···-· ---=====

after drawing attention to the afore- mentioned mis-statements, says :-

" It may interest you to know that in this country the banjoists outnumber the tenor-banjoists by at least three hundred to one ; that considerabh- morc dance orchestrat ions are publishecl in London with parts for the banjo than with parts for the tenor-banjo, and that a book of modern instruction entitled ' The Banjo, and How to Play l t,' containing a special section devoted to plectrum playing in the dance orchestra, is published by The Clifford Essex Co., at 15A, Grafton Street, New Bond Street, \V.r."

OF INTEREST TO TENOR-BANJOISTS.

A correspondent, after expressing thanks for the little original banjo exercises that have appeared in

" B.M.G." from time to time, and which he says have proved very helpful asks me if I can give him a useful exercise for the tenor-banjo that will loosen the left-hand fingers and be useful for daily practice.

First of all, every tenor-banjoist should be able to play a scale in chords.

I have not seen this in anv instruction book for the instrument, so I will give one here:-

:

_j I ! j tit. 4 .• • 4._lt.. •~-

'Z"IJtll!r1·•=-~:..i-4ji- l1-r~=i:-=D1 :.: :u __ ...J;-7~:-~ :a::

-+= · ·

1:~4 :.=-1

- I ·• -I.-, --< .. ~

.,. ,.:::r:w-_ ,-·, - J

•' o·~: ~--.· t·•· t·· I I

'

-~-= e=- ,J_J _~- ~- .J _.J _ _

= e =- · = • = ::.l = · = ~ = 1

-i-- iJ.- ~ _ _,_ --- ~-s- >

.J I .-,. ·· ·-,-

.2:

The above is written in the actual pitch, with the scale-note on the first string throughout. This scale in chords should be memorized and practised The Climax Music Binder,-Any piece can be deleted or others added a.t pleasure . Price 1/6, post extra.

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daily until the player can change from one chord to another without effort.

Here is another original finger exer- cise that will be found more interesting because it contains some effective changes in harmony :-

i

-t.n--

--a-J-2.J-~

~ - -• --

• .J-

--<-

• ..S:-1:tg

~- lj;,::::2:2

; _ ~~:3

·15>- :::.;s::rr;: . ~~

+~ =-,, ~=

:i-0:i:-1--

._; - - 2 1d- 1!2d -i-e:- -,---«!

ffi _

t-4·15'-:\

_

_±~-e-::i::;!-· ~-a~>---~a~~- -t~.a~ai~---- -~

z:-_" ... ~:_

!.~~~- -= -~- -33~-=

. - 1~~--Hs>- 2-~ -1-15'- 1!1-@---'>--,-.

V I : : ' I 1 ;

:;j: -~ .J_ ., _J::r•-sl-•- ~ - -= u

m ~-r:~ -:<)er=r •--<Si-;,· Jj - F' -:B

._J -29010 12:::::i-j:.i:-=--

This last exercise is in actual pitch, the top note of each chord being on the first string. This little exercise should also be memorized ; it is quite easy to do this because each phrase of two bars- in other word5, bars I

and 2, 3 and 4, 5 and 6, and 7 and 8- has exactly the same left-hand fingering.

SIGHT-READING.

I wonder if those players- and they are many-w ho always have difficulty in reading music at sight, realise that it is not necessary to play an instrument all the time a student is learning to read ? A player can concentrate on the study of time without being hin- dered by having to play the notes, if he will practise reading an e~:ercise or soio while visualizing the fingerboard in his mind. Players will find many odd moments for improving themselves in this way when it is not possible to play an instrument. Most players who are bad readers owe their disabilitv to the small amount of time thev are willing to devote to thinking about music when not actually playing it.

Many players think and say they are poor readers because they have had no opportunity of having good lessons, but even a first-class teacher cannot compel a student to think for himself.

How little any one of us remembers of all that he has read or been told ; what we do remember are the things we have found out for ourselves or that we have taken the trouble to understand.

A right-thinking player who meets with a group of notes with time values that he cannot solve quickly will, at the first opportunit y, study those notes until he has solved the problem. The more difficult passages are often the unusual ones, such as the following, which I have seen in several recent American dance orchestrations :-

B. M. G.

I invite banjoists to play this bar and repeat it several times while beating four to the bar. It must be noted that tied chords occur twice in the bar ; three chords, therefore, are actually sounded to the four beats.

~ow this bar is not in the least difficult if it is analysed, but I think it will be found puzzling enough for any banjoist who tries to play it without analysis at sight.

A LADBROKE ANNOUNCEMENT.

The secretary of the Ladbroke Banjo Orchestra asks me to announce that the members of the orchestra: are holding a social e,·ening for present and past members and friends on May r4th. This will be held at the practice- room, and it is hoped that as many old members as possible will endeavour to attend . Mr. W.

J.

Baker. of 29,

· Perrymead Street, Fulham, S.W.6, will be glad to forward particulars to all those who care to apply.

DEATH OF MR. TONY CASTLE.

Mr. Tony Castle, a brilliant pianist well known to London dance musicians, has passed away after a long illness at Southend. He was only 35 years of age, and, although he had not been in Southend long, he had already made a name for himself as pianist in the orchestra at the Central Banqueting Hall.

It was not long ago that Mr. Castle played before the Prince of \.Vales, and he is still remembered in London, where he appeared with Mrs. Vernon Castle as a Co-optimist "turn ."

A tour in South Africa brought him fame in that countrv, where he was known as " the man with the magic hands."

At one time Mr. Castle was a music- hall artiste, and has been a member of the " Fanfare " concert party in South- end.

His great feature was accompanying, and as a composer !.\fr. Castle made his mark some time ago with the versatile one-step, '' Oh, Doctor."

Mr. Tony Castle will perhaps be better known to readers of " B.lvl.G." as the composer of the banjo solo "Snakes."

MR. W. H. PLUMBRIDGE.

I regret to also have to announce the death of Mr. W. H. Plumbridge, whose name will be familiar to many of our readers. Mr. Plumbridge lived at Brighton, where he taught the guitar,

banjo and ukulele, and also had a stu_dio in London at 8, Ulster Place, W.

Mr. Plumbridge's favourite instru- ment was the guitar. He was a pupil of the late Madame Sydney Pratten, and always tried hard to revive interest in this instrument.

!.\fr. Plumbridge had a pleasant personality ; he was a frequent caller at Grafton Street, had many friends, and will be greatly missed by all who knew him.

HOW TO PLAY

"THE KOONVILLE PARADE."

(S. E. TURNER.) BY CLJI·TORD ESSEX.

A

VERY played with a good attack and taking number this if in very decided tempo, with strict attention to time. I remember when we used to play it in the Royal Pierrots it always pleased our audiences.

The first movement is quite straight- forward and calls for no remarks.

In the second movement, bars 5, 7, r3, and 15, must be carefully counted and played slowly until the exact rhythm is acquired.

In the Trio the alternate right-hand fingering must be used where marked;

it-will lessen the difficultv. Other bars are quite obvious. •

I hope readers will make a point of adding " I{oonville Parade " to their repertoire, because it is not so well known as it should be.

Messrs. Cliffor d Essex have appofnted

MESSRS.

P. CARABOTT

17, Strada Mercanti Valetta

Sole Agents

for their instruments and accessories

in Malta

The Star Mandolin Pick. The most parfect P\ck on the market. 6d. each.

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May,

1925J

THE ASTON BANJO CONCERT.

T

HE concert given on Saturday, April 4th, by the Aston Banjo Club, under the direction o[

Mr. Harrv Marsh, was greatly appre- ciated by a big audience of players and non-players. The band played excep- tionaJly well, and were deservingly applauded and encored.

Mr. Joe Morley played his own com- positions in his customary convincing and effective. manner, and l\fr. A. D.

Cammeyer and Mr. Bernard Sheaf played artistic duets on :>:ither-banjos.

HOW TO PLAY

" EVERYBODY LOVES MY BABY ."

13v CLIFFORD Es~mx.

1 ..._

HIS number, made so popular by those clever coloured singers Layton and Johnstone, will not present any difficti1ty if it is counted carefully and played very slowly at first to get the rhythm perfectly correct.

The first bar is counted r, z, 3 & (4).

The second bar r, 2 & (3, 4.) Bar four is counted r, 2, & (3) & 4 &.

Many similar bars occur requiring to be counted in the same way. In the Refrain the eighteenth and twenty- second bars will want care to get the exact time and rhythm correctly.

Count them x & (z) & (3) 4.

In the last line, bar two, connt r &

(2) & 3 & (4) &.

\,Vhen able to play through the banjo part correctly, get the piano accom- paniment played with you, and you will be greatly pleased with the result.

---

.

· -~- - --

·-

-

.

--

..

UPON REQUEST

The CLIFFORD ESSEX Co. will be pleased to send their co:nplete lists of instruments, music, and accessories to any address

QRATIS AND POST FREE .

B. M. G.

THE ESSENTIALS OF

HARMONY

FOR "B.M.G ." READERS.

Bv EMILE GRrnSHAW.

V.

Musir-WRTTING :\NI) TRANSPOSITION.

T

HERE are several points of detail connected with good music-writing, which players who happen to be interested in these little articles will do well to observe :-

(i.) See that the clef is nicely formed. (ii.) See that the sharps or flats are placed on or in the proper lines and

~paces.

(iii.) See that the time-signature is correctly written, with no line inserted between its figures.

(iv.) See that the stems of the notes are correctly placed-to the right of the notes if turned up ; to the left, if turned down. All single notes below the middle line have their stems turned up ; all above the middle line have their stems turned down. If several notes are grouped together and the majority of the notes are below the middle line, the stems will be turned up, and vice ;1ersa.

(v.) Accidental,; are placed before the notes to which they refer. No accidental should be omitted.

(vi.) No dot after a note is ever placed upon a line of the staff. A dotted note upon a line has its dot placed in the space above, if the next note be higher than the dotted note. The dot is placed in the space below. i[ the next note be lower than the dotted note.

(vii.) Leger lines shoulcl be written before the notes arc placed upon them.

The first leger line should be parallel to the staff at the same distance from it as the width of the spaces between the lines of the staff. Every fresh leger line should be placed at the same distance from the previous one. Leger lines are simply an extension of the five-lined staff.

(viii.) Adjacent notes in a chord must be written side by side, although played simultaneously.

Example :-

Students should now practise music- writing. First of all, it is a good plan to take a simple melody and re-write it an octave higher; then take a melody

115 that is already written in a high register and re-write an octave lower, using the same " G " or treble clef.

It must be remembered that an octave transposition either up or down will probably mean that the stems of notes will have to be written on the opposite side of the note and point in t-he contrary direction. After writing, the student should again read the preceding hints and then carefully criticize what he has written.

Transpositions should now be made from one kev to another. For example, a melody that already stands in the key of F major (one flat) might be transposed to the key of G major (one sharp).

Let us suppose we wish to transpose these two bars:-

First of all we must write the new key-signature for G major :-

'

~-e--- - --- --- ~---==~

---

--- ---

---

As " G " is a major 2nd higher than

" F " we must now re-write each note of the preceding example a major 2nd higher, as follows :-

'

£:n

_i.::,:_t:

=~ =it

--~->---

-.it =q il! =. --:±ir::1=~=:i

f!.-3:E1"--- -::l

t i I j-- ----·'

The novice will probably be puzzled by the fact that while the G sharp in the first example becomes an A sharp in the second example, the natural and flat signs in the first bar become sharp and natural signs respectively in the transformed music.

The reason for this is that the natural sign in the first bar

or

the first example is in reality serving the purpose of a sharp because it is raising a note a semitone that is already flatte.necl by the key-signature.

This is a point that students must be very careful to watch when trans- posing· a melody. They must keep an eye on the key-signature, and remember that accidentals are not alwavs what they appear to be when looked at in a casual way. A natural sign may be serving the purpose of either a sharp or a flat. The music-writer must ask himself this question, and then think if the transposed note will require a sharp, flat or natural sign. The answer is often to be found by a momentary reference to the key-signature.

Transpositions should now be prac- tLsed to more distant keys.

(To be continued.) The Grover Wrench and Screwdriver . Price 3/-, postage 2d.

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II6

"B.M.G ." DIPLOMAS.

!~:l;,~•>~~~,n~~i~~~:t~~it~v it s~~nf:di~~r.~' O~!~_li.~~~

JSA, Grafton Street, Uond Street, London, ., when on appoinunent will be made for lhcm wilh one or other of the exi:tmiocrs ~ppoin1ed.

TlcSTS NECESSARY TO SECURE

" B.M.G." Dll'J.OMAS.

For Banjoists.

''A" •r1;:ST,

A general knowledge of the clement.try I u<limcnts

or music, especi.:1.lly on the question of time.

(" B.i:11.C." for May and June, 1922, would assist here.)

A knowledge of the sc:i.les of C, G. and F major.

with their relati\'e minors, and lh'-! three common\\' used chords in each key-tonic, subdomin:rnt ::tnCI do,ninant seventh,

A knowledge of the theory of Position, Position, 8-1:rr~. and Barr~. giving illustrations of same.

Ability to tune the banjo correctly with or withou:

.i piano.

To pla.y one or 1,\10 pieces or (a) grade of difficulty lfrom anv publisher's c:ttalogue), such as "Gold Diggers' 11:trch," "Suiinowcr Dance," "Comic;t\

Coons," "Dusky D:'u'ldy." Any composi1ion will be eligible, and the playing will only be considered in conj11nc1ion with the other knowledge displayed, :rnrl will on no account constitute the sole test.

" B" T>:sT.

A thorough knowledge of everything oontained in the •·A·· Tc.st. The SC.lies in Rp, Et,, And .-\t, major, with their ndati,,e minors, :\nd the three com111only used chords in each key.

The chromatic ~c:i.lc of•· C ·· in two octa.,,es.

A correct knowledge o( the finger-hoaid up to the tenth fret on all the strings.

.·\n il!ustration "·ill be requi1·c(I or o. p::'\~Mge pl:tyed in a given po:,;itiOll.

Ahility to pl:.r harmonks.

Finger trcm()IO, singl<:: notes :rnd chords. and a c.lcmonstra.tion of the effect known as " f:rushing the strings."

.-\ knowledge of nhem:-ue right-hnnd fingering.

and an illus1m1!011 or snme.

Although not eSS(.'nti:-tl. if thr: srndeut ::an give {lll

illustratioo of single-note and chort!-tre1nolo plectrun1 ptaying. additional m:uks will lw g1·HtHe:I :\CCOl'din1;·

to ability.

.-\uemioa to tone production will he noted.

·ro pl.:iy two pieces or {b) grade 01 difficully (from any ,~oblisht~r·s catalogue}. one to be! in syncop:tted time, such as " Dark town DA.ndics, .. ·• Coon B:tnd Contt~st," •· Ac~s Up,"" Just Like Thilt," etc.

R<•ad an ensy second hanjo nccompanirnent al

~igh1. .

"C" T~ST.

.-\ thorough k:1owlerlgc of c,·t"ry1hing contained i1!

the " A " and " B" Tests.

The scale.: of O major with its rc-lati\'e minor, :.nd thrct: commonh- used chords.

A complCtc knowledge of the fmger-bo:lrd to the twc11tv•S<.-cond fr<.:l.

'f'he scale of 1 > major in octa.,·es. with thc .1th string tuned to " D."

A thorough knowledge of accent and of syn- copation.

Ability to play four note chords.

Ability to play compositions of (<) grade of diffi.

culty (from any publisher's list). Ability to read at sight.

Although not essential, i( the student cnn demon- strate the stacCAto method of plectrnm playing and the modern style of playing the Fo:-:-trot, Onc-stt:p

MUSIC FREE.

For each "B.M .G." subscription you send us, other tha11 your ou;n, we will post you any complete Solo you cart tc choose from our own catalog11e.

B. M. G.

and \V:iltz, extra. marks will be granted according to abilit\'.

In ·short. to be able 10 gi"c a finished performance upon the banjo, combined with a thorough know- ledge of the instrument .

For Mandolinists or Banjolinists.

".I'' TP.ST.

A general koowled.ge of the elc:mentncy rudiments of music, especially 01~ the question o:· tinte.

A knowlt:dge of the Sc;tlcs of G and A major, B and C rninor, in two octaves in the fir~t position, in tremolo and strol~c style.

Arpeggios on above in tremolo and stroke style. Ability to lre,uolo a. legato mo,1eme1n or compo•

sition. Also play an easy composition of the nature of a Tarantella or lively movement, stopping at the high C.

Read on eosy piece at sight.

"B"' T>'.S1'.

A thorough knowh!dge of everything contained in the·• A" Test.

The scales ot' C m:tjor and minor, second posi1ion.

treinoto and stroke. Scale or D major and minor from firsl to thir<l position. tremolo and stroke

Scale of E. major and minor in fourth position. Scale of F and G major in sixths.

An exercise chosen from any work in the second :t:id in the 1hird .\nd founh positions.

.~rpeggios in the above keys.

Ability to play two pieces of moderate diOicult>• up to the founh position.

.r\hility to rea<I at sight :\ composition or modt'!ratc rlifliculty.

·•C" T>:ST.

A thorough knowledge of all conta.inc:tl in Tes1s

"A " and" H."

Scales of C, D. £, F', :rnct G. major m<l minor.

:\lso a.rpeggios in the S3tUc keys, i11 tremolo an;i titrokt: style.

A thorou~h knowledge or the duo style. two.

three, and f0ur-p:l.rt harmony. 1

Play an exercise {chosen from :toy work) in the sh:th position.

Play two difficult compositions of diff~rent st~·les.

Read a com~s ition at sight.

HOW TO PLAY THE MANDOLIN SOLO IN

TH IS ISSUE.

" T HE

KADE" LOBSTER'S rRoME-

is a melodious number that should make a strong appeal to all manclolinists. The·

arranger cvide;itly inlcn<leJ that lherc should be no possible doubt in the mind of the player as to whether the strokes should be played down or up, for he has indicated almost every note.

As it is almost impossible for a mandolinist to watch these strokes while reading the music at its proper speed, it is preferable that he should understand the rules that decide whether a staccato note is played with an up or down stroke.

If the student will examine the strokes that are printed above the notes, these rules will be readily understood.

It will be seen that the principal strokes are made downwards, because this is the natural and most effective method of striking the mandolin's duplicated strings. Up strokes are used when the music proceeds by consecutive quavers,

(May, 1925 with the exception of those parts where it is advantageous to use a glide stroke downwards when passing from one st:-ing to a higher 5tring like this :-

When in doubt it is always advisable to use a down stroke.

AIJ players must remember to accent the first note in each bar, and to vibrate both strings of each pair.

MR. ARTHUR WILSON,

late Sai•oy Ha..ana and Orphean's Band, and now with Alfredo's Band at Prince's, Piccadi/1::,,, W ..

1.vr£tes :-

" ;\LLOW me to compliment you on

J-\

the wonderful Buescher Trumpet '.'Ou supplied me with. I can truthfully say that it is the best instrument I have ever played on, and I have tried them all in m\·

endeavour to find a ·trumpet both eas~, to play and with p~rfcct intonation.

" I cannot understand why players of to-day are content to go on plaving inferior instruments when there arc such perfr:ct instruments as the B11es- chers to be had.

" Believe me, Mr. Essex, you did the British trumpet player a great favour when vou hr:.>ught the .Buesehers over for the,n. becau~c an e!1g-agcn1enr is no longer work- it is a plca~me to look forward •o."

PHRASE COMPETITION.

T

HE Editor of "B .M.G." invites readers to select the title of any composition published by Messrs. Clifford Essex and Son, and re- arrange the letters to form another word or phrase.

Example : "TWILIGHT MELODY."

rhrase : "Do IT MIGHTY WELL."

Example : " WHITE HEATHER. ..

Phrase : " WE HEAR THE HIT,"

The S.X. Wrist Reat for the Broijo. 2/6, post e.xtn..

(7)

:\II the letters o( the selected title must be used. A prize o(

SIX COMPLETE SOLOS FOR BANJO OR MANDOLIN, selected by the winner from the C. E.

catalogue, will be awarded to the sender of the best phrase received.

The cover of a Clifford Essex solo, or the Book of Miniature Reproductions gives a complete list of titles.

RULES FOR COMPETITORS.

r. Any number of attempts may be made by a competitor, but each attempt must be written on a coupon to be found on page ii. of the cover of this issue, or the covers of the June or July issues.

2. Envelopes marked "Phrase Com- petition " should be addressed to the Editor of" B.M.G.," c/o Clifford Essex and Son, ISA, Grafton Street, New Bond Street, London, W., and should be posted to arrive not later than July 20th.

HOW · TO PRODUCE

GOOD MANDOLIN TONE.

T

ONE production and power of tone in the mandolin orchestra, says Mr. Herbert Forest Odell in the Crescendo, are two points which I have experimented with for many years. The first mandolin orchestras which I conducted produced a small, thin tone. This lack of tonal power caused me to try and find a method by which we could get the fullest amount of tone the instruments were capable of producing, and the suggestions following may assist others, as they did me.

In my observations of mandolin orchestras, I have frequently noted the peculiar manner in which players frequently hold their instruments, and also the number of mandolinists that fail to produce all the tone possible from their instruments. A mandolin was made with four pairs of strings in order to produce the peculiar mando- . Jin quality of tone, and unless both

strings of each pair are used, what is the use of having them?

Years ago the mandolin was strung with single gut strings. The tone, of course, was very feeble. A mandolin to-day, if strung with single strings, even though made of steel, would be almost as weak, as far as tonal power is concerned, as the gut-strung mandolin of long ago ; but the present-day mandolin has double strings, therefore, it is intended that both strings be used.

For solo work, it may be all right to play down on two strings and up on one, but when it comes to mandolin

B . M. G.

urchestra work, what we arc after is tone and power. By power, I do not mean "noise," but the fullest tone the instrument is capable of producing, and for mandolin orchestra work both strings should be used for up and down strokes, and the pick should go squarely across the strings, for the tremolo especially.

In staccato passages, in much of the present-day mandolin orchestra music, players who are accustomed to playing down on two strings and up on one might as well keep silent, because all one hears is the d9wn stroke, the up stroke being so weak that it is not heard.

Both down and up strokes should be equally as strong, so that both notes are heard. It seems to me that this weakness of tone production is the most noticeable defect in mandolin orchestra playing.

Another matter which I believe is very important is the method of holding the mandolin, or other instruments of the mandolin family. Many players hold the neck of their instruments too high, having the head almost as high as the left shoulder. If the neck of the instru- ment is held nearly horizontal, all the power that the instrument is capable of producing can be brought out.

Frequently, I have seen players holding their instrument almost straight up and down, and trying to get a proper tremolo across two strings.

It makes no difference how poor a mandolin may be. One may take almost any old instrument, hold the neck flat, 01· nearly so, and play across the strings, and the mandolin quality of tone will be produced. Adopt this same position with a fine mandolin, and the tone produced is tremendous as compared with that obtained by holding the mandolin in the more upright position.

The best way to prove this is to try it out yourself. If the neck is held high, the inclination is not to play straight across the strings, but up and dow11, that is, the hand moved from a point near the fingerboard of the instrument, toward the bridge, criss- cross as it were; and with my years of experience with my own orchestras of from three to three hundred members, I have found more tone is actually produced when the neck of the instru- ment is held rather low, slightly above a horizontal line, and the right arm resting on or near the tail-piece.

One thing we especially need in mandolin orchestras, and that is good tone and all the tone we can get, as our instruments are naturally of a rather thin quality, and my suggestion, in order to get all the tone possible, is to hold the neck of the instrument low and play equally across both strings of each pair.

I l 7

THE SELECTION, CARE AND USE OF STEEL S TRING S.

T

HE Standard String and Manu- facturing Corporation of America recently offered prizes for the best articles on the subject of steel strings. The following by Henry Lundquist was awarded the first prize of twenty-five dollars in the professional class.-E DITOR.

The first important matter in the care of steel strings is to ascertain whether the instrument itself is in a proper condition to receive the string.

If the tail-piece or the pegs are made in such a way that when the stri1ig is given tension there will be a sharp bend in the string, this bend will act much as a pair of pliers does in cutting the string at that point. If your strings continually break on either of these points you may be sure that there is something wrong there. ·

In putting a string on the instrument care should be taken that there are no kinks, as this will cause the string to break at this point sooner than it otherwise would. After the string has been put on and tuned to the correct pitch the surplus string at the peg-head should be snipped off, as these loose ends sometimes cause a buzzing sound while playing, besides being unsightly.

Sometimes when a string is a trifle sharp a player will pull the string in order to bring it down to pitch. This should never be done, particularly with wound strings, as it is liable to cause the wir.ding to come loose from the foundation of the string.

After being used for some lime a wound string will become wire-loose.

This usually happens at the lower frets where the string is most used. When a string develops this condition, it should be discarded, as the loose winding causes an a1rnoying rattling while playing.

Many players have experienced the difficulty of procuring strings that are in tune their whole length. Two strings may be tuned lo a perfect fifth at the nut, yet will not produce a perfect fifth at the twelfth fret. This is caused by the string not being of a uniform thick- ness through its entire length. Needless to say, strings like this are aimost useless. One should always buy strings from a firm which makes a business of making good strings rather than of a firm whh which strings are merely a side-line, as the latter is not dependent on their string business for its success.

It is sometimes necessary when playing modern music to use special tunings. This is especially done bv guitarists and banjoists. Any good Write for List of' High-Grade Instruments.

(8)

II8

string may be tui1ed a second or third higher or lower without affecting the tone quality, but when a string is tuned a third or fourth higher than it is intended to be, it becomes stretched out and will not sound as well when restored to its normal pitch. lt is better whenever possible to use a lighter or heavier string as the case demands.

Some players, especially banjoists, use two instruments, one of which is tuned the ordinary way, while the other has the special tuning. There is always a chance that a string or head may break during an engagement and an extra instrument will save the day.

I once owned a banjo which I did not consider to be a very good instru- ment, and was considering the purchase of a new one. One day I bought a new set of strings for it, and after puttirig them on, lo ! I had a banjo. The fault was in the strings and not in the instru- ment.

No instrument, no matter how well made, can overcome the handicap of poor strings, and even a poor instrument deserves a good set of strings. An instrument is truly no better than its strings.

THE IMPORTANCE OF PLAYING IN TUNE.

BY WILLIAM CHAS. DUNN.

F

OR a band or orchestra to be effective and appreciated it must necessarily play in tune.

This point will be conceded and en- dorsed by every band or orchestra leader, as well as every member of these organisations, but oh ! how often do we hear an otherwise good aggrega- tion more or less spoiled at times by a want or neglect of tuning ?

It is not sufficient for a player to be a good reader or an expert in technique, also it is necessary that every player should know when his instrument is out of tune with the rest of the organi- sation and when he knows it, to immediately remedy it.

I would hesitate to say what per- centage of the members of>an ordinary band or orchestra are unable to live up to this requirement, but it is a fact that we are compelled to recognise.

Listen once in a while if you will to some performance or concert either indoors or in the open air, and note for yourself the various shades around a given tone. A very large percentage of these players believe absolutely that they are playing in tune, for, say they :

B. M. G.

" I tuned up before we started." So they did ; they are perfectly honest in their statements . They did "tune up "

to the very best of their ability, and to their ears, their instruments are in perfect tune.

I have often sat in a band-room when the men gather for rehearsal and lis- tened to them tuning up, and I have come to the conclusion that " ability to tune " is a special art. I have heard the conductor ask the pianist for his

"A " ; he gives it. Then each player in turn is required to do the same. One gives his " A " and his neighbour on one side will say he is" sharp," while a player on the other side will declare the same note to be " flat," and still another one will just as confidently assert the note to be perfect! y in tune.

Now, why this difference of opinion over the same tone ? They ail hear it, but to each of these three players it sounds different. Herein lies a good deal of the trouble caused by improper tuning.

Not every man can be a piano tuner.

There has to be that something (which we call " a sense of pitch ") born in him before he can be successful as a tuner. And the same "something " is necessary (though perhaps not to so high a degree) in the band or orchestra.

A man may be note perfect, his tone everything that could be desired, but unless he has that fine sense of knowing when he is out of tune, his ability is very greatly limited.

It is very necessary that the conductor or leader should have an accurate sense of pitch. He is the man who is most often appealed to as to whether a cer- tain instrument is sharp or flat, and his judgment must be good or his prestige will suffer.

The effect of temperature on all instruments is a point which must not be overlooked when tuning. A cold temperature apparently has more injurious effects than has a warm one.

All brass instruments flatten consider- ably when cold, hence the necessity of

" warming them up " before doing any public playing.

Wood-wind instruments are affected likewise. With a clarinet, for instance, as the instrument warms, the high notes are the first .affected because the top portion naturally warms first, until in a short while, when every position is about the same, the instrument will become normal.

With a banjo, tenor-banjo and banjo-

!in, the tuning of the instrument is affected most adversely by the vellum tightening or slackening because of the action of heat or cold or even of dry or wet weather.

When the vellum tightens the bridge is raised, and, of course, the pitch of the instrument is sharpened. All of which

[May, 1925 hdp to ~how ho\\" very necessary it is to devote more time to training the ear so that an instrument can be main- tained in perfect tune.

BANJO HISTORY .

M

A~Y fictitious stories have been circulated about the banjo and its origin. The early days of the banjo were undoubtedly very humble, and though it was first played as a primitive instrument by African negroes, it began its real life in America, grew and sprouted on Virginia soil, and was presented to the world by a white man named Joel Walker Sweeney.

In those early days the strings were very heavy and, consequently, sounded low in pitch when tuned at a convenient tension, and this accounts for the unfortunate mistakes in writing early banjo music. The first instruction book was probably Briggs's Banjo Tutor, published about 1850. This instructor named the bass string G. Some years later, about 1860, Phil Rice's Tutor appeared, calling the bass string A, thus inaugurating the so-call.ed A notation.

Historical facts arc nearly always dry and uninteresting, but whoever writes a history of the banjo will find the subject fascinating, because the story mt:st necessarily take the form of a biography, and include the names and unfold the lifework of such men as Stewart, Dobson, Cole, Ricket, Lee, Glynn, Stuber, Brooks, Clark, Morrison, and Lansing.

What an absorbing tale it would be to recount the trials and vicissitudes of this instrument ; how it fought its way against tremendous odds, how those who loved it most have uninten- tionally blocked its progress ; how it leaped over their heads and wedged its way into the regular orchestra, and how it has adjusted itself to the various shapes and tunings demanded by modern players, without forfeiting its characteristic tone.

And great battles have waged around the banjo, leaving their scars on some of the participants now living. The conflict between raised and smooth frets ran for twenty years before it subsided; plectrum versiis finger play- ing threatened banjo annihilation for a while, and the long strife between A and C notation delayed banjo progress and cooled the ardour ·of music pub- lishers for twenty years more. Young players to-clay should feel thankful that all these questions have been happily settled, and that the banjo's future looks exceedingly bright.

Tropical Strings for Ba.ojoists. - Gua.ra.nteed true . 5/6 per dozen, &SBorted.

(9)

EVERYBODY LOVES MY BABY.

Banjo arrangement

by

BANJO SOLO• SPENCER WILLIAMS

EMILE GRIMSHAW. & JACK PALMER.

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Ex'' plac-ed abovi, a chord indicates an extension of the fourth fingeJ beyond the usual close position of the left hand,

Issued as a banjo supplement to "B.M.G." by special arrangement with Messi:_s. B. Feldman&: Co., 125-1251 Shaftesbury Av~nue, London W 1 the owners of the copyrig·ht.

To obtain a piano accompaniment for use with this solo,every player should purchase the Song''Everybody Loves My Baby!'Price .2/1 .post free,obtainable from Messi:.s B. Feldman & Co., or from Clifford Essex&: Son, 15~, Grafton St.,New Bond St., London, W. t.

References

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