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THE .ALBERT

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UKULELE HAWAIIAN GUITAR

COMPLETE INSTRUCTIONS l"OR

ACCOMPANIMENT & SOLO WOnK BY

N1lY A.PEELUA BISlfA.lV

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INTRODUCTION

Ii T is only through it. celcbritic:t that A~ i.s known in Hawaii.

~ an-d h.t:forc the war they were mo.stly fuu.sical ones. Of coun~. ,#~ • Uttle time after the comme.ncemcnt of the war, when the lJJ'l~ dying frame woq by the i'.oldiers of Au•trali~ at the )ftndin8: on GaJlipoli hnd

bec:n Aathed ncroll& the 'tfOrld, i~te-rc:it in the 80uthern Ian~ quiekened in

H(t,~nii. It wae.' however, the pleRtnnt~11~ turpri11e Of m)' li£c. to find, on

my' firtt arrival here. "-'hat an ideal oountey Australia is.- The benutiful c.itic•

· wero a Tcvclatjon. the pcopl~. with their tmiJina faces. and c.harming ho•·

pitt\lity, acted as a balm to the sore heart of a home-si.~ Hawaiian. Tho

loncc:r l live here the more [ am fall~ir in love with your sunny Aumalik.

YouT count-ry i• very much like my own. Your people. too. in char11.ctcr,

l'Ctnind me of my people. They arc mu1ical and meuy-they laugh in the

face of troubles n.nd overcome them. The climatC: too, for most

of tho Yet\l' i• sunny like my own Ht1.wAil; &nd lends itself• gracefully to the

rn~a.ic of H"wai.i, At n'ight. when tho ato.rs "re bla~g in :your aouthe,m

s\de1, is tho time that l am rtmindecl most of my own beautiful land, and

the aound of the Ukulele. or the HaWll.iio.n Steel Guitar blend.1 T0m.o.nlico.1ly

with the my1tcry of your perfect night&.

I take plea.sure in writina: thl. book for the areat )oven of mu.:ic; bcin1

the real Hawai.ia.n Wa.Y of playing the Ukuldc.

Aloha.

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HENRY A. PEELUA BISHAW.

TO COUNTRY CLIENTS.

You can learn to play tbetc Moft Wonderful lnt_tnimenu with the

8.ISMA W COURSE OF

POSTAL. TUl'TlON.

F-, 1.2/ 2/ ..

J>liahly succc.uf-ul and cat ily ma~teted.

F\111 ptonicul•"nl on 111>Pli.uition · ·-Albert College of Mu8ic,.

t\1•1i .. io:r of the senui,1e Hflwaii.an mw-iei.o.n.a wl10 were ~pcciaUy imported for 1l1c Mutiel St.nfr Co. "Bird o f Por,,JU-e" p toduet ion by J, C . Willlartuon, Ltd.,

Au1tralill and New Z~l<l11'3. S.t<1to11 1917· f~l-fkl 9 19. Som in Honolul u, Hawoiian l1lo11d•, 188C).

Well-'knOwn Leader. ot $01;i•ly, Commer<:ia l and Pro(c .. iono.I. Mecli~I o.nd Lc&41 men, ;~1il it.:iry :snd _,~v.r1.I 08i~ni. be~ldu Culrur•..l VioliniJh, Pili.nhtt, and the Mu•ict1I public- t;c:nerelty n.re 1111 e.hiarmcd with tb o

OKULELE AND HAWAIIAN STEEL GUITAR. a .. pl.ay1;J by the on ly Hawaiin.n ic.a-ehcr in Au.,trnli..,, ?\fr. HENRY A. BlSHA\\<'

... nd hi11 mto.oy Tti.li:nted Studenu of th~ 1r1.f:tru11'leilu .:it thc "ALBE.RT" COCLECE OF MUSIC.

COMPL£iE EFFICIENCY i• u5ually .ii.cq-uircd with in one month from ftr•t lcu.on. Rcmcmb•t. l\otr. Henry .l\1 Bislu1w it the <>nly g~;r.iuine 1-l flw~iii.'ln Teach er in Australia.

A WARNING TO IN'f£.NOINC STUDENTS. There .,fC nunterciut flO·Chlled leti.ebet• o f thcJ(I. hHtrumcnt.s_ therefore the •tudent •hould look for the retll' q\l.l\Lihc:a·

lion~ before they doc,idit to toke leu.on•. H ear Mr, Ht.11ty A. l)i:lhaw dcmon•l ratc .,nd play the Ukuklc nnd tht: S1cd Guitar. You wlll be eonviJu'.t:d thii.t he ii the only j)XJiert tea1;h~n :Ond 1>l:Oycr of t heto iru t nimenu in Au.t.trn.lia ,

WHY NOT HAVE TH£ DEST AND BE ASSURED OF REAL SUCCJ:.sS) SPECIAL FREE DEfvtONSTRATIONS ANO RECITALS 111 a"liy !.ou~ cl~i ly 111 th"' S1udlo1e, n1tcl evcn-y F.1iday Nisht from 1 till

9 p .in. The.e C'jutai(lt &nd fa-"in;<1ti.ng. inttru.mcnls i'lrc ju•t I~• thirog for 1hc ideal open-air condition• of the Au,-tralion

climate. They 611 a ll rcquircmcntt .:i•.., n>u•i~I h}Slimmcnt ir'l 11,~ h-0ute or -0ut of doort. · Their 1i.mplicity is wonderful. The ,;~ t'nd o:-xtremc lightnen of 1hc Steel Cuil$r And Uk1.1telo m8ko t l1em •"ll.Ablo; to 1111lc1:1 with you on y:our holidny•. motor• i•tlif, w mp inf, boating, wccl.:.end•. cti;:. •

NICHT LESSONS CIVEN EACH ~iONDAY. WEDNESDAY AND 1:RIOAY NICJi'l' TILL l(l P.M.

THE .. ALBERT" COLLEGE OF MUSIC. f lRST AND F'U·"fH FLOOR. 800~1(~.HANC HOUSE. OVER ALBERT'S f\tVSIC ST0~£S. 117.ll~ KINC STAE£T.

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The Loveliest Fleet of Islands that lie

Anchored in any Ocean.

Mark Twain made hi1 fin I vir;it lo i-f;,w•ii in 1864, and remained here

for some lime. He made a tl,orou"h tour o r all the Islands; and he 11aid :-

.. No alien land in nll the world hna nny deep, strong chann for rne

bot, thut one; no other land could tio longingly and be.seeching ly haun t

me 11leeping and wukinl{, throu(rSh hnlf n life- time, as this one hna dona.

Other thinsa leave me, but it ubide•: o ther thing• chAAge, but it rernai.n1

the !lame, For me its bahny ftirt a.re &. lway• blowi.n2, its summer seas

flashing in the sun: the pul1ina o l its 1urf·beat it in my c.u; l c:an see

its garlanded c-rag9, it• plumy palm.s drowsing hy the shore; its remote

summits Boating like i•land1 abov: the cloud ra.ck; I c;in feel the ~pi.rit

of its woodland aolitudes: I can hear the !plash of its br04ks: in my

nostrils still liv~ the brf!ath of Rc.wen that perished twenty ye&tt aao.

"MARK ~'AIN."

HAWA IIAN ISLANDS. Thcac beautiful puradiac Jalct, onncxed to the United States in 1898, lie

in the north Pacific Ocean about 2. 1 OI) milca aouth-west of San Francisc;o.

The islands were diccovercd by Copt. Jome11 Cook, the English navigator.

in 1 7 78. The majority 0£ the pcople who viait Hawaii to-day are touriata who

eomc from all over the world. Aa key to the South.. travellers journeying to

and from .4.ustraHa. New Zealand. •nd ":'a.mani.a. stop here; nearly all the big

passenger liners malce this their eo1lina: port, which gives the touriat a day or

two ln whieh to go ashore and 1pcnd his money in Hula Dancers,. Lu:lu.t. and

souvenir& ln addition, many movi.n;: picture and other a.rtist.s a.re vi.sitina

there more and more every yc&r (iacluding Dame Mdba and Charlie

Chaplin), because of the excellent cor.dltiont (or taking picture"' the even

climate and beautiful scenery, and manr of 1hc moat famous authors have Te·

1nained here for week8 ;1nd rnonth• at ll time, gt\thering material for their

work.

It is the romantic atmo1phere wl1ich has attracte~ these u.uthor11 ;.1nd

p1aywright.s to Hawaii, Book• ho.vc bee• writt~n about it11 bcautiet. weird

tta1e$ of adventures have been woven about its Islands; photoplays have used

i t for haekgTounds, and song writer• have told u• about it11 dark-eyed maidens

\rith their Hulas and UKULELES.

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T H E UKULELE AND HAWAIIAN MUSIC.

The Ukulele is to.day the national in1trument of the Hawaiian pcop1e,

;:i.nd the ~en.ainc otrlicle obviously come• only from the Ha~ii.an l1landa1.

The Koo. wood, rr-onl which the in1trument mutt be made to produce tho

proper tone. bnd to be genuine, grow• only in the Hawaiian 111.ind!I.

The popularity of the. in1trurnent i.s 110 g rc.-t tlint thousand' i\re 11hip'ped

to d ifferent p1ute of the world. Ourins the Fair at San Franci11c,o in 19 15,

the Ukulele •nd Hawai.ian Mu.sic wafl one of the nlost interesting featurc.1 of

the aca.1on.

The chtrmina in&tN.ment i:s one that it dearly loved by evt:ry Hawaiian.

In their •wc; I nu::loclico the Ukulele plii)'• •n irnpnrr.-nl part and it u.tecf

mo9tly aa an accompaniment.

CARE OF T HE UKULELE. Do not tune Ukulele higher than concert p itch pi;;tno: tuning hi1her will

cause the bridge to come off. 'The eorutruction of the instrument near the

lower bridae i• very light and is the aound bo&rd of the Ulruldc.

It i• a sood habit to loosen the •trinrc• when not playing.

Crent cure mUlll be taken to alWl\)'# put the Ukulele batk in the c.i.,• ci

when not in u1e.

Alway1 te-e that atrings. arc in aood 1htt1,e; if they are too o ld or wor"

out, it will c.111u1e a false tone.

Do not put metal det.0rfl.tiont on the body of the instrument. The tOJ>

pllrt of finatr board between the keya may be used for the purpose.

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Correct Position of Holding.

Rc~t the neck of the Ukulele between thu1nb a nJ fi rst llna~r ~r left

hand. Let the body of 1he ini tnunent rc:$t <"g<1in t1t the body. with righl

fore-arm pre!!sing the ha.ck edge hold in(! it in po5.ition. The c:orrecl P 01S"ition·

of holding the Ukulele hail been neilected by man)' pcrformen.

Playing the Ukulele. "ro play the Ukulele correctly in the Hawaiian sty le, it should be gently

.strummed ucroll$ the strin$tti with the b1fek of the naibs of your fingers in

11uch a nuu"lr>er 1:\$ to hring: out the tone clearly a nd di3Linctly. Tbi.s inst-ru·

ment Ci\O be played either sitting, standing or walking.

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Ukulele Strings.

Y e For let and 4th Stringa use (G- A Ukulele String$) ,

For 2nd ttnd 3rd StTings \u1e (C- E Ukulele Strini::1:1) .

If Ukulele Shings are not procurab1c, use the followin.g:-

F or l 11t and 4th Strings use (Banjo 3rd C u t).

For 2nd and 3rd Strings use (Violin E Cut).

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TUNJNG.

Tuning with the Piano.

@ J J J J II G c E A • • •.. Op•? SI>•?'!'

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S I]' ..l !!!. J'~ rn?1s . . A-•• ••• ~:-: •• . .t •. ..

Tun.ing without the Piano (By Ear).

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h. sot-· '!Or b.-od9e .... ~o~ Number ) "'C"' String open for "Do."

Number 2 "£" String open for "ML"

Number .f '"C" String open for "So ...

Praa lrd fret of lst Strinr-"Do.'" S..o~ l'ret... .

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~"cl f.-el:: ... ---·~o]> 12 cl ".t ~r srr"?'ls . . .. 4 ..... -' ·· .. ii.'c-.... 1 ·

h it ad\~Nblc lo lea.rn to t"une the Ukulele in both way"'

£very Note in Mmic

to be found on

ntE UKULELE FINGER BOARD.

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I;, b .... \ .....

;e_,.,~ rroH

I,, • , ......... I

t. he"' iP> 1 ··'"' ......

&\h ,. ....

..... .... , , .... ,. ...

~;:- ., .......... •£ "''"' ,.,.,'l ,

>00"' ,.-,,_,

............ e_ L ( •;(• '- ..... ,

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Where to Strum on the Ukulele.

To get the real. deep mellow tone, ~nd to play it -y.,;th c;:i.ae. one must

~tT\lm the Lkulelc between 121h Fret and a little above Sound Hole. Play·

i:ng or strunming the Ulcu1e1e this way •• thown on the dillgtt'm will brin~

out the tonie.. This is one of the mo1-t important things to 1~embt:r and

one which a g-reat many pcrJormcn overlook. The doued lines on the

diagram show where to •lrum the Ukulele. When strumming. play it in an

anirlt!o ~• •htlW'n

The Ukulele

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How to Play Chords.

The fingers of the Jeh hand muat be placed on all the itotcs .u shov.•n ~n the diagnm ~t once. or a1 nearly R• possible. By doini thi3. one will soo n tRke Hll chords f!imulta.ncou1ly, '\'hieh is correct. 1'nd not permit the finger$ of the lch hand to prctt lho 111ringa one nt a t:ime.

On the chord diaarl\1'0: the black dol aignifics position "'f finger prf'!.ilt· in,g; the number written above the b ltick dot. 1how1 whnt finger to uae.

Fingen a.re numbered n.a rollow1:

F"ir-et l7inger ..... .••.....•.• I

Sttond Finger . . ... ... ... 2 1bird Fingtr .............. 3 Fourth Fintccr ......... .. . 4

The letter .. C .. marked over th~ dot. repreterilt1 the note that is wriltcn on the mwic staff. Never 'l.tC your thumb for anything: excq>l to hold the Ukulele in position.

Example.

A fter holding the Ukulclo in J)Otition place the third finger of left hand on the third fret of the fir1t t trin.g'; &nd 11trun' with Tight hand, lSlriking "II the .111 rinR':.· Thi& v.·ill produce your .. C .. Chord, a nd by c-0mpa:ing with notct on the music sta ff' you will llnd lhi11 to be correc;t.

T op e ,.1dc o ... - - - - -G C E ............ • - · -- -·Open S Vlngtt

••t P',.e t - - - - ... -

2!"1d ,.,.e t -·· ... - - -c

t --- ... . ----••h 3 • d j.> nd I •\, .......... , ...................... : $tr'I ,, .. •

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Strumming the .Uku lele. Let your fingers and WTi.sl move fr-cely and with ease. This is al.o a

' 'cry important p.art in playing- the irutrument. btta\Uie it it the diffc1ent

movements or the 6 n(il:ert a'eross the string• thut 1nnkc. it really mu:iical, an-d

~lso this is the onl.y Wt'l)' to corrcclly bring out the time of tha 1>icce of mu11;c

you may be pla.yina. ·rhe following arc standl\rd ttrums u.11cd by a r>erw

forme-r, but after a Ihde practice one will QTadually make up some new

11trums.

ORDINARY STRUM (With First Finger Only).-

U ........ as mtirked in d inaram. &hows up movement of fingers..

D . ..... .. ns mt\rked in dit,rcr•m. shows down movement o f fingers:

Strum ...... . Up with Jle8hy part of fi r1l finger. Do\\tl\ with the

nail part of Gnt finger.

Hold a chord i:n po$ition when trying t'lll the etTUmt. Try ··1c·· in 1hc Key of " C" fvfttjor.

u ........ D ....... . 0 ..... ... 0 ................ Strurn 1 ......•• 2 ........ ) ........ 4 ..... ..•....... s .... .

2 3 4 # u 0 0 0

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Strumming lhe Ukulele.

ORDINARY STRUM (With 6n~ 1econd, thitd finge,., and thumb).

U ...... .. a& marked in diA,-ran1 • .how• up mov<e:ment of 6n-s:ers.

D ......... a .. a-hown on diagram. ahows down moi.·en:icnt of finger&

Strum.,., .... Up with Rt•hy part of fi19t fin:er. Down 1,,;1h .. a part of three ~ncert. followed by fleshy part of thumb: in

the down •trokc, allow your third finger le:' strum 3 little

ahead of the re1t und second-third with the thumb laat.

Great care mu111 bc:i tnken to make the down atrunl cot1nt­ing one heat.

Al\.\•ays hold a chord in poeitiou wl1cn t.ryins thi$ Strum. Try

"fC" in the Key or C Major.

U ........ D ........ D ........ D ............... .Strum.

1 ........ 2 ........ 3.. ...... 4 ................ Beats.

a 3 4 U D O D

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Strumm ing the Ukulele.

WALTZ STRUM-

This $1.:rum i1 much 1inlilar to Ordinary Strum v.;th ;sll the finger•

and thumb, but differ• only in time.

U •....... Up movement of finger• and thumb.

O ........ Oown movement of finger• and thumb.

Strum ........ Up with Re:11hy part. of first finger. Do wn with nnil po.r·t

or lhree finaer• followed by the flet1hy pa rt of thu1nb: in the

down stroke, allow your th ird finger to atrum a )jttJe n.hcad

OE the re1t. bringing second, third fin$$er$, ,..,ith the thumb

hu1t. T ttke cnre to ml;kc the down '$trunl c-0unt one bent.

Hold a chord in po. ;i;on ·when trying the W«h< 'Strunl. Try

" IC" in the Key of "C" MajoY.

U ... .... D ........ 0 ................ Strum. 1.. ...... 2 ........ 3 ................ Beats.

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Strumming the Ukulele.

·TRIPLE STRUM-

Thi.& .strum j_, played with flr~t (intter ~nd ie much ~imil::'lr to Or~il'.lt\ry

Stn,un with one finger, h\1t it differ$ only in rnovement of

firl'Jl finger , 1ill keeping the same time.

U ... .. ... Up movement of finger.

D ..... . .. Oown movement of finger.

Strum ........ Up l\•ith Re$hy part of first finger and dOwi'l with nail

part of fint 6nger.

J-lold a chord in position when LryinJJ thi~ .stn1m. T r-y "JF" in

the Key of "F' M<\jor. Ph\y tus written in di\\gn1m a3 foJlow.,:-

U .. ... ... DUD ........ U ..... ... D ........ Strum. 1 ••....•... 2 . ...... ..... 3 . ....... 4 ........ Beat,.

• 3 • u ouou o

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Strumming the Ukulele.

TREMOLO STRUM-

Thi:9 S1run\ i• very much like 1he Ordinary Strum with one finger

but p)&ycd much faster, with Up and down '°ntinuou• QlOVC­

ment of the finger.

U . ...... . Up movement of finger.

D ........ Down 1ttO\le1ne.nt of finger.

DUDUDUDUDUDUDUDU ............... Stram.

Tu;, Strum could be used fo1 any time a. piece of rnu.tc i1 written.

To gel thit tltum. corr«tly oa •mooth. continuous and .oh effect

ahould b~ obtruncd.

RAC TIME STRUM-

This Strum i1 performed with fint finaer and thumb.

Down ........ with naiJ pa.rt of l'tr.t. followed by ft:cshy part of thumb,

Oown ............ with first finger ............ lat Beat

Down ............ with thumb . ............... 2nd Beat

Up, ............... with fint 11nacr ....... ... :Jrd Beat

Down ............ wit:h firat linser ..... ....... 4th Beat

Hold a chord in poaition when lf)'ina this strum.

0 ........ 0 ........ u ........ o ............... .Strum.

1 ........ 2 ........ 3 .......• 4 ••.••...•....... e~at,.

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To tc.all7 enjoy Ukulele. playing, p-c:•f<t1J\\1;1•• 11•••1 lty to 1\1c.n\o~; ... c. ... 1. ..... J. a..s 111u\.h 11• lo'UMiblC'.

KEY OF" " C" MAJOR KEY OF " A " MINOR

i f $ ll ' t ; ut IC IF" 2C IAm (Om 2Am

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2.

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2. 3 f q

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nl'-n~arked aheT c:.c.h chord if the abbTeviation (or 1N word "minor:· Play four beat!I to each chord, win.g · ordin:.ry •tru1n,

if

SWANEE RIVER. Arrg. for Ukul~le Accomp. by HENRY A. BISHAW.

. ,,. .......... . •..,.. .r(,.. far ~ -

'-' . ,--.- .... ...,,. w.~ do"!) up - 09 19':- 6w:>_?-<Je r1Y' -e1• <nle't lT)btj w\i,,... '!J'l IJ<-art !J 1r ltC IC Ii:' IC IC 2.C 2C IC 2A"'

Ukulolo Aooomp :

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"";... .,ii ..,..

19e bJo•·l,1 !) .:)lid a?d drea r-~ tu•:? - •?'I ev-e,. :,l{i '/ IA"' £ If. ~ ~ IC I 9r. 2.r. l ie IC

Ukulolo A ccomp · I .

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... !' . ... ~ --,,, . ·( --,,, ·~ IP'-5-v - r~ vil]er<" I ro1:1".? O,.b cla,.k- 1es '°"' ··~~ p!;,:f 9r~ wea1~0' fro'.') · e old folb <>f J)o.,e IF' IP JC 2.C tC 'JA"' l lAm IF 1· 1c •1r I 1r. Ooe

UkureT'o""'Tcoomo: . COPYRIGHT 6Y J. ALll.i;M.T 6o SON, SYDNEY.

r\1e:rooriisc chords in the follo\Yi.ng pieces before p]aying. Always test str-ings and iee that they nre in tune before performing. Uae Triple Strum when playing "On the Beach at Waikiki." Ute Ordinary Strunl, with first. second, third lingers ~nd thurn b when plti,y­

il\£ "~.\lohi.\ Oe."

After playing the c.hotds try :lnd !Ong the mQlody a&$ w1i1ten and p laying accompani.n1ent the aam4? t:ime.

Words and Music by HENRY KAILIMAI. On the Beach at Waikiki Ang. for Ukulele Aceomp. by

HENRY A. BISHAW.

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--< • ..... -y ...,. .,.. ...,.. . f" - ~· "" 1 ~ · - .. W I -k1 ,.,., - k• swe.< pro"9 "Void - e, '".J IQ l)?,e as

IC ' I 1 £' I ir L2o._ I 9r. 1'2r. l2G • Ukulele Aooomp: .. .. ... . .

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~·"c .,.,. b.9 - ?""r 1 ... - :>Q.!]S Q!} 't!Je be••b .r )~j - i(i - I(; .,;. lor . 1,,, .. lor l ie i I '11>

I 1c lone Uku l ele ~ccorpp:

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The. best Swimn1.ing and Surfing Beach in the world. On this bench resides the World'$ Chttmpion S,vimmcr (Duke Kahan.an1oku). Ha,"aiian lsland:l .

... corYf·UC:Ul' l?l!l, QY l!ER.<;STROM MV51C 00. n 110NOLULU.

Words and Music by Her Majesty QUEEN LILIUOKALANI.

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Aloha Oe. (Farewell to Thee.)

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Arrg. for Ukulele Aetomp. by HENll.Y A. BISHAW.

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" Ukvlolo Accomp ·

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Uku l ele Ac::::comp .

As featured in J. C. Williamson production. "Bird of Paradise." Sung by the Hawaiian Quarteu e.. COPYRJGKT DY H. BeA.c.£R.

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E ndi ng Chord a nd Mod ulation. KEY O F' " C " ' MAJOR

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) In playing accompaniment. in some instances Ending Chords and modulation are used to fini ::s:h the strain. Play

them~ in their numeric;)\ order, u&-ing T rt rneJo or ord int\ry t lyum.

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2G 12.G Ukula lo Accomp .

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Attg. for Ukulele Aeeomp. by HENRY A. BISHAW.

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COPYRIGHT MCMXV1.. BY JOS. '4 . $TIJU-t •CO. :; NEW YORK.

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i To thoroughly enjoy Ukulele ph11ying, o ne rnust memori!le the chords.

l'v1cmori.se the chords in the) fo llo wing piece before a ttempting to play.

U11e Ordin.,,ry Stn1m \vith Fir1l, Socond, Third Flnge~s and Thumb.

1-lold chord$ in <:orrec:.t poiition beforo S1 n1mminsc.

See that instrument is in tune before performing.

INDIANA.

_... . . . .

Ans. *°' Ukul<lo A0<0mp. by HENRY A. BISHAW •

r::: . . · ~

.]}Ml( IJon/o. ''1<119 '? l? - ::11- a7- a llncl 11' ~e'.95 tlio1 l "' 9 5ee ·ltJe 'llell'.!J~!l'I (;,9-dle ·# ;f;JI :1G ~D !tG I IG lLC

Ukvl e t c Accomp . ,,._ . [)(:• . ~ .. .. ~· l"'H!iit.'1 --, ""!: ~ ,... ~ ....

!io'f s.-_,ds oil .i:; f•-O~ -l"a.9ce f'o!J-rjje ,919 • '.?~ ~r11h s~c - a -1yo11'$ f"t" rye 'Jbe !Jew .,o~ rt5

IG 2] l2r. l:G 2.D Ukulolo Accomp.

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:If: a: . . . . -.; t'~ld I us.J fo roa '-' Whfs) I ~ n ·foot~'!l""9' •1l1l'o.iW'a-~>~ 1Jie9 I lo~q f'>' ;., fo -clo -11!) ~ ].1019<•

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COPVRICHT MCMXVll. llY !HAi•u'o IH~RN~TtHN ft. co, INC. : : Nli:W YORK.

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Ending Chord and Modulation.

KEY OF .,G., MAJOR

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MURIEL STARR. W110 ~ludicd H1:1.waii&n Mutic with Mr. Henry A. Bishaw

in the Hii.woiio.n lJitnds.

CompoMCI and Arrangod by HENRY A. BISHAW.

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(~ -. 2 ... 2

_3_

..&. 0

.. _2.

_3_ 2 0

Uk ulele Oia1Jr11m.

• 2 2.

2

0

=-

3

rit .

2

3

Peelua Waltz.

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2 0 0 2 2 2 3 _2 2 3 3

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3 2 2 4

2 2 2 2 2

2 2 0

2 2 2 2 3

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2 2 4

3 2 2

0 0

3 3 2

0 3

0 3

0 • 0 0 0

COP'VR.ICHT 1'1~. BY J . .U.S!AT • SOt4" 11 SYDN!.Y.

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--,,- ~ ~ Jl 2 2 2 _ Q_ _O _ 3 3

0 0 2 2

0 0 0 0

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1

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3 2 2 2

2 2 3

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"F" MAJOR

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HALO NA.

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Ukulele A ccomp.

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11:'- Ii~ 18° 1sb 2.P U kulolo A ooomp .

"0" MINOR

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An-g, for Ukul&l~ Accomp. by HENRY A. BISHAW .

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Words and Mwic by SONNY CUNHA.

Vkulolo Aocomp :

Ukulolo A ooomp :

Ukult;1olo Aooomp:

.. .,., - 1.. - .li· - ?'

Vkul o l o Acoomp:

My Hawaiian Maid.

W1J!> a p•..r- t,j sn-ule

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Arrg, for Ukulele A<:cornp. Qy HENRY A. BISHAW.

s!ie ""'""" " !lo- I - o - "-.v

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Ending Chord and Modulation.

4

KEY OF "'F" MAJOR

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£.

~USS FAY AL'6W0RTH (Steel Cvit.a.-) and J.t1?5 RUTH AINSWORTH (U\ulcJe), c;1f \Va,•weo, N.S.W •• pupil' c;1f ~h. Henry A. Bt.b:aw, c;1f lh• ··.Albert'" Collese ol &11uic.

Theee flu<lenl.tl, after tlic U$Ui1.I C<1Ur-l~ of lenon~. w.;'l'e en1:11t1p1d $1 n. vory hi.~ •11111.ry by

f\~o•u•. j. C. WU!la1neon. L,d .• for lhe tu.i•tni.11ui11.n tour of the Muriel St11rr ~Bird of Panid'~·· Com~ny.

'"'-~ --- ' 'J31

"0° MAJOR

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Word& and Muaic by HENRY A. BISHAW.

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HAMAPILA. Hawaiian Hu la Dance.

"B" MINOR

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An'g. for Ukulele Acoomp. by HENRY A. BISHAW.

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Ukul~lo Aeeomp :

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I I Uku e o Aocomp .

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Ukulele Aooomp .. Respectfully dt:dicated to Norma Aronaon, Neutral Bl'ly, N.S. W., Auatralia.

COPYRICHT ltlf. BY J. AL81AT 6; SON H SVO"''EY

My Rose of Honolulu. Com901ed by

TOM ARMSTRONC. : , CHORUS:

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Ukulolo A c::co m p .

Ukulole A ooomp :

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Artg. for Ukulele Accomp. h, HENRY A . BlSHAW.

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Ending Chord and Modulation. KEY O F' "0 " MAJOR \..

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"B" b MAJOR

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Ukulole Acoomp 1

Pua Lehua Hula.

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Arrg. for Ukulelo A ccomp. by HENRY A. BISHAW.

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1101i o.1e '7

As feAturccl in J. C William.ton'• productiol), ""The Bird of Paradi.te-.'' Sung by the Hawaiian Qw.rtette.

COPYRICJfT ''''· 6Y J, AL6ERT ti ION i: SYDNEY.

7~-=

32

Ending Chord and Modulation.

KEY OF" "B"b MAJOR

\ -@~'' • t! $ t ~ :

2 3

~ 2

~ ~ • z If 6 ~ Endinr Cbord.

2 .. 0 3 .. ... .,.

,• F7

f c• 1 !'>', fi'P I.I

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2 3 4 s

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"'" 3 19'

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Wo<cl• 8Dd Mwioe by His M.jeety KING KALAKAUA.

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JA JA Im Ukulele Accomp .

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" "A"" MAJOR

q? JI @#~# f t t II 2F"il: IA 10

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AKAH I. (Hawaiian Love Song J

• - le Pu .

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Artg. lo< Ukulele Aecom);. by HENRY A. lliSliAW.

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IA IA l1A IA I in ID lu ZA llA Q.o \. ' Ukulele Accomp

A3 fei\turccl in J. C. \VilH~m~on' & production, "The Bird of Parndiac," Sung by the Hawaiian Quartette.

COPYRIGHT 1?19. BY J. AL9£ k'r & SON :: SYON&Y.

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Ending Chord and M odu latlon.

KE:V

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Compo.eel by CHAS. K. HARRIS.

"C""

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ft ~ , fe6 ~ I<"

Somewhere.

M INOR

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ArTg. for Ukulele Aecomp. by HENRY A. BISHAW.

l;~· ~:I~ ~~~~:c -~B. ~ --.: 5o"J•. w~o··• lj;e ' "? •S ~?·? - ;9".I .5o"Je- w~eo-o .io lot' - tf., ""''.)

LU_k_u_l e-lo_A,_,-J}.,,~._:_m_p_: _ _ _ _ ___ _,,1 Z,,.,~JE.._ ib _ _ _,.,.,2....._£'b _ ____ ___ _ ,_ ........ ,..._b_~_, r.-.

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IE: b ,2...E_b L,ti::::b ia Ukulole Aco om p :

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-1.E. • 'fF'm 12.B b :u;:b lB~

COPvttlC.MT MCMVI, IV CHAS. K. HARRIS..

•

Diminished Seventh Chords.

TI-.e lollowing Dim.in.ie~ed Sev~th Chord• wiU cover all dimin.i.hod

c;.ho.da in muste.

Great care muat be talcen v.·hen p lia.ying thcite chords. On the: Second

nnd Third Dim~nieh, )'Our Firet, Seeond, Third, t\nd FO\ll'th fiogcn1 vrc on­

(;'t,1.Q:ed to produce tha proper tone and. notes. See that each t lrina when

preucd hl's a dear tOtic.

I .z 4

IP f'jil e ~ /,

I t2 ~ ..

" I" 4 I 2

I" ib t1 Vil' !> • ill'

i I Oiminnhcd ChoTd.s arc marked in numerals

with a circle as shov.•n in di~srAm .

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II

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.. K ., MAJOR

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Com~ by ' HENRY A. 8JSHAW.

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3

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Kamau Kiaha ( H awallan Toast Song.)

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Ang. for Ukulele Accomp. by HENRY A. BISHAW.

ke "JO - !)t t(, lu 1¥ ~-11;: ltE:: 1212

'\"' - " Ii~ 1 1~ II~

:r ::r :::""' -e- .. 7Y-. --•

bo I 0 lei - U WI - k1 """' - k1 " -., .. ·-llA ~ E: l~F. Iii:: I 1E::

COPYIUGXT ltlt. BY J. Al..aEAT • !O!'i :: $YOSEY.

I

38

"A"" MAJOR

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Coa:rpo.d b7 NEIL MOR£T.

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Ukulolo ~oomp:

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3"i,,.t e~.S '°"' ao Kryew

,\!e;b .tEb 12.Ab Ukulele Accomtt :

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"F" MINOR

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In Monterey. Ans. for l.l1aaW. \ J' HENRY A. BISHAW.

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m*m JDf.m IJBlim

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...I. ..... --" _.,

:a

• ' J9 (')o?t-e T -y

da:t -tl)i.f 5(,Je ")'j ' ..

~·;i ~ ~ov ~1·f ,,_ WO\'

lA l> ,t E: 11 4A'U lt_AP IA~ l lAb

COPYRIC.HT MQ.c;XV. av CMA.S. );. DANIU.S II $AN rRAMO.SCO.

"B " MAJOR

$21#11 i t IB IE

Fr::.

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G" j$ MINOR

11; itf JC~ m

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Honolulu Tom Boy.

39

I

Wor.U ..,,d M...W: by Arrg. for Ukulele Aceomp. by SONNY CUNHA. HENRY A. BISHAW .

l · tJkulolo A ccomp :

... Ii . ... ~ ;:Y : ~=f lu lu '°"' -· b·~ 5oe •5 ")~ clearl,r - rlo ~..,.,et ,t - rto f-tory - o - lu - Ju - )u

IB '_lE llE I 1r:t

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Ukulele Accomp.

" ' 11 .. <~

S~e ,J,,... - ~' --,. r ....,. cJ,,_ '?e ;,,.i 'f!le

f '!)Cl - J,

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IR llE llE Ukulelo Ac.comp.

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< P' 7 - nr.' :::v '17 ]Z :-"I ]Z :I 3 -= ,.

r-~')C• ·~ • '!

cl1a:1rc \-u - 1'J oi, ryow si,e lo,re>' 'JO d.?r. wlieJ ·~ ll tol<e a

ID IR itR IPR ;tR I II~ Ukulelo Acoomp :

40

"0" ~ MAJOR 8 v MINOR

@w1.\ i f t II [ &1.9 ~ h !) , f 10 \) tG \) 2ot1 2 et>

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3

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Ukulolo Aocom

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.t~r ')' ro

Lw _\, Ukulolo A ccomp .

Ji ....I. .....

. .., ba - ?" <!I kea lo-~

...ll~ mt> Ukulel e Aocomp .

' te'

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4 <:

Ahi Wela. (My Burning Love.)

:J! -

3

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llP I"'' e

Ang, fer Ukulela A<-. by HENRY A. BISHAW.

'

~ :± ..... __.._

"Ja - ua I - ICC - 1 - a I ~&" 1'- I wa - le ~e i ... ·-

ixDb b i lllb

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IG 1' I in ° l.tD_P Ltn_b

Aa featured in J. C. Williamton·• pYOduction. "'Bird of Paradise." Sung by Muriel Starr . . C:Of'YJUCKT ltlt, BY J. Al.8£RT • IOtC 11 Sl"DtrEY.

• F" ~ MAJOR

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Very t1low and dreamy. Word• ..,d Musi< by HE!(RY A. BISHAW.

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Use Tremolo Sttum when playing.

OOPYRICH'r 1919. nv J. Al.OF.RT ,,.. 50N I! $YC>~Y.

42

ALEXIS ALBERT.

A clever performer on the Ukulele.

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THE UKULELE AS A SOLO INSTRUMENT.

Solo \\'Ork on the Ukulele could be obtninecl with a little c lc1'ncnt11ry

!\Judy of the flngc.r board. Every note in n\uaie will be found.

Thi. i.s pr;u:;tieally ;a new departure study o( the Ukulele, bu t I would

recommend chord work for pll:'ying accompaniment whiJc lSingin1r. You ~·ill

6nd the chord playing to be tnore pleasi1\g nn<l n1uch more elfectivc than

solo work.

Howcvc.r, the fo1lowing '"·ill be found sufficient to cover all necessary

requiremcntec for this study.

A 1imple method hat been luranged for thi1 ttyle of playing the Ukulele.

EXAMPLE No. I.

M u sic St&ff' , ..

UKULEL.C ••.

--.: ' -tit : . I .... ' . : ~ <I . : ~ . . • ;; . ... 1

.•• A

.E ... c .G.

The fint live Jin~ reprC$cnt the "'f\•lusie Staff."

Op<:tl'\ string, .. I ~ Open string .2

Strlnat Open 5trlnst . 3

Opon $tring ... 4

The four lines repre$Ut the fou.r :ttrings of the Ulc:ulcle.

Every note written on the Mutic el.illf will corrcepon.d with notes WTitten on

the Ukulele Dil;\gran1 by nu1nbcrs.

This method wilJ help tho1c who do not read mu•ic and is al110 very con·

venicnl for th~ "-'ho have some knowlcdac of n1usic.

~--_

__ __ /

M u~•o St:af-f .

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UK UL.EL£ ... ··•

!------"'--"~ .. - .• 1 a t st,ina

1------'-..L~ ••.... ~nd Strini

!------""'--'-~ - .. · · - :J,rd Strini

'L ___ _,;i.,,_a~ --··- 4th Stri ng;

Zero f\1ark (0) plftecd on any of the four strinv• rcpresenb OPEN STRING PLAYED.

Jn Exan'lplc 2- 1 et a nd 3rd strinRa ttt.i J?laycd op~rr-thi-ll , ... 111 g ive you A ru1~ C.

Numbe.n marked on any of the four atrings sig:nific. number oi fr,"( on wNc:h to prcu finger.

In E.xo.mple 2-,..2nd String is played hy pre~i.ng on the lst Fret, which gives you F ....... . .fth 1tring la plnyccl by pressin" 2nd Fret. whic.\ aivea you A.

CHROMATIC SCALE.

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Solo Fingering and Chord exercise. CHORDS THAT FORM AUTHENTIC CADENCE IN ALL MAJOR AND MJNOR KEYS.

The folJo,ving study will help student$ t () o vercorne difficulties in 6ngering in the harder paosa.gcs of the finger bo<.Hd.

.. ...

·C" MAJOR

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. 0. _l o . _ Q. 0 0

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"G" MAJOR

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"A" .MINOR

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"II?" MINOR

"D" MAJOR "B" MINO~ , ...

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Major and M lnor Aulhenllc Cadence- conti nued.

"A" MAJOR ;,F""' MINOR

0

z

•E"MAJOR .. C .. ~ MINOR

" B" MAJOR "G" 1j: MINOR

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Major and Minor Authentic Cadence-<:onli nued.

"F' " ~ MAJOR ''D " jf M I NOR

"D"~ MA.IOR MINOR

·- ,._ .. . .

T I o , •, .4 I 4 _ .... LI.

.4 2 I i I

5 3 _I_ " _I_

6 3 _I_ _I_ _I_

J

"A " \:) MAJOR ,. F ' • M INOA

.. -~~----------------------'

46

~ ...

<: ...

Major and Minor Authentic Cadence-continued.

''(i: .. MINOR

l 3 --4 l 1

3 ;, - --1 --1 _.,,_

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.· "B "O MAJOR

.. G .. MINOR

"P"" MAJOR ·•D,. MlNOR

0 1

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What Strum to Use in Solo Playing A thorouah knowledge of all the sbUn\9 u thown in <)C.Comprullment pl;ayins will cover all thot i.e ~·antcd in solo p~m.,. h is left entirely to the pc:r· former what •lrum to u&e and what give.a the ~It cff~tivc and clear tone. This ho.1 a lot to do with what ldnd of a piece of muaic you arrana~ to pltriy. A performer muu uae his own judgm.ent, \,cc.nu•c there tire no :ict rulcll in u!ing Lhe difforenl 3t-rum:i.

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To ca'l"ry 01.1t the Solo study of the Ukulele one muttl have a thorough knowledge of all the notes on the flnger boar·d .

. A. thorough knowledge o{ all Accompaniment Chords wiJI help ;i great deal in this specif;tf itudy.

Who.n p laying Solo3 the Melody and Accompuni.mcnt are played at the same time. T he melody note should be em· ph.aai11ed or he;.ud \vhen the four :Jtrines are p layed .

•

.) The Ukulele Strum Solo Al'Tg. f<.>r Ukulclo Accomp. by

HENRY A. BISHAW.

Use Ordinary Strum with all the fingers when playing thi11 p iece. Try and comptu:c notes o n Lhe mu.sic staff with the Ukulele F'ingCT Soi\rd. This will h~lp )>eTfomu:r to read the Ukulele tvfueic rapi'dfy.

Do not pidt .atringtJ 3Cporately. When arranging to P4'Y a pi~ ol music. play notes only in the treble clef.

Aoeornpanimont Chords fu.1' the Ukulele a.r~ obta.inod fron::. root d.ord$.

REMEMBER, THE UKULELE WILL PLAY ACCOMPANIMENTS TO ANY PIECE OF MUSIC.

49

$0 CompoM<I by

MARY EARL _ll

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COPYRIGHT M<'MXVIU S.HAPJAO 8&.IU-ST&IN 6: CO. J}l:C. :; !\C.W YORK.

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Arrg. for Ukulele by HENRY A. BISHAW.

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' Development of th:e. Ukulele ,

Thi.S. Novel lnitrument hM b~ a Phenome~ Popularity. during the past few years. It is doubtful iE. any Musical · In~ment in the hietoty of mankind h(I.$ Jiad ,JUeh a $Udden rise into fame an~ popularity as the little Haw~

IDStrum~t, . T .HE UKULELE Thi$ fM:cinatin-g ln•fru?lent first becaro.e popular in Hawaii, where it was use~. t~ accompany the f:olative Sonp and Hulas, grad.ually tinding i.b way to AU$tralia, thrpugh returning touijs~ ·M:d fin.ally r~iving its. bi,g impetua at the ~e of the coUJ;J;jry•wide tour of "The Bird of Paradise," which hAd a &mall Hawaiian ·Ba.ad of

UK.ULELE ·Players, under tho direction · l>f Mr. Henry A. Bi>haw.

The UKOU:U: pones .. • a quaintly bewitchiJu.I quality l>f lone, but the d;icf ~ea.on for· it• populaiity pi:obably liea-·in the fact that a few timple ~hords can bo very C¥iJY ~a.slcred, andJor SOio work or Song A~m .. panimenta. it i• an ideal .instrument. Beini· $m;:ill and ligbf it;;it. oona.equent1Y,. . e:n;Unently: wihtbJe fof the open-air.. condition$ bf the Aw:trali.An Clim.a.fe, ae, besides being ideal. for the d.ra~-room; the UKULELE ia mllutpa.ued for picnics, ·camping partios, ;wook~cn4 oxwrsion$, the.aeas:ide, etc . ., etc. Jf you are iutecuted, we will forward lo you, U}>On #pplicatiOn, Ota" Broelup·~ giving illusttation.s and price& of UKULELES. - -

'

We sl0ck an Muaic :aita.b!e for the UKUI.ELE and HAW AlrA°!' STEEL GUITAR, and if :y:ou ~d \lt yoµr name and a<ldres. w6 Will ;gladly ~d to · you ,a list ,of Son~, com .. , ple.te v.-ith full worda and piano Music,· in w~ieh @ 'O i& also printed the CORRECT UKULELE . We recommend ..JI Ulwlcle PLt7 e:r.e ACCOMPA141MENT, specially artailged by to cJwa111 use Henry A. B;iihaw. Thee Sonn ar~ .2/1 per BlsffAws ROYAL ~WMJAN copy, po't~. lo ""Y'•ddre1.. UKULUE STRINGS.

Specially tte!ected and ga.a:rao.toed to

AL.:50 WE HAVE~

gi?e fuUe•t .-,tiJactio111 • .,. PRJC~ 5/- s>« a.et of 4 Strfupi

POS1;ED, S/2-

No. I. Conta.iairlg t,}t~ CO\nplete 'Y/ot"ds .od. Ukl.ll• l.o A~compani:m~nt (arranged ~1 Heney A,, B~baw) .of TWELV£")..A~T POPULAR SONG :SUCCE;SSES, !Gc:lud.ing "W·HISPER.lNC/' "OlD MAN JAZZ.'' "MY MAMMY," .. SWEET, HAWAIIA.tf MOONUCHT,"' etc. Ewty Ulnzlele pla,e.r .hol.llcl J:.or..,e- a eopy of tbi$ Song C(llUtietion. ' 1- '

. PRICE, 2 / 6; roSTED ANYWHERE, 2/8 .

THE ALBERT' nANsrosJNc AND ·cHoRD ,cHAaT FOR THE UKULELE. Mr. B.U.Aaw l'J)ent c:o~ider.blo ~in# in eompilin.a tht. u..fnl chal't fol'. Ulrakle. play~ .h.o...mg eleufy bo~ to p1'J' on tho U~ 'n1 Pianoforte Mu~Je Or 5.o.q:S lo by M)o. If 7(1U pl•J' tta.ti Uku.ltilfl tbil cha.rt it ia'flduaht., fo .you.

, PRICE, 2/6;, POSTED ANYWHERE, 2/8.

' ·

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FRANK R. TOZER'S . -~1

NAT:IC~..:AL t l:SRp.f;•y . f: SIMPLIFIED S~STEM FOR THE UKUJ,.ELL·

Thit 6truction Book is a Pro..ctic:al Worit OD. tho Qku?.,le, c;.t:o, ~·~,.,. .u tt,,, c"UentW. twteC....:r,. to quickly attain aNolut.o pt~Go•ey. Thi. ~ tM' W.11:utO·r' f<>l'·you to fet if you wis,h to karu to play the Uko&el't witbOut the--•id. of a penot»J IM.eber. '

' PRICE, 5/-; POSTED ANYWHERE, l;f!J -

' '

17 JUL ~85'

~ AUS.tk~'i

TL.a u~e Pahlia.tlo»t ~re Obt~blc rx.o~ ALi. M~~C ~E.LJ.,.£8S. o:t ~m:.ct from th~ Publilhe-~.

J ALB. 'ERT & 50··· N "BOOMERANG HOUSE .. ·s . - . • . • 137/139 KING. STREET, YONEY

RJi:MEMBER: WE ARE HEADQUARTERS FOI{HAWADAN lNSTRUMENTS"AND MUSIC.

"

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. The "Albert" College of Music

Managing: Director .... Downs Johnstone. C.B.8..

EQUIPMENT PAH c.XCELLENOE. The Cc>lle3'.e .Prcmitt.t, Mutic Studioe. Concert and Lcctur~ Roomt and

Offices are tbe ruO&l up·to·dato in lhe Southern Hemisphere, bein8' apecllllly and acouatical)y built and arti•ticelly ft.iyniahcd at a cost of tnany thouMnd11. Our large 8"-d spe.ciom att1dio1 o,rc tho bc't ~uipp«I tmd the moat h11icnie in the Commonwcnlth..

SOUND 1RAININC UNDER TEACHERS OF WIDE REPUTATION AND lONC YEARS Of EXPERIENCE.

u:ADINC PRO~IONAL MUSICIANS ONLY AT nlE HEAD OF EACH DEPARTMENT.

1':.c .tr~ of &DY mu.ai'"•ol col1t2e lies in its teaching atafl. ETct'Y Professor a.ad Member of the .. Albttt" Collqe Staff is a. trained 11pcci.aHtt a.nd a sympathetic and sucu.NN.I teacher.

LESSONS DAY OR EVENINC in tl.e following subjcct•:- Pia.no. Violin, 'Ct-llo, Viola, Banja;-A1andolinc, Ma.ndoJinc. BafljO, Aute. BraN a.nd Reed Jn11trument.. Theory, Harmony, Counterpoint. Canon Fuauc, form and Compoeition, Chamber Mallie. Orehe.­tt't.tion, Singing and Dramatic. Art. ' ·

TO PARENTS OR COARDIANS. 'I. .Intending- stude:ntt in any o( the abov~ musical aubjects ar~ invited to a.U , and interview .any of our l~C1.ding prof~DiOl"O.I teacher .. who will adYite them in any propoacd. cour$c of Uutruction. - •

SPECIAL FREE TRIAL LESSONS •t ••>·hour daily at tha Sh<dio1, and OJl Friday Nia-ht frorn 7 till 9 p.m. Niaht 1et1'0n• may be arrana:ed for ee..:n Monday. Wednceday and Friday till I 0 p.m.

llt\CHERS MAKE THE SCHOOL. It is an undisputed. fact th•t t.ho te.eher• mol:e. the school. The curricu­

lum m.ay be a:ood, the manaaemcnt excellent. but if the tead:icn arc not cxperienc.ed. coiucica.tiou.r, enthu.1iutic. and in every respect capable. it it not the ochool that obould be edected by oO)'one deolrinc a thorouah tninmc·

THE WORK OF MUSICAL l:DUCATION <anied on in thia CoUeco -.ad.e at a eorupicUOlP feature in the mwical life of the State. and con.tiru.1e. to attact luac numbers of atude:ota from all part&.

Appointments for advice and vial• on pertone.l application to the S"" .. laJy at Collcae Office, or by letter or "phone (City l 1 ISO).

Table of fees and all pa.rtieultrt will be fou.nd in the fall Pro.poctua. to be obtained on application to &he Socrctar')'. The Railway Commi•ionen arant reduced f•rea to Student.t 11.ttend ing the .. Albert" Colle.so of Mut;e.

'· , Ray MeQuoin . ... Secretary.

COLU:CE LOCATION; ENTIRE FIRST ANO' FIFTH FLOOR, BOOMERANG liOUSE.

OVER Al.BERT"S "IUSIC STOl\f.S. 1)1/ 1)9 KING STREET. SYDNEY .

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