‘© ONE who has ever heard Borrah Minevitch play his inspired harmonica will ever forget the experi- ence, Thousands of people who recall the harmonica only as a toy, now listen to Borrah’s playing with the same atten- tion and pleasure as they listen to a virtuoso of the violin For this young genius has transformed the harmonica into a true musical instrument, He has discovered and perfected a distinct technique of his own, The vibrant cello tones of his harmonica are the result of his own wide research and experi- ments, Asa master of the harmonica he stands quite alone— a reward for his unceasing efforts and faith in an instcument with which he bas thrilled and fascinated vast audiences, both at home and abroad. ‘THe Harmonica INSTITUTE OF AMERICA ODWHY I LOVE THE HARMONICA by Borrah Minevitch FRIEND of mine said to me the eal other day, “You know, if the bar- monica could talk, it would say this— “Bortah, you've made me what I am today.” I don’t know about that, but the harmonica has surely made me what Tam today! When I remember my boy- hood I-wonder how I got along as well as Idid. Iwas shy asa rabbit, not so strong as other hoys, without much personal- ity and afraid to speak up in company. But T loved music, as is often the case with chil- dren of poor parents. The sound of a hurdy gurdy always made me drop everything —and listen, 1 re- member a store window near our home that was always full of shiny violins. Boy, how I wanted one of those fiddles! “My mother would have sacrificed anything to get one for me, only she could not afford it. One day she bought me a harmonica. As a compromise, T guess. T began selling newspapers at this time and while waiting for customers T practiced on ay harmonica. Little crowds would stop to listen, and I played for all I was worth.People bought my papers, and ap- plauded me, Their approval gave me a new confidence in myselé, and this confidence has never deserted me. If I had grown up with the timidity 1 had as a boy, I don’t believe I could ‘go on the staxe or face the microphone today. Without my harmonica, 1 would have taken some sort of routine job, and that would have ended my love for ‘music pretty quickly! But 1 was lucky because I could express myself in music and it meant the world to me at that time, as it always has. ‘The harmonica, J found, bad many marvelous possibili- tics. I began to buy cheap harmo; and take them apart. I kept experi- menting with them, At last, I made a harmonica of my own that surprised everyone with its pure and melodious notes, Y THAT TIME, 2 group of young- Be had made me their bosom ‘pal.” Some were from poverty stricken families and others were homeless raga- muffins, Their big ambition was to “play the harmonica like Borah.” I patiently taught them my methods end made up a simple system to help them play in harmony. Not one of them could read music. A visit with Charlie Chaplin in HollywoodTalking of these boys reminds me of one of the great thrills of my life, just before I sailed for Europe. A “gang” ‘of about one hundred boys came to the boat to see me off. Their cheers and yells were a wonderful reward for the effort and time I had spent with them, None of these boys, you see, ever had a chance to get anywhere in this world, and in this marvelous trip of ‘mine to Europe they were awakened to the sense of a success to come. Very Clearly, too, at that happy moment, I saw the possibilities for them, and 1 pledged myself to help secure for them the real benefits that the harmonica had brought to me. And most of them have. Some of these boys are still in my com- pany of “Rascals.” Tl have to admit they are mischievous at times, but their personalities and their musical talent have developed tremendously. Instead of listening 10 other musi- Gians—they are seal musicians them- selves! And that makes a mighty big difference. When a boy plays the harmonica well, his taste for music is bound to im- prove because he is living with music, He learns to understand it—it means something to him, He can practice “Pete,” of “Our Gang” fame, plays a note with Borahwhere he pleases and what's more, he will enjoy his practice! T never knew 2 boy who had to be forced or coaxed to play the harmonica. UT to return to my story, In New Bs I played as soloist with the great Rivoli Symphony Orchestra. And later, I faced an audience in full dress (mean the audience was in full dress) a the stage of the Metropolitan Opera House—the first time the notes of a harmonica had ever soared through that vast auditorium. Ziegfeld featured me in “Sunny” and othets of his successes. I played with Elsie Janis in Charles Dillingham’s productions. One success always led to another, as it usually does. In Paris, London, Berlin and Vienna, the nobility and fashionables of society greeted my playing so heartily that at times their enthusiasm became an ova- tion! All because of a little harmonica that I could tuck into my pocket, when I walked off the stage. tH ae ONE of these things, of course, happened aver night. I was at all times serfons about the harmonica, Tt was never a toy to me—not at any A pleasant few moments with Billie Dove at 2 Hollywood Studiotime. In college, I wrote my thesis about it. I kept constantly improving the harmonica—every part of it—until 1 finally developed it into the instru ment that my “Rascals” and myself now play on the radio and stage. + oe ok ee “ux harmonica has brought me tri- umphs that I never dreamed of achieving in my youth. It has opened up a new career for me just as I believe It has earned it can for many others for me hundreds of thousands of dol- Jars and enabled me to give well paid positions to my “Rascals” and many other boys, Through the harmonica, 1 have met many famous men and women, I treasure their friendship. so ee # pes ‘good reason to love the har- In fact, 1 4m sure everyone loves the harmonica, monica, as you can see, especially after he learns how to play it@f The World Famous BORRAH MINEVITCH AND HIS RASCALS toOnly Two Keys are Needed... There are seven Keys in the musical clef, but this does ‘not mean that seven keys are needed for the harmonica. Some of these keys are too high; others are too low. Borrah Minevitch and his “Rascals” use only TWO. keys: one for the stage where volume is needed, and the other for the Radio where mellowness and tonal quality are doubly important, For vaudeville, Borrah uses his personally designed instrument known as the “BLUE RYTHM BAND,” which is tuned in a range of tones that havea brilliant and carrying quality. Single Reed ‘The Borrah Minevitch Technique-Tone “BLUR RYTHM. Haewonice BAND” HARMONICA can hold its own against the most complex model, and is the easiest to master. Is Best i Hold the harmonica in the left hand, between index finger and thumb, with the low notes at the left. There Holding the is only one correct way to hold a harmonica, just as there tacenonical is oaly one correct position to hold the violin, This Position is indicated on all Borrah Minevitch Technique- Correctly, ‘Tone Harmonicas by either engraved or embossed finger rests Attachment and “Gadgets” Not Necessary . ‘Through years of experience, Borrah especially advises against harmonicas with horns, bells, and other gadgets which really mean nothing. The harmonica alone is well able to render the interpretations and variations which the player wishes to produce. 2Breathe Gently... Excessive air pressure strains the reeds and renders them out of tune. For volume, all the air must be blown. into the harmonica. For violin-cello tones, half the air should be blown into the harmonica and half allowed to escape through the nose, Move the Harmoni: Not the To obtain a single note, move the harmonica left or Tongue right, but keep the tongue in the same position, This is the secret of learning to blow into a single hole of the harmonica. Practice! Music, like all the other arts, requires practice to attain perfection. It takes only a little practice to play the har- monica properly; it takes a good deal of practice to play it perfectly. Never Give Your Audience Too Much . . . Never play more than two choruses of the same num- ber. If the audience continues to applaud, it means they want to hear you play again—but something different. In other words, never wear out your welcome,