Professional Documents
Culture Documents
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'^ 02202 4760 ^ "^333 ^^t^ ^^^ MU 787 7 FODEN PARAMOUNT METHOD FOR TENOR-BANJO 10.00 + BNG K
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HIOPRTy OF
PARAMOUNT
Metho d
Copyright 1922 by
WB
J.
New York
MADE
IN
U. S.
Hv\
^^^.7'P
m^
Rudiments of Music
:
s M7G0
be noticed
is
Ill
NJiW
VOHK
Musical notation
is
The
10023, N. T.
first to
On the the staff, conr Isting of five parallel lines and the spaces between them. and in the spaces, characters called notes are written to represent the sounds.
lines
The
6th Line
,
duration of the notes and rests are represented by tho following characters
The
Half
Whole 331
below a line
above a line
Eighth
^
TZ-
16th
32^.^
I
f
when
followed by a dot.
A second
=p
rT
r:::r p p
v'^
above
The Tie ^
only the first
--,
placed over or under two or more notes on the same degree, signifies that
its
is
continued vibration.-
as in the
examples.
^, when
beyond
fm
r:\
^
f
(O
/C\
Bars Measure
Bars are perpendicular lines drawn across the staff for the purpose of dividing the notes into measures of equal duration of time. Double Bars denote the end of a part or strain.
Dots placed before a double bar indicate that the part
is to
be repeated.
Example
u
43
-art
^easure
Measure
lEC
Measure
ca
Measure
pa
LLUc^nr
Paramount Method
W.
J. S.
Music Co.
Time Value
of Notes
l^STRUC
Two
Hall or
or
.
r
r
r
Four Quarters
Eight Eighths
or
r r
16 Sixteenths
or
32 Thirty-seconds
or
64
Sixty- fourths
Chromatic Signs
These are the Sharp
(^),
Flat(l?),
Natural(l^),
Double Sharp
(k),
(bb).
A Sharp raises the pitch of a note a half step. A Flat loiters A Natural cancels the effect of a previous sharp or flat.
half step
is
from one
Sharps or Flats placed at the beginning of the staff, immediately after the clef is called the signature and affects the pitch of all notes of the same name throughout a niece of music,
unless temporarily changed by a different sign.
Accidentals
any of the chromatic signs are placed before notes in the course of a piece of music, they are called accidentals, and affect all notes of the same name, in the same measure, unless contradicted by a different accidental, in which case, the effect of the first accidental ceases.
When
The
effect of accidentals
do not
Examples of Accidentals
K=23E
3Mt
tP
Double sharps and flats are used as accidentals only. A double sharp (x), raises the pitch of a note a whole step. A double flat (b!?) lowers the pitch of a note a whole step. When a double sharp is placed before a note ths^vt is already sharp, it raises its pitch :other half step.
is
already
flat,
lowers
its
pitch
Paramount Method
J. S.
\\
Flat
Rests
J^J
same as
^#=^
II
-^
A
a m
is
s
same as G\
fe
same as
^^ ^
or-
r'h-
same as
note that
is
restored to a single
sharp or
flat
by writ-
To
entirely can-
(^
is
Examples
-yy
\\^f
restored
II
"[g
221
[?l?cJ
t]i]
restored
canceled
canceled
Time
Time
is
into
measures of
but the
equal duration.
rests,
sum
total in value
in all,
Tie
time
is
marked
Examples
t^Orf
4*
^f
'
w
r
I
cj
['
cj
'^
^'
n ^^[[^^[[
If
i
i
nzz:
^
[
Paramount Method
r r r
;;
^^w^
^ ^^
W.
J. S.
Music Co.
may be
raised.
The following
G and
C. These
are termed
or Strings
or
2'L<^
or SC^
C or
4<i?
i
All notes of the
-^
-O-
Methods
of
Tuning
In tuning
Tenor Banjo are written one octave or eight notes higher than their true
when played.
notes one octave lower than in the above illustration for the open strings, and tune each string
in unison
with
its
4'i?
C string
in unison;
at the
7^2"
fret,
to
ii
press the
Any one
other instrument, and the other strings tuned according to the above method. Tuning'by the open
strings
may be attempted
It
may
here be observed
Tenor Banjo
is
is
mu-
Also,
the tuning or pitch of the strings of the Tenor Banjo, are the
chestra; but the
in the Violin
Or-
manner
vastly different.
Holding
The Banjo
is
tlie
Banjo
played
in a sitting position
thigh and the upper part of the lower edge resting lightly against the body of the player; and held
in place
by the right forearm resting on the upper edge, a short distance from the tailpiece. The
raised and the hand held over the strings about two inches in front of the bridge.
wrist
is
W.J.
S.
Music Co.
of the fingering.
To
'^ttain this,
middle of the neck; curve thewri^t outward, with the fingers extended above the finger- board,
left
of
always kept on the neck of the instrument; regardless of the moveof the fingers on the finger-board.
ment
of the
Tlie
The strings
of the
Pick or Plectrum
in vibration
It is
by striking them with a pick or plecheld between the thumb and first fin-
ger of the right hand; the flat surface placed lengthwise against the finger, with the thumb
gently pressing
it
little
The
thumb must be
may be
control
over the pressure; for on the pressure* of the thumb, will depend the force and tonal quality of
the Instrument. In striking the strings, the pick touches them with the point and never with the side or edge. Whether or not the little finger should rest on the head of the instrument,
it is
that
if it
touches
it
lightly,
and
remain stationary,
it is
allowable; especially
first
and second strings. The other fingers of the right hand are slightly
Plectrum Strokes
There are only two plectrum strokes -down andup; but these two strokes are capable of many variations in their order of following each other. In playing single down strokes,thehandis
held at an angle so that the plectrum after striking
gle up strokes, the hand is held at the
may
same angle
then, the
hand
can
slide
being raised.
occur.
When tremoloing
The explanation
W. J S Music Co.
common Arabic
figures.
- for an open
1
string.
- for the
first
finger
finger.
4 -
Right Hand
The signs given
in this
n or
V
A, indicates the
down stroke
nn
raised.
or
n, indicates that the plectrum is to glide from one string to another without being
Miscellaneous
f--^
single dot over or under the notes, indicate that they are to be played with down strokes,
in a short or
detached manner.
(D (D
(3) (?),
*'igure in
is to
be made.
Bar
(|)
or
Barre, means
at
at the
same
time.
A wavy
down
[y^) An oblique
line
L.H. pizz."Left hand pi*w;icato;' Sounding the note. )y the left-hand fingers pulling on the strings,
'
Method
are for tlie purpose of learning the open notes or strings, or common time; and counted four beats to a measure, one for each ^ stroke (n). Up stroke (V), Down equivalent.
Whole Notes
All
Down Strokes n
-o-t-
Count 12
n
^-o-
n
-e-t>-
n
o-o-
n
--
n
-*-
n
--
n
-O-
n
-o-
n
-o^
^=^
C
-^
Half Notes
All
Down Strokes
Count
12
n
n.
n
l5
^^
^ P^^
Count
i -& i
&
fe^
is
e-
&
^m
i J
I
-G
&-
12
15
G-
i.
^ "
Quarter Notes
Down and Up Strokes
ny
12
n V nVnv nvnV..^nVnv
4
,
r-,. f|i
ff
ijff^j|fajte^.j
Eightli Notes
Down and Up Strokes
^
12
3 4
^^ ^ ^^^
#-(
Paramount Tenor Banjo Method
^ ^m
n
"^
^l^-m-
nynvnyny
1
^rri-i^^irru[rr
&
2
&
& 4
I*
# #
^^^'
iiiiy^
<-,
c
W.J.
S.
Music Co.
The four 'ollowing exercises show the natural notes on each string, as far as the fifth The figui^s placed before the notes, indicate the fingering; those above the notes, the frets. First practice each exercise with all down strokes, and afterwards with down and up strokes: as marked in the first measure.
fret.
Strokes
n n n n
I
FRETS
^3
C
^MJjjIiJjJI^ ^ D E F
2
'
imn m
I I
FRETS
n n n n n V n V
1^
i
Q
^'o S
G A B C
^
5
:i
t^f-ry
^^-#
^
D
r
\
II
i^oj^ro*
Y^*T'*lo
Notes on the
FRETS
n n n n n V n V
2
5
or 2nd String
#i^TT|TTTr
D E F G
ir
^^ ^!:r
ittTtiTttt tT rT
i
-g^
_ P P
FRETS
n
V
P,
Notes on the
or
1st
String
n
3
V 5
'
f ff
|TtTT
A B
C D
TT T-y^^
Key
is
of
C Major
The scale of C Major has neither sharps nor flats in its construction, and therefore said to have no signature. In all scales and scale passages, each finger of the left hand remains on the string as placed, until the next string is reached, or a change of position require their removal.
Scale of C Major
i^
FRETS
All
Down Strokes
1st String
4th String
^^
2
3rd String
2nd String
eff:
.Srd
String
4th String
3M ^03^^
mf-wfT^ I
s ^Fif=
^P
S.
Music Co.
10
Down and
nvnvnvnv
up Strokes Throughout
Abbreviations
in music, is to represent the notes by signs, thereby saving space and the labor of writing. A single stroke placed through the stems of quarter and half notes, indicate thatthey aretobeplayed as eighth notes; viz-, two for each quarter and four foreach half note: as in the following example.
To abbreviate
V
\
9r> 4
^^JJ-^JJJJj
|
^ES^
zd:
#gT
Tf 'fT
|
T M WJ.(ua^
Vn
^^P
,
Two strokes placed through quarter and half notes, indicate that they are tobe played as sixteenth notes.- as in the following example.
J?nvnVnVnv nVnvn
1/2 "2:^
V^
simile
,
fhG
LA. -pz
it=if
^ff rf rf Tf|^-.u, o
i i i
&
n
=
, ^ '
fi\jji
'
To abbreviate whole notes, the strokes or dashes are placed above, or below them: as in the following examples.
Eighth Notes
Eight strokes ry
Down and
^
'
0^ i0
'3
A.^
'^
< TTT
tJ-O-
^rrrig^
TTT 4i^
40
lO
2^
Sixteenth Notes
Sixteen strokes
-Down
and
up, to each
TTT
:^
^
W.
J. S.
Music Co.
]J
Tremolo
By Tremolo is meant a more or less rapid repetition of the same note or chord, and executed on the Tenor Banjo by striking the strings alternately, down and up, with the extreme end of the pick; using a loose wrist motion. It may be indicated by abbreviations similar to those shown in the preceding lessons, or by the slur or legato markc--- ~^), placed over or under a series of notes. The number of notes or strokes to be played are not counted, but accuracy in the timing of the notes while tremoloing, must be carefully observed, and if properly done, the strokes will take care of them selves; for example: If a whole note is tremo -loed in 32nd or 64th notes, it is perfectly plain that 32 or 64 strokes will be required, accor-dingly. This being true, it is a simple matter to detetmine the number of strokes required for anypart of that note; '^such as the half, quarter, eighth or sixteenth- as in the following examples.
is
Examples
lii
32nd and
(54tli
Notes
32Strokes l6Strokes
S
It
II
if
H H
-t-
must not be inferred from the above, that a rigid adherence to a certain number of strokes is always necessary or even desirable; for in many instances they must be modi -fied to suit particular passages; and in this, experience will guide the perfcnrmer.
In the following melodies, the tremolo is indicated by the slur mark. Begin by playing each measure in 8th notes; then in 16th notes; and as proficiency is attained, in 32nd and 64th notes. Tied notes are trernoloed for the time value of all thus connected.
(Andante)
Count 1_2
{Slowly
12
W.
J. S.
Music Co.
J2
The small notes in several measures of number four, are played with single stroke, simultaneously with the tremoloed notes of the melody.
Andante
down
#S
<l
p:jE
^p tn
*^ ? *
-**'j
t^:J! '^TiT~r--^Mi
i
vf^
<p
^Jv im 0#
rt
fr^
is
a^^i
-|S>I
^|o r^
*TT^I #
^g i r
-^-^
Two
its
Andante
fe^ ^a
322
^qc
4r^
nT gt:^
IF=F&
g
i
zS:
Tjg-
^
i
6
=3=
32Z
i
4#
TT?"
-3-&
TT7
i
*
i^ TO
Andante^
2i|^*#:
1
Nf
ir
33E
a^
.
2-*^
4-ift
*:
^^
P
*
*#
-e^
^^ MTT TTg F
i
4-^
XJE
^ m
r^p
w TT
i
i.r* *:f
ij
*d?:
^
W.J.
S.
^1
Music Co.
13
Etudes
All
Studies
be practiced slowly at first, increasing the tempo, or speed as proficithe beginning, or at -ency is attained. Carefully observe the various strokes placed ;at different points of a composition.
Etudes are
to
Etude
n n n
nvnVnVnV nnnnn
jj^.J.jjJKJJJ'^J^^
-*
J]JJ-OJ^
^J
4., a
P^
* ..^
f^
-*#
0-^
i
yj
m
#
*;^
^=F
-AM.
iT- r
Tr'^rriTnfr^"^r^/" y Ky^ff
e^.* *&.*-'*:*>
^'ff
4=4
rrrr TTTfT-rrr^j^f^
i
#-* ..^AJ|0
p;
i>#^
5?
J^UJj.J^i^jjJUjjjJ.J-^Ji^r'f^'^j^^n
Etude
_
|
|
nVnVnV n n nn n ~ nnnnnnnn n n
V
ri
'I
""1
^m
^^
-AA
^#
a:|E
?
-If
rp=ft
4 *0 f 4
^
| 1
'P
^f1Y?
''a
^^
#-if.-o
XJK
f^
*^-^^f-^tof-^f-o
r^frrrrrrm
|
^ff-'^'
frrr'fT'f|
^S
*-l
t:IU
id
o
S
S
JT]
^9
ra
iJ
14
Triplets
A
the
Triplet
is
a group of three notes played and counted in the time of two notes of
in
same value; or one of the next greater value. They are distinguished from other groups by having the figure(3) placed above or below them. Various strokes are used their execution. The following examples show some of these strokes.
Etude
Strokes
(n V n Vn V n V n nV n { ( n n n n n n
#
^^m
o
a * i#
??
^TrrrrrTrr'^rrPfT
'TrrrcrirCTj
m
slide
x
^Ad*di^
^J
y
In the following example strike alternately down and up, excepting when ascending to another string. With the descending portion, strike strictly down and up.
n V n V n V r-r^ rri
nvn
h-i
r^ nnvnvnnnvnvn
slide
Etude
n
Vn
p,
^ ^
V.
"^m|0|
^"'^
Q.-
".r n^\^\^l nnynvnn.nVnVn * # rrrfT'rrrrjiTTr^^^rfff^ slide slide slide " Vnvnvn vnVnV
pick
fffffTffff
Tr1 r r
r
I
'ff fffff
fT
n
*^^
^^ s
V
l
^^JJjALjJJI.JJiJJJJJJJJ]
Triplets
JjJjj;JjJ..J]]
note, or notes
j?J^,^
in the follow-
may
also be represented
by a single
rrri
and
rests-, as
ing example.^
tremolo
P^ [^
il'
r r.__^
liTf rji
tremolo tremoLO
i
^^
-^
pyi |
^
,
rp ^^' li
tremolo^__,.,---^
.'
PTi
1
1
yy kyy
^f
o-J-
n n
^o J <f
tremolo
-^T
a-4p
i=
3iE
^1
Music Co
.
W.
J. S.
J5
Melody
Moderato _ V nnnn2#-->- _
=^
.nal4####,-4>
^^
nn n
">l4>#of-4#.^.y IZ
emi
nV
P <
!
.
V
4>->...g
VgV.
4IL2 1
'<r.-.r^A
^rr^ri^^rimrrrFt-Tr^
^
3:pj
.. n.,V
yn ,^in^ipc
^#^ ^^
n
V
4.2
'^^
iiV|T
IOE
T=^
U\^A^[^\u\l^^Yf^^\tM
Melody
Moderato H
n
V
^
H
^.l.
n ^^ri
V
n
4
J w^-f'
nr^ 4
n
V
^n
V
V
i9^~^
i
n
e^=f#^
n
V
f -CP la.
4_#
^
n
V n r?n
_.-
,,
n
LL
y
r^
4pr>
p_
I*
p
V
I
n
(9
u
?
- n
'
^
?
-^-^
Three
four(^4J^
is
to a measure,
its
equivalent.
Melody
2-e.'
Andante
1
'A^m^F
fopYit
rzi
uiTT^I-^lp^
-S4-&
W^r
-y-l f
i i
-i
P
?"
-ei-
-*i
NM-rfn
Paramount Tenor Banjo Method
r'lr
#^
W.
J.
s
S. Music Co.
16
Chromatic Scale
A Chromatic Scale consists entirely of semitones or half steps, as from one fret to the next on the banjo Sharps (#) raise, and Flats (t) lower, each a half step, any note they are placed before. The fingering as here given is only one of several.
Scale with Sharps ascending and Flats descending
C or 4th String
or 3rd String
i
if
oi
itfi
iJ
4^
^i-#
1*
ijj
vt
a#
^Ijr
Fret 6
or 2nd String
AorlstString
"
v-
.- 4-5-3l>#-3
-vU-
^r
D
'"r
T T
If
^
7
6
or 2nd String
G
iP0
q;
or 3rd String
C or 4th String
i
Moderato
J"
r^fTY'r
Melody-
''''"'
^|'^^j
-J
^^
iJ
ii><
Introducing
n
V
,iJ-4 f ^fTf"~r*r
y
^B
^
i-
>
op^S f
^ ^
=i?2:
n
I
#f^^
Zfh
%-ih
r-m
V
::
I
n n .3
I
V
1
,?
^w^
^^
n
'
T? f}^ 4# ab 2* ,. f
1 'I
'^
^
r^?
^r^gf-n^rfTTf^T^.f;^^W^ Xn njB^
0- 4
^^=^
-e-#
^i ===^
I
-^J-
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n
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n
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ll>f-0^4l,
In
f-!t
(D
V ^
n V
V
;
rTh^TP.Tv
V
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rH
V
,.
n
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i
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n
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n_Ln
n_y_^
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)-0-
4t>-|g-
b*
~ry
^
.n
V
0*-
n
V^
n
TTr
pUf
lb
tT;
f=
-*i^ 3jK
-&1^
^^
W.
J
Mus ic Co
J7
Chords
Two or more agreeably sounding notes placed above each other form a chord; and when so written, are to be played together. On the Tenor Banjo, this is performed by striking the strings quickly, so as to have the effect of being struck together. All keys -both Major and Minor, have their particular chords, or attendant harmonies; which range through the com-^ pass, or different positions of the finger-board. The Author's book of Tenor Banjo chordsmay be studied in connection with the different keys.
Chords
z-e-
In
C Major
i-O-
\^ J
-6^90-9-
S>-S^
I
^
0-9-
fr
o-
1^
1
*-
-e-0
i-~rr
^
-^f?:
Chord Exercise
^
1
"LF
711*1
<> 0^ /'L-^^
^7L
i
^
^-.n
.i
n n
n^-*-*
A
i
iV
cr^rr
-L =?
-^p
0^ 0*
0-#-
iS
""fi-'it.
m
m
,-_-,_
strokes;^
V
2
3jK
e^
o-#-
i
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.
x^
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#^#
^A ^^-*^
Bar
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f
l
f r
,
T^
rP
-j
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?'f
I
TIt:g
i
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r- r-
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f:
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r
Broken Chords
0-#-^il
strokes!"
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W.
S.
JoJ'^T
^
Music Co.
J8
Sparkling
Tremolo half notes
Dew Waltz
31 ^i 'f^'i-o*.
^3
1
*0
7~
1
-
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^Ua
3je -*&
m
-^
o.
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T
r r
^^
-p^-
^r
.
^r
f T| f
f-
19-*
6th Fret
.
:r #^
^
322
0-e-'
r
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op
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p 4 gJ
b'th
4
*1- ~nr
j i| #
Fret
nVnn
^
f uHVnn
Tn
r r
r
i
P^
'Fine
n V n 40 m
n
-
,n V
ifm-
AJ2.
^P
r 2
T
3jb:
^H^'^l^
ir
tfrfiTrrriT
nVnn nVnV
um
4J2.
-^o-
^
r
I
nVnn nVHp, # #
3ZZ
i^
3je
^^- 8iS^
kJJriTt
4r?'
fcE
rT,'Yvr,,|Tf
r
I
-^ftite:^
t^
^^
^
^
:ii
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^
--^
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Paramount Tenor Banjo MetLoc
W,
^. S.
Music Co.
19
Sharps
Thus
-sion
Flats -Signature
far, only the key of C Major has been considered Leaving the key C,the progresmust be to either sharp or flat keys; and in order to preserve the same form and keep the intervals or distance fr-om one note to another, precisely as they are in the key of C, certain notes in each new scale must be made sharp or flat; as for example: if a scale begins on G, all F^ must be sharp; if on D, all F^ and Cs must be sharp; if on F, all B^ must be flat; if on Bt, all Bs and E^ must be flat; and so on. The sharps or flats placed at the beginning of a piece of music is called the signature. The following table shows the signature and names of all the Major keys.
Sharp Keys
Names- C
E
,
,^
Ftl
,
Ctl
Flat
Name s - F
B\>
E\>
Keys
G\>
C\>
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Scale of
G Major
atthe9thfret,andthe4thfingeronG,atthel0thfret;asmarkedbythe
(3rd
To execute the three highest notes of the scale of G Major as here given, the left hand shifted forward so that the first finger is placed on E, at the 7th fret, the third finger on FS, figures placed below these notes
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Strokes{2nd
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W.
J. S,
Paramount
Teiuir
Banjo Method
Music Co.
21
Waltz Movement
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W.
J.
*
S.
Music Co.
23
The following examples show some of the different combinations of the notes and the manner of striking them. These strokes, and their exceptions, wiU be more fully exem. four times. -plifled, in melodies and pieces, as we proceed. Repeat each measure
usual
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24
Shadow Dance
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Paramount Tenor Banjo Method
W.
J.
S. Music Co.
Scale of
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n
25
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W.
D.C.alFine
Paramount Tenor Banjo Method
J.S. Music Co.
26
is
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W.
J.
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Music Co
21
Broken Chords
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4
5
D.C.al Fine
Paramount Tenor Banjo Method
W. J. S. Music
Co.
28
Minor Scales
Every Major key has a relative Minor, bearing the same signature, and situated a Minor third (three frets on a Banjo), from each other. There are two forms of the Minor Mode; termed Melodic and Harmonic. The Melodic is so called, because it is best adapted to, and mdst used for Melodies or Tunes; while the Harmonic is more suitable for harmony or chord construction. The Melodic form has the sixth and seventh degrees raised- accidentally, each a half step in ascending,-whileindescending,theseaccidentalsarecanceledandconformtothesigpature The Harmonic form has the seventh degree raised- accidentally, both in ascending and descending. In the following table, the Major keys are represented by white notes, and the Minor by black notes. The Minor scales in this work are in the Melodic form, excepting A Minor, which includes the Harmonic; \ and. is given as a Model of that form of the Minor.
MINOR-A
MAJOR - F
B
El
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Scale of A Minor
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C Major
Melodic Form
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9th
11th
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12th
10th
8th
7th
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51
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Scale of
(
A Minor
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2
Harmonic Form
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V
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11
W.
J.
S. Music Co.
29
Etude
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W.
J.
S.
Music Co,
30
Chords in
Minor
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Music Co.
32
Scale of
^Tremolo
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Paramount Teror Banjo Method
I'rrr
a*-
S.Music-Co.
33
Chords
1^
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E Minor
arj
(Relative of G Major)
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i^.i^.A/ F/'
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Co.
W. J. S. Music
35
Darkies Frolic
Moderate E Minor
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W.J.S. Music Co,
36
Scale of
Tremolo
D Minor
(Relative of F Major)
n n n n n V n V
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^?^
m
i
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tT^^o;]
r4 * n
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i
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BS
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i
iin
iMiyliTli
"W.
J.
S.
Music Co.
37
Chords in
0U9.
D Minor
j t: tli: ^rw-
^s
'
n^
1j2.
_l:!2i o^. ^e
*-iO-i
i&i}-
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rs
5>-
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aV*-^
fet tV
^ ^ r^
r
T^
m
0-J-
o--
rr
Chopd Exercise
n n
m ^
fe
w
1^
r
4f.
'a
rr-rt-
^m
*^
Broken Chords
n V n V n n n n
M^ i ^ j^__f4"
:^
st
^^a
^#7^ i^
# ..
'1^^^
-#
TTT. r T
^ ^^
o^
r i.fMl
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m
n n n V n n
4* TAP
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T.
474
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Broken Chords
n
V
n n
n
V ijL
4-
^
*4L
p^
Tl^
oi.^^lteo
-^ ^1*
10
^^ ^^
^ ^
r n
^.T r f
4*
#
^ ^ ^
:i
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slfl
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^
W. J. S., Music
Co.
38
Accent
la music,
Syncopation
their position in the accent is the force given to certain notes, and marks measure. The natural accent, is the periodical, regular recurrence of the accent, and falls of itself without special effort. The expressive accent is used to give more or less stress^ on other then the regular accented portions of a measure- The natural accent is never marked, except for the purpose of illustration; but the expressive, invariably by th sign> or A. In the following examples, it will be observed, that in | time, only the first note is
accented. In | time, the first and second; the first on one, and a weak accent on two, marked (r). In | time, the first and third notes are the accented ones.
-^
Examples
J
Two
four time
|,
f.
J-
Four
>
four time |,
^^
Syncopation
Syncopation is a displacement of the natural accent, by causing it to fall on a part or member of a measure, that regularly is unaccented; and continuing it into the next accented pulse or beat. It is caused by notes of lesser value being placed before notes of greater value; and by tied and dotted notes, beginning on an unaccented pulse.
Examples
ffi
j J
rirr rirrr
ill *'
i'i|'-nijj^?r
/ JI
;!r
^Frpr
fE^
" J
j.riri
jJ
.^\ni
(Syncopation)
UJ
FTrj-rHI
Virginia Capers
Moderate
D Minor
^1
m
nm
1
iHs
e
Ast
r4^
4 JL
=^^^ -#-
TiTf fT
*# :'L^
# 2^
#2
#
6
6
Fine
m
%
^
^m
3
5
Ji0
*- ^wf^
mi
f Tf-Fr^f'fff^P|Tf-,! ^
*it>* Hfi^ f ifil
*
^
^ffy^ff
*
y
TRIO
^9 i
^ ^ j:]-'rr?-'T^ii-tfi%iTf^7r^^[^
I
*?
y
y
Co.
^P?a'NjJWj'T^ T-^TI'^^^1J.JJ,iJ^^^^^^^^^^
Paramouat Tenor
Baiijo
D.S.Triotons
S. Music
39
Columbine Waltz
D Minor
i2
n uH
If^
^ti9-^
-^15^
IZZ
^p|.' "^
^M
^t#-
-&1^
4F-TT !
~I
F Major
f 4* ^
n
V
^
>
^
^'xn
I?22
^
'^
*<?
^1&
m
s
2
:p^py^^-pj!^bw
n n
n^
p
I
r i
C Major
tip; ag
i
-f-
^
^--
ir-^J'T^g
f^i;-^'.;^.j:-j-^o.j. E P'-l^' E
8
i f:'/^f'f
iTTTg
0-P---
=r^
-e-
w..o."yw
o*-'
^ ^i F
-
F Major
-*is^
3:
0^
^^
HZ
1
J^
^
-xw
0-p-
0-9-
--r
^
^|
^
f^
r
1^
;
Q^J^^"^ Afta
-f
-Hr?
-J
vJ
ii
P
p
?3^
fj,f
JrpJ
\^ v
1
o-^*Tjr^jo
3ZZ
?
r
I
[;
# *p
^ 9 "I lt>
T~!^
a 9
1 I
^
V
D Minor n
1^
KJ:^
i2
l9-=-
22
r
n
n
V
T r "f
'r:r
,f
femp^
n
^^
-Jripi-J^
A^-^
i
n
.
(z^
hi'"^.J.Ul j^j-ji.jn:|i
W.J
S.
Music Oo,
40
Scale of
Tremolo
Signature
D Major
Fit
and C#
'lJ5j4
Fret 6
n n n n n v n V
l'
-f
^#p^ *#^ w^
A#*
TT rT'^'^LJ^jJ^ 6
i
II
'
Etude In Thirds
Moderate n V n
V
VnV
'
'
"^'^TTffl
Etude
Allegretto
_un
f#
:4
M
'^
'
J.J
r'
a ^aff
am
0* 0^
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10
Fret 6
S^iSln
The
Tempo diValse
Fret 6
Yodlers
Song
2rt
Xj
"^-8
j.j^lH^it^j^^^
Kev of
Mnjor
n
_1JL* '
^ r-Am
it
6 6
Jl^
4jiL
O-0-\l
^1*^
5E
'
4Jl
'
^PE
n-g-oj^..
3
4*
mm
." V n-;^-oJ^. ^
-&0-i
^
4##
^m:
n.V
n'lt''A
3iK*
.rr
4g#
J.
S.Musie Co
41
Chords In
D Major
4#
Ol-
^ ABl
'
T
Bar
0^ 3:g: razn
r5-^s^
Bar
Jt
1
Bar
-^-
^
4j-
iisa
;i 1*
1^ iV
*:
iza
>
iPH
r
Chord Exercise
n n n
fe^^^
i ^
I
I
#-.-
-*#-
p
4->
r,jTrrLjTT r
g
rrtT
F^
4
*#
.mii
^?Ff
Eli:
Tr
Broken Chords
n n n n
^
I
l-ilj.J
Broken Chords
4*
-6--
..
=E|C
^^
W.
.I.S.
Music Co.
42
Grace Notes
A grace or small note written before a principal note has no time value of its own, but takes it from the principal, thus depriving that note of a portion of its duration.lt is executed on the Banjo in three waj'S; 1st: by striking both the grace and principal notes. 2nd: by slurring,- that is, in ascending, only the grace note is struck and the principal note vibrated by a finger of the left hand falling on it with force; and in descending, both notes are fingered at once and after striking the grace note, the principal note is sounded by draw-ing the finger quickly off the string. 3rd: When the time length of the principal note permits, it is to be tremoloed immediately after striking the grace note. The slur mark is used only, to show the connection of the grace, to its principal note.
Examples
I.
A^ritten
"tu
n trem
TT?
-^5^ %
fTv
trem.
ifi^
Try
^
rrv
^
TTT
rrv
effect
I
nv
mw^ m
-i
ftd.d
^
k^
l
rnr
nv
1*^
*^>
fr?"frrtrm
m
n
Review Polka
i
m
11
^^
l
n n v n..y ig 1^ >i^
3^ *^if:iP
Iff
tk
"
n,^ .p
VnV
f-sm
S ^ m^
6
Key
of
n
3
nnnn
^1 4
=:?n
!3.J)
1*
Hold.
^S
yi"J^
:^T.., .. .
^
V
;. .
.
" n
^^
se=E
v
3#i5*^ n n
n n n
3:e
Hold_
i
^^
^^
ji^'iniS.J of-.*^
i.
D.C.alFine
Paramount Tenor Banjo Method
W. J. S. Music Co.
43
Scale of
iTreiuolo
B Minor
D
Relative of
I
i
S fr4F^
n 4#
6
" ol
f
4?
6
g
r^
Major
^V
ot)J
V
3jb:
^ Fret
n V n V 3# # f
'
If o#
^
4
Etude
simile
I t
3r
rrrrl:fV'
I '
r^r^ii
6
1
^
j:
-I
"
Fret 6
Chords
in
B Minor
Bar Bar
1/2.
Bar
*
3
^
-3-S
igj
.A.
3-e
^
4-3-
4-
J
Qgj:
-=5
j:
!-
ao
rv
-^rsm
-3-&
If
:& 9g
'
IflL.
-31
*
re?
-j
Chord Exercise
n n n
n n n
n nn
..
Broken Chords
R 7.n.l
i*
^^^1
^^
^f
'
4^
iJL
i. :=
3^
*-
3jC
-Tf"
^^
^ ^
3
fe
SE
fe!
^
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te
4^!^
-5^^
ultt
6l
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Aria
'
f-'- p
Paramount Tenor
Banjo Method
-^yyV'-r^
y^
W.
J.
S.
Music Co.
44
Scale of Bl Major
Signature
Bl^
and
El>
Tremolo
n n
n
V
n n
n
V
i i^^vYf T'H
Fret 3
fr
Etude
Allegro
simile
TT ?,' 'p-rp
Chords in
Bl>
Major
Bar
-^-s
?
JSJj.
3-6
-!H5
1^
3-S
-3-S
-^e-e
4-
4 f:
1
lo
s>^
3-5^-"
J:
C;
ad
gj
IS
lO
Bar
33:
Hi-5t
"T77
T15
vp
"2"?
Chord Exercise
n n
'
n
^
'*^
+1^
o^ -^i
4- r
+*
:3qK
^^
42-
Broken Chords
n 1^
"8
n
TW
Pj-6"
^-^^
W.
J. S.
Music Co.
45
cending, the fingers fall heavily on the strings in succession; and in descending, the notes are first prepared by placing the left hand fingers on the strings, and after strik
ing the first note, the fingers are drawn aside in succession, to the marking above and below the notes. The slur shows the connection notes to their principal note.
of the grace
Examples
fT^
uriitrn
^m
i/a ^
*'
^ nvn
jCM
h
n
'^'
n
-*
IeeS
rTTTT
^]
tTTTt
yeffect
3^5
D.C.alFine
TRIO
^
^hf- IJZ
fJ
322
JM slur
S
r
^
TZ7
m
ab*
..
t^
t=m^
n
V
-e-(&
-81^
n ^# p^Ll
An
>
132
rr
4*
-e-e^
^TU'Jii^
n V
m
.
322
oJ^^^P
=^fe
^^
:3j
4Q
SEE*
--^
rT:||oJ
iU^
Z?.
^. a I
Fine
M
.
W.
J. S.
MuBic Co
46
Scale of
Relative
Q Minor
Major
B\'
Tremolo
i^
^
n n n n n V, n V
A f 'kf^\
\
oJ
<*Y
'
10
fr^y^fim
Etude
Allegro
^
n nV V nv
-|
qi
Chords
-A^.
^a-s
in
G Minor
4
_Ai5
_i.
%^ r i ^
ac
-^m
32:
-3S^ + ^T
i
-AjS.
i^
-*i5
TTT
'j^^n
sna
T-^^
--&
1
"TZ?
^rzi
-rzi
Chord Exercise
ta
n n n
n n
4- o <
k=^^^
^ t
^T:*
aS
I -lit
^-#
^^
-t-
^
sriczK He:
-&-9-
P f=^*l3E^
I^
V
^^
Broken Chords
n
nn
W.
J.
S.
Music Co.
47
"
f
n
-8-
1-a^
-r
'
*^
^*1
-^4*
V^
n
i
^^1
r^
"
S
rr-
r*^
"^r^;-; J: rt'r^'^
ad
V
lib
a
.
ti?
n
BI' Major
.
1
4^ ^
ail
I
I*
i^
n
-^-^
1
^"
V
! ^~Ti tuL./
n
-*
n
y a< :
n
-*^-^
y aj
2^
4ya
.u
IjE
yaj
^
G Major
r f-rT. T
?r
n 'f
/
^A^ Trio
TRIO
n
V
^
/
y
",.n.oi
Ir
dim.
iis
i
T~r
Ijn
* R j^riTi .gi-itii
^^ ^ ^
;^ :.
y
v^
n
V
^^
? /^
o.-f^^^^Z]^^
TIT 5EEEi
rc
-#
a
v V
i
V
^
V
A
n
V
^
dim.
V v
V y
-^
P-
t
dim.
i.;c
fz
Paramount Tenor Banjo Method
48
Scale of
Major
n n n n
o^4if:
i
Fret 6
6
(2)
11
12
12 11
6
(2)
el
(3)
Etude
n V n V n V n n n n n n
lA =i*-n^iAi''#^
Chords
in
Major
3l9-
W ^E
^^ i
n
ttt:
n
3C
r^:?
*P-*5^
1
4tS>-
P-
-^^^
323:
322:
-4h5
322
222:
z=232i=ra
i-fii-
32;
liS^
"T2?
^^
E?
312: &-
H 21
2:
3:2:
1
l-<9-
S--
^
o*--
Chord Exercise
n n n
<'^^
.^
---
#
I
3--#-
3#.
IPZCE
EEE
. 3:r:r
-ir^irr::::
*#
lECC
r#^
4^p:
-im
CCK
Sil
-t
-0
Broken Chords
w ^^
Fret 6
n n n " n n n V n Vn v
'Pa.
I
IJL
E
'P-O*
^^^
3:
1*
*#
-3l
0-#-
^(tf.^Y'f f
7
4# TM \
^
6
31
a
^6
*'nl
xc 40
"
&s
ips;
3ac
3S37
4 7 W.
12
I
J. S.
Music Co.
49
Scale of F Minor
Relative of
A Major
'
Fret 6
1li:ii>'ii|Trr'^''"'rirrVrr
'
I
Li.
Etude
Fit
Minor
Fret
S
Y
1
simile
<i
J^
-*i^
r f
"/
^^^^^ ^
/ I'f
6
4*-"^
fct
'lir
-;
-f ~
6
"^'-^i'^ 7'"^' 6
'''^'"^ ^'1'"'^''-^
"^
^i'"^'^^^
6
^
1
>
i ^t^%irmwn,n7 89 45424
^r^
\
Qf-a^
6
p _
6
__
ti
Chords
n
n
4i9-
In
4^
Ftl
Minor
0i5-
^HE^ I
fci
&
zz:
3-9
.?_
5>-
*-P-
-3-9^
-5t^&
-*-&
0^9-
4
1
^9-
Ttr
^?^
^O
6
-4J-(9
a
*.?
Chord Exercise
U See
n nn
i-i-^
o*
3mz
EaiE
t^
B=f:
4*1#- l9-
n n n n V n
1^
n n n V
Broken Chords
6
W..I.S. Music Co.
50
In
Tempo
di Sehottische
Clover Time
T-
Qu
'ii
n
Fret
v"'^
-^
^ nf^
4
,V
#0 P *|
o^-^f^./gj^^^:^
6 5
"<^^^r'^ 6
n
V
B^
r.. '^^r
^
6
^
-J
s=
^
Ft*
^^Fine
Minor
V
f"
3
fep^
I
Fret
r^.
r
5
3 x -ir4
3i^4
5
4
V
yT^
M
JII
.,
^^
2 ^T^-"
^^
n n
,V
D Major
^/iew trt'o
TRIO
Y-
..-p
-fTTTTTTT T^^^^
i
B Minor
fc=^
o-fi-
3:?2
^rTfT,T
9,7
5
f.. ,. 'f
-*15^
-4-^
-JhS^
^^ 36
__n
.g
4
V.
3:p:
6
3
rr
I
V.-g^V-n
i_&
-*i9
^ t
ti
r 'p
'
D Major
0-6>-
EIIj'
^iLj'
t-j^^
6
5
fT4itr^'i
6
^3-&
7 ?
Music Co.
51
Scale of
Tremolo
El?
El
Major
and At
Signature Bt
n V n n n n
V
n,
^1
n n n n V n n
&m t
^retl relrl
(2)
:- :-':^ifH
'^
m ^^ ?
*#3 6
@
Etude
1,
i
^ ^o;.^h^. tfg^ s
V
Pof
r-^ f
T'CJrTrEf ^^^^^^
4*^-4^
'(^'ff'#4.
1
!;^
fe
fc=r
3jc:
lac
at^
a!?
I
,
|^
"|*4
T^'irT
g
t
6
+1-
iS i&
^*#3
f 1y
^#-
JT^Y^i^r
-*^ 'P
4^
, 1
[^^rj
J4tfJ^^
33K
[T
A* n^
'
'r ^* oJ
J
1
^^^^^1
El>
Chords In
4;^
44:2^
^4:^
1
_a:3lj
i ^
^^
^r
s^
zsin
4-9
1~9
4-n
9
5^
-4-^
-4-5^
33
333: ixs:
X3
-+19-
o-
3in:
"^Tz;
^
4*
1 ^g^^
4- #-
n n
F=
^
i
-
Chord Exercise
xc
4-*
a-*-
rere
Bar
--
4#-
^
4-#-
-t-9^
^ee
sa i ^
e^ a
FU'FFu'Ff
Broken Chords
#^
^
^E
^=
W.J.S. Music Co.
^ ^ ^
3 <>
Etz:z3p[
4-#-
s^
^
^^ ^
-M-
IS
52
Scale of C Minor
Relative of El
Tremolo
Major
n V n V n n n n
Etude
n
V
.l.-2-4l
'"^rYf^'l
.oq*'i
g^otV,yfrgT'f^'^^'^'^^gfa'p.'^
..
Chords in C Minor
1 W^
n
322
I
n
-^-G
O^S^
332
-e-<s
0C =332:
O-G-
0^
-i-6
322
-e-e 0-&-
-19-
4^
az
9-
St"
irz
-e-5^
te
^
i
%&
312
-^
0-9-
0-9-
zr
0-9-
'
Chord Exercise
^^R^
v-m 3CK
1::
o-t
UdE
"2"
p p p
m
o^S^-"
#a
^
SC
40
-0
T*
3 --
4 m
-6*
:F
Broken Chords
rLr/'CXj'-'J^
Paramount Tenor Banjo Method
W.
J.
S.
Music Co.
53
^=^=^i a I
4.
An am
*ft
*A-
^i
g^S Mi
o" m 8
.
!* 4#
4 . , rjc fe
a
N
a#
4^Twv^
3lE
3ac
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4 ?
f
ay
4rJ
60
-
|i^7
r^fci
;!:j
n
V
t w
"'r:rT"TT^^
v/
jr^F^,.
v^h j t^.i,j.
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n
w
I
jj-fi
v/
\/
a tempo
poco
rit.
C Minor "^
A2*,^ 2^*#2#-
^
.if
F^
&^
4
1
1-A.i^
yi.^ yr|Trir-rTT|vf.
6 T
2nd string
5 6
f
5
^^ f
n
^ ^*
r*
tW/..
^ O 4<
nV
^
5?
<i_
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^&
r'?T^r|-TT||i|-i ffT^.i
4^, r4#
^ p
r^y^ ^
J4p;^.pj|j
^^
a
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W.
J.
S.
Music Co.
54
Position
.
Scales
By position as here meant, is the place of the left hand fingers on the finger-board; "d it is customary to say, that the number of a position is determined by the fret at which the first finger of that hand is placed. On the guitar and the regular five string banjo, this is literally true; for each fret is a position; but on the Tenor Banjo the arrangement is some -what different (and certainly not as consistent) the entire finger-board being divided into only seven positions; as follows: The 1st position is from the open strings to the sixth fret. The 2nd'^ position begins with the first finger at the third fret. The 3rd position begins with the first finger at the fifth fret. The 4th position begins with the first finger at the seventh fret The 5th position begins with the first finger at the eighth fret, The 6th position begins with the first finger at the tenth fret. The 7th position begins with the first finger at the twelfth fret.
Scales
scales in a given position on such instruments as the Violin^ Mandolin comparatively an easy procedure; but on the Tenor Banjo with greater dis-tances between the notes, the task is a more difficult one; so that often it will be found more expedient to resort to the shift, than to attempt to cover a given passage, within a particular position. The following scales illustrate the positions from the second to the seventh, inclusive.
The fingering of
is
and Guitar,
Second Position
4thString Signature
Third Position
1st
3rdStriag
2nd String
string
3
4th String
3rd String
2nd String
1st St ring
Bb EtAV
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10
t'i
579
10
578
78
T'ourtli
4t string
Position
2nd string
istString
Pifth Position
4th String
3rd String
3rdString
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Fret
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Fff
Signature
B'f
EtAV Db Am* f P
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79
11
12
79 111279
Q
10
Dk
Eb
8
A\>
Bb C Dt Eb
8
10
11
F Q
8
10
Ab
11
10 12
10 12 13
10 12 13
13
Sixth Position
4th String
3rd String
Seventh Position
IstString 4th String 3rd String
2ndString
2nd String
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10
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Eb F
12 13 15
G A
10
Bb
13
pm
12
14 16 17
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D E F Q
12 14 15 17
ABC
12 14
Fret 10 12 14 15
10 12 14 15
12
12 14 16 17
15
W.
J.
S -Music Co.
55
The
The following
Shift
table exhibits the shift through all the positions. The so called half with the first finger at the first fret, as shown in the first measure on position begins each string. Its usefulness is found, principally, in keys with many sharps or flats. A figure written below tlie first note in each measure, indicates the fret at which the first finger is placed; the other fingers of course, following, each in its order.
4th OP C String
fa. J
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11
12
13
14
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10
11
12
13
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1st
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12
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13
Eft
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14
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11
W.
J. S.
Music Co.
56
Examples
The
another.
In Shifting
shifting from one position to below the notes. written number,
manner of
A change
Allegretto
of string
is
indicated by
its
igr
:M
Moderate
^
^ T
J
6
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9
10
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J. S. Music
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Scales
In the following, In
On A
57
Single String
each scale is played on a single string, as marked above the notes. be no hesitancy, either ascending or descending. Repeat many times. should there shifting,
On
D FLAT MAJOR
the 4 or C String
BI'EI'AI' DI'GI'
*9.
On the 4 OP C D MAJOR
String..
FttC^
9 11 13 14
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P MAJOR
A FLAT MAJOR
On
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BI'EI'A^DI.
Fret 5 7
9 10 12 14 16
17
On
the 3rd or
Fret
6 8 10 12 13
A MAJOR
String
Fit CitGtt
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Fret 2 4 6
7 9
11
Et
5 7
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10 12 14 15
13
On the ord or G
14 String..
Fret 3
B MAJOR
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C MAJOR
On
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F MAJOR Bb
On
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F SHARP MAJOR
On
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fit.
D E
Fret
B
9
Fret 3
5 7
10 12 14 15
4 6 8
ct^D' El V r11 L3 15 16
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On
the 1st or
B MAJOR FcfGllDA?
Fret
10 12
U
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Strinai
MAJOR
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D MAJOR
m
W.
J. S.
Fret 4
11 13
15 16
'
Fret 5
7 9
10 12 14 16
17
Music Co.
58
Published
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J.S. Music
Co,
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Waltz
Arr.
by Wm. Foden
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60
Yonder
Tenor Banjo Solo
Piano
ace.
Hill
Arr.
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Published
srato Moderate
by
Wm. Foden
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Sailing
(G.Marks)
Arr.
Published
by Win. Fo den
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W.^^.S..MusiC-Co.
raramount
THIS by
of
stood
all
book of
its
kind
on the market
It is
highly
whom
explanations have been eliminated, and while of everything Importance is just where it is most needed, there b no long, directions to confuse the student Furthermore, there b a bewildering of well-known solos with Ukulele accompaniments, all of repertoire which have been carefully arranged by the author, Mr. WUliam J. Smith.
All superfluous
It is
PRICE, 7S
CENTS
You
at
all
do without this excellent book of instruction if you are interested in that charming little instrument the Hawaiian
Ukulele.
is
It
The mere
necessary
fact that a sixth enlarged and revised edition has become proof of excellence and superiority.
U highly recommended by all the Hawaiian playeri. It* no *uperfIuou word* or confuting explanations are meaty You diagram* to hinder rather than help the atudent. CANNOT go wrong. You will learn eaiily and right.
Chords and cadences in a number of keys are given both by note and by diagram while a number of accompaniments to well-known songs and several corking solos complete this standard method.
PRICE, 7S
CENTS
WIUJAM
SMITH * CO.
THIS
simple and inexpensive device instantly makes for the Hawaiian or Steel Method of performance.
any Spanish
Guitar suitable
It raises the strings to just the proper height to permit the steel to pass readily over them without touching the frets, and Its hardened metal construction imparts a ringing resonance to the strings which the usual ivory nut cannot give.
to guitar enthusiasts
who
for
their
own
time.
instruments.
In
it
or
removed
in
a minute's
no way does
PRiCE, 3S
CENTS
Ask your
Dcaler^^
WM.
J,
SMITH
& CO.,
PUBLICATIONS
many old
wkick
iavontea, and a
old,
have never before been publisnea 'with Guitar accompaniment. Several Spanish, French and Italian songs
by Fred.
Wm.
Foden,
W.
J.
G. Liddicoat, Francis
F. Vreeland.
Pofter,
^^m.
J.
range in difficulty from the very simplest, suitable for first-grade pupils, to those requiring considerable skill. Most of these songs are especially adapted for concert use and are very effective
The accompaniments
^ duets
C NOTATION
many
old
This
favorites
m
Notation
VvfellKnown
published 'with Banjo accompaniment, arranged by the following celebrated arrangers and players, Thos. J. Armstrong, Fred. J. Bacon,
Bickford, AJVm. Foden, ^V. J. K-itckener, Geo. L. Lansing, J. G. Liddicoat, Francis Potter and ^^alter
Zarh
M.
merican]
F. Vreeland.
PJayeiS
tke only song collection for Banjo publisked Tke accompaniments are in tkis country in C notation.
is
Tkis
and none of tkem too difficult for tke average performer. Needless to say, tke tune or air in tkese pieces, tkougk wri^en for voice, may be carried by Violin, Mandolin, on any leading instrument.
effective
and
banjoistic,
to be pleased
ill
WM.
J.
SMITH
&
CO.,
'
PUBLICATIONS -.
63
8
f^