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Culture Documents
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Digitized by the Internet Archive
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MASTER
INSTRUCTOR
FOR THE
Tenor -Banjo
BY
GEO. L LANSING
WHITE-SMITH MUSIC PUBLISHING CO.
Boston New York Chicago
5T 5^
Foreword
^Mo-
The signs used to denote the strokes are those given in the
G.L.LANSING
15324 - 64
. .
ELEMENTS OF MUSIC.
The principal characters used to express music are NOTES, which represent musical sounds,and RESTS,
which represent silence.
These chararacters are written upon the STAFF, a union of 5 lines and the 4 spaces between.
THE STAFF.
; 5
Lines. Spaces. a
NOTES.
Whole note. Half note. Quarter note. Eighth note. Sixteenth note. Thirty - second note. Sixty - fourth note
IS*:
P^P
RESTS.
Whole note Half note Quarter note Eighth note Sixteenth note Thirty - second note Sixty- fourth note
rest. rest. rest. rest. rest. rest. rest.
m m
Table showing the relative time- value of notes.
Kt.ar, _<j;
DOTTED NOTES AND RESTS.
A Dot after a note or rest increases the time-value one half.
A dotted Whole Note or Best A dotted Half Note or Rest A dotted Quarter Note or Rest
zss: A
?
is equal to 3 Half Notes or Rests. is equal to 3 Quarter Notes or Rests. is equal to 3 Eighth Notes or. Rests.
- J J J J J J J^^ -+
k
i i *
A dotted Eighth Note or Rest A dotted Sixteenth Note or Rest A dotted Thirty -seeoiid Note or Rest
i
%
m w
is equal to 3 Sixteenth Notes orResfa, isequalto 3 Thirty-second Notes or Rests is equal to 3 Sixty-fourth Notes or Rests
I LJ i
w I ? f 1 —t—?
second dot after a note or rest adds to the time- value of the note or rest, one half the value of the first dot.
A
Thus a douhle- dotted Half Note(J-) is equal to 3 Quarter Notes and 1 Eighth Note ( J_JjJ_«r)), and a double-
dotted Quarter Note 3 Eighth Notes and 1 Sixteenth Note( J> J>
( J" ) to
v~'
j^ ) and so on. Douhle dotted Rests have
THE CLEF.
The CLEF is a character usually placed at the beginning of the Staff to indicate the Musical Pitch of the notes
ivritten thereon.
For instruments of a lower compass such as the VIOLONCELLO, DOUBLE BASS, BASSOON, TROMBONE, TUBA
and others, a Clef eaUed the F Clef is used. It fixes F upon the 4th line of the Staff. F
F Clef.
gir~o
=§ =or Bass Clef.
A Clef called the C Clef is used especially for the VIOLA and fixes C upon the middle line of the Staff.
AI.XO CLEF. TESOR CLEF. TREBLE CLEF. BASS CLEF.
This
on the 4th line
is called the Alto Clef
it is
.
8WS5-94
Music for the PIANO, ORGAN and flARP requires the use of both the G and the F Clefs, which are placed on sep-
EX.
There are three kinds of Time, viz: _ Common,Triple & Compound Time.
or 4 2 *'
or
-2 3 3 3. 6. 9. 12 6
C 4' 4' <P f 4 2 ' 8' 8' .8' 8 4
The lower of the two figures indicates the kind of a note, and the upper, how many of that kind of a note are contained in ameasure.
A MEASURE is that portion of a musical composition contained between two single bars. A BAR is a perpendicu-
lar line drawn through the staff, thus: EEz=EL A DOUBLE BAR j is placed at the end of apiece of music; some-
:
times at the end of «i section (strain) thereof. A DOUBLE BAR with dots, thus z=± pE is called a repeat, and sig
;
nifies a repetition from the previous double bar, or the commencement of the piece.
ACCIDENTALS.
The Sharp (#), Flat (I?),. Natural (l|). Double Sharp (ss) and Double Flat (MO are caUed ACCIDENTALS.
The'$ before a note raises it a Semitone (half tone). The \> before a note lowers it a Semitone.
The Sharps and Flats placed next to the Clef are called the Signature. EX.
* '
ffh ft
'-
or - Jrv
?
,
>
\
b
'-
(fy
NOTE.' Each Sharp or Flat in the Signature affects that particular tone upon which it is placed so long as it remains in the Sig-
nature, unless changed by the introduction of other accidentals before the notes.
THE SCALE.
A SCALE is a series of Musical sounds, ascending or descending according to a system of tones and semitones.
The first seven letters of the Alphabet are applied to the seven principal tones of the Scale. Also the Italian mon-
osyllables Do Re Mi Fa Sol La Si.
It has already been shown that the G Clef fixes G upon the 2d line of the Staff. From this starting point all oth-
er tones can be determined. Notes extending above or below the regular degrees of the Staff are written upon what
are called LEDGER LINES , and the spaces between.
8685 ~*4 .
EX.
n
; )
o t» "° '
CT
y-e~
* 1
NOTE . Observe that the seven letters follow eacli other in regular alphabetical order, and that the eighth letter is always the same as
tlie first, whichever one we begin with. It is therefore said to be an Octrtve (8 tones) higher or lower tlian the first, accordingly as N..-go
up or down.
the Chromatic Scale. The Major Scale consists of seven principal tones, viz: five whole tones, and two semitones.
The semitones occur between the third and fourth, and the seventh and^eighth degrees of the Scale. Degrees or in-
tervals may be Major, Mz'nor,or Per/ectjnv _ Major 25, Minor 2&'} Major34, Minor 3<* ^Perfect^, Perfect 5*h,
and so on up to the octaves.
The Major Scale.
SCALE OF C MAJOR.
"
if
4567876543
The semitones are indicated by this sign ^--^
o
_
c>
_ '- 1
,_
*i
2 1
i> O"
o o
c D E F G A B C B A G F E D C
Do He Mi Fa Sol La Si Do Si La Sol Fa Mi Be Do
All Major Scales have the same construction and the same order of intervals, ascending" or descending.
(tone and a half) below that of the relative Major Scale, Ex. ~*>j tl E It has also five tones and two semitones,
hut with a difference in the order of intervals. The semitones occur between the second and third, and seventh and
eighth degrees of the scale ascending, and between ike fifth and sixth and second' amd third degrees descetiding.
xi o " *" E V 1» o o tT
g
$ *» !
B
g
C D E F$ G$ A Obj tflj ED C B
t»
There are two kinds of Minor Scales in common use; the above which is called the Melodic Minor Scale, and the
following which is called the Harmonic Minor Scale. Observe the difference in the arrangement of the semitonesT
SCALE OF A MINOR.
Harmonic Minor Scale.
12 3 4 5 6 7 8 \^J9 6 5 4 3 2 1
As the Student will meet both forms in his subsequent practice, an example of each has therefore been given.
S6S5-94
THE CHROMATIC SCALE.
This Scale is composed of twelve semitones, and may be formed upon any degree of the scale, major of minor.
In ascending, the Sharp, Bouhle- sharp, or Natural is employed in its formation, hut in descending,ihe¥ldit,J)ouble-
Flat,or Natural is used accordingly as there are sharps or flats in the signature.
$ IP m u W^f
c cD
ejf b b# e F F# G G# A Aj B,
* jrfi S tt f
B Bl> Ak G Gl? F E E'k B Bl, C
MISCELLANEOUS CHARACTERS.
Notes having a dot or dash over or under them are to be played short and detached. This is called Staccato.
Half staccato. F\ill staccato.
™-rrrr\\ -ffrfll
effeet
-
mgptd&ffi
Written: Played.
This sign /Ts called a Hold, placed over a note or rest, prolongs it beyond its exact value. It is sometimes
placed at the end of apiece instead of the word Fine, which means the end.
The character ,- —^ called a Tie when placed over two notes on the same degree of the staff #""# . makes them
one continuous sound.
When placed over two notes on different degrees it is called a Slur and indicates jthat the notes it applies to are
to be played, in a smooth and connected manner-
Three notes played in the time of two of the same kind are called a Triplet, and are indicated thus-
A Sextolet is a group of six notes played in the time of four of the same kind. EX.
rr rr r r
UT
The •%' called a Sign; directs the player back to where it was previously indicated, for the purpose of repeating
a certain portion of the music.
1°. 1 1 S<
A passage that repeats, sometimes has tivo endings indicated thus:
the first time and the other '2? 'the second time.
mm That marked '19'is to be played
Every measure has its natural or primary and secondary accents, besides other smaller subdivisions. When the
natural accent is perverted and made to fall on an unaccented division of the measure it is called Syncopation.
£ £#^g
When a stronger accent is required than that which naturally belongs to a note it is indicated by one or
a /.other of the following signs called Accent Marks. A, :=- or fz called Forzando, rfz lUnforzando, and
Sometimes ffa, according to the degree of accent desired.
When a group of notes or a measure that is to be repeated, written like the following, it
m S£
is is called Abbreviation
repeat g rot ill. repeat measure
B
8685 - 94
Other forms
Written. PKyed
S Written.
t 7
:i
'I I
Played.
n i
JTJ r »-r .
&
&
etc.
etc.
8
ORNAMENTS.
The chief musical embellishments are the Appoggiatura (or Grace Note), the Vruppetto (or Turn),
and the Trill (or Shake).
APPOGGIATURAS.
The Appoggiatura is a small note placed before a principal note for the purpose of ornamentation
or effect. There are two kinds of Appoggiaturas in common use _ the Long Appoggiatura which takes ,
one half of the time -value of the principal note before which it is placed and also receives the accent,
and the Short Appoggiatura, which is played very quickly, the accent in this case falling" on the princi-
pal note.
Written.
J., \u i
^Fr
P. t&-h-^ .
Written.
$m £
Played.
PH gfrffl Played.
wm INp
A group of Appoggiatura notes sometimes precedes a principal note. These notes are played very
rapidly and the principal note receives the accent.
This musical embellishment is a group of notes (3 or 4, as the case maybe) consisting of a princi-
pal note and the next note above and below it. It is indicated by the sign <x>. There are several forms of
the Gruppetto as will be seen by the following examples.
9174-79
9
Principal notes.
C/3 *>= GO
When the sign is If between
placed above a note
£ two notes it is
f^^F
fe#
It is played thus:
P
played thus:
f^ i rccerr m
GO go
If after
=3
a dotted note
fc g p
Thus:
i^SJ^ jjTO
When a note in the Gruppetto is to be sharped or flatted, either above or below the principal note, or
both, the sign is expressed accordingly, in the following manner:
ft below.- M P above;
Played:
| J. JpfU Played:
S 8 8
p above and ft
below: Written:
Played: Played:
m ,
iiP ~ _
The
Trill is a rapid alternation of two notes atone or a semitone apart. It is indicated by the sign
placed above the principal note, the alternating note being the one next above it? There are three
<tr
kinds of trills _ the Perfect Trill, (with finishing notes) _ the Imperfect Trill, (without finishing notesL
and the Mordente or short trill, indicated thus <w.
^Sometimes the next one lelow :
t.
9374 - 79
. .
10
Perfect Trill
<tr
Written: -o- S
i Principal note. Finishingnotes,
Finishing
Principal note and alternating- note notes.
Played:
Written:
m
^J
<tr
Prinr>i
^^^-^W^W-VW^^^^V^'V-^'^W
Tremolo. Arpeggios.
A very rapid repetition of the same When chords are to be played in the
cone is called Tremolo manner of the Harp it is called Arpeggio.
Written:
M Tremolo
Written: £ IE
&-
o-
Played: Played: 3=3
/, forte .
» loud.
" very loud.
ff, fortissimo .
9374-70
11
The Tenor Banjo consists of a rim varying in size from eleven to twelve and one half inches in di-
ameter. The head is drawn over the rim and kept very tight by brackets. The arm upon which the fin-
There are seventeen frets on the instrument giving a range of two octaves and two semitones.
The four strings are the 1st string A, the 2nd string D, the 3rd string G, and the 4th string C.
The bridge over which the strings pass should be placed at exactly the same distance from the 12th
i ¥ G D
Tuning
Tune the 4th string to from piano, then close the 4th string at the 7th fret and tune the 3rd
string in unison producing G; close the 3rd string at the 7th fret, tunc 2nd string in unison producing D,
close the 2nd string at the 7th fret, tune 1st string in unison giving A. The open strings correspond to
m
4th 3rd 2nd 1st
string string string string
3=2 3
G D
15324 - 64
^
12
tete £ fe^te ^f
mm f
t?#
''I
fetfruutgig * te
A or
1st String
ffETf
^
Dor
2nd String
oPh **
Frets
*H
1 4
£
1 5
It;
1:6 l!7
4th String C
C* Db D D« Eb E n o« Ab A M Bb B B» c c# Db D D* Eb E
G or
3rd String J hJ
^J wtJ jg jt
tt jy v
^-f-y nr
#r Wfr ^r *r^r ^r^~*r~f ^y^^y^ te^.
Cor
4th String J ju ^ Jy f fff'^r k^
jj
J. fribJ i
j
J tfJ^ * ^ J E* k jt
up »p
The performer should sit upright in a chair without arms. Rest the rim on the right leg, about four
inches from the body, keeping it in place by a moderate pressure of the body on the upper part of the rim.
The arm of the banjo should be raised so that the pegs are in line with the chin. Support the arm
at the nut in the hollow between the thumb and largest joint of the first finger of the left hand, the
thumb being on the upper side of the arm at the nut, with the first and second fingers arched directly
over the first and second strings.
Place the plectrum between the thumb and first finger near the end of the finger. Keep the thumb
almost straight. Strike the strings with the flat surface of the plectrum, never with the edge.
Rest the forearm on the rim about four inches from the tailpiece. Arch the wrist and strike the
strings from above, not across them, except in playing chords.
Begin by playing softly, using down and up strokes alternately. Practice these until able to play
them rapidly, producing the Tremolo, which is the method of sustaining notes on all plectrum instruments.
15324 - 64
13
Stroke Exercises
. ,. ,
(Open Strings)
n indicates down stroke
A indicates up stroke
000
fc -0-0-0 rrr rrrr i
0-0-
f^
Notes on the 4th String
^•'jiii JjjjijJJj
Fingers
JJJJijJJj '
1 3
i ^J
4
i
3 1
ip
Frets 2 4 5 4 2
irrrrirrrr i
j ^
Notes on the 2nd String
^
Fingers
n A
0—0—0
n. A
m00 \ 00*0\PPP P—P m 9 „
Frets 3 5 3,
Etude
Count 12
nAnA 3 4 12 3
n
1
n
2
A
«? ^ 3 4 ^ 2 3 4
n n A n
m
pi
Fingers 030
^-^j-^-U-^
12 3 4 12 3 4
14012
12
^ ^j-r-rv^
3 4 3 4 12
40.
d
3
d d
I J I -Ht=t=£ 3ee=e
1
l=^£
3 2
12 12 12 12 12
S
3 4 3 4 3 4 1 3 4 3 4 3 4
9- *
^ 2
¥^ -T r i
r > r
2 1
14-t I f f :
14
Scale in C Major
All down strokes
1st String
4th String 3rd String 2nd String
CDEF GABC D E F £
Frets
Ef
Fingers
024
i
134 01 34
02 45 5
w 0124nrffnffr 2 3 f.
012
023
£ i*lilU+U
#
Chords inC Major
i I
0=0=
o> ot
o-»
rP
o
oV m -0-0-
^?
Chords should be played with a quick down stroke unless they
are written arpeggio, which indicates that they are to be played
1 1 slowly from the low note to the upper note of the chord.
-it--
2 3 2
41 (>-
'
The arpeggio is indicated by a waved line.
C C
Scale Exercises
The student should write the fingering underneath the notes
* - A k a Continue with same strokes
1. & «?=*
I X
rciX-f i £Oi r ja
Repeat each Ex. several times
n A
2.
H=F Qj] h)
t jJJfl reffto l
$-1
•n n
T P g
^HF LrTTT^
3. 2BBE ^nt^r^mrr i
r^^r/itj^ m r m m
'.10 4-1 /
#*
f 5.?24 - tf#
/
Melody Exercises Leading to Tremolo 15
Not too fast
ft A n A
ft A n A
iW ggffi^
g^g^fw^gg g
^albU^^fe
p ^=M
Waltz time
nAnAnA n AftA"A WALDTEUFEL
* S
^fggggt ^^^^^^
^^^^^^^^^^^^^
Faster
HA n A n A n_A^ A „ A n A n A
16
The Tremolo or Sustained Tone
To attain proficiency in the tremolo, perfect evenness is necessary rather than speed. Always begin
with a down stroke, ending with an up stroke, except in cases where the tremoloed note is tied over to
a short note.
Tremolo Exercises
JOE
As written _g
Count 12 3 4
Count 1
fe£
'
Count 1 2 3 4 12 3 4 12 3 4 1234 1234 1234 1234 1234
^£= JDL
a Q- ZZL
m
12 3 4 12 3 4 12 3 4 12 3 4 12 3 4 12 3 4 12 3 4 123 4
The slur is used to denote legato or smoothjiess. The tremolo should be continued throughout the
duration of the slur, stopping only long enough between to attack at the beginning of each slur.
Example
Slow
Z2I
m ^j-
^
Count 12-3- 12 3 1 2 3 4 12 34 12-3-4-
$
ZZL
L2Z
m Q~
T2L
Slow Etude
i
£ m w
^##^
* '
• iP^ w ^^
15324- 64
Scale in A Minor 17
Relative of C Major, with same signature
Chords in A Minor
down strokes
?m
All
^f^lfU 0-0- o^-
Fingers
i m
1340 1 3 40 4 210
£==*
4 31
-o-
zn
0-
U3*:
r
o c oc 1 o o O
1 2 1 3 1 2
*. _ _
Etude 1 1 1 1
Slow Tremolo
p rtrffr i
fr'rr i
ffft^f^rWrifflp^tf^^
Scale in G Major
F$ in signature
E £
Fingers 1 3 4 01 34 0124 1 34 4 3 14
ifl rfff fT7r J ^0431 ^^
2104 310 4
i'r
310
J ^
§ T^-*
13 4
Chords in G Major
2-
—
ff^ra
35
-0-»
i -«-•-
0~^~ *
c) ( D o< D ( D < D
1 1
y, / J / /
*> 9
J
i_
,?
1 i f
1 l_
1 1 1 l
*A'52# - tf-#
18
Melody Exercises in Q Major
March
2 h 2 "An n A M 2 A n n A n
n n n n M.
£ n A
n zgzzg fa 1
t m g
*
I
1
r pp g I
f
I; * a rr I r r r f r r
# = f "f , r ff ,ff»rf a f r
* Ie^ r g |
ff,P|
•A dash written over notes in slurred passages signifies that they are to be accented while played
tremolo.
Waltz
*5 f^ rtS> 5-
" ?7T
i m
<2_!_ ^-?-
f ppf
n A
^
A
n A
n A # •£ 5 n A
^ n
-# —A
*- fj* i LFf m.
a
1,1.124-64
f
19 .
Exercises showing proper strokes on various movements as used by expert players in dance orchestras.
Exercises in more difficult forms will appear later in this work.
March or Two-Step
H „ PI
n n n
n A n it n A -
AJ£ *
£ » U » n
K^ifT g
5 n
fefe^
"
#*0 * -* *
* S- B n
1
" 2
8 itop-JJ f-ff i
f i to m
i-r Kfr |
n t
f|£iff;ci i r 1 nO* j
* to^r iT i
f iTrr^ifx/r g i f ygjyy^ £
* r r g f f , iCLrV Tif g
i i
* tor If
|
f p r |g tr>p.[f i
'
g rJlf 1
^ I | W»|
\
One- Step
M &
n n h _ pi n h
n *^ *J1 n .„ n n *
3fc
p ,f f f i
r'rf i
Tf f i ff . HKf-fe fe**
r. / f , if f r i
r t
#• # #
g Lr i
f fj C-f r i r j
iA
"*
§=
^
dot at the end of a slur indicates that the note
15324-64
is to be played
r
down stroke.
r f i
f r^r-^ 1
t
20
Scale in E Minor
Relative of G Major with same signature
£*Mi
s
All
3401
down Stroke
j 1 1 m
3411 3401
m
tete £
3 44 ¥ 4421
Chords in E Minor
t=^+=t=?
0431 04 £
3 1 043 ^ 0-0-
lb
i
)j**f
4
^ 1J.
Etude
H n A n n n A
i
»» .^jt-f
m^f
—
mmz \%E
^m
$ ljLflH^l f MLa Vague
U Uiigfc ii*
Waltz
METRA
n
-73-
^= is:
i^-
£ £ £
^^ 2z:
# i
ZZZIE
^^ PP^ £
-iS*-
5-
^^ ZZE
fl
0±
A a •
^^
*S324-64
21
Signs used in Abbreviating
Lines drawn acoss the stems show that they are to be repeated as follows
n A nA nA
f=
h fl
As written ffig
f As played j|g r_J L^T"
Etude
nnAnnA nAnA
n n
i- M If U & f i s\tu\h \s£} \
ox*&m
WW
£ *«
n A n A n A n
— «* m
»•—!«»
f ;
A "AnA
i/\n/\
i; ^\uM
.
Jt P-T-P
1?:
P-F
^
.» ._
2.W rr f ; iff i; ; if i i f 1 i* ^
| f f i f f i
f f if ; |
f f i;-f-pF-f-f# ^t
pm
*« ,£,. |C
i r tf , 1
3. "Lf i *^^^K
Fox Trot
fe ^^
n A n A n
n A n
pcqo
A
I g= =5
f
A
i
*
n
p rr
5- n Q n n
i § | f efei afe
n. n n n
^ Easy Syncopation
r /rJT
^
(Rag Time)
Count q- time
12 3 4
i i r
ff
i
f
l frr t^T i
1X324-64
i
n
^
n-
3d 4 d
A
S M +.
£f$m-L$4$^^i
22
Scale in D Major
Fit and C# in Signature
4
m
n A n A n A n
i m s=fei
1*#
EJifffrf frjj i $
i=t!
m
Polka Etude
* 0—0-
§ r r r i i
Rosalie Waltz
*
m
ri 0-1
i
n n (©-=-
£ fe£ '.
.—(2
^
S
i? (softly)
irx
m m &-*-
i *
^RF$
Fine. (end)
* n A n n P£2A„ A
^^ r iC£C£
E fir i
JJj ^ i
f-
ic/rr i f icrrr
15324-64
#=F#
m^-*-
lg§£ :i=*
J2_ £ £
^ •
. <g i
D.
(B epea t from beginning to Fine)
r?
C.
SE i
a I Fine.
23
Scale in B Minor
Chords in B Minor
HE
?34 1 3
'r
4
m ifY431
11
r
0-43
r r * wmm
1#. 1JR
-3-r
3 * JL
Fascination
Fox Trot
—
f £** ^ 19-
«tjrpT if rTn a §
m»/
* £ £ JR. _ .JR
-o-
»r r it * i
NQ i #
:= J2.
* g **
-— 1S>-
-o-'
# £ -oJ fct
I
»i rrffi*
^ £
^N#
. 1* -#• # ^ J2
1 SP rr-
Fine.
n n A
•rrf i
fffff r r f frfrfPE
*ti
,
i
^^^i-^t^i^l^fedr^ £ 1
D. G. a/ Fine.
153Z4-64
— £
24
Scale in F Major
B!? in Signature
is
n
^rj-^q
n_A n A n A
3C
^^ AnAnA n
Chords
o-g-
£w- "
F Major
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The Cadet's Dream 29
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31
Examples m Syncopation
When the accent is changed so that it falls on an unaccented part of a bar it is called syncopation.Theterm
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The Invincible Rag
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Studies In Triplets
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Exercises in Gliding (Coul£)
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The Positions 35
The compass of the Tenor-Banjo in the first position extends from C to upper D.
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Transposing
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The Fascinator
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Jazzing
The term "jazz" as applied to banjo playing is, to use the chords with or without the melody ac-
Some players have the faculty of anticipating chord sequences and obtain marked effects in
this respect. However, when one has to depend, on reading, the chords (without the melody) can be
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64
INDEX
10 Tremolo, Arpeggios and Other Signs 28 Scales in G Minor, El> Major, C Minor, Ab Major,
11 The Tenor Banjo D\> Major, E Major, and Chords .
Method of Using the Plectrum (or Pick) . . . 32 The Invincible Rag . . . - . . . .Leo Catlin
13 Stroke Exercises '. 33 Studies in Triplets .......'
Notes on the 4th, 3rd, 2nd and 1st Strings .... 34 Exercises in Gliding and Etude
Etude 35 The Positions
14 Scale in C Major The Second Position, with Exercise and Melody.
Chords in C Major .......... Third Position and Etude.
Scale Exertises . . . 36 Annie Laurie Old Scotch Air
15 Melody Exercises Leading to Tremolo Scales in A, Bb, C and D Major
16 The Tremolo or Sustained Tone 37 Scale Exercises for Daily Practice
Tremolo Exercises, Example and Etude . . 38 Transposing
17 Scale in A Minor and Etude ..... Old Folks at Home (Swanee River) Stephen C.Foster
Scale inG Major and Chords. . . . . ... 39 Exercises in Arpeggios .Wohlfahrt
18 Melody Exercises in G Major 40 Stroking Exereises i -'••
Waltz 41 All the Rage (One Step) . . ... Leo Catlin
19 March or Two-Step . Arkansas Traveler
One- Step 42 The Maid on the Green (Contra Dance) . . .
Publisher" s Hote: —
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