REVISED AND ENLARGED EDITION, FRANK B. CONVERSE’S ANALYTICAL BANJO METHOD, CONTAINING IN ADDITION TO THE RUDIMENTS OF MUSIC, ETC., 410 DIAGRAMS OF THE FINGER- BOARD, IbosTrATING, 1 A GREAT VARIETY OF FORK EVERY KEY AND CHORD UPON THE BANJO, “egether with Copious Exorciss, and Expici? ianyeos of an the Movements in Both the GUITAR AND BANJO STYLES OF EXECUTION, AND A CHOICE COLLECTION OF NEW AND ORIGINAL PIECES. HAMILTON S. GORDON, 139 fifth Ave., New York.DIVISION NO. 1. ‘Test Book of General Instruction. ‘The Plan of this work, ‘ ‘The Fingerboard, (Diagram) 4 Concerning the Banfo, 5| ‘lementary Principles of Masi . Notes and thelr Comparative Value, ‘ Varieties of Time, 1 Beating, or Counting Tims, 8 ‘The Formation of the Seale, ® ‘The Mode Seal, ° Minor Seales, ® ‘Tho Seale Analyzed, ® Chromatic Seale (1 20 Intervals, au ‘Chords, u ‘Sharps, Fats, Naturals, ote, 1” ess, the Siuature, a Major, ana Afiuor Rey Signatures, a ‘Transposition, w iow to old the Hany, a Position of the Left Ian rs ‘The Right Hand, Banjo 8t)l6, " "Tho Right Hand, Guitar Sty, " Rennomy of efforts in exwcaio " ‘Finger Gymnastics, 6 Postion Praction. Lett Hani, w How to Practice, ‘The Tunlag of the Banjo, ‘Test of Tuning, Process of Tuning Tlustrated, Sigas for the Fingering, 6 ‘The Thumb, [Ralee governing Right Hand fingering, Gultar Style, elation of the Stelngs as Intervals, Left Hand Movements, Right Hand Movements, ‘The Tremolo In Banjo, and GaltarStylen, ‘Tremolo, Fleet Exerlees, CONTENTS teomolo Eseries, Poaltions, The Barre, x Positions Detined, Miscellaneous Information relating tothe Bang, Embellishments, Grace Notes, ete. Tue Shake, ‘Triplets, and other irregular groups, syncopated Notes, Harmonics, (Chromatic Seale in Hermenics, Exercise in Harmonles. Left Hand, Bxerclse la Harmontes, Right Left Hands ‘Exercise Tlarmonies. Right Hand, with ‘Drum Chords, xereses in Accompansing the Valen, Exerelas in Reading, Flrst Exercises, Gultar Style, ‘Time Bxerclses, Barré Exercise tn Arpegsio, Kxerclse in Dominant Sevenths, Exercises on Each String, Be Beeeyy Sesareeses Exercises in Sides, Sure and Pulls, Arpegslo Practice, Advanced Arpoggto Practice in the Various Keys, ss Practice in Transferring the Thumb, How to Practice Chords, a Harp Chords, s ther Eset, e| ‘Accompaniment Playing, 2 Routades, & Standard Seale of the Banjo, (Diagram) 37 (Chord Formulas Applicebleto all the Keys, 24 "The Formula Analyzed, m 43 Diagrams of the Fingerboard, 241038 ‘tinstrating—Chord Formulas, Chord ar rangements, Accompaniment Practice on the Middle’ Fingebsard, Cadenocs, and Modlations to the Diferent Ke Diatonle Modulations,~Major and Minor, Dorainant Seventh Modulations, ‘Tee Dominant Soventh Tustrated through the entire circle of Keys DIVISION NO. 2. Progressive Pieoss. Guitar Style. ied Walt, Blackbird Danes. bie Hel of Seca, Coaching Medes, Ctreaasan Dance, Climbing up do Goten Stats, ceulskeen Lau, ‘Compbetlsare Coming, Tee) Conspleators Chor, Diamond’ Dell Sehattache, (The) Daley Walks. (The) Exercise in Tent, East Side Ji, Ei Qulkstep, (Tho) Engéale Waltz, Bepana, (La) Euence of OH Vieplony, Pawn Maru, Foster's Jig. (Outer Style) Fisher's Hornpipe, Piers arch, Flirt Polk, (The) orice Walt, [Gambeo Ret Grzele Wall Grove Waltz, (The) Gpome Walt. Exerlse tn Octave, Tungasien Pots, igh Tie Ja, Tong Kong Dune, (Calnese) Tard Ties Jig, Happy Darks Dance, Irish ig, No Ist Jig, No. % Ivy Rodowa, (The) Japanee Foang Msp, Last Ross of Sumner, ‘Leaning onthe Garden Gat, Linden Pk, Lancashire Tas Walls earls Pol, Sheeeeseesatesisurasageeiee asasuseesseetes° CONTENTS. ’ ; te Watt (0a) ut Letts orto S| Broetesive Pieces, Banjo Style | Corseice Comme Once Tas, it Melrose Polka, | atobama Walk Around, 9 Carnival Jig, ar ‘Minor March, 72) anthony Street Ree 12) Galitornta Clog Hornpipe, mm ‘Moreen, (The) 78 1% | Congo Patrol, (The) sed Moonlight Waltz, a 168) camival Jig Medley, 6 Mein om “Oberon” s so Cartel gM te Mikado Duett, | | Devil's March, (The) ov Premlére Galop, “41 carolina Reet, 95! pream Mezitia, im Premftce Waltz, 441 Poster's 3g, (Banjo Style) | urel Clog Hornpipe, us Penile Reel, | Prisky Reel, 100| Yorn Pott, (‘The) 1 Pansy Polka, 0] Par South Reet Medley, 105) jour det Ame Walte, 138 Peyuot Galop, 4 | Grey Eagle Reel, 10) Grand Mareh, 10 Palo Watts, | Hampton Medley, 108) Frarleguln Hormptpe, us Protty Maid Milking her Cow, 79 Teoh Jig, | Frat Coiuinbla, 8 Pent Wale Esteli 2 Sorta eae me, = Riverside Sehottache, (‘The) 51 Jumbo Reel, 3r | Hlome Sweet Home. (Tremolo) 1 Reverle Walts, 67] Lynchburg Ree, 8t) ome Sweet Hoine. (Varlationt) 2 ingle Schottische, | reavits Jig, #1| Fate Jig Medley, uo Sunnyside Hornpipe, 18) sfodoe Reel, 98) Fa Luna Watt, Bal Siren Polka, (The) 78) atisissippi Walk around, $5] itiput Pola, am Starlight Polka, 41| ay Loves but a Lassle, 102 | Ton and John WHd's 3g, 0 Sylvan Mazurka, (The) 60| Narragansett Jig, 304) srartpoun Waltz, (La) 138 Spoak to Me Waltz, 8] ota Virginny Dance, 91) spersettatse Hymn, 1 Starlight Mazurka, © o1@ Plantation Reel, | search Medley, py ‘Stella Waltz, (The) | Phiadeiphia Jig, 8) avourneen Deelish, 7) Rattlesnake Ji 91 O14 Tuekapaw Jig, ad ‘Spangle Hornpipe, (The) 1) Skidmore Guards Quick Step, 200 | o1a Indian Jig, a ‘Star Clog Hornpipe, § | short Stop Reel, 103 Pas de Matelot, aS ‘Sweet Souventr Walls, ©) sugar Cane Dance, | phiiadeiphia Jig. ( Varlea) 418 ‘Starling Walty Exercise in Thirds, | She am far away, 105 | Prelude in A Minor, at ‘Star Polka, 2 | Sunrise Reel, %| Pretude in E, ms ‘Trovatore March, ©) Wigwam Reel, ‘%| Russian National Hymn, “ ‘Tyrolean Echoes Waltz, ‘7L| Walk into de Parlor, 101 | stiver Heel Hornpipe, or ‘Trautman’s Hornpipe, ‘1S | Water Street Reel, 102) stanwood's Favorite Jig, mB ‘Tipperary Irish Jig, P| Zip Coon, 71 Spanish Fandango. (Varied) ne ‘Willow Waltz, (The) | DIVISION NO. 4. Short Stop Hornpipe, a We wont go Home tit Morning, * Miscellaneous Pieces. [Swinging Bell Chimes, (for Two Banfos) 148 boron sas |The 2 Regiment Mare, m DIVISION NO. 8. ‘Annte Laurie Ji, 114| Tristenso Waits, 1 Arkansas Traveller, (Varied) sai] Tremolo Waltz, xo Study of the Banjo Style. ‘Anstlan National Hymn, afer De ey ne int Beers to] Brom Gao, (Tin) Pea ch) a Combination” Movement Exsrlses, 60 | Boxer’ Ree, (The) 1 | Whi Gal, The) 10 Hammes” MovemeatExeren, | Bogut aac, 1a enn Ga, (Th) = (General Exercises {Ghost Rech No" Wack am Rly (Dla) a LIST OF MUSICAL TERMS. Cow 81 with epirit Mazstoso, majestic. | Sm SEE ee ca Peer cigmsrtememe | em Seian denim | Sto apiotind ‘AcrraTo, agitated. Doves, (Dou) sweet, PuNtssino, (9p) very wo ALLBGRETTO, quick, lively. ‘Dazzaro, delisie, ‘PoTPOURR!, & fimtasia on favorite aire, ‘aaaano salma fom, ae Pree mT ow. att Preset vey eet Sno wi fei Fowrta, (9) ver lod. Seacoast intact eee 4 are, 4 RSet nt retort fa Sy Tre (oa ae ‘Cow onaian i gran ‘Yours Ss ar sr (bom Gav, with tata,READ ATTENTIVELY THE PLAN OF THIS WORK. In tho general arrangement of this work the alm has been to prepare an Instruction Book which should bo not only thorough and comprehensive, but concise, practicable, and convenient as well ; and as conducing to this end the author Las deemed it expedient to classify the contents under four distinct heads, or divisions, vis:—GanmRat INsrevorion ; PRAOTICE IN tae Gurtan Strum ; Practice 1 THE Baxso Src, and MISCELLANEOUS Pieces, and which are explained as follows. Ast, GaymRat Ivsravoriox. This division is intended principally to answer the requirements of a Text Book. Tt em- braces the elementary principles of music: All the rules applicable to tho practice; analyses, and illustrations of the various ‘movements and effects, and miscellaneous information. For convenience of reference the various subjects have been arranged in paragraphs and numbered, and will bo reforred to throughout the practice by appropriate numbers wherever new exercises or subjects requiring explanation have beeo introduced. 2d, Peacticn iy tus Gutran Sryiz. The exercises and pieces contained in this division, and the one following it, have ‘been composed aud arranged expressly with a view to careful and practical advancement,— both in the Introduction of keys ‘and in execution, and it will generally be found advantageous to pursue the study as arranged. Frequently, upon the repeti- ‘on of a movement or passage, the fugering has been varied or changed, thereby suggesting a choice, as well as enlarging the variety of exorcises. ‘Toe portious devoted to CuoRDs, ADVaNcuD AnPEacio Paacrics, eto., have been placed where deemed most convenient for either reference or practice while proceeding with the regular course, 3d, Pracrica 1 TEx Baxyo St¥uB. A thorough analysis of the various movements belonging to this original, charno- teristio, and effective style of execution, fully illustrated in a series of carefully graduated exercises and pieces, enabling the Jeamer to attain the highest degree of profioienoy in this style. 4th, Misonntaxzous Puices. A choice repertoire of brilliant and effective pieces, comprising arrangoments in both stsloes of execution, and exemplifying the various principles, movements, effects, ete, explained in this method. CONCERNING THE KEY OF A, AND THE PITCH. In the stady of music, the key (or scale) of C fs the first considered and explained, it being the natural scale,— 1.0. not requiring sharps or fats, (see § 23). It 1s the “ model scale,” to which all other major diatonio soales must conform in the arrangement of their scale intervals (see § 24 and 25). This, however, belongs to tho Theory of Music, and in no way impliet ‘that auy string of the banjo should either be called C, or be pitched to that tone as established, From “early times” the letters A, F, f, Band E have been used to name, respectively, the 4tb, Sd, 2d, Ist and sth strings of tho Banjo, the letters detining the different intervals as well, and, theoretically establishing tho key of A trrespee. tive of ho pitch of the instrument; hence it may be inferred that, with tho banjo, the quastion of pite is arbitrary, and may be ‘modified by elroumstances, as, for instavce, when playing with other Instruments ; or again, when accompanying the vole. In the latter Instance, to ltvoid difficult-zecompaniments, the piteh of the instrument should be made to acourd, as nearly ‘8 possible, with the voice register, and this may be ascertained by a few careful trials with the ald of a pitch pipe. Tt may further be inferred from the above that, as relates to reading music, changing the pitch of a string does noi change tts name ; that is to say, for instance, A (4th string) pitobed to-any degree of the soale would still be called A. For ‘example, should ft be desirable when playing with a Piano to pitch the Banjo at ©, the 4th (bass) string would be tuned to that tone (Piano) and the remaining strings relatively to the established intervals of the ‘standard ” taning (ses “Tax Towra P Tip Basso,” also § 83) and, although with respect to the Piano, the performer woud bo playing In tte key of C, yet he ‘Would think only of the “standard key,” for, viewed practically, the keys of C, on the Piano and A, on the Banjo would be identical,THE FINGER-BOARD OF THE BANJO. ‘Thi agra shows the position of the notes on the sf? that aro be found a each fret upon the Sager boas, and srt ge srantotanc to bogiadors tn enrol loatiog che various Bositons tod Berto a ‘The Postons throughout his work are deiqated by » numeral and asorsk, placed above the att thu {igure denoting the fret at which the lowest stopped note of the chord is to be foun’ Ast Striog. =” a 2 The 24 Striag,| tt nT 3a String, eT | 4th String, lie ‘B Fee sth string. a 4 F E * ‘Tho Sth string (octave of the 2d string) produces the “anison” of the first string when both are stopped at the same fret . IMPORTANT NOTICE. In the theory of Harmony and Modulation, the names of notes are often required to be changed enbarmooleally, or én name only; for exaraple, tone, aud stopped at the same fret; 7 or Dg ; D? or CH, &o, By (on the frst string and tat fret) may be wzitten Og) Ai (ebcond stzing) and BP are the same in A knowledge of this will enable the earner to locate the flats, CONCERNING THE BANJO. ‘The Banjo, although a very substantial instrument, is, in consequence of the miaterial required for its “sounding board” (the drum.) a sensitive one, Prantical experience has established certain proportions te be observed ia its general construction, the quality of materi. als, eto, and further perfection depends upon the nieoty of assembling und adjastment of the various parts ; tae careful setting of the neck (or arm) where it joins the rim, and strength of the continuatioa,or pieos extending through the rim neces- sary to support the exoess of weight in that portion of the ine strument, also to give stability to the neck and, what is of equally vital importaneo, steadiness and strength t6 the inagra. ‘mont as a whole, for a weakness in thisrespeot will materially impair tho vibratory qualities of tho Instrument, Quality of tone depends largely upon the depth of the rims the deoper the rim the mote sonorous the tone, ‘The tone is also ‘affected or qualified by the bridge, the material of whieh it isconstructed, ‘te hight, and location upon the dram. -A bridge-of pind causes a sharp and short sound; if of maple, cbouy, or ay ma- teria of grate deny than poe a etter tone ia oiaoed. Ttshould be high enough to remain firmly in its position under prossure of tho strings, and shen located at one third the dis {ance from the ood (rim) the most, powerful and musical tone of the instrament will be obtained, The quality of the tone becomes thin and vasal by reduotng the height of tae bridge, and placing it nearer the tal-piece. Tt is preferable to attach the ta-plece witha strong eat string, which will secure tt at its place white, permitting Field teadily with the bridge to the general vibration, Strument should be kept ina diy place, and enolosed in a or loth cover, a. the “sounding board” (the druta,) Delo ready absorbedt of moisture, soon becomes soft aid ex sive upon exposure to a damp atmosphere, and in this ce tion the instrument loses that ballianey of tone for Wiel cnracar of 80 eslebrated,THE FINGER-BOARD OF THE BANJO. ‘This diagram shows the position of the notes on the staff that are to be found at each fret upon the fingerboard, and ‘ill be of assistance to boginuers in correctly locating the various Positions and Barres, ‘The Positions thronghout this work are designated by a numeral and asterisk, plaoed above tho staff, Yous: ‘gure denoting the fret at which the lowest slapped note of the chord is to be found. = be bow sa nie = ve aig = A Tx fe texas fe = e ¥ HE sa ng EE (> | [> I. i ensuing ‘5th String. zB « ‘The 6th string (octave of the Sd string) produces the “anison” of the first string when both are stopped at the same frat, IMPORTANT NOTICE. In the theory of Harmony and Modulation, the names af notes are often required to be changed enharmonieally, or én name tone, and stopped at the same fret; E? or Dg ; D? or Ci, &c. CONCERNING ‘Tho Banjo, although a very substantisl instratnont is, fa consequence of the material required for ite “sounding bored” (tho drum.) a sensitive one. Practial experience kas established certain proportions to bo obsorved fa its general construction, too quality of mater als, etey and further perfection depends upon the nicety of fstombilng and adjastment ofthe various parts ; the careful Settlog of the neek (or arn) where tt Joins the rim, and stronge ff tho continuation or piege extending through the tim noses: | fmry to sapport the exeoss of weight in that portion of tho ine, Strasient, also to give ‘stability to the neck and, what is of equally vial inportaves, steadiness and strength tothe fasta moat as @ wool, for a wealoess in thisrespoot wil matocally impair the vibratory qualities of the fostrument, Quality of {ove depends largely upon the depth of the rims the deeper the rim the more sonorous the tone. The tone is alo ‘affected oF ‘qualified by the bridgo, the matanal of wate ie constructed, ‘its height, and location upon. the drum, A bridge-of pine only; for example, 8g (on the fst string and Ist fet ‘bo written Cx; Ag (second string) and BY are the samo 12 ‘A Koowledge of this will enable the feamer to locate tbe flats, THE BANJO, causes sharp and short sound ; if of maple, ebong, or any ma: tetial of greater density than pine, a softer tono is obtained. Te sbould be high enough to remaia firmly in its position under pressure of the strings, and when located at one third the dis. tance from the end (rim) the most powerful and musical tone of tho instrument will be obtained, The quality of the tone ‘becomes thin and nasal by reducing the height of the bridge, and placing It nearet he tl pies, Te is preferable to attach the tail-ploce with a strong catgut atiing, Which will scone it at its place white, permitting It yleld Feadily with the bridg to the general vibration. ‘The ! Sstrument should be kept laa dty place and envlosed ina by ‘or eloth cover, as the “sounding board” (the drum) being ready absorbent of moisture, soon becomes soft and ext sive upon exposure to a damp atmosphere, and in thlg co ‘ion the instrument loses that brflliancy of tone for whicly 80 celebrated,ELEMENTARY PRI 1. Musto (vide Webster) is: Melody or Harmony; a succes slog of sounds so modulated as to pleas the ear, or a combi pation of simultaneous sounds in accordance or harmony. 2, A.SoUND is the effect of an impression made on the organ of heaeing by an impulse or vibration of the air caused by a ‘ollision of bodies or by other means. 3. A Tox is @ musical sound, having. piteh—degreo of eleva- tion—which may be definitely detormined according to estab- lished principles. ‘4. A SeitiTONE 1s the smallest interval used ia modern music. {A tone interval consists of two semitones, (See Intervals.) 5. Mvstoat. SOUNDS are represented by characters called notes, of which there are seven forms or varieties. 6 tae NotES ARE WRITTEN on five parallel tines, or in their intermediate spaces. | STAPP oF STAVE is the namo given to the combination of ‘the five lines and four spaces, which taken collectively, form nine degrees. & Tan DaReEs oF THE STAFF are named after the first seven letters of the alphabet, A to G, inclusive, and the pitoh INCIPLES OF MUSIC, of te tones is determined by the location of the notes upon ‘the lines and spaces. ‘9, THe CuBr, is a siga placed at the beginning of the Staff ‘and establishes the location of one particular note, or line, from ‘which the names of all the otbers will be determined. ‘THE STAFF. Lines. Spaces. ——— SS 6: 10, Appsp, on Lxpeen Livss, aro short lines placed above or below, and parallel with the regular staif lines, for the purpose of extending the compass.of the stall whenever itis Tequired to write the notes higher thaa the fifth, or lower than ‘the first line, ‘Tasae ane Two KINDS oF CuErs in general use, the @ or ‘Treble Clef, ani the F, or Bass Clef. ‘The troble clef 5s 'the ‘one used for Banjo Musi ‘THE STAFF EXTENDED BY LEDGER LINES. ‘THE TREBLE CLEW, AND CLEF NOTE, 11, Treble Clef, and Clef Note. eee tt = pat: SSF z ——= ae eet ¢ oe $RopsreasbodDEFG@ABE D It will be seen that the letters from line to space follow ia alphabotical order, and, as only the first seven letters of the alphabet are used for’ naming all the notes, in the general extension of the scale series theso letters are necessarily ro Poatad, consequently the elghth degree from any letter bears the eathe letter name, and is ealled its octave. Musica SOUNDS HAYR DURATION, longer or shorter, which is represented (or determined) by the different torms of the notes. 12, Tay REST 18 A CHARAGTER INDICATING SIDENOB, oF ces- sation. Each form of poto has its equivalent rest, wich equals {in value—or duration of time—the note it represents. ‘THE DIFFERENT KINDS OF NOTES, AND THEIR COMPARATIVE VALUES. ‘Whole Note] qual to Halt Notes : 2 = | : ‘Equal to quarter z = =| : . ‘Equal to ~ Bight Notes == 2 ——+ - * + SS ‘Equal to Sixteont Notes Thirty Seoond Notes!COMPARATIVE TABLE OF RESTS. mu Se Fite Bot emer Rigen ed, ease “i DOTTED, AND DOUBLE DOTTED RESTS, 15, A Dor pLacep arree 4 Note og Resr increases its ‘value one half; an additional dot adds one-balf the value of the first dot, making three fourths, NOTES AND °TIME, MEASURES. 17, Every Tose mas sous Duaatio, longer.or shorter, and the time given to a note is called ite value. {Tt cannot be decided from the form of anoto alous how lon {ts duration should be, there being no definite length of dara- tion for a tone other than relative to the timo given to the ‘various tones in the same pieco; but there exists a general ‘understanding regarding thé tempo of pleces which will be acquired by experience. Yor greater convenience in counting, or beating the time of a plece, iis divided—to tho eye—iato equal portions called Mbaswaus, by sbort lines, called Bans, drawn across the statZ Monoore, Bat, Mearns, Ban, Magee, Meanare, Bar, Bas, VARIETIES OF TIME. * 18 There aro two kinds of time tn goneral use, namely, Coumiox Tum, when the measure coutains two equal parts, and Trrecn Tim when the measure contains three equal parts. In the classification of both kinds of time, they become BITHER SIMPL, or COMPOUXD. Suerte Countox Tous is divisible into tmo beats or counts of equal value, ‘The frst a down (strong or accented) beat, aud ‘the second an up (weak) boat. Tt comprises two varieties, styled respectively the ALLa Brave, and Two Quanran Tre, Which are represented as follows + AULA Breve. aS aa DOTTED RESTS. = 4 16, Tue Tis (or Bind) Is a curved line connecting two notes ‘coupying the same degree upon the stall. ‘The first note only is played, but its sound is to be sustained (duration allowed) the fUll time of both. A similar sign is used to indicate tho slur, 52) but is then written with the fingering, cea Gaal Iy Srurte Terpte Thee the measure is divided into thres equal beats, the first a down (strong) beat, and the second and {itd up (weak) beats. There are threo varieties as follows : rast aa 3 a TIED NOTES. aul (Sears = = = ae © A list of w wds—principally Ttallan—tived to Indi.ate the character of ‘movement, et ‘wil be found onthe movod pags,Ix Comrouxp Coumow Tate, the measure is divided into four beats of equal duration, It will be seen that thle is simply the double of ('wo quarter time, consequently the strong beats will be the first and third, and the weak beats the second and fourth. The GS is frequently substituted for the figures. 12a toa is aoa Ix Comrounp Texris Thee, two or more simple triple measures are drawn into one measure, four varietios + ‘The following are the tee =| = 4 PIECE OF MUSIC, STRAINS, DOUBLE BARS, DOTTED BARS, ENDINGS, 8VA, DA CAPO, DAL SEGNO, THE PAUSE,’ SIMILE. ‘A picce of musio may consist of ono or more strains — ‘masical sentences. _daritten mosio a doable bar is placed at th end of each strain. ‘When the double bar is accompanied by dots, elther before or following, the strain on the side beariog the dots must be reposted belore playing the strain which may follow. Often a Tepeated strain will bave two. diferent endings,—termed 1st and 2d endings. This is indicated by lines and the figures 1, and 2, placed above such measures, ‘Upon repeating the strain the part marked “1” must be omitted, aud the part marked “2” played instead. Double Bar with dota Double Bar with dts Pole ‘ilowing. | <= 1 =] fas - ——| 19, Tus Tome oF 4 Prox is indicated by figures placed pone tal a she beptaniag tHe upper gute giving the ‘cumpber of parts into which each measure is divided, and the ‘ower figure the kind of notes (or their equivalent) required to fill each one of the parta, or divisions, A measure may consist wholly of notes, or wholly of reste, or of both. ‘874, (ottava) written over a note means that the note is to bo played an octave bigher than written ; itis continued by 8 ‘waved line ; when written below the note is played an octave lower. Da Civo, AL uve, or D.C, means to repeat from the beginning. Dav Sr0xo, or D. 8, with the sign $4, means a repetition from the sign, or from sign to sign, 20. Tuo Pavan (fermata) ‘>, signifies that the note over ‘which it is written shall continue for a longer period than its strlet time, to be regulated by the taste and judgment of the performer,—ad libifuns (at pleasure.) Snuttz, or Si, When groups of notes of the same value are to be played in succession, they may be represented by ‘one, of two, oblique lines drawn aoross tho stat, with the abbreviation, “sim.” above, Measures to be repeated may a ACOENT. BEATING, OR COUNTING TIME, 21 As measures contain both strong and weak acoents, ‘marking, or counting these accents is called BEATING oF Couxrie Tue. The first count or beat ia each measure bas, invariably a strong down beat or decent. Acoente other thas {he above are indieated by the sign > or, writen above the notes, In the practice of a plece the time should be counted aloud.‘THE FORMATION OF THE SCALE. 22, Tus WAM Scan (Latin Scala, or a Inder) is given to a consecutive seties of sounds, alphabetically arranged, ascend- ing or descending. A PERrEcT Scaz includes a series of sounds starting from any given line or space and extending upward or downward to its octave, Practically viewed there are only twolve musical sounds. ‘They are divided into tones and half tones (semitones,) de- pendant upon thelr distance from each other. The distance from a sound to the one next above or below it is @ semitone, and any one of the twelve semitones comprised in the scale ‘may be taken for the key-note in the formation of a scale ‘THERE ARE TWO KINDS OF SCALES IN MoDERY USE, vi — Tar Ditonto Soate and the Cunowatio Scats. ‘The Dia- tonic scale cousists of eight fundamental sounds or degrees arranged in the natural order of succession, and extending from oue key-note, or tonte, to the next inclusive. Tt contains | seven different intervals (the eighth sound being the octave of the first) forming five tones and two semitones. ‘Tasre ARe Two Knips of Dratowto SoatEs,—Mason, axp Maxon, ‘MAJOR SCALES, ‘Tae Maso ScavB 1s 60 called because tho interval of the third from the tonto, or key-note, is major, See “Intervals.”) ‘Ina Major geale all the sounds must ascend alphabetically, by whole tovo intorvals, excepting from the 3d to the 4th, and the 7th to the sth, which must be semitone intervals. “This arrangement of the intervals of the major scale is fixed, and is) the same ascending or descending. THE MODEL SCALE. DIATONIO SCALB OF © MAJOR. 123456788765 43 21 ‘This scalo can be written, without employing sharps or tats; therefore it is called the Navunar, Scats, aud is THn Mopex ‘upon which all other major diatonie soales must be formed. ‘MINOR SCALES. ‘Tas Muon Scate is so named because the interval of the ‘third, from the tonic or key:noto, is minor. Every Major scale | ‘has a parallel Minor seale, or, in other words, every inajor key has a relative mivor key, (and vice versa) which posseses the ‘essontia! elements of the major key to which it is related, and bears the same signature, (See “Kays aN THEIR SioNa. ‘Tunps") but is found to differ io the position of the semitones. ‘The sucvession of the tones, and position of the semitones, in the Normal Minor Scale is shown in the following + ‘THE REGULAR SCALE OF A MINOR. RELATIVE OF © MAJOR. ‘To preserve the melodie order, the sixth note is generally made sharp. The frst pact, or lower tetrachord is, in all cases, formed on one model, but the upper tetrachord Is frequently changed, ‘The siguature.gives the descending Minor Seale, but acct- dentals (See “Smazes ap Fiav8”) are required to form the ascending scale. ‘THE SCALE ANALYZED. 25, The major diatonio soale is divisible toto two parts, the second being an exact copy (In tho order of tones aud semi- tones) of the frst. — it Par S1Part SSS ‘Tones, Ssilfones, ‘Toons. Somitones. Fach of these parts, consisting of four sounds, is called a ‘Tetrachord, (@roek réepa, fours” yogd}, String”) If the second part (or upper tetcachond) of the natural or model seale be taken to form tbe first part (or lower tetra chord) of a now scale, it will be found necessary, 1u order to completo ite similarity with the model seale” (which has the semitones veourring befween the Sd aod th, and 7th and 8th) to raise tho 7th sound by using a sharp. . ‘st par 3a, = anton. = ee ee ae eet = —-s a poe ae eT 8 By continding this process the following results will be obtained, and the diflerent signatures established:10 From the natural scale, and talking its Jomer tetrachord to form the upper tetrachord of a new scale the following will be produced: Nore.—Tormake the examples clearer the descending onler ofthe sale a given, starting from the Bra (octave) of the frst, or keynote, ure For convenienco it is usual to place the sharps or flats ) theory requires that it be written sometimes as a sharp, and nocess stave, iuimediately after the clef sign, taking eare that they appear in their regular order, as developed from the original uuatural scale; When so placed they are called Key Signatures. ‘THE CHROMATIC SCALE. 26. THE Cueowaric Soate is formed of twelve semitones, alternately major and minor. The name is derived from the fact that the intermediate tones of the diatonle seale were formerly, written in colors, ‘Tho ascending scale is written with sharps and the desoend- lng soale with flats to show that the same semitone can be ‘watton two ways, and though producing the saine sound, yet sary to. the soale or key at the commencement of the | agaln'as a flat. ‘THE CHROMATIC SCALE, Ascending by Sharps, EGOF INTERVALS. ‘27. Ax Ixrunvat is the difference, or distance between two sounds. ‘The smallest interval employed in written rusio is a Semmitone, A semitone is called chromatic when it retains its ‘name and degree upon the staff,—as C, Of sand diatonic when itehanges its name and degree,—as'C, D2. There are two u the one by counting the degrees ways of reckoning intervals ; ‘upwards, and the other, ‘pon the staff from the lower noto ‘counting the number of semitones, "Taterfals were formerly reckoned beyond the nintb, but now tho terms tenth, eleventh, fwzelth ke, ate discontinued, for they fre a repetition of the former sounds and therefore named ator | the corresponding intervals within the ootave, INTERVALS. ih shy Osa ay “Thy ahs Ty == F ———| SSS SSS ts to i nt 9 eras to or ny gar of cote Is egal empyema, Tis re «LEE Don ot gu mtr tre ote cs | eyed the eet of tae fol, (bien i nttaly 10 interval, it Is called unison. Tutervals aro classified as consonances and dissonances ac- cording to the effect produced upon the ear. "Tho inversion of an interval changes its numeric name: for example, A, to 6, is third, but reversed, ©, to A, is a sixth. Deducting the nember of any interval from "9, the remainder will be the number of its inversiod ; thus, A’to C is a third + Ueduet 3 froun 9, the remalader Is 6, abd the inverted third: 1s therefore a sixth. By raising or lowering, intervals become Minor, Augmented, or Diminished. Augmented, and diminished intervals are dis- Sonant, also the intervals of ‘the second, the seventh, and the pint. "AI dissonant intervals bave a tendenoy to move until they fod a consonant interval, and this conclusion is termed its natural resolution. Perfect intervals when inverted remain perfect, but major sntervals (excepting the 8th, St, and 4th,) become minor, and minor intervals inverted become major; augmented intervals come diminished, and diminished intervals become aug. rented. CHORDS. 28, A Chord is a combination of three or more tones accords sng to certain laws, to bo sounded together as one tone: —and buch arrangement is called * harmony. ‘Toro notes 60 written form an interval,—not a chord. “Tus Comox Conn consists of three tones,—a fudamental tone, with ite third and fit intervals. SS) g me conn hs apein o sina e cig oe he wet, ah ri la era Seat en pee crane ton idee nara te wana + Aa the channctr end teope of tie work Init to but g rlet mention the sphosaot and eeeslaa oh naar eta Heese ee ecpectalfdovouad to th eubgeet,to waay of wt ° RESINS Sb cha proatable, he autoer would recommend, ox 4 EnpBiaot were Darker Monual of Harmony,” ‘suggests to the ear) or its relative minor. ‘fae Cnonp oF Tun DIANIsiteD Sevan is founded on the soventh degree of the minor scale: ir consists of a fundamental ‘tove, minor third, diminished fifth, and diminished Seventh, "A dominant. seventh becomes’ a diminished seventh by « sharping” (raising one semitone) its fundamental, “Tae CxoRD oF Te NINTH, may be major or minor, aud ts formed by adding another thifd tothe seventh, Chords do not always appear {in one form, or in close position, bat the notes ‘mag be arranged in various ways, elther by dupiication, abore fr below ; omission of a note or hotes, or by loversion, when they receive now names. Moe cxpnen edna Bninibed afr Ne SE REEL pimenet, onion. Soest Bova Mae PSS neLE THE NATURAL. 29. A Sharp (%) placed before a note has the effect to raise such note one semitone. ‘A Flat (2) sitllarly placed lowers a note one semitone. ‘A Nataral ( stores a uote, toat has been affecblby 8 sharp of flat to Its original sound, ‘ACCIDENTATS, are sharps or flats occurring in a piece and not belonging to the signature, Their inthnence lasts througout the measure where found. : - ‘A DOUBLE SHARP (x oF $4) raises ‘a note already sharp another semitone, Itis contradicted by a nataral and sbarp, thus, o%, ‘A Double Flat (pp) lowora a noto already flat another semi. tone, and is eontradioted by a natural and fat, thas, ty. KEYS. THE SIGNATURE. 30, Suanrs or Fats plazed at the beginning of a piece form what is ealled the Signature; they affect all notes of corres ponding names throughout the plece, and indicate the key ia ‘hich the piece is written. OPPOSITE SIGNATURES. 81. Pleoss commencing and ending with the sume chord but havlog different Signatures are sald to have apposite signatures. For esarople, thres sharps and four flats, are opposite signa: thures, for they both denote a key bearlag’the same letter, but jn one of them it {8 flat, and in the otber it is not. ‘Tho differ. fence between the dumber of sharps and seven gives the Opposite elgnatare : for examiple, the opposite signature to one sharp, is ste flats; to two sharps, is,five flats; to Jour flats, ree sharps; &. .12 . ‘THE DIFFERENT KEYS WITH THEIR SIGNATURES, 432, In major keys with sharps the key-note Is always the Somitone above tho last sharp written in the signature, Tn iajor Keys with flats the Key-note i the last flat but one written in the slgoatare, ‘The minor scales have their Key-notes a third below the 1ajor seales of corresponding signatures, Tho key Of, a8 will be seen, has soven sharps in its scal, and the key DY has only five flats, but on the keyboard of the Piauoforte tho notes played for both seales would be identical For convenience the key signature D? is frequently pat in the place of Og. A like change is frequently made from the key signature Op, with seven flats to the key B, with five sharps, A similar substitution of key signatures is frequently made to obviate the use of large numbers of sharps or flats, and such changes are called Enharmonic, 33, ‘MAJOR KEYS WITH SHARPS, Cc G D A » E = SS eee TIVE MINOR oF I = ‘MAJOR KEYS WITH FLATS, F Bb ED Ab DD a cb l& =) os D es ‘The scales have been omitted from this work as unneces- sarily ocoupying space ; their chiof usefulvess (owing to Peoullarities of the instrument) consisting in the locatiug of Single notes, and otherwiso of but little service as practice ; ‘and it is believed that their omission will be the better sup- lied by the various practical seale and other exercises Soatained in this work, aod to be found in the pieces, all of which having been carefully and especially composed aud farrauged for ithat purpose by the author. Howover, the earner should become thoroughly familiar with the various signatures, and, taking the established key of the Banjo as “a standard, compare their differences (in sharps or flats) with it For example, we will take the key of G—one sharp form: sng the signature, In the standard key of, the banjo (A,) the Fs, Gs, and Gs, establish the key by being sharped notes, In the key of G, ovly the Fs aro sbarped notes, therefore the Os and Gs must be played natural ot one semitone lower tan in the standard key of A. Again. Taking the key of F, (ove flat signature.) there being no sharps in the siguature, the Fs, Cs, and Gs must all be played natural (one somitone lower thau in the stand: ard Key,) and B (tbe flat note) wherever found upoa the fingerboard, must be fitted, ie, stopped one semitone lower, - By this practical system of reasoning the learner will be able to comprehend all the Keys and seales, and a reference to the fingerboard will supply all farther information.13 ‘TRANSPOSITION. ‘94, A pleco is sald to bo transposed whon it is removed from one key to another, fe. written or played at a bigher or tower piteh. Musio written for otber instruments ean, when desirable, be chauged, by trausposition, to keys favorable to the eapacitioe of the Banjo, and thereby become more easy of adaptation. The general rule for transposition is as follows:— Ascertain the key of tho pleco as written, and theo, having desided upon a key into which it is desired to remove the piece, write each note as many degrees higher or lower as the nev, key. note is higher or lower than the original key. EXAMPLE, ‘MELODY IN THE KEY OF ©, HOW. TO HOLD THE BANJO. 85, The manner of holding the Banjo is certainly of great Importance. ‘The performer—lady or gentleman—should sit in an easy Dat upright position and with both fect upon the floor ; the instrument resting on tho front of tho right thigh, with tho finger-board extonding transversely to the left aud, which should be sufiiently elevated to reosive and retain it at apolnt nearly on a level with the shoulder line, and inclined forward to such an extedt that the performer may just see the line of ihe frets; the upper rim placed against the breast, at a sull- cient inclination to obtain a restful position for the instrument. ‘Through carelessness the habit is often acquired of placing the banjo in the centre of the lap, with the weight resting agaanst the left thiga. This, for various reasons, should be guarded against for even admitting that such a position confurms in some respects to the manner of holding the Guitar, and that many of the rules governing that instrament apply as wel to the banjo, yet tbe manner of bolding the Guitar is measurably nocoasitated by ita outline and general proportions, whereas the banjo Is quite unlike iin shape — fas an individuality ofits own—and, to Sbat extent at least, must be controled by rules conforming with its especial requirements, or necessitated by.ite eonstruc- tion, i ‘With the banjo resting in the centro of the lap, the fluger- board will naturally extend upward and backward, causing an awkward elevation of the shoulder and a constrained postion of the left arm when playing, thar will prevent the hand from moving easily and quickly upon the finger-board, and charac: terize the playing by an ungraceful and spaamodio style of setion, Further, the support for the right fore.arm being carried so far forward, either the wrist will be allowed to press upon the drum, or, what is about equally as objectionable, the little finger (and, with some the third floger also) will rest upon it {in order t6 support tive band, thereby tending to constrain and enfeeble the execution. POSITION OF THE LEFT HAND AND ARM, 36, Having placed the Banjo as directod, the elbow should be suficiently elevated to admit of a very alight curving of the forearm and wrist. ‘The neck should bo beld “ well in” the fork of the hand formed by the thumb and forefinger, with the thumb placed near, or a little In advance (above) of the first fret, and extending about at a right angie with the line of the finger-board. In the general assuming, and execution of the vatious post tious it will become necessary to draw the thumb more of loss to the back or lower side of the neck, that the fingers may be the more easily extended, but with the exception of holdiog ‘the barré, it retains its general direction, Slanting the thumb to the nut should be avoided, as it aot only shortens tho “reach” from the natural position, but tends to disatrange the position of the arm by allowing it to drop too low ; the fiogers will loose their curve, aud, in exeeutivn, the tendeuey will be to bend the wrist unnecessarily, (thereby weakening its power,) and advance the hand and arm ia aa ‘engraceful manner. ‘The wrist should always remalo back of the neck, and «ne palm of thy band 0 held that the performer can seo ato it at, all times,—as itis never required to be pressed agalnst the nee for the “fork,” when properly controlled, will be found a more ‘cons aufent and desirable support.14 ‘The flagers should be held in a curved manner, approaching or over the strings, which, they should press, when required, ‘with quickness and foree, in order to obtain a pure and clear tone, ‘The elbow should not be turned violently outward or upward at difficult passages, av a bigh degree of steadiness, smooth ness and grace in the action of the elbow and wrist oan be ‘equired by careful aud methodical practice, and the control of the fingers. ‘A graceful performer will not use the thumb for stopping the 4th string, a8 it requires the elbow and wrist to be thrown upward, a sbragging of the shoulder, aud the fingers to be ‘drawn from their position over the finger-board, all of which ‘must be reestablished before proceeding with the piece, ‘THE RIGHT HAND. BANJO STYLE. ‘97, The Banjo is played in two different ways ;j— the one the « Banjo” and the otter the “ Guitar” style of exeention. ‘The, “Banjo” style is the most effective in giving expression to the ‘peculiar quality and ebaracteristies of true Banjo music; also jn the rendering of Marches, Quicksteps, ete, particularly when accompanied by other instruments, an orchestra, ete. ‘The right fore-arm should rest lightly just above the tail piece, and the wrist should be curved downward and outward sulliclently to enable the performer to strike the strings nearly at aright angle with the dram ; the thumb is separated from ‘the fingers, and extended ; Ita action is principally from tho second joint, in connection with a part turning of the entire hand. When the angle of action is very oblique, the execution veil be more laborious, and the lability of striking the wrong sitiag — the next above — increased. ‘Only the iirst finger and thumb are used. Partly close the hhond until the little flager Just toucies the palm, and in this position press the fingers closely together, thereby forming a ‘support for the tirst finger. ‘The strings must be vibrated either by striking them with the first finger nall,— carrying the band quickly to the strings,— or by pulling them with the ond (side) of the thumb, as above directed. ‘There are but two really fundamental principles or move- ments governing the action of the right band in this style, and ‘exceptions or deviations that way occur in the course of ex- cution are not deemed of sufficient importanoe to now require ‘special deseription, as, in the majority of eases, they will be found, reducible to one or the other of the two movements, (Soe “rR Root,” “Sliding Triplets,” and further explanations.) ‘38. To execute the frst (or “ Comsrramion” ) movement, close the band as divested, and, carrying it quiokly to the strings, strike, with the first finger, the string required, at the same time placing the thumb, é anticipation, on the string that is to produce the following tone; thea, while raising the hhand, vibrate, with the thumb, the string upon which it was placed, accompanying the action with a slight turning —out- ward aod upward— of the band in restoriug it to is original position. 39, In exeouting tho second (or “ HannteR”) movement, the first iloger only, is required to strike the strings, the thumb ‘ting 88 a support or brace. ‘The general action of the hand conforms measurably to the above directions, except in withdrawing after having struck @ string it is not turned. The fiogers are drawn moro closely {nto the hand, and the thumb— instead of being held apart—is lowered and pressed firmly against the closed fore finger at tbe first Joint ; not extended over, nor drawa far down within the toger, but placed just whore a sensation of firmness may be realized agatust tho ball of the finger, and forming a support or brace suflcient to prevent the finger tip from slelding when brought in contaot with « string, an exception will be stated forther on.) ‘The not of striking resembles the movement of a hammer, and should be clearly defined. ‘Tho hand should be stoadily controlled, and short in tis reaction from the string, toat the movement may be repeated quickly when required. The per- fection of this movement isnot so much dependent upon length of stroke, velocity, or strength, as firmness aud directness. For the more speedy attainment of perfection in execution, the author would atrongly urge the frequent practice of theexer~ elses (pleces as well) in both the “Banjo” and the « Guitar” styles, with the arm raizod three or four inches from tho rim; ‘ot that this shoul or will become a fixed habit, but—by freruising the entire arm as well— tending to a bigher degree fof accuracy, force, and celerity, and a more independent and graceful style of actions THE RIGHT HAND. GUITAR STYLE. 40, The right foro-arin should rest upon the edgo of the rim im an easy manner,—a little higher than in the banjo style, and extend only far enough to permit the fingers to reach the strings. ‘The fingers should be held partly curved and separated. ‘The elbow should be separated from the side, and the wrist arched ‘outward to sustain the hand, whlch should be held in an easy manner, and fa line with the forearm. ‘The Bogers in action aro drawn in a natural manner towatd the palm of the hand: the striogs should not be lifted or pulled up, but drawn ob- Jiquely ; the taumb fs extended, and should not pass under or within the fore-fiuger. In tho execution of eome peculiar passage, t may be desir- able to — temporarily — support the hand by resting the little finger upon the drum, butrin general practice this tondenoy shonid be avolded for reasons before mentioned, and further- ‘more, that it is opposed by many Guitar Authorities ECONOMY OF EFFORTS IN EXECUTION. 41, Surperduous efforts or movements of the fingers tend to complicate aud retard execution; from which may be de- duced the following :— Brery effort should be timely, defiuite, and made to accom- plish a direct, eertain, purpose, and therefore the observance Of economy of efforts,— making only Just so mauy as may be necessary 10 effect the purpose—muat vend to perfection of execution. Delaying to place a floger upon a string until the ‘instant of sounding it, will often affect or retard exeoution,A methodical and close system of manipulation for the right and any bo acqued by tbe obsrvance-and padtce of weat te autibe tos" indpadion®=ihe plasng of une. Hloyed Mgr upon striag in ddvancey of blur ela required Teo eound rtp aniapating ts otto bo unde 90 that eiog a8d esachiog forthe nos a support forte Algor ot Agar Suction uot tat ths rus tobe ineuiably dngarvode ase woul, af nos, bo found fo obstruct tho fax fering oF to abruply slap a mibraion-—nor wil such become Se blbatlon fod prctlng te exorcees given tn. tia Work, but fe wi be foubd that tho action of the Angers will ‘conform naturally to the rule whenever practi- Sableand quite upcogslously to the. performer, if) wile fractldog. the band is given foedow, ‘and nt redtained Epreodog uo tede tnger upon the drs; asin which ese the Had fading ample euppore by tat meas, wil sea no ofuer Ae ab loson of ts prineptoin tbe reduction of ebres, ot ovement spouse ts tr eoud ni od bags Bre tobe stundea inthe onder named” With the Hie ager Sepport te gers wil bo held oer tho stings, ad il each seblrael apron and aw fe feapecive sing Us ak {exitee movtmons foreach ov © total of ht, Bemove tho fbpore fom the tm ad the atara inelinaion wil be to sep the tba, tet and second fingers upon tho three tsngs ah dbce or above mavementy to tie ten draws the ied stag cond ovement) od fe fnmedntelyplaced-io at tipaoescopou tbe Afr etog (ira movement;) the fst it seoond Mayors draw (belt respective etsings (oarth and Ath movemowo) and ho thuab dens toe Mth stng, makiog a total of siz movements, during which the fingers acled as sup- for until ail were romived. "‘Oluerexaupes coud bo given Sowing five os against eight ovement, and, a from Tong steer ston ia peers boon sou to proval general is eafo to aseert that the observanes of the rule of “Anticipation,” | ~ ‘will average in general, a saving in movements of about one: third. FINGER GYMNASTICS, 42, “The gymnast exercises bis limbs through preparatory oxereiaes : how, therefore, is it possible for the player of the plano ‘or violin (banjo may bo included, the author) to dispense ‘with this gymnastic proparation of the joints aud lagers ?— Professor Rector V. Smith, President of the Royal iu Tn the ordinary occupations of life the muscles and tendons af the fingers ave extremely Iitile exercised, and it has been jonad that unless the tight tigaments and skin folds éutersecting ‘he hand transversely be properly exercised they remain firm and stif, and for this reason, impede the movements of the ‘muscles; while, on the contrary, the training, or stretching of| the transversal ligaments produces a remarkable influence on the movability of the fingers and the hand,¢aclltates the work of he muscles, and imparts to thom freedom, steadiness, and precision, ‘Believing that the importance of exercises tending to loosen the transversal ligaments, and strengthen all the muscles of the fiogers, hand, and forearm, will bo readily admitted, the author would auggest the following manner of exercise as calculated to assist greatly in imparting to the muscles far {greater strength and easo than effected by the continued quick. movement of the fingers alone on the instruments 43, POSITION PRACTICE, LEFT HAND. 1. Hold the banjo as directed, and take—for example—the Ast’ or natural position. Alternately press and relax the fingers, without, however, removing them entirely from the sirings,—the whllo holding the forearm aud wrist quite steady ‘and firm, Repeat: vigorously ten times,—or more. 2, While firmly holding the position, move the wrist and arm vigorously in various directions Vaty thes exercses by boldng the diernt postions on the fingerboard, The fingers being thus exereised while 15 separated and placed at the proper distances will in execution be found to aot quickly and with precision. ‘In concluding this subject the author would advise the learner to arrange other exercises whereby the various muscles ‘will be sufficlontly brought into exereise and activity. HOW TO PRACTICE. 44, Generally speaking too Uttle importance Is attached to tho subject of practice, and consequently much time is wasted. Practice, to be efficient must be upoa a good principle, com: dining method with diligence, otherwiso bad habits will be acquired, and errors become ‘confirmed and rendered wore ‘ditfoult to conquer. Ibis therefore very essential that the learner should recieve proper instruction from the very ‘commencement. . Patience and perseverance in thoroughly understandion and playing the elementary exercises cannot be too strongly imme essed on the learner's mind, a8 upon these will depead all future progress. Tf there are but two notes to be played, still those two notes ‘must be well done, and therefore they sould be repeated antil it bas become habitual to do them weil. Neter pass a mistake, but, at once, récominence the prssaze or movement and play It’ over and over again until it is mastered. Prctioo slowly at fst an wen tho passage Is deve cor rectly, inerense the rapidity to the desired dezree. ‘Much time will be saved by selecting and practicing the Aiffloutt pointe of a plece separately; also by practicing a piece {n small portions,—Joicing the Jortions as fast as mastered. ‘THE TUNING OF THE BANJO. 45, fo measuro by the eat the many divisions or distiuctions of which toves aro susceptable, or dectde when two sounds are {2 unison (eameness of pitch of degree) fs an art to be acquired ‘aly by eareful observation and, practice. “However, tho fol- owing directions will assist the learner. The dth stxiog Is tuned to the tone produced by an A tuoing fork, pitoh pipe, or piso. Placing a fuger on the 4th string St Ge seventh fret wil give the tone E, 10 which the 3d string Must be tuned. Then place a finger oo the a string at the {Barth fret whe will give the tone Gf, fo which the 24 string aust be tuned. ‘Then place a fuger oa the 2d string at the Waird fret; which will give the tone B, to Which the Ist striog thust be tuied, ‘Then place @ Roger on the Ist string at the ‘nh fret, giving tho tove , to whieh the sth (shore) sting must be'tined ‘TEST OF TUNING. ‘the Sth string is the distance of one octave above the al string. Placing a fnger on the 4th string at the socond fret, gives the ootave below of the ist string. Placing a finger ov the 2d string at the first fret gives the ootave above of the Ati. string. 48, THE PROOESS OF TUNING ILLUSTRATED. euseng Singin A Stog,_nsrag “ire RT eRe NT OLS = Se. 3 Nagle of non son ota es omy Serer Bats Wet, which however i ot wel to Tepresent Banjo nis ed 0G, th Airing to Gian onsave above the 816 ‘THE BANJO IN TUNE.” usicng, asin Sng. Sng (== Ba == “Se SIGNS FOR THE FINGERING. 47, An “open” stcing is the natural string extending from the Bridge to tho Nut; it becomes *closed,” or “stopped,” FEhon presodfrniy upon the flogerboard hy a Hngor of the ‘The fingering is indioated by figures written above or below the note as folom LEFT HAND. An opea sting by ‘Moder, ot Brat ‘Moo second Hager «. Tho fhind Roger «12. ‘Toe fourth (ie ager. RIGHT HAND, Witten below the Notes ‘he thumd by. ‘he tndex or hist Ages ‘he seoond anger. he third Hoge =. ‘he fourth Singers ‘Writton above the Notes, wien ret In “he author's former works on the banjo, the fit (short) string is distinguished by being written with a double stem, the upper one resembling a sixteenth pote, but as this resem: blanee has, at times, been found to mislead, he bas deemed it advisable fo adopt, ja this work, the ign x,” placed above the note required to be made on that sttlog ; when written below itt indicates the action of the thumb on some string other than ‘the fifth, THE THUMB. Tho thumb Js a very important member, and, to a great extent, controls the reingining fingers; often as a' sapport for them when fa action, and, by anticipation in loeation, tending greatly to the aequirement of close and certain tecnique, N. B, Wheu the sign x i placed just below the frst line (D), it bélongs to the regular flogering j if upon any other space, or ne, it shows where the thumd must be placed in anticipation, or, for a support. - GENERAL RULES GOVERNING RIGHT HAND FINGERING. (GUITAR STYLE) 48. Tho following rules are for general observance, alebough subject to exsoptions, which will, however, be readily -per- celved, where they may be found. ‘When placing the thumb upon the third string, placo at the same time, the rst and second flogers upon tae second and first strings. With the thumb upon the fourth’ strldg, place, at'the same time the first, second and third flagers upon the three strings, Chords of five notes are often ‘more effectively played by employing the five fingers, the first floger upon the fourth string. i The thumb never plays the first string, and rarely extends to the second, except in the tremolo, or wien sounding melody notes, ‘Tho first floger is not employed on the first string except ia ‘tremolo, or the following rule -— ‘A suocession of single notes oceuring on one string—with or without aa accompanying bass—are played with the first and second lingers alteraately, and often with the thted finger added. RELATION OF THE STRINGS AS INTERVALS. 49, Tho fouith ad third strings (A, B), form the sgterval of a porfeet fifth; the third and vocond sttings, (2, ai), the im tetval of a major third ; second and first strings, (@ Bl the interval of a minor third; the frst and fifth strings, (BH) the interval of fourth; the third and fifth strings an octavo; tho fourth aud fist siriogs a major ninth, and the fourth and seoond stogea major soventh, "Tho oataves of the open strings are found at tho 12th fret. ‘Ootaves ou tho fourth and first strings are obtained by stop- ping the fourth string two frets bove ; oa the fourth and second cigs by wopplag the Second sing ons fut above. Ootares fon the third aud first stings are separated by five frets Unigons on the second and first strings are separated by three frets; on the third and second strings by four fre, and ‘on tho fourdh aud third strings by seven frets, ‘The ith string produces unisons with the frst string, when ‘beth aro stopped at the same fret. 1X. B. When two notes which usually are found on the same string are to be eounded together, Hold the upper one at its Tegular place, and the lower on the next string. ‘MISCELLANEOUS FINGERING. LEFT HAND MOVEMENTS. ‘THE PULL, THE SLUR, THE SLIDE. 50, The left hand may frequently relieve the right by pulling, and thereby sounding astring, ‘The movements called a * pull,® ‘and js indicated by a half circle drawa under the lett band floger siga, thus, 1 2, de, the figure indicating the Singer required to pull the striag, ‘The hand and remaioing flogers should be held as steadily as possible, aud the foger drawn forcibly, pulling the string a litte to one side, When two or more notes occurring on the same string, are to, be. pulled ja succession, the flogers required must all be placed upon the string at the same time, avd, in pulling, the Huger holding the next lower note must retain it firmly the proper length of time. 51, Tae SweEP PuUL is executed by the little fuger, when, —wiile holding a position with other flogers—it is drawn vig. ‘orously across the strings. 52, Tas Suve is indleated by a curved line Joluing the left and finger signs, 1—~2 ; the rst note Is gonoraily struck, aud the slurred pote produced by foreibly dropping the propet flager of the left hand — with @ hamoier woveweut—upon the string at tho required fret, by which effort the desired tone js obtained. ‘Tho sur often follows the pull, (See Tril), aud ‘the slide, ‘The first slur ean bo followed by others with the remaining agers without again striking the string. 453. Tare Yroraiow Stuns exeouted by forelbly and quickly ropping a Anger of the lee hand upou a string a te proper fret, and, by this lflort alone, causing it to give the desited tov6. -Stald passages may bo performed by combiving the dif ferent slurs and occasionally siting a note, 64, THE SIDE fs indicated by a straight line counecting the left hand finger signs. Stop the string as required, and after striking to produce the first tone, slide the flnger—retaining Io firmly upon tho string—to the fret whore the second ote is to be found, thereby “carrying” tho tone, To obtain a better position of the fingers for the movement following tho finish Of the slide, it may be terminated with some other Huger by holding it closely against the sliding fluger. Often an ascend ing slide is effectively terminated by a slur. All the above movoments (excepting the sweep pully may be doubled, 1.6, executed upon two strings with as many fingersRIGHT HAND MOVEMENTS. IN BOTH STYLES OF EXECUTION. 55, TaE Rout, fo the Banjo stpl, is Indieated by a waved “106, nae dram’ below the notes. Tt often partakes of the character of an embellishment, anil is very effective tn both styles of playing. In the # Banjo” siyle it executed as fol. lows :—It commences with the “combination” movement. of the third aod fh strogs. Stice the third striog and, with out raising the hand, push tho frst lager (nal) cross the sec. ond and frst strings, sounding them follow with the sith string ‘while raising the band, deus completing the combination, When the fourth string is added, i is struck after the waoaer of a ‘race note, tho fozer, with the eame effort sliding to the third string, the effect being’a neariysimaltaneous soundiag of both Strings. Tho two potes are writin on one stom, As an om. bollsbinent it prevedes a principal nota which recioves a strong accent. Triplets to be played in this manner are Indieated. by the eaino sign. ‘Tho Rollin the “ Guitar” style requires no par. oular description, as fe cooforms to the regular Augering, and will bg readily recognized. ‘50, Taz Daox, Clambour,) ts indieated by a Capital D, over the notes, and is produced by raising the arm from to rita aud striking the striogs near toe bridge, withthe side of she tbamb, allowing it to fall at fall lenge upoo thems, when ft Is. quickly Tithdramn, Tois movement 1s effectively. introduced in Marches, Fandangos, ets. 57. Taz DRUM TREMOLO Is a fino effect resembling to a do- gree the Tambour, the arn being aso heldia the saroe manner, Dat whieh, perhaps might more propery, be classified as a tremolo, Itis executed as follows:—Bxtend the fingers, press- lng theto firmly together and facing the strings; then, while holding tho hand, weist, and fore-arm quite Tigi, strfko the siringa as rapidly as possible for the required tinie, ‘The ab- Dreviation " treti." abore the chords indicates this. movement, 48. Tae Rasoanbo (Soratehiog, or raking the stings) is ioe dicated by the abbreviation Ras" above the notes, and ts per. formed by closing the fingers ightly to the palm of the hand, holding the closed. band facing tho stings, and, commennicg ‘with the little fioger, throwing them open successive, raking the strings by this backward motion. 49. CHE TREMOLO, is Indicated by the abbreviation “trem.” ‘writtan above the notes. Hiv THE BAXO STYLB, ib consists in tho rapid reiteration, alverontaly, of tito votes found oa diffrent strings ; commene: fem Ww {ing generally with the upper, and terminating upon the lower note, It is merely the combination movernent rapidiy exe- cuted, and may combineanytwo strings. ‘Thoforearm isgeueral- \praiged from tho rim, and held constrained toadegree sufleiont to admit ofa tremalous movement being sustained by the band, 60. IN Tae Gurran SrrLe, the tremolo fs produced by the rapld reiteration of oxe nota upon a single string, although It ay bo extended to embrace two eontignous strings, ‘The fore-arm rests upon the rim, and the hand is supported by plac- {ng the second fioger (often tho thled also) upou the dram; the wrist {s arched outwani, drawing up the hollow of the hand soficiontiy to admit of extending the forefioger and thumb and the placiog of their tips upon the strings. The lower notes are played with the thumb, while the forefoger produces the tremolo by being moved rapidly forward and back- ‘ward across the string, with suflelent force to cause a vibration both ways. At the commencement, the foretioger and thumb are placed upon their respective striags and are dravn towards each other, producing simultaneously too toves ; the lager con- tioues the éremolo while the thumb is held above the strings ‘until required to somnd another note, when tt Is replaced upon astriog and the action repeated. ‘The movement of tho fore floger is oblique and inward ; the thuind is held suflclentiy ad ‘vanced to avoid the finger,and movesas if to form across with it, "These aro general directions for acquiring this movement Afterwards it can be varied in many ways t0 suit caprice or requirement, and with or without supporting the band. —Itmay. be played in'the charactor of triplets, tho thumb sounding the . first note, and the finger, with a forward and back movement, the two following. ‘This, however, s a departure to some ex: tent from the general directions, ia that the thumb and floger ‘ct independantiy of each other at the commenoement. 61, When itis desired to produce the tremolo on the fourth or fifth strings, it fs played with the tiumb, In playing chonis the forefinger “controls the two upper, and the thumb the lower ontes hon tho thomb plays single bass notes, the tremolo on two, or three strings may be sustained swith Separate fingers on euch, in which case the fingers are held closely together at their tips, andthe hand is supported by the fore-arm resting upon the rim, 62, The tremolo notes have their stems tumed up. Trem- lo chords will bo written as in the example, that they may be distinguished from the tremolo movement before explained. (Geo * The Drom.”) ‘Groups of tremolo chords, or single notes may be abbreviated in the writing by email dashes, aocording to tho value of the - tremolo notes, as shown in the following illustration.POSITIONS. THE BARRE. 63. Tho term “Position,” relates to the arrangement of the fingers of the left band, when stopping the strings. A position receives its name from the fret at which the lowest note (in pitch) of the chords held, without regard to the location of the Femaining fingers, which, therefore, may be employed in various ways. , ‘Thoterm “Bannd” designates a particular way of holding & position, It is formed by pressing a tloger (generally the first Roross the entire finger-board at avy fret. Tm action may bo ‘Siowed a3 establishing, for the time, an instramert of a bigher pitsh, or shortened to'che extent indicated by the number of Frets distant from the “ Nut” at which it may bs placad,— the tinge, 80 10 speak, forming a new “Nat” Taking this view, all the changes—the attendant harmonies, major and wlaor of the new ley tious established; the dooinant and dimivished sevenths, ete, can be readily formed by observing, relatively, ‘tho same distance from the new nut (the barré) required for similar changes or modulations when made with the full banjo, for fixed nut. The above describes the “ open barré,” and when resting but two, or three strings retains Its name, 64, ‘Tax Fou, on Close Banné is formed by bolding the open barré and stopping, at the same timo, the second and first strings at the frst and sécond froia, holdidg a chord relatively’ fthe same as found at the “Natural” or first position at the nut Ix Hotpixo 728 Bans tho thumb drops lower down and presses against the bac: of the neck, while the elbow is carried farther from the side. ‘Upon the Middle finger-board (above the th fret) tbe second tnd thind fingers may generally be employed in holding the fall barré, and other positions may be held without releasing the barré, but lower (toward the al), owing to the greater disianco botween the frets, it becomes difficult to do so without an awkward extension and straightening of the flogers, and an lungracefal curving of the wrist and. arm, eousequeatly tbe position is frequently held wit te third aod fourth finger. ‘MISCELLANEOUS INFORMATION RELATING TO THE BARRE. 65, Both barrés produce major chords. ‘The open barté bolds a chord of whieh the 8rd string gives tao fundamental or tonic (coy note). With the closed. basré tho fourth string becomes the ton, and the second’ string its octave. ‘Toe open barré produces the dominant chord of the closed ‘parr aut becomes the dotainant soventh by stopping tae first siting three frets above, where, by stopplog the third strlog One fret above, itis converted into a diminished seventh. ‘Tbe fith of the clbrd (an octave lower) is on the fourth sting two frets atiore. ‘Closed barré chords are changed to minor chords of the same name by stopping the rst stalug ono fret (one semitone) tomer, ‘Open barré chords are changed to minor chords by stopping the second string one fret (cemitone) lower, which necessitates taluing a postion other than the barsé. ‘The relative minor of the closed barr6 (rom and above the thind ep will be found threo frets (a mlnor third) below, by holding the closed barré ia the minor form, or six trets above by boldiog the second position on the third string. ‘The relative toinor of the open barré will be obtained by holding the miaor form of that elord three frets below, or five frets above,—hoding the closed barré fa the tainor form. "he closed Barr is indicated by a capita: B, and a. nomeral nainlng the fret, and the open barré Dy a sinall b, and a nu- mera. " ‘The Position (other than barr) is indicated by a large nue tmeral and atterisk, thus: 5°. 66, An exeoutant tales a position at once, as a planist strikes a chord, but in the practice, before this facility 1s acquired, the fingers should be placed on in the order of the notes t) be ‘held, from the Towest in pitch [the posit'on wote] upward. EMBELLISHMENTS, THE APPOGGIATORA, THE TORN, THE TRILL, ‘THE MORDENTE, | lst Passing toves are often totroduced to enliven, or embellish ‘2 melody, they, however, form no essential patt of te har- mony. ‘Tae AProgcraroRa {s a passlog note, aod is represontod by a small note preceding one of the regular size. There are tbwo kinus—long, and short ‘Tas Lowa APPoggraTogA borrows one half of the vale of she bebe woh Poe = An Appogglatura placed before a dotted note, takes the value of the note, and the note ls reduced to the value of the dot. Written, if = 2 — ‘Tus Suont Aproaciavuna Is distinguished by having an o0- lique stroke drawn across its stem, thus: (8) It most bo played’ quickly, that it may take but litte of the value of the principle note. ‘Waites, When an Appogulatara is placed before the upper note of a chord, all the notes of the chord, except the upper, inust be Blaged wich the apport, nd the upper ote ainedately ‘Tate DovBLE AProcor7oRa, nearly resembles the turn. Tb consists of tivo small notes plaged belore one principle note,In playing double appogelturas placed before notes having fa bass, the first small note must be played with the bass, tho fothers, including the principal note, following after the manuer ‘af the arpeggio. (See Arpeggio Chords.) 68. Tne TaN is indicated by the siga qm written above the nnte, and consists of four notes with but one—the prinelpal E 4 note written, Tt begins on tho frst note above, extends one note delow, and ‘end on the priveipal note, ‘This is called the direct tura- The fmvorted turn reverses the order by beginning with the note | DIFFERENT WAYS OF WRITING THE TURN. alow the principal note. A small note placed before the pci ot precedes and forms a part of the tara. Ap over the sign signifies that the last (apper) tone is to be made flat, &. Wetton, i eS] Ba 69. Tai Tetut, consists in the rapid reiteration of a note alternately with the semitone or tone above. Commence by sitiking te first nota, and contiou by alternately slurring and ig he ving durg he oof tbonote on slehit cate 0 trill proper is often finisbed with a tar upon the prin- Ifthe tar is placed between two notes, it ends on the | oip.1 note and the next Dolow, and called its resolution. It is second note, If the first note is dotted, the turn ends on the | gonersily played as fast as the trill althongh at times slower = ore eee he ecessenessensoneneneccerercceres xf (a= z\Z zl Fayed Reslation ‘tun Saxe resembles the teil and is made with one finger by firmly stopping a string and shalcing the band, thereby pevducing a tremolo sound. A Double Trill consists of two notes. ‘The Tell wet. Doak item20 When it is desired to commence a trill with the next note above, or below the principal note, such note fs wiltten a8 an sppoggiatare, aod placed before the privelpal note, ten fy 70, THz Monpanr2 fs the shortest kind of trill, belng foraied of two Hotes.. The sign is a, written above. Itis often ‘executed with a strike, slur, and pull. THE TRIPLET AND OTHER IRREGULAR SYNCOPATED NOTES. GROUPS, 72. Syneopation ocours when the usual accent is dsplaced by 171, The Triplet is & group of three notes, usually written | binding unacoonted notes together with acoented notes in such vith figure 9, and a curved line, over or under ity and mest | Manner that the unaocented notes alone are etruck without bo played in the time of two notes ofthe same denomination, | 200%; or commencing a tove on an unascouted beat, and continuing t into the following aooented beat; or in general, a. zs. —_ >. placing the accent on notes that were originally unaccented. rerio Pt Pore rest ® eo f nae ee ‘Tas Qaerorter, marked by the figure 4, comprises four notes oo played iste tine of thes Tes Sextvrues, marked by the tigate; cempiss, ox notes tobe pasedin ibe io of ou, Otte mex-oeraad; bus heakona pales are deemed Bifhiviegt'to givettié’Warner-an idew-of their. general: characte,Placing the accent on notes that were originally unaccented. y A HARMONICS, 73. Harmonie tones are produced by causing a string to vi- borate in seotions, The natural vibration or oscillation of a string describes 2 long oval extending from the nut to the bridge, and if the string, when struck, be lightly touched at one of its aliquot pnrts, the natural vibration becomes broken, ccasioning an “oval” from the point of contact, aud a har- ‘monic tons is the result, The touch must be firm’ but gentle and the fiuger quickly removed. Touching a string at one-half its length (12th fret) will cause it to vibrate in two equal sections ovals) and produce the har- monic octave of the open strings at one-third uf the length (7th fret) there will be three divisions, (ovals) and the 5th of the octave produced ; at one quarter of the length, (6th fret) the double octave, &, Harmonie tones sound an octave higher than written. ‘The harmonies at the 4th fret can be repro- ‘duced at the 9th fret. Donble octaves are found at the 24th fret, and other ehanges above and below. + Tho entire Caromatic ecale may be produced in harmonies 1G the following mauner : Both the natural and barmonie octave of exch open string (excepting the filth, which is at the 18th fret) are found at the 12th Iret.” Theretove, if a striog be stopped at any iret, its ‘octave—natural or barmonic—will be at the 12th fret above ‘at fret. As the left hand must. stop the stiings to produce tbe different tones, it becomes necessary for the right hand to both touch and vibrate the string to produce its barmonte tone, ‘To do this—extend tbo first (or second) toger and lacy its tip lightly on the striug at the 12th fret (from the ‘nut if an open string, or from the fret where the string may be CHROMATIC SCALI stopped) and then—nith the thumb well drawy back under the hand—ribrate the string and quickly raise the finger, when ‘the harmonio tone of that fret will be produced. Harmonte Tones generally used, sah fret, ‘a tet, eh tet, Oph feet, 4 tots az ry Nowe—Vor greater convenience, the Fea ange ae Se ees ne peace By appropriate nombe iE IN HARMONICS. lous wublects mentioned In tbe ind will bs eferod to taroughou! Prose the strings with the left hand as in the ordivary way, and proveed from fret to fret and string to string, while carofully observing to place the.tip of the finger of the righ hand at the twelfth fret from the open, or the stopped note, ‘When required, scales may be played on each string in this manner, ASCENDING BY SHARPS. Fret 12, 18, 14 18, 16,17. 18,18 19, 1A 15, 12, 18, 418 18 14 1. 18, IK 1 19, 20. 21, ae, = - o) = — cS abet t c= pe ae ee = : ee Oe DESCENDING BY FLATS, Prot £2, 21. 20, 19,18 17 16 15, 1419, 12, 14, 18 12,15, 14 181 IIT, 1h 1 Tk a, 8. tbe «be, f=] =E2 = ‘ot go clear and loud as when produced by using both handa eal The barmonie tones showin the. first table above (\ Harmonte tones, getiorallp used”) may be made with tho righ haud in the same manner as directed for the Chromatic Scale, by touching thie strings at the proper divisions, wu: they are22 ACCOMPANIMENT PLAYING. ‘To Banjo may be played in all keys, but, as with other instruments, some keys are more sultablo to it than others, that fs, do not necessitate so many dificult positions. However, in accompaniment playing where it is not required to change positions rapidly, this restriction is greatly lessened, and persons possessing but a moderate sbare of musical talent may, Uy attentively studying and practicing the chords, acquire sufficient skill to enable them to accompany acceptably in the various ess. ‘The principal difficulty encountered at the beginning is to make the voice and aceompaniment move together bariwoul- ously and {n time, yet this may be quite easily nceomplished by practicing in tue following manner,—First become thoroughly fawailiar with @ slinple air, be able fo sing it correctly and tn perfect time, then practice the accompaniment separately until a like fiuniiarity is aequited, after which proceed to Joln the parts, when, ifthe time is strictly observed, they wil with but little effort be made to move together. In musie correctly written the notes of the accompaniment are ptaced directly below those in the melody with which they must be played, This does not imply that an equal number of notes must be written in both parts, or that each note {n the melody bas an aceompaniment note, or vieo versa, bat the notes to be played simultaneously with the melody notes are so placed and thereby more eusily distinguished. ‘The following exercises are given to assist the learner io his first efforts, EXERCISES IN ACCOMPANYING THE VOICE. Pronounce the names of the melody notes in singing, thus, A, B, eta, ‘YoIoEPe voto, (eee = scooeaxninst, ES =e ce HOW TO PRACTICE CHORDS. (Positions.) ‘After becoming familiar with the chords aud positions, very rapid advancement may be made by executing them io “arpegaio,” or broken chords,” (eee « Arpeggio Practice,”) varying the character of the exeroise as observed in accompaoi- ment playing. When practicing positins the fingers should press the strings very firmly ; which will not only fosure fall and clear tones, but by exercising vigorously the many transversal muscles newly brought into netion by the necessary soparation acd extension of the fingers the entire hand and wrist wil be rapidly strengthened, assuring acourady of toucd with celenty of movement, and perfect command over the entire finger board. "tbe right band and arma will be strengthened, and acquire freedom of action by frequently practicing the exercises with the fore arm removed from its support on the tim and the wrist arched outward, (see § 39, and“ Brest Exercises GUInax SrvLe.”) ‘The foro-arta sbould be unrestrained in its action, not laboriously pressing the instrament agalost the breast but resting lightly upon the rim frém which it may be gracefully withdrawn in giving effect to partioalar passages. “POSITIONS” DEFINED. In this work (in conformity with the author's previous works) a position derives Its same from the fret at which its toveest note, in pileh, ts located (S00 § 63), counting invariably from the Nut. Bor example, a position, formed by stoppiag the ad and Ist strings at, respectively, the 1st and 24 frets (A, OB) with the flest and second Angers, would be called a 18% position,” for the reason that the lowest note (A) would be the one stopped at the Ist fret, Sbould this position be taken Telatively upon the same stringe at the 6th apd 7th frets (D, Fg) it would thea be called a 6th position, whotter retained by the first and second, the second and third, or the third and fourth flogers, as the lowest note (D) would be stopped on the 2d string at the 6th fret. ‘The author Is aware that this definition is at varianeo with the ralo observed for the Guitar, viz:—Mthat the number of the fret at which the first floger is placed gives numbes to the Position,”—a rnle doubtless preferable for that fostrament fing to the increased facilities obtainable from its greater number of strings and the broad intervals to which they are tuned establishing a more compreheasive range or compass at any fret, whereas, with the Banjo—when viowod scletifien iy an ostrament of four stthags ¢ the 6th string being limited and but rarely available for stopy’ng) tuned to contracted im-240° tervals making quick and long shifting the rule,—an exception may not seem unwarranted ; especially when it may be further considered that the two Instruments are not beld alike (800 § 35); that when taking a position on the banjo the fiuger re- ‘qulted to stop the lowest note (ia piteh) Is brought nearest to the eye and, consequently, is more easily directed to its proper fret; that many banjos bave neltuer raised nor inlaid frets, the semitones being indicated by inlaid dots placed along the upper edge of the fingerboard, nvarest the bass string; that, as a rule, (see § 66), positions are taken by comaenclug with the lowest note ; that often positions are held without employing the tirst lager, whereas they always must have a lowest note, For these, and other reasons that might be addueed, the author believes that the rule vbserved ia this work will be found the most simple-and direct for nataiug the positions on the Banjo, CHORD FORMULAS APPLICABLE TO ALL THE KEYS. Changing the location of a position does not affect the character of its chord; therefore, positions required to be taken in any key will, when taken relatively in others, produee corresponding changes. A familiarity with this process of trans- postion will greatly simplify accompaniment playing and establish a foundation for the thorough attalument of the art. THE FORMULA ANALYZED. (Seo § 63 and 64), ‘View the “ Nut" as an “ open barré” position wbich, for the purpose of this explanation, retain by placing the foresin gor upon it, stopping” the four strings at A, H, Gi and B, then, with otter fingers, add tue 1st (called natural) position, thos completing a “ full barr and obtaining a position for the chord of A major, having its tonle (fundamental ) on te 4th steing, viz: A, B, A, Cf. If this position is located at any fret upon the fingerboard, a chord of a like character will be obtained and a new key ‘established with is tonic, as before, on the Ath string. In this formula (No. 1) the Tonic chord (full barr6)) is followed by the Sus Doxmovaw7 CeoRD, which will be obtained bv stopping the 3d string ut the second fret, the 24 striog at the first fret, and tho Ist string at the third fret, (oodnting thon the “open barré”—the Not) and forming a 2d Position. This position f takon relatioely to a full barré” located at any ‘fret will produce its Sub Dominant Chord. As the lower octave of this chord cannot be beld with the position, itis obtained fn the 4th string by stopping it at the fifth fret. ‘Tee chord which next follows is termed in Thorough Bass the Oxono oP THE SIXTH AND FouRTE,—$. It is tho Tonle Chord with the fifth of the chord in the bass, and ils position will be the saine taken relatively from a full barré at any fret. ‘The noxt chord is called the Doxtrwawr, and is produced by the “open toues’” (the little barré,—the Nut) of the 3d, 24, and Isbstrings, and like the other chords, may be duplicated at any fret, for the various keys. In the ilastration of the Dowtwayr Saver Con (tho next chord) the 24 and 3d strings are “open” (at the litle berné) and the Ist string stopped at the ad fret. When the fifth of this chord is desired in the bass it is obtained on the 4th string at the secoud fret ‘Toe Formula is completed by returning to the Tonlo Chord Prom this Avalysis may be detived the following Bule: Establish the now Key by taking the full barré at fret onthe 4th string which will give the desired Key note (Tonle) nd form the diferent postions observing relatively the same distances (in frets from the new “nut” (new upen barré) a8 were requited for like changes in tho original formula. Other useful formule of general application and governed by the Principles of tuo above rule will be found in the Mustrations, 408 DIAGRAMS OF THE FINGERBOARD. ILLUSTRATING THE FORMULAS, AND THE POSITIONS OF ALL THE CHORDS BELONGING TO EACH KEY. EXPLANATION, ‘The chords are shown on the staves above oxch line of fingerboards, and each fingerboard illustrates tue chord directly over it upon the stave, The black dots show the frots at whic the strings must bo stopped to producs the chord. Dots placed at the“ Nut Line” indicate the open striogs belouging to the chord, Where two dots appeat on the same string the note neatest to the nut must be played first. The Sth string is shown with a diagram oaly when required for the chord ; it is placed on the left hand side, aud further distinguished by a black head, ‘The sth fret is drawn heavier than the others to aid in counting the frets. ‘The strings are nurabered from right to left.25 FORMULAS ILLUSTRATED « No.1. MAJOR FORMULA. APPLIED AT THE 5th FRET. ‘As above analyzed N.B. Anexception occurs at # caused by the lows of the sts 6 4 = o = fr = f t PF Nut Line. tins Or at + 7 ; f ES | H EH fe 3 | ll No. 2. MAJOR FORMULA. APPLIED AT THE 5th FRET. Established by taking the Dominant chord (little b: n occurs at %# in consequence of the of Formula No.1. for a tonic chord (See 8 63.) loss of the 5th string. su» 6 ‘Tonic. Dominant. Dominant Seventh. ‘Tonte. Dominant Seventh. ; . g q pote at go = $4 ze 5 4 aT =” PF! T Po f r ‘Nut Line. ~ AY fe GY af ig FA. t E a: E + FE i f He BH f f E Hef BS MV MAT FV Mate TNNo. 3. MINOR FORMULA(See @ 05.) APPLIED AT THE 4th FRET. ‘Tonic on the 3d string, 2nd Position. ror FP Nut Line. No. 4. MAJOR FORMULA. APPLIED AT THE 2nd FRET. Ww ~y ~y ‘Nut Line. HTT No. 5. MAJOR FORMULA. APPLIED FROM THE 7th FRET. ‘Nut-Line.“at No. 6. MINOR FORMULA.(See @ 65.) APPLIED AT THE 2nd FRET. : “FF mi Nut Line. No. 7 MINOR FORMULA. APPLIED FROM THE 7th FRET. No. 8 MINOR FORMULA.(See @ 65.) APPLIED FROM THE 6th FRET. oe oH HH 3 “a ~y Nut Line.28 CHORD ARRANGEMENTS. Inthe first arrangements the following progression ix observed;First,the Tonie Second, the Subdominant; Third chord of the Sixth and Fourth; Fourth, the Dominant Seventh; and Fifth, the Tonic. The second arr ements introduce the Diminished Seventh,in the following progres- sion; First, the Tonic; Secona,the Dominant Seventh; Third,the Tonic; Fourth, the Subdominant; Fifth,the Diminished Seventh; Sixth,chord of the Sixth, and Fourthjand Seventh, the Tonic. CHORDS @F A MAJOR. Cc First Arrangement, Second Arrangement. TV TIT CHORDS OF E MAJOR. Hi First Arrangement Second Arrangement. Nut Line. geet?29 CHORDS OF D MAJOR. First arrangement. Second Arrangement. © ‘Nut Line. 1 mil ! CHORDS OF G MAJOR. First Arrangement. Be Second Arrangement. e Nut Line. b reer bower R AT CORO CHORDS OF C MAJOR. First Arrangement. ES Second Arrangement. © Nut Line. or \ CHORDS OF F MAJOR. First Arrangement. p> Second Arrangement. Nut Line. or yb TETa0 ACCOMPANIMENT PRACTICE ON THE MIDDLE FINGERBOARD. Amajor, the'Standard’ Key of the Banjo. ‘Nut Line. Feninon. The velative minor of A major. ‘NutLine. ‘Nut Line.aL C4 minor, the relative minor of E major. e Nut Line. D major. © Nut Line. B minor the relative minor of D major. ‘Nut Line. ogg 12az © major. Nut Line. E minor, the relative minor of G major. Nut Line. € major. BiersA minor, the relative mitor of € major. 4 oe z ‘Nut Line. F major. Nut Line. ily D minor, the relative minor of F major. Nut Line. paszaiz‘CADENCES IN THE DIFFERENT MAJOR KEYS, WITH MODULATIONS TO THEIR DOMINANTS, AND RELATIVE MINORS. Cadence in E major. Modulation to B major. Modulation to C# minor. | poy} —— Ss SS es r ‘Nut Line. Cadence in A major. Modulation to E major. Modulation to F# minor. - || ; _ —s $s a3 ~ = = f ¥. f r T T a) “ ‘Nut Line. 3a seszettCadence in D major. Modulation to A major. Modulation to B minor == r Nut Line. Modulation to E minor. d Cadence in G major. Modulation to D major. e ‘Nut Line.Cadence in © major. Modulation to G major. Modulation to A mi dS es Sats Cop ap ape er PR Prt fe Re | mE BH: HEAR REE ae He feet OEE BRR AE | a BH FR) AE LINN fea RAAT TY ATT APTA PPMP A TTL PTL TTL TT Cadence in F major. Modulation to © major. . Modulation to D minor. Nut Line. 4 oe = SS= PSPs r aT s Fas : | | Bay tl FEES! ssazest 363t THE STANDARD SCALE OF THE BANJO, SHOWN ON THE FINGER-BOARD. TWO OCTAVES. é¢ | 2 ¢@ i 2 gigiié. —F t a a c a A 4 F ‘ - v Fel ; 2 a 7 g a § ne ¢ ob ey { “4th string. ‘ed String. ‘2d String. ‘iat String. goa fs «|e afg sto 2 4 4 3 gue == === = 7/e@ ” READING EXERCISES. (See § 29.) ‘The learner should study attentively the following exercises and thereby be able to name, and quickly loeate the notes tapon the fingerboard. The following example will suggest the manuer of study. In tho first exeroiso the first note is A lo- cated in the second space. Ta the seale accompanying the Diagram it will be seen that A occupying the second space is one of the notes to be found on the 2d string, and is. stopped note, requiting the 1st finger. Now, by referring to the Diagram it will be seen that, on the 2d string, A is located at tho Ist fret. A reference to Tua FiNGESBOARD OF THE Banzo, will aid {n locating the accidental sharps and fats. Key of A. Tho Fs, C» and G# are sharped throughout by siguatare, ees SSS Ag eeeAt AFA ECFIRST EXERCISES. GUITAR STYLE. (Geo § 85, 26 and 40.) ‘the following twelve exercises are for the purpose of strengthening the flogers, and acquiring, for each, a separate, and dependent aston. Play only the black notes. Ths half notes show where the flagers are placed at the commences, serene cexcopting tho finger required to sound tho black notes—tbey remain. Tn execution, the flagers are uot iovar set replaced, bar wilt practice of these exercises result in such w babi, bat atyle of lose fagering wi be noquived- Bae enced oyed strings firmly,--dravring them a little, Practice vigoronsly,—slowly at irst—aud gradually tncrwseing, pe atigors Deoome stronger. As but one lager is in aation at a time, some combination of three strings will be retained. ‘Hold the 1st (Natural) Position, 1 XPRESS six exercises for practicing a succession of single nates, oecurring on the same string, (§ 48.) The fingers are not to be replaced, the hand being supported by the forearm resting upon the rim. 1B Me ‘TIME EXERCISES 6 17 and 21) The following exeraes [191098] are deslzed principally for meni) study, that the learner may become familiar with the Tae eee foe of Time; divisions of the measures ; note combroations, reste, Gutted notes, 0. without this know] sae anil be lzpossible to parsue the study Intelligent; with it the progress wil bo ascarel and pleasorable, . ‘the numerals written above the notes, aré the counts for each measure. Mark the tine by eounting aloud “It 18, also desimnnle to buat the time with the foot, as the united accupations tend to fix the attention to a greater degree, Refer to the Seale aud Diagram for tho left band fingering. ‘The rigbt hand fiogeriag is written below the notes.” The wool hate is oot to be played, bat is employed as a sign to show where the thamb fhust rest when not in getlon. (It ig sole Ph the 19th exereiee) "In the 2ist Exercise, Secoud Measure, the * io the fourth space signifies that the tharob ts fo be then placed upon the £fth string, where it remains until requiréd to sound it. as 19, Count at the inétant of sounding the note, eo4 1234012934 1294 12394 1234 12 30 1294 i = ; = = == =p = 2 —— Hl2% Introducing the dotted note, triplet, and tie. (§ 16 aad 17.) Dotted Note. Triplet. i234 12341 2 1234 1234 1234 12 94 ‘Ths trst note in No, 24 (B) Is called a “starting” note. It is given its value as eo much of tho endiug of a measure, It will be noticed that the last measure lacks aa eighth, aud as the exercise is to be repeated, (see § 18) the start supply the deticleoey, and preserve the evenness of the strain. ‘The word “and” provounced betmeen the numerals, will often assist in acquiring evenness in the count and movements 24, and tend 2 and 1and2 and taud 2 and 1end2and1and andi and gand 1 and 2 and Lande a e 76.8 125456 12345€ 129456 123456 123.456 123456 12345612045 128456 123456 123456 ——— Ba onatg. 125456 | 192 %56 128 45640 28 9 123 45678 9 123456789 123456789 Se 123456789 123 456789123 456789 12345678 — Beas ARPEGGIO PRACTICE, (Seo Chords, § 28.) Arpegeto playing is the production of the notes of a chord in uniform succession,—not simultaneously. Arpegglo prac- Hoo is very important, as it covers neurly the entice system of right hand execution Tt will be observed that one of the notes (A) in the frst measure,cceurs also in the next ehord,and that one in the second chord (D) continues In the third chord. ‘This froquontly iappens in practice, and suggests 4 rule for close fugering, that, ‘hea tivo positions follow, and a stopped note in the first occurs also Jn the second position with the same finger, that ‘ager should not be released, but hold its note fato the new position, ‘The chords in Exercise 29 are the same throughout the exercises, a ARPEGGIOS WITH FOUR FINGERS. Lumet, mst ta : Ea Ss =I} 80, Play the black notes only. Do not replace the fingers, —oBrereises 50 and,51 (Zither effect) are to be practiced with the fore-arm reinoved from the rim. Execute the notes over the waved lines by dramiog the third finger across. the tlnger should be held nearly flat, ten a8 Pe SS err aa Koes gat ReonHane Cuon0s (sopetines called « wave” chords) recomblo, in effect, chords played on that instrament, ‘The uotes of fa chord are generally t be sounded simultaneously; but to produce the harp effect they are played fa rapid and close suceession,—frou the lowest upwards—blending one into the next. The siga is a waved ling before the chord. Chonda of five notes can_be played elthor with four logers,—trensferring the thumb to the fifth string, or by employing the five Sngers,—placing the first ager oa the fourta string.” ‘Tue latter way is often very effective. OL PRACTICE IN TRANSFERRING THE THUMB. ‘Practice these exercises with the forearm removed three or four inches from tho rim, — the wrist arched wel! outward, Hold the arm aod band svfficently rigid to obtain steadiness, and support by the finger tips pressing the strings, Place the fingers firmly, and exerelse vigorously. Observe the directions given for “ Pres Exenorses, Gurtan STYLE.” Exercises for the thumb, first and second fingers. a Poe tT te tS _. & $B. From this page, the ela 75, heretofore employed to show the location of the thumb, when required to be. placed ‘urenther the 8d, of be-dth string. ve discontinued, and the sign X substituted for alf the, muxements of the thumb, aa follows: —vthen thesizn ts found oo the jirst Uho-st {he stave, (B), yest the thumb: onthe 2d siring;-if. located im the ‘Fourth space, (B), rest thé thumb on the 5th string, Mf upon the scoot! ad@ed lino below rest on the 4th stréng. When the ‘ign |p written above or below the staff it iwplies that to voumb isto sound the note over or under tehich it is found. The ‘hum takes its position of ret simultaneously with playing the note where it ogexrs:44 EXPLANATION, To avoid obscurity and facilitate reading, the author has ocoasionally made use of half notes, iustend of those of shorter uration, where, by so doing, the parts, or intention might be more elearly presented, or a multiplicity of reste avoided. Although this will be generally apparent, yet, the author deems this explanation necessary. . BARRE EXERCISE, IN ARPEGGIO. ($63) INTRODUCING THE sth POSITION. 78 5B THE PREMIERE GALOP. INTRODUCING THE 2d BARRE. Onto1ax rou Tas Wour,THE BIRD WALTZ. 45 (or acedeutal sharps, et. see § 28) For practicing “Anticipation.” At the same time of drawing a string with the thumb, tie flager required for the next note is to be placod upon its string. READING MELODY AND BASS. AAs both the melody and bass are writton upon the same stave, they are— to facilitate reading— distinguished by thelr steros being turaed in opposite directions. A note with a double stem (see the dotted half note in second meas- ture) belongs to both parts. Asa note of the part represented by downward stems ft has its full values but as belouging to the other part (apward stems) its value equals only what may be required, in connection w.th the remaining uotes similarly turued, to fill the measure;—In this Instance a quarter note, THE ELFIN QUICKSTEP. (For practicing a reverse movement of the flagers.) ° a=AG THE PEQUOT GALOP. Tho third stra We tn FB Mlonr, the rela tGor ofthe key of A ARRananp For Tals WoRk. Minor. eee k by , GUMBO REEL. ; eee = xT2 BLACKBIRD DANCE, (the Slur, § 52.) (The Barré, § 64.) Ta oeTHE LINDEN GALOP. ($29,i9,16.) ~~ omsotvan rou rais Wonx. £7 In the third measure of the second strato, 4 is “sharped ;". stop at 2ad fret. The “natural” restores it in the aext note, In the last measure D is mado natural by the “natural,” "A “tio” ovcurs betweon tho 14th und 15th measure, The second Eis nut played, but the time allowed. . piece > OuiowvaL. Foavg B. CONVERSE.48 WE WON'T GO HOME TILL MORNING. A grace note ocours in the third measure, see § 60, and § 67. A “natural” (#) will be met with in tho second strata, sev § 29. In sixeight movement the accent falls on the first and fourth counts, § 18. The second starting uote is execited by the “pull” § 50. . fe vee leh tgepteeps et » Aes TS et iP? aS THE HAPPY DARKIE’S DANCE, (See § 52, 29, 18.) Introducing Characteristics of the “ Banjo” Style.CIRCASSIAN DANCE. 49 tance, Band D, (Lind measure) inn the noxt lower sting, Accidental sharps ett, aee§ 29, For the fourth measure of the second strain, try to retain the dtst or natural ff seoond strain, retain the position in the chord ‘When two notes, usually found on the same string, are to be sounded together)— for ins the upper note is held at its usual fret, and tho | explanation of D. ©. and Fine, seo § 19. Tn playiog position while stopping Cf on the fourth string. Tn the seventh measure of BA B until Dé is played. Py ae oy » yj 4 po - Qo et ory ta) ete ae oe t tT TROVATORE MARCH. tn the second and third measures, form the little barre (b) by placing the fourth floger across the first and second strings only, Seo § 63 and 64.59 THE PANSY POLKA. Onrorsat, v0 THs WORK, ‘The second strain ts in E (four sharps) D is the added sharp, and is found at tho 4th fret on the first string, and the 6th fret on the fourth string. JAPANESE YOUNG MAN, ARRANGED. A grace note (appoggiatura)ooours in the frst measure (§ 60 and 67.) To the eleventh measure, consul § 49, NB. q ay 5 THE WILLOW WALTZ. «29, 52) ‘RANE B. ConvRsE, ‘When holding A and G2 with the first finger, do not move the wrist 1 in sixth measure, on the third string at the Ist fret. The seoond strata is in F¥ minor, the relative minor of A major.THE COACHING MEDLEY. (Tyrolean. ‘See “The Slur,” §52. Appogslaturas (grace notes) are explained In §6T., The Slide, § 64. . oe Slur. boys ~ _. BUY A BROOM. errs ce ieee52 . RINGLET SCHOTTISCHE. Yasre B, Convansn, (Original) a= at e é r wf Ft? ° eax B. Coxvense. (Original) +. ob 6B otCLIMBING UP DE GOLDEN STAIRS. 53 By per. of T. B. Hanae & Co, Frank B. Converse. (Arranged.) ‘ ain Zui. =F aly =e] rm ae ro ‘: at rie a a easy esas amg pete RE lee rT et t MELODY FROM OBERON. Acstudy of the le, (See § 18) “ve Frank B, Coxvans. (Arr rae) orion S BS jem = tS £ SoprrtS Fe54 Zo Miss Maude White. LEANING ON THE GARDEN GATE. INTRODUCTION. Fran B. Coxvunsz. (Original,) * (nBtie eg ea aa. =H at = ———— t ey t f Copyright, 185, by 8. T. Goupox & Som.5b THE GRACE WALTZ. ORIGINAL, ‘PRANK B, CONYRESR.56 . MIKADO DUET. (Nanki Poo and Ko-Ko.) 5 a5 convanse, HH) ua i. fit P lise sie Pol Peet SPEAK TO ME, WALTZ. (5 5%) ‘The second strain is in the relative Minor, (P# Minor, samo signature.) Sur. Slur.THE GROVE WALTZ. (Barre Exercise.) Bt ‘The second strain Is in E, (four sharps). (§ 33.) ‘Oniomat Fox Tars Woax, oly Es Bs ai e + —_ 3 f [xia an] oA yt j pet Ail POP sales rine (519) THE DAISY WALTZ. ono yor tins Won Key of B, Df on the fourth string is at the th fret, Retain Gf until the fourth finger is well placed at D} 7 THE MELROSE POLKA. (4 50) Ononvan ror Tats Wonk. ‘The “Pull” occurs in the fourth measuré, polling the first string and making B. In the last measure but ove (eecond ending’) retain the position uotill Df is played. 22 Aaa58 THE RIVERSIDE SCHOTTISCHE. ‘The “Slide” cocurs in the third measure of second strain. (See § 54.) + Feaxk B. CONVERSE. teeny eae Cs 4 piri we 1 2 Fine \_ boo. es SREP SEH z SSS554 r FL rr “F Thy Ga S223 rt Mgr 2 poytls Hoa | a SS — eS = eee ¢ ‘ } 2 * D.C. ee ais =3 hy = ett tr fit Pre ele THE FLIRT POLKA. oo § 50, 67, 29. * pute ee ry + CF t rep rs ¢ t Fine, SET ee ee Hee Be eh TS eas Totes ae‘Tune the 4th String to B. oe : Ass? a = ate ee Sas Sas Sie aa60 THE IVY REDOWA. ORIGINAL. Fuawx B, Coxvens. THE SYLVAN MAZOURKA. (5 54, 67.) ORIGINAL. RANE B, ConvERSE, ‘The third strain isin D, two sharps, Fg and Of, tho G¥ boing removed from the signatare all the G's must be lowered ‘one semitone ; Gy on the second lino is ab the 3d fret on 2d String ; GR above the sta at the Sth fret.61 FOSTER’S JIG. (AeLA: BANIO.) Feanx B, ConvansE. THE EUGENIE WALTZ. ORIGINAL. FRanx B, CONVERSE,CONSPIRATORS CHORUS, ARRANGED. Prank B, CoxYERSE. THE STARLIGHT MAZURKA. ORIGINAL. FRANK B, CONVERSE, Inwwoducing the double sharp. The-second strain {s In B. (five sharps.) A must be held at the second fret, Sound the grace uote with B, and pull, making B. 7 a tama63 THE PALM WALTZ. ORIGINAL. Frank B. CoxvERse, ‘The sccond strain is In CH Minor, the relative Minor of E Major. i k Gall THE STELLA WALTZ. ORIGINAL 1 ‘Faank B. CoxveRsn.64 THE STELLA WALTZ. Ooncluded. IRISH JIG, No. 4. ORIGINAL, Fuank B, Convene,65 THE STARLING WALTZ. Exercise in Thitds on-the first and second strings, and practice of the Slur, and Stide. § 52, 54. Frave B, Coxvense. (Original.) t=} ae : = sass 4 =4 a x ipa ald el Se See rs be — Sais Cer E re thi mal . THE STARLING WALTZ.PEARL WALTZ. 66 EXERCISE IN SIXTHS. Franx B. Coxvuass, ‘Nore Exourrion: In this pleco the let hand finger signs are frequently placed to the lft of the notes = a. 2oddd og Id og ieee els dS tee tert PR TPP I ey ae lee ee TL Vor pedodt id tabigld 222283 Se ist gt ie toy Tt Lega ie sed a ays Jar t 4 Prarie = lftirl fs } ye , ae festrritt eee ———| == = = Z = Trt ttf itt ltr itrlsiilsl tei e. GNOME WALTZ r r wae, Cars, EXERCISE IN OOTAVES, ‘The first strain Is for octave practice oo the 4th, and Ist strings. “Stop” the octaves with the first and third fingers, Vary the practice each time by substituting the seouad aud fourth fingers. Tn tho second strain the octaves are to be found on the’ 4th and 2nd strings. “Stop” with the frst aud third flugers, varying ofton, on repitition, by substituting the frst and second, or the second and fourth fingers. fi f 1 ¥. b88 ). 7T ae 4 mt fed A yy Nth ns aetna tell iN ih ant I ee bie 4 wEXEROISE IN TENTHS. a 67" 4 Se Sell 7 oe Pare TT | REVERIE WALTZ. Frank B, Coxvensr. (Original.) MELODY WITH ACCOMPANIMENT. ey of Amiggr (ative of © major) S00 88. ‘Tho otaresn the 10th and 2841 measures aro to bo taken on the 4th and'20 stings S00 $48 set 4. spe tt. = = = 8 ' Rp ae as anc - - - Andante, BBesseys Mecscseee 6B Si aver 8 Covrens_ (sto!) wih == feteFrank B. Convonse. ‘Ogsorwat, a= 4 HONG KONG (CHINESE) DANCE. (65) A = — a =F $ “Tt aa AumaNoxD roR TH18 Worx. CRUISKEEN LAUN. 67) A Minor.HARD TIMES JIG. Paanx B, Coxvense, 69 ‘ORIGINAL. IRISH JIG. No, 2. . PRANK B, CoxvERsn, Onierat.70 ESSENCE OF OLD VIRGINNY. Paaxk B.Cosvensn, OwrarvaL. Tiex a1ORIGINAL. TYROLEAN ECHOES WALTZ. (§18.) Faanx 3. Coxvenss,7 . © THE DELL SCHOTTISCHE.. ‘Prank B, CONVERSE. 5b OnsorsaL. C# Minor, the relative minor of E Major, MINOR MARCH. Prank B. CONVERSE.FIRST EXERCISES IN THE TREMOLO. «see § 60.) 73 Tue first four exereises are designed for strengtbentng tho forefinger, and acquiring stondiuess and cortaluty in its action, therefore they should be practiced vigorously and persistently until this result is thoroughly obtalaod; after woleb the exercises folloming may be easily mastered. Duiing the practice the thumb remains inactive, ts tip restiog Siraly cunninst the atting designated by the half uote, thereby establishing, from the commencement, Its proper position with rene tion to the first finger. Wheu changing the location of the thumb upon the strings, avoid disarranging the general position ‘of the baud, or fingers, Practice slowly but vigorously at first, increasing the Tapidity ouly when the regularity of the ‘movement bas become well established. "Toroughout the exercises following the frst four, the thumnb executes the notes written with thelr stems turned dow, in the manner explained in § 60. - The thumb remaining on a string as designated by the half notes, - ‘The notes with steins turned down are to be played with the thumb, Ge = perms seieetsts faa} jfa EXERCISES IN TREMOLO, GUITAR STYLE. (0) es TREMOLO WITH CHORDS. 3 Tremolo, Play the accompaniment entirely with the thamb, 448 i sos she fee ee ce a a: = iz * DIAMOND'S JIG. xe BE ere ei a =A geet 2 pee faaDIAMOND'S JIG. Concluded. . 75 2 yt Fm eee Ds. (§19.| 28 TRAUTMAN’S HORNPIPE. ‘AgnanceD. I te tat measure sound A at tho instant of making the pl! on B, and aga whoa suring to Hicommeocing the second measure.a6 FISHER’S HORNPIPE- Concluded.LEAVITT'S POLKA. : Concluded. m7 + 80h gE 8 3 Na ea re pei8 FUNERAL MARCH. THE SIREN POLKA. ORIGINAL. Puank B, Coxvense, D Malor. The secoou atria is in B Migor the relative Minor of D Mrjor 3 aay TST i st '. SUNNYSIDE : HORNPIPE. 79 z TIPPERARY. Irish Jig. E Minor, the relative Minor of @ Major. ARRANGED. PRETTY MAID MILKING HER COW. ‘A Minor. 4 ARRANGED.80 THE FAWN MAZURKA. ORIGINAL. Fuang B. Convnese,MOONLIGHT WALTZ... 81 onIGINAL. Rank B CONVERSE, LIGHTFOOT HORNPIPE. ORIGINAL. at ad Faayx B, Convense, xa a Slide. g a2 #238 =.SWEET SOUVENIR WALTZ. ORIGINAL. Fuanx B. Convenes. con espress. om == eae See —— hd Ee : = 3 1 4STAR CLOG HORNPIPE. FRANK B. CONVERSE. (0 -iginal.) Zrrazr Cuonns. ‘The manner of playing these chords is explained and illustrated in Exercises 50 and 51. ADVANCED ARFEGGIO PRATICE IN THE VARIOUS KEYS. ,, A Major. 1¢ os 6 SPE Wg Moe ang 7 213 5b ab ach stg. 2 — eae a abitSt B Minor @elative of D) 2B =F] 78 athstg. A Minor. (Relative of €.) 5* B o ™ sb un uel 80 athstag Gee BMajon 2B \giteuaee G3 Minor (Relative of B. singe ieee PF Malor. Mo ieDominant Sevenths resotved into other Dominant Seventh, from the 14th fret to the Natural Position, After practicing the chords, they should be played in arpeggio. _Altemating with the sam ngeing throughoot.~86 EXEROISHS ON EACH STRING. Ordinal numbers found with the flogering, designate the sicing upon which tive noto isto be played. Whore double left hand fugerivg is written, the exereise is to be practiced both ways, Exercises on tho 4th Strivg, coo cose Yolo 7 e2cho coho fore pe eee et a ee osiseara s4a11410 gosoacie So yegege Wey; op tg thea, sent pe tt 1} Olssisne s2i4sige ads pies Slides commencing with one finger and terminating with another. “Skog, aA Seng. 2a Sig. setting, sth Sing, 19 Sing — ans — a — eee ey, tits G Tate Sittvess tiatitat ——— — oF =| = pe reallDIATONIC MODULATIONS ILLUSTRATED, MAJOR AND MINOR. 87 (ist) From the soale (or key) of C major, and (24) from the scale of A minor, to all thetr relative soales, or keys, and returning by direct fundamental progression, “These modulations will be found useful as foriaulas for modulations from other starting potuts. C Mason to @. G returaing to Pert (eeeesee Saeed @ minor, via Ft... 0, Jy a oes D minor to A minor, Aminorto@ minor. @ minor..,.via .,. F to A minor, gad | z Li E Ll —— gg ee te FF and via D minor to A minor.88 MODULATION THROUGH THE DOMINANT SEVENTH, etc. ‘Tonle of , Dom. of F, Tonle of F. Dom's. of Bp, Tonic of Bp. Dow't. of Ry. Tonic of HY. Dom't of AP, Tonioof Ab. i ! | 1 See eo * + it ‘Tonio of FH. Dom’ of Dz, Tosleor D2, Tonle of G2, Eabarmonie. Dom't of B. Tonio of B. Don’t. of E, Toute of E. \ ere ieee Dow't. of A. Tonic of A. Dont, of D. Tonic of D. Dowt. of @. Tonio of @. Dom't. of Tonic of C. ch } lGae| pute] Sees Se t > = ait PRACTICAL ILLUSTRATION OF THE DOMINANT SEVENTH THROUGH THE ENTIRE CIRCLE OF KEYS, eto. A FIRST EXERCISE IN HARMONICS. (Left Hand.) § 73. tn tow exoriss vote rpreseting Harmonics have thle stems taraed up. ‘The upper fgures pot ot the fet, 2nd tue loner igores the srgs, ‘The aecompataeotehords are played i tbe regular auner. frou aud above the 1th fret blots of lft haadarmontes dre formed ta roveree ont 134 6 sa 6 r54 st ms e BrofareerSECOND EXERCISE IN HARMONICS. (Right and Loft Hand.) § 61 aud 72. 89 nese ay apn eth i . te eRe aE Te Pe PB Le Tand Has os Posinsoet rehath} aH LHR, -r- 7the ‘THIRD EXERCISE IN HARMONICS. (Right Hand.) WITH DRUM CHORDS. § 56 Tune 4th string to B. The single notes with stems down, are played by pulling with a tluger of the loft hand.90 THE BANJO STYLE. (Read § 57, 38, and 39.) FIRST EXERCISES. THE “COMBINATION” MOVEMENT. ‘The “Combination” fs indleated by a heavy line drawn over or under the notes, which signifies that, with the movement tn atriking the note at the beginning of the live, the thumb is to be placed upon the string represented by the note at -he end of the line, where, as a ralo (exceptions will be noted) it remains until required to pull its string. ‘Tse Foutowixe 12 Exencises CoMPaise ALL THR COMBINATIONS THAT CaN BE MADy, and—as regards the right hand— ‘danjo execution cousists greatly in the multiplying of these combinations, the importance of a careful and thorough practice of each one will be apparent, ‘Tbe attack should be positive and vigorous ; thereby strengthening the fingers, and acquiring accuracy. ‘The forearm crosses just above the tail-piece, Before commencizg, attach the thumb to the fifth string, and allow the hand to hang down loosely, which will cause the proper bend to the wrist that should gouerally be maintained, ‘then, closing the fingers and holding the thumb-as before direotad, the haud will be in proper position, Practice slowly at first — both with the forearm resting, and removed —and by degrees, inreaso the rapidity until the movement becomes a tremolo, ALL THE COMBINATIONS. A " _—_ Sy S ™ T = SS CRCOMBINATION EXERCISES. Conclnded. . On OLD VIRGINNY DANCE. When plaging the tst, 84, 5th and sth measures, hold the Right Hand fn the regular manner, and quite rigid, and draw tho strings with the thumb by toraing the entire band. RATTLESNAKE JIG. ‘Tho thumb remains upon its string while the Left Hand makes the o- 2,2 xt st 4s pull. ‘ALABAMA WALE-AROUND. Danco. (5 50.) hal or sompoted contents seas on Arc toe ast ease ant isobar, Uke A he tine mig he cont alo aeanpetd prnation oor on ean fs gout owovensouiag ie Tho next ove (eont forms the regular combiaation of Of wich E, whieh play. In this pioce, Gf is sounded by pulling the string with the Peat ore Pa hand 1 ax 2 fbiexis, #ivw 2s x (eLor ies Vober2 . THE HAMMER MOVEMENT. Exercises, Read § 39. ‘Tho “Hammer” Movement, is indicated by a dot placed below the right hand floger mark. Practice in the manner ‘suggested for the Combination movement, When the finger sigu is unaccompanied by the dot, the string ts stil to be struck with the Sager,—held rigidly and without the support of the thumb. ae StF ‘Tan *Loxg Coupuvartox” indicated by a waved line below the notes (Se0§ 55). s executed as follows :—Striko the Combination of the 3d and Sth strings, eounding the third string only (half combination) then, without ralsiog the hand, push tbe finger across the temalulug strings, and complete the combination by sounding’ the fifth string when recovering Position, THE SECOND STRAIN OF RATTLE-SNAKE JIG. VARIED. Introducing the “Combination ;” “Long Combination; “Hammer” Movement, and the slur. ee § 62,)GENERAL EXERCISES. BANJO STYLE. ‘ 93 tis rot designed that the leamer should master these exercises before proceeding with the pleces, but in bis general Progress a portion of the time will be well speat if given to thelr careful practice, ach exercise should be thoroughly mastered and played well before attempting the noxt, and by following this plan the fingers will beoome strengthened and a fhiniliarity with the movements acquired, that will asstte a more rapid advance. Tent, ant the mastery of the instrument,94 AE Od 1G 42 20.8668THE MODOC REEL, onormen, 99 Pol tho grace note quick, maliog the“ Coinbiaatiou® on tho Second string, with the strike. the 1st ending hald the “Natardl® position at Ay ac, whon pulllg By fetes the fa gor also Ts xm 122942 Sa xp y4ex exe ° 12 ee ——— Cae er a 20, 90,85 eis =| : CAMPTOWN RACE TRACK. Aneavoup. * Si Chords aré struck with the “Hammer” movement, Romove the forearm from the ritn, and strike with frmaess, quickness, and vigor,—recovering quickly, as if for a repetition. aN |CAROLINA REEL. E ares Fee toa ee = ‘ rept = @ ae ie a SUNRISE REEL. 1 : —T a OLD PLANTATION REEL. =ll 52 we Fe 7LYNCHBURG REEL. 97 a 5 aa eee98 - OANE BRAKE REEL. Onramvat ron Tas Wour, Key of F (four sharps), The D, occurring on the fourth string must be e~opped at tho 6th fret, £ == In the following piece, an exception to both the “Combination,” and Hammer movements,— which, however, partakes measurably of the ebaracter of each,— occurs on the first note,—A, ft is distinguished by the absénce of the dot. Tt Tesombles the hammer movement except that the thumb is hold apart from the finger, as ia the combination, but, when strskibg it is not brought in contact wlth a string, and in this it difers from the * Combination.” “In the fifth, and following Measures, the first movement is the “half Combipation”—the thumb being placed upon, but, uot sounding, the third note, ‘when striking the second note it is again placed, and completes the combination by sounding the note. met PHILADELPHIA JIG. (§ 55.) . __ Anes: