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'^ 02202 4760 ^ "^333 ^^t^ ^^^ MU 787 7 FODEN PARAMOUNT METHOD FOR TENOR-BANJO 10.00 + BNG K
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HIOPRTy OF

PARAMOUNT
Metho d

Copyright 1922 by

WB

J.

Smith Music Co.

New York

MADE

IN

U. S.

Hv\

^^^.7'P

m^
Rudiments of Music
:

Mjua i'i;i',I,IC trBRART QENEnAL UBRA!>V OF THE PERFOKMING AETS


i>...v

s M7G0
be noticed
is

Ill

NJiW

VOHK

Musical notation

is

composed of various signs and characters.

The

10023, N. T.

first to

On the the staff, conr Isting of five parallel lines and the spaces between them. and in the spaces, characters called notes are written to represent the sounds.

lines

The
6th Line
,

Staff and Notes

The Time Value


The value or

of the Notes and Rests

duration of the notes and rests are represented by tho following characters

The
Half

Different Notes and Rests


Quarter

Whole 331
below a line
above a line

Eighth

^
TZ-

16th

32^.^

I
f
when
followed by a dot.

Dotted Notes and Rests


The time value
of any note or rest
is

increased one half

A second

dot adds half the value of the first dot.

Rests indicate silence.

Dotted Notes and Rests


and their equivalents
'j'

=p

rT

r:::r p p

v'^
above

The Tie ^
only the first

--,

placed over or under two or more notes on the same degree, signifies that
its

is

sounded and the others heard from

continued vibration.-

as in the

examples.

The Pause or Hold


Made thus

^, when

placed over notes or rests, denote

that they are to be held

beyond

their regular time.

Examples of the Pause

fm

r:\

^
f

(O

/C\

Bars Measure
Bars are perpendicular lines drawn across the staff for the purpose of dividing the notes into measures of equal duration of time. Double Bars denote the end of a part or strain.
Dots placed before a double bar indicate that the part
is to

be repeated.

Example
u

43

-art
^easure

Measure
lEC

Measure

ca

Measure

pa

LLUc^nr
Paramount Method

W.

J. S.

Music Co.

Fable of the Relative

Time Value

of Notes

l^STRUC
Two
Hall or
or
.

r
r
r

Four Quarters
Eight Eighths
or

r r

16 Sixteenths
or

32 Thirty-seconds
or

64

Sixty- fourths

Chromatic Signs
These are the Sharp
(^),
Flat(l?),

Natural(l^),

Double Sharp

(k),

and Double Flat

(bb).

A Sharp raises the pitch of a note a half step. A Flat loiters A Natural cancels the effect of a previous sharp or flat.

the pitch of a note a half step.

half step

is

from one

fret to the next.

Sharps or Flats placed at the beginning of the staff, immediately after the clef is called the signature and affects the pitch of all notes of the same name throughout a niece of music,
unless temporarily changed by a different sign.

Accidentals
any of the chromatic signs are placed before notes in the course of a piece of music, they are called accidentals, and affect all notes of the same name, in the same measure, unless contradicted by a different accidental, in which case, the effect of the first accidental ceases.

When

The

effect of accidentals

do not

extend beyond the measure in which they occur.

Examples of Accidentals

K=23E

3Mt
tP

Double sharps and flats are used as accidentals only. A double sharp (x), raises the pitch of a note a whole step. A double flat (b!?) lowers the pitch of a note a whole step. When a double sharp is placed before a note ths^vt is already sharp, it raises its pitch :other half step.

double flat placed before a note that

is

already

flat,

lowers

its

pitch

another half step.


W.
Music Co.

Paramount Method

J. S.

\\

Examples of Double Sharps and

Flat

Rests

J^J
same as

^#=^
II

-^
A

a m
is

s
same as G\

fe

same as

^^ ^
or-

r'h-

same as

note that

is

double sharp or flat


or a flat,

restored to a single

sharp or

flat

by writ-

ing a natural and a sharp,


cel a double sharp

as required, before the note.

To

entirely can-

or flat, a double natural

(^

is

placed before the note.

Examples
-yy

\\^f
restored

II

"[g

221
[?l?cJ
t]i]

restored

canceled

canceled

Time
Time
is

the division of the different notes,

or notes and rests,

into

measures of
but the

equal duration.

measure can contain any denomination of notes and


must be the same
at the

rests,

sum

total in value

in all,

as long as the time remains unchanged.

Tie

time

is

marked

beginning of a piece of music, by figures or signs to indicate


as in the following examples.

the quantity in each measure;

Examples
t^Orf
4*

^f
'

w
r
I

cj

['

cj

'^

^'

n ^^[[^^[[
If
i
i

nzz:

^
[
Paramount Method

r r r

;;

^^w^

^ ^^
W.
J. S.

Music Co.

INSTRUCTION FOR THE TENOR BANJO


The Strings
The Tenor Banjo
is

strung with four strings;

string; but by pressing the strings with the fin-

the first and second of which are of plain wire,

gers of the left hand, close to the metal bars,


called the frets, the pitch

and the third and fourth of wire covered with


thin spun wire. Their names, beginning with

may be

raised.

The following

illustration shows the posi-

the finest, are A, D,

G and

C. These

are termed

tion of the open notes or strings, in their con-

the open notes, and in pitch, the lowest of each

nection with the staff.

The Open Notes


A
or
l=Lt

or Strings

or

2'L<^

or SC^

C or

4<i?

i
All notes of the

-^
-O-

Methods

of

Tuning
In tuning

Tenor Banjo are written one octave or eight notes higher than their true

pitch, and consequently sound one octave lower

when played.

from a Piano,sound the

notes one octave lower than in the above illustration for the open strings, and tune each string
in unison

with

its

corresponding note; or tune the C or

4'i?

string to a C pitch pipe;then press the

C string

at the 7th fret,to

which tune the G string


in unison; next

in unison;

next press the

at the

7^2"

fret,

to
ii

which tune the D string


unison.

press the

at the 1^^ fret, to

which tune the A string

Any one

of the strings of the

Tenor Banjo may be tuned to the corresponding note of an-

other instrument, and the other strings tuned according to the above method. Tuning'by the open

strings

may be attempted

as soon as their sounds can be distinguished.

It

may

here be observed

that the tuning and pitch of the


sic

Tenor Banjo
is

is

identical with that of the Tenor Mandola, and

mu-

written for either instrument,

interchangeable, so far as the compass will permit.

Also,

the tuning or pitch of the strings of the Tenor Banjo, are the
chestra; but the

same as the Viola


and the clef used,
is

in the Violin

Or-

manner

of manipulation, the style of writing

vastly different.

Holding
The Banjo
is

tlie

Banjo

played

in a sitting position

with the lower part of the rim placed on the right

thigh and the upper part of the lower edge resting lightly against the body of the player; and held
in place

by the right forearm resting on the upper edge, a short distance from the tailpiece. The
raised and the hand held over the strings about two inches in front of the bridge.

wrist

is

ParamouQt Tenor Banjo Hethod

W.J.

S.

Music Co.

Position of the Left Hand


On the position
of the left

hand depends the ease and agility


it.

of the fingering.

To

'^ttain this,

place the banjo in the position described for holding

Rest the ball of the thumb against the

middle of the neck; curve thewri^t outward, with the fingers extended above the finger- board,

ready to press the strings firmly, close to the frets. The


the left hand fingering,
is

left

thumb as the movable pivot

of

always kept on the neck of the instrument; regardless of the moveof the fingers on the finger-board.

ment

of the

hand or the position

Tlie
The strings
of the

Pick or Plectrum
in vibration
It is

Tenor Banjo are set

by striking them with a pick or plecheld between the thumb and first fin-

trum; the same as used in playing the Mandolin.

ger of the right hand; the flat surface placed lengthwise against the finger, with the thumb
gently pressing
it

and extending horizontally, a

little

beyond the finger and the pick.


it

The

thumb must be

flexible, and so placed on the pick, that

may be

able to exert full

control

over the pressure; for on the pressure* of the thumb, will depend the force and tonal quality of
the Instrument. In striking the strings, the pick touches them with the point and never with the side or edge. Whether or not the little finger should rest on the head of the instrument,

has been a mooted question; but

it is

now generally agreed

that

if it

touches

it

lightly,

and

moves with the motion


^hen playing on the

of the hand, and does not

remain stationary,

it is

allowable; especially

first

and second strings. The other fingers of the right hand are slightly

curved and loosely held under the palm.

Plectrum Strokes
There are only two plectrum strokes -down andup; but these two strokes are capable of many variations in their order of following each other. In playing single down strokes,thehandis
held at an angle so that the plectrum after striking
gle up strokes, the hand is held at the

may

fall against the next string. With sin-

same angle

as the preceding, but after striking, the plec-

trum does not touch


to this is

or rest against the next string, as

with the down stroke. The chief exception


is

when playing inverted arpeggios;


to another without

then, the

hand

turned so that the plectrum

can

slide

from one string

being raised.
occur.

When tremoloing

single notes the plec-

trum touches only the strings on which they


on another page.
Paramount Tenor Banjo Method

The explanation

of the tremolo will be found

W. J S Music Co.

Signs Left Hand


The signs used
to indicate the

fingering are the

common Arabic

figures.

- for an open
1

string.

- for the

first

finger
finger.

2 - for the second

3 - for the third finger.

4 -

for the fourth or little finger.

Right Hand
The signs given
in this

Method are the ones commonly used


of the plectrum.

for all plectral instruments.

n or
V

A, indicates the

down stroke

or U, indicates the up stroke of the plectrum.

nn
raised.

or

n, indicates that the plectrum is to glide from one string to another without being

Miscellaneous
f--^

^) The slur or legato mark written over


)
,

or under the notes, indicates the tremolo.

single dot over or under the notes, indicate that they are to be played with down strokes,

in a short or

detached manner.

(D (D

(3) (?),

*'igure in

a circle indicates the number of the string on which a note

is to

be made.

Bar
(|)

or

Barre, means

at

a finger presses two or more strings


it is

at the

same

time.

A wavy

line before a chort', indicates that

to be arpeggioed; that is,the notes are played

quickly one after another,- either

down

or ap, according to requirements.


is to shift or

[y^) An oblique

line

between two notes indicates that a finger

glide smoothly from

the first to the second.

L.H. pizz."Left hand pi*w;icato;' Sounding the note. )y the left-hand fingers pulling on the strings,

without the aid of the plectrum.

Paramount Tenor Ban'

'

Method

W. J.S. Music Co.

The following exercises


and as lessons quarter note or
in
its

are for tlie purpose of learning the open notes or strings, or common time; and counted four beats to a measure, one for each ^ stroke (n). Up stroke (V), Down equivalent.

Whole Notes
All

Down Strokes n
-o-t-

Count 12

n
^-o-

n
-e-t>-

n
o-o-

n
--

n
-*-

n
--

n
-O-

n
-o-

n
-o^

^=^
C

-^

Half Notes
All

Down Strokes

Count

12
n

n.

n
l5

^^
^ P^^
Count

i -& i

&

fe^

is

e-

&

^m
i J
I

-G

&-

12
15

G-

i.

^ "

Quarter Notes
Down and Up Strokes

ny

12

n V nVnv nvnV..^nVnv
4
,

r-,. f|i

ff

ijff^j|fajte^.j
Eightli Notes
Down and Up Strokes

^
12

3 4

1&2&3&4& nVnynyny nVnV ^ffgg ? ^jiii'**'


Count

^^ ^ ^^^
#-(
Paramount Tenor Banjo Method

^ ^m
n
"^

^l^-m-

nynvnyny
1

^rri-i^^irru[rr
&
2

&

& 4
I*

# #

^^^'

iiiiy^
<-,

c
W.J.
S.

Music Co.

The four 'ollowing exercises show the natural notes on each string, as far as the fifth The figui^s placed before the notes, indicate the fingering; those above the notes, the frets. First practice each exercise with all down strokes, and afterwards with down and up strokes: as marked in the first measure.
fret.

Strokes

n n n n
I

Notes on the C op 4th String

FRETS

^3
C

^MJjjIiJjJI^ ^ D E F
2

'

io^" >c^ 1^J > 1

imn m
I I

FRETS

n n n n n V n V
1^

Notes on the G or 3rd String

i
Q

^'o S

G A B C

^
5
:i

t^f-ry

^^-#

^
D
r
\

II

i^oj^ro*

Y^*T'*lo

Notes on the
FRETS
n n n n n V n V
2
5

or 2nd String

#i^TT|TTTr
D E F G

ir

^^ ^!:r

ittTtiTttt tT rT
i

-g^

_ P P
FRETS
n
V

P,

Notes on the

or

1st

String

n
3

V 5

4 ,P ,T'fTT|T-^^f^f f|f :&^

'

f ff

|TtTT

A B

C D

TT T-y^^

Key
is

of

C Major

The scale of C Major has neither sharps nor flats in its construction, and therefore said to have no signature. In all scales and scale passages, each finger of the left hand remains on the string as placed, until the next string is reached, or a change of position require their removal.

Scale of C Major

i^
FRETS

All

Down Strokes
1st String

4th String

^^
2

3rd String

2nd String 33E-^i^

2nd String
eff:

.Srd

String

4th String

3M ^03^^

CDEF GABCBEFGABCRA GFEDCBAG FEDG


W.
J.

mf-wfT^ I

s ^Fif=

^P
S.

Parumoaut Tenor Banjo Mtlhod

Music Co.

10

Down and

nvnvnvnv

up Strokes Throughout

Abbreviations
in music, is to represent the notes by signs, thereby saving space and the labor of writing. A single stroke placed through the stems of quarter and half notes, indicate thatthey aretobeplayed as eighth notes; viz-, two for each quarter and four foreach half note: as in the following example.

To abbreviate

V
\

(simile, continue in like manner)

9r> 4

^^JJ-^JJJJj
|

^ES^
zd:

#gT

Tf 'fT
|

T M WJ.(ua^
Vn

^^P
,

Two strokes placed through quarter and half notes, indicate that they are tobe played as sixteenth notes.- as in the following example.

J?nvnVnVnv nVnvn
1/2 "2:^

V^

simile
,

fhG

LA. -pz

it=if

^ff rf rf Tf|^-.u, o
i i i

&

n
=

, ^ '

fi\jji

'

To abbreviate whole notes, the strokes or dashes are placed above, or below them: as in the following examples.

Eighth Notes
Eight strokes ry

Down and

up, to each measure.


I

^
'

0^ i0

'3

A.^

'^

< TTT

tJ-O-

^rrrig^

TTT 4i^

40

lO

2^

Sixteenth Notes
Sixteen strokes

-Down

and

up, to each

TTT

measure. -^ 33: -O- _o_

:^

^
W.
J. S.

Paramount Tenor Banjo Method

Music Co.

]J

Tremolo
By Tremolo is meant a more or less rapid repetition of the same note or chord, and executed on the Tenor Banjo by striking the strings alternately, down and up, with the extreme end of the pick; using a loose wrist motion. It may be indicated by abbreviations similar to those shown in the preceding lessons, or by the slur or legato markc--- ~^), placed over or under a series of notes. The number of notes or strokes to be played are not counted, but accuracy in the timing of the notes while tremoloing, must be carefully observed, and if properly done, the strokes will take care of them selves; for example: If a whole note is tremo -loed in 32nd or 64th notes, it is perfectly plain that 32 or 64 strokes will be required, accor-dingly. This being true, it is a simple matter to detetmine the number of strokes required for anypart of that note; '^such as the half, quarter, eighth or sixteenth- as in the following examples.
is

Examples

of Various Kinds of Notes, Abbreviated

lii

32nd and

(54tli

Notes

32Strokes l6Strokes

SStrokes 4Strokes ^Strokes 64Strokes 32Strokes 16Strokes SStrokes 4Strokes

S
It

II

if

H H

-t-

must not be inferred from the above, that a rigid adherence to a certain number of strokes is always necessary or even desirable; for in many instances they must be modi -fied to suit particular passages; and in this, experience will guide the perfcnrmer.

In the following melodies, the tremolo is indicated by the slur mark. Begin by playing each measure in 8th notes; then in 16th notes; and as proficiency is attained, in 32nd and 64th notes. Tied notes are trernoloed for the time value of all thus connected.

(Andante)
Count 1_2

{Slowly

12

-Piiramounl Tenor Banjo Method

W.

J. S.

Music Co.

J2

The small notes in several measures of number four, are played with single stroke, simultaneously with the tremoloed notes of the melody.
Andante

down

|.TTT;J|J-::J;^{rrTTTrT^f^TT.-^ '^?Y^' i?^^ ;rf^ ^TYy^


l
'

#S
<l

p:jE

^p tn

*^ ? *

-**'j

t^:J! '^TiT~r--^Mi
i

vf^

<p

^Jv im 0#

rt
fr^
is

a^^i

-|S>I

^|o r^

*TT^I #

^g i r

-^-^

Two
its

four time (|\ equivalent.

counted two beats to a measure one for each quarter note or

Andante

fe^ ^a

322

^qc

4r^

nT gt:^

IF=F&

g
i
zS:

Tjg-

^
i
6
=3=

32Z

i
4#
TT?"

-3-&

TT7

i
*

i^ TO
Andante^
2i|^*#:
1

Nf

ir

33E

a^
.

2-*^
4-ift

*:

^^
P
*

*#

-e^

^^ MTT TTg F
i

4-^

XJE

^ m

r^p

w TT
i

i.r* *:f

ij

*d?:

^
W.J.
S.

^1

Paramount Tenor Banjo Method

Music Co.

13

Etudes
All

Studies

be practiced slowly at first, increasing the tempo, or speed as proficithe beginning, or at -ency is attained. Carefully observe the various strokes placed ;at different points of a composition.
Etudes are
to

Etude
n n n

nvnVnVnV nnnnn
jj^.J.jjJKJJJ'^J^^

-*

J]JJ-OJ^

^J

4., a

P^

* ..^

f^

-*#

0-^

i
yj

m
#
*;^

^=F

-AM.

iT- r

Tr'^rriTnfr^"^r^/" y Ky^ff

e^.* *&.*-'*:*>

^'ff
4=4

rrrr TTTfT-rrr^j^f^
i

#-* ..^AJ|0
p;

i>#^

5?

J^UJj.J^i^jjJUjjjJ.J-^Ji^r'f^'^j^^n
Etude
_
|
|

nVnVnV n n nn n ~ nnnnnnnn n n
V
ri

'I

""1

^m
^^
-AA

^#

a:|E

?
-If

rp=ft

4 *0 f 4

^
| 1

'P

^f1Y?

''a

^^

#-if.-o
XJK

f^

*^-^^f-^tof-^f-o

r^frrrrrrm
|

^ff-'^'

frrr'fT'f|

fftrYTYT TrrrTTTT Trrr pT?^


:

^S

*-l

t:IU
id
o

x11:7 '[XU lix;


I

S
S

JT]

^9

ra

s*5 J iJ*a J ^*'"*^*j J

iJ

Paramount Tenor Banjo Method

W. J.S. Music Co.

14

Triplets

A
the

Triplet

is

a group of three notes played and counted in the time of two notes of
in

same value; or one of the next greater value. They are distinguished from other groups by having the figure(3) placed above or below them. Various strokes are used their execution. The following examples show some of these strokes.

Etude
Strokes

(n V n Vn V n V n nV n { ( n n n n n n
#

^^m
o

a * i#

??

^TrrrrrTrr'^rrPfT

'TrrrcrirCTj

m
slide
x

^Ad*di^

^t^ o#^ Jo> ^J

^J
y

In the following example strike alternately down and up, excepting when ascending to another string. With the descending portion, strike strictly down and up.

n V n V n V r-r^ rri

nvn
h-i

r^ nnvnvnnnvnvn
slide

Etude
n

Vn

p,

^ ^

V.

"^m|0|

^"'^
Q.-

".r n^\^\^l nnynvnn.nVnVn * # rrrfT'rrrrjiTTr^^^rfff^ slide slide slide " Vnvnvn vnVnV

pick

fffffTffff
Tr1 r r
r
I

'ff fffff

fT
n

EUL rrr ?? r^f^^^ ?

*^^

^^ s
V
l

^^JJjALjJJI.JJiJJJJJJJJ]
Triplets

JjJjj;JjJ..J]]
note, or notes

j?J^,^
in the follow-

may

also be represented

by a single
rrri

and

rests-, as

ing example.^

tremolo

P^ [^
il'

r r.__^

liTf rji

tremolo tremoLO
i

^^

-^

pyi |

^
,

rp ^^' li
tremolo^__,.,---^

.'

PTi

1
1

yy kyy
^f

o-J-

n n

^o J <f

tremolo rp rji 3*' ^P

tremolo

-^T

a-4p

i=

3iE

^1
Music Co
.

Pariimount Tenor Banjo Msthod

W.

J. S.

J5

Melody
Moderato _ V nnnn2#-->- _

=^

.nal4####,-4>

^^

nn n

">l4>#of-4#.^.y IZ

emi

nV

P <
!

.
V

4>->...g

VgV.
4IL2 1

'<r.-.r^A

^rr^ri^^rimrrrFt-Tr^

^
3:pj

.. n.,V

yn ,^in^ipc

^#^ ^^
n
V

4.2

'^^

iiV|T

IOE
T=^

U\^A^[^\u\l^^Yf^^\tM
Melody
Moderato H

n
V

^
H

^.l.

n ^^ri
V

n
4

J w^-f'

nr^ 4

n
V

^n
V
V

i9^~^

i
n

e^=f#^
n
V

f -CP la.

4_#

^
n
V n r?n

_.-

,,

n
LL

y
r^

4pr>

p_

I*

p
V

I
n

(9

u
?

- n
'

^
?
-^-^

Three

four(^4J^

is

counted three beats

to a measure,

one for each quarter note or

its

equivalent.

Melody
2-e.'

Andante
1

'A^m^F

fopYit
rzi

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16

Chromatic Scale
A Chromatic Scale consists entirely of semitones or half steps, as from one fret to the next on the banjo Sharps (#) raise, and Flats (t) lower, each a half step, any note they are placed before. The fingering as here given is only one of several.
Scale with Sharps ascending and Flats descending
C or 4th String

or 3rd String

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Chords
Two or more agreeably sounding notes placed above each other form a chord; and when so written, are to be played together. On the Tenor Banjo, this is performed by striking the strings quickly, so as to have the effect of being struck together. All keys -both Major and Minor, have their particular chords, or attendant harmonies; which range through the com-^ pass, or different positions of the finger-board. The Author's book of Tenor Banjo chordsmay be studied in connection with the different keys.

Chords
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19

Sharps
Thus
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Flats -Signature

far, only the key of C Major has been considered Leaving the key C,the progresmust be to either sharp or flat keys; and in order to preserve the same form and keep the intervals or distance fr-om one note to another, precisely as they are in the key of C, certain notes in each new scale must be made sharp or flat; as for example: if a scale begins on G, all F^ must be sharp; if on D, all F^ and Cs must be sharp; if on F, all B^ must be flat; if on Bt, all Bs and E^ must be flat; and so on. The sharps or flats placed at the beginning of a piece of music is called the signature. The following table shows the signature and names of all the Major keys.

Sharp Keys
Names- C

E
,

,^

Ftl
,

Ctl

no signature. Fshaip.FandCshaip.F,C,andGsharpT,C,G,andD sharp .F,C,G,D,andAsharp.r,C,0,D,A,andEsharp.F,C,G^,j\,E,andBsharp.

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B\>
E\>

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C\>

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G Major

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(3rd

To execute the three highest notes of the scale of G Major as here given, the left hand shifted forward so that the first finger is placed on E, at the 7th fret, the third finger on FS, figures placed below these notes
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Paramount Tenor Banjo Method

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20

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21

Waltz Movement
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Paramount Ttuor Banjo Method

22

Chords in G Major
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Paramount Tenor Baiijo Method

Music Co.

23

The following examples show some of the different combinations of the notes and the manner of striking them. These strokes, and their exceptions, wiU be more fully exem. four times. -plifled, in melodies and pieces, as we proceed. Repeat each measure
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W.

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Co.

24

Shadow Dance
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Scale of
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F Major
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25

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Paramount Tenor Banjo Method
J.S. Music Co.

26

Six eight time |,

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movements, three eights or eights to a measure.

their equivalent to a count,

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Paramount Tenor Banjo Method

S.

Music Co

21

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D.C.al Fine
Paramount Tenor Banjo Method

W. J. S. Music

Co.

28

Minor Scales
Every Major key has a relative Minor, bearing the same signature, and situated a Minor third (three frets on a Banjo), from each other. There are two forms of the Minor Mode; termed Melodic and Harmonic. The Melodic is so called, because it is best adapted to, and mdst used for Melodies or Tunes; while the Harmonic is more suitable for harmony or chord construction. The Melodic form has the sixth and seventh degrees raised- accidentally, each a half step in ascending,-whileindescending,theseaccidentalsarecanceledandconformtothesigpature The Harmonic form has the seventh degree raised- accidentally, both in ascending and descending. In the following table, the Major keys are represented by white notes, and the Minor by black notes. The Minor scales in this work are in the Melodic form, excepting A Minor, which includes the Harmonic; \ and. is given as a Model of that form of the Minor.

Table of Major and Minor Keys


\MAJ0R-C

MINOR-A
MAJOR - F

B
El
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Scale of A Minor
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C Major

Melodic Form
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9th

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10th

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11

PaKimount Tenor Banjo Method

W.

J.

S. Music Co.

29

Etude

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W.
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Paramount Tenor Banjo Method

S.

Music Co,

30

Chords in

Minor
33:
331
3-ar

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E

2^
3:2: r:>

*p.
1

2^9^

Eg

30Z g

2:&" 3:2:

EP~-,-i[

xz:

* g a
-

3=b:

0-^

Chord Exercise
3L

XC
-3-*
0-|-

EC

3 ^4

'tt

-Y#-

^^
-J
I

33E

i
Broken Chords 3*
-*#i

^^f
/

-f f H

P^

4*

1#,

1*=X
tf#-Mt

cILr 'dLT'
fr2 .
<'|"'f^,,

imm-

4^
6

&*fi
7

4f>

=cp^i=r

^^
m

Broken Chords

^^^^^^s^
*#
p-

m ^ m ^^^^^^^
r^ft* 'fi

0-#-

O*
ESC

&
6

e-P-

,4||p f'4

XjK

^^
:
^
1

o-#-

Paramount Tenor Banjo Method

W.

J.8, Music Co.

31

Oriental
A
n
Minor
V

Mazurka

n
^- J J J. J
I

(^ 'iJ.a

J ^^- 3 J

#^=F

'fr

'H

r''i^rT r''
6th

"f-f'r.-a.-

IX

^p ^^
'

-Y'f' f

^ *

<!

<

4='rflli::
Key
of

^
ff

J M 12

Sh

1^

tee

m
:

^rf;^irTrf,pf^rTT:^rTTTTT
s^
J,

^
^
o

j--^

0-#-'

DC. a I Fine
V

01

then Trio
V

_^

V n V vnV

TRIO

W=^
V

"'

6th

i*

A-

<^A

/r^o5- /v\o^-

o#n no?

n n.

v V

i*

6th

l^""!
1

of^

^^tsirr
e^^^^'
^^"^^

'^^

ns. Trto Trio to/?\ tor: D.S. then D G al Fine


W.
J.

Paramount Tenor Banjo Method

S.

Music Co.

32

Scale of
^Tremolo

E Minor
G Major)

(Relative of

^^

(n n n n vn
6

rrxrmft^r
~i

6~~f

Etude
n V n n nvnvs fcf^
V V
simile imi ie
,

i.

-i-

?'

.*

^rr

.r^^T

o^i*o^iA^fri^^tte^f'f
,
,

rrF f tTF., fff-fTf


4,

^'4-2^

4,

?:,

0^
,

'#-0-. , or. ...

fTTiTTTrrfrrfTTiTTriTT'^
^^^Jl-i.J:,i
l

^
jn
n
V

Jjj J..;4;oi! rr;'-^'^'''^


l

':7

.J L

Etude
Allegretto n V n
*j
1

* * # y

J ?E

a^

n/^-iT^^f^^
*i-

*#o3. V

^^.of-^!

"

,n

n
.

n _n

^^

n.,y

n_n
'^

# # 8#

? ?

'

rjr:
Paramount Teror Banjo Method

I'rrr

& ffi:^yi^ ^=m


W.
J.

a*-

S.Music-Co.

33

Chords
1^
1*;

in

E Minor
arj

(Relative of G Major)
2;^
i

lO 0^9r2i=g

-AZi
-a
9^

Ob oq

ig r ^ :=^

>-

^Ff

<

3cn:

-TjtT^

^
^0-9^

Chord Exercise

^i^
'

7thBar

P^
4#425

4::*

4]-*#:

i rj'T M.jtffrr Bar 4th Fret


n n n n n V n V

i f^5i^^
4th Bar.

2M

a
3

^mT;
n n
'^

-AA

ip:

nq;

-*#

5^S

o# ^##g^

=h

^
11

Am

# ^a s

Broken Chords
V
[]

"
M V

i
I:

^^1',.

JJ'C
4l>

-e^

* *
:~

:pT'rJ..ja^:
ij

^ ^ 1^ ^^m ^ ^
V U rn il n 1*
4-#.

i, r:*A

^-^

^'f^fo^

'"f'^o^ -3l

4-#-

op-

ist
6

*-

-*--

^^
1

4-#-

Paramount Tenor Banjo Method

W.J.S. Music Co.

34

Allegro E Minor

Harlequin
:

*
:8=

I
V

f^^
i

^1^^

^
G

^
3W?;
-0-

*A

^
g

ij^^m
-44

r?T?

Major

-rTTT-?
1

rr. Fine

^y^
E Minor

4^

*r^ p <^

"^

J?i"TT'T'p T'^f'^
i

'^^

'

'CirT'^j
4i- #-

^ ^

C Major

=T-?
^
=Ep=&

fi^#^

ii

^^
4ff.4p

;:;T
'^l^

F^
i

:;

T:c

7
3::

^-^^::^

g
%
-75

^4> ^.

4p ^1*-4p

0*

% i

^^^^e&jj:

D.C.alFtne

Dinah's
J,

Song
?
M.2n

-Ji -E

Moderato Minor

;,

- 0#-

aii
.

^^
n
--

n n

^'rlf-frrfr..-T:'UJ ^E^ :3ti*


1
6

^:
^

i
4JL

^rit#-

Key

of

H
a,

n 0^
-a^

*^ .g

fr

T-

^
-r

3E

0-F- -l^

lA 2*
-8-

*f.

Z-0-

I
V
-r-

3IE

i::i:3 >

T*
n
fc

4?^

T^

oWiz3^

I
.

rr

_^m,

~ -

-.-p^

r-

t^

^.

w^

r-

-w-

:t*^
Earamount-Tenor Banjo Method

i^.i^.A/ F/'

p
Co.

W. J. S. Music

35

Darkies Frolic
Moderate E Minor

*
w-^t

m^^
n ^.

t^

?W^

ur-^-i'^j

u'

4^

3f*fl .
^1

'f-tf^i^-..^. ^^ ^-j^'^o^-^ P Trr

E Minor

^
'f,

of^;^^,

4#

^3^4 -*1^

n:

r^

J^

ll

aJ

[J

la j

^=
Lfr

fT^rr

1,
40 ^

^^^
^44

C Major

S
-

m.

^ ^^
nirjrjiT'
y

r\ >,- ATf: 'ff^ip ^#^

1*

4tf

^
I

Minor
i

cJ-J tJ'^J
w^

^^
^
"^

^^
^
^

^- [j^r j.^^^j

flfTT'fTT T^r*
-

if

j.|i,n-Vrr'Jr.rrrTrJ^ -Mm ^P
f

^r' "P <F'

E Minor

P
#
t

^S^
^tK

a
f
"p'^f

'^ 'r

^
J7>tlr-^

331:

3i
(D

p rf T

!
i

"ff:

n^

'0

f''^

^g^4F^
W.J.S. Music Co,

Paramount Tenor Banjo Method

36

Scale of
Tremolo

D Minor

(Relative of F Major)

n n n n n V n V

i^K^ aJo^M*

f^
-ttfgOf

rrTn rrnr
.

qtg^

rT^^-i-^3jj^i

n n n n n n n V n V n V
Count
1

Etude

-00-

,fe.

^.,o.T-^,^...prT'^.prrr?frT'^f%ftf 4 74
Etude
Allegretto

T^

f
n

^
it
.

jXj

o#

XM

iiit;

^
nn
n

10*

'

ij.

l^*-

-6-#

^
n n

:sz

t^

^^ E
^?^

m
i

T#'

tT^^o;]

r4 * n

4Jt 2

3:t

33t:

3^
A#-

^^

till, it

IjC

i
'
|

^^

tHt^

4^

;r^f
f^

o
|

3^^- *>

^^0^^8l

BS

^di

1^.'^'-

^rnT^ Hrn.
i

iin

iMiyliTli
"W.
J.

Paramount Tenor Banjo Mettod

S.

Music Co.

37

Chords in
0U9.

D Minor
j t: tli: ^rw-

^s
'

n^

1j2.

_l:!2i o^. ^e
*-iO-i

i&i}-

i'j

rs

5>-

?
5~

? er

T
aV*-^

fet tV

^ ^ r^
r

T^

m
0-J-

o--

rr

Chopd Exercise
n n

m ^
fe

w
1^
r

4f.

'a
rr-rt-

^m

*^

Broken Chords
n V n V n n n n

M^ i ^ j^__f4"
:^

st

^^a

^#7^ i^

# ..

'1^^^
-#

TTT. r T

^ ^^
o^
r i.fMl

rTT 'pT
(>

m
n n n V n n

4* TAP

-fr#-

-()
,
|

.^ p''
I!
I

T.

474

I.I]

^f->

Broken Chords
n
V

n n

n
V ijL

4-

^
*4L

p^
Tl^

oi.^^lteo

-^ ^1*
10

^^ ^^
^ ^
r n

^.T r f
4*
#

^ ^ ^

:i

xa
^-^f
"

4#

tJL*:

slfl
^8-^

^P

j1f

^^

a,

3:^

"nr

~^Tr

^
W. J. S., Music
Co.

Paramount Tenor Banjo Method

38

Accent
la music,

Syncopation

their position in the accent is the force given to certain notes, and marks measure. The natural accent, is the periodical, regular recurrence of the accent, and falls of itself without special effort. The expressive accent is used to give more or less stress^ on other then the regular accented portions of a measure- The natural accent is never marked, except for the purpose of illustration; but the expressive, invariably by th sign> or A. In the following examples, it will be observed, that in | time, only the first note is

accented. In | time, the first and second; the first on one, and a weak accent on two, marked (r). In | time, the first and third notes are the accented ones.
-^

Examples
J

Two

four time

|,

Three four time

f.

J-

Four

>
four time |,

^^

Syncopation
Syncopation is a displacement of the natural accent, by causing it to fall on a part or member of a measure, that regularly is unaccented; and continuing it into the next accented pulse or beat. It is caused by notes of lesser value being placed before notes of greater value; and by tied and dotted notes, beginning on an unaccented pulse.

Examples
ffi

j J

rirr rirrr
ill *'

i'i|'-nijj^?r
/ JI

;!r

^Frpr

fE^

" J

j.riri

jJ

.^\ni
(Syncopation)

UJ

FTrj-rHI

Virginia Capers
Moderate

D Minor
^1

m
nm
1

iHs
e

Ast

r4^

4 JL

=^^^ -#-

TiTf fT
*# :'L^

# 2^

#2

#
6
6

Fine

m
%
^

^m
3

5
Ji0

*- ^wf^

mi

f Tf-Fr^f'fff^P|Tf-,! ^
*it>* Hfi^ f ifil
*

^
^ffy^ff

D.C.aLF.ine then Trto

*
y

TRIO

^9 i

^ ^ j:]-'rr?-'T^ii-tfi%iTf^7r^^[^
I

*?

y
y
Co.

^P?a'NjJWj'T^ T-^TI'^^^1J.JJ,iJ^^^^^^^^^^
Paramouat Tenor
Baiijo

D.S.Triotons

then D.C. a I Fine


Method
W.
J.

S. Music

39

Columbine Waltz
D Minor
i2

n uH

If^

^ti9-^
-^15^

IZZ

^p|.' "^

^M

^t#-

-&1^

4F-TT !
~I

F Major

f 4* ^
n
V

^
>
^

^'xn
I?22

^
'^

*<?

^1&

m
s
2

:p^py^^-pj!^bw
n n

n^
p
I

r i

C Major

tip; ag

i
-f-

^
^--

ir-^J'T^g

f^i;-^'.;^.j:-j-^o.j. E P'-l^' E
8

i f:'/^f'f
iTTTg
0-P---

=r^
-e-

w..o."yw

o*-'

^ ^i F
-

F Major
-*is^

3:

0^

^^
HZ
1

J^

^
-xw
0-p-

0-9-

--r

^
^|
^

f^
r
1^
;

Q^J^^"^ Afta

-f

-Hr?

-J

vJ

ii

P
p

?3^

fj,f

JrpJ

\^ v
1

o-^*Tjr^jo

3ZZ

?
r
I

[;

# *p

^ 9 "I lt>
T~!^
a 9
1 I

^
V

D Minor n

1^
KJ:^

i2
l9-=-

22

r
n
n
V

T r "f
'r:r

,f

femp^
n

^^

-Jripi-J^

A^-^
i

n
.

(z^

hi'"^.J.Ul j^j-ji.jn:|i
W.J
S.

Paramount Tenor Banjo MetLod

Music Oo,

40

Scale of
Tremolo
Signature

D Major
Fit

and C#

'lJ5j4
Fret 6

n n n n n v n V
l'

-f

^#p^ *#^ w^

A#*

TT rT'^'^LJ^jJ^ 6
i

II

'

Etude In Thirds
Moderate n V n
V

VnV

'
'

"^'^TTffl

Etude
Allegretto

_un

f#

:4

M
'^
'

J.J

r'

a ^aff

am

0* 0^

-&#

10

Fret 6

S^iSln

The
Tempo diValse
Fret 6

Yodlers

Song
2rt

Xj

"^-8

j.j^lH^it^j^^^

Kev of
Mnjor

n
_1JL* '

^ r-Am

it
6 6

Jl^
4jiL

O-0-\l
^1*^

5E
'
4Jl
'

^PE

n-g-oj^..
3

4*

mm
." V n-;^-oJ^. ^
-&0-i

^
4##

^m:

n.V
n'lt''A

3iK*

.rr

4g#

Paramour.t Tenor Banjo Method

J.

S.Musie Co

41

Chords In

D Major
4#
Ol-

^ ABl
'

T
Bar

0^ 3:g: razn
r5-^s^
Bar

Jt

1
Bar

-^-

^
4j-

iisa

;i 1*

1^ iV

*:

iza

>

iPH
r

Chord Exercise
n n n

fe^^^
i ^
I
I

#-.-

-*#-

p
4->

r,jTrrLjTT r
g

rrtT

F^
4

fe :?fffp4" fff| |4ff # 1*


ei-

*#

.mii

^?Ff

Eli:

Tr

Broken Chords
n n n n

^
I

l-ilj.J
Broken Chords

4*
-6--

..

=E|C

^^
W.
.I.S.

Paramount Tenor Banjo Method

Music Co.

42

Grace Notes
A grace or small note written before a principal note has no time value of its own, but takes it from the principal, thus depriving that note of a portion of its duration.lt is executed on the Banjo in three waj'S; 1st: by striking both the grace and principal notes. 2nd: by slurring,- that is, in ascending, only the grace note is struck and the principal note vibrated by a finger of the left hand falling on it with force; and in descending, both notes are fingered at once and after striking the grace note, the principal note is sounded by draw-ing the finger quickly off the string. 3rd: When the time length of the principal note permits, it is to be tremoloed immediately after striking the grace note. The slur mark is used only, to show the connection of the grace, to its principal note.

Examples
I.
A^ritten

"tu

n trem

TT?

-^5^ %
fTv

trem.

ifi^
Try

^
rrv

^
TTT

rrv

effect
I

nv

mw^ m
-i

ftd.d

^
k^
l

rnr

nv
1*^

*^>

fr?"frrtrm

m
n

Review Polka
i

m
11

^^
l

n n v n..y ig 1^ >i^

3^ *^if:iP

Iff

\^f^fflH0 Triff f IK^ T " r -"r

tk

"

n,^ .p

VnV

f-sm

S ^ m^
6

Key

of

n
3

nnnn
^1 4

=:?n

!3.J)
1*
Hold.

^S
yi"J^

:^T.., .. .
^
V

;. .
.

" n

^^

'"^'^ ..^ ^ 3 [>

se=E
v

3#i5*^ n n

n n n
3:e
Hold_

i
^^

^^

ji^'iniS.J of-.*^

i.

D.C.alFine
Paramount Tenor Banjo Method

W. J. S. Music Co.

43

Scale of
iTreiuolo

B Minor
D

Relative of

I
i

S fr4F^

n 4#
6

" ol
f

4?
6

g
r^

Major

^V
ot)J

V
3jb:

^ Fret
n V n V 3# # f
'

If o#

^
4

Etude
simile

I t

3r

rrrrl:fV'
I '

r^r^ii
6
1

^5.-r- ?,'F jt ^^g'-'g'^-^^^


4
7
9
10

^
j:

-I

"

Fret 6

Chords

in

B Minor
Bar Bar
1/2.

Bar
*
3

^
-3-S
igj

.A.
3-e
^

4-3-

4-

J
Qgj:
-=5
j:

!-

ao

rv

-^rsm

-3-&

If

:& 9g
'

IflL.
-31
*

re?

-j

Chord Exercise
n n n
n n n
n nn
..

Broken Chords
R 7.n.l
i*
^^^1

^^

^f
'

4^

iJL

i. :=

3^
*-

3jC

-Tf"

^^

^ ^
3

fe
SE
fe!

^
"

te

4^!^

-5^^

ultt
6l

imJ

Aria

'

f-'- p
Paramount Tenor
Banjo Method

-^yyV'-r^

y^
W.
J.

S.

Music Co.

44

Scale of Bl Major
Signature
Bl^

and

El>

Tremolo

n n

n
V

n n

n
V

i i^^vYf T'H
Fret 3

fr

rm nrr r rTT TTT'l


. . l

Etude
Allegro

simile

TT ?,' 'p-rp

Chords in

Bl>

Major
Bar

-^-s
?

JSJj.

3-6
-!H5

1^
3-S
-3-S
-^e-e

4-

4 f:
1

lo
s>^
3-5^-"
J:

C;

ad
gj

IS

lO
Bar

33:
Hi-5t

"T77

T15

vp

"2"?

Chord Exercise
n n
'

n
^

'*^
+1^

o^ -^i

4- r

+*

:3qK

^^

42-

Broken Chords

n 1^
"8

n
TW

Pj-6"

^-^^

Paramount Tenor Banjo Wetho'l

W.

J. S.

Music Co.

45

Double Grace Notes


Double grace notes are executed on the Banjo by striking the grace notes
and the
principal note one after another,- or by striking the first grace note onlj', and vibrating the second and the principal note, by the action of the left hand fingers alont-. In as-

cending, the fingers fall heavily on the strings in succession; and in descending, the notes are first prepared by placing the left hand fingers on the strings, and after strik
ing the first note, the fingers are drawn aside in succession, to the marking above and below the notes. The slur shows the connection notes to their principal note.
of the grace

sound the others. Observe

Examples
fT^

uriitrn

nVn nVn nVn


im^fi'

^m

i/a ^
*'

^ nvn

jCM

h
n

'^'
n

-*

IeeS
rTTTT

^]

tTTTt

yeffect

3^5

Blue Bell Waltz

D.C.alFine

TRIO

^
^hf- IJZ

fJ

322

JM slur

S
r

^
TZ7

m
ab*
..

t^
t=m^
n
V

-e-(&

-81^

n ^# p^Ll
An
>

132

rr

4*
-e-e^

^TU'Jii^
n V

m
.

322

oJ^^^P

=^fe

^^

:3j

4Q

SEE*

--^

rT:||oJ

iU^
Z?.

^. a I

Fine

M
.

Paramour.t Tenor Banjo Metho

W.

J. S.

MuBic Co

46

Scale of
Relative

Q Minor
Major

B\'

Tremolo

i^
^

n n n n n V, n V
A f 'kf^\
\

oJ

<*Y

'

10

fr^y^fim

Etude
Allegro
^

n nV V nv

-|

qi

'ir. ' ht'r.


i

Chords
-A^.
^a-s

in

G Minor
4

_Ai5

_i.

%^ r i ^

ac
-^m

32:

-3S^ + ^T
i

-AjS.

i^

-*i5

TTT

'j^^n

sna
T-^^

--&
1

"TZ?

^rzi

-rzi

Chord Exercise

ta

n n n
n n

4- o <

k=^^^

^ t

^T:*

aS

I -lit
^-#

^^
-t-

^
sriczK He:

-&-9-

P f=^*l3E^

I^
V

^^

Broken Chords
n

nn

n*7^ n^I ^f-4

Pararaount Tenor Banjo Method

W.

J.

S.

Music Co.

47

March Of The Guards


Moderato
n_ V

"

f
n
-8-
1-a^

-r

'

*^
^*1
-^4*

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n

i
^^1

r^
"

S
rr-

r*^

"^r^;-; J: rt'r^'^
ad
V

lib

a
.

ti?

n
BI' Major
.

1
4^ ^

ail

I
I*

i^
n

3 i) -A4l y-< y a '^ '^

-^-^
1

^"
V

! ^~Ti tuL./

n
-*

n
y a< :

n
-*^-^

y aj

2^

4ya

.u

IjE

yaj

^
G Major

r f-rT. T

?r

n 'f

/
^A^ Trio

TRIO

,pi-jtTi.M-JiH.;-J-4ii, ?,^ m^Em EEE^ ^^^ ?3^


mf

n
V

^
/
y

",.n.oi

Ir

dim.

iis
i
T~r

Ijn

* R j^riTi .gi-itii

^^ ^ ^
;^ :.
y

v^
n
V

^^
? /^

o.-f^^^^Z]^^
TIT 5EEEi

rc

-#

a
v V

i
V

^
V

A
n
V

^
dim.
V v

V y

-^

P-

t
dim.

i.;c

fz
Paramount Tenor Banjo Method

W. J.S. Music Co.

48

Scale of

Major

S ignature V^C^ and Gft

n n n n

o^4if:

i
Fret 6
6
(2)

11

12

12 11

6
(2)

el
(3)

Etude
n V n V n V n n n n n n
lA =i*-n^iAi''#^

Chords

in

Major
3l9-

W ^E
^^ i

n
ttt:

n
3C
r^:?

*P-*5^
1

4tS>-

P-

-^^^

323:

322:
-4h5

322
222:

z=232i=ra
i-fii-

32;
liS^

"T2?

^^

E?
312: &-

H 21

2:

3:2:
1

l-<9-

S--

^
o*--

Chord Exercise

n n n
<'^^

.^
---

#
I

3--#-

3#.

IPZCE

EEE

. 3:r:r

-ir^irr::::

*#

lECC
r#^

4^p:

-im

CCK

Sil
-t
-0

Broken Chords

w ^^
Fret 6

n n n " n n n V n Vn v
'Pa.
I

IJL

E
'P-O*

^^^
3:

1*

*#
-3l

0-#-

^(tf.^Y'f f
7

4# TM \

^
6

31
a

^6

*'nl

xc 40

"

&s

ips;

3ac

3S37
4 7 W.
12
I

-Paramount Tenor Banjo Method

J. S.

Music Co.

49

Scale of F Minor
Relative of

A Major

'
Fret 6

1li:ii>'ii|Trr'^''"'rirrVrr
'
I

Li.

Etude
Fit

Minor

Fret

S
Y
1

simile

<i

J^

-*i^

r f

"/

^^^^^ ^
/ I'f
6

4*-"^
fct

'lir

-;

-f ~
6

"^'-^i'^ 7'"^' 6

'''^'"^ ^'1'"'^''-^

"^

^i'"^'^^^
6

^
1
>

i ^t^%irmwn,n7 89 45424
^r^
\

Qf-a^
6

p _
6

__

ti

Chords
n
n
4i9-

In
4^

Ftl

Minor
0i5-

^HE^ I

fci

&
zz:

3-9

.?_
5>-

*-P-

-3-9^

-5t^&

-*-&

0^9-

4
1

^9-

Ttr

^?^

^O
6

-4J-(9

a
*.?

Chord Exercise

U See

n nn
i-i-^

o*
3mz

EaiE
t^

B=f:

4*1#- l9-

n n n n V n

1^

n n n V

Broken Chords

6
W..I.S. Music Co.

Paramount Tenor Banjo Method

50

In
Tempo
di Sehottische

Clover Time
T-

Qu
'ii

n
Fret

v"'^

-^

^ nf^
4

,V

#0 P *|

o^-^f^./gj^^^:^
6 5

"<^^^r'^ 6
n
V

B^
r.. '^^r
^
6
^

-J

s=

^
Ft*

^^Fine

Minor

V
f"
3

fep^
I
Fret
r^.

r
5

3 x -ir4

3i^4
5

4
V

yT^
M
JII
.,

^^
2 ^T^-"

^^

n n

,V

D Major

^/iew trt'o

TRIO

Y-

..-p

-fTTTTTTT T^^^^
i

B Minor

fc=^

o-fi-

3:?2

^rTfT,T
9,7
5

f.. ,. 'f

-*15^

-4-^

-JhS^

^^ 36
__n

.g
4

V.
3:p:
6

3
rr
I

V.-g^V-n

i_&
-*i9

^ t

ti

r 'p

'

D Major
0-6>-

EIIj'

^iLj'

t-j^^
6
5

fT4itr^'i
6

^3-&

7 ?

5n ^/cvJl ^D. /^ Cat Fine


W.
J. S.

Paramount Tenor Banjo Method

Music Co.

51

Scale of
Tremolo

El?
El

Major
and At

Signature Bt

n V n n n n

V
n,

^1
n n n n V n n

&m t
^retl relrl
(2)

:- :-':^ifH

'^

m ^^ ?
*#3 6

@
Etude

1,
i

^ ^o;.^h^. tfg^ s
V

Pof

r-^ f

T'CJrTrEf ^^^^^^
4*^-4^
'(^'ff'#4.
1

!;^

fe
fc=r

3jc:

lac

at^

a!?
I

,
|^

"|*4

T^'irT
g

t
6

+1-

iS i&

^*#3

f 1y

^#-

JT^Y^i^r
-*^ 'P

4^

, 1

[^^rj

J4tfJ^^

33K

[T

A* n^

'

'r ^* oJ

J
1

^^^^^1
El>

Chords In
4;^
44:2^

^4:^
1

_a:3lj

i ^

^^

^r

s^

zsin

4-9

1~9

4-n

9
5^

-4-^
-4-5^

33

333: ixs:

X3

-+19-

o-

3in:
"^Tz;

^
4*

1 ^g^^
4- #-

n n
F=

^
i
-

Chord Exercise

xc
4-*
a-*-

rere
Bar

--

4#-

^
4-#-

-t-9^

^ee

sa i ^
e^ a

FU'FFu'Ff
Broken Chords

#^

^
^E
^=
W.J.S. Music Co.

^ ^ ^
3 <>

Etz:z3p[
4-#-

s^
^

^^ ^

-M-

IS

Paramount Tenor Banjo Method

52

Scale of C Minor
Relative of El

Tremolo

Major

n V n V n n n n

Etude
n
V

.l.-2-4l

'"^rYf^'l

.oq*'i

g^otV,yfrgT'f^'^^'^'^^gfa'p.'^

..

Chords in C Minor

1 W^

n
322
I

n
-^-G
O^S^

332
-e-<s

0C =332:
O-G-

0^

-i-6

322
-e-e 0-&-

-19-

4^
az
9-

St"

irz
-e-5^

te
^
i

%&
312
-^

0-9-

0-9-

zr

0-9-

'

Chord Exercise

^^R^
v-m 3CK

1::
o-t

UdE
"2"

p p p

m
o^S^-"

#a
^

SC

40

-0

T*

3 --

4 m

-6*

:F

Broken Chords

rLr/'CXj'-'J^
Paramount Tenor Banjo Method

W.

J.

S.

Music Co.

53

Golden Days Minuet

^=^=^i a I
4.

An am

*ft

*A-

^i

g^S Mi
o" m 8
.

!* 4#

4 . , rjc fe

a
N

a#

4^Twv^

3lE

3ac
-*#
-M-

4 ?
f

ay

4rJ

60
-

|i^7
r^fci

;!:j
n
V

t w

"'r:rT"TT^^

v/

jr^F^,.

v^h j t^.i,j.
__^
n
w
I

jj-fi

v/

\/

a tempo

poco

rit.

C Minor "^

A2*,^ 2^*#2#-

^
.if

F^

&^
4
1

1-A.i^

yi.^ yr|Trir-rTT|vf.
6 T

2nd string
5 6

f
5

^^ f
n

^ ^*
r*
tW/..

^ O 4<

nV

^
5?

<i_

ST'

^&
r'?T^r|-TT||i|-i ffT^.i

4^, r4#

^ p

r^y^ ^

J4p;^.pj|j

^^
a
*f
:i:

n
-&#

.<4-*

^^^^^
*g^_2^
**tr 2jt_2-5).

,r^^ ,u
VString

^
J.

^
^s,^
8

-^ a# r

Vn T # r <p

2JL 2>.

n V4.-2 24JL2^,''2^4# 422^

=*: 7 2nd

^^^
.' !

10

10

865

631

65

roll.

Paramount Tenor Banjo Method

W.

J.

S.

Music Co.

54

Position
.

Scales

By position as here meant, is the place of the left hand fingers on the finger-board; "d it is customary to say, that the number of a position is determined by the fret at which the first finger of that hand is placed. On the guitar and the regular five string banjo, this is literally true; for each fret is a position; but on the Tenor Banjo the arrangement is some -what different (and certainly not as consistent) the entire finger-board being divided into only seven positions; as follows: The 1st position is from the open strings to the sixth fret. The 2nd'^ position begins with the first finger at the third fret. The 3rd position begins with the first finger at the fifth fret. The 4th position begins with the first finger at the seventh fret The 5th position begins with the first finger at the eighth fret, The 6th position begins with the first finger at the tenth fret. The 7th position begins with the first finger at the twelfth fret.

Scales
scales in a given position on such instruments as the Violin^ Mandolin comparatively an easy procedure; but on the Tenor Banjo with greater dis-tances between the notes, the task is a more difficult one; so that often it will be found more expedient to resort to the shift, than to attempt to cover a given passage, within a particular position. The following scales illustrate the positions from the second to the seventh, inclusive.

The fingering of
is

and Guitar,

Second Position
4thString Signature

Third Position
1st

3rdStriag

2nd String

string
3

4th String

3rd String

2nd String

1st St ring

Bb EtAV

.4* ^fi^f:
'/(pi^f^ PE\>

i ^\J.JJ-^i'fT
Fret

rTT.Tff
Bl> Bl.

i ,?,,

Ab At 3578 3578 3568

56

eTcT"
Et

yj \d^ ^

579

m
10
I

^TTTi T
l

m
10

t'i

579

10

578

78

T'ourtli
4t string

Position
2nd string
istString

Pifth Position
4th String

3rd String

3rdString

m ^S ^m
i#2K
Fret

,.3^4.

.*'#?
E
Fff

Signature
B'f

EtAV Db Am* f P
\>

79

11

12

79 111279

Q
10

Dk

Eb
8

A\>

Bb C Dt Eb
8
10
11

F Q
8
10

Ab
11

10 12

10 12 13

10 12 13

13

Sixth Position
4th String
3rd String

Seventh Position
IstString 4th String 3rd String

2ndString

2nd String

i
[>

#v

r*

:^m

+^

m
10

1^

Eb F
12 13 15

G A
10

Bb
13

pm
12
14 16 17

2^3^-^

^#^e !**:;_ :z

:-

D E F Q
12 14 15 17

ABC
12 14

Fret 10 12 14 15

10 12 14 15

12

12 14 16 17

15

Paramount Tenor Banjo Method

W.

J.

S -Music Co.

55

The
The following

Shift

table exhibits the shift through all the positions. The so called half with the first finger at the first fret, as shown in the first measure on position begins each string. Its usefulness is found, principally, in keys with many sharps or flats. A figure written below tlie first note in each measure, indicates the fret at which the first finger is placed; the other fingers of course, following, each in its order.

4th OP C String

fa. J
(
\

'^

a||J H.ilf Pos. Fretl

Ij.^j-^^JJ\JA^^^^^
^

J^^^i^

3rd or

String

t^jj.iij.. j^..yYi -v^yY'''rikTt'r ^ Half Pos. L ^


i| i
'
'

'

ii

'

T'''rt''TiN
K

rTTri'rV'r'
-7

^,,,
8

..^r
i

iT'T'rr 'r"rtt
ii

| |

tTrr TYfr f"rTrr||rYr


|

10

11

12

13

14

2nd or

String

m^
S)
Aft

^r'^f'-'

^^^^ ^.^.^...
'

^^.

^^^
i)|>
tt

Half Pos.

,gjl^3i)p.te^.^.py^^.^'^^Y^,:ffTf,,r''fyfi;ffytTT^ff e ffI-g e n d eI e B M=^'^ c c b ehI c b DJ e Fc


tt

i>

| |

f||

i)|f

Fff

10

11

12

13

14

1st

OP

A
ct;

String

^j^^-^^^^^^i^^^^^'^ XO Att D B ct F b c c b
ff
;

HairPos.

3.f ^
bl>

i \f,'p^^fY^'^^^^%'f^T k ^
b
bff

Eilb

5|l._,u
II

i\

>

l^

Eti

Ie
'^

Fg g

^i^,a

-im-il^m4-^

i*^

rff

Fx

m-

y^

6|t

G
10

At>

A BV

jt

Ajj

R A
12

Bt

G
13

Eft

Ctt

B
14

tt

11

Paramount Tenor Bauja Method

W.

J. S.

Music Co.

56

Examples
The
another.

In Shifting
shifting from one position to below the notes. written number,

five following exercises exemplifies the

manner of

A change
Allegretto

of string

is

indicated by

its

igr

:M

Moderate

^
^ T
J
6

n n n4^

f-

**"^^e4
"^^^^^

f^rrTTTff^'pr'^

I
9
10

^^"^z l^.l^ m
^

^
i

n
z

r>

'^yife y-ll

Fret 7

2'ndstring;^lLfL7 10 7 ^..5

4:

.-g .ptf-^'f

'r

7y
I
'

IEy=ll

,p</,i

(S

ff

..,-f '

f f f r f ^ f shift ^^ ^"^
I
'

f
O
10,,

^ ^
shut

^
O
10

^ ^ ^
shift
__

f f
^

T r
'

stiiug2ml tiiug
Fret

lot

FD

FS
9

E
7

D
5

y-

1=
9

Fret 9'

10

12

9_ 7

h ^
2nd

^^^^^
il.
2jB.
J

J^

^
bhift

:z

:z

t:
shift
-6k

E E ~ p
-strft

*:
bhift

p
fS-

2j. '^m.

M-

1st

-^aA9
10

BAe14
12
10

-^e
E-

I:^f
shift

tj

10

Andantino

I.

3:p 2>4*

r
7

Jl
2
9 7

3rd....

'^^fy
6

4th 9

3rd
6 7

ZIl 9

2nd_..
6
7

sETTT
'9"" 4
6"

KT Ti^' ^r
4
6

*- *

^S
^^
shift

Allegro
-*i5i^

shift

-4-sM

string Fret 3^
322:

4th.

shift

^
10

-^i
8

T77
7
shift

i
7
5

3:^
3

fe*

3ut
4th..

lH"C=f
3rd 5

3rd.,

f 33 4th.
3

^*
shift

<<

-1-6^

i^
W.
J. S. Music

4&

Paramount Tenor Banjo Method

Co,

Scales
In the following, In

On A

57

Single String

each scale is played on a single string, as marked above the notes. be no hesitancy, either ascending or descending. Repeat many times. should there shifting,

On

D FLAT MAJOR

the 4 or C String
BI'EI'AI' DI'GI'

*9.

On the 4 OP C D MAJOR

String..

FttC^
9 11 13 14

r>\>

{>

Fret 1
,

gI'aI'bI' 6 8 10 12

d\> 13

bIaI-gIj

eI^

t>\>

Fret 2

the 4th or C StrLiig (Et .MAJOR Bl>EkAl>..

On

_ ,
1
,

..,
1

4 ,. A

C String. E MAJOR FCGttD


On
the 4th or

*^

l"i

11

Et

aTbI"

e\>

P MAJOR

Fret3 5 7 8 10 12 14 15 On the 4th,orC String


B\>

A FLAT MAJOR

On

the

SrdorG String
BI'EI'A^DI.

Fret 5 7

9 10 12 14 16

17

On

the 3rd or

Fret

6 8 10 12 13

A MAJOR

String

Fit CitGtt

G String. B FLAT MAJOR Bl Et ^^


On
the 3rd or
li'**-

^'"*

3^

B^
Fret 2 4 6
7 9
11

Et
5 7

bT
10 12 14 15

13

On the ord or G

14 String..

Fret 3

B MAJOR

FttCttGttDtfAO

C MAJOR

On

the

.>rd

or

String.

9J

Fret

E FLAT MAJOR B\e1>a!

Fli(j)iA B.AttGtf 4 6 8 9 U 13 15 16 On the 2nd or D String,

cTDtt

Ft!

dTcR

Fret 5 7 9 10 12 14 16 17 On the 2nd or D, String

^LA.JOR

Ff Ctl G

Dfi

Fret 1

10 12 13

Frtt 2

F MAJOR Bb

On

the 2nd

prD

String

F SHARP MAJOR

On

4 6 7 9 11 13 14 the 2nd or D, String..,


FttCitGt?

dSaS

., -n--

Ett

fit.

D E
Fret

Fii Ott Alt

B
9

On the 2nd or D S tring G MAJOR F

Fret 3

5 7

10 12 14 15

On the 1st or, A String B FLAT MAJOR bI'

4 6 8

ct^D' El V r11 L3 15 16
^ i

E tD S
t

Clt

B AHQS

mP
i

E^'j^^^^^

On

the 1st or

B MAJOR FcfGllDA?

Fret

10 12

U
r

Strinai

MAJOR

On the

1st

or

String..

^i-S*-*#3ffi-.^

MLjLnnin
-

if'TtVi

E FitotI aH B AfG8 F E Ptf 4 6 7 y 11 13 14 On the Ist or A String SIURP MAJOR FiiCGJtDt?AEttBtt


CtfP
lf

i
Fret3 5
I

F
7 8

A B

C
15

B A

fr^g-

10 12 14

Onthe

D MAJOR

1st or String. Fitctt *^ie.*^Ai^

m
W.
J. S.

Fret 4

11 13

15 16

'

Fret 5

7 9

10 12 14 16

17

Paramount Tenor Banjo Method

Music Co.

58

Tenor Banjo Solo


Piano
ace.

Sweet Angel Sleep Well, Thou (Franz Att)


Arr.by Wm.Foden

Published

Moderate

If
i'
,

^-^-^

L^,^

^
;l
32Z

^0^'

^^^
nioltoesfress.
\

f
V

g^
T*^"

r^:^
i

3ZZZ

>

'

F=

ujlLm!r;'tJ

^
I

A
i

j:;irNjP
3jK

-e-#^

2nd String

^
L-pizz

*^^
^

^r. Lipizz.

L-bizz.

-trw

^^
^
-

['

-^

\^.

rw
I

.
.

U
I

.
I

X
Piano

r
1

^
i

Banjo

'l\o

IS

^^>
V^

^
0-9

Piano
ParamouiTt Tenor Banjo Method

-L'

^ ^
^

pp

W.

J.S. Music

Co,

59

One, Two, Three, Four


Tenor Banjo Solo
Pia no
ace.

Waltz
Arr.

by Wm. Foden
~rr7

Pub I is hed

^
2n(i String.

ri

^-

ji^
o'O

'

_A41

A0

#
i
r
fet

Jim
-

4^
K

i_J
;^
I

^
2jd
j^

O/j

-3-&

i
(D

=+^

l^S^

3j

*
.i
-T'i

3ZZ

-4-(9

322

(D

4-J\

4
I

4 J-

n
r?

fTT?
V

oJ<i
^^
i-p--

3122:

i-i

^
--r

"H9

^TT
"

:^^^

n
_4uG

V,

TT?

-iH#

ii^

i^l
^

5i

^-*

Tf
*i
-*^

'J-3-1^

r^oJ?z:

Tgr

TU

znn

-^^

'-^

''^
1232
4-9-^

1-9-

SE

a i

i<
322

*o
Tr?7

f f^

1=^

Paramount Tentr Banjo Method

W. J..S.Musie Co.

60

Yonder
Tenor Banjo Solo
Piano
ace.

Hill
Arr.
j.

Published
srato Moderate

CSong and Dance) Varied

by

Wm. Foden
"oS-i4t

^
:^

-u nA^l^

l^n

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Tenor Banjo Solo


Piano
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Sailing
(G.Marks)
Arr.

Published

by Win. Fo den

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Paramount Tenor Banjo Method

W.^^.S..MusiC-Co.

raramount

Kamiki Hawaiian Guitar Method


new work
is

absolutely the most practical

THIS by
of

stood
all

book of

its

kind

on the market

It is

highly

whom

of the well-known Hawaiian players in ore at present touring in vaudeville.

and easily underrecommended the country, most

explanations have been eliminated, and while of everything Importance is just where it is most needed, there b no long, directions to confuse the student Furthermore, there b a bewildering of well-known solos with Ukulele accompaniments, all of repertoire which have been carefully arranged by the author, Mr. WUliam J. Smith.
All superfluous

GET ONE TO-DA Y!

It is

worth twice the price asked, and you

are bound to be pleased.

PRICE, 7S

CENTS

Kamiki Ukulele Method


can't

You
at

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do without this excellent book of instruction if you are interested in that charming little instrument the Hawaiian

Ukulele.
is
It

The mere
necessary

fact that a sixth enlarged and revised edition has become proof of excellence and superiority.

U highly recommended by all the Hawaiian playeri. It* no *uperfIuou word* or confuting explanations are meaty You diagram* to hinder rather than help the atudent. CANNOT go wrong. You will learn eaiily and right.

Chords and cadences in a number of keys are given both by note and by diagram while a number of accompaniments to well-known songs and several corking solos complete this standard method.

PRICE, 7S

CENTS

Kamiki Guitar Readjustor


TTTl
Patented by

WIUJAM

SMITH * CO.

THIS

simple and inexpensive device instantly makes for the Hawaiian or Steel Method of performance.

any Spanish

Guitar suitable

It raises the strings to just the proper height to permit the steel to pass readily over them without touching the frets, and Its hardened metal construction imparts a ringing resonance to the strings which the usual ivory nut cannot give.

Thousands of these Readjustors have been already sold


are anxious to
This

to guitar enthusiasts

who

meet the demand


applied

for

Hawaiian music with

their

own
time.

instruments.
In

it

device may be the instrument. injure

or

removed

in

a minute's

no way does

PRiCE, 3S

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Ask your

Dcaler^^

WM.

J,

SMITH

& CO.,

PUBLICATIONS

Songs for the Guitar


This
collection oi Fifty-eigkt songs inclucies

many old
wkick

iavontea, and a

number oi son^s botk new and

old,

have never before been publisnea 'with Guitar accompaniment. Several Spanish, French and Italian songs

original text, splendidly arranged

by Fred.

and Mrs. Bickf ord,


L. Lansing, J.

Wm.

Foden,

W.

J.

Bacon, Mr. Kitchener, Geo.


J.

G. Liddicoat, Francis
F. Vreeland.

Pofter,

^^m.

J.

Smith and ^Valter

range in difficulty from the very simplest, suitable for first-grade pupils, to those requiring considerable skill. Most of these songs are especially adapted for concert use and are very effective

The accompaniments

^ duets

for Violin, Cello,

Mandolin or Mando-Cello and Guitar.

Order one to-day

PRICE ONE DOLLAR


Sons^s for the Banjo
IN

C NOTATION
many
old

This
favorites

collection of Fifty-six songs includes

m
Notation
VvfellKnown

published 'with Banjo accompaniment, arranged by the following celebrated arrangers and players, Thos. J. Armstrong, Fred. J. Bacon,

and a number never before

Bickford, AJVm. Foden, ^V. J. K-itckener, Geo. L. Lansing, J. G. Liddicoat, Francis Potter and ^^alter

Zarh

M.

merican]

F. Vreeland.

PJayeiS

tke only song collection for Banjo publisked Tke accompaniments are in tkis country in C notation.
is

Tkis

and none of tkem too difficult for tke average performer. Needless to say, tke tune or air in tkese pieces, tkougk wri^en for voice, may be carried by Violin, Mandolin, on any leading instrument.
effective

and

banjoistic,

Order one Today

You are bound

to be pleased

ill

PRICE ONE DOLLAR


.

Ask your Dealer


for these

WM.

J.

SMITH

&

CO.,

'

PUBLICATIONS -.
63
8

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