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MASTER
INSTRUCTOR
FOR THE
Tenor -Banjo
BY
GEO.
L LANSING
WHITE-SMITH MUSIC PUBLISHING CO.

Boston
New York
Copyright, 1920, by White-Smith Music Publishing
Chicago
Co.
5T
5^
Foreword
^Mo-
The Tenor- Banjo
is
the outcome of much, experimenting
by dance orchestra players.

Unlike the Mandolin -Banjo
it
retains the characteristic
Banjo tone quality and by the system of tuning
it
becomes much
easier to play than the regular five string Banjo.
In this work the author has endeavored to present the

est
system
of stroking as used
lat-
by the leading orchestra players,
thus preserving the proper accentuation which
is
absolutely es-
sential in the rendition of the dance music of the present day.
The signs used

latest authentic
to denote the strokes are those
methods
given in the
for all plectral instruments.
G.L.LANSING
15324 - 64
ELEMENTS OF MUSIC.
The principal characters used to express music are NOTES, which represent musical sounds,and RESTS,
which represent silence.
These chararacters are written upon the STAFF, a union of 5 lines and the 4 spaces between.
THE STAFF.
5
Spaces.
Lines.
NOTES AND RESTS.

The
different kinds
and their names.
NOTES.
Whole
note.
Half note. Quarter note. Eighth note. Sixteenth
note.
Thirty - second note. Sixty - fourth note
P^P
IS*:
RESTS.
Whole note Half note Quarter note Eighth
rest.
note Sixteenth note
rest.
rest.
rest.
Thirty - second note
Sixty- fourth note
rest.
rest.
rest.
Table showing the relative time- value of notes.
A Whole note is equal
--
in time- value to
2 Half notes
or
4 Quarter notes
or
z=s
8 Ei^th notes
or
18 Sixteenth notes
32 Thirty-second notes
gt.
*-+~r
or
.
(or
The same rule

Kt.ar, _<j;
64 Sixty-fourth
applies also to the Rests.
notes.)
DOTTED NOTES AND RESTS.

A Dot after a note or rest
increases the time-value one half.
Dotted Notes and Rests and their Equivalents.
A dotted
A dotted Half Note or Rest
Whole Note or Best
A dotted
Quarter Note or Rest
zss:
?
is
equal to 3 Half Notes or Rests.
is
equal to 3 Quarter Notes or Rests.
J^^
A dotted Sixteenth Note or Rest
A dotted Eighth Note or Rest
equal to 3 Eighth Notes
is
or. Rests.
k
-+
A dotted Thirty -seeoiid Note or Rest

i
m
is
equal to 3 Sixteenth Notes orResfa, isequalto 3 Thirty-second Notes or Rests
is
equal to 3 Sixty-fourth Notes or Rests
LJ
t?
second dot after a note or rest adds to the time- value of the note or rest, one half the value of the first dot.
Thus a douhle- dotted Half Note(J-) is equal to 3 Quarter Notes and 1 Eighth Note ( J_JjJ_r)), and a double-
j^
3 Eighth Notes and 1 Sixteenth Note( J> J>

v~'
the same relative time- values as corresponding notes.
dotted Quarter Note
J"
to
and so on. Douhle dotted Rests have
THE CLEF.
The CLEF
is
a character usually placed at the beginning of the Staff to indicate the Musical Pitch of the notes
ivritten thereon.
CORNET, HORN, GUITAR, MANDOLIN and also the BANJO, FLAGEOLET, FIFE, CONCERTINA, ACCORDEON and some others, a Clef called the G
G
Clef is used. It fixes the tone Coupon the 3d line of the Staff.
or Treble Clef.
G Clef.
-/
For
all
the higher instruments such as the FLUTE, VIOLIN, OBOE, CLARINET,
For instruments of a lower compass such as the

and others, a Clef eaUed the
Clef
is
VIOLONCELLO, DOUBLE BASS, BASSOON, TROMBONE, TUBA
used. It fixes
upon the 4th
line of the Staff.
Clef called the C Clef
This
is called
on the 4th line
is
the Alto Clef
it is
used especially for the
When
gir~o
=
Bass
Clef.
and fixes C upon the middle line of the Staff.

TREBLE CLEF. BASS CLEF.
AI.XO CLEF. TESOR CLEF.
CGlef.jg-
Same pitch
af
i
$
In Music forthe ViolrineriHtD, Bassoon and some others, several of these clefs are sometimes used.
8WS5-94
=or
VIOLA
placed
called the Tenor Clef.
Clef.
or
Music for the PIANO,
ORGAN
and flARP requires the use of both the
arate Staves connected by what is called a
and the
Clefs, which are placed on sep-
BRACE.
EX.
g
TIME, MEASURE & BAR.
There are three kinds of Time, viz: _ Common,Triple & Compound Time.
Examples of Common Time.
2
4' 4'
or
*'
or
<P
Examples of Triple Time.
-2
of the two figures indicates the kind of a note,
The lower
Examples of Compound Time.
6. 9. 12
8' .8' 8
3.
8'
'
and the upper, how many of that kind of a note are contained
in ameasure.
Thus, H indicates that there are three quarter notes to ameasure.

4
A MEASURE
lar line
is
drawn through the
staff, thus:
is
a perpendicu-
A DOUBLE BAR
j is placed at the end of apiece of music; someA DOUBLE BAR with dots, thus z= pE is called a repeat, and sig
EEz=EL
times at the end of i section (strain) thereof.

nifies a repetition
A BAR
that portion of a musical composition contained between two single bars.

:
from the previous double bar, or the commencement of the piece.
ACCIDENTALS.
The Sharp
(#),
Flat
Natural (l|).
(I?),.
it
The x
(ss)
and Double Flat (MO are caUed ACCIDENTALS.
The
a Semitone (half tone).
The'$ before a note raises
Double Sharp
Whole Tone.
The
tj"
double- flatted raises
it
a Semitone.
Whole Tone.
a Semitone.
The
before a note removes a previous $ or

it
>>
before a note lowers
The V?
The B$ before a note that has been double- sharped lowers

q\>
\>
* a'
*$
*
EX.
'
The Sharps and Flats placed next

NOTE.' Each Sharp or Flat
in
to the
Clef are called the Signature.
the Signature affects that particular tone upon which
ffh
it is
ft
'-
or
placed so long as
Jrv
?
(fy
it
>
'\
remains in the Sig-
nature, unless changed by the introduction of other accidentals before the notes.
THE SCALE.
A SCALE
The
a series of Musical sounds, ascending or descending according to a system of tones and semitones.
first seven letters of the Alphabet are applied to the seven principal tones of the Scale. Also the Italian
Do Re Mi Fa Sol La
osyllables
It
is
Si.
has already been shown that the
er tones
mon-
Clef fixes
G upon
the
2d
line of the Staff.
From
this starting point all oth-
can be determined. Notes extending above or below the regular degrees of the Staff are written upon what
are called
LEDGER LINES
and the spaces between.
EX.
8685 ~*4
Scale Ascending.
G
EX- jv-Ts
97
i>
Descending.
o~~~rr
"
_Q_
-o-
o o
y-e~
'
CT
*
NOTE
tlie first,
Observe that the seven letters follow eacli other
whichever one we begin with.
It
in
regular alphabetical order, and that the eighth letter
is
always the same as
therefore said to be an Octrtve (8 tones) higher or lower tlian the first, accordingly as
is
N..-go
up or down.
DIFFERENT KINDS OF SCALES.

The Scale
is
the basis of all music. There are three kinds in
Major Scale
the Chromatic Scale. The
common use: the Major
Scale, the
Minor
Scale,aixd
consists of seven principal tones, viz: five whole tones, and two semitones.
The semitones occur between the third and fourth, and the seventh andêighth degrees of the Scale. Degrees or intervals may be Major, Mz'nor,or Per/ectjnv _ Major 25, Minor 2&'} Major34, Minor 3<* ^Perfect^, Perfect 5*h,
and so on up to the octaves.
The Major
Scale.
SCALE OF C MAJOR.
4567876543
The semitones are indicated by this sign ^--^
"
if
Do
He
Mi
c>
i>
F
Fa
'-
,_
*i
O"
Sol
La
Si
Do
Si
La
Sol
F
Fa
o
E
Mi
Be
Do
All Major Scales have the same construction and the same order of intervals, ascending" or descending.
The Minor Scale.

Every Major Scale has
Minor. The Signature
its relative
is
the same in each, and the Key-note
C
(tone and a half) below that of the relative Major Scale, Ex.
~*>j
is
a Minor Third
tl
It
has also five tones and two semitones,
hut with a difference in the order of intervals. The semitones occur between the second and third, and seventh and
eighth degrees of the scale ascending, and between ike fifth and sixth and second' amd third degrees descetiding.
SCALE OF A MINOR.
(Relative to C Major.
Melodic Minor Scale.
.1
xi
"
*"
F$
G$
^J&
V
A
Obj
following which
is
called the
ED
tflj
There are two kinds of Minor Scales in common use; the above which
is called
Harmonic Minor Scale. Observe the difference
tT
the Melodic Minor Scale, and the
in the arrangement of the semitonesT
SCALE OF A MINOR.
Harmonic Minor Scale.
12
jgg
~G?
\^J9
"
"
F~~
<jff
As the Student will meet both forms in his subsequent practice, an example of each has therefore been given.
S6S5-94
THE CHROMATIC SCALE.

This Scale
is
composed of twelve semitones, and may be formed upon any degree of the scale, major of minor.
In ascending, the Sharp, Bouhle- sharp, or Natural
is
employed in
its
formation, hut in descending,iheldit,J)ouble-
Flat,or Natural is used accordingly as there are sharps or flats in the signature.
$
c
cD
ejf
b#
Ak
Bl>
F#
W^f
A
G#
jrfi
IP
Aj
B,
tt
F
Gl?
E'k
Bl,
MISCELLANEOUS CHARACTERS.
Notes having a dot or dash over or under them are to be played short and detached. This
Half staccato.
is
called Staccato.
F\ill staccato.
-rrrr\\ -ffrfll
effeet
-
mgptd&ffi
Played.
Written:
This sign /Ts called a Hold, placed over a note or rest, prolongs
beyond
it
its
exact value. It
sometimes
is
placed at the end of apiece instead of the word Fine, which means the end.
The character ,-
^ called a
Tie
when placed over two notes on
the same degree
of the staff
#""#
makes them
one continuous sound.
When
to
placed over two notes on different degrees
it is
called a Slur and indicates jthat the notes it applies to are
be played, in a smooth and connected mannerThree notes played in the time of two of the same kind are called a Triplet, and are indicated thus-
Sextolet is a group of six notes played in the time of four of the same kind.
The
%'
called a Sign; directs the player back to where
it
EX.
rr rr
UT
r r
was previously indicated, for the purpose of repeating
a certain portion of the music.

1.
A passage
that repeats, sometimes has tivo endings indicated thus:
the first time and the other '2? 'the second time.
Every measure has

natural accent
is
its
mm
That marked
'19'is to
is
required than that which naturally belongs to a note
the following signs called Accent Marks. A,
:=-
or
PKyed
When
the
called Syncopation.
it
is
indicated by one or
fz called Forzando, rfz lUnforzando, and
is
repeat g rot ill.
Written.
Other forms
it is
be played
#^g
Sometimes ffa, according to the degree of accent desired.

When a group of notes or a measure that is to be repeated,
8685 - 94
S<
natural or primary and secondary accents, besides other smaller subdivisions.
a stronger accent
a /.other of
perverted and made to fall on an unaccented division of the measure
When
written like the following, it

repeat measure
m S
Written.
called Abbreviation
&
etc.
&
etc.
Played.
:i
'I
is
JTJ
r -r .
ORNAMENTS.
The
and the
chief musical embellishments are the Appoggiatura (or Grace Note), the Vruppetto (or Turn),
Trill (or
Shake).
APPOGGIATURAS.
The Appoggiatura
or effect. There are
is
a small note placed before a principal note for the purpose of ornamentation
two kinds of Appoggiaturas in common use _ the Long Appoggiatura which takes
,
one half of the time -value of the principal note before which
and the Short Appoggiatura, which
is
it is
placed and also receives the accent,
played very quickly, the accent in this case
falling"
on the
princi-
pal note.
Long Appoggiaturas.
J.,
Written.
Played.
A group
\u
Short Appoggiaturas.
^Fr
P.
PH
t&-h-^
gfrffl
Written.
$m
Played.
wm
INp
of Appoggiatura notes sometimes precedes a principal note. These notes are played very
rapidly and the principal note receives the accent.
Examples:
sspg
tes
THE GRUPPETTO
This musical embellishment
is
and other
forms-.
(or Turn).
a group of notes (3 or 4, as the case maybe) consisting of a princi-
pal note and the next note above and below
it.
It is
indicated by the sign
the Gruppetto as will be seen by the following examples.
9174-79
^m
<x>.
There are several forms of
Examples of the Gruppetto.

Principal notes.
*>=
C/3
GO
When the sign is
If
placed above a note
It is
two notes
fe#
played thus:
between
played thus:
GO
If after
a dotted note
When a
ft
is
=3
is
to be sharped or flatted, either above or
below the principal note, or
M
|
J.
JpfU
above;
Played:
S
p
above and
below:
Written:
Played:
Played:
ft
expressed accordingly, in the following manner:
below.-
Played:
rccerr
i^SJ^ jjTO
note in the Gruppetto
both, the sign
f^
go
fc
Thus:
f^^F
it is
THE TRILL
The
iiP ~
(or Shake).
Trill is a rapid alternation of two notes atone or a semitone apart. It is indicated by the sign
placed above the principal note, the alternating note being the one next above it? There are three
kinds of trills _ the Perfect Trill, (with finishing notes) _ the Imperfect Trill, (without finishing notesL
and the Mordente or short trill, indicated thus <w.
<tr
^Sometimes
9374 - 79
the next one
lelow
t.
10
Examples of the
Trill.
Perfect Trill
<tr
Written:
-o-
Finishingnotes,
Principal note.
Finishing
Principal note and alternating- note
notes.
Played:
m
<tr
Written:
Imperfect
^J
Mordente
Trill.
Written:
Prinr>i
Principal
note without finishing" notes.
Played:
Played:
OTHER
A very
P
tfUCTLfe
Arpeggios.
When chords are to be played
rapid repetition of the same
Written:
IE
Tremolo
&-
Played:
p, piano
Played:
means
pp, pianissimo
/, forte
ff, fortissimo
mf, mezzo-forte
.
fp, forte -piano

sforzando
fz, sf'or
in the
manner of the Harp it is called Arpeggio.
cone is called Tremolo
9374-70
Short Trill).
SIGNS.
Tremolo.
Written:
(or
^^^-^W^W-VW^^^^V^'V-^'^W
"
o-
3=3
soft.
very
soft.
loud.
"
very loud.
half or moderately loud.
"
loud and immediately soft again.
"
sharply accented.
crescendo, cresc. or
increasing" in loudness.
diminuendo, dim.ov
decreasing- in loudness.
11
THE TENOR BANJO
The Tenor Banjo
consists of a rim varying in size
drawn over
the rim and kept very tight by brackets.
ameter. The head
is
gerboard rests
firmly attached to the rim.
is
from eleven to twelve and one half inches in di-
The arm upon which the fin-
There are seventeen frets on the instrument giving a range of two octaves and two semitones.
The Strings and Bridge

The four strings are the
The bridge over which

fret that the latter is
1st
string A, the 2nd string D, the 3rd string G, and the 4th string C.
the strings pass should be placed at exactly the same distance from the 12th
from the
nut.
The Open Strings

4th
3rd
2nd
1st
string
string
string
string
Tuning
Tune the 4th string
to
from
piano, then close the 4th string at the 7th fret and tune the 3rd
string in unison producing G; close the 3rd string at the 7th fret, tunc 2nd string in unison producing D,
close the
2nd string
at the
7th
fret, tune 1st string in unison
giving A. The open strings correspond to
the following notes on piano.
4th
3rd
string
string
3=2
G
15324 - 64
2nd
string
1st
string
^
12
Diagram
of the Tenor Banjo Fingerboard
Showing the Chromatic Scale on each String
mm
A or
1st String
fetfruutgig *
tete
te
ffETf
*H
!>
Dor
2nd String
Frets
2nd String D
3rd String G
4th String C
G or
3rd String
1:2
1:1
GJ Db
Bb B
n Eb
Ftf
G* Ab A
A Bb B
D Eb E
C* Db
^J wtJ
J hJ
jg
jt
tt
p Gb- G
D Eb E
Gb G
G* Ab
B C
Cft
Db D
Dfi
jy v
^-f-y
nr
#r
Wfr
A# Bb B
^f
''I
^r
J. fribJ
i
j
jj
E*
^ J
J tfJ^ *
Eb E
Holding the Instrument

The performer should
sit
inches from the body, keeping
d8 Eb E
Fft
Gb G
G Ab A
A* Bb B
Bfi
D* Eb E
B c
up
c# Db
^y^^y^ te^.
f fff'^r
k^
upright in a chair without arms. Rest the rim on the right leg, about four
it
in place
by a moderate pressure of the body on the upper part of the rim.
between the thumb and largest
thumb being on the upper
l!7
of the banjo should be raised so that the pegs are in line
at the nut in the hollow
1:6
c Db
^r^~*r~f
jt
1 5
C Db
*r^r
ju ^ Jy
It;
A| Bb B
Fft -.
M Bb
1 3
Qi Ab
o Ab
Cor
4th String
The arm
fe^te
mm m^m-m
oPh **
1st String
t?#
side of the
arm
at the nut,
with the chin. Support the arm
joint of the first finger of the left
with the
first
hand, the
and second fingers arched directly
over the first and second strings.
Method
of Using the Plectrum (or Pick)
Place the plectrum between the thumb and first finger near the end of the finger. Keep the thumb
almost straight. Strike the strings with the
flat
surface of the plectrum, never with the edge.
Rest the forearm on the rim about four inches from the
strings
from above, not across them, except
tailpiece.
Arch the wrist and strike the
in playing chords.
Begin by playing softly, using down and up strokes alternately. Practice these until able
them
rapidly, producing the Tremolo,
15324
64
which
is
the
method of sustaining notes on
all
to play
plectrum instruments.
13
Stroke Exercises
,.
(Open Strings)
n indicates down stroke
indicates up stroke
A n A
^m
\
fc
nAnA nAnA iLlL ZH-1H
rrr rrrr
-0-0-0
nAnA
n A n A
n-
000
f^
0-0-
Notes on the 4th String
nAnA nAnA nAnA nAnA nAnA

JJJJijJJj
^'jiii JjjjijJJj
n-AnA
'
Fingers
Frets
^J
ip
Notes on the 3rd String
nAnA nAnA
Continue same stroking
^^Trrrr
ringers
irrrrirrrr
j
i
Frets
Notes on the 2nd String
^
n
n.
m00
000
00*0\PPP
Fingers
Frets
Notes on the
n
'A
PP
3,
String
1st
n A
rrrrffrfr,m
Fingers
Frets
Count
ffffir
12
nAnA
4
Etude
12
n
030
12
I
12
12
-Ht=t=
12
^
2
12
9-
-T
>
12
*
i
12
l=^
40.
3ee=e
12
14012
Fingers
3
pi
^ ^j-r-rv^
^-^j-^-U-^
12
14-t
3 4
14
Scale in
All down strokes
4th String 3rd String
1st String
2nd String
CDEF GABC
i
Frets
w 0124nrffnffr
Ef
Fingers
C Major
134 01 34
024
02 45
f.
i*lilU+U
#
012
023
Chords inC Major

0=0=
o>
ot
rP
o-
oV
^?
-0-0-
Chords should be played with a quick down stroke unless they

are written arpeggio, which indicates that they are
1
1
3
be played
slowly from the low note to the upper note of the chord.
-it--
to
(>-
41
'
The arpeggio
indicated
is
by a waved
line.
Scale Exercises
The student should write
1.
&
the fingering underneath the notes
- A
Continue with same strokes
?=*
I
rciX-f
Repeat each Ex. several times
n A
H=F Qj]
2.
Oi r ja
jJJfl reffto
h)
t
l
$-1
^HF
3.
2BBE
^nt^r^mrr
P g
LrTTT^
r^^r/itj^
'.10
4-1
m r m m
#*
f 5.?24 - tf#
Melody Exercises Leading to Tremolo

Not too
ft
15
fast
A n A
ft
A n A
ggffi^
iW
g^g^fw^gg
âlbU^^fe
p
Waltz time
nAnAnA
AftA"A
^=M
WALDTEUFEL
^fggggt
^^^^^^
^^^^^^^^^^^^^
Faster
HA
n A n A
n_A^ A
A n
A n A
16
The Tremolo or Sustained Tone
To attain proficiency in the tremolo, perfect evenness is necessary rather than speed. Always begin
with a down stroke, ending with an up stroke, except in cases where the tremoloed note is tied over to
a short note.
Tremolo Exercises
JOE
_g
As written
12
Count
H A H
3 4
n A H A continue same strokes
"A
As played
Count 1
Tremolo
all
notes
.^-
'
Count 1
12
*0-
3 4
_CL
12
^=
12
The
slur
12
is
12
3 4
1234
JDL
12
3 4
used to denote legato or smoothjiess.
Q-
1234
1234 1234
Q-
12
SL
fe
1234
ZZL
12
3 4
12
123 4
The tremolo should be continued throughout the
duration of the slur, stopping only long enough between to attack at the beginning of each
slur.
Example
Slow
Z2I
Count
12-3-
ZZL
L2Z
Slow
12
12
12-3-4-
34
Q~
T2L
Etude
^##^
w
*
15324- 64
^j-
'
iP^
^^
A Minor
Scale in
17
Relative of C Major, with same signature

All
down strokes
^f^lfU
m
1340
i
Fingers
40
==*
210
?m
Chords in A Minor
o^-
0-0-
0-
-o-
U3*:
zn
31
r
o
oc
y
1 2
1 2
4
*.
Etude
Slow
gnr
When
Tremolo
p rtrffr
*
fr'rr
i
Lrrr
ffft^f^rWrifflp^tf^^
rrj^
two notes of the same degree or letter are connected by a slur they are
to
be sustained
throughout the time value.
Scale in
F$
Play
all
ifl
in signature
down strokes
E
Fingers
Major
rfff
2104
0124
01 34
fT7r
310
i'r
310
^0431
T^-*
13
G Major
Chords in
2-
35
-0-
ff^ra
34
---
c)
0~^~
o< D
<
y,
*>
i_
,?
l_
*A'52#
- tf-#
14
^^
4
18
Melody Exercises in
March
2
#^f
n
"An
r 'r r
zgzzg fa
n A
M.
Major
r pp
ff
2 A
^J^- J
i^'
f "f
# =
I;
n A
rr
r r f
,ffrf a f r
Ie^
A dash
n A n
ff,P|
|
written over notes in slurred passages signifies that they are to be accented while played
tremolo.
Waltz
*5
f^
"
5-
rtS>
?7T
i
<2_!_
H^M^
^
1,1.124-64
n
-#
*-
fj*
^-?-
ppf
221
J2I
LFf
m.
f
19
Exercises showing proper strokes on various movements as used by expert players in dance orchestras.
Exercises in more difficult forms will appear later in this work.
.
March or Two-Step
n
H
A
PI
it
"
S-
"
Kfr
iT
tor
f|iff;ci
If
|g
p r
to
rJlf
'
i
ygjyy^
iCLrV Tif
tr>p.[f
fefe^
AJ *
nO* j
iTrrîfx/r
r r
to^r
#*0 *
itop-JJ f-ff
-*
i-r
KîfT
I |
W|
One- Step
\
3fc
n n
*^
,f f
*J1
n . n
r'rf
M &
pi
g Lr
iA
"*
if
fj
dot at the end of a slur indicates that the note
15324-64
ff
HKf-fe fe**
r
f
#
is to
be played
Tf f
r.
down stroke.
C-f r
f
i
r^r-^
t
20
Scale in
Relative of
All
down Stroke
3401
t=^+=t=?
0431
H
G Major
with same signature
3411 3401
mmz
E Minor
in
0-0-
lb
1J.
i
)j**f
Etude
n
n A
m^f
.^jt-f
4421
Chords
44
043
04
*Mi
tete
A n
E Minor
$ ljLflH^l f
^m
\%E
U Uiigfc
ii*
La Vague
Waltz
METRA
^=
-73-
is:
i^-
ZZZIE
-iS*-
*S324-64
5-
^^
^^
^^
2z:
PP^
fl
ZZE
^^
21
Signs used in Abbreviating

Lines drawn acoss the stems show that they are to be repeated as follows
f=
As written
ffig
n A nA nA
fl
As played j|g r_J
L^T"
Etude
nnAnnA
i-
WW
n n
&
If
nAnA
f ;
f f
i;
i/\n/\
A "AnA
rr
2.W
f f
ox*&m
P-T-P
Jt
P-F
1?:
iff
f ;
if ;
\s}
^\uM
n A n A n A n
| f
s\tu\h
i;
if
f f i;-f-pF-f-f#
"Lf
3.
i r tf
1
^t
i*
._
pm
* ,,.
,
|C
*^^^K
Fox Trot
^^
n A n A n
fe
A
n
*
5-
rr
n.
pcqo
g= =5
afe
| f efei
A n
r /rJT
Easy Syncopation
Count
q-
(Rag Time)
time
Mrfr" SfM r r-^ ^r
,.
12 3
1X324-64
n-
3d 4 d
ff
i
l frr t^T
f
i
M +.
f$m-L$4$^î
22
Scale in
Fit
To make even strokes play
Major
and C# in Signature
on 2nd String in descending scale
Chords
(2)
Finger
,nnnA 2" a ha
n A
1340134
134013
D Major
n n A
m^mm
314321
in
a
T
tcfi
./
Exercise in
Allegro
n A n A n A n
Major
EJifffrf frjj
1*#
s=fei
i=t!
Etude
Polka
00-
r r r i
Rosalie Waltz
m
ri
0-1
(-=-
fe
m
*
n A n
irx
&-*-
P2A A
r iCC
E fir
^^
m^-*#=F#
15324-64
lg
.(2
i? (softly)
'.
:i=*
J2_
JJj
i
f-
^
i
Fine. (end)
ic/rr
*
^RF$
icrrr
<g
r?
D.
C.
SE i
a I Fine.
(B epea t from beginning to Fine)
23
B Minor
Scale in
HE
m ifY431
'r
?34
Chords
1#.
wmm
-3-r
11
B Minor
in
1JR
0-43
JL
Fascination
Fox Trot
tjrpT
if
rTn
f **
19-
m/
r r
it
.JR
i
:=
i
-
JR.
NQ
#
-o-
J2.
**
* g
1S>-
-o-'
rrffi*
^N#
.
1*
-oJ
-#
fct
J2
n A
rrf
rrFine.
*ti
fffff r r f frfrfPE
i
a
f ffrrffr
^^î-^tî^l^fedr^
i=
#^F
ssi
1
D.
153Z4-64
SP
G.
a/ Fine.

24
Scale in
B!? in
n_A n A n A
3C
crffnfif
^rj-^q
is
F Major
Signature
-C**ii
Efdlrr
n n
Êncircled figures denote Strings.
Exercise in
^^
AnAnA
o-g-
wf
in
F Major
5^2
P* -^t^^fc^X-f JTO
zr
"
F Major
i 3- *if L ti n
Chords
r.JL
^1
Melody with Chords
g-
tP-
t-S-
SBE
-1
7-g
m
i
s.
P
1
^
15324-64
down Stroke
f-
*E=*
g^F^l
Scale in
fe
All
-::;
j >>
Minor
&i
it*
-fte
Chords
o-g-
in
D Minor
o
-g-
Ffl Cjt-and
U&
25
A Major
Scale in
G# in Signature
Chords
All down Strokes
i- .^
gT
in
A
2
piSI^
Major
1
rB
Etude
mm
ai
jjjjî
fr
ff
UV
Hi
cT
cJ
Scale in F# Minor
fc
nV
Chords
down Strokes
jm
All
rVJ l"Mrrr/l
Scale in
To
EE
2- i
Bl?
0--40-
*=3*
1^1
^^
Chords
15324-6*
Major
CZIBULKA
22=
1S*-5-
<9-=-
i
-&-*-
in B!
Waltz
F$ Minor
Major
Pi
42.'
in
-P-'
g
p
M-
a.'
193
f~rri
*
26
The Chromatic Scale

n
A n
Ann
A n
jfrW
5- Ai n
Ai
' W
A n A
ft.
*%*
#^|r#
jESV
*^
frrff ^f
f*?
2110 4432p irf
1104
A
'
n A
gptMff
12
Pi
^^ n
3==
n A
11
n
-i
$Ê
H Ji JT HI
"
"J
Etude
n
Moderato
P=^S
n
#i
"
|A
P~T
Dance Caprice
Allegretto
rP
& i#^
41
r
a
15324-6*
'
M'irrrf
r^r r-JTiffrixr
jjT3
g. r1pr
*NMf
r f "r
fj}
rjj'f r
^fii
fifif-r^
5^F%
Study
in
27
Chords
Tremolo throughout.
&
*^
2^
2
%o
TL
W-rr
4j
5T
2-S>
-%
2:
m/"
2 l
4^
4-S
1-
A
i_0
2=
^-&
l>
-i-ff
G>
+9
&?-&
+:=
*-
gj
1^5^-
ff-rr
IB
a:
r
Syncopation Study
^^
Q
tf
A n
rtf r ^ ag
"
A n
&
*
t*T Lr-
til
if
r--*p
#:#?
^' rfTrirr^^
i
*=#=#
15924-64
l=|
^^d
#
**
i
28
Scale in
Q-
frW^rtf^MtJLpr
Scale in
El?
I^S
^_
f
Scale in
Minor
Chords in'G Minor
1* 8 #Oj
33
!g
Major
Chords
in E!
Major
3*
4-"
ZM
f
C Minor
Chords in C Minor
2^
4 ^r 4 ^r
fc=
gffi
^y
i>J
-t-
-o-
~Hk
Scale in Ah Major
Chords
H^
k*
12
12
PE
PP
in Ai>
Major
4-
Scale in Db Major
Chords
12
J
4,
1,
ir
Scale in
im
**
um
1-5324-64
^
3
T)\>
T r
A
Major
J
E Major
Chords
in
4-"
12
in
*
4
E Major
3
4-*=
The
Dream
Cadet's
March
29
or One Step
3rd Pos.
3
-4
f<
-r
-m
m
n
h A
n
G.L.LANSING
A J
ag
mm /
m
txrtritfJ ir*rr, c/tj'

l|
c/CLnr
it
rr
,.
H rf
Ml
T|Ui
J"3
#
^
iîir^
J. J
,?/-rf
es
r^
Pos.
fe^
fef^#
=t
it
TT^ ?r J^
El
igf
[IT
< f*Cf|ft!ri^
t^r itr'cri^? f>
ist pos
o J
f creso
B
feS
Hi
#? *
O-
#
I
J
Ragtime Exercise
n
15324-64
A
A JL4
A n A - A h A
-"
-#
-5-
nnAnnA^.-.
--
-0- -#-
-F-
#
30
Escort
March ov One Step
G.L.LANSING
# A
m/
ffJ\Zlrzi
f
rjrr/
PE#EE3|
*
m
I is
g 7
ir;jr_r irjrrripf'
Iff:
t3
^'
PS i
I'
15324-64
ff
"flf
frr^
P^
HH
rp
0-P
#^
ir"r ir
-
L^
*P
//
hM
fff ^'^rr-rO ff ^j
Fr feM
^ tfTLr crr
TRIOzfe*
tmm
Pi
3:
P m^
KTv
htftSit
if
^ ^s I
Examples
When
the accent
ragtime
is
changed so that it falls on an unaccented part of a bar

to the syncopated parts in dance music.
is
called syncopation.Theterm
it is
commonly applied
Trem.^
31
m Syncopation
rf
ffrrff
fr
2
frrrg
hm
_o_
i
nn
n n "-^ n "
n A
fTn
Â
%
n
^cKriELrCjfiu/ccr ^*
1
Etude
Pay
strict attention to the stroke
rv_
marks.
rv_^
jj.
Tj
"
ff
if
ff-/7f
*lJ>
A
ff
0L.
A n
r
#
1
r^
rr
Chord Study
n
4;
in
air
in
p
J2.
it
5=f=5
an h
A n
tfcf
<
n n
-#-
T
15324-6*
33
The
Invincible
Rag
Rather Slow
n
LEO CATLIN
A n
pi
M.
4 Jt
0-
-m-
E|
Ml
J^3
/
to
esi
p
ezzb:
mzzwEzm.
ft
Fine.
m=
^
%^t=$=*
F
3-
P %
It
:'
*=t
m/
Ml
f=E^
ft
ft
ft
ft
#ft
ft
$Ni
ss
r^
3^3
ft
9-
tn
t#
*r
#^=^
i
I'
f
.15324-64
4-
4i
tW
He
pt;F>r
ff
frp
1>
'
* Yd *
rrr f ^r
* e t t
*sm
9-
EEl
TRIO:
f f if
1
F
2 W
^
*
-f
Lfe^
*"*
^-i
u
172
ro p
,
J-d-
pj
m/
1#
p-|
bj J
D.C.i
& a/ /Yw*.
i>.
33
Studies In Triplets
Begin
^S
i.S
i
first
note of each triplet
down
stroke.
ttrîrrrrjirûi
I
&=k
M Mf ^
2.a0B
rrrrrrtcrc
^
15324-64
A n
000
AJ
3s
'
m *
6*3
A
*
###
P^
f
i
n^Sr-A
n.
3=
^jii m
0-0-0-
n^^J
:_n
girî^f^
1
jrc.ffI^^j
i,LT
u
#-i
m
A
^^r^Qî
#-#-#
ins
A
Z^T
trjum^
jp~
gnrrrrrrrfri^mjnm
pupm
I
ji^j i
I*
9-
I
(t#-#
34
Exercises in Gliding (Coul)
The plectrum should pass smoothly over
i-m
m^
the slurred notes.
H*#-
W W
=:
W^
T*
t===
HP
^W
'Br
'
A.
Ha-
-A
3-
m rv
ÎJ-t^l
,/ff
*Lv
**
-*.
2.334=^
rt
noi*
ipl
n2f
g^
B
H
Pl4#
Etude
m
4
df
l'gJLr Q-f JJ
i
i.
^J
f^
Vz2- -
^1^
pi**
15324-64
%Z *
2.
r r
4;
/Tk
f r
mpTT
/T 1 #
i*
:r
The
The compass of the Tenor-Banjo
playing in the upper register
4th. strings
Positions
in the first position extends
$ :=
from C to upper D.
often found more convenient to
it is
35
make
When
'
"(fa
the lower notes on the 2nd, 3rd
and
without changing the position of the left hand.
The Second
All down stroke
Position
1st String
2ndString
4
2 1
Fingers i
Frets
'
2ndString
3rdString
ill
'
35783578 7538753
3rd String
4thString
I*
*-if-1
2nd
753975 7935793
I.
Exercise
Fingers
*î i
i > i.*
HHi
^m
HE
fr
t
;
4
*
3
a
,
I
Melody
SndPos.
Moderato
5
Tremolo
ft-*
Ula
^^
fff*l
i^TEr frnrTffirtftfmrr if^Piru

i
Third Position
1st
Stg
2nd Stg
*E
2
'
4thStg. 3rdStg. __,

n
t
'
~Ti
^
2
ffc'fiS
#He
rif
JJ?
Etude
3rd Pos.
^^
n A
rff Pfffr
1-5324-64
-*
j . c m
Annie Laurie
36
Third Pos.
Tremolo
n n
all
except eighth notes.
Uf^ me
SE
m Sfrr nim
#% rrtir
&-*-
ZZX
Scale in
A Major
Fourth Pos.
All
down
1st
stroke.
4thStg._,
3rdStg
***
?F^
2
f
13
2ndStg
Stg
M -g-.f
nn
fL'ttm.
2341 2341 234
i*
Pi
fe
Major
Scale in
Bl?
Fifth Pos.
1st
3rd Stg.
4th Stg._,
P2341
QE
Stg
3 A *
2nd Stg.
2341 2341 234 *

Scale in
C Major
Sixth Pos.
1st Stg. _
2nd Stg.
3rd Stg.
m
23412341
4th Stg
SEgEg
2341 234
Scale in D
Major
Seventh Pos.
1st
2nd Stg
Stg
_^
-0-P-^
3rd Stg.
te ^
4th Stg,
ê
23412341-2341
%
J
234
On the Tenor-Banjo the positions are used chiefly on the 1st

exercise.
1st
and 2nd Strings, as shown in the following
Pos
THJ
3~~4
3rd Pos.
HUM^
4
15324-64
rfff
1st Pos.
1st Pos.
^3
.ffffffff
12321231
^ff
|
3rdPos..
tf
ff r rr^s
2121 TTTTTno
i
CtHi
3"
ii
37.
Scale Exercises
for daily practice
Encircled figures indicate Strings
ijjJLf^
frff rJT
2102
,
4=2
1
1
i-:!-i*
n n A
a
n_n n A
f fi fif ff
.
1
!
" A A
An^J
n^
^-_JL
n A m A n
|M
^^^
UMH
The method
-i.
fci=*
BK
15324-64
i
*
pm
M OJJ- f^
pet
of stroking in No. 4 exercisers often required for obtaining the proper accent.
38
Transposing
When
reading from Sangs as published for Voice and Piano
it
is
necessary to transpose the part an oc-
tave higher than written. This rule also applies to certain strains in first Violin parts as written for or-
The small notes
chestra.
is
in the following exercise indicates the notes to be
played on the Tenor- Banjo.
It
well for the Student to think of the letters in transposing.
Old Folks At
Home
Play upper notes.
**
f#f
35:
-&-
W^f
#i#
f * -L*
1=3
-*
#f
+~m-
Melody as written for Voice.
22:
ft
ir'
&-*-
vH43
ej
&
ir
As played on Tenor-Banjo.
k5
-(9-
42
&
mir
a
-fS>-
#:^
1-
rf
fe m
Skaters Waltz, as written for Violin.
*
a
&
g *
a=* iza
m ^
ij'j.y.
'
i 'i
zf
As played on Tenor-Banjo.
*3
i *=
tS8lt-6*
|f
lf
[[[
J-
iJjJui
39
Exercise in Arpeggios
WOHLFAHRT
All
down Strokes
Moderato
rrj? rf Jf
!.
Eft-i
i
fr
r r ;
rrflfffi
74
iUrV*
I*,
iHH
^p
C^
s=*
if- -
jT^rgfijjp
i
*lILe
FPjl j -lFFF
*
im
a
i*l-^-.
t#e
:-
^f
23
g a
~ :
pit
4
>A:z
0L-
o ;s.
pi
<fcat
eft**-
*
P
sis
3P
tpts
% i !
f-^-'f-Ff-f-h
i-
#
4
3-
*.
^^
*
if
rrr r j P]ijjî
^4ii
TJ
4
4
I
Jff 94 - <y#
IP
rTT3 rC
^
1
^L
IX/j
40
Exercise in Various Forms of Stroking

These should be practiced until each one
nAnn
n
0-
'40 it
"&L
as
LJ
n
31
nnAnn
T
n^ A n A
^^^T^îil
n A n
Wl
n^ A
n A
r- 9-9-9-W^ 9-9 V-9-
n A n
-#_
^Pi
n
-
nAnn
n
2 -A-
:*=*
ZZK

wzzm
EF^
An
memorized
nAnn
g= r~~ m.
#"
is
0~
M-.
vri
r~*
nnAnn
n A n
n^
-m- -
9ZZKZW.
i^
A n A
-P-*
*-
tlLTZL
"
" i
" J
fL . fL
fL
pl=^
>
nnnnA
nnnnA
*.*-*-*-*+
t
it
0- it
0-
0-
A
40
nA nn^ n
y=>-
*=tt
EZBZIK
n A n
n^
64
-9z
e
9
CI
-/55^#
nAnn"# n
it 40 it
E=K
n
n
it- it- #- #-
fL
*=*e
^-
n_
nAnnAnnA &n
nAnnAnnA &&---&&
11Z111Z1
- f
#T

*-
1
^1
90-
^-=fc--
:___^:_z:_:izc:i[:izt:E:t:t
^--t
M. M. A.
fflP
11I
Rage
All The
One Step
Allegro
*
4t
$L
LEO CATLIN
^^
-ya1
A- 2.A "
g.jj
1
n
!î
um
n
#-
IP
#-
2.
"ft
I rn i
7
m ^
^^
w;
_^.
ii
!^.HîiQ
H''if
2
5 nA n n
* 1
# *
fei
1.
/
ff
fe
5-
41
fe2
/Tip
Jhi
Fine.
TRIO
^^r^~g^
i fi
?//
E'frg
;#;*
jEg jgV f
+ I'lffM
i^fei^1,111
2.
V 7 7
D.S.al Fine.
Arkansas Traveller
Allegro
lii
ITT
2nd.Pos.
13
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The Maid On The Green

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48
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50
Banjoists' Delight
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44
Trovatore"
II
VERDI
Largo
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56
Sextet
"Lucia
di
LamInermoor
,,
DONIZETTI
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60
Jazzing
The term "jazz" as applied
to
banjo playing
is, to
cording to the ability of the performer, ragging them
Some players have
when
possible.
the faculty of anticipating chord sequences and obtain
However, when one has
this respect.
use the chords with or without the melody ac-
to
marked
effects in
depend, on reading, the chords (without the melody) can be
read from the second violin part, transposing the notes an octave higher than written as in the
lowing exercises.
Waltz
5
2nd
Violin
^
^m
Tenor
Banjo
0-
^^
^p^
l=f
One Step
2nd
Violin
n
Tenor
Banjo
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61
Fox Trot
2nd
Violin
Tenor
Banjo
ll
x*^
&
Mtf
>
^^
P
^s
The pupil should memorize the chords

sometimes two notes
XT
-o^
XT
to obtain full
ÊEEÎ
351
-&-
in the various keys, thereby enabling
him
to
add one and
harmony.
Examples
2nd
Violin
$=
*
Tii i
Tenor
Banjo
.A
a =3
y*
i *E 4
2nd
Violin
zzaziazzai
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Tenor
Banjo
Jazzing or Ragtime
2nd
Violin
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Tenor
Banjo
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15324-64
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62
One Step
Simple Form
1st Violin
or 1st T. Banjo
2nd Violin
jh.
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Tenor Banjo
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The same with Banjo part augmented

1st Violin
or 1st T. Banjo
2nd Violin
intm
Wm
Tenor Banjo
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Pf
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15324-64
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63
My
Old Kentucky
Home
with Jazz effects
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nA nA
A nA nA n Q
nA nA n
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is
64
INDEX
3 Elements of
23 Scale in B Minor
Music
Staff, Notes and Rests
4 Dotted Notes and Rests
24
The Clef
Measure and Bar
5 Time,
Accidentals
Kinds of Scales: Major and Minor
7 The Chromatic Scale
Ornaments.
.........
Miscellaneous Characters
8
The
D\>
.
Major,
Using the Plectrum (or Pick)
....
1st
Strings
G. L.
Lansing
Chord Study
32 The Invincible Rag
....
.G. L.
Lansing
31 Examples in Syncopation and Etude
.Leo Catlin
.......'
33 Studies in Triplets
'.
Notes on the 4th, 3rd, 2nd and
Ab Major,
30 Escort (March or One Step)
13 Stroke Exercises
Major, C Minor,
El>
Major, and Chords
Ragtime Exercise
Holding the Instrument
34 Exercises in Gliding and Etude

35 The Positions
Etude
14 Scale in C Major
Chords in C Major
The Second Position, with Exercise and Melody.
..........
Scale Exertises
Third Position and Etude.
Scales in
16 The Tremolo or Sustained Tone
Minor and Etude
G Major and Chords.

Melody Exercises in G Major
Old Folks
...
at
Home (Swanee River)
.Wohlfahrt
40 Stroking Exereises
43 Minnetta (Caprice)
La Vague (Waltz)
0.
Metra
44 Valse de Concert
46 Honey
.-
Major, with Exercise and Etude
Dew
(March and One Step)
48 Enterprise March
51 Old Mose and His Banjo
52 March Militaire
from"H
Leo Catlin
di
(Jazzing)
G.
Stebbins
L.Lansing
Leo Catlin
(2 Banjos)
G. L.
Lansing
Leo Catlin
L.Lansing
G.
G; L.Lansing
Verdi
Trovatore" (with Piano Ace.)
56 Sextet from" Lucia

60 Addenda
G.L.Lansing
Si.
50 Banjoists' Delight
53 Air
47 The Fascinator (Waltz)
Rosalie Waltz
15324-64
...
45 Country Dance
Easy Syncopation
42 The Maid on the Green (Contra Dance)
E Minor and Etude
21 Signs used in Abbreviating
in
-'
Leo Catlin
Arkansas Traveler
One- Step
Pox Trot
Stephen C.Foster
39 Exercises in Arpeggios
41 All the Rage (One Step)
Waltz
19 March or Two-Step
in
Major
38 Transposing
.....
Scale in
A, Bb, C and
37 Scale Exercises for Daily Practice
Tremolo Exercises, Example and Etude

in
Old Scotch Air
36 Annie Laurie
15 Melody Exercises Leading to Tremolo
22 Scale
Czibulka
29 The Cadet's Dream.
12 Diagram of the Tenor Banjo Fingerhoard
20 Scale
Major and Chords
Syncopation Study
The Open Strings
18
Minor and Chords
B\>
28 Scales in G Minor,
Tuning
17 Scale
Ffr
27 Study in Chords
11 The Tenor Banjo
of
Scale in
Scale in
Dance Caprice.
Trill
The Strings and Bridge.
....
Major, with Chords and Etude
Waltz
10 Tremolo, Arpeggios and Other Signs
Method
26 The Chromatic Scale and Etude
'.
Appoggiaturas and the Turn

9
D Minor and Chords
25 Scale in
The Scale
6 Different
F Major and Exercise

Melody with Chords
Scale, in
Scale in
(Fox Trot)
Fascination
Lammermoor" (with Piano Ace).

_
Donizetti
.
...
'
MASTERLY
SELF- INSTRUCTORS
FOR VARIOUS STRINGED INSTRUMENTS AND THE SAXOPHONE
Publisher" s Hote:
The following self-instructors are works by well-known authorities on their
respective instruments. For those desirous of a complete course of study, with numerous recreations, these methods will be found thoroughly practical.
The
editions are superb examples of the publisher's art.
The books
are Master in
name and Masterly
in contents.
Master Instructor for the Tenor- Banjo

George
L.
Lansing
Price,
In addition to careful instruction the author has presented the latest system of stroking, thus giving the
proper accentuation, which is essential in the playing of
present day dance music. The signs introduced in the
latest authentic methods are also used. The book also
contains a number of pieces for two tenor-banjos, and
tenor-banjo with piano accompaniment.
Master Instructor for the Saxophone

J.
W. Lawson
Price,
Master Instructor for the Ukulele,

Banjoluke and Tiple
$1.00
George
Method
is
Another instrument of the same family
L.
Method
Price,
$0.75
This work has become very popular. The author

presents the instruction so clearly that students become
proficient in a very brief space of time. In fact, the book
the result of many years practical experience as a performer and teacher. There are many recreations which
interest, amuse, and act as a stimulant.
for*the
is
This edition
It
Method
F. de
the Tiple,
Mandolin Vol.
is
an
known
is
that
$1.25
its international
no explanation
published with
artistic
Italian
is
and
example of the publisher's
workmanship.
for the
Mandolin Vol.
Cristofaro
This book
for the Guitar
desired
used.
Price,
so well
English text, and

finest
is
Method
is
de Cristoparo
needed.
Lansing
is
is
charmingplaintive quality of tone.
its
reputation,
C Notation
George
volume of tone
This highly successful method, with
Banjo
$0.50
played the same as the Ukulele.
noted for
F.
for the
greater
the Banjoluke (constructed like a small banjo)
Excelsior
Price,
When
instruments.
course, designed to develop every detail of technique.

large number of melodies, popular and classic, offer
the finest recreations possible.
Lansing
The Ukulele, originally played by the Hawaiians as

an accompaniment for singing, has been developed by
leading American teachers and players of die Guitar* and
Mandolin, until today it is one of the most pleasing
$1.00
Although the saxophone is an instrument easily mastered, still you require a comprehensive method as an
instructor.
This book contains a complete systematic
L.
is
Price,
a continuation of the ideas in Vol.
II
$1.25
I,
but
published with English Text Only.
M.
Carcassi
Price, $2.00
Revised and enlarged by Walter Jacobs.
This celebrated work is divided into four parts:
elementary study more advanced study fifty progressive and melodious exercises
concert solos and
songs. This is a remarkable course of systematic study,
and presents the entire fund of knowledge required in
the making of an efficient performer.
Metodo de Mandolina
F.
de Crbtofaro
Vols. I-II
Price, each,
These books present the same material that
is
above editions, but with Spanish Text Only.
THE WHITESMITH PUBLICATIONS ARE OH SALE AT ALL LEADING MUSIC SHOPS
WHITE -SMITH MUSIC PUBLISHING COMPANY

BOSTON
NEW YORK
CHICAGO
$1.25
in the
BOSTON PUBLIC LIBRARY

RESEARCH LIBRARY SERVICES
M..Û
,-.f
D^coa.^k
:k.
SEAT NO.
rrvr
ncp
Boston Public Library

Central Library, Copley Square
Division of
Reference and Research Services
Music Department
The Date Due Card
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book should be returned to the Library.
Please do not remove cards from this

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FEB
8 1927

Metodo Bajo Tenor

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WHITE-SMITH MUSIC PUBLISHING CO.

Copyright, 1920, by White-Smith Music Publishing

The Tenor- Banjo

the outcome of much, experimenting

by dance orchestra players.

retains the characteristic

Banjo tone quality and by the system of tuning

easier to play than the regular five string Banjo.

In this work the author has endeavored to present the

by the leading orchestra players,

thus preserving the proper accentuation which

sential in the rendition of the dance music of the present day.

The signs used

to denote the strokes are those

for all plectral instruments.

NOTES AND RESTS.

and their names.

Half note. Quarter note. Eighth note. Sixteenth

Thirty - second note. Sixty - fourth note

note Sixteenth note

Thirty - second note

Sixty- fourth note

Table showing the relative time- value of notes.

A Whole note is equal

The same rule

applies also to the Rests.

DOTTED NOTES AND RESTS.

increases the time-value one half.

Dotted Notes and Rests and their Equivalents.

A dotted Half Note or Rest

Whole Note or Best

Quarter Note or Rest

equal to 3 Half Notes or Rests.

equal to 3 Quarter Notes or Rests.

A dotted Sixteenth Note or Rest

A dotted Eighth Note or Rest

equal to 3 Eighth Notes

A dotted Thirty -seeoiid Note or Rest

equal to 3 Sixteenth Notes orResfa, isequalto 3 Thirty-second Notes or Rests

equal to 3 Sixty-fourth Notes or Rests

3 Eighth Notes and 1 Sixteenth Note( J> J>

dotted Quarter Note

and so on. Douhle dotted Rests have

the higher instruments such as the FLUTE, VIOLIN, OBOE, CLARINET,

For instruments of a lower compass such as the

VIOLONCELLO, DOUBLE BASS, BASSOON, TROMBONE, TUBA

upon the 4th

line of the Staff.

Clef called the C Clef

on the 4th line

the Alto Clef

used especially for the

and fixes C upon the middle line of the Staff.

called the Tenor Clef.

Music for the PIANO,

and flARP requires the use of both the

arate Staves connected by what is called a

Clefs, which are placed on sep-

Examples of Common Time.

Examples of Triple Time.

of the two figures indicates the kind of a note,