€¦ · contents instruction section.2tj,[
TRANSCRIPT
C NOTATION
.--)]
BY
G. L. LANSINGWHITESMITH MUSIC PUBLISHING C?,
BOSTON NEW YORK CHICAGOCoprniht. 191ft, by Whn«.3m.ih Muak Publuainc Co.
HI
C NOTATION
Excelsior MethodFOR THE
BANJOBY
G. L. LANSING
WHITFI-SniTH HUSIC PUBLISHING CO.BOSTON NEW YORK CHICAOO
Copyright. 1918, by White-Smith Music Publishing Co.
CONTENTSInstruction Section
.2tj,[<jl-6
3 Elements of Musiif '•.' V « :'*
Staff, Notes and Rests *'*'
4 Dotted Notes and Rests
The Clef
5 Time, Measure and Bar
Accidentals
The scale
6 Different Kinds of Scales: Major and Minor
7 The Chromatic Scale (See Page 26)
Miscellaneous Characters
8 Ornaments: Appoggiaturas and the Gruppetto or Turn9 The Trill or Shake10 Tremolo, Arpeggios and Other Signs
11 The Banjo (Description)
The Strings and Bridge
How to Tune the Banjo
12 Holding the Banjo: Positions of the Hands and ArmsSign for Fingering
Diagram of the Finger-board (Showing the ChromaticScale on Each String)
13 Rules for Proper Tone Production
Exercise on the Open String
Scale and Chords in C major
14 Scale Exercises
15 The Slide
16 Scale and Chords in A minor
17 Scale and Chords in 6 major
18 Elevating the 4th String
Scale and Chords in E minor
Etude in E minor
19 The Positions and Examples
20 Scale and Chords in F major
Scale and Chords in D minor
22 Scale and Chords in D major
Scale and Chords in B minor
23 Scale and Chords in Bt» major, G minor, Ep major,
C minor and Av major
24 Exercises in Intervals of Thirds, Sixths, Octaves and
Tenths
Etude
25 Scale and Chords in F minor, A major, F$ minor,
E major and C$ minor
26 The Chromatic Scale (See Page 7)
Arpeggios or Broken Chords
27 The Tremolo and Exercise
Melody with Accompaniment
28 Etude in Chords
29 Etude
30 Exercise for Stretching the Fingers
Etude
31 Exercises for Rapid Fingering
42 Etude in F major
54 The Plectrum Style of Playing
Signs for Plectrum Strokes with Examples
55 Plectrum Exercises
56 The Plectrum Tremolo with Examples
57 Important Exercises
Exercise for Speed
58 Easy Melodies (Plectrum Style)
59 Scale and Etude in G major with Plectrum
Compositions and Arrangements
15 Alabama Echoes
61 All the Rage (One-Step)
62 Arkansas Traveller
59 Banjoists' Delight March16 Banjo Juba (A minor and C major)
38 Harmonies
18 Beauty Dream Waltz35 Bolero Mexicana
64 Cadet's Dream, The (Patrol)
34 Chieftain, The (March and Two-Step)
48 "Cold Chill!-
' Blues
22 Dancing Shadows21 Danse Espanol
40 Dixie Maid (Fox Trot)
39 Fishers' Hornpipe
36 Georgia Glide, A (Strut)
52 Golden Bird (Polka di Concert)
20 Honeymoon Caprice
37 In Banjo Land (Characteristic)
<33 In Moon-Land (Intermezzo, Two-Step)
41 Iona(Intermezzo)
16 March Melody
49 March Militaire
14 Melody- Banjo Shuffle
62 Minerva (Waltz)
47 Minor Gigue
46 Minstrel Melody
27 My Old Kentucky Home42 Old Pennyroyal
39 Old Time Reel
32 Old Town Medley (Virginia Reel)
29 Serenade
19 Spanish Fandango, The
60 Spanish Galopade
28 Song Without Words
17 Students' Favorite
45 Waltz in A flat
50 Waltz-Medley for Two Banjos
15 Waltz Petite
43 Wooden Shoes (Dance Characteristic)
'5164-64
ELEMENTS OF MUSIC.
The principal characters used to express music are NOTES, which represent musical sounds,and RESTS,
which represent silence.
These chararacteis are written upon the STAFF, a anion of 5 lines and the 4 spaces between.
THE STAFF.
Lines. Spaces. = ^g:
NOTES AND RESTS.
The different kinds and their names.
NOTES.
Whole note. Halfnote. Quarter note. Eighth note. Sixteenth note. Thirty - second note, sixty - fourth note.
o;
RESTS.
TFholenote Halfnote Quarter note Eighth note Sixteenth note Thirty - second note Sixty fourth nott
rest. rr*t. rest. rest. rest. rest. rest.
I
Table showing the relative time-value of notes.
\ u hole note is equal
in 1 1 hi • - \ .i 1 u«- to
2 Half notes
01
1 Qnarter notes
Of
8 l' \g\ U notes
Id Sixteenth notes
or
32 1 liii is second notes.
*
-w»-
-*-
'
I "si\t\ t. in i!i n i p
The saw i ale applies il-" t.. the H
DOTTED NOTES AND RESTS.
A Dot after a note or vest increases the time-value one half.
Dotted Notes and Rests and their Equivalents.
A dotted Whole Note or Best A dotted Half Note or Rest A dotted Quarter Note* or Rest
n w* •
I1
^"Ii
± -i
is equal to 3 Half Notes or Rests.
J J J
: w_J
is jequal to 3 Quarter Notes or Rests.
r J J J
1 t- 1
is equal to 3 Eighth Notes or Rests.
J> i)—Js
— m1
it t =t^=l1 j T ¥ II
A dotted Eighth Note or Rest A dotted Sixteenth Note or Rest A dotted Thirty- second Note or Rest= AA I=p ^
is equal to 3 Sixteenth Notes or Rests,
i) i i i
is equal to 3 Thirty-secondNotes orRests.\ is equal to 3 Sixty-fourth Notes or Rests
T~T~J f=r=t•7 ? *
A 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 double -dotted Half Note(o««) is equal to 3 Quarter Notes and 1 Eighth Note ( J J J_f))> and a double-
dotted Quarter Note ( J- ) to 3 Eighth Notes and 1 Sixteenth Note( K K K h ) and so on. Double dotted Rests have
the same relative time- values as corresponding1 notes.
THE CLEF.
The CLEF is a character usually placed at the beginning of the Staff to indicate the Musical Pitch of the notes
mitten thereon.
For all the higher instruments such as the FLUTE, VIOLIN, OBOE, CLARINET, CORNET, HORN, GUITAR, MAN-
DOLIN and also the BANJO, FLAGEOLET, FIFE, CONCERTINA, ACCORDEON and some others, a Clef called the G
Clef is used. It fixes the tone G upon the 2d line of the Staff. —61—G_
GClef.jffij -o- or Treble Clef.
For instruments of a lower compass such as the VIOLONCELLO, DOUBLE BASS, BASSOON,TROMBONE,TUBAF
FClef. ^) : ° or Bass Clef.
and others, a Clef caUed the F Clef is used. It fixes F upon the 4th line of the Staff «
A Clef called the C Clef is used especially for the VIOLA and fixes C upon the middle line of the Staff.
AJjIO CLEF. TEAOB CLEF. TREBLE CLEF. BASS CLEF.
This is called the Alto Clef. When placed||»> ^ fe C *"
on the 4th line it is called the Tenor Clef. C Clef. -©- -cy-Same pitch a?s # orm
-»- c
In Music for the Violoncello, Bassoon and some others, several of these clefs are sometimes used.
Music for the PIANO, ORGAN and HARP requires the use of both the G and the F Clefs, which are placed on sep-
arate Staves connected by what is called a BRACE.
EX.
TIME,MEASURE & BAR.
There are three kinds of Time, viz: _ Common, Triple k Compound Time.
Examples of Common Time. - Examples of Triple Time. Examples of Compound Time.
o o, * 2 * M 2 3 3 3, 6 9 12, 6C or 4» f' <P
0T! 4' S' 8' 8' 8' 8 4
The lower or the •«'<> figures indicates the kind of a note, and the upper, how ruany of that kind of a note arc contained in ameasmw
Tims, 1 indicates that there are three quarter notes to a measure.4
\ MEASURE is that portion of a musical composition contained between two single bars. A BAR is a perpendicu-
lar line drawn through the staff, thus: E A DOUBLE BAR | is placed at the end of a piece of musio; some-
times ai the end of a section (strain) thereof. A DOUBLE BAR with dots, thus: —rpE is called a repeat, and sig-
nifies a repetition from the previous double bar, or the commencement of the piece.
ACCIDENTALS.
["he Sharp (#), Plat(b), Nataral(lf), Double Sharp (x) and Double Flat (M») are called ACCIDENTALS.
Thej) before a note raiSM it a Semitone (half tone). The \> before a note lower* it a Semitone.
Then Whole Tone. The W» " » » » » Whole Tone;
The D before a note removes a previous ^ or \>.
The :5 before B note that has been double- sharped lower* it a Semitone.
The ty double- flatted raisesfl # AOiJi <? ? .
The Sharps and Plats placed next to the Clef are called the Signature. EX.-ft% «*_.. or fr>" ?
IIOTl I eh Mi n |> or Plat in the Nlgnatare affects that particular tone upon wMehU is placed ao Ions/ as it remains in the sin-
ii 1 1 in .-. nnl'-s - ohanged i>> the introduetl if other accidentals In- ion- the notes.
THE SCALE.
\ sr\LE is a seiies ,,| Musical sounds, ascending or descending according to a system ><i tones .md Bcmitones.
The first seven letters of the alphabet are applied to the seven principal tones of the s< lale. also the Italian mon-
osyllahlM />» /.v Mi Fa Sol la Si,
It has alreadj been ahon n that the Clef fixes Q opon the Cd line of the Staff. Prom this starting point all oth-
er i"nes oan be letei mined. Vies extending above or below the i egolai degi ees of the Staff are written upon what
a ie called LEDGER LINES, and the spaces between.
i \
M
6 . ./ Scale Ascending. I)pseetiding.
G ABC D K E g G G F E D C B A G
EX (f^~'f '' " " ? Sa o .. s£
5 T ?1
NOTE. Observe ili.it th ( > seven letters Follow each other in regular alphabetical order, and that the eighth letter is always the satneas
the first, w liichever one we begin with. It is therefore said to be an Octave (Stones) higher or lower than the first, accordingly as we go
up or down.
DIFFERENT KINDS OF SCALES.
The Scale is the basis of all music. There are three kinds in common use: the Major Scale, the Minor Scale,and
the Chromatic Scale. The Major Scale consists. of seven principal tones, viz: five whole tones, and two semitones.
The semitones occur between the third andfourth, and the seventh and eighth decrees of the Scale. Degrees or in-
tervals may be Major, M/no?yor PerfectfAi. _ Major 25, Minor 2^', Major3<J, Minor 3d^ Perfect 4th, Perfect 5th
The Major Scale.
SCALE OF C MAJOR.
The semitones are indicated by this sign456787654321ii 6 ^» O
and so on up to the octaves.
$ -^ © ; O- —lyc D E F G A B C B A G F E D CDo Be Mi Fa Sol La Si Bo Si La iS'ol #« Mi 7?e 2to
All Major Scales have the same construction and the same order of intervals, ascending" or descending".
The Minor Scale.
Every Major Scale has its relative Minor. The Signature is the same in each, and the Key-note is a Minor Third
(tone and ahalf ) below that of the relative Major Scale. Ex. *>3 ,, — It has also five tones and two semitones,
but 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 ihefifth and sixth and second&nd third degrees descending.
SCALE OF A MINOR. (Relative to C Major.)
Melodic Minor Scale.
1 2 3 4 5 6 7_^^.sI
76 54 32 1
o o ftp fl° "*• q° j^o -p
i o *> ' " *> ^ 33C
B C D E ~f5 G| A ^G\\ Ftj~ ED C B A
There are two kinds of Minor Scales in common use; the above which is called tie Melodic Minor Scale , and the
following which is called the Harmonic Minor Scale. Observe the difference in the arrangement of the semitones.
SCALE OF A MINOR.
Harmonic Minor Scale.12 3 4 5 6 7 8 7
m O "*» " " ITt» »J T^
Q ff° *J tv
:m^ A B C D E F ~~G? A" G# F * E D C B A
the Student will meet both forms in his subsequent practice, an example of each has therefore been given.
f<4
THE CHROMATIC SCALE.
This Scale is composed of twelve semitones, and maybe formed upon any degree of the scale, major or minor
hit ascending, the Sharp, Double- sharp, or Natural is employed in its formation, but in descenditig,the FlaA,Tio\ihle
Flat,or Natural is used accordingly as there are sharps or flats in the signature.
T-^ j t^=^ fei P^Pat*
C ('jt D Hjt K F F# G «j( A A# B C
i*^ haa tt a tt w—
^
B Bl> \ Al> G (ib F E Kl> I) Dk C
MISCELLANEOUS CHARACTERS.
Notes baying a dot or dash over or under them are to be played short and detached. This is called Staccato.
Half staccato. Rillstaccato.
KX!-m^rfrrir"w,t -
ryr y^7 i
,
yih^»yV»fii
Written: Played.—
—
This sign /Ts called a Hold, placed over a note or rest, prolongs it beyond its exact value. It is sometimes
placed at the end of a piece instead of the word Fine, which means the end.
The character -— called a Tie when placed over two notes on the name degree of the staff .pZ«- makes them
one continuous sound.
When placed over two notes on different degrees it is called a Slur mi indicates that the notes it applies to are
to be played in B smooth and connected manner.
Three 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, kv 000000 urThe ? called a 5ityn;direot8 the player back to where it was previously indicated, for the purpose oi repeating
a certain portion of the music. .
l" II S»
Apassa-4eti1.it repeats,soinetimes has two endings indicated thus-. :jl rhal marked '19' is to be pi
the lii-^t time and the other '29'the second time.
Everymeasure has i<*> natural or primary andseoondarj accents, besides other smaller subdivisions. When the
natural accent is pervei ted and made to fall on an unaccented division of the measure it is called Syncopation.
-'•^mpWhen a stronger accent is required than ih.it irhicb natural]] belongs to a note il i indicated bj one i
brother of the ro]lowing Kigns called Accent Murks. \. - 01 j% called Forsandot
./ forxando, and
soinet imes ff- , according to the degree • ! accent desired.
When a group of notes 01 1 measure thai i- lobe repeated, is written like the following, it 1 - * .« 1 1 .« t /
1 .
j ^b 1 ^^* 1 •
J
77: y1..-."* -..-' -^>\ * I**.
^— ^*» m •
Dlhi'l Pftl lilw II afc — ^ - m moilni forms.
ORNAMENTS.
The chief musical embellishments are the Appoggiatnra (or Grace Note), the Gruppefto (or Turn),
and the Trill (or Shake).
APPOGGIATURAS.
The Appoggiatura is a small note placed before a principal note for the purpose of ornamentation
or effect. There are two kinds of Appoggiaturas in common use _ the Long- Appog-g-iatura, which takes
one half of the time -value of the principal note before which it is placed and also receives the accent_
and the Short Appoggiatura, which is played very quickly, the accent in this case falling- on the princi-
pal note.
Long Appoggiaturas.
Written.
Played.
i==^
^ e=m
± ^mm
Short Appoggiaturasv
Written.
Played.
mm
±m&
A group of Appoggiatura notes sometimes precedes a principal note. These notes are played very
rapidly and the principal note receives the accent.
Examples: fe'-r ijj-M T.-r^ and other forms*
THE GRUPPETTO (or Turn).
This musical embellishment is a group of notes ( 3 or 4, as the case maybe) consisting of a princi-
pal note and the next note above and below it. It is indicated by the sign ev. There are several forms of
the Gruppetto as will be seen by the following examples.
.9174-70
9
Examples of the Gruppetto.
When the sign is
placed above a note
It is played thus:
Principal notes.e/5$m
mr$*
If betweentwo notes it is
played thus.- mmm
- £=m
p-m+mIf after
a dotted note
Thus:
When ;i note in tne Gtmppetto is to be sharped or flatted, either above or below the principal note, or
both, the Bign is expressed accordingly, in the following manner:
1> below:
Played:
us
i-
o MI Jffl. J
p above;
Played:
p above and 2 below:
Played: jjNd;,..,./^Written:
Played:
^* .
* i- .-~^Tin: THILL for Shake).
The Trill is a rapid alternation of two notes .1 tone or a semitone apart. It is indicated by the sign
ft* placed above the principal note, the alternating note being the one next above It? Thenkinds of trills „ the Buffet Trill, (with finishing notea the fmperftd 7VW, (without finishing notes
and the Mordent* «>r short trill, indicated thus **
.
*Pom«»tlnw< fka n>t! <>nr brl.nr t
ftfff- 7!>
•-FORD L ONTT»< ' VNOOUN S IAIU*
10
Written:
Played:
i<tr
Examples of the Trill.
Perfect Trill.
«. ». * -* •-% » *. -v * * v -t ». *.-»-w*vv •»-vv*-»-»--**.-v-».-w *.*.-* >V\>\ttV\>«\1^«
-o- HPrincipal note.
Principal note and alternating- note
Finishingnotes.
Finishingnotes.
P^
Imperfect Trill.
Written:
Played:
Principal note without finishing" notes.
m
Mordente (or Short Trill).
Written:mPlayed:
?=?
iw qj
OTHER SIGNS.
Tremolo.
Avery rapid repetition of the same
tone is called Tremolo
Arpeggios.
When chords are to be played in the
manner of the Harp it is called Arpeggio.
Written:
Played:
Tremolo
Written:
Played:
G-
p, piano . . . . means soft.
pp, pianissimo
/> forte :
ff, fortissimo
mf, mezzo-forte
fp, forte -piano ....
fz, sf or := sforzdndo
crescendo, cresc. or —diminuendo, dim.ov
very soft.
loud.
very loud.
half or moderately loud.
loud and immediately soft again.
sharply accented.
increasing in loudness.
decreasing in loudness.
.9.774 - 79
Excelsior Method For
THE BANJO
11
C Notation
The modern banjo consists of a rim varying in size from ten inches to twelve and one haif inches in di-
am.iter. The head is drawn over the rim and kept very tight by brackets. The arm or neck upon whichthe
fingerboard rests is firmly attatched to the rim.
There are twenty two frets set into the fingerboard giving a range of three octaves from the open bass
string to the upper fret. The raised piece of ivory or ebony over which the strings pass near the pegs is
called the nut.
The tailpiece is at the extreme end of the rim.
The Strings and Bridge
The five strings of the Banjo are the 1st string, (D); the 2nd string, (B); the 3rd string, (6); the 4th
string, (C); the 5th string, '(J). The 1st and 5th are the same size; the '.'ml string is a grade Larger, and the
3rd string a grade larger still. The 4th string is made of white silk, wound with .silver wire. The Bridge
over which the strings pass should stand at exactly the Same distance from the l'ith fret, that the latter
stands from the Nut.
The Strings
*
tth
string3rdstring
2ndstring
Lsi
string
^
5thstring
£C (J B I)
These sound an octave lower than written.
G
How To Tune The Banjo
Firsttunethe Ith string by means of a pitch-pipe, piano, or other instrument to C, an shown in the
diagram above. Then place the second ringer on the Beventh frcl of the »th string,and tune the - J r « i Btring in
unison with it, producing <J. Next, place the Bceond finger on the 3rd string, at the Fourth fr«1 and tune thi
2nd siring In unison with it, producing B. Next, |>l ice the second finger on the third t'n-t of the '.'ml siring,
ami tune the l-t string in unison with it, producing I). Lastly, place the Becond finger on Mir fifth fret of
the I -i string, and tune the 5th string in unison with it, producing <l, an octave nbove the 3rd string.
t.,t';4-64
12
Holding the Banjo
The performer should sit in a natural position, the right foot raised either on a footstool or by placing
the heel against the chair leg. The rim of the banjo should rest on the right leg about four inches from
the body. It is kept in place by a moderate pressure of the body on the upper part of the rim. The arm
on neck of the instrument should be raised so that the pegs are in line with the chin. Support the neckat
the nut in the hollow between the thumb and largest joint of the forefinger of the left hand, the thumb be-
ing on the upper side of the neck, at the nut, with the first and second fingers arched, directly over the
first and second strings. The right forearm should rest on the rim, the little finger resting on the headabout three inches in front of the bridge to steady it. The little finger remains on the head in all playing
except in chords of four or five notes and in drum slides.
Sign, For Fingering
RIGHT HAND* indicates thumb
1st finger
2nd "
3rd "
F igure 1 indicates 1st finger»» 2 »» 2nd »»
>»3
»» 3rd »»
>» 4 >* 4th n
Diagram of the Banjo Finger-board
Showing the Chromatic Scale on each String
151G4-54
13
N iIt was customary until recently to indicate the short string by a flag m or m but few of the writers of
the present day use it. A cipher F is now placed over the note.
Rules for Proper Tone Production
The thumb of the right hand should never bend after striking a note, but kept rigid. The fingers should
be trained to pick the strings firmly. Never pick a string up but across, as by so doing the disagreeable twang
is eliminated. Never permit the thumb to pass under the fingers,but keep it at least an inch in front of the
first finger at all times.
'Exercise On the Open StringRepeat several times
(§>.<$ <S> <D <S>.<$
Encircled figures indicate the strings usell.
Scale in C Major
4th StringC D
6E
3rd StringG A
6
P^2nd String 1st StringB C I) B
k«u o* 1st String „5th Str. . B6 C
Frets
Fingers °
10
4
#JHH^ j
B
r m10
4
Chords In C Major
i I * &= *
*F #() O
—
-
4h-*>
^
i
o i)
DT_
L —i
o <)
+
I) ()
-—$>~
1t.;/r;t-.,4
14
Scale Exercises
The following five exercises should be practiced faithfully until the student has firmly located the notes
and proper fingering. Repeat each exercise several times.
* . x.
1 3^ r r ir J J *m m *
Fret 2 4 5Fingers 13 4
4 23 1
2 1 22 1 2
#^P#3 24 2
7 9 10 913 4 3
Melody-Banjo Shuffle
Left fingers „
2 1 2Q2 12 0212^212 2000 IT2.2 1mas
zLPtiu 1^v>*
2 j 1 j 0212 000012^WT^cn i dPp ti:
i<[£i;iir>lf;4-.:i4
Alabama Echoes15
rrJrJr-T i r
• m m3E
r r-nr a
rf, rrrT r; r.; i
rr i r^fcj^/ rj rJ
»i j r
f-zm
rr s cur r-ff-E^-i
ffeAy ^ F^»
^iifj-irr r nr J.J LTir fr » r r cj I
»• m
^m u \dOu& v^: l
* The slur indicates that the airing is to be snapped without the aid of the right hand, pick D in the usual
way and sound B by pulling the string with the 4th finger of the left hand.
The Slide
The slide is made by picking the first note then quickly sliding the finger to the following note on the
same string. In slow movements both notes are sometimes picked but never when slide begins with a
small note.
Waltz Petite
/•> M4-5*
+ *
slide*
fcm **. *• • g
i
-» n r rn- ifr f^ ^-
A r. o/ /
It*
March Melody
5 tei f f gEjEi;j-fttrN ^44^" ^nit ^=fr=f>H,if
*j pcrr if
Jr muj^Hjjf )
ij M^g^E
j j J'ejj i r 4i Jif ^ ir i
p'T^i j ; > i ji fj^g
rfJM '^JJ ir3^^ • V • •
ipl
p p i t Pel;^mj^^Uprnr.J'Lir i r ^ £ i
Scale in A Minor(relative to C Major)
-9 4-O 2
1 i L
jtMrfurir n
CHORDS in A MINOR2
-4 -0- :u 4m m l_ » g l* g * F I
a F Br r r cjif^i»iprSE
Banjo Juba
A MINOR
^=^dbtiLrijifrufr^^'i&tii
2.
P±t
feC MAJOR Ny , _ :inr- i
m¥15164-54
Scale In Q- Major17
2 10 2 4
a 2 3 1. X 3 2 *
1 * M if £? f#i * 3 l
i1 ! i. #
££1120102 040SP=*
f ' * J
Chords In Q Major
X • • • • • X • x • X
p 2 •i i
Of
O o o
O
O () () O ()
CfJ o
<b d> (b
Students' Favorite
pLively
b&i ' ^fZJ gKjij i i u^g
PUpg rjflttrjflinFine.
f.r^rj iiiukjiji ji
•^ fe™rj i^-^i^r irrnn
D.Qal Fine.
i:iH4-.'>4
IBElevating the 4th String
In pieces marked Tune 4th String to D, or Elevate Bass String, it signifies that the Bass or 4th string
is to be tuned one tone higher than the usual piteh.
Tune 4th String to D
Not too fast
fepup 4
Beauty Dream Waltz
pup 'j vm £ £=:s
m»/
m m
PJ
r l D rip^ri 'Mprr i prMfr P
P H SI r rup
r r 1.6-pJ:
P a^/ Fine.
m P- m ^mm ^ ^^ ^-**m/
Ir
iJ^irJHJaij i n'f iii'
i
i&=^
rf JcTXr |rjr^gp r ' r cXH-Tp*
#
—
P *£ £
is
D.C.al Fine,
Scale in E Minor(relative to G Major) CHORDS in E MINOR
24 ^ 2 12 2,0 lp 20 42¥=* 3 S "r p J +J—
*
ol^ 1Sit!=bi^3=*
Etude in E Minor
%% g I 1
SSSS9 U^J 3^
15164-54
19
The Positions
Position marks are determined by the fret at which the first finger of the left hand is located. In this
work the terms Bar, Barre and Pos-Bar are not used as the writers of the present day have discontinued them.
Figures enclosed in a circle denote string. (D
Examples
IPOS. 6P.3P. IP.
Up *m j € if l§^1!
Elevate 4th string
*
The Spanish Fandango
&* 3£ £ i^f »^Ml
I*=^==3
II ., «r/»
if j f MiiL'f i
^^ir^^uMjiiiii^^
/.W, •
30
Scale in F Major
i 2 L.
m^m m 1 l- Ha*m 4
2 13 2 4
£X . X . X
Chords in F Major
M=^=43 P.
SE33t ¥ if
Honeymoon Caprice
3P.
4* &»
'JFv-Jrr i^f^o»-t- c
3P.
g^gS0^0 I*• »•3 * lj 0#-
I iP r g i_g> a—t ^—"', m'—w—i
m ma^ mwt=#=i
£.' 2 1& 1
^^CXCJ ph f f-r*zs*-
/
ill.o - irar
ytjtt-f±^ ^^^^ •?F
Scale in D Minor
f-TTTT^ *r-^\f1|» b|> J
CHORDS in D MINOR4
i ¥1=3SP
15164-54
21
Danse Espanol
G. L. LANSING(For this Work)
5 P.
'
'HHSJ^ fti
>'/'.
>*fertSB \£jfpr£ttH£rv |!l^HP.
L fiErffrif jji
r/:
L'
.'//'.
Vk~i UU>itebi. iff £ f
4,#'- fte * &.
Usi£ *• 1'• -«**
»frfffitWrnjiritrtripuii 1. 1
w.
^^=H^rr i fi,n ijS^S
E/»
/> £«/ /I'm.
/.5/<S -
22
Scale in D Major
i3P. ! 2 i
1 3 4 1, 3 1 2 i 1
4 4
^m m 3 2 • ^P r # -i- i i 2 i£ 10 4 3 t
rr^JJJ^-*
/5JL « J ^4Chords in D Major
4eeSee?
Dancing Shadows
M7P. 2P.
4 4 4
c/1
r iaj"c/' fi L^c/ULL/r[iii^£
I^ cl/J"3
4
4 JL 4^. 3 o £i>..
rr> r ^s £pt«-5B fS
rrrrV^T irrr e^r
f \dfjitsj \ rircm
inSm iE? ,. <f
bXffcLLf i CjL/3 'iar:^=ff^psWpHi f
1 *
fg^ S^ii
n 4 1 4 «• 1 .Im.itt m. * P m 1^^JP* ¥D.C.alFine.
Scale in B Minor
*F^P - 1 2 * i tii
4 4
«f*rf r^ ° 4 1213104321 o^m ? #^Chords in B Minor
fr, if If ^ fi
r f rf i,J p^
15164-5*
3B.
gum3 1 2
Scale in B!> Major1 2
jf f if r
23
£
-a/>.
Chords in B!> Major
4^44=4 t?
m*
m*Scale in G Minor
'' ii't! i'V'f rJb»=k
1 1 3 2°£"o
2"
Chords in G Minor3P
V '-'t 'jIf
J*. !
!!=«
Scale in E!? MajorJ/*. 1 1 9. 1
33 1 2 UJJBE I£13 1
*^« *£: *-
Chords in E!> Major
g*^ : ^F i N =g« tartScale in C Minor
I
iJniri'rri^fnif^nr, rr i^JUjjie^i
! -*
Chords in C Minor
p^f^rj-ij t-i
Scale in A? Major
fe*
i;R. . 2 1
'" n t3 i# "
• •
2 3
# » #frr'•?t *
v+m 94 » 1
Chords in A? Major-
f^N~7T~ifr y Hf '
flT-^
lolfS4-S4
24Exercises In Intervals of Thirds,
Sixths, Octaves and Tenths
Thirds,on 1st and 2nd Strings
I' F _p_ S I1
f f f* *
¥
if 19 1* i* I* 1# 1^4= ^ 2-0- ^-At S
Sixths,on 1st and ,3rd Strings
4» ... 4i»- 4
^^4jl :_ 4£
3E*#*
^:£: -©-»
— 24£It? 4-^ 4
t 4 » _1 V -Ir o g1 •!
Octaves, on 1st and 4th Strings
1is
f'* 3* lj
±a! 14 tg
i^p- JUa.
2 -^s>--*-»
*'#: 'j! '£ 'g
1 s4r S-t =£
% ii©-' SS
i
Tenths on 1st and 4th Strings
£ iJ .. 1
*^ *T" 4
E m i l£S% «* 4*I
±s:
ff ±bi*T • 2V o-s^ o¥- *» 0^
Etude
thp
4 f *? it
i *^=049-
±m 3 g±k: ^» ¥ 4
!4«l 2^ 0-3- 0* :
±25:IT
1-5J94-S4
Scale in F Minor25
,2 3 3 t ep.
teff e^r - 3t3Rn j ,3L_^i
Chords in F Minor!* i *€ *
fr^TTWrTi J r i
rWtJ
//w-a 1-
Scale in A Major
2 1 1
rf ? a
Chords in A Major
f4f-^-H
s-s8
1 :i
Scale in Y% Minor
^ ^ 2 14Chords in Fft Minor
f-'f ii ')t
;-'..
F* maPPEScale in E Major
! ^"•8 1 2 1 >
f
—
y f
Chords in E Major
Scale in CJ Minor4 *-^ j j j j j
itJ
»r r r *r'
' • • ^PfChords in C# Minor
3 ^
/.a
36 The Chromatic Scale
0121 2340 1230 120 1 2 3 „* °
pzf^?^1 tf f I'ffff
4 i
3E 3EE5^r tfr x • x • x • x.x.X t1 • X
* 3 I 2
x ••• . ••• ••• x
^#; feku,f^ff?rir'r^|* 2 il , 2 10 32 10 43 1321
^P£x •• • x • x • x • x • x • x
5Pr£.12 3
Chromatic Scale In Positions
i x .»; i.tfftWuW ; .il»a ,f,*tfr,f#^i4, ;ii;r»rrf«rn
ttrf¥^ fflrfyfifTFfffeKeep first finger down
'*i i 2 u 3 L*l2
3 *a4
Wfff fi 'iff*!'**!'.'
^ff>*^j
2 .
^ppia IS
Arpeggiosor
Broken- Chords 9P. „ *
^ i: iT*1
c.Dti LgfrTTTiiL-^ .? y
—^ o . 1 N^g - ^—~ S H
12P. ,
_sz rrj' t,iJ
/<^31
ii
ft-r®r-i
¥ £==z*
^.ft?/? 2
rfn-n irpffil * '5. 4 7 4 ^
Z5Z Bpi^l
41
-ft*/!, 1 .
mmm 1 * *
iop.. £ #SSoD " ® ® ^T'i* £
fa i7?rr< JLf j *J7^
lOP.
i ;# fei-?/?.
j-p.
£4
.fcJP. i1
£P. . 1
IS 14^)-^ P^^ ^IIP.
SP. mmmmmmm 1^
1
-%
«
16164-54
27
The Tremolo
The Tremolo movement is the nearest approach to a sustained tone possible on the Banjo. When ar-
tistically performed it is very effective.
In playing Tremolo, rest the third finger of the right hand on the head about three inches from the
bridge, elevate the hand so that only the point of the firs finger will touch the strings.
The motion of the first finger should be forward and backward very fast on one, two or three strings ac-
cording to the number of notes written.
The notes with stems turned up are made tremolo, those turned down are all picked with the thumb as
an accompaniment. When the tremolo is to be played without thumb accompaniment the stems may be
written as usual.
Exercise
Tremolo on single strings.
$a i
4^2a I IT
Tremolo on two and three strings.
PPi s If |gn. W 24^ pip n ten
4«-
Melody With Accompaniment
My Old Kentucky Home
M ,. J)
W? '•?> n5>"
* 1tUJr 1
'
r r^ 'P'^'
tXl/ -
I NM^ i 5^5r^VH '1 ff*r
1^^ri t r
rt
'
cju-r p^ggr-M » i1
/;/6v ./
38
Sons? Without Words
TREMOLO STYLEIn the first part the melody is to be played with the thumb, therefor play the tremoloed accompaniment
very softly. In the second strain play tremoloed notes louder picking the thumb notes softly.
mifcJ. ^J- .Ju <=^i k
0-*—-
—
Ux
ri
zs lit i
*r crT'LTCrtT r— r IF//</
^ jV
Ia -4* il
, ,] *L
r ej.r Lr '
rf t Lr ' r Lr cj-q>
'
r
i J:.l J : J>J>J !^
*=J=^V * p r v * r *
i
r cJiXJ- r^"£1
iop. *r. 6P.r ^^| |
^=0*
Etude in Chords
i iiiw m m?a
f* * T ( ;
fr T
ir /
It*1
1=f ^rp _u
i^Fr r
^^ 4jS.
T-
^m. 4
* I P
4
£2 i
1.5104-54
29
SerenadeTremolo
Andante
m 4± Ji J
^#Pf#^G. L. LANSING
.J *J,
P=£Sr r'fT r
? F
J *J J
* T
^i ^i la 3 i P^T f f tpr
^Sp*}^
r
4j5.
<i ^.Lk iFr> 'm *^ ^ e#-*f iTW
Con Spirito
i
^Mr r
R^r'r '
|;|t*^=^u
£. lLffl_'. f—-
*-
/T r r14 1\ HP.
£=*
3
LII'I.
1?
i \ iT *
z^n ~lAndante
3*"- -4 ^¥ ,<•CT
Ja
ij J ,^M
i iFP^ ^r r r t
•
i i ir-f- r i r
r"
r
PP1fc=5
Lr r r r*
i i *Mr J i f
„!.>
P
4=fc O
J*
r
Tremolo .'J upper strings.
f '
r/7. />/, /wirrtiti') r
Etude
r r r r t r '
fr r -r
iU-liir r
w=r I
1S1Q4-64
30
Exercise For Stretching The Fingers
The fingers should be kept down throughout the duration of each slur.
SE J 1 J J3* 7 • # urn.
* »
1 4
-0 a
—
L~f p f- p ,s^p^p ~"p^
2if- p f- # /j
Etude
i
^p.4#,
S
7P.
4^^i 1
7i>.
^«L **
-*-#-
® © ©
i4-3-
5i> 3
f I' T.J r I^CLf J
i^ii g^i 3f
i ^5P. i
-4, *- *
m«?
672
m \ ^ m mm
$#. r
i. o A
f p p:
|||. ["
r,, r fI j-UI
15104-54
31
Exercises For Rapid Fingering
Allegro
J X •• •• . X •• X X ..
££i 2
0-
x x
£ fif r »cj»_jLte^Eg
*J X .X X •• X
m~:rm
S-*
'iCJVr ^l^fU^ I
^T f ^Allegro
r ^j 1^ s 4?/>. 1 4^ frTm
~ r e »» p rrr , r r r rr ,,es>^. =*=* = l.. |
•• •• *. • ••• •• • • • ••* ^^^
iStrt4-&*
32 Old Town Medley(Virginia Reel)
Elevate 4th String
THE MAID ON THE GREEN
Arr.by G.L.LANSING(for this work)
fH ttur p ^tu u-;
'
n J ^ '^^t—r r r ?I R^^ ^ ^«—# a d *
7i\
feg rrrihTf in
» I m m ^p —
-
JT? iJn jrr^
->*t r r r p # i - p p fc» = fe
m ^=* J"3 i^^Hz^, # * P P P •$m m
f
w=m ,
1. ^ '2. -•—
#
-#--#f^=^=f
KITTY O'NIELLS JIGOm ^ m £_
i<Hi ** £
££ ^r Fine.
rrrrrug-tt^ *
rr "iri:a n*=;:afc=^3 Km •
B.C. a I Fine.
15164-54
33
MARCH
3 la J^rp 1
7
-JTj-
,
: i~n ,
, f^ la; jtt.
,
, jti.,
,rt jgg^p^r T r ir^ ^^3?
2
?-i-*-i-r* j, Jm i-Jm-
JTKr^l-r r ir r
i
r r^fr ' ry'r r
y-g i y a > a i T st*-^-* * i> 7 >
-7T-
THE SKIPPERS REEL1 » «t=* f S
i^j/^rnin^
f-f-p-r-f r n r rTLEJ 'u/ BI
P r**- - #I f P -
l
r r f i ^^^ I
A
t^&p&^ttf tj i JjUM^l-
l^t^LL' Li'^ iJ^JUf ££N£fe
l«l • f • *Ji.~-
i> US i H/>/', I-
U
34 The ChieftainMarch and Two-Step
GEO L. LANSINGp SP. 3 , jp
ff00 ~" ^"^
w 0=F pn\n r r\{7}n\PrJ\Pmnrr\pn\jr^nS:w^«
* ' p
^.#^pgi* **
i
irr
^—
r
r3j^|
JflJTOh feir i
f, g 5
h{|^ y^r jt r r^nr
»
S ff^
nr:ai fa^ ^TTf^2. ^ t
TRIOi•*
U>g=if
r r rp r p« «« ^ i ^^fe^#^ « t
»
—
#
jw Last time ff
^m p !» ^; rp r p i*jj j
qj
f4f^£2& # =-!•
5T~i
iHP*/>.
7u l 3
•5/^.
pj i j rJiJ jib
Fine..
P^EE^2?. £«/ Fine.
1-5164-54
Piano Accomp. to this piece price ZO cents
Bolero Mexicana
6P.
JLsjuv \{jrrw -nmji
35
JOSE MARTINEZ
01mmil.
a tempo _^_ u _J
o7P: :_ o
f rctc- ffffotyUf ^icTJT d-^
/«7^, <?/•.
#|[ ,
r'r f p ri £Xf r r^cr 'j^f^*^
/f fj^j
""
^ffff^*£«** «
**=£rf
v/
?ps
36A Georgia Glide
(Strut)
G. L. LANSING
*3f.
PfBlH lbt^ttP5P.
i= f i < 7
£/*
Pi j fttp f fff V ii 'tJ r*rr «rigj^ r=*
« *g_ r p
-
^4
tJH-'r r *r EJ"J^^ #. ,*«• a. f> g ripi
7P.4ay
I £cresc
,
*'L- Or itr lT ifificf ff iftff I
^ #-# -P -#-
#—» Sieri
4^m st# • m
w mim— —v v. , m _ u—lid m \}
7 ^/
3=5t
^ 5 P.
E F€# -0-0 r£
LXruxr- ' OJ'-J ;|
2.
i± >—II
TRIOl»srf>o? of
,
op .—£*Li *^JL 2. 3 o f^
Fine.
gffefg
ml ^O mPm^ i dJgi^ Nr=£^^^s^ C^
IPS2
OTfizi^ira^^j^jj^ y
jfc
151G4-.54B.C. a I Fine,
In Banjo LandCharacteristic
37
G. L. LANSINGAllegro ,
m 1 oSP.
m 5^E i/ '*)
^^ « *
IJjLUi LLM
i $-1*—Mig* « F
tf« /'.
'*^^f*i5i». I 1 irv
i ji * 8 *i
tra^ii
rr^JnipQ ijnip
y-.j^ji
l
./• i
IV^ [I
an , m 2_i e •j.
'f ' r'
r« .
I
'!!
v/'.
TWO $ 1 [
USaI Fine,thru Trio
%J
>'fSJ"faypm fesi*!
ft nitr nurr?
U Ftn0.
38Harmonics
The Harmonic Tones on the Banjo are found at the 3rd, 4th, 5th, 7th, 12th, 16th and 19th Frets on the four regular
Strings, and on the 17th Fret of the 5th String. They are made by laying a Finger (usually the 3rd) over the Fret
designated. Do not press down, but lay the Fingers lightly on the Strings and pick firmly. The Left Hand should be*
raised immediately after picking the Harmonic.
Exercise
12 Har.17 H.s 12 H. 5H. 4H. 3H. 4H. 5 H. 12 H.
£ ^^ i i i i l-j ^gStrings CD © ® 4th String
Some writers indicate the Notes in Harmonics on Open Strings for all Notes at the 12th Fret and write all others
as though they were the regular Tones produced.
12 H.17 H. 12 H. 5H. 4H. 3
J*. 4H _ 5H _ 12H _
^3 £® © ®
12 H
-&
® ®7H
Pzn
4th String.
5H
m
JM^7 H. 12 H.
(D © ®12 H.
® © ®
7H
® © ®5H
® ®
®-<D ®
7 H. 12 H
® ® ® ® ®
Right Hand HarmonicsWhen Right Hand Harmonics are well executed the effect is beautiful. To do this well requires much patient prac-
tice. The 1st Finger of the Right Hand should be arched so that the point lays on the String at the required Fret,
the String being picked with the Thumb underneath. Form the Harmonic as far away from the 12th Fret as the Note
required is from the Nut, for instance if C]
is desired, simply lay the tip of 1st Finger over 4th String at 12th
Fret and pick the String with the Thumb. If DJ
is desired, finger it with the Left Hand as usual and form the
Harmonic at the 14th Fret.
I
Scale in Right Hand Harmonics
12 14 12 13 12 14 15 *? "%. ig. &L19 21 22
m4th String.
3rd Str.P?2nd Str. 1st Str.
Melody
iFrets 16 14 12- 14 12 13 12 16 17 12 17 16 17 16 14 14 12 12
S-&- ^ i W -«-=- i
~€t ^P
#16 14 12
^ ^E^14 12 13 12.
2Z:
13 12 14 12.
m - - e*
• w i17 16 14 12
^Ji-416164-54
39
Old Time Reel
^ / +
5 P.
%r4*
f^sff il/tUf i tj/a
^ p^i i -p^^ ifj^i^ji^j
^^ is # . • i £^.//-
Pushers' Hornpipe
*
7/".
f f r fr r^-FTJj-j' j L£.LrTc?^
1
^'r T r if
1_JI I
Fine,
f g^pp^^d^t^^ff^^fffff^
•» m 1 11*3
ZJ.C.tf/ A'm.IS164-54
40
Dixie MaidFox Trot
4" ^f* : f¥^¥±-,
LEO CATLIN
IL 1
-a • al» iTl» ^. ^E
/
mm8P ,
~<P-
»*prrftfffctf#fe ^ 4«.•—#-
*=^
i JJt/ ijJ-hhrgjjQLr ijJJJifg^
P.P. -9^.
^y-fjtr rtf:f*rr-^ feem imm- \>
Fine.
9P. 10P.
feTRIO.W^ *F P £?^ r ' rt •& >pr* Pmf
© © ®
^rf^bJ-JJ.J^^ a ^ J 4 • HS1 ^3 ^
i* i 7 * 1 1 i a.t{\ r * t r ^ i ciCt/rrrfU
i«-i^#
ft
i, rfr, £T.f A rcjr'rr 'f f^£ED.C.al Fine',
161fi*-54
IonaIntermezzo
Allegretto& 5 P.
IT*
HP. 12P.17P
£=±
41
G. L. LANSING
rf^rf i
f'rT'^^J/
tm
cresc. A
S| f • I IEZZ1r r |
^ 3P.-J-jf^
yj~ _-i.
»/
#—-#i^ f^=f
M ii
i jjum iJg /'
p* '.p. 2-0- 2
TRIO
cresc.
-:
mf -———= y
#^ rt" n r •
= /
i!. V:
/6184-S4
D.S. >il fSne.
42Old Pennyroyal
(Country Dance)
5P.
I#-4*
lOP. *_
SI STEBBINSArr. by G.L.Lansing
. £ «.
fr-
br ji Jf IL r I. j?
/« #2.0- fT\
m m _ m m
Ei :|| l E^
lOP.• ^ 3P.
0^-03P.
op \m m
t=£i.
#t te&uu ir o ^
D.C.al n\then Trio
^ifrrc/LT.^ i? rJ ^'i
f mTRIO ."®
^
.;in ju n
ir
r
5.P. 4^. 4P. o- ' 1.1
t *=£2. * *'.
|=Em& 4t^-4#
ft j f 6Jr7,* .»•
rr iju $
i • .** *
g^P*?**..m M »p
;
ijj<* j^*=B
^ /»
Etude in F Major
1*164-54
BANJO SOLO
Allegro
43
Wooden ShoesDance Characteristic
3 1 m
J i> J> r* .?=
i^c7n~rT^:g
S. GIBSON COOKEArr.by G.L. Lansing
£ Ff^1ffi £•«
/rr* cresc.
Jf
$y rf LTit££j- j ^ ^ i/
tr r pcjbi^^M^I ^
r'^F^i^c/r n \? yl aw f f cj-i^=»/ •>;//'
•> 4 P.
$ tr
p c/Ta[£r; J Ar ^cit^i^j J c/fe \&
l CJ iff
i jJ
/ «//•
*, Jr
/ »j9*
^^^ v,
J "^"P"
J ! cj»f f tr^ra
1 T
•Jt#—
&
£*•w 7~ ^
$
JJr, »
|3" j Q/lp ^^ Szzat» J * 7
W^m 3 » y J j^y:
':-
ft4Piano Arcnmp. to thit pirrf pnrr 4n
'"/w
«: ^ 5P
^r ^ :£:
*u. ig ios
c . , , r »ir i pt^ Jl J J-3 1 i
>i i
** j j r- ,\
»/
i±±M m fei
ffT * r * rcresc.
> J »S g-^ffp r J « I
»f f ^^ y JTj^
t_r r
5 p.
i
6P..9 P.
bpt*
\97\
1^s **—*—"^
//
Jr
^ ^O s J)± ±
4 2ir
^st
largemente
1 f^ ^ ~7l~
J jf
t£=±zz ArG- 4-0- X. .•. ^ B=
^"^TT® ® (D (D
i ^h£> f* ± ± r2s: ^mmZ2Z
CJT g r-ry
i h i i^a J>_ jr
1v ,*£.
r ir p j r-rEEf^ -^7?
1~P
D.G.al Coda
^ _
lplfA-54
45
Waltz In A Flat
I**ip.
4P.
J, J *J
^U-ca/ i
r llLtT luIjNTP hiff
i
j p >
feMs j-^ vp~rp rr i r cxir i
r ^ #*»
a* *sL_—.—wk . j,
ii.ijw if p
i v?f p r^pr i'rp r r
i r-p n* p * i^^
,fe^^^ mt r i rff hipp u>p l Eterf P Irff ffr^^i
/iB
«/»,^ t#"
f*^ 1 ,3"3
f
J.
*tf.;/'.
*
r r r |if:
ff |f T h^rfffi
as>
:
' ?
^ ± I
«« 4.*. ff/». 4^- #: •,^TTT iTTTffrr^i iJvTTfyTirjir
««u «J. J_J.rf^ r^ i r ExlTtrrfrnpTitT > if r r n> j
16 fa , i
•46
Minstrel Medley
Arr.by G.L.LANSING
Allegro
mmm&
tfgiinjrj i^urt^ t &
# >; rj i
J j^ iP Pi >jCtt ii t; r/i[:
bf II fr
rfnn\n rrr r i er t i^ *e
01»/
U- 1 y U^
£@PI i "J Jl i n J i T^.
/_^. •
i \i 1 ^N i 1 _=^^
Aft « iL-m m-
ii^ a
— i^s? it
$-aP \ flfl \ rn
~m zg:
Fast o
#H—I
r*
||4 g |*=*£
fif
Jtzli
#
Bll.
ir
at 41 * *-fff i .f ips=
151124-54
47
Minor Gigue
Observe slurred notes By E. M. HALL
Left hand only _ _d only _ _ _ o
^ f ^w»/
^ j'jj'jjjj ^^ '^ m ^ * e^Si
f icJ/Ufrt^a& Jj \jffUm
& Eir^ ir^.^ri-^tow^w^^^-im.r5i ^ i
—
* »i— ™
—
» ^
»/
JT&gQ ij.-'-^a&£E . m g«s ^s
t r'//i
.
±E*^ s 1 23^ 1 A 3 1 .—r-*^y u y• i
I?,!>g
«r-JgjlTP ^J J> » fr'U
im mmgrfli^T P >• P ao» r 9
fr.rTfr> r
-fiTBe 1^5 ^ i i t
/.; /-, / /
48
"Cold Chill!" Blues
LEO CATLIN
5 P. .
fr-ffi \%yiui $#iS \ ltfVT \vftfbn$ftin
u WMS4P. 9P.
V ' ' im 1 JL
fcJiyf HI
^h^^u^^H^- 1 ^7p-< 1 2- 5P. +
HHsH * *fi ffj
*&
77>
±2: m 4P.5P- 4«- 1
£"N> *.
In-5P.
i7 3 H .1
5P. 1 43 [
7P.m i »* jr
W? . 3 ^£-*L^ «£-Li tf'^jTi
4-*l—=£—
*
¥ f £©
//// f m/ / 7%<? «4f7//
fe^fif^ WNrff Cf&r;? '
i'
'
rrrr' .'?*^ dim. no — .
*™*^ .,—^I
'
I
fatfferf
lOP.
:_n2
*
7P.4P.
m *0-
3P. nr nrs:
**—4: *tTIP^ai
l!il64-rt4
March_Militaire49
G. L. LANSING
1=%^ £ ftmimjMM^m^f gf infffttrifgftnfflTLri^
^ *If"utcfjf^if iff it
i
fifr-^y-^a
4 ^^ i^rfif(?r^i^
ifff^fffftf
i
fpr*[?
y jfinp crrrriTtrrrri
fjjrrtrif^cififvf
TRIO
% JOP. 7p 4/>.4/'.
«/».
H)*-«* fc*na
^ ffcjj rp i^
.5/,*
+—
»
£*m4 time S' 1"
yir P"r mf-j^nnf ^jji
W.
rr r if rrrf rij" 11 pupP
•*^^u te * -
fzMi.nl film.
50
Waltz Medley
For 2 BANJOS Arrby G.L.LANSING
1st BANJO|
2ndBANJ0\
I3^^
Pmw*
mmm i m
§
m%p
P 9
*
n\l j
i y ij: p r i~*—r~ *-i» 1-*-*
ff f '-m *
B J M- J '
HitJ J -9^-}— » J-•-
'& j r r^j_?_?_ -* *~?=: p p
J-€ 9 9 ^4=&-pi
^ 2 F^#£p s^ p « p-
$ £::at=* si
^m m m pi p ?=T f=*p^»r r MMr j
8P.
If Til=i
im f=f m Bi ^^^eJ^j 5 K 1 2^^Fine.
m 9
6P.4
fi
• P =1PiP £*sfra , rt
3-*P p#-
tt
i
p=*
n. n
ppp
^I f m * 5
-ip—p^-
jt #
F
P^ t=fc
1X164-54
51
M 6P. 3
2 'mm gtss g a P
iBum/
iw *=* #I !^EJ3»=*
*
.9/,>
pc SloP.
*=-h=f ^ m m P^/5
PS m nm^ •^ sEfcEf^5
it *
=i3:c 5EfET 'II »z»^ X • X • X
/>
ff^ps PS iSP.;.; PP PP?f
F=iiPPCMI 0-m-m ^ * *
rif. fa tempo
m$ m p^ w m wf E*
?? j H^gPS P !
* t
lii-W
^mjr.^m±M
m^m isp
»
ips
*
.;;
^*§-"•
•"
J "
Pi
? •;
AOoJ
!M'i4-;4
INTRO.Andante
Golden BirdPolka di Concert
Frew.
* 'm \ m —\
\ t— i
3 r =
iJ-** J-k i 3 s^m
f=f=fT
i I JEE^EI
iji «::
* *it * i
r r r l
r r^ Fr cresc. f
i-. MA JM. !
,/?3i Jii,
^- J33.4: Jft
r * * i t t r*i^: 7 itr
{ ir 7 irr t
_^
Jx=4-1 I
' r > l
r -7 I f r 1J- OT
|
J- JIpt
nr
t '"
r *I
I <&'#&.i
1 1r r
i sfe
/CS •%•
Tempo di Polka
r » I IIVVi
Lm , *
Hi CIC ffl
• . mmin't.
t*£mn* J * v 7* ' 7 r
"f=T
i>!> /*p.
ft\ ittjj c
4 1
• • • si8P.L '** ^
flfl=# #
I"
I LCAT [T *••"EE
J—J? 2^Ti r
»
4,ta !ese*J—J) jittSfeB
fi ^
* fc=f>i K,
U r i^jr r \^-mt it
k t
cJ r % r . ?-$ml?r lfJ/ 1
8P 1
4sg #H ill 1 -s ig s010
^#£i m——
f ^m i^
15164-54
53
P sr^x
-fa -*—( P r*
—
,
-j^ p p p | ,y p -p—
p
^^/<^
/>. S. to <*
CODA/kl-i5 ii^i^rj^-r ipier>/'.
#jjgjif f:r Lfftrrr , t i ;
^MeCfU£ lm±l^rT0^> ! g'ft'
!
tSt«4-S4
54
The Plectrum Style of Playing
Playing with a pick or plectrum is not difficult after one has mastered the legitimate method given
in the preceeding pages. The pupil should use a stiff plectrum made of tortoise shell or composition rubber.
This is held between the thumb and first finger of the right hand, firmly but not so tightly that the rigid-
ity is transmitted to the wrist which must always remain flexible. In playing always arch the wrist,
and begin by playing softly. Continue to play softly untill the tremolo is mastered.
As the 5th or short string is never used in this style of plaving it is well to lift the 5th string from
the slot in the bridge when using the plectrum letting it rest against the outer edge of the bridge.
Almost any song arranged for piano can be played on the banjo in this manner.
Signs for Plectrum Strokes
Down Stroke
n
Up Stroke
A
On account of the absence of the 5th string it is necessary to use a different system of fingering on
the first string.
Scale in C Major
All down strokes
a n n n n^ ffffff^3 f l" J J J Ji
Finger 0134020101 24134431421010204310
Etude Down and Up Strokes
nAnA nAnA
3
nA"i ££• QAnA nAnA nAnA n
£ff
m
1 1 4 4 14 10'
15104-54
i.«a
Plectrum Exercises
ModeratonAnAnAnA n A n A n A n A use same strokes
iJiiiJJJ 1^ ^ —-•—«
—
—
P
y~pr ?c=p: m *#-
^S ^^Allegro
n A n A n A n A
2 -
'r JjjJJjjjJ J J J J JJ Jl JjjJJjjJ LJP
P i 1
VivacenAnAnAnA
^^^^^ pumnAnA-A^A n A n A n
153J J J J " " LP SP
n n n
JwwJjjjjJTJi j j j j j"j jjj"j r=n
f" A "
-I -i A '[
/\ n /\ n A i i-i-i
5.3EBJ ^1
^rjilf
c/rlCr i rrr^^*
n A
HSUj/;/',
|
56
The Plectrum Tremolo
For sustaining tones the tremolo is indispensible. The following exercises lead up to the perfect
tremolo.
h nAnAnAnA 2 i!i n An A nAn A n A n A n> . k mmmm r * wm— _«___
|r_-_B_B —
^_
—
-QM _-_1 i 1
—
—
!«-« J 4 1—
f
flnAn AnAnA^" 1'^ *£&%
The Tremolo
nAnAnAnA *00000p000f00 *—»-
Z^L^l
Tremolo Exercise
16 strokes 8strokes Sstrokes
¥ J J
32 strokes
Etude
All notes played tremolo12 16 8
m3mz ?an
I J. \fT'T \w=3&&->-V- 22: n £
^ ^3ZJ 22j
S* £IS164 -.54
Important Exercises57
To maintain even strokes it is often necessary to make several notes on each string.
Finger all notes on 4th string
nAnAnAn piAnAnAn
FPP^ *=*= rr^-H-i-j7 2 3 * 3 • • 12 3 4 12 3 4
iFinger <m 8rd strifig
o i L-J
¥=+- ny?,.\2nd string
o—4—a—
*
^c/c; J leixrm^i4-^ 3 t Se- =*
3 4
I
1st string,
i 4l i
33 A n A n A n A n
* 3 j j 'i *=l' I &
nAnAn A n A pA-4—0—
t
=£n A n .i n m *T * \ m
pr pp r r rr
; Lr rj*r
t£®
#A
:^Ti A A.
# 1 m * m j^n ^^Exercise for Speed
h n A n A n .A
i [^r^ ' LirJff^2 i liiilii" Pif FT f ml ±
ii i
E^na ' Lcjc^*
i
* * * * *I r r r r > j
•?/',9P.
:•
IM'14-M
58Easy MelodiesPlectrum Style
WALTZo
Trem - n n n ^ •/ -i•3 • >,, r^ • yr M
rL'' El • ^ i*V
TiftA r a r IT. •Vi'4-
1« 1
1
24 strokes 4 4 .4' P1 H9* riS-m^
<s^- 22j &*- &*- SI5 p.
nONE STEP
£i feii
n n^ £^/* /*
mTremolo upper notesn n
ttr 1 rttr rpr f i* i » f r*n r 'trrr i i
, ^» L
5#n n ^ 5
^=J/*
n.
jeesfi A
i^S
rf ^d i j^ i fr i ''E!
p=s 1) 1 hi J)
LCI/'F
'
Ij^ip'M5 />.
.4
1
iFOX TROT
h n
§
n A".An ^ ^m r m w=&=*3E Fcror i
" ,lA h a n
r^tf^f *4
*
,j rrtfi Effrrrfij F
1 f c
f
i
CcErf
f
^^15164-54
n A
Scale in G Major(with plectrum)
HAnAnAnAnAnAn A n A n A n
59
• p ¥=+-* m—^
2 0101343101020431340As the other scales are fingered practically the same as indicated in finger style of playing, they will
not be given in this part of the work.
Etude in Q Major
To make strokes even play D on 2nd string as indicated
5^ l^Ji n A n A n A n A '«*•• n A " A h A ntrem.
ee LG) (D ®
£A
trem. upper
H A n H n A n Knoteonly
f'
' LOf7*#^ 1*
Banjoists' Delight March
fr^f i iijif jJ i i'iiTTU^J J'UF
f r
tfr<?an
.
r~$r~$ i d * cjjr i PWTT1 F^ ' ^ ^^TtTfT^yi /
(rem.tipper notes• m • Z A n
BpS s
?
—
mt i^p/lit - h Ann A - ^—
^
m im I I I
#-f pr M rrrLcj- i fHr ^ rxr uF» »
iJ-w
;
5
p^pff ClriHr MP »P*
i p Fr-frU-^j
h;> ij- ru^un
r»jflif>- i
j-r'-hhJiJ % ^3^
«• iffj. \ r f- ijfff ?ip fr flfHjT Jflii r »j f
* The slur is often written to indicate tremolo
til)
Spanish. Galopade
Plectrum Style
j\ n n n n nmm -
). i p i^TTT^
PIRINE
4* /^
3E£P3^ -y-r -y-r
/ >*«//. /*
tretn.
^m HJ- ill Pir rrr iJ-ai i r-iiJ-ff£3 3&IB
2
»/ ^ -— ^/ F
1 MaJ- hIJ
nA r, /\nIT
rrftrrp i rr grfi
iri:
"3 J"^
.
« «H «h^IS§1• /
* aceel. Fine.
n p—r—#• ^i • P j: &H ^ iP*#-#-# #-#—
#
m'tu ' tn -r ' kj- |iiv 'lui
M#» Trio
w}- MULcni^TRIOiflp^ rJ
v^_ ,.<£.
2>
i *££PPP WS^g—
f
4r» £
^^ P f:
f in dr
3P.
T+ZZI y=^
Ir-Mf^-Cj'lT S^=*
D.SMFine.
151G4-.54
Plectrum style
Allegro
All The Rage(One-Step)
61
LEO CATLIN
fe o t-t p^/
n n hn « n n n q n n n ^n, ^ —^^^
iru-
1
J1 1 ir u- 1 r
Ji»
ius^m
if
1 r |i ij r ii r[
ii—§:
II f=^:*=
f
j m f pg m p *~
jp^Ha i 1
? pupif<» i 3 n A
*=*i jK=M
i't f 'Du ii m.//'. n
TK-oyFip^Fi r r cjp i j r—f^Fg>! /
; a
f-r' f ' E-r i ir i
f "f i Lr u ^B^
^ i'j1
LLJLJUirr
*I ; " '
:D 8 ii /
16164-84
6 2 Minerva
Plectrum style
n n
feii B=S\
*
Waltz
oP.
LEO CATLIN
t£$ KrH. 4 6P.
£ ^ -M2.
4-f2-- 4-fi-
3: (21
£4*1**Bi ^ fe£
42.- £t
§• (S1
n_4^ n «/) .n 4« n ^ n n ,n
i;rrri|r'r ifE
n}„Am n »
i
Fine.
"AnH/\Hjt^-»
£ £
A H ir^ l
3P.
f—m &-
£Jfi-m—±
P
ytifTrr r i Fr g »—f-r^f
--Ir
oresc. D. C. at Fine.
Arkansas Traveller
n .A n A n n A h n n' > . 4ifl
n / \ n /\ n n a i n n n A n A n^n S^NP© ©
^ ^3f©
»rr »£IT ira:
tf JS Bf?15164-54
BANJO (Plectrum style}
Allegro moderato
In Moon-LandIntermezzo, Two-Step
^ mfpiu lento ' *^J^" mf acceh — //
63
HARRIE A. PECKArr.by G. L.Lansing
£e/«/* piu lento
^•nAn _ A _4£>«-«- H A n
TW^T^ UHpj ij.-nr
i(^
p[j l JJj^lBJBritD'|D
Pp^ r
'
J ij. j u>
rr\
,7 ,>*1
3^P7/».
AnA n n n " * ^s ^^-#// /
ft. yj r ifii ir-rrTm^TB-P I r r ^[^ff y
, r'rrft»D.S.air>then Trio
n jfl i JTpfJ] cn£r i
r.JTRIO
p do ten
# ^ J Pi? • i*=* «£*
./'
crtrtrJ i^g^ p i #'L .
1.
IPn
:r^A.S.aiV
o
wtfpiulet f .//
UM4-64/,""" , lrronifi.tr, thl* /<-rre prt,
64
BANJO SOLO.C Notation.
THE CADET'S DREAM.PATROL.
.20
* i1-^^* J'.-f-f .
prcrHJJii i
jufj*#^#iG.L.LANSING.
1 m P f \ l P P-
Drumsppp-pp
. Ff- . -frtt.S V4-^4P. - O 4 B 4 P.
Ljrr ifyf ^p •—
»
3 A• P £tef
i
tF rr*r l it
p-mf
2P.
£r^
A £^ 17 El i
l Kji
Liaii
i is pT3 :|JT ||
f: Pl^^ l
JjTlf
±± &e£ -»-*- £± 7 J 7 £Sff4 * 1^ ItfJ1' cj'r r. i<jjifc£Hf/-//
i iri A ^ i .naffdi*
g^HT'cjir r »7 3' i 7 jrn , 7 jrjrii
(9- ^^ \-T \% -rfi- rfI^f i J^ U
^ Jl^ l
^ti p^^i plnijff10 p- m
^EF-fH^ if tf it. tfjf
m 2 /"
ii— wi
iS^=^ mfJ!*
I felgH£#. ^ £& £ £$
fttl\f?mMM 1 jm m m ^tta *
i—
»
^§Piano Accomp. to this piece price 20 cents CLIFFORD E. LEIGHTON
12832-15CACHE* OF MANDOLIN & »ANJ*
STUDIORAH* CBNGBESS STBEST
Fine.D.S.al Fine.
Softer to Fnd.
METHODSMaster
TE>By GEOR<
In addition
author has prese
stroking, thus giv
which is essentia
music of the pre
The signs u
methods are al
The bookpieces for tenoi Boston Public Librarytenor-banjo and Central Library, Copley Square
Pri
Division of
Reference and Research Services
It is said
must have a cc Music DepartmentThis is air
designed to de>
The Date Due Card in the pocket indi-
cates the date on or before which this
book should be returned to the Library.
Please do not remove cards from this
VIOLIN, VIOL pocket.
and TrTyi
-—*-Mor Banjo MethodC Notation)
RGE L. LANSING
- Style and Plectrum, with
ion for proper playing.
: 38 Banjo Solos (C nota-
insing is recognized as one
?erformers and nwst suc-
the country, and this workthoroughly practical expe*
f5 Gents Post-Paid.
phone.of any to master, but one
Graded Systematic Courseand be convinced.
3S FORRNET, TROMBONE (Bass
Drum, Bass Drum,JITAR, PIANO,
POINTS OF EXCELLENCE.Rudiments clearly and concisely explained. Easy and Progressive Exercises. Explanatory
Diagrams for each Instrument. Enables a Pupil to learn any of these Instruments, with or
without a teacher.
Price 75 Cents each, Post-
White -Smith Music Publishing CompanyNEW YORK CHICAGO
mmmmtmntmmmmmmmmwmm
FEB ?1927
CAUTION
Do not write in this book or mark it withor pencil. Penalties are imposed by the
•i the Commonwealth of Mas-sachusetts, t hapter 208, Section 83.
