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 w^^fi 1

MASTER
INSTRUCTOR
FOR THE

Tenor -Banjo
BY

GEO. L LANSING
WHITE-SMITH MUSIC PUBLISHING CO.
Boston New York Chicago

Copyright, 1920, by White-Smith Music Publishing 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 lat-

est system of stroking as used 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 to denote the strokes are those given in the

latest authentic methods 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

Lines. Spaces. a

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
IS*:

P^P
RESTS.

Whole note Half note Quarter note Eighth note Sixteenth note Thirty - second note Sixty- fourth note
rest. rest. rest. rest. rest. rest. rest.

m m
Table showing the relative time- value of notes.

A Whole note is equal -©-

in time- value to
2 Half notes
or
T
4 Quarter notes
or r r
8 Ei^th notes
or z=s
18 Sixteenth notes
or
*-+~r g—t.
32 Thirty-second notes .

(or 64 Sixty-fourth notes.)

The same rule applies also to the Rests.

Kt.ar, _<j;
 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 Whole Note or Best A dotted Half Note or Rest A dotted Quarter Note or Rest

zss: A
?
is equal to 3 Half Notes or Rests. is equal to 3 Quarter Notes or Rests. is equal to 3 Eighth Notes or. Rests.

- J J J J J J J^^ -+
k

i i *

A dotted Eighth Note or Rest A dotted Sixteenth Note or Rest A dotted Thirty -seeoiid Note or Rest
i
%
m w
is equal to 3 Sixteenth Notes orResfa, isequalto 3 Thirty-second Notes or Rests is equal to 3 Sixty-fourth Notes or Rests

I LJ i
w I ? f 1 —t—?
second dot after a note or rest adds to the time- value of the note or rest, one half the value of the first dot.
A
Thus a douhle- dotted Half Note(J-) is equal to 3 Quarter Notes and 1 Eighth Note ( J_JjJ_«r)), and a double-
dotted Quarter Note 3 Eighth Notes and 1 Sixteenth Note( J> J>
( J" ) to
v~'
j^ ) and so on. Douhle dotted Rests have

the same relative time- values as corresponding notes.

THE CLEF.

The CLEF is a character usually placed at the beginning of the Staff to indicate the Musical Pitch of the notes
ivritten thereon.

/ For all CORNET, HORN, GUITAR, MAN-

the higher instruments such as the FLUTE, VIOLIN, OBOE, CLARINET,
DOLIN and also the BANJO, FLAGEOLET, FIFE, CONCERTINA, ACCORDEON and some others, a Clef called the G
Clef is used. It fixes the tone Coupon the 3d line of the Staff. G
G Clef. -©- or Treble Clef.

For instruments of a lower compass such as the VIOLONCELLO, DOUBLE BASS, BASSOON, TROMBONE, TUBA
and others, a Clef eaUed the F Clef is used. It fixes F upon the 4th line of the Staff. F
F Clef.
gir~o
=§ =or Bass Clef.

A Clef called the C Clef is used especially for the VIOLA and fixes C upon the middle line of the Staff.
AI.XO CLEF. TESOR CLEF. TREBLE CLEF. BASS CLEF.
This
on the 4th line
is called the Alto Clef
it is
.

called the Tenor Clef.

When placed
CGlef.jg- i± Same pitch af
i
$
or m
In Music forthe ViolrineriHtD, Bassoon and some others, several of these clefs are sometimes used.

8WS5-94
 Music for the PIANO, ORGAN and flARP requires the use of both the G and the F Clefs, which are placed on sep-

arate Staves connected by what is called a BRACE.

EX.

TIME, MEASURE & BAR.

There are three kinds of Time, viz: _ Common,Triple & Compound Time.

Examples of Common Time. - Examples of Triple Time. * Examples of Compound Time.

or 4 2 *'
or
-2 3 3 3. 6. 9. 12 6
C 4' 4' <P f 4 2 ' 8' 8' .8' 8 4
The lower of the two figures indicates the kind of a note, and the upper, how many of that kind of a note are contained in ameasure.

Thus, H indicates that there are three quarter notes to ameasure.

4

A MEASURE is that portion of a musical composition contained between two single bars. A BAR is a perpendicu-

lar line drawn through the staff, thus: EEz=EL A DOUBLE BAR j is placed at the end of apiece of music; some-
:

times at the end of «i section (strain) thereof. A DOUBLE BAR with dots, thus z=± pE is called a repeat, and sig
;

nifies a repetition from the previous double bar, or the commencement of the piece.

ACCIDENTALS.

The Sharp (#), Flat (I?),. Natural (l|). Double Sharp (ss) and Double Flat (MO are caUed ACCIDENTALS.
The'$ before a note raises it a Semitone (half tone). The \> before a note lowers it a Semitone.

The x » » » » » » Whole Tone. The V? » » » » » » Whole Tone.

The tj" before a note removes a previous $ or k
The B$ before a note that has been double- sharped lowers it a Semitone.

The >> » » » » » double- flatted raises » » » * a'

*$«
q\> a

The Sharps and Flats placed next to the Clef are called the Signature. EX.
* '

ffh ft
'-

or - Jrv
?
,

>
\

b
'-

(fy

NOTE.' Each Sharp or Flat in the Signature affects that particular tone upon which it is placed so long as it remains in the Sig-
nature, unless changed by the introduction of other accidentals before the notes.

THE SCALE.
A SCALE is a series of Musical sounds, ascending or descending according to a system of tones and semitones.
The first seven letters of the Alphabet are applied to the seven principal tones of the Scale. Also the Italian mon-
osyllables Do Re Mi Fa Sol La Si.

It has already been shown that the G Clef fixes G upon the 2d line of the Staff. From this starting point all oth-

er tones can be determined. Notes extending above or below the regular degrees of the Staff are written upon what
are called LEDGER LINES , and the spaces between.

8685 ~*4 .
EX.

n
 ; )

6 A Scale Ascending. Descending.

G A E C B E f «J G G F E D C B A G
EX- jv-Ts
97 1
i>
2
o o •o~~~rr
» V
-o-
?
Q
o o
_Q_

o t» "° '

CT
y-e~

* 1

NOTE . Observe that the seven letters follow eacli other in regular alphabetical order, and that the eighth letter is always the same as
tlie first, whichever one we begin with. It is therefore said to be an Octrtve (8 tones) higher or lower tlian the first, accordingly as N..-go

up or down.

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,aixd

the Chromatic Scale. The Major Scale consists of seven principal tones, viz: five whole tones, and two semitones.

The semitones occur between the third and fourth, and the seventh and^eighth degrees of the Scale. Degrees or in-
tervals may be Major, Mz'nor,or Per/ectjnv _ Major 25, Minor 2&'} Major34, Minor 3<* ^Perfect^, Perfect 5*h,
and so on up to the octaves.
The Major Scale.

SCALE OF C MAJOR.

"
if
4567876543
The semitones are indicated by this sign ^--^

o
_
c>
_ '- 1
,_

*i
2 1

i> O"
o o
c D E F G A B C B A G F E D C
Do He Mi Fa Sol La Si Do Si La Sol Fa Mi Be Do
All Major Scales have the same construction and the same order of intervals, ascending" or descending.

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
C |
A .

(tone and a half) below that of the relative Major Scale, Ex. ~*>j tl E It has also five tones and two semitones,
hut with a difference in the order of intervals. The semitones occur between the second and third, and seventh and
eighth degrees of the scale ascending, and between ike fifth and sixth and second' amd third degrees descetiding.

SCALE OF A MINOR. (Relative to C Major.

Melodic Minor Scale.

.1 2 3 4 5 6 7 ^J& 7 6 5 4 3 2 1

xi o " *" E V 1» o o tT
g
$ *» !

B
g
C D E F$ G$ A Obj tflj ED C B
t»

There are two kinds of Minor Scales in common use; the above which is called the Melodic Minor Scale, and the
following which is called the Harmonic Minor Scale. Observe the difference in the arrangement of the semitonesT

SCALE OF A MINOR.
Harmonic Minor Scale.
12 3 4 5 6 7 8 \^J9 6 5 4 3 2 1

„ jgg o g = F F " " o O o

i D E F ~G? A <jff F~~ E D

As the Student will meet both forms in his subsequent practice, an example of each has therefore been given.
S6S5-94
 THE CHROMATIC SCALE.

This Scale is composed of twelve semitones, and may be formed upon any degree of the scale, major of minor.
In ascending, the Sharp, Bouhle- sharp, or Natural is employed in its formation, hut in descending,ihe¥ldit,J)ouble-
Flat,or Natural is used accordingly as there are sharps or flats in the signature.

$ IP m u W^f
c cD
ejf b b# e F F# G G# A Aj B,

* jrfi S tt f
B Bl> Ak G Gl? F E E'k B Bl, C

MISCELLANEOUS CHARACTERS.
Notes having a dot or dash over or under them are to be played short and detached. This is called Staccato.
Half staccato. F\ill staccato.

™-rrrr\\ -ffrfll
effeet
-
mgptd&ffi
Written: Played.

This sign /Ts called a Hold, placed over a note or rest, prolongs it beyond its exact value. It is sometimes
placed at the end of apiece instead of the word Fine, which means the end.

The character ,- —^ called a Tie when placed over two notes on the same degree of the staff #""# . makes them
one continuous sound.
When placed over two notes on different degrees it is called a Slur and indicates jthat the notes it applies to are
to be played, in a smooth and connected manner-

Three notes played in the time of two of the same kind are called a Triplet, and are indicated thus-
A Sextolet is a group of six notes played in the time of four of the same kind. EX.
rr rr r r
UT
The •%' called a Sign; directs the player back to where it was previously indicated, for the purpose of repeating
a certain portion of the music.
1°. 1 1 S<
A passage that repeats, sometimes has tivo endings indicated thus:
the first time and the other '2? 'the second time.
mm That marked '19'is to be played

Every measure has its natural or primary and secondary accents, besides other smaller subdivisions. When the
natural accent is perverted and made to fall on an unaccented division of the measure it is called Syncopation.

£ £#^g
When a stronger accent is required than that which naturally belongs to a note it is indicated by one or
a /.other of the following signs called Accent Marks. A, :=- or fz called Forzando, rfz lUnforzando, and
Sometimes ffa, according to the degree of accent desired.
When a group of notes or a measure that is to be repeated, written like the following, it

m S£
is is called Abbreviation
repeat g rot ill. repeat measure

B
8685 - 94
Other forms
Written. PKyed
S Written.

t 7
:i

'I I
Played.
n i
JTJ r »-r .
&

&
etc.

etc.
8

ORNAMENTS.

The chief musical embellishments are the Appoggiatura (or Grace Note), the Vruppetto (or Turn),
and the Trill (or Shake).

APPOGGIATURAS.

The Appoggiatura is a small note placed before a principal note for the purpose of ornamentation
or effect. There are two kinds of Appoggiaturas in common use _ the Long Appoggiatura which takes ,

one half of the time -value of the principal note before which it is placed and also receives the accent,
and the Short Appoggiatura, which is played very quickly, the accent in this case falling" on the princi-

pal note.

Long Appoggiaturas. Short Appoggiaturas.

Written.
J., \u i

^Fr
P. t&-h-^ .

Written.
$m £

Played.
PH gfrffl Played.
wm INp

A group of Appoggiatura notes sometimes precedes a principal note. These notes are played very
rapidly and the principal note receives the accent.

Examples: sspg tes ^m 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 <x>. There are several forms of
the Gruppetto as will be seen by the following examples.

9174-79
 9

Examples of the Gruppetto.

Principal notes.
C/3 *>= GO
When the sign is If between
placed above a note
£ two notes it is
f^^F
fe#
It is played thus:
P
played thus:
f^ i rccerr m
GO go
If after
=3
a dotted note
fc g p
Thus:
i^SJ^ jjTO
When a note in the Gruppetto is to be sharped or flatted, either above or below the principal note, or
both, the sign is expressed accordingly, in the following manner:

ft below.- M P above;

Played:
| J. JpfU Played:

S 8 8

p above and ft
below: Written:

Played: Played:
m ,
iiP ~ _

THE TRILL (or Shake).

The
Trill is a rapid alternation of two notes atone or a semitone apart. It is indicated by the sign
placed above the principal note, the alternating note being the one next above it? There are three
<tr

kinds of trills _ the Perfect Trill, (with finishing notes) _ the Imperfect Trill, (without finishing notesL
and the Mordente or short trill, indicated thus <w.
^Sometimes the next one lelow :
t.

9374 - 79
 . .

10

Examples of the Trill.

Perfect Trill
<tr

Written: -o- S
i Principal note. Finishingnotes,

Finishing
Principal note and alternating- note notes.

Played:

Imperfect Trill. Mordente (or Short Trill).

Written:
m
^J
<tr

Prinr>i
^^^-^W^W-VW^^^^V^'V-^'^W

Principal note without finishing" notes.

Written:
P
Played: Played:
tfUCTLfe
OTHER SIGNS.

Tremolo. Arpeggios.

A very rapid repetition of the same When chords are to be played in the
cone is called Tremolo manner of the Harp it is called Arpeggio.

Written:
M Tremolo
Written: £ IE

&-
o-
Played: Played: 3=3

p, piano . . . . means soft.

" very
pp, pianissimo . soft.

/, forte .
» loud.
" very loud.
ff, fortissimo .

mf, mezzo-forte » half or moderately loud.

" loud and immediately soft again.
fp, forte -piano
fz, sf'or ^
sforzando " sharply accented.
crescendo, cresc. or increasing" in loudness.
diminuendo, dim.ov decreasing- in loudness.

9374-70
 11

THE TENOR BANJO

The Tenor Banjo consists of a rim varying in size from eleven to twelve and one half inches in di-

ameter. The head is drawn over the rim and kept very tight by brackets. The arm upon which the fin-

gerboard rests is firmly attached to the rim.

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 1st string A, the 2nd string D, the 3rd string G, and the 4th string C.

The bridge over which the strings pass should be placed at exactly the same distance from the 12th

fret that the latter is from the nut.

The Open Strings

4th 3rd 2nd 1st

string string string string

i ¥ G D

Tuning

Tune the 4th string to from piano, then close the 4th string at the 7th fret and tune the 3rd

string in unison producing G; close the 3rd string at the 7th fret, tunc 2nd string in unison producing D,

close the 2nd string at the 7th fret, tune 1st string in unison giving A. The open strings correspond to

the following notes on piano.

m
4th 3rd 2nd 1st
string string string string

3=2 3
G D

15324 - 64
 ^
12

Diagram of the Tenor Banjo Fingerboard

Showing the Chromatic Scale on each String

tete £ fe^te ^f
mm f
t?#
''I
fetfruutgig * te
A or
1st String
ffETf
^
Dor
2nd String
oPh **

Frets
*H

mm m^m-m 1:1 1:2 1 3

!> ^

1 4
£

1 5
It;

1:6 l!7

1st String A M Bb B GJ Db D D« Eb E p« Gb- G Qi Ab A A| Bb B C« Db D

7
2nd String D n Eb E Ftf Gb G G* Ab A A# Bb B c» Db D d8 Eb E Fft Gb G

G* Ab A A» Bb B B» C Cft Db D Dfi Eb E Fft -. G G« Ab A A* Bb B Bfi

3rd String G

4th String C
C* Db D D« Eb E n o« Ab A M Bb B B» c c# Db D D* Eb E

G or
3rd String J hJ
^J wtJ jg jt
tt jy v
^-f-y nr
#r Wfr ^r *r^r ^r^~*r~f ^y^^y^ te^.
Cor
4th String J ju ^ Jy f fff'^r k^
jj
J. fribJ i
j
J tfJ^ * ^ J E* k jt
up »p

Holding the Instrument .

The performer should sit upright in a chair without arms. Rest the rim on the right leg, about four

inches from the body, keeping it in place by a moderate pressure of the body on the upper part of the rim.
The arm of the banjo should be raised so that the pegs are in line with the chin. Support the arm
at the nut in the hollow between the thumb and largest joint of the first finger of the left hand, the
thumb being on the upper side of the arm at the nut, with the first and second fingers arched directly
over the first and second strings.

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 tailpiece. Arch the wrist and strike the
strings from above, not across them, except in playing chords.

Begin by playing softly, using down and up strokes alternately. Practice these until able to play

them rapidly, producing the Tremolo, which is the method of sustaining notes on all plectrum instruments.

15324 - 64
 13

Stroke Exercises
. ,. ,
(Open Strings)
n indicates down stroke
A indicates up stroke

A n A nAnA nAnA iLlL ZH-1H n A n- A n A n A nAnA

^m
\

000
fc -0-0-0 rrr rrrr i
0-0-
f^
Notes on the 4th String

nAnA nAnA nAnA nAnA nAnA

n-AnA n

^•'jiii JjjjijJJj
Fingers
JJJJijJJj '

1 3
i ^J
4
i

3 1
ip
Frets 2 4 5 4 2

Notes on the 3rd String

nAnA nAnA
£
ringers
Frets
^^Trrrr
Continue same stroking

irrrrirrrr i
j ^
Notes on the 2nd String

^
Fingers
n A
0—0—0
n. A
m00 \ 00*0\PPP P—P m 9 „

Frets 3 5 3,

Notes on the 1st String

n 'A n A
rrrrffrfr,m ffffir
Fingers 1
Frets 2

Etude
Count 12
nAnA 3 4 12 3
n
1
n
2
A
«? ^ 3 4 ^ 2 3 4
n n A n

m
pi

Fingers 030
^-^j-^-U-^
12 3 4 12 3 4
14012
12
^ ^j-r-rv^

3 4 3 4 12
40.
d

3
d d

I J I -Ht=t=£ 3ee=e
1
l=^£
3 2

12 12 12 12 12
S
3 4 3 4 3 4 1 3 4 3 4 3 4
9- *

^ 2
¥^ -T r i
r > r
2 1
14-t I f f :
14
Scale in C Major
All down strokes
1st String
4th String 3rd String 2nd String
CDEF GABC D E F £

Frets
Ef
Fingers
024
i
134 01 34
02 45 5
w 0124nrffnffr 2 3 f.
012
023
£ i*lilU+U
#
Chords inC Major

i I
0=0=
o> ot
o-»
rP
o
oV m -0-0-

^?
Chords should be played with a quick down stroke unless they
are written arpeggio, which indicates that they are to be played
1 1 slowly from the low note to the upper note of the chord.
-it--

2 3 2
41 (>-
'
The arpeggio is indicated by a waved line.

C C
Scale Exercises
The student should write the fingering underneath the notes
* - A k a Continue with same strokes

1. & «?=*
I X

rciX-f i £Oi r ja
Repeat each Ex. several times
n A

2.
H=F Qj] h)
t jJJfl reffto l

$-1

•n n
T P g

^HF LrTTT^
3. 2BBE ^nt^r^mrr i
r^^r/itj^ m r m m

'.10 4-1 /
#*

f 5.?24 - tf#

/
 Melody Exercises Leading to Tremolo 15
Not too fast
ft A n A
ft A n A

iW ggffi^
g^g^fw^gg g
^albU^^fe

p ^=M
Waltz time
nAnAnA n AftA"A WALDTEUFEL

* S
^fggggt ^^^^^^
^^^^^^^^^^^^^
Faster
HA n A n A n_A^ A „ A n A n A
16
The Tremolo or Sustained Tone
To attain proficiency in the tremolo, perfect evenness is necessary rather than speed. Always begin
with a down stroke, ending with an up stroke, except in cases where the tremoloed note is tied over to
a short note.

Tremolo Exercises

JOE
As written _g
Count 12 3 4

H A H "A n A H A continue same strokes

As played

Count 1

Tremolo all notes

.^- *0-
_CL n Q-
+ SL

fe£
'
Count 1 2 3 4 12 3 4 12 3 4 1234 1234 1234 1234 1234

^£= JDL
a Q- ZZL
m
12 3 4 12 3 4 12 3 4 12 3 4 12 3 4 12 3 4 12 3 4 123 4

The slur is used to denote legato or smoothjiess. The tremolo should be continued throughout the
duration of the slur, stopping only long enough between to attack at the beginning of each slur.

Example
Slow
Z2I

m ^j-
^
Count 12-3- 12 3 1 2 3 4 12 34 12-3-4-

$
ZZL
L2Z
m Q~
T2L

Slow Etude

i
£ m w
^##^
* '
• iP^ w ^^
15324- 64
 Scale in A Minor 17
Relative of C Major, with same signature
Chords in A Minor
down strokes

?m
All
^f^lfU 0-0- o^-

Fingers
i m
1340 1 3 40 4 210
£==*
4 31
-o-
zn
0-
U3*:

r
o c oc 1 o o O

1 2 1 3 1 2

*. _ _
Etude 1 1 1 1

Slow Tremolo

p rtrffr i
fr'rr i
ffft^f^rWrifflp^tf^^

gnr i Lrrr i rrj^

* When two notes of the same degree or letter are connected by a slur they are to be sustained
throughout the time value.

Scale in G Major
F$ in signature

Play all down strokes

E £
Fingers 1 3 4 01 34 0124 1 34 4 3 14
ifl rfff fT7r J ^0431 ^^
2104 310 4
i'r
310
J ^
§ T^-*
13 4

Chords in G Major
2-

—
ff^ra
35
-0-»

i -«-•-
0~^~ *

c) ( D o< D ( D < D

1 1

y, / J / /

*> 9
J
i_

,?
1 i f

1 l_
1 1 1 l
*A'52# - tf-#
18
Melody Exercises in Q Major
March

2 h 2 "An n A M 2 A n n A n
n n n n M.
£ n A

#^f r 'r r i I i^' ^J^- J r i

f H I

n zgzzg fa 1
t m g
*
I
1
r pp g I

f
I; * a rr I r r r f r r

# = f "f , r ff ,ff»rf a f r

* Ie^ r g |
ff,P|
•A dash written over notes in slurred passages signifies that they are to be accented while played
tremolo.

Waltz

*5 f^ rtS> 5-
" ?7T
i m
<2_!_ ^-?-

f ppf

H^M^ 221 J2I

n A

^
A
n A
n A # •£ 5 n A
^ n
-# —A
*- fj* i LFf m.

a
1,1.124-64
 f
19 .

Exercises showing proper strokes on various movements as used by expert players in dance orchestras.
Exercises in more difficult forms will appear later in this work.

March or Two-Step
H „ PI
n n n
n A n it n A -
AJ£ *
£ » U » n
K^ifT g
5 n
fefe^

"
#*0 * -* *
* S- B n

1
" 2
8 itop-JJ f-ff i
f i to m

i-r Kfr |
n t
f|£iff;ci i r 1 nO* j
* to^r iT i
f iTrr^ifx/r g i f ygjyy^ £

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i i

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|
f p r |g tr>p.[f i
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g rJlf 1
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One- Step

M &
n n h _ pi n h
n *^ *J1 n .„ n n *

3fc
p ,f f f i
r'rf i
Tf f i ff . HKf-fe fe**

r. / f , if f r i
r t
#• # #
g Lr i
f fj C-f r i r j

iA
"*
§=
^
dot at the end of a slur indicates that the note
15324-64
is to be played
r
down stroke.
r f i
f r^r-^ 1
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20
Scale in E Minor
Relative of G Major with same signature

£*Mi
s
All

3401
down Stroke
j 1 1 m
3411 3401
m
tete £
3 44 ¥ 4421
Chords in E Minor

t=^+=t=?
0431 04 £
3 1 043 ^ 0-0-
lb
i
)j**f
4
^ 1J.

Etude
H n A n n n A

i
»» .^jt-f
m^f
—
mmz \%E
^m
$ ljLflH^l f MLa Vague
U Uiigfc ii*

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METRA
n
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^= is:
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£ £ £

^^ 2z:
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^^ PP^ £

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^^ ZZE
fl
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 21
Signs used in Abbreviating
Lines drawn acoss the stems show that they are to be repeated as follows
n A nA nA

f=
h fl

As written ffig
f As played j|g r_J L^T"
Etude
nnAnnA nAnA
n n
i- M If U & f i s\tu\h \s£} \
ox*&m
WW
£ *«

n A n A n A n
— «* m
»•—!«»
f ;

A "AnA
i/\n/\
i; ^\uM
.
Jt P-T-P
1?:
P-F
^
.» ._

2.W rr f ; iff i; ; if i i f 1 i* ^
| f f i f f i
f f if ; |
f f i;-f-pF-f-f# ^t
pm
*« ,£,. |C

i r tf , 1

3. "Lf i *^^^K

Fox Trot

fe ^^
n A n A n
n A n
pcqo
A
I g= =5
f
A
i
*
n
p rr
5- n Q n n
i § | f efei afe
n. n n n

^ Easy Syncopation
r /rJT
^
(Rag Time)
Count q- time

,. Mrfr" SfM r r-^ ^r |

12 3 4
i i r
ff
i
f
l frr t^T i

1X324-64
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n

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n-

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A

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22
Scale in D Major
Fit and C# in Signature

To make even strokes play A on 2nd String in descending scale

(2) Chords in D Major
* n A ,nnnA 2" a ha
A n n A

Finger 1340134 134013 4 314321

m^mm ./
a
tcfi
T
Exercise in D Major
Allegro

4
m
n A n A n A n

i m s=fei
1*#

EJifffrf frjj i $
i=t!
m
Polka Etude

* 0—0-
§ r r r i i

Rosalie Waltz

*
m
ri 0-1
i
n n (©-=-
£ fe£ '.
.—(2

^
S
i? (softly)

irx

m m &-*-
i *
^RF$
Fine. (end)

* n A n n P£2A„ A
^^ r iC£C£
E fir i
JJj ^ i
f-
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15324-64
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m^-*-
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J2_ £ £
^ •
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D.
(B epea t from beginning to Fine)
r?

C.
SE i
a I Fine.
 23

Scale in B Minor
Chords in B Minor

HE
?34 1 3
'r
4
m ifY431
11
r
0-43
r r * wmm
1#. 1JR
-3-r
3 * JL

Fascination
Fox Trot

—
f £** ^ 19-

«tjrpT if rTn a §
m»/

* £ £ JR. _ .JR
-o-
»r r it * i

NQ i #
:= J2.
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-— 1S>-
-o-'

# £ -oJ fct

I
»i rrffi*
^ £
^N#
. 1* -#• # ^ J2

1 SP rr-
Fine.

n n A
•rrf i
fffff r r f frfrfPE
*ti
,
i

f ffrrffr a i=££ #^F

ssi

^^^i-^t^i^l^fedr^ £ 1
D. G. a/ Fine.

153Z4-64
 — £

24
Scale in F Major
B!? in Signature

is
n

^rj-^q
n_A n A n A
3C

^Encircled figures denote Strings.

3
crffnfif
-C**ii
Efdlrr
n n

^^ AnAnA n
Chords
o-g-

£w- "
F Major
i« 3-£ *-
if „L ti » n

f
in

Exercise in F Major

zr
P* -^t^^fc^X-f JTO r
5^2
i 3 , i 3
r.JL n

^1
Melody with Chords
g- — — tP- # t-S-
SBE -1 f 7-g $
P

i f
§ «
i
— m s. -::; m T f-
A

m p
m n
*E=*
^

P P
g^F^l

Scale in D Minor
All down Stroke

fe£
P 1

* j i
j >>
£
i &i it* £ -fte t

^
Chords in D Minor

^
15324-64
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o-g- 1
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25
Scale in A Major
Ffl Cjt-and G# in Signature
Chords in A Major

U& All down Strokes

g—T m piSI^
i- .^ 2
* 1»

£ rB

Etude

m£m
ai Hi
ff fr jjjj^i j UV
Scale in F# Minor
cT i

^ cJ M
Chords in F$ Minor
down Strokes

jm
All

fc»
nV r »rVJ l"Mrrr/l *=3*
i
Scale in Bl? Major
Chords in B!» Major

^^
—
0--4-
To i
2- i 0-
1^1 1

EE Pi
Waltz CZIBULKA
42.'

1 £ 22=

1S*-5- <9-=-
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M- a.'
i -P-'

g #

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m p £ 193-

f~rri
15324-6*
 *
26
The Chromatic Scale
ft. « A n
n A n A n Ann n A n A *%* g £ «gptMff f
£E
jfrW ' W ^ *^
jESV
4 4
#^|r#

1
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12 3 4 4 11
,

2
3==

5- Ai n Ai Pi
n A n A n
^„^ n w A n A n
frrff ^f ,
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$^E
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2110 4432p irf f*?

1104 *
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3
1

2
J
1
1 4 4 3 H Ji JT HI
2 "J
"

Etude
n n
Moderato
n # £
a
#i £ " „ |A

P=^S
S P~T S
Dance Caprice
Allegretto
i & i#^
rP r r^r r-JTiffrixr r f "r fj} i rjj'f r

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41
r
4
t r '
jjT3 £g. r1pr ^fii
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a M'irrrf i r *NMf fifif-r^

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15324-6*
 27
Study in Chords
Tremolo throughout.
4
2^ *^ TL
%o
£ 4 4j

±2 5T
& W-rr
2-S> » ±2: -%

m»/"

2 £l 4^ 4-S 1-

4 A
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r
ff-rr a:
IB
Syncopation Study

^^
Q A n A n a
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28

Scale in Q- Minor

frW^rtf^MtJLpr y r r i

r
^ Chords in'G Minor
1* 8 #Oj
33

!g

Scale in El? Major

Chords Major

m
in E!»

3*
3 4 3 4 1
2
^_
m ZM 4-"

I^S i
f f

Scale in C Minor
Chords in C Minor
4 ^r 4 ^r
2^
fc=
gffi
5 ^y p § i>J J * ~Hk
-t-
-o-

Scale in Ah Major
Chords in Ai> Major

H^
k*
12
PE
3 4 12
PP m » = 4-

+»

Scale in Db Major
Chords in T)\> Major

g
4-"
im
12 3 4, 1, 2 3 4
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T r A J»

J J ^ — i
r r r ir r

Scale in E Major
Chords in E Major
£ *
um
4
12 4

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3
2 4 1 3 4

i 4-*=£
£
1-5324-64
 The Cadet's Dream 29
March or One Step

m
3rd Pos. G.L.LANSING
3 3 ist pos n h A n A J
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n
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C • • m
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ag
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y t^r itr'cri^? f> i

it i^iir^ ^ #
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es
p

$ £ El

,?/-rf Pos.
p ^
n i r^
=t
I fef^# fe^
f creso
«B £ #? * O- #••
Hi feS £# I

J
Ragtime Exercise
n A n n n A
n A n A - A h A nnAnnA^.-.
A JL4 -•" -# -5- — -— — •
— -— — -«- — —— -0- -#- -F- —

15324-64
 #
30
Escort
March ov One Step
G.L.LANSING

I
f
# A ±3:
Pi m•/
r tmm
ffJ\Zlrzi \
hM
h f i
rjrr/ i
r
fff ^'^rr-rO ff ^j
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f
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r frr^
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1
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n
^ tfTLr crr i

i P^
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t3
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P£S i •— rp ir"r ir P m^
-
2
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L^ f i
f 0-P £ KTv i
f f

I'
ff "flf #^ htftSit if ^ ^s I
15324-64
 »
31
Examples m Syncopation
When the accent is changed so that it falls on an unaccented part of a bar it is called syncopation.Theterm
ragtime is commonly applied to the syncopated parts in dance music.

$
^ Trem.^
r . rf f i fr _o_
2
i
n
hm fTn %

n n "-^ n " nn ^ n A g n ^A n n
h ffrrff i
frrrg 2
^cKriELrCjfiu/ccr ^* 1

•
Etude
Pay strict attention to the stroke marks.
_ rv_ a n rv_^ a n
A n

2
A

^
n
R A n n A n n
n n n n A
B—^ ^ 0L.
ff r ff r
£ ,

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% 1 F j j *l£J> ff-/7f r
g

^
n A n A n A
A
f if r
n

rr
n n

r^ ^
Chord Study
n
4;
in ,
n
in J2.
n
n n A 4 » n it n „ n n
air
* p — #
T T 5=f=5

I
n
tfcf
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an h a
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15324-6*
 * J 1

33
The Invincible Rag
Rather Slow LEO CATLIN
n pi n A n
4 Jt M. -m- 0- #
£E|
Ml —
/
J^3 :

^ # to p
esi

p — ?•
mzzwEzm. ezzb:

f
ft
Fine.

m=£
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F * P % 3 It V :'

3-
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ft ft . ft ft #ft ft £ ft £ * « e t t He *
1
$Ni
9 9-

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£±EEl *sm m
TRIO: ss
3^3
r^
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tn ! y pt;F>r
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t# *r
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.15324-64
 33
Studies In Triplets

Begin first note of each triplet down stroke.

i.S i
^S
n A n n A

m
n

m
n A

m
n n A n

^ S
Z^T
jp~ a m

I ttr^irrrrjir^ui i ^^r^Q^i
&=k M Mf ^ gnrrrrrrrfri^mjnm

pupm n #-#-#

I trjum^ i
rrrrrrtcrc n§ #-i» 0-0-0-

ins j i r ^
2.a0B
m n A n n
000
A n n

'
AJ
3s
n

^
A

*
n.

m
n^Sr-A n A n
o
m
n^^J
r I g I* 9-

6*3
A n
m *

P^ ### n
3=
n A
M :_n A *
I

i i f i
gir^i^f^ ^ (•t#-#

^
15324-64
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1
^jii m i

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ji^j i f i
34
Exercises in Gliding (Coul£)
The plectrum should pass smoothly over the slurred notes.

i-m m^ T*
H*#-

W^ =±:
W W t=== i '
irt
*Lv ^
,/ff

n **

^W
-*.

2.334=^
i
HP 'Br

B
A..
-A
Ha-
r Pl4#
- n2f
3-
p ^IJ-t^l
m rv

ipl
noi* •—

g^ H
Etude

m
4 df M l'gJLr Q-f JJ i

i. 4;

^J
f^ = »—

•Vz2- «- * n A

^1^ %Z * 2.
r r r
!

,
r T f f r mpTT r r i

pi** /Tk /T 1 # i*
:r 4

15324-64
 *

The Positions 35

The compass of the Tenor-Banjo in the first position extends from C to upper D.
$ £:=
"(fa i
'

When
playing in the upper register it is often found more convenient to make the lower notes on the 2nd, 3rd and
4th. strings without changing the position of the left hand.

All down stroke The Second Position

1st String
2ndString 2 3 * 3 2 ^ 2ndString 3rdString 4thString 3rd String
2nd
\
Fingers i 2 1
4
' *
5
'
ill i 4 3 ,
I* 3 2 3 *-if-1 3 4 I.

Frets 35783578 7538753 3 9 753975 7935793

Exercise
*^i i i > i.±*
Fingers
— —-
4

HHi
- * 1 i * ^
1 ,
2 3 » ^ t 4
* 3
a
,
n

^m
fr ; I | ,

HE

Melody
SndPos.
Moderato

Tremolo
5

P
I P
Ula £ fff*l» ^^
i^TEr frnrTffirtftfmrr if^Piru
ft-* i i

Third Position
1st Stg

4thStg. 3rdStg. __,

2nd Stg
'
'

~Ti
3
2 3 i
f #-
^ ffc'fiS
n t 2

*E 3 He
* ¥ rif JJ?

Etude
3rd Pos.
-* i

^^ n A
•rff Pfffr i
3 2

££

i , i
m j . c m
£ ££ . i

r * i

1-5324-64
36 Annie Laurie
Third Pos.
Tremolo all except eighth notes.

SE
n n

W Uf^ me &-*-

m Sfrr nim i
ZZX

£#% rrtir§
Scale in A Major
Fourth Pos.
1st Stg
All down stroke. 2ndStg
3rdStg
,
M -g-.f fL'ttm.

nn
-
4thStg._,
***
¥?F^ i§* Pi
2 f13 4 1 2341 2341 234 ¥
Scale in Bl? Major
Fifth Pos.
1st Stg
2nd Stg.
3 A ±£ *
QE
4th Stg._,

P2341
3rd Stg.

m
2341 2341 234 *
fe§
£?
Scale in C Major
Sixth Pos.
1st Stg. _
2nd Stg.
3rd Stg.

SEgEg m
4th Stg

23412341
—I

2341 234 ¥
m m
Scale in D Major
Seventh Pos.
1st Stg

3rd Stg.
2nd Stg _^ -0-P-^ P

«J
^e
%
4th Stg,

23412341-2341 234
te ^
On the Tenor-Banjo the positions are used chiefly on the 1st and 2nd Strings, as shown in the following
exercise.
1st Pos

THJ 4 4 1 4 1 2 3~~4 1 4 3 2 I 2 ? 2 2 I 3"

3rd Pos.

HUM^ 1st Pos.

f P n |
.ffffffff ^ff
4 1 3 4 3 4 1 ^3 12321231 |

4 1 3 1

1st Pos.
3rdPos..

1 rfff ff r rr^s i
tf CtHi i£i
2121 TTTTTno
15324-64
 .

37.
Scale Exercises
for daily practice

Encircled figures indicate Strings 2 4 * 3

2
1 4 3 2 1 4 3 2 1

^ pet
r
M OJJ- f^ | pm

ijjJLf^ 1 » A 1 ® 1
2102 ®4 1 2 3

t .
.

frff rJT i
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4=2
i

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i 3 i 1
1
®4 3
i»-:!»-i*
4 a

m 4 2
fci=*
3 4 i
1
4
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1 -i.
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2

" A „ A n^
^
n - n n A
n_n n A
a n
An^J A n A m A n
BK |M— K _

£
The method
f fi» fi»f ff .
1 3

of stroking in No. 4 exercisers often required for obtaining the proper accent.
UMH£
3 !

^^^ ®

15324-64
 «

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-
chestra. The small notes in the following exercise indicates the notes to be played on the Tenor- Banjo. It
is well for the Student to think of the letters in transposing.

Old Folks At Home

Play upper notes.
£** f#f
* M *
35:

-&-
$ +~m-
1=3

W^f f * -L* f #f +
#i#§ * m «-*
F i m
Melody as written for Voice.

£^ ft
22:

p r i
r r f
a • &-*- &
r ir' vH4±3 ej
f ir * i

As played on Tenor-Banjo.
42 •
£ M & a «
#
k5 a 1©-

i i
-fS>-

-(9- #-
:^ A £•
f i
f mir rf fe£ m
Skaters Waltz, as written for Violin.

*
a c &± 3 g * i a=* iza
m ^• ij'j.y. •
'

i 'i
zf
m
As played on Tenor-Banjo.

*3
i *=£ P 1 |f
r lf | [»[[»• 1 J- iJjJui
tS8lt-6*
 39

Exercise in Arpeggios

WOHLFAHRT
All down Strokes
2 * 2
Moderato , !. Eft-i i 2 i-£
, rrj? rf Jf £f£r r r ; - 1
rrflfffi
74
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3 4
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m
i 3 . 3 i
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s=*
tpts

^p C^ i
jT^rgfijjp
2 3

£ % i !££££
f-^-'f-Ff-f-h £i *lILe
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IX/j I I I

Jff £94 - <y#

 — — r —
40

Exercise in Various Forms of Stroking

These should be practiced until each one is memorized

n nAnn A
^
*
nAnn a n nAnn A n
0- '40 it "&L #" 2 -A- -#_ M. M. A. M-. £
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g= r~~ m.

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EF^ ^Pi vri
9—0-

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31
n

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n A n n^ A n A n^ A n^ n
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pl=^£ 9 9 9

nAnn"#• n A
nA nn^ n n A n n^ n A n n
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it 40 it 0- 40

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 All The Rage 41

Allegro One Step

4 LEO CATLIN
* 3
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60

Jazzing

The term "jazz" as applied to banjo playing is, to use the chords with or without the melody ac-

cording to the ability of the performer, ragging them when possible.

Some players have the faculty of anticipating chord sequences and obtain marked effects in

this respect. However, when one has to depend, on reading, the chords (without the melody) can be

read from the second violin part, transposing the notes an octave higher than written as in the fol-

lowing exercises.

Waltz

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The pupil should memorize the chords in the various keys, thereby enabling him to add one and

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Examples

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64

INDEX

3 Elements of Music 23 Scale in B Minor .

Staff, Notes and Rests : . • . Fascination (Fox Trot)

4 Dotted Notes and Rests 24 F Major and Exercise
Scale, in
The Clef Melody with Chords
5 Time, Measure and Bar .
^ . Scale in D Minor and Chords
Accidentals 25 Scale in A Major, with Chords and Etude ....
The Scale Scale in Ffr Minor and Chords
6 Different Kinds of Scales: Major and Minor . . Scale in B\> Major and Chords
7 The Chromatic Scale ......... Waltz Czibulka
Miscellaneous Characters '. 26 The Chromatic Scale and Etude
8 Ornaments. . . . . . . . . ; Dance Caprice. • •

Appoggiaturas and the Turn 27 Study in Chords

9 The Trill Syncopation Study .

10 Tremolo, Arpeggios and Other Signs 28 Scales in G Minor, El> Major, C Minor, Ab Major,
11 The Tenor Banjo D\> Major, E Major, and Chords .

The Strings and Bridge. . . ; 29 The Cadet's Dream. G. L. Lansing

The Open Strings Ragtime Exercise .

Tuning 30 Escort (March or One Step) . .G. L. Lansing

....
,

12 Diagram of the Tenor Banjo Fingerhoard 31 Examples in Syncopation and Etude

Holding the Instrument . Chord Study . . . . . . . . . .

Method of Using the Plectrum (or Pick) . . . 32 The Invincible Rag . . . - . . . .Leo Catlin
13 Stroke Exercises '. 33 Studies in Triplets .......'
Notes on the 4th, 3rd, 2nd and 1st Strings .... 34 Exercises in Gliding and Etude
Etude 35 The Positions
14 Scale in C Major The Second Position, with Exercise and Melody.
Chords in C Major .......... Third Position and Etude.
Scale Exertises . . . 36 Annie Laurie Old Scotch Air
15 Melody Exercises Leading to Tremolo Scales in A, Bb, C and D Major
16 The Tremolo or Sustained Tone 37 Scale Exercises for Daily Practice
Tremolo Exercises, Example and Etude . . 38 Transposing
17 Scale in A Minor and Etude ..... Old Folks at Home (Swanee River) Stephen C.Foster
Scale inG Major and Chords. . . . . ... 39 Exercises in Arpeggios .Wohlfahrt
18 Melody Exercises in G Major 40 Stroking Exereises i -'••
Waltz 41 All the Rage (One Step) . . ... Leo Catlin
19 March or Two-Step . Arkansas Traveler
One- Step 42 The Maid on the Green (Contra Dance) . . .

20 Scale in E Minor and Etude . 43 Minnetta (Caprice) . . . . G.L.Lansing

La Vague (Waltz) 0. Metra 44 Valse de Concert . . . Leo Catlin
21 Signs used in Abbreviating 45 Country Dance Si. Stebbins
Pox Trot . . . 46 Honey Dew (March and One Step) . G. L.Lansing
Easy Syncopation .-
, 47 The Fascinator (Waltz) Leo Catlin
22 Scale in D Major, with Exercise and Etude . . 48 Enterprise March (2 Banjos) . G. L. Lansing
Rosalie Waltz 50 Banjoists' Delight Leo Catlin
51 Old Mose and His Banjo . . . . . . G. L.Lansing
52 March Militaire . . . . . . . G; L.Lansing
53 Air from"H Trovatore" (with Piano Ace.) Verdi
56 Sextet from" Lucia di Lammermoor" (with Piano Ace). Donizetti '

60 Addenda (Jazzing) _ , . . . . . ...

15324-64
 —

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 recrea-
tions, 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 Master Instructor for the Ukulele,
George L. Lansing Price, $1.00 Banjoluke and Tiple
In addition to careful instruction the author has pre- George L. Lansing Price, $0.50
sented the latest system of stroking, thus giving the
proper accentuation, which is essential in the playing of The Ukulele, originally played by the Hawaiians as
present day dance music. The signs introduced in the an accompaniment for singing, has been developed by
latest authentic methods are also used. The book also leading American teachers and players of die Guitar* and
contains a number of pieces for two tenor-banjos, and
Mandolin, until today it is one of the most pleasing
tenor-banjo with piano accompaniment.
instruments. When greater volume of tone is desired
the Banjoluke (constructed like a small banjo) is used. It
Master Instructor for the Saxophone is played the same as the Ukulele.
J. W. Lawson Price, $1.00 Another instrument of the same family is the Tiple,
Although the saxophone is an instrument easily mas- noted for its charmingplaintive quality of tone.
tered, still you require a comprehensive method as an
instructor. This book contains a complete systematic
course, designed to develop every detail of technique.
A large number of melodies, popular and classic, offer Method for*the Mandolin— Vol. I
the finest recreations possible.
F. de Cristoparo Price, $1.25
This highly successful method, with its international
Excelsior Method for the Banjo reputation, is so well known that no explanation
C Notation needed. This edition is published with Italian
is

and
George L. Lansing Price, $0.75 English text, and is an artistic example of the publisher's
This work has become very popular. The author finest workmanship.
.
presents the instruction so clearly that students become
proficient in a very brief space of time. In fact, the book
is the result of many years practical experience as a per-
former and teacher. There are many recreations which Method for the Mandolin— Vol. II
interest, amuse, and act as a stimulant.
F. de Cristofaro Price, $1.25
This book is a continuation of the ideas in Vol. I, but
Method for the Guitar
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 pro- Metodo de Mandolina — Vols. I-II
gressive and melodious exercises —concert solos and F. de Crbtofaro Price, each, $1.25
songs. This is a remarkable course of systematic study,
and presents the entire fund of knowledge required in These books present the same material that is in the
the making of an efficient performer. above editions, but with Spanish Text Only.

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FEB 8 1927