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HIOP£RTy OF
PARAMOUNT Metho d
Copyright 1922 by
WB
J.
Smith Music Co.
New York
MADE
IN
U. S.
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Hv\
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m^ Rudiments of Music
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Mjua i'i;i',I,IC trBRART QENEnAL UBRA!>V OF THE PERFOKMING AETS :
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Ill
Musical notation
composed of various signs and characters.
is
NJiW
VOHK
The
10023, N. T.
first to
be noticed
On the the staff, conr Isting of five parallel lines and the spaces between them. and in the spaces, characters called notes are written to represent the sounds.
The 6th Line
,
Staff and Notes
is
lines
The Time Value The value or
of the Notes and Rests
duration of the notes and rests are represented by tho following characters
The
^
Different Notes and Rests Quarter
Half
above a line
below a line
16th
Eighth
Whole 331
f
32^.^
I f
Dotted Notes and Rests The time value
A second
of any note or rest
is
increased one half
when
followed by a dot.
Rests indicate silence.
dot adds half the value of the first dot.
Dotted Notes and Rests and their equivalents 'j'
=p
^
The Tie ^ only the first
—
is
p
--,
i
rT
TZ-
P
1
1
r:::r p p
i
v'^
placed over or under two or more notes on the same degree, signifies that
sounded and the others heard from
its
as in the
above
that they are to be held
beyond
continued vibration.-
examples.
The Pause or Hold Made thus
^, when
placed over notes or rests, denote
their regular time.
Examples of the Pause »
fm
^
r:\
(O
^
/C\
^
f
Bars— Measure Bars are perpendicular lines drawn across the staff for the purpose of dividing the notes into measures of equal duration of time. Double Bars denote the end of a part or strain. Dots placed before a double bar indicate that the part
is to
be repeated.
Example
43
Measure
-art
u
u
Measure
ca
Measure
pa
^easure
Q
lEC
LLUc^nr Paramount Method
W.
J. S.
Music Co.
\\
Fable of the Relative
Time Value
of Notes
l^STRUC Two
Hall or
.
r
Four Quarters
r
or
r
Eight Eighths
r
or
r
r
16 Sixteenths or
32 Thirty-seconds or
64
Sixty- fourths
Chromatic Signs These are the Sharp
(^),
Flat(l?),
Natural(l^),
Double Sharp
A Sharp raises the pitch of a note a half step. A Flat loiters A Natural cancels the effect of a previous sharp or flat.
A
half step
is
from one
(k),
and Double Flat
(bb).
the pitch of a note a half step.
fret to the next.
Sharps or Flats placed at the beginning of the staff, immediately after the clef is called the signature and affects the pitch of all notes of the same name throughout a niece of music, unless temporarily changed by a different sign.
Accidentals When
any of the chromatic signs are placed before notes in the course of a piece of music, they are called accidentals, and affect all notes of the same name, in the same measure, unless contradicted by a different accidental, in which case, the effect of the first accidental ceases.
The
effect of accidentals
do not
extend beyond the measure in which they occur.
Examples of Accidentals
3
S
^
K=23E
*
3Mt tP
Double sharps and flats are used as accidentals only. A double sharp (x), raises the pitch of a note a whole step. A double flat (b!?) lowers the pitch of a note a whole step. When a double sharp is placed before a note ths^vt is already sharp, it raises its pitch :other half step.
A
double flat placed before a note that
is
already
flat,
lowers
its
pitch
another half step.
Paramount Method
W.
J. S.
Music Co.
r
Examples of Double Sharps and
J^J
i
same as
A
^#=^
note that
II
-^
7
T
ing a natural and a sharp,
or a flat,
is
sharp or
flat
To
as required, before the note.
(^
r'h-
same as
restored to a single
or flat, a double natural
cel a double sharp
^^^
fe
s same as G\
double sharp or flat
is
Rests or-
A
same as
D
am
Flat
A
by writ-
entirely can-
placed before the note.
is
Examples
*
-yy
p
\\^f
II
"[g
221 [?l?cJ
t]i]
canceled
restored
restored
m
g
canceled
Time Time
is
the division of the different notes,
equal duration.
A
sum
total in value
Tie
time
is
or notes and rests,
into
measure can contain any denomination of notes and must be the same
marked
at the
in all,
measures of
rests,
but the
as long as the time remains unchanged.
beginning of a piece of music, by figures or signs to indicate
the quantity in each measure;
as in the following examples.
Examples t^Orf
^f
4*
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W.
J. S.
Music Co.
/
INSTRUCTION FOR THE TENOR BANJO The Strings The Tenor Banjo
strung with four strings;
string; but by pressing the strings with the fin-
the first and second of which are of plain wire,
gers of the left hand, close to the metal bars,
and the third and fourth of wire covered with
called the frets, the pitch
is
The following
thin spun wire. Their names, beginning with
the finest, are A, D,
G and
C. These
are termed
or Strings
A
G
D
or
2'L<^
C or
or SC^
4
-^
i
-O-
Methods All notes of the
illustration shows the posi-
nection with the staff.
The Open Notes l=Lt
raised.
tion of the open notes or strings, in their con-
the open notes, and in pitch, the lowest of each
or
may be
of
Tuning
Tenor Banjo are written one octave or eight notes higher than their true
pitch, and consequently sound one octave lower
when played.
In tuning
from a Piano,sound the
notes one octave lower than in the above illustration for the open strings, and tune each string in unison
C string
with
its
corresponding note; or tune the C or
which tune the D string unison.
which tune the G string
at the 7th fret,to
Any one
in unison; next
of the strings of the
press the
4'i?
in unison;
D
string to a C pitch pipe;then press the
next press the
at the 1^^ fret, to
G
at the
7^2"
to
fret,
which tune the A string
ii
Tenor Banjo may be tuned to the corresponding note of an-
other instrument, and the other strings tuned according to the above method. Tuning'by the open
strings
may be attempted
as soon as their sounds can be distinguished.
that the tuning and pitch of the sic
Tenor Banjo
written for either instrument,
is
is
manner
is
played
here be observed
interchangeable, so far as the compass will permit.
of manipulation, the style of writing
Holding The Banjo
may
identical with that of the Tenor Mandola, and
same as the Viola
the tuning or pitch of the strings of the Tenor Banjo, are the chestra; but the
It
in a sitting position
tlie
and the clef used,
is
mu-
Also,
in the Violin
Or-
vastly different.
Banjo
with the lower part of the rim placed on the right
thigh and the upper part of the lower edge resting lightly against the body of the player; and held in place
by the right forearm resting on the upper edge, a short distance from the tailpiece. The
wrist
raised and the hand held over the strings about two inches in front of the bridge.
is
ParamouQt Tenor Banjo Hethod
W.J.
S.
Music Co.
Position of the Left Hand On the position
of the left
hand depends the ease and agility
place the banjo in the position described for holding
of the fingering.
To
'•^ttain this,
Rest the ball of the thumb against the
it.
middle of the neck; curve thewri^t outward, with the fingers extended above the finger- board,
ready to press the strings firmly, close to the frets. The the left hand fingering,
ment
of the
is
of
of the fingers on the finger-board.
Tlie of the
thumb as the movable pivot
always kept on the neck of the instrument; regardless of the move-
hand or the position
The strings
left
Pick or Plectrum
Tenor Banjo are set
by striking them with a pick or plec-
in vibration
trum; the same as used in playing the Mandolin.
It is
held between the thumb and first fin-
ger of the right hand; the flat surface placed lengthwise against the finger, with the thumb gently pressing
thumb must be
it
and extending horizontally, a
little
beyond the finger and the pick.
flexible, and so placed on the pick, that
it
may be
able to exert full
The
control
over the pressure; for on the pressure* of the thumb, will depend the force and tonal quality of the Instrument. In striking the strings, the pick touches them with the point and never with the side or edge. Whether or not the little finger should rest on the head of the instrument,
has been a mooted question; but
moves with the motion ^hen playing on the
it is
now generally agreed
of the hand, and does not
first
that
if it
remain stationary,
touches
it is
it
lightly,
and
allowable; especially
and second strings. The other fingers of the right hand are slightly
curved and loosely held under the palm.
Plectrum Strokes There are only two plectrum strokes -down andup; but these two strokes are capable of many variations in their order of following each other. In playing single down strokes,thehandis held at an angle so that the plectrum after striking gle up strokes, the hand is held at the
trum does not touch to this is
slide
same angle
may
as the preceding, but after striking, the plec-
or rest against the next string, as
when playing inverted arpeggios;
from one string
to another without
then, the
occur.
with the down stroke. The chief exception
hand
being raised.
trum touches only the strings on which they
fall against the next string. With sin-
is
turned so that the plectrum
When tremoloing
The explanation
can
single notes the plec-
of the tremolo will be found
on another page. Paramount Tenor Banjo Method
\
W. J S Music Co.
Signs Left Hand The signs used
to indicate the
fingering are the
- for an open 1
- for the
common Arabic
figures.
string.
first
finger
2 - for the second
finger.
3 - for the third finger.
4 -
for the fourth or little finger.
Right Hand The signs given
n or V
Method are the ones commonly used
in this
down stroke
A, indicates the
for all plectral instruments.
of the plectrum.
or U, indicates the up stroke of the plectrum.
n—n
or
n
n, indicates that the plectrum is to glide from one string to another without being
raised.
Miscellaneous ^) The slur or legato mark written over
f--^
C
•
)
A
,
single dot over or under the notes, indicate that they are to be played with down strokes,
in a short or
(D (D
Bar (|)
(3) (?),
or
or under the notes, indicates the tremolo.
detached manner.
A
*'igure in
Barre, means
A wavy
-
a circle indicates the number of the string on which a note
at
a finger presses two or more strings
line before a chort', indicates that
quickly one after another,- either
[y^) An oblique
line
down
it is
at the
same
is to
be made.
time.
to be arpeggioed; that is,the notes are played
or ap, according to requirements.
between two notes indicates that a finger
is to shift or
glide smoothly from
the first to the second.
L.H. pizz."Left hand pi*w;icato;' Sounding the note. )y the left-hand fingers pulling on the strings,
without the aid of the plectrum.
Paramount Tenor Ban'
'
Method
/
W. J.S. Music Co.
8
The following exercises and as lessons quarter note or
in its
are for tlie purpose of learning the open notes or strings, or common time; and counted four beats to a measure, one for each ^ stroke (n). Up stroke (V), Down equivalent.
Whole Notes All
Count 12
3
#
n
n
^=^
n
n
4
n
Down Strokes
o-o-
n
-»-
n
n
-o-
-e-t>-
^-o-
n
-*-
n
n
n
n
-^
n
n
-o-
-€»-
-t»-
G
C
n
-O-
-o^
A
D
Half Notes All
Count
12
3
n
n
n
i -&
^
?
n.
n
n
l5»
&
n
n
4
^^ ^P^^
Down Strokes
e-
is»
«
—&
^m
-G
12
^
i
—
fe^
&-
3
4
G-
15
i J
I
^ "
i.
Quarter Notes Down and Up Strokes Count
12
ny
n V nVnv nvnV.».^nVnv
3
4
,
^ 12
r-,. f|i
i
ff
ijff^j|fajte^.j
i
|
3 4
Eightli Notes Down and Up Strokes
^ ^m
1&2&3&4& nVnynyny nVnV ^ffgg ? ^jiii'**' Count
^^ ^ ^^^ #-(»
n
"^
n
V
^l^-m-
nynvnyny
i
^rri-i^^irru[rr
• # #
1
^^^'
^
&
2
&
3
& 4
iiiiy^
I*
c Paramount Tenor Banjo Method
<-,
/
W.J.
S.
Music Co.
9
The four 'ollowing exercises show the natural notes on each string, as far as the fifth The figui^s placed before the notes, indicate the fingering; those above the notes, the frets. First practice each exercise with all down strokes, and afterwards with down and up strokes: as marked in the first measure. fret.
Notes on the C op 4th String
n n n n
Strokes I
FRETS
1
^3
i Q
5
^MJjjIiJjJI^ ^ D E F
C
FRETS
4
2
4
^'o S
^
1^
^
5
t^f-ry
^^-#
G A B C
Notes on the FRETS
3
D
n n n n n V n V 2
imn m
i»o^" >c^— 1^J > 1»
Notes on the G or 3rd String
n n n n n V n V 2
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m
I
I
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i^oj^ro*
i
II
Y^*T'*lo
or 2nd String
5
:i
#i^TT|TTT°r
r
ir
^^ ^!:r \
ittTtiTttt tT rT i
l
-g^
D E F G
_ P P FRETS
V
n
2
3
n
P,
Notes on the
A
'
A B
1st
String
V 5
4 ,P ,T'fTT|T-^^f^f f|f :&^
W
or
f ff
|TtTT
C D
Key
of
TT T-y^^
|
C Major
The scale of C Major has neither sharps nor flats in its construction, and therefore said to have no signature. In all scales and scale passages, each finger of the left hand remains on the string as placed, until the next string is reached, or a change of position require their removal. is
Scale of C Major All
i^
Down Strokes
4th String
^^
FRETS
2
4
5
3rd String
2nd String 33E-^i^
3M ^03^^
?
1st String
2nd String
mf-wfT^ I
eff:
.Srd
String
4th String
^P
s ^Fif=
CDEF GABCBEFGABCRA GFEDCBAG FEDG
Parumoaut Tenor Banjo Mtlhod
W.
J.
S.
Music Co.
10
Down and
up Strokes Throughout
nvnvnvnv
Abbreviations To abbreviate
in music, is to represent the notes by signs, thereby saving space and the labor of writing. A single stroke placed through the stems of quarter and half notes, indicate thatthey aretobeplayed as eighth notes; viz-, two for each quarter and four foreach half note: as in the following example.
^
p
u
n
n
V
n
V
^^JJ-^JJJJj
#gT
|
Tf 'fT |
i
(simile, continue in like manner)
V
9r> 4
^ES^
s
\
T M WJ.(ua^
zd:
^^P
Two strokes placed through quarter and half notes, indicate that they are tobe played as sixteenth notes.- as in the following example.
J?nvnVnVnv nVnvn LA. -pz
it=if
simile
V^
,
,
&
1/2 "2:^
fhG
Vn
^ff rf rf Tf|^-.u, o i
i
„i
i
, ^ '
fi\jji
—
n ^
=
'
^
g
To abbreviate whole notes, the strokes or dashes are placed above, or below them: as in the following examples.
Eighth Notes Eight strokes ry
Down and
^
^
0^ i0 '
'3
A.^
I
'^
up, to each measure. I
< TTT
tJ-O-
^rrrig^
TTT 4i^
40
lO
n
2^
i
^
Sixteenth Notes Sixteen strokes
-Down
and
up, to each
measure. -^ 33: -O- _o_
TTT
Paramount Tenor Banjo Method
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W.
J. S.
Music Co.
]J
Tremolo By Tremolo is meant a more or less rapid repetition of the same note or chord, and executed on the Tenor Banjo by striking the strings alternately, down and up, with the extreme end of the pick; using a loose wrist motion. It may be indicated by abbreviations similar to those shown in the preceding lessons, or by the slur or legato markc--- ~^), placed over or under a series of notes. The number of notes or strokes to be played are not counted, but accuracy in the timing of the notes while tremoloing, must be carefully observed, and if properly done, the strokes will take care of them selves; for example: If a whole note is tremo -loed in 32nd or 64th notes, it is perfectly plain that 32 or 64 strokes will be required, accor-dingly. This being true, it is a simple matter to detetmine the number of strokes required for anypart of that note; '^such as the half, quarter, eighth or sixteenth- as in the following examples. is
—
Examples
of Various Kinds of Notes, Abbreviated
32Strokes l6Strokes
S§
I
i
II
lii
32nd and
Notes
(54tli
SStrokes 4Strokes ^Strokes 64Strokes 32Strokes 16Strokes SStrokes 4Strokes
if
H H
-t»-
r
must not be inferred from the above, that a rigid adherence to a certain number of strokes is always necessary or even desirable; for in many instances they must be modi -fied to suit particular passages; and in this, experience will guide the perfcnrmer. It
In the following melodies, the tremolo is indicated by the slur mark. Begin by playing each measure in 8th notes; then in 16th notes; and as proficiency is attained, in 32nd and 64th notes. Tied notes are trernoloed for the time value of all thus connected.
(Andante)
{Slowly
Count 1_2
I
3
i
1
-Piiramounl Tenor Banjo Method
12
W.
J. S.
3
4
Music Co.
J2
The small notes in several measures of number four, are played with single stroke, simultaneously with the tremoloed notes of the melody.
down
Andante
4
#S
|.TTT;J|J-::J;^{rrTTTrT^f^TT.-^ '^?Y^' i?^^ ;rf^ ^TYy^ l
p:jE
¥
^Jv im 0#
rt
a^^i
4
Two its
four time (|\ equivalent.
^p tn
*^ ? *
^|o r^
^
t^:J! '^TiT~r--^Mi i
vf^
*»TT^I #
«-|S>I
fr^ is
-**'j
'
^
8
^g i r
-»^-^
i
counted two beats to a measure one for each quarter note or
Andante
fe^ ^a
^
322
^qc
I
nT° gt:^
#
i^ TO
•
TT?"
g
-3-&
Nf
r
y
Tjg-
IF=F&
zS:
i
32Z
4#
i
4r^
r
i°r
TT7
i
i *
33E
Andante^
a^
2i|^*#: =3=
6
1
.
2-*^
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^ W.J.
S.
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Music Co.
13
Etudes
-
Studies
be practiced slowly at first, increasing the tempo, or speed as proficithe beginning, or at -ency is attained. Carefully observe the various strokes placed ;at different points of a composition. Etudes are
All
to
Etude
nvnVnVnV nnnnn
n n n
J]JJ-OJ^
-*
m
jj^.J.jjJKJJJ'^J^^
-AM.
^=F
^'ff
4»., a
°^J
P^
O
f^
0-^
* ..^
-*#
i
e„^.* »*&.*-'*:*£>
^
•iT- r
Tr'^rriTnfr^"^r^/" y Ky^ff
yj
p
^
rrrr TTTfT-rrr^j^f^ i
#
I
#-* ..^AJ|0
i>#^
p;
5?
4=4 *;^
J
J^UJj.J^i^jjJUjjjJ.J-^Ji^r'f^'^j^^n Etude
nVnVnV n n nn n ~ nnnnnnnn n n V
ri
^m ^^
^#
a:|E
?
£*
''a
-If
^^
rp=ft
^S
^
4 *0 f 4
^
P
f^
#-if.-o XJK
)»
'P
^
|
^
,
^
,
p
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Paramount Tenor Banjo Method
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^f1»Y?
^ff-'^'
*^-^^f-^tof-^f-o
r^frrrrrrm
|
|
«*-l
JT]
P
fftrYTYT TrrrTTTT Trrr pT?^
frrr'fT'f| -AA
_ |
:
|
t°:IU
^9
id
o»
1
x11:7 '[XU °lix; I
ra
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W. J.S. Music Co.
14
Triplets
A
Triplet
is
a group of three notes played and counted in the time of two notes of
same value; or one of the next greater value. They are distinguished from other groups by having the figure(3) placed above or below them. Various strokes are used their execution. The following examples show some of these strokes. the
in
Etude Strokes
(n V n Vn V n V n nV n { ( n n n n n n
i
5
«#
^^m o»
?•?
a * i#
^TrrrrrTrr'^rrPfT
m
'TrrrcrirCTj
^J
^t^ o#^ Jo> °^J
^Ad*di^
^
I
I
In the following example strike alternately down and up, excepting when ascending to an•other string. With the descending portion, strike strictly down and up.
n V n V n V r-r^ rri
S
nvn
n
V
Etude
v
r^ nnvnvnnnvnvn
h-i
•
Vn
n
^
^
y
^"'^
slide
slide
p,
y
n
V
n
V.
^
pick
".r n^\^\^l nnynvnn.nVnVn » * # rrrfT'rrrrjiTTr^^^rfff^ ¥ slide slide slide " Vnvnvn vnVnV x
"^m-
fffffTffff Tr1 r r
r
I
.
'ff fffff
may
ing example.^
also be represented
tremolo
P^ [—^ il'
,
EUL r°rr ?? r^f^^^ ?
^^JJjALjJJI.JJiJJJJJJJJ] Triplets
Q.-
|0|»
by a single
r— r.__^
liTf rji
rrri
i
I
p
i
i
fT
^^ s
*^^
n
V
l
JjJjj;JjJ..J]] note, or notes
—
^^
tremolo tremoLO i
and
in the follow-
rests-, as
-^
pyi |—
—rp ^^±' li
j?J^,^
— ^
——
^
.'
PTi
1
f
1
r
yy kyy
—
^f
o-Jf
n n
^
3
^o J
tremolo rp rji 3*' ^P
m
Pariimount Tenor Banjo Msthod
tremolo
a»-4p
-^T
T
tremolo^__,.,---^
i=
,
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W. J. S. Music
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Minor Scales Every Major key has a relative Minor, bearing the same signature, and situated a Minor third (three frets on a Banjo), from each other. There are two forms of the Minor Mode; termed Melodic and Harmonic. The Melodic is so called, because it is best adapted to, and mdst used for Melodies or Tunes; while the Harmonic is more suitable for harmony or chord construction. The Melodic form has the sixth and seventh degrees raised- accidentally, each a half step in ascending,-whileindescending,theseaccidentalsarecanceledandconformtothesigpature The Harmonic form has the seventh degree raised- accidentally, both in ascending and descending. In the following table, the Major keys are represented by white notes, and the Minor by black notes. The Minor scales in this work are in the Melodic form, excepting A Minor, which includes the Harmonic; \ and. is given as a Model of that form of the Minor.
Table of Major and Minor Keys \MAJ0R-C
MINOR-A
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Accent
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Syncopation
their position in the accent is the force given to certain notes, and marks measure. The natural accent, is the periodical, regular recurrence of the accent, and falls of itself without special effort. The expressive accent is used to give more or less stress^ on other then the regular accented portions of a measure- The natural accent is never marked, except for the purpose of illustration; but the expressive, invariably by th sign> or A. In the following examples, it will be observed, that in | time, only the first note is la music,
accented. In | time, the first and second; the first on one, and a weak accent on two, marked (r). In | time, the first and third notes are the accented ones.
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W.
J.
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Grace Notes A grace or small note written before a principal note has no time value of its own, but takes it from the principal, thus depriving that note of a portion of its duration.lt is executed on the Banjo in three waj'S; 1st: by striking both the grace and principal notes. 2nd: by slurring,- that is, in ascending, only the grace note is struck and the principal note vibrated by a finger of the left hand falling on it with force; and in descending, both notes are fingered at once and after striking the grace note, the principal note is sounded by draw-ing the finger quickly off the string. 3rd: When the time length of the principal note permits, it is to be tremoloed immediately after striking the grace note. The slur mark is used only, to show the connection of the grace, to its principal note.
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Scale of Bl Major Bl^
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Double Grace Notes and the
Double grace notes are executed on the Banjo by striking the grace notes
principal note one after another,- or by striking the first grace note onlj', and vibrating the second and the principal note, by the action of the left hand fingers alont-. In as-
cending, the fingers fall heavily on the strings in succession; and in descending, the notes are first prepared by placing the left hand fingers on the strings, and after strik
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sound the others. Observe
ing the first note, the fingers are drawn aside in succession, to the marking above and below the notes. The slur shows the connection notes to their principal note.
of the grace
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Q Minor
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Major
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March Of The Guards Moderato
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Scale of F§ Minor Relative of
A Major
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Clover Time
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Scale of
Major
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Scale of C Minor Relative of El»
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W.
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54
Scales
Position
By position as here meant, is the place of the left hand fingers on the finger-board; "d it is customary to say, that the number of a position is determined by the fret at which the first finger of that hand is placed. On the guitar and the regular five string banjo, this is literally true; for each fret is a position; but on the Tenor Banjo the arrangement is some -what different (and certainly not as consistent) the entire finger-board being divided into only seven positions; as follows: The 1st position is from the open strings to the sixth fret. The 2nd'^ position begins with the first finger at the third fret. The 3rd position begins with the first finger at the fifth fret. The 4th position begins with the first finger at the seventh fret The 5th position begins with the first finger at the eighth fret, The 6th position begins with the first finger at the tenth fret. The 7th position begins with the first finger at the twelfth fret. .
Scales scales in a given position on such instruments as the Violin^ Mandolin comparatively an easy procedure; but on the Tenor Banjo with greater dis-tances between the notes, the task is a more difficult one; so that often it will be found more expedient to resort to the shift, than to attempt to cover a given passage, within a particular position. The following scales illustrate the positions from the second to the seventh, inclusive.
The fingering of
and Guitar,
is
Second Position 2nd String
3rdStriag
4thString Signature
Third Position 1st
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S -Music Co.
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The
Shift
The following
table exhibits the shift through all the positions. The so called half with the first finger at the first fret, as shown in the first measure on position begins each string. Its usefulness is found, principally, in keys with many sharps or flats. A figure written below tlie first note in each measure, indicates the fret at which the first finger is placed; the other fingers of course, following, each in its order.
4th OP C String
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W.
J. S.
Music Co.
56
In Shifting
Examples The another.
five following exercises exemplifies the
A change
of string
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W.
J. S. Music
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On A
Scales
57
Single String
each scale is played on a single string, as marked above the notes. be no hesitancy, either ascending or descending. Repeat many times. should there shifting, In the following,
In
On
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5
3
BI'EI'AI' DI'GI'
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9 10 12 14 16
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1
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11
9 11 13 14
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4
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the
A FLAT MAJOR
17
Fret
3
1
6 8 10 12 13
5
the 3rd or
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9
11
13
On the ord or G
B MAJOR
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Fret 3
14 String..
On
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3
8
6
5
the 2nd
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C
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Fret 3
5 7
8
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8
9
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4 6 8
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15 16
3
1
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6
1st
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B MAJOR F«cfGllD«A?
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F SHARP MAJOR
10 12 14 15
the 1st or
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4 6 7 9 11 13 14 the 2nd or D, String..,
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String
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F 7 8
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17
W.
J. S.
Music Co.
58
Sweet Angel Sleep Well, Thou (Franz Att)
Tenor Banjo Solo Piano
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Arr.by Wm.Foden
Published
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59
One, Two, Three, Four Waltz
Tenor Banjo Solo
by Wm. Foden
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Yonder Tenor Banjo Solo Piano
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W.^^.S..MusiC-Co.
Kamiki Hawaiian Guitar Method new work
THIS by
stood
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It is
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explanations have been eliminated, and while of everything Importance is just where it is most needed, there b no long, directions to confuse the student Furthermore, there b a bewildering of well-known solos with Ukulele accompaniments, all of repertoire which have been carefully arranged by the author, Mr. WUliam J. Smith. All superfluous
GET ONE TO-DA Y!
It is
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PRICE, 7S
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Kamiki Ukulele Method do without this excellent book of instruction if you are interested in that charming little instrument the Hawaiian
can't
You at
all
—
Ukulele.
The mere necessary
is
fact that a sixth enlarged and revised edition has become proof of excellence and superiority.
U highly recommended by all the Hawaiian playeri. It* no *uperfIuou« word* or confuting explanations are meaty You diagram* to hinder rather than help the atudent. CANNOT go wrong. You will learn eaiily and right. It
—
—
Chords and cadences in a number of keys are given both by note and by diagram while a number of accompaniments to well-known songs and several corking solos complete this standard method.
—
PRICE, 7S
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Kamiki Guitar Readjustor TTTl Patented by
WIUJAM
J
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simple and inexpensive device instantly makes for the Hawaiian or Steel Method of performance.
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THIS
It raises the strings to just the proper height to permit the steel to pass readily over them without touching the frets, and Its hardened metal construction imparts a ringing resonance to the strings which the usual ivory nut cannot give.
Thousands of these Readjustors have been already sold are anxious to
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WM.
SMITH
J,
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PUBLICATIONS
Songs for the Guitar This
collection oi Fifty-eigkt songs inclucies
iavontea, and a
number oi son^s botk new and
many old
old,
wkick
have never before been publisnea 'with Guitar accompaniment. Several Spanish, French and Italian songs
m
and Mrs. Bickf ord, L. Lansing, J.
Wm.
Foden,
W.
J.
G. Liddicoat, Francis
Smith and ^Valter
Bacon, Mr. Kitchener, Geo.
by Fred.
original text, splendidly arranged
J.
Pofter,
^^m.
J.
F. Vreeland.
The accompaniments
range in difficulty from the very simplest, suitable for first-grade pupils, to those requiring considerable skill. Most of these songs are especially adapted for concert use and are very effective
^ duets
for Violin, Cello,
Mandolin or Mando-Cello and Guitar.
Order one to-day
PRICE ONE DOLLAR Sons^s for the Banjo IN
This
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collection of Fifty-six songs includes
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m
M.
Bickford, AJVm. Foden, ^V. J. K-itckener, Geo. L. Lansing, J. G. Liddicoat, Francis Potter and ^^alter
Zarh
Notation VvfellKnown
F. Vreeland.
merican]
PJayeiS
Tkis
tke only song collection for Banjo publisked Tke accompaniments are in tkis country in C notation. is
and none of tkem too difficult for tke average performer. Needless to say, tke tune or air in tkese pieces, tkougk wri^en for voice, may be carried by Violin, Mandolin, on any leading instrument. effective
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J.
SMITH
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'
PUBLICATIONS -. — 63
8
/
^
f
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