tenor banjo method - mel bay

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Page 1: Tenor Banjo Method - Mel Bay

M893236

$7.9s

MEL BAY PUBLICAIIONS . PACIFIC, MO 63069Il,3t*,# Gris

B N I

Page 2: Tenor Banjo Method - Mel Bay

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MEL BAY GOMPLETETENOR BANJO METHOD

AUÍHOR'5 NOTE

As o youth dur ing the roor ing twent ies I en-joyed p loy ing the Tenor Bon io in o rches t rosin my oreo . The Tenor Bon io gove the spork -l ing l i f t so essent io l to the donce mus ic o ffho t e ro .

The immor to l Hor ry Reser wqs p loy ing overthe o i r woves leod ing fhe C l iquot Esk imoswi th h is superb Tenor Bon io so los ond or -rongemenfs . There were mony s to rs on tho fins t rument dur ing tho t per iod .

Lo ter I wos insp i red by my teocher BunnyLongo, o top ort ist ond greoi leocher intobecoming o pro fess iono l on tho t ins f rument .

The Tenor Bon jo wos eventuo l l y she lved infovor o f the Gu i to r to remoin in the bock-ground fo r mony yeors . Todoy i t hos modeo tremendous comebock enf oying greofpopu lor i t y .

For mony yeors I hove wonted to creote ogood tex t book fo r the Tenor Bon jo ondfeel thot now is the t ime for o modernopprooch to fundomenfo l mus iconsh ip fo rihose des í r ing to p loy th is ins t rument .

I s incere ly fee l fho t th is book w i l l be theonswer to lhof opprooch to good TenorBon io p loy ing .

tt

IAuLBaa_ Copy'right 1968, 1969, 1987 by MEL BAy PUBLICATIONS, INC.International copyright Secured. All Rights Reserved. printed in u.s.A.

Page 3: Tenor Banjo Method - Mel Bay

THE

CORRECT WAY

TO HOLD THE

TENOR BANJO

2

THIS IS THE PICK

HOID IT IN THÍS AAANNER

FIRMTY BETWEEN THE THUMB

AND FIRST FINGER. USE A

MEDIUM SOFT PICK.

Page 4: Tenor Banjo Method - Mel Bay

THE IEFT HAND

PRACTICE HOTDING THE TENOR BANJOIN THIS MANNER.

KEEP THE PALM OF THE HAND FROM THE

NECK OF THE INSTRUMENT.

Page 5: Tenor Banjo Method - Mel Bay

THE FINGER,BOARD

The ver t i co l l ines ore

the STRINGS.

The hor izon to l l ines ore

the FRETS.

The enc i rc led numbers ore

the number o f the STRINGS.

sTRING

STRIKINGTHE STRINGS

ñ : DOWN STROKE

OF THE PICK.

Page 6: Tenor Banjo Method - Mel Bay

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Tuning rhe Tenor Banio

ANOIHER METHOD OF TUNING

Ploce the f inger beh ind the sevenfh f re t o f the four th s t r ing

to ob to in the p i tch o f the th i rd s t r ing (G) .

P loce the f inger beh ind the seventh f re t o f the th i rd s t r ing to

obto in the p i tch o f the second s t r ing (D) .

P loce the f inger beh ind the seventh f re t o f the second s t r ing

to ob tq in the p i tch o f the f i rs t s t r ing {A) .

Pitch Pipes

BANJO NOTATION

@@@o

- r =

o ' c e s f o r t h e T e n o r' - e c o r r e c l p i t c h o f

Bonio (Ce l lo ) moy

eoch Tenor Bon io

be purchosed o t ony mus ic s to re . Eoch p ipe

s l r ing . These ore on exce l len t inves iment .

wi l l

I2

3-4

PIANO NOTAIION

Page 7: Tenor Banjo Method - Mel Bay

THE RUDIMENTS OF MUSIC

THE STAFF

l . Mus ic i s wr i t ten on q STAFF o f f i ve l ines ond four spoces .The f ine ond spoces ore numbered upword qs shownt

4TH SPACE

3RD SPACE

2ND SPACE

5TH I INE

4TH I INE

3RD LINE

2ND I INE

I ST UNEI 5T SPACE

2 . The l i nes ond spoces o l soThe LINES ore: I -E, 2-G,

hove LETTER nomes.3 - 8 , 4 - D , 5 - F .

The let ters con eosi ly be remembered by the sentence:Every Good Boy Does Fine.

3 . T h e l e t t e r n o m e s o f t h e S P A C E S o r e : I - F , 2 - A , 3 - C , 4 - E .

The Le t fe r nomes o f the spoces spef l F -A-C-E.

The mus ico l o lphobet vses 7 le t te rs - A , B , C, D, E , F , G.A l t e r n o t i n g l e t l e r s o f t h e L I N E S o n d S P A C E S o n d s t o r t i n g o t t h el i n e , o s c e n d i n g , w e g o f o r w o r d i n t h e o l p h o b e t :

4.f i rst

Page 8: Tenor Banjo Method - Mel Bay

THE CIEF

6. The STAFF is d iv ided in to MEASURES by

/\=z-

5. This s ign ¡@'- is the TREBLE or G CLEF.a)

Al l bon io mus ic w i l l be wr i t ten in th is c le f .

ver t i co l l ines co l led BARS.

BAR

MEASURE MEASURE MEASURE

7. Doub le bqrs mork the end o f o sec t ion or s t ro in o f mus ic .

REVIEW

F i l l i n t h e m i s s i n g w o r d s i n t h e fo l low ing sentences .

I . Mus ic i s wr i t ten on o c o n s i s t i n g o f - L I N E S o n d

2 . T h e L I N E S o n d S P A C E S o r e numbered

SPACES.

3. They o lso hove

4. The L INES ore

n o m e s .

nomed os fo l lows:

5 . The SPACES ore nomed

6 . m u s i c o l o l o h o b e tT h e

They

h o s LETTERS;

o r e

7 . A t l

8 . The

T e n o r B o n i o m u s i c i s w r i t t e n i n f h e Cle f .

STAFF is divided into by ver t i co l L INES co l led

Page 9: Tenor Banjo Method - Mel Bay

NOTES:THIS

?15 A NOTE:

VA NOTE HAS THREE PARTs. THEY ARE

The HEAD

The STEM

The FLAG

ABOVE THENOTES MAY BE PLACED IN THE sTAFF, STAFF,

AND BELOW THE STAFF.

A note w i f l beor lhe nome o f the l ine or spoce i t occup ies on the s to f f .

The loco t ion o f o no te in , obove or be low the s fo f f w í l l ind ico te the P i tch .

PITCH: the he igh t o r depth o f o tone.

TONE: o mus ico l sound.

o

IJ

TYPES OF NOTES

O O ) THE rYPE oF NorE wrLL

| | L tNDtcATE THE LENGTH oF

I I l/ rTssouND.tt7

O rxrs rs A wHotE NoTE.THE HEAD fS HOLIOW. O =4BEATS

IT DOES NOT HAVE A sTEM. A WHOLE-NOTE WILL RECEIVE

FOUR BEATS OR COUNTS.

THIS 15 A HATF NOTE

THE HEAD IS HOI I .OW.

IT HAS A sTEM.¿ = 2 BEATs

A HALF-NOTE WILI RECEIVE

TWO BEATS OR COUNTS.

la) THls ls A QUARTER NOTE II rne HEAD rs soLrD. a = r BEAT

IT HAs A sTEM.

¡- rxrs rs AN ETcHTH NoTE f.2 ' r rE

HEAD lS SOt lD. a = t iz BEATIT HAs A STEM AND A FLAG. AN EIGHTH.NOTE WITL RECEIVE ONE-

HATF BEAT OR COUNT. (2 FOR I BEAT)

A QUARTER NOTE WIIL RE-

CEIVE ONE BEAT OR COUNT.

ó

Page 10: Tenor Banjo Method - Mel Bay

RESTS:

A REST is o sign used to designote o period of si lence.

This per iod of s i lence wí l l be of the some durot ion of t ime os the note to which i t corresponds.

7 THrs rs AN ErcHTr{ REsr ) THrs rs A .,ARTER RE'T

(

____ _I TH|S tS A HALF REST. NOTE THAT tT rAyS ON THE L|NE.

) '-.r-

THrs rs A wHorE REsr. NoTE THAT rr HANGs DowN FRoM THE uNE.

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NOTES

I t - -

I .J

WHOIE

4 COUNTS

HAI.F

2 COUNTS

OUARIER

I COUNT

EIGHIH

2 FOR I COUNT

a

RE5T5

THE TIME SIGNATURE

THE ABOVE EXAMPTES AREUSED IN TH¡S BOOK.

THE COf rt'tON TYPES OF Tli E SIGNATURES TO BE

IHE TOP NUIIIBER INDICATES IHENU|I'IBER OF EEATS PER frtEASURE.

4 BEATS PER *EAsuRE

THE BOTTO'IA NUMBER INDICATESTHE TYPE OF NOTE RECEIVINGONE BEAT.

A QUARTER.NOTE RECEIVESONE EEAT

SIGNIFIES SO CAttED "COrrtfütON TltvlE" AND lS SlliPtY ANOTHER WAY

oF oESTGNAT|NG * TmE.

Page 11: Tenor Banjo Method - Mel Bay

THE

ñ

IU'-

NOTES ON THE FOURTH STRING (C)

IIEF

á FRETs O_/ - -F-{C-=--- _-lu+>

FINGERS O

WHOTE NOTES

couNT t 2 3 4

{>

HALF NOTES

QUARTER NOTES

Page 12: Tenor Banjo Method - Mel Bay

WHOTE NOTES

HAIF NOTESa

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COUNT I

THE

U-

NOTES ON

AirE

THE THIRD STRING (G)

Blr-

ctrr

FRETS O' l

(r .'=-4t - FINGERS 0

GTUARTER NOTES

Page 13: Tenor Banjo Method - Mel Bay

SOTOS ON THE THIRD

THE C

AND FOURTH STRING

SCATE

O['R FIRST SOTO

Long, long Ago

Page 14: Tenor Banjo Method - Mel Bay

THE

v-r

NOTES ON THE

ESECOND

FSTRING (D)

G

WHOLE NOTES

! . , - _

- - - _ " =

u couNTr 2 3 4

HALF NOTES

QUARTER NOTES

Page 15: Tenor Banjo Method - Mel Bay

THE

tl-

NOTES ON THE

U1rf

FIRST STRING (AI

\yl[ lr-

FRETS O<> árLn:

ffil Flu r Q - l 2

WHOLE( )

NOTESe

HAIF NOTES

QUARTER NOTES

Page 16: Tenor Banjo Method - Mel Bay

THE C SCATE (Two Octqves)

Yonkee Doodle

ttThird Avenuet'

Page 17: Tenor Banjo Method - Mel Bay

THREE-FOUR TIME

THIS SIGN INDICATES THREE-FOUR TI'TiE

3 - BEATS PER i,IEASURE4 _ TYPE OF NOTE RECEIVING ONE BEAT

(Quqrter-Nole).

ln fhree-four t ime, we wi l l hove three beots per meosure.

A quorter note wi l l receive one beof.

DOTTED

HALF NOTES

A dot ( . ) ploced behind o nofe increoses i ts volue by one-holf .

A dotted hqlf-note tJ. l - t t , receive three beots.

Coloniql Woltz

THE REPEAT SIGN

THE DOTS PTACED ABOVE AND BETOW THE THIRD LINE OF THE STAFF AT THE DOUBI.E-BAR INDICATE

THAT THE PIECE IS TO BE REPEATED.

THE DOTS PLACED BEFORE AND AFTER A DOUBTE-BAR MEAN REPEAI THE AAEASURES EETWEEN.

t 6

Page 18: Tenor Banjo Method - Mel Bay

A WORD ABOUT DUETS

One of the f i rst requisi tes of o good Tenor Bonioist is the obif i ty to ploy wel l with others. l i is withf h is po in t ín mind tho t I om s t ress ing the vo lue o f duet f ro in ing .

Duet troining wi l l teoch the student to perform his own pori independent ly without the bewilder-menf or confusion coused by the rhythm or counterpoint oppeoring in the second port .

The second port ( l l ) should be ployed by the teocher. The student should be oble to ploy both ports.

OMMON Our Firsf Duef IAEI BAY

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Page 19: Tenor Banjo Method - Mel Bay

PICK.UP NOTES

One or more notes ot the beginning of o stroin before the f i rst meosure ore referred to os pick-up

notes .

The rhy fhm fo r p ick -up no tes is ioken f rom the los t meosure o f the se lec t ion ond the beofs o re count -

ed os such. Note the three beots in the lqsf meqsure of the fol lowing duet.

?f-:-$ ¡ t-f l

tlt l1r ? | J Ité | | . Jr . + t

,1e re t rIt

- F--c

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pl- --rt l' l

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?rl laf'f J a't:f 1 r¡ f ]f r

tlJJ JJ+J.l j'rll j

? ?,?"f f ,? ?t ) ¡ I l l I I I l l Iñ'I

]Ir r {-l'f r,: r:f .l f t

? t F f - ? | f f ,f fl - i I t - l l

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Page 20: Tenor Banjo Method - Mel Bay

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THE KEY OF C Att music srudied so for in THE C SCALEth is book hos been in the key o f C.

Thot meons thot the notes hove been token from the CSco le (shown be low) ond mode in to melod ies .

I t i s co l led the C Sco le becouse the f i rs t no te i s C ond weproceed fh rough the mus ico l o lphobef un t i l C reoppeors .c-D-E-F-G-A-B-C.

We wi l l cover the sub iec t o f keys ond sco les more thor -ough ly ín the Theory ond Hormony Chopfers oppeor inglo te r on in ih is course .

At p resen i we w i l l deo l on ly w i f h bos ic fundomento ls .

STEPSA Ho l f -S tep is the d is fonce f rom o g iven tone to the nex t h igher o r lower tone. On the Tenor Bon jo thed is tonce o f o Ho l f -S tep is ONE FRET.

A Whole-Step consists of TWO Holf-Sreps.

fhe d is tonce o f o Whole-Step on ihe Guí to r ís TWO FRETS.

fhe C Sco le hos two ho l f -s teps . They ore be tween E-F ond B-C.

Nofe lhe d is tonce o f one f re t be iween those no tes . fhe d is tonces be lween C-D, D-E, F-G, G-A, ondA-B ore Whole-Steps .

Whole-Steps ond Ho l f -S teps ore o lso re fe r red to os Whole-Tones ond Ho l f -Tones. We wi l l re fe r tothem os Whole-Steps ond Ho l f -S teps .

THE TREMOTO

At th is t ime we shou ld s to r t the deve lopment o f the t remolo .

The t remolo is o very rop id down ond up s t rok ing o f the p ick g iv ing o sus to ined tone. The t remolowi l l be employed on o l l no tes rece iv ing more ihon two beots . The s ign fo r t remolo is ?

*

THE TIEThe TIE is o curved l ine between fwo notes of the some pi fch.The f i rs t no le i s p loyed ond he ld fo r the t ime duro t ion o f bo th .The second no te i s no t p loyed bu t he ld .

EXAMPIE

COUNT 2 3 1

I t\----

TIE

r23 n

ASCENDINGl Y z l

DESCENDING

i 9

Page 21: Tenor Banjo Method - Mel Bay

W H E N T w o o R | ^ o R E N o T E s A R E W R | T T E N o N T H E s A | , l E s T E , t , t P I A Y T H E M A s o N E .(x- - - - - -): Hold fingers down' Never ro¡se fingers unlil necessory'

Follow The Lec¡der MEt BAY

I-^ ^---t

- I--T aI A

--

L ---a¡ [ T t a

20

Page 22: Tenor Banjo Method - Mel Bay

THE E NOTEON THE FIRST STRING, 7Ih FRFT

in

Sporkling Srellq

Double Trouble

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Page 23: Tenor Banjo Method - Mel Bay
Page 24: Tenor Banjo Method - Mel Bay

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CHROMATICS

The olterotion of the pitches of tones is broughi obout by the use of symbols col led CHROMATICS.(olso referred to os ACCIDENTALS)

THE SHARP

#The SHARP ploced before o noie roises i ts pi tch t /z -step or one fret.

srRtNG @.. . - . . - - - - . .FINGERS ( ) 1 Z 3 4_ . - * 4 i 0 r_ -_ I z a L -L i

THE FLAI

bThe FLAT ploced before o note lowers i ts pi tch t / t -step or one fret.

A

á¿1

THE NATURAI.

hnote to i t s normol pos i t ion . l f conce ls o l l occ idenfo ls p rev ious ly used.

FRETS

The NATURAL restores o

?..\

Page 25: Tenor Banjo Method - Mel Bay

THE CHORDS IN THE KEY OF C

The Chords In The Key of C Are ' C,F, &G7

MUSICAINOTAT¡ON

MUSICATNOTATION

Gr

I | | / : srnoKEs oF TUE PtcK ovER THET IT ' FOURSTRINGS.

| | | : srRUM THE c cHoRD THREE TrMEs.

iE,

24

Page 26: Tenor Banjo Method - Mel Bay

ed

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CHORD STUDY IN THE KEY OF C./ : REPEAT THE PREVIoUS MEASURE

G za

OUR FIRST SONG(Us ing the C ond G7 Chords)

t / /

(-)

Te l l - me the

(l/ / / / /

a - g o

/ / /

t l

Gz Gr/ l t t t t l

¿r - go long

Gr

Iong - l ong

Gr

IongT . , . -

I I . u r r 5 -

/ra $--

to

¿

I'(n¿-

(\

song - de

(-)

l i gh t

C

l r ?

/ / /

IongI l - o n g - l o n g

1(e z. .---l-

[ong, Long AgoC/ / / /

t a l t ' s - t ha t t o

Q-l (} -'--

Be sure to ploy the chords direct ly on eoch word or syl loble os indicoted.

C/ / /

me - were *s c)

C

dear

c

hear

(,)

go .

25

Page 27: Tenor Banjo Method - Mel Bay

( 'I C C O M P A N I M E N T . 7

S O L O ,

/ / /

\ \ .1 : \ ' t lU I l$ ánd

The Blue¡/ / /

used to wa i t

Toil Fly( i ;

/ / / / /o n m y o l e M a s ' a n d

( '

/ / / /h o l d h i s p l a t e -

( '

/ / /I ' a : s t h e j u g

/ / /w a s d r y a n dvi'hen

l'

he

Gz (l/ / / / / /

b r u s h a - w í t y t h e b l u e t a i l f lvj F--T' T--AJ

-t

JI

Jirn crack corn and

(,'t l t t

J i rn crat 'k corn and

Gz/ / / /I don' t care

I t ?t t a

don' t care

Gr/ / /

J i * crar :k corn

(1.

l t / /I don ' t care¿uld

F

I

Gr0l t t l /

\ l¿rs-sas gone a - \ \ 'ay .

?T

The Bonio Morch MEL BAY

Gr

26

Page 28: Tenor Banjo Method - Mel Bay

THE KEY OF A MINOR(Relotive to C Moior)

Eoch Moior key wil l hove o Relotive Minor key.The Relotive Minor Scole is buil t upon the sixth tone of the Moior Scole.

The Key Sígnoiure of both wil l be lhe some.

The Minor Scole wil l hove the some number of tones (71 os the Moior.

The difference befween lhe two scoles is the orrongement of the whole-steps ond holf-steps.

There qre three forms of the minor scole: l . PURE or NATURAI, 2. HARMONIC. 3. MELODIC.

The A Minor ScqlesNATURAL

f H E M I X E D M I N O R S C A T E ( A s c e n d M e l o d i c o n d D e s c e n d H o r m o n i c )

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HARMONIC

f ELODtC

T H E G Y P S Y M I N O R S C A L E ( T h e 4 t h o n d 7 t h T o n e s o r e R o i s e d t h r o u g h o u t l

T h e M e l o d i c o n d H o r m o n i c M i n o r S c o l e s w i l l b e u s e d i n t h i s t e x t .

Minkq

c{4t

a6o

27

Page 29: Tenor Banjo Method - Mel Bay

THE EIGHTH NOTE

An e igh th no te rece ives one-hq l f beot . (One quor te r no te equo ls two e igh th no tes) .

An eighth nofe wi l l hove o heod, slem. ond f fog. l f two or more ore in successive order they moy beconnected by o bor. (See Exomple).

Eighth Nofe And Eighrh Resfs

ET.HTH NorEs ) JJI J1 :) IJ-J-J-JJI= )EIGHTHNorEsT 7 7 ' l f-j-r-] I I rr]--]aaoo -2 aaaaaooo -_ o

The Scqle in- ¡ | ¡ - . . t ] l ¡

Eighth Notes

c o u n l : l & 2 & 3 & 4 &

Hqrmonic Mode

Melodic Mode

2E

Page 30: Tenor Banjo Method - Mel Bay

!-

THE CHORDS IN THE KEYTHE CHORDS IN THE KEY OF A MINOR

OF A MINORARE: Am, Dm & EZ.

MUSICATNOTATION

Ar

MUSICAT

NOTATION

llr

Ert uslcAtNOTATION

29

Page 31: Tenor Banjo Method - Mel Bay

A MINOR (Hormon ic l

; r u - - - - - . t . - - . - L . r -H?

c+ -2

(q -f-f n g -? i lffi LJ --r-i - j' oa ' o ' o a JJ¿ .4 - -

- L - l ' ' -

+

THE UP STROKEl /

V - UP STROKE. This stroke wil l be used on repeoted eighth-notes of the some pitch.

A Visir to the Relqfives

Volgc BoqtmqnThe

24

A , t l lNOR (Melodic l

30Gl ide s low ly ove r l he s i r i ngs i n o Horp - l i ke fosh ion .

Page 32: Tenor Banjo Method - Mel Bay

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Two New Nofes

TEMPO

Tempo is the rote of speed of o musicol composit ion.

Three types of tempo used in this book wi l l be:ANDANTE: A slow eosy poce. MODERATO: Moderote. ALLEGRO: Lively.

Ploytime

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+lt

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Ct2- : l ': : L

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Page 33: Tenor Banjo Method - Mel Bay

THE KEY OF GThe key of G wil l hove one shorp. (Ffi)

I t w¡l l be identif ied by this signoture:

The F-notes wil l be ployed os shown,

4TH FINGER6TH FRET

3RD FINGER4TH FRET

9TH FRET

The G Scqle

t/z STEP

the F must be shorped.

Our mo ior sco le po t le rn i s then cor rec f . 11 ,1 , 1 /2 ,1 , l , I , %. ) (s teps)

TWO.FOUR TIMETHIS SIGN INDICATES TWO.FOUR TIIAE

2 _ BEATS PER TiAEASURE

4 - A QUARTER NOTE RECEIVES ONE BEAT

Two-FOUR time wil l hove two beots per meosure with the quorter nole receiving one beot.

Note thot in order lo hove the hqlf-steps fol l ing between the seventh ond eighth degrees of the scole

TENOR BANJO DUFT The Old House AAET BAY

"D. C. o l FINE" : GO BACK TO THE BEGINNING AND END AT "F¡NE".'19

Page 34: Tenor Banjo Method - Mel Bay

The G Scqle (Two Ocfovesl

3

n. l rñnnnnNVñV-VNV

A Scqle Sfudy

Drink To Me Only Wirh Thine EyesModeroio

Page 35: Tenor Banjo Method - Mel Bay

HRsr AND SECOM

Sometirnes two endings ore required inond one to cfose i t .

They wi l l be shown l ike this:

The f irst t ime ptoy the brocketed endingThe second t ime skip the f irst ending ond

certoin selecf ions . . . one to leod bock into o repeoted chorus

(1st T jnre)

l. Repeot the chorus.p loy ending No. 2.

(2¡d Tinre)

n. | .1n.n ..n ! , .v ¡v

A Doify Drifl

A Duer in G,!^AZAS

Page 36: Tenor Banjo Method - Mel Bay

ffiRTER NorEsA DOT AFTER A NOTE increoses its Vqlue by ONE-HALF'

/a - Note Eighrhs

ffit_;lh*-f-EeuAr

ro+[ffi1

The count for the doited quorler-note is os fo l lows:

n ñn ñ

A O"tted Gluorter-Note Etude

I

)

)

)

)

)

)

t,

ttttttI,

IIIa,

tttttt-

I

AL.

l ¿

/n ',--

A Scqle StudY

) ca

t,;:

/n, '

l .t i

f ^

a'

, t -

r A

a:

o 4t a l

L\-, ,¡ 3 1 ,

, \ Li 'eiL;,:

,tAEt BAY

2 . t f - . - -

/ - ' : : ' . :a If - \ - - .¿1 r

,+

N N Vñ V ñ V

J

Page 37: Tenor Banjo Method - Mel Bay

A

| . r V-V

Rhyfhm Review

.V .Vr r11 nYn i

.v .v- n

Austrion Hymn

I

l l

Page 38: Tenor Banjo Method - Mel Bay

Itttttttttttttttttt)

tttttttttttttttttt

' t- t

- t. . ,

-.t

t

?F,

THE CHORDS IN THE KEY OFTHE CHORDS lN THE KEY OF G ARE' G' C & DZ'

MUSICATNOTATION

th

G

,.t'e Ef

fhe0

followingDz

Chord SrudyG

_tlqe

ilr'

Ploy

2 1

Page 39: Tenor Banjo Method - Mel Bay

HARMONIC MODE

THE KEY OF E M¡NOR(Re lo t i ve to G Mo io r )

THE E MINOR SCALE

Melodic Mode

t tDqrk EYes"

o _ g

Page 40: Tenor Banjo Method - Mel Bay

Ia, = A Horp L ike St rokeaa

Horik Voh(The Hope )

The Woyforin' Sfronger

,

ttttttttttttttttttttttttttttttt,

tt,

tttttt)

)

)

t

Page 41: Tenor Banjo Method - Mel Bay

THE CHORDS IN THE KEY OF E MINORTHE CHORDS lN THE KEY OF E MINOR ARE: Em, Am & BZ

a\

MUSICATNOTATlON

Er

Ar

Br

40

Page 42: Tenor Banjo Method - Mel Bay

TorontelleA l l ñ s t r o k e

33

2

.)

/1.t t l

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tttI¡

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.n .r-71

C o u n l : I t r i p - l e t 2 t r i p - l e t I i r i p - l e t

.f

r - p i i f o p r o c t í c e b o t h p o r t s . Triplef Duef

o.A.

HOW TO COUNT TRIPLETSWhot ore TRIpLETS?

A group of three notes, ptoyed in the t ime of two notes of the some kind.rEtcHTs-l. TRIPI.ET.EIGHTS I

equol ro | |-

t r ip- le t 2 t r ip- ler

r J r

¡. / l - -

-ra ¿ 'j.)

o l F f N E

4 1

Page 43: Tenor Banjo Method - Mel Bay

THE KEY OF F

The Key o f F w i l l hqve one f lo t .

A l l B-Notes w i l l be p loyed one Ho l f -S tep lower os shown:

3RD FRET I ST FRET

The F Moior Scole(Two Octoves )

A Triplef Etude in F Moiorq

o

Melody in F

, ,e gÉÉFrii#f l¡prot? -r k+#+ \f rffiI#f + I iV'r t F l: I F i-+3

42

Page 44: Tenor Banjo Method - Mel Bay

"Aunt Rhody"

t tCqreless Lovet t

t 'Auro Lee"

Page 45: Tenor Banjo Method - Mel Bay

MUSICAL TERMSAN|MATO. . . L i ve l y DOLCE" 'Swee i l y '

CANTABIIE. . . In o s ing ing s ty le MAESTOSO ' " Moiesf ic '

SFORZANDO. . . ( s f . ) . . . Fo rc i ng the tonesudden l y l oud ' P IUMOSSO ' ' 'Qu i cke r '

MoRENDo . . .Dy ingo r fod ingowoy .SosTENUTo . . .Sus to i ned .

ADL IB ITUM(Ap ioce re ) . . .A t t he l i be r f yo f t hepe r fo rmer .ATEMPO. . .Bock to the regu lo r t empo '

DIMINUENDO (d¡m.) -Groduol ly CRESCENDO (cresc. ) Groduol lygrow louder .grow softer.

ANDANTERomqnce

MAZAS

trl ú,1_._1 l

r r lr Jt J l

I

l l

l - ,ral,l, ?lJtl

Id

I2 f'- r -l.''

t

f¿

?I?' I

?i '

/{

aF

l'¡l1 l14 H[, r \-, I

44

Page 46: Tenor Banjo Method - Mel Bay

THE CHORDS IN THE KEY OFTHE CHORDS lN THE KEY OF F ARE: F, Bb & C7.

THls IS A MODIFIED FORM OF THE F CHORDUSED IN THE KEY OF C. IT I5 RECOMTAENDEDFOR USE IN THE KEY OF F.

Bt

Gr

Chord Srudy

+ . )

Page 47: Tenor Banjo Method - Mel Bay

THE KEY OF D MINOR

The D Minor Scqles

Two Studies in D Minor

¿-ii^

,;ALLLL?

Page 48: Tenor Banjo Method - Mel Bay

Blqck ls The Color Of MY

True Love's ]|c¡ir

Duet in D Minor

a'4,o,

t

á 'oj

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47

Page 49: Tenor Banjo Method - Mel Bay

THE CHORDS IN THE KEY OF D MINORTHE CHORDS lN THE KEY OF D MINOR ARE: Dm, Gm & AZ

Dr

G'

Az

CHORDGm

STUDYA7

48

Page 50: Tenor Banjo Method - Mel Bay

ACTUAT PITCH (s,-,,¡

when the pi tch ploces o noie so high obove the stof f thotreoding becomes di f f icul t the notot ion moy be lowered oneoctove. This is "Actuol Pi tch" in Tenor Bonio music. The termSoa is used for fhis.

"Loco" meons return bock to the orginol notot ion.

The notes on the first string in Actuol pitch.

49

Page 51: Tenor Banjo Method - Mel Bay

THE KEY OF D MAJOR

The Key of D Mojor wil l hove two shorps - F# ond C#.

A Study In D

p. - T remoloLively

She Wore A Yellow Ribbon

5 0

Page 52: Tenor Banjo Method - Mel Bay

SIXTEENTH.NOTESl n common t ime four s ix teenth-no tes eguo l one quor te r -no te .

They moy be counted in this monner:

| -six-teenth-nofes, 2-six-teenlh-notes, 3-six-teenth-notes, 4-six-teenfh-notes.

Exomple

s l n 2 5I

x

l ne oe tn et sh

s l ni e ox e t

n ei sh

4sI

x

t ne oe ?n el sh

i e ox e ?

n el sh

TABTE OF NOTES AND RESTSWhole NoteHqlf Notes

Quorler Notes

Eighrh Nofes

Sixleenth Notes

Ia

¿ ¿

J a a a

Id

Ia

a a-FFFI

¿ ¿ ¿ ¿

Iaf-1

t a a-

a a a a

A Whole Meosure RestI

¿ A Holf Rest

¿ A Quorter Restl-l

¿ ¿ An Eighth Resr-trt-Ff

aa .a A S ix leen th Res t

-

..f

le

7.1'1

In lhe f i f th ond ninlh meosures of the fol lowing siudy on eighth note is fol lowed by rwo sixteenthno tes . l 2 f l )tut

a a a a a a a a a a ) aThey moy be counted in this rrronn€r: L-u L-lJ i--tl t-ll

7 & a 2 & a 3 & a 4 & a

A Speed Study ln DAl legro

t ' lvnynvny nvnvnynv

COUNT:TfJIi ¿ ,: f-'- ! ii ; r - i Á ?ñé i é tt sh

netsh

o t le t.'

e tn { )t sh

& as

9 i

X

r 1

Page 53: Tenor Banjo Method - Mel Bay

Minuet ln D

TENOR BANJO DUET

Al legre t to ñ^ nññn

n

Arr. by Mel Boy

o l F INEDr

I I

nnñ

D

-lD, 4 7I

-l t)

D

J-fl ?A7) t a

DtIc""",

ñ t t

7 &2&

?v Dj'f]

DAz-l -

(KEY oF D r l l l ioh)

D. C. o l FINE

Page 54: Tenor Banjo Method - Mel Bay

Cieliro lindo

I ively

V.t 3.

I? 2ü+r

Drink To Me Only Wirh Thine Eyes

Moderoto

53

Page 55: Tenor Banjo Method - Mel Bay

THE CHORDS IN THE KEY OF D

T h e C h o r d s I n T h e K e Y o f D A r e : D , G , & A Z

At

D

G

Page 56: Tenor Banjo Method - Mel Bay

THE KEY OF B MINOR(Relotive to D füoior)

THE B tvllNOR SCATES

Etude In B lvlinor

n rt-V n--¡---L. n v ñ

ñ ¡ ,n n \ ' .

Chqnson Triste

a

óa,

l .1.:' - ' f

I

Page 57: Tenor Banjo Method - Mel Bay

m,r

THE CHORDS IN THE KEY OF B MINORTHE CHORDS lN THE KEY OF AMINOR ARE: Bm, Em &F :7 .

CHORD STUDYE }I F#?

Page 58: Tenor Banjo Method - Mel Bay

THREE.EIGHT TNilE-4-

This sign ffi

indicotes three-eight time.a

3 - -beots per meosure.8 - - type of note receiving one beot. (eighf note)

An eighth-note y' : one beot, o quorfer-note f

: two beots ond o dotted quorter-note

f ' : three beots. A sixteenth-note g =tbeat.

Modero to

Creole Memories

n n n nr lnn.n nñ n

. n vn n ! ' l i n ñ

57

Page 59: Tenor Banjo Method - Mel Bay

THE DOTTED EIGHTH NOTEA Dotted Eighih-note is equol to

EXAMPLE:

| \ | \N¿t . equol to ¿,._. '

I I rTi" ,JJ lJ1 1 1 l

,6 6 , ,6 G,3 3

1616

Country Gordens

Page 60: Tenor Banjo Method - Mel Bay

II,

II,

tt l

Il l

,

ttf .tt :rl

att -rrárüt¡r -A

; á' -r-I) -

Ihe ftey of g_FtAf will hove,_.

;::,,%rñ

Afl g ond F ,^r^-@ 9--';r:nd

E nores wilf b,:---É & ,r\

e fowered t/2 step.

9c

*-.................-

rñ.n-U -

=_=+-f=.=

c¡_---_=r-

- - I -9-

t '-'.':=-_====-

Í,t-41:- I

_l

Page 61: Tenor Banjo Method - Mel Bay

when common rin Al,l,A-BEEmrh-^ L_- ,

ne is to be pfoyed in o r . r r r^^ .^_ rthen best to counr onty r*o b-";;:":^;:"J:r"..too fost ro convenienrry counr four beofs, ir is

Eoch holf meosure wiff receive one beof.Ihis is referred to os ..cuf , , l ime.The rime

"i:ffi3; 1if;;t*""

fime will be o verricof fine drown rhroush rhe ferfer c os shown:ñ

THE QUARTER-NOT¡ TNIPIETThis g roup o f no tes .? ? p

,L l_ l ) i s used exrens ive ly in modern mus ic .Three quor rer -no tes w i r f be p loyed in the some r ime requ i red by two.fn p loy ing th ís type o f t r ip le r empfoy the Af fo -Breve type o f count .

d

r-;*r r-J -r r-?-r

ETUDE TWO

, '

¿

Page 62: Tenor Banjo Method - Mel Bay

On Wings of Song

;

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IIII)

)

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IFETIX ITIENDELSSoHN

Arr. by Mef BoyAndonte

SIX-EIGHT TIME

This s ign indicotes six-eight t ime.

ó - beofs per meosure8 - type of note receiving one beot

AnE igh th -no te j : on :beo t , cquo r te r -no teJ : twobeo tsondodo t t edquo r te rno teJ . - t h reebeots, o sixleenth-note .f,

- y2 f,¿sl.

six-eight t ime consists of two units contoining three beors eoch.FFT

f t w¡ff be counted' , l l r ! | ¿ I wirh rhe occents on beots one ond four.t - 2 - E - 1 - t - O

TRIPIET ETUDE IN B.FLAT MAJOR

Page 63: Tenor Banjo Method - Mel Bay

il,,

THE CHORDS IN THE KEY OF B.FLATTHE CHORDS tN THE KEY OF B-FLAT ,ARE: B[, E$ & rz

IAUSICAL NOTATION

Bb

ffi,

Eb

Fz

CHORD STUDY

Page 64: Tenor Banjo Method - Mel Bay

t

It-

t-

3Ia-{¡-

tttttttttttÉ

ttJ

ttt

.<

--<¡

-{

:

=

:-,

- t-a- t-a-{

Y

-

EIEIÉt--Ii-tit

THE KEY OF G MINOR(Relotive to B-f lot Mcior)

Thekeyo fGMino rw i l l hove thesomekeys igno tu reosB- f | o tMo io r .

THE G MINOR SCALES

úoltr FromThe Poet qnd Peqsqnf Overlure

,-r-Q_'

A l legre t to

=--I¡-'

t q r c"l ----z

Page 65: Tenor Banjo Method - Mel Bay

t tSuhqnqt t

Arr . by Mel Boy

" l3i ri

[empo¡l l -

F! ' ¡ n

64

Page 66: Tenor Banjo Method - Mel Bay

CM?rr

,

)

)

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t)

ttttttttttttttttttttttttttttaaaa

{

THE CHORDS IN THE KEY OF G MINORTHE CHORDS lN THE KEY OF G MINOR ARE: Gm' Cm' & D7'

MUSICALNOTAIION

GM

Ct

D7

Gll

f

{

J-t c,-. (qt

l.*

{-t

-

EÉ-..

Chord Study

Page 67: Tenor Banjo Method - Mel Bay

THE KEY OF AThe key of A wil l hove three shorps. (F#, C#, ond G#.)

THE A SCATE

*Optionol f ingering

SCATE STUDY¡ v ñ I Ii

g 4 S t ' o - - - - - - ' - ' - - - - - - - - - - - - - - - - ;

Mqriq

KEY OF A 'IIINOR

66

D.C. o l F INE

Page 68: Tenor Banjo Method - Mel Bay

t

:

:

:

j'

j'

t!

tttttttttttttttttattttttt!,

aaaaaattttt)

THE NOTES ON THE SEVENTH FRET

ANOTHER SCATE STUDY IN A MAJOR

N V - V 3 4 2 4| r v | - l t r - )

Hqppy FrefsAllegretto

Á,#a

--__I.- _1_a

6 7

n i ta rd - rr

Page 69: Tenor Banjo Method - Mel Bay

The SpeedwoY

R,omqnceModerotoDUET

12--e

KEY OF A MINOR

Page 70: Tenor Banjo Method - Mel Bay

THE CHORDSTHE CHORDS IN THE

IN THE KEY OF AKEY OF A ARE: A, D & EZ.

A

D

E7

CHORD STUDYJ I E ;

-t-¿ ü -

Gte

Page 71: Tenor Banjo Method - Mel Bay

MORE CHROMATIC SIGNSUp to fhis point we hove studied ond used ihe Shorp (f), the Flor {b), ond the Noturol (h). The stu-dent is fqmil ior by now with iheir function. We now introduce the Double-Shorp ond the Double-Flot .

x : Double-Shorp. A Double-Shorp wil l roise the sound of o tone two frets.

bb : Double Flot. A Double-Flot wil l lower the sound of o lone two frets.

A notursl will cqncel oll shorps, flots, double-shorps ond double-flots. lf o nole hos been double-shorped or double f loited, the reiurn to one shorp or f lot wil l require o noturol sign fol lowed bythe desi red shorp or f lo t .

THE KEY OF F# M¡NORRelotive to A Moior

Two FI Minor Scoles

Fr I{INOR HAR^ ONIC

Page 72: Tenor Banjo Method - Mel Bay

A TABTE OF NOTES ON THE

FIRST. SECOND, THIRD AND FOURTH STRINGS

Folk Song

c r i

' .¿7/ ^ ' i

It)¡)It

!

tttt)

t3tttttttttaaaaattatt

=----

71

Page 73: Tenor Banjo Method - Mel Bay

THE CHORDS IN THE KEY OF F-SHARP MINOR

THE CHORDS lN THE KEY OF F-SHARP MINOR ARE, Ff m, Bm & cf7

MUSICAL NOTATION

Ff 'n

B,n

Ctz

CHORD STUDYc l i

rF'

Page 74: Tenor Banjo Method - Mel Bay

THE E.FLAT SCALE

THE KEY OF

The key of E-FLAT will hove three flots' All B' E ond A

E-FLATnotes will be lowered o Holf-SteP'

Bequtiful Dreqmer

;

I

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)

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)

)

)

)

)

)

)

I

I

Page 75: Tenor Banjo Method - Mel Bay

SIGNS APPERTAINING TO EXPRESSION AND PHRASING; ;

The Stoccoto : ( f ' l | " , | | | I ind ico te S toccoto . Tones des igned in ih is monner w i l l be p loyed in o

disconnecied style with emphosis.

) ;a ) . ,f f f f : Shor t l ines over no tes ind ico te emphos is ond ind iv iduo l i t y .: : :) ) aI f | , Every tone morked th is woy shou ld be emphos ized índ iv iduo l l y ond s l igh t ly seporo ted .

) , Accent with sudden force.

L e g o t o ( - _ ) . A l | t o n e s w i l l b e c o n n e c t e d o n d p | o y e d i n o f | o w i n g s t y | e '

------ , Groduol diminishing of intensi ty.

The Swel l ( ==- ) : lnc reose ond d imin ish vo lume.

- H nJni -i . i--r-, ffi- ' a -=^- ¡' '-:-- -É--,#ÉJ Elirj trfri tffi?r#ll

Slow

Page 76: Tenor Banjo Method - Mel Bay

aIItttItttttttttItItttttIItttt)

)

)

)

)

)

)

I

I

GRACE NOTESGroce notes ore smol l-s ized noles, which subfroci their vofue from the note theyThe Technicol term for the grqce note is Appoggioturo.

The groce note wir f be crossed qt the end ond wi, be proyed the some os sturs.

EXAMPTE

SCATE STUDY

Tenuto ( A l : Hold the tone its fulf volue.

Rubolo: Siolen from one tone ond odded io o tone preceding.

tuft Pouse t// I ' An exoggeroted pouse. usuolty fol lows o note thot is held by o hold sign. (fermoto)Exomple: ? ll

| "The Commo { , } is used somelimes to indicote on interruption Ín the ffow of tone.

ShenondoohSlow

- -

Page 77: Tenor Banjo Method - Mel Bay

THE CHORDS IN THE KEY OF E-FLATTHE CHORDS lN THE KEY OF E-FLAT ARE: Ef ' Ab & Bb7 '

IAUSICAL NOTATION

115

Bbt

+- ^<1

Y

\v

ó

CHORD STUDYBni

Page 78: Tenor Banjo Method - Mel Bay

)

)

)

)

)

)

)

)

)

)

)

)

)

)

)

)

)

)

t)

)

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)

)

)

)

)

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)

)

)

)

)

)

)

I

I

THE KEY OF C MINORlRelotive to E| Moior)

The C Minor scoles wil l be ployed in the third posit ion with the exception of the higher notes whichwil l be ployed os shown.

THE C MINOR SCATES

The fo l low ing e tude w i l l be in o l lo -b reve or cu t i ime. fn g rode four fh is type o f t ime hos been ex-p lo ined. When p loy ing the quor te r -no te t r ip le ts , d iv ide the meosures in to two beots g iv ing eqch se to f i r ip le ts , one beot eoch.

ETUDE IN C MINOR. l . 1 | . 1 .t

'/

:/

o-

Aa-

t ' , u t t t : 1

Melodic

#

77

3 --J

Page 79: Tenor Banjo Method - Mel Bay

THE CHORDS IN THETHE CHORDS IN THE KEY OF C

KEY OF C.MINORMINOR ARE: Cm, Fm & GZ'

MUSICAT NOTATION

C M

a,

CHORD STUDY

7B

Page 80: Tenor Banjo Method - Mel Bay

_ - - - - i I l I l :

THE SLURTo execute oscending slurs of two noles, the lower note ¡s to be ployed ond the f inger of the lef t

hond descends hommer l íke upon the h igher no te c reo t ing ihe tone des i red .

Descending slurs ore execuled by f i rst f ingering the notes to be ployed with the lef t hond. Str ike the

higher nole ond by drowing the f inger sidewoys off the str ing, the lower note wi l l ouiomoticol ly

sound. Slurred notes wi l l be connected by o curved l ine. ( ^ )

ASCENDING STURS+lfi

DESCENDING SIURS

F F I, ¡ t ¿ , ^

ItttttttttttttIttttttt3ttItt3t)

)

tttltaaa!)

tttttt

THE SIIDEThe SI ide is performed by one f inger of the lef t hond sl iding over the frets from the f i rst fo the second

note. The f i rst note is struck ond the second note is sounded by the sl ide.

The S l ide is ind ico ted by f he fo l low ing s ign :

FIt ' r z -

THE SNAPThe SNAP is s imi l io r to the s lu r in execut ion . The second no te o f the SNAP wi l f usuo l l y be on open

st r íng .

The f i rst note is ployed ond immediotely the lef t hond f inger pul ls the str ing sidewoys os i t s l ides off

the f ingerboord .

When snopping o nole to o closed nole, both notes should be held before execut ing the snop effect.

79

Page 81: Tenor Banjo Method - Mel Bay

THE KEY OF A-FLAT

The key of A-FLAT wi, hove FOUR FtATs. A, B, E' A ond D wi* be rowered 1/z srep-The fro*ed notes

ore eosy to remember by spell ing b-e-o-d'

THE A.FLAT gCALE

Wqltz ln A'Flqt

Page 82: Tenor Banjo Method - Mel Bay

THE TRILTWhen o note ol ternotes occording to i fs volue, very ropidly wi ih o tone or holf- tone obove i t the

effect produced is termed ihe tr i l l .

The best produced by picking the f i rst or pr incipol note ond slurr ing the upper ouxi l iory note.

writ¡en I

Ptayed I

4-t ^ , ' t ,

a

Av l . - o

TRIPLET ETUDE IN A.FLAT' , f ' l - \ l

n V ' ^ l l '

- t ) , 1 3

Corry Me Bqck To Old Virginio

- n v f l 11 l :

Page 83: Tenor Banjo Method - Mel Bay

ffi

THE CHORDS IN THE KEY OF A.FLATTHE CHORDS lN THE KEY OF A-FLAT ARE: A f , D [ ond E fZ .

Ab

Db

IAUSICAL NOTATION

l) L,2l_

, o -_________11

A"r-=

CHORD STUDY

Page 84: Tenor Banjo Method - Mel Bay

THE KEY OF F 'I,IINOR(Relotive to A-Flor Moiorl

THE F MINOR SCATESHAR'IIONIC

Greensleeves

SYNCOPATIONSyncopot ion meons i r regu lo r i t y o f rhy fhm. The occent w i l l fo l l on fhe beofs no t no turo l l y occented .The sco le s tud ies be low wi l l in t roduce th ree types o f syncopof ion .

rhe moior sco le w i l l be counfed , l7 I f at 824 S4+E

SYNCOPATION ETUDE

Page 85: Tenor Banjo Method - Mel Bay

THE CHORDS IN THE KEY OF F M¡NORTHE CHORDS lN THE KEY OF F MINOR ARE: Fm, Bf m & CZ

Ft

Ct

'$USICAL NOIATION

CHOR,DBi l l

STUDYC1

Page 86: Tenor Banjo Method - Mel Bay

;

I

I

I

I

I

I

I

I

I

I

I

I

I

)

)

)

IIIl)

)

I

I t is ployed three woys:

l . Beg inn ing w i th the note obove ond designofed os ( ca )

Wri¡ten

PIayed

2. Beginning wi th the note be low ond des ignoted os ( S

Written

PIayed

3 . Beg inn ing w i th

Wri¡ten

the pr inc ipo f no te ond des ignoted os ( .hg¡ )

PIoyed

ca.2¡I

ha !

l f o l i t t fe note of the Gruppeito is to be ol tered byobove o t ( á ) ond thus fo r f he no te be fow. ( f )

o shorp or f lo t , i t i s thus ind ico ted fo r the no te

Wri¡ten

PIayed

When the Gruno le .

Writ¡en

ppetto sfonds between two pr inc ipo l no les , i f i s o lwoys commencedwi th the upper

THE GRUPPETTO

]H,?:r:i j ;:t"p of sroce notes composed of rhe principof nore, ihe nore immediorely obove

Played

s5

Page 87: Tenor Banjo Method - Mel Bay

THE KEY OF E MAJOR,The key o f E Moior w i l l hove four shorps . A l l F , C , G, ond D notes w i l l be shorped.

THE E MAJOR SCALE

EXERCISE IN E MAJOR

Page 88: Tenor Banjo Method - Mel Bay

Troumerei

)

)

tttItttItItttttttltttIIIttt!lIIIIIIII

ttttttt

A n d o n t i n or t {

I J ? - , - -(i+-e¡J--

HAR,MONICS

Hormonics ore produced by plocing the f inger of the lef t hond dírecf ly over certoin frets pressing

very l ight ly stopping the open str ing vibrot ions.

They ore produced o t the 1Zth ,7 th ,4 th ond 3rd f re ts .

Borely touch the str ings ot ony of the obove frets quickly removing the f inger os soon os the str ing

hos been struck. (Teocher should demonstrote)

Hormon ics w i l l be des ignoted by the obbrev io i ions : Hor . 12 , Hor .7 , Hor .5 , ond Hor . 4 p loced

over or under the noie to be treoted in this monnner.

Due io the foci thol hormonics ore seldom used in Tenor Bonjo Music no exomples wi l l be shown,

1 3 4 s 7-: - ):-;I--

Bt'tart{

THE MORDENTEThe Mordente is o frogment of o Tri l l . l t is indicoted by the sign: ,*

Wrillen

PIayed

S ;

Page 89: Tenor Banjo Method - Mel Bay

THE CHORDS IN THE KEY OF E MAJORTHE CHORDS IN THE KEY OF E MAJOR ARE: E,A& B7

IAUSICAT NOTATION

E

E

A

Chord Study

Page 90: Tenor Banjo Method - Mel Bay

THE KEY OF C SHARP MINOR(Refotive to E Moior)

ETUDE IN C-SHARP MINOR

2 - Tremolo quor te r no tesI Lorgo

PRETUDEOpus 28 No. 20 FREDERIC CHOPIN

Page 91: Tenor Banjo Method - Mel Bay

THE CHORDS IN THE KEY OF C.SHARP MINORTHE CHORDS lN THE KEY OF C-SHARP MINOR ARE' Cf m, Ff rn &G#7

iFBr?n'

AAUSICAT NOTATION

Cf'

F#.

Gfrt

CHORD STUDY¡'rlt ct¡

Page 92: Tenor Banjo Method - Mel Bay

I)

)

)

)

)

)

)

)

ttIItIttIlIIt¡

IItI)

)

)

)

)

)

I

)

I

I

I

I

THE KEY OF D.FLATThe key of D! hqs f ive f lots. They ore B[, Eb, A[, D[ ond G[.

THE SCATE

STUDY IN D.FIAT

Sweet Befsy From Pike

a - r' ?5

9 1

Page 93: Tenor Banjo Method - Mel Bay

THE CHORDS rN THE KEY OF Db MAJORTHE CHORDS rN THE KEY OF Db MAJOR ARE, Df , Gb & Ab7

Db

Gb

Abt

MUSICAL NOTATION

CHORD STUDY

Page 94: Tenor Banjo Method - Mel Bay

THE KEY OF B.FIAT MINOR{Relqtive to D-Flqt Moior)

8ta

l,tELODlC

tb)ir;13:

ETUDEHARMONIC 'ITODE

"Lozy Evening"IiEt BAY

I r-)l l f \

!

? ? ft lt l

Page 95: Tenor Banjo Method - Mel Bay

THE CHORDS IN THE KEY OF B.FLAT MINORTHE CHORDS lN THE KEY OF B'FLAT MINOR ARE: Bbt , Ef m & FZ

MUSICAT NOTATION

Ft

Chord Study

Page 96: Tenor Banjo Method - Mel Bay

THE KEY OF BThe key of B hos f ive shorps. They ore F, C#, G#, Df ond A.

THE SCATE

ETUDE IN B

- B 4 gt -1^ ío 2r i 1-r

3, t 1--7

How Cqn | leove Thee

Page 97: Tenor Banjo Method - Mel Bay

Duet In B MoiorTENOR BANJODUET

9 6

Page 98: Tenor Banjo Method - Mel Bay

THE CHORDS IN THE KEY OF B MAJORTHE CHORDS IN THE KEY OF B MAJOR ARE, :B,E &Fi l7

r#t

MUSICAT NOTATION

B

E

CHORD STUDY

Page 99: Tenor Banjo Method - Mel Bay

THE KEY OF G-SHARP MINOR(Relotive to B-Moior)

l"rTI ' I I r - -1

t tRhumbqt t

Page 100: Tenor Banjo Method - Mel Bay

THE KEYS OF F.SHARP AND G-FLAT MAJORThe key of F-shorp hos six shorps. They ore Ff, cf, G# D#, A# ond Ef.The key of G-Flot hos six flors. They ore B!, Eb, Ab Db, Gb ond C[.THEY ARE ENHARAAONIC KEYS AND WILL BE DEVEIOPED TOGETHER.

THE F.SHARP AND G.FLATscArEs4 ) 2 ! )

ETUDE

( ) ( )

Page 101: Tenor Banjo Method - Mel Bay

CHORDS IN THE KEY OF F-SHARP MAJOR qNd G'FLAT MAJORThe Chords in the Key of F-Shorp Moior ore Ff ' B & CI7

The Chords in the Key of G-Flot Moior ore G[ ' Cb A Dh7

¡AUSICAt NOTATION

t f

F#orGb

B,norcb'

c#zorDbt

ct t€1_

CHORD STUDYc$t

Page 102: Tenor Banjo Method - Mel Bay

THE KEYS OF D.SHARP MINOR AND E-FLAT MINOR(Relqtive to F-Shorp ond G-Flqt Moior)

THE HARMONIC MODE

Df MINOR

J '

Eh t tNoR

THE METODIC MODE

Wirchcrqft

Page 103: Tenor Banjo Method - Mel Bay

THE CHORDS IN THE KEYS OF D.SHARP MINOR

AND E-FIAT MINOR

The Chords in the Key of D-Shorp Minor ore: Df im, Gfm & Af7

The Chords in f he Key of E-Flot Minor ore: Ef m, Af m & B$7

MUSICAT NOTATION

l ) Í ] l

D#.orEb'

Gft"or

Ab'

A#zorBbt

CHORDGfM

)

( )

e-*3

( i t U2 4

4

STUDY

Page 104: Tenor Banjo Method - Mel Bay

A Toble of Moior Key Signorures

ofA

Tv'o sharps Three sharpsF$- cf, F#-cf-Gfl

F ive sha rps S i x sha rpsFf-c$-c* -Dg-Al Ff -c$-G#- Df-At-El

ED

No sharpsor I lats

One sharpF*

Fou r sha rpsFf-c#-G# -D#

of Ab

Key of

S i x s h a r p s

Key of F

One flat

Bb

r.A m

Tr.r.o flatsBb-Eb

Three f la ts

Bb-Eb-AbFour l ' la ts

B b -Eb-Ab-DbF i v c f l a t s

Bb-Eb-Ab-Db-cb

Key of Bb Key of Eb K:y ey of Db lley of Gb

The Circle of Keys

Going oround fhe c i rc le c lockwise wi l l toke us through the Dominont keys.

Going oround ihe c i rc le counter-c lockwise wi l l toke us through the Sub Dominonl keys.

*Enhormonic: Wr i t ten d i f ferent ly os lo notot ion but sounding the some.

FI) ru

B',( i rn

DBrrr

GEtu

The Moior qnd Relqtive Minor Keys

E'( l r r r

Ab DbF u l B b l n

GbFf lBEbnr DHm Gflnr

MEMORIZED

ECFru

Al'fl nr

S i x f l a t s

B b - E b- A b - D b-c b-Cb

SUBDoMINANT

KEYs

DoMINANT

KEYs

rEnharmonic

TO BE

r03

Page 105: Tenor Banjo Method - Mel Bay

Ea erybody's Music Tb acher

Page 106: Tenor Banjo Method - Mel Bay

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