PARAMOUNT

Metho d

Copyright 1922 by

WB

J.

Smith Music Co.

New York

MADE

IN

U. S.

Hv\

^^^.7'P

Rudiments of Music
:

m^
s M7G0
be noticed
is

Mjua i'i;i',I,IC trBRART QENEnAL UBRA!>V OF THE PERFOKMING AETS

i>...v

Ill

NJiW

Musical notation

is

composed of various signs and characters.

The

VOHK

10023, N. T.

first to

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.

lines

The
6th Line
,

Staff and Notes

The Time Value

The value or

of the Notes and Rests

duration of the notes and rests are represented by tho following characters

The
Whole 331
below a line
Half

Different Notes and Rests

Quarter

Eighth

above a line

^
TZ-

16th

32^.^

I
when

f
followed by a dot.

Dotted Notes and Rests

The time value
of any note or rest
is

increased one half

A second

dot adds half the value of the first dot.

Rests indicate silence.

Dotted Notes and Rests

and their equivalents
'j'

=p

rT

r:::r p p

v'^
above

The Tie ^
only the first

--,

placed over or under two or more notes on the same degree, signifies that
its

is

sounded and the others heard from

continued vibration.-

as in the

examples.

The Pause or Hold

Made thus

^, when

placed over notes or rests, denote

that they are to be held

beyond

their regular time.

Examples of the Pause

fm

r:\

(O

/C\

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
u

43

-art
^easure

Measure
lEC

Measure

ca

Measure

pa

LLUc^nr
W.
J. S.

Paramount Method

Music Co.

Fable of the Relative

Time Value

of Notes

l^STRUC
Two
Hall or
or
.

r
r
r

Four Quarters
Eight Eighths
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

(k),

and Double Flat

(bb).

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.

the pitch of a note a half step.

half step

is

from one

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
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.

When

The

effect of accidentals

do not

extend beyond the measure in which they occur.

Examples of Accidentals

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.

double flat placed before a note that

is

already

flat,

lowers

its

pitch

another half step.

Paramount Method
W.
J. S.

Music Co.

\\

Examples of Double Sharps and

Flat

Rests

J^J T 7
II

^#=^

-^
A

a m
is

s
same as G\

fe

same as

same as

^^ ^
or-

r'h-

same as

note that

is

double sharp or flat

or a flat,

restored to a single

sharp or

flat

by writ-

ing a natural and a sharp,

cel a double sharp

as required, before the note.

To

entirely can-

or flat, a double natural

(^

is

placed before the note.

Examples
-yy

restored

restored

\\^f

II

"[g

221
[?l?cJ
t]i]

canceled

canceled

Time
Time
is

the division of the different notes,

or notes and rests,

into

measures of
but the

equal duration.

measure can contain any denomination of notes and

must be the same
at the

rests,

sum

total in value

in all,

as long as the time remains unchanged.

Tie

time

is

marked

beginning of a piece of music, by figures or signs to indicate

as in the following examples.

the quantity in each measure;

Examples
t^Orf
4*

^f
'

cj

w
I
['
I

cj

'^

^'

n ^^[[^^[[
If
i
i

nzz:

r r r

;;

^^w^

^ ^^
W.
J. S.

Paramount Method

Music Co.

INSTRUCTION FOR THE TENOR BANJO

The Strings
The Tenor Banjo
is

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,

called the frets, the pitch

and the third and fourth of wire covered with

thin spun wire. Their names, beginning with

may be

raised.

The following

illustration shows the posi-

the finest, are A, D,

G and

C. These

are termed

tion of the open notes or strings, in their con-

the open notes, and in pitch, the lowest of each

nection with the staff.

The Open Notes

A
or
l=Lt

or Strings

or

2'L<^

or SC^

C or

4<i?

i
All notes of the

-^

-O-

Methods

of

Tuning
In tuning

Tenor Banjo are written one octave or eight notes higher than their true

pitch, and consequently sound one octave lower

when played.
4'i?

from a Piano,sound the

notes one octave lower than in the above illustration for the open strings, and tune each string
in unison

with

its

corresponding note; or tune the C or

string to a C pitch pipe;then press the

C string

at the 7th fret,to

which tune the G string

in unison; next

in unison;

next press the

at the

7^2"

fret,

to
ii

which tune the D string

unison.

press the

at the 1^^ fret, to

which tune the A string

Any one

of the strings of the

Tenor Banjo may be tuned to the corresponding note of anhere be observed

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.

It

may

that the tuning and pitch of the

sic

Tenor Banjo
is

is

identical with that of the Tenor Mandola, and

mu-

written for either instrument,

interchangeable, so far as the compass will permit.

Also,

the tuning or pitch of the strings of the Tenor Banjo, are the
chestra; but the

same as the Viola

and the clef used,
is

in the Violin

Or-

manner

of manipulation, the style of writing

vastly different.

Holding
The Banjo
in place
is

tlie

Banjo

played

in a sitting position

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

by the right forearm resting on the upper edge, a short distance from the tailpiece. The
raised and the hand held over the strings about two inches in front of the bridge.

wrist

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

it.

of the fingering.

To

'^ttain this,

place the banjo in the position described for holding

Rest the ball of the thumb against the

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,
is

left

thumb as the movable pivot

of

always kept on the neck of the instrument; regardless of the moveof the fingers on the finger-board.

ment

of the

hand or the position

Tlie
The strings
of the

Pick or Plectrum
in vibration
It is

Tenor Banjo are set

by striking them with a pick or plecheld between the thumb and first fin-

trum; the same as used in playing the Mandolin.

ger of the right hand; the flat surface placed lengthwise against the finger, with the thumb
gently pressing
it

and extending horizontally, a

little

beyond the finger and the pick.

it

The

thumb must be

flexible, and so placed on the pick, that

may be

able to exert full

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

it is

now generally agreed

that

if it

touches

it

lightly,

and

moves with the motion

^hen playing on the

of the hand, and does not

remain stationary,

it is

allowable; especially

first

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

may

fall against the next string. With sin-

same angle

as the preceding, but after striking, the plec-

trum does not touch

to this is

or rest against the next string, as

with the down stroke. The chief exception

is

when playing inverted arpeggios;

to another without

then, the

hand

turned so that the plectrum

can

slide

from one string

being raised.
occur.

When tremoloing

single notes the plec-

trum touches only the strings on which they

on another page.
Paramount Tenor Banjo Method

The explanation

of the tremolo will be found

W. J S Music Co.

Signs Left Hand

The signs used
to indicate the

fingering are the

common Arabic

figures.

- for an open
1

string.

- for the

first

finger
finger.

2 - for the second

3 - for the third finger.

4 -

for the fourth or little finger.

Right Hand
The signs given
in this

Method are the ones commonly used

of the plectrum.

for all plectral instruments.

n or
V

A, indicates the

down stroke

or U, indicates the up stroke of the plectrum.

nn
raised.

or

n, indicates that the plectrum is to glide from one string to another without being

Miscellaneous
f--^

^) The slur or legato mark written over

)
,

or under the notes, indicates the tremolo.

single dot over or under the notes, indicate that they are to be played with down strokes,

in a short or

detached manner.

(D (D

(3) (?),

*'igure in

a circle indicates the number of the string on which a note

is to

be made.

Bar
(|)

or

Barre, means

at

a finger presses two or more strings

it is

at the

same

time.

A wavy

line before a chort', indicates that

to be arpeggioed; that is,the notes are played

quickly one after another,- either

down

or ap, according to requirements.

is to shift or

[y^) An oblique

line

between two notes indicates that a finger

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.

and as lessons quarter note or

The following exercises

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

Down Strokes n n
-t-

Count 12

# ^=^
Count

n
^-o-

n
-e-t>-

o-o-

--

-o-

-*-

n
-!-

n
-O-

-^

-o-

n
-o^

Half Notes
All

Down Strokes

^^
^ P^^
Count

12

i -& i

n.

n
l5

&

fe^

is

e-

&

^m
i J
I

-G

&-

12
15

G-

i.

^ "

Quarter Notes
Down and Up Strokes

ny

12

n V nVnv nvnV..^nVnv
4
,

r-,. f|i

ff

ijff^j|fajte^.j
Eightli Notes
Down and Up Strokes

^
12

3 4

1&2&3&4& nVnynyny nVnV ^ffgg ? ^jiii'**'

Count

^^ ^ ^^^
#-(
Paramount Tenor Banjo Method

^ ^m
^l^-mn
"^

nynvnyny
1

^rri-i^^irru[rr
&
2

# #

&

& 4
I*

^^^'

iiiiy^
<-,

c
W.J.
S.

Music Co.

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.

Strokes

n n n n
I

Notes on the C op 4th String

FRETS

^3
C

^MJjjIiJjJI^ ^ D E F
2

'

io^" >c^ 1^J > 1

imn m
I I

FRETS

n n n n n V n V
4
5

Notes on the G or 3rd String

i
Q

^'o S 1^

G A B C

^
:i

t^f-ry

^^-#

^
D
\

II

i^oj^ro*

Y^*T'*lo

FRETS

n n n n n V n V
2
5

Notes on the

or 2nd String

#i^TT|TTT r
D E F G

ir

^^ ^!:r

ittTtiTttt tT rT
i

-g^

_ P P
FRETS
n
2
V

n
3

P,

Notes on the

or

1st

String

V 5

4 ,P ,T'fTT|T-^^f^f f|f f ff |TtTT TT :&^

'

A B C D

T-y^^

Key
is

of

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.

Scale of C Major

i^
FRETS

All

Down Strokes
1st String

^^
2

4th String

3rd String

2nd String 33E-^i^

2nd String
eff:

.Srd

String

4th String

? GFEDCBAG FEDG CDEF GABCBEFGABCRA

W.
J.

3M ^03^^

mf-wfT^ I

s ^Fif=

^P
S.

Parumoaut Tenor Banjo Mtlhod

Music Co.

10

Down and

nvnvnvnv

up Strokes Throughout

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.

To abbreviate

Abbreviations

V
\

(simile, continue in like manner)

9r> 4

^^JJ-^JJJJj
|

^ES^
zd:

#gT

Tf 'fT
|

T M WJ.(ua^
Vn
V^

Two strokes placed through quarter and half notes, indicate that they are tobe played as sixteenth notes.- as in the following example.

^^P
,

J?nvnVnVnv nVnvn
LA. -pz

simile
,

fhG

it=if

^ff

1/2 "2:^

rf rf Tf|^-.u,
i i

&

, ^ '

n
=

fi\jji

'

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

up, to each measure.

I

0^

^
'

i0

'3

A.^

'^

< TTT

tJ-O-

^rrrig^

TTT 4i^

40

lO

2^

Sixteenth Notes
Sixteen strokes

-Down

and

up, to each

TTT

measure. -^ 33: -O- _o_

:^

^
W.
J. S.

Paramount Tenor Banjo Method

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

lii

32nd and

(54tli

Notes

32Strokes l6Strokes

SStrokes 4Strokes ^Strokes 64Strokes 32Strokes 16Strokes SStrokes 4Strokes

S
It

II

if

H H

-t-

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.

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)
Count 1_2

In the

{Slowly

12

-Piiramounl Tenor Banjo Method

W.

J. S.

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.
Andante

down

|.TTT;J|J-::J;^{rrTTTrT^f^TT.-^ '^?Y^' i?^^ ;rf^ ^TYy^

l
'

#S
<l

p:jE

^p tn

*^ ? *

-**'j

t^:J! '^TiT~r--^Mi

vf^

<p

^Jv im 0#

rt
fr^
is

a^^i

-|S>I

^|o r^

*TT^I #

-^-^

^g i r

Two
its

four time (|\

counted two beats to a measure one for each quarter note or

equivalent.

fe^ ^a

Andante

322

^qc

4r^

nT gt:^

IF=F&

g
i
zS:

Tjg-

^
i
6
=3=

32Z

i
4#
y
TT?"

-3-&

TT7

i
*

i^ TO
Andante^
2i|^*#:
1

Nf

i r

33E

a^
.

2-*^
4-ift

*:

^^
P
*

*#

-e^

^^ MTT TTg F
i

4-^

XJE

^ m

r^p

TT w
i

i.r* *:f

ij

*d?:

^
W.J.
S.

^1

Paramount Tenor Banjo Method

Music Co.

13

Etudes
All

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
to

Etude
n n n

nvnVnVnV nnnnn
jj^.J.jjJKJJJ'^J^^

-*

J]JJ-OJ^

^J

4., a

f^

P^

* ..^

-*#

0-^

i
yj

m
#
*;^

^=F

-AM.

iT- r

Tr'^rriTnfr^"^r^/" y Ky^ff

e^.* *&.*-'*:*>

^'ff
4=4

rrrr TTTfT-rrr^j^f^
i

#-* ..^AJ|0
p;

5?

i>#^

J^UJj.J^i^jjJUjjjJ.J-^Ji^r'f^'^j^^n
Etude
|

nVnVnV n n nn n ~ nnnnnnnn n n
V
ri

_
|

'I

""1

^m
^^
-AA

^#

?
-If

a:|E

rp=ft

4 *0 f 4

''a

^^

XJK

#-if.-o

f^
|

*^-^^f-^tof-^f-o

'P

^f1Y?

r^frrrrrrm
|

^ff-'^'

frrr'fT'f|

fftrYTYT TrrrTTTT Trrr pT?^

:

^S

*-l

JT]

^9

t :IU
id
o

x11:7 '[XU lix;

I

S
S

ra

s*5 J iJ*a J ^*'"*^*j J

iJ

Paramount Tenor Banjo Method

W. J.S. Music Co.

14

Triplets

A
the

Triplet

is

a group of three notes played and counted in the time of two notes of
in

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.

Etude
Strokes

(n V n Vn V n V n nV n { ( n n n n n n
#

^^m
o

a * i#

^TrrrrrTrr'^rrPfT

??

'TrrrcrirCTj

m
slide
x

^Ad*di^

^t^ o#^ Jo> ^J

^J
y

In the following example strike alternately down and up, excepting when ascending to another string. With the descending portion, strike strictly down and up.

n V n V n V r-r^ rri

nvn
h-i

r^ nnvnvnnnvnvn
slide

Etude

Vn

p,

^ ^

V.

"^m|0|

^"'^
Q.-

".r n^\^\^l nnynvnn.nVnVn * # rrrfT'rrrrjiTTr^^^rfff^ slide slide slide " Vnvnvn vnVnV

pick

fffffTffff
Tr1 r r
r
I

'ff fffff
EUL

fT
n

r rr ?? r^f^^^

*^^

^^ s
V
l

^^JJjALjJJI.JJiJJJJJJJJ]
Triplets

JjJjj;JjJ..J]]
note, or notes

j?J^,^
in the follow-

ing example.^

may

also be represented

by a single
rrri

and

rests-, as

tremolo

il'

P^ [^

liTf rji

r r.__^

tremolo tremoLO

^^

-^

rp ^^'

pyi |

li ^

.'

PTi

1
1

yy kyy
^f

o-Jf

n n

^o J <f

tremolo rp rji 3*' ^P

tremolo

tremolo^__,.,---^

-^T

a-4p

i=

3iE

^1
Music Co
.

Pariimount Tenor Banjo Msthod

W.

J. S.

J5

=^

Moderato _ V nnnn2#-->- _

^^

.nal4####,-4>

Melody
j

">l4>#of-4#.^.y IZ

nn n

4>->...g

VgV.
4IL2 1

'<r.-.r^A

^rr^ri^^rimrrrFt-Tr^

emi

nV

P <
!

.
V

^
3:pj

.. n.,V

yn ,^in^ipc

^#^ ^^
n
V

4.2

iiV|T

'^^

IOE
T=^

U\^A^[^\u\l^^Yf^^\tM
Moderato H

n
V

^
W
H

^.l.

n ^^ri
V

Melody
V

J w^-f'

nr^ 4

n
V

e^=f#^
n
V

^n
V

i9^~^

f -CP la.

4_#

^
n
V n r?n

_.-

,,

LL
4pr>

p_

I*

p
V

I
n

(9

Three

four(^4J^

is

counted three beats

^
?
'

- n

r^

to a measure,

one for each quarter note or

its

equivalent.

Melody

Andante

'A^m^F

2-e.'

n
1

-^-^

fopYit
rzi

uiTT^I-^lp^
-i
-S4-&

W^r
-y-l f
i i

NM-rfn
Paramount Tenor Banjo Method

?"

r'lr

#^

-ei-

-*i

s
W.
J.

S. Music Co.

16

Chromatic Scale
Chromatic Scale consists entirely of semitones or half steps, as from one fret to the next on the banjo Sharps (#) raise, and Flats (t) lower, each a half step, any note they are placed before. The fingering as here given is only one of several.

Scale with Sharps ascending and Flats descending

i
if

C or 4th String

or 3rd String
ijj

oi

itfi

iJ

4^

^i-#

1*

vt

a#

^Ijr

Fret 6

or 2nd String

AorlstString
"

v-

.- 4-5-3l>#-3

-vU-

^r
D

'"r

T T
If

^
^^

or 2nd String

G
iP0
q;

or 3rd String

C or 4th String

i
Moderato
J"

r^fTY'r
Melody-

''''"'

^|'^^j

-J

iJ

ii><

Introducing

Triplets, Sharps, Flats and Naturals

n
V

,iJ-4 f ^fTf"~r*r
y

^B
^
i-

>

op^S f
I

n
I

#f^^
Zfh
%-ih

^w^

r-m
V
::
I

n n .3

^ ^
=i?2:

V
1
,?

^^
n
'

T? f}^ 4# ab 2* ,. f
1 'I

'^

^
r^?

^r^gf-n^rfTTf^T^.f;^^W^ Xn njB^
^^=^
0- 4

-e-#

^M

n
.
I

V
:

^j^

^'^^

=^:p

ll>f-0^4l,

In
f-!t

^i ===^
I

-^J-

Ie
n
'

V ^

(D

rTh^TP.Tv
I

L.

n V

rH
V
;

n
'

V
,.

4p

T
i

^g
n
V

n_Ln

n_y_^
-Gt*-

V
)-0-

-*-

b* 4t>-|g-

~ry

n
V^
lb

^
.n
V

0*-

n
TTr

pUf

tT;

f=

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3
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^^
W.
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Paramount Tenor Banjo Method,

Mus ic Co

J7

Chords
Two or more agreeably sounding notes placed above each other form a chord; and when so written, are to be played together. On the Tenor Banjo, this is performed by striking the strings quickly, so as to have the effect of being struck together. All keys -both Major and Minor, have their particular chords, or attendant harmonies; which range through the com-^ pass, or different positions of the finger-board. The Author's book of Tenor Banjo chordsmay be studied in connection with the different keys.

Chords
z-e-

In

C Major

i-O-

\^ J
-6^90-9-

S>-S^

I
^
0-9-

fr

o-

1^
k
1

*-

-e-0

i-~rr

^
-^f?:

Chord Exercise

^
1

"LF
711*1

<> 0^ /'L-^^

^7L
i

^-.n
.i

n n
n^-*-*
A
i

iV

cr^rr

-L =?

-^p

0^ 0*

0-#-

iS

""fi-'it.

m
m

,-_-,_
strokes;^
V

Arpeggios or Broken Chords

:7
^

2
3jK

e^
o-#-

i
,J
.

x^
-t^#

Tn*

#^#

^A ^^-*^
Bar

'

'

A#-

j uT
f
l

f r
,

T^

rP

-j
|

?'f
I

TIt:g
i

^*

r- r-

T:

f:

-e-r

=e=

strokes!"

"S"""""n nVn nnn (nVnVnV Vnv ^ ^

^^K
a-#-

Broken Chords
0-#-^il

-01-,

T-*r

^
J-

^rTTt rr- O^
^^^
irw

4^
-r#

IZ

m^--^
W.
S.

JoJ'^T

^
Music Co.

Paramount Tenor Banjo Method

J8

Sparkling
Tremolo half notes

Dew Waltz
31 ^i 'f^'i-o*.

^3
1

*0

7~

1
-

^Ua

Z-S-'

3je -*&

m
-^

o.

O
T
r r

^^

-p^-

^r
.

^r

f T| f

f-

19-*

6th Fret
.

:r #^

^
322

0-e-'

r
I

op
I

p 4 gJ
b'th

4
*1-

~nr

j i| #

nVnn
^

Tn

f uHVnn
r r
r
i

P^
'Fine

Fret

n V n 40 m

,n V

ifm-

AJ2.

^P
r 2

T
3jb:

^H^'^l^
ir

tfrfiTrrriT

nVnn nVnV

um

4J2.

-^o-

^
^
^
:ii

nVnn nVHp, # #

3ZZ

i^
3je

^^- 8iS^

kJJriTt
4r?'

fcE

rT,'Yvr,,|Tf
r r
I

-^ftite:^

t^

^^
3IZ

tti^
^
A#-

=qe:

^ ^j'^^
332

-3^

^
?rf=
^. S.

--^

F=^

1
'^r

#
'
I

^^^lLs-

* ^^Tj-rt

A^

^;^^ ^^-^
^

O-S-"

4biS>-*

-*>

322

iEE

i ^Q
6

^^
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J '^' H^

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I*

D.C.al Fine
W,

^Pl
Music Co.

Paramount Tenor Banjo MetLoc

19

Sharps
Thus
-sion

Flats -Signature

far, only the key of C Major has been considered Leaving the key C,the progresmust be to either sharp or flat keys; and in order to preserve the same form and keep the intervals or distance fr-om one note to another, precisely as they are in the key of C, certain notes in each new scale must be made sharp or flat; as for example: if a scale begins on G, all F^ must be sharp; if on D, all F^ and Cs must be sharp; if on F, all B^ must be flat; if on Bt, all Bs and E^ must be flat; and so on. The sharps or flats placed at the beginning of a piece of music is called the signature. The following table shows the signature and names of all the Major keys.

Sharp Keys
Names- C

,^

Ftl

Ctl

no signature. Fshaip.FandCshaip.F,C,andGsharpT,C,G,andD sharp .F,C,G,D,andAsharp.r,C,0,D,A,andEsharp.F,C,G^,j\,E,andBsharp.

Flat
Name s - F
B\>
E\>

Keys
G\>

*
is

^dz
Bflat. B and

^=k
B,E; A,andDflat
.

^i^

k^
flat
.

fck

C\>

2dsL

Ef kit. B,E,and Aflat.

B,E,A,D, and Gflat. B,E,A,D,G;arifiC

B,E,A,D,G,C,andFf!at.

Scale of

atthe9thfret,andthe4thfingeronG,atthel0thfret;asmarkedbythe
(3rd

To execute the three highest notes of the scale of G Major as here given, the left hand shifted forward so that the first finger is placed on E, at the 7th fret, the third finger on FS, figures placed below these notes
Tremolo
(1st

G Major

Strokes{2nd

n V n n

H n

V
PI

^ 1*

^p-

rr^
Fret 4

-^

shift

m^
sMft
7 5
9
10

AA^

^rrrrf^.

To shift, is to move the left hand from one position shown in the two following examples.
/Tremolo
Strokes
{ n <n

to

another on the finger-board; as

n
V

n n

n
V

^it 4 ^ Fret 6

..

4 -*_0

m
5

_,, Hituae

^i=

Pojij^piYi^'^p^rrY

3p: -&if-

3ft

-ff
stilt

ff rf
slrtft

f
10

r f f
i

f r
i

sbift

rF4^
slilft

3':

Paramount Tenor Banjo Method

W.

J.S. Music Co.

20
: i*i.''f:''f:i.o*-''f:
s

'|to

::

hift

f-0^^0
2
5

f-

pp

yT
IX

-^F 3 <

,p

YTr

TTY'r f7YTi77'^T 7'^

i i

Strokes

* E j.j^rf F^
-#
'

n n n In V n

Tremolo

n
V

^
s+ttH

^
Etude
i :

XE 3ar

^-

i^yMihw

Irjj -^jX^^^^^'f^
I

r^r
ifcst
^f.-i^
I

-T<.*-'ft ^i*

rrxrirrTTTrr-nrrrrr^rrrr^rTS
y*
|

r^rrrfr ^ rfr Hfrrffrfr| rPrrrri ^ shm 97597 95 97537573 975 97

sirift

FretlO

10

ffff'ff'f-f;P^'PTT^T'f:fTT'fTTT 'r;fT TTTTTT|

975

7375

25

3527532 5352

*P

i
|

f*
j. 1*

YY' P A^'^YYT Trr

i

Cr

r t

Tttt

r?^

*
uij- LLL^ I'CItj'lIIjIlIXj'

im
P m P m
J4^;^ j
4

^="^ iJpJ^^ld *o J

gHT] J7T]

J7j.j,jj,jjh/Jl] jjjji.Jjj.. j
rret

6th

6th

6th

* ^ j *4^ ^J^ =^^.JJ

4

^^^aJ j4*j j 4<I^J|0*4J3 J

6th

6th

^^
4

-e-#

^ m

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W.
J. S,

Paramount

Teiuir

Banjo Method

Music Co.

21

Tremolo

Waltz Movement

4r3'

lO.

^.-^g^'^
shif t

1?

4
9

i
7

^1
10

10

^
V

_4_i

-r#

tEj^

Niagara Polka
^

"n
Ao
.

n a2

n n

V
,

^
I

n
',!f
..

CO
ri

t tT"]

rA0:\m 4 ioj
6th

" n n
m
..

u
i^

L Am

-2

_ n

_-

"

^f^^ r-'!rT'Tj =^^^

6th

^
iA

n
||

''TTlTT[j^:
6th

p f f\ m

Fine

F^
TRIO

D .C.to Fine thenTvio

n
V

^33 ^
;

T'^f

,1

1*.

.n

n* G

V
oi-

n n TP"

i
6th

-^^
n

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7th

f:

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LjT
7th

."Vnv r^r rr.

6th

n
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Paramount Ttuor Banjo Method

D.S.to r7\ then D.C.alFine

W. .I.S.MuMC Gu

22

Chords in G Major
* ff^ 9
r,^
zz:

^o
^

1-

gl
s-

6Zi

0- &o-

O-

cr

X7

^
^
!

Chord Exercise
4" "

^^

i
1*

- ^

frW-

:s9E

jCC
-#

-e-#

^^
*
1-g

n n

^^

^I
a:-J
.

nr
4#

n n

3
-r*-

^*

Broken Chords
n V n V n n n n
IJL

4:

^
I
m

P-.^O P -Hj

#
1

=7=;^ 3JE

i
of^r
i

'^

-&# ^PI*:

-*#:

Ol-

441-

:3^KZ

4# -^P 40 ^f ^#

i.j.P'^r

TW

Broken Chords

^" i
:-

....r

;I^r^' Ll c^;^
-^H^

v_n

i2^

i^
t

xz

:3pi

-eT-

-Oil jj;]

3aE A#.

lA *

*f:

-^4#

-*#

-ei>-

f"'.j,j .j"i'"E
i

f^

^i ^
10 th

^sS

ffi

loth

-3-<^

0^ "f^oi^
L

[_TTrT4J

*
W.
J.

Paramount Tenor Baiijo Method

S.

Music Co.

23

The following examples show some of the different combinations of the notes and the manner of striking them. These strokes, and their exceptions, wiU be more fully exem. four times. -plifled, in melodies and pieces, as we proceed. Repeat each measure
usual

3r

nVnnVnn nvnnnvnnnn nvnnvnnnv n S3 Lf 'LE/L^i'C^ n n vnv n vnv VnV nn n n # =g *''ruri!\ 'in'LijU f^^^
i

nnvn nnvn nvnvn nvnvn pr^^fT7rr-^4^^rr rp^^^ rr; g?^

INTRO.
m^S-.y^ *^
.3^
I
I

n V n n ^y-f p

4r.^Mf^

vnJ .uVy^/TN
.

Ivanhoe March
nil n.n
V V

V y

n n
1
1

V v

n
Frete 6 Fret

^_^

n n
1iJ

V
'-"'^

n n
Li

UJ

L-JS

rJ

*n

V._a

nnv

nnv
nv
"f o.n
V

nv__d ^
n n
n' n n

n n

._.

n n

^^xiiLTjvi.^^i^-^i-^Tjirirrhci^
*

m
n
V

'f

o-

II,

,_J

/n ny

n n

^
,1
, , ,

.ih,.r^.

Paramount Tenor Banjo Metliod

W.

J. S.. Music

Co.

24

Shadow Dance
Moderate
r'

-,2. .7,2. .y

3 -f-.tJ^Yn
i

ff f'^-r
,1:.

.y

,!:..y
'

T'^-r

j.4t
^

o" 2*-#-=

^'^^^^>r> ^
1
,

4#--

fci

,r-nr
rret 6

^^
6

^ ^^=g^
o#.
ij

tu-

nt
1^

"^

fTTT{rf^rrr^tr'K^i*.^^'!^

>
u

iTTfr f

r ^T

^
V

41

~~TTr
10

! _J

i#f~i. V n V <4#'
,

>

^
rit.

q=
n n lA

4*

^
'f
i?i;

/TN V

-AA.

nTir
a tempo
V
,

IT

glide

s
*19-

'

gtj

n^
glide

IP

ip^

pick

"f.

n .v ra#4.:^:^g

^^T^p

i
"^

i#.

'P^? f

rfr
n

VaQ.

^
pick
V

p^p?

V/

AJ

122

P3^

*^
V

/?n Z^ 0'A tf-J^^ f^trT'T

vnvnvno

iZ2.

pff^
n
'Jg?, 5

^S
n
V

".*' 4JL;

3=PE

F'T|Ti|T;MSvi.\|T;p,.i;,.p%l,"j%,j7^
Paramount Tenor Banjo Method

"

W.

J.

S. Music Co.

Scale of
Tremolo

F Major
n

25

Signature Bt

n V n V n n n n
7
Fretb

rfrrfnrrf,;ff^'^Trg^ 1 n^jJ.JM-'TT ^ 13578 87 31

5

n V n V n V n n n n n n

Etude

o^.,r^'^-..,r^rf ?F'^Tf-V rffTf'f ;^iig:gg 753 73 13578 875875 75 Frets

,

'fTT'f^^'fT
o

rrrrffrrr'n TTrTTT
FS*
XX

# ^ P P?"Fff ?=F

^^

^ 4 ^. ^^i^oJ'^^^^uJ n^o J ^Ji^u *^"^ * J

.

m
,

niP*
.

J3J4JI

Three eighth time counts (|),has three

to

a measure, one for each eighth note

or

its

Allegretto

^W
-

n n

_
",

Peasants Dance
"
P,

n
3:

fWy
n V n L! 1 U
V

3
{

.; J S

ji

* ^..^'^

n
!

;e)b^^
|

*i

o y
i>

n V g=g #

n_

Eif^

n J

n n n

n
1

" ^ n
1

=^
"

:fte

^n

jL^ i

o#
*

n <#

n "

xi n n
'

"

^
1

i^
n
' '
'

^^^i
-*i

^ n

=P=<c:

n a?
*

n
-ei-

-f-W
V
'

4 4a=ii3:

-* ^^
n

n
' ;

n
'

'

I '

in
I

n
I

V
i|

n n n
'

*n '^T,^

sac

-3-^

8-(
'

TRIO

n n 4i3.i2itS# i#

SoJJISi nnVnvrrrn-

D.C.I^ li2n

th'en

Trio

D.C.alFine
W.
J.S. Music Co.

Paramount Tenor Banjo Method

26

Six eight time |,

is

counted two or

six to

a measure, according to the speed. In quick

movements, three eights or their equivalent to a count, eights to a measure.

and

in

very slow movements, six

Pantalon
^^ ^^ ^
(Allegro (Quickly Count -1

^
=c*:

*#- xje -GiT

33E

fff Trri^ r^frf

|

^^ffi
A^-*

rf. mtT:riTrr_x.ihrT TT ? Fine

>
aj
'

g 31"

^F

J.

# J
,

O jl

'

ft

fwr

*-^-

I/trrirr rr
^f
aa
1
,

i-'MT^P ^-'>

p^^

r y

"

r^JMr

P^^Mr

?|LrTrTrrr.itp
F Major
O

p.ii ^

Z,D.C.alFine

Chords in

1^2.

32

--&

2;^

lo
:z:2

S^

0-6>-'

^m

..^4

zzr

-e-&

o-

0--

TT

0(

-*|S>-

33

0^

Oi

Chord Exercise
n
n n n

ij T

l=f=f

^^
W.
J.

Paramount Tenor Banjo Method

S.

Music Co

21

Broken Chords
n n n n n V n V
1

W^. i

^^
3l
1

- #3
ia

1*

~ry

p3

\m

\0

^^^
n
V

a
V

^^
:ip:

^4g

W
r4p!^

-*#

?^ rrT' ^

nnnnnnnnnnnn g
n n
V

Broken Chords
y

V v

#^i^
o-#-

^[j

Tj

-i"^

T::^r

.j::^
^8l^

TJ ^r
Ol-.

.^^

tj^^
IJL

e:

^
^^
0-#-

Si
*#

o^^:r

3:1c

33E

3jb:

<y 'f f-

a:^

0^0-^

=lp=

^
(Adagio (Very Slowly Count -1 2
3

ia^

fe^ ^

TW

p^

Memories
4
5

(Reverie)

D.C.al Fine
Paramount Tenor Banjo Method

W.

J.

S.

Music Co.

28

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
MAJOR - F

B
El
-Tf-

Ffi

Al.

-xj-

Dl.
-t-

Gl

^Hz

-oEl>

^
4*

c!>

MINOR -D

"BF

tdl

Pi

AT

Scale of A Minor
Relative of

C Major Melodic Form

# ^ TM S
:-

(Tremolo <n n (n V

n-

n
V

-*1^

!*==

^
0.

ftt^
6th

iEi^
a

!
7th

jj 'ftf

Fret 4th

9th

11th

^^

2tl

^1^ 4

''1^ *f-

^^

4f
5th

g
3rd

12th

10th

8th

7th

:^p

33e

51

^
n

Scale of
(

A Minor

Harmonic Form

n (n

Tremolo

n n

P^s

HE
Fret 3rd

A tfC 6th

^ ^

F/f

rrf
7

3fe

11

PaKimount Tenor Banjo Method

W.

J.

S. Music Co.

29

Etude

nn
V
Frfi*

n n

nnnnn VnVnV
1

HE

,,.^

r ^^rr4
6

m'ff^^i f ^'^f^f^
'

4*-4^o

r
4

ft

1^

6 3

Etude

'MfL'f^'P

11

12

Lively
r\

Minor Jig
V

^,*

---

^
n
ii

n
-*'

n
n
V

rP\^aij h
V

lull

v'r J>r
.

tt^

n
IjK

i
n
V

iF=^
n^V _ ^
n
V

I*-"

Of
I

n V n ,0^-p- ^M ^* ^tff

i^

^r

A4t

3P=

6"
^r^

_ ^

n
jf-

V
f-.

Qf-

rrfrrrrT t
f-..^

.'^_gf-

-& :z^

^-f'f'.

n n y

lt-^ D.C.alFine
W.
J.

Paramount Tenor Banjo Method

S.

Music Co,

30

Chords in

Minor
33:
3=b:

^
E

2^
3:2: r:>

*p.
1

2^9^

Eg

30Z g

2:&" 3:2:

EP~-,-i[

xz:

* g a
-

331
3-ar

0-^

Chord Exercise
3L

XC

-3-*

EC

3 ^4

'tt

-Y#-

^^
I

0-|-

33E

i
Broken Chords

^^f
/

-J

-f f H

P^

4*

3*

-*#i

1#,

1*=X
tf#-Mt

cILr 'dLT'
fr2 .
<'|"'f^,,

imm-

4^
6

&*fi
7

4f>

=cp^i=r

^^
m

Broken Chords

^^^^^^s^
*#
p-

m ^ ^^^^^^^ m
0-#-

r^ft* 'fi
6

&
6

e-P-

,4||p f'4

XjK

ESC

O*

^^
:
^
1

o-#-

Paramount Tenor Banjo Method

W.

J.8, Music Co.

31

Oriental
A
n
Minor
V

Mazurka

n
I

(^ 'iJ.a

J ^^- 3 J

^- J J J. J

#^=F

'fr

'H

r''i^rT r''
6th

"f-f'r.-a.-

IX

^p ^^
1^
'

-Y'f' f

^ *

<!

<

4='rflli::
Key
of

^
ff

J M 12

Sh

tee

m
:

^rf;^irTrf,pf^rTT:^rTTTTT
s^
J,

^
^
o

DC. a I Fine
then Trio
V

0-#-'

j--^

01

_^

V n V vnV

TRIO

W=^
V

"'

6th

i*

A6th

<^A

/r^o5- /v\o^-

o#n no?

n n.

v V

i*

l^""!

of^

^^tsirr
e^^^^'
^^"^^

'^^

ns. Trto Trio to/?\ tor: D.S. then D G al Fine

W.
J.

Paramount Tenor Banjo Method

S.

Music Co.

32

Scale of
^Tremolo

E Minor
G Major)

(Relative of

^^

(n n n n vn
6

rrxrmft^r
~i

6~~f

Etude
n V n n nvnvs fcf^
V V
simile imi ie
,

i.

-i-

?'

.*

^rr

.r^^T

o^i*o^iA^fri^^tte^f'f
,
,

rrF f tTF., fff-fTf

4,

^'4-2^

4,

?:,

0^
,

'#-0-. , or. ...

fTTiTTTrrfrrfTTiTTriTT'^
l

^
jn
n
V

^^^Jl-i.J:,i

Jjj J..;4;oi! rr;'-^'^'''^

l

':7

.J L

Etude
Allegretto n V n
*j
1

* * # y

J ?E

a^

n/^-iT^^f^^
*i-

*#o3. V

^^.of-^!

"

,n

n _n

^^

n.,y

n_n
'^

# # 8#

rjr:
Paramount Teror Banjo Method

? ?

'!

I'rrr

& ffi:^yi^ ^=m

W.
J.

a*-

S.Music-Co.

33

Chords

in

E Minor
1

(Relative of G Major)

1^
1*;

2;^
i

Ob oq

ig r ^ :=^

lO 0^9r2i=g

-AZi
-a
9^

>-

arj

^Ff

<

3cn:

-TjtT^

^
^0-9^

Chord Exercise

^i^
'

7thBar

4::*

4]-*#:

4#-

425

P^
I

i rj'T M.jtffrr Bar 4th Fret

n n n n n V n V

4th Bar.

i f^5i^^

2M

^mT;
n n
'^

-AA

ip:

nq;

-*#

5^S

o# ^##g^

=h

^
11

Am

# ^a s

[]

"
M V

i
I:

^^1',.

JJ'C
4l>

-e^

* *
:~

:pT'rJ..ja^:
ij

^ ^ 1^ ^^m ^ ^
V U rn il n 1*
4-#.

Broken Chords

i, r:*A

^-^

4-#-

^'f^fo^

'"f'^o^ -3l

op-

*-

-*--

^^
1

ist
6

4-#-

Paramount Tenor Banjo Method

W.J.S. Music Co.

34

Allegro E Minor

Harlequin
:

*
:8=

I
n
w
-44
i

f^^
i

^1^^
G

^
Major

ij^^m
*r^ p <^
"^

^
3W?;
-0-

*A

^
g

r?T?

4
|

-rTTT-?
1

rr. Fine

^y^
E Minor

4^

J ?i"TT'T'p T'^ f'^

i

'^^

'

'CirT'^j
4i- #-

^ ^

C Major

=T-?
^

fi^#^

^^
4ff.4p

ii

;:;T
'^l^

F^ T:c 7
i

:;

^-^^::^

=Ep=&

g
%
-75

^4> ^.

4p ^1*-4p

% i

0*

^^^^e&jj:

3::

D.C.alFtne

Dinah's
J,

Song
?
M.2n

-Ji -E

Moderato Minor

;,

- 0#-

aii
.

^^
n
--

n n

^'rlf-frrfr..-T:'UJ ^E^ :3ti*

1
6

^:
^

^rit#-

Key

of

H
a,

n 0^
-a^

T-

*^ .g

fr

-r

3E

0-F- -l^

lA 2*
-8-

*f.

Z-0-

4JL

I
-.-p^

3IE

i::i:3

> T*
n
fc

4?^

T^

oWiz3^

I
.

V
-r-

rr

:t*^
Earamount-Tenor Banjo Method

_^m,

~ -

r-

t^

^.

w^

^
r-

-w-

i^.i^.A/ F/'

p
Co.

W. J. S. Music

35

Darkies Frolic
Moderate E Minor

w-^t

m^^
n ^.

t^

?W^

ur-^-i'^j

u'
4^

3f*fl .
^1

'f-tf^i^-..^. ^^ ^-j^'^o^-^ P Trr

E Minor

^
'f,

of^;^^,

4#

^3^4 -*1^

n:

r^

J^

ll

aJ

[J

la j

^=
Lfr

fT^rr
C Major
^44

1,
40 ^

^^^
r
r

S
-

m.

^ ^^
nirjrjiT'
y

r\ >,- ATf: 'ff^ip ^#^

1*

4tf

Minor
i

cJ-J tJ'^J
w^

^^
^

^- [j^r j.^^^j flfTT'fTT T^r*

-

^^
^
^

if

j.|i,n-Vrr'Jr.rrrTrJ^ -Mm ^P
f
"^

^r' "P <F'

P
#
t

^S^

E Minor

a
^tK

'^ 'r

^
J7>tlr-^

331:

3i
(D

p rf T

n^

"ff:

"p'^f

'0

f''^

^g^4F^
W.J.S. Music Co,

Paramount Tenor Banjo Method

36

Scale of
n n n n n V n V
Tremolo

(Relative of F Major)

D Minor

i^K^ aJo^M*

f^
-ttfgOf

rrTn rrnr
.

qtg^

rT^^-i-^3jj^i

Count

n n n n n n n V n V n V
1

Etude

,fe.

-00-

^.,o.T-^,^...prT'^.prrr?frT'^f%ftf 4 74
Etude
Allegretto

T^

f
n

^
it
.

^
n n

jXj

o#

XM

:sz

t^

^^ E
^?^

iiit;

^
nn
n

10*

'

ij.

l^*-

-6-#

m
i

T#'

tT^^o;]
4^

r4 * n

4Jt 2

3:t

33t:

3^
A#-

^^

till, it

IjC

i
'
|

^^

tHt^
7

o
|

;r^f
f^

3^^- *>

^^0^^8l

BS

^di

1^.'^'-

^rnT^ Hrn.
i

iin

iMiyliTli
"W.
J.

Paramount Tenor Banjo Mettod

S.

Music Co.

37

Chords in
0U9.

D Minor

^s
'

n^

1j2.

_l:!2i o^. ^e
*-iO-i

i'j

rs

i&i}-

? er

5>-

?
5~

fet tV

^ ^ r^
r

T^

j t: tli: ^rw-

m
0-J-

o--

rr

Chopd Exercise

m ^
fe

w
1^
r

n n
4f.

aV*-^

'a
rr-rt-

^m

*^

Broken Chords
n V n V n n n n

M^ i ^ j^__f4"
:^

st

^^a

^#7^ i^

# ..

'1^^^
-#

TTT. r T

m
n n n V n n

4* TAP

-fr#-

^ ^^
o^
r i.fMl

rTT 'pT
(>

-()
|

.^ p''
I!

T.
I

474

I.I]

^f->

Broken Chords
n
V

n n

n
V ijL

4-

^
*4L

p^
Tl^

oi.^^lteo

-^ ^1*
10

^^ ^^
^ ^
r n

^.T r f

^ ^ ^
#

:i

xa
^-^f
"

4*

4#

tJL*:

slfl
^8-^

^P
j

j1f

^^

a,

3:^

"nr

~^Tr

^
Co.

Paramount Tenor Banjo Method

W. J. S., Music

38

Accent
la music,

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

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.
-^

Examples
J

Two

four time

|,

Three four time

f.

J-

Four

>
four time |,

^^

Syncopation
a displacement of the natural accent, by causing it to fall on a part or Syncopation member of a measure, that regularly is unaccented; and continuing it into the next accented pulse or beat. It is caused by notes of lesser value being placed before notes of greater value; and by tied and dotted notes, beginning on an unaccented pulse.
is

Examples
ffi

j J

rirr rirrr
ill *'

i'i|'-nijj^?r
/ JI

;!r

^Frpr

fE^

" J

j.riri

jJ

.^\ni
(Syncopation)

UJ

FTrj-rHI
Ast

Virginia Capers
Moderate

D Minor

^1

m
nm
1

iHs
e

r4^

4 JL

=^^^ -#-

TiTf fT
*# :'L^

# 2^

#2

m
%

^m
6

Fine

5
Ji0

*- ^wf^

mi

f Tf-Fr^f'fff^P|Tf-,! ^
*it>* Hfi^ f ifil
*

^
^ffy^ff

D.C.aLF.ine then Trto

TRIO

^9 i

*
y

^ ^ j:]-'rr?-'T^ii-tfi%iTf^7r^^[^
I

*?

y
y
Co.

^P?a'NjJWj'T^ T-^TI'^^^1J.JJ,iJ^^^^^^^^^^
Paramouat Tenor
Baiijo

D.S.Triotons
J.

then D.C. a I Fine

W.
S. Music

Method

39

Columbine Waltz
D Minor
i2
^ti9-^
:

If^

n uH

IZZ

-^15^

^ p|.' "^

^M

^t#-

-&1^

4F-TT !
~I

F Major

f 4* ^

^
>
^

^
'^

I?22

^'xn

*<?

^1&

m
s
2

V V

:p^py^^-pj!^bw

n^
p
I

r i

C Major

tip; ag

i
-f-

^
^--

ir-^J'T^g

f^i;-^'.;^.j:-j-^o.j. E P'-l^' E
8

i
iTTTg

f:'/^f'f

=r^
-e-

w..o."yw

o*-'

^ ^i F
-

F Major
-*is^

3:

0^

^^
HZ
1

J^

0-P--

--

^
-xw
0-p-

0-9-

--r

^
^|
r
i

f^
r
1^
;

Q^J^^"^ Afta

-!f

-Hr?

-J

vJ

ii

?3^

P
p

fj,f

JrpJ

\^ v
1

o-^*Tjr^jo

3ZZ

?
r
I

[;

# *p

^ 9
T~!^

"I lt

>
I

a 9
1

^
V

D Minor n

1^
KJ:^

i2
l9-=-

22

r
n
n
V

T r "f
'r:r

,f

femp^
n

^^

-Jripi-J^

A^-^
i

n
.

(z^

hi'"^.J.Ul j^j-ji.jn:|i
W.J
S.

Paramount Tenor Banjo MetLod

Music Oo,

40

Scale of

D Major
Fit

'lJ5j4
Fret 6

n n n n n v n V
l'

Tremolo

Signature

and C#

-f

^#p^ *#^ w^

A#*

TT rT'^'^LJ^jJ^ 6
i

II

'

Etude In Thirds
Moderate n V n
V

VnV

'
'

"^'^TTffl

Etude
Allegretto

f#

:4

M
'^
'

_un

J.J

r'

a ^aff

am

0* 0^

-&#

10

Fret 6

S^iSln

The
Tempo diValse
Fret 6

Yodlers

Song
2rt

Xj

"^-8

j.j^lH^it^j^^^

Kev of
Mnjor

_1JL* '

^ r-Am

it

Jl^
4jiL

O-0-\l
^1*^

n-g-oj^..
3

4*

mm
." V n-;^-oJ^. ^
-&0-i

5E
'
4Jl
'

^PE

^
4##

^m:

n.V
n'lt''A

3iK*

.rr

4g#

Paramour.t Tenor Banjo Method

J.

S.Musie Co

41

Chords In

D Major
Ol-

^ ABl
'

T
1

0^ 3:g: razn
r5-^s^
Bar

1
Bar

-^-

Bar

^
4j-

4#
iisa

Jt

;i 1*

1^ iV

*:

iza

>

iPH
r

Chord Exercise
n n n

fe^^^
i ^
I
I

#-.-

-*#-

p
4->

r,jTrrLjTT r
g

fe :?fffp4" fff| |4ff # 1*

ei-

*#

rrtT

F^
4

.mii

^?Ff

Eli:

Tr

Broken Chords
n n n n

l-ilj.J
Broken Chords

-6--

..

=E|C

4*

^^
W.
.I.S.

Paramount Tenor Banjo Method

Music Co.

42

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.

Examples
I.
A^ritten

TT?

-^5^ %
fTv

trem.

ifi^
Try

rrv

effect
I

mw^ m
-i

nv

ftd.d

Review Polka
1

^
k^

rnr

1
rrv

"tu

n trem

^
nv
1*^

TTT

*^>

fr?"frrtrm

m
n

m
11

^^
"
l

n n v n..y ig 1^ >i^
l

3^ *^if:iP

Iff

\^f^fflH0 Triff f IK^ T r -"r

tk

"

n,^ .p

VnV

f-sm

S ^ m^
6

Key

of

n
3

nnnn
^1 4

=:?n

!3.J)
1*
Hold.

3#i5*^

^S
yi"J^

:^T.., .. .
^
V

;. .
.

^^

" n

'"^'^ ..^ ^ 3 [>

se=E
v

n n

n n n

^^

^^

ji^'iniS.J of-.*^
3:e
Hold_
i.

D.C.alFine
Paramount Tenor Banjo Method

W. J. S. Music Co.

43

Scale of
iTreiuolo

B Minor
D

Relative of
O

I
i

S fr4F^

n 4#
6

" ol

4?
6

^ Fret

Major
ot)J

^V

r^

If o#

V
3jb:

^
4

Etude

I t

3r

n V n V 3# # f
'

simile

rrrrl :fV'
I '

-I

"

r^r^ii
6
1

^5.-r- ?,'F jt ^^g'-'g'^-^^^

4
7
9
10

^
j:

Fret 6

Chords

in

B Minor
Bar Bar
-3-&

^
-3-S
igj

.A.

4-!^

Bar
*
3

4-

ao

3-e

rv

3-

J
Qgj:
-=5
j:

!-

-^rsm

If

1/2.

re?

:& 9g
'

IflL.
-31
*

-j

n n n

Chord Exercise
n n n
n nn
..

Broken Chords
i*
^^^1

^^

R 7.n.l

-Tf"

^^

^ ^
*-

'

4^

3^

iJL

i. :=

3jC

fe
SE
fe!

^
"

te

4^!^

-5^^

^f

ultt
6l

imJ

Aria

'

f-'- p
Paramount Tenor
Banjo Method

-^yyV'-r^

y^
W.
J.

S.

Music Co.

44

Scale of Bl Major
Signature
Bl^

and

El>

Tremolo

i i^^vYf T'H
Fret 3

n n

n
V

n n

n
V

fr

rm nrr r rTT TTT'l

. . l

Etude
Allegro

simile

TT ?,' 'p-rp

Chords in
JSJj.

Bl>

Major
Bar

-^-s
?

C;

ad
gj

3-6
-!H5

3-S

-3-S
-^e-e

1^

4-

4 f:
1

lo

Bar

lO

IS

33:
Hi-5t

"T77

T15

s>^
J:

vp

3-5^-"

"2"?

Chord Exercise
n n
'

o^ -^i

'*^
+1^

+*

4- r

:3qK

^^

42-

Broken Chords

n 1^
"8

n
TW
Music Co.

Pj-6"

^-^^
\
1

Paramount Tenor Banjo Wetho'l

W.

J. S.

45

Double 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-

Double grace notes are executed on the Banjo by striking the grace notes

and the

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

ing the first note, the fingers are drawn aside in succession, to sound the others. Observe the marking above and below the notes. The slur shows the connection of the grace

notes to their principal note.

Examples

uriitrn

nVn nVn nVn

im^fi'

^m

i/a ^
*'

^ nvn

jCM

h
n

fT^

-*
n

'^'

IeeS
rTTTT

^]

tTTTt

yeffect

3^5

Blue Bell Waltz

TRIO

^
^hf- IJZ
-e-(&

D.C.alFine
^

fJ

322

S
r

JM

^
-e-e^

slur

TZ7

t^
t=m^
n
V

-81^

oJ^^^P

n ^# p^Ll
An
>

132

rr

4*

^TU'Jii^
n V

m
.

m
..

ab*

322

=^fe

^^

:3j

4Q

SEE*

--^

rT:||oJ

iU^
Z?.

^. a I

Fine

M
.

Paramour.t Tenor Banjo Metho

W.

J. S.

MuBic Co

46

Scale of
Relative

Q Minor
Major

B\'

i^
^

n n n n n V, n V
A f 'kf^\
\

Tremolo

oJ

<*Y

'

10

fr^y^fim

Etude
Allegro
^

n nV V nv

-|

qi

'ir. ' ht'r.

i

Chords
_Ai5

in

G Minor
TTT
-

%^ r i ^

_i.

-A^.
^a-s

ac
-^m

32:

-3S^ + ^T
i

-AjS.

i^

-*i5

'j^^n

sna
T-^^

--&
1

"TZ?

^rzi

-rzi

Chord Exercise

ta

n n n
n n

4- o <

k=^^^

I^
V

^ t

^T:*

aS

I
^-#

^^
-t-

^^

-lit

^
sriczK He:

-&-9-

P f=^*l3E^

Broken Chords
n

nn

n*7^ n^I ^f-4

Pararaount Tenor Banjo Method

W.

J.

S.

Music Co.

47

March Of The Guards

Moderato
n_ V

"

f
n
-8-
1-a^

-r

'

*^
^*1
-^4*

V^
n

i
^^1

r^
"

i
^

S
rr-

r*^

"^r^;-; J: rt'r^'^
ad
V

lib

a
.

ti?

n
BI' Major
.

ail

I
I*

i^
n

4^ ^

3 i) -A4l y-< y a '^ '^

-^-^
1

^"
V

! ^~Ti tuL./

n
-*

n
y a< :

n
-*^-^

n
IjE

4 y aj ya
2^
G Major

.u

yaj

r f-rT. T

?r

n 'f

/
^A^ Trio

TRIO

,pi-jtTi.M-JiH.;-J-4ii, ?,^ m^Em EEE^ ^^^ ?3^

mf

n
V

^
/
y

Ir

dim.

iis
i
T~r

",.n.oi

* R j^riTi .gi-itii

^ ^

^^
y
V V
,

v^
n
V

^^
? /^

o.-f^^^^Z]^^
TIT 5EEEi

Ijn

rc
V

-#

a
v V

;^ :.

^
i

^
V

V y

A
V
\

^
dim.
V v

-^

P-

t
dim.

i.;c

fz
W. J.S. Music Co.

Paramount Tenor Banjo Method

48

Scale of

Major

S ignature V^C^ and Gft

n n n n

o^4if:

i
Fret 6
6
(2)

11

12

12 11

6
(2)

el
(3)

Etude
n V n V n V n n n n n n
lA =i*-n^iAi''#^

Chords

in

Major
3l9-

W ^E
i

n
ttt:

n
3C
r^:?

*P-*5^
1

4tS>-

z=232i=ra
i-fii-

323:

322:
-4h5

322
222:

32;
liS^

"T2?

l-<9-

^^
3#.

E?

P-

-^^^

H 21

2:

312: &-

3:2:
1

S--

^
o*--

Chord Exercise

U ^^

n n n
<'^^

.^
---

#
I

3--#-

IPZCE

EEE

. 3:r:r

*#

lECC

-ir^irr::::

4^p:

-im

r#^

CCK

Sil
0-#-

Broken Chords

w ^^
Fret 6

n n n " n n n V n Vn v
'Pa.

IJL
I

^^^
3:

1*

*#

-3l

-t

-0

'P-O*

^(tf.^Y'f f

&s

4# TM \
6 6

31

^6

*'nl

xc 40

"

ips;

3ac

3S37
4 7 W.
12
I

-Paramount Tenor Banjo Method

J. S.

Music Co.

49

Scale of F
Relative of

A Major

Minor

'
Fret 6

1li:ii>'ii|Trr'^''"'rirrVrr
'
I

Li.

Etude
Fit

Minor

Fret

S
Y
1

<i

simile

J^

-*i^

r f

"/

^^^^^ ^
/ I'f
6
a

4*-"^
fct

'lir

-;

-f ~
6

"^'-^i'^ 7'"^' 6

'''^'"^ ^'1'"'^''-^

"^

^i'"^'^^^
6

i ^t^%irmwn,n7 89 45424
^r^
\

^
1
>

Qf-a^
6

p _
6

__

ti

Chords
n
n
4i9-

In
4^

Ftl

Minor
-5t^&
0i5-

^HE^ I

fci

&
zz:

^9-

3-9

.?_
5>-

-3-9^

*-P-

Ttr

^?^

-*-&

0^9-

^O
6

4
1

-4J-(9

a
*.?

Chord Exercise

U See

n nn
i-i-^

o*
3mz

EaiE
t^

B=f:

4*1#- l9-

n n n n V n

1^

n n n V

Broken Chords

6
W..I.S. Music Co.

Paramount Tenor Banjo Method

50

In
Tempo
di Sehottische

Clover Time
T-

Qu
'ii

n
Fret

v"'^

-^

^ nf^
4

,V

"<^^^ r'^ 6
n
V

#0 P *|

o^-^f^./gj^^^:^
6 5

B^
r
5

-J

s=

^
Ft*

^^Fine

Minor

V
f"
3
,

fep^
I
Fret
r^.

3 x -ir4

^
6

r.. '^^r
g
5

3i^4

yT^
M
JII
.,

^^
2 ^T^-"

^^

n n

,V

D Major

^/iew trt'o

TRIO

Y-

..-p

-fTTTTTTT T^^^^
i

B Minor

fc=^

o-fi-

3:?2

^rTfT,T
9,7
n
5

f.. ,. 'f

-*15^

-4-^

-JhS^

^^ 36
__n

.g
4

V.
3:p:
6

3
rr
I

V.-g^V-n

i_&
-*i9

^ t

ti

r 'p

'

D Major

EIIj'

^iLj'

t-j^^
6
5

fT4itr^'i
6

^3-&

0-6>-

7 ?

5n ^/cvJl ^D. /^ Cat Fine

W.
J. S.

Paramount Tenor Banjo Method

Music Co.

51

Scale of
n V n n n n
Tremolo
V
n,

El?
El

Signature Bt

and At

Major

^1
n n n n V n n

&m t
^retl relrl
(2)

:- :-':^ifH

'^

m ^^ ?
*#3

1,
i

^ ^o;.^h^. tfg^ s
V

Etude
i

Pof

r-^ f

!;^

T'CJrTrEf ^^^^^^
4*^-4^

fe
fc=r

3jc:

lac

at^

a!?
I

,
|^

"|*4

T^'irT
g

t
6

'(^'ff'#4.
1

+1-

iS

^*#3

f 1y

JT^Y^i^r
-*^ 'P

^#-

4^

, 1

[^^rj

J4tfJ^^

i&
i ^

33K

[T

A* n^

'

'r ^* oJ

J
1

^^^^^1
El>

Chords In
4;^
^^
I

44:2^

^4:^
1

_a:3lj

^r

s^

zsin

4-9

1~9

4-n

9
5^

-4-^
-4-5^

33

333: ixs:

X3

-+19-

o-

3in:
"^Tz;

^
4*

1 ^g^^
n
4- #-

n n
F=

sa i ^
e^ a

^
i
-

Chord Exercise

4-*

a-*-

xc
Bar

rere

--

4#-

^
4-#-

-t-9^

^ee

FU'FFu'Ff
Broken Chords
Etz:z3p[
4-#-

#^

^
^=

Paramount Tenor Banjo Method

^ ^ ^
3
<>

-M-

s^
IS

^^ ^
^E
W.J.S. Music Co.

52

Scale of C Minor

n V n V n n n n

Tremolo

Relative of El

Major

Etude
n
V

'"^rYf^'l

.oq*'i

.l.-2-4l

g^otV,yfr gT'f^'^^'^'^^gfa'p.'^

..

Chords in C Minor

1 W^

n
322
I

n
-^-G
O^S^

0C =332:
O-G-

332
-e-<s

0^

-i-6

322
-e-e 0-&-

-19-

irz
-e-5^

4^
az
9-

St"

te
^
i

%&
312
-^
0-9'

0-9-

0-9-

zr

Chord Exercise

^^R^
v-m 3CK

1::
-

UdE
"2"

p p p

o-t

m
o^S^-"

#a
^

SC

40

-0

T*

3 --

4 m

-6*

:F

Broken Chords

rLr/'CXj'-'J^
Paramount Tenor Banjo Method

W.

J.

S.

Music Co.

53

Golden Days Minuet

^=^=^i a I
4.
(

An am

n
,

*ft

*A-

^i

g^S Mi

o" m 8
.

!* 4#

4 . , rjc fe

a
N

a#

4^Twv^

3lE

-*#

-M-

3ac

4 ?
f

ay

4rJ

60
-

;!:j
n
V

|i^7
r^fci

t w

"'r:rT"TT^^

v/

jr^F^,.

v^h j t^.i,j.
__^
n
w
I

jj-fi

v/

\/

a tempo

poco

rit.

C Minor "^

^
.if

A2*,^ 2^*#2#4
1

F^

&^
1

2nd string
5 6

1-A.i^

yi.^ yr|Trir-rTT|vf.
6 T

^^ f
n

^* ^ r*
5

^ O 4<
tW/..

nV

<i_

5?

ST'

^&
r'?T^r|-TT||i|-i ffT^.i

4^, r4#

^ p

r^y^ ^

J4p;^.pj|j

^^
a
*f
:i:

-&#

m ^^^^^
n
V
.<4-*

,r^^ ,u
VString

^
J.

^
^s,^
8

-^ a# r

Vn T # r <p

2JL 2>.

*g^_2^
**tr 2jt_2-5).

n V4.-2 24JL2^,''2^4# 422^

=*: 7 2nd

^^^
.' !

10

10

865

631

65

roll.

Paramount Tenor Banjo Method

W.

J.

S.

Music Co.

54

Position
.

Scales

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 and Guitar, is 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

Second Position
4thString Signature

Third Position
1st

3rdStriag

2nd String

string
3

4th String

3rd String

2nd String

i ^\J.JJ-^i'fT
Fret

Bb EtAV

'/(pi^f^ PE\>

rTT.Tff
Bl> Bl.

.4* ^fi^f:

i ,?,,

Ab At 3578 3578 3568

56

eTcT"
Et

yj \d^ ^

579

m
10
I

^TTTi T
l

m
10

1st St ring

t'i

579

10

578

78

T'ourtli
4t string

Position
2nd string
istString

Pifth Position
4th String

3rd String

3rdString

m ^S ^m
i#2K
Fret

,.3^4.

.*'#?
E
Fff

Signature
B'f

EtAV Db Am* f P
\>

79

11

12

79 111279

Q
10

Dk

Eb
8

A\>

Bb C Dt Eb
8
10
11

10 12

F Q
8
10

Ab
11

10 12 13

10 12 13

13

Sixth Position
4th String
3rd String

Seventh Position
IstString 4th String 3rd String

2ndString

2nd String

i
[>

#v

r*

:^m

+^

m
10

1^

Eb F
12 13 15

G A
10

Bb
13

pm
12
14 16 17

2^3^-^ ^

^#^e !**:;_ :z
D E F Q
12 14 15 17

:-

Fret 10 12 14 15

10 12 14 15

12

12 14 16 17

ABC
12 14

15

Paramount Tenor Banjo Method

W.

J.

S -Music Co.

55

The
The following

Shift

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

(
\

fa. J

a||J H.ilf Pos. Fretl

'^

Ij.^j-^^JJ\JA^^^^^
^

J^^^i^

3rd or

String

^
j

t^jj.iij..
Half Pos.
1

i|

^
i

j^..yYi -v^yY'''rikTt'r L
i
' '
'

'

ii

T'''rt''TiN
K

rTTri'rV'r'
-7

^,,,
8

..^r

iT'T'rr 'r"rtt
ii

| |

tTrr TYfr f"rTrr||rYr

|

10

11

12

13

14

2nd or

String

m^
S)
Aft

^r'^f'-'

^^^^ ^.^.^...
'

^^.

^^^
i)|>
tt

Half Pos.

,gjl^3i)p.te^.^.py^^.^'^^Y^,:ffTf,,r''fyfi;ffytTT^ff e ffI-g e n d eI e B M=^'^ c c b ehI c b DJ e Fc

tt

i>

| |

f||

i)|f

Fff

10

11

12

13

14

1st

OP

A
ct;

String

^j^^-^^^^^^i^^^^^'^ XO Att D B ct F b c c b
ff
;

HairPos.

3.f
bl>

i \f,'p^^fY^'^^^^%'f^T k ^
b
bff

Eilb

5|l._,u
>

i\

II

l^

Eti

Ie
'^

Fg g

^i^,a

-im-il^m4-^

i*^

rff

Fx

m-

y^

6|t

G
10

At>

A BV

jt

Ajj

R A
12

Bt

G
13

Eft

Ctt

B
14

tt

11

Paramount Tenor Bauja Method

W.

J. S.

Music Co.

56

Examples
The
another.

In Shifting
shifting from one position to number, written below the notes.

five following exercises exemplifies the

manner of

A change

of string

is

indicated by

its

Allegretto

igr

:M

Moderate

^
^ T
J
6

n n n4^

f-

f^rrTTTff^'pr'^

**"^^e4
"^^^^^

^^"^z l^.l^ m
^

Fret 7

10

2'ndstring;^lLfL7 10 7 ^..5

^
i

r>

'^yife y-ll

4:

.-g .ptf-^'f

'r

7y
I
'

IEy=ll

,p</,i

(S

ff

..,-f '

f f f r f ^ f shift ^^ ^"^
I
'

f
O
10,,

^ ^
shut

^
10

^ ^ ^
FS
9
__

stiiug2ml tiiug
Fret

lot

Fret 9' J^

10

12

FD

9_ 7

E
7

shift

D
5

f f
^

T r
'

1=
9

y-

h ^
2nd

^^^^^
il.
2jB.
J

^
-^
bhift

:z

:z

t:
shift
-6k

E E ~ p
-strft

*:
bhift

p
fS-

2j. '^m.

M-

1st

aA10

BAe14
12
10

-^e
E-

I:^f
shift

tj

10

Andantino

I.

3:p
3rd....

2>4*
r
7 9

Jl
2
7

'^^fy
6

4th 9

3rd
6

ZIl 9

2nd_..
6
7

sETTT
'9"" 4
6"

KT Ti^' ^r
*- *
4
6

^S
^^
shift

Allegro
-*i5i^

-4-sM

string Fret 3^

4th.

shift

^
10

shift

-^i
8

T77
7
shift

i
7
5

3:^
3

fe*

322:

3ut
4th..

lH"C=f
3rd 5

3rd.,

f 33 4th.
3

^*
shift

<<

-1-6^

i^
W.
J. S. Music

4&

Paramount Tenor Banjo Method

Co,

Scales
In the following, In

On A

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,

D FLAT MAJOR

On

the 4 or C String
BI'EI'AI' DI'GI'

*9.

On the 4 OP C D MAJOR

String..

FttC^
9 11 13 14

r>\>

{>

Fret 1
,

(Et MAJOR
.

On

gI'aI'bI' 6 8 10 12

d\> 13

bIaI-gIj

eI^

t>\>

Fret 2

the 4th or C StrLiig Bl>EkAl>

_ ,
1
,

..,
1

4 ,. A

On the 4th or C String. E MAJOR FCGttD

*^

..

l"i

11

P MAJOR
Fret 5 7

Fret3 5 7 8 10 12 14 15 On the 4th,orC String

B\>

Et

aTbI"

e\>

A FLAT MAJOR

On

the

SrdorG String

BI'EI'A^DI.

9 10 12 14 16

17

A MAJOR

On

the 3rd or

String

Fit CitGtt

G String. B FLAT MAJOR Bl Et ^^

On
the 3rd or
li'**-

Fret

6 8 10 12 13

^'"*

3^

Fret 2 4 6

B MAJOR
T

On the ord or G

7 9

11

13

14 String..

Fret 3

B^

FttCttGttDtfAO

C MAJOR

On

5 7

Et
8

the

.>rd

or

10 12 14 15

bT

String.

9J

Fret

E FLAT MAJOR B\e1>a!

On

cTDtt Fli(j)iA B.AttGtf 4 6 8 9 U 13 15 16 the 2nd or D String,

Ft!

dTcR

^LA.JOR

Fret 5 7 9 10 12 14 16 17 On the 2nd or D, String

Ff Ctl G

Dfi

F MAJOR Bb

On

Fret 1

10 12 13

Frtt 2

the 2nd

prD

String

F SHARP MAJOR

On

4 6 7 9 11 13 14 the 2nd or D, String..,

FttCitGt?

dSaS

., -n--

Ett

fit.

On the 2nd or D S tring G MAJOR F

Fret 3

5 7

D E
Fret

Fii Ott Alt

10 12 14 15

On the 1st or, A String B FLAT MAJOR bI'

4 6 8

B
9

ct^D' El V r11 L3 15 16
^ i

E tD S
t

Clt

B AHQS

mP
i

E^'j^^^^^

B MAJOR FcfGllDA?

On

the 1st or

Fret

Strinai

10 12

MAJOR

On the

1st

or

U
r

String..

^i-S*-*#3ffi-.^
F
G

MLjLnnin
-

if'TtVi

E FitotI aH B AfG8 F E Ptf 4 6 7 y 11 13 14 On the Ist or A String SIURP MAJOR FiiCGJtDt?AEttBtt

CtfP
lf

Fret3 5
I

A B

C
15

B A

fr^g-

7 8

10 12 14

D MAJOR

Onthe

1st or String. Fitctt *^ie.*^Ai^

m
Music Co.

Fret 4

11 13

15 16

'

Fret 5

7 9

10 12 14 16

17

Paramount Tenor Banjo Method

W.

J. S.

58

Tenor Banjo Solo

Piano
ace.

Sweet Angel Sleep Well, Thou (Franz Att)

Arr.by Wm.Foden

Published

Moderate

If
i'
,

^-^-^

L^,^

^0^'

^^^
;l
32Z
nioltoesfress.
\

f
V

g^
T*^"

r^:^
i

3ZZZ

>

'

F=

ujlLm!r;'tJ

^
I

j:;irNjP
3jK

-e-#^
2nd String

^
L-pizz

*^^

^r. Lipizz.

L-bizz.

-trw

^^
^
-

['

-^

\^.

rw

.
.

.
I

X
Piano

r
1

^
i

'l\o

IS

^^>
V^

^
0-9

Piano
ParamouiTt Tenor Banjo Method

Banjo

-L'

^ ^
^

pp

W.

J.S. Music

Co,

59

Tenor Banjo Solo

Pia no
ace.

One, Two, Three, Four

Waltz
Arr.

Pub I is hed

by Wm. Foden
~rr7

ri

^-

ji^

o'O

'

_A41

A0

2n(i String.

#
i
r
fet

im

J-

4^
K

i_J
;^
I

^
2jd
j^

O/j

(D

-3-&

i
(D

=+^

l^S^

3j

3ZZ

-4-(9

322

4-J\

4
I

n
r?

4 J-

.i
-T'i

fTT?
V

^
--r

"H9

^TT
" n

^^
i-p--

3122:

oJ<i

i-i

:^^^

n
_4uG

TT?

ii^

-iH#

Tf
-

i^l
^
'-^

V,

5i

^-*

*i

-*^

-3-1^

'J-

r^oJ?z:

Tgr

TU

znn

1-9-

-^^

SE

''^
1232
4-9-^

a i

i<
322

*o
Tr?7

f f^

1=^

Paramount Tentr Banjo Method

W. J..S.Musie Co.

60

Tenor Banjo Solo

Piano
ace.

Yonder
-u nA^l^

Hill
Arr.
j.

^
:^
Si-,

Published
srato Moderate

CSong and Dance) Varied

by

Wm. Foden
"oS-i4t

l^n

n
35-

n.

^
i

F P
"^
'^
,

i
.^

ptJ^[j

rrrri
i^^oi

i ^

^P

a *!

(D-

^^
^ ^
^
4A i
\
\

.LifBf-,
iBz:,

n 4*

iJ i *#-2.

rrtT/rtJfftfi
n

y-

-6^^

F=5

4-d
I

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