Foden _ Paramount Method Tenor Banjo

PARAMOUNT Metho d

Copyright 1922 by

WB

J.

Smith Music Co.

New York

MADE

IN

U. S.

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Rudiments of Music

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

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Ill

Musical notation

composed of various signs and characters.

is

NJiW

VOHK

The

10023, N. T.

first to

be noticed

On the the staff, conr Isting of five parallel lines and the spaces between them. and in the spaces, characters called notes are written to represent the sounds.

The 6th Line

,

Staff and Notes

is

lines

The Time Value The value or

of the Notes and Rests

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

The

Quarter

Half

Whole 331

above a line

below a line

^

Different Notes and Rests 16th

Eighth

f

32^.^

I

f

Dotted Notes and Rests The time value

A second

of any note or rest

is

increased one half

when

followed by a dot.

Rests indicate silence.

dot adds half the value of the first dot.

Dotted Notes and Rests and their equivalents 'j'

=p

^

The Tie ^ only the first

—

is

p

--,

i

rT

TZ-

P

1

1

r:::r p p

i

v'^

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

sounded and the others heard from

its

as in the

above

that they are to be held

beyond

continued vibration.-

examples.

The Pause or Hold Made thus

^, when

placed over notes or rests, denote

their regular time.

Examples of the Pause »

fm

^

r:\

(O

^

/C\

^

f

Bars— Measure Bars are perpendicular lines drawn across the staff for the purpose of dividing the notes into measures of equal duration of time. Double Bars denote the end of a part or strain. Dots placed before a double bar indicate that the part

is to

be repeated.

Example

43

Measure lEC

Paramount Method

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u

u

Measure

ca

Measure

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Music Co.

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Fable of the Relative

Time Value

of Notes

l^STRUC Two

Hall or

.

r

Four Quarters

r

or

r

Eight Eighths

r

or

r

r

16 Sixteenths or

32 Thirty-seconds or

64

Sixty- fourths

Chromatic Signs These are the Sharp

(^),

Flat(l?),

Natural(l^),

Double Sharp

A Sharp raises the pitch of a note a half step. A Flat loiters A Natural cancels the effect of a previous sharp or flat.

A

half step

is

from one

(k),

and Double Flat

(bb).

the pitch of a note a half step.

fret to the next.

Sharps or Flats placed at the beginning of the staff, immediately after the clef is called the signature and affects the pitch of all notes of the same name throughout a niece of music, unless temporarily changed by a different sign.

Accidentals When

any of the chromatic signs are placed before notes in the course of a piece of music, they are called accidentals, and affect all notes of the same name, in the same measure, unless contradicted by a different accidental, in which case, the effect of the first accidental ceases.

The

effect of accidentals

do not

extend beyond the measure in which they occur.

Examples of Accidentals

3

S

^

K=23E

*

3Mt tP

Double sharps and flats are used as accidentals only. A double sharp (x), raises the pitch of a note a whole step. A double flat (b!?) lowers the pitch of a note a whole step. When a double sharp is placed before a note ths^vt is already sharp, it raises its pitch :other half step.

A

double flat placed before a note that

is

already

flat,

lowers

its

pitch

another half step. Paramount Method

W.

J. S.

Music Co.

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Examples of Double Sharps and

J^J

i

same as

A

^#=^

note that

II

7

T

-^

ing a natural and a sharp,

or a flat,

is

sharp or

flat

To

as required, before the note.

(^

r'h-

same as

restored to a single

or flat, a double natural

cel a double sharp

^^^

fe

s same as G\

double sharp or flat

is

Rests or-

A

same as

D

am

Flat

A

by writ-

entirely can-

placed before the note.

is

Examples

*

-yy

p

restored

\\^f

"[g

II

m

221 [?l?cJ

t]i]

canceled

restored

g

canceled

Time Time

is

the division of the different notes,

equal duration.

A

sum

total in value

Tie

time

is

or notes and rests,

into

measure can contain any denomination of notes and must be the same

marked

at the

in all,

measures of

rests,

but the

as long as the time remains unchanged.

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

the quantity in each measure;

as in the following examples.

Examples t^Orf

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INSTRUCTION FOR THE TENOR BANJO The Strings The Tenor Banjo

strung with four strings;

string; but by pressing the strings with the fin-

the first and second of which are of plain wire,

gers of the left hand, close to the metal bars,

and the third and fourth of wire covered with

called the frets, the pitch

is

The following

thin spun wire. Their names, beginning with

the finest, are A, D,

G and

C. These

are termed

or Strings

A

G

D

or

2'L

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p

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rrrr TTTfT-rrr^j^f^ i

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ri

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r^frrrrrrm

fftrYTYT TrrrTTTT Trrr pT?^ |

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14

Triplets

A

Triplet

is

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

same value; or one of the next greater value. They are distinguished from other groups by having the figure(3) placed above or below them. Various strokes are used their execution. The following examples show some of these strokes. the

in

Etude Strokes

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

i

5

«#

^^m o»

a * i#

^TrrrrrTrr'^rrPfT

m

'TrrrcrirCTj

?•?

^J

^t^ o#^ Jo> ° ^J

^Ad*di^

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

n V n V n V r-r^ rri

S

nvn

n

V

Etude

v

r^ nnvnvnnnvnvn

h-i

•

Vn

n

^

^

y

^"'^

slide

slide

p,

y

n

V

n

V.

^

pick

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

"^m-

fffffTffff Tr1 r r

r

I

.

'ff fffff

may

ing example.^

also be represented

tremolo

P^ [—^

il'

,

EUL r° rr ?? r^f^^^ ?

^^JJjALjJJI.JJiJJJJJJJJ] Triplets

Q.-

|0|»

by a single

r— r.__^

liTf rji

rrri

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p

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fT

^^ s

*^^

n

V

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

—

^^

tremolo tremoLO i

and

j?J^,^ in the follow-

rests-, as

-^

pyi |—

—rp ^^±' li

l

— ^

^

.'

——

PTi

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f

1

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In

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fr

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Chord Exercise

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n n

t-

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strokes;^

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^A ^^-*^

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Bar

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a-#-

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Arpeggios or Broken Chords :7

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Dew Waltz

Sparkling Tremolo half notes

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19

Sharps

-

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.

Thus

-sion

Sharp Keys G

Names- C

A

D

E

,

B

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

*

G\>

E\>

B\>

^dz Bflat. B and

Keys

Ef kit. B,E,and Aflat.

B,E; A,andDflat

.

fck

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

flat

.

2dsL

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

G Major

Scale of is

^

k^

^i^

^=k

C\>

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

atthe9thfret,andthe4thfingeronG,atthel0thfret;asmarkedbythe (3rd

Strokes{2nd (1st

*

Tremolo

H n

n V n n

m^

V PI

^p-

^ 1*

rr^

-^

7

9

9

10

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

n

,

n^

IP

,

^

ip^

^

p^p?

V

*^

pff^ 'Jg?, 5

"^

VaQ.

V

n 3=PE

•*19-

iZ2.

i

tu-

pick

pick

V

ij

glide

glide

a tempo

n n lA

V

iTTfr f

10

4*

o#.

6

~~TTr

^

^^^=g^

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fTTT{rf^rrr^tr'K^-

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Scale of

F Major

25

Signature Bt Tremolo

n

n V n V n n n n

rfrrfnrrf,;ff^'^Trg^ 1 n^jJ.JM-'TT ^ 13578 87 31 •7

Fretb

5

Etude

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

^

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

3

rrrrffrrr'n TTrTTT

'fTT'f^^'fT o

# ^» P P?"Fff ?=F

FS*

XX

Three eighth time counts (|),has three

n n

n

^W

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P,

n

fWy

-

n »J

to

3

n n n

V

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ji

n

— o#

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n

n

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n

n

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or

n

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its

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n

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n

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n

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=P=-

33

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Chord Exercise n

n

n

n

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Broken Chords n n n n n V n V 1

—

- #3

^^ 3l»

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nnnnnnnnnnnn g n

2

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n

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Darkies Frolic Moderate E Minor

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36

(Relative of F Major)

Tremolo

n n n n n V n V

f^ -ttfgOf

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Count

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D Minor

Scale of

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rrTn rrnr

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

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37

D Minor

Chords in »

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38

Accent

-

Syncopation

their position in the accent is the force given to certain notes, and marks measure. The natural accent, is the periodical, regular recurrence of the accent, and falls of itself without special effort. The expressive accent is used to give more or less stress^ on other then the regular accented portions of a measure- The natural accent is never marked, except for the purpose of illustration; but the expressive, invariably by th sign> or A. In the following examples, it will be observed, that in | time, only the first note is la music,

accented. In | time, the first and second; the first on one, and a weak accent on two, marked (r). In | time, the first and third notes are the accented ones.

Examples

-^

Two

four time

J

|,

J

Three four time

f.

^

J

J-

— Four

>

^^

J

J

four time |,

J

J

Syncopation Syncopation is a displacement of the natural accent, by causing it to fall on a part or 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.

Examples ffi

j J

rirr rirrr

" J

fE^ •

ill *'

j.riri

^

i'i|'-nijj^?r

.^\ni

jJ

/ JI

UJ

^Frpr

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i

FTrj-rHI

Virginia Capers (Syncopation)

Moderate

D Minor

^1

M

6

% «^

^

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