Paramount Tenor Banjo Method
April 15, 2017 | Author: JohnBiz1992 | Category: N/A
Short Description
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Description
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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
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Examples
of Various Kinds of Notes, Abbreviated
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must not be inferred from the above, that a rigid adherence to a certain number of strokes is always necessary or even desirable; for in many instances they must be modi -fied to suit particular passages; and in this, experience will guide the perfcnrmer. It
In the following melodies, the tremolo is indicated by the slur mark. Begin by playing each measure in 8th notes; then in 16th notes; and as proficiency is attained, in 32nd and 64th notes. Tied notes are trernoloed for the time value of all thus connected.
(Andante)
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The small notes in several measures of number four, are played with single stroke, simultaneously with the tremoloed notes of the melody.
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Triplets
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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.
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Sharps
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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
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Sharp Keys G
Names- C
A
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B
E
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G Major
Scale of is
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Bflat. B and
Keys
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
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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.
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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.
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