tenor banjo method - mel bay
TRANSCRIPT
M893236
$7.9s
MEL BAY PUBLICAIIONS . PACIFIC, MO 63069Il,3t*,# Gris
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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 .
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IAuLBaa_ Copy'right 1968, 1969, 1987 by MEL BAy PUBLICATIONS, INC.International copyright Secured. All Rights Reserved. printed in u.s.A.
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.
THE IEFT HAND
PRACTICE HOTDING THE TENOR BANJOIN THIS MANNER.
KEEP THE PALM OF THE HAND FROM THE
NECK OF THE INSTRUMENT.
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.
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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
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
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
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.
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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.
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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.
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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
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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.
THE
ñ
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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
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
SOTOS ON THE THIRD
THE C
AND FOURTH STRING
SCATE
O['R FIRST SOTO
Long, long Ago
THE
v-r
NOTES ON THE
ESECOND
FSTRING (D)
G
WHOLE NOTES
! . , - _
- - - _ " =
u couNTr 2 3 4
HALF NOTES
QUARTER NOTES
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
THE C SCATE (Two Octqves)
Yonkee Doodle
ttThird Avenuet'
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
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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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.
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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
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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
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THE E NOTEON THE FIRST STRING, 7Ih FRFT
in
Sporkling Srellq
Double Trouble
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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.
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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
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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.
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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 $--
to
¿
I'(n¿-
(\
song - de
(-)
l i gh t
C
l r ?
/ / /
IongI l - o n g - l o n g
1(e z. .---l-
[ong, Long AgoC/ / / /
t a l t ' s - t ha t t o
Q-l (} -'--
Be sure to ploy the chords direct ly on eoch word or syl loble os indicoted.
C/ / /
me - were *s c)
C
dear
c
hear
(,)
go .
25
( 'I C C O M P A N I M E N T . 7
S O L O ,
/ / /
\ \ .1 : \ ' t lU I l$ 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 .
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The Bonio Morch MEL BAY
Gr
26
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
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a6o
27
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
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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
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 .
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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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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
The G Scqle (Two Ocfovesl
3
n. l rñnnnnNVñV-VNV
A Scqle Sfudy
Drink To Me Only Wirh Thine EyesModeroio
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
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
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Rhyfhm Review
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Austrion Hymn
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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
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2 1
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
Ia, = A Horp L ike St rokeaa
Horik Voh(The Hope )
The Woyforin' Sfronger
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THE CHORDS IN THE KEY OF E MINORTHE CHORDS lN THE KEY OF E MINOR ARE: Em, Am & BZ
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MUSICATNOTATlON
Er
Ar
Br
40
TorontelleA l l ñ s t r o k e
33
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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
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
"Aunt Rhody"
t tCqreless Lovet t
t 'Auro Lee"
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
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44
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
+ . )
THE KEY OF D MINOR
The D Minor Scqles
Two Studies in D Minor
¿-ii^
,;ALLLL?
Blqck ls The Color Of MY
True Love's ]|c¡ir
Duet in D Minor
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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
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
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
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
Minuet ln D
TENOR BANJO DUET
Al legre t to ñ^ nññn
n
Arr. by Mel Boy
o l F INEDr
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nnñ
D
-lD, 4 7I
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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
Cieliro lindo
I ively
V.t 3.
I? 2ü+r
Drink To Me Only Wirh Thine Eyes
Moderoto
53
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
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
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THE CHORDS IN THE KEY OF B MINORTHE CHORDS lN THE KEY OF AMINOR ARE: Bm, Em &F :7 .
CHORD STUDYE }I F#?
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
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
II,
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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
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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
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On Wings of Song
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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
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
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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
t tSuhqnqt t
Arr . by Mel Boy
" l3i ri
[empo¡l l -
F! ' ¡ n
64
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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
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J-t c,-. (qt
l.*
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Chord Study
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
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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
The SpeedwoY
R,omqnceModerotoDUET
12--e
KEY OF A MINOR
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
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
A TABTE OF NOTES ON THE
FIRST. SECOND, THIRD AND FOURTH STRINGS
Folk Song
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71
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'
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
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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
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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
- -
THE CHORDS IN THE KEY OF E-FLATTHE CHORDS lN THE KEY OF E-FLAT ARE: Ef ' Ab & Bb7 '
IAUSICAL NOTATION
115
Bbt
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Y
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CHORD STUDYBni
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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
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
_ - - - - 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 ¿ , ^
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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
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
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 :
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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
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
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
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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
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
Troumerei
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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 ;
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
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
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¡
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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
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9 1
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
THE KEY OF B.FIAT MINOR{Relqtive to D-Flqt Moior)
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l,tELODlC
tb)ir;13:
ETUDEHARMONIC 'ITODE
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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
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
Duet In B MoiorTENOR BANJODUET
9 6
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
THE KEY OF G-SHARP MINOR(Relotive to B-Moior)
l"rTI ' I I r - -1
t tRhumbqt t
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
( ) ( )
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
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
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$7
MUSICAT NOTATION
l ) Í ] l
D#.orEb'
Gft"or
Ab'
A#zorBbt
CHORDGfM
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e-*3
( i t U2 4
4
STUDY
A Toble of Moior Key Signorures
ofA
Tv'o sharps Three sharpsF$- 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
Ea erybody's Music Tb acher
lü SavroFF lqql
Advanced S-String Banjo TechniqueAnthology of Banjo StYles
Back-UP BanjoBanjo Chords
Banjo HandbookBanjo Method Vol. 1 (C Tuning)Banjo Method Vol. 2 (C Tuning)
Banjo PocketbookBanjo WorkshoPBluegrass Banjo
Glawhammer Banjo fiolosComplete Tenor Banjo Method
Deluxe Banjo ChordsDeluxe Bluegrass Banjo MethodDeluxe Gospel Banjo Songbook
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Fun with Strums-BanjoFun with Strums-Tenor Banjo
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International Banjo SongbookMelodic Style S-String Banjo
Melody Chord Playing System/Plectrum BanjoMelody Chord Playing System/Tenor Banjo
Ragtime Banjo (Tenor/Plectrum)Ragtime, Blues & Jazz for BanjoRiverboat Banjo (Tenor/Plectrum)
Splitting the LicksTeaching Pieces for S-String Banjo
Tenor Banjo ChordsTenor Banjo Pocketbook
Three-Finger Pickin' Banjo SongbookA Tribute to Bluegrass Banjo
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