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Please note this is an archived topic, so it is locked and unable to be replied to. You may, however, start a new topic and refer to this topic with a link: http://www.banjohangout.org/archive/207307
cartwrightbride - Posted - 05/24/2011: 06:46:51
Does anyone know of easy access to a banjeaurine tutorial, for sale on-line or archived someplace? I had a part sprung on me for a theater I'm playing and need to woodshed pretty fast.
Please don't tell me to use a capo on my 5-string. My teacher was one of those guys who pushed standard notation - capos were forbidden.
TIA
trapdoor2 - Posted - 05/24/2011: 06:59:34
Back in the day, the banjeaurine was read from std. banjo notation...but you were required to transpose. No big deal if you were trained that way!
All of the banjeaurine music I have is written that way, simply "C" notation (as if it were for the "regular" banjo). The method was to read/think like you were playing 'normally'. ie, if the sheet music shows middle C, you play the first string open (on the regular banjo, tuned gCGBD) if you are reading for Banjeaurine, that is an F (tuned cFCEG). IOW, you don't read the note, you read the fingering.
I hope that makes sense! I've never seen a tutor specific for banjeaurine. I have a very few pieces written out with banjeaurine parts...but again, they're simply written as if they were regular banjo.
cartwrightbride - Posted - 05/24/2011: 07:22:17
That helps me quite a bit. Thanks.
The other confusion is why this part was stuck in a violin book instead of the banjo/guitar book. I suspect that it's actually written for something along the lines of a banjo/mando. Giving a violinist a 5-string isn't exactly like giving a pianist an accordion part and telling him/her not to worry about the left hand.
Again, many thanks for the reply.
trapdoor2 - Posted - 05/24/2011: 08:50:13
Again, back in the day the banjeaurine typically took the violin parts of orchestral compositions, so it makes perfect sense to me. A trained banjeaurineist could sight-read right from the violin parts.
I think the 'transposition' method was so that 5-string players could double w/o difficulty. The tuning scheme is exactly the same (gCGDB vs cFCEG) so just using the same fingering works great...although everything actually sounds a 4th higher.
In the 1880-1920 time period, the banjo was adapted to take any orchestral part from double-bass to piccolo...I have a piccolo-banjo (tiny thing, about uke sized) that is still a 5-string and tuned a full octave above the regular banjo (gCGBD). There were also a number of intermediate sizes (banjo-banjeaurine, cello-banjo, bass-banjo, etc.) to cover viola, cello and bass parts. A full banjo orchestra was common to many colleges, universities and clubs of the period. It was not uncommon for these groups to take on very serious orchestral stuff, Offenbach, Beethoven, Chopin, Von Suppe, etc. as well as popular stuff like Sousa.
Edited by - trapdoor2 on 05/24/2011 08:58:04
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