One striking aspect that emerges from research studying a range of U.K. primary sources, is the extent of highly accomplished finger-style playing at grassroots level in the two decades pre-WW2. And this in an era where the modern trope is that the banjo was in decline as a result of the rise in popularity of dance bands. A more nuanced and accurate overview is that whilst there was competition and a decline in overall popularity, a sizeable nationwide nucleus of player’s ability markedly improved.
In discussing finger-style banjo it would be an omission not to acknowledge this high point. But also disingenuous and somewhat misleading not to highlight the now forgotten social structure that correlates with - and explains - that grassroots high standard.
That is: a system of structured and adjudicated assessment, in conjunction with a nationwide network of well-attended banjo clubs. Not just in London, not only in cities, but in fact a network from Weston-Super Mare to Leigh-on-Sea, and Kettering and Bournemouth to Blackburn.
Edited by - EEB on 09/18/2026 02:14:05
With the US, in those decades of decline (1920-1930, but I will include the late 1910s) we, or rather the first generation of banjo music publishers, created our own fall with the A v. C notation problem.
This 1908/1909 shift created a confusing mess of two notation systems that no doubt caused many would be young banjoists to say "no thank you, I'll play plectrum or tenor banjo".
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