1872-Overlooked

[Tim Twiss]

PART ONE (I believe there is limited text here) -"The Banjo And How To Play It" by Frank Converse is an often overlooked book. Although it is available as a reprint, it rarely is mentioned in the same breath with the famous 1865 ("Green" and "Little Yellow") Books, or even the 1886 Analytical which Marc Smith allowed us to view by my posting in the Banjo Clubhouse. Although a far from perfect book (are any of them?), it provides some great insight into the development of early banjo stylings. Perhaps its most unique character is the integration of "Banjo" and "Guitar" styles of play. Both are carefully explained, the banjo style being the first to be introduced. Then the guitar, or fingerstyle is introduced. Something happens on page 35, where three songs are given to "use both the banjo and guitar styles of fingering, alternately, in practising" the three tunes. One of the tunes is "Rattlesnake Jig", which appears in an earlier book. What is unique about this is the clear direction given to use both, or either style...unlike the vague but wonderful Buckley of both 1860 and 1868. Over on page 51, he has the song "Kentucky Juba" with clear directions to use both styles-"Use "Guitar Style" for the chords, and the regular "BanjoStyle" (thumb and forefinger nail) in executing the single notes". Although this book is written in 1872, I think it gives us reason to look back on some earlier material. Perhaps things were done in that way (mixing styles), without actually saying so. In otherwords, this thought may not be completely linear in its presentation.

[Tim Twiss]

PART TWO - "In the banjo style of execution, melody alone is embraced, or, in other words, the tones follow in succession and are rarely combined". I found this on page 17. It sounds simple, but is quite revealing. Think of all the songs you see with a few chords in it, but is mostly linear in nature (Mr. Buckley, I presume?) This book, to me, clearly presents the case for integrating styles, thus further blurring the line between when one ended and the other started, as revealed by the explanation of "Kentucky Juba".
This book on page 25, as part of the "Banjo Style" of playing, gives us 8 measures of excercises. These are almost the same as some of the "Combination Excercises" found in the Analytical 14 years later. What is lacking is the detail of the lines indicating the "planting" technique of the combination. There is no mention of it at all in the book. These 8 bars are also similar to the Briggs' Movements of 17 years earlier. He does take the time to stress the importance of timing, as found by the use of dotted eighths and 16th notes. "Care must be taken to properly divide the quantity of time, and give to each its true proportion". As one plays the Combinations in the Analytical, you will notice that on the first line, the first and fourth measures are straight, and measures 2 and 3 are dotted. What this points out to me, as I play it, is that it is easy to slip into a lazy rhythm and it neither one or the other...that these two figures are distinct. When played back to back, as he forces you to do, one is faced with the reality of how different, although subtle, they are. Throughout the 1872 book, he stress the importance of correctly interpreting the time.
You will find many of the fingerings quite "Rice" like with it's use of the thumb...also similar to his 1865 "Green" Book. He even reused one tune (ommitting grace notes, but fingered the same). It is called "Paddy Go Down", but is called "Bully For All" in 1865.
Oddly enough, this is the book that gave us the great song "Grape Vine Reel". This one just kind of sticks out on its own in there.

[Rob MacKillop]

Sure. And let's not forget Buckley's arrangement of Yankee Doodle (1860, page 17) where he asks us to 'Pick the first 16 bars', while bar 17 has 'Strike this part'. Oddly, the 'guitar' part is only single notes. The stroke part consists of triplet riffing with the fifth and first strings, 'characteristic cliches', you might say.

[Joel Hooks]

Well, I agree. This book should not be overlooked. I feel it is my duty to study it. Alas, If I only knew how to procure a copy to bring to life its printed pages.

[Trapdoor2]

Joel,

Go here: http://www.zither-banjo.org/pages/books3.htm

As I understand it, David Wade is the person to contact for the Cogubamus stuff.

[Joel Hooks]

Dan'l,

Read this...

http://www.thejoelhooks.com/Site/Myths-stroke.html

"Modern Guitar Style" would probably be "mandolin style" in the 19th century.

[Brian Welch]

Joel,

I enjoyed reading your article and got a lot out of it, but based on what you wrote, I don't think that it is a misconception that Stewart "looked down on the 'old stroke style' banjo technique." If the "plantation negro style of banjo playing" is "not recognized today by the higher grades of banjo players" ( of which he is one), then he is looking down on it! The "elevated" stroke style he prefers can be used for "executing marches or other music of a military type." I'm guessing that is not what draws most of us to stroke style banjo. For myself, I'd give anything to be able to play in the "plantation negro style" that creates fun and hilarity. I don't think he really promotes it at all. He grudgingly accepts it and mostly looks down on it as an inferior form of banjo music. And in hindsight, his snobbery was way off base. The banjo music he looked down on (whether minstrel banjo or clawhammer) is now rightly viewed as a uniquely original American musical creation that people all over the world love and love to learn. Not that I have to tell that to the people here.

--Brian

[Joel Hooks]

Yet he proudly published "old time" one line banjo tunes "Suitable for either stroke or picking style.

Playing by note sold sheet music.

Putting down "tubs" sold new banjos.

Selling stuff buys food and pays the bills.

Most of what he said was marketing hype, except about wire strings, that was gospel.

[Ron Stanfield]

I have a copy of the late Mike Seeger's "OLD-TIME BANJO STYLES" from Homespun Video, Woodstock, NY. He features history of the banjo--to include gourd banjos, etc. Bottom line seems to be most old-time players, while they may try to hold to old-time clawhammer tradition, also tend to just get whatever sounds they can. A lot of inovating going in the banjo area, I believe. It was probably the same during the minstrel era.