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Banjo FAQ
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Answers to Frequently Asked Questions about the four string banjoTable of Contents
How do I Tune the four string banjo ?The standard tuning for the tenor banjo is CGDA. Irish Players often tune the tenor GDAE. The plectrum banjo is tuned CGBD. These are by no means the only tunings. Many people use Guitar tuning and other variations Back to TopWhat's the best banjo for a beginner?The obvious answer is the best one you can afford but that doesn't help much when you do not know if you will stay with it or whether you want to spend a whole lot on an unknown venture. The best advice I can give is to buy from a reputable dealer. Before you even start looking for a banjo, see if there is a good repairman near you. Very often they will know of banjos that people are looking to sell so that they can move up to a higher quality banjo but more importantly they can do a setup on whatever banjo you decide to buy and that setup can make the all the difference in the playablity of the instrument. Very few banjo players who stay with the banjo for any length of time are still playing the banjo they started with. Therefore any decision regarding purchase should include some thought about resale. Banjos are no different than most items for sale. New things depreciate rapidly. Your competition when selling a relatively new instrument will clearly be new instruments. Your price must therefore be significantly lower or the person will buy the new instrument. I usually recommend that people buy a good condition older instrument. A Paramount A, or a Vega professional or from the 1930's that you buy for $400 to $700 will in all likelihood be quite salable for the same price or more two years from now. If you want to pay a little less look for a B&D style C , Vega little wonder, a Slingerland MayBell or a Ludwig Kingston. A new banjo from the Orient that you buy for $400 to $600 will probably fetch as much as 40% less two years from now. If you look at the banjo charts on Prices from the Twenties (Check the charts on the history page)you can get a pretty good idea which banjos were basically in competition with each other. A rough rule of thumb would be to figure that the banjos which sold in the twenties for $100 to $125 were the bottom end of the professional line. Instruments around the $50. level were the advanced beginner or intermediate models and those in the $15 to $25 level were the basic beginner models. Multiply those prices by a factor of 10 to 15 and you can probably come pretty close to what similar type instruments would sell for today. $150 to $250 gets you the basic beginner banjo. $500 to $1000 would get you the intermediate and over $1000 you start to get into the top level stuff. There will in all likelihood be those who disagree but I believe that the action and playabiltity of the banjo is the most important factor for the beginner. Tone is something to worry about later when you are able to play with some confidence. That's when you want to start looking to trade up. Back to TopWhere can I get Lessons?Banjos Unlimited(See their Newsletter " Resonator")and FIGA (Fretted Instrument Guild of America) have members all over the country. One of the best ways to find out about players in your area is to join either or both, Banjos Unlimited and FIGA and ask what members they have in your area. Many areas have Banjo Bands which provide an excellent opportunity to learn and to play. The September issue of Resonator lists many teachers around the country. Failing that there are a number of very good video and cassette tape lessons available. There is no better way to learn to play than to play in a group. If there is no group, buy a copy of Band in A Box or Jammer and use those programs to play along with. It is a lot more fun than a metronome and neither program cares if you make a mistake or how many times you want to repeat the song. Back to TopHow much is my grandfathers banjo worth ?The rules of the marketplace work here just like anywhere else. The willing buyer and the willing seller set the prices. Like any market that has both collectors and users vying for the products, prices can swing drastically for seemingly no reason at all. Playablility and collectibility do not always work in concert. As a general rule Bacon, Paramount, Vega, Weymann and Gibson are the most in demand instruments. Slingerlands, Ludwigs, Leedy's Epiphones, and others which sold for about the same prices in the mid 20's as those instruments are no longer equals(Although pre War Epiphones have recently been recognized as a top quality instrument by more people and the prices are rising). In the mid 1920's a Gibson TB-3 sold for $100 as did the Slingerland Melody King. Figure on $2000 and up for the Gibson today and about $400 for the Slingerland. The Gibson is unusual because it is so highly prized by 5 string players who buy the tenors and convert them to 5 stringed instruments. The B&D #1 which sold in the 20's for around $140 goes retail for around $1600 today, The B&D Silverbell has some of the same mystique for the four string players that the Gibson has for the five string players Every manufacturer in the twenties had their basic professional level instrument that sold for $100 to $150. From there instrument stayed structurally pretty much the same but the level of decoration went up from there. Gold plating, rhinestones, pearl inlays, carving and other items of beauty were added bring the price up and up. For example the basic B&D Silver Bell #1 sold for $140 and the Silver Bell # 9 sold for $900. There was not $760 more Playability in the #9 but the price was paid by many players who wanted the ultimate banjo. To figure out what your instrument is worth, look at the listings from companies like Elderly Instruments, Gruhn Guitars, Mandolin Bros. The Music Emporium and others. If you have one of the names that I mentioned above you can get a very good estimate of the value by asking Elderly or some other dealer with a consignment program what they would expect to get for you on a consignment. Back to TopWhat is the difference between the tenor and the plectrum and the five string banjo?The tenor has either 17 or 19 frets and the plectrum has 22 frets. There are no hard and fast rules about the use of either banjo. Generally the tenor is best known for its ability as rhythm instrument in Dixieland bands and the plectrum is the choice of many soloists. In the hands of the right players they are effectively interchangeable in terms of their uses. Some of the best solo banjo players around use the tenor and some of the best Dixieland players use plectrums. The shorter neck of the tenor requires more use of inside chords to reach all of the melody notes without getting to far up into the upper reaches of the fretboard where things can get some what squeaky. The longer neck of the plectrum allows for more notes to be reached on the first string. In addition the first string does not need to be stretched as tightly to be brought into tune. This allows for a somewhat easier tremolo. The following is a posting that Bill Palmer
made after I had answered a question about the tenor /plectrum
differences. He covered the question much better than I, so
I asked him if it would be all right if I added his comments here.
As Noel stated the tenor banjo generally had a neck with 17 to
19 frets Celtic tenor banjo is tuned GDAE, an octave below a mandolin,
enabling a Generally, tenor banjos have a shorter scale, between 22
inches and 23 The plectrum banjo usually has a longer scale, about 25 to 27
inches, The closer voicing of the strings on a plectrum banjo gives
closer Noel states that this plectrum voicing gives a more "piano-like"
qulity The overall range of a standard 19 fret tenor banjo is 3
octaves and a The layout of the fingerboard of the tenor banjo makes playing
single The longer neck of the plectrum makes it more suitable for the
average Noel is absolutely correct in stating (and I paraphrase here)
that in To further confuse the issue, Gibson made a few PT models--RB=regular
I hope this helps. Back to TopWhich banjo should I play The following consists of two postings to the Dixieland jazz Mailing List by two banjo players who have slightly different positions on the advantages and disadvantages of the plectrum and the tenor. I borrowed the postings because there is a lot of good information provided by both Jim Jones and Kurt Abell It's worth it. People are happier because they hear and/or play the banjo. May I try a beginning series of thoughts? You have specified "a la Dixie". This is more important than you may realize. The job of a band banjo player, as part of the rhythm section, is to play "straight four", i. e., be a good timekeeper for the rest of the band. Not fancy except on solos, then you may show what you have. Jimmy Mazzy, for all his solo talent, is also a good straight-four blending player. There are those who say, "The band should hear the banjo and the audience should hear the band". Try for blend. There are three common tunings of four-string banjo. Each has its benefits and adherents. The orchestral banjo is the tenor banjo, simply because its wide tuning stance "cuts thru" at some point in the scale, thus can always be heard. Example: cymbals can "fog out" the narrow chordal structure of plectrum and ukulele tuning, but not tenor tuning. OTOH, plectrum is preferred by chord-melody soloists vs tenor for single-string soloists. But those are *soloists*, not ensemble players as band rhythmists. And South Frisco's Vince Saunders and the Salty Dogs' Jack Kuncl play ukulele tuning. The goal of learning to play is to PLAY. (Wow, what a concept!) IOW, buy books (or use fake books) that have chord names displayed. Acquire chord charts, such as the Mel Bay books, just a buck, 3" x 5". MATCH the chords to the songs and PLAY them. Do a bad job but play songs, not exercises! Why? To learn chord progressions, that is, regular series of chords where one follows another, the basis of nearly ALL popular songs of OKOM. Soon, you will learn two more "discoveries", (1) the multiple positions up and down the neck for the same chord name(s), and (2) the so-called circle of fifths. The former is made up of simply rearranging the notes in the chord to fall under different fingers. The latter can be de-mystified this way: Imagine a rotary-dial telephone. The dial, at rest, is in the "home" position, with nowhere left to go. This is the TONIC chord or key-signature position. Each dial-position can then be likened to a chord in the circle-of-fifths, so named because chord progressions "feed" (called "resolve") linearly DOWN the scale in jumps of fifths until they end at the tonic, where the "dial stops rotating". Confusing? Let me illustrate by examples. Imagine the key of C, although you can build this progression from any key. This is "fed" successively by G7th, D7, A7, E7 chords, rarely more, seldom that many. The tonic is reached, in the circle-of-fifths, from the "7th" chord five notes up the scale, so G7th resolves into C in our example. ("Go Tell Aunt Rhodie" uses only these two chords.) Next, D7 to G7 to C. (The last line of "Bill Bailey, Won't You Please Come Home" works, very typical resolution in many songs.) Next, A7-D7-G7-C. ("Sweet Georgia Brown"'s first half.) Finally, C-E7-A7-D7-G7-C. (Quiz-you didn't think this was painless, did you?: What chord separates the halves of "Sweet Ga. Brn." above? Wind up that phone dial one more click to . . . E7th). (Another example is "Five Foot Two"). Your "linear instrument" background, a series of single notes, MAY not have prepared you to think in chords. Hopefully, the above method of playing actual songs will pattern you to hear chord progressions while enjoying yourself and becoming amazingly popular with your widening circle of admiring friends. Please tell me your reaction and progress reports. Chord-ially, Jim Jones O==# Tnr bjo / tnr gtr, Crazy Rhythm Hot Society Orchestra, Long Beach CA I enjoyed reading Jim Jones' reply to Pete Green's request on the what where, why and how of beginning banjo, but respectfully question a few of his comments, especially regarding tunings and exercises. I must take great exception to the comment, "cymbals can fog out the narrow chordal structure of plectrum and ukulele tuning, but not tenor tuning." There are many factors that can "fog out" ANY tuning. Tenors MAY "bite through" a little more due their tuning stance, but in my experience as a plectrum player, a banjo's ability to be heard is much more dependent on: 1) the quality of the instrument; 2) how that instrument is set up - i.e., head tightened to proper tension, bridge quality, string action height, string gauges, the pick, and, most importantly, 3) who's pushing the pick. As an example, last Sunday at the San Joaquin Dixieland Society meeting in Stockton, CA, I met a tenor player who had a very nice Bacon & Day #3. Before switching to an Ome, I used to play a Bacon, still have one, and maintain a great respect for them as a quality instrument. The gentleman knew what he was doing with his tenor banjo, played it tastefully with great gusto, but couldn't be heard - due to a poorly executed job of set up. If a tune requires a lot of "bite," plectrum players can simply play everything between the 12th and 22nd fret and "bite" with the best of them. I find one of the plectrum's many inherent qualities to be the great range it makes available. Being heard is important, but Jim also mentions the need to blend. I agree wholeheartedly. Cell Block Seven, with whom I play, frequently performs Mood Indigo, featuring three double bell euphoniums. This is a personal opinion, and using this tune as only one example, I find that playing rhythm in the plectrum's lower register "blends" most pleasingly with the lower harmonies of the euphoniums. I am somewhat surprised by the statement, "...plectrum is preferred by chord-melody soloists vs. tenor for single-string soloists. But those are "soloists," not ensemble players as band rhythmists." As a general statement this is true, but there are many plectrum players, today, who do some dazzling single-string work, as well as many tenor players who do great chord-melody work. Why must playing banjo, whichever type you prefer, be pigeon-holed as one vs. the other? To quote Jim's first line to Pete, "People are happier because they hear and/or play THE BANJO." (no mention made here, appropriately, of style or type... just banjo) I am also a fan of exercises as an integral part of learning one's instrument. I agree with Jim's comment, "Match the chords to the songs and play them. Do a bad job but play songs..." , but I also feel that there's more to it. Mel Bay books are okay for learning chords, but most folks trying to teach themselves out of a book will be stuck far too long in the first part of the book (all the chords between the nut and the 5th fret), some forever. The most important part of the book, IMHO, lies in the back of the book... the chord inversions. By repeatedly practicing these inversions (a.k.a. excercises), one will quickly learn the spatial relationship between each "position," how that applies to learning where and how to find 90%+ of all chords, and all the while, educating one's fingers to move in a functional manner. This can all be eventually learned by just playing the songs, but why stifle the learning process? As with any instrument, there are a few prodigy's who can pick up anything and play it well. For most folks though, lessons are an invaluable way to speed things up, learn proper technique, help avoid frustration, and in general, enjoy your instrument to its fullest. Jim's final comments regarding playing songs and hearing chord progressions, "... while enjoying yourself and becoming amazingly popular with your widening circle of admiring friends..." cannot, by this writer, be argued or debated in any way shape or form. Thanks, Jim, for the fine posting. To Pete - tenor and plectrum banjos are both marvelous instruments, each with wonderful and unique qualities. Maybe, before you begin your quest, it might be a wise idea to search out players of both types and get a feel for which style most tickles your fancy. I've met very few banjoists who aren't more than willing and happy to bend your ear (forever) about their chosen instrument. Good luck and best wishes for endless enjoyment. Respectfully submitted, Kurt Abell, plectrum banjo / plectrum guitar Cell Block Seven Jazz Band Lodi, CA The five string is an institution unto itself. It is an exceptionally versatile instrument. The most commonly known music played on the five string is bluegrass but there are numerous styles including but not limited to Old time music, ragtime, jazz. There are many sources for information about the five string banjo. Just run a search on any search engine using the word "banjo" and you will find lots of links. Which is better -A skin head or a plastic head?The following is an answer given to this question by a fellow named Jeff Kimble. His answer while not necessarily agreed to by all "experts" is well stated and I believe covers the issue well. If you like the sound of a skin head and want to put up with the headaches that go with it, then by all means do so. My preference is a for either a clear mylar or a smooth topped white mylar head. I play in a Dixieland band and I have to be heard in the midst of some very powerful brass and rhythm instruments. I need the volume. When I play alone and sing or play in a small group in a small setting, I find the skin head provides sufficient volume and a nice resonant tone. I have been repairing and playing banjos for over 25 years.
IMHO,based on experience, there is just no reason to subject one's
self to the misery of a real skin head. The advent of the plastic
head solved all of the problems of the old skin heads. The only
reason people used skin heads Jeff Kimble I am a guitar player who is considering playing tenor banjo. What factors might be important to me Doug Wamble wrote: > > So, I'm a jazz guitarist, and I got asked to play banjo > for a performance of Rhapsody in Blue. The tuning absolutely > maddens me, but I'm getting used to it. > > I'm really into early jazz, like Louis Armstong and Jelly Roll > Morton, so I think I want to get a tenor banjo of my own. I > have this one provided for me on this concert. It's an old Kay. > The place they rented it from is selling it for around $250. > I don't know the first thing about banjos, so I was wondering > if a Kay would even be worth owning. I actually play an old > 1940's Kay f-hole acoustic archtop guitar, and I love it. But > I don't know what to look for in a banjo. Most cats here in Chicago > only know about 5-string stuff for bluegrass. My purposes would be > mainly for playing New Orleans style jazz music. > > Any advice would be greatly appreciated. Feel free to e-mail me. > > Take care... > > Doug Wamble Dear Doug, I played jazz guitar for 20 years in the Army and doubled on tenor banjo. First of all, as a guitarist, the plectrum banjo would be easier to learn if you tuned like a 5-string without the 5th high g drone string, open g chord, rather than having the C on the bottom. The Deering banjo Company makes a GREAT 6-string guitar banjo which of course has a much deeper sound with the additional bass strings. I play with a Dixieland band and use a tenor with traditional cgda tuning, It has taken a long time to adjust to 5th's tuning after playing 4th's for so long. A tenor really cuts through a small dixieland group. A plectrum is used much more for solo/one man band performances since the scale and chromatics are within easy reach. Many notes are a real stretch on a tenor. I suggest you get a book/cassette called "Looking Back" by Tim Allen, a Great Canadian tenor player. You should also buy his tenor instruction book. It's the best I've seen for someone who already has a music background. Eddie Davis is another great tenor player in NY City who has a good instructional book. Budy Wachter has a tenor and plectrum VHS tape series that is aimed at beginners and some intermediate players. You need to subscribe to FIGA (Fretted Instrument Guild of America). They have a quarterly magazine filled with 4 string banjo articles and instruction. I agree with what most of the others have said about Bacon and Days and the other old banjos but Deering, Stelling, Ome and Richelieu make beautiful looking and sounding banjos starting around a $1000 and up. Just buy your tenor like you would your guitar. Make sure the neck is straight and none of the notes buzz as you test each note on the banjo. Make sure it's tuned to A440. Some people try to hide a bow/high action banjo by tuning it down a third or so until it seems to play great. But when you bring it up to pitch it's unplayable once you get out of first position, not to mention the intonation is awful up the neck. Best wishes, Garry Conway, San Antonio, TFA Back to TopRevised 9-12-96 |