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1Q
INSTRUCTOR.
 PRESENTED TO THE ffl f~rf

^ ..J^^M 0^X>: <&>

slt'rrs / ?.</

I
 BANJO INSTRUCTOR: '^CONTAINING THE

ELEMENTARY PRINCIPLES OF MUSIC,

TOG E»T HER WITH

pirn m^ mmmm
NECESSARY TO FACILITATE THE ACQl IREMENT OF A PERFECT KNOWLEDGE OF THE INSTRUMENT
TO WHICH IS ADDED
A CHOICE COLLECTION OF PIECES, NUMBERING OVER FIFTY POPULAR

DANCES, POLKAS, MELODIES, &G. &C.

MANY OF WHICH HAVE NEVER BEFORE BEEN PUBLISHED.
COMPOSED AND ARRANGED EXPRESSLY FOR THIS WORK.
BY THOMAS F. BRIGGS.
BOSTON:
PUBLISHED BY OLIVER DITSON & CO., WASHINGTON ST
 Entered, according to Act of Congress, in the -

) ear 1855 , by

OLIVER DITSOX,
in the Clerk's Office of the District Court for the Distrl?t of Massachusetts.
 DEDICATED 10

HENBY WOOD, E8Q.,

MIW YOfiX.
S§ afe i -a
 PUBLISHER'S PREFACE.
Shortly after the death of T. F. Briggs, the publisher was solicited by Mr.
associates. —
With all his niccness of dress and manner, there was no exceptional vanity In
his bearing; nothing about him which the most jealous critic would stylo "airish." He
Briggs' friends to publish " Briogs' Banjo Instructor." As there had hod an inborn gentility which oozed out of him ns it were, gracefully, and you could feel
never yet been published a complete method for this instrument, and as Mr. no more objection to it, than to the just pride of a handsome girl who only evince, an amiable
Briggs had acquired a great reputation as a performer upon the Banjo, the — desire to be fine.
as
Elegance was his " natural gait," and I verily believe his comrades took
much pride as himself In his glossy wristbands and his straw kids; and perhaps felt that
publisher was induced to issue this work, and thus give the world a scientific they were in some way associated with the dignity of the band. Certain it is, that bis
and practical method for an instrument which has been ever considered a unassuming excellence hail made a deep impression on their minds, nnd when he was
lowered out of sight, many a tear dropped eilently into the fresh sand that lay ready to be
mystery unlearnablc, and for which music had never before been written. heaped into his grave.
This book contains many choice plantation melodies which the author learned The evening performance thnt succeeded the ceremony was a doleful one. "For my
when at the south from the negroes, which have never before been published part," said Horn, " I scarcely knew what I was about. Tom and I had travelled togi thi r
for years, and it seemed to me as if I had lost a brother. All my main business was done
thus forming a rare collection of quaint old dances, &c., which will render with him, and when I looked around in the middle of my work, and found a strange face
them attractive to all the lovers of music. in place of his, and remembered that I had just helped to put him in the ground, I nearly
'
broke down :'
"
We insert the following touching narrative of the death of Briggs, which
Ashe
said this, the eye of the humorist became moist, a slight tremor and huskiness was
appeared recently in "The Pioneer," (a California Magazine,) from the pen perceptible In Ms voice, and turning half round, so as to look another way, he suddenly
of Geo. Wilkes : asked a crowd of us to drink.
"Ah, gentlemen," said he, when we had all cot our glasses, ami he had cleared his
Poor Tom Briggs! How I recollect liim as he used to enter between the first nnd second throat, '• You'll never see the like of poor Tom Brlggs again! He was different from most
divisions of the performance, with Ma banjo on his shoulder, and his cheerful —"Good others players. They seldom lake any pride in ibeir business, and are generally Satisfied
erenia' white foil with any cheap Instrument they can get, but Tom was very particular: be never stood
Black ns he made himself, Tom Briggs rould not help being hnndsome, while the special upon the price of n banjo, and when be got a g one be was always studying some way
I

set of Ml ntt, and the exquisite trim of his lower outline, helped largely to his title as the
to ornament and improve it. Be had a light one and a heavy one for different kinds of
'•
Darky Apollo." work, nnd ho played so strong thai be bad to gel a piece Of steel made for the enil of his
I here nrc some persons so resolutely good looking thnt-no paint will disfigure them, no finger, as a sort of shield, to prevent hit tearing Off his nail. He »:i. very fond of playing
ivy one, nnd when we were coming up the coa-t. he would somettmee slrikc his
—
garb entirely disguise, and of this sort was poor Tom BriggB. Wisely appreciating his
strongest notes, and then turn around to me so pr and say, "Ah! Eph, •That'll they
gifts, he preferred the ifiant favor they inspired In the minds of an audience, to the
I.
I

rlarque which Is the reward of preposterous exaggeration. He was the dandy nigger; clean think when they hear the old sremona speak like ihut?"
ns a race horse, fine its a -tar, ami when his linger struck the banjo, you felt that he was did not make any difference when he took sick. He played away all the same. Only
It
filled willi the -pint of an artist. Altogether, Tom Briggs was an extraordinary person, nfter he got here he could only play the light One. lie used to have it hanging against the
and bad he ehosen n leu bumble Instrument, and subjected Ins taste to the tutelage of wall, 10 a- be could reach it in bed. Most any time you went in you'd hear him talking to
science, be would hare achieved an elevated and refined renown. As It was he distanced the old cremona, as be called it, and making it talk back to him. Hy'm by be got so weak
rivalry, elevated the banjo to the rank of tin' guitar, and rendered bis performance ool be COUld scarcely hold on to it, and I have sal by bis bed and wati'licd him till the sound
only the restate of a second concert, but a by word of surprise. Tins makes him a became so faint, thai it seemed as If be and the banjo wen- both falling Into a dream. All the
character worth notice. Whenever any one played to ears which had once heard him, the
— —
while he kepi up a good bean poor fellow! and we kepi encouraging him along, too;
comment Invariably was "Ah, but you should have heard Tom Brlggs!" This was and every now and then he would raise himself up and sin "Ah bow I'll make 'cm look
,
'

fame; and Tom ltriggs felt Its inspiring influence, and day by day he played more famous- around wbem I gel strength enough once more, to make the old banjo speak I"
ly because of it. " lint at last, be felt thai he was going; and after straight, sensible talk, he b
Success developes genlua, Thorn who cannot win it stop on die nearside of Jordan; when be died, io lake the'iwo banjos and pack them up carefully, and send them home to
and then Ihey mosi remain till it Rives ihi m strength lo get beyond. Bnl Tom Brlggs took his father and mother. An hour before be went, be asked me to hand him ins banjo. He
one jump to the right side of th( Happy Valley, and leaving competition in the rear, made took hold of It, and looked at It for a minute as If he were looking at a person «bom be
hi 10 him In the way of contrast. Every one conceded the superiority of Tom was going to pari with forever; then he tried lo hit it. Hut be 1..11M merely drop tho
Brlggs! weight of his thin lingers on the cor I.. Then was no Stroke 10 hi- touch at all. ReCOUld
Bat Tom Briggs had other merits than attached to his pursuits. He possessed a kind just bandy make a sound, and thai was to One thai it appeared to vanish away like the but*
and gentle spirit, he was shy, modest and reserved, and free from the hard habits winch
characterize manv of Ins class.— lb- had n gnat notion, loo, of being a gentleman, and
of ally. It was w
dim that I debt believe be heard it himself, audio- dropped his hand
as be gave it up. Then he looked at n o a- If be understood everything in the world, and
instead of banging about taverns and passing bi< time In vulgar pleasures, he '
shaking In. bead, sal I, "It's no use, 1 ph— hang 11 up— 1 can DOl hit it any more! " These
"
MfflseU to elegant attire, good company, and that laborious practice which i» the mother of were words that poor Tom lir.
lb.- last ike I

improvement. At speaker wiped a tear from his i-vi-; but it did him no
this the discredit, for he bad
Nevertheless Tom Brlggs pursued these inclinations without offence to his professional described tbc death of an artist, and given the best proof of a maul
 ELEMENTARY PRINCIPLES OF MUSIC.

KINDS OF NOTES, &c. The names of the notes are determined by a sign, called a Clef,
which is placed at the commencement of the Staff. The Treble,
Music is composed of seven notes, which are named after the
or G Clef only, is used in Banjo music, and is placed on the 2nd
first seven letters of the alphabet ; A, B, C, D, E, F, G. These
line of the Staff.
notes are used to express sounds, and are written on five parallel
between the Letters on the Lines of tho Staff. Letters in the Spaces.
lines, and in the spaces lines.
O B D
These five lines and four spaces are called the Staff.
TIIKIII.E/
CLEF. K
=W=a—
As the Staff is not sufficient to express all the sounds in music,
1 2
short lines, called Ledger lines, are placed above and below the
Letters on the Ledger Lines above, Letters on the Ledger Lines below,
Staff, when required. and in the Spaces. and in the Spaces.

— £— — B <
Note* on the Linci. Notes in the Spaces.
-* -£
STAFF. •EEgEEEEEEiEEH
5 12 3 4

Ledger line* and spaces above. Ledger lines and spaces below.

. 4- - * FORMS OF NOTES.
£^E There are seven forms of notes, each having a different value.
3 3=^F=P By the value of a note, is understood, the duration of sound which
it indicates; this duration is determined by the form of the note.
Both lines and spaces are numbered from the bottom of the Staff, Each of these notes has a Rest, or sign for silence, which correspond*
upwards. with it in value or duration.
 ELEMENTARY PRINCIPLES OF MUSIC
NOTES. A piece of music is divided into strains by the use of the Double
Ilalf note. Quarter note. Eighth note.
3 4
16th note. 32nd note.
5 6
64th note.
7
Bar. J When dots are placed before the double Bar it they show-
that J the strain previous is to be repeated; when *t after the
-*=- :a:
=Ei: :t=±'
Double Bar, c. that the strain following is to be repeated.

A whole note equal to 2, or 4, or 8, or 16, or 32,

-r
or 64.
is

TIME. •

RESTS. There are three kinds of Time ; namely, Common time, when
each measure contains two or four equal parts,- and Triple time,
Whole note rest . Half note rest. Quarter note rest. 8th note rest. 13th rest. 32nd rest. 64th rest.

1 2 3 4 5 6 7 when each measure contains three equal parts. Compound time,

V
fL —«
\J
mm :—j5~ tht
|
when each measure contains six or more parts. Common time is
:i=|c=|— 1=: v
^~-V
•V •t marked by the letter C, and by figures. Triple, and Compound
A whole note rest L? equal to 2, or 4, or 8, or 16,' or 32,
time, by figures only.
The Dot, placed at the right hand side of a note, or rest, increas-
The letter C, signifies that each measure contains the value, of
es its Thus, a dotted Whole note is equal to a
value one half.
a whole note. When figures are used, thus,
Whole note and a Half note. A dotted Half note is equal to a Half
note and a Quarter note.
EXAMPLE.
—4 — — —4rvf— —ft
—^—\[—4 £-
r—$
— z?~
Equal to.

t
— -rz — s»
Equal

izz:;22zz=z xzzzezzzzaiz::
to.
I

they signify that each measure contains such fractional part of a

whole note, as the figures indicate.
The upper figure shows the number of parts, or counts ; the lower
MEASURES, &c. figure the kind of note to each part or count.

Every piece of music is divided into short and equal portions,

called measures, by small bars drawn perpendicularly across the EXAMPLES OF TIME.
staff.
Counts.
Bar. Bar. 1234 12 34 3 4 123 1 23
-Measnike.'
 ELEMENTARY PRINCIPLES OF MUSIC.

TRIPLET. THE KEY NOTE.

The Triplet, is a group of three notes of any kind, over which The principal note on which a musical composition is established,
the figure 3 is placed ; these three notes are to be played in the is called the Key Note, the Key of a piece is indicated by the Big-

time of two of the same kind. nature. Each Major Key has its relative Minor Key.
In a sharp signature the Major key is found one semitone above
the last p in the signature, and the minor key two semitones below
Triplet. Value.
it. In a flat signature the major key is found five semitones below
the last flat in the signature, and the minor key four semitones
above it.

To know whether a piece is in the major or minor, it is neces-

sary to examine whether the fifth of the major key is accidentally

SHARP, PLAT, AND NATURAL. altered by a £, 7 or Jf

; if not, the piece is in the major key. If it

is altered, the piece is in the minor key.

The Sharp ( fl ) is a sign which raises a note a semitone. The
lowers a note a semitone and the Natural
Flat ( 7 ) ; (jl) restores
THE PAUSE, &c.
a note, that has been affected by a Jj
or 7, to its original sound.
\ n or ' placed before a note, is called an Accidental, and affects The Pause, ,c\ isplaced over notes and rests, and denotes that
all the notes of the same name throughout the measure in which the performer may dwell upon the note as long as he thinks proper.
it occurs.
When sharps or flats are placed at the beginning of a piece of
music, they affect nil the notes of the same name throughout the
piece. The sharps and tills at the beginning of a piece, are called

TlIF. SlONATl-IlF.. When a Pause is placed over a Double Bar, it shows the end of
There are as many sharps and flats as there are notes; the sharps the piece. Da Capo, or D. C. indicate that the performer must
are placed, beginning with Pj| by fifths ascending, and by fourths begin thfl piece again, and end at the first double bar, or continue
descending. The flats are paced, beginning with B?, by fourths 10 the word Fine. The Sign g in that the performer must
ascending, and by fifths descending. I return to the first sign, and end as in the D. C.
8 INSTRUCTIONS FOR THE BANJO.
SIGNS INDICATING THE DEGREE OP POWER. MANNER OP PLAYING.
Soft. thumb and
Piano, or p In playing, the first finger only of the right hand are
pp Very soft.

Sweet.
used ; the 5th string is touched by the thumb only, this string is
'Dolce, or JDol
Forte, or/. Loud. always played open, the other strings are touched by the thumb
JF Very loud. and the first finger, the thumb and finger should meet the strings
mf Moderately loud.
obliquely, so as to cause them to vibrate across the finger-board.
sf:,sf,fz,OT> Suddenly loud.
rfz, rf, or —=C " Gradually loud. The strings are touched by the ball of the thumb, and the. nail of
-==r
Crescendo, Ores, or Increase in sound. the 1st finger. The first finger should strike the strings with the
:==-
Dim, Decres. or Decrease sound. in
back of the nail and then slide to. When using the thumb, the
MANNER OF HOLDING THE BANJO. first finger nail should rest against the 1st string ; when using the
The Banjo should be placed transversely on the right thigh,
first finger, the thumb should rest on the 5th string when the ;

the right fore arm resting upon the edge of the instrument, the first finger strikes any one of the strings, other than the 1st string,
hand hanging above the strings so as to bring the wrist just over the finger should slide to, and rest on the next string to the one
the bridge. The head of the Banjo should be elevated so as to
struck ; when the 1st string is struck, the finger should slide to,
bring it nearly even with the left shoulder.
on the top of the instrument.
and rest

THE LEFT HAND. MANNER IN WHICH THE BANJO IS STRUNG AND TUNED.
The left hand should lightly press the neck just below the Nut, The Banjo has 5 strings, the 1st, 2d, 3d and 5th of which, are
between the thumb and the first finger, leaving the ends of the Gut, and the 4' is of Silk covered with silver, wire.
thumb and fingers'free. The arm should hang naturally, with the The 3d sf med first, then the 2d string is tuned a third
elbow separated from the body the fingers should be separated and
; above the . n the 1st string is tuned a fifth above the
held ready to strike the strings perpendicularly. The thumb is 3d string, th tring is tuned an octave above the 3d
sometime used to stop the fourth string. string, then the ± ig is tuned a fifth below the third string.

THE RIGHT HAND. Owing to the pes. "tion of the Banjo, the performer

The thumb should be extended and rest on the 5th string. The can play in two keys c
-
t changing its pitch, these two
fingers should not be separated, but held closely together, and, keys, are the keys of the th string.

move simultaneously with the first finger ; the first finger should The 3d string is usually , jr D, (the same with
be held a little farther out from the hand than the other fingers. the 3d string of the Violin,) an^ i,h ri ig a fifth below which,
The fingers should be held stiff, except at the 3d joint. The wrist makes it G, therefore the keys of ( ad D major*. are called
should be held limber. the Natural keys of the Banjo.
 INSTRUCTIONS FOR THE BANJO.
All JBanjo music is written, in the keys of G
and D, therefore, manner while it would seem to the performer that he was playing
when the performer wishes to play in any other keys, he has but in the key of G, or D, the tones he would produce might be in the
to change the pitch of the strings, and then play in the key of G key of A?, or any other remote key he might tune to. It will thus

or D, producing the sounds of whatever key he tuned to. In this be seen that the Banjo can be played any key. m

THE BANJO.

• The letters at the and of the strings indicate the names of the _"bpen strings, the letters on the finger-
board indicate the Gamut or Scalo in the Key of G, this key being'the principal key of the Banjo. The
5th string is always played open, and is generally called tke*Thumb String.

GAMUT IN THE KEY OP G.

*T> llh SlrlnuT :i.l
O
Mrins. ".IMrini;.
O
I .1 Slrln«.
1

1 2 3 I • 2 I Ti 1 2 3 4

=3
"W X
-*-+-*
X- X
x J

• O Indicates an open string ; 1 , the first finger of"the Irfl hand ; 8, the second finger ; 3, the third finger, and 4, the fourth finger.

fo X Indicates the thumb of the right hand, and F, the first finger.
10 INSTRUCTIONS FOR THE BANJO
la the key of G, the letter F is sharped ; in the key of D, the MOVEMENTS. No. 1.

letters F and C, are sharped therefore as the F is sharped naturally, Commence slow, and gradually increase the speed.
2000
:

that is in tuning the Banjo, the performer has therefore but to 20*30 20 60 20 30 20 o o T»
-sharp the letter C, to play the Gamut in D.

4th String*
O 1 2
3.1
O
String.
2
12.1
I O
Strins:.
4 Jo
1st Strins.
2 3» No.
FXFX FXFX
2.
o o

I^E3&fM £
To tune by the A tuning fork, the 1st string should be tuned
in unison with it, then tune the 3d string a fifth below, after
which, tune as before directed.
The greatest difficulty in playing, is to stop the strings perfect! y.
No. 4.
F X F X FXFX
In the pupil must be guided almost by his ear he
this,

should, however, generally allow half the width of his finger, as

entirely ;

120 OOO 1 2 O OOOOO

space between each finger, and also keep the first finger about the
same distance from the nut. In stopping the 4th string, the first F F X F X FFXFX
No. 5.
finger should be placed about a finger's width below the nut.
OOO 1 2. O. OOO 0(0'.
MOVEMENTS, Etc.
There are five principal movements or motions used in Banjo
FFXFX FFXFX
CHORDS.
music, and as these form the basis of all Banjo pieces, the learner
should become thoroughly familiar with them. A Chord a union of two or more sounds, to be played simultaneously.
is

When a it is to be played by the first finger alone, which is

single chord occurs,
Whenever the letter D of the fourth line of the staff occurs done by sliding the finger rapidly over the strings, beginning with the lowest note.
singly, it should be played on the 5th string. When two or more When two or more chords composed of the same letter* occur, the first is made
with the first finger, and the second is made by sliding the back of the nail of the
occur, the first should be made on the 1st string, the next on the thumb rapidly over the strings, commencing with the upper note of the chord.
5th string, and so on, thus tit
thus
I
• The notes to be played by the thumb of the ha
 INSTRUCTIONS FOR THE BANJO. 11

MARY BLANE.
piaxo. 20*020 3020001 2 o<L 2 iLiL **

ESSfcJE
F Fx X F x FXFXFxF FXXFX p F FXXFX F x F X Fx F F F F F F

1 FORTE 2120 3020 O

X 1-0-.-

F# F ?
Sfhrt^J 1 !

5 FXFX FXFX F x fxfx FXFX F F F F Fx FXF

OLD DAN TUCKER.
120 120 1 20 2 21 1 2^ ^^ ^^

F F x F F x FFXFF FFXFF FF FF

F*
rr
FX FFFF FFX
DANDY JIM.

i JTwr
-•-#
XFF FF FF x F F F F F x F

£=^ Ip^^fe=0rSBg
3t
*=P=j

XFF * The doable stem indicate* the D of the 5th, or thumb string.
12 INSTRUCTIONS FOR THE BANJO.
JIM CROW POLKA.
a
zSi ^^ot^^^^^^fyr-^^^i^^p^^^^i^^ :zzzHz&zjzz: jEg5g^=fF

F x F F x

D. C.
::»
F x FX FX FX

DANCE, BOATMAN, DANCE.

yf^jzgzfzzgziz^:: • m ar w w
FX FXFXFFX i i i i i i i i \

Fine.
Sizzzzzi|^J^Ni:i-=^=i^^^z^iz^z==:ipT^-=^T

FF XFFFXFFFxF F x F X F

THE SLUR.
In playing, two notes over or under which a curved line, or slur ^ is placed, and which are to be made on the same string, thus:ifczzjzz}
the first note is to be struck by the first finger of the right hand, and the second note is to be made by pulling the string©^
with the finger of the left hand, used in making the first note, thus, in the above example, B is the first note, this is made " 2 °
by placing the 2d finger on the 1st string ; A, which is the second note, and which comes on the open string, is made by pulling the
Itring with the 2d finger as it is being removed from the string.
 INSTRUCTIONS FOR THE BANJO. 13

When the slur is found on two or more ascending notes, which occur on the same string, the first note is struck by the first finger
of the right hand ;
the next note is made by bringing a finger of the left hand down with forceupon the string, thus i? (—^ : —
The 1st note, A, is made by the right hand, the 2d note made by striking the
is string with the 3d finger of the left ©77 ^3^ — )-

hand. When the slur is found on two or more ascending notes which occur on different strings, they are made by ° 3
striking the first note with the 1st finger of the right hand, and then sliding the first finger over the remaining notes, thus:
The D is struck, and the finger then slides over the Fj£ and A

SECOND POSITION.
Whenever D of the first string, the Thumb of the left hand should be placed just above the
notes occur that are higher than the
5th string, so as to bring the upon the place where the 3d finger makes D, when the hand is in the natural position.
first finger
Then to make E, put down the 2d finger on the 1st string to make Ftj put down the 3d finger on the same string to make G,
; ;

put down the 4th finger on the same string, talcing care to keep the fingers apart about the width of a finger. When the hand is
placed thus, it is said to be in the 2d Position. The 1st string is the only one ordinarily used in the 2d Position, and the letters
stand on the staff, thus: 2 3

- J T.

F* F F x FFxx f F*F FXFFF *^

S

m —• ' i i i
F x F F F
u INSTRUCTIONS FOR THE BANJO.
GIT UP IN DE MORNIN.
jft F^d E BrJ

1). c.

MISS LUCY LONG.

-3 --r-2 ^ JS 'trg&H*S2* -^---S^

F x F F x MTM fcjBd

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at=&

O! LUD GALS.
S3 ! i -„ . N N 2 2 O X ^ I I I jv \ f I
 INSTRUCTIONS FOR THE BANJO. 15
ROSA LEE.

F F- r r F x x F F-
££
S3EHS3
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E^iiglis!!

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OLD JOHNNY BOKER.

?*>-_ R# «^{ ---9*ma9-\ ---#>-!-( -a--f-J— —**» H? ' — -"-> -E :a5:

F x I-'
]" x x F x F x F

DE BONES IN DE BARN YARD.

16 INSTRUCTIONS FOR THE BANJO
CARRY ME BACK TO OLD VIRGINNY.

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WHO'S DAT A KNOCKIN' AT DE DOOR.

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 INSTRUCTIONS FOR THE BANJO. 17
OLD DINAH'S GOIN' TO TOWN.

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to table of K»ji.
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18 INSTRUCTIONS FOR THE BANJO.
EPHRIAM'S LAMENT.
J* -N r**— —j^5
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WALK ALONG JOHN.

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 INSTRUCTIONS FOR THE BANJO 19

BRIGGS' CORN SCHUCKING JIG.

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20 INSTRUCTIONS FOR THE BANJO,
OLD 76. REEL.
Turn to Table of Keys.

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WALK INTO DE PARLOR JIG.

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 INSTRUCTIONS FOR THE BANJO. 21
DARKEY MONEY MUSK

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THIS SIDE OF JORDAN.
Tune the Fourth String to A.

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DARKEY FISHERS HORNPIPE

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22 INSTRUCTIONS FOR THE BANJO,
PHILADELPHIA REEL.

F X F X F X
CARNEY JIG.

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 INSTRUCTIONS FOR THE BANJO 23
KICK UP DE DEBBLE ON A HOLIDAY.

XFFXFXFFXFX F £ F F F X F X F

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ETHIOPIAN CRACOVIENNE.

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24 INSTRUCTIONS FOR THE BANJO.
THE CONGO PRINCE JIG.
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 INSTRUCTIONS FOR THE BANJO. 25

NEBER DO TO GIB IT UP SO
Turn to Table of Keys.

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26 INSTRUCTIONS FOR THE BANJO.
OLD ZIP COON.
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F - F F
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FFX FF XFX F F s XFX F F

GOING OBER DE MOUNTAINS.

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 INSTRUCTIONS FOR THE BANJO.

jUL *

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F F X P X

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SPANISH GALLOPADE. With Variations.
Turn to Table of Keys.

pip^liPiP
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28 INSTRUCTIONS FOR THE BANJO.
JIM ALONG JOSEY.
#23
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ITA f

INJIN RUBBER OVERCOAT.

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PITCH BURGUNDY PLASTER.

Tune Fourth String to A.

39
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F X F X F JT -#- F X F - X F F X F X tf F X

2^ * n n .

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 INSTRUCTIONS FOR THE BANJO. 2D

KEEMO KIMO.

w^=&
FFFFFXFX FFF FFF

FXFXiXiX FX] ^ ^— ^_ ^ ^pxFX

\0\ \<: A MKK.fr
YANKEE DOODLE. With Variations.

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TAR. OLD AMKRfCA.

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30 INSTRUCTIONS FOR THE BANJO,
YANKEE DOODLE. Concluded.
3 3 3

a—\--\-0~hA-d ^n-0-^—
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JORDAN IS A HARD ROAD.
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Manner of Tuning the Banjo in the Different Keys. To play in D

the Keys of and G, tune Third String to D.
To play in the Keys of F# and B, tune Third String to F#.
To play in the Keys of C and F, tune Third * String to C. To play in the Keys of Gb and Cb, tune Third String to Gb.
To play in the Keys of Db and Gb, tune Third String to Db. The above are all the Major Keys, these being in general use. If the performer
To play in the Keys of Eb and Ab, tune Third String to Eb- wishes to play in the Minor Key, he must tune the Second String a Minor Third from
To play in the Keys of E and A, tune Third String to E. the Third String, learning the other strings at the same pitch as in the Major Keys.
To play in the Keys of F and Bb, tune Third String to F. The learner should frequently change the pitch, in playing the foregoing pieces,
and he will thus obtain a pleasing variety in the sound. A good imitation of the Banjo
• After the Third String is toned, tune the Second String a third above it the First String a fifth above
it
;

the Fourth String a nth below it and the Fifth String an Octave above it, in the same manner as in
;
can be made on the Guitar, by removing the Sixth String, and putting the First String
;

to* Natural Keyi (G and D) of the instrument, in its place, and then playing in the Banjo style.
 INSTRUCTIONS FOR THE BANJO. 31
ANNIE LAWRIE. Song, with Banjo Accompaniment.
Tunc Third Strins to C.

The performer, in playing the accompaniments of die Songs, can use either the Banjo fingering, or snap the first, second, and third strings with the first, second, and
third fingers of the right hand, as in playing the Guitar.

Ton Fxprrislonc.

*- S
t 1. Max - wcl - ton's banks are
t-
Where

:^i@i3ipi£^
ear-ly falls the dew, And 'twas there that 'An - nie
t:
Law - ric gave mo her prom
a . -j-
- i>e
N
3
true,
:&-:£
Gave mo her prom

-
—
— »_.._«
— ———4- i — P=4
7= T°- r

true, and ne'er for - get will I,

*$£
But for bon-nie An - nie Law - rio 1 'd lay
g-^ mo
•• •>
down and die.
l«

/ \% - ¥ — -<;/<5V-#
L
9 —
r
8
Hei Itow is like the snawdrift, her throat is like the swan, Like dew on the gowan lying, it the fa' «' her fsiry |
U
the fairest that e'er tho nun .*hone on, And like winds in rammer Bghing her roioe ia l"w and sweet,
That e'er the sun shono on, and dark blue is her o'o, Her voico is low and sweet, and who's a' tho world to me,
And for bonnio Annio Lawrio I'd lay me down and die. And for bonnie Annio Lawrie I'd lay nie down and die
32 INSTRUCTIONS FOR THE BANJO.
Allerro Moderato
DE BANKS OP DE OHIO. Song, with Banjo Accompaniment.

We live on de banks of de - hi - o, Tra, la, la, la, Tra, la, la, la, Where de migh - ty wa - ters

-J* P-F-^ N-

rap - id - ly flow, And de steam - boat streak a - long. We live on de banks of de hi - o, - M-o
— 1

/
t -*77-#
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9
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VT7 '

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hi - o,
' 0^-
We
«^=rt=Ms:
live
—
on
-#

de banks of
#-

de - hi - o,

_u_U4—H333
Rail.

de hi - o.
m
Ep5 3£» ^^ ^
 INSTRUCTIONS FOR THE BANJO 33

Old massa to we darkies am good, Droop not, darkies, as we hoe,

Tra, la, la, la, tra, la, la, la, Tra, la, la, la, tra, la, la, la,

He gib us our close, and he gib us our food, TiUin' de banks ob de Ohio,

As we merrily work for him. To raise de bacca and corn.

We lib ou do banks ob de Ohio, &c. We lib on de banks ob de Ohio, &c.

When de day am gwan, an' our toil am done, In a bery short time we all must go,

Tra, la, la, la, tra, la, la, la, Tra, la, la, la, tra, la, la, la,

To de cabin we go, and hab our fun, Back to de banks ob de Ohio,

Sweet music dar we excourse. Our home we lub so well.
We lib on de banks ob de Ohio, &c. We lib on de banks ob de Ohio, &c.

POP GOES THE WEASEL. Banjo Solo.

—
ms
!«*-
* T**-

5Q— -
3pget
1

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^ :£=-!=&

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- :
34 INSTRUCTIONS FOR THE BANJO
YOUNG FOLKS AT HOME, Song, with Banjo Accompaniment.

'-6-
3^=
tr * * ¥ ¥-

'Twas
£ Prelnde. ^^
^ (&&>-

m *I£ EM:^ tte=&=j =£=£ fc^zb=«=*:

:£-*-it^-
^^-
££^3
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jyar
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[2=1

i
in
IU4
afcat
J— *
a Southern grove I dwelt,
g
No
*3
£=£=*=i=

sor-row then I knew, It

J vji-A.
jt=jtutr*i
seem'd dat ev' -
£=£
^—
^
ry hour was bright, Dat gai-ly
a
i^i

o'er me flew De

s=r
m *=»
»=*=*±J= W_JM^-£
lit - tie
N N

^—
ones dat clung around, Ere
==^E
:^ 9 — O
I from dem did roam, Made
£=^
ii=at*:
eb-'ry hour still
* hz3\—^z
^—+—9
happier seem ; dear young folks at home

3=3=3
fc:
 INSTRUCTIONS FOR THE BANJO. 35
CHORUS.

I'm
?-~9 Tf. p

ber -
^M-F If*—
#
g
fc=«E
5
-*

ry sad, no joy for mo,

»

Why did I eb -ber roam ? Oh, shall

sn
I neb-ber
«*
#. -•

neb-ber see De
*_•
N—
f
« *
dear young folks at homo ?
I"

± "=£
We played de l)anjo, tambourine, But now I broken-hearted go —
And danced beneath de shade, Poor Tom dey all despise;
And all around us love to hear I grieve o'er all de happy past,
De music dat we made ; Wid bitter tears and sighs;
De mocking-bird sing sweetly then, I'm scorned by all de careless crowd,
De wild birda dey would come No matter where I roam —
And make dc grove wid music ring — Oh, shall I nebber sec again
Oh, dear " Young Folks at Home !"
De (bar • Young Folks at Home?'
Chorus — I'm berry sad, &c. Chorus —
I'm berry sad, &c.

Ah, no I now am far away,

!

Where no such pleasures shine,

I nebber dream'd dat sorrow'd come
To dis poor heart ob mine ;

Den take me to dat dear old spot,

Nor longer let me roam,
And lay me in de cold, cold grave,
Near de dear " Yonn<; Folks at Home!'
Chorus —
I'm berry sad, &c
36 INSTRUCTIONS FOR THE BANJO.
WAIT FOR THE WAGON. Banjo Solo.

^mMm t±3tiz: ±&=tt ±=23

WAIT FOR THE WAGON. Song, with Banjo Accompaniment.

S
1S3
Tune the Third String to C.

r=±E^
1.
fc—fir

Will you
^--9
S^ZJ/
0-

come with
£=£
J^_J.
me, my Phil
&
- lis dear,
^{
to

Prelude. Ik K 2d Pos.

«
i

-1^3

^ ^—&
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!
3-*-
^^
— a J— a=±

F^
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3=3
~~V
T-tP
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:*=£
* —
»- ^
S3
-±7*t
£ —£=£— 3=±
-»
t:
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0-

£-
£=£
yon blue moun-tain free, Where the bios - soms smell the sweetest, Come, come a - long with me It 's ev - 'ry Sun - day
 INSTRUCTIONS FOR THE BANJO, 37

Where the river runs like silver, and the birds they sing so sweet, Tour lips, as red as poppies ;
your hair, so sleek and neat,
I have a cabin, Phillis, and something good to eat All braided up with dahlias and holyhocks so sweet.
Come listen to my story, it will relieve my heart, It's every Sunday morning, when I am by your side,
To jump into the wagon, and off we will start. We '11jump into the wagon, and all tako a ride.
CnoRCS —
Wait for the wagon, Sec. Cuoros —
Wait for the wagon, &o.

Do you believe, my Phillis dear, old Cliko with all his wealth, Together, on life's journey, wo '11 travel 'till wo stop,

Can make you half so happy, as I with youth and health ;

And if we have no trouble, we 'II reach the happy top
We'll have a little farm, a lmr-e, a pig, a cow, Then come with me sweet Phillip, my dear, my lovely bride,

And you will mind the dairy, and I will guide the plow. We '11jump into the wagon, and all tako a ride.
Cuoros — Wait for tho wagon, 4c. Cnouus —
Wait for lh« wagon, &c.
38 INSTRUCTIONS FOR THE BANJO
LILLY DALE. Song, with Banjo Accompaniment.
Tune the Third String to E.
LL Andante.
Ai

£=£
I pe ¥-<?-*-
F2
l.'Twas a calm, and the moon's pale
J^

still night, light, Shone

£ Prelude

iS^^ -^*r
W^ -0 0-
» K-s
—* 0-
N-^v
T^" -fc^-

-d att '0~ii'

soft o'er hill and vale; When friends, mute with grief, Stood around the death-bed Of my poor lost Lil - ly Dale

^4JJ^XP
feg
N N
*£=^ S :^^=^ «mi^S-*^-*^^1 ^-t-^i
-#-
# 2-F-r^
tcf^ES
=2=

U CHORUS.
If

si
i Oh! Lil - ly, sweet Lil - ly, dear Lil - ly
-5=£

Dale,
-»-. -0-
Now the

e
1 m -£
-+*-
m
#
 INSTRUCTIONS FOR THE BANJO. 39

rv
-4—
Willi rn-i; bios - soms o'er her
fH
lit - tie green grave,
*=?s
'Neath tho trees tho
•

flow
*
Stzat
- 'ry
-<o-

vale.
m
i^fSl ^i^S
Her check, that once glowed with the rose-tint of health, I go, she said, to the land of rest,

By the hand of disease had turned pale; And ere my strength shall fail,

And the death-damp was on the pure white brow I must you where, near my own loved home,
tell

Of my poor lost Lilly Dale. You must lay poor Lilly Dale.
Chorus — Oh Lilly, sweet Lilly, dear Lilly Dale, Chorus — Lilly, sweet Lilly, dear Lilly Dale,
Nm\v the wild rose hlossoms o'er her little green grave, Now the wild rose blossoms o'er her little green grave,
'Neath the trees in the flow'ry vale. 'Neath the trees in the flow'rv vale.

'Neath the chesnut tree, where the wild flowers grow,

And the Btream ripples forth through the vale,
Where the birds shall warble their songs in Spring,
There lay poor Lilly Dale.

Chorus — Oh Lilly, sweet Lilly, dear Lilly Dale,

Now the wild rose Mossoras o'er her little green grave,
'Neath the trees in tho flowery vale.
40 INSTRUCTIONS FOR THE BANJO.
TOLL THE BELL FOR LILLY DALE. Song, with Banjo Accompaniment.

$2=^
^ -f—f- i=± -0
M
— 0-
n
-aH-v fL
1. My Lil - ly dear is sleep -ing, 'Neath

8-"^ [•"' —i'*^ii"niii -l™i ,,ll,

¥"l-

l^M33
i

+3-
=2= ^
Ip
tbe old chest - nut tree
^ The
=*=£
spot where Tl oft she
-a—
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wander'd, When in - no - cent and free : The wild rose
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myr - tie, Still clus - ter round the spot, But my heart 's fill'd with sor - row, lone - ly is my lot.

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 INSTRUCTIONS FOR THE BANJO 41

Lil - ly dear I *vo lost,

-7-*-

So
^S
lov - ing, kind, and true
•

Sing to - day, ono sad lay, Lost Lil

fF*
- ly Dale
ll

'Tis Spring, the birds are warbling My Lilly dear, I'm watching,
A sad and mournful tale Oh ! wilt thou never come;
Of beauty once so blooming, To greet mc with a blessing,
Now lying cold and pale. From thy fair angel home.
The streamlet ripples onward, My sad heart now is aching,
So quiet through the vale, With heavy care opprest
The wild rose drops a dewy tear, 0! may I quickly meet thee,
For earth-lost Lilly Dale. In that pure land of rest.

Chorus — Toll, toll the bell, &c. Chords — Toll, toll the bell, &o.
[6]
42 INSTRUCTIONS FOR THE BANJO.
BLACK EYE'D SUSIANNA. Song, with Banjo Accompaniment.

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I been to de East, I been to de West, I been to Souf Caro - li - na, And ob all de galls I

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na. She's brack,

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 INSTRUCTIONS FOR THE BANJO. 43
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She's brack, (kit's a fac. I been to de East, been to do West,

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been to Souf Car - li - na, And ob all de galls I lub de boss, Is ray brack-ey'd Su - si - an - na.

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I courted a gall away in de Wes', Home I started to my lub,

Her name it was Jemima, Her promise to remind her,
But I still bad a feelin' in my bree, Soon herself to me sho gub,
For my braek-ey'd Susianna. Dat brack-f'v'd Su-ianna.
I been to de East, Sec. I been to de East, See.

A letter to my lub I wrote, I lub her now wid all my heart,

When I was in Indiana, My 'liiti il'Iimcr,
Eb'ry sontence dat I spoke Nehtwr mora from her I'll part,
Was brack-ey'il Susianna. Sweet braek-ey'd Susianna.
I been to de East, Ico I been to do East, <5co.
44 INSTRUCTIONS FOR THE BANJO.
LULU IS OUR DARLING PRIDE. Song, with Banjo Accompaniment.
Tune Third String to F.

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 INSTRUCTIONS FOR THE BANJO. 49

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But, oh ! the
-ri—fa

Old Folks are gone.

SCHORUS.

Here T wan - der, sad and lone - ly, In

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the dear old home,

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all the Old Folks are gone.

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Here's where I frolick'd with my brother, Down where the old banana's waving
Under the tree They're laid to rest,

Here's where I knelt beside my mother, Where Suanee's peaceful water's laving
From can; and sorrow free; The green turf o'er their breast;
Still sing the little birds as sweetly, But there's a heme I know, where parting
At night and morn, Never can oome,
Still inns the little brook so fleetly, Oh, home I must be
for that starting.

But nli, the Old Folks are gone. There'.- where the Old Folks are gone.
Chokls — Here I wander, Stc. Chorus — Here 1 wander, &0.
 INSTRUCTIONS FOR THE BANJO.
DO THEY MISS ME AT HOME. Song, with Banjo Accompaniment.
Tune the Third String; to C.

m U Andantino.

-? H~*T
1. Do they miss
*:
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me
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at home? Do they miss

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 INSTRUCTIONS FOR THE BANJO. 51

"pSp^S P^
When twilight approaches, the season Do they set me a chair near the table
That ever is sacred to song, When ev'ning's home pleasures are nigh,
Does some one repeat my name over, When the candles are lit in the parlor,
And sigh that I tarry so long ? And the stars in the calm azure sky ?
And is there a chord in the music And when the " good nights" are repeated,
That's miss'd when my voice is away, And all lay them down to their sleep,
And a chord in each heart that awaketh Do they think of the ahsent, and waft me
Regret at my wearisome stay ? A whispered " good night," while they weep ?

Do they miss me at home — do they miss me

At morning, at noon or at night?
And lingers one gloomy shade round them
That only my presence can light ?

Are joys less invitingly welcome,

And pleasures less hale than hefore,
Because one is missed from the circle,

Because I am with them no more T

52 INSTRUCTIONS FOK THE BANJO.
WE MISS THEE AT HOME. Song, with Banjo Accompaniment. "DO THEY

^
Answer to
MISS ME AT HOME."
fc

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miss thee at home, yes, we

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niiss thee, since the
Since hour we bade thee a - dieu And prayers have en - cir - cled thy path-way, From
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fall - ing. Oh where
! is the wan - der - er now ;
The breeze that floats light - ly a - round me, Per
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whis-per, when-e'er saddened, miss me, all miss at home,

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I roam, The heart has grown cold and de - ject - ed, For we miss thee, all miss thee at home.
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 CONTENTS.
JORDAN IS A HARD ROAD.. 80
Elementary Principles of Music 5 KICK UP DE DEBBLE ON A HOLIDAY. 23
Instructions for the Banjo 8
KEEMO K1MO. 29
LUCY NE AL. is
ALABAMA JOE.. 26 LUCY LONG POLKA. 20
ANNIE L A WRIE. Song. 31 LILLY DALE. Song. 88
BRIGGS' REEL. 17 LULU IS OUR DARLING PRIDE. Song. 44
BRIGGS* CORN SCHUCKING JIG. 19 MARY BLANE. 1
BRIGGS' JIG. 24 MISS LUCY LONG. 14
BRIGGS' BREAKDOWN, 24 NEBER DO TO GIB IT UP SO. 25
BLACK-EYED SUSIANNA. 42 NIGGER FROM DE SOUTH. 25
CARRY ME BACK TO OLD VIRGINNY 16 O, LUD GALS. 14
CIRCUS JIG. 19 OLD JOHNNY BOKER. 15
CAMITOWN HORNPIPE. 19 OLD DINAH'S GOIN' TO TOWN. 17
CARNEY JIG. 22 OLD KING CROW. 17
CONGO PRINCE JIG. 24 O, PRAY GOODY. 17
DAN TUCKER. 11 OLD '76 REEL. 20
DANDY JIM. 11 OLD ZIP COON. 26
DANCE. BOATMAN, DANCE, 12 OLD JOE. 27
DE BONES IN DE P.ARNY ARD. 15 OLD FOLKS ARE GONE. Song. 48
DEA IS M A K.
I! I I' 16 PHILADELPHIA REEL. 22
DINAH'S GOING TO TOWN. 17 PITCH BURGUNDY PLASTER. 28
DARKEY MONEY MUSK. 21 POP GOES THE WEASEL. 53
DARKEY FISHERS HORNPIPE. 21 ROSA LEE. 15
DE GAL WH> DE BLUE DRESS ON. 25 SEBASTOPOL BREAKDOWN. i8
DE BANKS OK DE OHIO. Sono 82 SPANISH GALLOP ADE. Vaiuationb. -.'7

DO THEY Miss ME AT HOME. Sono. 50 THE OLD IOI.KS ARE GONE. 48

KPII It AIM'S LAMENT., 18 THIS SIDE OF JORDAN. 21
ETHIOPIAN CRACOVIENNE. 23 TOLL THE BELL FOR LILLY DALE. Song. An
GIT UP IN DE MORNIN'. U WHO'S DAT A KNOCKLV AT DE DOOR. 16
GOING OBER DE MOUNTAIN. 26 WALK ALONG JOHN. 18
HAZEL DELL. 46 WALK INTO DE PARLOR. Jig. 20
HARD TIMES. 22 WAIT FOR THE WAGON. Instiiumrntal. 36
IN.IIN RUBBER OVERCOAT. 28 WAIT FOR THE WAGON. SoHB. 36
JIM CROW POLK A.. 12 WE HISS THEE AT HOME. Sono. 52
JIM CRACK CORN, 26 YANKEE DOODLE. Variations. 28
JLM ALONG JOSEY. 88 YOUNG FOLKS AT DOME. U
WAR 11 jg;2
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