A reply by Mr. Frank B. Converse.

[Carl Anderton]

from The Cadenza, Nov.-Dec. 1895.

Correspondence.

_________________

New York, Oct. 21, 1895.

Editor The Cadenza:

The kindly, courteous and able contribution in the Anniversary number of The Cadenza on the "English System of Tuning," by Douglas Sinclair, the affable editor of The 'Jo, is pleasant reading, commands respectful consideration, and doubtless will attract attention.  As I view it, the true inwardness of the writer's theme is not so much the question of "actual pitch" as it is to establish the position that the English system of reading or naming the strings is "the" system.  As regards this question and the pitch per se--(which, for manifold self-evident reasons, the banjoist often finds it advantageous to vary)--why, I believe "a rose by any other name would smell as sweet."  I think the writer submits other propositions that seem debatable: a task, however, I leave for abler hands.  But to instance: why, with his banjo pitched to A, B, or D, is it not then in in perfect harmony with the piano?  Why can not the American banjoist play from any music without transposing it in relatively as great a variety of keys, and with corresponding ease, as his English brother?  Why is it not for him as easy a matter to "arrange a composition for the banjo?"

Have we a standard banjo within the range of say, 12 by 20 to the piccolo?  Why should that "actual pitch" be C?  We can not appeal to either the guitar or violin, or any other stringed instrument for authority.  Our answer to this last question might be, that C is the tonic of the natural musical scale--The "model" scale requiring neither flats or sharps in the formation of its scale series; that it is the first one taught to the beginner in music, and is for him the easiest key in which to read.  It is also the easiest for the young pianist in accompaniments, etc.  But would this reading suffice to convince an executant at all familiar with his instrument, the principals of music, scales and keys?  There are other points in the article that possibly are "in (amiable) question," but as I have said, I leave the discussion to abler hands.  However I do believe that the American banjoist is in hearty sympathy with his English brother, and equally deplores the lack of an uniform universal standard key basis for writing banjo music, the adjustment of which would greatly facilitate exchange, and, by banishing our principal contention, go far towards establishing that comity of relations so devoutly to be desired.  But where shall we look for one with "pluck enough" to undertake the leviathan task?  A convention?  Possibly.  But should we succumb?  What a disruption!  Can we afford to let well enough alone?  Who shall decide?  There is much I feel I could say commendatory of the clean, versatile and interesting Cadenza, but I refrain from boring you further.  Cordially yours,

Frank B. Converse. 

[Trapdoor2]

How cool is that? Mr. Converse obviously had a level head on his shoulders.