Ballantine's Banjo Library a Book of Original Breakdowns, Hornpipes, &c

[Joel Hooks]

More "jigs and reels" to play.

https://archive.org/details/ballantines-banjo-library

[IAN SALTER]

By 'England's Premier Classical Banjoist'. 

If anyone is playing through this book, what do you make of the thumb + instructions in some of the tunes, the majority of which are on the D? In his tutor book, he says 'Always use the 2nd finger for the 1st String, the 1st finger for the 2nd and thumb for the 3rd, 4th, 5th and Octave, this rule must always be observed, with the exception of rare cases, when they will be specifically marked'. I've looked at all of his other published tunes and can't find anything else 'specifically marked'. I don't normally adhere to such instructions, but in this instance I'm somewhat intrigued to see what difference they make to the tunes. I regularly use the D on the 2nd string/3rd fret and in applying the + marking to that note, it does seem to work better than on the open 1st string.

[Russ Chandler]

Don't be disrespectful, the man got a testimonial from the Hon. Mrs Trollope. Can you say that?

IAN SALTER said:

By 'England's Premier Classical Banjoist'. 

If anyone is playing through this book, what do you make of the thumb + instructions in some of the tunes, the majority of which are on the D? In his tutor book, he says 'Always use the 2nd finger for the 1st String, the 1st finger for the 2nd and thumb for the 3rd, 4th, 5th and Octave, this rule must always be observed, with the exception of rare cases, when they will be specifically marked'. I've looked at all of his other published tunes and can't find anything else 'specifically marked'. I don't normally adhere to such instructions, but in this instance I'm somewhat intrigued to see what difference they make to the tunes. I regularly use the D on the 2nd string/3rd fret and in applying the + marking to that note, it does seem to work better than on the open 1st string.

[IAN SALTER]

I would never disrespect a man who displayed such stupendous testimonials.

[Jody Stecher]

I agree that the second string is usually intended for D when x marks the spot, especially as part of a 4 note phrase entirely on the second string.   The x also occurs after the middle finger is used. Ballantine doesn't seem to "beg to intimate" (to quote his teaching advert) what finger to use after the thumb in some of these phrases. In short I think his instructions on how to play "these charming instrument"  are incomplete. 

[Byron Thomas]

Thanks, Joel, for finding and uploading more Ballantine! I can't speak for everyone but I'm always excited to see some "new" 7 string banjo song parts. 

[IAN SALTER]

Byron, it's really good to hear from someone else playing a 7 string banjo; I don't play my 5 string banjos very much anymore. Are you playing all the tunes in this Ballantine and any of the various other books, or just those that contain notes below the C on a 5 string banjo?

[Byron Thomas]

I've tried out some tunes from Ballentine's Complete Banjo Tutor, Ballentine's Banjo Gems, and Ellis' Thorough School for six or seven stringed banjo. Both of them (Ballentine and Ellis) have some great tunes. From Ballantine I enjoy Chicago Hornpipe, Excelsior Sand Dance, New York Hornpipe. The Darkies Jubilee has great movement in the chord progression. I've played through most of the solo pieces in Ellis' book. I've yet to get into Ballantines Banjo Library. Most of the time when I play the seven-string banjo, I am looking to use the low G. Usually, I frequent pieces that contain the note. I'm still trying to learn the seven string banjo version of Horace Weston's Seek No Further March titled as "Grand March". What are you usually playing on your seven-string banjo?

[IAN SALTER]

I've had my 7 string banjo for about six months and play everything that I was doing on my 5 string banjos, that is, anything that was published in England before 1900, mainly the various Turner's and Dallas' albums and journals and in particular, the four 'Breakdowns, Jigs & Hornpipes' books by Turner, as well as the several tutors. This Ballantine book has some great tunes, but only five that contain the lower notes (do have a look at n°18 'Jig in F Minor').  I've discovered that the 7 string banjo is equally as suitable for all of this repertory as a 5 string banjo and in many instances, even more versatile for playing certain passages, especially in the middle and higher positions. It definitely isn't restricted only to accompanying parts.

[Byron Thomas]

I've had my 7-string banjo since 2020 and in a similar vein, I try to play pieces from when the 7-string banjo was more alive. I have a George P. Matthew fretless banjo with a Riley and Sons clip on resonator. I spent about six months just getting a handle on a slight adjustment to fretting and intonation. The fun that I've been having with the 7-string banjo is finding ways to add accompanying bass while I'm playing. I found this especially effective with The Alice Weston Waltz. The bass really fills out the waltz. If you haven't already, I do advise viewing the other Ballentine books and the Ellis book on 7-string banjo playing.

[IAN SALTER]

This is my Matthew's fretless, that I can't play until I find a 7 string tailpiece and my c.1885 flush fret, that is my main banjo now. I do use the books that you mentioned; 'Excelsior Sand Dance' is one of my favourite tunes to play. I'll certainly have a go at the 'Grand March' and the waltz. What strings are you using?

[Byron Thomas]

I'm using the rectified nylon set from Clifford Essex

Tuned  g. G. C. D. G. B. D.
Rectified Nylon with a Silver-Plated 4th, 5th and 6th string.

24, 28, 32, 26w, 28w, 34w, 24

[Russ Chandler]

How about some videos, guys?