Wow, this site is too good to simply lurk. I just signed up. I've been playing 5 string banjo for just over 50 years, having started at age 11 on a fretless Gatcomb. I've only been playing Classic banjo for about 5 years. I'm a slow note reader and sometimes I come up against what seem to me to be unlikely notes or fingering indications. Sometimes it's obvious that there has been a misprint but sometimes I'm just not sure. A case in point: I'm learning Paul Eno's Valse De Concert. Does anyone know if in the next to last measure of the intro, (one measure before the rapid descent) the "A" reverts to natural from flat? It had been flattened in the previous measure and there's no indication that it goes back to natural. It sounds odd either way. The A-s in the swooping descent in the last measure of the intro sound even odder as A flat.

A second question: does anyone know when Joe Morley composed A Banjo Revel? Or when it was published? It's the only Morley piece published by Larking (Larking's Banjo Budget No.1) and there's no date on the music. It's a very neat piece of music, very banjo-like and redolent with Morley-isms. It sounds as though it may have been the prototype for Banjoland.

Thanks in advance and best wishes to all,

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Hi Jody,

David Wade ( would probably be the best bet on a date for "A Banjo Revel".

I think I have "Valse De Concert" around here somewhere... I'll keep looking (I know I have "Polka De Concert" and "March De Concert" different composers, of course).

I believe the standard for the time was to keep whatever degree the note has taken..."forever", until changed. So, if there is no sign to change it, the note remains flat. Still, the best way is to use your ears. If it sounds wrong, it probably is! ;-)

If you can upload a scan or picture of the sheet-music to the photo section here, that would be a big help. I have about 1000 bits of vintage banjo sheet music and a "pilot" filing system. I pile it here and pile it there...
Problem is it sounds wrong no matter what. This sheet music is enormous and doesn't hardly fit on the plate of my scanner. As big as or bigger than A Banjo Revel. I could post the relevant part, but that would be a bit of tease. I'll see if I can get over to a copy shop where I can reduce the size. That would make it easier.
Eh, what, here I am quietly having a sandwich and my ears start burning...
Ok always here to help:
I don't know the Eno piece and havn't got a copy to hand although one may lurk in the archives. Convention says that if the A is flattened as a "accidental" ie not in the key signature then it only lasts for that bar so it will be A natural in the bar you are talking about. Sib 5 allows you to put a natural sign in brackets as a clarification which is good for sight reading at speed. It could also be a mistake - we have found a few while transcribing Morley and Grimsahw for the VCM grade pieces.
A Banjo Revel and the Larking connection. My copy is a bit scratty, "Play at a good pace" love it!
Banjoland is TBB 851 which fits into 1922/3 period. A Banjo Revel looks a lot earlier - in fact I recently had a conversation with Richard Ineson about this, there are only two known solos published by The Sydney Larking Music Co. of 18, Berners Street, Oxford Street W1. Banjo Revels was Banjo Budget No1 and No2 was Jan Wien's March Vivacite (which I've not seen). We know nothing more about the company. The only other link that there maybe is that Olly Oakley's pianist at one time was a Julia Larkin(g)? Who knows - speculation only at this distance.
Can I finish my sandwich now.....
Thanks, Dave. Another convention says it stays changed for the rest of the line. But going back to natural makes more musical sense in this case so I'm going with your convention.

thanks too for the Banjo Revel/Larking info. It confirms my suspicions: early Morley.

Re sandwiches: I hate when that happens. I find if I reduce the amount of chili peppers, the problem goes away.

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