Notation question

[Malcolm]

This will no doubt be obvious to everyone but me, so apologies in advance. 

Brief intro: Somewhat by accident I have come to own a classic banjo. It's from 1909 and is a slightly odd hybrid. The neck and tone ring are No.3 while the rim, with its distinctive purfling, is Whyte Laydie. As the serial numbers are both from 1909, I am supposing this happened at the factory. I play a bit of classical guitar. I am learning A Ragtime Episode as arranged by Steve Harrison, and there is some notation I don't understand. Above the staff there are markings such as 1B....... 1P............  3Pex..... etc. I am supposing B is barre. I am not sure about the others. Also, any advice for newbies or about preferred versions of A Ragtime Episode appreciated. Classic Banjo teachers are thin on the ground here in Wellington, New Zealand.

[Joel Hooks]

Hi Malcolm,

Welcome to "classic banjo" playing.

Your question is one of the basic pieces of information you will lean after you undertake a course of study like the Mel Bay Banjo Method by Frank C. Bradbury, which I STRONGLY recommend in order to build a solid foundation and avoid bad habits and mistakes that will have to be resolved later. 

While you are waiting on your copy of the Mel Bay Method (I recommend buying the original two volume set, see my recent post on the matter), go to the "tutors" tab and check out Grimshaw's The Banjo and How to Play it.  You will find on page 15 an explanation of all the position markings.

In fact, any of the C notation tutors will solve this mystery for you.  If you want to get started with a course of study right now, check out the Bradbury Banjo Method of 1927 (in the tutor section and also on the internet archive).

But please do consider the Mel Bay Method, and working from page one until the end.  This will put you well in advance of anyone just "jumping right in" to a solo. 

The problem with starting out with something like Eno's Ragtime Episode is that by the end of all the effort, you will just know one solo.  Were you to put in the same exact amount of time to the Mel Bay Method, you will be able to play ANY solo that is within your then current ability.  

You will also have a strong foundation in "alternate fingering" which is the key to playing classic banjo with any level of proficiency.  

I am not familiar with Steve's arrangement.  Most people that play this use the hand written version that was published in the 5 stringer and linked below.

Steve is very generous with his arrangements, but be advised that he uses a system of fingering edits that do not conform to most of the classic era music. The way he uses fret numbers where left hand finger usually are can be distracting and is not the orthodox way of presenting banjo notation.  I'm not disparaging his work, only giving a warning that it does not match any of the historical printed music except for a very few solos (I think a few Morley pieces use that fret number system).

I presume that Steve sticks to the standard position markings as I posted above and was in general use.

 Ragtime_Episode_83_1960.pdf

[Malcolm]

Many, many thanks Joel for your very comprehensive answer. I’ll follow your advice.

[Steve Harrison]

Hi Malcolm, My system of notation is non standard but there is a method to it.. I'm not a great lover of tab and my annotation is a compromise if you will. The numbers that are written above the notes are the frets on which the note is played. Combined with the position indicators, with a little thought, it is reasonably straightforward to work out my suggested fingering. I teach banjo and the use of my annotation does help beginners in particular with sight reading. I've written over 800 arrangements for classic banjo and it is an impossible task to commit them all to memory consequently I find my annotation useful as an aide memoir when playing tunes that I haven't played for some time...Steve. 

[Malcolm]

Thank you Steve. I really appreciate the time and thought that have gone into your transcription/arrangement. On Joel’s advice, I now have the Bradbury tutor making its way from Britain, but I am enjoying your arrangement — it’s good to have something I like to aspire to — and will persevere.