Victoria Music Books, 60 Solos (for 6/7 string banjos)

[Joel Hooks]

Here is another for you more than 5 stringers.  Enough of these pieces dip down below middle C to make it clear that is what this book was for.

https://archive.org/details/victoria-music-books-60-solos-for-the-b...

[Byron Thomas]

This is amazing! Ever since I've had the 7-string banjo, the idea of solo use has been questioned. In one of the BMG, (March 1951) Bernard Sheaff makes the 7-string banjo seem as if it was relegated to the accompaniment line at best and had no virtuosos. While we cannot confirm the latter, this work at least helps put into context the application of solo 7-string banjo playing. I'm very excited to try out some of these pieces. This scanning project is really turning out some gems. Thanks Joel!

[Jody Stecher]

As described in Richard Ineson's biography of the banjo player and composer Joe Morley, which is here on this site, Joe Morley was a full-fledged virtuoso on the 7 string fretless banjo when he was "discovered" and convinced to come to London to play, but warned that London audiences would not accept such an instrument. Joe said his way of playing needed  the lower strings  A compromise was reached and he performed  on a fretted 6 string banjo and later switched to 5-string banjo.  But why?  What was so embarrassing about bass strings or the lack of frets?  Violins have no frets and no one objects.   

[Joel Hooks]

I believe that it had to do with the class system which I don't fully understand.  Also, Cliff wanted Joe to play what he was selling.

[Joel Hooks]

I'm just happy someone is getting something out of all of this!

Byron Thomas said:

This is amazing! Ever since I've had the 7-string banjo, the idea of solo use has been questioned. In one of the BMG, (March 1951) Bernard Sheaff makes the 7-string banjo seem as if it was relegated to the accompaniment line at best and had no virtuosos. While we cannot confirm the latter, this work at least helps put into context the application of solo 7-string banjo playing. I'm very excited to try out some of these pieces. This scanning project is really turning out some gems. Thanks Joel!

[Jody Stecher]

Count me in as "getting something". Yes indeed.

Joel Hooks said:

I'm just happy someone is getting something out of all of this!

Byron Thomas said:

This is amazing! Ever since I've had the 7-string banjo, the idea of solo use has been questioned. In one of the BMG, (March 1951) Bernard Sheaff makes the 7-string banjo seem as if it was relegated to the accompaniment line at best and had no virtuosos. While we cannot confirm the latter, this work at least helps put into context the application of solo 7-string banjo playing. I'm very excited to try out some of these pieces. This scanning project is really turning out some gems. Thanks Joel!

[Trapdoor2]

(Leaning forward and removing my monocle for a bit of polish) Well, old chap, Bass strings are dreadfully low, aren't they. One doesn't associate with lower strings, does one? At least not in public!

Jody Stecher said:

As described in Richard Ineson's biography of the banjo player and composer Joe Morley, which is here on this site, Joe Morley was a full-fledged virtuoso on the 7 string fretless banjo when he was "discovered" and convinced to come to London to play, but warned that London audiences would not accept such an instrument. Joe said his way of playing needed  the lower strings  A compromise was reached and he performed  on a fretted 6 string banjo and later switched to 5-string banjo.  But why?  What was so embarrassing about bass strings or the lack of frets?  Violins have no frets and no one objects.   

[Jody Stecher]

And what did they say when attending a piano recital?  

Trapdoor2 said:

(Leaning forward and removing my monocle for a bit of polish) Well, old chap, Bass strings are dreadfully low, aren't they. One doesn't associate with lower strings, does one? At least not in public!

Jody Stecher said:

As described in Richard Ineson's biography of the banjo player and composer Joe Morley, which is here on this site, Joe Morley was a full-fledged virtuoso on the 7 string fretless banjo when he was "discovered" and convinced to come to London to play, but warned that London audiences would not accept such an instrument. Joe said his way of playing needed  the lower strings  A compromise was reached and he performed  on a fretted 6 string banjo and later switched to 5-string banjo.  But why?  What was so embarrassing about bass strings or the lack of frets?  Violins have no frets and no one objects.