ric with some more photos of the superb banjo that he has designed and manufactured.
Please post your comments as I am sure the Eric would like to hear what you think about the instrument.
Here is a slightly edited copy of Eric's email:
Hi Ian !
It has taken me a long time to take new photos of my flush frets banjo, but here they are!
I hope that they will be interesting for the Classic Banjo chat group members.
I have been testing this new banjo for about one month, and have played it for many kinds of classic banjo music, it was made exclusively for classic banjo music. It is very powerful and clear, my new tone ring system separates bass and treble notes clearly. It has a ventilated tone ring that stands on a vertical studs and balls.
This improved tone ring is not visible on the photos because it is not yet
protected by copyrights, I am thinking of applying for international patents.
The flush fret neck made as Van Eps flush frets banjo is lightly different
on the flush frets also the metal is different and very hard.
Please see attached files.
Best regards !
Eric.…
outh of Bristol on the A370. Easy access is gained from all directions using either the M4 or M5 motorways. There is also a regular train service to Nailsea and Backwell which is on the main London to Penzance line with connections from Bristol Temple Meads. Bristol airport is only a couple of miles away. Free car parking is available at the rally venue.
The doors will open at 12.00pm and the rally will continue through until 5.00pm. Admission is £4.00.
The format of the rally remains the same as previous years with organised playing and regular breaks for refreshments, buying and selling instruments bric-a-bac and music.
Should anyone wish to reserve a stand or display space, please confirm first with Dave Wade or Mike Redman.
Although the Backwell Banjo Rally is solely for finger style or ‘classic’ banjo playing, other instruments are welcome for use as accompaniment. The community tunes for this year will be announced nearer to the date of the rally. Please be assured that all levels of playing are catered for and newcomers will find the atmosphere friendly and encouraging.
Light refreshments, tea and coffee will be available, all at reasonable prices, so there is no need to bring food unless you have specific dietary requirements.
As in previous years, the evening playing will continue at the Bridge Inn, Yatton. Tel. 01934 839100. Meals and accommodation are also available. This finale to the annual rally has proven to be a great success in previous years with a relaxed atmosphere, good food, good ale and above all good company. All are welcome; there is no charge for the evening event.
For further details regarding accommodation, travel or anything please do not hesitate to contact Mike Redman 0117 2301025 e-mail mike_redman58@hotmail.com or Dave Wade 01943 876638 email david@davidwwade.co.uk
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a 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. …
eration Rally 5th - 7th March at Edgebaston workshops include Elias Sibley on Tarrant Bailey Jnr; The Art of the Zither-Banjo (guess who!) as well as plectrum and bluegrass :http://www.banjomandolinguitar.org/rally.htm
British BMG Federation Summer School 11th - 13th June at Benslow, Chris Sands will be running the classic banjo course: http://www.banjomandolinguitar.org/summerschool10.htm
Don't forget the Ridgeway Rally, end of Aprilish Richard should be able to advise us of the date before too long.…