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Benjo

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Mail ons. It is played in a number of different styles, the most common being clawhammer or frailing, characterized by the use of a downward rather than upward stroke when striking the strings with a fingernail.

Frailing techniques use the thumb to catch the fifth string for a drone after most strums or after each stroke "double thumbing" , or to pick out additional melody notes in what is known as drop-thumb.

Pete Seeger popularized a folk style by combining clawhammer with up picking, usually without the use of fingerpicks. Another common style of old-time banjo playing is fingerpicking banjo or classic banjo.

This style is based upon parlor-style guitar. Bluegrass music, which uses the five-string resonator banjo almost exclusively, is played in several common styles.

These include Scruggs style, named after Earl Scruggs; melodic, or Keith style , named for Bill Keith ; and three-finger style with single-string work, also called Reno style after Don Reno.

In these styles, the emphasis is on arpeggiated figures played in a continuous eighth-note rhythm, known as rolls. All of these styles are typically played with fingerpicks.

The five-string banjo has been used in classical music since before the turn of the 20th century. Frederick Delius wrote for a banjo in his opera Koanga.

Viktor Ullmann included a tenor banjo part in his Piano Concerto op. Four-string banjos, both plectrum and tenor, can be used for chordal accompaniment as in early jazz , for single-string melody playing as in Irish traditional music , in "chord melody" style a succession of chords in which the highest notes carry the melody , in tremolo style both on chords and single strings , and a mixed technique called duo style that combines single-string tremolo and rhythm chords.

The plectrum banjo is a standard banjo without the short drone string. It can also be tuned like the top four strings of a guitar, which is known as "Chicago tuning".

As the name suggests, it is usually played with a guitar-style pick that is, a single one held between thumb and forefinger , unlike the five-string banjo, which is either played with a thumbpick and two fingerpicks, or with bare fingers.

The plectrum banjo evolved out of the five-string banjo, to cater to styles of music involving strummed chords. The plectrum is also featured in many early jazz recordings and arrangements.

The four-string banjo is used from time to time in musical theater. Examples include: Hello, Dolly! Joe Raposo had used it variably in the imaginative seven-piece orchestration for the long-running TV show Sesame Street , and has sometimes had it overdubbed with itself or an electric guitar.

The banjo is still albeit rarely in use in the show's arrangement currently. The shorter-necked, tenor banjo, with 17 "short scale" or 19 frets, is also typically played with a plectrum.

It became a popular instrument after about The usual tuning is the all-fifths tuning C3 G3 D4 A4, in which exactly seven semitones a perfect fifth occur between the open notes of consecutive strings.

Other players particularly in Irish traditional music tune the banjo G2 D3 A3 E4 like an octave mandolin , which lets the banjoist duplicate fiddle and mandolin fingering.

The tenor banjo was a common rhythm-instrument in early 20th-century dance bands. Its volume and timbre suited early jazz and jazz-influenced popular music styles and could both compete with other instruments such as brass instruments and saxophones and be heard clearly on acoustic recordings.

George Gershwin 's Rhapsody in Blue , in Ferde Grofe 's original jazz-orchestra arrangement, includes tenor banjo, with widely spaced chords not easily playable on plectrum banjo in its conventional tunings.

With development of the archtop and electric guitar, the tenor banjo largely disappeared from jazz and popular music, though keeping its place in traditional "Dixieland" jazz.

Some s Irish banjo players picked out the melodies of jigs, reels, and hornpipes on tenor banjos, decorating the tunes with snappy triplet ornaments.

Meanwhile, in Ireland, the rise of ceili bands provided a new market for a loud instrument like the tenor banjo. Use of the tenor banjo in Irish music has increased greatly since the folk revival of the s.

In the late 19th and early 20th centuries, in vogue in plucked-string instrument ensembles—guitar orchestras, mandolin orchestras , banjo orchestras—was when the instrumentation was made to parallel that of the string section in symphony orchestras.

Thus, "violin, viola, 'cello, bass" became "mandolin, mandola, mandocello, mandobass", or in the case of banjos, "banjolin, banjola, banjo cello, bass banjo".

Because the range of pluck-stringed instrument generally is not as great as that of comparably sized bowed-string instruments, other instruments were often added to these plucked orchestras to extend the range of the ensemble upwards and downwards.

Rarer than either the tenor or plectrum banjo is the cello banjo also "banjo cello". It is normally tuned C2-G2-D3-A3, one octave below the tenor banjo like the cello and mandocello.

It played a role in banjo orchestras in the late 19th and early 20th centuries. A five-string cello banjo, set up like a bluegrass banjo with the short fifth string , but tuned one octave lower, has been produced by the Goldtone company.

Bass banjos have been produced in both upright bass formats and with standard, horizontally carried banjo bodies.

Contrabass banjos with either three or four strings have also been made; some of these had headstocks similar to those of bass violins.

Tuning varies on these large instruments, with four-string models sometimes being tuned in 4ths like a bass violin—E1-A1-D2-G2, and sometimes in 5ths, like a four-string cello banjo, one octave lower—C1-G1-D2-A2.

Other variants are also used. The six-string banjo began as a British innovation by William Temlet, one of England's earliest banjo makers.

He opened a shop in London in , and sold banjos with closed backs and up to seven strings. He marketed these as "zither" banjos from his patent.

American Alfred Davis Cammeyer — , a young violinist-turned banjo concert player, devised the five- or six-string zither banjo around It had a wood resonator and metal "wire" strings the first and second melody strings and fifth "thumb" string.

The third melody string was gut, and the fourth was silk covered , as well as frets and guitar-style tuning machines. They were often made by builders who used guitar tuners that came in banks of three, so if five-stringed had a redundant tuner.

The banjos could also be somewhat easily converted over to a six-string banjo. British opera diva Adelina Patti advised Cammeyer that the zither banjo might be popular with English audiences it was invented there , and Cammeyer went to London in With his virtuoso playing, he helped show that banjos could make more sophisticated music than normally played by blackface minstrels.

He was soon performing for London society, where he met Sir Arthur Sullivan , who recommended that Cammeyer progress from arranging the music of others for banjo to composing his own music.

Supposedly unknown to Cammeyer, William Temlett had patented a seven-string closed-back banjo in , and was already marketing it as a "zither-banjo".

In the late s, banjo maker F. C Wilkes developed a six-string version of the banjo, with the sixth string "tunnelled" through the neck.

Arguably, Arthur O. Windsor influenced development and perfection of the zither banjo and created the open-back banjo [64] along with other modifications to the banjo-type instruments, such as the modern nonsolid attached resonator.

Gibson claims credit for this modification on the American Continent. Windsor claimed he created the hollow-neck banjo with a truss rod, and buried the fifth string in the neck after the fifth fret so to put the tuning peg on the peg head rather than in the neck.

Gibson claims credit for perfecting the tone ring. Modern six-string bluegrass banjos have been made. These add a bass string between the lowest string and the drone string on a five-string banjo, and are usually tuned G4 G2 D3 G3 B3 D4.

Sonny Osborne played one of these instruments for several years. It was modified by luthier Rual Yarbrough from a Vega five-string model.

Six-string banjos having a guitar neck and a banjo body have become quite popular since the mids. A number of hybrid instruments exist, crossing the banjo with other stringed instruments.

Most of these use the body of a banjo, often with a resonator, and the neck of the other instrument. Examples include the Banjo Mandolin first patented in [66] and the banjo ukulele or banjolele , most famously played by the English comedian George Formby.

The six-string banjo guitar basically consists of a six-string guitar neck attached to a bluegrass or plectrum banjo body.

This was the instrument of the early jazz great Johnny St. Nowadays, it appears under various names such as guitanjo, guitjoe, ganjo, banjitar, or bantar.

Rhythm guitarist Dave Day of s proto-punks The Monks replaced his guitar with a six-string, gut-strung guitar banjo on which he played guitar chords.

This instrument sounds much more metallic, scratchy and wiry than a standard electric guitar, due to its amplification by a small microphone stuck inside the banjo's body.

Instruments that have a five-string banjo neck on a wooden body for example, a guitar, bouzouki , or dobro body have also been made, such as the banjola.

At the end of the 20th century, a development of the five-string banjo was the BanSitar. A recent innovation is the patented Banjo-Tam, invented by Frank Abrams of Asheville, North Carolina, combining a traditional five-string banjo neck with a tambourine as a rim or pot.

He played the tenor banjo, violin, mandolin, and melodeon. He was most renowned as a banjo player. He was nicknamed "Banjo Barney" due to his recognition of skill on the banjo.

From Wikipedia, the free encyclopedia. Musical instrument. For other uses, see Banjo disambiguation. Note: This article uses Helmholtz pitch notation to define banjo tunings.

The Buffalo Rag. Although this is a ragtime piece, Ossman played with classic banjo style. He fingerpicked gut strings using a technique similar to classical guitarists.

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Tenor banjos. Right A 15 fret tenor banjo. Left A 19 fret tenor banjo. Main article: List of banjo players. Archived from the original on 22 August Retrieved 25 August Grove Music Online.

Oxford Music Online. Oxford University Press. Retrieved 23 February Banjo Roots and Branches. Urbana: University of Illinois.

Retrieved 2 August African Banjo Echoes in Appalachia. The University of Tennessee Press. Retrieved Archived from the original on 27 December Retrieved 31 January Oxford English Dictionary.

Retrieved 12 October Hamel, the Obeah Man 1st ed. London: Hunt and Clarke. Retrieved 7 February Murder at Montpelier: Ibo Africans in Virginia.

Press of Mississippi. Kelly; Virginia Historical Society Bound Away: Virginia and the Westward Movement. University of Virginia Press.

September American Banjo Museum. Archived from the original on 15 May Retrieved 10 February Urbana: University of Illinois Press, Americana Rhythm Music Magazine.

Retrieved 9 February Western Folklore. Archived from the original on 3 July Retrieved 24 January Ring the Banjar!

The Banjo in America from Folklore to Factory. Anaheim Hills, California: Centerstream Publishing. The Birth of the Banjo. The Banjo Entertainers.

Mankato, Minnesota: Minnesota Heritage Publishing. The Banjo! A Dissertation. Philadelphia, Pennsylvania: S. Retrieved 28 March In America it has always been seen as an instrument of the lower class

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Benjo - Bedeutung / Übersetzung

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