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Benjo

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Mail ons. Reeds meer dan 50 jaar in 't vak. In the antebellum South , many black slaves played the banjo and taught their masters how to play.

Sweeney has been credited with adding a string to the four-string African-American banjo, and popularizing the five-string banjo. According to Arthur Woodward in , Sweeney replaced the gourd with a sound box made of wood and covered with skin, and added a short fifth string about Banjos were introduced in Britain by Sweeney's group, the American Virginia Minstrels , in the s, and became very popular in music halls.

The instrument grew in popularity during the s after Sweeney began his traveling minstrel show. People were exposed to banjos, not only at minstrel shows, but also medicine shows, Wild-West shows, variety shows, and traveling vaudeville shows.

By the s, aspiring banjo players had options to help them learn their instrument. By , music for the banjo was available printed in a magazine, when William A.

Huntley wrote and arranged popular music for Buckley's Monthly Banjoist. Converse also published his entire collection of compositions in The Complete Banjoist in , which included "polkas, waltzes, marches, and clog hornpipes.

Opportunities to work including the minstrel companies and circuses present in the s, but also floating theaters and variety theaters, forerunners of the variety show and vaudeville.

The term classic banjo is used today to talk about a bare-finger "guitar style" that was widely in use among banjo players of the late 19th to early 20th century.

The term also differentiates that style of playing from the fingerpicking bluegrass banjo styles, such as the Scruggs style and Keith style.

The Briggs Banjo Method , considered to be the first banjo method and which taught the stroke style of playing, also mentioned the existence of another way of playing, the guitar style.

The first banjo method to teach the technique was Frank B. To play in guitar style, players use the thumb and two or three fingers on their right hand to pick the notes.

Samuel Swaim Stewart summarized the style in , saying,. The banjo, although popular, carried low-class associations from its role in blackface minstrel shows, medicine shows, tent shows, and variety shows or vaudeville.

As the "raucous" imitations of plantation life decreased in minstrelsy, the banjo became more acceptable as an instrument of fashionable society, even to be accepted into women's parlors.

Youths and elderly men too have caught the fever Some of those entertainers, such as Alfred A. Farland, specialized in classical music.

However, musicians who wanted to entertain their audiences, and make a living, mixed it in with the popular music that audiences wanted.

Bacon was one of these. A former medicine show entertainer, Bacon performed classical music along with popular songs such as Massa's in de cold, cold ground , a Medley of Scotch Airs , a Medley of Southern Airs , and his own West Lawn Polka.

Banjo innovation which began in the minstrel age continued, with increased use of metal parts, exotic wood, raised metal frets and a tone-ring that improved the sound.

New styles of playing, a new look, instruments in a variety of pitch ranges to take the place of different sections in an orchestra — all helped to separate the instrument from the rough minstrel image of the previous 50—60 years.

The new banjos were a result of changing musical tastes. New music spurred the creation of "evolutionary variations" of the banjo, from the five-string model current since the s to newer four-string plectrum and tenor banjos.

The instruments became ornately decorated in the s to be visually dynamic to a theater audience. The change in tastes toward dance-music and the need for louder instruments began a few years before the war, however, with ragtime.

They were products of their times and musical purposes—ragtime and jazz dance music and theater music. The Great Depression is a visible line to mark the end of the Jazz Age.

Pete Seeger "was a major force behind a new national interest in folk music. Earl Scruggs was seen both as a legend and a "contemporary musical innovator" who gave his name to his style of playing, the Scruggs Style.

For the last one hundred years, the tenor banjo has become an intrinsic part of the world of Irish traditional music. Two techniques closely associated with the five-string banjo are rolls and drones.

Rolls are right hand accompanimental fingering patterns that consist of eight eighth notes that subdivide each measure. Historically, the banjo was played in the claw-hammer style by the Africans who brought their version of the banjo with them.

Clawhammer consists of downward striking of one or more of the four main strings with the index, middle or both fingers while the drone or fifth string is played with a 'lifting' as opposed to downward pluck motion of the thumb.

The notes typically sounded by the thumb in this fashion are, usually, on the off beat. Melodies can be quite intricate adding techniques such as double thumbing and drop thumb.

In old time Appalachian Mountain music, a style called two-finger up-pick is also used, and a three-finger version that Earl Scruggs developed into the "Scruggs" style picking was nationally aired in on the Grand Ole Opry.

While five-string banjos are traditionally played with either fingerpicks or the fingers themselves, tenor banjos and plectrum banjos are played with a pick, either to strum full chords, or most commonly in Irish traditional music , play single-note melodies.

The modern banjo comes in a variety of forms, including four- and five-string versions. A six-string version, tuned and played similarly to a guitar, has gained popularity.

In almost all of its forms, banjo playing is characterized by a fast arpeggiated plucking, though many different playing styles exist. The body, or "pot", of a modern banjo typically consists of a circular rim generally made of wood, though metal was also common on older banjos and a tensioned head, similar to a drum head.

Traditionally, the head was made from animal skin, but today is often made of various synthetic materials. Most modern banjos also have a metal "tone ring" assembly that helps further clarify and project the sound, but many older banjos do not include a tone ring.

The banjo is usually tuned with friction tuning pegs or planetary gear tuners, rather than the worm gear machine head used on guitars.

Frets have become standard since the late 19th century, though fretless banjos are still manufactured and played by those wishing to execute glissando , play quarter tones, or otherwise achieve the sound and feeling of early playing styles.

Modern banjos are typically strung with metal strings. Usually, the fourth string is wound with either steel or bronze-phosphor alloy. Some players may string their banjos with nylon or gut strings to achieve a more mellow, old-time tone.

Some banjos have a separate resonator plate on the back of the pot to project the sound forward and give the instrument more volume.

This type of banjo is usually used in bluegrass music, though resonator banjos are played by players of all styles, and are also used in old-time, sometimes as a substitute for electric amplification when playing in large venues.

Open-back banjos generally have a mellower tone and weigh less than resonator banjos. They usually have a different setup than a resonator banjo, often with a higher string action.

The modern five-string banjo is a variation on Sweeney's original design. The fifth string is usually the same gauge as the first, but starts from the fifth fret, three-quarters the length of the other strings.

This lets the string be tuned to a higher open pitch than possible for the full-length strings. Because of the short fifth string, the five-string banjo uses a reentrant tuning —the string pitches do not proceed lowest to highest across the fingerboard.

Instead, the fourth string is lowest, then third, second, first, and the fifth string is highest. The short fifth string presents special problems for a capo.

For small changes going up or down one or two semitones, for example , retuning the fifth string simply is possible. Otherwise, various devices called "fifth-string capos" effectively shorten the vibrating part of the string.

Many banjo players use model-railroad spikes or titanium spikes usually installed at the seventh fret and sometimes at others , under which they hook the string to press it down on the fret.

Five-string banjo players use many tunings. Tunings are given in left-to-right order, as viewed from the front of the instrument with the neck pointing up.

In earlier times, the tuning G4 C3 G3 B3 D4 was commonly used, instead, and this is still the preferred tuning for some types of folk music and for classic banjo.

These tunings are often taken up a tone, either by tuning up or using a capo. Dozens of other banjo tunings are used, mostly in old-time music.

These tunings are used to make playing specific tunes easier, usually fiddle tunes or groups of fiddle tunes. The size of the five-string banjo is largely standardized, but smaller and larger sizes exist, including the long-neck or "Seeger neck" variation designed by Pete Seeger.

Petite variations on the five-string banjo have been available since the s. Stewart introduced the banjeaurine , tuned one fourth above a standard five-string.

Piccolo banjos are smaller, and tuned one octave above a standard banjo. Between these sizes and standard lies the A-scale banjo, which is two frets shorter and usually tuned one full step above standard tunings.

Many makers have produced banjos of other scale lengths, and with various innovations. American old-time music typically uses the five-string, open-back banjo.

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.

Im Doko Benjo-Shop bei gezinsbondgewestkortrijk.be finden Sie alles von Doko Benjo (CDs, MP3, Vinyl, etc.) sowie weitere Produkte von und mit Doko Benjo (DVDs, Bücher. Ein Schuh, den jeder Mann im Schrank haben sollte, ist der Boot von ara. Hohen Komfort, feine Verarbeitung und einen ansprechenden Look – all das bringt. Benjo Zonew (bulgarisch Беньо Цонев, geboren am Januar in Lowetsch; gestorben am 5. Oktober in Sofia) war ein bulgarischer Linguist. Zonew wuchs in sehr ärmlichen Verhältnissen auf. Minimale Überarbeitungsquote Kundenwünsche erreichen mich in unterschiedlicher Form. Nur Spiele Elfstedenkoorts - Video Slots Online heute gültig! Läuft in 6 Tagen aus! Schnäppchen gesucht? Gültig für Buchungen zwischen dem 24 Dez und dem 6 Jan für alle Unterkünfte, die im Buchungsformular die Möglichkeit bieten, einen Gutscheincode einzugeben. Stojan Jerev: Benio Conev. Kanada Hotels. Er war korrespondierendes und, abaktives Mitglied der Bulgarischen Literarischen Gesellschaft, der späteren Bulgarischen Akademie der Wissenschaften wo er von bis den Vorsitz der Historischen-Philologischen Abteilung Benjo. Le Beste Spielothek in RiГџdorf finden Benio Conev Vor Kurzem gebucht. HeГџen Ladys De Mobilbet App Vorab-Analysen und Empfänglichkeit für das Wesentliche erfasse ich das, was einen Film, eine Firma oder ein Event ausmacht. Das visuelle Begleitmaterial, das idealerweise die ganz eigene Atmosphäre eines Films wiedergibt und die Neugier darauf weckt, begeisterte mich.

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Bel ons. Een team dat steeds voor u klaar staat! For the last one hundred years, the tenor banjo has become an intrinsic part of the world of Irish traditional music.

Two techniques closely associated with the five-string banjo are rolls and drones. Rolls are right hand accompanimental fingering patterns that consist of eight eighth notes that subdivide each measure.

Historically, the banjo was played in the claw-hammer style by the Africans who brought their version of the banjo with them.

Clawhammer consists of downward striking of one or more of the four main strings with the index, middle or both fingers while the drone or fifth string is played with a 'lifting' as opposed to downward pluck motion of the thumb.

The notes typically sounded by the thumb in this fashion are, usually, on the off beat. Melodies can be quite intricate adding techniques such as double thumbing and drop thumb.

In old time Appalachian Mountain music, a style called two-finger up-pick is also used, and a three-finger version that Earl Scruggs developed into the "Scruggs" style picking was nationally aired in on the Grand Ole Opry.

While five-string banjos are traditionally played with either fingerpicks or the fingers themselves, tenor banjos and plectrum banjos are played with a pick, either to strum full chords, or most commonly in Irish traditional music , play single-note melodies.

The modern banjo comes in a variety of forms, including four- and five-string versions. A six-string version, tuned and played similarly to a guitar, has gained popularity.

In almost all of its forms, banjo playing is characterized by a fast arpeggiated plucking, though many different playing styles exist.

The body, or "pot", of a modern banjo typically consists of a circular rim generally made of wood, though metal was also common on older banjos and a tensioned head, similar to a drum head.

Traditionally, the head was made from animal skin, but today is often made of various synthetic materials. Most modern banjos also have a metal "tone ring" assembly that helps further clarify and project the sound, but many older banjos do not include a tone ring.

The banjo is usually tuned with friction tuning pegs or planetary gear tuners, rather than the worm gear machine head used on guitars. Frets have become standard since the late 19th century, though fretless banjos are still manufactured and played by those wishing to execute glissando , play quarter tones, or otherwise achieve the sound and feeling of early playing styles.

Modern banjos are typically strung with metal strings. Usually, the fourth string is wound with either steel or bronze-phosphor alloy.

Some players may string their banjos with nylon or gut strings to achieve a more mellow, old-time tone. Some banjos have a separate resonator plate on the back of the pot to project the sound forward and give the instrument more volume.

This type of banjo is usually used in bluegrass music, though resonator banjos are played by players of all styles, and are also used in old-time, sometimes as a substitute for electric amplification when playing in large venues.

Open-back banjos generally have a mellower tone and weigh less than resonator banjos. They usually have a different setup than a resonator banjo, often with a higher string action.

The modern five-string banjo is a variation on Sweeney's original design. The fifth string is usually the same gauge as the first, but starts from the fifth fret, three-quarters the length of the other strings.

This lets the string be tuned to a higher open pitch than possible for the full-length strings. Because of the short fifth string, the five-string banjo uses a reentrant tuning —the string pitches do not proceed lowest to highest across the fingerboard.

Instead, the fourth string is lowest, then third, second, first, and the fifth string is highest. The short fifth string presents special problems for a capo.

For small changes going up or down one or two semitones, for example , retuning the fifth string simply is possible. Otherwise, various devices called "fifth-string capos" effectively shorten the vibrating part of the string.

Many banjo players use model-railroad spikes or titanium spikes usually installed at the seventh fret and sometimes at others , under which they hook the string to press it down on the fret.

Five-string banjo players use many tunings. Tunings are given in left-to-right order, as viewed from the front of the instrument with the neck pointing up.

In earlier times, the tuning G4 C3 G3 B3 D4 was commonly used, instead, and this is still the preferred tuning for some types of folk music and for classic banjo.

These tunings are often taken up a tone, either by tuning up or using a capo. Dozens of other banjo tunings are used, mostly in old-time music. These tunings are used to make playing specific tunes easier, usually fiddle tunes or groups of fiddle tunes.

The size of the five-string banjo is largely standardized, but smaller and larger sizes exist, including the long-neck or "Seeger neck" variation designed by Pete Seeger.

Petite variations on the five-string banjo have been available since the s. Stewart introduced the banjeaurine , tuned one fourth above a standard five-string.

Piccolo banjos are smaller, and tuned one octave above a standard banjo. Between these sizes and standard lies the A-scale banjo, which is two frets shorter and usually tuned one full step above standard tunings.

Many makers have produced banjos of other scale lengths, and with various innovations. American old-time music typically uses the five-string, open-back banjo.

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.

This section needs additional citations for verification. Please help improve this article by adding citations to reliable sources.

Unsourced material may be challenged and removed. May Learn how and when to remove this template message. Tenor banjos. Right A 15 fret tenor banjo.

Left A 19 fret tenor banjo.

Benjo - Bedeutung / Übersetzung

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