Tenor Banjo by Don Meade

The Irish Tenor Banjo by Don Meade The tenor banjo is only about a century old and Early banjos were not standardized instruments was not widely played in Ireland before the but typically had a soundbox made from a dried 1960s. Until recently, in fact, the instrument had gourd with one end cut off. A small drumhead a fairly poor reputation among traditional music made from the skin of a raccoon, groundhog or cognoscenti. Times (and banjo players) have other animal was tied or tacked in place over this changed, however, and the oft-maligned opening. The neck was fretless, sometimes little “bodhrán on a stick” is now one of the most more than a stick thrust through the gourd body. popular “traditional” instruments in Irish music. Strings might be made from braided horse hair, Banjo virtuoso Mick Moloney says Irish banjo thread, gut, hemp or any other tough fiber. maker Tom Cussen’s list of Irish tenor players Unlike African lutes, on which the strings are now includes some 7,000 names! There are now attached to sliding tuning rings set around the more people playing Irish dance music on the neck, American banjos were, from an early point tenor banjo than are using the instrument for in their evolution, tuned with violin-style pegs. anything else. Before going into details of Irish banjo style, a bit of a history lesson is required The banjo in its classic form has a short, high- to explain this development. pitched string (“chanterelle”) that terminates at a peg on the side of the neck, as well as several African Roots full-length strings. The high string is the one To music scholars, the banjo is a “folk lute,” one closest to the player’s thumb, which strikes it as of many such instruments with a drum-like an unstopped drone. In the oldest banjo styles, soundbox. Others of the breed include the the remaining strings are played with downward Persian tar and the Japanese shamisen. The strokes of the index or middle finger. Both the banjo’s origins, however, are in the American high thumb drone string and the down-stroke south, where slaves crafted instruments like style were carried over from African traditions. those they remembered from their native Africa. On modern banjos, the short drone is the fifth of five strings, but surviving 18th-century banjos, as The origin of the word “banjo” is still debated. It well those in shown old illustrations, have a has been suggested that it derives from the chanterelle and just three full-length strings.2 Portuguese bandurra or from similarly named European or Arab stringed instruments. Others Before the Civil War, the banjo was regarded as think it no coincidence that bangoe is the the quintessential African-American instrument. Mandinka word for the bamboo stalk used to By the late 19th century, however, black make the neck of the akonting, a banjo-like instrument still played in Gambia and Senegal. A now-extinct Senegalese folk lute was called Pestcoe’s website www.shlomomusic.com See: Philip F. Gura and James F. Bollman, the bania, and mbanza was also the word for a 2 America's Instrument: The Banjo in the Nineteenth similar instrument in the Kimbundu and Century (Chapel Hill: University of North Carolina Tshiluba languages of Angola and the Congo. Press, 1999; Robert Lloyd Webb, Ring the Banjar!: All these words sound like the “banza,” The Banjo in America from Folklore to Factory th “banshaw” and “banjar” mentioned by 18 - (Anaheim Hills, CA: Centerstream Publishing, century writers who attempted to transcribe the 1984); and Leo G. Mazow, Picturing the Banjo name applied to the instrument by the slaves (University Park, PA: Penn State University Press, themselves.1 2005). Another excellent source is Karen Linn, That Half-Barbaric Twang: The Banjo In American Popular Culture (Urbana and Chicago: 1 For more information on west African lutes and University of Illinois Press, 1994). banjo history, see musician and historian Shlomo 1 musicians had largely abandoned it. In part this arrangements of classical music favorites and was because the guitar was better suited to borrowed finger-picking techniques from ragtime and other popular string-band styles of classical guitarists. Banjo makers put frets on the the day. Another reason, however, was the fingerboard for better intonation and introduced banjo's close association with the noxious racial other alterations that transformed the plunky, stereotypes of the blackface minstrel show. low-volume banjo of the minstrel era into a loud, brilliant-sounding instrument better suited to the As offensive as it now seems, blackface variety theatre or concert stage. These minstrelsy was extremely popular on both sides improvements included shorter necks, higher- of the Atlantic for more than a century. pitched wire strings, a “resonator” back to Minstrelsy melded African rhythms (however project the sound forward and a metal "tone poorly understood) and European musical forms, ring" for extra volume and a brighter timbre. a fusion crucial to the development of truly American popular music. And whether we like it From Dixie to Dublin or not, the banjo as we know it today was The first banjos seen in Ireland arrived in 1844 adapted from African-American folk when the Virginia Minstrels performed in instruments by white minstrel performers and Dublin, Belfast and Cork. This pioneer quartet the instrument builders who catered to them. of “blacked-up” white entertainers included five- string banjo ace Joe Sweeney and Dan Emmett, Virginia native Joel Walker “Joe” Sweeney was an Ohio-born fiddler, banjoist and singer the most famous banjoist of the early minstrel credited with composing the southern anthem era. Sweeney has often been credited with “Dixie.”4 inventing the modern banjo by substituting a round wooden rim for the traditional gourd and Minstrel entertainers like Sweeney and Emmett adding the drone fifth string. In fact, he did styled themselves “Ethiopian delineators” and neither, but Sweeney was the first white claimed to play the authentic music of the performer to popularize the banjo, which he plantation slaves. Underneath the burnt cork played in circuses and theaters in America and makeup, however, they were most often Irish or Britain.3 Sweeney’s success encouraged the of Irish descent. The music they played, as production of five-string banjos by instrument documented in period sheet music, was more makers of the 1850s, notably Baltimore drum Irish than African – reels, flings and hornpipes maker William Boucher, whose design included played with a syncopated rhythmic accent. drum-style adjustable tension screws, a great improvement over primitive tacked-head banjos. The Irish influence in minstrelsy can also be seen in the fact that minstrel dance tunes were After the Civil War, the five-string banjo was generically referred to as “jigs” regardless of the elevated from a minstrel show prop to a popular actual time signature. Minstrel “jig dancing” parlor instrument in middle- and upper-class blended Irish steps, English clogging and households. Once associated only with clownish African-American dance elements into an blackface performers, the banjo was taken up by eclectic amalgam that gave rise to modern proper young ladies in frilly dresses and college American tap and soft-shoe stage dancing. men who formed banjo clubs and posed for White southerners, many descended from Irish group photos in formal wear. or “Scotch Irish” (Ulster Protestant) immigrants, Professional banjo players performed 4 Hans Nathan, Dan Emmett and the Rise of Early Negro Minstrelsy (Norman, OK: University of 3 Bob Carlin, The Birth of the Banjo: Joel Walker Oklahoma Press, 1962). Some writers maintain Sweeney and Early Minstrelsy (Jefferson NC and that the credit really belongs to the Snowden London: McFarland & Co., 2007) family, a group of black Ohio entertainers. 2 also took up the slaves' instrument and created outside the core musical tradition until the mid- their own Afro-Celtic sound. Appalachian 20th century. Five-string banjos were played in “claw-hammer” banjo playing is a direct Ireland before that time by street musicians and descendant of the old down-stroke, minstrel-era blackface music hall performers. One of the style. latter was Percy French, now more famous as the composer of "The Mountains of Mourne," Fainter Hibernian echoes can be heard in "The Darling Girl From Clare" and other bluegrass, a post-World War II idiom that enduringly popular Irish songs. borrowed from many musical styles, including blues, old-time fiddle tunes, minstrel songs and The illustration above, taken from Francis gospel harmony. The sophisticated three-finger O'Neill's fascinating 1913 book Irish Minstrels picking of bluegrass banjo pioneer Earl Scruggs, and Musicians, depicts John Dunne, an Irish which has its roots in the guitar-influenced five-string banjo player, with uilleann piper Dick “classical” banjo style of the late 19th-century, Stephenson, but such collaborations were not helped bring the five-string banjo to new heights common.5 The banjo that eventually came to be of popularity in the 1950s and '60s. played by Irish traditional musicians was not the five-string version favored by hillbilly and If American banjo music has significant Irish minstrel pickers but the four-string tenor model. influences, in Ireland itself the banjo remained Four Strings Good, Five Strings Bad The tenor banjo was one of a number of new banjo types created in the late 19th and early 20th centuries. Some, like the guitar banjo and the ukulele banjo, were hybrids that used a banjo “pot” to amplify another type of stringed instrument. The tenor banjo, however, is one of a family of four-course banjos based on pre- existing five-string instruments. All the various sizes of five-string banjos made for the banjo clubs and orchestras of the 1880s and ‘90s were, early in the new century, re-made in four-course versions designed to be played with a plectrum.

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