Out of this chequered history, there have emerged a number of styles of banjo playing:

• 5 String Classical
• 4 string Plectrum or Jazz banjo.
• 5 string Bluegrass banjo
• Frailing or Clawhammer banjo (related to Bluegrass)
• 4 string Irish or Tenor banjo
• 4 string ukelele or banjolele banjo.
• Minstrel Banjo

The style, which was most popular from 1870 to 1915, was the classical banjo, which then gave way to the plectrum banjo, although it must be said that there was a period of about thirty years when the two styles crossed. This was mainly due to the fact that it is very simple for a classical player to learn the plectrum banjo, the tuning is exactly the same, and often pieces for classical banjo can be played on the plectrum banjo and vice versa. One would particularly choose to play plectrum if in a large venue, when accompanied by piano or other banjos, or when playing in an orchestra, generally for considerations of volume. The plectrum banjo was of course also much louder due to the fact that it was played with steel strings and not nylon as classical banjos often were. Classical banjos, which were strong enough to withstand steel strings, were made, but obviously there were still a large number of instruments around which could only be played using nylon strings. The plectrum banjo became synonymous with early jazz and dance bands, and today commonly with the ìTradî jazz genre.

When a composer wrote for the banjo in the Victorian era, as well as penning solo versions of a piece, a composer such would often arrange the music for banjo with piano accompaniment, banjo duet, trio, and banjo orchestra.

All parts from soprano through to bass were covered in the orchestra by the different banjo hybrids, Piccolo banjo, mandolin banjo, banjearine, ukelele banjo or banjolele banjo, tenor banjo, 5-string banjo, plectrum banjo, guitar banjo, bass or cello banjo, and contrabass banjo, often including guitar and mandolin as well.

Banjo pieces were often published in the magazines of the time, and those such as Turners Banjo Budget, and later The Banjo, Mandolin and Guitar or BMG were extremely popular, as they gave access to music which ordinary people could learn and play at home.

Banjo players of a particular historical style often prefer to play on an original period instrument, in order to gain some of the flavour and feel of the era to which the music belongs. This is because a modern instrument which is normally built for tenor or Bluegrass playing is usually too loud and unruly, and also produces a very different sound to that of a period instrument, often due to the age, quality and type of materials used.

Many of the instruments from the period have survived, and it is very interesting to see how the banjo developed very quickly from being a parlour instrument to one which could be played in a large venue to quite a big audience.

Should one wish to do so, it would be possible to recreate, to a certain extent, an authentic historical performance using the variety of sources available. After deciding upon the style and particular music which one wishes to play, the next consideration would have to be the instrument on which the chosen music were to be played, although as instruments developed very rapidly, great care would have to be taken to ensure that it suited the music to be played on it. Although difficult, this is possible, and can be achieved through research of instrument manufacture. Photographs of musicians can of course be accessed, and used to a variety of ends, although I think it is important to remember that there is no one definitive historical performance. As the following documents show, some performers ìblacked upî for some performances and not for others, they wore different dress according to their venue and audience (as we no doubt would), whilst also demonstrating their importance as purveyors of social entertainment during the popularity of the Victorian seaside resort, when many dressed up as pierrots and clowns as part of their act.
Journals, both of the period and those which have appeared more recently are vital to the researcher, especially as although the history of the banjo is a fairly recent one, primary evidence in the form of first hand accounts are becoming rarer as peoples memories begin to fade.
A major consideration and often a source of a great deal of debate for players of banjo music from the classical period, is whether or not to include works containing titles of an offensive nature in a performance. At the time of composition these titles were not considered offensive or derogatory, however in our enlightened times one cannot include many of these pieces for fear of causing offence.

The banjo is once again a thriving and popular instrument, and many people are choosing the classical style as a course of study, as it gives historical and social interest, whilst being a versatile and enjoyable instrument to play.

Sources

Interviews with:
Mr Cyril Whickham
Mr David Price
Mr Mike Redman
www.trussel.com/bti/banjhist.htm

Bibliography

1 Scholes.P.A, The Oxford Companion to Music ( Oxford 1996 ) 675
2 Gruhn .G. & Carter .W. Acoustic Guitars and other fretted instruments (Miller Freeman 1993) 42

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