As many of you know, I have been working for the Clifford Essex Music Company, Limited (out of Fakenham, England) for many years now. I was hired to update their large collection of 100+ year-old plectrum banjo sheet music; the result to date is over 70 pieces of updated music, with many dozens more to come in the future. If you have heard me “live” recently, this is where that great, interesting music came from.
http://cliffordessex.net/index.php?_a=viewCat&catId=71
I have posted many YouTube videos of this music, also with much more to come.
https://www.youtube.com/user/banjoplayer1
I have also updated their 1920’s era plectrum banjo tutor, Emile Grimshaw’s Plectrum Playing for Modern Banjoists.
http://cliffordessex.net/index.php?_a=viewCat&catId=107
I also write a popular opinion/technique column for their magazine, BMG (banjo, mandolin, guitar).
http://cliffordessex.net/index.php?_a=viewCat&catId=17
I have recently started on a new journey for CE; updating Grimshaw’s tenor tutor, How to Master the Tenor Banjo. This process will take a couple of years, but in the meantime, I have started arranging some old tenor banjo sheet music. I recently came into possession of a 1932 publication from “Banjo Bill” Bowen; Five Attractive Tenor Banjo Solos.
This was not originally a CE publication, so I have to “arrange” the pieces, not “update” them; in light of that legalistic distinction, there are some minor changes (in a few cases, dare I say “improvements?”) from the original. My first publication from the book is The Artist, which Bowen dedicated to Harry Reser.
http://cliffordessex.net/index.php?_a=viewProd&productId=1223
In the interest of sparking some friendly competition (and maybe make a few sheet music sales—hey, I like royalties!), I would like to put forth a sincere proposal:
Tenor banjoists (many of whom are better than me): Throw your hat into the ring, and learn this piece; when you’re ready to show your stuff, make a YouTube video of you playing it. I have provided an MP3 of The Artist for you to listen to, to get the idea (sorry for the stiff, computerized banjo sound!).
I have not recorded it myself yet, because it is a difficult piece, requiring a good bit of concentrated practice. Right now, my only advantage is familiarization; I arranged it, meaning I have played through every measure to ensure accuracy and playability. I will post my own effort as soon as possible, which will serve as a reminder and further challenge. If you do not read music—and learned this by ear—be sure to mention that in your video; that is a skill well-worth mentioning.
As you know (and may not necessarily agree with—that’s okay!), I think serious four-string banjoists should learn the history of their instrument, and be able to faithfully reproduce the music of the period. It is a historic instrument! We should be proud of our history! As a real musical instrument—which was once taken much more seriously than it is today—it deserves to be remembered in all its original glory. Without history, there can be no future!
Anyway, I hope you decide to join me in my quest to renew interest in the four-string banjo as an important part of music history. This challenge applies to anything from the CE catalog that I have renewed and recorded. I look forward to the competition—Lord knows I need the swift kick in the rear!
Hello Ron – interesting to hear that you are updating the Grimshaw tenor method. I am starting to learn tenor using the Foden Paramount method book and have just acquired a copy of the Grimshaw book. I look forward to hearing more tenor banjo pieces (it might take me a while before I am ready for The Artist challenge though!)
Hi Carrie! Glad to hear you’re learning tenor. I’m working on converting some grimshaw pieces to tenor. He did some himself, but there don’t seem to be any examples in existence.