ETUDE
July 1942
volume LX
number 7
page 493, 495

Will the Banjo Stage a Comeback?

By George C. Krick

THE RECENT PERFORMANCE of Arcady Dubensky’s Variations and Finale on melodies by Stephen Foster has again stirred up a lively controversy about the place of the banjo in American music. According to the program notes for this Cincinnati Symphony Orchestra concert the Finale is scored for muted horns, a flute solo, a cadenza for solo violin followed by Beautiful Dreamer and a bridge passage for banjo, leading to the theme, Oh Susanna. The full orchestra swings into the theme, which is gaily developed. Another song follows for violins and woodwinds and a sustained passage brings back Oh Susanna, with the banjo. Hank Karch was the banjoist on this occasion and he won considerable praise from Cincinnati critics for his fine work.

There are other symphonic compositions by American composers containing effective passages for banjo, such as John Alden Carpenter’s “Sky Scraper Suite” and many numbers by Ferde Grofé and others; but frequently orchestra conductors have difficulty in finding competent banjoists to play these parts.

Twenty years ago no dance band was complete without a banjo; and we know that there is a lift, particularly in the faster swing tunes, that no instrument but a banjo can give. Paul Whiteman once said: “The banjo is an instrument of the highest importance in dance orchestras. Its tone is clear, snappy and it carries even farther than that of the piano. It is capable of rhythmic and harmonic effects, which no other instrument can imitate.”

Now why is it that this instrument which has been a very definite part of Americana, historically and musically, since pre-Civil War days, has lost some of its popularity? We sincerely believe that the main reason is the lack of good players. In the early twenties a chap with a tux and a banjo, with a knowledge of the three principal chords in all keys could easily find a job with a dance band. Most of these players could not read music and they devoted little time to practice. Some tuned their instruments differently and arrangers were often in a quandary as to the exact scoring for banjo, and for this reason failed to take it seriously. In other words a great number of the banjo players were not musicians, and the instrument itself was blamed for this lack of musicianship.

Another reason given is that the penetrating tone of the banjo overshadows that of the other instruments especially so when presented over the microphone, but this could easily be corrected with the perfected radio and recording equipment of the present day. Since the guitar has supplanted the banjo in most of the dance bands we frequently hear discussions as to their respective merits. In our opinion this controversy can easily be settled by using both instruments. Just as many saxophone players are expected to double on the clarinet. So should the guitarist be prepared to use the banjo in certain numbers that call for the more decisive, exhilarating tone of this instrument. The tone color of these instruments is entirely different, and if a composer or arranger would take note of this fact, he would be in a position to write for both instruments and thereby obtain new orchestral effects.

The banjo could and should be brought into its proper niche through the efforts of orchestra leaders and with the cooperation of banjoists and guitarists.

It is interesting to note that Lieutenant-Commander Eddie Peabody, nationally known banjoist on the weekly “Barn Dance” program has begun an ardent campaign to bring back the instrument to widespread popularity. He has engaged the sympathies of a great many fellow banjoists as well as leading newspapermen. Ashton Stevens, music critic of the Chicago Herald-American, entered the discussion by coining the phrase: “Pick yourself a banjo and play American.” It has been suggested that this phrase be adopted as the slogan for the current year book of the American Guild of Banjoists, Mandolinists and Guitarists. Paul Kennedy of the Cincinnati Post jumps into the fray with a column containing arguments pro and con.

Various Opinions

Now let us see what some of the orchestra leaders have to say. Russ Morgan admits the banjo is matchless for rhythm, and “If Eddie Peabody can get all the leaders of orchestras to reinstate the banjo, Russ Morgan can be counted on to be in the front line.” Roy Shield, one of the musical directors of N.B.C., says that the danger in the banjo lies in its overriding other orchestral instruments but also believes a way can be found to surmount this difficulty and bring back the banjo to its legitimate position among the bands. Earle Roberts, who according to Stevens, “plectrums a banjo as delicately as Whistler dry pointed an etching,” says “that with a few more broadsheets from N.B.C’s Dan Thompson and a bit more good missionary work by Milt Wolf, the banjo man, everybody will be joining up for the national instrument and crowing, ‘I told you so all the time’.”

One thing we should not forget – the banjo has been for many years and undoubtedly will be for years to come the instrument of the people. Even if the orchestra leaders refuse to find a place for it within their organizations, there still are thousands of amateur players young and old, who prefer its merry voice and who, as solo performers or as members of banjo bands, do give pleasure to those who enjoy listening to music of a light character. Especially during these dark days a capable banjoist playing his rollicking tunes will be welcomed by all of us, since this provides an excellent mental escape from all the tragic occurrences that confront us daily. As far as we are concerned the banjo as a musical instrument needs no apology. If students will apply themselves as others do on violin or piano, take their instrument seriously, work hard to acquire a perfect technic and then play in public as often as possible, they will not fail to find a responsive audience.

In the meantime, let us hope that the present controversy continues, keeping in mind the remark credited to the late P. T. Barnum, “It matters not what people say about me, as long as they talk about me.”