As both a championship fiddler and superb teacher, Carol Ann Wheeler brings all her talents to bear in this fiddling book written especially for young children. Students raised in the Suzuki tradition will immediately take to the method, concepts, and techniques used in this book. Common folk songs familiar to the student are used to demonstrate and teach the basic skill of old-time fiddle playing. All melodies are first presented in their simplest form followed by more complex variations with introductions, ornaments, and endings. Students of all levels will find challenging material in this book. Younger students can proceed at their own pace, returning to the more difficult variations at a future time.
This volume builds on the techniques explained in Children's Fiddling Method Volume 1. While created with children in mind, this book is equally well suited for adults, violinists, and string teachers. What sets this method apart from others is that the tunes will first be played slowly, unaccompanied, so that you can hear the notes and how the tune goes. Then, an arrangement follows which is more up to tempo with backup. All of the tunes will be broken down into parts for easier learning, and new fiddling techniques will be explained as they are introduced. Often, different versions will be offered for the same tune, providing variety and a way to learn more concepts, skills, and ideas that can be used in other tunes. the goal is to play along with the two included CDs. Special features of this volume are some optional twin fiddle parts and tips on twin fiddling. These pieces are great for teachers to use with students or for students to play with friends.
This book of fiddle solos is a companion to Children's Fiddling Method Volume 1.The tunes, presented first in their simplest form followed by progressively moredifficult arrangements, utilize the skills and techniques introduced in the method book. While created for children, this music will also be enjoyed by adults whowish to gain an understanding of how to fiddle a tune. Teachers will find it a greatteaching aid, as they can play the more difficult arrangements while the studentchooses which ever arrangement suits their current playing ability. Fiddlers can grow into the tunes as they progress to higher skill levels and while this is happening, they will absorb the concepts and techniques of how to fiddle, which can be used in all fiddle tunes they play. All readers will delight in the eye-friendly layout carefully created so as help the student with ease of reading and toeliminate the intimidation that frequently occurs when less experienced players read tunes with lots of notes. Audio download available online
As both a championship fiddler and superb teacher, Carol Ann Wheeler brings all her talents to bear in this fiddling book written especially for young children. Students raised in the Suzuki tradition will immediately take to the method, concepts, and techniques used in this book. Common folk songs familiar to the student are used to demonstrate and teach the basic skill of old-time fiddle playing. All melodies are first presented in their simplest form followed by more complex variations with introductions, ornaments, and endings. Students of all levels will find challenging material in this book. Younger students can proceed at their own pace, returning to the more difficult variations at a future time.
With You Can Teach Yourself Fiddling, veteran Mel Bay author, Craig Duncan, has produced an excellent book for the beginning fiddler. Its 36 lessons teach basic techniques through specific exercises and traditional fiddle tunes. from holding the fiddle and bow correctly to playing moderately advanced tunes in double stops, Craig will guide you through each progressive step. Although it is not necessary to be able to read music at the start of this book, the author gradually introduces principles of effective note reading throughout. A unique feature of this book is that the same tune may appear in more than one lesson, increasing in difficulty with each recurrence. Each variation builds on the previous one and assists students in learning how to create their own arrangements. Even with some repetitions of the same tune, you'll find more than 50 popular fiddle tunes in the book's 80 pages. Check points and reviews keep you on track from cover to cover. the companion DVD/video covers the first 17 lessons from the book.
This book presents the most widely played fiddle tunes in easy-to-read arrangements for viola. The viola edition features the same tunes in the same keys as the author’s original The Fiddlin’ Workshop and The Fiddlin' Workshop for Cello, so all three instruments could conceivably jam together. Designed for beginning through intermediate players, the arrangements progress in difficulty with each tune. A few tunes are presented in both easier and more challenging versions. In addition to helpful hints on fingerings and bowing, this collection contains suggested guitar accompaniment chords and a bit of fiddlin’ history and related folklore. Includes access to an excellent online audio recording of the book’s tunes and variations.
Play Me Something Quick and Devilish explores the heritage of traditional fiddle music in Missouri. Howard Wight Marshall considers the place of homemade music in people’s lives across social and ethnic communities from the late 1700s to the World War I years and into the early 1920s. This exceptionally important and complex period provided the foundations in history and settlement for the evolution of today’s old-time fiddling. Beginning with the French villages on the Mississippi River, Marshall leads us chronologically through the settlement of the state and how these communities established our cultural heritage. Other core populations include the “Old Stock Americans” (primarily Scotch-Irish from Kentucky, Tennessee, North Carolina, and Virginia), African Americans, German-speaking immigrants, people with American Indian ancestry (focusing on Cherokee families dating from the Trail of Tears in the 1830s), and Irish railroad workers in the post–Civil War period. These are the primary communities whose fiddle and dance traditions came together on the Missouri frontier to cultivate the bounty of old-time fiddling enjoyed today. Marshall also investigates themes in the continuing evolution of fiddle traditions. These themes include the use of the violin in Westward migration, in the Civil War years, and in the railroad boom that changed history. Of course, musical tastes shift over time, and the rise of music literacy in the late Victorian period, as evidenced by the brass band movement and immigrant music teachers in small towns, affected fiddling. The contributions of music publishing as well as the surprising importance of ragtime and early jazz also had profound effects. Much of the old-time fiddlers’ repertory arises not from the inherited reels, jigs, and hornpipes from the British Isles, nor from the waltzes, schottisches, and polkas from the Continent, but from the prolific pens of Tin Pan Alley. Marshall also examines regional styles in Missouri fiddling and comments on the future of this time-honored, and changing, tradition. Documentary in nature, this social history draws on various academic disciplines and oral histories recorded in Marshall’s forty-some years of research and field experience. Historians, music aficionados, and lay people interested in Missouri folk heritage—as well as fiddlers, of course—will find Play Me Something Quick and Devilish an entertaining and enlightening read. With 39 tunes, the enclosed Voyager Records companion CD includes a historic sampler of Missouri fiddlers and styles from 1955 to 2012. A media kit is available here: press.umsystem.edu/pages/PlayMeSomethingQuickandDevilish.aspx
