Meticulously collected from recordings, square and contra dances, fiddle contests, jam sessions and individual fiddlers- this book is meant to provide a snapshot of what American fiddlers were playing and listening to in the latter part of the 20th Century. As the vinyl record format disappears from the marketplace, a great deal of recorded fiddle music will no longer be available. In this book, Stacy Phillips shares the fruits of some timely collecting for all fiddlers to enjoy. Bowings, fingerings, and guitar chords are provided for each melody line.
Appalachian fiddle music, based on the musical traditions of the people who settled in the mountainous regions of the southeastern United States, is widely-known and played throughout North America and parts of Europe because of its complex rhythms, its catchy melodies, and its often-ancient-sounding stylistic qualities. The authors explore the lives and music of 43 of the classic Appalachian fiddlers who were active during the first half of the 20th century. Some of them were recorded commercially in the 1920s, such as Gid Tanner, Fiddlin’ John Carson, and Charlie Bowman. Some were recorded by folklorists from the Library of Congress, such as William Stepp, Emmett Lundy, and Marion Reece. Others were recorded informally by family members and visitors, such as John Salyer, Emma Lee Dickerson, and Manco Sneed. All of them played throughout most of their lives and influenced the growth and stylistic elements of fiddle music in their regions. Each fiddler has been given a chapter with a biography, several tune transcriptions, and tune histories. To show the richness of the music, the authors make a special effort to show the musical elements in detail, but also acknowledge that nothing can take the place of listening. Many of the classic recordings used in this book can be found on the web, allowing you to hear and read the music together.
From the author’s preface: “This book was conceived four years ago, almost to the day, at a time when I was teaching fiddle and mandolin in New York City. It was my idea then, with my students in mind, to compile a book of the most often played, most important and most interesting fiddle tunes from the various Celtic and North American traditions. The tunes were chosen by cataloging a large number of recordings by tune title. A tally was taken to find out which had been recorded most often. This established a foundation of material that could not be left out. To this list I added the names of other pieces which had not been recorded as frequently, but which I knew were played regularly and with respect. I admit to sprinkling the collection with a few lesser known tunes which happen to be personal favorites, but I am sure they will hold their own when placed next to the old war horses of the fiddler’s repertoire. . . . Although I started out with my students in mind this book has turned out to be the book that I’ve always wanted and I hope that it will serve the advanced player as well as the beginner.”
North American Fiddle Music: A Research and Information Guide is the first large-scale annotated bibliography and research guide on the fiddle traditions of the United States and Canada. These countries, both of which have large immigrant populations as well as Native populations, have maintained fiddle traditions that, while sometimes faithful to old-world or Native styles, often feature blended elements from various traditions. Therefore, researchers of the fiddle traditions in these two countries can not only explore elements of fiddling practices drawn from various regions of the world, but also look at how different fiddle traditions can interact and change. In addition to including short essays and listings of resources about the full range of fiddle traditions in those two countries, it also discusses selected resources about fiddle traditions in other countries that have influenced the traditions in the United States and Canada.
In this generous collection, Nova Scotian fiddler Bill Guest presents standard notation of easy to intermediate-level traditional tunes, some of his own more complex original compositions plus works by twenty-one of his Canadian fiddling contemporaries. The collection offers approximately 120 dance tunes including: waltzes, hornpipes, jigs, polkas, two-steps, airs, breakdowns, reels, swing tunes, and a few 4/4 melodies for slow dancers. “The Irish Washerwoman” is presented in 3 versions with different time signatures, and five selections are arranged as duets. The salient feature of this book, however, is the enjoyment and multifaceted musical perspective gained from playing the work of so many fiddlers from across the vast commonwealth of Canada.
Presents 140 of the most frequently played tunes in old time fiddle contests as well as the most popular bluegrass, square dance and country tunes heard throughout the United States. the performance length arrangements of contest tunes include standard as well as challenging variations on hoe-downs, rags, polkas, show pieces, and waltzes complete with suggested accompaniment chords. This encyclopedia of fiddle tunes and variations spotlights American popular fiddle music as played by the great fiddlers of our time.
The Fiddle Book is about Fiddles, Fiddlers and Fiddling. It is not about violins. Violins are played in string quartets and symphony orchestras. Violins play sonatas and concertos and tone poems. Violinists are people like Jascha Heifetz and Isaac Stern. Fiddles are played at square dances and hoedowns in the front parlor or the back yard. Fiddlers play jigs, reels, hornpipes and the like. Fiddlers are people like Uncle Charlie Higgins, Eck Robertson, Grandma Davis and Max Collins. This book is about fiddles. It is the most comprehensive document on the folk music fiddle and fiddling styles ever published, and includes the music to more than 150 fiddle tunes faithfully transcribed from the playing of traditional musicians.
This affordable 5 1/2 by 8 QWIKGUIDE offers 43 traditional fiddle solos in standard notation with chord symbols. Selections include: Arkansas Traveler; Back Up and Push; the Blarney Pilgrim; Beaumont Rag; Bill Cheatham; Billy in the Lowground; Blackberry Blossom; Bonaparte's Retreat; Cotton-eyed Joe; Cripple Creek; Down Yonder; Dill Pickle Rag; Drowsy Maggie; Durham's Bull; Eighth of January; Fisher's Hornpipe; Fire on the Mountain; Garry Owen; Haste to the Wedding; Jolie Blond; Maidens Prayer; and more. the attached CD contains performances of all the tunes in the book.Also available in Japanese from ATN, Inc.
This meticulously researched anthology presents detailed biographies and transcriptions, including bowing, ornamentation, and accentuation of 39 fiddle tunes as played by 25 Newfoundland fiddlers from locations throughout the island. For unparalleled authenticity, the author’s live field recordings of each tune are available online, offering a unique perspective of the various types of tunes and techniques favoured by past and present Newfoundland fiddlers. Newfoundland, a former British colony, possesses a rich and varied cultural heritage due to its history of unique settlement patterns. Beginning in the 16th century, European migrants from Ireland, Scotland, West-Country England, and France settled on the island, bringing with them their various cultural practices, including their fiddles! This collection provides insight to the backgrounds, geographical locations, and musical preferences of the individual players, and how music-making and the role and status of Newfoundland fiddlers have evolved over time. The tunes included here vary from original compositions and revival collectors’ treasures, to reinterpreted versions of timeless Irish, Scottish, and French tunes. Together, they form a part of the modern-day Newfoundland fiddling tradition. This book will delight fiddle players and any musician who wishes to further enhance their repertoire and technique, or simply learn more about the island of Newfoundland and its music. Includes access to online audio.
