FOLKWAYS RECORDS.

Fl 8355
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Double
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Notes Stops
Cripple
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Bluegrass Fiddle Lead In 3/4 Time

Strokes

Base And Unison Notes Clark

Joe
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The Saw Stroke The Black Mt. Blues A Tuning Bluegrass Fiddle Lead In 4/4 Time
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Learning Cripple Creek With The Saw Stroke The Tune Black Mt. Blues Fiddle Tune Type Lead In 4/4 Time
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Cripple Creek With More Notes Bonapart’s Retreat D Tuning (D Tuning #1) Bluegrass Vibrato
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Saw
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Of Key The C
FOLKWAYS RECORDS FI 8359
TexasThe
Waggoner C In
Cripple Creek Using
Nashville Combined Shuffle Stops Double In G
Saw
And
Strokes Double Stops D In
Library of Congress Catalogue Card No, R 68-557
©1968 FOLKWAYS RECORDS AND SERVICE CORP.
U.S.A.
43
W.
61st
N.Y.C.,
ST.,
DESCRIPTIVE NOTES ARE INSIDE POCKET
FOLKWAYS RECORDS Album No, FI 8359
©1965 Folkways Records & Service Corp,, 43 W. 61st St, N. Y,C., USA

LEARN To FIDDLE

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SCHWARZ
Ramblers I noticed that in every city or college two or
INTRODUCTION three of the hard core enthusiasts were learning to fiddle,
and finally, I’m afraid almost too late, it occurred to me
LEARN TO FIDDLE COUNTRY STYLE WITH to make a fiddle instruction record, and try to show all
TRACY SCHWARZ the things I’d learned from experience, and save a lot of
people a lot of trouble so they can get over that beginning
It would be well to start off by explaining how I got in- hump, and enjoy playing as I have. So here it is, and my
terested in this music. When I was quite young my family apologies to those who’ve struggled without some kind of
had a place in Vermont, and I liked the country then, and instruction record like this, and I hope there’s something
ever since. At eight years of age, in New Jersey, listening in this record to help them.
to the radio for cowboy songs exposed me to Country and
Western Music, and I guess it really stuck with me, be- Now, the brochure notes for this record are set up SO
cause at thirteen years of age I took the basic guitar there’s some comments important to the student that are
ability I’d been taught and applied it to this music, and not said on the record itself. These are important, and in
that started off a long period of music making that I hope some cases, prerequisits to learning. The examples them-
never ends. As for the fiddle, I first tried to play one of selves, for the most part, are done first slowly, so you
my Grandfather’s when I was fifteen, but had no success, can pick them up easier, and then at regular speed, so
not knowing where to start. Then, later, when I was about you can hear what it’s supposed to sound like. The ex-
twenty-one, after learning a few other stringed instru- amples are separated into bands on the record, so it’s
ments, I concentrated on the fiddle again, playing it while easier to find your place when you go back. Yo1’ll have
in the Army. We had a little band over in Germany where to do a certain amount of going back and repeating, So
I was stationed, and in that eighteen months my fiddle don’t feel bad if you don’t get a certain run or note on the
playing smoothed out greatly. When I got out of the Army first try. Remember that some fiddle tunes are so com-
I joined the New Lost City Ramblers, and I’ve had plenty plicated and difficult that it may take a year to learn them
of time to fiddle ever since. While on tour with the completely.
 The more one gets involved in this music, the more Grayson & Whitter
COUNTRY MUSIC ON one realizes the character of an old tradition at The Carter Family
work, and the astonishing directness and simpli- Kelly Harrell
FOLKWAYS RECORDS city in the approach of the traditional artist. Frank Hutchison
An understanding of the music opens up the pos- Charlie Poole
OLD TIME & BLUEGRASS
sibilities for us all to get the most pleasure Bascom Lunsford
and reward from these old songs, and from the Jim Jackson
by John Cohen
people who sing then. Ernest Phipps
E.V. Stoneman
This is to serve as an introduction to one segment of In various college campuses and cities now, folk Blind Willie Johnson
the Folkways catalog which represents something of music societies and festivals are emerging which
the seeds and sources for a dynamic aspect of incorporate active research with song collecting,
American folk music which has found a voice in the concert producing, and music playing. At one
cities and colleges in recent years. For the most school, on the event of a New Lost City Rambler
part, this is mountain music derived from the rural concert, the folk music society increased its
south. membership by 100, a panel discussion was held
with university faculty and visiting musicians
There is now an excitement about this music through- participating, a student string-band was formed,
out the colleges and cities, amongst young people and a local Bluegrass band of country kids
whe are finding a voice in this music, and who are was ‘discovered’ and incorporated into the gen-
making it their own wice. eral university folk song scene. In addition to
this, a regular publication was started. At
There are a great range of approaches to this music, another place, serious discographical research
and a great many styles involved; yet inherent is being done and a record of rare re-issues of
in this movement is a desire to remain close to the early hill music was released. Concerts are
traditional ways of playing the music. being produced employing traditional artists;
this is no longer a unique situation. Tne Uni-
The movement, diverse as it is, has taken on a versity of Chicago Folk Festival, the Berkeley
structure which has its heroes, artistic leaders, Festival, the Friends of OLD Time Music, and
legendary characters, a sort of language of its the Ash Grove in Los Angeles, are all pointing
own, and several senseless confusions and stereo- the way towards an intelligent enjoyment of
types applied to it. traditional folk music.

Much of the clamor about this music has come from Within the Folkways catalog is a group of record-
banjo pickers & guitar singers who have brought ing which present the scope and nature of the
the music to everyone's attention by their very various facets of this music. Folkways has been
enthusiasm. It is their excitement about the consistent in its presentation of this music 4s
music which has communicated first. But there is it is traditionally and authentically perfornued.
much more to be heard and understood. FA2951 (Vol. 1) - Ballads: 27 traditional ballads
performed by The Carter Family, Clarence Ashley,
These spirited musicians are often ‘put down’ for Buell Kazee, Carolina Tar Heels, Furry Lewis,
being merely ‘ethnic imitators’ by the very same Charlie Poole with the North Carolina Ramblers,
people who recognize that traditional folk music is G. B. Grayson, The Masked Marvel, "Chubby" Parker,
the only aesthetically complete folk music to be many others.
heard. 2 12-inch 33-1/3 rpm longplay records
Although it is relatively new in its present situa- FA2952 (Vol. 2) Social Music: 29 selectiors performed
tion, this music is part of one of the oldest y Bascom ord, Blind Willie Johnson, Carter
American traditions. It has its roots in the music Family, Sacred Harp Singers, Bunt Stephens,A Hunt's
of the early settlers, and has received fresh vigor Ramblers, The Pep-Steppers, Cincinnati Jug Band,
over the years from developments within American others.
culture which have introduced new sounds and new 2 12-inch 33-1/3 rpm longplay records
instruments to this tradition, as wel] 4s new
rhythms and harmonies to accompany the changing
social functions the music has performed. PA2953 (Vol. 3) Songs: 28 selections incl. East
Virginia, One Morning In May, Sugar Baby,
It is part of an active and progressive tradition, Mountaineer's Courtship, 99 Year Blues, K.C.
yet it has alweys maintained a terrific sense of Moan, Fishing Blues, etc., performed by Uncle
respect and preservation for its own past. In Dave Macon, Blind Lemon Jefferson, Clarence
this way elements from years ago are still consi- Ashley, Cannons Jug Stompers, Carter Family,
dered as significant to the present day music by John Hurt, "Dock" Boggs, Stoneman Family,
those who perform and live with this music. many more.
2 12-inch 33-1/3 rpm longplay records
Within old time string band music, bluegrass The Anthology of American Folk
and just home performances, are found trances Music FA aL FA 29502, FA 2953
of the old ballad styles of singing, of begpipe This collection is a most comprc-
and fiddle sounds from the British Isles, as hensive one, and gives an
well as sounds of the sentimental songs from incisive look into the folk music
the 19th century, minstrel stug. songs, early current from 1927 to 1932 as.
Hegro blues, rhythms from jazz as well as those recorded by the commercial record-
now found in rock-and-roll. ing companies of that time. Good
representation of rural music,
One significant and important aspect of the cur- with many important artists
rent city trend towards this music is that it has represented, ed. and annotated
presented a way to enjoy and understand the by Harry Smith.
popular music, without sentimentality and with- Vol. 1 Ballads:
out losing the perspective of culture as a whole. Some Child Ballads, and many
It is ouly in the nature of this perspective that other old songs in the ballad
the urban interest differs from the country tre- tradition, sung as current and
dition. This can neither be praised nor lament- popular songs in 1927, etc.
ed, nor can it be overlooked. It must be recog- Vol. 2 Social Music:
nised, for it is the basis upon which an intelli- Dance music and religious music.
gent approach can develop to the many ideas which Both white and Negro traditions.
are being encountered in the current investigation Many instrumental pieces.
of folk music. Vol. 3 Songs:
Excellent collection of country
The importance of academic scholarship can not be eongs and many blues.
denied: neither can an excited emotional involve- Important artists in this colicc-
ment. It is only when folk music becomes just a tion.
form of entertainment, in the more commercial
sense of that word, that it is being abused. Clientes Asnle, Miss. John Hurt
Buell Kazee Purry Lewis
That the investigation has become more like an Dick Justice. Jilson Setters
involvement of love or art, is to the credit of Uncle Eck vuntford Eck Robertson
the investigators. If city people have found Burne*., & Rutherford Uncle David Macon
that country music is meaningful to them, then ‘Co: ver & Young Blind Lemon Jefferson
this is @ genuine enrichment of their lives. Carolina Tar Heels Dock Boggs

LITHO IN U.S.A.
 Jilson Setters Fiddling Arthur Smith
In the record, you’ll find several different kinds of bow Uncle Alec Dunford Fiddling Red Herron
strokes, Each one can be a separate style, and if you don’t G. B. Grayson Fiddling Doc Roberts simultaneously with the E string open-EXAMPLE, or A
feel like learning any other, that’s o.k., because you’re Frank Blevins Steve Ledford THE BOW played on the D string by finger #4 and C# on the A
the fiddler. I’ve started with the classical tuning because Carter Brothers and Son Curley Fox string by finger #2-EXAMPLE, The double or unison notes
it is the most popular and versatile tuning, while open Gid Tanner Georgia Slim Tighten your bow at the frog, which is that black square in this key are A on the D string with the open A string-
tunings would hinder you at the start. This instruction Clayton McMichen Benny Martin piece at one end, by turning the round nut to the right until EXAMPLE, and E on the A string simultaneously with the
record will help you to learn how to learn a tune. The Earl Johnson Tex Logan the hair stretches tight enough so that it doesn't touch the E string open-EXAMPLE., Other unison notes occur, but
way you’ll learn Cripple Creek shows how you get a basic Lowe Stokes Chubby Anthony wood of the bow. You can test this by putting the hair to in the related chords, so we’ll cover them later. There
idea of the tune, and then build around it. When you learn Red Headed Fiddler Scotty Stoneman the strings of the fiddle as if you were going to play. If is a two note harmony done with one finger. Use your fin-
tunes, you have several different sources you can use, and J. E, Mainer Mac Magaha the wood of the bow touches the string, tighten the hair ger #1 for both A on the G string and E on the D string-
records is one of the most important. Of course, for Fred Price Sonny Miller some more, However, don't tighten it too much or the EXAMPLE,
every one tune there’s many different versions by many Howdy Forrester Paul Warren bow will bounce when you're playing. Take the bow in
different fiddlers, but they all usually have that basic your bowing hand, in between the thumb and fingers.
melody. Slowing the record down is one way of learning There are several different places to hold it, the first
being the old time choke up; i.e., almost half the length BAND 4 SIDEI THE SAW STROKE
the notes. If it’s impossible to slow downyour phonograph, And Many Others
and you have a tape recorder, you can record the tune on of the bow from the frog, Some people crook their thumb
around the hair and get a better grip that way. Another Now to start playing a tune. The saw stroke will be
tape at 7 1/2 inches per second, and slow the recorder
place to hold the bow is down at the frog, in any manner what you’re going to do with your bowing hand; i.e., one
down to 3 3/4 inches per second. stroke per note. For the first note you’ll pull the bow
that is comfortable and relaxed. If you wish, have a
I’d like to take this opportunity to thank those who’ve violinist or student-violinist show you the classical once-EXAMPLE, for the second stroke you’ll push it-
There are some things worth mentioning about your EXAMPLE, just like sawing~-EXAMPLE ON ONE NOTE.
made this record possible; namely, Lamar Grier, who was manner,
instrument itself. If you must buy one, then there are Now, try to start off with a push stroke as the first one,
my recording engineer, my wife Eloise, who is my
some pointers to remember. A one-piece, carved back instead of a pull. Awkward at first, but valuable. Try to
engineer, Mike Seeger and John Cohen for exposing me to NOTING HAND IN THE KEY OF A
usually indicates a good fiddle, while the cheap toneless keep your wrist loose, and bow the strings with the por-
so much good rare old time material, Gus Mead for the
varieties are bound to have the back joined at the middle. tion of the hair that is about three to five inches from
expression Nashville Shuffle, and Moe Asch, for releasing Pick up the fiddle in your noting hand and tuck it under
You must play the fiddle, or even just bow the strings, to the tip. Let’s do some note progressions, remembering
the record. your chin, or hold it with the end resting on your chest,
know if you like the tone. Fiddles withnarrow sides have a that as you pick up speed you must be careful to keep the
the old time way. Under the chin gives you more con-
sharp tone, while those with wider sides will have a deep- bowing in synchronization with your fingering hand-
As for the tunes themselves, I learned Cripple Creek trolled and cleaner fingering, while on the chest is more
er, fuller tone. If you like the tone of one fiddle, above all EXAMPLE,
from many different sources, and Old Joe Clark came to relaxed, tho harder to control.
the others you’ve tried, then buy it for what you think it’s
me the same way. Leather Britches came mostly from
worth. Then, make sure to have certain things just right,
Eck Robertson, that grand old master fiddler of Amarillo, Now we'll learn a little about the function of the noting
and half the battle is won. The action of the fiddle is im-
Texas. Ragtime Annie’s source is another mystery. The hand, in the key of A. In these brochure notes you'll find BAND 5 SIDE I LEARING CRIPPLE CREEK
portant. The closer the strings are to the fingerboard, the
Texas Waggoner is another one I picked up from Eck a diagram of the fingerboard. The dots are where you WITH THE SAW STROKE
easier the fingering, although there is a point beyond
Robertson. I can’t remember the exact source for the press the strings for the desired notes, and the numbers
which you shouldn’t go, which could be called the squeak Here are the simple basic notes for Cripple Creek in
other tunes, except for the Jolly Blacksmiths, learned indicate which finger to use, #1 being the index finger,
point. The bridge should be positioned by a repairman or the key of A-EXAMPLE SLOW-REGULAR SPEED. Learn
from a record by Theron Hale and Daughters; Sally as the thumb will not be used at all.
violin maker at first, using a flatter curve than is used to do this before you go on. It's only an outline of the tune,,
Johnson, from Eck Robertson and a record by Solomon
for classical violins, so you can bow two strings at once but it's necessary.
and Hughes; and the Sugartree Stomp, which is a Fiddling
easily. As for strings, I usea brand called Super Sensitive,
Arthur Smith tune. On the accompanied numbers, Lamar
but they’re not always perfect, so after a bit of ex-
Grier played banjo, and my wife Eloise played guitar and
perimentation you’ll find the kind you like. Gut strings are
sang tenor to me. BAND 6 SIDEI CRIPPLE CREEK WITH MORE
so hard to play that I advise avoiding them. Your bow is
another important item. It should be fairly straight, and BAND I SIDEI NOTES
should have all it’s hair. Take the bow by the frog, and
Here’s the same thing with a few more notes-EXAMPLE.,
touch the tip end to the floor. Exert pressure downwards TUNING
on the bow. If the wood bends beyond the tightened hair,
it’s too flexible. It should resist your pressure, and The fiddle will be tuned in the regular classical tuning
barely touch the hair. It should also be light, so you can for now, which is, according to the diagram in the bro- BAND 7 SIDE I DOUBLE STRING RUNS
see why good bows cost a lot of money. Tuning the fiddle chure notes, E-A-D-G EXAMPLE.
to the standard 440 A is a good idea. Many old timers KEY OF A Up to this point all the notes have been on one string
tuned theirs down or up to get a certain kind of tone, but at a time. Let’s try including a drone string now, in this
unless you play by yourself, you’ll find it difficult to play case, the open E or the open A, so you’ll have what I call
with others if you’re not in an approximate standard BAND 2 SIDEI THE SCALE INA double string runs. They give you a full harmonious
pitch. sound-EXAMPLE.
I’1l run up and down the scale once with you to help
Fiddling is not dead yet by any means, and there are you find your way around in this key, because you have to Now here's the resulting combination. This is Cripple
many fiddlers’ Conventions each year. Around where Ilive pick up the notes from my examples by ear. Now, play Creek done with a certain choice of notes and combina-
in Pennsylvania there’s at least three in August, and right along with me, starting with A on the G string-A-B- tions of strings. It is one of the many possible ways of
there’s the famous conventions at Union Grove, North C#-D. Now the D string-D-E-F#-G#-A. The A string-A- playing this tune, using only the saw stroke, and it is not
Carolina, and Galax, Virginia. Make it a point to attend B-C#-D-E. And the E string-E-F#-G#-A-B. Back down necessarily the way the tune has to be played. The pre-
some. You’ll learn a lot at these events. again-E string-A-G#-F#-E. And the A string-E-D-C#- ceeding examples show how a fiddle tune can be built
B-A. The D string-A0G#-F#-E-E. And the G string-D- from its foundation. Every fiddler is a kind of tune con-
After you’ve learned all you can off this record, you’ll CLASSICAL TUNING C#-B-A. Now, put the needle of the phonograph back to the structor, and as your technical ability increases, so
be wanting to learn more’ and more tunes. Sources are beginning of this example and do it with me again, then will your tune construction, the end result being just
records, tapes, and live performances. Here’s a list of T’ll play the strings again so you can get an idea of where several times by yourself. exactly what you want it to be.
some of the fiddlers who have made records, going from the pitch is-EXAMPLE. A mandolin-violin pitch pipe will
the old to the modern. Any of these are good sources: be a very useful and inexpensive pitch source for you. Un-
til we go into different old time tunings this will be how
BAND 3 SIDEI BASE AND UNISON NOTES BAND 8 SIDE I SAW STROKE VERSION OF CRIPPLE
Eck Robertson Chubby Wise the fiddle will be tuned for every example. If you want to
Fiddling John Carson Tommy Jackson play with a band this tuning has the advantage of ver- CREEK
In every key there is a starting, or base note, from
Charlie Bowman Kenny Baker satility, and it’s the most common tuning used.
which almost every diffle tune in that key starts. In A, Now let’s go thru this version of Cripple Creek slowly,
that note is the A string open-EXAMPLE, sometimes 3 and then at regular speed-EXAMPLE.
 BAND 9 SIDEI THE NASHVILLE SHUFFLE STROKE BAND 15 SIDE I COMBINING THE LONG BOW AND used quite often in modern Country and Bluegrass Music.
SAW STROKES
In each key there are double stops; i.e., two strings
The next bow stroke that we’ll take up is what can be
Here is where we really get into a complicated bowing bowed together in harmony, and stopped, fretted, or
called the Nashville Shuffle, because Nashville Tennessee
hand style. First of all, let’s combine the longbow stroke pressed, with any comfortable combination of two fingers.
is the Country Music Capital of the United States, and this
with the saw stroke, where the first three notes are done There are two kinds of double stops: stationary, and slid-
stroke is used quite often in modern Country Music. It
by the long bow stroke, and then the following notes will ing, where you slide your fingers up or down the finger-
consists of one long stroke, and then two short ones-
be done by the saw stroke-EXAMPLE. Then you have a board and arrive at another double stop position.
EXAMPLE. Notice that each long stroke is alternately a
pull, and then a push, or if you start the series with a regular reoccuring series of long bow strokes, each
push, it’s push-pull-push pull-push-pull, etc. The next stroke lasting the duration of two, or three, or four notes
followed by any number of saw strokes-EXAMPLE. BAND 3 SIDE2 DOUBLE STOPS ING
step is to work in some runs-EXAMPLE. You can also
play two notes with your noting hand on the long stroke
KEY OF D In G, the first double stop is G on the D string with G
like this-EXAMPLE.
on the D string-EXAMPLE. The next is G on the D string
BAND 16 SIDE I COMBINATION OF LONG BOW AND
with B on the A string, one you already know as the base
NASHVILLE SHUFFLE STROKES IN Unison notes will be D on the G string with the open D
for the key of G-EXAMPLE, This can be slid up to B on
OLD JOE CLARK string. This is quite often the base note-EXAMPLE.
BAND 10 SIDE I NASHVILLE SHUFFLE VERSION OF the D string with D on the A string-EXAMPLE. Next is B
Other base notes are D on the A string alone-EXAMPLE,
CRIPPLE CREEK on the A string with the G on the E string-EXAMPLE.
Next is the combination of long bow strokes and Nash- or with F# either on the D string-EXAMPLE, or on the
Then there’s D on the A string with G on the E string-
Using this, we can take Cripple Creek, with the finger- ville Shuffle strokes, using the tune called Old Joe Clark E string-EXAMPLE, Octave combinations are D on the A
EXAMPLE. In modern music this can be slid up to G on
ing as before, and play it with the Nashville Shuffle only, as an example in the key of A-EXAMPLE. string with the open D string-EXAMPLE, and A on the E
the A string with B on the E string-EXAMPLE.
this way-EXAMPLE. string with the open A string, a combination which fits
the D chord as well as the A chord, to which it actually
You'll notice that some notes sound different with this belongs-EXAMPLE.
BAND 17 SIDE I COMBINATION OF LONG BOW SAW
stroke, so therefore, much of the difference between two
BAND 4 SIDE 2 DOUBLE STOPS IN D
AND NASHVILLE SHUFFLE STROKES
fiddlers will be in their bowing techniques. IN CRIPPLE CREEK
BAND 21 SIDEI RAGTIME ANNIE IN D In D we have first of all, D on the G string with F# on
Now comes the final result, where we use long bow, the D string-EXAMPLE, Then there’s A on the D string
saw, and Nashville Shuffle strokes on Cripple Creek- Here’s an old time tune in D called Ragtime Annie-
BAND 11 SIDEI THE COMBINED NASHVILLE EXAMPLE. with D on the A string-EXAMPLE. Then there’s D on the
EXAMPLE. A string with F# on the E string, another one you already
SHUFFLE AND SAW STROKES
Now we'll concentrate on some more noting hand po- know-EXAMPLE. This can be slid up to F# on the A string
The two preceeding strokes can be combined, like this- sitions in different keys. The first will be G. In these BAND 1 SIDE2 THE KEY OF C with A on the E string-EXAMPLE.
EXAMPLE. You can throw in as many saw strokes as you brochure notes you'll find another fingerboard diagram,
like, where you like. They vary the otherwise monotonous and you should be able to learn the fingering positions The final key we’ll take up is C.
sound of the Shuffle, and help you to make the difficult from it. Don't forget that some notes that were sharps BAND 5 SIDE2 DOUBLE STOPS INA
transition of the bow from one string to another. Here in the key of A will not be in this key.
are some runs-EXAMPLE, In A, we have to start with, C# on the G string with
E on the D string-EXAMPLE. Next is A on the D string
with C# on the A string-EXAMPLE, Then there’s E on
the A string with A on the E string-EXAMPLE,
BAND 12 SIDEI CRIPPLE CREEK USING
COMBINED NASHVILLE SHUFFLE
AND SAW STROKES
BAND 6 SIDE2 DOUBLE STOPS IN C
Now here is Cripple Creek again, played with the com-
bined Nashville Shuffle and the saw stroke-EXAMPLE.
In C, we have C on the G string with E on the D string-
EXAMPLE. This is sometimes slid up to E on the G
Next is the long bow stroke; i.e., playing two notes per KEY OF C string with G on the D string-EXAMPLE. Then there’s
stroke, as opposed to the one to one ratio of the saw
KEW ‘OF 'G G on the D string with C on the A string-EXAMPLE, Next
stroke. You have already done this on the practice runs
Your base notes are C on the G string with E on the D is E on the A string with G on the E string-EXAMPLE.
for the Nashville Shufrtle strokes, but in this case we add
more notes, BAND 18 SIDEI BASE, UNISON, AND OCTAVE string in harmony-EXAMPLE, or C on the A string with After you've learned these, you'll be able to master the
NOTES ING E on the D string-EXAMPLE, or with E open-EXAMPLE. double stops in the remaining keys in a very short time.
You have a unison note by playing E on the A string with
In G, your base note is usually the G on the D string, the open E string, which appears also in the key of A- Another special technique is vibrato, the use of which
BAND 13 SIDEI THE LONG BOW STROKE
often done with B on the A string in harmony-EXAMPLE. EXAMPLE. There is also, a two note one finger com- seems to be the choice of each fiddler. However, in
The unison notes belong to related chords, so you’ll get bination, using C on the A string with G on the E string, general it appears much more often in modern Country
Now, just pull, or push the bow, first of all, for the them later. There is an octave combination used quite done with either the first or second finger-EXAMPLE. Music and Bluegrass Music than in old time music. By
duration of two notes-EXAMPLE. Now three notes- often: G on the D string with the open G string-EXAMPLE. listening to records you can learn how it's applied.
EXAMPLE. Now four and more notes-EXAMPLE. When
you play this many notes you use as much of the length
BAND 2 SIDE2 THE TEXAS WAGGONER IN C
of the bow as you can. This is often the bow stroke that
is used with drone effects, again using the open E string BAND 19 SIDEI LEATHER BRITCHES IN G BAND 7 SIDE 2 COUNTRY VIBRATO
Now let’s do a number in C called the Texas Waggoner-
in this key-EXAMPLE.
Here is a tune in G called LEATHER BRITCHES- EXAMPLE.
Country vibrato tends to be fast; i.e., the finger
EXAMPLE. The keys of Bb, F, and E are very rarely used for vibrates fast, like this-EXAMPLE.
BAND 14 SIDEI CRIPPLE CREEK USING ONLY fiddle tunes. When they are used, the tunes are advaaced
THE LONG BOW STROKE and difficult. If at a later date you would like to learn
BAND 20 SIDEI THE KEY OF D these keys you'll be able to figure out the finger positions BAND 8 SIDE 2 SLIDING INTO NOTES
Now, let’s do Cripple Creek using only the long bow very easily. In Bb, Eck Robertson plays a tune called
stroke. This is difficult and awkward, and is rarely used The next key we’ll take up is D. Once again, consult Done Gone, and some old timers do Fisher's Hornpipe A technique that has great importance in style dif-
for the entire tune-EXAMPLE. the diagram for finger placement. in F. I know of no fiddle tune yet in E, but this key is ferentiation is sliding into notes, as opposed to coming
 to advantage here. As always, listening will be your BAND 22 SIDE2 FIDDLE TUNE TYPE LEAD IN
guide to learning style, and the more listening you can do, 4/4 TIME
straight down onto the string with the finger. Here are a
the better.
few notes and runs using this technique-EXAMPLE. Also, in 4/4 time you can use lots of notes, like a fiddle
Some fiddle tunes are traditionally played in open There is a noting hand technique done in old time music tune, employing all the bow strokes outlined earlier-
tunings; i.e., the fiddle is tuned so that it will play one which can be described as a trill; i.e., alternately EXAMPLE.
chord in open strings. It is also called crosstuning. pressing down on a string and completely withdrawing the
finger.
BAND 23 SIDE2 BLUEGRASS VIBRATO
BAND 9 SIDE2 THE OPEN G AND A TUNINGS
Vibrato figures into Bluegrass fairly often, according
BAND 17 SIDE2 TRILLS to the individual style of each musician, but when it does
First, there’s the open G tuning; i.e., D-G-D-G. This
also exists as an A tuning; i.e., E-A-E-A. As before, in appear it’s usually a fast intense vibrato, done mostly
the brochure notes you’ll find fingerboard diagrams. Trills sound like this-EXAMPLE, Two or three timesis where the notes are sustained for a long time, like this-
D TUNING #1 usually the duration of the complete trill-EXAMPLE. EXAMPLE.
Irish fiddling has this to quite a degree, as well as A complicated bow stroke is used in Bluegrass as well
Canadian fiddling, but in the United States this has al- as modern Country Music that we havn't taken up yet,
most disappeared. and that is the double shuffle, or the Georgia Lick; i.e.,
BAND 13 SIDE2 BONAPART'S RETREAT a 1-2-3-4-5-6-1-2-3-4-5-6-1-3 series of saw strokes
The opening measures of an old time fiddle tune are done on two or three strings.
Here’s a little bit of Bonapart’s Retreat to show you
how that drone string works-EXAMPLE. much less formal than you hear nowadays. Old time
fiddlers are extremely individualistic, so there are many
different ways it can be done. One way is to just draw the BAND 24 SIDE2 THE DOUBLE SHUFFLE
bow across the strings of the key. However, the actual
BAND 14 SIDE2 D TUNINGS #2 AND #3 spot in the tune where the fiddler begins is apt to vary. Broken down, the double shuffle is this in the key of A:
the 1-2 strokes on one string are this-EXAMPLE(PULL-
D tunings #2 and #3 are slightly different. You don’t PUSH), or on a two string harmony-EXAMPLE (PULL-
have that drone-EXAMPLE. Now Dtuning #8 is slightly PUSH). Then the 3 strokes is played-EXAMPLE (PULL).
BAND 18 SIDE 2 SOLDIER'S JOY IN D WITH AN Followed by the 4-5 strokes-EXAMPLE (PUSH-PULL);
G TUNING A TUNING different in that you drop your G string down to Gas it
OLD TIME START then the 6 stroke-EXAMPLE(PUSH); which ends the
is in the classical tuning. So you have-EXAMPLE.
Let’s do a little bit of Soldier’s Joy in D, starting first part of the series. This series is repeated again-
where an old timer would be likely to begin-EXAMPLE. EXAMPLE; and is rounded off by the 1-3 strokes-
BAND 10 SIDE2 THE BLACK MT. BLUES A A modern fiddler would probably begin here, again in EXAMPLE. Now, the notes occuring on the 3 and 6
TUNING
Soldier’s Joy-EXAMPLE. strokes don’t have to be the same as in the previous ex-
amples. You can make them different, so that it sounds
Next is the Black Mt. Blues tuning, called this because like this-EXAMPLE, And altogether, at regular speed,
the tune by that name is played in this tuning-EXAMPLE. double shuffle sounds like this-EXAMPLE.
BAND 19 SIDE2 SINGLE STRING RUNS

Another noting hand technique characteristic of old

BAND 25 SIDE2 BANJO-FIDDLE MUSIC
time fiddling is lots of single string runs, like this,
again in Soldier’s Joy-EXAMPLE. In the old days in the mountains guitars were rare, so
the banjo was used to accompany the fiddle. This music
A modern Country Music style that is very close to old
is a real good sounding and rhythmetic combination, and
time playing is Bluegrass, which has blue notes, and
D TUNING #2 D TUNING #3 it will help you in your learning process to play with a
modal, or non-major-minor notes, combined with regular
banjo picker. Here’s a little bit of Sally Johnson with
notes. It is difficult to do, but is a very complete style
Scruggs style five string banjo accompanyment-EXAMPLE.
which includes slow and fast tunes equally as well. Of
All of the preceeding examples show a general style of course, listening to the music itself, especially that of
playing. If you want to concentrate on a good old time its originator, Bill Monroe, will show all the different
creaky type of. playing you won't need all the bow strokes sides of this style, but a few examples follow of the BAND 26 SIDE2 GUITAR-FIDDLE MUSIC
outlined; for instance, a good old time stroke is the saw. fiddler's role in Bluegrass music to help you out. When,
BLACK MT. BLUES TUNING The bowing hand is more jerky in old time music, and in a Bluegrass band, the fiddler steps to the front and You can get a guitar player to back you up too, and do
there's quite a bit of rocking the bow on two or three or plays some of the melody, it's called taking a fiddle tunes like I Danced All Night With A Bottle In My Hand-
all the strings. break, or taking a lead. These are done in either 4/4 EXAMPLE.
BAND 11 SIDE 2 THE. TUNE BLACK MT, BLUES time or 3/4 (waltz) time, and at various tempos.
If at all possible, get together with a group, because it
will smooth you playing out very quickly.
Here’s a little bit of that tune to show you how it is done BAND 15 SIDE2 ROCKING THE BOW
to advantage in this tuning. There is one place in this tune BAND 20 SIDE2 BLUEGRASS FIDDLE LEAD IN
where the tuned down E string is plucked with a finger of Rocking the bow is a technique where you actually 3/4 TIME
‘he noting hand,-EXAMPLE, like that-EXAMPLE. rock from one string to another, making a rhythmetic BAND 27 SIDE2 GUITAR-BANJO-FIDDLE-BAND
sound like this-EXAMPLE. Here’s how a lead in 3/4 time might be done-
EXAMPLE. Here’s a tune called The Sugartree Stomp with banjo
BAND 12 SIDE2 BONAPART'S RETREAT D and guitar-EXAMPLE.
TUNING (D TUNING #1) BAND 16 SIDE2 THE JOLLY BLACKSMITH IN A
BAND 21 SIDE2 BLUEGRASS FIDDLE LEAD IN Well, there it is. Everything I know I've shown you,
Next is the D tuning used primarily for Bonapart’s Here’s a tune in A called The Jolly Blacksmiths, done 4/4 TIME and now it's up to you to practice until you get your
etreat. Let’s call it D tuning #1 for more clarity- with a jerky style similar to Irish jig type-EXAMPLE. fiddling the way you want it. If you have any questions,
wXAMPLE. The G string is tuned down to D, exactly one In 4/4 time, leads can be done using double stops, write me at RD#2, D lta, Pa., and I'll try to answer
octave below the open D string, and makes a drone If you want you can hold the fiddle on your chest, as involving slow movement of the left hand-EXAMPLE. them as well as possible.
sound. : this is a looser style of playing. Open tunings can be used
 ) The Saw Stroke;
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en ef Cripple Creek;
) Cripple Creek
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8) Sliding inte N
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Retreat (D Tun