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	<title>Fiddle Sessions</title>
	<link>http://fiddlesessions.com</link>
	<description>Free Fiddle Lessons and Tips from Mel Bay Publications</description>
	<lastBuildDate>Mon, 09 Aug 2010 12:10:52 +0000</lastBuildDate>
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		<title>&#8220;Where Did You Come From, Where Did You Go?&#8221; The Split Personality of Cotton-Eyed Joe” (Part II)</title>
		<description><![CDATA[by Howard Marshall 
            The version of Cotton Eyed Joe considered the older fiddle tune is sometimes associated with Appalachian and Southern fiddling due to its appearance in 1926 on a recording by Gid Tanner and His Skillet Lickers. The celebrated north Georgia string band recorded a series of seven 78 rpm records (fourteen sides) collectively known as “A Corn Licker Still in Georgia.”[1]  The Skillet Lickers recorded from 1925 to 1931 and over a million copies were sold, with the records marketed as “Entertaining Novelty Records.” The recordings were essentially ...]]></description>
		<link>http://fiddlesessions.com/?p=110</link>
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		<title>Musings on the Evolution of Jazz Violin Part Four: Bop to Hop</title>
		<description><![CDATA[ 
by Anthony Barnett
 SP
What do you think of the effect of pickups on jazz violin’s acceptance and whether it is a positive, negative or neutral trend?
Any opinions on the
    1. current crop of pickups?
    2. acoustic vs. solid body instruments?
    3. appearance of 5 string models?
AB
I am not a practicing violinist myself so I am unable to answer from a musician’s point of view. But I do have some observations from a listener’s point of view, partly as a result of my own listening but also as a result of exchanges, ...]]></description>
		<link>http://fiddlesessions.com/?p=106</link>
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		<title>Welcome to the August issue of Fiddle Sessions</title>
		<description><![CDATA[Carl Rahkonen returns for a description of the violin related instruments of Scandanavia. 
Then the Boswell of jazz violin, Anthony Barnett, begins by discussing the trend towards electric violin and then has some trenchant opinions about other recent currents in jazz fiddling.
Professor Emeritus Howard Marshall continues to explore the nexus of fiddle tunes called Cotton Eyed Joe.
Tim Woodbridge is back with the musical biography of Canadian great, Don Messer.  In conjunction with that I contribute the music for one of the tunes that Don famously recorded, Big John McNeil.
Hope you enjoy ...]]></description>
		<link>http://fiddlesessions.com/?p=134</link>
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		<title>Scandinavian Fiddling and Related Instruments</title>
		<description><![CDATA[by Carl Rahkonen
The first time someone hears Scandinavian fiddling they may be struck by its unique sound, which can be as beautiful and austere as the Scandinavian landscape.  Together with incredible rhythmic complexity, this music can sound as exotic as any music on the earth.  It is a sound that can be particularly addicting!
The sound of Scandinavian fiddling can be traced to the influence of older instruments in the culture, representing a “parallel” tradition:  In Norway it’s the hardingfele and in Sweden the nyckelharpa.   Many North American Scandinavian fiddlers also ...]]></description>
		<link>http://fiddlesessions.com/?p=129</link>
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		<title>Big John McNeill transcription</title>
		<description><![CDATA[arranged by Stacy Phillips
As an accompaniment to Tim Woodbridge’s latest installment of his series about Canada’s Don Messer, here is a generalized version of the tune using its current title, Big John McNeil.
This version is taken from my 750 tune compendium, The Phillips Collection of Traditional American Fiddle Tunes – Hoedowns, Breakdowns and Reel” published by Mel Bay.
The book and its companion volumes of rags, blues, jigs, polkas, hornpipes, waltzes etc. are available from my web site: http://ww.stacyphillips.com/fiddlebooks.html
Printable Version
 

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]]></description>
		<link>http://fiddlesessions.com/?p=125</link>
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		<title>Don Messer: Pioneering Fiddler From the Maritimes Part 3</title>
		<description><![CDATA[By Tim Woodbridge
1939 found Don Messer in something of a quandary.  Despite the successes chronicled in Part 2 and continuing, it must have seemed that he was constantly required to justify himself to distant CBC executives. In 1936 the network had reduced the proportion of musical programming from 70% to 50%.  In 1938, following a change in administration, the network required all performers to re-audition.  What was probably the final straw came when Messer’s request to be included in the lineup of programs from a proposed CBC studio in Halifax ...]]></description>
		<link>http://fiddlesessions.com/?p=118</link>
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		<title>Craig Duncan Interview</title>
		<description><![CDATA[Craig Duncan is a Nashville fiddler and multi-instrumentalist. Craig is recognized internationally for his many books and arrangements published by Mel Bay. This is his Mel Bay Artist Interview with Erica Cantrell. He also teaches a Mel Bay Pro Lick.
www.melbay.com &#8211;
www.craigduncan.com


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]]></description>
		<link>http://fiddlesessions.com/?p=104</link>
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		<title>Welcome to the June, 2010 issue of Fiddle Sessions</title>
		<description><![CDATA[
Cookie Segelstein completes her current series on klezmer violin with a look at an introspective, usually rubato style of music from East Europe, the doina.
Anthony Barnett continues his musing on the history and current state of jazz violin with  a trenchant view of the opposite (perhaps an overstatement on my part) pole to Stuff Smith, Stephane Grappelli and the phenomenon of “gypsy jazz”.
Carolyn Osborne completes her essay about preparing to learn upper hand positions on your fiddle.
Finally, the first of what I hope will be a series of essays, by ...]]></description>
		<link>http://fiddlesessions.com/?p=92</link>
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		<title>Cotton Eyed Joe as Played by Bob Wills</title>
		<description><![CDATA[Bob Wills played this this version of Cotton Eyed Joe on the 1947 recording with his band, The Texas Playboys. Louis Tierney played harmony, which is not transcribed. See Howard Marshall&#8217;s essay on this tune, elsewhere in this issue.
This is related to the commercially successful Cotton Eyed Joe of the Urban Cowboy fad, but the latter is in the key of A and has two strains of four measures apiece. Here&#8217;s an example of what that tune spawned &#8211; the hit recording and line dance.
http://www.youtube.com/watch?v=I9VMZBgKO_s&#38;feature=related
This transcription is taken from the ...]]></description>
		<link>http://fiddlesessions.com/?p=90</link>
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		<title>The Doina in Klezmer Music Article 5</title>
		<description><![CDATA[by Cookie Segelstein
 
One of the forms in klezmer music that uses the character of MISHEBEYRAKH (the mode covered in the previous article) is the doina . Here is an explanation of Doina from the introduction by Joshua Horowitz of Kale Bazetsns and Doinas, by Cookie Segelstein and Joshua Horowitz*:
Doina is the Romanian term used to denote families of both vocal and instrumental pieces with a recitative character. There exist countless thousands of doinas throughout all the states of Romania, some of which show specific regional characteristics, while others are shared ...]]></description>
		<link>http://fiddlesessions.com/?p=85</link>
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