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[Aug 2010 | Comments Off | ]
“Where Did You Come From, Where Did You Go?” The Split Personality of Cotton-Eyed Joe” (Part II)

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) [...]

Featured, Fiddle History, Interview »

[Aug 2010 | 7 Comments | ]
Musings on the Evolution of Jazz Violin Part Four: Bop to Hop

  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 [...]

Featured, Fiddle History »

[Aug 2010 | 2 Comments | ]
Scandinavian Fiddling and Related Instruments

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! [...]

Tunes »

[Aug 2010 | Comments Off | ]
Big John McNeill transcription

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 [...]

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[Aug 2010 | Comments Off | ]

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 [...]

Interview »

[Jun 2010 | Comments Off | ]
Craig Duncan Interview

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 – www.craigduncan.com DiggShareShare with StumblersTweet

Tunes »

[May 2010 | Comments Off | ]

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’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 [...]

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[May 2010 | One Comment | ]
The Doina in Klezmer Music Article 5

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 [...]

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[May 2010 | Comments Off | ]
Understanding and Learning Shifting and Higher Positions on the Fiddle Part Two

“Boil the Cabbage Down” first position fingering pattern (2nd finger close to 3rd finger, typical beginner’s pattern). Tonic note is an open string (e.g., A, in Boil the Cabbage). This position is typically taught to beginners without regard to staying in a single key across the instrument. So, you get a major scale if you start on the G string 0123 and then go to the D string 0123 (G scale). You get the D scale by starting on the D string 0123 and going to the A string 0123 and the A scale is A:0123 E:0123. However, if you wanted to play a second octave of any of these scales, you would use a different finger pattern. This chart represents the beginner finger pattern, then, rather than proper notes for a particular scale.

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[May 2010 | 6 Comments | ]
“Where Did You Come From, Where Did You Go?” The Split Personality of Cotton-Eyed Joe” (Part I) *

by Howard Marshall In a section on couple dances in my forthcoming book on the history of fiddling in Missouri, the Cotton-Eyed Joe dance and tune became a focus of interest. The following essay is offered to readers for discussion. Readers are encouraged to contact me by email at MarshallH@Missouri.Edu with corrections and ideas for [...]