The Fiddlers Tune Book

100 traditional airs, hornpipes, jigs, reels, schottisches, polkas, and waltzes for soprano or tenor recorders or tin whistle D.

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.”

(Music Sales America). This collection is a reflection of the current repertoire of "sessions" in Scotland. Included are the popular tunes of today which stand the test of time. Some of the material is fairly tricky and should offer a challenge to the increasing numbers of excellent fiddlers. Songs include: Fairy Dance * Sleepy Maggie * Ships Are Sailing * The Duke and Duchess of Edinburgh * The Wind That Shakes the Barley * Loch Leven Castle * The Apple Tree * Lynne's Reel * The Old Grey Cat * Lord MacDonald * Miss Lyall * Captain Campbell * The Left Handed Fiddler * The North Shore * I Wish You Would Marry Me Now * Gladstone * Itchy Fingers * John Spence of Uyeasound * Jack Broke da Prison Door * The Shetland Fiddler * Da Ferry Reel * The Sally Gardens * The High Reel * The Boys of Malin * The Silver Spire * Sligo Maid * The Earl's Chair * Paddy's Trip to Scotland * King of the Fairies * The Firefly * Fisher's Hornpipe * The Golden Eagle * Lark in the Morning * Trip to Sligo * Traditional Jig * The Rocky Road to Dublin * Kennedy Street March * The Sweetness of Mary * Ashokan Farewell * Mitton's Breakdown * Trip to Windsor * Rory MacLeod * Ally Bally * and more.

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.

In 2015 University Press of Mississippi published Mississippi Fiddle Tunes and Songs from the 1930s by Harry Bolick and Stephen T. Austin to critical acclaim and commercial success. Roughly half of Mississippi’s rich, old-time fiddle tradition was documented in that volume and Harry Bolick has spent the intervening years working on this book, its sequel. Beginning with Tony Russell’s original mid-1970s fieldwork as a reference, and later working with Russell, Bolick located and transcribed all of the Mississippi 78 rpm string band recordings. Some of the recording artists like the Leake County Revelers, Hoyt Ming and His Pep Steppers, and Narmour & Smith had been well known in the state. Others, like the Collier Trio, were obscure. This collecting work was followed by many field trips to Mississippi searching for and locating the children and grandchildren of the musicians. Previously unheard recordings and stories, unseen photographs and discoveries of nearly unknown local fiddlers, such as Jabe Dillon, John Gatwood, Claude Kennedy, and Homer Grice, followed. The results are now available in this second, companion volume, Fiddle Tunes from Mississippi: Commercial and Informal Recordings, 1920–2018. Two hundred and seventy musical examples supplement the biographies and photographs of the thirty-five artists documented here. Music comes from commercial recordings and small pressings of 78 rpm, 45 rpm, and LP records; collectors’ field recordings; and the musicians’ own home tape and disc recordings. Taken together, these two volumes represent a delightfully comprehensive survey of Mississippi’s fiddle tunes.

The perfect introduction to bluegrass and traditional fiddle tunes. Sections include: Fiddle Tunes, Hornpipes, Waltzes, Jigs, Strathspeys, Reels, and Improvisation. The 43 traditional fiddle standards covered in the book comprise the core fiddle tune repertoire. All songs are demonstrated on the included CD! Each song is taught in a basic standard" arrangement and then in an advanced variation."

The South has always been one of the most distinctive regions of the United States, with its own set of traditions and a turbulent history. Although often associated with cotton, hearty food, and rich dialects, the South is also noted for its strong sense of religion, which has significantly shaped its history. Dramatic political, social, and economic events have often shaped the development of southern religion, making the nuanced dissection of the religious history of the region a difficult undertaking. For instance, segregation and the subsequent civil rights movement profoundly affected churches in the South as they sought to mesh the tenets of their faith with the prevailing culture. Editors Walter H. Conser and Rodger M. Payne and the book’s contributors place their work firmly in the trend of modern studies of southern religion that analyze cultural changes to gain a better understanding of religion’s place in southern culture now and in the future. Southern Crossroads: Perspectives on Religion and Culture takes a broad, interdisciplinary approach that explores the intersection of religion and various aspects of southern life. The volume is organized into three sections, such as “Religious Aspects of Southern Culture,” that deal with a variety of topics, including food, art, literature, violence, ritual, shrines, music, and interactions among religious groups. The authors survey many combinations of religion and culture, with discussions ranging from the effect of Elvis Presley’s music on southern spirituality to yard shrines in Miami to the archaeological record of African American slave religion. The book explores the experiences of immigrant religious groups in the South, also dealing with the reactions of native southerners to the groups arriving in the region. The authors discuss the emergence of religious and cultural acceptance, as well as some of the apparent resistance to this development, as they explore the experiences of Buddhist Americans in the South and Jewish foodways. Southern Crossroads also looks at distinct markers of religious identity and the role they play in gender, politics, ritual, and violence. The authors address issues such as the role of women in Southern Baptist churches and the religious overtones of lynching, with its themes of blood sacrifice and atonement. Southern Crossroads offers valuable insights into how southern religion is studied and how people and congregations evolve and adapt in an age of constant cultural change.

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.

Ken Kolodner's book presents transcriptions with detailed bowings in tandem withthree recorded versions of 35 Appalachian fiddle tunes ranging from some very common and easy tunes (for more beginning players) but also quite a few less typically played tunes. All transcriptions are based on festival versions of the tunes, meaning the versions are those most commonly encountered at jams andfestivals. The book includes a clearly written description of old time style focusingon default bowing systems designed to develop rhythmic bowing. Ideaspresented include Nashville shuffle, 3-1 bowing, bow rocking, ghost bows, anticipations, left-hand ornamentation, drones, chording, dissonances, altered tunings, the concept of swing, tips on learning by ear and more. The tunes are played three times each for nearly 150 minutes of recording: (1.) very slowly and simply; (2.) at a modest tempo and but with double-stops, dronesand other ornaments; and (3.) up-to-tempo. While this effort was designed for fiddlers, the recordings should serve as an excellent source for non-fiddlers at all levels who desire to build their repertoire and practice learning tunes by ear. The book and accompanying MP3 disc are appropriate for any level of player. Thedifficulty of the tunes ranges from simple to relatively complex. Similarly, thebowing techniques include the simplest ideas to relatively difficult. The three recorded speeds make the learning and processing of the tunes appropriate for all levels of players wishing to improve their ear training. and bull; Simple and highly accessible transcriptions with detailed bowings of 35 estival versions of Appalachian fiddle tunes and bull; All tunes are recorded three times to accommodate players at all levels of experience and bull; Includes comprehensive and practical discussion of old-time bowings and style and how to learn by ear and bull; Strong focus on developing default bowings to get the characteristic groove of old-time and bull; Designed for all levels of players and non-fiddlers who desire to improve their learning by ear and/or increase their repertoire

A music source book of melodies used for contra dancing, which is a traditional New England folk dance form. 168 tunes are included in clear musical notation with accompaniment chords added. Fully indexed and cross-referenced; arranged alphabetically. Illustrated throughout with wood engravings by Randy Miller.