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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.
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.
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.
Newfoundland songs are diverse in origin. Vast numbers of them come from the British Isles, especially from England and Ireland; many are composed in Newfoundland, usually on English or Irish models; a lesser number of American, Canadian, and French songs are current. The ballads to be found in the Child collection are probably the oldest now sung. Then there are many seventeenth- and eighteenth-century broadside ballads, particularly English, and many nineteenth-century compositions. Such are the backgrounds from which the compilers of this volume have drawn their unusually interesting and delightful collection of ballad texts and ballad music. Expeditions to the island in 1920 and 1929 furnished the tunes; and a genuine interest in folk-literature assured the care and accuracy of the work.
Music from the Heart follows Emile Benoit, a fiddler from French Newfoundland, through a rapidly changing musical milieu as he moves from a small rural community to international musical and folk festivals. Seeing himself as a representative of French Newfoundland, Benoit viewed his music as an expression of that identity. In Benoit's tunes one finds reference to the people, places, communities, roads, and natural landmarks that have framed his life. The compositions included represent a range of work that evokes his youthful experiences and follow his career as he leaves home, plays with other musicians, and presents his stories to audiences around the world. Quigley has based his study on years of observation of Benoit's compositional practices, his own experiences performing with Benoit, interviews, and analysis of the thoughts and conceptions of the artist himself.
Canadian fiddle music receives the credit and recognition it deserves in this lively collection of tunes from virtually every province and ethnic group in Canada. Originally published in 1990, this project is the result of generous donations by numerous fiddlers and fans of fiddle music. In addition to the preservation and popularization of this folk music form, the contributors shared these common goals in this endeavor: composer recognition, folk music revitalization in Canada and abroad, acknowledgement of the violin and its own origins in the development of fiddle music and its place in Canadian society, note reading and chording, and to pay tribute to many great fiddlers. This revised edition features contributions of 200 of the best tunes from the first printing as well as 200 new tunes. They consist of hornpipes, strathspeys, polkas, waltzes, calypsos, reels, clogs, two-steps, jigs, airs, breakdowns, schottishes, marches, rags, and laments. A bibliography and the background of each composer is included.