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50 Tunes Volume 1 for Fiddle is one book in a 5-book series. The 50 Tunes series is a collection of Bluegrass, Old Time and Celtic tunes for ensembles, families and individuals. This book contains the same 50 tunes as those found in the other 4 books of the series, but carefully designed for the fiddle. The parts in this book range from beginner to advanced. All tunes contain a simple melody and most of the tunes contain an intermediate or advanced part. Many tunes contain a harmony part to match the melody. Since fiddle contests are a tradition in American and Celtic fiddling, 50 Tunes Volume 1 for Fiddle contains hoedowns, waltzes, reels, rags, hornpipes, jigs, polkas and airs. Some of the tunes are authentic to true championship fiddling and were arranged andrecorded by a former national champion fiddler. Companion online audio included. Tunes recorded by full band, not all instruments featured in every song.
(Fiddle). This comprehensive collection of fabulous fiddle tunes includes reels, hornpipes, strathspeys, jigs, waltzes and slow airs.
50 Tunes Volume 1 for Mandolin is one book in a 5-book series. The 50 Tunes series is a collection of Bluegrass, Old Time and Celtic tunes for ensembles, families and individuals. This book contains the same 50 tunes as those found in the other 4 books of the series, but carefully designed for the mandolin. The melodies in this book range from simple to advanced. Many tunes contain a harmony part to match the melody. 50 Tunes Volume 1 for Mandolin is designed for flatpicking on the mandolin. Flatpicking is a style, prevalent in Celtic and Bluegrass music which features fast soloing with a single, flat pick. All parts are written in mandolin tablature and standard notation. Tunes recorded by full band, not all instruments featured in every song. Includes access to extended length online audio.
These easy-to-read, progressive exercises by Joanne Martin develop a student's reading skills one stage at a time, with many repetitions at each stage. I Can Read Music is designed as a first note-reading book for students of string instruments who have learned to play using an aural approach such as the Suzuki Method®, or for traditionally taught students who need extra note reading practice. Its presentation of new ideas is clear enough that it can be used daily at home by quite young children and their parents, with the teacher checking progress every week or two.
With You Can Teach Yourself Fiddling, veteran Mel Bay author, Craig Duncan, has produced an excellent book for the beginning fiddler. Its 36 lessons teach basic techniques through specific exercises and traditional fiddle tunes. from holding the fiddle and bow correctly to playing moderately advanced tunes in double stops, Craig will guide you through each progressive step. Although it is not necessary to be able to read music at the start of this book, the author gradually introduces principles of effective note reading throughout. A unique feature of this book is that the same tune may appear in more than one lesson, increasing in difficulty with each recurrence. Each variation builds on the previous one and assists students in learning how to create their own arrangements. Even with some repetitions of the same tune, you'll find more than 50 popular fiddle tunes in the book's 80 pages. Check points and reviews keep you on track from cover to cover. the companion DVD/video covers the first 17 lessons from the book.
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.
Play Me Something Quick and Devilish explores the heritage of traditional fiddle music in Missouri. Howard Wight Marshall considers the place of homemade music in people’s lives across social and ethnic communities from the late 1700s to the World War I years and into the early 1920s. This exceptionally important and complex period provided the foundations in history and settlement for the evolution of today’s old-time fiddling. Beginning with the French villages on the Mississippi River, Marshall leads us chronologically through the settlement of the state and how these communities established our cultural heritage. Other core populations include the “Old Stock Americans” (primarily Scotch-Irish from Kentucky, Tennessee, North Carolina, and Virginia), African Americans, German-speaking immigrants, people with American Indian ancestry (focusing on Cherokee families dating from the Trail of Tears in the 1830s), and Irish railroad workers in the post–Civil War period. These are the primary communities whose fiddle and dance traditions came together on the Missouri frontier to cultivate the bounty of old-time fiddling enjoyed today. Marshall also investigates themes in the continuing evolution of fiddle traditions. These themes include the use of the violin in Westward migration, in the Civil War years, and in the railroad boom that changed history. Of course, musical tastes shift over time, and the rise of music literacy in the late Victorian period, as evidenced by the brass band movement and immigrant music teachers in small towns, affected fiddling. The contributions of music publishing as well as the surprising importance of ragtime and early jazz also had profound effects. Much of the old-time fiddlers’ repertory arises not from the inherited reels, jigs, and hornpipes from the British Isles, nor from the waltzes, schottisches, and polkas from the Continent, but from the prolific pens of Tin Pan Alley. Marshall also examines regional styles in Missouri fiddling and comments on the future of this time-honored, and changing, tradition. Documentary in nature, this social history draws on various academic disciplines and oral histories recorded in Marshall’s forty-some years of research and field experience. Historians, music aficionados, and lay people interested in Missouri folk heritage—as well as fiddlers, of course—will find Play Me Something Quick and Devilish an entertaining and enlightening read. With 39 tunes, the enclosed Voyager Records companion CD includes a historic sampler of Missouri fiddlers and styles from 1955 to 2012. A media kit is available here: press.umsystem.edu/pages/PlayMeSomethingQuickandDevilish.aspx
50 Tunes Volume 1 for Guitar is one book in a 5-book series. The 50 Tunes series is a collection of Bluegrass, Old Time and Celtic tunes for ensembles, families and individuals. This book contains the same 50 tunes as those found in the other 4 books of the series, but carefully designed for the guitar. The melodies in this book range from simple to advanced. Many tunes contain a harmony part to match the melody. 50 Tunes Volume 1 for Guitar is designed for flatpicking on the acoustic guitar. Flatpicking is a style of guitar playing, prevalent in Celtic and Bluegrass music which features fastsoloing with a single, flat pick. Book written in tablature only. Tunes recorded by full band, not all instruments featured in every song. Includes access to online audio
50 Tunes Volume 1 for Banjo is one book in a 5-book series. The 50 Tunes series is a collection of Bluegrass, Old Time and Celtic tunes for ensembles, families and individuals. This book contains the same 50 tunes as those found in the other 4 books of the series, but carefully designed for the banjo. The parts in this book range from beginner to advanced. Though many parts are arranged in standard Scruggs style, some are arranged in frailing orclawhammer style, and many are arranged in melodic style. Where Scruggs style is considered, less melody / more finger roll pattern, melodic style, as the name implies, is more melody / less finger roll pattern. Clawhammer style uses no finger roll patterns; instead, it is made up of a melody within a strumming rhythm pattern. Clawhammer is considered a self-accompaniment style. Tunes recorded by full band, not all instruments featured in every song. Includes access to online audio
"John Hartford's Mammoth Collection of Fiddle Tunes" contains 176 of John's original compositions, most never before available, taken from the sixty-eight handwritten music journals he kept between 1983 and 2001. Interspersed with stories, quotes, rare photos, and his own personal artwork, this is a fiddle anthology unlike any other. A peek inside the unique mind of a prolific musician and composer, "Hartford's Mammoth Collection" will inspire musicians, artists, music historians, and anyone who loves the creative process.