In 1985, I was given an opportunity that would change the course of my life forever. I was asked to teach mandolin and later fiddle at the Fretted Instrument Workshop, a store on the 2nd floor above Hastings in the center of Amherst, MA that catered to acoustic stringed instruments such as the guitar, mandolin, and fiddle.
At first, I was hesitant. I had never taught music before, and the thought of standing in front of a classroom of students was daunting. But something inside me urged me to take the chance, and I'm so grateful that I did.
Teaching at the Fretted Instrument Workshop was a transformative experience for me. It gave me the opportunity to share my love of music with others and to connect with a community of musicians who shared that passion. I was able to hone my teaching skills, learn new techniques, and develop my own unique style.
The store itself was a wonderful place to teach. It had a warm and inviting atmosphere that made everyone feel welcome. The staff was friendly and knowledgeable, and the students were enthusiastic and eager to learn. It was a supportive environment that gave me the confidence to offer my teaching skills to students in other communities.
The Fretted Instrument Workshop was more than just a store. It was a hub for musicians and music lovers alike. It was a place where people could come together and share their love of music, learn from each other, and grow as musicians.
Looking back, I realize that teaching at the Fretted Instrument Workshop was the starting point for my music education journey. It gave me the skills and confidence to pursue my passion for teaching and to help others discover the joy of music.
Today, as a music educator, I continue to draw on the lessons I learned at the Fretted Instrument Workshop. I strive to create a supportive and encouraging environment for my students, one that fosters creativity and self-expression. I encourage them to take risks, to try new things, and to always believe in themselves.
If you're someone who is passionate about music and interested in teaching, I urge you to take that first step. Find a community of musicians who share your passion, and immerse yourself in that world. You never know where it might lead you.
The Fretted Instrument Workshop in Amherst, MA was my starting point, but there are many other communities and resources out there that can help you on your journey. Don't be afraid to take a chance and see where it takes you. 🎵🎸🎶
Andrea Amati was a violin maker who lived in the 16th century (1505-1577). He is credited with being the first known maker of the violin. Little is known about Amati's background or personal life. He was born in the town of Cremona, Italy, which was a center of lute making at the time. Amati was a member of a family of instrument makers and is believed to have learned the craft from his father.
Little is known about Amati's background, but it is believed that he was a member of a family of instrument makers who had been working in Cremona for several generations. He was probably trained in the art of instrument making by his father or grandfather.
Amati is believed to have invented the violin sometime in the early 16th century. The exact date is not known, but the oldest surviving violin made by Amati dates from around 1555.
Amati's inspiration for making the violin is not known for certain, but it is believed that he was trying to improve upon earlier bowed instruments, such as the lira and the vielle. He may have been trying to create an instrument that was louder, more agile, and more capable of playing a wider range of music than these earlier instruments.
Amati began his career as a maker of lutes, which were popular stringed instruments in the Renaissance. He is believed to have been inspired to create the violin after observing the popularity of other bowed instruments, such as the vielle, which was widely played in Europe at the time.
Amati is credited with creating the first violin in the early 16th century, though the exact date is not known. It is believed that he was inspired to create the instrument in response to the increasing popularity of bowed instruments in Italy at the time. Amati's violins were known for their exceptional craftsmanship and beautiful design, and they became highly sought after by musicians and collectors. He is also credited with developing the modern design of the violin, which has remained largely unchanged since his time. Amati is considered one of the most important figures in the history of violin making.
Amati's violins were highly prized for their excellent craftsmanship and beautiful sound, and his workshop became a center of violin making in Cremona. His instruments were sought after by musicians and collectors throughout Europe, and his legacy as a violin maker continues to this day.
There are many excellent and important violin makers throughout history who have made significant contributions to the art of violin making. Some examples of highly respected violin makers include:
Antonio Stradivari: Stradivari was an Italian violin maker who lived in the 17th and 18th centuries. He is widely considered the greatest violin maker of all time and is credited with creating some of the finest violins ever made. His violins are known for their superior craftsmanship, tonal quality, and beautiful design.
Giuseppe Guarneri: Guarneri was an Italian violin maker who lived in the 17th and 18th centuries. He was a contemporary of Stradivari and is considered one of the greatest violin makers of all time. His violins are known for their strong, powerful sound and exceptional craftsmanship.
Antonio Guarneri: Antonio Guarneri was the son of Giuseppe Guarneri and was also an accomplished violin maker. His violins are known for their beautiful sound and exceptional craftsmanship.
Jacob Stainer: Stainer was an Austrian violin maker who lived in the 17th century. He is considered one of the greatest violin makers of all time and his violins are known for their exceptional tonal quality and beautiful design.
These are just a few examples of excellent and important violin makers. There are many other highly skilled and respected violin makers throughout history who have made significant contributions to the art of violin making.
Andrea Amati was a violin maker who lived in the 16th century (1505-1577). He is credited with being the first known maker of the violin. Little is known about Amati's background or personal life. He was born in the town of Cremona, Italy, which was a center of lute making at the time. Amati was a member of a family of instrument makers and is believed to have learned the craft from his father.
Little is known about Amati's background, but it is believed that he was a member of a family of instrument makers who had been working in Cremona for several generations. He was probably trained in the art of instrument making by his father or grandfather.
Amati is believed to have invented the violin sometime in the early 16th century. The exact date is not known, but the oldest surviving violin made by Amati dates from around 1555.
Amati's inspiration for making the violin is not known for certain, but it is believed that he was trying to improve upon earlier bowed instruments, such as the lira and the vielle. He may have been trying to create an instrument that was louder, more agile, and more capable of playing a wider range of music than these earlier instruments.
Amati began his career as a maker of lutes, which were popular stringed instruments in the Renaissance. He is believed to have been inspired to create the violin after observing the popularity of other bowed instruments, such as the vielle, which was widely played in Europe at the time.
Amati is credited with creating the first violin in the early 16th century, though the exact date is not known. It is believed that he was inspired to create the instrument in response to the increasing popularity of bowed instruments in Italy at the time. Amati's violins were known for their exceptional craftsmanship and beautiful design, and they became highly sought after by musicians and collectors. He is also credited with developing the modern design of the violin, which has remained largely unchanged since his time. Amati is considered one of the most important figures in the history of violin making.
Amati's violins were highly prized for their excellent craftsmanship and beautiful sound, and his workshop became a center of violin making in Cremona. His instruments were sought after by musicians and collectors throughout Europe, and his legacy as a violin maker continues to this day.
There are many excellent and important violin makers throughout history who have made significant contributions to the art of violin making. Some examples of highly respected violin makers include:
Antonio Stradivari: Stradivari was an Italian violin maker who lived in the 17th and 18th centuries. He is widely considered the greatest violin maker of all time and is credited with creating some of the finest violins ever made. His violins are known for their superior craftsmanship, tonal quality, and beautiful design.
Giuseppe Guarneri: Guarneri was an Italian violin maker who lived in the 17th and 18th centuries. He was a contemporary of Stradivari and is considered one of the greatest violin makers of all time. His violins are known for their strong, powerful sound and exceptional craftsmanship.
Antonio Guarneri: Antonio Guarneri was the son of Giuseppe Guarneri and was also an accomplished violin maker. His violins are known for their beautiful sound and exceptional craftsmanship.
Jacob Stainer: Stainer was an Austrian violin maker who lived in the 17th century. He is considered one of the greatest violin makers of all time and his violins are known for their exceptional tonal quality and beautiful design.
These are just a few examples of excellent and important violin makers. There are many other highly skilled and respected violin makers throughout history who have made significant contributions to the art of violin making.
A violin is a bowed string instrument with four strings tuned in perfect fifths. It is played with a bow and is held under the chin. The violin is a popular and versatile instrument that is used in a wide variety of music genres, including classical, jazz, folk, and pop.
The violin was invented in the early 16th century in Italy. It is believed that the violin was developed from earlier bowed instruments, such as the viol, lira and the vielle. The first known violin maker was Andrea Amati, who lived in the 16th century.
The difference between a violin and a fiddle is largely one of terminology. In general, the term "violin" is used to refer to a classical instrument that is played with a bow and is used in classical music, while the term "fiddle" is used to refer to a folk instrument that is played with a bow and is used in folk music. However, the terms are often used interchangeably, and many musicians who play classical music also refer to their instruments as fiddles.
The parts of the violin include the following:
Head: This is the top of the violin, where the scroll (a decorative spiral at the end of the neck) is located.
Neck: This is the long, thin part of the violin that extends from the body and supports the fingerboard.
Fingerboard: This is the long, thin piece of wood that is attached to the neck and over which the strings pass. It is used to press the strings down to change their pitch.
Body: This is the main part of the violin, which is made up of the ribs, back, and belly. The ribs and back are made of maple wood, while the belly is made of spruce.
F-holes: These are two small, curved openings in the belly of the violin that allow sound to escape from the instrument. They are shaped like the letter "F" and are important because they help to amplify the sound of the violin.
Bridge: This is a small, wooden arch that is located between the f-holes on the belly of the violin. It is used to support the strings and transmit their vibrations to the belly of the instrument.
Tailpiece: This is a small piece of wood or metal that is attached to the end of the violin body and holds the end of the strings in place.
Endpin: This is a thin, pointed rod that is attached to the tailpiece and extends down to the ground. It is used to support the violin while it is being played.
The violin is shaped like it is because its design has evolved over time to produce the best possible sound. The maple wood used for the back and sides of the violin is chosen because it is strong, durable, and has a rich, warm tone. The violin bridge is important because it helps to transmit the vibrations of the strings to the body of the instrument, which helps to produce a good sound. There is no metal used in the construction of a violin because metal does not vibrate in the same way as wood and would not produce a good sound.
Carved-wood Violin Bow
A violin bow is a long, slender stick with a curved tip that is used to play the violin. It is made of a thin, flexible rod of wood, usually pernambuco or brazilwood, and has a tightened cord running along its length strung with horsehair, which is stretched between the two ends of the bow.
The bow is used to play the violin by drawing it across the strings, causing them to vibrate and produce sound. The player can vary the pitch, volume, and tone of the sound by using different techniques, such as bowing closer to the bridge or using more or less pressure on the strings.
Horsehair is used for the bow because it is strong, flexible, and produces a smooth, even sound when drawn across the strings. It is important to use good quality horsehair for the bow because low quality hair can break or become brittle over time.
A good violin bow is one that is well-balanced, has a good amount of flex, and produces a clear, even sound. Factors that can affect the quality of a bow include the type of wood used, the quality of the horsehair, and the craftsmanship of the bow maker.
To pick the right violin bow for yourself, it is important to try out different bows and see which one feels and sounds the best to you. You should consider factors such as the weight and balance of the bow, the amount of flex, and the overall feel and playability of the bow. You may also want to consider your playing style and the type of music you will be playing when selecting a bow.
There are many excellent violin bow makers throughout history and today. Some examples of highly respected bow makers include:
François Tourte: Tourte is considered the "father of the modern bow" and is credited with inventing the modern violin bow in the late 18th century. His bows are known for their perfect balance, flexibility, and playability.
James Tubbs: Tubbs was a British bow maker who was known for his exceptional craftsmanship and attention to detail. His bows are highly sought after by collectors and players alike.
Pajeot: Pajeot was a French bow maker who was active in the early 20th century. His bows are known for their elegant design and superb playing characteristics.
Paul Siefried: Siefried was a German bow maker who was active in the late 19th and early 20th centuries. His bows are known for their excellent balance and playability.
Eugene Sartory: Sartory was a French bow maker who was active in the early 20th century. His bows are highly prized for their craftsmanship and beautiful design.
These are just a few examples of excellent violin bow makers. There are many other highly skilled and respected bow makers working today who are creating exceptional bows for players around the world.
A violin is a bowed string instrument with four strings tuned in perfect fifths. It is played with a bow and is held under the chin. The violin is a popular and versatile instrument that is used in a wide variety of music genres, including classical, jazz, folk, and pop.
The violin was invented in the early 16th century in Italy. It is believed that the violin was developed from earlier bowed instruments, such as the viol, lira and the vielle. The first known violin maker was Andrea Amati, who lived in the 16th century.
The difference between a violin and a fiddle is largely one of terminology. In general, the term "violin" is used to refer to a classical instrument that is played with a bow and is used in classical music, while the term "fiddle" is used to refer to a folk instrument that is played with a bow and is used in folk music. However, the terms are often used interchangeably, and many musicians who play classical music also refer to their instruments as fiddles.
The parts of the violin include the following:
Head: This is the top of the violin, where the scroll (a decorative spiral at the end of the neck) is located.
Neck: This is the long, thin part of the violin that extends from the body and supports the fingerboard.
Fingerboard: This is the long, thin piece of wood that is attached to the neck and over which the strings pass. It is used to press the strings down to change their pitch.
Body: This is the main part of the violin, which is made up of the ribs, back, and belly. The ribs and back are made of maple wood, while the belly is made of spruce.
F-holes: These are two small, curved openings in the belly of the violin that allow sound to escape from the instrument. They are shaped like the letter "F" and are important because they help to amplify the sound of the violin.
Bridge: This is a small, wooden arch that is located between the f-holes on the belly of the violin. It is used to support the strings and transmit their vibrations to the belly of the instrument.
Tailpiece: This is a small piece of wood or metal that is attached to the end of the violin body and holds the end of the strings in place.
Endpin: This is a thin, pointed rod that is attached to the tailpiece and extends down to the ground. It is used to support the violin while it is being played.
The violin is shaped like it is because its design has evolved over time to produce the best possible sound. The maple wood used for the back and sides of the violin is chosen because it is strong, durable, and has a rich, warm tone. The violin bridge is important because it helps to transmit the vibrations of the strings to the body of the instrument, which helps to produce a good sound. There is no metal used in the construction of a violin because metal does not vibrate in the same way as wood and would not produce a good sound.
Carved-wood Violin Bow
A violin bow is a long, slender stick with a curved tip that is used to play the violin. It is made of a thin, flexible rod of wood, usually pernambuco or brazilwood, and has a tightened cord running along its length strung with horsehair, which is stretched between the two ends of the bow.
The bow is used to play the violin by drawing it across the strings, causing them to vibrate and produce sound. The player can vary the pitch, volume, and tone of the sound by using different techniques, such as bowing closer to the bridge or using more or less pressure on the strings.
Horsehair is used for the bow because it is strong, flexible, and produces a smooth, even sound when drawn across the strings. It is important to use good quality horsehair for the bow because low quality hair can break or become brittle over time.
A good violin bow is one that is well-balanced, has a good amount of flex, and produces a clear, even sound. Factors that can affect the quality of a bow include the type of wood used, the quality of the horsehair, and the craftsmanship of the bow maker.
To pick the right violin bow for yourself, it is important to try out different bows and see which one feels and sounds the best to you. You should consider factors such as the weight and balance of the bow, the amount of flex, and the overall feel and playability of the bow. You may also want to consider your playing style and the type of music you will be playing when selecting a bow.
There are many excellent violin bow makers throughout history and today. Some examples of highly respected bow makers include:
François Tourte: Tourte is considered the "father of the modern bow" and is credited with inventing the modern violin bow in the late 18th century. His bows are known for their perfect balance, flexibility, and playability.
James Tubbs: Tubbs was a British bow maker who was known for his exceptional craftsmanship and attention to detail. His bows are highly sought after by collectors and players alike.
Pajeot: Pajeot was a French bow maker who was active in the early 20th century. His bows are known for their elegant design and superb playing characteristics.
Paul Siefried: Siefried was a German bow maker who was active in the late 19th and early 20th centuries. His bows are known for their excellent balance and playability.
Eugene Sartory: Sartory was a French bow maker who was active in the early 20th century. His bows are highly prized for their craftsmanship and beautiful design.
These are just a few examples of excellent violin bow makers. There are many other highly skilled and respected bow makers working today who are creating exceptional bows for players around the world.
There are many reasons to learn to play the fiddle. Some people are drawn to the instrument because of its beautiful, rich sound and the wide range of musical styles that can be played on it. Others are attracted to the fiddle because it is an integral part of many traditional music cultures around the world, including bluegrass, country, Irish, Scottish, and many more.
The Butterfly (Slip Jigs) aka Óró a thaidhg a ghrá,
Fiddle lessons are typically private or group sessions in which a fiddle player, or fiddler, teaches students how to play the instrument. These lessons may cover topics such as proper posture, holding the bow, and playing techniques. Fiddle lessons may also include instruction on music theory, sight reading, and ear training.
Fiddle music is a broad term that refers to music played on the fiddle, a type of small, bowed string instrument. This includes a wide range of musical styles, including bluegrass, country, folk, Irish, Scottish, and many more. Fiddle music is often characterized by its fast tempos, complex melodies, and intricate bowing techniques, and it is often played as part of a group, such as a bluegrass band or a traditional Irish ensemble.
There are many reasons to learn to play the fiddle. Some people are drawn to the instrument because of its beautiful, rich sound and the wide range of musical styles that can be played on it. Others are attracted to the fiddle because it is an integral part of many traditional music cultures around the world, including bluegrass, country, Irish, Scottish, and many more.
The Butterfly (Slip Jigs) aka Óró a thaidhg a ghrá,
Fiddle lessons are typically private or group sessions in which a fiddle player, or fiddler, teaches students how to play the instrument. These lessons may cover topics such as proper posture, holding the bow, and playing techniques. Fiddle lessons may also include instruction on music theory, sight reading, and ear training.
Fiddle music is a broad term that refers to music played on the fiddle, a type of small, bowed string instrument. This includes a wide range of musical styles, including bluegrass, country, folk, Irish, Scottish, and many more. Fiddle music is often characterized by its fast tempos, complex melodies, and intricate bowing techniques, and it is often played as part of a group, such as a bluegrass band or a traditional Irish ensemble.
This is the first article in a series called America Fiddles, a collection of articles exploring the history and culture of the fiddle in America. These articles are not intended to be scholarly or comprehensive, but more of an outline to give beginning fiddlers of all ages an appreciation of the richness of the fiddle in our American heritage.
THE EARLY DAYS
Long a popular European musical instrument and because it was small and easily portable, the fiddle found its way to America packed away in the meager possessions of the first explorers, traders, and settlers to our shores. For years, the fiddle was virtually the only instrument found on the frontier. Records show that among the first settlers in Jamestown in 1607 was a fiddler by the name of John Utie, a planter by trade. The first recorded fiddle contest was held in 1736 as part of a St. Andrew’s Day celebration in Williamsburg, Hanover County, Virginia with the grand prize being an Italian-made Cremona fiddle. The oldest American made fiddle still with us today was made in 1759 by John Antes. And, in the journals of the Lewis and Clarke expedition it is recorded there were two fiddlers, and they contributed much to maintaining the morale of the men and establishing good relations with the Indians.
Most of the early immigrants came from England, Ireland, Scotland, France, and Germany. They brought with them their musical traditions primarily played on the fiddle. Fiddle music played an essential role in the cultural life of 18th-century Americans as it was commonly played at home and in public. Before the age of mass commercial entertainment, these hard-working people would often gather in houses, pubs and dance halls to escape life’s weary labors and hardships, and the fiddle was usually at the center of the entertainment that held them together as they heard, made and danced to music transcending life’s ever-present toils, troubles and tribulations.
The first fiddle tunes and techniques were the ones they brought from their respective homelands that had been passed from one generation to the next. As the settlers began to spread out and mix with other immigrant cultures, their different fiddle tunes and techniques began to mingle. The African culture brought by the slave trade as well as the Native American culture also had an important influence on fiddle music in America. Over time, many original tunes became Americanized. The Colonists adapted new titles, lyrics and playing styles to many of the old familiar tunes, and regional styles and preferences began to develop in the southern, middle, and northern colonies.
Many tunes and songs attributed to the early days of our nation had their origins on the European continent. One of the most popular tunes from the Old-Time, Bluegrass tune genre which many tout as an “American classic” from the Civil War era, Soldiers Joy, has roots it’s in Scottish and Irish music traditions and can be traced back as far as the mid-1700s. In fact, even Robert Burns used it as the tune for the first song in his cantata The Jolly Beggars in 1785. Despite its upbeat tempo and catchy melody, the term “soldier’s joy” took on a much darker meaning than is portrayed by the tune around the time of the Civil War. Opinion has it that this term eventually came to refer to the combination of whiskey, beer, and morphine used by Civil War soldiers, presumably for pain relief.
The American Revolution period saw the cultural influences of the people of our emerging new nation blended into a sound of its own. Many patriotic fiddle tunes were coined during this period including Washington’s Reel, Bennington Assembly and Jefferson and Liberty. As a reflection of anti-British sentiment, many old tune titles and lyrics were changed. The Revolutionary War not only brought fiddlers together from all over, but it also created numerous occasions to be celebrated and remembered in music, and the fiddle played a major role.
Independence won, the nation began to grow, and in the years to follow the fiddle traveled westward beyond the original 13 colonies with pioneers and settlers. Just like their European ancestors, these first settlers had a back-breaking existence. The fiddle continued to play a vital role in their lives as a primary source of entertainment. Many towns and territories had their own fiddler, and traveling fiddlers often received warm welcomes. Even towns with names like Fiddler’s Green, Fiddlers Grove, Fiddletown, and Fiddle Creek illustrate the importance of the fiddle in the early days of the nation.
The fiddler was in great demand and held in high esteem in the pioneer societies which were starved for recreation. His small, lightweight instrument was easily brought west in the wagons, and its music was a welcome antidote for the lonely days of labor. A pioneer fiddler played for a wide variety of community activities including barn dances, weddings, wakes, and almost every other social function required the presence of the fiddler and his beloved instrument. Perhaps the Friday or Saturday night dance is the best remembered of all rural social events.
Fiddling has long been associated with some classic American heroes, too. George Washington had his favorite fiddle tune, Jaybird Sittin’ on a Hickory Limb. Thomas Jefferson was an accomplished player, and his music was particularly significant in his courtship of his wife, Martha. Patrick Henry, who popularized the rallying slogan Give me Liberty, or give me death, was documented as being rather good at fiddle playing. Davy Crockett was a ferocious fiddler and the tune Crockett’s Reel is still played today. Andrew Jackson’s victory over the British in the War of 1812 is still celebrated with the popular Eighth of January. And, a governor of Tennessee, fiddler Bob Taylor, liked to refer to the old fiddle classics in his speeches: “Every one of them breathes the spirit of liberty; every jig is an echo from flintlock rifles and shrill fifes of Bunker Hill.”
As the nation continued to grow through the 19th century, the American population exploded with waves of immigrants from other countries who brought with them the latest trends in fiddling from all over the world. Throughout the United States, from coast to coast, new regional fiddle styles and techniques began to emerge and coalesce. American fiddling as we know it today with such styles as Old-Time, Bluegrass, Cajun, Blues, Western Swing, Country, and others, each with its own unique sound and techniques was born.
But, these are subjects of future articles, so be sure to check back here as America Fiddles!
This is the first article in a series called America Fiddles, a collection of articles exploring the history and culture of the fiddle in America. These articles are not intended to be scholarly or comprehensive, but more of an outline to give beginning fiddlers of all ages an appreciation of the richness of the fiddle in our American heritage.
THE EARLY DAYS
Long a popular European musical instrument and because it was small and easily portable, the fiddle found its way to America packed away in the meager possessions of the first explorers, traders, and settlers to our shores. For years, the fiddle was virtually the only instrument found on the frontier. Records show that among the first settlers in Jamestown in 1607 was a fiddler by the name of John Utie, a planter by trade. The first recorded fiddle contest was held in 1736 as part of a St. Andrew’s Day celebration in Williamsburg, Hanover County, Virginia with the grand prize being an Italian-made Cremona fiddle. The oldest American made fiddle still with us today was made in 1759 by John Antes. And, in the journals of the Lewis and Clarke expedition it is recorded there were two fiddlers, and they contributed much to maintaining the morale of the men and establishing good relations with the Indians.
Most of the early immigrants came from England, Ireland, Scotland, France, and Germany. They brought with them their musical traditions primarily played on the fiddle. Fiddle music played an essential role in the cultural life of 18th-century Americans as it was commonly played at home and in public. Before the age of mass commercial entertainment, these hard-working people would often gather in houses, pubs and dance halls to escape life’s weary labors and hardships, and the fiddle was usually at the center of the entertainment that held them together as they heard, made and danced to music transcending life’s ever-present toils, troubles and tribulations.
The first fiddle tunes and techniques were the ones they brought from their respective homelands that had been passed from one generation to the next. As the settlers began to spread out and mix with other immigrant cultures, their different fiddle tunes and techniques began to mingle. The African culture brought by the slave trade as well as the Native American culture also had an important influence on fiddle music in America. Over time, many original tunes became Americanized. The Colonists adapted new titles, lyrics and playing styles to many of the old familiar tunes, and regional styles and preferences began to develop in the southern, middle, and northern colonies.
Many tunes and songs attributed to the early days of our nation had their origins on the European continent. One of the most popular tunes from the Old-Time, Bluegrass tune genre which many tout as an “American classic” from the Civil War era, Soldiers Joy, has roots it’s in Scottish and Irish music traditions and can be traced back as far as the mid-1700s. In fact, even Robert Burns used it as the tune for the first song in his cantata The Jolly Beggars in 1785. Despite its upbeat tempo and catchy melody, the term “soldier’s joy” took on a much darker meaning than is portrayed by the tune around the time of the Civil War. Opinion has it that this term eventually came to refer to the combination of whiskey, beer, and morphine used by Civil War soldiers, presumably for pain relief.
The American Revolution period saw the cultural influences of the people of our emerging new nation blended into a sound of its own. Many patriotic fiddle tunes were coined during this period including Washington’s Reel, Bennington Assembly and Jefferson and Liberty. As a reflection of anti-British sentiment, many old tune titles and lyrics were changed. The Revolutionary War not only brought fiddlers together from all over, but it also created numerous occasions to be celebrated and remembered in music, and the fiddle played a major role.
Independence won, the nation began to grow, and in the years to follow the fiddle traveled westward beyond the original 13 colonies with pioneers and settlers. Just like their European ancestors, these first settlers had a back-breaking existence. The fiddle continued to play a vital role in their lives as a primary source of entertainment. Many towns and territories had their own fiddler, and traveling fiddlers often received warm welcomes. Even towns with names like Fiddler’s Green, Fiddlers Grove, Fiddletown, and Fiddle Creek illustrate the importance of the fiddle in the early days of the nation.
The fiddler was in great demand and held in high esteem in the pioneer societies which were starved for recreation. His small, lightweight instrument was easily brought west in the wagons, and its music was a welcome antidote for the lonely days of labor. A pioneer fiddler played for a wide variety of community activities including barn dances, weddings, wakes, and almost every other social function required the presence of the fiddler and his beloved instrument. Perhaps the Friday or Saturday night dance is the best remembered of all rural social events.
Fiddling has long been associated with some classic American heroes, too. George Washington had his favorite fiddle tune, Jaybird Sittin’ on a Hickory Limb. Thomas Jefferson was an accomplished player, and his music was particularly significant in his courtship of his wife, Martha. Patrick Henry, who popularized the rallying slogan Give me Liberty, or give me death, was documented as being rather good at fiddle playing. Davy Crockett was a ferocious fiddler and the tune Crockett’s Reel is still played today. Andrew Jackson’s victory over the British in the War of 1812 is still celebrated with the popular Eighth of January. And, a governor of Tennessee, fiddler Bob Taylor, liked to refer to the old fiddle classics in his speeches: “Every one of them breathes the spirit of liberty; every jig is an echo from flintlock rifles and shrill fifes of Bunker Hill.”
As the nation continued to grow through the 19th century, the American population exploded with waves of immigrants from other countries who brought with them the latest trends in fiddling from all over the world. Throughout the United States, from coast to coast, new regional fiddle styles and techniques began to emerge and coalesce. American fiddling as we know it today with such styles as Old-Time, Bluegrass, Cajun, Blues, Western Swing, Country, and others, each with its own unique sound and techniques was born.
But, these are subjects of future articles, so be sure to check back here as America Fiddles!
Many years ago, I had the privilege of being hired to sub on the mandolin and fiddle for a band in Northampton called Klezamir. There, I met Brian Bender, a piano player who was interested in many styles of music. During the break, we chatted about how we got into the styles of music we like to play. He mentioned going to Israel to study Klezmer. He asked me if I'd ever gone to Ireland. Up till then the answer was no.
My Grandfather on my Mother's side was Thomas Kielty. His family is from County Wicklow, just south of Dublin. They came to America in the 19th century around the great famine. My Mother was discriminated against by many people in the early years, but that's another story. The idea of going over to Ireland was exciting!
The summer of 1995, Brian and I were playing music for a dance at a party in Ashfield, MA. There, I met an Irish set dancer named Maire Doherty. She learned about my desire to go to Ireland and invited me to stay with her at her BnB in Kilfenora. That summer, my wife and I decided to go!
Our trip to Ireland was one of the best trips I've ever taken. We flew in to the airport and rented a little red car with the steering wheel on the right and the gear shift in the middle. The journey from Limerick to Kilfenora could have been much faster, but I was jet lagged and not familiar with the car. The roads in Ireland are narrow and there's only room for one car. So if someone's coming your way, you have to get over, usually ending up in a bush/hedge or someone's field.
The weather on that first day was overcast, spitting rain. But the drive to Maire's house was beautiful and I felt like we had entered another world, a magical place. I maintained this feeling throughout the trip. We were there for six weeks. Two in Kilfenora, where I played at Linane's Pub in the center of town, and went to the Kilfenora Set Dance on Thursday nights. We toured around County Clare, to the Cliffs of Mohr, to Doolin, Lisdoonvarna, and many other places. One time we went up to Galway and Connemara. We tried to stay away from tourists, to catch as much music as possible, and to go hiking and walking at every destination spot.
I had the pleasure of learning how to play the treble from Frankie Gavin during a break at a concert in Cork.
Many years ago, I had the privilege of being hired to sub on the mandolin and fiddle for a band in Northampton called Klezamir. There, I met Brian Bender, a piano player who was interested in many styles of music. During the break, we chatted about how we got into the styles of music we like to play. He mentioned going to Israel to study Klezmer. He asked me if I'd ever gone to Ireland. Up till then the answer was no.
My Grandfather on my Mother's side was Thomas Kielty. His family is from County Wicklow, just south of Dublin. They came to America in the 19th century around the great famine. My Mother was discriminated against by many people in the early years, but that's another story. The idea of going over to Ireland was exciting!
The summer of 1995, Brian and I were playing music for a dance at a party in Ashfield, MA. There, I met an Irish set dancer named Maire Doherty. She learned about my desire to go to Ireland and invited me to stay with her at her BnB in Kilfenora. That summer, my wife and I decided to go!
Our trip to Ireland was one of the best trips I've ever taken. We flew in to the airport and rented a little red car with the steering wheel on the right and the gear shift in the middle. The journey from Limerick to Kilfenora could have been much faster, but I was jet lagged and not familiar with the car. The roads in Ireland are narrow and there's only room for one car. So if someone's coming your way, you have to get over, usually ending up in a bush/hedge or someone's field.
The weather on that first day was overcast, spitting rain. But the drive to Maire's house was beautiful and I felt like we had entered another world, a magical place. I maintained this feeling throughout the trip. We were there for six weeks. Two in Kilfenora, where I played at Linane's Pub in the center of town, and went to the Kilfenora Set Dance on Thursday nights. We toured around County Clare, to the Cliffs of Mohr, to Doolin, Lisdoonvarna, and many other places. One time we went up to Galway and Connemara. We tried to stay away from tourists, to catch as much music as possible, and to go hiking and walking at every destination spot.
I had the pleasure of learning how to play the treble from Frankie Gavin during a break at a concert in Cork.
James Robert Wills (March 6, 1905 – May 13, 1975) was an American Western swing musician, songwriter, and bandleader. Considered by music authorities as the co-founder of Western swing, he was known widely as the King of Western Swing
Wills formed several bands and played radio stations around the South and West until he formed the Texas Playboys in 1934 with Wills on fiddle, Tommy Duncan on piano and vocals, rhythm guitarist June Whalin, tenor banjoist Johnnie Lee Wills, and Kermit Whalin, who played steel guitar and bass. The band played regularly on Tulsa, Oklahoma, radio station KVOO and added Leon McAuliffe on steel guitar, pianist Al Stricklin, drummer Smokey Dacus, and a horn section that expanded the band's sound. Wills favored jazz-like arrangements and the band found national popularity into the 1940s with such hits as "Steel Guitar Rag", "New San Antonio Rose", "Smoke on the Water", "Stars and Stripes on Iwo Jima", and "New Spanish Two Step".
Wills and the Texas Playboys recorded with several publishers and companies, including Vocalion, Okeh, Columbia, and MGM, frequently moving. In 1950, he had two top 10 hits, "Ida Red Likes the Boogie" and "Faded Love", which were his last hits for a decade. Throughout the 1950s, he struggled with poor health and tenuous finances, but continued to perform frequently despite the decline in popularity of his earlier music as rock and roll took over. Wills had a heart attack in 1962 and a second one the next year, which forced him to disband the Playboys, although Wills continued to perform solo.
The Country Music Hall of Fame inducted Wills in 1968 and the Texas State Legislature honored him for his contribution to American music.
In 1972, Wills accepted a citation from the American Society of Composers, Authors and Publishers in Nashville. He was recording an album with fan Merle Haggard in 1973 when a stroke left him comatose until his death in 1975.
He was born on a cotton farm in Kosse, Limestone County, Texas. His parents were of English and Irish ancestry. His dad played the violin, so he learned a lot of those early tunes he played from his father. He spent his teens and twenties playing the violin and working as a barber.
In 1930, he met Milton Brown, a singer/violin player and formed the Wills Fiddle band, changing their name to that of their sponsor at the time, the Light Crust Doughboys. Brown left the band in 1932 to form the Musical Brownies, the first true Western swing band. Brown added twin fiddles, tenor banjo and slap bass, pointing the music in the direction of swing, which they played on local radio and at dancehalls. Milton Brown and his Musical Brownies, true Western Swing:
After Brown left, Wills formed The Playboys and in 1934, left Texas to Oklahoma City. Wills soon settled the renamed Texas Playboys in Tulsa, Oklahoma, and began broadcasting noon shows over the 50,000-watt KVOO radio station, from the stage of Cain's Ballroom.
Wills largely sang blues and sentimental ballads. "One Star Rag", "Rat Cheese Under the Hill", "Take Me Back to Tulsa", "Basin Street Blues", "Steel Guitar Rag", and "Trouble in Mind" were some of the songs in the extensive repertory played by Wills and the Playboys.
Take me Back to Tulsa: (Ragtime Annie fiddle introduction)
In 1940, Wills, along with the Texas Playboys, co-starred with Tex Ritter in Take Me Back to Oklahoma. Altogether, Wills appeared in nineteen films, including The Lone Prairie (1942), Riders of the Northwest Mounted (1943), Saddles and Sagebrush (1943), The Vigilantes Ride (1943), The Last Horseman (1944), Rhythm Round-Up (1945), Blazing the Western Trail (1945), and Lawless Empire (1945).
Tex Ritter and Bob Wills in Take Me Back to Oklahoma:
1942 - 1948, Wills became a superstar. He commanded enormous fees playing dances there, and began to make more creative use of electric guitars to replace the big horn sections the Tulsa band had boasted. For a very brief period in 1944, the Wills band included 23 members
In 1945, Wills' dances were drawing larger crowds than dances put on by Tommy Dorsey and Benny Goodman. That year, he lived in both Santa Monica and Fresno, California. In 1947, he opened the Wills Point nightclub in Sacramento, California and continued touring the Southwest and Pacific Northwest from Texas to Washington State. In Sacramento, he broadcast shows over KFBK, a station whose reach encompassed much of the American West. Wills was in such high demand that venues would book him even on weeknights, because they knew the show would still be a draw.
Having lived a lavish lifestyle in California, Wills moved back to Oklahoma City in 1949, then went back on the road to maintain his payroll and Wills Point. He opened a second club, the Bob Wills Ranch House in Dallas, Texas. Turning the club over to managers, later revealed to be dishonest, left Wills in desperate financial straits with heavy debts to the IRS for back taxes. This caused him to sell many assets, including the rights to "New San Antonio Rose". It wrecked him financially.
In 1950, Wills had two top 10 hits, "Ida Red Likes the Boogie" and "Faded Love". After 1950, radio stations began to increasingly specialize in one form or another of commercially popular music. Although usually labelled "country and western", Wills did not fit into the style played on popular country and western stations, which typically played music in the Nashville sound. Neither did he fit into the conventional sound of pop stations, although he played a good deal of pop music
After two heart attacks, in 1965 he dissolved the Texas Playboys (who briefly continued as an independent unit) to perform solo with house bands. While he did well in Las Vegas and other areas, and made records for the Kapp Records label, he was largely a forgotten figure—even though inducted into the Country Music Hall of Fame in 1968. A 1969 stroke left his right side paralyzed, ending his active career. He did, however, recover sufficiently to appear in a wheelchair at various Wills tributes held in the early 1970s. A revival of interest in his music, spurred by Merle Haggard's 1970 album A Tribute to the Best Damn Fiddle Player in the World, led to a 1973 reunion album, teaming Wills, who spoke with difficulty, with key members of the early band, as well as Haggard.
Wills died in Fort Worth of pneumonia on May 13, 1975.
Wills' style influenced performers Buck Owens, Merle Haggard, and The Strangers and helped to spawn a style of music now known as the Bakersfield Sound.
As well as younger "revival" bands like Asleep at the Wheel and Commander Cody and His Lost Planet Airmen plus the growing popularity of longtime Wills disciple and fan Willie Nelson:
Some of his music:
As a preface to the following tunes. I have studied them well (Adam here), and would like to teach them to you. We can learn them on the fiddle, which is the instrument Bob Wills played, or the mandolin. Either is fine. Contact me using the form on the sidebar, or by emailing info@sweetmusicstudio.net if you would like to learn
James Robert Wills (March 6, 1905 – May 13, 1975) was an American Western swing musician, songwriter, and bandleader. Considered by music authorities as the co-founder of Western swing, he was known widely as the King of Western Swing
Wills formed several bands and played radio stations around the South and West until he formed the Texas Playboys in 1934 with Wills on fiddle, Tommy Duncan on piano and vocals, rhythm guitarist June Whalin, tenor banjoist Johnnie Lee Wills, and Kermit Whalin, who played steel guitar and bass. The band played regularly on Tulsa, Oklahoma, radio station KVOO and added Leon McAuliffe on steel guitar, pianist Al Stricklin, drummer Smokey Dacus, and a horn section that expanded the band's sound. Wills favored jazz-like arrangements and the band found national popularity into the 1940s with such hits as "Steel Guitar Rag", "New San Antonio Rose", "Smoke on the Water", "Stars and Stripes on Iwo Jima", and "New Spanish Two Step".
Wills and the Texas Playboys recorded with several publishers and companies, including Vocalion, Okeh, Columbia, and MGM, frequently moving. In 1950, he had two top 10 hits, "Ida Red Likes the Boogie" and "Faded Love", which were his last hits for a decade. Throughout the 1950s, he struggled with poor health and tenuous finances, but continued to perform frequently despite the decline in popularity of his earlier music as rock and roll took over. Wills had a heart attack in 1962 and a second one the next year, which forced him to disband the Playboys, although Wills continued to perform solo.
The Country Music Hall of Fame inducted Wills in 1968 and the Texas State Legislature honored him for his contribution to American music.
In 1972, Wills accepted a citation from the American Society of Composers, Authors and Publishers in Nashville. He was recording an album with fan Merle Haggard in 1973 when a stroke left him comatose until his death in 1975.
He was born on a cotton farm in Kosse, Limestone County, Texas. His parents were of English and Irish ancestry. His dad played the violin, so he learned a lot of those early tunes he played from his father. He spent his teens and twenties playing the violin and working as a barber.
In 1930, he met Milton Brown, a singer/violin player and formed the Wills Fiddle band, changing their name to that of their sponsor at the time, the Light Crust Doughboys. Brown left the band in 1932 to form the Musical Brownies, the first true Western swing band. Brown added twin fiddles, tenor banjo and slap bass, pointing the music in the direction of swing, which they played on local radio and at dancehalls. Milton Brown and his Musical Brownies, true Western Swing:
After Brown left, Wills formed The Playboys and in 1934, left Texas to Oklahoma City. Wills soon settled the renamed Texas Playboys in Tulsa, Oklahoma, and began broadcasting noon shows over the 50,000-watt KVOO radio station, from the stage of Cain's Ballroom.
Wills largely sang blues and sentimental ballads. "One Star Rag", "Rat Cheese Under the Hill", "Take Me Back to Tulsa", "Basin Street Blues", "Steel Guitar Rag", and "Trouble in Mind" were some of the songs in the extensive repertory played by Wills and the Playboys.
Take me Back to Tulsa: (Ragtime Annie fiddle introduction)
In 1940, Wills, along with the Texas Playboys, co-starred with Tex Ritter in Take Me Back to Oklahoma. Altogether, Wills appeared in nineteen films, including The Lone Prairie (1942), Riders of the Northwest Mounted (1943), Saddles and Sagebrush (1943), The Vigilantes Ride (1943), The Last Horseman (1944), Rhythm Round-Up (1945), Blazing the Western Trail (1945), and Lawless Empire (1945).
Tex Ritter and Bob Wills in Take Me Back to Oklahoma:
1942 - 1948, Wills became a superstar. He commanded enormous fees playing dances there, and began to make more creative use of electric guitars to replace the big horn sections the Tulsa band had boasted. For a very brief period in 1944, the Wills band included 23 members
In 1945, Wills' dances were drawing larger crowds than dances put on by Tommy Dorsey and Benny Goodman. That year, he lived in both Santa Monica and Fresno, California. In 1947, he opened the Wills Point nightclub in Sacramento, California and continued touring the Southwest and Pacific Northwest from Texas to Washington State. In Sacramento, he broadcast shows over KFBK, a station whose reach encompassed much of the American West. Wills was in such high demand that venues would book him even on weeknights, because they knew the show would still be a draw.
Having lived a lavish lifestyle in California, Wills moved back to Oklahoma City in 1949, then went back on the road to maintain his payroll and Wills Point. He opened a second club, the Bob Wills Ranch House in Dallas, Texas. Turning the club over to managers, later revealed to be dishonest, left Wills in desperate financial straits with heavy debts to the IRS for back taxes. This caused him to sell many assets, including the rights to "New San Antonio Rose". It wrecked him financially.
In 1950, Wills had two top 10 hits, "Ida Red Likes the Boogie" and "Faded Love". After 1950, radio stations began to increasingly specialize in one form or another of commercially popular music. Although usually labelled "country and western", Wills did not fit into the style played on popular country and western stations, which typically played music in the Nashville sound. Neither did he fit into the conventional sound of pop stations, although he played a good deal of pop music
After two heart attacks, in 1965 he dissolved the Texas Playboys (who briefly continued as an independent unit) to perform solo with house bands. While he did well in Las Vegas and other areas, and made records for the Kapp Records label, he was largely a forgotten figure—even though inducted into the Country Music Hall of Fame in 1968. A 1969 stroke left his right side paralyzed, ending his active career. He did, however, recover sufficiently to appear in a wheelchair at various Wills tributes held in the early 1970s. A revival of interest in his music, spurred by Merle Haggard's 1970 album A Tribute to the Best Damn Fiddle Player in the World, led to a 1973 reunion album, teaming Wills, who spoke with difficulty, with key members of the early band, as well as Haggard.
Wills died in Fort Worth of pneumonia on May 13, 1975.
Wills' style influenced performers Buck Owens, Merle Haggard, and The Strangers and helped to spawn a style of music now known as the Bakersfield Sound.
As well as younger "revival" bands like Asleep at the Wheel and Commander Cody and His Lost Planet Airmen plus the growing popularity of longtime Wills disciple and fan Willie Nelson:
Some of his music:
As a preface to the following tunes. I have studied them well (Adam here), and would like to teach them to you. We can learn them on the fiddle, which is the instrument Bob Wills played, or the mandolin. Either is fine. Contact me using the form on the sidebar, or by emailing info@sweetmusicstudio.net if you would like to learn
