Fall 2006
Features
Departments
- The Practicing Fiddler: Developing a Rock Guitar Sound with Matt Turner, by Hollis Taylor
- Cross-Tuning Workshop, Part 32: ADAE, by Jody Stecher
- On Improvisation: Checking Your Pitch with Open Strings, by Paul Anastasio
- Bluegrass Fiddling: Fiddlin’ Arthur Smith, by Paul Shelasky
- Irish Fiddling: Variations, by Brendan Taaffe
- Cross-Canada Fiddle Tour: King Ganam, by Gordon Stobbe
- Reviews
Tunes
- Schottis fran Rödön, by Rickard Näslin (Jämtland)
- Tibrandsmarschen, by Rickard Näslin (Jämtland)
- Czardas from Kalotaszeg, from a book by Márta Viágvölgyi entitled Kalotaszegi Népzene II
- Podrauska Polka, traditional, as played by Marko Dreher
- Hora, Romanian hora as played by Marko Dreher
- Arkansas Traveler, transcribed by Gene Silberberg and Stuart Williams as played by Floyd Engstrom
- Mexican Waltz, transcribed by Gene Silberberg and Stuart Williams as played by Floyd Engstrom
- Cotton Patch Rag, as played by Jim Wood (A “Winning” Contest Round)
- Soldier’s Joy, transcribed by Jody Stecher as played by Fulton Myers (Cross-Tuning Workshop)
- Dixie Stomp, transcribed by Paul Shelasky as played by Arthur Smith (Bluegrass Fiddling)
- John McHugh’s, transcribed by Brendan Taaffe as played by John Carty (Irish Fiddling)
- The Farmer’s Schottische, by King Ganam (Cross-Canada Fiddle Tour)
Article Excerpts
The Circle Remains Unbroken
By Leo Hickman
The silver-haired old man sitting on the porch of the rustic Camp Washington Carver lodge with fiddle in hand, eyed the young fiddler approaching him. As the young boy drew nearer, the old man asked the boy if he knew any of his tunes. The older man was not aware that the young fiddler had wanted to meet him for two years and had carried his picture in his fiddle case all that time. The young fiddler timidly answered, “Yes, sir. I know a few of your tunes.” And they began to play. Unknowingly, with the start of this interaction, a friendship and mentorship began that was to last for nine more years. The older man was West Virginia fiddler Melvin Wine and the young fiddler was Jake Krack.
At the age of six years, Jake began to learn to play the fiddle. He soon became immersed in learning the old fiddle tunes of West Virginia and the heritage behind them through the oral tradition (learning by ear). Jake’s first teacher, Brad Leftwich, introduced him to the music of the old fiddlers of West Virginia and passed on his knowledge of the music to Jake for three and a half years. The value of Brad’s mentorship was immeasurable in the laying of the strong foundation he gave to Jake. During this time Brad instilled in Jake the wonderful opportunities that could be his if he were able to get to know the older fiddlers before they vanished. Jake’s family took this advice to heart for the next year by making constant trips to West Virginia from southern Indiana. Later, with a five thousand dollar grant from the Indiana Arts Commission, the Krack family was able to continue their travels to West Virginia until eventually moving there in 1998. Continuing on since that beginning, Jake has spent the last fifteen years learning from a number of West Virginia master fiddlers and has immersed himself into the wonderful opportunities Brad had told him about.
As he met more and more with his mentors, Jake did not just learn their fiddle tunes but also learned about their lives and their families and very quickly became intertwined with them in friendship and family. Through these interactions Jake, in short order, became aware of the priceless treasures that would befall him in his journey “back in time.” One of these treasured experiences took place during Jake’s first visit to Melvin Wine’s home when Melvin patiently instructed him in the fine art of flipping a pancake by using just the pan and a skillful flip of the wrist. The ear-to-ear grin on Jake’s face upon accomplishing this feat would last a lifetime in his memory. Another treasured experience would be the hours spent at the side of his old friend in the “sleepy corner” (an old couch in the corner of Melvin’s living room).
Melvin Wine was born in Burnsville, West Virginia, in 1909. At the age of nine he began to play his first fiddle tunes by sneaking out his father’s prized possession (the fiddle). Melvin eventually gained the courage to inform his mother of the progress he had made with his father’s fiddle. One evening his mother bravely shared this with his father. At the time, Melvin believed he might receive a whipping for sneaking out the fiddle. But instead, from this point on, Melvin’s father supported the young boy’s efforts. Melvin’s father, Bob, learned the fiddle tunes he passed on to Melvin from his father, Nels (Melvin’s grandfather). Nels could only sing the tunes he remembered from hearing Melvin’s great grandfather, Smithy, play them on the fiddle.
This family heritage has now been partly continued through Jake. Melvin, many times with tears in his eyes, told Jake that he could rest peacefully knowing that his fiddle tunes would be passed on and preserved by the young fiddler. Melvin passed away in 2003 with Jake at his bedside. The Wine family honored Melvin and Jake’s relationship by presenting Jake with one of Melvin’s fiddles that Melvin had called “the lady’s fiddle.”
As Jake’s father stood in the lobby of the Augusta Heritage Center in Elkins, West Virginia, watching Jake play in a jam with a variety of musicians, a man standing next to him stated that the young fiddler had a very powerful bowing arm. When Jake’s father turned to respond, he realized that the older gentleman was Lester McCumbers of Nicut, West Virginia. Lester was a fiddler Jake greatly admired and soon after he would become Lester’s first apprentice. Later, on CNN, Lester stated that “Jake is only one of a few young people I know that can go as far back with the old time sound.”
Lester was born in 1921 and, like Melvin, came from a musical family. Lester learned to play fiddle from his father and from many local area fiddlers like Harvey Sampson and French Carpenter as he played backup guitar for them. As time went on, Lester began to pick up the fiddle and became an accomplished bluegrass and old time fiddler and singer in his own right. For many years Lester performed, with his wife Linda and other members of his family, at many local festivals and radio stations billed as the “Sandy Valley Boys.” Lester has shared many stories with Jake about life in Calhoun County, West Virginia, such as walking eight miles to the movies, or catching a ride with the mail hack up the dirt roads to town, or about his family’s first radio. Jake and Lester have played many times together at the local community centers and festivals, and for many hours in Lester’s home.
Bobby Taylor of St. Albans, West Virginia, and Contest Coordinator for the Appalachian String Band Music Festival was the latest fiddler to agree to accept Jake as an apprentice. As with Melvin and Lester, Bobby has a long family history of fiddling, being a fifth generation fiddler himself. Bobby’s father, ninety-four year old Lincoln Taylor, is the oldest fiddler, and fiddle maker, Jake has known. Lincoln played the first tune on Jake’s CD Hope I’ll Join the Band. Getting to know Lincoln and Bobby was another of Jake’s treasures and, true to the experiences with Melvin and Lester, Bobby and his family became very close to Jake and his family. At a young age Bobby was taken aback by the fiddling of two of his mentors, Clark Kessinger and Mike Humphreys. Bobby combined the styles of his mentors with his own to become one of the most dynamic fiddlers of his generation. He is also a historian of old fiddlers and their styles, and has continued to incorporate many of their styles into his own playing. By doing so he has saved many bow licks and phrasings that might otherwise have been lost. So Bobby, too, undertook the task of sharing and passing along the old fiddle tunes and the heritage of the men behind them to Jake through an apprenticeship program. On Jake’s first CD Bobby stated that “Jake is the finest young fiddler I know. Even at a young age he has already surpassed the talent and skill of many fiddlers who have played for a lifetime.”
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Many times at his father’s shop, “Krack’s Fiddle Shop” (which can be found at most of the local old time music festivals such as Mt. Airy, North Carolina, and Galax, Virginia), Jake has often been informed by visitors to the shop that unbeknownst to him, they had been learning to play the fiddle by watching him and listening to his CDs. Jake plays for hours at the shop on fiddles his father made, with his mother backing him up on guitar. They have welcomed musicians of all levels and styles from fiddle to banjo, guitar, and mandolin players to join them and jam. He has also shared many of his experiences and tunes with younger fiddlers who stop by to see him. He sees this as a way to pass along the traditions handed down to him the old way, in the oral tradition –– a promise he made to his mentors and a promise he continues to keep.
Jake, now twenty-one and a student at Berea College, is planning a possible career in folklore or a musical career with his fiddle. He currently works in the Berea College library’s music archives preserving the old music from reel-to-reel tapes in digital format. He finds great pleasure in this. In fact, his first project was to save forty-three of Melvin Wine’s tunes and put them on the archives’ website:
www.berea.edu/hutchinslibrary/specialcollections/specialsound.asp.
So the circle remains intact. In the current culture, Jake has been told that it is rare to see someone as young as he was (and is) to take to the old ways as he has, to carry on the traditions of a time gone by, and to keep alive a part of our culture that is rapidly disappearing. Many people feel a sense of peace knowing that the old ways are to be carried on and remembered by some of the youth of today. John Lilly, Editor of Goldenseal magazine, wrote in the liner notes of Jake’s second CD, One More Time:
Folk culture is a lot like water. Where it comes from and where it goes is a matter of endless mystery and fascination to me. In this sense, Jake Krack is carrying a lot of water. Jake’s intuitive feel for the flow and subtleties of traditional fiddling is remarkable. His sense of rhythm and timing is rich and fluid. And his playful intensity is uplifting and refreshing. Still a young man, Jake is well beyond his years musically. He continues to learn directly from older musicians, particularly from West Virginia master fiddler Melvin Wine, and he honors them each time he breaks out his fiddle. Traditions survive one generation at a time. So, it does my heart good to realize that somewhere out there –– in Indiana or West Virginia or somewhere in between –– is young Jake Krack, carrying water.
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[For the full text of this article, subscribe to Fiddler Magazine!]
Jake can be reached through his website: www.jakekrack.com
[Leo Hickman is from southern Indiana and played fiddle in country and bluegrass bands growing up. His favorite fiddlers are Kenny Baker and Jake Krack, “and anyone else who plays their music, and smiles.”]
 The Östersunds spelmanslag
Jämtland: Forests, Fjörds, and Fiddles
By Petra Jones
Covering 50,000 square kilometers, with beautiful fjörds, mountains, and forests, it’s surprising more people haven’t heard of Jämtland –– if not for the fiddle playing, then for the sheer beauty of its countryside. Jämtland lies sandwiched between Sweden and Norway and has, at various times, belonged to both countries. Yoyo-ing back and forth between them, Jämtland was finally annexed to the Kingdom of Sweden in 1645, and has developed its own culture with a unique style of fiddle playing.
If there’s one name synonymous with folk music from Jämtland, it’s Rickard Näslin who has done much to publicize a centuries-old tradition of folk fiddle music of which he’s justly proud. Owner of the prestigious title of Riksspelman and the Lapp-Nils medal for his contribution to Jämtlandic folk music, Rickard is keeping the tradition alive.
Following in the footsteps of Lapp-Nils (1804-1870), the legendary folk fiddler from the mountains of West Jämtland, Rickard is passing on the tradition to an exciting new generation of fiddlers. Leader of a fiddle orchestra, the Östersunds spelmanslag, and teacher at Birka Folkhogskola, Rickard has brought many of the old traditional Jämtlandic tunes to life on albums from the classic Lekstulaget Mitt uti Jämtland (1976) to Rödöpolskor och andra spelmanslåtar efter Ol Persa I Vike (2005).
Jämtland seems to have a rich tradition of folk fiddling. When did fiddle playing first become a part of Jämtland’s folk music and how has it changed over the years?
The first violins that we know of appeared in Jämtland in around 1700 and within a couple of years, cheap German violins were imported and sold all over the country. Some people made their own violins and the first tunes that were played were waltzes and things you might call “gesunkenes kulturguts” from the French violinists in urban orchestras in Stockholm. The music of the upper classes was transformed by unscholared fiddlers into dance-music, like polskas or waltzes with a local dialect.
During the nineteenth century, Jämtland was very crowded with fiddles. It is mentioned that a church priest came to a village called Haggsjovik and noticed there was a violin at almost every wall in the houses that he entered and he said, “There must live a very ungodly people in these areas!” The fiddle was seen by the church to be “the instrument of the devil” since it tempted the youth to sinful dancing and meetings where a lot of unwelcome cradles were set in movement!
Why fiddle playing was popular has much to do with how much time there was in daily life for amusements and pleasures like dancing and playing. In Haggsjovik, the farmers were quite rich in those days and had a lot of spare time to nurture those interests. But today these are deserted areas. People left with industrialization and urbanization and many people who still live in these areas think it’s backward thinking and living to play these tunes! But many of their descendants in the bigger communities and cities put more value into these old traditions –– like me, for instance!
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I had played the guitar and harmonica and learned a lot of folk songs from records by Bob Dylan and Donovan. I started wondering why we didn’t have our own folk-musical tradition when I suddenly realized that we had indeed. A fellow student during my studies in the beginning of the ’70s played some tunes from Offerdal so I bought a fiddle and joined in. I started to pay visits to the old fiddlers out in the Jämtlandic countryside, learning hundreds of tunes during the years to come.
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I understand you were awarded the Lapp-Nils medal for contributions to Jämtlandic folk music in 1998. Can you tell us why this meant a lot to you and explain a little about the award itself?
Well, of course, it made me glad then but all these things give you temporary satisfactions and then you never think about them! (But I have a small guesthouse where I have some of my diplomas on the wall, so who is without vanity!) As far as the Lapp-Nils medal is concerned, it is given to those who have made some sort of contribution to the folk music of the region.
You became Riksspelman in 1978. How important is that for a Swedish folk musician? Can you tell us a little about what being a Riksspelman means and how this title is earned?
You are supposed to learn a special tradition and dialect, and to play in the proper style of that dialect and to have knowledge into that tradition. Then you must play before a special jury called Zorn-juryn and if you are lucky you can gain the title after three or four attempts. Some people never get it and others get it quite fast. About ten new Riksspelman are appointed each year and we have a total of about 200 in Sweden as far as I know.
On the first of January 2006, I became chairman for the folk fiddler association in Jämtland, and will be working with different plans and projects. For example, at the end of February there will be organized a folk music competition called Gregorieleiken. Heimbygdas spelmansförbund has a homesite where gatherings, concerts and so on are scheduled.
I understand you run a Jämtlandic folk music summer course?
During the years, I have participated in lots of summer courses but this summer I will join a course for youths as a guest teacher in connection to our spelmansstämma in Vemdalen. Well, it is fundamental to offer young people the opportunity to learn Jämtlandic folk tunes so that the tradition will survive. That is our number one task! At the courses you learn by ear and this summer course we have twenty-five pupils between ten and twenty years old. So that is in fact ten more young folk musicians than last summer joining the course! Very satisfying indeed! But this is a constant challenge with the increasing impact from the commercial forces that want us to play the same music all over the world!
Are there any younger players you’d recommend listening to?
Yes, there are several younger fiddlers who have made their names during the ’90s by recording CDs, leading courses, and playing in modern folk-rock groups. There are some very good fiddlers with a solid traditional background like Kjell-Erik Eriksson in Hoven Droven and in Triakel, and Lasse Sörlin in Nordman, and an even younger generation is on the way who haven’t yet made their names.
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Does the Storsjöyran festival incorporate performances from fiddlers?
Now and then they have folk music groups. I have played there a couple of times together with Östersunds spelmanslag and some dancers, but it’s not fun to compete with electrified bands all around on the other stages! But the folk rock group Hoven Droven are often playing at the festival. There is a certain amount of provincialistic atmosphere about it with the Jämtland Republican Army peacefully patrolling the streets and the President’s midnight speech at the town’s big square with 25,000 people shouting “Jämtland, now and always!”
We sing songs in our own dialect and there are lots of old songs in the oral tradition. This Jämtlandic freedom movement is not that seriously meant as in other parts of the world. But there are people in Jämtland that want to become Norwegian again, especially since Norway is outside the EU!
Do you have plans for a new album of Jämtlandic fiddle music?
Of course I have plans. I would like to record a new CD with tunes from eastern parts of Jämtland, which hasn’t been done since 1979, when Göran Andersson and I made an LP with that material. I have about fifty new fiddle tunes notated!
[For more information on Rickard Näslin and the fiddle music of Jämtland, as well as downloads of sheet music and mp3 files, visit www.Jamtlandica.com.]
[For the full text of this article, as well as Rickard’s tunes “Schottis fran Rödon” and “Tibrandsmarschen,” subscribe to Fiddler Magazine!]
[Petra Jones is a freelance writer and musician based in England. Besides being an avid fan of fiddle music, Petra has a house full of musical instruments from bass guitars to banjos, and five strings through to twelve. Her articles and reviews have appeared in Acoustic, Bass Guitar, Just Jazz Guitar, and a host of other music publications on both sides of the Atlantic.]
Floyd Engstrom: An Old Time Fiddler from Washington State
By Bríd Nowlan and Stuart Williams
The one-room schoolhouse in Cherry Gardens, Washington, was a popular Saturday night dance spot in the 1920s and ’30s. People came from miles around to dance, visit with friends, and partake of the homemade spirits sold from the trunk of an entrepreneur from Seattle, some twenty miles to the west. Lit by gas lamps, fiddler Tom Somers led his band through old favorites and tunes of his own composition. Joining him in music-making were Hoover Austin on guitar and fiddle, a Mrs. Brenneman on piano, his son Clarence on fiddle or clarinet or whatever musical instrument he was dabbling in at the time, and his young neighbor Floyd Engstrom on fiddle. Mr. Brenneman called the dances. Close at hand was the coffee tin Tom kept to spit his tobacco juice into.
Tom began teaching Floyd fiddle tunes in 1930, when Floyd was twelve. Floyd says, “Tom coaxed me into learning to play the old time music, so I’d go down there to his place and listen to him play and learn like that.” An uncle had given Floyd a violin some years before, and his family had found the $2 needed for lessons from a Mr. Miller of Renton, south of Seattle. Floyd’s father Axel worked in the saw mills and the family moved often following his work. They settled in Cherry Gardens in 1928, when Axel began working in the mill at Monroe. By then, most of the lowland and foothills had been logged over. The mill could not withstand the Great Depression of 1929 and the Engstrom family and their neighbors were left “up there in the sticks, about seven miles out of Duvall [on] twenty acres of stumps with all the other poor people. Nobody had any work up there.”
Tom hailed from Iowa, and was “a rough player,” as Floyd puts it. But he was a well known and popular fiddler on the local scene, and played for house dances as well as the weekly schoolhouse dances. One family held a regular dance, and “They would get the floor bare; if there was a rug they’d get rid of the rug and stomp around in the living room.” In those days, a fiddler was still an important person who provided the necessary music for family and community celebrations, and especially dances. A young child learning to play a musical instrument was expressing his or her desire to take on that role of community music-maker and was usually supported and helped by the older generation.
“Turkey in the Straw” was probably the first fiddle tune Floyd learned, followed closely by “Buffalo Gals.” Playing with Tom was different from learning from Mr. Miller: “That was all [written] music; that was violin stuff; with Tom Somers it was all by ear.” Floyd adapted quickly and soon joined Tom, Hoover, and the Brennemans at the schoolhouse dances. Square dances, known locally as “quadrilles,” were popular, as were couple dances, such as waltzes, foxtrots, schottisches, polkas, the Varsouvienne, Tuxedo, and Circle Two-Step. There was no set program for the night, the band would “just go as [they] were led,” usually playing four or five couple dances in between squares. People “really liked square dances. They were the simple ones, not all these complicated ones that they have now.”
Floyd left Cherry Gardens to finish his senior year of high school in Seattle. His mother also moved into the city to find work; they lived with one of her sisters, returning to the country on weekends whenever they could get a ride at least part of the way. A high school friend, Don Michel, played mandolin and guitar and would often join the Cherry Gardens band. When Floyd graduated, there was no work in Seattle, so he and Don set off with Don’s father, Ed Michel, to mine for gold in the rivers of southern Oregon. Ed rigged up a “suction device” with a nozzle made out of scrap metal that they would maneuver into the middle of the river. With an old engine they would suck up the sand and gravel from the river bed and run it through a series of sluices. They didn’t find much gold, but they “played a lot of music out there, every night just about, out by the campfire. Ed Michel played banjo, Don played mandolin and guitar, and once in a while some drifter would come through, some musician, and stop by and we got some other music.”
Such musical intermingling was a common feature of American migrations that influenced the development of local styles. In northwestern fiddling, the predominant influences come from Canada, Scandinavia via the Northern Plains, and the Missouri/Arkansas heartland. These permeate the local repertoire and are reflected in local and individual playing styles: some fiddlers relish each and every note of the tightly-woven reels, sounding Canadian, or even Scandinavian to a southern ear; others hone all their tunes to driving shuffles around the key chords and a distinctly southern, yet not quite Appalachian, sound; most fall somewhere in between.
Floyd left his fiddle behind when he joined the Civilian Conservation Corps in 1939. On his return, he found work in the Puget Sound Naval Shipyard in Bremerton. He married in 1942, went into the army in 1944, and was stationed in Italy for eight months. He returned to work at the shipyard until retiring in 1973, with a stint in Alaska and another in Guantanamo Bay, Cuba. During that time he focused on work and family and played fiddle only on rare occasions. With the rise of new technologies, especially sound amplification, and the social disruption wrought by the Depression and the Second World War, the fiddler and his music had lost out to other instruments and instrumentation; with the demise of the small community dance in favor of larger venues and bands he lost his social context.
Meanwhile, a new generation was discovering the pleasures of “folk music” through the revivals launched on the East Coast by Pete and Mike Seeger, among others. Many of these participants were college-educated; turning instinctively to documented sources, they enthusiastically embraced the material collected in the 1920s and ’30s by John and Alan Lomax and Charles and Ruth Seeger, much of it from the South and Southeast. Rural America was largely untouched by these folk revivals, but there were still many fine fiddlers out in the hinterland who had learned their music from their parents, sisters, brothers, and neighbors. These men and women realized that their music was not being passed on and began their own revival work establishing state fiddlers associations (including the Washington Old Time Fiddlers Association, established in 1964) to provide a new forum for their traditions and repertoire.
In 1978 some friends invited Floyd to a fiddle show organized by the local district of the state fiddlers association. He says, “I liked the music and I thought, maybe I’ll try that. Hubert Mitchell –– that guy could really play –– kindled my interest.” (Hubert Mitchell was a local fiddler, active in the fiddlers association, who inspired many new and old local fiddlers.) So he retrieved his fiddle from the closet, had it fixed up, and began playing again. At his first jam, he says, “About all I could play was ‘Snow Deer’ and ‘Turkey in the Straw’ and they were pretty bad,” but it didn’t take long to get going again. He started taping other fiddlers, at local events and at the national fiddle contest in Weiser, Idaho, and learning new tunes. Floyd’s three children had never known him as a fiddler, but his playing inspired his granddaughter Tammi, a music teacher, and her son Hunter took up the fiddle.
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He says, “I practice, too, I get the urge and I go back in my little room and practice. I think Mr. Miller [his violin teacher] taught me how to hold the bow, he must have, and that you’re supposed to have your elbow underneath, that way your fingers can reach the strings better. All I was taught was the first position and the third position. I don’t know how people can play in second position, halfway between first and third, that’s gotta be tough; third, you just bring your wrist up until it hits the fiddle and there you are.” But Tom Somers’ midwestern influence is apparent in the way Floyd’s bow shuffles through the old dance tunes. Floyd’s earliest fiddle tunes were the classic American standards: “Turkey in the Straw,” “Soldier’s Joy,” and their companions. These he plays with a steady dance rhythm established by down-bow oriented saw-strokes, using a short bow stroke, with a sprinkling of two, three, or even four note slurs to add interest and phrasing.
…
When learning a new tune, Floyd says he is usually “not thinking about the bowing –– whatever happens, happens. And then if I’m having trouble, being out of sync or something, then, maybe I’d better try something else. Maybe I’d better think about my bowing and give a bow for every note. Sometimes the bowing seems to be more important than other tunes, it gets a little bit trickier to get through the tune without butchering it up too bad.” He likes to learn new “different” tunes but says, “I’ve noticed that the audience really likes to hear those tunes they’re familiar with. I like to learn different ones all the time and I think we wear them out more than the old standbys.”
Now eighty-seven, Floyd recently released his first CD, Kitsap County Fiddler, on Voyager Recordings. A second CD of popular hymns (played on Floyd’s fiddle) is in the works. He can also be heard on the new compilation Roses in Winter: A Celebration of Old Time Fiddlers in Washington State.
[For the full text of this article, as well as transcriptions of the tunes “Arkansas Traveler” and “Mexican Waltz” as played by Floyd Engstrom, subscribe to Fiddler Magazine!]
[This article was adapted from the book and compact disc compilation: Roses in Winter: A Celebration of Old Time Fiddlers in Washington State. This publication of the Washington Old Time Fiddlers Association grew out of a series of workshops taught by the twelve fiddlers featured in the book. The tunes on the CD (two from each fiddler –– including the two notated here) reflect the diverse origins of Northwest traditional fiddle music and are written out in standard notation in the book. The stories in the book show how fiddle music has been treasured and passed down from generation to generation. For more information see www.wotfa.org.]
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