Waving my hands in the air


These days I play the fiddle.

It wasn’t always thus. I had classical piano training as a child, and taught myself guitar, both folk and classical, as a teenager. I can’t remember ever learning how to sing — I assumed everyone could (I still think that). My mother was trained as a classical pianist in Antwerp but she was diverted from that life by WWII and an American GI. She became interested in jazz theory when I was quite young, and I enjoyed learning what she was doing with basic music and harmony theory.

So there I was in my 30s, an experienced amateur singer in medieval-to-classical choral works and a variety of ethnic and traditional genres, and I still spoke string and keyboard a bit. Suddenly one day, listening to traditional Scandinavian multi-fiddle tunes, it occurred to me -– why couldn’t I do this? After all, how hard could it be? I got to the basic level of “village fiddler” after a while, and it’s all been a bonus from there.

Today, I play music for Scandinavian dancing. (I’ll speak more on that genre some other time, but if you like Irish music, I recommend the traditional fiddle music of Sweden, Norway, Finland, and Denmark.) What I want to talk about now is the psychology of playing the violin for this music, specifically how the physical movement of the playing impacts the overall communication.

I understood the principles of the strings and stops before I started, and I knew how the bow was used to produce the sound, but I was not prepared for the significance of the musical gestures imparted by bowing. Playing a guitar is an activity with small hand movements. But bowing… this is the land of big gestures.

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Little Musgrave


The traditional ballads of the British Isles are renowned for their vivid, but objective, style. Descriptions are generally impersonal (in contrast to the lyric songs), and characters establish their motives via direct dialogue, as in a play.

One of the better ballads is Little Musgrave, number 81 in Francis James Child’s collection The English and Scottish Popular Ballads: 1882-1898. Child collected as many manuscript and printed versions as he could find, and also described related ballads in Scandinavia and elsewhere in Europe. For Little Musgrave (familiar to Americans as Mattie Groves), he collected 15 versions, the earliest of which is dated 1658. Beaumont and Fletcher mention it in The Knight of the Burning Pestle (1613), the earliest known reference. 400 years have worked their usual transformation on the material, preserving what best pleases the singers.

Since we need a concrete example for discussion, I’ve selected a version recorded by Nic Jones, part of the English Folk Revival movement, on his album Ballads and Songs (1970). He heard or read more than one version, and in this recording collated elements of several around an American version. Like all such performances, this is a combination of traditional material and personal choices. He presents a very clean distillation of the story. Text.

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