The second part of this tune is tricky on the fiddle. Can I have suggestions for various ways of playing it? I use a second finger on the E string to play the F sharp and keep my first finger on the D and the A strings, but I would be interested to see how many different ways of playing this section we can come up with.
The most common way is to hold both the B on the second string with your first finger and rock it over to the e string for the f#s. So it never completely leaves the B, but it rocks out of the way for the open e's then back on for the f3s.
You can also play around with that whole phrase:
|B2 eB fBgB|
or
|B2 gB fBeB|
in either case using your second finger to catch the g's.
Also, think about the bowing. In the B part, I really like hearing the e – f# – e leaping out, riding on top of the repeated B notes. It sounds really cool. There's a temptation maybe to figure-8 cross bow the whole thing, but I get a crisper snap out of that first e if I change bow direction on it, and slur only in the middle of the measure, for example, starting with a down-bow:
B2 e (B f#) B e B
The parentheses bracket the slurred down-bow notes. You should end on an up-bow on that last B, ready to hit the beat with a strong down-bow in the next measure.
...and be able to do that (or the figure-8 bowing) whether you start and end on a down bow or up bow. And doing a bowed triplet on the B2 will enter the picture now and then, as well.
Well, if you like |B/B/B eB fBeB|
also try
|B2 e/e/B fBeB|
A little trickier to get the bowed triplet clean going from one string to the next, but practice pays off, and the flutter on the weak beat adds spice to the phrase.
Great stuff, thanks. I like this kind of close analysis of a tune. However well you think you know a tune, there is always more you can squeeze out of it.
The Morning Dew
The Morning Dew
The second part of this tune is tricky on the fiddle. Can I have suggestions for various ways of playing it? I use a second finger on the E string to play the F sharp and keep my first finger on the D and the A strings, but I would be interested to see how many different ways of playing this section we can come up with.
# Posted on April 26th 2008 by Fiddle Fancier
Re: The Morning Dew
The most common way is to hold both the B on the second string with your first finger and rock it over to the e string for the f#s. So it never completely leaves the B, but it rocks out of the way for the open e's then back on for the f3s.
You can also play around with that whole phrase:
|B2 eB fBgB|
or
|B2 gB fBeB|
in either case using your second finger to catch the g's.
# Posted on April 26th 2008 by Will Harmon
Re: The Morning Dew
ooops..."f3s" should be "f#s"....
# Posted on April 26th 2008 by Will Harmon
Re: The Morning Dew
Also, think about the bowing. In the B part, I really like hearing the e – f# – e leaping out, riding on top of the repeated B notes. It sounds really cool. There's a temptation maybe to figure-8 cross bow the whole thing, but I get a crisper snap out of that first e if I change bow direction on it, and slur only in the middle of the measure, for example, starting with a down-bow:
B2 e (B f#) B e B
The parentheses bracket the slurred down-bow notes. You should end on an up-bow on that last B, ready to hit the beat with a strong down-bow in the next measure.
# Posted on April 27th 2008 by fidkid
Re: The Morning Dew
...and be able to do that (or the figure-8 bowing) whether you start and end on a down bow or up bow. And doing a bowed triplet on the B2 will enter the picture now and then, as well.
# Posted on April 27th 2008 by Will Harmon
Re: The Morning Dew
Ooh, I like the bowed triplet thought. Nice.
# Posted on April 27th 2008 by fidkid
Re: The Morning Dew
Well, if you like |B/B/B eB fBeB|
also try
|B2 e/e/B fBeB|
A little trickier to get the bowed triplet clean going from one string to the next, but practice pays off, and the flutter on the weak beat adds spice to the phrase.
# Posted on April 27th 2008 by Will Harmon
Re: The Morning Dew
Great stuff, thanks. I like this kind of close analysis of a tune. However well you think you know a tune, there is always more you can squeeze out of it.
# Posted on April 27th 2008 by Fiddle Fancier