 We thought we'd just start all together, just demonstrate maybe three possible tunes we'll try to get through. We might just get through one, get through two, but maybe three. And she'll teach the same tunes and back up. Just so we can all get together back at the end and then just in my mouth. Try to build a common repertoire a little bit, you know, like in the area that's always kind of fun or just wherever you play music with. I was thinking of this one tune from Tennessee called the Ocean Waves. It might be kind of a good one to kick things off with. And I think it's just that it's two chords, isn't it? It's very happy. Yeah. It's all two chords. And it's just in the KIA G and has a real repetitive bowing pattern to watch out for when I demonstrate it. But it also has some really great chord formation. I played guitar and banjo and more rhythm instruments for many, many years. From time I was eight until I was 18 when I started the fiddle. So I still think like super rhythmically. So I think that's something that can be hard if you're a fiddle player. You're always thinking melody, melody, melody and maybe not so much what makes up, you know, what three notes make up a chord. In the key of G, in the case of the key of G, it's G, a B and a D, any combination of those three. Talk to that in your fiddle. Yeah. But I mean, that's true. All right. Then in the car, too long. This one's from Charlie Acuff, a great fiddle player, passed away about 10 years ago. And it's neat. It's too many people play except the cassette tape, I don't think it was ever reissued on any other format. It's just Charlie Acuff and then John Hartford playing this beautiful, just three finger banjo behind it. It's just kind of a really neat recording of those two guys. You don't think of John Hartford just playing with two-minute-heeled players like that, even more doing his own thing? Well, I do anyway. Doing his own thing and writing a lot of great songs. And the other one in the key of G is one that I got from a fiddle hero, my name, Gary Harrison. Okay. Charlie's favorite. And this is a great one for the, this one has all three chords. And again, talking about chord formations and stuff, but for the guitar players, this one's just, there's kind of no doubt what the chords are in this one. It's just so clear, like G, this, you know, player from Southern Illinois who Gary learned a lot of his repertoire. And the other tune is a real neat one. We call them short little ditties when they're kind of half-length. They're not like the full, and I love those kind of tunes. Play a lot of those. Especially great, like, fiddle and banjo tunes, kind of get knee-to-knee and just throw down some short little ditties. And this one's from Luther Davis, and it's called Rockin' n' Wearyland. It's one we played for about 20 minutes last night. And so the key of D, it starts on a big five chord, a big A chord. Make a record sometime with those tunes, and it would probably be like 50 tunes with only half an hour long. So yeah, I guess we're going to have two more cases. And we're just trying to figure out who's going to stay and who's going to play. Who's taking the fiddle? It's like they're more guitar players, so they all want to stay here. Yeah. Fiddle players can take a hike. Get told that all the time. You can go and decide where you're going and just come back and meet us. Yeah. And it just goes like this. So I'm just going to do it in a G chord. What makes up chords? So G and then a B above it, or anywhere, and then D. So any combination of those makes up a G chord. So the simplest G chord we have is this one. The next one would be B with a D above it. The G above that. B above that. G, that's home bass. With the ring finger and play a D with a B above it. And then you can put a G above that B with the middle finger. Then you can put a D with your ring finger below that G. That's a real nice voicing that one, like sometimes. And the reason why I think it's so important to know all these positions and just have them as tools, like for any chord that you're doing or any key that you're in. And the way it works is you can count in numbers. And I'm not talking about chord numbers. If you've heard people say like one, four, five or whatever. So we just start, like all chords are made out of the one, three and five. So G, A, B, C, D. So those are the three, any permutation of those three notes will give you a chord. So let's just do that bowing pattern. And just like every, you know, go kind of, I'll do something like just, it doesn't matter. There's no right or wrong, but try to find a different version of a G chord. Just we'll do that for a few times through. So that's also a good warm up exercise, especially like a, you haven't played for a while or maybe you're in a jam and all of a sudden or you have to play someone else's fiddle or you just, just to get in tune and kind of get your fingers warmed up. Just find where all the key notes will be. So okay, here's the tune. I'll just play it once through kind of slowly and then I'll break it down phrase by phrase. So that's the wrong tune. Real simple bowing pattern, yet it's complicated a little bit because it's syncopated. You hear the beats like this and it goes, that's a real, real common factor with old time music, this kind of old time music. Every country or every community probably has what they call old time music. In Minnesota, old time music was polka music. I ran into someone from Minnesota when I said I was, oh yeah, I was playing old time music now and they're like, what, you're in a polka band? Like no, but it would be kind of fun though. So three, four. So just that first phrase of the B part is only where it kind of gets a little shuffly. But then it goes right back to with that pattern that down, up, down, up, down, up, down, up, down, up, down. So the first phrase starts on a real, just heavy D. And I'll even, that's one way to expand some of these tunes that maybe don't have a lot of notes is you can just take this and you can go, you know, double it from below just like a lot of U's and stuff. So on the G, I'm going to leave my first finger there. It goes, starts with a three note slur, but same bowing. And it's going to start on the F sharp on the D string. It's going to peel it off to the open D. Okay, that's a C note, but it's not a C chord. It's like the seventh. It's like, it makes the D a seven. It sounds dissonant that it's, here's the last phrase. And it's just the E, but again, I'm going to double it. It's not like a big obvious thing, but it's just like, it's almost like when your pinky gets to that unison, you kind of just abandon it. It's just like, it's almost like an ornament. It's not a fold. That wouldn't be wrong, but that's what I end up doing. Okay, so here's the very last one. I'll just play it really clearly. It just goes back to home base. Last phrase starts in the high E. That's kind of the magic of bowing this kind of music, is that, you know, you has this underlying rhythm that we laid out with this pattern, but then you're doing different stuff with your left hand. That's what I think kind of makes it really polyrhythmic and gives it, a lot of people ask like, what gives it that push and pull? It comes with syncopation and also real rhythmic bowing over melodic, you know, different things melodically. All right, that's the whole A part. And it's going to go, it's going to do a three note slurs. Three note slurs are super common. It's going to start on the B. And we just finished in that home base, we're already at that B. And then you go like, it's just going to go, just try to minimize the movement. Like once I get that D, it's nice. Third phrase, like many, many tunes, same as the first. Here's the last phrase, quite simple. The difference, the second phrase was, da, da, da, da, da, da. This one is just, da, da, da, da, da. Okay, let's try the whole B part together. So when I learned tunes, it drives Nadine kind of crazy, but what I do is I'll put it on about 75% speed on a loop. Sometimes just the first phrase for about a half an hour, or like, but a main goal is, you know, I'll put it on when I'm, you know, work on a project or, you know, doing dishes or, you know, that kind of thing, the stuff you do at home. But the kind of goal is for me is to, like when I actually pick up my fiddle to play it, like I already know it. Like I can sing it, I can hum it, and many, many fiddlers actually learn that way from one of their parents, maybe the fiddle skipped a generation and they'll be learning a tune and then like, you know, their mother will be like, no, no, no, daddy played it like da, da, da, da, you know, like really correcting, you know, because you don't have to have an instrument to know what the tune's supposed to be like. So just for fun, let's just, I'll play the chords and let's just try to sing it. Like da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da. That's kind of the idea that the high part's a little high for me, but also I think it's really important to have the tunes in your head that way way so well that you know you might you might run into somebody who plays this tune in the key of D or something you don't want to be totally locked into the how you think of the melody and it being right here that's especially translates to if you're playing behind a singer you know like maybe you heard you know who maybe you heard the George Jones sing this song in G and then you hear you know your friend who's got a really high voice wanted you know George could sing all over the place but they wanted to do it in D or something you know it's good to be able to kind of you know recognize you know I know that's kind of going off in a tangent but I think it's important to kind of to be versed about that way and I think that comes from really knowing the music in your head first all right let's try it a little bit more okay so it's got a really we call like the Melbourne wine ending like you would end tons of tunes so that's how that one ends so it goes so instead of like a dip like a there's all kinds of different ways you can you know fiddlers and phrases different shuffles this one is goes and then instead of going like a syncopated shuffle or even like a standard shuffle none of those would be wrong but like that's kind of a I think that gives it this cool lift and also when you listen to a lot of the senior fiddle players it's like source recordings you end up hearing a lot like your brain ends up putting more notes than are actually in there like it seems like it was just there was they were done with more vigor you may maybe person's repertoire was in maybe 20 tunes and they're all totally regional so there's gonna be all these little things to sort of pick at and to me that's that's one like Melbourne wine for sure West Virginia fiddle player he would play a whole tunes that had this so it's like you want to hear or something you know or it's just but it's just and then I'm throwing that little G in top yeah Gary Harrison call those pulses or they couldn't call them punches oh and you kind of feel it right there a little bit like right in here like a little emphasis and I throw this in all over a place even to like you know some of those are like even right here in the beginning instead of just going down a down punch or down pulse just to kind of it just livens things up a little bit and kind of gives individual flavor to to the tunes and a lot of times I've learned from fiddle players where I heard a recording of them and I learned it which I swore it was exactly perfect and then I'll meet them and play it in person and realize like oh wow that wasn't a shuffle it was actually like you know instead of a kind of a thing like that I mean it's just kind of neat to hear what people come up with and usually there's no right or wrong way to bow stuff but one thing for certain is that you know with senior fiddle players that's what Gary always called the that the old older generations is that they were always consistent and the bowing always worked out you know they could say oh they're playing it backwards whatever but it's not backwards if they end things the right way and Charlie Hake of a total character you can hear him a second in talks he just know he's just like telling a fib or whatever there's lots of great footage of him on YouTube left-handed fiddle player real kind of hunched over as he got older but for this one out of nowhere I remember listening to recording the first time it's just oh yeah gotta learn this tune and all of a sudden he goes like deep heavy lyrics for Ocean Ways oh another story about this tune just shows the mystery of where all these fiddle tunes come from do you ever think about that like where do these tunes all come in these titles and stuff but we played in Liverpool over in England and we played this tune and everybody in the crowd started looking at each other and laughing and apparently this melody was the melody that's been forever on the carousel at the little carvel but as a jig though so and then I looked up I did some research and sure enough there's an old string band from like the late 20s to go back and get their name and they had like tenor bands really how all the stuff big huge string band and they played it as a jig so it was like I'm a stickable melody but like that was what was at the at the carousel just like I remember that this I couldn't figure out why this whole crowd is like laughing at this this you know at that tune they were all completely familiar with it for generations play a little bit faster sometimes out that little last G instead of just going I kind of like to only have like five minutes let's do that tune Charlie's favorite I could do like a clear recording of it maybe if you want but it's also has that pretty much that same blowing pattern throughout so that other kind of fun to do that other tune rocking in a weary land yeah this is Charlie fear yeah so again it's from the Charlie fault but I got it from Gary okay so it shares like the second and fourth phrases are exactly the same so yeah let's wait even slower great tune to kind of really unclutter your bowing like that's one one thing I learned from all my fiddle heroes I've learned so much from whether it's in person or from recordings that they passed passed on it is that their bowing was always so uncluttered you know it was very intentional and those like what I mean there's like you know just not extra shuffles and but this one's really great for that like especially while though you're kind of like what am I doing and then it just works out perfectly you know and I think that's that's sort of that's a big step in in in your fiddling if you can kind of feel like you're getting to that point with tunes Kirk Suffin is a master player that is you know master at the round peak stuff but then you hear him play regs and stuff and it's just like that old like Charlie pool stuff posy roar was the fiddle there just really beautiful stuff let's um maybe it when we're up there we'll uh usually I tune my I would tune my low string to an a but let's just leave it for now and we don't have much time so this one it's in the key of D it's gonna start on the high E and again I'm I like to double that so that's the first first phrase and then it's gonna have this this sort of theme that's gonna keep happening and it goes here that's kind of rubbery like third phrase which is the same as the first phrase like most tunes you go you do a little hitch in the bowing okay let's just do what we done so far so just starts off straight but a reoccurring theme here it is so it's the last same as the a parts last phrase so now we just got to learn this the double up high bass is really cool because you when you double that you have a low a so you kind of have this always starts with that hitch like that's what you're going for but it's just to get there so it's like the way it works out is like and you could square it off and go can't really because the way the phrasing where way it flows back in that's this kind of makes it unique it's not like it's not backwards bowing there's a lot of you know it for many many tunes it's like that it's just a rule all phrases start in a downbow but this one kind of shows why a lot of them don't yeah so it's here's the fourth phrase or the second there's only two phrases in each part like setting yourself up for the big why I was doing that but we call those Ashby notes I'm a big fan of John Ashby's recordings and there's some of these real standard tunes where you know you heard a million people play it and heard it all for many many years then also know here you know it's just like what I think it's just kind of showed a sense of humor or something well let's go play with the guitar players just starting because it's actually it'd be like potatoes are not the easiest thing I've seen so many players click but it's important to really get them down because you'll like if you're playing a dance you'll get the temple from the caller and the filler internalizes it ocean waves you want to sing along the lyrics are it's awful lots of fun it's awful lots of fun it's awful lots of fun drinking wine and a beer pretty deep stuff but it's a true story fiddler's fiddler's tail from that to a particular I think what's what starts to happen when he starts to learn tunes really get them down really solidly whether it's on any instrument is that you just start to hear a lot of oh that phrase reminds me of that phrase from that to you or like that bowing pattern it's just like that other to me start to have these little tools in your arsenal like kind of it's like learning a language at first it just sounds like a bunch of random gibberish you start to pick out phrases here and there that recognizable yeah I'll let me workshop this maybe a couple minutes guy