Fiddle Hangout - Playing Advice Forum Feed

Bow creeping up string/down string

eric@fiddlehangout.com — Fri, 29 May 2026 13:27:40 CST

I seem to have an issue, particularly when I've been playing for a while, where the bow creeps up the string. That is, on the up stroke the bow stays perpendicular to the string as it should, but it slides sideways on the string up a bit towards the fretboard. Then the downstroke, it slides sideways down towards the bridge. Any idea if it's me, my bow, rosin build up, gremlins??? Yeah, I should get back to my teacher. I'll get around to it but wanted to ask here in case it's a common problem people have with a know cause.

-K

what is it ?

eric@fiddlehangout.com — Sun, 17 May 2026 21:27:11 CST

...it is the player ...learning how to play / use / handle the instruments (bow and fiddle) / tool they have in their hands, more than just learning the tunes.

BUT - the emphasis needs to be placed on - the player LEARNING how to use that particular instrument and that bow in their hands - to make it work - more than anything else. Every bow and fiddle is looking to be treated a certian way. One of our primary tasks is to learn what that is (imo),

Yes. I know some instruments are VSOs - but the proof of what I am saying is easy to recognize in the fiddlers we emulate and what they had to use. They learned how to make what they had - sing. They did not have access to what we have available.

So is the secret in getting a "better" instrument? ..or falling in love with what you have? ....and "learning to treat her right"?
Or would you say that the reason a person is noted for their fiddling is because of they had such an exceptional instrument to play?

...ought to be good for at least a 20+ response thread - I would think.

Three note walk-up intro for bluegrass break

eric@fiddlehangout.com — Thu, 14 May 2026 07:54:31 CST

I often hear a breaks on fiddle in bluegrass tunes start with a walk-up three ascending notes, like - "Da Da Da Note". Where "Note" is the first note of the melody.

I would assume that works when the melody starts on a downbeat ("Note is on the downbeat), and the melody doesn't start with a pickup; so "Da Da Da" functions as a pickup. Sound right?

Curious if there a standard set of notes that are used? Does it vary based on the first "Note" of the melody, like if it's a the 1st of the Chord of the 5th of the chord?

Any tips on adding the three-note walk off to kick off a break based on melody?

Anyone have an example of a standard bluegrass tune where this works?

E String Issue

eric@fiddlehangout.com — Wed, 13 May 2026 05:36:52 CST

Sometimes, when doing an upstroke on the E string (doesn’t seem to happen on down stroke) there is no sound. For a second there is silence. I haven’t been able to pinpoint if it’s a certain section of the bow when this happens. Nor whether it’s a bow problem or a string problem. Any suggestions what might be causing this or how to zero in on the issue?
Thanks!
John

Bending first thumb knuckle on bowing hand

eric@fiddlehangout.com — Fri, 24 Apr 2026 04:09:27 CST

I've heard that you should bend your first knuckle (neat the tip) of your thumb when holding your bow. I keep slipping back into having the knuckle fully extended. It just seems to keep the bow steady and I'm working very hard on trying not to hold the bow too tight and anything that steadies it helps. So...

Is not bending that knuckle really so bad that I have to break the habit as it will hold me back?

If I really need to bend the knuckle, any tips on keeping it bent and keeping the bow steady?

Fingers holding the bow hair?

eric@fiddlehangout.com — Sun, 19 Apr 2026 05:15:32 CST

Here’s a photo of a fiddler named Sarah Gwendolyn. She appears to be holding down the bow hairs with her fingers. Has anyone seen this before?

Getting intonation right when starting

eric@fiddlehangout.com — Wed, 15 Apr 2026 13:32:09 CST

I decided not to be a wimp and pulled the tape of my finger board a bit ago. Of course being a novice intonation is always something I need to work on. The hardest part is when I first start a piece. Muscle memory helps for the distance between the fingers but less so when the left hand is first positioned. Anyone have tips?

I have one trick I've tried which seems to help. That is, before I start test play the three finger note (5th stop) and get in tune with the octave below on the longer string. Like play D on the A string and then D on the D string and get them in tune. Have I a clue?

what causes the bow to slip back & forth across the strings??

eric@fiddlehangout.com — Fri, 10 Apr 2026 13:08:09 CST

Sometimes when I practice, my bow will slide back & forth from side to side on the strings, especially the E string. It's usually not a problem, but occasionally it is, like this morning. I have always assumed, maybe incorrectly, that it probably had something to do with rosin. I probably assumed this because it's only an occasional problem. Can this be caused by too much, or too little rosin on the bow, or by rosin build up on the strings? Maybe it's something I'm doing, but if so, I can't figure out why it just happens once in a while.

Ending a note by muting

eric@fiddlehangout.com — Sun, 5 Apr 2026 06:48:16 CST

If you want an note to end without ringing, such as playing exactly a quarter note and then a rest, is it desirable to mute? I've found myself using a finger on my left hand to mute the note. I find that clearing that hold the bow without moving. And of course lifting the bow would simply let the note ring.

So, can anyone enlightening me on the best techinque(s) to end a note?

Ever see that movie "Whiplash?"

eric@fiddlehangout.com — Fri, 3 Apr 2026 16:57:49 CST

Whenever I notice that my intonation is off just a tad and can't figure out whether to roll my finger up or town the fretboard, I hear JK Simmons screaming at me to get out of his studio.

You may find that humorous if you've seen the movie. If you haven't see the movie, watch it sometime. It's one of the best music-themed movies and JK Simmons one about every award there is for Best Supporter Actor.

-l2t

How do you balance learning new tunes vs. polishing old ones?

eric@fiddlehangout.com — Fri, 20 Mar 2026 14:02:31 CST

I always find myself chasing new tunes without finishing the ones I know. Do you set a rule - master X tunes before adding more? Or just go where it's fun? Curious how other fiddlers approach this.

Do you track how much time you practice each area?

eric@fiddlehangout.com — Fri, 20 Mar 2026 08:52:01 CST

I've been trying to get more structured - writing down how much time goes into scales, tunes, bowing exercises, etc. Helps me see where I'm slacking. Anyone else do this kind of tracking? What works for you?

How do you balance learning new tunes vs. polishing old ones?

eric@fiddlehangout.com — Fri, 20 Mar 2026 08:51:52 CST

I find myself always chasing new tunes and never quite finishing the ones I already know. Do you set a rule - master X tunes before adding more? Or just go where it's fun? Curious how other fiddlers approach this.

Left Hand - 3rd Finger Usage

eric@fiddlehangout.com — Thu, 12 Mar 2026 07:50:45 CST

I've been working on trying to get better positioning of my left hand while playing. This would include holding my hand higher on the finger board, curving my fingers more, and mostly trying to raise and lower the fingers from the knuckle joint so they come straight down on the string... trying to hit the strings with the tips of my fingers as opposed to the fat meaty pad part of the finger. And also trying to avoid pancaking my wrist (keeping it straight). All challenging. One issue I'm having is getting the 3rd finger (ring finger) to move from the knuckle. I've been doing this finger tapping exercise where the left hand holds the bout of the instrument and you individually tap each finger. First and second fingers are fine. When I get to the 3rd I can not get it to move from the knuckle. Part of me thinks it's a brain thing ..... it's probably also a muscle thing....brain/muscle thing. My pinky moves okay (not great) but okay, not the same issue as the 3rd finger.
I'm just asking if this is kind of a common issue for new players and if there's any exercises you could suggest.

Thanks a lot.

John

seconding

eric@fiddlehangout.com — Mon, 9 Mar 2026 14:49:43 CST

Yes, we did have a recent discussion that included a lot about seconding the melody being played by the lead fiddler. It was very informative (IMO), and worth reading through it again (I did). Found here: https://www.fiddlehangout.com/topic/60218

But the reason for this is not to rehash the subject (but there's room for it - if you have comments - please do), but to say - I spent the last weekend at "Breaking Up Winter" in Lebanon, TN. Trisha Spencer and Howard Rains were there putting on workshops, lectures, and a concert (along with others). One of the workshops was offered by Trisha. The focus was on seconding and how she teaches it. Very interesting. It kind of echoed a lot of what Dan Gellert had said in the attached post. Some of it here:

quote:

Originally posted by Dan Gellert

Hey. Thank you, Tony! I ought to check FHO more often.

I started playing second by sawing the chord changes on the bass strings, based on Cajun style, and a few other sources.. I'm remembering some recordings of John Summers accompanied by a fiddler whose name I forget. I think Frank George also played second to Summers on the recordings they did together.

Anyway, whatever I can do as far as seconding or harmony grows directly out of that. From 2-note partial chords I got to working in various rhythmic ways of arpeggiating around the notes in each chord, often winding up doing an outline of guitar bass-chord backup (or the bass side of an accordion). Using the same bass runs and/or passing riffs I'd use on a guitar or banjo added another bagful of harmonic possibilities.

Making a 2nd part for a particular tune, I'm listening for where the phrasing and the melody can handle my throwing in a big chord, or a beat or two of detailed harmony. I choose one, and figure out what I want to do with just that one riff, sometimes by slowing it way down and singing the lead and playing along. On a lot of tunes, one or two specific riffs or notes is enough, and the rest of the time I'm keeping time noodling on the chord notes, trying not to crowd the lead too much, especially if I'm just playing a straight duet with another fiddle (no other accompaniment).

Hope that makes some sense.

******************

And at the tail end of the thread he also mentioned a book being offered by Trish that I thought would be worth repeating:

Originally posted by Dan Gellert

Just realized... Someone mentioned Tricia Spencer, but no one brought up her unique and excellent book, a significant portion of which is about playing second!

https://www.spencerandrains.com/product-page/the-fiddle-garden

I bought the book while we were at the workshop. Good information. It's going to be a little harder for me - because the instructions / exercises are written for folks playing in standard. The principles are still the same - and has inspired me to continue in this direction. Heck. I might even decide to use this as an excuse to begin a "standard" journey, just for seconding (for now). But a lot of what she said - caused me to remember what Dan had mentioned (above) and made my light bulb get a little brighter.

Thanks again to Dan for sharing and a shout to Trisha for a great workshop!

ear Protection!

eric@fiddlehangout.com — Mon, 2 Mar 2026 15:38:00 CST

Does anybody use ear protection at jams/sessions?

So, yesterday the pub was very crowded and loud. People were playing loud just so we could hear eachother. And, I was sitting next to a brand-new full set of pipes with an enthusiastic player on the other end. My ears didn’t feel right afterwards … it’s slowly fading away, but that’s pretty scary!

Thinking about keeping g some ear plugs in case for super loud sessions…
anybody have recommendations for something that won’t totally “mute” other people and myself?

Thanks thanks!

Do you ever just get tired OF playing your fiddle?

eric@fiddlehangout.com — Sun, 1 Mar 2026 13:08:21 CST

Well?

Sally in the Garden...

eric@fiddlehangout.com — Thu, 26 Feb 2026 18:13:21 CST

...just thinkin' 'bout that one a lot here lately. Who plays it? I never did much but I did put it on YouTube once from my multitrack recording thing. I keep being reminded of how much I love the versatility of what modern (and post modern?) people call Nashville Shuffling...how versatile that feels to me...how it feels like the mother of all bowings, the final bowing solution, etc. Anyway, I can't play these days...hardly ever, but I have been imagining myself playing Sally in the Garden, and all that N. Shuffle could do for me with that one. I probably did rely on it heavily the time I played it for fun. Can't remember now and really can't spend a lot of time lookin' for youtubes either. Just sayin'...just soliloquizing my thoughts on the combo of N. Shuffling and Salliy in the Garden...and one day I might try it. Won't have any backup, though, because I can't multi track record, but I'll do a lonesome back porch version...lol...and nobody'll hear it except for the local birds and Chihuahuas, I guess. But I do often wonder how far out the music vibes go when they dissipate...how many universes do they travel...silently, or noisily...and how do they change shape as they travel on...what's that do to our long forgotten, once-played tunes as time warps them? Don't know. I just try to do as good as I can with 'em...just in case I ever run into them again some time, or in case some other far away civilization runs into them...lol...I mean, ya just never know where yer Sally in the Gardens could end up.

how do I fix my bad bowing

eric@fiddlehangout.com — Thu, 26 Feb 2026 08:29:25 CST

I've been trying to learn for quite some time now. Sadly, I still cannot play anything cleanly or consistently. Initially, I watched videos and read books showing how to hold the bow, and how to bow. Then I took offf trying to learn a few tunes. Then I kept adding tunes. Now I know several tunes, but I cannot play any of them cleanly, nor consistently. I finally realized that my bowing is terrible. So, prior to practice, I have started doing several long slow bows on each string, and on pairs of strings. I also run thru a few scales with my right shoulder up against a wall. I only started that 2 days ago. I suspect that it may already be helping me to keep the bow centered between the bridge and fingerboard a little better. But, I still find that I cannot play notes as cleanly and clearly as they should be. So, I'm asking for any advice or tips on how to bow more cleanly and to be more consistent. Reference to recommended online videos would be appreciated also. I assume that I'm going to need to focus on drills and excercises daily to fix this. I'm just hoping that some of you can save me some time , and point me in the right direction

Chin rests

eric@fiddlehangout.com — Wed, 25 Feb 2026 08:14:04 CST

I'm curious.Is the shape and size of all chin rests similar. I'm trying to learn on an old strad copy. I've had 3 of them, and I've never found one that feels comfortable, unless I hold the fiddle much higher and off to the side, than is comfortable for me to play. Do I just need to get used to the old ones, or is there a simple fix?

Ragtime Fiddle

eric@fiddlehangout.com — Tue, 24 Feb 2026 08:52:54 CST

I just stumbled upon this little youtube video:
youtube.com/shorts/CWQiy_8Pm88
Does anyone know, which tune she is playing? I would love to learn it and check out other versions of this rag.

I play old-time fiddle and I'm trying to get more into Ragtime playing now. Do you know any good sources where I can learn more stuff like that? And maybe find some lessons, exercises, bowing patterns etc. I'm living in Germany and there are no violin teachers out here, that know anything about stuff like that.

So far the Ragtime-tunes I can play more or less comfortably are: Chinese Breakdown, Pig Ankle Rag, Stone Mountain Wobble and Stones Rag. I would really love to know more about this style.

slur string switching - problem with sound

eric@fiddlehangout.com — Tue, 17 Feb 2026 10:26:16 CST

I've had issues with slurs that cross strings, primarily (maybe only) from the A to E string. Frequently, when bowing for example 4 notes with 2 on each string, when I do the string switch, the E string will just not make a sound - bow just slips across. No problem when just bowing on the E string. Adding rosin doesn't fix it. Increasing pressure on the bow doesn't sound great.

I find this happening on multiple fiddles with multiple bows, so not a one-off.

Is this common, or just me? Any tips?

The Chop Technique: an Online Survey! Deadline: Feb 20, 2026!

eric@fiddlehangout.com — Thu, 5 Feb 2026 09:11:36 CST

Greetings, All You Frablyous Fiddlers.
Darol Anger here. I'm hoping your fiddling trajectory is mostly up.
I’ve got a request for all you fiddlers who either chop a lot, or sometimes, or maybe have thought about it occasionally.
My fiddling friends Casey Driessen and Tracy Silverman and I are curious about the current state of chopping in our vast community of fiddlers, violists, and cellists of all musical genres.

Who’s doing what, how much, and is it a useful technique for you? Has it worked out? Fun? too hard? Do you hate it? Totally irrelevant to your mission? Those kinds of questions. Filling in your name is optional, but we’ll need an email address

We’ll be presenting our results ( ANONYMIZED, OF COURSE! ) at the 24th annual American String Teachers’ Conference in San Francisco in late February, so we would love to get your info compiled by Feb. 20 ! Please try to get this done this week! Preferably tonight! How well we know these kinds of tasks can get away from us in the hurly-burly action-packed world of String playing.
We would SO appreciate it if you would fill out this chop survey! We will share the general results publicly on each of our websites after we present them at the Conference.
Here’s the URL which will allow you to fill it out online.

https://docs.google.com/forms/d/e/1FAIpQLSdO_L5FDoN7iSR449jpgHeJdWWQpaawsnrO7LlqK6MWpt4msg/viewform

Bowing patterns and correct bow direction

eric@fiddlehangout.com — Sun, 25 Jan 2026 13:04:19 CST

I've been using the basic Nashville shuffle in many of the tunes I'm playing and have been fairly satisfied with the results for a newbie. Looking further into rhythm and various other bowing patterns, I'm getting to understand the importance of emphasis of the beat and I'd imagine that this means you want to be bowing in the same direction for those beats. I'd imagine a good player could emphasize a beat with either an up or down bow, but they probably would prefer one over the other and plan their bowing accordingly. Having a pattern where the emphasized beats (assuming a steady rhythmic pattern) are all in the same direction would naturally have a lot more drive.

Am I thinking right here? If so, how best do I get this to come naturally?

I've struggled to really get a solid feel to Angelina Baker using the Nashville Shuffle, and I think it's due to the emphasized notes switching bowing directions frequently.

Bow Hair, Bow Angle, My Luthier, a Mirror, and Me

eric@fiddlehangout.com — Sat, 24 Jan 2026 08:16:16 CST

I was working on a slow air with long bow strokes recently, and my bow seemed to always skate, and sound horrible, at a certain spot, about a third of the way from the tip. I kept slapping rosin on, to no avail, so I decided my bow must need a re-hair. Took it to my luthier, and he was not convinced that the hair was the problem. After considering possibilities, he wanted a demonstration, so I played a few long bow notes, and the bow obliged by skating at the usual spot - and he said, "You're pulling the bow back at that spot." I couldn't feel myself doing that, but he was seeing it. It was a bit of a chicken-and-egg matter: was I pulling the bow back because it was skating, or was it skating because I was pulling it back? After some experimentation, I concluded - he remained tactfully non-committal - that the problem was me (yet again). Went home and sneaked my wife's long mirror away, and went to work on technique. Now, here's a curiosity: I find that when I watch the bow-hair move on the strings, what looks to me like a 90 degree angle is not, according to the mirror; what looks to me like about a 75 degree angle appears in the mirror as a 90 degree angle. Just thought I'd pass that along, for anyone else who's dealing with these kind of issues.

Group Playing and Loosing Your Place

eric@fiddlehangout.com — Wed, 7 Jan 2026 06:37:28 CST

I’ve been playing for a year and half and for the past 4 months or so I’ve been playing with 6 other people once a week (2 banjo players, 2 guitars, an elex bass, and a mandolin and myself on fiddle). We all are, basically, around the same skill level (although one guitar player and myself are probably the least experienced of the group). On the positive side, I’m really benefitting from playing with others. Especially when it comes to bowing background accompaniment on the tunes we play. I enjoy finding what notes go well with what others are playing. I “use my ears” to pick what to play, in the moment. So not necessarily the melody, but more harmony. It may not sound right-on at first, but I try to adjust quickly until, I feel, what I play is a good fit and enjoy playing the remainder of the tune. Where I have troubles (and this is where I’m asking for any suggestions, thoughts, experience from you all)……. We go around the circle and everyone has their chance to pick a song to play. When it comes to my turn, I'll pick a song I’ve been working on and which I feel confident at playing. When I’m practicing, by myself, I can play this song's melody fairly well (for my skill level) all the way through and it brings satisfaction (Whiskey Before Breakfast, for instance). However, when in the group and I choose this song as my choice to play and I’m taking the “lead” on it (playing melody), we all start playing, all is going well…. But then I just totally loose my place, and things break down… like a brain freeze. The other’s keep playing (we’re a sympathetic group) and I try and find the “on ramp” to get back to my place; sometimes successfully, other times not so much. I’m not the only player in our group who experiences this so I imagine, “maybe”, it’s a common occurrence. But I’m asking for any suggestions about how to overcome this.
Thanks very much for any thoughts.
John

E tuning?

eric@fiddlehangout.com — Sun, 4 Jan 2026 11:37:35 CST

OK, I usually use my capo. (The one between the thumb and middle finger)
So:
E string to F.
A string to B.
D string to E.
G string to A.
Is that too much?

Or, E, B,F#, C#?

New Years Fiddle Resolutions!

eric@fiddlehangout.com — Thu, 1 Jan 2026 11:48:46 CST

Hey everybody!

I’ll let you know upfront that I am a professional fiddle player and teacher. I’ve been a member of fiddle hangout for well over a decade and have posted videos here over the years. This post is to promote online teaching that I offer and does include a free option.

Growing up, I was very fortunate to have a family that supported me doing music as well as many great teachers. I was also the recipient of much generosity in the way of discounts on lessons, scholarships, and the ability to do work studies to pay for my place in different programs that I attended. Without that help, I would not be anywhere close to where I am today.

Quite often when I get messages about lessons, folks end up not following through. Usually because of time or money. I wanted to create a resource that was convenient for people with busy schedules and was more financially approachable.

To do this I’m using the Patreon platform. It is a website and an app, it is really user-friendly. First, you can join as a free member. I post free lesson content throughout the year, and I just started offering this a couple of months ago. The free content is not sample content, it’s not lower quality, it is a full detailed lesson on fiddle tunes. Usually they are 30 to 40 minutes long and include an overview, detailed teaching of all parts of the tune, a left-hand close-up from the players perspective, and a breakdown of bowing.

I also have four paid membership. tiers ranging from $5 to $40. Features throughout these different tiers include multiple lesson videos per month, monthly Q&A sessions, the option to request lesson topics, and you can even submit short playing videos to receive feedback from me.

If you are interested or know someone who would be, you can check it out here:

patreon.com/masonwright

You can also learn more about me at masonwrightmusic.com

I hope everyone has an awesome new year! Happy Fiddling!

-Mason

bow placement

eric@fiddlehangout.com — Thu, 25 Dec 2025 10:28:13 CST

A background for the discussion:

I've seen folks play close to the bridge, over the fingerboard; some with the bow tilted toward the fingerboard and others tilted toward the bridge; at the tip and at the frog; with lots of pressure and hardly any pressure; with their grip over the frog and with their grip half way up the bow --- and everything in between.

I'm sure some of it is subconscious and some of it is a deliberate choice. How do you handle your bow / bowing?

Now... I'm not asking for a lesson on what is the "correct way" - nor am I asking what is the "best way". I know there are opinions that will want to carry the discussion that way. But I would be surprised if someone here didn't already know those things.

I'm more interested in what "you" do and why. It doesn't matter how conventional or unconventional it might be or sound. What are you expecting to hear? Is that working for you?

Is it the musician or the fiddle that is the problem?

eric@fiddlehangout.com — Fri, 19 Dec 2025 12:34:54 CST

My granddaughter has been playing a violin since she was four years old. Now, she is fourteen. About 5 years ago I gave her a fiddle that had been given to me and that is the instrument she has played. She sounds pretty good and is a big hit at her recitals...even played that instrument in the school orchestra...
THEN,
the instrument came up with a top, center seam crack.
I took the instrument to our local luthier and he made the necessary repair. A day later I returned with the instrument and said I'd like him to give it a new bridge and tailpiece. He refused to make any further repairs because he said the instrument was of too low of quality... When he removed the top he found that there were no corner pieces, and that the bass bar was virtually non existent, just a little extra wood left under the top when it was made. So, I made repairs myself.. new bridge, new tailpiece, repaired nut, new strings and a set of used but good Perfection pegs.. Know what? He was right..I can't make the instrument sound very good..
My point is.......MY GRANDDAUGHTER PLAYED IT FOR 5 YEARS AND SOUNDED GREAT!!! ( in a grandfather's opinion)
Have you ever seen a good musician make a poor instrument sound good?

iPad recommendation

eric@fiddlehangout.com — Sat, 6 Dec 2025 09:39:07 CST

Maybe not exactly the proper forum for this question but I’ll ask. I’d like to get an iPad for just music stuff… keeping sheet music, soundtracks, notes to self, and the like. I’ve narrowed down my choice between 11 inch iPad Air with M3 chip or an 11 inch IPad with A16 chip…. Both128 GB storage …I’d think that would suffice as far as storage. I don't want / need to get more power than what I'll actually use and keep the price within reason. Anyone have any thoughts/experience with either of these models? Thanks!

Recommendations for resources for fiddling in cross tuning

eric@fiddlehangout.com — Fri, 5 Dec 2025 08:07:34 CST

Hello all. I've been playing the fiddle for about a year now and absolutely love the instrument. However, the physical challenge of it has taken a toll on my left hand and arm, which already had problems. I've been doing my best to get over these problems, but they are hard to shake, so I would like to make some fundamental changes, temporarily at least, to ease the stress on my hand.

Cross tuning seems like a good option. What tunings are easiest on the hand. My main problem in standard GDae tuning is the index finger having to bend so sharply when doing some double stops when the ring finger is on a string and the index finger is on the next string back, like when playing the C-chord shape with ring on C & index on E, 4th & 3rd string. Another shape that is hard on my index finger is the one where the index is on the A and middle on the F#, 4th string & 3rd string respectively.

Are there cross tunings that allow me to avoid such contortions?

Are there song lists for the various tunings?

Any other related help for these tunings will be much appreciated.

different versions of the same tune

eric@fiddlehangout.com — Wed, 3 Dec 2025 10:07:29 CST

If you have spent any time listening and learning tunes / songs, you have probably discovered that a lot of times there are different versions of the same tune. And a lot of times - both versions are really good. What do you do?

I learn both (if I like both). And then enjoy listening to the comments of the session mate's afterward. ( trouble maker) I have found that most of the time there is a reluctance to playing the more "obscure" version. I think it has to do with the "element" of confusion for having a common name more that a choice made over how good things sound. WE'ver kidded about changing the names - just so....

Some are completely different tunes - others, the changes are more subtle. But even the subtle ones, if you didn't say the name - the associate would not be made. But once the name is offered - the association is more obvious.

Snake Chapman is guilty of doing that (Johnny Don't Get Drunk, Brushy Run) . I have also learned a number of Bob Townsend tunes that are like that too. (Booth Shot Lincoln, Corn Stalk Fiddle, Fire On The Mountain) Then there are the 3 part tunes that were originally only 2 (Cherokee Shuffle, Cumberland Gap, Lost Indian). Oh yeah - then there are the ones that somehow had minor chords substituted for major chords when "there are no minor chords in old time" (Josie-O - and others)

Things that make the heart glad.

to dictate or not to dictate - that is the question

eric@fiddlehangout.com — Mon, 1 Dec 2025 17:01:47 CST

You should obviously know - this will not be all that could be discussed. And it should probably be broken up in to more than one topic. Be that as it may...

This should work well with "startin over" and "singing and playing" if it is understood as _____.

The comments are aimed at old time more than another genre. And I am certainly not an expert. So - based on recent comments, I'll offer this for discussion / debate. "Thou shalt..."

Find the tunes that you like.
Do your best to play what you hear.
If you hear someone doing something you like - that you can't do (yet) - ask them how they're doing that (if you can).
If you're curious - find and listen to the original sources - AND other versions (informed). Note any difference - decide the importance.
Work on what you want to play until you are satisfied that you can at least play the tune - solo.
If you can, play it with others - listen as the tune is being played and be prepared to try to make complimentary adjustments.
If you're leading the tune and feel compelled - introduce the version you learned - how it might be different, why you like it.

Listen - but don't obsess over what others have to say about what you are doing "wrong". Consider it - and decide for yourself. There is no accounting for taste. Please yourself first - change when you feel the need. And if it's not working - don't force it. Move on.

If it is a song - learn to sing the lyrics from the beginning - as you learn to play the song. Waiting until you have learned to play it may mean having to relearn what you play to make the singing work (phrasing).

**** And as a bonus - because we know bowing pattern discussions are always "a hit".

Bowing patterns are certainly present in old time tunes, but that does not mean you "have to learn prescribed bowing patterns" to be a good old time fiddler. If you learn them, it can be a help in the beginning. But understand - it can also become a trap if you think every tune has to include a prescribed bowing pattern. The truth is - patterns are in the rhythm and phrasing of every tune. So, in some ways - there are as many patterns as there are tunes. Learn the tunes and you will become familiar with the appropriate patterns - naturally.

And now - you are invited to tear it up... enjoy.

Getting better at fingered double stops: exercises or tunes

eric@fiddlehangout.com — Mon, 24 Nov 2025 19:45:53 CST

I've been working on improving my technique the last few years. My successes have been getting better at playing in higher positions and flat keys. I've gotten better at fingered double-stops, but still have a long ways to go.

Some years ago I bought the Josephine Trott Melodious Double-Stops book. But I really struggled with the exercises / etudes. But I've gotten better in the meantime. So while they are still not easy, they are no longer completely frustrating. So I'm thinking of giving it another go.

The alternative or complementary approach is to just play a bunch of tunes with double-stops and gradually get better over time. That's what I've done so far.

What works better for you? exercises or carefully chosen tunes?

singing and playing

eric@fiddlehangout.com — Mon, 24 Nov 2025 11:41:07 CST

How many of us are singing songs while playing fiddle? Is that a desirable "goal"?

I know it probably doesn't have a place at dances, but shouldn't it be a part of the "old time fiddle tradition" too?

What would be your advise?

Yes, I have opinions...

Best Roain

eric@fiddlehangout.com — Thu, 6 Nov 2025 05:17:35 CST

I have always used the cheap box rosin. But been reading on different rosins and was wondering what would be the best for a intermediate player. Also, if one rosin is already been used, does it affect the bow by switching rosin?

It's not me! It's the bow!

eric@fiddlehangout.com — Tue, 28 Oct 2025 08:03:09 CST

Bows make such a difference! My bow is in the shop for rehairing and I'm playing on my backup (bow that came with friend's attic)

My main bow (carbon fiber wrapped in wood) is stiff and light, and feels nimble and easy for fast string crossings. My backup bow is all wood and heavier, and it feels 'floppy' in comparison...it's hard to cross fast and clean without getting whispery noises. It feels like playing with a stick of licorice (very exagerrated, but it gives me a weird floppy feeling).

On the other hand, this backup bow does beautiful triplets! Suddenly they were rolling out easily without effort...fat crunchy lovely triplets, with perfect timing. My other bow (maybe because light?) tends to skitter and slide on the triplets...I thought it was just because I needed to practice tripletting more.

So I can guess I can say - "it 's not me, it's the bow!"
But seriously, I've been startled by what a difference the bow makes.

new podcast: The Old-Time Fiddler

eric@fiddlehangout.com — Sun, 26 Oct 2025 09:19:35 CST

Hey Fiddlers!

I'm excited to announce that I've launched a new podcast-style show on YouTube called The Old-Time Fiddler. In it, I interview my favorite old-time fiddlers on the scene today, and ask them about their career, playing in jams, and playing for square dances. The first episode is out now, and features the amazing Libby Weitnauer:

https://www.youtube.com/watch?v=I_oFiJGTmEA&list=PLNJ7emyqu96jE64JLQyH_nSRErDqcVm-H

The next three episodes will feature interviews with Sophie Wellington, Sami Braman, and Stephanie Coleman. I hope you'll consider watching!

~Matt Brown

Strategy for Learning A New Tune

eric@fiddlehangout.com — Fri, 10 Oct 2025 08:17:28 CST

When I embark on learning a new tune (currently working on Red Haired Boy) I find myself first just trying to just learn the notes. My biggest challenge, now that I've removed the training tapes (frets), is trying to finger the note correctly. I've even been playing with the tuner on to check my finger placement to try and train my ears. With all this going on, I (at first, I suppose) don't pay too much attention to trying to capture the melody so much. Once I learn the note structure I turn my attention to trying to capture the melody. My question: is this typical of learning a new tune...... or do you experienced players try to learn the melody at the same time you're learning the notes. Maybe since I've only been playing a short while (little over a year) I'm going about it in a way that seems to work for myself).... but interested in hearing about how others actually go about learning to play a new tune.
Thanks a lot for your thoughts.
John

VENTURING OUT FROM THE KEYS OF G, D AND A

eric@fiddlehangout.com — Wed, 1 Oct 2025 10:15:49 CST

Greetings to All!

Outside of the keys of A, G and D....I have no idea what I am doing,

In fact, I have always ignored tunes outside those keys....they seem scary.

What is a good place to start if one wants a foray into those "strange" keys?

Any help is appreciated!

Tips for reducing left hand stress

eric@fiddlehangout.com — Tue, 30 Sep 2025 06:16:11 CST

A while back I switched from mandolin to dobro because of stress in my picking hand. I started getting picking stress on the dobro so I switch to fiddle about nine months ago. I'm making progress but have to take breaks for several days and limit practice time. The limiting factor is left hand stress.

What's bugging me is the left forearm just before the elbow. That's where the finger extenders end. There's one extender for the first finger and then another for the second and third fingers. That's what holds to fingers above the fretboard. I believe it's that usage that is causing the discomfort.

Anyone have any tips on technique to reduce stress in that area and/or any recommended exercises/treatments that will help?

-l2t

Fitting single guitar geared machines to a violin.

eric@fiddlehangout.com — Fri, 12 Sep 2025 08:29:16 CST

There are very cheap guitar tuner machines that can be fitted on a violin and work reliably .People mention the weight (as a bad thing) near the scroll but do not specify how much weight . The tuners fixed on a tailpiece are heavy too and very close to the bridge but that gets ignored. Well not completely ignored but not criticized much .
One shop site tells us about the weight near the scroll as if it needs a weight lifter to play but he`s got a whacking great watch on the same wrist . Now if he does not mean the weightlifter strength needed he might be talking about Tone or Resonance .So we need to look at the Cremona maker Edgar Russ where he tries a good violin from China and then saws off the wooden scroll to see if less weight makes it sound better. Surprisingly the violin sounds much worse . So far I have not seen an experiment where different weights can be attached to a scroll to see if a perfect scroll weight exists for each violin.
We all know that 4 metal tuners on a tailpiece will spoil the tone.
The weight of 4 single guitar tuners on the my scroll does not seem to have any negative effect on tone. The other side of this topic mentions the difficulty of using wooden pegs . Half of that is the peg itself and the other is the pegbox holes. Plenty is said about Reamers but little is said about peg shavers. Reamers are easy to use if you are careful. They can mess up a violin if you are not careful .
Peg shavers need more skill but you are only going to mess up one peg at a time until you find out how to use them . Most peg shavers shown can be examined carefully by magnifying the blades . They all seem to have a square end where the blade meets the peg . That square corner needs to be rounded to prevent splinters breaking out all round the peg . You need to have very sharp blades too .
It`s safer to correct a peg than to ream out pegboxes .
If a violin is old with outsize peg holes the guitar tuners can be fitted without changing the peg holes. The screws need tiny holes drilled with one mm drill bits. Getting the pegs in position can be tricky . There is not much room either side .The peg angles need to be compared left and right . I fitted thicker Octave strings to get some great cello sounds. The Peghead and Wittner tuners have tiny roller holes and Octaves may not fit them .
Great background peg knowledge and creation is seen on a Lute Peg making site .It`s an education .

Ian Walsh videos

eric@fiddlehangout.com — Thu, 11 Sep 2025 19:43:29 CST

Where are Ian Walsh's videos? They all seem to be offline now. I especially would like his version of 8th of January.

Accuracy in “Hitting” the Correct Note

eric@fiddlehangout.com — Tue, 9 Sep 2025 10:02:57 CST

I’m trying to wean myself off from the fret tapes and started removing them from the fingerboard (I started with the top one and recently removed the 2nd). I also started practicing with the tuner on all the time trying to achieve hitting the correct notes, or at least see how far off I am so I can adjust where the finger is placed. With that, trying to train my ears, as well. Not easy. My question is, do you always hit the correct notes when playing? Should I expect to always play the note accurately? I realize to play perfectly I should strive to hit the note accurately. Is that possible or just something to strive for?
Thanks.
John

Technique question

eric@fiddlehangout.com — Mon, 1 Sep 2025 12:25:31 CST

I'm sure RIch or one of you other classical guys will know this. Theres a technique that sounds like short statacco like notes, ascending, and what usually sounds (to me) like its a full scale. Very quick, like 1 or 2 notes in length. I'd like to know what its called and any tips on picking that up, I'd like to add it to my color pallet. It might be bouncing the bow off the strings; if it is, I'm doing it wrong cuz its not sounding like I want.

Lil help here? Show off a bit for an old ear-bound fiddler.

Grip and Speed

eric@fiddlehangout.com — Mon, 25 Aug 2025 08:28:34 CST

Sometimes BG and old-time jams play reels at speeds that are very fast for me. Those youngsters are quite speedy. So I’m working on playing faster.

I recently tried adjusting my bow grip to see if that would help. I’ve always played with my thumb under the frog and now I’m testing whether it might help to play with my thumb on the stick -- what I understand to be the more traditional way.

I understand that it’s difficult to alter established habits, but I figure that the never-ending task of learning to play involved some experimentation from time to time.

I know that many of the folks here are more accomplished fiddlers than I, so maybe you can give me some suggestions.

Whistling E, Bad Eratic Tone, Sorted!

eric@fiddlehangout.com — Sat, 23 Aug 2025 10:53:56 CST

Well it's getting better anyways.

I have recently been paying attention to the noise i am making with my fiddle. And have found that i need to play nearer to the bridge and at right angles to the strings, with the right bow weight, and not let my bow wobble about aimlessly, or bow "round the corner" over the end of the finger board. i am even getting rid of my constantly whistling E string by playing it with conviction nearer to the bridge and with the right amount of bow weight at a right angle to the string.

Mind.... it's only taken me about 3 or 4 decades of "getting away with it" before i am finally addressing the problem....i may even buy some fancy strings to celebrate!

Fiddle Lesson: Red Haired Boy

eric@fiddlehangout.com — Thu, 21 Aug 2025 13:04:50 CST

Hey everybody!

I’ve posted a new lesson over on my Patreon on one of my favorite tunes: Red Haired Boy.

My lesson format includes:

-detailed instruction on the tune

-time stamps for easy navigation

-slow play-throughs

-up close left hand play-through

Check out this lesson here:

patreon.com/posts/red-haired-b...join_link

Subscribe to my Patreon for more educational content! I post new lessons multiple times per month!

Slurring Notes

eric@fiddlehangout.com — Sat, 16 Aug 2025 07:15:08 CST

Hello..... back in April I had discontinued lessons with my teacher (wasn't really working out for me) and a couple of months ago started with a new teacher that I really like. Lately we've been working on "slurring" and she is trying to get me to not slur my notes (at least not slur them all the time or only slur them with intent and purpose). So I'm playing (or trying to play) one note with each bow stroke. But I was wondering if others could offer their thoughts on slurring. Do you think about slurring notes....or not slurring. Planning on it at certain places.... or just let it happen naturally. I listen to others play and it seems like they slur all notes while others seem like their notes being played are very distinct with hardly any melding from one note to the next. Just looking to hear what others think about slurring notes (or not slurring). Thanks.