Be a good student.  READ THE INTRODUCTION

      The introduction to volume one of the Phillips  Collection of Fiddle Tunes  says that  the  sheet music is only meant to be  reference and was not designed to teach one to fiddle.   Because many beginners don’t bother reading the introduction (like me), they come away scratching their heads after playing the notes only to realize that it just doesn’t sound ‘old timey’.   Certainly the book does serve as a valuable reference.

     The introduction to another music book, O’Neill’s Music of Ireland, says that  the best players changed how they played and embellished the tune almost every time the played it.  Clearly, sheet music can only show how the tune was played that one time through.  The knowledge takes the pressure off for me.  Many of the tunes in that book seem very daunting to me.   I have always learned the ‘essence’ of a tune from the book and then played the tune with embellishments and bowing that is typical to me.  A beginner who didn’t read the introduction (like me) could come away being more intimidated by the music than is necessary. 

     A third important book introduction can be found in Garry Harrison and Jo Burgess’s book, Dear Old Illinois. In the conclusion to the introduction it is mentioned that the tunes can be played as written OR  they may be changed to fit the performer.  Garry and Jo probably made the same discoveries that were made in transcribing the Music of Ireland as mentioned above.   They probably found that clearly, there is no one way or ‘right way’ to play a tune.

     It would be interesting to have four or five fiddlers who play together , each put to sheet music their version of just one tune.  It would probably be surprising how different they are.  They could compile them in a  booklet and explain their differences in the introduction.   LEE

I've tended to read introductions, and gotten a lot out of them over the years.

It's still valuable to be able to play a tune as written to have an actual concrete starting point. Sheet music does provide a specific version of a tune. I dont think theres a law you cant change it anyway you want.

And of course its a tune book, not an instruction book.

Edited by - IdleHands on 07/02/2012 12:48:18

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Originally posted by leemysliwiec
 

I have always learned the ‘essence’ of a tune from the book and then played the tune with embellishments and bowing that is typical to me.  A beginner who didn’t read the introduction (like me) could come away being more intimidated by the music than is necessary. 

I've always seen this as a strong argument against those who "poo-poo" the fiddlers wanting to read notation as a way to learn new tunes.

Nope, I can't sight read. Not in my "training plans" (any more than patterns) - but I do have admiration and respect for those who are able.

edit to add ---  ahh....    yes, read those introductions! 

Edited by - tonyelder on 07/02/2012 13:01:46

It's funny. I used my excursion into fiddling as my opportunity in life to make myself learn to read music, just because of the relatively huge amount of written tunes relative to recordings. Im so glad i did it. Five years ago i was going real slow, now on simple tunes i can almost sight read up to speed. And more complex ones just take a little longer.

I didnt realize when i started how offensive that approach is to some, not like i care though.

Edited by - IdleHands on 07/02/2012 13:06:08

IdleHands.  I have some fiddlin' friends who refuse to learn anything about reading music.  While I admire their ability to learn tunes by ear, I think that they are just 'short changing' themselves.   I use sheet music to learn ABOUT a tune, then I use my ear and experience to learn how to play it.  I must admit, youtube has helped me learn tunes.  Tough tunes that my ear can't pick up on are easier if I can find a youtube version.  So, the video and the sheet music begin to work together for me.  My original post was meant to point out to beginners that fiddling is more than any music book can offer. LEE

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Originally posted by leemysliwiec

IdleHands.  I have some fiddlin' friends who refuse to learn anything about reading music.  While I admire their ability to learn tunes by ear, I think that they are just 'short changing' themselves.   I use sheet music to learn ABOUT a tune, then I use my ear and experience to learn how to play it.  I must admit, youtube has helped me learn tunes.  Tough tunes that my ear can't pick up on are easier if I can find a youtube version.  So, the video and the sheet music begin to work together for me.  My original post was meant to point out to beginners that fiddling is more than any music book can offer. LEE

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 I dont know how why it has to be such a contentious subject.  Of course its more than a book can offer.  the real value is what you put into it.

I think my aversion  is because about 95% of what I play on fiddle is with the fiddle cross-tuned. Just adds another layer of complexity to the mix. But ther have been times when I thought it would be smart to work on sight reading - vocally. I have confidence that I can eventually find a tune on the fiddle if I know what I'm looking for. And I still may decide to do that at some point.  mmm... naaaa, probably not. Too lazy.

There is so much recorded material available that I'll likely stay busy for a long while before I regret not learning.

I think I must have read that in the introduction to some book, some where. Yeah, ...must have... 

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Originally posted by IdleHands

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Originally posted by leemysliwiec

IdleHands.  I have some fiddlin' friends who refuse to learn anything about reading music.  While I admire their ability to learn tunes by ear, I think that they are just 'short changing' themselves.   I use sheet music to learn ABOUT a tune, then I use my ear and experience to learn how to play it.  I must admit, youtube has helped me learn tunes.  Tough tunes that my ear can't pick up on are easier if I can find a youtube version.  So, the video and the sheet music begin to work together for me.  My original post was meant to point out to beginners that fiddling is more than any music book can offer. LEE

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 I dont know how why it has to be such a contentious subject.  Of course its more than a book can offer.  the real value is what you put into it.

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I don't disagree with you.....THat is my point.  THe book can only do so much and some newcomers to music don't always realize that.  I didn't realize it myself.  Now I want to pass that realization on to others.  You apparently understand the limits of books. (that is a compliment).... LEE

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Originally posted by leemysliwiec

I use sheet music to learn ABOUT a tune, then I use my ear and experience to learn how to play it. 

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 That pretty well sums how I go about learning a tune.  If possible I will at least take a look at some sheet music just to get the melody right in my mind.  Usually by the time I'm on the 5th repeat I'm already playing it differently then the book says.  When I was first learning this frustrated me to no end, that the book couldn't tell me how to play like I heard others playing - but I quickly learned it would take 10 years to write down all the small 'additions' and 'variations' that are added and changed from one fiddler to another.  There is really no substitute for a build up of practice, experience & listening to others play to get your own 'style' going.

Can't say I've EVER read the intro to a fiddle book (hee hee)...Probably a good idea!  :)

The introductory PAGES to Garry Harrison's Dear Old ILL. reads like a doctoral thesis. I mean it is just jam packed & loaded with information that goes leagues beyond enrichment!

Since lots of music books don't indicate a lot of bowing directions (they're really just skeleton tunes), the intro. is where you'll get lots of that side information that fills in lots of the gaps that the main content of the book may have been light on.

The introductory PAGES to Garry Harrison's Dear Old ILL. reads like a doctoral thesis. I mean it is just jam packed & loaded with information that goes leagues beyond enrichment!

Since lots of music books don't indicate a lot of bowing directions (they're really just skeleton tunes), the intro. is where you'll get lots of that side information that fills in lots of the gaps that the main content of the book may have been light on.

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Originally posted by bsed

The introductory PAGES to Garry Harrison's Dear Old ILL. reads like a doctoral thesis. I mean it is just jam packed & loaded with information that goes leagues beyond enrichment!

Since lots of music books don't indicate a lot of bowing directions (they're really just skeleton tunes), the intro. is where you'll get lots of that side information that fills in lots of the gaps that the main content of the book may have been light on.

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Actually, your comment makes me wonder if the book WASN"t a doctoral thesis.  I'll have to ask him some time.  Have you ever read John Bealle's book about contra dance?  Only a doctoral thesis would have a whole chapter about the dance group's mailing list.   Garry and Jo's book certainly in thorough.  

I teach all my students to read music, always have always will

i tell my students to read the book not just the introduction.  The difference in approach between me and the author is insightful, as we all approach music slightly differently.  A week or two later I will ask them if they read it, then ask them some questions about what is in the book.  I usually know if they are serious about learning after that.  If you are not serious about learning then the ballgame changes.  You either will get to be or will get out.

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Originally posted by RobBob

i tell my students to read the book not just the introduction.  The difference in approach between me and the author is insightful, as we all approach music slightly differently.  A week or two later I will ask them if they read it, then ask them some questions about what is in the book.  I usually know if they are serious about learning after that.  If you are not serious about learning then the ballgame changes.  You either will get to be or will get out.

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Having them report back about the info in the introduction is a good idea.  I think I'll steal that idea.    While most of my students don't read music, they still can read the introduction and learn a little about how different compilers  view the tunes.   LEE

I concur with this;  I try to read every single word, on every single page -- 'specially the Suzuki books as they're in several languages and I try to teach the little ones some French and Spanish.  But very important..  After all, you paid for the book, so you might as well get as much from it as you can. 

A good introduction serves many useful purposes.  I especially enjoy one that conveys a sense of the history of the music, of a constructive, curious attitude toward the tradition.  And sometimes, they're just fun to read.  Please note, I'm a compulsive reader.  I've been known to read the page with the copyright information and the Library of Congress number.  I usually just skim the appendices, though.

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Originally posted by tonyelder

I think my aversion  is because about 95% of what I play on fiddle is with the fiddle cross-tuned. Just adds another layer of complexity to the mix. But ther have been times when I thought it would be smart to work on sight reading - vocally. I have confidence that I can eventually find a tune on the fiddle if I know what I'm looking for. And I still may decide to do that at some point.  mmm... naaaa, probably not. Too lazy.

There is so much recorded material available that I'll likely stay busy for a long while before I regret not learning.

I think I must have read that in the introduction to some book, some where. Yeah, ...must have... 

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Your comment about cross tuned makes the point for me about reading the introduction.  Volume One of the Phillips Collection has many tunes in the key of A.  Normally I would cross tune to AEAE for them.  It didn't seem to work well for the tunes.  IF I HAD READ the introduction when I first bought the book I would have learned  that, except for a few exceptions, Volume One was written for tunes that were normally played in standard tuning even if they were in the key of D or A..  He mentions that maybe some day he will write a Volume Three which will deal with cross tuned pieces.  My original post was meant to show my own error, demonstrated by not reading the intro first.  LEE