fiddlerdi - Posted - 03/22/2008:  22:37:49

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I had posted this as a reply to another topic but I thought some of you beginners might find it easy and helpful. So here you go. I actually learned this from one of my 14 year old students. It had never occurred to me before and I thought it was brilliant!

One way to remember the keys and the #'s (this is the sign for sharps #) on your fiddle is by using the open strings as your guide. Start with your G String. The key of G ( your open G string) has one sharp. To know what note is sharp just take the letter of the alphabet that comes before G, which is F, ergo F#. The next key is D (your open D string) to know the sharps in the key of D you start with the F# that was on the G and you add the next sharp from the the D string (the letter that comes before D in the alphabet which is C) The key of D has two sharps, F# and C#. Now lets go to the next string, A and the key of A. How many #'s does the key of A have? It has 3. The sharps in the key of A are F#, C# and (what letter comes before A in the musical aplhabet?... G) It's G#. Can you use this method to figure out the key of E? What would the key and the sharps be if you had a B string on your fiddle? This is the one million dollar and a trip to Hawaii question....LOL
This actually is leading to you to something called the "Circle of Fiths" but you don't need to know all that to get started. This will help you make sense of that later.

FiddlerDi

FiddlerDi

Moved from Playing Advice to Music Theory -wormbower

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Edited by - OTJunky on 05/30/2008 17:34:36

amwildman - Posted - 03/22/2008:  23:14:32

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Basically the first string = first sharp. 2nd = second sharp, 3rd = third sharp, 4th = 4th sharp.

I'd answer the quiz, but I already know the answer so I'll leave it for somebody else. Unless, of course you're serious about the million dollars and a trip to the Islands.

wormbower - Posted - 03/23/2008:  11:42:19

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Excuse my diversion, but please take a look at this thread: Do we need the Music Threory Forum?. But don't forget to come back to this one!

Paul

Anything worth doing is worth doing poorly. -Faith Petric
The chief enemy of creativity is common sense -Pablo Picasso

dsreiner - Posted - 03/23/2008:  17:24:17

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Another use of the open strings and their interrelationships is to figure out the chords for common chord progressions (= sequences of chords that go along with a tune), such as 1 - 5 - 1, and 1 - 4 - 5 - 1, and 6 - 2 - 5 - 1. (The numbers refer to chords, using their position in the scale. 4 means a chord built off of the 4th note in the scale.)

This can help you back up other musicians, add double stops to your own playing, and play harmony to another fiddler, and even put together an instrumental break to a song.

For example, Wabash Cannonball in D has a 1 - 4 - 5 - 1 progression, meaning the chords are D - G - A - D. If you start with the open string that corresponds to the 1 chord (D), the next lower string tells you the 4 chord (G), and the next higher string tells you the 5 chord (A). This is true regardless of starting point -- the general rule is to go down a string to find the 4 chord, and up a string to find the 5 chord.

This works on fingered strings as well. What's 1 - 4 - 5 - 1 in the difficult key of Bb? Put your low first finger on the A string for the 1 chord (Bb). That same first finger a string lower gives you the 4 chord (Eb on the D string). That same first finger a string higher gives you the 5 chord (F on the E string). So you know that 1 - 4 - 5 - 1 in the key of Bb is Bb - Eb - F - Bb.

But there's more. If you can find 1, 4, and 5, go higher by a whole note on each string, and those notes will tell you the 2, 5, and 6 chords. That helps you find the chords in progressions such as 6 - 2 - 5 - 1 (common in rags and some bluegrass tunes).

So you can play very simple chords along with just about any tune with these steps:

1) Find out the key. Usually the last note in the tune, often the first, or ask a guitar player or other friend.

2) Find out the chord progression. There aren't that many of them in fiddle tunes! I listed 3 of them above, and there are lots of slight variations, such as 1 - 4 - 1 - 5 - 1 - 4 - 1-5 - 1. You'll also hear 1 - 7 - 1 (where 7 means the flat 7, down a whole step from the 1). After a while, your ear will recognize these changes. To start, ask or just try one out (see step 3).

3) Use an open string or any finger you want to locate the 1 note (such as C in the key of C). Then use the method above to find the 4 and 5 chords, and 2 and 6 if needed in the progression.

4) Just play those simple one-note chords in the background, and you'll sound ok. If you run out of strings on your fiddle using this method, just assume you have a low C string below the G string (which 5-string fiddles do have), and a high B string above the E string.

5) Once you know the progression, you can play more complex chords -- two notes instead of one. More about that some other time...

I've oversimplified in spots, but this approach works just fine. Sorry to put it all in words -- I wish we were together and I could show this in person. Of course, you could always come to Fiddle Hell...

Have fun,
Dave

Co-author, Oldtime Fiddling Across America
Author, Anthology of Fiddle Styles
Genial host of Fiddle Hell Massachusetts (next Nov 14-16, 2008)
Dad and fiddler for Reiner Family Band

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Edited by - dsreiner on 03/24/2008 08:41:43

wormbower - Posted - 03/23/2008:  18:00:39

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Ok, guys, on that note , I'm going to follow the instincts of the other mods and move this great discussion over to Music Theory. We can continue to debate the virtues of a Music Theory thread, but for now we have one, and that's where this belongs.

Carry on,

Paul

Anything worth doing is worth doing poorly. -Faith Petric
The chief enemy of creativity is common sense -Pablo Picasso

wormbower - Posted - 03/23/2008:  18:24:18

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It looks like Dave picked up on the Circle of Fifths (or Fourths) just where Fiddlerdi left off! What a fantastic thread this is. This is the first time that this music theory has started to click for me. How awesome it is that the fiddle is tuned in fifths. Uh oh, does this mean I can no longer cross tune?

By the way, I just started working on arpeggios for major chords (1st, 3rd, 5th), and discovered something useful (which I'm sure everybody else has known forever...). That arpeggio plays the first notes of "Michael Row Your Boat Ashore" or "Have Yourself a Merry Little Christmas."

Paul

Anything worth doing is worth doing poorly. -Faith Petric
The chief enemy of creativity is common sense -Pablo Picasso

mikey - Posted - 03/23/2008:  18:55:00

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I'm a fan of the circle of fifths right from the beginning. Its easy to remember, picture or, figure it out. Its also what I use for newbies and it seems more effective than any other approach.

MIKEY

fiddlerdi - Posted - 03/23/2008:  19:40:16

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Thanks Dave for elaborating! This is so good for you guys to help you understand how to play back-up. If you will take the time to read it and then DO IT on the fiddle you will get it really fast. This is the stuff that a lot of the folks in my monthly beginners jam want to learn. I wish someone had told me these things a long time ago. It would have taken a lot of the mystery out of how people were able to accompany so well instantly.
FiddlerDi

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Edited by - fiddlerdi on 03/23/2008 19:43:18

John Gent - Posted - 03/23/2008:  19:49:39

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quote:

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Originally posted by fiddlerdi
... and then DO IT ...

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But I don't want to LEARN it, I just want to KNOW it. Isn't there a way to do this without all the ... work?

- John

OTJunky - Posted - 03/23/2008:  20:09:51

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quote:

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Originally posted by John Gent

But I don't want to LEARN it, I just want to KNOW it. Isn't there a way to do this without all the ... work?

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When you go to bed at night, sleep with your fiddle under your pillow...

--OTJ
"I can barely fiddle on four strings. Why would I want five?"

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Edited by - OTJunky on 03/23/2008 20:10:17

fiddlerdi - Posted - 03/23/2008:  21:43:35

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Good one OT!
John, you only have to learn it once and it's for life. The good thing about theory is that it doesn't change.

FiddlerDi

amwildman - Posted - 03/23/2008:  22:00:57

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Maybe this is a dumb question, and a bit off-topic, but I'll ask it anyway. Why is it called "Music Theory" when much of it is proven fact?

BanjoBrad - Posted - 03/23/2008:  22:22:57

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What? You think it should be called "Music Axiom?"

=8^)

Brad

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mikey - Posted - 03/23/2008:  22:35:54

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"Theory" is also considered an accepted general principle, not just speculation based on calculations. Then again, in all practical terms, Keys such as the enharmonics are quite theoretical... at least I can't find any use for them, but there is always some jazz player or composer who might use them.

MIKEY

John Gent - Posted - 03/23/2008:  23:15:54

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quote:

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Originally posted by fiddlerdi
... you only have to learn it once and it's for life. ...

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Whew, THAT's good to know

Really, this is a topic I'm taking serious.

- John

DougD - Posted - 03/24/2008:  10:53:15

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Dave, some great "Tips n' Tricks" there! I have one minor quibble though. I don't think a single note should be called a chord, which is "the sounding of two (or more) notes simultaneously." Single notes are just notes, but if its the right one can be very effective. A small point, but I hope worth noting for learners.

Melangell - Posted - 03/24/2008:  17:15:33

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Doug, thanks for clarifying the chord vs. note in Dave's post. I'm not exactly a newbie at the fiddle but I was getting a bit confused. Now, it makes much more sense to me! I thought he was playing chords/ triple stops/quad-stops, etc... ( is there such a thing? Please don't tell me there is!! I'm still learning double-stops and I've only got four fingers to use! )

Great topic and super tips. I wish my teachers would be more proactive about educating me on these type of topics. I always seem to get a very curt explaination to most of my questions. Glad that I found this site.

Thanks Folks,
Lizzie

dsreiner - Posted - 03/24/2008:  17:35:07

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quote:

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Originally posted by DougD

Dave, some great "Tips n' Tricks" there! I have one minor quibble though. I don't think a single note should be called a chord, which is "the sounding of two (or more) notes simultaneously." Single notes are just notes, but if its the right one can be very effective. A small point, but I hope worth noting for learners.

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I did say I was oversimplifying a bit

Strictly speaking, you're right that a single note isn't a chord. However, it's a good start toward a two note chord, and it's very workable as "harmonic accompaniment." Maybe we should call it a "partial chord."

Here's some more practical advice related to this point. Before, we were talking about figuring out which chords to play as part of a progression. Now we'll talk more about how to play a specific chord, like a G chord.

Guitars, mandolins, banjos, accordions, pianos, etc. are able to sound many notes simultaneously, so they can play fuller chords than a fiddle can. A fiddle can just play two notes simultaneously (not counting pressing down hard to get three notes, or rapid string crossing patterns that get three or four notes.)

So what does this mean for a fiddler? Since you can't play all three of the 1st, 3rd, and 5th of the scale together (which is the usual recipe for a major chord), you have several options:

(1) Play any two of the 1st, 3rd, and 5th notes in the scale together. For example, to play a G chord, pick any two from the notes in bold: G A B C D E F G. Different choices are used in different styles. To give just one example, tighter chords (less distance between notes) sound more bluegrassy; looser chords and more open strings sound more old timey. And incidentally, the combination of 1st and 5th works for minor chords also.

(2) Play chords with one or two "color" notes, since the basic 1st, 3rd, and 5th notes are already covered by other instruments. For example, play the 3rd and the flatted 7th (B and F in the G chord example above) to create tension that pulls the chord down by a fifth (more on that at a later date!). Or, play the 6th and the 1st for a swingier feel (E and G in the G chord example above). It takes a while to get used to doing this.

(3) Don't play a full chord - just play a one note "partial chord" the way I originally recommended. I suggest this as a good starting point if you're new to chording. Not only is it simple, but it's also less cluttered and less likely to clash with any other backup that's going on. Nothing wrong with simplicity! Over time, one note "partial chords" based on the 1st note in the scale will help you towards options (1) and (2) above.

Have some more fun,
Dave

Co-author, Oldtime Fiddling Across America
Author, Anthology of Fiddle Styles
Genial host of Fiddle Hell Massachusetts (next Nov 14-16, 2008)
Dad and fiddler for Reiner Family Band

dsreiner - Posted - 03/24/2008:  17:56:40

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quote:

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Originally posted by Melangell
...
Great topic and super tips. I wish my teachers would be more proactive about educating me on these type of topics. I always seem to get a very curt explaination to most of my questions. Glad that I found this site.

Thanks Folks,
Lizzie

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You're welcome! I find that I spend a lot of time with my students on the topics below -- all of them a bit tricky. There is really no "right answer" to questions like these, only suggestions and possible approaches. The discussion in this thread has been focusing on question 5...

1) What are the common (and uncommon!) tunes that fiddlers play in a particular style or region?
2) What are the basic notes of a tune?
3) What bowing/accenting patterns or basic approach will fit a tune and make it come alive in a given style?
4) How do I play along with other people? How can I do this on tunes or songs I have little exposure to?
5) How can I tell what the chord progression is? What are good chords to play once I know the progression?
6) How do I add drone notes to tunes, and when should I?
7) What ornaments make sense to add to tunes? Where and how often?
8) What are some ways to improvise (within the bounds of the style)?
9) How do I jam? What are the rules for different types of jams, and how do I fit in (or when should I stay out)?
10) What are some of the approaches to writing new tunes?
11) What is fiddler X doing in this recording of tune Y?

Given the focus of this Forum, I'd suggest that there's a component of music theory (conscious or unconscious) in many of these questions.

Not too coincidentally, we have workshops on many of these areas at Fiddle Hell...
Dave

Co-author, Oldtime Fiddling Across America
Author, Anthology of Fiddle Styles
Genial host of Fiddle Hell Massachusetts (next Nov 14-16, 2008)
Dad and fiddler for Reiner Family Band

Melangell - Posted - 03/24/2008:  17:58:03

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Thanks Dave! I'm going to print your 'over-simplified' instructions just in case my middle aged brain forgets them :D
Lizzie

Melangell - Posted - 03/24/2008:  18:20:51

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Dave,
You certainly touched on many of the questions that I've asked my teachers many times. It wasn't until I began studying with a Scottish Fiddle champion, a much older man, that I got some answers and real education but even he could be a bit short at times. I think that some teachers have been playing so long that they have forgotten what it means to be ignorant . My classical teacher was Russian and had been playing since he was 5. Tell ya anything? The man was brilliant but he couldn't remember life without a violin. When he taught me the term, ' Retard'...I said, ' oh yeah, that's one I can definitely relate to!". :D

fiddlerdi - Posted - 03/24/2008:  21:21:13

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I thinik that the hardest thing for both my students and for myself too, is to take the time to think about the theory. It really requires some thought and careful consideration. To say that you don't want to know anything about music theory is to limit yourself as a musician. Just think if you said, "I don't want to learn to read, it's just too hard". You would miss out on many wonderful and amazing things. Take it slow, a little at a time and really try to apply it as you learn it. Think with your mind and play from your heart.

FiddlerDi

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Edited by - fiddlerdi on 03/25/2008 22:13:37

wormbower - Posted - 03/24/2008:  22:14:20

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quote:

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Originally posted by wormbower


By the way, I just started working on arpeggios for major chords (1st, 3rd, 5th), and discovered something useful (which I'm sure everybody else has known forever...). That arpeggio plays the first notes of "Michael Row Your Boat Ashore"

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With that discovery, I made myself a little ear-training exercise. I've been practicing "Michael Row Your Boat," playing it across two strings at a time (melody on one, drone on the other). It's a simple, slow, familiar melody based around that major arpeggio, and it's very easy to tell when my intonation is right (and even easier to tell when it's off! ). To check myself (ok, maybe it's a crutch), I've been doing it with my Center Pitch electronic tuner clipped to my scroll.

While MRYBA is a familiar tune, I have to admit it's not really one of my favorites. If any of you manly men feel the same, but want to do a similar ear-training exercise, note that the U.S. Marine Hymn ("From the Halls of Montezuma...") starts out with this same major arpeggio.

Paul

Anything worth doing is worth doing poorly. -Faith Petric
The chief enemy of creativity is common sense -Pablo Picasso

ladymuse - Posted - 03/24/2008:  22:37:45

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(recopied from \music theory\? down below - the power of " theory" that is applicable (even when you didn't know it!)
and why fiddlers might not gen into the same as chordal persons)

(See my homepage for "In defense of THEORY- you can't play without it!)
for those who who question why, or shy away from it.) A small snippet: ,,,because "THEORY" is a SCARY, (verboten), maybe 'not quite understood' word - it's airy fairy sounding - it smacks of "classical " (another uh oh! word!) - and yet we ALL execute by aural theory whenever we play! -
And possibly, some might avoid using that topic heading, either by association, or because they may not know that their question IS really a theory related thing - remember - they are looking thru the fiddle ->>>>

And now -
...snip... (Threory)
Take no offense please - it is simply a funny thing - - as I have two students I work with(coach) when they need it - and I have observed with them the - (hey just want to play - why do I need to know theory? )
_
and they BOTH misspelled it! - (and they can spell!) one of them mentioned that "theory in Physics" is easy - but theory in Music is a lofty Hieroglyphic upper- brain spiritual set of runes - so there Was a bit of back off of it - (misspelling like a phys manifestation of wanting to run away -)

We handled that, and one guy was blown away (once I explained how chords relate to fiddle - and had him play "tonic" notes against the melody (versus any note) until he suddenly realized that this "basic" (and why the word 'tonic' or 'root' was used - vs just Note of the chord was a good thing to know!
Chords threw him - but only because when he would play with someone, they had never explained WHAT a chord was - and that it works in every key !!!- and how the notes that make it up are STABLE! (not all over)

So now - he wants to learn to read, so that he can simply find out the basic notes (1-3-5-8) in any given scale, so that he understands what notes he can also play - (starting with basic keys).

Watching someone's eyes light up because of a simple definition - AND finding out it was "THEORY!" - well, he literally changed his tune! He's Jazzed!!! A slow "Star of the County Down", with him playing simple (by ear) arpeggios from a lead sheet - (chord letters & rhythm slashes) - Was the sweetest thing I have heard as harmony!
His face was truly amazing. (all screwed up concentration - Avid!)

It was a great little lesson - and he then wanted to go home to his unused tune books and "get his "Notes/chords down: (Keys of C, G AND D!! ) .So I am totally with you!

jen (ladymuse)

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Edited by - ladymuse on 03/24/2008 22:57:17

Melangell - Posted - 03/25/2008:  08:59:49

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I've always been the type of student that needs to understand the ' why' in all things and when a teacher tries to dismiss my curiosity and blow me off, I feel very frustrated. Theory, although not as much fun as just learning as song, has always been something that I've studied since day one and it's helped immensly in learning the music language. There is so much to learn and It seems overwhelming at times but I try to just focus on the lesson in that moment and not think too much about the future. I take a lot of notes and keep them with the piece that I'm studying for a quick 'reminder'/reference. I've noticed that quite often, what I didn't completely understand at one time, will just all of a sudden make complete sense to me at a later date during another lesson or while playing another piece.


I think the biggest mistake that all my previous teachers made when I started learning was not introducing me to scales. If I had learned the scales and the circle of fifths from the beginning, it would have made my understanding of music composition much clearer. I have a new teacher now, classically trained, and she has me practice scales for the first 15 mins before each lesson. I also make myself practice them every day at home. Since I have a good ear for music, it's important for me to learn the correct tone of each note. If I learn the wrong tone, I takes more effort to undo that learning.
I don't know what the standard time frame is for a lesson but I won't study with anyone who can't give me at least 45 mins. Many people think they must have a lesson per week and their budget won't allow for longer sessions. But, I decided that I would rather study for an hour every two weeks if necessary than to get hardly anything accomplished in 30 mins each week. The way I figure it, if I can learn how to read music properly and have developed proper technique, then I will be able to play anything. My classical teachers can look at any sheet music and play it perfectly. That's my goal! This is especially important in celtic music since there are so many different names associated with songs that I'm unfamiliar with and I don't speak Gaelic.

ladymuse - Posted - 03/26/2008:  18:24:45

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this is a great little thread for starters - so bumping to keep it active -

FiddleJammer - Posted - 03/26/2008:  19:30:13

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Loving the thread. Glad to see it <popeye imitation> resuscitated </popeye imiation>.

This is where a live human teacher or friend to demonstrate is a plus. Some interactive web sites are good at this, too. We can read and think about theory... that's all well and good. We can take our instruments and work out what we're reading about... an even better learning strategy. But, for some folks, having someone explain it and provide examples while we play the examples is the best.

For folks who may not know, the Fiddler's Fakebook labels modal tunes with modal key signatures. This has helped my understanding because I can use particular tunes to apply the theory behind a particular 'sound'. Understanding that modal tunes are different from the I - IV - V pattern is a good step towards catching on to an unknown tune by ear.

Just to make the point, you'll learn about theory better when you pick up your instrument instead of just 'thinking' about the theory.

Cheers,

Terri

tunelist, musings, and podcasts at
http://fiddlejammer.blogspot.com

dsreiner - Posted - 05/28/2009:  12:41:00

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Bumping this useful discussion up :-) to demystify chords for those who are interested...

Dave

Co-author, Oldtime Fiddling Across America
Author, Anthology of Fiddle Styles
Genial host of Fiddle Hell Massachusetts (next Nov 13-15, 2009)
Dad and fiddler for Reiner Family Band

whigski - Posted - 05/28/2009:  17:21:58

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quote:

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Originally posted by amwildman
Why is it called "Music Theory" when much of it is proven fact?

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Here, "music theory" refers to the theory that follows from the axioms that support western music. If you move to a different country, one whose culture relies on a different kind of scale, then you will, I think, need to learn "music theory" all over again.

I don't remember learning any facts in music theory that were really "proved",
and the facts one does learn (seem to) follow trivially from the axioms.

For example, that a chord consists of the first, third and fifth (note) of a major
scale is really a definition as opposed to a theorem. I'm not sure what you could
prove there without getting into human physiology. The "vague notions" of consonance and dissonance come to mind.

I know more about harmonic analysis (and Fourier series) then I do harmony,
so please feel free to make corrections.

Bill

whigski - Posted - 05/29/2009:  16:04:39

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quote:

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Originally posted by whigski

Here, "music theory" refers to the theory that follows from the axioms that support western music. If you move to a different country, one whose culture relies on a different kind of scale, then you will, I think, need to learn "music theory" all over again.

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Just curious how music theory of the western culture compares or contrasts with that of other cultures? Is anyone playing a fiddle with non-western scales (I guess not)? How about in the klezer genre, do they still tune GDAE?

Bill

FiddlPat - Posted - 05/29/2009:  18:06:40

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Fiddle is used quite a bit in Hindu and Middle Eastern music. I play around with the Hindu scales alot. North Indian Classical music uses Thaats, and South Indian music is known as Carnatic, I have a CD by Turku with the most beautiful Kurdish(LOTS of fiddle on this CD) piece on it, and you can hear how the playing is microtonal in parts. One of my favorite Hindu scales is the Bhairava, and I_believe_it's the same one known in Middle Eastern as Hijaz(Turkish spelling.) If not the exact same, it is close. Anyway, it's fun to play with and is 1 b2 3 4 5 b6 7 8. On the fiddle, if in A play an open A string, then Bb(low one), C#(high two), D, open E, F(low one),G#(high 2) A. That's the scale in an octave. I also like Purya Kalyan which is the same scale but with a raised 4th degree, where you'd substitute a high 3 finger for the normal low 3 in the preceding scale for a D# note instead of the D note on the A string. Once you get used to it, it is a fey, beautiful scale against the drone of the raga key, specially when you slide a b2 to the #4. In their parlance Bilawal is our normal major scale.

The Gypsies use a 'Hungarian Minor' which is a harmonic minor scale with a raised 4th degree. 1 2 b3 #4 5 b6 7 8(1 again). The only tune in the Western Canon I've seen this used is Reel Beatrice, a Quebecois reel that has an Italian provenance, and it's Ruthie Dornfeld's version transcribed in Stacy Phillips' book of American Fiddle Music. It's in the B part. Oddly enough, if you play that scale from the 5 to the 5, you wind up playing the Hindu Bhairava scale. The Phreygish, or Flamenco scale(which scale is used alot in Klezmer) is the harmonic minor scale(without a raised 4) played 5 to 5, instead of 1 to 1. It's 5th mode, in other words.

Don't confuse Phreygish with Phrygian, the 3rd mode of the regular major scale,,,but I think it is called that because of it's slight sonic similarity. That scale(Phreygish) is also real popular with modern rock/fusion/metal guitarists, too.

It goes 1 b2 3 4 5 b6 b7 1

PS none of the above speaks of microtones per se, though if you hear it played, in some countries, you'll hear microtones, too,,,but all of the above is just with the 12 tones of the 'Western' scale.

I would say that definitely Klezmer fiddlers tune GDAE.

Deep in the mountains of South Louisiana.
Tune the fiddle perfectly just, then lose your temper.

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Edited by - FiddlPat on 05/29/2009 19:37:39

harwilli55 - Posted - 05/30/2009:  03:05:35

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What a great topic to be at the top of the Theory page. This ought to be required reading :-D

I know I will be coming back to this thread often. The theory is presented is done with simple clear helpful writing. Although I have been playing other instruments for years, theory has eluded me, so I have been held captive and limited to only reproducing what I can read.

The ideas in these few postings will give me a clear direction to work in for many month's to come. Thank you fiddle vets for posting this. I definitely would like to see this thread continue on.

Harlan


Harlan

ironworker - Posted - 05/30/2009:  16:41:57

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harlan- great fiddling today. hope all went well at your next spot.
my wife was one of the bicyclists who came in while you were playing,
and said lots of regulars were there.
my time today with Mark was truly fine- a number of things fell into place re: bowing.
see you tomorrow.
michael ford