Hector the Hero

[Chuck Naill]

A James Scott Skinner composition and one of my favorites,
http://www.box.net/shared/5x59zp347k

[Brent Hutto]

Man, every now and then you go through a run of dusting off some of my very favorites. This is another tune I really love, nice job with the tremolo mandolin second voice there.

[Chuck Naill]

Man, every now and then you go through a run of dusting off some of my very favorites. This is another tune I really love, nice job with the tremolo mandolin second voice there.

Thank you, thank you kind sir.:)

[Dave Hanson]

Look on youtube for a version by the Scottish fiddler Jenna Reid accompanied by by Dagger Gordon, best version I've ever heard.

Dave H

[Manfred Hacker]

Very nice, Chuck.

This was also week #40 over in the Song-a-Week Social Group.
http://www.mandolincafe.com/forum/group.php?do=discuss&group=&discussionid=1268

Some nice versions there, too. :)

[Chuck Naill]

Look on youtube for a version by the Scottish fiddler Jenna Reid accompanied by by Dagger Gordon, best version I've ever heard.

Dave H

Dave,

I have seen that one, I prefer a less classical violinist sound. Below will give you an idea of how the composer played

http://www.abdn.ac.uk/scottskinner/music/cd213a.m3u

[Jim Kirkland]

Very nice Chuck.

[Chuck Naill]

Thank you for listening and commenting , Jim.

[Brent Hutto]

As I understand it, starting about the time of Skinner there was a movement to bring more developed violin technique (i.e. like classical) to the fiddle music of Northeast Scotland. Some of the next generation of great Northeast fiddlers would work light-classical pieces into their concertizing and later still there were a few times famous violinists like Menuhin visited the area.

To me the thing that makes the Northeast style distinctive from most of the other Scottish (and Irish for that matter) regional styles is the violinistic flourishes they bring to their performances and the typically very high standard of technically clean playing. I do see how it could seeming lacking in grit or something to many listeners but it works for me.

Closer to home I would say a fiddler like James Bryan is probably the ideal of bringing a meticulously correct standard of technique to Old Time style fiddling without losing that authentic Old Timey groove and feeling. Some of Ms. Reid's generation of Scottish fiddlers may err on the too-clean side a little but frankly, the old recordings of Skinner err way too far on the scratchy side for my taste! There's funky and then there's out and out crufty tone and dodgy intonation that can grate on the ears of us "youngsters".:crying:

[Chuck Naill]

As I understand it, starting about the time of Skinner there was a movement to bring more developed violin technique (i.e. like classical) to the fiddle music of Northeast Scotland. Some of the next generation of great Northeast fiddlers would work light-classical pieces into their concertizing and later still there were a few times famous violinists like Menuhin visited the area.

To me the thing that makes the Northeast style distinctive from most of the other Scottish (and Irish for that matter) regional styles is the violinistic flourishes they bring to their performances and the typically very high standard of technically clean playing. I do see how it could seeming lacking in grit or something to many listeners but it works for me.

Closer to home I would say a fiddler like James Bryan is probably the ideal of bringing a meticulously correct standard of technique to Old Time style fiddling without losing that authentic Old Timey groove and feeling. Some of Ms. Reid's generation of Scottish fiddlers may err on the too-clean side a little but frankly, the old recordings of Skinner err way too far on the scratchy side for my taste! There's funky and then there's out and out crufty tone and dodgy intonation that can grate on the ears of us "youngsters".:crying:

Brent,

For me it is all about authenticity, tradition, and individuality. There was a time when a fiddler was a farmer, a teacher, a blacksmith, etc. They did not have 7-10 hours a day to practice or the means to attend a conservatory and rub elbows with great teachers. The result was one person's expression and interpretation of a melody.

Also, fiddle music has not always been spectator sport. There was a time when dance was king. Dance masters made a living traveling about giving lessions using those little "pocket" fiddles.

Lastly, when the standard becomes only the professionals, the amatures are not as likely to think much of their music. This is unfortunate. I read once where the late J.P. Fraley said that the advent of the radio into Eastern Kentucky caused some to be embarrassed about their music. There was a style of fidding in Eastern Kentucky which is all but extinct except for a few like Clyde Davenport who continue to play that way.

Everyone who has a desire to make music should be encouraged in their attemtps. Traditional music is making music, not selling music IMO.

[John Ritchhart]

Here's an early attempt late one night. Might have been one dram over the line. :redface:


http://www.youtube.com/watch?v=SV_kBcHqYCM

[Brent Hutto]

Chuck,

I'm with you. My own weak mandolin playing, at times, pleases me no end. And if I'm listening in "real time" and in person there's a lot of stuff sounds great that might "grate on my ears" sitting back with headphones on in my recliner.

It's really two different worlds. When it's in person you get to enjoy all aspects of the moment. Doubly so when it's ones own playing. But in a recording all you've got is the music in isolation. And in my case it makes me really sensitive to tone and intonation to an extent I might be when caught up "in the moment". Of course in the case of those old recordings of JS Skinner or Tommy Jarrell the recording technology of the day is quite unflattering to the fiddle's tone.

[Brent Hutto]

Here's an early attempt late one night. Might have been one dram over the line.

Nope, I think you got it just about right. Almost shed a tear for old Hector myself.

[Chuck Naill]

Chuck,

I'm with you. My own weak mandolin playing, at times, pleases me no end. And if I'm listening in "real time" and in person there's a lot of stuff sounds great that might "grate on my ears" sitting back with headphones on in my recliner.


It just might please others Brent. :grin:

One of my grand daughters and I were sitting on the front porch last Sunday afternoon and I was playing Solider's Joy on the fiddle. She climbed up on railing and asked "Pa, how long have you been playing the fiddle". I said, "about five years Caroline:. Caroline said, "Well, Pa, you have gotten very good in five years". She is already begging to take guitar lessons. Her mom, my daughter, told her that when she is eight she can take lessons.

BTW, I told her she could have my D-18 when she is 16. I can see a singer songer writer in the making. ;)

chuck