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The song came from a melody John Valentine Eppel heard Lee Edgar Settle play. Settle was a well-known ragtime piano player and the song he wrote and played, The Graveyard Waltz, was the actual melody for the Missouri Waltz. John V. Eppel claimed he wrote it but it was well known at the time that Lee Edgar Settle actually wrote the melody.
Old time fiddle tunes are derived from European folk dance forms such as the jig, reel, breakdown, schottische, waltz, two-step, and polka. When the fiddle is accompanied by banjo, guitar, mandolin, or other string instruments, the configuration is called a string band. The types of tunes found in old-time fiddling are called "fiddle tunes ...
Lester McCumbers Oct 9, 2008 Kim Johnson banjo, Gerry Milnes, guitar; Piney Mountain, full band, by prominent pedagogue Darol Anger; Sheet music for Yew Piney Mountain here; The Digital Library of Appalachia provides online access to archival and historical materials related to the culture of the southern and central Appalachian region. The ...
Reel music is notated in simple metre, most commonly either in 2 2 or 4 4. For example, the same reel Rakish Paddy is notated in a 2 2 time signature in O'Neill's Music of Ireland, New & Revisited, [5] but in 4 4 time in English, Welsh, Scottish & Irish Fiddle Tunes, [6] with no change to the note lengths.
This fiddle was passed down through the Walsh family in the early 1900s. Missouri fiddling is a unique style and repertoire of traditional folk violin playing practiced in Missouri, United States. Historian and fiddler Howard Wight Marshall has been active in its preservation and has published several full-length books on it.
In a jazz context, "waltz" signifies any piece of music in 3/4 time, whether intended for dancing or not. [5] Although there are early examples such as the "Missouri Waltz" by Dan and Harvey’s Jazz Band (1918) and the "Jug Band Waltz" or the "Mississippi Waltz" by the Memphis Jug Band (1928), they are exceptional, as almost all jazz before 1955 was in duple meter. [6]
Metis fiddling can be described as the incorporation of First Nations, Scottish, and French-Canadian rhythms, but with a unique Metis beat. [2] David Chartrand (president of the Manitoba Métis Foundation) was interviewed in a 2006 documentary by John Barnard, and emphasizes that the Métis fiddle tradition is an oral tradition [3] which cannot be taught in school.
The highest and lowest scores for the round are thrown out, leaving the middle three round scores to be added to a player's cumulative total (a perfect score for one round is 900). The judges are often fiddlers who have won the Grand Championship in the past, or fiddlers who are well known in other styles of fiddle music.