Canadian fiddle is the aggregate body of tunes, styles and musicians engaging the traditional folk music of Canada on the fiddle. It is an integral extension of the Anglo-Celtic and Québécois French[1]folk music tradition but has distinct features found only in the Western hemisphere[2] Due to immigration and cross-border commerce, Canadian fiddle is part of the American fiddle repertoire.
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Sea chanteys, ballads of sea-going folk, are a distinct influence apart from Highland Scottish Fiddle. Piano and fiddle is a prominent ensemble with guitar and bagpipe remaining popular. John Allan Cameron, son of fiddler Katie Ann Cameron, and nephew of the fiddle tune composer Dan Rory MacDonald was prominent in bringing the Celtic heritage to the forefront. Another influential musician is Sarah McLachlan from Halifax, Nova Scotia. A frequently mentioned Cape Breton fiddle player is Winston "Scotty" Fitzgerald.[3] Rounder Records began producing Cape Breton fiddlers in the 1970s.
Barry Shears
Jamie MacInnes.
Cape Breton fiddling is a regional violin style which falls within the Celtic music idiom.[4] Cape Breton Island's fiddle music was brought to North America by Scottish immigrants during the Highland Clearances. These Scottish immigrants were primarily from Gaelic-speaking regions in the Scottish Highlands and the Outer Hebrides. Although fiddling has changed considerably since this time in Scotland, it is widely held that the tradition of Scottish fiddle music has been better preserved in Cape Breton.
Dance styles associated with the music are Cape Breton step dancing, Cape Breton square dancing (Iona style and Inverness style), and highland dancing.
Cape Breton playing is highly accented, characterized by driven up-bowing. The tunes of other music origins (Irish, Canadian, French-Canadian, etc.) sound quite different when performed by Cape Breton players. The strong downbeat pulse is driven by the fiddler's heel into the floor. The pattern tends to be heel-and-toe on reels, the heel on strathspeys.
Cape Breton fiddle music is strongly influenced by the intonations of the Scots-Gaelic language, especially Puirt a Beul (mouth music) and strathspeys. The ornaments are adapted from those used on the Great Highland bagpipe. The ornamentation (cuts aka. trebles, drones and doubling) brings out the strong feeling of Cape Breton fiddle.
Quebec fiddle is a part of the Old time fiddle canon and is influential in New England and Northwest fiddle styles. According to Reiner and Anick,[2] the affinity between Anglo-Celtic and French fiddle music dates to the 1600s. Solo style predominated in the rugged frontier land where a small fiddle could be easily managed. Thus, cross tunings, drone notes and complex rhythms evolved to fill the gaps left in unaccompanied playing and this resulted in a highly developed style. Clogging was often the only available accompaniment, and, much as the aboriginal Métis fiddle style, percussive and rhythmic playing is notably developed in this style. As with the French speaking Cajun fiddle style, German button accordion created a fad which temporarily influenced the form, as did the eventual introduction of piano in the urban center Montreal.[5]
Métis fiddle is the style with which the Métis of Canada and Métis in the northern parts of the US have developed to play the violin in folk ensemble and solo. It is marked by percussive use of the bow and percussive accompaniment such as spoon percussion. The Meti ( /meɪˈtiː/; Canadian French: [meˈtsɪs]; Michif: [mɪˈtʃɪf]) people themselves blend First Nations, French, Anglo, Celtic and others. Fiddles were "introduced in this area by Scottish and French-Canadian fur traders in the early 1800s".[6] David Chartrand, President of the Manitoba Métis Foundation, is also interviewed in a 2006 documentary by John Barnard documentary and emphasizes that the Métis fiddle tradition is an aural tradition [7] which cannot be taught in schools. Meti fiddling has been analyzed by ethnomusicologist Lynn Whidden as featured in the film;[7] she indicates that meters can vary from measure to measure and is very percussive. Players use their feet and choke up on the bow to enable a very sharp bite. Some players, such as Sierra Noble, also plays fiddle in a modernized or blended Métis style which incorporates Celtic or country-pop influences. She has been known to play Celtic rock fusion, as in the Sierra Noble Trio with Ariel Posen on guitar and Bruce Jacobs on bass. T[8] In "A Note on Métis Music", Whidden emphasizes the French chanson and "Indian" derivation of the style and that they overlap and are indistinct.[9]
Much of Canadian fiddling is transmitted to new generations through oral tradition (aural tradition) at regional and national fiddler's meetups in Canada and the US.[10] The traditional authentic means of learning to play is based upon an oral tradition as with all folk music forms but it is not uncommon for musicians to learn by listening to CD's or by reading from material such as The Fiddler's Fakebook. Aside from instruction, the traditions are maintained by Old Time Fiddler's Associations throughout North America.[11]
Tim Chaisson Nathan Condon Cynthia MacLeod Richard Wood
Patrick Moran student of fiddle player Kelly Russell. Sliabh Luachra style
See also Quebec Fiddle, List of Canadian fiddlers
David Reiner and Peter Anick collaborated on collecting 66 tunes for Mel Bays' Old Time Fiddling Across America which outlines several influences on what they call Northeastern Fiddling Styles: Cape Breton, French-Canadian (Québécois) and Maritime.[12] Frank Ferrel, author of Boston Fiddle, uses the term Down East fiddle or Boston fiddle to refer to an eclectic blend of Irish, Scottish and Cape Breton (Canadian) styles.
Scottish fiddling American fiddle Irish fiddle Cajun fiddle List of Canadian fiddlers
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