Old-Time Music for Beginners: An introduction to fiddle tunes and bluegrass for backup musicians
This tutorial offers the basic knowledge needed by players of the guitar, banjo, mandolin, ukulele, bass, piano, and other instruments to successfully back up soloists on stage or in a jam session. It lists the skills you need to focus on so you can have the most fun playing and learn the most from workshops and camps.
Contents - Part 1:
Introduction
Prepare for a jam or practice
Recognize chord changes
Accompany a song given the chords
Understand the structure of fiddle tunes
Accompany Fiddle Tunes at a fast pace
This tutorial offers the basic knowledge needed by players of the guitar, banjo, mandolin, ukulele, bass, piano, and other instruments to successfully back up soloists on stage or in a jam session. It lists the skills you need to focus on so you can have the most fun playing and learn the most from workshops and camps.
Contents - Part 1:
Introduction
Prepare for a jam or practice
Recognize chord changes
Accompany a song given the chords
Understand the structure of fiddle tunes
Accompany Fiddle Tunes at a fast pace
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Author's Note: Most workshop leaders my age start with, "I started playing when I was ten and in 70 years I've memorized 537 tunes." For contrast, I picked up guitar in college in the 1960s to become a folksinger, but, by popular demand, stopped playing. When teaching in the 1970s, I tried to fill in playing bass in a junior high jazz band, but could not keep up. I didn't play an instrument until, in my 70s, I read that being in a social group and playing an instrument kept Alzheimer's at bay. I took ukulele lessons from Ando Anderson at the local YMCA and joined Midcoast Ukes. I switched to bass ukulele and started to play with the Searsport Shores Jam Band. Their jams introduced me to two completely unknown (other than Hee-Haw and O Brother Where Art Thou?) types of music, Old Time fiddle tunes and Blue Grass. This online workshop consists of what new skills and knowledge I had to learn in the last few years to play at their jams, workshops, and performances.
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SKILL 1: Be prepared
Will you be welcomed at the jam or practice? Some open jams, like Searsport Shores Jam Band, welcome everyone at all skill levels on any instrument. Other groups might require an audition or might limit the types of instruments. (One bass is enough, one bag pipe is too many.) Some groups forbid any electronics, so my amplified ukulele bass would not be welcome. Some workshops and camps expect a minimum level of expertise. Check that the group wants you to join before you show up and start playing. Matt C. Bruno has a detailed explanation of Blue Grass Jam etiquette.
Tune your instrument. Temperature changes, especially at outdoor jams, and enthusiastic strumming will require repeated tuning. If you are resurrecting an old instrument, put on the new strings at least a week before you need to play it in public. New strings go out of tune immediately. Electronic tuners are inexpensive, and tuning apps on you cell phone are plentiful. Keep your tuner charged or carry extra batteries with you so you are always in tune with your group. Do not tune while the group is playing a song!
Research ahead of time if the jam you are joining supplies printed music, expects you to print your own music, intends for you to access song sheets online on your tablet, or even frowns on the use of printed music. Bring a music stand if necessary, and maybe a light if playing at night. If you are using a tablet to access the music, try to arrive in plenty of time to deal with network problems - they always exist. If you need to sit (I do) you might need to bring a chair or just a chair pad.
Will you be welcomed at the jam or practice? Some open jams, like Searsport Shores Jam Band, welcome everyone at all skill levels on any instrument. Other groups might require an audition or might limit the types of instruments. (One bass is enough, one bag pipe is too many.) Some groups forbid any electronics, so my amplified ukulele bass would not be welcome. Some workshops and camps expect a minimum level of expertise. Check that the group wants you to join before you show up and start playing. Matt C. Bruno has a detailed explanation of Blue Grass Jam etiquette.
Tune your instrument. Temperature changes, especially at outdoor jams, and enthusiastic strumming will require repeated tuning. If you are resurrecting an old instrument, put on the new strings at least a week before you need to play it in public. New strings go out of tune immediately. Electronic tuners are inexpensive, and tuning apps on you cell phone are plentiful. Keep your tuner charged or carry extra batteries with you so you are always in tune with your group. Do not tune while the group is playing a song!
Research ahead of time if the jam you are joining supplies printed music, expects you to print your own music, intends for you to access song sheets online on your tablet, or even frowns on the use of printed music. Bring a music stand if necessary, and maybe a light if playing at night. If you are using a tablet to access the music, try to arrive in plenty of time to deal with network problems - they always exist. If you need to sit (I do) you might need to bring a chair or just a chair pad.
At a jam session or workshop, the leader says, "Let's play a new fiddle tune called Fry Them Pickles in Hog Fat. What can you expect? If you have taken music lessons, you were probably told exactly what to play and how to play it. Old-time music might be a new experience because you are given little guidance. Your goal is to support the lead singers and instrumentalists by playing the correct chords at the right time with a strum that matches the style of the music, BUT you may not be told what those chords are. This workshop will point you toward your goal of supporting lead singers and soloists. Depending on your determination and background, it might take a day or a month (or more) to master the skills presented here.
If jam sessions are a new concept for you, go listen to one. Different leaders have different styles, but they all follow a general pattern. Listen to the songs and how they are introduced and played. If you are new to music camps and workshops, this online course will give you the skills and confidence you need to participate. Even if you are an experienced player, working through the introductory material below will help you become familiar with the technology used in this course.
This online workshop was written by John Elberfeld and Jane McLean. It is based on a workshop created by Ando Anderson for the 2023 Strung Together Campout. Please report any technical problems and send any suggestions for corrections or improvements to John at [email protected].
SKILL 2: Recognize chord changes
Most jams and workshops that present Old Time fiddle tunes do not have written music for backup players. You are expected to listen to the music, discover the proper chords, and play along the second or third time through the melody. Some leaders might try to be helpful, saying "The chords are G and C, with an Em in part B." That is not a big help to a newcomer. Experienced players can't conceive that newcomers to Old Time music might have trouble hearing chord changes, the first skill needed before you can play along. Until you can recognize when chords change, you can't play the correct chords by ear.
If jam sessions are a new concept for you, go listen to one. Different leaders have different styles, but they all follow a general pattern. Listen to the songs and how they are introduced and played. If you are new to music camps and workshops, this online course will give you the skills and confidence you need to participate. Even if you are an experienced player, working through the introductory material below will help you become familiar with the technology used in this course.
This online workshop was written by John Elberfeld and Jane McLean. It is based on a workshop created by Ando Anderson for the 2023 Strung Together Campout. Please report any technical problems and send any suggestions for corrections or improvements to John at [email protected].
SKILL 2: Recognize chord changes
Most jams and workshops that present Old Time fiddle tunes do not have written music for backup players. You are expected to listen to the music, discover the proper chords, and play along the second or third time through the melody. Some leaders might try to be helpful, saying "The chords are G and C, with an Em in part B." That is not a big help to a newcomer. Experienced players can't conceive that newcomers to Old Time music might have trouble hearing chord changes, the first skill needed before you can play along. Until you can recognize when chords change, you can't play the correct chords by ear.
Test 1: Play the video below to test you ability. Can you detect the chord changes in a very simple tune.
If you had trouble hearing the chord changes, you know that this is a skill you must work on. If you had no trouble, keep in mind not all tunes are this easy.
Test 2: Can you hear all the chord changes in more complex music?
Test 2: Can you hear all the chord changes in more complex music?
If you had any trouble hearing chord changes, then you must work hard on the following exercises. Many fiddle tunes are far more complex than these two tests.
Hint: Until you develop this skill, you can often tell when the chord changes at a jam by watching the left hand on a guitar player. When the hand changes position, the chord probably changes. Another hint is to listen to the bass. Sometimes the bass runs up or down the scale to reach a new chord. When the bass changes usually the chord changes.
LISTEN: Goodnight, Irene and Dooley
Listen to a computer generated version of Goodnight, Irene by clicking on the "Play" button on the video control below.
Hint: Until you develop this skill, you can often tell when the chord changes at a jam by watching the left hand on a guitar player. When the hand changes position, the chord probably changes. Another hint is to listen to the bass. Sometimes the bass runs up or down the scale to reach a new chord. When the bass changes usually the chord changes.
LISTEN: Goodnight, Irene and Dooley
Listen to a computer generated version of Goodnight, Irene by clicking on the "Play" button on the video control below.
- This old folk song is a waltz (3/4 time). The rhythm is 1 2 3 1 2 3 1 2 3 ....
- Listen for where the chords change. Focus on changes, not the specific chord.
- The video plays three verses. In the third verse, the colors changes as the chords change.
- Repeat the video as needed.
- The song is slow with a steady beat so it is easy to follow.
- Repetition is good. The more familiar you are with a song, the easier it will be to play it.
- The video controls respond better to a pointer controlled by a mouse or a touch pad than they do to a touch screen.
LISTEN to Dooley for chord changes.
- Dooley is a bluegrass tune in 4/4 time. The rhythm at this speed is 1 2 3 4 1 2 3 4
- The chords for the verse and chorus in Dooley and very different
- On the third play, see if the color changes match where you thought the chords change.
Detecting chord changes when songs are played at full speed with all the instruments becomes more of a challenge. How well do you do with the recording below?
You can continue to practice detecting chord changes in the following songs if you need to work on that skill.
SKILL 3: Accompany a song given the chords to play
You will be given the chords to play for the songs here, but be aware that most fiddle and bluegrass-oriented camps and workshops do NOT have printed song sheets and you will eventually need to identify the correct chords to a song by listening. The work below helps you build up to playing completely by ear.
SKILL 3: Accompany a song given the chords to play
You will be given the chords to play for the songs here, but be aware that most fiddle and bluegrass-oriented camps and workshops do NOT have printed song sheets and you will eventually need to identify the correct chords to a song by listening. The work below helps you build up to playing completely by ear.
- Get out your instrument and tune it accurately.
- Know the fingering for the chords G, C, F, and D. Be able to change from chord to chord.
- On Goodnight, Irene, strum once on every beat emphasizing beat 1, the first beat of each 3-beat measure. The rhythm to play sounds like Boom-chick-chick, Boom-chick-chick or 1 2 3 1 2 3
- Play along with the video below. The letters G, C, and D will appear just before you should play the displayed chord. The third time through, try to play by memory when the question marks appear.
- Practice with the video until you can play along accurately with no prompts.
- As you gain confidence playing the chords to Goodnight, Irene, try strumming the lower sounding strings on beat 1 and the higher sounding strings on beats 2 and 3.
- Memorize the chords so you can play along with your eyes closed.
- PLAY ALONG: Goodnight, Irene
PLAY ALONG: Goodnight, Irene
Play along with the pros below after clicking the "Play" button in the center of the YouTube video below.
Play along with the pros below after clicking the "Play" button in the center of the YouTube video below.
- The song is in the key of G.
- It uses the same chords and strumming pattern you have practiced and memorized while playing along to the previous video.
PLAY ALONG: Dooley
The next video supplies on-screen prompts for the chords you need to play for the bluegrass song Dooley.
The next video supplies on-screen prompts for the chords you need to play for the bluegrass song Dooley.
- Dooley is in the key of C and contains just the C, F and G chords.
- On Dooley, strum on every beat but emphasize beats 1 and 3. The rhythm to play sounds like Boom-chick-Boom-chick (1 2 3 4 1 2 3 4)
- Once you have the chords memorized, you can play along to a much faster instrumental version
- Another strum option is the emphasize the back beat. Strum on every beat but emphasize beats 2 and 4. The rhythm sounds like boom-CHICK-boom-CHICK (1 2 3 4 1 2 3 4 )
PLAY ALONG: Dooley
Try to keep up with the band in the recording below. It is much faster than the practice video.
Try to keep up with the band in the recording below. It is much faster than the practice video.
PLAY ALONG: Possum up a Gum Stump
Modify your strum pattern so you can keep up with the band playing the song. Play it repeatedly until you don't need to see the prompts for the chords.
Modify your strum pattern so you can keep up with the band playing the song. Play it repeatedly until you don't need to see the prompts for the chords.
Depending on your musical background, you may have found the previous exercises extremely challenging or incredibly simple. There are hundreds of excellent tutorials on YouTube if you want more practice. But now we move on.
SKILL 4: Understand the logical structure of Fiddle Tunes
The first step toward your goal of playing backup accurately is to understand the structure of the music you will be playing. Most, but not all, old time fiddle tunes have this arrangement.
- Two distinct parts: A Part and B Part, sometimes called Part A and Part B.
- A Part is played two times, B part is played two times, and this pattern is repeated three or more times.
- Often the leader will stick his leg out to signal that the song stops when the current part is finished.
- Often the lead fiddler will play two measures at the beginning to set the key, rhythm, and tempo for experienced players. Because of the rhythm pattern, this introduction is nicknamed a "potato."
- Often only the lead fiddler and one rhythm player play a new song the first time through so everyone can hear a new song clearly.
- Each part consists of eight measures. On the sheet music for the melody, there are four beats per measure, but when the part is played, it may sound like two beats per measure. (Waltzes have three beats per measure.)
- There may be exceptions, like three instead of two parts. The second time A Part is played the last measure may be changed so it leads into the B Part. The second time the B Part is played the last measures may be changed to end the song. Listen carefully for variations.
These rules exist for a good reason. Most fiddle tunes were written to be played at old time dances like square and contra dances. If all the songs follow the same pattern, the dance callers know when to shout out the next step, even if they are not familiar with the specific melody being played. The dancers are able to anticipate when the next instruction will be coming and time their swings or do-si-dos to end at the right beat of the song. Any variation to the pattern will lead to chaos on the dance floor. If the song is not being played at a dance, fiddlers like to show off their skills and play the song at a break-neck speed. Some songs are not written for dancing and break this pattern. Many waltzes also break these rules
- At a dance, the tempo of a song must be suitable for the dance so participants can move to the beat comfortably.
- Most fiddle tunes are played so dancers take two steps per measure.
- If a song is played just for listening, these rules do not apply.
- Accompanists play at the tempo set by the lead musician.
LISTEN: Tom Bigbee Waltz
This lesson will continue by introducing a slow, steady waltz that follows the standard fiddle tune format. Many fiddle tunes are much faster and more complex.
When you LISTEN to Tom Bigbee Waltz pay attention to:
- The short introduction
- A Part played two times
- B Part player two times
- The pattern repeated three more times
- The ending
LISTEN: Golden Slippers
Below is a recording of Golden Slippers designed for use at old time square and contra dances. Because the song follows the standard format for fiddle tunes, you should listen for the same things as before.
Below is a recording of Golden Slippers designed for use at old time square and contra dances. Because the song follows the standard format for fiddle tunes, you should listen for the same things as before.
- The short introduction
- A Part played two times
- B Part player two times
- The pattern repeated four more times
- The ending
Square dances without a live band can use the Tommy Jackson recordings with their own caller.
Below is a recording with a caller singing out the dance steps. Try to follow how the dance follows the organization of the song. If another melody were played following the same pattern of A Part twice and B Part twice, the same calls could be used.
Below is a recording with a caller singing out the dance steps. Try to follow how the dance follows the organization of the song. If another melody were played following the same pattern of A Part twice and B Part twice, the same calls could be used.
SKILL 5: Accompany fiddle tunes at their usual fast pace
Your next challenge is to play the accompaniment for Golden Slippers. Because you listened to the previous recording, you know there are only two parts to learn. You will learn the A Part first by playing along with the video below.
- Strum once on every beat emphasizing beat 1 and beat 3. (1 2 3 4 1 2 3 4) The rhythm sounds like Boom-chick-Boom-chick, Boom-chick-Boom-chick.
- The chord you should play appears just before the beat you should play it on.
- Practice with the video until you can play along accurately.
- Memorize the chords so you can play along with your eyes closed.
Rules are meant to be broken, and this B Part is the exception to rule. Instead of playing an identical B Part twice, the second time the B Part is played the last two measures are different. The changes to those two measures help the song come to a recognizable end.
- Pay attention to variations when the B Part is played a second time.
- As you gain confidence playing the chords, try strumming the lower sounding strings on beats 1 and 3, and the higher sounding strings on beats 2 and 4. (Sometimes called "Pick-Strum" pattern.)
Now that you are familiar with both the A Part and B Part, you can play the entire song.
- Play the A part two times followed by the B Part two times.
- The second time you play the B Part, the chords in the last two measures are different.
CHORD NOTATION: Ways to write down the chords to a song
Fiddle players have many ways of writing down the chords used for a song, even though most players depend only on their memories and ears. Below are the chords for Golden Slippers that you have been playing in one of the simplest formats.
Golden Slippers in G
{A} G G G D D D D G
{B} G G C C D D G G
G G C C D D G|D G
Fiddle players have many ways of writing down the chords used for a song, even though most players depend only on their memories and ears. Below are the chords for Golden Slippers that you have been playing in one of the simplest formats.
Golden Slippers in G
{A} G G G D D D D G
{B} G G C C D D G G
G G C C D D G|D G
- {A} precedes the chords for the A Part. Sometimes the words "A Part" or "Part A" are written out.
- {B} precedes the chords for the B Part.
- Each chord symbol indicates that the chord is played for four beats, even though it may sound like two beats when the song is played up to speed.
- Some formats add repeat notation ( ||: :|| ) around parts that are played twice. Because most parts are played twice by default, the repeat symbols can be left out unless the song breaks the rules.
- The {B} part is usually 8 measures that are played two times. In Golden Slippers the second time the {B} is played, it is slightly different from the first time. The chords for the second time the {B} is played are on a seperate line. The 16 measures are not repeated.
- The notation " G|D " indicates that G is played for two beats followed by D for two beats.
- You can refer to the notation above if you need a reminder of the chords to Golden Slippers
If you are at a jam where people like to sing along, you might see a song sheet that starts with:
|G |G
Oh, my golden slippers am laid away
|G |D
‘Cause I don’t expect to wear ’em til my wedding day
Each time a new measure begins, a symbol like " |G" tells you to play the G chord for that measure
|G |G
Oh, my golden slippers am laid away
|G |D
‘Cause I don’t expect to wear ’em til my wedding day
Each time a new measure begins, a symbol like " |G" tells you to play the G chord for that measure
This notation is quite different. Instead of eight measures per part, only four measures are used. The chords for both the A Part and the B Part are written out twice. Nothing is repeated. The arranger has switched to Am instead of staying on the C chord like you have practiced in the B part.
You may join a group that plays familiar songs with slightly different chords. What ever the leader plays is the right way to play the song in that group, even if you have never heard it played that way before.
You may join a group that plays familiar songs with slightly different chords. What ever the leader plays is the right way to play the song in that group, even if you have never heard it played that way before.
PLAYING FASTER: Change your strum pattern
Most fiddle tunes are played with a fast tempo. Play along to the audio files below to get used to playing at faster tempos.
PRACTICE: Golden Slippers at faster tempos
Below are audio files for Golden Slippers recorded at four different tempos. If you tap your fingers on the beat for the first recording, you will do 120 taps in one minute. The recording has a tempo of 120 beats per minute or 120 BPM.
Most fiddle tunes are played with a fast tempo. Play along to the audio files below to get used to playing at faster tempos.
- Adapt your strumming style as the speed increases. The Boom-chick-Boom-chick, Boom-chick-Boom-chick pattern might have to morph into Boom-Boom, Boom-Boom where you are strumming only on beats 1 and 3.
- Another option is a Boom-chick, Boom-chick strum where the Boom (lower sounding strings) is played on beat 1, and the chick (higher sounding strings) is played on beat three. Practice this at the slower speeds first.
- If you can't keep up with the other players, change the strum you are using.
- Play the correct chord with a strum pattern that matches the song.
PRACTICE: Golden Slippers at faster tempos
Below are audio files for Golden Slippers recorded at four different tempos. If you tap your fingers on the beat for the first recording, you will do 120 taps in one minute. The recording has a tempo of 120 beats per minute or 120 BPM.
- Work your way through the different recordings
- Each recording is faster than the previous one
- When you are comfortable playing the fastest recording, you are ready to play with the professionals.
PLAY ALONG: Golden Slippers
Play along with Alisa Jones' recording of Golden Slippers. Most musicians do not play the exact same melody as other musicians, and often improvise and embellish a song as they play it. The chords may differ slightly from other arrangements. To accompany a song, you must listen and follow the lead musicians.
Play along with Alisa Jones' recording of Golden Slippers. Most musicians do not play the exact same melody as other musicians, and often improvise and embellish a song as they play it. The chords may differ slightly from other arrangements. To accompany a song, you must listen and follow the lead musicians.
- The song is twice as fast as the first practice videos, BUT strumming every other beat brings the tempo down to a user-friendly 120 BPM.
- Start by playing on the beat you hear in the recording. You play half the strums you played when first learning this song.
PLAY ALONG: Golden Slippers
The recording below is also in the key of G, but this one is almost 100 years old and has the lyrics.
The recording below is also in the key of G, but this one is almost 100 years old and has the lyrics.
Most fiddle tunes are memorized and not written down. They are taught to other players who listen carefully and repeat what they hear. Because human memory is not perfect, songs can mutate over time and may not be played the same way in different parts of the country. Some tunes may have different names in different locations or different eras. For example, when lyrics were added to Red Wing, it was called Indian Maid. When labor organizers changed those lyrics, it became Union Maid. Traditional Tune Archive is a good source for tunes with multiple names as the site has more than 54,000 fiddle tune names in the archive.
PRACTICE: Boil Them Cabbage Down
Below are "backing tracks" for Boil Them Cabbage Down. These tracks leave off the melody so solo banjo and fiddle players can practice with a strong, steady background. For now, not having that melody to distract you means you can play along with these tracks and focus on the chords you will play to back up the lead players.
Below are "backing tracks" for Boil Them Cabbage Down. These tracks leave off the melody so solo banjo and fiddle players can practice with a strong, steady background. For now, not having that melody to distract you means you can play along with these tracks and focus on the chords you will play to back up the lead players.
- All tracks are in the key of G
- The chords you play will show in the video just before you strum them
- The three chords in the song are G, C and D.
- The chords to the A Part and B Part are the same. When sung, the A Part is the verse played one time, and the B Part is a chorus played one time.
- The first video below starts with a metronome which sets the tempo at 75 beats per minute (75 BPM)
- The next to the last measure of both parts has just two beats of G followed by two beats of D.
- The slower tracks have a clear Boom-chick-Boom-chick strum pattern. Some play louder on the "chick" strum - boom-CHICK.
- Later tracks are played at a higher tempo, so you may need to change this strum pattern to keep up.
The video below is faster with a more complicated rhythm track. The chords are the same, so your previous practice will pay off.
One more track to master before you are ready to play with the professionals.
PLAY ALONG: Boil Them Cabbage Down - fiddle and bluegrass styles
Below are two very different versions of Boil Them Cabbage Down. A popular melody may be played in different styles for specific audiences. The first is a pure fiddle tune recorded for dancing while the second is a bluegrass version recorded for listening. Although the first part of this tutorial focused on fiddle tunes, all the skills you acquired apply to many styles of music. When you continue to part two, the skills you learn there playing bluegrass music will also help you with fiddle tunes.
If you don't have the chords memorized, the chart below can help you play along with the professionals.
Boil Them Cabbage Down in G
{A} G C G D G C G|D G
{B} G C G D G C G|D G
The Tommy Jackson version is another recording designed for use at old time square and contra dances. Because the song follows the standard format for fiddle tunes, you should listen for the same things as before.
Below are two very different versions of Boil Them Cabbage Down. A popular melody may be played in different styles for specific audiences. The first is a pure fiddle tune recorded for dancing while the second is a bluegrass version recorded for listening. Although the first part of this tutorial focused on fiddle tunes, all the skills you acquired apply to many styles of music. When you continue to part two, the skills you learn there playing bluegrass music will also help you with fiddle tunes.
If you don't have the chords memorized, the chart below can help you play along with the professionals.
Boil Them Cabbage Down in G
{A} G C G D G C G|D G
{B} G C G D G C G|D G
The Tommy Jackson version is another recording designed for use at old time square and contra dances. Because the song follows the standard format for fiddle tunes, you should listen for the same things as before.
- The short introduction ("potato")
- A Part played two times
- B Part played two times
- Both the A Part and the B Part use the same chords you have been practicing.
- The pattern is repeated four more times
- The ending
The Wayfarers speed things up in their bluegrass version of the song. Change your strum pattern so you can keep up with them. Simple strums on the beat are much better than fancy strums with the wrong rhythm.
To learn more about bluegrass music and practice skills needed to play in jam sessions, PLEASE CONTINUE TO PART TWO