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The scale length of the octave mandolin is longer than that of the mandolin, and varies more widely, from 19 inches (480 mm) to 24 inches (610 mm), with 21 inches (530 mm) being typical. The internal bracing is similar to the mandolin and mandola, with a single transverse brace on the top just below the oval sound hole.
The piccolo or sopranino mandolin is a rare member of the family, tuned one octave above the mandola and one fourth above the mandolin (C 4 –G 4 –D 5 –A 5); the same relation as that of the piccolo (to the western concert flute) or violino piccolo (to the violin and viola). One model was manufactured by the Lyon & Healy company under the ...
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 ...
The mandolin has become a more common instrument amongst Irish traditional musicians. Fiddle tunes are readily accessible to the mandolin player because of the equivalent tuning and range of the two instruments, and the practically identical (allowing for the lack of frets on the fiddle) left-hand fingerings.
The mandolin has been a core instrument in bluegrass music from the beginning, along with guitar, fiddle, banjo, upright bass, and sometimes dobro. In the performance of bluegrass music, each instrument has a specific part to play. The mandolin fills three roles at different times during a tune.
Pandolfi and Eldridge soon followed Andy Hall to Nashville, Tennessee, where they met Hall's Ronnie Bowman Committee bandmates Jesse Cobb (mandolin) and Jeremy Garrett (fiddle). The group then held an audition for a possible bassist in the fall of 2005, where they found Travis Book.
He joined the Bluegrass Boys in 1961, first playing guitar but switched to fiddle. He sang lead vocal on a recording of "Cotton Fields" and played fiddle on numerous tracks in that and the subsequent year. [when?] He continued working with Wiseman and playing banjo and mandolin. [3]
The fiddle was the central instrument in Cajun sound until the twenties when it was somewhat eclipsed by the accordion, both in Canada and the United States. In the early 1930s strings once again dominated. Mandolins, pianos, and banjos joined fiddles to create a jazzy swing beat strongly influenced by the western swing of Texas. [8]