If you are new to strathspeys and find them difficult to understand, you are not alone. Here is a bit about what they are and why they can be more difficult to play than other tune types.
What is it?
A strathspey is a type of dance tune in 4/4. In Cape Breton, solo step dancers will usually dance a strathspey or two followed by a few reels. Cape Breton medleys usually feature strathspeys followed by reels – sometimes preceded by a march and/or a slow air. In addition to dance strathspeys, which are played at a clippy pace, there are ‘listening’ strathspeys played a bit slower that aren’t normally used for step dancing.
Why do they seem more difficult than than other tune types like jigs and reels?
Rhythmically, strathspeys are comprised mostly of dotted eighth notes followed by sixteenth notes or vice versa. If you are new to playing and listening to strathspeys it can be tricky to remember exactly how the rhythms go. Does the dotted eighth go first or the sixteenth? It is tricky because you may hear the same strathspey played more than one way, rhythmically. In the Cape Breton repertoire, there are particular phrases that are standardized, rhythmically. Everyone plays these particular phrases the same way. Within these phrases, if the rhythms were reversed, it would sound ‘wrong’. However, there are other phrases within tunes that can vary rhythmically from player to player. This discrepancy, between standardized and personalized, can seem difficult when learning a strathspey. Because Cape Breton fiddlers know the repertoire and the other musicians inside and out, they understand which phrases they can vary and which ones are standard. So again, listening over and over is key. It might help to learn the tune from one source first, and then compare that version to others in order to see which phrases vary and which ones don’t. Going to a book source can also be helpful, but again, many players deviate both rhythmically and melodically from written sources.
How are strathspeys different from marches? Don’t they have dotted rhythms too?
Yes, marches have dotted rhythms too, but it is the time signature and pulse that makes them feel different. Marches are usually written in 2/4 or 6/8. In either case, there are two strong pulses per bar. In the case of the 6/8 for example, you don’t feel or tap out 6 beats, you feel strong beats on the 1 and 4. That is the pulse. In a strathspey, each of the four beats in a measure is strong. If you watch Cape Breton fiddlers, you will see them tap out each of the four beats of strathspeys with their foot. So it is the pulse that makes strathspeys feel different than marches.
Hope this info helps you to understand strathspeys a bit more! Please share any other questions or comments you have on this topic.
Should I learn how to read music?
As musicians of traditional music, we place a great deal of emphasis on learning music by ear. When you primarily learn by ear, you not only pick up a melody but you also absorb all the other nuances that go along with a style that are difficult to teach. However, reading music is an extremely valuable skill. It’s true that Cape Breton music is mainly transmitted orally. But much of the repertoire has been learned by fiddlers searching through tune books. The majority of Cape Breton fiddlers read music. Tune books have been a valuable and treasured resource for Cape Breton fiddlers ever since they started to become more available around the time of WWII. I love going through tune books not only to find new tunes, but also to find tunes that I frequently hear but don’t play. Yes, learning by ear is important, but reading music is still a valuable asset.
Do I need to learn music theory?
Ultimately, your ear is your best guide through the learning process. You most likely know some theory already – you know what major keys sound like versus minor keys. You just might not know what exactly a ‘key” is or what major and minor really mean. In my personal experience, I had a little theory knowledge growing up, mostly learned from my piano lessons. I studied it more in depth in high school and college. Music theory has helped me understand traditional music in a different way, especially in my piano accompaniment. It helped me understand and be able to explain the sounds I already knew. It is a tool that helps me teach traditional music. Having said that, an in depth knowledge of music theory is not necessary to be a good fiddle player. But it does help to have some basic skills, for example, a knowledge of key signatures and chords. If you are playing with an accompanist, it is helpful to know what key you are playing in and some basic chords to accompany the tunes with. Ultimately, having some theory empowers you to help you learn things on your own. In my teaching I like to focus on these skills to help give students more perspective and understanding about the tunes and music they are playing.
Should I take classical violin lessons?
We all know of many traditional players of various fiddle traditions who are self taught, hold their instrument in all sorts of different ways, yet are virtuosic in their traditions. In Cape Breton, many fiddlers are and have been self taught and play brilliantly. Think of the instrument simply a tool to produce music. But that doesn’t mean you should just think that you should ignore some classical technique. It’s especially valuable if you are having trouble getting good sounds out of your instrument. In these situations, taking classical lessons can definitely help you play more efficiently. Classical training can help improve skills ranging from a good bow hold and string crossing to good intonation.
What are some other concerns you have about learning fiddle music? Please feel free to post about your experience.