Borders Fiddle Style,

It is difficult to distinguish what makes Borders fiddle music different from other areas of Scotland. The fiddle playing there owes much to Niel Gow (see p. 112) and his family who performed and taught some of the local Borders teachers of the time. Also Scott Skinner, (see p. 114), early recordings, festivals and nearby Northumbrian music have all had their influence on present day Borders fiddling.

It is generally regarded that the main points are a fairly “heavy” style of double stopping or chording as used in tunes played by tradition bearer Tom Hughes and passed on to him from parents and grandparents. Two tune examples of his Borders style of playing are included in the next few pages.

One further feature is the inclination of Borders fiddlers to play in pairs or even trios as the norm. There are many well known pairs and trios past and present. It is possible this may have evolved, as in other parts of Scotland, from the need to produce more sound with the advent of village halls and bigger public gatherings where one fiddler alone did not suffice for dancing. Borders fiddlers are keen promoters and composers of airs and hornpipes.

The following characteristics of Borders fiddling can be noted:

- fairly heavy style of double stopping or chording.

- tendency of fiddlers to play in pairs or trios.

- use of slur and snap bowing and singled bowed notes.

- popularity of hornpipes and airs.

These notes on styles of fiddle playing in Scotland are taken from the book Traditional Scottish Fiddling published by Taigh na Teud. In the 144 page book there are tune examples of all the styles and a Cd of good Scottish fiddlers to illustrate the points.