Taylor Edwin Hackford is an American film director and former president of the Directors Guild of America. He won the Academy Award for Best Live Action Short Film for Teenage Father. Hackford went on to direct a number of regarded feature films, most notably An Officer and a Gentleman and Ray, the latter of which saw him nominated for the Academy Award for Best Director and Academy Award for Best Picture. Hackford was born in Santa Barbara, the son of Mary, a waitress, Joseph Hackford, he graduated from the University of Southern California in 1968, where he was a pre-law major focusing on international relations and economics. After graduating, he served as a Peace Corps volunteer in Bolivia, where he started using Super 8 film in his spare time; the camera was purchased for him by Steve Ball. He decided that he did not want to pursue a career in law, instead got a mailroom position at KCET-TV. At KCET he was the associate producer on the Leon Russell special "Homewood" in 1970. In 1973 at KCET he produced the one-hour special Bukowski, directed by Richard Davies.
The Idolmaker starred Ray Sharkey, awarded a Golden Globe for Best Actor for his portrayal of "Vinnie" in the film. The Music Supervisor was Richard Flanzer. Hackford said of The Idolmaker, "I make films about working-class people. To me, the compelling story in The Idolmaker is the guy with a wonderful talent and a strong ego has to make it happen through puppets." During the filming of An Officer and a Gentleman, Hackford kept Lou Gossett Jr. in separate living quarters from the other actors so he could intimidate them more during his scenes as a drill instructor. Richard Gere balked at shooting the ending, which involves his character arriving at his lover's factory wearing his Navy dress whites and carrying her off from the factory floor. Gere thought the ending would not work because it was too sentimental, Hackford was inclined to agree with Gere, until during a rehearsal when the extras playing the workers began to cheer and cry, but when Gere saw the scene with the music underneath it at the right tempo, he said it sent chills up the back of his neck, is now convinced Hackford made the right decision.
Hackford said of his film Ray: "My proudest moments in Ray were in those'chitlin' clubs. Ray Charles ended his life in concert halls, where people would go in tuxedos and listen to a genius perform, but in these clubs, he had to get people up dancing. What I tried to create was a little of that energy and exuberance; the great thing about music is when you can get people on their feet."In a 2005 interview, Hackford confirmed that he never watched his own films: "When I finish a film, I put it away and I never look at it again. I do now because of the DVDs and the commentary tracks. I put it aside and go onto the next. I never went to film school. I worked for the KCET public television station in L. A. I worked in concerts. I have done a lot of music. I feel comfortable shooting music, I think you can see that." Hackford has directed music videos, including "Against All Odds" by Phil Collins and "Say You, Say Me" by Lionel Richie. On July 25, 2009, Hackford was elected president of the Directors Guild of America.
He was re-elected to a second, two-year term as president on June 25, 2011, at the DGA's National Biennial Convention in Los Angeles. Hackford has been married three times, he married his first wife, Georgie Lowres, in 1967. The couple divorced in 1972. In 1977 Hackford married Lynne Littman, with whom he has one child, Alexander Hackford, born in 1979. Hackford has been married to Academy Award-winning actress Helen Mirren since 1997. Hackford met Mirren when he was directing her in White Nights, although their first meeting did not go well: he kept her waiting to audition for White Nights, she was icy. "It was a strange way to meet Helen, because she is a lovely person", says Hackford, "but she didn’t hold back her fury." Hackford and Mirren wed in 1997. The couple lives along the Nevada side of Lake Tahoe. Taylor Hackford on IMDb Peace Corps biography of Taylor Hackford news clips "Notable Former Volunteers / Arts and Literature". Peace Corps official site. Accessed 5 January 2007
The bass guitar is a plucked string instrument similar in appearance and construction to an electric guitar, except with a longer neck and scale length, four to six strings or courses. The four-string bass is tuned the same as the double bass, which corresponds to pitches one octave lower than the four lowest-pitched strings of a guitar, it is played with the fingers or thumb, or striking with a pick. The electric bass guitar has pickups and must be connected to an amplifier and speaker to be loud enough to compete with other instruments. Since the 1960s, the bass guitar has replaced the double bass in popular music as the bass instrument in the rhythm section. While types of basslines vary from one style of music to another, the bassist plays a similar role: anchoring the harmonic framework and establishing the beat. Many styles of music include the bass guitar, it is a soloing instrument. According to the New Grove Dictionary of Music and Musicians, an "Electric bass guitar a Guitar with four heavy strings tuned E1'-A1'-D2-G2."
It defines bass as "Bass. A contraction of Double bass or Electric bass guitar." According to some authors the proper term is "electric bass". Common names for the instrument are "bass guitar", "electric bass guitar", "electric bass" and some authors claim that they are accurate; the bass guitar is a transposing instrument, as it is notated in bass clef an octave higher than it sounds. In the 1930s, musician and inventor Paul Tutmarc of Seattle, developed the first electric bass guitar in its modern form, a fretted instrument designed to be played horizontally; the 1935 sales catalog for Tutmarc's electronic musical instrument company, featured his "Model 736 Bass Fiddle", a four-stringed, solid-bodied, fretted electric bass guitar with a 30 1⁄2-inch scale length, a single pick up. The adoption of a guitar's body shape made the instrument easier to hold and transport than any of the existing stringed bass instruments; the addition of frets enabled bassists to play in tune more than on fretless acoustic or electric upright basses.
Around 100 of these instruments were made during this period. Audiovox sold their “Model 236” bass amplifier. Around 1947, Tutmarc's son, began marketing a similar bass under the Serenader brand name, prominently advertised in the nationally distributed L. D. Heater Music Company wholesale jobber catalogue of 1948. However, the Tutmarc family inventions did not achieve market success. In the 1950s, Leo Fender and George Fullerton developed the first mass-produced electric bass guitar; the Fender Electric Instrument Manufacturing Company began producing the Precision Bass in October 1951. The "P-bass" evolved from a simple, un-contoured "slab" body design and a single coil pickup similar to that of a Telecaster, to something more like a Fender Stratocaster, with a contoured body design, edges beveled for comfort, a split single coil pickup; the "Fender Bass" was a revolutionary new instrument for gigging musicians. In comparison with the large, heavy upright bass, the main bass instrument in popular music from the early 1900s to the 1940s, the bass guitar could be transported to shows.
When amplified, the bass guitar was less prone than acoustic basses to unwanted audio feedback. In 1953 Monk Montgomery became the first bassist to tour with the Fender bass guitar, in Lionel Hampton's postwar big band. Montgomery was possibly the first to record with the bass guitar, on July 2, 1953 with The Art Farmer Septet. Roy Johnson, Shifty Henry, were other early Fender bass pioneers. Bill Black, playing with Elvis Presley, switched from upright bass to the Fender Precision Bass around 1957; the bass guitar was intended to appeal to guitarists as well as upright bass players, many early pioneers of the instrument, such as Carol Kaye, Joe Osborn, Paul McCartney were guitarists. In 1953, following Fender's lead, Gibson released the first short-scale violin-shaped electric bass, with an extendable end pin so a bassist could play it upright or horizontally. Gibson renamed the bass the EB-1 in 1958. In 1958, Gibson released the maple arched-top EB-2 described in the Gibson catalogue as a "hollow-body electric bass that features a Bass/Baritone pushbutton for two different tonal characteristics".
In 1959 these were followed by the more conventional-looking EB-0 Bass. The EB-0 was similar to a Gibson SG in appearance. Whereas Fender basses had pickups mounted in positions in between the base of the neck and the top of the bridge, many of Gibson's early basses featured one humbucking pickup mounted directly against the neck pocket; the EB-3, introduced in 1961 had a "mini-humbucker" at the bridge position. Gibson basses tended to be smaller, sleeker instruments with a shorter scale length than the Precision. A number of other companies began manufacturing bass guitars during the 1950s: Kay in 1952, Hofner and Danelectro in 1956, Rickenbacker in 1957 and Burns/Supersound in 1958. 1956 saw the appearance at the German trade fair "Musikmesse Frankfurt" of the distinctive Höfner 500/1 violin-shaped bass made using violin construction techniques by Walter Höfner, a second-generation violin luthier. The design was known popularly as the "Beat
Capitol Records, Inc. is an American record label owned by Universal Music Group through its Capitol Music Group imprint. It was founded as the first West Coast-based record label in the United States in 1942 by Johnny Mercer, Buddy DeSylva, Glenn E. Wallichs. Capitol was acquired by British music conglomerate EMI as its North American subsidiary in 1955. EMI was acquired by Universal Music Group in 2012 and was merged with the company a year making Capitol and the Capitol Music Group both a part of UMG; the label's circular headquarter building in Hollywood is a recognized landmark of California. Capitol's roster includes Katy Perry, Sir Paul McCartney, Mary J. Blige, the Beach Boys, the Beastie Boys, Neil Diamond, Brian Wilson, Avenged Sevenfold, 5 Seconds of Summer, Don Henley, Sam Smith, Migos, NF, Emeli Sandé, Troye Sivan, Calum Scott, Tori Kelly, Jon Bellion, Niall Horan. Songwriter Johnny Mercer founded Capitol Records in 1942 with financial help from songwriter and film producer Buddy DeSylva and the business acumen of Glenn Wallichs, owner of Wallichs Music City.
Mercer raised the idea of starting a record company while golfing with Harold Arlen and Bobby Sherwood and with Wallichs at Wallichs's record store. On February 2, 1942, Mercer and Wallichs met DeSylva at a restaurant in Hollywood to talk about investment by Paramount Pictures. On March 27, 1942, the three men incorporated as Liberty Records. In May 1942, the application was amended to change the company's name to Capitol Records. On April 6, 1942, Mercer supervised Capitol's first recording session where Martha Tilton recorded the song "Moon Dreams". On May 5, Bobby Sherwood and his orchestra recorded two tracks in the studio. On May 21, Freddie Slack and his orchestra recorded three tracks in the studio. On June 4, 1942, Capitol opened its first office in a second-floor room south of Sunset Boulevard. On that same day, Wallichs presented the company's first free record to Los Angeles disc jockey Peter Potter. On June 5, 1942, Paul Whiteman and his Orchestra recorded four songs at the studio. On June 12, the orchestra recorded five more songs in the studio, including "Trav'lin' Light" with Billie Holiday, On June 11, Tex Ritter recorded " Jingle Jangle Jingle" and "Goodbye My Little Cherokee" for his first Capitol recording session, the songs formed Capitol's 110th produced record.
The earliest recording artists included co-owner Mercer, Johnnie Johnston, Morse, Jo Stafford, the Pied Pipers, Tex Ritter, Paul Weston and Margaret Whiting Capitol's first gold single was Morse's "Cow Cow Boogie" in 1942. Capitol's first album was Capitol Presents Songs by Johnny Mercer, a three disc set with recordings by Mercer and the Pied Pipers, all with Weston's Orchestra; the label's other 1940s musicians included Les Baxter, Les Brown, Jimmy Bryant, Billy Butterfield, Nat King Cole, Sammy Davis Jr. Dinning Sisters, Tennessee Ernie Ford, Mary Ford, Benny Goodman, Skitch Henderson, Betty Hutton, Stan Kenton, Peggy Lee, Billy May, Les Paul, Alvino Rey, Andy Russell, Smilin' Jack Smith, Kay Starr, Speedy West, Cootie Williams. Musicians on the Capitol Americana label included Lead Belly, Cliffie Stone, Hank Thompson, Merle Travis, Wesley Tuttle, Jimmy Wakely, Tex Williams. Capitol was the first major west coast label to compete with labels on the east coast such as Columbia, RCA Victor.
In addition to its Los Angeles recording studio, Capitol owned a second studio in New York City and sent mobile recording equipment to New Orleans and other cities. In 1946, writer-producer Alan W. Livingston created Bozo the Clown for the company's children's record library. Examples of notable Capitol albums for children during that era are Sparky's Magic Piano and Rusty in Orchestraville. Capitol developed a noted jazz catalog that included the Capitol Jazz Men and issued the Miles Davis's album Birth of the Cool Capitol released a few classical albums in the 1940s, some of which contained a embossed, leather-like cover; these recordings appeared on 78 rpm format released on the 33 format in 1949. Among the recordings: Brazilian composer Heitor Villa-Lobos' Choros No. 10, with contributions from a Los Angeles choral group and the Janssen Symphony Orchestra, conducted by Werner Janssen. In 1949, Capitol opened a branch office in Canada and purchased KHJ Studios on Melrose Avenue adjacent to Paramount in Hollywood.
By the mid-1950s, Capitol had become a huge company. The label's roster included the Andrews Sisters, Ray Anthony, Shirley Bassey, June Christy, Tommy Duncan, Tennessee Ernie Ford, the Four Freshmen, the Four Knights, the Four Preps, Jane Froman, Judy Garland, Jackie Gleason, Andy Griffith, Dick Haymes, Harry James, the Kingston Trio, the Louvin Brothers, Dean Martin, Al Martino, Skeets McDonald, Louis Prima, Nelson Riddle, Dinah Shore, Frank Sinatra, Keely Smith. Capitol began recording roll acts such as the Jodimars and Gene Vincent. There were comedy records by Stan Freberg, Johnny Standley, Mickey Katz. Children listened to Capitol's Bozo the Clown albums. Although various people played Bozo the Clown on television, Capitol used the voice of Pinto Colvig, the voice of Goofy in Walt Disney cartoons. Don Wilson released children's records. In June 1952, Billboard magazine contained a chronicle of the label's first ten years in business. In 1955, the British record company EMI ended its 55-year mutual distribution
The saxophone is a family of woodwind instruments. Saxophones are made of brass and played with a single-reed mouthpiece similar to that of the clarinet. Although most saxophones are made from brass, they are categorized as woodwind instruments, because sound is produced by an oscillating reed, traditionally made out of woody cane, rather than lips vibrating in a mouthpiece cup as with the brass instrument family; as with the other woodwinds, the pitch of the note being played is controlled by covering holes in the body tube to control the resonant frequency of the air column by changing the effective length of the tube. The saxophone is used in classical music, military bands, marching bands and contemporary music; the saxophone is used as a solo and melody instrument or as a member of a horn section in some styles of rock and roll and popular music. Saxophone players are called saxophonists. Since the first saxophone was invented by the Belgian instrument maker Adolphe Sax in the early 1840s, saxophones have been produced in a variety of series distinguished by transpositions within instrument sets and tuning standard.
Sax patented the saxophone on June 1846, in two groups of seven instruments each. Each series consisted in alternating transposition; the series pitched in B♭ and E♭ soon became dominant and most saxophones encountered today are from this series. Instruments from the series pitched in C and F never gained a foothold and constituted only a small percentage of instruments made by Sax. High Pitch saxophones tuned sharper than the A = 440 Hz standard were produced into the early twentieth century for sonic qualities suited for outdoor uses, but are not playable to modern tuning and are considered obsolete. Low Pitch saxophones are equivalent in tuning to modern instruments. C soprano and C melody saxophones were produced for the casual market as parlor instruments during the early twentieth century. Saxophones in F never gained acceptance; the modern saxophone family consists of instruments in the B♭ - E♭ series and experimental instruments notwithstanding. The saxophones with widest use and availability are the sopranos, altos and baritones.
In the keyed ranges of the various saxophones, the pitch is controlled by keys with shallow cups in which are fastened leather pads that seal toneholes, controlling the resonant length, thereby frequency, of the air column within the body tube. Small holes called vents, located between the toneholes and the mouthpiece, are opened by an octave key to raise the pitch by eliminating the fundamental frequency, leaving the first harmonic as the frequency defining the pitch. Most modern saxophones are keyed to produce a low B♭ with all keys closed; the highest keyed note has traditionally been F two and a half octaves above low B♭, while the keyed range is extended to F♯ on most recent performance-class instruments. A high G key is most common on modern soprano saxophones. Notes above F are considered part of the altissimo register of any saxophone, can be produced using advanced embouchure techniques and fingering combinations. Keywork facilitating altissimo playing is a feature of modern saxophones.
Modern saxophone players have extended the range to over four octaves on alto. Music for most saxophones is notated using treble clef; because all saxophones use the same key arrangement and fingering to produce a given notated pitch, it is not difficult for a competent player to switch among the various sizes when the music has been suitably transposed, many do so. Since the baritone and alto are pitched in E♭, players can read concert pitch music notated in the bass clef by reading it as if it were treble clef and adding three sharps to the key signature; this process, referred to as clef substitution, makes it possible for the Eb instruments to play from parts written for baritone horn, euphonium, string bass, trombone, or tuba. This can be useful if a orchestra lacks one of those instruments; the straight soprano and sopranino saxophones consist of a straight conical tube with a flared bell at the end opposite the mouthpiece. The interior of the tube is called the bore. Alto and larger saxophones include a detachable curved neck above the highest tone hole, directing the mouthpiece to the player's mouth and, with rare exceptions, a U-shaped bow that directs the bell upward and a curve in the throat of the bell directing it forward.
The set of curves near the bell has become a distinctive feature of the saxophone family, to the extent that soprano and sopranino saxes are sometimes made in the curved style. The baritone and contrabass saxophones accommodate the length of the bore with extra bows and right-angle bends between the main body and the mouthpiece; the left hand operates keys from the upper part of the body tube while the right hand operates keys from the lower part. The right thumb sits under a thumb hook and left thumb is placed on a thumb rest to stabilize and balance the saxophone, while the weight of most saxophones is supported by a neckstrap attached to a strap ring on the rear of the body of the instrument; the left thumb operates the octave key. With soprano and smaller saxophones weight tends to be borne by the right thumb while a neckstrap provides security for the instrument. Keys consist of the cups, and
The harmonica known as a French harp or mouth organ, is a free reed wind instrument used worldwide in many musical genres, notably in blues, American folk music, classical music, country, rock. There are many types of harmonica, including diatonic, tremolo, octave and bass versions. A harmonica is played by using the mouth to direct air into or out of one or more holes along a mouthpiece. Behind each hole is a chamber containing at least one reed. A harmonica reed is a flat elongated spring made of brass, stainless steel, or bronze, secured at one end over a slot that serves as an airway; when the free end is made to vibrate by the player's air, it alternately blocks and unblocks the airway to produce sound. Reeds are pre-tuned to individual pitches. Tuning may involve changing a reed’s length, the weight near its free end, or the stiffness near its fixed end. Longer and springier reeds produce deeper, lower sounds. If, as on most modern harmonicas, a reed is affixed above or below its slot rather than in the plane of the slot, it responds more to air flowing in the direction that would push it into the slot, i.e. as a closing reed.
This difference in response to air direction makes it possible to include both a blow reed and a draw reed in the same air chamber and to play them separately without relying on flaps of plastic or leather to block the nonplaying reed. An important technique in performance is bending: causing a drop in pitch by making embouchure adjustments, it is possible to bend isolated reeds, as on chromatic and other harmonica models with wind-savers, but to both lower, raise the pitch produced by pairs of reeds in the same chamber, as on a diatonic or other unvalved harmonica. Such two-reed pitch changes involve sound production by the silent reed, the opening reed; the basic parts of the harmonica are reed plates and cover plates. The comb is the main body of the instrument, when assembled with the reedplates, forms air chambers for the reeds; the term comb may originate from the similarity between this part of a hair comb. Harmonica combs were traditionally made from wood but now are made from plastic or metal.
Some modern and experimental comb designs are complex in the way. There is dispute among players about; those saying no argue that, unlike the soundboard of a piano or the top piece of a violin or guitar, a harmonica's comb is neither large enough nor able to vibrate enough to augment or change the sound. Among those saying yes are those who are convinced by their ears. Few dispute, that comb surface smoothness and air-tightness when mated with the reedplates can affect tone and playability; the main advantage of a particular comb material over another one is its durability. In particular, a wooden comb can absorb moisture from the player's breath and contact with the tongue; this can cause the comb to expand making the instrument uncomfortable to play, to contract compromising air tightness. Various types of wood and treatments have been devised to reduce the degree of this problem. An more serious problem with wood combs in chromatic harmonicas, is that, as the combs expand and shrink over time, cracks can form in the combs, because the comb is held immobile by nails, resulting in disabling leakage.
Much effort is devoted by serious players to sealing leaks. Some players used to soak wooden-combed harmonicas in water to cause a slight expansion, which they intended to make the seal between the comb, reed plates and covers more airtight. Modern wooden-combed harmonicas are less prone to swelling and contracting. Players still dip harmonicas in water for the way it affects ease of bending notes; the reed plate is a grouping of several reeds in a single housing. The reeds are made of brass, but steel and plastic are used. Individual reeds are riveted to the reed plate, but they may be welded or screwed in place. Reeds fixed on the inner side of the reed plate respond to blowing, while those fixed on the outer side respond to suction. Most harmonicas are constructed with the reed plates bolted to the comb or each other. A few brands still use the traditional method of nailing the reed plates to the comb; some experimental and rare harmonicas have had the reed plates held in place by tension, such as the WWII era all-American models.
If the plates are bolted to the comb, the reed plates can be replaced individually. This is useful because the reeds go out of tune through normal use, certain notes of the scale can fail more than others. A notable exception to the traditional reed plate design is the all-plastic harmonicas designed by Finn Magnus in the 1950s, in which the reed and reed plate were molded out of a single piece of plastic; the Magnus design had the reeds, reed plates and comb made of plastic and either molded or permanently glued together. Cover plates cover the reed plates and are made of metal, though wood and plastic have been used; the choice of these is personal. There are two types of cover plates: traditional open designs of stamped metal or plastic, which are there to be held
Sweet Talker (film)
Sweet Talker is a 1991 Australian film starring Bryan Brown. It was directed by Michael Jenkins who described it as: A real general audience film, a gentle film about some relationships father-son relationships, single mum relationship with her son. It's not. It's an entertainment film. It's a soft film - it doesn't go out there pretending it's saying anything world-shattering... In this industry quite a few things are haphazard. Sweet Talker is one of the more haphazard projects; the film's soundtrack and performed by British singer/songwriter Richard Thompson was released by Capitol Records the same year the film was released. Sweet Talker on IMDb Sweet Talker at Rotten Tomatoes Sweet Talker at Box Office Mojo Sweet Talker at Oz Movies
Fiddling refers to the act of playing the fiddle, fiddlers are musicians that play it. A fiddle is a bowed string musical instrument, most a violin, it is a colloquial term for the violin, used by players in all genres including classical music. Although violins and fiddles are synonymous, the style of the music played may determine specific construction differences between fiddles and classical violins. For example, fiddles may optionally be set up with a bridge with a flatter arch to reduce the range of bow-arm motion needed for techniques such as the double shuffle, a form of bariolage involving rapid alternation between pairs of adjacent strings. To produce a "brighter" tone, compared to the deeper tones of gut or synthetic core strings, fiddlers use steel strings; the fiddle is part of many traditional styles, which are aural traditions—taught'by ear' rather than via written music. Among musical styles, fiddling tends to produce rhythms that focus on dancing, with associated quick note changes, whereas classical music tends to contain more vibrato and sustained notes.
Fiddling is open to improvisation and embellishment with ornamentation at the player's discretion—in contrast to orchestral performances, which adhere to the composer's notes to reproduce a work faithfully. It is less common for a classically trained violinist to play folk music, but today, many fiddlers have classical training; the medieval fiddle emerged in 10th-century Europe, deriving from the Byzantine lira, a bowed string instrument of the Byzantine Empire and ancestor of most European bowed instruments. The first recorded reference to the bowed lira was in the 9th century by the Persian geographer Ibn Khurradadhbih. Lira spread westward to Europe. Over the centuries, Europe continued to have two distinct types of fiddles: one square-shaped, held in the arms, became known as the viola da braccio family and evolved into the violin. During the Renaissance the gambas were elegant instruments; the etymology of fiddle is uncertain: the Germanic fiddle may derive from the same early Romance word as does violin, or it may be natively Germanic.
The name appears to be related to Icelandic Fiðla and Old English fiðele. A native Germanic ancestor of fiddle might be the ancestor of the early Romance form of violin. In medieval times, fiddle referred to a predecessor of today's violin. Like the violin, it came in a variety of shapes and sizes. Another family of instruments that contributed to the development of the modern fiddle are the viols, which are held between the legs and played vertically, have fretted fingerboards. In performance, a solo fiddler, or one or two with a group of other instrumentalists, is the norm, though twin fiddling is represented in some North American, Scandinavian and Irish styles. Following the folk revivals of the second half of the 20th century, however, it has become common for less formal situations to find large groups of fiddlers playing together—see for example the Calgary Fiddlers, Swedish Spelmanslag folk-musician clubs, the worldwide phenomenon of Irish sessions. Orchestral violins, on the other hand, are grouped in sections, or "chairs".
These contrasting traditions may be vestiges of historical performance settings: large concert halls where violins were played required more instruments, before electronic amplification, than did more intimate dance halls and houses that fiddlers played in. The difference was compounded by the different sounds expected of violin music and fiddle music; the majority of fiddle music was dance music, while violin music had either grown out of dance music or was something else entirely. Violin music came to value a smoothness that fiddling, with its dance-driven clear beat, did not always follow. In situations that required greater volume, a fiddler could push their instrument harder than could a violinist. Various fiddle traditions have differing values. In the late 20th century, a few artists have attempted a reconstruction of the Scottish tradition of violin and "big fiddle," or cello. Notable recorded examples include Iain Fraser and Christine Hanson, Amelia Kaminski and Christine Hanson's Bonnie Lasses, Alasdair Fraser and Natalie Haas' Fire and Grace. and Tim Macdonald and Jeremy Ward's The Wilds.
Hungarian and Romanian fiddle players are accompanied by a three-stringed variant of the viola—known as the kontra—and by double bass, with cimbalom and clarinet being less standard yet still common additions to a band. In Hungary, a three stringed viola variant with a flat bridge, called the kontra or háromhúros brácsa makes up part of a traditional rhythm section in Hungarian folk music; the flat bridge lets the musician play three-string chords. A three stringed double bass variant is used. To a greater extent than classical violin playing, fiddle playing is characterized by a huge variety of ethnic or folk music traditions, each of which has its own distinctive sound. English folk music fiddling, including The Northumbrian fiddle style, which features "seconding", an improvised harmo