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Cassie Plemmons
Ms. T. Bowman
English IVH
31 October 08
The Fiddle: a Nickname or an Instrument All Its Own?
“Before sunrise for five mornings, take a fiddle and go into the country till’ you come to
the end of a main road or a crossroads and on the fifth morning you will meet a man also
carrying a fiddle. He is the devil. He will teach you to play” (Erbsen 42). In fact, historically,
the fiddle was indeed thought to be the ‘devil’s instrument’. This is the perception that many
carry for the fiddle. This instrument of evil has not only been used to create the centuries old
country and bluegrass rhythms that are so loved by southerners but it has also been the revered
subject of infamous songs like Charlie Daniels’s “The Devil Went Down to Georgia,” where
“good” Johnny out fiddles the devil himself. Many people believe that the fiddle and the violin
are one and the same and that the only difference is the rhythm of the tune being played;
however, one cannot help but classify the fiddle and the violin as two different instruments.
There is a large cultural difference in the two; they are played very differently, and the style of
music which they produce is almost opposite of one another.
There is a great debate over whether or not the fiddle is an instrument separate from the
violin. Many people say that the fiddle is simply a nickname for the violin, and others say that
there is a distinct difference in the two. “The word ‘fiddle’ has always been associated with the
working class, whereas the ‘violin’ has usually implied formal, classic European training”
(Wolfe 17). However, there are great differences in the two and some people that have been
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trained to play the instrument as a fiddle and a violin say that they should definitely be classified
as two different instruments because of how dissimilar the two are. Eustis Jonathan Hodge is one
such person who feels this way, he told Katie Gallagher during an interview: “[It was easier to
play difficult pieces in the classical style.] And all of a sudden, just because there was a style
change and rhythmic change, that became a different thing, like speaking another language.”
In order to better understand the differences in a fiddle and a violin the history must first
be explained. The history of the violin (or fiddle) is very unclear, because during the years of its
early invention around the fifteenth century, there were many different names in use, such as
viola, violino, and rebec, and even came to be a complete family: violin, viola, cello, and double
bass (see illustration 1 on page 9) (Ammer 464; Donington). In addition to that, the instruments
have had the same body structure for many centuries. The violin’s body, unlike most modern
instruments (excluding the organ), was perfected during the 17th century and was very much so
the instrument seen today (Apel 908). Whereas the body style of more modern instruments were
not perfected until the late 19th century. Needless to say, since its debut, the violin has been a
stringed fretless instrument that is played with a bow. The fiddle, as well as the mandolin and
the acoustic bass, originated in Italy (Rice).
Although the instrument originated in Europe, it was around the time that the first settlers
of America established settlements that the fiddle was born. As settlers spread out into the
mountains of Appalachia, the tradition of mountain music was born. Whilst fiddlers would have
existed among all of the nation’s settlements, it was in the isolated communities of Virginia,
West Virginia, North Carolina, Kentucky and Tennessee that the tradition was best preserved
(Haigh). Of course, among these settlers were those who fiddled. These settlers composed lyrics
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that reflected their day-to-day lives. These songs were the beginning of ‘mountain music’ or
what is known today as traditional country music (Rice).
The culture surrounding the fiddle and the culture that surrounds the violin are very
different. As well, the fiddle is primarily used to play mountain music, a historical and
traditional style of music associated with the mountains, while the violin is an orchestral
instrument used to play classical music, an age-old formal style which originated in Europe.
“The violin is most likely the most valued and important of the stringed instruments in the
orchestra” (Apel 908). The violin’s sound is not only, it is also unusually diverse. There are
many different ranges of tone and styles of bowing, making it a highly adaptable stringed
instrument; therefore, the violin quickly became the foundation of the orchestra (Donington).
Hence, the culture of the violin is not only associated with, but plays a vital role in, orchestras
and symphonies.
Likewise, the fiddle is the most important instrument of its genre. Giles Lephew of
Wythe County, Virginia says, “The fiddle is the leader.” The fiddle pre-dates all other
instruments used in today’s bluegrass and country music. The only other instrument around
during the early years of the fiddle in America was the jaw harp. The jaw harp is a small harp
that a musician places on his or her teeth. It is plucked with the pointer finger towards one’s
face. Light breathing and different postures of the tongue make the different notes and pitches.
However, the jaw harp has never been a predominate instrument nor has it gained much
popularity, so it is not used much in the music of today. The other stringed instruments of
bluegrass that are played with the fiddle include the banjo, the guitar, and the mandolin. “Slaves
from frica brought the design idea for the banjo- an instrument now integral to the bluegrass
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sound” (Rice). Many years later, the emancipation of African-Americans during the 1860’s
came with the banjo and a new style of guitar playing which helped to create an even more
tremendous sound to accompany the fiddle. “Later also came the harmonica, autoharp and
mandolin. The fiddle, however, remained predominate” (Haigh).
Moreover, the fiddle represents a culture that is very singular and cannot be found
anywhere else in the world. It is not associated with an entire country, continent or region. No,
this culture is much smaller and simpler yet still has a large impact on the people who are
associated with it. This culture, is the culture of the mountains and the simple and prideful people
who live there. “For Americans, old time fiddling represents a nostalgic link with the country’s
past, a tradition rooted in the simple, honest, hardworking lives of the first rural farmers of
America” (Haigh). The fiddle is thought of as the main instrument in backwoods picking, a type
of get together found only in the mountainous areas of the country. Started by old timers, the
members of a band would get together and have “jam sessions” on the back porch of a member’s
house. In addition to representing old-time culture so very well, the instrument also symbolizes
the simple, rural and backwoods lifestyle that most southerners long for. The music it produces
is like a link to the past hard times, good times, old times, and simple times. It can even be
considered a lifestyle in itself. “It is an escape for the mind as well as an exciting rush” (Apel
909). As the times change, it is becoming more and more of a rarity to see this type of mountain
lifestyle. Wherever the times lead to though, old time fiddle is sure to not be forgotten. Just like
Bob Kyle said, “Old-time music on the fiddle is like a fire in a sawdust pile. You can snuff it out
in one place, and it breaks out in another” (Erbsen 196).
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Besides the large cultural difference between the two genres of music, another quality
that separates the fiddle and the violin is that they are played so differently. The bridge could be
considered another thing that could set the two instruments apart. A bridge is a thin piece of
wood that stands erect on the instrument to hold the strings above the top surface of the
instrument (also called its belly), and to ensure the strings stay separated (see illustration 2 on
page 9) “The bridge of a violin is usually more pronounced or arched to ensure that a violinist
can play a string without touching another string with the bow” (Erbsen 9). A fiddler needs the
less arched bridge and less complicated fingering to be able to play two or more strings at a time.
This is because a fiddler plays solo a lot of the time. People love to hear the fiddle played as a
solo because of the remarkable sound that it makes. “The fiddle is the instrument most like the
human voice” (Erbsen). The ability to play two or more strings at a time is something that is
most admired about old time fiddlers.
Different from traditions of the fiddle, a violin is usually played in large groups
(otherwise known as an orchestra) because when playing in the classical style, there is less
complicated fingering involved and because the classical style of music that it produces has a
greater effect when played in large groups. Because of this, it is not necessary to play more than
one string at a time, it is only necessary to be trained to play with more complex bowing and
fingering. A fiddler often prefers a flatter bridge, which promotes playing two or more strings at
the same time (Erbsen 9). With a fiddle, since it is usually played solo or without
accompaniment, it is necessary to play with more than one string to add to the melody and make
up for the lack of other instruments. Even though the fiddle is usually played with multiple
strings, the fingering and bowing technique is not as complicated so as to provide easier and
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simpler entertainment for the people listening. Also, the fiddle is not always played by itself,
there are many times where it is an instrument playing a role in a band. But always, the role it
plays is a big one.
In addition to the arched bridge, there are other minor differences that could classify the
fiddle a separate instrument form the violin. For a violinist, there is only one way to hold a
violin, and that is the classic and formal style to hold the instrument directly under and against
one’s chin. Also, for reasons of appearance, a violinist’s wrist on his or her left arm should
never touch the instrument while supporting it. On the other hand, a fiddler holds the instrument
however it feels comfortable, usually with his or her wrist touching the fiddle to help support it,
or, he or she can hold it in the classical style as a classical violinist does. “Some fiddler’s
position the fiddle under their chin like the classical violinist do, while others hold it against their
chest at various angles. With fiddling, there seems to be no rhyme or reason other than what
suits a particular fiddler” (Erbsen 18).
As mentioned before, fingering is yet another thing that varies for a fiddler or violinist.
Fingering is a term used to describe the complexity of finger placement. Fingering for a violinist
is usually complicated, with carefully timed strokes and difficult melodies. It is almost opposite
for a fiddler. “Fingering is usually simple & without much ornamentation excluding a few
slides. However, what is most admired among old time fiddlers is an energetic and driving
bowing rhythm” (Haigh). Also, a fiddler is usually more inclined to improvise during a song.
“Usually when you’re playing old time fiddle, you tend to get caught up” (Erbsen).
Yet another thing that helps to distinguish the fiddle from the violin is the music that they
produce. A violin is used to play classical and more formal music. It is used in symphonies and
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orchestras everywhere. The fiddle is usually used to produce mountain music or bluegrass. It is a
common misconception that they are one in the same, when in fact they are not. Mountain music
is a style that has been around for years and that the settlers who first came to America started,
while bluegrass is a more recent name for a style of music which Bill Monroe, a famous country
and bluegrass musician, founded.
Bluegrass music is a style of country music that developed during the 1940s, based on
traditional ballads, fiddle tunes, and gospel music hymnody of the southern Appalachian
Mountains in the United States. Bluegrass features acoustic string band instruments such
as fiddle, banjo, and mandolin, accompanied by guitar and string bass. (Pen)
This new style of music helped to spark people’s interest in the fiddle. “During the mid-sixties,
the growth of interest in bluegrass was paralleled by a similar growth of interest in old-time
fiddle” (Rosenberg 240). Although it is astounding that such an impressive genre was created
solely by one man, it is equally impressive how much the fiddle plays a role in that genre.
For years, however, the fiddle has been stereotypically associated with mountain music
and has been an important instrument to the people who live in the mountains. “Fiddlers took
home a fine new violin if they won a fiddling contest in Hanover County Virginia, where there
are records of fiddle contests taking place as early as 1736” (Erbsen 8). Conversely, fiddle
playing was not always an accepted hobby. “Fire and Brimstone preachers often accused fiddle
players of walking hand-in-hand with the devil himself” (Erbsen 8). The most zealous of
preachers believed that fiddle playing was coupled by idleness, licentiousness, and liquor. That
is how the instrument got its second nickname: the devil’s box. Wayne Erbsen, a talented fiddle
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player, teacher, and author actually told his students a tale about the devil’s box in one of his
fiddle classes.
There was a condemned cabin back in the mountains, and during the demolition of the
cabin, an old fiddle was found buried inside one of the walls. It is said that the man who
lived there previously was a fiddler back in his day, until he turned a new leaf and began
attending church regularly. He probably buried his fiddle inside of his wall then to keep
his pastor from finding out that he had such an idle hobby.
However, the reputation of the fiddle for being an instrument of the devil has not completely
relinquished people’s love or respect for the instrument. “In spite of the zeal of preachers,
fiddling has been for generations a hallmark of southern culture, love and politics” (Wolfe 18).
Even though the fiddle has had so much influence on southern heritage, are the facts such
as the large cultural difference, the difference in how they are played, or the singular music that
each produces enough to finally classify the devilish fiddle separately from the violin? The
supercilious, classic violin and the traditional, time-honored fiddle have only one thing in
common: their appearance, at a glance. With such large and factual reasons, like distinct genres
of music, unique playing techniques, and diverse cultural influences, it is evident that the fiddle
should be classified an instrument all its own. “The two are most definitely not the same, for one,
the violin has strings, and the fiddle has straaaaangs” (Erbsen 9).
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Illustration 1: Donington
Illustration 2: Pen
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Works Cited
Ammer, Christine, and Inc. Staff Facts on File. The Facts on File Dictionary of Music. New
York: Facts On File, Incorporated, 2004. Print.
Apel, Willi. Harvard Dictionary of Music. Second ed. Cambridge, MA: The Belknap Press of
Harvard UP, 1972. Print.
Donington, Robert. "Musical Instruments." The New Book of Knowledge. 2010. Grolier Online.
NCWiseOwl. <http://nbk.grolier.com/cgi-bin/article?assetid=a2020170-h>. Web. 16
Sept. 2008.
Erbsen, Wayne. Old-Time Fiddle for the Complete Ignoramus. Asheville, NC: Fracas Music
Company, 2005. Print.
Erbsen, Wayne. Personal interview. 16 Sept. 2008.
Gallagher, Katie. "When it comes to fiddle playing, Eustis' Jonathan Hodge is 2nd-to-none."
OrlandoSentinel.com. 07 Sept. 2008. ttp://www.orlandosentinel.com/news/local/lake/orlspotlight0708sep07,0,3120677.story>. Web. 17 Sept. 2008.
Haigh, Chris. "Old Time Fiddle." Fiddling Around the World. <http://www.fiddlingaround.
co.uk/old%20time/oldtimeframe.html>. Web. 17 Sept. 2008.
Pen, Ron. "Bluegrass Music." Grolier Multimedia Encyclopedia. Grolier Online, 2008.
NCWiseOwl. <http://gme.grolier.com/article?assetid=0036470-0>. Web. 16 Sep. 2008.
.Rice, Wayne. "Bluegrass Music: The Roots." IBMA. 2003. International Bluegrass Music
Museum. <http://www.ibma.org/about.bluegrass/history/index.asp>. Web. 11 Sept. 2008.
Rosenberg, Neil V. Bluegrass: A History. New York: University of Illinois P, 2005. Print.
Wolfe, Charles K. The Devils Box: Masters of Southern Fiddle. Vanderbuilt UP, 1997. Print.