TUMBLING BONES SAMPLE COMMUNITY/EDUCATIONAL PROGRAM
Section 1. We perform an introductory piece: “Big-Eyed Rabbit” (Traditional), a fast tempo
old-time song featuring three-part harmony, fiddle-led instrumental sections, and clog-dancing
by Pete. This upbeat, exciting selection grabs the attention of the students. It also serves to
familiarize them with all the distinctive components of our music: harmony singing, clog
dancing, and banjo-fiddle-guitar-upright bass instrumentation. Following the song we introduce
ourselves to the group.
Section 2. We explain the geographic origins of our music: Using musical examples, we
discuss the migration of Europeans and Africans to the American South where their cultures and
music blended and transformed to become what we today call “American roots music.”
Immigrants from Britain, Ireland, and other regions of Europe brought their fiddle music,
ballads, and instruments such as the violin and the guitar. Slaves from central and western Africa
brought the banjo, call & response singing styles, and distinctive rhythmic syncopations.
Activities: Jake highlights West African syncopations with the 19th century banjo tune: “Old
Rattler” (Traditional). Aaron demonstrates the Irish fiddle tune tradition with “Wind that Shakes
the Barley” (Traditional). Kyle plays a portion of a European classical guitar-inspired American
finger-picking piece: “Spanish Fandango” (Henry Worrall).
Section 3. Traditional mountain circle dance. Historically, American fiddle tunes have been
performed primarily to accompany dancing. Mountain circle dances are simple social dances that
can be taught to students with no experience.
Activities: Pete leads group in circle dance figures such as “Circle to the Left,” “Circle to the
Right”, and “In to the Center with a Whoop and a Holler” while Aaron, Kyle, and Jake play a
fiddle reel – “Aranksas Traveler.” Once students have understood the basics Pete leads them in
more complicate partner- and square-dance moves such as “Promenade” and “Birdie in the
Cage.”
Section 4. Songwriting and harmony singing. This section provides us a good opportunity to
demonstrate the relevance of our music to contemporary audiences.
Activities: Kyle discusses the song-writing process, explaining how he draws on traditional as
well as contemporary influences to create his own compositions. Then, after teaching the
students the lyrics to a simple chorus Kyle has composed, we split the group into two halves.
Kyle teaches the melody line to one half while Pete teaches a harmony part to the other half.
Once each group has learned their respective parts we combine them, singing the song in twopart harmony. Harmony singing by rote - as demonstrated in this exercise - is an essential part of
much sacred and secular American folk music.
Section 5. Conclusion. We close with an a capella spiritual number sung as a quartet – “Bright
Morning Stars.” The song also serves to emphasize the important role sacred music has played in
American roots music, especially in the realm of harmony singing.
List of musical examples
“Big-Eyed Rabbit” – traditional upbeat fiddle tune with three-part harmony
“Old Rattler” – traditional 19th century African-American banjo tune
“Wind that Shakes the Barley” – traditional Irish fiddle tune
“Spanish Fandango” (Henry Worrall) – early 20th century parlor guitar finger-picking
piece
5. “Arkansas Traveler” – traditional American fiddle tune
6. “Will I ever know Joy” – A Kyle Morgan original composition
7. “Bright Morning Stars” – a traditional a capella spiritual
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A note on catering to different audiences
This program was designed for musically-inclined, English first language high school students.
For younger audiences we would omit some of the historical, lecture-based material and
substitute more hands-on activities. For example, in the past we have handed out spoons to
younger kids – a traditional noise-maker in vernacular American music – to tap out rhythms
along to our music. For international audiences that may not speak much English, we would
work to make our program more visual and aural and less verbal. For example, we can use large
maps and other graphics to demonstrate the geographic origins of our music. And many of the
dance moves can be taught by example with minimal explanation.