The first three measures are in the E chord and the next measure is in the A chord. Notice the lowest 4 notes as they travel through the first measure. Nearly all of the upper notes in the first measure hold on to the 4th note in the A Major scale creating a tension that begs to resolve to the "C#" color tone. This 4th note is the 7th of the five chord. This resolution hangs on over a couple more measures, though, continuing with unresolved tension until final resolution on the first beat of the fourth measure. The chord at the beginning of the 2nd measure is a fragmented E7 chord consisting of only two stops, the "G#" played by the middle finger on the 3rd string and a "D" played by the index finger on the 2nd string. It is actually void of the root note "E".

The third chord in the first measure moves to another position. To play this chord, place the ring finger on the "A" note on the D string and place your middle finger on the "D" note of the A string. The last chord in the first measure slides up to the first chord in the second measure. The interval from "G#" to "D" as mentioned above  is a very strong-tensioned E7 chord as it lacks the root note "E".

The first note of the third measure is a unison note played as an open 1st string and the E note stopped by the pinky on the A string. Leave the A string "E" stopped for the next two chords and then play a "D" along with the open "E". These notes resolve to the A chord, in this example a "C#" on the A string and an open "E" on the 1st string. Note, again, here's a double stop lacking the actual root note.

Bobby Hicks and others use these double stops often in their playing. A similar ascension may be heard by listening to Bobby play Maiden's Prayer. Listen closely and you'll hear these and similar intervals.

Often times, when I'm practicing a musical instrument, I'll try the piece I'm working on in a different key signature. For example, I might be playing "Bells of St. Mary's" in G and try it in D tuning on the banjo which totally changes the character of the piece, especially if I try to throw the de-tuners in, as well.

Or if I'm playing the fiddle, I'll deliberately play a piece through all the keys. A couple of days back, I found the greatest key in which to fiddle "Turkey in the Straw": the key of A. Oh, my. The tune just comes alive in A. There's so much open drone string harmony involved. For many, many years I've been stuck in G with this tune. G is not a key that lends itself all that well to this tune. You fiddlers out there in Internet Land, don't take my word for it, try playing it in A. I think you'll agree.

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The first two tunes are in standard tuning (EADG) and are named "Kitty Gone A Milking" and "The Heather Breeze" and the third tune has the fiddle tuned to EAEA (1st to fourth) and is named "The Foxhunter's Reel". James is one of my all time favorite fiddlers.

I recently ran on to this video after typing in the name of an old friend I met many years ago in Maine. His name is Kip Yattaw and he and I became very good friends and used to spend a lot of time playing fiddles together. I haven't seen him in many, many years. I've now learned that he went on to be a master fiddle builder and I've watched a video in which his instruments are played and WOW, they sound beautiful!
Anyway, here's a video of a band Kip is in named "The Katahdin Valley Boys". Members of the band are: Kip Yattaw, fiddle; Steve Bixby, standup bass; Jeff Folger, banjo; and Ken Brooks, guitar.

I've added many photos that Mary took of the Fourth of July event in Unicoi. Under the "Famous People and Places" header, there will be a drop-down list. Click on the Unicoi 4th of July subpage to see some beautiful pictures of the fireworks.

I've also added more pictures and text to the "Upcoming Productions" page and "Bluegrass and Country Pictures Page 4 (the latest)" subpage. Check them out. As always, thanks for stopping by.