>Re Stuart Eydmann's recent e-mail on the subject:
>
>I am very interested in the work you refer to which was done by Dr.
>Peter Cooke..........." to explain the internal rhythmic variation in
>traditional players which gives the music its particular lift, lit and
>drive." Is it available?

Alexander, we have the Peter Cooke book here and you could borrow it.

Stuart Eydmann wrote:
>The grace note has echoes of the birl discussion of some months ago. Non
>traditional players are often thrown by the presence of grace notes on the
>written page and I think that is what is being referred to here. In most
>circumstances in fast music a fiddle grace note is fitted in without any
>real or apparent robbing of time from the melody note which follows - if it
>is overdone then it just does not sound right.
>
>I think it was CPE Bach who wrote on the "true" way to perform gracenotes
>(presumably in keyboard music) which classical musicians often drag up to
>defend their case. Classical musicians see the grace note and immediately
>strive to give it an emphasis and value which it does not deserve or
>require.

I have to disagree here because in Cape Breton fiddling there is much 
use of emphasized grace notes with real note value.  Or, I should say 
that one hears this type of grace note often anyway.  David and I 
notate them as grace notes with no slashes when we transcribe from 
someone's playing.  I'm not sure how many Cape Breton fiddlers 
actually *read* grace notes this way though -- this would have to be 
investigated.  I suspect that when reading music, Cape Breton 
fiddlers usually ignore most of the extra stuff and substitute their 
own expressions. However, I bet that if a written grace note fits the 
Cape Breton style and is placed in the type of situation in which 
these long grace notes are used, then a Cape Breton fiddler might 
well interprete it that way.  Some Cape Breton fiddlers play even the 
quick type of double grace notes more slowly than others, almost in a 
triplet rhythm.

- Kate D.
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