Slåtter for to Hardingfeler/ Tunes for two Hardanger fiddles

Adapted and arranged by Svein Nyhus.

( Musikk-Husets Forlag a/s, Oslo 1989. M.H. 2516)

Preface

Our folk music is rooted in the old music traditions of the Norwegian countryside. The music was taught and transferred to new generations without the use of written music as an oral tradition. This was of importance to the uniqueness of the music and for the development of local dialects.

When this music is recreated without the contact with its original environment and based on written music, some of this uniqueness may easily be lost. Nevertheless, in the present situation with a growing knowledge of reading music, and as the possibilities of close contact with old time traditional environments are decreasing, it must be appropriate to make some of the folk music that has been collected available to as many as possible through the use of written music.

This collection of Hardanger fiddle tunes is made for those who are not so experienced in the tradition, but who can read music.

Tunes for two Hardanger fiddles does not correspond with the old ways of playing, which to an overwhelming degree has been soloistic. The structure of Hardanger fiddle music makes most of the repertoire not suited for ensemble playing. To the extent that the tunes are fit for ensemble playing, they are usually played in unison.

The arrangements here presented are made to give the tunes some extra colouring, and to make ensemble playing more of an exciting challenge.

This publication should be in accordance with the growing need for arrangements, which obviously is present among traditional fiddlers. It is also to be hoped that this collection will be used in music schools, conservatories and other places where music it taught.

One of the most characteristic features of Hardanger fiddle music is the rich two-part style of playing, executed in changing between double stops and a melody sounding together with an open string. One should be very careful not to simplify this important part of the style, even if the user to begin with should wish to have a less complex visual texture of music to work with. To clean up in the jungle of notes, one is therefore left with the possibility of reducing the use of ornamentation in the tunes. It is therefore, of course, to be hoped that the embellishments will find their way back to the tunes. Some examples of ornamentation are presented on the last page.

It is first of all the Country-dances from typical Hardanger fiddle districts that you will be acquainted with in this collection. With regards to rhythm, it is the group gangar/halling/rull that are most easily accessible, ether in the meter 2/4 or 6/8. In the Springar, on the contrary, the length of the beats is unequal. As a hint; first beat in the valdres-springar is the shortest, but in the tele-springar (from Telemark) the first beat is the longest. In the springar from Sogn (and the other parts of Western Norway) the beats are practically equal.

The metronome markings should be descriptive to the tempo, but the player should not feel obliged to follow them strictly.

In Norway we have a long tradition with regards to the notation of the tunes. It is always important no have a glance at the tuning of the instrument (indicated in the beginning of the music). If the fiddle is tuned correctly, the player must follow the notation as fingered.

There are several things about this music that has to be read “between the lines”, as our classical system of notation is far from adequate with regard to notation of folk music. It is always very useful to listen to recordings of tunes and Round-dance melodies. You will soon discover features and details that that are different from more classical styles of playing. The hardanger fiddle style of playing is characterized among other things by a much smoother use of the bow than the marcato bowings of the classical style. Also, left hand vibrato is practically unknown in this tradition.

With this as a starting point most of you will be on the right path. But sooner or later the visit of an instructor familiar with the tradition would give important impulses for further development.

(transelated by Sven Olav Lyngstad)

Most of the tunes in this collection are available “ in original” on Internet on the following website: (you may search for the names of the tunes)

http://www.hf.uio.no/imt/om_imt/nfs/feleverk.html