Chords for Johnny Gimble - Fiddlin' Around
Tempo:
94.25 bpm
Chords used:
Em
D
Eb
G
Ab
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
Maybe tell you a little bit about, I suppose, your fourth-year music, which is swing music,
on the fiddle.
Would I be right in saying that that's what you like?
Well, I guess so.
I like all of it, but I grew up listening to Texas dance music, I think you'd call
it.
I couldn't
my mother didn't believe in going to dances, but we got the records and listened to
Cliff Brunner, was an old hero of mine, and J.R. Chatwell was a fiddle player with Adolph Hofner,
and then about 1940, I think Bob Wills really turned me on to the fiddle players he had, and
as much as anything else was the beat for dance music, it's swings, you know.
You actually played with Bob Wills for a while?
49 and 50, and then 51.
I played about two and a half years with him.
That must have been quite an experience.
Joined the road, they used to say, join the Navy and see the world,
they used to say, join Bob Wills and see the world through a windshield.
But I think this, that Bob gave that music an opportunity to be heard
around the world where it hadn't been before.
Yeah, I mean was it mainly dances that Bob Wills was playing, big dances, or did he do concerts?
Right, mostly dances.
Occasionally he did concerts, but he felt more at home playing for dancers, and
I do too, I still feel that way.
I'd rather play for a 500 or a 1000 people dancing and play where
they can have a good time and take some pressure off of you.
You can relax a little and do what you
like.
Everybody's having a good time.
I'm doing that double stop and you're doing that two-fingered
stuff.
Did you actually hit the lamb now, or did you grow up with it?
No, well, the first tunes, you know, a lot of the old breakdowns have a two-finger like ragtime.
[D] San Antonio Rose is double stop, but it's more, I guess [Eb] you'd call primitive.
And then I got, it's just playing chords, and then I got into practicing,
[Eb]
[Ab] feeling around the [Em] double stop.
[E] [A] [D] [G]
[Em] [G]
[Db] [D] [Em]
[Bb] [B] [E]
[B] [D]
[Em] [Em]
[Db] [Em] [D] [G]
Right.
[Eb] Just that comes off of chords.
I learned mandolin along with, when I was learning fiddle,
and I think mandolin helps, like you were talking about picking it, you begin to,
you see your notes in there instead of feeling them.
[N] Well, with the no frets on the fiddle,
you know, it's kind of hard to realize what you're doing.
One estimate is that you never
fret over it.
Yeah, you need to be really accurate when you're doing that.
No, you need to slide a lot.
Junior, I was going to talk to you about, you're the expert here on competitions over this,
because [Eb] you've been playing competitions for years and years.
Yeah, I've been since about,
well, seriously, since about 1970, I guess.
[Ab] I think I went to Weezer, the Nationals, first year 1970.
And these competitions are all over the place.
Right.
They've got a bundle of them here in
Texas, but I don't come down here very often.
I've got too many good fiddlers down here.
[G] Yeah, you're from New Mexico, which is pretty close to the Texas border.
Yes,
just I'm about 45 miles north of El Paso.
And you're a real cowboy, [F] because you did all the
rodeo stuff way back.
At one time, yes.
[N] And how did you do that, just sort of move around different
rodeos like you do moving around for the competition?
Yeah, only I didn't make as much
money as you did.
I had a horse fall on me, crushed a foot, and I quit.
on the fiddle.
Would I be right in saying that that's what you like?
Well, I guess so.
I like all of it, but I grew up listening to Texas dance music, I think you'd call
it.
I couldn't
my mother didn't believe in going to dances, but we got the records and listened to
Cliff Brunner, was an old hero of mine, and J.R. Chatwell was a fiddle player with Adolph Hofner,
and then about 1940, I think Bob Wills really turned me on to the fiddle players he had, and
as much as anything else was the beat for dance music, it's swings, you know.
You actually played with Bob Wills for a while?
49 and 50, and then 51.
I played about two and a half years with him.
That must have been quite an experience.
Joined the road, they used to say, join the Navy and see the world,
they used to say, join Bob Wills and see the world through a windshield.
But I think this, that Bob gave that music an opportunity to be heard
around the world where it hadn't been before.
Yeah, I mean was it mainly dances that Bob Wills was playing, big dances, or did he do concerts?
Right, mostly dances.
Occasionally he did concerts, but he felt more at home playing for dancers, and
I do too, I still feel that way.
I'd rather play for a 500 or a 1000 people dancing and play where
they can have a good time and take some pressure off of you.
You can relax a little and do what you
like.
Everybody's having a good time.
I'm doing that double stop and you're doing that two-fingered
stuff.
Did you actually hit the lamb now, or did you grow up with it?
No, well, the first tunes, you know, a lot of the old breakdowns have a two-finger like ragtime.
[D] San Antonio Rose is double stop, but it's more, I guess [Eb] you'd call primitive.
And then I got, it's just playing chords, and then I got into practicing,
[Eb]
[Ab] feeling around the [Em] double stop.
[E] [A] [D] [G]
[Em] [G]
[Db] [D] [Em]
[Bb] [B] [E]
[B] [D]
[Em] [Em]
[Db] [Em] [D] [G]
Right.
[Eb] Just that comes off of chords.
I learned mandolin along with, when I was learning fiddle,
and I think mandolin helps, like you were talking about picking it, you begin to,
you see your notes in there instead of feeling them.
[N] Well, with the no frets on the fiddle,
you know, it's kind of hard to realize what you're doing.
One estimate is that you never
fret over it.
Yeah, you need to be really accurate when you're doing that.
No, you need to slide a lot.
Junior, I was going to talk to you about, you're the expert here on competitions over this,
because [Eb] you've been playing competitions for years and years.
Yeah, I've been since about,
well, seriously, since about 1970, I guess.
[Ab] I think I went to Weezer, the Nationals, first year 1970.
And these competitions are all over the place.
Right.
They've got a bundle of them here in
Texas, but I don't come down here very often.
I've got too many good fiddlers down here.
[G] Yeah, you're from New Mexico, which is pretty close to the Texas border.
Yes,
just I'm about 45 miles north of El Paso.
And you're a real cowboy, [F] because you did all the
rodeo stuff way back.
At one time, yes.
[N] And how did you do that, just sort of move around different
rodeos like you do moving around for the competition?
Yeah, only I didn't make as much
money as you did.
I had a horse fall on me, crushed a foot, and I quit.
Key:
Em
D
Eb
G
Ab
Em
D
Eb
Maybe tell you a little bit about, _ I suppose, your fourth-year music, which is swing music,
on the fiddle.
Would I be right in saying that that's what you like?
Well, I guess so.
I like all of it, but I grew up listening to Texas dance music, I think you'd call
it.
I couldn't_
my mother didn't believe in going to dances, but we got the records and listened to
Cliff Brunner, was an old hero of mine, and J.R. Chatwell was a fiddle player with Adolph Hofner,
and then about 1940, I think Bob Wills really turned me on to the fiddle players he had, and
as much as anything else was the beat for dance music, it's swings, you know.
You actually played with Bob Wills for a while?
49 and 50, and then 51.
I played about two and a half years with him.
That must have been quite an experience.
_ Joined the road, they used to say, join the Navy and see the world,
they used to say, join Bob Wills and see the world through a windshield. _ _ _
But I think this, that Bob gave that music an opportunity to be heard
around the world where it hadn't been before.
Yeah, I mean was it mainly dances that Bob Wills was playing, big dances, or did he do concerts?
Right, mostly dances.
Occasionally he did concerts, but he felt more at home playing for dancers, and
I do too, I still feel that way.
I'd rather play for a _ _ 500 or a 1000 people dancing and play where
they can have a good time and take some pressure off of you.
You can _ relax a little and do what you
like.
Everybody's having a good time.
I'm doing that double stop and you're doing that two-fingered
stuff.
Did you actually hit the lamb now, or did you grow up with it?
No, well, the first tunes, you know, a lot of the old breakdowns have a two-finger like ragtime.
_ [D] _ _ _ San Antonio Rose is double stop, but it's more, I guess [Eb] you'd call primitive.
And then I got, it's just playing chords, and then I got into practicing,
_ _ _ [Eb]
[Ab] feeling around the [Em] double stop. _ _ _ _ _
_ [E] _ _ [A] _ _ [D] _ _ [G] _
_ _ _ [Em] _ _ _ _ [G] _
_ _ _ [Db] _ _ [D] _ _ [Em] _
_ _ [Bb] _ _ [B] _ _ _ [E] _
_ _ [B] _ _ _ _ _ [D] _
_ _ [Em] _ _ _ _ _ [Em] _
_ _ [Db] _ [Em] _ _ [D] _ _ [G] _
_ _ _ _ _ Right.
[Eb] Just that comes off of chords.
I learned mandolin along with, when I was learning fiddle,
and I think mandolin helps, like you were talking about picking it, you begin to,
you see your notes in there instead of feeling them.
[N] Well, with the no frets on the fiddle,
you know, it's kind of hard to realize what you're doing.
One estimate is that you never
fret over it.
Yeah, you need to be really accurate when you're doing that.
No, you need to slide a lot.
_ _ _ _ _ Junior, I was going to talk to you about, you're the expert here on competitions over this,
because [Eb] you've been playing competitions for years and years.
Yeah, I've been since about,
well, seriously, since about 1970, I guess.
[Ab] I think I went to Weezer, the Nationals, first year 1970.
And these competitions are all over the place.
Right.
They've got a bundle of them here in
Texas, but I don't come down here very often.
I've got too many good fiddlers down here.
_ _ _ [G] Yeah, you're from New Mexico, which is pretty close to the Texas border.
Yes,
just I'm about 45 miles north of El Paso.
And you're a real cowboy, [F] because you did all the
rodeo stuff way back.
At one time, yes.
[N] And how did you do that, just sort of move around different
rodeos like you do moving around for the competition?
Yeah, only I didn't make as much
money as you did.
I _ _ had a horse fall on me, crushed a foot, and I quit.
on the fiddle.
Would I be right in saying that that's what you like?
Well, I guess so.
I like all of it, but I grew up listening to Texas dance music, I think you'd call
it.
I couldn't_
my mother didn't believe in going to dances, but we got the records and listened to
Cliff Brunner, was an old hero of mine, and J.R. Chatwell was a fiddle player with Adolph Hofner,
and then about 1940, I think Bob Wills really turned me on to the fiddle players he had, and
as much as anything else was the beat for dance music, it's swings, you know.
You actually played with Bob Wills for a while?
49 and 50, and then 51.
I played about two and a half years with him.
That must have been quite an experience.
_ Joined the road, they used to say, join the Navy and see the world,
they used to say, join Bob Wills and see the world through a windshield. _ _ _
But I think this, that Bob gave that music an opportunity to be heard
around the world where it hadn't been before.
Yeah, I mean was it mainly dances that Bob Wills was playing, big dances, or did he do concerts?
Right, mostly dances.
Occasionally he did concerts, but he felt more at home playing for dancers, and
I do too, I still feel that way.
I'd rather play for a _ _ 500 or a 1000 people dancing and play where
they can have a good time and take some pressure off of you.
You can _ relax a little and do what you
like.
Everybody's having a good time.
I'm doing that double stop and you're doing that two-fingered
stuff.
Did you actually hit the lamb now, or did you grow up with it?
No, well, the first tunes, you know, a lot of the old breakdowns have a two-finger like ragtime.
_ [D] _ _ _ San Antonio Rose is double stop, but it's more, I guess [Eb] you'd call primitive.
And then I got, it's just playing chords, and then I got into practicing,
_ _ _ [Eb]
[Ab] feeling around the [Em] double stop. _ _ _ _ _
_ [E] _ _ [A] _ _ [D] _ _ [G] _
_ _ _ [Em] _ _ _ _ [G] _
_ _ _ [Db] _ _ [D] _ _ [Em] _
_ _ [Bb] _ _ [B] _ _ _ [E] _
_ _ [B] _ _ _ _ _ [D] _
_ _ [Em] _ _ _ _ _ [Em] _
_ _ [Db] _ [Em] _ _ [D] _ _ [G] _
_ _ _ _ _ Right.
[Eb] Just that comes off of chords.
I learned mandolin along with, when I was learning fiddle,
and I think mandolin helps, like you were talking about picking it, you begin to,
you see your notes in there instead of feeling them.
[N] Well, with the no frets on the fiddle,
you know, it's kind of hard to realize what you're doing.
One estimate is that you never
fret over it.
Yeah, you need to be really accurate when you're doing that.
No, you need to slide a lot.
_ _ _ _ _ Junior, I was going to talk to you about, you're the expert here on competitions over this,
because [Eb] you've been playing competitions for years and years.
Yeah, I've been since about,
well, seriously, since about 1970, I guess.
[Ab] I think I went to Weezer, the Nationals, first year 1970.
And these competitions are all over the place.
Right.
They've got a bundle of them here in
Texas, but I don't come down here very often.
I've got too many good fiddlers down here.
_ _ _ [G] Yeah, you're from New Mexico, which is pretty close to the Texas border.
Yes,
just I'm about 45 miles north of El Paso.
And you're a real cowboy, [F] because you did all the
rodeo stuff way back.
At one time, yes.
[N] And how did you do that, just sort of move around different
rodeos like you do moving around for the competition?
Yeah, only I didn't make as much
money as you did.
I _ _ had a horse fall on me, crushed a foot, and I quit.