Chords for Old Time Fiddlin' with Woody and Ketch

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_ [E] The thing [N] he does sing while he's playing like that, a lot of the old time fiddlers
that I knew, they sang and played at the same time.
In the era that I was coming up, there wasn't too many young kids doing it and learning
new tunes that were technically maybe a little bit harder on the left hand.
You spent _ so much time trying to learn that, there wasn't a lot of room to play.
And it's hard.
It's hard to just play the fiddle by itself and it's hard to sing, but doing it together
like he's doing it, it's really, really, really hard.
Well that speaks to the kind of change in role for the fiddle as the violin became,
[Abm] as old time music was eclipsed by bluegrass music, the role of the violin [N] completely changes
in bluegrass music where it's this instrumentalist role.
In old time, the fiddler was often the band leader.
It was the guy, Roy [E] Acuff for example, he'd sing and he'd play and he might even be able
to dance too because some of those guys could do that too.
_ _ _ _ [A] You got a camera down there?
[G] _ _ [A] _ _ [E] _
I'm going to put down a little bit of cornmeal here on the floor so you slip around.
I might just slip a little bit better. _ _ _ _
Hell of a seeder, how about a little bit of, how about let's play a little bit of the ball
of cabbage now.
Yeah.
Hey, you [A] want to play with me? _ _ _
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[D] _ [A] Yeah.
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_ _ _ _ [E] Oh [A] _ _
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[A] _ _ _ _ [N] boy. _ _
All that frenetic energy of the [Abm] gregarious [Bb] nature of music, the way it brings [Ab] people in.
When you're [Am] playing it, it's as if the audience is a member of the band too.
[Ab] If you ever played square dances or [Fm] contra dances, _ [Bm] it's really about that connection
that [Gm] you make with [E] _ people in motion.
[Bm] It's inspiring.
_ [E] You can't help but tap [Bb] your foot even if [Ab] you're not in the right time.
You just can't help but [D] tap it when you hear somebody make old [B] time music. _
[Ab] It's important to note [G] that the old time music _ [D] that we're hearing here, [N] it's not a relic,
it's not a time piece, it's not behind glass, it's not in a museum.
_ We play this professionally.
We go out and play this every night.
We listen to some records here from 1927 that I played last week on the Opry, live.
It ain't dead.
_ Really, it's just getting started up again.
_ There's a whole new generation of people that are listening to it and cutting their teeth
on their first Riders in the Sky record or their first Old Crow Medicine Show album and
are headed _ back and [D] looking for more just like it.
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_ _ _ [N] _ _ _ Man, that'll make your old time really fast, playing like that. _
_ _ I think one of the characteristics that makes it truly old time is you'll hear, like this,
five or six different records of different guys playing.
It's [Ab] really a different thing.
It's [Db] really a different tune. _
[E] I think that is a_
You [Db] don't see that in the symphony hall.
You don't see that in the pop charts.
_ _ _ _ There's an improvisational aspect to it.
There's a makeshift aspect to it.
The guy [Bb] can't tell [B] what the great guy on the radio is doing, so he has to [A] do something
he can [E] do that works.
_ _ _ [F] There's a lot of jackleggers.
That's why they call it fiddling.
There's a whole lot of just fiddling around trying to find something that suits you and
that [B] you can _ _ excite and entertain somebody else with, [D] especially another fiddle player. _
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_ _ _ _ _ Town Mississippi, sir.
[Em] _ _ _ [D] I'm Kent Seacorn.
This is Woodcock. _ _ _ _ _ _ _
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