Chords for Wild Rose of the Mountain - J P Fraley
Tempo:
145.8 bpm
Chords used:
A
E
D
F#m
Dm
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
[A] Ali Bain's friend, J.P. Fraley, is a [E] mining engineer [A] from the same neck of the woods.
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[A]
[E] [A]
[E]
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[E] [A]
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[E]
[A]
[D] [A]
[F#m]
[E]
[A] [Dm] [A]
[E]
[A]
[D]
[E]
[A]
[E]
[A]
That's a beautiful tune.
Well, good to know.
Thank you.
J.P.,. you've been collecting music from around this part for years, haven't you? Half an hour. Well, I didn't actually realize it, Ali, but when I started to play the fiddle that day, I started collecting fiddle tunes, which all fiddlers know. And I was lucky, I mean, I guess to grow up in a part of Kentucky where they grew up that particular town. There were several fiddlers around close that was fiddling the East Kentucky fiddle, we call it, but they was fiddling distinctly different styles. Yeah, I was talking to Mike Seeger earlier on, and he was saying that [E] around about the late 50s, there wasn't much of this music being played around here. In fact, he made a kind of a strange remark. He said that, he said actually people were ashamed of it sometimes. Why would that be? Well, they were because after World War II, [G] Kentucky, the backwoods or backland part of Kentucky was opened up, the roads were better and so forth, and there had been a television, better radio, better communications, and the people that began to hear and see, done, you know, other music other than what they grew up with, their heritage or tradition. And they were ashamed of the music because there's seemingly some places that was well known for country music or mountain music as we called it. They satirized the fiddler as a drinkin', fightin', roused about, and you know, various things that didn't have too much character. He'd become a person that was not very well educated, played what I call gum-stump fiddle, you know, a bunch of squeaks and cracks and crayon, which we've heard on some of the old records. That was actually some of the people thought that that was really the way it all was. How did the fiddle go down, you know, with the church, like against the music? Living in Kentucky, you live in what was the state that's part of the Bible Belt, and the bulk of the people were Protestant religion. And where I grew up, they were predominantly Baptist, and what we call holiness. And they looked at the fiddle as a device to send you straight to torment, they called it. It was called the devil's box. But now, when I was growing up, they still used organs in the church alley, the old pump organs, and they'd play the old favorite hymns, like the old rugged cross and will the circle be unbroken. But sometimes the organ would break down, and then the fiddler, until they got the organ fixed, he was allowed to play the hymns in church, as long as he didn't swing it. And when the organ was fixed, he was no longer welcome in there playing that devil's box. [N]
[E]
[A]
[E] [A]
[E]
[A]
[E] [A]
[E]
[A]
[E]
[A]
[D] [A]
[F#m]
[E]
[A] [Dm] [A]
[E]
[A]
[D]
[E]
[A]
[E]
[A]
That's a beautiful tune.
Well, good to know.
Thank you.
J.P.,. you've been collecting music from around this part for years, haven't you? Half an hour. Well, I didn't actually realize it, Ali, but when I started to play the fiddle that day, I started collecting fiddle tunes, which all fiddlers know. And I was lucky, I mean, I guess to grow up in a part of Kentucky where they grew up that particular town. There were several fiddlers around close that was fiddling the East Kentucky fiddle, we call it, but they was fiddling distinctly different styles. Yeah, I was talking to Mike Seeger earlier on, and he was saying that [E] around about the late 50s, there wasn't much of this music being played around here. In fact, he made a kind of a strange remark. He said that, he said actually people were ashamed of it sometimes. Why would that be? Well, they were because after World War II, [G] Kentucky, the backwoods or backland part of Kentucky was opened up, the roads were better and so forth, and there had been a television, better radio, better communications, and the people that began to hear and see, done, you know, other music other than what they grew up with, their heritage or tradition. And they were ashamed of the music because there's seemingly some places that was well known for country music or mountain music as we called it. They satirized the fiddler as a drinkin', fightin', roused about, and you know, various things that didn't have too much character. He'd become a person that was not very well educated, played what I call gum-stump fiddle, you know, a bunch of squeaks and cracks and crayon, which we've heard on some of the old records. That was actually some of the people thought that that was really the way it all was. How did the fiddle go down, you know, with the church, like against the music? Living in Kentucky, you live in what was the state that's part of the Bible Belt, and the bulk of the people were Protestant religion. And where I grew up, they were predominantly Baptist, and what we call holiness. And they looked at the fiddle as a device to send you straight to torment, they called it. It was called the devil's box. But now, when I was growing up, they still used organs in the church alley, the old pump organs, and they'd play the old favorite hymns, like the old rugged cross and will the circle be unbroken. But sometimes the organ would break down, and then the fiddler, until they got the organ fixed, he was allowed to play the hymns in church, as long as he didn't swing it. And when the organ was fixed, he was no longer welcome in there playing that devil's box. [N]
Key:
A
E
D
F#m
Dm
A
E
D
[A] _ _ Ali Bain's friend, J.P. Fraley, is a [E] mining engineer [A] from the same neck of the woods. _ _ _ _
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[A] _ _ _ _ _ _
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[A] _ _ _ _ _ _
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_ _ _ [F#m] _ _ _
[E] _ _ _ _ _ _
[A] _ _ _ _ [Dm] _ [A] _
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_ [E] _ _ _ _ _
_ [A] _ _ _ _ _
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[A] _ _ _ _ _ _
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That's a beautiful tune.
Well, good to know.
Thank you.
J.P.,. you've been collecting music from around this part for years, haven't you? Half an hour. Well, I didn't actually realize it, Ali, but when I started to play the fiddle that day, I started collecting fiddle tunes, which all fiddlers know. _ _ And I was lucky, I mean, I guess to grow up in a part of Kentucky where they grew up that particular town. There were several fiddlers around close that was fiddling the East Kentucky fiddle, we call it, but they was fiddling _ _ _ distinctly different styles. Yeah, I was talking to Mike Seeger earlier on, and he was saying that _ _ [E] around about the late 50s, there wasn't much of this music being played around here. _ In fact, he made a kind of a strange remark. He said that, _ he said actually people were ashamed of it sometimes. Why would that be? Well, they were because _ _ _ _ _
after World War II, [G] _ Kentucky, the backwoods or backland part of Kentucky was opened up, the roads were better and so forth, _ and there had been a television, better radio, better communications, and the people that began to hear and see, done, you know, other music other than what they grew up with, their heritage or tradition. And they were ashamed of the music _ because there's seemingly _ _ _ some places that was well known for country music or mountain music as we called it. They satirized the fiddler as a _ drinkin', fightin', roused about, and _ _ _ you know, various things that _ didn't have too much character. He'd become _ a person that was _ not very well educated, played what I call gum-stump fiddle, you know, a bunch of squeaks and cracks and crayon, which we've heard on some of the old _ records. That was actually some of the people _ _ thought that that was really the way it all was. How did the fiddle go down, you know, with the church, like against the music? Living in Kentucky, you live in what was the state that's part of the Bible Belt, and the bulk of the people were Protestant religion. And where I grew up, they were predominantly Baptist, _ and _ what we call holiness. _ _ And they looked at the fiddle as a device to send you straight to torment, they called it. It was called the devil's box. _ But now, when I was growing up, they still used organs in the church alley, the old pump organs, and they'd play _ the old favorite hymns, like the old rugged cross and will the circle be unbroken. But sometimes the organ would break down, and then the fiddler, until they got the organ fixed, he was allowed to play the hymns in church, as long as he didn't swing it. _ _ _ _ And when the organ was fixed, he was no longer welcome in there playing that devil's box. [N] _ _
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[A] _ _ _ _ _ _
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_ _ _ _ [D] _ [A] _
_ _ _ [F#m] _ _ _
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[A] _ _ _ _ [Dm] _ [A] _
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_ [E] _ _ _ _ _
_ [A] _ _ _ _ _
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[A] _ _ _ _ _ _
_ _ _ _ _
That's a beautiful tune.
Well, good to know.
Thank you.
J.P.,. you've been collecting music from around this part for years, haven't you? Half an hour. Well, I didn't actually realize it, Ali, but when I started to play the fiddle that day, I started collecting fiddle tunes, which all fiddlers know. _ _ And I was lucky, I mean, I guess to grow up in a part of Kentucky where they grew up that particular town. There were several fiddlers around close that was fiddling the East Kentucky fiddle, we call it, but they was fiddling _ _ _ distinctly different styles. Yeah, I was talking to Mike Seeger earlier on, and he was saying that _ _ [E] around about the late 50s, there wasn't much of this music being played around here. _ In fact, he made a kind of a strange remark. He said that, _ he said actually people were ashamed of it sometimes. Why would that be? Well, they were because _ _ _ _ _
after World War II, [G] _ Kentucky, the backwoods or backland part of Kentucky was opened up, the roads were better and so forth, _ and there had been a television, better radio, better communications, and the people that began to hear and see, done, you know, other music other than what they grew up with, their heritage or tradition. And they were ashamed of the music _ because there's seemingly _ _ _ some places that was well known for country music or mountain music as we called it. They satirized the fiddler as a _ drinkin', fightin', roused about, and _ _ _ you know, various things that _ didn't have too much character. He'd become _ a person that was _ not very well educated, played what I call gum-stump fiddle, you know, a bunch of squeaks and cracks and crayon, which we've heard on some of the old _ records. That was actually some of the people _ _ thought that that was really the way it all was. How did the fiddle go down, you know, with the church, like against the music? Living in Kentucky, you live in what was the state that's part of the Bible Belt, and the bulk of the people were Protestant religion. And where I grew up, they were predominantly Baptist, _ and _ what we call holiness. _ _ And they looked at the fiddle as a device to send you straight to torment, they called it. It was called the devil's box. _ But now, when I was growing up, they still used organs in the church alley, the old pump organs, and they'd play _ the old favorite hymns, like the old rugged cross and will the circle be unbroken. But sometimes the organ would break down, and then the fiddler, until they got the organ fixed, he was allowed to play the hymns in church, as long as he didn't swing it. _ _ _ _ And when the organ was fixed, he was no longer welcome in there playing that devil's box. [N] _ _