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Old-time music

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Old-time music is a fundamental genre of North American folk music. It developed alongside traditional North American folk dances. These dances include square dancing, contra dancing, and buck dancing.

The music is often considered a precursor to modern country music. Today, a contemporary active subculture of musicians exists across the United States. Many musicians gather at fiddlers' conventions and summer music camps to play. This music carries deep historical meaning for many communities.

Musicians typically perform in an ensemble known as a string band. The fiddle usually serves as the leading melodic instrument. The banjo often acts as a rhythmic partner to the fiddle.

Other common instruments include the guitar and the mandolin. Most old-time banjos are five-string models without a resonator pan. A resonator is a metal bowl used to make instruments louder. Without it, the banjo has a different sound than bluegrass banjos. The group often plays in a simple fiddle-banjo duet configuration.

Banjo playing involves several distinct technical styles. One common method is clawhammer, which is a type of fingerpicking. Another method is frailing, where players use their outermost knuckles instead of fingertips.

Historically, many other styles existed, such as two-finger index lead or thumb lead. There is also a three-finger "fiddle style" influenced by urban classical music. Some musicians, like Uncle Dave Macon and Snuffy Jenkins, developed individualistic three-finger styles. These techniques helped shape the evolution of the genre.

The roots of old-time music reflect the diverse cultures of North America. It draws from the traditional musics of the British Isles, Europe, and Africa. African influences appear in vocal styles, instrumental performances, and dance. The banjo itself is an instrument with African roots.

In certain regions, Spanish, French, and German sources are also prominent. While many ballads trace back to Europe, many tunes are of North American origin. This blend of traditions created a unique musical landscape.

Historically, the term "old-time music" has had many different meanings. In the 1920s and 1930s, record catalogs used racially segregated titles. The Okeh company used "old-time music" as a euphemism for white artists. This was a replacement for the disparaging term "hillbilly music." For example, Fiddlin' John Carson began recording in 1923.

In the 1960s, concert organizers used the term to identify traditional music. They wanted to distinguish it from the commercialized "folk revival" music of that era.

Old-time music is distinct from the bluegrass genre in several ways. In old-time string bands, all melody instruments often play in unison. Bluegrass usually features individual instruments taking breaks to improvise.

Old-time fiddlers also frequently use cross-tunings on their instruments. These special tunings allow sessions to remain in one key for a long time. This happens because fiddles and banjos are often tuned specifically for one tune. This creates a steady, driving sound for dancers.

Music revivalists helped keep the tradition alive in the 20th century. Mike Seeger and Pete Seeger brought string-band music to New York City in the 1940s. The band New Lost City Ramblers also sparked widespread interest. They wrote about the music in the Old-Time String Band Songbook. Organizations like the Friends of Old-Time Music worked to bring traditional artists to urban areas. They presented a wide range of performers, from solo ballad singers to full string bands. This ensured that the roots of the music remained connected to the present day.

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