Tags
Appalachia, Cacklin Hen, Clark Kessinger, Ed Haley, Ella Haley, fiddle, fiddler, Flop-Eared Mule, history, John Hartford, Lawrence Haley, music, writing
I called Lawrence Haley a little later after working more on Ed’s music to brag on the phrasing and intonation in his father’s playing.
“Well,” Lawrence said, “that’s one thing with the bow I’d never be able to learn anyway. What pressure to put to emphasize a note or to quiet a note down. Pop did that from one end of the bow to the other. If he was holding it up and he was plumb out at the end of the bow, I know he had to put more pressure with his hand downward toward them strings to really emphasize the note. And when he got to the other end, he had to slack off a little bit I know to get the same emphasis. I guess running from one end of the bow he was all the time changing the pressure of the bow on the strings to get what he wanted. Now, that’s about all I know about bowing anyway. You gotta have room on your bow. When he knew he couldn’t make a certain note when he’s down at the short end of it, then he would reverse it but he did it in a way that you couldn’t tell which way he was going with the bow hardly. He skipped the bow on some tunes you know as he was playing it. I’ve seen him get out there, as it started down towards the handle end, he’d skip it maybe to get some notes and the way he wanted to play that piece of music. Like the ‘Cacklin’ Hen’, when he’d get down to where that hen let out that squall dropping that egg, it sounded just like an old hen just jumping right off a nest. And that ‘Flop-Eared Mule’, you can hear that mule bray if you want to listen to it.”
I told Lawrence one of the things I was trying to figure out was how Ed could hold the fiddle down from his neck and still get up into the higher positions. Lawrence remembered his father doing it.
“I’ve seen his hands run up and down the neck of the fiddle. He always did that. He’d go way down on the neck of the fiddle.”
Beyond that, Lawrence said he couldn’t get into the specifics.
“I really couldn’t say anything more about that, John. But right in there about the armpit is where he laid the fiddle. I don’t know whether he used chest muscles to kinda control it too, and shoulder and arm muscles, I really don’t know. That would take a real master to sit around and watch that and know exactly what you’re looking for. A lot of times when Pop and Mom was a playing, I’d be off somewhere else. However he mastered that fiddle, I couldn’t tell you. The guys that watched him, they mighta knowed partly what they was looking for. I guess the only one that come close to his style of playing was Clark Kessinger and he watched Pop a lot. Pop would say, ‘Yeah, I knew he was there, but he never would play for me.’ Pop was liable to criticize him or he might try to help him, but Clark wouldn’t let him. He was just there after the knowledge that he could garner from Pop’s style by watching him.”