LITTLE MAGGIE sca formance Notes SINGING ‘The violinist should sing all the verses, It is not necessary, in fact it is not preferred, that the violinist be a trained singer in any way. What is looked for is E natural, rather informal singing style, che most important quality being a relaxed nd uninhibited manner, The notation for the voice should serve as guide, bat the performer may take lberties with it if he/she wants, The voice part may be ‘sung it any octave, Since the voice notation is largely drawn from the singing of bluegrass bands, and in particular, the Stanley Bros, performance of "Little Maggie", yocal cmamentation within that style can serve asa model for the violinist, CHORDAL ACCOMPANIMENT Below each line of music, in (mostly) uppercase letters, the chord changes of the plece are provided. Ideally, these chords should be played by the violinist, on a Setacheable footpedal device of the kind that rock organists frequently use. In this ease, only the roots of the chords (and possibly fifths, if the footpedals are so equipped), are neceseary. ‘The accompaniment might also be played by a separate accompanist, on a simple sounding organ, Casio ar other electronic Keyboard, harmonium, or any other surtaining instrument with 2 relatively simple ‘waveform and no vibrato, ‘The dynamics of the accompaniment should vary slightly tn response to the violin part ~-for example. softer in Variation I, louder at the end and in the Introduction. tn general, however, they should be fairly constant-soft enough 60 as not to interfere with the mances of the violin part, but lovd enough to be hear and felt clestly. If the violinist is miked (whleh ls preferable in a large hall, and even in a small one t0 allow the player more dynamic freedom, especially’ in the soft sections), the accompaniment should be combined in the foutpnit mie wo that it Blends spatially with the violin. Throughout most of the plece, the chords consist of major triads, but in certain variations (like 1), more fextended chords are ued, The accompaniest or violinist might also take certsin liberties with the rhythmic feel of the chorde—syncopalting slightly to taste, and in response to the thytimie movement of the piece, bat in general the chores shouldchange on the indicated beats, Voicings of the chorts are left to the player. If a string instrument is used (like an autoharp, pedal steel, dobro, or even gultar), Simple interconnecting, ring between the chords may be played, but with Giscrotion. ‘The accompaniest should also take care to follow the violinists tempt closely. HARMONICS All harmonics are notated by their sounding pitch, the “node! (diamond shaped note in parentheses), and the string (Im roman numerals), This fingering schema is often omitted if the harmonic is a second (octave), in which case there is only one ‘way to play it on the indicated string, and when a given harmonie is wed Frequently in succession, Since many of the harmonies, especially the higher one: (4th, 5th, 6th apd 7th), have several (o-1) places whore they might be played, the notated fingerings are ‘to be taken as suggestions only. Even the string on which a Iharmonic is played (lor example, the high D which is the same on the IV and [iL string) can often be changed if the violinist feels it necessary. Since many of the harinonice are quite difieult to produce, their reliability will vary greatly from violin to violin, bow to bow, and player to player, and the violinist may. Ddecastonally substitute artificial harmonics or even fingered pitches as a last resort. For many of the higher harmonies, = rather temioue sound (hard to {Is desired—with a high percentage of bow noise (this is especially true in Variation MH and in parts of the Introduction). Open strings are notated in the same fashion fas harmonics, but without a node of course. ‘TEMPI ‘Tho entire piece should be played in a fast flddle-tune tempo, though there Is room for a great deal of liberty from variation to variation, and even within the Variations, The Intreduction and Fiddle Tune (at the end) should both be quite fast, but Variations I and V, for example, might be played slower to bring out the sonorities more, Variation IV should be played as fast aa possible, puzzicat Several styles of plazicati are used in the piece--from normal pizz, to thumbed strumming and even the we of a plectrum. Often, the violinist might find it expedient to switch the position of the instrament for the extended plazieato sections (Variation 1; Verse V; Variation V), but this is left to the player. If Variation V (or even Variation Dis played with a plectrum, either a plastic or hard felt type may be wed. If any of the piszicato harmonies prove to diffieult tosound at the indicated tompi, the player may substitute a different fingering (Gtring), or even play them as stopped pitches rather than break the tempo, INTRODUCTION Only two pitches are used in the Introduction, G and C8, and there is only one chord (6). DYNAMICS, ‘Two types of dynamics, parenthetical and not, ae used. Parenthetical dynamics signify slight changes within the prescribed markings, and might almost be considered phrasing or "breathing! suggestions to the player. INTONATIONS. 1m Variation IL, the intonations of pitches should correspond as closely as possible to the harmonic series on G (as indicated in the footnote in that variation). In the Introduction, the C# might be played consistently flat about a quarter-tone (or as ‘an 1lth harmonic to G), but this 1s optional, Throughout the rest of the plece, Intonation should more closely resemble that of traditional fiddling than 12-tone ‘equal tempered, for example: slightly flat (ust) thirds (about 14 cents), flat sevenths (Seventh harmonies, about 31 cents narrow of tompored), and true fifths. ‘This should not be done in any mechanical fashion, or even considered to be ‘mierotonal®, But rather naturally by ear, and the playing of Tommy Jarvell and others might be used as an aura) model SLURS AND PHRASINGS: ‘Slur markings do not necessarily indicate bow changes, but are meant to simply tive sense of the desired phrasing, In addition, the indicated bowings may be altered slightly at the players! discretion, although In certain eases, when there |s an obvious *motivic® reason for them, they should be respected even if they prove Gifficult, The same applies to indicated tingerings--the player may take certain liberties with them, but not without some considerstion as to. their musical‘Thanks to Malcolm Goldstein for originally suggesting and inspiring the piece, and to Jody Diamond for her care and support during ite composition, Lamy Polancky (Boston, 1981~-Benkeley, 1984)Ye te-ao pt ate En gente fo hea file oe ne 2% eee. 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