such as Lonnie Johnson and Big Bill Broonzy, made early recordings on the violin. They are among the most-represented artists in the canon. The connection between guitar and violin is highlighted by these players' respective melodic sensibility. The violin's history, in the context of the overarching history of the blues, is reflected by the career trajectories of these two artists. Characteristics Typically a single fiddle is used with other instruments (most often a guitar) and a vocalist. Tuning For the majority of recordings, the strings are tuned a fifth apart, usually to some approximation of standard violin tuning: (from lowest to highest note) G,D,A,E. However, during the height of blues violin recordings 440 Hz for A was a far less commonly used concert pitch. Concert pitch apparently varied from ensemble to ensemble, from one recording session to the next, and quite likely from day to day, or from one climate to the next. Groups such as Jack Kelly and his South Memphis Jug Band and the Mississippi Sheiks, tuned as much as a minor third, or three semi-tones low for various recordings. Key signatures Although the keys of C, G, and D appear frequently, blues fiddle, is very often played in keys more commonly associated with jazz, and more often heard on horns: Bb, Eb, Ab, and F. Playing position In contrast to many of the Anglo-American rural fiddlers, most blues fiddlers adopted a semi-classical posture, holding the instrument high on the shoulder and gripping the bow at the frog rather than over the hair. Right-hand technique employed heavy on-string bowing, limited string crossings and bowed tremolo. Left-hand technique emphasized simple fingerings, slid into third and fifth positions, and used few or no fingered ornaments such as trills and turns. Though orchestral violin playing uses varied techniques, the position is usually very regal in a sense; the performer is meant to sit up on the edge of their seat, with the violin sitting on a shoulder rest and more often than not, right out of their periphery. Blues fiddle is almost exactly opposite. The playing position is left entirely up to the player, usually without the utilization of a shoulder rest, with the fiddle leaned substantially forward where the player can see the whole fingerboard. This is due to the fact that most blues fiddlers improvise their music. The bow is typically played closer to the fingerboard, depending upon the