Although it is believed that the first fiddle might have come to Scotland as a transplant during the crusades, there is no denying the fact that this instrument, identical to the violin in other cultures, has become integral to the concept of Scottish music. While the fiddle and the violin are the same instruments, the music that is played on them, as well as the style of playing, are vastly different – one being characterized by the folk music of the countryside and the other being associated more with the classical traditions of the continent. The music itself, as it has traditionally been composed and performed within Scotland, is often written about important community leaders or about significant events that impinge on the listeners’ world, whether these be local, national or world events that have reached the islands. Other popular topics include the supernatural, prohibition, natural and manmade disasters. While the subjects may carry numerous similarities throughout the nation, the musical styles of the various regions of Scotland retain distinguishing characteristics. Today, there are approximately five recognized historical Scottish fiddle styles including the Shetland style, the Orkney style, the West Coast/Highland Fiddle style, the East Coast style and the style of the Borders, as well as an emerging contemporary style that struggles to encompass them all. The Shetland style is most frequently associated with the Hardanger fiddle which is believed to have originated in Norway. According to Lynn Berg (2007), in Norway “the modern Hardanger fiddle appeared about 1850 when influences from mainland Europe began to have a much greater influence in Norway. It is about this time that the body became very violin-like, yet kept the unique style of the ‘f’ hole. … Either four or five understandings became the standard.” However, the earliest known Hardanger fiddle is dated 1651, indicating that this type of instrument was in use long before mainland Europe began spreading its influence (Berg, 2007). The understandings of this instrument are what makes it, and the Shetland style of fiddle music, so unique. These strings resonate with their own sounds whenever a tune is played on the upper strings, giving the instrument a multi-layered voice that has often been used to intriguing effect. In addition, a flatter bridge enabled the player to hit two strings at once, producing the ‘ringing strings’ common to Shetland music (Martin, 2003). While the fiddle as its recognized today had entered the region by the early 1700s, the Hardanger retained a good deal of its influence. The most common form of fiddle music recognized as particularly Shetland in nature is the Scottish reel. These are typically played with a relatively fast beat, “ornamented by little triplets known as ‘shivers’ and by the occasional droning of open strings – giving a bright ringing sound reminiscent of the Hardanger” (Haigh, 2007). According to Haigh, the most traditional reels are in repetitious 4-bar sections which were appropriate for its primary use as an accompaniment to the 16-bar Shetland Reel dance as “there is a distinctive and highly infectious swing to Shetland reels” (Haigh, 2007). Dancing was o