The Contemporary Violinist: Preface by Turtle Island String Quartet
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About this ebook
Each style chapter provides you with the appropriate left- and right-hand ornaments, warm-ups, an overview of the style (including its background), as well as a quote from a key player of that genre. The front section of the book covers numerous topics, as does the resource section at the back. This book can keep you busy, informed, and entertained for a long time.
Each style chapter provides step-by-step practice techniques, a unit on its history, and a tune in the style. The book gradually steps up in level of difficulty and is self-explanatory. In digital form, it can sit on your desktop or digital reader with the audio available to play from your computer or iPod. You can even burn the audio to CD.
A comprehensive learning tool, The Contemporary Violinist includes a glossary of chords in all twelve keys, step-by-step details regarding how to capture stylistic elements, cool tips on technique, instrument maintenance, jam sessions, practice tracks, a glossary of double-stops, 13 paradiddles, a ground-breaking new section on rhythmic and pitch permutations, and a full section on pedagogy for improvisation in all styles. There’s even a fun section called “Fiddle Horror Stories” supplied by fiddlers from around the world, a Playing Healthy section, and quotes from a myriad of key players in the field.
The Contemporary Violinist also includes inspiring advice from some of the most famous players in each style.
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The Contemporary Violinist - Julie Lyonn Lieberman
Title: The Contemporary Violinist
Author: Julie Lyonn Lieberman
Publisher: Julie Lyonn Music
Metadata:
Learn sixteen of the most important fiddle and violin styles in the world and use them as vehicles for improvisation with practice tracks available through iTunes. This book is THE contemporary violinist’s thesaurus of left- and right-hand techniques, chords, scales, exercises, repertoire, and practice techniques. There’s even a playing healthy section, fiddle horror stories, revolutionary sections on permutations and paradiddles, and information about dozens of other violin-specific topics. No other book for violinists matches this one!
Keywords:
Violin, fiddle, strings, string improvisation, alternative strings, alternative style, jazz violin, world music, improvisation, music study, string styles, eclectic styles
TABLE OF CONTENTS
Opening Material
Preface by Turtle Island String Quartet
Acknowledgments
Dedication
Introduction
Capturing the Style
The Basic Parameters
Choice Versus Habit
Rhythmic Awareness
Cultural SIgnatures
Which Kind of Player Do You Want To Be?
Dressing Up a Note
Passionate Technique
The Bucking Bronco Syndrome
Erasing the Glass Ceiling
Julie-isms
Cool Tips
Supporting the Instrument
Bow Length
String-Crossing
Flailing
Uneven Pulse
Strings
Bows and Fiddles
Repair
Instrument Care
Tuners on the Tailpiece versus Pegs
Amplification
Protecting Your Ears
Practice Tracks
Jam Sessions
The Art of Improvisation
Yikes! What Should I Play?
Permutations
Five Approaches To Improvisation
Hybrid Scales
Rhythm Violin
Paradiddles
Modal Settings
The Cycle: The Key to Jazz Improvisation
Double Stops
Harmonic Motion: Working with Chords
The Styles
Old-Time Shuffles Along
Bluegrass Frenzy
Country Drawl
Irish Reelies
Drivin’ to Cape Breton
Fiddle It French
Dancin’ Scandi
Bluesy Blues
Swinging Fancy
BeBoppin’
Lively Latin
Rockin’ and Rollin’
Klezmanian Skies
Tango Caprice
Gypsy Lane
Flaming Flamenco
Playing Healthy
Protecting Yourself
Effort vs. Release
Muscle Overuse
The Death Grip
The Stressed Wrist
Muscle Balance
Rest and Healing
Practice Time
Group Sessions
Resources for Contemporary Strings
Books
DVDs
Fiddle Horror Stories
Julie Lyonn Lieberman
Peter ‘Doc’ Rolland, Ph.D
Paul Harty
Edward I. Pollak
David Thompson
Pete Schug
Scott Bailey
RLA Matheson
Danielle E. Martin
Eric Oehler
Laurie Griffiths
Martin Stillion
Dean
Bo Bradham
Katie Bailey
John Beland
Neil Rossi
QUOTES
John Hartford
Stacy Phillips
Albert Einstein
Darol Anger
Betty Carter
Jean-Luc Ponty
Jay Ungar
Bruce Molsky
Sam Zygmuntowicz
Buddy Spicher
Martin Hayes
Michael Doucet
Donna Hébert
Leif Alpsjö
Randy Sabien
Claude Fiddler
Williams
Matt Glaser
Anthony Barnett
Joe Kennedy, Jr.
Sam Bardfeld
Jesus Florido
Betsy Hill
Mark Wood
Alicia Svigals
Yale Strom
Mary Ann Willis
Willie Royal
THE PRACTICE CD
You can practice the tunes in the book using these tracks (available on iTunes). Each accompaniment provides the melody and ample space for improvisation. If you want to download sheet music in PDF format for some of the longer tunes in this book, you can find it on my downloads page at www.julielyonn.com.
Musicians on Tracks:
Julie Lyonn Lieberman: violin; Len Cascia: guitar, accordion, mandolin, pedal steel; Alex Skolnick: flamenco, bebop, and blues guitar; Steve Alcott: bass
Track 1
Stylistic Examples
Track 2
Rhythm Violin
Track 3
The Drone
Track 4
The Cycle
Track … 5 Old-Time
Cripple Creek I
Track … 6 Bluegrass
Cripple Creek II
Track … 7 Country
Country Ride
Track … 8 Irish
Kia
Track … 9 Cape Breton
Tullachgorum
Track … 10 Cajun
Dance Doucet Dance
Track … 11 French
Fireside
Track … 12 Scandi
Lanbacka-Jans Polska
Track … 13 Blues
Papa Blues
Track … 14 Swing
Georgia Swing
Track … 15 Be-bop
Bop Bird Bop
Track … 16 Latin
It Just Is
Track … 17 Rock
Sugarcane Rock
Track … 18 Klezmer
L’hu Neroneno
Track … 19 Tango
Tangled in Tango
Track … 20 Gypsy
The Romany Trail
Track … 21 Flamenco
Harmonic Gypsy
THE CONTEMPORARY VIOLINIST
by Julie Lyonn Lieberman
Published by: Julie Lyonn Music
Graphic Design: Julie Lyonn Lieberman
Cover Design: Loren Moss
Cover Photo: Randall Wallace
Editors: Susan Ruel and Julie Lyonn Lieberman
All rights reserved.
No part of this book may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or by any information storage and retrieval systems without written permission from the author, except for the inclusion of brief quotations in a review or article.
First and Second Editions: Soft cover
Copyright 1999 by Julie Lyonn Lieberman dba Huiksi Music; Second Edition 2001
Print Edition: ISBN 978-1-879730-06-9
First Digital Edition
Copyright 2011 by Julie Lyonn Music
Digital Edition: ISBN 978-1-879730-06-9
Printed in the United States of America
PREFACE BY
TURTLE ISLAND STRING QUARTET
It’s a great time to be studying the violin. String players have finally reached the point in their daily musical lives where American popular styles and indigenous music from around the world are part of the ubiquitous whole, and no longer the exclusive province of specialized and somewhat lonely innovators. From the orchestra to the recording studio, violinists, violists, and cellists are expected to have a working understanding of the wonderful rhythmic musical mélange available to the public every day.
So broad is the palette and daunting the challenge that well-designed new methods and materials for study are desperately needed.
From violinists Leopold Mozart in the 18th century to Leopold Auer in the 19th and early 20th, string pedagogy has experienced a continually evolving and innovative development as it has responded to the demands of composers and their Eurocentric vision. But for most of this past century we have simply been refining this albeit excellent methodology and virtually mass-producing a singular technique that is designed to accommodate a singular style: classical music.
Today, however, music calls out for more. Necessity must again be a mother of invention. Multifarious improvisation in jazz, rock, folk swing, bebop, bossa nova, samba, mambo, salsa, bluegrass, Balkan rhythms, Irish fiddle, Cajun, hip-hop, new age, blues, and R&B styles … it’s all available for exploration. There is no reason for string players to feel ‘left out’ ‘too stiff’ or ‘too classical’ and miss the joy of this musical evolution. They should have the flexibility and comfort that horn players and guitarists have always enjoyed. We Turtle Islanders can tell you from first-hand experience that there is a ton of fun to be had when you start to stretch.
None of this will come as any surprise to anyone who has been paying attention the past few years to our esteemed friend and colleague violinist/educator Julie Lyonn Lieberman. She has always known this day was coming and has been preparing us all with incomparably useful, inspiring books, and an unshakable commitment to finding better ways to learn. The Contemporary Violinist is perhaps the most comprehensive and informative yet. For the uninitiated student it is a portal to a new world. For the already informed it will open eyes wide to new possibilities. Grab it and USE it!
ACKNOWLEDGMENTS
Special thanks to my husband, Len Cascia, for his love, support, and help with this project.
I would like to thank all of the phenomenal artists who gave of their time and expertise to add the richness of their experience to this book: Turtle Island String Quartet, Jean-Luc Ponty, Buddy Spicher, Matt Glaser, James Kelly, Martin Hayes, Bruce Molsky, Jay Ungar, Mark Wood, Betsy Hill, Joe Kennedy, Jr., John Hartford, Randy Sabien, Claude Fiddler
Williams, Richard Greene, Stacy Phillips, Darol Anger, Michael Doucet, Leif Alpsjö, Jeremy Cohen, Jesus Florido, Sam Bardfeld, Yale Strom, Alicia Svigals, Willie Royal, Donna Hébert, Natalie MacMaster, Papa John Creach, Anthony Barnett, Mary Ann Willis, Susan Ruel, Dave Barton, Betsy Kubick, Sam Zygmuntowicz, Peter ‘Doc’ Rolland, Paul Harty, Edward Pollak, David Thompson, Pete Schug, Scott Bailey, RLA Matheson, Danielle E. Martin, Eric Oehler, Laurie Griffiths, Martin Stillion, Dean, Bo Bradham, Katie Bailey, John Beland, and Neil Rossi.
Heartfelt appreciation to my cousin, Janet (Schneider) Stoddard, whose artwork in this book helps keep her forever alive and present in the world.
DEDICATION
Mastery over a number of styles isn’t new to modern times. The African American fiddlers that were members of the early string bands of the late 1800s and early 1900s and the African American blues violinists that stood for hours in the dark playing for the silent films were our original alternative styles
string players. They were adept at a number of styles: blues, old-time, show tunes, and classical, to name a few. This book is dedicated to their unheralded and remarkably creative contributions to string history.
This book is also dedicated to Claude Fiddler
Williams. It was his 1972 solo on Hootie Blues
on an album with Jay McShann that inspired me to write my first book, Rockin’ Out with Blues Fiddle back in the 70s. Claude’s contribution to the field of jazz violin, his open door policy to younger players, and his gentle soul has enriched all of our lives immeasurably in the string community and the world.
INTRODUCTION
There is a now a mushrooming community of players worldwide that are partaking in the once-disapproved of crossover between styles. Now, at long last, string players and string programs recognize the importance of building playing skills in a number of styles — playing skills that include improvisation, groove-oriented techniques, the ability to play over chords, the use of amplification and special effects, and so on. Yet, many of our cross-over players still sound classical.
I developed the material in this book and its companion DVD, Techniques for the Contemporary String Player, to provide a support system and overview to help players master the intricacies of sixteen of the more popular American and world styles. Think of it like a sampler that will provide you with the basic skills you will need to capture the essence of each style. I suggest that when you find a style that particularly calls to you, find an expert in that style to work with who can help you hone in on the subtleties of that genre as well as the classic repertoire of the style.
This book endeavors to encourage the mastery of tradition as well as creativity.
I highly respect all traditional musicians, whether they play old-time fiddle, Arabic, or Greek violin. They are passionate cultural archivists who transport traditional soundscapes of the past into the future. Let’s not forget, though, that those traditions were — at one time in history — the acts of creative individuals. I also celebrate the new kind of player who is developing today’s creative contributions and fearless explorations; these violinists/fiddlers keep the art playfully alive.
The future is at our doorstep and my vision is of the contemporary violinist. One who knows fiddle styles (Irish, bluegrass, old time, Scandinavian, Cajun, country, et al.); can improvise in any style; greets odd meter such as 5/8 or 11/8 with expertise; can play rhythm violin; wails on the blues with lightning and thunder, and is equally at home with the classics.
It’s a new identity that embraces diversity. As our world gets smaller, perhaps we can be among the leaders and exemplify an inclusive and respectful approach to our neighbors.
The fiddle, like all musical instruments, is part of your voice and therefore a window into everything you are and wish to be; each style on the fiddle could be thought of as a language. And therefore, to play old time music, or Cajun music or Mexican or classical or whatever, you’ve got to learn the language. Language has subtleties and therefore many layers. A player can just learn an old-time tune and to someone who doesn’t already know the language it will sound old timey but to someone else who is familiar with the dialects and the metaphors it would sound much like someone with a thick foreign accent speaking their native tongue. The violin/fiddle is such a sensitive instrument with so many variables that the depth you can get to (in any style/language) is bottomless.
I believe that to try and learn any style — no matter how shallow or deep — is a tremendous compliment to the style. Listen to the masters for they will widen your understanding yet don’t be afraid of just liking the music that sings to your heart and makes pictures. My late, life-long friend Clifford Hawthorne, always said it best for me. ‘Boys, I might not be the best hand at playin’ an old fiddle, but By God I can tell when one’s a-bein’ played.’
CAPTURING THE STYLE
The Basic Parameters:
We have at least five basic parameters to work with in each hand that help define our sound. How we mirror or mix and match the two hands multiplies our sound palette.
1) pressure
Culturally speaking, subtle variations in pressure into the string can occur at different points within the musical phrase or even within a given note, not necessarily at the actual point of entry to the note as is common with classical repertoire. To gain control over how the bow interacts with the string, you must keep your hand flexible. All of your fingers need to be relaxed and curved. If a single finger is stiff, straight, or locked, it will be extremely difficult to achieve subtlety in your sound and might force you to turn to the large, inefficient muscles of the arm to try to regulate bow weight.
While pressure can be created by temporarily redistributing the weight of the hand so that you lean into your index finger, you can create more subtle variations by releasing the palm of the bow hand down into gravity to make a note surge or pop out. Each approach originates a different type of accent or inflection.
2) speed
You can fulfill the same time interval by drawing a fast bow placed midway between the bridge and the fingerboard or by drawing a light-pressured bow stroke close to the bridge to create an electric guitar sound, or by using a slow, short bow placed closer to the bridge; each yields a different tonal color. Choose a