I Didn't Know a Violin Could Do That!... The World of Alternative String Styles
Presented by Daryl Silberman
For WU-ICL, April 17, 2012
Orchestra director at West Salem High School
Former national clinician for Knilling Stringed Instruments
Classical and alternative style violinist and violist
Stringed instruments are steeped in a classical tradition
Let's meet some of the famous young classical players performing today...
Hilary Hahn – violinist
Helen Callus - violist
Alisa Weilerstein – cellist
Jeffrey Bradetich - bassist
What techniques make one a classical player?
Left hand techniques
-Finger dexterity
-Vibrato (in the Baroque this wasn't used, but was an 'embellishment')
Right hand techniques
-Bow usage (notice the fingers, wrist, elbow and shoulder flexibility and usage)
What about all the other genres of music?
-Can a string player play in other styles?
-Consider the tradition of fiddling
-What happened to the blues or jazz string players?
-Where did strings go when Rock 'n Roll hit?
-What do classical teachers think about rebellious young students?
Well, it turns out that “yes,” string players CAN play in different styles
Mark O'Connor – famous fiddler
Mark Wood – Rock 'n Roll violin
Apocalyptica – Rock cellists
Turtle Island String Quartet – a jazz and contemporary group
What techniques does one use to play non-classically?
Left hand technique
-Shakes, swipes, wobbles, slides
-“Hammer ons”
-Right hand technique
Non-classical use of the bow
-Chop
-Ghosting
-Swingin'
-Distortion (ponticello)
What about equipment – can a stringed instrument be amplified?
Tracy Silverman – electric violinist
John Graham – composer/violist
Steven Sharp Nelson – cool cellist
Dana Leong – contemporary cellist
Stanley Clarke – jazz bassist
Who is out there playing non-classical music?
Some violinists...
Darol Anger
Jeremy Kittel
Christian Howes
Jean-Luc Ponty
Bobby Yang
Aaron Meyer
Lindsay Stirling
Who is out there playing non-classical music?
Some violists...
Martha Mooke
Danny Seidenberg (1:20)
Jimbo Ross
Tanya Kalmatovich
Leanne Darling
Who is out there playing non-classical music?
Some cellists...
Natalie Haas (with sister Brittany)
Renata Bratt
Rushad Eggleston
Carol Thorns
Erik Friedlander
Aaron Minsky
Matt Haimovitz
What about the bassists?
Many bass players play in multiple styles – classical, jazz, rock
Story of Adrian Rosen
The coolest Bass Duet ever
Victor Wooten and Edgar Meyer
Rock bass – Billy Sheehan
Jazz bass – Esperanza Spalding
NAMM Bass jam 2012
What groups are out there performing?
Bond
Nuttin' But Stringz
The Section String Quartet
Barrage
Hot Club of San Francisco
Quartet San Francisco
String Fever (History of String Music)
Judgement Day
The Real Vocal String Quartet
What is exciting in the world of 'alternative styles' on stringed instruments?
Time for Three
The Piano Guys
The Cello Song
Me and My Cello
Thank you
This presentation with links can be found at www.altstrings.blogspot.com
Please continue to support live music – classical or not.
~Daryl Silberman
Monday, April 16, 2012
Friday, January 13, 2012
OMEA Strings Rock documents
Hi all,
Follow this link to www.scribd.com to find the materials from the OMEA 2012 Strings Rock presentations:
http://www.scribd.com/collections/3433230/OMEA-Strings-Rock
Follow this link to www.scribd.com to find the materials from the OMEA 2012 Strings Rock presentations:
http://www.scribd.com/collections/3433230/OMEA-Strings-Rock
Sunday, July 3, 2011
Friday, July 1, 2011
Resource list for course 6061 - lots of info!!!!
http://www.scribd.com/doc/59146849/Incorporating-Eclectic-Styles-VanderCook-6061-Resources
Enjoy! Thanks all - what a great class!!
~D
Enjoy! Thanks all - what a great class!!
~D
Next step for "Eclectifying" my strings, by Marjorie Spagnuolo
Proposal for Electric String Instruments
During my week at Vandercook I gained the resources to help me take my orchestra to a new eclectic level. My goals are to incorporate improvisation and eclectic styles into both of my orchestras, and to begin electrifying Poparazzi.
By exploring eclectic styles through recordings, videos and warm ups students will be exposed to a different side of string playing. This new knowledge will foster creativity and hopefully this will lead to additional interest in beginning, and continuing string playing. I also believe that the benefits of improvisation will branch towards composition, and our students will want to enroll in our music theory program.
To introduce eclectic styles I plan on using warmups and recordings/videos. I intend to introduce the concepts in small lesson groups and then allow a portion of Friday rehearsal time for eclectic styles and improvisation. I will begin by playing some chopping for the students. I will teach them how to chop, and we will dicuss the difference between a classical bow grip, and a chop bow grip and why they are each valid when used with their corresponding styles. We will then create come chop grooves. During these grooves students will have the opportunity to improvise. Students can add a different groove at first, and then later can incorporate melody. Learning how to chop will be reinforced by watching the Darol Anger video, “Chops and Grooves” ($30).
Students will be asked to find a youtube video of an artist “choping” and write a single paragraph on their reaction to the video.
I will teach students how to incorporate a swung feel into their playing, and the students will have to find a jazz video on youtube that has a sung feel, and write a paragraph on that.
During warmups I will show students the concept of sliding and double stops with open strings. Students will be asked to look up videos from one of the following artists:
Marc O’Connor
Barrage
Richard Greene teaches his invention, the chop
Students will write a reaction on the music. Students will also be asked to notice the amount of bow used by fiddle players. Why do you think they use that amount of bow? What are the goals and benefits?
Lastly students will be asked to listen to Mark Wood videos on www.electrifyyourstrings.com and discuss their thoughts on his work. I will show the students how to do “rock vibrato” and “distortion” on their acoustic instruments. I will then introduce them to my electric violin and some of the specials effects that can be achieved with electric instruments.
Students warm ups will be taught by rote, focusing on ear training. Students will learn new scales such as the minor pentatonic. We will compare classical styles to fiddle, rock and jazz styles. I will take a short excerpt by rote and have the students play it in all 3 styles by echoing me. We will discuss the differences. It is incredibly important that these styles of music become tangible. Students can recognize that there is a difference between fiddle and classical, but we need to articulate what exactly is different and how we can reproduce that effects when we choose. That is the main goal I am trying to achieve. The students should be able to gain command of the differences in musical styles so they can incorporate them into their own improvisations and compositions.
Students will watch portions of the Alternative strings DVD disc 2- which contains lessons from the masters of these eclectic styles.
As a follow up
I will read through new repertoire that gives students the opportunities to try some of the “tricks” of rock, jazz and fiddle….while focusing on styles, such as NOT using vibrato.
Some new pieces that will be used to incorporate these concepts are
Orange jam, Jeffrey Bishop
Styres rally, Alexander Safford
Steel City Strut, Turtle Island String Quartet
Jammin Jazz Standards for String Quartet, Latham
Blues for you and Strings, Latham
Jazz Fiddle Wizard, Martin Norgaard
JD Meets the Rhythm Section, Randy Sabien
For a HS elem collaboration Bossa Nova Triste, Mary Alice Rich
Jazz Basics for Strings w Jamey Abersold vol. 24, Robert Woods
Bossa Azul, Bert Ligon
Fourth Dimension, Randy Sabien
At Last, Warren, Arr. Patrick Roszell
Once the material has been introduced during lessons, warmups and through independent short assignments I intend to run a brief Jam session for a short part of Friday rehearsals. Students will incorporate chops, grooves, riffs and optional solos into the reading of eclectic pieces. At home students wanting to improvise will be encourages to improvise over James Abersold’s “majors and minors”, along with any of their favorite songs on their ipods.
Electric instruments are the newest step in exposing our students to eclectic styles. Often, string players know little or nothing about the electronic side of music. This would be an opportunity to teach them what an amp is, how they work, what the pedals are and how they modify an electric instruments’ sound. Electric instruments will also give Poparazzi students the opportunity to take solos and not be drowned out by drumset and electric guitar.
Often improvisation is reserved for jazz band. Seeing as how Poparazzi now performs on the same concert at Jazz Band, the only thing really holding string players back from concert improvisation, is volume.
I began researching electric instruments. A good student model electric violin would be the Yamaha SV130. They can be purchased through the electricviolinshop.com for $649.77, The Sam Ash price is $649.99
We would also need chords and additional amps. Cases are sold separately.
During my week at Vandercook I gained the resources to help me take my orchestra to a new eclectic level. My goals are to incorporate improvisation and eclectic styles into both of my orchestras, and to begin electrifying Poparazzi.
By exploring eclectic styles through recordings, videos and warm ups students will be exposed to a different side of string playing. This new knowledge will foster creativity and hopefully this will lead to additional interest in beginning, and continuing string playing. I also believe that the benefits of improvisation will branch towards composition, and our students will want to enroll in our music theory program.
To introduce eclectic styles I plan on using warmups and recordings/videos. I intend to introduce the concepts in small lesson groups and then allow a portion of Friday rehearsal time for eclectic styles and improvisation. I will begin by playing some chopping for the students. I will teach them how to chop, and we will dicuss the difference between a classical bow grip, and a chop bow grip and why they are each valid when used with their corresponding styles. We will then create come chop grooves. During these grooves students will have the opportunity to improvise. Students can add a different groove at first, and then later can incorporate melody. Learning how to chop will be reinforced by watching the Darol Anger video, “Chops and Grooves” ($30).
Students will be asked to find a youtube video of an artist “choping” and write a single paragraph on their reaction to the video.
I will teach students how to incorporate a swung feel into their playing, and the students will have to find a jazz video on youtube that has a sung feel, and write a paragraph on that.
During warmups I will show students the concept of sliding and double stops with open strings. Students will be asked to look up videos from one of the following artists:
Marc O’Connor
Barrage
Richard Greene teaches his invention, the chop
Students will write a reaction on the music. Students will also be asked to notice the amount of bow used by fiddle players. Why do you think they use that amount of bow? What are the goals and benefits?
Lastly students will be asked to listen to Mark Wood videos on www.electrifyyourstrings.com and discuss their thoughts on his work. I will show the students how to do “rock vibrato” and “distortion” on their acoustic instruments. I will then introduce them to my electric violin and some of the specials effects that can be achieved with electric instruments.
Students warm ups will be taught by rote, focusing on ear training. Students will learn new scales such as the minor pentatonic. We will compare classical styles to fiddle, rock and jazz styles. I will take a short excerpt by rote and have the students play it in all 3 styles by echoing me. We will discuss the differences. It is incredibly important that these styles of music become tangible. Students can recognize that there is a difference between fiddle and classical, but we need to articulate what exactly is different and how we can reproduce that effects when we choose. That is the main goal I am trying to achieve. The students should be able to gain command of the differences in musical styles so they can incorporate them into their own improvisations and compositions.
Students will watch portions of the Alternative strings DVD disc 2- which contains lessons from the masters of these eclectic styles.
As a follow up
I will read through new repertoire that gives students the opportunities to try some of the “tricks” of rock, jazz and fiddle….while focusing on styles, such as NOT using vibrato.
Some new pieces that will be used to incorporate these concepts are
Orange jam, Jeffrey Bishop
Styres rally, Alexander Safford
Steel City Strut, Turtle Island String Quartet
Jammin Jazz Standards for String Quartet, Latham
Blues for you and Strings, Latham
Jazz Fiddle Wizard, Martin Norgaard
JD Meets the Rhythm Section, Randy Sabien
For a HS elem collaboration Bossa Nova Triste, Mary Alice Rich
Jazz Basics for Strings w Jamey Abersold vol. 24, Robert Woods
Bossa Azul, Bert Ligon
Fourth Dimension, Randy Sabien
At Last, Warren, Arr. Patrick Roszell
Once the material has been introduced during lessons, warmups and through independent short assignments I intend to run a brief Jam session for a short part of Friday rehearsals. Students will incorporate chops, grooves, riffs and optional solos into the reading of eclectic pieces. At home students wanting to improvise will be encourages to improvise over James Abersold’s “majors and minors”, along with any of their favorite songs on their ipods.
Electric instruments are the newest step in exposing our students to eclectic styles. Often, string players know little or nothing about the electronic side of music. This would be an opportunity to teach them what an amp is, how they work, what the pedals are and how they modify an electric instruments’ sound. Electric instruments will also give Poparazzi students the opportunity to take solos and not be drowned out by drumset and electric guitar.
Often improvisation is reserved for jazz band. Seeing as how Poparazzi now performs on the same concert at Jazz Band, the only thing really holding string players back from concert improvisation, is volume.
I began researching electric instruments. A good student model electric violin would be the Yamaha SV130. They can be purchased through the electricviolinshop.com for $649.77, The Sam Ash price is $649.99
We would also need chords and additional amps. Cases are sold separately.
Gypsy Violin by Jamie Madrigal
GYPSY UNIT
GYPSIES (ROM, ROMANY) ARE A NOMADIC TRIBE WHO MIGRATED FROM NORTHERN INDIA AND SPRRAD THROUGHOUT THE MIDDLE EAST, EUROPE, EASTERN EUROPE, THE BRITISH ISLES AND BEYOND. GYPSY MUSICIANS HAVE HISTORICALLY MADE THEIR LIVING BY ASSIMILATING THE POPULAR MUSIC OF THE SURROUNDING CULTURE AND EMBELLISHING UPON IT, ALTHOUGH AUTHENTIC GYPSY MUSIC, WHICH THEY PLAY AMONG AND FOR THEMSELVES, IS QUITE DIFFERENT AND OFTEN MORE PRIMITIVE. AN EXCEPTION TO THIS IS THE FLASHY CLUB REPERTOIRE OF THE HUNGARIAN GYPSIES, WHO COMPOSED AND HANDED DOWN THROUGH THE GENERATIONS A REPERTOIRE DESIGNED TO DISPLAY THEIR MASTERY OF THE INSTRUMENT.
THE GYPSY VIOLIN MUSIC WHICH HAS GAINED MOST ACCLAIM, MOST NOTABLY HUNGARIAN AND ROMANIAN, RIVALS AND SOME SAY SURPASSES, CLASSICAL IN ITS EXPLOITATION OF THE INSTRUMENT’S CAPABILITIES. IT EMPLOYS A FULL RANGE OF BOWINGS AND LEFT HAND TECHNIQUES FOUND IN THAT GENRE AND ADDITIONALLY SUCH FOLK FIDDLE IDIOMS AS GHOST NOTES, ORNAMENTS AND SLIDES. PLAYERS TYPICALLY MASTER EXPRESSIVE NUANCES, VIBRATO, AND RUBATI, AS WELL AS HARMONY AND ENSEMBLE PLAYING, AT A YOUNG AGE.
-Mary Ann Harbor
Teaching Gypsy style music can be a new fun way of introducing and reinforcing many different musical concepts.
Try using any of the following characteristics of gypsy music to incorporate during a warm-up
1.)Repetitive phrases that build in intensity
2.)Fast arpeggios and runs
3.)Syncopated rhythms
4.)Playing in position
6.) Swells and Sobs
7.)Melisma
8.)Minor keys
9.)Flattening and raising the 6th tone
10.)Tempo accelerations
11.)Series of bows all on the up bow
12.)Left hand pizzicato
13.)Slides using shaking or zig-zag like motion
14.)Grace notes that come from the scale tone below the primary pitch as well as from a chromatic step under leading up, whether not that chromatic tone is in the scale.
15.)Trills that are tight and fast.
Method/Books
Mel Bays Gypsy Violin by Mary Ann Harbor
Mark O'Connor Violin Method: Gypsy Fantastic by Mark O'Connor
Stephane Grappelli - Gypsy Jazz Violin Book/CD Set By Tim Kliphuis
Books/Discussion
http://www.violinist.com/discussion/response.cfm?ID=5645
http://www.fiddlingaround.co.uk/hungarian/index.html
The Gypsies (The Peoples of Europe) [Paperback] Angus Fraser (Author)
The Gypsy Crown by Kate Forsyth
Madeline and the Gypsies (Picture Puffin) [Paperback]
Ludwig Bemelmans http://www.amazon.com/Madeline-Gypsies-Picture-Puffin-Bemelmans/dp/0140502610 (Author)
Videos
The Red Violin
The Hunchback of Notre Dame
Vegabond Tales
Youtube
http://www.youtube.com/watch?v=BQn6Qb-9mD8
http://www.youtube.com/watch?v=Nx2PLdDPbZo
http://www.youtube.com/watch?v=HxHhSy36Klo
CDs
Master of the Russian Gypsy Violin
Oleg Ponomare | Format: Audio CD
Laszlo Berki - Hungary: The Gypsy Violin
Scores
CSARDAS - Vittorio Monti/arr. Mosier - WINGERT-JONES PUBLICATIONS
Editors' Choice 2009
This famous violin showpiece sounds great as a full orchestra work! Although written by Italian Vittorio Monti, this well-loved work is regularly played by Gypsy orchestras throughout Hungary, Romania and....More info –full orchestra
Bottom of Form
ROMANIAN FOLK DANCES - Bela Bartok/arr. Monday - Neil A Kjos Music Co
Editors' Choice 2004
This arrangement features four of the six dance movements as first arranged by Bartok. Joc Cu Bata; Buciumeana; Poarga Romanesca and Marunte are exotic-sounding and dramatic. These are....More info-string orchestra
Hungarian Dance No. 5 - Brahms arr by Isaac
Simple Gypsy Tunes
Cross Circular Ideas
History, geography, and politics
Culture; Dress, dance, and food
GYPSIES (ROM, ROMANY) ARE A NOMADIC TRIBE WHO MIGRATED FROM NORTHERN INDIA AND SPRRAD THROUGHOUT THE MIDDLE EAST, EUROPE, EASTERN EUROPE, THE BRITISH ISLES AND BEYOND. GYPSY MUSICIANS HAVE HISTORICALLY MADE THEIR LIVING BY ASSIMILATING THE POPULAR MUSIC OF THE SURROUNDING CULTURE AND EMBELLISHING UPON IT, ALTHOUGH AUTHENTIC GYPSY MUSIC, WHICH THEY PLAY AMONG AND FOR THEMSELVES, IS QUITE DIFFERENT AND OFTEN MORE PRIMITIVE. AN EXCEPTION TO THIS IS THE FLASHY CLUB REPERTOIRE OF THE HUNGARIAN GYPSIES, WHO COMPOSED AND HANDED DOWN THROUGH THE GENERATIONS A REPERTOIRE DESIGNED TO DISPLAY THEIR MASTERY OF THE INSTRUMENT.
THE GYPSY VIOLIN MUSIC WHICH HAS GAINED MOST ACCLAIM, MOST NOTABLY HUNGARIAN AND ROMANIAN, RIVALS AND SOME SAY SURPASSES, CLASSICAL IN ITS EXPLOITATION OF THE INSTRUMENT’S CAPABILITIES. IT EMPLOYS A FULL RANGE OF BOWINGS AND LEFT HAND TECHNIQUES FOUND IN THAT GENRE AND ADDITIONALLY SUCH FOLK FIDDLE IDIOMS AS GHOST NOTES, ORNAMENTS AND SLIDES. PLAYERS TYPICALLY MASTER EXPRESSIVE NUANCES, VIBRATO, AND RUBATI, AS WELL AS HARMONY AND ENSEMBLE PLAYING, AT A YOUNG AGE.
-Mary Ann Harbor
Teaching Gypsy style music can be a new fun way of introducing and reinforcing many different musical concepts.
Try using any of the following characteristics of gypsy music to incorporate during a warm-up
1.)Repetitive phrases that build in intensity
2.)Fast arpeggios and runs
3.)Syncopated rhythms
4.)Playing in position
6.) Swells and Sobs
7.)Melisma
8.)Minor keys
9.)Flattening and raising the 6th tone
10.)Tempo accelerations
11.)Series of bows all on the up bow
12.)Left hand pizzicato
13.)Slides using shaking or zig-zag like motion
14.)Grace notes that come from the scale tone below the primary pitch as well as from a chromatic step under leading up, whether not that chromatic tone is in the scale.
15.)Trills that are tight and fast.
Method/Books
Mel Bays Gypsy Violin by Mary Ann Harbor
Mark O'Connor Violin Method: Gypsy Fantastic by Mark O'Connor
Stephane Grappelli - Gypsy Jazz Violin Book/CD Set By Tim Kliphuis
Books/Discussion
http://www.violinist.com/discussion/response.cfm?ID=5645
http://www.fiddlingaround.co.uk/hungarian/index.html
The Gypsies (The Peoples of Europe) [Paperback] Angus Fraser (Author)
The Gypsy Crown by Kate Forsyth
Madeline and the Gypsies (Picture Puffin) [Paperback]
Ludwig Bemelmans http://www.amazon.com/Madeline-Gypsies-Picture-Puffin-Bemelmans/dp/0140502610 (Author)
Videos
The Red Violin
The Hunchback of Notre Dame
Vegabond Tales
Youtube
http://www.youtube.com/watch?v=BQn6Qb-9mD8
http://www.youtube.com/watch?v=Nx2PLdDPbZo
http://www.youtube.com/watch?v=HxHhSy36Klo
CDs
Master of the Russian Gypsy Violin
Oleg Ponomare | Format: Audio CD
Laszlo Berki - Hungary: The Gypsy Violin
Scores
CSARDAS - Vittorio Monti/arr. Mosier - WINGERT-JONES PUBLICATIONS
Editors' Choice 2009
This famous violin showpiece sounds great as a full orchestra work! Although written by Italian Vittorio Monti, this well-loved work is regularly played by Gypsy orchestras throughout Hungary, Romania and....More info –full orchestra
Bottom of Form
ROMANIAN FOLK DANCES - Bela Bartok/arr. Monday - Neil A Kjos Music Co
Editors' Choice 2004
This arrangement features four of the six dance movements as first arranged by Bartok. Joc Cu Bata; Buciumeana; Poarga Romanesca and Marunte are exotic-sounding and dramatic. These are....More info-string orchestra
Hungarian Dance No. 5 - Brahms arr by Isaac
Simple Gypsy Tunes
Cross Circular Ideas
History, geography, and politics
Culture; Dress, dance, and food
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