Category Archives: Music

Play, he said

My fiddle teacher says since I’m mainly interested in folk music of various kinds and not classical of any kind,  I need to learn rhythms and songs, and save the technique practice for bits and pieces here and there.

Play, he said. Play through, even if I make mistakes. Get the rhythm. Dancers don’t care what notes you play but if you foul up the rhythm, they’ll stop and stare at you in hostility.

Skye Boat Song is more listenable than danceable (although it could be a waltz), but it’s a favorite. I thought this Scottish air was about Catholic Mary escaping the Protestant king. Nope. It’s about Bonnie Prince Charlie escaping to the Isle of Skye after his army’s losses to the English at Culloden in 1746.

Pretty song and fortunately fast enough at 105 beats per minute that my still wobbling bow doesn’t sound too awfully unpleasant. Sort of a nice, built-in vibrato, actually. You probably could even dance to it. If a little slowly.

And so on. On to Irish jigs and reels and hornpipes and maybe a waltz here and there. And aye, on the hornpipes, we’ll bring up the evening watch to dance, say I.

UPDATE: A friend passes on this engaging 30-minute BBC program on the Skye Boat Song, which was written in the 1870s, inspired by a similar Gaelic tune, and variously interpreted ever since. Worth a listen.

Waterloo Trio’s new album

My fiddle teacher, James Anderson’s, new album, which you should listen to, track by track, and then buy the whole thing. Yes! Do it. Now. Heh.

Randy Travis in better days

I’d certainly prefer to remember him this way than via his mug shots.

The mystical violin

My new violin teacher, a professional performer, is quite mystical about the instrument: the less you think with the violin, he said, the better.

He found no issues with my left hand, though I still feel I squeeze the neck more than I should. Good intonation, he said, good choice of fingering. Avoid string crossings where possible. But the right hand, the bow hand, definitely is my albatross. The bow takes long-term practice, he said, and I can believe it.

Here’s where it gets mystical: feel connected with the string, he said, be consistently engaged with the string. Engaged with the string. Use the whole bow, moving farther and faster, all the way to the tip and all the way back to the frog. Don’t take the bow off the string!

Too many beginners, he said, don’t go all the way down to the frog and then they lift the bow off the string and set it down again to begin a new upstroke and they crash land with a bounce and a wobble. That’s me.

The hardest part, he said, is the frog, getting to it and getting out of it. As bad as it may sound at first. No kidding, it’s very scratchy down there. He demonstrated playing toneful scales at the frog and insisted I practice that at least five minutes a day until I can get as warm a tone out of it as he can. Hmm. That may take forever.

Rule 5: Taylor Davis

The young violinist known as ViolinTay on YouTube. As pretty and shapely as she is a good musician and so you can expect to be seeing and hearing more of her.

Fiddling around

Post Violin Lab Workshop for adults (or Violin Camp, as Mr. B. called it) I’m looking for a live teacher. And I may have found one.

I have gained enormously from seven months of subscribing to Beth Blackerby’s Violin Lab videos and I plan to continue them. And also Todd Ehle’s free videos on YouTube.

Todd really ought to charge money. He’s awful good. But he’s in Corpus Christi and Beth likely is busy. So I’m on the scout for someone else. And, tentatively, I have one in James Anderson, a versatile young violinist who taught an improvisation clinic at the camp.

I’ll know for sure in August. I’m  keeping the fingers on my bow hand crossed.

Violinlab’s workshop

My violin teacher is sponsoring a workshop this week which has brought adult beginners like me from, literally, around the world. Most them of showed up last night for a reception, with buffet, and an ensemble practice of the Pachelbel’s Canon for a concert on Thursday evening.

The folks who’ve been playing for more than my six months carried it off while us short-timers played the same four measures over and over, an accepted form of cheating dignified with a fancy Italian name: Ostinato. The Canadian woman beside me, who was trying to keep up with the whole piece, finally quit. “I’m lost,” she said. “That’s why we’re in the back,” I replied.

This morning we start beginner’s music theory, followed by more practice on various things, such as Ashokan Farewell and a cool Celtic number called Bonnie Doon. Only hassle is we have to start at 8 a.m. But that’s what happens when you have only four days. Last night was fun. The rest will be, too, I’m sure.