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Featured, Interview »

[Oct 2011 | 4 Comments | ]
The Hard Of Hearing Musician – One Woman’s Journey: Part One

Interview conducted by Willa Horowitz, Au.D. on Tues. Feb. 1, 2011 I wanted learn how a fiddler/violin player who has been diagnosed as having some hearing impairment as a result of playing his/her instrument dealt with the disability.  My search turned up the Association of Adult Musicians with Hearing Loss (AAMHL) and I approached its [...]

Featured, Lessons »

[Oct 2011 | 2 Comments | ]
How Do I Know Which Chord to Play? – Part Two

by Kat Bula If you read part one of this series (“Chords: What To Play When You Don’t Know What To Play” –August/September issue of Fiddle Sessions), you should have a general idea of which notes go in a given chord. That’s all fine and well, but how do you know which chord to play [...]

Featured, Lessons, Tunes »

[Jul 2011 | Comments Off | ]
The Fiddle Sessions Jazz Violin Project: Go Tell Aunt Rhody – #5 Graham Clark

By Graham Clark   The entire solo is played with swung quavers, heavy on the second and fourth beats of the bar. I start with a simple bluesy  riff begun on the sixth which is repeated with slight variations, in the manner of, say, Count Basie. This sets up an accessible swinging  beginning to the [...]

Featured, Lessons, Tunes »

[Jul 2011 | Comments Off | ]
The Fiddle Sessions Jazz Violin Project: Go Tell Aunt Rhody – #6a Matt Glaser

by Matt Glaser        A NOTE FROM THE EDITOR AND TRANSCRIBER Matt Glaser may be the single most influential jazz violin teacher of the past twenty years, through his work at Boston’s Berklee School of Music.  He happily volunteered to let me record him as he played many variations of Go Tell Aunt Rhody [...]

Featured, Fiddle History »

[Jul 2011 | 6 Comments | ]
Playing Music the Hungarian Way

by Devan Wardrop-Saxton              We have been playing the same note for what feels like at least forty-five minutes: open E, over and over and over again. To my surprise, sustaining the lurching, rolling rhythm central to Hungarian folk music is taking all of my concentration, as is trying to ignore the classical training that [...]

Featured, Lessons »

[Jul 2011 | 6 Comments | ]
Chords: What To Play When You Don’t Know What To Play – Part One

by Kat Bula   Have you ever had either of these thoughts?   “Man, waiting around for my turn to solo is really boring.  I should really take up guitar, so I could get more playing time in—but then we’d just have one more guitar player, and no fiddle!” “What do you mean, play something besides [...]

Featured, Fiddle History, Lessons »

[Jun 2011 | Comments Off | ]
Benny Thomasson and the Texas Fiddling Tradition: Part Three

Reprinted from: JEMF Quarterly Volume 10, Part 3 (Autumn 1974) #35 by Michael Mendelson To get an idea of some of the general features of Texas fiddling, and Benny’s fiddling in particular, I have included a transcription of his playing. 1 “Cripple Creek” was chosen as it is a well known tune, and can thus [...]

Featured, Lessons »

[Jun 2011 | Comments Off | ]
Never Too Late: Part Four

By Lois Siegel Stacy Phillips, editor of Fiddle Sessions, thought it would be a good idea for me to reflect on some of your comments to my “Never Too Late” articles.  What a great idea.   {Continuing Lois’ response to Deborah Fuldauer from February – March 2011 issue.}   When I first started the violin in [...]

Featured, Lessons, Tunes »

[Jun 2011 | Comments Off | ]
The Fiddle Sessions Jazz Violin Project: Go Tell Aunt Rhody – #3 Randy Sabien

 By Randy Sabien  solo #1 The foundation of a good solo is built on rhythms, phrases, articulation, and dynamics.  These are all controlled with the bow.  Rhythms are played on the tonic that roughly follow the phrasing of the melody so there are rests every now and then.  One of the risks of improvising is [...]

Featured, Lessons, Tunes »

[Jun 2011 | One Comment | ]
The Fiddle Sessions Jazz Violin Project: Go Tell Aunt Rhody – #4 Kenny Kosek

By Kenny Kosek The feel is a relaxed swing. In measure 2 the D flat is best played between a D and D flat, subsequent D flats are true D flats. Shift up the neck in measure 9, playing the high Bb with the first finger. To play the optional triple stops in measure 16 [...]