Like tuning, changing strings is a necessary evil! Let’s talk about what to aim for and what to watch out for, as you change strings. We’ll start with the 7 Ideas to Keep in Mind, talk about How to Change Strings, and then go into the Whys & Wherefores for those interested.
7 Ideas to Keep in Mind
1. Change only one string at a time – the bridge can actually fall down if you take all the strings off at once*. Of course, if you break a string, you may only need to replace that one. Try not to let strings go longer than a year before changing them — you may not notice them losing their vigor but you certainly will notice how nice they sound when you change them!
2. Roll the strings neatly onto the correct pegs, with one layer of string**. The more neatly the string is rolled on, the more likely you’ll have enough space to Continue reading Changing Strings
There is a kind of musical memory that everyone can learn and improve, and it’s not about how many tunes you know.
A good musician, while teaching a lesson or engaged in a rehearsal, can listen to an entire set of tunes, and yet keep in mind which parts were solid and where improvements can be made, noting ideas to heighten the impact of a phrase, smooth out a transition, fix a note mistake, change a bowing to bolster sound or timing, adjust a distracting ornament, and so on. A good lesson or rehearsal will include the chance to outline and work on all these points of improvement. And it’s only possible with a good musical memory.
Without much fanfare, fiddle-online makes available performances and teaching 24/7 of some of the top contemporary fiddlers. As with everything at the site, it’s available a-la-carte and at a very low cost (80% of which goes to the guest artist, so an excellent cause!). See below for info about cost and logging in, etc.*
Below are some descriptions and links to more info about guest workshops by great players with varying styles of expertise: Scottish, Cape Breton, Irish, Quebecois, Old-timey, gypsy jazz and klezmer.
Performing does not just mean playing while a bunch of people watch. You’re performing a tune any time you try to play all the way through it. But this is nothing to shy away from or build up as bigger than it really is — a performance could be for your teacher, or in a session, or even playing along with a recording on fiddle-online.com.
Perfection is not an issue when performing; in fact, “perfection” should be off the table. The goal in performing a tune is to get through it in time. How well you actually play it is for you to judge afterwards. Once you know you can finish what you start, whether a tune, a part or even a phrase, you can practice, polish, hone, develop your musical ideas. If you know you can get through the tune in time, you can play it with and for others, enjoying their company, enjoying the music, and learning what you need to work on in order to play it better.
A big part of practicing is strategizing for how you plan to play through, or perform, a tune — regardless of how well you know the tune. Don’t wait for that elusive moment when you think you know it “well enough to perform,” that future time when you plan to have all the notes nailed down. You wouldn’t want to nail a bunch of wooden boards securely in place without an overall plan for where they actually fit.
In the last article we talked about why putting tunes together into medleys is so important to fiddlers. Now let’s take a look at how to put medleys together. What types of tunes go together? Which keys are compatible? What if you want two tunes to go together but they break all the rules?
Which types of tunes go together?
For faster tunes it’s easiest to play two of the same type — jigs with jigs, reels with reels. Jigs and reels both have two beats per measure, so if you want to combine them, keep that beat at the same tempo, and listeners can continue tapping their feet or dancing to the same beat. It’s just that you’ll be playing 3 eighths per beat if a jig, and 4 per beat if a reel. If the new type of tune starts with a simple rhythm, it can be easier to make the transition. For example, if going from reel into a jig, a jig that starts with one or two dotted quarters can simplify the transition. If going from jig to reel, a reel with quarter notes or even a half note in the first measure can help you and listeners get a clear handle on the beats before you draw them into the reel.
There is creativity lurking everywhere in music, and one of the most creative parts of fiddling is the building of medleys. A big part of the fun of learning to play fiddle is that it can be as simple or as complicated as we want to make it.
As you get to know a tune you can make it your own, whether on purpose or subsconsciously. I learned one tune from an old book only to discover years later when I looked at the book again that I had unknowingly developed my own version — and I liked mine better! In some styles of fiddling such as jazz or Irish, people improvise new notes to dress up the tune or express their view of it. But improvisation of some kind goes on all the time even if more subtle than actually inventing notes. It is improvisatory to play a tune differently one time than another, inventing bowings, ornaments, and rhythms to suit the mood.
Making medleys is not improvisation but it is certainly creative. Once we know some tunes, we can find ways to put them together in interesting or exciting ways. The tunes may be given to us by tradition, but we can use them to create a bigger picture. They can be the colors of our canvas. Probably the simplest reason to make medleys is because it allows us to play longer. Old-timey fiddlers like to play one tune for a very long time, but in most types of fiddling, the player moves on after two or three times through a tune.
How do we make medleys? In this article we’ll look at the basics and some suggestions for fun ways to do it. In the next article we’ll discuss how to find tunes that are compatible with each other, based on key and style.Continue reading Medleys: the fiddler’s canvas
What are “pickup notes”? They are notes that lead us into a beat note. They are easy to notice at the beginning of tunes, where there might be one or two notes before the first beat or bar line, but as we’ll see, they really can be found everywhere, and our awareness of them determines how musical our playing is.
The colored boxes marking phrases in the interactive sheet music on www.fiddle-online.com serve several purpose — first, they allow us to learn manageable building blocks of a tune and understand how the tune is put together, and second, they include pickup notes as part of the phrases. Written music shows us where the beats are, but not where the phrases are.
We can quickly understand pickup notes if we remember that the language of music matches up with spoken (or sung) language. The two beats in the proclamation, “Let’s go to the store” are “go” and “store”. These tell us the main idea, while the other words add nuance. The syllables before those two beats are pickup notes leading to the beats — “Let’s” belongs to “go”, and “to the” belongs to “store”. In music this sentence might be written in jig time:
If we split up the words by beat (which is what the written music shows us), we’d say “Lets. Go to the. Store.” It doesn’t make immediate sense in words or music that way. In order to play naturally, the way we talk, we need to be aware of the pickup notes, so we can say/play “Let’s go” followed by “to the store”, or “Let’s GO to the STORE.”
In the last article we talked about “controllers” of the right arm and hand, as in remote controllers or video controllers, each joint having its role to play. The more aware we become of the role of each joint, the more efficiently we can play. We certainly don’t have to consciously think about these things once we’ve learned about them, but if we just play “naturally” without stopping to notice what “naturally” means for us, we may well be getting in our own way with misconceptions of what our body is actually doing. Video #9 in Technique Video Group 1 is called “Body mapping” and talks about common misconceptions about bowing and fingering that can block us from playing as well as we could.
Let’s try mapping the joints of the left arm and hand, and notice what they do for our fiddling.
We understand controllers — computer mouse, keyboard, remote controls, steering wheels, clutch and stickshift, rudders, video game controllers — gadgets that we have to coordinate in order to get something done. Those who are good at typing, computing, driving, video games, know how to efficiently use those controllers to get the desired results.
It’s kind of like that with playing the fiddle. We have controllers on our right arm and hand, and controllers on our left arm and hand. For the moment let’s talk about the controllers on the right.
Once your right hand is positioned with right leverage to control the bow (see the first five videos in Technique Video Group 1), the primary controllers on our right hand are Continue reading Controllers of the Right
Finger spacing on the fiddle is about more than playing in tune. It’s about physical relationships and muscle memory. It’s also about using your ears to know a tune rather than memorizing notes. In a moment, I’ll tell you a story about how different this can be.
You can temporarily play in tune by monitoring every note with an electronic tuner, or by using the little tapes that tell your fingers where to come down, but those learning aids are a lot like driving somewhere in a strange city relying totally on GPS. Chances are, you won’t remember a thing about how you got there! Learning the finger relationships, rather than relying only on tapes or tuners, is like that old story about the difference between teaching someone to fish rather than giving them a fish.
Left-hand technique is not about knowing where each finger is supposed to land, but about knowing how the fingertips relate to each other on the fingerboard: Which ones are physically touching? Which ones are a finger’s-width apart from each other?