This book demystifies the process, taking you step by step through everything you need to know about playing jazz violin. The work of players such as Stephane. (String). Jazz is one of the biggest challenges a violinist can face, with the thought of improvisation likely to strike fear into the heart of even the best classical. [PDF] Exploring Jazz Violin An Introduction to Jazz Harmony Technique and Improvisation the Schott Pop Styles Series PDF [PDF] Exploring.
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jazz violin portal7.info - Download as PDF File .pdf) or read online. This book de-mystifies the whole process of improvisation, taking you step by step through everything you need to know about playing jazz violin. Exploring Jazz Violin sheet music - Violin sheet music by Chris Haigh: Schott Music. Shop the World's Largest Sheet Music Selection today at Sheet Music Plus.
When you study classical violin, you learn to reproduce exactly the notes written on the page. You learn to play with long, even bows, to use a smooth, consistent vibrato, with every note played squarely in tune and in time. You can forget all that! Jazz violin needs just as much discipline and technique, but it's applied in quite a different way. The first thing you have to do is to read, and then memorize your tune. Once you can play it as it's written, you have to loosen it up and give it some swing.
His playing was characterised by the use of short, punchy horn lines, quite different from the long, flowing phrases of fiddlers like Grappelli. He used the bow "like a horn player uses breath control.
Not all the great jazz violinists were American. Svend Asmussen was a Danish fiddler, much influenced by Stuff Smith and Joe Venuti, who achieved much success in Scandinavia and throughout Europe; he was so busy that Benny Goodman was unable to persuade him to come and work in America. One of the landmarks of jazz violin history came in when Asmussen joined Stuff Smith, Stephane Grappelli and Jean-Luc Ponty in a "violin summit"- a live recorded performance in Switzerland which compared and contrasted four different styles of jazz violin to great effect.
With a line-up including two rhythm guitars and double bass, theirs was a lively, swinging and distinctly European style of jazz.
After studying at the Paris Conservetoire; Grappelli began busking in restaurants and courtyards, mostly playing polkas and waltzes. He went on to play piano in a dance band, and it wasn't until he met Django at a venue called the Croix de Sud that he started seriously playing jazz violin. Though the two could hardly have been less compatible in their background- Stephane educated and elegant, Django the feckless gypsy-the two struck up an immediate musical rapport.
They jammed backstage at every opportunity, and within a matter of months they had formed a quartet with a bass and rhythm guitar; Django quickly insisted that they add a second rhythm guitar since he didn't consider it fair that Stephane had two guitarists to back him while he had only one!
Their first recording, in , was of four standards, Dinah, Tiger Rag, Lady be Good and I saw Stars; it was an immediate success, impressing critics and audience alike with its elegance and wit.
They quickly established an international reputation, but whilst on tour in England they were separated by the outbreak of war, Stephane remaining in London while Django returned to a somewhat precarious existence in Paris. Six years later they were reunited, but failed to renew the impetus of their earlier work together.
Django died of an illness in , and Stephane's career stagnated until the 70's, when he was rediscovered by a new generation of jazz fans, establishing him as headlining soloist the world over. One of the most talked-about highlights of his career was his TV and later recording duet with the classical virtuoso Yehudi Menuhin. The latter, completely new to jazz, had all his solos written out for him and obviously lacked the subtlety of phrasing which can make a tune swing.
Nevertheless it was a highly successful piece of musical diplomacy, did a great deal to widen both their public profiles, and demonstrated clearly how two highly contrasting approaches to music can nevertheless always find some common ground. Grappelli's playing on the early recordings had a hard edge with aggressive riffs and many "blue" notes flattened 3rds, fifths and sevenths.
He made particular use of harmonics, incorporating them into melodies such as Daphne and HCQ Strut, as well as into solos. He also favoured the use of runs in parallel fifths, fingering two adjacent strings simultaneously.
His later playing, particularly after his "comeback" in the seventies, was increasingly elegant and lyrical, making the most elaborate improvisations seem entirely effortless. Shopping Cart 0 item. My Cart.
Home Exploring Jazz Violin. Exploring Jazz Violin. Violin Edition: English Series: Schott Pop-Styles Order No.: ED Introduction 1: It Don't Mean a Thing 2: Starting to Improvise 3: Pentatonic Scales 4: The Blues 5: Chords Part I 6: Chords Part II 7: Published by Schott Music HL. Jazz is one of the biggest challenges a violinist can face, with the thought of improvisation likely to strike fear into the heart of even the best classical player.
This book demystifies the process, taking you step by step through everything you need to know about playing jazz violin.
The work of players such as Stephane Grappelli, Joe Venuti, Stuff Smith and Jean-Luc Ponty is examined in detail, and styles including gypsy jazz, belop, modal and fusion are explored. Topics covered include: An accompanying CD with 65 tracks for listening or play-along is also included. Haigh draws in his readers with familiar major scales.
He gently walks them through pentatonic and blues scales. He weaves in stylistic hints to help players sound more authentic. Then he bravely leads his readers through the complex world of jazz theory and harmony. And to make it friendly, he laces the book with just enough humor to get his readers excited about doing the necessary work. His explanations are clear, concise, and charming. Most helpful are the short musical examples that capture the musical essences of each player he discusses.
His insightful analysis makes it possible to do more than just play by rote, but to internalize the ideas and make them your own Exploring Jazz Violin is a complete manual for players at all levels to plunge in and get started. To play the media you will need to update your Flash plugin. This name will appear next to your review.
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Make a wish list for gifts, suggest standard repertoire, let students know which books to download, boast about pieces you've mastered: Music Lists are as unique as the musician!