Alternative Strings: The New Curriculum

by Julie Lyonn Lieberman

Overview

(Amadeus). Let's keep our string programs vital, contemporary, and thriving! Alternative Strings: The New Curriculum is the first resource book in the world to offer a comprehensive guide to string educators wishing to step into twenty-first-century inclusive string pedagogy. The "Dear Abby" for string players, Julie Lyonn Lieberman, offers detailed descriptions of over two dozen fiddle, blues, jazz, pop, and world styles; bountiful support materials; a massive discography; musical examples; photographs; and audio from master players and clinicians, far exceeding the scope of other books in the field. ABOUT THE AUDIO CD: Some of today's top alternative string players and clinicians demonstrate rock, jazz, and fiddle styles; present innovative ideas for teaching new generations of string players; and more. Tracks include: 1. Howard Armstrong: My first fiddle 2. Geoffrey Fitzhugh Perry: Zydeco Rock 3. Daryl Silberman: Through Contemporary to Classical and Back 4. Ed Caner: Rock Basics 5. Anthony Barnett: Stuff Smith plays "Body and Soul" 6. Mark Wood: Evolution, Rock, and Musicianship 7. Jesus Florido: Latin and Beyond 8. Randy Sabien: Jazz Stirngs: A Life Inspiration 9. Leanne Darling: Arabic Strings 10. Bob Phillips: Fiddling in the Schools 11. Julianna Waller: Developing Diversity 12: Martin Norgaard: Jazz String Pedagogy 13. Richard Greene: Moving Forward 14. Martha Mooke: Breaking the Sound Barrier 15. Claude Williams: Reminiscences 16. Julie Lyonn Lieberman: "Fiddle, Sing," excerpt from Mixing America

Product Details

ISBN-13:	9781574670899
Publisher:	Rowman & Littlefield Publishers, Inc.
Publication date:	02/01/2004
Series:	Amadeus
Pages:	207
Product dimensions:	5.88(w) x 9.00(h) x 0.58(d)

About the Author

Julie Lyonn Lieberman is an improvising violinist, singer, composer, educator, recording artist, author and producer. In addition to teaching thousands of violinists over the last 25 years in her NYC studio, Ms. Lieberman has been on faculty at Juilliard, New York University, New School University and Mercy College. She has written 50+ articles for Down Beat, the New York Times and Strings, and has created five instructional videos.

Table of Contents

	Acknowledgments	xiii
	Preface	xv
1	Introduction	1
2	Alternative Strings	5
	What Do We Mean by "Alternative"?	5
	Tradition	7
	Culture	7
	Notation	8
	Publishing and Technology	8
	To Trad or Not to Trad...	9
	Who Decided What We Should Play?	11
	Improving the Quality of Experience	14
	Why Integrate Other Styles into the Curriculum?	17
	What Constitutes a Style?	18
	Meeting National Standards	21
3	Expanding Our Skills	25
	"But That's the Way I Was Trained..."	25
	Dimensional Theory: Whole-Brain Learning	27
	Eightfold Audiation	30
	Groove-Based Playing	31
	Defining Groove	31
	Creating a Groove	34
	Doubling the Rhythm Section	35
	Rhythmizing the Bow	37
	Support Materials	43
	How Does Improvisation Figure In?	44
	Four Approaches to Improvisation	45
	Removing the Stigma of "Right" and "Wrong"	47
	Where Do I Start?	47
4	American Fiddle Styles	49
	Historic Overview	49
	Violin or Fiddle: What's the Difference?	50
	Why Create a Fiddling Club?	51
	Old-Time Fiddling	52
	Stylistic Characteristics	53
	Artist Sampler	55
	Thomas Jefferson (Tommy) Jarrell	55
	Bruce Molsky	56
	Additional Support Materials: Old-Time	57
	Supplemental Discography: Old-Time	58
	Bluegrass	59
	Stylistic Characteristics	60
	Artist Sampler	60
	Vassar Clements	60
	Richard Greene	62
	Additional Support Materials: Bluegrass	63
	Supplemental Discography: Bluegrass	65
	Cajun	65
	Stylistic Characteristics	65
	Artist Sampler	66
	Dewey Balfa	66
	Michael Doucet	67
	Additional Support Materials: Cajun	68
	Supplemental Discography: Cajun	68
	Franco-American and Quebecois	68
	Stylistic Characteristics	69
	Artist Sampler	69
	Louis Beaudoin	69
	Donna Hebert	69
	Western Swing	70
	Stylistic Characteristics	71
	Artist Sampler	72
	Dale Potter	72
	Johnny Gimble	72
	Additional Support Materials: Western Swing	73
	Supplemental Discography: Western Swing	74
	String Bands	74
	Discography	75
	Additional Support Materials: American Fiddle	76
	Supplemental Discography: American Fiddle	78
5	Strings in Blues and Jazz	81
	Historic Overview: Blues Fiddle	81
	Historic Overview: Jazz Violin	83
	Blues Versus Jazz	84
	Why Add Blues and Jazz to Your Curriculum?	84
	Sheet Music for Blues and Jazz	85
	Preparation for the Jazz Band	86
	Stylistic Characteristics: The Blues	87
	Stylistic Characteristics: Jazz	87
	Artist Sampler: Blues Fiddle	90
	Will Batts	90
	Lonnie Chatmon	91
	Lonnie Johnson	91
	Support Materials: Blues Fiddle	92
	Discography: Blues Fiddle	92
	Artist Sampler: Jazz Violin	92
	Eddie South	92
	Hezekiah Leroy Gordon Stuff Smith	93
	Joe Venuti	94
	Stephane Grappelli	95
	Jean Luc Ponty	96
	Additional Jazz String Players	97
	Blues and Jazz Strings Today	98
	Additional Support Materials: Jazz Violin	99
	Supplemental Discography	102
	The Cellists' and Violists' Corner	107
	Support Materials: Cello	108
	Discography: Cello	109
	Support Materials: Viola	111
	Discography: Viola	112
6	Strings in Popular Music	113
	Why Add Popular Music to Your Curriculum?	114
	Rock Versus Pop: What Is the Difference?	114
	Common Traits	115
	Sheet Music for Amplified Strings	116
	Preparation for the Rock Band	117
1.	The ability to quickly find the tonal center of the piece	117
2.	The ability to sketch out the overall structure	118
3.	The ability to locate the heartbeat or groove of the piece and support it while playing backup or highlight it while soloing	119
4.	The ability to create a riff or series of riffs that blend well	119
5.	The ability to support vocal music	120
6.	The ability to improvise a solo	120
	Stylistic Characteristics	121
1.	Rock vibrato	121
2.	Slide technique	121
3.	Pentatonic and diminished pathways	121
4.	Horizontal fingerings	123
5.	Rhythmic backup	123
6.	Playing on an amplified or electric instrument	123
7.	Bass lines	124
8.	Electronic effects	126
	Amplification	126
	Why Amplify?	127
	Budget	127
	Volume	128
	Timbre	128
	Available Systems	128
	The Preamp	130
	The Amp	130
	Electronic Effects	131
	The Use of Fine Tuners	131
	Artist Sampler	131
	Papa John Creach	131
	Don "Sugarcane" Harris (1938-1999)	133
	Mark Wood (b. 1956)	134
	Additional Popular Violinists	135
	Additional Support Materials: Popular Strings	135
	Supplemental Discography: Popular Strings	137
7	Strings Around the World	139
	A Brief Overview	139
	Miscellaneous Support Materials: Strings Around the World	140
	Miscellaneous Discography: Strings Around the World	141
	Afro-Cuban	141
	Support Materials: Afro-Cuban	142
	Discography: Afro-Cuban	142
	Arabic	143
	Support Materials: Arabic	144
	Discography: Arabic	144
	Asian	144
	Discography: Asian	145
	Brazilian	145
	Support Materials: Brazilian	147
	Discography: Brazilian	147
	Canadian (Cape Breton, Cree, Metis, Quebecois)	147
	Support Materials: Canadian	148
	Discography: Canadian	149
	Celtic (Irish, Scottish, and Shetland Island)	150
	Support Materials: Celtic	152
	Discography: Celtic	153
	Eastern European and Russian	154
	Support Materials: Eastern European and Russian	155
	Discography: Eastern European and Russian	156
	Greek	156
	Discography: Greek	157
	Gypsy	157
	Support Materials: Gypsy	158
	Discography: Gypsy	159
	Indian (North and South)	160
	Carnatic Violin	160
	Hindustani Violin	161
	Support Materials: Indian	161
	Discography: Indian	161
	Klezmer	162
	Support Materials: Klezmer	163
	Discography: Klezmer	164
	Mexican	165
	Support Materials: Mexican	166
	Discography: Mexican	166
	Native American	167
	Support Materials: Native American	168
	Discography: Native American	169
	Scandinavian	169
	Support Materials: Scandinavian	171
	Discography: Scandinavian	172
	Tango	173
	Support Materials: Tango	174
	Discography: Tango	175
8	Tools In the Classroom and Out	177
	Music-Minus-One Accompaniments	177
	Support Materials: Music-Minus-One	178
	Notation Software and Alternative String Scores	178
	Alternative String Clinicians	179
	Training Programs, Fiddle Camps, and Internet Sites	179
9	Inspirational Role Models	181
10	Where Do We Go from Here?	185
	Index	187