Alternative Strings The New Curriculum

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

Julie Lyonn Lieberman Formerly on faculty at Juilliard, New York University, and the New School University's Jazz and Contemporary Music Program, she now teaches privately in her New York City studio and presents clinics throughout the country

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

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Alternative Strings The New Curriculum

Summary

Author Biography

Table of Contents

Supplemental Materials