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Monday, February 15th, 2010
Something I really enjoy with learning traditional fiddle tunes, is figuring out which ones of them go together and creating medleys. Usually the impetus for this to happen comes when I'm playing one song and accidentally fall into a different tune, then I work out how I can make that transition happen on purpose. Here are two medleys I've been working on a lot recently: "The Road to Lisdoonvarna"/"Drowsy Maggie" (a little interesting because the two songs, while in the same key, have markedly different rhythm), and "The Red-Haired Boy"/"Bill Cheetham" (which seem like they might as well be actually the same song, they have so much in common).
posted afternoon of February 15th, 2010: Respond
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Thursday, March 4th, 2010
Mixed results at the open mic today -- I played two songs, first one was very successful, the second was a mess. I felt pretty upset and brought down about the second one and as I was mulling it over I came to realize that having a solid bowing pattern is a really important part of knowing a song... The successful song, my "Road to Lisdoonvarna"/"Drowsy Maggie" medley, when I was practicing it this afternoon I hit on a bowing pattern that I could stick with and that really drives the song along -- the rhythmic motion of my arm complements the tapping of my foot. I have always had a pretty clear sense of where I'm going with this song but the bowing just wrapped everything up very nicely. With the other song contrariwise, "Irish Washerwoman"/"The Swallowtail Jig", while I know the song very well, I can never seem to decide just what I should be doing with my bow. And it shows -- sometimes I will practice the song and have it sound great, other times not so much. While I was mulling I got a little distracted from listening to people's performances, and my eyes were wandering among the shop's wares -- I was really taken by the minor variations in shape between every pair of violins on the shelf there -- in length, width, depth of body, proportion of the length given over to the "C" in the middle of the body, how concave the "C" is and how prominently its top and bottom jut out... One violin there has completely smooth sides, an hourglass figure, which I've never seen before. I fantasized about playing some of the more unusual specimens, and my attention slowly came back to the music.
posted evening of March 4th, 2010: Respond
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Saturday, March 6th, 2010
Mo Menzel snapped a great photo of me while I was playing "The Irish Washerwoman" last night. Thanks, Mo! 
I've been hunching over lately when I'm playing violin -- not sure why but this posture seems to make it easier to keep my focus inside the song. (Also I am going back and forth between holding the bow nearer the frog, and choking up on it like this -- and between holding my pinkie against the wood -- which I tend to think I ought to do -- and out in the air like this, which seems to happen pretty regularly when I don't pay attention to the finger.)
posted afternoon of March 6th, 2010: Respond
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Here are some tapes from today's practice -- I'm trying to really hold my focus in the song and pay attention to what I'm doing, and I think it's coming through a bit. At the end of "Bill Cheetham" I lose it. "The Road to Lisdoonvarna" I think is currently my very favorite song.
posted afternoon of March 6th, 2010: 2 responses
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Tuesday, May 4th, 2010
 For the first time in a little while, I've found a new fiddle tune I want to learn. Here is the Ether Frolic Mob (featuring Peter Stampfel, Craig Judelman, Stacey Samuels, Eli Smith, Jeffrey Lewis) playing "Billy in the Lowground":
 A few other versions:
Also, turns out "Billy in the Lowlands", which is what I thought this song was called, is a movie.
posted evening of May 4th, 2010: 1 response
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Thursday, May 13th, 2010
Here is a song John and I recorded last night, a medley of "Drowsy Maggie" and "Dancing Barefoot" -- we've been working on this for a few weeks and played it last week at the Menzel Violins open mic. I'm pretty happy with the way we've integrated the vocal melody with the fiddle melody.
 Oh and here is another song I recorded recently that I'm pretty happy with:
This is a Leadbelly song also performed by Hazel Dickens (and many other artists), but the version I learned it from and which I always think of when I hear it, is my friends' band Other People's Children, Liam and Malcolm.
posted evening of May 13th, 2010: Respond
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Sunday, May 16th, 2010
Trying to do something with the violin by itself -- no voice, no guitar. Here's what I came up with:
It almost works, I think -- there are places where it is a little hard to follow the melody without lyrics but they are short in duration, the song comes back quickly.
posted afternoon of May 16th, 2010: 2 responses
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Saturday, June 5th, 2010
| A mix with some of my favorite fiddle music, and a couple of my own performances... link and notes below the fold. |  |
↷read the rest...
posted evening of June 5th, 2010: 2 responses
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Tuesday, June 29th, 2010
John came over today; we played almost exclusively new songs, songs that we've played at most once or twice before, plus the two songs we'll be playing on Thursday at the open mic. Before he came over, I had been working on a tune that was in my head, without being able to figure out what it was -- turns out what I was thinking of was the chorus of "Frim Fram Sauce"; but not knowing that we just played through it together a couple of times, and came up with a bridge. Might be nice to learn the lyrics and try that one out. Other songs we played:
"Frim Fram Sauce" below the fold.
 The melody I was working on and trying to remember more fully this evening: "Frim Fram Sauce" as (masterfully) performed by Diana Krall:
↻...done
posted evening of June 29th, 2010: Respond
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Sunday, July 18th, 2010
Here I am playing with The Lost Souls last week at the South Orange Elks' Club. (Thanks for the picture, dad!) Mike and Eric are to my left, Jon is behind me; other members are cropped or obscured.
posted afternoon of July 18th, 2010: Respond
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