Learn Jazz Violin - Christian Howes

Roar Like a Violin Monster

2012-01-25T14:38:06Z

Violin Monster makes a living playing violin in a halloween mask. see the video below

Legendary jazz drummer Billy Hart once told me, “You’re more than good enough to be a star”.

Just before he said that I had asked him, “what should I be working on to improve?”, thinking that if I could just become “good enough”, somehow this would translate into success as a jazz violinist.

In retrospect, I now understand his answer to mean that any artist, given a baseline of talent (i.e. “good enough”) can create a successful career, provided that he or she hustles hard enough (doing promotion, sales, marketing, networking, etc…)

If you’ve been playing the violin for 10 years you’re probably more than good enough to succeed as well.

You don’t have to be a blues viola player or a rock violinist to build your distinct brand and succeed. But you DO have to work hard, and creatively, to build your audience, find your niche, and make a living playing music.

Check out Violin Monster in this video- He’s not a virtuoso, but he’s paying his rent playing the violin, and it seems like he’s having fun doing it.

Regardless of the style of music he plays, Mr. Monster fits my definition of a “creative string player”, because of the clever way he interacts with his community and makes a living making music.

How often do you hear people complain about how their community isn’t cool enough to “get” what they do?

I really have a problem with this way of thinking. Just like teachers, doctors, lawyers and everybody else, we should be able to create a demand for what we do as artists. We can’t, and we shouldn’t expect to count on the “stability” of an orchestra job…

Being good isn’t good enough.

It’s not enough to be good at playing music. Most artists believe that if they’re good enough, success will fall in their lap. This amounts to a fundamental misunderstanding of the way the world works.

Philosophers and historians have argued that major historical changes can only occur through a confluence of ready-made socio-economic/material conditions with the bold actions of visionary individuals. See Noam Chomski, Karl Marx and Georg Hegel.

Consider the emergence of any major religion, World War 2, the Civil Rights movement, the Arab Spring…. All of these events involved not only the change in both popular thought and material conditions, but also the drastic action of strong-minded individuals which helped to create a Tipping Point.

To create your tipping point (building buzz for your brand), you’ve got to 1) take drastic action and 2) do it within a community that has the minimum necessary conditions to support/receive your efforts.

As I always say, living on a mountaintop with goats does not a jazz violinist make, and even if you live in a booming cultural mecca, it may take time to generate the reception you’re hoping for if you’re presenting a new heavy metal string quartet.

Creating your brand may take a little time.

So exactly how big/diverse does a community need to be in order to accommodate or support a “creative” artist’s expression? Consider Ann Arbor, Michigan, where Violin Monster is based. It turns out this small town has been the growing grounds of all kinds of creative string players and teachers.

Not more than 20 feet from Violin Monster, I met locals who remembered Grammy-winning Jeremy Kittel playing at the same farmers market when he was 8 years old. (Just an hour before, my friend Dana Leong and I jammed out in a free-jazz parade as part of Kerrytown Concert House’s annual “Edgefest”) Check out the hilarious pictures on Dana’s flickr page!

Ann Arbor is not a thriving metropolis, but it has enough of the necessary conditions to allow a courageous musician to build an audience.

The next time a fellow musician complains about how “the scene in this town really sucks”, tell them that they need to either MAKE their own scene, or move…

Don’t wait for a club to open that features jazz violin 7 nights a week. Open your own venue or work with management to transform an existing spot into something new. Promote shows in unlikely locations. Try stuff!

Kerrytown Concert House took advantage of everything its community has to offer over years of doing concerts and festivals (and free-jazz parades!) again and again, making Edgefest a staple of the international creative music community.

One of Jeremy Kittel’s teachers, Bob Phillips started the Saline Fiddlers in a little town outside of the city. Bob is one of the leading advocates for modernizing string education today.

Other members of the Saline Fiddlers such as Corinna Smith have gone on to play with Barrage, offer forward-thinking music education programs, and are defining a new era of Creative String playing today.

Other proactive and cool creative string players from Ann Arbor include Gabe Bolkosky and Brandon Smith.

What’s the difference between these Ann Arborites and everyone other musician complaining how the world hasn’t caught up to their vision? They took a chance. They acted boldly. They had the courage to act on what probably seemed like a CRAZY idea. Now they are powerful brands succeeding at their art on their own terms.

Jeremy and Corinna will be coming back this June to the Creative Strings Festival, my annual Columbus, Ohio-based fiddle camp built on the unlikely idea/curriculum that every participant performs improvised music in public concerts throughout venues around the city. (All together, we perform over 25 concerts during the week!)

When we began ten years ago, I was barely sure whether it would work, but I took a chance, kept doing it every year, and found that the community, as well as the string players who come from around the world, make it better every year.

What’s up?

Are you a Creative String Player?

Come to the Creative Strings Workshop or check out the Creative Strings Academy. 2012′s festival and camp happens June 19 – 23rd.

Develop Your “Thing”, Whether or Not It’s “Jazz Violin”

2012-01-16T05:02:57Z

Are classical musicians creative?

Any musical activity is creative, but we can all agree that there is a difference between performing a piece of music from the page on the one hand and improvising, arranging, or composing on the other.

I love classical music, and yet, after 25 years of exploring improvisation and composition in many styles, my musical life has been enriched by not only the sheer variety of musical situations I now regularly enjoy, but the challenge and reward that comes from putting my creative energy to work and seeing how my artistic voice has grown.

Pursuits in jazz, improvisation, and more have ultimately led me to get more out of classical music as well.

It’s hard for some to break into “creative string playing”, i.e., including improvisation and composition, whether it be in jazz, rock, fiddle styles, etc… One reason is that classical musicians assume they must have access to “insider information” such as tunes, chord progressions, or specialized stylistic vocabulary. This isn’t necessarily true.

To get started going “out of the box” musically, you can use what you know. Classically trained fiddler and jazz violinist, Eli Bishop, was pretty much exclusively a classical string player just four years ago. He didn’t know if he wanted to play fiddle styles, jazz, classical music, or whatever. But one day he had the idea to try to play the bach-double with both parts at once. He ran with that idea, taking what he was familiar with and getting creative with it (see mind-blowing video below).

After 4-5 years of regularly pushing himself out of his comfort zone, Eli is now one of the most advanced jazz violinists his age anywhere in the world. He’s worked closely with Billy Contreras, Buddy Spicher, Rob Thomas, myself, and attended my annual Creative Strings Workshop. Currently on scholarship at Berklee College of Music, he recently sat down with me to do a set of interviews which are being published exclusively for subscribers of my Creative Strings Academy Program

Here’s a video showing Eli playing some jazz during a very informal rendition we did of Scrapple from the Apple:

Eli also loves fiddle styles including Texas Contest Fiddle and Bluegrass and I’m sure his tastes will continue to evolve. What I’m most excited about is how much he’s evolved, from a purely classical player to a well-rounded creative string player. He’s a great model for us to continue to watch.

So how do you get from “A to B”? This video here shows one method I used to get people going into free improvisation from zero to creativity in 5 minutes. Feel free to grab your instrument and try this out.

My recommendation to classical string players who are curious? Simple: take 5 to 10 minutes during practice sessions to doing something “creative”. Take a moment to get out of your comfort zone. Treat your instrument as if it were a crayon and a piece of paper and take time to scribble, mess around, play around, come up with something outside of your box. You don’t have to be a “jazz violinist”, or get locked into any one kind of style, per se… You don’t need to be fluent with tunes or chord progressions to get started exploring, and soon enough your voice will begin to emerge, (and whether or not it’s a “jazz violin” thing is unimportant.)

Join Eli and me at the Creative Strings Workshop again this coming summer!! Sign up for a free trial to learn improvisation online at the Creative Strings Academy.

Creative String Teachers inspire generations of string players

2011-12-19T19:32:26Z

Clark Chaffee- helping so many young people find joy, a sense of community, and self confidence through music.

I’ve always loudly maintained that classically trained instrumentalists (particularly string players) lag far behind musicians trained in jazz, rock and other traditions when it comes to improvisation, composition, and general “know-how”, and that this equates to a deficit in musicianship for string players.

The cycle continues as generation after generation misses out on key aspects of what should be standard in any musician’s education. Forget about whether you’re into jazz, classical, pop music, or whatever… I’m talking about musicianship, plain and simple, and this includes more than performing on an instrument.

Where this needs changing the most is in our classical music education system. (For more on this, see my editorial article in the July issue of Strings Magazine).

In May when I visited to work with orchestra director Clark Chaffee’s string program at Stevenson High School I was pleasantly shocked to learn that he requires every student to write their own composition, including bass lines, inner voices, counterpoint, melody, and chord progression. Perfect!!

As far as I’m concerned, his curriculum should be adapted by every classical music education program in the country. His worksheet is really well done and should enable any music student to understand and execute a decent piece of “tonal” music. And it’s a direct refutation of anyone who thought this couldn’t be done. Thanks for lifting our standards and setting the bar where it should be Clark!

The Senior Director of Orchestras and Guitar at Stevenson High School in Illinois, Clark Chaffee is also currently serving as Vice President of the Orchestra Division of the Illinois Music Educators Association (MENC) and was recently appointed to the MENC Orchestra Education National Advisory Board.

With all the talk of national standards for music education and very little action, it’s nice to see real leadership. Most string teachers still only pay lip service to the idea of incorporating composition, improvisation and/or so-called “alternative styles”. I don’t blame them. It takes a lot of courage to pursue a brand new skill set….

Everyone should literally take a page out of Clark’s book. In fact, just take the whole book. Contact Clark directly to ask him about his composition assignment at cchaffee@d125.org . The way this guy works, he’ll probably just give it to you…

What’s the result of this kind of innovative and holistic music educational approach?

One example is the work of Clark’s daughter, a formal student in her father’s orchestra program, and CIM cello undergrad, Sarah Chaffee, who is quickly gaining notoriety for her Youtube covers of pop tunes, many containing meticulously crafted arrangements which incorporate motifs from the classical cello repertoire.

Here’s an example from her youtube channel which contains an array of super-awesomely-creative multi-media works which she poured her heart and soul into:

It’s cool how Sarah blends her love of pop music and classical music, and she can improvise, compose, arrange, play the cello, produce videos, market herself, etc… Sarah is an example of what I define as a “creative string player”. She is taking her career in her own hands and I predict that by the time she receives that orchestra job she’s been working so hard towards she won’t need it, because she’s so capable as a musician of doing an array of fun and self-directed things.

Maybe she will take the gig, and continue doing her “creative” work on the side… That’s the point, isn’t it, that Sarah’s work is initiated by Sarah. How many college string players are initiating their own music productions in this way?

On a side note: Here’s another example of how classical source material can be used creatively. In this live performance, I improvise over Paganini’s 24th caprice with an ensemble comprised of church musicians raised by ear on music and encouraged to play all styles. These guys weren’t phased in the least when I suggested playing Paganini….

Clark’s work as a teacher and the resultant impact it has had on his daughter, demonstrates the kind of result that courageous string teaching can have over generations. One irony is that Clark is not a string player (he’s trained as a percussionist).

Over his entire career, Clark has developed curricula, materials, and routines to help students become better musicians sooner. Publications of his includes Rhythm Workshop and Key Shapes for Strings.

Interview With Clark Chaffee

What’s next for you?

CC: The student & parent video production team at Stevenson will soon be launching our own YouTube channel featuring short humorous and instructional videos to help our students understand how to thrive in our orchestra family and in our curriculum.

Serious discussions and planning have begun for the Stevenson Strings Academy – a sequence of orchestra and guitar ensembles that will prepare younger students for the musical and academic rigors of the Stevenson Orchestra program. The official start is expected to be September of 2012.

The program will be unique in part because it will be run through the high school’s community outreach program (PREP) and will have very tight coordination with the high school and sender school orchestra and guitar faculty. The initial concept was mine and I will be the first artistic director. When word about this got to the rest of our Fine Arts faculty, they all began to work on designing similar format offerings. It will be interesting to see where this goes – it could become a great resource for our community and department.

What motivates you?

CC: 1. Developing supportive communities in which making music is the reason for being together, but becoming better and more productive members of society is the primary focus.
2. Performing music at a level that changes lives.

What do you want people to know about that you’re doing?

CC: Ever Evolving. “Retirement” comes next summer but I’ll continue to be on the lookout for ways to perform and serve the larger music education community. Our Stevenson Strings Academy will provide an opportunity for me to hone a variety of master classes that I’ve developed over the years- most of which come from continually seeking ways to better serve my students.

We also hope to have a fairly complete set of videos that will help students and parents become comfortable with our orchestra ‘corporate’ environment and our annual activities.

…

Some clinics Clark is developing include: “Rhythm Workshop- help for the rhythmically dysfunctional”, “Blues Basics for Strings”, “Key Shapes for Strings”, “Fingerboard Geography”, “Basics for Beginning Composers”, and “Basics for Song Writing and Arranging”.

Learn more about the Creative Strings Workshop and sign up for a free trial to learn improvisation online at the Creative Strings Academy.

Christian Howes Strings Adds Disney to Credit List

2012-01-16T04:58:03Z

Earlier this summer, Christian Howes Strings collaborated with friend and brilliant composer Judson Crane (of Butter Music) on a track recently released by Disney. The song is entitled “The Glow” and will be featured on their Fairy Tale Songs album to be released on September 20th. It was sung by Shannon Saunders. Judson arranged the piece and worked closely with our own Christopher Marion on finalizing the string tracks. “The Glow” is currently featured with an accompanying video on the Disney homepage! Check it out: http://disney.go.com/

The #1 thing you can do to become a better musician

2012-01-16T05:08:52Z

I’ll tell you the easiest thing you can do to improve your musicianship.

The single best thing you can do to improve as a musician is to listen back to recordings of yourself practicing or performing.

The key is listening frequently, and critically, in order to shorten the gap between what you think you sound like, and what you sound like in reality. In other words, when we play there are two things happening:
1) What our playing sounds like.
2) What we perceive our playing sounds like.

Four generations of jazz violinists!! John Blake Jr., Billy Contreras, Chris and Camille Howes

During the moment you’re playing, you may not have a clue what you actually sound like. When you listen back, you perceive something closer to reality, and the more you listen back, the more you shrink that gap in the moments when you’re playing. The goal is to be able to hear what we really sound like while we’re playing.

This is important: When we hear things we don’t like in our recordings, we can make a mental note to refrain from those bad habits in later performances. For example, as long as I remember, I can restrain myself from playing that same tired lick, habitually sliding into notes, playing long run-ons, etc… as long as I focus/remember to inhibit these bad habits and keep checking updated recordings, I’ll get better.

Consider this analogy: The best way to live healthier is to STOP putting bad things in your body. You don’t have to be a rocket scientist, buy fancy foods or learn a new skill set. Identify and stop bad habits and you’ll be twice the musician. Quit doing stupid stuff when you play and you’ll sound twice as good. The trick is in being aware of those bad habits.

An awesome way to expedite this process is by using looping technology. I like pedals, such as the digitech jamman or the boss RC50, (I got mine from www.electricviolinshop.com,) Cellist, Adam Spiers discovered a FREE way to do this and I’ll let you in on his secret.

First, here’s a loop-pedal video featuring a tune I named “Pat From Memory” in honor of guitarist, Pat Metheny.

Want to know about that FREE looping software?

Cellist, Adam Spiers, is an active student in the cool online program I mentioned before, and he also takes private lessons with me via skype.

He goes step by step in this blog about How to Use Audacity for Free Instead of Spending Money and Lugging Around Fragile Loop Pedals:

structuring creative practice to avoid overwhelm

2011-12-21T17:16:21Z

Seems like I’m constantly working on new content in response to user requests, (keep them coming!) which raises an interesting point, i.e., “how to avoid overwhelm”.

Since my goal is to provide tons of content to all of you at a great value, it’s inevitable that you might feel overwhelmed at some point with so much information.

This older post of mine is also relevant to structuring practice.

Mix and match the suggestions below, trying to achieve a balance of right brain vs left brain work. (MORE focus with LESS time on exercises is preferable).

1) 5-15 minutes a day of “mentally challenging, analytical “exercises, such as “working with chords, arpeggios, jazz scales,” or anything that requires you to learn/memorize new information.

2) a)5-15 minutes a day of “intuitive” exercises such as free improvisation, improvising within “nontonal” parameters (see the new vids about “free improvisation”…), b) improvising over a tune you already know (expand and vary your improvisations by working with your mental improv “checklist”), c) Write a tune, d) Sing and play (for example, improvise on instrument and voice simultaneously, or trade 4′s with voice and instrument, or harmonize with your voice, etc…)
3) 5-15 minutes of listening exercises, for example, transcribing the harmonic progression to a song… OR 5-15 minutes of transcribing solos…

4) 10-45 minutes of work on a tune that you’re learning- could involve any combo of bass lines, inner voices, looping, voice-leading the chords, practicing scales, harmonizing the melody, and/or soloing over the form…

5) No matter what you do, I always recommend that you record yourself and spend time listening back. By listening back, you’ll make notes about things to “leave out”, which is an easier way to improve than by “adding new things” to what you do. You can listen in the car while driving, before going to bed, etc…

What do you think about these ideas to help you learn jazz violin/viola/cello? Feel free to comment!

Sign up for a free trial to learn improvisation with me online at the Creative Strings Academy and learn more about the intensive week-long Creative Strings Workshop.

Recording strings on Above & Beyond’s “Group Therapy”

2011-07-13T16:20:49Z

Recording strings for all clients is what we like to do, but earlier this year, we were incredibly fortunate to collaborate with the renowned UK-based electronic group Above & Beyond. We were already fans of their lush trance-based music, so it was exciting to get the call when they needed string recordings on their sophomore record entitled “Group Therapy.”

In this videos Christian is hanging with Jono and company during dinner prior to the A&B show in Columbus, Ohio:

Before beginning the recording process, our string arranger and violinist Christopher Marion conferenced with group member Jono Grant and collaborator Andrew Bayer to generate 6 unique arrangements. After a couple of Skype sessions and a few rough drafts, we were agreed on the voicings, dynamics, articulations, etc. We then employed the full might of our string tracking team from New York to LA to record the 60 piece scores.

After 2 weeks of recording and compiling the material, our remote production system proved to be well oiled (tying up a few file transfer servers notwithstanding). The assets were received in London and mixed beautifully with the rest of their material. The result is a cohesive blend of our overdubs and Above & Beyond’s incredible anthemic compositions. We haven’t stopped listening to the record since its release last week!

Below are two song previews on which our strings are featured. Enjoy!

To purchase, visit: http://www.aboveandbeyond.nu/

http://www.youtube.com/watch?v=ZGkX8gsMT7c (Filmic)

http://www.youtube.com/watch?v=bUmFApLplXc (Every Little Beat)

Amplifying your acoustic violin with acoustic violin pickups

2011-12-19T20:02:46Z

Hi Chris, how are you?

I have a question which I don’t think is the best subject for the webinar tomorrow, but is very important. I recently broke my Fishman pickup, and I need a new one asap. I was wondering which removable pickup do you recommend for my acoustic violin. I am looking for a removable cause I just have one violin and I still play a lot of classical gigs, and these people usually have a problem if you show up with a pickup in your fiddle. I use a baggs para D.I. preamp, which pickup do you recommend?

Thanks. Looking forward to meeting you online tomorrow.

Abraços,

Luis

Hi Luis-

As you know, I really prefer the Yamaha VNP-1 acoustic violin pickup because nothing else sounds as good to me.

I understand you feel a need to keep up appearances for people with prejudices about pickups. I recently talked with Blaise at the Electric Violin Shop and he told me that you could have the Yamaha pickup fitted in such a way so that it’s almost invisible. Maybe this is something you could try to do incognito.

Otherwise I honestly couldn’t recommend any removeable pickup , (possibly a lavalier mic, but I can’t stand them, and they definitely won’t work for any “loud” environment, i.e., including drums, for example.)

Some people think that having a pickup on your instrument will compromise the ability of the instrument to project, but I think it’s something you shouldn’t worry about. I performed with a few different orchestras in the last year on my acoustic violin (without amplification-with the pickups and my fine tuners on the violin!)

I personally would rather be prepared to deal with amplified settings then avoid offending the occasional purist.

Your pickup is also an excellent advertisement. When someone is looking for a violinist who can improvise, everyone who has seen you will remember that you have a pickup and they will be more likely to recommend you for the gig!

A good pickup also enables you to enhance your sound in the studio. You should play into a mic as well as the pickup, obtaining two separate signals, and then using a small amount of the pickup signal as an extra color to blend with your mic sound.

I hope this helps and I’m so glad you’re enjopying the Creative Strings Academy. See you on the (ustream) group calls!

all best

chris

Performances set for the 8th annual Creative Strings Festival

2011-06-03T18:04:45Z

Here’s the press release for this year’s festival. We’ve got 20 performances listed this year, and for the first time, we’re spilling over into comfest. Fun times.

FOR IMMEDIATE RELEASE

Violinist Brings Music Workshop and Festival Home

—Columbus Native Offers workshop to musicians, music festival to Columbus —

Columbus, Ohio–Violinist Christian Howes, along with several world-class string players, will host the “Creative Strings Workshop and Festival” at Columbus College of Art and Design and many performance venues in the Central Ohio area, June 21-25.
Howes is a Columbus native who has garnered international attention as one of “the most intriguing young violinists in jazz” sharing stages with the likes of saxophonist Bill Evans, guitar legend Les Paul, and many other prominent jazz artists. The workshop is designed for adult string players (violin, cello, viola) with semi-pro and professional careers.. Participants in the workshop will perform several concerts at local venues alongside invited national guest artists and Columbus-based musicians
Working with Howes and his guest artists/teachers, participants live the life of a “creative” working musician during their week in Columbus. They quickly learn that the life of a gigging musician is hard work, and to keep growing, one must be versatile.
“The most important part of being a satisfied musician is having opportunities to be creative – ” says Howes. “ Violinists and cellists are typically trained to become orchestral players. This training doesn’t offer them the creative rewards of a career in jazz, r and b, pop, folk and world music. “The best way for string players to attain a more creative career is to get out and play creative music for real audiences in welcoming venues. Our workshop and festival has a symbiotic relationship with Columbus in that the city offers venues and an audience to the musicians who need it, while our musicians offer Columbus an enthusiasm that infects the community through expressive, rich, explorative music. Our presence will hopefully be felt in the music scene as an injection of “fresh spirit, which the audience picks up on. This is how music should enrich communities- often musicians are trapped in a “check in-check out” mentality. The workshop facilitates real expression.”
In addition to daily lessons and clinics, workshop participants will prepare for nightly gigs in bluegrass, jazz, blues, salsa, and other genres. Locally, Howes has scheduled performances at Comfest, Columbus Commons, the Bluegrass Music Shoppe, Dick’s Den, Park Street Tavern; Espresso Yourself Music Café, Global Gallery coffee shop, Pearl Market. “We will perform both as self-contained ensembles as well as in collaboration with established local groups.”
In addition to Howes, instructors/guest artists will include: cellists Marcelo Vieira and Cloudio Peña; jazz violinists Jason Anick, and Billy Contreras, bluegrass and oldtime fiddler Andy Reiner, keyboardist Hamilton Hardin, and drummer Cedric Easton, and guitarist Paul Brown. A seasoned battery of local support musicians will provide further accompaniment.
Having lived and performed in Brooklyn for the past 10 years (including as a regular contributor to Les Paul’s gigs at New York’s famed Iridium) Howes has recently returned to his hometown of Columbus to regain his roots.
“I have ties in Columbus; I have a vested interest in giving back to the community which nurtured me and my career. Columbus is a model city for musicians in the sense that it hosts many relaxed venues and great musicians of many styles. It’s logistically easier to get around and pull something like this off. In NYC, it would be impossible to gain access to so many venues. Many of the restaurants and clubs in Columbus are venues that I’ve played in over the years before my career expanded into the touring schedule I now maintain”

The following venues will host concerts in affiliation with the Creative Strings Festival:
Dick’s Den
June 21 – 25 10 pm – 2 am

Tuesday June 21
Pearl Market 11 am – 1:30 pm
Park Street Tavern 8:30 pm – 12 am

Wednesday June 22
Columbus Commons 12 – 1:30 pm
North Market – 12:30 – 2 pm
Global Gallery Coffee Shop 7-9 pm
Espresso Yourself Music Cafe 7-9 pm

Thursday June 23
North Market – 12:30 pm – 2 pm
Global Gallery Coffee Shop 7-9 pm
Espresso Yourself Music Cafe 7-9 pm
McConnel Arts Center 8-10 pm

Friday June 24
Pearl Market 11 am – 1:30 pm
Saturday June 25
Clintonville Farmer’s Market 10:30 – noon
Bluegrass Musician’s Supply Shop 10am – 2pm
McConnel Arts Center (Youth Program Showcase) 12:30 – 2 pm
Comfest Jazz Stage 3:40-4:40 pm

IF YOU’RE COMING:

What: Creative Strings Festival
When: June 21 – 25, 2011
Where: Columbus College of Art and Design

Jazz violin give-aways; improvisation secrets revealed

2012-01-16T05:28:16Z

I’m giving away lot’s of stuff today. To receive even more presents, enter your email address into the form on top of the right sidebar on this page!

On to the first wave of gifts:

GIFT #1) this video http://christianhowes.com/2011/05/28/how-to-improvise-easily-with-confidence-for-classical-string-players/

which shows how a nine year-old girl can achieve a 100% success rate with improvising diatonic melodies. You can take off, using the worksheet, and do LOT’s but first, read on…

Gift #2) Secrets revealed :

1)beginning with a “scale-based” approach to improvisation really DOESN’T WORK, beyond a very limited scope…

2) some jazz violinists try to improvise based on their knowledge of arpeggios in root position and

THIS DOESN’T WORK EITHER.

3)What DOES WORK is using voice-led chord tones as the basis of any improvised melody in just about any style of music.

In case you’re wondering, to “voice lead” is to resolve from any note in a given chord to a nearby note in another chord.

This sounds simple, right?? Why do you struggle with it?

Most likely you never internalized/memorized chords in extended range and all inversions. For most classically trained string players, no one ever explained a system or gave you a tool like the worksheet Camille uses in the video above.

These exercises will make your life easier if you’re a classically trained musician learning to play jazz violin,viola, or cello (as well as blues, rock, and a wide variety of styles.)

The Creative Strings Academy now provides an easy-to-use curriculum.

Just click here:
http://christianhowes.com/2011/05/27/finally-online-jazz-violin-lessons/

These online video lessons share everything I know about improvisation, harmony, technique, gear, the music biz, and more.

Are you a Creative String Player?!