Lesson 16 of 22ViolinIntermediate

Honky Tonk: solo

5:37

Chris Haigh shows how to build a fiddle solo in a honky tonk tune, staying close to the melody and decorating it with octave jumps and embellishments.

Part of the courseBluegrass & Modern Country Fiddle22 lessons (1h 51m)

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Chris HaighYour guruChris Haigh

What's in the course

22 lessons (1h 51m) · 1 free
    • 01. Honky Tonk: Banks of the Ohio

      3:49

    • 02. Honky Tonk: Banks of The Ohio - Intro and Outro

      4:03

    • 03. Honky Tonk: Banks of the Ohio (performance)

      0:39

    • 04. Honky Tonk: Walking Fiddle

      5:38

    • 05. Honky Tonk: solo

      You are here

      5:37

    • 06. Honky Tonk: Nashville Shuffle

      3:12

    • 07. Mexican Trumpets

      3:41

Lesson transcript

Honky Tonk Solo Lesson

Overview: In this lesson, we're going to explore how to develop a solo in a Honky Tonk song. This approach echoes the techniques used by early bluegrass players, emphasizing a close connection to the melody while incorporating creative variations.

Key Concepts

  • Stay Close to the Melody:

    • To play authentically in the Honky Tonk style, it's important to remain close to the melody.
    • There is room for a more progressive approach, but traditionalists should prioritize melody adherence.
  • Decoration Techniques:

    • Finding ways to embellish the melody is essential.
    • One effective technique is to go up an octave to enhance prominence.
    • Employing harmonies, specifically a sixth below (equivalent to a third above, shifted down an octave), is commonly used.
  • The Scale of Sixths:

    • This is a highly beneficial concept for creating interesting solos.
    • For further insight, refer to my YouTube video on the Fiddle Channel discussing the scale of sixths.

Practical Application

  • Starting the Solo:
    • Count off and begin: 1, 2, 3.
    • The only tricky part is the third line:
      • 4 over 3, 2 over 1.
      • Move both of those down a half step.
      • 1 over open, followed by 4 over 3 slid down.
      • Then, 2 over 1, sliding up a third.
    • Let's repeat that segment before moving on: three over two.

Backing Track:

  • The backing track will have a distinctive feel, often referred to as the Ray Price beat.

    • This approach was a progression within Honky Tonk music where the bass began to walk rather than just emphasizing a two-to-the-bar feel.
    • The addition of drums gives the music a more rocking sensation.
  • Tommy Jackson's Evolution:

    • Tommy Jackson's playing style evolved from his collaborations with Hank Williams to Ray Price, gravitating towards a more single line style.
    • This style involves less use of double stops but incorporates a variety of drums and fourth-finger double notes.
    • It aligns more closely with the Bob Wills style.

Assignment

  1. Listen to "Crazy Arms" by Ray Price.
  2. This song marks the introduction of the Ray Price beat, a staple in Honky Tonk music.
  3. Practice playing both the backing and a solo over this song.

Enjoy exploring the depths of Honky Tonk music, and remember to experiment within the framework provided!

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Meet your guru

Chris Haigh

Chris Haigh

Chris Haigh has been a professional fiddle player for 25 years, with experience covering many different genres. He has played on over 75 albums, working with artists including Alison Moyet, Bob Geldof, All About Eve, Michael Ball, David Soul, Oumou Sangare, The Quireboys, Riverdance, Morcheeba, James Galway and Steps.

He has played swing jazz with The Kimbara Brothers, Diz Disley, Le Jazz, The Hot Club of London, and the Quecumbar Allstars, and leads a 7-piece Soviet swing band, The Kremlinaires.

Chris gives lessons and workshops on jazz violin technique and has taught jazz violin at Middlesex, Brunel and Newcastle universities and Truro College. His writing credits include nine fiddle books, among them The Fiddle Handbook.

He also runs Fiddling Around (fiddlingaround.co.uk), probably the most comprehensive and widely visited source of fiddle information on the web.

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