Folk Rock 1

With
Chris HaighChris Haigh introduces folk rock on the violin, explaining the difference between American folk rock and British electric folk, and the traditional reels, jigs and hornpipes behind the style.
© 2011 Schott Music Ltd, London
What's in the course
18 lessons (1h 41m) · 1 freeLesson transcript
Folk Rock Lesson
Introduction
Hi! In this lesson, we're going to talk about folk rock. This genre developed in the 1970s and has two different meanings, depending on whether you're in America or over here in Britain.
Definitions
-
In America:
Folk rock refers to singer-songwriter styles. For example, The Byrds were described as folk rock, which aligns more with country rock. -
In Britain:
We refer to folk rock as electric folk. This involves English, Irish, or Scottish traditional music presented in a folk context, which is our focus today.
Traditional Folk Music
Traditional folk music has its own forms and dance styles, including:
- Reel
- Jig
- Hornpipe
Each of these has a different approach when turned into rock and includes a repertoire of traditional melodies and ornamentations. We'll explore these in the next lesson.
The Evolution of Folk Rock
Folk rock or electric folk performed very well commercially in the 1970s but declined in the face of punk rock in the mid-70s. Both genres had overlapping audiences. Despite this decline, folk rock has persisted to the present day.
Notable Bands
- Steel Ice Band
- Fairport Convention
Watch out for these bands, as they mastered this kind of music.
Tune Introduction
Now, I'm going to play you a tune called "Tempony Bit." I'll start by playing it in a traditional form with rock backing.
Jig Rhythm
You can hear that the jig rhythm, which is a 6/8 rhythm, works effectively in a folk rock context, sounding much like a boogie:
Danka donka takatanka.
It fits perfectly with that boogie rhythm. The jig is a suitable choice for rock, although the reel (which is in 4/4 time) also works well.
Bowing Technique for a Jig
When playing a jig, you'll initially struggle with the bowing technique.
- What to Remember:
Six quavers to a bar should not be played with equal length bows.
Bowing Pattern
- First Note: Stronger action on the first note (longer).
- Next Two Notes: Play them short.
So, think of this as:
Down (long), up (short), down (short), up (short).
Your priority, especially if you're new to folk music, is to master that bowing technique.
Rock Version of the Tune
Now, let's explore some rock ways to play the tune. Here's the second version, which I'll play through slowly first.
-
Introductory Riff:
Incorporate a bit of syncopation. Instead of the basic rhythm, we replace it with a double E riff and slide down. -
Variation:
The second half has slight variations, including more syncopation and a rock riff to replace the next three bars. -
Slideshow Ending:
We'll finish off with a slide and a double A.
Let's try that up to tempo with the backing. I think you'll agree it creates quite an exciting sound!
Improvisation
To wrap up, I'll improvise using the minor blues scale over this backing. This is the kind of thing that, in my ceilidh band, we occasionally break into when the audience is enthusiastic and supportive.
Caution:
If you overdo this in a proper Celtic context, you may find yourself in trouble. So, be careful about who you're playing with and for.
Assignment
-
Learn the Melody:
Practice the basic melody of "Tempony Bit" with the backing. -
Try the Second Version:
Play along with the backing. -
Improvisation:
Try improvising using a blues solo over the backing. -
Extended Play:
If you have the chance, create a longer version that moves from the melody into a solo and then back to the melody.
Happy playing!
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Meet your guru

Meet your guru
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.






























