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Lesson time: (11min 17sec)
Chris Haigh explica en qué se diferencian el bluegrass y la música de violín old-time, y cómo Bill Monroe convirtió el bluegrass en un estilo propio en los años 40 y 50.
This lesson is part of the course Fiddle de bluegrass y country moderno
Watch this lesson for free below.
Lesson transcript:
Okay, the next few lessons are going to be about bluegrass. In the minds of a lot of people, bluegrass and old time music are pretty much the same kind of thing. They both involve fiddles and banjos and lots of lively stuff. However, they are quite different and distinct.
Interestingly, Bill Monroe was very protective of his music and disliked the idea that other people were starting to play music that he created. Some musicians he played with, like Lester Flatt (guitarist) and Earl Scruggs (banjo player), left to form their own band, which annoyed him immensely. Many fiddle players he employed later joined Flatt and Scruggs.
Purpose of Performance:
Speed:
Instrumentation:
Improvisation:
Key Limitations:
Tuning and Bowing Techniques:
Tone:
Old Time:
Bluegrass:

Chris Haigh es violinista profesional desde hace 25 años, con experiencia en muchos géneros distintos. Ha tocado en más de 75 álbumes, trabajando con artistas como Alison Moyet, Bob Geldof, All About Eve, Michael Ball, David Soul, Oumou Sangare, The Quireboys, Riverdance, Morcheeba, James Galway y Steps. Ha tocado swing y jazz con The Kimbara Brothers, Diz Disley, Le Jazz, The Hot Club of London y los Quecumbar Allstars, y lidera una banda de swing soviético de siete integrantes, The Kremlinaires. Chris imparte clases y talleres sobre técnica de violín de jazz y ha enseñado violín de jazz en las universidades de Middlesex, Brunel y Newcastle y en el Truro College. Entre sus créditos como autor figuran nueve libros de violín, entre ellos The Fiddle Handbook. También dirige Fiddling Around (fiddlingaround.co.uk), probablemente la fuente de información sobre violín más completa y visitada de la red. read more