Folk Rock 1

Chris Haigh
Chris Haigh

Lesson time: (7min 26sec)

Chris Haigh présente le folk rock au violon, en expliquant la différence entre le folk rock américain et le folk électrique britannique, ainsi que les reels, jigs et hornpipes traditionnels à la base du style.

© 2011 Schott Music Ltd, London

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This lesson is part of the course Violon rock : styles et performance
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Lesson 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.

  1. Introductory Riff:
    Incorporate a bit of syncopation. Instead of the basic rhythm, we replace it with a double E riff and slide down.

  2. Variation:
    The second half has slight variations, including more syncopation and a rock riff to replace the next three bars.

  3. 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

  1. Learn the Melody:
    Practice the basic melody of "Tempony Bit" with the backing.

  2. Try the Second Version:
    Play along with the backing.

  3. Improvisation:
    Try improvising using a blues solo over the backing.

  4. 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!

About the instructor

Chris Haigh
Chris Haigh

Chris Haigh est violoniste professionnel depuis 25 ans et possède une expérience dans de nombreux genres. Il a joué sur plus de 75 albums, aux côtés d'artistes comme Alison Moyet, Bob Geldof, All About Eve, Michael Ball, David Soul, Oumou Sangare, The Quireboys, Riverdance, Morcheeba, James Galway et Steps. Il a joué du swing et du jazz avec The Kimbara Brothers, Diz Disley, Le Jazz, The Hot Club of London et les Quecumbar Allstars, et dirige un ensemble de swing soviétique à sept musiciens, The Kremlinaires. Chris donne des cours et des ateliers sur la technique du violon jazz et a enseigné le violon jazz aux universités de Middlesex, Brunel et Newcastle ainsi qu'au Truro College. Parmi ses ouvrages figurent neuf livres consacrés au violon, dont The Fiddle Handbook. Il anime également Fiddling Around (fiddlingaround.co.uk), sans doute la source d'information sur le violon la plus complète et la plus consultée du web. read more

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18 lessons (1h 41m)
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