IntermediateViolonJazzRockCountryFolk

Discovering Rock Violin

Name: Discovering Rock Violin
Brand: MusicGurus
Author: Chris Haigh

par

Chris Haigh

Abonne-toi pour débloquer

13 $US/mois

Débloque ce recueil + plus de 5 000 autres leçons sur tous les instruments.

S'abonner pour ouvrir

Tout est inclus sur MusicGurusAnnulation à tout momentRemboursement sous 30 jours

Vous avez le livre imprimé ? Utilisez votre code

Abonne-toi pour débloquer

13 $US/mois

Débloque ce recueil + plus de 5 000 autres leçons sur tous les instruments.

S'abonner pour ouvrir

Tout est inclus sur MusicGurusAnnulation à tout momentRemboursement sous 30 jours

Vous avez le livre imprimé ? Utilisez votre code

Modules234

Chansons Replay121

InstrumentViolon

LangueAnglais

Sommaire (234 modules, 121 replay)

- 01. Introduction
- 02. Different Styles
- 03. Rock Violin Techniques
- 04. Using the Recordings
- 05. Listen and Learn
- 06. Air Violin
- 01. 1: The Bare Bones
- 02. The Chord Sequence
- 03. Double-Stopped Harmonies
- 04. Nobody Came
- 05. The Violin as a One Man Orchestra Player
- 06. Player Spotlight - Bobby Valentino
- 07. Nobody Came Version 2
- 08. My Day In Court
- 09. Robots
- 10. Brassed Off
- 01. 2: A Tonic For The Troops
- 02. The Flattened 7th
- 03. The Flattened 3rd
- 04. Minor Pentatonic Scale
- 05. Player Spotlight - Don ‘Sugar Cane’ Harris
- 06. Player Spotlight - Nigel Kennedy
- 07. Minor Pentatonic Scale
- 08. Funkatonic
- 01. 3: The Blues
- 02. The Blues Scale
- 03. Player Spotlight - Papa John Creach
- 04. Bluesbreaker
- 05. The Major Blues Scale
- 06. The 12-Bar Blues
- 07. Player Spotlight - Nick Pickett
- 08. The Minor Blues Sequence
- 09. Big Blues
- 01. 4: Chords, Melody and Modes
- 02. Diatonic Chords
- 03. Dire Tonic
- 04. Unexpected Chords
- 05. Modes
- 06. The Mixolydian in Action
- 07. Mahatma Wonder
- 08. Exponents of Eastern Mysticism
- 01. 5: Soloing
- 02. Artificial Feedback
- 03. Vibrato
- 04. Working with a Singer
- 05. Working with Another Soloist
- 06. Cosmic Conversation
- 07. Phrasing
- 01. 6: Progressive Rock
- 02. Player Spotlight - Eddie Jobson
- 03. Antonio
- 04. Complex Time Signatures
- 05. Five Four (solo)
- 06. Five Four (head)
- 07. Seven Eight
- 08. The Canterbury Scene
- 09. Beyond Canterbury
- 10. Player Spotlight - Graham Smith
- 11. Prog-Rock Outside the UK
- 12. Revelations Fifteen
- 01. 7: Folk Rock
- 02. American Folk Rock
- 03. Electric Folk
- 04. Folk Forms and Rhythms
- 05. Tenpenny Bit
- 06. Cooley’s Reel
- 07. Tenpenny Bit (version II)
- 08. Other English Electric Folk Bands
- 09. Irish Folk Rock
- 10. Folk Ornamentation (fingered)
- 11. Folk Ornamentation (bowed)
- 12. Wickham Wanderers
- 13. Scottish Folk Rock
- 01. 8: Country Rock
- 02. A Brief History of Country Music
- 03. The Shuffle
- 04. The Fiddle in Country Rock
- 05. The 8th of January
- 06. Double Stops
- 07. Cajun
- 08. Contemporary Country
- 09. Player Spotlight - Charlie Daniels
- 10. Zydecommotion
- 01. 9: Jazz Rock
- 02. Modal Jazz
- 03. Swing
- 04. Jazz Fusion
- 05. Following the Chords in Jazz
- 06. Player Spotlight - Jean-luc Ponty
- 07. Player Spotlight - Didier Lockwood
- 08. Other Jazz-Rock Violinists
- 09. Ionosphere
- 01. 10: Heavy Rock and Metal
- 02. Violin Metal in Scandinavia
- 03. Odin’s Beard
- 04. Violin Metal in the US
- 05. Violin Metal in the Rest of Europe
- 06. Player Spotlight - Mark Wood
- 07. Lead Balloon
- 01. 11: Other Styles, Effects, Amplification and Top 20 Solos
- 02. The Violin in Pop Music
- 03. Punk Violin
- 04. Contemporary Pop
- 05. Experimental/Art Rock
- 06. Amplifying the Violin
- 07. Electric Violin
- 08. Effects
- 09. Top 20 Best Rock Violin Solos of all Time, Ever!
- 01. Postscript
- 02. Discography
- 03. Bibliography
- 04. Audio Track Listing
- 05. MP3 Track Listing
- 01. Nobody Came
- 02. Nobody Came (Version 2)
- 03. My Day in Court
- 04. Robots
- 05. Brassed Off
- 06. Funkatonic
- 07. Bluesbreaker
- 08. Big Blues
- 09. Dire Tonic
- 10. Mahatma Wonder
- 11. Cosmic Conversation
- 12. Antonio
- 13. Five Four - demo backing track
- 14. Five Four - solo
- 15. Seven Eight - demo backing track
- 16. Revelations Fifteen
- 17. Ten Penny
- 18. Cooleys Reel - demo backing track
- 19. Tenpenny Bit (version II)
- 20. Wickham Wanderers
- 21. The 8th of January
- 22. Zydecommotion
- 23. Ionosphere
- 24. Odin's Beard
- 25. Lead Balloon
- 01. Fig 1.1 Chords I, IV and V
- 02. Fig 1.2 Chords I, IV and V - root notes
- 03. Fig 1.3
- 04. Fig 1.4
- 05. Fig 1.4a
- 06. Fig 1.4b
- 07. Fig 1.4c
- 08. Fig 1.5
- 09. Fig 1.6
- 10. Fig 1.11 Chords I, IV and V - different options
- 11. Fig 1.13a Double stop suspension in D
- 12. Fig 1.13b Chord shape for three pairs of notes
- 13. Fig 1.13c Three pairs as broken chords
- 14. Fig 1.13d Three pairs as broken chords, pizz.
- 15. Fig 1.26 Silence
- 16. Fig 2.14 Power chords
- 17. Fig 2.15 7#9 chord
- 18. Fig 2.39 Major pentatonic improvisation
- 19. Fig 2.40 Repeating major pentatonic figure, chords changing
- 20. Fig 2.41 Major pentatonic figure, changing with the chords
- 21. Fig 3.46 12-bar blues in E
- 22. Fig 3.47 E blues - repeated four-bar melody
- 23. Fig 3.48 G major blues
- 24. Fig 3.49 Blues in A minor
- 25. Fig 4.8 Backing-style figures over Dire Tonic
- 26. Fig 4.9 Countermelody against tune of Dire Tonic
- 27. Fig 4.10 Major chord II
- 28. Fig 4.11 Melody over major chord II
- 29. Fig 4.12 Blues scale over major chord II
- 30. Fig 4.13 Major blues scale over major chord II
- 31. Fig 4.16 Temporary modulation
- 32. Fig 4.17 Temporary modulation - common note between chords
- 33. Fig 4.18 Temporary modulation - thinking in the new key
- 34. Fig 5.1 Art. Feedback
- 35. Fig 5.2 Timbre
- 36. Fig 5.3 Art. Feedback on blues scale phrase
- 37. Fig 5.4 Art. Feedback as an ending
- 38. Fig 5.5 Refined art. Feedback
- 39. Fig 5.5a Pick slide
- 40. Fig 5.6 Wide-vibrato LH with artificial feedback
- 41. Fig 5.7 Vocal line
- 42. Fig 5.8 Working with a vocalist - improvising in the gaps
- 43. Fig 5.9 Working with a vocalist - playing a fixed line in the gaps
- 44. Fig 5.10 Working with a vocalist - long notes-sparse phrases
- 45. Fig 5.11 Working with a vocalist - harmonising the vocal line
- 46. Fig 5.12 Working with a vocalist - harmonising the vocal line plus fills
- 47. Fig 5.13 Solo - version 1
- 48. Fig 5.14 Solo - version 2 - proper phrase construction
- 49. Fig 5.15 Solo - version 3 - slides, fast runs and art. F/B effect
- 50. Fig 5.16 Solo - version 4 - repeated ideas
- 51. Fig 7.3
- 52. Fig 7.4
- 53. Fig 7.12
- 54. Fig 7.13
- 55. Fig 7.14
- 56. Fig 7.15
- 57. Fig 7.16
- 58. Fig 7.17
- 59. Fig 7.18
- 60. Fig 7.19
- 61. Fig 7.20
- 62. Fig 7.21
- 63. Fig 7.22
- 64. Fig 8.1 Nashville shuffle
- 65. Fig 8.2 Old Joe Clark
- 66. Fig 8.3 Nashville shuffle with emphasis on backbeat
- 67. Fig 8.4 Nashville shuffle with open-string drones
- 68. Fig 8.5 Nashville shuffle with double stops
- 69. Fig 8.6 Nashville shuffle with double stops and slides
- 70. Fig 8.7 Nashville shuffle with double stops and notes a step below
- 71. Fig 8.8 Nashville shuffle with double stops and two, note-below steps per bar
- 72. Fig 8.9 Georgia shuffle
- 73. Fig 8.22 Wide vibrato at phrase end
- 74. Fig 9.1 Swing feel
- 75. Fig 9.2 Rock feel
- 76. Fig 9.2a Latin feel
- 77. Fig 9.7 12-bar blues in G (simple)
- 78. Fig 9.8 Bebop blues
- 79. Fig 9.11 Modal solo, favouring 6ths and 9ths of chord
- 80. Fig 9.12 A minor pentatonic patterns
- 81. Fig 9.13 Playing outside, using whole-tone scales
- 82. Fig 9.14 Repeated, whole-tone phrases transposed up a semitone
- 83. Fig 9.15 Octaves
- 84. Fig 10.1 Heavy rock
- 85. Fig 10.2 Gothic metal
- 86. Fig 10.3 Guitar-style riff
- 87. Fig 10.4 Guitar-style riff (inverted)
- 88. Fig 10.5 Guitar-style riff (3rd position)
- 89. Fig 10.6 Guitar-style (complex)
- 90. Fig 10.7 Guitar-style (grouped 6, 6, 4)
- 91. Fig 10.8 Guitar-style riff (with pedal E)
- 92. Fig 10.10 Guitar-style riff (bluesy)
- 93. Fig 10.11 Guitar-style riff (sextuplets)
- 94. Fig 10.12 Guitar-style riff (wide stretches)
- 95. Fig 10.13 Guitar-style riff (very wide stretches)
- 96. Fig 10.9 Guitar-style riff (variation)

À propos de ce recueil

Plug in, turn up, and learn how to make the violin sound at home in a real rock band. Discovering Rock Violin shows you how to go beyond “written string parts” and become the kind of rock fiddler who can build their own lines, lock in with drums and bass, and step forward for fearless leads when the moment arrives.

Chris Haigh starts where working players actually live:

rhythm parts that follow chord sequences (I–IV–V and beyond),
punchy hooks,
double-stopped harmonies,
and practical bowing patterns that create drive instead of classical polish.

From there you’ll dig into the essential rock language - flattened 7ths, power-chord shapes on the violin, minor and major pentatonics, blues scales, and modes (including the Mixolydian sound behind classic British rock solos). You’ll also get style chapters that map the violin’s role across progressive rock, folk rock, country rock, jazz rock, and heavy rock/metal - with clear examples, artist references, and playable studies.

Best of all, this book is built to sound like music. Over 100 recorded demo and backing versions are included so you can hear the target feel, then jump in and experiment with your own variations. Press play and learn, then bring the ideas straight to rehearsal. Start now - and let the fiddle earn its place on the front line.

Lecture interactive

Ralentir le tempo

Travaille n'importe quel passage à ton propre rythme — la hauteur reste correcte.

Répéter les mesures difficiles

Sélectionne une section et travaille-la en boucle, sans les mains.

Aperçus manche & clavier

Les notes s'illuminent sur un manche de guitare ou les touches d'un piano pendant qu'elles jouent, avec les doigtés indiqués.

Aussi disponible en cours vidéo · À la découverte du violon rock

Découvre le Guru

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.

Voir la page de l'artiste

Publié avec

Schott Music

Fondée par Bernhard Schott à Mayence en 1770, Schott Music est l'une des maisons d'édition musicale les plus anciennes et les plus importantes d'Europe, avec un catalogue de plus de 30 000 titres. Au cours de ses 250 ans d'histoire, Schott a publié des éditions originales de Mozart, Beethoven et Wagner, défendu des voix du XXe siècle, de Hindemith et Schoenberg à Ligeti et Henze, et publie aujourd'hui des partitions, des livres et du matériel pédagogique depuis ses bureaux de Mayence, Londres, New York, Tokyo et au-delà.

Voir la page Publisher