Concerto for Jazz Violin by Scott Routenberg
Watch the performance with the Muncie Symphony Orchestra, conducted by Douglas Droste. Below you can find a video with analysis and tips for studying and performing the piece.
"It's a Keeper"
I looked a long time for good “crossover” repertoire.
Table of Contents
I found a keeper in the Routenberg Concerto for Jazz Violin.
With Jazz, Americana, and Classical impressionism delicately balanced, the performer is challenged to integrate improvisation, paying attention to (and sometimes ignoring) the written notes and intentions of the composer, while splitting the difference between these genres.
Analysis and Tips for practice/performance
In the video below, I go through the piece with violinist Victoria Yeh, discussing tips for practice and performance.
Thoughts from composer Scott Routenberg
“If I quoted Ravel (in the second movement), I did not do so consciously, but out of a deep love for his orchestral music, especially the 2nd Suite from his ballet Dafnis et Chloe, which I used to listen to religiously every night before going to sleep when in college. The climactic swells in the 2nd movement of my concerto are loosely based on his textural and orchestral gestures. Other orchestral influences included Debussy, Respighi, and Copland’s open, “American” sound.”
He goes on, “The violinist who commissioned the piece, Chien Tan, specifically wanted fiddle influences and jazz improvisation fused together, so that is why I incorporated fiddle-like passages with chromaticism and idiomatic bebop-style “licks”. The fiddle lick that ends the first movement was inspired by jazz violinist Billy Contreras, who actually played that lick in a solo, and probably modified it for violin from a saxophone lick originally played by Michael Brecker.”
“The unique element of the Jazz Violin Concerto is its incorporation of improvised passages that are seamlessly integrated with the rest of the piece. These sections are written with chord symbols in traditional jazz nomenclature.”
“It was not until I found jazz violinist Christian Howes that these improvised passages realized their full potential to redefine the energy and mood of the concerto with each unique performance. What’s more, Christian extemporizes several (unwritten) cadenzas with brilliant nods to contemporary jazz improvisation and the lost art of the classically improvised concerto cadenza, deftly weaving together melodic, harmonic, and rhythmic motives from the work in a new way at each performance.”
Working With Conductor Douglas Droste
It was fulfilling to work on this project with childhood friend and Suzuki violin buddy, conductor Douglas Droste. Doug’s background as a violinist combined with playing trumpet in band (not to mention the influence of his father Paul Droste, a longtime, respected band director at Ohio State University), helped him steer the groove, and the Muncie Symphony Orchestra pulled it off beautifully under his direction.
At one point following the solo in the second movement, I added a beat. Doug adjusted at the same time I was adjusting. He catches me to bring in the orchestra just in time.
Doug is currently orchestra director at Baldwin Wallace. We co-presented a clinic entitled, “The Best of Both Worlds in your School Orchestra”, on the topic of balancing traditional and contemporary string teaching methods in the classroom)- at the Midwest Band and Orchestra Conference. We collaborated as teaching artists at the Music For All summer symposium.
Performing in Ukraine for the U.S. Embassy
Our performance with Muncie Symphony Orchestra above caught the attention of the U.S. State Department. Consequently Doug and I were honored to go to Ukraine at the invitation of the U.S. Embassy to present concerts and workshops.
Amplifying The Violin: My Gear
I felt that this piece should be played on an acoustic violin, and amplified. I’m happy with the violin sound in this recording, and particularly the balance of sound projection, sound quality, and ease of playing it helped achieve.
My acoustic violin was amplified using the Yamaha VNP-1 pickup (which is no longer manufactured unfortunately).
I played through a Boss-ME 70 signal processor, a Jamman looper, and a Fishman Loudbox amplifier, using D’Addario Helicore strings.
I consult with and get all my gear at Electric Violin Shop. For advice on gear, I recommend calling them at their phone number listed on their website during business hours and speaking with a human.
How To Incorporate Improvisation In The Violin Concerto
The Routenberg concerto can be played by classical violinists (without skills in improvisation). One workaround is to write out your cadenzas, solos, and fills. (You can ask someone like me for help with this process.)
Experienced improvisers often work out ideas in advance. Even greats like Charlie Parker, John Coltrane, Pat Metheny, or Jimi Hendrix can be heard on recordings repeating lines they have practiced.
Learning Jazz Violin vs. Learning Improvisation
The topics of Violin Improvisation and the Violin in Jazz overlap, but they diverge more than you might think.
Follow this link for more: How to Play Jazz Violin
