Groove-based music requires a higher standard of rhythmic precision, so if you’re a classical player you should retrain yourself to approach these scenarios differently. And by the way, much of classical music is dance music. If you focus on learning how to groove, you’ll make people want to dance when you play Gavottes, Allegrettos, Rondos, Andantes, etc.., and that would be a good thing:) Chopping and strumming on the violin can be cool, but the coolest thing is always to never do harm to the music. So by all means, practice these techniques with a metronome and listen back to yourself to notice and improve your rhythm. In the meantime, on stage, heed the wisdom of jazz musicians and: “when in doubt, lay out”.
– The diversity of creative string players in the newest generation, and how we arrived here
– How classical string/music teachers can adapt to a changing musical world
“Inevitably the classical world has had to come to grips (with) this tsunami of young players playing fiddle tunes”
– “Micro-improvisation” and using skeletal melodies to develop comfort with improvisation…
– The “present moment” in performance..
Seeing a bowed string instrument as a harmonic instrument will help any player become a more fluent improvisor in jazz, rock, blues, world music, and more….
The video embedded here showcases our recent performance under Douglas Droste’s direction with the Muncie Symphony Orchestra of the listenable yet classy, “Concerto for Jazz Violin” by Scott Routenberg- a beautiful, new work relevant to today’s symphonic audiences.
“Thinking, Fast and Slow”, contains many insights that apply to teaching and understanding musical improvisation. Kahneman’s writing coincides with observations I have stressed for classical string players expanding their musicianship and pursuing jazz improvisation..