DAY 5 @ Mark O’Connor’s Fiddle Camp


Nashville fiddle camp is over, for good.  Mark will still hold his strings conference in NYC and at UCLA, but the Nash version is caput.  I have to say that I’ll miss it quite dearly.  It was such a beautiful outdoors environment in which you could lose yourself to all things fiddle.  Sure, there were chiggers and ticks and the air was thick with moisture and heat, but you don’t really care or notice.  Sure, your fingers stick together, your glasses are sliding off your face, and you hope for the best when shifting, but we are all suffering the same perils of the fiddle.  Sure, you can’t remember how that tune starts, or you just don’t know that tune, but there’s someone here who does and is more than willing to share.

Fiddle camp really exists, people. I invite you to crash one sometime.  Your life will never be the same…

Casey’s Camp Jam Hour

Devil’s Dream (A)Bill Monroe & His Bluegrass Boys - Bill Monroe: Anthology - Devil's Dream
Sweet Georgia Brown (G)Django Reinhardt, Eddie South & Wilson Myers - Crazy Rhythm - Sweet Georgia Brown
Irish Washerwoman (G)Jehile Kirkhuff - Jehile Stands Alone - Irish Washerwoman
Cripple Creek (A)Fiddlin Doc Roberts - Fiddlin Doc Roberts Vol. 1 1925 - 1928 - Cripple Creek
Arkansas Traveller (D)Bruce Molsky - Lost Boy - Arkansas Traveler
Angelina Baker (D)Crooked Still - Hop High - Angeline the Baker
• This is the only tune we repeated. It’s a great simple standard for all…a fine way to close our our camp jam.

Teaching: Back-up & Accompaniment

• Used the 12-Bar Blues as our vehicle for backup technique exploration;
• Discussed learning visual relationships of intervals from finger to finger and string to adjacent string;
• Two types of back-up situations: 1) instrumental music, & 2) vocal music;
• Learn tetra-chord arpeggio for each chord and choose two notes for double-stop;
• Be the bass line;
• Sustain chords;
• Chords “chunk” on 2 & 4;
• Shuffle/Sawing backup with accented emphasis on 2 & 4;
• The Chop: turn bow away from you, chop is perpendicular to ground, can choose to mute or not mute strings; chop on 2 & 4;
• Combine various back-up techniques with eachother for interest and support of focus instrument or vocal;
• When backing vocals, look for the holes in the phrasing and fill them (as long as no one else is actively filling);

Thanks to all for a great week.  I look forward to our next time…
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