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The Resource Alternative strings : the new curriculum, Julie Lyonn Lieberman

Alternative strings : the new curriculum, Julie Lyonn Lieberman

Label
Alternative strings : the new curriculum
Title
Alternative strings
Title remainder
the new curriculum
Statement of responsibility
Julie Lyonn Lieberman
Creator
Subject
Language
eng
Cataloging source
DLC
Dewey number
787/.193
Illustrations
illustrations
Index
index present
LC call number
MT259
LC item number
.L54 2004
Literary form
non fiction
Nature of contents
discographies
Target audience
adult
Label
Alternative strings : the new curriculum, Julie Lyonn Lieberman
Link
http://www.loc.gov/catdir/toc/ecip049/2003021359.html
Instantiates
Publication
Bibliography note
Includes discographies and index
Carrier category
volume
Carrier category code
nc
Carrier MARC source
rdacarrier
Content category
text
Content type code
txt
Content type MARC source
rdacontent
Contents
  • 7
  • 67
  • Additional Support Materials: Cajun
  • 68
  • Supplemental Discography: Cajun
  • 68
  • Franco-American and Quebecois
  • 68
  • Stylistic Characteristics
  • 69
  • Artist Sampler
  • Publishing and Technology
  • 69
  • Louis Beaudoin
  • 69
  • Donna Hebert
  • 69
  • Western Swing
  • 70
  • Stylistic Characteristics
  • 71
  • Artist Sampler
  • 8
  • 72
  • Dale Potter
  • 72
  • Johnny Gimble
  • 72
  • Additional Support Materials: Western Swing
  • 73
  • Supplemental Discography: Western Swing
  • 74
  • String Bands
  • To Trad or Not to Trad...
  • 74
  • Additional Support Materials: American Fiddle
  • 76
  • Supplemental Discography: American Fiddle
  • 78
  • 5
  • Strings in Blues and Jazz
  • 81
  • Historic Overview: Blues Fiddle
  • 81
  • 9
  • Historic Overview: Jazz Violin
  • 83
  • Blues Versus Jazz
  • 84
  • Why Add Blues and Jazz to Your Curriculum?
  • 84
  • Sheet Music for Blues and Jazz
  • 85
  • Preparation for the Jazz Band
  • 86
  • Who Decided What We Should Play?
  • Stylistic Characteristics: The Blues
  • 87
  • Stylistic Characteristics: Jazz
  • 87
  • Artist Sampler: Blues Fiddle
  • 90
  • Will Batts
  • 90
  • Lonnie Chatmon
  • 91
  • 11
  • Lonnie Johnson
  • 91
  • Support Materials: Blues Fiddle
  • 92
  • Discography: Blues Fiddle
  • 92
  • Artist Sampler: Jazz Violin
  • 92
  • Eddie South
  • 92
  • Improving the Quality of Experience
  • Hezekiah Leroy Gordon Stuff Smith
  • 93
  • Joe Venuti
  • 94
  • Stephane Grappelli
  • 95
  • Jean Luc Ponty
  • 96
  • Additional Jazz String Players
  • 97
  • 14
  • Blues and Jazz Strings Today
  • 98
  • Additional Support Materials: Jazz Violin
  • 99
  • Supplemental Discography
  • 102
  • Cellists' and Violists' Corner
  • 107
  • Support Materials: Cello
  • 108
  • Why Integrate Other Styles into the Curriculum?
  • Discography: Cello
  • 109
  • Support Materials: Viola
  • 111
  • Discography: Viola
  • 112
  • 6
  • Strings in Popular Music
  • 113
  • Why Add Popular Music to Your Curriculum?
  • 2
  • 17
  • 114
  • Rock Versus Pop: What Is the Difference?
  • 114
  • Common Traits
  • 115
  • Sheet Music for Amplified Strings
  • 116
  • Preparation for the Rock Band
  • 117
  • 1.
  • What Constitutes a Style?
  • Ability to quickly find the tonal center of the piece
  • 117
  • 2.
  • Ability to sketch out the overall structure
  • 118
  • 3.
  • Ability to locate the heartbeat or groove of the piece and support it while playing backup or highlight it while soloing
  • 119
  • 4.
  • Ability to create a riff or series of riffs that blend well
  • 18
  • 119
  • 5.
  • Ability to support vocal music
  • 120
  • 6.
  • Ability to improvise a solo
  • 120
  • Stylistic Characteristics
  • 121
  • 1.
  • Meeting National Standards
  • Rock vibrato
  • 121
  • 2.
  • Slide technique
  • 121
  • 3.
  • Pentatonic and diminished pathways
  • 121
  • 4.
  • Horizontal fingerings
  • 21
  • 123
  • 5.
  • Rhythmic backup
  • 123
  • 6.
  • Playing on an amplified or electric instrument
  • 123
  • 7.
  • Bass lines
  • 124
  • 3
  • 8.
  • Electronic effects
  • 126
  • Amplification
  • 126
  • Why Amplify?
  • 127
  • Budget
  • 127
  • Timbre
  • Expanding Our Skills
  • 128
  • Available Systems
  • 128
  • Preamp
  • 130
  • Amp
  • 130
  • Electronic Effects
  • 131
  • Use of Fine Tuners
  • 25
  • 131
  • Artist Sampler
  • 131
  • Papa John Creach
  • 131
  • Don "Sugarcane" Harris (1938-1999)
  • 133
  • Mark Wood (b. 1956)
  • 134
  • Additional Popular Violinists
  • "But That's the Way I Was Trained..."
  • 135
  • Additional Support Materials: Popular Strings
  • 135
  • Supplemental Discography: Popular Strings
  • 137
  • 7
  • Strings Around the World
  • 139
  • Afro-Cuban
  • 141
  • 25
  • Arabic
  • 143
  • Asian
  • 144
  • Brazilian
  • 145
  • Canadian (Cape Breton, Cree, Metis, Quebecois)
  • 147
  • Celtic (Irish, Scottish, and Shetland Island)
  • 150
  • Alternative Strings
  • Dimensional Theory: Whole-Brain Learning
  • Eastern European and Russian
  • 154
  • Greek
  • 156
  • Gypsy
  • 157
  • Indian (North and South)
  • 160
  • Carnatic Violin
  • 160
  • 27
  • Hindustani Violin
  • 161
  • Klezmer
  • 162
  • Mexican
  • 165
  • Native American
  • 167
  • Scandinavian
  • 169
  • Eightfold Audiation
  • Tango
  • 173
  • 8
  • Tools In the Classroom and Out
  • 177
  • Music-Minus-One Accompaniments
  • 177
  • Support Materials: Music-Minus-One
  • 178
  • Notation Software and Alternative String Scores
  • 30
  • 178
  • Alternative String Clinicians
  • 179
  • Training Programs, Fiddle Camps, and Internet Sites
  • 179
  • 9
  • Inspirational Role Models
  • 181
  • Groove-Based Playing
  • 31
  • Defining Groove
  • 31
  • Creating a Groove
  • 34
  • 5
  • Doubling the Rhythm Section
  • 35
  • Rhythmizing the Bow
  • 37
  • Support Materials
  • 43
  • How Does Improvisation Figure In?
  • 44
  • Four Approaches to Improvisation
  • 45
  • What Do We Mean by "Alternative"?
  • Removing the Stigma of "Right" and "Wrong"
  • 47
  • Where Do I Start?
  • 47
  • 4
  • American Fiddle Styles
  • 49
  • Historic Overview
  • 49
  • Violin or Fiddle: What's the Difference?
  • 5
  • 50
  • Why Create a Fiddling Club?
  • 51
  • Old-Time Fiddling
  • 52
  • Stylistic Characteristics
  • 53
  • Artist Sampler
  • 55
  • Thomas Jefferson (Tommy) Jarrell
  • Tradition
  • 55
  • Bruce Molsky
  • 56
  • Additional Support Materials: Old-Time
  • 57
  • Supplemental Discography: Old-Time
  • 58
  • Bluegrass
  • 59
  • Stylistic Characteristics
  • 7
  • 60
  • Artist Sampler
  • 60
  • Vassar Clements
  • 60
  • Richard Greene
  • 62
  • Additional Support Materials: Bluegrass
  • 63
  • Supplemental Discography: Bluegrass
  • Culture
  • 65
  • Cajun
  • 65
  • Stylistic Characteristics
  • 65
  • Artist Sampler
  • 66
  • Dewey Balfa
  • 66
  • Michael Doucet
Control code
ocm53131812
Dimensions
23 cm
Extent
xx, 207 pages
Isbn
9781574670899
Lccn
2003021359
Media category
unmediated
Media MARC source
rdamedia
Media type code
n
Note
787 L621 ; P ; XX-N ; EIS ; CO7-04QU/2/2004.
Other physical details
illustrations
System control number
  • (Sirsi) i9781574670899
  • (Sirsi) i9781574670899
  • i1574670891
Label
Alternative strings : the new curriculum, Julie Lyonn Lieberman
Link
http://www.loc.gov/catdir/toc/ecip049/2003021359.html
Publication
Bibliography note
Includes discographies and index
Carrier category
volume
Carrier category code
nc
Carrier MARC source
rdacarrier
Content category
text
Content type code
txt
Content type MARC source
rdacontent
Contents
  • 7
  • 67
  • Additional Support Materials: Cajun
  • 68
  • Supplemental Discography: Cajun
  • 68
  • Franco-American and Quebecois
  • 68
  • Stylistic Characteristics
  • 69
  • Artist Sampler
  • Publishing and Technology
  • 69
  • Louis Beaudoin
  • 69
  • Donna Hebert
  • 69
  • Western Swing
  • 70
  • Stylistic Characteristics
  • 71
  • Artist Sampler
  • 8
  • 72
  • Dale Potter
  • 72
  • Johnny Gimble
  • 72
  • Additional Support Materials: Western Swing
  • 73
  • Supplemental Discography: Western Swing
  • 74
  • String Bands
  • To Trad or Not to Trad...
  • 74
  • Additional Support Materials: American Fiddle
  • 76
  • Supplemental Discography: American Fiddle
  • 78
  • 5
  • Strings in Blues and Jazz
  • 81
  • Historic Overview: Blues Fiddle
  • 81
  • 9
  • Historic Overview: Jazz Violin
  • 83
  • Blues Versus Jazz
  • 84
  • Why Add Blues and Jazz to Your Curriculum?
  • 84
  • Sheet Music for Blues and Jazz
  • 85
  • Preparation for the Jazz Band
  • 86
  • Who Decided What We Should Play?
  • Stylistic Characteristics: The Blues
  • 87
  • Stylistic Characteristics: Jazz
  • 87
  • Artist Sampler: Blues Fiddle
  • 90
  • Will Batts
  • 90
  • Lonnie Chatmon
  • 91
  • 11
  • Lonnie Johnson
  • 91
  • Support Materials: Blues Fiddle
  • 92
  • Discography: Blues Fiddle
  • 92
  • Artist Sampler: Jazz Violin
  • 92
  • Eddie South
  • 92
  • Improving the Quality of Experience
  • Hezekiah Leroy Gordon Stuff Smith
  • 93
  • Joe Venuti
  • 94
  • Stephane Grappelli
  • 95
  • Jean Luc Ponty
  • 96
  • Additional Jazz String Players
  • 97
  • 14
  • Blues and Jazz Strings Today
  • 98
  • Additional Support Materials: Jazz Violin
  • 99
  • Supplemental Discography
  • 102
  • Cellists' and Violists' Corner
  • 107
  • Support Materials: Cello
  • 108
  • Why Integrate Other Styles into the Curriculum?
  • Discography: Cello
  • 109
  • Support Materials: Viola
  • 111
  • Discography: Viola
  • 112
  • 6
  • Strings in Popular Music
  • 113
  • Why Add Popular Music to Your Curriculum?
  • 2
  • 17
  • 114
  • Rock Versus Pop: What Is the Difference?
  • 114
  • Common Traits
  • 115
  • Sheet Music for Amplified Strings
  • 116
  • Preparation for the Rock Band
  • 117
  • 1.
  • What Constitutes a Style?
  • Ability to quickly find the tonal center of the piece
  • 117
  • 2.
  • Ability to sketch out the overall structure
  • 118
  • 3.
  • Ability to locate the heartbeat or groove of the piece and support it while playing backup or highlight it while soloing
  • 119
  • 4.
  • Ability to create a riff or series of riffs that blend well
  • 18
  • 119
  • 5.
  • Ability to support vocal music
  • 120
  • 6.
  • Ability to improvise a solo
  • 120
  • Stylistic Characteristics
  • 121
  • 1.
  • Meeting National Standards
  • Rock vibrato
  • 121
  • 2.
  • Slide technique
  • 121
  • 3.
  • Pentatonic and diminished pathways
  • 121
  • 4.
  • Horizontal fingerings
  • 21
  • 123
  • 5.
  • Rhythmic backup
  • 123
  • 6.
  • Playing on an amplified or electric instrument
  • 123
  • 7.
  • Bass lines
  • 124
  • 3
  • 8.
  • Electronic effects
  • 126
  • Amplification
  • 126
  • Why Amplify?
  • 127
  • Budget
  • 127
  • Timbre
  • Expanding Our Skills
  • 128
  • Available Systems
  • 128
  • Preamp
  • 130
  • Amp
  • 130
  • Electronic Effects
  • 131
  • Use of Fine Tuners
  • 25
  • 131
  • Artist Sampler
  • 131
  • Papa John Creach
  • 131
  • Don "Sugarcane" Harris (1938-1999)
  • 133
  • Mark Wood (b. 1956)
  • 134
  • Additional Popular Violinists
  • "But That's the Way I Was Trained..."
  • 135
  • Additional Support Materials: Popular Strings
  • 135
  • Supplemental Discography: Popular Strings
  • 137
  • 7
  • Strings Around the World
  • 139
  • Afro-Cuban
  • 141
  • 25
  • Arabic
  • 143
  • Asian
  • 144
  • Brazilian
  • 145
  • Canadian (Cape Breton, Cree, Metis, Quebecois)
  • 147
  • Celtic (Irish, Scottish, and Shetland Island)
  • 150
  • Alternative Strings
  • Dimensional Theory: Whole-Brain Learning
  • Eastern European and Russian
  • 154
  • Greek
  • 156
  • Gypsy
  • 157
  • Indian (North and South)
  • 160
  • Carnatic Violin
  • 160
  • 27
  • Hindustani Violin
  • 161
  • Klezmer
  • 162
  • Mexican
  • 165
  • Native American
  • 167
  • Scandinavian
  • 169
  • Eightfold Audiation
  • Tango
  • 173
  • 8
  • Tools In the Classroom and Out
  • 177
  • Music-Minus-One Accompaniments
  • 177
  • Support Materials: Music-Minus-One
  • 178
  • Notation Software and Alternative String Scores
  • 30
  • 178
  • Alternative String Clinicians
  • 179
  • Training Programs, Fiddle Camps, and Internet Sites
  • 179
  • 9
  • Inspirational Role Models
  • 181
  • Groove-Based Playing
  • 31
  • Defining Groove
  • 31
  • Creating a Groove
  • 34
  • 5
  • Doubling the Rhythm Section
  • 35
  • Rhythmizing the Bow
  • 37
  • Support Materials
  • 43
  • How Does Improvisation Figure In?
  • 44
  • Four Approaches to Improvisation
  • 45
  • What Do We Mean by "Alternative"?
  • Removing the Stigma of "Right" and "Wrong"
  • 47
  • Where Do I Start?
  • 47
  • 4
  • American Fiddle Styles
  • 49
  • Historic Overview
  • 49
  • Violin or Fiddle: What's the Difference?
  • 5
  • 50
  • Why Create a Fiddling Club?
  • 51
  • Old-Time Fiddling
  • 52
  • Stylistic Characteristics
  • 53
  • Artist Sampler
  • 55
  • Thomas Jefferson (Tommy) Jarrell
  • Tradition
  • 55
  • Bruce Molsky
  • 56
  • Additional Support Materials: Old-Time
  • 57
  • Supplemental Discography: Old-Time
  • 58
  • Bluegrass
  • 59
  • Stylistic Characteristics
  • 7
  • 60
  • Artist Sampler
  • 60
  • Vassar Clements
  • 60
  • Richard Greene
  • 62
  • Additional Support Materials: Bluegrass
  • 63
  • Supplemental Discography: Bluegrass
  • Culture
  • 65
  • Cajun
  • 65
  • Stylistic Characteristics
  • 65
  • Artist Sampler
  • 66
  • Dewey Balfa
  • 66
  • Michael Doucet
Control code
ocm53131812
Dimensions
23 cm
Extent
xx, 207 pages
Isbn
9781574670899
Lccn
2003021359
Media category
unmediated
Media MARC source
rdamedia
Media type code
n
Note
787 L621 ; P ; XX-N ; EIS ; CO7-04QU/2/2004.
Other physical details
illustrations
System control number
  • (Sirsi) i9781574670899
  • (Sirsi) i9781574670899
  • i1574670891

Library Locations

    • Colbern Road BranchBorrow it
      1000 NE Colbern Road, Lee's Summit, MO, 64086 , US
      38.94685 -94.357025
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