fe enceJAZZ VIOLIN By Matt Glaser and Stephane Grappeifi Oak Publi New Yurk + Ton‘seach HAN MMTV S713a3be JAZZ VIOLIN about the authors Matt Glaser is 2 young swring style fiddler veio tives in New York City. He has performed wth the Central Park Shiiks, Hazel Dickens, and is presently a oecber af Fiddle Fever. He has recorded with Leon Recbane, Ka ard dnna MeCerrigle, and has recently completed an album saith fellow fiddler Kenny Kosek entitled s4s7 Lonrsoait (Rounder Records 01271, Mat anpears brieily in the Dino DeLaurentis Fim, xe: oF tHe crests playing in a band with Slephane Grappell, David’ Grisman, Buell Niedinger. Qom um Raman, and Andy Statman, amang others, He is alsa the author a? Teach viaunst MLLIGEAss FIDO. (Amica Music Publishing Company’ anal mutsitass Wastens: vassan ctrmests iat (Oak Pub- icatians} Stephane Grappelli is known to millions as a master of jazz violin, Al the age of bwelve he began to. teach himself play by watching, listening. ane puting to use his pradigious gift f mind-to-hand-coardination: “I play my awn stvle— ought it myself from my body," Graggelli progressed so ranialy that he was playing pro fessionally by the time he was fourteen. He is wel known for his hister'e collaboration vith the lugendary Django Reinharcl.as well as his more receat association with the eminens elassieal vralinist Yehudi Menuhin. OF the scores af recordings that he has made, some af the more rezent include Howadt 1 LIANGO tClagsie Jaze Recerts 23), iiusie —ausic oF re Tens tAngel Rec fords 26900), UvE Ar QUIEN ELEARLTIC HALL (Pye Records 120234, and sree GRAPPHLAI AND mut COLEMAN [Classic Jaze 24, other books by mart Glaser Bluegrass Masters Vassar Clements/Fiddle Includes seeurate tranzeriptions of 17 tunes and breaks boy the master ol bluegrass fille, Tunes such as “Crass ing the Cassils” “Stumbie," “Flovida Blues," Lo some Fiddle Flues." “Rissirwe Kid,” and “Panhandle Rag,” are included, plus many move, some published here for the fis time, There is ar analysis of Vassar's style, imeluding his distinctive Fingering and bowing technique, # detailed musical biagraphy, extensi iterviews. notes on all the tunes, a discography, and many never-belore,published photos ‘Glak Pulliestigns 000223 rc $75.95 im USA Oak Publications Order Iho, OK 63750 MST . ISBN 4256.0194.0 a Meoezs soi sar Teach Yourself Bluegrass Fiddle Teaci Yeursell Bluegrass Fee oles elear instuetions jam & professional an the basics, lef-hand and bowing technigves, solos, oackup, advice on gesformance, plus a camplete selection af the best bluegvass tunes and songs, This i ane ofa series of “Teach Yourswir” books ‘or bluegrass maseians. Osher books in the series in clade, Teach Yourself Banjo, Guitar, Mancntin, and Bass Amsco Music Publishing Camypany voubiishierio” cmsaretnwcrs for sume uf the Compositions contained ih book, andl we have therefore piocesded G0 the amarmpin {hat no rormal copyright claim iu been fied On these works ny of thie songs are published here forthe fs! tne, ws wil be pleased 1 cooperate with the authars (or thesr representatives) 10 see that ‘See rg fo ths material ave protected ‘yjpubtishesl s copyripited artangernent without proper tg contact us i that anpropriate [Grapplll and Mat laser emu meuy of Matt Glaser Pane # Page 29 Powe 37, 64,136 Pere +7 Pope 11 Pose 120 seed by Paicia Ann Neely cok deste by Ins Weinetein Cowes design by David M. Neki's cevrght © 198) by Oak Publications, Dresion of Embassy Music Corporation, New Fork, SV. All rights reserved. No partat this book may be reproxiuces! in any form or by any whee nit ve mechanical means ‘cluding information storage and retrieval spsters, Snhout permission in wnting fer the pblesber except by 2 waviewer whe muy quate bla passages in 2 rv ie Ont No, OK 63750 ntornationl Stanulon| Kaul: Number: 0.8258,0145.U Libary of Congress Catalog Carll Number: 80-0772 bu st into Salles Cope tke Avene South, New Yuk, BY 10110 AIS, ‘asic es Limnted BS HL nee elo WEL Saunic Saves Phy Lirtte! PO Rotsch Shout echors, Syeney, NSW 2078, Ausiia 72 Englaaed Sunt ths te es

iF om? sr ee ee ee ha = ie ae ea SENUHIN el c ane Copyright ©1926 by Mls Mabie, Ine. Capyight resew td. Usee wlth ponmision, AM rignts 109 reserved.10ICANT believe 1 (thar youre in love with me) The teinpo of our second version is showed, the rhythm section feel is funkier and Stephane plays behind the beat with a laconig swagger, Grappelll plays the melody with such semviction that fone can easily forget that bar lines exist, He then launches into two far- monically adventurous choruses which emanate great joy, There is tree use of rubato here, and many phrases have a guarter-note triplet fecling. (Be caretul of the one in measure 45 which crosses the bar line.) Thre two measures beginning at measure 57 are an indecipherable blu of notes and, a8 with similar passages in the Ponty transeriptions, you should listen to the recomding until yaur ear becomes avelimated to the style. The improvisation in the second chorus becomes slightly more heated, with forays into the higher registers, However, Grap relli continues to maintain the seamless quality established earlisr on. Toward the end, he chrows in some uncharacteristic bebop phrases, boginning with a flatnine arpeggio in measare 8? and including a frag ment ofa diminished scale in measure 90, Mou 1G meas. 29-30, 61-62 3C meas. 37-38, 25 SH meas. 65.66 LA meas. 67-68, 72 1B meas. 35 a2iCAN'Tbelieve (thar youre in love with me) Les Grandes Viotinistes ete Jace ert iP5 166 1-0¥8 (Geskill and McHugh Coo by ills thus, Ine. Comerica ened, Used th germislon, Al ri vis Sapyeghe © 26 by ls Fopen ts Use th Jon, Al rightsmr fu < fea a o7 erm 6 F a Dar aSSWEET SUE “Sweet Sue" was one ot the four Tunes thar Stephane and Django played an their ficst recording session in 1934 forr Raoul Cal dine of Uliratus. I unly fitting, then, thar Stephane should have re non his Homage fo Biurgi alburr usarly forty years later Onve agzin, the maciorn version of an aleer tune ie lustrates Stephanc's ine-easing tendency to relax thytimically wher be nlaysaind incarporale mew haimmonic ideas. Grapaciti's playing on this cul is astonishingly relaxed and fluid, one idea generates the next with absolutely no: sharp edges, "The movement is like water you see, you don't know where the water sues, | abways viwalice that,” Stephane plays two graceful choruses in T before Marc Hemmier’s plana sale. He reenlers with a Sry octave ascending seale, which lyads into 4 mativic phrase hased 07 4 descending suspencied minar seventin, In measure 87, there's an E-flat cliristished arpeggia over aD chord, and subsequently, (at meastire 90) a “Parkerish™ ahrase em- nloying the sharp-nine, flat-mine alteration. The final chorus kicks ap to and finds Steahane exploring the higher rogisters of the fidule, especially in measures 118 and rg Moti Sk mess. 39 1B meas. Al, 10 AA moes. 131 2c 135, 140 16SWEET SUE Horage tor Lyioragrs cr asst waee 2 Harris and Young Ganz er ENS RWIIL Renews by Sh Sermath Cea Inte Sev" Vark, Re HED, In igh Seeutna ail Rig nn? wai ed ead y Berson40 eg t aoe 2 Saye owe a 5 cats 2 = | __ oi Se SSS SS == 2a ee a oF a= PSS eas sar Se==Bom7 Go? Am? < es > amt ee i 19Ponty NTERVIEW Jeanluc Ponty is largely responsible for the ronais sance of jaze violin. Bora Septersber 29, 1942 in Avranches, Franc Panty began Lo study the violin at the age of tive with his futher. At ft he ontered the Paris Conse ivetary and subsequently graduated with that institute’s Promier Prix. Ht was around this time that Panty fell madly in fove with Jace. Alihauxh a brilliant classical violinist with « secure future ahead ot him, Jean-Luc opted instead for the precarious life of a jace musician. In the following interview he describes how he avciumplighed this difficult erossaver. Matt Glaser: Mew att vowsnane the transition from classical Mmusle £0 jazz? Jean-Luc Ponty: Ar fst I seus playing clog with albums of Grappot gud lier @ few months f discovered Sturt Smish—t wear rary over shin he was the mask revolutionary; he played the vialin with sa much Buneh, Granpellt ona Stutt were any Flest tw fafkrences. MG itiey was pour tse aypnsure to bebop? JLP f hiact am atts Dy 5: Oscar Peterson ‘Tria, Fane suls as F ines ey See iF Smith where he was uveumypaniee by The J was dhstening uy mach 19 Oscar Peterson's ryan Po. phay those licks unt the eae Le Fast: 10721 MG How clef wire your wt Hels tune? JLP ior FR, MG Aad! pou met Spepiane at fis sme JLP Mo. fet me ge buwk 9 Jie ways, #9 strefenr at the Canssryy toire Ue Musique wt Paris seedy clesofcf eatin, At tke saaie tiae 1 was playing it an urmuter ioz7 bund! atv loc phivacehane iastinute. This jude far rivesied! @ clartnet player ord | played clarines as wn thard insdrument, after rhe plano. £ urune doit there fae ne full of Ry Because J dlda't Roo whit fury was abou! ut dhat time. [drought that classical music wos the ennly serious rmusie—J tovight my ducnre Loesieen Waisld be as d Cone ductor. Getting my viotin degree was t0 bee we tese sren—then | wurted ro Sud Composition aud consacting. Su, fetidn’r know exueily wiht Jaze meant # sort of equated pox music with faze, 1 dicia'® know the differ ence. Well, that band tough! me the sudliments of ja22 thes impravisa iar was invulved in the bass0 rules of the jazz discipline, | feared linw 10 follow a tune, how fu imypovise on charel ebanges. Font gning these ance ar twice « amanth on Sundoys. we'd play for pore ties on woekends, Jt vas a ireat tor me iw go mur aod meet girks ta cen out of the classical conseevagor aienonpibere and fe puety. One diay J go a gig as a ulassicnt vialinist an at savall city an the soueh oF Frances } wus ia sriayra sone ur ihe radia and @ concerta with the aca! orehesiea On Satur dev might there Fuss realty bored amet serene tof me that the New Grleass clacivetiat Afbert Nickolas was playuty in a Jocat efub. So T went witts & trend. F hued my vioiin Oveause 12 jase gotten aitt from my gig, Nhat wos the first sime Pd lreard « Binck Ameri: com musiciun five; Berore dhis, my ORM expasure tO #22 wes playing charinves i that Busta F gat 30 excited thar J wauteid te 90 Onstage are font wltdh dtm. AE First P thought of asting she yey fo Borrow dis clarinet, tut stnew thot woulda’? be pussibte, 50 F goctded in a9 up with my wolin, whieh Eko never dune betore, So I jared with the band, with my vivlts, ond at Phe dinse 1 hod never beard of joz2 viutin or Grappelli ar Stuth [wees about 16 at éhiv idnme | goi a0 excited anef ihe wusdience got su excited Phat rf wos @ real thriit # Rew bow Lo doprovise wn the matody of basic sisadard Jove iawes; however | had never done i ort viahia and rhe ex. Citeenent it genroraived we rhqiting. The Aaidlewder of the facut band who wos backing up Nicholas cone to me afterwards and surd, “Wha are sox? Where aye pew Sram?” Saf told ior that } was « sauna classical vinkintst studying at the Conse vatory Povis, ife said. “Why don't you come Jn my Bouse?” Se the mest dav F weat eo diy douse and this gay at 0 face ruelio progam cout be aod! thousands of records. He had emt entire rack fabetied “azz Vial," Ghor's Haw J jearneet af Geappelil. Hadfio South, Vemuti, Seif Smith Atiee shit incident J wear threuigt aff the vecord stares ia Parts ooking For afiuras of arr visi. £ realized thot is was someitiiny that existed, even though d had aiscovered it hy accident, ¢ realized hut there were rausters thot existed in ihe fell. So Fried tw ges sabiams, bat they were ery scarey it was Aurel t0 get ory albuaras excene for ihe many alburms by Grappeiti and Dianga Restsioeet anata few by Sratt Sear So, J srarted playing afomy with Graopett? and Stuit Smith olburns, am Simulating sheir styles. Bue very fast (wes viivarted BY snore conte