Hey folks,
I have a student that was curious about fiddle tunes. She plays piano and wants to accompany her brother who is learning to play violin. She was giving a chart for The Tailor's Twist that has the melody written on the staff with chords listed above each measure. While this is some help, it doesn't always give you a clear idea of what will sound good underneath a given melody. In a quest to start improvising more often it's good to remember that improving is merely composing spontaneously. With that said, it's a good habit to compose several variations of ideas that work well under the melody. Before we do any of this, it's critical that we get an essence of what this style of music and particular dance is intended to feel like.
-----
It's good to know that the hornpipe is a dance when means that there are certain places in the music that need emphasis to keep everybody moving together. With some research I was able to find some sources that give examples of traditional accompaniment for the hornpipe. The bass (or Left Hand) plays half notes on beats 1 and 3 while the treble (or Right Hand) plays quarter notes on Beats 2 and 4. The rests on beat 1 and 3 in the right hand are important spaces to leave. It gives this simple rhythm motion.
With any arrangement you're bound to find exceptions. In this piece we have up to three chords in one measure. I find that it sounds most convincing when we land with rhythmic unison in both hands through these passages.
The final piece of traditional comping in this style I'd like to mention is that it seems that we often voice our final chord so that the last note of the melody is the highest note in our chord.
-----
Now that we can survive, it's time to learn how to embellish without getting fired. Let's start with the most benign variations.
Try to start in each inversions of your first chord. This will extend your vocabulary without changing any harmony. It will also familiarize you with how the tune feels in different registers of the instrument. Once this feels comfortable try to switch your inversion during different segments of the song. Most songs have a form. This song has an AABA form. It'd be very subtle to play the AA in one inversion and switch to another for B and another for the final A. This keeps it from sounding redundant.
Another possibility I heard in different arrangements were places where people omitted some of the faster changing chords. Simplification is a great way to generate variations. It will take some experimenting to see where the melody isn't dependent on the cadence.
Some other methods revolve around articulation. Rolling chords and making chords in the middle of a cadence staccato are very easy ways to change the texture of your part. Dynamics are another fantastic tool. Try to slightly exaggerate the dynamic trends of your melodic leader. Remember we are support, so don't overdo it.
The final topic for variations I'd like to cover is the rhythm. This can be tricky to pull off without changing the feeling of the piece.
Again, simplification is easiest. Try to use whole notes and dotted half notes to open the piece. Remember that the right hand typically lands on 2 and 4. Use this knowledge to your advantage and create parts that do so, just less often. Or try to insert space where both of your hands rest.
Create bass lines that have leading tones on beat 4. Pick chord tones that are within a step of the following chord and lead into them with your left hand.
Try creating a harp like arpeggio pattern. This was an approach I heard in a modern performance by Katie Grennan and John Williams. The piano player did a lovely job of not stealing the show while providing a wide range of expressions.
Again, improvising is spontaneous composition. Try composing parts and see what you like and what you don't. As you master these concepts try to switch gears in the midst of a performance. Eventually the goal is to do this with another piece and see if you can translate the concepts.
I've included a blank sheet for you to compose on, a traditional accompaniment and an example of serval motifs inside of one time through the tune. Finally if you follow this link there is an audio file that has the melody being played at 100 bpm to practice your part to. Take your time, enjoy the process, and keep playing.
Christopher
Comentários