As Rock’s fiddle Knowledge increased, Rock updated the instructional videos three times between November 2013 and July 2014. The current version, version “3A”, provides excellent fiddle Knowledge; however, Rock has slightly modified the “3A” guidance, and “Version 4” will be the final version.

“Version 4” of the Free Fiddle Workshop is in progress.

Look for “(v4)” next to sessions and samples.

The Samples linked in the “Samples” tab, are still being updated as Rock improves his fiddling skills (Rock’s still learning!!!).

Target Date for “Version 4” completion: Spring 2018.

……………….end of “In Progress”……………..

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Back to section index.

MISSION

The mission of Free Fiddle Workshop is to spread fiddle music.

The critical portion of Free Fiddle Workshop is to provide instructions about how to play this fabulous instrument.

In addition to instructions, Rock is dedicated to the improvement of the fiddle “samples”, so that viewers will DESIRE to play the fiddle.

Well played fiddle music provides a POWER unknown to most.

Very few folks have ever even HEARD a well played fiddle.

Rock is on a “Mission from God” to bring “fiddle music” back into public awareness.

At the time of this update (Aug 2017), Rock is still improving his fiddling skills, so that he can demonstrate well played fiddle music. Rock’s fiddling skills are currently “OK”, but Rock’s goal is to continue to improve, far beyond the “OK” level.

The Objective of Free Fiddle Workshop, is to provide free Internet videos, that contain ALL OF THE KNOWLEDGE REQUIRED, to play perfect fiddle music.

The Goal of the Free Fiddle Workshop Objective, is to provide this Knowledge within 10 videos, with a total time less than 2 1/2 hours.

2 1/2 hours is a profound time commitment; however, 2 1/2 hours is VERY SMALL, compared to a couple thousand hours of practice (but FUN practice), required to achieve competency on the fiddle.

If a student practices inefficient methods, the student will NEVER achieve competency on the fiddle, REGARDLESS OF THE NUMBER OF PRACTICE HOURS.

2 1/2 hours is VERY SMALL, compared to thousands of hours practicing THE WRONG STUFF! Rock Reynolds speaks from PERSONAL EXPERIENCE.

After Version 4 of Free Fiddle Workshop is complete, Rock plans to upload videos to the “Follow-Up Tutorials” page (currently empty), consisting of lessons for specific fiddle tunes.

A “lesson” will probably cover 4 measures of a fiddle tune.

A “lesson” will break a portion of a tune down, note by note, with instructions concerning how to practice the tune. Instructions will cover bowing and fingering, using “Workshop Style” fiddling.

A single fiddle tune will require several “lesson” videos.

Rock Reynolds desires to eventually make money as a fiddle instructor.

Rock would like to eventually charge money for IN PERSON fiddle workshops, that mirror the instructional design of Free Fiddle Workshop.

But “Free Fiddle Workshop” will ALWAYS be “free” on the Internet, with no non-fiddle advertisements.

As a result of a modestly comfortable financial retirement, Rock is able to devote his existence to music, with Free Fiddle Workshop as the keystone offering.

Rock is a firm believer that “Knowledge” should be “free”. It is reasonable to charge money for one’s TIME, required to impart Knowledge.

The development of “Free Fiddle Workshop” is a profound undertaking for Rock, but Rock only has to develop the workshop one time. Further, Rock needed to develop “Free Fiddle Workshop”, to provide a FOUNDATION, for Rock’s forthcoming “Fiddle Instructor Business”.

……………….end of “Mission”……………..

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Back to section index.

FIDDLE/VIOLIN LESSON RIPOFF WARNING!!! YOU HAVE TO KNOW HOW TO PRACTICE!!!

Folks, YOU CANNOT LEARN TO PLAY THE VIOLIN/FIDDLE, BY GOING THRU FUCKIN’ BOOKS!!!!!

MOST VIOLIN “INSTRUCTORS” have their violin students, go thru fuckin’ books, and play different terrible songs every week!!!!! This method of so-called “instruction” is a FUCKIN’ RIPOFF!!!!!

Worse, these so-called “instructors” KNOW THAT THEY’RE RIPPING OFF THE STUDENTS!!!!! “Instructors” DID NOT LEARN HOW TO PLAY, by going thru fuckin’ books!!! The “Instructors” learned how to play, by being shown PROPER MECHANICS and PROPER PRACTICE EXERCISES!

Going thru fuckin’ books, DRIVES STUDENTS AWAY from this fantastic instrument!!!

Students are TOLD THE LIE, that the students don’t “practice enough”!!! Folks, 20,000 hours of “practice”, WILL NOT IMPROVE the playing of a student, who doesn’t know how to “play” in the first place, and who “practices” the wrong mechanics!!!!!

Practice DOES NOT make “perfect”. Practice makes PERMANENT! If you practice the wrong mechanics, AS VIRTUALLY ALL VIOLIN STUDENTS DO, you’re gonna SUCK!!!!!

THE VERY FIRST THING that a violin student NEEDS TO KNOW, is HOW TO CONTROL THE BOW!!!.

Before playing any “notes”, a student should learn to move the bow in BOTH DIRECTIONS, on ALL FOUR STRINGS, with POWER AND CONTROL!

The definition of “Power and Control”, is the ability to produce a SMOOTH AND CONTINUOUS sound (pitch and volume), with no squeaks, no squawks, no crunches, and no bow-bouncing.

The arm mechanics required to move the bow, are very NON-INTUITIVE; however, these mechanics CAN BE EASILY LEARNED, and the bow mechanics should be the FIRST LESSON TAUGHT!

A violin student SHOULD NOT BE “TAUGHT” TO PLAY DIFFERENT SONGS EVERY WEEK!!!

Violin students should concentrate on VERY FEW SONGS, and these songs should be practiced SUCH THAT THE STUDENT CAN IMPROVE the songs.

Instead of “learning” different notes every week, students should be taught to remove inefficient bowing mechanics and inefficient left arm/hand mechanics. By playing the same few songs every week, AS LESSONS SHOULD BE DESIGNED, students can focus on the underlying foundation, of mechanics required to produce good instrument sound.

Just as bad as “Instructors” ripping off students with counter-productive “lessons”, is the terrible, terrible NON-TEACHING of the violin, BY PUBLIC EDUCATION SYSTEMS!!!

Public Education System orchestras SUCK!!!!!

Students playing in Public Education System orchestras RECEIVE ZERO GUIDANCE concerning playing mechanics.

Possibly worst of all, orchestras teach the WRONG LESSON, that this fabulous instrument should only be played in large groups, under the guidance of a “conductor”.

Songs selected for play by school orchestras SUCK!!! Orchestra students are not about to be introduced to any of the many, many outstanding fiddle tunes, that have been played for decades.

School orchestras DRIVE STUDENTS AWAY from this fabulous instrument, just as “ripoff instructors” drive students away from this fabulous instrument.

There are hundreds of “how to” videos on YouTube, addressing violin skills. HERE’S THE PROBLEM with virtually all of the “how to” videos.

The “how to” videos “teach” WHERE to move the bow and WHERE to place the fingers.

But virtually NONE of the “how to” videos, teach HOW to move the bow and HOW to properly “feel” the left arm/hand, for efficient fingering.

Virtually all of the violin “how to” videos provide no value, for a student who does not already know how to play.

The exception to non-value “how to” videos, is a series of YouTube violin tutorials by the late classical violinist, Yehudi Menuhin.

Free Fiddle Workshop does not endorse the style of play taught by Yehudi Menuhin; however, the Menuhin videos DO ADDRESS questions concerning HOW to move the right and left arms.

Although Free Fiddle Workshop does not endorse the Menuhin style of play, Rock Reynolds does highly recommend that ALL fiddle and violin students view the Menuhin tutorials. The tutorials effectively describe CHALLENGES and classical music SOLUTIONS to those challenges.

The differences between the classical style taught by Menuhin and “Workshop Style” fiddling, is discussed below on this page.

Your Web site host, Rock Reynolds, took 20 years of lessons from 4 different fiddle/violin instructors.

None of the instructors showed Rock proper arm movements to control the bow. Even Rock’s best instructor, Rock’s 17-year fiddle instructor, would not teach Rock how to bow. In the dozens of times that Rock asked his 17-year fiddle instructor how to bow, the instructor always responded, “I don’t care how you bow.”

After 33 years of practicing the wrong arm movements, Rock spent 3 years of experimentation to find arm movements that work.

None of the instructors showed Rock the proper way to hold the fiddle. After 36 years of inefficient hold, Rock discovered the Yehudi Menuhin violin tutorials on YouTube. Rock has incorporated as much of the Menuhin tutorials as possible, and Rock’s left hand accuracy has improved significantly.

The result of Rock’s experimentation and research, is Free Fiddle Workshop.

……………….end of “Fiddle/Violin Lesson Ripoff Warning!!!”……………..

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Back to section index.

PROOF OF THE POWER OF FIDDLING

Ironically, the incredible level of “lesson ripoff” and counter-productive school orchestras, provide PROOF, that a well played fiddle is a POWERFUL, POWERFUL ASSET.

If the fiddle were not a powerful tool of influence, the so-called “powers” that control the music industry, WOULD NOT UNDERTAKE SUCH PROFOUND EFFORTS, TO “BLOCKADE” FIDDLE/VIOLIN TALENT!

Skilled violinists and fiddlers consider fiddle/violin “talent” to be a TRADE SECRET, to be shown ONLY TO A SELECT FEW.

Folks, HOW MANY FIDDLE PLAYERS DO YOU KNOW??? How many “violinists” do you know??? There is a substantial number of “student violin” players in school orchestras, BUT THEY ALL QUIT!!!

So-called “violin instructors” want their violin students IN THE AUDIENCE!!!

A strong piece of evidence that this instrument provides a source of “power”, is that some “Music Schools” charge $55,000 per year, for four years, leading to a Bachelors Degree in “violin performance”.

Further, “violin performance” candidates, have to KNOW HOW TO PLAY, even BEFORE they’re “allowed” to pay almost a quarter million dollars for a degree.

Folks, Free Fiddle Workshop is FREE, much more reasonable than a quarter million dollars.

In April, 2013, Rock Reynolds joined an Internet fiddle forum, “fiddlehangout”, to advertise “Workshop Style” fiddling. It only took SIX DAYS for the fuckin’ “fiddlehangout” Webmaster, to ban Rock Reynolds from the site!!!

Two “fiddlehangout” assholes were SCARED SHITLESS of Rock’s new fiddling style.

Rock’s purpose in joining “fiddlehangout”, was NOT to convince accomplished musicians to abandon their style and start all over again.

Rock made clear, that the “intended audience” for “Workshop Style” fiddling, was people who were ready to quit the instrument!!! And folks, there are lots and lots of people who QUIT THIS INSTRUMENT. Rock argued that, if someone is ready to quit (and there are many), why not provide an OPTION?????

The primary asshole at “fiddlehangout” was username “KCFiddles”. The secondary asshole at “fiddlehangout” was obviously a little bitch of KCFiddles. Rock doesn’t remember the username of KCFiddles’ little bitch.

Rock posted his thread at “fiddlehangout”, prior to this Web site, when “Workshop Style” fiddling instruction, consisted merely of seven YouTube videos (still available for historical reasons, but the seven videos are obsolete, replaced by this Web site.).

When Rock posted his thread, offering an OPTION, for those ready to quit the instrument, or for those who were “stuck” at a certain playing level, KCFiddles and his little bitch launched an unbelievable “spam attack” on Rock’s thread.

There is a profound difference between “respectful disagreement” and “spam attack”. The two assholes launched a “spam attack”.

Both assholes proclaimed that fiddlehangout members should not view Rock’s videos, and that members should ONLY pursue “conventional style” fiddling. Neither asshole addressed the gigantic problem, that VERY FEW KNOW HOW TO PLAY THIS INSTRUMENT.

What defined these efforts as a “spam attack”, is that these two assholes WOULDN’T LEAVE THE THREAD. KCFiddles just kept spamming and spamming, with worthless, retarded, nonsense, so-called “arguments”, as to why members should avoid Rock’s seven YouTube videos.

The defining moment is the spam attack, occurred when KCFiddles’ Little Bitch, posted a comment that he wanted Rock (and all other students), IN THE AUDIENCE!!!!!

The “in the audience” comment by KCFiddles’ Little Bitch, was a MAJOR FAUX PAS by Little Bitch.

The “in the audience” meme, is a key element of the SECRET NON-INSTRUCTION attitude, possessed by so-called “instructors”. “In the audience” is a phrase that is supposed to ONLY BE SPOKEN PRIVATELY among so-called “instructors”, who are dedicated to NOT teaching their students!

The SECRET “in the audience” meme, is NOT supposed to be WRITTEN ON A PUBLIC WEB SITE, FOR ALL TO SEE!!! Little Bitch fucked up on that one. Little Bitch got Rock’s attention, with Little Bitch’s “in the audience” comment.

Rock has a “chip on his shoulder”, towards so-called “instructors, who ACCEPT MONEY from a student, then DECEPTIVELY AND INTENTIONALLY, withhold Knowledge from the paying student, to drive the student away from the instrument.

Instructors who hide Knowledge, become falsely enamored with themselves, thinking that they’re “superior” to others, because they’re EAGER TO HIDE KNOWLEDGE THAT WAS GIVEN TO THEM!!! What a bunch of fuckin’ assholes.
Rock was a multi-decade “victim” of the “non-instruction” deception. But Rock ain’t a “victim” no more.

Rock is well skilled at handling “spammers”. Since “spammers” offer ZERO value to the concept posted, use “spammers” for comedy relief!!!

Rock’s thread turned out to be the funniest thread that Rock had ever moderated.

Rock accused the two assholes of being members of a secret club, called the “Prima Donna Club”. Prima Donna Club members, speak in a language called “Moronese”, and the club motto is “Options are Evil”, plus much, much more.

Rock was banned from “fiddlehangout” after six days, because Rock was “being mean” to the two assholes who were spamming Rock’s thread.

Rock didn’t use any profanity at “fiddlehangout” (like he does on this Web site!).

Of course, the PROPER way to have resolved the “problem” of “Rock being mean”, would have been to tell the two assholes to QUIT SPAMMIN’ ROCK, AND STAY OFF HIS THREAD.

But the “fiddlehangout” Webmaster, chose instead to ban Rock from “fiddlehangout”.

A vast majority of “fiddlehangout” members, were sincere fiddle enthusiasts, who believed the FALSE “fiddlehangout” mission statement, that the “fiddlehangout” objective was to support fiddle music.

As usual, the DECEPTION AND DISHONESTY of “fiddlehangout”, was manifest in the LEADERSHIP of “fiddlehangout”, not the membership. That’s how it always works.

Rock’s six-day membership at “fiddlehangout”, OPENED ROCK’S EYES!!!

Prior to the “fiddlehangout” experience, Rock had been well aware of a “Classical Music” conspiracy towards fiddle music. But “fiddlehangout” REVEALED the OPPOSITION to fiddle music, from WITHIN the “Fiddle Community”!!!

Conclusion: “fiddlehangout” is funded by CLASSICAL MUSIC. “Classical Music” uses its endless supply of money, to “fund” non-Classical Music efforts, but ensuring that DISINFORMATION AGENTS are placed in “leadership” positions, to CONTAIN the non-Classical Music efforts.

Folks, the powers that control the music industry, would not put forth such EXTREME effort to CONTAIN fiddle music (non-instruction, Public Education counter-productive orchestras, other “gate keeping” efforts such as “fiddlehangout”), UNLESS fiddle music presented a THREAT to the powers that control the music industry.

What THREAT could fiddle music possibly present to the powers that control the music industry?????

ANSWER: If folks start realizing the POWER of fiddle music, and the SELF ESTEEM associated with the ability to control this challenging instrument, those folks will CHOOSE to pursue paths associated with fiddle music, NOT paths associated with the garbage currently being forced down the public’s throats, by the powers that control the music industry.

……………….end of “Proof of the Power of Fiddling”……………..

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Back to section index.

THE “CHOSEN FEW”

Folks, this section is a tough section to write, but it needs to be written. Rock does not shy away from the Truth, and Rock does not shy away from REAL PROBLEMS.

For the first 33 years of Rock’s fiddling, Rock was ABSOLUTELY CONVINCED, that he DID NOT HAVE THE “TALENT” to be a “Good Fiddle Player”.

When Rock observed the few outstanding fiddlers that he could find, Rock concluded, as most conclude, “They were BORN with the “talent”, and I wasn’t!”

In 2011, Rock experienced a close, 2-year encounter with the best fiddle player Rock had ever heard.

This 2-year encounter, turned Rock’s life, UPSIDE DOWN!

This 2-year encounter, TOTALLY CHANGED Rock’s attitude towards “talent”.

This 2-year encounter, provided the ENTIRE FOUNDATION FOR FREE FIDDLE WORKSHOP!!!

Rock is NOW CONVINCED, that he DOES have the “talent” to become a “Good Fiddle Player”!!! What happened, AFTER 33 YEARS, that could possibly have changed Rock’s attitude towards “talent”?????

Folks, some, if not all, outstanding musicians, are NOT BORN with “talent”. HOWEVER, many (if not all) outstanding musicians are CHOSEN AT BIRTH, to have musical “talent” IMPARTED to them!!! How does that work????? How can you IMPART musical “talent”????? Rock describes these chosen individuals, as THE CHOSEN FEW.

When Rock encountered the outstanding fiddler, Rock proclaimed her to be “The Best Musician in the Universe”.

HOWEVER, after the encounter ended in Aug 2013, Rock experienced PROOF, that “The Best Musician in the Universe” had a very DARK, HIDDEN side. Rock experienced PROOF, that “The Best Musician in the Universe” lived a life of SECRECY, DISHONESTY, DECEPTION, AND LIES.

The PROOF that Rock experienced, is not the level of “proof” that would hold up in the “Court of Man”, but Rock doen’t need that level of “proof”.

Rock’s “proof” consists only of Rock’s testimony, based upon Rock’s CRYSTAL CLEAR MEMORY, of words that were written, and events that transpired.

Rock does not expect others to believe his level of “proof”. That’s OK. Others can claim that Rock is just “remembering incorrectly”. Nevertheless, Rock provides WITNESS and TESTIMONY, that “something is wrong” in the world of “Performing Arts”.

Details of Rock’s “proof”, and details of Rock’s 2-year encounter with “The Best Musician in the Universe”, can be found on the “Age of Equestrium” tab, in Section 14.

Rock does not reveal the name of “The Best Musician in the Universe” on this Web site, because, in addition to “proof”, Rock provides a significant amount of CONJECTURE, concerning “The Best Musician in the Universe”. For instance, Rock strongly suspects, that “The Best Musician in the Universe” was raised by her “parents”, as a victim of the Nazi abomination known as “MK-ULTRA”, and that “The Best Musician in the Universe” morphed into an EAGER PERPETRATOR of MK-ULTRA.

What AUTHORITY does Rock Reynolds have, to write material based on CONJECTURE?????

ANSWER. Rock’s “authority” to write material based on conjecture, is that Rock EXPERIENCED PROOF of secrecy, dishonesty, deception, and lies!!!!!

When Rock faces an adversary, such as “The Best Musician in the Universe”, who has PROVEN to be steeped in SECRECY, it is Rock’s RESPONSIBILITY to question the motives and behavior of his adversary.

DO NOT UNDERESTIMATE your adversary. As written on the “Rules of the Universe” page: “If you are being deceived, that’s YOUR FAULT!!!”

As far as Rock’s conjecture about performing arts, Rock’s “sample size” is very small – only one. But the percentage is high – one-out-of-one, %100.

Virtually all outstanding fiddlers started musical training between the ages of 4 and 6. Many started with “Suzuki Lessons”, and others had parents who were “musicians”.

Unlike the “Lesson Ripoffs” listed earlier, which consists of “going thru books”, early Suzuki lessons don’t even use books! Early Suzuki lessons are based on “sound”.

Children who are CHOSEN AT BIRTH to be “musicians”, are given access to VERY SPECIAL TRAINING, not available to the “General Public”.

Rock’s conjecture gets darker.

The primary requisite for becoming a “musician” is NOT musical talent; instead, the primary requisite is CONTROLABILITY, agreeing to Soul-draining schedules, surrounded by impersonal crews and businessmen.

In other words, PRIOR to a child receiving secret musical training, the child has to demonstrate PROOF, that the child can be CONTROLLED.

As Intelligence agencies all know, the ONLY way to ensure absolute control over an individual, is with sex.

Dozens and dozens of YouTube videos, include witness testimony to the sexual abuse of children involved with the abomination, MK-ULTRA.

Rock strongly suspects that, if you are looking at a musical “child prodigy”, you are looking at a child who is being sexually abused.

Some of the sexual abuse victims, especially pre-teen females, EMBRACE the sexual abuse. These pre-teen females become ENAMORED with the money, the extensive opportunities, and the IMMUNITY associated with their sexual abuse. Most of all, the pre-teen females become enamored with the CONTROL they gain, over adult males.

Although Rock has no evidence that “The Best Musician in the Universe” lived in a world of sexual abuse, “The Best Musician in the Universe” FIT THE PROFILE of an individual who lived in a world of sexual abuse, including:

A very close, intimate, minimum 20-year relationship, with a 32nd-degree Freemason, who served as her guitar accompanist. “The Best Musician in the Universe” was very reluctant to play WITHOUT her Freemason accompanist. “The Best Musician in the Universe” became indignant, when Rock recommended that she play at an Open Mike without her Freemason accompanist.

Prior to being accompanist to “The Best Musician in the Universe”, the 32nd-degree Freemason had been accompanist for “World Class Fiddler”, Jim Pontius. Jim Pontius died at about the same time that the then-13-year-old “Best Musician in the Universe”, took over gigs that had been the domain of Pontius and the Freemason accompanist. On the Pontius CD, “Downhome Fiddle”, there were five, and only five, fiddle tunes that were later covered on CD’s by “The Best Musician in the Universe”. On ALL FIVE TUNES, “The Best Musician in the Universe” version was bowstroke-for-bowstroke, with exact same variations in the exact same places, as the Pontius version of the tune. Yet, when Rock first met “The Best Musician in the Universe”, she acknowledged ZERO CREDIT to Pontius for her fiddling skills! Her Web site and her CD liner notes, heaped praise upon her classical instructor, but NO CREDIT was given to Pontius.

Her private classical violin instructor lived in Germany (home of the Nazi-developed abomination, MK-ULTRA)! Her instructor “visited the states” during the school year, presumably to teach and give lessons.

“The mid-20-year-old “Best Musician in the Universe” was ALWAYS accompanied closely by her so-called “mother”. During Rock’s five 2-hour visits to her house, the “mother” ALWAYS remained in the immediate vicinity, and the “mother” NEVER left the room, leaving Rock alone with “The Best Musician in the Universe”.

There was a female, whom “The Best Musician in the Universe” referred to as her “Best Friend”. Rock met the “Best Friend’s” father at the masters recital mentioned earlier. The “Best Friend’s” father said he worked for NSA, and called himself, “Merle the Spook”.

In addition to the enormous amount of testimony associated with pedophilia, Rock is also quite “suspicious” of the VERY NUMEROUS accounts, that musicians have made “Deals with the Devil”.

Folks, these accounts of “Deals with the Devil” are too numerous to ignore.

Many musicians openly testify that they feel “taken over” by spirits during play. Some musicians testify that they perform acts on stage, that they cannot replicate off stage.

The famed violinist, Paganini, was initially denied a religious burial, due to witness testimony that Paganini must have been “possessed” when he played.

Rock ponders if “The Best Musician in the Universe” may have made a “Deal with the Devil”. The “Best Musician in the Universe” owned a $30,000 classical violin with a name. Videos of “The best Musician in the Universe’s” masters recital, were the most powerful music Rock ever heard. The level of “talent” displayed was unbelievable. Rock has accused “The Best Musician in the Universe” of practicing witchcraft/VooDoo, based on details described on the “Age of Equestrium” page. Folks, based on the secrecy and deception, these issues are too suspicious to NOT QUESTION.

Folks, here’s the SILVER LINING to the darkness discussed in this section.

The “Silver Lining” is that this darkness is COMING TO AN END!!!

Intelligence agencies and other monsters who perpetrate MK-ULTRA, are now up against the Internet! The Truth is emerging, and the vile secrets of these monsters are becoming “less secret” every day.

The “Collective Consciousness” of man is OUTRAGED at the abominations perpetrated by these monsters.

Although at the time of this update (Sep 2017) the MK-ULTRA monsters remain “virtually immune” from accountability, their “immunity” days are numbered.

The monsters who perpetrate these abominations CAN FEEL that their “days are numbered”, and they are panicking. The unbelievable retardedness displayed by Hollywood and mainstream media, associated with Trump’s election, is all related to pedophilia, child trafficking, human sacrifice, and MK-ULTRA.

Rock has experienced PROOF that Earth is healing.

Bring it on!

And folks, to end this section, Rock GUARANTEES, that Free Fiddle Workshop provides a path to musical talent, with ZERO sexual abuse, MK-ULTRA, or witchcraft/VooDoo!!!!!

……………….end of “The ‘Chosen Few'”……………..

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Back to section index.

WHAT HAPPENED TO FIDDLE MUSIC???

In the early 1900’s, fiddle music was very popular in the United States, and there were lots of fiddlers.

The most famous fiddle contest, was the “Georgia Old Time Fiddle Contest”, which was held in Atlanta, Georgia, from 1906 thru 1935. This fiddle contest received PROFOUND ATTENTION from newspapers and other mainstream nedia sources. In 2017, How many readers have ever read about a fiddle contest?????

Also in the 1920’s and 1930’s, Atlanta, Georgia featured a very popular PRIME TIME RADIO SHOW of “Old Time Fiddle” music, featuring the “Skillet Lickers”. In 2017, how many readers have ever heard an “Old Time Fiddle” tune on ANY medium???

Folks, fiddle music has been DECIMATED in this country!!! The decimation of fiddle music is a PROBLEM!!!

WHAT HAPPENED TO FIDDLE MUSIC?????

A major challenge to all musicians, including fiddlers, has been the “advancement” (If you wanna call it that.) of “technology”.

In the early 1900’s if a venue desired music, the venue had to hire MUSICIANS.

Technology has largely replaced musicians, as the “source” of music entertainment. The technology that has “replaced” musicians over the last 100 years includes: records; radio; jukeboxes; videos; and television.

Technology is usually quite “cheaper” than musicians.

In the early 1900’s, “public education” was much simpler, and more basic (as “public education” SHOULD be.

A gigantic musical tragedy (and tragedies for other areas as well) occurred when “Public Education” HIJACKED the so-called “teaching” of music, from families.

As mentioned above in the “Lesson Warning” section, “Public Education” has had an HORRIFIC effect upon the teaching of “music”. “Public Education” DOES NOT “TEACH” students ANYTHING about “music”, and “Public Education” DRIVES STUDENTS AWAY from music!!!

In the early 1900’s, fiddling skills were inter-generational, being handed down from parents to children. When “Public Education” HIJACKED the so-called “teaching” (in reality, NON-TEACHING!!!) of music, the inter-generational channels virtually came to an end.

In the early “Georgia Old Time Fiddle Contests” mentioned at the beginning of this section, many fiddler contestants were UNAWARE of “Sheet Music”, and these fiddlers didn’t even know that music could be “written”.

The so-called “advancement” of technology unfortunately enabled CENTRALIZED CONTROL of “music”, having a DEVASTATING EFFECT on all music, including fiddle music.

Currently, the garbage called “music” being shoved down the Public’s throat, is unbelievably bad.

Many live under the FALSE BELIEF, that the music industry produces music according to “what will sell”. Folks, IT’S THE OTHER WAY AROUND!!! The Public will “consume” WHATEVER GARBAGE is shoved down its throat. The music industry is NOT PRIMARILY INTERESTED in “sales”. Instead, the music industry’s primary concern, is MIND CONTROL!!! The music industry wants to control what you think! The music industry is a MAJOR PLAYER, in what man currently calls “Deep State”.

“Classical Music”, with its untold financial resources and ties to Intelligence agencies, controls the entire music industry, including Nashville.

One of the biggest musical tragedies in history, was classical music’s imposition of “Countrypolitan” in 1961, ruining the fantastic hillbilly sounds that were emanating from Nashville. Fiddles, mandolins, and steel guitars were replaced by “string sections”, RUINING the fantastic sound of many country artists. The “official spin” for “Countrypolitan”, was that the music industry wanted “Country Music” to crossover into “Pop” markets, but this “official spin” was pure BULLSHIT. Classical Music is scared shitless of non-Classical Music, that poses a threat to draw in listeners. The INTENT of “Countrypolitan”, was to RUIN “Country Music”.

Classical music, with extensive ties to Intelligence and academia, totally controls the so-called “music” being taught in public education systems. Classical music is the ONLY MUSIC that is allowed to be taught in public schools. Public schools should be PROHIBITED from “teaching” music.

The reason for classical music’s CONTAINMENT of fiddle music, is that, if listeners hear the beauty and power of well played fiddle music, the listeners won’t want to listen to the so-called “music” that the media currently ram down the public’s throat.

Readers may occasionally encounter events or locations that claim to “promote” and “support” fiddle music. These “fiddle music promotion” events and locations have FAILED MISERABLY!

This author does not challenge the INTENT of events and locations that “promote” fiddle music; however, this author challenges the RESULTS of events and locations that claim to “promote” fiddle music.

Current “fiddle music promotion” events AIN’T WORKIN’!!!

Folks, finally some GOOD NEWS! Rock Reynolds has assumed “ownership” of the “fiddle music decimation” problem! Classical Music is now up against Rock Reynolds, and Rock Reynolds is gonna kick Classical Music’s ass!!! Free Fiddle Workshop is a brand new direction for the promotion and spreading of fiddle music. Stay tuned.

……………….end of “What Happened to Fiddle Music???”……………..

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Back to section index.

LEARN TO PLAY THE FIDDLE

The fiddle is the most NON-INTUITIVE instrument to learn.

MOST PEOPLE DO NOT KNOW, that a long bow stroke requires a change in bow movement power, from the forearm to the upper arm, in the middle of the bow stroke.

This skill is not only taught in Free Fiddle Workshop. This skill is also taught in classical violin tutorials (Check out Yehudi Menuhin’s classical violin tutorials on YouTube.).

Watch the best fiddlers/violinists on YouTube. Notice how little their upper arms move. Watch how ALL of the good fiddlers/violinists start an upbow with the forearm, then switch to the upper arm.

MOST PEOPLE DO NOT KNOW, that for an effective hillbilly beat, emphasis is placed on the second shuffle note, not the first.

To accomplish this hillbilly beat objective, fiddlers must learn a very non-intuitive bowing sequence.

Free Fiddle Workshop teaches this bowing sequence.

MOST PEOPLE DO NOT KNOW, that the fiddle rests on the collar bone, not the shoulder. Placing the fiddle on the collar bone frees up the left shoulder, and thus frees up the left hand.

MOST PEOPLE DO NOT KNOW, that there are practice methods that fiddlers can use to teach their bowing arms and fingers to behave properly.

First Practice Method – Doorjamb. Stand in doorway and prop upper arm against doorjamb, immobilizing the upper arm, forcing the forearm to perform all of the bow movement power.

Second Practice Method – Mirror. Place a large mirror to the side during practice, to learn arm positions required to keep bow on perpendicular plane.

Third Practice Method – Note at a time.

With bow power and control taught in Free Fiddle Workshop, slow down the song to one note at a time.
Next, combine notes.
Slowly increase speed, while maintaining cleanliness of the song.

Fourth Practice Method – “Squawk” notes (described below in the section, “‘Free Fiddle Workshop’ Style versus ‘Classical’ Style”).

Free Fiddle Workshop instruction includes PROPER PRACTICE METHODS!.

For a student to gain competency on a fiddle, the student MUST KNOW HOW TO PRACTICE!

Free Fiddle Workshop includes practice methods SPECIFICALLY DEVELOPED for Free Fiddle Workshop.

One of the practice methods will be demonstrated in the lesson teaching the “Shuffle”. With a variation of the “Note at a Time” lesson technique (discussed below), the “Shuffle” lesson will teach fiddle students to play FOUR notes at a time, coming to a COMPLETE STOP between the 4-note sequences. But the 4-note sequences will NOT START on the “long note” of the “Shuffle”; instead, the 4-note sequence will start on the FIRST SINGLE NOTE of the “Shuffle”. This technique will teach a fiddle student to develop an EFFECTIVE “Hillbilly Beat”.

Most people are convinced that they do not have the talent to play the fiddle.

Free Fiddle Workshop demonstrates that “talent” is nothing more than “Knowledge”, and that MOST FOLKS DO HAVE THE ABILITY TO PLAY THE FIDDLE!!!

Playing the fiddle is a very LEARNABLE skill. Fiddling requires very little speed, strength, or stamina; instead, fiddling requires extreme mental focus, with precision movements performed with precision timing.

Fiddlers must be taught EXACTLY where to place their bowing arms and EXACTLY how to move their bowing arms.

Once fiddlers learn the “secret handshakes” to bowing, they will find that bow control is not that hard to learn.

But fiddlers be warned: left hand/finger control will ultimately require more practice than bow control.

More specifics about fiddle playing can be found on the “Contact/Info” page of this Web site.

……………….end of “Learn to Play the Fiddle”……………..

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FIDDLE REWARDS/CHALLENGES

Why should anyone want to play the fiddle?????

ANSWER: Because the “Rewards” associated with playing the fiddle are IMMENSE!!! The four “Rewards” of playing the fiddle are “Knowledge”, “Self Esteem”, “TRUE Power”, and “Respect”.

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FIRST “FIDDLE PLAYING” REWARD – KNOWLEDGE.

One of the biggest challenges in an individual’s life these days, is a LACK OF CONTROL, especially as “control” relates to “jobs” and “finances”.

You can do an “Excellent Job”, and still be fired, downsized, or otherwise “let go”.

“The Man” can take your car, take your house, and take your money, but “The Man” CAN’T TAKE YOUR KNOWLEDGE!

“Knowledge” is the one area of “life”, over which an individual has ULTIMATE CONTROL.

If you gain the Knowledge to play the fiddle, NO MAN CAN TAKE THAT KNOWLEDGE FROM YOU!.

“The Man” may be able to take your fiddle, but if you have the Knowledge to play the fiddle, all you need to do is get another fiddle, and “you’re back in business”!

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SECOND “FIDDLE PLAYING” REWARD – SELF ESTEEM.

Playing the fiddle requires an enormous amount of practice. Playing the fiddle requires an enormous amount of DISCIPLINED practice.

If you learn to play the fiddle, you have PROVEN that:

You are capable of STICKING TO a long-range plan.

You are prepared to undergo the “required basics” of a long-range plan, long before any “final results” are made manifest. The “required basics” do not produce immediate “results”. You are a worthwhile long-range individual, not a “flash-in-the-pan”.

You are capable of RECOGNIZING OPPORTUNITIES that provide VALUE!!! You chose to devote your VALUABLE TIME to a worthwhile skill, instead of “watching TV” or “playing video games”.

In other words, by playing the fiddle, you PROVE that you UNDERSTAND THE TRUE VALUE OF YOUR TIME.

By ACCOMPLISHING the extremely important task, of ADDING TO YOUR VALUE, thru hours and hours of EFFORT (not handed to you on a “Silver Platter”), God authorizes you to FEEL GOOD ABOUT YOURSELF!

Playing the fiddle does NOT authorize an individual to feel SUPERIOR to others.

Feelings of “superiority” are “VANITY“, not “Self Esteem”.

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THIRD “FIDDLE PLAYING” REWARD – TRUE POWER.

Man has a misunderstanding of the word, “Power”.

As used in today’s world, the word “Power” is virtually always defined as “the ability to control the lives of others”.

But “the ability to control the lives of others” is more accurately described as “NEGATIVE power”. Most who are in positions to control the lives of others, use those positions to make the lives of others more miserable. The question should be asked, “Why would a man even WANT to control the lives of others?”

The TRUE definition of “power”, meaning “POSITIVE power”, is “A MAN’S ABILITY TO CONTROL HIS OWN LIFE“.

A well played fiddle provides a type of POWER that is virtually unknown.

A well played fiddle can turn a room full of grumbling men, into a room of awestruck men, turning an “unhappy” crowd into a “happy” crowd.

A well played fiddle, will increase the desire of others to associate with the fiddler. The fiddler could be asked to attend events and other social functions, so that the fiddler can add EXCITEMENT of the environment. The power to energize a crowd is a RARE commodity.

Currently, skilled fiddlers are extremely rare, especially compared to other musician categories. The ability to add that “special sound”, is a quality sought after by bands. A well played fiddle can “make” a band.

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FOURTH “FIDDLE PLAYING” REWARD – RESPECT. The three other “fiddle playing rewards” can lead to man’s most desired response: “Respect”.

Listed next on this page, are six CHALLENGES of playing the fiddle. But Fiddlers, once you FACE these challenges and RESOLVE these challenges, the challenges become REWARDS!

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FIRST “FIDDLE PLAYING” CHALLENGE – NOBODY CARES!

By far, the biggest challenge to learning the fiddle, is that NOBODY CARES about the fiddle.

The reason that nobody cares about the fiddle, is that the fiddle has been HIDDEN and CONTAINED.

When folks finally start to hear well played fiddle music, THEY WILL CARE.

Rock is on a “Mission from God”, to get folks to care.

The primary sub-challenge of getting folks to care, is to identify SOURCES of well played fiddle music, so that folks can get the RARE opportunity to listen to well played fiddle music.

Unfortunately for Free Fiddle Workshop, Rock will no longer identify the source of the best fiddle music he has ever heard, by request of the fantastic fiddler, who wished to “never see or hear from” Rock again. Rock respects the wishes of others, to not be associated with Rock. A mitigating circumstance concerning the fiddler’s music, is that Rock had been extremely excited about fiddle music for 33 years, PRIOR to encountering this fiddler. In other words, there is still plenty of outstanding fiddle music to be heard.

Rock has responded to the challenge of finding well played fiddle music, by practicing and practicing, with the goal of eventually approaching the quality of the best fiddle music he ever heard. Rock’s current level of playing is reflected in the Samples on the “Samples” page. Keep checking back, as Rock’s playing continues to improve.

Meanwhile, Rock urges fiddle students to search YouTube for well played fiddle music. The hottest fiddler on this planet is Michael Cleveland. Rock highly recommends students to view the jaw-dropping performances of Michael Cleveland; however, Rock does not recommend viewing Michael’s performances to “learn fiddle tunes”, because Michael’s tunes are too fast and intricate. Still, Michael’s performances are highly entertaining. Rock is a big fan of the late bluegrass fiddler, Kenny Baker. YouTube has many outstanding tunes by Tommy Jackson.

Folks, if you are driving somewhere, and you want to “feel good”, turn off your cell phone and put in a CD of well played fiddle music. At the end of the drive, YOU’LL FEEL GOOD!

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SECOND “FIDDLE PLAYING” CHALLENGE – CHANGE AND UNDERSTANDING OF “SUNKEN COST”.

Prior to his 17 years of fiddle lessons, Rock had the attitude, that Rock should always put as much physical and emotional effort into everything he did, or Rock wasn’t “trying hard enough”.

Rock eventually learned the lesson, “Don’t work hard. Work smart.”

On his first day of fiddle lessons, Rock attempted a fiddle tune, squeezing every muscle he had, as hard as he could, and as emotional as he could be. By 10 seconds into the song, Rock was sweating profusely. Rock’s instructor chimed in, “Whoa!!! Whoa!!! You’re doing everything wrong!”

Rock didn’t appreciate the Instructor’s comment at first, because Rock thought, “That’s my STYLE, man! That’s who I am!”

Rock soon learned that “who he am”, was PREVENTING Rock from being a decent fiddler. The fiddle lessons eventually taught Rock, that Rock had to CHANGE “who he am”.

At first, the thought of “changing”, bothered Rock. Rock thought, “I’ve been practicing this style for 6 years. You’re asking me to throw six years of practice “down the drain”.

The “problem” with Rock’s analysis at the time, was that Rock thought of his previous six years of practice as an “investment”.

But Rock’s previous six years of practice WERE NOT an “investment”. Rock’s previous six years of practice were a “cost”, more specifically, a SUNKEN COST.

In business models, the proper way to analyze opportunities, is to analyze the opportunity at the present time, going forward into the future.

“Costs” that incurred in the past are ALREADY SPENT, and you CAN’T GET ‘EM BACK. Past expenditures are called “Sunken Costs”.

When analyzing opportunities, “Sunken Costs” SHOULD NOT BE CONSIDERED, because they’re already GONE.

When analyzing opportunities, the question to ask is, “Where will my resources provide the most value, given the present?”

And fiddlers, if you practice “bad habits”, and you CONTINUE to practice “bad habits”, you’re gonna still SUCK, regardless of the number of practice hours.

Some individuals are reluctant to change, because they view “change”, as a “sign of previous weakness”.

Fiddlers, GET OVER YOURSELVES!

There is NOTHING WRONG with having a “previous weakness”, as long as you CORRECT the “previous weakness”. Once you correct the “previous weakness”, the “previous weakness” is a characteristic of the past, and the “previous weakness” NO LONGER COUNTS!

What IS WRONG, is to have a “previous weakness”, that you REFUSE TO CHANGE, rendering the “weakness” as a “CURRENT weakness”.

Back to section index.

THIRD “FIDDLE PLAYING” CHALLENGE – TIME COMMITMENT.

How you CHOOSE to spend your time, defines who you are.

Why should you CHOOSE to become a fiddler?

When pondering “business oppportunities”, such as “becoming a fiddler”, an individual should address what are called, “OPPORTUNITY COSTS“. What other “opportunities” are available to consume your “resources”, your “time”???

How ELSE could you spend your time???

Another perspective: “What would you have to GIVE UP, to become a fiddler??? What current activities would you have to abandon, to accommodate the time required, to become a fiddler?”

Would you have to give up “watching TV”, to find the time to become a fiddler???

Would you have to give up “playing video games”, to find the time to become a fiddler???

The one absolute requirement to become an efficient fiddler, is that the fiddler has to LOVE MUSIC.

Why choose a path, “fiddling”, that will probably take about two years, until the fiddler can play a tune effectively? Although most beginning guitarists are quite boring musicians (due to lack of instruction, beginning guitarists just strum), with proper instruction, a beginning guitarist could learn to play an enjoyable tune within a month. A beginning fiddler will not be able to play an enjoyable tune within a month.

A very good reason to choose to become a fiddler, is that the sound of a well played fiddle, is rare, and fiddlers are much more “in demand” than guitarists.

A well played fiddle adds a very distinct beauty to a song, a beauty that cannot be added by a guitar.

A guitar has its own “beauty”, in regards to a musical. But the beauty of a guitar sound is different from the beauty of a fiddle sound.

A guitar has a sound that is called “discrete”. Played with a pick (plectrum), a single note is produced “instantaneously”. Conversely, the fiddle has a sound that is called “continuous” (Guitars played with a bar, such as pedal steel, also have a “continuous” sound.). Played with a bow, the sound of a note on a fiddle, is not “instantaneous”. The bow must SUSTAIN the sound of the note, thruout the entire note.

Fiddlers, the decision to pursue fiddling is more than a “time commitment”, fiddling is a “life commitment“. Rock argues, there is no better way to spend your time.

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FOURTH “FIDDLE PLAYING” CHALLENGE – “RAZOR’S EDGE”.

Rock describes the fiddle as a “Razor’s Edge Instrument”.

A well played fiddle is the most beautiful sound in the world.

Get a “little off the edge”, and the fiddle quickly turns into one of the “worst sounds in the world”, like “nails on a chalkboard”.

A “law” of fiddling: “If your bow bounces a little during practice at home, your bow will bounce A LOT in front of an audience.” Folks, trust me on this one!

For decades, Rock has thought of the ability to play a fiddle in front of a crowd, as “the measure of a man”. And for decades, Rock HAS FALLEN WAY SHORT of his “measurement standard”.

For most of the fiddle contests Rock has entered, Rock has HORRIFICALLY SUCKED. Rock likes to say, that he didn’t deserve “last place”, but they didn’t have anything lower.

But Rock’s terrible playing in front of audiences was NEVER due to “lack of effort” or “lack of practice”. Rock’s terrible playing was due to LACK OF KNOWLEDGE.

Rock has finally reached the point at which he can play reasonably in front of small audiences. To this day, Rock has not played in front of an audience, as well as he plays at home during practice, but that’s about to change!!!

Rock can feel the increasing calmness and power, as he continues to practice. Although, technically, Rock has played fiddle for 39 years, Rock claims that he didn’t really “learn” the fiddle, until just one year ago. Rock looks to the future with great anticipation.

The forthcoming improvements to Free Fiddle Workshop, will provide practice techniques that enable a fiddler to “stay on the edge”. The key to “staying on the edge”, is calmness, discussed next.

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FIFTH “FIDDLE PLAYING” CHALLENGE – CALMNESS.

Fiddlers, watch any hot bluegrass band, and notice how LITTLE the band members move. Their hands may be moving, but their hands are moving very short distances, and their bodies are usually stationary.

Rock played violin in school orchestras, from 5th grade thru 8th grade. Rock quit the violin, for all the reasons mentioned above in the “Lesson Ripoff” section. Rock was still a “music lover”, so Rock played guitar instead of the fiddle.

In Tucson, Arizona, in 1978, at a Moe Bandy concert, Rock got his first taste of fantastic sounding fiddle.

Recorded songs played on the radio, “mike down” the sounds of backup instruments, such as fiddle and pedal steel guitar.

But in concert, the backup instruments are not “miked down”, and the powerful sound of the well played fiddle, resurrected Rock’s interest in the instrument.

Thus, the primary reason that Rock became enthused about the fiddle, was that the music was EXCITING, and Rock desired the ability to recreate that EXCITEMENT.

Fiddlers, here’s some “News” that some of you may find discouraging at first. Rock has discovered that, in order to be able to play “exciting” music, the musician has to be AS CALM AS CAN BE. In other words, the musician is NOT ALLOWED to be “excited” by the music that he plays.

In 2012, while Rock was pondering if he needed to “lose his excitement” while playing fiddle, Rock read a book by comedian Steve Martin, titled “Born Standing Up”.

ON THE VERY FIRST PAGE of Steve Martin’s book, was a comment that related DIRECTLY to the issue that Rock was pondering.

Martin wrote that he DID NOT “enjoy” his comedy routines. In Martin’s words, “Enjoyment is a commodity, that the timing of comedy does not allow.”

Fiddlers, to play a fiddle effectively, you will need to teach youself to LOSE ALL OF YOUR EMOTION while you play. But fiddlers, learning to “lose all of your emotion” at critical times, is a GOOD THING.

Rock tempers Steve Martin’s accurate “non-enjoyment” comment, by arguing that “excited enjoyment” is replaced with “calm satisfaction”. “Calm satisfaction” can be “enjoyable”, but not in the same sense as “excited enjoyment”.

Learning to be calm, will change “who you are”, for the better!!! Most individuals “lose control” of a situation, because they become emotional, and allow their emotions to dictate their actions. When you learn to be calm, LOGIC will control your actions, not emotions.

Best of all, YOU CAN TEACH YOURSELF TO BE CALM!!!!!

The disciplined practice methods taught in Free Fiddle Workshop, will teach a fiddler to “lose anxiety”, and to become calm!

Rock considers fiddle playing to be the “Salvation of Mankind”, BECAUSE proper fiddle practice will teach an individual to be calm.

The fiddle is a MEASURING DEVICE for calmness!!! When you screw up, you’re not calm!!!

Rock has discovered, that there are certain portions of tunes, that produce “anxiety” in a fiddler, due to the “complexity” of the tune.

When practicing the tune, the fiddler can FEEL THE ANXIETY associated with the complexity. The anxiety is manifest in the chest and stomach.

When practicing the tune, SLOW THE TEMPO AS MUCH AS REQUIRED, and CONCENTRATE on the chest and stomach. Calm your entire body while playing slowly, until the feelings of anxiety disappear from the chest and stomach. Gradually speed up the tempo of the “anxiety section”, maintaining the calmness. If anxiety reappears, slow the practice tempo.

Back to section index.

SIXTH “FIDDLE PLAYING” CHALLENGE – LISTENING.

The sixth fiddle playing challenge, “listening”, is directly related to the fifth fiddle playing challenge, “calmness”.

During Rock’s 17 years of fiddle lessons, Rock’s instructor often correctly told Rock, “Don’t ‘feel’ the music; instead, ‘LISTEN‘ to the music.”

The guidance of “listening” to the music is easier said than done!

When first learning to play, it is difficult to REMEMBER TO LISTEN, while your brain is focused on more mundane matters, such as: Where do I put my fingers?; Where does my bowing arm need to go?; Why is my bow bouncing?; etc.

Fiddlers, as you continue to practice with proper discipline, you will find that the UNNATURAL mechanics to play the fiddle, start to become NATURAL.

The phenomena of mechanics BECOMING “natural”, is called “Muscle Memory”. The more you engage in a specific physical behavior, the less you have to “think” about the behavior.

As the fiddle mechanics become “natural”, calmness will set in.

When fiddle mechanics are calm and natural, you will be able to LISTEN to the music.

Expect to be challenged about “listening” at first, but also expect to become proficient at listening.

A “slightly related cousin” of the “listening” guidance, concerns the most important quality to which a fiddler should “listen”: RHYTHM!

Early in Rock’s 17 years of fiddle lessons, and very often thruout his fiddle lessons, Rock’s instructor correctly stated, “Music is RHYTHM, not notes.”

At first, Rock did not believe his instructor, that music was rhythm, not notes. Early in the lessons, Rock thought, “This guy doesn’t know what he’s talking about. There are lots of songs where I LOVE the notes.”

By 2 1/2 years into Rock’s fiddle lessons, Rock had become a BELIEVER that music is rhythm, not notes. The tunes for which Rock thought he had “loved the notes”, in fact, possessed extraordinary RHYTHM.

The most profound characteristic of music that Rock has discovered, is that, “Listeners don’t know what they like.” If you ask a listener who loves a song, what it is about the song that the listener loves, the listener may respond with a 2-minute, HONEST answer, about the qualities that endear the listener to the song. But for most listeners, the “honest” answer has nothing to do with the REAL reasons that the listener lovesthe song. The “real” reasons are very subtle musical techniques, that are noy consciously noticed by listeners.

……………….end of “Fiddle Rewards/Challenges”……………..

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HOW DO I KNOW IF I COULD PLAY THE FIDDLE?

A man’s most valuable commodity, is the man’s TIME! Rock designed Free Fiddle Workshop, with an objective to NOT WASTE A MAN’S TIME.

Fiddle playing proficiency, will ultimately require an extraordinary amount of a student’s time. How can a fiddle student be convinced, that the student is not just “wasting time” with Free Fiddle Workshop???

The key to playing the fiddle is BOW CONTROL. Before a student learns anything else, including notes, students should learn to CONTROL A BOW WITH POWER.

Controlling a bow with power, requires the following:

Play a full long bow, from tip to frog, on all four strings, in both directions (upbow and downbow).

The student should be able to STOP THE BOW and HOLD THE BOW STEADY (no bouncing), at ANY POINT during the bowstroke.

The bow movement across all four strings should produce an even, smooth pitch (no variation in pitch) for all four strings. Stopping and restarting the bow movement should not affect the pitch.

Learning to control the bow with power on all four strings, should be DOABLE, within a very reasonable amount of time (one month, one hour per day). During initial practice, student should see measurable improvement EVERY DAY.

Students, if you can learn basic bow control with power, then YOU HAVE WHAT IT TAKES TO BE A FIDDLER.

……………….end of “How Do I Know if I Can Play the Fiddle?”……………..

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Back to section index.

HOW TO USE THIS SITE

Step 1. Click on “Samples” tab and view some samples to determine whether or not you are interested in the fiddling style taught in Free Fiddle Workshop.

Step 2. Before investing too much time, watch the session videos to see if they make sense.

Step 3. If you decide to proceed with the workshop sessions, click on “Documents” tab to download the documents associated with the Session or Follow-up.

With the document, you can follow along with the session video.

Documents are available in “Word” and “PDF” formats.

Step 4. Click on “Sessions” tab to re-watch Free Fiddle Workshop sessions, and follow along with the documents.

Step 5. Click on the “Follow-up” tab to view videos aimed at post-workshop fiddling efforts.

……………….end of “How to Use This Site”……………..

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WORKSHOP OBJECTIVES – BOW CONTROL AND LEFT ARM/HAND CONTROL

Rock started his 17 years of fiddle lessons with 1,000 (or more) bad habits. Rock’s fiddle lessons consisted of eliminating the “bad habits”. one at a time.

Rock developed Free Fiddle Workshop with a different approach to fiddle instruction, called “START FROM ZERO“.

Free Fiddle Workshop first teaches the fiddle student to stand erect, with good posture, feet together (closed stance), head straight, with all muscles as relaxed as possible.

Then, fiddle students are taught to use ONLY THE EXACT MUSCLES required for play, and to use those muscles with as LITTLE PHYSICAL EFFORT as possible.

All other muscles, not involved in play, are taught to stay relaxed, and STAY OUT OF THE WAY!!!!!

Music is played most effectively, when it is played with as few muscles as possible, with as little physical effort as possible, and with as little emotional effort as possible.

When Rock developed the first version of Free Fiddle Workshop, Rock FOOLISHLY thought, that “bow control” alone, would transform Rock into a good fiddle player.

Rock FOOLISHLY thought, that “squawk notes” alone, would provide sufficient guidance, to control the left arm/hand for good fiddle music.

Rock subsequently learned, that “squawk notes alone”, doth not a good fiddle player make.

“Squawk notes” still play an integral part in fiddle practice, but left arm/hand control requires more than just squawk notes.

The reason that Rock had been unaware of the requirement for more than just “squawk notes” prior to “Workshop Style” fiddling, was that Rock’s bowing sucked so bad, that Rock couldn’t tell that his left arm/hand “control” was insufficient.

FIDDLERS BE WARNED!!!!! Although “bow control” is the first skill that must be mastered, fiddlers will find that left arm/hand control will ultimately require much more practice time than “bowing”.

THAT’S OK!!! Practice will still be fun!

The challenge with the left arm/hand is NOT “remembering where the fingers need to go”. “Remembering where the fingers need to go” is the easy part.

The challenge with the left arm/hand is GETTING the fingers, where you KNOW they need to go!

All of the muscles in the left hand INTERFERE WITH EACH OTHER.

More discussion below.

The next subject discussed is “bow control”.

Control of a bow across fiddle strings, requires a very complex, a very non-intuitive, and a very unnatural series of arm movements.

At the start of “bow control” practice, fiddlers will have to concentrate very deeply, on the EXACT arm movements, and the exact TIMING of the arm movements, required for each string.

The fundamentals of bowing are the same for each string, but the different geometry of the arm required for each string, necessitates different timing for implementation of the arm movements.

As “muscle memory” kicks in, the UNNATURAL arm movements required for bowing, will start to feel NATURAL!!!

Fiddlers should EXPECT to see constant improvement in bow control, feeling more natural every day.

Rock estimates that, starting from zero, fiddlers should be able to control a bow across all strings within four months, with one hour of disciplined practice per day.

NOTE: Rock did not use Free Fiddle Workshop to learn bowing, because Free Fiddle Workshop did not exist, until AFTER Rock learned bowing.

FIRST SKILL – BOW CONTROL. When Version 4 is complete, Free Fiddle Workshop will teach “bow control” with five steps.

First Bow Control Step Place bow on string, motionless with power. No Sound.

Second Bow Control Step. Rock bow across all four strings, with upbow and downbow positions, producing no sound.

The “no sound” arm movement is the movement required, when a fiddler changes strings.

The arm movement required to change strings, is slightly different than the arm movement required to produce a sound, when moving the bow across a string.

A subobjective of “bow control”, is that a fiddler should be able to change strings without making a sound (no squeaks, squawks, or crunches). Fiddlers need to differentiate between “string change” arm movement and “note producing” arm movement.

Third Bow Control Step. Three separate “partial long bows”.

First partial longbow, with bow contact near frog, using upper arm for power, no separation of forearm/upper arm, rocking upper arm/forearm back and forth.

Second partial longbow, with bow contact in middle of bow, separating forearm from upper arm on downbow, rocking upper arm upward on downbow (reverse for upbow).

Third partial longbow, with bow contact near tip of bow, using FOREARM ONLY for bow movement. During third partial longbow, upper arm remains stationary and firm.

Fourth Bow Control Step. Full longbow.

A full longbow will combine the three partial longbows, into one continuous motion, moving the string contact with the bow, from the tip to the frog.

The full long bow will require the fiddler to TRANSITION between the three partial long bows, requiring CHANGING ARM MOVEMENTS, during one single bowstroke.

Fiddlers must learn the full longbow movements on all four strings and all three doublestops.

During a full longbow, fiddlers must be able to stop the bow with power, producing no sound, then to resume the bowing with an even pitch, at all times.

The bow is easiest to control on the A/D doublestop. For in person workshops, only the A/D doublestop will be taught, with video lessons for the other two doublestops (G/D and A/E) and four single strings.

Fifth Bow Control Step. Shuffle.

To get an effective “Hillbilly Beat”, fiddlers must learn the proper arm movement during a shuffle.

For an effective “Hillbilly Beat” shuffle, volume emphasis is placed on the SECOND shuffle single note, not the first single note.

Additionally, a “Hillbilly Beat” is enhanced, with slight delay between the quarter note and the first single shuffle note.

The Free Fiddle Workshop “Shuffle” lesson, will teach EXACTLY how to transition the bowing arm, to produce the slight delay and to produce the emphasis on the second single shuffle note.

Additionally, Free Fiddle Workshop will demonstrate a practice method, to produce an effective “Hillbilly Beat”.

As with the longbow, an “in person” workshop will only teach the shuffle on the A/D doublestop.

SECOND SKILL – LEFT ARM/HAND CONTROL.

There are fewer “mechanics” involved with left arm/hand control, than with bow control.

HOWEVER…………….

As stated above, mastery of left arm/hand control will ultimately require significantly more practice time than bow control.

Version 4 of Free Fiddle Workshop, will teach five left arm/hand fundamentals, four of which were not taught in previous versions.

First left arm/hand fundamental. As relaxed as possible at all times.

The relaxed muscles include the chest, collar bone, shoulder, upper arm, forearm, hand, thumb, and bow contact point at base of index finger.

When a note is played, some of the muscles will require a slight “contraction” to produce the note. Fiddlers must learn to “relax the contraction” immediately upon completion of the note, at all times.

In other words, a “note” is NOT just “placing a finger down”; instead, a “note” is “lifting and relaxing one finger, while placing another finger down”. A “single note” is TWO MOVEMENTS, not one movement.

Second left arm/hand fundamental. Upper arm/forearm geometry.

A subobjective of Free Fiddle Workshop, is to keep the fiddle as STATIONARY as possible, at all times.

A stationary fiddle requires three contact points: base of the fiddle on top of collar bone, neck of the fiddle on inside of thumb, and neck of the fiddle at contact point at bottom of index finger.

Free Fiddle Workshop teaches the fiddler to NOT PRESS DOWN on the chinrest during normal play.

A “chinrest exception” occurs when a fiddler changes from third or second position, to first position. To prevent the fiddle from leaving its position on the collar bone, when sliding the hand back down towards the neck, the fiddler will press down on the chinrest AT THE EXACT TIME, for a very brief moment. After the hand is back in first position, the fiddler will IMMEDIATELY relax the pressure off of the chinrest.

With a fiddler’s shoulders square, the angle of the fiddle will be 45 degrees from fiddler’s body (halfway between parallel and perpendicular).

The top of the fingers will be level with the fiddler’s eyes.

From the two contact points on the left hand, the palm of the hand extends outward from the neck of the fiddle, at a 45 degree angle.

The left wrist is straight, not bent outward or angled in, but the left wrist is also relaxed.

The angle of the left arm to the fiddle, will be judged by the position of the left elbow. Free Fiddle Workshop teaches fiddlers to “slightly adjust” the position of the elbow, depending upon which string is being played. Forearm will be vertical when “A” string is played. Move the elbow slightly to the left for “E” string play. Move the elbow more profoundly to the right, for “D” and “G” string play. This guidance will require the left arm to slightly rock left and right. The slight rocking of the left arm, must be performed such that the fiddle REMAINS STATIONARY (i.e. Move the arm, not the fiddle.).

Third left arm/hand fundamental. One finger at a time, lifting first finger PRIOR to placement of second finger.

The muscles required to move each finger on the left hand, INTERFERE with each other.

Free Fiddle Workshop teaches the fiddler to place ONLY ONE FINGER DOWN AT A TIME.

When successive notes require different fingers, the fiddler lifts and relaxes the first finger, PRIOR to placing down the second finger.

WHOA!!!!!!! HOLD ON THERE ROCK!!! Doesn’t the lifting of one finger prior to the placing of another finger, result in a musical “gap”?????

ANSWER. No, but timing requires lots of practice, and the timing requires extreme coordination between the bowing arm and the left hand. A fundamental of good fiddle music is SEPARATION OF NOTES, in which a listener can hear one note end, before the next note begins. The “separation of notes” is primarily supplied by the BOWING ARM. The Free Fiddle Workshop bowing fundamentals, require very DISTINCT changes in arm movements. These different arm movements result in VERY SMALL “gaps” in the sound, during which no sound is heard (That’s the “separation of notes”.). The left hand “finger change” occurs DURING these same “bowing gaps”.

Fourth left arm/hand fundamental. Angle of “finger attack” on string, contact location for each finger for each string.

On guitar, a player places the palm of the hand, flat against the neck. Thus, all fingers bend “about the same”, and fingertip contact point is “about the same”.

Free Fiddle Workshop teaches the fiddler to hold the left hand, such that the left hand ANGLES AWAY from the fiddle, at a 45 degree angle. This “angular attack” of the left hand upon the fiddle, creates fiddle challenges that are not faced by guitarists.

The angle of attack for all four fingers, is slightly different for all four strings. On the same string, the index finger must “bend a little more” than the other three fingers. The pinky will attack the string “almost flat”, because the pinky is the shortest finger, and the pinky is farthest from the fingerboard.

Because of the different angles that each finger attacks a string, the point of fingertip contact with the string will be slightly different for each finger (unlike guitar). The fingertip contact for the index finger (index finger is more bent), is closer to the fingernail than the other three fingers, with the index finger “bent inwards”. The fingertip contact for the middle finger, is a point with the middle finger pointing straight down. The fingertip contact for the ring finger is a “flatter” portion of the fingertip, because the ring finger attacks the string at more of an angle.

In addition to the slightly different angles that fingers approach a string, the different “length” and “weight” of the four fingers result in a slightly different “feel” for each of the four fingers.

Finally, the four fingers are connected to different muscles within the palm of the hand. Use of each finger will result in a slightly different feeling in the palm.

To accommodate these slightly different “feelings”, fiddlers must learn to IMMEDIATELY return all hand muscles to a RELAXED FEELING, at the end of every note.

Fifth left arm/hand fundamental. No vibrato.

Rock loves the sound of a subtle fiddle vibrato.

However, Rock has not been able to figure out vibrato, without adversely affecting the left hand efficiency.

Additionally, Rock has observed fiddle players who “can’t hit the side of a barn” with their left hand, yet, wiggle their fingers in a feeble attempt to add vibrato to their TERRIBLE SOUNDING notes.

Fiddlers, BEFORE you go adding a “beautiful vibrato” to your play, it is extremely important to GET THE RIGHT PITCH and to GET THE RIGHT TIMING in your left hand. Vibrato is “icing on the cake”. Concentrate on the FOUNDATION before you add supplements. Proper pitch and timing will require an extreme amount of practice. Produce effective pitch and timing, BEFORE you even think about vibrato.

Maybe someday, AFTER Rock perfects pitch and timing (IF Rock ever perfects pitch and timing), Rock will revisit the “vibrato issue”.

Left arm/hand comments.

Between November 2013 and July 2014, Rock published 3 1/2 versions of Free Fiddle Workshop. In July 2014, Rock ran into a BRICK WALL, because Rock’s left hand control was insufficient to play effectively.

The left arm/hand guidelines above are the result of THREE YEARS of experimentation. As of this update (Sept 2017), Rock is finally hearing enough improvements in his play, to proceed with the publishing of the final version of Free Fiddle Workshop, version 4. Rock expects to complete Version 4 by Spring, 2018.

During the three years of left arm/hand experimentation, Rock tried everything he could possibly imagine, to gain control of the left hand: wrist bent inward; wrist bent outward; fiddle off to the side; fiddle out in front; fiddle elevated to head level; fiddle angling down; left upper arm resting against the body; stationary (not rocking) left arm position, requiring fingers to perform all movement; keeping fingers in place during play (i.e. not one finger at a time); etc.

The left hand/arm guidelines above are the result of Rock’s extensive experimentation. Obviously, the left arm/hand guidelines are complex, but Rock has found a level of complexity that works for Rock. Rock provides these guidelines in Free Fiddle Workshop, because other fiddlers may also require this level of complexity.

It is quite possible that some fiddlers may be more adaptable than Rock. It is quite possible that some fiddlers may be able to play effectively, with less complexity than that described above.

Some fiddlers may even be able to comfortably determine how to implement Yehudi Menuhin’s classical technique, of using pressure on the chinrest to support the fiddle, freeing up the left hand. When Rock tried the Menuhin technique, Rock experienced significant discomfort in the neck and head, and Rock quickly abandoned the Menuhin technique, which obviously worked for Menuhin.

CONCLUSION. During practice, LISTEN to the quality of your sound. If you can produce effective pitch and timing with less complexity than that taught by Free Fiddle Workshop, go for it!!!

The key to all of this guidance is, “PRACTICE, and see if it works! If it doesn’t work, you need to try something else!”

……………….end of “Workshop Objectives – Bow Control and Left Arm/Hand Control”……………..

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“FREE FIDDLE WORKSHOP” STYLE versus “CLASSICAL” STYLE

Free Fiddle Workshop style was developed by the Web author, Rock Reynolds, during the 3-year period prior to the initial publication of this site in November 2014. Rock found the Free Fiddle Workshop style to be effective. There are other styles of fiddle/violin playing, which other musicians have found to be effective.

YouTube hosts six excellent classical violin tutorials by the late Yehudi Menuhin, a 20th century violinist. This Web site highly recommends that fiddle/violin students find and view these Menuhin YouTube videos, regardless of the fiddle/violin style used.

Both “Free Fiddle Workshop” and Menuhin “classical violin” videos teach four similar concepts.

First Similar Concept – Both video sets teach that bowing power is provided only by the forearm when bow contact with the strings is near the tip of the bow.

Second Similar Concept – Both video sets teach that power to move the bow across the string changes from forearm to upper arm (and back) in the middle of a long bow stroke.

Third Similar Concept – Both video sets teach that the fiddle/violin is placed on collar bone, not on shoulder (NOTE: Previous versions of Free Fiddle Workshop taught fiddlers to place fiddle on shoulder. Rock Reynolds changed these instructions after watching the Menuhin videos.).

Fourth Similar Concept – Both video sets teach left hand control, using an exercise that the workshop calls “squawk” notes.

When fiddlers start playing notes, they should start out with fingers just touching the string, not pressing the string down to the fingerboard.

This practice method produces a note with a “squawk” quality.

This practice method teaches fiddlers to play “too lightly”, an easily correctable “flaw”. At the same time, this practice method teaches fiddlers to gain control of their fingers: to lift the fingers as little as possible; to move the fingers as efficiently as possible; etc.

The Menuhin videos do not refer to this method as “squawk” notes; however, the Menuhin videos teach the same concept with different words.

“Free Fiddle Workshop” and “classical violin” teach eight different concepts.

First Different Concept – Perpendicular plane.

Free Fiddle Workshop teaches a radical new bow movement that does not move along the perpendicular plane, but crosses the perpendicular plane between upbow and downbow.

“Classical music” teaches strict adherence, keeping the bow on the perpendicular plane of the instrument; however, close observation will reveal that classical musicians do not strictly conform to this guideline.

Second Different Concept – fiddler/violinist body.

Free Fiddle Workshop teaches a calm, but stationary body position with a closed stance. The bowing arm is responsible for the music, with a small heel bounce for rhythm.

The Menuhin videos teach a shoulder-width stance, with a fluid body, including the violinist’s head. In the Menuhin videos, swaying of the body assists the bowing arm with the musical performance.

Free Fiddle Workshop teaches that the right arm is DESIGNED for bowing, and that the right arm is THE MOST EFFICIENT BODY PART to impart the bowing. Free Fiddle Workshop teaches that use of the body to “help” with the bowing, TAKES AWAY the bowing responsibility from the right arm, the MOST EFFICIENT body part for bowing.

Third Different Concept – bow grip.

Free Fiddle Workshop teaches a firm, tight, but flexible grip called “The Claw”. This grip provides a backwards angle to the fiddle, allowing the bowing arm to operate closer to the fiddler’s body. The firm grip adds to the resistance, required to control the bow.

The Menuhin videos teach a classical grip, which is very flexible and loose, but with great control. Finger placement on the bow is very precise. Menuhin starts his grip lessons by having his students handle sticks.

The classical grip provides more flexibility than “The Claw”, but “The Claw” provides more power than the classical grip. In fiddle music, a hard driving, powerful rhythm, is more important than flexibility.

Fourth Different Concept – left arm/hand and chinrest.

Free Fiddle Workshop teaches a simple left hand grip with the thumb on the lower left hand portion of the fiddle neck and another contact point at the base of the index finger. The left hand should be as relaxed as possible.

Free Fiddle Workshop teaches non-use of chinrest for normal playing (single exception: when moving left hand from 3rd or 2nd position, to 1st position). Non-use of chinrest enables a much more relaxed neck and left shoulder; however, non-use of chinrest also requires two contact points between the fiddle and the left hand (thumb and base of index finger) for fiddle stability.

Unlike Free Fiddle Workshop, classical music teaches use of the chinrest to support the instrument. The support of the instrument by the chin, requires more tension in the neck and left shoulder, but the “chin support” then frees up the left hand for more robust access to the strings.

The Menuhin videos teach a much more complicated left hand hold, with lots of finger-control exercises. Menuhin starts one of the videos with only a single point of contact, the left thumb on the bottom of the violin neck. Efficient use of a single point of contact, requires most of the instrument support, to be provided by the musician’s head pressing down on the chinrest.

Classical music requires lots of changes in sound. Conversely, fiddle music is more focused towards a constant beat, with separation of notes and efficient shuffles.

The left hand finger exercises shown in the Menuhin videos, are incredibly complicated, far beyond the skill set taught in Free Fiddle Workshop.

Fifth Different Concept – single notes.

Free Fiddle Workshop teaches fiddlers to play single notes using the entire forearm, with short, but powerful movements.

The Menuhin videos teach violinists to play single notes using only the wrist for efficiency.

Contrary to classical instruction, Free Fiddle Workshop teaches that the forearm for single notes is MORE EFFICIENT than “wrist only”. Although the forearm is greater mass than the wrist, the forearm is a more powerful muscle, and the forearm is a LONGER LEVER than the wrist. In other words, the forearm doesn’t have to move as far as the wrist, in order to produce the same distance of bow movement. Further, the sound from forearm single notes, provides a better SEPARATION OF NOTES sound, resulting in better sounding music. Finally, the best fiddle music Rock has ever heard, was played by a classically trained violinist, who used the entire forearm for single notes. The “Hottest Fiddler” on this planet, Michael Cleveland, uses his entire forearm for single notes.

Sixth Different Concept – bow pressure.

Free Fiddle Workshop teaches fiddlers to always dig the bow into the strings for power and control.

The Menuhin videos teach violinists to glide the bow over the strings with control. Power (volume) is provided by longer bow strokes.

Although classical training TEACHES to not dig the bow into the string, Rock has OBSERVED that classical violinists DO dig the bow into the string.

Classical violinists place the bow on the strings, pressing down on the bow from above. Free Fiddle Workshop teaches fiddlers to maintain a very specific arm position, such that the arm presses down on the bow from above during downbow, but pulls the down from below, during upbow.

Seventh Different Concept – vertical angle of attack (angle at which bow contacts the string).

During Rock’s worthless “violin lessons” in elementary school, Rock was taught that the bow contacts the string at a slight, but CONSTANT angle. Skilled violinists and fiddlers DON’T DO THAT!!!

Both classical music and Free Fiddle Workshop teach a “bow angle” that constantly changes as the bow moves across a string; however, classical music style and Free Fiddle Workshop teach the OPPOSITE change in bow angle.

On downbow, classical violinists rotate their wrists in a counter-clockwise direction. At the end of a downbow, with the bow contact near the tip of the bow, a classical violinist’s bow is almost perpendicular to the string.

Free Fiddle Workshop teaches the fiddler to rotate the wrist in a clockwise direction on downbow, such that the bow contacts the string at a significant angle at the end of a downbow.

On upbow, classical violinists rotate their wrists in a clockwise direction. At the end of an upbow, with the bow contact near the frog, a classical violinist’s bow is at a significant angle to the bow

Free Fiddle Workshop teaches the fiddler to rotate the wrist in a counter-clockwise direction on upbow, such that the bow is almost perpendicular to the string at the end of an upbow.

Eighth Different Concept – raising bowing arm shoulder.

Free Fiddle Workshop teaches fiddlers to raise the right shoulder, JUST PRIOR to the start of a downbow (New for Version 4), and to totally relax the shoulder JUST PRIOR to the start of an upbow. The geometry of the Free Fiddle Workshop bowing arm, is at a location such that raising the shoulder puts the weight of the bowing arm JUST ABOVE the bowing plane, so that the weight of the arm PRESSES DOWN on the bow from above, during downbow. Relaxing the shoulder puts the weight of the bowing arm JUST BELOW the bowing plane, so that the weight of the arm PULLS DOWN on the bow from below, during upbow.

Some classical violinists raise and lower their bowing arm shoulders in THE EXACT OPPOSITE manner, than Free Fiddle Workshop. Unlike Free Fiddle Workshop, a classical bowing arm is always in a position, such that the weight of the arm is ABOVE the bowing plane. On upbow, classical violinists “curl in” their wrist, requiring additional “height” on the bowing arm. Some classical violinists find that raising the bowing arm shoulder on upbow, provides a better geometry to maintain weight of the arm on the bow.

……………….end of “‘Free Fiddle Workshop’ Style versus ‘Classical’ Style”……………..

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HOW FREE FIDDLE WORKSHOP WAS DEVELOPED

Free Fiddle Workshop was developed entirely through experimentation – trial and error.

By Summer, 2011, Rock had played fiddle using conventional methods for 33 years.

In Summer, 2011, Rock encountered the best fiddle music he had ever heard.

When Rock attempted to play the best fiddle music he had ever heard, Rock found his 33-year-old style to be INSUFFICIENT.

Although Rock has abandonded virtually all of the “fiddle mechanics” from his 17 years of fiddle lessons, the fiddle lessons provided Rock with the two “Keys to the Musical Universe”: “Squawk Notes” and “Note-at-a-Time”.

The “Note-at-a-Time” method, requires the fiddler to stop bow movement after every single note.

Rock found that, when he tried to play the best fiddle music he had ever heard using his 33-year-old style, Rock was unable to stop the bow between notes, without the bow bouncing uncontrollably.

Rock recognized that the PRIMARY DEFICIENCY with his 33-year-old style, was that Rock was taught to “never dig the bow into the string”. Rock realized that to maintain a steady bow, and to produce a robust sound, that the bow HAD TO DIG INTO THE STRING AT ALL TIMES, the opposite of what Rock was taught.

The constant pressure of the bow on the string, is the factor that produces RESISTANCE, which enables a STEADY BOW.

“Workshop Style” fiddling was developed between late 2011 and early 2012 (with numerous modifications since then).

Rock experimented with different grips, leading to the new grip described in this workshop, “The Claw”. “The Claw” is a very firm grip, contrary to the loose grip that was taught to Rock.

Rock experimented with different right arm positions, until he found a position at which the bow did not bounce between single notes.

Ultimately, the “logic” is very simple. “If your bow ain’t steady, you’re doin’ it wrong!”

A major challenge to right arm positions, was to find arm positions that provided cleanliness between notes (no squeaks, squawks, or crunches), and an arm position that could produce an EVEN pitch (no change in pitch as the bow moves across the string).

Rock’s experimentation and original research into fiddle mechanics, was influenced and augmented by observations of other fiddlers and by picking up “tips” from other musicians.

In the sessions, fiddlers will see physical and physiological explanations of arm/hand/finger movements.

In all cases, the explanations were written after the experimentation.

In many cases, the explanations did not seem to make sense, until the experimentation showed that a method worked.

……………….end of “How Free Fiddle Workshop was Developed”……………..

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All information on Free Fiddle Workshop is COPYLEFT, not copyright. Spread the real news. The author (real name Roger Reynard) claims NO OWNERSHIP of this material.