Info/Contact

This page created in November, 2015. Last update 13 November 2016.

 
 

This page includes the following nine sections:

 
 

 
 

CONTACT ROCK REYNOLDS

Rock can be contacted at rockreynolds@att.net.

……………….end of “Contact Rock Reynolds”……………..

……………………………………………………………………………………………

Back to section index.

 
 
 

FREE FIDDLE WORKSHOP

In the summer of 2011, Rock “discovered” fiddle music that was played perfectly. When Rock tried to “cover” this sound, he found that his “conventional style” of playing was woefully inadequate. Rock has left videos of his 2011 fiddling on YouTube, so that viewers can compare Rock’s 2011 fiddling with Rock’s 2016 fiddling.

 

By the end of 2011, Rock had developed the new grip and had developed first version of Workshop Style fiddling. In Feb, 2012, Rock announced this new style in two YouTube videos, still available for viewing.

 

Prior to this Web site, “Free Fiddle Workshop” consisted of YouTube videos.

  • The first 8-session version of Free Fiddle Workshop was published in November, 2013.
  • Version 2 was published in June, 2014, and Version 2a was published in July, 2014.
  • The current version, Version 3a was published in September 2014.
  • The next version, Version 4, is in the works (Rock is still modifying Workshop Style, especially left hand instructions). Rock encourages readers to check back to this Web site in early 2017. Hopefully, Version 4 will be complate by then.

 

Free Fiddle Workshop Web site was started on November 11, 2014. Free Fiddle Workshop will soon be updated to Version 4.0.

……………….end of “Free Fiddle Workshop”……………..

……………………………………………………………………………………………

Back to section index.

 
 
 

ROCK REYNOLDS BIO

REAL NAME: ROGER REYNARD. (“Rock Reynolds” is a marketing thang.).

 

PERSONAL.

  • Born Dec 7, 1952, in New York City. Moved to Ohio (Cleveland suburbs) at 6 months old.
  • Home for 59 years and Current Home: Ohio, Cleveland suburbs (Strongsville, Parma Hts.; Parma; Middleburg Hts.).
  • Previous Homes: Orrville, Ohio (1 1/2 years) and Hot Springs, Arkansas (1 year).
  • Married/Divorced twice. First marriage 14 years, second marriage 11 years, both good. Most people determine “success” in a marriage by how long the marriage lasts. Rock determines “success” in a marriage by whether or not he got out of it.
  • Three children, five grandchildren.
  • Current home: Strongsville, Ohio.

 

Rock abandoned previous plans to attend violin making school in Salt Lake City, Utah (Bad vibes when Rock tried to move there in Feb 2015. Unbelievably, unlike everyplace else, Rock’s applications for two apartments were rejected.). After a 2 1/2 year absence, Rock returned “home” to Cleveland, Ohio, in March, 2015.

 

WORK EXPERIENCE. 39 years workin’ for “The Man” (under The Man’s thumb).

  • Rock’s “specialty” in Corporate America was “getting bosses to retire”.
  • Retired Air Force Reserve Major (25 years, C-130 Instructor Navigator, 3000+ hours, Air Medal for humanitarian missions over Bosnia in 1993/1994).
  • Retired computer dude.
  • 11 years Ohio Bell (1981 – 1992, Unisys Data Communications Analyst, Cost Analyst).
  • 20 years Senior Network Engineer/Network Engineer/Department Chair/IT Instructor (Microsoft, Cisco, Novell, Unisys).

 

CURRENT JOB. Rock calls himself a “Fiddle Instructor”.

  • Rock doesn’t have any students currently, so Free Fiddle Workshop is Step 1.
  • Rock is devoting the rest of his life to music, mostly fiddle.
  • Rock considers the samples that he has posted, suitable to classify himself as a “Fiddle Instructor”. Rock’s goal is to improve the samples to a level of quality at which Rock could add “Fiddler” to his job description.

 

EDUMACATION.

  • Master of Science, Computer Science, University of Oklahoma, Norman, Oklahoma, 1978.
  • Bachelor of Arts, Mathematics, Case Western Reserve University, Cleveland, Ohio, 1974.

 

Rock also plays guitar and sings. Rock’s specialty is Hillbilly Music. Rock has three cool guitars:

  • 1991 Santa Cruz Tony Rice model (Indian Rosewood). This guitar design is based on the 1935 Martin used by the late Clarence White (The guitar was later owned by Tony Rice). The sound hole is slightly bigger than normal dreadnaught, and the fingerboard slightly runs over the edge of the sound hole. Rock has heard the theory, that the slightly greater size of the enlarged sound hole, minus the portion of the soundhole covered by the fingerboard, equals the size of the standard sound hole.
  • 1976 Gretsch Country Gentleman (Chet Atkins model). Unlike the 1964 Country Gentleman used by George Harrison with a hollow back (leather cover for easy access to electronics), this Country Gentleman has a solid back.
  • 2013 American Fender Telecaster.

 

ROCK’S FIVE BIGGEST COMPLIMENTS.

  • First Biggest Compliment (AF Reserve Pilot): “Rock, you have a marvelous way of stating the obvious.”
  • Second Biggest Compliment (Two Judges): “Fines and court costs waived.”
  • Third Biggest Compliment (Boss): “Rock, I don’t perceive a sense of urgency about you.”
  • Fourth Biggest Compliment (Assistant Prosecutor): “Why aren’t you cooperating?”
  • Fifth Biggest Compliment (From a chick at a Karaoke bar, after Rock described himself as a “fiddle instructor”): “Yeah, I can see that.”

……………….end of “Rock Reynolds Bio”……………..

……………………………………………………………………………………………

Back to section index.

 
 
 

ROCK REYNOLDS MUSICAL EXPERIENCE

MUSICAL EXPERIENCE. Technically, Rock has played fiddle starting in Spring, 1978 (not counting 5 years of violin from 4th-8th grade). Spiritually, Rock “just started” playing fiddle on 1 Sep 2016, when he finally calculated proper upper arm power requirements!!!

  • First 33 years of fiddle, practicing the wrong stuff, and sucking (but having fun).
  • Years 33 through 38, figuring out how to play (still having fun).
  • After year 38 (1 Sep 2016), finally practicing the right stuff (It will still take awhile for Rock to “burn in” the talent.).

 

Back to section index.

 
 

PROBLEM WITH “LESSONS”. Rock took 17 years of fiddle lessons and 1 year of violin lessons during his first 38 years of so-called “fiddling” (not counting two years of private so-called “lessons” during Rock’s elementary school years).

  • The 1 year of “violin lessons”, just as Rock’s two years of “violin lessons” from 4th and 5th grades, were a total waste of time. The so-called “lessons” consisted of “going through books”, playing terrible songs every week, and Rock “not practicing enough”.
  • Any instructor who conducts lessons by “going through books”, is INTENTIONALLY ripping off the student!!!
  • If the instructor knows how to play the instrument, the instructor DID NOT LEARN how to play, by “going through books”!
  • The instructor learned how to play by being TAUGHT very SPECIFIC practice methods! No amount of practice can improve a student who does not use effective playing techniques! Practice makes “permanent”, NOT “perfect”.
  • Practicing the wrong methods, as these instructors teach, DRIVES STUDENTS AWAY from the instrument.
  • As readers may suspect, Rock has a big chip on his shoulder towards so-called “instructors” who HIDE Knowledge from paying students.

 

The 17 years of fiddle lessons allowed Rock to improve from “horrific beyond description”, all the way up to “pretty bad”. The 17 years of fiddle lessons were fun and rewarding; however, the instructor would not teach Rock how to move the bowing arm. Whenever Rock tried to talk to the instructor about bowing, the instructor’s response was always the same: “I don’t care how you bow.” (How can a fiddle instructor “not care” how a student bows???)

 

Back to section index.

 
 

SEVEN CONCEPTS INCLUDED FROM FIDDLE LESSONS. The fiddle lessons taught Rock the following seven concepts that are included in this workshop:

  • Included Lesson Concept #1 – Student picks tunes, practice same tunes every week. As mentioned elsewhere on this page, going through books and playing different songs every week, is a fucking waste of time and complete ripoff. Becoming a good fiddler takes time. Students need to become PROFICIENT. Proficiency requires detailed analysis of every note in a tune. Students should be EXCITED about lessons and practice, as students should RECOGNIZE PROGRESS every week.
  • Included Lesson Concept #2 – Calm.
  • Included Lesson Concept #3 – Slow bow movement. Prior to fiddle lessons, Rock had often heard, “Use as much bow as possible.” The fiddle lessons taught Rock that, especially during hoedowns, a shorter, slower bow movement provides better control.
  • Included Lesson Concept #4 – Music is rhythm, not notes. It took Rock about 2 1/2 years to believe his fiddle instructor that music is rhythm, not notes. Rock is now a “music-is-rhythm-not-notes” disciple.
  • Included Lesson Concept #5 – Two Keys to the Musical Universe (“squawk” notes and note-at-a-time). These two keys provided the foundation for the development of the Workshop Style.
  • Included Lesson Concept #6 – Do not “feel” the music; instead, LISTEN to the music. This important concept is counter-intuitive to many, many musicians. When learning to play, thinking about mechanics, devoting brain power to “listening” is a challenge. As mechanics become more “natural”, brain power for “listening” becomes available. Although rhythm is the ultimate concern, Free Fiddle Workshop introduces a student to fiddle music, by providing guidance concerning mechanics, without regard to rhythm. “Mechanics” must be in place prior to learning rhythm.
  • Included Lesson Concept #7 – Bow does not leave the strings during play. At one time, “bow does not leave the strings” was a common fiddle contest rule. There are minor exceptions for the beginning strokes, and possibly even the very end of a tune. “Bow does not leave the strings” rule does not mandate a continuous sound from the fiddle, as small rests can be provided by holding the bow motionless on a string (taught in Free Fiddle Workshop).

 

Back to section index.

 
 

TEN CONCEPTS ABANDONED FROM FIDDLE LESSONS.> From 2011 through 2014, Rock performed experimentation and research to figure out bowing arm movements, so that his bow didn’t bounce uncontrollably all over the place.

  • In the summer of 2014, for the first time in 36 1/2 years, Rock was able to play in front of small audiences with very reasonable bow control.
  • From 2014 through 2016, Rock changed the left hand/arm instructions after watching outstanding YouTube violin tutorials from the late Yehudi Menuhin and significant experimentation.

 

After 33 years of playing the fiddle, Workshop Style experimentation resulted in the ABANDONMENT of the following ten concepts that were taught to Rock in his fiddle lessons.

  • Abandoned Lesson Concept #1 – Bow pressure. Rock’s fiddle lessons taught, “Never dig the bow into the strings; instead, glide the bow across the strings.” Workshop Style teached the opposite: “ALWAYS dig the bow into the strings.” Bow pressure on the strings provides RESISTANCE, which enables CONTROL, especially the ability to stop/start the bow in the middle of a bowstroke. In order to provide pressure on a string, the bowing hand NEVER provides force in the direction of the fiddle (as Rock did during his fiddle lessons); instead, on upbow, the hand provides force in the direction of the fiddler’s body, and on downbow, the hand provides force slightly away from the fiddler’s body. These forces are met with resistance by the string, and, eventually, the hand will move towards or away from the fiddle. The resistance of the string provides CONTROL, resulting in a steady bow.
    • First discussion of Abandoned Lesson Concept #1. Most importantly, the power to provide pressure of the bow on a string, must originate from the upper arm, not the forearm. The upper arm is more powerful than the forearm, and, being attached to the fiddler’s body (unlike the forearm), is easier to move smoothly. Power from the upper arm is another of the many nonintuitive fiddling concepts. Workshop Style fiddling encourages fiddlers to think of the forearm as an “extension lever” of the upper arm. When watching other fiddlers play, pay more attention to the upper arm than the forearm, and notice how little the upper arm moves. Upper arm control is especially notable in fiddler Michael Cleveland. Workshop Style fiddling techniques were enhanced by watching YouTube videos of Michael Cleveland. Michael Cleveland’s fiddling style, like Workshop Style, is extremely “unorthodox” compared to classical/conventional/traditional style. However, even classical violinists use the upper arm for power. Upper arm power is especially noticeable on classical violinists’ upbows, as the forearm “curls under” the upper arm (Classical downbow provides power differently than upbow. Look at a classical violinist’s arm, which is contorted differently on upbow than on downbow. In ALL fiddling styles, downbow is NOT THE REVERSE of upbow; instead, reversal of bow direction REQUIRES different muscles applying power in non-opposite directions.). The requirement for continual pressure on the strings for smooth playing, is especially important when the bow changes strings (“bow altitude”). Pressure while changing bow altitude is another non-obvious physical requirement, because, during string change, when a fiddler desires no sound during the string change, the bowing arm will naturally have a tendency to “lighten up” to produce no sound. Fiddlers must learn to “maintain pressure” and to rock the bow like a lever on a fulcrum, in order to produce no sound during bow altitude change.
    • Second discussion of Abandoned Lesson Concept #1. The upper arm has four muscles. Upper arm control of the bow concerns the two primary muscles in the upper arm: “biceps” on top of the upper arm; and “triceps” on the bottom of the upper arm. In muscle movement decription, a muscle providing power for a stress movement is called an agonist, and a muscle that counteracts the stress movement is called an antagonist. Normally, and in bow control, when the agonist provides power, the antagonist should relax. Normally, and in bow control, the biceps and triceps have an agonist/antagonist relationship. In Workshop Style fiddling, the triceps (bottom of the upper arm) is the agonist (expanding agonist) on downbow (pressing the bow down on the string), and the biceps (bottom of the upper arm) is the agonist (contracting agonist) un upbow (pulling the bow down onto the string). Bad news: This alternating use of muscles for every change in longbow direction, requires fiddlers to practice extensively to gain the feel necessary for bow control. Good news: That’s all there is! Although these feelings are complicated, once a fiddler learns these feelings, bowing starts to feel natural!
  • Abandoned Lesson Concept #2 – Bow Arm Position. Rock’s fiddle lessons taught the conventional/classical bow arm position, in which the arm is above the instrument, and bow pressure on the string is always downward from above. Workshop Style teaches a very precise arm position that allows ALTERNATING bow pressure directions. On downbow, the bow is PRESSED DOWN on the string, using pressure from slightly above. On upbow, the bow is PULLED DOWN on the string using pressure from slightly below. As a result, the default bow arm position of Workshop Style is much lower than the default bow arm position of conventional/classical style.
  • Abandoned Lesson Concept #3 – Left Arm Position. Rock’s fiddle lessons taught to place the fiddle on the shoulder. Workshop Style teaches to place the fiddle on the collar bone (as Yehudi Menuhin teaches in his YouTube classical tutorials). Placing the fiddle on the collar bone allows relaxation of the shoulder, and provides ease of mobility for the left arm to slightly change when the fiddler changes strings. The left hand fingers are connected to the left forearm and left upper arm muscles. Relaxation of the arm muscles allows relaxation of the left hand fingers.
  • Abandoned Lesson Concept #4 – Bow Grip. Rock’s fiddle lessons taught a loose, conventional grip, in the middle of the frog, with the exception that the thumb was placed under the frog (Thumb under the frog is used by many fiddlers, including Michael Cleveland, the late Kenny Baker, Mark O’Connor, and Tim O’Brien. Strict conventional instruction teaches to place the thumb BETWEEN the frog and the stick.). Workshop Style teaches a brand new grip, called “The Claw”. The Claw is a very tight grip at the end of the frog (much like pool players use on a pool cue). This stronger grip of The Claw, provides increased power and control (longer leverage, with “fulcrum” at end of bow), to accompany the power and control of the bowing arm.
  • Abandoned Lesson Concept #5 – Single notes. Rock’s fiddle lessons taught to use only the wrist (with a loose grip) to play single notes. Workshop Style teaches to use the entire forearm for single notes. Although the forearm has more mass than the wrist, the forearm muscle is more powerful than the wrist, and the longer length of the forearm provides a more effective (i.e. “longer”) “lever”, requiring little forearm movement, compared to “wrist only” movement.
    • Discussion of Abandoned Lesson Concept #5. The use of only the forearm to produce a single note, like many fiddle playing concepts, is EXTREMELY COUNTERINTUITIVE. In order to use ONLY the forearm, the upper arm must remain stationary. If you bend your right elbow, you will notice that the right wrist heads in the direction of the right shoulder, and THAT AIN’T WHERE THE FIDDLE IS! Most fiddlers are taught to move the bow in a plane, that is perpendicular to the fiddle strings. “Forearm only” movement results in a bow direction that is NOT on the perpendicular plane. Nevertheless, by keeping a SINGLE-NOTE bowstroke short and powerful, a cohesive single note will result, despite the non-adherence to the perpendicular plane (Demonstrated in Free Fiddle Workshop, Session #08). Conversely, if the fiddler attempts to play a single note by moving the hand towards the fiddle on the perpendicular plane, the upper arm rocks, and thus the upper arm is not stationary. For an example of single notes played by the forearm, not on the perpendicular plane, watch YouTube videos of fiddler Michael Cleveland. To view the direction of bow movement, do not watch Michael’s hand (too difficult to follow); instead, watch the tip of Michael’s bow. Especially in Michael’s jaw-dropping cross-shuffles, the bow tip moves back and forth like a windshield wiper, not along the perpendicular plane.
  • Abandoned Lesson Concept #6 – Occasional “bad note”. Rock’s fiddle lessons taught that an “occasional bad note” is OK, providing that the fiddler’s rhythm remains constant. Certainly, there is merit to the concept that rhythm is more important than precise intonation; however, Workshop Style encourages fiddlers to strive for perfection, to eliminate “occasional bad notes”. Rock has heard fiddlers who do not play “occasional bad notes”, and their fiddle tunes acquire a higher dimension of power and enjoyment. Workshop Style provides practice methods that fiddlers can use to eliminate “occasional bad notes”.
  • Abandoned Lesson Concept #7 – Shuffle/Waltz Beat. Rock’s fiddle lessons taught a standard shuffle beat that placed equal emphasis on the two single notes. Rock found that his second single note ALWAYS lacked cohesiveness. In early 2015, Rock devised a practice session to put emphasis on the SECOND single note, and he ACCIDENTLY discovered that this sound MATCHED the sound of the perfectly played fiddle tunes that he had heard! Thus, Workshop Style teaches emphasis on the second shuffle note, and, similarly, teaches a waltz emphasis at beat 3 1/2, not 1.
  • Abandoned Lesson Concept #8 – Stance. Rock’s fiddle lessons taught a shoulder-width stance. After watching a fiddler playing perfect fiddle music with a closed (feet together) stance, Rock discovered that the closed stance provides a more stable platform for play, an important foundation for consistency. Additionally, Workshop Style teaches a very stationary body/fiddle position, requiring the bowing arm, not the fiddler’s body, to impart the music (Search YouTube for videos of Michael Cleveland’s band, Flamethrower, and observe how stationary the musicians remain.).
  • Abandoned Lesson Concept #9 – Left hand, multiple fingers at a time. After gaining reasonable bow control in late 2014, Rock found that, in search of musical perfection, the finger control of the left hand is more challenging than bow control. Rock experimented for two years with different left hand/arm positions. In April, 2016, Rock finally discovered a left hand/finger technique that shows great promise. Rock found that, to gain as much positive intonation as possible, the left hand must be trained to place only one finger down at a time (exception of course, on double-stops). “One finger at a time” is not what Rock was taught. The fingers, especially the middle finger (Finger #2 to classical musicians) and the ring finger (Finger #3 to classical musicians), interfere with each other. Proper finger training requires significantly more practice time than bow training. When a finger is placed on a string, the thumb and the other three fingers must be taught to “stay out of the way”, but the other three fingers must also be taught to “not stray too far”. Most often, when a finger is placed on a string, another finger must be taught to lift off of the string. As of June, 2016, Rock is finally making significant progress in left hand/finger control, but Rock still faces significant practice time to improve.
  • Abandoned Lesson Concept #10 – Left hand placement, finger direction. Rock was taught to place the left hand in a position, such that the left hand fingers approach the string as vertically as possible, for maximum power. In the two years of experimentation, Rock found that a “vertical-finger” approach to the string resulted in too much interference between fingers, and too much muscle use in the wrist and forearm to maintain position. Additionally, “power” is not required for left hand fingers, as finger placement should be as light as possible. Free Fiddle Workshop teaches a left hand placement such that the fingers approach the string from a non-vertical, sideways angle. This “sideways” concept eliminates intereference between fingers, and it allows the left hand/wrist combination to remain extremely relaxed, and it allows non-playing fingers to remain in a “ready” position. Fiddler Michael Cleveland appears to use a somewhat “sideways” approach to the left hand. Watch Michael’s YouTube videos and concentrate on his left hand. When Michael uses the pinky (finger #4 to classical musicians), the pinky is almost horizontal, such as the method taught in Free Fiddle Workshop.

……………….end of “Rock Reynolds Musical Experience”……………..

……………………………………………………………………………………………

Back to section index.

 
 
 

UNNAMED FIDDLER – MATH OF WORKSHOP STYLE SOUND

In summer, 2011, Rock encountered a fiddler, unnamed by the fiddler’s request, whose fantastic sound just dropped Rock’s jaw!

 

“Shockingly” (tongue-in-cheek), this Unnamed Fiddler made very clear to Rock, an unwillingness to be associated with Rock’s controversial and outspoken attitudes (Unnamed Fiddler is not the first, nor the last, to desire separation from Rock’s controversial and outspoken nature.).

 

Nevertheless, this ENTIRE WORKSHOP is dedicated towards the re-creation of the Unnamed Fiddler’s unbelievable quality of sound, PERFECT FIDDLE MUSIC. The Unnamed Fiddler’s sound can be described as follows:

  • No squeaks, squawks, or crunches;
  • Perfect intonation, no unintended change in pitch throughout entire bowstroke (requiring not only perfect finger placement, but also perfect bowing);
  • Perfect rhythm;
  • Perfect “Hillbilly Beat” timing with perfect variations;
  • Perfect Waltz timing with perfect variations;
  • Separation of notes; and
  • Volume power and control. On waltzes, effective sounds on long bow strokes, sometimes involve a change in volume (usually a softening of the volume, prior to note change), without a change of intonation (i.e. “smoothness”).

 

HOW DO YOU DO THAT???

 

“Fiddling” has a reputation, unfortunately a deserved reputation, for being “sloppy”. During Rock’s brief violin lessons (NOT the 17-year fiddle lessons), one instructor provided guidance on “how to put ‘crunch’ INTO a note”! Fiddlers, you don’t WANT crunch!!!

 

Rock’s 17-year fiddle instructor said that he “didn’t mind” an “occasional bad note”, as long as the rhythm was consistent. Even some fiddle contest judging rules, encourage “less attention” to intonation. Certainly, rhythm is more important than intonation; however, fiddlers who master both rhythm and intonation, take fiddle music to a new, higher level of entertainment. Further, the “separation of finger movement” practice discipline, required for improved intonation, also teaches the fingers to respond to rhythm more accurately, providing a more powerful, smoother rhythm. In other words, intonation and rhythm have a synergistic relationship.

 

The Unnamed Fiddler did not play an “occasional bad note”. “Workshop Style” fiddling is a brand new method, developed through experimentation, dedicated to the re-creation of PERFECT FIDDLE MUSIC, such as the music played by the Unnamed Fiddler.

 

To approach the Unnamed Fiddler’s sound, Rock changed virtually all of the mechanics that Rock had used in his 17 years of fiddle lessons. Nevertheless, the 17 years of fiddle lessons remain the best use of Rock’s money ever, because the 17-year fiddle lessons provided the FOUNDATION Rock needed, to develop Workshop Style fiddling (See seven “Included Lesson Concepts” above.).

 

NOTE: Ironically, the SECOND BEST value Rock has ever received for use of his money, is the financial support that Rock lent to the Unnamed Fiddler. Rock spent over $13,000 in financial support for the Unnamed Fiddler, a profound amount of money for Rock. Nevertheless, although Rock got the heave-ho from the Unnamed Fiddler, Rock’s $13,000 were dedicated to what Rock considers to be the MOST IMPORTANT ISSUE facing mankind – the power of music. Rock’s finances are in no condition to repeat this level of support, but the Knowledge gained from the $13,000, far exceeds any amount of money! On several occasions, the Universe has provided Rock with the minimum amount of money that Rock needed, at the exact time that Rock needed the money.

 

Not only are the left/right arm mechanics totally dedicated to replication of the Unnamed Fiddler’s sound, the FOUNDATION of Free Fiddle Workshop is based on the performance of the Unnamed Fiddler, when the Unnamed Fiddler was 6 YEARS OLD!

  • Rock experienced a 2-years-to-the-day encounter with the adult Unnamed Fiddler, starting in August, 2011. Six weeks AFTER being blown away by the Unnamed Fiddler’s music, Rock realized that he REMEMBERED the Unnamed Fiddler, from her first fiddle contest, in 1994, in Wooster, Ohio, at a contest called “Fiddle Fest”.
  • The Unnamed Fiddler is the only child performer that Rock remembers from the contest, and THERE’S A REASON. Reason: This 6-year-old played BETTER THAN ROCK!!!
  • The 6-year-old Unnamed Fiddler’s tunes were slow and simple, but the bowing and intonation were outstanding! Rock placed second in the Open Division at Fiddle Fest that year (Rock had the best accompanist. Rock no longer uses accompanists.), but while he watched the 6-year-old Unnamed Fiddler (Rock did not know her name then.), Rock said to himself, “If I had to play against her, using her tunes at her speed, she’d kick my ass!!! She’s not even holding the bow right!”
  • In 1994, Rock could not move the bow across a string, producing a smooth, consistent sound, as the 6-year-old Unnamed Fiddler did! The 6-year-old Unnamed Fiddler didn’t even use a conventional grip, she just grabbed the bow (like Free Fiddle Workshop). In the hallway after the 6-year-old Unnamed Fiddler’s performance, Rock spoke briefly to the Unnamed Fiddler (Rock didn’t know her name.), saying, “You did an excellent job. I’ve been taking lessons longer than you’ve been alive. My bow bounces all over the place. Yours doesn’t.” Unlike the 24-year-old Unnamed Fiddler 17 years later, the 6-year-old Unnamed Fiddler did not look happy with her outstanding performance. There were no smiles on the face of the 6-year-old Unnamed Fiddler, and the 6-year-old Unnamed Fiddler said nothing.
  • The 6-year-old Unnamed Fiddler disappeared from Rock’s memory for 17 years. But the 1994 lesson that Rock learned from the 6-year-old Unnamed Fiddler remained: slow, smooth bowing, with power and control, is the FOUNDATION of fiddling.
  • Free Fiddle Workshop advertises that slow, smooth bowing (intonation constant), with power and control (able to stop/start the bow at any time), is the MOST IMPORTANT skill required for fiddling. Bow control should be the FIRST skill practiced, because all other bowing skills rely on that foundation.
  • Rock didn’t realize that the Free Fiddle Workshop foundation was based on the 6-year-old Unnamed Fiddler’s bowing, until a year after the adult Unnamed Fiddler gave Rock the heave-ho! In 2014, Hot Springs, Arkansas, when Rock was reviewing Session #06 (teaching bow control), Rock looked at his bowing arm and said to himself, “Holy shit!!! That looks like the 6-year-old Unnamed Fiddler!” Only then did Rock recall, where he learned the lesson about slow, smooth, powerful bowing.

 

Rock describes Michael Cleveland as the “hottest fiddler on this planet”, and Rock highly recommends that all fiddlers view Michael’s YouTube videos. Nevertheless, the Unnamed Fiddler has superior power and clarity of notes, and the Unnamed Fiddler’s tunes are most appropriate for fiddlers who want to learn tunes. Additionally, the Unnamed Fiddler’s waltzes are the most beautifully played waltzes Rock has ever heard. Rock was not a big fan of waltzes, until he heard the Unnamed Fiddler’s renditions. The power, clarity, control, and smoothness of the Unnamed Fiddler’s waltzes are unbelievable. Although “Workshop Style” fiddling does not teach vibrato (Intonation and rhythm, which take years to learn, have priority.), Rock does love a subtle controlled vibrato, such as that played by the Unnamed Fiddler.

……………….end of “Unnamed Fiddler – Math of Workshop Style Sound”……………..

……………………………………………………………………………………………

Back to section index.

 
 
 

MOST PROFOUND CHARACTERISTIC OF MUSIC

The most profound characteristic of music that Rock discovered, is that LISTENERS DON’T KNOW WHAT THEY LIKE!

  • If you ask a listener who loves a song, “What do you like about the song?”, the listener will provide the most honest answer “possible”, with lots of details, yet, the listener’s “honest” answer, in reality, has NOTHING TO DO with the REAL reasons that the listener likes the song.
  • When Rock started his 17 years of fiddle lessons, Rock’s “honest” answer for the reason that he liked a song, was that Rock “liked the notes”. It took 2 1/2 years for Rock to realize that the RHYTHMS and TIMING, not the notes, were the REAL reasons that Rock liked certain songs.
  • Rock has heard musicians claim that there are no “laws” for good music. Rock highly disagrees with the “no-laws-for-good-music” claim. When two artists play the same song, one artist will CONSISTENTLY sound better than the other artist. There are very subtle MATH DIFFERENCES in sound quality between artists, and these math differences provide input to the DEFINITION of good music. The Unnamed Fiddler’s CD’s provided the definition of good music (NOTE: The Unnamed Fiddler’s performances were as well played as the CD’s; however, to acquire a recognition of the sound characteristics, brief performances do not provide sufficient time to learn the qualities.).

 

A large portion of song quality is determined in VERY SHORT TIME SPANS, such as:

  • Spacing between notes;
  • Very short periods of “no play” (Rock calls these delays “microstops”: the ability to stop the bow on a string, producing no sound.);
  • “Direct transition” to note vis-a-vis “slide transition” to note; etc.

 

A fiddler’s ability to change strings (Rock defines this characteristic as “bow altitude”.) without squeaks, squawks, crunches, or bouncing, also provides a subtle smoothness to which listeners are often unaware.

 

A musician’s control over these very short-lived, but IMPORTANT components, are very often the real reasons that listeners enjoy a song; however, most listeners DO NOT REALIZE what they hear.

……………….end of “Most Profound Characteristic of Music”……………..

……………………………………………………………………………………………

Back to section index.

 
 
 

QUEST FOR “PERFECT FIDDLE MUSIC”

When Rock first purchased the Unnamed Fiddler’s CD’s in Summer, 2011, Rock was blown away by the POWER and the CLEANLINESS of the Unnamed Fiddler’s fiddle tunes. Rock inundated himself with the Unnamed Fiddler’s fiddle CD’s for six months. While concentrating on the power and cleanliness of the Unnamed Fiddler’s tunes, Rock pondered three fundamental questions:

  • First fundamental question: WHY does this music sound so good?
  • Second fundamental question: HOW can a fiddler control a bow, to create these fantastic sounds?
  • Third fundamental question (arising well after the first two): HOW can a fiddler control the left hand fingers, to create these fantastic sounds? (NOTE: At first, Rock had foolishly thought that finger control would be “easy” after bow control.)

 

Back to section index.

 
 

FIRST ANSWER – “WHY” DOES MUSIC SOUND SO GOOD (Five Characteristics)? Rock’s analysis of the Unnamed Fiddler’s music, led Rock to the following five characteristics of “Perfect Fiddle Music”:

 

First Characteristic – Five Obvious Factors. The five obvious superior qualities of the Unnamed Fiddler’s tunes, were that the tunes were played with no squeaks, no squawks, no crunches, perfect rhythm, and perfect intonation.

  • Long ago, Rock would have asked the question, “What more could there be to ‘good music’, other than these five obvious factors?” During Rock’s 17 years of fiddle lessons, Rock’s instructor often made the following comment: “If you want to hear really boring music, get a copy of ‘The Boston Pops Plays Fiddle Music’. Perfect intonation, perfect rhythm, and it’s boring as Hell.”
  • Rock’s instructor made a very good point about the quality and excitement of fiddle music. The MATH DEFINITION of exciting fiddle music requires MORE than the five obvious superior qualities.

 

Second Characteristic – Separation of notes. The first “non-obvious” characteristic that Rock was able to discern, was “separation of notes”. In the Unnamed Fiddler’s tunes, a listener could hear the END of each note, PRIOR to the beginning of the subsequent note. For many fiddlers, notes seem to “run together”.

 

Third Characteristic – Hillbilly Beat (Timing).

  • Rock differentiates between “rhythm” and “timing”. Rock defines “rhythm” as the overall pace of a song BETWEEN measures (consistency of pace). Conversely, Rock defines “timing” as the spacing of notes WITHIN a measure.
  • “Special effects” can sometimes be gained by delaying a note, or sometimes hitting the note just a little bit early.
  • In most hoedowns, a “standard” shuffle consists of a quarter note, followed by two eighth notes. Session #8 of Free Fiddle Workshop provides a demonstration.
  • If the “standard” shuffle is played with perfect division of the quarter and eighth notes, the “standard” shuffle is BOOOOOOORRRRRRING!
  • To add excitement to a hoedown, the Unnamed Fiddler played shuffles with a HILLBILLY BEAT! In the hillbilly beat, the TWO EIGHTH NOTES ARE SLIGHLY DELAYED, and the EMPHASIS IS PLACED ON THE SECOND single note, not the first!
  • Editorial comment. The “emphasis” described above refers to “volume”. Don’t confuse “volume” with “importance”. In a standard 4-beat measure, the LOWER VOLUME notes, the first and third beats, are MORE IMPORTANT than the higher volume notes, the second and fourth beats. Standard improvization guidelines say that a musician’s notes should match the chord structure of the song, on the first and third beats of a measure, then, on the second and fourth beats, do “anything you want”. Rock considers the concept of “more volume on less important notes” to be EXTREMELY COUNTERINTUITIVE. Of course, variations from the “standard” Hillbilly Beat, are encouraged to provide excitement to a song.

 

Fourth Characteristic – Waltz Beat. As with the Hillbilly Beat, the most effective waltz beat is to place emphasis on the non-important note, at beat 3 1/2, not one (First beat in a measure is the most important.). Once again, variations encouraged.

 

Fifth Characteristic – Volume Power and Control. If played cleanly, a loud note is usually more effective than a soft note (Audience can hear the note better.). On long bow strokes such as those in many waltzes, an additional effectiveness can be added by smoothly softening the volume, just prior to note change.

 

Back to section index.

 
 

SECOND ANSWER – “HOW” TO CONTROL BOW. Rock’s analysis of the Unnamed Fiddler’s music, led Rock to the following three methods of “bow control” for Perfect Fiddle Music:

 

First Method – Constant Pressure on Bow. To provide power and control, the Unnamed Fiddler always pressed the bow onto the string, resulting in resistance, control, and volume (See “Abandoned Lesson Concept #1” above.). Most fiddlers are taught, such as Rock was taught, “Never press the bow onto the string; instead, glide the bow across the string.”

 

Second Method – Forearm to Play Single Notes. For effective Hillbilly Beat and other timing, the Unnamed Fiddler used the forearm only to play single notes (See “Abandoned Lesson Concept #5” and discussion above.). As mentioned previously, using the forearm to play single notes, is very counterintuitive. Rock was taught to use the wrist to play single notes.

  • How could the forearm, with so much more mass than the wrist, play a note more effectively? Answer: Because the forearm is more powerful than the wrist, and the forearm is a LONGER LEVER than the wrist, thus requiring less muscle movement for equivalent bow movement.
  • How could bow movement provided by forearm, resulting in bow direction NOT on perpendicular plane, result in cohesive note? Answer: For very short bow movements required for single notes during hoedowns, cohesive notes ARE PRODUCED by proper bow movement, even bow movement that is not on perpendicular plane.

 

The use of forearm only for single notes, is especially conducive to “separation of notes” and “Hillbilly Beat”.

  • Examine a half measure of “standard” shuffle consisting of six bowstrokes: quarter note, two eighths, quarter note, two eighths.
  • For both “eighth” couples, the bow moves in the opposite direction.
  • From eighth note to quarter, an entirely different muscle (upper arm on downbow, forearm on upbow) is used, providing force in a different direction from the eighth.
  • Further, the two quarter notes, one downbow and one upbow, also require different applications of upper arm force.
  • Result: Every note in this 6-note sequence is played with a different muscle, providing force in a different direction. These different directions result in a clear separation of sound between the notes.

 

Third Method – Stance. Throughout performances, the Unnamed Fiddler remained balanced, poised, and calm, with erect neck and body, often with heels together in a closed stance. Correct posture provides the foundation for bowing arm and fingering arm.

 

The “closed stance” (heels touching) is another counter-intuitive concept of fiddling. Rock had approached “stance” under the concept: “a wider base provides more stability”.

  • But the “stability” provided by a wider stance, ENABLES a fiddler to sway the body back and forth.
  • Free Fiddle Workshop recommends a NON-SWAYING, STABLE fiddle for most effective control. A “closed stance” REQUIRES a fiddler to remain more stationary.

 
 

Back to section index.

 
 

THIRD ANSWER – “HOW” TO CONTROL LEFT ARM/FINGER. Rock’s analysis of the Unnamed Fiddler’s music, led Rock to the following three methods of “left arm/finger control” for Perfect Fiddle Music:

 

First Method – Fiddle on Collar Bone, not Shoulder. The Unnamed Fiddler placed the fiddle on the collar bone, against the neck, as taught in the Yehudi Menuhin videos, NOT on top of the shoulder as many fiddlers are taught (See “Abandoned Lesson Concept #3” above.).

  • Placement of the fiddle on the collar bone frees up the left shoulder, the left upper arm, and the left forearm, which are all connected to the fingers.
  • The left arm freedom allows the left arm to make slight position adjustments for each of the four strings, allowing the fingers to approach each string in a relaxed, but accurate direction.
  • For the first 36 years, Rock held the left arm in a stationary position, with the fiddle on the shoulder, under the concept: “move the fingers, not the arm, because fingers are less mass”. Rock has since discovered that finger interconnectivity is too complicated to require fingers to account for “string change”.
  • When Rock first developed “Free Fiddle Workshop” in Fall, 2013, Rock had foolishly thought that “bowing” would provide all “solutions” for fiddle playing, and that “squawk notes” (“Squawk nites” are still fundamental, but incomplete.) already provided enough Knowledge for left finger control.

 

Second Method – Chinrest, ONLY for 3rd-to-1st Position. This second method is a method that is NOT USED by the Unnamed Fiddler, yet, it is a method that Free Fiddle Workshop teaches to play Perfect Fiddle Music.

  • The Unnamed Fiddler, a classical musician, holds the fiddle as taught in the Yehudi Menuhin videos. Classical musicians are taught to hold the chin down on the chinrest, for support of the instrument. This method frees up the left arm to move around the instrument, without having to support the instrument with the left arm, enabling robust finger access to the strings. Using the chin for “violin support”, explains how Yehudi Menuhin is able to support his violin with just a single point of left hand contact (Menuhin demonstrates the hold with only his left thumb, underneath the violin.).
  • Free Fiddle Workshop considers constant “neck pressure” to be too physically intensive. Free Fiddle Workshop teaches to place the fiddle on the collar bone, WITHOUT pressure from the chin, enabling the head to stay erect and comfortable. The only time for the chin to press on the chinrest, is when a fiddler changes from 3rd-position to 1st-position (The opposite direction, 1st-to-3rd change, does not require chin pressure.).
  • Unlike the classical method of holding the violin, Free Fiddle Workshop requires TWO (not one) points of contact at the fiddle neck (side of the thumb and base of index finger), resulting in less robust access to the strings, but a more confortable body.

 

Third Method – One Finger at at Time. Free Fiddle Workshop teaches that, for effective finger control, only one finger at a time, should be placed on the strings.

  • This method often requires lifting of one finger, when a second finger is placed on a string.
  • Worse, although a finger is lifted from a string, that finger must remain in a position, such that it can be immediately be placed down again.
  • For the first 36 years, Rock would often leave a finger on a string, especially if the fiddle tune “returned” to that note, under the concept: “less movement the better”. Rock discovered that “less finger movement” results in EXTREME INTERFERENCE between the fingers. In addition to the requirement of placing a finger on a string, the other fingers must also be taught to “stay out of the way”.
  • An additional challenge to fiddle finger movement, is a challenge that not encoutered by guitar players. Guitar players place their left hands flat against neck of the guitar, resulting in very similar “finger bend” and “finger contact” for each string. Conversely, fiddlers hold the fiddle such that the left hand angles slightly “outward” from the fiddle neck, resulting in a small, but important, DIFFERENCE in “finger bend” and “finger contact” for each string.
  • Although “bow control” is the FIRST requirement for effective fiddle playing, effective finger control will ultimately require MUCH MORE PRACTICE TIME than bow control, due to the extremely complex muscle interconnectivity of the fingers, and due to the placement accuracy for correct intonation (i.e. The fiddle doesn’t have frets.).

……………….end of “Quest for Perfect Fiddle Music”……………..

……………………………………………………………………………………………

Back to section index.

 
 
 

HISTORICAL PERSPECTIVE OF FREE FIDDLE WORKSHOP

This section provides documentation of the historical perspective of Free Fiddle Workshop.

 

WARNING!!!!! The video links in this section are NOT intended for instructional use! Most of the methods presented in these video links are OUTDATED, and have been replaced by the methods presented in Free Fiddle Workshop.

 

PURPOSE OF THIS SECTION. The purpose of this section is to provide documentation of the timing of Knowledge imparted to Rock, and documentation of the time required to develop Free Fiddle Workshop.

  • These videos provide evidence of Rock’s passion and efforts to spread fiddle music.
  • However, although passion and effort are the characteristics that the Universe accesses to measure a man, Rock believes that men should judge each other primarily by RESULTS, not passion and effort.
    • The passion and effort of one man is too difficult for a second man to measure. Additionally, passion and effort can be faked.
    • Passion and effort of a man should be considered AFTER the man shows RESULTS.
  • Rock has believed for decades, that the true “measure of a man”, is a man’s ability to play the fiddle in front of an audience. The ability to impart good music to the most challenging instrument in front of an audience, is the ultimate evidence of a man’s composure, passion, discipline, and Knowledge.
    • In his first 38 1/2 years of fiddling, Rock has fallen well below his self-defined “measure of a man”, as Rock’s fiddle playing in front of audiences has SUCKED!
    • Nevertheless, Rock is relentless in his pursuit of perfect fiddle music, and Rock is confidant that he will soon pass his “measure of a man” definition.
  • The ability to play good fiddle music in front of an audience, generates RESPECT and APPRECIATION. The ability to generate “smiles” from an audience is a powerful, powerful, positive Karma attribute, an attribute currently possessed by very few.
  • The most inspiring aspect of playing fiddle, is that “fiddle playing” is a talent that Rock can CONTROL.
    • During his 39 years of workin’ for “The Man”, Rock found that there were very few aspects of his life that Rock had the capacity to “control”. You can lose your job, you can lose your house, you can lose your car, you can lose a spouse, and the best of efforts may not be sufficient to salvage any value.
    • Conversely, “fiddle talent” is the ONE THING that “The Man” can’t take, and “fiddle talent” has powerful positive potential. Even if the “The Man” takes Rock’s fiddle and bow, Rock only need to acquire replacements to be “back in business”.
  • Rock’s “excuse” for failing to meet his “measure of a man”, is that Rock claims to have had Knowledge hidden from him. With Free Fiddle Workshop, Rock’s “excuse” has been terminated (dust, ghost, history, yesterday’s news, fossil, Brontosaurus……The only thing Rock’s “excuse” is around here, is……..GONE!).
  • Rock claims that he still needs some practice time to elevate Free Fiddle Workshop samples to “satisfactory quality”. Will Rock succeed????? Stay tuned.
  • After publishing 3 1/2 “versions” of Free Fiddle Workshop from Oct 2013 through Oct 2014 (As of Sep 2016, current version is still “3A”.), Rock diverted his attention to “improvement of samples” and “refining of methods”. As of Sep 2016, Rock still has not upgraded Free Fiddle Workshop to “Version 4”; however, Rock is confidant that the final pieces of the puzzle are now falling into place, and that “Version 4” will be published within a year.
  • Rock recommends that viewers of instructional videos pay attention to the version number. “Version 3A” includes “satisfactory” Knowledge, but the forthcoming “Version 4” will provide much improvement over “Version 3A”.

 
 

HISTORICAL DOCUMENTATION. The remainder of this section is a collection of links documenting development of Free Fiddle Workshop, links that are not to be used for instructional purposes.

 
 

FIRST INSTRUCTIONAL VIDEOS. On 10 Aug 2010, Rock published four fiddle instruction videos.

  • In Aug 2010, Rock was unemployed, out of money, and living with his mom after his second divorce.
  • At the time of the publishing, Rock used conventional/traditional fiddling methods.
  • Rock was preparing for financial “retirement”, and he intended to indulge in fiddling after financial retirement. Rock desired to be a fiddle instructor and he also desired to be a violin maker at this time. Rock desired to have an impact on fiddle music. Rock did not have thoughts of being a “really good fiddle player” at this time, because Rock was convinced that he was “not born with enough talent” to be a really good fiddle player.
  • These videos do highlight the two “Keys to the Musical Universe”, that Rock later used to develop Workshop Style fiddling. One of Rock’s sub-objectives in the spreading of fiddle music, is to inform listeners of locations of good fiddle music. In “Lesson 4”, Rock holds up the two CD’s of the best fiddle music Rock could locate: “Baker Plays Monroe” and “Mark O’Connor, Championship Years”.

 

First instructional video links:

 
 

SECOND INSTRUCTIONAL VIDEOS. On 25 Sep 2011, Rock recorded the BEST fiddle playing he ever accomplished, using conventional/traditional fiddling methods.

  • The nine videos below, demonstrate the best music that Rock could play, after 33 of fiddling, including 17 years of fiddle lessons. These videos can be compared to Free Fiddle Workshop samples of the same tunes, to see how Knowledge can add to the quality of fiddle music.
  • Rock could not play in front of an audience with the quality of the nine examples below. On the day previous to the recording (24 Sep 2011), Rock had performed horrifically at the 2011 Ashland County Fiddle Contest, in front of an audience. Rock likes to joke, “I didn’t deserve LAST place, but they didn’t have anything lower! I think the judges would have preferred to just ‘annul’ my so-called ‘performance’, as if it didn’t happen.” Rock does claim that his horrific performances at fiddle contests, were not due to “lack of practice”. Rock now claims that his horrific performances were due to “lack of Knowledge”. As of this update, Rock has not provided evidence to support his claim. Even Rock’s samples are not recorded in front of an audience. Rock intends to provide evidence of his claim, but this evidence may still take some time to acquire.

 

Second instructional video links:

 
 

THIRD INSTRUCTIONAL VIDEO. On 28 Nov 2011, Rock updated his previous 10 Aug 2010 Bowing Instructions.

  • In this video, Rock emphasizes attention to the bowing “hand” instead of the “arm”. Free Fiddle Workshop teaches attention to the arm, not the hand, as stated in this video.
  • Nevertheless, this video was recorded just prior to Rock’s development of the brand new grip, called “The Claw”, taught in Free Fiddle Workshop. At the time of this recording, Rock was inundating himself with “Perfect Fiddle Music”. Rock was using the “Two Keys to the Musical Universe” to try to replicate the sound of “Perfect Fiddle Music”. Rock was convinced that: “there must be some way to replicate this sound, using short, powerful bow strokes”. Rock had found his conventional/traditional grip was “not working”, and Rock had begun to experiment with different bow grips.

 

Third instructional video link:

 
 

FOURTH INSTRUCTIONAL VIDEOS. On 18 Apr 2012, Rock recorded two videos announcing the new fiddle style that he developed.

  • Rock did not call the new fiddle style “Workshop Style” at this time; instead, Rock referred to this new style using the name of the new grip, “The Claw”. Rock is not particularly fond of the name, “The Claw”, but that’s how the grip looks, and Rock is a believer to “tell it like it is”.
  • These two videos were recorded at the end of Rock’s 6-month inundation of “Perfect Fiddle Music”. Through experimentation, Rock had discovered new methods of fiddling that were more efficient than his conventional/traditional efforts, in his quest for “Perfect Fiddle Music”. Caveat: If Rock had been properly trained, and if Rock had not had proper fiddle instruction INTENTIONALLY WITHHELD from him, maybe Rock would not have needed to develop a new fiddling style!
  • Through experimentation and research, Rock has made significant changes to Workshop Style Fiddling since these videos were recorded. Nevertheless, the foundation of Workshop Style Fiddling is expressed in these two videos.
  • One of the biggest adjustments that Rock will publish in “Version 4” of Free Fiddle Workshop, is attention to the left hand. At the time of these videos, Rock had concentrated almost exclusively on bowing, not the left hand. Rock had foolishly thought that solving the bowing challenges would lead to good fiddle music, and that “Squawk Notes” (One of the “Two Keys to the Musical Universe”) would provide sufficient left hand control. Prior to these videos, Rock was unable to determine that his left hand “control” was insufficient, because Rock’s bowing sucked so bad! Rock has subsequently discovered, that “Squawk Notes” alone, doth not good left hand control make!

 

Fourth instructional video links:

 
 

FIFTH INSTRUCTIONAL VIDEOS. On 24 Apr 2013, Rock recorded 7 videos describing his new style of fiddling.

  • At the time of this recording, Rock thought that his task to spread fiddle instruction was: “Mission Complete”.
  • The second video (annotated “You Can Skip this Video”) is further evidence of Rock’s passion for fiddle music. In this second video, Rock holds up a training book that he wrote in March, 2001, titled, “How to Become a Great Fiddle Player Like I’m Gonna Be”. Rock had written this 10-section book, just for an interview for an IT technical training job, in which Rock taught the 10th lesson (Rock got the job.).
  • Soon after publishing these seven videos, Rock joined the Web site, “fiddlehangout.com”, to announce the availability of this new style. Rock only lasted six days on the Web site, after which Rock was BANNED from the Web site, for making fun of an asshole who tried to spam Rock’s thread. Instead of telling the asshole to stop spamming Rock’s thread, the fiddlehangout Web administrator determined that it was a better idea to give the ol’ heave-ho to Rock!

 

Fifth instructional video links:

 
 

ADDITIONAL LINK – NON-INSTRUCTIONAL. On 30 Mar 2011, Rock recorded a Toastmasters speech that he gave, titled “7 Wonders of the Universe”. This video does not include fiddle instruction, but this video demonstrates Rock’s attitude towards music, which Rock lists as the 7th Wonder (Viewers will have to “suffer through” the first six “Wonders” to discover Rock’s attitude towards music.).

  • The overall theme of this video, is that Rock considers “Math” to be proof of God (And to keep the list of wonders down to “7”, Rock didn’t even include that “sine 30 degrees = .5”, EXACTLY.).
  • Rock argues that “music” is the reason that God put man on Earth. God loves good music. The “music of man” is an opportunity to create sound that is not available in the Spiritual Universe in which God resides. The Spiritual Universe does not have “voices” or “instruments”, “voices” and “instruments” that are available in man’s Physical Universe. Additionally, the “perfect division” of notes that the Spiritual Universe applies, creates “music” that is BORING!!! The “Hillbilly Beat” and the other variations that man applies to music, have resulted in way cool sounds! God likes what man has done with music, and God looks forward to the removal of the fuckin’ Nazi “music blockades” that currently exist.

 
 

INSTRUCTIONAL VIDEO EPILOGUE. As stated above, Rock thought of the 24 Apr 2013, 7-video sequence, to be “Mission Complete”. At that time, Rock had no thoughts of developing an entire Internet-based workshop.

 

Rock’s inspiration for a “workshop” originated with the Unnamed Fiddler, whose “Perfect Fiddle Music” had provided so much inspiration for Rock.

  • The Unnamed Fiddler expressed interest in a workshop, and agreed to let Rock provide recommendations for the workshop.
  • The Unnamed Fiddler stated the intent to base a workshop on classical/conventional methods, not Rock’s Workshop Style fiddling; nevertheless, the thought of being personally involved with the development of a process to spread “Perfect Fiddle Music” instruction, created a tremendous amount of excitement for Rock.
  • With perfect timing from the Universe, Rock worked feverishly to publish (now deleted) four prototype sessions of his recommended workshop, the four sessions covering issues prior to bowing instruction. Only three days after publishing the four prototype sessions, Rock got the ol’ heave-ho from the Unnamed Fiddler, leaving Rock with four prototype sessions, and a “leaderless” workshop project.
  • The message from the Universe was immediately clear with this timing. God said to Rock, “Rock, you’re in charge now (a message that sends shivers down the spine of any man who has ever been Rock’s ‘boss’)! Rock, I want you to continue with the workshop, using your new style.”
  • NOTE: As a result of the unequivocal heave-ho, Rock will never again listen to a single note of the Unnamed Fiddler’s “Perfect Fiddle Music”. Rock no longer needs to listen to the music, because Rock’s previous 6-month inundation with the music, implanted the sound in Rock’s head. Additionally, as a result of the Unnamed Fiddler’s wish to “never see or hear from” Rock again, Rock will not divulge the name of the fiddler. Rock respects a man’s Free Will choice to not be associated with Rock. Rock seeks cooperative relationships, not adversarial relationships. Rock’s biggest challenge is to provide samples that approximate “Perfect Fiddle music”, so that students can receive a reference source that is equivalent to the reference source that was available to Rock.

 

Rock’s initial implementation (Version 1) of the workshop, consisted of 8 videos on YouTube, requiring viewers to perform searches to locate the videos. In late 2014, Rock decided to create this Web site, freefiddleworkshop.com, to assemble links in one place, so that fiddle students can experience “one stop shopping”.

 

Rock’s thoughts on freefiddleworkshop include the following:

  • Rock would eventually like to make some money for fiddle instruction. Rock desires to reach a point at which he would be paid for “in person” workshops. The Internet site, freefiddleworkshop, provides an outline of what students will be told, and also provides a source for post-workshop review.
  • Rock’s goal for freefiddleworkshop is to provide a 10-session instruction set, between 2 and 2 1/2 hours, to provide all Knowledge required for students to ultimately play “Perfect Fiddle Music”.
  • Of course, “Perfect Fiddle Music” will require a couple thousand hours of practice; therefore, a 2-hour workshop requires the following features:
    • Evidence that the basic foundation of “slow bow control”, will lead to fiddle tunes;
    • Practice methods that will empower fiddle students, by proving that students will be able to measure continuous PROGRESS, progress that will lead to “Perfect Fiddle Music”;
    • Warning of the profound challenges that students will face, accompanied with the Knowledge that playing even one basic tune, will require months, if not a couple of years; and
    • Evidence that learning the fiddle will be FUN and EMPOWERING.
  • Rock’s specific objectives for a workshop include the following:
    • Students standing without a fiddle, practice being calm, and practice paying attention to all of the body, especially “tension points”;
    • Students standing and holding the fiddle (no bow), and practice moving left arm just enough to place one finger (or all fingers) on each string (squawk note);
    • Students’ “first chance” at placing bow on string with power (no bow movement or bouncing), and rocking bow across all four strings with no sound;
    • Students’ “first chance” at playing three partial long bows (bow contact near frog, bow contact in middle, bow contact near tip) on easiest plane (A/D Doublestop), stopping the bow with power and control (no bouncing) at the end of each stroke;
    • Students’ “first chance” to combine three partial long bows into one full longbow on A/D Doublestop, with power and control, able to stop and continue bow movement at any time;
    • Students’ “first chance” to play 6-sequence “Hillbilly Beat” shuffle on A/D Doublestop, bringing bow to complete stop (no bouncing) at end of each stroke; and
    • Instructor demonstration of applying these skills to all strings, demonstrating practice progress to be expected, and methods of measuring improvement.

 

Rock’s “sales pitch” for Free Fiddle Workshop.

  • Rock’s 17-year fiddle instructor, often correctly noted that man “lets vision overwhelm his other senses”. Free Fiddle Workshop addresses the POWER OF SOUND, power that is greatly underestimated by most men. The power of perfectly played fiddle music, has the potential to calm a room of unruly men, to put smiles on men’s faces, and to generate respect for a fiddler. Rock thinks of the fiddle as a “weapon of peace”, a weapon that can “calm the savage beast” within men.
  • Although a 2-hour commitment to view Free Fiddle Workshop is significant, Rock argues that a 2-hour commitment is EXTREMELY SMALL, compared to thousands of hours of practicing the wrong stuff!!! Even conventional/traditional fiddlers who do not wish to learn Workshop Style Fiddling, will find value in the challenges of fiddling, the non-intuitive aspects of fiddling, and the “solutions” that Rock identifies.
  • Finally, although it is extremely easy to criticize and dismiss Rock’s methods (as the asshole on fiddlehangout.com demonstrated), Rock argues that NOBODY ELSE ON THIS PLANET EVEN ADDRESSES THE ISSUE! There are thousands of “violin instruction” videos on YouTube, but virtually every single “violin instruction” video DOES NOT address the foundations required to perform the instruction. For instance, “vibrato instruction” will not work for a viewer who doesn’t even know how to hold the fiddle! Even the Yehudi Menuhin YouTube videos, which Rock highly recommends for viewing (despite the differences between classical style and workshop style), only scratch the surface of violin playing.

……………….end of “Historical Perspective of Free Fiddle Workshop”……………..

……………………………………………………………………………………………

Back to section index.

 
 
 

HOW THIS WEB SITE IS FUNDED

Rock is on a mission to spread fiddle music, music that Rock has loved for 38 years.

 

After workin’ for “The Man” for 39 years, Rock is finally receiving payback: a small military pension and a small Social Security monthly amount . Two small retirement checks add up to one modest retirement check, plenty to fund this site. ($600 for 5 years)

 

For the last three decades, Rock has thought of his “normal” jobs, as ways to support his fiddle habit. Now, it’s payback time!

……………….end of “How This Web Site is Funded”……………..

……………………………………………………………………………………………

Back to section index.

 
 
 

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.