One of the discoveries touching me more is this performance from Laura Risk and Voices of Music
There are a few version for the violin sheet music available, but none of them really resembling this beautiful one, wanted to ask if someone know is available somewhere.Tweet
but trying it myself didn't sound right (of course with all the expected differences in term of instrument, strings and skills considered) and trying to correct it myself seems a long process.
I have asked my teacher, so will see if he has the time and is willing me to defocus from basics learning.
Being me a violin beginner and considering his methodic approach I suppose will not encouraging me, but as an adult doing this for passion I will find another path to pursue this :)
Maybe I'm writing something really unprofessional, but this is what I am.
Some years ago when I purchased a Yamaha Clavinova digital piano for my wife I tried some software able to extract automatically a sheet music from a song. Is the technology progressed so much to being useful in that even for this kind of baroque music.
Voices of Music are one of my favourite Youtube channels - they are experts at historically informed performances. That said, as much as I love to hear them play Vivaldi etc. I also love another Laura Risk folk performance
As adult my goals are different respect my 4.5 years old daughter, I want to play with my wife beautiful music. Technique is key to play, but like the idea having a benchmark for our process in a music we like.
I have seen the different versions in TheSession, but none of them seems coming close the one of Laura Risk, that's the one I get so much emotion from.
I'm listening many other her performances like the linked Crooked tunes from Quebec (I like it a lot also), but also from another Voices of Music "solist" (not sure can say so, just my ignorance about the official roles in their ensemble), Alana Youssefian, like the Antonio Bertali Ciaccona I like a lot
Think anyway this Lament song version is not only beautiful, but possibly achievable at multiple levels of correctness even for us beginners (at least that's my hope, testing this morning the Musescore sheet music I was able to get a recognizable result).
Notes and rhythms are somewhat fungible in Scottish fiddling, and as you work with the style you get a sense of what is integral to the tune and what you can change. (For instance, the dotted-note pattern is often reversible between long-short and short-long.)
Similarly, ornamentation is up to the fiddler. Everyone's going to play these tunes a bit differently, and very few people write down their ornaments unless they're conveying them explicitly to a student.
If you want to learn Scottish fiddling, you should study with someone who's a Scottish fiddler, or at the very least attend Scottish fiddling jams led by an instructor. Many Scottish fiddlers play classical, too, and have solid classical technique.
Scottish tunes aren't easy even if many of them are intended to be played in the first position, and you'll probably be at the end of Suzuki book 2 or so before you have sufficient technique to do so.
Also, being able to play the base tune is quite different from making it sound stylistically appropriate, which in turn is different from making the tune your own with ornamentation and variance. A Scottish fiddler's ornaments ought to be quick and clear, which means you'll need reasonable left-hand facility before you're able to manage that aspect of the music. It also takes a fair amount of right-hand control to produce varying tone colors and shape the line without relying on much if any vibrato.
Picking up the 'dialect' of the style is its own thing, a form of musicianship separate from the technical bits. I recorded this Lament for an online camp when I took up Scottish fiddling during the pandemic (YouTube link) and listening it to now, I can only feel, intuitively, that I would not play it like that now.
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