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One of my very favorite ways to improvise on the fiddle is with Country/Western Swing/Bluegrass music. I began giving this type of fiddling a lot of attention in my early teens, and have never regretted all the time spent in developing the skill to play it! Some of the very first experiences I had with country was in listening to a number of cd’s my older brothers owned of various popular country music stars of the 80′s and 90′s. Almost humorously, I barely paid any attention to the words or the singing. All I really heard was what was going on with the background and solo instrumentation. I began imitating the fiddle/violin and mandolin solos (usually the instrumentalist was Johnny Gimble) which I was so fascinated by, and spent a lot of time practicing those in the back room of our family home.
During this time, my family was doing a lot of performing around the US, and so I had the
Country fiddling really just consists of song introductions, improvising behind the singer/soloist,
It takes a lot of listening first, and secondly, a lot of imitating, in order to really know the style and how to play tastefully. Understanding how to perform the right kind of ideas/licks, timing, when to play and when not to play, etc. Knowing the chords being played in the accompaniment section is key to being comfortable enough to improvise. Knowing the melody would be the next priority. After getting familiar with these first two aspects, the developing fiddler must get relaxed with the melody enough to add some interesting and melodic straightforward ideas/licks to it, then totally replace the melody with his/her own invention. This is for the sake of soloing on a course (often the course is mixed up with parts of the melody though). Usually a course is pretty short, which should be a relief to the more amateur player. It is most likely a relief to the advanced back-up fiddler also! Kind of nice to pick out your choicest ideas and use them in short, instead of having to come up with a whole jazz solo’s worth of improvisation, which would include playing through the whole song, versus playing just a small section, as in country.
My desire is to encourage more of this kind of direction amongst fiddlers. It is a part of the vast variety of experiences that make up the whole, and you won’t want to pass it by, once you’ve given it a try. -Brendan Booher
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www.musiclessonsschool.com
Playing Since: 1984
Experience Level: Expert/Professional
Interests:
[Teaching] [Socializing] [Helping]
Occupation: music instructor/musician
Gender: Male
Age: 45
My Instruments:
Violin/fiddle, mandolin, plectrum guitar, tenor guitar, guitar, tenor banjo, bass and vocal
Favorite Bands/Musicians:
Johnny Gimble, Mark O'Connor, The Booth Brothers, Nickel Creek, the Isaacs, Svend Assmussen,
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Visible to: Public
Created 7/7/2012
Last Visit 7/26/2012
Brendan Booher grew up with a fiddle in his hands. at the tender age of three, Brendan picked up the violin, and has since never put it down. After learning a tune and a scale, and basic form from Mom (Dolores), Brendan with his family (who are all musical too), began playing with the local Oldtime Fiddlers group. It was with the Fiddlers on stage at their numerous jam sessions that Brendan gained his first large repertoire of tunes, from waltzes to hoedowns and most everything in between. Brendan’s six older siblings had already become quite proficient on their various instruments of choice (piano, guitar, mandolin, bass and fiddle) and along with Brendan, younger brother Gabe, and parents Mike and Dolores, they began entertaining the public at local events. They were often joined by musical grandparents Charles and Dorothy, who encouraged and inspired the family whenever they got the opportunity. In time, the Booher family began travelling the States and western Canada performing at fairs and conducting public school assemblies, and eventually had the honor of performing before the President of the United States, and on Garrison Keillor’s Prairie Home Companion show. Branson Missouri (Silver Dollar City) was often frequented by the Booher’s, where they performed numerous times, and they also had the privilege of travelling and performing in Europe (Poland and Austria). At six years old, Brendan won 1st prize in his division at the Oregon State Fiddle Contest. Brendan would continue to win many awards at various contests in Oregon, California and Idaho over the next 12 years. Many of Brendan’s brothers and sister also competed and continue to (older brother Rudi won the highest award at the Oregon State Fiddle Contest many times, along with taking 1st place in the open division at the U.S. National Fiddle Contest, and brother Justin took first place in the U.S. National Fiddle Contest in his division). At the age of ten, Brendan took up the mandolin, finding in it a nice change from the violin, and the pick could do some things that the bow just could not do. Expressing his heart through multiple instruments had become a desirable pursuit because of the varied sounds and creative opportunities each instrument proposed. Guitar shortly followed, then the tenor and plectrum guitar, which naturally led to the tenor banjo. In his early teens, Brendan became interested in jazz, and was improvising with gusto and creative skill, winding his way with experiential confidence through the dynamic and fascinating chord progressions of many old jazz favorites which strongly captured his interest. Brendan’s playing has been largely influenced by many jazz greats, including Benny Goodman, Oscar Peterson, Svend Asmussen and Western Swing fiddle and mandolin extraordinaire Johnny Gimble. Brendan has performed with Johnny more than once, once with Asleep at the Wheel, and had the rare opportunity to join various members of king of Country Music George Strait’s band. Brendan’s music teaching career includes: 18 years private instruction experience. 16 years class instruction at The Oregon based Booher Family Music Camp (www.boohermusiccamp.com). One quarter mester as a Fiddle/Violin and Mandolin teacher at the John G. Shedd Institute For the Arts in Eugene Oregon. Three semesters at Sisters Charter Academy of Fine Arts as the school music teacher.
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