woodsmeister’s note – Sue Barrett is a music journalist from Australia who occasionally submits articles to FolkBlog. All rights for this article are hers alone and it is presented here by her permission.
By Sue Barrett
Walk into any record store and you’ll invariably find a jumble of flyers, stickers and free music magazines.
A browse of ‘the Classies’ (classified advertisements) in a recent issue of one such magazine found drums, guitars and keyboards for sale; tuition available for voice, guitar, bass, drums, piano/keyboards, sax and harmonica; musicians seeking groups (including people playing bass, double bass, drums, tenor saxophone); and bands and studios seeking drummers, guitarists, bass players, keyboard players, even people to play accordion and tabla.
This is a variation on the story – it tells of four musicians who add something special to rock, pop, folk and new music, with kick ass fiddle and beautiful and tender violin.
- Shari Ulrich was born in the USA, but lives on an island off the west coast of Canada. Her new solo album, Find Our Way, features her daughter on violin.
- Ruth Ungar Merenda grew up in the Hudson Valley of New York State and, with The Mammals in hibernation, provides the ‘Ruthy’ part of the folk music duo, Mike and Ruthy.
- Lyndell Montgomery is a Canadian multi-instrumentalist, who lives in a very old farmhouse in Ontario and is about to release her first solo album.
- Sophie Kinston is an English-born, Australian-based, violinist/ceramicist who plays electric violin with the Rosie Burgess Trio.
Now over to Shari, Ruth, Lyndell and Sophie…
SHARI ULRICH (www.shariulrich.com)
Shari Ulrich was born in San Rafael, California. After leaving school, Shari moved to Canada, where she became part of the Pied Pumkin String Ensemble – an acoustic trio described as “singular and quirky”, “hippie folk”, “eccentric” and “whimsically eclectic”. A multi-instrumentalist, she subsequently joined Valdy’s backing band, which went on to become The Hometown Band (and to win a Juno Award for Best New Group). After leaving The Hometown Band, Shari commenced a solo career (winning a Juno for Most Promising Female Vocalist and being twice nominated for Female Vocalist of the Year). From time to time, Shari joins team projects, including UHF [Ulrich Henderson Forbes - Bill Henderson (ex-Chilliwack) and Roy Forbes (aka Bim)] and Barney Bentall and Tom Taylor (with whom she recently released the CD, Live at Cates Hill). In addition, she has co-hosted a television series with David Suzuki; written and hosted BCTV’s Inside Trax; composed and produced pieces for Sesame Street and soundtracks for several documentaries. She also teaches lyric writing in both the workshop and university setting. Shari lives on an island off the western coast of British Columbia, Canada with her partner, jazz musician and composer Bill Runge, and 19-year-old daughter Julia (also an accomplished pianist and violinist).
What are your earliest memories of making music?
My earliest memories include singing Christmas carols with my father who played recorder; learning the songs my sister was playing in her piano lessons, and learning all the harmonies to the Beatles’ songs.
Do you call your violin a fiddle or your fiddle a violin?
Heh…I say I play violin, but I often call it a fiddle.
Do you bow left handed or right handed? And does this reflect your handedness in other things?
Oh, I think all right handed people bow right handed.
When and how did you begin playing the violin?
When I was in grade 4, we were offered instruments to learn in school. My girlfriends and I wanted to stick together so we all chose violin. Three of the five went on to be professional.
What qualities attract you to the violin?
It has such a range of emotion – it can play kick ass fiddle tunes that make you HAVE to dance, and the next minute break your heart with the most beautiful and tender of sounds. I have to admit, I have never mastered the kind of gorgeous tone my daughter has. I now get her to record all the lovely arco parts on my albums.
Tell us about your violins?
I used to have electric violins – a white Barcus Berry and a five string electric. But I’m too in love with the real thing, so now I just have a pickup on a good German violin.
How do you look after your violin, including on the road?
With shameful neglect.
To what extent do you write music on the violin?
I’ve only written a couple of instrumentals on violin. Every once in a while in sound check I come across something that I think could make a very cool accompaniment for my voice – for a song, but I haven’t yet had the time to experiment.
Do you generate sounds from your violin other than with a bow?
Just pizzicato. Though sometimes I use it as bongos!
Does one need a special technique to play violin and sing at the same time?
It’s a special kind of challenge. There’s something about playing a fretless instrument that needs to be adjusted for intonation, along with singing that needs to be adjusted as well, that is particularly difficult. It’s some sort of bizarre left brain right brain thing. Once I figure out what to play while I’m singing, I can do it without thinking, but I have to practice it a few times so the violin part is second nature. The same thing goes for talking and playing violin at the same time. I can talk while I’m playing guitar or piano with no problem, but trying to say something to someone on stage while I’m playing the violin is very odd.
Are your violin parts arranged or improvised or a mixture of both?
A mixture of both. Some of my parts as part of the song arrangements are pre-arranged, but much is improvised. My favourite thing is to accompany songwriters on songs I haven’t heard, as in a song circle type performance. I love serving the song and the level of presence it requires to be with the song regardless of where it goes.
How you go about getting your violin parts heard on stage?
My violin has a pickup and I just make sure I’m not too loud or too quiet.
What physical impact does playing violin have on your body?
OUCH!! It’s totally unnatural. I have neck and shoulder pain.
How do you keep your playing fluent if you’re not performing for a while?
Well, the grown up answer would be – I practice every day. The truth is, I rarely fulfil my intentions. I just trust it will be there when I pick it up again, and it magically is. But if I practiced every day I’d be much better than I am! If I were only a musician, it would be easier, but as a songwriter, recording artist, and being self managed, there’s always LOTS to do.
What advice do you have for performers who want to use violin in studio recordings?
Train classically, practice playing along with all kinds of music, practice your sight reading, and work on a variety of tones and textures. Show up 15 minutes before the session, trust your skills, and stay focused.
What advice do you have for performers who want to use violin in live performances?
Pretty much the same advice! And ALWAYS tune your instrument!! For a live performance, have a good pickup (don’t count on microphones), a good pre-amp, and make sure your chords and gear are in good working order with a warm sound.
What songs/pieces of music do you most enjoy playing on the violin?
Hmmm…it’s so varied. I love playing a wide variety of music.
Of the recorded songs/pieces of music that feature you playing violin, which do you suggest we listen to and why?
The Pied Pumkin is the group that really made me a fiddle player. With Joe Mock’s guitar often playing the role of the bass, and Rick Scott’s dulcimer playing the role of the drummer, I get to be everything else – so I’m often sawing my little heart out from the starting gate. Half of the music has intricate arrangements and the rest is improvised, so it demands that I really be present and on mygame.
I also like what I play with UHF. They bring out the best in me. We have two CDs, but are overdue for a new one.
What other instruments do you play?
I play mandolin, piano, guitar, dulcimer, flute, and used to play alto sax and cello, but I couldn’t put in the time to keep them up.
What’s been happening in your life over the past year?
I’ve had a great surge in creativity and productivity since my daughter went to McGill University. I’m the type of person who requires a LOT of solitude to write and record. So 2009 was my year to record a new solo CD [Find Our Way] at home. But I’ve also produced a CD for Barney Bentall, Tom Taylor and myself [Live at Cates Hill] – which, along with creating the cover, was a very satisfying experience. I LOVE playing with those boys.
And what are your plans for 2010?
LOTS of music – playing it, performing it, writing it, and recording it. I LOVE IT!
RUTH UNGAR MERENDA (www.mikeandruthy.com)
Ruth Ungar Merenda grew up in a musical family in the Hudson Valley of New York State. Her father is fiddler Jay Ungar (‘Ashokan Farewell’) and her mother is singer Lyn Hardy (Rude Girls). Although Ruth moved to New York City to pursue a career in acting, she quickly became involved in the music scene (as a singer, songwriter and instrumentalist), including with Rhinegold and, subsequently, The Mammals. These days, Ruth and her husband Mike Merenda perform as the duo, Mike and Ruthy. From time-to-time, Ruth performs with the Sometymes Why folk trio; the Jay Ungar & Molly Mason Family Band; and the Mother-Daughter Stringband (alongside her mother and Abby and Rosie Newton).
What are your earliest memories of making music?
I remember singing “aaaaaah” with my mom with our mouths very close together so we could hear the overtones. I guess I was about five. I also remember playing “low, middle, high” on my fiddle around that time. My dad showed me how to bow the pairs of strings that way.
Do you call your violin a fiddle or your fiddle a violin?
Ha ha. Occasionally, I refer to my fiddle as a violin. My one year old son calls it an EEEeeeEEEeee.
Do you bow left handed or right handed? And does this reflect your handedness in other things?
I am right-handed and play that way. Nothing interesting here, unfortunately.
When and how did you begin playing the fiddle?
I played sporadically through my childhood, starting around two or three years old I think.
What qualities attract you to the fiddle?
I like the vocal quality and the ability to use dynamics. I like using sustained notes when backing up a singer. It can be fun to harmonize that way with my own voice, too.
Tell us about your fiddles?
I have an 1800s German made fiddle that my dad gave me in my teens. I played that exclusively until a few years ago when he bought me a new fiddle for Christmas! It is a new hand-made instrument by Eric Aceto of Ithaca Stringed Instruments here in New York State. I love the pickups that he builds and I asked my dad for one for Christmas. He went ahead and got the whole instrument! It has a great acoustic sound and sounds very lifelike when plugged in too. Both of my fiddles are relatively loud and bold-sounding.
How do you look after your fiddles, including on the road?
I put it in its case immediately after every gig. The mics, cables, guitars and such can lay around, but I always make sure the fiddle is protected before I say hi to folks. I try to keep it from experiencing hot or cold and I always carry it on the airplane. At home in the winter it needs to be humidified a bit. A damp sponge in a zip-lock bag with holes in it does the trick.
To what extent do you write music on the fiddle?
I like writing tunes on the fiddle. Songs seem to come out on the guitar, uke, piano – or without an instrument at all.
Do you generate sounds from your fiddle other than with a bow?
I like to pluck the strings on a few of our quieter songs and then bring in the bow later in the arrangement.
Does one need a special technique to play fiddle and sing at the same time?
I make sure I have the playing and the singing down independently, and then I usually decide which one to favor. If it’s very important that the singing be strong, I slowly bring the fiddle part in each time I practice or perform the song. Or if it’s more important that the fiddle be solid, I coax the vocal in slowly. After you do it over and over without thinking about it, it’s really quite easy.
Are your fiddle parts arranged or improvised or a mixture of both?
I love arrangements. The best arrangements contain things that were originally improvised or felt. My theater background tells me that you want your most improvised moments to feel like they are part of the arrangement and your most arranged moments to feel improvised. I always work to bring it all together like that.
How you go about getting your fiddle parts heard on stage?
If I’m playing with a loud drummer I will definitely use my pickup, preferably with my own preamp. In those situations it’s also nice to have an in-line tuner to mute when you’re tuning. If it’s a folkier setting with no drums, I usually prefer to play fiddle into my vocal mic. A Shure 58 does nicely. Fancy mics are not really my style in a live setting, and I’ve never liked having two separate mics aimed at the vocal and fiddle.
What physical impact does playing fiddle have on your body?
When I’m learning a new tune or a new style I have to be very careful not to hurt my neck and shoulders by unconsciously tensing up. One time I tried to learn to play Irish music. I threw myself in a bit too hard (a workshop during the day and jamming all night) and the next day I couldn’t turn my head. Normally, I keep my body as fluid as possible and feel the beat of the music from head to toe which seems to make my muscles happy.
How do you keep your playing fluent if you’re not performing for a while?
That sounds like a fantastic idea. Mostly I keep the music going in my head at all times, but I don’t find much time to practice with a young toddler to look after. But I do try to make the most of the moments I have with my instrument.
What advice do you have for performers who want to use fiddle in studio recordings?
Play into a Shure 58. Expensive condenser mics can sound fantastic on vocals and group live recordings, but I think they bring out too much detail in a fiddle sound. I have played into ribbon mics too, which are great, but nothing is quite like that Shure 58.
Also, editing is your friend. If you’re recording into ProTools or something like that it’s very possible to edit fiddle takes. Just be very consistent with your playing volume and distance from the mic and the edit will just sound like your bow changed direction.
And don’t play too quietly. A softly bowed fiddle generally sounds too scratchy on recordings. Get less of yourself in the headphones if necessary and play a bit louder for a better tone. They can always turn you down.
What advice do you have for performers who want to use fiddle in live performances?
Have fun, make eye contact, and don’t forget to breathe.
What songs/pieces of music do you most enjoy playing on the fiddle?
My husband Mike wrote a song called ‘For this Love’ which I love to play and sing. I really like the arrangement and the way the fiddle weaves in between the lyrics. I also love playing tunes with my dad, Jay Ungar. When I play the harmony part on ‘The Lovers’ Waltz’ and ‘Ashokan Farewell’ it’s really nice to match his phrasing and dynamics closely.
Of the recorded songs/pieces of music that feature you playing fiddle, which do you suggest we listen to and why?
‘For this Love’ I already mentioned, and another song from our first Mike and Ruthy CD, The Honeymoon Agenda, is a Bob Dylan song called ‘I’ll Keep it with Mine’. I really like how that turned out. It’s a slow song in C with some great moments. Or if you’re looking for something more fiery, there’s ‘June Apple’ on our second CD, Waltz of the Chickadee.
What other instruments do you play? And what do you enjoy about playing them?
I play ukulele and guitar and a bit of piano. The ukulele is great because it’s such a nice rhythm instrument and it gives a light-hearted air to whatever your playing. Guitar is such a staple, something I always come back to for songwriting and a solid foundation. Piano is a very unexplored world for me, and for that reason I love exploring it. We got a piano from my mom as a wedding gift three years ago which gave me the opportunity to begin that journey.
What’s been happening in your life over the past year?
Our son, Will, is nearing two years old and he’s already playing my littlest childhood fiddle. His favorite song is ‘Let me Fall’ (check out the version by Foghorn Stringband) which he sings loudly. He loves to end that tune (and all tunes) with a “big finish” which essentially amounts to some loud tremolo followed by a raised arm and then one final whack. This is a trick he picked up on the drums but has transfered to fiddle more recently.
And what are your plans for 2010?
We’ve recorded another CD of all original songs, which we’d like to put out this year. It features more of a “band” than our previous Mike and Ruthy recordings. We’re accompanied by bass, drums, and a bit of pedal steel. I think the fiddle tracks came out great, there’s even one song where I did a bit of classical-sounding orchestration by laying down three harmonized parts. We just hope to keep touring and recording and writing new music. Ane we’d love to go to Australia again!
LYNDELL MONTGOMERY (www.lyndellmontgomery.com)
Lyndell Montgomery was born in British Columbia, Canada. A classically trained musician (The Royal Conservatory of Music), she has composed music for film, performed live music for dance and recorded and performed with a range of non-classical musicians, including Ember Swift (collaborative partner for 13 years), Ferron, Alix Olson, Pamela Means and Chris Pureka. Lyndell co-foundered the performance troupe, Taste This, and co-authored the book, Boys Like Her: Transfictions. In 2009, Lyndell, Ivan E Coyote, Anna Camilleri (who were part of Taste This) and video artist Leslie Peters formed the interdisciplinary performance troupe, SweLL. When not on the road, Lyndell lives in an 1877 farmhouse in Ontario, where she focuses on creating and embracing sustainable living practices.
What are your earliest memories of making music?
Driving over an hour each way into the city of Vancouver once a week so I could “study” violin at the age of five with Dr. somebody important (whose name I can’t remember at all). I recall being so intimidated by him that I’d nearly peep myself trying to tune my violin.
Do you call your violin a fiddle or your fiddle a violin?
Depends on the music that comes out of it really! I think every instrument comes with songs tucked away inside it and the trick is to find a way to get them out. Even though I love fiddle music, my current instrument likes being a violin.
Do you bow left handed or right handed? And does this reflect your handedness in other things?
Right hand on both counts.
When and how did you begin playing the violin?
When I was four I begged my folks for lessons. We were at someone’s house for dinner and after the meal the two teenage kids played a couple of violin/piano duets. I sat on the piano bench in complete awe of them both. On the car ride home I started asking to be able to do that. Gratefully my folks were in a position to make that happen for me. So my first lesson was shortly after my fifth birthday – a couple of months after seeing these older kids play.
What qualities attract you to the violin?
It’s such a smooth dance between the instrument and the player – I always wanted to be a good dancer.
Tell us about your violins?
I have only one at present and it’s a home made number that I bought from an elderly man for $100 when I was 13. He found it in his grandfather’s barn in Germany then brought it with him when he immigrated to Canada.
How do you look after your violin, including on the road?
I never leave it in extreme weather conditions. I always bring it with me as carry on for a flight. Make sure that it’s not too dry, especially in Australia eh!
To what extent do you write music on the violin?
I write a fair bit on my violin and certainly a vast majority of the studio work I do is with my violin.
Do you generate sounds from your violin other than with a bow?
Lots of plucking – both traditional pizzicato and also if you can picture playing it like a mandolin.
Does one need a special technique to play violin and sing at the same time?
Just practice practice practice. It’s hard to do when the violin is crammed against your throat and under your chin. I usually just rest it on my shoulder if I’m singin’ too.
Are your violin parts arranged or improvised or a mixture of both?
Depends on who I am playing with and what they want. Often I get to throw some improvisation in the mix though!
How you go about getting your violin parts heard on stage?
I have a pickup on my fiddle – an L R Baggs running through a ToneBone pre amp.
What physical impact does playing violin have on your body?
I have to make a concerted effort to loosen my left shoulder but otherwise, I’ve not noticed anything high impact. Anything a person does over and over and over again is likely to have some kind of impact physically. Guess my time will come!
How do you keep your playing fluent if you’re not performing for a while?
I play for myself and I happen to be the practising sort.
What advice do you have for performers who want to use violin in studio recordings?
Go for it – play your guts out. Remember though that if you move around a lot when you play – the studio will require that, if you want a consistent sound, you are married to a mic.
What advice do you have for performers who want to use violin in live performances?
Put a pickup on as well as a pre amp and some kind of parametric EQ control ideally. Spend some time making sure that your violin actually sounds good.
What songs/pieces of music do you most enjoy playing on the violin?
Can’t say I have favorite songs/pieces. I’m all over the plot with my likes.
Of the recorded songs/pieces of music that feature you playing violin, which do you suggest we listen to and why?
Oh Lord – probably a Chris Pureka recording (to be released April 2010) called ‘Broken Clock’. It’s just a killer good song and I think the string section arrangement is aces!
What other instruments do you play?
I play a lot of instruments…but give my time dominantly to violin and bass.
Piano – grew up studying it along side violin.
Bass – I’m having a torrid love affair with it still (been ten years of playing it now) and the love is only getting deeper! I love the way bass physically moves air and consequently people’s asses!
What’s been happening in your life over the past year?
The story is too big and the words are too small still. It’s been a year – let’s just say that!
And what are your plans for 2010?
Touring with North American artists and finally yes finally, finishing my own solo album.
SOPHIE KINSTON (http://kinstonart.com)
Sophie Kinston was born in London (England), to an English mother and an Australian father. A classically trained violinist, Sophie moved to Melbourne (Australia) three years ago to further her violin studies at VCA. Sophie is currently part of the Rosie Burgess Trio, where she plays a red electric violin, with associated delay, octave and wah-wah pedals. In addition, Sophie has her own group, the Gestalt Ensemble (www.myspace.com/gestaltensemble) (made up of violin, electric violin, double bass, piano and a DJ), which focuses on innovative, and written and improvised new music. Sophie is also a ceramicist (whose influences include Claudio Casanovas, Eduardo Chillida and Gerda Steiner/Jorg Lenzlinger), specialising in ceramic sculptures, bowls, espresso cups and jewellery.
What are your earliest memories of making music?
Playing violin, and also singing – both of which being accompanied by my dad, and my grandfather (his dad) on piano. Then various orchestras and choirs at school, and at Saturday/Sunday music clubs.
Do you call your violin a fiddle or your fiddle a violin?
It depends what style/kind of music you are playing I guess. I have two violins. If you’re playing in an orchestra, it’s obviously a violin, which my acoustic, wooden one is. So you’ve got violins, violas, and cellos. Makes sense. If that one had a pickup for plugging in and making electric, then it would be a violin with a pickup. But the one that I’m using more, at the moment is an electric violin, which uses various wah-wah, delay pedals etc.
Do you bow left handed or right handed?
I bow right handed. I’ve never heard of anyone, or seen anyone bow with his or her left hand. I’m classically trained, and so learnt the way that a lot of violin students learn, via scales, exercises, and simple pieces etc. In England, I did grades 3 up to 8 (I started from grade 3, but it is possible to start from grade 1. When I started doing the grades, I was at the level of grade 3, so no point doing grades 1 and 2, and then doing various further studies at school, foundation, university, and postgraduate level.
You hold the violin with left hand, and the bow with right hand. I didn’t think that it was possible to bow left handed, and hold the violin in the right, as this completely switches the make-up of the violin, putting it back to front, having everything the wrong way, and which is not really possible.
When and how did you begin playing the violin?
My whole family is musical, – brother, parents, grandparents, cousins. When I was about seven years old, at school, we got a choice of learning the flute, violin, or piano I think it was. Maybe a couple of other choices. I learnt recorder there, and also started singing a few years after that, but for some reason, wanted to learn violin, and so here I am, 20 years later, still playing, and actually making music my career, slowly but surely. Amazing.
What qualities attract you to the violin?
It’s an instrument that I just love the tonal qualities of. I really feel comfortable playing the instrument, and was something that I found came quite naturally. Each teacher and mentor I’ve had has taught me new things, and ways of playing. I’m now using a lot more electronic sounds with my electric violin, using various pedals – delays, octave, wah-wah etc. over these past five years or so. In the coming years, I can see myself working more and more with different sounds adding to the pedals that I already use. It depends completely in what direction these next years take me.
When I began violin, the instrument intrigued me, but over time, I’ve had a love of just making music, and playing all these beautiful, emotional works, particularly of the classical and romantic eras. Then also through the years, I found that you could create all these undertones, scratchy, warped, and ethereal sounds through different ways of playing, and through particularly one of my mentors. I’ve also since been playing in various theatre productions, and with various artists including with the Rosie Burgess Trio over the past year and a half or so, finding new ways of playing as a soloist and ensemble player. Working within the sound of a folk/blues/gypsy style of playing has been interesting, seeing how as a violinist, I can personally add to a group with my individual voice.
Tell us about your violins?
One is an acoustic violin, 1924 by John W Owen, Leeds, England. Really beautiful, rich sounding tone. The other is an electric violin, made by Bridge. It is red and has a real presence on stage, particularly when working in theatre environments, where everything on stage is a character/element to the story.
How do you look after your violins, including on the road?
I change the strings every few months, using different types of strings. This is depending on whether it’s strings best used for acoustic, or for electric. I also get my bow re-strung, although this is expensive to do, having to be without my bows for a couple days so that they can be re-strung. It is difficult to find time, particularly when away, and on the road. I mostly take my electric away on the road, and not the acoustic, whilst with the Rosie Burgess Trio.
I clean/varnish my acoustic violin every few months, and also clean off the rosin dust. With my acoustic, I also get the fingerboard smoothed down, and get the sound post fixed from time to time. I’ve also had the varnish re-done a few times, and also have had to get cracks fixed. With a violin that’s so old, it reacts to heat, cold, and different spaces it’s in, so the fingerboard, soundpost, bridge, and wood etc. change.
With the Bridge electric, I’ve found that it’s quite a strong instrument, with minimal problems. Though with the acoustic, the wood is very old, and so the instrument tends to need to be fixed/cleaned/varnish much more often.
To what extent do you write music on the violin?
I’ve been studying up until two years ago, and only over the past three years, have made music my work really. I’ve particularly found Australia easier to do my music. Before then I was just trying to figure out what I wanted to do, and had been learning violin, playing lots, but not made it my career really. It’s much more common I think, for classical/jazz/session musicians – going through school, university, further studies on their instrument, and then finally after many years of education, getting music work. There’s such a high standard, with lots of competition, but some people figure out that they want to do something else. It all depends how life changes and how we develop as individuals. I’m really grateful that I’m able to do my music, play violin and have my own voice.
With a lot more singer/songwriters I have found that music is something that they have to do, and have played for many years, not going through the normal expected way of doing things through study, I guess.
Three years ago, when I started playing with Rosie, she wrote a lot more of the violin, melody parts, as we were learning how to play together (me with a singer/songwriter, and her with another solo instrument). Now though, I write a lot more of the parts, and figure the solos out. As the Rosie Burgess Trio, we work together in creating a unified sound, with a shifting focus between the three of us, back and forth.
Rosie plays a major role in the group obviously, as the singer/songwriter, saying what she wants, and what sound would suit. Sam Lohs, our drummer/harmony singer, also provides her slant on what works, and what she thinks works from what I’m playing, and what doesn’t. We all have our voice on the overall sound, and working together as an ensemble, towards the same goal.
I also write violin parts for other recordings, and artists. And also for my work whilst at VCA, and generally whilst practicing etc. etc., trying new things out.
Do you generate sounds from your violin other than with a bow?
I bow, but also pluck sounds, and use my pedals, as I said before. I’ve seen items attached to violins, such as balloons, fluffy animals, and things stretched across the instrument. When playing electric violins, these different sounds get picked up, depending on how you play. I’ve not incorporated this into my playing, although could potentially do so, in the future.
Are your violin parts arranged or improvised or a mixture of both?
Arranged, but also improvised. Depends who I’m playing with. I’m also always trying new things, and the things that work, tend to become almost my signature riffs/sounds, that I play often, and become the parts, alongside the particular lines for particular songs.
How you go about getting your violin parts heard on stage?
Performing as much as possible. And trying to get a good sound-technician for the gigs.
What physical impact does playing violin have on your body?
I tend to find I get a lot of upper shoulder pain, and upper and lower back pain. This comes with playing a lot, sleeping probably not that well, traveling lots – sitting in cars, flying loads, and general doing other work alongside this.
How do you keep your playing fluent if you’re not performing for a while?
I tend to perform a lot, particularly since I completed my studies at the VCA, and also touring with the Trio. You keep things fluent by practice, rehearsals, listening to other musicians play, going to gigs, and keeping on hearing music. I tend to immerse myself in my work. Over the years, I’ve been playing in orchestras, string groups, solo works, singing in choirs etc. The trio that I’m currently in, and all my other projects, and teaching etc. keeps me fluent. When I do have a break from performance, I’m practicing and rehearsing etc. Though you can also feel a bit uneasy when playing, with general life’s distractions, as you always have times that you don’t feel like you’re playing at your best, or feeling not up to scratch. It’s just handling this, and getting through these times.
What advice do you have for performers who want to use violin in studio recordings?
Know what you’re wanting to record, as recording can take a long time, and most people want things to be perfect. Make sure you’re working with a good studio engineer, and with people who are clear with what they want.
Also, get the strings to be rich in tone, lots of vibrato, and nice thick sounds. You can always double up the sounds, many levels, with just using one string musician. I will at times in recording, play the part four or five times or so, so it sounds almost like an orchestra.
Make sure you know what you’re doing, and what sound you want, but work with string players who are flexible and can contribute their own energy, and can add ideas such as doubling up sounds to make thicker textures. Also work with people who’ve got a broad experience. Doesn’t necessarily need to be someone who is the best, or the most expensive to hire, but someone who has done a variety of work, and knows who they are, and that can bring more to the recording than you had initially thought.
What songs/pieces of music do you most enjoy playing on the violin?
Many pieces. Classical/Romantic works – by Massenet, Mozart, Beethoven, also solo works by Ysaye, Bach, etc. New contemporary works – Anthony Lyons, Anthony Linden Jones, Stuart Greenbaum, Robert Davidson and many more.
What CDs, if any, include you playing violin?
- Rosie Burgess – Wait For The World (studio album)
- Rosie Burgess Set – Raw (live album)
- Rosie Burgess Trio – new upcoming studio album
- Pataphysics – new upcoming studio album
- Simon Paul – For Broken Hearts & Lovers (studio album)
- Tony Varcoe – Long Hot Days EP
What other instruments do you play? Do you also sing?
I also have played some African drums, but I’m now, primarily a violinist. And I have sung in the past, but not at the moment.
What took you to Australia?
My father is Australian. I’ve always wanted to come back out here. Finally after many visits, I feel settled, and able to create a life here. When I came out to Australia straight after university for an intended three months, which became six months, I decide I’d go back to the UK, and practice to get into the VCA, Melbourne. I loved Melbourne (despite only being here for one week), and wanted to get into the VCA to further my violin studies, and get to know Melbourne, through a very fluid and positive way. A year and a half later, I auditioned for the postgraduate performance diploma, and got in, and now have been living here for about three years. Only recently over these three years have I really found that I could contribute, as a violinist. And it’s taken 20 years of study and learning, to get to the point intonation wise, and confidence wise, being able to play as a performer.
Particularly in Australia where I feel comfortable and happy, am I really able to see myself as a musician, get work and have the time and can afford to do it. The UK is so intense for me as an artist. I really believe that you need to feel happy and content with the space that you’re in, working with people that you love, feel happy with, and enjoy working with, to be able to create in a positive way, and therefore able to commit to what you’re doing.
Life is hard, and to really have belief is tricky to overcome. It’s hard to find a good teacher, and hard to move from the stage of studying, through to actually being able to perform as a musician, and make a living from it.
I see myself as an artist/musician, and not just as a violinist. I obviously work as a violinist, but I also work as a producer, running events, and organizing works as an artist/facilitator.
How does your art fit in with your music?
Somehow I try. Instead of renting a studio, I’ve been doing my ceramic sculptural and commercial work at home, which is actually much easier, as I can work at any time of the day. I’m on tour for a few weeks at a time, and so in and out of Melbourne. It has worked out much easier to work at home when I can, than working at some other place, wasting money, as I’m not always there. This is how things are at the moment, but as time changes, and I might do less work, but hopefully more and more work, then I might consider moving into a studio. It works, me doing my work at home, as I’ve had the space to work, which is important and a key factor when I’ve been looking for places to live. Space isn’t the most important factor, but time is more of an element. Trying to balance my music with my art, and prioritizing both, at different times, keeping a focus on both. I guess needing to not do too many things is key, creating too many distractions.
Where can people buy your ceramics?
Check out my website – www.kinstonart.com – not all the info is on there at the moment, as I’m still working on it. You do, though, get a good idea of my work, and can see some of the pieces. If people are interested in the work, then I can also send on images. Just email me on srk1uk@yahoo.co.uk
What’s been happening in your life over the past year?
After finishing VCA studies, I’ve mainly been working with Rosie Burgess. With the recent addition over the past year and a half of Sam Lohs (formerly of Fruit) as our drummer/harmony singer, we’ve been working hard, touring the various studio and recent live albums all over various states in Australia, and in Tasmania. We’ve gone to most parts a few times, and are now in the process of recording the new album. In September 2009, we also toured North America and Canada, and are now planning a two-month tour for July/August 2010. Primarily this group has been my main focus, as you have to have a priority, in something that you really believe in and want to do. I have also slowly been working away on my own group, the Gestalt Ensemble, and recording and working with a couple other groups, and theatre productions, and also on my ceramics espresso cups, bowls, and jewellery.
Also I have been teaching violin to a few students, and working for a care home, on the side. After working in many homes, I’ve finally found one that I love, and really feel like I’m helping them by being there. This is part of my work for a catering agency.
What are your plans for 2010?
Currently recording new album and video clip for the Rosie Burgess Trio. Touring lots, all over Australia, and heading over for the second time to America and Canada with the Trio in July/August 2010, we hope. Then also playing various gigs with a few other groups. I also hope to start putting on various exhibitions/events again, selling my ceramics, and working more on my new music/sound group. I’m though, mainly working with the Rosie Burgess Trio, seeing where it will take us.
What advice do you have for performers who want to use violin in live performances?
Don’t just use violin because of it being a cool thing to have. Use it because you want that string element/quality, and for a purpose. Work with someone that you work well with, and who has a similar energy and passion. And make it fun and inspirational.
SUE BARRETT is an Australian music writer, who has a special interest in women in music and a wind-up gramophone that belonged to her violin playing great grandmother.
© 2010
