I always like the “traveling” portions that may be moved from one tune to another too.

Also when we learn to play another instrument it has a payback on our fiddle playing.

We are so fortunate that it works that way, hey? Kinda like building block...well...reusable building blocks. Maybe a bag 'o tricks...anyway, it seems to add up, doesn't it?

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Originally posted by groundhogpeggy

We are so fortunate that it works that way, hey? Kinda like building block...well...reusable building blocks. Maybe a bag 'o tricks...anyway, it seems to add up, doesn't it?

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Music in the bank!

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Originally posted by groundhogpeggy

We are so fortunate that it works that way, hey? Kinda like building block...well...reusable building blocks. Maybe a bag 'o tricks...anyway, it seems to add up, doesn't it?

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I believe "Leggo" is the word you're looking for ... !  Maybe a box of Leggos .....

It almost sounds like you’re saying that study and practice are good things and that learning patterns is useful because it translates into other things once accomplished. Be careful or you might be accused of venturing into the dark side!

I would rather play fewer tunes with precision than slop my way through thousands of tunes.

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Originally posted by The Violin Beautiful

It almost sounds like you’re saying that study and practice are good things and that learning patterns is useful because it translates into other things once accomplished. Be careful or you might be accused of venturing into the dark side!

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I am on the dark side.. I'm a pattern player...However I don't always use them and I DO mix them up...

Dark side here. Tearing apart fiddle tunes into the sound/riff/patterns is having a bag of tools, jigsaw pieces to be tried.

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Originally posted by TuneWeaver
I am on the dark side.. I'm a pattern player...However I don't always use them and I DO mix them up...

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I'm a phrase player.

I think there’s room for both approaches. Patterns are great tools to have in the toolbox, but mixing them up and turning them into your own phrases is where things really get interesting. Maybe the dark side isn’t so bad after all!

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Originally posted by TuneWeaver

Most of you probably already know this..When 'tweaking' a tune, the precision you put into that tune shows up on the next tune...funny how that works......

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I guess my playing is anti-precision, as I mostly devolve into double-stops. But band and audience love it. Arkansas Traveler is about the only tune I single string. Well, most of it. 

I don't quite understand? Is there a debate or argument, about patterns and phrases? Mostly I'm just playing away, until someone wants a chord progression or key, then I relay the info as I play. Must be one side(brain) just plays, the other side deconstructs. I dunno? 

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Originally posted by farmerjones

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Originally posted by TuneWeaver

Most of you probably already know this..When 'tweaking' a tune, the precision you put into that tune shows up on the next tune...funny how that works......

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I guess my playing is anti-precision, as I mostly devolve into double-stops. But band and audience love it. Arkansas Traveler is about the only tune I single string. Well, most of it. 

I don't quite understand? Is there a debate or argument, about patterns and phrases? Mostly I'm just playing away, until someone wants a chord progression or key, then I relay the info as I play. Must be one side(brain) just plays, the other side deconstructs. I dunno? 

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I don't see any argument here, just folks sharing experiences..

I put the precision into practicing: intonation, bow patterns, scales and arpeggi, phrasing and melodic motif, in the belief that it shows up in all the tunes/improvs I play. I guess that's why I dont have a ton of tunes, but I dont need too many anyway.

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Originally posted by buckhenry

I put the precision into practicing: intonation, bow patterns, scales and arpeggi, phrasing and melodic motif, in the belief that it shows up in all the tunes/improvs I play. I guess that's why I dont have a ton of tunes, but I dont need too many anyway.

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I think that makes perfect sense. Players of written music and improvised music alike extol the virtues of practicing this way. And I think the more closely you analyze improvised players, the more you start to see the patterns that they use and reuse to form their identitites. Then it seems clearer that both forms are really forms of composition, one done in advance, one done on the spot, but both also done using idioms that have been learned over time.

I think you can compare it to writing prose or poetry. To be any good at either, one needs to read widely and develop a command of the language first. Then one can either craft compositions over time or invent them on the spot, in either case drawing from the knowledge base that's been accumulated. 

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Originally posted by Old Scratch

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Originally posted by groundhogpeggy

We are so fortunate that it works that way, hey? Kinda like building block...well...reusable building blocks. Maybe a bag 'o tricks...anyway, it seems to add up, doesn't it?

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I believe "Leggo" is the word you're looking for ... !  Maybe a box of Leggos .....

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And I believe "Lego" is the word you're looking for ...

Grrrr ... !

Ai would say "legoklodser" would be correct. Staying true to the original and authentic classical Danish.....

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Originally posted by TuneWeaver

Most of you probably already know this..When 'tweaking' a tune, the precision you put into that tune shows up on the next tune...funny how that works......

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I mostly try not to let idea of precision get in the way of good.

I think most folks agree with the work put in tweaking and wood shedding, that it's not simply honing for the one tune.

Just pointing out that pursuit and metric of precision, is different than pursuit and metric of good.