Easy Jazz Conception: Violin: Violin & Piano Book & CD

Snidero's etudes work because they're built on the actual phrases and approaches of a working jazz musician, not academic abstractions. Hearing Mark Feldman navigate these blues and standard changes on the included CD gives students a living model of jazz violin tone and phrasing. The dual-track format (with and without soloist) means players can study the concept first, then step in confidently when they're ready.

The writing sits comfortably under the fingers while demanding real jazz vocabulary: swing phrasing, guide tones, targeting chord tones. The rhythm section grooves with purpose; you hear why playing jazz on violin matters, not as novelty but as a legitimate conversation with piano, bass, and drums.

Violinists with solid classical fundamentals who are ready to explore jazz language and improvisation basics. These etudes work well for advanced middle school students or high school players beginning a jazz track, as well as adults returning to the violin with jazz interests.

• Listen through the entire etude without your instrument first. Notice how the soloist breathes, where the pauses happen, and which moments feel intentional versus fluid.
• Sing the melody and chord tones out loud before playing it. This builds the internal sound that separates jazz from classical reading.
• Use the rhythm-section-only track as your rehearsal tool. Push your tempo control and phrasing without the safety net of the recorded soloist.
• Record yourself playing along with the full track, then compare your tone quality and vibrato directly to Feldman's. Small adjustments in bow control make a significant difference in jazz idiom.

Insert these etudes into a jazz ensemble rehearsal sequence to develop individual jazz voice before full-band improvisation. They also work as a bridge for string students curious about jazz, offering 15 entry points across a semester without requiring the student to write their own solos yet.

• Swing phrasing and articulation
• Reading and playing over blues chord changes
• Targeting chord tones in improvisation
• Listening and transcription from recordings
• Jazz tone production and vibrato application
• Rhythmic flexibility and behind-the-beat placement