Wow, what a great source of info this forum is! I'm truly grateful for the responses, and thanks to all for that. Looks like Hal's suggestion of the Duncan book is what this excited young gal is looking for. I forwarded the link to her and she thinks it is what she needs. I've told her to listen to as much recorded music as possible -- to get those melodies in her head. What I've seen from those who've been schooled, the ability to play from the ear and soul is compromised by the crutch of the music stand. But if the printed page will give her a jump start, so be it. If she can git 'er groove on, I'd like her to cameo on a CD I'm presently recording. ;)

Bravo Braves, y'all rock!

Rick

Laurie Hart, Ithaca, New York fiddler who can hold her own in Quebecois, Irish, and Swedish traditonal music, actually visits college music departments to give a course for classically trained violinists to help them make the transition into the very different world of roots music.

Back when my band was really an open tune swap, we had a classically trained violinist sit in. She would learn the melody line in 5 seconds and then get bored because she thought she was done! One night we went to an infamous backwoods dive called the Coonrod for a jam. I had to leave at midnight, but this sixtyish lady had discovered jamming for the first time, and stayed out 'til 3:00 AM with the bluegrass gang!

I don't know where she is now...she left town and is know to be dangerous with a fiddle

I would suggest getting her the Al Berard DVD on cajun fiddling. He plays in standard tuning and explains the waltz and two step bow licks as well as double stops on seconding. He then teaches a couple of tunes which are the equivalent of Dirk Powell's tunes in the cajun accordion series. It's enough to get a violinist started on the road to play cajun fiddle. Once she gets the feel have her listen to Steve Riley's version of Oh Ma. She should be able to pick right up on that. Then stick her on stage in front of a mic.