Swinging on a Gate: Teaching Traditional Folk Music as Chamber Music

Abstract

Having raised their instruments to playing position, the ensemble members directed their eyes in anticipation toward the lead player. His bow poised above the strings, he dipped and raised his scroll, indicating a predecided tempo, and with his final, magnified preparatory gesture, the group began its well-rehearsed rendition of an often-performed selection from the standard literature. With energized precision, the players executed their individual roles; the harmonic structure became rarefied by way of carefully manicured intonation, contrasting rhythmic motives were meticulously manipulated one against another, and all in support of a shimmering melody which floated above the rest with a sense of ease belying its technical complexity. The performers never failed a moment in their communication with each other; eye contact was ever present, balance was adjusted by facial expressions recognized among the players, and spontaneous musical nuances were met with knowing smiles of approval. The audience became instantly engaged, responding to the familiar strains of the melody. Soon they were reacting physically to the rhythmic buoyancy of the music, becoming increasingly involved in this magnificent presentation. And with the final repeated chords of the coda, the crowd burst into joyous applause and shouts of praise, thrilled to have been able to take part in this encompassing artistic experience.