The Chop

The Chop Technique in String Instruments

The chop is a technique that more and more people are using outside of just the American bluegrass and folk traditions. It's showing up everywhere in groove music and new music.

Understanding the Chop

The idea is that you sort of play pitchless percussion on your stringed instrument. This was originally shown to me by one of the pioneers of this technique, the great fiddler Darrell Anger. Here's how he explained it:

• I've seen other people do it in different ways, and it really all depends on the sound that you get.
• Throw out your ideas of the right and wrong things to do with your bow.

For the classical players out there, who are taught that unless you're doing col legno, your bow never goes this way, I want you to try something different.

Technique Steps

1. Hold your bow like normal.
2. Straighten your thumb (a big no-no) and flip your bow out the wrong way.
3. Start by muting your strings with your left hand. My fingers are on the strings so that they won't ring at all.

Now, as you start:

• Come straight down. You might notice it doesn't really make much sound.
• Begin sweeping your hand at a gradually more acute angle towards the scroll. Here, I'm going vertical, then a little more to get that sound.

You're using the other side of the hair on your bow.

Developing the Technique

Here's a simple exercise:

• Start with a rhythmic pattern: chop, chop, retract, chop, retract.
• Build up different rhythms.

Experiment:

• Turn off the metronome and mess around with this technique.
• You could put on a metronome and try to come up with a groove similar to the way a guitarist or mandolin player might approach strumming.

Exploring Sound Variations

Another interesting aspect to consider is the difference in sound between low and upper strings, even with muted notes:

• The sound has a different pitch , it's subtle, but you can explore patterns like bass drum, snare, bass drum, snare.

Experiment further:

• Try playing lower down the strings or switching to a higher position for sharper sounds, perhaps reminiscent of a piccolo snare.

Conclusion

The idea is really to take conventional techniques and flip them on their head, allowing you to use them creatively.

You can always return to 'correct' playing afterward, but incorporating these techniques definitely makes practice more enjoyable and can enhance your time feel as well!