Beginner Fiddle - FIDDLE MASTERY FROM THE BEGINNING - Start fiddle from Scratch - Easy Fiddle Class | Lesson Pros | Skillshare

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Beginner Fiddle - FIDDLE MASTERY FROM THE BEGINNING - Start fiddle from Scratch - Easy Fiddle Class

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Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

92 Lessons (11h 24m)
    • 1. Introduction

    • 2. How to use the Course and how to find what you're looking for

    • 3. Intro to the Bow

    • 4. How to hold the Bow

    • 5. Introducing Rosin and how to use it

    • 6. Holding the Violin/Fiddle

    • 7. How to Hold the Violin/Fiddle Part 2

    • 8. How to Attach a Shoulder Rest

    • 9. Shoulder Rest Part 2

    • 10. Working with the Bow

    • 11. Tuning the Fiddle/Violin 101

    • 12. Tuning the E String E Note

    • 13. Tuning the A String A Note

    • 14. Tuning the D String D Note

    • 15. Tuning the G String G Note

    • 16. Tips on Tuning

    • 17. Pre-Scales Exercise 1

    • 18. Notes for Pre-Scale Ex 2 for Folks able to read notes. We'll learn notes later.

    • 19. Pre-Scale Exercise 2

    • 20. Notes for Pre-Scale Ex 3 for Folks able to read notes. We'll learn notes later.

    • 21. Pre-Scale Exercise 3

    • 22. Prescale Ex 4

    • 23. Pre-Scale Exercise 4

    • 24. Prescale Ex 5

    • 25. Pre Scale Exercise 5

    • 26. Notes for Pre-Scale Ex 6 for Folks able to read notes. We'll learn notes later.

    • 27. Pre-Scale Exercise 6

    • 28. Wrist Form with Partial Scale

    • 29. Full A Scale with Exercise

    • 30. Syncing up your Fingers and your Bow

    • 31. D Scale with Exercise

    • 32. G Scale with Exercise

    • 33. Finger Terminology with High 2, Low 2 Exercises

    • 34. 2nd Octave G Scale with Exercise

    • 35. 2nd Octave G Scale Exercise

    • 36. Full Length of Bow Exercise, Gaining Speed and Cleanliness

    • 37. Bow Control Exercise

    • 38. Introducing Slurs

    • 39. Reading Music 101

    • 40. Finding your Open Strings

    • 41. Reading Music With Finger Placement on the E String

    • 42. Reading Music With Finger Placement on the A String

    • 43. Reading Music With Finger Placement on the D String

    • 44. Reading Music With Finger Placement on the G String

    • 45. Music 102, Keys, Series of Sharps and Accidentals

    • 46. Reading and Understanding the A Major Scale

    • 47. Understanding the Fingerboard with the Chromatic Scale

    • 48. Note Lengths with Examples

    • 49. Note Length Exercises

    • 50. Fiddle - A Minor pentatonic Scale and Double-stops

    • 51. Fiddle - A Minor Pentatonic fiddle movement example and exercise with backing tracks

    • 52. Fiddle - Descending & Ascending A Minor Pentatonic Example and Exercise W Double-stops

    • 53. Fiddle - Am Pentatonic Ascending and Descending Example along with Backing Tracks

    • 54. Fiddle - A Minor Pentatonic Ascending and Descending Example and Exercise

    • 55. Fiddle - Putting it together with backing tracks and introducing Slurs

    • 56. Fiddle - Adding new Tricks Exercise 3 to the Am Pentatonic Scale

    • 57. Fiddle - Adding Exercise 4 along with examples and Backing track Exercises

    • 58. Fiddle - Example of Exercises 1 2 3 and 4 without talking

    • 59. Fiddle - Adding lower octave to A Minor Pentatonic Scale with backing track example

    • 60. Fiddle - Key of D Minor Pentatonic: Similarities Example and Exercise

    • 61. Fiddle - D Minor adding the 1st string Example and Exercise

    • 62. Fiddle - Immediate Slides D Minor Pentatonic Scale

    • 63. Fiddle - Three Two Opens on the A string in the Key of D Minor

    • 64. Fiddle - Adding 320's to the key of D Example Exercises

    • 65. Fiddle - Learning Key of G Minor Pentatonic

    • 66. Fiddle - Licks to add in G Minor Pentatonic with Exercise and Example

    • 67. Fiddle - Introducing B Minor Pentatonic

    • 68. Fiddle - Adding Tricks to B Minor Pentatonic

    • 69. Fiddle - Adding even more to B Minor Pentatonic

    • 70. Fiddle - A Major Pentatonic

    • 71. Fiddle - Adding 4th string to A Major

    • 72. Fiddle - D Major Pentatonic

    • 73. Fiddle - G Major Pentatonic

    • 74. Fiddle - B Major Pentatonic

    • 75. Fiddle - Key of B Example Stitching it all together

    • 76. Class Tools - Key of A 60BPM Use A Major or Minor Pentatonic Scales to practice with

    • 77. Class Tools - Key of A 80BPM Use A Major or Minor Pentatonic Scales to practice with

    • 78. Class Tools - Key of A 100BPM Use A Major or Minor Pentatonic Scales to practice with

    • 79. Class Tools - Key of A 120BPM Use A Major or Minor Pentatonic Scales to practice with

    • 80. Class Tools - Key of D 80BPM - Use D Major or Minor Pentatonic Scales to practice with

    • 81. Class Tools - Key of D 60BPM - Use D Major or Minor Pentatonic Scales to practice with

    • 82. Class Tools - Key of D 100BPM - Use D Major or Minor Pentatonic Scales to practice with

    • 83. Class Tools - Key of D 120BPM - Use D Major or Minor Pentatonic Scales to practice with

    • 84. Class Tools - Key of G 60BPM - Use G Major or Minor Pentatonic Scales to practice with

    • 85. Class Tools - Key of G 80BPM - Use G Major or Minor Pentatonic Scales to practice with

    • 86. Class Tools - Key of G 100BPM - Use G Major or Minor Pentatonic Scales to practice with

    • 87. Class Tools - Key of G 120BPM - Use G Major or Minor Pentatonic Scales to practice with

    • 88. Class Tools - Key of B 80BPM - Use B Major or Minor Pentatonic Scales to practice with

    • 89. Class Tools - Key of B 60BPM - Use B Major or Minor Pentatonic Scales to practice with

    • 90. Class Tools - Key of B 100BPM - Use B Major or Minor Pentatonic Scales to practice with

    • 91. Class Tools - Key of B 120BPM - Use B Major or Minor Pentatonic Scales to practice with

    • 92. A Thank you for taking this Fiddle Class

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About This Class

Beginner Fiddle with Chuck Millar from Lesson Pros - Learn the basic concepts and building blocks that you will need to play the Fiddle from scratch.
#1 Fiddle class online

Why take a fiddle class from this guy?

My passion is inspiring others to feel more confident in themselves  and their playing. I feel like playing the fiddle can do that. After years of  performing and teaching all over the US. at workshops, out of my home  and through multiple schools, I was asked by many of my students to make fiddle class videos of my lessons.  So here is the result.

I hope you will join me on the inside of this fiddle class where you will learn some amazing fiddle tricks.

Building a strong Fiddle Class Foundation

  • For the beginner players who would like to learn and/or improve their fiddle skills

  • Learn your basics - I will teach you a shortcut way to play violin to make it easier to learn fiddle faster. Every detail will be broken down and explained in easy to understand parts to help you succeed. 

  • You will learn everything to get you started from start to learning how to play on your own.

  • You will learn all the scales you need to know

  • You will get backing tracks to be able to play along with to help develop your skills

Who is the target audience for this Fiddle Class

  • Anyone interested in learning the fiddle

  • Anyone who wants to play fiddle for enjoyment

  • Anyone who wants to be a performer or a musician

  • Great for all ages

Fiddle Class that's filled with all the information you need to succeed

  • All these fiddle videos are all broken down to the smallest detail. It's assumed that a person who has never attempted to play fiddle is watching this class. 

Questions about this fiddle class?
Feel free to send me any questions you might have on this class. I want to make your learning experience the best that it can be.


Thanks for taking the time to look at this Beginner Fiddle Cass -FIDDLE MASTERY FROM THE BEGINNING class. I look forward to seeing you on the inside and  teaching you how to be a better fiddle player. 

Chuck M.


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1. Introduction: my name's Chuck Millar and welcome to my master class for beginners. Phil designed its course specifically so that the person who has never picked up a fiddle before and they've never held a bow in succeed. So we started the very beginning. Bring it all the way to the end over hours and hours of instruction. So it doesn't matter if you've never played before or if you're a violinist and you wanted to reach out there and start now, now played fiddle music. If you are a bluegrass musician and like you are interested in playing a different instrument, wanna play fiddle? If you are a music listener and here's somebody on stage and you're like, Wow, I want to be able to do that now you can, because you came to this course when he came to the right place you found is the most comprehensive set of instructions that you can find on the Internet. You could go out there, you can look on Google. You can look on YouTube. You could look anywhere you won't find a more comprehensive put together a video series than what you found right now. So if you're willing and you're ready and you're ready to learn, some fiddle must do together and we'll see inside 2. How to use the Course and how to find what you're looking for: Here's a quick overview of the course content so you can find the information you're looking for right away. There's lots and lots of videos to choose from, So where do you start? If you've never had any experience or are just beginning playing the violin, simply start at the beginning and navigate your way through the course. This course is designed for the person who's never picked up a violent before, and at the beginning of this course is a section that deep dives into the basics so a novice can get up to speed quickly and start playing. The next section of the course is dedicated to reading music. While it's important to know how to read music on your instrument, for most, it's not as important for other fiddle players. I've decided it included here for those wanting to learn how to read music. If you'd like to learn by ear, just skip it and go right to the middle section. Here's where we find all the fiddle stuff. If you're already accomplished at the basics and reading music, you could start right here again. This is designed for the beginner in mind, so it's explained in depth. The further along would go. In the course. It's assumed that the student is learning and progressing. So the Burbage in the video speeds up, the further we go into the course. The last section is for backing tracks. Seacon. Practice what you've learned in the course at a speed you're comfortable plan. Yet it's more fun to practice when you can play along with a real band. I have included a host of different speeds at all of the keys we work on in the course, so you can play your best faster than ever, Enjoy. 3. Intro to the Bow: the first thing we're gonna learn about is our bow. So I have mine bell here and the different parts of the bone of the frog, the screw, the stick, the tip, Of course, the horse here and the part that we're gonna look at first is the screw. We're gonna figure out how to operate it. Now a screw is literally a screw. And what it's in charge of is making this frog. This would piece here get tighter or more loose. So when I tighten this up or loosen it up, it will make the horsehair get looser from are tight, so you can kind of see it in a quick, fast motion. Looser or more tight. All right, so when I tighten this up all the way, you can see this horsehair slowly getting tighter. Right? So this is just pretty much how it works. And on the inside of your frog, you can see once I get this out, the nut, this little guy all right there and just like there's ah, bolt and nut. And the threads on the inside simply work like that on the inside. No, um, depending on your age and your ability to manipulate these little things. You may not want to take this this frog off quite yet, but I'm just kind of showing you how it works. Okay, so before we get started and trying to hold the bow, who want to figure out how much tension we want to have on our bow, our horse here. So when it's resting where I'm not playing the bow, I'll make sure that my horse hair is Lucyna. So it comes down and touches this fulcrum point of the stick, right? It begins to lose. You can start to see the hair hanging down or draping over the stick. So we're trying to do as we're trying to get the the hair. Not to be up high, are tot so that their space in between here but just low enough or it's touching the wood or, in my case, carbon fiber. And when it's at that point, we know that we're ready to put aware Bo are not played anymore, and the reason why we loosen up that horse here is because you're Bo. We'll have a tendency to ah, warp one way or the other. It is over time. Top like that or has tension on the horse here. Okay, Now, how do I know how much tension that I want to have on my boat? Part of its feel, Because every bo is waited a little bit differently. And each bo is a little bit different with the person who's rehired or put coarse hair on their bone. And but we wanna have is I'm pretty small piggy, right? I'm a pretty small Guidolin five foot nine. Uh, no, my pinky, the with of my pinky is about the with of space you wanna have in between where the wood is , where the horse here ends. Now you can see that I'm putting my finger on the back side of the horse here, which is OK, but you never want to do is put your fingers on the part where you put the rosin. We haven't discussed rosin, but the front facing part of our horsehair. So we have oil on our fingers and we just don't want to get it mixed up with that resonance will learn about rosin, the rosin, which will learn about later. Okay, so let's get our bow tied enough so that we can put our pinky in between the stick and the horse here and then we're ready to hold the boat 4. How to hold the Bow: Now that we've figured out some basic things about her bow we want to do is we're if you're out, hold the thing. And this comes before we do the rise and stuff, so and I'll show you that in a little bit. But what we're looking at is our frog. This would piece here and you can see the little Florida Lou on the front because he better that we're in. And this screw, of course, which would. Which is gonna be in play here. And we also see where the stick is right here. It's going to butt up against where this frog kind of comes out, so I'll put it up against my face. You can see it better. So see how it curls like this. So part of that frog where it meets and touches the stick of the bone is also where we're gonna look at it. So that's what we're gonna do. First take your thumb and this is on our right hand hopefully or right handed player. And if you're left handed plate, uh, won't work very well for orchestras. But if you're a fiddle player, just wanted goingto learn on your own definitely you can get a left handed violent. But for us right now, we're gonna take our right hand. And the only thing that we're gonna use is Earth. Um, and where we're going to touch it is right here. Where the frog. Just like we did before the frog. The frog meets the wood. So thumb touch is right there and notice I have my thumb if its face towards you. So if you see if you see yourself in the mirror, I'm going ahead of the bow. Some that my thumb is more forward than where the boat is. So I'm going in front of the strings and then take my thumb and putting it where the frog needs the stick of the bow. So from this side, it looks like this from the side. It looks like this. So from your perspective, that would look like this. Right. Okay, so now that we have our, um, thumb in place, we're gonna make sure that we're holding the bow and in the middle part of the bow. It doesn't have to be super in the middle, but it could be a kind of anywhere in here, but we're gonna hold the bow with our left hand. We're gonna be careful that we don't touch the horse here. So we're just holding the stick of the vote. Then the thumb goes right there where the frog would part meets the stick. Okay. And then the rest of it, I'm gonna explain this way. Um, I teach an ergonomic style. There's a French dialers of German style and all sorts of different ways. Toe, hold your fingers. You know, there's books on this, but what I like to do is I like to do it's comfortable for you. And if you're doing what's comfortable for you, chin, generally you're gonna do it right for you. So what we're gonna do is we're gonna have our fingers kind of reached over, and we're the point where this knuckle airs. So we have this knuckle that bends there, and this knuckle that bends there. So we're looking at this knuckle right here and on the opposite side of it, weren't that the knuckle on the opposite side is willing to touch is on the wood. Okay, so we're gonna be careful that it doesn't right on this knuckle, which is pretty common for beginners when they do this, but instead, we're gonna try to touch it. Read on that knuckle. So thumb isn't place. The finger comes down and touches right underneath. Pet knuckle on the wood. Okay, so that's their first step. Now, the next part that we're gonna do is we're gonna have these other fingers kind of rest down here and when we have a relaxed hand, so if you make a fist, it's all clenched up and you can see that there's no space in between my knuckles. But if I relax, I hand you conceive this space that exists between the fingers, and that's kind of what we're going for. And if I tensing up the other way, I can have 2 2/10 of a hands and I have lots of space in between those fingers or looking for is just relaxed, whatever that is for you. So it might be a little bit like this. Might be a little bit like that, depending on the shape of your hand. But make sure you're my wrist is literally hanging. Making my my wrist is making my, um, hand hang down from this point and then the fingers are just being kind of dead weight. So the thumb fingers or dead weight making sure that the knuckle underneath this nickel touches the wood. Okay. And then after I do that and I still have this nice curl in my wrist because it's just hang in there, I'm going to get my pinky to come up and touch somewhere where it's comfortable for you here. So you're not squeezing in, and then you're not reaching row far, but just where your pinky decides where it wants to go, then you're gonna make sure that the knuckle is bent. So bent is opposite of stretching out the finger and pressing down hard. You wanna curl that knuckle and then just have the edge of the finger point downwards straight on the violin bow. So again, Step one thumb where the wood means the frog. The frog is the wood part. The fingers curl around, touches underneath this knuckle, and then my pinking comes up and touches the wood part on the very top, and it curls around. After we're able to do this, you can kind of see it back a little bit further. I can still have this curled wrist we're gonna try to do is make sure that we have it right . Um and you may want to, depending on how comfortable you feel holding the bow of the very first couple of times, you may wanna have a little help with your left hand. So what we're gonna do is we're gonna take this pinky and do pushups with it. Kind of what you're doing Push ups like you're doing on the floor. Except it's gonna be push ups with your pinkie on the bones. It looks like this pinky comes down straight like we weren't supposed to do. And then it comes up and becomes curled and then straight and then curled and then straight and then curled. And it gets you used to having a curled pinky and also helps you get used to the balance of your boat. So this is how we're gonna hold their boats. Just practice that get comfortable with it before you move on. 5. Introducing Rosin and how to use it: Let's discuss rosin. The kind of rosin that I use is that kind. I'll try to pronounce it for you right there. Lead been Zeller. That's what it says. If it doesn't want to focus in on Me came. Well, just trust me that it says Liebman Zeller. Okay, and it's a German. It's a German type of rosin. This is what it looks like now when you get you're Ross and chances are stores aren't going to carry Leavins L. A rosin, but you don't have to get leaving, Zella Ross, and you can get just about any garage, and you can kind of see that this is kind of a darker amber, and the darker that your rosin is typically means that the more stickier it is and the lighter the rosin, the less sticky that it is And what that means for you as, ah, violin player is how gritty of a sound how loud and ready is going to be versus soft and fluffy sounds or soften eerie sounds so darker, grittier and louder. Uh, which requires someone to, um, have ah, firmer grip and the faster boat to get a clean sound. And for those of us who are might be beginners or having a little trouble with a speed on our boat might want to go with a lighter color rosin, which will really help with that. So when we use rosin on our bow, especially if you have a brand new bow like a brand new one, you buy it online, you buy it in a store that won't come with rosin on it. So if you try to draw it across your bow, it won't make any sound. Makes this weird whistle the sound. So what we gotta do is we have to put rosin on their boat. Now you're both if you take a look at our honor microscope has these little teeth on it, and these little teeth, we'll get the rosin hook in him. So if you have a brand new rosin block or ah, rosin cake, um, chances are it'll be very shiny at the top, and you can see mine is broken in a couple of chips out of it, but it's not shiny at all. You can see parts of it are shine, but most of it is really subdued. That means you can sell it I've broken it in well, when their brand new they're really shining. And sometimes if you get really inexpensive rosin or rosin from China, uh, it's hard to break the resident because as it comes in on a boat from China or across the seas, typically the humidity will create a gloss over the top of the rosin block, and it makes it hard for you to break it in. So what we do with those types of rosin blocks to break him in or the start to break in? We take like a coin, and we just scuff up the top, and then it makes it lots easier to get in tow, the Ross and so what we want to do. When we were starting their rising block, I'm pretending that this is a brand new Ross block just to break it in, you simply started the frog and go about four inches and go back and forth and put a fair amount of pressure on, and you'll begins here that mine has rosin on it because you hear it didn't have browsing on it. It would make a kind of ah, a Wisley sound that world Oh, and once you started to get rosin on. Eventually, you hear that? You hear? Hear? Now, um, you can see the difference in my bow, and I'm using this black bow for demonstration purposes. And because I like the sound of this black bow for the kind of music that I play. But you can definitely see where the rosin is on the bow and where it's not on the boat. So, um, mind Bo has a fair mountain Rosinha? Uh, as it is, But when you're breaking in a boat for the first time pretending it's knew you'd go on little patches and then up the vole for little patches and then up for the boat for little patches and up from both a little patches. If you already have a ball that has rising on it, you will simply go from the frog without going and little patches all the way to the tip of the boat. And you can kind of hear that sound all the way through my phone. So you can already tell him that has rods and some, Really, at this point, I'm putting way too much rosin on my vote. But that's okay. I'll just shake it off when it's done. Right? So the reason for this is we wanna have even application of Ross and honor. Bow right and you'll be able to hear when there's not enough arising because you're gonna hear those Wisley spots or not The parts right just makes sense. Okay, so and as you can kind of see on my bone now, it went from that black to this nice kind of whitey whiter part. Um, Now you can tell. That's way too much rise and right, So all I have to do is you can't see it on the video. But all I'm doing is whacking bone on my on my leg. I was whacking the bow on my leg Get rid of the excess rosin and then we get a good tone out of her instrument. So you'll notice in this video after I've taught you how to hold the boat correctly. As's faras classical is concerned you might see me right up on my bow. Um, in some demonstration purposes, this is Ah, typical fiddle. Hold for a very heavy bone. Um, and that is not a classical style. So if you see me riding upon the bone. Ah, you'll know why. So right now, if you learn in classical music at your back here where we originally learned if you're playing fiddle music, um, kind of than that is gonna be the gamut of where you can put your your your hand, whatever feels comfortable for you. 6. Holding the Violin/Fiddle: All right, now we know how to hold the bow. We know the parts of the bow. We know how to rise in Erbil. Now we have to figure out how to hold the violin. No, on this part of her hand on her left hand were hold of the violin we're gonna focus on. Is this part of her hand? Part of that we're looking at is the back side of this knuckle. So you can kind of see this creeks that we have and what we're gonna focus on is this part of her hand right there. And where it's gonna touch is on our neck of our instrument. We're gonna hold it. Kind of like a guitar at this point. So what's gonna happen? You're gonna hold your hand out on if you're right handed. It'll feel opposite like you're left handed person, but you're left handed person. You're trying to shake somebody's hand, right? So on the bottom part of your violin neck is going to meet up with this creasy part of your hand. So you're holding your hand out slightly sideways like you're going to shake somebody's hand and simply you're going to set your neck of your violin in that little crease. So that's that one. Okay, so the next step, um, I have this shoulder rest. It's a wolf shoulder wrist, but that doesn't make a whole lot of difference. They make make a lot of different shoulder wrists. Kun is a great one. My recommendation is you don't get kun copies because they're, um, not well built, and you'll probably have to buy five or six of them before you realize that you have to should buy a really cool in instead of, ah, replacement because they'll break eso. That's just make it to you. Um, I also like this wolf, which is a great product, but they also make the lots of other ones that are also great. So it's not not my recommendation toe on Levi. This type of a shoulder rest, but it's gonna help you hold your violin bow, and we're going to discuss how to put one of those on a little debt. But first steps first, holding the handouts slightly tilted so that the thumb is pointed away from you, so not into your body but away. Right then the net goes on the hand so in the crease. And what we're gonna try to do is hold the violin right here on the opposite side of where the the chin wrist is this black part. So we're gonna have a good hold on. Is it so it doesn't fall down gate now, the violin is gonna go in that crease, and then we're simply going to put it on our left shoulder and just set it up there. And now what happens with the other part of her hand? We're going to try to get it so that the palm is now face to you towards you. So you're going to try to see that? If you were looking at it with your eyeballs, if there was text on your hand, you could read it. So would be faced. Kind of like a book towards you. All right, so it goes down like a guitar is kind of easy to hold, and then it comes up on your left shoulder, right? And what you're trying to have happened is you're trying to have it kind of beheld, right? Notice that my hand is at a little bit of an angle. It's not straight up and down, but it's had a little bit of angle, and that angle helps the violin just kind of sit there without sliding down into the crevice of your thumb and your index finger from the guitar position where the thumb is away from me. Not in words but away from you. And your wrist is nice and straight. What I mean by a straight wrist is if I were drug draw line down here, it would be straight, so it wouldn't be a curved line, right. And from here, if I turn my hand the other way, it should be a straight line. So it's not a curved line one way or the other, so straight rest. So again, the violin is in that crease. I'm holding it kind of like a guitar, and I'm calling it up to the camera for for your reference. When it's back here, you're probably gonna hold in your lap for a little bit further down. Then the second step is the violin gets put because we're holding the violent with the opposite side of this and black chin rest, and it just simply goes up on her shoulder and we're trying not to let it fall down into that crevice. So give that a shot, see if you can try it a couple times, and your main goal is to hold it there without it falling. 7. How to Hold the Violin/Fiddle Part 2: Okay, this is part two of holding your violin. So we've discussed aware to kind of hold on her hand how to get it up to our shoulder and her left shoulder. There's a couple more really important points here to make this all happen and work correctly for you. Well, look at on our violin. Is that little, um, black dot there and really, it's a in pin and you kind of see where it is on your violin, and sometimes they're black and sometimes they're brown or other colors, right? But it's that little guy right there, and it's and guide. Um, we can use it as a guide to figure out where it is, and what we're gonna try to do is we're gonna line it up with her chin if your guy your Adam's apple or the very middle part of your neck. So if it's pointed towards the middle part of your neck, you're in good shape where we fall apart or we have trouble is if it gets away from the middle part of our neck or to foreigners and is pointed away from our neck to again were put too far. But now it's pointed towards the middle over, and I could never are pretty good. Now, the next thing that we want to do because you wanna have the angle of the violin, we had a 45 degree angle away from our bodies, so towards our left side, out and left. So if our violence is frustrate in front of you and then it's at a 90 degree angle, cut that in half at a 45 degree angle, halfway between straightforward and off to the side is 45 degrees, and that's kind of the angle that we want her violin to be at. Okay, so when we bring that violin up every heaven in the crevice, I want to make sure that that ah little button is pointed kind of directly in the middle of our throat, and then her chin sits on this chin Rest. You have different sizes of chin, rests and shapes of just wherever it is. It's just in the div. It part of our chin rest where ching goes now. Granted, I have one of these and I'll show you how to put that on later. But it helps me hold up this violin without falling. That's which is kind of kind of fun, right? So So the next part is this part here helps me hold up the violin, but also one that we have that shoulder rest. It also helps you not have to feel like you're lifting up the bow so it doesn't fall when you're going to take down your hand. So again, having this button will call it a button at the beginning. But it's really an end pin holding it up and then making sure your chin is about the same height as your scroll. So we're making sure that it's there all the time, so it's not too high, so you can kind of see that my scroll is about the same height as my eyes, and it's not going down too far too low words down here or where my neck is. It's really kind of chin, chin and scroll at the same level for the height, making sure that my wrist is straight holy than that crevice and our body isn't slumped over or just sitting up nice and straight shoulders back, and then we're we're good from there 8. How to Attach a Shoulder Rest: Okay, We're gonna learn how to put on a shoulder rest. Now, I can only describe it the way I have it with my shoulder rest, which is a wolf. And I'm gonna show you what that insignia looks like. It is a little blurry on the side, but it's a little Wolfensohn wll elf Forte, Primo patented. This is for a 44 size, violent or full size. Because I'm adult, play a full sized violin and you can see that they have these little rubber feet. And these there the little rubber feet help protect the wood of your violin Doesn't scratch its which is great. Um, and you can also see if this'll isn't too blurry. There's a threaten kind of, Ah, um, bolt action and nut feature so you can make your violin go higher on one side or lower on one side. So it it kind of rests more aptly to your body because some folks have shoulders that slope more. Some folks have, ah chests that kind of stick out so that they it'll affect the angle of their violin. So what this does is the it is able by adjusting that by changing the angle so that it fits more comfortably to you on your shoulder. OK, so we put this back down and so your violin looks like this where the chin rest is. Well, if you turn it over backwards, that chin rest is now on the bottom. So where it was on the top before it's now on the bottom on the backside. So imagine that Looks like this on your lap. So I'm sitting this down on my lap, but for you holding it up here just so as you're looking down, your violin will look like this with the chin rest on this side. When we're hooking in our shoulder rest, we're going to start on the chin rest side. So as it goes opposite or on the bottom part with a generous side goes, we're gonna hook this side and first and you can see that your violin has this little ridge her most violence do. Well, you can kind of see that these feet are meant to go inside that ridge. So and this little port here is just kind of so that I can play electric violence. You don't worry about that for now. So It just simply gets set right on that ridge. So it kind of looks like this from this edge. Now, where you wanna have it put is for most folks. You're gonna put this foot pretty close to the edge of this point, so it'll go to the edge of the point and on the other side, um, this this shoulder rest is pretty flexible. But what we're gonna do instead of pulling it to get that flex, we're going to start down. So, like, o'clock, o'clock, arm. You're going to pull it down while holding your index finger in your middle finger on the other side, where you've placed it on the violin. So it stays there, right, And now, like a like a clock arm, you're gonna pull it down so it's no longer on the violin, and then you're going to set it or that little ridges and you're simply going to slide it around the violin. So the way that you look at it on your lap is your gonna hook the chin rest side. You're gonna swing it down so that the feet are no longer touching the violent, and you're gonna swing it up till it touches and then slide it on your violin so that you're about halfway between this point and this point. So again at a 45 degree angle. And this is not always perfect for most folks. So sometimes, depending on your your shoulder, US size or shape, it'll look more like this or more like this, depending on what's for comfortable to you. But this is a good place to start, were in the bottom part. Where the shoulder rest is is close to this point, and the top part is at a 45. Between this angle on the single and a 45 there we have it. 9. Shoulder Rest Part 2: Okay, this is the shoulder rest. Part two. It's gonna be really important that you have a shoulder rest. Um, there's lots of help. You don't play with shoulder s, but I find for most beginners or people starting out for the first time that a shoulder rest is one of your best friends. Because if I don't have my shoulder rest and I try to have my violin up and I just try to play it, I hope I hold it Were the the button or that the MPEG It's in here in my middle of my neck , and I'm holding it by that little part of increase in my knuckle. I bring it up and I take my hand away. The violin kind of drops. And so what happens is I feel like most people feel like that they have to hold the violin with their hand for to stop it from dropping. And that get kind of gets in the way of you playing your instrument where if you had your shoulder s, let me put a little quick. You had your shoulder istan and you were ready to play. And for some reason you needed this split the pains or you need to do something with your hands. It's simply wouldn't just sit there suspended in air because you have your shoulder rest on . So it's gonna be super important to get one. If you don't have have one, get one again. I, uh I recommend the to different to different ones. Kun shoulder rests the one that I have wolf. But they also make lots of different ones. So it's not that recommending these two, they're just cheap ones that work really well, uh, but really, I'm a big fan of working with what works for you. So going into a shop, getting fitted for a shoulder rest. And if the one that feels the best to you isn't cocoon or ah wolf shoulder rest. And that's the one you should get because it makes you feel the best. Okay, so once we have this up here, we're gonna get our crease and touch it to the bottom of the violin. And where we're gonna touch it to on our neck of our violin is Do you see this little raised piece of nut? So raise piece of would call a nut. Um, we're gonna go about one inch in so about one engine, and that's where our knuckle is gonna be. So we're not gonna make sure that it's not all the way up here, but not always that here but about one inch in. And once we have the 45 degree angle this way, So not forward. Not a 90 degree angle this way, but halfway in between. And we have, er, um, uh, hand in position. We should be holding her violin correctly. Now, if I back up, you can see that my my elbow is drop like a pendulum. So what, I mean by peddling? Have you ever see a pendulum swing if at his total resting point is just straight down, and that's the same way that we want our album to be. So we want to make sure their elbow isn't curl in its not out like a chicken link. But it's just simply hanging down straight, making sure that Russia's Nyssa straightest, that curled one way or the other. That's also not going one way or the other. So it's nice Street this week, too, and now we're holding a violin correctly 10. Working with the Bow: now that we know how to hold her bow and we know how to hold her violin. Need to know how toe operator, about how to use the thing, how toe how to make a bow work so that are violent Sounds good when we play it. So when we have our violent ready and we have a boat ready, we have to keep in mind where to place the bow on the violin and where we're going to place it is somewhere in between where the bridge is. So these were some common components that we need to figure out. This is what we call the fingerboard here. And this is the bridge. Well, the fingerboard eventually runs out, and it's just kind of hangs there, where you see this just would part in the middle. And then here's the bridge of your violin. So we're gonna be somewhere in between point where the fingerboard ends and where the bridges. So when you're using your bow across here, it kind of looks like this, right, So we're not gonna make sure we're gonna make sure that our bow isn't on top of the fingerboard, and it does not gonna come up and touch this bridge and he's gonna go show you a couple examples of that. So when we're talking about when not to get too close to the bridge or not to get too close to the fingerboard, there's some reasons behind it and some pitfalls that we can fall into. And by just showing you what those are, you can hopefully help you realize that he hears something that's going wrong. Recognize what's happening in the *** correction. So all I'm gonna do is play the A string or the second string. So these strings is the e string, the little bitty strength, or could be called the first string. That's OK right now. And then the second string is the second biggest ring or the a string. The D string is the third string, and the fourth string is the big fat string. I'm gonna play the second string or the a string and just hear how it sounds. Get a good solid sound out of that. If I get too close to the bridge, get whistle, move the ball way from the bridge and this evens out and I'm gonna get up close to the bridge and you get that whistling sound again. So if you ever hear that whistle the sound where it starts and sometimes it doesn't quite sound right. Um, chances are your bow is getting too close to the bridge. Same thing can happen if you move down lower past where the fingerboard is when we started changed rings and we're not there yet. Changing streams, Rivers playing one string. It could be really easy to hit other strings. Also, there's a difference in the tone ality of the violence, all getting example of playing with your bow somewhere in the middle here and I'll play with the ball a little bit further down, right? So when we have our ball in the proper position, it sounds better. We're gonna make sure that our bow is halfway in between the bridge and the fingerboard, and there's some different tone things that we can do as advanced player by getting in a little closer to the bridge and a little farther away, closer to the fingerboard. But for right now, as a beginner player, we're going to make sure that our boat is kind of halfway between the next thing that we need to talk about is when we finally get our bow upto our strings. What part of the bow Um, I'm gonna try to use. It's really typical of a very beginning person to start out close to their frog. And this is typical because it feels like it feels as though you have more control over the bow at the very beginning, when your hand is closer to the strings versus being very far away from the strings, it feels odd and you feel like you're out of control. But we're going to do instead is with our bone. We're gonna make sure that we're in that middle part of our bone. So this is gonna be, um, the mid part of her boat right here once I find the midpoint of my bone right about there and I take the tip of my bow, which is right there, and I scooped my fingers in both of them at the same time. Once I have about six inches on either side. This is gonna be the beginning point of my bowl and endpoint of my goal. So when I'm using it on the strings, pretend my my finger is where the string is is gonna be from Brian about their trying about there. So we're really close to the tit, right? So going back and forth between about just six inches on the boat and that's what restart the reason why we use this part of the bow eyes because it's the easiest for a beginner. Teoh. Get a good sound, right? No. If we start with our bow and kind of where the frog is, it can son really gritty if we don't move our boat. Fastener thought That's a horrible sound. Now if we recognize we're getting some gritty sounds and I'll show you an example besides this one. If I move my boat too slow at any point, even if I'm up here, um, it'll it'll sound like this. Thats not a good sound that we want to have. So how do I rectify this? What I want to do to make a clean sound and not get that scratchy sound is two things. Either. I'm pressing too hard on the strings, that which is a possibility or a moving the boat too slowly, or I could be doing both of the things wrong, so I can have less pressure on the strings and I can move the boat faster. And now I don't hear that, um, that grading the sound that we had anymore. We also talked about those whistles that we had only were too close to the bridge. So we hear those things. We now we know how to correct. So we're going to focus on about this point of the bow, set it on her strings somewhere halfway in between the bridge and the fingerboard and one of the drawbacks. But being just simply a human being and trying to use your bow is you have this elbow thing , you have the shoulder thing, and when you work it from the elbow or the shoulder, it creates a narc. So from this point creates an arc like motion from the point of my fingers to about down here, where they meet again and we want our boat ago straight. But how can we get a straight if we make this arc like emotion when we use our boat for the first time? It's typical, um, that a person holding the bow will want to use their shoulder like this and notice how it's hard to see it in this video, but I'm keeping my elbow locked, so it's not moving back and forth. So, um, is very typical. I would say it's good, 90% chance. The first time we try it, we're only gonna move from the shoulder, and that's not something we want to do. Instead, we want to move from our elbow, which we still have that are commotion. So I'm gonna stop using my shoulder, and now I'm going to use my elbow instead. I still have the art motion, but I have less of an art motion. See the big art motion. And when I get it to my elbow, I have less of a narc emotion for my vote to be able to use right? So even if I had my bone, my hand, you can kind of see the art motion that that happens. So I am looks like I'm I'm swiping across the violin instead of bring it straight across right so we can do a lot of things to be able to resolve this one of this, one of the things that we can do is the use of our wrist, and when we are at the very beginning of us playing. We're only using the small of a bow from this point at this point. So when you're ready, we're going to do this together and we're gonna set the vote down right about there. It's gonna be on the a string or the second strings of a little of string is the first string. The second string is the second string or a string, so we're gonna set it down together. And I want you to specifically see my wrist, the angle of my rest. So when it comes up, you can kind of see the rest bend upwards. So I have an angle here. This is the Ben that we're looking at. And as I get the the bow down, you can kind of see that my rhinoviruses straightened out in this angle here. However, when you see it in real motion, you're not gonna see the hand move any different at an angle. It will follow the same angle as I go up and I go down so it will never wish. Wash back and forth. That hand is staying on the same plane as I go up and down. And this helps correct the ark emotion that I had before. Now we're not using a big full bow like I'm showing. We're only using this little part of our bow yet, so we're gonna try to try to get that bone, And this is gonna be a perfect exercise for you to do in front of mirror. So you're seeing just like I'm seeing myself in front of this monitor that I am. I see This might my monitor and I can see myself and you're going to be in front of mere just like just like I'm seeing myself. You want to be able to see yourself too, so that you can see Make sure that your bow isn't going some crazy way, but instead of going straight across the strings, all right, so let's do this together, and we're gonna be on the a string of the second string, and I'm going to start right out there in my bow, and I'm gonna count to 321 and we're gonna play your violin for the first time. So those three, 21 little bone on. That's it. We did it. Now it's OK at this point to have a slight delay And what I mean by having a slight delays . Oh, Chuck, my teacher. I just saw him do it, and then I'm going to Iraq, so it check out. Ah, and then you go, Uh, that's a slight delay. So you're not doing it exactly at the same times me? And that's totally okay. No, we're gonna have that. What? We called a down bow. So if our bow is going towards the ground, we call it a down bow. And if my bow is going up towards the ceiling, it's called it up. Bo. Now I'm gonna do a couple downs again. We're going to reset the boats it down on, and then I'm gonna pick up the boat and reset it and do another down on pick up the bone, reset it. I'm gonna do another down. All right, now we're getting used to down bows. We're gonna do the same thing, but for up pose. So I'm gonna have my bow touch, the a string or the second string, and I'm gonna go up towards the ceiling. Little bows. I pick it up and I reset, and I'm one complaint. It on a string gets a 3 to 1. And now we're playing of bows at the very beginning. When work You were doing this Justus exercise to just use our boat for the first time Every time after this, Uh, for a while, we're going to try to never pick up our bow. And that's why we kind of do at the beginning is to show you what it feels to pick up your bone. But after this, we're gonna do down bows followed by an up bow. But it's gonna be really important that the bone never gets lifted up off the strings. And what I mean by that is let's say I do it down. I want to make sure that the boat doesn't come up off the strings when I go to doing up on the same thing. I don't want the book to come up off the strings like I'm showing you. Instead, we're gonna bring our bow to a complete stop. Sound stops there, but it's still setting on strings. And then I'm gonna do in up Oh, yeah, comes to a complete stop. Anyone don't do another down, though. Now, when we're doing just this practice thing. We're just kind of feeling out of violin for the first time with her boat. Well, we're gonna try to do is we're gonna try to do up our down bows and up bows on every string . So the first drink, E Theo a string second string Thebe string or the third string and a big fat G string on. Now, when we're doing these different strings, um, it's gonna be really important. And it's gonna be a little bit differently later when we hold our bow slightly different. But for right now, our elbow is the thing that dictates what string you're bowing on. And we're thinking about it as the tip of our elbow, the tip of our elbow. If I bring the tip of my elbow upwards, I'm pulling out playing a lower strength if I bring the tip of my elbow downwards playing a higher sounding string or an e string on a stream. So the way we have to think about it is so that when we're playing when we're playing notes on our violator there strings on a violin, we want to make sure that the angle of our bow doesn't dip down like this. If it does, I'm gonna hit multiple strings. Now, instead, we want to make sure that our elbow stays at the same angle all the time. When? When we're using our boat. And that for that helps us stay on the same string all the same time. So I'm gonna use my D string this time. That's the third string on notice. This time, my elbow isn't coming down or coming up is just staying on the same spot. Ah, uh, I'm gonna do the same thing, but on my fourth string and you're encouraged to do this with me. So when I go over to my g string, I want you to go ahead and try to play along and notice. When I do that, my elbow comes up higher in the air so I'm a no my for a string that the big fat G string and want to play that a couple times Ah, switch all the way over to my e string are the little bitty string the first drink and from the fourth string notice how high my elbow was up in the air. I'm gonna go all the oil to Eastern and see how far it had to come down to hit the Eastern . Now take some time to start playing around with dressed your strings without putting any fingers on the strings. If you find yourself, uh, holding the violin and you your fingers or touching the strings, they won't be able to bring out. So just get him out of the way. No, when we when I say get him out of the way. That means they're not touching the strings and you're gonna hold your fingers up in the air if you'd like. They don't have that. They could just be resting. But just make sure they're not touching the strings and you'll be good to go for next lesson. We'll see there. 11. Tuning the Fiddle/Violin 101: all right, now that we have a couple of the basic first steps out of the way, we want to be able to play together. But in order to do that, we need a tune, our instrument. And when we tune your instrument, there's a couple ways to do that. Uh, typically, we have some sort of electronic tuner some of us use on app on our phone. Um, and there's so many different APs to be able to download for free there some paid ones, but the free ones just fine. Generally have an advertisement along with him, Um, some using electronic tuners. And you have to be a really aware of the different type of types of tuners that are out there somewhere called chromatic tuners. And really, those are the ones that were looking for when we're looking for a violin, too, and, uh, instead of, ah, guitar tuner, even though they have some of the same strings. Some of the frequency is frequencies that the usar one active above or below, where we're using our violin tones, that so they become not reliable. Eso definitely. If you're going to use an a mechanical tuner, we're gonna want to use a chromatic tuner. Some brands that I like are Corgan, um, Intel a touch, um, and intelli tuners. There's a lot of other great ones like Sabine and Peterson makes. Ah, wonderful, wonderful tuner, although they're much more expensive. So this is gonna be more on the lines of what's the mechanics of my violin and how do I actually tune it? And I'm gonna give you some tips. Interests on how to get it in tune was either the app on your phone that you download or a mechanical tuner. So these our are tuning pegs, and some inexpensive violins have uncanny for tuners. And what that means is on this side, they're not flared out, um, to keep it in a better snug fit where there's just bored out with the pig fitting in there with a friction fit and some more expensive violence have camber tuners which are easier to tune with your tuning pegs. And then some of us have these fine tuners and what you can see here is it is ah, a couple parts that we have here is the end paper, which was we've mentioned before. It gets tied in by these little, um, nylon pieces sometimes gut, but this is is nylon. Um, and then it gets to a tail piece. And in my particular violin that I have the fine tuners are these little knob things are built right into the tail piece. Okay? And some of them are not on the tail piece, but they're just little extensions that go fit right on the tuner on the strings themselves . And they get right about there. This little thing that you see here is called a mute, but that's not a tune or so. Please don't think of this as a tuner because it kind of looks one way back here. Uh, but it's these little knobby things that we're looking at. So the idea is that if I used the used to tune the tuning pegs, uh, if I turn them, they changed the pitch quite a lot when we're oh so changes it off for varying degrees. And if I use it, I'm gonna want to make sure that I use it correctly because these necks on violins don't have steel trusses in them like guitars do. And because it is a friction fit, we're going to require ourselves to hold the other side of the neck as we as we tune So me facing you what I would do is I was I would actually put my hand on the neck and then pushy and in turn to tighten it up. And if I'm loosening it, I'm just going to relax my hand and not push in and then let it let it relax as a un tuning . So when I say to tune up or tuned down, this pig's gonna go clockwise to tune it up. So clockwise made look differently on your screen. But trust me, it's clockwise, right? And if I don't push on it hard enough, it'll just fall back in a spot. So this is why I need to put pressure in words inwards in the on the peg so that it stays so now you can kind of hear the tone without it dropping. E do that again. I'm just gonna put pressure on and put, uh, if I push too hard, you're gonna have to learn a little bit. How hard to push? Because if you push too hard, you can actually split the peg box. But it's pretty unlikely to put that much pressure on it that you'd actually split. Okay, I don't even know this isn't up to tune quite yet. We're not gonna worry about it quite yet for this video, because we're just gonna show you how these work. And, uh, typically these. Like I said, these these tuning pegs use a lot of, um, distance between the low note behind Royal and these guys down here. These fine tuners are aptly named because they tuned them finally. So if I have this, no, I can turn this a little bit. And it barely you could barely hear it. The tone. But you hear coming up pitch a little bit. This phenomena to turn this now fast, eh? So I turned it quite a bit, and the intonation changed a small amount. But when I used the tuning pegs themselves, they changed it quite a lot. So the generally the key is is you're going to get the tone just under the picture. So this is a E. I would get it right underneath a neem, and you're gonna use your tune or whatever to know that you have. And you're gonna get under the pitch. So, uh, if this is, you will actually say little. Yup, that e right then that tuner that is gonna have his bar that we use eso this would be flat , and then it's gonna come up just a bit underneath the tone that you want, and then you you'd find to it from there some common problems that we would that we use when we use our tuning pegs Inner, inner, fine tuners is that these screws is really what they are. They have limits to them. So if by to miss all the way, I can't run out of limit now, I can, uh well, you get is gonna have a hard time seeing this where it is. But hopefully you can see that it's in all the way, so I can't turn it anymore. If I did, um, I don't want to force it because that can strip that screw just like any other screw. Screw the the The kinds of the screw could be stripped. So what I want to do in that case, if I can't get it all the way up, t e and I just have a little bit left to go. I want to back it off all the way So turn it clockwise Clockwise is to tighten it counterclockwise to loosen it some turning counterclockwise to loosen all the way And now you can see how much higher that Ah, screw is than the rest Because I've I've loosened it all the way. Um, now I'm ready to use my tuning peg toe Tune it up closer to where I wanted to be And then I can find you know the rest of the way. Now, now that I have a little extra room to go now, I'm a little bit higher than what I need to be, but that's okay for right now. So, uh, however you choose to tune your instrument if you don't have a smartphone to be able to download a nap, Um, or if you don't have enough money to buy a a mechanical tuner, you can use a pitch pipe Utkan use a keyboard, some sort of a tone generator. Some people have other instruments that they complained these notes on, um, and the notes that we're using on the violin. Where is the little A string is a e. The second string or is, um, a The third string is a D, and the fourth string is a g e. So we hav e a de Gene ORAC amusing numbers, and that's fine, too. 1234 In the next video, I'll be giving you an audio representation of your E A D and G String for a really long times that you can get your violent and pitch. And just in case you don't know how to use, uh, a mechanical tuner app on your phone, Um, and I'll be giving you some tips and tricks. How toe? Get it closer to the tone that I'm generating for you, So see in the next lesson. 12. Tuning the E String E Note: Hey there, As promised, I'm gonna play my violin with a big, long note for each different note. And this video is gonna be the e string on the consequent videos. We're gonna be e then a then d then G, even though an orchestra setting we practice tuning to open a or a 4 40 it's just gonna make it easier transition to just go from the top to the bottom or out of the bottom to the top. Um, so we're gonna start with e dispersed during the little bitty stream. Here's your tuning note E the first string. - On the next video, we'll be tuning a 13. Tuning the A String A Note: use your tuning note A the second string In the next video, we're gonna be tuning D. 14. Tuning the D String D Note: here's returning note D Way and her next video will be tuning and our next video will be tuning G. 15. Tuning the G String G Note: Here's your fourth string G for tuning. - Ah ah ah ah! There we have it. 16. Tips on Tuning: he there again? I'm gonna give you some tips on how to tune your instrument and the tuning device that I'm using. It is just a spare phone that I have and I am using APP called G strings is a free app for Samsung devices. Android devices. Um, so with that being said, I'm just gonna be looking down at this device so you won't see me looking into the camera. But what I want to show you for this trick is ah, a lot of people find it uncomfortable to tune at the beginning, and they find themselves trying to hold the instrument and tune it while they pluck a note . Um, but, well, when we tuned, we're really gonna want to try it to use our bow when we to have a good, sustained long note. When we plot clammy tune, we have a couple different tones that go on on the clock and I'll give you an example. See that flash? It only read registers for a short period of time. And if for some devices that you're trying to use, it won't be a long enough signal or a long enough tone for to get an accurate reading. So we're gonna want a user bow. And when we use our bow, what's gonna happen is you want to be able to access these fine tuners. So this point we're assuming that you have it close to being in tune by using your tuning pegs. And now we're at that final spot where we want to use these fine tuners. So when I'm playing with my bow, I'm going to reach underneath so you can see that my arm is underneath this boat, right? So that I'm gonna turn my palm of my hand face towards my face. So if it were a mirror and you're looking at it and see myself in the reflection, then I'm going to reach up and be able to turn these fine tuners as my bow is going on underneath. My my hand is under my s. So what I'm gonna do is I'm gonna get all of these out of tune just a little bit and I'm gonna tune them up for you while looking down and using my tuner. Wait three, Theo. So there's a couple things that you saw there. One is that when I was tuning If I saw that I was really far away from a tone that I wanted to get to. Um, I used these tuners and I move them really fast because they're fine tuners. They only tuned so much. And if that's the case, I can tune them quite a bit and get the job of tune and done faster rather than just turning it just a little bit at a time. And then when I finally get close to the note that I slow down and I finally I use that fine tune as it's aptly named finally, so I get it just just in tune. The other thing that you saw me do is after I went through and tuned all of the notes, I went back and tune in again. And the reason for that is these strings have tension on this neck that you see here and in a lot of guitars or other instruments. There's this metal trust ride that's in there and in violin specifically or fiddles. They don't have that trust transfer. You're just relying on the strength of this wouldn't neck and the power of the Joyce here of your heel, and it's likely that what you've done a great job on tuning one of your strings on will pull the other one or multiple strings out of tune at the same time. So toe counter act that effect. I go through the strings and I tuned them one by one. And then I go back tonight to them again. And if it's still pretty far off, I'll go into them again or even 1/4 time. So there's some tricks for us and tips and tricks and, uh, hope you get your violin tuned. If you have any other questions about getting your violent and tune, there's multiple ways of doing it. But this is gonna be the most effective well and reach the largest audience for their delineation of how most people will tune their instruments and we'll see in the next lesson . 17. Pre-Scales Exercise 1: Now that we have our instrument to and ready to go, we're gonna take some small steps and do some small exercises to be able to get us ready to play her first. Gail. So here's what we're gonna do. We're going to name our fingers first. And when I name my fingers, um, the thumb doesn't have a number, so I start as if I'm doing kid math, and I go 1234 and after account before I realized that those were the numbers of my finger . So this is my first finger, second finger, third finger and fourth finger all the time. Does not the thumb. The thumb does not have a finger. The thumb does not have a number now, now that I know my fingers and I know my members of my strings, Uh, my little a string is the littlest number 1234 and were kind of ready to go. So we're gonna just do this exercise together. It's a pretty simple exercise. What we're gonna do is we're gonna get her hand ready, and when we get our hand ready, it's gonna look like this. Our fingers are gonna be open. So this you're having your problem out on your fingers out and what we're trying to get in touch with this Part of her hand is right about here. And after we touched that part, we're gonna do it again and notice that I am about 1/2 inch away from my nut. The nut is that shiny little raised piece of wood there about half an inch away from that nut. And after I touched that, So it's gonna go away and then you touch it, and that's it's that simple. So we're gonna do is do it again and we're going to do it together. I want to say, Take your hand away as in one And when I say to, it's gonna come together in touch. So one is a way to is touch. One is a way to his touch. So one to one to one to one, to warm, to warm, to one to one to now that we have that exercise is really great. One to practice. The reason why it's great to practice this exercise is for the first bit, Um, as we begin to play a violin or a little music or whatever it might be. We want to make sure that that part of your hand touches your violin. Now that I have this part of my hand touching and I have done my exercise of their amount of times, I'm ready to move on to the next step. And that next step looks like this. Now that I have my hand touching, I'm gonna curl my finger around and after I curl my finger around, you're going to see that the finger is on setting on the tip. So this is my index. And here's the first finger, necessarily when we're going to do in this exercise. But it looks like this. I'm gonna have my index finger. Um, and it's touching out the difference here. The difference here is that when I currently I think er around, um, there's gonna be a happy medium of where the finger touches, So I just take a look at my finger by itself. I have the tip, and then you can kind of see everybody's fingers looks different, but you can see mine how it kind of has this tip, and then it curls real fast into like a little slope Well, this slow be part right there is the pad of your finger of soft as pliable. Now, where I want to get my finger to touch is on the tip of it, but slightly on the pad. So what I mean by that is if you have your finger curled around, um, you're going to not have your finger 100% up like this so that your finger is pointed directly down. If you can see that because that would be too much of an angle downwards. It's also hard on your wrist and you're not gonna have your finger the other way or if I push down on this knuckle, this knuckle right here. So not this one, but that one right there. I pressed down on that knuckle. It looked like this and I'm collapsing. The arc that I have in my finger or it's a collapsed bridge is how I describe it to some students. So instead of this collapsed bridge, we wanna have it curl around, and then our finger most of the part of the finger that is touching is that tip of our finger versus the head. Now, some of the other things to be aware of is your fingernail length. You want to make sure that your fingernails aren't too long, and here's a good test if you take the tips of your fingers and you tap on your table top or on your violin by itself. Um, it'll sound. I have calluses, so you hear a little tick. But I feel this hand, um, it won't be quite as is audible on the video, but now what? Those sound like it's fingernails when those sound like is the pads of your fingers, and you don't want to make sure that when you're doing this, you're not hearing the tiki Tik of your fingernails touching the wood, and as long as you don't have your fingernails touching the wood when you do that little exercise and you're good to go if you happen tohave fingernails that are touching the one you'll need toe clip your fingernails and get him down to a manageable level. Because if you don't what'll end up happening is the fingernail will get in the way of you being able to curl your finger around because the fingernail will touch the violin and you will be able to play the violin as well as you want to. So now that I have this in mind and I have my hand touching and I did that exercise and I'm ready for exercise number two looks like this gonna get my finger curled around. I'm gonna have that nice arc. The side of my finger is touching. And if it's not, if it's somehow gone away that I'm gonna touch it back again just as it is a quick, uh, check. And now all I'm gonna do is gonna I'm gonna Instead of using my bow, I'm just gonna put it away. I don't need it. I'm gonna think of one thing at a time now, now that I'm just simply holding my instrument with my index finger down, I'm simply going to lift it up and then sent down and lives it up instead of down. Once I get used to lifting it up and setting it down, I'm gonna work on lifting it up. Just hope over the strings and then setting it back down just up over the strings and then back down. So yeah, up and down, up and down. So the idea here is that we're not lifting their finger really hot, but it's just a smidgen just a little bit. Okay? We're done with exercise number one, and we'll see you back here for exercise number two. 18. Notes for Pre-Scale Ex 2 for Folks able to read notes. We'll learn notes later.: 19. Pre-Scale Exercise 2: after we have our first exercise out of the way, I'm gonna make sure my index finger were it hits or my first finger. There's about one inch away from this nut here, this raised piece of wood and organ. I'm just gonna play this note and it's gonna be on the a string or the second string's the first string or the second string, even a So the second string that you see, Um, so it's the second little of string and companies my bow, and I'm gonna play it for a really long time. And keep in mind, our hand is touching, our fingers curled around. We're not directly ups up on the tip of the pad, and we're not collapse in our finger, but pretty close to being on the very tip of our finger. Now, once I have that in place, um, I'm gonna play this note for you and big, long bows. And what's gonna happen is you're gonna at home, you're gonna follow along with me. And if you, um, you're gonna slide your finger around just a little bit about in that inch area until it sounds exactly what I'm playing. So if it sounds too low. Um, you'll slide it up, and if it's too high, you'll have to sign your finger down a little bit. Now, here's, uh, some tricks to be able to help you with this exercise. If you can hunk or sing in the note that your plane, so listen to it really well and then you sing the note that I am playing it will be pretty evident if you're too low or if you're too high instead of guessing. So, um, let's say the picture was Ah, it's not about religious is Ah, and the pitch that you were playing was Ah, you sound pretty still work. Ah, most people, when they hear the tone they can audibly here that ah is a higher tone and, uh, but some people can't. And for those people, this exercise works. Ah, lot better because it helps get their year calibrated to hearing different tones. So if you had to go ah, and you had to actually sing a higher note and my nut was the higher note than you know, that you'd have toe slide your finger forward if you were to highlight. Ah, and you had to come down with your voice. Then chances are you have to take your finger and slide it down to the right now. Okay, So we're gonna try this exercise, and I'm gonna play a B note. The B note is on the a string, second string, but with my first finger. - And hopefully that was long enough for you to be able to find that first drink. That first thing, your note being No. And it wasn't. Just rewind the video and then tried again as many times as it takes for you to be able to get the good sounding be notes and sounds exactly the same as mine. All right, we'll see in the next exercise. 20. Notes for Pre-Scale Ex 3 for Folks able to read notes. We'll learn notes later.: 21. Pre-Scale Exercise 3: Now that we've had our first note that we played being, we're gonna use an A no, along with it. So the a note is just the open string no fingers through. This is you're not your little a string, but you're second to a little of string what it sounds like And then I'm gonna touch that hand to the to the violin, curl up and around and set it down on the second string. And once I have that, I'm gonna have this be note again, like we did in our exercise. Know where you're going to place it on. Your bow is right about here. So not in the middle, not near the frog. But now that the tip either. But somewhere near the tip in between the halfway point and the tip using this part of your boat and the first know that we're gonna play is on open a so no fingers on. Then once we get that done, we're gonna set her finger down on play a B note. So it looks like this and about this speed, and I'm gonna play big long notes so that we have some time to be able to catch up So a ready. And when a set that finger down and then I want to play the B note that first back to open a theme Then I'm gonna set the finger down again I'm gonna play be Let's do it together first Just a couple more rules that we're gonna put in there Whenever I played the open A I'm gonna use my bow and make it go down towards the ground When I make it go down towards the ground It's a down bow When I make the boat go up in the air It's an up bow So open ese are on the down low and the the B notes or the first fingers are gonna be on up Bo Now it's gonna be really important for those of us who like to lift up our boat. Never lift up our bow in this case. So the boat's sets down on the strings and never gets lifted back up. So when I have my both set down, it stays there. So I'm gonna have open a notice. I don't lift up the boat and it just stay sitting on the strings and then my first finger goes on the beano day and I'm going to do it one more time. Hey, on B E O Theo, Open thin one, Open on one. Okay. Open on, then. One on you. You some common here is that folks make, um, with sometimes only play the violin for the very first time. Our elbow likes to droop downwards. And if it's does start to droop downwards, that means we're gonna be hitting other strings that we don't intend to. So try to keep your elbow up at the right level all the way through your boat. Stroke notice. As I'm using my bow up and down the angle of the elbow doesn't move downwards or upwards. It just kind of stayed with same level. And you should be doing the same. So on to our next exercise. I'll see there 22. Prescale Ex 4: 23. Pre-Scale Exercise 4: it's time for our next exercise, and we're gonna continue on with what we've learned so far. And what we've learned so far is to go with an open followed by on index finger on a string or the second string theory. The next thing that we're gonna do above and beyond that is to make some variations, apologised what we just learned. And what we're gonna do is we're gonna go down and then up on the open a string thats the second string. Then after we did two times of that string the second string, we're gonna put our first thing, you're down and play two times again. It s so it's gonna be Oh, first finger on the string, the keep in mind We're still going before we do any one of these exercises were still touching her hand, curling your finger around, holding your ball right and then starting. So let's do together about this speed as an example first, don't play with me yet. No way we're going to start in three to one and way. Theo. Theo, Open thier way, Theo. A little bit off with your intonation member. Move that finger around just a little bit until you match my tone. Okay, here's the last. Open a long one. We go all right. There's a good exercise for you and we'll see in the next lesson. 24. Prescale Ex 5: 25. Pre Scale Exercise 5: time for another exercise. What we're gonna do is we're gonna introduce the second finger now the second finger. Um, you can see that what we've learned so far is our nut and our index fingers about one inch away from each other. Our second finger is gonna be another about an inch away. So it's about the same distance as we used before. Now, when we bring our violent up to play, it's gonna be kind of important that your fingers and your knuckles air doing the right thing. Um, and what I mean by that is the stretching of your fingers to be ableto reach before that second figure because you can stretch two different ways. Here's how to stretch wrong in a very common wade incorrectly stretch. So what I mean by that is, if I had my fingers straight and I tried to stretch my fingers all over the fingers would look like they have these big, huge spaces in them. And that is the hardest way to try to stretch your fingers instead. If we have our fingers at the right angle and we still touch the wood to that spot, right, Um and then we put her fingers down, we were gonna want to try to keep our knuckles together. And what I mean by our knuckles together is notice how there isn't a space in between the knuckles. So you see this knuckle here and then how it's close to this finger, and then there's no space in between there. That's how we wanted to look. And if I take my fingers away, really, I'm stretching like this and no separation in the fingers. Something to keep on the top. Your brain when you're trying toe do this exercise. Okay, so now we're What we're gonna do is we're gonna play open a Then we're gonna put our first finger down. We'll give you the note, Teoh. And here's our to E. Once I get that, I'm gonna be done. So it looks like this. So it's a down bow on the open thing. I'm gonna go up, Bo. But up Bo is gonna be on my first finger. That being no theme next note is going to be, too, that inch away from where your first finger is so so far we going down thing down, bow again. But now, on the two, which is a c sharp. Okay, so this exercise goes like this, I'm gonna bomb bomb bone and I end up down I'm gonna stop recent my bow and do it again So this is how the exercise goes. I'm gonna show you once, Then we'll do it together. 32 Ready? Go e o recent Your bone. Theo Theo Recent E If at any time your second finger isn't sounding quite like mine does, it's too sharp. Ours to mow. We're gonna make sure that, um, our finger slides around a little bit until it matches the right pitch. So let's try that exercise one more time. Three. Theo reset the bone. Reset the bone one last time. You kill a great job and we'll see in the next lesson. 26. Notes for Pre-Scale Ex 6 for Folks able to read notes. We'll learn notes later.: 27. Pre-Scale Exercise 6: upwards and onwards. So far, we've done open one and two and then we did a reset. Now we're going to introduce the third finger and the third finger slightly different than what we've done before. Our nut on our first finger was about in Chile and R one and R second finger was about an inch away, and that was really similar to each other. Third figures would be different. Our third finger is going to be right next to our second finger, and I'm gonna bring this a little closer to the camera so you can see just how close that second finger and the third finger arm. Now, um, when your adult playing and you can see my fingers are pretty average size. But some adults have much thicker fingers than I do, and for those people, in order to get this in tune, you'll want toe ride your third finger right on top of your second finger and then slide it off the second finger and then it will be in tune or else they'll be too big of a gap there . But folks for medium sized fingers, Children or, um, gals that have slender fingers you'll definitely see a gap where you won't see a gap in my fingers because I have a pretty average medium sized vendors for a male. So for slender fingers, you might see something more close to that. But you'll see me kind of. But my two fingers together where they're actually touching and being squeezed together. Okay, now we're gonna get our third finger and tune for this exercise. But how we're gonna do that is we're going to get our first finger in tune that our second figure in tune. And then I'm gonna play the third finger for an extended period, kind so that you can get used to that tone and then just just played a bunch of times. And when you were playing in a bunch of times, make sure you take your third finger off, um, and then put it back on and play it. Take it off, put it back on a plant. When we're doing this exercise, we're gonna make sure that our first fingers down our second fingers down all the time. And when I'm playing the third finger and lifting it up and not playing and then lifting it back down and then playing, lifting it up and not playing with my bow and then setting it back down. I want to make sure that these two fingers, the first finger and the second finger are down as well. And they're in their proper places. So this is why we're goingto play the first finger 1st 2nd finger and finger followed. Been by me playing a long, long, long, long third finger note on the a string. It's a denote, by the way, and eso we're just gonna have the a string in tune. So it sounds like this is a play with me on the one Keep your one down along you set the second finger down theme Now the third finger. I'm just gonna continue to play this D for a while until you get into good. And in the next lesson, it will be using our third finger a lot. So we'll see in the next lesson 28. Wrist Form with Partial Scale: Now that we have a good handle on the third finger, there's some other things that I want to talk about before we get started. What we're gonna talk about is heading our wrist straight, um, and ar elbow in the right way. So I wanted to show you remember, the chin and the the scroll are about supposed to be about the same height, and I tend to hold my violin just lightly lower than that because it feels comfortable with me. Keep people have different sides, shoulders and stuff. And for me, is just a good, good ergonomic feel right about here. No, uh, if you just watch my wrist, you can see that my wrist isn't bento one together one way or the other, So it's not bending this way. So imagine a straight line up and down between your, uh, hand in your forearm. If it were to be bent one way or the other, it would be a straight line anymore. So you're always try to have that straight line. The other thing is, you're still supposed to have a straight line here. So if I was to draw a straight line and I curled my hand one way or the other. Now, I won't have a straight line again, right? So just think about that straight line being, um, something that you think about all the time. Being in front of a mirror really helps with that as well. I'm gonna put bring up my violin just a little bit higher so that you can see my wrist and my wrist. Ah, my palm of my hand. Actually, um is in a position that if it was a mere, I would see myself. So you should be looking at the palm of your hand when you have your hand open like this looking and imagining that flat surface or looking directly at the palm of your hand without it being an angle or too much of an angle. Words now face that way. Okay, so now we're ready for our next exercise, and we're gonna use that. Open 123 down on open name on one e two, which is a c sharp down three. Israel close to the to to figure. Now, this is gonna be a little bit different because we're gonna go down the scale. So we all we've done so far is really go up the scale world go down the scale now. So it's gonna look like this. We have opening the one. The two theme three by the threes. I mean, the fingers that were using thing then, at this point, I'm not gonna play this three again, But I'm gonna go directly down to two. I can lift it up. Thiers! Exercise one more time. Open a Theo 13 to 3. Back to one thing open. So in three to one. Ready? Go Way one last time, Theo. Good job. We'll see in the next lesson. 29. Full A Scale with Exercise: now for a full scale and this is gonna be an a major scale. And we're starting on a a note which is our second string first string second string a Eastern a string in the eastern G string. We're starting on this a string and the note that were ending on his A So these are the actual notes. Replace a open a Then when I put my first finger down, it's a B c sharp d e if sure g sharp and a no All those notes together when I plan all in a row make my a c l a major scale. We're gonna play that. Now we're gonna do one more step than just playing in a scandal. We're gonna play up and down, up and down So we're gonna start on a string open on the first few years of being a second finger. Then Dean he f shirt, G shirt and noticed there what happened before I was on Lee playing notes that were on my A string and this exercise featured two strings. So I start out on the a string playing my open and then the first fingers on the a string second fingers on the a string the third fingers on the a string And then I switch over and I start to play on the East ring But there's a similarity of what I have just accomplished Whatever I have just done including the distance between all my fingers that have played on the a string or the second string First I'm gonna play the exact same thing But on Lee on my eastern my little a string my first string. Instead, E first finger goes in the same spot. Second finger goes in the same spot and third finger girls in the same spot so altogether it looks like this Open Born to three, Switch over to the e string open 12 We're gonna do this just all the way up without going down yet for the first exercise. So do this with me now one to really oh, thing one more time thing. All right, Now we're ready to go up and down the a skim. So it looks like this, uh, other a now this third finger on the east ring. I'm not gonna play it again, but I'm gonna go directly back down to my two. So, uh, example again. A little slower. Oh, second finger, third finger, Second finger. First finger. Open three on the A stream to on the eastern one of the open. So ready? Three, 21 Ready? Go. Uh uh. Oh, All right. Good job. We flip her a scale on tour. Next lesson. 30. Syncing up your Fingers and your Bow: in this lesson, we're gonna be working on timing and what I mean, timing I'm talking about when our bow and our fingers move exactly at the same time, we're gonna try to think of it as like a gear when the two meet and one of the the pistons turns, Um, everything moves incongruous with each other. One doesn't without the other. When we're playing your violin, we're gonna think of our bow and her finger doing the exact same thing at the same time you didn't want it comes to moving through different strings. We will different fingers at the exact same time. So think of open. Nothing happens, of course. But what about this first finger? I'm going to set it down in my boat's gonna move at the same time. And when I pick it up, it happens at the same time. Okay, So, uh, when you're practicing, trying to practice that, um, when you're practicing your a scale, should we know how to do so far? Practice trying to get them down exactly at the same time. And what will happen because in reality, your finger moves just a smidgen before you Your your bow does, but your brain will automatically make those adjustments as you start to get better at your timing, you know how to plan a scale. And let's take some time away from this video and come back to in a little bit after you've taken some time to practice, Really, Exactly. At the same time, to your a scale, I'll see you in the next lesson. 31. D Scale with Exercise: Welcome back. What we're gonna do now is we're gonna take the things that we've learned and applying to different stuff so we can learn new stuff by understanding this stuff we know already. Now we've played this. A scale which started on the A string went through our one, 23 fingers and then we went over to the east and did the exact same thing. And I was greatly learned her first scale. And we're doing a great job. We could do the same thing if we start in a different string, let's say instead of using the second string and the first train, we're gonna do the same fingers in the same spacing like we did before. We're gonna start on the D string. So the D string is our third string. 123 And if I played my open and then I played my 12 goes in the same spot E three goes in the same spot. Now I move over the a string, which is the second string in the first, a three go backwards three really similar to the ace. A scale, Theo, theme figures and everything. Except I'm starting on a different string ending on a different Theo. Now, since I've started on a D string, it's a d note and I go from de then f sharp g a b c sharp than D. Once I get through, those knows I've successfully played a d major scale different than the A scale we played the whore Hey, scale now the d scale Starting on the D string instead. Thing de scale. Okay, so practice your d scale along with me and we'll do it next in slow so you can get the fuel for on It will use this as a czar lesson and exercise. So it always goes 3 to 1. Ready? Go! And then after go, there's a pause. And then I lift my butt My bull on my violin up. As soon as it comes down, we start to play. So three, 21 go thing down, Teoh. Way through way, Theo! The way things, Teoh. Great job and we'll see in the next lesson. 32. G Scale with Exercise: Okay, we're back. And we've just learned how to play two different scales. That a scale in the D scale with same fingers and the same spacing with her fingers. Well, guess what? I get to do it one more time. We've learned that a scale has started on the A string or the second string 12 Theo Digs Gale which starts on the D String or the Thurston 123 way Have one more stress Go start on the G string e a d g So if we start on this G string, play the same fingers, same spacing and everything will be playing a G scale. So these were the notes that we play G E O A B C uh, same fingers, same spacing and everything. Right? So the space between one and open space in between two and one and three into a row close together. So again it's geo. Next note is open D first finger on a you note f sharp is that second finger that high to Theo three de stringy. Oh, backwards, Teoh A light. Let's do together. But it's gonna be a count of 321 Go then followed by a slight positive Go. Soon as the instrument comes down, we start together. 321 Go. Uh, way studio way, - way , way one last ah way. Uh, Hey, Now play a wanna g scale and we'll see the next lesson. 33. Finger Terminology with High 2, Low 2 Exercises: either. Let's talk about some terminology. Now that we're familiar with where our first finger went and her second finger went on, her third finger went for a scale on our D scale and RG scale. We're gonna talk about what it means to put our fingers where and what we call them. Now, Typically, we can put our fingers just about anywhere on our fingerboard, and, um, that all means different things to us. But we need to know for right now in this beginner series of lessons here, um is when I put my first finger on about an inch away from the nut there, it's gonna be a regular one. Now I have a two, but it is more aptly gonna be called a high, too. And the differences between ah high too and a low, too is that my second finger, if it's a low two, is really close to my first finger. And where we got used to playing it with our scales was called a high, too. So we're just gonna know Tate right now that when it's close to our first finger, it's a low, too. And when we have it, um, away from our index finger. It's gonna be a high too. Okay, now we have a three. Um, and we also have a high three. But for right now, we're just really focused on this three. This high to the low, too. And the regular one, there's also a low one. But right now again is 123 And this is the exercise, and I want you to do I want you to have your fingers and position in one hi to in regular three fashion, and then you're gonna take your middle finger, which is your second finger, and you're gonna go back and forth between the low two and a high to a low to a high to without moving your fingers low too. And high too. Your index finger and third fingers the ones that won't move. But the second finger does low to high to low to high to low to high to low to high to. Now, let's take some time with that and, um, practice it for a while. Come back to your next lesson, or we're going to use a low too. 34. 2nd Octave G Scale with Exercise: All right, Now we're on to the second octave of RG scale. So far, we've done a scout D scale, G scale. Last scale that we did this G scale is the first active door. Amy Faisal rt don't Well, there's more to it. Door rainy fassone rt doting. Sorry for the bad sitting, but you get the idea. We're gonna start with the third finger where the last note that we left off on Rainy Dio that finger is 1/3 finger on the third string one to third string the D string about the third finger, and we're gonna play that note once followed by open A That's the second string 12 strings . And now we're gonna make our way up to the first regular one. And now here's that low, too. And we're gonna wanna have our fingers were close together again. If you have really slender fingers, I have, like, medium sized fingers for a male, but a real slender fingers. You're still going to see a slight distance between those two fingers. But for me, um, you're going to see them close together for, ah, larger folks who have big, big, thick fingers. They're gonna have to get the middle finger right on top of the index finger and slide it off to get in tune. So here we go. We have that three that we started on on the third string, OK? And then we have open a and then the index finger goes down on a regular one. Now we have that low to real close together to our first finger. And now the three is feels like a reach now, where it didn't before when we had our second finger in a high to position. So now, uh, since we have this low to the tendency when were first starting out is to not reach quite so high as we need to. So it'll probably feel like you need to reach a little further then you think you do to get it in tune. Now, don't take that to mean that you need to reach really far. It's just a smidgen, just a small amount extra. Okay, so let's get through these notes against we have G. That's the third finger on the third string open a the second string first finger on the A string or the second string now you have that low to really close to your first finger on that Such See? No. And then a denote, which is your third finger that reach that we were just talking about, followed by an e string open or first string open. We're staying on the eastern end of the first string one which is f sharp. And then you finally end up with, uh, g So jean a scene de sharp in jeans. Now, some things to look out for a little bit is because we're starting to get used to this high too. And we'll play it a lot. Um, is when we go through this position, typically a student will do this and put their finger in the high to position and then retracted into the low to position because this is comfortable. And then the move. Let's try to avoid that step and put it directly into the loan to position when we play the GCO. Okay, Now I have my bone. We're gonna play this, uh, this G scale second part of the G scale. Remember, the first part was open. Now, this is the second part, second active. So we're using this third finger on the D string or the third string, followed by an open a first finger on the A string second finger on the A string third finger on the A string. And I remember that second figure was low. So it's right close to the first finger by the three open E regular one on the and then low to know it finished. We're gonna go backwards. Opening there's the three, and when we get back to the three, this is the expectation. Uh, instead of playing on Lee the three, we're going to get all our fingers down in their respective positions with the three low to in the one. So it looked like this. All three fingers go down, Theo. Last note is over to the third String three. Let's play this as exercise and we're gonna start together in three, 21 go Theo, opening one followed up with another low tube backwards. Theo, all the fingers down, so so you can see my fingers are starting to gain shape before I move. I think a few times way good job backwards. Fingers get shaped more times. Way hello to, uh way, Theo. Did any of your second active of your G scale? You're doing great and we'll see in the next lesson 35. 2nd Octave G Scale Exercise: now that we know how to play our first Dr McGee and second G with that low to Theo, Uh uh, way we're gonna put them together. So let's start together. Real slow. Were first start on the G string open. No fingers. A regular one high, too regular. Three. Repeat the same thing on the next train. Open regular one high Teoh over the A string regular, one low too regular. Three. Opening regular. One blow to Let's Go Backwards to the one open. Three. Low, too. One thing open a move into the third string. Three. High to one. All right. Notice something that happened there. We used high twos and low two's, so it kind of be confusing a little bit, so just think about it real slow. The 1st 2 strings you're using high twos on the A string and the Eastern I'm using Low two's Low Teoh switch to high twos once I get to the third string and then the fourth string has a low to also. Hi, Tonto. Eso. Let's play the whole thing together a few times. Here we go open Gene, we owe, uh, we're doing high Jews here. Think low two's Here we go. Last slow to then backwards, I think, Theo, we owe hello to you on and we're ending the oh, great job. We'll see in the next lesson. 36. Full Length of Bow Exercise, Gaining Speed and Cleanliness: we're starting to get some scales underneath her belt. We're getting through some things with scales, and by now we're starting to feel like we're playing or violin like violin. Here's some things that we can do with their bow to give us a more robust, clean sound. For now, what we've been doing is we've been using this small part of our bow. Um, so not of the frog or the tip, not in the middle. But somewhere in between here and here and on these videos, you've seen me use more of my bow than those little parts having longer Beau's a little bit , Um and it's gonna be a challenge at first because we're not actually gonna play this way when it comes to playing our violin for riel were just using this as an exercise to give us more control over our bone. And when we finally back off and use just a little less bow than the entirety of the boat, which we're gonna use the entirety of the vote, um, we'll find that we're playing the boat with more speed instead of small little strokes, have lots more movement with her arm back and forth, and I'll give you a little example of what the difference in atonality of your violin and sounds like with a small bow versus a large bone. And we do the small boats at the beginning because it's nice and easy. Um, so we'll start at the small. Those three make my boats bigger and longer. And to be able to play at the same speed, I have to move my arm much faster through Ah, so one thing you hear right away the differences. It's louder. That doesn't always have to be louder as long as I play with less pressure on my bow, I can use a nice long boat feature, Theo, And it wasn't quite as loud as it was the last time because of that pressure feature. So what we're gonna do is we're gonna play our too active G scale that we've just learned. But we're gonna play it with the full length of our boat. Some common mistakes that happened when we use the full length of our bull is making our bow do ah kind of a wiper. Um, action means the bow isn't going straight across the strings. So when we do this at the very beginning. Wanted Do it really slow and look at ourselves in the mirror and make sure that our bow is nice and straight all the way across everything of time. And if it is doing a little bit of Wembley, probably don't worry about it too much. Just trying to rein it in by doing it slower. Even in this video that we're doing, um is gonna be at a certain speed. If it's too fast to get your bone ice straight, then, um, practice. It's slower by yourself without this video and then come back. So here we go. We're gonna play are two octave g scale, um, started with a down bow, but from of the frog all the way to the tip from the tip all the way to the problem. So here we go. 321 Go way, way, way through. Uh uh uh Theo way, uh, way through. Yeah. Uh, way waken practice that at home Brexit a lot. And, uh, we'll see in the next lesson 37. Bow Control Exercise: all right. Now that we can do big, long and clean strokes with their bone, we're going to short, choppy ones. And there's a lot of different terminology, like staccato and stuff like that. But we're not gonna worry about that. We're just gonna worry about the actual movement of our boat. And the reason why we're doing it is so that we can get better control of our bow and our reaction time with her beau, Um, and our overall comfortable ITI and getting to know our bo gets better by using or bone a lot of different ways. So this exercise, we're gonna use our bone, um, in some short movements. So we're gonna start with it down, though, and it's gonna be small, um, movements with a complete steps and as a definite start or definite stop. And we're gonna go 1234 So almost using Oliver boat is like we did last time, but they're in separate sections. So short, short, short, short. And it has ah, starting to stop. Stop, stop, Stop. Now, after we do that down, we go up against Up, Up, up, up, down, down, down, down, up, up, up okay. And our would do this Is Vern easier to active? G scale. But every note that we play is gonna have that down, down, down, down, Knowing we're under the next note going up, up, up, up. And some learned so far something that could give you some faster examples. And then when we do it together is gonna be more slower. Okay. All right. So the way we're gonna do this little slower about speed. Uh uh. OK, so three, 21 go. Ah, ah, ah, ah, ah ah ah ah! Uh ah ah! Uh huh. Ah! Uh uh uh uh. Ah! Ah! Okay. Uh, - way . Ah ah Ah ! Uh huh. Ah! Ah! Uh uh. Uh huh. Uh, Theo. Way, way away. Right. That was a great exercise and can't wait to see you in the next lesson. 38. Introducing Slurs: Well, that last lesson was fun. And now we're on to something called slurs. Slurs happened when you use two notes. Uh um, on one bow. So the one boat that I'm talking about is a down bow, Bob. Now I'm gonna connect to notes again. Dodd and two notes again, Dad. Uh, a slew. Dassler doesn't always have to be to note that can be lots of them. Down and out. Out. Out, out. Out. Um, so how we're gonna do this for our exercise, uh, is we're gonna play R D scale. And we played the d scale a couple of videos ago. So it let's just refresh our memories. So it's gonna be this open D string or the open third string. 123 Ah, followed by our index finger playing a regular one. And then our second finger playing high to two and then three being really close to the to open a thin a regular one in a high, too. Last night's going to be a three. Really close to the to I think, Theo, the now to slur, we're going to do two notes at once. Uh, horrible singing. I know, but you get the point. Right. So we're gonna do it together. So it's gonna look like this. Just first we're gonna break it apart for all the little tiny little parts, and then we're gonna put all together It looks like this open D followed by one. All on a down low. Ah! All right, let's do it again. Ah, one more time. Ah! Uh Oh. All right. A Ok, so now we've done a bunch of mineral. Let's do the next part. Doesn't ups We just did. Over the next part of the scale is 23 and those are gonna be upwards on our bow to three a . Let's do it again a couple more times. Uh, time. Ah, one last time. Ah, All right. So if we put those two together, we're going down, down than up up as we move up the scale of D. So where places really slow? Go ahead and play it with me. Three, 21 go. One more time. A is one more time for good measure. Yeah. All right, so now we're gonna just repeat the process, except we're going to go all the way up to scale to the other d um, So we're gonna do a super slow so that you could see my bow change. Um, so I'll also say, down, down, up, up. And I won't be calling out the notes, except I will be calling the direction of the bow. All right, so we're going to this quiet a few times, and if you have a hard time catching on, just rewind the tape back into the starting point, and then we can start again to have a good, solid starting point. All right, here we go. But really, slow down, Down, down, down. Uh, Down, down, up. Uh, Down, down, down, down. Uh, Down, down, down, down, down, down, down. Down. Uh uh. Down, down, down, down. Um uh. Down, Down. Um Down, down, uh, Down. Down, uh, last note down. All right, So now that's what a slur is So doing? Multiple knows a once. We're happy to do it two times for the same boat. So we're gonna continue this on. Um, we're gonna do the same scale and everything, except I'm not gonna call out the down downs and up ups. So again, if you get lost, we feel like you need to start over just for you. Why that Take, bring it back to the beginning of the of this next part, and then start again. He'd get lost again. Rewind it back to the beginning part again, and then you'll have a good starting point to get caught on. So three to one go, I think. Theo Theo, Way through. Uh, Theo. Theo E o. Okay, now we're gonna do a one last time. We're gonna slide. Lee, increase our speed about the speed. Uh um And if you're not ready for it yet, don't worry. Take some time. Practicing the first speed. Um, And when you ready, go back to this video and you'll be ready for the second part. Right? So 32 one, go, I think. Theo? Theo? Uh ah. Way. Ah, uh, way through. Last knows great work, and we'll see you in the next lesson. 39. Reading Music 101: in this section, we're gonna be learning how to read music on the violin. And to start these five lines represents something called a staff. All right, so we have five lines, and it equals a staff. Now, one of the first things that we're going to see when it comes to this staff is called Trouble Clan. Um is also calling g clef. And we're gonna kind of skip some of the, um, underlying meanings of what that means, um, and head right into what these lines and spaces mean. So your staff is made up of lines and then the spaces in between the lines and the lines of spaces and lines and spaces and lines and spaces in lines and so on, Right? No. They're gonna be, um, really important for us to be able to learn some acronyms. Um, and we're gonna start with lines. So we have We have every good boy does. Fine, um, is kind of how I learned when I was a kid. I think today, um, most school districts have changed it to be. Every good boy deserves fudge. For now, what we're gonna do is we're just gonna write these out. So we have some words. Yes, we have. Every good boy does fine and what we're looking at as the beginning letter of every one of these to help us remember the names of these lines. So we have e Jean B D. F. And keep in mind that when we're doing this, we're going from the bottom of the staff to the top. Every good boy does. Fine. Okay, now that we have the lines kind of taking care of and you're gonna want to take some time to see if you can try to memorize the e G B D F. Notes, um, we're also going to learn the spaces. So, um, these spaces that we have or the spaces in between the lines are also gonna use the same uniform method of remembering by going from the bottom to the to the top. So we have yes, a see e and f a C e spells from the bottom to the top face. Now you have Every good boy does fine for the airlines, and we have f a CE and, uh, take some time to try to memorize them. If you can actually write out your staff of five lines. Don't worry about drawing the treble clef quite so yet quite yet. And, um, draw your lines in there, and then, um, put some circles in there and then fill in the circles. And if you need to write out all the words, those are gonna be so great Tools were you toe, start toe. Memorize the names of your lines and the names of your spaces for your staff. 40. Finding your Open Strings: Now we know what the staff looks like with this trouble. Cliff Looks like we know that the staff has five lines and we know that these lines have some names to them. Every good boy does find every good boy deserves fudge and the spaces in between the lines being f a ce spelling face. Now that we know that, um, we're gonna take a simpler approach on how to read music, honor violin. Now, what I mean by that is music when it was written in manuscript form is what you're seeing was meant specifically to be written for violin, which makes it extremely easy. And this is how it works. Mathematics. The first thing that we're gonna do is we're gonna find our first open string. And what I mean by that is on your violin, you have your first string, your eastern or the little bitty string. And where is that on our step? Well, what we're gonna do is we're gonna find our spaces, and we're gonna find the top space. And when I mean by the top space is the space that's closest to the ceiling. So the very top space that you see that surrounded by two lines. Now for your reference there still spaces and lines that go above what you see And spaces and lines that go below what you see but were specifically working on this space. And I'm gonna draw a circle to represent where that spaces Now that space is e or are Eastern a little bitty string. And remember when we learned our spaces it was f a C than E. So that's where that he exists or how we get there. How do we find it now, Once I have my first open string will call it open string. So we kind of see it visually as we go along. And this is we'll call it one or the first string open. Now that I have my first string open and I find out where it is on my top space, I'm going to go to the very next space below, and I'm gonna draw a little curved line. T know. Take that. I'm going there and then I'm skipping it. So going to the very next one. So I started at the top space. I went down one space, I skipped it, and now I'm going down One more space and I found my second open string. So the difference that we found is this is our first string e the little bitty string And I went from my top space And I went one space down down to the next space down And now I found my second open string wishes the second string So first string, second string, which is the a string. And my 1st 1 is the East Trenton. Okay, so we're following so far. And if this is moving too fast for you, simply rewind. Go back a little bit further in this lesson and review the steps to find the first string and then, uh, do it a couple times till you get it, and then we're gonna run in the second strength. Now, what I want you to see as we move along here is the same mathematical principles happen every time we try to find an open string. So if what I did is, I went to the top opens, uh, hope top space. And I skipped a space. I went down and I went down. So if I counted it out, if I countered itself as on open. I am Go one to three. And if you decided not to count itself, you go 12 However, which way you decide to do it, you're going to do it the exact same way to find your next open string. So I go from my second string open, which is on a space, and I go down one space and I skip it. And now I go down one space again, and I have found my third string open. So my third string open is 123 the third largest string and call that d my destroying D open string. Okay, So as you can see, the distance between my first string E open skip find is the same as how I found my third open string. I started at my second open string. I skipping open. I go down one more. 01 ice. I skip a space. Sorry, I skipped a space and I go down one more and I have found my next open string. So if I decide to count ah, the space as one I go 123 and then I do it again. 123 And if I decide to count. Um, I don't decide to count itself as my starting space. I go 12 12 And the same principle applies. Okay, So what we can't see here is that there are lines and spaces above, and there's lines and spaces below, and they go down to infinity and up to infinity. So if I was gonna try to find my fourth string, try to think about how we would find it. Now, let's go through it. So we started on our third string, and we do the exact same thing One more time. We go down, we start at the space that are third string starts on and we go down one space, skip it just like we did before, and we go down one more space again, and I'm gonna have my fourth string or Gene the big fat strings G My fourth string. My open stream. All right, so let's do this one last time. I'm gonna find my very top space, and that's gonna be my first open string. Happens to be e to find my next open string on my violin. I'm going to use started that opens that that open string that I found And I go 12 down and I find my next open string The same principle applies when I go down again So I start on the open string to I got one too And now I'm on my third strike Found it is on a space And I do it again 12 and I found my other open string Some things to think about, um, as you're starting to gain some knowledge about your open strings golden strings on your trouble clef on your staff, our only on spaces there never online's. So just keep that in mind as we move forward to make it a little bit more clear, Um, as we move along into putting our first fingers, their second fingers and third fingers down and finding where to put them and we'll see you in the next lesson. 41. Reading Music With Finger Placement on the E String: hi again. Now that we know where our strings are Our first string open our second string open our third string open and our fourth string open. Remember, we used the simple approach of finding the top space. And we go if we count itself ago. One, 23 And the same principle of pride applies. All of these notes are the exact same business apart with just one space in the middle. Keep in mind that open strings there never found on lines. So if you find something online a note online, it's never going to be open. So with that in line, we're going to start learning some notes on our E string. Sometimes when you see a note, you're gonna see circles generally, so sometimes you see them as a filled in circle. Sometimes they're unfilled in circle. Sometimes they have unfilled in circle with a stem. Sometimes they have a filled in circle with a stem and a flag, and they look a little bit different. But what we're looking for, it just a. This point is that when we see a circle where we're gonna play it on our violin so we don't necessarily care about the note value or the length of the note yet we just are thinking about where do I find it on my violin. And in this case, if I see any one of these notes or circles I'm going to have my e string my little bitty string And I'm gonna play a note either down or up And it's not gonna matter at this point , right? What works out great for these notes that are on the E string Goes over there on a string knows that her on the D string and the G string is that the all work out mathematically the same And I'm gonna show you how this works So R E string is right here our first drink found in the top space of our staff. If I know that this is open and what I say ain't gonna say open. I'm gonna include a number up here and try not to confuse this circle with this looking circle. So what I'm gonna do is I'm gonna fill this in, see that? You know that it's a note and I'm gonna leave this blank. So you didn't know that this is a zero and I'll, uh, do zero. So now you can see the word Very small, if you can see it. The word zero. Okay, if I go and I use this open. So this is another zero up here, and I go one space or line above the note that I'm starting it. So let's take a look at this. I'm starting here on my top space. My open note. If I go, One liner space above were my starting note. Is that so? I'm starting on the space. I'm just going up one liner space to this line, right? What I'm gonna do is I'm gonna add one to it. Because I went one tying up. I'm going to add one to the value of it. So this was 00 also means open no fingers. Now, the amount of fingers that I'm gonna put on this one because I went one space up is going to be one. And that would be my first finger. My index finger. So on her hand, our thumb doesn't have a value, but my index finger does. This is 123 and four. So it's just like kid counting. 1234 So when I think of playing these two notes together, I'm going to play 1st 1 note and that's the first string open and you can go ahead and do it now with me. So 3 to 1 on now, we just played this open. Now we're gonna look at this note and remember, when our index finger goes about one inch away from this nut, it's gonna go right about there. But the string that it's gonna go on is our first strength, and that will become clear a little bit later. So I'm just gonna pluck this. You can use it. You can pluck it to or you complain with your bow. So 321 go. Now we've successfully played this note. So the letters that go with this are E So we're looking here at this knee note, and then we also have f It's actually an f sharp, but we're not gonna worry about it right now. Um, because I don't have anything in a key signature quite yet. We don't know what that means quite yet, and that's okay, but we're just thinking of is pretty simplistically at this point, and we're just gonna call it in F because it lends on the f note. So how did I arrive to say that? That's an F note. I went. Every good boy does f bine, right? So now I have I understand the distance between my open on my very first space and my one that's on my line. That's above my space. Because they went one step upwards. I added 120 to get toe one. And when I go zero, that means zero fingers and the one means one fingers. Okay, Now that the process continues, when I get to my second finger, this here is a gene out. No, we're gonna discuss why that's aji note in a future lesson. But what I want you to get out of this is that I started at my open string. I went one above my open string, so I added one to it and I got 10 plus one equals ones. And I put my first finger here on F. If I go of one more, I'm gonna add one to my one. So one plus one equals two. So now I'm gonna put my second finger when I see this note. So simply if I go from space tow line, the space consequentially I'm gonna go open 12 And when I'm thinking about this at the very beginning, I'm not really specifically thinking about This is an E. This is an F. This is a G. I'm breaking it down into finger basis to make it easier to look. Look at what I'm seeing and say, Is that a open of one or two? Now the same thing happens here. I'm gonna go one more up. So there's these lines that we don't get to see that dinner above it. And I'm going to draw a note there as a circle. And I started at an open on my first space that I went one above it and one to it. So I was able to get to my first finger, and I end one to it to get to this G note or the second finger. What do you suppose if we go up one more to the next line? So I went from this space to this line. I'm going up one time, so I add one to it. And here I'm gonna play a three So just as a little reminder of the last lesson that we go a couple last less that we've done. We've done open no fingers, and that's an indication of this note open. Then our index finger goes about one inch above where this this nut is. And then if I'm gonna play it to that to typically when we first learned, violin is gonna be about inch away from where Index finger is our one. So whenever I see a note here, RG knows we're gonna have once a g sharp. But we're gonna call it G for now. So we have that, too. And then when I see a three, which is an e note that A is going to played with my third finger three. So I'll have my index finger about it in Chile by second finger, about an inch away from my one. And my third finger is really close to that second finger. And that's gonna be my a note or my third finger. Okay, so if I was gonna play these in concession without any specific length, I'm gonna play open one to free, so we're gonna play it together. Um, I'm gonna give you the example first. So you let's listen to it. And then on the second time around, I'm gonna say one, 23 go and then we'll play it. So here's your example. One to Ready Go. Here's the to. Alright, and here's a great example of how we get to find some notes that are on the E string. Now we know how to play some notes on the Eastern, and we'll see you in the next lesson. 42. Reading Music With Finger Placement on the A String: just a review. Now we know where the E string is. Our first finger, our second finger and our third finger open 12 three. Now that we know where the e string is and the notes that you could play on the Eastern, we're gonna think of this e as being the lowest note we can possibly play on our eastern. And what I mean by that is if you think of pitch and this, you know, I can play notes that are higher on it. They keep on going up in pitch. And as I go up in pitch, I see notes that are higher up on my staff. Right. The lower the notes that that I see on my staff, the lower notes, they are right, lower the pitch lower. I find it on my staff. So if I know that the lowest note that I can possibly play is this e note on, I can't play a single note. That's lower than it. Every note lower than this e note, has to be on a different string than E from E upwards. I can play notes on the Eastern E F G A or open 12 and three. But anything that falls below this means I have to play on a different string that gets us to notes on the A string. Our A string is found here a couple ways that we did that is we found our first string one , which isn't the string e And I went down and I skipped a space and I went since I went to the very next space and I found my seconds Drink a The same rules apply as what I was able to do with the Eastern. So if this is an open zero fingers, zero fingers and I go up one liner space, what finger do you suppose we put on it? Because we went up one. I add one to the value of zero, and I get my first finger. One. If I play a it's an open, open, no fingers. That's the second string wanting to the second string A. I'm going to go up one liner space because I went up one. I'm gonna playing my index finger or my first finger, and that's going to go one inch of of where this nut is right about there. So sound like this. So I'm gonna play these two notes. Open a then one. Okay. Now, remember the same rules apply If I go of one line or space from this line to this note, I add one to the value of once one plus one equals to. So this would be get to That means I play the second finger open. No fingers. One. I played my first finger to I play my second finger. Now the same rule applies again. If I go from my second finger and I go up one line or space from from my second finger, I add one to the value. And of course, again, I get a three. That means if I see a note here open 123 I'm going to use my third finger on my a string or my second string. So again, I have my first finger about inch away from the nut. My second finger is about initial way for my second. My first finger in my third finger is really close to that. Second to the third finger, and we're gonna play these together. I'm gonna give you an example. First someone play through it and then I'm gonna give you one two. Ready? Go and play. So here we go. I'm gonna play this open, followed by this one. By this to on the three. Let's do it together. One, two. Ready? Go down. Low down, Bo Thing up. One more time together. A on one and two. Okay. Now, if we see the notes that we've played so far, we can see it. We went open. 123 If I follow this up to our east ring, which we already known, we also have open 12 three. So I have open 123 And I'm just going up one line or space at a time. One line or space reminder space at a time that I'm that I'm going open. 123 Open. 123 If this exists down here on the D string the same way I would go open. 123 Open. 123 Open. 123 The same thing. What is this down here? If I was on my fourth string G, I'll go open line. 123 Open. 123 Open. 123 Open. 123 So you see, there's this pattern that exists. I play open or one open and one first finger to the second finger. Three the third finger. Then open D open than one than two, then three. And then the process continues again. Open 123 Open 123 So it works something mathematically well for our fingers. So when our brain is thinking about these notes were not at least a this point in the beginning of us playing, we're not thinking about, uh as I'm playing a song. This is an A note in S and F sharp. And this is a C and that's an A. And this isn't a and that's a D note. I'm simply thinking mathematically because easier to come up with this in a brain. If this is first of all, where is my open strings? Where do I find him? And I think of them in these little spots in these open areas. And then from there I go, OK, if I have this note, how do I play it? I'm gonna first out with Open then were is the one and here's the 20 I see this note. I'm simply gonna put my second finger on the first string and we're gonna continue with this process with the D String and the G string and upcoming videos, and we'll see you in the next lesson. 43. Reading Music With Finger Placement on the D String: All right, let's get to our D string for 1/3 string dean. We've learned some things to be ableto let us know what some of these lines and space is mean. So my lines again were Every good boy does fine. My spaces were F Bay CE spells face upside down. What happens when I'm get lower than my lowest line that I memorized something on? And that was every my next one up was F of F A C e. What we have to think about here when it comes to these strings is that just as in the previous lesson, we did open 123 open 123 open 123 My alphabet works the exact same way. And let's make this example that toe workout with in my in my musical alphabet, I have a, B, C, D, E, f and G. No, it doesn't go any higher than G stuff. If I went higher than my G allowed, I would simply started getting a a B c d e f g a b c d e f June Well, if I went lower than it, I can simply go well. What comes lower than a I can look here and I go one step backwards. This is a G than F and so on backwards. Now, if this is E right here, my last note that I memorized every good boy does fine. And I go one down to where my open note is. I would go backwards simply and realize that this is a deep because I went back one in the health of it. Now again, as I went up with open 123 Um, open 123 open. 123 My alphabet does the same thing. And I'm gonna clear off some of these circles so that you can see a little more clearly the next step. If this is d, I'm gonna write, indeed. And each one of these I want to write in the number. If this is d the next note above D because I'm going up in the scale, I'm going up on the page. This is going to be E then. Yeah, then Jean than a be see de e If Jeanne and this goes on forever. I went up one line or space at a time, and I go D e f g a b c d e f g ABC Great! I go down g f e d c b a g f e d c b a And that goes down forever as well. So when we're thinking about notes that are on the D string now that we know and can figure out some of the notes that are above or below where the staff is or my pre memorized knows , we're gonna find our first string E our second string A our third string dean. So D is that space under the first line and I go off one liner space. And if this is open, then what do you think goes here in this space are in this line? I should say so this is a space, and this is a line because it's on the line. I go up one liner space, so I add one to it. So this becomes my first finger. If I go up one liner space again, I'm gonna add 12 It's a go open open one to and one more is three. So now I know where my notes are on my D string. So from D or the third string, we're gonna find it. 123 The third string in It's gonna be open, followed by my first finger about an inch away from that nut. My second finger is gonna be about an inch away from where the first finger is. Oh, and now we're finally gonna play this third finger of the D String. Now that we're starting to understand that there's a simple mathematical formula for understanding where notes are on a violin open 123 Open. 123 Open 123 is that Opens can only be on spaces, and we've learned that before. But what about other notes? Let's take a look at this because some other truths exist. It could be shortcuts for us to drink. Be able to try to figure out where notes are on the staff. So again, my staff has five lines. 12345 But I have trouble Chlef. So I can kind of figure out where some notes are Ones and notes have always drawn this before. Isn't is a data or ah ah circle. But instead of the circle, I'm gonna just see what the fingers are Instead, I have 123 open. 123 Open 12 three. So now these represent the fingers where they are on the staff. Notice that my ones, our always online and my threes, our always online So ones and threes are always on lines. My two is always on a space. My open is always on a space. My two is our was on a space. My open is on a space, my tools out of space So twos and opens where over the twos are always on spaces. So if you have a little bit of trouble being discerning, where to put your finger think about is it on a line or is it on a space? And that could help give you a little bit of clarity about what finger to use. You can always go back to your open strings. Exactly. Count up open 12 or three. All right. Um, we're gonna discuss the G string and where to find notes on the G string and our next lesson 44. Reading Music With Finger Placement on the G String: We're starting to understand where the E string is from the B string up. We're starting to son. Understand where the e string is from the a string up to the e string notes that I can play on my d string are from D up to my a string And I have these notes down here where my G string or my fourth string is gonna be And in order to get a good handle on using these lines that fall below where our staff is, we're gonna need to know a couple ways to count backwards. The easiest way to count backwards is using our 12 threes the opposite way. So here's my staff. I have five lines. And, um, if this is my third finger going to come back from three, then my second finger to my first finger 10 There's a step in here that's a little bit counterintuitive. If I go up and I count up, I go open. 123 Open. 123 and so on. And that seems pretty simple to do. But if I go backwards, I go. 321 open Now my next one. So I have to go. If I go lower than that, I have to go from zero 23 So this pattern backwards. 321 open 321 open three. So what comes after zero or zero? Fingers and open is a three of them. Counting backwards. 321 Open 321 Open 321 Open and so forth. Now the other way to count backwards if we're thinking about notes specifically is a little harder. Now our musical alphabet again is a B C, the F G. And it repeats itself over and over again. And the same way happens if I go backwards. And why we're looking at this is because I have to get down to these lower notes. And so far I know that this is E. Every good boy does fine and I want to try to figure out what notes These are lower than my e. So the easiest way to do that is by using your elf alphabet backwards. And here's a good trick to be able to help us figure out how to see G f e d. C. A. In a smooth way that makes it easy for our brain to remember. So I have Gene f 80 and then I'm gonna break it up so I'm gonna just have g f e d and then see be a Now if I just say g f e d you know, pretty quickly it sounds a little bit like the word graffiti. So graffiti, then I have to memorize the last little that c b A, which is a little easier to do so The thing that sounds like graffiti c b a turns into g f e d c b A So as I'm going up my skeleton of a BCG of gene which all of us know for alphabet on the way backwards is G f e d c b a g f e d c b a And once you get good at it enough, you don't have to put that Pause it. There you go G F E D C B A Right. So I'm trying to learn these notes that are on my G strings. Here's my staff. I have five lines. 12345 Here's night trouble class and I know that this is an e note. I go down one G f e Dean. See you. Hey, I'm going out One Morris G F E D c b a gene So I'm doing this backwards, but it kind of makes it a little bit easier for to think of what these next steps are Because I'm always remembering what At least this note waas e for remembering my lines and spaces. Every good boy does Fine. If I can You think about this end and subtract in my alphabet I can I know what these other notes are. So e d. C being a g When I'm thinking about these notes ASUs faras a finger perspective goes, I'm thinking about these in relationship to my open strings. So my open strength again My first open string My eastern was the very tap space that I went down to And I found my A string or my second string, and I did the same thing with D my third string open. Now, if this is d, I do the exact same thing. I go down one space, skip it, I find G. Okay, so now that I have g, I know that's open, so no fingers. So I'm gonna start here fresh. From here on out, I'm gonna have two lines underneath my lowest line for my staff. And then I'm going to draw a note, Jeez, or open fourth strings of fourth string or Gene. Once I have that, I know it's open. So on my violin, it's simply the fourth largest. The biggest strings of 1234 the big string. And And when I see this note, that's all I do. Is that played open? No fingers. If I go up one line or space, this is open just so you can draw your I two minutes is the open. This is the open that were thinking of right here I go up one liner space. I have to add one to it, just like we did before. And now I'm gonna play my index finger or my first finger here. So this is the one I place my first finger on this note, which is new. A note. Okay, so now I'm gonna do it one more time. But now I'm gonna move up to this notes on. Go from here is one liner space above where I just waas. So I have to add 12 at one to the values. And now this becomes open one queues. This becomes my second finger. Right? So this is open, open, Gene. Then my first fingers about inch away from the nut on. And that's this. A note right here and now My be note is that second finger it's about inch away from my index finger. And that becomes this too. So as I play, it's 000 right now, the very next note. After that, I went from open my first finger, my second finger. And if I go up one liner space above where I waas, I'm gonna add one to the value, so I get three. So now I'm gonna use my third finger. For this note, happens to be a C note. But if I If I think about open 123 I'm gonna use my third finger. So my index finger for a my to for this be note. And when it comes to this third finger, if the three is right next to the to open 123 So I'm gonna play this for you. Open G A. This is a B note and then see and Then after that, I'm gonna count 12 Ready? Go, Pause. And then we're gonna play it together. So here we go. Example. First G, here's the A or the one, uh, years Bure, the two on the fourth string. Geo. Uh, Now the three is a C three. Ah, Now we're gonna do it together. One to ready. Go open, G. Ah, there's the note. Uh, here's the to be no on that three, which is the c e o. Uh uh Oh, right. Great job, and we'll see the next lesson. 45. Music 102, Keys, Series of Sharps and Accidentals: Okay? Right now we can figure out how to play some of the notes when reading music, figure out where to put our fingers, at least in the remedial sense right now. And now we're going to start to figure out some other things that are important about her staff. Remember, our staff has five lines, and then we have this trouble Chlef. Let's think about the trouble club right now. Right now, the trouble clef is the thing that happens first that you see So a straight line is drawn. Then you have this point that intersex here at the very top. So you're on the very top line, and I'm just gonna drop us a little bit bigger so that you can see it on the camera. I'm bringing out dot There. I have a dot here on the come this the first line, second line, third line, third line and the line. And I'm gonna draw a thin curve on the bottom line. There's another dot and I'm gonna draw a big curve and it curls around curls around the 12 3/4 line. Or, if you're coming in from the bottom one to use that one, which is a G note. Every good boy does. Fine. So you're trouble clef is also known as the G clef. So when it curls around the G, that's the reason why they call it a jihad. So let's try this one more time. I'm gonna draw a little faster a little bit more clean. Um, and you could practice drawing your trouble class, too. So I have the thin curl, a large curl, and the girls around straight line curl and a girls around where in practice it a couple more times. And if you have a piece of paper at home, you can follow along. Um, but our staff has five lines. We're gonna make this straight line the dot the dot on the middle line and the top line a little bitty curl, a bigger her between the third line and the bottom, Then a girls around the G note. So one more time real quick. And here's your trouble, Cliff. Now, typically, you have this little lying curling down one way or the other, but it's really not important. Um, in the remedial sense of you creating trouble, the next thing that we're gonna learn is called a key signature and key spelled just like a key that you unlock something with. But what it does for us is it tells us what notes to play. And if we have a high two or a low two or low on or high three, and it it helps us be able to figure out where to put our fingers a little bit more specifically than previously before, where it was always a regular one of high to in a high three. It might change now, based on my key signature. Now, here's some things to think about. Generally you have sharp, which looks like a number sign or a tick tack toe sign. Or there's nothing there where you have this flat for a series of flats that looks like a funny looking be now. We don't need to necessarily know what all those mean, except you'll see a bunch of them in Rome. Now, this is the next thing that you see right beside the the trouble cloth. This gives us some information that we need to know, even though we don't. We're not diving really deep into what it means, but I want to give you a little bit of a background of the Siris of at least Sharps. Because when we're armed with a little bit of knowledge and could make other stuff make more sense if this is confusing in any way like you're getting too much information right away, it's okay to skip this part of this lesson. Um, but as you get more confident in your music reading, go back to this and it'll make sense later because it is kind of a funeral. Keep heart, uh, to learning music overall, An understanding music theory. Uh, at least remedial music. Gary. So I have this staff and I have these shirt things that are somewhere. But where do they go? What do they mean? Your Siris of Sharps follows some easy methods of learning like we've done already about Every good boy does find the face, um, upside down we go fat cats go down alleys eating bugs, and these are our Siris of sharp score, that number sign look looking thing. So the easier is kind of funny to think about. Fat cats get and get go down alleys eating bugs, but it's makes it super easy to learn so that gets go down alleys. Hey, thing bugs. So what were trying to get out of this is the first letter out of all of these words F c g p a E b. So say that a couple times fat cats go down alleys eating bugs, fat cats go down alleys, even bugs one last time. Fat cats go down alleys eating bugs. No, If we understand our Siris of Sharps, here's their trouble club on her staff and fat cats go down alleys eating bugs. That's if I decided to put all of the Sharps in there and they go specifically in this order on the on the correct f like this that we're using here goes on the top line. Every good boy does Fine. It wouldn't go down here on this f um so later that becomes memorized. And we don't have to know that right now, but it helps us understand how to play some things, um, on the violin and how we're going to use these sharp store advantage and start understanding them slightly is when we play on a scale and we've already played on a scale , but we're going to play it in a way that helps us understand where it is on the violent, where it is on your staff, and we'll figure that out in the next lesson. 46. Reading and Understanding the A Major Scale: although we already know are a major scale because we practiced it already. This is the first time we're gonna be able to see it in away this written out for us when we're reading musical manuscript. Here's some things that we need to know Birth of all, we we have our staff, which is the five lines we have our trouble clef. Now we have this new key signature. This key signature tells us a couple things. First of all, that tells us where in the key of a and we don't have to know right away that it tells us that that is actually in the key of a other than my scale starts on a f A c a and ends on a a b c d e f g a. Now it also tells us that we have to place our fingers in a certain way. Now, this tells us that our f every good boy does find this f note is sharp. So it also tells us that every single f so in the in the case of let's say this was a song this f down here, f a ce would also be sharp So in this case, this F the only one that we have in our scale is sharp It. And on her violin, F sharp is on R e string, but a regular 11 actually from the nut like normal. But that is an f sharp. Now we know what that kind of looks like and sounds like sharp. Now that we have this f sharp, we also have C sharp. And if I follow my C sharp over f A c c sharp F A C si is also sharp. Where is C sharp? As far as it relates to the scale, it's on our a string with our high too. So I have a inch between the nut and the one and about an inch between my first finger in my second finger. And so I have a high two is what we call that. And that is gonna be my c sharp that I played. I also have this g sharp here, So I have every good boy does find what comes after, uh, f in the alphabet. G a B c D e f g said this note. The sharp that's up there is G is g sharp And that effects this note here. This genius this G that we see. So even though that we're familiar with the a scale, where is G Sharp honor? Violin is on the e string, and it's gonna be this high to on the e string. So I haven't inch between my my nut and my one and now an inch between my one and like to And that is your g sharp, huh? Now, this kind of makes sense for us. I play my regular one open. There's no sharp here, so I just played a regular one open, then one regular one I have a high to which is that c sharp that we have here? And there's the D. So a B c d That's the three. So let me mark these fingers down for you have open one to three open one to three were also marked down some other things for you. I'm gonna tell you that their high twos or regular ones or regular threes this is open. Which of course, is just no fingers. I have Ah, regular one. Or just as always, we always put our finger. There is a regular one. Your C sharp is Ah, high, too, one inch away from our index finger. If it was a low to, it would be really close to our first finger. But it's a high to or normal. Our three is regular because there's no sharp there. We have a regular open that just means no fingers. A regular one, a high, too again on the e string, we have a high too, uh inch away from our index center and then a regular three. Uh, so I want to play this as an exercise for you first, and I'm gonna point with my bow tow. What? Note that I'm playing someone play Just open A in open A is our second string. So first ring, second string. So I'm just gonna play this open a followed by my first finger and a regular one. I think my second finger, because it sharp is ah high to see Sharp. Very next note is a three, but as a regular three. So it's really close to my to followed by my open e and I'm on my first string e uh, no fingers. Now I'm gonna put a regular one or just a standard one on my first, my first string, which is an f sharp. Every good boy does find f sharp after that comes a to. And this is a high, too, because it's a g sharp. Every good boy does find the very next note above f is a g hi to Simon. Inch away from my index finger and then three is a regular stream. Writes really close to my second finger. So let's play this together. I'm gonna play door rainy fa so la ti door or open one high 23 open one high to three. And, uh, I'm gonna count it out as 12 Ready pause. Go. And when we go, we're gonna play the same time. So here we go. One to ready. Go switch strings. Uh, one more time. Back to open A. Here we go. Great. Now we know how to play the eighth a scale as far as it relates to reading music. Good job. And we'll see in the next lesson 47. Understanding the Fingerboard with the Chromatic Scale: to better understand how sharps and flats effect where we put our fingers. We have to know that there's something called Positions, and in this course we're only gonna ever worry about the first position. There's first position, second position, third position and so on. But it really means my fingers are staying right about here and not moving up the neck in any way. Okay? No, your fingers, um, are going to cover a certain amount of area on the violent fretboard. And we've talked about this little nothing a bunch of times, and this box represents your nut and you team nut. No, these lines that air coming down represent your strings. So this is the E string or the first string. Here's the A string or the second string. Here's the the D string or the third string and the G string or the fourth string. Now your index finger or your pointing finger is going to be in charge of these 1st 2 steps , and what that means for us on her violin is everything that we've played for a index finger or one has been about in Chile. We also have the opportunity to play a low one in a low one is half with the distance in between the nut and where a regular one would go. So it goes right about there, halfway in between the distance. So I'm gonna call this a low one. Now, this is Ah wreg u lar one right, regular one and is giving us some understanding a t least of a terminology to use toe if I'm using a low order one. If this is a regular F Notre and sharp or whatever it might be, um so that, um gives us somewhere to be ableto get to when we're reading music. No, this covers the ones, the ones. Now I have I'm gonna use lines here for my hello to in my high to now the difference between my low too. And my high, too, is if I had a regular one. My low to would be really close to my one. And my high to would be about an inch away, so low to a high to a low tune and a high to a low to a high, too. So that's the difference between my low to in my high do and you can see that there's four different versions of what we played Super low on regular one low to a high, too. And they're all we call half steps away. Um, so if you took, um um a keyboard and you want from white kita white key? If there wasn't a black he in middle made on Lee be 1/2 step away. And all of these notes that I have written on the bottom are 1/2 step of way too, and we're gonna touch on this in just a little bit. The next thing that I'm gonna have is, uh, what I call a regular three and I'm gonna dot that so is a regular three, and then I'm gonna have another dot, which is gonna be by hi three. So the difference between what we've done so far as we've always played with regular three . So I have my regular one, which is about an inch away from our nut, my high to which is about an inch away from my index finger. And my three was always road close toe or my high to would be him. Ah, high three simply means instead of being 1/2 step away from where my two hours or were close. It's gonna be about that injury wages like the rest of my fingers. So now I'm gonna have a high three. And this is where this little dotted line is indicated, and that's all we're gonna cover. We're not gonna cover fourth Fingers in this particular course, but what I want to get across is, um, using your chromatic scale, understanding the names of your strings. And if we have a good understanding what a chromatic scale is, we can figure out where these notes are on our fingerboard and when we're reading music. If, um, if we're come across something that we're not really sure where it is, we can always use our chromatic scale to fall back on to figure out where that noticed Supposed to be now, Um, R chromatic scale falls into half steps, so they're all really close to each other. And so instead of Dole raying me, it's Dorie Rain, right? Do you have these little half steps this in full steps? So it's broken up into parts now in these, uh, I'll say that there's going to be three rules to help memorize your chromatic scale. And the chromatic scale is something that is, looks kind of garbled because we have a flat Amy flapping, cc sharp, T e flat, E, f, f, sharp and G. And it looks overwhelming to the beginner who sees this for the first time. But we're gonna break it up into parts that help that make sense to us, especially if you take it into these rules. So the first rule is I'm gonna underline Rule one. If Rule one existed and there was only one rule, he would read this A what? A B foot BC flat C D flat D e flat, E f flat, F g flat jink. But it doesn't so the rule looks like this Rule one is flat, followed by a regular note, or it's natural. This funny looking square with two sides on it is unnatural and even understand a little bit more. Every single note, whether it's A or B or C or D, has its own Sharp, has its own natural and has its own flat. So even though I'm calling these notes a flat A and then B flat, I could just as easily call this a flat a a sharp, but this is kind of ah, common way to be able to say these these notes so that you can memorize them in easy way. No, as long as you know your chromatic scale at the end. Um, and you're used to saying e flat instead of d sharp, um, you'll be able to say, Okay, well, d was first that I was evil at and I could say is, um um, uh d sharp. But in any case, that's for another lesson. At another time. Just realize that, um, the notes in rule one rule one is ah flat, followed by a natural and a natural noticed that I'm not writing a natural or the weird looking box thing when on a letter or a notice by itself, and doesn't have a sharp near it. It is considered to be natural, so it doesn't have tohave. The market indicates that it is natural. Okay, So with that in mind, um, flat, natural, flat, natural, flat, natural and that is rule one ah, flat followed by its natural. So again, if that was the rule, it would be a flat A before and B C flat C D flat D and so on, all the way through the scale. But the rule number two number two is that there are exceptions to rule number one. And I'm gonna circle these exceptions that you can see them clearly. So the exceptions to Rule One is C Sharp CNC sharp, eh, Finisher? So it's C and C Sharp and F and F sharp are my exceptions. Okay, so now that I have exceptions, I have a flat A B thought Be that I have my exceptions C and C sharp and F in f sharp. So once we we take in our brain and realize that I have Rule One, which is a pattern and then I have a new pattern for the exceptions, I have to memorize these c and C sharp f n f for and as long as I memorized them as soon as I get get to see, I can remember that they're an exception. So that becomes a flat. Maybe you won exception. C and C Sharp Rule three states that after every exception, is a note that stands by itself. And I'm gonna just draw a and box around D and G. So after every circled bit is the box after every exception is a note that stands by itself so it doesn't have its own flat or sharp is just natural by itself again. Remember that if I went 1/2 step to the right, I could just as easily call E Flat d Sharp and I could just as easily If I go backwards one , I could just as easily call C Sharp D flat. But because we're using these these terminologies or the simplistic way to learn chromatic scale, we're using the specific notes because they follow this. These rules 12 and three your your flat to a natural, your exceptions and then the the note that stands alone after the exception. So when we go to try to memorize our chromatic scale, we're going to say a flat A B flat B are exceptions. Are CNC sharp F in F sharp after every exception, the circle parts isn't note that stands alone. So when we say that the next letter in the alphabet and simply d or simply G so I said the whole chromatic scale in in a road and be a flat a B flat B C c sharp de e flat e f f sharp in jeans, so I broke it up into its parts again is rule one a flat A B flat B. The circle part is the exception. So now my exception is C and C Sharp after the exception is the note that sits by itself. So it's just Dean. Once I get done with my exception, I go back to Rule one again. Three flat E What a B flat, B flat me. See how they're the same rule? A what A. And B flat is the flat, followed by its natural. Once we're done with our Rule one, we get back into the exception again. Effin and sharp after the exception is a note that sits by itself. And that's Gene. And I know that's a lot to take in right now. So if if you have, if that won't when my brain is going a little bit weird now because I'm not accepting all that data, just stop. Rewind the tape, listen to it a couple more times, see if you can write out your chromatic scale and, um, writing it out maybe 20 times in a row. goes a long ways to memorizing it. Okay, Now that we have a chromatic scale and understand what it is, we have to be able to understand how using the chromatic scale can help us. Player Violin. So this is our G string. So And this is our Easter eggs or first string. This is this line E string A stringer, second string, third string or fourth string. So it really looks like your violin. First string, second string of third string and fourth string. Now with that being said, my low one right here is my Lohan is and dot and is labelled low one. I have to find G in my chromatic scale. So I found G Hey, what a B flat BCC shirt you like the f f sharp and G What comes after g In my chromatic scale it starts over again with a flat A So I can also just go right back to here again. So after G, which is G here the very next note or my half? My my low one. Now that I know what although one is is now a latte. Okay, Does that make sense? No. Now that I know that this is a flat. What is my next note in the scale Upwards. I have done a flat. And now the next note in my scale is now a or a natural. So I'm just gonna right at a in there. So I now I know what the low one and the regular one is on the G string Now I moved to my low to I've just done a flat and a so my low to is now b flat. And now what comes next? After it. So I have the flat and then I have bean. So it's really just the first rule of my chromatic scale. A flat a be funding. After my first rule comes my first exception, I've got done playing my low to in my high to now I'm on my regular three. So my third finger, let's just go over this on the violin. So we get the best idea. My low one is my regular one. But halfway in between the distance of my my nut and my index finger. So that is a flat, a flat. If I move my finger up to a regular one, I'm now playing an a note. Now I have a low too, which means my first finger is close to my second fingers close to my first finger. Now I have a B flat B flat. And then I moved up 1/2 step to ah, high, too. And I have a bean up. So that's what we've covered so far. The next part that we're going to do is we're gonna use our third finger. So typically, what we learn is way. Know where one is, are high too is and a three. So this regular three or the three that I just mentioned is what we're going for and that's begins my first exception. See, and then see shirt for a high. Three exceptions three and high three. So if I had my regular one my high to in my three. The difference between a C note, see, and a C sharp is simply the distance between my high two and three being a scene. And then the high three being a reach to being about the same distance between my one and I two on my tail Might three. So this becomes a hi three c sharp. So now, um if we're ever reading music and we need to be able to know where a C sharp is or a flat or a B flat, we now can say by using this chart or writing out your own chart I can get there might be. But I can get to be flat by playing Alo to or ah, high three for a C sharp. Let's continue this out. We have a D note that is our third strength. 12 3/3 string dean. So if D is the name of my open string, my chromatic scale says a low one is going to be the next note up in my chromatic scale. So that happens to be in the flat. So being flat is gonna be my low one. After that, I haven't e regular. One will be e my low to cause I just got done playing e will be my first part of my exception f after f comes F sharp is my high too. So now what about that? My high to for the D strength and now my regular three is going to be a G note. After Jean, I could call it G Sharp but in my chromatic scale that we're learning is called it an a flat, a black. So I hope this is starting to make sense. And if it's not making sense, um, that means you're moving through the course to quickly is back up. Listen to it again. A couple of times, you'll definitely catch on. Um, but what I'm gonna do is I'm gonna write out the rest of these chromatic notes, so we start with a A Where do I find a A is actually. My second noted my chromatic scale A is my open second string, the second string What comes after a in my chromatic scale B flat. Then I have seen, uh, excuse me, I have be in my next one. So I have well, James, that to be. So we have a B five b a b flat B after B becomes our exception. See, after our exception of seizure after our exception is a note that sits by itself, which is d or a regular three. And then we have e flat for high three e flat. All right, now we hav e flat The next note that that we were gonna work with is are open e string. So we're just gonna find E. We found E after e becomes Arlo one which is the beginning of our exception. And our regular one is after f What comes next? F sharp have sharp after f sharp is what Jean after G I can continue on or just go back to the beginning again. And I have a flat than a for my regular three. And then my high three is going to be b flat again at any time. I can choose to call the next note that comes higher as a sharp, a flat one step lower. But in this particular case, we're trying to memorise our chromatic scale and utilize it to help us find the notes on our violin when it comes to reading music and and, uh, take some time, really? And when you're going through your scale, it'll look like this, and we don't have to play any notes. But if you go with your open me just plucking open or so to give you a significant ation that or started with an open the open for string, I'm gonna go like this. June put my first finger on a low one. A flat, tender regular one A B flat, B, C, c. Sharp. And all I did is I went from low one regular, one to the low, to the high high to regular three than the high three, and I just set him out loud. It's important to be able to same out loud so that you can start to memorize them. Do the same thing with D here. So we starting to denote the third string. No de e flat low one e regular one low to F hi to F sharp Regular three G Hi three. A flat or G sharp and see. See how that works. So you just go string by string and then you say out loud the note as you played them to help you memorize that'll do it for this lesson. We'll see in the next one. 48. Note Lengths with Examples: Let's take a moment to learn our note lengths. Sometimes we have really long notes and really short notes, some notes in between. And we need to be able to figure out what they look like. Um, their definitions so we could play them in the right order. Um, long note, short notes and everything tweeted. So we have notes that look like this, and these notes are called whole notes. Pretend that's a perfect circle, by the way. So it's Ah, whole note. Whole notes are worth four beats, So when we're playing our instruments, it would. If your beat structure is one to three four, your bow length would be for all those for beat zone. If he had just a single beat would be one. It was 123 force, But I'm gonna drag my bow for the entire length of four. Every type of note that I present to you after this is going to be divided by two. So a set of four beats it will be, too. So, ah, half note looks very similar to, ah, whole note and notice. It's not film. Then there's just a circle with space in the middle now. The only difference here is that it's two beats, and the difference of how it looks is that you have this stem on it. So half note with the stem to bees, half milk. So when I play my violin, um, if my B structure is one, 23 four, my bowl is going to be dragging across that violin for those hole to beat. So now for the next one, it's gonna look really similar to ah half note. So a circle with a stem, Except the difference is, instead of it being unfilled, it's gonna be filled in. And remember that every set of different notes that we present is going to be divided by two. So if I divide four by two, I get to write, and if I do that again, I I split it in half. Essentially, is what I'm doing. I'm gonna have what's called 1/4 note, and that equals one beat one beat. And if we player violin to it, better meet structure is one, 234 I'm gonna play several of these individual 1/4 note one beats. So one, 23 four, one way. All right. Now, if I divide that again or I split it in half. If I get 1/2 of a beat now, it's gonna look like this. It's really similar to what we've had so far, and everything is almost exactly like like the whole note was almost like 1/2. Not accepting headed Stan Quarter note is almost like 1/2 note, except it's filled him. Now we have this eighth note and it looks exactly like the quarter note, except it has a little flag on it. And when we put two of them together right side by side, they were going to have the flag that attacks is both stems together. Now, if this is 1/2 of a beat, 1/2 of a beat, what is it happening is you have one and to and three and four. And so it breaks it up into, uh, semi beats or half dates. So if my counting structure again was one to three four, how fast these notes would be is one and two and three and four, and so you can hear me stop my foot. And that is the beat structure. And I'm gonna play several eighth notes in a row one and two, a think and more. And uh huh, Uh huh. Now there's other notes with data, notes and stuff like that. We're only gonna focus on these specific notes. So when we use an exercise to practise, we're going Teoh, use whole notes by themselves. Half notes by themselves. Quarter notes by themselves, eighth notes by themselves and eventually move into mixing up your beat structures. So the next lesson will be do exercises. 49. Note Length Exercises: Okay, Now we're ready to do some exercises to get used to playing these different types of notes and their lengths. So I'm gonna give us a good, solid beat, and it'll go like this. I'm gonna give us one to three four, then play one. Now, we're going to start with these whole notes and the whole notes again are four beats. So our bo is gonna go on for whole four beats. And if you can't get your bow to go all four beats, it's OK to just switch bows, Aziz, Long as you don't stop your bone so it will continue on. And let's say it goes one Teoh I run out of Bo and I just with the opposite way without making us stop. So we're gonna get this done and it's gonna go like this. I'm gonna come to four, and then when we come back, toe one is when your bow will start with you. So we're gonna be playing on the D string for right now. So the third string 123 and we're gonna start in one to for down bow three four. Switch bows one three for another, down one 234 up. One, 23 four. Down. 1234 Up. 123 Born down. 1234 Now we're gonna do half notes, half notes or two beats. So one account the same way I'm gonna go. One, 234 and play one. Right? So we're gonna do the same thing, is gonna be on the D string, and we're gonna start with a down bow on the D string. Third string. So one to three, 412121 21212 112111211 job. Now, the next note that we're gonna work on his corner notes that might be structures one to three. Four. My bowl change with every single A number that I call out. So one to three four. So again, we'll have a blank 1234 where you don't get anything because we just counted out. And then we're gonna start on the beginning of the one together in real time on the D string in starting with a down bow. Quarter notes. So one to 34 34 Down. Dio Down, down, down down but down. Um um Right. Great job. Now, for the last one, we're gonna do a thing Notes to Remember that counting structure was at the beach structures. 12 three, four We count ends in between those beats. So we go one and and three and four. And now we're gonna count. We're gonna make a bow That happens with everyone and the the next part of it, as in that. And we're gonna do an up bow. So every down is a number one or two or three or four and the up bo will always be. And so down, up, down, up, down, up, down, up. Okay, so I'm gonna count it out for us with 1234 And then we'll come in at one and will be going down, up, down, up for one ends. So look like this on the d string one to worrying. Four, one and two and three and one and four and down, up, down, up, down, up, down, up, down, up, down, down, down, up, down, up, down, up, down, up, down, up, down, up, down, up, down, up, down. All right, great work. And we'll see in the next lesson. 50. Fiddle - A Minor pentatonic Scale and Double-stops: one of the first things that were going to do to make our violin sound more like a fiddle is we're gonna learn a couple of different scales and what they mean they're variations of them. And the 1st 1 that we're gonna do is called on a minor pentatonic scale. And what this means is instead of there being seven notes in the scale Dole, Remy, fast. So la ti. So that's seven. If I count dough again, that gets to eight. But since I'm not coming, dough twice is really seven door Amy fossil. Lottie at seven notes we're gonna do is we're gonna eliminate two of those notes in In my scale door, Remy Fossil A T Dough. I'm going to get rid of two notes and that's the second tone. So instead of playing open and then one on my a string followed by two and then three, I'm gonna get rid of my one. So this is one open 23456 on. But also get rid of my six tones. So I get rid of two and six in my a minor pentatonic scale. So out of my a major scale that we know we're going to get rid of our, um, to tone and our six tone, So that means I don't get to play my first finger anymore. And then what I'm gonna do to make it minor is I'm gonna make my second finger go down to a low too. So now I have open low, too. Three open on e string, low two and three. And here's an audible representation of what that sounds like. Uh uh, as exercise. Let's play that together in 321 play e notice. When I get up to that high number, I'm not playing it again, and I'm immediately going back down the scale. Ah! Oh, wait. We're gonna do this. Is the exercise a couple times. So 321 go. Uh uh. All right, now that we've got that exercise done, let's play a little faster. So 321 And now all we're gonna do is we're just gonna never quit. So we're gonna play it a bunch of times. 0321 Go, go! Uh uh. Theo. All right, So now that we know are a minor pentatonic scale, we're gonna try to include our double stops with our A minor pentatonic scale, and how we do that is we play both strings at once the e string and the a string. So when we play each string, if I didn't include any fingers, it would sound like this Eso noticed there when I played both strings at once. At no time did I ever move my bow one way or the other, said I was on Lee playing the Eastern or the a string. It was it was playing the A string in the Eastern simultaneously every single time that I played the common mistake here when we decided to play the scale. And the scale is going down and up and down and up from one string to the other is that our bow follows and I'm gonna make careful consideration that my bow doesn't move and I'm on Lee playing both strings at once. Oh, no. Here's some things that we have to think about from playing notes on the E string. It's pretty easy for my a string to ring out, but now if I get my fingers over to this a string, it's pretty easy for my fingers. If they're not curled around enough or not placed in the proper spot to make the Eastern not ring out. So when that happens, that finger that set down on the A string is touching the Eastern by accident. So to correct that I can do a couple things. I concur with my finger on more, and then it sometimes works and sometimes doesn't. The other thing that I can do, depending on the the the with of my finger, is moving closer to the D String or this big string over here, the third string. So instead of where I initially put my finger, I can pick it up and said a closer notice it gravitating closer to the D string. I can set a closer to the D string, and now my finger has enough clearance because I'm still getting in good note. So it's not too far over, then. I'm not getting a good note, but I'm having enough clearance on my E string so that it can ring up. Okay, let's do this. Is that exercise together? It'll sound like this 321 Theo Theo practice that we'll see in the next lesson 51. Fiddle - A Minor Pentatonic fiddle movement example and exercise with backing tracks: Once we know that a minor pentatonic scale, we're going to start building a road map that allows us to use the scale that we know in a way to be able to play fiddle Lee sounding things. Let utilizes an a minor pentatonic scale to begin. We're going to be able to figure out how to get from one a note. So we haven't a note on our open a strange and then we have another a note at the very end . So the beginning of the scale on the end of the scale or where are a notes are going to be If we're we can also think of these as being notes, um, called tonics or the beginning of scales. End of scaled. All right. Once I have this, I need to be ableto get from one end of the scale to the other. Wow, not playing exactly the scale, because when you hear music in any when you hear music in any recording, Typically, the instrumentalists that air playing on those albums are not playing a specific scale all the way up in all the way down there, making some variations and the first variation that we're going to make. We're going to go from this high sounding a to this open a On the notes that we're gonna play are the three on the E string followed by a low to on the e string followed by opening . Then the third finger on the A string wishes a denote And then we're gonna play a C, which is a low too, followed by a c sharp. And it's gonna slide, slide followed by an open a So three low to open switch strings to the A string three Low to high to open. Okay, this is what it's gonna sound like. So here's your example for me playing at first. Uh, Theo notice when I play that low to on the a string to hide to on the a string I'm playing one bow as I switch Slide as, um playing one bow. Uh uh, Theo. So if we're ready, I'm gonna count us in, and then we're gonna play together as an exercise one to ready. Go. Yeah. Uh, yeah. Again. A little faster this time. Uh, we owe a little faster. Yeah, again. A little faster. Uh uh. A little faster, Theo. Okay, now, if for some reason in any case that you're not able to play as fast as I've played in this exercise, it's OK. Just keep going backwards in the in the audio. Just just rewind it a little bit. Practices at the speed that you're comfortable with have also included backing tracks. Um, tracks that we'll make it sound good when we play these notes along with it. These bluegrass backing tracks and you can practice it at any speed. You feel comfortable. I've included a wide array of different beats per minute. Wherever you're comfortable with is wherever you're comfortable with. Just make sure that when you're practicing, you try to practice it a little faster every day. Maybe by from Let's say, you start out at 60 beats per minute and then force yourself that once you get comfortable , click it up to 65 beats per minute and then even if it's a little tough, keep on trucking and keep on playing with it until that becomes comfortable to once that becomes comfortable than again, you raise your beats per minute, um, and so on and so on, so on until you're playing rather quickly. Now when we use this exercise, we're going to want to use it in a single string format as, uh on and challenge ourselves. We're going to want to try to use it as a double step. So now we're playing both strings e and the A string together. And again, if I wasn't playing any notes at all on my, uh, my fingers, you would sound like this. So I'm playing those two notes t e in a string the entire time, so I never play a single string, but both strings at the same time. So it'll sound something like this. Theo, let's do this together as an exercise that is gonna be a lot slower than what I'm just played. So three to one playing, I think we owe oh a little faster way, Theo. Last time we're gonna play about this now is gonna be probably too fast for a lot of folks that were getting included in here. And just in case you are able to play along. Um so I'm gonna got 123 and then go. 123 go, Theo. Now, even though that was a little fast for you, no worries um, Onley Play this you feel comfortable to And for those advanced folks, that's why we include that little faster version of it. Now that we know how to play are a minor pentatonic scale downwards theme. The first building block. We're gonna go and play along with these backing tracks that we've included in this course , and I'm gonna play and show you how that works. Now when you see me play, I'll include a bunch of different variations and what I say variations. That means I may not play the notes exactly as we've learned it, but I'm going to show you as an example of how to play these notes verbatim, how we've played it and then give you a couple of different examples of how I can move my fingers around a little bit. My baking, some small choices, small differences and how I play and how it also works with the music that's being played along with the backing tracks. So in the next shot you'll hear me playing along with backing tracks pretty slow, and then I'll speed it up, um, so that you can hear that representation once you get to hear me playing that representation of playing along with the backing track. Goto one of those bag tracks and play along Play along yourself. Once you hear me playing along with the backing tracks and hearing that as an example, then go yourself to one of those backing tracks at a speed that's comfortable to you and go ahead and play along with what we've just learned that first example. Oh, all right, here we go. The first audible representation of this is gonna be played at 50 beats per minute. So you're gonna hear couple clicks and then some faster clicks. After those four faster clicks, the auto audio was gonna play. And then at that time, I'm gonna play the exercise that we have just learned along with it. And I'm gonna play it over and over again, despite what cord might I'd be hearing with my ears. So here we go. Here's the long notes and then the fast notes Theo Thing way have that. I'm gonna just bump it up a low. So this is 50. This is what 80 sounds like, and in this exercise, you're going to see me bumping it up quite a bit in your personal studies. How you're going to use this is you're going to move it up by five beats per minute every single time. I have made a jump from 60 to 80 this 20. That's not necessarily what we want to do for practice as a student. This is an example so that we don't have to sit here for, um, every five beats per minute, all the way up to 200. So here we go. We're gonna hear those too long beats. And then, um, those four beats and I don't want to start to play. Here's the quick pizza thing, Theo. Way the same thing. But I'm gonna bump it up to 100. Now. You may not be comfortable at 100 or even 80 at this point, but this is an exercise so that you kind of get on audible representation of what 100 sounds like. And then how fast those violin notes should be playing Theo way have that done. And we're slowly moving up, and we're getting comfortable with this descending set of notes with our first exercise. Um, then we're ready Teoh to tackle that second exercise of the fiddle playing a minor pentatonic scale. And we'll teach you that in our next lesson. 52. Fiddle - Descending & Ascending A Minor Pentatonic Example and Exercise W Double-stops: Okay, we're ready for step number two with a minor pentatonic scale. These notes that we're gonna play instead of descending from that a that a is We're gonna go the opposite way. So we know how to get down, at least in some way now, from the high A through this lower adversely. We need to be able to figure out how to get from a eyes lower a to this higher without playing directly our scale, and we're gonna try to make it a little more interesting. That and and at the same time play something that sounds fiddly. And what we're gonna do is we're gonna start it open a Theun low to on a thin a three on a , which is a dino than open E. Then we're gonna play a G note, which is the second finger on the Eastern. Now, if I play that again, uh, every bow that I played so far was difference of Down, up, down, up, down. Uh, followed by I'm gonna take my finger and pull it up in the sky so I'm playing an open, But I'm gonna use one bowl for the to end open after I get that done. I'm gonna play, uh, last known as a three once you get comfortable playing those notes, 023 open E two on. And then the three. Once I get comfortable playing on Lee those notes I'm gonna include a slide from a low 3 to 3. So these are the two notes that you can hear. Now, when I slide them, it's all gonna be one string. So we're gonna play opening day the G one bow slide of the three a couple more times. Uh uh. So we're gonna play this together as soon as you have it. So if you don't have at this point, go ahead and stop the video, practice it a couple times. If you need to hear it while you're practicing, just rewind and play it again. Now that we're ready to play an exercise together, I'm gonna count three, 21 Go on. We're going to start to play. So ready? 321 go. Uh, - a little faster. Uh uh uh. A little faster. Uh, a little faster. Uh, Theo. Theo, Last part. If you're able to play this feed, we're gonna include a one a little faster 123 Theo. All right, there we go Now, after we get done playing to a comfortable speed. So if you're not able to play any of those speeds were able to play pretty slow. Don't don't worry about it. It's wherever you are as a musician. At that point, whether you're on the B, more of the beginner scale or the more advanced scale wherever you are in that scale is okay for you. Just make sure that when you're practicing you, you are able to play cleanly and get all the notes before we move on to the next step up. And if you need to read, rewind the tape and play it that slower speed, that's good. And you can always go and play the some of these backing tracks that we've played at a comfortable speed for you. Now the next step that we use is playing. Our double stops are double stops. Simply need those two strings the A string in the Eastern together. In this case, I think now, an example of me playing these notes. If I didn't play any of these notes with my fingers, but what happened with my bow would sound like this theory here. Both notes sounding out the entire time with no single strings. If you feel the need to practice on Lee, those two strings without your fingers, like in my exercise, Theo, get used to playing those two strings. Go ahead and do that and use it as your personal practice time. So what we're gonna do next is we're gonna play the same notes. Uh, after I played those notes, I'm gonna use those two strings and played him without single strings. Theo exercises nice and slopes of three to one play way, Way, way, Theo. Fast thing, I think way I think, Theo, a little faster. This will be the last one. Okay, so there we have it. There's how we get from that Lower sounding a string to the higher sounding a. And the next lesson we're gonna show you how to be ableto work that with our backing tracks that we've included along with this course 53. Fiddle - Am Pentatonic Ascending and Descending Example along with Backing Tracks: Okay, now we have that building block number two learned, and we're ready to start playing along with her bag tricks. Backing tracks would be fun to learn on because they're kind of like playing with a band or experiencing playing with others without having to leave your own home. And when we finally get a chance to play with other people or approach of the people to play music together, we'll have this experience of playing in time with other people that are completely in tune . And it makes the whole process a little bit easier when we finally get to that point. So I'm gonna start playing this at, um, 60 beats per minute, you hear too slow, notes those just our introductory clicks followed by four faster clicks. After those four faster clicks, then I will start to play. Um, we're gonna play that second. I'm down, out, out, out, out, out. Uh, and then after I played the first time, then you go ahead and join in, uh, after I get back to that first open A. He's long, Glick long click. And then for short clicks thing. Theo. Theo double steps. True strings at once. one Teoh thing way, Theo. Way first. And then you joined Theo. Theo, Theo. Double stops to strengthen one's in 321 theme way we owe. All right now I'm gonna move it up to 100 thing. Three double steps. 3 to 1 thing way waken play. And if again, if we can't play quite that fast. Okay, you can always say Well, you know, Chuck, the last time that he played it, that 100 was to faster. Maybe the 80 was too fast. What we do is we just simply slow that down to what's comfortable for us and stay there until we feel like we can play everything real cleanly, all the way through and then moved up five beats at a time. All right, practice that, and we'll see you in the next lesson. 54. Fiddle - A Minor Pentatonic Ascending and Descending Example and Exercise: Welcome back. Now that we've learned the first part of a minor pentatonic Theo, second part, we're gonna try to put the two together, so we're gonna play it real slow on. This is gonna be the exercise first. Uh, Theo, uh, now we know what we're supposed to do in this exercise. Let's play together in three, 21 go. - Uh , a little faster A little Theo. A little faster. Way, Theo with her double stops. Two strings at a time. Thing way. Theo! Theo! All right, Now we're ready to play along with backing tracks. Have a little fun with it. We'll see you there in the way. 55. Fiddle - Putting it together with backing tracks and introducing Slurs: All right, We're ready to play with their bag of tricks and are backing tracks. We're gonna have to long, uh, drumbeats followed by four small drumbeats, and we're getting ready to play. And then at the end of the fourth beat, then we're gonna play. So we're gonna hear it, and we're playing at 60 beats per minute. We're gonna play our scale up, are scaled down as far as it relates to exercise one and exercised to We're going to start with up and then followed by down. No way. We're gonna repeat it over and over again, like we happen. Here we go. We're here. Those two long meats, a long beat, a long beat are by short beats thing, Theo, Let's try to double stops and Teoh. Theo, I think way we're now we're set up to do 80 beats per minute. We're gonna hear those 1st 2 long clicks followed by the four short clicks. And then we play thing. Theo, Theo trying double stops. Three Teoh Theo Way through. All right, I'm gonna send it up to 100. But a couple things that I'm going to start to do when I start to play faster instead of individual notes that I play with my ball like one note per bo I might use. Slurs and slurs are going to be two notes with one bow or multiple notes with one bow. In this case, don't be doing to notes with both. So two notes one down both, then two notes is one number. Now it's gonna be up to you. If you feel comfortable with that, practice it by yourself. Ah, few times you're really comfortable with slurs. Sometimes it could take quite a while to get comfortable with playing two notes at once. Um and I'm going to include this exercise before we play 100. So all we're gonna do is we're gonna descend downwards on a so looks like this. Uh oh, but every single one of the times that I use my boat, I'm gonna include two notes at once. So real slow last night only gets one everyone else gets to. Here's 212 one Teoh, one boat. So three, 21 and a little faster Theo on the way up to do the same thing, Theo. And we can practice that, um um by shutting off the video. Just practicing that. Down, up, down, down, down, up, up, down, down. You could practice with scale or with exercise one and exercise to which we know Right now we're gonna be playing along at beat 100 with the backing tracks included along in this course, I think Theo double stops three Teoh Theo, Theo backtracks. 56. Fiddle - Adding new Tricks Exercise 3 to the Am Pentatonic Scale: welcome back. So far, we have building block one building block to literally. These are just things that weaken due out of the A minor pentatonic scale so that we can sound fiddly along with one of our backing tracks or a song that features the A minor pentatonic scale. So far we've played. Now that we have the 1st 2 steps, we're going to include a couple different tricks or things that we can do. Um, Teoh break up the monotony of just going down and up the scale in the wind that we've learned so far. And here they are. The first step is gonna be on the e string and we're simply going toe take the third finger and slide it upwards. So that's an a note. We're going to go below the a note. See, I'm dragging my third finger down and then sliding it up to its original place for a waas. After I slide finger up, Uh, that is going to slide down. And then up off the string, someone show you. Here we have the slide up and up off the string. The same thing. Same thing that happened with two. We're gonna slide from a to a lower to than two is. So I have to reach down about where my first finger is, Theo. And then I come up off the string. So I put the two together. It's gonna sound like this. 32 Uh, now, after I get that done, I'm gonna add my double stops thing. Where do I put these features that I've just learned? I'm going to do them anywhere I want to. Now what I mean by that is you have the creative control toe. Place these notes wherever you want to within what you're playing. So I might play, um, them first start off that way, then go down the scale. I could go down the scale first and come back up, Theo. So it doesn't matter when they go and you complain him as many times as you want, Um, as least amount of times you want, as long as that you're adding it in along with a backing track. And in this particular example, I'm going to use 80 beats per minute. You go ahead and use whatever beat that you felt comfortable with. Eso. I'm just gonna play this here. You're gonna hear those too slow beats and then for fast speeds. And then you'll hear me play the scale downwards. That was the example. One the scale upwards example two. And then the new tricks that we just learned. Three. I'll start out with 1/3 example that we've just learned. Theo. Theo. There's nothing that says that I have to have a certain rhythm with how I have decided to play something so overheard so far with these particular examples. An example. Three is we have these long notes. They can be short Teoh. Now they in. In other words, we can make variations of them. So, um, I can slide up and down fast or just simply slide down. I don't have to do the slide up organ Onley slide up without doing this slide down and every one of those things is gonna be OK And it's gonna be you're going to try to exhaust the amount of different ways that you can play each one. So again I can slide up without sliding down. I can slide down without sliding up and the same thing that happens with the second finger . No, what I'm gonna do is I want to play this again at 80 beats per minute. And what I want to do is I'm gonna try to play it as many different ways as I possibly Can you heal their speeds again, - Theo . Okay, so that was just a host of different ways that I could think of playing, um, these two particular notes sliding them up, sliding them down, sliding them up and down, and, um, not always going to that open string. Worry. Um, slid off. Not always going to that. Oh, sometimes we didn't go to that other low too. So what we're gonna do, um, is just listen to this exercise. I'm gonna try to make those up as as many times as I can and use example one an example to how to get down to a or get up Teoh. Okay, so here we go in My example is at 80 beats per minute. Theo, Theo. So when you're practicing at home with these backing tracks, try to try to have some variations. Play on a note a little longer than you used to play. Played a little shorter than he used to play it. Just make sure you're varying the rhythm, either with a longer Notre. A shorter note. Other variations weaken Do is we can have lots of the same note. So instead of having a big long notes way, could have lots of the same name. Doesn't have to be that many notes. It could be any host of notes. Let's hear what that sounds like with the backing track, and I'll change my how many different types of Theo way. Theo you. You can see that there's just almost endless possibility of making smaller little differences with her bow and the length structure of If we decided to play a longer third finger or a shorter third finger, and I want you to experiment with each one of those, all right, go ahead and practice that those with backing tracks and we'll see in the next lesson. 57. Fiddle - Adding Exercise 4 along with examples and Backing track Exercises: All right, Now we have exercise. One exercise to exercise three we're gonna go with exercise for and we already know that this part of exercise one waas uh, we're gonna exercise some of these same principles of exercise for except this time it's gonna be three open followed by that to that slides up, followed by three Open followed by Low to the slides up by opening. Okay, now, other things that weaken do with this exercise number four, we can slide up three, slide it off to open a like we've done before. Waken slide it up, slider down to two. We can take the two and slide it up s and then slide it off opening and lift up the finger off the strings. Theo, I think just like we did on the Eastern Theo. All right, so where do we put that? We put that in between where we're going with exercise one exercised to as filler notes before we decided to move upto one a or down to the other. Aim. So as I go down the scale and exercise one now, after that, sometime of me playing some notes there, I'm gonna decide to go up to the O after I get to that A I can play some filler notes again . Theo, I want when I decide to, I'm gonna go down to this. Open thighs one. So what happens is I'd like either exercise one or exercise to tens. Place, um, filler notes with either exercise three or exercise for And remember, exercise three is I m exercise for is way. Had those two little bits in exercise for weight can use those two different things and exercise for one or the other or above. So I'm gonna signed to play exercise one where I go down A To that point, I'm going to do exercise for Theo was like, get tired of or make the decision to go back up to this e exercise, too. Once I get up to this a. I complain exercise three. Theo was I get tired of those notes or decided to move back down to this A. I'm gonna do exercise one for this example. I'm gonna be using my backing tracks at 60 beats per minute, using example One example to exercise three and exercise four. And I'll be calling out exactly what exercise I will be playing while I'm playing it so you can follow along so that when you have the opportunity to go back and practice with the backing tracks, you can go from one exercise to the other, one example to the other so that you can make those choices decide how long you want to be on each one. Move the next one, know what to do. Am I gonna be an exercise one exercise to exercise three or exercise for and try to use them all. So here's your example. Here we go. One for three. One thing, Theo. All right. And the process continues to go along like like that. And you want to practice forest long as you can without your brain, The son wanting to shut down. So go ahead. Go ahead and practice with a backing track that you feel comfortable with. The speed. Do that and we'll see you in the next lesson. 58. Fiddle - Example of Exercises 1 2 3 and 4 without talking: all right, quickly. Before I move on, I'm gonna give ah longer example. Uh, me playing exercise. One exercise to exercise three and exercise for or not in that order, seeking audibly here and have a good example without me speaking over top of it or me pausing. So here we go. And these are gonna be at 60 beats per minute thing. I think thing, Theo, I think Theo, Theo. 59. Fiddle - Adding lower octave to A Minor Pentatonic Scale with backing track example: before we move on to the next step, we should have done enough practice that we feel comfortable using the 1st 4 exercises out of the A minor pentatonic scale. And the specifically they're using the top two strings, the E string and a string of the first day of the second string. If you ready, let's go ahead and move on to the bottom two strings. So so far, we have these notes of our A minor pentatonic scale. Uh, if we started our first active of a minor pentatonic scale, it's gonna be on the G string. The fourth string with our first finger, followed by 1/3 finger open D one on the D string, which is an e note third finger on the D string on. We're gonna eventually just end up on the A string way originally worked on so he would go , we have one. Ah, see note, which is the third finger on the G string that we're moving over the D string open D one, which is a e note followed by G all by opening. Ah, uh, we're gonna do a quick little exercise, and we're gonna make sure that we start on the G string. The first thing on a night out and we're gonna counter number go one to three. Ready? Go, Theo. Way, Way. Now that we know the lower part of a minor pentatonic scale, there's gonna be one little part that we're gonna add to the notes. So we're gonna take the first finger on the on the D string. It is an e note, and then we're gonna take it and pull it down to e flat or a low one. A. So these are the two notes. Match them quickly be and no e flat e flat. So what I want to try to do is slide the first finger from E T. Ah ah, followed by open E open D ah, Once I get those notes, I want to finish this scale with the three, which is a C note followed by one. Ah, I was doing to it once, So once I have that, I'm going to go up the scale the same way. But after I go down the scale first, once I get to open, I'm gonna play that. Glad that little one slide up so it sounds like this in slow motion the O way. All right, let's do it together as an exercise. Or so we're starting an E than heading down to E flat D C e. And then back up. So starting on E in three, 21 go way, way we owe you having some trouble with your pulling back? It's really this knuckle that pulls back on this access. So if you think you're straight, it's not your risk that pulled it back. It's his snuggle going backwards. And that helps you get that low low? Uh, e flat. So just get a little faster. So 1234 faster. So, as we're playing these notes, why does this make important to us? We're gonna play some of the notes that we already know that is in exercise. 123 and four. And we're gonna call us Exercise five, this complete lower part of our A minor pentatonic scale. But Theo eso what I'm trying to show here is this exercise one. Oh, no. I have a choice of either doing exercise for or going down the next Gail Ah, a or some semblance of notes that are in that exercise after I get through those notes? I have to get up. Teoh. At this point, I have to make the choice to either do exercise for or do exercise, too. That gives me up to this note. From there, I can make a choice to either do exercise three or exercise 10 you had to be the person who chooses what they do with either exercise. And when you connect the dots, it's like choosing your own story. Um, so what we're gonna do with this particular exercises, they were to go from a way, have a choice from a If we're gonna go down and use this exercise number five, we're going to go directly over to this e, uh, or we can choose this Gino third finger on the D string a za passing tone. But most the times what happens in music as we just skip over that G and head right to the one Ah is an example of me using, um, exercise one followed by exercise five. Ah, he's an example of me doing same thing. But having that extra note in there with the third finger that g known ah, uh, use either way It's just more common to go directly to this, you know? Ah, how do I get back up to that note? I'm just gonna go back up from here. From this e note, I can choose to play a three, which is that Gina gets me back up, Teoh. And from there I could make any choice that I want to know whether I play exercise for exercise, Teoh. So if I put off all of my five things together, it looks like this. Thats one from there. Ah, use five. Ah, a Okay, I'm there. What am I gonna do next I'm gonna choose to do for Okay? Okay. Come there. What am I gonna do next? I could do five. Or I could go back up to this mean a note. So I'm gonna just choose to do exercise number two. Once I'm here, what I do next, I can go directly back down to exercise one or Aiken do exercise three. Right? So it's those choices that you get to make after I'm done showing my examples of 12345 Then go back and do some to some practice with a backing track. That's available in this course that suits your ability, your comfortable ity of and we'll see in the next lesson. Theo, Theo, Theo thing. - Theo , Theo way. 60. Fiddle - Key of D Minor Pentatonic: Similarities Example and Exercise: okay for the key of D. We've been playing a lot of stuff out of the key of a so far. We've learned a lot of things. Now, the key of D is very similar. And I'm gonna show you some similarities or things that you can do that we learned how to do on the A the a minor pentatonic scale. Then carry them over directly over to the Kiev de, um and understand what they get, what that means, what strings there on and how that's different, but also how they're the same. Okay, so one of the things that we're gonna move directly over is in the key of a We were able to play on the 1st 2 strings and exercise Teoh. All right, so what we did is we used the 1st 2 strings and we used those notes to play them on because this is on. That's a Hey. Okay, So how do we use this in D In the key of D, when we're playing songs that are in the key of D restart on the D string instead of a thief de eso, all of the fingers are the same. The patterns are the same. Except instead of playing on the 1st 2 strings A and E I'm playing on the middle two strings A and D So, as I used to play on the 1st 2 strings throws into Instead of starting on the first string , I simply start on the second string. Okay? Our exercise to used to be So now, instead of starting on that open a I'm going to start our open d thing. So now for D exercise one becomes and exercise two becomes three. Let's practice those a couple of times just to get used to playing them on the 2nd 2 strings Where the middle two strings Way to three and go thing 2341 Theo Way without the big paws. Two Ready play. Go, Theo. Ah, Think I was a little bit different because we don't have these other lower strings. We were missing. Mystery. So, um ah, we're gonna play that three. Ah, the one back to the three and then opened E Ah. So now I can play open G if I want Teoh or good, go directly from one or again use that d o. So that in a sense becomes exercise number three breakfast together a couple times. Ah, uh, a little faster. Okay. Noticed that when I'm playing it with my boat, I'm using individual notes. I'm also using slurred notes, and I'm using several slurred notes, so I'm doing it different. Maybe each time to show you that it doesn't have to be any which were or that you could be any way you'd like it. Ah, uh um uh Okay. So what happens now? We can make the choice between option one option two and, uh, this option three One of the things that we were able to do an option four before Waas way did that on the A string way. Simply played on the D string a set or the third string way. Yeah. Okay. So we can do all of the things that we used to before. There's a couple new things. One is the ah, that's a new thing. Everything else is is is the same except switched over one set of strings. Okay, so if we can do everything that we used to do, which is familiar to us to play, we include one more thing that we play, which is open. All we're gonna do is we're gonna choose that same backing track. But now instead of the key if a that we did before, we're going to use the key of D to be able to practice along with. So I'm gonna give you a quick exercise. Um, t be able to do an example of me playing this d scale. Um, along with the exercise first. So we're gonna do the exercise first, followed by an example of me playing. See, you can have an audible idea of what to be able to practice. Um, in your own home, this is at 60 beats per minute, and we're going to be doing, um, a descending. Um, Option one here's coming back up. All right. You were street before. Now, here's the new for waken. Either go. It's the Silver War. Use a two slit up, followed by it. So here's by itself for now. We're going to use that to that split up. Okay, so that was our exercise. Let's do an example. I'm going to do an example of the choices that I would be making, um And just to give you an audible example once we make that audible example, you take some time to practice at home, and again, I'm using 60 beats per minute. Um, you go ahead and choose a key of D and choose, which beats Tremendous is most comfortable for you. So here we go, with an example way . Take some time, do some practice on the D minor pentatonic scale, and we'll see in the next lesson. 61. Fiddle - D Minor adding the 1st string Example and Exercise: We're getting to know some similarities between the D minor pentatonic scale and a minor pentatonic scale as far as it relates to playing the film. Now we're gonna discuss some differences that don't exist between, um our first position or common position. Um, honor violin without shifting and where we start to find some different nose. Our wouldn't actually have notes on the e string from the E string. We have this low one two and a three. Uh, so all of these air hole steps when I find them on the eastern side of the F note a G note and inept. Uh, so I start on my denote, and I'm gonna go up just to experience some of the notes I have D uh, now that I know what notes that I can play on the E string, What's really happening is you have 1/3 finger scale of the beginning of 1/3 finger scale. So far, we have experienced, um, open scales because they start on open. Note we're working with is a scale that starts on the third finger. This dino is 1/3 finger, which indicates that I'm starting 1/3 finger scale instead of an open. All right, so we're gonna start with this third finger. Go that low. 1230 all right. So we're gonna take this third finger, you know, and pull it back. Now, I'm gonna take my low one, my death note, and I'm gonna pull it up. I'm gonna end up on a D. Known. So I have all of the same notes that I've worked out before, right? So I'm also gonna use this low one to a regular one if Jennifer and then just end on a three. So if I was gonna play the notes, I could use both of the things. Now, I'm gonna use this followed by. Okay, so let's just practice the 1st 1 where it's gonna be the pulling back of in a no than the forward of the one and on a denote. Uh, so three to one go. All right. Uh uh Ah, a little faster. Uh uh. A little faster. A little faster. Done. Now, we've already played some of the next step, which is that low one sliding up to one and ending on the denote that third finger. So, um, under practices a little faster started to start out with a sense we can always that little part. So three, 21 a little faster, a little faster. All right, We're gonna use it in conjunction with everything that we've learned so far. We're simply going to end up on this dino as a starting note and then add either or simply two are playing in. And here's an example, Theo. All right, there's a good example for you. And we're gonna take the next video, and we're gonna try to use that new feature, These new notes, these new licks, and we're gonna flame together to the back track and we'll see in the next listen with. 62. Fiddle - Immediate Slides D Minor Pentatonic Scale: in this lesson, we're gonna be using some new formalities that we've just learned in the previous lesson about how to play some notes on the e string and resolve them to 1/3 finger. D on the a string over done. So, faras uh uh, And once we've done that, um, we're going to include one more thing. We're gonna have this that slide down, and now we're gonna replace it with an immediate slide from my low oneto one versus here in two specific notes. They're just gonna be an immediate slide, followed by the same resolve. See how that's different than what we did before? Uh, versus Theo. The difference is is that immediate slide going from low oneto One slow motion so they can see it. Uh, okay. Now we're ready. We're gonna go ahead and play along with, um this backing track that's 60 beats per minute, and we're gonna include everything that we've learned so far. We're going to include the notes that are on the east ring first as an exercise and then as an example. All right, here we go. All right. Play with me on this one way . Now we're gonna swift the immediate slide, Theo, Now that we can play those notes on the e string by themselves were going to try to incorporate them with all of the other stuff that we know on our the rest of our strings. Now, give you example of some possible things to play, Um, from my perspective. So, um, you would just simply just listen, um, so that you can hear what I'm doing. And then, um, afterwards, you'll want to go back in practice, everything all together, but just including the notes that we now know on our Eastern. So here we go. Way right. Now that we have some examples, let's go practice our d minor pentatonic scale. 63. Fiddle - Three Two Opens on the A string in the Key of D Minor: all right. Now that we're getting pretty comfortable with D, we're gonna incorporate a new Boeing style that is uniquely fiddle. And how it goes is gonna be down, up, down, followed by, up, up, up. So, total of six notes that that and the knows that we're gonna incorporate for this particular exercise are going to be d see Open A Were to play the same notes again. But now we're gonna include just the bow going upwards for all of them in one go. Oh, so we've done this followed by Up, up, up I put it together without any pauses. It looks like this. Down, down, up. Uh uh. Down. Uh huh. Now, what really helps or is a good example of playing some of these knows how it makes sense or why is were able to play the violin once we get up speed at a really high rate of speed. So if we start slow and we're not there yet, so that this isn't isn't quite an exercise to practise yet, but if I just go slow and I slowly, um, speed up eventually complaint pretty quickly. Now, this, um, isn't effect, and it's ah trick that weaken do with our violin that at the beginning is gonna be a little bit hard to do. Especially playing as quickly A zai played it, But we're gonna want to get a start. And it Now, um, we're gonna play real slow first. So but But Bob up up about that speed. So when I go one to ready. Go. But But Bob up. If we're not able to go that fast, just pause the video and work your way up to playing faster and faster and faster until we can do this together as an exercise. So one two ready? Go a little faster thing, Theo. Faster, - way A little faster. I notice the faster I go, the shorter my bow strokes get. And if I have to be able to do that in order to complain all those notes really quickly. But if I'm playing nice, slow notes I wanna have a longer bow. And now, as we go faster, you'll see the length of the bow even tighten up more. So we're going to start a little faster. You see how small those bomb bozo? A little faster for those of you are more advanced. So here we go. Way. All right, There we go. So, um, in the next video lesson, what we're gonna do is we're gonna take some of these things that we just learned with this new Boeing style and be able to, um, apply it to playing with that backing track or a song. So look forward to that, and we'll see in the next lesson. 64. Fiddle - Adding 320's to the key of D Example Exercises: So the notes that we're gonna be using with this backing track this D minor backing track is these notes that we previously used A We're also gonna be able to use these notes, Gina and F and G. So we're gonna want to be able to take three notes followed by the other notes and put it on the other string theory or just play them on the street. Once we feel comfortable with that, then we're ready for our backing track and give you those two big long notes were at 60 beats per minute. So we get a good feel for here we go. Way to start only on the D string in 32 one Go way Both strength. Starting on the string with down, up, down Now on the d string is gonna be up So loathe in three Teoh So we're gonna take just take this and speed it up a little bit You're so we can kind of hear the different, uh, some of this structure as it gets a little faster. So we're gonna move it up to 80 beats per minute and on Lee plan on a string the D string in 321 Go. Now both strings. 321 Go, Theo Way! Same thing. But with way on the D string 321 both strings. Now that we have this new fun thing that we could do with her ball, we're gonna try to be able to play it along with all of the stuff that we already know how to play. So I'm gonna get my backing, track back to 60 beats per minute and give you an example of how we're going to work it in with the things that we already know how to play out of d Theo, Theo way, Theo way. Have an example of how to play along and start incorporating that down, up, down, up, up and are playing. Go ahead and take some time plays with a D minor pentatonic backing track. Spent some time on it. Make sure that you can get in and out of that down, up, down, up, up, up In real time in wall playing with that backing track. And then we'll see you in the next lesson. 65. Fiddle - Learning Key of G Minor Pentatonic: Now that we know how to play in a and D remember, there's some things that we learned that were new, that that were in D always go back and apply all those things that we just learned A. And they'll be Justus, effective as they were. Indeed speaking of D and how when we're learning these different scales and different forms and things that we could do notice that what we could do on one scale really neared almost exactly what we could do on another scale. When we start the G minor pentatonic scale, it's going to mirror some of the same things we could do in the key of D. The places that mirrors are the things that started on 1/3 finger scale. So in D, you played the G deno followed by a low one and then that low, too. And then we played the three. And then we did this slide back thing right? And then from there we had some other knows and we could play in Dean if we take all of those notes that we just played on the E and the A string this low one, this too on the three and we switched over one string to the A string. It looks like this s so now we have this third finger sliding down on a string instead, The first thing you're going from a low one do one on the a string and then I end up resolving it to Gina because we're in the key of genius time. So it's on the deep, the d string g e o. Or if it's an immediate slide on the first finger. All right, so let's get started. And we're gonna talk about having some lead in notes to when we want to start. And this is the first key that we're gonna introduce this on. So the Boeing that we're gonna use is short, short, long, Long, long. And those three short notes is gonna be on a dino that d happens to be the five of the key . So most leading notes will start on a five and won't matter what here. And it happens to be on the five, um, sort of start on that Deeks. We have followed by F with the second finger on the D string and then ended on that Gino the third finger on the D string. Theo. All right, it s going to do it together in three, 2123 Reset your bowl team. You are right. We're starting to get into it now. Now that we know how to start, how we're gonna play, we're gonna still include some of the notes that we know how to do from D Just moved over to G E O the Oh, all right, So those are the notes that are the same now that we know how to take some notes that we gathered from D and play it in the key of G by just making them go down One set of strings . Let's play the whole G minor pentatonic scale. And it looks like this. Starting on the third finger of the D string G, I have a low one, which is a B flat Theun two, which is C Theun de third finger on the A string F one lo tombs Whole step apart from one. I'm going to include my pinky, which is a B flat. Now, after I get familiar with my G scale, starting with the third finger scale, the whole thing. Theo, the other The notes that I can steal from other scales like my d scale in my a scale is this part where I used to play three low t three low in a minor pentatonic scale or three low three a d minor pentatonic scale. The only difference is that I play three rodeo on my denote my D string in my G string. And now, because it starts in a gene ends energy, It's part of my G minor pentatonic scale. So we already know it. Three low. So some commonalities kind of help us in learning this G minor pentatonic scale. This part of it would take from G up here. Thea Other part we take from D and a being this open scale on and open my kind of starts on open string. All right, so let's play both octaves. We're gonna play open three omon low three low one, which is Ah, whole step and my three as a whole steps of these next steps that we plays all whole steps . 13 low. One again. Hey, he, um uh, real slow for the first couple. Three opened mode 301 on the Eastern Thing Lo to pull Step three. Pull Step. Next string. Low One last note. Jean, add one more pinky B flat 13 Teoh. Right. One more time. Real slow Because two octaves. Attention, all of it. So we're gonna believe real nice one. Low to three. Low one to pinky. Uh, Theo, Way through low form, Theo. Way through, uh, way. Now that we know some notes out of our G minor pentatonic scale in the next lesson, we're gonna discuss some common ways that we use gee matter g minor pentatonic so that we can play with a vacuum track or another Sung, just like we did with our other keys. So looking forward to see new in the next lesson. 66. Fiddle - Licks to add in G Minor Pentatonic with Exercise and Example: we're getting used to playing in the key of G and finding her notes. The important part here is that just as we played notes and a at the very beginning, we're doing the same thing to the strings. D in G e o. From there, we build some notes, and those notes are really similar to the toe. What happened when we were playing in Dean? But the notes that we found in D were on our e string I m except those also move over one set of strings. So now, instead of playing it on the Eastern, we're playing on the a string. So if I just only use those notes what sounds something like this? Ah, it's like a now, just like D Theo. So now there's a There's another string there. There's this this e note, this e string. So from there I'm plane. Some of the notes that I'm gonna kind of rely on playing is the C note. Theo, when that happens, that C note happens, is almost always after I get done playing a backup D that gets slid back, followed by B flat and then a nice note toe. Hang on to. After that, B flat is C Use an example Theme. Okay, so we're gonna practice that together that way. Practice it really slow. Here we go. We're gonna take this, denote and then make it go flat were sliding backwards. And then we're making this note B b flat. We know this from previous experience. We did accept We're just gonna go. And then the last time that we're gonna play is the see Theo theme. Three to one. Theo playing over and over again. Theo. Theo. After I get done playing that I'm gonna resolve to Jean. Everything's the same. Except I don't go to see this time I go to G or the third finger on the D string ins instead. Theo. So again, here's gonna be how I use it, Theo. Okay, so that's pretty common. To be able to kind of get up to that. See, And then, uh, after that, directly resolve itself to G. So we're going to go up the scale. I think we're gonna go from B flat to be Uh huh. And forget from B flat to be all right. I could just simply go down on a scale from there, except we're gonna use this little lick. We're gonna go back to this f known, uh, after the f note. We're gonna use a G note. And for that, I have b flat to be again. Uh, the last note that I'm gonna play is this d note so real slow from the beginning of the lick until we were at. Uh okay, now we're gonna add one more note to it. Uh, on and that's a f note. That's the first. The low one on the E string. Let's play that again. Real slow. Uh uh. Okay. The next note. Geno's second finger on the E string. Let's play that nice and slow. Uh uh, the right. The next note is gonna be sliding down of the third finger. So real slow together. Uh uh. All right. So from there, I have three backward then to s 02 which is gonna be that c note. Then be flat. Last note is gonna be a geo play the whole thing together slow. Uh uh uh, Theo. A couple times, uh, Theo. Uh uh uh. Theo. A little faster. Uh, Theo times three. Uh uh. Thing thing, Theo. A little faster, Theo. Theo, One more time thing. Little faster One last time. Okay, Even though that lick is somewhat complex, we're gonna want to try to be able to use some of it, at least in tow, are playing. And I want to use, um this backing track at 60 beats per minute. And, um, we're going to use some of things that we worked on so far and so that you can hear that that on audible representation of being played, and then you go ahead and then practice with a gene minor pentatonic Brighton track included in this course, and and, uh, take some practice at it, use the things that you're comfortable with. And, um, if you're finding some things that are uncomfortable, like that last look that we did, um, maybe it's, um, too much for you at the moment. If that's the case, um, and then just keep working on that one little part until it becomes comfortable. Once it becomes comfortable, go ahead and add that into your plane. All right, here's your example. Theo. Theo. All right, there's your example. And get ready for the next lesson. We'll see there 67. Fiddle - Introducing B Minor Pentatonic: all right now that we've covered to keep a the key of D. Q. Gene, it's very common for fiddle players to have a hard time with the key of being. So I wanted to make sure that I included that he would be in this course because there's a lot of, um, in the community of musicians. There's a lot of miss no MERS about the or her, how how hard it might be. It's actually one of the one of the easier he's to play in. It's just not something that most of us start to play in, so we're not familiar with it, so I'm gonna help familiarize us with it. All right. So the first note that we have in B is our second finger on our G string. So played Go ahead and play with me just so we get the right note Sound high, Teoh. All right. Followed by an open D the first finger e on d then f sharp. So let's just play those upwards. Uh, playing backward downwards, Teoh. Uh, okay, so we're gonna go up the scale again from B E O after F Sharp is gonna be open a thin be all right. Here we go. As we got Be open a sharp and, uh, fingers are Teoh omen to open. Theo, wait. I have to use my first finger in this first part of B and I can already play some notes that are interesting. Um, and I don't have to reach really far. It's just really using my regular wanted my high to, like normal. All right, So what we're gonna do is we're gonna walk ourselves up to be so we won't be Ah, open moment, d one, i Teoh we're gonna play open a rock back t o f sharp the second finger on dio Then we're gonna play a again on then we're gonna hammer on or do two notes in one boat, open and thin. That first finger's gonna gonna come down on to beat. Ah, hey, notice. I'm just like, a lot of these. I'm going to use, um, slurs. So to get the right, Boeing is your always welcome to do your own going. But for this one, we're just gonna just follow along first. And then if we decide to mix up our bowling, it's gonna be OK later, so uh, it's gonna be a down bowl M followed by an up bow, followed by a slur followed by another slur by another. So the 1st 2 notes are all by themselves. I m followed by a set of slurs. Way. All right, Now let's do it together as a exercise. Real slow. 12 Ready? Go. I think through faster, Uh, thing a little faster thing. Theo. Theo, A little faster. Right? So if I was gonna go back down to the Teoh, I'm gonna play that B, which is the first thing open a I think I'm gonna take the second finger. I want toe, slide it downwards and then followed up on my index finger. Theo, Uh, slow together. One, two. Ready? Go! Theo! Theo! Theo! Satisfied? Upwards and downwards. Way, Theo. Right. Let's play upwards and downwards. Nice and slow thing, Theo. We O k. Now that's pretty much the same bit as we did at the very beginning when we had our first couple of building blocks with A Except this is for the key of B. From then on, I have a second octave. Those notes are be which is very commonly slid. Followed by a regular three, followed by an open E slid up one three and then from a B flat to be slide with her pinky. But let's do that together. Real slow to ready. Uh uh uh, A little faster. Uh, but but all right, now, on the way down. Liam, So slow is slide up from B flat to be three. Slide it from F two f. Shirt opening regular three one. Uh uh. All right. So, together we're gonna play three, 21 Uh uh uh uh uh. A little faster. Uh uh uh uh, A little faster. All right, so And our next lesson where we're gonna be working on is using those those notes that we've just learned and some commonalities to be able to play along with the backing track or any piece of music that is utilizing B minor pentatonic scale. And we're looking forward to it, and we'll see the next lesson. 68. Fiddle - Adding Tricks to B Minor Pentatonic: All right, let's take a look at some of those things that make this be sound, more musical. Already learned one of them things from there. We're going to go up to this f sharp known, which is going to be from being 13 That three is a Dina, followed by open E. Then we go back to Dean. Ah, and then we're going to slide from F two f sharp. Ah ah. We're gonna practice it together. Uh uh. All right, So once we get there, we're gonna play 131 131 Uh huh. If we get done playing 131 f sharp A after Theo Pinky is gonna slide from B flat to be, uh, put those two together. Ah, uh uh uh, A little faster. Good back. Tell him B flat from f sharp it open. Dino. Third finger on the trigger. Uh, put it all together. Good in the number from this one. Now we're back to one. We're gonna play. Be open a thing. We're gonna go back down on this beauty. Oh, that's Liden. Slid. Be back to open a sliding up from F two f shirt walked down Teoh last time was being a a practice that a couple times Ah, a ah, right. So, together we we've kind of learned all these things so far. Way, Theo. Now we can get back and forth between are different forms. Uh, another. We have a better understanding of r B minor pentatonic scale. And the next lesson will be using what we've learned with the B minor pentatonic scale and will be playing along with some backing tracks, so look forward to seeing you there. 69. Fiddle - Adding even more to B Minor Pentatonic: in the first part with playing with the back. In fact, in the B minor pentatonic scale, we're going to use these stones, Theo. Also going to use this little part. We're gonna take f sharp, slide it back to F, followed by an open D thing. Then we're gonna put our first thing. You're down is going Tonto, followed by it happening again. Toe opening the last note being be on a G string. Theo. All right, so we're just going to use some of these notes is an example along with the backing track, Uh, so you can hear kind of what's happening along at 60 beats per minute after that, just take a break from the video deposit and see if you can get a practice it along with a backing track. Um, that your feel comfortable with again? This is 60 beats per minute, and here we go. Three way thing way. Wait. Now that we got an idea those notes that we're gonna work with, we're gonna go up to this third finger on the A string, and we're gonna experience a couple different things. A couple different tricks. I'm gonna slide up to D on that. I want to slide back away from it. Followed by 131 all in one book. And I'm barely hitting the string hard enough to get a note so that I can pop it up right away thing. This is what it sounds like with back on track thing. All right, so now we have that little trick to work with. We're going to continue on. So we had followed by three on the A string, which is a d open e back to D. So it looked like this, Uh, so my bow is hitting the D on the a string with same bow coming down and hitting e separate . Bo going back to D, then after f shirt. Let's hear what that sounds like thing. Okay, now that I have that idea, we're gonna play 131 which is f sharp to aide Teoh f shirt on. I'm gonna slide the three up to a I get those notes, I'm gonna take my pinky and slide it up to be from B flat to be really slow. Okay, so let's hear what that sounds like. It's thing right from there. We're gonna come back down to this be known. So if we're gonna have some semblance of notes that come from B flat to be followed by index finger and that index finger is going to go from F two f sharp going down all the way to open. Now, the next notes are gonna be d followed by B. All right, let's hear what that sounds like. Theo way Do some other things that help us come down. So we have We're gonna have ah, slide from the pinky toe to be flat, Teoh. And then we're going toe a hammer on the pinking and then lifted up again. Theo. And that allows us to get back down to the rest of Theo Theo, followed by the same good from F two f shirt thing. Indeed. Be Theo. All right, let's hear what that sounds like. Thing, Theo. All right, take some time now that we have some basic understanding of some of these notes and the order of the notes that we can play and be minor pentatonic and, um, really kind of break it down from one little step of the next. So it's sometimes hard to try to listen. Toe a whole video and then get them all in your brain. So instead, what we're gonna do is we're gonna break down piece by piece, go back to those backing tracks, practice on Lee one little part of the time, and then come back to this video and then really sink your teeth into the next little bit and memorize it. Once we have that little part, go back to the backing track, practice those little bits, put the two together and then continue to build that way until you're done. So, um, take some time practice that use those tips and tricks and enjoying B minor pentatonic, and we'll see in the next lesson theme. 70. Fiddle - A Major Pentatonic: everything that we've done up into this point has been with it with minor pentatonic scales to play a blues e pattern. And we used backing tracks to be able to play along with so that we could get comfortable playing these these scales with some musicality behind them. Now we're gonna make a switch and we're going to work on major pentatonic scales now. The difference is when? When? When do I get a chance to play my minor pentatonic scale? And when do I play my major pentatonic scale? And it works kind of like this. This is a good rule of thumb. Pay attention to the singer. If the singer is singing blues, he tones that it's okay to use your minor pentatonic scale along with the song. If the singer is very straight and doesn't have any blue toads or minor pentatonic tones in their singing, then, um, most often you're better off using your major pentatonic scale. All right, let's dive in the first scale that we did in our minor pentatonic form Waas a a minor pentatonic. So we're deconstructing everything back again. A. And now we're playing the aim major pentatonic scale. Now the backing tracks that we used were for the A minor pentatonic scale. The good thing is, is that we can use the same backing tracks their specially designed to not have a three tone, um, in the cords that are being played. And what that means for us is that we can play both a minor pentatonic form over an A on a backing track and an aim major pentatonic form. And it will sound Justus Good. Now let's get into it. We're gonna play on the A string and on the D string, and the notes that we're gonna play is a regular one and a high, too. And they're gonna be on both strings. So the notes that are gonna be played are gonna be this open, Dean, The first finger on the D string, which is, you know, the E f sharp who open a No. One was the B C shirt. I think Theo knows that we're playing, and we're gonna make sure that almost all of our notes or groupings of notes ends on that open A. Because we are in the key of a no, it's common. Leading to a is from an e to name. So we're gonna play that e Evelyn vibe f sharp. And then we're gonna end on common lead in now. One of the things that were going to do with these notes is we're gonna have that second finger the A slide herbal. In order to slide it off, eso goes down from C sharp, followed by lifting up the finger into open strings, a open on opening. It's gonna slide down to open a Now, we're also gonna slide it up to the sea shirt Theo, either. Or if I just slide it up, that's cool. If I slide it up and down, that's good. Or if I just slide it down all these different choices of sliding. But that second finger on the A string is gonna be really slid a lot. And almost every time that we approach that second finger, it will be slim, Theo. Now you'll notice that on the D string slide to Theo, typically musically is gonna be split up, followed by either a note like an e note or no. Ah, so, um, let's go ahead and take a pause when we when this When this video flashes back we'll have our e, um, backing track ready to go and will place, um, exercises and some examples along with the back crack. So 321 we're ready to start playing along with her backing track. So I have an a backing track here at 60 beats per minute. And what we're gonna do, we're gonna play these notes along with it is gonna be e That's the first finger on the D string. Followed by the high too, which is an effort followed by an open A. And then to get this slide with our second finger, we're gonna slide it up and down, followed by an open a And so let's do an exercise. First were three to one thing through faster, Theo. All right, so I'm gonna turn on this back on track. We're gonna play it along in the same format, um, using the backing track to listen and play in real time to Okay , now that we have some basic forms out of these two middle strings way, we're gonna slide up the second finger on the D string, followed by a one so altogether it would look like this. All right, so all I did is I added that slide to the high tube, followed by a one e o. All right, so now that I have that, I will just repeat it over and orig. And just as a good example, we're going to repeat this over and over as a good exercise. Theo, No, I have this basic form out of out of a major in a major pentatonic scale. Now, eventually, I'm going to use some of those No, I but I'm also in tow. Just very. The notes that I have out of this 12 open and one Teoh. Now, what's gonna happen is I'm just going to make this, um, decisions on playing some of these notes, but making sure that I always resolve. So when I say resolve the end note of a group of notes is always gonna be on that a note. Theo, notice that every time at the end of each group of notes wasn't open. Aim. Now I want to give you an example of this, so I'm gonna reach over and play this back on track again. But we're gonna play those I'm gonna play those notes again. So we're just listening at this point and here that every note that happens after a group of notes ends on that name. Thing way, Theo. All right, so you're gonna want to do the same things. Mix up those notes as many different ways as you could possibly play, not just mixing them up, but adding different note values, longer notes and shorter notes. Kind of like you heard, but not exactly like I did Make your own choices and make sure that as soon as you're done playing a group of notes that that you've made up, make sure that the last note is an A and you'll always be on track. Moving on were These are East Ring. So these air the notes of our aim major pentatonic scale so far, followed by open E theta one, which is an F sharp and then a three, which is an a way we learned that this, too, is very slide herbal thing. Other notes that air slide herbal on my eastern are the is the one where I go from a low 1 to 1, and then I slide from a low three into a three. So on a flattened to a, uh so get comfortable with these slides. Uh, and then we have an open string. Theo, Theo, we're gonna play this little exercise together. We're gonna play a slide up to the three. Followed by a one without a slide. And that's gonna goto open. Eat. So we're just practice it together in three to nice and slow and go, uh, you know that we're got some familiar with those notes. We're gonna continue down the scale way. We're gonna take that to see Sharp or the high, too. And we're gonna pull it down, followed by an opening slow, Theo. Okay, We're gonna use those notes along with our A backing track. Here's an example. So we're listening that we know what to do when you practice later. Theo. Theo, So far, we've went down to a from this a This enough to opening way. You need to be able to get back up to this A from this a or anywhere on our a string or in Eastern, we just have to end on this other A So we're gonna play. It's gonna be a two followed being buying open, then a one on a sharp last note is a A on notice. I slid my second finger on the sea to sea. Sure followed by open eat in a one, which is an Asher. Then I'm a note. Regular third finger. 32 little slumber go. All right, let's use our backing track to play along and again. I'm at 60 beats per minute. - Theo , Theo. No. Now that we have that exercise, let's listen to an example of what that sounds like along with the other notes that we've already learned how to play in the key of a major platonic thing, Theo. Way through the Oh, all right, well, that does it for this lesson. In the next lesson, we're gonna be using some notes out of a But we're gonna also include the G string. So looking forward to that, and we'll see you on the next list. 71. Fiddle - Adding 4th string to A Major: all right. Time for that fourth string in the key of a And we're playing a major pentatonic scale. Now, the reason why we play any of these pentatonic scales is to help us play things musically since regular scales during the facility dough, don't you? Not so funny. Rado don't typically happen in a role like that. Music. Here's our full too active scale out of a major pentatonic scale s what I've played as I played it a, uh, followed by C sharp, which is a high three way. Know what the C sharp sounds like? We're gonna play the whole scale. So we have one a c sharp first finger. Hi. To open a one high, too. Opening one three this last threes, in a way. Remember when we were talking about, um, ending a group of notes on a any one of those days will do so I can end a group of notes on this note on this a thought. This was an and I think the first vendors also All right, so we're after we get down to this one on the the e note this first finger on the D string , I'm gonna take three. That high three, which is C shirt, But I must slided down. Uh, after I pull that three down, I'm gonna resolve on the first finger a thes air, the notes not playing the eyes x as an exercise together. So we have three, 21 go slide on Theo a little faster yet eso some examples of us playing these two middle strings like we did first, Theo was gonna add that high three to slide down and resolve, no matter how what types of notes were playing. That's gonna be a nice resolved town of that, Theo. We're going to use it as a nice resolve of a group of notes down to that A in the sector size that were playing along with the backing track were simply doing off high three to slide down on then resolving on the ones will suddenly Wow. Uh, wow. Uh huh. Here we go waken play that high three slid down toe result A I'm gonna give you an example of playing everything that we've learned so far and the key of a using a major pentatonic scale so that you're gonna have an audible representation of it. and then you'll go back, find one of those backing tracks in the key of a and then use all of that, said the same things that we've learned and try to put him together just like I'm going to in your own way, making your own choices. Just making sure that the very end note of your group of notes that you choose ends on a So here's your example. Theo Way, Theo. Here's some other things that we want to think about. We're gonna want to play double steps. So if I'm playing notes that air on my my 1st 2 strings I'm gonna use on Lee the E and N the a string I'm only going to use the Eastern thing. I get over to the D String and I'm playing notes on the D string. I'm gonna drone a sampling my open A along with notes that I'm fingering on the d. C. O. When I get over to the G string, Uh, I'm making sure that my first finger is barring ones so regular ones. So my finger is touching both strings and playing them both at once. So my notes that I'm playing are the one and then three. I'm throwing a to in there for some passing tones. So there's high three, the two and then the one. But I'm also playing this e note or the first finger on the D string as well, playing them as a double step. So here's an example. Uh, using your double steps way , Theo Theo Way, Theo Theo way now that we know how to play along with a go ahead and practice along with an A backing track, using your a major pentatonic scale and we'll see here back in the next lesson. 72. Fiddle - D Major Pentatonic: Now that we know how to play out of a major pentatonic scale, we can use all of those things that we've learned from a applying too deep. So d major pentatonic scale kind of looks like this. We've in a we've played every thing that we've played on. Those three strings the E string, the A string and the D String were simply going to move over one set of strings so that now we're gonna be on the a string the D string in the G string. So when we were playing those notes before, we're now going to play them on the G string and destroy the O away right. So those notes are going to be a be, uh, open D E. And that, too, is going to slide back. For that, B is gonna slide from B flat Teoh. All right, So the notes that we played on our eastern before in the key of a waas one and three now those No, it's good to be played on the deep the a string this dino and it's beena now, um, some things are a little bit different, but they seem familiar to us. We're gonna move over to the e string. Uh, and we're gonna play one while first of all, it's gonna be open east, then one and then three. I remember every group of notes in D will end on a D primarily notice. The third finger is a deep. It ended on a dean and we can use any group of notes. Doesn't have to be those as long as it ends on a d. Now the other D that I have that that's available to me is it's opened. Theo, Theo, any group of notes at all. The end on that d is gonna be good. No. Even though this gets to be a lot of the same stuff that we've done A that we can use in in de with the addition of the e string. Really? That's all. The way we've added. We're gonna add a little fun thing that we can do in D. That fundamental thing that we're about to learn. We can also include in the key of a and it's gonna be this since we're using these notes in D the ones and twos followed by the open dean on the one on the to that's pretty familiar to us. What we're gonna try to accomplish is getting our index finger from a e note instead of e note, we're gonna raise it up to be an F note. So is right underneath where f sharp is were our second fingers and these notes sound like this. A. I thought this stuff really the first time I've got my fingers out of position, but we're doing this for a quick little trick. Now, the note that I'm gonna play after these two notes eyes is gonna be open. E want to play them in procession? So one after the other one after the other thing. Let's practice them real slow. Three to one. Go, Theo. Keep in mind. I'm playing to downs is a slur followed by one up and equal that So I don't run on a bow. My up Bo has to be longer or faster and the two consequent notes other than a hand before Theo noticed that the 1st 2 notes that I'm playing are down Bows followed by on up Bo. That's faster s I don't run out of Bo on my a string so too thin one Theo All right. So how do I use this musically? So that it makes sense. I wouldn't be playing my nose out of D thing. Typically, after we use those notes a concession of those nose thing, either by individuals or those two and one's as we did before three. It's gonna be an open a followed by a note, that is its tonic or the D note in this case. And then I'm just gonna slide that d from a low fingers like a deflection into that denote . So if I'm playing just notes out of my d scale, Theo, Theo, that's how I'm gonna use it. So we're gonna use are backing tracks in a couple of seconds here. And then we're going to see how those sounds are used against that D backing track. So 321 Okay, we're back with the backing track, and we're gonna use 60 beats per minute on D, and we're just practice these f f sharp Who followed by Open is Seat Holly sound. 32 nice and slow. 1st 1 thing, Theo. No regular speed, which is twice as fast. That three Theo way. I'm gonna play some notes out of D scale that we know how to play 30 to. And then we added this open 13 along with our notes. And now that we can use that the a scale of just them and then immediately be able to play the D scale, I'm gonna also add in every once in a while this hi one followed by the two and open resolving it to D. So we're gonna hear what that sounds like. Theo, Theo, Theo. Now notice there. I didn't always resolve to thisted e. Sometimes I resolved to just an open d o open e. I hope you really enjoy that little trick. Go ahead and practice it along with a D backing track to ah tempo that's comfortable for you to play in. And you can also go back and use A instead of playing these notes on on the D string and then then playing an open A you simply play the notes on a string. Hi one and then two c sharp followed with an e note at the theme. That's how you use it for a so practice. Those things take some time, Really take some time practicing. That was good at them. And then we'll see you guys in the next lesson. 73. Fiddle - G Major Pentatonic: Okay, we're moving on, and we're playing G major pentatonic scale. We're first going to just discover the too active a major pentatonic scale and then move on to understanding some similarities between where we were at a D and applying them to what we just learned in Gene. So here we go. We're gonna play that open G Teoh open D first finger. So we'll play that a couple of times. All right, so we're up down way. Okay, So the the second active from the first time starts there on our third finger. Their third finger right there on the D string is a G note. So it's one of our G. So open third finger is also a G. So now we have the start of our next octave G third finger on the D string, followed by opening A than the first finger on the A string, which is the B note third finger on the A string, which is a Dina. So are skipping that too. Followed by open E Theun two. Play those notes again. Three. Open a 13 Open things together one last time. Okay, now we're gonna put a whole two octaves. So it's open. One Teoh open 13 followed by another. Open 13 Last two notes open. Teoh. Also use your pinky and play of B note. All right, let's play this all the way forward all the way backwards, and we're gonna include this Pinky is a B note thing. Okay, So some similarities that we had from D, we had ah, on those two middle strings in D. We're gonna do the same thing, but go one set of strings to the lower side. So now, instead of the two middle strings that we play open 12 open 13 on it's gonna be on the G string and a G string where we used to play some notes on the E string is now where we're gonna play notes on the a string, which was 31 open. All right, so if we put that all together, we have open one Teoh open 13 open. 13 again. The only thing that is different now is the e string itself. That's where it differs. So we have open to for Theo. Okay, So when we're playing, these notes were again We're playing any group of notes Any group that you'd like to as long as it ends on a Gino RG notes are open Jean, third finger on Dean and then the two that's on the eat the Eastern. We're gonna get familiar with those notes now, So we're gonna play up the ski Oh, eyes like we didn't a and we didn't in G on the A string. I really don't have any G notes to speak of. So I have to either get to this gee note here or go back down to this gene note on the third finger on the D string theory. Theo, Theo, Theo! Theo! Okay, so now that we know the different notes that are on our G string, I was going to provide you a quick example of me playing those notes were already pretty familiar with with a lot of them from a from D. Now we're just moving along, Teoh, the key of G using those same notes in the same patterns. So in a couple a couple moments, we're gonna be listening to the backing tracks and me playing it at 60 beats per minute. Okay, We're back with the backing tracks and I'm gonna start words familiar to us on and build from there. Once I get there, I'm gonna move from open one threes to open one threes on my two middle street. Theo, once I was a stay there for a while, eventually gravitate towards this G on this, the second finger on the Eastern. Uh, here we go. Way now the two middle strings thing. Way to think, Theo Way, Theo way. Now that we have some fundamentals that we can play along with G, go ahead and pick out a G backing track. That's at a speed that's comfortable for you and on to the next lesson where we're gonna learn how to play be 74. Fiddle - B Major Pentatonic: welcome back, and we're gonna get right into playing the key of B. But in a major pentatonic form in this form looks like this. We're starting on the index finger of first finger on the A string, and we're having a B note followed by a C sharp, followed by a D sharp, which is a high three. So I have whole steps in between all of my fingers. You can see that none of them are close together. They're all whole steps away. Now that you can see there are whole steps away. Let's play together again. A couple more times we're gonna play F sharp, G sharp, followed by B notice. We skip the three there, So 123 Next string 1 to 4. Let's go backwards. 4 to 1, 321 Underneath those notes, we have ah, high three on the D string It G sharp, followed by an F shirt. Noticed those air hole steps to Theo. Almost all the same rules apply that if I play a group of notes, I'm going to want to end on the beginning note of my scale or a tonic. And that note is gonna be a B. So this is the note B. It's the first finger on our A string. I also have this pinky here, which is on the e string, which is also be later on. We're going to discuss this. Be over here the second finger on the G string, those air, all of the bees that I'd like to gravitate towards. So some common things that we play other than just the scale, uh, three is really active doing slides. And when we slide, weaken, slide all the way off the string so that our one is being played. So as I'm playing the three, my one is still down the entire time. These were the notes that I'm playing. Am I, too? Isn't down? It may look like it on the screen, but it zuppa in the third. All right. Now, the other pivot note that I'm gonna play is this index finger this sure thing. All right, so let's play that together. E. I'm gonna add one more Known to it. That's his G sharp. So it looks like this real slow. Theo was played together one last time after I get done playing this G sharp note on the eastern. I'm gonna have that three slide back to the one that we just did. So it looks like e put the two together. It sounds like this Theo together real slow again. So as I'm playing these groupings of notes, I could make any choices that I want. And he's a couple examples, Theo cases just making the choices. Which note I'm gonna come back down on to be with. I could just play to back to be some groupings of notes between the two and the three back to be get up to this f sharp I can come back to be. I can get up to this g sharp and then come back to be Oh, whatever choice that you make is gonna be okay because it's gonna fit within the key of B. Now I want to add one more note and that's that pinky that be known. Now, remember, Albee's in this case, our destination tone, so I can use it as a destination thing. We're gonna practice that little bit together. Real nice is long. Uh, and I slid it from a B flat to be at the very the theme again. one last time That now on the way back is typical that we're gonna play this be note followed by a one. Now, after the one, I'm gonna play a G sharp. Let's play that a couple of times. You're so we get used to it. Uh, thing is the beginning of a lick that we're gonna play in B theme. Next note is gonna be a d sharp. High three on the A string Breslow. I'm gonna go back to this f sharp, the regular one a couple more times. Theme. Next note is gonna be this g sharp on my e string a couple more times, right? One last time. I'm gonna take my third finger that d sharp, slide it that down to a d and on a be so all together. Sounds like this one more time. A little faster. Uh uh a little faster. Faster. A little faster. Faster for those advanced folks, Theo. Okay, there's a fun little trick that we could be able to use in playing be major pentatonic. Here's some other things that we want to work on. Besides the notes that we've used so far thing we have these notes that are below on the D string The high three in the to waken Use these notes as a leading, short, short, short, long, long thing kind of leading or begin a song or a break, Theo. So we can use those along with those notes a lot. After I play three to that high three to think is going to reach Rio. Practice those notes because they're kind of hard to Rio. Um, Stuart together really high regio last out there is a two, which is a no other. Um uh, So how we're gonna use thes is after replace, um, regular notes out of B Theo. That's how we're gonna get back down to those notes resolving back down to be so using a couple examples of that. Theo Theo, how do we get back up from that low sounding B is gonna be 232 once I play those two notes have to get that thinking. Really? Theo, forget the thinking. Um have it to a high to Nasher. After I get done playing those notes, I'm gonna play to hide you followed by high three back to Theun. After that, I could get back to my B s. One a practice. Those notes together real slow. Uh, the next set of notes, Theo. Ah, uh, again, I think a little faster. Tha Here's some examples of playing through the form using that knows that we've learned just now thing. Theo, we're gonna break these up in a small little parts because we have some more high difficulty things with high threes and high fours when we play along with her backing track as an exercise. So what we're going to play is Theo what we did before. So it's gonna be 1 to 1. Slide the three slider. Three. Get one on the Eastern thing followed by a two three slides. Back toe one. Theo. Oh, okay. We're gonna play along with the backing track at 60 beats per minute. Can be Theo theme. Next thing that we're gonna do is we're gonna use this new lick that we learned. Wait. Here we go, playing along with the backing track. - Theo . Every once in a while, we can use a second finger on the way down adding that second finger in there. And this is how it sounds with that little small differential. Theo, Theo Theo. Now that we can use our new lick on the fiddle, we're gonna use some other notes that we can play out of B. And these were gonna be our, uh, hi three and high to on the D string. Right? And so what we're gonna do is we're gonna play a one Teoh, followed by a slide to the three. So let's talk about that again. One followed by 21 on the same string theory, followed by that high three than to back to the high three and then finally ending on Theo . All right, let's put along with back on track, - Theo . Now that we can play that, we're gonna include some other notes that we can play way. No, those now, we're gonna take that high for and slide it down on the G string. Now, on the way up. Well, Weaken, decide to end it there and resolve it. Or we can continue to go up. So our next exercise is gonna look like this. We're gonna use those two notes. The high three in the high two, followed by 232 Then that four goes back up again. 23 Resolve on a one. I could just as easily just resolve on it on this to here because to be, uh, for this exercise, we're gonna bring it all the way back up until this be this one on the a string way, Theo, we're gonna play it along with are backing track way . Now it's gonna happen is that I'm gonna provide an example of me going through all of the different things that we worked through with be putting them all together in a musical way so they can have an audible example of them. And then you can kind of follow along or you can use it, can have a snapshot in your brain and then trying to have those same ideas string them along together in your own practice, along with a be backing track at whatever beats per minute is comfortable for you. 75. Fiddle - Key of B Example Stitching it all together: Now that we have some examples of playing in the key of B with R B major pentatonic scale, we want to try to piece them all together. And when we're playing with the backing track, we want to go from one featurette, one thing that we've learned to the next and roll through them, making a quick choice on what to play next. Also making some slight variations on the things that we've learned by making up some of the things that that you think would sound nice. Or you also want to try some variations or do some things that we haven't done here, or that you've never done before and see how they sound along with the backing track. And sometimes those things sound great, and sometimes they don't sound so great. But was important as that You're experimenting with music. You're experimenting with the different keys that we we've learned in this course. So, um, here's an example of me playing all of the things that we've learned stitching them all together, so you have a good audible representation of it so that you can go back to the be backing track and play it at a beats per minute. That's comfortable for you. So here we go. Theo, Theo Way, Theo, Theo thing. Theo. Now that we have an understanding of the different keys that we can play in a minor pentatonic d minor pentatonic G minor pentatonic B minor pentatonic and then the same thing through the major scales, we should have enough information that we've armed ourselves with. Enough time practiced and we can go out there and use these different things that were we've learned in this course to apply them to different songs. So everything that we've learned so far is based off of backing trucks. They don't have any melodies per se because you get to be the person who makes those melodies. So the next step for us is playing with music riel, um, rial bands that are playing songs and applying some of the things that we learned in this course to those riel songs, whether it be at a bluegrass festival, meeting people on jamming with them or if it's gonna be in the comfort of your own home, using the various tools that we have to be able to listen to music, um, play along with those recordings, those people and you'll be amazed at how well you're able to fit in some of these things that we've learned to the songs that you're hearing and playing. I really appreciate having the opportunity to have taught you. So the main take away is practice, practice, practice and play with as many people and as many bands via audio that you can and use the things that we've learned this course to succeed in playing the fiddle anyway, keep up the practice, keep up the great work and we'll see out there. 76. Class Tools - Key of A 60BPM Use A Major or Minor Pentatonic Scales to practice with: 77. Class Tools - Key of A 80BPM Use A Major or Minor Pentatonic Scales to practice with: - way . 78. Class Tools - Key of A 100BPM Use A Major or Minor Pentatonic Scales to practice with: 79. Class Tools - Key of A 120BPM Use A Major or Minor Pentatonic Scales to practice with: - way . 80. Class Tools - Key of D 80BPM - Use D Major or Minor Pentatonic Scales to practice with: way. 81. Class Tools - Key of D 60BPM - Use D Major or Minor Pentatonic Scales to practice with: 82. Class Tools - Key of D 100BPM - Use D Major or Minor Pentatonic Scales to practice with: - way , - way . 83. Class Tools - Key of D 120BPM - Use D Major or Minor Pentatonic Scales to practice with: way, way. 84. Class Tools - Key of G 60BPM - Use G Major or Minor Pentatonic Scales to practice with: but 85. Class Tools - Key of G 80BPM - Use G Major or Minor Pentatonic Scales to practice with: 86. Class Tools - Key of G 100BPM - Use G Major or Minor Pentatonic Scales to practice with: - way . 87. Class Tools - Key of G 120BPM - Use G Major or Minor Pentatonic Scales to practice with: way, way, way, way, - way , way, way, - way , way, - way . 88. Class Tools - Key of B 80BPM - Use B Major or Minor Pentatonic Scales to practice with: 89. Class Tools - Key of B 60BPM - Use B Major or Minor Pentatonic Scales to practice with: 90. Class Tools - Key of B 100BPM - Use B Major or Minor Pentatonic Scales to practice with: 91. Class Tools - Key of B 120BPM - Use B Major or Minor Pentatonic Scales to practice with: 92. A Thank you for taking this Fiddle Class: Thanks so much for being a part of this class.