Viola practice for Beginners Part 1: Introduction to straight bowing | Mark Pedus | Skillshare

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Viola practice for Beginners Part 1: Introduction to straight bowing

teacher avatar Mark Pedus

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

40 Lessons (6h 52m)
    • 1. My education project

    • 2. How to hold a bow

    • 3. How to hold a Violin & Viola

    • 4. How to look after your bow

    • 5. How to tune a viola

    • 6. My education project

    • 7. Strength and Flexibility in the Right Hand

    • 8. The Shoulder Rest

    • 9. Introduction to How to bow straight

    • 10. 1-Introduction to and slow play through (♩ = 40)

    • 11. 1-Slow play through (♩ = 50)

    • 12. 1-Play through (♩ = 60)

    • 13. 1-Play through (♩ = 69)

    • 14. 1- Fast play through (♩ = 80)

    • 15. 2- Introducing smooth bow changes (♩=40)

    • 16. 2-Smooth bowing (♩=50)

    • 17. 2-Smooth bowing (♩=60)

    • 18. 2-Smooth bowing (♩=69)

    • 19. 2-Smooth bowing (♩=80)

    • 20. 3-Introducing the Quarter note (♩=40)

    • 21. 3-The Quarter note (♩=50)

    • 22. 3-The Quarter note (♩=60)

    • 23. 3-The Quarter note (♩=69)

    • 24. 3-The Quarter note (♩=80)

    • 25. 4-The Quaver Introduction and slow play through (♩ = 40)

    • 26. 4-The Quaver (♩ = 50)

    • 27. 4- The Quaver (♩ = 60)

    • 28. 4- The Quaver (♩ = 69)

    • 29. 4- The Quaver (♩ = 80)

    • 30. 5-Quavers with advanced String Crossings (♩ = 40)

    • 31. 5-Quavers with advanced String Crossings (♩ = 50)

    • 32. 5-Quavers with advanced String Crossings (♩ = 60)

    • 33. 5-Quavers with advanced String Crossings (♩ = 69)

    • 34. 5-Quavers with advanced String Crossings (♩ = 80)

    • 35. 6-The Legato - Slurring strings (♩=40)

    • 36. 6-The Legato - Slurring strings (♩=50)

    • 37. 6-The Legato - Slurring strings (♩=60)

    • 38. 6-The Legato - Slurring strings (♩=69)

    • 39. 6-The Legato - Slurring strings (♩=80)

    • 40. 7-Double stops (♩ = 40)

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About This Class

In this chapter we will start with learning to make a beautiful sound on the violin.  Straight bowing, as it is called, can be tricky to master, so I edited and recorded 7 progressive exercises by Nicolas Laoureux for you to practice along with. 

Along the way you will learn:

  • How to hold a violin and bow in a relaxed manner

  • How to tune your violin

  • How to use a shoulder rest

  • Right hand flexibility and strength

  • The names of all four strings

  • How to create a beautiful sound on all four strings

  • From easy to complex string crossings

  • Several different rhythms

  • Slurring strings

  • Double stopping

After the third exercise, you can continue working parallel with Chapter 2: The finger patterns

Meet Your Teacher

Teacher Profile Image

Mark Pedus


Hello, I'm Mark.

I began my musical journey at the age of 3.  From a young age I performed both as soloist and chamber musician and continued my professional studies at Maastricht Conservatorium (The Netherlands), Royal Northern College of Music (UK) and Tilburg (The Netherlands).

I enjoy a diverse professional career that include solo recitals, chamber music, orchestra string instrument restoration.

I am passionate about teaching and helping children learn a relaxed controlled technique from the start.  This requires a little extra discipline but it will avoid bad habits that will slow down your progress relatively soon and can easily injure wrists, shoulders and back.

Having suffered from that myself from a young age,... See full profile

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1. My education project: And today I want to introduce my personal project. It's a practice manure. It's made to help people practice more efficiently and to avoid bath habits, but habits are hard to get rid of. And learning good habits only happens when you actually know exactly why you're practicing what you're having to focus on during an exercise. It's easy to forget tiny details taught to overlook tiny details when you're practicing and you go back to your lesson and you end up hearing the same commons. And I see that with my students. I was like that when I was a student, that we just forget real details because they don't seem interesting, but overtime, but habits built up. And then you started slowing down because you have to get rid of those buff habits, those tensions does, but posture, the squeezing here or there. So this model is there to help you focus on what each exercises exactly about. Also AS ODA or have a violin shop, I see a lot of parents and would you like to help their kids? But they don't have the children go to violin lessons from the balance of still at work. And they have no idea. They don't have a musical background, they have no idea how to help their children. This manual is as much from them as it is for the children themselves. I will try to explain in detail what he triadic chief with each exercise. Or you will record each exercise from very slow to really fast. So there's a progress they're making more and more challenging and avoid repeating the same thing, makes it too boring. So you might want to proof your progress by just trying to do it faster and faster. So this is what it's all about for people to be able to remind themselves, pay attention QAM for parents to be able to help her children. If they're interested in helping their children to help them grow faster. And if they want to try it out for themselves and welcome to. Of course, it's not just for children. Days exercises can help anybody. It's just about efficient practice. And the better you practice, the faster you will grow. So that's my inspiration behind this project. And it'll be a lot of exercises with a lot of videos. And so I hope you enjoy it and learn a lot. And if you have any recommendations for me in how to make it even better, please do get in touch. Thank you. Bye. 2. How to hold a bow: Today's lesson is all about how to hold the violin or viola. Now, the most important things, they stay relaxed when you hold the bowl and when you play. So it's easier to make a nice, gentle sounds at the beginning. You're gonna have to relax. You, right? You hold the bow in front of you. Slightly diagonal. Not like that, but slightly with tip that actually she left shoulder. Now you aim the middle finger. The middle of the middle finger actually there next to the letter on the far end. And you just hang or your fingers slightly separated. On top of the bar. At the finger. It's the tip touches the ball. And the first two fingers, it's going to be the middle. Approximately, of course, every 100, slightly different. So where it touches changes from person to person. But you want the middle of the index finger and the tip of the finger to touch the ball. Now on the other hand, on the other side, you have the dum. Dum has to always be around. That's the most important thing. Yeah. Don't is round and it's the tip of that done this part of the time. Yeah. That will go against the bow. Almost the nail of the tongue must be against the ball. You want to avoid that you've done slips through because then you cannot relax this muscle. So you just make it around and then it's far less tensed for your time to control the boat. So all my fingers stay nice and separate. One, I hold the bow and as relaxed as possible. Now the first exercise I like my students to do is to hold the ball in front of them. Just a bright. Now, relax as much as he can. Make sure that done MRI Luxor says that Donald Alexis, Everything else density for so you relax your hand and you slowly turn the bow horizontal. You have to make sure that your entire forearm and hand move to gather with the ball. Yeah. Just slowly rotate your anti forum and your heart and separate. And you wait a bit, you pray attention that you're relaxed. Ie, do this exercise again and again until it's really easy. Before it. Losing control and above moves inside your hand. Or when your little finger slips off, or if you get then stay at DOM slips through. All these things are things you have to pay attention to. So just relax. And when it gets heavier assay turn. Try not to lose control. And this exercise is easy. We're going to expand a little bit on it and we're going to take a little finger away. Just so you can learn to control the weight of the bow with the ring finger. Ring finger, and little finger have a very similar function. They take away the weight of the bulb you're borrowing. So you use it for playing really quiet or really slow. The ring finger is a lot stronger than your little finger. So it's better to train that one. And that's all again about stain relaxed. Make sure your fingertips never grabbed the bow. Right now my fingertips have not touched the ball at all, not with these three fingers there are lying on top of the dam and the little finger, that's the two fingers that do use the fingertip. The other three, you have to learn to control. Wherever the bow touches, it's the middle of the melt, the first two fingers here. And it's near the tip, but not on the dip. For the ring finger usually. Yeah. Well, you can do this. We have done in the control and we started again to first position when all four fingers are on top with the finger, little finger, nice and round. Now we rotate. And then you get a nice round for the finger without losing control. With a few taps, gone, pride, relaxed, shoulder, Relax, eaten, and rotate over and over. Again. My experience when you can do this, you are ready to start practicing straight borrowing. So I would recommend you do this five minutes at beginning of every single day. Make sure that you hold everything correct. Avoids that your fingers bunch up or that you use phi fingertips or even for fingertips. Just two fingertips against the boulder done. And the little finger goes just, hey, cross, dm and middle finger opposite each other. And the rest is lightly separated. They'll give you lots of control. If you learn to control this while they remain as relaxed as possible. You'll see. 3. How to hold a Violin & Viola: Today's lesson is about how to hold forever. If I use the shortest routes video about shoulder, wrist. If you haven't seen as Hubble look just on how to place it only instrument and how to remove its freedom damaged instruments. Now, basically what you want is that when you place the instrument on your shoulder, you can face the instrument. Freedoms have to force shoulder up. You want to keep your shoulder as low as possible. And just think of your instrument there. Yeah, so you want to face your instruments so you can see what you do. Now. I see a lot of people that have their instrument very far to the left. Now, that causes problems for when you start using the bowl. With that. If my instruments all the way on my left shoulder and facing that way, it's almost impossible for me to keep my bow parallel with the bridge. So if you move this, this foot, the one on the right, further away from me, you'll see that the instrument terms more and more towards the center, finds a way that is comfortable. Your instrument will not really be that straight. They can bring it closer to the center. And you don't have to work as hard with your right arm, which is what is going to create a sound and the character of your piece dynamics, whether it's Downs or happy or sad. All those things are done with the right hand. So you want to make it as easy as possible. Here. On the other hand, of course, is this part of your arm has to come in a little bit more. It's a little bit more tiring and it's always a bit of a trade off. Whatever bearing fits this arm will not benefit the other one necessarily, but find a way to bring your shoulder forward and the instrument in front of you. So you can see your sheet music while you also look at your instruments. So everything is in same line of sight. And you can do this way as well, but aim, everything feels a little bit more awkward than little bit more disconnected. Now, come, there's no specific way. And this right or wrong, everybody's body's slightly different. So experiment with this. A good exercise I found was to just make a fest around the neck, a tight festivals the highest joints of your fingers lying on the fingerboard. On the other hand, you place instruments and then put it on your shoulder. Now, if you haven't slept here, you'll see that your elbow has come in and try to relax and keep it. Hello there. This is a fairly good standards in order to be able to give a straight risked here and to reach all your strings. Now, I like to just support the neck. When I play. I don't agree with an egg because of causes tension and it's difficult to stretch. So in the most during my thumb is route. And as I move towards the highest strengths, my thumb stretches out a little bit. So it just supports the volume doesn't grow up. So when I need to shift, all I have to do is move my hand. If you see it from this angle, you see that from the time I go to the next string, there's a little space already between my hands and the instrument. I don't grab it like that. You keep your elbow slightly. On the right side of your fingerboard. Is a little violin, Of course. So don't play like this. It makes his reading awkward to make rounds fingers, the independent squeezed too much in, time, might slip. Yeah. So these are my recommendations on how to hold an instrument. Changing angle of shortlist will make things easier. Just experiment a lot with it and try to get it just off-center a little bit to your left, but not too much to bring the Elmo in that brings the shoulder slightly forward. Make it easier to have everything close together, and makes its way from industry. Boeing exercises a lot easier to reach than to without going very negligible. Yeah. Okay. That's it. 4. How to look after your bow: Hello. Today I want to introduce the bot, not how to use it, but how to take care of it. There is several components to abort. Stuck, usually made of permanent beaucoup would proceed boot alternative would there are some plastic polycarbonate, both carbon-fiber, Bose. All these things exist and they have their benefits. Each in their own way. You have the hare, which is horse there. You have a hill which is, has screw, and that's to it. Now, the screw is on the important things. The screw decides how much tension you have on the hair. If you, you increase the distance between the hair and the pol. Now, I've seen them of both over the years. Where gets tensed, it's so far the it goes it goes the opposite way. So right now it curves down. That curves up. It seems an easy solution in the beginning in order not to crush the sound. Old crossed your hairs. One, you don't have a very good right-hand technique, but it will destroy both. You will lose control over the bow and you end up having to press harder and harder. You need about five millimeters. At the lowest point was point changes. And the one which type of boy, you have about five millimeter at the lowest point between the hairs and the stack, you have to keep the downward curve. It will make it easier to make nice sound because you want to keep a little bit that suspension, that flexibility. It got too tight. You lose data and you end up having to press down hard that definitely in your behalf because bot will just jump around. So it's counterproductive to tends to both to heart. After you practice, you have to take the tension of, again, just up until the point that you see a couple of hairs are a little bit more loose or until it touches the stick of law or the pope. Yeah. There's two reasons. First of all, the wood of a bowl is carved straight down. It's bent in a flame until he has this curve. If you could detention on their continuously, a will start warping and the bone will become very difficult to handle. There'll be unpredictable. Also. If you continuously keep attention on it, the hairs will start stretching more and more and eventually the pretty useless and you're going to need a rehire. So make sure that before you start your practice, you tense. The hair's not too much. And then after, before you put it away in your box and the case, you'd take the tension off this way. Your bot will be well if longer and you'll be able to use it better for a much longer time. Also, last thing, don't touch the house. The Rawlsian you put on a boat is a type of glue. So if you get the hair's dirty is going to get very sticky. And you can use please sounds in certain places, hurricane. And you want to avoid it. So be careful and make sure that you have before you practice and the potential of when you are done before you put everything away. Don't leave it on because it will damage the hair of the bow. Ok. Just something to remember. Right. 5. How to tune a viola: Today's lecture is how to clean up the alla. Now there's, you wasted your punishment either with the fine tuners here on the tail piece. I hope if you're a beginner that you have four of them. And you have the banks, which you use for either changing the strings or for tuning your instrument. Yeah. Now, fine tuners there safe, you're unlikely to ever break any strings, but there's a limit how much he can move with them. Eventually, you run out of space, or you'll notice that if you go to deep with a screw, that, that little space in between here is too small and it starts digging into your instrument. So if you see that the distance is becoming a really small, they're going to finance shop or a teacher and ask them to solve it unless you're comfortable using the pigs. So first important thing is about calibration. I am using an app here to help you. We're going to try to explain how to use the app. So it'll help you distinguish two. And we have calibration. That's number four for three right now, going down wherever you want it to go. Now standard in UK, you tonight for 40 Europe does for 40 on standard, depends a bit from country to country, from orchestra, the orchestra. There's no real set rules. But I will be recording my videos on for 40. That's a very, very old standards than I like it. The higher it goes, the higher the node goes as well, the more powerfully theirs. But I find you lose some regions in sound. So I stick to it for 40. And I hope I remember to do that for all my videos. So if you want to play along with the videos, please tune your instrument before 40, Before you do that. So calibration is at 440. Now, pressing in this app at least I'm BY pressing on that symbol four by four, a tuning fork. And then you see that that needle goes haywire all over the place. And that's what do you want to go Now? The first strength I stirring is eight or does what it should be. Right now you see a flat, little flat sign next to a. So that means that it is to o. Now if I turn this little screw, it will go higher and higher. Still too low in glows from a RAFA, but you want to get it to the 0 in the middle. Honest there and the green light is lightened up a bit. So that's how you can use one of these, whoever I want, a good half turn up and I've already used up most of the available screw. So how did you banks? The banks are clinical. You can't just turn it and expect the string to stay into us. You don't have to push them back into the peg box. Now important is that you don't fall to your estimates like this, for example. Because if you're going to press hard on the back while you turn, you might touch here the joints. So you have to always holding the peg box on one side while you gently, gently push the backend as he goes. So the second thing is supposed to be d. Now, let's make it's completely wrong. And I'm a so way, way, way too low. Now, what I'm gonna do is pluck the string and makes me Movement and hope that the app follows through. Oh, there you go. I'm slightly on the high side immediately. So you tend to be push the back in as you turn and then it stays. If you just do the same and are just done the beggar, it's likely to just lay back. There you have it already went. Gives certainty as to the block. And if you don't know where you're going, then make small movements. Check. I'm still too low. Now when you get close, I always go back a bit so we can have a smooth movement. I'm to click a little bit of time. Just make smooth movements. It's okay to go back a bit. And we can only flood. Yeah. So I can do it either there or I can use the fine tuners to make sure that's all strings are in tune. So that this is about, just about how did you, if you have space here, use light years. But if the distance between the nodes you need and what is realistically there, are going to have to use this. Do it carefully, don't force it. And make sure that you make smooth movements. If you find that the banks stick, that you can't move them very well. Go to a financial and asking him to put some pencil on the joint on the PEC. But the place where it's just the peg box. Yeah. Some pencil, if he notes that keeps slipping. That has two potential reasons. The weather, fast, humidity, temperature changes might make it back slip, or it might just be that it doesn't fit properly, in which case, you can put some chalk on there to make it slightly more gritty. Or if you, for example, if put dump too much Benson on there, you don't want to do that because it keeps slipping. That doesn't have the resistance anymore. So you put some chocolate today. It's the opposite thing. So this is my recommendations on how to tune your viola. And if you're going to play along with the videos, make sure you're tuned to 440. And I am recording of 047 hoping one you actually listen to it on the other end. It sterile and for 40, let's see. Modern technology does take, good luck, bye. 6. My education project: And today I want to introduce my personal project. It's a practice manure. It's made to help people practice more efficiently and to avoid bath habits, but habits are hard to get rid of. And learning good habits only happens when you actually know exactly why you're practicing what you're having to focus on during an exercise. It's easy to forget tiny details taught to overlook tiny details when you're practicing and you go back to your lesson and you end up hearing the same commons. And I see that with my students. I was like that when I was a student, that we just forget real details because they don't seem interesting, but overtime, but habits built up. And then you started slowing down because you have to get rid of those buff habits, those tensions does, but posture, the squeezing here or there. So this model is there to help you focus on what each exercises exactly about. Also AS ODA or have a violin shop, I see a lot of parents and would you like to help their kids? But they don't have the children go to violin lessons from the balance of still at work. And they have no idea. They don't have a musical background, they have no idea how to help their children. This manual is as much from them as it is for the children themselves. I will try to explain in detail what he triadic chief with each exercise. Or you will record each exercise from very slow to really fast. So there's a progress they're making more and more challenging and avoid repeating the same thing, makes it too boring. So you might want to proof your progress by just trying to do it faster and faster. So this is what it's all about for people to be able to remind themselves, pay attention QAM for parents to be able to help her children. If they're interested in helping their children to help them grow faster. And if they want to try it out for themselves and welcome to. Of course, it's not just for children. Days exercises can help anybody. It's just about efficient practice. And the better you practice, the faster you will grow. So that's my inspiration behind this project. And it'll be a lot of exercises with a lot of videos. And so I hope you enjoy it and learn a lot. And if you have any recommendations for me in how to make it even better, please do get in touch. Thank you. Bye. 7. Strength and Flexibility in the Right Hand: Hello, today's lecture S, more exercises, silent exercises really, to begin with. For the right-hand. When he told about how to hold the bow. Just to remind you, run them relaxed and run little finger and the rest of the fingers just hang across the bow like that. Yeah. Then I gave you this exercise for you hot to turn around the entire armoring and controlled Bo, wait up for the little finger. Now today's exercises are about combining the strength you need with the flexibility you're going to need. So I want you to start with the bow approach because this way it's easiest to little x. Bozeman told heavy so I'm straight in front and you slowly curl your fingers up and you move your hand up a bit as well. Nice treating your hand out again. And the point of contact where they lie, the fingers line on top of the boat that doesn't change people. It's just moves inside the hound. You curl the fingers up and down a little bit. Now, when you can do that, and to rotate it sideways until the bow is horizontal. And you make the same movement. Girl the hand and straightening out. And straighten that. Yeah. Now, this is important later on for o changes. We can make it if you have a more relaxed wrist. But also if you put it in the footnotes, you're useless. People tend to use the entire arm. We can do that. You're moving him sort of arm. Which little pouring them, treat them trust. Moving the muscles on the inside of your home. So when you do pieces of bringing multiple so you don't poison the electric. So. So that's one of the exercises I want you to really get used to. It will become essential later on, not immediately, but flexibility is never a bad thing to have. Now, we just moved the bow sideways, essentially a left to right. Now, I want you to also be able to go down up without losing that little finger. So right now all my fingers are curled. Mohammed is pointing up. And now we're going to load the entire hand. And to all the fingers are straight. So on both sides of the ball. And you straighten it. And this exercise. Well, it will allow you to change trends very quickly and it's necessary. Yeah, so that is another one. But more importantly, this exercise leads to the next one where you're going to try to make circles without losing control. It's combination of the two exercises up and down and left and right. And you learn to do this in both directions. So very slowly. It looks like when you learn this, it's good to just secure the arm on the other hand. So you limits the movement to just the wrist and the fingers. This is ridiculously useful exercise because there's a lot of patrons in music and one of them is the course packets, just yeah, so it's continuous change of string between every single month. Very often used in classical music. So where is my camera not they're here to, this is a combination of it. Down one. And just make sure that the mavens happens completely from the hand. And when you can do it in one direction, and you can turn in one direction and just learn to turn in the opposite direction. These things come in handy everywhere. Once you start playing faster, you need very quick. Strain changes very smoothly. Having flexibility in your finger while without losing control for your fingers are this massively important. So that's why I give you these two exercises quite early on. If it's beyond, you, try again next week and take your time. And yeah, that's it. Good luck. 8. The Shoulder Rest: This little video is what? The shoulders. It's something you touch the instrument. The bark, and the low shoe to hold instruments without turns off. So it's there to support the instrument so you can relax your shoulder. When you rest your head on the instrument. It stays nice and level. There's very many different shapes and sizes. But the reason I'm doing this video is because this one, the one of my violin, it's straight. But not all of them are on demand. I haven't my viola we'll have is curved. Now. This shoulder wrist has a low or to it and I much higher. Now, you wanted to have the low part of the shoulder and the high part to follow your colon. And that's why it gives support. I see a lot of customers and a lot of my students that occasionally put it the other way around and then you have no support anymore. But the idea is that the shoulder just allows you to move around your instrument with, with it backwards. If it doesn't support here at all. So it is just simply to explain that to you. You should make sure that you put the shoulder rest on the right way around. More or little thing. When you belong in off the shoulders. If you continuously and force it sideways. This rubber feet that you have on a motion of the shoulder rests there will wear and cite the steel men that starts worrying them. You're going to end up scratching your instrument quite badly. So I recommend that you pull the announcement upside down. Please, the far end in place. You'll eventually run exactly where you want it. And then you click yellow site on like that. And you can take it off. Your shoulder rests. They have screws to allow you to change the height from each site. And you can also obviously changed the angle that you want to use your shoulders. There's not one byte and runway, you look for a way that is comfortable for you and the supports, the instrument. Whether you want it further to the left of first do is center. That's completely up to you. But make sure that when you let go of your instrument, you have also worked. You meet, flows through homes on to move around. Your instrument. Would just do weight or her head on the instruments, you don't stop. You don't have to prefer shoulder. You just relax your hand forward. You face your instrument. Come round. Okay. Sure about the surest. Okay. 9. Introduction to How to bow straight: Today's lecture is about street Boeing. Three bone means that the bow is approximately parallel with bridge, somewhere between the bridge and the end of the fingerboard. Fingerboard is we left hand. This little place only is for the bot. Now, there's two parts to every bar. The upper half, which is from the middle to the tip, and the lower half from middle to the heel. You can start with the upper half to again place the bow or mixture if filler is not to 40 left is nice in front of you. The more central the instrument is, the less you're going to have to stretch with the right arm. So get used to bringing them. Don't drink standards with the strings approximately horizontal. It'll help the bone not drift, okay? Because if he isn't staring you less bows going to do that. Now. Even assembly. Yeah. So you were here. The middle. Make your arm in approximately a straight angle, please. The bow somewhere in the middle between the bridge and the fingerboard. Yeah, like that. And what I'm going to do is we're going to go to the tips of wooden stretcher era, but don't come forward. Yeah. So no, wait and look in a mirror or ask somebody to help you because you can't see whether you're right. And if it's alright. Now we go back to the middle. Yeah. Again, same thing from middle, straight angle threshold. And come back to that the Opera hall at the lower half. The risks will come towards you. It's going to come in front of him. The oboe has come forward. Make sure we do the oboe. Elbow doesn't come up. So you want the upper arm to be about the same angle as the bo, You're going to bring it towards you. It stays that way. I avoid that. Yeah. So from the so it looks approximately like that weekends where you're halfway and try again. So look towards you and come back. Now, if it doesn't sound great retina, that's okay. As long as straight, do sounding grateful, come with time and experience. Going straight itself, considering you come see, will you bongs traits for yourself? You have to just build. The habit to both straight. Make sure that your shortest remains relaxed and your thumb remains relaxed so you can straight forward and you can move free. That's the, right now the most important part. So we're going to run through an exercise very slowly. It's going to be two beats. For note. I'm going to rest for four beats. Each beat is a sacred long, so we're going to play for two seconds and wait for four seconds. Now, during those four seconds, we have to check in the mirror or ask somebody to check with you whether you bought was straight if not, made the correction. And then we go all the way back. So every node we're going to play it twice. We go from lowest to highest string, so from c to a. And when we get there, and we go from a all the way back down to C. So each bar is six beats. It beats blamed 4-bits waiting. So here we go. 123456 or six enriched in front of you. Always change things. K, six. Make sure it's 86. And since we're talking about, thanks. Again. Six. So that was the first playthrough. Now most important thing was that there was straight or approaching straight that you'll learn to stretch forward. And when you comeback hour goes back about goes forward and meet them, your wrist turns from being hooked to invert it all the way to the opposite. Yeah. Your hand doesn't really change much on top of the bowl. Make sure your fingers don't slip, so you don't lose control. Make sure your little finger stays nice. On top. It dumb stays nice and round. There is a lecture on how to hold the bow. Haven't looked at that. If you need some help with that. So make sure you work on those things. First down, do the straight Boeing. Now. Next thing is, obviously, is it beautiful? Does it sounds nice? And there's two main things that can go wrong. One of them is to tensed and you press down Shewhart and you took the sound. Now, there's two options. When you hear this. Either IPO is too close to the fingerboard or over the fingerboard, in which case you do exactly the same. Near the British, for example, you would have an aggressive sound, but you would have a sound. Ideal, but in the case, probably is still pressing to heart. So relax and try again. Mainly going to happen in the lower half. This kind of sound just around where the balance point, you're under the balance point and the ball becomes heavier towards the tip. So just play the bow in the middle. Relax your middle axis shoulder. Make sure your index finger isn't grabbing the bulb. Just high-need across. And I'm just gently bring heuristic from the view. The opposite is when there is not enough grip strength, when it doesn't catch and you get this kind of squeaky. Now, there's two options. Either you're moving too fast. If you go really fast, or you're too close to the bridge, in which case, either slow down. If you've been to fast or change the point of contact, which means where between the bridge and the fingerboard you Boas. So make sure you're not too closely bridge. Make sure you're not too fast and do the exact same thing. Oh yeah, relax, Of course. Then you have your sound. So I'm going to do all this again. Same exercise, again, four seconds in-between. Just to give you a second chance to run this through. If you're priority remains for now that WE straight, when you feel a little bit more comfortable with that done stopping attention with rates actually sounds nice. Yeah. If you can't do the whole bowl in two seconds, starts like the small end expanded if necessary. Yeah. There will be plenty of exercises on this coming up. So you still struggled a bit with this. Just repeat a couple of times. Be prepared before he continue to the next exercise. 456. And sinks. Rotate the next string, six and risks in front of him change strings including the upper arm, and such will return. Six. And up. Again. You hit the C 66. And so this is the first introductions to straight Boeing US mirror user-friendly use apparent. Asked for help from anybody who is willing to make things better. Yeah. They relax. Never ever dens up in shoulder or in your thumb. It's all just Guide bot straight light and make it beautiful and straight. Lots of things. But repeat the exercise, you will get there. And I'm coming with more exercises going all from very slow, too much faster, different speeds, different rhythms, different changes of strain, and lots of exciting things to come. So I hope see you guys again. And in the meantime, good luck with this exercise that go by. 10. 1-Introduction to and slow play through (♩ = 40): Today's lecture is about three bowing before. But this time we're going to have less rests. I hope you did plenty of exercises with 4-bits rest. And we're gonna have two beats for a note to bits of rest. And then the next note, the first two lines are identical to what we had in the first lecture. But then we're going to develop the string changes more often to make sure that you learn to use the upper arm together with your bow and be prepared for the next node. So when you have a string change coming up, make sure you make it before you have to start some, right? Then try to tie it to the end of the note before the string change. Right now there's a break between each note. But the next exercise, even though it's going to be very similar to this, breaks will be gone. So if you don't think ahead, you don't prepare. The string changes. Next exercise, you will be late. Now we're gonna start very slow, 40 beats per minute. Just to give you plenty of time in-between to again, double-check with your arms straight. Make sure your shoulder hasn't then stop. Make sure your thomas round little finger is still on top of the bot. Actually it hasn't slept. So those little things, they have to be paid attention to all the time. Yeah, I say little things, but but they're really important. They will help you make my sound. Try to keep the ball somewhere in the middle. Don't go too close to the bridge. Don't go too close to the fingerboard and be reasonably straight with the right arm. If you find that you get to tens, maybe bring the instrument in little bit more so you don't have to stretch as far. But keep working on being straighter. And once you have that at sounding more beautiful, yeah, so good luck. And at 14, very, very slowly for change and straightforward. Thanks. So as I said, is identical to the previous exercise, but with only two beats rest. Now, the next part is going to be a string changed almost F3 notes. So that's what we're going to concentrate on. Make sure that the arm, we're the tip is obesity. Elbow follows the upper arm, polls orient a heel to make sure it moves with your bot. Yeah. And the APOE, make sure your elbow can support. Don't come up. Yeah, stay relaxed. And good luck. 1234, crop. And and come back up with the elbow. Okay, so that is all about the string changes. It's very important because next, we make it more complicated. Going to go from the C string across the G to the district. So we're going to roll the bow. I draw the heel or at the tip. But makes sure the upper arm stays involved. Yeah. And then we go back to the G string and then we roll all the way to a string. Yes. So again, very, very slowly. The bike going to repeat this again. Role to D and a. Okay? So again, as expected, this is preparation for the next exercise. We're going to go from C to G, which is easy enough twice. Then we're gonna go back to ci, si and jump to the D string twice. So a cross to G. Now, we're going to jump from the C string all the way. The lowest string, Olympian, highest a string twice. And on the way back be refers interesting, we keep coming back to the a string and, but we make the terms bigger and bigger. Yeah, so everything is twice now. And good luck to for change to q0 again. And all the way to a and a. Enroll again. All you see. And do you see? So that is exercise for now. I will speed this up a few times to give you more and more familiarity with string changes. Stay patient. Look for being better every single time. Enjoy him. Good luck to get by. 11. 1-Slow play through (♩ = 50): So there we are. We're going to do the second time, the first exercise on straight Boeing. It still do beats for a node, do beats overdressed for you to check. One of the things you have to think about, me, me is the most trait that you stretch forward. Myth you bend your wrist in front of you when you and all the way to the heel, you should amaze around or your fingers where they're supposed to be. Make sure that your shoulder doesn't benzoate. Donald. Dig with your instrument, keep nice and up and supported. When he thumb. It's good habit to get because later on you'll be moving around the instrument with your left hand. And once this is easier, we'll add the left-hand to everyday. So you're going to want to get in the habit of holdup. There are good the instrument in front of you not do far to the left because otherwise you can't reach the straight bar. So those are the things to pay attention to. One of the time, lots of nodes, lots of arrests, lots of things you can look for, Okay? Keep it easy. 50 beats per minute for his role. Still. We're going to get there. And I'll be I won't repeat it this time. I'll go straight through because 50 is still very slowly. Exercise becomes too long. But from 60 beats per minute or you will be repeating everything. Okay, cool. So that's it. Now for string changes, almost note there at the beginning of the rest. Don't wait until way again. Yeah. And one to four. And go up again and go back immediately. So now remember we got cross, go across strings from c to d, t, And I'll do it to a. And then the same thing but backwards. A disciplinary will be repeating because it's so short. 1234, broad movie. And I'm a couple it up with the elbow. Roll. Four. Yeah. And the last exercise, we keep increasing. The thing changes. Similar could be four. Same as first-time 12. And and that's it for 50 beats a minute. I didn't repeat everything. But they do suggest you repeat this exercise for a few days. Yeah. Even though he might in the meantime, challenge yourself to go faster, It's good to go back a step the next day when you start to practice. And which slowly again, give him more time to think Is my arm royalties from my home Freud and relaxed and don't move on. Okay, good luck. And we'll speak in soprano and get by. 12. 1-Play through (♩ = 60): So as promised, at 60 beats a minute, the first exercise will repeat everything. And he won't be talking much in between, if at all. It will give one in-between each exercise to get you to prepare this report. Repeat, and change things. Okay. Oh. Mm-hm. Okay. Said everything you need to know. Don't just read through bleed through the right way. It'll help you forever if you get your foundations for solids, okay? 13. 1-Play through (♩ = 69): We're at 16 million. Now for the first exercise, things are getting a little bit faster. You're going to be 6980. And we move on to the next exercise. So basically old, old temple, 40 to 50166980. And we certain Linux exercise 40 again, 600000034. Four and and that's it. So I hope it works out. You pay attention between the notes and don't give up. Okay. 14. 1- Fast play through (♩ = 80): We've reached the end of a sewer system for one of the open strings. This is the most repetition Word, HTML twice the speed of which we started. Keep trying to keep the boat straight. Your shoulder relaxed, your tummy, nice and round. Your fingers relaxing top. Tried to guide the bow, don't force it through. Make beautiful sound. Used arrests to double check. One of the things I just mentioned, just to make sure that you get better every day. Don't just played through these notes that too boring for that. Use them to become better. Okay, 34. Four. Yeah. And and oh, four. And that's it. Chapter one, exercise one is done. And knowing this done, just play three, pay attention, get better. And after this, we move on to very similar, but we don't know all the rest. So it's going to be exercise on string changes and old changes either separate well or to get yeah. Okay. They can buy. 15. 2- Introducing smooth bow changes (♩=40): Hello. Today we finally get to the second exercise, open strings still. But we're working to get rid of all the rests in between all the notes. And we'll just, it's fairly similar exercise as before. A lot of the things you will recognize, but it's going to be about obviously street Boeing's beautiful sound relaxation in the shoulder and the hand. All those things will remain trout whenever you play. Those are cornerstones to things you have to pay attention to. Yeah. But we're going to now concentrate mainly on having a Beautiful oh, change. Now, bow changes without breaks. You want to avoid sudden changes in both speed. So if you do something like that, somebody who anticipates about change and speeds up just before. Now people that did the opposite is starting at the beginning of the node with the maximum. So, so basically it's case of either being too fast just before the bow change, at the beginning of the nodes, just after the boat change, or in both cases, before and after. So having no control over the boat speed, boat change, it's just a case of change the direction. No accents, no jerky movements. Just stay calm. And just, instead of going one direction, you refers the direction. We have done a lot of repetitions of just straight Boeing. Now it's a case of tying it all nicely together. Yeah. So a lot of similar things than we had before. But now we're going to continue without tourists, as i said. Yeah. Okay, we're going to do, as always, we're going to start at 40. And we're going to work our way back up to 80 just like the first time. So good luck with that. And I will be talking between each part of the exercise. The first one that we'll recognize, it's identical as the previous form. Ok. So 1234. We will now move on. Ok. So as I said, it's very similar to the previous one, just without the breasts. And the next one is very similar but more strain changes. Yeah. That's the main thing we're going to now concentrate on is that we changed the bow at the same time, we have to change the strings. You did it already in the previous exercise, but now it's going to be a little bit more challenging. Yeah. Now, before I start, you're gonna see the second to last bar. You have repeat sign. So we're going to ignore that this time, but usually that would mean that you read until there, then jump back the beginning of this exercise. And the second time around, only the second time around you're going to play that long last note. Okay, this time we're going to run straight tree, but if it confuses you what that is, that's what it is. It's a repeat sign, the bar before the end. Until now it has always been, the final line has been repeat sign. Now it has moved one bar forward, but for now we'll ignore it really still at 40. So I don't do many repeats. So here we go. 1234. And again. One thing that was new here is that the last node, the last note, it looks almost identical to all the ones you've seen before, the white ones with a stem, it's a half note, or a minimum, or a whole note. It's just twice as long. And this case it's four quarter notes. So that's four beats on the metronome. You know, at the beginning, you have a clef at the beginning of each exercise, each line actually you have a clef. Next to the first clef of an exercise. It says 44. Now, basically only means is four quarter notes per bar. So the last node is four weeks long because it's a whole note. So four quarters makes a hole. Okay, that's definitely important for the next exercise. Because now we're going to combine what we learned within new thing. Again, it's going to be a change of both speed. So far, every single node, except for that last one we just did, has been two beats. Now every other bar is going to be a no to four beats. I still want you to use this large bowl was he can with every single note. But I want you to be only half. That's fast. On all the even bars. Yeah. When you have a whole mode or brave and you want that boat go off as fast because it has to last for four beats instead of two. Yeah, it's slow at 40, but it's good challenge and it'll help you control these acts into the beginning of the end. If you don't have much, oh, there's no space to accents, so it will help. Okay? And let's have string changes. Every single noticed during change now and different bow speeds. So we start with two beats, Bernanke and the next bar, four beats. 123, 4324. The hole is okay. Now the next exercise essentially seems easier. It's a repetition of the one we did earlier. It's, all of it is minimum snap except for the Boston node. But we're going to go more strength changes similar to what we did. Just a few more minutes. Okay. 123. Four. Yep. You recognized exercise probably. So the next exercises to you will recognize it's the momentary jump across several strings. We don't go from G to C, to D, D to a, and backwards. And it's short, sweet you twice. Okay. And that's it. Very short. Difficult to make those string crossings smoothly without making a noise, a cross the string. Repeat this a few times, because the next one is the one where we keep jumping strings, c, g, z, d, C, a. And then the same backwards, exactly like we did the first time, but now no wrists, no time to prepare slowly. The bowl changed a strain change NEP, scale of going and dropping your arm and learning to land on the right string without making noise. Okay, good luck. Four. And that's it. The entire exercise. It's a lot shorter than the first one, mainly because there's no arrests. And repeat this slow exercise. I didn't repeat things because otherwise the exercise becomes too long. But do repeat the video a couple of times until this is easy before you start speeding things up. But if you want to go on, there will be a 50 or 60 and so on. Yeah. Okay. Good luck. Bye. 16. 2-Smooth bowing (♩=50): Okay, we're back. The second exercise of street Boeing's. It's about Smoot, string changes. Smoot bow changes. Straight. Boeing. Stay relaxed in shoulder. Make sure it never tenses up with nasa. Never raises. When you go to the highest strings, drop the elbow when he got back up to, well, go back down to the lowest strings. So the highest arm mixture that arm follows through even with, you know, to heal. Don't do this. Again, a habit of bringing the entire arm along. Definitely in the last two exercises, where the string crossings much faster because we jumped across strengths. So lots to think about. Primary does remain the relaxed bow hold, the relaxed shoulder, and trade Boeing. After dots. Worry about the other things like sound quality, string changes, bold changes the rhythms. So we stay slow because there's still plenty to think about. Where at 50 now, i will repeat everything because the exercises a lot shorter than the first time around. So enjoy. There will be breaks in between each exercise. Beauty, catch a break. Okay. One. Okay. The first one. Cool. I mean, meet now. The next one. Remember, It's a lot of free bar. First bar has minimum, minimum, so too did not. Then every even bar has a semi Barry. I know in the previous video probably set brief. It's actually a semi brief, which is four beats long. Yeah, so the whole node or the English word is the semibreve, not the brief. So do notes of two beats, one out of four weeks, and that pattern is repeated over and over. We will do the repeat again. Oh. Repeat now. Okay. So that was the combinational and changes and rhythm changes. Now we're going to do three exercises on building. Just distinct changes together. Wait, oh, changes. We can start just with simple ones and we make more and more complicated as we go along. Just like the first time around 1234. Okay. Ok. Yeah, I would come across strings c to a and b. In short for the next book. Increased Good. And, and reservations if he can do all of this because I'm a legal process. 17. 2-Smooth bowing (♩=60): Some of the mill at 60 beats a minute for the second exercise because it's nice to pain. So we're using the whole bow to each note. I've done enough talking in the first two videos. If you want to have a reminder, just go back. It's okay to start slow everyday. I would recommend you start with the slowest video every day. Then jump to the best you that the day before. And if you can do that, well done. Take an extra step forward. Repeats every single video a few days in a row, every single exercise, at least every few days in a row. So you build the muscle memory too. Feel when you do a straight ball. Because once we started out in the left hand, which I will recommend that to the third exercise. So would've meant you started using the left-hand as well, but low exercise. So the lesson on the right hand, first half of your practice should be sound in the beginning. And the other done agility and information on the left hand for a couple of weeks until you have some B6. And you can do some really nice pieces done quite so straightforward with a bar between each exercise. One, four, right? Okay. Or Mm-hm. Right? Okay, right. And not soma. But very interesting. Keep pushing yourself. That's a difficult we will next with over 60 million and be better everyday. More relaxed swamps greater will be the most dense to journals result would never quit. Okay. 18. 2-Smooth bowing (♩=69): The second exercise, growing speed. One beat between each bar. Street, being relaxed. All the usual while neutrons herself to be better and faster. 44. Okay. And right. Four. And all right. That's not it. 19. 2-Smooth bowing (♩=80): So what are the MOSFET petition for the second exercise today? Isn't forced to speak. The restricted. Next exercise, faster will be introduced to portrait mode, or also known as the crotchet. No, it's still straight Bolinas is to focus. Nice sound to be o changes without breaks. Core. Right? Ok. Yeah. Right. And that's it for this exercise. If you want to go faster, speed of the video, which he can't be apparently. So go for that. I think if you can do this, well, more than ready to move on to the next exercise where we introduce a quarter melt faster. Okay? 20. 3-Introducing the Quarter note (♩=40): Today we introduced a quarter note. Quarter note is half as long as the ultimate, obviously. So English Scott, a crotchet, which is home as long as a minute. When you look at the clef, you C44 next to it, that means four quarter notes per bar. So altogether, each bar is going to be four beats. It can be combination of any rhythm, but the son of his old is always going to be four beats. So we're gonna start at 40, which essentially is nothing new compared to the last one, because a minimum AT means there's 40 notes per minute. A crotchet at 40 means there's 40 nodes for a minute. So you end up with exactly the same speed. But of course we're going to speed things up. And we're going to go all the way to 80 saw essentially during this exercise and good the trade to push the bow speeds. The first three exercises is just going to be quarter notes with different string crossings. It starts very simple, just every bar, four times the same note all the way up and down, the repeat everything even at the slow speed because they're slightly shorter exercises, each of them. And then eventually we will be combining rhythms, but I'll talk about when we get there, okay, with repeat. 101. Four. Mm-hm. So very straightforward. Every not four times. All the constraints now is going to be string changes between every single note, CD20, g, d, d, d, d, n, so on and backwards scope. But again, which would be four, please? I didn't know different strain changes but still just crotchets. Four. Okay. So that's the crotchets Dom. Now we're going to combine them with the minimum. So half notes and quarter notes in one bar. It's a philos counties can't be semi brief, four beats long. Simple to begin with. Just to each bar is OneNote. Second exercise will be with increasing string crossings, something you will recognize from the previous exercises. 1234. So domes. Okay, now the last part of this exercise, it introduces a new rhythm. The first note is a half node two minute. We all know that, but next to it is a little, half the length of them noted disconnected to syndicates denote just two beads. So the doctor is one beat, half of the do beats together, it makes three beats with that note. The last beat in the bar is only one feet long, so a quarter note. Now, that brings up an interesting problem. He doesn't change both speed. You're going to run out of bowl because every single Dumbo is three times as long as the upper OK. So if you wouldn't change both speed, you would get into trouble. So it will be what? You can't get out of that. So what you have to do here is have a very slow bow on the first month and a very fast up. Though when you practice this, you can also mix them around. For example, starting oh, and I wanted to do fast Dumbo install up bow and fast Dan book. It's up to you to do this kind of practice. I am just going to go and repeat this once. And I'm just going to start on Dumbo for now. Yeah. So slow, fast, slow to fast. At least we're going to keep the string changes very easy, one month per bar. So only one thing to pay attention to. Relax. Straight boing sound? Yes. Just one thing. One. And as for all, yes. That brings us to the end of this lecture series. As you can guess, we will recall this faster and faster and faster. Condition. Things here. Reduction to ZZ takes the Fort android a little bit faster. What I would recommend you try to keep long bows on air for single notes so you can practice the speed changes together with everything else you have to pay attention to. So they could easy, be patient, and be better every single day. Practice until you know that you're better than when you started. Okay. Everyday, Bush forward to get by. 21. 3-The Quarter note (♩=50): So we're doing the third teacher salaries on three Boeings. The introduction of the quarter note over the project. We are going to use whole bow for every single note with 50 beats a minute now, so this is the fastest countries don't so far. The crotchet or 50. So we're going to just have to learn to move faster and faster and still try to stay in control of the sound. And the straight bowl. And there are taxation and that nice round thumb and middle finger that's nice and round and relaxed. Don't crop the bowl. Just Guide to bowl when you play. Million things to think of. So do more than once. So you have time to think about everything yeah. And get to play pretty much straight through. I will give you some slight warnings of what's coming next between the exercises, but it builds gradually in complexity. So, oops, plus 15. This is 50, so 54. So I'm going to introduce the loss of string process. So one or Cool. Okay, so now we get to the changes of the rhythms. A minimum, two crutches a minute to crotchets rule of node two quarter notes a homeland to coordinates. Use practices the change of both speed because for the last exercise, it's essential Nazi control ducks, but yeah, okay, succumb to number one. Core. Here. Most extreme changes. 14. We're almost there now. The last one is the minimum. The dotted half notes, three beats per month, a faster bow, and three beats per node and foster above, or the opposite way. Very slower Bowen the fast damn book. It's okay if your first node is a lot louder for the time being, at least to a modern louder than the Sramana. It's just because the both b changes so much. That is something we will address later when we start talking about dynamics and how to control the dynamic of unknowns, how loud or quiet it has to be, and all the characters you can produce with an instrument. So for now, whatever dynamic you use, just make sure you boys Trade Officials relaxed head-on is round and the rhythm is right. Stay together with a metronome or with film, video to one to m for slope. At the end of the exercise. Repeat and repeat, and repeat. And until thicker. And. 22. 3-The Quarter note (♩=60): We know didn't 60 beats a minute. For the third exercise, introduction of note or the graduate. We open going to try to keep on pushing the boat speed. Yeah. I know it probably sounds better with less bow. But right now, it's about using as much bow as he can't. Next exercise, we're going to do something completely different. Well, we're still going to add the rhythms, but we're no longer going to look for whole bowls and everything. We're just going to look for different priorities right now. It's pushing that both speed and the control you get with it. Okay. So yeah, good luck. Okay. So he caught a correlated and 14. Cool. Two. Yeah. Cool. Right? Just not poor. Wow. Cool. Okay. There you go. This pushing the limits, but keep doing it. Keep pushing your own limits. When new nodes, you just push on to 69. 23. 3-The Quarter note (♩=69): We just arrived at 1600 beats a minute. For the exercise on the quarter notes. It's fast, it's difficult. And we're both going to design our very best. Ok. Good luck. One core. And oh, 34. Yeah. Yeah. So cool. Yeah. This last resort exercises. So guess what, the next time I'll AD Italy being shorter and more fun. 24. 3-The Quarter note (♩=80): Okay. Laughter. Petition out 80 for the crutches. Exercise. Yeah. Push limits and keep on saying it. But most importantly, we relaxed and Dojo, so it's tough, but it's just music. Enjoy it, that's the point. Okay. But one core, four, cool. Oh, core. Good luck. For the next time. It will change completely. From now on, we will do customers would not come to speak for the time being yet. Okay. I will just play around it only instant. So That's something to look forward to. And so now I think you're probably ready to start introducing the left-hand. So make sure that when this is all under control, a leaf, you know, brain space to actually pay attention to your left-hand without the right heart hunt completely falling apart. So yeah, I challenge you to start with chapter two while you continue doing the rest of the chapter on, of course, there is a few more exercises to come before you're finished with Chapter one. But I think now is a good time to do the parallel 50% from chapter one to 2% in chapter two. And when you've gone through the entire thing from the first one and you're still going with chapters to come back to the beginning of this. So bucket beginning, get Foundation even better, even stronger and even more beautiful, even more relaxed. It's quite a challenge, but trust me, it will pay off in the end. You learning new pieces will be so much easier. Okay? They can buy. 25. 4-The Quaver Introduction and slow play through (♩ = 40): Hello, today we learn something new. We're talking about 1 eighth note, also known as the quaver. Now that this half a beat long. So, so far we've only have nodes 12 or four beats long. So this is the first thing we're going to divide one beat, two. Oh, you want those two parts to be equal? Quaver is half a beat, not a fast mountain along, not a faster. So you have to first get used to dividing, beat up. So we're at 40 now. So it's 1234. So listen to it a bit. And then you say, and in between each number, for example, 123 and, go and, and, and, and, and that's what you're going to be doing this 124. And we're going to try to get it for a second. Yeah. So with maximum sheets, whatever string, I'm going to go for the G string, 1234. And this was two bars. Now, the first exercise is going to be just about quavers, introducing the quavers. Now, I hope you notice them not using the whole bow for every single note. There would be crazy fast. So you're going to reduce the amount of power you use until now all the exercises I tried to make you use as much as possible. Just straightforward. If you've done all those exercises properly, you'll know how to stretch forward and now we're going to learn to use produce the mantle Bo, we use for the shortlist. And we're still going to use hobos for the longer drugs. Yeah. So because you're only going to use Barstow, sometimes you got to be playing near the heel. Sometimes you'll be playing in the middle. Sometimes we blame near the Tip. It feels very different if you play with straight on almost always reaching fault or where they are to heal? Yeah. What case it has to send a noisy bar has to be straight, but it feels very different. So part of the exercise today is that sometimes you'll be playing and exercise. Quavers to heal. Sometimes you'll be playing all the quavers near the tip and it will feel very different. So be aware of that. Now, the exercises are all very short. So I will repeat them usually at 40 add-ons. But because we are dividing it up, I am going to do even the slowest one with all the repeats, okay? So the first time it's just four notes per string. And from low to high and Buck open strings only of course, support slouch. Low shoulder, relaxed fingers, lab, round little finger. And please on where are you most comfortable? Begin with 124. Okay. That's the first exercise. Now, if you play exclusively near the heel like I did, make sure your elbow follows tree and just leave it hanging somewhere. Yeah. So make sure that when the mainstream changes, you remember everything with it before. That. For the C string, you have always much higher than when you're a string. Yes, it drop it and come back up every single time. The next exercise, let's assume we start to move down bows to construct the heel and go towards the tip. That's a damn book. That means that on the next exercise you have first approach it from beat one note. And we are always at the tip. Now we are going to play for short notes near the tip, up, down, up, down, and we go all the way back. So it's going to be 1234. Oh, viola, something like that's where we're going for right now. So width measurement, 04 strings, very similar than before. And now, oh, believers are gonna be at the table to 1234. Okay. Yeah. So that's it. If you want. You can also store oh, the graves at him. But that's similar to what we will do next. Next, we start with four quavers, and then we follow the foot tube rotates a 418 notes and then to coarsen routes. So it's 1234. So like this. Yeah. So with minimum core, right? Right. Yep. So now the next exercise, it mixes things up. So far, the first exercise fits eight. Let's provide the next two exercises. We had six notes per bar. Means that if you have an even amount of notes, every bone pattern in every bar is the same missteps and redownload. The next body will still start from one and down below in the X again. But this one, it mixes things obvious. Pif notes per bar five coasts, that when he started on the time bomb, the first part, you equate, there's gonna be a tip. Next bar, you will start them up all. So then the waves will be at the heel, up and down. Every single bar, it changes. So it's going to be one to n, three, n, sorry, 1234, and now reverse 123 for the instrument it is, and so on. But as you can see, the person may quavers or eighth notes for needle tip the second time around, you will need to heal. So we're at 41234. So that started as soon as you've experienced now that it changes continuously. So it's important that you Experimental beginning with the first exercise, three stuff I'm not bowl once near the tip and down bulk near the tip. Attempting at the heel, up and down started. It changes things depending on which direction you start again. So just make it difficult for yourself and learn and make beautiful. Always make beautiful. Now the last exercise only has three notes per bar, but now it's very much about contrast. Your first note, three beats long Fairy Law. If 22 quavers, and it goes all the way back, again, it's an uneven amount of both are Barra. So the first bar, if you start on a downvote second dao bar, it will be an up bow with long notes, so that means quavers on tin. Here's the next part again, the other way around 234. So like I told you, it's a very short exercise that you can play it in so many different ways. Different parts of the bow start different directions. So don't dismiss it due to a couple of times, make it easy. And next time around, we'll mix things up again. Okay, we go to 50. So good luck with that. And I'll see the figure right. 26. 4-The Quaver (♩ = 50): Hello, so today we do quavers. Again. It's a secondary station of that first exercise, some quavers, 15 beats a minute. I talked a lot about everything being in different places and you have to practice it, but in order to help you motivate you, and this time I'm going to play the entire exercise starting at the tip, so everything is going to be reversed. So we set them up. Oh, so from the tip towards the heel. And of course exercise, I'm going to do everything just at the tip because it's just quavers. Let's talk on this time, I promise, 123. And corn. In case you haven't tried this one before, it does feel very different from DGA to heal. Quite a little bit more work inside to hunt, but don't things up. It's small, changes. Little bit more first finger for example. But never ever turns up, ever force. Just look for beautiful sand. Start closer near the fingerboard. If you find it a little more difficult to make it speak so you get too much of squeaky sound. Then you want to talk a little bit from the one we talked about this when I explain how to both straight those same rules they still apply. So always look for beautiful sound. If you can't figure out why certain things don't work, either look to you previously. I explain as much as I think is helpful to begin with or experiment with squarely placed. But look at what you do here. Don't always look at the sheet music. Look 42 a lot. Yeah. So next exercise, again, I'm going to start at the tip, means this time the quavers and the second exercise are to heal. And four. Hello. Yeah. You continue again, a tip waves and now at the tip and every single time, 1234 is 94 and cool. Okay. Ok. So does that now you mix things up. First. It'll be a healed Quakers tip. So I'm going to go straight through for just one barring the 334. Okay. Hmm, short and sweet and dry it. Experiment in the mirror and ask, if you can always ask help from this mistakes you make the faster you learn. Yeah, so if you have how, it's easy to make sure we bulbs these three things up. Another tool for your life. And what deals to keep an eye on what you do really does help us or if she can ask otherwise, use a mirror and judge for yourself. 27. 4- The Quaver (♩ = 60): And then it would, but for those repetition, the first exercise on the eighth note or the quaver. No, I keep talking about where on the only complete things. So I'm going to keep mixing things up and this time we can start down bow in the middle of the box. So we're gonna go from here away from us with a hand on a down bow. It's called. Yeah. So we're going to do the entire exercise e from the last exercise where you have three beats and half about one approximately heritable trait to contain it. And we're going to start on a Dumbo for every single, aren't going to go straight through. I hope you've done one and the two slower videos, or at least only with videos are all by yourself. Very well. So now I'm not going to talk anymore, just gonna go straight to y1 bar in between as I've done. So for core, core, core. But the Green Corps, the poem. And hope you enjoyed that. It's getting faster every single exercise. So you don't always useful bow. If you try it, you manage anymore. Now we do the quavers. So next exercise, it will be faster. In that way. 28. 4- The Quaver (♩ = 69): And also we're at 69 mm from the point of exercise. We've done the first woman. He started thinking, well wait a second term is just a way to gamble. We start on upper, middle. To him, everything in the lower half, including the monster exercise, which is a bit tricky, comes slowly towards the heel and making a nice sound. But a after challenge yourself, right? So it gets fast, it gets fun. But it also gets awkward if you keep changing things up. So try to follow the Boeing. So I give you it's there to challenge you. And and, and four. Okay. Cool. Core. Oh, yeah. What sweet. Quite awkward. So keep trying to get by. 29. 4- The Quaver (♩ = 80): And they were bucket to 80 beats a minute for the quaver exercise, things or frost. Now, I've used different vs ball for F for a single repetition of this exercise. First period from the heel to tip, tactics or classroom tick to the heel, released mediocre Hall for only the lower half. Oh, I think I'm left with just using everything except for either end for good stick to the middle. Yeah. Just perform. You don't have to do all these changes, but whatever you practice, you're going to be able to use and make life better for yourself. So I challenge you to do different every single time, whether you start to learn ballroom up both matter. Both one after the other. And and and core. For if four. Okay. And for all that was it. It's a short exercise, but it's in preparation to you. Much longer exercise where we're going to use these kind of rhythms, but miserable extreme changes in jump all over Viola. So make sure you think this is easy before we use story to the next one. With this fast, but the center point we all like playing forests. So approximate this.git control, make sure your quavers are always equally long. And did that or the other way around, just the pum, pum, pum, pum, pum, pum, pum. Whatever template you choose. Always stay relaxed as much as possible. Runtime, bow, shoulder, good posture. Don't converge. Don't help you. Keep everything nice and level. It does make things easier. Before we start using the left-hand. It's useful to have good posture already because you just feel to counter instrument. Holding it becomes anyway, much talking. Enjoy yourself and I'll see you for the next exercise button. 30. 5-Quavers with advanced String Crossings (♩ = 40): Hello. Today's exercise is on quavers with string changes. We're going to complicate matters bit by bit, as I did last time. Different bone patterns, different scene changes. It starts fairly simple. A will become pretty tricky. Definitely one things becomes faster. So they get diamond is exercise. It's 40 beats per minute. As always, I'm going to use a whole bone. Every node that is not an eighth note, don't try to use whole bows on the eight notes on the quavers. And because it's too fast, Yeah. You want it to some beautiful you want the boat to be straight. You want to shoulders to be relaxed. Your thumb in the right place. Nice and round. Little finger denies and round the rest of the fingers known, grab the bow. Don't do this because he can't relax when everything is grabbing the bot. It's a case of guiding it and learning to make a beautiful sound without dancing up anywhere. So that remains a priority between string changes, clean boasts changes, beautiful sound, all the usual things. But if you've done all the previous exercise as well, you should be more than fine. Enjoy. Good luck. And let's gradually work our way through this. Everything will be width. Repeat their very short exercises, okay? One, Duke and crea or right. Second exercise, almost identical. Only this time all the pages will be near the tip because it's six months per bar or one. Poor. So with all the quavers at the tip in the previous exercise, now we start the borrowed for quavers. They will all be at the heel, but a strain change between every single note in the bar. Okay. So slightly different. Yet again, 124 and relax. Yep. So fairly simple so far, just quavers approaches 1 eighth notes and quarter notes. Now we at the minimal to half note. So complete different thing again. Good luck. Follow. This trend changes, this both speed changes. So the first exercise is going to slow. One, be aware and think ahead. Otherwise you can end up on the Hill after one beat and realize you have another beat to go. So it luck. And one to four. Okay, that is it for the exercises changing due the next strain. Now we're going to start. Jumping. Strengths next to exercises are very similar. They just inversions of each other. Jumping from the C to G, G to C to D, and C to a. And then the next exercise, the same, by the same rhythm, but we start on the, a string of work away down. Yeah, so I wouldn't be talking between Think about the speed changes, changes, prepare. Think ahead. So you ready for neat plate one to four and Okay, and now we do a similar exercise again, but now with faster naughts, aluminums. So you have to think faster. It's all maximum things up. That's entire idea. So enjoy it. The last two exercises again without me talking, it is different. So basically, this time we'll start with the worst strain change from c to a and then read them is going to be at a quarter wave or something like that. And it becomes smaller and it becomes bigger gap, we did the repeats in last exercise. It's multinational. We start with the smallest one. It's just mixing things up to make you think music is rarely predictable. So look ahead. 234. And that's it. And so Monica, work your way through this for a couple of days, really, really make it better. And what do you do that then starts being meetings up and messing around with Boeing buttons starting where and when. Mixed things up as much as you like. But ground yourself with this one. This is by far the most difficult to exercise you've done and it's long. So we have to stay relaxed too. You have to concentrate on making your technique better. These exercises have a purpose. And it's so when you start using left-hand, You don't have to worry as much about the right-hand because you'll be concentrating so much here. This is likely to dens up a bit here and there. These are warm up exercises every single day. By now. Please use the left hand with the chapters two exercises. Yeah. So good luck. And I'll see you at 50 beats per minute bitly. 31. 5-Quavers with advanced String Crossings (♩ = 50): And even though we're back with the quavers, instinct changes. But 50 beats a minute now constrained them. Everything, you know, the ramp down there and little finger that gentle or Holt don't grab the ball. It's just a case of guy eating the bowl across the strengths. Your instrument up. Don't slouch because they do have to fight where he boasts Ace, but if your instruments nicely up will stay straight, you know, you don't have to fight gravity. Make it easy for yourself. This muscle is a lot stronger than all the little muscles in your right hand. So let this will work. So this worm can relax, less chance for damaging your raised. You've done all this little tendons. Yeah. So we're going to go for 50 beats. Boeing is in reverse. We stuffed them in a bowl and it is little bit faster. It's going to feel completely different with reverse Boeing. So be patient, work your way through it. You don't get something. Wind back this little video and try again. Yeah, that's enough for talking for now. Here without one core. Core. So yes. Sorry. Okay. Okay. That's it. That's a lot of work. I know it, I feel it. But you're getting to the point that you will be spleen basis and getting the determination to work through something bigger will really help me out. So don't quit, don't give up, fight on and will make things faster so we'll feel shorter. Okay, good luck. Take care. 32. 5-Quavers with advanced String Crossings (♩ = 60): Hello, we're back with great resents. Drink changes were 60 beats a minute. And like it did in the first exercise on quavers, we're going to use just the upper half. Okay, so good luck. Don't use too much on the quavers. Don't use too little bell on the other side. Half bows on the crotchets in the minutes of the half notes and quarter notes. And shorter both for all the eight outs control at changes all the time. Okay. 1234. Yeah. And thank you for that. Yeah. For sure. Yeah. 669 33. 5-Quavers with advanced String Crossings (♩ = 69): Okay, and 69 sync changes quavers. Lots of fast work. So I'm going to use throw half working the southern corner middle to heal MTD. Interesting. It makes it tricky. Experiment with stuff you don't have to. But if you come, why not challenge yourself? So let's find out if it works. Clerk 12134. 14. No. Four Okay. One. What for? Yeah. And so that's that now the exercise is becoming shorter at least or feels shorter at least. It's awkward to play up near the heel. It's awkward to break down bone tip. Just always having to stretch forward but branches it, enjoy it and become really good at it. You'll impress people later on, you actually start putting things together and you sound nice when you play beautiful pieces. Yeah, this is the fastest way to get there. Just concentrate them. Being beautiful with sound, stretching forward, be relaxed, and getting all these new bits of control, which some 3D upstroke typo. I know, but they won't be. I promised. 34. 5-Quavers with advanced String Crossings (♩ = 80): And the last challenge for string changes with quavers, we're going to do 80 beats a minute. And you've done the whole bows. I've done the fourth half bows, lower half. Upper half. No, I'm just going to go for comfortable. And C, I'll be truly can make it look for your own comfort zone as well. Because it's good to know where things work for you. It might be different for every single person. Some people play here, certain baseball referred there might also depend on how would the music goes. If you want more loud, aggressive music, you're automatically going to want to use the lower half because it's less work. But it's very hard to do a lullaby a, or a very sweet romance at the heel. One. Here it works by itself. Yeah. That's why I asked you to do things in different places. Each part of the ball as a natural character to it and you can enforce the character on other parts of the ball. Justice more work. So get to know your technique and get to know what works for you best. To he regarded AT too much talking. Let's do some playing. 1444. That's that. And I hope you enjoy this. If you didn't trade again, it is kind of fun if you don't pressure yourself to be in certain places at certain times, to play where it's comfortable. Somewhat easier than the previous exercises. So speed, eventually it becomes irrelevant. Yeah, it's just about being relaxed. So enjoy. Good luck. And there will be a so we'll see what. 35. 6-The Legato - Slurring strings (♩=40): Ed. Hello. Today's exercise is all about slurring. So far all we've done is half mambo for each node. Now we're gonna change that. Yeah, you don't necessarily always have to move to bode very quickly, cross the strengths. You can put several nodes in one bow considering these exercises, but straight Boeing we haven't used to left hand yet. So we're going to source tricks right now. So a bit like I'm good, play two notes in one bowl, certain good start. Change and drop my arm. Yeah. If you find it difficult to exactly know where to change, so you end up with two equally long notes. You can put a little mark on the bow, halfway, for example, or divided boeing force or one each quarter. Just choke or a small stickers, some things just to give you a visual aids to know where to change strings. Because that kind of control becomes very important very quickly. Yeah, it's quite a few exercises and week start with denotes, but we're going to go all the way up to eight knots per row. So I'm challenging new full-on area. So I'm going to very quickly to the first exercise which is very similar to what they just did. We're still slow. Just slurring two drinks in one bulb. Yeah. So 1234? Yeah. Yeah. First introduction. Repeat this part of the exercise a few times until you are comfortable with it. You know, you don't have to do with the video just bolted ten, right. A couple of times if necessary. Because next, we're going to double things up. Firstly, beats going to quavers. So now you can see that's where the extra markings already come in handy. So now we're already talking about changing the speed of the string changes. Yep. So 123, core. Okay. So those again, something new. Relax your shoulder. Very important that when you do string changes, do you relax your shoulder because your entire arm has to be able to move. Lots of strain changes happening very quickly, one after the other. And it has to stay Smoot with one bot per note. You have these tiny breaks between nodes. You're not going to hear a smudge detention shoulder or in your hand here, smoothness is everything. So that's why these exercises are so important that you learn to relax e from better without losing the straightforward and relaxed and everything. Make things beautiful. Yeah, it's very, very important. Now, we're going to double things up. You're going to do eight dots in a row. So now a bot is going to be four beats long, so whole bar. But we have an entire par to recover from that because the next bar is just very long, not equally long. Bow at least. But no string changes for a bar. Yeah. So 124. Okay. From the kids. Work. Okay. Now, similar to the second exercise, we are going to do, crotchets and quavers only is going to be four beats purple. So we double up on everything. Combination a bit of one pattern, bit eight nodes, okay? 123. Or I am. Okay. Right? Right. Yeah. Okay. When a substance like this, if you look carefully, when I did the bars with only the quarter notes or crotchets, I move my entire arm throughout the boat. But when you did the query for us, so it's the maximum shoulder, just me. But then with the quavers, as he go towards the lower off, you can move just the 40 instead of the entire arm to tip. You have no choice. You don't make it to the next string. But from here, you can use just so whole automatically. Towards a hill, that movement is a lot smaller. So play around with that a bit. It feels a little bit weird from beginning, but always use as little energy as possible as long as it sounds beautiful and you are in control. You complete without energy, but you can reduce the amount of energy you use. So when things go faster and faster and faster, it becomes easier. Yeah. If you always have to move your entire arm, can't get tired very quickly. Yeah, you don't want anything. Okay. Next exercise. Nothing new, just slightly different. We're having actually less strain changes. Only two notes in a slur, but we have a quarter note to eighth notes, slurred and haul flood. So different bow speeds, different strength changes, three different things happening. One bug, but it's a short exercise, some well-defined. And 124, as I said, as a short, but important, too long to have the flexibility to change strings, slurs strings and change bow speeds were important for the next exercise, because first bot is one beat, just just a quarter note, followed by four quavers in one bow. And again, of course they're not. 134. Okay, so this dot, and now we introduce a third thing. We're going to have a bathroom that impulse, three strings. So we're going to do two quizzes and a lowest to translate, continuing to H. And then similar thing on the highest to Keystone course. So here we go. The Lexis shoulder. So that felt probably very different. So repeats a couple of times. The next term is called an arpeggio. It's one you do. For example, for strings in one bowl. Well, some of these things, they're all, can be called arpeggios. But the fourth string and the three string, or pleasure or offering a fairly often used, it's very useful to get this really relaxed. And it's all about relaxing here in the neck and the shoulder. So you have free movement. Yeah. So it's just four crotchets. Not too fast at all. But the second time around it's going to be in briefer. So it's going to feel very, very different. Yeah. 1234. Most of all. Yeah. And that is it for slurring its long exercise. There's lots of different things happening. But it's also very exciting to do these things because he will come in very handy later on. When you start slowing to your fingers. It's good to understand the concept. Making slurs across strings requires quite a bit of attention. Yeah, so don't brush across these exercises. They will be useful by promising, OK. We're very close to the end of this first chapter. Stick to it and good luck, and I'll see you at 50. 36. 6-The Legato - Slurring strings (♩=50): We're back for the exercise on slurring of our constraints. And we got 50 beats per minute. Now, not so much in the last exercise that I'm just going to play straight through. It is so long exercise even without all the docking. The one thing I do want to say, which is lots of little things really is relax your shoulder, you relax your fingers, have a good straight posture. Don't slouch. And does because bone in reverse feels so different. This repetition i'm gonna do starting on the upper. So you can experience that. I would suggest that you do it if not necessarily the first time around immediately, but experiment with it because it does feel very different. Tune up bow. Stan changed on a down bow student change to be able to debug this one. Poor. Oh. Yeah. Okay. Yeah. Cool. Right. And and four. Yeah. Yeah. Pencils. Yeah. And that is it. So the important bits are that you stay relaxed and that you make small changes. You stink control. Look at your poll, where you decide to change strings. Approach the string that you're going to go to. Don't make any sudden movements. Makes me yeah. Movements. Look. That's where the bow is. Bow to touch the string. Yeah, it's advanced to pay attention to those things. And one of the reasons I didn't start talking about in the beginning, but now you've done hopefully the 4050 and you become a little bit more at ease with strength changes. You've done lots of now, start paying attention to how it sounds, how smooth it is. We can study the approach so you don't drop your arm because it's yeah. So start paying attention to that. Yes, we can speed things up. But with these exercises. And when you know the 405060 old way, it's okay to go back and try to perfect a detail just to be better. Maybe come back in to this in a month's time, for example, and then start working on smooth changes. But remember, when we move forward that everything stays relaxed but the old sustain control of beauty, of the strain change from now on. Okay, take care. 37. 6-The Legato - Slurring strings (♩=60): So we're doing slurring legato between strengths. Still open strings. We're at 60 beats a minute now, and I will go straight through. But first, let me remind you that you have to relax. Ducks priority, strike Boeing's second priority. Beautiful sound, be the consequence of the first due. So hopefully you'll get there. This is a long exercise. It's eight parts to it. Lots of strength changes, lots of nodes. But you should be able to get through this without tensing up anywhere, without hurting. Keep a nice straight sound. If you do hurt, if you do get densed, maybe you should go back a few exercises and tried to figure out why you heard where you're still tensing up. It's okay to keep going back to basics. And it's something you will do over the years to go back to exercises like this, just to perfect the foundations because they make everything else either easy or difficult. If you're tends to him doing this, that when you start doing pieces of concentrating on what is happening here and what you pianist is doing. And then you're definitely going to tense up there too. So it's okay to keep on repeating foundational exercises until you completely and utterly comfortable and relaxed. And I do my stock because always 60 beats, 34. And cool. Four. Okay. Cool. Yeah. Yeah. Yeah, cool. No. Hello. I would say short and sweet but, and no innocent. It's hard work to keep on concentrating on what you do, how you sound, the quality of the sound, and the relaxation in your shoulder. So don't Quit, fight through this. That you have to have a low determination to learn. But it's always worth it. I promise you, they go by. 38. 6-The Legato - Slurring strings (♩=69): Hello. Today we do the Leg atom to slurring exercise between open strings. At 69. It's a long exercise. Things or getting fast. Lots of string changes, lots of Boeing patterns, different rhythms. Think quick, look ahead and stay relaxed if he can't get them through an exercise like this in one goal without fencing up, without hurting, you should step back, go back, one or two exercises, figure out where you tense up. Wherever it hurts. There is a problem. Yeah, this should be Smoot, easy going stuff before we start adding the left-hand. And definitely before you starting pieces should be able to post straight without it bothering you at all anywhere. Okay. Good luck. And we'll 69. It can punk was poor and and core. And Yeah. Cool. Yeah. Okay. And poor and cool. Four. Okay. So congratulations if you made it all the way through without tensing up, without being impainted, and with the beautiful sound. So if you can move on those eight km, if not, try it again, all text back and figure out why you're getting tired or in pain or why it doesn't sound so nice? Yeah. Relax, always relax. Take advice. 39. 6-The Legato - Slurring strings (♩=80): Hello, we're finally at the last repetition of the legato or the slurring of the ABA strengths, but 80 beats a minute. Now, the second repetition, while the first Repetition, essentially the second time I did it, I started at the tip down after that, that definite mentioned anything about it because I thought the most important thing is that you relax. It doesn't mean that it isn't interesting to still keep on messing around with different bowings. So yes, last repetition, I do reverse Boeing, or we'll start with an up bow. And just to remind you that even when things get tricky in don't always have to take the easiest way out. Often. It's logical, but music doesn't always give you the choice to go for the easy way. Whatever happens before or after, might decide that what you're doing right now is awkward and not the easiest solution. So we have to be prepared to that sometimes in this second best choice they have to use. Good. For. Cool. Yeah. Okay. Oh, yes. Oh, cool. Four. Yeah. And that's it. When you do that, this is the site doesn't seem so long. Make sure you enjoy your way into getting through this and stay relaxed. Don't be pressured to DC. And when it's smoot, it's easy going. You're ready for the next step forward. Okay. Good luck and see you there. 40. 7-Double stops (♩ = 40): Hello. Today we're introducing door stopping novelist talking means you plane to strings. The way to do it is to look at where you bow touches the string. Make sure it touches both strings. Relax your hand. Embolden across. You have to keep on doing obviously the straight Boeing's Swift on. Before the relaxed hand, relaxed shoulder. The upper arm position is going to decide whether you hit two strings at the same time. We're not. Yeah. Now, another way of doing those topping, which I see a lot of Muslim students by pushing down until your bot hits do strings. But like it's a horrible noise. And the reason I'm introducing stopping already in the first chapter is for information. If you want to tune your instrument, you need to be able to double stop, at least if you want to do it using your ears and you can use a gadget, Of course. When are those tuners? But you want to learn to use your ears to decide whether any you're in tune in the second chapter as well, or use those stopping in order for you to improve your intonation, the placement of fingers. But obviously you want your instruments to be in tune before you start working with this. So you want to learn to use your ears to tune your instrument, if at all possible, as soon as possible. Because your ears are the main guide to what are you doing things right? When you're relaxed. The rest is going to come from whether you like what you hear. That's where your decisions should come from. Yeah, doing everything right, but sanding horrible isn't particularly useful if you want to make music. So I'm introducing this for you to learn to play in tune. But I want you to do everything quiet today. It's not about virtuosity, it's about bowl control is this way and also not contrary, Pete, this exercise, like I did before, 4050606980 and just recorded on 40, forcing you to stay slog and to look for both control and a beautiful sound. Those are the priorities, yeah, not tortuosity. Tortuosity will come over time. First priority now is to learn to play those stopping so you can use it for tuning. And for tuning you need quiet. And that kind of bow control. That's what this exercise is about today. So we're going to go at 40. And the first exercise is always, will be the easiest one. We're going to do four beats. The lowest two strings up, down bow and upper, followed by the middle two strings for where the highest to strengthen the wave back. Yeah. Here we go. Oh, if you don't spend this exercise because this is what's important. This is what you will be using. This is for q will be using Hoboken coal. Everything else into sentences or frustrating. So content more interesting, more difficult. But this is the most important part of this entire exercise. It's not virtuosity. It's a beautiful even sound across two strings. The rest, I'm offering you anyway, but only if you have the time. Only if this one is under control. Yeah. So next we'll come to slur two telescopes. So do not to be too low string. And then two bits on the middle two strings. Now, you have to start the rotation of Hippo before the beginning of the second beat. So I would say halfway through the second beat. So now umami playing the second half of the second medium, only playing the middle string, the case, the T, the next double stop. And then I stayed there. And, and when we go back, it's the same thing. You start rotation. At the double stop. What you want to do is eventually over time to control when you arrive at the other double stop. In this case, it's two v. So the first parser to begin or the third beat, he would want to be at the next double stop. I don't immediately drop your arm. It's all about smoothness, about control. So long to church when you have to start dropping your arm. So you only play one string for a little bit. Yeah. And then you'll have time to get smoothly to the a string and sustaining the doorstop. A deque. There we go. And core. Okay. Okay, so next, we're going to make a combination or the fourth bar of the preferred place to be. And then between. Ok, you have to rotate back. Same thing for the other two strings and condescending backwards. We always do. So. Now, Paulson changed the bow one's time change between each book. Yeah, but poor. Ok. So lots of different changes happening. But with all these repeats, it should become easier. Yeah, next, we're going to do a bathroom adding force. All strung so far we've had two strings reasons now for students. So first bar, again, the same. Beats, rows, two strings, four beats on high strength. And the same thing can reverse. And I'll repeat this because it's fact short on. Core. And now we're going to skip the middle. Dropper on. Yeah. So four-tenths of law and I'm half it is exercise at changes. This is two exercises squashed together. Because now the second half, we're going to have similar first. Then we have to rotate sanity back to lowest its strengths. Yeah. But I'm slow. Quiet. Yeah. There you go. For. This moves us lost exercise. We're going to do twice as fast. The ball won't be humble. Me, but it's a tree beat bar. You see at the beginning, it's 34. That means that one bar will serve them, the Dumbo, it's an uneven Boeing buttons. So next bar will Sutton up bow. So the string changes are going to always be in different places. After four bars, we reverse the entire thing. And then we get to glass bar, not the last bar has four notes, white notes, minims with adult behind. That means that note is two beats for the minimum plus the dots, which means half the length of the note it's attached to. So that makes it three beats altogether. So two plus one is three beats. Now you can't sustain. Press down hard enough. You really don't want to try to sustain for strengths. So what we're going to do is very similar to the previous exercise where we did that. But now we're going to redeploy the bowl. We're going to use the available both on the first. Do not as some as they stand. Nice, but a drop or arm to the highest two strings and sustain most of the bow on the highest. Do strings don't drop too far. You want to sustain the double stop. You don't want to end up just on the E string. Yeah, so let on rob. Whole ball. So p4. And that's it for double stopping. As I mentioned. Yes, it requires a lot of control, but it's mainly the first exercise where I would put, place my focus. The rest, yes, of course it's really interesting. But for double stopping and information work and tuning your instrument and tuning your fingers later in the next chapter. This first exercise has to be so well controlled. So you can concentrate on what you're hearing while you use it together with either tuning your instrument or with your left hand. Ok, good luck with this. And as I said, there will be no repeats of this exercise because I want you to take it slow and get that beautiful sand and control. Ductile is the focus here. Okay. They care and see you soon. Bye.