Violin Basics 1: how to produce beautiful tone easily | Lucia Garrote | Skillshare

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Violin Basics 1: how to produce beautiful tone easily

teacher avatar Lucia Garrote, La Pizzicata

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

Watch this class and thousands more

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

Lessons in This Class

11 Lessons (1h 22m)
    • 1. What this class is about

      2:46
    • 2. 1. The philosophy behind my method for strings

      1:28
    • 3. 2. Basic violin terms to become acquainted with

      4:51
    • 4. 3. Exercises for relaxation and preparation of the posture

      11:22
    • 5. 4. Holding the bow

      7:05
    • 6. 5. Holding the violin

      7:03
    • 7. 6. Before producing tone

      5:32
    • 8. 7. Optional lesson: the "Simulator"

      9:14
    • 9. 8. Producing tone for the first time

      14:38
    • 10. 9. Impro practice with backing track

      7:36
    • 11. 10. BONUS TRACK: Frequent problems with tone

      10:48
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About This Class

In this series of classes for violin begginers, you will find the basis for violin playing; a strong foundation upon which to build a beautiful and long-lasting relationship with your instrument.

I specialize in the education of string begginers, and during my many years of teaching students (of all ages), I have developped an innovative method based on the belief that the learning process can be an easy-going and enjoyable experience from the first stages. We just need to design simple and short steps for the student to follow, promoting, this way, awareness, focus and concentration on the important aspects for each stage.

Violin playing is not about virtuosity, it's simply about making music with whichever technical skills we can handle. That's why music making is the common thread that leads all my classes, from the first stage.

So in this first class, you will learn to how produce beautiful tone with your bow on the four open strings, in a natural and relaxed way, and you will put this technical skill into practice by playing music over a backing track, specially composed to help begginers in their process. 

In order to succeed at producing tone, you will first work on your body and muscle awareness and relaxation, on the specific posture for both arms and hands, and you will practice some exercises designed for strengthening and increasing flexibility.

Meet Your Teacher

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Lucia Garrote

La Pizzicata

Teacher

Hello, I'm Lucia. I teach violin, viola and violoncello for begginers of all ages, with an innovative method, that moves away from the classical approach to prioritize the student's experience in making music from lesson 1, and enjoying it! I believe there are no fixed goals for anyone, and the road will be designed by the student's interest, motivation and pleasure.

I teach in both spanish and english, so I welcome you to take a look at my method for violin and philosophy.

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Transcripts

1. What this class is about: There are a lot of myths around violin playing and violin learning. Let me ask you a question. How often have you heard statements like, the violin is only for a few gifted. Or maybe if you don't start at the age of five, you'll never get anywhere with instruments. Or perhaps it will take you a very long time to get to play decently. And finally, one of my favorites, the process of learning the violin is extenuating. Well, all of those are myths. And I'm here to bring all those myths down and show you that there is a way, a simple and organic waste and learn to play this beautiful instrument and didn't enjoy the process. So that you can go from this to this. So whether you've never held a bound them in your hands before, or you play a little, but you want to solve structural problems with your tone. This course is for you. So what we will write a con, well, we will focus, I'm producing our first sound, a beautiful and effortless sound. That means that by following barest in both steps, you will find out that you don't need struggled to get the violins is down right? And we will see how with the very basics of the violin, you can play music only with the sound of the open screens. We will play parts, can melodies with tracks that will be found in the helpers on our practice. I believe that anyone at any age can start to play the violin. And that's why I have developed this method. What is the base time where basically, and the difficulty in learning the violin? That was my initial question. And the answer is that there's a whole lot of information that we need to take into consideration when we start learning. That means our left hand, our bow hold, producing this down, making different types of sounds, tuning with our fingers. That's a whole lot of information. So by dividing this whole lot of information into small chunks, it makes it more digestible. And that's what this method is about. It's really simple. Like I said, it's natural, it's organic and you will feel it comes easy. So don't be afraid if you've always wanted to learn the violin, this is your chance. 2. 1. The philosophy behind my method for strings: Before we start working, let me tell you a little bit about the philosophy behind this method. Like I said before, I believe that anyone can play the violin, but more so, I believe that anyone can start learning to play the violin at any age in their lives. And why is this will simply because there are no fixed goals. People like different things in life. And violin students are exactly the same. Not everyone is looking for the same thing. So there is no one path for all the students alike. Each student will define his or her own path along the way according to their likes, to their motivations, to their determination. This method is based on the belief that we can make music from the very start of our learning process only with the simplest technical elements. That means only by producing tone with our bow. So that's what we will focus on, producing good tone quality sound with your violin. And that will be the base for all that will be next to come. For. There is enthusiasm, motivation, determination, and enjoyment. Anything can happen, so don't be afraid to start walking this road. Trust me, you don't have to meet any expectation specifically, only the ones that you set for your own self. So walk along with me. 3. 2. Basic violin terms to become acquainted with: Welcome to this new lesson. Today, I want to review a little bit the basic violin terms so that you know what I'm talking about when I referred to a certain part of your instrument or your vote. So let's start from the top. Okay, so if we start from the upper part of your instruments, the first that you will find will be defect box. It contains, of course, the four packs, ebony made in the best-case scenario in your violent, a few different types of wood. That's okay as well. And you will see here this crawl, which is simply for decoration. So scrawl tags this entire piece, the peg box, right? Coming next, and I'm not sure it you will get seed on camera. You have this little piece of code right here, which is called not. The not is one of the supports for the strains, one of the points of support for the strings. The other pointers for supporting the strings will be bridge. These two points. Lift the springs up so that they don't touch the fingerboard, which is the next part. I will mention this black piece of wood. Also, MNA indicates my violin. In your violin could be a different color. That's called the fingerboard. And of course, as its name indicates, that's where our fingers go. Find here this entire piece of work, the net, where we hold the violin. We have a force that top plate, the backup plate. We have the ribs right here on the sides. I don't I'm not sure if we get to see them, but bribe all over the edges of the violins top plate and the back plate. You have her flanks. On good bio links. You will see that they are in laypersons. On some other cases, they are simply painted. While I mentioned before, you have the bridge right here. The F homes, of course cart on complaints. This is the POPs. You will see right here that I have all the four fine tuners. Not all violence have all the four fine tuners. Sometimes professional players is only one for the E string, and then they attach the string, the ball and spring directly to the tail piece. In my case, I have four fine tuners which are not incorporated on the tail piece. But some few pieces do come with the four fine tuners incorporated, so you can't remove them if you wanted to. Then we have the chin rest to support our chin and make claim more comfortable and easier. And that's about it. And you will see the word here. It's called flamed maple. So let's move on now to the bell and the parts of the verb. So here I've come back with a bow. Let's review the names for the different parts. You have right here to stick the wooden stake. It could be also carbon fiber, and that's around this. I will refer to as the point. This I will refer to as sometimes it's also called Frog. Those are the two ends of the violin. This is the screw where you tighten or loosen the bow here, which is right here. O here. You will find here a leather collision that's to make plain, easier or more comfortable to rest your fingers there so that they don't get hurt. And that's all that there is about the bow. And let's talk about the two movements that you can make with your bell. When you move your arm in this direction, we will a down bow. And when you move your arm in this direction, we will call it up vote. So download ADB. Oh, if I tell you to play in the middle of the bow, I mean that you should play using this portion of the boat hair. As I say, Let's play on the tip of the bow. I will mean that you should use this portion of the bow here. And if I say, let's play at the knots, we will use this part of the bow hair right here. So that's all that there is now. Now you are completely read. It stopped working. 4. 3. Exercises for relaxation and preparation of the posture: Hi and welcome back. Like I said in the previous lesson or that we have left to do is start working. So what is step number one? Well, preparing our confidence to play. That's why today I want to show you some exercises for relaxation and preparation of the posture. It is really important that we understand that we produced home, that we make our instrument sound with our bodies, not just with our minds, with our intention or with our hands, with our entire buys. That's what's involved in planning our entire body. So that the aim of this exercise is relaxing and preparing the posture. It is important that we have a good posture at time of plane, but it is also important that we are comfortable and relaxed. So that's what we will work on today. You can choose to copy the exercises exactly as I will demonstrate them. Or you can decide to practice your own exercises. Only bear in mind that we will work on the axes formed by our head, our neck, complete spine, our hips are legs. We will work on the relaxation of all the articulations, shoulders, elbows, wrists. And we will work on relaxing or stomach as well and our breath. So feel free to practice their own exercises if you prefer, or copied the ones that I'm about to show you, they work. So let's start first with the exercises for relaxation. Spread or less of the distance of our shoulders approximately. Let's loosen our needs. Let's leave our head, our neck, and our entire spine aligned with the hips, all in the same line for standing up straight or baggage spray or shoulders are back. And we're going to start concentrating on our breath. Simply concentrating on how our breath is. Don't try to make it faster. When firms make it slower, right? You can close your eyes. Using your stomach, be short, make sure you're not having your stomach all tied your hands and your arms way to the floor. After taking a few moments to become conscious of this, we're going to start moving backwards. We can lift our shoulders. This movement is the movement closing your shoulders to your chest and then opening your shoulders to your bank. Basically anything that you feel relaxes your muscles. Then we're going to relax our neck, which is really important as well. Always keep your knees loose. We don't want our body to be tied like this, right? We wanted to be flexible and relaxed. Will become watch. We can take our nose to each size. Always remember, keep your spine and your head on same line forming a straight line. Tighten your shoulders during any of these movements. You can take now your hopes, your shoulder. You can stop at any point where you feel you need to stretch. If you go like this and you feel you need to stretch this side of your neck while you can stop right there and concentrate on that spot specifically, right. I'm just showing them. I'm I'm sort of going through a review of all the exercises that you can do. Turn to the side, I'm going to show you something that I love. An exercise that I love. My shoulders and back. Again backwards. You can do this in both directions. You rest. Onstop smoothing all by itself. Of course you should practice that exercises but both arms, not just fun. So you can also know, shake your hands like this and like best to the sines. Because the risks are going to be very important when we play. So we want to make sure they are relaxed and flexible. And now let's go to the more specific exercises that are related to the violin Boston. We're gonna have to lift our arms to the height of our shoulders, right? So all these exercises I'm about to show you require you to leave your arms. Your shoulders, first one. And then read out. The fingers are relaxed. The rests are relaxed as well. I am not completely extending my elbows precisely because now let's go like this. Also. I am lifting my arms to the height of my shoulder. I try not to go like this, not entitled my shoulders and necessarily, but I do have to give my arms high. This one very specific. I take my hands close to my shoulders with my fingers pointing up or pointing to the front line up. Like this. Keep your fingers relax and be very, very careful about this, about the wrist. Like this. We need to turn it right to the site. That will be really important to always remember to brief. You can loosen your legs or your B if you feel like you are going to move our rests in circles in both directions. Make sure that your arm or for on the back of your hand, or forming a straight line when you do this, I think is outwards and inwards, your hands or your banner. And now up and down, up and then relax. Relax. You are going to feel the tension right here in your forearm. Now the final one, which is sort of like a Bonus craft, is there. Maximum tension, release? Tension, release. And once more, I add more without flexing and environment. Right the middle of your poem. As close to the polymers you can. Maybe at first you won't be able to really go spend. If you practice, it will become more and more flexible. Ok, so that's about it for the exercises of relaxation and preparation, practice. Like I said, you can make up your own exercises if you prefer. My advice is that you practice these exercises every day before you take your instrument or every time before your practice session. And why is this? While they will help you be more aware of your body and its movements, they will help you relax and be more prepared to have a good posture. One final tip that I find very useful is to practice these exercises not only at the beginning of the practice session, but also during your breaks. Sometimes when we play for a little while, our bodies, our muscles get really stiff and they start hurting. So this exercises will help you relax and they will help you feel comfortable and playing again. 5. 4. Holding the bow: Hi and welcome again to a new lesson. Today we're going to learn how to hold the bow. We're going to learn the exact position for each finger of the right hand. And we're going to practice some exercises as well to train our arms, our hands, and our fingers in holding the boat for longer and longer and longer periods of time. In all these exercises that I'm about show you, it is really important that you pay special attention when you look at me to the height of my arm, I mean my shoulder, the arm itself, the elbow, forearm, wrist at the back of the hand. So follow me and let's start practicing. So I have my bow right here. What we're going to do first before we learn how to hold the bow is put it parallel to the floor with the boat hair looking downwards. And I'm gonna take it from the state. Never touch the bulk of your fingers. I'm gonna take it from the state, from the steak with my left hand. Now I have the NAACP or the frog all cleared up. So I'm going to place and going to relax my my hand. And I'm going to place all four fingers length is and I'm going to lift my elbow. I'm not going to start holding the bulb like this. My elbow always is up. In all the exercises that we're about to make, make sure that there is space between your fingers, that they are not all tied together, right? Make sure there is space and that you're not touching the boasting with the tips of your fingers. We want to embrace the state just like this. You can leave this for finger's hanging there and it will be fine. It's okay if one of these fingers touches the bow here, that's, let's arrive. Now we're going to place this. And I'm going to put my bone like this of the chicken C. I'm going to place it in the exact middle of my four fingers that being right here in this space. And how am I going to place it? Well, I'm not going to place it like base another habit go through to the other side of the state, not just the tip right there where you see the mark on it. That's what we'll be catching the stake in this spot right here, which is thought for the thumb. When you place your fingers, you should remember your pinky should be approximately where the surplus right here in the now. So now that you've placed your sum, in my case, I don't need to flex any part of it, but that will depend on the different hands of the different students. Just make sure that the tip is touching. Just like that. The steak and not like bats, that something that we do not want. The sum to be like this. And then the four fingers embracing the sake, we lift the elbow and the final step will be pulling right here. Okay. So once you remove your left hand, you will find that you are making an effort to hold the bow like this. This muscle is for a king intensely. Okay. And that's, that's fine. It can hurt. It burst this muscle right here because actually the pinky is doing offspring, the holder horizontal and this muscle right here as well in the thumb. Those are the two parts of their hands, but good hurts. And that's completely normal. So I'm going to extend my arm and then start with the exercises. This is really similar to the one that we have practiced before without bot. Only now we have included the bow and we're going only for the right arm. Be very careful about the rest. Always remember, can be arm before on the back of your hand in the same line. As usual. Let's loosen all the articulations little bit. The other directions by our. Now, let's place it in a vertical position. And you will find that the way it's so much easier to hold and disposition. When you practice on these exercises, you have to make sure that your fingers do not move like this. They have to be fixed in their position. If when you start practicing, you find out they have moved out of their position, you stop and you start again. From the top, you take the stick with your left hand. You place your fingers right there than is the thumb. And then finally, is the banking. In the case of a big deal, we do want the tip of the finger touching this steak, right? It's not like this. Now, we wanted exactly like this. So if it happens, you start from the top as many times as you have. Q. Ok. Now we're going to practice this movement to the signs. You should watch my best written, whoops, that's the most important part when it comes to producing the wrist. So that's it. You will find when the bow is in the air over a string is really heavy or you will find it heavy and harder to hold for a long period of time. But if you practices exercises, there are Muslims. The strengthen, you will train your muscles. So practice them. Remember, the more often that you practice these exercises, the more comfortable that she will feel at holding the bow. You need to strengthen muscles. You need to train your fingers, your hands, and your arms at holding the bow. And you need to be very specific about the movements of the risks. Those are fundamental for violin playing. So practice them as much as you can. 6. 5. Holding the violin: Hi, and welcome to a new lesson. So far, we have learned how to relax our bodies, how to prepare them for the posture, how to hold the bow. And we have practiced also exercises to train our fingers or hands, or wrists are arms. I fold in the boat. Now we have to learn how to hold the violin. You might feel like this is present simple. You'd take the violin, you place it on your left shoulder, and that's it. And that's part of the thing, but not the complete thing. Why? Because we have to mind the posture for our left hand. For just a thumb go, we'll do the other four fingers do. How does the risk go? Well, all of these are things that we will see in the exercises that I'm about to show you. So follow me on its practice. So here I have my violin. I use a shoulder rest, so I have put the shoulder rest on and we're going to place it on her left shoulder. The aim of using a shoulder rest is to make it stay fixed in its position and not move like this or like this. That's the aim as you can see, my shoulder as, as a curve right here, which is the curve that I have on my shoulder and that's where I feel comfortable. So you should try to find something similar in your own case, it does not have to be a shoulder rest. It could be a pad for nothing at all. But you have to make sure that when you place it on the shoulder, it stays firmly in its position. We do not want it right here on our chest, directly under our chin. We do not wanted to incline to the left because it will make it really hard to play afterwards. Let's say 45 degrees. And you have to have a certain inclination inwards, right? It's not like they're not, they're completely horizontal. It's inclined a little to the right. Okay. Now, we're going to place our left-hand. Check how I'm doing. I'm holding the violin with my hand. You do not have to use a lot of strengths with your neck. It's not necessary, not at this stage at least. So you didn't use your right hand to help yourself. And we're going to place our left-hand. Makes sure that the back of your hand is forming straight line for the forearm and that your risk is not visit any of the signs. We are going to have the palm of our hand looking straight to our face. And we're going to open and close the sum just like this. And then we're going to open it a little bit. And that's what we're going to place the net over violin. I'm not sure if you can see it. What is important is number one, that you are not grabbing the name. You simply let it rest there in that space formed between the thumb and this part of your index finger? Holding up, not grabbing it tightly. It's just right there. If I lift it up. It moves easily, right? So what you do need to make sure, which is the most important thing, is that the complete length of your fingers is above the strings, right? If I have my fingers down here, then I have to use them. If I have to use them, I won't be able to because I can't move them. They are sort of hiding behind the neck and I named them all above the fingerboard. So that's what's important, that they can move. That they are free to move, that they are all above the fingerboard. That I'm not holding the neck of the violin tightly. That my race, it's not like this twisted to one side. We want it sprays. And now we can practice some exercises to loosen up the posture that will be, for example, like this one back and forth. You can even rest your hand right there. It will help your fingers. We lacked it will help your arm reliance. Then we move backwards to the first position. You need feel the peg box right there. Like you can't go any further. And then we can move our elbow inwards and outwards. I'm simply resting my chain here among grabbing the violent or not using strength. I don't want tightened my neck will make it really, really stiff. So I'm looking to the front and I rest my chin right there. And that's more than enough. You don't have to put the chin inside the chin rest necessarily. You have to make sure that your violin is in the right position. That you can move your head freely to the sides and then you rest your chin. Wherever that falls. If your chin rest is not comfortable, then you can replace it for. There are many different designs. We could move our fingers, we connect our body, our body, another bomb or body. We can lift her violin. You can move it inwards and outwards. And then replacing back exposition. Try not to lift this left shoulder. And that's what's important, that your shoulders are, are as relaxed as they can be. That short neck is as relaxed as it can be. Same for your hands. And very important, the straight line between your forearm. Even if you feel the XIV at producing tone with the bow, practice these exercises first. Trust me, they will help you. Once we start making our instrument sound, the sound itself captures our entire attention and we stop paying attention to our bodies. We stop paying attention to our posture, which are really important, both of them. So trust me, these exercises will help at least five or ten minutes before h practice session. 7. 6. Before producing tone: Hi, and welcome to a new lesson. Today's lesson is called before producing tone, because that's exactly what it is about. I'm going to show you some exercises holding both the violin and the boat by without producing Tom just yet. So we could call them mute exercises. Remember, and society is our worst enemy in this path. So this exercises, if you practice them, will help you become aware of the movements for your arms in both directions. And what are the movements that your wrist has to make when you play. Like I said before, when we start playing, when we start producing, tell the sound captures our entire attention and we stop minding this really important facts. So come with me and I will show you. So here we go with the exercises. Plays your violin on your shoulder. Place your left hand, as I've shown you on the previous video. Rename, hold the bow and you let it rest in the middle of the bow. You rested on the middle of the D string. You can correct your fingers, your right fingers. Once you have placed the bone strain because you will find its weight is supported by the strength so you can move them freely. The era you correct fingers if you need to. We're going to breathe in and out, Make sure that your elbow is not lower than it should be this bright up there. Now we're going to lift our elbow and go to the G string with our entire arm. Right? My elbow moves and takes the entire arm to the G string. You can check the position right there. Now my elbow goes down and I to the D string. Now it goes down again. And I go to the a string once more and I go to the East frame. Whenever I stop at each strain they should make sure to relax. Chef, check my shoulders, check my arms, check my summer, my fee. Check my neck, everything, my right hand. Alright, so now we're going to make the movement little more fluent. Remember the movement comes from the elbow, not from the wrist, not from the hand. The album finally made it sound. You may experience some scratch noises. And the right of the cameras. Just prices stay as still as possible. Make the bow as still as possible. And then we're gonna go back to the D string. And we're going to lift our bow in place it parallel to the bridge. The member it should always be parallel to the bridge. Will go to the novel. And then we lifted and go to the point and still keep it parallel to the bridge. If you have trouble looking whether the bow is parallel to the bridge or you can use a mirror right here to your site and check in the mirror. And that's really, really useful. So once more lifted and go to kinda go carried on to the race at all times that's essential for producing a good term. If you don't reach the point of your bot, because it's really, really hard. And when you get to the point, you know, you have your bot just like this, then what you should do is stop right here. You have to make sure that the posture on your right hand remains the same. Your fingers to not move out of their position. If they start moving because you can't reach the point of Virgo, then stop right there. Make sure that your fingers are correctly placed. Em, as a practice with time, you will start stretching that arm, breast. And you will be able each day to move a little further away and further away until you do latch the point. Stay right there. There is tension in the arm and you do this, especially if you're practicing it in the G string, you will find a lot of tension right there. So make sure that you practice these exercises in all screens. Like I said before, for all the previous exercises that we practice. A couple of minutes, maybe five minutes before each practice session will be enough training. So don't miss this practice. 8. 7. Optional lesson: the "Simulator": Hi, and welcome to this new lesson called simulator. This lesson is optional because it will require you to build your own simulator. Now, you will be wondering, what is a simulator? Well, precisely as its name indicates, is a piece of work to pieces of work to be exact, one is avoid further boat, and another one for the violin that simulate to be a violin. So you will hold on the right hand, the wooden stick, and you will hold on your left shoulder and with your left hand. Another wooden stick with the trailed card for the bot, which will not be the boat but the wooden stake that you have. With this a word, we will practice the movements that your arm has to make when you play, to play down bow and bow. Now, this has an exceptional because like I said before, maybe you don't feel like, you know, making this device yourself. And that's okay. But I have included it in this class because I found out during my years of teaching that for some students, it is really useful. It becomes a useful tool is that Islam become aware of the movements of the arm to play down bow and bow to change strings. Without having to worry about the sound, without having to worry whether it sounds good or not. So I have included it. You can just, they are not coming next. I will show you what the simulator is about and the exercises that you can make with it. Okay, so here we are. We've talked about it, but now you get to see the simulator. As you can see, this that simulates the bow is nothing but a round wooden stick. In my case, this one is really, really ONE cell, as you can see, it's a little curved. That shouldn't happen, but nevertheless, it will work as well. So we're going to use this to simulate the bow. We're going to hold it exactly as we would hold the bow. The benefit is this wooden stake is library. So if you have trouble holding the bot because you'll find it really, really heavy, you can start by using the stake just like this. Make sure it's not too big, not to heavy, and not too long, of course. And you can start holding it in the middle instead of holding it on this. And here, as you would own the bow, hold it in the middle. And you will feel the weight of the stick better distributed. So it will not wait as much. And you will be able to practice the exercises that I have shown you for lifo. Using this these exercises, right? You can go back and review them if you need to. If you cannot get a wooden stake and still have trouble holding the weight of the bow, which you can use, a pencil, for example. And then practice the posture for all the fingers. Only holding depends on really short. You won't be able to practice all the movements here with a simulator, but still, you will be able to. Suppose true without the weight. So you can do that as well. So you can start holding it in the middle of the steak once you feel comfortable there and you can do all the movements necessary without your fingers falling out of their position. You can move them to this end and then start practicing their, you know, all the exercises that we have practiced before with the stick. Now here this is another wouldn't stake that simulates the violin. It does not have to have this shape at all. You know, it can be a simple wooden stick with a trail card so that she can stick the wooden stake inside it, right? What does this do? Well, it helps you move your arm and your risks in the exact direction where you will have to move your arm and your risk when you play. This is exactly plane parallel to the bridge. This is moving your bot parallel hopes and bridge from one end to the other. So since the movement when you're holding the violin and the bow is not completely to your psi. You don't have to move your arm, your right side, but sort of making a diagonal, right? So the front, it's to the right and to the front, not only to the right. So since that is the movement that she will have to make and you're gonna have to take your bow, your hand, and your risk in that direction. And sometimes that's complicated when you're producing tone. This is the point of using a simulator. Like I said, you can use any wooden stake that simulates a violin and carve a trail inside it so that you can stick into it. And as you can see, when you try to move your bow or you're a stake in this case, in a, in a direction that's not the correct one. That's not the one as would be parallel to the bridge, then you can't do it because the trail prevents you from it. So this is really, really interesting. I have really checked that this works with my students. It really helps them. As I said before, it would not have to spend hours and hours and hours with a simulator. This is the tool that you can use for some minutes before your practice session, and that's it. And you will not need to use it for more of them. Some weeks, actually, that depends on the student, but generally, you won't need it for more than four weeks. But it helps. It really does help. For example, if you put a stick right there in the middle of this steak, and you can check the height of your elbow, in your forearm and the back of your hand. And then you start moving it. You can relax and you can move it down, bow and bow down by 0000000. And then you can start doing those two movements. More fluently. You change directions without stopping your movements. This is something that we will practice them with the bow producing town. But now we get to practicing without producing tone and we get to move our arms and check. The most important thing is this direction that I told you about knotty arrive but sort of drawing the diagonal now to arrive to your front, that's where you should move this crew on your boat. And that's where your wrist should move. So here as you can see, if I go all the way to the not check my wrist right there. And if I start moving my wrist, how it moves to the other direction. And now in works outwards. So that's really important. You can try that movement as if you were playing on the E string right here, your arm right next to your body. And you can try to, of course, if you were playing on the G string, there and there, you can practice the maxim. Of course, the posture of your left hand should also be as the one we've practiced with the violin, you know, keeping the similar as you can to the violin and the bow. This is movement and then you can go faster and check how your risk goes when you try to move faster, the loser that your risk is, the more that the Trail will guide your movement. That's the idea that this cram right here, guys, your links and you don't have to struggle, you know, trying to take your arm to a certain place. Now just relax and let the trail guide movement where it should go. And that way they're going to make sure that you are playing exactly parallel to the bridge in all the length of your row. Like I said, this lesson is optional. You don't have to build your own device if we don't feel like it. But as my experience dictates, I had to show you this tool because it is really, really useful, especially if you're struggling to make your bot go parallel to the bridge when you play. 9. 8. Producing tone for the first time: And the time has finally come. In this lesson, we will produce tone for the first time. We will produce town in each of the four strings. And we will do it easily and comfortably, just as I have showed you on the previous exercises. This is the great opportunity to put into practice everything that you've done before, all the exercises that have prepared your body too plain. So follow me And now let's play. Okay, so finally, the time has come. Where going to produce tone for the first time. And we're going to put into practice everything that we've seen before. Don't forget about the posture for your right hand. Don't forget about the posture for your left hand. Don't forget about the relaxation. Shoulders, your stomach, your feeds abraded to the distance of your shoulders approximately, you know, filling your body, lose. Don't forget about all those things that we have reviewed before. So please her violin and the shoulder. Place your left hand should be on the first decision, make sure that your fingers, which are not going to work and all are completely relaxed. We don't walk fingers like this, all tight and tense. It's completely unnecessary. In fact, if you feel a little tense because it's been a while since you are holding both arms I up. You can rest your hand, know the palm of their hand right there on the body of your violin. And you will find that your entire arm feels more comfortable. You can do that. We're not going to use our left fingers at all. And once you feel comfortable with the violin, place the middle of the bow on the a string, and then make sure that your fingers are in the right position. Plays all of the bow here over the string. Where in the string that's important. Well, the world passes in the space between the bridge and the fingerboard, right? So we're going to place it in the middle, the middle of the screen space or the booking go middle strength, the middle of the bow, the entire boat here. And we're going to check that our bow is parallel to the bridge. And then we're going to downvote how? Well, using only the natural way of the bow. We're not going to put any pressure on. We're just going to a little bit using about about this much of the, I'm going to show you first down bow and the costs. One sound. And we pass there. And we agree. And then we go back. I'll go into agreed. And we repeated many, many times. Every time we saw, we tried to relax and check if we are authentic refueling Thames. Anywhere in our bodies Aramaic are solid or hands or shoulders. Check. Stop. Stop. Stop. Right? This is the first exercise. Stopping will help you become aware of what you're doing. And if there's a problem, if there is some mistake, for example, is crunching noise when you start playing, then you can correct that by simply making sure lifting all your fingers except the middle one and making sure that you're using only the natural weight of the bow. If you're a little tight and you are pressing, you know, inadvertently the bow against the scraping. Sounds will appear. And we want to avoid them so that your fingers and then go back again. If you are placing your bot exactly in the middle of the screen, and it does not sound that arrive. Well, you can start moving the bow a little closer to the fingerboard or little closer to the bridge to find where in your violin and with your bow and with your body, the natural sound springs out without having to do any sort of effort. Then we're going to repeat this exercise. If all the screens we need to feel what happens in all of the strings, they all do different, but so it's important that we do this for each of the four springs. And greed. He makes sure that your arm is not moving too fast or too so, right, you have to find both speed as well. So thinking this pulses and resting the bow on the screen when your pulse is a good opportunity to check all these things, how fast your arm is moving. If you're feeling tens, if you're putting pressure on the bow, on the E string. And then the T spring. Remember, when you change strengths, when you go from one screen to the other, the movement is the one that we practice in its mute version before the LBO, the right elbow takes their bow to each of the springs. Right now we want to move our entire arm and check the distance between one screen and the other. One will be the next step, step number two. Well, playing those two sounds together, Dumbo and the up bow, as we've seen with the senior later. If you've taken that lesson, without stopping movements, we changed directions without stopping me so bad. Both cells are connected. And we've ofs. And we go back again. Make sure that your fingers are events. They should not be making any kind of effort because you are playing only using the natural weight of the boat. Your fingers are simply holding the bow and directing it where it should go. Remember not to the right but to the right and from's, that's where your risks should go, where your screw should go when you move down bow. So let's go again. To movements, to sounds. You can play them shorter. Just make sure you stay right here in the bow, in the middle of the bow. Don't go too close to the null. Because there though is really, really heavy and you will have Scratch noises and don't go to post to the tip to those to the point because they're, the bow is freely light and you will have trouble keeping the bow catalogs of the bridge. So just play using the middle of the boat. And then move on to another screen where you're moving and you feel like you're Bill dialysis little, as you've seen in my bow here, that's completely natural. That's only tension in your arm. You know, when you pick up the violin and you start playing, there's like national attention in your arm and it will go away as soon as it can be less. Practice. There are two movements. Then feel another's thing known to be e to the, a span of sorrow. If you need to take more time during the pulses, do that as much time as you need to revise, to breathe and to bring out the check your fingers to check if the movement for changing strength is the correct mooc events. And then if you have trouble in one string more than another, that's also completely natural. You will feel some screens are easier than others, that's ok. You just stop on whichever screaming offers a certain difficulty and you practice they are. What's important is that you focus in performing that movement, that back and forth, you know, downvote a boat. So simply, like I said, we changed directions without stopping or movement. You don't have to here. We have to hear really connected, we want to connect this town's step number three will be blamed together three sounds. And then we arrest on the screen. So the first sequence will be down bow, and then we will play the second sequence up below, and then the third sequence than low. And the fourth level bow. And so on. Well, on one screen and another sequence on a different screen. When did I change strengths? Well, during the past so that you have more time to do that. You have time during that path to do this movement for changing springs separately from the sound, from the movement down bow or above. And that's important. At this point. We need to differentiate, I'm sorry, those two movements, changing strings like this and producing tone like this. Those are two separate things. Then we're going to connect them. But for the time being, we just need to know what movements produces, what results. So three sounds and when spring change, right? Make sure that you use the same amount of flow here to play each sound. We want the same arm speed, the same bow speed for each cell, the same volume, the same quality of sound. We want to make, all the sounds that we produce exactly the same. So that's your aim, that's what you should look for. Step number four will be producing four cells. And using the best. I will use the cells to make sure that your risk. You can alternate. Long sound, the church sounds, using Margo for lung sounds and less bone for the short funds. You can really go from one string to the other. Remember, for the moment being changed strings during the pulse. And then practice as much as you need if you feel like the change of direction is not fluent enough as you would like it to be. Well, thanks, stop right there and loosen your risks. You can go back to the exercises without bow, without violin. And just move your wrist so that it loosens and then try to imitate that relaxation when you're holding the bow and when you are playing, you're producing tilt with the violin. Remember, if you have any question or any doubt, can contact me at anytime you can send me your videos and I will be more than glad to give you my feedback. So this is the simplest technical elements. And with this technical element, you can make music. So put it into practice and play, play, play. Remember, the more you practice, the better that you will be added, the better that's her violin sound, and the more comfortable that you will view for the time being, keep using deposits before you change strings or right, I will see you for the next lesson. 10. 9. Impro practice with backing track: Hi, and welcome to the final lesson for this class. Today we get to put into practice everything that we have learned so far. We are going to make music. We're going to improvise using the track that will be sounding, and this will be the final project for the class. So pay really close attention to the examples that I'm about to show you. So welcome to this final demonstration. Music sampling this triangle. And we will use for a final project in. And I'm going to show you some examples of how you can improvise using this term. Only with the elements that we have learned during this class. Only by producing known and in the middle, even though molybdenum streams and amino changing strings fluently interest yet using one screen and time deposits. So I'm going to show you some examples. You're going to find out that there may be strings. And these strings are the ones that have better with a triangle to try all the different source race to find ero a good privacy. There we go. And my advice is that you try to find the shortest sequence and then repeating something that relieves itself over and over and over again. So you try to find the new seamless that is, surely know so that you can remember it easily and repeated as many times as you need. And once you knew comfortable laying that sequence, you can make only survey the simplest. And then use the false. Our idling site feel everything until the revealed everything with sound, using rest and human service fits in the music again. If you get lost in that, maybe you don't know what to do next. Well, you suffering there. Then start again. And as you can see that these are only examples. And you can use the long nose and you can use sharp notes, you can find them. My advice is that you start with the simplest, using Rwanda's towel at a time, like sound and the sound and the loss of freedom during the process and that you check that you are just as relaxed as you would like to be. That's the most important thing to remember. And if you don't mind realization right now when you start moving forward in the learning process, it will be even more than in the US. Zopa made. Your body and relaxation and having your fingers, your risks, your arms knowledge, mortar joints loose because then if you don't do it now and it will be hard if a golf and when it comes to the time when he had to play, where do they go next? So this is a great track to renounce ongoing crime. Also remember it's by indemnifying the beginning of the balloon. And the tempo. Very starting at. That's the first thing that you should hear when you move the timeline. And then like I said, Nature software would go a thumb though, musing, knowing the crack and practice, we have about ten minutes at the strikes to so, so try different sequences. Remember short sequences that you can remember needlessly. Repeating easily. Always clean them, and then move forward to a little more difficult to make a little more difficulty L one step at a time. And I'm really looking forward to hearing those and runtimes that you've sent me to you for the next class. Remember, you have the technical elements that you need to do this. You can produce tone with your bow and you can rest your bow on the screen, and that's all that you need. You can try all four strings. If there is a spring material like you can eliminate it. Don't be afraid to try. Don't be afraid to play. If it didn't come out. Well, if it didn't sound right, then you can corrected improvised. Let yourself go that yourself flow with music. And I will see your videos on the clamps projects. 11. 10. BONUS TRACK: Frequent problems with tone: Welcome. I have decided to add this bonus track to the class because I wanted to cover the most frequent problems with Tom. It's really common that beginners have this kind of problems. So I wanted to talk a little bit about them. What are the most common problems that you will find when producing tone? Well, bow placements, both P and both pressure. As you can see, how the problems are related with the bow. So you have to pay special attention to it. Both placement means where on the string you place your bow when you're about to plane. The boat pressure refers to the amount of pressure that she used against the spring when you're playing. And both be refers to the speed of your arm. So now I'm going to demonstrate this problems and how you can correct them with my violin. So let me show you what the most frequent problems with tone are. We can demonstrate them so that you get here and see for your own song. The first problem I would say, like, most important problem that you should read, if you have x is both direction, right? If I don't move my arm or my risk, let's say my hand, let say better my hand because this right here, this and is leading the movement. So if I don't move my right hand in the right direction, my bot who saw beam parallel to the British. And that will bring problems with tone chain. This is a tight wrist. I start right here and I do not lose them the risks. So my movement is sort of backwards. That's not where it should go. Now, if I go to the side, that's also not correct. You know, It's like the strengths fix my my boat writes to the fingerboard. I start right here. Right there. And it sounds all. So that's the first thing that you should correct. Your bow direction. Makes sure that your right hand does not go to your side, does not go to your right, but sort of tracing the diagonal, right and to the fronds. And that's really important. You can look at your reflection in a mirror and window on the TV. You can and yourself with your cell phone, which ever tool that you need to make sure that your bow is parallel to the bridge at all times. When you go and when he comes back down bow and abode both directions. If I try to do the same in my bow direction is off. Now only my bow is low over the place all over the screen. But you can also hear how it affects the tone. So that's problem. Number one. The first thing that you should correct if that's what's happening to you. Problem number two. And we have here like three different problems altogether, all interacting one with the other. Like I mentioned before, that's string. String, let's say bo position, bow placements, both pressure and both speed. And those three interact one with the other. They are not separate one from the other. So let's go first. Bot placement, we've mentioned before when we start playing, we place our bow in the middle of the string. And when I say the middle of the strain and in the middle of the distance between the fingerboard in the bridge, that's where the bow goes. So I place there. And it sounds great. Now, what if I do the same but too close to the fingerboard? I'm doing exactly the same using the natural weight of the bow. It does not sound as well. It's like the sound is not, right and more. That's because the bow is too heavy in this place of the screen to play there. So if I want to play this part of the screen, I'm going to have to lift the weight of my bot. And since we're not there just yet, because that's another difficulty, you know, an, another technique that we should dominates. Then we're going to move our bow again to the middle. And there you can see it sounds better. Now what happens if I place it too close to the bridge? I'm also doing the same thing, playing with a natural way to my boat. The boat is not the D or the boat hair does not adhere to the string. That's because I need to play in this part of the string. I need to use a lot more pressure and says we're not there yet. We should avoid this part of the screen for the time being. So we're gonna go back to the bill. And there we find the guide of sounds that we are looking for. Now, another problem would be both pressure. If I put a lot of pressure, I will get this question isis. And I do not want that. Now that also comes with bow placements is not the same to use this kind of pressure right here, produce the same kind of oppression right here. I am using to play close to the bridge. But in place of the screen, it's okay to use fresher invite. We've seen if I don't use any pressure at all, the bot does not adhere to the string. So if I wanted to play there, I should use the National Weight of the bow. And if I use too much pressure in here. That's really catastrophic. I don't know how to say it. That's the most awful sounds. Violin in May. So bow pressure is problem number two, you should check that you're not feeling too dense and too typing. You're not pressing your vote against the screen. That's not necessary at all. You can produce good til, beautiful till, and without having to put any pressure on. They'll do like I've done before. And and avoid this crash noise. Their ego. So the prevalent number three would be the boat speed and that it would be going too fast, are going to slow with your arm with their bow. So if I go to slow, that sort of lay shy kind of tone does not sound bright, it does not sound well at all. If I go to fascinate, the vote did not get to adhere to the strain and make it vibrate consistently. So I have to check and add Boesky is also the right one. The speed is the right one for that plays at the strain. Because if I use higher speed near the fingerboard and it will not sell bed, all, it will sound grades. So if I use high-speed near the fingerboard, it's okay if I use that time is being right here. It's not okay. If I call it just slow. This note sound well at all. So I have to check not only my bow speed independently from all the other factors, but together with all the other factors, right? My bow speed where I'm placing the bow in the spring and if I'm putting any kind of pressure on it, if I use a lot of speed here in the middle of the spring, I'm going to have to put some pressure on my boat's, makes sure that it adheres to the screen. So if I combine both speak with pressure, I get a good tongue. As you can see, it's a little complicated at first, but you can see how these three factors interact with the other. Those are the problems that she can be experiencing. Remember, take your time to create to identify what problem yours, what's happening in your case. Maybe you're going too fast with your arm because you cannot control it yet, so you have to slow down and make a slower movements. Or maybe your bow is little off and you're playing too close to the fingerboard or on the other end of the string to close to the bridge. Maybe you're feeling tense neoprene pressure, but take your time to see if you have one problem, if you're experiencing one problem or maybe two of them, maybe you're putting a lot of pressure and you're going to slow, for example, or maybe you are too close to the fingerboard and you are going to slow. So like I said, breathing in and breathing out, take your time. You can review this video as many times as you need. I do understand that it's complicated to sort of understand all these problems and how they interact all at once when you're a beginner. But you can take your time and you can review this video over and over and over and over again, sorry, until you get it. And remember, if you still have doubts and if you're still not getting it right, you can film yourself and semi-rural video and I will be more than happy to give me my feedback.