Violin Karate 1: White Belt Violin | Caroline McCaskey | Skillshare

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Violin Karate 1: White Belt Violin

teacher avatar Caroline McCaskey, Fiddler, Educator, Goofball

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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

14 Lessons (43m)
    • 1. 1 White Belt Intro

    • 2. Equipment

    • 3. How to Hold the Instrument

    • 4. Using the Fingers of the Left Hand

    • 5. Pizzicato: Pluck the Strings!

    • 6. How to Hold the Bow

    • 7. How to Get a Good Sound

    • 8. Troubleshooting Tone

    • 9. Let's Play a Scale (Ascending)

    • 10. Let's Play a Scale (Descending)

    • 11. Hot Cross Buns: Pizzicato

    • 12. Hot Cross Buns: Let's Add the Bow

    • 13. Hot Cross Buns, Slowly

    • 14. Hot Cross Buns, Up to Tempo

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About This Class

Hello, and welcome to Violin Karate! If you've never played violin before but you'd like to learn, you're in the right place! This course will set you up well to continue your studies of classical violin, fiddle, pop, rock, jazz or any style of violin you'd like to play. With over 125 bite-sized lessons and example videos, you can level up your violin skills in just a few, fun minutes a day!

Violin Karate 1: White Belt is designed to get you up and running, playing your first song, as soon as possible. Check out the other levels to continue your journey!

Acclaimed multi-style violin and fiddle teacher Caroline McCaskey has decades of experiences starting beginners of all ages in a fun and engaging way, and setting them up for success in a lifetime of music making. Her background and training in the Suzuki method, teaching students ages 2 to 85, means she knows what WORKS. Rather than inundate you with absolutely everything there is to know, Caroline shows you only what you need to get you up and running. Violin can be difficult - why make it confusing by showing you stuff you don't need? (Of course if you have questions, be sure to ask!) **There are no filler lectures or boring exercises in this course - learn everything you need to know by playing songs!**

If you look forward to practicing, you're more likely to do it! 

Disclaimer: please note, this course is not designed to teach you how to do karate with your instrument. (We do not condone violin violence.) The belt system is used here simply as a fun framework to measure all the progress you'll be making! Let's start playing today! See you inside!

Meet Your Teacher

Teacher Profile Image

Caroline McCaskey

Fiddler, Educator, Goofball



In demand as both a teacher and performer, Caroline spends her weekdays teaching Suzuki violin and fiddle in the San Francisco Bay Area. Weekends find her gigging with the contra dance band StringFire! and making YouTube videos playing the musical saw. She is the founder of AltStrings, LLC, which strives to make non-classical string instrument education accessible to classical musicians and students everywhere through books, sheet music, videos, and scholarships.

Caroline grew up playing the fiddle with the San Francisco Scottish Fiddlers, and has been involved teaching at Fiddlekids Day Camp for over a decade. She also teaches cello and musical saw at Rocky Mountain Fiddle Camp. She is the author of "How to Read Bass Clef on the Piano: A Mu... See full profile

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1. 1 White Belt Intro: welcome to violent karate. One white belt. In this course, you will learn what equipment you'll need, how to use it, how to play a scale and how to play your first simple song. His course is perfect for you. If you've never played the violin before, don't worry. I'll show you what to do every step of the way. This course is also great if you already played the violin, but you're afraid you might have some holes in your technique and you want to start over from the beginning. Just to make sure things course is a great way to start learning violin, you won't just be learning a scale on a song. Along the way, we'll be learning the essential techniques that you'll need to create that violin sound that you love during the lectures. I'll be telling you all about what you need to know and why, and inviting you to participate as well. By the end of the course, you'll be able to play in a major scale, ascending and descending and hot cross funds your first song. In later belt levels, you'll learn more notes and more songs, but in White Belt, we just want to focus on getting you up and running the right wing. Also, you'll find a PdF with every single note that we learned in this course underclass project . 2. Equipment: Let's talk about how to take care of your instrument in general, if something goes wrong with your violent, you want to just bring it to a professional toe. Happen. Look at it as a beginner. There are a few things that you probably just shouldn't touch at all. And one of those things is the bridge. You want to make sure that the bridge is standing up straight and that you never, ever, ever set the instrument down on the bridge. That's very important. The bridge is not glued on. It's a very thin piece of wood that is simply held on by the tension of the strings against the face of the instrument, and that's all there is to it. So be careful not to jostle it. You want to make sure never to drop it. Otherwise the bridge will come loose. Same thing with the sound post inside that could fall down again. If any of these things goes wrong, bring it to a professional. As a beginner, you may want to have a professional change your strings as well. When one of the breaks, you want to be very, very careful not to turn the pig too much because you might break the string. When you're done playing your violin, you want to take a rag and wipe it down. You want a wife down all the parts that you touched, as well as wiping the rosin off the strings. Now a lot of people, when they wipe brought enough the strings. They just go on the top like this, actually recommend pinching the string so you get the rosin off of the side as well. What's rows and you ask, Let's talk about the boat. When you go to take your bow out of the case, you'll notice that hopefully it's been loosened because this is how a bow should be stored . The screw on the end is what allows you to loosen or tighten the hairs on the bow. You want to store it. Loosened said that the bow is not under tension while it's being stored, but you do have to tighten it in order to play, because it needs to be under tension for you to use it. When you play, you want to turn the screw radi tighty until the gap between the hair and the bow stick is about as wide as the bow stick itself may be a little bit wider. In my case like that, the boat should still have sort of a valley shape to it or a bow to it. Like you say, a horse has a boat back. That's what we're talking about. That's why we call it a bow. You'll also want to put rosin on your bow. Rosin is purified tree sap Mix the bow a little bit sticky but not sticky like gum. Just gives it a little bit more friction and allows the boat to grip the strings. This is how a sound is made with your bow on the violin. So what you're gonna want to do is protect you're rosin, which chips very easily from the frog of your boat by putting your thumb on the silver part . That way you can use it as a bumper. In general, we do not touch the horse hair. It's OK to do this because you're never going to really use the part of the hair right by the frog, and you're just going to apply it for the length of the boat. There you go, 3. How to Hold the Instrument: to help you hold the violin. You may find that you want something like a shoulder rest or a sponge. Dealt the violence. Sit more comfortably on your left shoulder to put a shoulder rest on. You're gonna hold the violin upside down. You want the part that goes in. That's the part that goes on your shoulder that's gonna go opposite your chin. Rest. So, see, there's a There's a part that goes up on the part that goes down. The part that goes down goes under your chin. Rest. You're gonna hook it on one side, swing it over the top, pull it down, and there you go. A sponge could be held on with a rubber band. You can put it right there and put a rubber band. I like to put them here, and I going across that way you may find that you don't need anything. This is just all in service of helping the violence sit more comfortably on your shoulder. What you're going to do now is find your end button and snuggle it right into your neck. This is the end button is what holds the tail piece that holds all the violin stuff to the front of the instrument. Attach is here on the side. We're going to snuggle that right into your neck. Hold it with your left site of your job. Now we call this a chin rest. It's not really where your chin goes. It's kind of the jaw. This little bump that sticks up goes up underneath your job. And if you're doing it currently, you should be able to hold it just with your head. You want to make sure you're not holding it with your hands. We need our hand to be free in order to change strings or to shift to higher positions. Basically, if you can sit comfortably like this, you're in good shape. You may find that you need to bring your shoulder up somewhat. If you don't, you may be leaning way over this way, which we don't want. I don't recommend needing to do this for long periods of time, especially when you're first starting your still building all of these muscles. But you want to make sure that it is this solidly there that you are using your shoulder a little bit. You're engaging these muscles just a little bit. You don't wanna kind of crunch up everything. And you definitely also don't want to be hyper extending these muscles in the back of your neck. You want to be using the weight of your head. You don't wanna be grabbing at this way. You want to simply drop your head. Your head is very heavy. Your head is very heavy and should be able to hold the instrument on its own. If you're finding you have trouble where the violinist tipping a lot this way, it may either be on your chest too much, or you may find that you'll need to put a little bit of padding on this side of your shoulder. Rest. If you're finding the hardware is bothering you, you might cover with a washcloth. This will make it slip around a little bit, but you may put it just on your skin, and this should help buffer a little bit between the hardware and yourself. Some people use that mole skin stuff designed to prevent blisters. It's in the foot section. I think of the store I recommend against putting it on the varnish of your instrument, but you can put it on this little hardware stuff if you prefer, but a cloth is probably best when you're ready to play, we snuggle or instrument against our neck. You put your left hands almost all the way back to the pigs. The side of your left hand is going, Teoh, rest almost right at the nut, which is this little piece of six up holds the strings off of the fingerboard. It's gonna be almost right there on your thumb will be slightly ahead. You want to be able to reach back and be able to touch the bottom part of the scroll. This can actually help you figure out if your hand is in the right place or not. When you go to put your fingers on the strings, you're going to bend your fingers and you wanna have the very tip of your fingers like the side of your your thumb side corner of your finger, not straight in the middle, but on the on the side of your thumb, and each one of you should be able to go down on the string. If you had tape, put on your instrument at the store, you can go ahead and find your first finger, 2nd 3rd and fourth finger tape. This could be very useful for beginners. Go ahead and practice bending your finger, placing it on the string one at a time and then picking them back up again. You want to make sure you have a nice straight wrist and that you're not way under here. You want to make sure that there's a little gap between where the violin rests in your hands with the little kids. I call this the mouse hole. Make sure that you're not squeezing. You have your thumb, the side of your hand, the mouse hole, straight risk, nice curled fingers that can fold one at a time. We're doing them in different combinations, and we're ready to go. 4. Using the Fingers of the Left Hand: By popular demand, here is a really close up look at your left hand. Here is an over the shoulder view of what your left hand looks like. So you see we've got the thumb across from the side of the hand. Side of the hand is going to be right here, pretty much right across from the nut. That's this wooden piece here at the top that sticks up out of the fingerboard. Your hand is going to be the site of your hand is going to be right there on the nut pretty much. And remember, it's going to be a pretty far so that you can reach around and curl your fingers to come straight down into the strings. You've got your thumb a little bit farther forward than that. It's going to be pretty much random between your first second fingers, so kinda like that, but with the violin that can really, you can see that. And in terms of spacing our fingers, we've got what we call a whole step. This is what we're using at the beginning. This is where your fingers are spaced apart between your first second finger. We've got a half-step where the fingertips are gonna be kinda squished together. Careful not to squeeze, squeeze squished, but just that they're touching. And then another whole step to your fourth finger. So we have this kind of a hand position, whole step, half step, whole step here. So we've got a, we also have a whole step from the nut to the, to the first finger. So that's maybe a little over an inch. And then another inch or so and then we've got a touch and another inch. Sorry if you use the metric system. But it's it's just, it's just a gap of about if you could fit another finger in between. So now from the player's point of view, we've got the thumb, we've got the first finger coming straight down. We've got a space squish and space like that. And you can see that my fingers are curled over the top string. If they're on the E string, they're just coming straight down like that. If they're on the, a string there, curled over the E string so that I can pluck. I can still hear that East drink. If you're finding, you're getting this kind of sound, then you can do a couple of things to troubleshoot that again, you can swing your elbow around, which is what I recommend. And you see that brings your thumb and your fingers and everything over the string a little bit better. And so that will allow you to make this. When I was calling a tunnel over the E string, this is the right shape to have on the E string as well, even though you don't have another string to tunnel over. But you can kind of imagine and you want the same handshape on each string and you do that. You achieve that by swinging your elbow forward to reach the G string, D string, and then back again like this for the a and E, as you move this way, you swing your elbow back. As you move towards the thicker lower strings, you swing your elbow forward. So from the point of view of the player, that's what it looks like. As you can see, I can't really see my own wrist, which is why I recommend practicing in front of a mirror. That is a really good idea to do. You can also do I recommend doing your fingers kind of one at a time. The other thing that I recommend doing is putting tape under the strings. Now in terms of what notes, these actually are, the names of the strings, are the names of the notes of the strings play without any fingers on them. So this first string, you have E. And when you go to put your first finger down this note, where it's about an inch away from the nut, is an F sharp. So if you have a tuner or a tuning app on your smart phone, or you can probably find one in browser. Even if you don't have a smartphone, you can play this first finger straight down on the E string. And it should line up with your tuning app. So if you, whatever app you're using or whatever tuner you're using that should say F sharp and it should be straight up and then right in the middle. That's how to know that you are in the right spot. Now, if you want a reliable way to find this spot again, you can always put a little piece of tape or a little sticker or something underneath that spot so you can find it in. In fact, that spot for your first finger is going to be the same across all the strings. So that's why we will often put a piece of tape that will signify this is where your first finger goes and I'll put another one for your second finger, another one really close by for your third finger and another one for your fourth finger. In order to do this yourself first, you have to make sure that you're open strings are really in tune. So this is really E Street on the green, This is a, D and G. Then when you go to put your first finger down, you really want to speak F sharp. The other notes are going to be B, E, and a. And yes, we have some overlapping notes. This first finger a on the G string. And is a just like you're, a string is. And you can hear how they sound very similar to each other. They're what we call an Octave apart. You don't have to worry about that just yet while you're putting your finger tapes on. Anyway, here we have E, we have F sharp stretching to a space for our G-sharp. So when you play that it should a lineup with G-sharp on your tuner, then we have a squished to our third finger. I call it a squish. I don't really want you to squeeze, but we're going to call it space and squished just because that's a little bit easier to say than whole step and half-step and things like that, that we don't, it's kind of beyond the scope of this course to explaining music theory. So we have this squish, this half-step to a, from G sharp to a. The music alphabet goes a, B, C, D, E, F, G, and then it repeats. So we go from G sharp to a. So that's our half-step here. And then you can match that up with your tuner and put a little sticker under it and then stretch to b and line that up with your tuner as well. So you have on the E string will have E, first finger F-sharp, second finger, G-sharp, third finger a, and fourth finger b. Now on the a string, it's a little bit easier to follow because it's a little bit more like the beginning of the alphabet. We have a, of course, first finger, B. Second finger not a. Cbc sharp. Third finger D. And fourth finger E. So this space here, space, squish space. The spacing here, whole step, half step, whole step. So that spacing that you're looking for is going to be your first finger. Tape about here. Second finger, third finger, and fourth finger, about like that. Later on we'll be adding things like our low second finger, which is where we're going to have our second finger come close to the first finger instead of the third finger. So the spacing would be like this. Instead of like that. Second finger is the one that moves. Then we'll have other spacing where maybe we have this high, we call this a high third finger, or maybe we have third finger that's in one spot and the other fingers move down like that. So third fingers, the only one that's on the tape. And then we have what we call a low, one, low to high and low for. But for right now, all you have to do is have these guys, you're a, B, C sharp, D, and E in a predictable place that you can find. And you will be good to go. Let me know if you have any questions. How fun. 5. Pizzicato: Pluck the Strings!: one way to play the violin is to pluck the strings. We call this plane pits Ocado. We're going to go ahead and set up our instrument on our left shoulder, making sure that you can hold it with no hands. You can put your hand here or as we've discussed out here as you're ready for fingers, were going to take our right hand, which has no bow in it at the moment. Take your thumb and put it on the side of your fingerboard like you're going. Who plays violin? This Get right here. You're going to put your pinkie on one of your strings and look, leaving your thumb on the side. Their plot. Click that Try each one of your strengths. You'll find that you need to drop your elbow as you're going towards the higher strings. Your highest string is called E. What's Pluck E. Your next one is a your 3rd 1 is D, and your last one is G O. Don't worry if these seem like they're out of order at the moment, we'll fill in the rest of the alphabet with their fingers in a bit. So now that you can pluck the strings tried. Do them all. You can go straight across this way or you can make a little arc, which sounds nicer. You can also pluck from above. Make sure that you're using the meaty part of your finger, not just your nail or the fingertips. Try the different ways to do it and you'll find that using your fingerprints. Like I said, this kind of meaty part makes a nicer sound versus now. We can go ahead and try plucking with their fingers on the strings. So let's try our E string. Pluck your eastern. Let's put our first finger on the tape. Just curl your finger. Put the tip of your finger on the strength. Now you've got an F sharp Let's click F shirt. All right, let's put our second finger. Little leave your first finger down. We're gonna put our second finger and this is G sharp. Then we're gonna curl or third finger and play a on the Eastern. The music alphabet curls back around A B C D E f G. And when you consider ji, you start over again of a A B C D E f G a B C D e f g a B C D E f G. But so we've got E f shirt T shirt A and R fourth fingers. Be now we can come on back down, pick up your fourth finger, play your third finger, give your third finger to play your second finger and your first finger and your eastern. It doesn't matter how many fingers you have on the string. I'll make suggestions throughout the course, but the one that we're going to hear is the one closest to your bow or closest to the hand that's plucking the string. See, I have my fourth finger down. It doesn't matter if I have all of my other fingers down or just my fourth finger sounds the same. 6. How to Hold the Bow: toe. Hold the boat. We're going to flop our fingers on the top. Your pointer finger is going to curl around this part. We call it the leather. The others are going to fall about a finger with the part they're gonna drape at this first joint, and your pinky is gonna rest up on top disease a little bit shorter. You have two options for your thumb, but either way, your thumb should be bent as well on your hand should stay open. So which ever version of where to put the thumb allows your hand to stay open is the one that's gonna work best for you. So I recommend that you start with your thumb on the bottom of the silver part. We call this the beginning bow hold. But you can also move your thumb inside, which is the professional bow hold as long as your hand stays open. Imagine you've got like a ping pong ball or a golf ball in your hand. You'll be in good shape, so you've got your thumb out or your thumb in. Those are your two options. When you're holding the boat by a self, go ahead and just leave it pointed at the ceiling. When you go to turn it this way, your thumb has to pick up a lot of the bow weights while all of the boat weight and your pinky is going to be balancing out like that. So make sure that your fingers stay bent and I'll see in the next video, so make sure your fingers, so make sure your finger statements and I'll see you in the next video. 7. How to Get a Good Sound: here it is the moment we've been waiting for. How to get a good sound on your violin. We're going to put the bow to the strings. So let's put it all together in a snuggle your violin up into your neck, you're bringing your shoulder up a little bit. You got your hand ready here, or you can even put it here for now. You've got your bow hold that you have either your thumb on the outside or your thumb on the inside and you're going to go ahead and drop your right shoulder and put your bow on. Let's put it on the a string less your second string. Let's start by just trying to let it sit there without making that crunchy sound that I just made do you couldn't hold Still, this is really good practice. Don't see so you've got your bow on the A stream. Notice that your arm should make a square. If you're right here, your arm is gonna make a triangle, and then when you go to pull your bow, your elbow is going to have to go backwards. I recommend that you start where your elbows at a right angle. This is a right angle. This should be a right angle. And if it's not, go ahead and check the mirror. You don't want this kind of thing going on. You want to be parallel to the bridge. This is going to be very difficult for you to see from your point of view. So I recommend finding a mirror. All right, When we're here, let's we have our bow on the a string. Let's go ahead and do what we call a down bow. We're going to open our arms so the boat goes down. Do you want to make sure that your upper arm doesn't move this way or this way? Probably won't move that way. But you don't want to do this. You can see immediately. What happens to the bow is it's no longer parallel to the bridge. So you're going to open your are No, I have short arms. So this is actually a Sfar as I'm going to go. If you have long arms, you may be able to reach all the way the tip without hyperextending your arm. If so, go for it. It's not. Don't worry about it. Then you're going to the very tip of the bow. You're going to make a little J shape that way so that you were both say street right at the tip right now on the way back up, we're going toe NJ it and then bend your elbow again. We're leaving this upper arm street. Wait here to continue on. We're going to bring our elbow forward and allow wrists and fingers to bend. If you're struggling with this part, I would say Don't worry about it just now. I in general, encourage beginners to stay in this part of the boat where you start at your square where all of your angles air at a right angle and you're going to open and close. Most of our songs that will play for the first few belts will take place in this part of the bow. So you're going to leave your upper arm still, you're going to open and close your elbow. And if your bow is set in the right spot where it started parallel to the bridge, it should stay straight. For the most part, you can always correct it with your fingers. If you're about to start to go this way, I don't recommend following it. I recommend using your finger to pull it back into the right spot. Like so like weighs over here. You can bend your wrists and fingers. Everything should stay nice and loose. Let's go ahead and drop our elbows to the E string Will try four bows on the e string Go down Oh, down bow. So let's tip over to the d strength Going to try to tip silently. It's very difficult not to make any noise, so don't worry about it, but give it a try. If you can do these Quiet a string crossings. Great. We're gonna find the d string open. Mm. Uh, open, um, up really is your hand. Let's go to the G string. Uh ah ah, again, If you're struggling with this, go ahead and find a mirror in your bathroom or hallway or wherever you keep your mirror and give this a try. Just make sure that your bow is parallel to the bridge. Now, they said, it's very difficult to see this from the players point of view, so don't worry about it. You can just do open strings in your mirror to make sure that the boast a street 8. Troubleshooting Tone: If you're having trouble getting a good sound out of your instrument, don't worry. This is really common for beginners and for intermediate players and for advanced players. And for professional players, it's a lifetime practice. Let's get started. You want to make sure first of all that your bows parallel to the bridge. This is really important because if your bow is sliding around, you'll get that horrible sound to make sure that you really are opening and closing. Now you want to make sure that you're using arm wait instead of pressure, so we're gonna just relax it. If you're using too much pressure, it'll sent like this. And if you're using not enough, wait, it'll sound like this. You also want to make sure that you are not doing. You also want to make sure that you're not moving your boat too slowly or quickly. If you are using the right amount of arm weight but are moving your boat to slowly, you may not be able to tell because it almost sound the same. It's like riding a bike. You have to go to a certain speed for it to work. You can go very fast a song as it doesn't cause your boat to go crazy like that. So you want to go fast enough? You don't wanna have too much arm waiter pressure or too little. You're gonna want to find a good speed where you feel like you're maintaining contact with the string, but that you were enough flying all over the place or going too slowly. You want to feel like you are not on top of the surface of the string or pushing through the instrument. You want to feel like you're weight is hanging just below the string, Theo. Finally, you want to make sure that you're not too close to the bridge or too close to the fingerboard or over the fingerboard even because the string cannot handle very much weight there. You want to be right in between 9. Let's Play a Scale (Ascending): Okay, Lots of firsts. It's time to play a scale. Your first scale on violin. Let's set up. But on your shoulder, everything is looking good. You're holding the instruments stable without your hands bringing your hand so that your thumb and your finger or in the right spot your thumb is going to be not quite back this far. You don't want to be sticking it up. You want to have your thumbprint on the side of your violin. The left hands is gonna be on the other side, and you're going to be able to bend your first finger. Put it on the tapes. If it's too far after, you should just get that back. Believe your thumb where it is. Your thumb should be a forward from your hand a little bit. It might even look like this from the side. All right, we're going to try placing your fingers. 1234 and back down. We're going to try just the most basic version of on a major scale next, so we're going to switch to wear a string. That's our second string. We're going to bring her elbow forward a little bit, just like how the BoE has a different level for your arm for each string. Your left hand is the same. You can swing it forward to reach the G string and all the way back to reach the E string. So we're going to kind of have a neutral for the A string straight down or wherever is most comfortable for you. Go ahead and put your bow on the A strength in our square. We're going to do a down bow on a go. Now let's put our first finger on the A string. This is gonna make it the note B or first finger on a A boat. Go good. Leave your one there. Put your second finger. See? Sure, it should be kind of a stretch, but not a big stretch. Just a little space between your one and your two. This is C sharp second finger on the A string Go third finger kind of squished, snuggled right up next to your second finger. This is third finger on the A string or D on the way up. We're leaving all of our fingers. Sounds. We've got a B, C Scher D or a 123 in your hand should be in this kind of position with a space between one and two and two and three year squished together. Now we're going to switch to the E string. Go ahead and drop your arm your right arm to go to the E string. And we're gonna swing our elbow back on the left side. We're going to go e 123 or e after g sharp A. Let's give that a try one or effort to your geezer. Three or a Let's try playing are ascending scale altogether from the A strip a 123 e 123 Ready? Go a 123 Such, didn't he? One thing to three. Make sure you've left your finger sound. 10. Let's Play a Scale (Descending): never going to come back down with our scale. If you have forgotten to leave your fingers and go ahead and pile them back up on the east drink, we're going to go three. Then pick up your three included to Then pick up your to and go toe one and pick up your one and play E. Let's try this. We've got 12 and three on the east drinks. We're gonna play three, pick up your three in plate two or G sharp, pick up your team, play one, pick up your one and play he that takes care of the e string. Since you pile them up on the way up, you can just peel him off one of the time on the way down. Now, when we get to the a string, this is a little bit trickier. We're going to do something called walking fingers. So we're gonna have our arms swing forward as we discussed, we're going to place just our third finger on the A String three. Then you're gonna tuck your two underneath before you've picked up your three once. You're too Isn't the right spot. You're gonna pick up your three and then make complaint, too. So at no point do we have the string by itself. Unless we're actually going to play the note. A. So we have third finger switch to to switch to a one and so forth. But we don't want us three open to open one. We want to learn how to measure the distance between our fingers. This is really good violent technique. All right, let's get this a trace. We're gonna have third finger all by himself where you've still got your thumb side of your hand and a nice straight risks. Risks like to collapse. When we do. Third fingers will make sure that your wrist a street not like this. This is a straight either. So your mirror can be really useful for this. You got your third finger on the A string. Let's play that. Did you switch to one? Let's go back to the eastern pile up 123 on the eastern. We're going to try our scale descending ready three to one, uh, three. All by itself to take away 31 take away to on a Now you'll notice that can set up my fingers and they won't make much noise until I apply the boat to it. So we always want to do finger, then both. So make sure that your finger is down or that your vote was on the race string whichever. So make sure that your finger is down and that your bows on the corrects drink before you start going Finger But finger, finger and change strings finger. Well, finger, finger. But let's try the whole scale together. Ascending and descending. Okay, go. E c Sure. E o e after. Okay, Come back down. T shirt three or deep to wear. Seizure one or a nice job. You've just played your first scale. 11. Hot Cross Buns: Pizzicato: it's time to play her first song, We're going to play a song called Hot Cross Buns, which is usually the first song that people learn where they learn to play an instrument. Let's go ahead and make sure that our violinist snuggled really on her shoulder. The end button is in our neck means that that balanced. Okay, now we're going to start out by putting our first and second fingers both on the A string. We're going to play the sun pizza cutter to start, so I've got one and two on the A string. And remember, it doesn't matter how many fingers are behind the closest finger to you were only going to hear the top one. So we've got our second finger. We're going to put our thumb, and our porter figure is gonna be on the a string, so we're gonna pluck and go to. Then we're going to remove our to and go toe one and the remover want to go to a I think this was hot cross buns. So let's try that. Put one in to back up. We're going to go to one A or C sharp. Be a put your thumb on the site of the fingerboard, the meaty part of your finger on the string. And we're gonna pluck to one a Go to switch one a good job. Now we're gonna put them back again to one a Go one. And so the song goes, See shirt, be a see shirt. Be a than four times of 84 times would be and then see shirt Be a again one a penny to a penny. Hot cross buns. So it goes like this. 21 again. 21 a net. Four times of a a a a four times of 111 No. Put her to back to what? Big? Let's give this a try. Together, we've got one and two down. We'll do it a little bit slower. Ready? Go to one A. Put them back again to one. A never gonna do four times of your a a a a a. Put your one back. 1111 Leave your one there. Put your to and go to one A. All right, 12. Hot Cross Buns: Let's Add the Bow: Now we're going to add the bow. Go ahead and put your violin on your shoulder. Snuggle your jaw over the bump here, make sure you could hold it. That's nice and stable. We're going to go ahead and fix our bow hold. Now you've got your fingers floppy over the top with some space between This guy's curled around the leather. Your pinky finger is up on top. Your thumb is bent. Great. Never going to go to one A. Our fingers get prepared before the boat, just like before we pluck this drink. So we got one and two on the A string and we're going to go down. Bowen two or C sharp. Ready? Go to switch. Toe one. Go up. Now down. Bowen. A great. We're gonna do the same thing again. We're in a pile. One and two at the same or bow is backwards. So we're going to start up, so go to down on one A up on a Now, we're going to do four times of your open a mature opening and closing your arm. Ready first in your go. Second. Figure two one. Okay. All right. 13. Hot Cross Buns, Slowly: here is hot cross buns. Slowly I'm going to count off so you can play along with me if you choose checking all of my set up points. What? To ready? Go! Ah ah! Well, I've checked all of my set up points My first and second finger around the a string one to really go 14. Hot Cross Buns, Up to Tempo: