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

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Violin practice for Beginners Part 1: Introduction to straight bowing

teacher avatar Mark Pedus

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

Lessons in This Class

39 Lessons (6h 53m)
    • 1. My education project

    • 2. How to hold a bow

    • 3. How to look after your bow

    • 4. The Shoulder Rest

    • 5. How to hold a Violin & Viola

    • 6. How to tune a violin

    • 7. Strength and Flexibility in the Right Hand

    • 8. Violin Chapter 1, How to bow straight

    • 9. 1-Introduction and slow play through (♩=40)

    • 10. 1-Slow play through (♩=50)

    • 11. 1-Play through (♩=60)

    • 12. 1-Play through (♩=69)

    • 13. 1-Fast play through (♩=80)

    • 14. 2-Introducing smooth bow changes (♩ = 40)

    • 15. 2-Smooth bow changes (♩ = 50)

    • 16. 2-Smooth bow changes (♩ = 60)

    • 17. 2-Smooth bow changes (♩ = 69)

    • 18. 2-Smooth bow changes (♩ = 80)

    • 19. 3-Introducing the Quarter note (♩ = 40)

    • 20. 3-The Quarter note (♩ = 50)

    • 21. 3-The Quarter note (♩ = 60)

    • 22. 3-The Quarter note (♩ = 69)

    • 23. 3-The Quarter note (♩ = 80)

    • 24. 4-The Quaver Introduction and slow play through (♩ = 40)

    • 25. 4-The Quaver (♩ = 50)

    • 26. 4-The Quaver (♩ = 60)

    • 27. 4-The Quaver (♩ = 69)

    • 28. 4-The Quaver (♩ = 80)

    • 29. 5-Quavers with complex string crossings (♩=40)

    • 30. 5-Quavers with complex string crossings (♩=50)

    • 31. 5-Quavers with complex string crossings (♩=60)

    • 32. 5-Quavers with complex string crossings (♩=69)

    • 33. 5-Quavers with complex string crossings (♩=80)

    • 34. 6-The Legato - Slurring strings (♩=40)

    • 35. 6-The Legato - Slurring strings (♩=50)

    • 36. 6-The Legato - Slurring strings (♩=60)

    • 37. 6-The Legato - Slurring strings (♩=69)

    • 38. 6-The Legato - Slurring strings (♩=80)

    • 39. 7-Double stops (♩ = 40)

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About This Class

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

Along the way you will learn:

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

  • How to tune your violin

  • How to use a shoulder rest

  • Right hand flexibility and strength

  • The names of all four strings

  • How to create a beautiful sound on all four strings

  • From easy to complex string crossings

  • Several different rhythms

  • Slurring strings

  • Double stopping

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

The sheet music for this Chapter is attached for you to download.

Meet Your Teacher

Teacher Profile Image

Mark Pedus


Hello, I'm Mark.

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

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

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

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

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1. My education project: And today I want to introduce my personal project. It's a practice manure. It's made to help people practice more efficiently and to avoid bath habits, but habits are hard to get rid of. And learning good habits only happens when you actually know exactly why you're practicing what you're having to focus on during an exercise. It's easy to forget tiny details taught to overlook tiny details when you're practicing and you go back to your lesson and you end up hearing the same commons. And I see that with my students. I was like that when I was a student, that we just forget real details because they don't seem interesting, but overtime, but habits built up. And then you started slowing down because you have to get rid of those buff habits, those tensions does, but posture, the squeezing here or there. So this model is there to help you focus on what each exercises exactly about. Also AS ODA or have a violin shop, I see a lot of parents and would you like to help their kids? But they don't have the children go to violin lessons from the balance of still at work. And they have no idea. They don't have a musical background, they have no idea how to help their children. This manual is as much from them as it is for the children themselves. I will try to explain in detail what he triadic chief with each exercise. Or you will record each exercise from very slow to really fast. So there's a progress they're making more and more challenging and avoid repeating the same thing, makes it too boring. So you might want to proof your progress by just trying to do it faster and faster. So this is what it's all about for people to be able to remind themselves, pay attention QAM for parents to be able to help her children. If they're interested in helping their children to help them grow faster. And if they want to try it out for themselves and welcome to. Of course, it's not just for children. Days exercises can help anybody. It's just about efficient practice. And the better you practice, the faster you will grow. So that's my inspiration behind this project. And it'll be a lot of exercises with a lot of videos. And so I hope you enjoy it and learn a lot. And if you have any recommendations for me in how to make it even better, please do get in touch. Thank you. Bye. 2. How to hold a bow: Today's lesson is all about how to hold the violin or viola. Now, the most important things, they stay relaxed when you hold the bowl and when you play. So it's easier to make a nice, gentle sounds at the beginning. You're gonna have to relax. You, right? You hold the bow in front of you. Slightly diagonal. Not like that, but slightly with tip that actually she left shoulder. Now you aim the middle finger. The middle of the middle finger actually there next to the letter on the far end. And you just hang or your fingers slightly separated. On top of the bar. At the finger. It's the tip touches the ball. And the first two fingers, it's going to be the middle. Approximately, of course, every 100, slightly different. So where it touches changes from person to person. But you want the middle of the index finger and the tip of the finger to touch the ball. Now on the other hand, on the other side, you have the dum. Dum has to always be around. That's the most important thing. Yeah. Don't is round and it's the tip of that done this part of the time. Yeah. That will go against the bow. Almost the nail of the tongue must be against the ball. You want to avoid that you've done slips through because then you cannot relax this muscle. So you just make it around and then it's far less tensed for your time to control the boat. So all my fingers stay nice and separate. One, I hold the bow and as relaxed as possible. Now the first exercise I like my students to do is to hold the ball in front of them. Just a bright. Now, relax as much as he can. Make sure that done MRI Luxor says that Donald Alexis, Everything else density for so you relax your hand and you slowly turn the bow horizontal. You have to make sure that your entire forearm and hand move to gather with the ball. Yeah. Just slowly rotate your anti forum and your heart and separate. And you wait a bit, you pray attention that you're relaxed. Ie, do this exercise again and again until it's really easy. Before it. Losing control and above moves inside your hand. Or when your little finger slips off, or if you get then stay at DOM slips through. All these things are things you have to pay attention to. So just relax. And when it gets heavier assay turn. Try not to lose control. And this exercise is easy. We're going to expand a little bit on it and we're going to take a little finger away. Just so you can learn to control the weight of the bow with the ring finger. Ring finger, and little finger have a very similar function. They take away the weight of the bulb you're borrowing. So you use it for playing really quiet or really slow. The ring finger is a lot stronger than your little finger. So it's better to train that one. And that's all again about stain relaxed. Make sure your fingertips never grabbed the bow. Right now my fingertips have not touched the ball at all, not with these three fingers there are lying on top of the dam and the little finger, that's the two fingers that do use the fingertip. The other three, you have to learn to control. Wherever the bow touches, it's the middle of the melt, the first two fingers here. And it's near the tip, but not on the dip. For the ring finger usually. Yeah. Well, you can do this. We have done in the control and we started again to first position when all four fingers are on top with the finger, little finger, nice and round. Now we rotate. And then you get a nice round for the finger without losing control. With a few taps, gone, pride, relaxed, shoulder, Relax, eaten, and rotate over and over. Again. My experience when you can do this, you are ready to start practicing straight borrowing. So I would recommend you do this five minutes at beginning of every single day. Make sure that you hold everything correct. Avoids that your fingers bunch up or that you use phi fingertips or even for fingertips. Just two fingertips against the boulder done. And the little finger goes just, hey, cross, dm and middle finger opposite each other. And the rest is lightly separated. They'll give you lots of control. If you learn to control this while they remain as relaxed as possible. You'll see. 3. How to look after your bow: Hello. Today I want to introduce the bot, not how to use it, but how to take care of it. There is several components to abort. Stuck, usually made of permanent beaucoup would proceed boot alternative would there are some plastic polycarbonate, both carbon-fiber, Bose. All these things exist and they have their benefits. Each in their own way. You have the hare, which is horse there. You have a hill which is, has screw, and that's to it. Now, the screw is on the important things. The screw decides how much tension you have on the hair. If you, you increase the distance between the hair and the pol. Now, I've seen them of both over the years. Where gets tensed, it's so far the it goes it goes the opposite way. So right now it curves down. That curves up. It seems an easy solution in the beginning in order not to crush the sound. Old crossed your hairs. One, you don't have a very good right-hand technique, but it will destroy both. You will lose control over the bow and you end up having to press harder and harder. You need about five millimeters. At the lowest point was point changes. And the one which type of boy, you have about five millimeter at the lowest point between the hairs and the stack, you have to keep the downward curve. It will make it easier to make nice sound because you want to keep a little bit that suspension, that flexibility. It got too tight. You lose data and you end up having to press down hard that definitely in your behalf because bot will just jump around. So it's counterproductive to tends to both to heart. After you practice, you have to take the tension of, again, just up until the point that you see a couple of hairs are a little bit more loose or until it touches the stick of law or the pope. Yeah. There's two reasons. First of all, the wood of a bowl is carved straight down. It's bent in a flame until he has this curve. If you could detention on their continuously, a will start warping and the bone will become very difficult to handle. There'll be unpredictable. Also. If you continuously keep attention on it, the hairs will start stretching more and more and eventually the pretty useless and you're going to need a rehire. So make sure that before you start your practice, you tense. The hair's not too much. And then after, before you put it away in your box and the case, you'd take the tension off this way. Your bot will be well if longer and you'll be able to use it better for a much longer time. Also, last thing, don't touch the house. The Rawlsian you put on a boat is a type of glue. So if you get the hair's dirty is going to get very sticky. And you can use please sounds in certain places, hurricane. And you want to avoid it. So be careful and make sure that you have before you practice and the potential of when you are done before you put everything away. Don't leave it on because it will damage the hair of the bow. Ok. Just something to remember. Right. 4. The Shoulder Rest: This little video is what? Shoulder, wrist. It's something you touch. The instrument allows you to hold instruments without turns off. So it's there to support the instrument so you can relax your shoulder. When you rest your head on the instrument. It stays nice and level. There's very many different shapes and sizes. But the reason I'm doing this video is because this 11 of my violin, it's straight. But not all of them are on demand. I haven't my viola we'll have is curved. Now. This shoulder wrist has a low or to it and I much higher. Now, you want it to have the low part of the shoulder and the high part to follow your colon. And that's why it gives support. I see a lot of customers and a lot of my students that occasionally put it the other way around and then you have no support anymore. But the idea is that the shoulder just allows you to move around your instrument with, with it backwards. If it doesn't support here at all. So it is just simply to explain that to you. You should make sure that you put the shoulder rest on the right way around. More or little thing. When you blown off the shoulders. If you continuously and force it sideways. This rubber feet that you have on a motion of the shoulder, wrists, they will wear and cite the steel men that starts worrying them. You're going to end up scratching your instrument quite badly. So I recommend that you pull the announcement upside down. Please, the far end in place. You'll eventually run exactly where you want it. And then you click yellow site like that. And you can take it off. Yet so many shoulder asks, they have screws to allow you to change the height from each site. And you can also obviously changed the angle that you want to use your shoulders. There's not one died and runway at you look for a way that is comfortable for you and the supports, the instrument, whether you want it further to the left of first do is center. That's completely up to you. But make sure that when you let go of your instrument, you have also worked. You meet, flows through homes on to move around. Your instrument. Would just do weight or her head on the instruments, you don't stop. You don't have to prefer shoulder. You just relax your hand forward. You face your instrument. Come round. Okay. Sure about the surest. Okay. 5. How to hold a Violin & Viola: Today's lesson is about how to hold forever. If I use the shortest routes video about shoulder, wrist. If you haven't seen as Hubble look just on how to place it only instrument and how to remove its freedom damaged instruments. Now, basically what you want is that when you place the instrument on your shoulder, you can face the instrument. Freedoms have to force shoulder up. You want to keep your shoulder as low as possible and just think of your instrument there. Yeah, so you want to face your instruments so you can see what you do. Now. I see a lot of people that have their instrument very far to the left. Now, that causes problems for when you start using the bowl. With that. If my instruments all the way on my left shoulder and facing that way, it's almost impossible for me to keep my bow parallel with the bridge. So if you move this, this foot, the one on the right, further away from me, you'll see that the instrument terms more and more towards the center, finds a way that is comfortable. Your incident will not really be that straight. They can bring it closer to the center and you don't have to work as hard with your right arm, which is what is going to create a sound and the character of your piece dynamics, whether it's diamonds or happy or sad. All those things are done with the right hand. So you want to make it as easy as possible. Here. On the other hand, of course, is this part of your arm has to come in a little bit more. It's a little bit more tiring and it's always a bit of a tradeoff. Whatever bearing fits this arm will not benefit the other one necessarily, but find a way to bring your shoulder forward and the instrument in front of you. So you can see your sheet music while you also look at your instruments. So everything is in same line of site. You'll do this way as well, but they, everything feels a little bit more awkward than little bit more disconnected. Now, come, there's no specific way. And this right or wrong, everybody's body is slightly different. So experiment with this. A good exercise I found was to just make a fest around the neck, a tight fist and get the highest joints of your fingers lying on the fingerboard. On the other hand, you place instruments and then put it on your shoulder. Now, if you haven't slept here, you'll see that your elbow has come in and try to relax and keep it. Hello there. This is a fairly good standards in order to be able to give a straight risked here and to reach all your strengths. Yeah. Now, I like to just support the neck. When I play. I don't agree with an egg because of causes tension and it's difficult to stretch. So in the most during my thumb is route. And as I move towards the highest strengths, my thumb stretches out a little bit. So it just supports the volume doesn't grow up. So when I need to shift, all I have to do is move my hand. If you see it from this angle, you see that from the time I go to the next trick, there's a little space already between my hands and the instrument. I don't grab it like that. You keep your elbow slightly. On the right side of your fingerboard. Is a little violin, Of course. So don't play like this. It makes his reading awkward to make rounds fingers. He end up having squeezed too much in in time might slip. Yeah. So these are my recommendations on how to hold an instrument. Changing angle of shortlist will make things easier. Just experimented a lot with it and try to get it just off-center a little bit to your left, but not too much yet to bring the elbow in the brain's shoulder slightly forward, make it easier for the close together and makes its way from industry. Boeing exercises a lot easier to reach than to without going very negligible. Yeah. Okay. That's it. 6. How to tune a violin: Today I would like to explain to you how to tune a violin. If you want to be able to multiply in tune, it's better if your estimate there's in-tune to begin with. Otherwise, since come to be overly hard battle. So I see as really a lot of people breaking strengths, which very quickly it's going to become expensive because decent strengths are in cheap. There are really cheap of strings available, but they're not very stable in the information very often. Or they go fairly quickly. So it's worth to spend a little bit on strings so you have more beautiful sound and more stable Indonesian. Yeah, the easiest way to make a cheap instrument sound better. Let's just put really good strings on there. So it's important to strings. And, but of course you want to be able to play in tune. And I have here before five m, which is completely out of tune. So I am going to tune it and show me how did Unit and some of these things are completely out of tune. So little team knows differently than the one that is just slightly out of tune. Now, if you don't know where you're looking for, there are free apps available. I will use an app today for you to see how to use them. Now, very important about the app is that you have a calibration on an app. And you can see even press the buttons that the calibration that number 440 can go up or down depending on what he wants. The highly calibration, the higher the information is going to be. Now in England, the US for 40 or 414. General. The videos I'm recording, they're all around 440. I will try to keep on remembering that you might ensue for 40 before I do any recording. So if you want to play along with the videos, which they're designed for, suggest you tune your instrument to 440, so you go to calibration for 40. Down. Here in this up you press the tuning fork symbol and they, you see that when I talk it moves all over the place. Now, suite, you need to know which node you're looking for. And there's two places you can get an undefined unit here, which is this funny little scripts. And you have the base. Now if you don't know what you do, you are going to want to stick as much as possible to the final Kynars, but eventually you run out of space. There's very little clearance between the tail piece and the instrument. If they go too low, they will start digging in to your instrument ankles. Quite significant damage. So. Keep an eye on that. When he goes to low. And you have to frame, here's a big bags. Go to your local materials or ask the teacher to deal with that so that they should be able to tune with banks. So yeah, I'm going to bring on either side, the closer the first string usually assume, is that a string, the second string from the top. So I'll block that string and see where we are at. So a comes up on the screen, that's good. But you want it to get to the 0 in the middle of tos, two dashes in the middle of the screen. That's where you want to get. So amount we see that it's too high. So now I screw counter-clockwise, the fine tuner, and immediately gone down a little. And you do a little bit more. And there you go. We're very, very close. Yeah. That's what you want to get. Now. That's the easy part. It's when you have space to move here. Wherever 11 of the pegs. Well, when you run out of space there or one of the best slips, which sometimes happens. You're going to have to learn Kim with this. Now, lot of people just done these key, these bags like that. And, and it's led to speak of slipping their clinical. So as you go up, I've hit us. It's Dunaway PHP itself. The string guidance more. You have to press gently n to the big box. Now, I've seen people hold the instrument like this and I'm press here. Time of tension. And the joint here. It's not very good. So you want to hold it on one side. And when you actually say pluck the string, I'm looking for a0 and a1. And this is a high string. Age alone, a flood. So there you're almost immediately very, very close. And then you can do the rest, would find units whether do recommend. Is that before you start working with these, you go quite far up with fine tuners to buy more time. With fine tuners, you want to use these as little as possible in the beginning. So that's my recommendation opportunity. So when you use the spikes, go with a smooth movement, motion. Don't do small movements, go down a bit. You can get money at close. So on C sharp here at mountains, I'm supposed to be gone for the birth of string. If you go back a little bit, if you just attention to it, it's mainly going to be in the first bit. So you only released some of the tension, go back. So I'm still a little bit low, but the rest I can deal with the fine tuner. Yep. I hope this helps. So there's still ways of tuning defined humors. You probably unlikely to break the constraints. And the v_x in case you run out of space here. But then you have to support the other side of the head while you make a smooth movement. To get close to denote what do you want to be? Good and fine tune again with finite years. Ok, that's all about healing. And make sure that I'm before you start working. Every single day, you tune your instrument, it's massively important to grow and to get your information. If you're, if not always in a different place, you'll always give them blaming other team. Yeah, so make it easy for yourself in QM, you finally good luck, right. 7. Strength and Flexibility in the Right Hand: Hello, today's lecture S, more exercises, silent exercises really, to begin with. For the right-hand. When he told about how to hold the bow. Just to remind you, run them relaxed and run little finger and the rest of the fingers just hang across the bow like that. Yeah. Then I gave you this exercise for you hot to turn around the entire armoring and controlled Bo, wait up for the little finger. Now today's exercises are about combining the strength you need with the flexibility you're going to need. So I want you to start with the bow approach because this way it's easiest to little x. Bozeman told heavy so I'm straight in front and you slowly curl your fingers up and you move your hand up a bit as well. Nice treating your hand out again. And the point of contact where they lie, the fingers line on top of the boat that doesn't change people. It's just moves inside the hound. You curl the fingers up and down a little bit. Now, when you can do that, and to rotate it sideways until the bow is horizontal. And you make the same movement. Girl the hand and straightening out. And straighten that. Yeah. Now, this is important later on for o changes. We can make it if you have a more relaxed wrist. But also if you put it in the footnotes, you're useless. People tend to use the entire arm. We can do that. You're moving him sort of arm. Which little pouring them, treat them trust. Moving the muscles on the inside of your home. So when you do pieces of bringing multiple so you don't poison the electric. So. So that's one of the exercises I want you to really get used to. It will become essential later on, not immediately, but flexibility is never a bad thing to have. Now, we just moved the bow sideways, essentially a left to right. Now, I want you to also be able to go down up without losing that little finger. So right now all my fingers are curled. Mohammed is pointing up. And now we're going to load the entire hand. And to all the fingers are straight. So on both sides of the ball. And you straighten it. And this exercise. Well, it will allow you to change trends very quickly and it's necessary. Yeah, so that is another one. But more importantly, this exercise leads to the next one where you're going to try to make circles without losing control. It's combination of the two exercises up and down and left and right. And you learn to do this in both directions. So very slowly. It looks like when you learn this, it's good to just secure the arm on the other hand. So you limits the movement to just the wrist and the fingers. This is ridiculously useful exercise because there's a lot of patrons in music and one of them is the course packets, just yeah, so it's continuous change of string between every single month. Very often used in classical music. So where is my camera not they're here to, this is a combination of it. Down one. And just make sure that the mavens happens completely from the hand. And when you can do it in one direction, and you can turn in one direction and just learn to turn in the opposite direction. These things come in handy everywhere. Once you start playing faster, you need very quick. Strain changes very smoothly. Having flexibility in your finger while without losing control for your fingers are this massively important. So that's why I give you these two exercises quite early on. If it's beyond, you, try again next week and take your time. And yeah, that's it. Good luck. 8. Violin Chapter 1, How to bow straight: Today's lecture is on how to go straight. Both threads basically means that you stay Barlow Woodbridge, somewhere between the bridge and the end of the fingerboard. Seems easy enough. But the problem is not from the perspective of the player. You can see where the bone is slightly buck, also a default. So we want to achieve is that you have some control on how to stay straight. No. There's two parts to the both. The upper half, below half. So what we would suggest you do is you just make your own in about three dongle and place it somewhere in the middle between the two strings, between the end of the fingerboard and the bridge somewhere. The first thing we're going to restrict her arm. We have to do is to stretch your own fought. So you socially bringing oboe 40 leaf, right shoulder. Completely relaxed to this. So yeah. So when you know the tip, let's hear. You rest. It will be liberated. Comes straight again. The elegans fold. Noble goes back again. But you'll bring elbow fully mature. The elbow doesn't forward with dot event the wrist towards you and it passes in front of him. So we talked again about half. The bot will just bring the risks in front of you. Two over 4t and restores you must set forward and commerce. Now, couple of things if you fall into is to force to the left them, no matter what I do, I cannot keep the bopper law to make sure that you bring the instrument. It stays on the left a little bit. And make sure it is in front of you before the sensory or the less, you have to stretch with radon. The Easterner comes for your right shoulder and the muscles in your right hand. Yeah. But of course, the payoff comes here. You have to bring the shoulder forward. And that's a little bit more tiring there. Now, one of the things you have to be aware of is that in the beginning, make sure that you hunt. If you've seen the lecture on how to hold the bow. I hope you have by this point, if not, I would suggest you do have a look at that lecture. You hunt doesn't mean don't lose control of the bulb may be your tom is a little bit more straight when you're towards the tip than where you're all the way back. But make sure that you hunt your finished on slip over the bow or ghetto bunch together. Was that grabbing the bow? Just very relaxed. Don't even grip the bow. Just guided, straightforward. And the wristwatch you. Second part I want to talk about is the Avraham arm. Now, a lot of people in the lower half of the bow differently when they come in, instead of bringing the elbow forward. And you can hear what happens. As the elbow comes up. You stop pressing down automatically with your index finger and chokes the sand. You can learn to control that, but it's definitely not a solution. You always have to come forth with the album. Yeah. Well, you can always stay relaxed. It's very important. Now I'm going to do a first play through with you is going to be very slow. I'm going to play every string twice. It's the first part of the first exercise. But I'm going to give you four beats time to double-check in a mirror or ask a parent to make sure, but we're still straight. And the new play, the next note, it's not just going to be two beats long. One beat is going to be 60, so means 1 second per beat. So it's going to be like to note so plain. And then we're going to 4-bits of nothing. And now we need to get, yeah. So, yeah, every note twice from the lowest string all the way to the highest and all the way back. Story. If he can't use the entire Bowen beginning, use the middle, for example, and then expand over time. That's okay. This is just an introduction. Make sure this is easy before you start running through the first exercise for real. Because there I will expect you to already have some basic relaxed movement because i'm, things get a little bit faster. Yeah, so very, very slow to beats, provoke and 4-bits of rest. So 1234562344. Totally. Okay, so this was the first playthrough. Now, couple of things we're going to use again, but it got additional things. You can pay attention to. For example, if you've understood law and you're relaxed here, this is going to happen. It drifts. And that's because the strings point Dan makes her strengths are horizontal. Just be relaxed. Support your instrument. Either, which is done, which is how you will be playing later, you support the neck. We can just hold it here. Whichever you find most interesting right now you have to concentrate on the right arm. Second thing. When you do the string changes. Yeah. Make sure that at the end of the note, after the second note, your bike at the heel? Yeah. You drop the arm, make sure that you didn't have time to be prepared. Yeah. Now, do more things. The sand quality, you have probably done the first run through. Now, there's two obvious things to help you out about how to hold above. One, this, one, the sound is like this. Then you pressing down too much, you should relax. But it can also be that you bugs do far away. If I would do the same here would get an aggressive sound, but it will be still sound. You will do the same thing there. Yeah. So that's too much pressure. Yeah. The other thing is the opposite. When there's not often puts pressure, they have. And that is if you're very light and you're near the bridge, it's going to squeak. Bringing you the bridges for loudly. Planar, the fingerboard is for quiet. So you want to play you really quiet. Nigger view dot. Yeah. So these two problems are easy to recognize. If it crunches, choked to some pressing down to heart, you squeezing probably too hard, or you're too far away. Or when it squeaks, either you're going too fast or too close to the bridge, or both, of course. So in that case you have to slow down or pay attention to worry. Always try to keep it in the middle. Between the two. Look here Weebly and during the rest. Then have a look in the mirror to see. Is my arms straight or not? Yeah. So I'm going to do is again, same exercise, same R13. But this time we're going to pay attention that when you do the string changes, you do it at the end of the note before the strain change. So every other note going to change, same exercise, same speed. Uses much policy come and try to be better every single time. Yeah. So there's forward and risks in front of him and stretch forward and rest in front. So six Core, six string snow for six. Straight bow. Since we're going to say strings of a concept of bit six and expressing port and the risk now and, and constraints. No strings again, I will say. So. And that is your introduction to straight Boeing practices a lot. The quality of the sound, the beauty of the music. It's all going to depend on controlling EPO. Epo has to be close to straight at all times. So don't ends up his shoulder. Don't lock your shoulder because then you're going to end up doing that. Don't overdo it either because then you bow my drift or you might just so important risk towards you. When you're at the heel, which I think instrument arm completely stretched. When you're near the tip. Yeah. If you can't reach, bring the violin in the upper arm. This line here, and the bow. They move together. When you're always stretch, it automatically does, but even when you come towards the heel, makes sure that the upper arm stays at approximately the same level. So basically, the height of your elbow helps you indicate what strength you will be playing up. Yeah. So good luck with all this. And repeat this for a couple of days. When you get better at it, there will be lots more exercises on street. Boeing's string changes, different rhythms. Plenty of you to enjoy yourself with. So good luck and see you in the next lesson. Bye. 9. 1-Introduction and slow play through (♩=40): And today's lesson is the first lesson three Boeing. I have another video in which I explain how to both straight. You haven't seen that I recommend you do start there. Now we're actually going to apply it. Now, just like the exercise in the previous video, we're going to have a note, an arrest, but this time every single node is going to be two beats long to two clicks on the metronome. Then to be addressed, in which I'd like you to pay attention to if anything went wrong, essentially. So you want to keep your arm relax to shoulder down and make sure this doesn't happen. Your tongue has to be around in the bow. The little finger has to be around on top of the bow. The other fingers avoid anything like doubt. Make lead fingers just hang over. So only two fingertips on the bow, the little finger and the thumb. The inside corner of the time you're done is diagonal against the bow. Between the letter on the Hill. Middle finger is opposite. Then slightly separate all the other fingers and place them on top. Yeah, little fingers stands nice and round. So there's lots of things to pay attention during those, before we start talking about the fact that you bow has to be straight. So remember, it's from the middle. You have to stretch forward in order to give you both straight and from the middle towards the other way. So the up bow is to bring your wrist in front of you. The albums forward. Elbow does not come up with the elbow comes forward. Okay. Slight little explanation on what you should have seen in the previous video. So now we're going to play ridiculous. We slowly at 40 beats per minute. That's even slower than in the previous video. There. I just did small demonstration with lots of arrests. Now, two beats to play to get rest. There will be no repeats. This time we're going to go through. But I'll explain for each exercise what you should focus on. On top of the fact Dot union, straight bowl, analyze sound. Okay, he felt slope. Be patient. So 124 or change Jens company stream. Princeton's again today. Elbow is all the way down and rotate back. So that's it. Identical to what we did before in the previous video. But no, to be arrestingly, Yeah. So each node trying to check in a mirror or ask help from somebody you parent or a friend to make sure that everything is right. The dark, dense update sounds beautiful that boys thread your fingers, done and little finger staying nice and round. Don't squeeze the bow. Just guided. Yeah, it's massively important. Now, the second part of this exercise, we change things. Almost every note. Yeah. So I really recommend that you get the string change out of the way as soon as he counsel, when you have a node first and it is going to be gene. As soon as you stop, you drop your arm to the next string. And then the next note is that the open E string. And as soon as you stop returning back to G, don't wait until you need to play to make the string change. Because in this exercise there is a break between each note. The next exercise is going to be very similar but without breaks. So you don't have to be able to make nice o changes. But sometimes also at the same time a strain change. So get used to immediately making a strain change when necessary. Don't wait until it's too late. Okay, stills according very, very slot. To now. Click core. Change things immediately and change by community. A string. Ooh. That was about the string changes mainly. But obviously I hope that you also spent arrests checking with your arm, was trained, your fingers going in the right place. The shoulder was revised when he played. It. Make sure that your instrument doesn't come down further down with the instrument. It is more chance that people will drift. Yeah, so tricky to string's horizontal soup. Without any control, your bones stays straight. Yeah. It makes, my sound comes with more programmatic in that you have to fight the fatigue. Bo wants to run away. So, you know, do the third exercise. I am going to repeat this one because it's a really short. We're going to go from lowest drink tea. And I'm going to talk her arm all the way to the east in the second step to across the desert, stranded. And then we turn back to the drop your arm completely shorted, you elbow follows horse, which d0 is the low with your elbow on the Eastern, don't come up. Okay. And the same thing in reverse on the way back. So we'll do this twice. But still shelf and keep checking. As soon as he made you strap changed everything right place. And 14 are all to a conducted dy Okay. Yeah. Okay. So make sure when you rolled world don't lift it, just rotates your arm, keep the bow on the string and try not to make too many noises. Yeah. You will always hear a little bit, but try to keep us quite as possible. Yeah. Just rotate the arm, drop it or comeback. But a hill, Make sure that elbow always follows trip. Together with Bo. Next exercise, we start on the low string, which entity? Normal, low string to a. You just did that. And then we go from the lowest string to the Eastern, always across DNA. And then week two Backwards E to a 2D EDG complaint. She wants very slowly, keep paying attention on the dozen things you're supposed to pay attention to. One of type and ask for help. If you can't get somebody to MOOC for you. An extra pair of ISG does help. 1234. Oh, the elbow. And that's it. That's the end of the first exercise. Now I'm going to call it a few times for you. 50606980 soul end at twice the speed that we have now in preparation for the next exercise, of course. So good luck and see you in the next exercise. 10. 1-Slow play through (♩=50): And so we're buck for exercise or do you not 50 today? We're not going to do any repeats this time because for 50, it would take for a very long. So I'm going to play through a tool between the nodes. Just remind you what to pay attention to. Not few br between each exercise. You can prepare for it. Yeah. So good luck and street replay. Right. Keep up. Could check everything. Changed, drinks. Louis. So strain changes or so. Yeah. Okay, okay, very straightforward. String changes. Now I would want to go across strings G to D, to E. Yeah, I'll do this one twice because it's so short. And make sure you don't make too many noises during the scene changes. Yeah. I'm 6'4 and rho. Yeah. Now we expand them, doc. Yeah. Well, core. So I hope you took a turn between the nodes. Use it to check things out and gallons keep repeating this but stay relaxed. He beat them round, little round. Don't squeezed the boat. Yeah, those are the most important things. And then of course, bit by bit, mega post traitor to some more beautiful. Yeah, good luck. And next we're going to speed up as usual. Okay. 11. 1-Play through (♩=60): So Route 60 beats per minute. For the first exercise on stream going. From i one, we will repeat everything. Make sure you reiterate. Your arm. Gets ready to keep you all the time. It's important that once you start moving around, it's easier for quality of sound. Your instrument does some better up here than it does down there. Everything will be easier except for yes, you have to become strong. So it have to hold up your own arm. Your head halts your instrument. Yeah. So it's not your head or your your violin that you will be holding. It's your own arm. It does support it. Don't do this. Yeah, just keep sufferings. Horizontal. Okay. Good luck. We're at 6321 are in-between each exercise, but we do repeat. Everything gets done. One repeat. Core. Okay. Roth Bowyer. Cool. Okay. And so that's it. That is the holding at 60 beats. Oceans pushed in 168080. So that's what comes up next. I know there's a lot of repetitions of this exercise, but gets faster and faster at getting things right. Keep paying attention of way are armed goes. Keep paying attention to the sound. Because I promise you, the better you can do this, the easier your next exercise is going to be able to get 3.1a. And the more you look at the details, the easier plane becomes right now. Only one thing, essentially, pay attention to, which is the straight Boeing's with an I sound. I know that means you need a ground DOM, little finger that is nice and relaxed shoulders, a screen blacks on the searches forwards the risk events in front. Doesn't build things to think about this right now, it's just about straight Boeing. And yeah, so this is easiest to get. I know it's challenging in the beginning to make it nice. But the cyst and always try to be better termed. Turned out. Once you playing, make sure the Pay attention. Do one exercise that able to eat really well. Beginning at least you grow really quickly. Okay, Ruth 69 asked it. 12. 1-Play through (♩=69): Okay, so we're now at 69 beats, just like last time and completes 33, one bar between each pixel size. It's getting shorter and shorter because we go significantly faster by now. So good luck and enjoy. Good deserve. Ok. It is essential. Stay relaxed everywhere while S3 bucket. Yes. Cool. Hello. There you go. 344, simple. Don't zone out. Redemption, stabilized. Give to get the full remarks. But one little finger, relaxed and round. Beautiful sound. I'm going to show up. No, good luck. 13. 1-Fast play through (♩=80): Okay, we're finally at the lowest repetition of the first exercise where the 87 twice the speed of the first time. Let's turn to check things. Just hope with old practice you've got you can check e So for a little bit quicker than you did before, there'll be a central before the next exercise that this is good and easy because next time around, the next exercise through no breaks between the nodes. It's just changes, similar things, just with no breaks. So make sure this is fully Milan criticized. Number 24. 12. And again, 44. Good. And now we're at the end. Because look, congratulations, you made it this far. And we will complicate things in the next exercise again. That joy, right. 14. 2-Introducing smooth bow changes (♩ = 40): Okay, hello. Today, during the second exercise on straight Owings and open strengths, the focus swarming as always on making my sound with a straight ball. So remember from the previous exercise, stretch forward when you do the down stroke and bring risks in front of you. When you go to the bots. Don't move too much or anything. Really. Want to do some rounds, little finger rounds, dealer, fingers stay. Just hand across. Don't grip. Don't lose control like this. Just control it's guides the bow and never tens of initializers hideaway, number to support the neck. Neat open strings. But the main difference between today's exercise and yes, the last exercise is the fact that there are no rests between the nodes. So it's going to be about coordinating the first change. So you have to beat stumble. Leave that immediately followed by the next note. Now one of the most common mistakes is that people don't dissipate the change. So the, it'll speed up just before or just after. Worse-case scenario on both sides of the strength about change. So just before, so the opposite that you do, the nearly after. So So you're both speed tends to be to fasting newly before, after the change. Constructing that state-owned loose control that you just very smoothly change direction. You will always hear a bow change, but you don't want it to be emphasized. It has to be subtle. Yeah. And of course, they're also string changes. Now, that is a much more difficult coordination. You change bow end string. Nearly drop your arm to the next string. And those two things are the main. New things. For this exercise, the most important things, there is some new stuff coming, but I'll explain that after we display. So yes, we're going to be at 40 beats a minute. Like we did last time. We're going to work away gradually up. At 40. I will not direct repeats except for one really short one, the same one Bureau EBIT last time every single time. But yeah, so we'd go straight through just straight forward every string twice and concentrate them. Relaxing constraint Boeing and no access before or after the boat. H 124. Third supporter, just about ocean, which is historic changes as a waste, but this is as simple as it gets. So if you struggled with this, do it again. Yeah. And the next sexist studies on identical except Premium works contain does all the notes our two beats long, except for the last node. The last note is a semi brief. It's four beats long. And so you will have to slow down the bot, make it twice as slow as for all the other nodes. The bar line before is repeat sign. Now this time we're not going to repeat anything, but I thought it might be interesting for me to already warn you. That's next time when we do start doing repeats, that's where we will be turned back to the beginning of the exercise that we're not going to go all the way to the end. I'm going to go one bar earlier than that. Ok, so we're going to just run this one through, just like we've done with the first one, and just keep it spent ten changes. So concentrate one to four. So with the string changes definitely has a healer that typically it's obvious that the upper arm follows tree. But even if he'll try to get in the habit, Yes, you can do it just from your wrist. Try to inhabit followed through with your upper arm. This is about foundations. Everything will get more subtle in details later on, but right now, just stick to very basic movements. So we have an elbow position for the high string and a different form for every string. You get a d and of course, lowest GI slack. So yeah, stay active and follow tree. It will make things easier once things get a lot more complicated if he doesn't have to worry about these details anymore. Now, the third exercise is going to be combination for we just did. And lots more semibreves or whole notes to its two notes of two beats, making one bar of four beats. And then one not a 4-bit, which makes the next bar, and so on and so on and so on. So it's twice, two beats runtime for weeks, twice to beat. So it's a lot of changing of both speeds. It's to practice that. It's very interesting to get control it all. So we go really slow as what more difficult to do certain actions before or after, because if you use too much boat quickly, you're going to run out of bulk. So by going really slow, it can the forces you to speed when you make your bot change? Yeah. Okay. And enjoying 1234 for the code. So this source o changes and changes and speed changes for every single note. Okay, good, good control. And then when you split things up, I find things slightly easier where it's a little bit faster. So, yeah, enjoy anyway. Next, we're going to build from sprint changes. Next exercise is going to be through to the next string. There's sizes with dots. We're going to build a cross strings from GE to a, D to E, identical to what we did in the first exercise, but this time no wrists. And I'm the last exercise is the same as last exercise last time, but again, no arrests. So we have to for a quick peek, change strings. So we'll build it up bit by bit. Or no repeats. This time. 1234. We'll just set a simple but effective because now we're going to talk across strengths, okay? 00123, every lux. And the last one, you go to, the next thing that G to D and D to a, D to E. The reverse on the way bucket 14. Okay? Okay, so this is the whole exercise. Lots of new things go through it. Now we speed things up. Weight with spin things open to. This is one grounded. So you've done it a couple of times very, very well. Before you challenge yourself to do things faster. These big string changes, they do require some practice. Ok, the gap. 15. 2-Smooth bow changes (♩ = 50): Okay, we're not exercise two of the open strengths worth 15 minute now. So everything that was relevant that you had to pay attention to offset the slovenia. Quick recap. Now rests. Just stay relaxed when you do your bow changes, state will explain you bow end strength changes at the same time and eventually stay relaxed when you do both changes, changes in tempos, changes, speed changes all at the same time. That's part three of this exercise. Yeah. Always run TM, relaxed, a little finger, relaxed shoulder, straight Boeing. And eventually bit by bit, expand the bow you use until you use most of the bulk and you keep a beautiful sound. We're at 50 beats, still very slow, but we will be doing the repeats because without rest, it doesn't sign on one to four. So the next part of the exercise, more stem changes, norm to coordinate p. And so relaxed. And core. Okay, so no changes both changes in speed and just to poke speed term just every single bar. Yeah. So consulting companies. Okay, so now we're going to do the last three exercises is remember, building up of smooth strain changes. First, next, train them across string and not across all strings eventually. So lumbering between all three of them will know, not talking, looking, you don't think Andrew eats? Okay. Core. Okay. Okay. And to set the progress, we start with the beginning of the exercise. Just poetry interests without breaks. And now it's massive strain changes as well. Not to learn the patient and repeat a couple of times and we will middle. Stay relaxed. And they should do, yeah, good luck, bye. 16. 2-Smooth bow changes (♩ = 60): So renew the torque competition or two seconds extra showings. Street Boeing's were 60 beats a minute now so it gets Huston foster. Same rules applying remarks. Beau Street, check things, ask for help. If he counted. If you have somebody that can't be there to make sure that you keep stretching forward. Metrology, LBO comes forward, make sure that things some nice. It will help progress faster if you don't get any bad habits. That's why I repeated so many times. Because they school bead Foundation on the quality of sound you will be making on your instrument and it's easier to learn it now when you give nothing to worry about except for sound quality and the straight Boeing, the relaxation. If you also have to worry about which node you're playing and of what rhythm you're playing and what kid you playing him, all these things you have to do them. It becomes a bit complicated. So you want to learn beautiful sound, right? Mao, to when you start to put both hands together next week or whatever, depends on how ambitious you are done. You already know how to make a beautiful sound. Okay? We're at 60, straight through on beat, one bar between each exercise. So 14. Okay. Ooh. Four. Mm-hm. That's it. It's not so much in the way straight through, but there's so much them around 60 million. 17. 2-Smooth bow changes (♩ = 69): Promise group 69, the second pixel soil straight polling, like before, we can go straight to beat Princeton between each part of the Soyuz. Return, key concentrate, moment maximum. This is to first go to the school won't work with the basics every single day. When you move on further, the sort of ideal warm up exercises, these enter your first chapter. The second chapter. That was a warm-up exercises to train each individually to grow strong foundation. Playing the violin isn't rolling. And we go 1234. Hi, cool. Cool. Four. Cool. And that's a real challenge to solve for m that's gone to 18. 18. 2-Smooth bow changes (♩ = 80): Most repetition of this instrument. Core. Core. Cool. You're doing good work. 19. 3-Introducing the Quarter note (♩ = 40): Today we're introducing the quarter note, also known as the crotchet. It basically means one bead on note. If you look next to the treble clef at the beginning of the exercise, you see four, for, which means four quarter notes per bar, or two minimums, or semi brief, or in other words, the half note, whole note. So in this case, it's four quarters or bar. And that you get about Ryan and they'd get another four quarters. It can be any combination of rhythms as long as together four quarters. Basically, that means right now we have one note, one click. Until now we have two nodes, two clicks per note, or four clicks per node. And now we're going to introduce two new rhythms in this exercise. And notice one big long. And I know that these three beats long and we're going to start with the is one big long. It's just straightforward crotchets. And we're going to introduce them bit by bit. First couple of exercises which just kinda have crotchets in it, a quarter notes with different string crossings. And dumb, we don't begin to combine it with different rhythms. Ok, so at 40 and I will repeat everything because every single exercise is very short. So even 40 mixins, 1234. So here essentially it is nothing new, but go to the port. The beats per minute is equally costly. To minim. 80 beats a minute. Bookcases, you have. Put the note. Okay, so now we're going to turn to just do it and do the permits. Pumpkins. A. No, the next. Still own Grochow for typical OK. Note different from crossing button. So 1234. Oh, just old portrait painters hoping that we're going to combine prototype. So quick Detroit, to keep the whole bow for every single note. Choices, foster a bot on the quarter notes, down on the half notes. Okay? So simple. And again, we're going to build up to different string crossings. Ok? A. The most complicated for B2B to TBI, and the same bucket as well. Okay, so now we've done that. We introduced last new thing of the exercise. And that is the first note and the last part. You have a white notes and adult. Next to get. Now, next to note means it is half the length of the note. It is a touched it. So in this case the notice a whole flood or minimum. It's two beats long, which means that delta is half as long. That means one beat. So together makes three beats. If adopt would be next to a black note, quarter note, that it will be 1.5 beats long. Yeah, in this case it's just note if three beats and another form beat. Now, this is an interesting exercise because it's an extreme change of both speed. You can't stick Hussein both speed and this exercise because he would run out of power very quickly because every single Dumbo is three times as long as your bow. So if you don't adjustable speed, you're going to end up doing this 1234123. And you see you rather book. So what you need to do is to be really fostering the above as far as the CEO or any other crotchets. But it feels a lot faster because it's preceded by such Sloan out. So it's good to try these out before you press, tried to play through this exercise just so you know what it feels like. Now, the first note, because he bubble move so much faster, it's going to be a lot louder. That's okay. Just stay together with much mug. And get the rhythm right later on in lecture. So we'll start talking about dynamics and how to manipulate things so it doesn't sign function are older or aggressive in comparison with a long, very slow note. Here we go for. Okay. So you see that as the exercise, the whole exercise and lots of new things, it seems all very similar to what we did before, but it is a little bit more extreme. And now definitely when we go start speeding things up, we get to a completely new thing. It's the fastest we've played, but I would like you to keep on trying to use as much power as possible. If you can't do hobos when you get to 80, okay, but try every day to use more and more bow to expand. So to force yourself to relax if he tends up, you can't move fast. Ghana forces you to just let go. So you can make fast straight equals sounding notes, okay? The current block. 20. 3-The Quarter note (♩ = 50): So after all the token in the first exercise, I'm going to go to do majority or detective stories just pointing, going through. Just a quick reminder. It's the introduction of the quarter note. It means that w will have to start moving faster and faster and faster over the next couple of repeats. And its different strain changes. As always, the introduction of a three beat note that dotted minim or the dotted half note. So yeah, enjoy it and stay relaxed. Keep around it. Thumb, rank, little finger owned grip the bot. Even when things go fast. Just guide the bowl, face route. Keep this down, get focal stamp. But never ever pull up straight forward. Doesn't think so. Think about so if you, because this, except once for each thing you have to think about it, you'll be grateful for we can just put di, di, di, di, di, di, di and but or. Four. Just remind them, we're going to use Dr. King combos. Beats are going to help minimum signaling proteins, so-called putting quarter notes. Every single bar. Step-by-step pen down with vague, tempting. Four. Now we all string changes. Could be. And then the last exercise, it's slow, 3-bit note. First quarter, not slow, frequent 3-bit note. And fast quarter note. Just to avoid running out the Pope hobos from everything to a one through four. Good luck. It's lots of things happening very quickly, one after the other. And it's just going to get faster. So repeat, repeat, repeat several days in a row to the same exercise at the same speed. You don't have to stick. All the too, it seems pretty speed, book greediness, size like this, start slope everyday as speedup. First-time, the slow one will take most of your practice second time around, you might be able to do three different speeds. And the next day you can do all of the different speeds. But if he start slow every single day, you create strong control and that's what you want because there will be, there is a little covering now, but they will get so much more complicated parts systems out in the other hand. Notice completely, forget about you bow for awhile when we start building up. So make sure that this is good because after this, I do recommend you start combining 50-50, the exercises on open strings. With the introduction of the left hand, you should be good enough by now to start thinking about doing data together. 21. 3-The Quarter note (♩ = 60): I gave it at 60. Now, as we did before, we're going to speed things up and we'll just be you rushing through the entire exercise. Stay relaxed. Concentrating it thumbs, make sure you're filing. Doesn't drop. Make things easy for yourself. Keep it up. Yes. This has to be strong and you'll will get tired. But tried to just relax your head on the instrument support with your thumb like that. And then you can just concentrate and relaxing right shoulder while you run through this exercise. Where at 60, it's going to feel fast. But there is a lot more to console. Keep pushing forward. Four. Four. Oh, kansas. Four. So that's it goes 60. It's got television by now. So we're going to put it and I'll see you back in 1600. 22. 3-The Quarter note (♩ = 69): So that's the introduction to the quarter notes. And lots and lots of training. Changes, written changes, differences in bow speeds. And all of that. Beautiful sound. Relaxed shoulders from ground-level finger. Relax. Everywhere. We go. Four. Oh. Yeah. Oh, That's pretty faster. Try to force yourself to use as much as possible. Just so you just train relaxation and speed. Okay. Good luck. 23. 3-The Quarter note (♩ = 80): Right? The last competition. Now, the Porter wrote the introduction to the gospel. Not worth AT doing phobos IS difficult. Throwing. It isn't a must to use the whole bow. It does sound a little bit silly. It looks a little bit silly. But there will be times when being able to move quickly and still with straight bowl with a relaxed shoulder with a it will come in handy. Yeah. So I'm going to push myself to use as much Boas he counted. I suggest you try to do the same and clock one. Do one. Time. Four. Cool. Okay. Gone. And now we're at the end. I hope you learned something from this exercises. Guess what? Next time we introduced the quaver or the 1 eighth note. We're going to not have to use the whole bow. Every single note anymore. This was just academic training. Try to move fast. It doesn't sound great. I know, but it will teach your role of stuff if you keep pushing your boundaries and keep relaxing. Yeah, that's the most important thing. Stance rate. Relax your shoulders, relax your hands, and keep threshold. Rest in front of you. Stretch forward under control. Okay. Don't brush over these exercises. I promise you. You'll be really glad if you think this is easy when you move on to actual real pieces because this is the stuff you're going to be using for a long time. This is the foundation for everything. Good luck, take care. Bye. 24. 4-The Quaver Introduction and slow play through (♩ = 40): Today we introduce the quaver or eighth note. Well, this is very different than everything we've done before. We've had the semibreve commend them. And the crotchet, which runs out one beat, two beats or four beats per minute. This time we're going to think about, and we're going to divide it up into equal parts. So let's listen to mess around for a second. So you have 14. Yeah. Now you can to put towards between each number. So you end up with 1241234. And yeah. So it's kind of sounds a little bit like this. Yeah. Like that. So that's what the exercise today is about. Now, important is that you no longer use a hobo for every single note. In the beginning, we're going to use hobo for the long notes will come to combine things. Obviously, it's not just gotta be quavers, it's got to be crotchets and quavers, or minimums and quavers. But we're going to use only small boats on the short-term notes from these waves on the spawning. Yep. That also means that you can play in the middle. Yeah. Now, this exercise plays around without beginning, just this quavers, but sometimes it forces you to sometimes didn't matter tip, sometimes he will force you to do it at the hill. There's many different ways you can do this. So I suggested that this exercise, you pay a little attention how it feels very different and it sounds also very different. If you play at the tip is, tends to be a lot more gentle, sweet down when you play for a closely to heal. So that's what's you can play around with when we do this exercise. So they starts every single exercise near the heel, down bow. So from the heel towards the tip. So we're stretched the arm first. I'm going to repeat everything because it's a short exercise. All the individual parts of it are fairly short as well. So even at 14, I think it's interesting to repeat things. So first exercise, just quavers four on each string. So one, N, two, N. Will eat. Yep, so short and sweet spit. Important. We stayed at the heel and I'll make sure that even when you know to heal your elbow, false, true. Don't leave it hanging somewhere. It's possible. But this bad habit to get. So make sure that when you play the short notes at the heel, that you drop your arm and you go to the highest strings and the other way around 20 comeback. Yeah, always shoulder relaxed, turnaround, little finger around these things. The important This exercise is now it's slow, but we can speed things up. Obviously, even when things get fast, always look for nice Samatha, straight bow in a relaxed position, will choose from Dr. don't slouch, power up this arm. So wouldn't you, later on sort of playing around with left hand as well. We are not in the habit of having your instrument like this mixed right here and something a lot more difficult. Yeah, and it's not circuitry of backing herself. It's quite important and some products makes turns horizontal. Yep. Okay, so second exercise, we started with a quarter not near the tip. We're going to have 418 notes are quavers, ended last node, princess bucket towards the heels. So it's going to be like that. So together with minimum 124. And the nexus of Sony's essentially very similar, almost the same. It's again for quavers and two crotchets. But because we start with waves immediately, the query was distant, but we get to heal. Followed by two courtship song. It's going to be yeah. So together with myth number 1234. Good. Now we've helped waivers. Gives a thick hill. Next exercise, every single part, it's going to change. And certainly Tambo course or not, you have two quavers, needle tip for the two quarter notes. Then we do the same but in reverse. Next parser summon up postsynaptic Quake for solid heal. So that's because so far every single bar had an even amount of notes. The first one at eight, the second and the third bar had six notes per bar. Now we have a pattern which has five flats. That means that every pattern is a reverse of the previous part. Yeah. So it's going to be, Yeah. So with the minimum 1234 gnostic mysteriousness, three nodes form so we can, It's going to switch around. But now it's mainly about contrasting both speed. First note a is three beats, lungs, it's going to be very slow, not too fast notes at the tip and a very small amount. And T4 starts at the heel and again over and over. So it will be so on. Yeah. So together to form the E for the, for the, for That's it. And it's a fairly short exercise, but repeated a couple of times. Because I'm going to make things complicated just because like I'm getting older repeats. Now we're gonna move on to the catwalk. 25. 4-The Quaver (♩ = 50): So we're bucket for the exercise of the quavers worth 50 beats per minute now and lost. Every play that I explained. Dot. Quasars don't use the whole bow, so it would be a completely different part of the bow with that old exercises starting up a heel for stem and art. So it'll tip. Difficult for help decrease in except for I count ALT cheered volt if you miss things around from time to time. So now we're going to start at the tip. I'm going to work our way towards the heater and the first ball. So it's going to be just query for us for the first exercise. So penniless all at the heel now they're going to be arthritic and they're kind of stuck in the opposite direction. So 124 and or even a sort SSIs. But now we're going to do if we continue like this throughout. So now we're going to start the next exercise with the automotive on not only to the Q pool quavers ethic, you and the loss comprises all the way proximal is yeah, 1234. To know the simplest case, o the graves at the tip, too long bows. And we're back to the next bar. And could be poor. Okay, so next exercise number four. We, first of all, the queries at the heel and exponent down go to groups at the tip. It's the way, you know, waste resources. Yeah. So Dewey and Greene core. And the last exercise per symbol, that's the moment of reasonable not to quit smoking to three beats, to help beat, to beat. Two, beat three helped us so long. And that's a whole exercise. It's 50 with routine reverse. Next thing. Yes. So Tuesdays ago until we see you at 16. 26. 4-The Quaver (♩ = 60): The exercise of quavers, introduction to quavers. We've done the first time. Sort's going to heal, would all the crotchets being a hobo circled around with it in the reverse stores tip, with all the crotchets in a hobo. Now, we're going to condense every time you complete waves in the middle of Europe too. So we can start on Dumbo, but in the middle. So we're no longer come to use the whole bow for belongingness. Can condense the entire exercise between the middle and the tip. From the last exercise where you have this really long load keeping note, 60 beats novel, so it should be possible. Yeah, so enjoy it. I'm just going to do one bar between each exercise to train me to think, trust, and read. Frost will try to count in using the written company. Okay? So click core. Core. When core. Cool. So that's not possible for a system built. So next time, guess what? 27. 4-The Quaver (♩ = 69): Sort of the next six to nine weeks. Reverse. Repo that oval. Looking at the gum, whatever you started with a profitable from the middle to the tip. So no callable from the middle. Everything starts from Pope bow. So we start the direction, the armed groups to work with them to do the entire exercise in the lower half of the staff. What 69. So it's getting crossed. Core. Clean. Core. Could clean bore. Okay. And that's that little bit more Port critical. The lower home stuff from use footnotes and to make time place. So iterators, because we go faster and faster, certainly would. 28. 4-The Quaver (♩ = 80): Okay, we're at a loss of tissue of the quaver. The introduction to the corners, you don't oboe. Two directions. Propose two directions. So now we're going to use just middle. Could stay away from him and, and stay away from the tip substrate comfortably around the middle. Neutral exercise. So you can start from Dumbo just because I can't, humans token or an oboe start around here and stuck between these two points. And see when you do these changes in where you play, see how it differs in the signed distance to be sweet, distance to be not so sweet. This predictable transmitted technique a little bit, but somewhere in-between, most likely. Yeah. But you can dismiss make this sound suite and you can make this center corrosive. If you want. You can experiment, learn, whatever you learn, you can use later and make your piece of more interesting. Yeah. So this thing in the middle, right now we're at 1816 knots minute because this two denotes per beat. And core and, and the core or Four. Yeah. And that's it for the quavers. And this is the easy exercise. After this, the next exercise we're going to combine this kind of rhythm changes, Boeing changes, been patterns with lots of strength changes, of course. So this makes ROTC secrecy very easy before you get on to the next one and stay relaxed. And most important thing, even when you play fast, heifer tens up, always start brows. Always be relaxed in your shoulders, your clamps. Yes. Your arms have to give themselves up and they have to move with the rest. Just relaxed, stay straight, and good luck. And I'll see you for the next step taken. 29. 5-Quavers with complex string crossings (♩=40): Today we're going to do an exercise on the quavers and stem changes. The rules of the Queen verses the same isn't lost text of so-and-so watchdog took yeah. From TLT and work through those exercises. Yeah. So I'm going to the Tokyo to minimum because essentially there's nothing new except for we can to make things more difficult and complex things fast, obviously restarts. So this time we were up to 40. But distinct challenges are going to become more and more awkward. Getting portraits make notes, or MISO, crotchets and quavers are really after that. We are the ultimate automatic. Yes. So that gives you a different bowing patterns. Some buttons are either which means that the query scope always being the same space of the bulb, always up to tip, always feel bloated. Buttons are not sold. It mixes things up. We're at 40, slow, stable control, and repeat things more than I do if it's necessary. Yeah. So good luck and stay relaxed. Iraq's on 24. Next exercise is almost identical, already distributed unevenly. Button and silver. Gold equivalent would be a little bit at the tip of 124. Okay, so those were very, very similar. But now next exist Saris, still for quavers. Two crotchets, oval for runny nose, and two quarter notes. This time distinctions between for single mode, it's going to be going through something cube and holes, trade bowls and relaxed shoulders. Row four, quarter notes. 1234. Okay, those were three exercises with whatever snake that's now we at the half node. So three different bow speeds over four. The quarter note for the two quavers which are continuous near the tip NS slow return to heal when we have the half note for a minute. Mm-hm. Yeah. So now we've done all that. We are going to start jumping across strengths. Similar rhythm, rhythm, just by courts. But we're going to start simple GTD. We go T2, a to E And all the way back. Yeah. So quick reminder, don't even when the Kingston to heal and to read fosters the owner right now, you have to jump from the eastern DDT and you'll dq. It's tempting to just click your wrist. Get there. And to certain extent, it's something new you will end up doing. But you have to make sure your arm follows. So suggest for now, you learned to get your arm as quickly as possible without tensing up in the right position. That way. When it happens in pieces. It's well trained. And yes, this front arm all rest movement. It happens a little bit but it's not to hold movement because you don't go from here to there and leave your elbow down and then if you stretch your elbow has to come up anyway. Yeah. So right now I would suggest you learn to prepare the elbow because it's just about training your shoulders to move fast without any tension. Yeah. Anyway, we go to the reverse now just I'm the first note is going to be the E. When we work our way down and back up. Yeah, seemingly them though. 1234. And the last two weeks of sizes will only use. So notes and eighth notes. But we're still going to jump across strings, so things happen faster. So you've had plenty of preparation now, this, by now if repeated so many times, it's easy not to repeat it so many times. And now we're more passive sign changes. 1234. And the last exercise was expected that he course beekeeping, beekeeping e 1234. It was, it's put his exercise lots of roots, lots of changes. As always. Be patient practices a lot of times slowly like this. And when you get to grips, push your limits become faster, become better, become more relaxed. To pick one, I would always prioritize, become more relaxed. When the more relaxed yard, the frustration venture you will be able to play. Yeah. So good luck and I'll see you when we do 50 beats a minute as well. 30. 5-Quavers with complex string crossings (♩=50): So we've seen changes 50 beats a minute. I did all the talking before about the 14 beats a minute exercise. I've introduced you to all the notes, all the changes between each exercise built the changing tempo right now the only thing I will be changing is that I am going to start at the tip because a hobo on everything that's a quarter notes old, longer. And just so it feels different, oldest string changes of worth that tip are going to be at the heel. Now, for some exercises, the warping make any difference if you have an exercise with uneven patterns, they mixed around anyway, but for some of the exercises, it will change things around. Yep. You don't have to start messing around with both direction and o placement yet. But once you do know this exercise at 50 down tomorrow, for example, you do it again all immediately. Try it again with different types of Boeing. And I will do five different types of Boeing throughout this, these repetitions. So now at the tip and hobos on anything that is not a quaver. 123 or cool. The next exercise, three interests. And for single mode. For you've seen the off method and core. Now we stick with minimum scratches saying grievous bolt Reagan didn't jump across strings. So that's what slow note, because she tends to look ahead and prepare for. Cool. Ok. No more complicated. Just more. String changes, string crossings and foster notes. We talk to home float, or the next two exercises, one after the other. One, to be cool. And four, you're there. Yes. Repeat, repeat. Relax, relax. Toronto. Roundtable finger, relaxed fingers, relaxed shoulders, straight posture. Slouch, left. So that's older is 200 m plane. Well opus through playing as least. Good luck. And I'll see you at 60 thicker. 31. 5-Quavers with complex string crossings (♩=60): So we're at 60 beats per minute. We're still doing quavers with lots of string changes. Different rhythm patterns, of course. So I talked enough in the first, second repeat of this exercise. So go for it, strictly. Counting one-bar between each exercise repeating, I think the usual, OK. Put like 123 core. Oh, before I actually do start a little bit more talking, I'm going to use middle of the bow do tip only just to challenge you to try it and to experiment and learn from experimental. Yep. One could Green Corps, core. At the core. Go. Okay, cool. Okay. So that's it for the exercise of string changes with wafers and at 60 beats. So it's OK to restrict yourself to a certain partial Barstow to both. But it does create control. And so control is important later on because sometimes you have to get yourself to corner where, what comes next. Possible. It's not necessarily the most comfortable right now. But whatever comes next might be impossible unless you're at the right part of the bowl. So you need to get yourself into position to continue to, when this kind of exercises in this kind of searching for discipline beyond what's actually on the page will help you later on. Yeah. Enjoy. And I'll see you at 69. They get it right. 32. 5-Quavers with complex string crossings (♩=69): 16 beats a minute for the query for sweet oldest and changes the rhythm changes everything. Kinda doing the lower hull from here, from the middle to the tip. So starting in an up bow, it makes things awkward. I know definitely for the really long last node of each line. But try, yeah, just experiment and tried to gain control. This is just open strengths. So you've nothing to worry about except for the sound control. The relaxation in your shoulder makes sure the upper arm is active. Yeah. But never the shoulder to shoulder has to be as lazy as you can keep it yet. Never start pulling. Set is million times before. So let's go. So we're going to be at 69 and we go straight through, of course, with all the requests and poor four. And Gore. Cool. Go four. Okay, four. Cool. So we're almost at the end of all the repeats. But this one is in my opinion, if you did the Boeings, at least the most difficult one, being fast, if you've good grounding, it's a challenge in the beginning, but it all fairly quickly feel comfortable with or put bowing O, O placement of Boeing. They'll always be awkward. It's just the way the ball fields in the hand, making many sound where it's most difficult to be gentle. So I challenge you to really, really do D6 such choices in the lower bowl. If you can't do that, 69 didn't seem nice. Associate 50, for example, entry. But I think at 50 it's so slow, might be even more difficult. So either way, figuring it out and challenge yourself. Yeah, good luck, bye. 33. 5-Quavers with complex string crossings (♩=80): Hello, Ross. Last repetition of the exercise with quavers, drink changes and rhythms and all the stuff we know by now. But now we're at 80, which means I'm going to do whatever I feel like. What, where I place my bow. And I'm just going to try to stay together with our metronome. And for you now, you've experienced, if you at least did the exercises, the way I suggest you did with different bowings for each bead and different placements in different bond lengths. Then by now you know where you think things are easy. And if you don't yet, now is the time to find out if yourself a limiting factor and see where it works best. Yeah, I suggest don't use too much bow. Stay somewhere around the balance points, somewhere around there. Ish. And there. Yeah, two makes it easier to make a nice sound and do all the strain changes. Some changes are easier near the heel because your upper arm to move quickly to another string takes off more energy than just the forearm. So it gives the Abram tend to catch up. Yeah, definitely one's contains this happened every single note. The upper arm tends to be slightly behind what she's doing. Yeah, so good luck or fast. And and to me, that's the most important quantity is go for it. Go for cool. Poor, cool, cool, cool. Ooh, ooh, ooh. And so that's it. As, as far as we're going to go with rhythms and some changes with one note provoked after this starts slurring, which means we're going to do several notes in limbo, but we're still going to stick to just open strings. And the rhythms will still involve everything you've learned until now. Now. Different techniques are coming up, different challenges. So make sure you know the stuff because he will be helpful before you move forward. Okay. Tc 34. 6-The Legato - Slurring strings (♩=40): Ed. Hello. Today's exercise is all about slurring. So far all we've done is half mambo for each node. Now we're gonna change that. Yeah, you don't necessarily always have to move to bode very quickly, cross the strengths. You can put several nodes in one bow considering these exercises, but straight Boeing we haven't used to left hand yet. So we're going to source tricks right now. So a bit like I'm good, play two notes in one bowl, certain good start. Change and drop my arm. Yeah. If you find it difficult to exactly know where to change, so you end up with two equally long notes. You can put a little mark on the bow, halfway, for example, or divided boeing force or one each quarter. Just choke or a small stickers, some things just to give you a visual aids to know where to change strings. Because that kind of control becomes very important very quickly. Yeah, it's quite a few exercises and week start with denotes, but we're going to go all the way up to eight knots per row. So I'm challenging new full-on area. So I'm going to very quickly to the first exercise which is very similar to what they just did. We're still slow. Just slurring two drinks in one bulb. Yeah. So 1234? Yeah. Yeah. First introduction. Repeat this part of the exercise a few times until you are comfortable with it. You know, you don't have to do with the video just bolted ten, right. A couple of times if necessary. Because next, we're going to double things up. Firstly, beats going to quavers. So now you can see that's where the extra markings already come in handy. So now we're already talking about changing the speed of the string changes. Yep. So 123, core. Okay. So those again, something new. Relax your shoulder. Very important that when you do string changes, do you relax your shoulder because your entire arm has to be able to move. Lots of strain changes happening very quickly, one after the other. And it has to stay Smoot with one bot per note. You have these tiny breaks between nodes. You're not going to hear a smudge detention shoulder or in your hand here, smoothness is everything. So that's why these exercises are so important that you learn to relax e from better without losing the straightforward and relaxed and everything. Make things beautiful. Yeah, it's very, very important. Now, we're going to double things up. You're going to do eight dots in a row. So now a bot is going to be four beats long, so whole bar. But we have an entire par to recover from that because the next bar is just very long, not equally long. Bow at least. But no string changes for a bar. Yeah. So 124. Okay. From the kids. Work. Okay. Now, similar to the second exercise, we are going to do, crotchets and quavers only is going to be four beats purple. So we double up on everything. Combination a bit of one pattern, bit eight nodes, okay? 123. Or I am. Okay. Right? Right. Yeah. Okay. When a substance like this, if you look carefully, when I did the bars with only the quarter notes or crotchets, I move my entire arm throughout the boat. But when you did the query for us, so it's the maximum shoulder, just me. But then with the quavers, as he go towards the lower off, you can move just the 40 instead of the entire arm to tip. You have no choice. You don't make it to the next string. But from here, you can use just so whole automatically. Towards a hill, that movement is a lot smaller. So play around with that a bit. It feels a little bit weird from beginning, but always use as little energy as possible as long as it sounds beautiful and you are in control. You complete without energy, but you can reduce the amount of energy you use. So when things go faster and faster and faster, it becomes easier. Yeah. If you always have to move your entire arm, can't get tired very quickly. Yeah, you don't want anything. Okay. Next exercise. Nothing new, just slightly different. We're having actually less strain changes. Only two notes in a slur, but we have a quarter note to eighth notes, slurred and haul flood. So different bow speeds, different strength changes, three different things happening. One bug, but it's a short exercise, some well-defined. And 124, as I said, as a short, but important, too long to have the flexibility to change strings, slurs strings and change bow speeds were important for the next exercise, because first bot is one beat, just just a quarter note, followed by four quavers in one bow. And again, of course they're not. 134. Okay, so this dot, and now we introduce a third thing. We're going to have a bathroom that impulse, three strings. So we're going to do two quizzes and a lowest to translate, continuing to H. And then similar thing on the highest to Keystone course. So here we go. The Lexis shoulder. So that felt probably very different. So repeats a couple of times. The next term is called an arpeggio. It's one you do. For example, for strings in one bowl. Well, some of these things, they're all, can be called arpeggios. But the fourth string and the three string, or pleasure or offering a fairly often used, it's very useful to get this really relaxed. And it's all about relaxing here in the neck and the shoulder. So you have free movement. Yeah. So it's just four crotchets. Not too fast at all. But the second time around it's going to be in briefer. So it's going to feel very, very different. Yeah. 1234. Most of all. Yeah. And that is it for slurring its long exercise. There's lots of different things happening. But it's also very exciting to do these things because he will come in very handy later on. When you start slowing to your fingers. It's good to understand the concept. Making slurs across strings requires quite a bit of attention. Yeah, so don't brush across these exercises. They will be useful by promising, OK. We're very close to the end of this first chapter. Stick to it and good luck, and I'll see you at 50. 35. 6-The Legato - Slurring strings (♩=50): We're back for the exercise on slurring of our constraints. And we got 50 beats per minute. Now, not so much in the last exercise that I'm just going to play straight through. It is so long exercise even without all the docking. The one thing I do want to say, which is lots of little things really is relax your shoulder, you relax your fingers, have a good straight posture. Don't slouch. And does because bone in reverse feels so different. This repetition i'm gonna do starting on the upper. So you can experience that. I would suggest that you do it if not necessarily the first time around immediately, but experiment with it because it does feel very different. Tune up bow. Stan changed on a down bow student change to be able to debug this one. Poor. Oh. Yeah. Okay. Yeah. Cool. Right. And and four. Yeah. Yeah. Pencils. Yeah. And that is it. So the important bits are that you stay relaxed and that you make small changes. You stink control. Look at your poll, where you decide to change strings. Approach the string that you're going to go to. Don't make any sudden movements. Makes me yeah. Movements. Look. That's where the bow is. Bow to touch the string. Yeah, it's advanced to pay attention to those things. And one of the reasons I didn't start talking about in the beginning, but now you've done hopefully the 4050 and you become a little bit more at ease with strength changes. You've done lots of now, start paying attention to how it sounds, how smooth it is. We can study the approach so you don't drop your arm because it's yeah. So start paying attention to that. Yes, we can speed things up. But with these exercises. And when you know the 405060 old way, it's okay to go back and try to perfect a detail just to be better. Maybe come back in to this in a month's time, for example, and then start working on smooth changes. But remember, when we move forward that everything stays relaxed but the old sustain control of beauty, of the strain change from now on. Okay, take care. 36. 6-The Legato - Slurring strings (♩=60): So we're doing slurring legato between strengths. Still open strings. We're at 60 beats a minute now, and I will go straight through. But first, let me remind you that you have to relax. Ducks priority, strike Boeing's second priority. Beautiful sound, be the consequence of the first due. So hopefully you'll get there. This is a long exercise. It's eight parts to it. Lots of strength changes, lots of nodes. But you should be able to get through this without tensing up anywhere, without hurting. Keep a nice straight sound. If you do hurt, if you do get densed, maybe you should go back a few exercises and tried to figure out why you heard where you're still tensing up. It's okay to keep going back to basics. And it's something you will do over the years to go back to exercises like this, just to perfect the foundations because they make everything else either easy or difficult. If you're tends to him doing this, that when you start doing pieces of concentrating on what is happening here and what you pianist is doing. And then you're definitely going to tense up there too. So it's okay to keep on repeating foundational exercises until you completely and utterly comfortable and relaxed. And I do my stock because always 60 beats, 34. And cool. Four. Okay. Cool. Yeah. Yeah. Yeah, cool. No. Hello. I would say short and sweet but, and no innocent. It's hard work to keep on concentrating on what you do, how you sound, the quality of the sound, and the relaxation in your shoulder. So don't Quit, fight through this. That you have to have a low determination to learn. But it's always worth it. I promise you, they go by. 37. 6-The Legato - Slurring strings (♩=69): Hello. Today we do the Leg atom to slurring exercise between open strings. At 69. It's a long exercise. Things or getting fast. Lots of string changes, lots of Boeing patterns, different rhythms. Think quick, look ahead and stay relaxed if he can't get them through an exercise like this in one goal without fencing up, without hurting, you should step back, go back, one or two exercises, figure out where you tense up. Wherever it hurts. There is a problem. Yeah, this should be Smoot, easy going stuff before we start adding the left-hand. And definitely before you starting pieces should be able to post straight without it bothering you at all anywhere. Okay. Good luck. And we'll 69. It can punk was poor and and core. And Yeah. Cool. Yeah. Okay. And poor and cool. Four. Okay. So congratulations if you made it all the way through without tensing up, without being impainted, and with the beautiful sound. So if you can move on those eight km, if not, try it again, all text back and figure out why you're getting tired or in pain or why it doesn't sound so nice? Yeah. Relax, always relax. Take advice. 38. 6-The Legato - Slurring strings (♩=80): Hello, we're finally at the last repetition of the legato or the slurring of the ABA strengths, but 80 beats a minute. Now, the second repetition, while the first Repetition, essentially the second time I did it, I started at the tip down after that, that definite mentioned anything about it because I thought the most important thing is that you relax. It doesn't mean that it isn't interesting to still keep on messing around with different bowings. So yes, last repetition, I do reverse Boeing, or we'll start with an up bow. And just to remind you that even when things get tricky in don't always have to take the easiest way out. Often. It's logical, but music doesn't always give you the choice to go for the easy way. Whatever happens before or after, might decide that what you're doing right now is awkward and not the easiest solution. So we have to be prepared to that sometimes in this second best choice they have to use. Good. For. Cool. Yeah. Okay. Oh, yes. Oh, cool. Four. Yeah. And that's it. When you do that, this is the site doesn't seem so long. Make sure you enjoy your way into getting through this and stay relaxed. Don't be pressured to DC. And when it's smoot, it's easy going. You're ready for the next step forward. Okay. Good luck and see you there. 39. 7-Double stops (♩ = 40): Today we're introducing door stopping. There was talking means two strings at the same time. The way to do it is to look at where you bow touches the string. Make sure it touches both strings. Relax your hand and build a bow across. You have to keep on doing obviously the straight Boeing's Swift on before the relaxed hand, relax children. The upper arm position is going to decide whether you hit two strings at the same time. We're not. Yeah. Now, another way of doing those topping, which I see a lot of Muslim students by pushing down until your bot hits do strings. But like it's a horrible noise. And the reason I'm introducing stopping already in the first chapter is for information. If you want to tune your instrument, you need to be able to double stop, at least if you want to do it using your ears and you can use a gadget, Of course. When are those tuners? But you want to learn to use your ears to decide whether you're in tune in the second chapter as well, or use those stopping in order for you to improve your intonation, the placement of the fingers. But obviously you want your instruments to be in tune before you start working with this. So you want to learn to use your ears to tune your instrument, if at all possible, as soon as possible. Because your ears are the main guide to what are you doing things right? When you're relaxed. The rest is going to come from whether you like what you hear. That's where your decisions should come from. Yeah, doing everything right, but sanding horrible isn't particularly useful if you want to make music. So I'm introducing this for you to learn to play in tune. But I want you to do everything quiet today. It's not about virtuosity. It's about both control is this way. I'm also not contrary, Pete, this exercise like I did before, 4050606980, I'm just going to record them 40, forcing you to stay slope and to look for both control and a beautiful sand. Those are the priorities, yeah. Not tortuosity. Tortuosity will come over time. First priority now is to learn to play those stopping so you can use it for tuning. And for tuning you need quiet. And that kind of bow control. That's what this exercise is about today. So we're going to go at 40. And the first exercise is always, will be the easiest one. We're going to do four beats. The lowest two strings up, Dumbo and upper, followed by the middle two strings for where the highest to strengthen the weight back. Yeah. Here we go. Oh, this exercise, because this is what's important. This is what you will be using. Q will be using hobo control, everything else and deacetylases or constructing so content more interesting or difficult. But this is the most important parts of this entire exercise. It's not virtuosity. It's a beautiful even sound across two strings. The rest, I'm offering you anyway, but only if you have the time. Only if this one is under control. Yeah. So next we'll come to slur two telescopes. So do not cubits on low 32 bits on a military strikes. Now, you have to start the rotation of Hippo before the beginning of the second beat. So I would say halfway through the second beat. So now umami playing the second half of the second beat them only playing the middle string, the case, the d. The next door will stop. And then I stayed there. And, and when we go back, it's the same thing. You start rotation at the double stop. Where you want to do is eventually over time to control when you arrive at the stop. In this case, it's two v. So the first marker at the beginning of the third beat, he would want to be at the next double stop. But don't immediately drop your arm. It's all about smoothness, about control. So long to church when you have to start dropping your arm. So you only play one string for a little bit. Yeah. And then you'll have time to get smoothly to the a string and sustaining the doorstop a D. There we go. And core. Okay. Okay, so there's dot. Next. We're going to make combination o, the first bar of the prefix place to be. And then between the boat, you have to rotate back. I have two strings and then sending backwards. Also, we always do. So now wants to and changed the bow one's change between each. Oh, yeah. Ok. So lots of different changes happening. But with all these repeats, it should become easier. Yeah. Next, we're going to do a bathroom that involves all strung. So far we've had two strings, three songs now forced in. So far, as far, again, the same. Do you beat those two strings? Four beats on high strength? And the same thing can reverse. And it will repeat this because it's fast short on. Core. And now we're going to skip the middle. Bonded, John. Yeah. So for tons of law and I'm half it is exercise at changes. This is two exercises squashed together. Because now the second half, we're going to have similar at first. But then we have to rotate sanity back to the lowest his strengths. Yeah. But I'm slow. Quiet. Yeah. There you go. India. This moves us exercise. We're going to do twice as fast. The ball won't be humble. Me, but it's a tree beat bar. You see at the beginning, it's 34. That means that one bar will serve them Dumbo, it's an uneven Boeing buttons. So next bar will Sutton up bow. So the string changes are going to always be in different places. After four bars, we reverse the entire thing. And then we get to glass bar. Now the last bar has four notes, white notes, minims with adult behind. That means that note is two beats for the minimum plus the dot, which means half the length of the notice attached to so that makes it three beats altogether. So two plus one is three bits. Now you can't sustain. Press down hard enough. You really don't want to try to sustain for strengths. So what we're gonna do is very similar to the previous exercise where we did that. But now we're going to divide the bow. We're going to use it very little bow on the first. Do not sum as they stand. Nice. And the drop around to the highest two strings and sustain most of the bow on the highest. Do strings don't drop too far. You want to sustain the double stop. You don't want to end up just on the E string. Yeah, so let, well, that whole ball, so p4. And that's it for the whole stopping. As I mentioned. Yes, it requires a lot of control, but it's mainly the first exercise where I would put, place my focus. The rest, yes, of course it's really interesting. But for double stopping and information work and tuning your instrument and tuning your fingers later in the next chapter. This first exercise has to be so well controlled. So you can concentrate on what you're hearing while you use it together with either tuning your instrument or with your left hand. Ok, good luck with this and doesn't set. There will be no repeats of this exercise because I want you to take it slow and get that beautiful sand and control. Ductus is the focus here. Okay. They care and see you soon. Bye.