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

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